有保障，很稳定。— 流水线项目展 Assured Stability—an Assembly Line
Exhibition
开幕时间：2015年05月30日15:00-19:00
展览时间：2015年06月01日至2015年7月30日(11:00-18:00 周一休息)
展览地点：视界艺术中心（上海莫干山路50号）
空间1（视点空间）：3号楼210
空间2（视界艺术）：6号楼104
参展人：皮尔.胡特纳（瑞典艺术家）、郭庆玲（艺术家）、姜丹丹（艺术理论家、哲学家）、袁丽莎（挪威艺术家）、李消非（艺术家）
艺术总监：巢佳幸
展览策划：流水线项目工作室
主办单位：视界艺术中心
协办单位：挪威驻沪总领事馆、非艺术中心、视觉论坛（瑞典）
特别感谢：岳永铮、廖文峰、杨青青、上海那怕星国际贸易有限公司
Opening: 30 May, 2015 (Saturday) at 3pm-7pm
Exhibition Date: 01 June - 30 July, 2015 (11am-6pm, Monday closed)
Venue: V ART CENTER (No.50 Mo Ganshan Rd, Shanghai)
Space1 (view point) 2F, Building 3
Space2 (visual art) 1F, Building 6
Participants: Per Hüttner (Artists, Sweden), Guo QIngling (Artists), Jiang Dandan (Art theoretician, Philosopher), Lise Yuen (Artists, Norway), Li Xiaofei (Artists)
Art Director: Chao Jiaxing
Curator: Assembly Line Projects Studio
Organization: V ART CENTER
Partner: The Consulate General of Norway in Shanghai, Fei Contemporary Art Center (FCAC), Vision Forum (Sweden)
Thanks: Jacky Yue, Liao Wenfeng, Yang Qingqing, Shanghai Napa Glory International Trading Co.,Ltd.
主题简介
每次与工厂的工人交谈，工人们使用最频繁的词语就是“有保障，很稳定。”意指有着一份稳定的工作，医疗、养老等有一定的保障......这听起来仿佛遥不可及，舒缓自然的流露愿望的背后，其延伸的问题是最基本的生存焦虑。
“有保障，很稳定。”这个指向性明确的词语具有社会普遍意义。它就像一个壁垒森严的社会问题，波及低层每一个人，它让人无力并深感愤懑，但这种感觉在表层会逐渐消解，就像是症结所在，当人内心不安和恐惧被自我消化，这不是因为环境变好了，主体长期生存状况制约由此适应这种制约，并自动将压迫分散到其他环节，迅速腐朽与之无关的部分。
发展中的中国将整个社会变成一个巨大的生产工厂，不同的艺术家在这个变化的过程中解读到属于自己的那个部分。很明显来自世界上最有保障最稳定的两位北欧艺术家很难理解如此普及的“朴素的愿望”，但这并不影响他们用自己的艺术的方式和经验对当下的社会现状进行探讨，并试图赋予现实一种认知的力量，这不仅仅是因为标准化工业社会所想要的，它同样包含着另一种矛盾和残酷。
此次展出的作品或有关生产场景，或有关生产者与社会，或有关意识形态，或有关时间及生命流动的感知等等，这直接或间接影响着我们对世界、对我们自己相关的那种“保障、稳定”提出质疑。
Introduction to “Assured Stability”
When I talk to industrial workers. They often say that there is an “assured stability." They mean that there is stable employment, medical care, pension—everything is guaranteed. Their point of view might seem superficial at first glance, but behind this expression of a human desire we find a deeply rooted anxiety about how to survive.
"Assured Stability"— the clear and yet somewhat mundane words possess a sense of universality. We all understand and share the dream of tomorrow remaining bright and trouble free. Still, there is another side to the words that suggests that each individual only becomes a part of an economic system, a cog in a wheel of a seemingly meaningless giant machine of society. And that image can slowly eat its way into our consciousness like a virus. Perhaps we find ourselves in a situation where everything has improved on the surface and yet our lives have become empty and meaningless?
In the recent decades of economic development, large parts of Chinese society have developed into a web of large factories of mass production. The participants in the exhibition “Assured Stability” offer different interpretations of what they can draw from this process. The artists who originate from Northern Europe live in countries with the most developed social and economic security on the planet. They have since long lived what Chinese workers call “guaranteed stability.” The artists have expressed some difficulty in understanding the widespread and “simple aspirations.” Still they use their artistic methods and experience to explore contemporary society. They try to make sense of a world in constant and violent flux and full of paradoxes—this is not only related to the demands of standard industrialized societies, but is also an expression of a kind of cruelty and beauty.
The works on display in the exhibition raise questions about the sites of production as well as the relationship between the producers and society as a whole. They investigate states of consciousness and reflect on how human values inform how we experience the flow of time and of life. They question how ethics inform or directly or indirectly relate to our world, to our own personal "assured stability."
关于流水线项目
流水线项目是李消非2010年开始创作的一个持续性的艺术项目，是一种与当下的社会进程和社会变迁联系在一起的实践过程。
目前分两个阶段：2010年-2013年主要以录像的形式关注和分析“流水线”。这期间他先后在中国长江三角洲、珠江三角洲以及美国、瑞典、挪威、新西兰等地拍摄了一百多家各种类型的工厂，与流水线上不同职位的人进行对话和交流。融合了纪录片和社会学的语言，以一种无法控制的“实拍”，用切片、交错的方式将人与机器相互重组和转换，来重构一种虚幻的真实。“流水线”是资本欲望所驱动的生产模式，它是重复的、一致的、机械的、缺乏情感的，同时高效、快捷地将生产价值膨胀到最大，这样的重复和一致，不仅指的是机器，同样，还包括生活在其中的人，以及最后的产品。
2013年至今李消非主要探讨隐藏在秩序之外的“流水线”，它是资本工厂、消费社会、社会进程、价值观念的标准化，是人在高度系统化和体制化的环境里的一个现实处境。近两年，他采用多种艺术形式，以“日常用品”作为媒介，用一种非叙事的方式将各种景观并置，以触动观者从不同的角度、从细节到整体去感受、体悟，它看似平实自然，却隐含着深刻的社会意义。
随着流水线的推进，现在已变成了一个丰富、多样、复杂、有趣的创作项目。李消非希望建立一个创作平台，用一种开放的姿态与不同的人进行沟通，来探索与之相关联和延伸的“流水线”，同时根据每一阶段的讨论和研究，邀请不同的艺术工作者和不同学科的学者一起参与和合作。
About the “Assembly Line” Project
“Assembly Line” is a continuing series which was initiated in 2010 by Li Xiaofei. It is a practice which is related to the process of social change in contemporary society.
