关于艺术家 ABOUT ARTIST

李消非，1973年出生于中国湖南，毕业于广州美术学院油画系，现居住、工作在上海和纽约。曾获纽约亚洲文化协会（2010）和瑞典IASPIS艺术家基金（2013），李消非从2010年开始创作“流水线项目”，该项目是一种与当下的社会进程和社会变迁联系在一起的实践过程。他进行了大量的实地调研和拍摄，用切片的影像和断裂的叙述等方式，探讨人在高度系统化和体制化的环境里的一个现实处境。李消非的作品曾参加第五届波兰波茨南双年展（2016）、第八届柏林双年展(2014)、第十届上海双年展(2014)、第六十届奥伯豪森国际短片电影节(2014)、第五届日本Nakanojo双年展(2015)、挪威巴伦支艺术节（2015）、第四届深港城市建筑双城双年展(2013)、第三届台湾国际录像艺术展(2012)等国际大展。曾在旧金山现代艺术博物馆（SF MoMA）、奥尔布赖特·诺克斯美术馆、首尔国立美术馆、上海当代博物馆、上海外滩美术馆等地展出。

Li Xiaofei, 1973 born in China (Hunan) , lives in Shanghai and New York. He graduated from the Guangzhou Academy of Fine Arts. Li has been the recipient of grants and awards from multiple organizations, including the Iaspis International Residency Grant, Stockholm, Sweden (2013), Asia New Zealand Foundation, Wellington Grants, New Zealand (2013), The Sovereign Foundation Fellowship of theAsian Cultural Council, New York, USA (2011) Li's work has been featured in solo and group exhibitions internationally, including: Seven Necessities—An Assembly Line Project by Li Xiaofei, OCAT Xi’An, China (2017); 5. Mediations Biennale Poznań, Poland (2016); 2013 Bi-City Biennale ofUrbanism/Architecture (2013); OVERTIME: THE ART OF WORK, Albright-Knox Art Gallery, Buffalo, New York, U.S.A (2015); Barents Spektakel 2015,Kirkenes, Norway (2015); The 10th Shanghai Biennale (2014); The 8th Berlin Biennale for Contemporary Art (2014); 60th International Short Film Festival Oberhausen (2014);  Descriptive Acts, San Francisco Museum of Modern Art (2012);  Melancholy in Progress, 2012 Taiwan International Video Art Exhibition (2012)

个人网站：www.lixiaofei.org

关于嘉宾 ABOUT GUEST

王景，1982年出生于中国广东。2008年毕业于广州美术学院美术史系西方美术史专业，2015年毕业于纽约巴德学院策展研究中心。目前主要生活和工作于中国深圳。曾于纽约、上海、深圳、广州及武汉等地的美术馆和艺术机构策划展览与活动；写作、访谈等曾发表于Artforum中文网站、BOMB MAGAZINE、《画廊》、《外滩画报》、《世界建筑导报》等刊物；曾参与编辑由RIGHTON PRESS、旧金山中华文化中心、岭南美术出版社、维他命艺术空间、OCT当代艺术中心等出版的出版物。

Wang Jing, born in Guangdong China in 1982, currently lives and works in Shenzhen China. She received her MA from Art History department at Guangzhou Fine Art Academy in 2008, and MA from Center for Curatorial Studies at the Bard College in New York in 2015. She has been curated exhibitions at museums and art spaces in New York, Shanghai, Shenzhen, Guangzhou and Wuhan, her writings and interviews has been published on Artforum (Chinese online), BOMB MAGAZIN, Gallery, The Bund, ARCHITECTURAL WORLDS, and she has been participated in editing publications that published by RIGHTON PRESS, Chinese Culture Center of San Francisco, Ling Nan Press, Vitamin Creative Space and OCT Contemporary Art Terminal.

2017的李消非
LI XIAOFEI IN 2017

2017年9月27日 周三 19:30
2017.09.27 Wed. 7:30pm

放映Screening ︎

《沙发》
Sofa
《崇明岛》
Chongming Island
《横沙岛》
Hengsha Island
《惠灵顿》
The Suburbs of Wellington








《沙发》Sofa／ HD Video / PAL / Color / Sound / 13 min 47 sec / 2017

《崇明岛》Chongming Island／HD Video / PAL / Color / Sound / 10 min 30 sec / 2017

《横沙岛》Hengsha Island／HD Video / PAL / Color / Sound / 13 min 30 sec / 2017

《惠灵顿》The Suburbs of Wellington／HD Video / PAL / Color / Sound / 10 min 58 sec / 2017

