如是我見
Thus Have We Seen
2024.2.29 - 2024.4.14
開幕 Opening:
2024.3.2 15:00 - 19:00
藝術家 Artists:
白夢帆Mengfan Bai
吳牧寒 Muhan Wu
策展人 Curator:
熊雨思
Yusi Xiong
南柯畫廊欣然呈現(xiàn)白夢帆與吳牧寒的雙個展如是我見（Thus Have We Seen)。展覽將展現(xiàn)這兩位藝術家作品之間獨特的關聯(lián)和對比——白夢帆在畫布上表現(xiàn)情感充沛的上海和紐約的城市掠影與吳牧寒用現(xiàn)成和收集的材料創(chuàng)作的一系列受城市各種元素啟發(fā)的引人遐思的裝置作品在視覺和空間上進行了對話。
Nan Ke Gallery is pleased to present Mengfan Bai & Muhan Wu: Thus Have We Seen, a two-person exhibition that places one of the premier emerging painters in dialogue with one of the most critically acclaimed emerging installation artists of our time, featuring a new body of painting by Bai, presented in visual and spatial dialogue with two sets of new installation works by Wu. The unique associations and contrasts between the two artists’ works - emotionally charged urban fragments captured by Bai on her canvases and a series of Wu’s evocative installations inspired by various urban elements, created from found and collected materials are explored with new conceptual resonance.
吳牧寒 Muhan Wu
一天一個蘋果
An Apple A Day,2023
水泥、木 Cement, wood
16h x 12w x 3.3d cm
? Courtesy of the artist
白夢帆和吳牧寒雖有著不同的創(chuàng)作方式和風格，但她們的創(chuàng)作方法和聚焦的點因為她們對城市細節(jié)的關注而有不少重疊之處。她們的作品從不同的角度勾勒出獨特的城市空間景觀，揭示了一些日常生活中的公共與個人的空間關系和權利結構。她們的創(chuàng)作捕捉到了日常經歷中的火花、困惑、壓力和釋然，也同時包含著一種類似的情懷，這種情懷涉及美、無根性、失落和希望等觀念。本次展覽將挑戰(zhàn)展覽場地的地域和建筑結構，通過并置兩位藝術家不同媒介的作品，讓觀眾通過她們收集和展示的城市碎片，重新構建和體驗城市環(huán)境。
Mengfan Bai and Muhan Wu have different creative approaches and styles, yet their methods and points of focus overlap quite a bit because of their attention to urban details. Their works construct unique urban spatial scenes from different perspectives, revealing some of the public and personal spatial relationships and power structures in daily life. Their creations also share a similar sentiment, which relates to the concepts of beauty, rootlessness, loss and hope. The exhibition will challenge the geographical and architectural structure of the venue by juxtaposing the two artists' works in different media, allowing the viewer to reassemble and experience the urban environment through the urban fragments they collect and present.
白夢帆 Mengfan Bai
出海 I Put Out to Sea I, 2023
布面油畫 Oil on canvas
40h x 50w x 4d cm
? Courtesy of the artist
白夢帆的作品立足于探究在國際大都市的城市景觀日漸趨同的背景下，日常生活中 的圖像和城市秩序經藝術家之手整理和過濾后，在歷史、精神和地域性上是否產生轉換。 她的創(chuàng)作一直在捕捉當代城市景觀中詩意或微妙的瞬間和被忽視的角落。 白夢帆的藝術創(chuàng)作從中國各大城市中采集不同的都市圖像，將西方寫實主義與中國古典審美情趣相融合，形成了她獨特的視覺邏輯。
Bai’s work is anchored by an enquiry into the way images and orders of everyday life can transition historically, mentally and geographically when filtered through the hands of the artist against the backdrop of the increasing convergence of the urban landscapes of cosmopolitan cities. Bai's creations have been capturing the poetic or subtle moments and neglected corners of the contemporary urban landscape. Gathering images and moments from diverse sources in urban environments across cities in China, Bai's artistic creations fuse Western realism and classical Chinese aesthetic interests to form a unique visual logic.
