展览时间：2017年5月4日——6月20日

　　开幕时间：2017年5月4日下午4点至6点

　　策展人：孙冬冬

　　艺术家：管钧、郭鸿蔚、胡为一、蒋鹏弈、沈翰、王迈、温一沛、徐渠

　　展览地点：泰国曼谷帕度万伦披尼区，拉查丹利路，金地广场三楼，当代唐人艺术中心

　　Group Exhibition: World History

　　Exhibition Dates: May 4 to June 20, 2017

　　Opening Date: May 4, 2017, 4-6 PM

　　Curator: Sun Dongdong

　　Artists: Guan Jun, Guo Hongwei, Hu Weiyi, Jiang Pengyi, Shen Han, Wang Mai, Wen Yipei, Xu

　　Exhibition Venue: 3rd Floor, The Golden Place Plaza, RajdamriRoad, Lumphini, Pathumwan Bangkok, 10330, Thailand

　　当代唐人艺术中心荣幸地宣布，将于5月4日在曼谷空间推出群展“世界史”。本次展览由孙冬冬担纲策展，展览将汇集管钧、郭鸿蔚、胡为一、蒋鹏弈、沈翰、王迈、温一沛、徐渠8位艺术家的艺术创作。

　　Tang Contemporary Art is proud to announce that “World History” will open in Bangkok on May 4. The exhibition brings together artworks of eight emerging artists-Guo Hongwei, Wen Yipei, Jiang Pengyi, Shen Han, Guan Jun, Xu Qu, Hu Weiyi and Wang Mai, whose mediums range from oil painting, photography, installation and video.

　　世界史，必然是关于世界的历史。然而，真正意义上的世界史却是在近代“地理大发现”之后才逐步出现，与之相伴的是，欧洲资本主义体系的世界性殖民与扩张。所以，从某种角度而言，世界史又是关于现代性进程的某种叙述，无论是作为知识体系，还是日常观念，资本主义至今仍是一套与我们(至少是中国)在时间线上相摩相荡的逻辑话语，也不可避免地投射在我们的当代艺术上。

　　“World History” is about the history of the world, but world history in the true sense only emerged after the Age of Discovery, which was accompanied by the global colonization and expansion of European capitalism. From a certain perspective, world history is also a narrative of modernity. As a system of knowledge or an everyday idea, capitalism is a logical discourse that interacts with us (at least those of us in China) over a period of time and is inevitably projected onto our contemporary art.

郭鸿蔚 Guo Hongwei

《世界史下》World History-Under

150x100cm

布面油画 Oli on canvas

2017

温一沛 Wen Yipei

《悬崖-No.1》Cliff - No.1

150x150cm

木板丙烯 Acrylic on panel

2017

　　“现代的基本事件是这个世界成了图像的战利品”，海德格尔在机械时代的观点，提示了作为展览的“世界史”的形式叙事起点。图像化，在海德格尔看来，是人对自然的一种技术性手段，源于古希腊哲学主客之分的世界观，其目的(结果)在确认人的主体性的同时，也使得人成为其他存在者的尺度和基础，尤其是在现代性语境中，在现代科技的条件下，这种原本隶属于西方的现代社会思想，实际上已成为一种人类普遍的现代观念。

　　“The fundamental event of the modern age is the conquest of the world as picture.” Heidegger’s interpretation of the mechanical era was the formal and narrative starting point for this exhibition, “World History.” Pictures, in Heidegger’s view, were a technological method that man used against nature, stemming from the worldview that differentiated subject and object in ancient Greek philosophy. Even as its goal (or result) is to confirm human subjectivity, it also transforms people into a measure and a foundation for other existences. Especially in the modern context, with modern technological conditions, this origin point is subordinate to Western modern society and thought, and it has actually become a universal modern concept for humanity.

