[北京]向死而生 Memento Mori

展览名称： 向死而生  Memento Mori
开 幕 式： 5pm, 04 13 2012
展览时间:  04-13-2012 至 06-03-2012
展览地点:  阿拉里奥画廊-北京1号展厅（中国北京市,朝阳区安外北苑, 北湖渠酒厂国际艺术园A1002）
咨询方式： +861052023808 ；Beijing@arariogallery.com

TITLE:    向死而生  Memento Mori
OPENING:  5pm,   04 13 2012
DURATION: 04 13 2012 ~ 06 03 2012
VENUE:    Arario Gallery, Beijing Space 1
          JiuChang Art Complex, Beihuqu Road, Anwaibeiyuan ST.,
          Chaoyang District, Beijing, 100012, P.R CHINA.
INQUIRIES： +86 10 52023808 ；Beijing@arariogallery.com

PR: Maye Luan; Tel: 13466655849; Email: maye@arariogallery.com;
OFFICIAL WEBSITE：http://www.arariobeijing.com/
OFFICIAL WEIBO：http://t.sina.com.cn/arariogallery

参展艺术家
PARTICIPATING ARTISTS:

陈秋林Chen Qiulin   ( b.1975, China )
程然Cheng Ran ( b.1981, China )
圭多•范•德•维沃Guido Van der Werve ( b.1977, The Netherlands )
蒋鹏奕 Jiang Pengyi ( b.1977, China )
玛利亚•诺丁Maria Nordin ( b. 1980, Sweden )
塞格多尔•古德杨森Sigurður Guðjonsson ( b. 1976, Iceland )
乌拉• 梵 •布兰登伯格Ulla von Brandenburg ( b. 1974, Germany )

 Press Release

阿拉里奥画廊北京艺术空间将于2012年4月13日下午5点隆重推出今年首个影像群展《Memento Mori  向死而生》。本次展览将呈现来自中国、冰岛、德国、荷兰与瑞典的7位艺术家共8件影像作品。

‘Memento Mori’这一拉丁词语作为本次展览的主题，原意为“谨记死亡”。在西方，有关死亡的艺术创作可追溯至艺术史的起源，且其中大部分作品都带有浓郁的宗教色彩。而这些关于死亡的艺术都意欲表达现世生活的虚无缥缈与转瞬即逝，颂扬后世的安宁和美好。如同苏格拉底的箴言“死是灵魂与肉体的分离”，这些作品通常将生存与死亡进行二元对立。死亡，更多的是被看作生命的彼岸，即生命过程的最后终结；而与将生命的意义寄托于后世的西方文化不同，中国的孔子认为“未知生，焉知死”，教诲人们要乐天知命，生则重生，死则安死。然而，这一忘却或忽略了“死亡”的观念却易于将生命沦为一场没有厚度的存在。直到20世纪初伟大的哲学家海德格尔提出了“向死而生”( Being-toward-Death ) 的概念，才为“存在”这一主题赋予了更宽广的理解维度。

“向死而生”即“向死亡的存在”，揭示了人生并非是从“活着”走向“死亡”的线性发展过程。死亡始终是以生命的一种存在状态一直、并确定性地栖居于我们的生命之中。死亡，作为无法逾越的宿命之确定性与不知何时将死的不确定性始终持续性地并行于我们生命的每一个瞬间。因此，这个意义上的死亡不再是发生于生命的一桩客观事件，也不再是生命的完结，而是与其相共生的一种持续性状态。人类正是因为有了对死亡的确知，才能洞悉到此时此刻与当下的真实意义。因此，“向死而生”所启示的正是一种将死亡寓于生命，与死亡共舞的观念，这将使“存在”在时间的地平线上获取真正的解放与自由。

