Shaofeng Duan graduated from Central Academy of Fine Art in 2013 majoring in Humanity and Art Management. He currently lives and works in Beijing. He was a juror of Art Award of China (2014), a winner of the Art Personal Promotional Prize of Signature Art Prize China (2020), and a special guest juror of Artnova100 (2020). To date he has curated and participated in the following list of shows and exhibitions: Discover: Film Showcase of The New Generation (Central Academy of Art, Today Art Museum, Central Academy of Art Museum, Star Gallery, 2012). Hou Sha Yu Era: The Hidden Moving Image (Yan Huang Art Museum, 2014). Coming Out of the Cabinet (BTAP Tokyo Gallery, 2014). The Model of the World, Zhangzhou International Contemporary Art Exhibition (Zhangzhou Museum, 2017). Unspoken Understanding, the exhibition of Xu Bing, (Suzhou, Eslite Bookstore, 2017), Art Beijing Public Art: Art Park (National Agriculture Exhibition Center. 2018), Mei Exhibition 2018, (Shanghai Himalaya Art Center, 2018), Orchids in Heart, Chen Qi and his students (Eden Art), Crawling Ants: Chen Zhiguang (Shanghai Bao Long Museum, 2019), and Undefined Future (Wuhan, He Museum, 2019).
作品两则 Two Selected Works:
花家地: 单元房艺术项目 Hua Jia Di Biennial: The Apartment, 2016
In November 2016, curator Duan Shaofeng rented a residential apartment unit in Beijing Hua Jia Di housing complex to conduct a community art project. Hypha Art and Self Gallery sponsored this project. Using the old residential unit as a base, Duan conducted a community art experiment in Hua Jia Di District. Each week, an artist or an art group was invited to occupy this apartment unit and activate the space with their art practice. The experiment lasted 34 weeks and launched 34 week-long exhibitions: 9 To 5, Wang En Lai: AirBnB, Gao Zhen Peng: Green Star Embassy, Onlooking! Onlooking!, The 1st Hua Jia Di Biennial, Shuangfei Art Center, Qin Guan Wei, 20-day Artist Incubator, Guo Ya Guan: Sevin Sins, Zhang Zhe Yi: Light Day Care, Cao Jiu yi: Hua Jia Di Folk Music, Zhang Li Tao: Drawing Li Tao, Sun Yi Dian, and Pia Pia Pia, Zhao Tin Bin: Welcome Spring. The art projects selection formed nuanced dialogues with the particular spatial arrangement of the apartment unit, and built meaningful connections with the larger communities beyond the 50 square meters exhibition space.
Duchamp’s Fountain in 1917 was one of the most famous jokes in art history. He gave a title to a urinal and signed his name on it. Later this urinal appeared in front of the public as a work of art. Since 1964, replications of the fountain have exhibited at many world famous museums and galleries. While Andy Warhol’s joke has become a new classic, Cattlan’s joke also stayed relevant, and there are still countless other jokes in art history that are worth our time revisiting. Andy’s Joke invited 26 artists and their “jokes”. We make jokes out of warmth, vulnerability, wisdom, or perhaps purely just out of jokes. These jokes inspire discussions around the crucial question of “what is art”; as long as the discussion continues, there will still be endless possibilities and borderless dimensions for more art to be created and generated. This time, AC gallery has brought to the audience 26 artistic jokes. What lies behind these jokes? The audience will have to come up with their own answers.
安东尼奥·迈克菲 Antonio McAfee (华盛顿哥伦比亚特区 D.C.)
