/
约翰内斯·博西西奥
Johannes Bosisio
![]()
展览：赛博格会梦见电子羊吗
艺术家：约翰内斯·博西西奥、亚历克斯·克莱顿、纳西姆·勒古尔和萨莉·冯·罗森
展期：2024.4.28 - 2024.5.25
地点：Studio Hanniball，德国柏林
Exhibition: Do Cyborgs Dream of Electric Sheep
Artists: Johannes Bosisio, Alex Calyton, Nassim L'Ghoul, Sally von Rosen
Duration: 2024.4.28 - 2024.5.25
Location: Studio Hanniball, Berlin, Germany
艺术家约翰内斯·博西西奥的作品近日于德国柏林Studio Hanniball的群展「赛博格会梦见电子羊吗」中展出，参展艺术家包括约翰内斯·博西西奥、亚历克斯·克莱顿、纳西姆·勒古尔和萨莉·冯·罗森。随着人工智能成为我们生活的一部分，人类独有的最后堡垒——艺术，似乎受到了威胁。机器人会写未来的诗吗？会画未来的画吗？我们的焦虑似乎充满了来自文字和图像、科幻小说和电影的警告，它们告诫我们没有人类谬误的世界可能具有的破坏性。这次展览中的四位艺术家使用新旧技术提出长期困扰我们的问题，关于我们与神和女神、猴子和机器人的关系。什么是创造？我们是创造者还是被创造者？我们是弗兰肯斯坦还是不同身体部位拼接起来的怪物？有趣的是，科学家成了怪物的同义词，这难道不正说明我们分不清谁是谁吗？Artist Johannes Bosisio's works are presented in the group exhibition 「Do Cyborgs Dream of Electric Sheep」at Studio Hanniball in Berlin, among works from artists Alex Clayton, Nassim L'Ghoul and Sally von Rosen.As Artificial Intelligence becomes a bigger part of our lives, that last bastion of exclusivity in Humanity seems threatened: Art. Will robots write the poems and paint the pictures of the future? Our anxiety seems filled by warnings from words and images, sci-fi novels and movies that have warned us of the devastating possibilities of a world devoid of human fallibility. The four artists in this exhibition use from old to new techniques to ask questions that have occupied us for a long time, in our relationship with gods and goddesses, monkeys and robots. What is creation? Are we creators or creatures? Are we Frankenstein or the monster sewn up with different body parts? It is interesting that the name of the scientist became synonymous with the monster. Does that not tell us that we are unsure which one is which?![]()
![]()
![]()
![]()
约翰内斯·博西西奥2024年群展“赛博格会梦见电子羊吗“展览现场, Studio Hanniball, 柏林ⓒStudio Hanniball
Installation view of "Do Cyborgs Dream of Electric Sheep" at Studio Hanniball, BerlinⓒStudio Hanniball
/ 相关阅读链接 /
BP 新闻 丨 BROWNIE Project 画廊宣布代理艺术家约翰内斯 · 博西西奥
访谈｜约翰内斯 · 博西西奥：辩证人与机器的关系，以对比超越二元论。
展评｜朱迪 · 希尔评约翰内斯 · 博西西奥：我们必须经历分离或者毁灭才能进化。
Artist Talk | 约翰内斯 · 博西西奥: 创造一个人类赛博格，一个不属于任何群体的存在。
BP艺术家动态｜Johannes Bosisio 伦敦个展展评
/
伊夫·舍雷尔
Yves Scherer
![]()
展览：如在天堂
艺术家：伊夫·舍雷尔
展期：2024.5.16 - 2024.6.8
地点：Carl Kostyál，瑞典斯德哥尔摩
Exhibition: As It is In Heaven
Artists: Yves Scherer
Duration: 2024.5.16 - 2024.6.8
Location: Carl Kostyál, Stockholm, Sweden
