常羽辰：野蛮诗歌
2015. 09. 12 - 2015. 10. 20
开幕酒会：2015/09/12，4-6 pm
声音表演：2015/09/12，5 pm
主办：BETWEEN艺术实验室, 北京

协办：否画廊, 纽约

地址：北京朝阳区环铁北路五环一号BETWEEN艺术实验室

www.betweenartlab.com www.fougallery.com

否画廊荣幸地宣布，我们将与BETWEEN艺术实验室北京空间于2015年9月12日联合举办常羽辰的个展《常羽辰：野蛮诗歌》，展览将包括常羽辰运用版画，装置，艺术家书，录像等多种媒介所进行的的创作。在展览的开幕式上，常羽辰将会演出一个结合人声与电子合成器的声音作品。展览将持续至2015年10月20日。

“野蛮诗歌”这一概念来自德国哲学家阿多诺，“在奥斯威辛之后写诗是野蛮的”。写诗，作为艺术家存活的必要形式， 在相当程度上是野蛮的：它需要对人间的冷漠以维持批判性的距离，需要将自身的情感无情地洗刷与过滤，以期产生某种澄明。在常羽辰的作品中，这种野蛮体现为一种纤弱与暴力的抗衡，在艺术家与其媒介之间，在媒介与意象之间。《玫瑰》是由十一块铜版构成的装置作品，然而与玫瑰娇艳青春的意象相反，其表面因为艺术家反复的腐蚀和磨损变得如同荒蛮星球一般粗砺。《蛇》是印在桑皮纸上的一套铜版画作品，远古史诗一般庞大而充满启示意味的意象，因为艺术家克制的处理而获得了轻盈与安静。然而当观者凝神细看，蛇的表面错综复杂的伤痕召回着某种激烈的历史，如同宁静的墟骸召回着过去的战争的记忆。《项链，与袁奕的合作》是一个由实物与视频组成的装置作品，在视频中，艺术家佩戴着她用尖锐的碎玻璃所制成的项链，既是饰物也是危险的武器。 在佩戴饰品这个平常而又女性化的动作之中，暴力，以一种平常而又女性化的方式被呈现。

同时将展出的还包括可佩戴的艺术家书《宇宙目录》以及《宇宙目录之书》，以视觉的方式讨论神秘与启蒙、体验与知识之间的界限；《素描书》，在艺术家与父亲的对话中探讨苏派素描作为一种充满政治意味的绘画方法对两代中国艺术家的影响；以及建造于虚构的类型学之上、研究素描的纹样与层次的可能性的《蛇书》等等。正如Lisa Wainwright所评论道的：“从版画、行为，到雕塑、录像和声音，常羽辰的创作是内敛的，却同时具有某种纪念碑性。以细腻的工艺及其所内涵的谦卑的姿态，呈现出指涉丰富的符号，同时指向着个人性与历史性。常羽辰深受批判理论的影响，她的艺术方法多元，刻意拒绝任何单一风格的主宰，相反，各种意识形态同时存在，相互叠加，交汇冲撞。常羽辰的创作时具有当代性以及全球性的实践，在这里，东方遇到西方，传统遇到现代，形式成为诗意的奇观。”

常羽辰(b.1989,中国山西), 2011年毕业于中央美术学院摄影专业, 2013年毕业于芝加哥艺术学院研究生院版画专业,现工作和生活在纽约。常羽辰运用版画、艺术家手工书、视频、声音表演等多种媒介进行创作。她近期参与的展览包括: 常羽辰:蛇与其他(否画廊,纽约,2013), 2013年北美版画双年展 (波士顿大学美术馆), 迷信13 (旧金山艺术家书中心,2013), 光州双年展世界之屋视频放映 (光州艺术馆,首尔,2011), 马爹利关注未来英才计划入围展 (今日美术馆,北京,2011), 十年曝光:中央美术学院与中国当代影像 (中央美术学院美术馆,北京,2011)等，她的作品被纽约MoMA图书馆，芝加哥Joan Flasch艺术家书收藏馆等公共机构收藏。

