Those who see and know all,
are all and can do all.
策展人 ：張涵露
Curator : Hanlu Zhang
超家族+女子天團+空氣炸Hellkitty樂隊+木刻班+本廣大畫廊 | 點點宣傳部 |胡慶泰 | 胡尹萍 | 李然 | 李文光 | 蒲英瑋 | 鐵木爾·斯琴 | 譚婧 | 童昆鳥 | 童文敏 | 王欣 | 吳思嶔 | 楊鑫 | 張雷 | 張文心 | 周思維 | 周軼倫 | 朱熒熒
Chaos Family + NZTT Sewing Co-op + Hellkitty Band + Woodcut Class + Benguangdahualang | Hu Qingtai | Hu Yinping | Li Ran | Li Wenguang | Pu Yingwei | Timur Si-Qin | Tan Jing | Tong Kunniao | Tong Wenmin | Wang Xin | Wu Sih-Chin | Yang Xin | Zhang Lei | Zhang Wenxin | Zhou Siwei | Zhou Yilun | Zhu Yingying | ··PROPAGANDA DEPARTMENT
*For English please scroll down
在古今中外的很多人類社會中，人們理解自身在宇宙中處於何種位置的過程，是一個與更高的精神和神聖價值取得聯繫的過程。「那看見萬物的、知道萬物的，就是萬物」，是無所不能的未知力量（引自米爾恰·伊利亞德）。此次群展的十九位藝術家和藝術家組合觸碰、探索甚至重新發明神秘或神聖領域，共享展廳卻構建出多重宇宙觀和時空性；他們帶著對未知的敬畏，重申直覺、情感、想像力與精神性在知識生產和價值構建中的重要地位，從而實驗有關存在的替代方案。
譚婧，《但是我一個都沒有》，2020
多媒體裝置（矽膠、水增稠粘液、黏土、機械泵、音響裝置）
尺寸可變
圖片由藝術家惠允
攝影：王聞龍
張文心，《力量之屋》，2020
裝置（動畫、往復電機、鏈條、不鏽鋼路錐）
尺寸可變
圖片由藝術家惠允
這些創作者重新想像歷史的、民間的乃至日常的神話，並以轉譯、隱喻、虛構演繹等方法來對話不同語境的精神世界。有的藝術家將身體作為儀式和魔法的場所，將個體投入危險、重複或一段艱難的旅程。他們深知在真實與幻想/虛擬之間、微觀與宏觀之間、可見與不可見之間，可能存在無數相異的世界。作為對於新的技術最為熟悉的一代，他們也好奇當人們的感知高度媒介化、數碼化、算法化之後，應當如何重新尋找「靈性體驗」。在展覽中，多重話題線索和概念體系串聯起空間分布和策展結構，使作品在展廳和場刊中交錯對話，構造出沉思、虔敬和啟示的場所。
張雷，「葬禮」系列，2010-2014
紙本油墨、銅板
尺寸不一
圖片由藝術家和偏鋒畫廊惠允
展覽也意欲回應社會大環境中的一些趨勢，尤其是一種籠罩我們的「相信的危機」。今天，人與他人的關係被社交網絡化，與商家或其他組織的關係由評分制度壟斷，而我們自己有時被簡化為購物平臺上的「猜你喜歡」數據或社會信用的一個數字。進入「後真相」時代，「相信」變得不可能，信息操控成為了凝聚人心的有效手段，而個人的情感則是唾手可得、有待榨取的資源。
吳思嶔，《名字嗎？我有很多個（後臺）》，2018
單頻道錄像
15分42秒
圖片由藝術家惠允
在這樣一個文化和價值加速同質化、實用主義統領著大部分社會活動的時期，藝術家的工作對主流進步觀保持謹慎，並試圖發掘被現代化發展所遮蔽的多元、雜合、泛靈等價值。
超家族+女子天團+空氣炸Hellkitty樂隊+木刻班+本廣大畫廊
《超家族婚禮合集》，2019
印刷，快閃記憶體盤存有視頻，鐵盒
88 x 60 x 18 mm；1小時20分鐘11秒
圖片由藝術家惠允
自古以來，藝術家經常被比作先知或靈媒，此次展覽意在重新檢驗藝術可以「調用美和意義的結構」的「祭司職能」（引自妮卡·杜布羅夫斯基和大衛·格雷伯），試問全新的人與周遭、與自然界及與無窮未知的精神宇宙之間的關係可能性。重新認識精神性實踐使我們得以超越身份地去辨認和聯結彼此，在危機甚至災難潛伏的世界中，召喚別樣的倫理範式和親緣關係。
鐵木爾·斯琴，《麻黃 1》，2020
燈箱
直徑 220 cm
圖片由藝術家和魔金石空間惠允
童文敏，《金色的火》，2016
行為，單頻錄像（彩色、有聲）
20分
圖片由藝術家和空白空間惠允
朱熒熒，《蔓延》，2018
木板油畫
40 x 50 cm
圖片由藝術家和拾萬空間惠允
張涵露
攝影：覃小詩
張涵露是一名寫作者和策展人。她生長並生活在上海，2013年於芝加哥藝術學院獲得藝術歷史、理論和評論碩士。2014年獲「國際藝術評論獎」（IAAC）二等獎，文章發表於瑞象視點、LEAP、Flash Art以及art-agenda等媒體，她也是ARTFORUM中文網編輯。2015年入圍上海當代藝術博物館「青策」項目並聯合呈現了「展覽的噩夢（下）：雙向劇場」；她曾在紐約的No Longer Empty，北京的央美術館、香港的Para Site藝術空間等地組織策劃展覽和公共活動；也曾參與蓬皮杜中心雙年展平臺Cosmopolis的策展。她是44劇場的成員。