Currently there exist two phases. The first phase from 2010-2013 focused on video as a form and as a tool to analyze the assembly line. During this period, Li worked successively in the Yangtze and Pearl River Delta regions, the US, Sweden, Norway and New Zealand to shoot over 100 different kinds of factories, having dialogues and exchanges with people of different positions within the assembly line. He used a "realtime" shooting technique which is difficult to control, mixed the language of documentary and sociology and used a fragmented interwoven approach to create a mutual restructuring and transformation of the relationship between man and machine, to reconstruct an illusory reality. In Li Xiaofei's view, "Assembly Line" is a mode of production driven by capitalistic desire—it is repetitive, consistent, mechanical and devoid of emotion. At the same time, it is highly efficient, and can expediently expand the volume of production to create the maximum amount of value. This kind of repetition and consistency not only refers to the machine, but also represents the people in between and finally the products themselves.
Since 2013, Li Xiaofei has been primarily exploring what lies beyond the orderly-ness of the assembly line, the capitalist factory, consumer society, social progress, social mores—the reality of the people living in a highly systematic and institutionalized environment. In the past two years, he has used various artistic forms using "everyday objects" as his medium, using a non-narrative method to depict different landscapes and homes, to move people from different angles, from the observation of details to the whole, and to realize that that though it may look unremarkable or natural, it implies a profound social significance.
As the "Assembly Line" project progresses, it has become a rich, diverse, complex and fascinating creative project. Li Xiaofei would like to establish a creative platform to use an open approach to communicate with different people to discover connections with the “Assembly Line” and how to further extend the project. At the same time with every stage he invites different art workers and scholars from different disciplines to discuss, research, participate and
参展人简介
Participants’ Profiles
皮尔.胡特1967年出生于瑞典，毕业于斯德哥尔摩皇家艺术学院和柏林艺术大学，现生活、工作于巴黎和斯德哥尔摩。他的作品主要探讨暂时性的全球化问题，尤其是单一的、持久的思维方式，长期在社会政治和经济结构中是怎样影响人类的沟通和互动，其作品形式多样，经常变换。他在作品中常与历史有某种对话，以激发观者的好奇心和想象力来思考时间、知识和内心之间的关系。
皮尔.胡特活跃于在欧洲，北美、亚洲、澳洲等地，举办过的个展包括：“比未知多一些”上海证大当代艺术陈列馆；"RepetitiveTime" at Göteborgs konstmuseum, and “Iam a Curator” atChisenhale Galleryin London。其作品曾在The Yerba Buena Centerfor the Arts, 旧金山、伦敦海沃美术馆、巴黎东京宫、斯德哥尔摩当代美术馆、泰特现代美术馆，圣保罗艺术博物馆和威尼斯双年展等机构展出。在过去的十年已出版十几本艺术专著，皮尔.胡特纳同时也是视觉论坛的创始人和负责人，这是一个关于国际网络实验研究的项目。更多信息:http://www.perhuttner.com
Per Hüttner (b. 1967) is a Swedish artist who lives and works in Stockholm and Paris. He was trained at Konsthögskolan, Stockholm and at Hochschule der Künste in Berlin.
Hüttner's work investigates impermanence as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political and economical structures and how that influences human communication and interaction. The work often deals with transformation, change or various forms of transgressions of boundaries or borders. His work dialogues with the history of performance and explores the genre in innovative ways by provoking the curiosity and imagination of the visitor as well as by reflecting on notions about time, knowledge and the human body.
Hüttner has shown extensively in Europe, North America, Australia and Asia, solo exhibitions include ">unkown” at Zendai Contemporary Art Museum in Shanghai, "Repetitive Time" at Göteborgs konstmuseum, and “I am a Curator” at Chisenhale Gallery in London. Participation in group shows include Museu de Arte Moderna de São Paulo (MAM); Palais de Tokyo in Paris, the Hayward Gallery in London, Palais de Tokyo in Paris, Moderna Museet in Stockholm, MACBAin Barcelona and he has performed at Tate Britain, Tate Modern, Pinacoteca and the Venice Biennial. A dozen monographs on the artists work have been published in the last decade. Hüttner is the founder and director of the Vision Forum, a project-based international experimental research network.
For more info see: http://www.perhuttner.com/
郭庆玲出生于中国湖南，毕业于上海戏剧学院舞台美术系，现生活、工作于上海。作品形式以绘画为主同时还涉及影像、装置和广播剧。主要探讨社会各种类型的“女性”，具有很强的社会实践和社会干预性，如：1999年至2002年创作的市井女性，造型夸张，色彩浓艳、笔触有力；随后2002年至2005年的“海鲜”系列，这一类女性是城市当中紧随潮流的消费层，画面风格洒意，线条灵动；2006年至2009年的“灰色”系列，研究有生理、心理有疾病的女性，作品暗灰、阴郁怪诞；2012年至2014年的“第二性”系列，关注具有独立、专业和有贡献的知识女性；2014年开始进行创作的社会底层的工厂女工《背景》系列，将复杂的社会问题简洁到内心深处令人不安。
郭庆玲的作品曾经参加：第十届上海双年展城市馆--城市车间，新天地，上海，中国（2014）；摇摇欲坠--性别阶级城市于当代上海，非艺术中心，上海，中国（2014）；SNAP跨年展：Resolution，SVA-NYCArtPlatform，上海，中国（2014）；她们！－郭庆玲个展，PRETTY LAND画廊，德国（2009）；Broken Mirror, CATTD 画廊，伦敦，英国（2008）；FCA—xxx当代艺术展，FCAC，上海，中国（2007）；她有病！－郭庆玲个展，非艺术中心，上海，中国（2007）；高档货--来自上海当代艺术展，新凯旋门顶层，巴黎，法国（2006）；FALL OUT, H画廊，曼谷，泰国（2006）；长安大街--苏河现代艺术馆开馆展，苏河现代艺术馆，上海，中国（2005）；费非飞当代艺术展，多伦现代美术馆，上海，中国（2004）；亚洲当代艺术展，季节画廊，新加坡（2003）；海鲜--郭庆玲个展，东廊艺术，上海，中国（2003）；上海青年美术大展，刘海粟美术馆，上海，中国（1999）；都市靓丽—99上海油画新具象沙龙邀请展，上大美院画廊，上海，中国（1999）等展览。更多信息: http://www.guoqingling.com
Guo Qingling (Artists)
Guo Qingling, graduated from the Stage Art Department of Shanghai Drama Institute, she was born in Henan province and now lives and works in Shanghai. Her works, which boast a strong social practicality and sense of intervention, mainly focus on exploring women from different dimensions in life through painting, video, installation and radio drama.
