究竟是什么使得世界末日如此的吸引人？
JUST WHAT IS IT ABOUT THE END OF THE WORLD THAT MAKES IT SO APPEALING?
视界艺术中心，上海市莫干山路50号3号楼2层1号空间
开幕式：11月24日晚上六点至八点 2012年11月24日－12月31日
由马修·柏利塞维兹策划 艺术家 ARTIST
Made In Company (CN) Zhang Ding (CN) Ouyang Chun (CN) Liu Jianhua (CN) Gao Weigang (CN) Zhou Xiaohu (CN) Zhang Lehua (CN) Li Jinghu (CN) Double Fly (CN) Ma Daha (CN) TOF (CN) Zhang Lehua (CN) Li Jinghu (CN) Gao Weigang (CN) Wang Jiaxue (CN) Gabriel Lester (NL) Kenneth Tin-Kin Hung (US) Olaf Breuning (CH) Heidi Voet (BE) Christoph Draeger & Reynold Reynolds (CH/NL) Jean Christian Bourcart (FR) Marc Lafia (US) Dana Levy (IL) Girolamo Marri (IT)
没顶公司［中国］ 张鼎［中国］ 欧阳春［中国］ 刘建华［中国］ 高伟刚［中国］ 周啸虎［中国］ 张乐华［中国］ 李景湖［中国］ 双飞［中国］ 马大哈［中国］ TOF［中国］ 张乐华［中国］ 李景湖［中国］ 高伟刚［中国］ 王佳雪［中国］ 加布里尔·李斯特［荷兰］ 洪天健［美国］ 欧拉夫·布鲁宁［瑞士］ 海蒂·芙欧特［比利时］ 克里斯托弗·德雷格尔［瑞士］ 和雷诺·雷诺斯［荷兰］ 让-克里斯蒂安·布卡尔［法国］ 马克·拉菲亚［美国］ 丹娜·拉维［以色列］ 吉罗拉莫-马里［意大利］
许多预言都认为我们即将面临世界末日的到来。诺斯费拉图、玛雅日历、印度圣人迦尔吉- 巴观、易经、德雷斯顿典籍等等都指出这个迫近的末日。而在现实的困难与窘境面前，这 个随时降临的末日却带给我们一系列的复杂感受：好奇、兴奋、得意或安慰。我想说的 是，“究竟是什么使得世界末日如此的吸引人？”
而且，其实早在人类诞生的那一天就受到关于末日的天启。实际上，所有宗教派别都有他 们各自的末世论观点，就如同拥有一个集体死亡的愿望就是身为人类的一部分。最近，形 式各样的好莱坞电影、书籍、媒体宣传以及普通的公众闲聊都会涉及这个话题。这个问题 真的值得我们思考吗？它是否已经发生而我们却全然不知？我们应该为此庆贺吗？这会是 像那些我们舒适地坐在客厅沙发上看的卫星节目吗？如同那些描述末日的影片，报导人为 灾难的新闻，还是一场世界杯那样？对于整个全球文化，它正朝向盛行汉堡包和宗教冲突 的世俗景象迈进，世界末日这个问题真的还重要吗？
这个展览的题目取自理查德·汉密尔顿的作品《究竟是什么使得如今的家如此不同又如此吸 引人？》，他当时是为了回应一个早期跨界展览《这是明天》而创作，此展览旨在探索流 行文化和消费文化对于世界产生的影响。而如今，在这个流行、媒体和消费潮流充分浸淫 下的全球文化环境，我们应如何面对这个终极状况？这个展览呈现的是一些艺术家针对这 个疑问做出的回应。
V-ART CENTER, SPACE1 2F, BUILDING 3,
NO.50 MO GAN SHAN RD,SHANGHAI 200060
OPENING NOVEMBER 24TH 6-8PM NOVEMBER 24TH 2012- DECEMBER 31ST 2012
CURATED BY MATHIEU BORYSEVICZ
Many predictions are that we are living at the end of days. The Mayan calendar, Kalki Bhagavan, The I Ching, Dresden codex and many others all point to the imminent and immediate apocalypse. But this impending doom also brings with it a demented sense of curiosity, elation, dismissal and relief from the conundrum of contemporary reality. I mean just what is it about the end of the world that makes it so appealing?
Furthermore the Apocalypse has been anticipated since the birth of humanity. In fact all religions have their own eschatological vision, as if a collective death wish is just part of being human. More recently Hollywood films, books, media spectacle and general public chatter have anticipated the end of days. Is it even worth considering anymore? Has it already happened and we aren’t aware of it? Shall we celebrate it? Is it something that we will watch from the comfort of our living room couches via satellite TV, much like we watch the films that portray it or newscasts of man made catastrophes, or the world cup? For a global culture spinning further towards the secular with every hamburger sold and so-called fundamentalist war fought, does it really matter?
The title of the exhibition riffs off Richard Hamilton’s seminal work Just what is it that makes today’s homes so different, so appealing? which was ironically produced for the exhibition This is Tomorrow, an early cross-disciplinary exhibition that explored pop and consumer culture’s impact on the world. Today, in a global culture fully swayed by popular, media and consumer trends how do we confront the final spectacle? This exhibition presents some artistic responses to this query.
