April 2019
M T W T F S S
« Jan    
1234567
891011121314
15161718192021
22232425262728
2930  

news & blog

Apr 2019

Laureate Contemporary Talents, François Schneider Foundation

images

The call for applications for the 8 th edition was held from 1 st September to 1 st November 2018. The names of the 47 finalists of the competition chosen by 4 Expert Committees were announced in February 2019 and a booklet with 47 pre works -selected has just been published.

The final selection will take place on 4 April 2019 at the grand jury meeting in Wattwiller.
The selection of the winners will be announced on April 5 at 11 am at the François Schneider Foundation by Jean-Noël Jeanneney, President of the Grand Jury.

The 2019 grand jury, chaired by Jean-Noël Jeanneney , is composed of renowned personalities from the world of the arts:
Felizitas Diering (FRAC Alsace Director)
Alfred Pacquement (Heritage Curator, France)
Ernest Pignon Ernest (artist, France)
Fabrizio Plessi (artist , Italy)
Roland Wetzel (Director of the Tinguely Museum, Switzerland)

Meeting in Wattwiller on April 4th, the grand jury chose 7 artists of 4 nationalities as winners of the 8 th edition of the contest.
> Rachael Louise Bailey (United Kingdom) Global, 2018 . Sculpture, 3m in diameter.
> Guillaume Barth (France) The Second World, Elina, 2015. Video, 4mn41.
> Olivier Crouzel (France) 18 curtains, 2015. installation, 11,520 x 3,240 cm.
> Hao Jingfang and Wang Lingjie  (China – France) Over the rainbow, 2016. Installation, variable dimensions.
> Eva Nielsen (France)Zode IV , 2018. Painting, 200 x 180 cm.
> Capucine Vandebrouck (France) Puddle , 2017. Installation, variable dimensions.
> Wiktoria Wojciechowska (Poland – France) Short Flashes , 2013. Photography, 80 x 768 cm.

The works of the laureates will be presented in a collective exhibition at the Foundation’s art center and will be part of their collection. Over the years, a unique set of forty pieces has been created by the acquisition of the works of the laureates – drawings, paintings, sculptures, videos, photos or installations – illustrating the theme of water from different angles (scientific, political, ecological, philosophical, etc.) and testifying to the diversity of artistic practices of the 21st century.

微信图片_20190417042140

56604983_2332853380326226_7619775185767366656_o

Apr 2019

Cosmos:2019

WEB_AFFICHE_EMG_COSMOS2019

Cosmos : 2019
/
Curator : Valerie Perrin
From 13th April till 20th July 2019

In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
With : Susan Hiller, Cécile Beau, Venzha Christ, Guillaume Bertrand, les Éditions à Mort, David Guez, Jingfang Hao & Lingjie Wang, Esther Hunziker, Marie Lienhard, Silvi Simon, RYBN.ORG.

During the 1960s at the time of the Cold War, Space was an issue of national prestige, power and rivalry between the United States and the U.S.S.R. In reaction to the U.S.S.R. sending the first man into space (1961), the United States, sent the first man to the Moon. So, on July 20 1969, during the Apollo XI mission, man took his first step on the moon.
This historical event was broadcast globally, live via satellite, over television and radio, and reached an audience of more than 500 million people on this Blue Planet. A landmark event in media history, these images sparked a fertile imagination of space travel, confirming the aesthetic intuition of Stanley Kubrik’s film 2001 : A Space Odyssey, which had been released one year earlier. Where fiction anticipates reality…
Fifty years later, space became less about national conquest, more about scientific research and technological development with international collaborations like the International Space Station. Their images inundate the Internet and are quite accessible to all.
In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos ? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
Cosmos: 2019 is introduced by two codes: first, ‘Binary Stele’ by David Guez, which imprints the binary code of the iconic photo of man’s first steps on the moon onto material, thus retaining this image for eternity, second, an installation by Guillaume Bertrand, of the navigation software for the Apollo XI program, remembers Margaret Hamilton, the woman who created this software yet remained unknown for forty-seven years and because of whom, men were able to walk on the Moon.
The art works presented in the exhibition Cosmos: 2019 propose another journey in space: in the literal sense by experiencing flight with Logics of Gold by Marie Lienhard, and also by discovering the poetic and fictitious galaxies of Cécile Beau, solar and martian traces of Jinfang Hao and Lingjie Wang, Ester Hunziker and Silvi Simon. Cosmos: 2019 is also an opportunity to meet those who observed unidentified flying objects in the sky through the installation of Susan Hiller, the pop up book of Editions à Mort which gives a voice to ufologists. And, with the researches of Venzha Christ and RYBN.ORG to ask whether the cosmos might now be a new territory for intervention by artists.
Cosmos: 2019 towards another space conquest?
Opening on Saturday 13th October at 5 p.m in Espace multimédia Gantner

Feb 2019

COCOSMO

affiche cocosmo

Les recherches de Jingfang Hao et Lingjie Wang sont le fruit d’une « exaltante alliance des contraires ».

