Enjoy Art Museum | Evolution Chapter I

Evolution Chapter I

Organizer: Enjoy · Art Museum
  Producer: Wang Feiyue
  General Curator: Cheng Xi
  Opening: 2020.08.15 Sat. 3:00 P.M.
  Dates: 2020.08.15-30
  Venue: Enjoy · Art Museum Beijing
  Address: B06 797 Rd, 798 art zone, Jiuxianqiao, Chaoyang Dist, Beijing
Artists & Curators
01 Art Is Almost In It
Curator: Wang Pengjie
Artists: Li Hanzhou / Ma Xiaoshuai / Su Jiazheng / Wu Linghao / Wang Qunyuan / Wang Pengjie / Xiaozai
02 National Liberation of Chinese
Curator: Yoyo Zo
Artists: Han Di / He Jier / Li Hongqi / Liu Liyong / Tong Yao / Zhao Bang / Zuo Qianyang / Yoyo Zo
03 The Attack On the BIG NET
Curator: Deng Hanbin
Artists: Deng Hanbin & Zeal Academy / You Li / Tongyao / Zhao Hua & Jiang Keqi / Chen Pengfei / Liu Xing / Xu Haomin&Wang Jiewen / Liang Yuhong / Shi Ming Zhao Huan Crew [ Tao Qi / Shi Qi / Wu Jia Wen / Wu Yazhe / Zhang Yang) / Liu Xiangyun
04 Being Mad, Yet Laughing and Admiring
Curator: Yu Aijun · Botieshe
Artists: Dai Liang / Huang Wenya / Wang Fanseng / Yan Shi / Yu Aijun · Botieshe / Zhang Chunhua / Zhao Yinou / Zheng Hongchang
05 Sigmaringen
Curator: Sun Yifei
Artists:Cizhi Editorial Department / Gao Yuchu / Luo Jing / Liu Fei / Sun Yifei / Wu Hao / Yao Tao / Yin Tong
06 Escape
Curator: Li Hao De Fan Pan
Artists: Members of Liu Da Guang Zhan Art Association


“Tian Yan" is based on Yan Fu's 1897 translation of Evolution and Ethics, which puts forward the idea of "natural selection and survival of the fittest". However, this exhibition is not an interpretation of "Evolution", nor is it intended to carry its thoughts. It only borrows the ideogram of "Evolution" to express the relationship between people, the world and art in the process of change. 
As the world changes, so do the people. History is always changed by some seemingly accidental events. The natural forces in the evolution of the universe and the artificial forces in the evolution of ethics have once again become new problems due to their mutual restriction and interdependence. When the crisis comes, people have to reflect on the common predicament of mankind and the relationship between history and reality, group and individual, art and life. In the era of information sharing, the involvement of science and technology, network and mass media has changed people's way of living, language habits, theoretical relations and clustering. Thus, change the production mode, the transmission mode, and the form meaning of art, and this could even be an art liberation movement that brings about the turn of art history. 
In the era of rapid change, everyone's life trajectory has become erratic. "Art" is a sail in the turbulent times. People can't see the direction clearly, so they need more independent and critical thinking at this time. Maybe if they can see clearly themselves, they can see clearly the art. As the tides recede, the hardest rocks are still to be found, and art is their testimony, as well as the mirror of the times. 
This project hopes to record the value of individuals in the changes of The Times and proposes to explore the current real-life and artistic ecology from the perspective of the whole literary and artistic trend. Emphasize the " happening "and natural growth of art, and supports the exploration of living and indescribable non-artistic forms. Excavate independent and experimental artists and groups. 
It is a great honor for this exhibition to invite six active creators and researchers, namely wang Pengjie, Yoyo Zo, Deng Hanbin, Yu Aijun, Sun Yifei and Li Hao, to plan the contents of six units: Art is Almost in It, National Liberation of Chinese, The Attack On the BIG NET, Being Mad, yet laughing and Admiring, Sigmalingen and Escape. The forms of the works include: painting, installation, performance, text, network rise, video, sound, writing and others. The exhibitors include artists, scholars, writers, journalists, actors, students and network experts. This exhibition is planned to be held annually to achieve a visual text of literature value by continuously recording and exploring the practical achievements of creators in various fields. 
Finally, thanks to the participation of all the creators and the support from all sectors of society, we have the opportunity to jointly record and present the moments of the changes of the times in an artistic way.
General Curator: Cheng Xi