白夢帆 Mengfan Bai
尼羅 IV Nile IV, 2023
布面油畫 Oil on canvas
50h x 40w x 4d cm
? Courtesy of the artist
她不時將現(xiàn)代建筑細節(jié)與具有文化和歷史意義的形象并置，或將不同時空的圖像匯聚在一起，形成視覺元素的跨時空對話，古今交錯，此消彼長。她畫中的一切都充滿了推動敘事的意義，無論是北京無主的地面上的涂鴉、西安玻璃幕墻上的灰塵、香港道路上的警示線、昆明機場的指示線，還是敦煌壁畫的局部，一切都在細節(jié)中娓娓道來。
From time to time, she juxtaposes modern architectural details with images of cultural and historical significance or brings together images from different times and spaces, forming a cross-temporal dialogue of visual elements, where the ancient and the modern are intertwined, and this place mingles with the other. Everything in Bai’s painting is full of meaning that propels the narrative. It’s the telling in the detail, whether it be graffiti on an unoccupied ground in Beijing, dust on a glass curtain wall in Xi'an, warning lines on a road in Hong Kong, directional lines at Kunming Airport, or part of a mural in Dunhuang.
她的作品一直以不同城市和地區(qū)的 "肌理 “為中心，激發(fā)觀者的結合自身經歷的聯(lián)想。流浪者、城市儀式和獨特的信仰體系等概念都是她作品中引人入勝的細節(jié)。白夢帆的作品用自己的語匯組成了一個微觀世界，在這個世界里，與都市生活相關的各種主題在她的筆下執(zhí)著地不斷出現(xiàn)和重現(xiàn)。在她的作品前，藝術家本人和觀者一樣都以一種置身事外的目光來審視這些被捕捉下來的畫面。這就像是希區(qū)柯克在《后窗》(Rear Window, 1954) 中使用的概念，觀者可以通過白夢帆的畫布看到從一個私人世界到另一個私人世界的種種細節(jié)。
Bai's work has always been centered on the "texture" of different cities and regions, which stimulates imaginary associations for the viewer to decode. Notions of the flaneur, urban rituals and unique belief systems are often a point of intrigue in her work. Her works comprise her own vocabulary, a microcosm where motifs appear and re-appear, revealing certain obsessions. This serves to further emphasise the viewer looking with a kind of detached, voyeuristic gaze into the world. It is like an idea that Hitchcock used in Rear Window (1954), where viewers can see the details from one private world to another through Bai’s canvas.
白夢帆 Mengfan Bai
長樂加油站
Changle Gas Station, 2023
砂石、布面油畫
Coarse pumice gel and oil on canvas
60h x 120w x 4d cm
? Courtesy of the artist
在此次展覽中，白夢帆將她的探索延伸到上海，并將收集到的各種元素與她曾經生活和工作過的城市紐約并置。紐約和上海都有著特殊的歷史背景和多方面的變化，這使得它們在許多方面相互重疊。藝術家希望通過她在紐約和上海漫步時收集的圖像，捕捉這兩座重疊城市的特殊質感，重新發(fā)現(xiàn)和再現(xiàn)不同地區(qū)的視覺秩序，并尋找不同城市景觀之間隱藏的聯(lián)系。
In this exhibition, Bai extends such exploration to Shanghai and juxtaposes the collected variety with elements from New York, the city where she once lived and worked - New York and Shanghai share a particular historical background and multifaceted changes, which make them constantly overlapping and refreshing yet familiar to the traveller's mood. Through the images she collects during her walks in New York and Shanghai, the artist hopes to capture the unique textures of these two overlapping cities, to rediscover and recapitulate the visual order of the different regions, and to search for the hidden connections between the different urban landscapes.
