边缘阶段：感知、存在和技术意识的探索

艺术家：范冉冉、陆明龙、乔汉娜·赖希、于尔根·斯塔克、王拓、谢南星

策展人：箫岭

开幕：2024年6月22日

展期：2024年6月23日 – 2024月9月1日

主办：山中天艺术中心·玄馆

学术支持：德意志联邦共和国驻华大使馆、北京德国文化中心·歌德学院（中国）、北德克萨斯大学艺术中心设计学院

展览支持：Greenkern、思维画布

地址：北京市朝阳区酒仙桥北路751艺术区北一门

群展《边缘阶段：感知、存在和技术意识的探索》源自策展人在艺术史、哲学、心理学、神经科学和神经艺术领域的长年研究，深入探讨这些领域在机器学习和新媒体层面的意义与启示。展览通过对六位来自不同国家、跨越代际、多元学科的艺术家创作进行解读，探索当下时代的人机关系及其存在的意义。展出作品涵盖绘画、摄影、综合材料装置、影像、雕塑等一系列传统与新兴媒介作品，包括范冉冉（1988年生于武汉）、陆明龙（1982年生于法兰克福）、乔汉娜·赖希（1977年生于明登）、于尔根·斯塔克（1978年生于多伯卢格-基希海恩）、王拓（1984年生于长春）以及谢南星（1970年生于重庆），以此将东西方视角相互融合至同一框架中，跨越文化的边界和时间的局限。

《爱道》，陆明龙，2019，高清视频、立体声，83分钟，图片由艺术家和赛迪HQ画廊（伦敦）提供，©陆明龙和赛迪HQ画廊（伦敦）
AIDOL, Lawrence Lek, 2019, HD video, stereo sound, 83', Image courtesy of the artist and Sadie Coles HQ, London, ©Lawrence Lek and Sadie Coles HQ, London

展览研究是由相关本质性问题而形成，例如“人类大脑如何连接？如何学习、储存和处理信息？”、“伴随技术的进步，大脑神经元回路如何演变和发展？”、“在即时数字互联和瞬息万变的当下时代（VUCA环境），个人和集体身份将会如何转变？”

《改变的符号 | 写作是否有未来？》，乔汉娜·赖希，2022，纱布上的全息视频投影、5个自主驾驶LED机器人、3个小型投影、声音，尺寸可变，图片由艺术家提供，©乔汉娜·赖希和安妮塔·贝克思画廊
Change of Signs | Does writing have a future?, Johanna Reich, 2022, Holographic video projection on gauze, 5 autonomous driving LED Bots, 3 small projections, sound, Variable dimensions, Image courtesy of the artist, ©Johanna Reich and Galerie Anita Beckers

神经解剖学家吉尔·伯特·泰勒从生物学角度将人类定义为“会思考的感知生物”。当下，我们正处于一个普遍存在的快节奏技术变革之中。我们的物理与数字存在及介于两者之间的空间，在感知亦或表现层面，正变得逐渐完整且愈加强化。 这导致对于自我和外界的感知在生理和认知层面正历经着巨大转变，个人身份和集体意识被转化形成“远超科幻想象”的合成性与增强式体验。

《传播模型04-传声筒》，于尔根·斯塔克，2017-2024，12 位表演者、12 张桌子、12 把椅子、4 个麦克风、2 个耳机、2 个扬声器，尺寸可变，Asphalt夏季艺术节表演现场，杜塞尔多夫，2017，图片由艺术家提供，©于尔根·斯塔克

Communication Model 04 - Chinese Whispers, Juergen Staack, 2017-2024, 12 performers, 12 tables, 12 chairs, 4 microphones, 2 headphones, 2 loudspeakers, Variable dimensions, Asphalt-Summer Art Festival, Düsseldorf, 2017, Image courtesy of the artist, ©Juergen Staack

