All Happens after Sunset…——Curator： Xⁿ Office
All Happens after Sunset…
Curator： Xⁿ Office
Opening: 2017.4.22 18：00
Participating artists: aaajiao, CHEN Yujun, CHEN Yufan, CHENG Ran, Christophe Demaitre, GUO Ke, GAO Lei, Golnaz Fathi, HU Renyi, HUANG Lei, LI Jingxiong, LI Qing, LIAO Fei, LIN Qing, LIU Wa, LIU Yue, LIU Zhuoquan, LU Chao, NI Youyu, QI lei, SHANG Yixin, SONG Dong, Yi Xin Tong, WANG Yi, WU Di, WU Juehui, YANG Mushi, YANG Xinguang, YU Ying, ZHANG Ding, ZHANG Jiaxing, ZHOU Yilun, ZHU Xi
It has only been two years since its establishment in April 2015, and MoCA Pavilion has already hosted over 30 exhibitions in its modest space of 36 square meters. This small cubic extension of the main museum is hoped to be a center for art to reverberate throughout the community, a small but open place where young Chinese artists can feel free to experiment and expand upon their creativity, a window to international art exchange, and, most of all, a unique sight within the midst of the vast, enveloping concrete jungle. To ensure that these expectations can be a reality, for this installation, we partnered up with Xⁿ Office, a contemporary art curating group launched by researcher of art history Penny Xu and artist Ni Youyu, and their project, After Sunset, has attracted the largest number of participants to date to the Pavilion as part of the first phase of its 2017 “+Follow+” young artist group exhibition project. MoCA Shanghai started the “+Follow+” initiative in 2010 to follow young Chinese artists in their development, observing them as they mold through their early stages and blossom into maturity, and by doing this, we are all now able to see what the current trends of Chinese contemporary art’s ongoing development look like through these artists’ very own eyes.
A valid light installation is often consisted of the lighting fixture itself, isolated in an empty room, and space illuminated by it. Meanwhile, the audiences are interacting with the installation by either attempting to understand its artistic meaning or simply enjoying the entertaining experience. It may well be asked, if the light installations been put away from the museum/gallery context and the “fine art” label, will it be more varied? How would it be like to see the scenery of dozens of light installations illuminated in the same space at the same time?
Different light sources, color temperature, brightness, texture will construct a three-dimension and multi-layered image in the space. By blending with and setting off each other, these light installations will become one complete piece of work, which possess the unprecedented resonating power. This power will stimulate the viewers’ numbness and boredom of ordinary exhibition. And furthermore, it will drive them to really appreciate every distinct character of the art works.
Due to such expectation, we invite over 30 artists to attend the exhibition “All Happens after Sunset…” . The exhibition will take place in MoCA Art Pavilion in Shanghai, an art center located on the outside of the People's Park, adjacent to the city's busiest streets. By occurring here, this means that the exhibition will be recognized as an influential landscape, an occasional event, as well as a curiosity-induced seed.
The exhibition will follow several principles as listed:
Only at sunset, all lights will be switched on, from the hustle and bustle of the late night till dawn repeatedly. We expect this busiest neighbourhood of Shanghai will appear a bright, rich and exotic scenery for the passersby to observe all the details; During the daytime, all the original materials are fully exposed orderly or even disorderly in the exhibition hall.
The title of the works, along with the descriptions, will not be provided at the site. Our ultimate intension is just to let it be as it is, as its own free existence.
Visitors are strictly prohibited. This is not an interactive game for pleasure, but a gorgeous background of a tourist’s selfie, a widely spread social media circle picture, a landmark of a hangout between friends, or even just a rest area for a bottle of beer… This may be considered as a mixed exhibition but beyond that is the infinite possibilities.
Han Ishu: The Drifting Thinker——Curator: Kodama Kanazawa
MoCA Pavilion Guest Curator Project #3
Han Ishu: The Drifting Thinker
Curator: Kodama Kanazawa
Time：2017.3.15 – 2017.4.16
Opening：18:00, 15 March , 2017
It is the MoCA Pavilion’s deep honor and pleasure to invite Shanghai-based Japanese curator Kodama Kanazawa to plan for the solo exhibition of Japan-based Chinese artist Han Ishu. This exhibition serves as the first round of the 2017 Guest Curator series project centered on inviting artists and art professionals from home and abroad to showcase and recommend noteworthy works representative of the developmental orientation of contemporary art. Ms. Kanazawa had acted as a curator for the contemporary art realm in Japan for many years, and after studying in Royal College of Art, London for 3 years, she decided to relocate to Shanghai, China. As an independent curator, she currently shuttles back and forth between China and her native Japan, and during this particular exhibition, she will introduce Han Ishu, a Chinese artist who lives and works in Japan, to the Chinese contemporary artist circle and Chinese audience for the very first time. Here, the puzzlement, clash, thought, and inspiration brought about between the two seemingly similar but vastly different territories in terms of social-political, living, and cultural aspects will be put on full display, and it will certainly be of great interest to all who come by.
About the artist:
b.1987, Shanghai, China, lives and works in Tokyo, Japan
Han Ishu began his artistic practice in high school and finished his MFA in 2012 with a major in intermedia art at Tokyo University of the Arts. From his own point of view, Han addresses questions regarding the individual’s complex relationship with society and the confusion caused by it. With sincerity and sometimes humor, Han speaks to viewers through multimedia such as installation, photography, paintings, and video, in which he uses his own body or daily goods.
About the guest curator Kodama Kanazawa:
Kodama Kanazawa is an independent curator currently based in Shanghai, China. After graduating from Tokyo University of the Arts, she has curated numerous exhibitions in Contemporary Art Musuem, Kumamoto (assistant curator, 2001-2006) and Kawasaki City Museum (curator, 2006-2013).Studied in Royal College of Art in London (2013 – 2015), now her interest lies in new media art and contemporary art from around the world, with a perspective that connects modernisation history to the current period of globalisation. Her recent project includes ‘YÛICHI YOKOYAMA : Wandering Through Maps | Un Voyage a Travers Les Cartes’, Pavillon Blanc, Colomiers , France (2014), ‘CHU ENOKI: ENOKI CHU’, White Rainbow, London, UK (2015), ‘Spectrum: Examining Today, Searching for the Future’, Spiral Garden, Tokyo, Japan (2015), ‘Crazy Planet: Ghosts, Folk Monsters, and Aliens in Manga – An Aspect of Japanese Media Art’, Matadero, Madrid, Spain (2016) and KENPOKU ART 2016, Ibaraki, Japan (2016).
A Travel Inward – Liu Yi solo project
A Travel Inward – Liu Yi solo project
As part of a new round of the MoCA Young Artist Project (MY Project), MoCA Pavilion is expected to launch A Travel Inward, a solo project by artist Liu Yi, in February.
An MA graduate from the China Academy of Art in 2016, Liu often brings audiences a pleasant surprise through her ink-painting animation characterized by dexterous and graceful brushstrokes, unerring fluidity, richly poetic settings, and full expression of artistic style. Her experimentation with viewing modes not only expands the potential of animation creation and exhibition, but evokes broader and more diverse conceptual thinking, as well.
A Travel Inward (度口) is an ink-painting animation crafted by Liu in 2015.
In terms of philosophy, the Chinese character dù (度) refers to the intrinsic restrictive quantitative boundaries of all matter, providing a means for measuring “scale”, implying qualities such as demeanor or spiritual confine, and even demarcating the “lapse of a day”. The Zen connotation here can allow for a certain character to embody a metaphor alluding to Liu’s attitudes toward life and creation. The artist, who sticks to traditional hand-drawn animations, keeps herself indoors while she draws hundreds upon hundreds of Chinese ink-paintings to depict detailed combinations of light and shadow through subtle applications of ink. Introversive, calm, and attentive, she puts her focus on the disassembly and reassembly of artistic elements in a process of exploratory creation:
My daily life is always the same old thing over and over. The world seems to incite us to climb up to a higher summit every new dawn, but my discomposure always fails to be set in place. I can feel a massive void all about me despite undergoing a change in altitude or landscape. Such a mood swells within me on daily basis. I am tired of emptiness, and one day, I finally began a journey into my own personal dark cave, like a tortoise retracting its head into the protection of its shell.
by Liu Yi
As part of her new venture into this experimental type of ink-painting animation, during this project at MoCA Pavilion, Liu has remodeled the entire space into a walk-in video installation enclosure where an otherworldly light passes through viewers’ bodies as they start their personal journeys into their inner selves. The projection, with an amplified aura using reflections from the surfaces of mirrors, imprints a dynamic shadow upon the scene and leads the audience into an entirely different dimension. Like Narcissus’s love for his own reflection in water, such a scene can be deemed an alienated illusion that poeticizes our lives or perhaps even our false impressions of life. A casual touch may cause a flicker within the image, and this resembles our inner unsettling restlessness that follows us everywhere in metropolitan life day after day, routine after routine.
Curator of MoCA Shanghai
Tsuyoshi Hisakado-——Special Project at MoCA Pavilion
Special Project at MoCA Pavilion
Curator： Wang Weiwei
Date：2016.12.23 — 2017.2.5
Open Hours：Mon - Sun 10:00—21:00
Opening Date：2016.12.23 18:30
Address：Gate 7 People’s Park
231 Nanjing West Road，Shanghai
MoCA Pavilion is about to present a special project featuring the work of Tsuyoshi Hisakado, which will be his first solo exhibition in China. During his stay in MoCA Pavilion, Hisakado is going to create a space-specific installation combining the aspects of light and sound, offering viewers a rich sensory perception. Well known for his focus on the thesis of time and space within which one produces intriguing feelings and personal memories, the artist is skilled in taking advantage of surrounding light and sound intelligently to create a grey zone straddling the actual and the virtual, thereby subtly directing audience’s private perception. Characterized as immersive and powerful, it seems that there exists an unconscious mutual effect between his creative pieces and the audience, deeper and more delicate than any kind of physical interactions.
