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Berlin Peking/Beijing Visual Exchange 柏林•北京 视觉转换

2019.8.9

Museum für Fotografie

Jebensstr. 2
10623 Berlin

 28 June – 25 August, 2019

To mark the 25th anniversary of the city partnership between Berlin and Beijing, the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch (GeKA e.V., Society for German-Chinese Cultural Exchange) in cooperation with the Staatliche Museen zu Berlin is showing works by young artists from Berlin and Beijing at the Museum für Fotografie (Museum of Photography). The participating artists studied at the weißensee kunsthochschule berlin, the Berlin University of the Arts (UdK) and the China Central Academy of Fine Arts in Beijing (CAFA). He Xiangyu, an artist who lives in Berlin and Beijing, has also accepted an invitation to take part in the exhibition. He Xiangyu, who travels regularly between the two cities, is a conceptual artist exploring a wide range of media and themes. His works are currently on display in the Chinese pavilion at the Venice Biennale. In his contribution to the Berlin exhibition, he juxtaposes a minimalistic wooden sculpture with a photograph that can only be recognised as an image of that object at second glance. This work links him with that of Yala Juchman, who extends her photographs into the surrounding space and transforms them into objects. She, too, integrates very diverse media into her concepts – shifting between photography, sculpture, installation and performance.

Despite their very different cultural backgrounds, the artists nominated by their universities have more in common than would initially be expected. They all live in large cities and navigate quite effortlessly between their origins and traditions and a global lifestyle characterised by architecture, consumption and media. For the artists Ye FunaLi Buinyuan and Chi Peng, who grew up in China, as well as for Rie Yamada, who was born in Japan, an area of conflicting priorities emerges between their own strong artistic traditions and the realm of modern and contemporary art that was still dominated by Western influences two decades ago. This dissonance provides fertile ground for examining social roles and sexual identity. Ye Funa uses her videos and photographs to play with the roles possible within her own family and art history, while Rie Yamada tries out various roles and family constellations in her photographic self-portraits. The works of photographer Chi Peng, who usually plays the leading role in his dream-like presentations, express the search for one’s own position – between East and West as well.

In contrast, Jannis Schulze is never visible in his own images; his rather casual photographs reflect his subjective attitude towards life in poetic visualisations that he associatively combines in books and exhibitions. Thomas Koester, on the other hand, constructs austere tableaux with his black-and-white photographs in which the inhabitants of large cities such as Moscow or Seoul merge with their urban surroundings. Li Binyuan, who recently showed his video works at MoMA PS1, interacts bodily with his natural and constructed environment in performances documented in film and photographs.

The exhibition was initiated by Professor Xu Zhang, President of the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch e.V. (GeKA), and is supported by the GeKa, the Berlin Senate Chancellery, the Wemhörner Collection, the Mart Stam Gesellschaft, the Karl Hofer Gesellschaft and WALL AG.

The exhibition is curated by Professor Stefan Koppelkamm (weißensee kunsthochschule) and Professor Miao Xiaochun (CAFA).

Berlin Peking/Beijing Visual ExchangeYe Funa, The Supper of Goddess, 2015, 51,7x150cm, Photography © Ye Funa

Immortal on Screen

2019.3.23

Date: 2019 / 03 / 23 – 2019 / 05 / 26
Opening and Performance: 2019 / 03 / 23 (Sat.) 14:00
Venue: Galley 203-205, National Taiwan Museum of Fine Arts
Artists Talk: 2018 / 03 / 23 (Sat.) 15:30
Venue: Digiark, National Taiwan Museum of Fine Arts

https://event.culture.tw/NTMOFA/portal/Registration/C0103MAction?useLanguage=en&actId=90034&request_locale=en

Curator: TSENG Yu-Chuan

Artists:
CHO Li-Hang, PENG Yu-Chu, TZENG Yi-Reh (Taiwan)
Johannes DEYOUNG (USA)
KUO I-Chen (Taiwan)
Lauren MCCARTHY (USA)
Kyle MCDONALD (USA)
Amalia ULMAN (Argentina / USA)
Frank WARREN (USA)
YE Funa (China)

Curatorial Statement

The first thing that many of us do when we wake up in the morning is to pick up our phones to switch off the alarm, and then we begin the day by browsing through Facebook and Instagram. We snap photos and record everything throughout the day, such as what we eat for breakfast, lunch, and dinner, the flowers, the sky, the sceneries, and everything else that we see; we upload posts and share about our acquaintances, our significant others, and ourselves. This is the way people live in the digital age. We dwell in a world that is contained, as we see and are seen in the cyber world. We acquire knowledge, maintain friendships, find love and look forward to being liked on the Internet. We show and expose ourselves in both private and public ways in the cyber space, carrying out a life that’s immortal on screen.

