APSMUSEUM荣幸宣布，将于2020年11月11日正式开馆，并呈现开馆首展——《空间领导者》，展览由欣稚锋艺术机构、陆家嘴中心L+MALL联合主办。 APSMUSEUM is honored to announce its inauguration on November 11, 2020, with the presentation of the exhibition "Urban Ensemble," organized by Art Pioneer Studio and L+MALL at Lujiazui Center. APSMUSEUM立志深耕当代艺术、建筑和设计时尚之间的新领域，此次开馆展由欣稚锋艺术机构创始人汪斌担任总策划，艺术家徐震担任策展人，并邀请国内外声誉卓著的15位艺术家——安尼施·卡普尔、丁乙、莫娜·哈透姆、何岸、詹姆斯·特瑞尔、李汉威、陆兴华、米开朗基罗·皮斯特莱托、邱岸雄、施勇、汪建伟、王梓全、徐震?、杨振中、展望参与其中。 Dedicated to trailblazing a new field that will bring together contemporary art, architecture, design, and fashion, this inaugural exhibition - organized by the founder of Art Pioneer Studio, Robin Wong, and curated by artist Xu Zhen - invites the participation of 15 acclaimed artists from China and oversea, including, Anish Kapoor, Ding Yi, Mona Hatoum, He An, James Turrell, Li Hanwei, Lu Xinghua, Michelangelo Pistoletto, Qiu Anxiong, Shi Yong, Wang Jiangwei, Wang Ziquan, XU ZHEN?, Yang Zhenzhong, and Zhan Wang. 城市是过去的作品、当代的作品以及将要到来的作品的集束。城市并不止是一个市民生活运转的系统，也是数代人的集体作品；它不是一本已经写好的书，而是一本需要被不断重读、重写的书。正在到来的新城市人将发明出新的城市性、城市形式，把城市做成自己的作品。每个城市都是由一代代的人类存在形成的艺术作品，而新城市也“展”于一代代人自己的作品之中。 The city binds the works of the past, the contemporary, and the future. It's more a system that operates the lives of the urbanites, but a collective work of many generations; it's not a written book, but one that's being re-read and re-written. The new urban dwellers who have just arrived are inventing new features and forms of the city and transforming it into their works. Every city is a work of art created by generations of people living there, while the new city has also been "on exhibit" in each generation's works. 当代艺术向城市提供了复魅的结构，因为它是对时间、空间、身体和欲望的居有，能将空间产品变成空间作品，将城市住民从产品的消费者，变成自己作品的作者。当代艺术支持新城市人： · 将自己在城市中经历的一段时空做成作品； · 将自己的作品展于自己的城市之中； · 将城市做成自己的作品； · 将城市展于自己的作品之中。 Contemporary art has afforded the city a compound structure to encompass time, space, bodies, and desires. It can transform a product of space into an artwork about space, transforming urban dwellers from product consumers to creators of their own artworks. Contemporary art supports new urbanites: · To realize one’s experience in the city over a period of time into a work of art; · To present one’s artwork in one’s city; · To transform the city into one’s artwork; · To present the city in one’s artwork. 当代艺术还能将城市的日常生活空间、建筑空间、设计空间、时尚空间联合到城市这一艺术的“总体”之中，在新的共同节日中，找到人类世城市幸存的新内存。 Contemporary art integrates the spaces of everyday living, architecture, design, the fashion of a city into the "gesamtkunstwerk” of art and discovers new capacities for surviving the Anthropocenic city of a new festival of commonality. 在这个正在形成新作品的时代，APSMUSEUM志在联合艺术家、建筑师、设计师和各类创意人才，激发城市的新欲望和新智能，向公众展示工作与休闲之外的更多的生活轨道。我们将以更加融合跨界的艺术展览、公共活动、艺术商店等多种形式投身城市实践，探讨空间话题，打开城市空间的新可能性，在艺术机构和社会实践之间，培育一种融合当代艺术、建筑、设计和时尚的花粉经济，促成一种新城市社会的块茎伦理：互相好奇，互相友爱，互相贡献，互相赋能，互相酬答。 In an era where new works are being created, APSMUSEUM aims to unite artists, architects, designers, and all talents in the creative disciplines to stimulate new desires and wisdom in the city and show the public other possible tracks of life beyond work and leisure. We devote to adopting a hybrid and integral approach for urban practice, exploring spatial issues, and opening up new possibilities for urban spaces. In doing so, we aim to foster a pollinating economy that would bring together contemporary art, architecture, design, and fashion beyond the art institutions and social practice and engendering the ethic of stems in the new urban society, where its components, intrigue, share, contribute, empower and reciprocate with one another. 诚如人类学家和社会学家乔治·巴塔耶(Georges Bataille)所说，艺术空间是大城市的肺，涌进来的城市诸众，是激荡城市的热血。城市中的艺术空间通过放大、发酵、编目艺术作品和与其观众之间的种种关系，为城市送来新鲜的氧气，也为城市空间的规划和城市生活的组织发展提供了深层语法。 As the anthropologist and sociologist, Georges Bataille has put it, an art space is the lungs of the metropolis, and the masses that poured in are the blood that stimulates the city. By amplifying, fermenting, cataloging works of art and their relationships with their viewers, an art space in the city introduces fresh oxygen and provides a profound grammar for urban space planning and the development for organizing urban life. 关于策展人 & 艺术家 CURATOR & ARTISTS 徐 震 Xu Zhen 徐震，艺术家、策划人、没顶公司创始人。 1977年出生，工作和生活于中国上海。徐震是中国当代艺术领域的标志人物，2004年获得中国当代艺术奖 (CCAA)“最佳艺术家”奖项，并作为年轻的中国艺术家参加了第49届威尼斯双年展(2001)主题展，徐震的创作非常广泛，包括装置、摄影、影像和行为等。 他的作品在世界各地的博物馆和双年展均有展出，包括威尼斯双年展(2001，2005)、纽约现代艺术博物馆(2004)、国际摄影中心(2004)、日本森美术馆(2005)、纽约现代艺术博物馆PS1(2006)、英国泰特利物浦美术馆(2007)、英国海沃德画廊(2012)、里昂双年展(2013)、纽约军械库展览(2014)、上海龙美术馆(2015)、卡塔尔Al Riwaq艺术中心(2016)、悉尼双年展(2016)、纽约古根海姆美术馆(2017)、沙迦双年展(2019)、洛杉矶当代艺术博物馆(2019)、澳大利亚堪培拉国立美术馆(2020)等。在艺术家身份之外，他同时还是策展人和没顶公司创始人。1998年，徐震作为联合发起人创办了上海第一家独立的非营利机构比翼中心。2006年，他与上海艺术家一起创办了网络艺术社区Art-Ba-Ba(www.art-ba-ba.com)，至今还是中国最活跃的探讨、评论当代艺术的平台。2009年，徐震创立了当代艺术创作型公司没顶公司(MadeIn Company)，以生产艺术创造力为核心，致力于探索当代文化的无限可能。2013年，没顶公司推出徐震?，专注于艺术品创作和新文化研发。2014年，成立没顶画廊，全方位推广艺术家，引领文化浪潮。2016年11月，首家“徐震专卖店”于上海开业，徐震?由此进入全新发展阶段。 徐震?由艺术家徐震创建于2013年，是没顶公司旗下的旗舰艺术品牌。