Chen Zhou
陳軸
Born in 1987, lives and works In Beijing,
Represented by AIKE-DELLARCO, Beijing
Spanking the Maid is a plan for a feature-length film named after Robert Coover's novel and consisting of 4 parts - Top level conference, Fitness program, Spanking the maid and Koro. The entire plan explores the for-loop structure of power system. This is the second part of the entire film, dealing with media violence and awareness delivery. The artist focuses on the concept of media as the carrier of the underlying desire for pornography which is directly seeping through the will of power, on the pleasure and the pain. Spanking the Maid is displayed as part of a multimedia installation that features oil paintings and sculptures reverberating the disquieting atmosphere and content of the video.
“打女傭的屁股”是基于 Robert Coover 同名小說為基礎(chǔ)改編的長片計劃,由四個部分構(gòu)成：頂層會議、健美節(jié)目、打女傭的屁股、縮陽癥。整個計劃探討權(quán)利體系的循環(huán)結(jié)構(gòu)。此部分為全片的第二個部分,也是全片中關(guān)于媒體暴力和意識傳播的部分：媒體攜帶色情的欲望,潛在的滲透著權(quán)利意志。“打女傭的屁股”是多媒體裝置的一部分，同時展出的油畫和雕塑呼應(yīng)著周遭空間和影片內(nèi)容。
Spanking the Maid #2 打女傭的屁股#2
Chen Zhou陳軸|HD Digital Film, color, sound高清數(shù)字電影，彩色，有聲|2012 |13min
Olafur Eliasson
Born in 1967, lives and works in Berlin
Represented by Vitamin Creative Space
1967年出生，生活并工作于柏林
Olafur Eliasson is one of today’s most representative, influential and diverse artists. In 2003, he represented the Denmark artists and participated in the 50th Venice Biennale. In the same year, he produced an installation (“Weather Project”) in the Turbine Hall at Tate Modern of London. In 2007, he was involved in a collaborative project, to design the Serpentine Gallery in London, and in 2008, he created a series of installations that were displayed around New York, known as the “The New York City Waterfalls”. In 2009, as professor of the University of Arts in Berlin, he founded a new department for Spatial Experiments (Institut für Raumexperimente). Amongst his many current projects and international exhibitions, he has recently collaborated in a project (“Feelings are real”, 2010) with Ma Yansong, for Beijing Ullens Center for Contemporary Art and co-designed the Reykjavík Concert Hall and Conference Center (Harpa, 2011).
埃利亞松是當今一位極具代表性和影響力且富有多樣性的藝術(shù)家。 他作為丹麥的代表藝術(shù)家參加了2003年第50屆威尼斯雙年展，同年在倫敦泰特現(xiàn)代美術(shù)館渦輪廳制作了巨大的裝置(“氣候項目”)， 于2007年合作設(shè)計了倫敦蛇形畫廊亭子，并于2008年在紐約實現(xiàn)了系列橫跨曼哈頓瀑布項目，2009年，他為柏林藝術(shù)大學成立了一個新的部門(Institut für Raumexperimente)，在其他許多項目和國際展覽中，其中還包括近年在北京尤倫斯當代藝術(shù)中心與建筑師馬巖松合作的項目(“感覺即真實”，2010年)，以及合作設(shè)計了于2011年建成的雷克雅未克音樂廳和會議中心(HARPA)。
INDIA FOCUS
Besides supporting the participation of Rohini Devasher, Manish Nai and Gyan Pachal to the NOW INK 2012 Exhibition, the Creative India Foundation sponsored the participation to HOT SPOTS of Shilpa Gupta, Aaditi Joshi and Raqs Media Collective.
Shilpa Gupta
"I live" is an animated light sculpture by Shilpa Gupta, which beautifully subverts the idea border and the need to move beyond them and engage with the diverse communities around us. The original version was conceived and created in Mumbai, and includes the writing "I Live Under Your Sky Too" in the languages of Hindi, Urdu, and English, the languages spoken by the Hindu, Islamic, and Christian communities of India. The second version was created in Japan, including the languages of Japanese, Urdu, and English. In this new commission realized for the India Focus of SH Contemporary in collaboration with ArtHub Asia, Gupta has created a work which uses the languages of Mandarin, Xiaoer Jing, and English, reflecting the diverse communities which exist in China. Xiaoer Jing, or the Chinese version of Arabic script, has a beautiful calligraphic history that is in danger of being lost. In the spirit of the "Now Ink" exhibition, Davide Quadrio of ArtHub Asia searched across China to find a calligrapher, whose poetic translation contributes to this work. This work will continue to take life in new skies around the world; this particular sculpture will soon move to a public place in Shanghai and a new version will soon be unveiled in New York. The work is beautiful reminder of the increasing need to reach outside of oneself for a true understanding of our rapidly globalizing world.