展览同期将举办一系列现场和在线对谈，艺术家彼此之间相互交流，并与策展人和来自艺术界、学术界，以及其他专业领域的受邀嘉宾进行对话。开幕当天，艺术家于尔根·斯塔克和范冉冉将分别开展场域特定行为表演。

本场展览旨在推动中国与受邀国之间的国际交流与共同学习。展览由山中天艺术中心·玄馆主办，由德国驻华大使馆、北京德国文化中心·歌德学院（中国）、北德克萨斯大学艺术中心设计学院提供学术支持。

艺术家

范冉冉

范冉冉是一位装置艺术家，其创作实践涉及装置、新媒体和行为艺术领域。曾举办多场沉浸式装置作品个展，包括哈利福特艺术博物馆（塞勒姆，美国）、The Print Center（费城，美国）、Currents 826画廊（圣塔菲，美国）、无地画廊（圣塔菲，美国）、Sanitary Tortilla Factory艺术空间（阿布奎基，美国）。其作品曾于海内外群展中展出，如马里兰州伊斯顿学院艺术博物馆（美国)、圣塔菲当代艺术博物馆（美国)、圣塔菲艺术学院（美国)、Tamarind印刷学院（美国)、OCT当代艺术中心（中国）、仁川国际海洋摄影节（韩国）。目前她在北德克萨斯大学（美国）任新媒体艺术助理教授。

陆明龙

陆明龙是一位电影制作人、音乐家和艺术家，擅长将建筑、游戏、影像、音乐和小说等多种实践融合，用以创作其不断扩展的电影宇宙。过去十年中，陆明龙将其所处代际盛行的口头传媒，如电子游戏和计算机生成动画，融入到特定场域装置和数字环境中，并将此描述为“既有物品和情景所构成的三维拼贴”。他的作品时常通过环环相扣的叙事和反复出现的流浪者形象，探索技术进步在人工智能和社会变革时代的神话故事。

陆明龙（1982年生于法兰克福）曾就读于剑桥大学三一学院、伦敦建筑联盟学院、纽约库伯联盟学院，并获得伦敦皇家艺术学院博士学位。他曾在国际举办多场展览，近期个展包括“NOX”，LAS艺术基金会，柏林（2023）；“黑云公路”，赛迪HQ画廊，伦敦（2023）；“忘忧草（颐和园遗址）”，QUAD，德比（2022）；“后中华未来主义”，誌屋，上海（2022）；“影子写手”，布拉格当代艺术中心，布拉格当代艺术中心，布拉格（2019）；“远见自由港”，巴塞尔HEK电子艺术之家，巴塞尔（2019）；“无店”，鲁尔城市艺术馆，埃森（2019）；“爱道”，赛迪HQ画廊，伦敦（2019）；“无店”，海牙之流艺术馆，海牙（2018）；“2065”，K11艺术空间，香港（2018）；“玩站”，艺术之夜，伦敦（2017）。他的作品曾在众多国际群展、双年展和电影节中展出，包括“宇宙电影相机”日内瓦流动影像双年展，日内瓦当代艺术中心（2024）；“连接与建设”，国立亚洲文化殿堂，光州（2024）；“一万个太阳”第24届悉尼双年展，白湾发电站（2024）；“虚拟世界：从白色天幕到元宇宙”，Fundación Telefónica，马德里（2023）；“HOPE”，博尔扎诺当代艺术博物馆（2023）；“Fotograf Festival–hypertension23”，布拉格国立美术馆（2023）；“真实的拓扑：媒体艺术展”，深圳市当代艺术与城市规划馆（2023）；“Game Society”，国立现代美术馆，首尔（2023）；“未来史诗：网络媒体艺术节”，录映太奇，香港（2023）；“集光片羽”，UCCA Edge尤伦斯当代艺术中心，上海（2022）；“WORLDBUILDING: Gaming and Art in the Digital Age”，朱莉亚·斯托舍克收藏，杜塞尔多夫（2022）；第5届科钦·穆吉里斯双年展，科钦（2022）；三星美术馆，首尔（2022）；澳大利亚当代艺术博物馆，悉尼（2022）；Donaufestival，克雷姆斯（2021）；鹿特丹国际电影节，鹿特丹（2020和2018）；第17届威尼斯建筑双年展，威尼斯（2021）；荣勋宫博物馆，旧金山现代艺术博物馆，旧金山（2020）；巴塞罗那当代文化中心（2019）；邦尼尔斯美术馆，斯德哥尔摩（2019）；车库当代艺术博物馆，莫斯科（2019）；国立二十一世纪艺术博物馆，罗马（2018）；第6届台湾国际录像艺术展，台北（2018）；Arsenale Nord，威尼斯（2017）；UCCA尤伦斯当代艺术中心，北京（2017）等。陆明龙曾获2017年哲尔伍德电影与录像奖和2015年Dazed新锐艺术家奖。2021年，他获得第4届VH奖终极大奖和洛杉矶郡艺术博物馆艺术与技术实验室奖金。陆明龙现生活并工作于伦敦。