Hisakado mentioned as part of his personal account on the show, “By focusing on the existence of objects and phenomena, I create time-based installations. Through the simple structure of a sculpture, the work suggests how the earth moves and the universe exists. While it links with individual memories of the audience, it also creates a world belonging to nobody. It is a space compounding of light, sound and sculpture.”, which to some extent is an appropriate description of MoCA Pavilion, a “glass box” located in Shanghai's most bustling area. The Pavilion stands out against the grey relentlessness of city traffic, yet it can conceal itself back into the frenzy of crowds in the twinkling of an eye. It is at this unique place that Hisakado will build “a parallel dimension” to make passersby stop, linger, and experience and even forget the existing world.
The project is jointly presented by MoCA Shanghai and Japan Foundation. For the good news of Hisakado being selected as the East Asia Cultural Exchange Envoy of Agency for Cultural Affairs, Government of Japan at the planning stage, MoCA is also honored to have the opportunity to introduce remarkable young Japanese artists to China’s art society and viewers.
Organized by： Museum of Contemporary Art, Shanghai
MoCA Shanghai Foundation Ltd
About the artist:
Born in Kyoto in 1981, Tsuyoshi Hisakado completed an M.F.A at the department of Sculpture of Kyoto University of Arts in 2007. Hisakado's practice focuses on seemingly mundane aspects of everyday life, and he assembles evidence of the history and phenomena unique to specific places, creating installations that combine sound, light, and sculpture.
Hisakado was elected the East Asian Cultural Exchange Envoy. And he was the recipient of the Audience Award at the 'Nissan Art Awards 2015', and the Grand Prize of the 'VOCA 2016 The Vision of Contemporary Art'. He participated in 'AICHI TRIENNALE 2016 rainbow caravan', 'Rokko Meets Art 2015' and held a solo exhibition at Ota Fine Arts Singapore (2015) and Tokyo (2014), and at SHISEIDO GALLERY (2013). He is a founding member of the artist collective SHINCHIKA which was formed in 2002.
Existed work: FUZZ, 2015
SHANGRI-LA - S-VA-HA Special Art Project
Special Art Project： SHANGRI-LA
Date：2016.12.02 — 2016.12.18
Open Hours：Mon-Sun 10:00—21:00 （Free）
Opening Date：2016.12.02 17:00
Address：Gate 7 People’s Park 231 Nanjing West Road
Museum of Contemporary Art, Shanghai MoCA Pavilion will soon present Japanese contemporary Buddhist art group S-VA-HA special project “SHANGRI –LA”. The word “SHANGRI -LA” was known as “The representative of paradise in the East”
That it turned the word “SHANGRI -LA” was often used as the name of the resort hotels or Titles or theme of pop songs in Asia. This exhibition is called“SHANGRI – LA”is based on S-VA-HA’s self-criticism.
The Japanese Contemporary Buddhist art group was formed in 2012, and has completed a series of art videos called “Ceremony for…”. In these they perform Buddhist sutra chanting and text reading along with butoh, displaying a living, moving Buddha statue, in such locations damaged by disaster or war as were mentioned above. For the present exhibition, under the title Shangri-La, S-VA-HA is expected to present the 70th Anniversary Ceremony for Hiroshima, with a prayer for a future free from the dangers of nuclear technology. Within this theme, each member of the group will also put on display their personal creations, with specific reference to the imagery of Buddhist art. The whole exhibition space is arranged as a souvenir shop, startling visitors with its billboards and flashing neon lights on the walls, and with an air of intentional randomness and disorder.
Giving the show the title Shangri-La is of course an expression of critical irony; it actually means quite the opposite - Dark Tourism. It is intended to destroy the concept of Shangri-La as a small European-style, heavenly resort in Asia as depicted in Lost Horizon. Instead the visitors must confront a question that might flash in their minds like the neon lights on the walls: “What really is an Eastern paradise? Where can we possibly find the answer?”
In 2012, S-VA-HA was formed as an artists’ group seeking a direct connection between contemporary art and Buddhism. The group made video art and video installation art from their live performances at historical places or galleries in the form of Buddhist sutra chanting, text reading and dancing as a Buddha statue. The members of the group are all graduates of Tama Art University and are engaged on creations themed on Buddhist art.
The group members are:
TETTA, an artist who produces CG animation works and oil paintings. She also runs a project workshop in which she has been applying Bodhisattva makeup on the faces of over a thousand people and photographing them;
Shugyo Kawakami, a Buddhist monk and painter who combines the traditional Buddhist art and manga styles into contemporary yorozuga art;
Yukihisa Hirabayashi, a Buddhist monk and painter who explores the connection between contemporary art and Buddhism through paintings, sculpture and installation works.
At S-VA-HA solo exhibitions the works on display therefore contain not only video art or video installation art created by the group as a team, but also include each member’s personal creations.
Kenji Tokumitu Award at Tagboat Art Festival 2013
Sho Yoneyama Award
Finalist nomination at 3331 Film Festival
Dec. Shangri-La special project, MoCA Pavilion, MoCA Shanghai
Oct. Tenshin•Art•Buddhism, Izura Institute of Art & Culture at Ibaraki University, the historical site of Kakuzo "Tenshin" Okakura
Jan. ILAND JAPAN 5th Anniversary Party, Super Delux, Roppongi, Tokyo
Aug. One Dream, the 70th Hiroshima concert, Hiroshima Peace Memorial Park
Jul. GEISAI # 20 Hitomiko Nikaido Award, Shugyo Kawakami Solo Exhibition, S-VA-HA exhibited video installation, HidariZingaro∼KaikaiZingaro, TOKYO
Nov. No beginning • Eternal •No ending, Yukihisa Hirabayashi＋S-VA-HA, Shinjuku Ganka Gallery, Tokyo
Apr. Geisai Terakoya vol.4, Geisai Gallery, Tokyo
Jul. Tagboatart Festival 2013, Tokyo Metropolitan Industrial Trade Center, Tokyo
Oct. 3331 Film Festival Arts Chiyoda 3331, Tokyo
Jac Leirner: Borders Are Drawn by Hand——Curator: Victor Wang
Jac Leirner: Borders Are Drawn by Hand
Curator: Victor Wang
Time：2016.11.7 – 2016.11.27
Opening：18:30, Monday, Nov.7, 2016
Museum of Contemporary Art, Shanghai, is proud to present Jac Leirner: Borders Are Drawn By Hand in the MoCA Pavilion, guest curated by Victor Wang. Jac Leirner: Borders Are Drawn By Hand is the first solo exhibition by the Brazilian artist to be held in China. The artist was invited to Shanghai for an extended amount of time to experience the city, and to develop the exhibition on site. The exhibition comprises of all new commissioned artworks made during Leirner’s stay in Shanghai.
Jac Leirner's multifaceted work is formulated through a process of collecting and ordering; tapping into what the artist has described as the ‘infinity of materials’. Since the mid-1980s, Leirner has amassed the ephemeral and incidental products of consumer culture, and reappropriated them into visually compelling sculptures and installations that demand to be both seen and read. Through their seriality and bold accents of colour, her work references both the history of Brazilian Constructivisim as well as the legacy of Arte Povera and Minimalism.
Jac Leirner was born in São Paulo, 1961, where she lives and works. She graduated in visual arts from Fundação Armando Álvares Penteado - FAAP. In 1983 and 1989, Leirner participated in the Bienal de São Paulo and in the Aperto at the 44th Venice Biennale (1990). In 1991, she had a residency and exhibition at Walker Art Center, Minneapolis and Museum of Modern Art, Oxford. She participated in dOCUMENTA (IX), Kassel (1992) and represented Brazil at the 47th Venice Biennale (1997). Further solo exhibitions include Centro Atlántico de Arte Moderna, Las Palmas de Gran Canaria (2014), Museo Tamayo, Mexico (2014), Yale School of Art (2012); Centre d’Art de Saint Nazaire, France and the Estação Pinacoteca do Estado de São Paulo (2011); Miami Art Museum (2004); Museu de Arte Moderna de São Paulo (1999); Centre d’Art Contemporain Geneva (1993).
Victor Wang is a curator and exhibition-maker based between London and Shanghai. He was appointed by the K11 Art Foundation as a curator of Inside China – L’Intérieur du Géant (Shanghai Station), a collaborative exhibition between Palais de Tokyo, Paris, and the K11 Art Foundation. Currently, Wang is appointed curator of the exhibition Neïl Beloufa: Soft(a)ware, presented in association with the Institute of Contemporary Arts, London and the K11 Art Foundation. He is the 2016 recipient of the AICA Incentive Prize for Young Critics, and has worked on curatorial teams for biennials such as the Twelfth Havana Biennial (2015) and the Vancouver Pavilion at the 9th Shanghai Biennale (2012), and From 2014 - 2015 he was the Curator in Residence at Contemporary Art Heritage Flanders (CAHF), a multi-institutional collaborative platform initiated by and built around the collections of the four contemporary art museums in Belgium: S.M.A.K. (Ghent), Mu.ZEE (Ostend), M HKA and Middelheimmuseum (Antwerp).
Fabio Lattanzi Antinori : Fortune Tellers
Fortune Tellers--- Special Project by Fabio Lattanzi Antinori
Time：2016.09.21 – 2016.10.11
Opening：18：30, Sep 21st , 2016
On September 21st , 2016, London based artist Fabio Lattanzi Antinori will start his special project Fortune Tellers at MoCA Pavilion as part of the museum’s new exhibition. Fortune Tellers is an immersive interactive audio installation, where the impermanence and fascinating fluctuation of the International financial markets mirrors the transient and vulnerable condition of human existence.
