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Content
Introduction
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Left & Right 左右 2012 Tour Beijing - Nanjing Exhibition Beijing 2012
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Cao Kai
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The presence of the audience
Zhao Li 赵理
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Organ Hause Chongqing
Ni Kun
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Nanjing Film Festival 2012 a letter
红包 - Hóngbāo Artists
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Olga Alexopoulou Ruth Anderwald & Leonhard Grond Lucia Dellefant Karel Dudesek Li Qiang 李枪 Marlene Haderer Kilian Immervoll Gregory Eddi Jones Piotr Kotlicki Ben Landau Stefan Lux Jisook Min Aurora Molina Shannon Novak Sora Park Bernhard Staudinger Clemens Stecher Anita Steinwidder, Jasmin Ladenhaufen & Xinyuan Zhenglu Kim Taegon Sylvia Winkler & Stephan Koeperl
32 36 40 44 48 54 58 64 70 74 78 82 86 94 96 100 104 108 112 116
Rural Construction Status
Zhao Li 赵理
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das FANTASMAGORIA
Célia Picard & Hannes Schreckensberger
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Hallstatt in China
Matthew Niederhauser
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Chongqing jellyfish
Hao Tian, Huag HaiYang & Shi Jianwei
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Beijing light park skyscraper Fake Ghosts of Reality
大字报- Dazibao Artists
Allen Au, Lukas Birk, Karel Dudesek
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Lukas Birk Yu-Hsiang Cheng Marianne Csaky Alice Dittmar Drury Brennan Bernhard Gwiggner Tina Hochkogler Ulrike Johannsen Anton Petz Liu Tao 刘涛 Letizia Werth
146 148 152 156 160 164 170 174 178 182 188
Outdoor installations ChongQing
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Exhibition at the OrganHouse
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Curiculum vitae Credits & Acknowledgements
Hongbao & Dazibao
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With generous support by
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Introduction The potential of a situation, the potential of a city, the potential of the people living in an urban or rural configuration. It is not predictable what will be found or what will be elevated to the surface. An common model of operation is to enter a situation with an already existing conclusion what to expect, accordingly to act, to fail, than to regret and to repent. Theory - practice - planning and then execution. This method we will not apply. Instead, we admit that we do not know what will happen, our aim is to read and cooperate with the actual situation. The un-viewable to view from inside of a situation. The exhibition sets five starting points: 1. indoor spacial installation, 2. indoor wallpaper, 3.outdoor wall based works and 4. outdoor site specific installations in public space and 5. Workshop on the use of “public space”. The 2013 exhibition will grow out of the exhibition place and find places in the city to connect with. Either as an continuing wall based display or an site specific installation, Either as an continuing wall based display or an site specific installation, where public space is turned into art work.Since 2012 for the Embassy of the Arts the public space became more and more an anchor point of interest. We think artist should claim the Commons (Commons refers to the cultural and natural resources accessible to all members of a society), artist should not let aesthetics of the city surface be dominated to the advertisers and architects. The spacial construction will be build like a 3 dimensional brush stroke, one after the other. From day 1 the public can attend the exhibition build up, the buildup of the spacial construction and the hanging of the artworks. The surrounding walls are used for contextual indexing of the exhibition with digital prints containing photos and texts, which relay to the artworks. The visitors themselves can leave notes or post images, which can as well relate to the displayed artwork. Both the installation and the surrounding wallpaper will travel on, to a next exhibition space to be reworked. Dazibao and Hongbao. We refer metaphorically to an almost forgot4
ten Chinese tradition of public displays, called “Dazibao - 大字报”. This have been primarily huge handmade calligraphic wallpapers carrying, information, symbols even drawings which propagated a certain ideology. Today, similar calligraphy based banners remain in the whole of China, we call them banners. They are made of red fabric, on it white or yellow letters. In 2008 Austrian artist Ralo Mayer used the banners as his public art work in Chengdu for the first time, his work was later on display at the first ASAP exhibition “Mifan” in 2009, in 798, Beijing. Other public displays which we found significant are the huge “propaganda poster walls”, fencing building sites for the estate market, mostly displaying urban paradise with smiling faces. Hongbao -红包 is the famous “red envelope” which is bridging celebration and corruption, it is related to happiness and money. The ritual of the red envelope is known all over Asia and is used in daily live. Urban and Rural Todays social and cultural concepts are bouncing between these two configurations. We do not know exactly what is the driving force behind it. Feeding the people, making profit through real estate, providing managed supplies, or, just to say 70% of all will live sooner than later in big cities? Means 70% of shoppers driving the domestic economy. What roles will artist, musicians, film makers, writers, poets play? The tension between the individual who compromises to fit into the collective. Cities like Beijing are already to unhealthy to live in. Between 200-800 Pm 2.5. In 2013 the breathing mask became an new fashion item, used in polluted air or in teargas clouds. Farmers loose they land and are displaced into big cities, to life in huge houses and work in shifts in factories. From ASAP to TEoTA In the indoor as well as in the outdoor exhibition we present works of artist curated out of our 2013 open call. Additionally we also selected out of the artworks from past ASAP exhibitions to provide an historical context what artist so far have created during their limited stay in China . In 2009 ASAP, was based in Beijing,
mainly to source out of the incoming Austrian artist through the international residency program by the Federal Ministry of Art, Education and Culture, in Vienna. About 12 Austrian artist are coming to China to work there annually. ASAP produced in 2009, 2010, 2011, comprehensive art exhibitions of contemporary young art, mostly in an classical exhibition format. In 2012 we decided for the first time to alter the exhibition format and enter the public space. It was then The Embassy of The Arts (TEoTA) was founded, a trans-national and trans-medial platform. Today the Austro Sino Arts Program cooperates with the “The Embassy of The Arts”. TEoTA is public and mobile. The conceptual idea of the Embassy of Art Exhibition derives from two terms Hongbao (the red envelope) - Dazibao (text banners) and two exhibition formats. Indoor at the Organ House and outdoor in public, both in Chongqing. We subvert Hogbao and Dazibao but keep the original meaning, transforming and stretching them into contemporary form. This represents for the curators the main contextual framework. Both Hogbao and Dazibao have a need to surface in public. The art works in this years exhibition show what impressed the artists most during their stay in China. Their irritations, misinterpretations, their individual critiques, their subjective views, their translations into naivety, their romantic collecting of the exotic, their imported manipulated reservations.
Hongbao - Artist Ink drawings by Olga Alexopoulou, black and white 16 mm film by Ruth Anderwald + Leonhard Grond, fake ghost of reality, media installation and performance by Allen Au, Lukas Birk, Karel Dudesek, the driving destructive housing market designed by panicking architects as drawings by Lucia Dellefant, history reenacted: rental court yard & and the revanche of Meimei, digital readymades by Karel Dudesek, 5 uncut documentary videos about Christian farmer communites in China by Li Qiang, the patterns of the fashion brand Louis Vuitton wrapping houses bound for demolition, wallpaper by Marlene Haderer, white wall with hundreds of hooks in pub-
lic space, installation by Killian Immervoll, the individual in search for more wealth, photographs by Gregory Eddi Jones, Artery move a video by Piotr Kotlicki, man and machine in a globalised world by Ben Landau, nature and the artificial a video collage by Stefan Lux, objectification of beauty, crude figures installation from Aurora Molina, the illusionistic copying of villages photographed by Matthew Niederhauser, augmented reality and music by Shannon Novak, breathing support for Chongqing, architecture concept by Hao Tian, Huag HaiYang & Shi Jianwei, existence and integrity face photograph by Sora Park, live and leaving home and abroad, video by Bernhard Staudinger, drawings of sweet rabbits beating up the enemy, drawings by Clemens Stecher, recycled socks become wearable fashion by Steinwidder & photographs by Jasmin Ladenhaufen and video by Xinyuan Zhenglu, communication technics between the inner and outer world by Kim Taegon, explorations of Fantasmagoria Chongqing by Célia Picard & Hannes Schreckensberger, mountains of waist surounding humans, performance photographs by Silvia Winkler & Stephan Koeperl. Dazibao - Artists Dazibao’s for one self, collages by Lukas Birk, big 3 dimensional letters spread in the city, photographs by Marienne Csaky, transformation of Chinese (risqué) advertisements by Alice Dittmar, Arabic and Chinese letters melted together unreadable in one maze by Drury Brennan, Mao goes to… a long text roll in traditional style, painting by Bernhard Gwiggner, narrative fictions collages by Tina Hochkogler, collapsed advertisements of young cosmetically engineered beauty found hidden behind trees, photograph by Ulrike Johannsen, the shadows of the past are thrown on to the readiness of todays global market, paintings by Anton Petz, portraits of people without a mouth, hearing, seeing and listing but disabled talking by Min Jisook, Liu Tao 刘涛 with physical Dazibao’s , paint out of the dirty rivers Yangze and Jialing on white paper, drawing and performance by Letizia Werth, electric fields interruption as projected colour circles, video by Yu - Hsiang Cheng. 5
The exhibition is made possible by the support of the Austrian Culture Forum Beijing and the Federal Ministry of Art, Culture and Education Vienna, Austria.
简介 艺术使馆和ASAP将于2013年9月23日至10月 8日在重庆器Haus艺术空间合作呈现“红包 和大字报”展览。展览开幕时间为9月30日 下午5点。 所处情境的潜力，城市的潜力，生活在城市 或乡村结构中的人们的潜力。我们无法预测 什么将会被发现，也无法预测什么会被提升 至表面。通常的操作方式是带着期望的结论 进入情境，并相应地行动，接受失败，而不 希望留有遗憾甚至后悔：从理论，到练习， 到计划直至最后执行。这不是我们想要的方 式。取而代之的是，我们承认不知道会发生 什么，我们的目标是解读和融入实际的情 境。通过不可见的方式从内部观察所处的情 境。此次展览设有5个起始点: 1、室内空间 装置，2、室内墙纸，3、室外墙面作品，以 及4、室外公共区域内的现场性装置以及5涉 及“公共空间”使用的工作坊。2013的展览 将走出展览空间与城市空间相连接。不管是 作为延续性的墙面展示还是现场性装置，艺 术家们都将把他们和自己的作品融入到开放 的公共空间中。自2012年起，由于艺术使馆 逐渐将公共空间作为他们稳固的兴趣点，我 们认为艺术家应该强调“共同性” ，而“ 共同性”涉及我们所有人可得到的文化及自 然资源；艺术家不应该让城市的显性美学被 广告者或建筑师所主宰。 这个空间将被如同3D笔触一样的结构，一 笔笔地建构起来。第一天，观众就可以看到 这个展览的设置，这个空间结构的设置以及 悬挂的艺术作品。四周的墙面作为呈现整个 展览语境的索引，张贴着和艺术作品相关的 包含文字及图片的数码印刷品。而参观者可 以留下注释或者发送图像，它们同样和展示 的作品相关联。装置和墙面贴纸都会继续被 带到下一个展示空间进行再创作。 6
大字报和红包 我们寓意性地提及了一个几乎被遗忘的中国 的公共展示传统，叫做“大字报”。这种巨 大的手工书法性的墙纸包含了信息，符号， 甚至宣传某种意识形态的图画。今天，一种 相似的书法性的标语仍遍布全中国，我们把 它叫做横幅。它们通常由红色布料制成，其 上是白色或红色的文字。2008年，奥地利艺 术家拉罗麦伊尔第一次在成都使用横幅作 为了他的公共艺术作品。之后，他的作品 于2009年在第一个ASAP展览“米饭”中展 出。展览位于北京798艺术区。我们找到的 另一个重要的公共展示是巨大的“宣传海报 墙”，它将在建的房产项目围起来，大都是 通过相似的画面展示的城市天堂。红包就是 非常出名的“红色信封”它们连接着庆祝和 腐败，它们也关系到快乐和金钱。红色信封 的仪式在亚洲人人皆知，也在日常生活中被 使用。 城市与乡村 当今社会和文化的概念就在这两个结构之间 徘徊。我们不确定背后到底有什么力量在驱 使。供给人民，从地产中获益，提供监管 性的扶持，或者说在不久的将来70％的人口 将居住在大城市中？那也意味着70％的消费 者将推动国内的经济。那些艺术家、音乐 家、电影人、作家、诗人会扮演什么样的 角色？像北京这样的城市已经变得不宜人 居。PM2.5指数已达到200-800。2013年，在 污染的空气或催泪云雾中，口罩成了新的时 尚用品。农民失去了他们的土地而转移到了 大城市中，生活在大房子里，并且在工厂里 换班工作。 从ASAP到TEoTA 从室内展览到室外展览，我们将展示2013年 对外征集并策划的艺术家作品。此外我们选 择了过往ASAP展览中的部分作品，并通过 这些在中国有限时间内驻留的艺术家们所 做的作品，来呈现一个历史性的语境。2009 年，ASAP设立于北京。主要的资源是由维 也纳的奥地利艺术教育及文化局主办的国际 驻留项目前来的奥地利艺术家。每年有大约 12位奥地利艺术家来到中国，并和ASAP合 作。ASAP在2009、2010、2011为年轻艺术家 举办了综合性的展览，大部分都是以比较传 统的形式呈现。2012年，我们第一次决定注
重展览的形式，并进入公共空间。随后， 我们便建立了“艺术使馆”（TEoTA）这样 一个跨国籍跨媒介的平台。如今，中澳艺术 项目开始和“艺术使馆”合作。艺术使馆是 公共的，移动的。艺术使馆的展览概念源自 两个术语：红包（红色信封）和大字报（ 文字横幅）；以及两种展览形式：在重庆 器.Haus艺术空间的室内展览和重庆的户外 展览。我们在颠覆红包和大字报的同时也保 留它的原始意义，将他们转换和延伸到当代 的形式中。这代表了策展人的主要观念框 架。红包和大字报都需要浮出公共的水面。 今年展览中的艺术作品展示的是那些最能震 撼这些驻留在中国的艺术家的东西：他们的 兴奋、误读、他们的个人评论、主观视角， 他们天真无邪的转化，他们对异国情调的浪 漫采集，以及他们输入的操控性的预设。 红包 《瓷绘般的钴蓝》，Olga Alexopoulou绘 图，黑白8毫米影片由Ruth Anderwald + Leonhard Grond拍摄；《现实的虚假幻影》， 媒体装置及行为，Allen Au, Lukas Birk, Karel Dudesek；《恐慌建筑师规划的趋于毁灭的 房屋市场》，绘画，Lucia Dellefant；《重历 史重定：出租的庭院和梅梅的复仇》，digital ready-mades by Karel Dudesek；五个有关 中国基基督教农民社区的未剪辑的记录影 像，李刚；《时尚品牌LV图案包裹的拆房 区域》，墙纸，Marlene Haderer；《公共 空间的白墙上数百个挂钩》，装置，Killian Immervoll；《搜寻更多财富的个体》， 摄影，Gregory Eddi Jones；《脉动》，影 像，Piotr Kotlicki；《《全球化中的人和机 器》，Ben Landau；《自然与人工》，影像 拼贴，Stefan Lux；《客观化的美》，粗糙 人物装置，Aurora Molina；《乡村摄影的幻 觉式复制》，摄影，Matthew Niederhauser； 《增大的现实和音乐》，Shannon Novak； 《为重庆做人工呼吸》，建筑概念，Hao Tian，Huag HaiYang & Shi Jianwei, 《存在与 完整面部摄影》 ，Sora Park；《生活、离 家、出国》, 影像，Bernhard Staudinger； 《 小兔子打败敌人的绘画》,绘画， Clemens Stecher； 《回收的袜子变为可穿戴的时尚 》， Anita Steinwidder，摄影 Jasmin Ladenhaufen, 《世界内外间的交流技巧》，Kim
Taegon；《对神奇重庆的发掘》，Célia Picard & Hannes Schreckensberger；《包围人 类的大量浪费》, 行为摄影，Silvia Winkler & Stephan Koeperl；《0.25, 北京污染解决方 案》, 建筑概念。 . 大字报 《一个人的大字报》，拼贴，Lukas Birk；《城市中扩散的3D大型字母》, 装 置，Marienne Csaky；《再绘中国美人图》 ，Alice Dittmar； 《阿拉伯及中文字符在 一个迷宫中溶解得不可识别》，Brendan Drury；《毛去了……：传统文字长卷轴》, 绘画，Bernhard Gwiggner；《叙事小说》, 拼贴，Tina Hochkogler；《坍塌的整形美 人广告》, 《找到树后隐藏的东西》, 摄 影，Ulrike Johansen； 《倒塌房屋中的身体 整体》, 摄影，Liu Tao,《准备就绪的全球 化市场被过去的阴影笼罩》, 绘画，Anton Petz, 《有一张嘴，能看能听却不能说的人 的肖像》，Min Jisook；《把肮脏的长江和 嘉临江画在白纸上》，绘画与行为，Letizia Werth；《电场中断所投射的色环》, 影像, Yu - Hsiang Chen. 展览由北京奥地利文化论坛，联邦艺术部， 奥地利维也纳文化教育共同支持而得以举 办。
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It was only 5 hours before our planned departure when our printer Yang Shifu entered the ASAP home in Beijing also known as 606. 3am, his assistant carrying a huge pile of rolled up posters and stickers. In the entrance way a stack of glue canisters and tools barricaded the way. We were set for 2 weeks of traveling with final stop Ningbo and return to Beijing. If we stayed exclusively on highways we could drive the 1,500 km to Ningbo in 2 days but that was not the plan. The plan was to have a few anchor points and let the road and its unpredictable meetings lead our way. The aim was to communicate. With the artworks we carried, with the content they held, and the context they worked with when placed into the public. We didn’t know what would happen, what people would understand or take from it. . And as far as I was concerned, I didn’t want to know in advance anyway. 10.30 am, a little late on the 18 September 2012, our trunk loaded to the brim with rolls of artworks, glue and tools.1 iPhone with Google maps and a road map in Chinese. We tried to maneuver out of the Beijing city limits. Our first wrong turn took us 30 minutes to resolve. We were driving for hours. We realized that although the October holidays were coming up and the Chinese government had lifted most of the road taxes the roads were empty! Trucks and sometimes a few cars drove modestly along. We had left the city’s BMWs, Porsche Cayennes, and golden Mercedes behind. We drove—we stopped—we drove. Our supplies of Mozartkugeln (Austrian chocolate balls) handed out to each tollgate girl to cheer her up. We entered the Shandong province by sunset. Our first town was Laiwu. The big roads leading to the city were dark. A big sign announced Long Yuan Hotel. We turned left, made our way to the entrance. After the regular room bargaining we took our rooms and started to think how we could improve them. As we did not have artworks in the correct size for the ho8
tel artworks hung on the wall we decided that the hotel’s business lounge operator should help us to make copies of one of Markus Seppere’s collages. He copied and cut them neatly in size and we installed two of them in our rooms (108 & 114 cm). Making sure that the original artwork was not harmed, we simply placed the copies on top of the original painting inside the frame. On our nightly excursion we saw a sign for the Laiwu museum, which turned out to be a massive and very empty complex—a museum that had seen little attention since its opening several years ago. After a stroll through the complex and a ride on the internal museum escalator we found a nice wall to install an image by Marianne Csaky. This process of arriving, analyzing, searching, finding, rethinking, reworking, and, in the end, observing the result became our daily practice for the next 20 days. There were highlights of course in the different locations we found and how people reacted to our activity. On our first night in Nanjing, we installed a big print of Heimo Wallner not far from our Hotel. Approximately 1 hour later, we could observe how the police carefully removed the print in one piece and packed it away in their car. We never found out who reported our posting. It could have been the hotel or one of the neighbors in the street. We spent nights roaming around our desired walls and areas. In Hangzhou, Michael Hoepfner joined us to install one of his works at a pillar of an elevated motorway. Darkness and speeding cars proved to be a dangerous mixture for installing works. In Hangzhou, we also transformed iPad advertisement light boxes into an artwork by G.R.A.M, whose layered newspaper work we transformed into a mingled glow of information. Outside of Hangzhou, we found ourselves at a traditional paper manufacturer and were fiercely removed after filming the process. Probably the place is demolished by now. Hangzhou turned out to be a fertile ground. Through various connections we found ourselves at the office of the Hang-
zhou advertising representatives of Mercedes Benz who promptly offered us to make an exhibition in their repairing facilities and show rooms. A memorable meeting was the one with Cao Kai, the Nanjing film festival curator, and his mysterious associates. We were invited to an office building in Nanjing. The office covered half the floor and its view and incredibly lavish interior made us wonder. While sitting at a table with 2 immaculately dressed lady translators, Cao Kai and the mysterious owner of the office who apparently was an art dealer we played cards with our publications. “This one catalog is from last year, this is our catalog from 2 years ago and well this here is this year’s”. What we took from this meeting was a collaboration agreement which then was cancelled due to political mobbing (read more in the Nanjing film festival section). We came in the habit of installing works in every hotel room we stayed at and we drove as much as possible on country side roads to find walls away from urban environments. At 35° 47’ 56.21” N, 117° 18’ 21.59” E we discovered an abandoned house on a hill clearly visible from the road we passed by. This became our first Embassy of the Arts property as we claimed its entire facade with works by four different artists. Certain works like that of Jorge Fuembuena became almost magical in their public installation. In Sihong, in the Jiangsu province, we installed an image by Fuembuena at the entrance of a bus station. The depicted back of a Shaolin monk with its slightly turned body transformed the busy bus stop into a still space. The larger than life body made people halt and slow down. Our road trip had its tributes and dangers too. Our car was hit while being parked and we had to pay the repair. One of our laptops was stolen from the hotel room while we were sleeping. The next day
we spent at a police station. For the first 2 hours, nobody seemed quite capable of helping us until a visibly taller and better built man with a stern look and black clothes appeared. We were interrogated in a chair with cuffs attached to the chair. Sometimes this is necessary, the officer told us. A sight that stunned us in the outskirts of cities or even the distant periphery was the gigantic construction sites. Dozens of high towers were rising at the same time. Residential mega blocks covered with shiny, 10 meter high advertisement boards. Effigies of young westerners, images of houses in Tuscany style furnished with Baroque kitsch glanced at us from these posters. Those blocks that were finished felt like extrinsic cities. On our return to Beijing, after installing works in several dozen places, we discovered a newly constructed advertisement wall at the entrance of the 798 art district in Beijing. The yet unused advertisement wall seemed an excellent display body to us. We decided to install a range of works one night and an extension to the images during the following. As almost predicted, the advertisement wall did not stay unused, and a few days later we found the works covered by thick canvases advertising the real estate company that was constructing behind the wall. The following night, we decided to launch a re-appearance action at the gates of 798 and cut out the areas that covered the artists’ works. The following images show some of the installations from this tour. We installed works created by Marianne Csaky, Oda Fiskum, Jorge Fuembuena, Sylwia Gorak, G.R.A.M., Richard Hoeck, Michael Höpfner, Christian Hutzinger, Florian Schmeiser & Ma Jia, Markus Sepperer, Heimo Wallner, Roswitha Weingrill, Anne Zwiener, Veronika Vlková & Jan Šrámek – a public art installation spread over 4,000 km.