Huang Zhiyang
黃致陽
Born in 1965, lives and works in Beijing,
Represented by Art+Shanghai, Beijing
1965年出生，現(xiàn)生活工作于北京
由北京藝術(shù)+上海藝術(shù)空間呈現(xiàn)
Born in Taipei in 1965, Huang graduated from the Chinese Culture University in Taiwan. He worked deeply into Chinese cultural tradition which is embodied in his paintings and other forms of artistic creation, which he said it is deeply connected to his understanding of Taoism.
Huang's installations presented here and called " Possessing Numerous Peaks " a group of stone sculptures exploring the relationship between human and nature was firstly selected to be in permanent display at the Shanghai 2010 World Expo.
黃致陽1965年出生于臺北，畢業(yè)于臺灣中國文化大學。藝術(shù)家具有深厚的中國文化與藝術(shù)底蘊，運用中國繪畫之精神游弋于當代繪畫藝術(shù)及其他藝術(shù)創(chuàng)作的長河中，用他自己的話來說，他的藝術(shù)創(chuàng)作與他對于道教思想的理解緊密相關(guān)。此次黃致陽呈現(xiàn)的作品名為“座千峰”，這組大型花崗巖雕塑探討了人與自然之間的關(guān)系，被2010年上海世博會永久收藏陳列。
Possessing Numerous Peaks 座千峰
Huang Zhiyang 黃致陽|Granite Stone 白花崗巖|2012|sculpture Installation (individual sculpture size varies)
Aaditi Joshi
Born in 1980, lives and works in Mumbai,
Represented by Creative India Foundation for SH Contemporary 2012.
Joshi creates dynamic and beguiling sculptures and wall installations out of an otherwise discardable, mundane material: polythene plastic bags. Rather than use the material to wrap products like books, food, etc., she uses heat to compresses and joins thousands of bags together to create large abstract forms that contain varying levels of opacity and textures. While Joshi’s early sculptures were transparent forms, the artist has since added bright colors as her signature plastic forms, referencing the seductive quality that plastic can take on when used as consumer packaging. Joshi originally experimented with transparent inks, but found that she could mimic the effects of ink and water with acrylic paints, achieving bolder results. Joshi applies acrylic paints between two pieces of plastic and seals the color between the layers of plastic by burning the edges and blistering the form’s surface. Just as the motion of the city leaves its mark on plastic litter in the streets, Joshi leaves marks of her artistic process in her work. She deliberately leaves traces of the burning process, charring some of the edges with a smoky finish.
Joshi運用塑料袋這種隨處可見且廉價的材料創(chuàng)作出了一系列具有動感的雕塑和墻上裝置。在對塑料袋的運用方式上，藝術(shù)家并沒有流于常規(guī)將其包裝書本和食物等，相反，她選擇通過加熱來使得成千上百個塑料袋聚集并形成一副巨大的抽象繪畫，自然形成的紋理和形狀清晰可見。Joshi早期的雕塑作品大多是透明的，之后她開始嘗試在作品中注入各種鮮艷的色彩，正如在日常生活中人們大多使用美觀漂亮的塑料袋來裝東西一樣。Joshi最早用墨汁進行試驗，直到她發(fā)現(xiàn)利用丙烯同樣可以創(chuàng)造出和墨水一樣的效果。藝術(shù)家于是在兩片塑料袋上涂上丙烯，并通過燃燒塑料袋的邊緣和猛烈敲打塑料袋將顏色牢牢鎖在其中。正如城市會在街道上的垃圾桶貼上標簽一樣，Joshi也在她的藝術(shù)創(chuàng)造過程中留下了屬于她自己的印記，她選擇保留這些塑料袋燃燒的痕跡，因此在其作品中可以清晰地看到塑料袋燒焦的邊緣。
Untitled
Aaditi Joshi |plastic, paint, wooden armature|2012|dimensions variable.
