《新一代工作方法》艺术展 呈现新艺术现象

2021 年 6 月 20 日至 9 月 7 日，山中天艺术中心呈现展览“做更好的人——新一代的工作方法 新工作、新身份、新方向、新生活”，将目光投向近几年在艺术、建筑和设计领域中，最具代表性的新一代的艺术家所呈现的新艺术现象，以及他们所带来的新工作、新身份、新方向、新生活方面的变化。此次展览汇集了中国新一代最具代表性的艺术家、设计师、建筑师——陈天灼、绘造社、葛宇路、何翔宇、李燎、梁琛、梅数植、倪有鱼、童文敏、王子耕、赵赵、周轶伦、朱砂等的多种类型的创作项目和艺术实践，展现他们如何在不同的领域，以从未有过的方式动摇了过去的传统。展览“做更好的人——新一代的工作方法 新工作、新身份、新方向、新生活”由独立策展人崔灿灿策划。

From June 20th to September 7th, 2021, Wind H Art Center presents the exhibition “To Be the Better One —The Methodology of the New Generation New Work, New Identity, New Life, New Direction”. This exhibition will shed light on the novel artistic phenomena presented by the most representative new generation of artists in the fields of art, architecture, and design in recent years, as well as their ever-changing state of work, identity, life, and direction. The show brings together the most representative artists, designers, and architects of the new generation in China—Chen Tianzhuo, Drawing Architecture Studio (DAS), Ge Yulu, He Xiangyu, Li Liao, Liang Chen, Mei Shuzhi, Ni Youyu, Tong Wenmin, Wang Zigeng, Zhao Zhao, Zhou Yilun, and Zhu Sha, presenting their multifarious works and practices to illustrate how they have challenged the past conventions in different realms in a way that has never been done before. “To Be the Better One —The Methodology of the New Generation New Work, New Identity, New Life, New Direction” is curated by independent curator Cui Cancan.

策展人：崔灿灿 艺术家：陈天灼，绘造社，葛宇路，何翔宇，李燎，梁琛，梅数植，倪有鱼，童文敏，王子耕，赵赵，周轶伦，朱砂 公众开放时间：2021.6.20-2021.09.07 开幕时间：2021.6.19 主办机构：山中天艺术中心 协办机构：十点睡觉艺术空间 地点：山中天艺术中心 ｜北京市朝阳区 798 艺术区南门万红里甲 31 号

文/崔灿灿

一种新的现象正在发生，他们在不同的领域，以从未有过的方式动摇了过去的传统。

“新一代的工作方法”指的是，近几年在艺术、建筑和设计领域中，最具代表的新一代的艺术家所呈现的新艺术现象，以及带来的新工作、新身份、新方向、新生活的变化。这个现象以工作方法的改变展开，他们打破了过去的工作范围和方法，艺术家不再只做艺术，建筑师不再只盖房子，设计师不再是平面上的规划，而是有着广泛的兴趣，更多元的工作，他们做艺术、做空间、做舞台、做表演和 party，做服装、家具和各类新潮的设计。这些工作并无主次，也无本职和爱好，艺术和非艺术之分。他们的工作状态多元含混，跨文化、跨时空，永远充满活力、想象力和变化。“没有单一风格”的风格成为他们的风格。

新的工作让他们拥有更多的新身份，像是一个连接器、中转站或是文化综合体，一切资源，好玩的事物，都成为他们跨越的工具，也都是他们的舞台和战场。新身份也带来了新生活，他们生活在流动的世界，工作和生活不再分明，收藏旧物和新潮；经营空间、潮牌和人设；组织活动、策划展览、不分昼夜地酝酿运动、链接、party。他们可能是 DJ、导演、纹身师、人群里的中心，无法单一定义的身份创造了截然不同的新生活。

新的生活带来了新的方向，他们没有必须达到的地方，不再有彼岸和此岸的划分，也因此获得了更广阔的土地。他们有目标，但只是短暂完成，他们不是过去的读者，而是未来的创造者。他们理性，但不是清教徒，随时可以动摇；感性、随机、时刻放飞和漂移，却又不乏策略。他们有着相同的方法，却没有相同的价值、兴趣。思想从不一致，也无太多交集。他们是新一代，但，是各自的新一代。他们不是一个风格或是流派，玩世、波普、卡通那样的一代，他们是真正摆脱了集体主义和运动热情的新一代人，他们的口音既不是西方思潮的产物，又不是中国的本土现实，他们是混杂了各种口音，真正成长于国际化的新一代。

