Qiwen Ke

Hokusai: beyond the Great Wave

In May of 2017, the British Museum will stage the first exhibition in the UK to focus on the later years of the life and art of Hokusai, featuring his iconic print The Great Wave of c. 1831 and continuing to the sublime painted works produced right up to his death at the age of 90.

documenta 14

June 10, 2017, the documenta 14 exhibition opens in Kassel. Over 160 international artists present works conceived for documenta 14 at more than thirty different sites, public institutions, squares, cinemas, and university locations.

Where They Hum

Habits assume the form of abstraction that treats the repeated instances of feelings or images as being all the same, thus forming categories.


在中華人民共和國駐英國大使館文化處的支持下,由鼎天國際 (英國)有限公司獨家主辦的《鑑賞海外遺珍展》將於5月7日-10日在倫敦隆重舉行。 重現中國藝術品的華彩,開啟塵封的傳奇故事,本次《鑑賞CHINA》海外遺珍展, 不僅為大眾提供一場中國藝術遺珍的視覺盛宴,還將開啟集學術、觀想、展售為一體的新中國經典藝術交易平台。同時,這次展覽還得到了國際知名品牌香奈爾的大力贊助, 在展會期間舉辦香奈兒鑑賞中國藝術品之夜貴賓酒會,香奈兒珠寶攜手鼎天國際,共同打造一場中國藝術與頂級奢侈品的對話。 2016年11月,首屆《鑑賞CHINA》海外遺珍展在倫敦舉辦,秉承這次盛事的首戰告捷,鼎天英國已經逐漸成為歐洲及中國藏家心目中對話及交流的最佳平台。 2017展會的籌備工作一經展開,就得到了各界人士的熱烈關注,來自法國、瑞典、丹麥、荷蘭、比利時、香港、北京、上海等地收藏機構及民間家族積極諮詢,前來商議洽展的藏家絡繹不絕。 2017年的整個春天,鼎天(英國)總經理俞海鷹帶領同事們輾轉歐洲及亞洲各地,與當地藏家會面商談,對話中不僅聆聽到許多動人的傳奇故事,也開啟了塵封多年的家族收藏,其中不乏難得一見的稀世珍品。無論是古陶的沉厚、宋瓷的極簡、明瓷的多姿、清瓷的富麗,還是皇家御製景泰藍的雅緻,明代大家繪畫的古樸……這些多年來消失在世人視線之外的遺珍都將通過這次海外遺珍展重新煥發往日光茫,再敘當年傳奇。 《鑑賞CHINA》海外遺珍展甄選近百件瓷器、文玩雜項、書畫等藝術精品。展品中的清乾隆銅胎掐絲琺瑯蓮塘圖鶴足雙龍耳蓋爐,是極負皇家氣質的純手工藝術品景泰藍,自元代流入中國起直到乾隆一朝就從未走出過皇宮,數百年來一直以雍容華貴之態居於紫禁城中。清乾隆白玉夔龍紋魔方套盒選用一流的和田白玉籽料,玉質細密溫潤, 純潔無暇,蓋盒之間扣合嚴密,間不容髮,是一件極為精緻的宮廷文房雅玩,為英國著名古董家之舊藏。還有清雍正青花九龍紋高足杯、明宣德青花纏枝連紋淨水瓶,明朝戴進翠竹菊石圖等多項珍貴藏品,均彰顯了中華傳統歷史文化之高雅品味,使得本次展覽具有較高的藝術性與學術性。 2017《鑑賞CHINA》海外遺珍展通過展覽交流,專業評審,出版註錄,勵志為藏家 打造最好的中國經典藝術的交易平台,將悠久的中國藝術傳承下去。該展覽於5月7-10 日在梅菲爾的萬豪酒店會議中心舉行,為社會公眾奉上精緻的文化盛宴。  

Wolfgang Tillmans 2017

Wolfgang Tillmans has earned recognition as one of the most exciting and innovative artists working today. Tate Modern presents an exhibition concentrating on his production across different media since 2003. First rising to prominence in the 1990s for his photographs of everyday life and contemporary culture, Tillmans has gone on to work in an ever greater variety of media and has taken an increasingly innovative approach to staging exhibitions. Tate Modern brings this variety to the fore, offering a new focus on his photographs, video, digital slide projections, publications, curatorial projects and recorded music.