品牌创始人徐震出生于1977年，是中国青年一代领军艺术家、策划人，同时也是没顶公司创始人。徐震?是一个专注于艺术品创作和新文化研发的品牌。用户可以通过收藏，欣赏徐震?的艺术品和活动，从而获得高质量的精神追求和人生体验。 Artist, Curator, MadeIn Company Founder Xu Zhen was born in 1977, and lives and works in Shanghai. Xu Zhen has been considered as an iconic figure in Chinese contemporary art. In 2004, Xu won the prize for ‘Best Artist’ at the China Contemporary Art Award. His practice covers various media such as installations, video, painting and performance, etc. Xu Zhen has exhibited internationally, at museums and biennales, such as, Venice Biennale (2001, 2005), The Museum of Modern Art (New York, 2004), Mori Art Museum (Tokyo, 2005), MoMA PS1 (New York, 2006), Tate Liverpool (2007), Hayward Gallery (London, 2012), Lyon Biennial (2013), Armory Show (New York, 2014), Long Museum (Shanghai 2015), Al Riwaq Art Center (Qatar, 2016), Sydney Biennial (2016), Guggenheim Museum (New York, 2017), Sharjah Biennial (2019), Museum of Contemporary Art (Los Angeles, 2019), National Gallery of Australia (Canberra, 2020), among others. Aside from being an artist, Xu Zhen is also a curator. He co-curated together with other artists major exhibitions in Shanghai and was one of the initiators of Art-Ba-Ba (www.art-ba-ba.com), a leading online forum for discussion and critique of contemporary art in Shanghai, in 2006. In 2009, Xu Zhen established ‘MadeIn Company’, a contemporary art creation corporate, focused on the production of creativity, and devoted to the research of contemporary culture’s infinite possibilities. In 2013, MadeIn Company launched XU ZHEN? which is committed to art creation and cutting-edge culture development. In 2014, MadeIn Company established MadeIn Gallery and in November 2016 launched the first “Xu Zhen Store” in Shanghai. XU ZHEN?, founded by artist Xu Zhen in 2013, is the flagship art brand of MadeIn Company. Born in 1977, Xu Zhen is a leading Chinese artist and curator, and the founder of MadeIn Company. XU ZHEN? is committed to art creation and cutting-edge culture development. XU ZHEN? is one such initiative to offer spiritual aspirations and life experiences of the finest quality through the appreciation and collection of artworks and events produced by the brand. 安尼施·卡普尔 Anish Kapoor 安尼施·卡普尔是当代最具影响力的雕塑家之一。他创造的那些形态大胆又完美体现工学原理的公共雕塑为他赢得了国际声誉，而他各种造型各异、大小不一的作品也同样令人惊叹：大型PVC表皮或抻拉或压缩，凹凸镜面的不规则倒影吸引着观者驻足，其深处以石料雕刻而成，通过着色形成视觉上的消失效果，隙间与突起处唤起的仿佛是抽象意义上的在场与不在场，隐形与显形。卡普尔的作品形态自内而外地展现自我，仿佛子宫，他所采用的材料明明未上色却似乎充满色彩，好像要否决外表面的概念，激励观者放飞想象。在80年代初，卡普尔打造的各种几何造型拔地而起，仿佛由纯颜料制作而成；而过去10年间，他创作的那些具有粘腻感的血红蜡制雕塑仿佛蕴含自我生发的动能，大肆破坏自我的表面，在静谧的美术馆空间内掷下一声响雷。在他的作品里，印度、埃及、希腊、罗马神话和21世纪当代语境下的形色之间，产生了千丝万缕的联系。 Anish Kapoor is one of the most influential sculptors of his generation. Perhaps most famous for public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series of work. Immense PVC skins, stretched or deflated; concave or convex mirrors whose reflections attract and swallow the viewer; recesses carved in stone and pigmented so as to disappear: these voids and protrusions summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, womb-like, and materials are not painted but impregnated with colour, as if to negate the idea of an outer surface, inviting the viewer to the inner reaches of the imagination. Kapoor’s geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood-red wax sculptures from the last ten years – kinetic and self-generating – ravage their own surfaces and explode the quiet of the gallery environment. There are resonances with mythologies of the ancient world – Indian, Egyptian, Greek and Roman – and with modern times. 丁 乙 Ding Yi 丁乙，1962年生于上海，现工作、生活于上海。从80年代后期开始，丁乙将视觉符号“十”字以及变体的“X”作为结构和理性的代表，以及反映事物本质的图像表现的代名词。其创作领域包括绘画、雕塑、空间装置和建筑。丁乙的作品在全球不同机构和画廊广泛展出，包括古根海姆博物馆(纽约／毕尔巴鄂)、戴姆勒当代艺术(柏林)、蓬皮杜艺术中心(巴黎)、广东美术馆(广州)、龙美术馆西岸馆(上海)、民生现代美术馆(上海)、香格纳画廊(上海／北京／新加坡)、泰勒画廊(伦敦／纽约)、Karsten Greve画廊(巴黎／圣莫里茨／科隆)等。 Ding Yi (b. 1962) was born and currently resides in Shanghai. Ding Yi works primarily with "+" and its variant "x" as formal visual signals, above and against the political and social allegories typical of painting in China. He chose this sign in the second half of the 80s as a synonym of structure, rationality and of a pictorial expressiveness that reflects the essence of things. The practice of Ding Yi encompasses painting, sculpture, spatial installation and architecture. Ding Yi has exhibited extensively at various institutions and galleries, among many others, Solomon R. Guggenheim Museum (New York/Bilbao); Daimler Contemporary (Berlin); Centre Pompidou (Paris); Guangdong Museum of Art (Guangzhou); Long Museum (Shanghai); Minsheng Art Museum (Shanghai); ShanghART Gallery (Shanghai/Beijing/Singapore); Timothy Taylor Gallery (London/New York); Galerie Karsten Greve (Paris/St.Moritz/Cologne). 莫娜·哈透姆 Mona Hatoum 莫娜·哈透姆于1952年出生于黎巴嫩贝鲁特的一个巴勒斯坦家庭，并自1975年起一直在伦敦生活和工作。她曾在世界各地举办个展，包括:日本的广岛市现代美术馆、美国德州侯斯顿的梅尼勒艺术馆(2017年)，后巡回到美国密苏里州圣路易斯的普利策艺术基金会(2018年)、法国巴黎的庞比度艺术中心(2015年)，后巡回到英国伦敦泰特现代美术馆和芬兰赫尔辛基的奇亚斯玛当代艺术博物馆(均为2016年)、卡塔尔多哈的阿拉伯现代艺术博物馆(2014年)、瑞士圣加仑艺术博物馆(2013年)、西班牙巴塞隆拿的米罗美术馆(2012年)、黎巴嫩的贝鲁特艺术中心(2010年)、威尼斯的奎利尼.