明天文化

绵绵若存走岷江V丨本期特邀:蔡东东

发布时间:2017-08-18 11:39

“ 绵 绵 若 存 走 岷 江 ” 项 目 介 绍


    当我们站在某一点观看一条河的时候,思想上很容易开始延伸,作为生命的一个类比,河流能帮助我们认识到生命长河在时间上延续的真实性。 这样,我们现有的生命便具有了回溯历史的可能性和伸向未来的潜在性。在任何一个现在的时间点上,我们都享受着一个时间上延展开的生命断面。我们与前人和子孙享有一个共同的生命,在意动力的驱使下整体流动着,从过去世代继承下来的生存意志通过我们又流向未来。       

      河流作为生命的根源,正如“绵绵若存”的解释一样,在创造繁衍的运动中不勤不惰,稳定持久并延绵不绝。岷江作为蜀地的一条重要河流,自松潘县岷山源起,自北向南,于宜宾注入长江。历史曾被认为是长江正源,流域包括  8个市、地、州的36个县,多个少数民族居住,人文、地理、历史、自然环境丰富多样。这使得这次艺术家驻留创作项目具有了一个整体的背景,我们将以成都的驻地为中心,向北溯源向南寻尽,以整个岷江流域发生的一切作为艺术家驻留创作的切入点。

—— 王澈


 蔡 东 东 部 分 过 往 作 品 


  • 寻隐者不遇 / 纯棉无酸纸微喷 / 80×111cm / 2005
  • For an absent recluse / Giclee print on cotton acid-free paper / 80×111cm / 2005


蔡东东的作品中所隐藏的思辨气质是通过其对摄影史逐渐发掘的过程中得来的。我们为何观看,为何如此观看,观看将使我们变成什么,一系列问题的提出使得其创作变得更像是一部面对摄影的考古学。但是从早期到现在,蔡东东的探索并没有在一个完整的视觉系统中停留过,其作品所讲述的故事既有对过往的缅怀,也有对今天社会的观望。面对时间与空间的快速转移和层叠覆盖的当代,我们身处何处在今天网络虚拟化世界里更显得模糊。对自身的观望在蔡东东那里逐渐变成对自身的等待,而这种等待正如其拍摄的第一张照片唐代诗人贾岛的《寻隐者而不遇》那样,变成一种在不可知论支配下的过程。

                             ——摘自2016 艺术汇 人物专栏

When it comes to the analytical characteristic behind Cai Dongdong’s works, it is premised on continued exploring of history of photography. Posing a series of questions, including “why do we view”, “why do we view this way”, and “what will we get from viewing”, makes his creative work a sort of archeology in terms of photography. From beginning to date, however, Cai Dongdong has never settled in any established visual system, narratives in his works include memories of past as well as observations of the society today. In front of rapid shifting of time and space and ever-changing contemporary age, where we are is getting blurred in such a virtual world of internet at present. As for Cai Dongdong, the observing of himself has been little by little becoming a process of waiting, and such a waiting becomes an agnosticism-dominated process, just as the first photograph he has taken which is entitled identically as the poem “Seeking out Hermit without Success” by a poet of Tang dynasty namely Jia Dao.

——Excerpt from Column of Characters, IART (2016)


 

•   腊月初八 / 纯棉无酸纸微喷 / 100×200cm / 2008

•   The 8th of the 12th / Giclee print on cotton acid-free paper / 100×200cm / 2008


蔡东东是一个通过摄影来讨论视觉文化问题的艺术家,对于他来说,摄影与其叫摄影术,还不如叫制图术,这样的摄影,中国当代艺术圈的习惯是叫做观念摄影。然而大多数观念摄影都缺乏有意思——含义与趣味——的观念,不管是从表达意图上来看,还是从修辞方式上来说,因此,中国当代艺术中的观念摄影有时候已经变成了一种取巧的方式,一种掩盖思想贫困的遁词。

蔡东东的工作不属于这类“观念摄影”,他瞄准摄影背后复杂的文化问题,从视觉文化的角度把“摄影”带入了图像史或制图史的问题场域。其中,“再现”与“现实”之间的关系是视觉文化研究中的核心问题,这也是蔡东东关注的问题。

观念摄影不仅仅是挪用、模拟、摆拍、虚拟、这些技巧及技术性因素就能支撑得住的,更重要的是艺术家的问题意识与思考方法,以及提问与思考不得不依赖的知识背景,蔡东东作品证明了这一点。


——文  鲍栋摘自《摄影的戏剧》


Cai Dongdong is an artist who discusses issues of visual culture by means of photography. In his viewpoint, photography ought to be termed an art of producing images rather than art of taking photographs. Such photographs as his, in the context Chinese contemporary art, are generally designated conceptual photography. However, most conceptual photographs lack captivating concepts including meaningfulness and novelty in terms of intention of expression or rhetoric. Consequently, the conceptual photography in Chinese contemporary art, in a sense, has become a deceitful way or a subterfuge to conceal the deficiency of ideas.

