Ni Youyu 倪有鱼|Mixed Media 综合材料|2011-2012|variable sizes coins from 1.1mm to 3.8mm
Gyan Pachal
Born in 1973, lives and works in Paris.
Represented by Creative India Foundation for SH Contemporary 2012.
1973年出生，生活并工作于巴黎
由创意印度基金会为SH Contemporary 2012特别支持
By making sculpture as a way of asking the material if it still bears the traces of its own story, Pachal sees sculpture as an unresolved question. Through his works, he asks what link there is between a synthetic fabric and a natural pigment, and what interpretations can be constructed from their abstract relationship. By confronting the material with its origin and its making, it is his intention to articulate the language of the element before it was standardised. In Pelom 2, Panchal examines a piece of discarded green marble. Upon close inspection, he realizes that the jewel-like green tone is not the stone’s actual color, but rather an ink stain applied with cloth to the natural stone. Panchal rubs away this colorful mask, revealing hints at the stone’s original form while also exposing the fingerprints of the workers who first touched it.
Gyan Pachal通过雕塑来质疑所用材料是否依旧保留其本质。在作品中，艺术家试图研究人造材料和自然色彩之间的关系，并对这种抽象关系背进行更深层的解读。艺术家乐于还原雕塑作品的原始状态和它的制造过程，展现出这些材料在被标准化加工之前的元素特征。在这件作品中，艺术家选择将一块被丢弃的绿色大理石作为研究对象。通过仔细的观察，他意识到这块看上去如宝石般的石头，其实是被人工染色的。于是Panchal小心地擦去了大理石表面覆盖的染色，将石头原本的颜色形态表现出来，与此同时工人在加工石头时所留下的指印也随之清晰可见。
Pelom 2
Gyan Pachal |marble, ink |2012|69 x 58 x 1.5cm
Image courtesy the Artist and Jhaveri Contemporary
Shan Fan单凡
Born in 1959, lives and works in Hamburg.
Represented by Galerie Urs Meile, Beijing and Lucerne.
1959年出生，生活并工作于汉堡
代理画廊：麦勒画廊，北京与卢森
For three decades, bamboo painting has been part of Shan’s everyday life. He first became familiar with the techniques of traditional Chinese painting as a student in China, but when he moved to Hamburg, Germany, in the mid-1980s, his study of abstract western art altered the way he viewed his own traditions. Whether in ink on rice paper, in oil on canvas, in copying a traditional classic, or in the medium of performance, Shan’s work reflects upon and transforms the medium of bamboo painting, which already has potentially abstract characteristics. For him, lines become planes and seconds become hours, representing entropy becoming a physical experience. For ‘Painting the Moment’, Shan invented hundreds of compositions for the subject matter of bamboo in Chinese painting by referring to Bauhaus theories, here placed adjacent to three more enlarged and abstract representations of the same theme.
三十年以来，单凡每天的生活都几乎离不开画竹。单凡第一次接触中国传统绘画的技巧还要追溯到他幼年时在国内的学习生涯。上世纪八十年代，艺术家来到德国汉堡，开始学习西方抽象绘画，这段学习经历也完全改变了他审视中国传统文化的方式。单凡的艺术表现方式多样，从水墨纸本，到布面油画，从临摹传统经典，到行为艺术表演，他的作品无不尝试改变竹子绘画的方式和形态，因此从在他的作品中已可隐约感受到一丝抽象意味。对于艺术家来说，线条成为了平面，时间变得缓慢，对于代表不可逆转性的“熵”的表现成为了一种身体的感受和体验。在“瞬间制作”中，艺术家采用了上百种不同的构图方式，尽管绘画主体仍中国绘画中竹子的意象，但却融入了西方的包豪斯理论。这里呈现的便是对于竹子所呈现的三种截然不同的抽象解读。
Painting Slowness 缓慢之作
Shan Fan 单凡| oil on canvas 画布|2009|3 x 2m x 2m
Shen Fan申凡
Born in 1952, lives and works in Shanghai.
