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The West Bund Art & Design fair is the first large-scale international art and design fair in China, and it has attracted top galleries from around the world. It took place at West Bund Art Center on the Xuhui Waterfront from 8–13 September 2015 and building on last year’s first year achievements, the aim is to propel contemporary visual art in China even further.

Co-organised by Shanghai West Bund Development Group Co., and the renowned artist Zhou Tiehai, the international fair West Bund Art & Design is the first of its type in China. The art fair designates West Bund Art Center, which was transformed from a workshop of the former Shanghai Aircraft Manufacturing Factory, as its site. The Fair aims to create a second-to‐none art platform, hosting galleries, design agencies, existing and new collectors, and art lovers to enjoy art. The design component of the fair was held throughout the West Bund Cultural Corridor and included Atelier Deshaus, Archi-Union, Atelier Z+, Atelier GOM, One Design Inc., TM Studio and UNDEF/NE.

A background: The West Bund initiative is a cluster of five art centres and museums with two more on the way. It started with a five-year plan in 2010 to open 3,500 museums in China by 2015, but the mission was reached in just half the time. By 2012 there were already 3,866 museums in the country and naturally Shanghai, with its wealth of industrial buildings and developers eager to support culture as a marketing tool, were in the forefront. The West Bund area, once an industrial zone, includes a number of rehabilitated industrial structures, including a coal conveying platform (Long Museum West Bund), airplane hangars (West Bund Art Center and YUZ Museum) and giant oil tanks (The Oil Tank Art and Performance Center, planned to open in 2017) – all preserved to showcase the city’s cultural growth.

Walking around the fair, we found quite a lot of galleries that we recognise from Hong Kong, such as Pearl Lam Fine Arts Gallery, White Cube, Ben Brown Fine Arts & Platform China. However, we shall focus on, and show you some images from, some of the mainland galleries from Shanghai and Beijing at the fair.

2015年9月8日-13日，备受瞩目的2015西岸艺术与设计博览会如约而至，将在位于上海徐汇滨江龙腾大道2555号的西岸艺术中心盛大开幕。作为国内首个融合了顶尖当代艺术与设计的国际性大型博览会，2015西岸艺术与设计博览会关注当下最重要和活跃的当代艺术家及其作品，精选全球30余家口碑与实力俱佳的国内外优秀画廊与设计机构参展，旨在传达“艺术引领生活，设计走进生活”的博览会理念。

《安邸AD》作为2015西岸艺术与设计博览会的战略合作家居设计媒体，继去年“《安邸AD》艺术设计论坛”的成功推出之后，今年将携两个项目重磅亮相2015西岸艺术与设计博览会，和到场观众进行更加深入地艺术交流。

在9月8日-13日的六天展期中，《安邸AD》携手施勇共同打造ART of LIVING“也是一种态度”收藏展。本次展览汇集艺术精英丁乙、王令杰+郝经芳、王兴伟、王思顺、贝歇尔夫妇、双飞小组、孙逊、老者步加希金、曲丰国、李明、刘月、何岸、陆垒、林科+杨俊岭、张恩利、郑焕、荒木经维、郭洪蔚、胡子、胡柳、赵洋、洪磊、徐震、柴一皿、索-勒维特、黄芳翎+金锋、蔡东东、廖国核等代表作品，诠释艺术品与家居之间的完美平衡。

收藏并非金钱的简单堆砌，而是一种对生活的见解和态度。收藏家的兴趣爱好、风格、创造力全在这一个家里，对材料，光线，色彩以及对自己生活习惯的独特理解，成为了一种态度，自己的态度。我们希望借此展览，将“家”这个艺术家们另一份为自己、为生活所进行的创作呈现于观众眼前，通过收藏家的态度和视角，去传递和表达艺术与生活之间，一直意义深远的关系。

L’association “plus vite“ vous propose de vivre une expérience inédite autour de la lumière
et de l’art contemporain.
Au programme, une déambulation dans la commune de Dieuze pour découvrir
des surprises lumineuses et des oeuvres.