What Cai Dongdong does is by no means of such a “conceptual photography”, in fact, he gets focused on complicated cultural issues behind photography, bringing “photography” to the history of image or the domain of the history of image-production in which the relation between “representation” and “reality” is the focal issue of visual culture, this is also what Cai Dongdong pays attention to.    

The technical elements such as borrowing, imitation, posed photograph or simulation cannot adequately define conceptual photography, more importantly, it is premised on the artist’s critical ideas and way of thinking in addition to knowledge that confines questioning and answering. And Cai Dongdong’s works have justified such a point.


——Text by Bao Dongexcerpts from “Drama of Photography”




•   给予 / 纯棉无酸纸微喷 / 134×185cm / 2010

•   Giving / Giclee print on cotton acid-free paper / 134×185cm / 2010



•   床 / 纯棉无酸纸微喷 / 134×171cm / 2010

•   Bed / Giclee print on cotton acid-free paper / 134×171cm / 2010


摄影所葆有的活力,其源泉正在于来自现实的刺激。也正是从意义上说,当今中国的巨大变化,也更令我们对于作为观看实验的摄影表现产生更多的期待。但是,这种来自现实的刺激,往往更多地体现于画面的具体内容上,而较少体现在对于观看本身的思考与反思上。而我认为,真正意义上的中国当代摄影的艺术表现,既要在对于现实的关切上充分地表现出来,也要体现在对于观看本身的可能性及其意义的积极探讨上。可喜的是,蔡东东最近一段时间的创作兴趣,就集中在对于摄影作为一种观看方式的意义的思考与呈现上并取得了令人振奋的成果。

通过对蔡东东作品的讨论,我们能够强烈地感觉到他通过摄影这个媒介所投注于有关呈现的呈现、有关观看的权力问题等的热情与智力。他所要探讨、揭发、提示并且与人们共享的,则是观看这一人类视觉实践背后所隐藏的有关权力话语本身这一问题。从这个意义上说,他的摄影探索在相当大程度上是一种元摄影。而对于艺术史经典的挪用,对于他来说,除了是以此展现他个人对于经典的重新思考之外,也是对于自己的创造力与想象力的严峻挑战。从量上看,蔡东东的作品并非堪称高产,但他的作品的质,却是稳定扎实而步步深入他所关心的问题的核心并且以此获得了切实的承认。而这样的严肃态度,正是目前中国当代摄影创作所必需却又稀少的。

——文 顾铮摘自《观看的意义与挪用的虚无》

The charismatic vitality of photography originates from the stimulation of reality. In terms of significance, it’s the dramatic changes of China nowadays that triggers more expectations from the photographical development as viewing experiment. Such stimulation from real life, however, largely lies in specific contents of the pictures rather than the interpretations and reflections on viewing itself. In my viewpoint, the true sensibility of artistic performance of Chinese contemporary photography is supposed to be premised on consideration of reality as well as comprehensive discussion about the possibility and significance of viewing. Gratifyingly, taking consideration to creative interest at present, Cai Dongdong has attentively presented and reflected on the importance of photography as a kind of viewing way, and he has accomplished a series of satisfactory achievements. By discussing Cai Dongdong’s work, we could definitely perceive how enthusiastic and intelligent he is when paying attention to presentation and power of viewing through photography as a medium. What he intends to discover, unmask, reveal and share with people has something to do with the power of discourse behind such a practice of vision. In this sense, his exploration of photography is rather a meta-photography to a great extent. The idea of borrowing classical elements from art history, in his viewpoint, is to manifest his own reflection on the classical, additionally, it is a critical challenge to his own creativity and imagination. In terms of quantity, Cai Dongdong is quite productive in creating, meanwhile, in terms of quality, his works are so equally refined that they deeply touch upon what he is truly concerned with; as a result, he received wide recognition. Such an earnest attitude is simply necessary and rare in Chinese contemporary photography.        

