actualités & blog

juil 2020

Art en Chapelles 3ème Biennale

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La question est souvent posée : pourquoi donc est-ce l’art contemporain qui est invité à « investir » les églises et chapelles du haut-Doubs retenues par art en chapelles dans ses circuits ?

« Art » : le mot rebute parfois ; indiffère souvent. Alors quand l’art devient contemporain au mieux il surprend, interroge, questionne. L’interrogation est légitime : dans son livre Vérité en art, le philosophe et critique d’art, Philippe Sers, écrit : « le paysage artistique actuel manque de lisibilité. Il est difficile d’y trouver ses repères et de construire un jugement de valeur (…). En face de l’art contemporain, la tentation vient alors au public de tout rejeter, dans l’impossibilité de discerner, ou bien de tout accepter par intimidation. Deux attitudes
qui n’ont de sens ni l’une, ni l’autre ».

C’est donc un choix exigeant que le nôtre, car il fait appel à toute la capacité d’attention et d’interrogation. c’est un choix qui s’impose, car l’art contemporain est porteur de l’essentiel :

— en rendant présent l’inapparent, il est par définition, un acte créateur.

— en posant des questions sur l’homme, sur sa vie, sur ses doutes, la nature…

Il nourrit la réflexion spirituelle, sur notre histoire passée, présente et… L’art contemporain se montre sous toutes ses facettes, invitant le visiteur-spectateur à la curiosité, l’écoute, la rencontre, la réflexion.

fév 2020

DONNER CORPS À LA LUMIÈRE

海报, Donner corps à la lumière(Give body to light)

Co-commissariat : Puzzle et Centre Jacques Brel
Vernissage le 30 janvier à 18h30

Matériau sans corporalité, la lumière interagit et dialogue avec la matière sans laquelle elle reste invisible. Composée de particules photoniques, elle change la géométrie et la nature des objets si bien que grâce à elle, les artistes jouent et expérimentent pour offrir une nouvelle vision imaginaire, poétique, inattendue.
Salle blanche, nous invitons le public à appréhender le soleil comme source de vie. Cet astre divin dont l’Homme à toujours cherché à maitriser la lumière et à s’approprier le rythme. Salle noire, nous proposons un regard sur la lumière artificielle et les technologies qui permettent de contempler son mouvement.
Dans la bulle forum et la caverne, à travers le medium vidéo, nous donnons à voir des images contemplatives et méditatives presque figées qui revoient à l’Histoire de l’Art et à la peinture.

Benoit Billote
Bertrand Gadenne
Jingfang Hao & Lingjie Wang
Nancy Holt
Martin Messier
Gjon Mili
Jiro Nakayama
Bill Viola

> Exposition du jeudi 30 janvier au samedi 7 mars 2020
Du mardi au samedi de 14h à 18h
Les dimanches 02 février et 1er mars de 14h à 18h
Entrée libre
Salle blanche, Salle noire, Bulle du Forum et Caverne.
Visites découverte les matins sur RDV : 03 82 56 12 43

jan 2020

ALBEDO

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avec Benoit Billotte, stanley brouwn, Alain Colardelle, Jennifer Douzen, Peter Downsbrough, Wang Lingjie & Hao Jingfang, David Lamelas, Valentin Pierrot, Rémy Zaugg

L’albédo est une grandeur scientifique qui se définit comme le rapport entre l’énergie lumineuse reçue et réfléchie par une matière. Cette énergie s’exprime indifféremment en
fraction de 0 à 1 ou en pourcentage de 0 à 100 % ; celle d’un miroir parfait serait alors équivalente à 100%. L’albédo est un concept que l’on retrouve aussi bien en écologie :l’albédo de la planète, des forêts ou d’une plante qu’en urbanisme ou en architecture avec
l’albédo d’une place, d’une route, d’un bâtiment. Cette exposition invite à explorer cette notion à travers l’expérience de la lumière et des matières. Les artistes nous convient à un moment scientifique, poétique et parfois même politique.

