Month: Friday July 3rd, 2015

Guest: Davide Quadrio, Xiaowen Zhu

Date: 2014-09-06  14:00 ~ 2014-09-06  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

LANGUAGE: Chinese

Reservation via membership@chronusartcenter.org (please indicate your full name, contact information and the number of reservation)

ABOUT LECTURE:
40+4 Art Is Not Enough! Not Enough! is a series of videotaped interviews, by curator Davide Quadrio, filmmaker Lothar Spree, artist Xiaowen Zhu, with some forty Shanghai-based artists, dealing not with artwork per se, but rather with how artists themselves perceive their activity, their role and position in a changing, post-conventional society. It seeks to “map out” some of the contours of the city’s artistic imagination, providing a cartography of the force fields of its subjectivities. And above and beyond an unsparingly critical, and at times partisan analysis of artistic imaginaries, it provides a heuristic focus on the urban subjectivities of one of the contemporary world’s most intense urban experiments – Shanghai.

This interactive panoramic version of 40+4, which is currently exhibited at Chronus Art Center on AVIE, was made by Lothar Spree, Xiaowen Zhu, in the collaboration with Bernd Lintermann from ZKM Institute for Art & Media, in Karlsruhe Germany.

The event is not only a lecture, but also reunite the original interviewer, Davide Quadrio and Xiaowen Zhu, with their interviewees (some of them are invited to attend) seven years later. They will together read their memoris, in retrospect, and also explore how the “Art Made In Shanghai” has been changed in the past few years.

ABOUT SPEAKERS:
Davide Quadrio (IT) is a China based producer and curator. He founded and directed for a decade the first not for profit independent creative lab in Shanghai, Bizart Art Center, as a platform to foster the local contemporary art scene. In 2007 Quadrio created ArtHub Asia, a production and curatorial proxy active in Asia and worldwide. He is currently hosted by Shanghai Visual Art Institute, Fudan University, and he is part of the Scientific Committee of PAC, Pavilion of Contemporary Art of Milan as well as Artistic Director of Scene 44 in Marseille.

Xiaowen Zhu (CH/UK)  is a media artist, curator and writer, currently based in London. Described as a visual poet, social critic, and aesthetic researcher, She uses video, photography, performance, installation and mixed media as platforms to communicate the complicated experience of being an international and to wrestle with the notion of a disembodied identity. She is the first receipt of the TASML Artist Residency Award and Marylyn Ginsburg Klaus Post-MFA Fellowship. She was an artist-in-residence at ZKM | Center for Art and Media, Karlsruhe, Germany and V2_Institute for the Unstable Media, Rotterdam, the Netherlands.

Guest: Marc Glode

Date: 2014-09-02  19:00 ~ 2014-09-02  20:30

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

MODERATOR: Li Zhenhua

LANGUAGE: English (with Chinese translation)

Reservations via membership@chronusartcenter.org (please supply your full name, contact information, and the number of people attending)

Not only has the exploration of the medium of film joined such classic art forms as painting and sculpture as an integral part of artistic discourse over the past few years, but also engaging with the moving image has in fact become an ineluctable feature of artistic practice.

A growing number of museum shows and film series have repeatedly demonstrated the strong correspondence between the various arts, showing how closely film is interwoven with art production, and confirming the compelling influence it has exerted on the arts. Even new cinematic forms shed light on a wide variety of historical controversies, such as analog vs. digital processes, low-tech vs. high-tech, original vs. assimilated material, or documentary reality vs. fiction.

Against the backdrop of private collectors’ increasing interest and many museum institutions’ new awareness of their own expanding film collections, the aesthetic scope of cinematic art has now become apparent. Emancipated from the rigid structures of often almost paradigmatic self-reflection and formal orthodoxy, the artistic debate has developed new potential.

The aim of this talk at CAC is to reflect some of these new dynamics between the moving image and the art discourse and give an insight in the latest discussions and developments at art fairs, universities and the academy.

ABOUT THE ENCOUNTER:

This new series is initiated and curated by Li Zhenhua, invites several professionals who work for institutions. They will talk about the popular issues including museums, curators and art system. Through the encounters with these professionals coming from the mainstream art industry, we could understand better about how to be independent, autonomous, and free. Through the introduction of these institutions and their ways of working, we could take as reference and think about how to push forward the new and experimental arts. And in the same time, we aim to build more healthy institutional culture in the mainland of China. CAC Encounter is a platform for communication, it wishes to benefit the participants of the growing art system, it bridges between the West and the East, it attempts to think independently and keeping the mainstream in mind, so as for a better future of the art system.