乔汉娜·赖希

乔汉娜·赖希是一位来自德国的影像艺术家，其创作实践同时涉及行为、摄影、绘画领域。她曾获得多项国际奖项和奖学金，如白南准艺术奖、日本文化厅媒体艺术节优秀奖、北莱茵-威斯特伐利亚州媒体艺术奖和康拉德·冯·索斯特奖。她曾于罗马尼亚、美国、卢森堡和西班牙等地参与艺术家驻地项目。

赖希的作品曾于多地展出，包括现代艺术陈列馆（慕尼黑，德国）、托伦斯艺术博物馆（洛杉矶，美国）、伊斯坦布尔现代艺术博物馆（伊斯坦布尔，土耳其）、东京宫（巴黎，法国）、史黛拉艺术基金会（莫斯科，俄罗斯）、索菲亚王后国家艺术中心博物馆（马德里，西班牙）、东京都写真美术馆（东京，日本）。其作品被纳入国际收藏，如徐杰儒收藏（纽约）、戈兹现代艺术收藏馆（慕尼黑）、路德维希博物馆收藏（科隆）。赖希在2020-22年作为客座教授任职于慕尼黑美术学院。

于尔根·斯塔克

于尔根·斯塔克在观念艺术领域中发展形成其独具一格的表达形式，对摄影的可译性进行深入探讨。他运用行为、声音、影像、雕塑和摄影等多元媒介创作，并时常将观者置于作品本身的组成部分。斯塔克作品的核心主题包括图像与其复制品之间的关系、其真实性和起源等，他对这些议题进行探索并反复追问。

对于斯塔克而言，意外的转化与翻译过程在直意和隐喻层面均扮演着独特角色。在全球视觉文化占据主导地位的时代，艺术史学家萨宾娜·玛丽亚·施密特认为，“于尔根·斯塔克以全新的方式提出了图像生成的基础与要素的问题。”

斯塔克1978年生于前德意志民主共和国，在高中毕业后开始学习摄影。他于2002至2008年期间在杜塞尔多夫美术学院学习，师从托马斯·鲁夫和克里斯托弗·威廉姆斯，于2003年与同学共同创立艺术家团体FEHLSTELLE，并于2006年成为托马斯·鲁夫的研究生。

斯塔克的作品曾在海内外国际收藏、双年展和博物馆中展出。他的作品被德国联邦艺术展览馆以（波恩）、弗柯望博物馆（埃森）、艺术宫博物馆（杜塞尔多夫）等公共机构和其他私人收藏。

