PHOTOFAIRS SHANGHAI 影像上海艺术博览会 | 展位 Booth. A04
艺术家 | 陈秋林、陈萧伊、黎朗
Artists | Chen Qiulin, Chen Xiaoyi, Li Lang
尊贵藏家预览（仅限邀请）｜COLLECTOR PREVIEW (INVITED ONLY)2023.4.20. 14:00 - 21:00
贵宾日（仅限邀请）｜VIP PREVIEW (INVITED ONLY)2023.4.21. 12:00 - 20:00
公众开放日｜PUBLIC DAYS
2023.4.22. 12:00 - 20:00
2023.4.23. 12:00 - 18:00
上海展览中心，上海市静安区延安中路1000号
Shanghai Exhibition Centre
1000 Yan'an Middle Road, Jing'an District
千高原艺术空间欣然宣布参加PHOTOFAIRS SHANGHAI 影像上海艺术博览会，我们将于4月20日至4月23日在上海展览中心呈现艺术家陈秋林、陈萧伊、黎朗的作品，展位号A04。
A Thousand Plateaus Gallery is participating in PHOTOFAIRS SHANGHAI from April 20 to 23 at Shanghai Exhibition Centre, showcasing works of Chen Qiulin, Chen Xiaoyi and Li Lang. Booth A04.
陈秋林
Chen Qiulin
▲陈秋林，溺（预告）， 肢体实验、声音行为，肢体表演者：郑媛芫，声音行为艺术家：陈弘礼，2021Chen Qiulin, Drown(Trailer), Body experiment, sound performance, Performancer: Zheng Yuanyuan, Sound performance artist: Chen Hongli, 2021
▲陈秋林，溺，行为表演摄影05，哈内姆勒摄影纯棉美术纸，艺术微喷，50.5 × 90 cm，2021Chen Qiulin, Drown, Performance photograph 05, Hahnemuehle Photo Rag 308gsm, Giclée Print, 50.5 × 90 cm, 2021
Chen Qiulin, Drown-documentary, Video, 1:22', 2021当Covid-19在2020年初爆发时，没有人想到它将成为史无前例的全球性流行病，艺术家陈秋林也没有。疫情带来的恐惧与焦虑，冲突与争执，禁锢与对抗无形中揭露了人与当代社会的脆弱。陈秋林捕捉到这其中人与社会的极致脆弱。在她最新的综合媒介现场肢体项目《溺》（2021）中， 作为女性艺术家的陈秋林，沿用易碎的中国传统食材豆腐作为创作媒介，结合空间装置、肢体行为表演、现场声音创作以及影像输出等综合媒介，从直观展现人在禁锢下的脆弱与挣扎出发， 重省女性身份以及本地传统在全球化疫情以及地缘禁锢环境下的意义。不同于以往陈秋林的行为作品，《溺》是一件现场集体创作的公共项目，联合了现代舞蹈艺术家郑媛芫和声音艺术家陈弘礼。该项目也摒弃常规的现场配乐，而是加入声音行为艺术的方式：邀请声音艺术家通过对作品环境及现场的感受，用自己的身体以全息声的方式感知现场舞者带来的戏剧变化，和肢体语言产生互动关系，即兴捕捉和创作声音，最终形成《溺》作品现场声音的全息文本。
When covid-19 broke out in early 2020, no one, including artist Chen Qiulin, anticipated it would become an unprecedented global pandemic. The fear and anxiety brought by the pandemic aroused struggles and constraints and emphasized the conflicts and resistances. Chen Qiulin sees the fragility and vulnerability of humans and our contemporary society. In her most recent non-site-specific body experimental project Drown (2021), Chen uses tofu - a traditional Chinese food ingredient and a cultural symbol, fragile in nature - as her creative medium, combining installations, body performance, live sound creation, and video output to visually showcase the human presence. Through exploring fragility and struggle under the pandemic induced confinement, Chen Qiulin sets out to re-examine the reflections of female identity and local traditions in the context of a global epidemic which has highlighted and exacerbated geopolitical constraints and cultural conflicts.
Unlike Chen Qiulin’s usual solo performances, Drown (2021) is a collaboration with modern dance artist Zheng Yuanyuan and sound artist Chen Hongli. The performance abandons the conventional background music, but instead, the sound is captured and produced through a live sound performance - the sound artist is invited to use his own body to perceive the dramatic changes brought by the dancer, interact with body language, improvise on the sounds he collects onsite, and eventually compose the holographic sound for the Drown video piece.
