china power station - ContemporaryArt Torino Piemonte

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china
power station
china
power station
china
power station
chinese contemporary art
from the astrup fearnley collection
pinacoteca agnelli
torino
7 novembre 2010
27 febbraio 201 1
china
power station
comunicato stampa
press release
colophon
colophon
testo dal catalogo di Ginevra Elkann
catalogue text by Ginevra Elkann
testo dal catalogo di Gunnar B. Kvaran
catalogue text by Gunnar B. Kvaran
attività didattiche
scheda catalogo
catalogue
biografie
biographies
sponsor
Fondazione Italia Cina
Acer
Ovs Industry
Banca Leonardo
Reale Mutua
Cathay Pacific
china
power station
7 Novembre 2010 - 27 febbraio 2011
La Pinacoteca Giovanni e Marella Agnelli prosegue il suo progetto di ricerca sul tema
del collezionismo e presenta CHINA POWER STATION Arte contemporanea cinese
dalla collezione Astrup Fearnley.
L’indagine sul collezionismo porta a Torino un nuovo tipo di mecenatismo quello della
collezione Astrup Fearnley: che produce interamente una mostra come China Power
Station e poi decide di acquistarla e farla diventare così parte della sua collezione
permanente che ha sede nel museo Astrup Fearnley Museum of Modern Art a Oslo, in
Norvegia.
CHINA POWER STATION, a cura di Julia Peyton Jones, Gunnar B. Kvaran e Hans Ulrich
Obrist è nato come progetto evolutivo in collaborazione tra la Serpentine Gallery di
Londra e l’Astrup Fearnley Museum of Modern Art, di Oslo. La mostra è stata ospitata
in varie sedi: Part I a Londra nel 2006 ha segnato la prima fase del progetto; Parte
II è stata sviluppata con opere differenti per la mostra a Oslo nel 2007 e acquistata
interamente per la collezione; Parte III in Lussemburgo nel 2008 e ora, con un nuovo
allestimento e nuove opere, qui a Torino.
In mostra l’esplosione creativa dell’arte contemporanea cinese attraverso circa 40
opere di artisti d’avanguardia come Cai Guo-Qiang e Huang Yong Ping, insieme con
la nuova generazione di artisti post - Mao nati tra la fine degli anni ‘70 e i primi anni
’80, come Cao Fei, Liu Wei, Yang Fudong, Sun Xun, Zhang Ding.
Molte, create fra il 2005 e il 2007, testimoniano la creatività di coloro che oggi
stanno aprendo nuovi territori per l’arte contemporanea cinese e internazionale.
Installazioni, film, sculture, fotografie, grafica al computer e pittura le cui diverse
tematiche narrano di soggetti di valenza universale come politica e potere, realtà e
aleatorietà dell’identità, storia, memoria e nostalgia. Altre opere, invece, si rifanno a
nozioni più astratte come il tempo, l’imponderabilità, il caso, l’illusione e la poetica
dell’assurdo.
Il progetto di allestimento della mostra è di Sforza/Heah.
Artisti Birdhead: Song Tao & Ji Weiyu, Cai Guo-Qiang, Cao Fei, Yang Fudong, Chen
Qiulin, Chu Yun, Duan Jianyu, Huang Yong Ping,Hu Xiangqian, Kan Xuan, Liang Yue,
Liu Chuang, Liu Wei, Liu Weijian, Lu Chunsheng, Pak Sheung Chuen, Qiu Anxiong, Song
Tao, Sun Xun, Xu Zhen, Xue Tao, Zhang Ding, Zhou Tao, Zhou Zixi. Pinacoteca Giovanni e Marella Agnelli
Via Nizza 230, 10126 Torino
Tel. +39 011 0062713 Fax +39 011 0062712 | www.pinacoteca-agnelli.it | www.afmuseet.no
Ufficio stampa Silvia Macchetto | Tel. +39 340 6350241 | [email protected]
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comunicato stampa
china
power station
press release
7 November 2010 – 27 February 2011
The Pinacoteca Giovanni e Marella Agnelli continues its exploration of the theme of
collections, presenting CHINA POWER STATION Contemporary Chinese Art from the
Astrup Fearnley Collection.
This exploration of the collecting phenomenon brings a new kind of patronage to
Turin: after producing the exhibition China Power Station in its entirety, the Astrup
Fearnley collection then decided to acquire it and make it part of its permanent
collection, based in the Astrup Fearnley Museum of Modern Art in Oslo, Norway.
CHINA POWER STATION, curated by Julia Peyton Jones, Gunnar B. Kvaran and Hans
Ulrich Obrist, was an evolving project, which sprang out of a partnership between the
Serpentine Gallery and the Astrup Fearnley Museum of Modern Art, Oslo.
The exhibition was staged in various venues: Part I in London in 2006 was the
first stage of the project. Part II was developed for Oslo in 2007 and, uniquely the
exhibition was acquired in its totality; Part III was staged in Luxembourg in 2008. Now
with a new layout and new works is being presented here in Turin.
The Turin show presents the creative explosion of contemporary Chinese art, with the
works of avant-garde artists as Cai Guo-Qiang and Huang Yong Ping, together with
the new post-Mao generation of artists born in the late 70s and early 80s, including
Cao Fei, Liu Wei, Yang Fudong, Sun Xun and Zhang Ding.
Most of the works presented were created between 2005 and 2007, and it highlights
the tremendous creativity of those who are breaking new territory in the Chinese
and the international contemporary art world. Installations, films, sculptures,
photographs, computer graphics and paintings tell stories about universal topics of
power and politics, real and flowing identities, history, memory and nostalgia. Other
works take abstract notions like time, unpredictability, chance and illusion.
The layout of the exhibition conceived by Sforza/Heah.
Artists, Cai Guo-Qiang, Cao Fei, Yang Fudong, Chen Qiulin, Chu Yun, Duan Jianyu,
Huang Yong Ping,Hu Xiangqian, Kan Xuan, Liang Yue, Liu Chuang, Liu Wei, Liu Weijian,
Lu Chunsheng, Pak Sheung Chuen, Birdhead: Song Tao & Ji Weiyu, Qiu Anxiong, Song
Tao,Sun Xun, Xu Zhen, Xue Tao, Zhang Ding, Zhou Tao, Zhou Zixi. Pinacoteca Giovanni e Marella Agnelli Via Nizza 230, 10126 Torino
Ph. +39 011 0062713 Fax +39 011 0062712 | www.pinacoteca-agnelli.it | www.afmuseet.no
Press Office Silvia Macchetto | Ph +39 340 6350241 | [email protected]
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Catalogue Pinacoteca Agnelli
china
power station
7 novembre 2010
pinacoteca agnelli
il futuro
della cina
torino
ingresso libero
fino a esaurimento posti
rsvp
[email protected]
tel 011 0062008 – 0062615
china
power station
Hans Ulrich
from the astrup fearnley collection
con artisti, filosofi, giornalisti, architet ti,
curatori, registi, blogger
Obrist
dialoga
Il Futuro della Cina è un evento, parte del format Marathon creato da Hans Ulrich Obrist a
Stoccarda nel 2005 e poi sviluppato alla Serpentine Gallery di London, quando, nel 2006, ha
iniziato la sua collaborazione con il direttore Julia Peyton-Jones.
L’Interview Marathon ha l’obiettivo di andare oltre la paura di una conoscenza diffusa.
Le maratone iniziano sempre con una discussione con gli artisti; è un sistema complesso e
dinamico formato da feedback in divenire, è un format diffuso di apprendimento.
Il 7 novembre 2010 alla Pinacoteca Agnelli Hans Ulrich Obrist, co-direttore Exhibitions and
Programmes and Director of International Projects della Serpentine Gallery di Londra, dialoga
non stop dalle 12,00 alle 18,00 sul futuro della Cina con alcuni protagonisti della cultura
cinese contemporanea, tra cui Bao Dong, Li Hongqi, Hu Xiangqian, Li Ming, Liu Wei, Phil Tinari,
Qiu Xiaofei, Wang Wei, Yang Xinguang, Anding Zhang, Cao Fei, Yan Jun.
The Future of China is a marathon event, part of the Marathon format conceived by Hans
Ulrich Obrist in Stuttgart in 2005, and then evolved at the Serpentine Gallery in London, when
he started the collaboration with the director Julia Peyton-Jones in 2006.
The Interview Marathon aims at going beyond the fear of pooling knowledge.
The marathons always start with discussions with artists; it is like a complex dynamic system
with many feedback loops, it is a format, which is all about learning.
On 7 November 2010 at the Pinacoteca Agnelli, Hans Ulrich Obrist – co-director Exhibitions
and Programmes and Director of International Projects at Serpentine Gallery – features a
non-stop conversation, from 12am to 6pm, with prominent figures of Chinese contemporary
culture as Bao Dong, Li Hongqi, Hu Xiangqian, Li Ming, Liu Wei, Phil Tinari, Qiu Xiaofei, Wang
Wei, Yang Xinguang, Anding Zhang, Cao Fei, Yan Jun on the future of China.
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colophon
FONDAZIONE PINACOTECA DEL LINGOTTO
GIOVANNI E MARELLA AGNELLI
Fondatori
Founders
Comitato Direttivo
Board of Directors
Giovanni Agnelli
Marella Caracciolo Agnelli
Margaret Agnelli De Pahlen
John Elkann
Lapo Elkann
Ginevra Elkann
Paolo Fresco
Gianluigi Gabetti
Francesca Gentile Camerana
Franzo Grande Stevens
Alessandro Nasi
Presidente
President
Marella Caracciolo Agnelli
Vice Presidente
Vice President
Ginevra Elkann
Membri
Members
Gianluigi Gabetti
John Elkann
Lapo Elkann
Filippo Beraudo di Pralormo
Segretario
Secretary
Gianluca Ferrero
Collegio Sindacale
Board of Syndics
Mario Pia, Presidente
Luigi Demartini
Pietro Fornier
President
Direttrice
Director
Marcella Beraudo di Pralormo
sponsor della pinacoteca
china
power station
colophon
CHINA POWER STATION
Arte contemporanea cinese
dalla collezione Astrup Fearnley
Contemporary Chinese Art
from the Astrup Fearnley Collection
7 novembre 2010
27 febbraio 2011
Da un’idea di
From an idea by
Ginevra Elkann
A cura di
Curated by
Gunnar B. Kvaran
Hans Ulrich Obrist
Julia Peyton-Jones
Direzione organizzativa
Director of organization
Realizzazione allestimento
Production of exhibit design
Marcella Beraudo di Pralormo
Bodino, Torino
Immagine di comunicazione
visual communication
Accrochage delle opere
Hanging of the works
Elyron
Attitudine Forma, Torino
Audun Erikstad
Progetto di allestimento
Exhibit Design
Sforza / Heah
Assicurazione
Insurance
con il patrocinio di
sponsor
Società Reale Mutua di Assicurazioni
Segreteria
Secretaries
Emma Roccato
Elena Olivero
Trasporto
Transport
Gondrand, Torino
Amministrazione
Administration
Organizzazione e Registrar a Oslo
Organisation and Registrar in Oslo
Mara Abbà
Therese Kjelsberg
Ufficio Stampa
Press office
Un ringraziamento alla Fondazione Italia Cina
per la collaborazione all’iniziativa
Silvia Macchetto
sponsor tecnici
CATALOGO
catalogue
progetto grafico, impaginazione
graphic design, layout
Elyron
Traduzioni
Translations
Angela Maria Piga
Anna Carruthers
Stampa
Print
Mcl, Torino
media partner
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testo da catalogo
Ginevra Elkann
Nella ricognizione sulle metodologie del collezionare, mi sono imbattuta in un caso molto
interessante e forse unico: quello di un museo privato, l’Astrup Fearnley Museum di Oslo, che ha
prodotto nel 2006 una mostra di arte contemporanea cinese insieme alla Serpentine Gallery di
Londra, esposta sia alla Battersea Station di Londra che nella sede del museo a Oslo. I proprietari
del museo si sono talmente innamorati delle opere esposte che le hanno acquistate tutte per
la propria collezione permanente. Negli anni successivi la collezione di arte cinese è cresciuta
grazie ad altre acquisizioni, alcune delle quali sono esposte oggi qui, alla Pinacoteca Agnelli.
Il Museo Astrup Fearnley è un museo privato che ha sede in un palazzo della città di Oslo, e
che presto avrà un nuovo e ampio edificio, progettato da Renzo Piano sui fiordi della città.
L’istituzione si occupa di presentare al pubblico mostre di arte contemporanea internazionale
che offrono una visione all’avanguardia sull’arte di tutto il mondo, ed è nota per la collezione di
arte moderna e contemporanea, con opere di artisti come Bacon, Koons e Warhol.
La mostra China Power Station aggiunge un tassello ulteriore alla ricerca sul collezionismo che
la Pinacoteca sta conducendo e racconta sia il gusto personale dei mecenati Astrup Fearnley,
che le scelte curatoriali di Hans Ulrich Obrist, Julia Peyton-Jones e Gunnar B. Kvaran, ma allo
stesso tempo offre una visione attuale, profonda e capillare della realtà artistica cinese di
oggi, in continua evoluzione. Ci interessava far conoscere al pubblico italiano questo museo
e la straordinaria collezione di arte cinese contemporanea che possiede. L’arte cinese che
presentiamo in mostra offre uno spaccato soprattutto della generazione di artisti nati tra il
1970 e il 1980, quindi di persone che hanno viaggiato tra Oriente e Occidente e che lavorano
proprio sul tema del confronto tra le culture e sulla globalizzazione. Alcune opere sono invece
di artisti che hanno qualche anno in più rispetto a questo gruppo, e che sono molto noti, come
Cai Guo Qiang e Huang Yong Ping.
Significativa e interessante la forte presenza di video artisti, che usano tecniche molto diverse,
alcuni orientati verso la realtà virtuale di Second Life, altri che utilizzano la loro videocamera
digitale per girare video nelle loro città e con i loro connazionali come protagonisti. Molti degli
artisti in mostra non dimenticano le proprie tradizioni, e utilizzano antiche tecniche, come la
pittura a china o ad acquarello, per creare opere su temi di attualità grazie alla tecnologia del
video o attraverso l’installazione. Un’altra caratteristica della mostra è la monumentalità di
molti lavori, come il gigantesco Colosseum di Huang Yong Ping che accoglie i visitatori e la
bellissima barca capovolta The Eagle has arrived, esposta nella rampa Nord del Lingotto.
Durante la mia visita in Cina, la scorsa estate, sono rimasta davvero impressionata da questo
paese, e in particolare dalla monumentalità e dalla ampiezza del paesaggio. Questo vivere e
lavorare a una scala maggiore rispetto a noi europei traspare, ad esempio, anche nel modo di
lavorare degli artisti. Molti di loro hanno delle vere e proprie factories, con decine di persone che
lavorano con una conoscenza molto profonda delle tecniche manuali e di artigianato. Questo
modo di lavorare, che potrebbe ricordare quello delle antiche botteghe rinascimentali, non è
affatto obsoleto, anzi, include sempre l’utilizzo delle nuove tecniche e tecnologie che integrano
la tradizione. Credo che per tutti noi sia ormai doveroso ampliare lo sguardo su quanto sta
succedendo in Cina in campo artistico, perché questo paese in continua evoluzione rappresenta
ormai una delle realtà importanti della scena dell’arte e dell’economia internazionale.
Ginevra Elkann
Vicepresidente
Pinacoteca Giovanni e Marella Agnelli
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catalogue text
Ginevra Elkann
During my exploration of the various collecting methodologies, I came across a very interesting
and perhaps unique case: that of a private museum, the Astrup Fearnley Museum in Oslo, which
in 2006 staged an exhibition on contemporary Chinese art together with London’s Serpentine
Gallery. This exhibition went on show both in Battersea Station in London and in the museum’s
venue in Oslo. The owners of the museum were so enamoured of the works presented that they
purchased all of them for their own permanent collection. In subsequent years this collection
of Chinese art has grown, thanks to other purchases, and some of these are on now display here
in the Pinacoteca Agnelli.
The Astrup Fearnley Museum is a private museum based in the city of Oslo, and is soon to move
into a spacious new venue designed by Renzo Piano, overlooking the city’s fjords. The museum
presents exhibitions of international contemporary art that offer a cutting edge vision of art
from all over the world, and it is renowned for its collection of modern and contemporary art,
with works from artists like Bacon, Koons and Warhol.
The show China Power Station adds another element to the exploration of collecting that
the Pinacoteca is conducting, and examines both the personal tastes of the patrons Astrup
Fearnley and the curatorial strategies of Hans Ulrich Obrist, Julia Peyton-Jones and Gunnar
B. Kvaran. At the same time it offers a topical, in-depth and detailed vision of the constantly
evolving contemporary Chinese art scene. We wanted to introduce Italian gallery-goers to this
museum and the extraordinary collection of Chinese contemporary art that it possesses. The
Chinese art presented in this exhibition offers an insight into the generation of artists born
between 1970 and 1980, artists who have travelled between East and West and whose works
explore issues connected to the meeting of cultures and globalisation. Some of the works are by
artists who are slightly older than this group, and very well known, like Cai Guo Qiang and Huang
Yong Ping. The presence of video artists, using a wide variety of different techniques, is both
significant and interesting. Some focus on the virtual reality of Second Life, while others use
digital video cameras to shoot videos in their home towns featuring their compatriots. Many of
the artists in the show have not turned their backs on their traditions and use time-honoured
techniques such as Indian ink or watercolour to create works on topical issues, thanks to the
use of video technology or installation. Another characteristic of the exhibition is the sheer
size of some of the works, like the giant Colosseum by Huang Yong Ping that welcomes visitors,
and the beautiful upturned boat The Eagle has arrived, displayed on the north ramp of the
Lingotto centre.
I visited China last summer and the country had a great impact on me, especially in terms of
its monumental scale and vast landscapes. The fact of living and working on a larger scale than
we do in Europe also comes through in the work of these artists. Many of them have genuine
factories that employ dozens of people with in-depth knowledge of manual and artisanal
techniques. This way of working, reminiscent of the Renaissance workshops, is by no means
obsolete: new techniques and technologies are always integrated with traditional media. I
think it is important for us to explore what is happening on the Chinese art scene, because this
constantly-evolving country now represents one of the most important forces in both art and
the global economy.
My heartfelt thanks go to the curators Julia Peyton Jones and Hans Ulrich Obrist, and to the
director of the Astrup Fearnley museum, and co-curator of the project, Gunnar B. Kvaran, for
his enthusiastic involvement in all stages of planning the exhibition. I would also like to thank
all the staff of the Oslo museum, who have worked with great dedication to ensure the success
of the exhibition.
Ginevra Elkann
Vice President
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A
ll’inizio del nuovo millennio, il Museo d’Arte Moderna Astrup
Fearnley di Oslo e la Serpentine Gallery di Londra hanno deciso
di collaborare insieme sul progetto di una mostra d’arte
contemporanea cinese. Dopo un periodo di intensa ricerca
e di numerosi viaggi in Cina, apparve chiaro che il modello
convenzionale di una unica grande mostra non sarebbe stato
sufficiente. L’ampiezza dello scopo era tale che si impose un nuovo paradigma curatoriale,
più adatto alla ricchezza e alla diversità della cultura cinese di oggi e alla necessità
dell’infrastruttura di un museo globale. L’esito fu la mostra China Power Station, curata
da Gunnar B. Kvaran, Direttore del Museo d’Arte Moderna Astrup Fearnley, Julia PeytonJones, Direttrice della Serpentine Gallery nonché sua Co-direttrice e responsabile Mostre
e Programmi, e Hans Ulrich Obrist, Co-Direttore della Serpentine Gallery e Direttore per i
Progetti Internazionali.