艺术家伊夫·舍雷尔最新个展「如在天堂」于2024年5月16日至6月8日于瑞典斯德哥尔摩的Carl Kostyál举行，展览展出了艺术家最新创作的系列光栅作品。舍雷尔以看似冷静客观的方式以孩童般的幻想和浪漫戏谑颠覆男性凝视，将公域与私域在展览中融合，引领观众进入一个结构复杂却看似纯真的世界。展览展出的每件作品由二十六层图像叠加组成，艺术家有意放慢观众欣赏作品构图变化的体验。他对马里奥·索兰提的原作进行色彩处理，并将其与他在普罗旺斯和家人散步时， 用iPhone 随手拍下的草地，或在瑞士山区或中央公园散步时拍的照片进行叠加，将现实的界限进行模糊。展览将对名流的迷恋、对英雄的崇拜与自传和虚构记忆融合在一起。Artist Yves Scherer's latest solo exhibition, 「As It Is In Heaven」, was held at Carl Kostyál in Stockholm, Sweden, from May 16 to June 8, 2024. This exhibition showcased the artist's latest series of lenticular works.Yves Scherer, with a seemingly objective approach, subverts the male gaze with childlike fantasy and romantic playfulness, blending the public and private realm, leading viewers into a world that is structurally complex yet appears innocent. Each piece in the exhibition consists of twenty-six layers of images superimposed, with the artist intentionally slowing down the audience's experience of the compositional changes of the artworks. He color-treats the original works of Mario Sorrenti and superimposes them with photos of meadows casually taken with his iPhone while walking with his family in Provence, or during walks in the Swiss mountains or Central Park, blurring the boundaries of reality. The exhibition merges the obsession with celebrities and the worship of heroes with autobiography and fictional memories.
![]()
![]()
伊夫·舍雷尔2024年个展“如在天堂“展览现场,
Carl Kostyál, 斯德哥尔摩ⓒCarl Kostyál
Installation view of "As It Is In Heaven"
at Carl Kostyál, StockholmⓒCarl Kostyál
/ 相关阅读链接 /
BP 艺术家丨伊夫·舍雷尔 Yves Scherer
BP 艺术家新闻｜郭盈光、伊夫·舍雷尔、劳伦·李·麦卡锡
BROWNIE Project 新展开幕现场｜女巫，幼崽和猎梦人｜
/
李子勋
Lee Tzu-hsun
![]()
展览：是一是二：镜象与幻化
艺术家：I Gusti Ayu Kadek Murniasih、Jesper Just、 李子勋、鲁大东、Mai Ta、佩恩恩、 石青、 唐菡、唐永祥、童义欣、王旭、余友涵、张联、周滔、詹蕤
策展人：杨紫
展期：2024.6.16 - 2024.7.31
地点：泰康美术馆，中国北京
Exhibition: Two Sides of One Coin : Refelctions and Transformations
Artists: I Gusti Ayu Kadek Murniasih, Jesper Just, Lee Tzu-hsun, Lu Dadong, Mai Ta, Pei Enen, Shi Qing, Tang Han, Tang Yongxiang, Tong Yixin, Wang Xu, Yu Youhan, Zhang Lian, Zhou Tao, Zhan Rui
Curator: Yang Zi
Duration: 2024.6.16 - 2024.7.31
Location: Taikang Art Museum, Beijing, China
艺术家李子勋参展的群展「是一是二:镜象与幻化」现正在北京泰康艺术中心展出，由策展人杨紫策划，展期至2024年7月31日。展览策展理念源自乾隆皇帝《是一是二图》的形制与哲思，展览呈现了十五位中外艺术家的创作，表现了艺术家对于自我形象与认同的不懈探求，更以中国本土哲学思想拓展我们认知世界的维度。
展览利用了场馆近乎平均分隔的空间，将一些艺术家的系列作品拆散后组合，再将该组合重复地展示于不同展厅，造成似曾相识的错觉。展厅从暗到亮，从亮回暗，亦呼应了镜象所蕴藏的“亦幻亦真”。“镜子”以直接或间接的形式贯穿整个展览，镜象幻化的隐喻，体现在李子勋的作品《爱情殿堂》之中。作品以超现实视觉叙事的手法，刻画两性间某种微妙细腻不确定的心理变化过程与体验，影射了真实存在但人们不定能感知到的实相本质。
