上海民生現(xiàn)代美術館榮幸?guī)碇車[虎的個展《地上》。展覽由秦思源策劃，將于2016年6月12日開幕。

周嘯虎是中國最具創(chuàng)造力的當代藝術家之一。作為中國最早開始創(chuàng)作實驗性動畫作品的藝術家，他在錄像、裝置和行為領域創(chuàng)作過不少重要作品，這些作品大都對當代中國的社會政治心理做出了深度剖析，有時被藝術家描述為“社會裝置”。

在《地上》中，周嘯虎將創(chuàng)作一個全新項目，把中國哲學和民間藝術以創(chuàng)造性敘事及當代形式融合到一起，構成占據(jù)美術館整個主展廳的虛構場景。該項目的核心是藝術家與浙江泰順木偶劇團的合作，雙方將聯(lián)手對莊子的哲學寓言故事進行重新解讀。藝術家為劇團創(chuàng)作了一整套真人大小的木偶，并拍攝劇團在中國若干地方的現(xiàn)場表演。這一連串行動的高潮部分將是展覽開幕時的現(xiàn)場演出。而在各地拍攝的錄像則會被置于展場各處，與當天的現(xiàn)場表演形成同步呼應的關系。這種時間和空間的同步凸顯了本次展覽的理念——創(chuàng)作一種散點透視蒙太奇，即在中國傳統(tǒng)山水畫的空間概念基礎上增添了時間的維度。周嘯虎的時空蒙太奇將在一系列貫穿整個展覽的移動雕塑、裝置和平面作品中得到進一步詮釋。

通過這種總體藝術，周嘯虎試圖調和中國當代文化面臨的許多矛盾。中國在通往現(xiàn)代性的曲折道路上，常常需要面對農村與城市、傳統(tǒng)與現(xiàn)代之間巨大差異的挑戰(zhàn)。周嘯虎的創(chuàng)作從社會裝置轉向文化裝置，以此探討當代中國面前似乎無法超越的各種文化挑戰(zhàn)。展覽將持續(xù)至7月10日。同期還將呈現(xiàn)另一位藝術家閆冰的個展《閆冰》。

關于上海民生現(xiàn)代美術館

上海？民生現(xiàn)代美術館是由中國民生銀行基于承擔社會責任和文化理想而發(fā)起成立的藝術機構，坐落在上海市中心紅坊藝術園區(qū)，面積約4000平米，由上海第十鋼鐵廠改建而成，于2010年正式開館。作為中國第一家以民營金融機構為背景的美術館，民生秉承獨立自由，包容開放的學術理念，以建設成為國際優(yōu)秀美術館為其長遠目標；憑借國家鼓勵實踐的民營制度優(yōu)勢，支持中國當代藝術的持續(xù)縱深活躍發(fā)展；面向社會公眾展開當前中國所亟需加強的當代藝術美學普及活動；深入全面地展開國際間的學術交流活動。

關于藝術家

周嘯虎，1960年生于常州，現(xiàn)生活并工作于上海。他是最先從雕塑概念角度創(chuàng)作實驗性錄像和動畫作品的中國當代藝術家之一。他曾經(jīng)參加過的展覽包括：2002年上海雙年展、2004年塞維利亞國際藝術雙年展、2004年紐約現(xiàn)代藝術博物館“今日中國”展、2006年澳大利亞布里斯班亞太三年展、2007年英國泰特利物浦美術館“真實之物”展、2010年英國倫敦泰特現(xiàn)代美術館渦輪大廳“沒有靈魂出售”表演、2010年第八屆光州雙年展，以及2014年柏林MOMENTUM空間的“上海媒體藝術”展。2002和2006年，他曾兩次獲得CCAA中國當代藝術獎；2014-2015年，獲德意志學術交流中心（DAAD）駐地藝術研究項目資格。

關于策展人

秦思源，策展人，現(xiàn)居住于北京。“北京聲音博物館”的發(fā)起人以及Frieze雜志的特約編輯。2009－2010年任ShContemporary上海藝術博覽會國際當代藝術展“上海當代”總監(jiān)。2006－2008年尤倫斯當代藝術中心(UCCA)副館長兼首席策展人。2003－2006年任英國大使館文化教育處藝術經(jīng)理，策劃過一系列試驗劇場、聲音藝術和當代藝術項目。

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參觀信息：

上海市長寧區(qū)淮海西路570號紅坊創(chuàng)意園區(qū)F座（地鐵3/4/10號線虹橋路站）

展覽時間：周二至周日早十點至晚六點（17：00停止入場，每周一閉館）

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Shanghai Minsheng Art Museum

For immediate release

Zhou Xiaohu： Chimera

Date： June 12 – July 10， 2016

Curator： Colin Chinnery

Shanghai Minsheng Art Museum is honoured to present Zhou Xiaohu’s solo exhibition Chimera. The exhibition， curated by Colin Chinnery， is set to open on June 12， 2016.