在这个新的工作方法中，他们以自己作为方法，不是陈词滥调地自我表达，而是创造自己，实验自己，设计自己，发明自己。他们的艺术不过是自己的某种样子，作品不过是生活里的某个片段。于是，艺术成了人的周边，这些新工作、新身份、新方向和新生活，创造了他们所从事的全新的工作：艺术不是去改变艺术，而是去改变人。什么是人的定义，人的存在，创造人的可能，做更好的人。

*引用内容为艺术家对“什么是新一代和工作方法”的回答 The quote is from the artist’s answer to the question “What is the methodology of the new generation？”

“我觉得新一代就是无法被既定的条条框框和身份框架定义。我的工作方式就是做我所有感兴趣的想做的，无论是主业还是副业，他们都不是一个问题。我既是艺术家，又是剧场导演，然后又是一个 DJ，我觉得所有的这些身份都构成了我不存在一个被大家最认可的身份。”

I think the new generation cannot be defined by the established rules and identity frameworks. My working method is to do all the things I am interested in, whether it is the main business or the side business. This division is not a problem. I am not only an artist, but also a theater director, and then a DJ. I think all these identities constitute my non-existing identity that is most recognized by anyone.

陈天灼的空间由手稿、影像、NFT 以及派对上的 DJ 演出等一系列无序混杂的作品/声音素材构成。寻找他们之间的内在联系和逻辑关系是无关紧要的，因为天灼自己不曾尝试甚至也不愿这样去做。寻找清晰的线索在他看来是这个混沌的世界里最徒劳的事情，把一切随机的行为都附加上一个创作动机也让随机的可能性变得无趣。更多的身份和更新方法也不一定能让他成为更好的人，但这是他觉察自身的途径。

Chen Tianzhuo’s space is composed of manuscripts, images, NFTs and DJ performances and other series of disorderly mixed works/sound materials. It is irrelevant to find the inner connection and logical relationship between them, because Tianzhuo has never tried or even did not want to do it. Finding clear clues seems to him the most futile thing in this chaotic world. Imposing a creative motivation to all random behaviors also makes random possibilities uninteresting. More identities and updated methods don’t necessarily make him a better person, but this is how he perceives himself.

什么是新一代？可能就是不认同现行的这套秩序的人吧，任何不认同的人，我觉得他/她就是新一代。我的工作方法可能就是吃饭，聊天，出去玩儿，多看多交流，然后可能会有一段时间，既不用吃饭，也不用聊天，也不用交流，也不用出门的时候就想点好玩的事情，然后再慢慢把这些事情一点点落实，可能就是我的工作方法。

What is the new generation? Maybe it’s someone who doesn’t agree with the current order. Anyone who doesn’t agree with it, I think is a new generation. My working method may be to eat, chat, hang out, observe, and communicate, and then there may be a period without eating, chatting, communicating, or thinking about something fun when going out, and I slowly implement these things little by little. This may be my working method.

《假日时光》的灵感源于艺术从业者荒诞的抱怨，认为艺术对于她们来说是工作而非创造。基于此，我决定以艺术的借口让她们享受一次休假。作为代价，我需要留在美术馆替班完成她们的工作。

房间里呈现的图像都是同事们随手记录的假期，是这件作品的第一现场。耳机里的声音是她们（雪莹，希翎，俊俊）游玩归来的回忆与感受，是回忆现场的最好方式。文字部分是我在美术馆替班的日记，还有事后搜集的考勤卡。

Holiday Time is inspired by the absurd complaints of art professionals, who believe that art is work rather than creation for them. Based on this, I decided to let them enjoy a vacation on the excuse of art. As a price, I need to stay in the museum to complete their work as their shift.