Leurs oeuvres puisent aux racines de la culture chinoise et sont nourries de références à l’histoire de l’art occidentale. A la fois
conceptuelles et sensuelles, objet et processus.

Cette bipolarité, que l’on retrouve dans le taoïsme mystique originel sous la forme du Yin et du Yang, est davantage une façon d’être au monde qu’un système.

Chacune de leurs oeuvres repose sur un dialogue entre une conception cartésienne et mathématique, héritée de leur formation d’ingénieurs et d’un intérêt pour l’art conceptuel occidental, et une vision sensuelle et poétique du monde et de la nature liée à leur culture chinoise et à leur connaissance de la matière qui compose les objets qui nous entourent.

Dec 2018

Rolling Snowball

滚雪球1

At 3:00 afternoon,on December 15, 2018.“Rolling Snowball·Nanjing”will be opened at AMNUA.This exhibition is led by Li Xiaoshan as the art director.Ineke Gudmundsson as the academic adviser and Chen Rui,Li Meilan are appointed as the curators.This exhibition will focus on the art works of 52 Chinese and foreign artists, including sketches,paintings,oil paintings,photography,installations,sculptures,performance,images and some comprehensive mediums.

Since 2010, “Rolling Snowball”project has been initiated by the China European Art Center and has been held for eleventh. The Rolling Snowball event brings together Chinese and foreign artists from different part of the world, whose fields span a wide range of media. This cultural exchange and cooperation has greatly enriched the culture, ideas and concepts of artists from all over the world, and helped them to refine their artistic views and redefine their relationship with the arts. This cross-cultural exchange is part of its thinking and is of great benefit to their work and connections at home and abroad.

International exchange is a nutrient for art itself. Art flows in every corner of the world. Cultural exchange can also be considered an art of perspectives. In the long history of intercultural relations, preconceptions and old narratives were tested, revised and adjusted through both dialogues and conflicts. In the best scenarios, we learn from one another and seek commonality despite differences, leading to deeper mutual understanding and greater mutual respect. The culture of the “other” is also like a mirror, reflecting our own cultural texture, so that we can look at ourselves more objectively through the perspective of the other. A richer perspective brings a broader perspective, and it allows us to become more aware of our own foothold in the broader world.

This winter, Let’s Rolling the Snowball in Nanjing!

Sep 2018

NATURE, KEY WORD OF JINGFANG HAO & LINGJIE WANG

列印

本期唐妮诗画廊继续对话艺术家组合郝经芳 & 王令杰。
The conversation between Danysz gallery and the duo artists Jingfang Hao & Lingjie Wang continues.

Meng YU – Danysz gallery

二位是工程学出身,后来为什么会选择艺术?

You both studied engineering, why did you choose art later?

郝经芳 & 王令杰 Jingfang Hao & Lingjie Wang

工业设计背景使我们能够预测观众如何看待我们的作品以及如何根据不同感官的输入来协调感知。这在一定程度上可以预测观众的反应。但即使我们的作品有时被视为有技术意义的,我们仍然认为它们的目的仍然是概念性的。换句话说,技术手段引导着感官为我们提供了通向我们感知的途径,但我们最感兴趣的是他们引导我们走向何方。

The engineering study makes us be able to technically coordinate perception base on different sensory inputs. That helps us to predict how the views would perceive our works. Even, our works are sometimes considered technically meaningful, we still belive that they are conceptual. In other words, through technic, the sense gives us the paths to our perception, but what interests us the most is where they are leading us to.

