"The annual 798 Art Festival has been successfully held for 13 consecutive years. Organized by the 798 Art District Management Committee, the art Festival is a cultural and art brand activity in Beijing, which has established a platform for exchanges and cooperation between domestic and foreign art institutions and artists. The art Festival enjoys wide influence and favorable comments in the art world at home and abroad.
The exhibition "Tianyan-Virtual Reality" is one of the series exhibitions of "2020 Beijing 798 Art Festival", which is sponsored by Enjoy • Art Museum. It hopes to explore the theme of nature and life of common concern of mankind through cross-border cooperation in science, culture, art and otherfields.
The participants of this exhibition are diverse, including outstanding scientists, sociologists and scholars, as well as creators and researchers active in the fields of culture and art. The 2020 Beijing International Youth Drama Festival "Drama Online" will also be presented in this exhibition unit."
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Evolution Chapter II
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
Preface
Never before have I felt the rapid change ofthe world so strongly, as if I had heard its tearing sound. Today's reality is more like a theater, behind the curtain, people come and go, like "I don't know what the play is, has been the man in the play", so absurd and so real.
Whether art is reality in the theater? Or the theater in the real world?
The “Tian-Yan” project advocates that art pays attention to reality and hopes to record and present the scene in the change of times in an artistic way. Art that emphasizes "happening" and natural growth in support of any form of exploration that is alive and indescribable. It is hoped that through continuous recording, mining and displaying the latest ideas and experimental results in various fields, a visual text with literaturevalue will finally be realized.
This exhibition is a larger group exhibitions in 2020, the number up to 70 people, and involves many areas, there are medical and biologists, social scientists, artists, engineers, architects, dancers, scholars, musicians, poets, network talent in various fields such as researchers and practitioners of participation, they will be in the form of art from different angles to touch the human issues of common concern. Works in the form of: scientific text, experimental drama, dance, sound, installation, video, poetry, painting, body and other ways. The comprehensive presentation of cross-field and multi-mediais not to enrich forms, but to break through the boundary of art through the collision between various fields and media, so as to transcend forms and discuss the essence of art.
"Tian-Yan" project is a continuous exhibition project, the first unit curator is: Wang Pengjie, Zuo Youyou, Deng Hanbin, Yu Aijun, Sun Yifei, Li Hao's rebellion. It is a great honor to invite Na Linhu, Ye Funa, Shao Fengtian& Wang Tianmo, Liao Shuyi & Huang Ruiming, and Zhang Zhao to plan the exhibition of five units respectively. I would like to thank all the planners and creators for their efforts and the support and attention from all sectors of society.
General Curator: Cheng Xi
2020.10.24
Artists & Curators
01 A combination of all the excellent
Curator: Na Linhu
Invited scholars and artists:
Wang Liqun (Medical and Biological Researcher), Jin Hao (biologist), Zhang Chunni (Sociologist), Qian Wenfa (computer engineer), Liang Chen (Construction engineer), Zhang Heming (Specimen), Gia (Musician)、Li Yichunzi、Xu Nuo（dancer）、Fang Jing（writer）、Kang Xueru（artist，painting）、Zha Songgang（artist，installation）、Groundless Camp（Art group，installation、transboundary performance）
02 Free Trad Art Carniva
Curator：Ye Funa
Artists：Ast/CaoWenqing/Chen Jiayan/Jia Rang/Kuku/Li Qiaoxi/Looher/Liu Penghang/YiJiu/1ceas/Zhang Yuting/Fold art(Peng Jiayuan/LeiJianhao/Zou Yaqi/Lei Hongcai/Zou Miao)
Perform：Kuku/Leon/UnaHerbst
Identity&Performence：Li Ke/LuoQing/Fu Zhenyujie/Shi Xinyu/Li Jun/Zhang Zixiao/Tan Xinye/Ai Gege/Xu Ruize
Schow of valecony
Dj: Talentune/Angie Dang
03 That One
Exhibition design and concept: Liao Shuyi
Directors: Liao Shuyi, Huang Ruiming
Lens design/live camera scheduling: | technical consultant: Chen laoju
Sound design: Tie Yang | guest performer: Linh Phan
Performances: Liao Shuyi, Huang Ruiming, Pu Ming, Zhang Yi, Chen Xindi, Chu Qiao
Online choreography support: Yu Sijia
Producer: Li Dawang | poster design: Sudan
Thanks to: Luo Yingshuo, Sherry, Duo Duo, Fu Dian
Community Support: Beijing contacts improvisation
"The Man" is a drama online unit of 2020 Beijing International Youth Drama Festival. The online performance will be broadcast live by the official account of B station of Beijing International Youth Drama Festival, and the live version will be presented simultaneously at Yue Art Museum.