Antonio McAfee 是一个成长和生活在巴尔的摩的摄影艺术家。他从美国华盛顿特区的Corcoran College of Art and Design艺术学院取得了摄影专业学士学位, 并从费城宾夕法尼亚大学取得了摄影艺术硕士学位。之后, 他又从南非约翰内斯堡的威特沃特斯兰德大学获得艺术及文化管理的博士学位。他近期艺术作品展出的机构包括: 沃尔特艺术博物馆, 马里兰大学, 巴尔的摩郡Albin O. Kuhn收藏馆, The Print Center 艺术中心, Elsewhere Museum博物馆, 巴尔的摩当代艺术馆等等。他是马里兰州洛克威尔市的VisArts艺术中心的驻地艺术家, 也曾受邀参加华盛顿的Wesley Theological Seminary艺术驻村项目, The Contemporary Museum Artist Retreat 驻地项目, Can Serrat艺术驻地项目(西班牙) , 和Vermont Studio Center艺术驻地项目等等。McAfee目前任教于Towson 大学, Loyola 大学, 马里兰艺术学院和美国大学(American University) 等。
Antonio McAfee is a photographer raised and based in Baltimore, MD. He received his BFA in Fine Art Photography from the Corcoran College of Art and Design and MFA from the University of Pennsylvania. He received a Post-Graduate Diploma in Art in Arts and Culture Management from the University of the Witwatersrand (Johannesburg, South Africa). Recent exhibition venues include Walters Art Museum, Kreeger Museum, The Print Center, the Institute of Contemporary Art in Baltimore, Academy Art Museum, and University of Maryland, Baltimore County’s Albin O. Kuhn Special Collections Gallery. Antonio is an Artist in Residence at Vis Arts (Rockville, MD), Vermont Studio Center, Can Serrat (Spain) and Wesley Theological Seminary (Washington, DC). McAfee is a professor at Towson University, Loyola University Maryland, Maryland Institute College of Art, and American University.
作品两则Two Selected Works:
“主题和变化”系列 Theme and Variation Series, 2016–至今 ongoing
D’Angelo as Mary Magdalene | detail, 2016
丙烯酸材料, 着色剂, 彩色印刷 Acrylic medium, pigment ink, and pigment print | 40” x 100″
安装图 Installation view, 2018
该作品整体来看, 是一件黑白灰作为主色调的印刷综合材料艺术装置, 描绘的是一系列美国黑人音乐明星人像, 身体部分则由无数以肖像为主的摄影类感光印刷品通过重叠拼贴的方式构成。该系列作品涉及的音乐人包括D’Angleo, Sly Stone 等。他们的音乐创作方式对艺术家产生千丝万缕的影响, 包括有的音乐人习惯在狭小暗淡的空间中进行创作, 而不少歌曲中的歌词内容, 也唱出了对于黑人在美国生存状况的关注以及对黑人所受的不公待遇的批判。作品躯干部分的摄影素材则来自1900 年的一场在巴黎举办的The Exhibition of American Negroes (美国黑人展) 展览品的复刻印刷品。那次展览在当时引起了不少关于黑人工作, 生活和维护权益状况的探讨。艺术家通过将象征历史遗留议题的复刻相片拼构成身躯, 头部则是当代黑人精英的形象。从寓意历史厚重感的身躯自下而上到体现当下黑人精英形象的脸庞, 仿佛诉说着当下并非平白无故, 历史的渗透依旧存在。当下由历史构成, 少不了历史的影子。关于黑人和种族的讨论直到现在依旧不曾停止, 艺术家作为一名非裔, 用经典复制及移花接木的方式, 尝试营造一种新的语境和视觉叙事, 对黑人群体的过往和当下作着新的提问和思考。
Theme and Variation is a mixed media art installation series featuring large scale portraits of famous Black musicians. The artist used copies of Thomas Eskew historical studio portraits as building material and created the portraits through abstract collaging inspired by some of his favorite musicians and their music making. The source portraits, originally exhibited as part of Du Bois and Calloway’s 1900 Paris World Expo exhibition, highlighted many aspects of African Americans’ lives, including business enterprises, social life, and education. Through copying, transferring and collaging, the artist manipulated these historical images through disembodiment, attacks, fragmentation and abstraction. In the remade portraits, one could still see remnants of faces, noses and mouths from the historical figures. On top of the constructed bodies sits faces of iconic contemporary black Americans. Through the artist’s cultural lens, Theme and Variation outlines a contemporary landscape where Black Lives Matter movement and racial conflicts are still prominent and recontextualized it with a complicated history full of silenced, distorted and contradicting records. Even till today, these historical accounts are still engaged in imbalanced power dynamics, remaining unresolved, shaping every single aspect of our lives and tirelessly questioning the future that we as a whole society are heading towards.
当天堂在哀悼 When Heaven Mourned, 2018
丙烯材料及彩墨 Acrylic medium and pigment ink | 40″ x 72″(101.6cm x 182.8cm)
Racial conflict has a long history in the US. This history has largely shaped the present. This year, we have already seen too many cases of police brutality against Black Americans. The recent case of a black youth being shot and killed by the police in DC has brought the ongoing Black Lives Matter movements to a new climax. McAfee’s When Heaven Mourned provides a powerful reflection on this topic inspired by his personal experience. Coupling jacaranda flowers and portraits of two cousins who passed away from gun violence, the artist created a large floral shaped wall-mount installation. This flower grew out of the artist’s lived experience, influences from Hip Hop lyrics, and social contexts of systemic oppressions against Black Americans. Despite the trauma and bitterness, the artist has dedicated this blooming flower to a future of hope and tranquility.