Art Is 
Almost In It


Curator: Wang Pengjie  
Artist:Li Hanzhou / Ma Xiaoshuai / Su Jiazheng / Wu Linghao / Wang Qunyuan / Wang Pengjie / Xiao Zai

As the curator of this unit, I have recently felt that the definition of art from the past (including yesterday) is disintegrating every day, and I can hardly be sure what art is today. However, I can confirm that most of the works that have left traces in the history of art and the continuous new works are not art today. What is not art, I am more convinced, what is art, I am not quite clear. And this cognitive crisis is a core crisis in today's art world, and it is the crisis that determines all other crises, so I want to touch this issue simply and briefly through this unit exhibition. The reason for this is simply because I think that I and the museum authorities have not yet fully realized the dedication to art, so some discussions cannot be thorough. The artwork itself is a gray area, which has better eliminated some of the sharpness that is too clear for the present, so our unit is still about an artistic exhibition. But if you see something other than art from it, it is yours, the matter has nothing to do with us. "Jiesi" sounds a lot like Tianjin dialect "this is", translated into Mandarin, it means " this is art". Whether these "works" selected in our exhibition are art, I think it is an unresolved question for many people today. Most of these works and the small context they constitute are relatively rare in domestic art exhibitions. When facing these materials and texts, most viewers may not be able to confirm whether this is art or not. If you think about it, it makes sense. As for why the Tianjin dialect is used, there is actually no clear reason. I think it should be used as soon as it is used. It is so casual. Yes, this incomprehensibility is also an interesting feature of the aesthetics of our era, Right?

Artist:Li Hanzhou

Title: Zhi Bo Xia Xiang
Artist: Ma Xiaoshuai

Title: Hui Lu
Artist: Su Jiazheng
Title: Lao Shi Shuo Wo Hua Hua Mei Pin Zhi
Artist: Wu Linghao

Title: Rumors
Artist: Wang Qunyuan
Title: Zhan Lan Yuan Qi
Artist: Wang Pengjie
Title: Wu Ye Qing Gan Dian Tai
Artist: Xiao Zai
National Liberation 
of Chinese


Curator: Yoyo Zo 
Artists: Han Di / He Jier / Li Hongqi / Liu Liyong / Tong Yao / Zhao Bang / Zuo Qianyang / Yoyo Zo

The art world may rely more on populist thinking since it is more subtle and there is no lack of god-building. However, there won't be another exceed narrator. Images, sounds, messages, text, everything is in excess. Excess drowns out expression yet frees it. Language has never seemed so light. On the one hand, there is a clamor for the liberation of The Chinese language by all the people, and new USES are constantly emerging, so that none of them can be sustained effectively. On the other hand, language has been used to such an extent that the de-artistry of art itself has become such a highly professional art that no new metaphor can be invented.

Title: Yi Qie Dou Guo Qu Le, Sheng Huo Hai Zai Ji Xu
Artist: Han Di

Title: Lang Man Ji Qi
Artist: Zuo Qianyang

Title: Du Ri Ru Nian
Artist: He Jier

Title: Han Jia
Artist: Li Hongqi

Title: Rou
Artist: Liu Liyong

Title: Zi Hua Xiang
Artist: Tong Yao

Title: Yun Tu Ya
Artist: Zhao Bang

Title: Wu You Shu
Artist: Yoyo Zo

the Tight 


Curator: Deng Hanbin 
Artists: Deng Hanbin&Zeal Academy / You Li / Tongyao / Zhao Hua&Jiang Keqi / Chen Pengfei / Liu Xing / Xu Haomim&Wang Jiewen / Liang Yuhong / Shi Ming Zhao Huan Xiao Zu[Tao Qi / Shi Qi / Wu Jiawen / Wu Yazhe / Zhang Yang] / Liu Xiangyun 