Artist Lee Tzu-hsun's work is presented in the group exhibition 「Two Sides of One Coin : Refelctions and Transformations」at the Taikang Art Center in Beijing, curated by curator Yang Zi, on view through July 31, 2024. The curatorial concept of the exhibition is inspired by the forms and philosophy of Emperor Qianlong's "Is It One or Is It Two," featuring works from fifteen Chinese and international artists. It demonstrates the artists' relentless pursuit of self-image and identity, and further expands our cognitive dimensions of the world with Chinese indigenous philosophical thoughts.The exhibition utilizes the nearly evenly divided spaces of the venue, re-organising some artists' series works, repeating combinations in multiple exhibition halls, to create an illusion of déjà vu. The exhibition halls' transition from dark to bright and back to dark, echoing the "illusion and reality" contained in the reflections. "Mirrors" run through the entire exhibition directly and indirectly, and the metaphor of reflected illusion is embodied in Lee Tzu-hsun's work "Hall of Love." The work uses surreal visual narrative techniques to depict the subtle, delicate, and uncertain psychological changes and experiences, reflecting the essence of reality that exists but may not always be perceptible.![]()
![]()
李子勋2024年群展“是一是二：镜象与幻化“展览现场,
泰康美术馆, 北京ⓒ泰康美术馆
Installation view of "Two Sides of One Coin: Refelctions and Transformations"
at Taikang Art Museum, BeijingⓒTaikang Art Museum
/ 相关阅读链接 /
BP 艺术家 | 李子勋 Lee Tzu-Hsun
北京当代·艺术博览会 2023｜BROWNIE Project 展位 A3
北京当代·艺术博览会 2023 | BROWNIE Project 展览现场及论坛预告
/
妮可·卢里耶 & 王行云
Nicole L'Huillier & Wang Xingyun
展览：地心之旅
艺术家：郭凤仪、汪建伟、蒋鹏奕、欧劲、露微萨·林博格、商亮、妮可·卢里耶、英格丽·托文德/勇纳思·梅兰德、陈哲、段一凡、杨熹、夏瀚、王行云
策展人：王凯梅
展期：2024.7.10 - 2024.10.20
地点：上海外滩艺术中心185空间，中国上海
Exhibition: A Journey FROM the Center of the Earth
Artists: Guo Fengyi, Wang Jianwei, Jiang Peiyi, Ou Jin, Lovisa Ringborg, Shang Liang, Nicole L'Huillier, Ingrid Torvund/Jonas Mailand, Chen Zhe, Duan Yifan, Yang Xi, Xia Han, Wang Xingyun
Curator: Wang Kaimei
Duration: 2024.7.10 - 2024.10.20
Location: Shanghai Bund Art Center 185 Space, Shanghai, China
艺术家妮可卢里耶和王行云参与的群展「2024:地心之旅」于7月10日在上海外滩艺术中心185空间正式开幕。展览汇集13位全球艺术家及组合，从非人类中心主义出发，展示艺术家们对人类纪的地球命运与人类走势的视觉想象。展览由独立策展人王凯梅策划，将持续进行到10月20日。
展览灵感源自“科幻小说之父”法国人儒勒·凡尔纳于1864年出版的经典作品《地心之旅》。在书中，凡尔纳带领读者从冰岛火山口出发，进行了一场向地心探险的奇幻旅行。「地心之旅」借鉴了他的奇幻构思，结合了对46亿年地球演化历史的深刻思考，通过当代艺术的形式呈现给观众。此次展览是外滩艺术中心185空间在暑期展览季的重要亮相。徜徉展厅之间，观众能够从地心穿越到地表，从神话走向科技，在宇宙星空和人类意识的深邃海洋航行，共同想象地球的往事和未来。
Artists Nicole L'Huillier's and Wang Xingyun's works are included in the group exhibition 「A Journey FROM the Center of the Earth」openned on 10th of July, 2024, at Shanghai Bund Art Center 185 Space. The exhibition brings together 13 global artists and group whose works examine the condition of the Earth and humans from a non-anthropocentric perspective. The exhibition is curated by independent curator Wang Kaimei and will run until 20th, October.
