站台中国十五周年 | 展览线上回顾-【2011】

（For English please roll down）

2005年的5月7日，站台中国正式举办了草场地空间的第一个展览，我们在此分享站台中国成长的十五年历程，按年度推出十五期展览回顾，感谢这十五年来所有相伴的你们。

2011

01.

第三方--三位一体之展：第三幕“第三方—万岁！”

2011.01.09 - 2011.01.30

艺术家：8633 Link (北京), 箭厂空间(北京), Arthub Asia (Davide Quadrio乐大豆, 曼谷; Defne Ayas, 上海), BAO 工作室(Beatrice Leanza毕月/李鼐含; 北京), 联合现场CAEP - Complete Art Experience Project (北京), ChART Contemporary/样板间 (Megan and KC Vienna Connolly凯茜&美光; 北京), 舒服组合 (上海),  陈轴/李明/李然/鄢醒 (公司; 杭州/北京), DDM 东大名仓库 (郑为民; 上海), Donkey Institute of Contemporary Art 驴子当代艺术协会(Michael Yuan/Yam Lau; 北京), 双飞艺术中心(杭州/上海), 每个人的东湖( 武汉), 掉队(北京); Forget Art 艺术团体 (北京), Knowles Eddy Knowles 艺术小组(北京), 家作坊 ( 北京), 金闪, 小运动 (策划人：刘鼎、卢迎华; 北京), 博尔赫斯书店当代艺术机构( 广州), 耶 苏/苏畅 - 奶妈基金会 (Biljana Ciric比利安娜; 上海/北京), 观察社(广州), Shan 工作室 (盛洁; 北京), 撒把芥末Subjam (颜峻;北京)

策展人：毕月

地点：站台中国当代艺术机构（北京）

展览“第三方”于2010年11月开展，该项目的设计本身是一个由三部分组成的脚本式的、以月为单位依次展出的、且又互为关联的展览，并以其相互之间的叙事和审美事物的关系作为他们最终的调查研究对象。
从一开始，这三个展览实例所拟想的是以多重角度为出发点、灵活且开放式的行动为框架加上批判性的操作，同时，将这一切运用在中国语境下的视觉体验和概念性的结构上，并以此为基础去找到具有可替代性的、其他的结合渠道。
就如第一和第二桥段，它们分别攫取的关注点是“忠于自我的表述”和“见证/归档”，而第三部分和最后的展示装设所涉猎的则是“挪用的”(appropriation) 风尚，和推论式的“协作互动”移位。这三个主题是经过深思熟虑的策划以及选题后产生的作品，它们所针对的是俗世间的万物和物质彼此所对应的网格，以及更大范围内的“当代化”及其所涵盖的领域，并意欲成为一个有着广泛的历史和美学意义上的正反情感并存的归了档的材料。而在行动和世界之间、个人和集体之间，以及由此延伸到的艺术家和公众之间互为逡巡交互作用，它们的重要性，从人文学角度来说，是在主体叙事和集体构造两方面相互配置后所形成的特定作品。

展览现场

一个展示，一份档案，一次实验，加上各方的参与，这个展览利用了蜂窝状的系统处理体系，一个有着现场般逼真效果的形式，且借助了配套结构和工具两方面来为艺术家提供处置措施。以中国为基地的自发的/独立的艺术空间、艺术集体、社会团体、具体的项目团队，以及以艺术家在合作行为上的实践为基础，并应邀提出提案建议或可以说明他们作品的材料，特定语境的活动类型，以及在特殊背景下他们是如何了解并实现“与他人合作”的意义。展览并不仅仅是对之前已实现的独立且有主见的商业冒险或项目的一个展示。一个有着开放式水准的画面，其中每一个团体的参与过程，都有着正面的、真实的一面，也有着对概念和创意积极主动预发式的交流，而这一切都蕴藏在集体创作的作品背后。这个展览中的最后一章，它所显示的特点是以新的方式创作作品，加之由参与者提供的档案材料，都全然表现在现场表演中，是特定场地的装置、音响效果和过去两个月所展示的作品碎片的结合体。其中有些项目是即兴合作的结果， 以此帮助人们对北京以外的世界可以窥见一斑；而另外一些作品的创作则是很明确地对此次展览本身做出的响应。