Commissariat | Valentin Wattier
Scénographie réalisée par les étudiantes du Master 2 Art de l’exposition et scénographie: Julie Accorsi, Verónica Marcovich (Vero Mar), Isa Hafid, Pauline Jeannette, Aurore Genitoni, Emeline Bénard, Juliette Catelle , Louise Derbez (Louise Dbz)

En partenariat avec l’ Université de Lorraine ,
49 Nord 6 Est – Frac Lorraine et Frac Champagne-Ardenne

Exposition visible du 13/12/2019 – 02/02/2020
Fermeture du 25 décembre 2019
au 05 janvier 2020 inclus

oct 2019

The Process of Art: TOOLS AT WORK

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The Process of Art: TOOLS AT WORK

Curator: Zhang Yingying

Artists: Guo Cheng, Hao Jingfang & Wang Lingjie, Jiang Zhuyun, Liu Fujie, Slime Engine, and Ye Linghan

About the Exhibition: As a definable movement, Conceptual Art in the 1960s-1970s attempted to bypass the increasingly commercialized art world, emphasizing that « thinking process and production methods are the value of artworks ». As a mysterious bridge, tools have realized the visual transformation of artworks from virtual individual consciousness to tangible objects. An artist’s conception itself does not constitute art – but if the artist seeks to materialize it, he or she must utilize the power of technology and tool. Tool is a clue that can return to the essence of art. As a part of artists’ practical behavior, it has its own way of seeing. This approach guides artists to operate, and makes the operations own their specific material properties.

Manufacturing, manipulating, editing or processing represent a way of art’s uncovering as well as a pattern of creating an open area and revealing truth within – they are closely related to the emergence of art essence. When works lose themselves in the art market or fall into theoretical crisis, tools become a gradual link – a link that can produce infinity, a link that has creativity to break the existing cognition, and a link that carries out the internal test of art. It makes us re-examine the creation of art again…

About the Curator: Zhang Yingying is a Shanghai-based curator and writer. She started to engage artistic creations in 2010, turned to art review and focused research on Kassel Documenta in 2015, and devoted to curatorial practices in 2017, searching for the best fitting points between art, theory and social reality from basic elements.

Emerging Curators Project 2019
Time: October 25, 2019 – February 23, 2020
Venue: Gallery 1, 1F, PSA
Organizer: Power Station of Art
Special Thanks to: Consulate General of France in Shanghai, Pro Helvetia Shanghai
Special Partner: TOTO (China) Co., Ltd.
Support: Shanghai HELU Culture Communication Co.Ltd., Project Woo
Admission: Free

About Emerging Curators Project
PSA’s Emerging Curators Project is China’s exclusive young curator development and research project. As the contemporary art museum’s annual exhibitory and academic trademark, the project stays committed to exploring young Chinese curatorial talents and providing them with a platform to practice conceptions, an opportunity to access comprehensive and in-depth guidance, a path to enter the public’s eyes, and an environment to enjoy healthy growth. Since its inception in 2014, the Emerging Curators Project has so far supported more than 30 Chinese curatorial talents to realize a total of 14 exhibitions. With an open and fair reviewing principle that disregards backgrounds and encourages adventures, the six-year-old project has been gradually rising to become an important platform for young Chinese curators. Through exhibition-based practices, young curators emerging on this platform gain experiences as well as attention from the industry, while some of the curatorial plans taking form here are also translating into sustainable research and exhibition projects.

About PSA
Established on October 1, 2012, the Power Station of Art (PSA) is the first state-run museum dedicated to contemporary art in mainland China. It is also home to the Shanghai Biennale. Renovated from the former Nanshi Power Plant, PSA was once the Pavilion of Future during the 2010 Shanghai World Expo. The museum has not only witnessed the city’s vast changes from the industry age to the IT era, but also provided a rich source of inspirations for artists with its simple yet straightforward architectural styles. And as Shanghai’s generator for its new urban culture, PSA regards non-stopping innovation and progress as the key to its long-term vitality. The museum has been striving to provide an open platform for the public to learn and appreciate contemporary art, break the barrier between life and art, and promote cooperation and knowledge generation between different schools of art and culture.

