With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town – 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点

‘Proregress’ 12th Shanghai Biennale
The Power Station of Art
10 November, 2018 – 10 March, 2019

Particularly for those who live here, the Shanghai Biennale is required viewing. Founded more than 20 years ago, and now in its 12th iteration, it has grown remarkably and serves as a portal for works that, due to their less commercial nature, have a hard time being seen in Shanghai otherwise. This year’s iteration curated by Cuauhtémoc Medina, borrows a word construction from the poet E.E. Cummings, ‘Proregress’ as its title.  The theme seems prescient in its exploration of how advancements today seemingly instantaneously trigger antithetical responses, leading to an increasingly polarized social fabric and a growing sense of powerlessness and ambivalence. Against this backdrop, Medina’s strategy is to further probe ambivalence as a way to disavow, ‘idealized narratives’ in order to build a poetic, flexible space that dispenses with binaries and can sustain contradictions.  Though an excellent premise keyed to the tenor of the times, the current short roster of artists and artworks – tasked with fleshing out the theme – may be unequal to the task. At the time of writing, the Biennale was more than a week away from opening, and it remains to be seen whether this year’s iteration will live up to its promise or not.


With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点

Chen Fei, Well Wishes, 2018, oil on canvas. Courtesy: Vacancy Gallery, Shanghai

9 November, 2018 – 5 January, 2019

Tucked away down a Shanghai lane, Vacancy is hard to find. Yet the paths that lead to it are brimming with local character – a quality that curator Sun Dongdong folds into the gallery’s first-year anniversary exhibition. Bringing together works by 11 artists, the pieces on view offer up a charming mirror of the quotidian drawn from the social and material fabric of the gallery location itself.  The show spills into its surroundings by temporarily displaying work in the short-term rental rooms across the alley – spaces typically occupied by out-of-towners visiting patients at the adjacent hospital or students seeking admission to nearby colleges. Whether it is Li Ming’s delightful video Movements (2014) showing the artist powering, riding or transferring between low-fi transportation means characteristic in China such as tractors, bicycles and covered scooters; Chen Fei’s meticulous acrylic painting Well-Wishes (2018) of an abundant, kitsch fruit basket – a common gift item; or Tao Hui’s videos of women spinning discursive tales; the works amplify and focus the textures of the city such that they come into view. 


With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点

Samson Young, The Highway is Like a Lion's Mouth, 2018, 4k video still. Courtesy: Edouard Malingue Gallery, Shanghai

Samson Young, ‘The Highway is Like a Lion’s Mouth’
Edouard Malingue Gallery
6 November – 23 December

Trained as a composer, Hong Kong based artist Samson Young works in the interstice between acoustic, visual and physical experience and social space, translating between these realms to uncover ways in which they operate and inflect one another. The title of the exhibition, ‘The Highway is like a Lion’s Mouth’, recalls a ’90s Hong Kong public safety campaign and its attendant jingle, which warned citizens of the importance of traffic safety. Through his drawings, videos and sculptural installations, Young mines this theme and the symbolism of cars, with their contradictory associations: freedom, affluence, control; danger and accident. Both ‘lemons’ (slang for a car with quality control issues) and Porches are analyzed through the artist’s playful sound drawings, where the defective noises of the former (read: unnerving), and the heavy closed-door sound of the latter (read: reassuring) are visually and verbally mapped out. The videos feature a mash up of safety messages, luxury advertising, and auspicious symbols characteristic of the region, along with digital human figures distorted and dismembered in disturbing ways. The space also includes a large-scale lion’s backside protruding from a wall and early advertisements extolling the virtues of automobiles; taken as a whole it is a road map to the subliminal cues that shape our behaviour.


With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点

Nalini Malani, ‘Can You Hear Me?’, 2018, installation view, Arario Gallery, Shanghai. Courtesy: Arario Gallery, Seoul / Shanghai

Nalini Malani, ‘Can You Hear Me?’
6 November, 2018 – 17 February, 2019

November is Shanghai’s busiest art month, with the city hosting two international art fairs, a Biennale along with requisite talks and celebrations. This year, the alarming number of Western blue-chip artists with solo shows at local institutions illustrates China’s myopic focus on Europe, America, and the Mainland. Thus, Arario gallery’s small survey of the Indian artist Nalini Malani’s work, showcasing pieces from the late ’60s to the present, offers a welcome change. Though Malani began her career exploring geometric forms in a modernist vein with subtle monochrome photographs and richly coloured animations, later her oeuvre evolved into raucous and raw narratives focused on the dispossessed.  Melding myth, history, injustice, everyday humans and heroism she orchestrates these themes through drawings, videos, projections and shadow play.  Creating installations that often engulf the audience in a swirl of light, shadow, and graphic images, she almost transforms the viewer into a palimpsest in the process.  That Malani, now in her 70s, creates animations such as Can You Hear Me? (2018) and posts them on social media to reach a larger audience, testifies to her restless need to experiment and her tireless advocacy for the voiceless.


