展期：2006年6月23日至7月12日
地点：朱屺瞻艺术馆2、3楼
上海虹口区欧阳路580号
开幕式：2006年6月23日 (星期五) 15：00
与艺术家面对面：2006年6月23日 (星期五) 15：30
“双人房”是有风景有故事的空间。两位南方青年艺术家曹斐和蒋志在“双人房”里登台亮相，呈上一串皆以录像、摄影为媒的作品。乐观自信是中国新一代艺术家的特质，他们撇清了父兄一辈对中国身份、全球化问题的关注和热情，心态异常轻松。生活在一个娱乐至上、自我中心、轻松甚至几分“无脑的”的时代，他们的创作不免玩乐自娱，视线所到之处常略及成长的苦楚、周遭变迁。解读他们的作品，需要一丝幽默感、一点社会宽容心。
出生于70年代的女艺术家曹斐是现今中国当代艺术圈里炙手可热的名字之一。和她的同龄人一样，曹斐成长于一个由潮流嬗变、速食文化当道的时代。港台流行乐、电视剧、电子游戏、日本漫画是青春期的消费品。《COSplayers》就是曹斐对少年记忆的回眸。《COSplayers》只有破碎的情节，漫画人物粉墨登场，现实场景被拆零重组，超现实的氛围里有点搞怪的意思。读90年代日本漫画成长起来的人有种特殊的乐观浪漫的情结，他们敏感躁动，COSplay可谓是他们对生活变迁的内心映射。此外，曹斐还将展出她近几年的新作，其中包括录像作品《嘻哈：广州》，《嘻哈：福冈》和《嘻哈：纽约》她主要想致力于将不同国家的文化与HIP-HOP文化完美结合，用行动赋予HIP-HOP最具现实意义的诠释。让来自底层的HIP HOP再回到街头，回到老百姓中，回到对现实的怀疑和质问中。除了录像，曹斐还将拍摄场景用相机记录，形成一组有意思的作品图片。另一部《珠三角枭雄传》是一个由数个短小单元组成的演出，通过罗织本土民间野史、遗闻轶事、互联网上传说、时下珠三角热点、亚热带民生印象等各种线索，试图重新拼贴出别样的珠三角洲的地缘现实和历史典故，探讨社会的失控状态，再现另类秩序的发展。
如果说曹斐把的是青年文化的脉，蒋志则是一个老老实实的讲故事者。除了DV影像作品，蒋志还写实验小说，做观念摄影、录像装置，身影频繁见诸于各类艺术展览。他的影像作品留给人的印象是一种临界感：他总是在里面综合各种不同的元素，影像作品中甚至可以发现他的小说或图片的影子——这说明它们不仅思路连贯，风格也有颇具一致性；而具体到某一个作品。蒋志展出的是最近一年多来的摄影和录像新作。《尘世间· 同体》这组照片是浓雾笼罩下的跨性人，观众难以通过外表来确认两性判断。跨性，它与男性、女性概念并列，是打破生理性别片面定义引入心理性别后跃然而出的第三种性别，是在两性世界往来游走的另一种可能性。《尘世彩虹》是当代童话和城市奇观。一轮绚丽彩虹跨越城市的上空。这彩虹，全部由夜晚分布城市各处的霓虹灯招牌组成，由人工景观替代了自然景观，构成了一道消费社会独特的风景。《要有光》是蒋志最新的录像作品。古早，神说：“要有光，就有了光；神看光是好的，就把光暗分开了。”光，除了上天的赏赐，它也同时扮演粗暴的伤害，强悍的控制，舞台的中心，等等。每个被暴露者，对探照灯光的逼迫做出自己本能的反应。隐私、美感、模糊性，在显微镜般的强光中，均消失无踪。
开放时间：10：00—17：00（16：30停止售票），逢星期一休馆
艺术总监：顾振清
执行策划：潘慧敏、许宇
联系：021-56661967
info@zmsuem.org
Double Rooms
R1: Jiang Zhi’s Solo Exhibition
R2: Cao Fei’s Solo Exhibition
June 23rd – July 12th 2006,
F2-3, Zhu Qizhan Art Museum
580 Ouyang Road, Hongkou District, Shanghai
Opening: Friday June 23rd 2006, 15:00
Artist Talk: Friday June 23rd 2006, 15:30
Zhu Qizhan Art Museum is pleased to announce the twin solo exhibitions of video and photographic work by two fledgling artists Cao Fei and Jiang Zhi.