The images presented in the room are all vacations recorded by the colleagues, and are the first scene of this work. The voices in the headphones are their memories and feelings (Xue Ying, Xi Ling, Jun Jun) after their vacations. It is the best way to remember the scene. The textual part is the diary of my replacement at the museum, and the attendance card collected afterwards.

什么是新一代，是一个过于宽泛的问题，难以一概而论。然而，无论是在中国还是别处生活的新一代，在我看来，他们都像是在流动中停留着的，或者说是在停留中流动着的。我的工作方法，有一部分作品是从自身内部出发，走向跨文化、跨种族、跨历史的共性的，而另一部分作品则是从我对某个物件、事件或现象的观察出发，走向其独特而相对疯狂的内核的。

“What is the new generation?” is an overly broad question that is difficult to generalize. However, whether it is a new generation living in China or elsewhere, it seems to me that they are staying in the flow, or in other words, flowing while staying. Some of the works start from within and move toward cross-cultural, cross-racial, and cross-historical commonalities, while other works start from my observation of a certain object, event, or phenomenon, and move toward its unique and relatively crazy core.

在《May 14th, July 17th, August 27th》中，何翔宇用幽默的方式模拟了文化沟通过程中的艰难挑战。在每一件以拍摄日期命名的影像中，各个在此前互相不了解的人们应艺术家的号召齐聚一堂，以表演游戏的方式演绎领会异国历史的困难、使用另一种语言的困难以及融入其他文化环境的困难等。艺术家本人也参与进活动中完成表演任务。在巧妙且带有极强刺激性的表达中，艺术家回顾了全球化的遗产，将不断被迫在全球各地漂泊迁徙的人们聚到一起，因地缘或文化身份的短暂重合而产生共鸣。

In May 14th, July 17th, August 27th, He Xiangyu in a humorous way simulates challenges in cross-cultural communication. In each video titled simply after the date of the event, the artist gathers a makeshift community, who do not know each other previously. Coming from vastly different cultural backgrounds, the group is asked to play games and to express difficulties in understanding foreign histories, in using other languages, and in assimilating into other cultural environments. Witty and stimulating, the work reviews the legacy of globalisation, nurtures new relational possibilities, and encourages one to explore and negotiate the distances between cultures and between diasporic conditions.

我觉得新一代吧，就是跟你紧挨着的前一代做得有所不同。我们的工作方法其实就是相对于概念、智慧，我们更相信这种诚实的繁杂的劳动。所以有人说我们的工作就是有点儿傻，有点儿愚蠢，但是效果很惊艳，我挺同意的。

“I think the new generation, is the one that should be different from the previous generation next to them. Our working method is that we believe in this kind of honest and complicated labor more than concepts and wisdom. Some people say that our work is a little clumsy, a little diehard, but the result is amazing, and I quite agree.”

The Complete Map of Capital Beijing is a contemporary copy of its original version from the Qing Dynasty, in which some most iconic Beijing architecture are collaged and mixed. In a 1:100 architectural diorama, the three-dimensional models are the results of some style transfer algorithms in which some classics of Western modern architecture are mixed with the language of Beijing vernacular constructions, growing out of two-dimensional images. The creation process of this piece is a self-organized “game”. Drawing Architecture Studio provides the framework of Capital Beijing and creative path. Students from Syracuse University School of Architecture freely fill in the framework while being regulated by a series of provisos on “style and language”. Drawings and models become independent “selves” and construct an “independent world” on the architectural diorama.

什么是新的一代？我一直在想这个问题，我对新的一代有一股盲目的崇敬。我的工作方式，好像一直是一种等待。虽然在这个等待的过程中总是会有某种主动，但这种主动大部分是徒劳的。每天会模拟一种自己上班的一个状态，因为感觉家里人其他人都有事情，然后自己如果一直闲着这样等某件事情，在现实生活里面有点自责和说不过去。

What is the new generation? I have been thinking about this question, and I have a blind respect for the new generation. My way of working seems to have always been a kind of waiting. Although there will always be initiative in this waiting process, most of this kind of initiative is futile. I will simulate a state of being at work every day, because I feel that everyone else in the family has business, and if I have been idle waiting for something like this, I feel a little self-blaming and unreasonable in real life.