The era of data/databases is coming up, but it's not something new from the humanities perspective, it’s more like an old story being rewritten. 'Life suffering begins with literacy', probably since the time of Cang Jie, who created the characters for the Chinese language in the epos, the symbols that connected human's brains together, come up with the threatening to creative thinking, which seems to be a 'dragnet' all around the world. It had been a BIG NET long ago. We have already been in this era a long time ago, and all of our subversion and aggression to the BIG NET, seem like never to be able to exist without it. It is just the reflexivity of a part of artists begins to grow stronger at this moment. Symbols are used to deconstruct symbols and data is utilized to infiltrate data. With these serious games and deliberated carnival, artists weave their own aggression into this BIG NET, multitasking, and replacing back and forth.

Title: 72 Bian: Dui Zhong Guo Xian Dai Sheng Cheng De Mei Jie Kao Gu
Artist: Deng Hanbin&Zeal Academy

Title: Sun Mo
Artist: You Li

Title:Jian Yi Fan Jian Kong She Bei Zhi Zuo Jiao Cheng
Artist: Zhao Hua& Jiang Keqi

Title: R U HERE 3
Artist: Tongyao

Title: Da Xing Qiang Zi Dui Zhuang Ji
Artist: Chen Pengfei

Title: Fang Huo
Artist: Liu Xing

Title: Ji Zhou
Artist: Xu Haomin& Wang jiewen

Artist: Liang Yuhong
Artist: Liang Yuhong

Title: VIRTUALOTUS' Super-Model-Diary
Artist: Liu Xiangyun
Being Mad, Yet 
and Admiring


Curator: Yu Aijun · Botieshe 
Artists: Huang Wenya / Yu Aijun · Botieshe / Wang Fanseng / Zhang Chunhua / Zhao Yinou / Zheng Hongchang

In mid-august, contemporary art in urban-rural fringe sent a sergeants-at-arms group that consists of Yuzheng country Longwang administration agent curator, arts product quality and safety supervision temporary group to investigate the illegal use of conceptual arts planting, the research and investigation was quite rewarding. The core member Yu did research on several art cultivation self-employers in songzhuang, guangdong, shunyi and yan jiao. He randomly checked scaled art companies and the illegal use of drugs and materials of artists. Then he listened to the report from art amateurs and unemployed plainclothes, conducted the field survey on (actually learned from) artists’ studios, planting reading rooms, the neat or messy processing workshops and warehouses. 

From the perspective of communication, there were no illegal creation behaviors such as illegal use of anti-socialist core values have been found. The exhibition coordination group requires to further strengthen the supervision of the possibility of artists' ideological transition, effectively standardize the use of "work improver, exhibition improver, micro concept preparation" and other inputs, strengthen the monitoring, and eliminate the practice of implicitly adding western free ideas in the name of "art not medicine". 

It is known that the annual net increase in the number of Chinese artists is considerable, mainly concentrated in Beijing, Shanghai, Guangzhou and Shenzhen, Sichuan, Chongqing, the northeast and other places. Next, contemporary art country department, Yu zheng country Longwang administration and product quality and safety supervision administration art joint unit temporary group will continue to unite other artists on self-checking and reporting their work at any time, orderly rendering on all aspects of the artwork and work around the production achievements of the events, facilitate the set up of circulation mechanism, strengthen propaganda literature and art in China policy, standardize the mindset training, to ensure the safety work of art with high quality. 