白夢帆的畫作有著精細嚴密的結構和筆觸，每一寸顏料都仿佛是一個動態(tài)實景的一部分?！稒E圓折射》系列描繪了紐約下城區(qū)玻璃建筑中和上海路邊樹枝間形狀相似的燈飾，用單純的幾何語言連接起這兩座城市的點、線、面；從《尼羅》和《不對稱的噴泉》，到首次在作品中明確地出現(xiàn)具體地點信息的《上海造幣》，藝術家將紐約市內兩大博物館中匯聚了世界各地錢幣的水池和國內唯一的鋼芯鍍鎳硬幣生產基地聯(lián)系了起來，像是帶著某種故土難離的思緒一般，找尋到了或許曾經沉于紐約的博物館中池底硬幣的來源；
Her work is a tautly organised image, which makes every inch of the paint part of one dynamic entity, coherent as a whole thing but continually surprising as to placing. The series Elliptical Refraction depicts the similarly shaped lights in the glass buildings of New York's downtown as well as among the branches of Shanghai's roadside trees, connecting the points, lines, and surfaces of the two cities in a purely geometric language; from Nile and Asymmetrical Fountain Pools to Shanghai Mint, in which is the first time that information about a specific location is explicitly shown in her work, the artist connects the pools of New York's two major museums where coins from all over the world are gathered and the only steel-core nickel-plated coin production site in China, as if with some kind of nostalgic thoughts of being away from their hometowns, the artist searches for the origin of the coins at the bottom of the pools in the museums that may have once been sunk in New York City;
白夢帆 Mengfan Bai
橢圓折射 II
Elliptical Refraction II, 2023
布面油畫 Oil on canvas
70h x 90w x 4d cm
? Courtesy of the artis
《長樂加油站》則再次帶著明確的地點指向性，細致忠實地呈現(xiàn)了南柯畫廊附近的一家加油站不同尋常的提字名墻（包括墻體兩邊貼著的紅色箭頭），和磚面相差無幾的質感喚起觀眾對現(xiàn)實空間中真實物質的細膩理解；在《出海I&II》中，藝術家的視角變得高遠，她從一個可謂審視亦可謂回憶的角度再次模糊了地域性——從高空俯覽的哈德遜河的入海口和從浦東機場望出去的匯入東海的黃浦江在經過大片的留白處理，既延續(xù)了現(xiàn)代藝術中的抽象元素，又似國畫中傳統(tǒng)的山水自然。
Changle Gas Station, with a precise locational pointing once again, meticulously and faithfully presents the unusual titling wall of a petrol station near Nan Ke Gallery (including red arrows affixed to the wall on both sides) and the details in thee brickwork. Such level of texture evokes the viewer's delicate understanding of the actual substance in real space; in Put Out To Sea I&II, the artist's perspective becomes farther afield, blurring the locality once again from a point of view that can be described as a review as well as a reminiscence - the Hudson River's entrance to the sea viewed from above and the Huangpu River, which joins the East China Sea, viewed from the Pudong Airport, are blurred after a large-scale retention, continuing the abstract elements of modern art in the west, but also resembling the traditional landscape nature of traditional Chinese painting.
白夢帆作品的質量不僅僅是繪畫的技術執(zhí)行，而更在于看似抽象卻寫實的可信度，通過將個人經驗和普世經驗相結合地揭示出暗藏的城市精神和靈魂。她的作品非常注重片段、敘事總是發(fā)生在懸浮于 "前 "與 "后 “之間的瞬間，藏著一種心理流動——一種被壓抑在平靜表面下的故事感。似乎讓每一位觀眾都能在她捕捉的每一幅畫面中找到自己。
The quality of her work lies in its seemingly abstract yet realistic credibility, revealing the hidden spirit and soul of the city by combining personal and general experience, not just the technical execution. She endlessly plays with this idea of combining personal and general experience. Her work seems to let each viewer find themselves in every image she captures. Her works are very much about the fragment. Bai’s narratives occur in moments that are forever suspended between a ‘before’ and an ‘after’ - moments that never really resolve themselves. There is also a reservoir of psychological flow within her work, a sense of stories repressed beneath the calm surface.
