如是我见
Thus Have We Seen
2024.2.29 - 2024.4.14
开幕 Opening:
2024.3.2 15:00 - 19:00
艺术家 Artists:
白梦帆Mengfan Bai
吴牧寒 Muhan Wu
策展人 Curator:
熊雨思
Yusi Xiong
南柯画廊欣然呈现白梦帆与吴牧寒的双个展如是我见（Thus Have We Seen)。展览将展现这两位艺术家作品之间独特的关联和对比——白梦帆在画布上表现情感充沛的上海和纽约的城市掠影与吴牧寒用现成和收集的材料创作的一系列受城市各种元素启发的引人遐思的装置作品在视觉和空间上进行了对话。
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.
吴牧寒 Muhan Wu
一天一个苹果
An Apple A Day,2023
水泥、木 Cement, wood
16h x 12w x 3.3d cm
© Courtesy of the artist
白梦帆和吴牧寒虽有着不同的创作方式和风格，但她们的创作方法和聚焦的点因为她们对城市细节的关注而有不少重叠之处。她们的作品从不同的角度勾勒出独特的城市空间景观，揭示了一些日常生活中的公共与个人的空间关系和权利结构。她们的创作捕捉到了日常经历中的火花、困惑、压力和释然，也同时包含着一种类似的情怀，这种情怀涉及美、无根性、失落和希望等观念。本次展览将挑战展览场地的地域和建筑结构，通过并置两位艺术家不同媒介的作品，让观众通过她们收集和展示的城市碎片，重新构建和体验城市环境。
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.
白梦帆 Mengfan Bai
出海 I Put Out to Sea I, 2023
布面油画 Oil on canvas
40h x 50w x 4d cm
© Courtesy of the artist
白梦帆的作品立足于探究在国际大都市的城市景观日渐趋同的背景下，日常生活中 的图像和城市秩序经艺术家之手整理和过滤后，在历史、精神和地域性上是否产生转换。 她的创作一直在捕捉当代城市景观中诗意或微妙的瞬间和被忽视的角落。 白梦帆的艺术创作从中国各大城市中采集不同的都市图像，将西方写实主义与中国古典审美情趣相融合，形成了她独特的视觉逻辑。
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.
白梦帆 Mengfan Bai
尼罗 IV Nile IV, 2023
布面油画 Oil on canvas
50h x 40w x 4d cm
© Courtesy of the artist
她不时将现代建筑细节与具有文化和历史意义的形象并置，或将不同时空的图像汇聚在一起，形成视觉元素的跨时空对话，古今交错，此消彼长。她画中的一切都充满了推动叙事的意义，无论是北京无主的地面上的涂鸦、西安玻璃幕墙上的灰尘、香港道路上的警示线、昆明机场的指示线，还是敦煌壁画的局部，一切都在细节中娓娓道来。
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区的 "肌理 “为中心，激发观者的结合自身经历的联想。流浪者、城市仪式和独特的信仰体系等概念都是她作品中引人入胜的细节。白梦帆的作品用自己的语汇组成了一个微观世界，在这个世界里，与都市生活相关的各种主题在她的笔下执着地不断出现和重现。在她的作品前，艺术家本人和观者一样都以一种置身事外的目光来审视这些被捕捉下来的画面。这就像是希区柯克在《后窗》(Rear Window, 1954) 中使用的概念，观者可以通过白梦帆的画布看到从一个私人世界到另一个私人世界的种种细节。
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.
白梦帆 Mengfan Bai
长乐加油站
Changle Gas Station, 2023
砂石、布面油画
Coarse pumice gel and oil on canvas
60h x 120w x 4d cm
© Courtesy of the artist
在此次展览中，白梦帆将她的探索延伸到上海，并将收集到的各种元素与她曾经生活和工作过的城市纽约并置。纽约和上海都有着特殊的历史背景和多方面的变化，这使得它们在许多方面相互重叠。艺术家希望通过她在纽约和上海漫步时收集的图像，捕捉这两座重叠城市的特殊质感，重新发现和再现不同地区的视觉秩序，并寻找不同城市景观之间隐藏的联系。
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.