In una cultura improntata all’evento, eredità e rinnovabilità dovrebbero
essere due concetti essenziali alla base delle aspirazioni di un’istituzione artistica
contemporanea, e sono in ogni caso i principi guida della Serpentine Gallery e del Museo
d’Arte Moderna Astrup Fearnley. Per questa ragione, sin dall’inizio, la mostra China Power
Station è stata concepita come un progetto in evoluzione, in cui venisse riflesso anche il
contesto espositivo stesso, variando di volta in volta, per ogni diverso allestimento, sia
gli artisti sia il nucleo di opere che li accompagna, in un sistema in costante sviluppo che
rispecchiasse appunto anche il tempo e la tipologia degli spazi di ogni sede espositiva.
China Power Station: Part 1 – Inaugurata a Londra nel 2006, è stata
la mostra di arte contemporanea cinese più ambiziosa mai realizzata nella capitale
britannica. Un’impresa trans-disciplinare e trans-generazionale che, nell’imponenza degli
spazi architettonici della Centrale Elettrica di Battersea, è riuscita a creare un contesto
completamente nuovo per comprendere e fruire l’opera dei 22 artisti selezionati.
La monumentalità dell’edificio evocava le sedi espositive cinesi postindustriali e la scelta stessa dei lavori esposti amplificò l’enorme scala dimensionale
della sala turbine e degli altri spazi del sito. L’aggiunta di suoni e immagini in movimento
che riempivano gli spazi offrì un’instantanea di alcuni dei lavori più prolifici del paese
e di quell’epoca tanto in fermento; un fermento riscontrabile e riattivato dall’enorme
estensione dei tre piani espositivi, ridefiniti dagli affermati architetti cinesi Ma Qingyun e
Yung Ho Chang, che riuscirono a mostrare tutto il potenziale dell’edificio.
A Oslo invece, una città che contava un passato ricco di un maggior
numero di mostre focalizzate sull’arte e sulla cultura della Cina, il numero di opere esposte
al Museo d’Arte Moderna Astrup Fearnley, dove la mostra emigrò nel 2007, venne ridotto
rispetto alla mostra di Londra. La nostra decisione infatti si manifestò chiaramente nella
mostra China Power Station: Part 2, in cui scegliemmo di focalizzare sulla generazione
degli artisti più giovani, emersi dopo il 2000. Quindi, nel 2008, ci aprimmo ad una
prospettiva più ampia ma sempre diversa, con China Power Station: Part 3, inaugurata al
MUDAM, in Lussemburgo.
Nella mostra attuale, China Power Station – Arte Contemporanea
Cinese dalla Collezione Astrup Fearnley, promossa da Ginevra Elkann, Vice Presidente
della Pinacoteca Giovanni e Marella Agnelli di Torino, abbiamo inteso presentare i punti
salienti di China Power Station: Part 2, aggiungendovi le opere di due artisti cinesi fra i più
pioneristici: Huang Yong Ping (esposto alla mostra londinese) e Cai Guo-Qiang, oltre a Cao
Fei, Chen Qiulin, Chu Yun, Duan Jianyu, Hu Xiangqian, Ji Weiyu, Kan Xuan, Liang Yue, Liu
Chuang, Liu Wei, Lju Weijian, Lu Chunsheng, Pak Sheung Chuen, Qiu Anxiong, Song Tao, Sun
Xun, Xu Zhen, Xue Tao, Yang Fudong, Zhang Ding, Zhou Tao, Zhou Zixi.
Negli anni ‘80 vi fu un’esplosione di creatività in Cina, quando sorse
un’intera generazione di artisti pionieristici come Cai Guo-Qiang (1957) e Huang Yong Ping
(1954), leader della rivoluzione artistica di quegli anni e che prosegue tutt’oggi. Questi
testo da catalogo
Gunnar B. Kvaran
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artisti emersero da un lungo periodo di isolamento culturale, ed operarono in un contesto
di tipo locale caratterizzato da una concezione e da un gusto per l’arte molto tradizionali.
I talenti crescevano in casa, e ogni attività e progresso non era frutto del sistema
istituzionale, ma piuttosto della volontà di avviare un dialogo culturale da parte di una
rete di gruppi auto-gestiti ramificata in tutto il paese.
Huang Yong Ping e Cai Guo-Qiang appartengono a quella generazione di
artisti contemporanei cinesi che decise di lasciarsi alle spalle approcci e forme tradizionali
per adottare molte delle estetiche e dei paradigmi concettuali dell’Avanguardia
occidentale. Dopo un breve periodo di pittura sperimentale, Huang si rivolse ad un’arte
di tipo concettuale ed extra-pittorica ispirata a figure come Marcel Duchamp, John
Cage e Joseph Beuys. Fu così che i modelli della perfomance e l’enfasi posta sui processi
di trasformazione, in cui i quadri venivano bruciati o i libri readymade alterati dopo
esser stati lavati in lavatrici indistriali, divennero strumenti importanti per marcare il
cambiamento dalle norme artistiche cinesi ed aprirsi ad un nuovo tipo di arte che non
fosse né nazionalistica, né pura – un’arte, cioè, basata sulla fusione fra idee culturali e
politiche sia dell’Est sia dell’Ovest.
In questo nucleo di opere, la posizione dell’individuo all’interno di un
contesto istituzionalizzato è spesso simboleggiata da edifici rappresentativi di potere.
Il meccanismo delle tematiche o il trattamento metaforico nell’ambito della struttura
dell’opera viene così a comporsi tramite elementi opposti: chiesa/moschea; Cristianità/
Buddismo/Islam; organizzazioni accademiche/interessi politici; potere/sottomissione.
L’opera Coliseum, del 2007, raffigura ad esempio il simbolo dell’Impero romano costruito
in terra cotta sommerso di alberi e piante: una potente affermazione della fragilità del
potere e del costante dialogo fra natura e civiltà. Ogni lavoro di Huang Yong Ping è ricolmo
di significati e contenuti sulla condizione umana, e la potenza della sua arte sta nel
modo in cui l’artista combina forme, oggetti e materiali tutti riferiti simultaneamente
alle tradizioni culturali, filosofiche e popolari delle tradizioni dell’Est e dell’Ovest, e si
articolano sul rifiuto da parte dell’artista di nozioni prefissate sull’identità, sull’egemonia
politica e sulle differenze etniche. Huang Yong Ping ha sempre considerato la cultura
come un fluire costante. La sua sensibilità è ancorata alla sua personale percezione su
Buddismo, Taoismo e sull’I Ching (Il Libro dei Cambiamenti), il cui insegnamento indica che
non esiste alcuna cultura pura (né purezza in generale), idea riscontrabile nella costante
introduzione nelle opere di Huang di materiali improvvisati e di configurazioni d’oggetti
sempre nuove. Cai Guo-Qiang crebbe nella Cina della Rivoluzione Culturale e frequentò
l’Accademia di Teatro di Shangai dal 1981 al 1985, dove si specializzò in scenografia.
Passò quindi dieci anni in Giappone, prima di emigrare a New York dove vive dal 1995.
I suoi disegni con la polvere da sparo, così come le performance e le
installazioni che sperimentò in principio, durante il suo soggiorno in Giappone, sono
diventati il marchio distintivo del suo lavoro. Questo immenso nucleo di opere in costante
evoluzione, ricco di elementi inaspettati e inusuali, trova spesso un’eco nel feng shui
e si richiama spesso all’antica estetica cinese, alla filosofia orientale e a questioni
di attualità sociale. Nella loro alta poeticità, drammaticità ed anche nel loro aspetto
talvolta spaventoso, le storie narrate da queste opere tanto ambiziose sono storie
essenzialmente transculturali.
The Eagle has arrived! (È giunta l’aquila!, ndt), del 2001, è una scultura
monumentale sospesa raffigurante una gigantesca nave rovesciata perforata da remi e
lance – come il dispiegarsi di ali di un’aquila. La barca, pur evocando una galera da guerra
romana, è di fatto una comune scialuppa da pesca francese sui cui campeggiano un
ventilatore e una bandiera dell’Unione Europea. Qui i significati multi-semantici sono
numerosi e inclusivi di epoche e periodi diversi (dall’epoca romana ad oggi) e di aree dalla
complessa geopolitica (Europa, Francia, Italia) ma, una volta vicini, ci si accorge di come
la struttura di Cai non sia molto di più di un vecchio dinghy, tenuto su da un materiale
ordinario – una reliquia readymade alla Duchamp o alla Picasso evocatrice di un vecchio
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uccello in volo. Navigando precariamente sotto la bandiera europea, la barca allude al
declino tragicomico dell’Occidente.
Sempre di più, appare evidente l’entità dell’eredità lasciata da Huang Yong
Ping e Cai Guo-Qiang sull’arte contemporanea cinese. Le tracce di questi due artisti, tanto
determinanti nel liberare la produzione culturale del paese dalle sue tradizioni antiquate,
sono presenti in tutta la riflessione e la metodologia utilizzate dalla generazione attuale
di giovani artisti. Alla base del loro interesse vi è il fatto che essi non abbiano mai
abbandonato l’arte e la filosofia cinesi, adattando piuttosto pensiero e sensibilità cinesi
a un dialogo in continuo evolversi con l’arte occidentale da essi adottata. Huang e Cai
hanno costruito ponti percorsi oggi da molti giovani artisti verso tante e diverse direzioni.
Al pari della spinta della Cina sulla piattaforma mondiale, lo scenario
artistico interno del paese si è guadagnato presto e in maniera decisiva una posizione di
rilievo nel mondo dell’arte internazionale. L’irruenza del cambiamento, avvenuto in meno
di tre decadi nel suo costituirsi, ha permesso altresì agli artisti cinesi di scalzare l’enfasi
delle tradizioni e di adottare un linguaggio nuovo ispirato ai punti di riferimento artistici
dell’Occidente. Era infatti sorta un’intera generazione di artisti, nati fra la fine degli anni
’70 e l’inizio degli anni ’80, cresciuta in un’era segnata da uno spirito di avanguardia,
artisti che poterono godere di una buona istruzione, esperti sia di storia dell’arte
occidentale sia di quella orientale e che beneficiano oggi della libertà di viaggiare e, di
conseguenza, di costruirsi un ampio numero di relazioni internazionali. Non sono solo i primi
bambini post-Mao, sono una vera e propria generazione artistica mobile, fatta di artisti
realmente inseriti a livello globale, figlia e prodotto di una situazione socio-politica unica,
quella nata dal lascito dell’onda creata dalle dimostrazioni di Tienanmen, quando cioè si
respirava l’aria di una rivoluzione culturale e di una reale consapevolezza di un’avanguardia
in arrivo.
Nonostante il loro carattere mobile e la tendenza dei loro predecessori ad
esiliarsi all’estero, molti artisti di questo gruppo restarono in Cina. Una delle ragioni furono
le migliori condizioni di lavoro e i benefici derivanti dalla situazione economica del paese
(grandi studi a un decimo del costo di quelli in Europa o in America e un numero sempre
crescente di mecenati disposti a sostenere gli artisti).
Per di più, la Cina è oggi simbolo del nuovo millennio, in termini di potere, capacità di
ripresa e dinamismo, a prova del quale sta il rapido spostamento avvenuto da periferia a
centro culturale. Gli artisti aspirano pertanto a restare nel loro paese d’origine perché oggi
ciò costituisce un’attrattiva che sollecita il loro desiderio di partecipare al futuro sviluppo
del paese.
Nella mostra presente, abbiamo dunque rivolto la nostra attenzione
principalmente agli artisti emersi all’inizio del nuovo secolo. Molte delle opere esposte
sono state create fra il 2005 e il 2007 e sono fra le più significative della creatività
di coloro che oggi stanno aprendo nuovi territori per l’arte contemporanea cinese e
internazionale.
Gli artisti tendenti a perseguire la tradizione post-concettuale,
aderiscono più alle idee e ai concetti di quest’ultima che non ai suoi materiali o a un
formalismo tecnico. I lavori sono basati su installazioni, film, sculture, fotografie, grafica al
computer e pittura. Nella presente selezione il pubblico può confrontarsi con opere le cui
diverse tematiche narrano di soggetti di valenza universale come politica e potere, realtà
e aleatorietà dell’identità, storia, memoria e nostalgia. Altre opere in mostra si rifanno
a nozioni più astratte come il tempo, l’imponderabilità, caso e illusioni. In sintesi, tutto
ruota su una certa combinazione fra gioiosità e aspirazione assoluta e questioni politicosociali. Alla stregua della società in cui vivono, gli artisti sono profondamente consapevoli
del loro posto nella storia.
Xu Zhen parte in guerra e mette in scena un’invasione fittizia da parte
di un paese vicino indefinito, una vera e propria parodia della macchina da guerra. Sun
Xun, attraverso la sua costante riflessione su verità e memoria, ci conduce attraverso
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la raffigurazione di un paesaggio urbano narrando l’intreccio e l’innesto fra enigmatiche
vicende di potere politico e frammenti riferiti alla condizione umana. Zhang Ding ci
consente di sperimentare il panorama acustico di Linxia, la città islamica cinese nella
provincia di Gangu. Xun Tao ricicla e arrotola giornali avvolgendoli in spirali di corde appese
al muro. Chun Yun ricrea l’illusione di una notte stellata, che si rivela essere invece una
costellazione derivante da macchinari presenti in case e uffici – una scena (obsoleta) di
moderna tecnologia espressione di un consumismo effimero. L’artista presenta anche
dei racconti intimistico-sociali, come nella sua scelta di usare saponette usate dai bagni
pubblici, passate attraverso il tocco di tante diverse mani, una metafora dell’espressione
dell’individuo e della percezione nonché dei vincoli della società. Liu Wei
ha ideato una fragile metropoli i cui edifici sono fatti con pelle di maiale. Chen Qiulin, nel
reinstallare il negozio di un barbiere trovato in un quartiere delle vicinanze abbandonato,
affronta il tema della memoria e della lotta contro l’oblio. Liang Yue presenta un inventario
di abiti da lui acquistati dalla gente per strada (con tutto ciò che questi contenevano),
usurpando e mettendo in mostra le loro identità esteriori e materiali. La creazione di Cao
Fei è un’opera interattiva, di una società parallela, una città nel mondo digitale virtuale di
Second life, che pone la questione dell’identità e dell’emergere di nuovi ordini sociali. Zhou
Zixi, nei suoi dipinti, si riferisce invece al paesaggio moderno di Shangai, mescolandovi e
riattivando tempi e memoria.
Vi è anche un alto numero di opere dalla poetica sottile e improntata
all’assurdo, come nel caso di Duan Jianyu, i cui quadri raffigurano cameriere che danno da
mangiare delle banane a delle oche, oppure in cui delle foche fanno un pic-nic gomito a
gomito con gente comune.
Pak Sheung Chuen propone un collage murale che documenta se stesso svogliatamente
in attesa di un amico all’aeroporto, il quale a sua volta non sa di essere atteso – una
riflessione sulla nozione del tempo e della sua imponderabilità e fortuità. È la futilità
invece ad emergere dall’opera di Zhou Tao dal titolo Chick Speaks to Duck, Pig Speaks to
Dog (Il pulcino parla al papero, il maiale parla al cane, ndt), dove alcune persone in un bosco
imitano i rumori degli animali dando vita ad un musical sorprendente, a tratti serio e a
tratti umoristico, e la cui attenzione si volge ai sistemi di comunicazione.
Nel curare le prime due edizioni di China Power Station, siamo intercorsi
in un insieme di opere caratterizzate da una spinta post-Duchampiana. Questi artisti,
anziché enfatizzare nel loro lavoro artistico l’uso di tecniche specifiche prestabilite e
affermate, hanno invece adottato un approccio più vario, teso ad alterare e ricombinare
installazioni e readymade secondo tematiche dense di contenuti. Il riappropriarsi
di un’oggettistica sia cinese sia occidentale libera gli artisti e l’effetto di una tale
commistione risulta spesso e al contempo teatrale e contraddittoria. Gli artisti non
solo comunicano in questo modo attraverso un linguaggio unico, formato da materiali
imprevedibili (insetti e animali su scale e configurazioni impensati), ma diventano de
facto narratori di configurazioni oggettuali e di metafore artistiche, filosofiche, politiche,
sociali, identitarie e religiose dell’umana condizione.
China Power Station: Part 2 incarna tutte queste direzioni, nel tentativo
di situare alcune delle più dinamiche attività in corso di svolgimento attualmente in
questa parte del mondo. In via del tutto eccezionale la mostra è stata acquisita in
blocco, nella sua totalità, inglobando anche la collezione Astrup Fearnley. Questa scelta
ha impedito una lettura frammentata derivante dalla semplice somma di singole opere,
consentendo invece di offrire una instantanea dell’arte contemporanea cinese, così
com’è oggi. La scelta fondamentale di Ginevra Elkann di presentare questo nucleo di opere
dalla collezione Astrup Fearnley alla Pinacoteca Giovanni e Marella Agnelli di Torino è nata
dal desiderio di infondere nuova vita alla collezione e ai lavori in essa contenuti.
Contemporaneamente a China Power Station, è altresì importante
ricordare un’altra ambiziosa mostra promossa dal Museo d’Arte Moderna Astrup Fearnley
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al volgere del millennio – Uncertain States of America – American Art in the 3rd Millennium.
La mostra fu curata da Gunnar B. Kvaran, Direttore del Museo d’Arte Moderna di Astrup
Fearnley, Hans Ulrich Obrist, all’epoca curatore al Musée d’Art Moderne de la Ville de
Paris quindi Co-Direttore della Serpentine Gallery di Londra, e Daniel Birnbaum, allora
Rettore della Städelschule di Francoforte e oggi nuovo Direttore del Moderna Museet
di Stoccolma. Lo scopo della mostra era quello di tracciare su una mappa artistica la
situazione socio-culturale, artistica e critica degli Stati Uniti, attraverso l’opera della
generazione di artisti americani emergenti. La mostra Uncertain States riscosse un forte
successo di critica e viaggiò in diversi musei europei e statunitensi. Ne venne pubblicato
un voluminoso catalogo insieme ad un libro di testi sull’arte e sulle politiche culturali degli
Stati Uniti dal 2000 ad oggi, dal titolo The Uncertain States of America Reader, curato da
Noah Horowitz e Brian Sholis e pubblicato dal Museo d’Arte Moderna Astrup Fearnley, dalla
Serpentine Gallery e Sternberg Press nel 2006. La Astrup Fearnely Collection acquistò
l’intera mostra e il conseguente successo della mostra e di quella realizzata di lì a poco,
China Power Station, diedero l’impulso all’ideazione di una terza e importante mostra,
quella avvenuta nel 2008 alla Serpentine Gallery, questa volta sull’arte contemporanea
indiana, dal titolo Indian Highway.
Il Museo d’Arte Moderna Astrup Fearnley è un museo privato di Oslo,
in Norvegia, la cui attività è basata sul collezionare ed organizzare mostre di arte
contemporanea internazionale. Il Museo aprì nel 1993 ma la storia della collezione
risale agli anni ‘60.
La collezione Astrup Fearnley si è sempre concentrata su opere individuali
di singoli artisti piuttosto che su movimenti o periodi storici – una scelta distintiva
mirata all’approfondimento attraverso l’acquisizione di opere d’arte importanti che
s’imponessero oltre i confini dei canoni artistici – Jeff Koons, Richard Prince, Cindy
Sherman e Matthew Barney, solo per citare alcuni artisti – e, più di recente, di opere di
affermati artisti europei, giapponesi, cinesi e indiani.