For instance, the images of women engaged in scenes of street life created from 1999 to 2002 were saturated with exaggerated expressions, vibrant colours and vigorous brush-work. The “Seafood” series (2002-2005) with a liberated style and fluid lines portrayed a group of women constituting a class of consumers who could be described as fashion exhibitionists. The “Grey” series (2006-2009) studied women suffering from physical and mental illnesses. The “Second Series” (2012-2014) focused on independent and professional female intellectuals who have made significant contributions to society. Since 2014, Guo has begun painting images of a lower-class demographic, factory girls and single women in the cities, portraying the anxiety and malaise which manifests their lives which reflects more complex social issues.
The works of Guo Qingling have been exhibited in 2014. “Precariously Yours: Gender, Class, and Urbanity in Contemporary Shanghai”, Fei Contemporary Art Center, Shanghai, China (2014) ; the “10th Shanghai Biennale 2014 City Pavilion: Urban Work&Shop”, Xintiandi, Shanghai, China (2014); “SNAP: Resolution”, SVA-NYC Art Platform, Shanghai, China (2014); “Reactivation”, Fei Contemporary Art Center (Shanghai, China) and “Benton Box” (Dusseldorf, Germany) (2013); “They!—Solo Exhibition by Guo Qingling”, PRETTY LAND Gallery, Germany (2009); “Broken Mirrors”, CATTD Gallery, London ,UK (2008); “FCA-xxx Contemporary Art Exhibition”, Fei Contemporary Art Center, Shanghai, China (2007); “She is sick!—Solo Exhibition” by Guo Qingling, Fei Contemporary Art Center, Shanghai, China (2007); “High Art from Shanghai”, Contemporary Art Exhibition, Arc de Triomphe, Paris, (2005); “FALL OUT”, H Gallery, Bangkok, Thailand (2005) ; “Open Road”, The Creek Art Center, Shanghai, China (2005); “Fei,Fei, Fei,” Duolun Museum of Modern Art, Shanghai, China (2004); “The Contemporary Asian Art Fair”, Art Seasons Gallery, Singapore (2003); “Seafood—Guo Qingling Solo Exhibition”, Eastlink Gallery, Shanghai, China (2003); “99 Exhibition of Young Shanghai Artists”, Liu Haisu Art Museum, Shanghai, China (1999); “The Brilliance of the City—Shanghai Invitational Exhibition, and “New—Figurative Paintings”, Shanghai, China (1999).
For more info see: http://www.guoqingling.com
姜丹丹 Jiang Dandan（艺术理论家、哲学家）
姜丹丹：上海交通大学人文学院哲学系特聘研究员。法国国际哲学学院（CIPh）通信研究员、国外科研项目主任。法国人文科学之家(FMSH)访问学者。台大人文社会高等研究院访问学者。法国高等社会科学研究院艺术与语言研究所(CRAL)博士后。曾获法国巴黎市政府外籍学者科研奖(2009-2010)。《轻与重》文丛主编 (华东师范大学出版社六点分社，迄今出版三十种)。专攻艺术哲学、艺术批评理论及跨文化对话
Jiang Dandan (Art theoretician, Philosopher)
Jiang Dandan, Distinguished Research Fellow, Department of Philosophy, University Jiaotong,Shanghai.Correspondent, director of
program, Collège International de Philosophie (CIPh, France). Specialized on philosophy of art, theory on art criticism, crosscultural
dialogue.
Visiting scholar, Maison des sciences de l’homme (MSH, France); Visiting professor, Institute for advanced studies in Humanities
and Social Sciences, Taiwan University. Post-doctor, Centre de recherches sur les arts et le language (CRAL), École des hautes
études en sciences sociales (EHESS). Laureat of the fellowship “ Researches in Paris”, City of Paris, France (2009-2010). Director
of the collection “Festina Lente” (“Qing yu Zhong”, Vihorae, East China Normal University Press, 30 titles published).
袁丽莎 Lise Yuen
袁丽莎出生于挪威，毕业于挪威皇家艺术学院，现生活、工作于奥斯陆。丽莎力图在作品中探寻一种另类的真实，而这种探索通常基于她自己对自然的感知。抽象本身即介乎清晰与暧昧，界定与未界定之间--它以简化的方式揭示了事物的本质。在创造视觉关联，并将整个艺术过程导向某个普遍的、可认知的结果的过程中，简单、可知是两个极其重要的标准。通过反思感知与现实、主体与客体、文化与自然之间的张力以及内心世界同外部世界的关系汲取灵感。她探寻暧昧意象中蕴藏的魅力，同时去直面那些彼此冲突的元素--这些元素糅合了概念上的简化、物质形式的表达以及艺术技巧。在我们希求理解，寻找确切证据和绝对答案的过程中，我们将会丧失某种至关重要的感受--好奇心，在丽莎看来，好奇心是其创作装置艺术与雕塑作品的原动力。
袁丽莎的作品曾参与的展览包括: 第十届上海双年展城市馆：城市车间，新天地，上海，中国；摇摇欲坠: 性别阶级城市于当代上海，非艺术中心，上海，中国；“Change and Exchange” HALLE 50，慕尼黑,德国；“派对--苏州河”，上海，中国；“Talentborse”，慕尼黑，德国；“Cross Point”，Hennie Onstad艺术中心，奥斯陆，挪威；“Taiga”，埃尔沃吕姆博物馆，埃尔沃吕姆，挪威。曾参与的个展有： “TIME”，Krypten，奥斯陆，挪威。曾属机构（委员会）包括：“HafslundEnergy, 奥斯陆，挪威”；“埃尔”沃吕姆学院，埃尔沃吕姆，挪威;“Mølleparken，奥斯陆，挪威”；“Tabibito，奥斯陆，挪威”；“Lille Sumo，奥斯陆，挪威”。曾获挪威青年艺术家政府基金。
2004年袁丽莎曾创办上海苏河现代艺术馆和北京苏河艺术中心，参与策划、组织了诸多国际文化艺术活动和展览。更多信息: www.liseyuen.com
Lise Kolstad Yuen, graduated from The National College of Art and Design, Oslo, Norway, was born in Lillehammer and now works and lives in Oslo.