白梦帆的画作有着精细严密的结构和笔触，每一寸颜料都仿佛是一个动态实景的一部分。《椭圆折射》系列描绘了纽约下城区玻璃建筑中和上海路边树枝间形状相似的灯饰，用单纯的几何语言连接起这两座城市的点、线、面；从《尼罗》和《不对称的喷泉》，到首次在作品中明确地出现具体地点信息的《上海造币》，艺术家将纽约市内两大博物馆中汇聚了世界各地钱币的水池和国内唯一的钢芯镀镍硬币生产基地联系了起来，像是带着某种故土难离的思绪一般，找寻到了或许曾经沉于纽约的博物馆中池底硬币的来源；
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;
白梦帆 Mengfan Bai
椭圆折射 II
Elliptical Refraction II, 2023
布面油画 Oil on canvas
70h x 90w x 4d cm
© Courtesy of the artis
《长乐加油站》则再次带着明确的地点指向性，细致忠实地呈现了南柯画廊附近的一家加油站不同寻常的提字名墙（包括墙体两边贴着的红色箭头），和砖面相差无几的质感唤起观众对现实空间中真实物质的细腻理解；在《出海I&II》中，艺术家的视角变得高远，她从一个可谓审视亦可谓回忆的角度再次模糊了地域性——从高空俯览的哈德逊河的入海口和从浦东机场望出去的汇入东海的黄浦江在经过大片的留白处理，既延续了现代艺术中的抽象元素，又似国画中传统的山水自然。
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.
白梦帆作品的质量不仅仅是绘画的技术执行，而更在于看似抽象却写实的可信度，通过将个人经验和普世经验相结合地揭示出暗藏的城市精神和灵魂。她的作品非常注重片段、叙事总是发生在悬浮于 "前 "与 "后 “之间的瞬间，藏着一种心理流动——一种被压抑在平静表面下的故事感。似乎让每一位观众都能在她捕捉的每一幅画面中找到自己。
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.
吴牧寒 Muhan Wu
我的春天My Spring,2023
塑料、针织、电子元件、金属
Plastic, knitwear, electronic, metal
70h x 20w x 10d cm
© Courtesy of the artist
在吴牧寒的装置作品中，我们也能发现这种城市碎片下所蕴含的难以察觉的瞬间情感和空间关系的比喻。吴牧寒是近年新兴抽象表现主义艺术家中的佼佼者，她的创作媒介广泛，包括装置、绘画和影像等。她的装置作品多由发现和收集的材料组成，建筑碎片到工业材料、日常用品、甚至食品都能够在她的装置作品中被找到。她的装置作品大多在形式上都保留了极为强烈的几何特征，所用物品的性质被高度概括，而她对这些物品的感知被也提炼为几何形式。
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.
吴牧寒倾向于摒弃装置中所使用材料的功能和背景，而专注于物品最基本的物质性与自我意识之间的关系，以及对物品行为干预产生的有机效果。当我们再凑近一些仔细观察构成她作品的部件时，也可以切实地感受到她在创作过程中那种不断寻找、发现和沉静地与物品相处的心情。对于吴牧寒来说，“做装置有一种在生活中的感觉。” 她的作品亦是她对自己的亲身经历过的时间、温度、观察、探索和感受的记录。
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.
吴牧寒 Muhan Wu
肉身Body,2023
金属垫片、黄铜、铁、塑料
Metal gasket, brass, iron, plastic
26h x 16w x 16d cm
© Courtesy of the artist
在这次展览中，作品《想哭的时候就去看喷泉》、《一种极端》和《灌木》用不锈钢和铜管组合成抽象却直观的造型，延续了吴牧寒对材料和物品由符号化的形式呈现的尝试。它们简单的结构也正是这些装置作品的留白，让观者能在与之互动的同时融合自身经历展开各自的联想。像是等待着与大家偶遇般地散落在展厅各处、包括《一天一个苹果》、《也许面包能带来温暖》、《肉身》和《感觉到生机》等一系列小型装置，被艺术家比作一个一眼看来像是成年人回忆中儿时游乐场的样子。然而一旦近观每件“玩具”的细节却又不然——这座游乐场由许多或是俏皮或是黑色幽默的元素组成，如衣架、玩具、砖块、花盆、金属栏杆尖和人体模特部件等。在这里，吴牧寒第一次在其作品中使用自己定制、收集或收藏的、而非收捡被遗弃的物品和部件来构筑装置。
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.