李巨川 李郁 “每个人的东湖”艺术计划

Li Juchuan & Li Yu, Everyone’s East Lake Art Project 

颜峻 （撒把芥末艺术小组）

Yan Jun, (Subjam art group)

杨光南（Forget Art艺术小组） 痒 2010

Yang Guangnan (Forget Art art group), Itch  

舒服组合艺术小组 Maya Kramer 

Comfortable Collective art group, Maya Kramer 

黄晓亮(左)   陈可（中）（ChART Contemporary）

Huang Xiaoliang (left) Chen Ke (middle), (ChART Contemporary)

蔡东东（Forget Art艺术小组）风 2010

Cai Dongdong (Forget Art art group), Wind

展览现场

韩五洲（Forget Art艺术小组） 话 2010

Han Wuzhou (Forget Art art group), Words

盛洁（Shan工作室）

Sheng Jie (Shan Studio)

展览现场

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02.

关于绘画的十九个个展

2011.03.12 - 2011.05.31

艺术家：毕建业、贾蔼力、金闪、黄亮、廖国核、林彦玮、李青、刘唯艰、马轲、秦琦、亓文章、宋元元、孙文、孙逊、吴光宇、萧搏、肖江、徐若涛、周轶伦

地点：站台中国当代艺术机构（北京）

这是站台中国每年度的首个群展项目，这个展览是由个以十九绘画为媒介的艺术家个展构成的展览，每个艺术家在相对独立的空间中，完成自我话语的独立展示。每个艺术家的个展，有自己的展览名称和主题，艺术家自主策展，自我陈述。这个展览展出的是十九个独立的话语系统。