In her work she strives to find an alternative reality, often based on her own sense of nature. Abstraction itself is a meeting between the defined and the undefined—a reduction to uncover a fundamental essence. Simplicity and accessibility are important parameters in creating visual associations and leading an artistic process to a result which is universal and recognizable.
She seeks inspiration by reflecting on the tension between perception and reality, subject and object, culture and nature, as well as the relationship between the inner and outer world. She also is fascinated by ambiguity and likes to create a confrontation between opposing elements, combined with conceptual simplification, material expression and the craft.
In our quest to understand, to find scientific proof and absolute answers, we are about to lose something important, our sense of wonder. In Lise´s visual universe, wonderment is a driving force which propells the development of her installations and sculptures.
Her works have been exhibited in “10th Shanghai Biennale 2014—City Pavilion: Urban work & shop” Shanghai, China, “Precariously Yours, gender, class and urbanity in Contemporary Shanghai” at Fei Contemporary Art Center, Shanghai, China, “Change and Exchange 6”, Halle 50, Munich, Germany, “Matchmaking at Suzhou Creek”, Shanghai, China, “Talentborse”, Munich, Germany, “Cross Point”, Hennie Onstad Art Center, Oslo, Norway, “Taiga” Elverum museum, Elverum, Norway, “Time”, Krypten Oslo, Norway. Commissions: Hafslund Energy, Oslo, Norway, Elverum College, Elverum, Norway, Mølleparken, Oslo, Norway, Tabibito, Oslo, Norway, Lille Sumo, Oslo, Norway. Grants: Government grants for young artists.
Lise Kolstad Yuen lived in Shanghai for six years. During this period she founded Creek Art Center in Shanghai and Beijing, and was curating and organized exhibitions and international cultural exchange events.
For more info see: www.liseyuen.com
李消非 LiXiaofei
李消非1973年出生于中国湖南，1998年毕业于广州美院，现居住、工作在上海。2004年参与创办苏河现代艺术馆并任执行馆长；2007年创办非艺术中心并任艺术总监。2010年获纽约亚洲文化协会艺术家基金；2013年获瑞典IASPIS艺术家国际项目基金；同年获新西兰亚洲驻地交流基金。
李消非的作品曾参加：LABORREPRESENTATION, 奥尔布赖特·诺克斯美术馆，纽约州水牛城，美国（2015）；带走北极-2015巴伦支艺术节, Pikene på Broen, 希尔克内斯，挪威（2015）；社会工厂，第10届上海双年展，上海当代博物馆，上海，中国（2014）；{ } ，第八届柏林双年展，KW，柏林，德国（2014）；第60届奥伯豪森国际短片电影节，奥伯豪森，德国（2014）；一只螃蟹和一块巧克力，李消非个展，OV画廊，上海，中国（2014）；流水线－一包盐，李消非个展，Toi Poneke Gallery\ WARE，惠灵顿，新西兰（2013）；流水线－入口，李消非个展，Starkwhite Gallery, 奥克兰，新西兰（2013）；城市边缘，2013深港城市\建筑双城双年展（2013）；DescriptiveActs, 旧金山艺术现代博物馆，旧金山，美国（2012）；忧郁的进步-2012年台湾国际录像艺术展，凤甲美术馆，台北，台湾（2012）等展览。更多信息: http://www.lixiaofei.org/
Li Xiaofei (Artists)
Li Xiaofei (b.1973) is a Chinese artist who lives and works in Shanghai. He graduated from the Guangzhou Academy of Fine Arts. Li is the Co-Founder and Director of the Creek Art Center, Fei Contemporary Art Center (FCAC) Shanghai, and the Zendai Contemporary Art Exhibition Hall.
Li has been the recipient of grants and awards from multiple organizations, including the Asia New Zealand Foundation, Wellington Grants, New Zealand (2013), Iaspis International Residency Grant, Stockholm, Sweden (2013), The Sovereign Foundation Fellowship of the Asian Cultural Council (Rockefeller Foundation), New York, USA (2011).
Li's work has been featured in solo and group exhibitions internationally, including: “LABOR REPRESENTATION”, Albright-Knox Art Gallery, Buffalo, New York, U.S.A (2015); “ARCTIC TAKE AWAY: Barents Spektakel 2015”, Pikene på Broen, Kirkenes, Norway (2015); “Social Factory: The 10th Shanghai Biennale”, PSA, Shanghai, China (2014); “COSMOS: Opening Exhibition of the Shanghai 21st Century Minsheng Art Museum”, Shanghai, China (2014); “The 2nd Xinjiang Biennale”, Xinjiang International Exhibition Center, Urumqi, China (2014); “{ } The 8th Berlin Biennale for Contemporary Art”, KW, Berlin, Germany (2014); “60th International Short Film Festival Oberhausen”, Oberhausen, Germany (2014); “Crabs and Chocolate—Li Xiaofei Solo Exhibition”, OV Gallery, Shanghai (2014); “2013 Bi-City Biennale of Urbanism/Architecture”, Shenzhen, China (2013); “Pavilion 0”, Palazzo Donà, Venice, Italy; “Assembly Line—A Packet of Salt, Li Xiaofei Solo Exhibition”, Toi Poneke Center / WARE, Wellington, New Zealand (2013); “Assembly Line—Entrance, Li Xiaofei Solo Exhibition”, Starkwhite Gallery, Auckland, New Zealand (2013); “Portraits”, Galerie C, Neufchatel, Switzerland (2013); “Descriptive Acts”, San Francisco Museum of Modern Art, San Francisco, USA (2012); “Melancholy in Progress, 2012 Taiwan International Video Art Exhibition”, Hong-Gah Museum, Taipei, Taiwan (2012); “Reliquie als Fetisch in Kirche, Kunst & Konsum”, Trier Contemporary Art Center, Trier, Germany (2012); and “JETLAG, Multimedia Contemporary Art in China”, Kunsthalle Faust, Hanover, Germany (2012).
For more info see: http://www.lixiaofei.org
视界艺术中心
上海莫干山路50号 200060
空间1（视点空间）：3号楼210
空间2（视界艺术）：6号楼104
V ART CENTER
No.50 Mo GanShan Rd,Shanghai 200060
Space1 (viewpoint) 2F, Building 3
Space2 (visualart) 1F, Building 6
Email:vartcenter@vip.126.com
Web: www.vartcenter.com
流水线项目工作室：
上海市嘉定区博学路1288号4号楼
希腾电子1号门（近丰登路）
Assembly Linei Projects Studio:
4th Building.
