胡昀参加北丘当代美术馆展览“有人弄乱了玫瑰花”

有人弄乱了玫瑰花

Someone Has Been Disarranging These Roses

2023.09.09 - 2023.12.10

策展人 Curators

杨乃天 (Naitian Yang)、刘林 (Lin Liu)

艺术家 Artists

本·里弗斯 (Ben Rivers)、贺子珂 (Zike He)、胡昀 (Hu Yun)、詹姆斯·班宁 (James Benning)、詹姆斯·布莱德尔 (James Bridle)、卡丹巴丽·巴克西和研究小组 (Kadambari Baxi & Research Group)、李珞 (Luo Li)、林科 (Ke Lin)、菲利普·拉姆 (Philippe Rahm)、温凌 (Ling Wen)、徐震 (Zhen Xu)、亚明 (Ming Ya)、杨扬 (Yang Yang)、曾根裕 (Yutaka Sone)、郑波 (Yutaka Sone)、子杰 (June Lee)

北丘当代美术馆

江苏省南京市北京东路1号环亚凯瑟琳广场

Beiqiu Museum of Contemporary Art

Catherine Park, No.1 Beijing East Road, Nanjing

胡昀参加北丘当代美术馆“艺术与地理”项目首展“有人弄乱了玫瑰花” ，本次展览由建筑师杨乃天与策展人刘林联合策划。展览着眼北丘美术馆所在地北极阁的历史与现实，特别是后者在中国气象学发展史中扮演的重要角色，调取出美术馆的空间幽灵“天气”作为展览切入点，邀请来自6个国家近20位/组艺术家与建筑师对这段历史进行访问，并以其各自感性创作与理论研究回应气候危机时代的紧迫现实。展览已于2023年9月8日开幕，将持续至2023年12月10日。

北丘当代美术馆所在的北极阁是南京乃至中国历史与现实的交汇点，它以古代神话/道教传统、节气/农事、现代气象科学/中国现代性进程中的知识分子个体（如北极阁中央气象台创建者，中国气象科学先驱竺可桢）以及民防工程/消费场域等要素交织出复杂、含混、浪漫的古今空间。北丘当代美术馆自身空间则是对这一状态进一步的压缩，拥有自然山体、防空掩体及“白立方”构成的歧异地质。展览试图对这一被挤压的时空瞬间进行描画，借由绘画、装置、影像、声音以及特别委任作品，抽取出知觉层面的风、雨、云等流动性意象，并从知觉到实体，再到数据之风雨云，及至作为文化与政治隐喻的“气象”与“气候”概念。

滑动查看《有人弄乱了玫瑰花（第一部分-民国十一年玫瑰风向图）》，2019，电铸红铜板，29 × 21 cm

 Slide to view Someone Has Been Disarranging These Roses - Part 1 Wind Roses – 1922, 2019, Electroformed copper plate, 29 × 21 cm

“有人弄乱了玫瑰花”，展览现场，北丘当代美术馆，2023

“Someone Has Been Disarranging These Roses”, Installation view, Beiqiu Museum of Contemporary Art, 2023

此次展览展出了胡昀的三件作品《有人弄乱了玫瑰花（民国十一年风向玫瑰图）》、《星》以及《气候病》。其中，作品《有人弄乱了玫瑰花（民国十一年风向玫瑰图）》是艺术家2019年底在四方当代美术馆的委任作品，《有人弄乱了玫瑰花》系列上半部分8件作品中的一件，艺术家用电镀铸铜的方式拓印了《首都计划》（国民党政府在1929年出台的旨在打造“首都”的城市规划方案）中的“民国十一年风向玫瑰图”，即1922年由国立中央大学（现东南大学）测绘的南京风向图。看似具有纪念碑色彩的铜板上依稀可辨曾经的自然/人工的“轨迹”，而由这些轨迹构成的历史与现实，实际上正如风中花瓣般脆弱，在日益不确定的“气候”中随风摇曳。作品标题源自墨西哥作家加西亚·马尔克斯（García Márquez）的同名小说，亦被用作北丘当代美术馆本次展览主标题。