贾蔼力 无题 2011 布面油画 40x40cm

Jia Aili, Untitled, Oil on Canvas 

展览现场

宋元元 审美制度车间 2011 布面油画 210x160cm 

Song Yuanyuan, Workshop of aesthetic system, Oil on Canvas

宋元元 消极屋 布面油画 250x180cm

Song Yuanyuan, Negative Room, Oil on Canvas

展览现场

李青 冯塔纳的晚年 2011 装置与绘画 布面油彩 150x200cm 

Li Qing, Fontana's Late Years, Intallation & painture, Oil on Canvas

作品现场

周轶伦 落花流水 2011 布面丙烯油画 250x390cm

Zhou Yilun, Falling Flowers Running Water, Acrylic and Oil on Canvas 

周轶伦 招之即来，来之能战 2011 布面丙烯油画 25x390cm 

Zhou Yilun, Always Prepared To Be Called To Fight, Acrylic and Oil on Canvas 

展览现场

毕建业 树和方块 2011 布面油画 40x40cm  

Bi Jianye, Tree and Quadrel, Oil on canvas

毕建业 六个正方体 2011 布面油画 70x87cm 

Bi Jianye, Six Quadrels, Oil on canvas

毕建业 松树与方块 2010 3.9x2.19m 

Bi Jianye, Work-Pine tree and Quadrel 

展览现场

秦琦 后背 2010 布上油画 161x120x5.5cm

Qin Qi, Back, Oil on Canvas

秦琦 皮带 2011 布上油画 130x100cm

Qin Qi, Belt, Oil on Canvas 

展览现场

马轲 拥抱 2009 布面油画 254x200cm 

Ma Ke,  Embrace,  Oil on Canvas

马轲 帝国时代的爱情故事 2009 布面油画 254x200cm

Ma Ke, Love Story Of The Empirer, Oil on Canvas

展览现场

黄亮 1996年心中的珍珠项链 2011 布面油画 60x79cm

Huang Liang, The Pearl Necklace in My Heart in 1996, Oil on Canvas

展览现场

廖国核 低俗的人没好果子吃 2011 布上丙烯 140x200cm

Liao Guohe, Vulgar People Have No Good Fruits To Eat, Acrylic on Canvas 

廖国核 艺术最是救人命 2011 布上丙烯 80x170cm

Liao Guohe, Art Is What Saves People’s Life Most, Acrylic on Canvas 

展览现场

亓文章 骑着牦牛去写生 2011 布面油画 180x210cm 

Qi Wenzhang, Riding on my PoePhagusgrunniens to Sketch, Oil on Canvas 

亓文章 桃儿 2010 布面油画 90x120cm

Qi Wenzhang, Peach, Oil on Canvas 

展览现场

萧博 护士2 2010 布面油画 170x170cm

Xiao Bo, Nurse2, Oil on Canvas

萧博 爬杆 2007 布面油画 110x145x2cm 

Xiao Bo, Climbing Pole, Oil on Canvas

展览现场

孙逊 帝国进化论 2011 纸本水墨 1100x90cm 

Sun Xun, Imperial Theory Of Evolution, Ink on Paper 

作品局部

展览现场

 

肖江 房间里有什么 2009 布面丙烯 150x360cm

Xiao Jiang, What’s In The Room, Acrylicon Canvas

肖江 医生 2009 布面油画 120x180cm

Xiao Jiang, Doctor, Oil on Canvas 

展览现场

林彦玮 就是喜欢你这样03 2010 油彩 112x162cm 

Lin Yanwei, Just like the way you are  03, Oil on Canvas

展览现场

金闪 无题（从哪来，回哪去 ）No.5 2010 布面油画 76x60cm

Jin Shan, Untitled (From Where To Where)No.5, Oil on canvas 

金闪 无题（从哪来，回哪去 ）No.4 2010 布面油画 76x60cm

Jin Shan, Untitled (From Where To Where)No.4, Oil on canvas 

展览现场

徐若涛 蓝 2008 布面油画 220x180cm

Xu Ruotao, Blue, Oil on canvas 

徐若涛 人 2006 布面油画 168x110cm

Xu Ruotao, Man, Oil on canvas 

展览现场

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03.

'半个兔子' 本地密语展览第二回

2011.06.05 - 2011.07.03

艺术家：Catherine Shakes peare Lane，Neil Webb，Experimenter En Couleur，Maria Castro，Felicity Ford，Alex McLean，Leslie Deere，Christian Krupa

本地合作：阮千瑞，颜峻，盛洁和其他北京艺术家

地点：站台中国当代艺术机构（北京）

本地密语”是2011年1月，北京的撒把芥末和伦敦的“声响建筑”的一次合作，在伦敦维多利亚与阿尔伯特美术馆的展览，由阮千瑞和克里斯蒂安·库鲁帕，实验者新生／阿里克斯·巴姆佛斯操持，部分原料来自颜峻的声音装置“本地聆听”（local listening）。

作为它的延续，“声响建筑”邀请了8位英国艺术家继续创作，并将他们的作品带到北京，举办“半个兔子”展览。这次回访将引发大量非正规的展览，表演和继续创作。即将发生在站台中国的展览，只是它的一部分，一种触媒，一个弹簧，一个扳机……

兔年已经过去一半。我们对兔子的理解也只有一半。这是一个始终在半途/半空中的展览。

Leslie Deere 瓶子里的信息 装置

Leslie Deere, message in bottle, Intallation

展览现场

展览现场

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04.

有风无雨

2011.08.20 - 2010.10.02

艺术家：安尼沃尔

地点：站台中国当代艺术机构（北京）

安尼沃尔喜欢关注自然中的瞬间景象，譬如水洼中雨滴溅起的水花，微风拂过的一刻，或者流星掠过苍穹的轨迹等。因此从他绘画的笔触和色彩中能感觉到他内心深处的细腻和自然般的宁静。如孩童般的自发和直观的表现方式，带来画面的纯真和朴实，然而每一笔依然不失深思熟虑和精心安排，在留念瞬间的冥想中陶醉于自己的艺术语境。

虽然安尼沃尔的作品表现出了最直接的抽象特征，他本人却视它们为视觉体验中哲学探索的结果，而不仅仅是抽象。这是一场充满了禅意谜题的体验，是既简单又复杂的。它所直指的就是我们如何看待颜色和空间的问题，以及我们又是如何向经验敞开（或关闭）自己的。在他的作品中，对于美学和精神意向的追求颠覆了我们对一幅当代艺术作品所做的预测。观看他的作品，会令我们把自我放在一边，在抚慰心境的同时让我们去感受时间和空间的悬停状态。他的艺术是脱离了时间束缚的，既没有被时代所限制，也与时代没有产生必然的联系，它们只是对每一件作品认知过程的一个处理措施。

 

展览现场

安尼沃尔 叶城的白羊毛 2010 羊毛 250x180cm 

Aniwar, White wool in Kashgar, Wool material

局部细节

05.