本次展览的8件影像作品均围绕着“生命、存在、死亡”这一主题进行展开。展览既弥漫着北欧冷峻的美学气息，也凝聚着中国年轻一代影像艺术家的哲思。陈秋林（b.1975，中国）的作品《桃花》以纪录和行为表演的方式展现了在经历了08年四川大地震之后的灾区景象与袭卷一切的丧失感；程然（b.1981, 中国）的影片《幽灵（哈姆莱特）》使用即兴现代舞的方式重新演绎了古典悲剧《哈姆莱特》的经典章节—“生存还是毁灭？这是一个问题”；蒋鹏奕（b.1977，中国）的作品《一顿 》拍摄于法国南特的一片人迹罕至的森林。影片呈现周遭的环境与物象，以及孤独者各种情绪的交织。一瞬之间，物我无别。在荷兰艺术家Guido Van der Werve (b.1977，荷兰) 的影片《第12号：主题变奏》中，壮观的大自然景象与观景人形单影只的背影形成鲜明对比。这一作品描绘了人类面对不可征服的大自然奋力逃脱生命的有限性，然而却又无往不在禁锢与枷锁之中。冰岛艺术家Sigurður Guðjonsson（b.1976，冰岛) 的作品《临终时刻》展现了一位拓荒者深入到无尽冰川中的一片荒废之地，影片模棱两可地展现了一片末世景象，而这些可怕怪诞的景象又与我们当下的生活保持着某些联系，不断地敲打着我们感知。在Ulla Von Brandenburge（b. 1974，德国）的作品《合唱》中，古典挽歌中的混声合唱作为背景音乐贯穿全片，让人联想到托马斯•曼的《布登勃洛克一家》。四位演员扮演一家人平静地生活，但是家庭的和谐却被一位危险的年轻流浪者所打破，但同时也为他们带来了新的机会。Maria Nordin（b.1980，瑞典）的动画作品《两秒钟的痛苦》与《微笑面具的背后》取材于阿尔莫多瓦的《我的母亲》。人物微笑着的面孔变得斑驳，喜悦的表情变为痛苦。悬浮荧幕的定格镜头、这些瞬间的绘画以及动画效果使得共同的时间被以不同的方式展开。

七位来自不同文化背景的艺术家对于人类生存的本质和境况的探寻使此次展览弥漫着冷峻与疏离的美学气息，而这些又无一不彰显着他们与生俱来的个人气质和禀赋。

Press Release

Arario Gallery Beijing is honored to introduce 8 pieces of video and film works by 7 artists from China, Iceland, Germany, the Netherlands, and Sweden at its first exhibition in 2012, Memento Mori.

Memento Mori, which is a Latin Phrase, means “remember your mortality” or “remember you will die”. Art works involved in death could trace back to the beginning of the art history, most of which are religious and emphasize the emptiness and fleetingness of earthly life while celebrating the peacefulness and sweetness of afterlife. As Socrates’ famous saying that death is the separation of soul and body, all these artworks inquire life and death in the sense that they compose a binary opposition, for death is considered to be the ending of life. While the Western place the meaning of life on the afterlife, Confusious believed that we would have no idea about what death is before we get to know what life is. Confusious instructs the masses to be content with what life is and live a meaningful life when alive, and leave peacefully when death comes. However, such oblivions or ignorance of “death” can easily lead life to a kind of existence without depth. It is until the 20th century when the great philosopher Martin Heidegger brought forward the concept of “being-toward-death” that we get to understand existence in a broader dimension.

Being-toward-death reveals that life is not a linear process from alive to dead. Rather, death is always and definitely intrinsic to life as another state of being. The certainty that death is an insurmountable destiny and the uncertainty that one never knows when to die constantly exists in one’s every moment of being. Death is no longer the end of life or an event someday happening to the body, but a process never ends as long as life goes on. Meanwhile, it is this certain feeling of death that makes human beings has an insight on the authenticity of existing at every very moment. Therefore, what being-toward-death illuminates is a life integral with death, a life dancing with death. And what’s more, being-toward-death liberates and frees being in its authentic meaning in the dimension of time.

The forthcoming 8 video works all involve in the theme of life, being and death, which make the exhibition carry the Northern European aesthetics and also embody the Chinese young artists’ philosophical thinking. Chen Qiulin (b.1975, China) records the disastrous scene of Wenchuan after the earthquake in 2008 and reveals the feeling of big loss in <Peach Blossom> via video record and performance. Cheng Ran (b.1981, China) recreates the classical chapter of the tragedy <Hamlet> (To be or not to be,This is a question), employing improvisational modern dance, in his <Ghost (Hamlet) >. Jiang Pengyi (b.1977, China) films his <Sudden> in a pathless forest in Nantes, France. The video presents the surroundings and spectacles there, and how the feelings of the isolate interact with the environment. In fact, there’s no difference between the surroundings and oneself in a sudden. Guido Van der Werve (b.1977, the Netherland) draws out the restricted state of human being when we try to shed our limited in the face of the great unconquerable Nature. In his No. 12 <Nummer Twaalf>, the extensive landscape is in sharp contrast with the lonely figure of the man standing in front of this scene. Sigurður Guðjonsson (b. 1976, Iceland) demonstrates a pioneer going deep into an endless glacier. In <Deathbed>, he ambiguously points to a post-apocalyptic situation which relates to our nowadays life in some sense and questions our perception constantly. Ulla Von Brandenburge (b.1974, Germany) films <Chorspiel>. In this video, music as the centerpiece of the setting, resembling mixed chorus hymns or classic elegies, reminds the viewers of Thomas Mann’s Bud¬denbrooks. The four actors, serving as family, peacefully carry on their own lives, but the harmony of the family is disrupted by a dangerous young vagabond. Maria Nordin (b.1980, Sweden) creates her animation <Two Seconds of Pain> and < Behind the Laughing Veil> according to Pedro Almódovar’s <All About My Mother>. The broadly smiling face of the character becomes mottled, and the audience sees how the emotion of joy turns into pain. A freeze shot of a suspending screen, drawings of these moments, animations where the same moment is varied in form – shared time is unpacked in different ways.