David Hockney

Tate Britain today announces the world’s most extensive retrospective of the work of David Hockney, opening February 2017. Widely regarded as one of the most successful and recognisable artists of our time, this exhibition will celebrate Hockney’s achievement in painting, drawing, print, photography and video. Following its presentation in London the exhibition, organised in collaboration with the Centre Pompidou and The Metropolitan Museum, will tour internationally to Paris and New York.

SHEN XIN Strongholds

Shen Xin’s films are steeped in the cool sensitivity of an artist all too aware of the tentative relations of power, framing and gesture inherent to lens-mediated space.



Carroll / Fletcher: Looking at one thing and thinking of something else

A Group Show in Four Parts
11 November 2016 – 25 February 2017
From November 2016 to February 2017, the gallery will present Looking at one thing and thinking of something else – a group show in four monthly instalments. Each chapter of the exhibition will be curated around a different set of themes, with some works remaining from one instalment to the next, allowing for the same artworks to be understood through different lenses, and unfolding multiple meanings and resonances between the works.

Robert Rauschenberg

1 December 2016 – 2 April 2017
Tate Modern’s major exhibition of the work of Robert Rauschenberg (1925-2008), organised in collaboration with The Museum of Modern Art in New York, will be the first posthumous retrospective and the most comprehensive survey of the artist’s work for 20 years.

The Problematic Contemporaneity of the Museum of Contemporary Art, Yinchuan

TEXT 撰文 x BY GONG ZHIYUN 龚之允 Museums in China have problematic identities, and their museological practice can be experienced differently than those institutions in the West. The Yinchuan Museum of Contemporary Art (Yinchuan MoCA, Fig. 1), which opened in 2015, is an example of the controversial identity of museums in China. Its planning and

The Beginning

Banana Jam Space 首展the beginning於9.17號順利開幕。本次展覽由lab-box成員黃晶晶、吳博共同策劃,共邀請到國內外二十一位藝術家參與展覽。展覽試圖通過藝術家與策展人的合作,對新生空間的敘事性,進行實驗性的批判與探索。

設計 · 東方

繼2015年意大利米蘭“設計·東方”展後,為持續拓展學科國際影響力、輻射力、競爭力,全面提升教師設計創作能力與隊伍的凝聚力、向心力,讓中國文化、中國設計“走出去” ,中國美術學院應邀參加2016年9月17—25日舉辦的英國倫敦設計週展覽活動,整體呈現中國美術學院設計藝術學院教學成果。

Abstract Expressionism

Abstract Expressionism 24 September 2016 — 2 January 2017 The Royal Academy of Arts The Royal Academy of Arts presents the first major exhibition of Abstract Expressionism to be held in the UK in almost six decades. With over 150 paintings, sculptures and photographs from public and private collections across the world, this ambitious exhibition

Cue Collision

House of Egorn opens in London with Cue Collision, an evolving exhibition in three phases, launching on 9 September. Artist Vivien Zhang takes on the legacy of Herald Street in collaboration with four young contemporaries to regenerate the London site with works that challenge our lines of presumption in a time with accelerated speeds of reading and understanding.

Little Soldier Zhang Ga

Little Soldier Zhang Ga is an uplifting tale of a young boy’s solidarity and spirit during World War II. Set in northern China during the outbreak of the war, the piece inventively uses both puppets and actors to tell Zhang Ga’s incredible story and his inspiring response to the conflict that surrounds him.

Björk Digital

An immersive virtual reality exhibition from the Icelandic icon Björk 1 September – 23 October 2016 Somerset House announced the European premiere of Björk Digital, an exhibition of digital and video works, resulting from Björk’s collaborations with some of the finest visual artists and programmers in the world and coinciding with a special performance at the Royal

Unrolled Silks

Bloomsbury Gallery is pleased to present a solo exhibition of work by Xiaowen Zhu from 8 September to 22 September 2016.
Xiaowen Zhu’s London debut, titled Unrolled Silks, will be the artist’s second solo presentation.


