出生于20世纪80年代的青年艺术家齐佳铭选择了工业产品——汽车，机器人等作为创作的素材。此前选择这类素材的艺术家都徘徊于塑造大而刚的工业产品形象，而齐佳铭另辟蹊径以一种“软体”工业产品的形象示人。他所创作的作品都是以软体填充物、仿毛皮、柔和的LED灯光等为原材料，经过细致的手工制作而成，在作品形象、质感、观念诸多方面使人耳目一新。他的这种“软体”美学直指社会发展和人的心理深处，用极轻的材料指涉到了社会与人的不能承受之轻。

在“悍马”系列中，对悍马车的坍塌感处理挑战了人们对悍马车的日常视觉经验，艺术家的出发点是关注奢侈品在人们的消费心理层面的异化，从而把这种异化跳跃至一个极端，从一个极端的威武高大，坚硬刚强的形象跳跃至极端绵软、坍塌，赋予了奢侈品常规概念之外的含义。坍塌的如一团鼻涕的悍马车曾经是个人至上主义，社会消费主义，国家单边霸权的综合象征，这一切在坍塌，但在一些地方正在兴起、异化，所以，这件作品挑战的不仅仅是奢侈品的概念和个人的消费心理与态度。

在“解放”系列作品中，他将视角转向了对生产力、历史发展与个人成长的思考。“解放”作为一个政治理念，

可以说你的画描绘的都是遗留的痕迹，人造的痕迹，时间的痕迹，你怎么看待这些痕迹？或者说是遗迹？

陆佩:任何一处痕迹都代表着一个创伤，影响。人为的，环境的，自身的......我尽力把每个痕迹都画的很真实，是希望它能赤裸裸的呈现人和夸张所承受的各种影响，人思考的无奈。

你的画的主题和色调似乎很沉闷，残酷，是你的情绪的反映吗？

陆佩:是我这阶段对生存状态的感想。人活着就是很残酷的。我是带着描绘人，描绘自己的感觉在绘画。我要做的就是以不入尘事的平静去表现心中如困兽般的压抑。当然，对于水果，我觉得岁月，平平淡淡才是真。无论经历什么坎坷，到头来静如止水。这可能也是我的希望吧。我尽力把画控制于这种感觉中。

你抽烟也是一种消费，能否给你带来快感？但这种消费给观者带来的是确切的阴郁与沉重，你怎么看？

陆佩:快感当然谈不上。但还是能缓和情绪，平静心情。如果抽烟是代表愉悦的话，也许我就不会画它了。我就是希望给人抑郁，思考的感觉。而且越强烈越好。观者第一眼能有这种感觉说明在这方面我还是做的比较到位的。只是不希望他们

随着22名当代院士名单的出炉,我们似乎能看到这个名单背后对各方面利益的照顾和各种关系的妥协,学院院长,业界耆老,江湖老大,御用艺术明星,名商富贾,热闹非凡,还有一位尚健在人世便整理文献供后人缅怀的老大.当代院士的核心任务是学术研究创作,让我想起可爱的侯一民先生,大二那年去他在戒台寺的豪宅,老先生勉励革命现实主义创作者们说:上面现在有意思再创作一批革命题材的作品.估计老先生没想到几年以后,'上面的意思'已经有了可以名正言顺的执行机构,不用再象开国大典一样成为个人的殉难,不知以后是否会出现这样的作品落款'中国当代艺术院集体创作,XXX执笔(说得'当代'点,应该叫'执行')'.

围绕当代院的争议以对'招安'的质疑与辩护为核心,同为艺术从业者的对抗游戏.既为'从业',就要为'稻粮谋',各说各的戏词不足为奇.我所关心的是这些举措是否能促进中国当代艺术的正常成长,创造更为宽松的环境,还是设置了更多隐形的枷锁?就如一些不断的游行抗议只是为了老百姓争取更多人道人性的福利待遇,而另一些游行抗议则是以人体为武器争取党派执政利益.以如此鄙俗之事喻指阳春白雪的艺术,见笑于大方.

'以国家的姿态成立一个专门研究当代艺术

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