The exhibition is inspired by the classic work "Journey to the Center of the Earth" published in 1864 by the "Father of Science Fiction," the Frenchman Jules Verne. In the book, Verne takes readers on a fantastical journey to the center of the Earth, starting from the mouth of an Icelandic volcano. 「A Journey FROM the Center of the Earth」draws on his imaginative conception, combines a profound reflection on the 4.6 billion years of Earth's evolutionary history, and presents it to the audience in the form of contemporary art. This exhibition is an important showcase for Shanghai Bund Art Center 185 Space of its summer exhibition program. Wandering through the exhibition, viewers can travel from the center of the Earth to the surface, from myth to technology, sailing through the deep ocean of the universe, stars, and human consciousness, imagining the past and future of the Earth together.
艺术家妮可·卢里耶和王行云参加的群展“地心之旅”展览现场,
上海外滩艺术中心185空间, 2024,上海 ⓒ上海外滩艺术中心
Installation View of "A Journey FROM the Center of the Earth",
Shanghai Bund Art Center 185 Space,2024, Shanghai
ⓒShanghai Bund Art Center
/ 相关阅读链接 /
/
妮可·卢里耶
Nicole L'Huillier
Performance: Sound, vibration, art and AIArtist: Nicole L'Huillier
Location: Sónar + D, Barcelona, Spain来自智利圣地亚哥的跨学科艺术家Nicole L'Huillier 通过声音和振动来探索能动性、身份、集体性和想象力。她的作品富有趣味性，关注DIY主题，作品形式包括装置艺术、声音和振动雕塑、定制的设备、表演、实验性作曲、诗歌和写作。她拥有麻省理工学院媒体艺术与科学博士学位，作品曾在威尼斯双年展、威尼斯建筑双年展、巴登巴登美术馆和艺术博物馆等场所展出。Sónar+D 是展示创意产业创新成果、集合作、实验和探索数字文化最新趋势的平台。展示为新兴艺术家、公司、初创企业或经验丰富的专业人士设计和实施的表演、讲座、工作坊、展览和装置艺术项目，是创新与文化相遇的地方。妮可卢里耶在2024年Sónar+D探讨了她如何以独特的方式将人工智能融合到她的创作中。A transdisciplinary artist and researcher from Santiago, Chile, Nicole L’Huillier explores sound and vibrations as a way to explore agency, identity, collectivity and imagination. Playfulness and DIY are recurring themes in her work, which includes installations, sonic and vibrational sculptures, custom-made listening and sounding devices, performances, experimental compositions, poetry and writing. She holds a Ph.D. in Media Arts & Sciences from MIT, and has been exhibited at venues including the Veniece biennale, the Venice Architecture Biennale, Kunsthalle Baden Baden, and the Museo de Arte. A showcase for the innovations that are shaping the future of the creative industries, Sónar+D is a platform for collaboration, experimentation, and the exploration of the latest trends in digital culture. With a constantly evolving program of performances, talks workshops, exhibitions and installations, designed with and for emerging artists, companies, start ups or seasoned professionals, Sónar+D is where innovation meets culture. For Sónar+D 2024, she’ll deliver a Masterclass that explores how she’s integrating AI in unique ways into her practice.