Yin Yadi, born in 1993, holds her BFA in oil painting from Hubei Institute of Fine Arts. She has been working in galleries for more than three years. She also works as an art writer for years. Having experienced the renaming of SPURS Gallery and its expansion of off-line and online business, Yin is primarily in charge of domestic and international media promotion and the composition of the archives of artists and exhibitions. Previously, she worked as shop assistant, gallery guide, artist’s assistant, support crew in art galleries, journalist and editor in non-profit art institutions including: YUZ Museum, IFP, Migrant Bird Space and Artsky. She moved from Shanghai to Beijing in 2016, and since then she has kept once moving a year across the city. In her art practice, she tries to diversify her passion for writing from multiple points of view. So far, over a hundred of her articles have been published on different art platforms, including magazines and other media, namely T Magazine China, 卷宗Wallpaper*, The Paper, Art and Design, 798 Art and Artsky. She also runs her own Wechat art platform “monAmie24” which keeps publishing original articles about art and pan-culture.
Purely by accident, after graduating from college, my aunt who lived in Shanghai recommended me to interview for a job position in marketing. She was kind enough to offer her own place as my temporary shelter before I could gain some stability. I immediately agreed to her suggestion and arrived in Shanghai with only a suitcase. I interviewed for the marketing position in the morning. That same afternoon, I secured a junior painting assistant position with a decorative painting vendor located in the M50 District. My contract was not renewed when the 3-month trial period was up. At that moment, I realized what it was like to be a migrant worker.
Back then, I rented a small “room” in a group rental apartment in Shanghai’s old district. Under the same roof lived more than a dozen people; each person’s private living space was defined by room dividers. I didn’t complain as I knew it was an important first step for me towards an independent, self-sustaining adulthood. I was always impressed by how many tall buildings there were surrounding my little group rental apartment. I still remember hanging up my laundry outside on the small public balcony in Shanghai’s drizzling weather in late spring. Sometimes my colleagues would tell me stories about their parents who were first generation Shanghai “immigrants”. Earning only median income, till today they still struggle with expensive bills that come with this glamorous city life.
I spent the most time working at the Museum Store during my internship with Yuz Museum Shanghai. The store was public facing, and I could see the museum director meeting with the exhibition team, attending to visiting artists, curators, foundation representatives and other art professionals. I witnessed government officials come for a tour. I monitored the foot traffic of everyday museum visitors. I observed how security work unfolded and how services were offered in the museum cafeteria… The museum operates like an organic being with all these smaller moving parts. Recalling that experience, I feel grateful for the eye opening experience.
After the internship, I went on a 6-month gap period. My boyfriend at the time encouraged me to open up a WeChat public platform. It was the year of 2016 when the concept of “self-media” was first gaining traction; people gradually recognized its importance for business promotion. Running a WeChat public platform almost felt like starting up a business. At the beginning, I was only writing about the artists I liked and stories of my friends. It was more like a personal hobby. As more and more friends began to share my articles, I started to treat my writings more seriously. This WeChat public platform also helped with my transition from Shanghai to Beijing: it helped me secure my first and second jobs in Beijing. My first position was with IFP, an independent art space located at Heizhima Hutong (IFP relocated to 798 later). After that I was offered a job at Artsky(空艺术) , a less-edgy independent art organization that focuses on new media. I would say these were my first professional encounters with the field of contemporary art.
The old IFP space at 13 Black Sesame Hutong in Beijing
I have been working at this gallery for about three years now. I’ve had first hand experience of promoting and distributing artists’ works. I have closely worked with our sales team. I have witnessed real interactions between artists and gallery owners and collectors. It has been a demystifying process for me personally, as my imaginations of “society” and “the real world” become more and more grounded in “reality”. I am learning to embrace and enjoy this reality, even though there is still distance between us. Trying to see everything as part of this “reality” and accepting its existence has become my exercise and brings me a lot of fun.
