10th Shanghai Biennale :
Social Factory
Opening 22. Nov 2014
Exhibition 23. Nov 2014 - 31. Mar 2015
Power Station of Art
200 Huayuangang Rd, Shanghai, China
Chief curator / Anselm Franke
Co-curators / Freya Chou, Cosmin Costinas, Liu Xiao
Curator for the film program / Hila Peleg
Curator for the music program / Nicholas Bussmann
City Pavilion / Urban Work & Shop
Curator / Zhu Ye
In 2014, for the second time, China’s foremost state-run institution of contemporary art—Power Station of Art—hosts the Shanghai Biennale, in its converted power plant space.
In this vein, the Biennale explores an interlocking set of questions: What is the relationship between the social and the fictive in the construction and re-construction of society? How has the production of the social changed throughout 20th century modernity? Has the production of the social entered a new phase with the massive influx of “sociometric” technologies, the extraction of data and digital profiling, and the increasing automatization of social processes in algorithms? And does China’s pre-modern history of social systematization through unparalleled bureaucratic machinery and archiving capabilities echo in the country’s current processes of social fabrication? How can we grasp the simultaneous impact of history and that of technology on subjectification today? And how does the general process of acceleration and diversification of subjectification play out in the case of China and its current era of social reconstruction?
With works by /
Peter Ablinger, Lawrence Abu Hamdan, Carlos Amorales, Edgar Arceneaux, Art & Language, Adam Avikainen, Martin Beck, Neïl Beloufa, Wang Bing, KP Brehmer, Nicholas Bussmann, CAMP (Shaina Anand and Ashok Sukumaran), Lucien Castaing-Taylor and Verena Paravel, Oliver Chanarin & Adam Broomberg, Yin-Ju Chen, Chen Chieh-jen, Musquiqui Chihying, Gendun Chopel, Hou Chun-Ming, Tyler Coburn, Joseph Cornell, Peter Dobai, Aleksandra Domanović, Harun Farocki, Loretta Fahrenholz, Peter Friedl, Gao Shiqiang, Zheng Guogu, Tibor Hajas, He Xiangyu, Ho Tzu Nyen, Hu Liu, Huang Ran, Huang Wenhai, Huang Mingchuan, Ken Jacobs, Ji Yunfei, Shambhavi Kaul, Sakai Ko and Hamaguichi Ryusuke, Jutta Koether, Firenze Lai, Louise Lawler, Li Xiaofei, Armin Linke, Liu Ding, Jen Liu, Liu Chuang, Sharon Lockhart, Narimane Mar, Daria Martin, Adrian Melis, Nadia Myre, Pak Sheung Chuen, Willem de Rooij, J.P Sniadecki and Libbie Dina Cohn, Chang Saetang, Natascha Sadr Haghighian / Uwe Schwarzer / Robbie Williams, Song Ta, Erik Steinbrecher, Sun Xun, Sun Yat-sen Project & Yuan Wenshan, Ten Miles Inn / David Crook & Isabel Crook, Suzanne Treister, Mona Vatamanu and Florin Tudor, Anton Vidokle, Wang Ziyue, Stephen Willats, Ming Wong in collaboration with Thomas Tsang / Dehow Projects, Li Xiuqin, Xu Tan, Yan Jun, Trevor Yeung, Yu Cheng-Ta, Zhao Liang, Zhou Tao, Zhao Yannian and others
more info ----->
http://www.shanghaibiennale.org/EPre/indexs.aspx
http://www.e-flux.com/announcements/social-factory-the-10th-shanghai-biennale/
Co-curators / Freya Chou, Cosmin Costinas, Liu Xiao
Curator for the film program / Hila Peleg
Curator for the music program / Nicholas Bussmann
City Pavilion / Urban Work & Shop
Curator / Zhu Ye
In 2014, for the second time, China’s foremost state-run institution of contemporary art—Power Station of Art—hosts the Shanghai Biennale, in its converted power plant space.
In this vein, the Biennale explores an interlocking set of questions: What is the relationship between the social and the fictive in the construction and re-construction of society? How has the production of the social changed throughout 20th century modernity? Has the production of the social entered a new phase with the massive influx of “sociometric” technologies, the extraction of data and digital profiling, and the increasing automatization of social processes in algorithms? And does China’s pre-modern history of social systematization through unparalleled bureaucratic machinery and archiving capabilities echo in the country’s current processes of social fabrication? How can we grasp the simultaneous impact of history and that of technology on subjectification today? And how does the general process of acceleration and diversification of subjectification play out in the case of China and its current era of social reconstruction?
With works by /
Peter Ablinger, Lawrence Abu Hamdan, Carlos Amorales, Edgar Arceneaux, Art & Language, Adam Avikainen, Martin Beck, Neïl Beloufa, Wang Bing, KP Brehmer, Nicholas Bussmann, CAMP (Shaina Anand and Ashok Sukumaran), Lucien Castaing-Taylor and Verena Paravel, Oliver Chanarin & Adam Broomberg, Yin-Ju Chen, Chen Chieh-jen, Musquiqui Chihying, Gendun Chopel, Hou Chun-Ming, Tyler Coburn, Joseph Cornell, Peter Dobai, Aleksandra Domanović, Harun Farocki, Loretta Fahrenholz, Peter Friedl, Gao Shiqiang, Zheng Guogu, Tibor Hajas, He Xiangyu, Ho Tzu Nyen, Hu Liu, Huang Ran, Huang Wenhai, Huang Mingchuan, Ken Jacobs, Ji Yunfei, Shambhavi Kaul, Sakai Ko and Hamaguichi Ryusuke, Jutta Koether, Firenze Lai, Louise Lawler, Li Xiaofei, Armin Linke, Liu Ding, Jen Liu, Liu Chuang, Sharon Lockhart, Narimane Mar, Daria Martin, Adrian Melis, Nadia Myre, Pak Sheung Chuen, Willem de Rooij, J.P Sniadecki and Libbie Dina Cohn, Chang Saetang, Natascha Sadr Haghighian / Uwe Schwarzer / Robbie Williams, Song Ta, Erik Steinbrecher, Sun Xun, Sun Yat-sen Project & Yuan Wenshan, Ten Miles Inn / David Crook & Isabel Crook, Suzanne Treister, Mona Vatamanu and Florin Tudor, Anton Vidokle, Wang Ziyue, Stephen Willats, Ming Wong in collaboration with Thomas Tsang / Dehow Projects, Li Xiuqin, Xu Tan, Yan Jun, Trevor Yeung, Yu Cheng-Ta, Zhao Liang, Zhou Tao, Zhao Yannian and others
more info ----->
http://www.shanghaibiennale.org/EPre/indexs.aspx
http://www.e-flux.com/announcements/social-factory-the-10th-shanghai-biennale/
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