发生的现场

2011.09.10 - 2011.09.10

艺术家：Martijn Tellinga

地点：站台中国当代艺术机构（北京）

囿于音乐所具有的形式上的原理，也受到中国当前环境多变的现实与可能性的影响，Martijn试图寻找一种可以鼓动声音的表现性发生过程的方式。他想要实现某种可以自主引导声音本身的发生的过程，并把选择与机会的因素同时保留其中。游离于音乐会、装置和行为艺术之间的《发生的现场》系列作品，实现了用声音建立一个突现的、具有空间感的并极具雕塑感的听觉场境的目的。

这些作品的音符所表现的是简单的音乐与社会动作和环境；它们为即将开始的表演设定形式的环境。表演者要选定某种个人的、直观的方式，从自己的角度来控制这些音符。通过人为操纵所呈现的声音内容，往往是由演绎和表演这些音符的人决定的。

听觉的与空间的感知参数在这些作品中彼此紧密结合。表演者的表演位置在空间布局构造上也很有讲究。有时候他们的移动是出于制造声音在距离和角度上的层次感的目的而为的。听众可以自由走动，或者通过座位的分散摆放达到让听众处在不同位置，感受不同音效的目的，从而让有意的倾听和无意的听见找到一个切合点。

展览现场（第一幕）

展览现场（第二幕）

展览现场（第三幕）

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06.

无是无非的绘画

2011.10.15 - 2011.11.20

艺术家：黄亮

地点：站台中国当代艺术机构（北京）

'无是无非’展览概念是由绘画本身相对纯粹的部分与生活的内在联系构建而成的，从他的绘画中可以看见艺术家在塑造画面时那种耐心与真诚。作品更加的注重生命的张力和重量，可能有一种闷闷的力量在积聚，成长壮大。不过这也只是他生活的一部分。

在黄亮的绘画里，主体的社会性的话语是不突出的，他构造的是情绪和对真相的不确认之后的追问。显性的图像和笔迹是通向灵魂和生命确认的道路。他的画没有太沾染时下流行的款式，略显刻板拘谨老气，好像还有点格列柯等前辈东方神秘主义的影响，并时常运用古典的渲染技法，坚定粘稠的笔触！昏暗的色调！但你稍有留意会发现笔迹中有坚韧、昏暗中可窥见心灵，图像的微弱变异蕴藏着不同的话语结构，表象以外的话语在它处。这种执着和真诚一点也不时髦，甚至不合时宜，但我们真的不需要了吗？

展览现场

黄亮 双摆 2011 布面油画 90x60cm 

Huang Liang, Double Pendulums, Oil on canvas

黄亮 我的,我们的 2011 布面油画 82x120cm 

Huang Liang, mine, ours, Oil on Canvas 

黄亮 红衬布，蓝衬布 2011 布面油画 130x200cm 

Huang Liang, Red lining cloth,Blue lining cloth, Oil on Canvas

黄亮 牧羊 2011 布面油画 180x120cm 

Huang Liang, shepherd, Oil on canvas 

黄亮 头骨与书 2011 布面油画 200x130cm 

Huang Liang, skull and book, Oil on Canvas

黄亮 生日 2011 布面油画 60x90cm 

Huang Liang, Birthday, Oil on Canvas

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07.

测试物

2011.11.26 - 2012.02.19

艺术家：宋元元

地点：站台中国当代艺术机构（北京）

测试物，意在探讨空间中物的存在，物与物的关系，物与空间的关系，宋元元关注的并不是一个生活已久并带有生活气息的家庭场景，而是一场活动结束后的混乱场面，或是正在布置中的家庭。他的绘画抽离了人的在场，留下的是人的痕迹，这种痕迹极为异样乃至荒谬，并使得物与物之间产生强烈的戏剧张力。这些物扮演着各自的角色与故事，演绎一场荒谬的现实生活。另一方面，宋元元又时而将影像中添加文字元素，语言的介入使得画面具有可阅读性，但这个可读也可能是一种思想的陷阱，意在打乱观者的惯性思维、和对绘画习以为常的普遍认知。

