2019 影像上海艺术博览会

　　PHOTOFAIRS丨Shanghai 2019

　　展位 Booth: A02

　　参展艺术家 Artist: 蔡东东 Cai Dongdong

　　一百年：蔡东东个人项目

　　A Hundred Years：Cai Dongdong Solo Project

　　展期 Duration: 2019.9.19 - 9.22

　　藏家时段（限受邀嘉宾） Collector Hours (Invitation only)

　　9.19 2 - 7pm; 9.20 12 - 9pm;  9.21 11am - 12pm

　　公众日 Public Days: 9.21 12-7pm; 9.22 11am-6pm

　　地址 Venue:

　　上海展览中心 Shanghai Exhibition Center

　　延安中路1000号（近铜仁路） No.1000 Yan'an Road (near Tongren Road), Shanghai

　　一百年: 蔡东东个人项目

　　A Hundred Years: Cai Dongdong Solo Project

　　2019年9月20日- 22日，狮语画廊参展2019影像上海艺术博览会（PHOTOFAIRS | Shanghai），在本届影像上海主展位“Main sector”版块A02展位中，呈现艺术家蔡东东的个人项目：“一百年”，本次展览也是这一蔡东东个人艺术项目的首度亮相。

蔡东东 / Cai Dongdong

　　一百年 / A Hundred Years

　　明胶卤化银照片，亚克力盒子，不锈钢连接件，铝门框

　　Gelatin silver halide photo, Acrylic box, Stainless steel connector, Aluminum doorframe

　　200×200×320cm

　　2019

　　“一百年”这件作品呈现了一百年内的中国人的肖像变化，时间跨度为1910年 - 2010年。它由三道门组成，每一道门上有780张当时主体人群的肖像照组成，它们串成帘子以门帘形式挂在门上。第一道门是1910年-1950年，第二道门是1950年-1980年，第三道门是1980年-2010年。观众在穿越这三道门时会发现，由于这三个时期社会意识形态的不同，中国人的精神面貌发生了巨大的改变。

　　蔡东东1978年出生于甘肃天水， 2002年就学于北京电影学院，目前生活工作于北京，柏林。他的艺术创作涉猎摄影、装置、录像以及社会性的艺术实践，他曾获得过意大利特尔纳当代艺术奖一等奖，TOP20·2015中国当代摄影新锐。

　　曾参加了不同美术馆，以及艺术机构的展览，其中包括：德国国家摄影博物馆(2017,柏林); 艺莱画廊(2017,美国纽约); 瑞士Pully美术馆(2017,瑞士); 泰康空间(2016,北京); 波茨坦艺术空间(2016,柏林); 民生美术馆(2016,上海); 蜂巢艺术中心(2015,北京); 三影堂摄影艺术中心(2015,北京); 中央美术学院美术馆(2015,北京); 越后妻有三年展(2015,日本新泻); 德国弗克望美术馆(2015,德国埃森); 佩斯北京空间(2014,北京); 何香凝美术馆(2014,深圳); 欧洲时报文化中心(2014,维也纳); 俄亥俄州立大学艺术中心(2014,美国); 中国美术馆(2011,北京); UNIDEE基金会(2011,意大利都灵); Donggang摄影美术馆(2006,韩国); 广东美术馆(2005,广州).....

　　蔡东东的现阶段的作品被称为“雕塑摄影”，他把传统的摄影形式当作为物件和视觉信息般解构。通过利用摄影和装置艺术，蔡东东创作出半破碎现实的作品已有十多年。

蔡东东 / Cai Dongdong

　　怀抱时间的人 / People Who Embrace Time

　　明胶卤化银照片，镜子

　　Silver gelatin print, Mirror

　　43.6×53.9×5.9cm

　　2019

　　而当摄影变得越来越便捷的时候，蔡东东却发现自己对拍摄新作品越来越没有兴趣，拥有几十万张旧照片收藏的蔡东东开始关注于如何审视旧照片，这些照片大多集中于中国20世纪，当这些照片堆积如山，蔡东东“就像一个外科大夫一样对这些照片做起了手术”。

　　正在狮语画廊同期展出的蔡东东个展“造相术”也较为全面的反映出艺术家创作领域的阶段性探索，在其创作手法上，如“造相术”展览的策展人朱朱所言：“我们身边的摄影，仍聚焦于如何以纪实、角色扮演及数字化后期制作等方式生产出一张新照片，而蔡东东‘尝试扩展了一幅（旧）照片的外延’：照片可以异化为绘画、雕塑、装置甚至一处剧场空间，某种程度上也使得摄影从工业生产重返手工形式。”

　　蔡东东利用摄影图像的解构与重新建构，在保留原本图像信息主体的完整性的前提之下，延展对于现有图像内容的实验，这些被舍弃不用的旧照片，经由重新冲印、反复阅读之后，重新改造并承载、编译成为新的图像内容，诱发了观者对于原本图像的语意联想，松动了图像与真实时空的联系。

　　在存在和消逝之间，这些已经尘封在人们记忆中的旧照片，成为渗透进人类记忆根源的装置作品，震动观赏者的情感，使“观者”与“被观者”之间的记忆产生交错，作品模糊了真相与虚构之间的界限，并赋予其史诗般的普世价值。

　　On September 20th -22nd, 2019, Leo Gallery participates in the 2019 PHOTOFAIRS | Shanghai, presenting the artist Cai Dongdong’s personal project “A Hundred Years” in the “Main sector”, booth A02. This exhibition is also the first appearance of this personal art project of Cai Dongdong.