——Text by Gu Zheng excerpt from “Significance of Viewing  and Insignificance of Borrowing” 




•   云生北岳 / 监视器、幻灯机、照相机、底片 / 140×150×120cm / 2012

•   Clouds Are Forming On Northern Mountain / Monitor、Slide projector、Camera、Negative / 140×150×120cm / 2012


“当所有人都摄影的时候,其实摄影这个概念已经不存在了,它成为了我们身体的一部分,就像网络也成为我们生活现实的外延,摄影的时代已经结束了”,蔡东东的论断针对了摄影的整体存在轮廓,照相机所衍生的技术性图像已构成了极度膨胀的现实景观,同时也逼迫艺术家们在卡尔维诺(Italo Calvino)论及的两条道路间做出选择:“我们可以把用过的形象放入新脉络和新语境中进行再循环,改变其意义”,或者,“我们可以把过去的东西一笔勾销……仿佛处在世界末日之后的世界里”(引自《未来千年文学备忘录》)——蔡东东显然倾向于前者,他声称自己是“图像的编辑”,确实,在链接、加工、重新编排既有文本的这一向度上,他的形态暗合着尼古拉·布里奥(Nicolas Bourriaud)的“后制品”(Postproduction)概念:艺术家们不再涉及清空历史或者用一种原始材料进行创作,而是找到一种方式,成为文化重新占有活动的工匠。

 

——文 朱朱摘自《救或揭穿》

“When everyone started to take photographs, the concept of photography had been eliminated, taking photograph seems like a part of human body, just like the Internet has been an extension of realistic life, accordingly, the age of photography has ended”, such a viewpoint of Cai Dongdong generalizes photography in a comprehensive way. In this way, the technical images generated by cameras form a set of most unrealistic scenes based on reality, in addition, the artists are compelled to choose one of the ways proposed by Italo Calvino, that is to say, “we can either put the past images into new context so as to recycle and transform the original meanings, or we can discard the formerly-utilized images once and for all like entering a new world after the end of the world existed” (quoted from Memorial of future literature in a millennium). In this regard, Cai Dongdong would be inclined to the former, he claims that he is an “editor of images”, in the process of connecting, processing and reorganizing the established texts, he implies a sense of postproduction proposed by Nicolas Bourriaud, that is to say, artists have exempted from thoroughly deleting the past or solely creating based on a single raw material, instead, they would find another way to focus on culture instead of activity like a craftsman.  

——Text by Zhu Zhuexcerpt from “Salvation or Exposure”



•   无题 / 明胶卤化银照片 / 36×54cm / 2015

•   Untitled / Gelatin silver halide photograph / 36×54cm / 2015


蔡东东以“观看者”和“再创作者”的双重身份对原始照片施加影响的过程。这一过程以人们对照片每一次的“再观看”为前提,起始于观看之时所感受到的刺点,经过观看者的阐发,挖掘或赋予原始照片新的意义。这些作品其实向我们确认:由罗兰·巴特引入的“刺点”并非一项发明,它更像是一种合法化的声明。刺点是观看者将自己构建成主体而不再作为消费者的起点,图像继而也不再是被描述客体,而是成为了一种诗性的充满活力的形式。刺点的合法化肯定了照片观看者“完成”并使照片继续存在或者重新存在的重要性。依据现成照片再创作的实施者显然具备了观看者、阐释者和作者三重状态,而前两种状态将会成为此次再创作的基础:它们意味着再创作的独特性,同时也消解了未来作品的唯一性和权威性。正如阿兰·塞库拉(Allan Sekula)所说的:“照片所提供的唯一‘客观’的真相,就是肯定了某人或某物在某个地方拍了一张照片。其他的一切,在留下痕迹之外的一切,都是有可能的。”蔡东东体验到的刺点不一定与其他观看者类同,他的实践更多的是确认了照片本身隐含的多种可能性以及这些可能性延展出的意义。