With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点

Edward Hopper, Nighthawks, 1942, oil on canvas, 84 x 152 cm. Courtesy: The Art Institute of Chicago

‘Paths to Modernism: 1865 – 1945’
The Shanghai Museum
28 September, 2018 – 6 January, 2019

The Art Institute of Chicago and the Terra Foundation teamed up for this tightly curated show, drawn from the collections of both institutions, that focuses on the 80 years leading up to America’s postwar period. Together these pictures provide a glimpse into the social forces, significant events and artistic developments that the nation underwent before its ascendancy on the world stage. Most viewers will come to snap pictures of icons such as Edward Hopper’s Nighthawks (1942) and Whistler’s Nocturne: Blue and Gold—Southampton Water (1872), but there are a host of lesser-known canvases worth discovering.  David Blythe’s picture of a former slave’s migration after emancipation in The Old Virginia Home (1863) and George Luks’s painting showing the gritty urbanism at the start of the 20th century in The Butcher Cart (1901), reveal some of the brutalities and complexities of the American condition. Also startling is how the exhibition opener, Fredric Edwin Church’s saccharine yet charged, Our Banner in the Sky (1861) which was painted in support of northern troops at the outset of the civil war, is painfully relevant to the current state of the union.


With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点

Allison Katz, Cock, Interrupted, 2017, oil and rice on canvas, 2 x 1.8 m. Courtesy: The Approach, London

Allison Katz, ‘Muse with a Short Fuse’
Antenna Space
6 November, 2018 – 9 January, 2019

It’s hard to recall a recent exhibition title that’s catchier than Allison Katz’s, ‘Muse with a Short Fuse’, but its playful mix of camp combined with an engagement with the language and history of painting is apt to the works on view. By augmenting the conventional method of display, moving the paintings from a sequential hang on the surrounding walls to stand alone supports in the middle of the gallery, the artist shifts perspectives and subtly destabilize the seer/seen dichotomy. It’s a theme taken up within the canvases themselves, where the point of view is pushed, prodded, blocked and doubled.  In pb (2018) the painting within the painting refers to a motif in an adjacent painting within the space, and in Café Man Ray at the Copley Gallery, LA 1949 (2018) we are looking through the interior of a mouth back into an exhibition space, that simultaneously references the gallery in the title and the one the viewer inhabits. By chipping away at stable reference points, gender associations, and by grounding these canvases in a banality that is simultaneously dumb, smart and mildly fantastical, Katz disperses the notion of the muse and updates its relevance for the digital age. 


With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点

Miao Ying, God, Bear and Unicorn, 2016, print on fabric and metal, 305 x 240 x 35 cm. Courtesy: MadeIn Gallery, Shanghai

Miao Ying, ‘Stones from Other Hills’
MadeIn Gallery
6 November – 30 December

Miao Ying’s interest in charting the borders of the world wide web began over a decade ago when she discovered that the Chinese internet was censored. Instead of decrying this restriction the artist embraced the creative game of cat and mouse it engenders and has since made what she has dubbed the ‘Chinternet’ her subject.  Her current exhibition ‘Stones from Other Hills’, relates to her web commission by M+, Hardcore Digital Detox (2018) which humorously touts the virtues of the great firewall by showing how its limitations offer opportunities for less screen time. She invites viewers to set their VPN’s to China and to see first-hand how Baidu maps, in its inaccuracy, may lead you astray from your destination and thus prompt you to ask another human for directions. At first this same lighthearted spirit seems to be at play in her video the formalized abridgment of the rational truth (2018) but over time a more sinister vibe emerges. Here Miao grafts the language of luxury advertising, self-help, interactivity, data collection and political ideology into a funny, uncannily-familiar play of images, music, and voiceovers.  Though her focus seems squarely directed at ‘Chinternet’ through her inquiry the subtexts of convenience, control, and manipulation that lie below the surface of the web the world over, becomes clear.