在视觉层面上,彩虹只是一些彩色的弧形。我们看到的这些颜色和形状只有在我们脑海中形成一个概念时才会有意义。比如在无人区的天空中出现的彩虹只是一种物理现象。彩虹之所以成为彩虹,就是在人们视觉所见之后被感知,被心灵所理解。

Visually, the rainbows are just some coloful arcs. But these colors and shapes we see become meaningful only when they form a concept in our mind. A rainbow appearing in the sky of a no deserted land is just a phenomenon. A rainbow is only a rainbow after it was seen and understood by our mind.

Fiona CHEN – Danysz gallery

在创作生涯中,有什么其它有趣的作品可以给我们介绍一下吗?

Do you have any other particular piece to introduce to us?

郝 & 王 Hao & Wang

与火烧云同样性质的颜料,我们用在了另一系列作品 ——《在万物运动的宇宙中画一条直线》上。它是在一个深色背景上,一个拖着尾巴的点,像一颗流星一样,极其缓慢地在天幕划过。通常观众一旦发现一个小点在慢慢运动,视线基本就舍不得离开它了。许多人在惊叹之余询问我们在技术上如何做到的。而我们也会问,大家在美丽的晚上,看到夜幕上一颗流星划过,也会问如何制作的么?

The same paint we used to make clouds, we applied it in another work Draw a Straight Line in a Universe Where Everything moves at All. It is on a dark background, a dot like a shooting star, slowly moving on the sky. Once people spot it, they usually can’t take their eyes off it. Being amazed by this artwork, many asked us how we made it. And we always ask as well, in a lovely evening, when we see a meteor flying through the sky, will or should we ask how it is made?

Meng

此次展览让观看者们欣赏到云、彩虹、湖泊沙漠等自然景观,我发现二位的艺术作品通常与自然相关,这是你们的创作理念吗?

The exhibition allows viewers to appreciate our nature, such as clouds, rainbows, lakes and deserts. I found that your artworks are usually related to the nature. Is this your main concept?

郝 & 王 Hao & Wang

一个人的世界观是复合的。从他/她对于自然的态度,也可以窥视他/她对于社会、政治、乃至人生的态度。

One’s philosophy is complicated. From his/her attitude towards nature, you can also peep into his/her attitude towards society, politics, and somehow life.

Fiona

相信你们的作品能为每一位观看者碰撞出视觉和心灵的火花,之后有什么创作方向可以给我们透露的吗?

I believe that your work can make some visual and spiritual sparks for every viewer. Any preview you could share with us regarding future works?

郝 & 王 Hao & Wang

谢谢。我们同时作为艺术家和自己作品的第一观众,也很期待我们下一件能够打动我们的作品。近期我们在上海的青当代艺术空间,南京艺术学院美术馆和重庆的四川美术学院美术馆都有展览正在进行。

Thank you. We are both artists and the first audience of our works at the same time, we are also looking forward to the next work which can touch us. Recently, we have some exhibitions in Qing Art Space in Shanghai, AMUNA in Nanjing and Art Museum of Sichuan Fine Arts Institute in Chongqing.

Sep 2018

EXCLUSIVE OF JINGFANG HAO & LINGJIE WANG

列印

视觉系还是概念性?—— 专访郝经芳 & 王令杰 (上)

EXCLUSIVE INTERVIEW OF DUO ARTISTS JINGFANG HAO & LINGJIE WANG (part I)

若你近期跨入唐妮诗画廊上海空间,定会被艺术家组合郝经芳 & 王令杰(下为郝 & 王)为画廊群展“微光”所创作的全新装置«彩虹,云梦泽»所吸引。近日,画廊也与艺术家就这件取得热议的作品展开对话,深入了解这对艺术家组合的创作经历。

If you recently visited Danysz gallery – Shanghai, you will be attracted by Jingfang Hao & Lingjie Wang’s newest installation Rainbow, Yun-Meng Lakes, created for the group show MINIMAL LIGHT. The gallery had a dialogue with the couple about this piece which were ardently discussed. Let’s know more about their career.

Meng YU – Danysz gallery

我们看到你们最初的彩虹系列作品是从简单矩形开始,去年开始延伸到复杂的湖海轮廓,是什么契机让你们想将彩虹投射于河海湖泊中呢?

We saw your original artworks about rainbow series, starting with a simple rectangle and going to the complex outline of the lake and sea from last year. What is the opportunity for you to project the rainbow into the rivers and lakes?