Avec Alain Colardelle,
les vidéos d’Emilien Adage, Julie-Christine Fortier et Christian Lebrat,
les oeuvres de Marco Godinho (prêt du FRAC Lorraine) et de Paul Oudin,
“Le prototype improvisé de type nuage“ de Yona Friedman (prêt du FRAC Lorraine),
et la collection “plus vite“ : D. Arnaud, G. Baxter, T. Boutonnier, P Brateau, A. Brégeaut,
C. Closky, H. Di Rosa, M. Egana, Q. Faucompré, E. Ferrer, D. Frouin-Guillery, P. Garenc,
P-A Gette, J. Gindre, S. Gouju, J. Hao & L. Wang, J. Hubaut, Knapfla, J-N. Laszlo,
A. Le Marec, D. Leroi, CM. Linden, Mardi Noir, A. Muntadas, J. Nédélec, A. Pertusot,
F. Pétrovitch, E. Régent, P-A. Remy, J. Sanchez, M. Séguin, Taroop & Glabel,
L. Van Malderen, T. Verbeke, …

Dieuze, le 3 octobre 2015 à partir de 20h30.
Rendez-vous, place du Marché devant la fontaine. Un plan vous sera remis.

M Art Center is ready to present a new exhibition “A Round Sun A Dot”, which is the first solo show of Lingjie Wang and Jingfang Hao in China. The young couple is based in France and usually focuses their works on the nature. And nature is their starting point to explore the basic concept of “things” and the relationships with human. The close observation of the nature, also further study and development of the characteristics and the techniques of the materials have been wonderfully demonstrated through their works in space installation, paintings, videos and sculptures. The exhibition will be open at 3 p.m. on 11th July until 10th September.

The curator Hélène Doub once describes the artists and their works as “excellent alliance of contraries” (exaltante alliance des contraires). Sharing a background of engineering, the two artists, on one hand, are interested in western conceptual art, and strongly attracted and influenced by its ideology, which is a mix of intuition and reasoning. On the other, they have inherited the sensitive approach and poetic expression rooted in the concepts of “somethingness” and “nothingness” of Chinese philosophy. All these have made every piece of their works show a principal dialogue (un principe dialogique) between the two extremes, the reasoning perception and the accurate arrangement – it is conceptual, yet emotional; natural, beautiful and mysterious, but as complicated as science.

As for the theme of the exhibition, the artists give their explanation as follows: look down from high up in the air, us ourselves, our lives, the earth, even the sun are just like tiny dusts, like dots. As grains of sand on the beach, these dots have been washed smooth by the waves of time. We attempt to look for something subtle but glittering among them. Yet it is so indistinct that as if it has never existed.

Lingjie Wang and Jingfang Hao studied industrial design in their early years, and then went to France to study and practice contemporary art. They are currently based in France and Shanghai.

Among the limited contains the infinite, and the infinite must exist through the limited, the complicated concept is concentrated in a group exhibition.

About the curator

Fu Xiaodong is an independent curator and young critic based in Beijing. She is the Art Director of Space Station – an art center founded by her in 2009 to promote experimental art programs – and the Executive Chief Editor of the magazine – Fine Arts Literature. She once taught in the Lu Xun Academy of Fine Art and worked as an editor for many professional art magazines, such as Mei Yuan, Contemporary Art News and Art China. She was also the Art Director of T Space in Beijing. Since 2003, she has organized several contemporary art exhibitions for art museums, art centers, galleries and other art institutions in Beijing, Shanghai, and Shenzhen, including: “Homesickness – Memory and Virtual Reality”, “Chinese Freedom : Contemporary Artistic Text in the Post-Totalitarianism Society”, “NEW VISTA – The Phenomenon of Post-Tradition in Contemporary Art”, “New Interface”, “Removing The Ladder”, “Insomnia” photographs exhibition, “Blackboard”, “Out of Love”, and others. In addition, she has been writing for various medias and been invited to be the judge for several international young artists competitions. Fu Xiaodong was born in Shenyang in 1977. She graduated from the Lu Xun Academy of Fine Art with a master degree and then went to study Art History and Theory in China Central Academy of Fine Arts. She was invited to the Art Institute of Peking University as a visiting scholar and to 24 HR ART as a visiting curator in Australia. Currently, she is working on the “Triennial of Fine Arts Literature” and the contemporary art section of “Get it louder”.

Écrire (le geste renversé, révolté), dessiner (le geste descriptif), danser (le geste pur), faire (le geste de la technique et du travail)… Sont autant de gestes, de types de mouvements du corps, porteurs ou non de signification, que les propositions artistiques de l’année 2015 viendront explorer.

Entre février et juin 2015, deux expositions et un événement s’arrêtent sur les gestes exécutés par les ouvriers, par les artistes, ou encore par les machines pour mieux mettre en exergue leurs sens, leurs chorégraphies, leurs poésies, leurs violences… Venez les découvrir !