People seem to enjoy this kind of life, one that’s “concealed” behind the screen, “hidden” on the other side of the Internet, where emotions are masked and life is strategically considered, edited, and altered, after that, people subsequently begin to imagine themselves having a seemingly realistic relations with other ambiguous entities. Self-determining when to engage and when to withdrawal. A new identity can also be activated at any given time, with one’s state of existence “reconfigured”. Through connections made via technology, a new space with freedom could be enjoyed, where real world anxieties and lonesomeness could be quickly absconded. Through the massive network available on mobile phones, it is possible to activate an avatar and step into the virtual realm at any given time, where daily conundrums and helplessness could be alleviated via the avatar. Through the avatar, feelings of loneliness and discontent could also be eased, as the avatar slowly replaces the real self and gradually takes over the life and the stories of the Self.

Through setting up a personal profile and reestablishing the virtue of one’s own life, the process is ritualistic, and as the state of life is examined and then reconfigured, photos are then uploaded, words are written and posted, and live streams are broadcasted. Through each object, every photograph and incident, a new “me” is created, a “me” that the person wishes to present. Sherry Turkle argues in Alone Together (2011) that we are now living in a state of “life mix” through the use of mobile communication devices. Our online selves develop distinct personalities, and become our “better selves”, which are also “social robots” at the same time. Turkle refers to this new state of the self as “itself”, whereby a person is treated as a thing.

Images and words are evidences of a person’s existence, and now they have become strategies used for creating the subject that is put on display. The displayer’s ambition is unveiled through this, as identities and stories are fabricated and shared with others whose identities that are secretive and incognito. An online streamer, a pedestrian or bird that unintentionally passes by a surveillance camera; a person that actively engages in the surveillance from a remote online location, and audiences that enter into the live streaming site inside the exhibition venue, the difference between them is actually quite minimal. Through the acts of displaying and sharing, people become the voyeurs and also the voyees; they show themselves for others to watch, and provide themselves to the system, open to be watched and critiqued by others. They look forward to being noticed by others and for their existence to be recognized. They use their personal rhetoric to reaffirm their individuality, and all the while, they also enjoy watching others and become commentators of other people’s lives. In The Peep Diaries: How We’re Learning to Love Watching Ourselves and Our Neighbors (2012), Hal Niedzviecki argues that voyeurism is an intangible form of entertainment; it creates stories, impressions, and gathers emotions, but it is not carried out through deliberate consideration.

The following three situations are explored by the eight artworks on view in this exhibition: “Voyeuristic Existence”, “Scenarios of Display”, “Disappearance and Immortality”, as the artworks look into the debates and the lamentations with self-presentation in the cyber space. The subjects showcased in the artworks are: the artists themselves in Amalia Ulman’s work Excellences & Perfections and Ye Funa’s Peep Stream; those who wrote down their secrets in Frank Warren’s PostSecret; those being watched and the artist in Lauren McCarthy’s Lauren. The people and the objects photographed in Kyle McDonald’s work People Staring at Computers, Kuo I-Chen’s Snapshadow, and Requiem for Film Camera which is made by Cho Li-Hang, Peng Yu-Chu and Tzeng Yi-Reh. Throughout the active and passive processes of display, the subjects are shared and placed on display through active and passive choices, under artists’ meticulously arrangements. They eventually become the muttering failure in Johannes DeYoung’s Ego Loser, which foresees the gradual disappearance of mankind’s subjectivity in the digital era and the melancholic emotions evoked by the lost.