Lo scopo del Museo è quello di collezionare ed esporre arte
contemporanea internazionale e di radicarsi quale presenza nella città di Olso come nel
mondo dell’arte internazionale. Il Museo realizza tre o quattro mostre all’anno, portando
avanti al contempo un ambizioso programma di dimensione pubblica e di pubblicazioni
che faciliti la collaborazione con i maggiori curatori, critici e studiosi contemporanei. Nel
Museo lavorano docenti specializzati che, all’interno degli spazi espositivi, illustrano al
pubblico l’attività del Museo, la collezione, le mostre in corso, gli artisti e le loro opere. Il
Museo offre anche visite guidate per le scuole e per il pubblico in generale, ha costituito
degli speciali Art Club per bambini e adolescenti e si avvale della sofisticata tecnologia
della telefonia mobile per ampliare ed estendere l’interazione fra il mondo esterno e la
nostra collezione. Per saperne di più, visitate www.afmuseet.no.
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A
t the beginning of the new millennium, the Astrup Fearnley
Museum of Modern Art, Oslo, and the Serpentine Gallery, London,
decided to collaborate on an exhibition of Chinese contemporary
art. After a period of intense research and extensive travel within
China it became clear that a conventional one-off show would
not suffice. The enormity of this task imposed a new curatorial paradigm that would
accommodate the diversity and richness of Chinese culture today, within a global
museum infrastructure. The result was China Power Station, curated by Gunnar B.
Kvaran, Director of the Astrup Fearnley Museum of Modern Art, Julia Peyton-Jones,
Director of the Serpentine Gallery and Co-Director, Exhibitions and Programmes, and
Hans Ulrich Obrist, Co-Director of the Serpentine Gallery and Director of International
Projects.
In an event-driven culture, sustainability and legacy are at the core
of what an art institution aspires to and they embody the guiding principles of the
Serpentine Gallery and the Astrup Fearnley Museum of Modern Art. For this reason,
China Power Station was conceived from the outset as an evolutive project that
changes to reflect the context in which it is shown. The artists and the accompanying
body of work would vary from one presentation of the exhibition to the next in an everdeveloping system that reflects the time and place of each destination in which it is
presented.
China Power Station: Part 1, which debuted in London in 2006, was the
most ambitious exhibition of Chinese contemporary art to have ever taken place in the
British capital. This trans-disciplinary and trans-generational undertaking, set against
the architectural magnitude of Battersea Power Station from October and November,
created an entirely new context in which to experience the work of the 22 selected
artists. The monumental building echoes post-industrial art venues in China and the
works on view were chosen to activate the enormous scale of the then derelict turbine
hall and other spaces on the site. The exhibition was filled with sound and moving
images, providing a snapshot of some of the most prolific work from the bourgeoning
country at the time. The exhibition sprawled across three oversized floors that set
the art in motion. Two celebrated Chinese architects Ma Qingyun and Yung Ho Chang
defined the space and demonstrated the potential of the building.
Oslo, on the other hand, has a comparatively denser history of
exhibitions focusing on the art and culture of China, so the show’s migration to the
Astrup Fearnley Museum of Modern Art in 2007 was more pared down than its London
counterpart. This was manifest in our decision, in staging China Power Station: Part
2, to focus on a younger generation of artists who emerged post-2000. China Power
Station: Part 3, with its broader and still different perspective on contemporary art
from this region, opened at MUDAM in Luxembourg in 2008.
In this exhibition, China Power Station – Chinese Contemporary Art from
the Astrup Fearnley Collection, which is initiated by Ginevra Elkann, Vice President of
the Pinacoteca Giovanni e Marella Agnelli in Torino, we present the main strands of
China Power Station: Part 2 together with work by two other particularly pioneering
Chinese artists: Huang Yong Ping (who featured in the London show) and Cai Guo-Qiang.
Other artists include: Cao Fei, Chen Qiulin, Chu Yun, Duan Jianyu, Hu Xiangqian, Ji Weiyu,
Kan Xuan, Liang Yue, Liu Chuang, Liu Wei, Lju Weijian, Lu Chunsheng, Pak Sheung Chuen,
Qiu Anxiong, Song Tao, Sun Xun, Xu Zhen, Xue Tao, Yang Fudong, Zhang Ding, Zhou Tao,
Zhou Zixi.
During the 1980s there was a creative explosion in China, which
produced a pioneering generation of artists including Cai Guo-Qiang (b. 1957) and
Huang Yong Ping (b. 1954), spearheads of the artistic revolution that took hold during
these years and continues through to the present day. These artists emerged out of
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an elongated period of cultural isolation and operated in a closed regional context
characterised by a highly traditional way of conceiving and appreciating art. Talents
were home grown and progressive activities were not the product of an institutional
system but rather the result of the will to advance cultural dialogue, spread thinly
throughout the nation and worked in self-organised clusters.
Huang Yong Ping and Cai Guo-Qiang belong to a first generation of
Chinese contemporary artists who abandoned traditional formal approaches and
adopted many of the radical aesthetic and conceptual paradigms of the Western
avant-garde. After a short period of experimental painting, Huang turned to an extrapictorial conceptual form of art inspired by figures like Marcel Duchamp, John Cage and
Joseph Beuys. Models of performance art and an emphasis on transformation in which
paintings were burned or readymade books (altered by being washed in industrial
machines), became important tools for marking a shift away from Chinese artistic
norms towards a new kind art that was neither nationalistic nor pure – an art based on
a fusion of Western and Eastern cultural and philosophical ideas.
In this body of work, the position of the individual within an
institutionalised context is most often symbolized by buildings which represent power.
The mechanism of the narratives or the metaphorical treatment of the artworks’
structure is then composed of oppositions: church/mosque; Christianity/Buddism/
Islam; academic organisation/political interest; power/submission. Coliseum, 2007,
presents a symbol of the Roman empire in terra cotta overgrown by trees and plants.
It is a powerful statement on the fragility of power and the continuous dialogue
between nature and civilisation. Every work of Huang Yong Ping’s is like a vessel loaded
with intelligent and meaningful reflections on the human condition, and the power
of his art lies within the forms, objects and materials he brings together. These refer
simultaneously to cultural, philosophical and folk traditions of both the East and West
and are articulated around the artist’s refusal of fixed notions of identity, political
hegemony and ethnical difference. For Huang Yong Ping, culture is always in a state of
flux. This sensibility is anchored in the artist’s understanding of Buddhism, Taoism and
I Ching (the book of changes) which teaches that there is no such thing as pure culture
(nor purity, in general) and is reflected in Huang’s relentless introducing of unexpected
materials and new constellations of objects into his art.
Cai Guo-Qiang grew up in China during the Cultural Revolution. He
attended the Shanghai Theatre Academy from 1981 to 1985, specializing in stage design.
He spent the next decade in Japan, before emigrating to New York where has lived
since 1995.
The gunpowder drawings, performances and installations that he
first experimented with during his time in Japan have become his signature works.
This powerful and ever-expanding body work is charged with unexpectedness and
unpredictability, and often draws upon feng shui as well as ancient systems of Chinese
aesthetics, Eastern philosophy and contemporary social issues. Eminently poetic,
dramatic and even frightening these ambitious works narrate trans-cultural fictions.
The Eagle has arrived!, 2001, is a hanging monumental sculpture of a
gigantic upside-down boat pierced by oars and spears – like an eagle spreading its
wings. The boat, which recalls a Roman battle galley but is in fact a common French
fishing skiff, is completed with a fan and an EU flag. Multi-semantic meanings are
abundant and index different times and periods (from the Roman era to the presentday) as well as complex geopolitical regions (Europe, France, Italy). But the closer one
gets, it becomes readily apparent that Cai’s structure is little more than an old dinghy,
held together with everyday fabrics – a ready-made relic à la Duchamp or Picasso
evoking an aging bird in flight. Sailing shakily under the European flag, the ship alludes
to the West in tragic-comic decline.
The legacy of Huang Yong Ping and Cai Guo-Qiang on contemporary
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Chinese art is becoming increasingly unmistakable. Indeed, as two of the seminal
artists that liberated the country’s cultural production from antiquated traditions, their
mark is everywhere present in the thinking and methodological approaches of today’s
younger generation of artists. The cornerstone of their appeal resides in the fact that
they never abandoned Chinese art and philosophy, rather adapted Chinese thoughts
and sensibilities into an ongoing dialogue with their adopted, Western, culture. Huang
and Cai make bridges that many young contemporary Chinese artists are now taking in
all directions.
In lockstep with China’s economic thrust onto the world stage, its
domestic art scene has quickly and assertively gained a significant presence within
the international art world. This seismic change, less than three decades in the making,
has allowed Chinese artists to break free of traditional emphases and adopt a new
language inspired by Western artistic reference points. We witnessed the emergence
of a generation of artists born in the late 1970s and 1980s who have come of age in
this era of avant-garde identity. They are well educated, versed in the lessons of both
Western and Eastern art history and benefit from the freedom to travel, which has
enabled them to build extensive international relationships. Not only are they the
first post-Mao children, but they are also a mobile generation of truly global artists
connected. They were also the product of a highly particular socio-political situation:
in the wake of the Tiananmen riots, cultural revolution was brewing and a true
awareness of the avant-garde had arrived.
Despite their mobility and the tendency of their predecessors to go into
exile overseas, much of this group has chosen to stay in China. One reason for this is
because of the advantageous working conditions and beneficial economic situation
that the country offers (large studios at a fraction of the cost of those in Europe or
America, and an upwardly mobile base of patrons to support their work). Additionally,
China is a sign of a power, resilience and dynamism in the new millennium: it has
shifted globally from the cultural periphery to the centre and the artists want to stay
in the country of their birth because they are intrigued by their homeland and eager to
be a part of its future development.
In this exhibition, we focus principally upon Chinese artists who
emerged in the beginning of the new century. Most of the works here presented were
created between 2005 and 2007, and it highlights the tremendous creativity of those
who are breaking new territory in the Chinese and the international contemporary art
world.
The artists tend to adhere to a tradition of post-conceptual art
premised upon ideas and the artistic concepts rather than materials or formal
techniques. The works are realized as installations, films, sculptures, photographs,
computer graphics and paintings. In the present selection, audiences are confronted
with a variety of narrative works that tell stories about universal topics of power and
politics, real and flowing identities, history, memory and nostalgia. Other works in the
exhibition take abstract notions like time, unpredictability, chance and illusion. In sum,
there is a profound intermingling of joyfulness and unadulterated aspirations with
serious social and political questions. Like the society in which they live, the artists are
acutely aware of their place in history.
Xu Zhen goes to war and stages a fictive invasion of an indefinable
neighboring country, a real parody of a war machine. Sun Xun takes us through a
cityscape and narrates an enigmatic story of political powers with fragmented and
layered references about the human condition, all traversed by his ongoing reflection
on truth and memory. Zhang Ding gives us the sound-scape experience of the Chinese
Islamic city Linxia in the Gangu province. Xun Tao recycles and encircles newspapers
into hanging spiral ropes. Chun Yun creates the illusion of a starry night sky, which
turns out to be a constellation of office and home furnishing equipments – a scene of
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an (outdated) modern technology, recalling the ephemerality of consumerism. The artist
also presents intimate social short stories, such as a selection of used soaps culled
from public bathrooms which have gone thought many different hands, a metaphor of
individual expression and collective binding and awareness. Liu Wei has created a fragile
cosmopolitan city of buildings made out of pig skin. Chen Qiulin, deals with memory
and the battle against forgetting by reinstalling a barber shop which she has
appropriated from a destroyed neighborhood. Liang Yue presents an inventory of clothes
that he has bought from people in the street (in fact he bought all the clothes and what
they had on them), usurping and exposing their external material identity. Cao Fei creates
an interactive work, a parallel society, a city in the Second life computer virtual world
which raises questions of identity and newly emerging social orders. Zhou Zixi paints
historical references into the modern skyline of Shanghai, mixing times and reactivating
memory.
There are also an abundance of subtle and poetic works conveying a
certain kind of absurdity, like Duan Jianyu’s paintings where stewardesses feed geese
with bananas, or where seals are picnic in the countryside next to ordinary people. Pak
Sheung Chuen proposes a photo-wall-collage, a documentation of him waiting listlessly
for a friend at the airport who doesn’t know to expect him – a reflection on the notions
of time, haphazardness and unpredictability. Futility, meanwhile, arises in a work of
Zhou Tao entitled Chick Speaks to Duck, Pig Speaks to Dog, where different people
placed in the woods in imitate the sounds of the animals in what ultimately builds
to become an astonishing musical, at once humoristic and serious, that addresses
systems of communication.
In curating the first two editions of China Power Station, we honed in a
body of work characterized by a post-Duchampian impulse. Instead of developing their
artistic practice within the frames of established medium-specific emphases, these
artists have adopted a more variable approach premised upon altering and recombining
ready-mades and installations into rich narratives. This appropriation of both Chinese
and Western objects liberates the artists and the net effect is often theatrical, and
almost always confounding. The artists not only communicate through a unique
language of unexpected materials (e.g. insects and animals in unexpected scales and
configuration), but become de facto storytellers of a symbolic constellation of objects
and metaphors around art, philosophy, politics, society, identity, religion and the
human condition.
China Power Station: Part 2 is the embodiment of these trajectories, an
attempt to map some of the most dynamic activities taking place in this region today.
Uniquely, the exhibition was acquired in its totality and incorporated into the Astrup
Fearnley collection. Acquiring a constellation of works in this manner represents an
attempt to exceed the fragmented representation of a single artwork and to capture a
snapshot of contemporary art that is larger than the sum of its parts – an unsurpassed
moment of Chinese art history frozen in time. The ultimate decision by Ginevra Elkann
to present this body of work from Astrup Fearnley collection at the Pinacoteca Giovanni
e Marella Agnelli in Torino, was spurred by the desire to breathe yet new life into the
collection and the works therein.
Alongside China Power Station, it is important to bear in mind another
ambitious group exhibition initiated by the Astrup Fearnley Museum of Modern Art at
the turn of the millennium – Uncertain States of America – American Art in the 3rd
Millennium. The exhibition was curated by Gunnar B. Kvaran Director of the Astrup
Fearnley Museum of Modern Art, Hans Ulrich Obrist then a curator at Musee d’Art
Moderne de la Ville de Paris and later Co-Director of the Serpentine Gallery in London,
and Daniel Birnbaum then the Rector of the Städelschule in Frankfurt and now the
Director of the Moderna Museet in Stockholm. The aim was to map the artistic, critical
catalogue text
Gunnar B. Kvaran
china
power station
and the social-cultural situation in the United States through an up-and-coming
generation of American artists. The Uncertain States was critically acclaimed and
travelled to different museums in Europe and the US. An extensive catalogue was
produced in conjunction with the exhibition as well as a book of writings, entitled The
Uncertain States of America Reader, around art and cultural politics in America since
2000. The Reader was edited by Noah Horowitz and Brian Sholis and published by the
Astrup Fearnley Museum of Modern Art, the Serpentine Gallery and the Sternberg Press
in 2006. The whole exhibition was acquired by the Astrup Fearnley collection, and the
back-to-back success of this exhibition and China Power Station shortly thereafter
spurred a third major collaboration with the Serpentine Gallery in 2008, this time on
contemporary Indian art and titled Indian Highway.
The Astrup Fearnley Museum of Modern Art is a privately owned
museum in Oslo, Norway, which collects and presents contemporary international
art. The Museum was opened in 1993 but the collection has a history dates from the
1960s.
The Astrup Fearnley collection has always concentrated on individual
works and artists, rather than artistic movements or historical periods — a
distinctive in-depth focus on acquiring major pieces that press the boundaries of the
artistic canon. The last ten years have witnessed an intense focus upon American
contemporary artists — Jeff Koons, Richard Prince, Cindy Sherman and Matthew
Barney, just to name a few – and, most recently, upon works by important European,
Japanese, Chinese and Indian artists.
The aim of the Museum is to collect and present international
contemporary art and to have a real presence in the city of Oslo and in the
international art world. We organize three to four exhibitions every year, and
maintain an ambitious publishing and public programming dimension that facilitates
partnerships with today’s leading curators, critics and scholars. The Museum employs
specially-trained docents in the exhibition spaces who teach our public about the
museum, the collection, the actual exhibitions, artists and artworks. The Museum also
offers guided tours for school classes and the public, coordinates special Art Clubs for
children and teenagers, and makes sophisticated use of mobile phone technology to
broaden outreach and facilitate interaction with our collection. Visit www.afmuseet.
no to learn more.
catalogue text
Gunnar B. Kvaran
china
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attività
didattiche
china
power station
CHINA POWER STATION
Arte contemporanea cinese dalla collezione Astrup Fearnley
7 novembre 2010 – 27 febbraio 2011
In mostra alla Pinacoteca Agnelli di Torino l’esplosione creativa dell’arte contemporanea
cinese attraverso le opere di artisti d’avanguardia. Video, installazioni di grandi dimensioni, pittura, scultura, fotografia raccontano la vibrante
scena artistica cinese svelando alcune delle risposte più innovative che stanno emergendo in
questo paese.
Ogni giorno le mediatrici culturali accompagnano gratuitamente i visitatori in mostra.
Moltissimi gli appuntamenti in calendario, nell’arco dei 4 mesi di durata della mostra, per un
viaggio nella Cina d’oggi: incontri, laboratori didattici, workshop e conferenze per adulti e
bambini.
•
7 novembre 2010: maratona IL FUTURO DELLA CINA con Hans Ulrich Obrist; una
conversazione non stop dalle ore 12,00 alle 18,00 con artisti, filosofi, architetti e
blogger cinesi | ingresso libero fino a esaurimento posti
•
La domenica in Pinacoteca:
alle ore 16 una serie di attività collaterali alla mostra
• laboratorio Scatole Cinesi a cura di Milena Maccaferri;
• workshop, laboratori e conferenze nati dalla collaborazione con l’Associazione
AICUP (Associazione immigrati cinese uniti in Piemonte) e l’Istituto Confucio di
Torino
- 21 novembre 2010 laboratorio Scatole Cinesi
- 28 novembre 2010 workshop sulla calligrafia cinese
- 5 dicembre 2010 incontro sulla medicina tradizionale cinese
con la dr.ssa Zhou Weidong
- 12 dicembre 2010 laboratorio di decorazioni natalizie
- 26 dicembre 2010 laboratorio Scatole Cinesi
- 16 gennaio 2011 laboratorio Costruiamo gli Aquiloni
- 23 gennaio 2011 laboratorio Scatole Cinesi
- 30 gennaio 2011 workshop sulla calligrafia cinese
- 6 febbraio 2011 incontro sulla medicina tradizionale cinese
con la dr.ssa Zhou Weidong
- 13 febbraio 2011 laboratorio sulla carta intagliata
- 20 febbraio 2011 laboratorio Scatole Cinesi
LE PAUSE D’ARTE In pausa pranzo alle ore 13,00 40 minuti circa per una visita guidata alla mostra con
approfondimento su alcuni degli artisti.
Visita condotta dalle mediatrici culturali della Pinacoteca
Giovedì 11 novembre 2010 visita alla mostra Giovedì 2 dicembre 2010 visita alla mostra con approfondimento su Cai Guo Qiang e Huang
Yong Ping
Mercoledì 12 gennaio 2011 visita alla mostra con approfondimento su Liu Wei
Mercoledì 9 febbraio 2011 visita alla mostra con approfondimento su Liu Chuang
INFORMAZIONI E PRENOTAZIONI
Ingresso alla Pinacoteca: gratuito per Abbonati Torino Musei e per bimbi 0-6 anni |
ridotto 6 €euro per convenzionati, ragazzi 6-16 anni e over 65 | intero 7€ euro
Alcune attività saranno gratuite.