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ASAP旅行文稿 2012ASAP的旅行 就在我们计划启程的5个小时以前。我们的打 印员杨师傅在凌晨3点走近了ASAP北京总部 606的房间。他的助手带着一大捆卷起来的海 报和贴画。房间的入口被一堆胶罐和工具挡住 了路。我们在为2周的行程做准备，最后一站 宁波然后返回北京。如果我们持续在高速公路 上走，经过1500公里，2天就可以到达宁波。 但这并不是我们的计划。我们的计划就是没有 计划。我们计划在中途停靠几个地方，让道路 和未知的会面引导我们的前行。其目的就是交 流。通过我们携带的艺术作品，通过他们所涉 及的内容和语境，以及当他们被放在公共空间 时展开交流。会发生什么，人们能懂得或从中 得到什么，都是未知的。对于我自己来说，我 也不想知道得更多。 2012年9月18日上午10点半，稍微有一点晚。没 有导航仪，只有一个带谷歌地图的苹果手机， 也没有合适的纸质地图。我们试图突破北京城 的限制。“让我们开上高速公路，离北京远 一点。”是唯一的指令。我们开了几个小时。 虽然十一国庆假期即将到来，政府也免除了大 部分过路费，路上还是很空！卡车，有时也有 几辆私家车在我们旁边谨慎地行驶。我们把城 市里的宝马、保时捷卡宴和金色梅赛德斯都甩 在了身后。我们走走停停。高速公路棒极了。 日落之后我们决定在下一个镇的出口下道。一 个巨大的标志“龙源酒店”出现了。我们左 转一直开到了入口。在对房间进行正常的议 价之后，我们得到了房间，并很快决定将这些 房间变成“我们的”。但首先是在城里享用一 顿晚餐并在这个偏大的看上去朴素的房间里睡 上一觉。由于我们没有适合尺寸的材料，我们 决定让酒店商务管理员来帮助我们复制Markus Seppere的拼贴画。他帮我们打印了图片并裁到 合适的尺寸。我们安装了两张在我们的房间里 （108和114），为确保原作不会被损坏，我们 只是简单地将复制品放在原作的画框里，把原 作挡住。 在晚上游街的时候，我们注意到一个莱芜博物 馆的路标，最后看到的是一个巨大而空旷的综 合楼。在几年前开馆之后只引起过很少的注 意。在穿过整个综合楼和内部的电梯之后，我 10
们找到了一面适合放置Marianne Csaky的作品 的墙面。 这种抵达、分析、搜索、寻找、再思考、再创 作，到最后观察最终结果的过程。成为了我们 接下来两周每日的实践。当然在我们找到不同 的地点和人们如何对我们的行动作出反应，都 有可圈可点的地方。在南京的第一个夜晚，我 们在酒店的不远处放置了一张Heimo Wallner作 品的大幅印刷品。大约1小时后，我们可以看 到警察如何将它小心地整个从墙上取下并被装 上他们的车子带走。我们也不知道到底是谁通 报了我们贴海报的事。很有可能是酒店或者是 我们这条街上的邻居。 我们习惯性地将作品安放在我们住的每一个酒 店房间，我们也尽量行驶在乡间小道上，找 到那些远离城市环境的墙面。在北纬35度47分 56.21秒，东经117度18分21.59秒的位置。我们 发现了一个废弃的房屋，它就在我们路过的小 山丘上，清晰可见。这里成为了我们艺术使馆 的第一个财产，我们用四个艺术家的作品占据 了房子的整个墙面。 像Jorge Fuembuena的一类作品在公共空间的 安装中变得几乎神奇。在江苏泗洪，我们把 Fuembuena的一幅画安装在了一个公交车站的 入口。这幅画描绘了一个少林僧人的背面，微 微转动的身体在这个熙熙攘攘的地方形成了一 个有趣的氛围。画面中比真人更大的身体让人 们放慢或停下了脚步。 在我们将作品安装在许多地方之后，我们返回 了北京。我们发现北京798艺术区的入口新建 了一块广告墙。这个还没开始使用的广告墙对 我们来说是一个绝好的展示体。我们决定用一 晚上在上面安装一组作品。和预料的一样，这 个广告墙没有一直闲置。几天后我们发现上面 的作品被厚厚的广告布所覆盖，以宣传这面墙 后正在进行施工的地产公司。当天晚上我们决 定在798入口举行一场作品再现的活动。将覆 盖作品的广告区域挖掉，让作品重现。 后面的图片展示了一些我们旅途中的装置。
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Top: Anne Zwiener & G.R.A.M., Hangzhou Middle: Veronika Vlková & Jan Šrámek, Suqian Bottom: Christian Hutzinger, Suqian 12
上图: Anne Zwiener & G.R.A.M., 杭州 中图: Veronika Vlková & Jan Šrámek, 宿迁 下图: Christian Hutzinger, 宿迁
上图:Jorge Fuembuena,泗洪 中图: Richard Hoeck, 杭州 下图: Oda Fiskum, 济南
Top: Jorge Fuembuena, Sihong Middle: Richard Hoeck, Hangzhou Bottom: Oda Fiskum, Jinan 13
Top: Christian Hutzinger, Nanjing Bottom left: Roswitha Weingrill, Nanjing Bottom right: G.R.A.M., Hangzhou 14
上图: Christian Hutzinger, 南京 左下: Roswitha Weingrill, 南京 右下: G.R.A.M., 杭州
上图: Michael Höpfner, 杭州 中图和下图: Florian Schmeiser & Ma Jia, 杭州
Top: Michael Höpfner, Hangzhou Middle & bottom: Florian Schmeiser & Ma Jia, Hangzhou 15
上图和中图: Heimo Wallner, 南京 右下: Anne Zwiener, 北京
Top & middle: Heimo Wallner, Nanjing Bottom right: Anne Zwiener, Beijing 16
艺术使馆 Jorge Fuembuena, Richard Hoeck, Roswitha Weingrill, Silwia Gorak
Embassy of the Arts Jorge Fuembuena, Richard Hoeck, Roswitha Weingrill, Silwia Gorak 17
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798广告墙, 北京 Jorge Fuembuena, Richard Hoeck, Markus Sepperer, Silwia Gorak, Anne Zwiener, Michael Höpfner
Advertisement wall 798, Beijing Jorge Fuembuena, Richard Hoeck, Markus Sepperer, Silwia Gorak, Anne Zwiener, Michael Höpfner 19
Embassy if the Arts exhibition 2012, 塌� left & right at the sanlitun diplomatic compound, Beijing
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Embassy if the Arts exhibition 2012, 塌� left & right at the sanlitun diplomatic compound, Beijing
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Notes to the 9th CIFF and EXiN 2012
The words I’ve written here bear my sorrow. This is my second time writing these words down in the past ten days. The second day on which I was told that CIFF had to stop, I wrote pages and pages to vent my emotions, mixed with anger, sadness, disappointment etc. I was ready to click “send” after adding the files as attachment to the email but I paused and deleted them. I threw them in the garbage. I needed to calm down. China Independent Film Festival (also known as CIFF) was founded in Nanjing in 2003. As the most important platform for independent film screenings, evaluation and exchange, CIFF is an unofficial film festival that celebrates the spirit of independence, openness, avant-garde and forward thinking in a low profile manner. Although independent films don’t obtain legal identity in China, CIFF managed to survive by walking slowly and steadily on the edge. However, things have changed in 2012 and the surviving conditions of independent films in China are seriously challenged by official banning orders. The Beijing Independent Film Festival experienced electricity cut during the opening ceremony; the independent image section of Get It Louder 2012 and of other art events alike was halted; some contemporary art fair or festivals like Bishan Harvestival were obstructed completely because of independent documentaries were screened. There are three causes for the deterioration of the conditions of Chinese independent films: “Civil Rights Advocate Documentary” (otherwise known as “Social Activism Documentary” as coined by Prof. Zhang Zhen from New York 24
University) initiated by Ai Weiwei and other dissidents, came to the center of public attention after 2008. Thus the central bureau became more sensitive to “independent documentary”, seeing it as the media through which dissident ideologies propagate. It causes “independent film” is perceived as subversive and dangerous. Similar to Ai Weiwei’s “Social Activism Documentary”, Ying Liang’s work has caused upheavals and elevated the tension between independent filmmakers and the central bureau. Ying Liang’s status as a curator for the Chongqiong Independent Film Festival also made the bureau more cautious with independent films and film festivals in general. Songzhuang Independent filmmakers (e.g. the radical dissident Zhu Rikun) drew a lot of central bureau’s attention to independent films and filmmakers last year. A classified “Red Head Document” (an official document issued by government office, usually printed in red) was issued in response to the tension and confrontation occurred between indie filmmakers and the central bureau. Certainly there are other causes if we take more external factors into account, for example the crisis caused by power struggle before and after the 18th Congress within the Chinese Central Communist Party etc. Given the tight political environment, CIFF has been cautious, shifting the focus of the 2012 CIFF to apolitical experimental films by adding an extra unit – ExiN 2012 Asia Experimental Film and Video Art Forum. In addition a special “dragon sign” unit was extended to screen “dragon sign” films that shows independent spirit. (“Dragon sign” is the license issued by the State Administration of Radio Film and Television after a film has passed its censorship).
The Nanjing Film Festival invited 25 guests for EXiN and 45 for CIFF, 20-30 self-paid guests and However, crisis of ending CIFF came upon us in the late October. The committee received an unofficial notice that we had to stop all activities and that the permission assigned to us by the Nanjing municipal in July was withdrawn. Afterwards a senior staff member and I met with the official that is in charge of ideology and culture control of Nanjing municipal to explain and petition, but our efforts were proven useless. Since the beginning of November, two theatre chains that had signed contract with CIFF were threatened by the authority to quit cooperating with CIFF: they couldn’t offer venue to CIFF any longer and they even allowed to screen films in the “dragon sign” unit. Due to pressure from the bureau, those they cut their relationship with CIFF completely, which means CIFF lost three venues and seven screening places. Therefore CIFF hoped to retreat back to university campuses and use their conference hall as screening venues (the original plan was to hold EXiN Forum and CIFF documentary forum only on university campus). Around the fifth of November CIFF quickly changed plans and contacted few institutions that have long term collaboration relation with CIFF. We finally obtained five screening venues. However, the authority was determined to suffocate all activities of CIFF and EXiN. On November 10th, universities that have had long collaborative relationship with CIFF got official warnings from the authority and had to quit, which means that we’ve lost three major venues. Another sponsoring institute also hinted their will to quit. Meanwhile local presses in Nanjing were banned from reporting news of CIFF or EXiN.
In such severe situation I still didn’t give up trying. After an urgent meeting, the CIFF committee decided to move to a contemporary art gallery in outskirt of Nanjing (the director was my college classmates) by converting the three-floor exhibition hall into temporary screening venues. An original public event thus became semi-public. However, the second day on which we were about to settle with the art gallery, the bureau followed us there and start investigation. On the same day the private bookstore which held movie salon with CIFF was told that they could never screen any independent movies from then on. In fact, I was putting my best effort forward to preserve CIFF and EXiN till the last minute. Unfortunately under the current complicated and disordered authoritarian political environment, the effort of CIFF miserably failed. Under such condition our team could no longer ensure the functioning of film festival and forum. Therefore at 2pm on November 14th, forty eight hours before the opening ceremony of EXiN, I sadly called an end to CIFF and EXiN’s agenda in 2012. Our staff sent participating directors and guest “delay” messages by emails, texts or phone calls, but we all know that “delay ” is but a euphemism for what we are facing under severe political environment. Starting from late October, CIFF was treated as “unharmonious culture dissident” by the authority. The major sponsoring organization RCM Art Institute has never received any official banning order for CIFF. Theatres and education institutions only got oral announcement, unofficial persuasion, but the underlying message was more than clear. All related organizations were obliged to cut tied with CIFF and put their collaborative relation with CIFF to an 25
end. In the past ten days I have been busy with logistics, taking care of the aftermath. Because the scale of CIFF and EXiN expanded, the artists, directors, guests, judges, scholars, audience and volunteers involved count up to more than 200 people. They all bear financial lost at different level because they had to cancel their schedule coming to Nanjing. On behalf of the organizing committee of CIFF and EXiN, I want to extend my apologies to all. As a result, CIFF will try to compensate those invited but our current situation isn’t positive. CIFF has to suffer great loss due to the termination of film festival due to loss of sponsorship, non-refundable plane tickets, train tickets, and hotel booking fees; we are still striving to avoid deficit. No matter what, we will do the best we can.
The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cassettes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of Bishan Harvestival, Ou Ning came to Nanjing as a member of CIFF’s judging committee; other members on board include new media curator Li Zhenhua from Zurich, independent filmmaker Zhang Jin from Soul, local writer Bi Feiyu from Nanjing, and life-time judge of CIFF Xie Fei who after hearing the new of the termination of CIFF, flew to Nanjing and finished the evaluation of nine awards with four other judges. Although the reality has proven art to be powerless to the authority, please believe that we will never easily give up. CIFF must survive in China in whatever form and EXiN will be held elsewhere in China again. Last but not least, I still want to say: Thank you all very much for your help. I hope you’ll continue to support CIFF as always. I’m truly grateful and I’m truly sorry.
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第9届中国独立影像年度展（CIFF）及2012亚洲实验 电影及录像艺术论坛（EXiN）记事
这里所写都是为了倾泻我的悲伤。 这是我在过去的十天里第二次写下这些文字。 在我被告知CIFF项目被关闭的第二天。我写了 一页又一页的文字来宣泄我的情绪，其中混杂 着愤怒，悲伤，失望以及种种。在我已经添加 了附件准备点击“发送”的时候，我停顿了， 把他们都删除了。我需要冷静下来。 中国独立影像年度展（又称CIFF）2003年创办 于南京。作为独立电影放映、评估和交流的最 重要的平台，中国独立影像年度展是一个非官 方活动，是一种低调地庆祝独立、开放、先锋 及前瞻精神的方式。尽管独立电影在中国不能 得到合法的身份，中国独立电影节还是试图以 缓慢而稳健的步伐在边缘行走而得以存活。 然而2012年情况变了，独立电影在中国的生存 条件完全被官方的禁令所彻底改变了。北京电 影节在开幕典礼时经历了强行拉电闸；2012年 大声展的独立图像部分，以及其他相关活动也 被叫停；其他一些当代艺术博览会或艺术节， 如璧山丰年祭也由于放映独立纪录片而被完全 阻碍了。 中国独立电影生存条件恶化的原因有 三个： 2008年，由艾未未和其他持不同政见者所提出 的“倡导民权纪录片”（也称作“社会行动 主义纪录片”，由纽约大学的张振教授提出） 的概念进入了公众关注的视野中心。因此，中 央政府开始对“独立纪录片”更加敏感。把它 看所是一种宣传不同意识形态的媒介。从而导 致“独立电影”也被看做是具有颠覆性和危险 性的。 和艾未未的“社会行动主义纪录片”相 似，应亮的作品也激起和抬升了独立电影人和 中央政府之间的紧张关系。而应亮作为重庆独 立电影节的策展人身份也引起了当局对于独立 电影和电影节的更多警惕。
Cao Kai Chairman of the 9th China Independent Film Festival Director of EXiN 2012 Asian Experimental Film and Video Art Forum 2012 November 25th, Nanjing.
在过去的几年里，宋庄独立电影制作者（如激 进的持不同政见者朱日坤）也引起了许多中央 当局对独立电影和电影制作者的注意。一旨“ 红头文件”（政府部门下发的官方文件，通常 印刷为红色）的下发，回应了独立电影制片人 和中央当局之间的紧张和对抗。当然，如果我 们把其他外部因素也考虑在内，肯定还有其他 的原因。例如中国共产党十八大前后，由于权 力争夺而产生的危机等等。
ASAP has received this letter from Cai Kai shortly before the festival was meant to begin. ASAP planned in cooperation with CIFF to screen a series of films by Dietmar Brehm.
