Chen Qiulin Ma Qiusha 陈秋林 马秋莎 Chen Yin-Ju Tse Su-Mei 陈滢如 谢素梅 Hao Jingban Yao Qingmei 郝敬班 姚清妹 Hu Xiaoyuan Yin Xiuzhen 胡晓媛 尹秀珍 Lai Chiu-Han 黎肖娴

Not不早不晚 Early Not Late

2016.08.04 - 2016.09.15 Press Release

Pace Beijing is pleased to present Not Early Not Late at of both works. Whether walking or waiting, simple actions 佩斯北京荣幸地宣布暑期档展览“不早不晚”将于 2016 年 8 月 艺术家本人身着军官大衣，义愤填膺地批判着一台代表着资本 4pm on August 4, 2016. This is an exhibition of work by are cycled to create infinite repetition. The artists’ true 4 日下午 4 时向公众开幕。这是继 2014 年影像群展“这个夏天 主义的自动贩售机。这种恰到好处的幽默和荒诞感不仅并未冲 nine artists and focusing on video art once again after We intentions are hided beneath the removal of narrative on 我们爱影像”之后，佩斯北京对于录像艺术的再度呈现。 淡作品的批判性，相反的，它确保了思考这一行为所应保持的 Love Video this Summer in 2014. the surface. The significance of the act itself is opened up 适当距离感。姚清妹的“角色扮演”借用的是社会共享的文化 for the viewer to see, while individual viewers according to The exhibition features nine video works and screens, their own background and experience fill in the “story”. 此次参展的九部作品以屏幕为界，将展览分割出内部与外部的 语境，而黎肖娴的作品则直接挪用了语境中具有典型性的大众 creating into inner and outer space-time, have partitioned 两个时空。单个录像作品自身已构建出完整而独立的内部世界， 影视作品。在她的作品《戏门》中，艺术家单独将“门”这个 the whole site. Each single video itself has already Yao Qingmei directs and stars in works that bring clarity 但与此同时，它在屏幕这一输出设备上的每一次播放又将与当 在影视作品中通常起到场景、情节转换功能的典型道具提取出 established an integrated and independent internal world and completeness to this fragmented choreography. 下的时空、观看者、及其它作品间形成互文关系。而同样带有 来，影像片段原本的叙事功能被人为破坏，彻底成为了单纯的 while output devices, the screens, will form a intertextual By playing typical roles in the social power system, Yao relation with current spaces and spectators when every Qingmei brings her unique brand of humor to bear on a 时间属性的展览标题“不早不晚”则可被视为对所有即将产生 视觉性材料。同样是对经典电影片段的直接挪用，郝敬班在作 time it is playing. Besides, the time-attributes exhibition title biting examination of it. In The Trial, the artist dons a military 的全新意义的鼓励。 品《我不会跳舞》中则使用这些有着典型时代背景特征的经典 Not Early Not Late can be regarded as an incentive to all officer’s cloak and fiercely condemns a vending machine as 影像素材与现实纪录影像相对照，通过个人平实的口述史与社 refreshing meaning, which is about to happen. a representative of capitalism. The perfectly tuned humor 此次参展的作品展现出录像艺术在创作语言与思维脉络上的丰 会建构的虚构风貌之间的互文关系使这部呈现时代变迁的作品 and absurdity does nothing to dilute the critical nature of The exhibition will present the amplitude of video art the artwork. To the contrary, it ensures the appropriate 富度。在陈滢如的作品《财 • 缝》中，关于生活的叙事被简化为 更加丰富而立体。 on language creating and thinking processing. In Chen distance for proper consideration. Yao Qingmei’s role- 一通越洋电话，母女间的日常沟通依靠信用卡账单明细为中介， Yin-Ju’s Transaction, a narrative of life is simplified playing is established atop fixed impressions shared 二者物理及精神上的双重距离感在琐碎的信息中得以呈现，而 而胡晓媛的作品《你来得太早，你来得太迟》则以电影化的镜 into an intercontinental telephone call, the day-to-day by mass society. This shared context is often faithfully 被有意克制住的情感线索也在细致记录母亲劳作过程的画面中 头手法去构建了一幕超现实的场景，通过将人造物与自然之物 communications between mother and daughter distilled reproduced in mass video works. Linda Chiu-Han Lai 暴露无遗。