杨锋艺术与教育基金会第二届“微征集”项目展览“Light, Heat, Power!”于上海留下空间开幕
The Second Frank F. Yang Art and Education Foundation “Micro-Curatorial”Project exhibition “Light, Heat, Power!” opens at Spare Space in Shanghai
”Light, Heat, Power!”
策展人：王子云
艺术家：陈抱阳、崔洁、葛宇路、胡为一、刘任、茅昊楠、王智一、王拓
开幕时间：2018年11月3日 下午3:00
策展人开幕导赏时间：下午3:30
主办：杨锋艺术与教育基金会
赞助：蓝海资本、王星喻女士
第二届杨锋艺术与教育基金会“微征集”项目的获胜方案，由青年策展人及研究者王子云策划的展览“Light,Heat,Power!”将于11月3日在上海留下空间开幕。此次展览作为留下空间的在地项目，借助作家茅盾在经典文本《子夜》中对上海的描述，围绕Light-光，Heat-热，Power- 力构建艺术与多重现实的关系。
虽有特定的时间线索可追述，此次展览并没有文献式地罗列出中国社会现代化历程中的切片， 而是把作品叙事的刻度放在一个广阔的时空中，交叠发散出星丛般的现场结构。Light—光（材质、形式、空间）指向展览中艺术家操纵媒介的方法和改造手段；Heat—热（能量、温度、狂热）关乎作品背后社会审美机制和现实境况的变化。Power—力（权力、力量、速度）探讨的不仅是历史动因和目的，也包含对当下信息爆发和加速感的回应。
参展艺术家多为中国新一代的年青艺术家，包括陈抱阳、崔洁、葛宇路、胡为一、茅昊楠、刘任、王智一和王拓。个体化艺术创作与特定的历史语境及当下的城市空间相互作用，不能简单被理解为“对现在的怀旧（Fredric Jameson）”，而是艺术家如何在这般处境中，密切地把握具有个体特质的经验和实践，不断投身流动、交织、闪烁的当代时刻。
不管上海还是法租界，全球文化体系中从来不缺乏传奇和故事。基于留下空间所处的位置和背景，此次展览将提出一系列问题：如何建立记忆与当下的关联？如何在弥散的历史时间中找到一条串联的线索？从这些问题出发，展览藉由图像考古与文本、身体与空间、人际沟通、虚拟货币、网络与日常等诸多元素，在包裹着历史趣味的日常生活中延展出新的互文关系。参展艺术家像是时间断章中记忆的召集者，对他们而言，“过去已不再是简单的记忆政治，也不再是一片待回归的土地（Arjun Appadurai）”。
Light, Heat, Power!
Curator: Wang Ziyun
Artists: CHEN Baoyang, CUI Jie, GE Yulu, HU Weiyi, LIU Ren, MAO Haonan, WANG Zhiyi, WANG Tuo
Opening Time: 15:00pm, November 3, 2018
Curator Tour: 15:30pm
Host: Frank F. Yang Art and Education Foundation
Sponsors: Blue Ocean Capital Group, Mrs. Wang Xingyu
The exhibition proposal of The Second Frank F. Yang Art and Education Foundation “Micro-Curatorial” Project “Light, Heat, Power!” will be presented on November 3, 2018 at Spare Space in Shanghai. This exhibition is curated by curator and art critic Wang Ziyun, who is the winner of this year’s “Micro-Curatorial” Project. As the site-specific project of Spare Space, the exhibition is drawn from the novelist Mao Dun’s depiction of Shanghai at his acclaimed opus Midnight and aims to build the relationship between art and multiple dimensions of reality around Light, Heat and Power.
Although one could explore the specific traces chronologically, this exhibition does not intend to list the breadth of China’s journey in social modernization with an archival presentation. The exhibition posits its narrative on a broader temporal and spatial parameter, around which a constellation of exhibition structure could be constructed. Light (material, form, and space) is included in the artists’ mediums and means of intervention to this exhibition; heat (energy, temperature, passion) is what fuels the transformations pertaining to social/aesthetic systems and actual conditions; and power (power, strength, speed) does not only point to the historical impetus and motives, but also serves as a response to the eruption and accelerated dissemination of information.
Most of the participating artists, including Chen Baoyang, Cui Jie, Ge Yulu, Hu Weiyi, Mao Haonan, Liu Ren, Wang Zhiyi and Wang Tuo are young artists of China’s new generation. The interaction between individual artistic practices as well as specific history context and development of urban space cannot be simply construed as “nostalgia for the present (Fredric Jameson)”. Instead, it should elaborate how the artists command their unique experiences and practices in the here and now and dive into the fluid, interwoven and dazzling moment of the contemporary.
Whether in the French Concession of Shanghai or the global cultural system at large, there has never been a shortage of legends and stories. Based on the geological and historical background of SPARE Space, a series of questions will be brought up: how do we establish the connection between memories and the present? How do we trace a clue amidst the dispersive historical time? Started from these questions, the exhibition extends a new intertextual relationship with historical aesthetics through visual archaeology and literature, body and space, interpersonal communications, virtual currency as well as internet and everyday lives. The roster of artists would be more akin to memory awakeners to a disconnected time. For them, “The past is not simply about the politics of memories, nor a land to be returned to (Arjun Appadurai)”.