怎么了剧场

颜石林的毕业创作《一朵，两朵，三朵》中的人物洋溢着即时的、世俗的喜悦，同时期创作的《大城小事》也满是对市井生活的质朴表现。而在毕业后的《怎么了？》系列中却“雕”锋一转，进入一种生硬、质疑的气场中，世俗的愉悦与质朴被消解，这个消解的过程包含了主动的抗拒与被动的介入。

颜石林      

怎么了? 鸟飞绝

玻璃钢树脂　

24x30x114cm

2008

Yan Shilin

看到小熊的签名是'越是光鲜的人，压力越大',跟她开玩笑,问谁是光鲜的人,她问我,陈绫蕙自杀了你知道不 ,我起初以为她犯晕把唱歌的那位当成了开画廊的,后来想连我这等'娱乐盲人'都知道的新闻,她应该不会搞错.于是去确认,果然是开画廊的那位,不知道原因是什么,只能做无谓之感叹.

据报道,遗书有言,'我们累了',不知是哪方面累了?感情?生意?厌世?-----作为一个凡人,我能想到的原因不多,而且都很俗.夫妻感情,如鱼饮水,冷暖自知,那位一起自杀未遂被怀疑谋杀的丈夫正在接受审问,不知道最终结果如何.自金融风暴以来,变幻莫测的中国当代艺术在市场上表现起伏不定,画廊业经营面临困境是整个行业的共同问题,难道会是因为经济原因?陈绫蕙经营画廊多年,在业界享有良好的商业与学术口碑,在798的'帝门画廊'展示的都是中国及亚洲优秀的年轻当代艺术家的作品,更名为'陈绫蕙当代艺术空间'后品质如以往,并未发生大的变化,曾展览好友杨心广的作品,引得很多年轻人去观看.

崇宝：

   见信好，我在牢里，快半年了。从派出所到拘留所，从拘留所到北京收教所，再从北京到邯郸，辗转好几个地方，见了无数悲伤的人。我清楚这次牢狱生活对我的意义，使我一如既往地，坚定的信仰人。从这里每一个囚徒身上，我感受到的震撼，远胜于电视上播放60大庆的阅兵式，每一个生命都是一个奇迹。之前，在北京的两年多少和艺术圈之外的朋友交流，是我作为“自由艺术家”的悲哀，这次算是弥补吧。形形色色的人… … 真的… … 太酷了！比较深沉的那种酷。

我现在选择给你写信，是选择一个即将出去的心态，和你聊聊我这半年的生活。本来约好那周末去我家的，（但我在那周出事了）。我现在快出去了，也就是说，我的手上除了会有一个打火机之外，我可以自由的规定自己的活动范围，安排自己的时间。你现在的生活，就是这里每一个人的奢望。呵呵… ，（说真的）进来这么久，我只见过一次月亮，是晚上放风（烟茅）时，那天，让我非常激动，好像里面真的住着嫦娥一样，身体因喜悦而颤栗不已，这种经历在草原时也有过。

我是5月11进派出所的，因为嫖妓，还有一个兄弟—老蔡，06年认识的，你好像见过，很好的一个哥儿们，我们一起去的，除了

“Living elsewhere” exhibits the works of three artists, Lukas Birk (Austria/China), Lu Pei (Beijing), Yan Shilin (Beijing) that use the media of photography, sculpture and oil painting to question about human existence in the context of contemporary Chinese society. This research crossed the different dimensions and issues of time, space, life, and vestiges. The works presented by this exhibition involve all the above mentioned dimensions and by breaking the normality， try to demonstrate that mankind does not live in a pure, simple binary opposition world. The way we perceive space and time, the traces we leave in this world, are never well defined or real. These works want to push us to re-examine our existence environment and our own inner world from a more sensitive and poetic perspective.

'Life is elsewhere' is a quote from a poem of Arthur Rimbaud and also the title of a novel by Milan Kundera. Besides this it is also the them

In paintings of Lu Pei , everything is depicted with a cruel style, from cigarette butts and bottles to fresh fruits. In order to experience the aesthetic pleasure of such cruelty, the audience has to look at life with piety, and face spiritual pain with serene resignation. However, nowadays pain is not something that is often praised; instead everyone is supposed to feel happiness, a confusing happiness.

Paintings of Lu Pei are all about himself; they have nothing to do with other people or with beautiful sceneries. Cigarettes played a very important role in his path toward adulthood. A lot of people are used to cigarettes and smoking is even considered something glamorous and charming. However more often than not, cigarettes are used as a kind of anesthetic, a palliative that can relieve from pain and sadness. The existence of cigarette butts represents the false illusion of this relieves. While Lu Pei was at the college, the ateliers of the school did not pro

What’s Up？Theatre

 The characters represented in the graduation work of Yan Shilin 'One, Two, Three' are full of immediate, worldly happiness, and another work of the same period 'Leaving Me, Loving You' is a simple representation of the life in the city. However, in 'What's up?', an series he realized after his graduation, he turned to a more stiff style and to a more questioning attitude; in this process of change, the worldly happiness and simplicity have disappeared together with active resistance and passive involvement.

 The questioning of the artist toward his own living environment and a constant process of introspection, gave birth to the series 'What's Up?'. Right after having graduated in the Hubei Institute of Fine Arts, this guy who was a very talented student in the eyes of his teacher went to a remote village in the nearby of Beijing and started living in solitude, and this complete unfamiliar environment gave him

Presence and Absence: A Game of Time

No long after he moved to China, Austrian artist Lukas Birk took a series of picture portraying contemporary Chinese society titled “A Moments Departure”. If we’d look at this series as if it was just an ensemble of entertaining pictures, it would be hard not to merely reduce them to pictures portraying China seen through the eyes of a foreigner, and academics would maybe emphasize the novelty of a work about China realized by an artist with a western cultural background. But, due to lucky circumstances, these series of pictures became “a game of time”.

In the late 1980's an Austrian dentist was using Po

艾未未自94年归国以来逐渐成为国内外知名人士.

1957年出生北京，

1958至78年居住中国新疆，

1978年就读北京电影学院，

1981至93年居住美国纽约，

1982年帕森设计学院艺术青年联盟，

1994年返回中国北京；

1994至97年编辑艺术刊物《黑皮书》《白皮书》《灰皮书》，

                 中国艺术文件库展馆策展人，

1998年2004年为中国当代艺术奖评审团成员，

2000年在上海策划当代艺术展《不合作方式》，

2002年编辑《中国当代艺术奖1998-2002》，

       赫尔佐格·德梅隆建筑事务所顾问，负责国家体育场方案 

2004年在瑞士伯尔尼策划“麻将：希客收藏中国当代艺术展”，

2006年参加达沃斯世界经济论坛，

1993至今为画廊艺术总监、建筑设计、出版和评论；

个展

2008    “艾未未”，现代画廊，韩国

在场与缺席：一场关于时间的游戏

奥地利籍艺术家Lukas Birk刚在中国定居不久，拍摄了一组关于中国当代社会场景的照片，名曰《瞬间即逝》。如果只是普通的相机拍摄这些场景，难免沦为“洋眼看中国”之类的娱乐性图像或被学界人士阐释为一个具有西方文化背景的艺术家的猎奇之作。但因为机缘巧合，他的这组作品成为了一场关于时间的游戏。

作品信息(以下皆同):

Lukas Birk    

瞬间即逝

宝丽来669胶片,1991年过期,c-print,铝板装裱　

90x70cm  Edition of 8

20x