吳牧寒 Muhan Wu
我的春天My Spring,2023
塑料、針織、電子元件、金屬
Plastic, knitwear, electronic, metal
70h x 20w x 10d cm
? Courtesy of the artist
在吳牧寒的裝置作品中，我們也能發(fā)現(xiàn)這種城市碎片下所蘊含的難以察覺的瞬間情感和空間關系的比喻。吳牧寒是近年新興抽象表現(xiàn)主義藝術家中的佼佼者，她的創(chuàng)作媒介廣泛，包括裝置、繪畫和影像等。她的裝置作品多由發(fā)現(xiàn)和收集的材料組成，建筑碎片到工業(yè)材料、日常用品、甚至食品都能夠在她的裝置作品中被找到。她的裝置作品大多在形式上都保留了極為強烈的幾何特征，所用物品的性質被高度概括，而她對這些物品的感知被也提煉為幾何形式。
The analogy of emotional and spatial relationships in imperceptible moments embedded under such urban fragments can also be found in Muhan Wu's installations. As a leading emerging abstract expressionist who constantly explores the boundaries of site-specific and installation art, most of Wu’s installation works comprise found and collected materials, ranging from architectural fragments to industrial materials, everyday objects, and even food. Her installations retain a robust geometric character in their forms, where the nature of objects used is highly generalised, and the perception of these objects is distilled to geometric forms.
吳牧寒傾向于摒棄裝置中所使用材料的功能和背景，而專注于物品最基本的物質性與自我意識之間的關系，以及對物品行為干預產生的有機效果。當我們再湊近一些仔細觀察構成她作品的部件時，也可以切實地感受到她在創(chuàng)作過程中那種不斷尋找、發(fā)現(xiàn)和沉靜地與物品相處的心情。對于吳牧寒來說，“做裝置有一種在生活中的感覺?！?她的作品亦是她對自己的親身經歷過的時間、溫度、觀察、探索和感受的記錄。
She tends to abandon the function and context of the materials used in her installation and focus on the relationship between fundamental materiality and self-consciousness and the effect of behavioural interventions. When we look closer at the components that make up her work, we can sense her mood of constant searching, discovery, and sedentary living with objects during the creative process. For Wu, "making installations has a feeling of being in life." Her works are also a record of the time, temperature, observations, explorations and feelings she has personally experienced.
吳牧寒 Muhan Wu
肉身Body,2023
金屬墊片、黃銅、鐵、塑料
Metal gasket, brass, iron, plastic
26h x 16w x 16d cm
? Courtesy of the artist
在這次展覽中，作品《想哭的時候就去看噴泉》、《一種極端》和《灌木》用不銹鋼和銅管組合成抽象卻直觀的造型，延續(xù)了吳牧寒對材料和物品由符號化的形式呈現(xiàn)的嘗試。它們簡單的結構也正是這些裝置作品的留白，讓觀者能在與之互動的同時融合自身經歷展開各自的聯(lián)想。像是等待著與大家偶遇般地散落在展廳各處、包括《一天一個蘋果》、《也許面包能帶來溫暖》、《肉身》和《感覺到生機》等一系列小型裝置，被藝術家比作一個一眼看來像是成年人回憶中兒時游樂場的樣子。然而一旦近觀每件“玩具”的細節(jié)卻又不然——這座游樂場由許多或是俏皮或是黑色幽默的元素組成，如衣架、玩具、磚塊、花盆、金屬欄桿尖和人體模特部件等。在這里，吳牧寒第一次在其作品中使用自己定制、收集或收藏的、而非收撿被遺棄的物品和部件來構筑裝置。
In this exhibition, the works Water Flowing Like Tears, An Extreme, and Bush use stainless steel and copper tubes to form abstract but intuitive shapes, continuing Muhan Wu's attempts to present materials and objects in a symbolic form. Their simple structure is also the negative space of these installations, allowing the viewer to interact with them while integrating their own experiences and developing associations. A series of small-scale installations, including An Apple A Day, Maybe Bread Will Bring Warmth, Body, and Feel Alive, scattered throughout the gallery as if waiting for a chance encounter with the viewer, are likened by the artist to a playground that at a glance looks like an adult reminiscing about their childhood playground. However, this is not the case when looking closer at the details of each "toy" - the playground consists of many playful and darkly humorous elements, such as coat hangers, toys, bricks, flower pots, metal railing spikes and mannequin parts. Here, for the first time, Wu has constructed an installation using objects and components that he has customised, collected or assembled rather than found and discarded.