作品是极度个人化的，同时也在一定程度上映射出 的强行嫁接去审视人为介入的自然与原始的自然、进化与退化 into the medium of credit card bills. The physical and directly appropriates these “found footage”. In Door Game, psychological distance between the two is presented she extracts the “door,” a typical scenic element commonly 社会生存者的共同境遇。陈秋林的《城市管理者》及谢素梅的《沙 间已变得暧昧难解的关系。平静优美的镜头手法因内容本身的 through trivial information. It is as if the emotional thread used to effect a shift in setting or plot, with video fragments 漠清扫者》则将关注投向了城市基础服务者的群体处境。二者 异象感而显得违和。题目“你来得太早，你来得太迟”暗示了 that binds them has been intentionally concealed, yet it is that intentionally break this narrative function. Also directly 不约而同地选择以影像手法去“干扰”现实中愈发紧张的对立 世界的两难处境：任何人为的建设抑或破坏、关注抑或无视均 fully revealed in this painstaking account of the mother’s appropriating scenes from classic films, Hao Jingban’s I 关系。前者以刻意而戏剧化的镜头语言拍摄城管、保安等职业 非正解。回到群展标题“不早不晚”，似乎亦可被视为是对此 dedication. The artist’s private story also reflects, to a Can’t Dance contrasts scenes from classic period films with certain extent, the shared circumstances of those who interview accounts and documentary film to give depth to 的众生相，从形式上冲淡快速城市化进程造成的阶层群体身份 种境遇的一次回应。 survive in our society. Chen Qiulin’s City Manager and Tse the changes of the times. 隔阂。而后者的影像手法则更为荒诞，直接将清洁工的工作场 Su-Mei’s The Desert Sweeper focus on the conditions of 景从街道移植到沙漠景观之中，将劳作行为与其目的性彻底分 those who provide cities with their most basic services. Hu Xiaoyuan’s You came too early, you came too late 离，而劳动行为本身的枯燥重复性因此被放大，强迫观看者去 These two artists have followed separate paths to forcibly weds man-made objects to natural objects in “intervention” in the increasingly tense dichotomies in an examination of the tangled, ambiguous relationships 关注底层群体中的个体境遇。 reality through the medium of video. Chen paints a portrait between primal nature and nature as altered by of the ranks of the urban management teams and private humanity, evolution and devolution. The peaceful, elegant 同样是对简单行为的无限重复，马秋莎的作品《溜》和尹秀珍 security guards in decisive, dramatized footage, soften cinematography is offset by the visionary nature of the 的作品《沉默》相较于谢素梅显得更为暧昧而含混。“腿部” the divisions of class identity that have emerged under content. The title You came too early, you came too late rapid urbanization in form. Tse’s video is more absurd, alludes to a dilemma of the world today: any artificial 均在二人的此次作品中占据了画面的主体。无论行走或是等待， transplanting the worksite of an urban street sweeper to construction or damage, attention or ignore, are all against 简单的行为通过循环播放得以无限进行下去。表面的去叙事性 a desert scene, and thus completely separating the act of the truth. The title of the group exhibition, Not Early Not 背后，作者的真实意图被掩藏起来，行为本身的意义被开放给 labor from its purpose. This magnifies the menial nature of Late, is a response to this predicament. It encapsulates the 观看者，而“故事”则通过个体各自拥有的经验背景共同补全。 the labor, forcing the viewer to focus on the plight of the entirety of the awkward straits faced by social individuals individuals of the social groups. and groups, presenting the true state of things in an open manner, and inviting viewers to draw their own conclusions. 这种戏剧片段的编排手法在姚清妹有着明显舞台剧特质的作品 Both approaching the infinite repetition of simple acts, Ma 中变得完整而清晰。通过扮演社会权力系统中的典型角色，姚 Qiusha’s Take a Walk and Yin Xiuzhen’s Silent emerge in a 清妹以其特有的幽默感对系统进行犀利的审视。在《审判》中， more nihilistic fashion. Women’s legs are the main subjects