Courtesy of the Creative India Foundation, the artist, and Gallery Maskara
Commissioned by the Creative India Foundation and Arthub Asia
MadeIn Company
沒頂公司
Born in 1977, lives and works in Shanghai
Represented by ShanghArt, Shanghai
MadeIn Company’s practice has embraced a wide range of formal and conceptual strategies since the establishment of the collective in 2009. Exploring notions of identity, authorship, ethics and commerce,
This piece is part of 'True Image' (2010-12), probably the most representative series of the collective’s body of work. True Image consist of sculptures that are meant to be photographed and destroyed after their documentation. The pictures hence become the only record of the ‘original’ artworks, subverting the 'aura' and physicality of the ‘original’ piece. In a Duchampian way, the “artwork” presentation and representation itself becomes an art form. This raises questions about authenticity and offers food for thoughts on the contemporary art system in general. Also, the title of the series, True Image, takes this logic a step further; suggesting that the surrogate becomes the original as the original no longer exists.
Each piece is accompanied by a label with the titles, each one of which is a quote from various philosophical or cultural sources, alongside the ‘original’ artwork’s medium and size, creating a further conceptual deviance. In this case the title, The principal motor of action in this view is self-interest, guided by rationality, which translates structural and institutional conditions into payoffs and probabilities, and therefore incentives, is extrapolated by Power and Governance in a Partially Globalized World, a book by Robert O. Keohane
沒頂公司自2009年成立起便開始策劃和實施一系列藝術(shù)項目，探討身份、原創(chuàng)性、理論性和商業(yè)性等問題。
這件作品是2010年至2012年“真像”系列的一部分，也許也是最能表達這個作品系列的其中一件作品。“真像”由一系列大幅照片組成，照片中出現(xiàn)的藝術(shù)品包括裝置、雕塑、以及繪畫也全部由沒頂公司制作。在獲取關(guān)于這些藝術(shù)品的照片之后，所有原件都被徹底銷毀。在這組作品中，原創(chuàng)的概念被動搖，一方面這些圖像是對藝術(shù)品的記錄;另一方面，它們又讓觀眾不禁去質(zhì)疑照片里的原作是否真實存在或是被虛構(gòu)。
運用杜尚派的創(chuàng)作方式，作品的呈現(xiàn)和再現(xiàn)方式本身已經(jīng)成了作品。這是對真實性的一種質(zhì)疑，同時也給予當代藝術(shù)系統(tǒng)的思考更多養(yǎng)料。而這個系列作品的標題“真像”則將這個邏輯思維更推進一步，暗示著當替代品成為原作之時，原作早已不復存在。
系列中的每件作品都附有標簽，注明作品的標題，這些標題全都引自于哲學經(jīng)典或文化典故，同時標簽上還注明“原作”的尺寸、媒介。這件作品的標題出自于Robert O. Keohane的一本書《局部全球化世界中的自由主義、權(quán)力與治理》中的一段話：“人類行為的主要動機是自利的，理性引導該行為，并將結(jié)構(gòu)和制度條件轉(zhuǎn)化為收益、可能性乃至動機。”
The principal motor of action in this view is self-interest, guided by rationality, which translates structural and institutional conditions into payoffs and probabilities, and therefore incentives. 人類行為的主要動機是自利的，理性引導該行為，并將結(jié)構(gòu)和制度條件轉(zhuǎn)化為收益、可能性乃至動機.
MadeIn Company 沒頂公司|Water, proteins, glucose, mineral salt 材料：水，蛋白質(zhì)， 葡萄糖，無機鹽，裝|2012
Shi Qing
石青
Born in 1969, lives and works in Shanghai,
Represented by ShanghArt, Shanghai.
In this installation Shi Qing has created an arena, a park, a domain where Modernism and today find themselves face to face in a strange but inevitable liaison. Half hidden in the ominous and timeless territory of plants, the viewer can find remnants of potent utopian ideas whose decay have left only their facades, like the backdrops to Hollywood westerns. But upon closer inspection we can see that these structures only allude to backdrops, using their every day materials to keep a low profile, keeping their ideas to themselves until the day when ideas are needed again. In the rickety state of the once impenetrable financial universe their voices slowly murmur in the undergrowth, combining with other voices and growing in strength until they can once again penetrate people’s consciousness. Shi Qing’s work has brought the past to recon with us here and now. Now the past is present, and the present is waiting for the future.