「新勢力單元」（Up&Coming Sector）以主題群展的形式，聚焦於中國年輕藝術家的創作面貌。在當今的信息社會，這些新一代的藝術家在全球化的交流語境中受益良多。他們以前所未有的速度開闢了更廣的、充滿各種可能性的創作發展道路，並收穫了前所未有的關注，因此對他們的支持和引導也變得尤為關鍵。
Across time, humans』 acquisition of knowledge and the discovery of meaning has frequently meant connecting with higher spirits and sacred values. Prior to global 「modernization,」 societies often believed in that which sees and knows all—an unknown, omnipotent power—as the foundation of all activity and thought (see the work of Mircea Eliade). This group exhibition presents 19 artists and collectives who carry this sort of quest for understanding into the present day by delving into mythical or sacred realms. Sharing gallery spaces, they nevertheless create multiple cosmologies and spatio-temporalities. By choosing to remain in awe of the unknown, their work reclaims the critical position of intuition, emotion, fantasy, and spirituality in contemporary society and further experiments alternative systems of existence.
Tan Jing, But there is no one for me, 2020
Mixed media installation
（Silicone, slime, clay, machine pump, speaker）
Dimensions Variable
Image courtesy of Tan Jing
Photo credit: Alessandro Wang
Zhang Wenxin, Zurkhan3h, 2020
Installation (animation, reciprocable machine, chain, stainless steel cone)
Dimensions Variable
Image courtesy of Zhang Wenxin
This group of young artists represents a generation of creators who know only too well about technology and are curious about the place of spiritual experience in a contemporary world shaped by hyper digital mediation. They reimagine religious myths and folk tales.Some open conversations with spirituality across time and place, employing analogy and fiction. Others look to the human body as a raw material for ritual and magic, testing its endurance and capacity for hardship. They all have faith that multiple cosmologies may exist in the context of the imaginary and the virtual, the macro and the micro, the visible and the invisible. As a whole, 「Those who see and know all, are all and can do all.」 stitches together artworks, topics, and concepts through two exhibition halls, a layered curatorial approach, and accompanying brochure. It creates entangled spaces for devotion, meditation, and enlightenment.