王拓

王拓（1984年生于中国长春）的创作横跨影像、行为与绘画等媒介，在其中史实、文化档案、小说及神话相互交织，形成虚构叙事。一如虚构写作，他在历史文本及档案记录中上演一幕幕介入性表演，模糊时间与空间、真实与想象的边界。王拓的作品是对中国与东亚现代史的有力检验，其中充斥着可见或不可见的线索，揭示着社会背后的历史及文化力量，并回应中国独特的“幽灵学”，提出以“泛萨满化”召唤中国及东亚二十世纪被压抑及忽视的记忆。在不安且戏剧性的手法探究下，揭示集体无意识及历史创伤间的纠缠。

王拓近年在UCCA尤伦斯当代艺术中心，北京；Present Company，纽约；Salt Project，北京；泰康空间，北京，举办了个展，并参加了在M+美术馆，香港；韩国国立现代美术馆，首尔；尤莉娅·施托含克收藏，杜塞尔多夫；巴登-巴登国立美术馆，巴登-巴登；皇后美术馆，纽约；Kino der Kunst，慕尼黑；Zarya当代艺术中心，符拉迪沃斯托克；仁川艺术平台，仁川；上海当代艺术博物馆，上海；OCAT，上海/深圳；广东时代美术馆，广州；国立台湾美术馆，台中等机构举办的群展。王拓曾为纽约皇后美术馆2015至2017年度驻馆艺术家，2018年获授“三影堂摄影奖”，同年获北京国际短片联展“杰出艺术探索奖”和“玲珑塔短片奖”，2019年获授“青年当代艺术乌镇奖”，2020年获授“OCAT x卡蒂斯特青年媒体艺术家奖”。2023年，王拓获授“希克奖”。2024年，王拓获授“K21全球艺术奖”。

谢南星

谢南星1970年生于重庆，现工作生活于北京。谢南星是极具变革心的实验派画家，他常常挑战艺术教育中那些传统的、看似已确立的成规。重要个展包括“谢南星：副词司令部”（佩策尔画廊，纽约，美国，2022）；“骰子滚滚”（麦勒画廊，北京，中国，2020）；“Xie Nanxing: A Gift Like Kung Pao Chicken”（托马斯·戴恩画廊，伦敦，英国，2019）；“谢南星：香料”（UCCA尤伦斯当代艺术中心，北京，中国，2018）；“无题三种”（麦勒画廊，北京，中国，2015）；“THE SECOND WHIP WITH A BRUSH”（麦勒画廊，卢森，瑞士，2013）。重要群展包括“贮藏”（麦勒画廊，北京，中国，2022）；“川美：新绘画的一代”（四川美术学院美术馆，重庆，2021)；“SNAPSHOT”（麦勒画廊，北京，中国，2021）；“意大利文艺复兴纸上绘画：一次与中国的对话”（木木美术馆，北京，中国，2021）；“Psychic Wounds: On Art & Trauma”（THE WAREHOUSE，达拉斯，美国，2020）；“中国私语”（MAK Museum für Angewandte Kunst，维也纳，奥地利，2019）；第十二届卡塞尔文献展（卡塞尔，德国，2007）；“d’APERTutto”第四十八届威尼斯双年展（威尼斯，意大利，1999）等。

策展人

箫岭

群展《边缘阶段：感知、存在和技术意识的探索》来源于策展人在艺术史、哲学、心理学、神经科学和神经美学等领域的广泛研究，重点关注机器学习和新媒体。箫岭拥有超过20年在中国的实践经验，以及汉学和当代艺术背景，现任博物馆、机构顾问以及策展人。她的专业领域涉及摄影、电影、表演、多媒体装置和绘画，尤其聚焦于历史和跨学科研究、新兴技术、神经美学以及艺术中的科学应用。她曾在商业画廊和非盈利机构担任负责人职位，包括麦勒画廊、墨斋画廊和三影堂摄影艺术中心。最近，她曾担任北京画廊周的展览总监。她的文章和采访曾刊登在许多国际知名出版物、展览目录和专著中。