Per tutte le informazioni e gli aggiornamenti visita il sito www.pinacoteca-agnelli.it
Per tutte le attività è obbligatoria la prenotazione: T. 011.0062713/008 | e-mail [email protected] attività didattiche
china
power station
scheda catalogo
catalogue
china
power station
scheda catalogo
catalogue
Catalogo bilingue - italiano / inglese
Bilingual catalogue - italian / english
Formato
book size
mm 200x250
Pagine
pages
240
Illustrazioni
Illustrations
131
Prezzo in libreria price
euro 59
A cura di curated by
Gunnar B. Kvaran, Hans Ulrich Obrist, Julia Peyton-Jones
china
power station
scheda catalogo
catalogue
sommario
contents
8 prefazione
foreword
19 1 introduzione
preface
25 2 t esti
texts
26 2 1 an overload history venticinque anni
di arte contemporanea cinese
twenty-five years of
42
2 2 ridefinire il futuro
redefining the future
52 2 3 mai fuori senza la mia dv cam
video arte dalla cina
carol (yinghua) lu
gu zhenquing
hou hanru
never go out without my dv cam
video art from china
56 68 2 4
2 5 77 3 78 3 1 84 3 2 the price of fame
zhongguo fadian chang
karen smith
scott lash xiaoxiao sun
scritture
writings
centro sopravvivenza
survival club
superficial club
hu fang
mian mian
o l’ingegneria virtuale
or virtual engineering
89 4 opere
works
1 2 3
4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
23 24 cai guo quiang
cao fei
chen qiulin
chu yun
duan jianyu
hu xiangqian
huang yong ping
kan xuan
liang yue
liu chuang
liu wei
liu weijian
lu chunseng
pak sheung chuen
qui anxiong
song tao
birdhead
sun xun
xu zhen
xue tao
yang fudong
zhang ding
zhou tao
zhou zixi
5 biografie
214 biographies
china
power station
biografie
biographies
5
CAI GUO-QIANG
Nato nel 1957 a Quanzhou
Born 1957 in Quanzhou
Istruzione
Education
1981 – 1985 Department of Stage Design, Shanghai Theatre
Academy, Shanghai
Vive e lavora a New York
Lives and works in New York
Mostre personali – selezione
Solo exhibitions – selection
2010 Cai Guo-Qiang: Head On, National Museum of Singapore,
Singapore Cai Guo-Qiang: Travels in the Mediterranean, Museum of
Modern and Contemporary Art, Nice Cai Guo-Qiang: Peasant Da Vincis,
Rockbund Art Museum, Shanghai
2009 Cai Guo-Qiang: I Want to Believe, Guggenheim Bilbao,
Bilbao Cai Guo-Qiang: Fallen Blossoms, Philadelphia Museum of Art and
The Fabric Workshop and Museum, Philadelphia Cai Guo-Qiang: Hanging
Out in the Museum, Taipei Fine Arts Museum, Taipei
2008 I Want to Believe, National Art Museum of China, Beijing
I Want to Believe, Solomon R. Guggenheim Museum, New York The 7th
Hiroshima Prize, Hiroshima City Museum of Contemporary Art, Hiroshima
2007 Light Passage: Cai Guo-Qiang & Shiseido, Shiseido
Gallery, Tokyo Inopportune: Stage One, Seattle Art Museum, semipermanent installation, Seattle
2006 Head On, Deutsche Guggenheim, Berlin Long Scroll,
Shawinigan Space, National Gallery of Canada, Quebec Cai Guo-Qiang on
the Roof: Transparent Monument, Metropolitan Museum of Art, New York
Stage, San Gimignano Mountain and Galleria Continua, San Gimignano
Inopportune, SITE, Santa Fe
Mostre collettive – selezione
Group exhibitions – selection
2010 Berliner Bilder, Koidl Kunsthalle, Berlin Arts and
Cities, Aichi Triennial, Nagoya Post Monument, XIV International Sculpture
Biennale of Carrara, Carrara The Beauty of Distance: Songs of Survival in
a Precarious Age, 17th Biennale of Sydney, Sidney
2009
The Sky within My House: Contemporary Art in 16
Patios of Cordoba, Municipal Archive of Cordoba, Cordoba Bike Rides,
Aldrich Museum of Contemporary Art, Ridgefield The 4th Fukuoka Asian
Art Triennial, Fukuoka Stages, Emmanuel Perrotin, Paris Meeting
Point, 10th Havana Biennial, Havana
2008
Prospect.1 New Orleans, various sites, New Orleans
Academia Qui es-tu?, La Chapelle de l’Ecole Nationale des Beaux-Arts,
Paris New Ink Art: Innovation and Beyond, Hong Kong Art: Open
Dialogue Exhibition Series II, Hong Kong Museum of Art, Honk Kong Shu:
Reinventing Books in Contemporary Chinese Art, Honolulu Academy of
Arts, Honolulu God & Goods: Spirituality and Mass Confusion, Villa Manin
Centro d’Arte Contemporanea, Passariano di Codroipo (Udine) Blood on
Paper: The Art of the Book, Victoria and Albert Museum, London Martian
Museum of Terrestrial Art, Barbican Gallery, London
2007
Artempo: Where Time Becomes Art, Palazzo Fortuny,
Venice 6 Billion Perps Held Hostage! Artists Address Global Warming,
Andy Warhol Museum, Pittsburgh Of Nature and Friendship: Modern
Chinese Paintings from the Khoan and Michael Sullivan Collection, Seattle
Asian Art Museum, Seattle Journeys: Mapping the Earth and Mind in
Chinese Art, Metropolitan Museum of Art, New York
2006
Searching for Dreams in the Canals, Suzhou Museum,
Suzhou Shu: Reinventing Books in Contemporary Chinese Art, China
Institute Gallery, New York Opening Exhibition: Eldorado, MUDAM,
Luxembourg, Out of Time: A Contemporary View, Museum of Modern Art,
New York
204
CAO FEI
Nata nel 1978 a Guangzhou
Istruzione
Education
2001 Chen Qiulin
Born 1978 a Guangzhou
Nato nel 1975 nella provincia di Hebei
BFA Guangzhou, Academy of Fine Arts
Vive e lavora a Pechino
Lives and works in Beijing
Sichuan Academy of Fine Arts, Print Making Department
Vive e lavora a Chengdu
2010
Cao Fei: Utopia, The Dunedin Public Art Gallery, Dunedin
2009
RMB City Opera, theater piece directed by Cao Fei,
Artissima Festival, Torino Cao Fei, Shiseido Gallery, Tokio
2008
RMB city project for one year in Serpentine Gallery,
London A Journey: the World Returns to the World, the Soul Converted
into the Soul, Frac, Ile de France / Le Plateau
2007 Whose Utopia, Orange County Museum of Art, Newport
Beach Whose Utopia, CCA Kitakyushu, Kitakyushu
2006
PRD Anti-Heroes, Museum Het Domein, Sittard
2010
The Beauty of distance, Songs of survival, 17th Biennale
of Sidney, Sidney Roundtrip: Beijing- New York Now Selections From The
Domus Collection, UCCA, Beijing Contemplating the Void, Guggenheim
Museum, New York Utopia Matters, Deutsche Guggenheim, Berlin
2009 Breaking Forecast: 8 Key Figures of China’s New
Generation Artists, UCCA, Beijing ICP Triennal, Internationa Center of
Photography, New York Timelapse, National Art Museum of China, Beijing
The Generational: Younger Than Jesus, The New Museum, New York
Cao Fei Utopia, Artspace, Auckland There Goes the Neighborhood,
Museum of Contemporary Art, Cleveland Louis Vuitton: A Passion for
Creation, Honk Kong Museum of Art, Honk Kong HBOX, Orange County
Museum of Art, Newport Beach
2008 Prospect 1. New Orleans, Contemporary Arts Center,
New Orleans Yokohama Triennale 2008 – The Time Crevasse, Yokohama
Triennale, Tokyo In Between, Asian Video Art Weekend, Mori Art Museum,
Tokyo Eurasia. Geographic cross-overs in art, MART, Rovereto Life on
Mars, the 55th Carnegie International, Carnegie Museum of Art, Pittsburgh
China Power Station: Part III, MUDAM, Luxembourg Laughing in a
foreign language, Hayward Gallery, London A better Life, London
Farewell to Post-Colonialism, The third Guangzhou Triennal, Guangdong
Museum of Art, Shenzhen
2007
RMB City, 2007 Shenzhen & Honk Kong Bi-City Biennale
of Urbanism/Architecture, Shenzhen Brave New Worlds, Walker Art
Center, Minneapolis 2007 Lyon Biennal, Lyon 10th Instanbul Biennal,
Istanbul 52nd Venice Biennale, Venice China Welcomes You… Desires,
Struggles, New Identities, Kunsthaus Graz, Graz
2006
China Power Station: Part I, Battersea Power Station,
London Singapore Biennale, Singapore 15th Sidney Biennale, Sidney
5
Istruzione
Education
2000 biografie
Born 1975 in Hebei Province
Lives and works in Chengdu
2009
Chen Qiulin, Hammer Museum, Los Angeles Chen
Qiulin, Max Protetch, New York
2007
Chen Qiulin: Recent Work, University Art Museum, State
University of New York Chen Qiulin, Max Protetch, New York Garden,
Max Protetch, New York
2006
Migration – China Qiulin, Long March Space, Beijing
2010
Reshaping History: China Art 2000-2009, National
Convention Center; Today Art Museum; Arario Gallery, Beijing
2009
6th Asia Pacific Triennale,
Queensland Art Gallery, Brisbane
2008
Collective Conscience, 2008 Human Rights Arts
and Film Festival, The Carlton Hotel and Studios, Melbourne The 7th
Gwangju Biennale – Annual Report: A Year in Exhibitions, Gwangju
Two Chinas: Chen Qiulin and Yun-Fei Ji, Worcester Art Museum, Worcester
Displacement: The Three Gorges Dam and Contemporary Chinese Art,
David and Alfred Smart Museum of Art, University of Chicago Long March
Capital III, Long March Space, Beijing Building Code Violations II, Long
March Space, Beijing China Power Station: Part III, MUDAM, Luxembourg
Two Chinas: Chen Qiulin and Yun-Fei Ji, Worcester Art Museum,
Worcester
2007
China Power Station: Part II, Astrup Fearnley Museum
of Modern Art, Olso Displacement – The Three Gorges Dam and
Contemporary Chinese Art, Smart Museum, Chicago Echoes: Chengdu
New Visual Art Documentary Exhibition, A Thousand Plateaus Art Space,
Chengdu Attention: Chinese Contemporary China Photography, Artium:
Basque Centre-Museum of Contemporary Art, Vitoria-Gasteiz Starting
from the Southwest: Contemporary Art in Southwest China 1985 – 2007,
Guangdong Museum, Guangzhou The Four Direction of Speaking and
Hearing, Guizhou Biennal, Guiyang Museum, Guiyang Red Hot: Asian
Art Today from the Chaney Family Collection, The Museum of Fine Arts,
Houston
2006
This Is Not For You – Sculptures as tropes of criticality,
Thyssen-Bornemisza Art Contemporary, Vienna Long March Capital, Long
March Space, Beijing
china
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205
5
CHU YUN
Nato nel 1977 a Jianxi
Born 1977 in Jianxi
2009
Chu Yun, Portikus, Frankfurt/Mai
2007
Smile of the Matter, Vitamin Creative Space, Guangzhou
DUAN JIANYU
Nata nel 1970 nella provincia di He Nan
in He Nan province
Born 1970
Istruzione
Education
1995 Guangzhou Academy of Fine Arts,
Oil Painting Department
Vive e lavora a Guangzhou / Lives and works in Guangzhou
2010 Reshaping History, Chinart from 2000 to 2009, Beijing
11th Triennial of Small Scale Sculpture, Fellbach
2009
Breaking Forecast: 8 Key Figures of China’s New
Generation Artists, UCCA, Beijing Making (Perfect) World: Harbour,
Hong Kong, Alienated Cities and Dreams, 53th Venice Biennale – Hong Kong
Pavillion, Venice The Generational: Younger Than Jesus, New Museum,
New York China China China!!! Chinese Contemporary Art beyond the
Global Market, Sainsbury Centre For Visual Arts, Norwich Venice Biennale,
53rd International Art Exhibition Venice
2008
Sprout from White Nights, Bonniers Konsthall, Stockholm
Our Future: The Guy & Myriam Ullens Foundation Collection, UCCA,
Beijing CWLWXZ, Esther Schipper Gallery, Berlin Exhibition series third
about artistic phenomena and situations since 1985: Guangzhou StationSpecial Exhibition Contemporary Art Of Guangdong, Guangdong Museum
of Art, Guangzhou China Power Station: Part III, MUDAM, Luxembourg
China China China!!! Chinese Contemporary Art beyond the Global Market,
Palazzo Strozzi, Florence
Asking for It, Glasgow School of Art, Glasgow Greenwashing, Fondazione
Sandretto Re Rebaudengo, Torino
2007
China Power Station: Part II, Astrup Fearmley Museum
of Modern Art, Oslo Mahjong, Museum der Moderne, Salzburg
2nd Documentary Exhibition of Fine Arts Forms of Concepts, Fine Arts
Literature Center, Wuhan NONO, Long March Space, Beijing In
Shenzhen, J&Z Gallery, Shenzhen
2006
It’s All Right, Hu Qing Yu Tang, Hangzhou
International Ink Biennale of Shenzhen: Ink, Life, Taste-To Sugar Add
Some Salt, He Xiangning Museum of Art, Shenzhen AccumulationCanton Express the next stop, Tang Contemporary Art Center, Beijing
Octomania (on drawing the number eight), Para Site Art Space, Hong Kong
2008
China International Gallery Exposition – 33 Young
Asian Artists’ solo shows, Beijing Plateau Life Guide – Now in Coming
Art Project, atArt3 space, Beijing
2007
Sister, Paolo Maria Deanesi Gallery, Italy
2006
How to Travel with a Watermelon, Vitamin Creative
Space, Guangzhou
2010
How Many One-Way Streets Can Lead to the True
Centre of the Street Gardens? Art Basel 2010, Basel Reshaping
History, Chin art from 2000 to 2009, Beijing, Jungle – A Close-Up Focus
on Chinese Contemporary Art Trends, Platform China Contemporary Art
Institute, Beijing
2009
Go Home, Art Basel Miami Beach, Miami China China
China!!! Chinese Contemporary Art beyond the Global Market Sainsbury
Centre For Visual Arts, Norwich Art Gallery, Art 40 Basel, Basel The
Shop at CIGE, Beijing
2008 China China China!!! Chinese Contemporary Art beyond
the Global Market, Fondazione Palazzo Strozzi, Florence Terminus, Para
Site Art Space, Hong Kong Guangzhou Station – Special Exhibition for
Contemporary Art of Guangdong, Guangdong museum of art, Guangzhou
Notes of Conception: Alocal Narration of Chinese Contemporary painting,
Beijing Iberia center for contemporary, Beijing Our future: The Guy &
Myriam Ullens Foundation collection, UCCA, Beijing Farewell to PostColonialism – the Third Guangzhou Triennial, Guangdong museum of art,
Guangzhou Departure-Contemporary art exhibition of Guangzhou,
Shenzhen, Hong Kong and Macao, Shenzhen Hexiangning Art Museum,
Shenzhen
2007
of Moderna Art, Oslo China Welcomes You... Desires, Struggles, New
Identities, Kunsthaus Graz, Graz Indulging, Ruyi Gallery, Guangzhou
2006
Accumulation – Canton Express Next stop, Tang
Contemporary Art, Beijing Octomania (on drawing the number eight),
Para-Site Art Space, Hong Kong Women shi gaibian (La rivoluzione siamo
noi), Isola Art Center, Milano
206
HU XIANGQIAN
Nato nel 1983 a Guangdong
Istruzione
Education
2007 HUANG YONG-PING
Born 1983 in Guangdong
Nato nel 1954 a Xiamen
Guangzhou Academy of Fine Arts
Vive e lavora a Guangzhou
Lives and works in Guangzhou
2008
Guangzhou Station, Guangdong Museum
of Art, Guangzhou
2007
Your Body is My Battleground, Fei Contemporary
Art Center, Shanghai China Power Station: Part II, Astrup Fearnley
Museum of Modern Art, Oslo Slash Fiction, Gasworks, London
2006
Urban Situation, Estonian National Museum of Art,
Tallinn The Road from Changgang, Guangdong Museum of Art,
Guangzhou The First Independent Chinese Film Exhibition, Paris
Istruzione
Education
1982 Born 1954 in Xiamen
Zhejiang Academy of Fine Arts
Vive e lavora a Parigi
Lives and works in Paris
2009
Huang Yong Ping: Arche 2009, Ecole Nationale
Supérieure des Beaux-Arts, Paris Huang Yong Ping: Tower Snake,
Gladstone Gallery, New York Huang Yong Ping: Caverne, Kamel
Mennour, Paris
2008
Frolic, The Curve, Barbican Art Gallery, London Ping
Pong, Astrup Fearnley Museum of Modern Art, Oslo House of Oracles,
Ullens Centre for Contemporary Art, Beijing
2007
House of Oracles, Vancouver Art Gallery, Canada
Huang Yong-Ping, Bernier and Eliades, Athens Huang Yong-Ping: From C
to P, Gladstone Gallery, New York
2006
House of Oracles: A Huang Yong Ping Retrospective,
Mass MOCA, North Adams Pantheon, Centre international d’art et du
paysage de l’ile de Vassivière, Vassivière Island Les Mains de Bouddha,
Galerie Anne de Villepoix, Paris
2009
Mapping the Studio: Artists from the François Pinault
Collection, Punta della Dogana, Venice
2008
Traces du sacré, Centre Pompidou, Paris
2007
SkulpturProjekteMunster07, Galerie Anne de Villepoix,
Paris The Yan Pei-Ming Show, Galleria Massimo De Carlo, Milan Airs de
Paris, Pompidou Centre, Paris
2006
Ovunque andiamo Wherever We Go, Spazio Oberdan,