Zhou Xiaohu is one of Chinese leading contemporary artists. Renowned for pioneering animation art in China， Zhou has also made important works in video， photography， installation， and performance， often probing deep into the socio-political psyche of contemporary China， which something he describes as Social Installation.

For Chimera， Zhou is creating an entirely new project that mixes Chinese philosophy and folk art with creative narrative and contemporary form into one made-up scene that spans the main exhibition hall. What is central to this project is Zhou’s collaboration with the Zhejiang Taishun Puppet Theatre， with whom he is working to create an interpretation of the Zhuangzi allegories， a famous collection of philosophical stories from the 4th century BCE. Zhou has created a whole set of life-sized puppets for the theatre group to be filmed in different locations across China， culminating in a live show at the exhibition opening. The puppet action of other locations shall be presented in video works across the show in sync with the live performance with music and narration. This synchronization of space and time brings into focusing on a core idea of the show to create a montage from multiple perspective points， like that of Chinese landscape painting， but with the added dimension of time. Zhou’s time/space montage shall be further articulated in a whole series of moving sculptures， installations， and two-dimensional works throughout the show.

Zhou Xiaohu’s gesamtkunstwerk is an attempt to reconcile many conflicts from Chinese contemporary culture. Chinese bumpy journey towards modernity has been constantly challenged by the vast differences between the rural and urban， the traditional and modern. Zhou has moved from social-installation to cultural-installation in order to explore seemingly insurmountable culture challenges of contemporary China. The exhibition is until July 10， 2016. Also ongoing in the museum during the same period is the solo exhibition by artist Yan Bing， Yan Bing.

Shanghai Minsheng Art Museum

Shanghai Minsheng Art Museum is sponsored and funded by the China Minsheng Banking Corporation， which is an non-profit organization mainly establishing varies types of activities that engaged in art. It is also the first public welfare organization in context of financial institutions in Mainland China. It is based on the study of Chinese modern and contemporary art. With an international perspective， closely reflecting the trend and the status of Chinese contemporary art， and actively promoting the communication and cooperation between Chinese contemporary art and international cutting-edge art. Minsheng Art Museum will collect and exhibit the outstanding artworks from both in and out of China； also， it promotes different forms of international communications to support the academic research. Meanwhile， Minsheng Art Museum will conduct multiple forms of education programs of art and aesthetic to the public.

About Artist

Zhou Xiaohu (b. 1960 Changzhou， lives and works in Shanghai) is one of the first contemporary artists in China to work experimentally with sculptural ideas of video and animation. He has participated in such art exhibitions as the Shanghai Biennale (2002)； Seville International Art Biennale (2004)； China Now， The Museum of Modern Art， New York， USA (2004)； Asia Pacific Triennial of Contemporary Art， Brisbane， Australia (2006)； The Real Thing， Tate Liverpool， UK (2007)； Not Soul For Sale， Tate Modern Turbine Hall， London， UK (2010)； the 8th Gwangju Biennial， Gwangju Art Museum， Korea (2010)； and Pandamonium： Media Art from Shanghai at MOMENTUM， Berlin (2014). Zhou Xiaohu was awarded the CCAA Award in 2002 and 2006. In 2014-2015， he was the recipient of the prestigious DAAD Artists-in-Berlin Program.

About the Curator

Colin Siyuan Chinnery， curator， based in Beijing now. He is the founder of the Beijing Sound Museum and is contributing editor for Frieze magazine. Chinnery was Director in 2009 and 2010 of ShContemporary Art Fair in Shanghai， and between？2006-2008 he was Deputy Director and Chief Curator of Ullens Center for Contemporary Art (UCCA) in Beijing. Between 2003 and 2006， as Arts Manager for the British Council in Beijing， he initiated major projects in experimental theatre， live art， sound art， and visual arts， bringing a wider public into contact with experimental practice.