華語視像藝術節 文:湛旭華 廣州是中國歷史上許多重要事件、思想、革命的發源地:印度僧人和耶穌會士從廣州傳入新的宗教;這個邊陲城市在古代是犯官流放地,也是中國近代史上革命的發源地,打響辛亥革命的第一槍,拉開辛亥革命的序幕;自隋唐以來,這是中國對外貿易的重要港口,到清代乾隆時期,廣州一度成為唯一對西方國家開放的通商港口,史稱“一口通商”,由廣州十三行壟斷大部分中國的對外貿易,廣州一躍成為當時僅次於北京和倫敦的世界第三大城市,其貿易額讓中國成為世界上最富有的國家,但也由此引發後來的鴉片戰爭;廣州也是80年代開始的中國改革開放經濟發展的橋頭堡,率先引領中國走向市場經濟。廣州作為海上絲綢之路的重要驛站以其天然的地緣優勢成為各種外來文化的舶來地,也是中國重要的文化藝術傳播的平台。 歷史以及各種藝術文化在這個近海城市揚帆、靠岸、再出發,沈澱出廣州對外來文化開放吸收的態度,以及務實、內省、敢於嘗試也充滿活力的特質。 珠江三角洲以其獨特的地理位置帶動中國市場經濟及國際化發展。一來廣州位列1984年中國改革開放的第一批沿海城市,與港澳台在經濟貿易上頻繁往來;二來憑借著天然的粵語文化和南方文化上的一衣帶水,廣州更容易受鄰近華洋混雜的港澳台文化的影響:來自海外的物品、著作和觀念能相對自由地帶進廣東並傳播,特別是流行文化、音樂、電影總是在此率先引入;加上文革後社會恢復正常秩序,人民對文化的追求形成席卷中國的思想熱潮,為先鋒的藝術影像文化發展提供了豐富多樣的素材和土壤,為廣東地區的觀念藝術創作形成提供了獨有的時代和地域特色。 而廣州遠離傳統政治中心的“南風窗”地域位置,供給這裏為數不多的藝術家不可或缺的文化思考空間;在經濟發展中的廣州和其所在的珠三角也是中國在全球化大潮中煉成世界工廠的縮影,各個層次的外來人口帶來的新文化沖擊了傳統的珠三角粵語文化區,帶來文化上的多元性。我們從珠三角藝術家的影像藝術中可以觀察到這個地區在市場經濟發展、高速城市化下躁動不安的時代背景和中國社會的巨大變化。 以廣州美術學院畢業的藝術家群體為核心成員,廣東當代藝術群體從80年代開始一直活躍於南中國的藝術舞台:80年代有‘南方藝術家沙龍’;到90年代初,隨著以鄧小平南巡為契機的經濟改革在中國上下進一步深入,廣東也有不少動作,策展人呂澎以廣州美院附近的江南大酒店為基地策劃了著名的“ 廣州·首屆藝術雙年展(油畫部分)”,試驗性地在當時未成形的中國藝術市場邁出了第一步。這種類似今天博覽會性質的展覽,為藝術家提供了展覽和接觸藏家的機會,也鼓勵了本地創作。在這一情況下,由陳劭雄、梁矩輝、林一林創建的大尾像工作組誕生,藝術家徐坦很快加入,並在1992-1996年間多次舉辦大型展覽[1]。1994年策展人侯瀚如與大尾像策劃了“沒有空間(No Room)”展覽引起了學界的關注。 當時廣州的市二宮、仍是城鄉結合部的廣州大橋南紅螞蟻酒吧,陳侗的博爾赫斯書店和美院附近的大排檔都是這些志同道合的青年藝術工作者經常聚集交流和創作的場所。這是大尾像的黃金創作時期, 那些街頭游擊式的藝術介入行為和展覽, 如林一林的《安全度過林和路》和梁鉅輝在工地電梯裡表現的《游戲一小時》等行為, 雖然借用了西方當代的一些藝術形式, 但都是藝術家在廣州這個城市的語境下對高速城市化、消費主義等一系列社會問題的回應。 大尾像至今並未解散, 如林一林在《九十年代大尾像》訪談中所說,“大尾像並不設立任何主張和綱領,它是一個開放的空間,作為獨立個體的藝術家在這一空間得到任何發言機會,它也是一個自主的空間,通過超過十年的實踐,每個藝術家形成自己的表達方式。”[2] 廣州美術學院畢業的鄭國谷在2002年與陳再炎、孫慶麟創辦陽江組,他們的創作結合本地文化:飲茶、吃飯、芭蕉與廣東本地音樂的裝置、與“盲流”(流浪者)一起蹲在街頭的行為藝術、廣東商業街上的“大甩賣”書法和珠三角生產的廉價塑料花做成的“桃花源”。