The seven artists of various culture backgrounds inquire the nature of being and the conditions we live on. Their poetic and profound works endow this exhibition frosty and elegant aesthetics as well as alienated sensations, which invariably derives from the artists’ inherent ethos and gift.

ARTIST INFO

陈秋林

1975年出生于中国

陈秋林1975年出生于中国，目前生活和工作于四川成都。2000年，她毕业于四川美术学院版画系。作为一名备受瞩目的中国影像艺术家，她的作品关注中国不断推进的政治和经济改革所带来的社会影响。陈秋林把现代生活不断挑战传统价值体系所产生的种种矛盾与现状进行归纳与视觉化，她最受关注的摄影图片与影像作品，对社会发展的进程和野心提出了有力的质疑。

陈秋林的艺术启蒙始于孩童时期，早年她曾在母亲所就职的电影公司里观看了很多科教片、故事片以及手绘电影海报。2000年从美院毕业后，她回到了家乡的电影公司画了一年的电影海报，随后移居成都，在那里她第一次接触到行为艺术，并且开始使用装置、行为、照片与影像来创作作品，表达中国边远地区飞速的城市化发展对社会所带来的伤害和代价。她的作品同时传达了对过往时光的怀念、社会飞速转变所带来的困惑以及对新生活的希冀。

本次展览中的录像作品《桃花》来源于2008年5月于中国 四川发生的历史上最严重的一次地震灾难。在北京奥运会即将开幕前三个月，中国再次成为全世界关注的焦点，数十万人失去生命，痛失所爱与家园。那种严重的丧失感一直困扰着陈秋林，她的这部录像作品也反映了灾后四川的生存状态。《桃花》创作于2009年，影片以纪录和行为表演的方式将镜头聚焦于个人、社会、环境变化以及死亡是如何再造人的生存状态的。用陈秋林的话来说：“我们无法避免自然灾害—生活还在继续。我在地震灾区拍摄录像和进行行为表演，是一种纪念和希冀，希望更多的人能看到人们在这些经历过死亡与灾难的地区如何生活，并且给予他们帮助。”

个展
2009   陈秋林，哈默美术馆，美国洛杉矶
陈秋林，麦克斯•普罗泰克画廊，美国纽约
2007   陈秋林近作，纽约州立大学美术馆，美国纽约
陈秋林，麦克斯•普罗泰克画廊，美国纽约

群展
2011   中国当代艺术三十年—中国活动影像（1988-2011年）上海民生美术馆，中国上海
2010   穿越地平线—中国当代艺术,智利国家美术馆，智利圣地亚哥
2008   第七届光州双年展—年度报告：展览的一年，韩国光州

 
陈秋林
Chen Qiulin, b.1975, China

Chen Qiulin was born in China in 1975 and now lives and works in Chengdu, Sichuan Province. She graduated from the printmaking department of the Sichuan Fine Arts Institute in 2000. As a young female artist from Sichuan province who has had a prolific and multifaceted career, Chen Qiulin stands out among the numerous Chinese artists, predominantly male, who work in the capital, Beijing, or in the metropolis of Shanghai.

Chen began her unofficial art education as a child when she accompanied her mother to work at a film company, there she watched science and education shorts and feature films, and painted film billboards. After graduating in 2000, she returned to the film company to paint billboards for another year and then moved to the city of Chengdu, where she encountered performance art for the first time. Chen has since created a unique fusion of installation, performance, photography, and video, producing works that address the rapid urbanization of China’s provincial areas and the toll that this is taking on society. Her work focuses on simultaneously capturing the nostalgia for how life used to be, the confusion brought on by the past pace of change, and the hope for a new and improved standard of living. Chen’s innate sense of performance returns with operatic scenes cast among shipping containers, outdoors in the evening, and along the river, contrasting the excitement of the up-and-coming new with a nostalgia for the traditional past.

The video work <Peach Blossom>featured in the exhibition are based on that Sichuan Province experienced the worst earthquake in its history in May 2008. Only 3 months before the Beijing Olympics were scheduled to open, with China the focus of world attention, hundreds of thousands of people lost their lives, their loved ones, their homes. The severe sense of loss reverberated with Chen, whose most recent body of work reflects on life in Sichuan after the disaster. Peach Blossom (桃花2009) was created with an archival instinct and a lens on the personal, social and
environmental changes shaping people’s lives. In Chen’s words: “ We cannot avoid natural disasters – life goes on. I made videos and performed in the areas hit by the earthquake as a commemoration and hope that more people will see how people are living in these areas and help them.” 

