P.art Group & P.art Lab很高興宣布空間即將呈現(xiàn)「金、木、水、火、土」主題系列展之“水”——液態(tài)金屬 。展覽由渣克周(Zachariah Zhou)策劃，呈現(xiàn)七位藝術(shù)家關(guān)于“液態(tài)”的不同詮釋。

P.art Group & P.art Lab are pleased to announce the upcoming exhibition of "Water" - Liquid Metal , which is the second show of the series exhibitions on the theme of「Gold, Wood, Water, Fire, Earth」.Curated by Zachariah Zhou, the exhibition presents seven artists' different interpretations of "liquid".

進(jìn)入液態(tài)金屬的賽博異構(gòu)，不僅僅是物質(zhì)的演變，是意識(shí)的解構(gòu)和重構(gòu)。

Getting into the cyber-isolation of liquid metal is more than just the evolution of matter，it's the deconstruction and reconfiguration of consciousness.

泡沫，潮濕，混亂氣象；這是一個(gè)螺旋式的無底深淵，無盡的可能性在其中翻騰。 就像黑洞吞噬著舊世界，孕育著新的可能性。湯狀體是這個(gè)世界的未來，富有彈性和可塑性。它透露出一種感知，一種無法控制的力量。它是新且激進(jìn)的對(duì)未來世界的預(yù)見，在酸性理念和亞文化的交融中產(chǎn)生，將被取締的時(shí)空與現(xiàn)實(shí)聯(lián)系在一起。

Bubbles, humidity, chaotic weather，it's a spiraling bottomless abyss in which endless possibilities tumble. Just like the black hole devours the old world and breeds new possibilities. The soupy body is the future of this world, elastic and ductile. It reveals a perception, an uncontrollable force. It is a new and radical vision of the world to come, born out of a confluence of acidic ideas and subcultures, linking prohibited space and time to reality.

是時(shí)候介入一些功能性美學(xué)了！ 分工合作導(dǎo)致的熱力學(xué)負(fù)熵主義沒法停下，盡管它無法建設(shè)未來，甚至無法摧毀過去。一切都在變化，一切也是靜止。我們不僅是觀察者，也是熔毀者。我們終將自噬(下載)明天的曙光。

It's time to intervene with some functional aesthetics! The division of labor leads to a thermodynamic negentropism that can't be stopped, even though it can't build the future or even destroy the past. Everything is changing and everything is still. We are not only observers, but also melters. We will eventually self-cannibalize (download) the dawn of tomorrow.

Ben Edmunds

本·埃德蒙茲，1994年出生于英國諾里奇，目前在倫敦生活和工作。他的藝術(shù)實(shí)踐包括繪畫和雕塑,同時(shí)也是2019年成立的藝術(shù)品公司Aspirational Equipment Ltd.的總監(jiān)。于2016年在溫布爾登藝術(shù)學(xué)院獲得繪畫學(xué)士學(xué)位，2018年在皇家藝術(shù)學(xué)院獲得繪畫碩士學(xué)位以及海因繪畫獎(jiǎng)。

他的實(shí)踐根植于他作為水手和帆板運(yùn)動(dòng)員的背景，作品專注于這些極限運(yùn)動(dòng)、奢侈生活方式和色域繪畫之間的交叉。他著迷于把抽象作為一種超驗(yàn)主義的可能性，把它比作登山或在水面上航行。他質(zhì)疑繪畫的反功利主義，認(rèn)為藝術(shù)品是裝備的另一種形式。

參加群展及個(gè)展包括：“Second Mountain”, Tatjana Pieters (比利時(shí)根特, 2023)，“Closer to the wind”, L21 (西班牙巴塞羅那, 2022)，“Happiness”, The Shophouse (香港, 2022)，“Portraits and monochromes”, ARTUAL (黎巴嫩貝魯特, 2022)，“Almost Somewhere”, Choi & Lager Gallery (韓國首爾, 2021)，“It won’t last forever (or maybe it will)” at Tatjana Pieters Gallery (比利時(shí)根特, 2021)，“Where should I go from here?”, Kaikai Kiki Gallery (日本東京, 2019)，and “Something unknown is doing we don’t know what”, County Street (英國倫敦, 2020)。

Ben Edmunds (b.1994, Norwich, UK) lives and works in London. As an artist, his practice spans painting and sculpture, and he is the director of Aspirational Equipment Ltd., an artist’s objects company founded in 2019. He received a BA in Painting from Wimbledon College of Arts (2016), and an MA in Painting from Royal College of Art (2018) where he was awarded the Hine Prize for Painting.