這些跨書法、繪畫、攝影、行為、裝置的作品把珠三角生活日常變成了藝術作品,陽江組以及他們形形色色的合作者總是以其創作實踐力圖掙脫任何既定規範和定則。 [1] T.Kern《廣東快車:地域幻想的興衰》,LEAP Oct 2010 [2] 林一林 《九十年代大尾象》 獨立藝術文化空間也是廣東藝術發展的另一個重要特色。 1993年由藝術家陳侗於廣州美術學院成立的博爾赫斯書店不僅為藝術青年介紹了許多中國和西方的重要文化叢書,許多今天在中國當代藝術界具有影響力的年輕藝術家,如曹斐、楊勇、蔣志、王寧德等,都在這裏做了他們的首次個展。博爾赫斯書店與當代藝術的緊密聯系最終促使它組織帶領了一眾廣東當代藝術家參加了第四屆光州雙年展,以及作為“廣東快車”的一部分參與了第五十屆威尼斯雙年展。2002年胡昉和張巍創辦維他命藝術空間(Vitamin Creative Space)既是一個“商業”畫廊,也是一個以商業畫廊營收維持運作的獨立藝術空間。由歐寧創立的“緣影會”最初是為本地文藝青年和電影愛好人士提供觀看法國新浪潮等各種當時無法在影院找到的藝術影片的小組織,而後發展成連接本地獨立電影人、翻譯、作家、藝術工作者等文化人的民間團體,並促成了歐寧、曹斐、黃偉凱及緣影會成員對《三元裏》的聯合創作。這些獨立藝文空間為青年藝術家的創作提供了展覽、學術梳理、作品制作和推向市場等一系列必不可少的支持。 作為珠三角本地美術館主體的廣東美術館成立後,2002年由前館長王璜生確立創辦“廣州當代藝術三年展”。參照國際慣例,三年展每屆聘請主策展人,組成策展委員會,確定展覽主題 ,開展相關活動,力圖把這個展覽發展成三年度的區域乃至國家當代藝術的重要展覽和交流平台。 2002年第一屆廣州三年展邀請了國際策展人巫鴻教授主導,展覽學術主題圍繞重新審視90年代中國實驗藝術而展開。很快,廣東本地企業也加入到當代藝術的隊伍中:2003年廣州本地地產商出資創辦廣東時代美術館,2005年在華僑城集團支持下由策展人黃專在深圳創辦OCAT當代藝術中心——第一個以當代藝術研究為方向的中國美術館。這些由企業出資創辦的美術館是珠三角地區飛速發展的城市化進程的結果,也為這一地區的都市生活和文化藝術發展註入了新鮮和多樣化的活力。 背靠學院、獨立空間、藝術家團體、美術館體系和國際年展的各方面學術支持,並得益於90年代改革開放在南方比較開放的社會風氣和良好的學術氛圍,各種先鋒藝術得以在廣州蓬勃發展。 到2000年代中期,廣東藝術家的熱潮隨著南方藝術家和策展人的北上逐漸消褪,2006年大尾象成員梁鉅輝的去世仿佛標志著一個廣東當代藝術發展的黃金時期的終結,作為官方藝術體系對廣東當代藝術提供有力支撐的廣東美術館也一度呈現疲態,一瞬間廣東當代藝術仿佛進入一個沈寂期。 但新的力量很快在南方的土壤上崛起,獨立藝術空間繼續為留在廣東的藝術家提供創作的土壤, 陳侗聯合北京藝術家朱加和方璐創辦了以關註影像藝術為主的“錄像局”,徐坦和黃小鵬2012年在廣州創辦獨立藝術學術機構黃邊站,2009年青年藝術家胡向前與黃慧妍及翁子健等創辦觀察社為年輕藝術家提供展覽和聚會的“畫廊式”獨立空間,更多畢業於廣州美院的青年藝術家如秦晉、周滔、吳超等藝術家繼續在這片土地上深耕,廣東當代藝術在經歷了一段帶有時代和地域特色的創作時期後,新的創作在重新發酵。 第六屆華語視像藝術節將聯合英國電影協會“實驗場”項目(BFI Experimenta)和倫敦大學國王學院首度聚焦曹斐以及一批來自珠三角地區有代表性的藝術家和‘大尾象’和‘緣影會’等獨立藝術團體——陳劭雄、歐寧、曹斐、黃偉凱、 胡向前、周滔、秦晉和黃小鵬等,以《影像珠三角》和《曹斐:一場遊戲》等三個單元為英國觀眾展現以廣東為基地的影像藝術特色:帶有獨特的粵語文化和地區特征、對各種外來和流行文化的兼收並蓄、對高速的經濟發展和城市化、城中村、青年問題、外來工、政治制度等覆雜的社會政治的關註等,展現廣東先鋒藝術家在特有的開放語境介入下對社會現實的感知。