ABOUT GUEST:

Marc Glode is an internationally acclaimed curator and art critic. His work focuses on the relation between images, technology, space, and the body, as well as the dynamics between artistic fields such as art/architecture, art/film, or film/architecture. He received his PhD in film studies from the Free University Berlin and taught at the Academy of Fine Arts in Dresden, the Free University of Berlin. Since 2013 he has been working as Assistant Professor at the ETH Zürich.

From the middle of the 1990s onward Glode worked as a curator. He was invited curator for the Experimenta Festival 2007 in Mumbai/Bangalore and curated the exhibition STILL/MOVING/STILL – The History of Slide Projection in the Arts in Knokke/Belgium. From 2008 until today he has been curator of Art Film, Art Basel's film programme. Some of his internationally outstanding curatorial projects include art berlin contemporary (Berlin 2010–2012), (Re-)locating the Self (Y8, Hamburg), and the film program of Beyond the Museum – The Art of Projection (Berlin, Hamburger Bahnhof). Most recently he curated the exhibition Tom Marioni – Actions 1969–2014 focusing on the work of conceptual artist Tom Marioni.

His writing has been published in Fantom, Texte zur Kunst, Parkett, Art in America and X-TRA Magazine, among others. His newest book Farblicht. R?ume., has just been published by Fink Verlag in 2014.

Marc Glode lives and works in Berlin (Germany) and Zürich (Switzerland).

ABOUT THE MODERATOR:

Li Zhenhua (CN/CH) has been active in the field of art since 1996. His practice mainly concerns curation, art creation, and project management. Since 2010 he has been the nominator for the Summer Academy at the Zentrum Paul Klee Bern (CH), as well as for The Prix Pictet (CH). He is a member of the international advisory board for the exhibition “Digital Revolution” to be held at the Barbican Centre in the UK in 2014. He has edited several artists’ publications (e.g. Yan Lei, Hu Jieming, and Feng Mengbo). A collection of his art reviews was published under the title “Text” in 2013.

Video：

http://v.qq.com/page/g/t/4/g0137qoryt4.html

Guest: Reto Thüring

Date: 2014-09-01  19:00 ~ 2014-09-01  20:30

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

MODERATOR: Li Zhenhua

LANGUAGE: English (with Chinese translation)

Reservations via membership@chronusartcenter.org (please supply your full name, contact information, and the number of people attending)

This new series invites several professionals who work for institutions. They will talk about the popular issues including museums, curators and art system. Through the encounters with these professionals coming from the mainstream art industry, we could understand better about how to be independent, autonomous, and free. Through the introduction of these institutions and their ways of working, we could take as reference and think about how to push forward the new and experimental arts. And in the same time, we aim to build more healthy institutional culture in the mainland of China.

CAC Encounter is a platform for communication, it wishes to benefit the participants of the growing art system, it bridges between the West and the East, it attempts to think independently and keeping the mainstream in mind, so as for a better future of the art system.

The Encounter is initiated and curated by Li Zhenhua, one of the first three guest speakers is Reto Thuring from Cleveland Museum of Art.

ABOUT THE GUEST:

Reto Thüring, joined the Cleveland Museum of Art in 2012, where he is responsible for overseeing the Museum’s collection of contemporary artwork and the programming of exhibitions at the Museum and the Transformer Station. Thüring obtained a PhD in art history from the University of Basel in 2011 with a dissertation on Venetian portraiture of the 16th Century. Since 2004, Thüring’s primary focus has been on working with contemporary art and artists as a curator, editor, and art critic. In 2007 he co-founded the association Kunstwollen. In 2008 he joined the exhibition committee of the Kunstraum Riehen where he curated the group exhibitions Tracing Reality (2009), Chasing Dreams (2010), and one-person exhibitions with Emilie Ding, Karin Hueber, Boris Rebetez, and Bernhard Hegglin (2011/2012). He also curated a solo exhibition of works by Josse Bailly (2011), the group shows Wall Floor Piece at the Von Bartha Garage (2011) and Kill All Monsters at the Ausstellungsraum Klingental (2014), and co-curated the group exhibition If I had eight hours to chop down a tree, I would spend six sharpening my axe (2012). Recent projects at the Cleveland Museum of Art include installations and solo exhibitions with Martin Creed, Fred Wilson, Janet Cardiff, Ai Weiwei, Damián Ortega, and the group show The Unicorn at Transformer Station. Upcoming exhibitions this year will include a solo exhibition featuring three monumental works by Jennifer Bartlett and the first institutional survey of the career of Julia Wachtel.