Selected Solo Exhibitions
2009      Chen Qiulin, Hammer Museum, Los Angeles, USA
Chen Qiulin, Max Protetch, New York, USA
2007      Chen Qiulin: Recent Work, University Art Museum, State University of New York, USA
Chen Qiulin, Max Protetch, New York, USA

Selected Group Exhibitions
2011 Thirty Years of Chinese Contemporary Art – Moving Image in China (1988-2011), Minsheng Art Museum, Shanghai
2010    Across the Horizon–the Exhibition of Chinese Contemporary Art,The Chilean National Museum of Fine Arts, Santiago, Chile
2008    The 7th Gwangju Biennale – Annual Report: A Year in Exhibitions, Gwangju, Korea

程然

1981年出生于中国
作为中国年轻一代影像艺术家的代表，程然1981年出生于中国内蒙古，2004年毕业于中国美术学院。程然的影像作品一改其前辈们对中国当代生活与社会变革的激进描写，转而进入一个由电影、诗歌（文学）与神秘性相互交织的一个暧昧剧场，并着重于个人情绪的表达，后来这种手段便发展成为用录像和影片来表达个人问题，因此他的影片常常是用来表达一种对无法解释的人生问题的探索。音乐、青年文化以及欧洲文学与艺术电影都是其灵感来源，艺术家还将表演、电子音乐、摇滚与舞台的视觉效果融入到他的视觉语言中。程然擅长使用基本的影片技法来进行创作，如最简单的剪辑、倒放、蒙太奇和长镜头等，影片常常没有完整的情节与叙事，着重突出个人情绪。
本次展览的参展作品《幽灵（哈姆莱特）》为程然2012年最新创作的三频影像作品，艺术家对莎士比亚的经典戏剧《王子复仇记（哈姆莱特）》的最终篇章进行了重新演绎。围绕着经典台词“生存还是毁灭，这是一个问题”，四名专业现代舞演员以行为和即兴舞蹈的方式在剧场和水下进行表演，突出了关于身体和内心的自我控制与自由。
个展
2011   程然：“热血、温血、冷血”，麦勒画廊，中国北京
昼夜之渐，清影现代艺术空间，杭州
2009   沉浸与远离，尤伦斯当代艺术中心，北京

群展
2011   录像艺术在中国 - MADATAC新媒体艺术节，索菲亚王妃美术馆，西班牙马德里
中国当代艺术三十年—中国活动影像（1988-2011年），民生美术馆，中国上海
今天的艺术－留尼旺岛双年展，法属留尼旺岛
破晓，阿拉里奥画廊，中国北京； 韩国天安
2010  “泄密的心”，詹姆斯科恩画廊，中国上海，美国纽约，2010
2008   跟后殖民说再见：第三届广州三年展，广东美术馆，中国广州
 
程然
Cheng Ran, b.1981, China
As a leading figure of China’s young generation of video and photography artists, Cheng Ranwas born in Inner Mongolia, China in 1981 and studied at China Academy of Fine Arts where he was awarded a BA in 2004.After graduation, Cheng Ran started his own career and his video breaks away from his predecessors’ radical depiction of contemporary life and social change in China, and delves into a theatre where the cinematic, poetic and mysterious intertwine. Music, youth culture, and European art house cinema are the inspiration and have been haunting the artists motion pictures.Cheng’s videos project the innermost of young Chinese and capture the living experience greatly impacted by the globalized cultures and cultural policies. They integrate the performative, the visual from electronica and rock’n’roll, and in a few cases, the aesthetics of Chinese ink painting into his language that is informed by the late 20th century arthouse cinema.
The video work <Ghost(Hamlet)>featured in the exhibitionRe-staging of Shakespeare's classic drama of the prince's revenge (Hamlet). Professional actors rehearsed a 15 minutes act, half of which performed on stage, the other half performed in water. A work highlights one's control and freedom of the body and mind.