这个系列中物件种类繁多，意料之外的组合、轻微的改动、重叠和空缺，使作品呈现出繁杂的视觉复杂性：《肉身》中艺术家用手塑形的塑料部件生动地保留的人体肉感与由汽车刹车垫片砌成的底座产生了鲜明的对比；《感觉到生机》则以贞操锁为根、铁制支架为茎、再加上一块悬吊旁边的狗头金和一件锥形的塑料组合出一件向上生长的装置，也像是艺术家检测观者情绪波动的一个玩笑；《一切都是临时的》中，一个被关起来的和另一个踩着刹车的脚模部件与国际象棋子般排列摆放着的城市中常见的金属栏杆的尖头形成了一种颇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.
吴牧寒 Muhan Wu
感觉到生机 Feeling Alive,2023
铁、狗头金、贞操锁、塑料
Iron, gold, chastity locks, plastic
64h x 23w x 26d cm
© Courtesy of the artist
与她之前的动能装置不同，在这里我们看到的是一种艺术家从对事物运作机制的理性思考向更柔和、更感性表达的转变。吴牧寒在这件作品中尝试在心理层面构建一种独特的新叙事，并通过这种叙事继续她对物品的象征性和物质性的辩论。因此在这一系列中，由物品的个体历史和功能所暗示的社会考古学虽被弱化，但并未被完全抹去。吴牧寒认为，”对物品的观看是一种练习”，她通过对日常物品进行微妙的改造和有机的组合或模糊，继续探索着物质性的边界，以及它们是如何人们的价值或心理投射的。
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.
吴牧寒 Muhan Wu
一切都是临时的
Everything is Temporary,2023
金属、塑料、硅胶模型、玻璃、水泥
Metal, plastic, silicone model, glass, cement
58h x 85w x 70d cm
© Courtesy of the artist
在画廊三楼的展厅中，白梦帆和吴牧寒在这次展览的尾声共同构筑了一个更为私密的空间。两位艺术家在这个空间中的作品都展示出了一种同步性：吴牧寒的两件装置新作《移动的点》和《震颤的点》再次回归到集几何的意像与基础的机械运动的点线面，白梦帆的作品《雪地里的Hunter’s Point III》则是她曾多次描绘过的地点某一个冬季的瞬间，画中的颇具童趣的两个雪人在与两件装置作品展开对话的同时，也呼应一墙之隔的楼梯上吴牧寒玩具般的装置系列。
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.
在艺术家们花了很长时间观察她们所在的城市中细碎的交织之后，城市的肌理和姿态仿佛入侵了她们，或许这次的展览也是白梦帆和吴牧寒让她们的城市再次描绘和构建的她们自己。在这里，观者也不再仅是对艺术临渊羡鱼的旁观者，而成为了白梦帆和吴牧寒的对话的参与者。
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.
白梦帆 Mengfan Bai
愿力 Make a Wish,2022
布面油画 Oil on canvas
46h x 61w x 4d cm
© Courtesy of the artist
白梦帆和吴牧寒的作品都有一种熟悉感和平凡感。白梦帆画布上捕捉到的上海和纽约城市中的瞬间和地点，以及这些被吴牧寒拾起、收藏、再重新组合成装置作品的物件，仿佛是在我们的日常生活中无处不在、无处不有；与其说它们是关于某个特定地点，不如说是关于一种集体想象、一种流动感和孤独感。就像是荣格所说过，人的心灵拥有一种超越所有文化和意识差异的共同基底一样，这是一个关于内心情感的展览，这些情感没有被大声说出却也被诚实地记录在白梦帆和吴牧寒的作品中。它们关乎缺失和无常、关乎困惑和失去群体的感觉，但它们也关乎发现与欣喜、和解与复原、重拾与展望。
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
艺术家Artist
白梦帆Mengfan Bai
白梦帆(1994年)在纽约视觉艺术学院获得纯艺术硕⼠学位，在四川⾳乐学院获得油画学⼠学位。目前生活工作于上海和纽约。
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.