His practice is deeply rooted in his background as a sailor and windsurfer, and his work focuses on the crossover between these adventure sports, luxury lifestyle pursuits and colour field painting. He is interested in the possibilities of abstraction as a transcendental experience, likening it to climbing a mountain or sailing in open water. He questions the assumed anti-utilitarianism of painting, proposing the artwork as a form of equipment.

He has participated in numerous group and solo exhibitions, including “Second Mountain”, Tatjana Pieters (Ghent, 2023)，“Closer to the wind”, L21 (Barcelona, 2022)，“Happiness”, The Shophouse (Hong Kong, 2022)，“Portraits and monochromes”, ARTUAL (Beirut, 2022)，“Almost Somewhere”, Choi & Lager Gallery (Seoul, 2021)，“It won’t last forever (or maybe it will)” at Tatjana Pieters Gallery (Ghent, 2021)，“Where should I go from here?”, Kaikai Kiki Gallery (Tokyo, 2019)，and “Something unknown is doing we don’t know what”, County Street (London, 2020).

Thilo Jenssen

蒂洛·詹森，1984年出生于德國道恩，現(xiàn)生活和工作于維也納。他在卡塞爾藝術(shù)學(xué)院同弗洛里安·斯洛塔瓦(Florian Slotawa)學(xué)習(xí)雕塑，在克里斯蒂安·菲利普·穆勒(Christian Philipp Müller)指導(dǎo)下探索表演雕塑的更多可能性(2010-2015)，于維也納藝術(shù)學(xué)院跟隨丹尼爾·里希特(Daniel Richter)研習(xí)繪畫(2015-2017)。

藝術(shù)家的作品結(jié)合了標(biāo)志性結(jié)構(gòu)、流行文化和物理性侵占。顯而易見的是，蒂洛·詹森對(duì)尋常之物進(jìn)行著戲謔式的再編碼，并預(yù)置多種媒介，同時(shí)干預(yù)并抹除其原本材質(zhì)及功能，以達(dá)到完美的脆弱性，最終呈現(xiàn)為一種可能會(huì)被認(rèn)為是裝置的繪畫。

Thilo Jenssen was born 1984 in Daun, Germany, lives and works in Vienna.He studied sculpture with Florian Slotawa and performative sculpture with Christian Philipp Müller at the Kunsthochschule Kassel (2010-2015), as well as painting with Daniel Richter at the Akademie der Bildenden Künste in Vienna (2015-2017).

Artist’s works incorporate sign structures, pop culture, and physical appropriation. What is clear is that Thilo Jenssen playfully recodes unusual objects and prefabricates multiple media, simultaneously intervening and erasing their original materials and functions to achieve a perfect fragility, ultimately presenting them as a painting which might be considered as an installation.

金亞楠

金亞楠，1986年出生于杭州，碩士畢業(yè)于中國美術(shù)學(xué)院雕塑系，現(xiàn)工作于中國美術(shù)學(xué)院雕塑系。

金亞楠感興趣于局部語境中的對(duì)話關(guān)系。早前他以參加藝術(shù)小組或群體性創(chuàng)作為途徑，探究個(gè)人與群體之間的相互制衡關(guān)系。隨后又嘗試進(jìn)入公共事業(yè)當(dāng)中工作，在社區(qū)設(shè)計(jì)、城市規(guī)劃中探尋各層級(jí)之間因由錯(cuò)位邏輯引發(fā)的協(xié)商失效。近幾年，他更關(guān)注個(gè)體或群體單元在共謀機(jī)制中呈現(xiàn)的差異化表現(xiàn)。他通過架構(gòu)一類針對(duì)體制的隱喻化設(shè)計(jì)，加強(qiáng)單元間對(duì)話的可能性及相互的侵略性。目前，他的這類設(shè)計(jì)一部分透過其作品的敘事線索及空間設(shè)計(jì)來呈現(xiàn)，另一部分則通過長期的項(xiàng)目策劃工作展開。

Jin Yanan (b. 1986, Hangzhou, China) graduated from China Academy of Art, with a MA in Sculpture. Currently working in Sculpture from China Academy of Art.