——文 何博摘自ARTFORUM  2016


With a double identity of “viewer” and “re-originator”, Cai Dongdong’s creation is a process of exerting influence on the original photographs. Such a process is based on the audience’s each single time of “re-viewing” the photographs. Starting from the “punctum” of the audience, after the viewers’ interpretations, a set of new denotations of the original photographs is subsequently indicated. These photographs, in effect, ensure us that Roland Barthes’s introduction of “punctum” is a legal statement rather than an invention. The idea of “punctum” is to make viewers themselves the subject instead of consumers at the beginning stage, accordingly, images become a poetic and vivid form instead of the object being depicted. The legitimization of “punctum” justifies the importance of how the viewers have “finished” viewing the photographs and allowed them to continually exist or revitalize. By recreating on a basis of the ready-made photographs, the implementer functions as a viewer, an interpreter and an author by all manner of means, in the process of recreation, the first two identities would be a premise, which suggests uniqueness of recreation and dispels originality and authority of future works. Just as Allan Sekula proposes, the sole truth of the “objective” that photograph proves is that a photograph has been taken by someone with something in a given place, apart from the trace left, anything is possible. The punctum that Cai Dongdong has sensed mightn’t be as identical as other viewers, however, more importantly, his practice ensures a variety of possibilities behind the pictures and gives a rise to extensional denotations in all likelihood.  

                                              

——By He Bo excerpt from Artforum (2016)



•   阅读 / 明胶卤化银照片 / 52×62cm / 2016

•   Reading / Gelatin silver halide photograph / 52×62cm / 2016



•  卷起的路 / 明胶卤化银照片 / 21.5×31cm / 2016

•  Roll up the road/Gelatin silver halide photograph/21.5×31cm/2016



•  被移动的月亮/ 明胶卤化银照片 / 25×27cm / 2016

•  The moon is moved/Gelatin silver halide photograph/25×27cm/2016


蔡东东的這些使用了老照片的作品,卻并非意在触发悠长乡愁。在将其它物件与照片组接之后,这些老照片被断然肢解,其可能引起的无害乡愁,也因此被瓦解与粉碎。可以这么说,蔡东东作品中的老照片,作為一种元素,不是用来勾起乡愁的,而是用来顛覆乡愁,反思历史的。从当代艺术的发展脈络看,如果说艺术本身是一种无用之实践的话,那么「现成物艺术」以及随后向裝置艺术的转变,其实也是一种把有用(实用)之物转变为无用之物的实践。而作為创作素材的老照片,本质上就是一种现成品。承载影像的照片,被印放出來后,作为一种可被人們把握、把玩的物件,何尝不是一件「现成品」?如果是,那么再对它施行某种手术,于「现成品艺术」的逻辑来说,是天经地义的。因此,蔡东东施諸于照片的百般「折磨」,其实在观念上直通杜尚等人为开山始祖的「现成品艺术」。

                                                                                         ——文 顾铮摘录自《从杜尚的泉到蔡东东的泉》


Cai Dongdong’s works based on the old photos are by no means made to trigger an excessive nostalgia. Being combined with other objects and photographs, those old photographs are thoroughly disorganized, and the harmless nostalgia that may be aroused, therefore, is disintegrated and crumbled. In a sense, Cai Dongdong’s idea of using old pictures, as an element, is not to rouse homesickness, on the contrary, it is to subvert the nostalgia and reflect on history. In the context of the development of contemporary art, if art itself is an impractical practice, the “ready-made art” and its subsequent turn to installation, in fact, indicate a process of transforming the valuable (practical) into the impractical. Old pictures as raw material of creation, however, function as a ready-made art. After being printed out, the images have become a sort of object to be appreciated and watched by people, therefore, aren’t they readymade art? If yes, in terms of “readymade art”, it is readily and properly natural to transform the images. Accordingly, by “torturing” these photographs in various ways, in terms of concept, Cai Dongdong has succeeded in readymade art initiated by Marcel Duchamp and so on.   

 ——Text by Gu Zhengexcerpt from “From Marcel Duchamp’s




蔡 东 东

■  1978

出生于甘肃天水

■  1996

入伍

■  2002

就学于北京电影学院

个展

■  2016

美国纽约    凯尚画廊 《泉》

美国康州    康涅格学院图书馆 《脱靶》

台湾台北    百艺画廊 《让之在》

■  2015      

中国北京    三影堂+3画廊 《再生式》

中国北京    Tong Gallary 《落石》

中国北京    家里画廊 《记忆的移植与切片》

■  2013

中国上海    五五画廊 《图像 母体 生产 权力》

■  2012

德国斯图加特    彤德画廊 《制图术》

中国北京    泰康空间  日光亭项目 《向左拉动》

■  2011

意大利        UNIDEE艺术基金会 《茶园》

■  2010

中国北京    泰康空间 《蔡东东》(51平米第6号)