▲陈萧伊，当特提斯海向西退却，留下残响（预告）， 4K影像，彩色，24’52”，2022，Ed.3 + 2AP，声音：白水Chen Xiaoyi, When Tethys Sea retreats westward (Trailer), leaving the reverberation, 4K, Single channel video, Color, 24’52”, 2022, Ed.3 + 2AP, Sound: Baishui
▲陈萧伊，荒壳心事（系列），UV印刷铝板，100 × 200 cm/120 × 240 cm，2020-2021，独版Chen Xiaoyi, Those Meander Worries in Barren Shell (series), UV print on Aluminum plate, 100 × 200 cm/120 × 240 cm, 2020-2021, Unique
▲陈萧伊，横断地星图，屏风装置，230 × 300 × 3 cm，2021，Ed.3+2APChen Xiaoyi, A Star Atlas from Hengduan's Core, Folding Screen Installation, 230 × 300 × 3 cm, 2021, Ed.3+2AP6500 万年前，欧亚板块与印度板块的挤压，古特提斯海退却，横断山脉由此诞生，那些古老的矿床都诞生于海洋中。在中国西南山地的藏族彝族的传说中，矿石是山神的食物，而谁能预料到，人类千百年来，就这样夺走了山神的食物，从而铺开了通往现代文明的道路。《当特提斯海向西退却，留下残响》是以在高海拔山区所崇尚的白海螺作为线索。影像在定格镜头中切换，都与“风景”有关，而这些风景聚焦于中国西南横断山脉废弃的矿区与山林。对应影像的文本和旁白，分别是一位尔苏族的老人在用他们即将消失的濒危语言，讲述古老的白海螺传说；另一部分改写自诺瓦里斯未完成的小说《Heinrich von Ofterdingen (1802)》，探讨由地下世界引发的感知与思考。在生命尺度的短暂性与土地恒久变迁的关系中，召唤一个远古的时空；就如同影像，虽拍摄于当下的矿区废墟、自然与山林，但所在文本的复调中，引起的想象是关于地层时间的堆栈。白海螺如同一个钥匙的存在，作为一种尺度对话之间的联结，是从现在到过去的一种时间推移，从山峰回到海洋，从人回到石头。65 million years ago, the Indian plate violently collided with the Eurasian plate from south to north and the Paleo-Tethys Sea retreated. This led to the birth of Hengduan Mountains. Hence, those ancient mineral deposits were born in the ocean. According to the legend of the Tibetan and Yi people in the mountains of southwest China, ore is the food of the mountain gods. But who could have ever predicted that for thousands of years, humans have been taking away the food from the mountain gods, for paving the way to modern civilization.When Tethys Sea retreats westward, leaving the reverberation (2022) is based on the white conch revered in high-altitude mountains. The moving-images are switched between freeze-frame shots, all related to "landscapes". These landscapes focus on the abandoned mining areas and the land in the Hengduan Mountains in southwest China. As for The text and narration corresponding to the video, one is from an old man of the Ersu ethnic group who is using their endangered language to tell the ancient legend of the white conch, and the other is adapted from Novalis's unfinished novel Heinrich von Ofterdingen (1802), which explores the human’s experience in the face of ore. In the relationship between the ephemerality of the scale of life and the permanence and change of the land, This work summons an ancient time and space. Although we can only see the current mining ruins, nature and mountain forests, through the polyphony of video and text in this work, the aroused imagination becomes a stack of geological layers. The white conch is like a key, acting as a link between the dialogues in different scales as well as a time passage from the present to the past, the mountain to the ocean, the person to the stone.