04 When Did Trash and Wastes Become the Trend?
Curator: Shao Fengtian &Mo. W
Artists: Lost-for-words Park (ChangAn&Qin Qiu / Li Shuo / Lu Yuqi/ Shao Fengtian)/XieTianzhuo / Wu Yuhang/ Cui Wang/Mo. W
Performance
Lost-for-words Park
Title:Steep
Music:Chang An VJ:Qin Qiu Perfomance:Li Shuo
05 Hello?
Curator: Zhang, Zhao
Artists: Unknown
(Please see ‘How to participate’ below. The list will be announced at the opening site.)
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The exhibition Unit Curator: Na Linhu, Ye Funa, Shao Fengtian& Wang Tianmo, Liao Shuyi & Huang Ruiming, Zhang Zhao
Assistant Curator \ Visual Design: Xie Tian
During the exhibition, there will be a number of experimental performances such as music and drama. Please pay attention to the acquisition schedule of the Wechat public platform of Enjoy Art Museum.
A combination of all the excellent
Cross-field practice unit
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Curator: Na Linhu
Invited scholars and artists:
Wang Liqun (Medical and Biological Researcher), Jin Hao (biologist), Zhang Chunni (Sociologist), Qian Wenfa (computer engineer), Liang Chen (Construction engineer), Zhang Heming (Specimen), Gia (Musician)、Li Yichunzi、Xu Nuo（dancer）、Fang Jing（writer）、Kang Xueru（artist，painting）、Zha Songgang（artist，installation）、Groundless Camp（Art group，installation、transboundary performance）
Theme: Distinguished scholars, experts, and artists from all walks around the world will be invited to discuss the same topic through their research on their jobs. For instance, to present a related topic with "The Future, The Universe, The Unknown World", scientists will apply their study, deductive formulas, and technological results; Sociologists will use their social research, academic works, etc. Musicians will use musical way; Artists will use painting and equipment; Dancers will use dancing way; litterateurs will use their literature. The exhibition is aimed to bring athree-dimensional view to the audience by combining on-site event, as well as form comprehensive thinking of the society through the arrangement and recreation of works (literature, masterworks, images, videos, sounds, paintings, and devices).
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Wang Liqun
Research papers related to DNA genetics solve the problems related to cancer and other diseases by transforming DNA.
In the mist 2020
Xu Nuo
Image，2020
Jin Hao
Biological research ,(Including the first paper on mammalian geneexpression in low temperature environment in China in 1985, which aimed atenabling astronauts to enter hibernation mode for long-term flight)
v=(v1+v2)/(1+v1v2/c^2) Li Yi Chun Zi
image, 9 minutes 19 seconds，2020
Echo, 304 Mirror stainless steel / Polished
Zha Songgang 2020, 150×120cm
Zhang Chunni
Social research on children's behavior in divorced families.
Field photography、Model
Liang Chen
Qian Wenfa
Open source code about artificial intelligence
Cards
Kang Xueru
188x84cmx52020
Zhangheming
Ant specimen device parasitized by zombie fungi
Image,photography,literature,2020
Fang Jing
People in the cave, poetry, 2020
Gia
Experimental music works（player，stereo）
Groundless Camp
Unknown code，Interactive device，live performance
Free Trad Art Carniva
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Curator ：Ye Funa
Artists：Ast/Cao Wenqing/Chen Jiayan/Jia Rang/Kuku/LiQiaoxi/Looher/Liu Penghang/Yi Jiu/1ceas/Zhang Yuting/Fold art(Peng Jiayuan/LeiJianhao/Zou Yaqi/Lei Hongcai/Zou Miao)
Perform：Kuku/Leon/UnaHerbst
Identity&Performence：Li Ke/LuoQing/Fu Zhenyujie/Shi Xinyu/Li Jun/Zhang Zixiao/Tan Xinye/Ai Gege/Xu Ruize
Schowof valecony
Dj: Talentune/Angie Dang
In this era, art seems to have become a sunset industry, heavy knowledge production, institutions and markets drag each other, art has lost the illusion of globalization and stagnated. What kind of art can we make？In other words, where else can art survive except for the place that is already in its twilight? For the International Biennale, art galleries ，museums or expositions? For the official large-scale theme creation or to become the scenic spot of the online celebrities, the company's opening platform performance?