由于严酷的政治环境，中国独立影像年度展开 始警惕，为了转移外界对2012年中国独立影像 年度展政治性实验电影的注意，我们添加了一 个额外的单元：2012亚洲实验电影及录像艺术
论坛。增添了另一个带有“龙标”的单元，放映 具有独立精神的带有“龙标”的电影。（“龙 标”是经过国家广播电影电视总局审核通过后颁 发的证书） 这次南京电影节分别邀请了25位客 人参加亚洲实验电影及录像艺术论坛，以及45位 客人参加中国独立电影年度展。20至30位自费参 加的客人以及10个国内外重要的媒体参加。在七 天的CIFF展览中，放映126次，期中70%设有问 答环节。安排有两个开幕典礼，一个是为CIFF， 另一个是为EXiN。一个闭幕式，两天半关于亚 洲实验电影及录像艺术论坛的讨论，一天半对于 中国独立电影年度展的讨论，以及三个官方鸡 尾酒会也包含在今年的电影节日程里。并且为到 访的观众和客人提供了四本出版物，三张海报， 以及两种纪念品。 然而，十月底，中国独立电 影年度展停办的危机降临到了我们头上。组委会 收到了一封非官方的通知，告知我们必须停止一 切活动，而由南京市政府签发的准许将被撤回。 之后我和另一位高级委员前往南京市政府负责控 制意识形态与文化的官员会面，并进行解释和请 求。但我们的努力无济于事。 自9月初，两个和CIFF签订过合同的两家剧院也 被当局威胁和CIFF解除合作关系：他们不能将场 地提供给CIFF，甚至不允许播放带有“龙标”的 电影单元。由于这些来自当局的压力，相关影院 和CIFF彻底断绝了关系。这导致我们失去了三个 主办方和七个展映场地。因此我们希望CIFF撤回 到大学校园，并经他们的会议大厅作为展映场地 （原初的计划是只在大学校园里举办亚洲实验电 影及录像艺术论坛和中国独立电影年度展）。9 月5日左右，CIFF当即改变了计划并联系了几个 和CIFF有过长期合作关系的机构。最后我们找到 了五个放映的场地。 然而，当局决定要彻底压 制CIFF和EXiN的一切活动。10月10日，和CIFF 有长期合作关系的大学也收到了官方警告而不得 不退出。这就意味着我们已经失去了三个主要的 活动场地。而另一个主办机构也暗示说他们将退 出。同时，当地媒体也被禁止报道有关CIFF和 EXiN的新闻。 在如此严酷的情况下，我始终没有放弃尝试。进 过紧急会面，CIFF委员会决定将活动移至南京 郊区的当代艺术画廊（画廊总监是我大学同班同 学），并将三层展厅并称一个展映场地。一个原 本公开的活动变成了一个半公开的活动。然而， 第二天正当我们准备在这个画廊开始安顿下来。 当局一直跟到了这里并开始进行调查。同一天， 一个举办过关于CIFF电影沙龙的私人书店被告知 他们永远从此不得放映任何独立电影。 事实上，我尽了我最大的努力来保护CIFF和 EXiN直到最后一分钟。不幸的是，在如今这样
复杂而无序的独裁政治环境下，所有CIFF的努力 都以失败告终。 在如此的状况下，我们的团队 无法再保证电影节和论坛的正常运作。因此,10 月14日下午两点，在亚洲实验电影及录像艺术论 坛开幕典礼的48小时前。我遗憾地宣布并终止了 2012年CIFF和EXiN的日程。我们的工作人员向 参展的导演和客人发送了“推迟”的邮件、短信 或者电话。但是我们都清楚，所谓的“推迟”只 我我们在面对这样严酷政治环境下的委婉说法。 自10月底起。CIFF被当局看作是“不和谐的文化 异见者”。这次的主要承办机构南视觉美术馆从 未收到过官方对于CIFF的禁令。剧场和教育机构 只接到口头的通知和非官方的劝说，但是背后的 信息显而易见。所有和CIFF相关的机构都被勒令 中断和CIFF的合作关系。在过去的十天里我一直 忙于处理后勤及善后。因为CIFF和EXiN规模的 扩大，艺术家、导演、客人、评审、学者、观众 和志愿者的数量加起来超过两百人。他们都因为 要取消来南京的行程而受到了不同程度的经济损 失。作为CIFF和EXiN组委会的组织者，我想向 所有人致以我的歉意。最后，CIFF会尝试赔偿这 些邀请，但我们现在的情况并不乐观。CIFF由于 电影节失去主办方而终止，将遭受巨大的损失， 无法退订的机票、火车票、以及酒店预订费。我 们始终无法避免赤字。不管怎样，我们将尽我 们所能。 电影节被强制停止了，但我们的大部 分的逻辑工作还没有完成。我需要接待那些无法 改变他们的行程而来到南京的导演、客人以及观 众。通知志愿者以及组织用餐，准备需要送出画 册和纪念品的客人名单。我们还必须把录像带、 硬盘和其他借用的设备归还给参展的导演们。 另一项必须要做的工作是评审。在璧山丰年祭嘎 然而止之后，欧宁又作为CIFF的评审团成员来到 了南京；其他评委还包括来自苏黎世的新媒体策 展人李振华，来自首尔的独立电影人张晋，南京 的本地作家毕飞宇。以及听说CIFF被叫停的消 息赶来的CIFF终身评委谢飞，一起飞抵南京，和 其他四位评委一起完成了九个奖项的评审。 尽 管现实证明艺术在权力面前是软弱的，但请相信 我们绝不会轻易放弃。无论以什么样的形式，中 国独立影像年度展一定会在中国存活下去。而 亚洲实验电影及录像艺术论坛也将在中国的其 他地方再次举办。 最后，我依然想说：“非常 感谢你们的帮助。我希望你们会一如既往地支持 CIFF。” 致以我诚挚的感谢和歉意。 曹恺，第九届中国独立影像年度展主席，2012亚 洲实验电影及录像艺术论坛总监。 2012年10月25日。南京
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Cursory - the presence and interaction of the audience in contemporary art. A text by Zhao Li
the past ten days I have been busy with logistics, taking care of the aftermath. Because the scale of CIFF and EXiN expanded, the artists, directors, guests, judges, scholars, audience and volunteers involved count up to more than 200 people. They all bear financial lost at different level because they had to cancel their schedule coming to Nanjing. On behalf of the organizing committee of CIFF and EXiN, I want to extend my apologies to all. As a result, CIFF will try to compensate those invited but our current situation isn’t positive. CIFF has to suffer great loss due to the termination of film festival due to loss of sponsorship, non-refundable plane tickets, train tickets, and hotel booking fees; we are still striving to avoid deficit. No matter what, we will do the best we can. The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cassettes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of Bishan Harvestival, Ou Ning came to Nanjing as a The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cassettes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of Bishan Harvestival, Ou Ning came to Nanjing as a The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cas28
settes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of Bishan Harvestival, Ou Ning came to Nanjing as a The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cassettes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of Bishan Harvestival, Ou Ning came to Nanjing as a The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cassettes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of Bishan Harvestival, Ou Ning came to Nanjing as a The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cassettes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of Bishan Harvestival, Ou Ning came to Nanjing as a The film festival was forced to an end but our work hasn’t finished mostly logistic work. We need to receive directors, guests and audience who couldn’t change their schedule and came to Nanjing, notifying volunteers and organize group dinners, preparing lists of guest to which we have to send catalogs and souvenirs. We also have to return video cassettes, hard drives and other borrowed equipments to participating directors. Another important work to be done is evaluation. After the abrupt ending of
走马观花－当代艺术观众的在场与交互 参与ASAP 《打包》《串门儿》《左右》三个 年度展览展场工作，《打包》与《串门儿》分别 在798的两个大中型空间展出，《左右》则在外 交公寓的房间里。目睹众多观看者与不同空间、 作品相交， 通过这“第一手”真实，观察当代艺 术和观者之间关系，一些问题似乎被遮蔽在景观 化的惯性之下： 艺术家希望通过展览的方式连结 与大众的共生性，介入或改善固有的当代模式， 但这种良好愿景和积极态势却面临着观众主体的 不在场。一种新的有效交互的可能性该如何被探 寻？ 来到展场的人群大致分为普通游客、艺术爱好 者和艺术从业者等。在不同的空间，观众与展览 的交互也不同。798那种大中型的空间和庞大的 人群并不比外交公寓房间内的展览生成更多的 良好交互。前者的人流如织跟后者的人迹寥寥相 比显然更具有社会性，但观众的客体在场主体游 离、走马观花式的游览却消解了展览的意义 。一 种兼容的、延展性的道路尚待被求索。 除却少数的艺术爱好者、艺术家、艺术从业者 等。众多的观看者是普通游客，他们似不无盲 目、充满偶然性的漂游者。时间和空间对于他们 而言是高速流转的。他们大多短暂停留，给有视 觉震慑力的作品拍照，间或发出天真者的好奇， 然后很快去到下一个艺术机构或画廊。他们试图 通过有限的闲暇来捕获无尽的时下风潮，这与去 到商场购物相似，人们害怕被时代抛下，在巨型 的景观装置里，诸众心甘情愿的添砖加瓦，也习 惯于被主导。在消费与被消费之间，当代艺术、 展览本身都被揶揄了。 事实上，这个庞大的群体，在未来的艺术生态 里尤为重要。 在今天，只要客观上有观众在展览
空间中并与作品对视，当代艺术就真的发生了 吗？或者是人们以为它发生了？艺术系统里好 像存在一种集体性癔症。大量的艺术生产和消 费时刻发生着，舞台前所未有的繁多，舞蹈演 员的队伍也空前壮大，想跳舞的情绪也是高涨 的。有相当长的时间观众像陪衬、背景，是使 得演出能称之为演出的必要构成。是打造火热 氛围的木柴，点缀着繁华景象。机构、制度、 媒体、艺术界共谋主导观众。和电影方面的情 况一样，大众的味觉和消化系统被弄糟了。这 时候，我们一些艺术家、艺术项目想要邀请观 众“共舞”，甚至想通过人们占领舞台的方式 解放舞蹈，最终使舞台被解构、消失......这里 面就存在一个引领的问题，将要到来的艺术语 境中，艺术家和大众是共同参与到当代艺术中 来，他们都会有想要激活跟他人之间的共生 性。在遍布差异性的社会，不同职业、教育、 文化、身份等背景的人们在信息和意见的市场 交换差异，一种叫做“创意市集”的所在提供 奇异性美学，观众与之擦肩继而忘却。但艺术 实践的目的不只是体现差异性，而是诉诸艺术 积聚改变的力量，规避混乱、误读、视差表达 ，感知潜隐于表象差异性背后的共同性语言、 情境，在全球化与在地的交织中，不受制于地 缘、文化认同、阶层差异等诸多因素，来探寻 一种共同体表达的可能。这可以是参展的这些 真正具有当代性的艺术家们及我们的艺术项目 更审慎的一种尝试。 展览《串门儿》中，声音艺术家海尔默·谢弗 说“我们都应该时常触发一些严苛、清晰、强 烈、直接的东西，直面本真......逆流而上”这应 该被重读。 赵理 29
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Olga Alexopoulou Paintings - 绘画 33
The historian Heinrich Hall notes “Alexopoulou is a painter with an obsession - the colour blue. For her, blue is not just a pleasant accident of sea or sky or faraway hills, blue is a world unto itself. This is a story of clay and metal, of millennia and moments, of ancient Chinese craftsmen and a young Greek artswoman, of science and of magic, of ideas being turned upside down, of art, of grey and white and especially of blue. The search for blue has led her in many directions: in the past, she has engaged with Prussian Blue (a dispersion of ferrocyanides) and Ultramarine (another mineral pigment). In 2011, she set her sights on Cobalt Blue, by going to Jingdezhen, China, the centre of blue-and-white porcelain production.” The images in the current exhibition are from the porcelain paintings she did in Jingdezhen. The historian Nikos 34
Sigalas continues “austere in words (in the signs of men) yet powerful as the hour of the tempest or a summit’s moment of illumined unconcealment. Olga Alexopoulou is sparing with words, her images speaking in silence, mute words in a language beyond the common sign, a turbulence of depth. How far beyond language reposes a summit, an arctic landscape, a thriving anemone, the sea itself. What is communicated through Olga’s work is that art, mirroring nature, remains forever untamed, impossible to be exhausted by our ambitions. It lies exactly where those ambitions end, in the vast untamed dominions that life’s communion with the imagination opens up before us; in the stars, the seas and summits that exist all around, while dwelling deep within.”
历史学家Heinrich Hall写到：“Alexopoulou是一位对蓝色痴迷的画家。对于她来说，蓝色不仅 仅是从大海或天空或遥远山丘那里偶然得到的愉悦。蓝色更拥有它自我的世界。这是一个关 于粘土和金属的故事，关于千年和瞬间的故事，关于古代中国工艺和年轻希腊女艺术家的故 事，关于科学和魔法，有关想法被颠覆，有关艺术，有关灰和白，特别是关于蓝色的故事。 对蓝色的追寻把她引向了许多不同的方向。在过去，她使用过普鲁士蓝（一种亚铁氰化物的 分散液）以及群青（另一种矿物色粉）。2011年，由于去了中国景德镇这个青花瓷生产的中 心，她把她的视线转移到了钴蓝。”目前展览中的图像都来自于她在景德镇时的陶绘。历史 学家Nikos Sigalas继续写到：“简洁在文字或者在男性符号中依然如同暴风雨一样强大，也像 山顶被光照亮所有隐秘的一瞬般有力。Olga Alexopoulou在用文字给予，而她的图像在寂静地 述说，无声的文字超越了其他普通的符号，是一种深度的震撼。言语之外长眠着一座山峰， 一片极寒的风景，一朵繁开的银菊，还有那片海。在Olga的作品中所要探讨的是：艺术照应的 是自然，保留的是野性，不会因我们的野心而疲倦。它就处在我们野心的尽头，在广阔而未 被驯服的领地上，生命伴随着想象在我们面前展开。在繁星中，在大海里，山峰上。它深深 地驻扎于我们周围的所有事物中。 35
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Ruth Anderwald & Leonhard Grond Video - 影像 37
“By visualising guarantors of visibility in Ink, Rain, Swans in a Shanghai Park (2010), a film shot during a solar eclipse, i.e. when the sun became particularly conspicuous by dint of being darkened. While one usually »overlooks« it and avoids its countenance, the moon casting its shadow upon it reveals it to be the true source of all visibility. It thus renders perceptible that which otherwise serves perception, it reveals by concealing, thus demonstrating another kind of inverting familiar aspects with illuminating consequences. The theme of the water-mirror in which the sky becomes entrapped features in this film in the form of a bowl filled with black ink. But because the rain falls into it, clouding the immaculateness of the mirror’s surface, it is equally subject to a self-depiction by means of disturbing its function.” Rainer Fuchs, chief curator mumok Vienna, “Perception in Motion” Camera Austria Nr.112. 38
“《上海某公园里的墨、雨、天鹅》（2010）拍摄于日食期间。也就是说，它是在太阳变 暗显现出特别的凹痕时所拍摄的。当人通常忽略它避开它的光芒时，月亮将它的投影打在 了太阳上，以揭示它才是一切事物可见的真正源泉。它随着认知而改变，通过隐藏予以揭 示，由于光照的影响展现了另外一种翻转的熟悉的景象。在水面倒映的主题里，通过盛满 黑色墨汁的碗般的形式，天空在这个影片中有了欺骗性的样貌。但由于雨的滴入，使这个 无暇的镜面产生了涟漪。通过贡献它的作用，它同样服从于自我描述。”——维也纳现代 艺术博物馆总策展人Raine Fuchs，“动态的认知”《Camera Austria》第112期。 39
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Lucia Dellefant Paintings - 绘画 41
For more than a decade the artist Lucia Dellefant is focusing on topics of social and political development. Her work includes paintings, sculptures, interactive projects and installations in public spaces. During her stay at Beijing Lucia Dellefant was working on a new series called ‘imploding city‘. Beijing has been changing in a very rapid way over the last twenty years. The artist wants to exaggerate this process in her small paintings. She took photos of huge buildings, houses, small shops on the street, hutongs and construction sites. After printing them on paper, she created new szenes and buildings by painting over some parts of the photos and combining objects which are not related to each other. The results are wired buildings in fake surroundings. 42
艺术家Lucia Dellefant在过去十多年的时间里 一直关注着社会与政治发展的主题。她的 作品包括绘画、雕塑、互动项目以及公共 空间装置。 驻留北京期间，她创作了一组新的系列作 品“内爆城市”。在过去的二十年里，北 京以急剧的速度变化着。艺术家想在她的 小型绘画里夸张这一进程。 她拍摄了许多街边的巨型建筑、房屋、小 店铺，也拍摄胡同、建筑工地。将他们 打印到纸上，她通过绘画覆盖掉一部分图 像，创造了新的场景和建筑，并将一些不 相关的物品组合到一起。最后呈现在我们 面前的是虚假环境中的奇怪建筑。
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Karel Dudesek digital readymades 45
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Maybe the Rent Collection Courtyard, a sculptural assembly, is hated and admired around China. Several times, Chinese contemporary artists used the theme for their work, like Cai Guo Qiang or Li Zhanyang. Basically, the original sculpture assembly consisting of 114 life-sized clay sculptures created around 1965 shows a cruel landlord collecting rent from poor peasants, their suffering and pain. In my opinion, the same story is repeating itself in our times, but in a different way. Land is taken away from the farmers and the farmers are put in shoe box-like apartments in newly built skyscrapers, directed to not work on their own farms anymore but in factories. Today, this is a common strategy in China’s provinces to make money and show profitability to the central government. Seen in the wider social context of the fact that the only time spent outside of factories
is predominantly spent in shopping malls, this created the role model of Meimei Guo, a girl living between expensive handbags and more expensive cars; rumor says that Meimei received the money for her Maserati and Lamborghini from subverted Red Cross donations bosses. In today’s China “blink” is a desirable formal achievement. This in my mind, I came across an old documentary movie of “The Rent Collection Courtyard” on the Internet. Watching the movie, fashion advertisement popped up automatically around the video. This was a perfect digital readymade for me bridging the not so old China and the new China, both unaware of each other, how they blend together and actually showing blatantly the ongoing “Rent Collection Courtyard” collection process.
也许收租院这组雕塑让中国人爱恨交加。中 国当代艺术家经常用这个作为他们的创作主 题，比如说蔡国强或李占洋。一组1965年创作 的约114个真人大小的泥塑群雕展现了一个冷 酷无情的地主向贫困农民收租的场景。在我 看来，同样的故事在我们这个时代正在以另 一种方式重演。从农民手中拿走土地，让他 们住进新建摩天大厦像鞋盒一样的公寓里， 导致他们不能再在他们的土地上劳作而是进 入工厂。今天，在中国各省这是一种常见的 向中央政府显示赚钱和盈利能力的策略。在 更广泛的社会背景下，工厂之外的时间主
要花费在商场，这创造了像郭美美这样的角 色，一个被昂贵的手袋和更昂贵的汽车围绕 的女孩。传言说，美美的玛莎拉蒂和兰博基 尼用的是被颠覆形象的红十字会老板的钱。 在今天的中国“眨眼”是一个理想的正式成 果。我的脑海中闪现出一个在互联网上流传 的老纪录片“收租院”。看电影的时候，时 装广告自动弹出围绕视频。这是一个完美的 数字化的无意识的现成桥接起不那么旧的中 国和新中国。他们是如何融合在一起，堂而 皇之地显示正在进行的“收租院”的进展过 程。 47
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Li Qiang 李枪 Video - 影像 49
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A documentary film about me: God and the Fields. In the north of Suzhou, almost every village has a church. But the so-called church just looks like any other normal local house from the outside. The only distinctive sign is a cross on the top of the building. Normally, people just gather in their own house and are singing holly song. On Sunday, they will go to a big church in the village. Some people who live far away from the church have to wake up very early and gather together from all directions. Most of them are elders, children and people who got ill. Some are even transported by car. Most of their children are working in cities which are far away from the village. Most of the people who go to the church were born in the 30s or 40s, they used to believe in communist party and chairman Mao, but now they believe in the God that comes from the West. They make their living from the fields, the foods produced from their fields are their physical needs and the God supplies spiritual needs. So their life is all about God and the fields. They are farming on the fields and spending the rest of their life praying. Most of the elder people in my documentary film died. Just like the village where they used to live is disappearing day by day. I don’t know if the young people who are working in the cities far away from home can be a “seed” as the Bible said: if they die, they would bear lots of seeds. Donghai, Fangshan, Jiangsu, 2002
关于我的纪录片《上帝与土地》 在中国苏北农村几乎每个村庄都有 教堂，所谓的教堂从外表看与当地 民房没有什么区别，唯一的标志是 在建筑的最高处放一个十字架，平 时人们在自己的村子里一户人家聚 会唱圣歌，星期天的时候他们从自 己的家里来到一个大教堂做礼拜， 比较远的人们要起得很早，从四面 八方赶来，大部分是老人，和儿 童，身体有病的人，，有的是被车 子拉来的，他们的儿女大部分是在 外地打工。 他们大多数出生在三四十年代，他 们年轻时信仰过共产党，毛主席， 现在他们信仰从西方来的上帝，他 们以土地为生，粮食是他们生活的 粮食，上帝是他们精神的粮食，土 地与上帝是他们的生活全部，他们 在土地是劳作和祈祷中度过余生。 在我纪录片中的老人很多已经死去 了，和他们居住的村庄一天天消 失，到城市里打工的年轻人不知道 能否像《圣经》里说的那样------像一粒种子一样，死了结出许多籽 粒。。。。。。 2002年于江苏东海县房山 53
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Marlene Haderer Installation -装罎 55
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During my artist-residency in Chengdu/China I was highly interested in Luis Vuiton copies, which are widely spread in China and very popular. As I am a great fan of fashion and design as an attempt to communicate through the body surface on the one hand, and on the other hand always suffer a lot because of the elitism structures and ideologies which rule this business vastly - I wanted to set a sign in sense of „Luis Vuiton and luxury for everybody!“, as an appreciation for Luis Vuiton Copies, the joyful design and history of Luis Vuiton and against an inhuman idea of society that wants to enforce the idea of some fine men on the top and the rest below.
我在成都艺术驻留期间，对LV的仿 冒品产生了浓厚的兴趣。这些复制品 遍布中国，并且非常流行。我作为一 个时尚和设计的追随者，尝试着一方 面通过身体表面进行交流，一方面总 是遭受很多痛苦，因为精英主义结构 和意识形态对这一产业具有极大的影 响。我想在现场设置一个标语“LV和 每个人的奢侈！”作为对LV仿冒品及 其愉悦的设计和历史的致敬。也作为 对那种强调将社会分为上下阶层的非 人类思想的反抗。
Conscious and alienated of the fact that China does not respect literary meaning I see it as an interesting gesture that people overtake the Luis Vuiton pattern all over the world to take part in something called “luxury”, something valuable that represents more than simple surviving. The Luis Vuiton mission statements: „the art of traveling“ and „the art of packing“ were permanently guiding me through a chaotic and strange time in China, the strangest country I have ever visited in its most classical meaning. I never felt so strange, and I never saw so many strange things packed.
有意识的和离间的现实是中国不重视 字面的意义。而在我看来这是一个非 常有意思的姿态，人们在全球追捧LV 的图案为的是加入到一种所谓的“奢 侈”。把它看作一种比简单生存更高 级的代表物。LV的宗旨“旅行的艺 术”以及“收纳的艺术”一直引导着 我度过在中国混乱而奇怪的时间，这 个我拜访过的最奇怪的国家里体验这 最经典的意义。而我从没觉得如此奇 怪，也从没看到如此多奇怪的东西被 装在包里。
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Kilian Immervoll Installation -装罎 59
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Gregory Eddi Jones Photographs - 摄影 63
These photographs are fictions. The figures within these scenes were selected from hundreds of frames shot of each location. By selectively adding and removing characters from my compositions I craft narratives that straddle the line between fact and fiction. This process opens the work to a tremendous amount of decision-making opportunity, allowing for the creation of a personal vision of the world that would otherwise be unattainable in a single photograph. I see this work as a depiction of a world that borders on the edge of the possible - theatrics of the everyday, in a way, or a tableaux of the street. Drawing on a sense of the “heightened moment” as seen in 20th century street photography, as well as the humanistic landscapes of pre-modern Europe, these are my efforts to bring classical romanticism into the digital era. These pictures work together to tell the story of public life in Beijing, and the crosscurrents of economic and cultural change. The moments within the images are fictionalized and even romanticized in order to tell stories within the larger story. 64
这些摄影都是虚构的。在场景中的人物是 从数百张从不同地方拍摄的照片中选出来 的。通过有选择性地在我的构图中添加和 去除角色，我捏造了一个介于现实和虚构 之间的叙事。这个过程使得作品打开了无 数做抉择的机会，允许了个人想象世界的 创造。否则这种创造很难在一张照片上得 以实现。 我把这个作品看作是对一个存在于可能性 边缘的世界的描述，一种日常生活的剧 场；或者是街头的舞台造型。基于“提升 的瞬间”作为20世纪街头摄影的所见，以 及欧洲前摩登时代的人物主义景观，这些 就是我将经典的浪漫主义带入数字纪元的 努力。 这些图片共同讲述了北京的公共生活，以 及经济与文化变革交错的现场。这些图片 中的瞬间是幻想化的，甚至是浪漫主义化 的，旨在讲述大故事中的那些小故事。
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Piotr Kotlicki Video - 影像 69
Probably a phenomenon of the surprise myself is one of reasons I do art at all. Some things are held apart from the thinking, and even though I think incessantly, although I am setting myself the entire slew of questions and still I don’t know …”where everything aims to”? Is reality cognizable? What it is? What is an effective method in reaching to for one border? Is transcendence touchable at all? Whether if not for the inevitability of death, whether we would like to get to know?