About Consulate General of France in Shanghai
The Consulate General of France in Shanghai represents the Service of Cooperation and Cultural Action of the Embassy of France in China, which bears a mission to spread the French culture, promote French education, and boost Sino-French cultural exchanges in China.

About Pro Helvetia Shanghai
Established by the Swiss Government in 1939, Pro Helvetia is dedicated to the promotion of contemporary cultural works of national and international interest. Pro Helvetia Shanghai, founded in 2010, carries an aim to encourage dialogue between Swiss and Chinese cultural practitioners and institutions by supporting projects that enhance the exchange of knowledge and experience in the cultural field. Most projects undertaken by Pro Helvetia Shanghai focus on Swiss contemporary art, with special emphasis placed on the disciplines of visual and performing arts, design and music.

oct 2019

Notes from Pallet Town

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From September 22, 2019 to February 23, 2020, UCCA Dune presents “Notes from Pallet Town,” showing work from Leelee Chan (b. 1984, Hong Kong), Guo Cheng (b. 1988, Beijing), and the artist duo of Jingfang Hao (b. 1985, Shandong province) and Lingjie Wang (b. 1984, Shanghai). The “Pallet Town” of the title refers to the hometown of the protagonist of a 1990s Japanese video game and anime series. In a certain sense, the built environment in China is close to achieving the futuristic, idyllic sheen found in the background of such cartoons, yet the deeper implications and potential by-products of such a perfect image warrant further exploration. In “Notes from Pallet Town” participating artists deliver reports from imagined utopias, asking viewers to re-imagine the structures underpinning contemporary life. Their work foregrounds technology, but pointedly uses it as a means to highlight natural phenomena or illusions, revealing moments of unexpected beauty. “Notes from Pallet Town” is specifically curated in dialogue with the unique architecture and setting of UCCA Dune, designed by Li Hu and Huang Wenjing of OPEN Architecture, nestled in the sand by the Bohai Sea in the Aranya Gold Coast Community, 300 kilometers from Beijing. Continuing UCCA Dune’s curatorial focus on art examining the relationship between the human and natural worlds, the exhibition is curated by UCCA Head of Exhibitions Guo Xi.

The media franchise that the original Pallet Town appears in is in fact Pokémon. However, the exhibition is not directly concerned with the narrative of the Pokémon universe, rather taking the fictional town as a jumping-off point: all born after 1980, the participating artists came of age at a time when Japanese imports helped define the cultural imaginary of Greater China, with Pallet Town representing a particular dream image of contemporary East Asia. In the quietly prosperous community, society, technology, the natural world, and even the supernatural exist in harmony, while the white walls of tidy houses present a tabula rasa for fresh beginnings. Incidentally, Pallet Town was based on the real life city of Shimoda, which played an important role in the opening of Japan to foreign influence and technology in the 1850s. This small fictional town at the center of a generation’s memories proves surprisingly dense with meaning, not only presenting an image of utopia, but also implicitly evoking concepts underpinning the history of Asian modernization, such as the necessity of technological progress for development.

As sites of previously unmatched prosperity, where technology has smoothed out the rough edges of daily life, the metropolises where the participating artists live and work actively reach towards utopia. Yet such conditions have also led to new anxieties over environmental degradation, inequality, and the place of humanity in the face of automation and artificial intelligence. Pallet Town’s suburban fusion of society and nature also remains unrealized. The artists here have used—and intentionally misused—contemporary technology to celebrate the joys of sensation available in the present moment, while also expressing a certain sense of disquiet over issues that remain unresolved.

Jingfang Hao and Lingjie Wang create installations that reconstruct natural processes, uncannily mechanizing phenomena defined by imperfections and chance. On the beach outside the museum they use glass microspheres and an air compressor to create a rainbow, turning a serendipitous event into a regular occurrence. Like the lawns and fountains of a manicured park, this and other installations both soothe and illustrate a lack—what missing element necessitates these simulations?