The last couple of years of 20th century saw the advent of some more refreshing Chinese art and a younger generation of artists who cut loose from their predecessors’ progressive and radical approach and move their way to forge a hybrid yet dynamic vocabulary. The political elements – though still favored in the western markets – gradually appear muted in the up-to-date practices, and young guns, like their western contemporaries, are entitled to theirs own shots, speaking for themselves and, if necessary, having fun in the making of art. For anyone in this country whose teens coincided with the 1980s, the cultural shock generated by the arrival of bulks of western goods, pop culture and their derivatives constituted an infinite inspiration and cradled the up-and-coming Chinese youth culture in later days. This generation of artists finds they have lived such puberty stuffed with overdosed cultural imports and their career took off even as the waves of globalization kept rolling on. In artistic terms, the outcome therefore turns as bizarre as a medley of global fashion, consumer culture and the reminiscence of adolescence. Among this group of artists, Cao Fei and Jiang Zhi have already caught a great deal of attention with their enduring attempt.
Cao Fei (b.1978) bounced into view not long ago; but now ranked among 100 future greats in Art Review magazine’s 2006 survey and recently awarded this year’s CCAA Young Artist Award, she is standing out as one of a few eminent emerging artists in not only domestic circus but the international art world at large. Having grown up through the early 1990s, Cao has witnessed and tasted much of a time inundated with rampant Cantonese smash hits, pervasive Japanese anime, never-seen-before American soap operas and slicking Hollywood blockbusters, all of which have left great impact on her later production. Her photo series COSplayers attest to such an influence. Models clad in cartoon costumes mimic the characters of Japanese anime. Their ridiculously menacing or mindless poses suggest the carefree attitude of boys and girls living in China today. Cao’s larger-than-life dramatization of scattered cartoon scenes translate the context how pop products affect and alter the lifestyle and mindset of a younger generation into a serial explanatory frames of visual footnotes to the optimism of teenagers. Following the path of COSplayers, Cao launched a more playful and ambitious project Hip-hop, for which she picked people of all ages on the street and have them play or more exactly shake their bodies to the hip-hop music. In order to probe the cultural contrast and assimilation in various parts of the world exposed in the otherwise same pop culture, Cao sets each episode in a mega city such as Guang Zhou, Fukuoka and New York, capturing the interrelationship between the street culture and the ordinary people.
Unlikely cut from the same cloth as Cao Fei’s, Jiang Zhi (b.1971) concerns himself with social implications in a more personal view and steps in where few of his Chinese peers dares to tread, say, subcultures in particular. Early on he played the role as an independent film director with a DIY spirit at heart, and later he veered to a versatile practice. The true-to-life realism in his work marks a heartfelt honesty. One of his best known semi-documentaries Our Love depicted the story of three transsexuals. Jiang’s efforts of steering the lens into the closet deserves at least some plaudits insomuch as the marginalized rainbow crowd remains treated with a cold blind eye. In his latest projects, Jiang has widened the angel and seen things in a brand new light. A wider range of issues addressed through the collage and digital techniques send his art closer to maturity.
As for the title, Double Room drops a hint that the works on display carry a handful of teenager secrets and coming-of-age tales. Parallel as they sit to each other, these two shows bear a substantial coherence that binds the two into a summing up to see where artists of this generation have been going.
Museum Hours: 10:00-17:00
Last Admission 16:30
Monday Closed
Artistic Director: Gu Zhenqing
Curators-in-charge: Pan Huimin, Leo Xu
For more info please contact 021-56661967
info@zmsuem.org