Milan China Power Station: Part I, Battersea Power Station, London
The Unhomely, 2nd International Biennial of Contemporary Art of
Seville, Sevilla Uitnodiging, Kunstvereniging, Diepenheim Biennale
Internationnale de Ceramique Contemporaine, Vallauris La force de
l’Art, Grand Palais 2006, Paris
5
biografie
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207
5
KAN XUAN
Nata nel 1972 a Xuan Cheng
Istruzione
Education
1997
Nata nel 1979 a Shanghai
Hang Zhou China Art Academy
Vive e lavora tra Pechino e Amsterdam
Beijing and Amsterdam
LIANG YUE
Born 1972 in Xuan Cheng
Lives and works between
2008
Kanxuan Ai!, Galleria Continua, San Gimignano
2009
III Moscow Biennale of Contemporary Art, Video
programme, Moscow The Sky Within My House, Córdoba The State of
Things – The Contemporary Art from China and Belgium, Centre of Fine Arts,
Brussels Everyday Miracles (Extended), Walter and McBean Galleries, San
Francisco Art Institute, San Francisco Everyday Miracles (Extended),
REDCAT, Los Angeles China China China!!! Chinese Contemporary Art
beyond the Global Market, Sainsbury Centre for Visual Arts, Norwich
2008
Yes, No & Other Options-Art Sheffield 08, Yorkshire
ArtSpace, Sheffield Sprout from White Nights, Bonniers Konsthall,
Stockholm Insomnia. Photographs Exhibition, BizArt, Shanghai Our
Future, Ullens Foundation, Beijing China Power Station: Part III, MUDAM,
Luxembourg Thrill of Dept, OK Offenes Kulturhaus Center for Contemporary
Art, Linz Unmoved, Galleria Continua, Beijing
2007
10th International Istanbul Biennial, Istanbul 52nd
International Art Exhibition Venice Biennale, Venice China Power
Station: Part II, Astrup Fearnley Museum of Modern Art, Oslo NONO,
Long March Space, Beijing A Continuous Dialogue, Galleria Continua, San
Gimignano
2006
China Power Station: Part I, Battersea Power Station,
London 9th Havana Biennial 2006, Wifredo Lam Center, Havana Never
Go Out Without My DV Cam - Video Art from China, Museo Colecciones
ICO, Madrid Alllooksame? Tutttuguale? Art from China, Korea, Japan,
Fondazione Sandretto Re Rebaudengo, Torino A Continuous Dialogue,
Galleria Continua, Beijing
Istruzione
Education
2001 Born 1979 in Shanghai
Shanghai Fine Art College
Vive e lavora a Shanghai
Lives and works in Shanghai
2007 An Exhibition, Wellside Gallery, Shanghai
2006 For the time goes by… – Liang Yue Solo exhibition,
Shanghai
2010 Portrait, ShanghART Gallery, Shanghai More Than
Nothing, Wang Xin / Liang Yue New Media Exhibition, epSITE, Shanghai
2009 2009 German Week: Every Human Being is an Artist,
Times Square, Shanghai Bourgeoisified Proletariat, Shanghai Songjiang
Creative Studio, Shanghai Shanghai History in Making from 1979 till
2009, Shanghai MUTE, ShanghART Gallery, Shanghai Shanghai Kino,
Shanghai Kino, Kunsthalle Bern, Bern Another scene – artists' projects,
concepts and ideas, ShanghART H-Space, Shanghai Up close, far away,
Kunstverein, Heidelberg
2008 Our Future, The Guy & Myriam Ullens Foundation
Collection, Ullens Foundation, Beijing The World of Other's: A
Contemporary Art Exhibition, Museum of Contemportary Art, Shanghai
Private View, OffiCina, Beijing
2007 China Power Station: Part II, Astrup Fearnley Museum
of Modern Art, Oslo Individual Position 2, Video, Photo, and Installation,
ShanghART H-Space, Shanghai Individual Positions 1, ShanghART Gallery,
Shanghai
2006 Nunca salgo sin mi camara – Never Go Out Without My
DVcam, video en China, Museo Colecciones ICO, Madrid Satellite 2006,
Contemporary Art Pavilion, Shanghai The Thirteen: Chinese Video Now,
Platform China Contemporary Art Institute, Beijing China Contemporary,
Architecture, Art and Visual Culture, Netherlands Architecture Institute;
Museum Boijmans Van Beuningen; Netherlands fotomuseum, Rotterdam
Solo Exhibition, 2577 Creative Garden, Shanghai The Thirteen: Chinese
Video Now, PS1 Contemporary Art Center, Long Island City, New York
Chaos City, Universal Studios, Beijing China Power Station: Part I,
Battersea Power Station, London Move on Asia, Loop Space, Seoul
Never Go Out Without My DV Cam – video art from China, ICO Foundation,
Madrid Twilight, Albert & Victoria Museum, London Stop Dazing – In
Anthology Film Archives, New York Restless, Photography and New
Media, MoCA, Shanghai
208
LIU CHUANG
Nato nel 1978 a Hubei
Istruzione
Education
2001 LIU WEI
Nato nel 1972 a Pechino
Born 1978 in Hubei
Hubei Institute of Fine Arts
China National Academy of Fine Arts
2010 Studies & Theory, Kwadrat, Berlin Trailer, Boers-Li
Gallery, Beijing
2009 The Generational: Younger Than Jesus, New Museum of
Contemporary Art, New York Permanent Migrants, Inheritance, Shenzhen,
Shenzhen Just Around the Corner, Arrow Factory, Beijing
2008 Forever Young, Anne+ art project, Paris Poznan
Mediations International Biennale Of Contemporary art, Poznan
Insomnia. photographs exhibition, BizArt Art Center, Shanghai Terminus,
para/site art space, Hong Kong There Is No Story To Tell, Tangren Gallery,
Beijing Homesickness, T Space, Beijing
2007
China power Station: Part II, Astrup Fearnley Museum
of Modern Art, Oslo Slash fiction, Gasworks, London In she zhen, J&Z
Gallery, ShenZhen
5
Istruzione
Education
1996 biografie
Born 1972 in Beijing
2009
The Forgotten Experience, Galerie Hussenot, Paris
Yes, That’s All, Beors-Li Gallery, Beijing
2007
The Outcast, Boers-Li Gallery, Beijing Love It, Bite It,
China Art Archives and Warehouse in association with Boers-Li Gallery, Beijing
2006
Property of Liu Wei, Beijing Commune, Beijing Purple
Air, Grace Li Gallery, Zurich Love It, Bite It, BizArt, Shanghai
2010
Dreamlands, Centre Pompidou, Paris State of
Things – Exhibition of the Contemporary Art Exchange between China and
Belgium, National Art, Museum of China, Beijing Roundtrip: Beijing – New
York NOW, Selections from the Domus Collection, Ullens Center for
Contemporary Art, Beijing Long March Project – Ho Chi Minh Trail, Long
March Space, Beijing
2009
Breaking Forecast – 8 Key Figures of China’s New
Generation Artists, Ullens Center for Contemporary Art, Beijing Art
Basel, Basel ShContemporary 09 Asia-Pacific Contemporary Art Fair,
Shanghai Exhibition Center, Shanghai State of Things – Exhibition of the
Contemporary Art Exchange between China and Belgium, BOZAR, Center
for the Arts, Brussels The New Attitude of Image, Tang Contemporary,
Beijing Bourgeoisified Proletariat, ShanghART Songjiang Creative
Studio,Shanghai
2008
Expenditure, Busan Biennale, Busan The Borders of
Utopia, Beijing Today Art Museum, Beijing Farewell to Postcolonialism,
Third Guangzhou Triennial, Guangzhou Chinese Contemporary Art
Awards, Ullens Center for Contemporary Art, Beijing; 18 on the Bund,
Shanghai Building Code Violations II, Long March Space, Beijing
Upcoming: New World Order, Groninger Museum, Groningen Community
of Tastes, Iberia Center for Contemporary Art, Beijing Our Future, Ullens
Center for Contemporary Art, Beijing Revolution Continues, Saatchi
Gallery, London, Sprout from White Nights, Bonnierskonsthall, Stockholm
Dior and Chinese Artists, Ullens Center for Contemporary Art, Beijing
Mahjong: Chinese Art from the Sigg Collection, Berkeley Art Museum,
Berkeley CYLWXZ, Esther Schipper Gallery, Berlin China Power Station:
Part III, MUDAM, Luxembourg
2007
The History of a Decade That Has Not Yet Been Named,
Ninth Lyon Biennale, Lyon NONO, Long March Space, Beijing China Now,
Cobra Museum, Amstelveen China Power Station: Part II, Astrup Fearnley
museum of Modern Art, Oslo Year of the Golden Pig: Contemporary
Chinese Art from the Sigg Collection, Lewis Glucksman Gallery, Cork
2006
AlllookSame? Tutttuguale? Art from China, Korea,
Japan, Fondazione Sandretto Rebaudengo, Torino A Yellow box in Qingpu:
Contemprary Art and Architecture In a Chinese Space, Qingpu Gallery,
Shanghai The Twelve: Chinese Contemporary Art Awards, Zendai
Museum of Modern Art, Shanghai Contemporary Art in China, PKM Gallery,
Seoul Fiction@Love, MoCA i, Shanghai Idylls and Visions: The Second
Space for Contemporary Ink Work, Guangdong Museum of Art, Guangzhou
The 4th Seoul International Media Art Biennale, Seoul Museum of Art, Seoul
It’s All Right! Bizart, Shanghai
china
power station
209
5
LIU WEIJIAN
Nato nel 1981 nella Provincia di Hunan
Istruzione
Education
2005
2001
LU CHUNSHENG
Born 1981 in Huan Province
Nato nel 1968 a Changchun
Shanghai Normal University College of Art
Middle school affiliated to the China Academy of Art
Istruzione
Education
Hangzhou China National Academy of Fine Arts, Department of Sculpture
Vive e lavora in Shanghai
2010
Antenna, a solo exhibition of Liu Weijian, ShanghART
H-Space, Shanghai
2009 Liu Weijian, Solo Exhibition, ShanghART Gallery, Shanghai
2007 The Call of the Crows, Liu Weijian’s Solo Exhibition,
BizArt Art Center, Shanghai
2006
Specimen and secret, Creative Garden, Shanghai
Born 1968 in Changchun
2010 Portrait, ShanghART Gallery, Shanghai ShanghART
Group Show, ShanghART Gallery, Shanghai Group Show in ShanghART
HHL796, ShanghART Gallery, Shanghai Thirty Years of Chinese
Contemporary Art, Minsheng Art Museum, Shanghai All about the Bed,
ShanghART Gallery, Shanghai Jungle: A Close-Up Focus on Chinese
Contemporary Art Trends, Platform China, Beijing
2009 Shanghai History in Making from 1979 till 2009,
Shanghai ShanghART Summer Exhibition, ShanghART Gallery, Shanghai
MUTE, ShanghART Gallery, Shanghai Blackboard, ShanghART H-Space,
Shanghai Another scene - artists’ projects, concepts and ideas,
ShanghART H-Space, Shanghai
2008 Hybrid, ShanghART Gallery, Shanghai Selected,
ShanghART H-Space, Shanghai
2007 Aired, ShanghART Gallery, Shanghai Amateur World,
Platform China Contemporary Art Institute, Beijing The First Today’s
Documents 2007, Energy: Spirit · Body · Material, Today Art Museum, Beijing
China Power Station: Part II, Astrup Fearnley Museum of Modern Art,
Oslo Individual Position 2, Video, Photo, and Installation, ShanghART
H-Space, Shanghai Individual Positions 1, ShanghART Gallery, Shanghai
Shouting Truth, A Contemporary Art Exhibition, Platform China
Contemporary Art Institute, Beijing
2006 Satellite 2006, Contemporary Art Pavilion, Shanghai
China’s Cutting Edge: New Video Art From Shanghai and Beijing, Anthology
Film Archives, New York Future Landscapes, Duolun Museum of Modern
Art, Shanghai
2008
The Materialists are All Asleep, A Retrospective of Lu
Chunsheng, The Red Mansion Foundation, London
2006
History of Chemistry 2, BizArt Art Center, Shanghai
Residency and Open Studio at Gasworks, London One of the most
stupid attacks, against science fiction is that it is unable to forecast the
future - Lu Chunsheng’s solo exhibition, Shanghai
2010 Portrait, ShanghART Gallery, Shanghai Reshaping
History: Chinart from 200-2009, The Theme, China National Convention
Center, Beijing Jungle: A Close-Up Focus on Chinese Contemporary Art
Trends, Platform China, Beijing
2009
2009 German Week: Every Human Being is an Artist,
Times Square, Shanghai MUTE, ShanghART Gallery, Shanghai Shanghai
Kino, Shanghai Kino, Kunsthalle Bern, Bern Blackboard, ShanghART
H-Space, Shanghai Another scene - artists’ projects, concepts and
ideas, ShanghART H-Space, Shanghai Impossible, 8 Chinese Artists
Engage Absurdity, San Francisco Arts Commission Gallery & Mission 17, San
Francisco
2008
Our Future, The Guy & Myriam Ullens Foundation
Collection, Ullens Foundation, Beijing The World of Other’s:
A Contemporary Art Exhibition, Museum of Contemportary Art, Shanghai
China China China!!! Chinese Contemporary Art beyond the Global
Market, First section of “40+4, Art is not enough! Not enough!” Project,
Fondazione Palazzo Strozzi, Firenze Fokus Kina, Riksutställningar,
Swedish Travlling Exhibitions, Museum of Far Eastern Antiquities, Stockholm
2007 Amateur World, Platform China Contemporary Art
Institute, Beijing Wuhan 2nd Documentary Exhibition of Fine Arts,
Hubei Museum of Art, Wuhan Not only Possible, But also Necessary
- Optimism in the Age of Global War, 10th International Istanbul Biennial,
Istanbul Rejected Collection, More the 40 Chinese Artists / Over
60 Rejected Proposals, Ke Center for Contemporary Arts, Shanghai
Individual Position 2, Video, Photo, and Installation, ShanghART H-Space,
Shanghai Thermocline of Art, New Asian Waves, ZKM (Center for Art and
Media), Karlsruhe Keep an Eye on China, N.O.Gallery, Milan (I’m always
touched) By Your Presence, Dear, IMMA Acquisitions since 2003, Irish
Museum of Modern Art, Dublin World Factory, Walter and McBean Galleries,
San Francisco Art Institute, San Francisco
2006 Alllooksame? Tutttuguale? Art from China, Korea,
Japan, Fondazione Sandretto Re Rebaudengo, Torino The Thirteen:
Chinese Video Now, Platform China Contemporary Art Institute, Beijing
China Contemporary, Architecture, Art and Visual Culture, Netherlands
Architecture Institute; Museum Boijmans Van Beuningen; Netherlands
fotomuseum, Rotterdam Solo Exhibition, 2577 Creative Garden, Shanghai
China’s Cutting Edge: New Video Art From Shanghai and Beijing,
Anthology Film Archives, New York The Thirteen: Chinese Video Now,
PS1 Contemporary Art Center, Long Island City, New York A Continuous
Dialogue, Galleria Continua, San Gimignano; Beijing China Power Station:
Part I, Battersea Power Station, London 28nd International Biennial of
Sao Paolo, Sao Paolo Never Go Out Without My DV Cam- video art from
China, ICO Foundation, Madrid
210
PAK SHEUNG CHUEN
Nato nel 1977 a Fujian
Istruzione
Education
2002
QIU ANXIONG
Born 1977 in Fujian
Nato nel 1972 a Sichuan
Chinese University of Hong Kong
Vive e lavora a Hong Kong
Istruzione
Education
1994
2003
Born 1972 in Sichuan
Sichuan Art Academy
Kunsthochschule of University, Kassel
Lives and works in Hong Kong
Vive e Lavora a Shanghai
2010
Hong Kong Diary, Response Exhibition of the 53rd Venice
Biennale, Hong Kong Exhibition, Hong Kong Museum of Art, Hong Kong
One Day, the shop, Beijing Repainting the Map of Memories: Macao Stop,
Ox Warehouse, Macao A Travel Without Visual Experience – Response
Exhibition of the 53rd Venice Biennale – Hong Kong Exhibition, GuangDong
Museum of ART, Guangzhou
2009
Making (Perfect) World: Harbour, Hong Kong, Alienated
Cities and Dreams, 53rd Venice Biennale – Hong Kong Pavillion, Venice All
Days, All Nights, Vitamin Creative Space, Guangzhou
2008
Pak Sheung Chuen Solo, Vitamin Creative Space,
Guangzhou Page 22, 58th Street Branch Library, New York
2006
Artysta z Hong Kongu, WAA Art Space, Warsaw
2010
Jungle – A Close-Up Focus on Chinese Contemporary
Art Trends, Platform China Contemporary Art Institute, Beijing
2009
Louis Vuitton: A Passion for Creation, Hong Kong
Museum of Art, Hong Kong The First Stop on the Super Highway, The
Nam June Paik Art Center, Seoul Charming Experience, Hong Kong
Museum of Art, Hong Kong China China China!!! Chinese Contemporary
Art beyond the Global Market, Sainsbury Centre For Visual Arts, Sainsbury
Venice Biennale 53rd International Art Exhibition, Venice
2008
Yokohama 2008: International Triennials of
Contemporary Art, Yokohama Guangzhou Triennials 2008, Guangzhou
Museum of Art, Guangzhou Sprout from White Night, Bonniers konsthall,
Stockholm Connection, Hanart Gallery, Beijing Map Games, Today
Art Gallery, Beijing Du Dialogue Social, Motorenhalle, Dresden
Ethnographies of the Future, Rotunda Gallery, New York China China
China!!! Chinese Contemporary Art beyond the Global Market, Palazzo