▲黎朗，2012.12.31，UV输出，30毫米蜂窝纸板，油画棒，76.67 × 110 × 3 cm，2022，独版Li Lang, 2012.12.31, 4K, UV prints on honeycomb cardboard 30mm, Oil pastel, 76.67 × 110 × 3 cm, 2022, Unique
▲黎朗，2011.12.31，UV输出，30毫米蜂窝纸板，油画棒，76.67 × 110 × 3 cm，2022，独版
Li Lang, 2011.12.31, 4K, UV prints on honeycomb cardboard 30mm, Oil pastel, 76.67 × 110 × 3 cm, 2022, Unique
▲黎朗，2012.7.1，UV输出，30毫米蜂窝纸板，油画棒，76.67 × 110 × 3 cm，2022，独版
Li Lang, 2012.7.1, 4K, UV prints on honeycomb cardboard 30mm, Oil pastel, 76.67 × 110 × 3 cm, 2022, Unique
▲黎朗，2011.7.1，UV输出，30毫米蜂窝纸板，油画棒，76.67 × 110 × 3 cm，2022，独版
Li Lang, 2011.7.1, 4K, UV prints on honeycomb cardboard 30mm, Oil pastel, 76.67 × 110 × 3 cm, 2022, Unique因为生活还要继续，因为明天还要来临，这天肯定不是最后一天。二〇一二年的最后一天，我清楚地记得那是最后一次去办公室，工作的媒体经营不善而关闭，不得不离开。在五百九十八天前，就是前一年的五月中旬，我才搬入这间新办公室。视线从办公室的窗户望出去，能看见一片建筑工地和散落其间等待拆迁的小楼。从那天起，由于每天都要去上班打卡，我开始日复一日地观察和拍摄这片区域，记录着窗外场景的变化，天真地想象着高楼拔地而起，这是十年前的事情。那时，微信还不流行，二维码也没听说过，更谈不上人脸识别系统。人们关心的是不断高涨的房价，房子有时成为比生命还重要的东西。今天，我使用日记和当时在办公室拍摄的照片，重新构建起那段时间的工作和生活。同时，用涂抹的色块把过去和现在连接在一起。回溯过去是强调对现在的感知，是对变化的生活有更清楚的认识。看似没有变化的摄影图像悄无声息地记录着时间的流逝，拆迁工地上细微的改变都隐藏着利益间相互的博弈，这是无法直接观看的，更是图像难以记录的。面对照片，我以为看到了一切，真相却无从知晓。庸常琐碎的日记记录下我生活中的细节，文字中有抱怨、失望、冷漠，而更多的是无奈。涂抹在照片上的色块是每一天留下的痕迹，也是勾起我回忆的模糊图像中的一个个像素点，拼合在一起的色块更像是用来遮蔽真相的马赛克。五颜六色的方块把甚是无聊的生活装扮得丰富多彩。渐渐地，我习惯对表面的观看，习惯被规训之后的观看，接受现实是缤纷绚丽的事实，以至于忘记生活的底色。忘记真好，生活在今天，而明天未知。As life has to continue, tomorrow is coming, and this day is definitely not the last day.On the last day of 2012, I vividly remember that it was the last time I went to the office, the media company I worked for was closed due to poor management so I had to leave. I moved into this new office only 598 days ago, in mid May of the last year. Looking out of the office window, one can see a construction site and scattered small buildings waiting to be demolished. From that day on, as I had to clock in every day to work, I began to observe and shoot this area day after day, recording the changes in the scene outside the window, and naively imagining enormous buildings rising from the ground. These has been past for ten years. At that time, WeChat was not yet popular, and I had never heard of QR codes, let alone facial recognition systems. People are concerned about the constantly rising house prices, and houses sometimes become more important than life.Today, I used my diary and photos taken in the office to reconstruct my work and life during that time. I also used the applied color blocks to connect the past and present together. Looking back on the past emphasizes the perception of the present and provides a clearer understanding of the changing life.The seemingly unchanged photographic images silently record the passage of time, and the subtle changes on the demolition site hide the game between interests, which cannot be directly viewed, and are even more difficult for the images to record. Facing the photo, I thought I saw everything, but the truth was unknown. The mundane and trivial diary records the details of my life, with complaints, disappointments, indifference, and more helplessness in the text. The color blocks applied to the photo are traces left every day and also pixels in the blurry image that evoke my memories. The combined color blocks are more like mosaic used to conceal the truth. The colorful squares adorn the boring life with richness and variety. Gradually, I got used to watching the surface, getting used to watching after being disciplined, accepting the fact that reality is colorful and gorgeous, so much so that I forgot the background color of life. It's really good for me to forget, live today, and keep tomorrows unknown.