No. 1288. Bo Xue Rd,
Jiading District,
Shanghai. China. 201818
assemblyline@foxmail.com
开幕时间：2015年05月30日15:00-19:00
展览时间：2015年06月01日至2015年7月30日(11:00-18:00 周一休息)
展览地点：视界艺术中心（上海莫干山路50号）
空间1（视点空间）：3号楼210
空间2（视界艺术）：6号楼104
参展人：皮尔.胡特纳（瑞典艺术家）、郭庆玲（艺术家）、姜丹丹（艺术理论家、哲学家）、袁丽莎（挪威艺术家）、李消非（艺术家）
艺术总监：巢佳幸
展览策划：流水线项目工作室
主办单位：视界艺术中心
协办单位：挪威驻沪总领事馆、非艺术中心、视觉论坛（瑞典）
特别感谢：岳永铮、廖文峰、杨青青、上海那怕星国际贸易有限公司
Opening: 30 May, 2015 (Saturday) at 3pm-7pm
Exhibition Date: 01 June - 30 July, 2015 (11am-6pm, Monday closed)
Venue: V ART CENTER (No.50 Mo Ganshan Rd, Shanghai)
Space1 (view point) 2F, Building 3
Space2 (visual art) 1F, Building 6
Participants: Per Hüttner (Artists, Sweden), Guo QIngling (Artists), Jiang Dandan (Art theoretician, Philosopher), Lise Yuen (Artists, Norway), Li Xiaofei (Artists)
Art Director: Chao Jiaxing
Curator: Assembly Line Projects Studio
Organization: V ART CENTER
Partner: The Consulate General of Norway in Shanghai, Fei Contemporary Art Center (FCAC), Vision Forum (Sweden)
Thanks: Jacky Yue, Liao Wenfeng, Yang Qingqing, Shanghai Napa Glory International Trading Co.,Ltd.
主题简介
每次与工厂的工人交谈，工人们使用最频繁的词语就是“有保障，很稳定。”意指有着一份稳定的工作，医疗、养老等有一定的保障......这听起来仿佛遥不可及，舒缓自然的流露愿望的背后，其延伸的问题是最基本的生存焦虑。
“有保障，很稳定。”这个指向性明确的词语具有社会普遍意义。它就像一个壁垒森严的社会问题，波及低层每一个人，它让人无力并深感愤懑，但这种感觉在表层会逐渐消解，就像是症结所在，当人内心不安和恐惧被自我消化，这不是因为环境变好了，主体长期生存状况制约由此适应这种制约，并自动将压迫分散到其他环节，迅速腐朽与之无关的部分。
发展中的中国将整个社会变成一个巨大的生产工厂，不同的艺术家在这个变化的过程中解读到属于自己的那个部分。很明显来自世界上最有保障最稳定的两位北欧艺术家很难理解如此普及的“朴素的愿望”，但这并不影响他们用自己的艺术的方式和经验对当下的社会现状进行探讨，并试图赋予现实一种认知的力量，这不仅仅是因为标准化工业社会所想要的，它同样包含着另一种矛盾和残酷。
此次展出的作品或有关生产场景，或有关生产者与社会，或有关意识形态，或有关时间及生命流动的感知等等，这直接或间接影响着我们对世界、对我们自己相关的那种“保障、稳定”提出质疑。
Introduction to “Assured Stability”
When I talk to industrial workers. They often say that there is an “assured stability." They mean that there is stable employment, medical care, pension—everything is guaranteed. Their point of view might seem superficial at first glance, but behind this expression of a human desire we find a deeply rooted anxiety about how to survive.
"Assured Stability"— the clear and yet somewhat mundane words possess a sense of universality. We all understand and share the dream of tomorrow remaining bright and trouble free. Still, there is another side to the words that suggests that each individual only becomes a part of an economic system, a cog in a wheel of a seemingly meaningless giant machine of society. And that image can slowly eat its way into our consciousness like a virus. Perhaps we find ourselves in a situation where everything has improved on the surface and yet our lives have become empty and meaningless?
In the recent decades of economic development, large parts of Chinese society have developed into a web of large factories of mass production. The participants in the exhibition “Assured Stability” offer different interpretations of what they can draw from this process. The artists who originate from Northern Europe live in countries with the most developed social and economic security on the planet. They have since long lived what Chinese workers call “guaranteed stability.” The artists have expressed some difficulty in understanding the widespread and “simple aspirations.” Still they use their artistic methods and experience to explore contemporary society. They try to make sense of a world in constant and violent flux and full of paradoxes—this is not only related to the demands of standard industrialized societies, but is also an expression of a kind of cruelty and beauty.
The works on display in the exhibition raise questions about the sites of production as well as the relationship between the producers and society as a whole. They investigate states of consciousness and reflect on how human values inform how we experience the flow of time and of life. They question how ethics inform or directly or indirectly relate to our world, to our own personal "assured stability."
关于流水线项目
流水线项目是李消非2010年开始创作的一个持续性的艺术项目，是一种与当下的社会进程和社会变迁联系在一起的实践过程。
目前分两个阶段：2010年-2013年主要以录像的形式关注和分析“流水线”。这期间他先后在中国长江三角洲、珠江三角洲以及美国、瑞典、挪威、新西兰等地拍摄了一百多家各种类型的工厂，与流水线上不同职位的人进行对话和交流。融合了纪录片和社会学的语言，以一种无法控制的“实拍”，用切片、交错的方式将人与机器相互重组和转换，来重构一种虚幻的真实。“流水线”是资本欲望所驱动的生产模式，它是重复的、一致的、机械的、缺乏情感的，同时高效、快捷地将生产价值膨胀到最大，这样的重复和一致，不仅指的是机器，同样，还包括生活在其中的人，以及最后的产品。
2013年至今李消非主要探讨隐藏在秩序之外的“流水线”，它是资本工厂、消费社会、社会进程、价值观念的标准化，是人在高度系统化和体制化的环境里的一个现实处境。近两年，他采用多种艺术形式，以“日常用品”作为媒介，用一种非叙事的方式将各种景观并置，以触动观者从不同的角度、从细节到整体去感受、体悟，它看似平实自然，却隐含着深刻的社会意义。
随着流水线的推进，现在已变成了一个丰富、多样、复杂、有趣的创作项目。李消非希望建立一个创作平台，用一种开放的姿态与不同的人进行沟通，来探索与之相关联和延伸的“流水线”，同时根据每一阶段的讨论和研究，邀请不同的艺术工作者和不同学科的学者一起参与和合作。
About the “Assembly Line” Project
“Assembly Line” is a continuing series which was initiated in 2010 by Li Xiaofei. It is a practice which is related to the process of social change in contemporary society.