妮可·卢里耶在2024 Sónar + D,巴塞罗那, 图片致谢艺术家
Nicole L'Huillier at 2024 Sónar + D, Barcelona, image courtesy the artist
/ 相关阅读链接 /
BP艺术家新闻｜妮可·卢里耶将参加第60届威尼斯双年展
/
金赞颂
Chansong Kim
![]()
展览：视线交汇
艺术家：金赞颂、许灿美
策展人：申佳英
展期：2024.6.13 - 2024.7.7
地点：OBJECTHOOD 画廊, 韩国首尔
Artists: Chansong Kim, Chanmi Heo
Duration: 2024.6.13 - 2024.7.7Location: OBJECTHOOLD GALLERY, Seoul, Korea展览「视线交汇」是艺术家金赞颂和许灿美于界限交点上偶然的目光共享。唤醒陌生感目光的金赞颂，以及将目光投向微不足道事物的许灿美，当两位艺术家的目光交汇时，交叉点上存在着未知性。画中的身体对象是谁，画中的风景和场所意味着什么，它们没有定义，只存在于画布上，面对它的观众可以从多重角度展开感受。艺术家金赞颂和许灿美通过分享目光，分享各自的视角和感受。此次展览中艺术家金赞颂的作品受偶然在镜子中看到的陌生风景为灵感而创作，捕捉既有与现有风景的融合变化。没有脸的身体模糊了主体的界限，吸引着他人的目光。艺术家特有的厚重笔触和颜料堆积，以清晰的立体视觉给观众充实的触感。「Dual Gaze」 is a shared discovery of the gazes by artists Chansong Kim and Chanmi Heo at the crossing of boundaries. Chansong Kim, who awakens the gaze of unfamiliarity, and Chanmi Heo, who casts her gaze on the insignificant, when the gazes of these two artists intersect, there exists an element of the unknown at the crossroads. The subjects of the bodies in the paintings, the meanings of the landscapes and the places depicted, are undefined, existing only on the canvas, allowing the viewer to experience them with multiple contexts. Through their gazes, artists Chansong Kim and Chanmi Heo shares their indiviual perspectives and feelings.
In this exhibition, the works of artist Chansong Kim are inspired by the unfamiliar landscapes seen by chance in the mirror, capturing the fusion and transformation with the existing scenery. The body without a face blurs the boundary of the subject, drawing the gaze of others. The artist's unique thick brushstrokes and the accumulation of pigments give the audience a rich tactile sensation with a clear three-dimensional visual effect.
![]()
![]()
![]()
金赞颂2024年双人展“视线交汇“展览现场, OBJECTHOOD 画廊,首尔ⓒOBJECTHOOD GALLERY
Installation view of "Dual Gaze" at OBJECTHOOD GALLERY, Seoul ⓒOBJECTHOOD GALLERY
/
![]()
展览：我话在你的世界
艺术家：金冬天、金赞颂、赵宰
策展人：金贤京
展期：2024.6.20 - 2024.7.21
地点：New Spring Project, 韩国首尔
Exhibition: My Word In Your WorldArtists: Winter Kim, Chansong Kim, Jo JaeDuration: 2024.6.20 - 2024.7.21Location: New Spring Project, Seoul, KoreaNew Spring Project 于2024年6月20日至7月21日举办艺术家金冬天、金赞颂、赵宰的三人展「我话在你的世界」。在数字技术发展导致具象视觉信息过剩的时代，抽象感觉逐渐变得陌生。本次展览旨在从思考过程和理性态度的角度出发，去展示接近最近年轻艺术家的抽象工作。希望观众在与艺术家内在的不同色彩和形态、流动的时间、特别的故事以及叙述这些故事的语言相遇时，能唤醒先前未曾察觉的感情。金赞颂通过人体和风景讲述与陌生存在或新际遇的界限碰撞。金赞颂的作品用厚重的油画颜料来描绘触感，远看时界限清晰，但近距离观察时，界限变得模糊不清。与生活、文化、历史的无形连续一样，旧与新的相遇总是经历着紧张的接纳、排斥和消失等过程，像有机体一样，创造出新的风景。金赞颂的抽象画面类似于我们旅行时体验的异国印象，也类似于我们察觉人类普世风景的思考过程。New Spring Project‘s Trio exhibition titled 「My Word in Your World featuring artists Winter Kim, Chansong Kim and Jo Jae is on view from June 20 to July 21, 2024. In an era where the overabundance of concrete visual information due to the development of digital technology has made abstract sensations increasingly unfamiliar, this exhibition aims to showcase the abstract work of young artists from the perspective of the thought process and rational attitude. It is hoped that the audience will awaken to previously unnoticed emotions when encountering the different colors and forms inherent in the artists, the flow of time, the special stories, and the language that narrates these stories.Chansong Kim narrates the collision of boundaries between the unfamiliar existences and the new encounters through body and landscapes. Her works are depicted with thick oil paints to convey a sense of touch; the boundaries are clear when viewing from a distance, but they become blurred and indistinct upon closer inspection. Like the intangible continuity of life, culture, and history, the encounter between the old and the new always goes through dramatic processes of acceptance, rejection, and disappearance, creating new landscapes like an organism. Chansong Kim's abstract canvases are similar to the exotic impressions we experience while traveling, and also resemble the thought process of perceiving the universal landscapes of humanity.