La mécanique des gestes
28 FEVRIER – 11 AVRIL 2015

Artistes : Guillaume Barborini, Edith Dekyndt, Joséphine Kaeppelin, Marianne Mispelaëre, Vera Molnar, Julien Prévieux, et le Collectif Images-en-transit.

Vernissage, vendredi 27 février à 18h30

« La mécanique des gestes » est une exposition collective autour des interactions, des influences nées d’un dialogue homme-machine. Les œuvres présentées sont donc des témoignages des interférences : entre l’homme et la machine, la machine et le travail, l’homme et le travail ou encore l’homme, la machine et le travail. Elle s’arrête alors sur les gestes exécutés par les ouvriers, par les artistes ou encore par les machines pour mieux mettre en exergue leurs sens, leurs chorégraphies, leurs poésies, leurs violences. Ne souhaitant aucunement être exhaustive, cette exposition présente des œuvres où gestes et mécanique se rencontrent, s’opposent, s’influencent…

For more info:
http://www.theatredeprivas.com/expositions/dun-geste-a-lautre
http://www.theatredeprivas.com/expositions/la-mecanique-des-gestes

du 25 Jan au 16 Mars, Unicorn Centre for Art, Caochangdi, Pékin

“ Temporaryresidence permit ”
—– To walk along a road

The first phrase people often remember while learning French is: “D’ou` viens-tu?” (“Where areyou from?”). Where we live is often one of the first questions asked in ourinteractions with others. I’d like to respond: “We all live will fully in one very small corner of the world.”

“Drifting” seems like an idealistic word, butif so, what kind of ideals has this society provided? Pragmatism and seem likeequally idealistic words. What defines success for a drifter? Is it defined ineconomic terms or spiritual ones? Drifting is the quintessential movement through space and time.

In “Proust andSigns”, Gilles Deleuze describes the concept of space in terms of perspective;that is, traditional methods of perceiving space depend both on the physicalposition and motion of the one perceiving. On the other hand, the claim is also made that differences in motion result not from temporal or physical differences, but “virtual” ones. It’s important to note that “virtual” in thiscontext does not mean the same thing as it does in the phrase “virtualreality.” Rather, this philosophical idea of virtuality describes that which is“real without being actual, ideal without being abstract.” Thus is the relationship of the ideality of the concept of “drifting” with reality.

And so there are these young,drifting artists with an average age of about thirty who, through their works,express their sentiments towards the world that they experience, in terms bothideal and real. Theseartists, through ordinary materials, touch on this very universal question: whydo we wander? why do we choose to live elsewhere? What tempts us to thismovement, through both space and time? This group of artists conveys to us myriaddifferent perspectives and ways of thinking about the world, stemming fromtheir varied backgrounds. Not only is this the first exhibition to be shown atthe Unicorn Centre for Art, it’s also the gathering of a group young artistsseeking to express the idea of « drifting. » Our hope is that dialogueon this theme will develop and percolate. We propose that the present resonates with the past, therefore giving meaning to the future.

By: Manman CHENG
01/2015 Beijing

2015年1月25日，独角兽非盈利艺术空间将举办“暂住证”艺术家群展，这不仅是独角兽空间的开幕展，也是众多年轻艺术家首次聚集，对漂泊、在哪里命题的集体描述。

关于策展主题的起由，策展人程漫漫有一篇题为“行走在路上”的表述，她说学习法语时，我最先记住的一句话是： D‘où venez-vous（您来自哪里）？因为生活在别处，“哪里的”常常成为我和别人沟通的第一个问题。对于暂住的概念，她认为：我们只是用心生活在世界上一个小小的角落。

在中国，暂住证是一个十分对立，有丰富含义的特定词汇。买房、买车、生育、入托、养老，在生命结束之前的每一个重大节点，它都会颇具讽刺意义的跳脱出来，显示它与生俱来的优越感。无独有偶，出身论、成功学的社会性追逐与讨论也顺应而生。但这些体现在证证本本上的“优越”，随着陈明强作品式的洗白，其意义却瞬间变得虚无，渺茫！带有限制的自由、先天与后天的博弈，人生往往就处在无望的耗损之中。