斯坦帕里亚基金会博物馆(2009年)、北京尤伦斯当代艺术中心(2009年)、澳洲当代艺术博物馆(2005年)、德国的汉堡美术馆，后巡回到瑞典斯德哥尔摩的Magasin III艺术馆和德国的波恩艺术博物馆(均为2004年)、英国伦敦的泰特现代美术馆(2000年)、意大利的都灵凯斯泰勒当代美术馆(1999年)、美国的芝加哥当代艺术博物馆，后巡回到纽约的新当代艺术博物馆(均为1997年)。 哈透姆亦曾参与多个群展，包括分别于卡塞尔和雅典举办的第十四届德国卡塞尔文献展(均为2017年)、第六届马拉喀什双年展(2016年)、第五届莫斯科双年展(2011年)、西班牙的毕尔包古根汉美术馆(2011年)、第15届悉尼双年展(2006年)、第五十一届威尼斯双年展(2005年)、第十一届德国卡塞尔文献展(2002)、英国伦敦泰特现代美术馆的英国泰纳奖得奖展(1995年)、第四十六届威尼斯双年展(1995年)，和第四届伊斯坦布尔双年展(1995年)。 哈透姆曾获颁授多个艺术奖项，包括第十届广岛艺术奖(2017年)和米罗奖(Joan Miró Prize) (2011年)。最近，她获提名英国雕塑大奖「赫普沃斯奖」，并将于2018年10月参与由英国西约克郡的韦克菲尔德赫普沃斯美术馆所举办的展览。 Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and has lived and worked in London since 1975. Solo exhibitions include Hiroshima City Museum of Contemporary Art, Japan (2017); Menil Collection, Houston, Texas, touring to Pulitzer Arts Foundation, St Louis, MO (2017-18); Centre Georges Pompidou, Paris, touring to Tate Modern, London and Kiasma Museum of Contemporary Art, Helsinki (2015-16); Arab Museum of Modern Art, Doha (2014); Kunstmuseum St. Gallen, Switzerland (2013); Fundació Joan Miró, Barcelona (2012); Beirut Art Centre (2010); Fondazione Querini Stampalia, Venice (2009); Ullens Center for Contemporary Art, Beijing (2009); Museum of Contemporary Art Australia, Sydney (2005); Hamburger Kunsthalle, Hamburg, touring to Magasin III, Stockholm and Kunstmuseum Bonn, Germany (all 2004); Tate Britain, London (2000); Castello di Rivoli, Turin (1999); Museum of Contemporary Art Chicago, touring to New Museum, New York (1997). Hatoum has participated in numerous group exhibitions including Documenta 14, Kassel, Germany and Athens (both 2017); 6th Marrakesh Biennale (2016); 5th Moscow Biennale; Guggenheim Bilbao, Spain (both 2011); 15th Biennale of Sydney (2006); 51st Venice Biennale (2005); Documenta 11, Kassel, Germany (2002); The Turner Prize, Tate Britain, London (1995); 46th Venice Biennale (1995); and 4th Istanbul Biennial (1995). Among other awards, Hatoum has received the Praemium Imperiale (2019), the 10th Hiroshima Art Prize (2017) and the Joan Miró Prize (2011). 何 岸 He An 何岸，1970年生于湖北武汉，现生活工作在北京。 何岸是中国最重要的观念艺术家之一，其创作实践涉及装置、雕塑、摄影和表演等。何岸的作品很大程度上反映着中国城市急剧变化现象所带来的物理和心理层面的情感，混凝土、广告牌和霓虹灯等城市符号被抽象成极致的艺术语言。何岸始终向这些没有情感和意识的冰冷材料投射着真挚、热烈、暴力和浪漫的文学情绪，个人广泛的兴趣则使得作品在地缘政治和美学层面都能与“当下”同步。 何岸的作品在各个美术馆和机构广泛展出，包括澳大利亚当代艺术中心(墨尔本，2017)、伦敦萨奇画廊(伦敦，2014)、卡内基美术馆(匹茨堡，2013)、尤伦斯当代艺术中心(北京，2008)和泰特利物浦(利物浦，2007)等。 Born in Wuhan in 1970, He An now lives and works in Beijing. He An is one of China’s foremost conceptual artists with a practice that includes installation, sculpture, photography and performance. His works largely reflect the physical and psychological emotional shock brought about by dramatic changes in Chinese cities. Combining light-boxes, billboards, neon lights and other materials, He An turns urban symbols into a new artistic language. He An’s works have already been exhibited in galleries and institutions including Tate Liverpool, Australia Centre for Contemporary Art, London’s Saatchi Gallery, Carnegie Museum of Art, Ullens Center for Contemporary Art (UCCA) etc. 詹姆斯·特瑞尔 James Turrell 詹姆斯·特瑞尔(生于1943年，美国洛杉矶)作为“光与空间”运动的领军人物，长久以来致力于对感知艺术的探讨，研究光的特质与物理性。受绘画艺术中纯粹感知概念的影响，特瑞尔的作品集中于光的构建和使用光进行绘画之间的辩证对话，以及关于空间、色彩和知觉的感官体验上；这些互动成为他作品的基础。本次展出的这件菱形玻璃作品了形成独特的构图，同时标志性地融合了时间元素：随着时间的推移，上百种生动的色彩组合会相互渗入又淡出，共同创造出一个如梦似幻、变化多端的充满光与色的环境，以及一个供人沉思、内省和引发敬畏的场所。特瑞尔将前辈艺术家马克·罗斯科(Mark Rothko)的色域绘画描述为“从黑暗中带出色彩”，而他的作品便是以罗斯科的艺术理念为基础，推动了抽象艺术的新发展，通过让观众将时间体验包含在对光的物理和感知体验之中，特瑞尔将光转变为强大的实体物质。 James Turrell (b. 1943, Los Angeles, California), as a leading figure of the "Light and Space" movement, has long devoted himself to the exploration of the art of perception, with a special focus on the materiality of light. Influenced by the notion of pure feeling in pictorial art, Turrell’s earliest work focused on the dialectic between constructing light and painting with light, building on the sensorial experience of space, color, and perception; these interactions became the foundation for Turrell’s oeuvre. Presented as site-specific pieces, the recent work of Turrell’s in the exhibition feature a diamond shape with a frosted glass surface animated by an array of technically advanced LED lights, which are mounted to walls and generated by computer programming. The light changes are subtle and hypnotic, one color morphing into the next seamlessly. The program runs on a loop that is imperceptible to the viewer, prompting a transcendental experience. This wall-cavity filled with color advances the lineage of abstract art, particularly calling to mind Mark Rothko’s Color Field paintings which for Turrell “brought color out of darkness.” In implicating the viewer in the temporal experience of color within the physical and perceptual experience, Turrell turns light into a powerful substance. 李汉威 Li Hanwei 李汉威，1994年生于江苏，2018年毕业于上海视觉艺术学院，现生活工作于上海。