团队信息

展览统筹：姜昱薏
布展统筹：冯敏慧
媒体统筹：李燕茹展览编辑：姜昱薏、孟庆馨翻译：徐徐空间设计：白视觉设计：周岩、牛耀彬、杨灿、史泽凡媒体宣传：李燕茹、海格摄影：阿栾馆务：王畅

Liminal Stages: Explorations on Perception, Existence, and Techno-consciousness

Artists: Fan Ranran, Lawrence Lek, Johanna Reich, Juergen Staack, Wang Tuo, Xie Nanxing

Curator: Nataline Colonnello

Opening: 22nd June 2024

Duration: 23rd June—1st September 2024

Organized by: Wind H Art Center

Academic Support: Embassy of the Federal Republic of Germany, Beijing, Goethe-Institut China, College of Visual Arts and Design, University of North Texas

Exhibition Support: Greenkern, ThinkCanvas

Address: North Gate 1, 751 Art Unit, Jiuxianqiao North Road, Chaoyang, Beijing

The group exhibition "Liminal Stages: Explorations on Perception, Existence, and Techno-consciousness" stems from the curator’s research in art history, philosophy, psychology, neuroscience, and neuroarts, delving into their implications in machine learning and new media. The show explores the contemporary human-machine relationship and its existential implications through the interpretations of six international, multi-generational, and cross-disciplinary artists. The featured works by Fan Ranran (Wuhan, 1988), Lawrence Lek (Frankfurt am Main, 1982), Johanna Reich (Minden, 1977), Juergen Staack (Doberlug-Kirchhain, 1978), Wang Tuo (Changchun, 1984), and Xie Nanxing (Chongqing, 1970) use a diverse array of traditional and new media including painting, photography, mixed media installations, film, and sculpture. They combine Eastern and Western perspectives on these themes in a framework that transcends cultural boundaries and temporal constraints. 

《噎》，范冉冉，2024，互动装置（3D打印、树脂、丙烯酸、电机、微控制器、乙烯基、木材、金属、弦线），观众参与行为作品，尺寸可变，图片由艺术家提供，©范冉冉

Stuffed, Fan Ranran, Interactive installation (3D prints, resin, acrylic, motors, microcontrollers, vinyl, wood, metal, strings), participatory performance, Variable dimensions, Image courtesy of the artist, ©Fan Ranran

The investigations are generated from fundamental questions such as “How is the human brain wired, and how do we learn, retain, and use information?”; “How has our brain neuronal circuitry evolved alongside technological advancement?”, and “How are our individual and collective identity transforming in today’s era of instant digital interconnection and unpredictable change (VUCA environment)?”

《痴迷录》，王拓，2019，单频4K 影像（彩色，有声），20分31秒，图片由艺术家和空白空间提供，©王拓
Obsessions, Wang Tuo, Single channel 4K video (color, sound),  20'31", Image courtesy of the artist and WHITE SPACE, ©Wang Tuo

Biologically defined as “feeling creatures that think” by neuroanatomist Jill Bolte Taylor, we humans are currently immersed in an omnipresent and fast-paced technological transformation in which our physicality, computational presence, and in-between spaces —be they perceived and/or embodied— become increasingly integrated and magnified. As a consequence, the perception of ourselves and the external world is subject to a physiological and cognitive shift in which both our own identity and collective consciousness are turned into synthetic and augmented experiences “beyond our wildest sci-fi imaginings.”

从上至下依次《明信片No.6》，《明信片No.9》，谢南星，2015，布面油画，220×220cm，图片由艺术家提供，©谢南星
From left to right Postcard No.6, Postcard No.9, Xie Nanxing, Oil on canvas, 220×220cm, Image courtesy of the artist, ©Xie Nanxing

The exhibition will be accompanied by a series of onsite and online talks where artists engage in conversations with each other, the curator, and invited panelists from diverse fields such as the art world, academia, and other areas of expertise. On the opening day, Juergen Staack and Fan Ranran will each stage a site-specific performance.