在这次展览中，宋元元的绘画不仅仅是对物的再现，也是藉著探讨物的本质，测试着人们对物的看法、测试着人们对美的态度，重新提出对于当下视觉文化再度关注和省思的美学议题。在快速发展的中国，到处弥漫着工业成批量的产品，这种日常生活中简陋，拙劣，廉价的复制物，和随之携带的美感条件，暴力侵入了人们正在经历的当代生活，导致美感判断也逐渐衍生出双重甚至多重标准。藉著宋元元的油画作品、那些表面上不过是装饰廉价的沙发、或是墙角的一个破损的背包，也许正是萌发人们重新省思自身审美观的契机。

展览现场

宋元元 房间 2011 布面油画 80x60cm 

Song Yuanyuan, The Room, Oil on canvas

宋元元 承受 2011 布面油画 100x80cm 

Song Yuanyuan, Carrying, oil on canvas 

宋元元 第二自然 2011 布面油画 200x300cm 

Song Yuanyuan, Second Nature, Oil on Canvas

宋元元 无题 2011 布面油画 80x60cm

Song Yuanyuan, Untitled, Oil on canvas

宋元元 无题 2011 布面油画 60x80cm

Song Yuanyuan, Untitled, Oil on canvas

宋元元 土 2011 布面油画 60.5x50.5cm 

Song Yuanyuan, Mud, Oil on canvas

English

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01.

THE THIRD PARTY – An exhibition in Three Acts: Act 3

2011.01.09 - 2011.01.30

Artist(s)：8633 Link (Beijing), Arrow Factory (Beijing), Arthub Asia (Davide Quadrio, Bangkok; Defne Ayas, Shanghai), BAO Atelier (Beatrice Leanza/Li Naihan; Beijing), CAEP - Complete Art Experience Project (Beijing), ChART Contemporary/Open House (Megan and KC Vienna Connolly; Beijing), Comfortable Collective (Shanghai), Chen Zhou/Li Ming/Li Ran/Yan Xing (Company; Hangzhou/Beijing), DDM Warehouse (Zheng Weimin; Shanghai), Donkey Institute of Contemporary Art (Michael Yuan; Beijing), Double Fly Art Centre (Hangzhou/Shanghai), Everyone’s East Lake Art Project (Wuhan), Falling Behind (Chen Tingpeng/Dong Jing/Liang Shuo/Shao Kang/Wang Guangle/Zhang Zhaosong/Zhou Yi; Beijing); Forget Art Art Collective (Beijing), Knowles Eddy Knowles group (Beijing), Homeshop (Beijing), Jin Shan, Little Movements Project (Liu Ding, Carol Yinghua Lu), Libreria Borges (Chen Tong; Guangzhou), Peter Zhang/Su Chang for Mommy Foundation (Biljana Ciric; Shanghai/Beijing), Observation Society (Guangzhou), Shan Studio (Sheng Jie aka GogoJ; Beijing), Subjam (Yan Jun ;Beijing)

Curator: Bi Yue

Venue：Platform China Contemporary Art Institute (Beijing)

金闪

Jin Shan

Started in November 2010, the project The Third Party designed itself as a three-part script to be staged monthly in individual yet interconnected exhibitions that took 'the relationship between narrative and aesthetic objects’ as their field of investigation. 
Since the outset, these three instantiations have been envisioned as 'points of departure, flexible and open-ended’ frames of reference and critique operating in the Chinese contexts through which visual experience and conceptual structures could find alternative avenues of articulation. 
Like the first and second chapters, respectively tackling issues of 'self-historicization’ and 'witnessing/archiving’, the third and last instalment of the show engages, in 'appropriating’ fashion, the discursive shifts of 'collaboration’. These three topics are product of a deliberate curatorial choice aimed at gridding out both temporal and material correspondences to the larger arena of the 'contemporary’ intended as a wide-ranging archive of historical and aesthetic ambivalences. As circuits of signification trafficking between work and world, the individual and the collective, and therefore between artist and public, they configure culturally specific products of both subjective narration and collective constitution.  

