策划 Curating


2017  跨越太平洋   Crossing Pacific


2012 黄灯:中国新媒体 (Yellow Signal)






Yellow Signal, Vancouver

 

 

“Yellow Signal Vancouver” is a city wide project that introduces the best new media works made by Chinese artists in recent years. It will include several exhibitions taken place at Centre A, Vancouver Art Gallery, The Morris and Helen Belkin Art Gallery, Emily Carr University, Surrey Art Gallery and other venues.

 

“Yellow signal” was a metaphor which brought up by artist Dinh Q Le during a discussion in Ho Chi Minh City on June 19, 2010. He said: “Many of the artists in Vietnam look at government policy towards contemporary art as a yellow signal, unsure as to whether it will let art proceed or make it stop completely.” In response, Chinese artist Wang Jianwei proposed defining the “yellow signal commonwealth” as a communal state of ambiguity, heeding neither to red signals nor green signals from systems of authority, especially in Asian countries.

2009 - 2011  温哥华双年展 Vancouver Biennale  

Yue Minjun: A-maze-ing Lauhgter instalation in Vanocouver  岳敏君“迷乐”在温哥华安装

Uploaded on Sep 22, 2009

Beijing artist Yue Minjun's "A-maze-ing Lauhter" was installed in downtown Vancouver in 2009, as a part of Vancouver Biennale, curated by Shengtian Zheng, the Sinor Asian Curator of the Biennale

A-maze-ing Laughter is the most beloved sculpture of the 2009-2011 Vancouver Biennale exhibition, captivating throngs of visitors and inspiring endless playful interaction. This artwork is a legacy of the Vancouver Biennale and was presented as a gift to the people of Vancouver thanks to a generous donation by Chip and Shannon Wilson. It has quickly become an iconic cultural beacon in the city and will continue to inspire and engage the imagination of future generations of residents and visitors from its home in Morton Park. A-maze-ing Laughter has been nominated in the Great Places in Canada Contest 2013. It is the only work of public art to receive a nomination in the country.

2008 Art & China’s Revolution

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Asia Society Museum 

2007 Reincarnation

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invitation


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2006 China Trade

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2005 Art Rising

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2004 上海雙年展 Shanghai Biennale

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2004  上海摩登  Shanghai Modern


歐洲再現摩登上海——策展人手記


籌備三年之久的“上海摩登”展覽於10月13日在慕尼黑斯托克美術館隆重開幕。這所美術館的建築由19與20世紀之交德國象徵主義大師佛蘭玆·馮·斯托克親自設計興建,本身就是一座精湛的藝術品。二戰中部分曾遭到損毀。重建工作卻花了近半個世紀,顯示出德國人一絲不苟的認真精神。美術館除了收藏斯托克的作品以外,主要舉辦二十世紀與當代藝術展覽。前些年奧克維·恩威佐為該舘策劃的“短暫世紀——百年來的非洲藝術”曾受到國際藝壇的廣泛關注。“上海摩登”原定在今年春天舉辦。但由於去年“SARS”流行的影響而推遲了半年。

說起這個展覽的緣起,還和典藏雜誌社有相當的關係。2001年,簡秀枝社長與我討論籌劃出版英文的典藏國際版計劃。在考慮主編人選時我首先想到溫哥華卑詩大學的林蔭庭教授。林教授雖然在中國出生,但在加拿大長大和受教育。現在不僅是一位國際知名的藝術家,而且學識淵博,英文文筆極好。1998年我們曾一起去參觀第二屆上海雙年展。他開始對中國藝術產生了濃厚的興趣。一年后我協助安排他到中國美術學院講學。林教授在杭州住了一個多月,對這所藝術學府的悠久歷史印象深刻。後來我們又一起陪同恩威佐等一批國外策展人去上海、北京、廣州、臺北、香港等城市考察當代藝術,在途中也經常談起二十世紀中國現代藝術發展過程中的人物和故事。沒有想到,這些斷斷續續的討論竟然引發了一項有意義的重大計劃的誕生。

簡社長同意我的推薦,邀請林教授出任新的YISHU雜誌主編。當我們討論第一年的選題計劃時,決定有一期將以上海和二十世紀中國現代主義為主題。不久,我接到林蔭庭發的一封電郵,說他與慕尼黑斯托克美術館的館長喬安·伯尼—丹斯柯談起這個想法,引起她極大興趣。她願意和我們合作來策劃一個以上海現代主義為主題的小規模的展覽。而YISHU的專刊也就可以作爲展覽的圖錄。斯托克美術館爲此還會提供一部分出版費用。這對處於草創初期的YISHU來説,無疑是一項極其令人鼓舞的倡議。雖然後來在籌展的過程中,我們發現出版YISHU專刊作爲展覽圖錄會有許多難以解決的困難,如採用的語言、版式等等,而且展覽的規模也越來越擴大,因而放棄了原來一箭雙鵰的想法;但是應當說YISHU最初的選題設想正是“上海摩登”產生的契機。

2002 無產階級文化大革命的美術  Art of the Great Proletarian Cultural Revolution 

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