李燎非常渴望成为一个中产，在观察中产具备的普遍符号后，决定采取一种诙谐的论调——“当你和他一样了，不是也是”，先到达结果。于是他选择了健身和英语，在一年的时间里每天健身、每天学英语，并严格模拟妻子的作息时间，朝九晚九，学习过上一个中产的生活。李燎以视频的方式展现了锻炼后得来的腹肌并配上 60 篇《新概念英语》课文，每篇背诵七遍，又将自己的完美腹肌如战利品形塑成汉白玉石像，与新概念英语课文融合为一体，成为李燎内外兼修的象征。

Li Liao hopes to become a member of the middle-class. Once he observed the general signs of this class, so he decided to first achieve the outcome through an absurd theory, “Once you look the same, you would become something even if you are not.” So he chose to exercise and study English. For one year, he did these two things every day while strictly following his wife’s work hours, getting up at nine and going to bed at nine, learning about the life of the middle-class. The video documents the six-pack he’s built and the 60 English essays he has recited 7 times each. He shaped his perfect abdominal muscles into a white Greek marble statue as if it is a trophy. With the New Concept English text, the six-pack becomes a symbol of Li Liao’s refinement both inside and outside.

李燎 16 年从妻子那听到她老板讲的一个秘诀，说每天做八件事，就会成功，李燎很想成功，于是开始实施这个方法，从 2016 年开始每天做八件事。这里截取了 2018 年 4 月到 2019 年 5 月的每天八件事，记录里包含了《做更好的人》这个项目。

In 2016, Li Liao heard a secret of success claimed by the boss of his wife, that if one does these eight things every day, one would become successful. With a desire to become successful, he began to implement them on a daily basis since 2016. Here is an extract of these eight things done daily from April 2018 to May 2019, where it also includes the project “To Be A Better Man”.

严格意义上来说，我认为并不存在“新一代”。年轻人不一定就比年长的人更前卫，反之亦然，这在任何时代都是。我试图通过建筑和艺术的双重实践来探讨一个悖论的可能：有限范围内的无限性。在对于东北城市长春的长时段和多时段观察之后，我开始用同样的方法观察自己的家乡——辽宁丹东。长达四年半的家乡研究与自我分析成为了我创作的起点和源泉。

Strictly speaking, I don’t think there is a “new generation” because new people are born every minute and every second. This is a kind of flowing, differential time, and humans are not born according to generations. I strive to explore the possibility of a paradox through the dual practice of architecture and art: infinity within a limited range. After the long-term and multi-period observations of the northeastern city of Changchun, I began to observe my hometown, Dandong, Liaoning by the same method. Four and a half years of hometown research and self-analysis have become the starting point and source of my creation.

尝试通过一系列催眠器（动态灯光空间装置）作品的介入，将山中天艺术中心的非展厅区域：门厅、咖啡厅、走廊、商店，甚至橱窗、街道与庭院整体串联起来，形成一个整体的、缓慢的光的场域，通过光源的移动，解释山中天艺术中心建筑空间本身在尺度与连接的丰富性，从而展现了梁琛一直以来通过作品介入空间的“空间催眠”的工作方法。

Try to use a series of hypnotizers (dynamic light space installations) as the interventions to connect the non-exhibition areas of Wind H Art Center: entrance halls, cafes, corridors, shops, and even windows, streets and courtyards to form a comprehensive, slow light field. Through the movement of the light source, the work explains the richness of the scale and connection of the architectural space of the Wind H Art Center. This demonstrates Liang Chen’s “spatial hypnosis” working method of intervening in space through his works.

我觉得在当下还有生命力，并还在发生的就是新一代。我没有明确的工作方法，可能就是像虫子一样凭感知慢慢挪动。

I think what still shows vitality in the moment and is still happening is the new generation. I don’t have a clear working method, maybe I just move slowly like a bug wriggling with an intuitive sense.