Strozzi, Florence Everyday Anomalies, Phoenix Art, Brighton Dare to
Struggle, Dare to Win, Deutsche Bank Gallery, New York
2007
of Modern Art, Oslo Reversing Horizons, Artist Reflections of the Hong
Kong Handover 10th Anniversary, MOCA, Shanghai I Love Mongkok,
Langham Place, Hong Kong Out Look Shenzhen, Coco Park, Shenzhen
Airport: Flying thought, Space E6, ShenZhen China’s Performance
Art Photography, 798 Inter Art Center, Beijing The Reading Records of
Cities, 798 M Art Space, Beijing Stranger, Contemporary Art Factory, Tokyo
Arrivals and Departures: New Art Perspectives of Hong Kong, Urbis,
Manchester
2006 hk.cityu.hk: an art exhibition by Luke Ching and Tozer
Pak, CityU Gallery, Hong Kong Prison Art Museum, Victoria Prison, Hong
Kong Busan Biennale 2006, Busan Contemporary Museum, Busan
Yellow Box Art Project, Shanghai Realm with No Coordinates, NTUE Nan
Hai Gallery, Taipei
5
biografie
2010
Qiu Anxiong: New Book of Mountains and Seas, Spencer
Museum of Art, Lawrence, KS
2009
Utopia, Arken Museum of Modern Art, Copenhagen
Nostalgia, 4A Gallery, Sydney About “New Book of Mountains and Seas”,
Boers-Li Gallery, Beijing Temptation of The Land, Barbara Gros
Gallery, Munich
2008
Nostalgia, Bund18 creative Centre, Shanghai
2007
Staring into Amnesia, Universal Studio, Beijing Qiu
Anxiong Exhibition, Museum of Contemporary Art Tokyo, Tokyo Minguo
Landscape, Grace Li Gallery, Zurich
2006
Animation and Painting by Qiu Anxiong, Hanart TZ
Gallery, Hong Kong
2008
Other, 11th Cairo Biennale, Cairo Zeichen im Wandel
Der Zeit, Chinese contemporary ink painting, Staatliche Kunstsammlungen
Dresden, Staatliche Museen zu Berlin Moving Horizon, UBS Art Collection,
The National Art Museum of China, Beijing 5th Media Biennale, Seoul
Mediations Biennale, Pozna We Are The World, contrast gallery, Shanghai
3rd Triennial of Guangzhou, Guanghzou 16th Biennale of Sydney, Sydney
Still&Motion, National Musem of Modern Art Osaka, Osaka Four
Season, China Fine Art Institute, Hangshou China Power Station: Part III,
MUDAM , Luxembourg
2007
Video Lounge, Kunsthaus, Zurich China Power
Station: Part II, Astrup Fearnley Museum of Modern Art, Oslo Animation
Painting, San Diego Museum of Art, San Diego Animated Histories, Noga
Gallery, Tel Aviv Chinese Ink Painting, Guan Shanyue Museum, Shenzhen
Contemporary Visual Art Project SA 2007, The Contemporary Art Centre
of South Australia, Adelaide Art Lan@Asia, Yokohama Zaim Art Center,
Yokohama
2006
China Power Station: Part I, Battersea Power
Station, London Restless, Museum of Contemporary Art, Shanghai
6th biennial Shanghai, Shanghai Art Museum, Shanghai Entry Gate:
Chinese Aesthetics of Heterogeneity, MoCA, Shanghai Twelve CCAA
Contemporary Art Awards Shanghai, Zhengdai Museum of Modern Art,
Shanghai A Yellow Box in Qingpu – Contemporary Art and Architecture
in a Chinese Space, Xiao Ximen (Minor West Gate), Qingpu Town, Shanghai
china
power station
211
5
SONG TAO
Nato a Shanghai nel 1979
Istruzione
Education
2000
Shanghai School of Arts and Crafts
BIRD HEAD (JI WEIYU & SONG TAO)
Born 1979 in Shanghai
Ji Weiyu
Song Tao
Istruzione
Education
2000 nato nel 1980 a Shanghai
nato nel 1979 a Shanghai
Shanghai School of Arts and Crafts
Vivono e lavorano a Shanghai / Live and work in Shanghai
2007 Overcoming the Anxiety of Displacement, Song Tao
and B6’s Video Installation, Yard, MoCA Conference Room, 2F, Shanghai
2006 Ya Cinema - Song Tao’s solo exhibition, 2577 Longhua
Road, Xuhui district, Shanghai
2010 Will to Height, Contemporary Art Exhibition, epSITE,
Shanghai
2009 Shanghai History in Making from 1979 till 2009, 436
Jumen Rd., Shanghai Shanghai Kino, Shanghai Kino, Kunsthalle Bern,
Bern Another scene - artists’ projects, concepts and ideas, ShanghART
H-Space, Shanghai Mahjong: Contemporary Chinese Art from the Sigg
Collection, Peabody Essex Museum, Salem
2008 Five Years of Duolun: Chinese Contemporary Art
Retrospective Exhibition, Shanghai Duolun Museum of Modern Art, Shanghai
Fokus Kina, Riksutställningar, Swedish Travlling Exhibitions, Museum
of Far Eastern Antiquities, Sweden
2007 Passages-passagen-pasaze, videos presented in
Bratislava (Panenska street); transmitted electronically to the Jeu de
Paume in Paris, the Goethe Institut, New York; g-mk art center, Zagreb
China – Facing Reality, Museum of Modern Art Ludwig Foundation, Wien
Wuhan 2nd Documentary Exhibition of Fine Arts, Hubei Museum of Art,
Wuhan China Power Station: Part II, Astrup Fearnley Museum of Modern
Art, Oslo Rejected Collection, More than 40 Chinese Artists /Over 60
Rejected Proposals, Ke Center for Contemporary Arts, Shanghai Keep an
Eye on China, N.O.Gallery, Milan Remote Control, Museum of Contemporary
Art Shanghai, Shanghai Gan She Intervention, Various Places, Shanghai
2006 Alllooksame? Tutttuguale? Art from China,
Korea, Japan, Fondazione Sandretto Re Rebaudengo, Torino China
Contemporary, Architecture, Art and Visual Culture, Netherlands
Architecture Institute; Museum Boijmans Van Beuningen, Rotterdam
Solo Exhibition, 2577 Creative Garden, Shanghai Mahjong: Contemporary
Chinese Art from the Sigg Collection, Hamburger Kunsthalle, Hamburg
China Power Station: Part I, Battersea Power Station, London Restless,
Photography and New Media, MoCA, Shanghai
2008 Landscape, ShanghART Gallery, Shanghai Landscape,
Birdhead Solo Exhibition, ShanghART F-Space, Shanghai
2007 Birdhead 2006+2007, Photography Show by Song Tao,
Ji Weiyu, Shanghai BizArt Art Center, Shanghai
2005 Welcome to Bird Head World, Photography by Bird Head
2004 – 2005, ShanghART H-Space, Shanghai
Group Show, ShanghART Gallery, Shanghai China International Gallery
Exposition 2010, Art Fairs Exhibition Hall of the China World Trade Centre,
Beijing Make Over, OV Gallery, Shanghai
2009 B.A.G Art Project, ShanghART Gallery, Shanghai
Emporium, A New Common Sense of Space, The National Museum of
Science and Technology Leonardo da Vinci, Milano Reversed Images:
Representations of Shanghai and Its Contemporary Material Culture,
Museum of Contemporary Photography at Columbia College, Chicago 2009
German Week: Every Human Being is an Artist, Times Square, Shanghai
Shanghai History in Making from 1979 till 2009, Shanghai Warm Up,
Minsheng Art Museum, Shanghai MUTE, ShanghART Gallery, Shanghai
Art Economies beyond Pattern Recognition, Osage gallery, Shanghai
Another scene – artists’ projects, concepts and ideas, ShanghART H-Space,
Shanghai China Now, The Edge of Desire, Lillian Heidenberg Fine Art, Max
Lang Gallery, New York Up close, far away, Kunstverein, Heidelberg
2008 Hybrid, ShanghART Gallery, Shanghai Insomnia
Photographs Exhibition, Bizart Art Center, Shanghai The World of Other’s:
A Contemporary Art Exhibition, Museum of Contemporary Art, Shanghai
Art Multiple 2008, Ke Center for the Contemporary Arts, Shanghai New
Photography in China, One of the Largest Surveys of Emerging Photography
Talent from China, Hong Kong Fringe Club; Hong Kong Art Center, Honk Kong
2007 Celebrating, Chinese Contemporary Photography
Exhibition, epSITE, Shanghai China Power Station: Part II, Astrup
Fearnley Museum of Modern Art, Oslo Individual Position 2, Video, Photo,
and Installation, ShanghART H-Space, Shanghai
212
SUN XUN
Nato nel 1980 a Fuxin
Istruzione
Education
2005 2001 Born 1980 in Fuxin
China Academy of Fine Arts, Print-making Department
Art High School of China Academy of Fine Arts
Lives and works in Bejing
2010
After Doctrine, Yokohama Creativecity Center, Yokohama
2009
Sun Xun Solo Exhibition, ZIAM Gallery, Yokohama
Animals, Sun Xun solo exhibition, Max Protetch Gallery, New York Sun
Xun: The Dark Magician of New Chinese Animation, Pacific film archive
Theater, California University of Berkeley, Berkeley Sun Xun: The Dark
Magician of New Chinese Animation, California Institute of Arts, Los Angeles
His Story, Sun Xun Solo Exhibition, ShanghART H-Space, Shanghai
People’s Republic of Zoo, University of Essex Gallery, Colchester Sun Xun:
Shock of Time, The Drawing Center, New York
2008 The New China, Hammer Museum, Los Angeles Coal
Spell, Platform China project space, Beijing
2007 Mythos, Sun Xun Solo Exhibition, ShanghART F-Space,
Shanghai
Hybrid, ShanghART at Huaihai Rd 796, Shanghai Future Sky – Chinese
Contemporary Young Nomination Exhibition, Today Art Museum, Beijing
Multiple Realities, Beijing In-Between, Asia Video Art Weekend, Mori
Art Museum, Tokio Mellow Fever, Galerie des Galeries, Paris Crouching
Paper, Hidden Dragon, Works on Paper, F2 Gallery, Beijing Fokus Kina,
Riksutställningar, Swedish Travelling Exhibitions, Museum of Far Eastern
Antiquities, Stockholm
2007
Refresh: Chinese Emerging Artists, ARARIO, Beijing
Amateur World, Platform China Contemporary Art Institute, Beijing
Refresh: Chinese Emerging Artists, Zendai Museum of Modern Art, Shanghai
China Power Station: Part II, Astrup Fearnley Museum of Modern Art,
Oslo Shouting Truth, A Contemporary Art Exhibition, Platform China
Contemporary Art Institute, Beijing
2006
Gifts 2: A Case of Contemporary Art, Fanren Villa,
Hangzhou It’s All Right, Contemporary Art Exhibition, Hu Qing Tang
Museum of Traditional Chinese Medicine, Hangzhou Second Shanghai
Duolun Exhibition of Young Artists, Shanghai Duolun Museum of Modern
Art, Shanghai Solo Exhibition, 2577 Creative Garden, Shanghai Image
Flux: China, Guangzhou A Yellow Box in Qingpu: Contemporary Art and
Architecture in a Chinese Space, Xiao Ximen (Minor West Gate), Qingpu
Town, Shanghai Chaos City, Universal Studios, Beijing
2010
ShContemporary 2010, Art Fairs Shanghai Aichi
Triennale 2010, Arts and Cities, Aichi Arts Center, Nagoya City Art Museum,
the Choja-machi area, Nagoya ShanghART Group Show, ShanghART
Gallery, Shanghai Group Show in ShanghART HHL796, ShanghART at
Huaihai Rd 796, Shanghai MU: Screen, Three Generations of Chinese
Video Art, UTS Gallery, Sydney Thirty Years of Chinese Contemporary Art,
Minsheng Art Museum, Shanghai Looking through Film: Traces of Cinema
and Self-Constructs in Contemporary Art, OCT Contemporary Art Terminal
Of He Xiangning Art Museum, Shen Zhen Jungle: A Close-Up Focus on
Chinese Contemporary Art Trends, Platform China, Beijing Winter Group
Show, ShanghART, Beijing
2009 13th Microwave Internation New Media Arts Festival,
Hong Kong Heritage Discovery Centre, Hong Kong 2009 International
Festival for Arts and Media Yokohama, Yokohama 2009 Impakt
Festival, Utrecht Double Happiness, Leonhardi Kulturprojekte,
Frankfurt Rebirth, Art meets Architecture, 800Show Creative Center,
Shanghai The Shape of Things to Come, 140 sqm Gallery, Shanghai
Generation Hangzhou 2.0, F2 Gallery, Beijing China Narratives, The
Fourth Chengdu Biennale, Chengdu Contemporary Art Museum, Chengdu
Shahzia Sikander & Sun Xun, Smithsonian Museum Freer and Sackler
Gallery, Washington D.C. Metamorphosis, ShanghART at Huaihai Rd 796,
Shanghai The Tree, James Cohan Gallery, Shanghai Yi Pai – Century
Thinking – A Contemporary Art Exhibition, Today Art Museum, Beijing
Shanghai Kino, Shanghai Kino, Kunsthalle Bern, Bern Speak
Describe – 2009 Cross – strait Contemporary Art, Taiwan Museum of Fine
Arts, Taiwan Blackboard, ShanghART H-Space, Shanghai What has
been happening here?, The Inaugural Exhibition of Chinese Independent
Film Archive, Iberia Center for Contemporary Art, Bejing In the Mood For
Paper, F2 Gallery, Beijing Another scene – artists’ projects, concepts and
ideas, ShanghART H-Space, Shanghai New Work from China, Painting,
Photography & Video, Fortune Cookie Projects Singapore, HT Contemporary
Space, Singapore
2008
Five Years of Duolun: Chinese Contemporary Art
5
biografie
china
power station
213
5
XU ZHEN
Nato nel 1977 a Shanghai
Istruzione
Education
1996 Born 1977 in Shanghai
Shanghai Arts & Crafts Institute
2010 Xu Zhen – Video Works, Galerie Waldburger, Bruxelles
2009 MadeIn – Seeing One’s Own Eyes, Europalia.China,
S.M.A.K., Gent Lonely Miracle: Middle East Contemporary Art, James
Cohan Gallery, New York The Last Few Mosquitos, Ikon Gallery, Birmingham
2008 Impossible Is Nothing, Xu Zhen Solo Exhibition, Long
March Space, Beijing Xu Zhen, Folkert de Jong, and Martha Colburn, Xu
Zhen Shanghart Supermarket, James Cohan Gallery, New York Just did
It!, James Cohan Gallery, New York Untitled, Xu Zhen Solo Exhibition,
ShanghART Gallery, Shanghai
2006 Xu Zhen: 8848 - 1.86, ShanghART H-Space, Shanghai
8848 - 1.86, Xu Zhen Solo Exhibition, Museum Boijmans Van Beuningen,
Rotterdam An Animal – Xu Zhen’s solo exhibition, 2577 Longhua Road,
Xuhui district, Shanghai
2010 All about the Bed, ShanghART Gallery, Shanghai
Winter Group Show, ShanghART, Beijing
2009 ShanghART Group Show, ShanghART Gallery, Shanghai
The State of Things, Centre for Fine Arts, Bruxelles Reversed Images:
Representations of Shanghai and Its Contemporary Material Culture,
Museum of Contemporary Photography at Columbia College, Chicago
Useful Life Europalia.China, MuHKA, Antwerpen Shanghai History in
Making from 1979 till 2009, Shanghai Warm Up, Minsheng Art Museum,
Shanghai The Conspiracy, Kunsthalle Bern, Bern Retrospect and
Exploration, Hu Bei Museum of Art, Wuhan Shanghai Kino, Shanghai
Kino, Kunsthalle Bern, Bern Blackboard, ShanghART H-Space, Shanghai
The China Project – Three Decades: The Contemporary Chinese Collection,
Queensland Art Gallery, Queensland Mahjong: Contemporary Chinese
Art from the Sigg Collection, Peabody Essex Museum, Salem Fact and
Fiction, Recent works from The UBS Art Collection, Guangdong Museum of
Art, Guangzhou
Life? Biomorphic Forms in Sculpture, Kunsthaus Graz, Graz Insomnia
Photographs Exhibition, Bizart Art Center, Shanghai Farewell to PostColonialism, The Third Guangzhou Triennial, Guangdong Art Museum,
Guangzhou Avant-Garde China: Twenty Years of Chinese Contemporary
Art, The National Art Center, Tokyo; The National Museum of Art, Osaka; Aichi
Prefectural Museum of Art, Nagoya Our Future, The Guy & Myriam Ullens
Foundation Collection, Ullens Foundation, Beijing
The World of Other’s:
A Contemporary Art Exhibition, Museum of Contemportary Art, Shanghai
Like Animals (Comme des betes), Musee cantonal des beaux-arts de
Lausanne, Lausanne Building Code Violations II, Long March Space,
Beijing The Real Thing, Contemporary Art from China, IVAM, Valencia
2007 Highlights in the Visual Landscape, Contemporary
Art Exhibition, A-9 Space, Beijing China – Facing Reality, Museum of
Modern Art Ludwig Foundation, Vienna The First Today’s Documents
2007, Energy: Spirit – Body – Material, Today Art Museum, Beijing
Wuhan 2nd Documentary Exhibition of Fine Arts, Hubei Museum of
Art, Wuhan Tomorrow, Kumho Museum of Art; Artsonje Center, Seoul
10th International Istanbul Biennial, Not only Possible, But also
Necessary – Optimism in the Age of Global War, Istanbul China Power
Station: Part II, Astrup Fearnley Museum of Modern Art, Oslo Rejected
Collection, More the 40 Chinese Artists /Over 60 Rejected Proposals, Ke
Center for Contemporary Arts, Shanghai China Welcomes You, Desires,
Struggles, New Identities, Kunsthaus Graz, Graz A l’horizon de ShangriLa, Frac, Lorraine Zhuyi! Contemporary Chinese Photography, Artium:
Basque Museum – Center of Contemporary Art; Vitoria-Gasteiz The Real
Thing, Contemporary Art from China, Tate Liverpool, Liverpool
2006 Nunca salgo sin mi camara – Never Go Out Without My
DVcam, video en China, Museo Colecciones ICO, Madrid Alllooksame?
