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癲狂北京
北京樸敬美畫廊
2008年4月19日—5月17日
開幕酒會: 下午5點，2008年4月19
策展人：Philip Tinari
2008年初，北京看起來更像一座深陷於時空錯位的未來主義城市。時間在城中各主要場所放置的時鐘上以天數、小時、分秒的單位不斷流逝，終點就是“八”星報喜的那一刻（2008年8月8日晚8點），北京奧運會開幕——我們理應相信——一切都將改變。這種狂熱的等待引出了一系列心理和審美問題，至今仍然沒人能為其提供一個明確答案。難道北京真如有些人斷言一般，將成為二十世紀初烏托邦現代主義最後真正的（儘管扭曲）的繼承者？經過漫長等待終於到來的這次華麗登場對全球美學，政治，甚至是道德觀有沒有影響？如果有的話，會給以上領域帶來什麼樣的變化？雷姆·庫哈斯——他本人也是如今北京最受矚目的建築項目（央視新樓）的設計師——在他的成名作中對“極端曼哈頓主義”感受力做了明確闡述。與此相反，《癲狂北京》希望找到一種具體的方式回應這一獨特的處境。
《癲狂北京》參展藝術家所屬世代、地域和地位都有很大不同，將他們聯繫起來的是在目前處境下共有的緊迫感。展覽以Ryan Gander的《訪談》開始，作品記錄了庫哈斯和策展人Hans-Ulrich Obrist的一段關於採訪本身性質的對話。Sarah Morris的繪畫作品《環路》和艾未未的一百小時錄影《四環內的每一條街道》緊隨其後，接著是一大批像李姝睿、劉窗、趙趙、王鬱洋Rutherford Chang和Jordan Wolfson等年輕藝術家的新作展示。老作品有趙剛八十年代早期的城市繪畫、劉安平的記錄他九十年代城市干預的拼貼畫和繪畫、以及更多正處於職業生涯中期藝術家像聶幕和艾格林的作品。
《癲狂北京》是北京樸敬美畫廊自2006年開幕以來首次聚焦中國當代藝術的展覽。
Philip Tinari（田霏宇）現居北京，身兼作家和策展人。他現主持話坊出版編輯工作室、同時也是巴塞爾藝博會中國顧問和Artforum網中國版的主編。此外他還為博物館圖錄和一些出版物例如Artforum和Parkett做固定撰稿人，在紐約的古根海姆美術館和華美協進社講授中國當代藝術。《癲狂北京》是他在北京自2003年以來策劃的首場展覽。
北京樸敬美畫廊 北京朝陽區草場地46號C 郵編-100015
#46-C CAO CHANG DI, CHAOYANG QU, BEIJING 100015, CHINA
T. +86 10 8456 7429 F. +86 10 8456 7482 WWW. PKMGALLERY.COM
PKM Gallery Beijing
April 19 – May 17 2008
Curated by Philip Tinari
Opening Reception: 5:00PM, April 19, 2008
Beijing in early 2008 is a city mired in a deeply anachronistic futurism. Clocks placed in major sites around town tick off the days, hours, and seconds until the eights align (August 8, 2008, 8:00 p.m.), the Olympics begin, and—we are to believe—everything is changed. This state of frenzied waiting raises a set of psychological and aesthetic questions that have not been adequately answered: Is Beijing, as some claim, the last true (albeit distorted) heir to the modernist utopianism of the early twentieth century? How does the emergence to be marked by this long-awaited moment change global notions of aesthetics, politics, and even morality, if at all? In contraposition to the “radical Manhattanist” sensibility articulated in the book that first brought fame to Rem Koolhaas—himself the designer of the most notable architectural project in the Beijing of this moment—Delirious Beijing looks to locate a specific way of reacting to this distinct set of conditions.
Delirious Beijing juxtaposes works by artists from a range of generations, geographies, and positions, united by a shared sense of the urgency of this current situation. Beginning with Ryan Gander’s Ghostwriter Subtext, a video that presents Koolhaas and curator Hans-Ulrich Obrist engaged in a dialogue about the nature of the interview itself, the show moves through works like Sarah Morris’s Ring Road paintings and Ai Weiwei’s hundred-hour video Every Street Inside the Fourth Ring Road, toward a broad range of new works by younger artists including Li Shurui, Liu Chuang, Zhao Zhao, Wang Yuyang, Rutherford Chang and Jordan Wolfson. Older pieces such as Zhao Gang’s urban paintings of the early 1980s and Liu Anping’s collages and paintings documenting his urban interventions of the 1990s complement more recent work by mid-career artists such as Nie Mu and Ai Gelin.
Philip Tinari is a writer and curator based in Beijing. He directs the editorial and publishing studio Office for Discourse Engineering and serves as China Advisor to Art Basel and executive editor of artforum.com.cn. He is a regular contributor to museum catalogues and publications including Artforum and Parkett, and has lectured on Chinese contemporary art at the Guggenheim and China Institute. Delirious Beijing is the first exhibition he has curated in Beijing since 2003. |
