Rockbund Art Museum 上海外滩美术馆

Art, though focusing on expression of emotions or ideas, is inevitably relied on the technological assistance. Nowadays, while technological innovation is rapidly reshaping humans’ means of communication, it is also steering the evolution of art. As the forms of artistic expression go through transformation, artists tend to wrestle with the following problems during their creation – how much the use of technologies is supposed to contribute to the art creation and how much art itself can express. Artists are trying to figure out how to apply technologies to their creation to convey the concepts and ideas that they intend to communicate to their audience. So how do artists produce their works with the assistance of available technologies? And how have different artists reflected on technologies’ role in reshaping the art creation as well as our daily work and life and the way we connect with the whole society?

We are honored to invite Chen Chao, who was in charge of the display design, project construction and artwork production for Lin Tianmiao’s solo exhibition “Systems”, to the Walk & Talk activity on July 7. Chen, along with the artist Lin, will talk about their reflection on the above questions during their collaboration while walking with viewers in the exhibition hall.

艺术的核心是情感和表达，但艺术也无法脱离技术的支撑。科技在飞速地改造着人类的交流方式的同时，技术的革新也引导着艺术的发展方向。在艺术表现形式的转型过程中，艺术家在创作作品时常常遇见一个的问题是：技术在这件作品中所占的成分是多少，而真正艺术的表现力又有多少？如何通过技术来表达艺术家想要传递的概念和思想是艺术家在创作中所思考的问题。在现有技术允许的情况下，艺术家们是如何进行创作的？不同的艺术家对于技术是如何重塑了艺术创造的过程、重塑了我们日常的工作和生活，以及我们与社会发生联系的方式有着怎样的反思？

我们邀请到了本次展览制作公司的创意设计总监陈超与艺术家林天苗一起，在展厅内与大家一起游读的过程中讲述他们在合作过程中对这些问题的思考。

Chen Chao is Co-founder and Executive Creative Director of CHANGE Design. Dedicated to the research, design and artwork production concerning space and art, he has been engaging in planning, design, implementation and construction of art projects for exhibitions and museums.

Chen served as the chief director for project construction and artwork production in various large-scale art or architecture exhibitions including “Why Not Ask Again: the 11th Shanghai Biennale”, “Social Factory: the 10th Shanghai Biennale”, “Ilya and Emilia Kabakov: The Dream City”, “Alberto Giacometti Retrospective”, “PSA Collection Series – Li Shan”, “Chen Shaoxiong: Prepared”, “PSA Collection Series – Datong Dazhang”, “Bernard Tschumi – Architecture: Concept & Notation” and “Toyo Ito: On the Stream”.

He has been working with a number of well-known artists for a long time as their exhibition design consultant and chief director for overall arrangement and artworks production. For example, he worked for the solo exhibitions of Wu Shanzhuan and Inga Svala Thorsdottir “Quote! Quote! Quote!”, “Cause and Examples Projected from It” and “What A Form – A Reportage” and Shi Yong’s solo exhibition “Let All Potential Be Internally Resolved Using Beautiful Form”.

This time, Chen was invited to work with the artist Lin Tianmao to undertake the display design, project construction and artwork production for Lin’s solo exhibition “Systems”.

Lin Tianmiao was born in 1961 in Taiyuan, China. She now lives and works in Beijing, China.

Lin Tianmiao studied in the Fine Art department of Capital Normal University, Beijing in 1984. She then went to the US in 1988. After graduating from the Art Students League in New York in 1989, she worked as a designer in New York for almost seven years. In 1995, Lin Tianmiao returned to China from New York. Presenting The Temptation of St. Teresa, The Proliferation of Thread Winding, Pants, Trees, among others in an open studio, she thus laid out the important positions of her engagement in experimental art; during the same time, she became known as one of the first Chinese female artists to gain international recognition. During the 1990s, when “apartment art” was a phenomenon in Beijing and Shanghai, Lin gained a great deal of experience. Lin’s early works are known for her practice of thread-winding where she binds the material—usually silk, hair, cotton, or felt—tightly around found and manufactured objects. Initially tasked by her mother to spool cotton as a young girl, Lin later reclaimed this act. Lin’s work studies her own social role and the relationship between identity and social context, questioning women’s identity. In 1998, Lin and Wang Gongxin created the Loft Media Center. She had done everything from infrastructure and interior decoration to design, supervision, equipment management, organization, etc. It laid the foundation for holding hundreds of cultural events in the future. In 2012, the Asia Society Museum in New York presented Bound Unbound, the artist’s first major solo museum exhibition in the U.S.