Selected Solo Exhibitions
2011   Hot Blood, Warm Blood, Cold Blood, Galerie Urs Meile, Beijing-Lucerne, Beijing,China
Circadian Rhythm,Qingying Gallery, Hangzhou, China
2009   Immersion and Distance, Ullens Center for Contemporary Art, Beijing, China
Selected Group Exhibitions

2011   Video Art in China - MADATAC, Reina Sofia Muesum, Madrid
2011   Thirty Years of Chinese Contemporary Art – Moving Image in China (1988-2011), Minsheng Art Museum, Shanghai
Reunion Island Biennale of Today’s Art 2011, Reunion Island, France
Daybreak, Arario Gallery, Beijing, China; Cheonan, Korea
2010    “The Tell-Tale Heart ”, James Cohan Gallery, Shanghai,China,New York, USA
2008    Farewell to Post-colonialism: The Third Guangzhou Triennial, Guangzhou, China

 
圭多•范•德•维沃
1977年出生于荷兰
圭多•范•德•维沃1977年出生于荷兰，曾在荷兰多所大学学习工业设计、考古学、作曲、俄罗斯语言文学等。一直以来，他都运用影像为媒介来进行行为艺术的创作，被公认为在表达影像视觉敏感性方面的最重要的人物之一。维沃的每一部作品都有编号，以表明音乐与图像的直接关系，并通过不断更新的图像和音乐的感知度来激发瞬时的、感性的效果。相机缓慢移动或旋转，不用依赖构思宏大的戏剧性场面，慢慢地引发观众的情绪反应。
作品第12号的标题《主题变奏：接受王翼弃兵，空中星辰的数量，为何钢琴无法弹奏，或者等待地震来临》中的“接受王翼弃兵”，是国际象棋的一种开局走法，为19世纪早期象棋大师们所深爱，指的是源于这一格言的一种策略：“对付王翼弃兵开局的最好办法就是接受这种开局”。作品12号由三个主题的变化组成。借助声音、音乐以及美丽自然景色的图像这些直接而直觉的方法，传达了空中无数星辰、发不出声音的钢琴以及即将到来的地震带来的不祥之感。
个展
2011   感情的贫瘠，荷兰阿姆斯特丹杨格玛画廊
第十二——新媒体系列，特利西亚•派克策展，美国圣路易斯艺术中心
2010  第十二号，摩纳哥王子当代艺术奖，摩纳哥
第十二号，美国纽约卢赫灵•奥古斯丁画廊
群展
2012   冰人，韩国阿拉里奥画廊
2011  纽约白夜艺术节，美国纽约新美术馆
威尼斯双年展，意大利威尼斯（乌克兰馆）
2011   罗马艺术奖，斯玛特项目空间，荷兰阿姆斯特丹
未来一代艺术大奖，平丘克基金会，乌克兰基辅
 
圭多•范•德•维沃
Guido Van der Werve, b. 1977, The Netherlands
Born in the Netherlands, Guido van der Werve studied various fields in a number of Dutch universities, including industrial design, archeology, musical composition, Russian literature and language. The artist has since produced performance based videos, and is now recognized as the leading force in describing the sensibility of visual images, going against the dominance of socially activist imageries. Werve’s works, each numbered to show the direct relation between music and image, engender an instantaneous and sensual effect through its refreshing imageries and musical sensitivity. The camera moves very slowly or rotates, and slowly draws out the emotional reaction of the audience without relying on any grandiose drama. 
The King's gambit accepted’ in the title of work No. 12 <Nummer Twaalf: variations on a theme, The King's gambit accepted, The number of stars in the sky, And why a piano can't be tuned, Or waiting for an earthquake>  is the move that countres Kings Gambit, which is the Chess opening favored by chess masters in the early 19th century, and is in reference of the strategy that originates from the following maxim: “The best way to react to King’s Gambit is to accept King’s Gambit.” Work No. 12. Consisting of a variation of three motifs, conveys the foreboding of countless stars in the sky, unturned piano and upcoming earthquake, through the direct and intuitive method of sound, music and imageries of beautiful natural sceneries.   
Selected Solo Exhibitions
2011 Emotional Poverty, Galerie Juliette Jongma, Amsterdam, NL
Number Twelve—New Media Series, Curated by Tricia Paik, Saint Louis Art, USA
2010 Nummer twaalf, Prix International d'Art Contemporain de la Fondation Prince Pierre de Monaco, Chapelle de la Visitation, Monaco
Nummer twaalf, Luhring Augustine, New York, USA

Selected Group Exhibitions
2012 EORUM SANAI (Ice Man), Arario Gallery Cheonan, Korea
2011 Nuit Blanche New York, New Museum, New York, USA
Venice Biennial, Venice, Italy (Ukranian Pavillion)
Prix de Rome 2011,’Smart Project Space, Amsterdam, N
2010 Future Generation Art Prize, Pinchuk Foundation, Kiev, Ukrane