个展
2022 “Keep the Change”, SPACE776, 纽约
2021 “Landing”, SPACE776, 首尔，韩国
2020 “几乎是一个爱情故事”, SPACE776, 纽约
2019 “ 不要去想那片蓝色 ” ， The Java Project ，纽约
部分群展
2023第十一届ART021廿一当代艺术博览会，南柯画廊展位，上海展览中心，上海
“ 溯之回流 ” ，伯年艺术空间，北京
“Design Shanghai”, Booth 3B01，南柯画廊，上海世博展览馆，上海
2022 “风景后“，CGK昆明当代美术馆，昆明
“Water is Not For Sale”, Bloom Galerie，圣洛佩兹，法国
“Social Photography X”, carriage trade, 纽约
2021 VOLTA艺博会, Booth A25, 巴塞尔, 瑞士
“Social Photography IX”, carriage trade, 纽约
“Urban Arboretum”, SPACE776, 首尔，韩国
2020 “又何间焉：档案和病毒的“交叉感染””, OCAT 研究中心, 北京
“We are open”, StartaArta, 纽约
“Social Photography VIII”, carriage trade, 纽约
2019 “一方”沙龙展，ARTRA，纽约
“艺术启示录”，ARTCLOUD，全球原创艺术中心，深圳
“Seduction 2019”，Friday Studio画廊，纽约
“Social Photography VII”，carriage trade画廊，纽约
博而励夏季群展，Boers-Li画廊，纽约
“Space”，Booth画廊，纽约
“Nova Price Exhibition”，HRY空间，纽约
“我们将去向何处?”，Projects Space，纽约
2018 “PULSE”迈阿密艺术博览会，迈阿密
“Five Sided”， PLUS81画廊，纽约
“Nostalgia for The Present”，56 Bogart，纽约
“Social Photography VI”， carriage trade画廊，纽约
“Tactics, Works, Terms, Forms, Statements”，百老汇371号，纽约
“Perceptual Coding”，纽约视觉艺术学院切尔西画廊，纽约
2015 “移动坐标”，成都市美术馆，成都
2013 “预⻅”五人联展，白夜画廊，成都
获奖经历
2019 Nova Prize， FRESCO COLLECTIVE，纽约
驻留项目
2023大地之书艺术驻留计划，香格里拉，云南
教育背景
2015四川音乐学院油画本科
2018纽约视觉艺术学院纯艺术硕士
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
吴牧寒Muhan Wu
吴牧寒 (1997年) 出生于中国浙江衢州，2022年毕业于华东师范大学公共艺术专业，现工作生活于上海。
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.
展览经历
2023年 “设计上海”，上海世博展览馆，中国
2023年 “进化：奇点“，南柯画廊，中国
2022年 “‘新青年’第四届学院实验艺术文献展”，陶溪川美术馆，中国
2020年 “2020艺术上海国际博览会”，上海世博展览馆，中国
2019年 “所见非所知”，ANNEX展厅，上海复星艺术中心，中国
2019年 “共同的节日”，愚园路1088号，中国
2018年 “2018中国·上海静安国际雕塑展”，静安雕塑公园，中国
2018年 “串行”，华东师范大学创意立方，中国
2018年 “STUD-ENT-IO”，米兰NABA校园，教室00，意大利
2017年 “教育即艺术”，上海邮政大厦，中国
2017年 “点”，华东师范大学设计中心，中国
2016年 “图像雕塑”，华东师范大学设计中心，中国
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
熊雨思是一位在伦敦生活和工作的独立策展人。先后获得伦敦艺术大学圣马丁艺术学院文化批评与策展硕士学位、伦敦大学学院地理与信息系统硕士学位及地理学士学位。曾供职于弗里兹艺术博览会、约翰·索恩爵士博物馆和伦敦的皇家地理学会。她近年的策展项目包括“蔓延丛生”（南柯画廊，上海）、“八风”（良设，上海）、“泛音”（艺术之夜&白教堂画廊，伦敦）、“无常”（梅菲尔艺术周Herrick画廊，伦敦）、“0.064g”（oxo画廊，伦敦）、 “体积融入大气”（大卫罗伯茨艺术基金会，伦敦）、“christinebot｜访问档案”（南岸中心，伦敦）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.
作品垂询请邮件至
Please email for inquiries about the artwork.：
info@nankegallery.com