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或许某些可以让我惊奇的现象，是一直 推动我进行所有艺术创作的原因。一些 存在于思考之外的东西，尽管我不停地 思考，甚至为自己设定一系列的问题也 始终不明白的东西。“一切事物的目标 在哪里？”这是可以认知的么？那到 底是什么？触及边界的最有效方法是什 么？真的可以触及卓越？如果死亡终究 是无法避免的，我们是否应该去接受这 个现实？
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Ben Landau Video - 影像 73
Production hands is a reflection on my visits to manufacturing facilities in China in 2008. I identified the distinct ability to withstand repetitive labour within the structure of the Fordist division of labour. Man and machine are one. From the finger which pushes the button to the hand that pulls the lever, these body parts become part of a bio-machine. The rigid steel machine cannot operate without these flexible fleshy human parts. In this film I suggest the mechanics of the arm, and the repetition of these movements as machine-like. Reflecting on China politically, I looked to different ideological positions on manufacture and the machine. Marx suggested that machines are not used to reduce the worker’s effort, rather to maximise their exploitation. He also wrote that machines are “mechanical-intellectual-social assemblages”. Bio-mechanics in the context of Fordism is also bio-political as it denotes a rhythm and power over social and political life. When I visited China, it seemed that factory work was well respected and well paid (at least compared to farm work) – and yet this form of labour is part of a free market/capitalist system than a communist construction. Of course, this is China’s political paradox, and I felt that the worker is in the crux of this contradiction. I see the manufacture of objects as the birth of capital – and the designer as an instrument in the machine of production from desires to actualities. Instead of making something physical, in this video I controlled all my own production, creating something counter-productive to remove myself from this system of capital. Ironically, a piece like this is also re-absorbed as (creative) capital itself. Therefore the action of the my arm is also an example of my work. By presenting this work in China, I contrast the position of the designer creating capital, with the repetitive action of Chinese workers making objects; and the globalised notions of production in a modern world. 74
机械手臂是我2008年在中国参观工厂设施时 的一个反思。在福特主义者的劳动力分配 结构中，我找到了一种可以持续重复劳作 的特殊能力。人和机器是一体的。从按动 按钮的手指到拉动杠杆的手臂。这些身体 部位成了生物机器的一部分。这些僵硬的 钢铁机器必须让灵活的人类肉体来操控。 在这部影片里我暗示了手臂的机械性和机 械般的重复运动。 从政治角度来思考中国，我看到了工厂和 机器之上的不同意识形态身份。马克思 指出，机器的作用不是为了减轻工人的劳 动，而是最大化对他们的剥削。他也曾写 到，机器是“机械智慧和社会的集合”。 生物机器在福特主义的语境下也是一种生 物政治，它标志着一种凌驾于社会和政治 生活之上的节奏和权力。在拜访中国之 后，看起来工厂的工作是被尊重的，待遇 也是可观的（至少相对于种地来说）。然 而这更像是自由市场或自由资本主义系统 的劳动形式，而不属于社会主义的结构。 当然，这是中国的政治悖论，而我认为那 些工人正处于这个矛盾的症结之中。 我将物品的生产看做是资本的萌芽。而设 计师作为工具存在于机器生产欲望的实质 之间。在这个影像中我并没有制造某种实 在物，而是控制我自己拥有的产品。通过 创造某种反生产的东西使我从资本的系统 中脱身。 通过在中国展示这个作品，我将设计师创 造的资本状况和中国工人生产产品的重复 性动作，以及现代世界的全球化产品定义 作了对比。
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Stefan Lux Video - 影像 77
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自然和它的人工是我作品中反复出现的主 题。我近期的录像作品是通过对寻找到的 素材进行据为己有和主观化处理后所得的 产物。从网络上提取出的经过筛选的图像 被打印在纸上，将其舞台化、戏剧化并进 行拍摄。要让一个人苏醒，他或她会被晃 动，被拍打甚至被电击。相似的事情也发 生在我的影像里。这些被找到的图像和我 的物理瞬间及姿势相结合，有时就发生在 图像前面，有时就发生在想要拿稳图片并 试图对焦的时候。选择的动机是非常关键 的，这种关键的选择将在投影仪放映时改 变或扩展展览的空间。关于全景图：全景 图包围着我们对于自然的唯一性和其美丽 的认知。通过展现动画化的石头，在促成 各种组合的可能性的同时，它检测了自然 之美和我的艺术介入之间的关系，由此也 建立起了和中国传统奇石之间的多种互动 游戏。这个影片的原始素材，是一张我在 网上找到的湖泊的全景图，湖边有一个石 头银行。作品通过两张图片分别展现了原 图左右两边的空白，并且都已经被镜像化 翻转。两组空白中的两组石头被同时放进
了影像。通过快速移动两张图片，我试图 消除他们之间的形状上的间歇——一种由 于使用广角镜头产生的畸变，并完成这幅 全景图。这种尝试是为了通过将图片两端 的断面拼接到一起，形成一个闭合的环形 景观。这种图像始终在碎片和闭合的图像 空间之间交替。
Nature and its artificially are recurrent subjects of my work. My recent videos are the result of an appropriation and subjectivization process of found footage material. Extracted from the internet the selected images are printed on paper, staged, dramatized and filmed. When a person is revived, he or she is shaken, slapped sometimes even gets electric shocks. Similar is happening in my videos. The found footage images are combined with my physical movements and gestures, which sometimes happen in front of the found images sometimes simply result from the attempt to hold it and focus the camera at the same time. For the selection of the motive it is crucial which option it provides to modify or expand the exhibition space when being projected. About Panorama: Panorama revolves around our perception of the oneness of nature and its beauty. Presenting animated rocks from a see bank, which allow for many diverse associations, it examines the relation between natural beauty and my artistic intervention and
thereby establishes a manifold interplay with the chinese tradition of Suiseki. Source material for the video Panorama is a panoramic image of a lake with a stone bank I found online. It shows two prints of the left and right margin of the picture, which have been mirrored (flipped horizontally). The two groups of stones from the margins are brought together in the video. By moving the two prints quickly I try to close the gabs between their shapes - the distortion results from the wide-anglelense - and complete the panorama. It is an attempt to round out the picture on its break line and create an enclosing horizon. The figure permanently alternates between a fragmented and closed pictorial space.
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Jisook Min Drawings - 图画 81
Window as open to the world is the object of contemplation and reflection. The window is situated between two spaces inside and outside, which cuts at the same time to connect these two areas. View outside the window from the inside of the house, has led us to reconsider what we know see from inside ourselves and that we agree to let our universe. Internalizing the externality and externalization of the inner two existential moments that make up a large part of the experience. See or observe without attaching the passages, the landscape is unsustainable, ephemeral led us dive itself. 82
向世界敞开的窗子是沉思和反省的对象。 这样的窗子处于外空间和内空间之中，即 隔断这两个区域由将其连接。从房屋的内 部透过窗子看外面，让我们重新思考曾知 晓的从自身内部往外看的东西，以及我们 承认的统一我们的东西。外在的内化，以 及内在两种存在性瞬间的具象化组成了我 们大部分的经验。 不附加通道的观看或观察，这里的景观是 不可持续的、生命短暂的，让我们潜入其 中。
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Aurora Molina Sculptures - 雕塑 85
My work is concerned with the objectification of beauty and the growing anonymity of the elderly in our society. I believe a clear connection exists between the media-fueled manipulation, edification and standardization of physical beauty and the increasing denial of the actual process of physical aging. To be old today is to slowly become invisible. My work is, in many ways, a critique of this postmodern iconography as it attempts to highlight not only the natural process of aging but society’s concomitant refusal to recognize it as such. My pieces attempt to draw attention to the ways in which this self-absorption is encouraged by an unfettered individualism which unchallenged serves only to fracture family ties, friendships and the larger social consciousness, creating an awkward integration when the individual no longer conforms to the established standards. I examine this growing need to connect by focusing on individual narratives. Whereas society has slowly created “fictions” and “virtual realities” to replace the real, I instead direct the spectator’s attention to the everyday real happenings of ordinary lives. There’s an undeniably playful aspect to all of my work. The soft sculptural creatures I make are created as if they were belligerent, ill-behaved children, demanding attention. In the most recent series, I’ve created an environment where man has become an anthropoid-like creature, animal instincts entirely driving his behavior. My use of stocking makes them appear crude, more visceral, as if the skin had been removed to reveal what’s beneath, to expose the rawness of tissue and blood. Indeed, it is the grotesque nature of these pieces that is meant to invite deeper explorations into the true nature of the character, a repulsiveness that seduces the spectator to reexamine his or her own psychological vulnerabilities. The use of fabric and the obsessiveness of embroidery defines my work and honors that centuries-old legacy of women weavers and artisans. The embroidery machine facilitates a delicate 86
and yet frenetic pace. Every time I sew, I connect the tension of my foot on the pedal to the movement of my hands as I guide the fabric’s surface into what I want to draw.
我的作品涉及美的客观性，以及社会中增长 的无声的老龄化。我相信在媒体催生的对身 体之美的操控、调教、标准化和越来越多人 否认不可避免的岁月老化之间有着清晰的 联系。在今天，变老已经逐渐变得不可见。 我的工作在很多方面都是对这种后现代图像 研究进行评论。它试图不仅仅强调自然的老 化过程，同时也强调社会随之产生的对如此 事实的拒绝。我的作品尝试将注意力集中到 自我沉醉的方式，这种方式被解禁的个人主 义所鼓励。它不可动摇地破坏着家庭关系、 友情、以及更广阔的的社会意识。当个体无 法符合那个被建构起来的标准时却创造了一 个诡异的整体。我通过聚焦个体的叙述来检 验这种增长的需求。鉴于社会已经慢慢创造 了“虚构”和“实际的现实”来替代真实， 我坚持将观众的注意力导向日常生活中发生 的真实瞬间。 在我的作品中有一种无法否认的趣味性。我 制作的这些软雕塑生物就好像是好斗的行为 病态的孩子，渴望得到关注。在近期的系列 里，我还创作了一个环境，在这里人已经成 为了类猿的生物，动物的本性完全操控了他 们的行为。我通过笔触感让他们显得野蛮， 甚至好像他们的皮都被扒掉了，以显现皮 下的东西。同时揭露肌肉和血液的鲜活。当 然，这只是这些作品诡异的本质，其意义是 引出更深层的对于这些角色本质的探索。那 是一种厌恶，以引诱观众重新审视他们自己 心理的弱点。 对布匹的使用和对刺绣的痴迷定义了我的作 品和我对织女和工匠留下的世纪遗产的敬 意。刺绣机简化了易碎又疯狂的节奏。每一 次刺绣，我都把我对踏板上自己脚的注意力 和手的动作相连接，就像我将布的表面引向 我所要绘制的东西。
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Shannon Novak Augmented reality / music - 增强现实 91
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Shannon Novak’s work focuses on the idea that everything is music whether a chair, a building, or your next cup of tea, and interprets this musicality using his own language of animated geometric forms and instrumental sounds. In Novak’s work “Transcription 29.591371,106.55365”, he interprets the musicality of a specific location within Chongqing by referring to its musical history, a virtual art work the audience can reveal using a mobile device with a free app.
Shannon Novak的作品一直关注这样 一个概念：一切都是音乐。不管是 椅子、建筑、或者你的下一杯茶。 并且通过运用他几何化的形式和乐 器的声音来阐释这种乐感。在Novak 的作品《录音29.591371，106.55365 》中，他通过参照它的音乐历史， 阐释了重庆一个特定地点的乐感。 这是一个现实的艺术作品，观众可 以通过免费的手机应用来重现。
“We are continually bombarded with information from multiple channels, and as a result often overlook the wonder of everyday objects surrounding us. My work attempts to reengage the audience with this wonder using the very technology that tries to draw this attention away”. Shannon Novak.
“我们不断地被来自多通道的信息 轰炸着，其结果就是经常忽视围绕 着我们的日常惊奇。我的作品尝试 通过特殊的技术，将观众的注意力 重新拉回到这种惊奇中。”Shannon Novak。
The technology used to develop this work is called augmented reality (AR), which in this case means when the audience holds a mobile device like a smartphone or tablet over an object or location, an animation with sound will overlay that object or location in real time. The real world is ‘augmented’ with virtual objects. This technology has been traditionally used in architecture to visualise buildings, the military to overlay important information on soldier’s eyewear, and navigation to provide real time street information. Novak uses the technology to go places that were difficult or impossible to work with when using physical materials such as paint, tape, and vinyl. He can now develop work with ease over entire buildings, natural features in the landscape, and places well out of physical reach.
用来制作这个作品的技术叫做“ 增强现实（AR）”。在这个作品 中，就是指当观众用手持的智能手 机或平板电脑对着一个物体或一个 地方，一个带有声音的动画就会实 时覆盖在这个物体或地点之上。现 实世界通过现实的物体被扩张。这 个技术主要被建筑师用于视觉化建 筑，军方在军人眼部装备上覆盖重 要的信息，以及对街道信息进行实 时调查。Novak运用这样的技术去 到那些很难甚至不可能用油漆、胶 带和树脂等物质材料展开工作的地 方。现在他可以轻松的在整个建筑 里，在具有自然特色的景观里，以 及物理无法触及的地点来创作他的 作品。 93
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and Helmut Schäfer Sora Park Noise as language Photographs 摄影 Music - -音乐 14.08.1969 - 20.04.2007 95
随意涂画质疑着一个人在这个人口持续增 长的世界里存在的重要性和价值。中国已 经成为世界经济中的强大力量，而庞大的 人口是他的燃料。然而个人的存在和完整 性并没有被给于足够的重视。当太多的注 意力都被放到最终更加浮夸的结果时，将 很难不去考原始资源。在随意的涂画中， 一个有中国血统的女孩的身份被掩饰了， 以强调匿名和无特殊个体质量的概念。然 而，她又是一个发光的，重要的，具有独 一无二特质的代表。 96
Doodle questions the importance and the value of one’s existence in this world where the population keeps growing substantially. China has become a strong force in the world’s economy, fueled by its enormous population, yet an individual’s existence and integrity have not been given enough spotlight; it is hard to dismiss the primary resource when so much of our attention is focused on the final, more grandiose result. In Doodle, an identity of this girl (of Chinese descent) has been disguised, accentuating the notion of anonymity and non-specific individualistic qualities. Yet, she is the one who shines and represented as a central and sole figure.
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and Helmut Schäfer Noise as Staudinger language Bernhard Music Video -- 音乐 影像 14.08.1969 - 20.04.2007 99
A small group of young children is playing in a garden. It is not really clear, where we are. What appears to be a place somewhere in China becomes a restaurant with luscious garden at second sight. A virtually perfect copy, constructed by architects from China with materials imported from the province Sichuan. It is a popular meeting place for AustroChinese residents and tourists to experience an authentic piece of China abroad. In a subsequent shot a young woman meets an elder lady inside the restaurant. They tell each other some stories. About home. And about their “new homes”.. Dongnein is a young actress and dancer who was born in Austria. Her story, contrary to Lijuns, is fake. It is made up of dialogue fragments from chinese (and taiwanese) movies, dealing with chinese diaspora. These films are often romantic variations of the theme, others with slightly darker undertones. The difficulties of leaving home for a new life in a foreign country. Su Lijun was born in Shanghai and came with her family to Austria in the 1980ies. Even before they arrived they knew that they will have to work in gastronomy there. A chinese restaurant, where the husband worked as a cook and Lijun as a waitress. The waiter in the video is Mr. Su Hui Kang, Lijuns brother. He works for the restaurant normally. Gastronomy is a destiny many chinese emigrants share. Pushed into a role that complies with western clichés of an exotic China. 100
一小群孩子正在花园里玩耍。我们并不清 楚到自己在哪儿。随后出现的是在中国 的某个地方，出现了个拥有美丽花园的餐 厅。这个餐厅是一个中国设计师建造的完 美复制品，建筑用的材料来自四川省。对 于中奥居民或者游客，这里是一个流行的 聚会场所，让他们体验一个真实可信的中 国片段。 之后拍摄的是一个年青女人在餐厅里遇到 了一位年长的妇女。他们相互告诉彼此 故事。有关于家，以及他们的“新家” 。Dongnein是一位出生于奥地利的年轻女 演员和舞者。她的故事，相对于丽君一家 来说是虚假的。故事是用几个有关中国侨 民的电影中的碎片对话（台湾话）所虚构 的。这些电影常常包含浪漫而多样的主 题，其他的则有一点灰暗的潜在含义。有 关于离开故乡并在国外展开全新人生的困 难。苏丽君出生于上海，并在20世纪80年 代和她的家人来到奥地利。甚至在她到达 之前就已经知道将要在那里以烹饪为生。 在一家中国餐馆里，丈夫担任厨师，丽君 则担任女服务员。影像中的男服务员是苏 惠康先生，丽君的兄弟。他常常为餐厅工 作。餐饮业是许多中国移民的共享行业。 它的角色被逐渐推向一种西方对于中国异 国情调的成见。
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Clemens Stecher Paintings - 绘画 103
A series of three paintings in seven panels summing up a story basically taken from “Wily Wolf�, an illustrated children’s book for learning English published during the cultural revolution. Various small animals build a trap for a wolf in which he falls and is beaten to death by the little creatures, they build up the trap again at the end of the story, for the next wolf. It was so violent on one hand and sort of nicely drawn on the other I decided to use it, trying to capture the atmosphere. The image of Lei Feng was one of my first impressions when I arrived in Beijing, on Lei Feng Day I saw many people wearing Buttons with his counterfeit. I found out that a number of heroic people in the history of communist China is worshipped similar to the way saints are worshipped in christian cultures. When I later found the exact image of Lei Feng used in the buttons printed on the cover of a magazine I decided to put it in, all chinese people who saw it in the painting immediately remembered it. The whole piece was finished in less than two weeks before my departure in May 2012. 104
一组系列绘画并置在一起，讲述了一个基于《狡猾的大灰狼》的故事， 它是一本在文革时期出版的学英语用的儿童图书。各种各样的小动物一 起建造了一个捕狼的陷阱。狼掉进陷阱并被这些小生灵打得半死。故事 的最后他们又建了一个陷阱，等待下一匹狼。这本书很暴力，但又画得 很不错。我决定借用它并抓住那种氛围。雷锋的图像是我到达北京时的 第一个印象。在雷锋纪念日那天，我看到很多人都带着他的徽章。我发 现好几个中国社会主义历史中的英雄人物像是基督教文化中的圣人一样 被膜拜。当我在一个杂志封面上看到那些徽章上挪用的雷锋的原始图像 时，我决定把它放进我的组画里。所有中国观众在画里看到它时，都立 刻记住了它。这个作品在2012年五月我离开之前，仅用了不到两周的时间 便完成了。 105
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Anita Steinwidder, Jasmin Ladenhaufen & Xinyuan Zhenglu Recycled Fashion - 回收的时尚 107
With this outcome STEINWIDDER defines her own comprehension of „remade-fashion“: dissectioning and stringing together of used clothing is not only done with the aim to create new designs and functions, but primarily to develop relief-surfaces, textures and graphical-elements. STEINWIDDER focuses on processing of ”same-type-clothing“ (socks and stockings) and uses this basic material for various transformation processes. All collections of STEINWIDDER, consisting entirely of remade-design are produced in Vienna, Austria. They are to be seen as project orientated collections of exclusively unique pieces, that may be extended or amended by associative design any time. STEINWIDDER elaborates reproductions in limited series with affine character. Curated and location photographs by Jasmin Ladenhaufen 108
通过这些作品，Steinwidder定义了她自己对“再造的时尚”的理解：将用过的 衣物解体再组合，其目的不只是为了创造新的时尚和功能，而主要是为了拯救 表面、材质和图案元素。 Steinwidder聚焦于“同款制衣”（短袜和长袜）的 过程。并运用这些最基本的材料来进行各种各样的变换。 Steinwidder的所有收 藏，包含了奥地利维也纳生产的所有再造设计。他们被看作以项目的形式收集 了绝对独一无二的样品。可以随时通过联合性的设计进行拓展和完善。 Steinwidder精雕细琢了一批再生产的系列产品。并且为限量版的不同系列，彼此之间 也有着相似的关联。 策划及现场照片由Jasmin Ladenhaufen提供。
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Kim Taegon Photographs - 摄影 111
Based on my experience of foreign, even before learning the French language and enter into communication situation, I have updated significant lags between respective postures and relational practice that have courses in Korea and France. Thus, at first glance, the Korean attitude advocates withholding and indicates a certain closure and plenty of headroom when operating in typical French society seems more open and more direct, but also dictated aspects without doubt by the symmetrical nature of my eye ‘alien’, more superficial. My linguistic difficulties of departure were therefore cultural and personal difficulties to create the relationship and to come into contact with others, that is, members of this French culture which was, after the first impression all familiar, if different. All to
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say, I felt such an impossibility to communicate that it was unthinkable any possibility of integration group whatever it is making me suffer from my isolation. For me, that was already inclined by nature to search for life in society, get in touch with my entourage became an absolute necessity. It is quite naturally through my artistic practice that tried to analyze and solve my relational problem. I then created what I would call ‘objects collective experimental»intended to bring together people around a device to resonate the sentiments, a little as if he were dumb musical instruments. I then invited all those who approached my work to participate in this experience that did not require the mastery of a common language but only the desire to meet together, around an artistic object.