蒋鹏奕
1977年出生于中国
作为深深根植于中国传统文化的年轻艺术家，蒋鹏奕早期的作品主要以摄影为主，并对当代中国的城市规划与建筑的迅猛发展如何排挤和抹除掉了一切古老文化的元素和过往时光的踪迹进行一一再现。蒋鹏奕少年便离开了他的家乡—湖南沅江。他对大城市的第一次体验就是一次文化冲击。作为一名捕捉都市景观的艺术家，中国的都市生活和无数的摩天大楼成为他过去摄影作品的重要主题。正如蒋鹏奕所说：“城市是一个建筑物疯狂繁衍的地方。在中国，这就像是一场狂欢。各种难以置信的新建筑从世界各地蜂拥而来，迎合着一个新发展起来的帝国的种种欲望，满足了人们对奇观的渴求。这些建筑物所构筑的奇观是一个神圣的奇迹。这些写字楼需要的是观众对其作为一种奇观的无条件接受，并通过标志性符号和感叹获取人们的礼赞。”
从2011年开始，蒋鹏奕开始使用影像进行创作，其最新的双频录像作品《一顿》（Sudden），拍摄于法国南特的一片人迹罕至的森林，影片呈现周遭的环境和物象的微妙变化，似乎和片中孤独者的心境一样，交织着焦虑、恐惧、快乐与信念。“他是‘自我’的化身，观察着物象和心象，力图去辨明真假，探测真实和永恒。一顿之间，物我无别” 艺术家如是说。
个展
2009   沉浸与远离，北京尤伦斯当代艺术中心,中国北京
2008  巴黎北京画廊，中国北京
群展
2011   Be Natural Be Yourself，法国当代艺术馆，法国南特
中国当代艺术三十年—中国活动影像（1988-2011），民生美术馆，中国上海
破晓，阿拉里奥画廊，中国北京
 
蒋鹏奕
Jiang Pengyi, b.1977, China
As a Chinese artists belonging to a generation raised on classic iconography and still strongly being rooted in traditional culture, the photography of Jiang Pengyi deals with how the rapid growth of modern architecture crowds out and destroys all older architectural elements and with its the traces of a lost past.
Jiang left his birth-place of Yuan Jiang, a small city in Hunan province as a teenager, and his first experience of the big city was a culture shock. As a professional photographer capturing the city scapes of Beijing, Chinese urbanism, with its innumerable futuristic skyscrapers, is a major theme of his artwork. As Jiang said, “The city is place where buildings furiously  propagate. In China, it is almost like a carnival. All kinds of unthinkable new buildings gather from all over the world to compensate the desire of a newly rising powerful country , and to satisfy a thirst for marvelous spectacles. The marvelous spectacle of these buildings is a holy miracle, and what these office require is the unconditional acceptance of the spectators, and to acquire people’s obeisance through signs and admiration.”.
Selected Solo Exhibitions
2009 Immersion and Distance, Ullens Center for Contemporary Art, Beijing
2008 Paris-Beijing photo gallery, Beijing

Selected Group Exhibitions
2011    Be Natural Be Yourself, Frac des Pays de la Loire Fonds régional d'art contemporain, Nante, France
Thirty Years of Chinese Contemporary Art – Moving Image in China (1988-2011) , Minsheng Art Museum, Shanghai, China
Daybreak, Arario Gallery, Beijing, China

乌拉• 梵 •布兰登伯格
1974年出生于德国
乌拉•梵•布兰登伯格1974年出生于德国卡尔斯鲁厄，目前生活和工作于巴黎。她运用不同的媒介进行创作—包括绘画、录像、电影、装置与行为表演。她的作品主要受到19世纪晚期的艺术和人文科学影响，如文学、视觉艺术、戏剧、电影、摄影和心理分析。
参展作品《Chorspiel》让观众想到了托马斯•曼的《布登勃洛克一家》。四位演员扮演家人，平静地生活，但是家庭的和谐被一位危险的年轻流浪者所打破。但是这位流浪者也给他们带来了新的机会。正如作品Chorspiel的标题（意为合唱）所示，这部作品的背景音乐由艺术家自己作曲，类似古典挽歌中的混声合唱。尤其是她所写的抒情诗与演员面部表情的差异，以及随后的变化，都形成了布兰登伯格艺术世界的核心构架。
个展
2010   新的旧世界，艺术：概念，法国巴黎
Chorspiel，瑞典马尔默马摩力行为工作室
2008   乌拉•樊•布兰登伯格——她的开始还不是结束，也不可能是结束，爱尔兰都柏林IMMA
旅客：1.8, 美国加州旧金山CCA瓦迪斯当代艺术机构
乌拉•樊•布兰登伯格，德国杜塞尔多夫

群展
2012   冰人，韩国阿拉里奥画廊
2011   美国底特律当代美术馆
德国法兰克福西恩美术馆
地理的表情，意大利都灵桑德雷托•瑞•瑞宝迪戈基金会
2010   依芳•芮娜计划，英国伦敦BFI画廊
2010   墨尔本国际艺术节，澳大利亚墨尔本
水晶版的假说，意大利贝加莫当代艺术中心
快进2，运动的力量，德国卡尔斯鲁厄媒体艺术中心
 