People create their own values in the digital era through critiquing scenarios from other people’s lives that are on display. Putting the self on display in the cyber space, the individuals, despite their identities and titles, should refer to themselves as “itself”, and even more so, if the voyeurs who watching the displays should refer themselves as “itself”. L’Homme nu. La dictature invisible du numérique (The Naked Man. The Invisible Dictatorship of The Digital Society, 2018) by Marc Dugain and Christophe Labbé uses Plato’s allegory of the cave to describe the illusions in the digital era, with tangibility and realness disappearing in the midst of the illusions, and our reality is slowly being gnawed away by the virtualization of society. “Immortal on Screen” examines the helplessness and struggle of this state. It also presents the present existing state. In the words of Hal Niedzviecki, “Caught in the layers of gooey, whipped oil and permanently preserved, the mundane indignities of everyday life continue on forever, even after our lives have ended.” (2012)

Chinternet Ugly

2019.2.9

8 February – 11 May 2019

Exhibition location: Gallery 1, Gallery 2 & Residency Studio

An important new group exhibition which navigates the messy vitality of China’s online realm – a space where artists can engage, play and debate – featuring works by six leading new media artists.

‘Chinternet Ugly’ navigates the messy vitality of China’s online realm, a space where artists can engage, play and debate.

This exhibition features a new commission by Miao Ying plus site-specific installations by five other leading new media artists: aaajiao, Lin Ke, Liu Xin, Lu Yang and Ye Funa.

China is home to 802 million Internet users, 431 million micro-bloggers, 788 million Internet mobile phone users, and four of the top ten Internet companies in the world. This vast user base combined with a handful of ubiquitous online platforms and e-commerce giants including WeChat, Tencent and Alibaba results in cultural currents that flow at a blinding pace – spreading and evolving far more rapidly than on the ‘global’ web and creating a distinct internet culture – the ‘Chinternet’. Utilising this space as a site for cultural and political negotiation, critique and play, the artists presented in ‘Chinternet Ugly’ probe how
 the sheer volume of Internet users in China ensure that the country 
is effectively becoming its own online centre of gravity, one with the power to create its own sphere of influence over network norms.

Focusing on a younger generation of artists – the first to have grown up with mass digital technology – ‘Chinternet Ugly’ invites the viewer to explore the complex and contradictory nature of China’s hyper-regulated digital sphere from the perspective of some of its most dynamic and engaging artists. From Xu Wenkai (aaajiao) and Lin Ke’s manipulations of found digital materials and standard software programs; to the augmented reality of Lu Yang; the celebratory pop aesthetics of Ye Funa to the dark side of internet freedom in the works of Liu Xin, and the veneration of the ugly and artless evident in the works of Miao Ying.

Paying tribute to the messy humanity found between the cracks in a digital world of smooth transitions, polished selfies, blemish correcting software and autocorrect, ‘Chinternet Ugly’ celebrates lo-fi aesthetics and highlights the Chinternet’s potential to subvert cultural stereotypes, reject societal norms and generate a vibrant vernacular of satirical memes and online subcultures.

To mark this exhibition CFCCA are delighted to announce a co-commission in partnership with the University of Salford Art Collection of a new work by Miao Ying, Love’s Labours’ Lost. This video installation explores Miao’s own relationship with China’s hyper-regulated online realm, which she views as a ‘Stockholm Syndrome’, a traumatic bonding. In this work Miao Ying uses love locks left by lovers on the bridges of Paris as metaphor for the complex and conflicted relationship between China’s internet users and Chinese internet technology, security and access.

As an artist from the first generation to grow up with China’s open policy and the internet, Miao explores in a humorous way the visual language of the Chinese internet and its users. As with the other five artists featured in ‘Chinternet Ugly’ she works online, often using GIFs, screen shots and lo-fi visual elements alongside physical installations.

‘Chinternet Ugly’ has been co-curated by Dr Ros Holmes, Presidential Academic Fellow in Art History at the University of Manchester and Marianna Tsionki, Research Curator, CFCCA.

This exhibition was made possible with a Jonathan Ruffer Curatorial Research Grant from the Art Fund.

Cosmopolis #1.5: Enlarged Intelligenc

2018.12.9

Mao Jihong Arts Foundation in collaboration with the Centre Pompidou
November 2, 2018–January 6, 2019

www.cosmopolischengdu.com

 

Cosmopolis #1.5: Enlarged Intelligence, opening November 2 in Chengdu, Sichuan Province in south-west China, presents artworks and programs by almost 60 artists and groups, exploring ecology, technology and the commons, and envisioning how we today may draw on intelligent technologies, as well as on ecological intelligence, to advance social values—rather than leaving capital to largely define the uses of these techniques and knowledge systems.

Fostering a speculative approach rooted in conceptual thinking and creative experimentation, the project includes artist residencies, concerts, talks, and educational programs taking place across multiple venues in Chengdu and in nearby Jiajiang County. Cosmopolis #1.5 is curated by Kathryn Weir, with associate curator Ilaria Conti and curatorial advisor Zhang Hanlu.