蔡东东 / Cai Dongdong

　　一百年（局部）/ A Hundred Years (Detail)

　　明胶卤化银照片，亚克力盒子，不锈钢连接件，铝门框

　　Gelatin silver halide photo, Acrylic box, Stainless steel connector, Aluminum doorframe

　　200×200×320cm

　　2019

　　The art project “A Hundred Years” studies the portrait changes of Chinese people spanning a hundred years, from 1910 to 2010. It consists of three doors, each of which have 780 original portraits of Chinese people stringed together into curtains and hung on the doors. The time span of the first door is 1910-1950, the second door 1950-1980, and the third door 1980-2010. When crossing these three doors, the audience will find that the spiritual outlook of the Chinese has undergone tremendous changes due to the differences in social ideology during these three periods.

　　Cai Dongdong was born in Tianshui, Gansu Province in 1978. He studied at Beijing Film Academy in 2002, currently lives and works in Beijing, China and Berlin, Germany.

　　His artistic creations include photography, installation, video and social art practice. He was awarded The First Prize of 3rd Terna Award for Contemporary Art Award, Italy, and TOP 20 Young Photographers - 2015 China Contemporary Photography, China.

　　Cai Dongdong participated in various exhibitions of different art museums and institutions, including Museum for Photography (2017, Berlin), Eli Kleim Gallery (2017, New York), Pully Museum of Art (2017, Switzerland), Taikang Space (2016, Beijing), Potsdam c/o Waschhaus (2016, Berlin), Minsheng Art Museum (2016, Shanghai), Hive Center for Contemporary Art (2015, Beijing), Three Shadows Photography Art Centre (2015, Beijing), CAFA Art Museum (2015, Beijing), Echigo-Tsumari Triennial (2015, Niigata), Folkwang Museum (2015, Essen, Germany), Pace Beijing (2014, Beijing), He Xiangning Art Museum (2014, Shenzhen), Les Amis de Nouvelles D’Europe (2014, Vienna), Urban Arts Space, the Ohio State University (Ohio, 2014), China Art Museum (2011, Beijing), FRAC Gallery (2011, Turin, Italy), Donggang Museum of Photography (2006, Korea), Guangdong Museum of Art (2005, Guangzhou), etc.

　　Cai Dongdong's works at this stage are called "sculptural photography". He deconstructs the traditional form of photography into object and visual information. Through the use of photography and installation art, Cai Dongdong has created the works with semi-broken reality for more than a decade.

　　When photography becomes more and more convenient, Cai Dongdong found himself less interested in shooting new works. With the collection of 600,000 old photos, Cai Dongdong began to pay attention to how to read these old photos. Most of these photos were took during the 20th century  in China. When these photos were piled up like mountains, Cai Dongdong began to "surging thesephotos like a surgeon."

蔡东东 / Cai Dongdong

　　太阳的缝隙 / Gap of the Sun

　　银盐照片 Silver Print

　　48×57.5cm

　　2014

　　Cai Dongdong’s solo exhibition “Photography Reformed”, which is being exhibited at the same time in Leo Gallery, also comprehensively reflects the periodical exploration of the artist in his creating field. His creating techniques are like what Zhu Zhu, the curator of the exhibition“Photography Reformed”, said: “The photography around us is still focused on how to produce a new photo in the form of documentary, role-playing and digital post-production. However, Cai Dongdong ‘attempts to expand the extension of an (old) photo’: the photo can be dissimilated into painting, sculpture, installation or even a theater space. This, to some extent, also makes photography return to manual making from industrial production.”

　　Cai Dongdong uses the deconstruction and reconstruction of photographic images to extend the content of the existed image on the condition of preserving the integrity of the original image information. After being reprinted and reread, these discarded old photos were remoulded and compiled with new image contents. This induces the viewer's semantic association with the original image, loosening the connection between the image and real spacetime.

　　Between the existed and the disappeared, these old photographs which is dust-laden in people's memory, become the installation art penetrating into the roots of human memory, shaking the viewer's mind, and producing the interlacing of memory between the viewers and the viewed. The work blurs the line between truth and fiction, and creates an universal epic value.