Seminar Bâton Serpent III: Spur Track to the Left Panel Discussion

Academic Hou Han Ru
Guest Huang Yong Ping、Gong Yan、Qiu Zhijie、Liu Qing、Feng Yuan
Regarding the seminar

In the exhibition that held in PSA, Huang Yong-Ping will bring his research and criticism of the world power and the fate in a more comprehensive and accurate point. He will detach and deconstruct the symbolic images of the historical events that including China and the world economic system, the power of justice and the terrorism.

Eventually, those s to the ontological question thissues will lead uat is “How to choose the direction for moving on”? Is there the existence of the right choice while we facing with the fate of things?


Regarding the host

侯瀚如(Hou, Hun-Ru)

Hou Hun-Ru is a curator and an art critic. He was born in Guangzhou in 1963. He graduated from the Central Academy of Fine Arts in 1988 and moved to Paris in 1990. Now he lives in Paris, San Francisco and Rome. He is the artistic director of The National Museum of XXI Century Arts. He curated the France Pavilion in 1999, “Emergency Zone” of the theme exhibition in 2003 and the China Pavilion in 2007 of the Venice Biennale. He is one of the curators of the Shanghai Biennale, too. He curated exhibitions include “Cities on the Move” (1997-2000), “White Night” (2004), The Second Guangzhou Triennial (2005). He is also the committee and the jury of many art foundations.


About the guests
黄永砅(Huang, Yong-Ping)

Huang Yong-Ping was born in 1954 in Xiamen and graduated from Zhejiang Academy of Fine Arts (now the China Academy of Fine Arts) in 1983. He started working and living in France in 1989. He launched an activity named “Xiamen Dada”(1986) and attended many exhibitions included Venice Biennale (2005), Shanghai Biennale (2000 and 2012), MONUMENTA (2016, in France) and others. He also had his solo exhibitions in many arts centers, for example like Ulles Center for Contemporary Art (2008, in Beijing), Walker Art Center (2007, in Minneapolis).

龚彦(Gong Yan)

Gong Yan not only is a curator of Power Station of Art, an artist, a curator, but also an editor of the Art World Magazine. She graduated from the Paris Ecole Nationale Supérieure des Beaux-Arts. In 2005, she founded the O Art Center in Shanghai Institute of Visual Arts and committed to unstable media and urban studies. Her work has been exhibited in 2002 and 2006 Shanghai Biennale. She was a jury of the ArsElectronica in 2007. She curated exhibition included the “General Architecture” —the 13th Venice Architecture Biennale China Pavilion, “Body Media—International Interactive Art”, “Andy Warhol:15 Minutes Eternal”, “Decorum:Carpets & tapestries by artists”, “Mobile Architecture:Yona Friedman” and others.

邱志杰(Qiu, Zhi-Jie)

Qiu Zhi-Jie is an artist, a curator and an art critic. He was born in Zhangzhou in 1969 and graduated from the Zhejiang Academy of Fine Arts (now the China Academy of Art) Printmaking Department in 1992. Now he is the professor of School of Inter- Media Art, the tutor of master and doctor and the professor of the China Central Academy of Fine Arts. His creations including painting, photography, installation, video and other acts, and his work have been selected for many exhibitions, like Venice Biennale that held in 2015. As a curator, he has curated a number of well-known contemporary art exhibitions that consisted of The 9th Shanghai Biennale.

刘擎(Liu Qing)

Liu Qing is a professor, a tutor of PhD and a head of department of East China Normal University political science. He got his PhD degree in political science at University of Minnesota. He was the vice researcher of the Institute of Chinese Studies in the Chinese University if Hong Kong. His main research includes the history of Western thought, political philosophy and ideology and culture of contemporary China. He is the author of “Ages of Dispute” and others. He was invited to the University of California, University of Oxford and other universities for giving speeches.

冯原(Feng Yuan)

Feng Yuan is the member of the Zhongshan University Humanities and Social Sciences Academic Committee, the professor of the Zhongshan University and the tutor of master. His main areas of work for the study of visual culture, cultural criticism, architecture and design related research studies, landscape and public art practice, contemporary art and curatorial practice. He serves as the Guangzhou Academy of Fine Arts Master Instructor, Department of Experimental Art, the member of Guangdong Artists Association. Feng’s books include ”Responses of Styles:The Production of the Architectural Symbols and their Symbolic Logics” and others.


About the exhibition

Bâton Serpent III: Spur Track to the Left

Time:March 18, 2016 - June 19, 2016

Location:1F、2F, Power Station of Art

Curator:Hou, Hun-Ru

Host:Power Station of Art

Organized by:Red Brick Art Museum, MAXXI

Sponsor:Tang Contemporary Art、Gladstone Gallery

 

After exhibited in the MAXXI and the Red Brick Art Museum, Huang Yong-Ping will have a solo exhibition in Shanghai this time. He is the most important artist of the Chinese contemporary art trends. Not only the number of large apparatus like “Bâton Serpen”, “Head” and others, but also tries to review his early works retrospectively that in order to attempt the artist’s continued exploration, reflection and creative energy. Many works are the first time that exhibited in the domestic

“Spur Track to the Left” is a technical term of the train tracks. It means when people stand in front of the road fork and turn towards it, then the left branch of the mainline track is called “Spur Track to the Left”. By the derailleur, there will be an angle that may turn left or go straight between the sharp rail, curved rail and the mainline track. These concepts are the cogitations of the creation and the work maps of different places and times.

During this “Bâton Serpent III: Spur Track to the Left”, the artist creates an encyclopedic world by his past 20 years of works, but he also represent the relationship that between the tensions and the contradictions of the right and fate by the particularity of museum venue.