 

主要群展

■  2017

瑞士          Pully美术馆 《真实的证据》

■  2016

中国北京   泰康空间 《闪灵:摄影之后》

韩国大邱   第六届大邱摄影双年展

中国上海   民生美术馆 《2000后中国当代艺术新趋势》

中国成都   成都当代美术馆 《新资本论---黄予收藏展》

德国          波茨坦艺术空间 《枪与玫瑰》

中国南京   南京艺术学院美术馆 《AMNUA国际计划Ⅱ:丝路国际》

中国成都   千高原画廊 《冬纪》

中国北京   再三画廊 《This is why we play》

中国北京   撒癔症三 《团结湖》

■  2015

中国北京   蜂巢艺术中心 《编辑景观》

德国埃森   弗柯望美术馆 《CHINA 8》

中国北京   尤伦斯艺术中心 《经济基础》

中国重庆   星汇当代美术馆 《链接-在地与游牧》

中国北京   中央美术学院美术馆 第二届北京摄影双年展 《陌生的亚洲》

中国北京   三影堂摄影艺术中心 《中国摄影:二十世纪以来》

中国北京   A307   “Fat Choi”

日本新泻   越后妻有三年展

中国北京   三影堂 《第二届三影堂实验影像开放展》

中国香港   保利空间 《二次光》

中国天津   考拉空间 《基层劳动》

中国西安   西安美术馆 《自觉实践—从延安木刻到无名者的实践》

■  2014

中国北京   佩斯北京空间 《不在图像中行走》

中国北京   静画廊 《绘画之轻》

中国北京   今日美术馆 《隐》

维也纳      欧洲时报文化中心 《未来就是过去,变迁中的中国肖像》

中国西安   OCAT西安馆“榆林” 《文明》第二回

美国俄亥俄州   州立大学城市艺术中心  “向左拉动:不保持一贯正确”

中国北京   三里屯 《大声展》

中国北京   星空间 《亚洲不安之旅》

中国深圳   何香凝美术馆  “从《新摄影》到“新人奖”,来自三影堂的收藏”

中国北京   空间站  “纸本展”

中国上海   BV空间 《虚构的快乐》

■  2013

中国北京   白盒子美术馆   “林虑” 《文明》第一回  

中国北京   撒癔症二 《润得立市场 》

中国北京   三影堂   北京国际摄影双年展——收藏展      

中国北京   荔空间    “此时此地,无聊乃至无穷的延误 ”   

■  2012

俄罗斯莫斯科    多媒体美术馆 《Terna奖项当代艺术展》

中国北京    三瀦画廊 《狂欢》

中国北京    寺庙上美术馆 《观念维新:中国当代影像简史》

中国北京    C空间 《风筝》

■  2011

中国北京    泰康空间 《51平方16位年轻艺术家》

中国北京    站台中国 《第三方第三幕》

中国北京   《龙泉洗浴》

中国重庆   《重庆国际当代摄影邀请展》

意大利都灵   FRAC画廊 《FRIDAY IN FRAC》

■  2010

中国北京    天安时间 《我是......》

■  2009

中国北京    MoCA 《领升》中国美术批评家提名展

美国纽约    中国广场 《YOUTH》

■  2008

美国纽约    艺术门画廊 《超自然 - 中国当代影像》

中国香港    当代唐人艺术中心 《透视》

中国北京    环碧堂 《史迹.造像》

中国北京    三影堂摄影艺术中心 《外象》

■  2007

中国上海    东廊画廊 《态度》

■  2006

韩国          Donggang摄影美术馆 《中国和中国台湾当代摄影家邀请展》

■  2005

中国广州    广东美术馆 《城市 - 重视》广州国际摄影双年展

获奖

■  2015

中国        TOP20---2015中国当代摄影新锐

中国        中国摄影排行榜

■  2014年

中国        南方报业集团ART289 杂志2014年度新势力

■  2010年

意大利    “第三届特尔纳当代艺术奖”    一等奖

■  2005 年

中国        “平遥国际摄影节优秀摄影师创作基金奖”

驻村

■  2011年

意大利      unidee 艺术基金会驻留项目

公共艺术项目

■  2011年

意大利都灵  unedee艺术基金会 《茶园》

■  2013年

中国北京    《长安街汽车拉力赛》

中国北京    《三十六口活七十二花活》

中国上海    《欣赏观众》(黄蚂蚁艺术实验室项目个展)

