展览时间：2011-07-16 ～ 2011-08-14
“Certain Pleasures: Zhang Peili Retrospective Exhibition”
Minsheng Art Museum
16 July - 14 August 2011
A retrospective exhibition of artist Zhang Peili, hailed as a key figure in the histories of Chinese video art, will be held at the Minsheng Art Museum from 16 July to 14 August 2011, gathering and exhibiting 23 works produced between 1988 and the present. Many of these projects are presented in a scholarly institutional context for the first time, offering a comprehensive background to the use of electronic media within contemporary art in China and providing an important window into a practice that has been enormously influential over younger generations of experimental artists.
As a central figure of the 85 New Wave movement, Zhang Peili played a role in the founding of collectives like the Pond Society and was one of the core advocates of the school known as “rational painting.” In 1988 he created what is commonly known as the first piece of video art created in China with 30x30, thus entering into a sustained investigation of video and related media including photography, installation, and electronic art. Typically adopting a minimal or reductive position that constructs an essential relationship between the aesthetics of video playback technology and the moving image itself, Zhang Peili’s video installations focus on questions of perceived reality, media convention, individual agency, and spatial structure.
This exhibition collects work from all of Zhang Peili’s major periods, beginning with the cool and contained painting of the mid-1980s and then moving into the aesthetics of boredom and control in his first video projects, including both 30x30 and Document on Hygiene No. 3 (1991), in which the artist calms and washes a chicken at the center of the frame. Classic works from the 1990s are well-represented, as with Uncertain Pleasure II (1996), in which a hand scratches every corner of a naked body depicted only in fragmentary close shots across 10 channels, and WATER- Standard Version from the Dictionary Ci Hai (1991), for which a television announcer reads a dictionary entry as if it were the evening news. And then there are the appropriation and remix works, as with Last Words (2003), for which Zhang Peili edits together found footage of Cultural Revolution-era propaganda films to create an uninterrupted stream of the dying words of martyrs. In a final section, Zhang Peili’s most recent works, both interactive closed-loop systems like Live Report-Evidence No. 1 (2009) and theatrical scenes like A Gust of Wind (2008), are shown alongside a new commission.
Born in Hangzhou in 1957, Zhang Peili was trained at the Zhejiang Academy of Fine Arts, graduating from the oil painting department in 1984 on the cusp of the aesthetic upheavals of that decade, and returned to the China Academy of Art as a professor in 2002, where he is currently responsible for the Embodied Media Studio of the School of Intermedia Art. His work has been collected by major global museums including the Museum of Modern Art and the Centre Pompidou.
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