在這件裝置作品中石青創(chuàng)造了一個舞臺、一個公園，一個現(xiàn)代主義和當下相遇的場所，這種相遇看似奇妙，卻又有著不可避免的聯(lián)系。烏托邦式的理念被裱掛在墻上，隱藏在郁郁蔥蔥的盆栽后面，只剩下標語式的外在，就像西方好萊塢式的布景一般。但當你走近，便會發(fā)現(xiàn)這些理念標語是一種暗示，他們由藝術(shù)家慣用的廉價材料做成，隨著時間的流逝，這些曾經(jīng)激進先鋒的標語變成了叢林里的低聲細語，暗自積累力量，直到某一天能重新占領(lǐng)人們的思維。石青的作品將過去帶來與今天的我們相遇，如今過去就是現(xiàn)在，而現(xiàn)在正期待著未來。
All That Is Solid Melts into Air 一切堅固的東西都煙消云散了 |Shi Qing 石青|Installation裝置|2011| size variable
Yu-Shioh Wong
翁郁琇
Born in 1977, lives and works in Los Angeles,
Represented by Thomas Erben Gallery., New York.
Born in Taiwan and raised in California, Wong condenses in her semi-abstract paintings the West Coast light and color, and the traditional Chinese ink landscapes.
Her works, mostly small format acrylic and aqua oil on raw canvas, materially concentrate experiences while perceptually expanding into physical as well as emotive space.
Wong’s paintings offer multiple, cumulative viewpoints - gazing into reflections in water, looking over hills at clouds, or walking through woods - which are absorbed into a continuum of movement of shapes, colors and forms. Her variety of marks – such as broad, watery washes; frequently calligraphic lines; and small, short dashes or dots – fuse into organic, idiosyncratic compositions, which are highly sensitive to the edges of the canvas. A primarily soft and bright palette contributes to an ephemeral atmosphere of colliding forces and fluidity.
翁郁琇生在臺灣，長在美國加洲，使她的作品中同時兼有西海岸半抽象繪畫的光影色彩和中國傳統(tǒng)山水畫的神韻。
藝術(shù)家慣用丙烯和油畫顏料在粗帆布上繪就小尺幅作品，在物質(zhì)上關(guān)注體驗，同時又自然而然將觸角涉及身體和情感空間。
翁郁琇的繪畫中融入了各種視角——凝視水中的倒影，觀望山頂?shù)脑撇?，或是信步穿越樹?mdash;—這些場景被藝術(shù)家濃縮進連續(xù)性的形狀、色彩和形態(tài)中。她的作品中有許多標志性的手法，如大塊面的用色，不時出現(xiàn)的書法線條，以及細小的點和線，構(gòu)成了藝術(shù)家獨具特色的繪畫作品。力量和流動性在這些調(diào)色板般柔和明亮的作品中短暫而激烈地碰撞。
Tree Shadows
Yu-Shioh Wong 翁郁琇|Acrylic and aqua oil on canvas|2011|22 x 26 inches
Image courtesy the artist and Thomas Erben Gallery, New York.
Maurizio Anzeri
Born in 1962, lives and works in London,
Special Commissioned Project for SH Contemporary 2012.
Artist Maurizio Anzeri in received in 2005 his MA in sculpture from The Slade School of Fine Arts, London, the city where he has been living for the last 25 years. Anzeri mostly works with discarded photographic portraits which he brings back into existence with exquisite embroideries. A celebration of forgotten lives, his work transforms straight portraits into a three-dimensional objects with an intense psychological dimension. He had solo show at Baltic Centre for Contemporary Art in Gateshead (UK), Q Forum in London, Rupert Pfab Gallery in Dusseldorf (Germany), Luce Gallery in Turin (Italy), Riflemaker Gallery in London and Galleria Image Furini in Arezzo (Italy). Recent group shows include The Photographic Object at The Photographer’s Gallery London, British Art Now at the State Hermitage Museum in St. Petersburg (Russia), British Art Now and Out Of Focus- Photography Now, both at the Saatchi Gallery in London, and Makeup, curated by Mariuccia Casadio for A Palazzo Gallery in Brescia (Italy). His work is in important public and private collections, including Saatchi (UK), Fondazione Giovanni e Marella Agnelli (Italy), Gagosian (USA), Rothschild (USA), Ivor Braka (UK), Statoil (Norway), Missoni (Italy), The Museum Of Everything (UK), Alexander McQueen (UK), Galila Barzilai Hollander (Belgium), Museo Cantonale di Lugano (Switzerland), Museum Kunstpalast, Dusseldorf (Germany).