ABOUT THE MODERATOR:

Li Zhenhua (CN/CH) has been active in the field of art since 1996. His practice mainly concerns curation, art creation, and project management. Since 2010 he has been the nominator for the Summer Academy at the Zentrum Paul Klee Bern (CH), as well as for The Prix Pictet (CH). He is a member of the international advisory board for the exhibition “Digital Revolution” to be held at the Barbican Centre in the UK in 2014. He has edited several artists’ publications (e.g. Yan Lei, Hu Jieming, and Feng Mengbo). A collection of his art reviews was published under the title “Text” in 2013.

Video

http://v.qq.com/page/r/s/h/r0137zk7rsh.html

Guest: Zhao Qianfan

Date: 2014-08-31  14:00 ~ 2014-08-31  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

LIVE INFO MAPPING: Li Zhenhua, Hu Jieming, Hu Weiyi, aaajiao (Xu Wenkai), Wu Juehui, Yuan Keru (in no particular order)

LANGUAGE:Chinese

a New Series of Lectures on Art at Chronus Art Center——Lecture 2: Rethinking the Problem of Distraction

Reservations via membership@chronusartcenter.org (please supply your full name, contact information, and the number of people attending)

ABOUT THE LECTURE:

‘Distraction’ was a concept developed by German cultural philosophers in the early 20th century (Siegfried Kracauer, Walter Benjamin). In this lecture ‘distraction’ will be re-examined against the new developments of digital media and the internet. In relation to this a set of themes will be investigated, such as the transformation of the human apparatus of perception, the technological innervation of the bodily collective, and media space as play space.

Another highlight of this event is the 'Live Info Mapping', which will take place simultaneously with the talk. This will change the traditional binary relations within a talk – that of speaker/audience, and speaking/listening. The things which appear on the screen become divorced from the speaker. Instead, they are controlled and transmitted by a group of media artists, including Li Zhenhua, Hu Weiyi, Hu Jieming, Wu Juehui, aaajiao, Yuan Keru, etc. In this way a 'distractive' environment is established.

ABOUT THE SERIES OF LECTURES:

On the Borders of New Media Art: Creation, Spectatorship, Presentation, and Collection

New media art is generating a new sociality and reaching beyond our contemporary understandings of artistic theory and basic approaches, indicating ways to interpose into reality and history, providing a more general attitude towards political intervention, suggesting the total reform of the traditional art museum, creating different modes of observation, and so on. A great number of practices encourage us to reflect on methodology and epistemology. However, the arrival of a new mode of creation and exhibition is truly pushing us to face and summarize it in theory and practice.

Through a series of discussions, art theorists, philosophers, new media artists, and associated professionals engaged in the exhibition of new media art will be invited to launch a train of discussions addressing the core concepts of new media theoretical research, including distraction, consumption, contribution, solo, chat & curiosity, gossip & imitation, new comics, the re-criticism of Internet values, resistance & surveillance, the technological subconscious of semi-group, the fan economy, etc. In the lectures and discussions we are trying to explore and generalize some underlying prerequisites of theory and the principles of practice in new media artworks and their exhibition.

ABOUT SPEAKER:

Zhao Qianfan (1977–), Associate Professor in Philosophy, Tongji University, 2008–2009, German Chancellor Scholar of Alexander von Humboldt Foundation, in Philosophical Seminar, Hamburg University. 2013–2014, Visiting Scholar in Institute for Philosophy, Humboldt University in Berlin. Research fields: Frankfurt School (especially Adorno and Benjamin), Nietzsche, Mimesis theory.

ABOUT LIFE INFO MAPPING ARTISTS:
Li Zhenhua, hasbeen active in the artistic field since 1996, his practice mainly concerning curation, art creation and project management. Since 2010 he has been the nominator for the Summer Academy at the Zentrum Paul Klee Bern (CH), as well as for The Prix Pictet (CH).

Hu Jieming, was born in 1957 in Shanghai. He is one of the pioneers of digital media and video installation art in today's China. For more than two decades, Hu continuously conducts creation and experimentation via a variety of media including photography, video and digital interactive technologies. His works are widely exhibited.

Hu Weiyi (b. 1990, Shanghai) is a young Artist work and live in Shanghai, now continuing his studies as a graduate student of Zhang Peili at the Media Department of the China Academy of Art, after having graduated from the Department of Public Art at the China Academy of Art in 2012.

WU Juehui, Media Artist, Teaching at School of Intermedia Art, China Academy of Art, Art Director of UFO Media Lab, Recipient of TASML | Carroll Fletcher Residency Award @Eyebeam.

Aaajiao (XU Wenkai) was born in 1984 in Xi’an, and later moved to Shanghai, where he continues to live and work. Aaajiao is one of China’s foremost media artists, bloggers and free culture developers.

Yuan Keru, Artist, 1990 Born in Hangzhou Province, China, 2009 BFA, School of Inter-media Art, China Academy of Art , 2011 Experimental Image Studio, China Academy of Art, 2013 MFA, Experimental Image Studio.