黎肖娴是一位生活在香港的教育家、艺术家、策展人和 艺术史家，主要领域为实验录像艺术、交互媒体和文化 历史研究，是纽约大学电影系研究博士、香港城市大学 创意媒体学院副教授。她是新媒体艺术活动“文字机器 创作集”的发起人和艺术负责人。黎肖娴的作品主要基 于她实验史学的研究，致力于试验不同类型的录像和装 置艺术。她的作品在香港和世界其他城市广泛展出，包 括上海、托伦、巴黎、巴塞罗那、吉隆坡、伦敦、台北、 首尔、纽约和蒙特利尔，并数次在奥伯豪森国际短片电 影节上展出。 Lai Chiu-Han is a Hong Kong-based academic, artist, curator and art historian working at the intersections of experimental video art, interactive media and cultural history. Lai got her PhD in Cinema Studies from New York University, and now she is the Associate Professor at the School of Creative Media at the City University of Hong Kong. She is the founder and artistic director of “Writing Machine Collective.” Lai's artworks are primarily experiments of various forms of video and installation, based on her research on experimental historiography. Her works have been exhibited widely in Hong Kong and worldwide in cities including Shanghai, Torun, Paris, Barcelona, Kuala Lumpur, London, Taipei, Soeul, New York City and Montreal, and several times in International Competition at the International Short Film Festival Oberhausen.

黎肖娴，戏门 , 2005 单频录像 , 26’

Lai Chiu-Han, Door Game, 2005 Single channel video, 26’ Ma Qiusha, born in 1982 in Beijing, received a BA 马秋莎，1982 年生于北京，2005 年毕业于中央美术学 in Digital Media Art from China Central Academy 院数码媒体工作室，2008 年毕业于美国阿尔弗雷德大学 of Fine Arts in 2005 and an MFA in Electronic 电子综合艺术专业，现生活于北京。其创作包括摄影、 Integrated Arts from Alfred University in the US 影像、装置、身体、表演、绘画等多种媒介。在她的作 in 2008. She currently lives and works in Beijing. As one of the most dynamic figures of the 品中，急速发展的经济所造成的中国当代文化的种种错 emerging generation of Chinese contemporary 位感、全球化给中国社会带来的集体性变迁似乎都不再 art, Ma’s work covers a wide range of medium 尖锐直接地体现；她的创作更加私密化，更趋向于个体 including photography, video, installation, body art, 意见的表达。她用充满细节的敏感来呈现一位年轻女性 performing art, painting etc. She usually explores the subtle and complex relationships between people 生活体验的各个截面。她的作品曾在中国美术馆、民生 from a delicate feminine perspective, in order to 现代美术馆、尤伦斯当代艺术中心、德国艺术与媒体中 reflect a collective sense of anxiety and uncertainty 心、休斯顿当代美术馆、俾尔根国际艺术基金会、泰特 in the contemporary Chinese society. Her works 现代美术馆和波特兰当代艺术学院等多所机构中展出。 have been widely shown in China and abroad, such as Tate Modern, the Contemporary Arts Museum in Houston, the Ullens Center for Contemporary Art in Beijing, the OCAT in Shanghai etc. 马秋莎，溜 ，2016 双频录像 , 循环播放

Ma Qiusha, Take a Walk, 2016 2-channel video, Loop 陈滢如，生于 1977 年，毕业于旧金山艺术学院行为与录像艺 术研究所，目前居住、工作于台湾。陈滢如的主要创作媒介为 录像，其作品亦包含复合媒材、绘画、摄影、版画、行为艺术 等。她的创作着眼于社会中的权力结构，如民族主义、种族歧 视、集体（无）意识等议题。近年来她逐渐把创作观念与太空 科学及神秘学结合，将宇宙和人类处境作关连想像、思考。陈 滢如曾参加多项国内外重要展览和电影节，包括利物浦双年展 （2016）、柏林影展（2016）、第 20 届悉尼双年展（2016）、 “社会工厂”上海双年展（2014）、台北双年展（2012）、 鹿特丹国际影展（2011）、EMAF—欧洲媒体艺术节（2011） 等。2010-2011 年，陈滢如获选为荷兰皇家艺术学院的驻留 艺术家。