李汉威的创作善于使用商业广告与电影的形式进行隐喻，通过对于传播手段的研究，利用影像特效在架空的世界中建立一种世界观，使山寨与科幻并存，用以展现当今文化形态与身份的交叉点。 近期展览包括，个展：“液态健康”，歌德开放空间，上海，中国，2019；群展：“唐人街到红色国际主义”，OCAT，深圳，中国，2020；“机构的推荐”，盒子空间，深圳，中国，2020；“降临：发明风景，制作大地”，前哨当代艺术中心，中国，2019；“极限混合”：2019广州空港双年展，广州，中国，2019；“变量与供养”，没顶画廊，上海，中国，2019；“环形狩猎”，没顶公园，上海，中国，2018；“眼界拦大千”，上海视觉艺术学院，上海，中国，2018；“上海热六人斩”，要空间，上海，中国，2018；“BABEL7”，Babelsberger Strasse 52，柏林，德国，2018；“多样性”，尼斯维拉松国立高等艺术学院，尼斯，法国，2016；等；李汉威于2020年获得Dior迪奥新秀摄影和视觉艺术奖提名奖。此外，李汉威还与艺术家方阳、刘树臻和善良共同于运营虚拟当代艺术空间“史莱姆引擎”，参与构思并制作了平台上的数场展览。 Li Hanwei, born in Xuzhou, Jiangsu province in 1994, graduated from the Shanghai Institute of Visual Arts in 2018, and currently lives and works in Shanghai. Li’s practice adopts the forms of commercial advertisements and films as metaphors. Exploring various communication methods, the artist uses CG images to establish a worldview in the fictional world where counterfeit of the real world and science fiction coexist, as a way to present the intersection between contemporary culture forms and individual identities. Li Hanwei has participated to exhibitions such as: “Sino-Wharf: from Chinatown to Red Internationalism”, OCAT, Shenzhen, China, 2020; “Recommendations of Institutions”, Boxes Art Space, Shenzhen, China, 2020; “Wild Metropolis”, Powerlong Museum, Shanghai, China, 2019; “Advent: Inventing Landscape, Producing the Earth”, Qianshao Contemporary Art Center, Shanghai, China, 2019；“Extreme Mix”, Guangzhou Airport Biennale, Guangzhou, China, 2019; “The Variable and The Generating”, MadeIn Gallery, Shanghai, 2019; “Liquid Health”, Goethe Open Space, Shanghai, 2019; “Hunting Cycle”, MadeIn Park, Shanghai, 2018; “Shanghai Hot the Beheaded Six”, Yell Space, Shanghai, 2018; Boundary, SIVA, Shanghai, China；BABEL7, Babelsberger Strasse 52, Berlin, 2018; "Diversity", école nationale supérieure d'art de Nice – Villa Arson, Nice, 2016. Li Hanwei nominated for “Dior Photography and Visual Arts Award for Young Talents” in 2020. Li Hanwei also co-operates the online contemporary art space Slime Engine with Liu Shuzhen, Fang Yang and Shan Liang since 2017. Li Hanwei has been involved in the conception and production of several exhibitions for Slime Engine. 陆兴华 Lu Xinghua 陆兴华，哲学家，同济大学人文学院教授，主要研究领域为艺术哲学和法国当代哲学。 Lu Xinghua, philosopher, professor of School of Humanities, Tongji University; specialised on philosophy of art and contemporary French philosophy. 米开朗基罗·皮斯特莱托 Michelangelo Pistoletto 米开朗基罗·皮斯特莱托，1933年生于意?利?耶拉。自1955年开始其作品陆续展出，后于1960年在意大利都灵的加拉泰亚画廊举办首场个展，早期实践致力于?画像的探索。1961年?1962年间，他创作了最早的?组“镜画”作品，将观者本?与实时现场纳入其中，带回被20世纪前卫艺术所摒弃的文艺复兴透视法，并将其逆转。此作品很快令这位艺术家蜚声国际，并于60年代在欧美重要画廊与博物馆举办诸多个展。“镜画”系列也成为其艺术创作于理论思想的基石。1965年至1966年间，他创作了一组名为《迷你物品》的作品，被视为“贫穷艺术”运动的奠基之作，皮斯特莱托也成为这一运动的核心力量与领军人物。1967年起，他的工作开始跳出传统展览空间，在此后的数十年间，他不断将来自不同领域与社会各界的艺术家聚合到一起进行“创造性合作”。1975年至1976年，其作品《空间》分为12个连续的展览，在都灵的斯坦画廊进行——这是其一系列为时一年，以“时间大陆”为名之作品的首部曲。该系列还包括《白色之年》(1989年)和《快乐的海龟》(1992年)。1978年，在都灵的一场展览确定了皮斯特莱托未来创作的两个方向：《镜子的划分与倍增》与《艺术承载信仰》。八十年代初期，他完成了一系列硬聚氨酯雕塑创作，并在1984年于佛罗伦萨美景堡所举办的个展中以大理石呈现。1985年至1989年间，皮斯特莱托创作了一系列“黑暗”作品，名为《肮脏的艺术》。九十年代，通过“公共艺术计划”，以及创建于比耶拉的艺术城市-皮斯特莱托基金会和理念大学，他将艺术与社会各领域积极地联系起来，旨在激起与制造“有责任的社会变化”。2003年，他获得威尼斯双年展金狮奖终生成就奖。2004年，都灵大学授予皮斯特莱托政治学荣誉博士学位。值此时机，他也宣布了自己最新创作阶段，“第三天堂”。2007年，由于“作为一名艺术家、教育家和社会活动家，他将源源不断的创造力贡献给艺术，创造出给世界带来全新理解方式的、划时代的艺术形式”，皮斯特莱托在耶路撒冷获颁沃尔夫艺术奖。2010年，其文章《第三天堂》以意大利语、英语、法语和德语四种语言出版。2011年，他出任波尔多Evento 2011双年展“艺术与城市再演进”的艺术总监一职。2012年，他开始致力宣传“重生日”，这一首个庆祝重生的日子定为每年的12月21日，迎来世界各地的特别活动。2013年，巴黎卢浮宫举办其个展“米开朗基罗·皮斯特莱托：一年——世间天堂”。同年，他在东京获颁“高松宫殿下纪念世界文化奖”的绘画奖。2014年，在意大利当任欧盟轮值主席国期间，其“第三天堂”的标志符号进入了布鲁塞尔欧盟总部的大厅。2015年5月，他被授予古巴哈瓦那艺术大学的荣誉博士。同年他完成大型装置《重生》，立于联合国驻日内瓦总部万国宫。2016年，位于哈瓦那的古巴国家美术馆举办皮斯特莱托大型回顾展，展出从60年代的绘画，到最新的《第三天堂》，再到完成于2015年的古巴“镜画”，横跨其创作生涯的多个维度。2017年，其个展“米开朗基罗·皮斯特莱托：壹加壹等于三”作为威尼斯双年展平行项目展，在圣乔治马焦雷教堂亮相。 Michelangelo Pistoletto was born in Biella in 1933. He began to exhibit his work in 1955 and had his first solo show in 1960 with Galleria Galatea in Turin. His early work is characterized by an inquiry into self-portraiture. In the two year period from 1961-1962, the first Mirror Paintings were made, which incorporate the viewer and real time into the work directly, opening up perspective, and reversing Renaissance perspective that had been closed off by the twentieth century avant-garde. These works quickly brought Pistoletto international acclaim, leading to individual shows in important galleries and museums in Europe and the United States in the sixties. The Mirror Paintings provided the foundation of his subsequent artistic output and theoretical exploration. In 1965 and 1966, he produced a set of works entitled Minus Objects, considered fundamental to the birth of Arte Povera, an art movement for which Pistoletto was an animating force and key protagonist. In 1967, he began working outside traditional exhibition spaces, with the first instances of the“creative collaboration” he developed over the following decades by bringing together artists from different disciplines and diverse sectors of society. From 1975-1976, he presented a cycle