藝術(shù)家Maurizio Anzeri于2005年獲得倫敦Slade美術(shù)學院雕塑系的碩士學位，此前他已在倫敦生活了25年。Anzeri的作品大多選用遺棄的肖像照片，通過精致的刺繡賦予這些人像全新的生命藝術(shù)家他曾在波羅的海當代藝術(shù)中心(英國)、倫敦Q Forum、杜塞爾多夫Rupert Pfab畫廊(德國)、都靈Luce Gallery (意大利)、倫敦Riflemaker畫廊及Image Furini畫廊(意大利)舉辦過個展。最近參與的群展有倫敦攝影師畫廊“The Photographic Object“、俄羅斯圣彼得堡State Hermitage美術(shù)館“British Art Now”、倫敦Saatchi畫廊“British Art Now”和“Out Of Focus- Photography Now”以及Mariuccia Casadio策劃的在意大利A Palazzo畫廊舉辦的“Makeup”。他的作品被重要的機構(gòu)和私人收藏，包括Saatchi (英國)、Giovanni e Marella Agnelli 基金會(意大利)、Gagosian (美國)、Rothschild (美國)、 Ivor Braka (英國)、Statoil (挪威), Missoni (意大利)、The Museum Of Everything (英國)、 Alexander McQueen (英國)、Galila Barzilai Hollander (比利時)、Cantonale di Lugano美術(shù)館(瑞士)及杜塞爾多夫Kunstpalast美術(shù)館(德國)。
Yto Barrada
Born in 1971, lives and works in Tangier,
Special Commissioned Project for SH Contemporary 2012.
Yto Barrada (b. 1971, Paris) grew up between Tangier and Paris, where she studied history and political science at the Sorbonne. She subsequently attended the International Center of Photography in New York. After sixteen years abroad, she returned home to Tangiers where she continues to engage the complex realities around her, avoiding the rigidity of any ideological discourse, and without recourse to the spectacular or the melodramatic. In addition to her recent solo exhibit at the Deutsche Guggenheim, Berlin, a partnership between Deutsche Bank and the Solomon R. Guggenheim Foundation, she also exhibited at the 2011 Venice Biennale.
Yto Barrada(1971年出生于巴黎)，自小在巴黎和丹吉爾兩地長大，畢業(yè)于巴黎大學(Sorbonne)歷史和政治科學專業(yè)。畢業(yè)之后Yto加入了地處紐約的國際攝影中心。在經(jīng)歷了十六年的異鄉(xiāng)打拼后，藝術(shù)家選擇回到了故鄉(xiāng)丹吉爾，并繼續(xù)用藝術(shù)的手段表達她生活周遭的復雜現(xiàn)實。在Yto的作品中，避免了僵化的意識形態(tài)語言和過于夸張的宏大敘事。藝術(shù)家近期在柏林古根海姆美術(shù)館舉辦個展，展覽由德意志銀行和古根海姆基金會共同合作，此外，藝術(shù)家的作品還曾在2011年威尼斯雙年展中展出。
Collage #01
Yto Barrada |projection material | 2012Raqs Media Collective
Jeebesh Bagchi
Jeebesh Bagchi born in 1965, Monica Narula born in 1969, Shuddhabrata Sengupta born in 1968
Live and work in New Delhi,
Represented by Creative India Foundation for SH Contemporary 2012.
Whenever the Heart Skips a Beat is a new project debuting at SH Contemporary work by Raqs Media Collective. This work includes ten still images of an animated video showing a clock-face that features a set of twelve words, rather than numbers, to represent the hours. The words (in English and Chinese) are an array of adjectives and nouns that qualify each other, flying across the face of the clock, arranging and rearranging themselves, producing constant permutations and combinations of states of mind and being through the actions of the hour and minute hands that join any two words at any given point of time. The lexical patterns produced by this process register a deeply felt, subjective experience of time and duration. This work grows out of Raqs Media Collective's continued pre-occupation with time and with the metaphorical possibilities of horology. It updates and annotates their earlier experiment with clocks, feelings and words - Escapement.