■  2014年

中国北京      ACTION空间 《额滴神呐》  

中国天津    《SRP三口艺术项目》

 

公共收藏 

德国埃森     弗柯望美术馆Museum Folkwang, Essen

悉尼            白兔美术馆

俄罗斯莫斯科    MAMO美术馆

意大利         UNIDEE基金会

中国广州      广东美术馆

中国北京      泰康空间

中国北京      三影堂摄影艺术中心

中国北京      中央美术学院美术馆

以色列         尧山艺术基金会

 

Cai Dongdong

■  1978

Born in Tianshui,Gansu Province, China

■  1996

Served in army 

Studied in Beijing Film Academy

SOLO EXHIBITIONS

■  2017

Evidences of the real the photograph with gaps , Pully American Library Switzerland

■  2016

Fountain, Klein Sun Gallery, New York

Let It Be, Gallery 100, Taipei, Taiwan

■  2015

Rebirth, Three Shadows Photography Art Center,Beijing ,China

Falling Stone , Tong Gallery ,Beijing,China

Trans-Section of Memory,Jiali Gallery, Beijing, China

■  2013

Image Uterus Production Power, 55 gallery, Shanghai, China

■  2012

Draftsmanship,Matthias Kuper Galleries, Stuttgart, Germany

Pull Left, Taikang Space, Beijing, China

■  2011

Tea Garden, Unidee Art Foundation, Italy

■  2010

51m² 6#: Cai Dongdong, Taikang Space, Beijing, China

 

SELECTED GROUP EXHIBITIONS

■  2016

Ghost In Flash: After Photograph,Taikang Space, Beijing, China

Turning Point: Contemporary Art In China Since 2000, Minsheng Art Museum, Shanghai, China

New Capital---Huang Yu Collection Exhibition, Museum of Contemporary Art Chengdu , Chengdu, China

Guns and Roses, Kunstraum, Potsdam c/o Waschhaus, Germany

Silk Road International,Art Museum of Nanjing University of the Arts, Nanjing, China

Winter Discovery, Thousand Plateaus Gallery, Chengdu, China

This Is Why We Play, Being 3 Art Gallery, Beijing, China

Tuanjiehu Lake, Sayizheng III, Beijing, China

■  2015

Editing the Spectacle: the Individual and Working Methods Post Mediatization, Hive Center for Contemporary Art, Beijing, China

China 8: Contemporary Art from China on the Rhine and Ruhr, Folkwang Museum, Essen, Germany

Economic Foundation, Ullens Center for Contemporary Art, Beijing, China

Links – Locality and Nomadism, Galaxy Museum of Contemporary Art, Chongqing, China

Unfamiliar Asia: The Second Beijing Photo Biennial, CAFA Art Museum, Beijing, China

Chinese Photography: Twentieth Century and Beyond, Three Shadows Photography Art Centre,Beijing, China

Fat Choi, A307,Beijing, China

Echigo-Tsumari Triennial, Niigata, Japan

The 2nd Three Shadows Experimental Image Open Exhibition, Three Shadows Photography Art Centre, Beijing,China

Re-Exposure, Poly VIP, Hongkang ,China

Fundamental Labor, Koala Space, Tianjin, China

Consciousness and Reconstruction - from Yan'an Woodcut to the Practice of nameless , Xi’an Museum, Xi’an , China

■  2014

Unlived by What is Seen,Pace Beijing, Beijing, China

Declining Painting, Jing Gallery, Beijing, China.

The Unfathomable, Today Art Museum, Beijing, China

The Future is the Past: Transitional Chinese Portrait, Les Amis de Nouvelles D’Europe, Vienna, Austria

Civilization ,Round 2 – Yu Lin, OCAT Xi’an, Xi’an, China

Pull Left–Not Always Right,Urban Arts Space,the Ohio State University , Ohio,USA

Get It Louder, Sanlitun, Beijing, China

Uneasy Trip in Asia 2014, Star Gallery, Beijing, China

From New Photography to Rookie Award: Three Shadows’Collection ,”He Xiangning Art Museum, Shenzhen, China

Arts on the Papers, Space Station, Beijing, China

Imaginary Happiness, Bottega Veneta, Shanghai, China

■  2013

Civilization, Round 1 – Lin Lv, White Box Art Center, Beijing, China

Rundeli Market-Sanyizheng II , Beijing China

Beijing International Photography Biennial: Collection Exhibition, Three Shadows Photography Art Centre, Beijing, China