驴子当代艺术协会（右面）

The Donkey Institute of Contemporary Art (DICA)（Right side）

An exhibition, an archive, an experiment in participation itself, the show takes the shape of a living archive by making use of The Beehive system units, which are here employed both as a supporting structure and a tool for artists’ interventions.
China-based self-organized/independent art spaces, artistic collectives, loose groups, specific project teams and artists founding their practice on collaborative actions have been invited to  submit proposals or materials that are explanatory of their work, the type of activity they do in their specific context, and what is the way they realize it as 'someone who works with others’. The exhibition is not simply a display of independent ventures, shows or projects previously realized, but an open tableau where each group partakes in a process of positive and proactive communication of concepts and ideas that stand behind the works as products of/for collective creation. This last chapter features newly created works and archival documentation provided by the participants along live performances, site-specific installations, sounds and pieces produced over the course of two months. Some of the projects are the result of impromptu collaborations emplaced to support peers not based in Beijing, others are specifically created to respond to the call of the exhibition itself. 

Knowles Eddy Knowles 艺术小组 吸入力竭预告片 2006-2011 录像和烟灰缸

Knowles Eddy Knowles, Inhale exile trailer, videotape and ashtray

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02.

19 Solo Shows About Painting

2011.03.12 - 2011.05.31

Artist(s)：Bi Jianye , Jia Aili , Jin Shan , Huang Liang , Liao Guohe , Lin Yanwei , Li Qing , Liu Weijian , Ma Ke , Qin Qi , Qi Wenzhang , Song Yuanyuan , Sun Wen , Sun Xun , Wu Guangyu , Xiao Bo , Xiao Jiang , Xu Ruotao , Zhou Yilun

Venue：Platform China Contemporary Art Institute (Beijing)

This is Platform China Contemporary Art Institute’s first annual exhibition project. The show features 19 solo shows of artists whose artistic medium is painting. Every artist will complete and display his invidual work in his individual space. Each show will have its own title, theme and the artist’s curatorial and personal individual statement. This project thus is an exhibition persenting 19 individual language systems. 

孙文 某处 2009 纸本设色 35x53cm  

Sun Wen, somewhere, ink color on chinese paper

孙文 午后 2009 纸本设色 59x40cm 

Sun Wen, Afternoon, Ink color on chinese  paper

展览现场

刘唯艰 边缘问题 2010 布面丙烯 200x200cm

Liu Weijian, Border Problem, Acrylic on canvas

展览现场

吴光宇 线 2010 布面油画 110 x100cm 

Wu Guangyu, Line, Oil on canvas

吴光宇 拉面 2010 布面油画 180x280cm 

Wu Guangyu, Making Noodles, Oil on canvas

展览现场

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03.

'Half Rabbit Exhibition Beijing' Local Whispers 2

2011.06.05 - 2011.07.03

Artist(s)：Catherine Shakespeare Lane，Neil Webb，Experimenter En Couleur，Maria Castro，Felicity Ford，Alex McLean，Leslie Deere，Christian Krupa

Local cooperation：阮千瑞，颜峻，盛洁和其他北京艺术家

Venue：Platform China Contemporary Art Institute (Beijing)

Taking place in Beijing in June six months into the year of the rabbit, the 'Half Rabbit' exhibition presents ideas on fortune and self perception.
UK and Chinese artists in and out of an exhibition that presents individual and collaborative works.
Curated by Audio Architecture and Sub Jam, 'Half Rabbit' juxtaposes notable international artists, who would not normally get the chance to exhibit together.

展览现场

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04.

Wind Without Raiin

2011.08.20 - 2010.10.02

Artist(s)：Aniwar Mamat

Venue：Platform China Contemporary Art Institute (Beijing)