过去远离，未来莫测，无根独行，是常人理解中的漂泊；而在艺术家的诗意里，“漂泊”似乎是个理想主义的代名词，而这个社会又提供了一个什么样的理想主义？社会是个务实状态，归属感似乎同样是个理想的代名词。而漂泊者的成功又是一种什么样的成功呢？经济上或是精神上的？这是本次展览希望延伸开去的思索。

程漫漫在表述里提及了吉尔.德勒兹的论点：“过去”是现实而非现时，理想而不抽象，因此漂泊对应着现实理想。我们参展的二十多位艺术家均有学院背景，平均年龄在三十岁。他们理想与现实发生的背景已与前辈大为不同，开放的大环境和物质储备让他们的漂泊走得更远，而无论走到哪里，他们终在别处。

他们运用最平实的媒材，装置、绘画、影像或行为，提出“漂泊”这样一个拥有普遍社会共鸣的问题。为什么漂泊，为什么生活在别处？这种时空中的运动状态给了我们什么样的诱惑？或是离开这里，我们又可以去哪里？他们手法各异，其作品也更具个人效应，充分体现了当代年轻艺术家在多元化背景下，展现出的新思考力和执行力。

文/伍晓晴 Xiaoqing WU

历史所颁发的暂住证

2002年《长征：一个行走中的视觉展示》活动中，我在昆明上河创库的一个展览中展出了张晓刚的一系列证件的扫描件：四川美院的学生证、工作证、结婚证、身份证、护照，等等。在每一种身份中，一个男人的面貌若即若离地配合着社会对身体的管制。而这一系列证件的最后一本，是花家地派出所授予这位伟大画家的暂住证。上面赫然印着“务工经商”。时至今日，在北京居住了二十年之后，我也一样拥有这样一本暂住证，和我的助手老王、大院的门卫老张一样，上面也是“务工经商”。

北京并不总是高唱着欢迎你之歌，虽然我们从来不拿自己当外人。

尽管有房租和沙尘暴，但北京还算宽厚，不管愿不愿意，它总是能藏污纳垢。不管它是舞台还是斗兽场，是迷宫还是怪兽，它粗糙但许诺奇遇。二环里面有胡同和儿化音，那是属于老舍的老北京；二环和三环之间，有深不可测的门卫和大院，那是属于王朔和姜文的新北京。四环内外两侧的高楼阴影间疲于奔命的白领和赖着不走的大学生们自称“北漂”，但是“北漂”这个因不稳定感而略含心酸且顾影自怜的词汇，似乎并不覆盖混迹于五环边上城乡结合部的蓬头垢面的人们。虽然都是“外来人口”，但是在“北漂”和“务工人员”之间，由知识和文凭构建了一个潜在的五环，虽然在物理上他们其实也经常互相镶嵌。就像在物理的五环之外，别墅区和建材市场，失去耕地的村庄和大学，饮食和口音互相镶嵌。

在这个斑驳的拼图中，一个幽灵，一个叫做艺术家的幽灵，一直在北京游荡。他们注定要跨越环线和定义，出没于从二环到六环的广阔雾霾，像癌细胞一样不断转移。他们在没钱的时候就已经任性，时而潜伏在村庄，时而混迹于大学。经常因作品而求助于务工人员，转身要面对富豪和老外。用二十几年的时间，他们把片警和大妈的眼神，由警惕变成了宽容。这绝不是一个波西米亚人的巴黎故事的重新搬演，这是新的历史。在这个历史里，物质和信息正在融为一体，而城市和乡村、国家和国际、个人和群体、产业和阶级、中心和边缘都在暂时状态。在这样的历史里面，成功和失败的统一标准将连同节操一起破碎。揣在我们口袋中，甚至长在我们心里的这本暂住证，是由历史所颁发的。历史和北京一样总是匆忙而做工粗糙，并且也和北京一样有个好胃口。

在五环边上的这个新的空间叫独角兽，这是一种传说中以敏感作为特质的动物。独角兽以《暂住证》这样一个形而下的题目开始自己的北漂，是一种态度：她用她的角所探知的是一个由混乱、意志、变化、投机、陷阱、折腾、郁闷、激情和幻觉所滋养的丛林，这里屌丝就是天才，投机分子就是革命家，暂住就能创造高潮。

当这个历史企图把每一个人都当作外来人口，每一个不把自己当外人看的个人，都可能是一粒沙子。这粒沙子可以渺小，也可以卡在社会机器的轴承中。而一座伟大的都市，据说会拥有贝壳的智慧，会分泌出有机质，把沙子包裹成它的珍珠。

邱志杰
2015/1/24