Finally, I wish the exhibition a complete success! It is “mad, yet laughable and admirable"!
u Aijun·Botieshe

Title: Ru Yi
Artist: Dai Liang

Title: Shi Jian Xi Lie 1
Artist: Huang Wenya
Title: Liao Huang Fang Xian Tu
Artist: Wang Fanseng

Title: 010013
Artist: Yan Shi

Title: Mi Mi
Artist: Yu Aijun·Botieshe

Title: Lü Tu
Artist: Zhang Chunhua
Title: 2020.1
Artist: Zhao Yinou

Title: Pao Bu Ji 2
Artist: Zheng Hongchang


Curator: Sun Yifei 
Artists: Cizhi Editorial Department / Gao Yuchu / Liu Fei / Luo Jing / Sun Yifei / Wu Hao / Yang Tao / Yin Tong

With the Allied forces marching into France in 1944, the German Marshal Petain and the French Vichy government under his name moved to Sigmaringen in southern Germany. And there established a city-state with Brinon as the head and enjoying extraterritorial power of the French government in exile. Germany, Japan, and Italy opened embassies in Sigmaringen. More than 6000 citizens live in this enclave. At the official level, in order to create the illusion that the Vichy government is the only legal government representing France, the state institution continues its work in France: every day, the government makes countless declarations, bills and administrative decisions, but these are promulgated The document has no actual effect. The Vichy government in Sigmaringen is like a state machine that has lost its state. It operates on its own, fulfilling its functions aimlessly. Zizek compares philosophy to the spiritual sigmalingen. Although philosophy is full of wild insights into the world, real life has nothing to do with these philosophical ideas. And art seems to have the same situation as philosophy, especially when we are faced with the difficulties of real life and the feeling of powerlessness that often ensues, the use of art to solve real problems becomes doubtful. As a sub-proposition of art, painting faces not only a sense of alienation from the real level, but also when it faces other art forms, due to the single expressiveness of the painting medium itself and the illogical nature of the ontological discourse (as opposed to In terms of language), its own feedback on social reality is always directed to individual creators and always seeming vague to viewers. From then on, whether painting is really a false event that imitates real life, or its true power lies in its attitude of not directly intervening in life, and its sense of distance from life brings a deeper dimension to painting.

Title: Cizhi Di Er Qi Feng Mian
Artist: Ou Fei Hong

Title: Quan Quan Yuan Yuan Quan Quan
Artist: Gao Yuchu

Title: Chuan Ning Meng Huang Se Zu Qiu Xie De Ren
Artist: Luo Jing

Title: Mei Hei
Artist: Liu Fei

Title: Di Wu Yuan Su
Artist: Sun Yifei

Title: Untitled
Artist: Wu Hao

Title: Mei Li Xin Shi Jie
Artist: Yang Tao
Title: Tiao Wu
Artist: Yin Tong

Curator: Li Hao De Fan Pan 
Artist: Members of Liu Da Guang Zhan Art Association

In the nature, any animal has own means of escape in the face of danger. The animal instinct can sense the coming danger. Humans are no exception and do better. In order to escape danger, human beings not only focus on the longer-term crisis but also make plans for it. But running away from danger doesn’t mean it’s gone. We need to judge the impending danger and unknown variables. We choose to believe in the beauty of the world, and also want to leave some traces for the future.

Escape is just a good wish in the face of crisis.

Dunkirk is the sanctuary of flight just as Jerusalem to religion. During The Second Word War, Dunkirk was an escape route for allies. In recent years, Dunkirk has become a channel to enter the UK for Middle East refugees. And now, Dunkirk is witnessing the Brexit of Britain across the Strait. Dunkirk records pat of the history of refugees.
The works of this exhibition came from 27 artists collected by the Liudaguangzhan Art Association (LDGZ) online. The Liudaguangzhan Art Association (LDGZ) is a personal project and also is a one-year formal unofficial art association. The Liudaguangzhan Art Association (LDGZ)  set an open theme without framework to collect works from its members. The original was been printed as a photo and been sealed into some floating bottle. As a vision of escape, works has crossed Dunkow Beach-the holy place of escape. The event just like a ceremony to commemorate the escape. The event is a greeting to the unkown. This exhibition is a gift for the ocean.

Title: Escape
Artist: Li Hao De Fan Pan

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