Inspired by the extempore incident of nature, Aniwar pays great attentions to document the nature-- every glimpse in the splash of rain in a puddle, the pull of the wind, or the trajectories of shooting stars. Therefore, when appreciating his art works, audience can explore a soft and tender heart as well as a peaceful and tranquil inner world from his brush strokes and colours. Such a child-like way of spontaneous and intuitive expression makes the images simple and pure, yet it is undeniable that each every brush work is well-arranged in a deliberate way with careful consideration. Aniwar is intoxicated with his own artistic context from this profound thinking in every moment of nature.
Although the abstract qualities of Aniwar’s works make a most immediate impression, he sees them less as abstract than as the outcome of philosophical explorations of visual experience. This experience is a Zen-like conundrum that is at once simple and complex.  It refers to how we see colour, form, and space, and how we open ourselves up to (or resist) experience. his insistence on aesthetics and spiritual animus in his art subverts what we anticipate from a contemporary art work. It asks us to put the ego aside, to quieten the mind and to submit our sense to the suspension of time and space that occurs when we enter his pictorial space. That his art feels timeless, neither bound by, or to, the era in which it is created, is a measure of the process brought to realising each piece.

展览现场

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05.

On The Event of Doing Something

2011.09.10 - 2011.09.10

Artist(s)：Martijn Tellinga

Venue：Platform China Contemporary Art Institute (Beijing)

Martijn Tellinga (1974,Netherlands) is a composer and performer of sound and acoustical situations. His work renders an ongoing meditation on the rudimentary condition of the sonic arts. He aims to establish an artistic idiom that draws on the exploration of the workings of composition and performance as material for an autonomous practice in sound. This practice includes a wide variety of conceptual actions and chance operations.
In his work, parameters of aural and spatial perception are closely connected. It focusses on the perceptive field between intended listening and accidental hearing, on the expression of space by means of sound and on intuitive intervention of (music) systems.  He employs different sound and performance media and draws on a reduced formalist-seeming vocabulary to define and overcome such processes.

展览现场

展览现场（第一幕）

展览现场（第二幕）

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06.

Paintings Beyond Yes and No

2011.10.15 - 2011.11.20

Artist(s)：Huang Liang

Venue：Platform China Contemporary Art Institute (Beijing)

The concept of the exhibition “Paintings Beyond Yes and No” comes from by the relatively pure essence of paintings collaborating with inner relationship and life. In his paintings, spectators can tell the ways Huang Liang honestly and patiently adopts. His paintings emphasize a sort of intense quality, which grows quietly and even gradually more and more strengthen. However what creates the astonishing phenomena is nothing more than his daily life. 

展览现场

Huang Liang doesn’t constructs his paintings with socially artistic symbols, on the contrary, he depicts his true feelings and questions uncertain truth by concrete figures and stocks which lead the way to the soul and individual verify. At the first glaze, the impression of these paintings are not trendy at all. As restrained, old-fashion and even stiff as his paintings are, they seem to be affected by El Greco, the mid-age Mystic Spanish painter. However, among his classical rendering method, firmly thick touching and dull tones, tough wills as well as sparkle insights still hide behind. A slightly figurative shifting transforms distinct language structure; the meanings out of words are flashing afar. Huang Liang’s insistence may be foolish, moreover, his honesty could be outdated but do they really worth for nothing?

展览现场

黄亮 静物-草茎 2011 布面油画 90x60cm 

Huang Liang, Still Life - Stems, Oil on Canvas 

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07.

Examining Objects

2011.11.26 - 2012.02.19

Artist(s)：Song Yuanyuan

Venue：Platform China Contemporary Art Institute (Beijing)

In a departure from his experimentation with non-traditional canvas stretching and framing techniques, Song Yuanyuan continues to examine objects within the confines of a traditional oil painting format. Depicted in spaces awkwardly ambiguous whether they are in the process of construction or destruction, there is a certain discord between the objects that challenges the viewer to reconsider a multitude of relationships: the relationships between the objects, the objects and the painting, the objects and the viewer, and the viewer and the painting.  The idea the object is broken down, disregarded, and newly approached with no preconceived notions about what an object is or what it should be, extending the examination to concepts of space, people, existence through implication, and the painting themselves. The artist’s use of text in some of the works, appearing sometimes as blunt statements of what the objects are, sometimes as a more personal commentary, exists in a an obscure space between providing insight and disrupting the viewer’s perception of the work.

展览现场

宋元元 对话 2011 布面油画 100x80cm

Song Yuanyuan, Conversation, Oil on canvas

宋元元 楔形结构 2011 布面油画 210x160cm 

Song Yuanyuan, Wedge-shade Structure, Oil on canvas

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