From these years’ work, we can find Jin Yanan’s interest in generating all kinds of dialogues. His work form is relatively complex. Earlier, he took participation in art groups or group creation as a way to explore the relationship between individual checks and balances in groups. Then try to work in publicutilities, in community design, urban planning to explore the failure of consultation between all levels and the logic behind the dislocation. In recent years, he has paid more attention to the differential performance of individual or group units in collusion mechanism, aiming at the metaphorical design of mechanism architecture to strengthen the aggressiveness of dialogue. At present, some of his designs are presented through the narrative clues and participatory experience of his works, and the other part is carried out through project planning.

劉勁祎

劉勁祎，1995年生于中國北京。2018年在馬里蘭藝術(shù)學(xué)院獲得學(xué)士學(xué)位(Maryland Institute College of Art, BFA)，2022年研究生畢業(yè)于于紐約視覺藝術(shù)學(xué)院純藝專業(yè)(School of visual art, MFA)目前生活于北京。

劉勁祎的作品是對(duì)藝術(shù)創(chuàng)作和日常生活的玩味解讀。關(guān)注互聯(lián)網(wǎng)時(shí)代的文化性沖突，以及文化沖突背后相互對(duì)抗又相互依存的共存關(guān)系。藝術(shù)家認(rèn)為我們當(dāng)前的信息環(huán)境已經(jīng)超出了人類的感知能力。圖像、視頻和圖形嵌入并不斷的增生，迅速的占據(jù)了在線世界的每個(gè)角落，其數(shù)量似乎無窮無盡。他采用生物學(xué)上有機(jī)結(jié)合的概念，把源自不同文化的不同符號(hào)看成是生物細(xì)胞，并讓它們?cè)谒漠嬜髦杏袡C(jī)的結(jié)合，轉(zhuǎn)化為全新的語言和敘事。

“我從這個(gè)網(wǎng)絡(luò)宇宙中收集圖片。電子游戲、漫畫、流行音樂和網(wǎng)絡(luò)小說。我將它們作為一個(gè)象征性的圖像與我的繪畫痕跡結(jié)合起來。用它們來制造一些充滿誤解但同時(shí)具有樂趣的對(duì)話和敘事。”

Liu Jinyi (b. 1995, Beijing, China) graduated of Maryland Institute College of Art, with a BFA in 2018，and School of Visual Arts, MFA Fine Art in 2022. Currently living in Beijing.

Liu Jinyi's works are playful interpretations of artistic creation and daily life. Focus on the cultural conflicts in the Internet age, as well as the mutual confrontation and interdependence behind the cultural conflicts. The artist believes that our current information environment is beyond human perception. Images, videos, and graphics are embedded and proliferated, rapidly occupying every corner of the online world in a seemingly endless number. He adopts the concept of biological integration. He regards different symbols from different cultures as biological cells, and allows them to be organically combined in his paintings, transforming them into a new language and narrative.

"I collect pictures from this cyber universe. Video games, comics, pop music, and web novels. I combine them as a symbolic image with my drawing traces. I use them to make something misunderstood but fun at the same time. Dialogue and narrative."

劉文廣

劉文廣，1993年出生于廣州?，F(xiàn)生活工作于上海。

他的繪畫實(shí)踐演化自對(duì)他者肌膚的圖像性入侵。藝術(shù)家從互聯(lián)網(wǎng)中攫取意識(shí)形態(tài)現(xiàn)成品，并以拿來主義的姿態(tài)將其轉(zhuǎn)譯為帶有荒謬邏輯的橫向敘事。他借由黑暗且空洞的繪畫語法強(qiáng)調(diào)著事物的秩序及其背后必然存在的如同公式般的幽默，從而赦免那些被裝扮的歷史?？v然玩弄現(xiàn)實(shí)是他的情趣所在，藝術(shù)家仍然堅(jiān)持通過觀看和觸碰的動(dòng)作去維持身體性的特權(quán)。

Liu Wenguang (Gone), born in 1993 in Guangzhou. Currently lives and works in Shanghai.