《文字出口 2》是以空间为前提，以文字为中心，以环境、媒介与观看者的互动为链接，打造的中文语境下的新生社区。在这里，探索式的“观看”体验被还原，这种体验突破了文字作为常规阅读载体的限制，是对文字作为图形媒介的非线性和趣味性感知。

中文字起源于记事的象形性图像，我们重构文字中图形和文本的关系来探索形式和内容的边界，试图让形式和内容具有并存的模糊状态。当由这种状态驱动主体环顾、停顿、凝视……的行为时，中文作为独特符号的感召力将社区有机地连结。

Typography Exit 2 is a reborn community in the Chinese context. The community is based on space, centered in characters, and connected by the interaction between the environment, media, and the viewers. Here, the exploratory “watching” experience has been restored, which breaks through the limitations of text as a conventional reading media and is a nonlinear and interesting perception of text as a graphical medium. Chinese characters originate from hieroglyphics. We reconstruct the relationship between graphics and text in the characters to explore the boundaries of form and content, and try to make the form and content in a state of vagueness. When this state drives the body to induce behaviors like looking around, pause, staring…Chinese as a unique symbol, its impact connects the community organically.

我认为新的一代就是还没有被完全定性的一代。我的工作方法是不断的认知和寻找限制，然后在这个基础上去突破限制。

I think the new generation is a generation that has not yet been fully defined. My working method is to constantly recognize and look for restrictions, and then break through the restrictions on this basis.

限制是天才的跳板——歌德

Restriction is a springboard for genius – Goethe

新一代大致是时间上的划分吧。我的工作方法是什么？我没有一套固定的工作方法，具体到每个每次创作的时候，我觉得我的工作方法都是不一样的，需要去具体的去面对每次不一样的问题，我还年轻吧，我觉得嗯，就各种都还在尝试。

The new generation may be a division by time. What is my working method? I don’t have a set of fixed working methods. I think my working method is different every time I create, and I need to face different problems specifically every time. I’m still young. I think well, I’m still trying all kinds of things.

什么是新一代，这种就没法回答，新一代就意味着你到岁数了，但是又没完全到岁数。所以这个新一代我觉得多少意味着你要提供新的价值。我们关心的问题会更当代，那么它有很大量的工作，不会回到建筑学本体的上面的探讨上去，也不会回到以建造为核心的建筑学的议题上。

What is a new generation? There is no way to answer this. The new generation means that you have reached your age, but you have not reached some age. I think this new generation means that you must provide new value. The issues we care about will be more contemporary, so it has a lot of work that will not return to the discussion on architecture itself, nor will it return to the topic of architecture with construction as the core.

这个装置缘起于小时候我和我父亲共同度过的一段时光。1994 年，我的父母离异，我父亲租下北大燕东园的一个院子当作办公室，我跟着他在这里暂住。这是我唯一和父亲单独相处的两年。为了方便我上学，我的父亲当时在他办公室的货架后搭了一个单人床，这里便成为我临时的家。我坐在床上，透过货架观察父亲办公室的记忆成为了这个作品的起始点。两个联动的单人剧场交互开合，通过窗口，你可以看到自己的虚像置身在 1994 年的梦境里，也可以在某一个刹那与对面的陌生人不期而遇。

这起始于我个人的父子回忆，同样也试图理解任何关系中的依赖、对立、遗憾的情感联系。

This installation is inspired by my childhood time spending with my father. In 1994, my parents got divorced. My father rented a courtyard in Yandongyuan of Peking University as his office, and I lived here with him temporarily. It was the only two years I’ve been alone with my father. To make it more convenient for me to go to school, my father built a single bed behind the shelves in his office, and this became my temporary home. The memory of me sitting on the bed and looking at my father’s office through the shelves became the starting point of this installation. With the two connected single theater opening and closing interactively, through the window, you can see your figure appearing in the dream world of 1994, or you can meet someone waiting across the room at a certain moment. This installation originated from my personal memories of a father and son. It also tried to express the emotional connection of dependency, antagonism, and regret embedded in every relationship.

我看身边的这些人，大家好像没有纲领性的指导方针，今天市面上更年轻更新的人类好像更有资格管自己叫新一代，但这里我也打一个问号。在我的工作中，事件就变成很重要的一部分，我总是想介入地再深一点再投入一点。通过这样一个工作建立更多的链接，我认为这是设计里面比较重要的一个价值。

As far as I look at the people around me, everyone seems to have no programmatic guidelines. The younger and newer humans on the market today seem to be more qualified to call themselves the new generation, but I also put a question mark here. In my work, events have become a crucial part, and I always want to intervene a little deeper and invest a little bit more. To establish more connections through such a work, I think is a more important value in design.