To me, either in Beijing in Shanghai, the concept of “centric” is still an imagined concept. I highly identify with the idea of “surplus” — I believe that culture and art is the surplus value of GDP. Its values are grounded in the image of “overflowing” rather than “excess’, which constitute different aspects of the same thing. I know the average income level of art professionals and am well aware that many people consider this NOT as a sustainable way of living. However, I disagree with treating art professionals as an isolated island or field — it is merely a result of professional segmentation, and how to manage development, sustainability and success is every person’s own business once they’ve chosen to enter this field.
Bringing together our own individual flow of energy, we make waves of integration and exchange. Each individual’s true and honest way of living represents an important and unique stroke on the global picture.
“王加加; 锃光瓦亮”, SPURS Gallery, 2020, 开幕现场
The opening reception for the artist, Wang Jiajia, at SPURS Gallery, 2020
大杉尚子 Naoko Wowsugi (华盛顿哥伦比亚特区 D.C.)
大杉尚子,一位有着日本和韩国血统的女艺术家, 目前工作生活于美国首都华盛顿 DC。通过将视觉艺术, 地区研究以及社区介入实践相结合, 大杉的作品强调和强化日常性, 社区行和人际间的身份议题。大杉从弗吉尼亚联邦大学取得艺术硕士学位, 从堪萨斯城艺术学院以及大阪艺术大学分别取得艺术学士学位。她近期的代表性展览有: “Fungus Among Us”, Redux 当代艺术中心, 查尔斯顿, 南卡罗来纳州 (2019); “Open Engagement”, 纽约昆斯博物馆, 昆斯, 纽约州 (2018); “Ae Kai: A Culture Lab on Convergence“, 史密森学会亚太美国人中心, 火奴鲁鲁, 夏威夷州 (2017); “The Outwin: American Portraiture Today“, 史密森学会肖像画廊, 华盛顿特区 (2016) 等等。
Naoko Wowsugi, an artist of Korean-Japanese descent, based in Washington, D.C. Using combined practices of visual art, local research, and community participation, Wowsugi’s projects highlight and fortify everyday communal and interpersonal identities. Wowsugi received an MFA from Virginia Commonwealth University and a BFA from both the Kansas City Art Institute and Osaka University of Arts in Japan. Notable recent exhibitions and talks include“Fungus Among Us” at Redux Contemporary Art Center, Charleston, SC (2019), “Open Engagement” at Queens Museum, Queens, NY (2018), “Ae Kai: A Culture Lab on Convergence,” presented by the Smithsonian Asian Pacific American Center in Honolulu, HI (2017), “The Outwin: American Portraiture Today,” at the Smithsonian National Portrait Gallery Washington, DC (2016).
作品两则 Two Selected Works:
持续自然的生长 Permacounterculture, 2016
项目举办地: 汉密尔顿画廊, 美国华盛顿特 Permacounterculture took place at the Hamiltonian Gallery, D.C.
Taking its namesake from the ecological notion of ‘permaculture,’ characterized by its reciprocal self-sufficiency and community ethics, Permacounterculture synthesized DC punk music, urban farming, and diverse communities to advocate for food justice in rapidly-gentrifying Washington, D.C. The project catalyzed points of connection between local cultures to convey the strength of community through history and potential for regrowth. Permacounterculture finds its momentum once the wheatgrass is juiced into free shots that energize the performers, the audience, and the wider DC community as a whole.
鲜味发展中心 The Umami Taste Development Center, 2018
纽约州奥斯布瑞公园 The Umami Taste Development Center took place at Asbury Park, NJ
Umami (/uːmaːmi/) is one of the five basic tastes, after sweet, sour, salty, and bitter. At The Umami Taste Development Center in Asbury Park, NJ, participants received ‘Umami training’ by sampling five different umami broths sourced from the local ecology, including, tomato, seaweed, mushroom, lobster, and finally, a mixture of all. Umami Gurus, including an activist, a yogi, a chief, and a farmer from the local community, guided the group through a meditation and sharing stories of food-injustice, food-insecurity, and environmental impact at large. By stimulating participants’ taste buds and epiphanic realizations, participants channeled other senses and opened new avenues of appreciation for the universe. Everyday we encounter a variety of tastes through consuming food, which can be compared to the diverse “tastes” that we have to pick up and swallow from different occasions of life and work. Living in fast-paced metropolitans, what are your sweet, sour, salty, bitter, and umami moments?