Currently there exist two phases. The first phase from 2010-2013 focused on video as a form and as a tool to analyze the assembly line. During this period, Li worked successively in the Yangtze and Pearl River Delta regions, the US, Sweden, Norway and New Zealand to shoot over 100 different kinds of factories, having dialogues and exchanges with people of different positions within the assembly line. He used a "realtime" shooting technique which is difficult to control, mixed the language of documentary and sociology and used a fragmented interwoven approach to create a mutual restructuring and transformation of the relationship between man and machine, to reconstruct an illusory reality. In Li Xiaofei's view, "Assembly Line" is a mode of production driven by capitalistic desire—it is repetitive, consistent, mechanical and devoid of emotion. At the same time, it is highly efficient, and can expediently expand the volume of production to create the maximum amount of value. This kind of repetition and consistency not only refers to the machine, but also represents the people in between and finally the products themselves.
Since 2013, Li Xiaofei has been primarily exploring what lies beyond the orderly-ness of the assembly line, the capitalist factory, consumer society, social progress, social mores—the reality of the people living in a highly systematic and institutionalized environment. In the past two years, he has used various artistic forms using "everyday objects" as his medium, using a non-narrative method to depict different landscapes and homes, to move people from different angles, from the observation of details to the whole, and to realize that that though it may look unremarkable or natural, it implies a profound social significance.
As the "Assembly Line" project progresses, it has become a rich, diverse, complex and fascinating creative project. Li Xiaofei would like to establish a creative platform to use an open approach to communicate with different people to discover connections with the “Assembly Line” and how to further extend the project. At the same time with every stage he invites different art workers and scholars from different disciplines to discuss, research, participate and
参展人简介
Participants’ Profiles
皮尔.胡特1967年出生于瑞典，毕业于斯德哥尔摩皇家艺术学院和柏林艺术大学，现生活、工作于巴黎和斯德哥尔摩。他的作品主要探讨暂时性的全球化问题，尤其是单一的、持久的思维方式，长期在社会政治和经济结构中是怎样影响人类的沟通和互动，其作品形式多样，经常变换。他在作品中常与历史有某种对话，以激发观者的好奇心和想象力来思考时间、知识和内心之间的关系。
皮尔.胡特活跃于在欧洲，北美、亚洲、澳洲等地，举办过的个展包括：“比未知多一些”上海证大当代艺术陈列馆；"RepetitiveTime" at Göteborgs konstmuseum, and “Iam a Curator” atChisenhale Galleryin London。其作品曾在The Yerba Buena Centerfor the Arts, 旧金山、伦敦海沃美术馆、巴黎东京宫、斯德哥尔摩当代美术馆、泰特现代美术馆，圣保罗艺术博物馆和威尼斯双年展等机构展出。在过去的十年已出版十几本艺术专著，皮尔.胡特纳同时也是视觉论坛的创始人和负责人，这是一个关于国际网络实验研究的项目。更多信息:http://www.perhuttner.com
Per Hüttner (b. 1967) is a Swedish artist who lives and works in Stockholm and Paris. He was trained at Konsthögskolan, Stockholm and at Hochschule der Künste in Berlin.
Hüttner's work investigates impermanence as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political and economical structures and how that influences human communication and interaction. The work often deals with transformation, change or various forms of transgressions of boundaries or borders. His work dialogues with the history of performance and explores the genre in innovative ways by provoking the curiosity and imagination of the visitor as well as by reflecting on notions about time, knowledge and the human body.
Hüttner has shown extensively in Europe, North America, Australia and Asia, solo exhibitions include ">unkown” at Zendai Contemporary Art Museum in Shanghai, "Repetitive Time" at Göteborgs konstmuseum, and “I am a Curator” at Chisenhale Gallery in London. Participation in group shows include Museu de Arte Moderna de São Paulo (MAM); Palais de Tokyo in Paris, the Hayward Gallery in London, Palais de Tokyo in Paris, Moderna Museet in Stockholm, MACBAin Barcelona and he has performed at Tate Britain, Tate Modern, Pinacoteca and the Venice Biennial. A dozen monographs on the artists work have been published in the last decade. Hüttner is the founder and director of the Vision Forum, a project-based international experimental research network.
For more info see: http://www.perhuttner.com/
郭庆玲出生于中国湖南，毕业于上海戏剧学院舞台美术系，现生活、工作于上海。作品形式以绘画为主同时还涉及影像、装置和广播剧。主要探讨社会各种类型的“女性”，具有很强的社会实践和社会干预性，如：1999年至2002年创作的市井女性，造型夸张，色彩浓艳、笔触有力；随后2002年至2005年的“海鲜”系列，这一类女性是城市当中紧随潮流的消费层，画面风格洒意，线条灵动；2006年至2009年的“灰色”系列，研究有生理、心理有疾病的女性，作品暗灰、阴郁怪诞；2012年至2014年的“第二性”系列，关注具有独立、专业和有贡献的知识女性；2014年开始进行创作的社会底层的工厂女工《背景》系列，将复杂的社会问题简洁到内心深处令人不安。
郭庆玲的作品曾经参加：第十届上海双年展城市馆--城市车间，新天地，上海，中国（2014）；摇摇欲坠--性别阶级城市于当代上海，非艺术中心，上海，中国（2014）；SNAP跨年展：Resolution，SVA-NYCArtPlatform，上海，中国（2014）；她们！－郭庆玲个展，PRETTY LAND画廊，德国（2009）；Broken Mirror, CATTD 画廊，伦敦，英国（2008）；FCA—xxx当代艺术展，FCAC，上海，中国（2007）；她有病！－郭庆玲个展，非艺术中心，上海，中国（2007）；高档货--来自上海当代艺术展，新凯旋门顶层，巴黎，法国（2006）；FALL OUT, H画廊，曼谷，泰国（2006）；长安大街--苏河现代艺术馆开馆展，苏河现代艺术馆，上海，中国（2005）；费非飞当代艺术展，多伦现代美术馆，上海，中国（2004）；亚洲当代艺术展，季节画廊，新加坡（2003）；海鲜--郭庆玲个展，东廊艺术，上海，中国（2003）；上海青年美术大展，刘海粟美术馆，上海，中国（1999）；都市靓丽—99上海油画新具象沙龙邀请展，上大美院画廊，上海，中国（1999）等展览。更多信息: http://www.guoqingling.com
Guo Qingling (Artists)
Guo Qingling, graduated from the Stage Art Department of Shanghai Drama Institute, she was born in Henan province and now lives and works in Shanghai. Her works, which boast a strong social practicality and sense of intervention, mainly focus on exploring women from different dimensions in life through painting, video, installation and radio drama.