All the artists participating in this unit are undergraduates in the experimental art college of the Central Academy of fine arts. These young artists born around the millennium have interpreted the characteristics of the individual free trade zone released from the reality of post epidemic situation. They seem to be "self-employed" in their own way, freely roam online and offline, and set up "business" online and offline. They vividly reproduce the dynamic market economy and the roadshow of niche markets, and the products they sell, including returning home Come to socialize, play and live. There are no rules to limit, through the way of collective and individual project growth, self-cultivation to expand the boundaries of art. These projects may be naive, marginal and self entertaining, but they have their own unique interests and are full of the possibility of enjoying art and interacting with daily life.
Donaharavi's the Chapter 8 of STAYING WITH THE TROUBLE: MAKING KIN IN THE CHTHULUCENE "the story of Carmel" describes the species of the future: ".Said the monarchs. By commute to his generation, the kids were doing skin implants of stem cells to build a patterns on their skin that were the patterns of the insects and the the critters that they were taking care of. So they would do you know their dance raves and drug scenes all the rest they had various kinds of like shows and real, you know some of the ones that were um symbiotically banded to the octopus and the squid had the chromatic force in their skin. So they got sexually excited. They were pulse the same way that the the squid and the kind of fish and the octopus would pulse, they could do these amazing light shows with their skin. Playfulness around this.
"Therefore, we are looking forward to another possibility of the art industry, a more diversified self construction mode, a kind of experimental art that seems to be entertaining.
Titel:*soreal*team
Artist:Li Qiaoxi
Titel:Gacha art project
Artist:Fold art
Titel: contemporary art driver
Artist:1ceas
Titel: Have Been Here Once
Artist:Chen Jiayan
Titel:Clone Stamp Tool*7
Artist:Cao Wenqing
Titel:furniture combination
Artist:Liu Penghang
Titel:Tootoday area
Artist:Zhang Yuting
Titel:Owl 4 -”Johnny·Menegie”
Artist:Looher
Titel:Owl 2-”1/23 second ago”
Artist:Looher
Titel:Nameless flowers
Artist:Yi Jiu
Titel:Holy sleep
Artist:Ast
Titel:cheating day
Artist:Jia Rang
Titel:11.13Live soul no.1
Artist:Leon
Titel:Kuku theater:shaman
Artist:Kuku
Titel: tiny MovingStudio &“we”
Artist:Una Herbst
Titel:Identity&Performence
Artist:Feng Sheng team
That One
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Exhibition design and concept: Liao Shuyi
Directors: Liao Shuyi, Huang Ruiming
Lens design/live camera scheduling: | technical consultant: Chen laoju
Sound design: Tie Yang | guest performer: Linh Phan
Performances: Liao Shuyi, Huang Ruiming, Pu Ming, Zhang Yi, Chen Xindi, Chu Qiao
Online choreography support: Yu Sijia
Producer: Li Dawang | poster design: Sudan
Thanks to: Luo Yingshuo, Sherry, Duo Duo, Fu Dian
Community Support: Beijing contacts improvisation
"The Man" is a drama online unit of 2020 Beijing International Youth Drama Festival. The online performance will be broadcast live by the official account of B station of Beijing International Youth Drama Festival, and the live version will be presented simultaneously at Yue Art Museum.
Introduction：On our screened devices, we tirelessly try to maintain our conversations, intentionally and unintentionally disconnecting. Until the connection gets disrupted, the size of the windows continuously grows bigger, forces us to look more closely, to face each other... When the body has been scattered across different windows on the screen, they start to inhabit their own space. How will they present themselves? How will they relate? Can they reach a ‘concensus’ in order to communicate?The windows on the screen seem to provide us with a container that is non-hierarchical. In communication, whether we are in the midst of a whirlpool or at the source of information, can we find a way to interact and coexist in this complex ecosystem?
Interpretation：For a long time, I have been interested in the spontaneity, the emergence, and the complexity of collective movement. Whether it is splitting persons into a group with different opinions, or recognising the 'concensus' that seem to have come from one individual, what is the origin of this type of communication? I would like to explore how these modes of communication come into existence. How do you detect the emergence of communication? How does a certain system with separate parts come together and behave as a collective?
Rehearsal photos (photo: Li Dawang)
When Did Trash and Wastes Become the Trend?