At the core of the artwork is a sculptural piece, made out of interactive surfaces and equipped with capacitive sensors, which come to life when touched by the audience. It rests on a supporting structure, which was shaped after a reading of the last few years of the Shanghai Stock Exchange and created out of profiles commonly adopted to construct temporary workspaces. The sculpture continually cross references databases of historical financial data with future predictive forecasts derived from a wide range of available and dedicated sources, in order to attempt financial predictions during the days of the exhibition; these calculations, are then used to direct an unfinished choir and chattering of synthesised intangible voices.
When the public enters in close contact with interactive surfaces, these start singing through speakers positioned within the space; when two or more of the sensing surfaces are activated at the same time by the audience, a multiplicity of overlapping voices is revealed. Each singing voice engages in a dialogue with the others, following a score, that is produced in real time by the invisible financial algorithms and being directly correlated to the potential ups and down of the capricious financial market. The quality of the choir as well as the melodies resonating in the space, will constitute the personality of the artwork, which will mainly be irregular and accidental, in so evoking fleeting feelings of delicate and poetic impermanence in the audience.
Working across a range of mediums including sculpture, print and interactive installations, Fabio Lattanzi Antinori’s works mainly revolve around corporate systems and how they relate to notions of power, control and spirituality, meant as the language of the interior, in our postmodern society; analysing these factors and attempting an explanation of the consequences their involvement can produce on the society at large, is the motif that influences the conceptual research underpinning and giving shape to the artworks he produces.
Fabio conceive of his works in layers of symbols and meanings to produce a partially invisible and stratified system that never completely reveals itself to its audience. The materials adopted contextualise the narrative in every artwork by providing the audience with cues as to the meaning conveyed by their layered structure. Fabio’s artworks are often generated by juxtaposing opposing languages and categories, such as the old and new, the flat and the three-dimensional, or the opaque and the translucent.
Fabio lives and work in London. Besides having the solo project in MoCA Pavilion, Fabio will also participate in the Hangzhou Triennial of Fiber Art (September 2016).
Wang Wenwei & Yu Tian ：The Boundary —— Audiovisual Interaction Mini-setting
Audiovisual Interaction Mini-setting
by Wang Wenwei & Yu Tian
In one of his books, Hyperspace, Japanese-American physicist Michio Kaku mentions some of his considerations from his childhood visits to a Japanese tea garden. It is about how a carp in a pond sees the world outside, how it gets to know the reason why the floating lily pads vibrate on the pond’s surface, and how the description of the outside world given by a carp who has jumped above the water is not believed by its fellows.
In our minds are there also some preconceived ideas that may impede us from accessing the world we live in? The idea of the “boundary” lurking within our thinking may insensibly and ceaselessly do the job of distinguishing, expelling, and demarcating.
The performance venue this time is a semi-enclosed space that faces the pedestrians in Nanjing road, a section of the most bustling downtown area in Shanghai city. The guitar music played is an atmospheric alternative to the ambiance of the busy road, encouraging the pedestrians to pause and pay attention. The interactive images on the glass can be the “boundary” between the inner and the outer world. It looks as if the people outside are staring at and listening to the fish swimming in the pond, but it would be harder than you might imagine to tell who is in the pond and who is outside, who is the pond fish and who is the viewer.
A musician from Shanghai, China, Wang Wenwei performed as a guitarist for the bands Crystal Butterfly, Supermarket and Li Quan, and has released several albums of guitar music to date.
Since establishing his own first band at the age of 18, with an idiosyncratic way of playing the instrument and iconic guitar timbre, Wang has been recognized as China’s most characteristic guitar player who has had a great influence on other players of the younger generation. It is noteworthy that, after spending more than twenty years on a musical career and hands-on practice, he has gradually shaped his own innovative artistic concept, which drives him to veer from the roaring electric guitar to the relatively simple-to-play acoustic guitar and introduce a brand new way of performing as a result of his artistic metamorphosis.
In his new guitar works, Wang attaches more importance to the integration of space and nature. He has not forgotten what he learned at the China Academy of Art and his keen interest in painting, despite his music commitments; and in his hands, the guitar is no longer an instrument that exists purely in the music world, but rather, it acts as a carrier of emotions and a channel by which to express his inner world. When a person starts to see the world with profound inner vision, how far their heart can reach out depends on how large their world is!
Since 2012, Wang Wenwei has worked successively with many other artists to record albums and give impromptu live performances, with the main focus being on the ephemerality of interpersonal emotional communication. This coterie of artists has gradually become a new but progressively mature artistic group.
1998 Won the accolade of best band and best guitarist at YAMAHA & Music Television band competitions
2005 Participated in MUSEXPO in Los Angeles, United States
2008 Modern Sky Festival & Strawberry Music Festival
2009Midi Music Festival
2011 Summer Sonic Festival in Japan
2012JZ Festival Shanghai
2013Summer Sonic Music Festival in Shanghai
2014JZ Festival Shanghai
20153-month musical exchange program in Switzerland at the invitation of the culture section at the Consulate General of Switzerland in Shanghai, China
Leading vocalist and guitarist of The Honeys
Key founder / director of Yao Media Lab
Associate professor of the Shanghai School of Design, China Academy of Art
“Multi-disciplinary” is the best choice of word to describe Yu Tian’s personal experience. When he was admitted to Printmaking Department of the China Academy of Art (CAA) in 1994, he had already “goofed around” in his own music band for one year. In the following two years he shuttled back and forth twice a week between Hangzhou and Shanghai for his band’s performances. After graduating with a master’s degree in 2001, he chose to teach at the Academy’s Shanghai campus – the School of Design – and release his first album In the Street with band The Honeys. The album, though not sold in a considerable quantity, is found pirated under different variants across the country. Chinese music critic Sun Mengjin once commented, “They could have been hit songs that would have been broadcast time and time again over local radio programs from morning till night.” 2008 saw the release of his second album Shui (water) managed by famous producer Safta Jaffery (who scouted UK rock band Muse), for which the band won dual prizes in the annual MusicRadio China Top Chart Awards, as the best band and golden melody of the year. However, as the organizer only allowed the leading vocalist Yu to receive the prizes, the entire band would not send anyone to go there for the awards ceremony.
Five years after that, Yu and his band participated in various music festivals and touring performances, where he discovered that the musical gap between China and the West lay not just in musical creation itself. Therefore, he started to devote himself to the study of live acoustics and stage management. He acted as stage director for 10 rounds of the Hangzhou West Lake International Music Festival and three rounds of the JZ Festival Shanghai.
When the Shanghai School of Design, CAA established the Department of Digital Publishing and Exhibition Design in 2011, he was appointed Dean thanks to his strong musical background. It was at this point that he shifted his experiments and studies towards stage imaging, lighting, and automation. Acting as director of the 2011-2013 visual design project for Cui Jian’s “Blue Sky Bones” nationwide tour and for the stage performance of Limbo Reflection, China’s first large-scale panoramic, interactive new media drama in 2014, he was also invited to direct Li Quan, Yunggiema and several other musicians’ music videos and some of their performances.
His collaboration with Wang Wenwei this time originated from a performance at the Power Station of Art (PSA) in October 2015, where Yu physically combined sounds with images to launch a series of experimental, impromptu, and interactive audiovisual performances.
Colourscape--- Special project by Kang Heng
2016．8.17–9. 5 (free)
Location: 231 West Nanjing road, People’s Park Gate 7
Carrying forth an open, diverse, and experimental vision since its inception, the MoCA Pavilion invites artistic professionals to co-design this glass house into a diversified metropolitan attraction in downtown Shanghai. For this brand new project, we collaborate with Kang Heng, a landscape designer with a specialized perception and perspective for natural landscaping. How would he cope, change, or unscramble the pavilion space? We invite you to enjoy the first-hand experience.
When a stone is placed in a space, for instance, one is prone to neglect the fact that the contour of the space, negative, invisible, and lying behind the positive contour of the stone, is thereby changed or modified. In other words, a stone possesses both its shape (the visible positive contour) and momentum (the power of influencing the negative contour of a space). However, something may appear blurred and exist in a place out of our reach, like an invisible contour. All creatures, including us humans, and all things have unexceptionally certain contours, positive or negative.
The Colourscape project for this exhibition takes the MoCA pavilion space as its carrier.
1985 Born in Shanghai
2006 Studied abroad in Japan
2007 Dropped out from Nihon University College of Art (Oil Painting)
2011 Graduated from Department of Environmental Design, Tama Art University, Bachelor Degree
2013 Graduated from Department of Environmental Design (Shunmyo Masuno Lab), Tama Art University, Master Degree
2013 Worked in Shunmyo Masuno + Japan Landscape Consultants Ltd,.
2014 Return to Shanghai and Established July Cooperative Company
2015 PhD Candidate, Department of Sculpture of China Academy of Art
JULY COOPERATIVE COMPANY
Address: N0.6 1818Lane Middle Huanghai Road, Shanghai
Dates: August 2-9, 2016
Project Planning: Liu Haoxing
Participants: Yinlan LU, Rocky Ross, Ashidaya Coffee, Nicole Teng, FranceLin, Zhou Qi, Zhang Yuan, Wu Jingjing、James Yang、Li Yiang, Cao Liyin
As time flies by, the MoCA Pavilion, which is located in the downtown of the city, is once again experiencing the dog days of summer. After launching many successful projects from the first half of this year, we are now presenting Cool Lhongdhang, a special cool project which will lead you to the domestic and relaxing summer holidays for everyone to enjoy. Having been transformed from an art derivatives shop to a creative space for art projects, this time the Pavilion has now been designed further to be a pretty summerhouse lasting for more than one week so as to bring a refreshing moment with continuous special events in five days to whoever rush to work and also neighbors nearby.