She has participated in the Istanbul Biennale, Turkey (1997); the Shanghai Biennale, China (2002); the Ireland Biennale (2002); the Gwangju Biennale, South Korea (2002, 2004); and the Setouchi Triennale, Japan (2016). In 2015, Lin had a solo show as a farewell for feminine themes entitled “1.62M” which was held in HOW Art Museum. In recent years, Lin has come out of the predicament of feminism, and has created large-scale installations, sculptures, photography, videos and various other media practices with an open mind.

陈超，CHANGE Design城集设计联合发起人与创意总监，专注于空间与艺术的研究、设计与制作，包括展览展示与博物馆的内容策划、设计、实施、建造。

他曾担任大型艺术、建筑类展览的展览项目承建和作品制作总负责人。项目包括“何不再问——第十一届上海双年展”、“社会工厂——第十届上海双年展”、“伊利亚和艾米莉亚•卡巴科夫：理想之城”、“贾科梅蒂回顾展”、“中国当代艺术收藏系列展——李山”、“陈劭雄个展：万事俱备”、“ 中国当代艺术收藏系列展——大同大张”、“伯纳德•屈米——建筑：概念与符号”、“伊东丰雄：曲水流思”等展览。

并与多位知名艺术家长期合作，担任艺术家的展示设计顾问，以及展览整体执行和作品制作的总负责人。如吴山专&英格-斯瓦拉•托斯朵蒂尔个展：“引用!引用!引用!”、“起因和从中投射出来的例如物”、“关于某物的报告”，施勇个展：“让所有的可能都在内部以美好的形式解决”等。

此次，陈超受邀与艺术家林天苗合作，担任林天苗个展“体统”的展示设计、展览项目承建和作品制作的总负责。

林天苗1961年出生于山西太原，现居住和工作在北京。1984年研修于首都师范大学美术系。1988年赴美，1989年于纽约艺术学生联盟学院学习，后以设计师的身份在纽约工作了近7年时间。1995年林天苗从纽约回国，在“开放工作室”的艺术活动中展出了“缠的扩散”、“圣德蕾娜的诱惑”、“裤子”、“树”等作品，奠定了她从事实验性艺术的重要性地位，同时也是第一批获得国际关注和认可的中国女性艺术家之一。以90年代在北京、上海等地发生的“公寓艺术”概念，林的艺术实践被囊获其中。在她早期作品中，她以线缠绕的习惯而闻名，她将丝绸、头发、棉花等材料紧紧缠绕在她发现和制造的物体表面，其行为源于林幼年协助母亲收集整理棉线、毛线缠绕习惯的记忆。林的工作从研究自身处境的体验感悟出发，兼顾社会角色身份与社会背景之间的关系，质疑女性单一社会角色的传统观念。1998年创建了“北京藏酷新媒体艺术空间”，从基建、内部装修做设计、监工、设备管理、协调等事务；1999年协调有关“北京藏酷新媒体艺术空间”组织、赞助、宣传、策划等等活动，为“北京藏酷新媒体艺术空间”举办上百场次的各种文化活动做最基础的幕后工作。2012年，成功在亚洲协会美术馆举办了《林天苗：缠了，再剪开》个展，此展览是林首次在美国美术馆举办的展览。1997年土耳其的伊斯坦布尔双年展；2002年上海双年展和爱尔兰双年展，2003年越后妻友三年展；2002年和2004年两届的韩国光州双年展；2016年日本濑户三年展。2015年林以告别女性话题为主线的个展“1.62M”，在昊美术馆举办。近年来林试图摆脱女性主义话题的困顿，以开放的姿态游走于大型装置、雕塑、摄影、视频及各种其他媒介实践的工作中。林的作品被很多中外美术馆收藏：纽约的布鲁克林美术馆、纽约的MoMA、澳大利亚国家美术馆、旧金山MoMA、香港的M+、西雅图当代美术馆、新加坡美术馆和蓬皮杜美术馆等等。