Leelee Chan’s work is built out of the city: she takes as her materials consumer technology and discarded goods, found in part in the neighborhood around her Hong Kong studio. Polystyrene packaging, construction lights, a wind shield, wooden pallets, mother of pearl tiles, cosmetics containers and more are assembled into sculptures and installations that uncannily mimic nature, whether staging an artificial sunset, or carefully framing a single seashell to suggest the remains of a larger, unknown sea creature. Chan illustrates what materials fall through the cracks—even in developed, efficient cities—and then positions these objects as protagonists in their own right. In doing so, she investigates what traces urban life may leave in the distant future.

Guo Cheng also explores how our current lifestyles may shape the future, while customizing devices and software in a manner benefitting his background in industrial and product design. In The (Temporary) Gadget he arranges Geiger counter radiation detectors and custom circuits on spindly stems, recalling insects poised on branches. There they await the decline of global radiation to its level prior to atomic weapons testing. Other works encase everyday objects in concrete to create artificial fossils, or reproduce the artist’s face through 3D prints, massively distorted by neural network processing. Guo reminds the viewers that our attempts to create a controlled environment may have unforeseen effects, reshaping the earth, or even our own humanity.

Whether recreating natural beauty, or capturing the poetry of a high-tech device in operation, the works in the exhibition on the one hand embody the mixture of optimism and nostalgia that Pallet Town symbolically encapsulates. Yet in their observations of contemporary conditions, the participating artists also ask if we may ever truly reach this supposed utopia, and if so, what we may lose along the way.

About UCCA Dune

UCCA Dune is an art museum buried under a sand dune by the Bohai Sea in Beidaihe, 300 kilometers east of Beijing. Designed by OPEN Architecture, its galleries unfold over a series of cell-like spaces that evoke caves. Some are naturally lit from above, while others open out onto the beach. As a branch of UCCA, China’s leading independent institution of contemporary art, it presents rotating exhibitions in dialogue with its particular site and space. UCCA Dune is built and supported by UCCA strategic partner Aranya, and located within the Aranya Gold Coast Community.

www.ucca.org.cn/en

About the Artists

Leelee Chan

Leelee Chan (b. 1984, Hong Kong) received her MFA in painting from the Rhode Island School of Design in 2009 and her BFA from the School of Art Institute of Chicago in 2006. She currently lives and works in Hong Kong. Her work has been exhibited internationally including at Tai Kwun Contemporary, Hong Kong (2019); Capsule Shanghai Gallery, Shanghai (2019); Mine Project, Hong Kong (2019); Parallel Art Space, New York (2013); Flux Factory, New York (2011); Tompkins, New York (2010); Horse Trader Gallery, New York (2009); Sol Koffler Gallery, Providence, USA (2008); and The Three Season Gallery, Chicago (2006).

Guo Cheng

Guo Cheng (b. 1988, Beijing) is an artist currently based in Shanghai. He graduated from MA Design Products at Royal College of Art (London, UK) and obtained his Bachelor in Engineering in Industrial Design at Tongji University (Shanghai, China). His practice mainly focuses on exploring the interrelation between mainstream/emerging technologies, and individuals under the context of culture and social life. His work has been exhibited in “Machines Are Not Alone: A Machinic Trilogy” (Chronus Art Center, Shanghai, 2018); “The Ecstasy of Time” (He Xiangning Art Museum, Shenzhen, 2017); “Festival GAMERZ 11” (Aix-en-Provence, France, 2015); “The Ballad of Generation Y” (OCAT Shanghai, 2015); “Imaginary Body Boundary” (Digital Art Center, Taipei, 2015); STRP Biennial (Eindhoven, 2013) and elsewhere. He won the Special Jury Prize of the Huayu Youth Award (Sanya, 2018), and is a winner of the BAD award (the Netherlands, 2017). His work An Apophanous Overfitting (as a part of the collective project Tulip Pyramid – A Project of Copy and Identity) won the Gijs Bakker Award (the Netherlands, 2016). Guo Cheng has worked as Executive Director at Chronus Art Center, visiting researcher at the Department Environment & Health, Vrije University (Amsterdam) and has been serving as visiting lecturer at the College of Design and Innovation, Tongji University (Shanghai) since 2013.