This show serves as a platform to cultivate international relations and mutual learning between China and the invited countries. Organized by Wind H Art Center, with academic support from the German Embassy Beijing，Goethe-Institut China，College of Visual Arts and Design, University of North Texas.

Artists

Fan Ranran

Ranran Fan is a device-maker and an artist who works in installation, new media and performance. They have presented their immersive installations in solo exhibitions in Hallie Ford Museum of Art (Salem, U.S.), The Print Center (Philadelphia, U.S.), Currents 826 (Santa Fe, U.S.), No Land (Santa Fe, U.S.), and Sanitary Tortilla Factory (Albuquerque, U.S.). Their work has also been included in group exhibitions internationally such as Academy Art Museum (U.S.), SITE Santa Fe (U.S.), Santa Fe Art Institute (U.S.), Tamarind Institute (U.S.), OCT Contemporary Art Terminal (China), and Incheon Marine Asia Photography and Video Festival (Korea). They is currently an Assistant Professor of New Media Art at the University of North Texas (United States).

Lawrence Lek

Lawrence Lek is a filmmaker, musician, and artist who unifies diverse practices—architecture, gaming, video, music and fiction—into a continuously expanding cinematic universe. Over the last decade, Lek has incorporated vernacular media of his generation, such as video games and computer-generated animation, into site-specific installations and digital environments which he describes as ‘three-dimensional collages of found objects and situations.’Often featuring interlocking narratives and the recurring figure of the wanderer, his work explores the myth of technological progress in an age of artificial intelligence and social change.

Lawrence Lek  (b. Frankfurt, 1982) studied at Trinity College, University of Cambridge, the Architectural Association, London, and The Cooper Union, New York. Lek holds a PhD from the Royal College of Art in London. He has exhibited internationally with recent solo exhibitions including, NOX, LAS Art Foundation, Berlin (2023); Black Cloud Highway, Sadie Coles HQ, London (2023); Nepenthe (Summer Palace Ruins), QUAD, Derby (2022); Post-Sinofuturism, ZiWU the Bund, Shanghai (2022); Ghostwriter, Center for Contemporary Arts Prague, Prague (2019); Farsight Freeport, HEK House of Electronic Arts Basel, Basel (2019); Nøtel, Urbane Künste Ruhr, Essen (2019); AIDOL 爱道, Sadie Coles HQ, London (2019); Nøtel, Stroom Den Haag, The Hague (2018); 2065, K11 Art Space, Hong Kong (2018); and Play Station, Art Night, London (2017). His work has also featured internationally in numerous group shows, biennales and film festivals including, Biennale de I’Image en Mouvement 24 (BIM’24): A Cosmic Movie Camera, Centre d’Art Contemporian, Genève (2024); Connectivity Construction, Asia Culture Centre, Gwangju (2024); The 24th Biennale of Sydney: Ten Thousand Suns, White Bay Power Station (2024); Virtual worlds: From cycloramas to Metaverse, Fundación Telefónica, Madrid (2023); HOPE, MUSEION, Bolzano (2023); Fotograf Festival – hypertension23, National Gallery Prague (2023); Topologies of the Real: Techne, Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen (2023); Game Society, MMCA National Museum of Modern and Contemporary Art, Seoul (2023); FOUNDATION: A Web3 Media Art Festival, Videotage, Hong Kong (2023); The Pieces I Am, UCCA Center for Contemporary Art, UCCA Edge, Shanghai (2022); WORLDBUILDING: Gaming and Art in the Digital Age, Julia Stoschek Collection, Düsseldorf (2022); 5th Kochi- Muziris Biennale, Kochi (2022); Leeum Museum of Art, Seoul (2022); Museum of Contemporary Art Australia, Sydney (2022); Donaufestival, Krems (2021); IFFR International Film Festival Rotterdam (2020 and 2018); 17th Venice Architecture Biennale (2021); Fine Arts Museums of San Francisco | de Young Legion of Honor, San Francisco (2020); CCCB Centre de Cultura Contemporània de Barcelona (2019); Bonniers Konsthall, Stockholm (2019); Garage Museum of Contemporary Art, Moscow (2019); MAXXI Museo nazionale delle arti del XXI secolo, Rome (2018); The 6th Taiwan International Video Art Exhibition 2018, Taipei (2018); Arsenale Nord, Venice (2017); UCCA, Beijing (2017), among others. Lek has been recognised with the 2017 Jerwood/FVU Award and the 2015 Dazed Emerging Artist Award. In 2021 he was the recipient of both the 4th VH Award Grand Prix and the LACMA 2021 Art + Technology Lab Grant. Lek lives and works in London.