Scorching summer heat waves launching with the sounds of cicada and, before you know it, the chirping is now echoing throughout the leafy trees. On a steamy night, neighbors from throughout the community went out into the alley, propped up a table and sat around to enjoy the outside breeze. The so-called "outside breeze" is a distinctive Shanghainese dialect. Otherwise if you change it into "staying cool", it would lose some peculiar flavor of Shanghai residents. Furthermore, it seems impossible to stay cool inside a Shanghai Shikumen neighborhood, where old-time dormers were narrow and stifling enough to keep any breeze at bay.
In the bamboo mat-cushioned alleys, children covered in baby powder sat on bamboo chairs while old folks, drizzled in Florida water, fanned themselves with leaf fans. When brewing a pot of tea, the voices of a storyteller from someone's house would make you feel more leisurely. A chilled plum juice from the neighborhood grocery store seemed to condense the summertime flavor into every sip you take. Moreover, you may never feel bored if there happened to be accompanied with a radio comedy series while doing the time-consuming soybean-peeling chore.
Back then without air conditioners, we relied on two secret keys to fight the heat. Red bean popsicles were one lifesaver from our childhood. They are still nostalgic to us despite so many new kinds of shaved ice in todays’ market. In those days, the mere scene of ice cubes slowly melting inside the coffee, the crisp sounds of them hitting the glass, and the tinkling wind chimes had the magic power to cool you off. The other lifesaver was cool drinks; the mung bean and lily soup cooked by mothers was a typical refreshing dessert that you loved to guzzle down every day.
Free from the interference of air conditioning, computers, and cellphones, old-fashioned summers in Shanghai are memorable periods when neighbors were as close as a family, a popsicle could cheer you up all day long and chess-playing and card-playing were the only accessible means of entertainment. Just like the unnoticed passing of the first singing of the cicada this summer, those old days were long gone before we learned to cherish them. Now, we are hurrying to move out of the old lhongdhang into modern communities, closing our doors, and switching on the air conditioner the immediate we get home. The window to neighborly connections is thus closed for the sake of avoiding the heat. The authentic pleasures of a summer night and the experiences we once had on hot evenings have become our treasured memories.
Shanghai once had a few famous "cool spots" for summer leisure. The tallest building then, Park Hotel Shanghai, and Shanghai No. 1 Department Store, had these "cooling tunnels" where people gathered to relax. Since the MoCA Pavilion is located in the middle of an old cool spot, the name Cool Lhongdhang comes up to us reasonably and naturally.
Cool Lhongdhang brings you something different from modern daily life from the fast-tempo music on the first day, and the leisurely soybean-peeling chores on the first day of autumn, right down to the slow life of storytelling and ballad-singing in southern dialect on Chinese Valentine’s Day. Although we may no longer live in a Lhongdhang, we can still enjoy good times together.
Schedule of Events:
8.5 Friday: Live music by DJ Aming + special iced coffee by Ashidaya Coffee
8.6 Saturday: Make hand-painted wind chimes and rattle drums + traditional shaved ice by Nicole Teng and Frances Lin
8.7 Sunday (the first day of lunar autumn): Soybean-peeling chore, outside breeze, comedy show by Zhou Qi and Zhang Yuan + mung bean and lily soup
8.8 Monday: Handmade dyed circular fans + lecture by Liu Haoxing + plum juice(Wu Jingjing、James Yang、)
8.9 Tuesday (Chinese Valentine's Day): Pingtan <Three Bigwigs – Matchmaking> by Li Yiang and Cao Liyin from Shanghai Pingtan Troupe + green tea
［Bibliography］ Liu Haoxing
Director – Kyoto University of Art and Design (Shanghai Office)
Master of Arts - Kyoto University of Art and Design
Translator - <Kyoto Craftsmen>
Xu Wen Kai (aaajiao) & Miao Ying: Void
Xu Wen Kai (aaajiao)/ Miao Ying: Void
（2016.7.1 – 2016.7.24）
From July 1st to July 24, The Museum of Contemporary Art, Shanghai’s Pavilion project will host “Void,” a special project by artists Xu Wen Kai and Miao Ying. It is also the first part of MoCA Pavilion’s 2016 “+follow” series. This series of artist collaborations invites artists who have formerly exhibited at MoCA back to follow their artistic development. Also, we want to take this opportunity to see the world through a fresh pair of eyes, and to better understand the perspective of the younger generation.
Artists Miao Ying and Xu Wen Kai both create art online. Xu Wen Kai focuses on internet virtualization and digitization, using virtual numbers to create abstract art. On the other hand, Miao Ying’s work is related to social networks, how the online phenomenon is connected to personhood as well as the isolation created by virtual social networks. Ying’s art always reveals a strong sense of humor.
For this exhibition at MoCA and using “Void” as the theme, Miao Ying uses artificial and fake images to create a sense of hollowness in space, an anxiety inducing hollowness that induces a crazy consumption of media. The richness of the piece comes from a flatness and lack of reflection. Xu Wen Kai is responding to a piece titled “from a death springs a new company” and returns to the idea of innovation, using user data. When made public, company collected public data tends to fall flat.
These two artists learn from and complement each other. At MoCA Pavilion, these two media, internet, and graphic artists will have plenty to explore together. Using different artistic forms and methods, their differences will certainly spark exciting creations.
Xu Wn Kai (aaajiao)
aaajiao, is the online handle of Xu Wenkai, a Shanghai-based new media artist, avid blogger and free thinker.
Born in 1984, aaajiao grew up in Xi’an, the ancient capital of Qin and Han Dynasty known for the Terracotta Army. The year of 1984, coinciding with George Orwell’s dystopian masterpiece, seems to explain the perfect alignment between the vivid SciTech-driven imagination and the sometimes-poetic sophistication, frequently seen as the main theme of aaajiao’s work. Many of aaajiao’s works tap into the most current trends of thoughts around the Internet sphere, with a focus on the emerging controversies and phenomenon related to data processing, blogsphere/wemedia and filtered information. In his most recent projects, the artist has adopted a more extended scope of practices, borrowing elements from architecture, electronic music, performance arts, product design, even medicine, to portray the young generation harnessing the power of cyber technology and the ever-present social media.
Being one of the most frequently exhibited Chinese new media artists, aaajiao has been featured in both international and domestic scenes. Highlights include: “Global Control And Censorship - ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe(2015)”, The 2nd “CAFAM Future” Exhibition: Observer-Creator · The Reality Representation of Chinese Young Art Beijing, CAFA Art Museum (2015); Cosmos - Limited and Limitless, Existence and Co-existence Shanghai, 21st Century Minsheng Art Museum (2014),Thingworld - International Triennial of New Media Art Beijing,The National Art Museum of China (2014),The West Bund Architecture and Contemporary Art Biennale, Shanghai (2013); “One World” Exposition – Chinese Art in the Age of the New Media,Videotage,Hong Kong (2011), TransLife: Media Art China 2011 - International Triennial of New Media Art Beijing,The National Art Museum of China (2011), Transmediale, Berlin (2010), etc. aaajiao is a winner of the Jury Prize from Art Sanya Awards 2014, a nominee of OCAT – Pierre Huber Art Prize, and most recently, a nominee of the “Young Artist of the Year” of 9th “Award of Art China”.
Miao Ying is an artist who currently resides on The Internet, the Chinese Internet (the Great Fire Wall) and her smartphone. Her works have a strong awareness of mainstream technology and consciousness and it’s impact on our daily lives. She received her BFA from the China Academy of Fine Art’s New Media Arts department in 2007, and her MFA from the School of Art and Design at SUNY Alfred University, with a focus in Electronic Integrated Arts in 2009.
Her online solo exhibition “Miao Ying：Chinternet Plus” is currently showing at the New Museum as part of “First Look: New art online”, Miao Ying’s works have been exhibited at KW institute for Contemporary Art (Berlin 2016), the Chinese pavilion at the 56th Venice Biennale (Italy 2015), OCAT Shanghai (Shanghai 2015), Times Art Museum (Guangzhou 2015), CAFA Art Museum (Beijing 2015), Ullens Centre for Contemporary Art (Beijing 2014), State Gallery Linz (Linz 2011), Museum of Contemporary Art (Taipei 2008), Shanghai Art Museum (Shanghai 2007) and The Wrong—New Digital Art Biennale (online 2015). In 2016, she has been nominated for Prix YISHU 8 Chine 2016. In 2015, she was nominated for the TAN Asia Prize and the 3rd Huayu Youth Adward.
Benoit Billotte：“Is Here Somewhere Else? A Sense of Déjà Vu”
Exhibition venue: MoCA Pavilion
Duration: June 17-25
Opening: June 17, 6-9pm
The Artist Residency project, which was jointly planned by Pro Helvetia Shanghai and MoCA Pavilion, is set to usher in its second phase with Swiss artist Benoît Billotte. The MoCA Pavilion invites him to present his specially designed artwork, “Is Here Somewhere Else? A Sense of Déjà Vu”.
A world travelling land-surveyor, the artist skillfully gathers readily available information, materials and texts from diverse media and translates them into maps, statistics, and architectural layouts, among other visible forms.
By so doing, he explores local cultures which are cultivated over time but somehow neglected in daily life within a number of countries and regions. Though this residency project is the very first time he has set foot in Shanghai or even Asia, he is unexpectedly enchanted by a lingering sense of déjà vu. With inspiration stemming from such a feeling, the artist is expected to present his envisioning of Shanghai at the Pavilion, along with his memory and illusion of the city.