 给 “盒子” 一 个 描 述 。 展览名称:给“盒子”一个描述 展览场地:吸尘器空间(VACUUMGALLERY) 策展人:吴博 展览时间:8月6日-8月31日 开幕时间:8月6日下午15:00 地址:吸尘器空间 北京市朝阳区酒仙桥北路1号院环铁北宿舍 。 看见与被看,看见是艺术家通过触摸挡在我们面前的屏障来进行验证后的结论,该屏障则可能已被镂空或掏空。当科学家带领我们探索黑洞时,黑洞的未知便构成了我们自己。好似艺术家把我们引向一个空洞并替我们打开它时,空洞便观看、涉及并从某种意义上构成了我们,我们唯有闭上一只眼睛去看。 这个未知的盒子犹如艺术家扭曲了时空后的具象物,而观者对未知施加了被看的属性。当我们去观看时,作为看见这一行为的第二释放者,能否在过程中构成我们自己?又是否强迫我们去接受在其中的我们? 詹姆斯.乔伊斯在《尤利西斯》中写到:“可见事物的无可避免的形态:至少如此,如果不是更复杂,该思想通过了我的眼睛。我在此阅读一切事物的签名:浪冲上岸的鱼卵、海藻,正涨上来的潮水,那只铁锈色的靴子。鼻涕青、银灰、铁 锈:颜色的符号。透明度止于此。在物体中。那么,对事物的认识是先知其物体后知其颜色的。用什么法子?用脑袋撞, 没错。这位智者们的大师,是秃顶又是百万富翁。透明性在其中的限度。为什么是在其中?透明性,非透明性。伸得进 五个手指头的是栅栏,伸不进的是门。闭上你的眼看”。 身体是所有认识和所有视觉的初始物,通过自身的器官去感知眼前之物,但当我们看见眼前之物时,为什么总是有其他什么东西在里边看着我们,并强迫我们接受它在其中,就在那物体里边?“为什么在其中?” 此次展览艺术家将把黑盒子作为一个载体,通过看见与被看以及对看见之物中未知的思考,给其一个“描述”。而观者作为被看的施加方,参与其中,并直视在过程中构成的人们自己。 。 入选艺术家名单: 注:按艺术家姓名字母先后排序 安静、白杨、冯冰伊、郭凯、高云、黄成、黄荻秋、刘健、马漓澧、PoulR.Weile(丹麦)&Beate Bendel(德国)、任伦、孙毅、沈丽珑、沈乾石、邬秉豫、王智一、王若入、尤琦、杨畅、Yorda唯、周圆、周璋、张巍、赵安琪 艺术家作品预览 。 2016年8月06日-2016年8月31日 主办方:盒子实验室/LAB-BOX 盒子实验室致力建设中国首个先锋艺术团体。于2016年,创立于北京,由艺术家吴博、艺术家及设计师周圆,空间建筑学博士程方力、策展人高江波与黄晶晶共同发起。团体将以独立开放的态度,拓展当代艺术与公共空间的直接关系,从空间局限性出发,探索美学的在地性现象,为艺术家,策展人以及其他社会团体提供一个交流合作平台。目前盒子实验室分布在北京、郑州、深圳、东京和伦敦。 成员介绍: 吴博,艺术家 毕业于英国伦敦艺术大学(University of The Arts London)切尔西艺术学院(Chelsea College of Art) ,主修纯艺术(Master of Arts)专业。于2015年获得了荣誉硕士学位(Master with Distinction)。现工作生活于北京。其作品更多关注于生物个体形态的发生及其行为意识与空间关系下距离的发生。通过在作品中影射对当下社会疏离感问题的思考,使观念与空间进行错位性结合产生荒诞的戏剧性效果。作品涉及雕塑,影像,绘画和装置等。 2013年在伦敦SUARTS GALLERY举办个展“IN-PROCESS”. 2015年《Group-Photo》获得Neo艺术奖(The neo: artprize 2015).同年被邀请加入美国“RAW NATURAL BORN