這個系列中物件種類繁多，意料之外的組合、輕微的改動、重疊和空缺，使作品呈現(xiàn)出繁雜的視覺復雜性：《肉身》中藝術家用手塑形的塑料部件生動地保留的人體肉感與由汽車剎車墊片砌成的底座產生了鮮明的對比；《感覺到生機》則以貞操鎖為根、鐵制支架為莖、再加上一塊懸吊旁邊的狗頭金和一件錐形的塑料組合出一件向上生長的裝置，也像是藝術家檢測觀者情緒波動的一個玩笑；《一切都是臨時的》中，一個被關起來的和另一個踩著剎車的腳模部件與國際象棋子般排列擺放著的城市中常見的金屬欄桿的尖頭形成了一種頗具博弈感的微妙的平衡。
In this series, the variety of objects, unexpected combinations, slight alterations, overlaps and gaps give the works an intricate visual complexity: in Body, the artist's hand-moulded plastic parts vividly preserve the fleshiness of the human body in contrast to the base made of automobile brake pads; Feel Alive uses chastity devices as the root, an iron bracket as the stem, and a piece of vicious gold nugget and a conical piece of plastic sitting on the top, to create an upward-growing installation, as if the artist is testing the viewer's mood swings as a kind of joke; in Everything Is Temporary, an imprisoned foot part with another one on a brake form a subtle balance with the spikes of the tops of the metal railings commonly seen in the city, which are arranged like chess pieces, creating a sense of gaming.
吳牧寒 Muhan Wu
感覺到生機 Feeling Alive,2023
鐵、狗頭金、貞操鎖、塑料
Iron, gold, chastity locks, plastic
64h x 23w x 26d cm
? Courtesy of the artist
與她之前的動能裝置不同，在這里我們看到的是一種藝術家從對事物運作機制的理性思考向更柔和、更感性表達的轉變。吳牧寒在這件作品中嘗試在心理層面構建一種獨特的新敘事，并通過這種敘事繼續(xù)她對物品的象征性和物質性的辯論。因此在這一系列中，由物品的個體歷史和功能所暗示的社會考古學雖被弱化，但并未被完全抹去。吳牧寒認為，”對物品的觀看是一種練習”，她通過對日常物品進行微妙的改造和有機的組合或模糊，繼續(xù)探索著物質性的邊界，以及它們是如何人們的價值或心理投射的。
Without contextualising the objects, Wu explores the boundaries of materiality, and in contrast to her previous kinetic installations, here, we see a shift from rational thinking about the mechanisms of how things work to a softer, more sensual expression; Wu attempts to construct a unique new narrative on a psychological level, through which she continues her symbolic and materialistic debates about materiality of objects. The social archaeology embedded in this series of works suggested by the objects’ individual histories and functions is muted but not entirely erased. “The viewing of objects is an exercise.” according to Wu. By subtly modifying and organically combining or blurring everyday objects, she continues to explore the boundary of materiality and whether they are a value or psychological projection of people.
吳牧寒 Muhan Wu
一切都是臨時的
Everything is Temporary,2023
金屬、塑料、硅膠模型、玻璃、水泥
Metal, plastic, silicone model, glass, cement
58h x 85w x 70d cm
? Courtesy of the artist
在畫廊三樓的展廳中，白夢帆和吳牧寒在這次展覽的尾聲共同構筑了一個更為私密的空間。兩位藝術家在這個空間中的作品都展示出了一種同步性：吳牧寒的兩件裝置新作《移動的點》和《震顫的點》再次回歸到集幾何的意像與基礎的機械運動的點線面，白夢帆的作品《雪地里的Hunter’s Point III》則是她曾多次描繪過的地點某一個冬季的瞬間，畫中的頗具童趣的兩個雪人在與兩件裝置作品展開對話的同時，也呼應一墻之隔的樓梯上吳牧寒玩具般的裝置系列。
On the gallery's third floor, Bai and Wu constructed a more intimate space at the end of the exhibition. Both artists' works in this space demonstrate a kind of synchronicity: Wu's two new installations, Moving Point and Tremor Point, once again return to geometric imagery and basic mechanical movement of dots, lines, and surfaces, while Bai's Hunter's Point III in the Snow is a moment in winter at a location she has depicted on many occasions. The two childlike snowmen in the painting are in dialogue with the two installations while echoing Wu's toy-like installation series on the staircase on the other side of the wall.