For instance, the images of women engaged in scenes of street life created from 1999 to 2002 were saturated with exaggerated expressions, vibrant colours and vigorous brush-work. The “Seafood” series (2002-2005) with a liberated style and fluid lines portrayed a group of women constituting a class of consumers who could be described as fashion exhibitionists. The “Grey” series (2006-2009) studied women suffering from physical and mental illnesses. The “Second Series” (2012-2014) focused on independent and professional female intellectuals who have made significant contributions to society. Since 2014, Guo has begun painting images of a lower-class demographic, factory girls and single women in the cities, portraying the anxiety and malaise which manifests their lives which reflects more complex social issues.
The works of Guo Qingling have been exhibited in 2014. “Precariously Yours: Gender, Class, and Urbanity in Contemporary Shanghai”, Fei Contemporary Art Center, Shanghai, China (2014) ; the “10th Shanghai Biennale 2014 City Pavilion: Urban Work&Shop”, Xintiandi, Shanghai, China (2014); “SNAP: Resolution”, SVA-NYC Art Platform, Shanghai, China (2014); “Reactivation”, Fei Contemporary Art Center (Shanghai, China) and “Benton Box” (Dusseldorf, Germany) (2013); “They!—Solo Exhibition by Guo Qingling”, PRETTY LAND Gallery, Germany (2009); “Broken Mirrors”, CATTD Gallery, London ,UK (2008); “FCA-xxx Contemporary Art Exhibition”, Fei Contemporary Art Center, Shanghai, China (2007); “She is sick!—Solo Exhibition” by Guo Qingling, Fei Contemporary Art Center, Shanghai, China (2007); “High Art from Shanghai”, Contemporary Art Exhibition, Arc de Triomphe, Paris, (2005); “FALL OUT”, H Gallery, Bangkok, Thailand (2005) ; “Open Road”, The Creek Art Center, Shanghai, China (2005); “Fei,Fei, Fei,” Duolun Museum of Modern Art, Shanghai, China (2004); “The Contemporary Asian Art Fair”, Art Seasons Gallery, Singapore (2003); “Seafood—Guo Qingling Solo Exhibition”, Eastlink Gallery, Shanghai, China (2003); “99 Exhibition of Young Shanghai Artists”, Liu Haisu Art Museum, Shanghai, China (1999); “The Brilliance of the City—Shanghai Invitational Exhibition, and “New—Figurative Paintings”, Shanghai, China (1999).
For more info see: http://www.guoqingling.com
姜丹丹 Jiang Dandan（艺术理论家、哲学家）
姜丹丹：上海交通大学人文学院哲学系特聘研究员。法国国际哲学学院（CIPh）通信研究员、国外科研项目主任。法国人文科学之家(FMSH)访问学者。台大人文社会高等研究院访问学者。法国高等社会科学研究院艺术与语言研究所(CRAL)博士后。曾获法国巴黎市政府外籍学者科研奖(2009-2010)。《轻与重》文丛主编 (华东师范大学出版社六点分社，迄今出版三十种)。专攻艺术哲学、艺术批评理论及跨文化对话
Jiang Dandan (Art theoretician, Philosopher)
Jiang Dandan, Distinguished Research Fellow, Department of Philosophy, University Jiaotong,Shanghai.Correspondent, director of
program, Collège International de Philosophie (CIPh, France). Specialized on philosophy of art, theory on art criticism, crosscultural
dialogue.
Visiting scholar, Maison des sciences de l’homme (MSH, France); Visiting professor, Institute for advanced studies in Humanities
and Social Sciences, Taiwan University. Post-doctor, Centre de recherches sur les arts et le language (CRAL), École des hautes
études en sciences sociales (EHESS). Laureat of the fellowship “ Researches in Paris”, City of Paris, France (2009-2010). Director
of the collection “Festina Lente” (“Qing yu Zhong”, Vihorae, East China Normal University Press, 30 titles published).
袁丽莎 Lise Yuen
袁丽莎出生于挪威，毕业于挪威皇家艺术学院，现生活、工作于奥斯陆。丽莎力图在作品中探寻一种另类的真实，而这种探索通常基于她自己对自然的感知。抽象本身即介乎清晰与暧昧，界定与未界定之间--它以简化的方式揭示了事物的本质。在创造视觉关联，并将整个艺术过程导向某个普遍的、可认知的结果的过程中，简单、可知是两个极其重要的标准。通过反思感知与现实、主体与客体、文化与自然之间的张力以及内心世界同外部世界的关系汲取灵感。她探寻暧昧意象中蕴藏的魅力，同时去直面那些彼此冲突的元素--这些元素糅合了概念上的简化、物质形式的表达以及艺术技巧。在我们希求理解，寻找确切证据和绝对答案的过程中，我们将会丧失某种至关重要的感受--好奇心，在丽莎看来，好奇心是其创作装置艺术与雕塑作品的原动力。
袁丽莎的作品曾参与的展览包括: 第十届上海双年展城市馆：城市车间，新天地，上海，中国；摇摇欲坠: 性别阶级城市于当代上海，非艺术中心，上海，中国；“Change and Exchange” HALLE 50，慕尼黑,德国；“派对--苏州河”，上海，中国；“Talentborse”，慕尼黑，德国；“Cross Point”，Hennie Onstad艺术中心，奥斯陆，挪威；“Taiga”，埃尔沃吕姆博物馆，埃尔沃吕姆，挪威。曾参与的个展有： “TIME”，Krypten，奥斯陆，挪威。曾属机构（委员会）包括：“HafslundEnergy, 奥斯陆，挪威”；“埃尔”沃吕姆学院，埃尔沃吕姆，挪威;“Mølleparken，奥斯陆，挪威”；“Tabibito，奥斯陆，挪威”；“Lille Sumo，奥斯陆，挪威”。曾获挪威青年艺术家政府基金。
2004年袁丽莎曾创办上海苏河现代艺术馆和北京苏河艺术中心，参与策划、组织了诸多国际文化艺术活动和展览。更多信息: www.liseyuen.com
Lise Kolstad Yuen, graduated from The National College of Art and Design, Oslo, Norway, was born in Lillehammer and now works and lives in Oslo.