乌拉• 梵 •布兰登伯格
Ulla Von Brandenburg, b. 1974 , Germany
Ulla von Brandenburg, born in Karlsruhe Germany and currently working in Paris, uses various media for her pieces – including draw¬ing, video, film, special installations and performance. Her works, reflecting set design and visual art, were mainly influenced by the arts and humanities of late 19th century, hinging on literature, visual art, drama, film, photography and psychoanalysis.
Chorspiel in the exhibition was performed four times over a period of three days in 2010 at Lilith Performance Studio in Malmö, Sweden. This piece reminds the viewers of Thomas Mann’s Bud-denbrooks. The four actors, serving as family, peacefully carry on their own lives, but the harmony of the family is disrupted by a dangerous young vagabond. However, the vagabond is also one who endows them with new opportunities. As seen in the title of the work Chorspiel, which means choir game, music as the centerpiece of the setting is composed by the artist herself, resembling mixed chorus hymns or classic elegies. Most of all, the discrepancy found between the lyrics she wrote and the facial expressions of the actors, and the consequent changes, form the key structure of Brandenburg’s art world.

Selected Solo Exhibitions
2010    Neue Alte Welt, Art: Concept, Paris, France
Chorspiel, Lilith Performance Studio, Malmö, Sweden
2008     Ulla von Brandenburg - whose beginning is not, nor end cannot be, IMMA, Dublin, Ireland
Art Unlimited, Art 39 Basel, Switzerland
Passengers: 1.8, CCA Wattis Institute for Contemporary Arts, San Francisco, CA, USA
Ulla von Brandenburg ? Wo über dem Grün ein rotes Netz liegt, Kunstverein, Düsseldorf, Germany

Selected Group Exhibitions
2012    EORUM SANAI (Ice Man), Arario Gallery, Cheonan, Korea
2011    Museum of Contemporary Art, Detroit, USA
Schirn Kunsthalle, Frankfurt, Germany
A Geographical Expression, Fondazione Sandretto Re Rebaudengo, Turin, Italy

2010   THE YVONNE RAINER PROJECT, BFI Gallery, London, UK
Melbourne International Arts Festival 2010, Melbourne, Australia
The Crystal Hypothesis, Galleria d'Arte Moderna e Contemporanea di Bergamo, Italy
Fast Forward 2, The Power of Motion, Media Art Sammlung Goetz, ZKM, Karlsruhe, Germany

 
塞格多尔•古德杨森
1976年出生于冰岛
塞格多尔•古德杨森于1976年出生于冰岛首都雷克雅未克。作为冰岛当代艺术的代表人物之一，古德杨森的录像与摄影作品中以冰岛所特有的寒冷而优美的自然风光为背景，看起来几乎是不真实的。另外，他也将影像与音乐结合起来—他所作曲的音乐为影像增添了一种模糊而怪诞的氛围。
古德杨森的参展作品《临终时刻》中的主人公身穿一件斗篷，探索或者更准确地说是侵入了一座只剩下骨架结构的房子，孤独地站在一片白色的无尽荒废之地。他遇到的神秘人物—我们从未看到他的面孔，可能只是他想象中的虚构或者记忆，观众无法分辨。正如上述指出的，他的作品模棱两可地指向孤独拓荒者眼前的末世景象。然而，这些可怕怪诞的人物保留着与我们自己生活中某些东西的联系，并不断吸引着我们的感知。
个展
2012   哈夫纳堡文化艺术学院，冰岛哈夫纳腓约杜尔
2011   挪威特隆姆瑟美术馆
瑞典马尔默法兰克福美术馆
2010   南方，冰岛雷克雅未克
亚利桑德罗项目，意大利都灵
2007   雷克雅未克美术馆，冰岛雷克雅未克

群展
2012   冰人，韩国阿拉里奥画廊
2011   视野：艺术与哲学的边界，雷克雅未克美术馆，冰岛雷克雅未克
声场：冰岛国家美术馆，冰岛雷克雅未克
触摸，北京阿拉里奥画廊
 