For the exhibition he created a set of works about this sense of déjà vu related to the architecture field and the different construction shapes that he has encountered during his walks in Shanghai. Weaving typical Chinese elements into the works, the artist presents a dreamlike pictorial urban scene that bears both Western and Chinese fingerprints. Each work offers a kind of urban landscape where each and every one can have his own reading, his own drift or maybe just have an other point of view about what seems to be common.
About artist in Residency project by Swiss Art Council Pro Helvetia Shanghai:
Museum of Contemporary, Shanghai starts to work with Pro Helvetia Shanghai to carry out the project “Artist in Residency” in 2015.Pro Helvetia Shanghai will invite two Swiss artists to come and stay in Shanghai, and MoCA Shanghai will introduce local artistic environment and relevant resource to the artists. During their stay, the two artists will present one or two workshops/lectures. And the artists will hold an exhibition in MoCA Pavilion to summarize their creation at the end of their stay.
This Summer We Are Experiencing Is Becoming the One from the Past
This Summer We Are Experiencing Is Becoming the One from the Past
--- A special project by Hao Jingfang & Wang Lingjie
In its second stage, the MoCA Young Artist Project will present the sub-project “This Summer We Are Experiencing Is Becoming the One from the Past” with the exhibition space specially planned and designed by France-based Chinese artists Hao Jingfang and Wang Lingjie at the invitation of the MoCA Pavilion. The two artists have long created their artwork with frequent connection to nature, from which they draw inspiration and out of which they bring some elements into the space. For the Pavilion at the juncture of the lush People’s Park and the bustling West Nanjing Road, the two artists transform their refined, sheer pursuit into artwork by applying pollen as the major material, which introduces a short time for the viewer’s quiet contemplation of modern civilization in the vast prosperous area.
Nature remains our living environment and may also reflect a certain type of attitude in life. We show special preference to such common things in nature as water, sunshine, colors, flowers, and leaves, which, thanks to their purity, tend to be even more perpetual than the people living the dazzling community with a myriad of temptations. The pursuit for such purity is a complicated, arduous, and long journey. A person with the keenest sensibility may stare dreamily into the distance pondering over the significance of life and living. Such deep thinking may inevitably lead to panic and despair for the fading of self-awareness so that the solitary ego has to be integrated into a massive civilized human society in the same way as a tiny drop of water into the sea or a little bee into its colony.
Time, as far as we know, has no start or end, in whose embrace the light and its reflections keep changing irregularly in the mortal world, hidden or visible. Thoughts gradually build up with the people’s existence and constitute a spiritual world unlike that for other animals. When we look back, regardless of any vision in history, past, present, or future, as well as any relic of the prosperous grandeur and civilization established by mankind, the sights can vary from person to person. Even though we are just mere insignificant individuals in this boundless world, hopefully we never stop thinking.
Apart from the “recent relics” found so far, the major medium for the artwork to be exhibited is pollen, hardly discernible, yet so enchanting a substance around us. As seemingly intangible as it is for us, the medium will touch your heart before you know it. On one hand, it is a magnet for all beautiful ingredients, light and hazy as if it could penetrate any span of time; on the other, the fine powder manifests its extraordinary perseverance. It is proclaimed that pollen can be a living fossil of flora because of its easy preservation over a long period in history, dating back thousands of years or even earlier. Some historians and archaeologists inform us of some happenings long ago on the basis of their analysis of species variation throughout history just with such pollen remains, for instance as with those collected from lake bottoms.
The MoCA Pavilion is a separate art space at the edge of the People’s Park. In the park there is a lotus pond around which Wang Lingjie often played during his childhood. However, the People’s Square appears no longer as the one in his early memory, and neither does the pond. Relentless is time as it flies, as this summer we are experiencing is becoming the one from the past. For this artwork, Lotus pollen is deliberately selected as the medium to tug Wang Lingjie’s own attachment to Shanghai in his early memory as well as his pure nostalgia of the time.
It might not simply be a coincidence that almost all men of noble character appreciate lotus blossoms to reflect their lofty spiritual pursuit. The color of lotus pollen is indeed lovely and purer than other yellow pollens and makes our breathing feel like the stale air. However, no pollen bears a color, in fact, just like any substance. In reality, we would never see any color without the light reaching and reflecting the substance into our vision. From this, we can conclude that all colors are subjective and that there would be 1,000 varieties of yellow in the vision of 1,000 different people. We expect, along with the visitors here, to appreciate this artwork made of yellow lotus pollen.
Up-coming public space --- Art Project by A-Shpere (Wang Jing & Deng Yuejun)
Time: 2016 03 12~ 04 04
2015 was MoCA Pavilion’s first year for experimentation. We realized numerous exhibitions and art activities, and its themes of “public nature” have been repeatedly acknowledged. Something we didn’t expect when the space was first transformed into an art space, making it even more of an interesting part of this artistic adventure. As prelude to the art pavilion in 2016, we have invited A-Sphere, an art group from Hangzhou, to present Up-Coming Public Space.
‘Up’ describes a direction or a kind of space, referring to those that float in the air, or that about to emerge from the ground. ‘Up’ also describes a gesture: looking far into the distance, with arms holding out to jump. ‘Upcoming’ refers to the unknowns, suggesting infinite promises mixed with confusions. ‘Upcoming’ is a belief, also political, and most fittingly describes the contemporary context of public space. Does public space in China exist? Can artistic production create public space? If so, what kind of public space does art produce? With a range of creations, performances, and discussions, we are trying to introspect on how art creates public space. This series of questions will be discussed in Balloon Series presented by A-Sphere, which consists of three works and lasts for three weeks. Meanwhile, member of A-Sphere and curator Wang Jing will plan and organize a series of forums on “public space” in order to explore the topic from various perspectives such as art, philosophy, society, etc..
A-Sphere （Wang Jing & Deng Yuejun）
Wang Jing (Adel)
Sound scholar, art anthropologist, sound event organizer.
Born in Lanzhou. Trained in performance studies, Wang Jing gets her Ph.D. from the School of Interdisciplinary Art at Ohio University. Now she is an associate professor in the College of Media and International Culture at Zhejiang University. Her book Sound and Affect: An Anthropology of China’s Sound Practice (Zhejiang University Press, 2015) explores the concepts of freedom, affect and sound through anthropological research on China’s sound culture. She is published in academic journals including Leonardo, Leonardo Music Journal, Journal of Popular Music Studies, International Review of Qualitative Research. Her current research focuses on sound studies, sensory studies, performance studies, and anthropological methods.
She is an active organizer of sound events and talks and has organized more than 20 sound events in the city of Hangzhou from 2013 to 2015. From 2013 to 2014, she served as the academic curator of the monthly year–long series “Savaka: Asia Experimental Music Currents” at Rockbund Art Museum, Shanghai. In January 2015, she founded The Sound Lab at College of Media and International Culture at Zhejiang University. Wang Jing now lives and works in Hangzhou.
Her Personal website
New media artist.
Born in Yunfu, Guangdong Province. He gets his bachelor degree from the New Media Department at The China Academy of Art and his master degree from School of Intermedia Art at The China Academy of Art. From 2011 to 2012, he participated in the art and media program at Zürich University of the Arts. His artworks have been exhibited in Rén Space, Imagokinetics Lab, OCAT Shenzhen, Times Art Museum, Shanghai Chi K11 Art Space, Chengdu A4 Contemporary Art Center. His work Somniloquy-Mechenical Butterfly is collected by ONEHOME Art Hotel Shanghai. His current working media include mechanical installation, Chinese ink painting animation and sound installation.
Yue now Lives and works in Hangzhou.
His personal website yuedream.net
To Be Continued - MoCA Pavilion 2015
Time: 19 Feb – 5 Mar, 2016
In March 2015, a new art space was launched at the gate of People’s Square along Nanjing West Road, a glass box, which marks the beginning of MoCA Pavilion. Since March 30th 2015, in over 10 months of time, the Pavilion has presented 15 art projects including six in-house projects and nine projects in co-operation with other institutions. Regarding its content, the projects which relate to various forms of art – theater, painting, sculpture, performance, dance, and video –have explored a wide range of artistic expression and creative concepts with the Shanghai Museum of Contemporary Art providing a space for innovation, exchange, experimentation, and interaction. Within the multiple formats of co-operation, the projects were playing with the openness and multi-function of the space, and attracting broad public participation, being an experimental window to the variety of innovations of young artists.
This experimental space doesn’t limit the exhibition format to traditional forms of expression only; many activities accompany the projects, enriching its content and attracting continuous attention from the public. During each exhibition, invited artists interact face-to-face with the audience using a variety of forms – lectures, performance, video presentations, workshops, children’s activities etc. – to provide a rich and comprehensive experience considering the different groups of audience. The well-established museum thereby extends beyond itself, opening up a window as platform for young innovative art groups to further enrich the public with more intimate experiences of contemporary art.
Approaching the first anniversary of MoCA Pavilion, we proudly present the project To Be Continued—MoCA Pavilion 2015, which will incorporate the many highlights of the past 15 projects combined in audio and video content. It will provide a data-box through which the viewer may re-live the journey of the Pavilion. Meanwhile, several artists will be invited to create distinct forms of activities to connect with both MoCA Pavilion and the public from their individual perspectives. Through these tangible and intangible dialogue and connections, we wish to draw a clearer picture on the past year’s artistic explorations, and further stimulate creative thinking and great imagination about future possibilities.
Pussykrew Special Project ---- Shifting Connections
About the Exhibition：
Site-specific installation based on 3D scans of Shanghai city, CGI archives and ongoing research into the art and technology dialogue.