Tutttuguale? Art from China, Korea, Japan, Fondazione Sandretto Re
Rebaudengo, Torino The Thirteen: Chinese Video Now, Platform China
Contemporary Art Institute, Beijing China Contemporary, Architecture,
Art and Visual Culture, Netherlands Architecture Institute; Museum
Boijmans Van Beuningen; Netherlands fotomuseum, Rotterdam Mahjong:
Contemporary Chinese Art from the Sigg Collection, Hamburger Kunsthalle,
Hamburg China Power Station: Part I, Battersea Power Station, London
On Mobility, De Appel, Amsterdam Restless, Photography and New
Media, MoCA, Shanghai
214
XUE TAO
Nato nel 1975 a Dali
Istruzione
Education
1998
YANG FUDONG
Born 1975 in Dali
Nato nel 1971 a Beijing
University of Suzhou, Art Department
Vive e lavora tra Pechino e Yunnan
and Yunnan
Lives and works between Beijing
2007
Everyday Extraordinary, Contrasts Gallery, Shanghai
Everyday Extraordinary, Contrasts Gallery, Beijing
2010 16 Years Hong Xin (Red Heart) Art Commune, White Box
Museum of Art, 798 Art District, Beijing Added Value – Negative Value,
Deji Plaza, Nanjing Productivity – China in The Time of Replication, White
Box Museum of Art, 798 Art District, Beijing Eco-friendly Art Festival
of College Association, Building A, Chaowai Soho, Beijing Fairytale,
Vanguard Gallery, Moganshan 50, Shanghai
2009 One-volume Edition – 2008, Kunming Art Loft Community,
Kunming Weekend, Fangying space, 798 Arts District, Beijing
2008
14 Years, Hong Xin Art Commune Sixth Joint
Exhibition, Beijing 798, FangYin Gallery and Yunnan University Museum,
Kunming China Power Station: Part III, MUDAM, Luxembourg The
Identity and Transformation of Chinese Contemporary Art 2, Kalmar Castle
2007
Rewind«Remix»Fastforward: Chinese Contemporary
Art, Contrasts Gallery, Shanghai The Essence of Chinese Sensibilities:
Contemporary Art and Design, Contrasts Gallery, Shanghai The Identity
and Transformation of Chinese Contemporary A1t 1, Bohusl Museum
China Power Station: Part II, Astrup Fearnley Museum of Modern Art, Oslo
Images of Desire1, Songzhuang Art Center, Beijing
2006
Jianghu, 55 Gallery, Shanghai Contrasts and
Contradictions – Chapter 1: Crossovers – Beyond Art & Design, Contrasts
Gallery, Shanghai 12 Years, Hong Xin Art Commune Fifth Joint Exhibition,
Kunming
5
biografie
Istruzione
Education
1995 Born 1971 in Beijing
Hangzhou China Academy of Fine Arts
2010 Yang Fudong, Seven Intellectuals in a Bamboo Forest
and Other Stories, National Museum of Contemporary Art, Athens Yang
Fudong Solo Exhibition, Kino Kino, Sandnes
2009 Yang Fudong: the General’s Smile, Hara Museum, Tokyo
Dawn Mist, Separation Faith, Yang Fudong’s Solo Exhibition, Shanghai
Zendai Museum of Modern Art, Shanghai Yang Fudong: East of Que
Village, 2007, Marian Goodman Gallery, New York Yang Fudong: Seven
Intellectuals in a Bamboo Forest, Asia Society and Museum, New York
Yang Fudong, East of Que Village, MuHKA Media, Antwerpen Yang
Fudong, Seven Intellectuals in the Bamboo Forest Part 1-5, Paco das Artes
Organizao Social de Cultura, Sao Paulo Yang Fudong, MCA Denver, Denver
2008 Yang Fudong, Marian Goodman Gallery, Paris Yang
Fudong: Seven Intellectuals in Bamboo Forest, part one, Espoo Museum
of Modern Art, Tapiola Yang Fudong – The Seven Intellectuals in the
Bamboo Forest Part 1-5, Jarla Partilager, Stockholm Yang Fudong, East
of Que Village, ShanghART Gallery, Shanghai Yang Fudong, Museo de Arte
Contemporáneo Esteban Vicente, Spain
2007 No Snow on the Broken Bridge, Yang Fudong Solo
Exhibition, ShanghART H-Space, Shanghai
2006 Annette Messager & Yang Fudong, Marian Goodman
Gallery, New York Half Hitching Post, Yang Fudong’s solo exhibition,
2577 Longhua Road, Xuhui district, Shanghai No Snow on the Broken
Bridge, Parasol Unit, London
2010 Useful Life 2010, ShanghART H-Space, Shanghai
Aichi Triennale 2010, Arts and Cities, Aichi Arts Center, Nagoya City Art
Museum, Nagoya Portrait, ShanghART Gallery, Shanghai ShanghART
Group Show, ShanghART Gallery, Shanghai
Nature of China – 2010
Contemporary Art Documenta, the official opening exhibition of True Color
Museum, True Color Museum, Suzhou Roundtrip: Beijing – New York Now,
Selections from the Dumus Collection, UCCA, Beijing Reshaping History:
Chinart from 200-2009, The Theme, China National Convention Center,
Beijing All about the Bed, ShanghART Gallery, Shanghai Re-Imagining
the Real, Photography Show of Gao Lei, Shi Guorui, Yang Fudong,
Zhuang Hui, Yuz Museum, Jakarta Jungle: A Close-Up Focus on Chinese
Contemporary Art Trends, Platform China, Beijing Shanghai, Asian Art
Museum, San Francisco
2009 Breaking Forecast, 8 Key Figures of China’s New
Genration Artists, UCCA, Beijing The State of Things, Centre for Fine
Arts, Brussels Collision, Experimental Cases of Contemporary Chinese
Art, CAFA Art Museum, Beijing Reversed Images: Representations of
Shanghai and Its Contemporary Material Culture, Museum of Contemporary
Photography at Columbia College, Chicago The Symbolic Efficiency of
the Frame, T.I.C.A.B – Tirana International Contemporary Art Biannual, Tirana
Institute for Contemporary Art, Tirana Useful Life Europalia.China, MuHKA,
Antwerpen Bourgeoisified Proletariat, Shanghai Songjiang Creative
Studio, Shanghai Shanghai History in Making from 1979 till 2009, 436
Jumen Rd., Shanghai First Annual Conference of Collectors of Chinese
Contemporary Art, Hejingyuan Art Museum Warm Up, Minsheng Art
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5
YANG FUDONG
Museum, Shanghai Shanghai Kino, Shanghai Kino, Kunsthalle Bern,
Bern The China Project – Three Decades: The Contemporary Chinese
Collection, Queensland Art Gallery, Queensland Another scene – artists’
projects, concepts and ideas, ShanghART H-Space, Shanghai
Retrospective Exhibition, Shanghai Duolun Museum of Modern Art,
Shanghai Moscow On the Move, GCCC Offsite Project, Garage,
Center for Contemporary Culture, Moscow I Still Believe in Tomorrow,
Contemporary Video From Asia, Museum of Fine Arts, Houston Sprout
from White Nights, A Meeting with Chinese Contemporary Art, Bonniers
Konsthall, Stockholm The 5th Seoul International Media Art Biennale,
Seoul Museum of Art, Seoul Farewell to Post-Colonialism, The Third
Guangzhou Triennial, Guangdong Art Museum, Guangzhou Avant-Garde
China: Twenty Years of Chinese Contemporary Art, The National Art Center,
Tokyo; The National Museum of Art, Osaka; Aichi Prefectural Museum of Art,
Nagoya Our Future, The Guy & Myriam Ullens Foundation Collection,
Ullens Foundation, Beijing The World of Other’s: A Contemporary
Art Exhibition, Museum of Contemportary Art, Shanghai Shanghai
Kaleidoscope, Royal Ontario Museum, Toronto Community of Tastes, The
Inaugural Exhibition of Iberia Center for Contemporary Art, Iberia Center
for Contemporary Art, Beijing Artseason, The Third China New Media Art
Festival, China Art Academy, Hangzhou 21st Century China. Art between
Identity and Transformation, Palazzo delle Esposizioni, Rome Still/
Motion, Liquid Crystal Painting, Mie Prefectural Art Museum, Osaka; National
Museum of Art, Osaka; Tokyo Metropolitan Museum of Photography, Tokyo
The Real Thing, Contemporary Art from China, IVAM, Valencia
2007 Counterpoint, Bund 18 Creative Center, Shanghai The
Alchemy of Shadows, Lianzhou International Photo Festival 2007, Lianzhou
The First Today’s Documents 2007, Energy: Spirit – Body – Material,
Today Art Museum, Beijing China Power Station: Part II, Astrup Fearnley
Museum of Modern Art, Oslo Talking Pictures, Text, Theatricality and
Timing in Contemporary Art, K21 Kunstsammlung Nordrhein-Westfalen,
Duesseldorf Individual Position 2, Video, Photo, and Installation,
ShanghART H-Space, Shanghai The Invention of the Present,
Representations of everyday life in Chinese contemporary photography,
Centro Casa Asia, Madrid Thermocline of Art, New Asian Waves, ZKM
Center for Art and Media, Karlsruhe Think with the Senses – Feel with
the Mind, 52nd International Art Exhibition Venice Biennale, Venice
Deviate, The 1st Anhui Chinese Contemporary Art Exhibition, Gold Zone,
Hefei, Anhui Zhuyi!, Contemporary Chinese Photography, Artium; Basque
Museum – Center of Contemporary Art; Vitoria-Gasteiz The Real Thing,
Contemporary Art from China, Tate Liverpool, Liverpool
2006 Art in Motion, MoCA, Shanghai Entry Gate: Chinese
Aesthetics of Heterogeneity, MoCA, Shanghai China Contemporary,
Architecture, Art and Visual Culture, Netherlands Architecture Institute;
Museum Boijmans Van Beuningen; Netherlands fotomuseum, Rotterdam
Solo Exhibition, 2577 Creative Garden, Shanghai Microcosm, Chinese
Contemporary Art, Macao Museum of Art (Macao Culture Centre), Macao
The 5th AsiaPacific Triennial of Contemporary Art (APT5), Gallery of Modern
Art, Queensland Art Gallery, Queenslansd China Power Station: Part I,
Battersea Power Station, London
ZHANG DING
Nato nel 1980 nella provincia di Gansu
Born 1980 in Gansu Province
Istruzione
Education
2003
Hangzhou China Academy of Art, New Media
Art Department
1998
Gansu province North West Minority University,
Oil Painting Department
2009
Law, Zhang Ding Solo Exhibition, ShanghART, Beijing
2008
Wind, Krinzinger Projekte, Vienna
2007
TOOLS, ShanghART Gallery, Shanghai N Kilometers
Towards the West, ShanghART F-Space, Shanghai
2010
Last words – Phase 1, 4A Centre for Contemporary Asian
Art, Sydney Portrait, ShanghART Gallery, Shanghai Group Show in
ShanghART HHL796, Shanghai Fairy Tale, Vanguard gallery, Shanghai
Jungle: A Close-Up Focus on Chinese Contemporary Art Trends, Platform
China, Beijing The Tell-Tale Heart, James Cohan Gallery, Shanghai
Winter Group Show, ShanghART, Beijing
2009
Bourgeoisified Proletariat, Shanghai Songjiang Creative
Studio, Shanghai Shanghai History in Making from 1979 till 2009, 436
Jumen Rd., Shanghai Warm Up, Minsheng Art Museum, Shanghai
Portrait of the Youth, J&Z Gallery, Shenzhen Shanghai Kino, Shanghai
Kino, Kunsthalle Bern, Bern Blackboard, ShanghART H-Space, Shanghai
Another scene – artists’ projects, concepts and ideas, ShanghART H-Space,
Shanghai
2008
Insomnia Photographs Exhibition, BizArt Art Center,
Shanghai Young Artisits Group Exhibition, ShanghART F-Space, Shanghai
China Power Station: Part III, MUDAM, Luxembourg Building Code
Violations II, Long March Space, Beijing
2007
of Modern Art, Oslo Individual Position 2, Video, Photo, and Installation,
ShanghART H-Space, Shanghai 没lost丢失ing, Hangzhou
2006
It’s All Right, Contemporary Art Exhibition, Hu Qing
Tang Museum of Traditional Chinese Medicine, Hangzhou A lot of Dust 2,
ShanghART H-Space, Shanghai Solo Exhibition, 2577 Creative Garden,
Shanghai Restless, Photography and New Media, MoCA, Shanghai
216
ZHOU TAO
Nato nel 1976 nella provincia di Hunan
Hunan province
Istruzione
Education
2006
2001 – 2006
ZHOU ZIXI
Born 1976 in
Nato nel 1970 a Nanchang
Guangzhou Fine Arts Academy, M.A. of Mixed Media Study
Guangzhou Fine Arts Academy, Oil Painting Department
Istruzione
Education
1992 1988 East China Normal University, Art Department
Jiangxi Normal University, Chinese Department
Vive e lavora in Guangzhou
Born 1970 in Nanchang
Lives and works in Guangzhou
2009
1234 – Media Test Wall, MIT List Visual Arts Center,
Cambridge
2010
Non-Aligned, Marina Abramovic Institute West, San
Francisco Yes, But – , Location One, New York
2009
Third ICP Triennial of Photography and Video,
International Center of Photography, New York Dress Codes, Third ICP
Triennial of Photography and Video, International Center of Photography, New
York Double Happiness, Leonhardi Kulturprojekte, Frankfurt The Big
World: Recent Art from China, Chicago Cultural Center, Chicago Portrait
of Self-Exile, Vitamin art space and the Shop, Beijing Louis Vuitton: A
Passion for Creation, Hong Kong Museum of Art, Hong Kong Species of
Spaces, Vitamin Art Space in Art 40 Basel, Basel
2008
Trans Local Motion, 7th Shanghai Biennale, Shanghai Art
Museum, Shanghai China Power Station: Part III, MUDAM, Luxembourg
Depart-Guangdong Hong Kong Macau, He Xiang Ning art Museum / OCT
Art Center, Shenzhen Guangzhou Station – Special Exhibition of
Contemporary Art of Guangdong, Guangdong Museum of Art, Guangzhou
2007
China Power Station: part II, Astrup Fearnley Museum
of Modern Art, Oslo Changes – video art from China, 24HR Art, Darwin, NT,
Sydney Tridimensional Scene, Art Beijing 2007, Platform China, Beijing
2006
Women shi gaibian (La rivoluzione siamo noi), Isola
d’Arte, Milano Accumulation – CantonExpress, Tang Contemporary Art
Center, Beijing Gambling, Para/Site Art Space, Hong Kong Asia-Pacific
Documentary Video and Film Festival, Asia-Australia Arts Center, Sydney
Shift, Guangdong Museum of Art, Guangzhou
5
biografie
2008 China 1946-1949 – Zhou Zixi Solo Exhibition, ShanghART
H-Space, Shanghai
2006 Interiors, BüroFriedrich, Berlin Under the Blue Sky,
Grace Li Gallery, Zuerich
Group Show, ShanghART Gallery, Shanghai Group Show in ShanghART
HHL796, ShanghART at Huaihai Rd 796, Shanghai All about the Bed,
2009 Shanghai History in Making from 1979 till 2009, 436
Jumen Rd., Shanghai MUTE, ShanghART Gallery, Shanghai Not Related,
Huang Kui, Xiang Liqing, Zhou Zixi – 3 Artists’ Exhibition, ShanghART at
Huaihai Rd 796, Shanghai Another scene – artists’ projects, concepts
and ideas, ShanghART H-Space, Shanghai
2008 Hybrid, ShanghART at Huaihai Rd 796, Shanghai
2007 The First Today’s Documents 2007, Energy: Spirit –
Body – Material, Today Art Museum, Beijing China Power Station: Part
II, Astrup Fearnley Museum of Modern Art, Oslo Individual Positions 1,
2006 Future Landscapes, Duolun Museum of Modern Art,
Shanghai Under the Skin, Universal Studios, Beijing
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217
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sponsor
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La Fondazione Italia Cina
La Fondazione Italia Cina nasce a Milano nel novembre 2003 per volere di Cesare Romiti, che
da Presidente dell’Istituto Italo Cinese, creato negli anni settanta dal Senatore Vittorino
Colombo, vuole imprimere un maggiore impulso ai rapporti tra Italia e Cina.
La Fondazione è un’organizzazione senza fini di lucro che ha, tra i suoi obiettivi, la promozione
degli scambi economici e culturali tra Italia e Cina, il miglioramento dell’immagine della
presenza dell’Italia in Cina, la realizzazione di un diverso posizionamento strategico delle
realtà imprenditoriali italiane e la promozione del Made in Italy e delle eccellenze italiane.
Il patrocinio di eventi culturali di livello internazionale sia in Italia che in Cina è in linea con
la mission della Fondazione di migliorare le relazioni tra i due paesi, soprattutto attraverso
iniziative che favoriscano una maggiore conoscenza della rispettiva storia e cultura.
Tra le varie attività ricordiamo:
•
•
•
•
•
I workshop e i corsi di formazione “Business China”, in collaborazione con le più
importanti scuole di business internazionali, con lo scopo di aggiornare le aziende e il loro
personale.
La Scuola di Formazione Permanente di Lingua e Cultura Cinese e il progetto “Uni-Italia”
per l’attrazione di studenti cinesi negli Atenei italiani.
Gli “Incontri della Fondazione”, incontri con esponenti del mondo politico ed economico
cinese ed italiano.
Le attività di consulenza, come ricerca di partner commerciali e redazione di analisi
di mercato.
Gli eventi come “Storie di successo italiane in Cina” per conoscere i case-studies di
successo di imprese italiane sul mercato cinese, e i “China Awards”, premiazione delle
imprese italiane che meglio hanno colto le opportunità sul mercato cinese e delle imprese
cinesi che meglio hanno colto le opportunità sul mercato italiano.
La Fondazione Italia Cina annovera tra i suoi soci: il Ministero degli Affari Esteri, il Ministero
dello Sviluppo Economico, il Ministero per i Beni e le Attività Culturali e il Ministero
dell’Istruzione, dell’Università e della Ricerca, Regioni, la Confindustria; importanti aziende
come: Eni, Enel, Fiat, Impregilo, Pirelli, Agusta Westland, RCS, Bracco, Gruppo Radici, MTS
Merloni, Brembo, Gregotti Associati International, Huawei, Istituto Europeo di Design,
Italcementi, Manuli Rubber Industries, e gruppi finanziari e assicurativi come Banca Intesa
San Paolo, Unicredit Group, Assicurazioni Generali, Monte dei Paschi di Siena e Rothschild.
Per informazioni: www.italychina.org
Ufficio Stampa Fondazione Italia Cina
Paola Lavezzoli
02 72000000 | 349 5518893 | [email protected]
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The Italy China Foundation
The Italy China Foundation was founded on November 11th 2003 by Cesare Romiti, former
head of Fiat Group and RCS Group and is dedicated to promoting increased business and
cultural links between Italy and China.
The Foundation’s founding members who sit on the board of directors consist of high
ranking officials and managers representing the Italian Government and local authorities,
Confindustria (i.e. the confederation of Italian industry) and the leading enterprises and
financial groups. The joint participation of institutions and private entities is a clear effort
to achieve efficient coordination vis-à-vis the Chinese market. Thanks to its highly-qualified
membership and standing the Foundation is a unified and effective voice for its members.
The Foundation works with Italian and Chinese authorities to ensure that the relationship
between the two countries remains strong and vital and that the business environment
improves steadily for Italian companies in China and for Chinese companies in Italy.
The Foundation assists Italian firms in their on-going or prospective operations in China
and provides support to Chinese companies seeking investment and business opportunities
in Italy. The Foundation directly supports its members’ operations in China by providing
consultancy through its network of Partners.
The economic and trade relations among the two countries are further emphasised through
the organisation of cultural events and tailored educational programmes for post-graduates
and executives.
Press Office
Paola Lavezzoli
02 72000000 | 349 5518893
[email protected]
www.italychina.org
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Acer Italy
Via Lepetit 40
20020 Lainate (MI)
Tel. 02 939921
o
Circle Line
Via Grazzini, 7 - 20158 Milano
Tel. 02 33223.1 - Fax 02 332231.55
Cristina Gualteri; Marco Ferrario
E-mail: [email protected]; [email protected]
Pura avanguardia multimediale
Acer sponsor della mostra China Power Station
Milano, ottobre 2010 – Tensione all’innovazione e multimedialità hanno modellato un’intera
generazione di artisti capace di andare oltre le forme espressive esistenti, unendole,
rielaborandole, rinnovandole.
Per Acer, la tensione all’innovazione è la spinta propulsiva che l’ha portata a diventare uno
dei leader del mercato IT, mentre la multimedialità è la caratteristica fondamentale di ogni suo
prodotto.
Per questo sarà sponsor della mostra CHINA POWER STATION Arte contemporanea cinese dalla
collezione Astrup Fearnley, che rivela al mondo l’esplosione di creatività delle avanguardie
artistiche cinesi attraverso video, installazioni, dipinti e sculture.
La mostra verrà esposta al Lingotto di Torino dal 7 novembre al 27 febbraio presso Pinacoteca
Giovanni e Marella Agnelli.
La multimedialità, con la sua capacità di coinvolgere tutti i sensi, è la dimensione chiave di
molte opere esposte che sono, a tutti gli effetti, veri e propri contenuti multimediali.
Acer supporterà la mostra CHINA POWER STATION con una completa gamma di dispositivi per
la mobilità e l’home entertainment che consentiranno la riproduzione di queste opere d’arte,
rendendole così fruibili al pubblico in tutti i loro dettagli.
I video saranno mostrati dai TV Acer AT2358, dotati di display a LED Full HD da 23”e
dell’essenziale ed elegante design Pininfarina, e dai potenti proiettori Full HD Acer P7500, con
rapporto di contrasto 40.000:1 e luminosità di 4.000 ANSI lumen.
TV e proiettori saranno supportati dai notebook Aspire TimelineX, che uniscono potenza
grafica, capacità multitasking e un’elevato risparmio energetico.
Innovazione, avanguardia, multimedialità: da qui nasce il nuovo linguaggio dei giovani artisti
cinesi. Da qui nasce ogni dispositivo Acer. Da qui arte e tecnologia si uniscono per narrare la
coscienza delle nuove generazioni della seconda potenza mondiale.
***
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Il gruppo Acer
Sin dalla fondazione nel 1976, Acer ha perseguito l’obiettivo di abbattere le barriere tra le
persone e la tecnologia. A livello internazionale, Acer è seconda nel mercato globale dei PC.
Un modello di canale proficuo e sostenibile è basilare per la continua crescita della società,
mentre il suo approccio multi-brand integra efficacemente i marchi Acer, Gateway, Packard
Bell ed eMachines nei mercati internazionali. Acer si impegna a progettare prodotti ecologici
e a creare una supply chain “verde” tramite la collaborazione con i fornitori. Acer è fiera di
essere un Worldwide Partner del Movimento Olimpico, che include le Olimpiadi invernali di
Vancouver 2010 e i Giochi Olimpici di Londra del 2012. Il Gruppo Acer impiega 7.000 persone in
tutto il mondo con un fatturato per il 2009 di 17,9 miliardi di US$.
Per ulteriori informazioni, vedere www.acer-group.com.
© 2009 Acer Inc. All rights reserved. Acer and the Acer logo are registered trademarks of Acer Inc. Microsoft and
Windows are registered trademarks of Microsoft Corporation. Intel and Pentium are registered trademarks of Intel
Corporation. Other trademarks, registered trademarks, and/or service marks, indicated or otherwise, are the property
of their respective owners.