塞格多尔•古德杨森
Sigurður Guðjonsson, b. 1976, Iceland
Sigurður Guðjonsson was born in Reykjavik, the capital of Iceland. He is one of the leading figures in Icelandic contemporary art, a rather unfamiliar field for the Chinese audience. The cold but beautiful nature featured in his video and photography, a signature trait of Iceland, seem almost unreal. Also, he uses music along with his imageries – the music he composed adds to the ambiguous and fantastic atmosphere of the images.  
The main character in his work <Deathbed (2006)> explores, or rather invades, a rundown house left with its sheer bone structure, standing solitary on a white, endless wasteland, wearing a hood. The mysterious people he encounters, whose faces we never see, could be figments of his imagination or mere memories – the audience cannot tell. His works, as shown above, ambiguously points to a post-apocalyptic situation exposed to the madness of a lonely settler. Nevertheless, these horrible and grotesque figures retain a link to something in our own lives, ceaselessly absorbing our consciousness. 
Selected Solo Exhibitions
2012   Hafnarborg, Institute of Culture and Fine Art, Hafnarfjordur, Iceland
2011   Tromsø Kunstforening, Tromsø, Norway
Frankfurter Kunstverein, Rostrum, Malmö, Sweden
2010    South by South West, Reykjanesbaer, Iceland
Alessandromarenaproject, Turin, Italy
2007    Reykjavik Art Museum, Reykjavik, Iceland

Selected Group Exhibitions
2012   EORUM SANAI, Arario Gallery, Cheonan, South Korea
2011   Perspectives-On the Borders of Art and Philosophy, The Reykjavik Art Museum, Reykjavik, Iceland
SOUND FIELDS, National Gallery of Iceland, Reykjavík, Iceland
Almost Tangible, Arario Gallery, Beijing, China
 
玛利亚•诺丁
1980年出生于瑞典
玛利亚•诺丁是2011年贝克斯艺术奖（瑞典最重要的新艺术家奖项）的获得者。她在自己的绘画和动画中运用了水彩、水，颜料被纸张吸收后使得视觉和感觉效果最大化。艺术家的作品里展现了摆出各种怪异姿势、彼此交织或依靠的人物。诺丁的绘画平和地讲述了她对身体和暴力的兴趣。她运用在水的重量下起皱的纸张，看起来就像是被水浸泡过的皮肤；精细的笔触；柔和的粉红与赭石色调。
本次展出的绘画与动画是根据法斯宾德和阿莫多瓦电影中场景的变形，将它们再现成为一部统一的动画作品。例如《两秒钟的痛苦》取材于阿莫多瓦的《我的母亲》；人物微笑着的面孔变得斑驳，观众看到喜悦的表情变为痛苦。相似又有所不同的画面重叠在一起，使得很难分辨出面部表情——渗透着一种怪异的感觉。悬浮荧幕的定格镜头、这些瞬间的绘画以及这些瞬间形式不同的动画效果——共同的时间被以不同的方式展开。

个展
2011 表演，瑞典乌普萨拉太特尔美术馆
2010  藏猫猫，瑞典斯德哥尔摩美然画廊
2009  瑞典哥特堡美术馆

群展
2012   冰人，韩国阿拉里奥画廊
2011   她在画中，瑞典斯德哥尔摩摄影中心
今日特别活动，瑞典斯德哥尔摩卡尔松画廊
2010   安娜-丽莎•汤姆森，瑞典乌普萨拉美术馆
2009   Vårsalongen，瑞典斯德哥尔摩丽列瓦茨美术馆
 
玛利亚•诺丁
Maria Nordin, b. 1980, Sweden

Maria Nordin, the winner of the Beckers Art Award (Sweden’s important art award for new artists) in 2011, using watercolor for her drawings as well as animation, maximizing the visual and sensual effects created by the water and pigments being absorbed by paper. The artist features characters in strange poses, intertwined and relying on one another. Nordin’s drawings quietly speak of her interest in the body and violence, using paper that wrinkles under the weight of water, almost like soaked human skin; meticulous brush touches; soft pink and Sienna hues. 
The drawing animation series featured in this exhibition are based on her variation of scenes from Rainer Werner Fassbinder or Pedro Almodovar films, and their recreation into a unified animation video. For instance, <Two Seconds of Pain> is taken from a scene in Pedro Almódovar’s All about My Mother; the broadly smiling face of the character becomes mottled, and the audience see how the emotion of joy turns into pain. As similar but subtly differing drawings overlap, it becomes difficult for the viewers to discern the facial expressions – this imparts an uncanny feeling. A freeze shot of a suspending screen, drawings of these moments, animations where the same moment is varied in form – shared time is unpacked in different ways. 

Selected Solo Exhibitions
2011 Acting Out,Teatergalleriet, Uppsala, Sweden
2010   Hide and Seek, Galleri Mejan, Stockholm, Sweden
2009   illa Galleriet, Göteborgs Konstförening, Sweden

Selected Group Exhibitions
2012   EORUM SANAI (Ice Man), Arario Gallery, Cheoan, Korea
2011   She's in the Picture, Centrum för fotografi, Stockholm, Sweden
Today's Specials, Galleri Magnus Karlsson, Stockholm, Sweden
2010   Anna-Lisa Thomson stipendiater, Uppsala Konstmuseum, Sweden
2009   Vårsalongen, Liljevalchs Konsthall, Sweden