Artists create a CGI piece inspired by their memories of the past 6 months spent in Shanghai, where they have been exploring the localnarratives and the relationship between tradition, technology and the future. The MoCA Pavilion and its architectural features become an internal and external projection chamber. The window facade is illuminated with the moving visual content - digital representation of Shanghai symbols and experiences, filtered through contemporary visual language and speculative stories.
Artists use the 3D scanning technology to record local objects as pieces of memories, these files are implemented into the 3D environment, filled with the abstract patterns and familiar spaces.
The piece is inspired by the Spring Festival interval and Shanghai itself, as the ‘city of the future’, along with its appealing architecture landscape, residents and energy. By mixing the symbols of ‘old‘ and ‘new‘ artists create an immersive vision of tradition and modernity, experienced in the very present moment.
The piece involves a video projection on the glass facade of the MoCA Pavilion building, floor print, VR headset visuals and a multi-channel video installation with sound.
Participants are able to experience the piece in multiple ways - inside and outside the space, as well as through personal interaction with VR visualizations.
Pussykrew is an interdisciplinary duo of two Polish artists - Ewelina Aleksandrowicz and Andrzej Wojtas. Their creative practices range from multimedia installations, video short forms, 3D animation to audio-visual performance and sculpture design.
Aleksandrowicz and Wojtas are originally from Poland, in the last decade they’ve been living and working in Ireland, UK, Berlin and Brussels. They are currently based in Shanghai, taking part in the Swatch Art Peace Hotel artist residency.
The duo explores post-human concepts, urban landscapes and fluid identities in the age of new technologies. Their creative work balances on the border between notions of synthetic and organic, connecting the physical and virtual spaces. Pussykrew is constantly searching for liminal states within the digital realm and cinematic poetry.
In the last 8 years they have been presenting their works internationally, in various forms and contexts, at digital arts and film festivals, galleries, universities and tech fairs such as : Saatchi Gallery London, Carrousel du Louvre - Paris, Berlin Art Week, European Media Art Festival, Kiasma Museum of Contemporary Art - Finland, Center548 - New York, Carnegie Mellon University, Pittsburgh, Cite du Temps - Geneva, Switzerland, Internationale Kurzfilmtage Oberhausen, Transmediale Berlin).
Awards and Fellowships
Artist of the Year Award - 3D Printshow London, UK
Ministry of Culture and National Heritage of Poland
3rd Prize, Bochum Videofestival, Germany
Digital City Fellowship, Institute of Digital Innovation, UK
Newcastle University Business Voucher Scheme, UK
Into a Time Frame - Lim Chang Min solo project
Lim, a young Korean artist, is invited by MoCA Pavilion to launch his solo project titled Into a Time Frame. The project marks the first young artist cooperation between MoCA Pavilion and the Daegu Arts Museum of Korea.
Lim leverages the space of MoCA Pavilion to launch his project “Into a Time Frame,” a collection of his recent representative works including still photography and motion picture. The windows and doors in the photos are purposefully left hollow and blank as a frame to show visuals. Looking from afar, the visuals are incorporated in a vast space. Observing close-up, the viewer’s attention is easily grasped by the motion picture. The space gives way to the content inside the window. Now the viewer enters a new space. The shift of focus inspires imagination. The timeline of photography gives the sense of lowing time, which embeds layers of photography into a real-world scenario which combines the real with the surreal. Be it a beautiful photo or a looping video, all the visuals mix the boundary between real and surreal, or rather combine them as two overlapping layers. Now a sense of being there is created that exists irrespective of the flow of time.
Lim explores even deeper for this project. The two floor-to-ceiling windows are used as photo frames. When the viewer looks inside the window, it is the same as the viewer is enjoying a view outside the window. At the MoCA Pavilion, the visitors see two different views through the same window frame. Lim poses questions about being real and surreal as well as about time, nature, and work; yet he offers no answers. What he offers is the limited timeline that provides clues to the viewer who may thus explore unlimited possibilities.
LIM CHANG MIN
Korean artist Lim Chang Min, a graduate from the applied arts department of the Keimyung University, Korea, and a master in multimedia of the City University of New York, has set up his own studio and is now teaching at visual and cartoons department of the Arts and Media School of Keimyung University. His works include photography and multimedia. Lim explores history, nature, life and other permanent themes using multimedia. His works are characterized by the intrinsic logic and calm as well as elegance and peace.
Cycle ---- Kristina Veit & Tang Dixin
Dec 8~Dec 20, 2015
Performance: 6:30pm Dec 8, 2015
Chinese artist Tang Dixin and German dance artist Kristina Veit came to work together as part of the Sino-German Platform collaborative framework, initiated by the Museum of Contemporary Art, Shanghai, and Tanzlabor 21 at Künstlerhaus Mousonturm in Frankfurt am Main.
After exchanging prior works with Tang Dixin, Kristina Veit became interested to further explore one of his previous concepts of embedding a stage into a non-stereotypical setting, leading both to a series of three video works entitled “Breath”. Furthermore, the three chosen environments stimulated Kristina to return to a previous topic of work on “breath and the breathing body”, which acts as the common ground between the changing locations.
By treating dance as “material”, Kristina Veit chose placing it in different sceneries, like a clean studio, an underground station, and a bridge above a highway. Different features dominate the focus and shift of the perception of time. Sounds, rhythms and images produced, create a subtle connection to perhaps the most essential elements of life itself. Sometimes they are heard, seen, valued and exposed, while at other times they become muted, hidden and almost irrelevant.
Kristina tries to express themes of “performance, the daily, fiction and reality” in a relatively clear way, while Tang Dixin gives us an implicit and roundabout response, connecting “repeatability” of performance with the “randomness” of reality. Questions arise as: What kind of repeated “performance” is to be found in our daily incidents? And, can the mimicry in our daily behavior be further understood as a kind of “ performance”?
Sino-German Platform - Promoting exchange in the fields of contemporary dance and art
Tanzlabor 21 at Künstlerhaus Mousonturm, Frankfurt am Main, together with Museum of Contemporary Art, Shanghai, is going to build a platform to enable artists from both cities to experience creative and artistic processes together. This Sino-German Platform is meant to promote exchange in the fields of contemporary dance and art by facilitating new collaborations and co-operations between artists of the two countries and cities. This project is a follow-up of “Hu互 Tan 探 - Deutsch-Chinesisches Austauschprogramm im Kulturmanagement” organized by Goethe-Institut and Stiftung Mercator.
The concept of Sino-German Platform 2015 consists of two steps. We plan to exchange selected artists, and enable them to experience a common creative working process. Chinese artist Tang Dixin traveled to Frankfurt and took part in the International Summer Lab by Tanzlabor 21 at Künstlerhaus Mousonturm, where he entered an artistic dialogue with Frankfurt based dancer and choreographer Kristina Veit. By reacting to each other’s respective works, corresponded to different artistic disciplines, their work is later presented in the form of exhibition, and performance, at the MoCA Pavilion.
Artist: Veronika Spierenburg
Venue: MoCA Pavilion, Museum of Contemporary Art, Shanghai
Up in the air, bridges are leading into the centre, massive bridges.
Animals are brought into the centre by the air bridges, slaughterhouse.
People in barber shops for blood settling, cut ginger and turning poles. Barber shops and barber poles.
The never ending turning—bandages. Ginger burned out.
An assemblage of different work processes are shown at the pavilion brings into consideration the various attention of arriving in Shanghai.
Special thanks to Karl Ruehle.
Born in 1981
2005 – 2006, MA Fine Arts, Central Saint Martins College of Art and Design, London
2002 – 2005, BA Photography, Gerrit Rietveld Academy, Amsterdam
The point where bodies and architecture, movement and space meet is central aspect of my work – I research these connections with various media, each time from a new perspective.
In video works and performances I generate experimental situations that make the physical and acoustic experience of spatial conditions possible. Using minimal series of gestures, which are closely linked to architectonic structures, I try to place fixed and mobile bodies on a shared sensory level. A reduced, geometric language of form is common throughout my work. This exists in a dynamic relationship to the sometimes ‘epic’ research from which the ideas have crystallised. I see these research processes as a starting point and part of the system of work; nonetheless, the work itself should stand alone.
Many of my video works are motivated by my fascination with the interplay of architecture, bodies and film. Thus the design principles of Brutalism and Functionalism, which I research in various filmic experiments, interest me in particular. For me these experiments are always about making visible the fields of tension that are within architecture to dissolve its supposedly rigid structures.
I have tested these visual-filmic approaches to architecture using different fi lmic principles: in the work Die Rampe (2013), for example, a spiral concrete ramp in Zurich is approached filmically using a split-screen experience. On the left hand side the camera travels upwards, on the right downwards. Viewed as a whole, the movements become interlaced and in so doing make possible an experience of architecture as a fabric of interrelated movement and tension. In some of my videos I orchestrate serial, almost meditative processes, in order to create an experience of time structures. Their aim is an effect of timelessness, which sets in after viewing the work for some time.
108 MINUTES A DAY (GAGARIN)
The large-scale installation entitled 108 Minutes A Day (Gagarin) by Vittorio Santoro was especially conceived for the rectangular space of the MOCA Pavilion. The work takes the form of an architectural intervention including sculptural floor objects and it combines elements of historical research around the first human journey into outer space as well as participatory conversations with some inhabitants in Hangzhou, China.
Upon entering the exhibition the viewer is confronted with a vertical chain link fence that extends into the space and divides it diagonally into two distinct sections obliging the viewer to chose between the right or left side. On each side a wooden board sculpture lies on the floor and conceals specially collected objects under a painted canvas, which is held together by an intricate maze of cords; meanwhile a simple solitary glass, half-filled with water, is positioned in the corner of each section.
