两个时刻：杨锋艺术与教育基金会 收藏展 I
The Moments of Cynicism and Piety: Collection Exhibition of Frank F. Yang Art & Education Foundation I
两个时刻
Two Moments,
既是你
One is you,
也是你&我
Others are You&Me.
既是虔诚
One is Piety,
也是怀疑主义
The Other is Cynicism.
“两个时刻：杨鋒艺术与教育收藏展 I”
2016年1月23日至3月15日
策展人：孙冬冬
地点：有空间&额外空间
开幕：2016年1月23日
下午2-4点: 有空间，深圳蛇口南海意库2栋201
下午4-6点：额外空间, 深圳宝安曦城六期曦谷花园10栋
2015年成立于香港的杨锋艺术与教育基金会是收藏家杨锋本着热爱艺术的初心与过往赞助艺术项目的积淀下的产物。此前杨锋作为尤伦斯当代艺术中心赞助理事赞助过刁德谦四十年回顾展，同年9月也赞助广州时代美术馆展出的“腹地计划”等当代艺术优质展览项目。
2016年1月23日，由蓝海资本、优米金融和杨锋艺术与教育基金会共同支持的“有空间”（You Space）和“额外空间”（Extra Space）将在深圳蛇口南海意库和宝安曦城分别开幕。作为蓝海资本、优米金融新址开业暖房展的“两个时刻：杨锋艺术与教育基金会 收藏展 I”，特别邀请策展人孙冬冬策划展览。
展名“两个时刻”，第一个层面是“你/You”与”You&Me/优米”，面对程式化的机构型展览，收藏家带着温度的藏品所组成的展览，既是展品/艺术家/藏家，“你”的时刻，也是作为身处当代艺术语境、社会现实当中个体/他者，“你和我”的时刻。而面对这两个时刻，策展人孙冬冬以杨锋的藏品为基础，梳理出富有深意的两个时刻——怀疑主义（Cynicism）的时刻与虔诚（Piety）的时刻——为展览本身带来深度与批判的视野。
怀疑主义与虔诚，援引自德勒兹与瓜塔里对马克思关于资本主义动力机制分析的再阐释，一方面是资本主义巨大的生产能力给予社会实践以自由，另一方面是资本的私有性，决定了剩余价值作为一种权力因素，将前者的生产解放转向为一种增值束缚。走在“有空间”和“额外空间”这两个由将近50件国内外当代艺术作品所组成的“两个时刻”展览，逼迫我们反思之前对于全球化的某种想象——从职业的角度而言，这个收藏展正面回应了市场经济对于个体积极性的一面，无论是对于收藏家，还是参展的中国艺术家而言，职业的形象证明了市场交换作为某种法则的价值；但另一方面，艺术作为某种“可感觉的存在”，个体生成的差异感如果想在资本主义的地缘政治之外建立共识，我们就必须不断回到对现代性的“再叙事”之中。
于此，作为展览的“两个时刻”，不仅呈现了当代艺术系统的全球化格局，更为重要的是，它试图从深圳——这个中国改革开放的窗口城市的地缘变化中，将本土内部的现代性欲望镶嵌于全球化的流动中，由此重获审视区域之间张力的时机。而在“两个时刻：杨锋艺术与教育基金会 收藏展 I”之后，杨锋艺术与教育基金会将于3月26日正式开幕，届时此次展览的策展人孙冬冬与收藏家杨锋将会在暖房展的基础上，进一步为大家带来立基中国，富有深度与国际视野的收藏展览。
Date: January 23, 2016 – March 10, 2016
Exhibition Venue: You Space (Nanhai E-Cool) & Extra Space（Bao ’ an Xicheng）
Participants: Sun Dongdong (Curator) & Collectors
Outreach programme: Lecture & Forum
On January 23, 2016, supported by Blue Ocean Capital, Youmi Finance and Frank F. Yang Art & Education Foundation, You Space and Extra Space inaugurated in Nanhai E-Cool Shekou, and Xicheng, Bao’an, Shenzhen respectively. As “house-warming” exhibitions celebrating the commencement of Blue Ocean Capital and Youmi Finance, “Moments of Cynicism and Piety: Collection Exhibition of Frank F. Yang Art & Education Foundation I” was curated by Sun Dongdong, an emerging and active curator.
Confronted by the formulaic institutional exhibition on the one hand, its title translates literally, “Two Moments”, matching the phonetics of “You/U” and “You&Me/Youmi”, collector Frank F. Yang procures an exhibition with a passion in providing the viewer a moment about “you”. The coming together of the works on exhibit, the artist and the collector also marks a moment of “you & me”, about the relationship of the individual and the other in the context of contemporary art and social reality. Confronted with these two moments and building on collector Frank F. Yang’s collection, curator Sun Dongdong discovers the two meaningful moments of cynicism and piety in his presentation of an in-depth and critical vision for this exhibition.
Cynicism and piety, is cited from Gilles Deleuze and Felix Guattari’s reiteration of Karl Marx’s analysis on the dynamic mechanism of capitalism. In which, on the one hand, the capitalist capacity for production provides freedom in social practice; on the other hand, the private ownership of capital determines the surplus value as a component of power, in turn, transforms the formerly liberated production to a kind of setback for added value. Walking through the exhibition “Moments of Cynicism and Piety” between You Space and Extra Space, consists of approximately 50 contemporary works of art by Chinese an international artists alike, we are urged to reflect upon our previous imagination of the global – professionally, this exhibition responds to the proactive individual in an viable market economy, whether for the collector or the artists participating in this exhibition, one’s professional profile bears witness to the value of the laws in market exchange; on the other hand, artists “as sensible beings ”, should the different their becoming of individuals reach a common understanding beyond capitalist regional politics, then we must revisit the “reiteration” of modernity.
Thereby, the “two moments” of the exhibition, do not only present the global structure of the contemporary art system, but more importantly, they attempt to implant regional and domestic desire for modernity into the flow of globalization from Shenzhen – a window of urban transformation to China’s economic reforms, whereby to grasp the opportunity of examining the tension between its regions of observation.