Here and Now, From Boredom to Endless Delays, Li Space, Beijing, China  

■  2012

Terna Award for Contemporary Art Exhibition, Multimedia Art Museum, Moscow, Russia

Carnival ,Mizuma Gallery, Beijing, China

Conceptual Renewal:A Brief History ofChinese Contemporary Photographical Art ,Si Shang Art Museum, Beijing, China

A Kite,  C Space, Beijing, China

■  2011

51M2: 16 Emerging Chinese Artists, Taikang Space, Beijing, China

The Third Party·Act 3: A Group Celebration, Platform China, Beijing, China

Longquan Bathing, Beijing, China

Chongqing International Invitation Exhibition of Contemporary Photography, Chongqing, China

Friday in Frac,  FRAC Gallery, Turin, Italy

■  2010

The Market: I’m,Beijing Center for the Arts, Beijing, China

■  2009

Lead Up:The Exhibition of Chinese Fine Arts Critics’ Nominations 2009, Beijing, China

Youth ,China Square, New York, USA

■  2008

ChinaContemporary Photography in the New Century,”Pékin Fine Arts  New York,USA

See Through ,Tang Contemporary Art, Hongkong, China

Fabricating lmages from History, Chinablue Gallery, Beijing, China

Outward lmages, Three Shadows Photography Center, Beijing, China

■  2007

Attitude, Eastlink Gallery, Shanghai, China

■  2006

China and China Taiwan Contemporary Photographers Invitation Exhibition, Donggang Museum of Photography, Korea

■  2005

City-Reviewing, Guangzhou International Photography Biennial,Guangdong Museum of Art, Guangzhou, China

AWARDS

■  2015

TOP 20 Young Photographers---2015 China Contemporary Photography ,China

China Photography Chart, China

■  2104

2014 New Power, Art 289, NF Media Group, China

■  2010

The First Prize of 3rd Terna Award for Contemporary Art Award, Italy

■  2005

Outstanding Photographer Creation Fund Award of Pingyao International Photography Festival, China

RESIDENCY

■  2011

UNIDEE Art Found Residency Project, Italy

PUBLIC ART PROJECTS

■  2011

Tea House, UNIDEE Foundation of Italy, Turin, Italy

■  2013

Chang’an Avenue Car Rally, Beijing ,China

36 Blow Jobs 72 Positions, Beijing, China

Yellow Ants Art Lab Project:Appreciating the Audience,Shanghai,China

■  2014

Oh, My God, Action Space, Beijing, China

The Home Art Project, Tianjin, China

 

PUBLIC COLLECTION

Museum Folkwang, Essen, Germany

The White Rabbit Museum, Sydney, Australia

MAMO, Moscow,Russia

UNIDEE found, Italy

Guangdong Museum of Art, Guangzhou, China

Taikang Space, Beijing, China

Three Shadows Photography Art Center,Beijing, China

CAFA Art Museum, Beijing, China

 

 主 办 方 介 绍 


明天文化   艺术投资管理有限公司作为中国西南地区最大的当代艺术收藏机构,旨在支持中国当代艺术的良性发展,建立与世界各地艺术家及艺术机构的交流渠道,为中国艺术家提供多元化平台。明天文化参与并赞助了多项艺术公益项目:赞助举办了威尼斯双年展有史以来规模最大的平行展“未曾呈现的声音”;与“ 芭莎艺术”“联合主办明天成就梦想——芭莎艺术校园行”、 “ 2013明天成就梦想——明天就去威尼斯 ”校园公益活动;作为尤伦斯当代美术馆理事并赞助尤伦斯2014秋季艺术大展 “ 洛杉矶计划 ”;在四川美院雕塑系设立明天当代雕塑奖等 。

艺琅国际   致力于探究全球语境下中国当代艺术的成就和发展方向,呈现中国当代艺术体系的发展进程。为了实现这一终极理念,艺琅国际不仅不遗余力地推动各种类型的优秀当代艺术,也致力于发掘具有崭新视觉和态度的当代艺术家们,探讨当下的艺术新媒介、新美学对当代中国艺术的影响。艺琅国际具备规范的组织架构、国际化当代艺术的运营模式、优秀的管理团队,权威的艺术专家顾问,并拥有完善的艺术展示空间以及国际化的艺术家驻留平台。

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