Zhang Lei, Funeral Series, 2010-2014
Monotype, Printing oil on paper, Copper Etching
Dimensions vary
Image courtesy of Zhang Lei and PIFO Gallery
The exhibition intends to respond to crises of trust or belief in society at large. Today, relationships with fellow humans are founded more and more within social networks, assigned value through a rating system; meanwhile, the 「self」 is reduced to an aggregation of data that generates suggestions on online shopping platforms, tailored ads, or a single number in a social credit system. In a 「post-truth」 era, belief seems impossible. Information manipulation has become the most effective way to change minds, and commercial and political powers exploit emotion.
Wu Sih-Chin,
My name? I have a lot of names (Backstage), 2018
Single-channel video
15 min 42 sec
Image courtesy of Wu Sih-Chin
In a society driven by such pragmatism and transformed by cultural homogenization, the work of these artists tends to resist those mainstream views of progress which have repressed spiritual and aesthetic multiplicity. Instead, 「Those who see and know all, are all and can do all.」 invokes plurality, hybridity, and animism, values which modernization in China has smothered for more than a hundred years.
Chaos Family + NZTT Sewing Co-op + Hellkitty Band + Woodcut Class + Benguangdahualang
Chaos Family Wedding Collection
2019
Print, video in USB, metal box
88 x 60 x 18 mm; 80'11"
Image courtesy of the artists
Historically, the role of the artist has been compared to that of the prophet or shaman, figures who act as mediators between worlds. This exhibition aspires to reexamine the 「priestly function of art」 to mobilize 「structures of beauty and meaning」 (see the work of Nika Dubrovsky and David Graeber). It aims to explore new possibilities in the relationships of humans with their surroundings—with nature and with indefinite, unknown universes. Rediscovering sacred and spiritual practices, especially in a world clouded by crises, empowers us to recognize and organize one another beyond identity formations, gesturing towards a future conjured instead via cosmological knowledge and ethical bonds.
Timur Si-Qin, Ephedra Nevadensis 1, 2020
Lightbox
Dia. 220 cm
Image courtesy of Timur Si-Qin and Magician Space
Tong Wenmin, Golden Fire, 2016
Performance, single-channel video (color, sound)
20 min
Image courtesy of Tong Wenmin
and WHITE SPACE BEIJING
Zhu Yingying, Creep, 2018
Oil on Wood Board
40 x 50 cm
Image courtesy of Zhu Yingying and Hunsand Space
Hanlu Zhang
Photo by Xiaoshi Vivian Vivian Qin
Hanlu Zhang is a writer and curator born and living in Shanghai. She received her MA in Art History, Theory and Criticism from the School of the Art Institute of Chicago in 2013. In 2015, she co-curated 「Nightmare of Exhibition Part II: the Two-way Theater」 at the Power Station of Art, Shanghai after winning 「Emerging Curator Program」. She has curated exhibitions at No Longer Empty and 49B Studios in New York, Yang Art Museum and 798 Photo Gallery in Beijing, Para Site Art Space in Hong Kong, among other spaces. She also worked in the curatorial team for Cosmopolis, a biennial platform initiated by Centre Pompidou since 2018. Hanlu received a second prize in 「International Award for Art Criticism」 in 2014 and her writing can be found on LEAP, ArtReview Asia, Flash Art, and art-agenda. She is editor at ARTFORUM.com.cn. And she is a member of Theater 44.
The Up&Coming Sector will annually present a curated group exhibition, dedicated to young Chinese talents whose artistic development are worth following. In our current information society, emerging artists of today are the first generation to be fully immersed in a globalised and contextualised art world which can often determine the flexibility of their paths at an unprecedented speed and rate of exposure, thus, making their observation more thrilling, but their support and guidance all the more crucial.