Chen Yin-Ju, born in 1977, studied video and performance art at the San Francisco Art Institute, and currently lives and works in Taipei. Her primary medium is video, but she also works with photography, installation and drawing. In the past few years she has been focusing on the function of power in human society, nationalism, racism, totalitarianism, and collective (un)consciousness. Her recent projects also engage in the relations between cosmos and human behavior. She has participated in many important international exhibitions and film festivals, such as Liverpool Biennial (UK, 2016), Forum Expanded at 66th Berlin Film Festival (DE, 2016), 20th Sydney Biennial (AU, 2016), Action at a Distance–Yin-Ju Chen Solo Exhibition (TW, 2015), Shanghai Biennial (2014), Taipei Biennial(2012), International Film Festival Rotterdam (2011), European Media Art Festival (2011) etc. Chen was a resident artist at the Rijksakademie van beeldende kunsten in Amsterdam, the Netherlands. 陈滢如，財•缝，2008 单频高清录像 , 7’42”

Chen Yin-Ju, Transaction, 2008 Single channel HD video, 7’42”

陈秋林，1975 年出生于湖北省宜昌市，毕业于四川美术学院 版画系，是中国年轻一代的优秀艺术家。她的作品涵盖录像、 摄影、装置和雕塑等多种媒介，把现代生活中不断挑战传统价 值体系所产生的种种矛盾与现状进行归纳、可视化，并将个人 的成长经历与记忆纠结其中，运用独特而敏感的个人艺术语言 与多变的媒介、材料予以表现，关注中国不断推进的政治和经 济改革所带来的社会影响。2006 年陈秋林获得亚洲文化协会 颁发的年度奖助金；2008 年她与其他各领域的 7 位杰出女性 获得摩根大通世界女性论坛首届亚洲大会新星提名；2009 年 她获法国领事馆的奖项提名前往法国当代艺术研究中心的尼斯 艺术学院授课。陈秋林还曾应邀在华美协进社、哥伦比亚大学、 杜克大学纳什尔美术馆、英国曼切斯特大学惠特沃斯美术馆、 英国惠特沃斯美术馆、亚洲妇女基金会等机构演讲交流。 Chen Qiulin, born in 1975 in Hubei Province, graduated from Sichuan Academy of Fine Arts. She is an outstanding artist of China's younger generation. Her works concern the social impact from China's political and economic reforms. Chen constantly summarizes and visualizes the status quo and various conflicts arising from the challenges of modern life to the traditional value system, and puts personal growth experience and memory into her works, which are expressed in sensitive artistic language and changeable medium and materials. Her works cover video, photography, installation and sculpture. In 2006, Asian Cultural Council presented her the annual grant; in 2008, she and seven outstanding women from other different fields were nominated for JP Morgan’s World Women Summit First Asian Conference Rising Talent; in 2009, she was awarded the nomination from the French Consulate to teach at the Nice College of Arts in France. Chen was also invited to give speeches at the China Institute (New York), Columbia University, Nasher Museum of Duke University, Whitworth Gallery of University of Manchester, Asian Women's Fund and other organizations. 陈秋林，城市管理者，2015 单频高清录像 , 9’47”