在藝術家們花了很長時間觀察她們所在的城市中細碎的交織之后，城市的肌理和姿態(tài)仿佛入侵了她們，或許這次的展覽也是白夢帆和吳牧寒讓她們的城市再次描繪和構建的她們自己。在這里，觀者也不再僅是對藝術臨淵羨魚的旁觀者，而成為了白夢帆和吳牧寒的對話的參與者。
After spending a long time observing the interweaving of minutiae of their cities, the cities’ texture and gestures seem to invade them, and perhaps the artists allowed their cities to paint and construct them once again. Here, as viewers, we are also no longer a mere spectator of art, but participants in the dialogue between the two artists.
白夢帆 Mengfan Bai
愿力 Make a Wish,2022
布面油畫 Oil on canvas
46h x 61w x 4d cm
? Courtesy of the artist
白夢帆和吳牧寒的作品都有一種熟悉感和平凡感。白夢帆畫布上捕捉到的上海和紐約城市中的瞬間和地點，以及這些被吳牧寒拾起、收藏、再重新組合成裝置作品的物件，仿佛是在我們的日常生活中無處不在、無處不有；與其說它們是關于某個特定地點，不如說是關于一種集體想象、一種流動感和孤獨感。就像是榮格所說過，人的心靈擁有一種超越所有文化和意識差異的共同基底一樣，這是一個關于內心情感的展覽，這些情感沒有被大聲說出卻也被誠實地記錄在白夢帆和吳牧寒的作品中。它們關乎缺失和無常、關乎困惑和失去群體的感覺，但它們也關乎發(fā)現(xiàn)與欣喜、和解與復原、重拾與展望。
There is a sense of familiarity and ordinariness in both Mengfan Bai's and Muhan Wu's works. The moments and places in the cities of Shanghai and New York captured on Bai's canvases, as well as the objects that Wu picks up, collects, and reassembles into installations as if they can be everywhere and nowhere; it is less about a particular place and more about a collective imagination, a sense of mobility and isolation. It is as if Carl Jung had said that the human mind possesses a common substratum that transcends all differences in culture and consciousness, this is an exhibition about inner emotions held within, that are not spoken aloud but are honestly recorded in the works of both artists. It is about absence and impermanence, about confusion, loss and the feeling of being out of community, but it is also about discovery and elation, about reconciliation and restoration, regaining and looking forward.
文/熊雨思
Text by Yusi Xiong
藝術家Artist
白夢帆Mengfan Bai
白夢帆(1994年)在紐約視覺藝術學院獲得純藝術碩?學位，在四川?樂學院獲得油畫學?學位。目前生活工作于上海和紐約。
Mengfan Bai (b.1994, China) received her MFA from the School of Visual Arts in New York, and her BFA in oil painting from Sichuan Conservatory of Music, Chengdu, China. She lives and works in Shanghai and New York City.