![]()
![]()
金赞颂2024年三人展“我话在你的世界”展览现场, New Spring Project,首尔 ⓒNew Spring Project
Installation view of "My Word In Your World" at New Spring Project, Seoul ⓒNew Spring Project
/
![]()
艺术家金赞颂于2024年5月末发行其第一本专著《BLURRY, SOLID》，内容分为“诡异间隙”和“疑心花园“系列，收录了艺术家169件作品和笔记。
“去年冬天，在考虑给书起名字时，我心中有几个备选标题，其中 "Blurry Mass"（模糊的团块）这个名字最符合我的心意，我认为这是能够概括我至今所有工作的一个词。出版社编辑建议使用 "Solid"（坚固的）这个词，说它既能与 "Blurry" 形成对比，又具有多重含义，于是书名就定为 "BLURRY, SOLID"。坚固的 "Solid" 遇到 "Blurry" 变得模糊、灵活、柔和，这种感觉很好，看起来坚实但又带有动摇的余韵。这与我创作时身体的姿态、粗糙而凝聚的笔触也有联系。“Artist Kim Chansung released her first monograph,"BLURRY, SOLID," at the end of May 2024.The book contains 169 paintings and notes divided into two chapters, Garden of Mistrust & Uncanny Gap.Last winter, I was contemplating a title for the book. I had a few titles in mind, but I thought "Blurry Mass," which means a vague lump, resonated with me the most. I believed it was a word that could encapsulate my work up to that point.
Then the publishing director suggested the word "Solid," which could contrast with "Blurry" while also carrying multiple meanings, so the book title became "BLURRY, SOLID".
The robust "Solid" meeting "Blurry" and becoming blurred, flexible, and tender was a pleasant sensation. The word seemed solid yet with a lingering tremor. Moreover, I felt it connected with the gestures of my body and the rough, clumped brushwork when I was working.// 左右滑动查看更多 //
金赞颂, BLURRY, SOLID, 2024 ⓒmakermaker
Chansong Kim, BLURRY, SOLID, 2024 ⓒmakermaker
/ 相关阅读链接 /
BP艺术家丨金赞颂 Chansong Kim
Artist Talk | 金赞颂：感知肉身的边界
BP艺术家动态 | 金赞颂个展展评：肉身本体论
BP艺术家动态｜金赞颂: Border of Skin 韩国米梅西斯艺术博物馆个展现场
BROWNIE Project 画廊即将开幕 | 群展《身外之躯》：陈孟涵、黄含康、金赞颂、麦海士
艺博会｜BROWNIE Projcet 参展 2023西岸艺术与设计博览会丨展位B315
约翰内斯·博西西奥1994年生于意大利卡瓦莱塞，现居伦敦。他的创作实践涵盖绘画和雕塑装置，作品通过描绘与技术无机体相融合的有机体来构建两者之间的变形与混合情境，及其所投射出的对于自由、欲望的最终想象。博西西奥将光滑闪亮的金属镀铬材料表面转变成破裂的、粗粝的、也更有生命原始冲动的形态，以重新思考我们与技术的依存关系，及其对人类生存和个体身份所产生的影响。受到作家唐娜·哈拉维和安迪·克拉克的影响，博西西奥的艺术创作质询人与技术、人与机器间的传统分界，并以将两者相融合的多元形式来创造新的可能。
博西西奥的作品在全球范围内展出，并以其独特的艺术风格和创作观念赢得了赞誉。近期主要个展包括：“无以归尘”, BROWNIE Project 画廊(上海, 2024); “欢迎来到我的忧郁(与金相佑的双人展)”, 斯帕玛奇画廊 (东京, 2023)；“灵魂来自物体来自灵魂来自物体来自灵魂”, ZÉRUÌ Gallery (伦敦, 2022)；“锋利 混合 碰撞”, Doris Ghetta 画廊 (奥蒂塞伊, 2022)；“混合”, Project room Cineast (柏林, 2018)。近期主要群展包括: “赛博格会梦见电子羊吗“, Studio Hanniball （柏林, 2024); “另一面曾是”, Guts Gallery Projects (伦敦, 2023)；“载玻片”, 万一空间 (深圳, 2023)；“我的母亲曾是一台电脑”, Indigo+Madder Gallery (伦敦, 2022)； “群展”, 104 Gallery (东京, 2021)；“租赁第一辑”, Project room Autohaus (卡塞尔, 2021)；“这是一件好事”, Judith Andrae Gallery (波恩, 2021)。近期奖学金和驻留包括：柏林 Artist Inside 奖学金（柏林, 2021）、Spazio Speciale 驻留项目（巴勒莫, 2019）。他曾在柏林白湖艺术学院（2014-2019）和皇家艺术与设计学院学习纯艺绘画（2020-2022）。