Main image: ‘Eclipses’, 2018, Power Station of Art, Shanghai. Courtesy: Power Station of Art, Shanghai; photograph: Jiang Wenyi

Critics’ Guides /

Shanghai Biennale
Critic's Guide
Vacancy Gallery
Edouard Malingue Gallery
Arario gallery
The Shanghai Museum
The Power Station of Art
Antenna Space
MadeIn Gallery

特别对于住在这里的人来说,上海双年展需要观看。它创建于二十多年前,现在已经是第十二次迭代,它已经显著增长,并且作为作品的门户,这些作品由于商业性较差,很难在上海看到。今年由Cuauhtémoc Medina策划的迭代,借用了诗人E.E.Cummings的一个词组结构,‘Proreg.’作为它的标题。这个主题似乎具有先见之明,因为它探索了当今的进步是如何瞬时触发对立的反应,导致一个不断增加的反应。极端的社会结构和日益增长的无力感和矛盾感。在这种背景下,麦迪娜的策略是进一步探讨矛盾性,作为一种否认“理想化叙事”的方式,以便建立一个诗意的、灵活的空间,消除二元对立,能够维持矛盾。虽然一个极好的前提是符合时代主旨的,但诅咒艺术家和艺术品的NT短名单-任务充实主题-可能不等于任务。在撰写本文时,双年展还有一个多星期就要开幕了,今年的迭代是否会兑现承诺还有待观察。陈飞井祝-2019_courtesy_vacancy_gallery.jpg With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点陈飞,Well Wishes,2018,帆布油。礼貌:空缺画廊,上海“祝福你”
2018年11月9日-2019年1月5日,藏在上海的一条小路上,很难找到空缺。然而,通向它的道路上充满了地方特色——这是馆长孙东东在画廊成立一周年展览中所体现的品质。11位艺术家的作品汇集在一起,展品呈现出一面迷人的镜子,反映了从画廊所在地的社会和物质结构上抽取的日常生活。展会通过在小巷对面的短期租房中临时展示作品,从而融入到周围环境中。通常由在邻近医院探望病人的外地人或寻求就读附近大学的学生占据的空间。不管是李明的令人愉悦的视频运动(2014),展示的是艺术家在诸如拖拉机、自行车、踏板车等中国特色的低保真交通工具之间驾车、骑车或换乘;陈飞细致的丙烯画《良好愿望》(2018)。筐筐——一个普通的礼物;或者说陶慧的女性旋转话语故事的视频;这些作品放大和聚焦了城市的肌理,使得它们进入人们的视野。WAPP6022602img杨森,高速公路就像狮子的嘴巴,2018,4K视频仍然。礼貌:爱德华马林格画廊,上海参孙青年,“公路就像狮子的嘴”WPAP60300 3Br爱德华马林格画廊WPAP60300 3BR 11月6日- 12月23日训练作曲家,香港艺术家Samson Young工作在声学之间的间隙,视觉和物理体验以及社会空间,在这些领域之间转换,以揭示它们彼此操作和影响的方式。展览的标题“高速公路就像狮子的嘴巴”,回忆了90年代的香港公共安全运动和随之而来的叮当声,它警告市民交通安全的重要性。通过他的绘画、录像和雕塑装置,杨挖掘出这个主题和汽车的象征意义,以及它们相互矛盾的联系:自由、富裕、控制、危险和事故。“柠檬”(用于有质量控制问题的汽车的俚语)和“保时捷”都是通过艺术家滑稽的声音图来分析的,其中前者的有缺陷的噪音(读:令人不安)和后者的沉重的闭门声(读:令人放心)在视觉上和语言上都被描绘出来。这些视频的特色是安全信息、豪华广告、以及该地区特有的吉祥符号,以及数字人物以令人不安的方式被扭曲和肢解。这个空间还包括一个从墙上突出的大型狮子背部和赞美汽车优点的早期广告;作为一个整体,它是一个通往潜意识暗示的路线图,这些暗示塑造了我们的行为。Nalini-malani_can-.-me-_2018_.-view_arario_.._courtesy_arario-gallery_seoul_..jpg With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点.Nalini Malani,“你能听到我吗?”2018,安装视图,阿拉里奥画廊,上海。