Gone's painting practice evolved from the graphic invasion of others' skin. The artist grabs ideological readymade products from the Internet and translates them into horizontal narratives with absurd logic in an exploitative manner. By emphasizing the order of things and the formula of humor that must exist behind it, he absolves the disguised history through dark and empty painting grammar. Even though playing with reality was his passion, the artist insisted on maintaining the privilege of the body through the act of seeing and touching.

吳凌昊

吳凌昊，2020年本科畢業(yè)于天津美術(shù)學(xué)院油畫系第二工作室。

藝術(shù)家以「配置」的方式展開工作，研究圖像、語言符號(hào)的同時(shí)融合屏幕視覺，將“界面經(jīng)驗(yàn)”應(yīng)用于繪畫，以操作代替創(chuàng)造。通過對(duì)圖像碎裂化的探索，他試圖在消解原有的繪畫主體的基礎(chǔ)上建立新的認(rèn)知系統(tǒng)，并發(fā)展出一套基于圖像演繹的「自我情感」。

近期創(chuàng)作更多的關(guān)注圖像轉(zhuǎn)譯層面的內(nèi)部感性經(jīng)驗(yàn)。在重新被喚起的現(xiàn)代主義結(jié)構(gòu)框架中，藝術(shù)家將形象與神秘主義鏈接,在自我指涉的變體中探索異質(zhì)化、權(quán)力、意識(shí)形態(tài)之間的關(guān)系。在“定義即權(quán)力”的法令中，藝術(shù)家的行為如“咒語”般將異化的情緒融合進(jìn)圖像并創(chuàng)造出怪奇邪惡的形象與浪漫的屏幕主義景觀。

Wu Linghao, graduated with a Bachelor's degree from the Second Studio of the Oil Painting Department of Tianjin Academy of Fine Arts in 2020.

The artist develops his work in an "assemblage" approach, studying images and linguistic symbols while integrating monitor visuals, applying the "interface experience" into painting, and substituting creation with operation. By exploring the fragmentation of images, the artistattempts to establish a new cognitive system based on the dissolution of the original painting subject, thus developing a set of 'self-emotions' derived from the interpretation of images.

Recent works have focused more on the internal sentimental experience at the level of image translation. Within the framework of a re-evoked modernist structure, the artist links the image to mysticism, exploring the relationship between heterogeneity, power, and ideology within a variation of self-reference. In the decree of 'definition as power', the artist's practice fuses alienated emotions into the image like a 'mantra,' constructing grotesque and uncanny images and romanticized screenist spectacles.

許帥

1995年中國出生，現(xiàn)生活及創(chuàng)作于洛杉磯。2020-2021年就讀于美國克萊蒙特研究生大學(xué)藝術(shù)系獲得碩士學(xué)位，2014-2018年就讀于中國天津美術(shù)學(xué)院油畫系獲得學(xué)士學(xué)位。

他的當(dāng)前作品專注于無形世界，許多靈感來自于他的夢(mèng)境。他對(duì)人類與宇宙的關(guān)系非常感興趣，尤其關(guān)注個(gè)體與自然之間在地球上的相互作用。他希望能更深入地探索自己的內(nèi)在世界，同時(shí)向外拓展，與社會(huì)以及更廣闊的世界進(jìn)行互動(dòng)。他的作品以夢(mèng)境中出現(xiàn)的黑點(diǎn)作為起點(diǎn)由兩個(gè)方向發(fā)展，相互關(guān)聯(lián)。一個(gè)是大地藝術(shù)項(xiàng)目，另一個(gè)是油畫。夢(mèng)境指向了關(guān)于“存在”的思考起點(diǎn)，而“虛”與“實(shí)”之間的未知感延伸至星空，他的作品里不斷的在探索自我的身體活動(dòng)內(nèi)部的虛實(shí)與人到宇宙的未知關(guān)系。確定的思維可見的世界，不確定的遠(yuǎn)方混沌的認(rèn)知在一次次的創(chuàng)作中相互拉扯。

Born in China, 1995. currently living in Los Angeles. 2020-2021 Master's degree in Art Department of Claremont Graduate University, USA 2014-2018 Bachelor's degree in Oil Painting Department of Tianjin Academy of Fine Arts, China.