陈秋林（b.1975）生于湖北省宜昌市，现工作生活于成都。2000年毕业于四川美术学院版画系。她的作品涵盖录像、摄影、装置和雕塑在内的各种媒介，创作始终处于一种不断发展和推进的状态中，在频繁论述的问题中引入全新的观点和视角，对于社会问题拥有独特的敏感度。陈秋林获得的奖项包括：第一届蒙彼利埃中国当代艺术双年展最佳新人奖（2005）、ACC（纽约亚洲文化协会）奖助金中国受奖人（2006）、JP摩根世界女性论坛首届亚洲大会新星提名(First Asian World Women Forum Rising Talents Programme Nominee)（2008）、第四届AAC艺术中国年度影响力2009年度青年艺术家提名奖（2010）、改造历史学术大奖提名奖（2010）、Loop Award of Loop Art Fair（巴塞罗那）（2017）。
陈萧伊（b.1992）出生于中国四川，于 2014 年获得伦敦艺术大学纯艺术摄影硕士学位，目前工作生活于成都。她的作品基于摄影，并不局限在具体的媒介当中，通过生产图像的方式，关注于生命体的微妙感知，并不断挑战既定的逻辑、感知与想象来探讨存在本身的问题。在近年来持续进展的项目中，她关注过往历史中西部作为资源区，聚焦于横断山脉区域的矿山与开采遗迹为切口，持续地打捞那些失落的时间，自然与大地的迷团。从过去的采矿业到如今的山地生境，她在山脉的时空堆叠与土地关系中展开工作，并尝试通过更旷阔的叙事对西部山地进行“影像的扫描”。
黎朗（b.1969）出生并生活于四川成都。他的影像作品利用摄影获得的图像来呈现生活与现实错中复杂的关系，以及对历史、记忆和社会的追问。黎朗的作品曾获得过中国连州国际摄影节刺点摄影奖（2019）/美国琼斯母亲国际报道摄影最高奖 The Motherjones Medal of Excellence（1998）。作品曾被收藏的机构：美国旧金山现代美术馆、中国上海美术馆、西班牙瓦伦西亚现代艺术博物馆、中国广东美术馆、中国麓湖·A4美术馆、澳大利亚悉尼白兔美术馆等。展览日期 | 2023/03/11 — 2022/04/23艺术家 | 卜萱、曹根、侯逸杰、黄杰、
刘珂旺、刘诗琪、刘唯一、朱鑫
策展人 | 许晟
作品媒介 | 绘画
展览地点 | 四川省成都市高新区盛邦街，铁像寺水街南广场，千高原艺术空间
千高原艺术空间 | A Thousand Plateaus Art Space千高原艺术空间2007年创立于中国成都，是致力于展示并推进中国当代艺术的专业性画廊，设有艺术作品展示厅，影像资料收藏和放映室。主要研究、展示和推动与中国当代艺术文化相关的优秀作品和实验性主体项目，积极开展国内、国际的合作项目。千高原艺术空间主要展示和推出成长中的有突出才能和价值的艺术家的作品和项目，并发现和推动新的有创造力的艺术家，迄今主要代理和合作的老中青三代艺术家超过20位。通过展览、博览会、学术讨论活动、出版等方式，致力于构架艺术家和社会、机构、收藏者之间的沟通渠道，提供包括艺术作品销售、量身定做的艺术项目、收藏品咨询管理、艺术教育项目以及展览策划。除了在超过1000平方米的画廊空间的展览项目，千高原艺术空间亦积极参加国际国内的重要艺术博览会，包括香港巴塞尔艺术展 (Art Basel HK)、香港国际艺术展(ART HK)、艺术登陆新加坡(Art Stage Singapore)、今日亚洲 | 巴黎亚洲艺术博览会 (Asia Now | Paris Asian Art Fair)、上海廿一当代艺术博览会(ART021)、上海西岸艺术与设计博览会（West Bund Art & Design）、艺览北京 JING ART、艺术成都 Art Chengdu、上海艺术影像展(Photo Shanghai)、西班牙路普艺术节（Festival LOOP）、Paris Internationale 、LISTE in Basel等等。A Thousand Plateaus Art Space was founded in 2007 in Chengdu, China. It is a professional gallery committing to presenting and promoting China’s contemporary art. Equipped with exhibition halls for artworks and collections and a screening room for videos and discussions, it focuses on researching, presenting and promoting outstanding works and experimental projects of China’s contemporary art and culture by carrying out domestic and international projects.A Thousand Plateaus Art Space devotes itself to presenting works by emerging artists who have outstanding talent and merit, and to discovering and promoting new creative artists. To date, it has represented and cooperated with over 20 artists of all ages. Using exhibitions, art fairs, academic discussions, publications and so forth, it is dedicated to establishing the communication channels between artists and the society, institutions and collectors. The gallery also organizes artwork sales, tailored art projects, collection management consultings, art education projects and curatings.In addition to the exhibitions and events in the over 1,000 square meters gallery space, A Thousand Plateaus Art Space also takes an active part in important international art fairs including Art Basel in HK, Art Hong Kong, Art Stage Singapore, Asia Now | Paris Asian Art Fair, ART021, West Bund Art & Design, JING ART, Art Chengdu, Photo Shanghai, Festival LOOP and Paris Internationale, LISTE in Basel etc..
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千高原艺术空间 A THOUSAND PLATEAUS ART SPACE开放时间：周二至周日（周一闭馆），11:00-18:30地址：中国. 四川省成都市高新区盛邦街，铁像寺水街南广场