of twelve consecutive exhibitions, “LeStanze”, at the Stein Gallery in Turin. This was the first of a series of complex, year-long works known as “time continents”, others include White Year (1989) and Happy Turtle (1992). In 1978, in a show in Turin, Pistoletto defined two main directions for his future artistic production:“Division and Multiplication of the Mirror” and “Art Takes On Religion”. In the early eighties, he made a series of sculptures in rigid polyurethane translated into marble for his solo show in 1984 at Forte di Belvedere in Florence. From 1985 to 1989, he created the series of “dark” volumes called Art of Squalor. During the nineties, with Project Art and his creations in Biella of Cittadellarte Fondazione Pistoletto and the University of Ideas, he brought art into active relation with diverse spheres of society with the aim of inspiring and producing responsible social change. In 2003, he won the Venice Biennale’s Golden Lion for Lifelong Achievement. In 2004, the University of Turin awarded him an honorary degree in Political Science. On that occasion, the artist announced the most recent phase of his work, Third Paradise. In 2007, in Jerusalem, he received the Wolf Foundation Prize in the Arts, “for his constantly inventive career as an artist, educator and activist whose restless intelligence has created prescient forms of art that contribute to fresh understanding of the world.” In 2010, he wrote the essay “The Third Paradise”, published in Italian, English, French and German. In 2011, he was the artistic director of “Evento 2011 – L'art pour uneré-évolution urbaine” in Bordeaux. In 2012, he started promoting the Rebirth-day, the first worldwide day of rebirth, celebrated every year on December 21st with initiatives taking place all over the world. In 2013, the Louvre in Paris hosted his personal exhibition “Michelangelo Pistoletto, année un – le paradis sur terre”. The same year, he received the Praemium Imperiale for painting, in Tokyo. In 2014, the symbol of the Third Paradise was installed in the hall of the headquarters of the Council of the European Union in Bruxelles for the duration of the Italian Presidency of the European Council. In May 2015, he received an honorary degree from the Universidad de las Artes of Havana in Cuba. In the same year, he realized a work of epic scale entitled Rebirth, situated in the park of the Palaisdes Nations in Geneva, headquarters of the UN. In 2016, he exhibited his works in Havana, Cuba, at the Museo Nacional de Bellas Artes, with a great retrospective exhibition which encompassed his entire artistic journey, from the paintings of the 1960s to the latest works on the Third Paradise and the Cuban Mirror Paintings, executed the previous year. In 2017, the artist participated in an auxiliary event of the 57th Venice Biennial with the exhibition “One and One Makes Three” at the San Giorgio Maggiore Abbey complex in Venice. 邱岸雄 Qiu Anxiong 邱岸雄，1972年出生于四川，1994年毕业于四川美术学院，2003年毕业于德国卡塞尔艺术学院，现任教于华东师范大学设计学院。作品涉及动画，绘画，装置，录像等不同媒介。其作品以中国传统人文精神结合新媒体形式表达其对当代社会批判以及对历史文化的思考，代表作品有动画片《新山海经》，《民国风景》，《山河梦影》，影像装置《为了忘却的记忆》。于2007年创立“未知博物馆”，是近年当代艺术生态建设中的活跃力量。 邱岸雄最新的作品包括大幅的绘画，动画, 以及录像装置。如邱岸雄2006年的作品《新山海经》是由千余张水墨画联接而成的动画作品。这件作品的名字本身就取自中国的传统神化《山海经》。除了研究中国传统文化与现代文化间的相互影响，整个作品同时具有梦幻的色彩：细致明确的图像加上让人难以置信的叙述，忠实地描绘了我们所生活的荒谬的周遭世界。 作品为维多利亚和艾伯特博物馆、堪萨斯大学艺术馆、伯尔尼艺术馆、广东美术馆、尤伦斯基金会、乌里·希克、中国民生银行、Haudenschild 夫妇等收藏。 Qiu Anxiong was born in 1972 in Sichuan province. He graduated from Sichuan Academy of Fine Arts in 1994. In 2003 he graduated from the University Kassel's College of Art in Germany after six years of studying both contemporary international art and traditional Chinese culture. Now he is teaching in East China Normal University. His works employs different kinds of mediums including animation, painting, installation and video, etc. Representative works are animation film New Classic of Mountains and Seas, Temptation of the Land, Minguo Landscape, video installation Staring into Amnesia. He founded “Museum of Unkown” in 2007, which is an active power in the ecological construction of contemporary arts in recent years. Qiu Anxiong’s recent work consists largely of paintings, animations, and video installations. In the 2006 piece The New Classic of Mountains and Seas, for example, Qiu employs multitudes of ink drawings and links them together in an animated form. The title itself refers to the ancient Chinese mythology Classic of the Mountains and Seas. Besides investigating the interaction between ancient and modern Chinese culture, this work and others like it have a dreamlike quality: the clearly delineated images framed by unbelievable narratives faithfully depict the absurdity of the world around us. This link to the everyday further enhances the political value of the work, which engages in a damning criticism of environmental degradation, social breakdown, and massive urbanization. Unlike younger artists, Qiu Anxiong does not indulge in the personal pleasures of the everyday, but rather takes the undifferentiated mass of history as his raw material. His work has been collected by The Museum of Modern Art, Victoria and Albert Museum, Spencer Museum of Art, the University of Kansas, Kunst Halle Bern, Guangdong Museum of Art, Guy & Myriam Ullens Foundation, Uli Sigg, Haudenschild Collection. 