The Cosmopolis platform was launched by the Centre Pompidou in 2016 to highlight research-based creative practices that are rooted in a particular context yet engage in international conversations, reflecting on cultural translation and the situatedness of knowledge. The first two-year cycle, centered on collaboration and collective practice, culminated in the exhibition Cosmopolis #1: Collective Intelligence (Centre Pompidou, 2017).

Cosmopolis #1.5: Enlarged Intelligence is the second major exhibition associated with the platform. Stemming from the current cycle of research, the project engages with urban and rural space, and the shifts in the dynamic between them due to the digital economy and other technological, ecological, and cultural transformations. The cosmotechnical theory of philosopher Yuk Hui, presenting “the unification of the cosmos and the moral through technical activities, whether craft-making or art-making,” has informed the project through its re-envisioning of technology within specific historical and cultural contexts.

Cosmopolis #1.5 is fully supported by the Mao Jihong Arts Foundation and the city of Chengdu.

The venues

Cosmopolis #1.5: Enlarged Intelligence
Dong Jiao JiYi (Eastern Suburb Memory)

Housed in a warehouse within a former electronics factory, the main exhibition features newly commissioned works alongside interactive installations and research-based projects. It articulates thematic constellations ranging from speculative urbanism to ecological analysis, from image circulations to cosmotechnical visions.

Water and Future Life
MFS IIIx3 – Minjiang Floating System, Jincheng Lake

An archipelago of floating bamboo and wood structures, designed by architect Kunlé Adeyemi/NLÉ Works, forms a hub for communal reflection about life on water and future ecologies. The Cosmopolis iteration of Adeyemi’s Makoko Floating School includes an exhibition addressing water and rural spaces, a concert hall for a program engaging with the musical traditions of minority groups in rural China—from hybrid rock to electronic genres—and a plaza serving as an observation point for the Jincheng Wetland Park ecosystem. MFS IIIx3 makes connections between histories of floating dwellings in Nigeria, where MFS was first created, and water construction technologies in China.

Urban and Rural
Shiyan Village, Jiajiang County

Two interdisciplinary collectives—Arquitectura Expandida from Colombia and Gudskul (ruangrupa, Serrum + Grafis Huru Hara) from Indonesia—were invited to Shiyan village for residencies engaging with local communities. They initiated collaborative processes to expand community engagement in generating new forms of rural transformation. The experimentations around common village spaces seek to articulate social dynamics and develop tools and strategies to collectively generate new understandings of the potential of rural contexts.

Invited artists
Kunlé Adeyemi/NLÉ Works
 (Nigeria/The Netherlands), Alfredo and Isabel Aquilizan (Philippines), Arquitectura Expandida (Colombia), Yesmine Ben Khelil (Tunisia), Manuel Chavajay (Guatemala), Cao Minghao and Chen Jianjun (China), Chen Qiulin (China), Rasel Chowdhury (Bangladesh), Cui Jie (China), Emo de Medeiros (Benin), Gudskul (ruangrupa, Serrum + Grafis Huru Hara) (Indonesia), Oscar Farfán (Guatemala/Mexico), Fernando GarcíaDory/Inland (Spain), Ximena Garrido-Lecca (Peru), François-Xavier Gbré (France), Shilpa Gupta (India), Romuald Hazoumè (Benin), He Xiangyu (China), Yasmin Jahan Nupur (Bangladesh), Wanuri Kahiu (Kenya), Sam Keogh (Ireland), Francois Knoetze (South Africa), Li Lang (China), Li Shuang (China), Li Wenguang (China), Liu Chuang (China), Liu Dan (China), Payne Zhu (China), Prabhavathi Meppayil (India), Mimi Onuoha (Nigeria/USA), Qiu Anxiong (China), Qiu Zhijie (China), Tabita Rezaire (France), Larissa Sansour (Palestine) and Søren Lind (Denmark), Bogosi Sekhukhuni (South Africa), Kuai Shen (Ecuador), Shen Xin (China), Yasmin Smith (Australia), Tentative Collective (Pakistan), Tricky Walsh (Australia), Wang Jianwei (China), Munem Wasif (Bangladesh), Wei Haoyan (China), Dana Whabira (UK/Zimbabwe), Ming Wong (Singapore/Germany), Xu Bing (China), Ye Funa (China),Yu Guo (China), Yuan Goang-Ming (Taiwan, China), Zheng Bo (China), Zheng Yuan (China)