滑动查看《星》，2017-2018，陨石，3D打印，音乐盒，亚克力盒 ，60 × 40 × 12 cm

Slide to view Star, 2017-2018, Meteorite, 3D print, music box, acrylic box, 60 × 40 × 12 cm

“有人弄乱了玫瑰花”，展览现场，北丘当代美术馆，2023

“Someone Has Been Disarranging These Roses”, Installation view, Beiqiu Museum of Contemporary Art, 2023

作品《星》是胡昀在2017年参与的西安OCAT的委任项目，期间深入了解了⻄安卫星测控中⼼和1970年中国发射的第⼀颗⼈造卫星的掌故。最吸引艺术家的是，这颗卫星在当时的唯一任务是在太空中播放《东方红》的旋律，于是创作了这件手摇八音盒装置报以纪念。而这件作品则依托于艺术家的另一件作品，即艺术家根据其祖父收藏1937年版本斯诺著《西行漫记（ Red Star Over China )》制作的等大3D打印版本。这本书令1940年前后还仅是一名16岁少年的祖父深受感染，并在之后作出了改变其一生命运的决定。祖父虽一直向往苏区，但却从未踏足陕北，艺术家便以这种方式连接起了祖父的个人史，并在其中放入Chinga陨⽯中截取的⼀小块切边——研究表明这块陨⽯的主体在⾄今约⼀万到两万年前⻜越中国⻄北部最终落在俄罗斯境内；于是，艺术家又将这颗真正飞跃中国的“星”与“东方红”发出的音乐及内亚腹地的往事重新编织，再经由齿轮的转动反复讲述。值得一提的是，“东方红”人造卫星的总设计师、科学家赵九章（1907-1968）曾在气象学家竺可桢的推荐下，自1944年起承担起中央研究院研究所的工作，并在1946年将研究所牵往南京北极阁，使其成为我国现代气象学研究的重要基地之一。

《气候病》，2023，交互动画影像

Meteoropathy, 2023, Interactive animation

新作《气候病》是胡昀同名绘画作品（“气候病”系列，2023）的实时数据动画版本，亦是北丘当代美术馆的展览委任作品，由胡昀与新媒体艺术家侯江南合作完成。作品根据南京的实时天气数据显示相应云图，在展厅也宛若瞬息万变的内部气候一般发生变化；在画面上方飘荡的各类云朵图像由艺术家从一组清宫铜版画中提取——它们来自清内府宫廷满族画家伊兰泰奉乾隆帝旨绘制，并由中国工匠雕刻的《西洋楼透视图铜版画》。艺术家将画面中由郎世宁、蒋友仁和王致诚等人设计的圆明园西洋楼建筑刨去，恰如早已倾颓的圆明园乃至历史空间本身，而转瞬即逝的云朵却穿越时间依旧在天空飞行。

*《有人弄乱了玫瑰花（第一部分-民国十一年玫瑰风向图）》由四方当代美术馆委任创作

*《星》由西安华侨城当代艺术中心委任制作

*《气候病》，北丘当代美术馆委任作品，由艺术家胡昀与新媒体艺术家侯江南合作完成

*现场图及文字由北丘当代美术馆惠允

Hu Yun participated in the inaugural exhibition of the “Art and Geography Series” of the Beiqiu Museum of Contemporary Art, “Someone Has Been Disarranging These Roses”, co-curated by architect Naitian Yang and curator Lin Liu. The exhibition delves into the historical and present context of BMCA’s site – Beijige Mountain, and investigates the pivotal role it has played in the evolution of meteorological science in China. Departing from the spectral atmosphere of the museum's locus, the exhibition brings together about 20 artists, architects, and researchers from six countries to create a constellation of artworks engaging with this historical lineage and offering different perspectives towards the omnipresent reality of climate crisis. The exhibition opened on 8 September and will last until 10 December 2023. 