蒋鹏奕 Jiang Pengyi

《海洋匹配太阳 No.1》The Sun Matched with the Sea No.1

27.5x21.5cm

即显胶片 Instant Film

2017

沈翰 Shen Han

《无题》Untitled

190x150cm

布面油画 Oil on canvas

2017

　　亦如王迈在《珠光No.2》与《太空菩萨》作品主题所揭示的，太空技术之所以被塑造为一种新的国家神话/意识形态，原因在于我们从现代历史的角度，相信与接受了工具理性(科学)对世界的支配性地位。与之对应的，世界的图像化又是一种日常状态，胡为一的影像装置《窥视》，通过照片的随机呈像，非常明确的呈现了这样一个主观化的间性世界。人的主体性作为一种主观化的自我投射，无论是身份的分离/聚合，抑或是对我们身体的描述与阐释，从某种意义上说，都是以“脱出了存在真理的人”为前提。

　　In Wang Mai’s works Pearlescent No. 2 and Space Bodhisattva, space technologies are portrayed as new national myths or ideologies because, in the modern age, we believe in and accept the position of instrumental rationality (science) in governing the world. Thus, “the world as picture” is also an everyday state. Through the random presentation of pictures, Hu Weiyi’s video installation Glance very clearly shows this subjective intermediate world. As a self-reflection, human subjectivity, whether severing or uniting identity, can describe and explain our bodies, which is, in a way, predicated on “people who can extricate themselves from existential truth.”

王迈 Wang Mai

《珠光 No.2》 Pearl Light No.2

220x600cm

布面混合 Mix on canvas

2010-2017

胡唯一 Hu Weiyi

《窥视》Peep

50,50,120cm

影像装置(实木支架、玻璃瓶、步进电机、铜质手柄、摄像头、碎纸片)

Video Installation(Wood Holder、Glass Bottles、Stepper Motor、Copper Handle、Camera、Shredded Paper)

2017

　　作为展览的“世界史”，并不是对世界史的直接讨论，而是试图从自然(郭鸿蔚、温一沛)、身体(蒋鹏奕、沈翰)、身份(管钧、徐渠)、图像(胡为一、王迈)等四个观念视角，通过作品的互文关系，编织出一种充满“世界史”意味的视觉现场，从而呈现一种历史化的“资本主义”与“世界性”之间的身影关系。

　　As an exhibition, “World History” is not a direct discussion of world history; it is an attempt to weave a visual scene full of the implications of world history from the four conceptual perspectives of nature (Guo Hongwei and Wen Yipei), the body (Jiang Pengyi and Shen Han), identity (Guan Jun and Xu Qu), and images (Hu Weiyi and Wang Mai). Through the intertextual relationships between the artworks, the exhibition presents a historical, silhouetted relationship between capitalism and cosmopolitanism.

徐渠 Xu Qu

《斑马》Zebra

影像 Video 8min32s

2015

管钧 Guan Jun

《浮生·守土》Stationed Drift

影像 Video 25min

5 editions + 1/2 AP

1 AP is in the collection of Sifang Art Museum

2015

　　关于策展人

　　孙冬冬，生于1977年，2001年本科毕业于南京艺术学院美术学系，2005年研究生毕业于南京艺术学院美术学系外国美术史专业。在校期间，开始涉足中国当代艺术的相关领域，曾参与“首届中国艺术三年展”(“南京三年展”前身)的展览组织工作，从此致力于中国当代艺术的批评写作与展览策划。2005年进入南京四方当代美术馆，任馆长助理，负责筹建南京四方当代美术馆及展览部的工作。2007年入伊比利亚当代艺术中心(北京)，2009年入《艺术界》杂志担任资深编辑，负责学术专题策划与展览评论。2014年受邀担任平丘克艺术基金会“未来世代艺术奖”全球七位初选评选人之一。现为自由策展人与独立撰稿人，现工作与居住于北京。

　　ABOUT THE CURATOR

　　Sun Dongdong, born 1977 in Nanjing, China, is a curator, critic, and freelance writer. He graduated in 2001 from the Nanjing University of the Arts with a degree in Fine Arts. In 2005, he received his MFA in Art History from the Nanjing University of the Arts. Since 2001, he has been involved in criticism and curation of Chinese contemporary art. In 2009, he began working at LEAP magazine as a senior editor, covering scholarship and exhibition reviews. In 2014, he was chosen to be one of seven members of the Pinchuk Art Foundation’s Future Generation Art Prize selection committee. Sun Dongdong currently lives and works in Beijing.

来源：雅昌艺术网