Chen Qiulin, City Manager, 2015 Single channel HD video, 9’47 谢素梅，1973 年出生于卢森堡，毕业于法国国立巴黎高等艺 术学院，现工作、生活于柏林和卢森堡两地。成长于音乐世家 的谢素梅自小接受了严格的钢琴和大提琴的训练，即使后来在 艺术创作之中找到了真正自由的表现舞台，音乐和声音持续在 她的创作脉络中扮演重要角色。她的作品以各种媒材呈现，举 凡摄影、雕塑、录像、装置等都是常见的形式，共同的特点是 带有强烈的自觉特质，细腻而有力量。谢素梅对感官、音乐、 时间等主题感兴趣，近期也多方探讨记忆、历史等主题，并受 到东方经典文学的启发。2003 年，谢素梅在第 50 届威尼斯双 年展上代表卢森堡拿下国家馆金狮奖。 Tse Su-Mei, born in 1973 in Luxemburg, graduated from école nationale supérieure des Beaux-arts de Paris. Growing up in a family of music, Tse was trained intensively of piano and cello. Although later on she found her expressive outlet through artistic creation, music and sound continuously play an important role in her work. Her oeuvre covers a variety of medium, including photography, sculpture, video and installation, all sharing a sense of self-consciousness, exquisite yet powerful. Tse shows an interest in themes such as sensory, music and time, and is recently exploring issues surrounding memory and history, as well as finding herself inspired by classical oriental literature. In 2003, Tse won the Golden Lion for the Best National Participation for Luxemburg at 50th Venice Biennale. She currently lives and works in Berlin and Luxemburg. 谢素梅，沙漠清扫者，2003 单频录像 , 5’30”

Tse Su-Mei, The Desert Sweeper, 2003 Single channel video, 5’30” 姚清妹，1982 年出生于浙江，2013 年毕业于法国阿尔松国立 高等艺术学院，现工作、生活于巴黎。姚清妹的艺术实践主要 贯穿于行为表演与行为的记录、重现之间，以在公共空间介入 的方式对现实环境进行干预。她的创作以挪用和置换为方式， 以象征性的语言、姿势和符号激发对政治性和社会性问题的批 判和反思。借用剧场表演、教学讲座以及现代舞的形式，姚清 妹将行为表演与戏剧化元素进行融合。姚清妹于 2014 年 4 月 获得了享有较高声誉的第 59 届 Salon de Montrouge 评审团 特别奖，并于 12 月在法国巴黎东京宫举办个展。 Yao Qingmei, born in 1982 in Zhejiang Province, graduated from Villa Arson Nice-Ecole Nationale superieure d’art in 2013. Her practice traverses the boundary between performed action and its mode of display, frequently enacting interventions in public spaces to perturb the parameters of reality and its surroundings. Her art is deeply rooted in a critical reflection into the formulation of political and social questions, often with a particular attention to how symbolic gestures gain or lose traction by using techniques of appropriation and displacement into different contexts. Yao was awarded the Prix special de jury du 59eme Salon de Montrouge. She currently lives and works in Paris. 姚清妹，审判，2013 单频高清录像 ,9’

Yao Qingmei, The Trial, 2013 Single channel HD video, 9’

胡晓媛，1977 年生于哈尔滨，2002 年毕业于中央美术学院， 现居北京。她的作品形式多样，包括装置艺术、录像、绘画、 摄影等。胡晓媛的创作一直以细腻、思辨和隐含的冲突性为特 点。她的作品均体现出她对材料的敏感，而这种敏感源于她对 日常事物的微妙体验，并从关于意义和概念的辨证里抽离出十 分独特的美感。她参加过的重要展览包括：“Inside”（东京宫， 巴黎，法国，2014）、台北双年展（2014）、“ON | OFF： 中国年轻艺术家的观念与实践”（尤伦斯当代艺术中心，北京， 2013）、“迷途—时间、空间、织物”（上海当代艺术博物馆、 法国巴黎市立现代艺术博物馆，2014）、“我这一代：年轻 中国艺术家”（坦帕艺术博物馆、圣彼得斯堡美术馆，佛罗里 达，美国，2014）等。 Hu Xiaoyuan, born in Harbin in 1977, graduated from the China Central Academy of Fine Arts. She currently lives and works in Beijing. Hu explores the essence of objects and daily life experience through an artistic vocabulary centered on natural materials such as hair, old cloth, discarded wood and raw silk. Her minimal yet highly poetic style finds expression in a wide range of medium, including installation, paintings and video. Hu’s works have been widely shown in the international art scene. Important exhibitions she has taken part in include Palais de Tokyo (Paris, 2014), “The Great Acceleration: Taipei Biennial” at Taipei Fine Arts Museum (2014), Power Station of Art (Shanghai, 2014), Ullens Center for Contemporary Art (Beijing, 2013), Tampa Museum of Art, Museum of Fine Arts, St. Petersburg (Florida, U.S., 2014) etc. 胡晓媛，你来的太早，你来的太迟，2016 单频高清录像 , 7’55”