Jingfang Hao & Lingjie Wang

Jingfang Hao (b. 1985, Shandong) & Lingjie Wang (b. 1984,Shanghai) are an artist duo. They both obtained Bachelors of Engineering in Shanghai Maritime University in 2007 and later received a Master’s degree in art from École Supérieure d’Art de Lorraine in France and a Diplôme national supérieur d’expression plastique (DNSEP). Now they reside in Mulhouse (France) and Shanghai. The two artists’ creative practice focuses on subtle changes in nature and our perception, with their main media including installations and images. By using the principles of material science and engineering, the works present an exploration of the relationship between cognition, emotion and nature, and convey a metaphysical reflection of intertwined rationality and sensibility. Their dual professional background in art and engineering effectively promotes their exploration of the ultimate commonality between the material and the spiritual world.

Their recent exhibitions include “Transmergence #01” (FRAC Alsace, France, 2019); 14th Lyon Biennale: Floating Worlds (Lyon, France, 2017); “Rolling Snowball” (AMNUA, Nanjing, China, 2018); “Mountain Water River Lake” (Art Museum of Sichuan Fine Arts Institute, Chongqing, China, 2018); “L’Atlas des nuages” (Fondation Françóis Schneider, Wattwiller, France, 2018); 62e Salon de Montrouge (le Be­roi, Montrouge, France, 2017); “Zone d’Influences” (FRAC Alsace, CEAAC, Strasbourg, France, 2018); Némo, Biennale Internationale d’Art Numérique (Centquatre, Paris, France, 2017); and “Die zweite Natur” (La Regionale 17, HeK Basel, Basel, Swizerland, 2016).

