Manish Nai

Born in 1980, lives and works in Mumbai.

Represented by Creative India Foundation for SH Contemporary 2012.

1980年出生，生活并工作于孟买

由创意印度基金会为SH Contemporary 2012特别支持

Nai’s sculptures, drawings, and photographs harness humble materials with high technology to provide new ways of looking at the constantly changing Indian landscape. Nai’s process is similar to the state of contemporary India, where cottage industries and simple materials support and co-exist with technological expansion. Nai makes minimal interventions onto everyday surfaces, inviting viewers to look deeper. Nai has received renown in India for his wall murals, which subtly use ink (with the help of photoshop) to create the effect of scratches into the wall, and organic growth out of the wall. Such effects happen naturally on walls in India, where the three-month monsoon season facilitates new types of growth (some of which is unwanted). In his new series of photographic works, Nai continues his work on walls, transforming photographs of walls in India with ink, strategically placing his carefully painted lines (with the help of photoshop) in ways that create an artificial sense of depth and frame nature’s interventions on the urban landscape.

Manish Nai善于在雕塑、绘画和摄影作品中通过高科技手段处理看似简单的素材，为观众提供一个全新的视角来观看印度不断变化的城市景观。艺术家这种处理材料的过程与当今印度国家的状态非常类似：在农业和轻工业依旧支持着国民经济发展的同时，高科技产业快速扩张。艺术家在印度一些随处可见的表面上做了一些细微的艺术介入，帮助观众做更深层的观察。艺术家的壁画在印度已极具知名度，他用极少的颜料(在photoshop的帮助下)创造出了墙面如同刀削般的效果。而这种效果会随着印度每年三个月的雨季发生自然的变化(有些变化甚至出乎意料)。在Nai的这一系列全新的摄影作品中，Nai继续其在墙面上的创作，在墙面的照片上运用墨水和photoshop小心的刻画出线条，从而人为地创作出墙面的立体感，在城市景观中融入自然的元素。

Untitled

Manish Nai | digital archival print with hand applied watercolour onHahnemuehle paper|2012|68.5 x 91.4 cm - 27 x 36 in (x2)

Image courtesy the artist and Galerie Mirchandani and Steinruecke

Moataz Nasr

Born in 1961, lives and works in Cairo.

Represented by Galleria Continua, San Giminiano and Beijing.

1961年出生，生活并工作于开罗

代理画廊：常青画廊，圣吉米那诺，北京，穆琳

The feeling of belonging to a specific geopolitical and cultural context, and the need to maintain a link with his homeland are key elements of Nasr’s work. Showing current complex cultural relationships in the Islamic world, the work of Nasr surpasses idiosyncrasies and geographical limits, voicing the worries and torments of Egypt and the African continent. He focuses on the region’s colours, traditions and people, without applying stereotypes, exoticism or creating distance from its origin. On the contrary, the works appear close to people’s understandings, where Egypt becomes a background, a territory inhabited by human beings, whose fragility is universal, showing indifference, powerlessness, solitude and weaknesses inherent in human nature.

Moataz Nadr的作品大多反映了对于某种特定政治和文化背景的归属感，并强烈表达了他对于自己祖国的眷恋。在如今伊斯兰世界复杂多变的文化关系背景下，Nasr的作品冲破了世俗和地理上的局限，直抒胸臆地表达了埃及和非洲大陆的忧虑和痛苦。艺术家专注于表现该地区的色彩，文化传统和人民，避免了模式化的表达方式，也拒绝借鉴外来语言以免产生与原本文化的距离。相反，他的作品有一种异常的亲切感，在他的作品里，埃及变成了一种背景，这里的人们与世界各地的人们有着相同的脆弱，冷漠，无权势，孤独和无力感，这些都是在人性中与生俱来的特性。

Series 7 系列7

Moataz Nasr |7 ceramic vases |2012 | variable dimensions from left to right (33 x 16 x 16 cm, 16 x 22 x 22 cm, 38 x 20 x 20 cm, 17 x 20 x 20 cm, 30 x 20 x 20 cm, 22 x 20 x 20 cm, 38 x 20 x 20 cm) Weights: 2.1 Kg, 2.1 Kg, 2.7 Kg, 2 Kg, 2.4 Kg, 1.9 Kg, 2.1 Kg

Ni Youyu倪有鱼

Born in 1984, lives and works in Shanghai.

Special Commissioned Project for SH Contemporary 2012.

1984年出生，生活并工作于上海

SH Contemporary 2012特别委托项目

Thanks to an artistic strategy of shifting contexts, Ni successfully combines the traditional past with the present. His installation, ‘Galaxy’, comprises several hundred coins, which have been hammered flat and then adorned with miniature shanshui-style landscapes. Having levelled out all the various coinages and denominations, Ni invested them with a new and different value system, by using them as supports for tiny shanshui drawings, of no more than two or three centimetres in diameter, applied with miniature brushes to their surfaces. The objects are transformed by two radically different techniques - violent destruction and artistic embellishment - thus becoming a metaphor for the idea that the traditional and the modern are in fact two sides of the same coin.

通过艺术化手段转换创作语境，倪有鱼成功地将传统与当下紧密结合。他的装置作品“银河”由成千上万枚硬币组成，他将这些硬币捶打压扁，并小心地在其表面上绘制迷你尺寸的山水画。艺术家精心收集了来自不同国家各个面额的硬币，但却跳脱出硬币作为货币的正常价值体系，取而代之的是用极小的毛笔在这些直径不超过二三厘米的硬币上描绘小型山水画。这些硬币先后经历了两种截然不同的转变，一是暴力的摧毁，另一个却是艺术化的修饰润色，该作品也揭示了传统和现代无非是一枚硬币的两个面而已。

GALAXY 2012 银河2012

编辑：文凌佳