Represented by ShanghART Gallery, Shanghai and Beijing
1952年出生，生活并工作于上海
代理画廊：香阁那画廊，上海与北京
In 1990, the Shanghai Stock exchange was established, introducing the composite index mode in 1992. Since 2011, Shen has collected the index statistics each day, each week, each month and each year and has used them as the basis for this landscape series. Through the river paths and mountain peaks, the black and white paintings embody the curves of the Shanghai stock exchange, representing 19 years of China’s development. The landscape epitomises the spiritual landscape that is controlled and distorted by the material life. It is a symbol of the developing nation and history of individuals, where “economic development is the priority” and has turned into being a common goal therefore, showing the world has long been under the control of all kinds of “curves”. It is not only a timeline of China’s political and economic development but also a set of criteria to measure individuals’ success. The fluctuation in curves mark all walks of life, with the abstract lines and texture that create the landscape having a say in how happy one is, being there to remind everyone of each others’ presence and that the gap between us and the landscape is extremely significant.
1990年上海证券交易所正式挂牌成立， 至1992年首次引入上证综合指数。2011年起，申凡开始收集自92年起每日,每周,每月,每年的指数数据，并将这些数据转化为这个风景系列画的基本构图。这些黑白起伏的山峰溪流代表着上海股市交易的走势曲线，展现了19年来中国的发展脉络。此处的山水俨然成为了每个个体被物质生活所控制而扭曲的精神山水。这是这个发展中的国家和生活在其中的人们的缩影，在“经济发展是第一要务”的鼓吹号召下，对金钱的渴望支配着人们的生活，成为他们最重要的追求，而与此同时，世界早已被各种曲线所掌控。山水系列所记录的这十九年，不仅仅是一条中国政治经济的发展脉络，更是衡量每个个体是否成功所建立的标准。曲线的起伏代表着各行各业人们的生活，这些抽象的线条决定了每个人实在的幸福指数，又极度荒唐的提醒着每个人：我们离山水是那么的遥远。
Landscape 9210 风景 9210
Shen Fan 申凡|Oil on canvas画布|2011-2012|19 pieces, each 88cm x 88cm
CharweiTsai蔡佳葳
Born in 1980, lives and works in Taipei and Paris.
Represented by Gallery TKG+, Taipei and Beijing.
1980年出生，生活并工作于台北和巴黎
代理画廊：TKG+，台北与北京
Tsai utilizes a variety of media through her politically, socially and spiritually-engaged, performative practice. Highly personal yet general in concern, she grounds herself and her art practice in a sense of National-Taiwanese identity with consequent implications, drawing on her personal interest in calligraphy and Buddhism, specifically notions of transcience and impermanence that are at the heart of Buddhist philosophy. She explores the cyclical relationship between nature, art, politics, geography religion, culture, symbolism and ethics, encouraging active participation outside the usual confines of how art is viewed. In this “dual” performance, Tsai covers the surface of objects with hand-written calligraphy to create a rich, textured landscape, reiterating the idea of change and impermanence, fundamental to her practice. The choice of materials reflects the location in which the work is made creating intimate and direct connections with the viewer, as they engage with the written text like a secondary performance.
蔡佳葳善于运用各种媒介来表达她的艺术作品，融合了她对于政治、社会和精神世界的思考。艺术家的作品非常个人化又具有普遍意义的，着力表现她对于书法和佛学的兴趣，尤其是佛教哲学中有关短暂和无常的核心理念。她试图通过艺术手段挖掘自然、艺术、政治、地缘宗教、文化、符号和伦理之间的循环关系，打破人们惯常对于如何欣赏艺术的观念性束缚。在这件影像作品中，艺术家在被拍摄的物体表面手写书法字体，从而营造出了一幅丰富具质感的风景画，再次表现了有关变化和无常的中心思想，这也是她创作的核心内容。被书写材料的选择大多与创作作品的地点有关，这样做可以拉近与观众的距离，从而使得在物体上写字的过程被视为一种再创作。
Bonsai Series III
Charwei Tsai 蔡佳葳|Black ink on lithographs, Living bonsai 墨水、版畫|2011|26 x 31 cm each, 9 prints
编辑：文凌佳
