Wang Xieda王燮达
Born in 1968, lives and works in Shanghai.
Represented at by James Cohan Gallery, New York and Shanghai.
1968年出生，生活并工作于上海
代理画廊：科恩画廊，纽约与上海
A new suspended sculpture and relief series is set alongside works from the ‘Sages’ Sayings’ series, which refers to the artist’s rigorous study of ancient Chinese pictograms or ideograms, in particular, fourth century Chinese calligraphy. The sculpture is to be seen as a further extension of ‘Sages’ Sayings’, to physically evoke drawing and an abstract aesthetic in the space. Facing the changes in the 21st century, each nation’s cultural traditions strive to find a new contemporary language to keep pace with developing artistic practice and aesthetic expressions. Wang’s ‘Sages’ Sayings’ series began in 2002 and embodies a fusion of cultural history whilst pursuing the common human aesthetic experience, to reiterate the past and reinterpret ancient language in today’s contexts and express his personal experiences and emotions.
在王燮达“子曰”系列作品的旁边悬挂着其全新的雕塑作品和浮雕系列，这些作品来源于艺术家对中国传统象形文字，尤其是公元四百年中国书法的深刻研究。这件雕塑可谓是“子曰”系列的延伸，创造出空间的抽象美学。面对二十一世纪的全球发展，各国的文化都试图寻找的新的当代语言来与发展中的艺术和美学表达相匹配。王燮达创作的“子曰”系列始于2002年，融合了文化历史的同时追求人们普遍的审美经验。作品重新审视过去，将古老的语言置于当下的语境中重新解读，同时表达了艺术家的个人经验和情绪。
Sages' Sayings 0902 子曰0902
Wang Xieda 王燮达|Rattan, paper pulp, ink, silica gel, thread藤，纸浆，水墨，硅胶，丝|2009|65 x 125 x 52 cm
Wu Chi-Tsung吴季璁
Born in 1981, lives and works in Taipei.
Represented by Gallery TKG+, Taipei and Beijing.
1981年出生，生活并工作与台北
代理画廊：TKG+，台北与北京
Wu believes in transparency. In his work using photography, light and video, he examines how images are created, and viewed, and the world is captured and re-imagined, revealing the mechanisms involved in seeing how illusions are created in an attempt to counteract the natural tendency to mistake them for reality. These experiments and manipulations exploit the alchemy inherent in chemical photography and the timing elements that are part of moving image creation and film-making, ultimately making reference to traditional picture-making processes of the past.
吴季璁对于透明的物体有一种信仰。通过摄影、光和影像，艺术家试图研究图像是如何被创造和观看的，这个世界又是如何被瞬间捕捉和重新想象的，以此来揭示混淆人们对于现实判断的幻觉产生的机理。艺术家借鉴了传统摄影的工序，在此基础上通过探索和实验挖掘出了摄影和影像中时间元素的的独特魔力。
Landscape in the Mist002 烟林图之二
Wu Chi-Tsung 吴季璁|single-channel video 单頻录像 |2012|11”35”
Yu Ji于吉
Born in 1985, lives and works in Shanghai.
Represented by C-Space, Beijing.
1985年出生，生活并工作于上海
代理画廊：C空间，北京
Central to the artistic practice of Yu Ji is the process of making and the use of traditional sculptural materials to articulate changing relationships between time, nature and space, such as light and architecture. She sees this not as a conceptual strategy but as a necessary process in order understand what art is, and means to her, as a process of practice and reflection. Placing emphasis on physical commitment and intensive labour and to Chinese craftsmanship, Yu examines these notions further through obsessive and repetitious performative action. In ‘Heat Up 0.2℃’, working silently, she controls the rhythm of her body whilst drawing a circle of 3.5m in diameter coloured in with white chalk in order to contain and represent the aura field of her body movements. It is placed in reference to ‘Smudgy 1205’ a wall-based sculpture, which combines two of the artist’s most used traditional materials of very different natures - wax made from oil, and plaster made with water. This creates simple geometric forms, where black is not made by a chemical colour but from burning white wax to form an ink-like finish, which is an integral part of this piece reflecting nature and China’s relationship with it.