礼貌:阿拉里奥画廊,汉城/上海Nalini Malani,'你能听到我吗?2018年11月6日到2019年11月17日是上海最繁忙的艺术月,上海举办了两次国际艺术博览会,一次双年展,还有必要的谈话和庆祝活动。今年,在中国本土机构举办个人表演的西方蓝筹艺术家数量惊人,说明中国对欧洲、美国和大陆的短视关注。因此,Arario画廊对印度艺术家纳里尼·马兰尼的作品的小规模调查,展示了从60年代末到现在的作品,提供了一个值得欢迎的变化。虽然玛拉尼开始她的职业生涯是以现代主义的脉络探索几何形态,用微妙的单色照片和丰富多彩的动画,后来她的作品演变成喧嚣和粗俗的叙事,聚焦于无依无靠的人。通过绘画、录像、投影和皮影戏来构思这些主题。创建经常把观众卷入光影、图形图像漩涡中的装置,她几乎把观众转变成在这个过程中最模糊的东西。现在70多岁的玛拉尼创作了动画。你能听到我的声音吗?(2018)并将其发布到社会媒体上以扩大受众,证明她无休止地需要实验以及她不懈地倡导无声者。hopper_nighthawks_1942_.-on-canvas_84-x-152_courtesy-art-Institute-of-Chicago.jpg With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点 Edward Hopper,Nighthawks,1942,.on canvas, 84 x 152cm.礼貌:芝加哥艺术学院通向现代主义的道路:1865—1945’WPAP60300 3BR上海博物馆WPAP60300 3BR 9月28日,2018 - 1月6日,2019芝加哥艺术学院和Terra基金会联手为这一紧凑策展,从收集这两个机构的注意力集中在80年前的美国战后时期。这些照片一起让我们看到了这个国家在世界舞台上崛起之前所经历的社会力量、重大事件和艺术发展。大多数观众都会来拍一些偶像的照片,比如爱德华·霍珀的《夜鹰》(1942)和惠斯勒的《夜曲:蓝色与金色的南安普顿水》(1872),但是还有许多鲜为人知的画布值得一看。《老弗吉尼亚之家》(1863)中的情节和乔治·卢克斯(George Luks)在《屠夫车》(1901)中描绘了20世纪初粗暴的城市主义,揭示了美国状况的残酷和复杂性。同样令人惊讶的是,展览的开幕者,弗雷德里克·埃德温·丘奇的糖精还充斥着《我们天空中的旗帜》(1861),这幅画是在内战初期为支持北方军队而画的,它和当时的联盟状态有着痛苦的关系。阿里森-卡茨-公鸡打扰-2017-礼貌-进近-伦敦.jpg With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点-Allison Katz,公鸡,打扰,2017,帆布上的油和米,2×1.8米。礼貌:进近,伦敦·艾莉森·卡茨,“短保险丝缪斯”
Anten2018年11月6日到2019年1月9日,很难回忆起最近一个比艾莉森·卡茨更引人注目的展览题目《短保险丝缪斯》,但是它把营地和绘画语言和历史结合在一起的娱乐性组合更适合于绘画作品。查看。通过增强传统的显示方法,将画作从周围墙上的连续悬挂移到画廊中间的独立支撑,艺术家改变了视角,并微妙地颠覆了先知/看到的二分法。这是画布本身所包含的主题,其中视点被推、戳、堵和倍增。在pb(2018)中,画布内的绘画指的是空间内相邻的绘画中的一个主题,在La 1949(2018)的Copley Gallery,CaféMan Ray中,我们看到的是这个主题。通过嘴的内部回到展览空间,同时引用标题中的画廊和观众居住的画廊。通过剔除稳定的参照点、性别联想,并且通过将这些画布置于同时是愚蠢、聪明和温和幻想的平庸中,Katz分散了缪斯的概念,并更新了它与数字时代的相关性。2016_305_x_240_x_35_cm.jpg With Shanghai’s Busiest Art Month Underway, Highlights of the Best Exhibitions in Town - 随着上海最繁忙的艺术月正在进行中,通山县最佳展览的亮点苗英,上帝,熊和独角兽,2016,印在织物和金属上,305×240×35cm。礼仪:美登画廊,上海苗英,‘别山之石’603003br美登画廊603003br美登画廊603003br11月6日至12月30日,苗英发现这位中国实习生十年前就开始对绘制世界网络边界感兴趣。T被审查。艺术家没有谴责这种限制,而是拥抱了猫捉老鼠的创造性游戏,自那以后,她便将她称之为“Chinternet”的作品作为自己的主题。


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