Briefe aus dem Gefängnis – Flying Dance 2017

Video, colour, sound, online resources, found objects

32′ 30”

News From Nowhere 2014-2018

Videos, colour, sound, light boxes, auto mah-jong player, artificial peach tree

5′ 52” and 5′

Ye Funa: From Hand to Hand

2018.1.13

LOCATION: Nottingham Contemporary

DATE: 17 Feb 2018 – 04 Mar 2018

Ye Funa’s practice is concerned with the boundaries between daily life and contemporary art. Her work explores the effects of new media and globalisation on cultural identity and gender. For our exhibition, Ye will produce a new episode in her online Peep-Stream series, addressing society’s current desire to display ourselves through selfies, webchats and social media. Ping-Pong Stream, an interactive live-streamed performance, will focus on China’s waning interest in ping pong in favour of celebrity sports of basketball and football. Produced in The Space at Nottingham Contemporary, Ping Pong Stream will tell the story of Yong Ping, a former Ping Pong World Champion.

The final video will be embedded in an immersive installation that converts the Project Space into a nail salon. Here, nails become the exhibition space through which Ye artificially reforms the natural extremities of the body. This exhibition is part of NOW: A Dialogue on Female Chinese Contemporary Artists, in collaboration with CFCCA, HOME, Turner Contemporary, MIMA and Tate.

Nottingham Contemporary
Weekday Cross, Nottingham, NG1 2GB

NOW A DIALOGUE ON FEMALE CHINESE CONTEMPORARY ARTISTS

2017.12.7

NOW is a collaborative programme aimed at reinvigorating discussion around the role of female contemporary artists in the art ecology of present day China. Through a series of exhibitions, commissions and events, NOW explores how the diversity of current female artistic practice transcends notions of gender difference to offer hybrid perspectives on their socio-political environment. The transformative impacts of societal change have opened new, transcultural, possibilities for female artists working today.

Launching in February 2018, the programme includes exhibitions at Centre for Chinese Contemporary Art (Manchester), Middlesbrough Institute of Modern Art (Middlesbrough),Nottingham Contemporary (Nottingham) and Turner Contemporary (Margate) an artist film series at HOME (Manchester) and a symposium hosted by Tate Research Centre: Asia(London).

Featured artists in the exhibitions include Na Buqi, Wu Chao, Ye Funa, Yang Guangnan, Ma Qiusha, Li Shurui, Luo Wei, Hu Xiaoyuan, Shen Xin, Yin Xiuzhen and Geng Xue.

Featured artists in the film series include Hao Jingban, Shiyuan Liu, Wang NewOne, Yao Qingmei, Ma Qiusha, Liu Yi, Chi Jang Yin, Miao Ying, Liang Yue, Peng Yun, Guan Xiao, Hu Xiaoyuan, Wang Xin and Geng Xue.

In the history of modern and contemporary Chinese art, female artists have long been marginalised and left at the fringes of art historical debate. This under-representation was challenged in the 1990s by an emerging artistic trend termed ‘women’s art’ and artistic practices started to deal with concepts such as feminism. Although this provided a platform for female artists, it soon revealed certain constrictions and limitations, marginalising female artistic practice to more conservative representations and ideas, such as femininity.

Here, the variety of artworks reflects the many viewpoints of artists in the wake of feminist movements of the past. The aim of this collaborative programme is to re-open a dialogue on the way female artists are positioning themselves now and to explore the complex and multifaceted influence of gender categorisation upon their creative process. Furthermore it considers how the rapid transformations of contemporary China have provided possibilities for female artists to take advantage of transcultural opportunities.

NOW is co-organised by Plus Tate, the China Central Academy of Fine Arts and the Centre for Chinese Contemporary Art in collaboration with HOME, Manchester; Middlesbrough Institute of Modern Art; Nottingham Contemporary and Turner Contemporary, Margate. The programme is sponsored by the China National Arts Fund and supported by British Council, China.

Your Selfie Stick (and You)-Lian Zhou Foto

2017.12.7

Your Selfie Stick (and You)

DATE:
Dec. 2nd, 2017 ~ Jan. 2nd, 2018

LOCATION:
Lianzhou, Guangdong

Work “PeeP Stream Training Camp” Paticipate in the THEMATIC at in Liang Zhou Foto Festival.