Distance Between

DISTANCE BETWEEN is a 3-channel video installation ostensibly on the topic of long-distance relationships, as referred to romantic relationships between people who are separated by considerable distance. The interviews, filmed with 6 subjects, recount individual stories as confessions, beginning with the innocent excitement of growing intimacy through simple means of text messages and phone calls, to the complexity of Skype, examining the inherent properties of the medium.

A Beautiful Disorder

A Beautiful Disorder – the first major exhibition of newly commissioned outdoor sculpture by some of the most important young artists from China, opens at the Cass Sculpture Foundation.   The historical relationship between English and Chinese landscape aesthetics was the starting point and inspiration for the 18 artists featured in A Beautiful Disorder.  The title of the

Painters’ Painting

23 June – 4 September 2016 Sainsbury Wing, National Gallery 。 “Works of art are models you are to imitate, and at the same time rivals you are to combat.”  Sir Joshua Reynolds This summer, the National Gallery explores great paintings from a unique perspective: from the point of view of the artists who owned

RA Summer Exhibition 2016
皇家美術學會夏季展 2016

The Royal Academy of Arts’ 248th Summer Exhibition will be coordinated by the leading British sculptor and Royal Academician Richard Wilson. Comprising a range of media, the Summer Exhibition, the world’s largest open submission exhibition, provides a unique platform for emerging and established artists and architects to showcase their recent work to an international audience. As this year’s coordinator, Wilson will present a varied and thought-provoking Summer Exhibition, integrating work by renowned artistic duos.

Designs For Pavilion and Four Summer Houses

The Serpentine reveals the designs for its expanded Architecture Programme for 2016: the 16th annual Pavilion designed by Bjarke Ingels Group (BIG) (Copenhagen/New York) and four newly commissioned Summer Houses by Kunlé Adeyemi – NLÉ (Amsterdam/Lagos), Barkow Leibinger (Berlin/New York), Yona Friedman (Paris) and Asif Khan (London). The Summer Houses are inspired by Queen Caroline’s Temple, a classical style summer house built in 1734 and a stone’s throw from the Serpentine Gallery.

The new Tate Modern

The new Tate Modern will open to the public on Friday 17 June. The new Switch House building is designed by architects Herzog & de Meuron, who also designed the original conversion of the Bankside Power Station in 2000. It is the most important new cultural building to open in Britain since the British Library. The world’s most popular gallery of modern and contemporary art is now even more international, diverse and engaging.

A Memory for the Future

Six people, dressed in grossly patterned gowns, stand together side-by-side linking arms. Each figure clutches a coloured balloon that floats in front of them, obscuring their face. This painting, Dance Party (2015) [fig. 1], opens an exhibition of Song Yige’s work at Marlborough Fine Art Gallery, London.