基于对外语学习的经验，甚至是在学习法语到之前到可以用法语进行交流的经验。我 在韩语和法语的课堂上经历了各种情景和相关的练习来提高。最初的印象是韩国的态 度宣扬含蓄并相对封闭，而在典型的法国社会里则看起来更开放和直接。当然从我的 眼中自然地把他们看作“外国人”时，他们也显得更肤浅。 我语言上的障碍主要来自于文化和个体方面很难和他人建立起联系。对于法国语言和 文化的的困扰对于我以及我和法国人的关系来说是一个核心的问题。有时甚至到了无 法交流的地步。和其他许多人一样，我是被极度孤立的。但和周围的事物建立联系又 显然是很必要的。 我很自然地通过我的艺术实践来试图分析和解决自己的人际问题。因此我创作了一个 称作“客体收集实验”的作品。意在把仪器周围的人都聚集起来并产生情绪的共鸣。 有一点像是无声的音乐仪器。我邀请所有接近我作品的人参与到这种体验中来。不需 要任何对基本语言的掌握，只需要聚在一个艺术作品周围的渴望。 Dialogue I do not hear, I do not see, I feel only the vibration by my hands. Between us, no more secret. Now we can entrust our secrets
对话： 我不听，也不看， 我只感受到手的震动。 我们之间，不再有秘密。 现在我们可以托付彼此的秘密。 113
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Sylvia Winkler & Stephan Koeperl Photographs - 摄影 115
PETs Since the beginning of our cooperation our artistic work focusses on site- and situation specific interventions in the urban fabric of cities around the globe. Our projects usually start with observations in public space and are elaborated according to the possibilities and requirements on the spot. We are especially interested in the underlying structures and mechanisms of the mere appearance, which we examine by extended research. During the process of developing a specific idea we are looking for the potentials of a location or context and search for the possibilities to relate ourselves to it. In the actual artwork we take position by creating an image or a situation that reflects our personal attitude towards the subject. 116
自我们合作开始，我们的艺术作品就聚焦现场和情境，以及全球城市建筑 中的特定介入。我们的作品通常开始于对公共空间的细心调查，包含这 个区域的可能性和必要条件。我们特别感兴趣的是表面现象之下的深层结 构和机制。并通过我们的后续研究加以验证。在寻找特定想法的过程中， 我们探索着地点或语境的潜力。寻找将我们自己融入进去的可能性。在实 际的作品中，我们通过创造图像或情境来反映我们对这个主题的个人态度 来，并以此表明立场。 117
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HongBao/ Architecture
das FANTASMAGORIA
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Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experimentation, where the unthinkable and the big exists. This extravagance makes chinese cities, specially Chongqing, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experi120
mentation, where the unthinkable and the big exists. This extravagance makes chinese cities, specially Chongqing, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experimentation, where the unthinkable and the big exists. This extravagance makes chinese cities, specially Chongqing, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit t, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and pro-
jections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experimentation, where the unthinkable and the big exists. This extravagance makes chinese cities, specially Chongqing, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experimentation, where the unthinkable and the big exists. This extravagance makes chinese cities, specially Chongqing, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China., to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre
genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experimentation, where the unthinkable anena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experimentation, where the unthinkable and the big exists. This extravagance makes chinese cities, specially Chongqing, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the curre Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China.he young megacity Chongqing in south-east China.
Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the 121
乡村建设实践现状:小开垦与大抛荒 赵理 2011年4月，台湾建筑师谢英俊的展览《人民 的建筑--关系到70%人类居所的实践与探索 》 在雍和宫附近方家胡同46号展出，他的工作团 队近年来在河北、河南、安徽等地农村进行“ 协力造屋”实践并在台湾及大陆的一些灾后重 建项目中实施“永续建筑”计划，整个展场林 立着轻钢架子，每个架子上贴着各个建筑项目 的相关图片及文字资料，其中一张史料图片是 一则手书“民为邦本 本固邦宁 - 晏阳初”，在 风雨飘摇的上世纪二三十年代，晏阳初在河北 定县农村进行平民教育和乡村建设实践。70多 年后，一些知识分子和艺术家秉承早期乡建运 动的衣钵，在乡土社会价值逐渐解体、中国迅 猛的城市化进程和资本全球化的多重困境中， 开始一场新的返乡运动尝试。 我从谢英俊的 展览中获得启发，决定到已经有乡村建设实践 的一些地方，希望从实地的见闻中更立体化的 去认识和思考。 2012年11月北京正在召开“十八大”，远在安 徽黟县碧山村，欧宁和左靖发起的“碧山计 划 ”第二年的展览将要开始，许多参展艺术 家和乡建工作者已经到来，我到达的下午却突 然得知开幕被无限期延后。许多艺术家直接回 去或去爬黄山、游古徽州村落了。在协助一位 艺术家朋友完成阅后即焚式的旧祠堂布、撤展 行为后，（这里原本会是主展区之一 还可以 看到先前已经布置好的关于“黟县百工”的参 展物品）我选择留下并参与了之后两个晚上的 小型研讨。台湾建筑师黄声远分享了关于田中 122
央建筑学校的成果经验。在台湾宜兰农村，当 地基层政府变更频繁，他们的“田中央”却一 直存在，台湾乡建运动的“造血”机制经过几 十年的发展已然兼具，而大陆乡建实践多碰到 尚需重建乡村知识阶层的问题。一年前，在一 个关于碧山丰年庆活动的纪录影像中，我注意 到一位很有主见的本地汪姓村民，他认为这些 是从上边外来的人们所营造出的活动，村民来 衬托，但实际上应该由村民成为主体，毕竟他 们自己才是村庄的主人......今年的寻找水源谱 系的讨论环节，他及另外几位村民被请来参与 讨论。这个以当代艺术系统内身份为主的“碧 山共同体”团队只有在行动的过程中逐步摸索 出乡村建设的个中端倪。这种乌托邦色彩的乡 村实践从艺术发声，离所要追寻的新乡建的发 生还要走很远。建立有效的城乡互助互哺互为 主体的关系，让本地的年青群体有参与的主动 性、获得自我和文化的价值认同，进而以此为 发端创建经济发展的可能，由此以文化为着力 点的乡建模式才能影响和激发出返乡青年、乡 村主体的创造性。“碧山计划”不局限于当代 艺术的语境，着眼更本质的乡村重建探寻或许 是真正能活化本土的关键。 2013年4月 河北定州翟成村 重建的晏阳初乡村 建设学院已经被关闭，建筑师谢英俊参与设 计的翟成村协力造屋两处民居还在，而此时的 这个村庄和这里的村民又会是怎样的呢？清明 时节来到这里，定州的老城门只剩下南门“迎 泰”， 它被触目惊心的垃圾污水河所环绕，
乘县乡小巴在东庞村停下，离翟成村还有七八 里步行的路程。这里是典型的华北农村，乡间 道路两旁在田地里劳作的人们不少。这里没有 皖南地区被艺术家和知识分子所珍视的当下难 得的民居特色、田园风貌、文化氛围等。它 是“裸眼”的农村，没有景观化、美学意义遮 蔽水源、垃圾问题、进口农药、农村空心化 等实质后的矫饰感。十年前，中国新乡建主导 者温铁军和邱建生在这里发起重建晏阳初乡 村建设学院，这是一所农民的学校，在七十多 年前“定县试验”的基础上，结合农民的培训 与能力来建设，延续各种农村试验经验，对 翟城实验区进行包括农业生产、文化卫生、 村民自治、环境保护等方面的综合建设，并 以此为前提，进行乡村综合建设经验的示范与 推广。2007年4月学院停止运行……我遇到了 本地村民张中山，他亲历了学院的重建、发展 与结局，这位近70岁的老人是村里不多的有着 很高的参与积极性的村民。在农村他属于技术 型能人，长期的果木栽培和牲畜饲养研究工作 使得他对创新发展葆有热情。在参观了他自家 院子里的毛兔养殖和葡萄培育后，我们来到了 早已关闭的学院。“开发民力、建设乡村”的 标语依然清晰，协力造屋的民居和新型大棚的 荒废却令人吃惊。一个村里曾经的干部在这里 种菜，他对于学院和建筑都颇有微词，在被城 市化、农业资本主义殖民裹挟的广大农村，审 美的同质化和价值扭曲严重，和大多数今天的 农村一样，这里流行用从城市艰辛赚来的钱建
造一种贴着瓷砖、铺上地板砖的钢筋混凝土的 并不科学实用的小洋楼，这位前干部觉得建筑 师改建的民居不够现代化，可科学的取材构造 使得这两所房子冬暖夏凉，他承认天冷的时候 更愿意来这边而不是村里的新房子。张中山讲 述了学院成立后村民参与的情况，多数人是很 实用主义的并没有较大的积极性参与。他作为 为数不多的特例在初始多次参与开会讨论及外 地学员的培训，他根据多年种植、养殖经验所 编撰的农谚长诗谣也很为学者们欣赏......显然 学院需要足够长远的成长时间来做发展动员工 作，如果有更宽松的空间支持它的影响力和作 用力将会凸显。 在城市中心主义的弊端日趋严重的当下，新的 乡土主义以一种理想主义为精神原点，反思过 度城市化造成的城乡问题，介入本土，以小开 垦的模式去对抗大抛荒背景下使得乡村凋敝的 诸多因素。但乡村建设实践如何不被边缘化、 精英化，如何不止步于乌托邦创想，真正实现 互助合作，这些都是我们面临的最迫切的问 题。“实验运动若止于实验工作，那就毫无意 义了。它往后一定要有进一步的发展，而引到 另一阶段去，始有它的功用和价值”除了碧山 村和翟成村，我近年去到的河北、云南的一些 农村都存在萧条败落、生态危机、单一旅游开 发、社区生命力萎缩、成为被瓦解的符号等严 峻现状，未来的构思、想象力从本土经验、文 化传统、历史脉络中怎样获取能量和资源，是 我们今天所要共同探求的。 123
FANTASMAGORIA OF CHONGQING ARCHITECTURE, POLITICS, FICTION by Célia Picard and Hannes Schreckensberger
Following our fascination how a city is a construction of an expression of human nature, dreams and projections, this critical research-based project goes far beyond an ordinary urban study. We looked for the genesis of the state of mind, for the mythologies and most of all for the phantasmagories that inhabit the young megacity Chongqing in south-east China. Chinese cities are the new reference of urban experimentation, where the unthinkable and the big exists. This extravagance makes chinese cities, specially Chongqing, to icons of themselves. Chongqing underlies a radical transformation, cased by an authoritarian led political system, which steer the space production. This practice generate consequently a plenty of architectural mutations, irrational phenomena and fragments of utopia. Architecture and urban structure become a visual representation of the current chi-
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nese urban politics and create a unprecedented living environment which affect and modify daily life as well as social structures of Chongqings inhabitants. We explored and localized the current as well as the future phantasmagories and mental representations, which coalesce this – in the rest of the world unknown – megacity in order to document the rapid mutation of cityscape. Fantasmagoria of Chongqing is a snap-shot introspection of the city. Fantasmagoria of Chongqing was developed in the frame of a five-week Artist-in-Residence at Art Space Organhaus and was exhibited at Art Space Organhaus in Chongqing from 22.03. till 28.03.2013. The project is documented by a publication.
重庆迷幻
建筑、政治、幻想
对于城市这样一个表现人性、梦想和规划的结 构，我们总是充满了惊奇。这个批判性的以研 究为基础的项目已经超越了普通的城市调查。 我们寻找的是思想状态的起源、神话以及最重 要的——重庆，这个坐落于中国西南的年轻大 城市中千变万化的风景。 中国的城市是城镇实验的最新参照，这里存在 的是巨大和无可想象。这种铺张浪费使得这些 中国城市，特别是重庆，成为了他们自身的标 志。重庆正在进行着极端的转变，由独裁的政 治系统所引导并操纵着空间的生产。这种实践
造就了大量的建筑突变，荒谬的现象以及破碎 的乌托邦幻想。这种建筑与城镇结构成为了当 下中国城市政策的视觉表现，同时也造就了史 无前例的生活环境，影响和改变了重庆居民的 日常生活和社会结构。 我们探索并本地化了当下乃至未来的迷幻景观 和精神代表，将这个世界鲜为人知的大都市融 为一体，以记录这个极端的城市景观突变。《 重庆迷幻》是对这个城市的快拍式反省。《 重庆迷幻》创作于重庆器.Haus艺术空间为期 五周的艺术家驻留项目期间，并且曾在2013年 3月22日至28日在器.Haus艺术空间展出过。整 个项目由一本画册记录。
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重庆，
Chongqing
巨型，稠密，内陆，西部 重工业历史。高科技未来 农民工的磁石， 乡村， 坚强的城市，实用主义用途， 曾经的首都，当今中国特大城市的 实验场。 直辖市， 发展，和谐，遗产， 一片空白， 新城市，经济区，大学城， 地形学的驯化 高楼，高架，隧道 汽车文化， 烟雾， 巨型，稠密，永不停息。
vast, dense, inland, west, heavy industries history, hight-tech future, magnet for peasant workers, rural, tough city, pragmatical uses, once the capital, now the laboratory for chinese megapolis, directly under the central government control, development, harmony, heritage, tabula rasa, new cities, economic zones, university towns, domestication of the topography, towers, overpass, tunnels, car culture, smog, vast, dense and ever growing
More info dasfantasmagoria.tumblr.com www.celiahannes.net 129
HALLSTATT IN CHINA
Photos and text by Matthew Niderhauser
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Hallstatt didn’t even see it coming. The UNESCO World Heritage village nestled against a lake in the Austrian alps hosts many tourists drawn to its picturesque setting, but didn’t realize some of them were slowly taking its measurements in order to recreate it as a whole in China. The new Hallstatt is now the centerpiece of a massive luxury villa development set against a artificial lake in Guangdong province. Although possibly a compliment to the original Hallstatt’s idyllic nature, many of the residents were quite stunned by the development. A local hotel owner stated, “I don’t like the idea of knowing that a team was present here for years measuring, and photographing, and studying us. I would have expected them to approach us directly – the whole thing reminds of a bit of Big Brother is watching.” Although the core of the new Hallstatt is finished, the developers continue to frantically build the surrounding units in order to capitalize on the publicity.
China’s grand urban development plans continue to grow at an unrelenting pace. Too much is at stake to slow down such a gargantuan economic force, even as cracks appear in them across the country. Pollution, natural resource depletion, relentless traffic, corruption, and social tensions heightened by growing income disparity are now a part of daily life. Counterfeit Paradises explores these cracks through the “harmonious” cities coming into being across China, along with sites of leisure and tourism now enjoyed by the growing middle class. This nouveau riche partake in an imagined space of contentment even as the gaps widen between reality and the reassuring political rhetoric regarding city planning and the trappings of “modern” lifestyles. This fantasy plays out in many spaces including newfangled municipal districts, communist heritage sites, amusement parks, cultural institutions, and themed residential developments. But in practice, many remain underused, fanciful but alien terrains. The hopes and dreams of many are woven into such spurious ventures.
Hallstatt甚至没有看到它的到来。联合国教科 文组织世界遗产村坐落在奥地利的阿尔卑斯 山湖,风景如画的环境吸引了许多游客，但并 没有人意识到它们正被慢慢地测量，以便在 中国 整体重建它。新的Hallstatt现在是广东 省一个巨大的面对人工湖的豪华别墅开发的 核心。虽然可能是在恭维原Hallstatt的田园诗 般的气质，许多当地居民还是对这些工程颇 为震惊。当地一家酒店老板说， “我不知道 一个团队驻扎多年测量，拍照，研究我们。 我更希望他们直接接触我们，整个事情提醒 我们注意老大哥正在观察我们。 “虽然新的 Hallstatt的核心已经完成，开发商为了把握宣 传正在继续疯狂地建造周边组团。 中国庞大的城市发展规划正在以毫不松解的
步伐继续增长。太多的筹码试图放慢这样一个庞 大的经济力量，虽然全国各地已经开始出现各种 裂缝。污染，自然资源枯竭，交通紧张，腐败， 社会紧张局势加剧，收入差距扩大趋势是现在每 天生活的一部分。虚假的天堂通过中国各地正在 出现的“和谐”城市探讨这些裂缝，以及日益壮 大的中产阶级的休闲和旅游网站。这种暴发户参 加的活动，发生在一个想象的空间，甚至拉大了 现实和令人安心的政治言论的差距，这只是一个 关于城市规划和“现代”生活方式的派头。这个 幻想发生在很多空间，包括新奇的社区的市集， 共产党遗址，游乐园，文化机构和主题住宅的发 展。但在实践中，许多人仍然未充分开发奇特的 外来的地形。许多人的希望和梦想编织了这样的 虚假企业。
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CHONGQING JELLYFISH Floating pollution-fighting skyscrapers look like robotic jellyfish image courtesy eVolo Designers Hao Tian, Huang Haiyang, and Shi Jianwei
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since 1750, the outbreak of the industrial revolution in europe has unavoidably brought severe environmental pollution - consequentially causing acid deposition due to the large-scale industrial production processes. produced by the fossil fuel used in abundance, as well as the heavy traffic and industrial production, the SO2 and NOx drives the PH value of the atmosphere under 5.6. gradually precipitating to the surface of the earth, these acidic materials have caused great harm to the ecological systems on earth. In response to the growing pollution problem in regions of china, designers hao tian, huang haiyang, and shi jianwei have developed the’PH conditioner skyscraper’ - which has been awarded with an honorable mention in this year’s eVolo skyscraper competition. the large-scale floating pollutioncombating skyscrapers aim to manage the ef-
fects of acid deposition and eventually turn pollutants into available resources (reclaimed water and chemical fertilizer) for the area of chongqing. appearing to look like massive robotic jellyfish, the project is set to be 200-300m high where acidic pollutants gather - filled up with hydrogen at the top of the building, providing buoyancy to the structure. Like acid fog, the porous membrane attached to the air bags can absorb the acidic materials, collect and put them into core purifier where neutralization takes place with alkaline substances produced by nitrogen-fixing micro-organisms. with neutralization, acid pollutants can be transformed into neutral liquid with ammonium salt which will be absorbed by plants attached on tentacle pipelines as green nutrients. the remained liquid will be delivered to the terminal tank as the source of reclaimed water.
重庆水母 自1750年以来，欧洲工业革命的爆发已不可 避免地带来了严重的环境污染，由于大规模 的工业生产过程继而引起的酸性物质的沉 积，以及繁忙的交通和工业生产中使用的化 石燃料产生的SO2和NOx导致大气中的PH值 在5.6以下，逐渐沉降的地球表面，这些酸 性物质对地球上的生态系统造成了很大的伤 害。设计师昊天，黄海洋，以及史建伟为了 应对中国部分地区日益严重的污染问题，开 发了PH空调摩天大楼“ ，这个项目已被今 年的eVolo摩天大楼竞赛授予荣誉提名奖。
为了防治大规模的浮动污染，摩天大楼目的 在于管理酸性沉降物的影响，并最终把重庆 地区的污染物转化为可用的资源（再生水和 化肥）。表面看似大量机器人水母，该项目 设定为高酸性污染物聚集的200 -300米， 用氢 填充于建筑物的顶部，提供浮力的结构。像 酸雾一样，连接到气囊的多孔膜可以吸收的 酸性物质，收集并把它们放到核心的净化与 固氮微生物所产生的碱性物质中和。中和后 酸污染物转化为中性液体与吸附在植物触须 上的铵盐一起结合为绿色营养物质。剩余的 液体将被传递到终端箱作为再生水源。
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BEIJING LIGHT PARK SKYSCRAPER Light Park is a skyscraper that hovers over the streets of Beijing like a giant airship. Architects Ting Xu and Yiming Chen have conceived the future of high-rises to be a conglomerate of mega-structures that make up for the shortage of urban open spaces on the ground by lifting them up in the air. The Light Park skyscraper is lifted off the ground with a helium-filled balloon, and it uses solar energy for propulsion, enabling it to function as a non-polluting transportation deck as well as a floating urban park. The project just took third place in the eVolo 2013 Skyscraper Competition. Read more: Floating Light Park Skyscraper Uses Solar Power and Helium to Rise Above PollutionChoked Beijing | Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building As we’ve reported in recent weeks, Beijing has been suffering from staggering air pollution. Light Park is designed to provide infrastructure, housing, and commercial and recreational spaces
北京光公园摩天大楼 光公园是一座悬停在北京的街头，像一个巨 大的飞艇的摩天大楼。建筑师许霆，陈奕明 设想未来的高楼林立，为了弥补砾岩短缺在 城市开放空间的地面上起吊他们在空中的巨 型结构。光公园摩天大楼由一个充满氦气的 气球起吊升空，它利用太阳能的推进，使得 它成为一种无污染的交通甲板以及一个浮动 的城市公园。该项目在2013的 eVolo摩天大楼 竞赛中夺得季军。 阅读更多：漂浮的光公园摩天大楼使用太阳 能电源和氦气在污染严重的北京升空 - 可持续创新设计，生态建筑，绿色建筑 正如最近几周被报道的那样，北京一直饱受 着惊人的空气污染。光公园的设计提供基础 设施、住房和商业及休闲场所，远离北京的 交通拥堵和空气污染。它是一个乌托邦式的
that are free from Beijing’s traffic congestion and air pollution. It is presented as a utopian city that leaves the over-populated, smog-choked city behind and seeks to start from scratch. The mushroom cap-like structure takes the future of urban development to the sky, offering Beijing’s residents a chance to escape the crowded city. The technology behind the Light Park is based on existing helium balloon designs. It uses solarpowered propellers, airbags and atmospheric pressure for takeoff and cruise flight. Solar power is utilized to power the uses below, with translucent solar panels located on the top of the aircraft. In order to avoid additional weight and decrease wind resistance, the skyscraper uses a cable-suspended structure to attach the slabs to the mushroom-like cap. The planting slabs are irrigated with rainwater collected on the large cap surface and are distributed in a way which allows maximum exposure to sunlight on each level.