施 勇 Shi Yong 施勇作为中国较早从事装置与影像媒介的代表人物之一。自1993年起，他的作品就在国内外被广泛展出。早期创作致力于揭示现实内部的意识形态；九十年代开始关注改革开放神话下的当代上海的转型概念，继而引向更宏观的全球化，消费文化等层面。2006年，从作品“2007没有卡塞尔文献展”始，施勇将质疑的目光落实于艺术界本身，思考如何通过“搁置”创作来予以抵抗。2015年个展“让所有的可能都在内部以美好的形式解决”，既是之前创作的延续，又传达了其未来意图在表面“抽象”之下展开对于“控制”的反思与实践。 1963年出生于上海。1984年毕业于上海轻工业高等专科学校美术系。展览：红色童话，维多利亚国立美术馆(NGV)，墨尔本，澳大利亚(2019)；一切皆有可能(个展)，要空间，上海(2018)；将一只（ ）鸟从一座塔的塔顶放掉(个展)，华侨城盒子美术馆，佛山(2018)；这里是上海, 中国当代艺术展, 利物浦, 英国(2018); 施勇: 规则之下(个展), 香格纳(2017)；乌拉尔双年展，叶卡特琳堡(2015)；让所有的可能都在内部以美好的形式解决(个展)，没顶画廊(2018); 不在现场项目，伯明翰IKON美术馆(2014)；仔细想想，昨天你究竟干嘛去了？(个展)，比翼艺术中心(2007)；看上去都一样吗？，Sandretto Re Rebaudengo基金会, 都灵(2006)；第二届广州三年展，广东美术馆(2006); 难以言喻的快乐, 塔马约现代艺术博物馆，墨西哥城(2005); 跟我来！，森美术馆，东京(2005)；天上人间(个展)， 香格纳画廊(2004)；第25届圣保罗双年展，圣保罗(2002)；金钱和价值－最后的禁忌，瑞士(2002)；第四届上海双年展，上海美术馆(2002)；被打开的欧洲，BOIJMANS VAN BEUNINGEN美术馆，鹿特丹(2001)；生活在此时，汉堡火车站当代美术馆，柏林(2001)；第三届亚太当代艺术三年展，昆士兰美术，布利斯班(1999)；超市：当代艺术展，上海(1999)；移动中的城市(1-6)，分离派美术馆，维也纳，CAPC当代艺术博物馆，波尔多，PS1当代艺术中心, 纽约，路易斯安那现代艺术博物馆，哥本哈根，海沃德美术馆，伦敦，奇亚斯玛当代美术馆，赫尔辛基(1997-1999)；形象的两次态度93，华山美校画廊，上海(1993)等。 Shi Yong is a representative figure of contemporary Chinese artists who first started working with installation and video media. Since 1993, his works have been widely exhibited both in China and abroad. His artworks cover a wide range of mediums including performance, video, and installation. Shi Yong’s earliest artistic practices focused on revealing the subtlety of our reality and the inherent tension of the "system". At the end of the 1990s, Shi began focusing on the idea of Shanghai’s transformations under the Chinese economic reform, which contributed to a discussion of globalization and consumerism. Since 2006, with the piece "Sorry, There will be no Documenta in 2007", he turned his attention to the art world that he's been involved in, pondering how to provide a more rational perspective through his creative works. Shi Yong’s 2015 solo exhibition "Let All Potential Be Internally Resolved Using Beautiful Form" continues his art practice, disclosing his intention to expand the reflection and practice of “control” under the seemingly “abstract” future. Shi Yong was born in Shanghai in 1963. He graduated from the Fine Arts Department of Shanghai Light Industrial School. He now resides and works in Shanghai. Shi Yong has been exhibited widely since the early 1990s. Recent shows include: A Fairy Tale in Red Times, National Gallery of Victoria, Melbourn, Australia (2019); Nothing is Impossible (Solo Exhibition), Yellspace, Shanghai; A ( ) Bird be Released from the Top of a Certain Tower (Solo Exhibition), Boxes Art Museum, Foshan; This is Shanghai, Chinese Contemporary Art, Liverpool, UK (2018); Shi Yong: Under the Rule, ShanghART, Shanghai; Floating World, Bahrain (2017); Trace of Existence, UCCA, Beijing; The Crocodile in the Pond, Luzern (2016); Let All Potential be Internally Resolved using Beautiful Form (Solo Exhibition), MadeIn Gallery; Ural Industrial Biennial of Contemporary Art, Ekaterinburg; Essential Matters - Moving Images from China, Borusan Contemporary Perili Kosk, Istanbul, (2015); Hans van Dijk: 5000 Names, Ullens Center for Contemporary Art, Beijing; Witte de With Center for Contemporary Art, Rotterdam, the Netherlands; Off-Site Programme, Silent Film, Ikon Gallery, Birmingham (2014); Big Draft, Kunstmuseum Bern, Bern (2010); Think carefully, where have you been yesterday?, (Solo Exhibition) BizART, Shanghai (2007); Alllooksame/Tutttuguale? Fondazione Sandretto Re Rebaudengo, Turin (2006); Second Guangzhou Triennale, Guangsong Museum of Art, Guangdong; Felicidad Indecible (Unspeakable Happiness), Museo Tamayo Arte Contemporáneo, Mexico City; Follow Me!, Mori Art Museum, Tokyo (2005); The Heaven, The World (Solo Exhibition), ShanghART Gallery, Shanghai (2004); XXV Biennale de Sao Paulo, Sao Paulo; Money and Value, The Last Taboo, Switzerland; 4th Shanghai Biennale, Shanghai Art Museum, Shanghai (2002); Unpacking Europe, Museum Boijmans Van Beuningen, Rotterdam; Living in Time, National galerie im Hamburger Bahnhof Museum fuer Gegenwartskunst, Berlin (2001); The Third Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane (1999); Art for Sale, Shanghai; Cities on the Move (1-6): Exhibition of Asian Art, Secession, Vienna; CAPC, Musee d' Art Contemporain, Bordeaux; PS1 Contemporary Art Center, New York; Louisiana Museum of Modern Art, Copenhagen; Hayward Gallery, London; Kiasma; Museum of Contemporary Art, Helsinki (1997- 1999); Two Attitudes Toward Identity 93, Gallery of Shanghai Huashan Art Vocational School, Shanghai (1993) etc. 汪建伟 Wang Jianwei 汪健伟，1958年生于四川，从上世纪70年代起他开始艺术的实践，即被视为中国当代艺术领域的先锋。