個展
2022 “Keep the Change”, SPACE776, 紐約
2021 “Landing”, SPACE776, 首爾，韓國
2020 “幾乎是一個愛情故事”, SPACE776, 紐約
2019 “ 不要去想那片藍色 ” ， The Java Project ，紐約
部分群展
2023第十一屆ART021廿一當代藝術博覽會，南柯畫廊展位，上海展覽中心，上海
“ 溯之回流 ” ，伯年藝術空間，北京
“Design Shanghai”, Booth 3B01，南柯畫廊，上海世博展覽館，上海
2022 “風景后“，CGK昆明當代美術館，昆明
“Water is Not For Sale”, Bloom Galerie，圣洛佩茲，法國
“Social Photography X”, carriage trade, 紐約
2021 VOLTA藝博會, Booth A25, 巴塞爾, 瑞士
“Social Photography IX”, carriage trade, 紐約
“Urban Arboretum”, SPACE776, 首爾，韓國
2020 “又何間焉：檔案和病毒的“交叉感染””, OCAT 研究中心, 北京
“We are open”, StartaArta, 紐約
“Social Photography VIII”, carriage trade, 紐約
2019 “一方”沙龍展，ARTRA，紐約
“藝術啟示錄”，ARTCLOUD，全球原創(chuàng)藝術中心，深圳
“Seduction 2019”，F(xiàn)riday Studio畫廊，紐約
“Social Photography VII”，carriage trade畫廊，紐約
博而勵夏季群展，Boers-Li畫廊，紐約
“Space”，Booth畫廊，紐約
“Nova Price Exhibition”，HRY空間，紐約
“我們將去向何處?”，Projects Space，紐約
2018 “PULSE”邁阿密藝術博覽會，邁阿密
“Five Sided”， PLUS81畫廊，紐約
“Nostalgia for The Present”，56 Bogart，紐約
“Social Photography VI”， carriage trade畫廊，紐約
“Tactics, Works, Terms, Forms, Statements”，百老匯371號，紐約
“Perceptual Coding”，紐約視覺藝術學院切爾西畫廊，紐約
2015 “移動坐標”，成都市美術館，成都
2013 “預?”五人聯(lián)展，白夜畫廊，成都
獲獎經歷
2019 Nova Prize， FRESCO COLLECTIVE，紐約
駐留項目
2023大地之書藝術駐留計劃，香格里拉，云南
教育背景
2015四川音樂學院油畫本科
2018紐約視覺藝術學院純藝術碩士
SOLO EXHIBITIONS
2022 Keep the Change, SPACE776, New York, NY
2021 Landing, SPACE776, Seoul, South Korea
2020 Almost a love story, SPACE776, New York, NY
2019 Get Rid of Blue, The Java Project, New York, NY
SELECTED GROUP EXHIBITIONS
2023 ART021 SHANGHAI CONTEMPORARY ART FAIR, Shanghai Exhibition Centre, Shanghai, China
Prelude to the backflow, BONIAN SPACE, Beijing
Design Shanghai, Booth 3B01, Nan Ke Gallery, Shanghai World Expo Exhibition and Convention Center
2022 After Landscape, Contemporary Gallery Kunming, Kunming, China
Water is not for sale, Bloom Galerie, Saint-Tropez, France
2021 VOLTA, Basel, Booth A25, Switzerland
Social Photography IX, carriage trade, New York, NY
Urban Arboretum, SPACE776, Seoul, South Korea
2020 Viral Transmission: A Medium in Between, OCAT Institute, Beijing, China
We are open, StartaArta, New York, NY
2019 Apocalyps of art, Art Cloud Global Original Art Center, Shenzhen, China
Seduction 2019, The Friday Studio Gallery, New York, NY
Summer Show, Boers-Li Gallery, New York, NY
Social Photography VII, carriage trade, New York, NY
Space, Booth Gallery, New York, NY
Nova Prize Exhibition, HRY Space , New York, NY
Where are we going?, CP Projects Space, New York, NY
2018 PULSE Art Fair, SVA Galleries Booth, Miami, FL
Five Sided, Plus81 Gallery, New York, NY
Nostalgia For The Present, 56 Bogart St, New York, NY
Social Photography VI, carriage trade gallery, New York, NY
Tactics, Terms, Statements, 371 Broadway, New York, NY
Perceptual Coding, SVA Chelsea Gallery, New York, NY
2015 The Moving Coordinate, Chengdu Museum, Chengdu, China
2013 Foresight, White night gallery, Chengdu, China
AWARDS
2019 Nova Prize, FRESCO COLLECTIVE, New York
RESIDENCY
2023 Exchange Landscape Artist Residency Program, Shangri-La, Yunnan
吳牧寒Muhan Wu
吳牧寒 (1997年) 出生于中國浙江衢州，2022年畢業(yè)于華東師范大學公共藝術專業(yè)，現(xiàn)工作生活于上海。
Muhan Wu (b. 1997, Quzhou, Zhejiang, China) graduated from the East China Normal University and majored in Public Art. She currently lives and works in Shanghai.