郝 & 王 HAO & WANG

源于水。空气中的小水滴,散在空中是云,凝结滴下来是雨雪,落在地上形成江河湖海。而彩虹正是在空气中尚还有雨滴的时候,阳光照射在空气中无数小水滴上形成的。

我们所选择的河海湖泊,皆是曾经在历史上真实存在过,惠及一方,却由于气候变迁,很遗憾都已经消失了的。

From water. The small water droplets scattered in the air are clouds, and the condensation drops into rain and snow, falling on the ground to form rivers and lakes. The conformation of rainbow is just when there are still raindrops in the air, and the sun shines on the numerous water droplets.
The rivers and lakes that we have chosen, all existed in history and benefited one side, but they have disappeared because of the climate change.

Fiona Chen – Danysz gallery

这次展览为何会选择呈现云梦泽呢?在云梦泽中重现彩虹有什么特殊意义吗?

Why did the exhibition choose to present Yun-Meng Lakes? Is there any special significance in recreating rainbow in Yun-Meng Lakes?

郝 & 王 HAO & WANG

所谓云梦泽就是“气蒸云梦泽”的云梦泽。这两个湖泊,大的叫做云泽,小的为梦泽。云梦地区是古时楚王的狩猎区,包括山区,平原,湖泊等。其中的湖泊地区被称为云梦泽。由于位处汉水和长江的交汇地带,土壤肥沃,孕育了宝贵的楚地文化。而随着时间的推移,云梦泽早已彻底消失,只借助着孟浩然、贾至他们的诗句,活在我们的记忆当中。

The so-called Yun-Meng Lakes are referred from a poem “While vapours all over the Yun-Meng Lakes up roll, bores roar ahead to rock the Yue-Yang City Wall”. These two lakes, the big one is Yun Lake and the small one is Meng Lake. The Yun-Meng area is a hunting area for the ancient kings of Chu, including mountains, plains, and lakes. The lake area is called Yun-Meng Lakes. Because of the intersection of Hanshui and the Yangtze River, the soil is fertile and has nurtured a valuable culture of Chu. As time goes by, Yun-Meng Lakes have completely disappeared, and only with the help of Meng Haoran and Jia Zhi’s verses to live in our memory.

Meng

我们听说二位即将在另一个群展活动中呈现砂面彩虹,这对灯光和空间的掌握就又是新的挑战吧?这些装置在运输和现场布置中会遇到什么困难吗?

We have heard that you will soon present a sand-faced rainbow in another group exhibition. Is this a new challenge for lighting and space? What difficulties will you encounter in transportation and site layout?

郝 & 王 HAO & WANG

我们在九月下旬将会参加一个在川美美术馆,唐克扬老师策划的一个群展。在展览上会展出一个大的彩虹装置,彩虹将会被呈现在空间的下方平面上。作品将会在现场制作,我们曾经已经实现过一个类似的方案在里昂双年展上。这次展厅是一个挑战极高的空间,观众会有机会沿着展厅一侧的坡道拾级而上,而彩虹就在这个过程中逐步逐步呈现在观众的眼前。直到观众走上展厅的最高点,他将会看到一个完美的彩虹形状。

In late September, we will participate in a group exhibition planned by Mr. Tang Keyang at Museum of Sichuan Fine Arts Institute. A large rainbow installation will be displayed in the exhibition, and it will be presented on the lower plane of the space. The work will be produced on site, and we have already implemented a similar program at the Lyon Biennale last year. This exhibition hall is a very challenging space. The audience will have the opportunity to climb up the slope on the side of the exhibition hall, and the rainbow will gradually appear in front of the audience in the process. Until the audience walks to the highest point of the exhibition hall, he will see a perfect rainbow shape.

郝 & 王 HAO & WANG

好几年,我们就一直在研究光。处理光是一件非常棘手的事情,为此我们做了很多实验。由于光线中有许多颜色,彩虹很容易在我们的脑海中浮现。通过在不同的艺术环境和空间中呈现和诠释彩虹,我们试图了解如何在物理世界和人们心中获得彩虹的形式。在我们的中学物理课上,大多数人都已经被告知,彩虹是由太阳光通过空气中的微滴水折射和反射而形成的。 然而,再现一个理论的证明恰恰与我们的意图相反。我们探索了另一种媒介的材料世界,它可以支持我们的这个开发彩虹的可能性的想法,例如,在里昂的展览中,我们使用了玻璃微球来改变视角,它相当于在沙子的表面呈现彩虹。

