Aaditi Joshi

Born in 1980, lives and works in Mumbai,

Represented by Creative India Foundation for SH Contemporary 2012.

Joshi creates dynamic and beguiling sculptures and wall installations out of an otherwise discardable, mundane material: polythene plastic bags. Rather than use the material to wrap products like books, food, etc., she uses heat to compresses and joins thousands of bags together to create large abstract forms that contain varying levels of opacity and textures. While Joshi’s early sculptures were transparent forms, the artist has since added bright colors as her signature plastic forms, referencing the seductive quality that plastic can take on when used as consumer packaging. Joshi originally experimented with transparent inks, but found that she could mimic the effects of ink and water with acrylic paints, achieving bolder results. Joshi applies acrylic paints between two pieces of plastic and seals the color between the layers of plastic by burning the edges and blistering the form’s surface. Just as the motion of the city leaves its mark on plastic litter in the streets, Joshi leaves marks of her artistic process in her work. She deliberately leaves traces of the burning process, charring some of the edges with a smoky finish.

Joshi运用塑料袋这种随处可见且廉价的材料创作出了一系列具有动感的雕塑和墙上装置。在对塑料袋的运用方式上，艺术家并没有流于常规将其包装书本和食物等，相反，她选择通过加热来使得成千上百个塑料袋聚集并形成一副巨大的抽象绘画，自然形成的纹理和形状清晰可见。Joshi早期的雕塑作品大多是透明的，之后她开始尝试在作品中注入各种鲜艳的色彩，正如在日常生活中人们大多使用美观漂亮的塑料袋来装东西一样。Joshi最早用墨汁进行试验，直到她发现利用丙烯同样可以创造出和墨水一样的效果。艺术家于是在两片塑料袋上涂上丙烯，并通过燃烧塑料袋的边缘和猛烈敲打塑料袋将颜色牢牢锁在其中。正如城市会在街道上的垃圾桶贴上标签一样，Joshi也在她的艺术创造过程中留下了属于她自己的印记，她选择保留这些塑料袋燃烧的痕迹，因此在其作品中可以清晰地看到塑料袋烧焦的边缘。

Untitled

Aaditi Joshi |plastic, paint, wooden armature|2012|dimensions variable.

Courtesy of the Creative India Foundation, the artist, and Gallery Maskara

Commissioned by the Creative India Foundation and Arthub Asia

MadeIn Company

没顶公司

Born in 1977, lives and works in Shanghai

Represented by ShanghArt, Shanghai

MadeIn Company’s practice has embraced a wide range of formal and conceptual strategies since the establishment of the collective in 2009. Exploring notions of identity, authorship, ethics and commerce,

This piece is part of 'True Image' (2010-12), probably the most representative series of the collective’s body of work. True Image consist of sculptures that are meant to be photographed and destroyed after their documentation. The pictures hence become the only record of the ‘original’ artworks, subverting the 'aura' and physicality of the ‘original’ piece. In a Duchampian way, the “artwork” presentation and representation itself becomes an art form. This raises questions about authenticity and offers food for thoughts on the contemporary art system in general. Also, the title of the series, True Image, takes this logic a step further; suggesting that the surrogate becomes the original as the original no longer exists.

Each piece is accompanied by a label with the titles, each one of which is a quote from various philosophical or cultural sources, alongside the ‘original’ artwork’s medium and size, creating a further conceptual deviance. In this case the title, The principal motor of action in this view is self-interest, guided by rationality, which translates structural and institutional conditions into payoffs and probabilities, and therefore incentives, is extrapolated by Power and Governance in a Partially Globalized World, a book by Robert O. Keohane

没顶公司自2009年成立起便开始策划和实施一系列艺术项目，探讨身份、原创性、理论性和商业性等问题。

这件作品是2010年至2012年“真像”系列的一部分，也许也是最能表达这个作品系列的其中一件作品。“真像”由一系列大幅照片组成，照片中出现的艺术品包括装置、雕塑、以及绘画也全部由没顶公司制作。在获取关于这些艺术品的照片之后，所有原件都被彻底销毁。在这组作品中，原创的概念被动摇，一方面这些图像是对艺术品的记录;另一方面，它们又让观众不禁去质疑照片里的原作是否真实存在或是被虚构。

运用杜尚派的创作方式，作品的呈现和再现方式本身已经成了作品。这是对真实性的一种质疑，同时也给予当代艺术系统的思考更多养料。而这个系列作品的标题“真像”则将这个逻辑思维更推进一步，暗示着当替代品成为原作之时，原作早已不复存在。

系列中的每件作品都附有标签，注明作品的标题，这些标题全都引自于哲学经典或文化典故，同时标签上还注明“原作”的尺寸、媒介。这件作品的标题出自于Robert O. Keohane的一本书《局部全球化世界中的自由主义、权力与治理》中的一段话：“人类行为的主要动机是自利的，理性引导该行为，并将结构和制度条件转化为收益、可能性乃至动机。”

The principal motor of action in this view is self-interest, guided by rationality, which translates structural and institutional conditions into payoffs and probabilities, and therefore incentives. 人类行为的主要动机是自利的，理性引导该行为，并将结构和制度条件转化为收益、可能性乃至动机.

MadeIn Company 没顶公司|Water, proteins, glucose, mineral salt 材料：水，蛋白质， 葡萄糖，无机盐，装|2012

Shi Qing

石青

Born in 1969, lives and works in Shanghai,

Represented by ShanghArt, Shanghai.

In this installation Shi Qing has created an arena, a park, a domain where Modernism and today find themselves face to face in a strange but inevitable liaison. Half hidden in the ominous and timeless territory of plants, the viewer can find remnants of potent utopian ideas whose decay have left only their facades, like the backdrops to Hollywood westerns. But upon closer inspection we can see that these structures only allude to backdrops, using their every day materials to keep a low profile, keeping their ideas to themselves until the day when ideas are needed again. In the rickety state of the once impenetrable financial universe their voices slowly murmur in the undergrowth, combining with other voices and growing in strength until they can once again penetrate people’s consciousness. Shi Qing’s work has brought the past to recon with us here and now. Now the past is present, and the present is waiting for the future.

在这件装置作品中石青创造了一个舞台、一个公园，一个现代主义和当下相遇的场所，这种相遇看似奇妙，却又有着不可避免的联系。乌托邦式的理念被裱挂在墙上，隐藏在郁郁葱葱的盆栽后面，只剩下标语式的外在，就像西方好莱坞式的布景一般。但当你走近，便会发现这些理念标语是一种暗示，他们由艺术家惯用的廉价材料做成，随着时间的流逝，这些曾经激进先锋的标语变成了丛林里的低声细语，暗自积累力量，直到某一天能重新占领人们的思维。石青的作品将过去带来与今天的我们相遇，如今过去就是现在，而现在正期待着未来。

All That Is Solid Melts into Air 一切坚固的东西都烟消云散了 |Shi Qing 石青|Installation装置|2011| size variable

编辑：文凌佳