展覽經歷
2023年 “設計上?！?，上海世博展覽館，中國
2023年 “進化：奇點“，南柯畫廊，中國
2022年 “‘新青年’第四屆學院實驗藝術文獻展”，陶溪川美術館，中國
2020年 “2020藝術上海國際博覽會”，上海世博展覽館，中國
2019年 “所見非所知”，ANNEX展廳，上海復星藝術中心，中國
2019年 “共同的節(jié)日”，愚園路1088號，中國
2018年 “2018中國·上海靜安國際雕塑展”，靜安雕塑公園，中國
2018年 “串行”，華東師范大學創(chuàng)意立方，中國
2018年 “STUD-ENT-IO”，米蘭NABA校園，教室00，意大利
2017年 “教育即藝術”，上海郵政大廈，中國
2017年 “點”，華東師范大學設計中心，中國
2016年 “圖像雕塑”，華東師范大學設計中心，中國
Exhibitions
2023 Design Shanghai, Shanghai World Expo Exhibition and Convention Center, China
2023 Evolution: Singularity, Nan Ke Gallery, China
2022 The 4th China Academic Experimental Art Education Documentary Exhibition: New Youth, Tao Xichuan Art Museum, China
2020 ART PLUS Shanghai, Shanghai World Expo Exhibition Center, China
2019 Seeing Is Not Believing, ANNEX Space, Fosun Art Center, China
2019 Comradery, 1088 Yuyuan Road, China
2018 Jing An International Sculpture Exhibition, Jing An Sculpture Park, China
2018 Sequential, Creative Cube, ECNU, China
2018 STUD-ENT-IO, Campus NABA, Classroom 00, Milan
2017 Education Is Art, Shanghai Post Building, China
2017 Point, Design Center, ECNU, China
2016 Sculptures of The lmage, Design Center, ECNU, China
策展人Curator
熊雨思Yusi Xiong
熊雨思是一位在倫敦生活和工作的獨立策展人。先后獲得倫敦藝術大學圣馬丁藝術學院文化批評與策展碩士學位、倫敦大學學院地理與信息系統(tǒng)碩士學位及地理學士學位。曾供職于弗里茲藝術博覽會、約翰·索恩爵士博物館和倫敦的皇家地理學會。她近年的策展項目包括“蔓延叢生”（南柯畫廊，上海）、“八風”（良設，上海）、“泛音”（藝術之夜&白教堂畫廊，倫敦）、“無?！保贩茽査囆g周Herrick畫廊，倫敦）、“0.064g”（oxo畫廊，倫敦）、 “體積融入大氣”（大衛(wèi)羅伯茨藝術基金會，倫敦）、“christinebot｜訪問檔案”（南岸中心，倫敦）等。
Yusi Xiong is an independent curator who lives and works in London. She completed an MA in Culture, Criticism and Curation at Central Saint Martins in 2015. Prior to this, she obtained an MSc Geographic Information Science and a BA in Geography, both from University College London. In recent years she curated exhibitions in London and China, including Dendrites (Nan Ke Gallery, 2023), Ba·Feng (Shanghai, 2017), Overtone (Art Night 2017 with Whitechapel Gallery official programme), Impermanence at Herrick Gallery (Mayfair Art Weekend 2017 official programme), Everybody? (ART021 Shanghai & CC Art Foundation, 2017), 0.064g (gallery@oxo, 2017), Christinebot | Accessing The Archive (Southbank Centre, 2015), and volume dissolves into atmosphere (The Robert Institute of Art, 2015). Yusi also has extensive experience in arts and culture. For the past eight years she has worked at Frieze Art Fair, Sir John Soane’s Museum, and the Royal Geographical Society in London.
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Please email for inquiries about the artwork.：
info@nankegallery.com
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