城市，离开了人口过多烟雾弥漫的城市，寻 求从头开始。蘑菇帽状结构将未来城市发展 带上天空，为北京的居民提供一个逃离拥挤 城市的机会。 光公园背后的技术是基于现有的氦气气球设 计。它采用了以太阳能为动力的螺旋桨，起 飞和巡航飞行安全气囊和大气压力。太阳能 发电与位于上方的飞机上的透光性太阳能电 池板的安装是为了降低能源的使用。为了避 免额外的重量和减少风的阻力，摩天大楼使 用电缆悬挂结构及蘑菇帽状结构。植物由帽 状结构表面收集雨水并保证各方向最大暴露 在阳光下的方式进行灌溉种植。 阅读更多：漂浮的光公园摩天大楼使用太阳 能电源和氦气在污染严重的北京升空 - 可持续创新设计，生态建筑，绿色建筑 137
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THE FAKE GHOSTS OF REALITY Allen Au, Lukas Birk, Karel Dudesek exhibition review FakeSpace, Beijing Fake gHosts of reality is a time based installation feeding back past reality on to present virtuality. The visitor can “CCTV” his way in and out of space. Who was there, where have I been, what were my movements? A corruption of time-flow, recording future past. This installation driven by technology generates fake gHosts of reality.
《现实的虚假幽灵》是一个基于时间的装置，反馈真实的过去，虚拟现在。游客可以 用“全方位监视器（CCTV）”的方式监视空间的内外。谁在那里，我到过哪里，我 的动作是什么？随着时间的毁灭，记录过去的未来。这种装置由技术驱动产生现实的 虚假幽灵。
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Lukas Birk Journal - 拼贴 145
My journals reflect my many travels primarily in East and South East Asia. The prose, photographs, and found objects collaged together, are a daily process of placing experiences onto a flat surface. The pages shown in the exhibition are but a few of the many journals made in China over the years.
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我的日志主要反映我在东亚 和东南亚的旅行。散文，照 片，发现的物件拼贴在一 起。这是每天放置在一个平 面上的经验过程。展览中展 出的页面是多年来制作的许 多卷中的一部分。
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Yu-Hsiang Cheng Video - 影像 149
I have developed a series of works that created with LCD monitor . By the monitor’s light-emitted principle, i tried to interrupt the electric field between it’s “upper glass layer” and the “ liquid conducting layer” with my painting gestures, changing the spectrum to create new images. I tried to create new creations by touching the illuminated hot screen monitor with my painting movements. The painted canvas screen combined the re-filmed video contents,becomes a new image field. 150
我用LCD监视器创作了一系列作 品。运用监视器的光投射原理， 我尝试通过我的绘画手势，在“ 上层玻璃层”和“液体导电层” 之间干扰电场，改变光谱并创造 新的图像。 我试图通过我的绘画行动来触及 发亮的热屏监视器，从而创造出 新的东西。绘制过的屏幕画布和 再次与拍摄的影像内容相结合， 成为了全新的图景。 151
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Marianne Csaky Installation - 装置 153
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This series of digitally constructed imaginary landscapes are based on photos I took in China in places I also called my home at the time. The pictures have two different layers. I took photos of local people in everyday scenes, for instance, walking along the Yangtze River at places where they like to be, doing what they like doing. My aim was to depict the shapes of our everyday movement and existence. I also took photos of 3D letter sculptures, and I inserted them into the original scene like an old stone monument sunk in the sand. The letters are the initials of my name and my close family members’ name, and refer to a kind of perception of personal identity that it is defined not by what I am like or what I become but by the fact that I am the subject that appears in my history and my relationships. The two different layers also represent two different times that have continuous effect on life in the present. This series of photos is part of my Local Everywhere project.
这一系列通过数字技术重构的幻想景观， 都是基于中国驻留期间在我家附近所拍摄 的照片而创作的。这些图片有两个不同的 层面。我拍摄日常场景中的当地人，例 如，在他们自己喜欢的那个地方沿着长江 漫步，做自己喜欢的事情。我的目标是描 绘我们日常生活的瞬间和存在。 我也拍摄一些3D字母雕塑，将他们插入到 原始的场景中，就如同老石碑陷进沙里一 样。这些字母来源于我的名字和家庭成员 的名字，并涉及一种个人身份的认知。而 这种认知，并不是被我所喜欢的或想成为 的事物来定义的，而是通过现实中以我作 为主体，在我的历史和关系中的显现而被 定义的。 这两个不同的层面，也代表了当下持续影 响我们生活的两个不同时间。这个系列照 片只是我本地多处计划的一部分。 155
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Alice Dittmar Paintings - 绘画 157
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Xiang Mei香妹 (fragrant sisters) I–III is derived from found objects - three Chinese art deco beauty advertisements (commonly referred to as ’Shanghai girls’), typical of 1920s and 30s Shanghai. I purchased the three posters (ea 25 x 38 cm) for CNY ¥20 (ea) from a street seller in Gulou Dongdajie, Beijing, in July 2011.
ans, ‘laobaixing’ (ordinary people) and art lovers passing by on their way to and from the city, I decided to adopt the traditional form of the ‘dazibao’ (大字报) – ‘big-character poster’. Subsequently, the completed works were enlarged to 230 x 300 cm (ea) and applied to the concrete walls.
They caught my eye due to their distinct yet ambiguous play with (female) sexuality. Later, I copied them onto Chinese paper (ea 30 x 40 cm), merging the female figures with natural landscapes. The original ads underwent a transformation by being transferred to a different context. This approach is strongly influenced by my current research on ornamentation and its evolution into abstraction – i.e. romantic landscape imagery or emptiness.
This work is cyclical. Three small prints prompted me to start drawing. Then the prints and drawings were printed in billboardsize and used for their original purpose – as public advertisements. Another interpretation would be that found objects, taken from a street stall and their original context, were transformed into rather private and stylised drawings, before being returned to a public stage in the form of an interactive installation.
In 2011, I was a resident artist in Caochangdi. Hence, I am familiar with the site for my spatial installation, the underpass, which I passed through every day on my daily jogs to Wangjing Park. To catch the eye of (taxi) drivers, cyclists, pedestri-
This signifies how high and low culture are mutually dependent, reflecting the dynamic relations between microcosm and macrocosm and how I, via visual language, can playfully interact with a culture that is not mine.
作品《香妹I–III》是通过现成品制作的。那 是三张中国艺术美女招贴（通常指“上海女 孩”），在二三十年代的上海非常流行。2011 年7月，我在鼓楼东大街的街边以每张20元人 民币的价格买下了这三张海报（每张25x38厘 米）。 她们吸引我的是那种特别而又模糊的女性气 质。之后，我把他们复制在了宣纸上（每张 30x40厘米）并将这些女性形象和自然景观结 合。当原初的广告被转移到另外的语境中时， 它本身也经历这转变。这个过程由于我近期对 装饰物和其抽象化演变的研究而受到强烈的影 响。例如浪漫景观的意象或空旷。
艺术的人的眼睛，我决定借用“大字报” ，一种“巨型文字海报”的形式。后来， 最终完成的作品被放大到每个230x300厘 米。并且挂在水泥墙上。
2011年，我曾是草场地的驻留艺术家。因此， 我非常熟悉我的空间装置的场地，以及我每天 去望京公园的那条地下通道。为了抓住那些出 租车司机、骑自行车的人、老百姓、和喜欢
它们预示了高低级文化是如何并存的，也 反应了微观和宏观之间的生动关系，同时 还展示了我如何可以通过视觉语言，和这 个不属于我的文化进行有趣地互动。
这个作品是循环性的。三张小的印刷品促 使我开始绘画。而被打印成巨型尺幅的印 刷与绘画结合的图像又起到了它公众广告 的原始作用。其他的阐释可能还有这个从 它原本街道和环境中抽离出来的现成品。 在它从新被作为互动装置放回公共舞台之 前，被转换成了更加私人和风格化的绘 画。
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Drury Brennan Ink on paper - 纸本水墨 161
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我的作品通过各种媒介囊括和探索了宽广 的主题。但我最近的作品主要涉及书写 的行动。我们正从一种物质的可触及的文 化转变为间隔的基于荧幕的文化。并且在 这个过程中遗失了我们人区别于动物的力 量：我们的书写。书法，已存在于亚洲文 化几个世纪。它是艺术、精神、和思想的 统一体。其最重要的是形式和表现。它将 意义凝结成事物的终极代表，即永恒又轻 盈。即使字母或者汉字的诗意不能完全明 白，但书写过程的中所包含的光芒也足以 照亮我们。涂鸦已经从一种流浪式的城市 运动变成了进几十年一种流行的书写形 式。但其价值所在正是它存在的环境和背 景脱离了意义和诗性对书写赋予的美。我 所实施的书法项目被复写在意图和调查之 中，是一种逐渐绽放的意义的交织。在涂
鸦主导风格的影响下，我成长于90年代早 期的洛杉矶。我把罗马字体作为有节奏的 建构和解构形体的引导。将色板保持在单 色范围参照了亚洲的书法，以及标记和 pichacao——一种锋利而愤怒的由穷人们 在巴西圣保罗留下的涂鸦。这些书写风格 共通的美学其实是一种通过其姿态而触及 本质和确信的一种形式，一种对装饰的抛 弃。我运用这些狂野的字符书写短诗，冥 想从自然到新闻的每一件事。作为串联， 我把他们以易读地方式写成日记，并作为 参考和记录。如果书写和艺术不能交叠于 彼此，它们又能在何处相交呢？涂鸦是否 是非要在墙上才能被看做是涂鸦？对于艺 术和书写的新传统是否能在实验性的多样 生态中产生？我们始终导演着实验并写下 我们的观察。
My work entertains and explores a wide variety of themes through various media, butmy most recent work involves the act of writing. We are transitioning from a culture of material tangibility to one that is distant and screenbased, and in the process losing a power that once asserted proof of man’s evolution past animal: our handwriting. Calligraphy, as it has existed in Asian cultures for centuries, is a union between spirit, art and idea. Essential in form and presentation, it distills meaning into an ultimate representation of things both timeless and ethereal. Even if the poetic meaning of letter or character-forms aren’t exactly understood, the light contained within the act of the writing shines through to us. Graffiti has evolved from a rogue urban sport into a ubiquitous popular form of writing over decades, but it exalts values by virtue of its circumstance and context that disconnect the beauty of writing from meaning and poetics. The calligraphic project that I’ve undertaken is manifold in intents and investigations, a gradual blossoming of ideas that interweave. Influenced by the dominant styles
of graffiti that I grew up with in Los Angeles in the early 90’s, I use Roman letterforms as a guide for rhythmic de-and-reconstruction of form. Keeping the color palette roughly monochromatic is a reference to Asian calligraphy, tagging and pichacao, the sharp, angry graffiti of the poor in Sao Paulo, Brazil. The shared aesthetic sentiment between all these writing styles is one of form boiled to its essence and conviction through gesture, an abandonment of adornment.I write shortform poems with these wild letters, meditations on everything from nature to the news, and, in tandem, write them legibly in a journal for reference and record. Where do writing and art intersect if not cross over each other? Does graffiti have to be on a wall to be considered graffiti? We know graffiti that looks like calligraphy is calligraffiti, but what is calligraphy that looks like graffiti? Can new traditions of art and writing emerge from an experimental biodiversity?We are still conducting the experiment and writing down our observations.
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Bernhard Gwiggner Paintings - çť˜ç”ť 165
During a stay in China Bernhard Gwiggner acquired a scroll painting in a hidden flea market. Upon the old painting he applied ink drawings which represent present-day Beijing. For me, at first glance, three pairs of opposites quickly emerge: 1) Buddhist saints correspond or clash with people who are busy with their mobile phones, 2) the mythological landscape with a symbolic tree, stones and water rich in metaphors are increasingly threatened by buildings of the modern age, and 3) the depicted animals are juxtaposed to the guards. To the connoisseur Mao strides through the middle of the scenery. Here Gwiggner quotes the famous painting “Chairman Mao Goes to Anyuan” by Liu Chunhua and therefore he probably also quotes his own title “... Mao Goes to ...”, which somehow includes a question mark, without him placing it. The painting by Liu Chunhua shows Mao as a young man on the way to the city of Anyuan to lead a miners’ strike there. Where might Mao be going in Gwiggner’s picture? Where would the young Mao be drawn to in the China of today? Or is Mao to be seen as a representative of the Middle Kingdom, so that we should ask ourselves where the development of modern China - and with it maybe the whole world - leads? The ink drawings by Gwiggner seem to be a critical inventory of the post-modern world in East Asia and probably want to be understood as such. In a humorous way, I see the people immersed in their mobile phones but also exchanging messages with the Buddhist saints, as if they were writing an SMS to an Arhat. Indeed, modern communication always includes a transgression, an escape from the present, the here and now; perhaps a longing for the Pure Land in the West, for the Buddhist paradise, which can be read about and seen in the original scroll painting? According to religious ideas one can only reach this by deep contemplation and inner concentration. And so can be found on one side of the scroll painting a reference to a monk who loved meditation and therefore built a cabin in the woods. Without question modern media alienate us from the spiritual way. In the original we see three times how Bud166
dhist saints ride on animals. A long-standing sign that man has overcome his desires, the animalism in himself. Instead of lion figures in ancient China a symbol of strength and power - which in earlier times flanked the entrances of the wealthy and the gateways of governments buildings for protection, current China without guards in uniforms is now unthinkable. If they exercise protective functions or serve only the representation of power, is another question. And the pair of opposites idyllic nature/modern architecture? The buildings seem to displace, to destroy the world of Buddha, but the individual human being will probably still find a retreat to study the Lotus Sutra. Peter Simon Altmann
在中国驻留期间，Bernhard Gwiggner从一 个隐藏的跳蚤市场里得到了一个绘画卷 轴。在这张老画卷之上，他用水墨进行涂 绘，展现了今日的北京。对于我来说，在 看过第一眼便很快发现了三组对比： 1） 佛教圣人和忙于使用手机的人们形 成呼应或冲突，2）有着符号性且极具寓 意的树、石和流水的神话场景逐渐被现代 的建筑所威胁，以及3）画中描绘的动物 与守卫相并列。 对于鉴赏家来说，他们会注意到毛从画面 的中景大步走过。这里Gwiggner引用了一 幅著名的油画，由刘春华创作的《毛主席 去安源》。因此他或许也在他作品的题目 里引用了“毛去……”，并以这样的方式 自然设置了一个问号。 刘春华的这幅画表现的是年轻的毛泽东正 在去安源城的路上，去领导一次矿工的暴 动。毛又怎么会走进Gwiggner的画里呢？ 年轻的毛泽东又怎么会被描绘在今天的中 国呢？或者说毛是否已经被看做中国的代 表？而我们是否应该问问自己中国未来， 或者是整个世界的未来会被领向何方？ Gwiggner的水墨画被看作是东亚后现代世 界的批判性图录，可能他也希望被这样理 解。通过一种诙谐幽默的方式，我看到人 们沉浸在自己的手机里，却也在和佛教圣 人交换着信息，就好像他们在给阿罗汉发
短信。当然，现代的交流总是包含着反叛， 一种对于当下、此地和现在的逃离。或许一 种对于西方纯净世界的憧憬，对佛教天堂 的憧憬，可以从这样一幅原始的卷轴画里被 读出和被看到？从宗教观念来看，人只能通 过深刻的冥想和内在的专注才能触及这一领 域。因此在这个卷轴的一边描绘着一个乐于 冥想的和尚，并在林间建起了一个小屋。不 知不觉中，现代媒介让我们离精神之路越来 越远。 在原画中，我们看到三次佛教圣人如何骑在 动物上。这种长效的符号，表明人类已经战
胜了他们的欲望：一种内在的兽性。 狮子雕像在古代中国作为强壮和力量 的象征，早期被放置在通往财宝的大 门或者政府的大门两侧，以起到保卫 的作用。而现今的中国，缺少穿着制 服的保安已经是无法想象的事了。他 们只是起保护功能还是为权力的代表 服务，又是另一个问题了。 而那几组对立的，田园牧歌式的自然/ 现代建筑呢？那些建筑看来要取代和 毁灭佛的世界，但作为个体的人或许 还是会找到退路去学习《莲花经》。 167
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Tina Hochkogler Collages - 拼贴 169
A typical expression such as „it doesn’t matter“, „it is not relevant“, „it bears no relation“ is the point of departure for my series of portraits of old toy figures once produced in China. They found their way to us, intended to accompany us and become our friends of many years. They were also messengers who freed our minds to travel to distant lands. At some point, they are forgotten or rediscovered. They continue their lives without us. Parts of their story will always remain unknown to us: Their past lives and the ones they will go on to live. They sometimes end up in the trash. But sometimes these figures outlive us. „It doesn’t matter „ – it’s an irrelevant life. On my last trip to Beijing I noticed that vendors selling these products have an incredibly careful and respectful way of handling them, as if they 170
were endowed with some special form of dignity. It’s conceivable that this gesture is not an expression of loving care but of business acumen. Either way, it’s about values, about mass-produced small things that are intended to acquire traits of individuality for someone. This portrait series shows that all toys acquire a patinated character. And I want to let them send home greeting cards from the places their migration has led them. Writing home from somewhere or even nowhere, they reveal parts of their stories, which, unlike our own, can span many biographies and generations. This narrative is inherently fictitious because, with every life and era they enter, they are cut off from their past and become the subject of new interpretations.
一种典型的表达如“没关系”，“无关紧 要”，“没什么联系”是我在中国创作的 这个关于旧玩具人物肖像作品的出发点。 他们通过某种方式来到我们身边，并试图 陪伴我们，和我们成为多年的朋友。他们 也是送信人，让我们放开思想，旅行去遥 远的地方。突然有一天，他们被遗忘了或 者被再次发现。他们继续着没有我们的生 活。对于我们来说，他们总有一些我们不 知道的故事：他们过去的生活，以及他们 以后要跟随的那个人。他们有时也被直接 扔进垃圾桶。但有时候这些人物比我们活 得更长。“没关系”——这是一个不相干 的生命。在我上一次去北京的路上，我注 意到贩卖这些产品的小贩以非常小心和尊
敬的方式在打理他们。就好像他们被赋予 了一些高贵的形式。可以想象得到这种姿 势并不是爱和关心的表达，而只是一种经 商的聪明。或者说，这和价值有关，和大 量生产的小商品对于一些人来说需要个体 的特征有关。这组系列肖像作品表现了所 有玩具都获得了一种斑驳的特征。我想他 们可以从迁徙的地方向家里寄出一张问候 的卡片。从某个地方甚至无名之地给家里 写一张卡片。他们揭露着他们的一部分故 事，这些故事和我们的不同，是无法续接 的简历和世代。这段叙事有着天生的虚构 性。因为每一次进入一个生命或年代，他 们都被迫和从前隔断并成为全新阐释中的 主题。 171
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Ulrike Johannsen Photograph - 摄影 173
The central theme of Johannsen`s art work is the stories, mechanisms and phenomena of individual and collective reality. She is interested how the collective construction of society and culture functions and how we negotiate and communicate these different perceptions. She questions the promises of happiness and tempting offerings of our consumer oriented lifestyle. Quoting, processing and manipulating the language of our popular media and culture industry, she makes the gap visible between our needs and desires and the seduction of consumer-capitalist promises. 174
Johansen艺术作品的中心主题是个人和集体 主义现实的故事、机制以及现象。她的兴 趣点在于社会和文化的集体主义建构是如 何起效的，以及我们如何协商与交流这种 不同的认知。她质疑了对于幸福的承诺， 以及消费为导向的生活模式中有诱惑力的 供给物。通过引用、加工、杜撰我们的流 行媒体和文化产业所使用的语言，她在我 们的需求及欲望与消费资本主义承诺的诱 惑之间制造了一道鸿沟。
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Anton Petz Paintings - 绘画 177
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During the two months of my Beijing studio residence at Huantie Art Museum I developed different series of paperworks. In oposite to the huge acrylic paintings, in which I usualy present social and political topics by using images of human crowds like demonsrations and images of the New York Stock Exchange, the paperworks show just one single person mostly chinese children complemented by short text messages. Phrases like „wih out me „ and „ first step first“ may deal with the object of design but correspond with the viewer aswell.
在环铁时代美术馆北京的工作室驻留 的两个月里。我创作了几个不同系 列的纸上作品。对比我之前的大尺寸 丙烯画，我在其中通过对人群聚集的 图像，例如游行、纽约股市等场景来 表现社会和政治的主题。而这些纸本 作品里，我只表现了单个的人，并 附上一些文字，大部分人为中国的 儿童。“with out me”和“First step first”这样的短语或许和设计的客体 有关，但同样适用于观者。 179
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Liu Tao - 刘涛 Photographs - 摄影 181
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《饥京》是一个自拍系列，是对我游历雾霾北 京的一个记录。
“Hungry Beijing” is a self-portrait series,it is a record of my travel in foggy Beijing.
北京对我而言不仅是单纯地理上的，更是覆盖 在思想上的城市，它威严无比，充满禁忌，让 你的身心总是处于饥饿之中，狂想着试探自由 的味道。
Beijing to me is not only geographic city,it is also a city covered in my mind, it is so majestic, full of taboo, let your mind always hungry, cause rhapsody of tasting freeness.