自2010年进行“流水线项目”的七年间，我走访拍摄过160多家不同类型的工厂，每个完成的作品以及大量未剪辑的素材背后，如在联系工厂、实地考察、现场拍摄、后期剪辑等过程中，有着许许多多的经历和故事。环境、事件与人都会带来心理感受及变化，心理状态具有持续性，并引起自省的行为和规范，过程和经历会介入心理趋向复杂化，最后汇集成心理暗示，这种丰富的感受会带入到作品，但也许较多的是对生活的审慎。2013年10月9日我在新西兰惠灵顿郊外拍摄一家屠宰厂，其壮烈的现场直接导致我停止肉类（猪、牛、羊、鸡、鸭等肉）的食用；三周后我来到新西兰南岛的普卡基湖Lake Pukaki，至美的普卡基湖让我日后平和了许多；2015年我在走访过的一个工厂车间，将地上两根废弃生锈的铁轨，打磨成镜面。这是作品拍摄现场和之后的心理状态比较突出的一种调整方式，前后反差让我开始自我解剖和重新思考环境与心理给个人带来的影响和后果。

《沙发》

任何一件日常用品和普通的家俱，都在生产消费链当中独立存在，在其后也都有着强大的加工制造以及销售体系，沙发和所有与人有联系的日常用具一样也会被忽视。从沙发老板简单、直白、准确的言谈中，可窥视到社会发展的种种现实问题，最后“沙发”只是舒适过后的一种剩余风景。

《崇明岛》

这取决于人的消费观念
如果像我们父母那一代
他们的概念是不坏不扔
如果这样的话 你可以用一辈子

关于流水线项目

流水线项目是李消非2010年开始创作的一个持续性的艺术项目，是一种与当下的社会进程和社会变迁联系在一起的实践过程。

目前分两个阶段：2010年-2013年主要以录像的形式关注和分析“流水线”。这期间他先后在中国长江三角洲、珠江三角洲以及美国、瑞典、挪威、新西兰等地拍摄了一百多家各种类型的工厂，与流水线上不同职位的人进行对话和交流。融合了纪录片和社会学的语言，以一种无法控制的“实拍”，用切片、交错的方式将人与机器相互重组和转换，来重构一种虚幻的真实。“流水线”是资本欲望所驱动的生产模式，它是重复的、一致的、机械的、缺乏情感的，同时高效、快捷地将生产价值膨胀到最大，这样的重复和一致，不仅指的是机器，同样，还包括生活在其中的人，以及最后的产品。

关于《（生成）洁净 》展览

香港，20世纪初到70年代以前，兼具牛、猪、狗的检疫及屠宰功能，在70年代末到20世纪末只检疫牛只的马头角牛房（全名马头角牲畜检疫站）从2001年开始至今变成了“牛棚艺术村”。

从牛棚艺术村前身历史的提示出发，展览“（生成）洁净”与2017年10月10日至22日其单元8和单元N2呈现，邀请艺术家方璐&艾瑞、洪强、山河跳（黄河+黄山）、李牧及李消非从不同的相关点切入，结合自身创作的轨迹或自身已有的艺术项目——半命题式地创作。这些作品不同层面也在做着“洁净”的工作。




Sofa

Any everyday product or common piece of furniture has a unique existence inthe chain of production and consumption.Yet behind it is a great system of processing, manufacturing and sales; nevertheless, the sofa, just like many otherhousehold goods can be easily ignored. From the direct, simple and precise language of the factory boss, we get a glimpse into various problems of social  evelopment, perhaps the sofa is the only thing which remains in the social landscape which evokes any comfort.

Chongming Island

This is related to the concept of people and consumption.
If we think back to the era of my father.
They didn’t think, “well if it's old then we throw it out.”
If it was like this, you could use it for a lifetime.

The “Assembly Line” is an ongoing series of works, which was initiated in 2010 by Li Xiaofei. It is a practice which is related to the process of social change in not only China but on aglobal scale.

Currently there are two phases to the project. The first phase from 2010-2013 focused on video not only as a form but also as a tool to analyze the assembly line. During this period,Li worked successively in the Yangtze and Pearl River Deltas,Sweden, Norway, the US and New Zealand to shoot over 100 different kinds of factories, having dialogues and exchanges with people of different positions within the assembly line. He employed a "realtime" shooting technique which was difficult to control, mixed with the language of documentary and a fragmented interwoven approach to create a mutualrestructuring and a transformation of the relationship between man and machine, in essence to reconstruct an illusory reality.

From the beginning of the 20th century to the 1960s, the ma tau kok slaughter house (ma tau kok animal quarantine station) had both functions of inspecting and killing cows, pigs and dogs. From the end of the 1970s to the end of the 20th century, it only inspected cows, and since 2001, it became the Cattle Depot Artist Village (CDAV).  

In No.8 and No.N2 of CDAV, Hong Kong, from October 10th to 22th, 2017, the exhibition BECOMING departs from the history of CDAV, inviting artists, includingFang Lu & Arie Kishon, Hung Keung, Mountain River Jump! (Huang He & HuangShan), Li Mu and Li Xiaofei to create works or projects in terms of their own artistic trajectory added to the exhibition concept. To some degree, the works are doing a similar job of cleansing on different levels.