汪建伟在浙江美术学院(今中国美术学院)学习绘画期间大量阅读存在主义哲学和中国历史，受到这些经验的影响，他早期以绘画为主的创作带有强烈的实验性以及复杂的观念；而自上世纪90年代至今，汪建伟持续探索知识综合与跨学科对当代艺术的影响，尝试使用不同学科的方法论去创造新的艺术语言，即在众多的关系中，从知识层面发展和建立一种新的主体的可能性；在知识综合的背景下，以哲学式的质询，实践一种交叉学科的观看世界方式，并赋予这些实践以形式。为此，其艺术作品呈现多元样式，跨越影像录像、戏剧、多媒体、装置、绘画和文本等领域。 汪建伟对一个空间的既定功用感到兴趣是从《生产》(1997)开始的，这件作品是他最早尝试创作影像作品时的代表作之一，《生产》有选择性的对发生在四川各地公共区域的社群互动进行了纪实性的记录，质询公共区域（茶馆）里人与人对话的私人空间；同样具有纪录性质的影片《生活在别处》(1998-1999)，汪建伟试图将社会事件/现象放置在更广阔的领域来看待。汪建伟抗拒以单一方式来表达关系和思想的整体性，这是他视觉语言中相当关键的部分，汪建伟在《屏风》(2000)里首次以戏剧方式演绎五代画家顾闳中名作《韩熙载夜宴图》，而后的《飞鸟不动》(2005)，则又结合剧场与排演的工作方法表述他对时间性或当代的阐释；《人质》(2008)用紧张激烈的32分钟的录像重构了文革期间的公社化生活，该计划是概念和联结的实验所，历史、乌托邦、符号以及影响在此通过跨越影像、照片和雕塑装置等不同的媒介被质疑和检验。“排演”是汪建伟参照现实与历史的主要途径，而汪建伟的作品即使有源自中国社会经验的部分，但往往导向的是更全球化和普遍性的维度里，例如其影像、表演作品《欢迎来到真实的沙漠》(2010)。 2011年汪建伟在尤伦斯当代艺术中心的个展“黄灯”、2013年长征空间的个展“……或者事件导致了每一个无效的结果”、2014-2015年于纽约古根海姆美术馆的个展“时间寺”及2015年长征空间的个展“脏物”，无论是装置或绘画，都逐步成为通向未知的能动形式之存在，也是排演的形式载体，相异媒介的作品之间的对话亦或矛盾关系自身也就可被视为排演的开展。 Wang Jianwei has been interested in the pre-established functions of a space since Production (1997); this piece was the primary work of his first attempts at video-recorded art. Production was a selective documentative record of the intra-group relationships which take place in public spaces across all areas of Sichuan Province, inquiring into the private space of conversation within a public space of the teahouse. The video recording Life Elsewhere (1998-1999) similarly possessed documentative qualities in its attempt to take social issues and phenomena and situate them in an expanded domain of observation. Wang Jianwei resists utilizing solely one means by which to express the integrity of relationships and thoughts, this can be seen a key aspect of his visual language. In Screen (2000), Wang Jianwei for the first time used theatrical performance to act out the scene of the painting The Banquet of Han Xizai by the Five Dynasties’ painter Gu Hong, and in the later work Flying Bird is Motionless (2005) once again worked using theatre and rehearsal to elucidate his personal interpretation on time and the contemporary. Human Quality (2008), uses an extremely tense 32-minute recording to reconstruct communal life during China’s Cultural Revolution, a conceptual project which linked together all experiences of history, utopias, symbols and influences utilizing video, photographs, and sculptural installations amongst other media as a means of questioning and experimentation. “Rehearsal” for Wang Jianwei is the focal avenue through which he consults reality and history, and though many of Wang Jianwei’s works are founded in the experience of Chinese society, they are much more focused on a globalised and universal dimension, such as in his video and performance work Welcome to the Desert of the Real (2010). In 2011 Wang Jianwei held a solo-exhibition “Yellow Signal” at the Ullens Center for Contemporary Art and in 2013 held a solo-exhibition at Long March Space titled “……..” 2014-2015 he held a solo-exhibition at the Guggenheim Museum in New York “Time Temple” followed by the 2015 “Dirty Substance” at Long March Space. No matter whether installation or paintings, both progressively take form through unknown active forms, just as the medium of rehearsal, with the dialogue and contradictions amongst works in diverse media themselves can be seen as the launch of a rehearsal. 王梓全 Wang Ziquan 王梓全，1993年出生于辽宁沈阳，2017年毕业于中央美术学院雕塑系，2019年硕士毕业于英国皇家艺术学院，现生活工作于杭州与上海之间。王梓全的创作来自于对互联网及虚拟世界独特的观察和理解，探索虚拟和现实的阈值，并用三维软件模仿真实世界中的荒谬。他通过叙事性的计算机影像，在虚拟和真实空间进行复制和粘贴。 近期展览包括：“青年艺术100”，嘉德艺术中心，北京，中国，2019；“Fragmentation”，The Coningsby Gallery，伦敦，英国，2019；“Material Statement”，Dyson Gallery，英国皇家艺术学院，伦敦，英国，2019；等；并于2020年入围英国Ashurst新锐艺术家奖项。 Wang Ziquan, born in Shenyang, Liaoning in 1993, currently lives and works between Hangzhou and Shanghai. He graduated from the Central Academy of Fine Arts with a B.A. degree in sculpture in 2017 and from the Royal College of Art with an M.A. degree in 2019. Wang’s practice is rooted in his unique observation and understanding of the Internet and the virtual world, exploring the threshold values between virtuality and reality, and using 3D software to imitate the absurdity in the physical world. By using narrative computer images, he copies and pastes between virtual and real spaces. Recent exhibitions including: “Art Nova 100”, Guardian Art Center, Beijing, China, 2019; “Fragmentation”, The Coningsby Gallery, London, United Kingdom, 2019; “Material Statement”, Dyson Gallery, Royal College of Art, London, United Kingdom, 2019 and etc.; Wang Ziquan was shortlisted for the Ashurst Emerging Artist Prize in 2020. 杨振中 Yang Zhenzhong 杨振中，1968年生于浙江杭州，现工作生活于上海。作为艺术家，其艺术实践以观念艺术为主要方向，涉及录像、摄影、装置，甚至包括绘画、雕塑等艺术形式，长期活跃于全球当代艺术系统，并于2003和2007年两次参加威尼斯双年展主题展。作为策展人，从上世纪九十年代末起，他与上海的艺术家们共同策划并发起了包括“超市展”、“吞图”、“快递展”等十几场重要的的当代艺术展览和项目。杨振中的创作核心，一方面持续关注生死议题并以玩世不恭的态度强化社会中存在的大量矛盾与错乱，另一方面则是对城市日常与政治空间中的人、物、景观的转化和再利用。 