我们恭请您参加XX AREA “某地”的开幕酒会

 

一个夏天的晚上，西海畔“某某地方”，

吹风，品酒，看王强的“衣服”与苏丝黄聊— All About S

女士请，或明艳动人，或风骚俏丽，保持120%的回头率

男士请，与你的女伴match就好

 

This summer night, XX Area by Lake Xihai,

A little cool air in hair,

A little cool wine is fine,

Watch Wangqiang’s “Clothes” with your eyes,

Talk “All About S” with Susie Wong,

Ladies, please dress up elegantly, charming or sexily attractive, for the eyes of the gentlemen,

Gentlemen, just match ladies.

 

时间/Time：2006-7-22晚8时  July 22^th 2006,  8pm
地点/Location：XX  AREA/ 某某地方
嘉宾/Guest：苏丝黄, 王强

出品/Present: XX AREA某某地方 /One Way Street Library单向街图书馆

联系人/Organizer: 杨洋/ Estelle Yang Yang, 王健/ Jeanie Wang, 杨艳/ Yang Yan
电话/Tel：8610 66131618

传真/Fax: 8610 6615 8329

手机/Mobile：139 1127 1777 / 135 1106 8857/ 130 310 68525

邮件/Email：estelle.yy@gmail.com

地址/Address：北京市西城区西海南沿47号 No.47 Xihai Nan Yan,100035 Beijing

 

行车路线：开车至北二环积水潭桥往南，路东板桥头条胡同往东100米，停车至西海南沿48号院内。出院门右转20米即到.

 

苏丝黄：

30岁，在北京。曾出版过个人时政文化评论集、合作采访集和畅销书。

自2003年起先后在《经济观察报》、《ET卫视周刊》和《上海壹周》上开设苏丝黄专栏，并在集体博客"思维的乐趣"上拥有个人网页。有大约两年时间，依然有读者疑惑苏丝黄究竟是男是女。

苏丝黄的专栏被许多读者称为中国版的《欲望都市》，然而北京和纽约毕竟大有不同……

Susie Wong：

 

Working and living in Beijing. Previous publications include a collection of political and culture columns, a collection of interviews and a best seller.

Since year 2003 she has been writing Susie’s column for The Economic Observer, ET TV Weekly and Shanghai Weekly. She also contributes to a group weblog www.mindmeters.com with a group of young journalists and intellectuals. Two years after she started her column, many readers are still wondering about Susie’s sex.

Susie’s column is considered as the “Sex and the City” of Beijing, but we all know how different Beijing is from NYC…

 

王强 ：

职业艺术家，毕业于中央美院，曾于1990年在北京艺术博物馆首开个展，接着于1994年在翰墨画廊，1995年在东京Royal美术馆，1997年在中国当代画廊举办个展。2000年7月29日“新中国画”，北京（盛奇合作），4月16日“一花独放”，北京。2002年《宋庄―――艺术家群落》文献，主编。1998年在日本荣获“麒麟现代艺术奖”奖励奖

 

Wangqiang：

 

Professional artist, graduated from Central Academy of Fine Arts，made his first personal debut exhibition in Beijing Art Museum in 1990. In 1994, at Hanmo Gallery in 1995 at Tokyo Royal Museum and 1997 at Chinese Contemporary, Wangqiang successfully hosted solo exhibitions.

On July 29 2000, he joined with Shengqi and brought “New Chinese Painting”’ to the audience. On April 16, his exhibition “Single Flower Blooming” met the public at Carburetor Pub. In 2002, he played the role as editor-in-chief for documentary 《Song Zhuang- the Artistic Tribe》. He also won the Encouragement Award of Kirin Contemporary Award in Japan in 1998.              

 

衣服系列

 

作品的题目是〈无题〉。

材料是我们日常生活中每天都用的衣服。衣服里画画的油画人体。有的作品，有裤衩和皮毛。

作品是实物，绘画，制作相结合。目的是让艺术生活化，使艺术和我们更近。想找到艺术和生活的结合点，让艺术回到我们身边。

创作想法：用中国传统的文化精髓来表达中国当代前卫艺术（而不是简单的文化样式），中华民族特点，含蓄，内在，深奥……。你越了解中国的文化，你会越喜欢它。越走越深。我的作品在反映着这一点上想通过作品，在展示时挂起来“衣服”半打开，只能看到作品的一部分，诱导你，想看到作品里面的东西。这时你自己动手打开看看吧。而完成作品的全部过程，让观众参与作品来寻找中国式的前卫艺术。

                                                                  王  强

   

王强的“打开/遮蔽”的艺术是前卫艺术在我们面前打开“作品”，同时也使用使我们在“作品”面前打开“自己”，王强所能提供的当然更多。比如，他提供的“身体/衣服”的方式，让我们思考“公开/遮蔽”的关系……在爱情被公开谈论的时节，性可能被遮蔽了。在“爱，是不能忘记的”被神化的时候，性可能就被丑化了（80年代曾经是这样）。但是，在性公开谈论的时候，也许爱情却被遮蔽了，被丑化了（我们应该思考90年代）……衣服和身体的关系告诉我们的可能很多……。因为“皇帝的新衣”告诉我们一个国王光着腚在大街上走的故事，这个很短故事却成为脍炙人口的经典。

韩毓海

 

Clothes Series

 

The title of this series is “No Subject”. 

The materials used in some works are the clothes that we wear in our daily lives.  Inside the garments, the human form has been painted with oils. Other works make use of underwear or leather materials.

The works are a combination of materials and painting.  Their purpose is to let art be influenced by our “living”, in other words bring the two closer together. I want to explore the connecting point between art and practicality, and once again make art our surroundings.

My intention was to firstly express Chinese modern avant-garde art (rather than just a simple cultural style), and secondly, the characteristics of the Chinese nationalities; significance, immanence, depth, etc., by utilizing the essence of Chinese traditional culture.  I am sure that the more you understand Chinese culture, the fonder you will become of it.  The further you go in, the more obvious the true depth of the culture becomes.  My works reflect this idea.  For example, you will encounter “clothes” hanging unbuttoned in the gallery.  You can partially see the inside of the clothes, and that will lure you to see the inside completely.  In that case, what you should do is actually open the clothes with your own hands.  The entire completed art will cause the audience to become involved, and allow them really explore Chinese avant-garde art.

                                                            Wang Qiang

 

The value of Wang Qiang’s “Disclosure/Covering” is the “Art” being displayed in front of us as avant-garde art.  It also leads us to disclose our “ego” in front of the “Art”.  What Wang Qiang provides is, off course, even more.  For example, the method he adopts with “Body/Clothes” reminds me of “Disclosure/Covering”.  During the time when love was spoken of freely, sex was not an often-heard topic in the public domain.  When people deified the idea that “love is unforgettable,” sex was devilish (just like in 80’s)… When sex was spoken of widely, however, it was instead love that was to be hidden and gradually become more tainted (just like in 90’s)…  The relations between clothes and body tell us many things, just like the story of The Emperor’s New Clothes describing the Emperor who strolls around the city butt naked.  This is a very popular classical story.

                                                             Han YuHai