china power station - ContemporaryArt Torino Piemonte
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china power station - ContemporaryArt Torino Piemonte
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] Biglietti Ingresso: 7 € intero, 6 € ridotto e gruppi, 3,50€ scuole e bambini dai 6 ai 12 anni Biglietteria all’ingresso della Pinacoteca | al livello della pista del Lingotto | 4°piano Orario di apertura 10-19 da martedì a domenica| Chiuso il lunedì Visite guidate su richiesta | Accesso disabili | bookshop | Catalogo Pinacoteca Agnelli 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] Tickets 7 euros adults | 6 euros groups | 3,50 euros schools and children under 12 Ticket Office inside 8 Gallery from ArtBook Lingotto | on track top level - 4th floor | closes 6.15 pm Opening Hours 10.00 am – 7.00 pm | Closed Monday Guided tours on request | Tel. +39 011 0062713 | Wheelchair Access | Bookshop | 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 chinese contemporary art 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. china power station 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 china power station 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 china power station 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 Pinacoteca Giovanni e Marella Agnelli china power station china power station china power station 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 china power station 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 testo da catalogo Gunnar B. Kvaran china power station testo da catalogo Gunnar B. Kvaran 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 china power station 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 testo da catalogo Gunnar B. Kvaran china power station 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. testo da catalogo Gunnar B. Kvaran china power station 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 catalogue text Gunnar B. Kvaran china power station 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 catalogue text Gunnar B. Kvaran china power station 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 catalogue text Gunnar B. Kvaran china power station 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 power station 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 Pinacoteca Giovanni e Marella Agnelli 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 chinese contemporary art 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 Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 power station 205 5 CHU YUN Nato nel 1977 a Jianxi Born 1977 in Jianxi Vive e lavora a Pechino Lives and works in Beijing Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 China Power Station: Part II, Astrup Fearnley Museum 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 Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 china power station 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 Mostre personali – selezione Solo exhibitions – selection 2008 Kanxuan Ai!, Galleria Continua, San Gimignano Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 2007 An Exhibition, Wellside Gallery, Shanghai 2006 For the time goes by… – Liang Yue Solo exhibition, Shanghai Mostre collettive – selezione Group exhibitions – selection 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 Vive e lavora a Pechino China National Academy of Fine Arts Vive e lavora a Pechino Lives and works in Beijing Mostre collettive – selezione Group exhibitions – selection 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 Lives and works in Beijing Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 a Shanghai Vive e lavora in Shanghai Lives and works in Shanghai Lives and works in Shanghai Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 China Power Station: Part II, Astrup Fearnley Museum 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 Lives and works in Shanghai Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 Vive e lavora a Shanghai 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 Born 1980 in Shanghai Born 1979 in Shanghai Shanghai School of Arts and Crafts Lives and works in Shanghai Vivono e lavorano a Shanghai / Live and work in Shanghai Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 2010 Portrait, ShanghART Gallery, Shanghai ShanghART 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 Vive e lavora a Pechino Lives and works in Bejing Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 Retrospective Exhibition, Shanghai Duolun Museum of Modern Art, Shanghai 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 Vive e lavora a Shanghai Lives and works in Shanghai Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 2008 Five Years of Duolun: Chinese Contemporary Art Retrospective Exhibition, Shanghai Duolun Museum of Modern Art, Shanghai 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 Mostre personali – selezione Solo exhibitions – selection 2007 Everyday Extraordinary, Contrasts Gallery, Shanghai Everyday Extraordinary, Contrasts Gallery, Beijing Mostre collettive – selezione Group exhibitions – selection 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 Vive e lavora a Shanghai Lives and works in Shanghai Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 china power station 215 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 2008 Five Years of Duolun: Chinese Contemporary Art 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 Vive e lavora a Shanghai Lives and works in Shanghai Mostre personali – selezione Solo exhibitions – selection 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 Mostre collettive – selezione Group exhibitions – selection 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 China Power Station: Part II, Astrup Fearnley Museum 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 a Shanghai Vive e lavora in Guangzhou Born 1970 in Nanchang Lives and works in Shanghai Lives and works in Guangzhou Mostre personali – selezione Solo exhibitions – selection 2009 1234 – Media Test Wall, MIT List Visual Arts Center, Cambridge Mostre collettive – selezione Group exhibitions – selection 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 Mostre personali – selezione Solo exhibitions – selection 2008 China 1946-1949 – Zhou Zixi Solo Exhibition, ShanghART H-Space, Shanghai 2006 Interiors, BüroFriedrich, Berlin Under the Blue Sky, Grace Li Gallery, Zuerich Mostre collettive – selezione Group exhibitions – selection 2010 Portrait, ShanghART Gallery, Shanghai ShanghART Group Show, ShanghART Gallery, Shanghai Group Show in ShanghART HHL796, ShanghART at Huaihai Rd 796, Shanghai All about the Bed, ShanghART Gallery, Shanghai 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, ShanghART Gallery, Shanghai 2006 Future Landscapes, Duolun Museum of Modern Art, Shanghai Under the Skin, Universal Studios, Beijing china power station 217 china power station sponsor china power station 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] china power station 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 china power station 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. *** china power station 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. china power station 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. china power station 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 china power station 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 china power station 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) china power station 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) china power station 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