0°Space 空间的零度
空间的零度
参展艺术家：郭鸿蔚、蒋鹏奕、罗晓冬、吴晓航、周俊辉
策展人：翁志娟
开幕：4月16日下午3点半
展期：4月16日—5月15日
艾可画廊荣幸的宣布将于4月16日举办由五位艺术家参加的“空间的零度”展览。
“空间”的概念不仅包括了物理空间、意识空间，还包括其它各种综合性空间，“零度”经常被喻为空无所有，在这里指的是中性、客观性、无趋向性和独立性，“空间的零度”指回归到空间的原点，注重的是空间形式本身，但它不是孤立存在，强调了一种意识形态的介入。展览标题来源于罗兰·巴特提出的“写作的零度”与丹尼·布伦曾经实践过的“绘画的零度”。此次参展的艺术家们在各自的研究领域将“空间”作为独立客体和观察思考的对象进行了一次全新的创作。
周俊辉对于空间的考察是从他一贯的艺术史角度出发，契里柯《一条街道的神秘和忧郁》画面中的空间有着非理性的秩序和哲学意味，他选择了这件对自己有影响的作品进行消解与重构，制作成由无数张小照片拼成的摄影作品，每张小照片的内容都是一个完整的空间，周俊辉在现场把自己的影子画在墙面上，以此打通现实与历史相隔的空间。
罗晓冬的空间实践针对的是艺术体制内部发生的各种变化和可能性，例如通过工作经验和专业背景所获得的一些身份认同，它涉及到艺术机构、艺术家、画廊主、策展人、东西方文化的对比、性别差异等，罗晓冬将举办此次展览的画廊主Roberto Ceresia与策展人翁志娟的剪影描绘在展厅的两堵垂直墙面上，呈现对话模式的两张空椅子被置于画面之前，它们所形成的空间关系构筑了一个达成沟通的场域。
蒋鹏奕在新作中探讨了社会和政治实践的空间，作品《不被注册的城市》将巨大城市空间中的高楼大厦置于充满建筑遗骇的狭促空间中，时空错置带来的矛盾感呈现出中国在现代化进程中由于过度建设而引发的危机。这一系列的其它作品使蒋鹏奕在不久前获得法兴银行中国艺术奖2010评委会大奖。
另外两位艺术家的作品分别涉及公共空间与私密空间话题。吴晓航使用个人化的语言来描绘公共空间中的墙角、柱子、窗户、转角等建筑结构，这些绝对的、静止的、形而上的无名场景与她曾经在德国生活时受到的影响有关。郭鸿蔚用接近单色的水彩来描绘漆黑的房间、窗台与窗帘、角落、插座等，图像来自于房屋中介公司网站上的出租屋照片，这种拍摄粗糙只剩结构与光线的空房间符合他个人对于空间美感的要求，作品既富有诗意也是个人情绪与记忆的物化。
时间：上午10 点— 下午6 点
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邮箱：shanghai@dearco.it
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0° Space
Artists: Guo Hongwei, Jiang Pengyi, Luo Xiaodong, Wu Xiaohang, Chow Chun Fai
Curator: Weng Zhijuan
Opening: 16 April, 3:30 pm
Time: 16 April － 15 May
Aike–Dell’Arco is pleased to announce the group show “0º Space,” opening on April 16.
Here “space” is not merely suggesting physical space, nor is methaphorically standing for the domain of consciousness,
but rather has the broadest sense of the word. While the notation “0º” is often understood as absolute nothingness,
here it hints at neutrality, objectiveness, inertness and independence. So “0º Space” refers to the return to the origins
of space itself: what receives the focus is the spatial form itself, which does not exist as an isolated form; what is
emphasized is an ideological intervention.The title of the exhibition derives from Roland Barthes’ Writing Degree Zero
and Daniel Buren’s Degree Zero Painting. The participating artists in this exhibition have created new works in their
respective domains that look at “space” as an independent object and as an object of observation and reason.
Chow Chun Fai’s investigation of space starts from his usual arthistorical perspective. The irrational order and
philosophical significance of the space within Giorgio de Chirico’s painting “Mystery and Melancholy of a Street,” which
deeply influenced Chow Chun Fai, urged him to break down and reconstruct De Chirico’s masterpiece, producing a
photographic mosaic composed of many small photographic elements. The content of each small photograph is itself an
exhaustive space. The shadow of the artist painted on site, resolve the boundaries between reality and history.
Luo Xiaodong’s spatial practice deals with the various transformations and possibilities within the art system, as in this
case, the recognition of identities obtained through work experiences and professional backgrounds. This piece involves
art institutions, artists, gallerists, curators, as well as the contrast of East and West, and sexual differences. Luo
Xiaodong painted the silhouettes of gallery owner Roberto Ceresia and curator Weng Zhijuan on two walls in the
exhibition space, in front of which are placed two empty chairs that present a model of dialog. The spatial relationships
thus formed construct an arena where communication has been reached.
Jiang Pengyi’s new work investigates the spaces of social and political practice. His “Unregistered City” places the
skyscrapers of immense urban spaces in cramped spaces packed with skeletons of architectural ruins; through the
contradictory feelings aroused by displacing time and space, the work presents the dangers arising from overbuilding in
China’s modernization. This series has recently won Jiang Pengyi the Jury Grand Prize of the Société Generale’s
Chinese Art Awards in 2010.
The works of the other two artists deal with the topic of public and private space. Wu Xiaohang uses a personal
language to depict architectural elements in public space, such as the corners in walls, pillars, windows, streets corners,
and so on. These anonymous scenes—absolute, still, metaphysical—are connected to her impressions while living in
Germany.
Guo Hongwei’s watercolors use minimal signs and an almost monochromatic palette to render a series of empty rooms,
reproducing images found in a real estate agency website. These desolate and bleak spaces for rent, roughly
photographed for practical purpouses, once filtered through the artist’s own subjectivity, become the materialization of
his personal aesthetic, wherein properties and characteristics of physical space dissolve into an ethereal and
undefined light.
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Address: China: 2/F, No. 1 Building, 50 Moganshan Road, Shanghai 200060
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