“當心臟停止跳動”是由Raqs媒體小組(Raqs Media Collective)帶來的全新藝術(shù)項目，首次在上海當代藝術(shù)博覽會展出。作品由十幅動畫影片的靜截圖構(gòu)成，畫面中展示了一個鐘面，代表鐘點的數(shù)字被替換成了十二個單詞。這些單詞(中英文)由一系列互相修飾的形容詞和名詞組成，不斷在鐘的表面來回移動、變換，伴隨著時針分針與單詞變換的位置關(guān)系，創(chuàng)造出意識狀態(tài)的不同排列和組合。通過這種方式所創(chuàng)作出來的詞匯表現(xiàn)出一種對于時間深刻而主觀的感受。這件作品來源于Raqs媒體小組關(guān)于時間和鐘表學隱喻的持續(xù)性探索。作品完成了小組早期對于鐘表、感受和詞語實驗的更新和重新注解。
Whenever the Heart Skips a Beat
Raqs Media Collective |Video still|2012
Image courtesy the artist, Project88, and the Creative India Foundation
Zhang Enli
張恩利
Born in 1965, lives and works in Shanghai.
Special Commissioned Project for SH Contemporary 2012.
1965出生，現(xiàn)生活工作于上海
2012上海當代藝術(shù)博覽會委托創(chuàng)作項目
Zhang Enli graduated from Wuxi Technical University, Arts and Design Institute in 1989, currently lives in Shanghai. He is one of the most prominent artists in China working predominantly in painting but his creativity and peculiar style has evolved and expanded in many other media. For Shcontemporary 2012 for the first time he will present digital images especially thought for the main hall of the Russian building that is the site of the fair.
Among others his solo exhibitions include Shanghai Art Museum; Hauser & Wirth, New York.; Minsheng Art Museum, Shanghai; HAUSER & WIRTH, London; Kunstmuseum Bern, Switzerland; Ikon Museum of Art, Birmingham, U.K.; ShanghART, H-Space and BizArt Art Center. Recent group exhibitions including: The 6th Curitiba Biennial, Brazil (2011); Gwangju Biennale (2010); The 7th Shanghai Biennale (2008); Royal Academy of Arts, London (2007); “ Infinite Painting, Contemporary Painting and Global Realism", Villa Manin- Centre for Contemporary Art Passariano, Italy, (2006).
張恩利1989年畢業(yè)于無錫輕工業(yè)大學藝術(shù)學院，現(xiàn)生活工作于上海。他是中國最重要的當代藝術(shù)家之一，擅長運用繪畫語言，同時也將其創(chuàng)造力和個人風格延伸至其他藝術(shù)媒介。在2012年上海當代藝術(shù)博覽會中，藝術(shù)家首度呈現(xiàn)其為了上海展覽中心這座俄國建筑而特別創(chuàng)作的數(shù)碼影像。張恩利近期的個展有:上海美術(shù)館; 紐約HAUSER & WIRTH; 上海民生現(xiàn)代美術(shù)館; 倫敦HAUSER & WIRTH; 瑞士伯爾尼美術(shù)館; 英國伯明翰IKON 美術(shù)館; 香格納H空間和比翼藝術(shù)中心等等。群展有: 巴西第六屆庫里提巴雙年展(2011); 韓國光州雙年展(2010); 第七屆上海雙年展(2008); 倫敦皇家學院夏季展(2007); 意大利VILLA MANIN 當代藝術(shù)中心的"繪畫無限, 當代繪畫與全球現(xiàn)實主義"(2006) 等。
Roberto Paci Dalo and Fudan University
Roberto Paci Dalo和復旦大學視覺學院
Artist born in 1969, lives and works in London.
Special Commissioned Project for SH Contemporary 2012.
1969年出生，生活并工作于倫敦
SH Contemporary 2012特別委托項目
This new music-visual performance examines several aspects of the Shanghai-ese life before 1949. At the core of this work is the story of the Shanghai Ghetto, an area of approximately one square mile, located in the Hongku district of Japanese-occupied Shanghai housing about 20,000 Jewish refugees, therefore referencing the Japanese occupation of the city. The performance is based on visual and audio materials from between 1933 and 1949. This database of historical media has been converted into an artwork and series of live video projections and music tracks. The song ‘Nights of Shanghai’ interpreted by Zhou Xuan, is used as an initial point of departure and through a process of decomposition and recomposition using sampling, represents the aural and sonic environment of the piece, becoming a texture that embraces the entire performance in which further components of love, instrumental and electronic sounds and samples of archive material renegotiate soundscapes from the past. The projected images are selected from the same archive material combined with present day footage, shown in real-time during the performance.