In her work she strives to find an alternative reality, often based on her own sense of nature. Abstraction itself is a meeting between the defined and the undefined—a reduction to uncover a fundamental essence. Simplicity and accessibility are important parameters in creating visual associations and leading an artistic process to a result which is universal and recognizable.
She seeks inspiration by reflecting on the tension between perception and reality, subject and object, culture and nature, as well as the relationship between the inner and outer world. She also is fascinated by ambiguity and likes to create a confrontation between opposing elements, combined with conceptual simplification, material expression and the craft.
In our quest to understand, to find scientific proof and absolute answers, we are about to lose something important, our sense of wonder. In Lise´s visual universe, wonderment is a driving force which propells the development of her installations and sculptures.
Her works have been exhibited in “10th Shanghai Biennale 2014—City Pavilion: Urban work & shop” Shanghai, China, “Precariously Yours, gender, class and urbanity in Contemporary Shanghai” at Fei Contemporary Art Center, Shanghai, China, “Change and Exchange 6”, Halle 50, Munich, Germany, “Matchmaking at Suzhou Creek”, Shanghai, China, “Talentborse”, Munich, Germany, “Cross Point”, Hennie Onstad Art Center, Oslo, Norway, “Taiga” Elverum museum, Elverum, Norway, “Time”, Krypten Oslo, Norway. Commissions: Hafslund Energy, Oslo, Norway, Elverum College, Elverum, Norway, Mølleparken, Oslo, Norway, Tabibito, Oslo, Norway, Lille Sumo, Oslo, Norway. Grants: Government grants for young artists.
Lise Kolstad Yuen lived in Shanghai for six years. During this period she founded Creek Art Center in Shanghai and Beijing, and was curating and organized exhibitions and international cultural exchange events.
For more info see: www.liseyuen.com
李消非 LiXiaofei
李消非1973年出生于中国湖南，1998年毕业于广州美院，现居住、工作在上海。2004年参与创办苏河现代艺术馆并任执行馆长；2007年创办非艺术中心并任艺术总监。2010年获纽约亚洲文化协会艺术家基金；2013年获瑞典IASPIS艺术家国际项目基金；同年获新西兰亚洲驻地交流基金。
李消非的作品曾参加：LABORREPRESENTATION, 奥尔布赖特·诺克斯美术馆，纽约州水牛城，美国（2015）；带走北极-2015巴伦支艺术节, Pikene på Broen, 希尔克内斯，挪威（2015）；社会工厂，第10届上海双年展，上海当代博物馆，上海，中国（2014）；{ } ，第八届柏林双年展，KW，柏林，德国（2014）；第60届奥伯豪森国际短片电影节，奥伯豪森，德国（2014）；一只螃蟹和一块巧克力，李消非个展，OV画廊，上海，中国（2014）；流水线－一包盐，李消非个展，Toi Poneke Gallery\ WARE，惠灵顿，新西兰（2013）；流水线－入口，李消非个展，Starkwhite Gallery, 奥克兰，新西兰（2013）；城市边缘，2013深港城市\建筑双城双年展（2013）；DescriptiveActs, 旧金山艺术现代博物馆，旧金山，美国（2012）；忧郁的进步-2012年台湾国际录像艺术展，凤甲美术馆，台北，台湾（2012）等展览。更多信息: http://www.lixiaofei.org/
Li Xiaofei (Artists)
Li Xiaofei (b.1973) is a Chinese artist who lives and works in Shanghai. He graduated from the Guangzhou Academy of Fine Arts. Li is the Co-Founder and Director of the Creek Art Center, Fei Contemporary Art Center (FCAC) Shanghai, and the Zendai Contemporary Art Exhibition Hall.
Li has been the recipient of grants and awards from multiple organizations, including the Asia New Zealand Foundation, Wellington Grants, New Zealand (2013), Iaspis International Residency Grant, Stockholm, Sweden (2013), The Sovereign Foundation Fellowship of the Asian Cultural Council (Rockefeller Foundation), New York, USA (2011).
Li's work has been featured in solo and group exhibitions internationally, including: “LABOR REPRESENTATION”, Albright-Knox Art Gallery, Buffalo, New York, U.S.A (2015); “ARCTIC TAKE AWAY: Barents Spektakel 2015”, Pikene på Broen, Kirkenes, Norway (2015); “Social Factory: The 10th Shanghai Biennale”, PSA, Shanghai, China (2014); “COSMOS: Opening Exhibition of the Shanghai 21st Century Minsheng Art Museum”, Shanghai, China (2014); “The 2nd Xinjiang Biennale”, Xinjiang International Exhibition Center, Urumqi, China (2014); “{ } The 8th Berlin Biennale for Contemporary Art”, KW, Berlin, Germany (2014); “60th International Short Film Festival Oberhausen”, Oberhausen, Germany (2014); “Crabs and Chocolate—Li Xiaofei Solo Exhibition”, OV Gallery, Shanghai (2014); “2013 Bi-City Biennale of Urbanism/Architecture”, Shenzhen, China (2013); “Pavilion 0”, Palazzo Donà, Venice, Italy; “Assembly Line—A Packet of Salt, Li Xiaofei Solo Exhibition”, Toi Poneke Center / WARE, Wellington, New Zealand (2013); “Assembly Line—Entrance, Li Xiaofei Solo Exhibition”, Starkwhite Gallery, Auckland, New Zealand (2013); “Portraits”, Galerie C, Neufchatel, Switzerland (2013); “Descriptive Acts”, San Francisco Museum of Modern Art, San Francisco, USA (2012); “Melancholy in Progress, 2012 Taiwan International Video Art Exhibition”, Hong-Gah Museum, Taipei, Taiwan (2012); “Reliquie als Fetisch in Kirche, Kunst & Konsum”, Trier Contemporary Art Center, Trier, Germany (2012); and “JETLAG, Multimedia Contemporary Art in China”, Kunsthalle Faust, Hanover, Germany (2012).
For more info see: http://www.lixiaofei.org
视界艺术中心
上海莫干山路50号 200060
空间1（视点空间）：3号楼210
空间2（视界艺术）：6号楼104
V ART CENTER
No.50 Mo GanShan Rd,Shanghai 200060
Space1 (viewpoint) 2F, Building 3
Space2 (visualart) 1F, Building 6
Email:vartcenter@vip.126.com
Web: www.vartcenter.com
流水线项目工作室：
上海市嘉定区博学路1288号4号楼
希腾电子1号门（近丰登路）
Assembly Linei Projects Studio:
4th Building.
No. 1288. Bo Xue Rd,
Jiading District,
Shanghai. China. 201818
assemblyline@foxmail.com