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Letizia Werth Paintings & performance -绘画及行为 187
My artwork deals with everyday life and its hidden contradictions and inconsistencies. I work with material and objekts of my surrounding, it can be casual found objects, such as dust from a corner of a room or old family photografs of which I create drawings, installations and videos of sometimes frightening beauty, on closer inspection, the works are irritating and dirty. During my residence in Kunming, Province of Yunnan (2010) I realized a series of Postcards painted which the polluted water of Lake Dianchi. The postcards are painted with the color of the lake; meaning the green algae floating in the water, due to the heavy pollution. From further distance the lake looks beautifully green, nearly romantic, but if you look closer you see and smell the devastation of industrial pollution. Nevertheless I suggest to send greetings from these beautiful lake to not forget about and the tragedy going on. The postcards: greetings from Dianchi Lake, have been presented and sold at the Creative Fair, Kunming, 2010. 188
我的艺术作品涉及日常生活和其中隐藏 的矛盾和不一致。我使用身边的材料和 物品进行创作，可以是随意找到的物 品，如一个房间角落的灰尘或者老家庭 照片。我用这些材料创作绘画、装置和 影像。有时是吓人的美，走近观察，作 品又刺激而肮脏。 2010年，在云南昆明驻留期间。我制作 了一系列画有被污染的滇池的明信片。 这些明信片上画着湖的颜色。由于污 染，绿色的藻类浮在水面。从远处看， 整个湖绿得甚至有些浪漫，但是你走近 之后才会发现刺鼻的工业污染物。我想 从这个美丽的湖畔寄出问候，以此来记 住这个正在发生的悲剧。 明信片：来自滇池的问候，已在2010昆 明创意博览会上展示和售卖。
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Authentic City, Artist Walk Chongqing The artist walk comes close to the experience of reading of a book. Slowly gliding into a theater stage, but here you read a location in the city, you live your life between people. It is a media art piece involving writing, images, videos and sounds—sometimes twisting from comedy to tragedy, animals and people on the way to die, people in confusion and love, people in the survival race to make their living. You live there for a moment others live there all their lives. Placing art there means interaction, but it also means a closer relation to the local environment. Sometimes it develops beyond voyeurism from both—the local and the visitor —looking upon each other and try to communicate. The local is there because it is his place of income or spending, so the local speculates what the foreigner is doing there. The artist walk deals always with the authenticity of an area, of a place and sets a private spot for revisiting. 1st Artist Walk: “Blending” Location Shibati Coordinates: +29° 33’ 5.36”, +106° 34’ 21.91” Artworks: White Wall with Hooks in Public Space, installation by Killian Immervoll. Existence and Integrity Faces, photograph by Sora Park. Drawings of Sweet Rabbits Beating Up the Enemy, by Clemens Stecher. Communication Techniques between the Inner and the Outer World, by Kim Taegon. Transformation of Old Chinese Advertisement Drawings, by Alice Dittmar. The Shadows of the Past—Readiness of Today’s Global Market, paintings by Anton Petz. Arabic and Chinese Letters Melted Together Unreadable in One Maze by Drury Brennan. Louis Vuitton Patterns Wrapping a House Bound for Demolition, by Marlene Haderer. An area surrounding the steps and the market of old Chongqing; an area where people have been told for three years that it will be demolished—an abandoned house, collapsing walls, and garbage melting together; an area where Chinese tourists with their Nikon tele-lenses go for a photo safari; An area where foreign tourists go through silently, maybe doing one or two photos; An area where Chinese still-life painters go to to paint the almost collapsed old; an area where drug addicts run almost naked through the busy market; an area 190
where mothers buy their children a one Yuan ice cream as the only luxury they can afford beside one cigarette in a day; an area where mahjong gambling halls carry on around the clock; for some, a walk through old China, where no one wants to live in anymore, for others—at night—a romantic Blade Runner scenario without the blinking LED panels; an area where the vendor asks us if the place where we come from is a better place; people around with amputated legs, looking desperate, afraid of losing the other leg; roaming dogs lost their fur so the pink skin and flesh come through; a rotten smell of cooking and canalization in a hot atmosphere of the old; this in contrast to shiny new buildings, air-conditioned and smelling of detergents. The noodles in the corner store are still quite tasty, but not for everyone. Inbetween, very poor but sexy women of all ages wearing leopard dresses and high heels struggling downhill on the pavement, which is definitely not made for high heels. People prefer colorful realistic, naive and sweet instead of b&w, critical, and abstract. The first place where locals actively helped us find display locations and even asked for more. We are a welcome change in the local daily life; there is a reason to come back.
2nd Artist Walk: “Unfolding” Location, Huang Jue Ping Road Coordinates: +29° 29’ 25.22”, +106° 32’ 33.51” Artworks: Collapsed Advertisements of Young Cosmetic Beauty, photograph by Ulrike Johansen. Communication Techniques between the Inner and the Outer World, by Kim Taegon. Portraits of People without a Mouth or Hearing, by Min Jisook. Drawings of Sweet Rabbits Beating Up the Enemy, by Clemens Stecher. Putting the idea of the “white cube” in public and unfolding it as a wall; in a busy street, filled with students and hopeful young people painting over graffiti walls with white color; passers-by standing and taking self portraits in front of the art works; the only shiny white wall in the whole area. A passerby asks if he can have a bit of the glue we use for the posters. By now, we must be all over Weibo.
真实城市，重庆艺术行走 3rd Artist Walk: “Wrapping Location: unauthorised building near Huang Jue Ping Road Coordinates: +29° 29’ 29.62”, +106° 32’ 14.12” Artworks: Drawings of Sweet Rabbits Beating Up the Enemy, by Clemens Stecher Another part of old Chongqing; as a westerner you walk like on a theater stage.You don’t want to live there, but still it is fascinating. The apartment windows have all cages inside—no daylight—dark. A small brick house where, some time ago, two people lived in and died.
艺术行走和阅读一本书的经验相近。缓缓潜入 一个剧场，但你读到的是一个城市的地址，你 生活于人群之中。这是一个包含写作，图像， 录像和声音的媒体艺术作品。有时从幽默转向 悲伤，动物与人在死亡之路上。你在那里短暂 停留，他们在那儿终其一生。将艺术放在其中 意味着介入，但也意味着融入当地的环境。有 时超越了当地人或拜访者的偷窥，打量彼此并 尝试交流。本地人留下是因为那里是他们付出 与获取的地方，因此他们会猜测这些外国人来 干嘛。艺术行走始终涉及一个空间或区域，并 设置一个可以重访的私人据点。 艺术行走第一回：“调和” 地点: +29° 33’ 5.36”, +106° 34’ 21.91” 作品： 公共空间中白墙上的挂钩，装置，Killian Immervoll. 存在与完整面容，摄影，Sora Park. 小兔 子打败敌人的绘画，Clemens Stecher. 世界内外 间的交流技巧，Kim Taegon. 对中国广告绘画的 转换，Alice Dittmar. 过去的阴影——今日全球市 场解读，Anton Petz. 混合在迷宫中的阿拉伯和 中文字符，Drury Brennan. 包围拆房工地的LV图 案，Marlene Haderer. 一个围绕着老重庆市场和阶梯的区域；一个被 说了三年要拆迁的地方——一个废弃的房屋， 残败的墙壁，以及混在一起的垃圾袋；一个中 国游客带着远射镜头四处拍照的区域；一个中 国静物画家常去描绘几乎残败的老东西的地 方；一个瘾君子几乎赤裸走过繁忙市场的地 方；一个地方，妈妈除了奢侈地每天抽一只香
烟外，只能给他们的孩子买一元钱的冰棍；一 个麻将馆从不关门的地方；对于某些人来说， 一次穿越旧中国的行走，走过的是没人再想居 住的地方，对另一些人，特别是晚上，就像是 浪漫的《银翼杀手》的情节，只是没有闪烁的 LED屏幕。有一个地方，小贩问我是不是我们 来自一个更美好的地方；身旁被截肢的人看上 去是如此绝望，害怕另一只腿也被截去；游走 的狗被剃光了毛，露出粉红的皮肉；老城中刺 鼻的烹饪味和下水道的气味在炎热中混杂； 这一切同闪亮的新建筑，空调以及清洁剂形成 对比。街边小店的面依然美味，但不是人人喜 欢。其间，落魄却性感的各年龄穿豹纹登高跟 鞋的女人，在显然不适合穿高跟鞋的路面上挣 扎着。 人们偏爱多彩的现实，烂漫甜美，而不是黑 白、危险和抽象。帮我们找到展览场地的人甚 至还主动问是否要更多帮助。我们是被欢迎的 可以改变这里日常生活的人。我们有回来的理 由。 艺术行走第二回：“展开” 地点：+29° 29’ 25.22”, +106° 32’ 33.51 作品： 坍塌的整形美人广告，摄影，Ulrike Johansen. 世 界内外间的交流技巧，Kim Taegon. 有嘴能看能 听却不能说话的人物肖像，Min Jisook. 小兔子打 败敌人的绘画，Clemens Stecher. 将“白立方”的概念带入公共空间并将其展开 为一面墙；在一条繁忙的街上，满是学生和乐 于助人的年轻人将墙上的涂鸦刷白。路人站在 艺术作品前自拍留念；在这街道上唯一的一面 白墙前。一个路过的人问可不可以用一点我们 贴海报剩下的胶。现在微博上一定满是我们的 信息。 艺术行走第三回:“打包” 地点：+29° 29’ 29.62”, +106° 32’ 14.12” 作品： 小兔子打败敌人的绘画，Clemens Stecher 老重庆的另一个部分；作为一个西方人，你就 像是走在戏曲的舞台上。你不想在这儿住下， 但它依旧迷人。房间窗台上满是盒子，没有 光。一个小砖房里，有两个人曾在里面居住， 死去。 191
上图和右下: Alice Dittmar
Top & bottom: Alice Dittmar 192
上图和右下: Anton Petz
Top & bottom: Anton Petz
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上图和右下: Clemesn Stecher
Top & bottom: Clemens Stecher 194
上图和右下: Drury Brennan
Top & bottom: Drury Brennan
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上图和右下: Min Jisook
Top & bottom: Min Jisook 196
上图和右下: Kim Tageon
Top & bottom: Kim Tageon 197
上图和右下: Sora Park
Top & bottom: Sora park 198
上图和右下: Ulrike Johannson
Top & bottom: Ulrike Johannson
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Installation at the Organ House, Chongqing and opening 30/9/2013
上图: Aurora Molina / 右下:Lucia Dellefant, Tina Hochkogler, Olga Alexopoulou
Top: Aurora Molina / Bottom: Lucia Dellefant, Tina Hochkogler, Olga Alexopoulou
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真实城市，重庆艺术行走need CAPTIONS
上图: Licia Dellefnt / 右下: Anton Petz Top: Lucia Dellefant / Bottom: Anton Petz 201
Retrospective wall (starting top left towards bottom right): Christian Hutzinger, Markus Sepperer, Richard Hoeck, Jorge Fuembuena, Anne Zwiener, Christian Schwarzwald, Uebermorgen, Franz Amann, Roswitha Weingrill, Michael Hoepfner, Li Qiang, Florian Schmeiser & Maja, Heimo Wallner, G.R.A.M., Karel Dudesek, Elisabeth Gr端bl, Shen Wei, Andrea Witzmann. 202
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上图: Li Qiang / 右下: Drury Brennan Top: Li Qiang / Bottom: Drury Brennan 204
上图: Shannon Novak, Christian Schwarzwald / 右下: Retrospective wall Top: Shannon Novak, Christian Schwarzwald / Bottom: Retrospective wall 205
上图: Dazibao wall / 右下: Mathew Niederhauser, Gregory Eddi Jones, Top: Dazibao wall / Bottom: Matthew Niederhauser, Gregory Eddi Jones, 206
左图: Matthew Niederhauser / 权利图: Christian Hutzinger, Christian Schwarzwald Left: Matthew Niederhauser / Bottom: Christian Hutzinger, Christian Schwarzwald 207
上图: Matthew Niederhauser, Drury Brennan / 右下: Li Qiang Top: Matthew Niederhauser, Drury Brennan / Bottom: Li Qiang 208
上图: Tina Hochkogler / 右下: Anton Petz, Bernhard Gwiggner Top: Tina Hochkogler / Bottom: Anton Petz, Bernhard Gwiggner 209
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Artist’s curiculum vitae 艺术家简历 211
Olga Alexopoulou Olga Alexopoulou is an Oxford University graduate and has exhibited widely around the globe (Europe, USA, China, and elsewhere). She is an Athenian born (1980), Greek artist who now lives and has her studio in Istanbul.
Ruth Anderwald & Leonhard Grond Born 1976 + 1977 in Graz, Austria. Since 1999, Ruth Anderwald + Leonhard Grond work as an artist duo in the fields of photography, experimental film and installation. Since January 2012 the artists are curating the experimental screening and discussion series HASENHERZ, inspired by Arnold Schönbergs “Verein für musikalische Privataufführung” at Kunsthalle Wien (in 2012) and Kulturzentrum bei den Minoriten Graz (ongoing). They have had numerous exhibitions and film screenings in Austria and abroad, including their recent film program Film Works 1999-2013 at Whitechapel Gallery London this November, The Frame of the Future ™, art in public space, Vienna 2013; Spatialité du film, Ecole cantonale d’art de Lausanne (ECAL) 2012, Camera Solaris CCA Tel Aviv 2011; Construction Site As Far As The Eye Can See Institute for Art in Public Space in co-operation with Universalmuseum Joanneum 2010-2011, Graz; Shattered Horizon Himalayas Art Museum (formerly Zendai MoMA), Shanghai 2010; Film Centre Pompidou, Paris 2009; Camera Solaris Museum für Angewandte Kunst, Vienna 2008; Paradise Now! Essential French Avant-garde Cinema 1890-2008 at the Tate Modern, London 2008; D’un genre à l’autre Espace Magnan in cooperation with Villa Arson, Nice 2008; Notes on a Coast at the Herzliya Museum of Contemporary Art 2005; Relative Strength/Worlds of Work at museum in progress, Vienna 2005; Human Flight Experiments at Kunsthalle, Vienna 2005 and Classics, Pearls and Novelties at Forum des Images, Paris 2003. Their book, Notes on a Coast, including an eponymous photo series and the first anthology of contemporary Hebrew lyric poetry in German, was published in 2007.
Lukas Birk Lukas is an Austrian born multi-media artist, explorer and organiser. He was educated in Austria and the U.K. A former journalist for Austrian and German media, he has worked as news correspondent and photographer in his late teens and early twenties. After extensive travels in Indian and South-East Asia age 20 he decided to study art at LCMM in London where he complete a BA in digital arts and photography. Lukas has travelled extensively in the last 10 years with focus on East Asia and the Middle East. Experiences such as traveling in Afghanistan, the Gobi desert or India are all interwoven in his multi-layered work. Lukas has exhibited his work on 3 continents including large scale installations in Israel and China. He gives lectures and teaches multi-media art. His films have been screened around the globe in prominent festivals such as the New York independent film festival. Lukas’ first major publication Kafkanistan (2008) is about tourism to conflict zones with focus on Afghanistan. His latest publication Afghan Box Camera explores the world of photography in Afghanistan. Lukas is co-founder of the Austro Sino Arts Program, China and SewonArtSpace, Yogyakarta, Indonesia.
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Marianne Csáky Marianne Csaky, born in Hungary, currently lives and works in Brussels, and spent longer periods of time in Korea and in China as a resident artist exhibiting her work, teaching at universities and holding presentations. Her works have recently been exhibited at the VOLTA Show (New York), Changdong Art Studio Seoul (Korea), OrganHaus Art Space Chongqing (China), Mingyang Art Centre Shanghai (China), ArtParis (France), Viennafair (Austria), FotoFever (Brussels), as well as at the Contemporary Art Institute in Dunaújváros, and also at VideoSpace Gallery and Inda Gallery (Budapest). She works with various media: photo, video, painting, sculpture, embroidery and installation. Trained in arts as well as cultural anthropology and literature. After completing her M.A., she studied multimedia design/development and video art. Since the very start of her career Csaky, has been known for her non-mainstream forms of expression, her unconventional and provocative images. She has exhibited widely and her work is represented in various public and private collections, including the collections of the Institute of Contemporary Art Dunaujvaros (Hungary), Lila and Gilbert Silverman (Detroit, USA), Yoko Ono (New York, USA), and Arturo Schwarz (Milan, Italy).
Yu-Hsiang Cheng Group exhibitions 2013 “ Austro Sino Arts Program exhibition “ , Chongqing 2013 “ The story of the Creative “ Group Exhibition, New York 2012 “Post-Loyalist of Doomsdayism” Group Exhibition, Kuando Museum, Taipei 2010” Trick Tributing “ Group Exhibition, Woolong 29 , Taipei 2009 “ The Gross Anatomy Course:Body [re:]Mix “ Group Exhibition, NTUE Art Gallery, Taipei 2009 “ The velocity of isolation “ Group Exhibition, Jilin Gallery, Taipei Solo exhibitions/ 2011 “ Empty Space Ruse “ , Black And White Gallery , Taichung 2006 “ Decapitation “ , Nanhai Gallery , Taipei 2000 “ Nocturnal Animal House “ , Huashan Art District, Taipei 1999 “ Sketching of Memory “ , NTUE Art Gallery, Taipei
Lucia Dellefant 1965 born in Munich /1985-90 Study of art at the LMU Munich (State examination) honours 2013 Huantie Times Art Museum-Scholarship, Beijing Peking(CN) / 2010 Project sponsoring Karin Abt-Straubinger Stiftung / 2009 Project sponsoring Prinzregent Luitpold Stiftung / 2006 Cité Internationale des Arts Paris / exhibitions (*solo) 2013 Measures to save the world_Part 1, rotor, Graz (A) GED MACHT SICHTBAR, Grafiktriennale, Künstlerhaus Vienna (A), Total recall, ars electronica, Linz (A), rethinking recources RWE, Dortmund * fairdrop - face the fact and act, LOFT, Ansbach * / 2012 ready for the revolution, kuns-traum schulte-goltz+noelte, Essen, mein dein unser - heiligtum, Tankstelle Nürnberg, fairdrop- face the fact and act, overtures ZeitRäume Lukaskirche Munich/ 2011responsible, Gallery Robert Drees Hannover*, responsible Römer9 Frankfurt*, overtures/ ZeitRäume@ origin Festival Ars Electronica (A), turnaround Schwartz Gallery, London (GB), Es diu ques les dones son romàntiques, Fundacio Vallpalou Leida (E) / 2010 responsible Kunstverein Mönchengladbach*, kollaps Kunst-verein Bochum / 2009 Beijing 798 Biennale, Peking (CN), Macht Gallery Schafschetzy Graz (A) Kollaps“ Kunstverein Mistelbach (A) nochnichtmehr, Heinrich Böll Stiftung Berlin 213
Alice Dittmar Alice Dittmar was born in 1978, in Ried im Innkreis (Austria) and studied at the Academy of Fine Arts in Munich, where she completed her First State Examination in Art Education in 2005. The same year she was appointed as ‘Meisterschülerin’ (Student with Bravura) by her Professor Nikolaus Lang, before completing a Diploma in ‘Painting – Design of Art and Cult Spaces’ in 2006. Upon completion of her studies, she participated in several international artist residencies, including: Red Gate Gallery, Beijing, 2008 / 2012-13; pilot projekt Düsseldorf, 2009; Central lnstitute of Technology, Perth, 2010; Schieleartcentrum, Cesky Krumlov, 2010; and Alexander Ochs Gallery, Beijing, 2011. At the invitation of the Goethe Institut, she conducted a lecture at UCCA / 798 on her catalogue and exhibition: My daily Beijing diary, 2008. From 2008 onwards, her interest in China continued to develop. In 2010, her exhibition catalogue Alice-D in Wonderland 2009 / 10 was published with the support of the Debutante grant from the Bavarian Ministry of Culture, and the works were subsequently exhibited in a first solo show at Kulturmodell, Passau in November, 2010. This was followed by a further solo exhibition, Beijing Series 2011, at Alexander Ochs Gallery. Since 2008, she has been living and working in Europe, China and Australia for professional and private reasons, alternating between three continents and cultures. Her work and research concerns assimilation and mimesis, rather than altering otherness by imposing or superimposing dominant cultural values.
Drury Brennan I graduated from School of the Art Institute of Chicago in 2008 with a BFA degree, but I majored in photography, graphic design, ceramics and neon. Then I became an editor of Flaunt Magazine in Los Angeles from 2008-2010, but I quit to become a ceramics instructor. I taught ceramics for 2 years and then went to graduate school, which I was expelled from in 2012. I then picked up a calligraphy pen and began to practice the technique that makes up my current body of work. My work has been exhibited in Los Angeles, New York, Chicago and Copenhagen, and I have an upcoming solo show in Berlin in May. My work has been published in GQ, Chicago Social, The Los Angeles Times and Flaunt, and my work is in the collection of President Barack Obama.
Karel Dudesek Karel Dudesek was born 1954 in Prague. He studied in Vienna and Düsseldorf, worked as an artist, musician and performance artist in the UK, Poland, Northern Ireland, the USA, Germany, Austria and France. He co-founded with Mike Hentz and Chris Haas, Minus Delta t, a performance and music group, which later initiated the Bangkok Project. In core the transport of a stone weighing 4.5 tons from Wales to India, this was a mobile art project which lasted continuously for about six years. 1992, Karel Dudesek proposed a media experiment titled Piazza Virtuale to the curator of the documenta 8, Jan Hoet. Van Gogh TV consisted of Karel Dudesek, Benjamin Heidersberger, Mike Hentz and Salvatore Vanasco in those days. Van Gogh TV broadcasted all over Europe and was a forerunner prediction of social networks, which emerged a couple of years later. 1996 he was founder of Van Gogh TV Inc. in Atlanta USA, and produced a 3 dimensional virtual world for the internet, “Worlds within” a project for the Olympic Games, together with Martin Schmitz, Tim Becker, Julean Simon, Axel Roselius and Ernst Pfannenschmidt. 214
In his academic career, he was Professor in Vienna and London and was the initiator of numerous festivals and projects in Europe. In addition to the digital work, his readymades, drawings and paintings—abstract works—round up his artistic oeuvre. They express his inspirations gathered in Asia, where he has lived since 2008 (mainly in Beijing and Yogyakarta). He is co-initiator of the Austro Sino Arts Program.