开幕式：11月24日晚上六点至八点 2012年11月24日－12月31日
由马修·柏利塞维兹策划 艺术家 ARTIST
Made In Company (CN) Zhang Ding (CN) Ouyang Chun (CN) Liu Jianhua (CN) Gao Weigang (CN) Zhou Xiaohu (CN) Zhang Lehua (CN) Li Jinghu (CN) Double Fly (CN) Ma Daha (CN) TOF (CN) Zhang Lehua (CN) Li Jinghu (CN) Gao Weigang (CN) Wang Jiaxue (CN) Gabriel Lester (NL) Kenneth Tin-Kin Hung (US) Olaf Breuning (CH) Heidi Voet (BE) Christoph Draeger & Reynold Reynolds (CH/NL) Jean Christian Bourcart (FR) Marc Lafia (US) Dana Levy (IL) Girolamo Marri (IT)
没顶公司［中国］ 张鼎［中国］ 欧阳春［中国］ 刘建华［中国］ 高伟刚［中国］ 周啸虎［中国］ 张乐华［中国］ 李景湖［中国］ 双飞［中国］ 马大哈［中国］ TOF［中国］ 张乐华［中国］ 李景湖［中国］ 高伟刚［中国］ 王佳雪［中国］ 加布里尔·李斯特［荷兰］ 洪天健［美国］ 欧拉夫·布鲁宁［瑞士］ 海蒂·芙欧特［比利时］ 克里斯托弗·德雷格尔［瑞士］ 和雷诺·雷诺斯［荷兰］ 让-克里斯蒂安·布卡尔［法国］ 马克·拉菲亚［美国］ 丹娜·拉维［以色列］ 吉罗拉莫-马里［意大利］
许多预言都认为我们即将面临世界末日的到来。诺斯费拉图、玛雅日历、印度圣人迦尔吉- 巴观、易经、德雷斯顿典籍等等都指出这个迫近的末日。而在现实的困难与窘境面前，这 个随时降临的末日却带给我们一系列的复杂感受：好奇、兴奋、得意或安慰。我想说的 是，“究竟是什么使得世界末日如此的吸引人？”
而且，其实早在人类诞生的那一天就受到关于末日的天启。实际上，所有宗教派别都有他 们各自的末世论观点，就如同拥有一个集体死亡的愿望就是身为人类的一部分。最近，形 式各样的好莱坞电影、书籍、媒体宣传以及普通的公众闲聊都会涉及这个话题。这个问题 真的值得我们思考吗？它是否已经发生而我们却全然不知？我们应该为此庆贺吗？这会是 像那些我们舒适地坐在客厅沙发上看的卫星节目吗？如同那些描述末日的影片，报导人为 灾难的新闻，还是一场世界杯那样？对于整个全球文化，它正朝向盛行汉堡包和宗教冲突 的世俗景象迈进，世界末日这个问题真的还重要吗？
这个展览的题目取自理查德·汉密尔顿的作品《究竟是什么使得如今的家如此不同又如此吸 引人？》，他当时是为了回应一个早期跨界展览《这是明天》而创作，此展览旨在探索流 行文化和消费文化对于世界产生的影响。而如今，在这个流行、媒体和消费潮流充分浸淫 下的全球文化环境，我们应如何面对这个终极状况？这个展览呈现的是一些艺术家针对这 个疑问做出的回应。
V-ART CENTER, SPACE1 2F, BUILDING 3,
NO.50 MO GAN SHAN RD,SHANGHAI 200060
OPENING NOVEMBER 24TH 6-8PM NOVEMBER 24TH 2012- DECEMBER 31ST 2012
CURATED BY MATHIEU BORYSEVICZ
Many predictions are that we are living at the end of days. The Mayan calendar, Kalki Bhagavan, The I Ching, Dresden codex and many others all point to the imminent and immediate apocalypse. But this impending doom also brings with it a demented sense of curiosity, elation, dismissal and relief from the conundrum of contemporary reality. I mean just what is it about the end of the world that makes it so appealing?
Furthermore the Apocalypse has been anticipated since the birth of humanity. In fact all religions have their own eschatological vision, as if a collective death wish is just part of being human. More recently Hollywood films, books, media spectacle and general public chatter have anticipated the end of days. Is it even worth considering anymore? Has it already happened and we aren’t aware of it? Shall we celebrate it? Is it something that we will watch from the comfort of our living room couches via satellite TV, much like we watch the films that portray it or newscasts of man made catastrophes, or the world cup? For a global culture spinning further towards the secular with every hamburger sold and so-called fundamentalist war fought, does it really matter?
The title of the exhibition riffs off Richard Hamilton’s seminal work Just what is it that makes today’s homes so different, so appealing? which was ironically produced for the exhibition This is Tomorrow, an early cross-disciplinary exhibition that explored pop and consumer culture’s impact on the world. Today, in a global culture fully swayed by popular, media and consumer trends how do we confront the final spectacle? This exhibition presents some artistic responses to this query.