Johanna Reich

Johanna Reich is a German video artist working also in the fields of performance, photography and painting. She received national and international awards and scholarships like the Nam June Paik Award, the Excellence Prize of the Japan Media Arts Festival, Tokyo, the Media Art Award NRW and the Konrad-von-Soest Prize. She took part of several artist residencies Romania, USA, Luxembourg and Spain.

Her works were shown at Pinakothek der Moderne, Munich, Germany; Torrance Art Museum L.A., California, USA; Istanbul Modern, Istanbul, Turkey; Palais de Tokyo, Paris; Stella Art Foundation Moscow, Russia; Museo Reina Sofia, Madrid; Tokyo Metropolitan Museum of Photography, and part of international Collections like the Jerry Speyer Collection, New York, the Goetz Collection, Munich or the Collection of Museum Ludwig, Cologne. 2020-22 she was visiting professor at the Academy of Fine Arts, Munich.

Juergen Staack

Juergen Staack developed his own forms of expression in conceptual art, questioning the translatability of photography. He uses various media such as performance, sound, video, sculpture, and photography and frequently makes the beholder a constitutive component of the artwork itself. Recurring themes in Staack’s work include the relationship between the image and its reproduction as well as its authenticity and origin, which he repeatedly questions.

For Staack, unexpected processes of transformation and translation play a special role in a literal and metaphorical sense. In the age of an all dominating global visual culture, according to art historian Sabine Maria Schmidt, “Juergen Staack poses the question of the foundations and elements that generate images in an entirely new way.”

Born in 1978 in the former GDR, he was trained as a photographer, after he completed his high school. He subsequently attended Kunstakademie Düsseldorf from 2002 to 2008 where he studied with Thomas Ruff and Christopher Williams. In 2003, he founded the artist group FEHLSTELLE along with other students. In 2006 he became master student of Thomas Ruff.

His works are shown internationally in collections, biennials and museums. His works can be found in the collection of the Bundeskunstsammlung Deutschland, the art collection of the Museum Folkwang in Essen, the art collection of the Kunstpalast in Düsseldorf and private collections, among others.

Wang Tuo

Wang Tuo  (b. 1984, Changchun, China) interweaves Chinese historical facts, cultural archives, fiction and mythology into speculative narratives. Equating his practice to novel writing, he stages an intervention in historical literary texts and cultural archives to formulate stories that blur the boundaries of time and space, facts and imagination. Through film, performance, painting, and drawing, the artist’s work is a powerful examination of modern Chinese and East Asian history. The multidimensional chronologies he constructs, interspersed with conspicuous and hidden clues, expose the underlying historical and cultural forces at work within society. Embracing a uniquely Chinese hauntology, Wang proposes “pan-shamanization” as an entry point to unravel the suppressed and untreated memories of 20th century China and East Asia. Through historical inquiry, Wang’s works, often unsettling and dramatic, disentangle collective unconsciousness and historical traumas.

