展覽開幕：2010年4月15日，星期四下午四點
展覽日期：2010年4月15日—— 5月16日
出品人：高平、邱晨楓
館長：夏季風
藝術總監(jiān)：左靖
策展人：孫建春
藝術家：陳劭雄、陳侗、洪浩、林一林、劉鼎、倪海峰、施勇、王魯炎、王友身、Art-Ba-Ba & ARTSPY、顏磊、陽江組（鄭國谷+陳再炎+孫慶麟）、楊振忠、朱加
項目負責：郭城
展覽地址：伊比利亞當代藝術中心（北京市朝陽區(qū)酒仙橋路4號798藝術區(qū)E06）
主辦：伊比利亞當代藝術中心
協(xié)辦：西班牙國際文化藝術基金會
這個展覽的主題源自詩人歐陽江河的一首詩歌名，這首詩的第一句就是從“看見”開始，視覺穿透物質(zhì)，物質(zhì)在被觸摸到之前都是抽象的、精神化的。
玻璃工廠，既造就了消費文明的神話囚禁（櫥窗、大樓的玻璃外墻），更造就了消費文明的新觀看方式（照相機、攝像機、電視）。玻璃既在中世紀參與了教堂的神話特征，也在消費時代參與了櫥窗這一世俗神話。正是新的城市文明中的玻璃構建了消費心理，消費品“看得見，摸不著”的視覺文化直接作用于金融時代的一切細節(jié)之中。這種虛偽的透明性滲透在社會機制甚至社會群體心理的內(nèi)部。
“玻璃工廠”某種意義上說是一個生發(fā)自藝術家內(nèi)心自覺性的一個展覽，1979年的改革開放至今恰好經(jīng)歷了整整30年，09年隱隱地顯露出中國社會的“盤點”特征，中國社會中離奇古怪、花樣百出的“現(xiàn)象”完全超出了任何既定的思想和學科的闡釋范疇，這一無比混亂的現(xiàn)場構建出人類史上從未出現(xiàn)過的復雜“情境”。在巨大的場景前，我們總會有瞬間“被震驚”的空白，當我們試圖假定09年是一個階段性的終結，對話語的訴求就成為必然。我們需要一種新的審視方式來尋找這些現(xiàn)象背后的話語，所以，這個展覽選擇從生態(tài)的內(nèi)部考察開始進入藝術機制，和以往強調(diào)單件作品的視覺性不同，“玻璃工廠”選擇類似社會學和統(tǒng)計學的工作方式來完成和展示作品，“玻璃”強調(diào)了觀看，而其透明性也許讓我們一無所獲，但是，起碼我們在努力尋找著一種可行的方法來看到玻璃的實質(zhì)。
Glass Factory — Art in the New Financial Age
Opening: 15 April 2010, Thursday, 16:00
Dates: 15 April — 16 May 2010
Producers: Gao Ping, Qiu Chenfeng
Director: Xia Jifeng
Art Director: Zuo Jing
Curator: Sun Jianchun
Artists:
Chen Shaoxiong, Chen Tong, Hong Hao, Lin Yilin, Liu Ding, Ni Haifeng, Shi Yong, Wang Luyan, Wang Youshen, Art-Ba-Ba & ARTSPY, Yan Lei, Yangjiang Group(Zheng Guogu + Chen Zaiyan + Sun Qinglin), Yang Zhenzhong, Zhu Jia
Exhibition Superviser: Guo Cheng
Venue: Iberia Center for Contemporary Art
E06, 798 Art Zone, no.4 Jiuxianqiao Road, Chaoyang District, Beijing
Organiser: Iberia Center for Contemporary Art
Co-organizer：International Art & Culture Foundation of Spain
The exhibition title is an inspiration from a homonymous poem by the Chinese contemporary poet Ouyang Jianghe, which opens with the metaphor of “sight”: the conceptual penetration of the visual through matter which gives physical shape to everything originally abstract and spiritual.
Glass factory symbolizes a fairy-tale imprisonment of our culture of consumption (fashion window and the shimmering glass wall of skyscrapers), also suggests a new way of viewing typical of this age (camera, video camera and TV). Glass, once a characteristic representation of the medieval church myth, now is building a secular legend with fashion windows for the consumption era. It is exactly the “glass” born from a young urban civilization that is structuring consumptive psychology. The “visible but intangible” nature of consumption goods rooted in visual culture directly impacts every corner of the financial world. Its deceptive transparency infiltrates into the inside of social institution and even the mentality of a community.
“Glass Factory” in a sense is an exhibition that echoes with artists’ conscious pursuit. Thirty years have gone since the “opening-up and reform” of 1979. Various social symptoms seem to have been inventoried in China 2009: the bizarre and spectacular “phenomena” have gone beyond the interpretation of any existing ideas and disciplines, constituting an intricate “context” of the first kind that have ever appeared in human history. When confronted with an enormous picture, our minds tend to blank out due to the unexpected visual “shock”. If the year 2009 was meant to be a juncture point for the end of an age, the pursuit for an expression will naturally arise. It’s necessary for us to employ a new perspective in search for expressions responding to those phenomena. This exhibition attempts to embark in an art institution from an internal survey of art ecology. Unlike the customary emphasis on visuality of a single artwork, “Glass Factory” utilizes a way of working similar to sociology and statistics to install and complete the presentation of art pieces. “Glass” reminds us of the existence of “viewing”, whereas its transparency could lead us to nowhere. Despite of that, we are moving closer to a practical approach that may unveil the nature of glass.