重要个展包括：《静物与风景》，北京唐人当代艺术中心(2018)；《始终》, 莫斯科MANEGE美术馆及展览协会(2014)；《不在此时》，上海OCT当代艺术中心(2013)；《不要动》，北京香格纳(2011)；《杨振中》，英国伯明翰IKON美术馆(2006)；《轻而易举》，上海比翼艺术中心(2002)。重要群展包括：《1989年之后的艺术与中国：世界剧场》，纽约古根海姆博物馆(2017)；《我们光明的未来：控制论幻想》，韩国白南准艺术中心(2017)；《前卫中国：中国当代艺术20年》，东京国立新美术馆(2008)；《全球化城市》，英国泰特美术馆(2007)等。其作品不仅参加了威尼斯双年展 (2003, 2007)、上海双年展(2002, 2016)、广州三年展(2002, 2005, 2012)、亚太当代艺术三年展(2006)、里昂双年展(2013)等国际大展，亦被纽约MoMA、古根海姆、英国IKON美术馆、日本福冈亚洲美术馆、法国国家现代艺术博物馆、瑞银集团等重要公私艺术机构所收藏。 Yang Zhenzhong was born in 1968 in Hangzhou, Zhejiang Province, and is currently based in Shanghai. As a practicing artist, Yang works primarily in the field of conceptual art with media that span from video, photography and installation to painting and sculpture. For decades, he is an active member of the international contemporary art scene and has showcased twice in the Venice Biennale (2003 and 2007). As a curator, he has collaborated with artists in Shanghai since the late 1990s and planned and initiated exhibitions including “Art For Sale”, “Dial 62761232: Express Art Exhibition” “Hipic”, and dozens of other important contemporary art shows and projects. YANG’s creations have always been centring on the issue of life and death and highlighting the multitude of contradictions and disorders in the society with a cynical attitude on one hand. On the other hand, he translates and recycles the people, objects and landscapes in everyday urban life and political space. Selected solo exhibitions include: Surveillance and Panorama, Tang Contemporary Art, Beijing (2018); Eternal Return | Вечное возвращение, Moscow Manege Museum and Exhibition Association, Russia (2014); Trespassing, YANG Zhenzhong Solo Exhibition, OCT Contemporary Art Terminal, Shanghai (2013); Don’t Move, Yang Zhengzhong Solo Exhibition, ShanghART, Beijing (2011); YANG ZHENZHONG, Ikon Gallery, Birmingham, U.K.(2006); Light As Fuck!, BizArt, Shanghai (2002). Selected group exhibitions include: Art and China after 1989: Theater of the World, Solomon R. Guggenheim Museum, New York, U.S.A.(2017); Our Bright Future: Cybernetics Fantasy, Nam June Paik Art Center, Yongin-si, Korea (2017); Avant-Garde China: Twenty Years of Chinese Contemporary Art , The National Art Center, Tokyo (2008); Global Cities, Turbine Hall, Tate Modern, London, U.K. (2007) etc. The artist’s works have previously exhibited in numerous prominent exhibitions including Venice Biennale (2003, 2007), Shanghai Biennale (2002, 2016), Guangzhou Biennial (2002, 2005, 2012), Asia Pacific Triennale of Contemporary Art (2006), Lyon Biennale (2013) and so forth. His works can also be found in collection of significant public and private institutes such as MoMA New York, Guggenheim Museum, Ikon Gallery (U.K.), Fukuoka Asian Art Museum, Musée National d’Art Moderne and the UBS Collection. 展 望 Zhan Wang 展望，1962年生于中国北京，1996年研究生毕业于北京的中央美术学院雕塑系，现工作、生活于北京，并任教于中央美术学院雕塑系。他的艺术实验像是一场在趣味、心性和感官世界中不断寻找平衡的智力游戏，它不断带来惊喜和高潮但却从来不提供清晰的答案。1994年第一次展出“中山装”系列；1995年创作了“假山石”系列；2010年创作“我的宇宙”系列；2017年第一次展出“隐形”系列；2019年创作“觉着”系列。 Zhan Wang was born in 1962 in Beijing, China. In 1996 he graduated from the sculpture department of the Central Academy of Fine Arts (CAFA) and he currently lives and works in Beijing where he teaches sculpture at CAFA. His art uses simple materials to formulate complex assemblages and issues. The experimentation in his art can be compared to a mind game, seeking a balance between amusement, temperament and sensation, bringing viewers surprises and revelations but never clear answers. The “Mao Suit” series was first shown in 1994; the “Artificial Rock” (Jiashanshi) series was produced in 1995; the “My Universe” series was produced in 2010; the “Forms in Flux” series was first shown in 2017; and the “Sensing” series was produced in 2019. APSMUSEUM是由欣稚锋艺术机构(Art Pioneer Studio)及其创始人汪斌(Robin Wong)女士创立的非营利艺术空间。APSMUSEUM关注当代艺术、建筑、设计、时尚等不同领域，意在寻找、搭建和展示彼此相互融合的“空间”可能性。APSMUSEUM试图延展出更多元的艺术与建筑、设计之间的公共文化空间，艺术与时尚之间的文化消费空间，人与社会文化之间的心理空间。APSMUSEUM坐落在上海陆家嘴中心L+Mall商场三楼，由意大利著名建筑设计事务所Stefano Boeri Achitetti担任室内设计。由展览空间APSPACE、艺术设计商店APSTORE和会晤空间APSALON三部分组成。APSMUSEUM致力于塑造一个非常独特的展览空间，能够将艺术和文化带到充满活力的零售空间概念中。 APSMUSEUM is a non-profit art space founded by Art Pioneer Studio and its founder, Ms. Robin Wong. With focuses on contemporary art, architecture, design, fashion, and other creative fields, the APSMUSEUM aims to discover, build, and integrate these areas of interest into a “space” of possibilities. The APSMUSEUM attempts to extend diverse public cultural spaces that bring together art, architecture, and design, a venue of cultural consumption of art and fashion, a psychological space that addresses man and social culture. APSMUSEUM is located in the L+Mall of Lujiazui, Shanghai. The renowned Italian design firm, Stefano Boeri Achitetti, executes its interior design consisting of APSPACE for exhibition, APSTORE for art and design shop, and APSALON for meetings. APSMUSEUM aims to create an unconventional exhibition space that brings art and culture to a vibrant retail concept.