Wang has recent solo shows at K21, Düsseldorf; UCCA, Beijing; Present Company, New York; Salt Project, Beijing; Taikang Space, Beijing, and recent group shows at M+ Museum, Hong Kong, National Museum of Modern and Contemporary Art, Seoul; Julia Stoschek Collection, Düsseldorf; Staatliche Kunsthalle Baden-Baden, Baden-Baden; Queens Museum, New York; Kino der Kunst, Munich; Zarya Center for Contemporary Art, Vladivostok; Incheon Art Platform, Incheon; Power Station of Art, Shanghai; OCAT, Shenzhen & Shanghai; Times Museum, Guangzhou; National Taiwan Museum of Fine Arts, Taichung. Wang Tuo was an Artist in Residence at the Queens Museum, New York from 2015 to 2017. He won the China Top Shorts Award and the Outstanding Art Exploration Award in Beijing International Short Film Festival 2018. Wang Tuo is the winner of the Three Shadows Photography Award 2018 and the Youth Contemporary Art Wuzhen Award 2019. He was awarded a research residency at KADIST San Francisco as part of the OCAT x KADIST Media Artist Prize 2020. In 2023, Wang Tuo won the Sigg Prize. In 2024, Wang Tuo won the K21 Global Art Award.

Xie Nanxing

Xie Nanxing (b. 1970, Chongqing) currently lives and works in Beijing, China. Xie is a revolutionary, experimental painter, who always challenges tradition and the seemingly established rules of art education. His major solo exhibitions include: “Adverb High Command” (Petzel Gallery, New York, 2022); “A Roll of the Dice” (Galerie Urs Meile, Beijing, 2020); “A Gift Like Kung Pao Chicken” (Thomas Dane Gallery, London, 2019); “Xie Nanxing: Spices” (UCCA Beijing, 2018); “Untitled 3 ×” (Galerie Urs Meile, Beijing, 2015); “THE SECOND WHIP WITH A BRUSH” (Galerie Urs Meile, Lucerne, 2013). Notable group exhibitions include: “A Place for Concealment” (Galerie Urs Meile, Beijing, 2022); “The Generation of New Painting in SCFAI” (Art Museum of Sichuan Fine Arts Institute, Chongqing, 2021); “SNAPSHOT” (Galerie Urs Meile, Beijing, 2021); “Italian Renaissance Drawings: A Dialogue with China” (M Woods 798, Beijing, 2021); “Psychic Wounds: On Art & Trauma” (The Warehouse Dallas, 2020); “Chinese Whispers” (MAK Museum für Angewandte Kunst, Vienna, 2019); Documenta XII (Kassel, 2007); and the 48th Venice Biennale (Venice, Italy, 1999), among others.

Curator

Nataline Colonnello

“Liminal Stages: Explorations on Perception, Existence, and Techno-consciousness" stems from the curator's extensive research in art history, philosophy, psychology, neuroscience, and neuroaesthetics, with a focus on machine learning and new media. With over 20 years of experience in China and a background in sinology and contemporary art, Nataline Colonnello serves as a consultant and curator for museums and institutions. Her expertise spans photography, film, performance, multimedia installation, and painting, emphasizing historical and cross-disciplinary research, new technologies, neuroaesthetics, and scientific applications in the arts. She has directed both commercial galleries and not-for-profit institutions, including Galerie Urs Meile, INKstudio, and Three Shadows Photography Art Centre. Recently, she was the Exhibition Director of Gallery Weekend Beijing. Her essays and interviews have been featured in numerous international publications, exhibition catalogues, and monographs.

Team Information

Exhibition Director：Jiang Yuyi

Installation Director: Feng Minhui
Media Director: Li Yanru

Exhibition Editors : Jiang Yuyi, Meng Qingxin
Translation: Rachel Xu

Space Design : Bai

Visual Design : Zhou Yan, Niu Yaobin, Yang Can, Shi Zefan

Media Promotion: Li Yanru, Haige

Photographer: ALuan
Venue Management: Wang Chang

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