Li Gang 李枪 Qiang Li, graduated from Jiang Su Education College in 1993. He currently lives in Beijing. He started printing art in the early 90’s and combines these with video, Installation, action art and photography since the year 2000. His multi disciplinary work work includes documentaries “cabin in the wilderness”, “ Buried Chinese rural” series and Installation work “elapsing sound” ; Printing work” Trace- seeds” series. These works were filled with personal experience and reflection on contemporary life in the countryside, religion and culture. The installation work “The Subtraction” series started from 2010 up to now. Solo Exhibitions: 1993 “Lee Qiang Printing Art Exhibition” Nanjing Art College 1996 “Lee Qiang Printing Art Exhibition” Beijing Yun Feng Art Gallery 1999 “Lee Qiang Modern Printing Art Exhibition” Beijing International Art Gallery 1999 ““Lee Qiang Printing Art Exhibition” Beijing Ke Chuang Art Gallery 2002 “A Doll’s House “Installation Shanghai Ding Ceng Art Gallery 2008 “100 high school students cell phone diary” Shanghai Zheng Da Art Gallery 2009 “lonely lane”--- Lee Qiang Printing Art Exhibition Beijing 798 Group Exhibitions: 2002 contemporary printing Academic Invitational Exhibition of Sichuan Academy Si Chuang Art School 2007 “underlying cultural exhibition” Beijing 2008 798 Art festival Beijing 2009 “Searching for spirituality in contemporary Chinese Art” Frederieke, Taylor, Gallery USA 2010 Cress Gallery USA
Bernhard Gwiggner 1963 born in Wörgl; lives and works in Salzburg, Austria / studied art education at the Academy „Mozarteum“ in Salzburg and sculpture at the Academy of Fine Arts in Vienna, Austria / since 1994 teacher for sculpture at the University Mozarteum. 1989 symposium at the power station, Riedersbach / 1993 Max Weiler-Prize / 1997 symposium at the Salzachdamm, Oberndorf / 2000 studio grant, “Cité Internationale des Arts”, Paris / 2002 artist in residence at the Luxun-Academy of Fine Arts, Shenyang, China / 2003 international symposium „ORTung“ in Strobl / 2010 „Podium 10“-Prize / 2012 studio grant at the Huantie Art District, Beijing, China. Numerous single and group exhibitions since 1986. Works mainly with the media drawing, sculpture, installation and video. Since 2001 intense artistic dispute with China. 215
Marlene Haderer Marlene Haderer, born 3rd of July 1978 in Steyr/Austria, graduation at the University of arts and industrial design in Linz/institute of fine arts, foreign exchange scholarship in Berlin - Weissensee, publisher of www. wiegehtkunst.com, lives and works in Vienna/Austria. www.marlenehaderer.com
Tina Hochkogler Tina Hochkogler lives and works in Vienna. Working with videos, animations, installations, photography, graphics, and drawings, she explores the relationship between imagination, perceptions, memories, and the media reflecting and creating them.
Kilian Immervoll Born 1989 in Bad Ischl, since 2010 Academy of fine Arts, working and living in Vienna Exhibitions: 2012 “vKunst 2012: neue Klarheit”, Frankfurt am Main 2012 “Exkursion: Kino”, mumok kino, MUMOK, Vienna 2013 “Rundgang13”, Academy of fine Arts, Vienna 2013 “SWAMP: a cover, a remake, a plagiat, a variation and a paraphrase”, Chambre d’amis, Vienna 2013 “Maydays Moving Images Part III”, Friday Exit, Vienna
Ulrike Johannsen Ulrike Johannsen was born and raised in Germany, currently she lives in Vienna, Austria. She graduated from the Academy of Fine Arts Vienna. Ulrike has participated in numerous exhibitions in Europe and internationally, such as “Common History And Its Private Stories”, at Sofia City Art Gallery, Bulgaria and at the MUSA, Museum of The Art Collection of the City of Vienna, “Stockholm Syndrome” at Bamboo Culture Studio, Taipei, Taiwan. Her work is included in several public collections such as The Federal Art Collection, Schloß Wilhelmshöhe, Kassel, Germany, the Collection of 21er Haus, Museum of Contemporary Art, Vienna and the Collection of The MAK, Museum for Applied Arts, Vienna. She received several grants from the Austrian Federal Ministry for Education, Arts & Culture and has been invited to various artist residencies in the USA, UK, PR China, Taiwan and Austria.
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Gregory Eddi Jones Gregory “Eddi” Jones (b. 1986) is a photo-artist and web publisher currently based out of Rochester, NY. He received his B.F.A. in 2010 from Rochester Institute of Technology, and is currently creating his graduate work at Visual Studies Workshop. Eddi’s writing and images are focused on the use of the digital medium to explore theories of visual language, constructed imagery, and classical photographic subject matter. Over the past 3 years, he has pursued photographic projects in Croatia, Bosnia, Paris, Beijing, Niagara Falls, New York City, and throughout various locations in the United States.
Piotr Kotlicki Piotr Kotlicki (1972) – Polish artist. Graduated 2000 Academy of Fine Arts in Lodz, Poland. Diploma with distinction in R.Hunger studio. Currently works as assistant at State Film School in Lodz (PWSFTViT) at The Film and Television Directing Department. He does painting, video, sound, performance and installations. Exhibited at National Gallery of Art (ZACHETA), Warsaw, Poland, at MADATAC The Contemporary AudioVisual&New Media Arts Festival, Madrit, Spain, at 16th International Video Festival VIDEOMEDEJA, Studio M, Novi Sad, Serbia, at Festival KULTURA 2.0, National Audio-Visual Institute Warsaw, Poland, at ‘The Beginning of The End’, SIMULTAN FESTIVAL, Timisoara, Romania
Ben Landau Ben Landau is a designer working in critical and experimental design. Ben’s aim is to unwrap contemporary social, political, cultural, and technological discourses to reveal unknowns, and in doing so instigate awareness, change and growth. He takes inspiration from investigative journalism and film-making Ben took part in What Design Can Do conference in Amsterdam, Adhocracy Exhibition at the Istanbul Design Biennial; Salon/Winter Amsterdam at Magazjin Gallery, and Dutch Design week. He worked previously in museums and galleries as an exhibition designer; as a video artist and documentation specialist; workshop expert; set designer, theatre director and producer. Ben currently lives and works in Eindhoven, The Netherlands. In 2013, he will produce immersive projects for Situate Art in Festivals in Tasmania Australia, an interventional roaming set of ‘expeditions’ into the urban environment as part of the Lisbon Architectural Triennial, and a series of workshops around the future of Antarctica in Melbourne.
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Stefan Lux Born 1964 in Münster (Germany), I studied at the art academies in Münster and Düsseldorf. Even though I work in all media I have mainly developped video installations during the last 15 years. My work has been shown in numerous galleries and artist run spaces including Kunsthalle Düsseldorf (DE, 1991, “13 Gebote”), offspace Vienna (At, 2003, “Klinke und Zähler”), Fleisch, Berlin (DE 2004, “Regal Lager”), Museum Kunstpalast Düsseldorf (DE 2005, “360˚art neupräsentation sammlung museum kunstpalast”), Arti et Amicitae, Amsterdam (NE, 2005, “Me, Myself & I”), halle electron, breda, (NE 2006), Galerie Stadtpark Krems (AT, 2009, “Equation with N Unknowns”), Ferdinandeum Innsbruck (AT 2009, “Aquarellhappening 2000-2009”) and Ve.sch (AT, 2011, “invertiert”, 2012, “Sylvenstein”). My most recent exhibition include the Austrian Cultural Forum Warsaw (PL, 2012, “Natur und Dinge”), Projektraum des Deutschen Künstlerbundes, Berlin (DE, 2012, “Sample #4”, 2011, “Sample #3”), Hotel Pupik in Schrattenberg (AT, 2012, “Präsentation 2012”), the art space haaaauch in Klagenfurt (AT, 2012, “Tierisch 1”) and a project for the Künstlerverein Malkasten, Düsseldorf (DE, 2013, “Psyche nimmt ein Bad”),. Among the public collections which include my work are Deutsche Künstlerbund Berlin, Ursula Blickle Video Archiv, Wien and the Arthothek des Bundes Österreich / BMuKK. I live and work in Berlin and Vienna (since 2001).
Jisook Min 2007 Master II Search Visual Arts at the University of Strasbourg 2005 Master of Fine Arts at the University Marc Bloch in Strasbourg 2001 National Diploma in Decorative Arts Higher School of Decorative Arts in Strasbourg 1996 Licensing of fine art at the University of Seoul, South Korea EXHIBITIONS 2013 International Meeting of Contemporary Art, Castle Einhartshausen, Phalsburg, France 2012 Spuren - The Presence of Absence, Kunsthaus L6, Freiburg, Germany Eine Zierde Verein für den, M54, Basel, Switzerland 2011 Regional 12 eV Kunstverein Freiburg, Freiburg, Germany Kunst Raum Riehen Riehen, Switzerland Haus für elektronische Künste / Electronic Arts Museum in Basel, Switzerland 2010 Equinox 1 - Speederbike Primitive, Grimmuseum, Berlin, Germany Le Parcours street - art, Perffusion, Lyon 1er Arr. Lyon, France 2009 In Wonderland, Kunsthalle Palazzo, Liestal, Switzerland Arts Green - e pur si muove, The maettlé, Stosswihr 2008 Kunsthalle, Basel, Switzerland 2007 Airs and refrains, Personal Exhibition, Korean Culture Center, Paris, France Residents of reality, The Museum of Fine Arts, Mulhouse Regional 8, Contemporary Art from the tri-national region, Kunstverein Freiburg, Germany Plug.in Kunst und Neue Medien, Basel, Switzerland Poetry glass Gallery quedar, Strasbourg Young Creation, la Bellevilloise, Paris, France FREE-new generation of Korean artists in Europe PARTICLE, Cité International des Arts, Paris, France
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Aurora Molina Aurora Molina was born in La Havana, Cuba, in 1984. She emigrated to the United States at the age of sixteen, where she opted to pursue an education in art. Her life has always been surrounded by art, due to her father, German Molina, being himself an artist. Molina received her Associates of Arts in Visual Arts from Miami Dade College, a Bachelors in Fine Arts specializing in Mixed Media from Florida International University and Master Degree in Contemporary Art at the Universidad Europea de Madrid completed in 2009. She currently resides in Miami, Florida, where she works as a full time artist.
Matthew Niederhauser Matthew Niederhauser’s involvement with Asia and photography first started in high school with four straight years of Chinese courses and late nights in the darkroom. Greatly inspired by his first language teacher’s own dramatic background during the Cultural Revolution, he became fascinated with China’s expansive history and spent a year living with a host family in Beijing in 2000. Matthew then commenced his studies at Columbia University where he immersed himself in the anthropology department and continued to crisscross Asia. During this period Matthew also began taking classes at the International Center of Photography in New York. After graduating from college, he split time between researching for the National Committee on US-China Relations and assistant teaching at the International Center of Photography before heading back to Beijing to devote himself to documentary projects and other creative outlets. Since then Matthew’s work covering youth culture and urban development in China has appeared in The New Yorker, National Geographic, New York Times Magazine, Guardian Observer, Foreign Policy, Wall Street Journal and Time Magazine amongst many others. In 2010 he also published “Sound Kapital” with powerHouse Books which consists of his portraiture and concert photography of Beijing’s underground music scene. Matthew now concentrates on a project entitled Counterfeit Paradises that investigates urban development and consumer trends across China. This is his main outlet for exploring the rapid socioeconomic changes in China.
Shannon Novak Shannon Novak is an artist based in Auckland, New Zealand. He works in painting, sculpture, and installation, with a focus on using geometric forms to explore his deep and abiding interest in the interrelationships between sound, colour, form, time, space, and social context. He completed a residency at CentralTrak, The University of Texas at Dallas Artists Residency in 2011, has been engaged in public projects in Auckland, New Plymouth, Denver, and New York, and co-founded West gallery at The University of Auckland in 2012.
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Sora Park Education: Emily Carr University of Art & Design, Vancouver, Canada Group Exhibitions: 2011 Axis of Light, AVHA Gallery, Vancouver, Canada 2011 Foundation Show, Concourse Gallery, Vancouver, Canada Bibliography: 2013 WOO Magazine Winter Issue (Interviewed by David Roth) 2012 WOO Magazine Fall Issue
Anton Petz 1962 born in Graz, 1981-87 study of Art, Accademy of Fine Arts Vienna 1987 Scholarship, Universitad di Complutense Madrid, Spain, 1993 - 97 Associated Professor, Accademy of Fine Arts Vienna, 1996 Bauholding Artprice for painting, Klagenfurt, 1996 Residence Jerusalem, Israel, 2013 Residence HuanTie Times Art Museum; Soloexhibitions-selected: 2013 „you are the world“, Gallery Klose, Essen, Germany / 2012 „Status Quo“, Kunstverein Herborn, Germany / „endlich gute Malerei“, with Ronald Kodritsch, Artothek & Bildersaal, Munich, Germany / „Leisure Time & Revolution“, Gallery Brunnhofer, Linz, Austria / 2011 „Dream Liner“, Gallery Brennecke, Berlin, Germany / „Impuls“, STATION FOE 156, Munich, Germany , Groupshows-selected: 2013 „Geld macht sichtbar“, Internationale Grafiktriennale, Künstlerhaus Vienna, Austria / „Leave and (not) return“, Forum for Fine Art Montafon, Schruns, Austria / 2012 „Moderne: Selbstmor der Kunst?“, Neue Galerie am Landesmuseum Joanneum, Graz, Austria / 2011 „European Contemporary Art“, O`s Gallery Jeonju-City, Korea / „turn around“, Schwartz Gallery London, UK / 2010 „Kollaps“, Kulturrat e.V., Bochum, Germany / „public-sale“, Kunstpavillon, Munich, Germany
Célia Picard & Hannes Schreckensberger CÉLIA PICARD and HANNES SCHRECKENSBERGER divide there attentions between the fields of architecture, design and experimental craftsmanship. There research-based practice is primarily develop from critical observation of current rituals, myths and sociocultural phenomena. In this polyvalent french-austrian duo, Célia Picard is the Trojan horse of artistic direction and Hannes Schreckensberger mastermind of research paper. They work frequently within various constellations of artists, designers, architects and craftsmen. “In the centre of our practice we are challenging project constraints by decomposing social, economical, political, technical and regulative parameters in order to achieve an experimental tactic.” Living and working between France and Austria.
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Bernhard Staudinger *1980 in Vienna Studies in psychology, history, art history and musicology at University of Vienna Since 2007 student at the Academy of Fine Arts Vienna, Class for Video-Installation, Dorit Margreiter 2013 „Spring-Summer“ Ve.Sch, Vienna 2012 „Exkursion Kino“ Mumok (a cooperation with the Academy of Fine Arts), Vienna 2009 „Welches Leben? Zwischen Beruf und Berufung“ by Sabine Breitwieser, Academy of Fine Arts, Vienna 2009 „Projekt Projektion“ by Dorit Margreiter and Matthias Michalka, Academy of Fine Arts, Vienna
Clemens Stecher 1968 born in Vienna. 1991 International Summer Academy in Salzburg (class of Hermann Nitsch) 1991 - 1995 Academy of Fine Arts, Vienna (class of Arnulf Rainer) Lives in Vienna. Selected Solo Exhibitions 1996 Brasilica, Vienna 1999 “Null” House of Bernsteiner family, Vienna “Clemens Stecher” Graphisches Kabinett, Secession, Vienna 2000 “Tasty little Staat” (Scharade) Studio/Neue Galerie Graz “Aus lauer Glut” ¨Emerging Artists¨, Essl Collection, Klosterneuburg 2006 “Scharade II etc. “ Dana Charkasi, Vienna 2008 “Fleischmarkt” Dana Charkasi, Vienna 2010 “Charade II, III and IV” Margaret Harvey Gallery, St Albans, Hertfordshire
Anita Steinwidder Anita Steinwidder works on designing and producing fashion since 2002 and founded the label STEINWIDDER 2009. Used clothes - cut up or ripped - are used as the basis for the further working process, put together in a new composition, and in this way are also put into a new conceptual context. STEINWIDDER especially emphasizes on shapes, structures, and surfaces. Traces of usage give an intended chracteristic style, supporting the design. STEINWIDDER produces collections of unique pieces,which are reproduced in affine limited series by a team of co-workers in the vienna based studio. STEINWIDDER was awarded the “Vienna Chamber of Commerce Fashion Pruduction Prize” at the 2011 Austrian Fashion Awards, and the “Green & Clean Fashion Award” in May 2011. More recently, in 2012, STEINWIDDER won “Modepalast best of 10” Prize.
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Kim Taegon Education: Emily Carr University of Art & Design, Vancouver, Canada Group Exhibitions: 2011 Axis of Light, AVHA Gallery, Vancouver, Canada 2011 Foundation Show, Concourse Gallery, Vancouver, Canada Bibliography: 2013 WOO Magazine Winter Issue (Interviewed by David Roth) 2012 WOO Magazine Fall Issue
Liu Tao 1985 Born in Gao’an city, Jiangxi province. Currently lives and works in Beijing. Exhibition 2011 JUE NEXT GEN Photography Exhibition, Andrew James Art, Shanghai 2012 MELTING SNOW Double Solo Exhibition, Salt Horse Gang, Caochangdi, Beijing SWAB International Contemporary Art Fair, Barcelona A WEAK ROAD Liu Tao Solo Exhibition, Más Art Space, Beijing A WEAK ROAD Liu Tao Solo Exhibition, Dali International Photography Exhibition SECRET 7 Art Group Exhibition, YY Space, Shanghai Berliner Liste Contemporary Art Fair, Berlin A WEAK ROAD Liu Tao Solo Exhibition,Pingyao International Photography Festival Cutlog International Contemporary Art Fair, Paris Surge Contemporary Art Fair,Shanghai Photo-Off Photography Art Fair, Paris 2013 “Pépinière 你好”Group Exhibition, Galerie Lavitrine, Limoges HOME LAND Solo Exhibition, StageBACK gallery, Shanghai
Sylvia Winkler & Stephan Koeperl Sylvia Winkler (*1969 / Austria) and Stephan Koeperl (*1966 / Germany) got their degrees from the State Academy of Fine Arts Stuttgart. Their collaboration started 1997 in Kunming/P.R. China. Since then they have realized interventions in numerous different places around the world. They have showed their work internationally, including at the 7th Nippon International Performance Art Festival/Japan, the 3rd Shirjaewo-Biennale/Samara/RU, the Goethe Institute/Cairo, Ex Teresa/Mexico D.F., Media Art Festival/Bangkok, Shang Elements Contemporary Art Museum Beijing, Shanghai East Asia Contemporary Gallery/Shanghai, Darling Foundry/Montreal, Upstairs Gallery/Kolkata, The Block/ Brisbane, Incheon Art Platform/Korea as well as all over Europe.
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Letizia Werth 1974 Born in Bozen/Bolzano , South Tyrol; Italy Lives and works in Vienna, Austria Studies: 1994-99 Master of Art, Academy of Fine Arts , Vienna (Prof. Wolfgang Hollegha, Prof.Franz Graf) 1997-98 Erasmus scholarship, School of Art, Glasgow Solo Exhibition: 2010 drawings, Gallery Peithner-Lichtenfels, Vienna 2009 There is no story, ATRIUM-Ă–BV, Vienna 2008 flowers & fish, Kunstverein das weisse haus , Vienna 2007 looking for the sea, Gallery Dana Charkasi, Vienna 2006 Krater, KunStart Bozen/Bolzano, Italy
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Published by Mazine.ws Publishing, Vienna 2013 Copyright © Mazine.ws and all respected artists All rights reserved. Without limiting the rights under copyright reserved above, no part of the publication may be reproduced, stored in or introduced into a retrieval system, or by any means (electronics, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. These regulations do not apply for educational purposes world wide. ASAP online at www.austrosinoartsprogram.org Printed in the Global Marketplace. Sehr schön Design, Vorarlberg, Austria. I S B N: 978-3-9502829-4-8 Editorial by Karel Dudesek & Lukas Birk Layout by Lukas Birk + Production Assistant April Zhang+ Translation by April Zhang & Yizhong Chen 陈一中 Text polishing by Otmar Lichtenwoerther Sino consultant: Ingrid Fisher Schreiber Technical consultant: Katrina Sun Web consultant: Tobias Prinz We would like to thank In Beijing: Johannes Leibetseder, Gudrun Hardiman-Pollross, Hermine Pfeiffer, Anni Ma, Enji Tu, Walter Steiner, Tricia Jin. In ChongQing: Ni Kun, Yang Shu, Zhang Qian Fang, Takeo and the Organ House volunteers. In Austria: Olga Okunev, Claudia Poellerbauer, Planhaus. Mobility: by Trek and Dahon ASAP official doping Naber Kaffe - coffee tradition since 1908, Vienna Office Austria upgrade by Putz - Bomvento Rippt off: by Orange and 3 Austria
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