癲狂北京

　　北京樸敬美畫(huà)廊
　　2008年4月19日—5月17日
　　開(kāi)幕酒會(huì): 下午5點(diǎn)，2008年4月19
　　策展人：Philip Tinari

　　2008年初，北京看起來(lái)更像一座深陷于時(shí)空錯(cuò)位的未來(lái)主義城市。時(shí)間在城中各主要場(chǎng)所放置的時(shí)鐘上以天數(shù)、小時(shí)、分秒的單位不斷流逝，終點(diǎn)就是“八”星報(bào)喜的那一刻（2008年8月8日晚8點(diǎn)），北京奧運(yùn)會(huì)開(kāi)幕——我們理應(yīng)相信——一切都將改變。這種狂熱的等待引出了一系列心理和審美問(wèn)題，至今仍然沒(méi)人能為其提供一個(gè)明確答案。難道北京真如有些人斷言一般，將成為二十世紀(jì)初烏托邦現(xiàn)代主義最后真正的（盡管扭曲）的繼承者？經(jīng)過(guò)漫長(zhǎng)等待終于到來(lái)的這次華麗登場(chǎng)對(duì)全球美學(xué)，政治，甚至是道德觀有沒(méi)有影響？如果有的話(huà)，會(huì)給以上領(lǐng)域帶來(lái)什么樣的變化？雷姆·庫(kù)哈斯——他本人也是如今北京最受矚目的建筑項(xiàng)目（央視新樓）的設(shè)計(jì)師——在他的成名作中對(duì)“極端曼哈頓主義”感受力做了明確闡述。與此相反，《癲狂北京》希望找到一種具體的方式回應(yīng)這一獨(dú)特的處境。

　　《癲狂北京》參展藝術(shù)家所屬世代、地域和地位都有很大不同，將他們聯(lián)系起來(lái)的是在目前處境下共有的緊迫感。展覽以Ryan Gander的《訪(fǎng)談》開(kāi)始，作品記錄了庫(kù)哈斯和策展人Hans-Ulrich Obrist的一段關(guān)于采訪(fǎng)本身性質(zhì)的對(duì)話(huà)。Sarah Morris的繪畫(huà)作品《環(huán)路》和艾未未的一百小時(shí)錄像《四環(huán)內(nèi)的每一條街道》緊隨其后，接著是一大批像李姝睿、劉窗、趙趙、王郁洋Rutherford Chang和Jordan Wolfson等年輕藝術(shù)家的新作展示。老作品有趙剛八十年代早期的城市繪畫(huà)、劉安平的記錄他九十年代城市干預(yù)的拼貼畫(huà)和繪畫(huà)、以及更多正處于職業(yè)生涯中期藝術(shù)家像聶幕和艾格林的作品。

　　《癲狂北京》是北京樸敬美畫(huà)廊自2006年開(kāi)幕以來(lái)首次聚焦中國(guó)當(dāng)代藝術(shù)的展覽。

　　Philip Tinari（田霏宇）現(xiàn)居北京，身兼作家和策展人。他現(xiàn)主持話(huà)坊出版編輯工作室、同時(shí)也是巴塞爾藝博會(huì)中國(guó)顧問(wèn)和Artforum網(wǎng)中國(guó)版的主編。此外他還為博物館圖錄和一些出版物例如Artforum和Parkett做固定撰稿人，在紐約的古根海姆美術(shù)館和華美協(xié)進(jìn)社講授中國(guó)當(dāng)代藝術(shù)。《癲狂北京》是他在北京自2003年以來(lái)策劃的首場(chǎng)展覽。

　　北京樸敬美畫(huà)廊 北京朝陽(yáng)區(qū)草場(chǎng)地46號(hào)C 郵編-100015
　　#46-C CAO CHANG DI, CHAOYANG QU, BEIJING 100015, CHINA
　　T. +86 10 8456 7429 F. +86 10 8456 7482 WWW. PKMGALLERY.COM

　　PKM Gallery Beijing

　　April 19 – May 17 2008
　　Curated by Philip Tinari
　　Opening Reception: 5:00PM, April 19, 2008

　　Beijing in early 2008 is a city mired in a deeply anachronistic futurism. Clocks placed in major sites around town tick off the days, hours, and seconds until the eights align (August 8, 2008, 8:00 p.m.), the Olympics begin, and—we are to believe—everything is changed. This state of frenzied waiting raises a set of psychological and aesthetic questions that have not been adequately answered: Is Beijing, as some claim, the last true (albeit distorted) heir to the modernist utopianism of the early twentieth century? How does the emergence to be marked by this long-awaited moment change global notions of aesthetics, politics, and even morality, if at all? In contraposition to the “radical Manhattanist” sensibility articulated in the book that first brought fame to Rem Koolhaas—himself the designer of the most notable architectural project in the Beijing of this moment—Delirious Beijing looks to locate a specific way of reacting to this distinct set of conditions.

　　Delirious Beijing juxtaposes works by artists from a range of generations, geographies, and positions, united by a shared sense of the urgency of this current situation. Beginning with Ryan Gander’s Ghostwriter Subtext, a video that presents Koolhaas and curator Hans-Ulrich Obrist engaged in a dialogue about the nature of the interview itself, the show moves through works like Sarah Morris’s Ring Road paintings and Ai Weiwei’s hundred-hour video Every Street Inside the Fourth Ring Road, toward a broad range of new works by younger artists including Li Shurui, Liu Chuang, Zhao Zhao, Wang Yuyang, Rutherford Chang and Jordan Wolfson. Older pieces such as Zhao Gang’s urban paintings of the early 1980s and Liu Anping’s collages and paintings documenting his urban interventions of the 1990s complement more recent work by mid-career artists such as Nie Mu and Ai Gelin.

　　Philip Tinari is a writer and curator based in Beijing. He directs the editorial and publishing studio Office for Discourse Engineering and serves as China Advisor to Art Basel and executive editor of artforum.com.cn. He is a regular contributor to museum catalogues and publications including Artforum and Parkett, and has lectured on Chinese contemporary art at the Guggenheim and China Institute. Delirious Beijing is the first exhibition he has curated in Beijing since 2003.