Chang Yuchen：Barbaric Poetry
2015. 09. 12 - 2015. 10. 20
Opening Reception：2015/09/12，4-6 pm
Sound Performance：2015/09/12，5 pm
BETWEEN ART LAB (Beijing）
Support：Fou Gallery (New York)
BETWEEN ART LAB, Huantie Wuhuan, Jiuxianqiao Road, Chaoyang District, Beijing

www.betweenartlab.com www.fougallery.com

Between Art Lab (Beijing) and Fou Gallery (New York) are pleased to announce the opening of Chang Yuchen’s solo exhibition on September 12, 2015. Under the title of “Barbaric Poetry”, this exhibition will include Chang Yuchen’s works based on various media, including printmaking, installation, artists’ book, video and among the others. On the opening reception, Chang Yuchen will perform a sound piece that combines vocal and electronic synthesizer. The exhibition will last until October 20, 2015.

“Barbaric Poetry”, as title, derives from “to write a poem after Auschwitz is barbaric” by T. W. Adorno. As an essential part of an artist’s being, to write apoem is a barbaric act to a large degree -- it requires indifference to keep the critical distance between the artist and his/her surroundings, and mercilessly the artist rinses and filters his/her own emotion to reach certain limpidity. In Chang Yuchen’s work, barbarity manifests itself in the tension between fragility and violence, between the artist and the media used, between the media and the images. In “Rose”, an installation composed of eleven pieces of copper-plate, repeated erosion and abrasion turned the surface as rough as a wild and unsettled planet, depriving every bit of the delicate and youthful quality that usually associated with the image of rose. In “Snake”, a set of etchings on mulberry paper, artist’s restrained gesture lends lightness and serenity to this epic and savage image; when looking closer, however, the viewer will find the intricately patterned scars on the surface of the snake are silently recalling certain turbulent history, in the same way that the ruins silently recalls the memory of the past warfare. In “Necklace, in Collaboration with Yuan Yi”, an installation includes objects and video, Chang wears a necklace made with sharp cullets－an ornament, but also a dangerous weapon. In the ordinary and feminine act of putting on a piece of accessory, violence, presents itself in an ordinary and feminine way.

Also on display are the artists’ books “Catalogue of the Universe” and “ Book of Catalogue of the Universe”, discussing the boundaries between mystery and enlightenment, experience and knowledge. In addition, “Drawing Book” is based on Chang’s conversation with her father in regarding to the Revolutionary Realism art of Soviet Union and its impact on two generations of Chinese artists; “Snake Book”, based on imaginary typology, explores the possibilities of texture and gradation of drawing. As Lisa Wainwright commented: “From print and performance, to sculpture, video and sound, Chang Yuchen creates work at once restrained and monumental. Modest gesture of exquisite craft reveals content rich in historic and personal symbolism. Born in China and schooled in Critical Theories, Chang Yuchen’ pluralistic output deliberately undercuts the dominance of any singular style. Instead, ideologies co-exist, cross-over, mingle, and jam. Hers is a contemporary global practice where east meets west, old meets new, and form becomes poetic wonder.”

Chang Yuchen (b.1989, Shanxi Province, China) graduated from Central Academy of Fine Arts, Beijing (BFA) in 2011 and School of the Art Institute of Chicago (MFA) in 2013. She currently lives and works in New York. Chang Yuchen works with awide range of media: printmaking, artists’ book, video, sound performance and among others. Her recent shows include Chang Yuchen: Snake and Others at Fou Gallery, New York (2013), Boston Printmakers 2013 North American Print Biennial, at Boston University College of Fine Arts, Superstition 13 at San Francisco Center for Books, Gwangju Biennale 2011 at Gwangju Kunsthalle, Martell Focus on Talents Finalists Exhibition (2011) at Today Art Museum and A Decade Long Exposure: Central Academy of Fine Arts and Contemporary Chinese Photography (2010). Her work is collected by Museum of Modern Art library, New York; Joan Flasch Artists’ Book Collection, Chicago. changyuchen.com

[1]Theodor W. Adorno，"An Essay on Cultural Criticism and Society",Prisms, p.34, Cambridge, MA: MIT Press, 1983

关于否画廊 否画廊是一个创立于纽约的公寓画廊和创意实验室，致力于推广和展示反映时代精神的艺术家和创意项目。“否”是对现有商业画廊单一运营模式的抵抗。否画廊相信艺术是生活的一部分，是创想的发动机，通过呈现有意思的艺术和设计作品，我们为一种新型有机的艺术生态做出贡献。