Your Selfie Stick (and You)

Sandra Maunac

We live in a digital culture that has completely transformed our visual habits.  We witness and participate in the mass use of the “me” – previously reserved to but a few – because this staging is the only way to prevail in this world of visual competitiveness. However, when faced with this overexposure of images, we should ask ourselves where the creator of images is positioned.

Previously, the photographer went out to capture reality in his surroundings; nowadays, many decide to dive into the network and, from therein, build their documentary fictions. This fertile and seemingly inexhaustible mesh, as well as being accessible to all, is another instrument that allows us to make visible certain situations. The difference resides in the degree of manipulation of those elements taken from Internet, in a different order than the established one. Small disruptions, slight signs and gaps, allow us to denounce certain positioning and encourage questions, although those same disruptions are warning signs that the lines have been completely erased, that there is no private and public anymore, no true or false; everything is part of the whole.

In this era of democratization of images, social networks and their power to communicate are playing an essential role. The presence of platforms such as Facebook and Instagram has not only transformed our method of communicating, but has also propelled the possibility of modifying the imaginary that we have as regards a whole continent or a whole country. These are tools available to any and everyone, with no distinctions as regards gender, race, social or cultural standing. And that allow us to open doors, give voices and, even more importantly, empower.

 
你的自拍杆

展期:
2017年12月2日至2018年1月2日

地点:
广东连州

你的自拍杆(与你)

桑德拉·冒纳克

数字文化已经完全改变了我们的视觉习惯。过去作为少数特权阶级专属的——对“我”的保存与展示——早已被大众化,我们目击了一切并共同参与其中,在这竞争激烈的视觉世界中,唯有如此才能突围。然而,当面对因此而过度泛滥的图像时,我们应自问作为图像的创造者在现今世界如何定位。

在过去,摄影师们走向外界,捕捉环绕着他们的真实;如今,人们选择潜入互联网,构建虚实相结的世界。作为另一种实现视觉化的工具,互联网提供了丰富且似乎源源不绝的资源,可被所有人轻易寻取,却遵守着与真实世界中元素截然不同的守则,在更大程度上被操纵。我们着眼于两者间所存在的细小干扰、轻微迹象和差别,被允许怀疑与提出疑问,却忽略这些干扰本身也是一种警告,警告我们那界线已被完全抹掉,不再有私人和公众之分,不再有真实或虚假之分;一切成为整体的一部分,合而为一。

在这个图像民主化的时代,社交网络及其传播的力量正在发挥着至关重要的作用。各类社交网络平台的存在不仅改变了我们的沟通方式,同时也推动了我们对整个世界或某个国家的想象的可能性。这些工具被所有人获取,不分性别、种族、社会或文化地位,我们因此更轻易地敞开大门、发出声音,更重要的,被赋予更多的权力。

 

Home, Sweet Home-PSA 2017 Emerging Curators Project

2017.12.7

PSA 2017 Emerging Curators Project PSA青策计划2017

Curators: Housewife Squad (Mo Wanli, Deng Yuanye, Lin Lin)

Artists: Lyla Wu and Ye Funa, Yao Weiwei/Yin Shun and Hu Yinping, Qi Shanshan and Ma Qiusha, Ma Yuanrong and Han Xia, Zhou Jianjia/Li Danfeng and Zeng Burong/Deng Hanbin.

Venue:Power Station of Art Gallery 7 5F

 

Peep Stream stage installation view

About the Exhibition

By presenting the ambiguities related to labor division, intimate relationships, opposition, violence and their modern alternatives of women in domestic space, Home, Sweet Home discusses the historical construction of sweet home and demystifies such sweetness through spectator’s voyeuristic perspective. Capitalizing on the corresponding narrative and spatial structure, the exhibition also attempts to explore the relationship between the act of viewing and space as it is used to suggest and define viewing experience, exhibited objects and displaying methods.

The exhibition includes three parts: architectural and artistic work, document presentation and public participation. Six regularly-arranged Disciplinary Walls exhibit how “sweet home” is historically constructed in terms of labor division, intimate relations, opposition, violence, etc. With 158 pieces of historical materials, social events, spatial cases and models, first-hand research materials, original works and so on, the document exhibition indicates the evolution and solidification of domestic space and its core content, suggesting the dynamics and multiple clues of such process within a complex cultural background.