Cao Fei: Daydream, Games and Virtual Reality

Text by 撰文 x Chris Berry, Zhan Xuhua 湛旭華,裴開瑞 Translated and edited by 翻譯及編輯 x Angel Chun 秦文娟 Cao Fei was born and raised in Guangzhou, the “Southern Gateway” to China’s reform and opening up process that began in the 1980s, introducing the market economy to China and turning the country into a major international trading nation. Her art has always

Far & Few Between

No Format Gallery, London, UK 3.3-13.3.2016 Artist-curator Lisa Chang Lee 李昶 Artists Haili Sun孫海力,Yingsheng Yang楊迎生,Le Guo郭洛,Jeremy Lee李培宇,Tian Mu田牧,Lisa Chang Lee李昶,Lin Yiman林依蔓 展覽序言 《隔岸》是一個先有藝術家再來生成主題的展覽,以目前生活和工作在倫敦的7位藝術家的視角,探索個體身份和界線之間的關系,藝術家,作品和閱讀之間的關系。這裏的界限即是政治的閾限也是地理的域線;即是種族,個人的界限也是心理和精神的域限。展覽的目的不是聲明態度而是傾向於提出一個或是多個疑問,對於歷史,種族,個人存在與徙居之所的關系。旅英亞裔幾代藝術家作為一個群體同時出現在展覽空間,讓時代的差異模糊了,換言之這種難得的打亂和融合讓藝術作品作為“結果”和“窗口”貫穿起半個世紀的精神映像。 《隔岸》的發生 2015年冬天,我與6位藝術家相約在倫敦中國城的Waxy Little Sister 小酒吧中,那時候我對6個藝術家的作品還知之甚少,更多的還僅僅停留在私交。本來只是尋常Catchup的一次聚會確最終生發了策劃《隔岸》這個群展的想法,而這個當時沒有現成作品的展覽提案無疑是一次有意思的新嘗試。我在想如何能夠找到一個獨特而寬泛又適應於倫敦地域性觀眾的展覽主題,同時又不過多介入藝術家個體的創作過程從而提供一個最自由的伸展空間。於是我將關註點放在了幾個藝術家的生平經歷身上,發現六個人的出生年代實際跨越了60-90年代中國近代歷史變化天翻地覆的40年。初到英國時無論學習或工作,心理狀態和對西方文化的接受度也有著天壤之別。作為藝術家如何看待和定位自我,個體和根植於血液中的文化背景也直接影響著藝術家的創作狀態和外在形式。我隨即索性將《隔岸》作為展覽主題,影射性的帶出一個方向,它既可以指身份,故土和徙居之地的關系,又可以是藝術家和作品之間有意識和無意識,邏輯性與直覺性的關系;既可以是對個人情懷和地域的話題,又可以是廣泛的抽象思考,藝術表達再到被解讀過程的探索。而整個展覽最終也呈現了這樣一個對比鮮明又多角度,多媒介的結果。我由衷地希望展覽的落幕不僅是一個事件(event)的結束,它更能夠帶來一些小小的撞擊和潛在的新可能。 李昶 Preface “Far and Few 【Between】” explores identity from the perspective of Chinese expats now living in the UK. Considering geographical, cultural and political boundaries, this exhibition examines the

Strange and Familiar

Curated by the iconic British photographer Martin Parr, this exhibition is a timely consideration of how international photographers from the 1930s onwards have captured the social, cultural, and political identity of the UK through the camera lens. From social documentary and street photography, to portraiture and architectural photography by some of the leading lights of 20th and 21st century photography, the artists include Tina Barney (USA), Gian Butturini (Italy), Henri Cartier-Bresson (France), Bruce Davidson (USA), Raymond Depardon (France), Rineke Dijkstra (The Netherlands), Jim Dow (USA), Hans Eijkelboom (The Netherlands), Robert Frank (Switzerland),Bruce Gilden (USA), Frank Habicht (Germany), Candida Höfer (Germany), Evelyn Hofer (Germany), Axel Hütte(Germany), Sergio Larrain (Chile), Shinro Ohtake (Japan),Akihiko Okamura (Japan), Cas Oorthuys (The Netherlands), Gilles Peress (France), Paul Strand (USA),Edith Tudor-Hart (Austria), Hans van der Meer (The Netherlands) and Garry Winogrand (USA).