Hu Xiaoyuan, You come too early, you come too late, 2016 Single channel HD video, 7’55” 郝敬班，生于1985 年，2007年毕业于伦敦大学金史密斯学院， 获媒体与传播学学士学位；2010 年毕业于伦敦大学，获电影 学硕士学位，目前工作、生活于北京。回国之后，郝敬班开始 从事影像创作，同时从事评论及策展工作。她常以纪录片的语 言与结构探究普通人在社会运动与历史潮流中的命运。她用过 人的敏感度捕捉了作为时代象征的情境与行为。通过运用田野 调查、场景重建、叙事蒙太奇的手法，郝敬班的作品如同历史 学档案，探索记忆与影像、事件与叙事之间错综复杂的关系。

Hao Jingban, born in 1985, graduated in 2007 from Goldsmiths College with a Bachelor’s Degree in Media and Communication and received her Master’s in Film Studies in 2010 from University of London. She currently lives and works in Beijing. When Hao came back to China, she started working in films as well as writing reviews and curating. Featuring the language and structure of documentary, her works explore human being’s fate in social movements and historical upheavals. Her keen insight enables her to capture the symbolic circumstance and behavior of this era. Her works are similar to historical archives, discussing the intricate relationships between memories and images, events and narratives through field study, reconstruction of scenes and narrative montage. 郝敬班，我不会跳舞，2015 单频高清录像 , 41’30”

HaoJingban, I Can’t Dance, 2015 Single channel HD video, 41’30” 尹秀珍，1963 年生于北京，1989 年毕业于首都师范大学美术 学院油画系，现居住、生活于北京。作为一名中国当代艺术的 女性领军人物，尹秀珍作品的主题包含了记忆、过去和当下， 以及人与其生长在其中的不断变幻的社会之间复杂的关系。通 过将旧物聚集在一个新的语境之下，尹秀珍成功地将过去经历 与当下体验和状态编织在一起。在试图传达全球性变化之下个 体生命状态的过程中，她将“记忆”与“经验”融合起来。尹 秀珍曾于国内外重要艺术机构多次举办个展，并受邀参加世界 范围内的多项大型展事。她的主要个展包括 2013 年于佩斯北 京举办的“无处着陆”，2012 年于荷兰格罗宁根美术馆和德 国杜塞尔多夫美术馆举办的大型巡回个展“尹秀珍”，2010 年于佩斯北京举办的“第二张皮”，同年于纽约现代艺术博物 馆举办的“项目 92：尹秀珍”。尹秀珍曾获联合国教科文颁 发的青年艺术家奖金、当代中国艺术奖等多个重要奖项。 Yin Xiuzhen, born in 1963 in Beijing, is a leading female artist of Chinese contemporary art. She received a BA in Oil Painting from the Fine Arts Department at the Capital Normal University in 1989. In the early 1990s, she began her career of creating installations and photographic works. Inspired by the quickly changing environment of China, her works explore a variety of themes, including memory, the past and the present, as well as the complex relationships between individuals and the constantly shifting society they live in. She embraces the notion of memory and experience in an attempt to convey aspects of individual lives in relation to global transformation. Yin has participated in many international and domestic group and solo exhibitions, and received a range of prestigious awards including the China Contemporary Art Award and the UNESCO/ASCHBERG award in 2000. She currently works and lives in Beijing. 尹秀珍，沉默，2013 单频高清录像 , 1’15”

Yin Xiuzhen, Silent 2013 Single channel HD video, 1’15”