We have been working on light from several years ago. To work on light is very tricky, so we did lots of experimental things. As there are many colors in the light, rainbow emerges easily in our mind. By performing and interpreting rainbow in different artistic contexts and spaces, we made our approach to try to understand how rainbow get its form in physical world and also in people’s mind. Most of us have already been told during our middle school physical lessons, that rainbow is formed by the refraction and reflection of sun light through the micro drips of water in the air. However, reproducing a demonstration of the theory is just the opposite of our intention. We explored the world of materials for another medium which could support our ideas to develop the possibilities of rainbow and for example, during the exhibition in Lyon Biennial, we used glass microspheres to change the perspective, presented a rainbow on a quite surface of sand on the floor.

郝 & 王 HAO & WANG

就布展来说,光源需要从天花板上吊挂下来,精确到空间中一个具体的位置。这对现场配合会是一个挑战。

In terms of the process of arranging the exhibition, the light source needs to be hung from the ceiling to a specific location in the space. This will be a challenge for on-site coordination.

Fiona

二位的工程学背景让艺术作品更具内涵和观赏性,像这次展出的火烧云的灵感是从上海日落时分的云而来,可以给我们介绍一下云朵的具体建模和选择涂层颜色的过程吗?

The engineering background of you two makes the artworks more connotative and ornamental. The inspiration for this burning cloud is from the clouds at sunset in Shanghai. Can you tell us about the specific modeling of the cloud and the process of choosing the color of the coating?

郝 & 王 HAO & WANG
比如大家看到天上一朵云,心里想着真美,会去问这云是如何制作的么?我们其实并不介意透漏具体的制作方法,而且也没什么好隐瞒的。但是我们不想要观众的着重点偏离作品的本意。火烧云就是一朵美的,敏感的,娇羞的,可以随着环境变化的云。

For example, if you see a cloud in the sky you will think about it in your heart and will ask how this cloud is made? We don’t really care about leaking specific production methods, and there is nothing to hide. But we don’t want the audience’s focus to deviate from the original intention of the work. The burning cloud is just beautiful, sensitive, shy, it is the cloud that can change with the environment.

Meng

此次在上海展出的云和欧洲展出的有什么异同吗?

What are the similarities and differences between the clouds exhibited in Shanghai and in Europe?

郝 & 王 HAO & WANG

从形态和技术上说,基本相同。但是这次在上海展出的两件云作品,名字分别叫做《云, 19点01分》和《云, 19点28分》。这两个名字的来源和他们所展出的位置息息相关——一年中日照最长的一天——6月22日,在上海,太阳下山时接触到地平线的时间、和太阳完全没入地平线的时间。就这么短短不到半小时的时光里,天空呈现出最丰富的色彩。而云的色彩也是来源于此。同样,在欧洲展出的时候,就会根据欧洲展出地的时间来确定名字了。

In terms of form and technology, they are basically the same. But the two works exhibited in Shanghai this time are called A step to Sky, 19h01 and A step to Sky, 19h28. The origin of the two names is closely related to the position they are exhibiting – the longest day of the year – June 22 in Shanghai, when the sun goes down to the horizon, and when the sun is completely out of the horizon. In such a short time of less than half an hour, the sky is the most colorful. The color of the cloud is also derived from this. Similarly, when it is exhibited in Europe, the name will be determined based on the time of the place of exhibition in Europe.

微 光
郝经芳 & 王令杰
马立华
宋兮
2018年9月1日–10月31日
唐妮诗画廊 – 上海黄浦区北京东路256号
周一至周六10 – 18点/周日12 – 18点

MINIMAL LIGHT

Hao Jingfang & Wang Lingjie
Ma Lihua
Song Xi
SEP. 1st – OCT. 31st, 2018
Danysz gallery, 256 Beijing East Road, Shanghai
Open from Monday to Saturday 10am-6pm / Sunday 12am – 6pm

郝经芳 & 王令杰(Jiangfang Hao & Lingjie Wang)

今时的阳光,必不是当日照在那片湖海上的阳光,而此时出现在作品上的彩虹,能否让我们回忆起曾经和我们息息相关,甚至可能是孕育了一方文明的湖海的生机勃勃?

The sunshine of the present day is not the sunshine that shined on the lake at that time. Can the rainbow appearing on the works right now remind us of the once-related relationship with us or maybe it is the vitality of the lake that gave birth to one civilization?