Beijige serves as a point of convergence for the history and reality of Nanjing and China. It weaves together various elements, including ancient myths / Daoist traditions, solar terms / agricultural activities, modern meteorological science / intellectual individuals in China's modernization process (such as Zhu Kezhen, the founder of the Central Meteorological Observatory in Beijige), as well as civil defense projects / consumer spaces, collectively producing a complex, ambiguous, and romantic environment. The museum's existing spaces further consolidate this essence, blending together mountain terrain, air raid shelters, and the "white cube" gallery environment. The exhibition seeks to portray this compressed moment through image and sound, and to extract the dynamic imagery of wind, rain, cloud, etc. It evolves from the perception of such phenomenon to the intangible existence of data clouds, and ultimately to the cultural and political weather and climate at large.

“有人弄乱了玫瑰花”，展览现场，北丘当代美术馆，2023

“Someone Has Been Disarranging These Roses”, Installation view, Beiqiu Museum of Contemporary Art, 2023

This exhibition exhibited three works by Hu Yun Someone Has Been Disarranging These Roses - Part 1 Wind Roses – 1922, Star, and Meteoropathy. The Someone Has Been Disarranging These Roses - Part 1 Wind Roses – 1922 is part of the initial series titled Someone Has Been Disarranging These Roses, consisting of eight works commissioned by Hu Yun for the Sifang Contemporary Art Museum in late 2019. For this series, Hu Yun utilized electroplated cast bronze to meticulously recreate a section from the Capital Plan, an urban development initiative introduced by the Kuomintang government in 1929 to establish a new "capital city." The piece specifically references "The wind rose map of Nanjing in the 11th year of the Republic of China," originally charted by the National Central University (now Southeast University) in 1922. On this seemingly imposing copper plate, the natural and artificial "pathways" of the past can be faintly discerned. However, the history and reality woven through these pathways are as delicate as petals caught in the wind, swaying within the increasingly uncertain "climate." artwork's title is drawn from the novel of the same name by Mexican writer García Márquez and serves as the primary title for the exhibition hosted at Beiqiu Museum Contemporary Art.

“有人弄乱了玫瑰花”，展览现场，北丘当代美术馆，2023

“Someone Has Been Disarranging These Roses”, Installation view, Beiqiu Museum of Contemporary Art, 2023

The work Star is a project commissioned by OCAT Xi'an in 2017. Hu Yun delved into the history of the China Satellite Control and Monitoring Center (CSCMC) and China's inaugural man-made satellite launch in 1970. What intrigued the artist most was the satellite's sole mission at the time: to broadcast the melody of Dongfanghong into space. To commemorate this event, Hu Yun created an installation featuring a hand-cranked octave box. The concept for this artwork stemmed from another piece by the artist—a larger-than-life 3D print of Edgar Snow's 1937 book, Red Star Over China, borrowed from his grandfather's collection. This book held such sway over his grandfather, a 16-year-old at the time, that it influenced the course of his life. Hu Yun skillfully intertwined his personal history, his family's connection to northern Shanxi Province, and a small section of the Chinga meteorite, which research has shown crossed over northern China and ended up in Russia thousands of years ago. The artist incorporated this meteorite fragment, which had traversed Chinese skies to reach Russia, into the book. Now in its third year of existence, this artwork beautifully weaves together this celestial fragment's journey, the Dongfanghong music, and the history of the Inner Asian hinterland, recounting it all through the mechanical motion of the installation's gears. It is worth mentioning that Zhao Jiuzhang (1907-1968), the chief designer of the Dongfanghong artificial satellite and a scientist, assumed the work of the Research Institute of the Central Academy of Sciences from 1944 on the recommendation of the meteorologist Zhu Kezhen and moved the Research Institute to Beiji Ge in Nanjing in 1946, which became one of the important bases of modern meteorological research in China.