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Curator: Shao Fengtian &Mo. W
Artists: Lost-for-words Park (ChangAn&Qin Qiu / Li Shuo / Lu Yuqi/ Shao Fengtian)/ Xie Tianzhuo / Wu Yuhang/ Cui Wang/Mo. W
Performance
Lost-for-words Park
Title:Steep
Music:Chang An VJ:Qin Qiu Perfomance:Li Shuo
The title emerges from a general questionI’ve been wondering for quite some time, which is the relationship between trash and artistic practices. I thought the question in the title must at least have already had some pedantic answer, which can be easily obtained online. While I was framing the curatorial theme of this section, I therefore went online to do some basic research, and straight forwardly typed in the question---“When Did Trash and Wastes Become the Trend in Art History?”. However, instead of facing a ready-made answer from google, I was confronted with a multiplicity of articles, news, and comments, assembled by google based on their relevancy. For example, the related questions are—Is art a waste of money? Is creating art a waste of time? Why do artists recycle materials? It was very obvious that I was confronted with a multiplicity of meanings associated with “waste”, which is itself quite an interesting term in this sense.
Among the articles presented by Google, Is potted a piece of art criticism from The Guardian, which praises the provocative nature of art disguised as trash, or trash as the embodiment of art. The subject of the criticism is a piece of artwork disguised as emptied champaign bottles , leftovers from a dance party, scattered on the gallery floor. The bottles are then being swept away by cleaners from the gallery who had no idea what is going on within that “sacred space” of bourgeoise art galleries and museums. The Guardian therefore comments on the artwork: “Yet, far from being a condemnation of contemporary art, this habit cleaners have of mistaking it for rubbish is proof of its enduring vitality, or at least, indestructible novelty.” Here, however, what is revealed more than anything-else is that “trash” also went through a split in late capitalism. Trash obtained a plural value, one of which is being alienated from the cleaners, and then fetishized as that which would turn against the cleaners. The bourgeoise hijacking of trash, or rather, capitalism’s ability to even fetishize and abstract “trash”, is one among the many consequences that critical artistic practices bear.
Another aspect of “trash” that google associates is the ecological concerns on the material wastes art produces.
The question regarding trash and art thus appear to be more and more complicated and far-reaching the more it is being contemplated. I started with the faith that I would obtain a pedantic art historical answer easily but ended up running into a multiplicity of effects the iteration of “trash” and “waste” inaugurates. What is challenging for curatorial practices as well as artistic practices today is that in what waysand to what extent art today can respond to a multiple, discursive, and paradoxical legacy of modernist art practices in their reiterations? In other words, if most of us do not intend to do away with certain modernist ethos, and thus is not completely breaking away from the modernist tradition, how are we being addressed when we venture into a history and discourse that have preceded us, and how can we potentially undo them precisely through performing the modern?
By Mo. W
Wonderful Life
Cui Wang
Good World
Shao Fengtian
A love letter to losers
Wu Yuhang
17.8cmx 12.6cm x15
2019
Just do it
Xie Tianzhuo
My Face Turns Into Trash
Mo. W
LU Yuqi
Hello?
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Curator: Zhang, Zhao
Artists: Unknown
(Please see ‘How to participate’ below. The list will be announced at the opening site.)
We cannot avoid sounding out each other in online chats. Emotional fluctuations, psychological games and subsequent unknown trends continue to mix together dynamically during the interaction of virtual spaces. This unit will act as a temporary interface between the virtual and reality. Only one thing is certain that the message of this unit exist in virtual space. But its reality is completely unknown. It's up to me to ask: "Hello?", the rest is up to you.
How to participate:
Sending anything to Enjoy Art Museum (Contact: Front Desk, Tel: 86-10-59789397), with a single "Hello" in the remarks. No matter who or what you send, you are regarded as participating artists in this unit. On the opening day, I will unpack all packages on the spot, and the contents of the packages and all the information that appears will be displayed. The name/nickname on the packages will appear in the poster of the unit after the opening. It must be delivered to the museum before November 7, 2020 (the opening day). Please estimate the time yourself.
悦·美术馆旨在建立国际化艺术交流平台，以高端学术定位，致力于当代艺术在中国本土的普及和推广工作。倡导艺术与时尚、艺术与生活新理念，为国内外艺术家，艺术机构、时尚界、设计界等广泛建立互动平台。场馆位于798艺术区核心位置，总面积2600平方米，是798艺术区内最大的艺术空间之一，悦·美术馆尊重保留了798老厂房的原貌，它还带有某种强烈的文化属性，试图将前卫、时尚与这个老旧的厂房联系在一起。曾获2011年第19届APIDA亚太区室内设计金奖等奖项。
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