很难说这一组视频是个什么样的作品，以及是否构成曾经那个意义上的作品。按照策展人的要求，我大概描述了我的一部分工作，有我负责的设计工作，更有一些我介入再深的一些事件。在这个环境里，我工作的范围变得越来越模糊，我也确实不像那种专注在某一块画布或者某一张书桌前的人，我总是左顾右盼，因而我猜想未来也无法像曾今的伟人那样，最后倒在某张工作台前。那么讲述在我的工作里变得更加重要，这个形式就会像套娃一样一层层的玩下去。

It is difficult to define what kind of work this group of videos is, and whether it constitutes a work in that sense. In accordance with the curator’s request, I roughly described part of my work, including the design work that I was responsible for, and some events where I was more involved. In this environment, the scope of my work has become more and more blurred. I am far from the kind of person who focuses on a certain canvas or a certain desk, but I always look around, so I guess in the future, I cannot become what the great men were like in the past, eventually falling in front of a certain workbench. Then narrative becomes more important in my work, and this form will be played on layer by layer like a Russian doll.

新一代只有年龄意义上的新一代吧。工作方式应该也是生活方式，一边可以每晚买菜做饭，一边可以还蹦迪喝酒到天亮。

The new generation is only the new generation in the sense of age. The way of working should also be a way of life. While grocery-shopping and cooking every night, you can also club and drink until dawn.

三组以米开朗基罗经典雕塑几个局部为主体的功能性雕塑，【A：一个大卫的腿为主体，上端红色圆形灯，周围固定在仿真石头上三个不同现成座椅，汽车后排座，绿色大排档椅，金属椅。因为之前在一些公共空间展览周围有放一些记号笔，观众在腿上写了各种字符涂鸦】【B：哀悼基督的整个雕塑的背部，前面用书架的形式替代】【C：大卫的右臂，固定在房顶，手中握着红色球灯】在特定空间用互相连接呼应成某个整体。同时印有耶稣纹身图案的 T 恤配合雕塑，组成新的完整系统。T 恤是可直接售卖，取走的。T 恤的逐渐少去，只剩单独的雕塑本身。利用美术馆大量人流量的自我产品销售。

Three groups of functional sculptures with several parts of Michelangelo’s classic sculptures as the main body, [A: A David’s leg as the main body, the upper end of the red circular light, and three different ready-made seats fixed on artificial stone around it, rear seats, green buffet chairs, metal chairs. Because some marker pens were placed around the exhibition in some public spaces before, the audience wrote various character graffiti on their legs] [B: The back of the entire sculpture mourning Christ. The front is replaced by a bookcase] [C: David’s right arm, fixed on the roof, holding the red ball lamp in the hand] In a specific space, these materials connect to each other to form a whole. Simultaneously, a T-shirt with a Jesus tattoo design is combined with the sculpture to form a new complete system. T-shirts can be sold directly and taken away. The T-shirts gradually disappeared by number, leaving only the single sculpture. This process was realized by the self-product sales of a large traffic of visitors.

我觉得新一代不是说 18 岁就是新一代，我觉得新一代就是能把老一代干翻了，就是新一代。我的工作方法就是关注点非常的多，没有时间性的划分，从古代到当代，从潮流到新型的，就是从没尝试过的一种艺术的一种形式，可能是一种很混杂的一种关注点吧，我的工作方式可能是关注点。

I think the new generation does not mean that the 18-year-old is the new generation. I think the new generation is the new generation that can overturn the old generation. My working method is to focus on a lot of points, without time division, from ancient to contemporary, from trend to new style, it is a form of art that has never been tried before. It may be a mixed focus, and my way of working may be the focus itself.