The conversations addressed the legacy of the Soviet cosmonaut Yuri A. Gagarin, the first human to have journeyed into outer space, and who orbited the earth in 108 minutes on April 12, 1961. Historically emblematic, Gagarin is a figure divided between the idealistic fervor of a young man compelled to serve a greater cause on one hand and the interests of the Soviet government and its Cold War policy on the other.
The conversations with the participants focused on those kinds of experiences that can be made intelligible only with difficulty because language’s power to express or describe might fail. In so doing, Gagarin’s radical 1961 journey served as a narrative blueprint. With the image of the experience of 108 minutes of the cosmonaut’s flight as a trigger for the conversations, the interviewees were asked to remember an equivalent intense and personal moment in their own lives and to associate an object with it. These objects are now concealed inside the two floor sculptures, where they might function as a plurality of latent, invisible testimonials of something exceeding or transcending language.
Vittorio Santoro's works are rooted in everyday observations, but push beyond them to reveal latent historical, aesthetic, sociopolitical, or even metaphysical realities. His characteristically intricate visual sensibility conceals a tension between the referential possibilities of objects and the choreographic nature of their placement in context. For each work he tries to choose specific way to manipulate conventions to desired effects believing that creativity is an ongoing process of continual change and reaction. In presenting his work with an obvious artificiality and abstraction without obvious explanations he ensure that the audience maintain an objective perspective on it. Santoro is sensitive to the unassuming nature of everyday interactions and through subtle means examines the notion of individual agency as it plays out within larger
networks of clichés, common ideals, models of authority, or processes involving manipulation and power.
Recent solo or group exhibitions include:
Europa–The Future of History, Kunsthaus Zurich, 2015, The Big Landscape (for a Day), Jérôme Poggi Galerie, Paris; 3 July 1913: Unexpectedly Arrested By Two Unidentified Agents From An Unspecified Agency On Unspecified Charges, Counter Space, Zurich, 2014; Quadrilogy 2: I Think It Rains, 1a space and Burger Collection, Hong Kong, 2013; Correspondances, Espace culturel Louis Vuitton, Paris, 2013; Vittorio Santoro Filmic Works (screening), Centre Pompidou, Paris, 2012; Owls Move Their Entire Head to Change Views, Fondation Ricard, Paris, 2012; Le Nouveau Festival, Centre Pompidou, Paris, 2012; Visionaries & Voyeurs, Irish Museum of Modern Art, Dublin, 2011; Que tout le monde vive comme si personne « ne savait », Rosascape, Paris, 2011; The Unbearable Lightness of Being, Yvon Lambert, New York, 2011; Conflicting Tales, Burger Collection, Berlin, 2009; La chambre de Marlow, Galerie Xippas, Paris, 2009; Shifting Identity, CAC, Vilnius / Kunsthaus Zurich, 2008; The Truth About Your Own Tolerance for Cruelty, Cortex Athletico, Bordeaux, 2007; Learn to Read, Tate Modern, London, 2006; It’s All In Your Mind / C’est tout dans ma tête, Yvon Lambert, Project Room, Paris, 2003.
This project is supported by Pro Helvetia‘s artist residency program, in collaboration with MOCA Shanghai.
Vittorio Santoro would like to thanks: Liao Yiming, Wang Yimeng, Shi Ruizhang and Zhang Shunren.
Read Art World
OpeningHours: Monday - Sunday 10:00am - 9:00pm
Location:MoCA Pavilion(Gate 7, People’s Park, 231 Nanjing West Road)
Reading,art, and the world – These three elements are closely linked up like three major characters in a tremendous drama. Reading is the starting point that connects art and the world. The world is not a mere self-fancied object. When you calm down and meditate, you will find you are one with the world and vice versa. Through reading, artistic cognition enriches your inner world and the inner world again can be expressed by art. Reading art means reading the world. As art becomes part of your life, your life becomes art itself. Hence, you will understand the dialectical relation between moving forward and taking a break.
As September also marks the 10th anniversary of the Museum of Contemporary Art, Shanghai (MoCA Shanghai), “Read Art World” will be available at this year’s new lounged exhibition space, the MoCA Pavilion, where its glass box space located on a busy street will be transformed into a reading room. For the first time,all 300 issues of Art World published since 1979 will be available at this exhibition. Visitors will have the opportunity to appreciate the original copies in the reading room.
Art World has grown as a close media partner to the development of contemporary art in China, witnessing and experiencing all the crucial moments of contemporary art’s development. From the early encompassing outlines on art related topics following in-depth coverage art reports, the publication has become an integral part of the living art world, which has further planned a rich array of exhibitions, forums, and other events. Committed to the understanding of the world from the art perspective, Art World continues its exploration of the limitless possibilities of artistic practices.
This September is accompanied by the arrival of the 300th issue of Art World magazine. The special edition provides us with an extraordinary review on the significant experiences of 2000-2009, covering 14 key topics that have impacted our times, interviewing key personalities that have lead the tides of time, while pursuing the perennial question: Have we changed the world or has the world changed us?
BLAST! Collaborate with ART IN THE CITY
The project is organized by Art In The City in collaboration with Arthub, Flatmind, K11, MoCA Pavilion and Phoenix Art, and supported by LIAN Cultural Development. The project is also supported by Media Partner LEAP and International Media Partner Kaleidoscope.
The 8 short videos that made it to the final selection will be on display at MoCA Pavilion, chi K11 art museum and BMW Brand Experience Center on the occasion of Art in the City Festival in September 2015.
Submissions were ranked by a jury composed of experts from the world of digital and contemporary art: Aaajiao XuWenkai – New media artist; Alessio Ascari– Kaleidoscope Founder & Editor-in-Chief; Roberto Gianstefani – Flatmind Co-Founder; Miltos Manetas – Painter, conceptual artist and the orist; Robin Peckham– LEAP Deputy Chief Editor; Yang Zhenzhong – Artist Chair of the Jury: Davide Quadrio– Curator, Arthub Founder, co-curator of Art In The City Festival
By opening the call to everyone, not just limiting its reach specifically to artists and professionals fromthe creative world, BLAST! wishes to explore the accessibility of digital media. With unprecedented access to creative technology being taught in school and habitually utilized in our personal lives, everyone has the tools necessary to realize quality content. With smartphones and tablets, we each carry around our very own pocket production house 24/7. The Open Call will explore how this intersection between accessibility and artistic intention affects contemporary digital art in Asia.
Technology allows us to film, edit, produce and share our personal experiences in a creative manner.Anyone with the right apps can swipe, pinch, click and tap their way into a digital production. Of course,artists themselves are also employing these devices, illustrating the inevitably of art mimicking life and life mimicking art. The distinction between who is an artist- and what is art- becomes harder to delineate.
The rapidly evolving perception of media in a post-net world alters the way we engage socially, professionally and creatively. The ubiquitous dissemination of screens, the proliferation of electronic devices, combined with the unspoken commandments of interaction within digital platforms, are reshaping our communicative patterns within the virtual and physical worlds.
BLAST! challenges creatives to express themselves in a medium that is often criticized for disrupting
‘normal’ patterns of social behavior while engaging with the public. We called for submissions of new
media leveraging digital technologies, including video art, interactive art, multimedia digital art, computer art, found footage, live cinema, audio-visual performance, video installation—arguably all mediums that could be emblematic of the detached digitization of our everyday lives.
The contextual breadth of the BLAST! Open Call is complemented by the MoCA Pavilion—one of threeShanghai venues where the winning submissions will be displayed. Unlike other, more secluded spaces, the pavilion benefits from its placement in a highly trafficked urban area. The pavilion is free and available to the public for 11 hours everyday. The ability to artistically express oneself is no longer limited to the minority who call themselves artists. Everyone has the ability to produce content; MoCA does not limit access to view and interact with the exhibitions in their street-side space.
Special Comix Economics
Although comic strips are esteemed as the “ninth art”, they are mostly considered to be a kind of consumer culture code. In the 1990’s, when Japanese Manga had a domestic fall, it found its way in to the Chinese market. Firstly, seen as a cultural invasion, yet it marked the dawn of the local comic industry. The young generation grew up reading pirate comics along the waves of big changing concepts.Obsessed with their passion, committed to money or sensitive to the image, they have started the comic practice. Yet when their passions and ambitions collided with the practical side of the profession, each of them chose different options.
“Special Comix” embodies the collective thinking of a group of artists towards comics from different angles. They share similar taste, however, they have different perspectives andexperiences. Invited by MoCA Pavilion, they will bring us “Special Comix Economics”, part of which will show what they have created, and realize what they have thought recently, trying to build an economic mode of “cultural production”. Economy has been a major topic in the past 200 years, no matter if sometimes deliberately ignored or excessively emphasized, it is worthy to be talked about. Since exchange is the basis of the economic system, what kind of exchange exactly happens between readers or creators in the comic industry will be our question.
Love in the Park
Parks play an important part in Shanghai local people’s daily life. And because of some historical and population factors, the activities in the park are diversified and park-goers may come from all walks of life. Meanwhile, as a permanent public space, park witnesses the history and then has an inseparable relation with the love and marriage of local people. People’s Park began to open at night in 1980s and it was a smash, and now its matchmaking corner is also a hit, which all demonstrate one notion: the close connection between park, love and marriage fully reflect the evolution of history, culture and ideology.
MoCA Pavilion, in collaboration with Ray Art Center and artists Wu Jiayin, Xu Jie and Wei Bozhi, will invite you to join in our brand new project--Love in the Park. The whole project consists of two different sections, “Free Wedding Photo Shooting” tries to link the development and change of Shanghai wedding shooting in the past 20 or 30 years.The interview part aims to keep and save some literature for our previous generation by means of documentary. The “Blind Date” held on weekends tries to artistically recreate the situation of matchmaking corner in People’s Park; bringing this unique and special Chinese “landscape” into a real museum.At the same time, a social survey is completed with audiences’ interaction. With the help of these activities, we are hoping to find a kind of connection in the way we view love and marriage between us and our parents and then present these connection.