sept 2019

Shanghai Urban Space Art Season

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Shanghai is a city born by and of waters. Its twin mothers, Huangpu River and Suzhou Creek, have witnessed how Shanghai evolved from a small fishing village to a modern metropolitan in the course of a century, and how a modern industrial and business world has developed here. The banks of Huangpu River used to be a forest of plants, wharfs and warehouses, and for a long time the Bund was the only section along the river with intimate terms with people while wherever else the tides were overwhelmed by the steam whistling.Thanks to the EXPO 2010,the functions of Huangpu banks began to change, which marked a new stage of Shanghai urban development characterized by increasingly emphasis on urban qualities and determined responses to the citizens’ prospect of lovely life with beautiful spaces.In December 2017, by virtue of the significant arrangements made by Shanghai Municipal Committee of CPC and Shanghai Municipal People’s Government as well as the continuing efforts of all involved units, the 45km Huangpu Waterfront Connection, a great feat of public space and one of the most important results of recent urban renewal in Shanghai, was completed. The project offers scenic activity spaces for the citizens and adds a brilliant chapter to the global history of city construction with its deep humane concerns.At 31 January 2019, Shanghai Municipal People’s Government introduced the “Guiding Opinions on Promoting the Planning and Constructions Along Huangpu River and Suzhou Creek” and officially approved the “Construction Plan Along the Banks of Huangpu River (2018-2035)” and “Construction Plan Along the Banks of Suzhou Creek (2018-2035)”. These programmatic documents further confirm the target of Huangpu River banks as a concentrated exhibition area for the developmental capacity level of a global city, and Suzhou Creek banks as a typical demonstration area for a livable megacity.With summarizing the achievements in constructing public spaces along the Huangpu River and the Suzhou Creek and visioning the marvelous future of the River and the Creek from a macro perspective, the theme of SUSAS 2019, which begins at the end of September, is thus determined. SUSAS 2019 invites people to personally feel the Huangpu River Connection as a public space by implanting art into spaces and to discuss the global issue “how waterfronts bring wonderful life to people” at the forum created by incorporating exhibitions with practices.The theme of main exhibition, as proposed by the chief curator, is Encounter for encounters of people,, water and bank, art and urban spaces, history and future which in turn incite more beautiful life and emotional encounters and create inerasable city memories at the 70th Anniversary of the People’s Republic of China. Li Qiang, Municipal Party Secretary of Shanghai, pointed out that the banks of Huangpu River should be the city’s parlor. Now that the parlor is completed, SUSAS 2019 is inviting the world to encounter Shanghai.
The 15.5km of Yangpu Waterfront along the Huangpu River, with its abundance of industrial heritages, is a century-long record of the development of Shanghai as an industrial city and the contributions which the working class of Shanghai have made to the New China. While the plants and warehouses along the southern part of Yangpu Waterfront (south of Yangshupu Road, north of Huangpu River, east of Qinghuangdao Ferry Terminal, west of Dinghai Bridge; 5.5km in length) are removed, an area of 1.8km2 in the city center is now available for repurposing. In the “Construction Plan Along the Banks of Huangpu River (2018-2035)”, the Yangpu Waterfront, designated for technology and innovations, is one of the key transforming areas after Shanghai enters the stage of urban renewal. The District Committee of CPC and People’s Government of Yangpu, which are paying great attention to innovative development modes of Yangpu Waterfront, have offered the public spaces and historical buildings along the southern part of Yangpu Waterfront (5.5km) to collaborate with SUSAS this year to invigorate this area with the charms of art. This critical measure makes possible a significant breakthrough on the part of SUSAS, which will for the first time hold its exhibition outdoors. In this way, the vision of incorporating public art works into public spaces themselves is realized.The venue of SUSAS 2019 Main Exhibition is the historical site of Shanghai Shipyard, including the dock and the Maoma (linen and wool) warehouse, while the outdoors public art works will be arranged along the 5.5km of waterfront public space from Qinhuangdao Ferry Terminal to Shanghai Fashion Center.While the public space west of Yangpu Bridge (2.8km) has been connected and opened, its eastern counterpart of 2.7km will be opened in September, at the same time with SUSAS. A number of industrial heritages are successively renovated, some of which restored to their historical appearances. What’s more, a series of functional projects are in orderly progress.The main exhibition will demonstrate the stories and topics of waterfront spaces in two sections: “Urban Space Art” and “Planning & Architecture”.The main exhibition’s chief curator is Fram Kitagawa, an internationally renowned artist and curator who has long been dedicated to boosting regional economy with art. The Urban Space Art section, headed by Fram Kitagawa and assisted by Yoshiyuki Kawazoe ,professor of the University of Tokyo, will be an artistic anchor along the 5.5km of Waterfront Yangpu, with its twenty or so permanent installments as on-site productions of international artists with respect to local history, character and vision. Meanwhile, to motivate artists interested in urban public art to participate, SUSAS 2019 has initiated an international call-for-work for five slots of public art, and the outstanding pieces have the opportunities to be permanent installments at the Yangpu Waterfront. For more information, please check our official website (http://www.susas.com.cn) or our WeChat prescription account .The curator of Planning and Architecture is Ruan Xing, Dean of School of Design, Shanghai Jiaotong University. This section will vividly demonstrate the concepts of waterfront planning in China and beyond as well as the achievements and prospect of construction projects along Huangpu River and Suzhou Creek. Besides an intellectually interesting show, it is intended to encourage deliberated thinking and contribute to a general consensus about the aims of waterfront development. Prof. Ruan has great knowledge of architectural theories and experiences in both teaching and site projects. He used to be Director of Architecture, Built Environment UNSW Sydney and a curator of the Venice Biennale of Architecture with theme “Waterfront Spaces”.The chief architect of SUSAS 2019 is Zhang Ming, the Vice Head of Department of Architecture, College of Architecture and Urban Planning, Tongji University. He is responsible for the overall architectural design of the reutilized Dock which is an essential exhibited item and the venue design with other architects involved in designing or constructing the public spaces of Yangpu Waterfront, thus establishing the overall image of SUSAS 2019. Indeed, the Phase One Demonstration Section of Yangpu Waterfront Public Space Connection Project was the work of Prof. Zhang and his Original Design Studio.