策展人：巫鸿
展览时间：2007年9月8日——2007年10月3日
开幕酒会：2007年9月8日下午4点
举办画廊：当代唐人艺术中心
地址：北京市朝阳区大山子酒仙桥路798工厂2号入口前行300米
沈少民是那种有着深刻的社会现实关怀的艺术家，近些年他的作品通常具有很强的试验性，背后隐含着对于当下的社会政治经济现象和文化表征的批判性的立场。和艺术家10多年的海外生活经历有关，他的艺术作品关注的视野已超越艺术家个人的生活和文化背景，而是站在了一个宏观的高度，来进行微观的创作。从《实验室系列》到《不知名生物系列》，再到《华表》和《盆景系列》，他的作品的题材涵盖了幻想与现实的冲突，历史与未来的对比。形式上则以大型的装置为主。即将分别于9月7号和8号在今日美术馆和当代唐人艺术中心开幕的沈少民个展 – 天人之际，由当代唐人艺术中心和今日美术馆联合举办，巫鸿策展，反映了艺术家最近的艺术创作。超大型装置《磕头机》是以石油工业中普遍使用的抽油机重新改装制作完成，带有未来感的诡异造型和巨大的体量，届时必将带给现场的观众强烈的视觉震撼和心理冲击。作品《天安门》则是严格按照古建筑的营造法式加上艺术家自我的想象所制作的一件庞大的木结构装置。它既是对天安门内部形式上的主观想象，同时又是对它作为文化和政治符号的一种解构。
Shen Shaomin is that kind of artist who possesses deep social realistic concern. His recent works are mostly experimental, imbedded with the artist’s strong criticism against the current socio-political, economical and cultural phenomena. Due to more than ten years life experiences in abroad, the vision of Shen Shaomin’s artwork has surpassed the personal life and cultural background, jumped to a macroscopical level. From “Experimental Studio Series” to “Unknown Creature Series”, to “Cloud Pillar” and “Miniascape Series”, his works have transgressed between different terrains between fantasy and reality, history and future. Most of his recent works are of big installation. By 7th and 8th September, Shen Shaomin will have two solo show openings in Today Art Museum in Beijing and Tang Contemporary Art respectively, curated by professor Wu Hung of Art History in Chicago University。The two shows reflect the artist’s recent concerns and thoughts. In Tang Contemporary Art, there will be three gigantic Kowtow Oil Pumps installed in the huge interior space of Tang Contemporary Art. The installations come from the scrape industrial machines used for extracting oil in north China city Da Qing. The eerie skeletons of the machines and their colossal bodies will impose very strong visual as well as psychological impacts upon the audiences. In Today Art Museum, another big installation “Tian An Men” is constructed according to the technique of ancient Chinese building principle plus the artist’s personal imagination and fantasies. It’s the subjective imagination towards this symbolic building, at the meantime, also functioning as a way of deconstruction of the building as the symbol of cultural as well as political.