于吉创作的核心是利用传统雕塑材料来表现时间、自然和空间之间时时变化的相互关系。在她的眼中，这个创作过程并非是一种观念上的策略，而是帮助她理解 “艺术是什么”，及“对她意味着什么”所必经的过程。艺术家的作品关注身体的劳动和中国式的手工艺，通过如着迷般的重复运动进一步探讨这些观念。在“上升0.2摄氏度”这件作品中，她无声地控制着身体的韵律，并用白色的粉笔在地上画就了一个直径3.5米的圆，将自己的身体律动包含并呈现其中。“污垢1205”是一件墙上雕塑，使用了艺术家最惯用的两种雕塑材料——油蜡和石膏。于吉运用这两种材料创造出了简单的几何图形，其中黑色并非是化学调和出的颜色，而是燃烧白色油蜡后而产生出的类似墨水的效果，这件作品本质上反映了中国与自然之间的关系。
Heat up 0.2℃上升0.2摄氏度
Yu Ji 于吉|Video视频|2010|60 minutes
Smudgy 1205污垢1205
Yu Ji 于吉|Wax and plaster蜡，石膏|2012|60 x 60 x 3cm
Zhang Jian-Jun张建军
Born in 1955, lives and works in New York.
Special Commissioned Project for SH Contemporary 2012.
1955年出生，生活并工作于纽约
SH Contemporary 2012特别委托项目
Drawing attention to ink and water as fundamental elements of Chinese cultural identity, Zhang views ink as a medium, which when combined with water creates a temporal dialogue between ancient Chinese cultures and a post-modern Western influence, creating an acculturation encompassing the whole world. This performance combines projected images of water paintings (culture), which span centuries and cultures, from the works of Monet, Van Gogh and Seurat, to traditional Chinese Song Dynasty, the Five Dynasties period and others, to contemporary artists, alongside videos of flowing water (nature), with the artist’s real-time brushwork on rice paper. The rice paper is mounted against a black wall so that his wet brushwork appears as black ink-like strokes fleetingly capturing outlines of the projected images as they appear on video. As the video changes, the brushwork lingers, superimposed on a new image from a different time and culture. This creates a brief dialogue across time, history, culture, nature, traditional and contemporary, Eastern and Western where it did not exist before, all flowing as a river in the process. The brushwork finally disappears altogether to make way for a new cycle of juxtaposition. Ultimately, it embodies the concept of time, evoking the Chinese concept of a calm and free-flowing spirit (Yi 逸), central to Zhang’s work.
张建军一直将水墨视为中国传统文化中不可或缺的元素，他将墨水视为一种媒介，而水与墨的结合便创造出了传统中国文化与后现代西方影像的对话和碰撞，也随之创造出全球的文化渗透及融合。艺术家此次的行为艺术作品结合了代表文化的绘画作品投影和代表自然的流水影像。绘画作品横跨不同的时间和文化领域，从莫奈、梵高、修拉到中国宋朝及更早的五代十国时期，再到当代艺术家们的作品。在投影和录像不断变化的同时，艺术家将宣纸固定在黑色墙面上，用毛笔蘸水在纸上进行创作，产生如同用墨水在投影画面上绘画一般的效果。投影的画面时时发生着变化，但墨迹般的笔触却依旧在画面上徘徊逗留，叠加到迥然不同的时间和文化画面上。这样的错落叠加创造出了一种前所未有的跨越时间、历史、文化、自然、传统与当代、东方与西方之间的对话，如同流水般连绵不绝。艺术家的作品完美展现了时间元素，呼应起中国传统文化中“逸”的观念，这也是张建军作品的核心理念。
Vestiges of a Process: Chant of Rock Play with Water 过程的瞬间：吟石戏水
Zhang Jian Jun 张建军|Water, Chinese ink, rice paper, images, silicone rubber, goldfish, stone, performance, time 水，墨，宣纸，影像, 硅胶，鱼, 石，人的参与，时间|2012|300 cm x 1700 cm x 650 cm.
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【编辑：文凌佳】
编辑：文凌佳