像是一个自传式的电影，赵赵在这个展柜中，为我们陈列了他创作思想的来源，脚下不同的路径。

几千年间，分属于不同时代的文明和器物，带着各自的历史意义和价值体系在“赵赵”这里交汇。赵赵将作品以“博物志”和“考古学”的方法展出，展现了作者对自我剖析的隐喻，也隐喻了他工作中最为重要的线索，通过对不同文明和器物的移花接木，不断发明自己和创造自己的历程。

Like an autobiographical movie, Zhao Zhao shows us the source of his creative ideas and the different paths under his feet in this showcase. For thousands of years, civilizations and artifacts belonging to different eras have converged here in “Zhao Zhao” with their respective historical significance and value systems. Zhao Zhao exhibits his works in the methods of “natural historical journal” and “archaeology”, showing the author’s metaphor of self-analysis, and also the metaphor of the most important clue in his work, a process in which he constantly invents and creates himself through the transfer of different civilizations and artifacts.

崔灿灿是一名活跃在各个领域的独立策划人，写作者。从 2012 年起，策划的主要展览和活动近百场，群展包括夜走黑桥、乡村洗剪吹、FUCKOFF II、不在图像中行动、六环比五环多一环、十夜、万丈高楼平地起、2015-2019 过年特别项目系列、策展课、九层塔等。曾策划的个展包括

A new phenomenon is now emerging among people in different fields, shaking past traditions through unprecedented methodologies.

“The methodology of the new generation” refers to the new artistic phenomena emerging among the newest generation of artists in the fields of art, architecture, and design, and the shifts they bring to work, identity, direction, and life. This phenomenon unfolds through changes in working methodology. They have broken beyond the scopes and methodologies of work from the past. Artists are no longer makers of art, architects are no longer builders, and graphic designers are no longer arranging the plane. Instead, they have broad interests and more diverse work. They make art, make spaces, make stages, performances, and parties, make clothes, furniture, and all kinds of new wave designs. There is no hierarchy between these tasks, no divisions between profession and hobby, art and non-art. Their state of work is diverse and mixed, crossing culture, time, and space, always brimming with vitality, imagination, and change. Style without unitary style has become their style.

New work has given them new identities. They are like connectors, transfer hubs, and cultural composites. All resources, all things fun, become the tools of their traversal, as well as their stages and battlegrounds. These new identities also bring new lives. They live in a fluid world. There is no longer a clear division between work and life, between collecting old things and new trends. They operate spaces, trends, and scenes. They organize events, curate exhibitions, and are constantly fermenting movement, connections, and parties through day and night. They can be DJs, directors, tattoo artists, the centers of crowds. Undefinable identities create completely different new life.

New life brings new direction. They don’t have a place they must reach; there is no longer a division between this shore and the next, and for this reason, they have gained a much vaster territory. They have goals, but they are quickly completed. They are no longer readers of the past, but creators of the future. They are rational, but not puritans. Their beliefs can be shaken at any moment: sensitive, adaptable, prone to take flight or be set adrift at any moment, but not for want of strategy. They have similar methodologies, but dissimilar values and interests. Their ideas are never united, and rarely converge. They are a new generation, but they are a new generation of themselves. They are not a style or a school, like the Cynics, Pop, or Anime generations. They are a new generation that has truly cast off collectivism and the passion of campaigns. Their accents are not the product of western ideas, or of China’s local reality. They mix all kinds of accents, and have truly grown up as an international generation.

Among these new working methodologies, they serve as their own methodologies, engaging not in cliche self-expression, but creating themselves, experimenting with themselves, designing themselves and inventing themselves. Their art is merely a certain way in which they are, their works merely certain snippets of their lives. Thus, art has become a peripheral. These new ways of working, new identities, new directions and new lives have created the entirely new work in which they engage: art is not in order to change art, but to change people, to change the definition of people, their existence, to create human possibilities, and to be a better one.

Curator：Cui Cancan

Artist：Chen Tianzhuo, Drawing Architecture Studio, Ge Yulu, He Xiangyu, Li Liao, Liang Chen, Mei Shuzhi, Ni Youyu, Tong Wenmin, Wang Zigeng, Zhao Zhao, Zhou Yilun, Zhu Sha

Public Day: June 20-Sep 07, 2021

Opening: June 19, 2021

Organizer: Wind H Art Center

Co-Organizer: Click Ten Art Space

Add: Wind H Art Center, 31a Wanhongli South Gate 798 Art Zone, Chaoyang Beijing