His current works focus on the invisible world, and much of his inspiration comes from his dreams. He is interested in humanity’s relationship to the cosmos, particularly as it plays out here on Earth, in the relationship between individuals and nature. He hopes to explore his interior world more deeply while expanding outward, to engage society and beyond. Xu Shuai's recent works originate from the black dots appearing in dreams, branching out in two interconnected directions. One is the Land Art project, and the other is oil painting. Dreams serve as the starting point for contemplating "existence," while the sense of unknown between "illusion" and "reality" extends to the vastness of the cosmos. Xu Shuai's works continually explore the relationship between the abstract and concrete aspects of one's internal bodily activities and the enigmatic connection between humans and the universe. Amidst the certainty of conscious thoughts and visible worlds, the ambiguity of distant, chaotic cognition tugs at the self through each creative endeavor.

HONORS AND AWARDS:

2023 AACYF ‘TOP 30 UNDER 30’，2023 Contemporary Art Curator Magazine ‘Collectors Art Prize’，2022 Contemporary Art Curator Magazine ‘Faces of Peace Art Prize’，2022 CFA Artist of the Month Competition Excellence Award，2022 Contemporary Art Curator Magazine ‘Voices of Tomorrow Art Award’，2022 ATIM'S Top 60 Masters Award，2021 Claremont Graduate University GSC Travels and Materials Awards (TMA)，2021 Bronze Award of Camelback Gallery all abstracts 2021 painting awards，2021 Circle Quarterly Art Review Magazine Contest Artistic Excellence Award，2021 Claremont Graduate University Friedman Award，2020 Artavita Online Contest with the theme "Covid Dreams" Finalist Award，2020 Art Ideal Magazine Contest Finalist Award，2018 Tianjin Academy of Fine Arts Excellent Graduation Works Award，2018 Top 10 College Students of Tianjin Academy of Fine Arts 2018，2017 Los Angeles Contemporary Art Invitational Exhibition, and the mayor of Los Angeles Diamond Bar issued a congratulatory letter.

策展人

渣克周

Zachariah Zhou

本科畢業(yè)于紐約帕森斯設(shè)計(jì)學(xué)院戰(zhàn)略性設(shè)計(jì)與管理專業(yè)，碩士畢業(yè)于倫敦中央圣馬丁當(dāng)代攝影實(shí)踐與哲學(xué)專業(yè)。曾在國內(nèi)外發(fā)起并策劃多起觀念性電子音樂活動(dòng)及實(shí)驗(yàn)性展覽，并為多家倫敦替代空間長期撰稿。2019年在倫敦泰特現(xiàn)代美術(shù)館主動(dòng)舉辦個(gè)展，且作品被永久館藏。2020年創(chuàng)立擬像SIMULACRA，畫廊代理二十余位本土及國際藝術(shù)家，并與歐洲、美國和英國的主流畫廊和藝術(shù)機(jī)構(gòu)保持長期人才輸送及學(xué)術(shù)交流的合作關(guān)系，通過當(dāng)代藝術(shù)挖掘中國與世界各國更深層的對(duì)話。2022年起活躍于各大主流短視頻平臺(tái)，科普當(dāng)代藝術(shù)與商業(yè)理論，現(xiàn)全網(wǎng)近10萬藝術(shù)垂類粉絲。

He received his undergraduate degree in Strategic Design and Management from Parsons School of Design in New York and his master's degree in Contemporary Photography; Practices and Philosophies from Central Saint Martins in London.

He has curated numerous conceptual electronic music events and contemporary art exhibitions both domestically and internationally. 2019, he intentionally held a solo exhibition at Tate Modern in London, and the works were permanently collected. 2020, he founded SIMULACRA, a gallery represents more than 20 artists, and maintains long-term cooperation with mainstream galleries and independent art spaces in Europe, the US, and the UK for talent exchanges and artistic communication, aiming to deterritorialize a deeper dialogue between China and the rest of the world. He has been active in major leading streaming media platforms since 2022, lecturing on contemporary art and business theories, with currently almost one hundred thousand art-related followers throughout the entire network.