Commissioned by Davide Quadrio in collaboration with Francesca Girelli and co-produced by Arthub Asia, Shcontemporary, Giardini Pensili, NOTCH Festival in collaboration with Messagerie and in association with British Film Institute, London. It is supported by the Comune di Rimini, the Provincia di Rimini, the Regione Emilia Romagna?? Home Movies - Archivio Nazionale del Film di Famiglia Bologna. Shanghai Conservatory of Music, iTOPIA Management Consulting Co. Ltd. Media partners include: The Wire (London), Monocle, Modern Media.
Composer, visual artist, and director, Paci Daló is also the founder and director of the he Velvet Factory venue for music and the performing arts in Rimini (Italy) and of the Giardini Pensili company - a non-profit organization managing a performing arts company, a think tank lab, and a production house for media.
A pioneer in the use of digital technologies, he performed live in the of the international electronic scene’s main venues and festivals. His work was presented in Europe, USA, Canada, Latin America, Middle East, Russia, Japan, Africa.
這件新的視聽行為藝術(shù)作品將從各個方面全景展現(xiàn)1949年以前上海的生活圖景。故事的核心是當時上海的猶太區(qū)，在這個不足一公里范圍的極小區(qū)域內(nèi)，居住著約兩萬名猶太人難民。猶太區(qū)位于當時上海虹口區(qū)的日租界內(nèi)，同時也側(cè)面印證了當時日本占領(lǐng)上海的事實。藝術(shù)家收集了1933年至1949年期間的影音資料，并將這些珍貴的歷史素材轉(zhuǎn)化為藝術(shù)作品和一系列現(xiàn)場播放的投影和音樂。“夜上海”一曲由當時紅極一時的歌星周旋演唱，為了更好的呈現(xiàn)出歌曲的混音效果，藝術(shù)家及團隊利用抽樣的方式對歌曲進行了結(jié)構(gòu)和重新編曲，最后的成品融合了現(xiàn)代電子音效和歷史的年代感，與整個行為藝術(shù)表演完美融合。與此同時，藝術(shù)家運用今天的連續(xù)鏡頭方式投影出當時這段歷史時期的圖像資料，貫穿于整個表演之中。
該行為藝術(shù)項目由Davide Quadrio(樂大豆)協(xié)同F(xiàn)rancesca Girelli共同委托，由Arthub亞洲、上海藝術(shù)博覽會國際當代藝術(shù)展、Giardini Pensili、NOTCH北歐藝術(shù)節(jié)、Messagerie及英國電影學院共同制作完成。特別鳴謝：the Comune di Rimini, the Provincia di Rimini, the Regione Emilia Romagna及Home Movies - Archivio Nazionale del Film di Famiglia Bologna.媒體合作伙伴：The Wire (London), Monocle及現(xiàn)代傳媒。
作曲家、視覺藝術(shù)家兼導演Paci Daló，是he Velvet Factory(地處意大利阿里米努姆，現(xiàn)場音樂和行為藝術(shù)表演場地)和Giardini Pensili company(策劃行為藝術(shù)表演及制作新媒體的非盈利機構(gòu))的創(chuàng)始人和總監(jiān)。
藝術(shù)家在電子技術(shù)領(lǐng)域的運用非常具有先鋒性，他曾在世界各地的主要美術(shù)館和藝術(shù)節(jié)上進行演出。他的作品在歐洲、美國、加拿大、拉丁美洲、中東、俄羅斯、日本及非洲展出。
Ye Shanghai, Performance
夜上海，表現(xiàn)
A solo exhibition in Milan (Italy) at Marselleria will include some of the materials from the project.
A Shanghai Night will be created at the Velvet Club & Factory (Rimini, Italy) during October 2012
本作品中的部分片段將在意大利米蘭Marselleria舉辦的藝術(shù)家個展中進行展出。
2012年10月期間意大利Velvet Club & Factory將舉行“上海之夜”
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