徐震

Eternity Buddha in Nirvana

source: aaaorghk

Xu Zhen is one of the most interesting and promising artists working in China today. An irreverent artist with a voracious appetite for global information and a unique ability to produce work across multiple platforms and media, Xu Zhen is a key figure in the Shanghai art scene and a foundational figure for the generations of Chinese artists born since 1980.
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source: randian-online

徐震 (1977年生于中国上海) 的艺术实践涉及众多媒介，包括绘画、雕塑、机械装置、录影、摄影和行为等，且经常糅杂于一件作品中。“徐震：没顶公司出品”在UCCA大展厅呈现，包括逾50件装置、10件录影、40件绘画、拼贴和多件行为作品，展览脉络十分清晰：从徐震1990年代末的早期个人创作，到2009年创立没顶公司之后的集体身份创作，再到2013年没顶公司推出品牌“徐震”并发布一系列重要新作。

展览标题“徐震：没顶公司出品”揭示了长期以来徐震的个人实践和他所根植的上海当代艺术圈之间的关系。自2009年开始，徐震将个人的艺术创作绑定在“生产当代艺术”的没顶公司名下，作为公司老板继续策划专案、制造作品并以集体的名义参加展览。没顶公司体现了徐震的独一无二之处：将艺术实践、策划和推广融于一身，综合构造了其多元化的艺术生涯和在上海艺术领域的特殊地位。这种消解自我角色的创作方式是对当代艺术体系中的身份政治的反叛，自1997年徐震开始艺术创作至今，他的作品一直是集体力量的产物。

馆长田霏宇认为，“自新世纪之初，徐震在怀疑、行动、思考和不断实践中形成独特的体系，造就了中国当代艺术迄今最具说服力和自省精神的一系列作品。我们期待向更多尚未熟知这位杰出艺术家的观众们介绍和展示他的重要创作。”

徐震以其惯有的嘲讽姿态介入庞杂多变的论题，近似于伊夫•克莱因式的恶作剧：从《看见自己的眼睛：中东当代艺术展》(一个充斥着虚构的中东艺术家作品的“群展”) 中的跨文化政治和国际视角，到《饥饿的苏丹》(在展厅内原样重现了凯文•卡特摄于1994年的同名代表作) 中的关于种族和苦难的窥私癖与道德焦虑，再到《8848-1.86》(徐震“锯掉”了等同自己身高的珠穆朗玛峰顶，并运到美术馆参加展览) 对当代艺术系统的游戏规则的调侃。综合来看，徐震的艺术实践反映了艺术家个体对于国际当代艺术系统和游戏规则的持续关注及深刻质疑，而“中国当代艺术”这一标签是最直接的例证。徐震反复地探测那些侵蚀观者的视觉经验的仲介物，尤其当物件是异质文化时所产生的转译问题。

“徐震：没顶公司出品”将呈现他的一系列代表作品，包括创作于1998年的录影《喊》，徐震在拥挤的城市街头突发性地喊叫，只是为了捕捉数百名路人在瞬间的惊望回头和各种反应，这件作品使他成为迄今为止参加威尼斯双年展主题展的最年轻的中国艺术家。2007年的装置《香格纳超市》则按照原比例在迈阿密巴塞尔艺术博览会的现场复制了一个上海便利商店，货架上摆满了被抽空的包装、标价售卖的只是徒有其表的外壳，在艺术市场泡沫即将破灭的当时引发了大规模的争辩。在2013的新作《意识形状博物馆》中，徐震以一系列社会、宗教和政治的规准去陈列考古学及人类学文物——实际上只是摆放同样的照片——对地点或时间的起源则毫无尊重。
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source: uccaorgcn

An irreverent artist with a voracious appetite for global information and a unique ability to produce work across multiple platforms and media, Xu Zhen (b. 1977) is the key figure of the Shanghai art scene and a foundational figure for the generations of Chinese artists born since 1980. Including over 50 installation pieces, 10 videos, 40 painting and collage works, and several performances, together filling UCCA’s signature Great Hall, this exhibition spans Xu Zhen’s early works made in his own name beginning in the late 1990s, works produced under the “contemporary art creation company” MadeIn Company which he founded in 2009, as well as major new pieces produced specially for this exhibition under MadeIn Company’s newly launched brand “Xu Zhen.” Presented together, Xu Zhen’s oeuvre reflects the lingering concerns of an artist participating in the international art world while remaining deeply skeptical of it and its conventions, most immediately the label “Chinese contemporary art.” Xu Zhen’s artworks probe the various mediations that corrupt the viewer’s experience of an artwork, particularly in observing a culture that is not one’s own. The exhibition is curated by UCCA Director Philip Tinari and UCCA Chief Curator Paula Tsai.
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source: jamescohan

Shanghai-based Xu Zhen is an irreverent artist with a voracious appetite for global information and a unique ability to produce work across multiple platforms and media. Incorporating painting, mechanical installation, video, photography and performance, often within a single piece, Xu satirizes and exposes cultural assumptions, wryly disarms political rhetoric, and generates some of the art world’s most vital contemporary discussion about brand expectations and conventions of creative production and authorship.

Xu Zhen is a conceptual artist whose work often takes the form of provocative sculptures, installations and interventions that confront sociopolitical taboos in contemporary China and freely manipulate western expectations of Chinese art and commerce. Born in 1977, Xu has been the subject of solo exhibitions at the Ullens Center for Contemporary Art, Beijing (2014); the Minsheng Museum, Shanghai (2012); Kunsthalle Bern, Switzerland (2011); and S.M.A.K., Gent, Belgium (2009); as well as major international group exhibitions such as 14 Rooms, co-curated by Klaus Biesenbach and Hans-Ulrich Obrist, Art Basel (2014); the 12th Biennale de Lyon (2013); Art of Change, Hayward Gallery, UK (2012); Performa07, New York (2007); the 10th International Istanbul Biennial (2007); Art Unlimited at Art Basel (2007); China Power Station: Part II, Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007); and The Real Thing: Contemporary Art from China at Tate Liverpool (2007). He was also included in the 49th Venice Biennale (2001), and represented China at the 51st Venice Biennale, (2005). He lives and works in Shanghai.