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Acer Italy
Via Lepetit 40
20020 Lainate (MI)
Tel. 02 939921
or
Circle Line
Via Grazzini, 7 - 20158 Milan
Tel. 02 33223.1 - Fax 02 332231.55
Cristina Gualteri; Marco Ferrario
E-mail: [email protected]; [email protected]
Pure multimedia avant-garde
Acer sponsors the China Power Station exhibition
Milan, October 2010 – The drive towards innovation and multimediality has moulded an entire
generation of artists capable of going beyond existing forms of expression by combining,
reinventing, and renewing them.
For Acer, the drive towards innovation is the force that led it to become one of the leaders in
the IT market, while multimediality is the essential feature of all its products.
This is why Acer sponsors CHINA POWER STATION Contemporary Chinese Art from the Astrup
Fearnley Collection, an exhibition which reveals to the world the creativity of avant-garde
Chinese art through videos, installations, paintings and sculptures.
The exhibit will be held at the Giovanni and Marella Agnelli Picture Gallery, Lingotto (Turin,
Italy) from November 7 to February 27.
With its power to involve all the senses, multimediality is the key theme of many of the works
displayed, which are true multimedia contents.
Acer will support the CHINA POWER STATION exhibit with a complete range of devices for
mobility and home entertainment that will allow the reproduction of these works, making
them available to the public in every detail.
The videos will be shown on Acer AT2358 TVs, equipped with Full HD 23” LED displays,
outstanding for their essential and elegant design by Pininfarina, and with powerful Full HD
Acer P7500 projectors boasting 40,000:1 contrast and 4,000 ANSI lumen.
TVs and projectors alike will be supported by Aspire TimelineX Notebooks, which combine
graphic power, excellent multitasking, and impressive energy savings.
Innovation, avant-garde, multimediality: this is where the new language of young Chinese
artists comes from. This is where every Acer’s product comes from. Here, art and technology
meet to express the feelings and sensibility of the new generations of the second largest
world power.
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Leader nel mercato italiano dell’abbigliamento, OVS industry è oggi un punto di riferimento
nel fashion retail. Collezioni di qualità a prezzi competitivi e una nuova interpretazione dello
shopping basata sul rinnovo costante.
OVS industry seleziona, sviluppa e produce i propri capi controllando progressivamente tutte
le fasi di lavoro. Un prodotto di qualità, di stile e di gusto italiano è il risultato di un complesso
percorso di ricerca, ideazione e produzione, che parte da un team interno di stilisti e product
manager.
Il made in Italy si fonde con i trend internazionali grazie anche a collaborazioni esclusive con
grandi creativi come Elio Fiorucci, Davide De Giglio ed Ennio Capasa, il creatore di Costume
National. Il risultato è qualità, esclusività e modernità.
OVS industry presta grandissima attenzione alla qualità dei propri prodotti ed è oggi
paragonabile ad una vera e propria industria con un canale diretto al retail.
OVS industry significa capacità di seguire le ultime tendenze della moda in tempi ridotti per
rispondere al meglio alle esigenze della clientela, specie di quella femminile.
OVS industry è un’azienda socialmente responsabile: è in atto un processo di revisione di tutti
i criteri di selezione e di controllo della produzione, in pieno accordo con il rispetto dei diritti
a tutela dell’azienda e dei lavoratori. OVS inoltre sostiene “Save the Children”, la più grande
organizzazione internazionale indipendente per la difesa e la promozione dei diritti dei bambini
OVS industry garantisce ai propri clienti un’esperienza di shopping utile ma soprattutto
piacevole, offrendo capi in linea con i trend più attuali e servizi personalizzati.
Vanta una rete di oltre 500 negozi, il maggior numero di clienti in Italia con 13 milioni di
acquirenti in un anno, più di 35 milioni di scontrini e oltre 100 milioni di capi venduti.
In OVS industry lavorano oltre 4.000 persone.
Contatti:
OVS industry Press & PR Lara Bernardi
[email protected]
T. 02 48029623
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Leader in the Italian clothing market, OVS industry is today one of the main points of
reference for fashion retail. High quality collections, always fashionable and a smart price,
with a new interpretation of shopping based on constant renewal.
OVS industry selects, develops and produces its clothes, progressively checking each phase
in the production process. A high quality product characterized by Italian style and taste is
the result of a complex research process, which begins with an in-house team of stylists and
product managers.
Made in Italy, blends with the international trends also through exclusive collaborations
with top designers such as Elio Fiorucci, Davide De Giglio and Ennio Capasa, the creator of
Costume National. The result is quality, contemporaneity and exclusivity.
OVS industry gives great importance to quality and is comparable to a true industry with its
own retail channel.
OVS industry means ability to follow the latest fashion trends in a short time for the best
satisfaction of its customers’ needs, especially its female customers.
OVS industry is a socially responsible company. A revision of all selection criteria and
production control is in progress, in full compliance with both the company’s and the
employees’ rights. Furthermore OVS industry supports “Save the Children”, the leading
independent organisation for the defence and promotion of the rights of children.
OVS industry offers its customers a practical and enjoyable shopping experience, offering
clothing in line with the latest fashion trends and customized services.
OVS industry boasts over 500 stores worldwide, the largest number of customers in Italy
with over 13 million shoppers per year, more than 35 million tickets and over 100 million sold
items.
OVS industry employees more than 4,000 people.
Contacts:
OVS industry Press & PR Lara Bernardi
[email protected]
T. +39 02 48029623
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L’arte contemporanea cinese in mostra a Torino
con Banca Leonardo
Gruppo Banca Leonardo ha deciso di essere a fianco della Pinacoteca Giovanni e Marella
Agnelli in occasione di ‘China Power Station’.
L’interesse per la manifestazione nasce dalla volontà di sostenere un’iniziativa in grado di
promuovere il dialogo e il confronto fra persone e culture diverse.
Un approccio in linea con lo spirito imprenditoriale della Banca il cui principale obiettivo
è, da sempre, quello di offrire alla clientela un servizio d’eccellenza combinando le
competenze nei vari settori di attività e facendo leva su due caratteristiche peculiari:
l’indipendenza e la forte specializzazione nella gestione dei patrimoni.
Operativa dal 1999, Banca Leonardo è stata rilanciata nell’aprile 2006 da un gruppo
d’investitori europei guidati da Gerardo Braggiotti.
Il core business del Gruppo è rappresentato dalle attività di advisory e investment
banking, asset management e private banking. La Banca opera, inoltre, nell’intermediazione
mobiliare e dispone di un dipartimento di ricerca focalizzato su titoli azionari italiani.
Banca Leonardo, con sede a Milano, è attiva anche a Roma, Torino e Lecco - e opera in
tutta Europa attraverso le società controllate e le sedi in Francia, Germania, Belgio, Olanda
e Spagna.
(Per maggiori informazioni_www.bancaleonardo.com)
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Chinese contemporary art show-cased in Turin
with Banca Leonardo
Banca Leonardo Group decided to support Pinacoteca Giovanni and Marella Agnelli on
the occasion of ‘China Power Station’.
The interest for the event was originated by the desire to support an initiative able to
promote the dialogue among people and different cultures.
An approach in line with the Bank’s business spirit, which real purpose is offering an
outstanding service for its clients mixing expertise in all sectors and highlighting two
significant features: the indipendence and the specialization in asset management.
Founded in 1999, Banca Leonardo has been relaunched in 2006 by a group of European
investors led by Gerardo Braggiotti.
The Group offers a full range of services in advisory and investment banking, asset
management and private banking, brokerage and research.
Banca Leonardo is headquartered in Milan – with offices in Rome, Turin, and Lecco - and
operates throughout Europe through subsidiaries and offices in France, Germany,
Belgium, the Netherlands and Spain.
(For more info_www.bancaleonardo.com)
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REALE MUTUA ASSICURAZIONI ASSICURA L’ARTE MODERNA
PER LA MOSTRA “CHINA POWER STATION”
Reale Mutua e il mondo della cultura ancora insieme
per una grande mostra sull’arte contemporanea cinese
Torino, 6 novembre 2010 –
Reale Mutua Assicurazioni tutela la più prestigiosa arte contemporanea cinese, in occasione
della mostra “China power station – Chinese contemporary art”. Le opere, facenti parte della
collezione Astrup Fearnley, saranno ospitate presso la torinese Pinacoteca Giovanni e Marella
Agnelli tra il 7 novembre 2010 e il 27 febbraio 2011, componendo un mosaico di grande valore
su un Paese che si sta imponendo internazionalmente anche nel campo dell’arte.
Da sempre la storica Compagnia di assicurazioni torinese garantisce la tutela delle mostre
di livello internazionale. Allestimento, trasporto, esposizione delle opere d’arte sono
operazioni delicate, che necessitano di un partner tecnico affidabile e capace di garantire
tutta la sicurezza necessaria. Anche questa volta, Reale Mutua partecipa nel modo che le
è più congeniale – ossia, con l’esperienza di oltre centottant’anni nell’assicurazione – alla
diffusione della cultura sul territorio.
La mostra, di grande richiamo per le opere e per la prestigiosa cornice espositiva, porterà a
Torino un pubblico di appassionati e cultori dell’arte contemporanea, inserendosi nel tessuto
culturale che rende il capoluogo subalpino un’assoluta eccellenza in Italia e in Europa. La
collezione Astrup Fearnley, curata dall’omonimo museo norvegese, giunge a Torino in un nuovo
allestimento, dopo le precedenti tappe europee, e punta ad un sicuro successo di critica e
pubblico.
Installazioni, pellicole, sculture, quadri, fotografie e molto altro aiuteranno i visitatori ad
orientarsi all’interno di una produzione artistica che sta prendendo piede anche nel nostro
Paese. Ancora una volta il marchio Reale Mutua sarà presente, nel ruolo del partner di
successo per il mondo della cultura. Un ruolo da protagonista, fin dal 1828.
Fondata a Torino nel 1828, Reale Mutua è una compagnia di assicurazioni in forma di mutua. È capofila di un Gruppo
composto da cinque società assicurative presenti in Italia e in Spagna nel quale operano oltre 2.700 dipendenti per
tutelare più di 3 milioni di assicurati. Reale Mutua Assicurazioni offre una gamma molto ampia di prodotti, sia nel
Ramo Danni sia nel Ramo Vita. I suoi Soci/assicurati sono oltre 1.400.000 fra privati e imprese, facenti capo a circa
350 Agenzie, mentre l’intero Gruppo ne conta sul territorio nazionale quasi 800.
Per ulteriori informazioni e approfondimenti:
Ufficio Stampa – Società Reale Mutua di Assicurazioni - www.realemutua.it
Elisabetta Ruà – [email protected]; tel. 011 4312309 Fax: 011 4313914
Simone Schiavi – [email protected]; tel. 011 4312719
china
power station
REALE MUTUA ASSICURAZIONI INSURES MODERN ART
FOR THE “CHINA POWER STATION” EXHIBITION
Reale Mutua and the world of culture together again
for a great exhibition of contemporary Chinese art
Turin, November 6th 2010 – Reale Mutua Assicurazioni will insure a selection of prestigious
Chinese contemporary art on the occasion of the exhibition entitled “China power station –
Chinese contemporary art”. The works of art, part of the Astrup Fearnley collection, will be
housed at the Pinacoteca Giovanni e Marella Agnelli from November 7th 2010 until February
27th 2011, a mosaic of great value representing a country which is beginning to impose itself
on the field of art on an international level.
The famous Torinese insurance company has always safeguarded international art exhibitions.
The mounting, transportation and display of works of art are delicate operations which
require a partner who is both trustworthy and capable of guaranteeing all the necessary
security. Yet again, Reale Mutua will participate in the best way it knows how (with the
experience of over one hundred and eighty years in the insurance business) in the spreading
of culture throughout the country.
The exhibition, of great appeal due to both the works of art on display and the prestigious
gallery that will host them, will bring to Turin a wealth of contemporary art enthusiasts and
scholars, enriching the cultural fabric which makes the Piedmontese capital an example of
excellence throughout Italy and in Europe. The Astrup Fearnley collection, curated by the
Norwegian museum of the same name, brings a new exhibition to Turin, the latest in a series
of European cities, and looks set to achieve both critical and public acclaim.
Installations, film footage, sculptures, paintings, photographs and much more besides will
help visitors find their way around an artistic movement which is now beginning to establish
itself in Italy. Reale Mutua will once more be present as a successful partner for the world of
culture, a leading role that the company has played since 1828.
Founded in Turin in1828, Reale Mutua is a mutual insurance company. It is the parent of a group composed of five
companies based in Italy and Spain with over 2,700 employees and over 3 million policy holders. Reale Mutua
Assicurazioni offers a vast range of products, both in the area of damages and in that of life insurance. It can boast
over 1,400,000 partners/policy holders including individuals and businesses managed by around 350 agencies, while
the entire group has nearly 800 agencies throughout Italy.
For further information:
Press Office – Società Reale Mutua di Assicurazioni - www.realemutua.it
Elisabetta Ruà – [email protected]; tel. 011 4312309 Fax: 011 4313914
Simone Schiavi – [email protected]; tel. 011 4312719
china
power station
CATHAY PACIFIC E LA PINACOTECA GIOVANNI E MARELLA AGNELLI:
IL CONNUBIO PASSA ATTRAVERSO IL PROGETTO CHINA POWER STATION
La Compagnia di Hong Kong conferma il suo ruolo di ambasciatore
dell’innovazione e dell’arte cinese in Italia
Cathay Pacific, la compagnia aerea di Hong Kong, ha il piacere di affiancare la Pinacoteca
Giovanni e Marella Agnelli nella veste di partner del progetto China Power Station – Il Futuro
della Cina. Cathay Pacific conferma così il suo interesse ed impegno nella promozione della
cultura orientale in Italia: dal 7 novembre 2010 al 27 febbraio 2011, la nuova iniziativa della
Pinacoteca porta a Torino tutta l’energia creativa dell’arte contemporanea cinese e Cathay
sarà al suo fianco nell’esserne ambasciatore nel nostro Paese.
“Innovazione e tecnologia sono da sempre i tratti distintivi di Cathay Pacific e, più in
generale, della cultura cinese contemporanea. Il connubio con il progetto China Power Station
era scritto nel DNA della nostra compagnia aerea, abbiamo quindi colto questa opportunità
con entusiasmo ed emozione” – commenta Silvia Tagliaferri, Direttore Commerciale Italia
& Malta di Cathay Pacific – “Le similitudini continuano; gli artisti in mostra aprono nuovi
orizzonti tra l’arte contemporanea cinese e internazionale, così Cathay Pacific da sempre
mette in contatto culture e mondi diversi tra loro attraverso nuove rotte aeree ma anche
sponsorizzando progetti come questo. Ed infine ci accomuna la lungimiranza come capacità
di vedere in anticipo l’evoluzione delle tendenze in atto, una attitudine preziosa sia in campo
culturale che imprenditoriale”.
Cathay Pacific è la principale compagnia aerea di Hong Kong, con i suoi oltre 165 aeromobili di
linea, tra passeggeri e cargo, ha una delle flotte più giovani e moderne dei cieli.
Grazie a Cathay Pacific è possibile raggiungere le più interessanti e coinvolgenti destinazioni
asiatiche con voli diretti da Milano e Roma. Hong Kong diventa così la Porta d’Oriente per
volare non solo in Cina, ma anche in Australia e Nuova Zelanda, Giappone, Vietnam, Indonesia
e verso il fascino dell’Estremo Oriente.
Cathay Pacific si distingue nel panorama dei vettori internazionali per la costante ambizione
di essere una delle Compagnie più ammirate del mondo e, per questo, offre un servizio
sempre ispirato all’eccellenza. Il massimo comfort e la cura di ogni dettaglio si uniscono alla
raffinatezza della cucina a bordo, all’ampia offerta di entertainment e all’accoglienza innata
del personale di bordo.
La configurazione delle classi di bordo è progettata per rendere l’esperienza di volo ancora più
piacevole. La First Class è una vera e propria “suite dei cieli”, ideata per garantire la giusta
combinazione di cura personale, interazione e privacy. La ricerca dell’eccellenza prosegue in
Business e in Economy, due classi conformate per viaggiare con stile, garantendo a tutti i
passeggeri riservatezza, esclusività e comfort.
L’attenzione al passeggero comincia a terra; le pluripremiate lounge di Cathay Pacific si
trovano nei principali hub internazionali e da sempre sono concepite per accogliere gli ospiti
prima e dopo il volo in un ambiente esclusivo e rilassante.
Per ulteriori informazioni: www.cathaypacific.it
Ufficio Stampa – Go Up Communication
Via Fabio Filzi 27 - 20124 Milano - Tel 02 87 59 87 - www.goup.it
Martina D’Aguanno – [email protected] - 346 9889852
china
power station
CATHAY PACIFIC AND PINACOTECA GIOVANNI AND MARELLA AGNELLI:
AN ALLIANCE UNDER THE SIGN OF CHINA POWER STATION
The Hong Kong Airline is once again an Ambassador
of Chinese Art and Innovation in Italy
Cathay Pacific, the airline company based in Hong Kong, is pleased to support the Giovanni
and Marella Agnelli Foundation as partner of the China Power Station project - The Future
of China. Cathay Pacific confirms its interest and commitment to the promotion of oriental
culture in Italy. From November 7th to February 27, 2011, this new initiative introduces to the
city of Torino the creative energy of contemporary Chinese art and Cathay will be at its side
acting as ambassador.
“Innovation and technology have always been the Cathay Pacific hallmarks, at the same time
they are distinctive of the contemporary Chinese culture. The alliance with the China Power
Station project was written in the DNA of our airline, so we took this opportunity with great
enthusiasm” - comments Silvia Tagliaferri, Sales Manager Cathay Pacific Italy & Malta - “The
similarities between Cathay and the project continue: the artists in the exhibition will open a
new horizon between Chinese and international contemporary art. At the same time, Cathay
Pacific has not only brought together different worlds and cultures through the many destinations that we serve, but also by sponsoring projects like this. Finally, we share the ability
to foresee the evolution of trends, a valuable ability in both the cultural and entrepreneurial
area”.
Cathay Pacific is the most important airline based in Hong Kong, offering passenger and cargo
services with a fleet comprising more than 165 wide-body aircraft, one of the youngest and
most modern in the skies.
Thanks to Cathay Pacific, the most interesting and exciting Asian destinations are easily
reached by direct flights from Milan and Rome. Hong Kong is the Eastern Gateway towards the
charm of the Far East, flying not only to China but also to Australia and New Zealand, Japan,
Vietnam and Indonesia, to name only a few.
Cathay Pacific stands out from other international carriers for the constant ambition to be
one of the most admired airlines in the world and for its high-level service, based on excellence. Maximum comfort and attention to details are combined with sophisticated onboard
cuisine, a wide range of entertainment and the innate hospitality of the crew.
To make the flying experience more enjoyable, careful consideration has been taken in the
design of the classes on board. The First Class is a true suite, designed to ensure the right mix
of personal attention, interaction and privacy. The pursuit of excellence continues in Business
and Economy Class, both designed in order to travel in style, ensuring a high level of exclusivity and comfort.
Attention to the passenger begins already on the ground: Cathay Pacific’s award-winning
lounges are located in its main hub of Hong Kong as well as in other major international
airports. The lounges have been designed to offer an exclusive and relaxing atmosphere, both
before and after the flight.
For further information: www.cathaypacific.it
Ufficio Stampa – Go Up Communication
Via Fabio Filzi 27 - 20124 Milano - Tel 02 87 59 87 - www.goup.it
Martina D’Aguanno – [email protected] - 346 9889852

china power station - ContemporaryArt Torino Piemonte

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