With this project Love in the Park, we sincerely hope that we can explore and practice the topic of love and marriage from the perspective of arts; and we try to study and do research on this topic in an open way that the public can participate, so as to reflect on our current attitude toward love.
Faith, Courage, Three Pounds of Flax
MoCA Pavilion, the new experimental space of the Museum of Contemporary Art, Shanghai presents: Faith, Courage, Three Pounds of Flax, a conceptualist exhibition realized through a collaboration of the two artists Gao Mingyan and Wang Yiquan. Taking performance art as its point of departure, the artists have worked in various ways, individually and collectively conducting artistic interventions, performative actions and group interviews in order to explore a core question, namely “what is the most cherished attribute for an artist in his or her day to day life?”
Faith, Courage, Three Pounds of Flax is a koan-esque artistic creation, mapping the thinking and practice of the two conceptual artists, Gao Mingyan and Wang Yiquan, who view contemporary art as constantly revisited ideas, rather than merely fine crafted objects. Throughout its duration, the exhibition Faith, Courage, Three Pounds of Flax will ever grow as well as transform the MoCA Pavilion’s physical space into a testing ground for conceptual art. The exhibi-tion is accompanied by a number of events and live performances, featuring Gao Mingyan and Wang Yiquan’s creative input, including:Contemporary Boxing, Artist Visa Service,Still Life with Fruit Dish, The Art of Elevator Pitch, People’s Park Shuttle and other well-planned events. For more information and event appointment, please visit www.mocashanghai.org and official wechat account " 上海当代艺术馆 ".
Faith, Courage, Three Pounds of Flax is organized by MoCA curatorial & education department and also supported by 1933 Contemporary, Shanghai.
Curated Nail Residency
Artist Funa Ye launched an art project--Exhibitionist: Nail Project. Nail, treated as a special limited exhibition space in Nail Project, plays the same roles as galleries, art museums and other contemporary art exhibition space and institutions presents do, for example, curating, exhibiting, selling, broadcasting, residency and publication education and so on, which blurs the boundary between daily life and art exhibition.
Now Funa Ye presents a part of her Nail Project-- Nail Residency-- into MoCA Pavilion. Artists, curators and manicurists will be divided into three groups （Week 1 A Young Girl’s Heart & The Soul of Science：From Virtual World to Real Life, and Then to Virtual Manicure；Week 2 Finger Patterns and Week 3 Finger Theatre Performance） to accomplish this project and the involved fields include interactive media, network art and network platform, painting, curating panel, performing arts, manicure products and so on. The experience, discussion, research and practice people get from Nail Residency will deepen their understanding about the special space and medium. During the residency, the artists will present a series of workshops, lectures, exhibitions and performance open to the public.
Since its launch in September 2014, Nail Project calls for curating proposals on “nail” this special space. Nail Project and some participants will carry out these proposals and present them in Micro Message Public Platform. At the same time, many offline activities will be held to make “nail exhibition space” happened on everybody’s nails.
Urs August Steiner
As is characteristic of Urs August Steiner’s work, Orbit 2046 makes reference to the fantasies of cinema. Taking inspiration from Wong Kar-wai’s 2004 film, 2046, in which a train hurtles inexhaustibly through time, the work explores the postmodern complexities in establishing a grounded reality.
In 1994, Swiss conceptual artist Dieter Meier returned to a plaque he had installed in Kassel during Documenta 5 (1972). The plaque had the prophetic inscription: "On 23rd March 1994, from 3 to 4pm, Dieter Meier will stand on this plaque". It was a bold promise that flirted with the follies of chance and fate.
Our ideas of “presence” -- or of being in a fixed place -- have now been reconfigured by the spaces offered by the internet: an expansive secondary universe that exists between infinite servers and networks. We are everywhere at once, dispersed across an infinite cybernetic realm that has defied our understanding of time.
In Orbit 2046, Steiner reverses Meier’s vow, translating it to this virtual world. The central element in this project is a website (http://www.orbit2046.com) that hosts a video. The video depicts an endlessly spinning roulette wheel void of markings, quietly overseen by a croupier.On January 1st, 2046, the website will be deleted. In the intervening years, a logbook will document every change made to the interface.
Whereas Meier anticipates an embodied moment after a prolonged absence, Steiner maintains an omnipresence before eventual erasure. The roulette wheel represents the mechanisms of probability: like the ball jettisoning off the wheel repeatedly, we wait for the outcome of our own orbital path.
8Hz Hypnosis Lab
Wang Xin, an artist and hypnotist, operates 8Hz Hypnosis Lab. The lab focuses on exploration and experiments related to hypnosis and arts, especially trying to explore the possibilities of visual artistic expression under hypnosis. Meanwhile, the lab is a program for artistic exploration, rather than for psychological or hypnosis therapy. The lab is different from a scientific research institution or psychological laboratory specialized in hypnosis research. In here, the artist, by means of hypnosis, carries out the empirical artistic work and explores inner self from an artistic perspective.Hypnosis is not as simple as closing your eyes and following the guidance of your hypnotist.8Hz Hypnosis Lab explores empathy, creativity, stimulation of imagination, as well as a series of relevant scenarios and applications. Intense focus can be achieved under hypnosis, just like focusing on tasting a strawberry, concentrating in mandala painting or being absorbed in a game that needs imagination and etc.
The artist Wang Xin brings her 8Hz Hypnosis Lab to MoCA Pavilion, and it’s more than an exploration in the realm of arts and hypnosis. We are trying to maintain an open atmosphere, where by we invite professionals from relevant fields to give workshops, lectures, talk shows, etc.; we provide a fun environment of good games and offer great experience. In all, we provide an open platform of exchange, experience, and exploration. In all these activities, 8Hz Hypnosis lab will explore how hypnosis become a part of these activities in different forms, for example, some fun games can be a way to lead people to empathize, thus to inspire imagination and creativity or attract people to experience.
Now 8Hz Hypnosis Lab is supported by Imagokinetics, the main Laboratory space is in the Imagokinetics art centre in Hangzhou.Welcome to visit the website of 8Hz Hypnosis Lab: vvwxvv.org/8hz_hypnosis_lab.html
Hexhedron Art Project by Toru Harada
we can present outstanding work to society. The public gathered here in Shanghai is an integral part of the artwork, emanating from the community, giving new meaning to the assertion. The work within the space is also away of interpreting language, using the artist as a viewing glass. An interpretation of the language every day, using the very space MoCA Pavilion, the art project space of Museum of Contemporary Art, Shanghai, giving a new experience to what the artist is conveying. The work on display can be likened to hieroglyphs, shaped figures in simple lines that give the viewer a clear sense of the symbolism at stake. Using recycled garbage, deemed useless by society, gives a clear sense of the artist’s intent to denounce the consumerism. Even unwanted material can have a strong,meaningful voice within the relentless development of society. A new life is being breathed in these objects, now used as a communication tool. Program 1 Live painting by Toru Harada
The Maids in Enclave
Based on the exploration of possibilities to integrate contemporary theatre with contemporary art exhibitions, we have come to plan “The Maids in Enclave”－an “experimental theatre-exhibition” project. The MoCA Pavilion (Museum of Contemporary Art Shanghai Art Pavilion), unlike for common museum space, it is located independently from the main museum building, next to a crowded street with passengers passing by. The whole space, with two pieces of full height glazing, is open to the public and seems to resemble a stage. However, at the same time it cannot be totally separated from the white box space of the museum, therefore, it is an exhibition space as well. This fuzzy edge of the space defines it as a remarkable place for exploring the co-existence and mix of theatre and exhibition.
Generally speaking, a theatre play can last from a few minutes to one or two hours，while the duration of an exhibition is much longer, a few days up to several months. Theatre emphasises the being on site, characterised by immediate response and a sense of ritual, wherefore, it needs to move the audiences in a short time; for an exhibition though, it does need an onsite view, but the audience can take their time while moving along the halls, looking at the artworks almost without any limitation of time, and long duration exhibitions even allow the audience to come back to appreciate over and over again. If we specify theatre as a “point” that attracts audiences, then an exhibition can be understood as a “line” that is extensible. In this “experimental theatre-exhibition” project, we try to extend the “point” of drama into the “line” of an exhibition, which is going to last for about more than ten days. Through continuous change inside the space (including contemporary art works and drama performance), breaks and continuity of the length of play will emphasise the role of time in the production of drama. During this process, the “line” of exhibition will be merged into three “points” viz three-act drama, which is played out by a co-operation of performing artist Huang Fangling and three other artists, specialising in sound, space and video respectively. Even though the elements of theatre are detached and deconstructed, the dramatic tension and presence still runs through the exhibition.
The concept for this project starts off with the idea of exploring the experimental integration of theatre and exhibition space, while the actual content is inspired by a famous play of the Theatre of the Absurd － The Maids. The Maids is a one-act play with only three characters in role: maid Claire, maid Solange and their master Madame. While their master is out, Claireand Solange take turns at dressing up as Madame and insult her to express their hatred. In the end, they drink poison, originally meant for Madame, by mistake and kill themselves. In this Theatre of the Absurd there is nearly no plot, but some complex contents can be found such as: role-play, mirror images between self and other, obsession and hatred, domination and obedience, reality and illusion and so on. With the drama in hand, the fields, standpoints and roles of each other are pondered repeatedly between artists and artists, artists and curators, theatre and exhibition, furthermore, they decompose and refine what the writer was trying to imply in the drama. Later, they integrate the implications into this extraordinary space, a combination of theatre and exhibition space.