Five Cocoons wrapped by the Disciplinary walls- The Laboring Cocoon, The Ethical Cocoon, The Intimate Cocoon, The Therapeutic Cocoon, and The Non-Nuclear Family Cocoon – represents the inwardness and privacy of home, and also serves as spaces for artistic intervention. Five pairs of architects and artists are invited to collaborate and to express five spatial themes with their creations. They are: Lyla Wu and Ye Funa, Yao Weiwei/Yin Shun and Hu Yinping, Qi Shanshan and Ma Qiusha, Ma Yuanrong and Han Xia, Zhou Jianjia/Li Danfeng and Zeng Burong/Deng Hanbin. Various materials, structural forms, and presentational forms of artistic creations are engaged to suggest another possibility for the spatial theme. Layering openings through the Disciplinary Walls produce two Voyeuristic Cones, which allow spectator to peep into the Cocoons to participate in the deconstruction of Sweet Home and witness the collapse of such modern myths as public and privacy, production pattern, social discrepancy, claim and discourse, romantic relations, freedom and equality, etc.

About the Curatorial Team

Housewife Squad is a research (and wechat) group with a curiosity on women’s everyday life. The group was initiated by Mo Wanli, Deng Yuanye and Lin Lin, who are doctoral students at College of Architecture and Urban Planning, Tongji University. As a curatorial and research group with multi-disciplinary backgrounds, Housewife Squad is interested in the trivial yet mysterious domestic life as well as agendas concerning female and space.

Mo Wanli received her Master of Architecture degree from Yale University and is interested in contemporary forms of life in relation to material and immaterial production. Deng Yuanye is currently in a joint doctoral program with MIT School of Architecture and Planning and she received her Master of Anthropology degree from The Chinese University of Hong Kong. Her research focuses on urban and rural forms and their structural transformation. Lin Lin is a lecturer at Jiageng College, Xiamen University and she is interested in urban anthropology and historical preservation.

青策计划2017

地点:上海当代艺术博物馆5楼

策展人:家庭妇女讨论群(莫万莉、邓圆也、林琳)

家庭妇女讨论群是一个对女性日常生活具有好奇心的研究(闲聊)团体,由莫万莉、邓圆也、林琳发起,她们同为同济大学建筑学系博士生。作为一个具有跨学科背景的策展与研究团体,讨论群关心琐碎而神秘的家庭生活,以及女性和空间的议题。莫万莉为耶鲁大学建筑学硕士,关注当代生活方式和物质及非物质生产关系。邓圆也为MIT建筑学系联培博士生、香港中文大学人类学硕士,关注城乡形态与结构转型。林琳为厦门大学嘉庚学院建筑学系讲师,研究方向是都市人类学与历史遗产保护。

参展艺术家:吴迪、姚微微&尹舜、戚山山、周渐佳&李丹峰、马圆融、叶甫纳、胡尹萍、马秋莎、曾不容&邓涵彬、韩夏

关于展览

“甜蜜的家”展览关注女性和家庭空间之间的多义关系,探讨了“家之甜蜜”的意象建构,并试图通过观看者的偷窥视角去解构这一历史建构意象。此外,展览试图借助本身的内容结构和空间关系,探讨观看的行为和展示空间之间的关系,以空间化的方式来对展品关系、展出形式、观众行为进行引导和限定。

展览从建筑装置、艺术作品和文献展示三条线索出发,六面规则排列的规训之墙以文献形式,从劳动分工、亲密关系、抵抗与暴力等不同侧面叙述“甜蜜的家”的意象建构。被规训之墙围裹的五个异形空间——“劳动之茧”、“伦理之茧”、“亲密之茧”、“非核心家庭之茧”、“疗愈之茧”,既象征着家庭的内向性和私域感,也是艺术介入的空间。

五个空间由吴迪、姚微微&尹舜、戚山山、周渐佳&李丹峰、马圆融五位/组建筑师设计,通过不同的材料意象和结构形式对主题进行诠释。五位/组艺术家——叶甫纳、胡尹萍、马秋莎、曾不容&邓涵彬、韩夏的作品则在五个茧中被呈现,通过影像、参与式表演、画作等多种形式来探讨涉及上述空间主题的另一种可能性。规训之墙的开口层层递进而形成的窥视之锥,使得观者能够参与并解构“甜蜜的家”的空间想象,见证正在家庭中崩盘的现代设定:公私分界、生产格局、权力话语、浪漫关系、自由平等博爱等神话。