East and west is by no means a mere geographical parting; to any Chinese living in Britain, it represents markedly different sets of logics and ways of living. With these two systems colliding with each other in his mind and exerting their respective influences on his art, Liu Jincheng, a Chinese artist who has been in Britain for over 20 years, has formed his own artistic style and language. However, such formation has nothing to do with harmony—a feeling so commonly felt in “well-formed” art; to the contrary, his art is filled with entanglement and disintegration that is never possible to put to a word or get rid of and his pursuit among such dilemma composes a clue to interpret his works. Such a clue is understandable to overseas Chinese artists, for in response to a different social mechanism, cultural context and all the metaphysical concepts in a foreign land, we, just like Liu, have never stopped adapting, revolting, repositioning and reshaping, in utter bewilderment. Through visual means, Liu’s works enlarge such a state of mind straightforwardly, which is the purpose of the show.

Olafur Eliasson – Green Light

  Thyssen-Bornemisza Art Contemporary–Augarten, Vienna March 12–June 5, 2016 Following the unprecedented success of the exhibition OLAFUR ELIASSON: BAROQUE BAROQUE, organized by Thyssen-Bornemisza Art Contemporary (TBA21) and the Belvedere at the Winter Palace of Prince Eugene of Savoy in Vienna, TBA21 is pleased to announce Green light, a new socially conscious endeavor by Danish-Icelandic artist

Botticelli Reimagined

For the first time, a major new exhibition at the V&A will explore the variety of ways artists and designers from the Pre-Raphaelites to the present have responded to the artistic legacy of Sandro Botticelli (1445-1510), assembling 150 works from around the world.

He Who Falls

Compagnie Yoann Bourgeois: He Who Falls at London International Mime Festival
Six performers appear to defy the laws of gravity, responding with strength and grace to maintain balance onboard a constantly shifting platform.

Big Bang Data

A major exhibition of diverse, dynamic, data-driven artworks and objects to demystify the world of data
3 December 2015 – 20 March 2016
Somerset House, London

In December 2015, Somerset House presents Big Bang Data, a major landmark exhibition about the big data explosion of the 21st century, which is radically transforming our lives.

KAWS: Sculpture for the Digital Age

KAWS combines a dystopian take on pop culture with sculpture. In his first UK museum show, the American artist presents a range of two and three-dimensional works.

Nikolai Astrup: Painting Norway

Dulwich Picture Gallery will present the first UK exhibition of paintings and prints by Nikolai Astrup (1880-1928), one of Norway’s finest twentieth-century artists. Along with Edvard Munch, Astrup expanded the artistic possibilities of woodcuts to capture the lush, wild landscapes and traditional way of life of his home in western Norway, powerfully capturing the myths and folklore of the country.

Absolut Art Bar

Absolut announces its latest collaboration with Mexican artist duo SANGREE, on a site-specific Art Bar titled Tenochtitlan, open daily from 4 – 6 February 2016 during Material Art Fair, Mexico City. Translated literally as ‘place of abundance’, the Art Bar is an homage to the ancient Aztec city of Tenochtitlan, which was located on the same site that is

States of Mind: Tracing the Edges of Consciousness

4 February 2016 – 16 October 2016
Wellcome Collection

Wellcome Collection opens the second part of a year-long exploration into human consciousness on 4 February 2016. ‘States of Mind: Tracing the Edges of Consciousness’ examines the universal, yet mysterious, topic of conscious experience. This major exhibition brings together artists, psychologists, philosophers and neuroscientists to investigate the terrain between consciousness and unconsciousness and will feature historical material, objects, artworks and an evolving programme of contemporary art installations.

Electronic Superhighway (2016 – 1966)

29 January – 15 May 2016
Whitechapel Gallery

In January 2016 the Whitechapel Gallery presents Electronic Superhighway (2016-1966) a landmark exhibition that brings together over 100 artworks to show the impact of computer and Internet technologies on artists from the mid-1960s to the present day.

The Light and Shadow of Ink

The Spirit of Ink in Qu Leilei
In the autumn of 2015 the British Museum (BM) acquired several pieces of work. It is normal for this globally acclaimed museum to enrich its collection. However, the acquisition and the manner of display for this time gain a profound meaning.


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