“有人弄乱了玫瑰花”，展览现场，北丘当代美术馆，2023

“Someone Has Been Disarranging These Roses”, Installation view, Beiqiu Museum of Contemporary Art, 2023

The new work is a real-time data animation version of Hu Yun's painting titled Meteoropathy,  part of the 2023 series of the same name. It was commissioned for the Beiqiu Contemporary Art Museum and created in collaboration between Hu Yun and new media artist Jiangnan Hou. The piece utilizes real-time weather data from Nanjing, which changes within the gallery like a rapidly shifting internal climate. The various cloud images hovering above the screen were extracted by the artist from a set of Qing dynasty copperplate prints, originally created by the Manchu painter Elantai on behalf of the Qianlong emperor and later engraved by Chinese craftsmen. These prints depict The Western Building Perspective Copperplate. In this work, the artist has removed the buildings of the Western Building of the Summer Palace, designed by Lang Shining, Jiang Youren, and Wang Zhicheng. It creates the impression that the Summer Palace, and even the historical space itself, has long since crumbled, while the fleeting clouds continue to traverse the sky through time. 

胡昀，1986 年出生于上海，2008年毕业于中国美术学院。现生活工作于上海和贝尔格莱德。

胡昀的作品包括绘画、水彩、行为、录像和装置。通过调动来自不同人和历史的经验，胡昀将各种以往生产过的材料重新纳入自己的日常工作中，因此，无法孤立地去看待他的每一件作品，每一个项目都享有共同的话题，都是有所预设、彼此关联的。

胡昀参加了第十届亚太当代艺术三年展（2021），第六届新加坡双年展（2019），第十一届光州双年展（2016），第四届广州三年展（2012）以及第七届深圳雕塑双年展（2012）；他的作品也曾在广州美术学院大学城美术馆，昊美术馆，上海当代艺术博物馆，巴黎蓬皮杜艺术中心，广东时代美术馆及余德耀美术馆等机构展出。他的个展包括“失语所”，AIKE，上海，中国，2023；“微缩景观”，新加坡国立大学博物馆，新加坡，2019；“我们从未离开过”，西安OCAT，西安，中国，2017；“叙事病”，AIKE，上海，中国，2016；“轻拿轻放”，AIKE，上海，中国，2013；“我们的祖先”，歌德开放空间，上海，中国，2012；“自然的图像”，英国自然历史博物馆，伦敦，英国，2010。

Born in 1986 in Shanghai. He graduated from China Academy of Art in 2008 and currently lives and works in Shanghai and Belgrade.

Hu Yun’s works range from graphite and watercolors to performance, video, and installation. Interested in how an individual positions him or herself within the course of history, he constructs the links that probe the inseparable coexistence of past and present, individual and public. He is adept at mobilizing various personal and historical experiences, incorporating previously produced materials into his artworks; as a consequence, it is impossible to consider any of Hu’s works in isolation since they all share a common theme, an element of foreshadowing, and they are all conceptually interconnected.

Hu Yun has participated in the 6th Singapore Biennale (2019), the 11th Gwangju Biennale (2016), the 4th Guangzhou Triennial (2012) and the 7th Shenzhen Sculpture Biennale (2012). His works have also been exhibited at Art Museum of Guangzhou Academy of Fine Arts; How Art Museum; Power Station of Art, Shanghai; Centre Pompidou, Paris; Times Museum, Guangdong and Yuz Museum, Shanghai. His selected solo exhibitions include “distantia”, AIKE, Shanghai, China, 2023; “Another Diorama”, NUS Museum, Singapore, 2019; “We’ve been here before”, OCAT, Xi’an, China, 2017; “Narration sickness”, AIKE, Shanghai, China, 2016; “Lift with Care”, AIKE, Shanghai, China, 2013; “Our Ancestors”, Goethe Institut, Shanghai, China, 2012; “Image of Nature”, Natural History Museum, London, UK, 2010.