ABOUT PLANNER OF THE LECTURE SERIES:

Lu Xinghua, teaches at School of Humanities of Tongji University and at the Center of Social Thought and Contemporary Art, China Academy of Art. His research interests go across modern Chinese politics, aesthetics and Chinese contemporary art since 1985. He was member of acting committee for 2010 Shanghai Biennale. His recent works include Against Claims from Contemporary Art (2012) and The Future of Political Art (2014).

Guest: Lu Xinghua

Date: 2014-08-23  14:00 ~ 2014-08-23  16:00

Address: Chronus Art Center (Room101, Bldg18, NO.50 Moganshan Rd, Shanghai)

LANGUAGE: Chinese

a New Series of Lectures on Art at Chronus Art Center——LECTURE 1:Some Theoretical Reflections on Hu Jieming’s Archaeology of Image in HisRecent New Media Works

reservation via membership@chronusartcenter.org (pleaseindicate your full name, contact information and the number of reservation)

ABOUT LECTURE

Thespeech mainly discussed that new media art have challenged our historicalsense,different mode of watching and exhibiting from Hu Jieming’s recent exploration.It introduced some theoretical subjects which are the most popular currentlyabout new media art to expand our understanding and reflection of new media artin practice.

Considerationsof Hu Jieming’s recent new media art work:

1.’Bound’ of new media art in his art work

2.The development of ‘Ink painting’ spirit in his new media art work

3.New sense about ‘Animation’ in his art work

4.Hu’s rearrangement of ‘Watching’

5.Impact of ‘Archaeology Image’ on historical view and practice

ABOUT SPEAKER

LuXinghua, teaches at School of Humanities of Tongji University and at the Center ofSocial Thought and Contemporary Art, China Academy of Art. His researchinterests go across modern Chinese politics, aesthetics and Chinesecontemporary art since 1985. He was member of acting committee for 2010Shanghai Biennale. His recent works includeAgainst Claims from Contemporary Art (2012) and The Future of Political Art(2014).

VEDIO:视频记录：
PART 1 ：
PART 2：

Guest: David Novak,YIN YI

Date: 2014-08-10  13:30 ~ 2014-08-10  15:30

Address: Chronus Art Center ( Bldg.18,No.50 Moganshan RD., Shanghai)

SPEAKER: David Novak
MODERATOR: YIN YI
LANGUAGE: English (with Chinese translation)

Free for admission. Please make reservation via membership@chronusartcenter.org (please indicate your full name, contact information and the number of reservation)

About Lecture:
What connects distant listeners to far-off worlds of sound? In this talk, David Novak will describe global circulations of experimental music, through his long-term research on an underground genre alternately called "Noise," "Noise Music," and "Japanoise." Noise first emerged in the 1980s, circulating on cassette tapes, and then CDs and digital media traded between fans around the word into the 21st century. With its ear-shattering sound and over-the-top performances, Noise captured the imagination of a small but passionate transnational audience. Noise always seems to be new, and to emerge from somewhere else: in Japan, it was "Noizu," while in North America, it became "Japanoise." Despite its marginality, Noise became a powerful metaphor for the complexities of globalization and participatory media. Global media circulations are grounded in the "cultural feedback" that develops in the overlaps and disconnections between separated groups of listeners and performers. In Noise, feedback is used by musicians to make sound, and becomes a mode of exchange in which scattered audiences distribute media and imagine a global underground scene. But feedback is also part of a creative subjectivity that reveals circulation as a central process of global culture, rather than as a secondary and separated context of transmission that moves culture and art from one place to another. The case of Japanoise reveals how discourses of musical globalization are continually reformed at the edge, through acts of sound-making, performance, and transcultural interpretations of popular media.

About Speaker:

David Novak is Associate Professor of Music at the University of California, Santa Barbara. His work deals with the globalization of popular media, noise, protest culture, and social practices of listening. He is the author of recent essays in Public Culture, Cultural Anthropology, and The Wire, as well as the book Japanoise: Music at the Edge of Circulation (Duke 2013) and is co-editor of the forthcoming volume Keywords in Sound (Duke 2015).

About Moderator:

Yin Yi is an Experimental musician, Sound artist, Phonographer, Curator. The music practice mainly focuses on laptop music performance and soundscape based on phonography in recent years. Conceptual sound works of Yin Yi usually center around two issues: listening awareness and the difference between vision/light and audition/sound. In the past two years, Yin Yi has paid close attention to the artistic ecology of the experimental music and sound art in China, his recent curate activity including “2013 SAVAKA: Asia Experimental Music Currents” with Rockbund Art Museum.

Video：