Johannes Bosisio (b. 1994) is an Italian-born artist based in London whose practice spans painting and sculptural installation. His work celebrates transformation, freedom, desire, and hybridization by depicting organic bodies fused with technological prostheses. Through his use of once-smooth and shiny chrome surfaces that are now scratched, rough, and alive, Bosisio reconsiders our relationship with technology and its impact on our lives and identities. His approach is informed by the work of authors Donna Haraway and Andy Clark, and his art challenges traditional boundaries and creates new possibilities by merging organic and technological forms.Bosisio has exhibited his work internationally and has garnered critical acclaim for his unique style and perspective. His recent solo exhibitions include It is not made of mud and cannot dream of returning to dust, BROWNIE Project (Shanghai, 2024); (Duo-show w/ Sang Woo Kim) Welcome to my Melancholy, Supermarkt Gallery (Tokyo,2023), Souls from Objects from Souls from Objects From Souls, Zerui Gallery (London, 2022); SHARP HYBRID CRASH, Doris Ghetta Gallery (St. Ulrich, 2022); Hybrids, Project room Cineast (Berlin, 2018). His recent group exhibitions include: Do Cyborgs Dream of Electric Sheep, Studio Hanniball (Berlin, 2024); on the flip side was, Guts Gallery Projects (London,2023); Slides Trio Exhibition, W.ONESPACE (Shenzhen, 2023); Detox Retox, Kali Gallery (Lucerne,2022); MY MOTHER WAS A COMPUTER, Indigo+Madder Gallery (London, 2022); Groupshow, 104 Gallery (Tokyo, 2021); LEASING VOL.1, Project room Autohaus (Kassel, 2021); Und das Ist auch gut so, Judith Andrae Gallery (Bonn, 2021). Recent scholarships and residencies include: Artist Inside scholarship (Berlin, 2021) and Spazio Speciale residency Program (Palermo, 2019). He studied DIPLOMA Fine Art Painting at Weissensee School of Art Berlin (2014-2019) and MA Fine Art Painting at the Royal College of Art and Design (2020-2022).
伊夫·舍雷尔，1987年出生于瑞士，现居纽约。毕业于伦敦皇家艺术学院雕塑专业，他的作品曾在世界范围内的艺术机构广泛展出，舍雷尔曾获2015年瑞士艺术大奖，以及德国文化局董事会和IAAB北京旅行基金会艺术奖金。
舍雷尔的作品始终探索着现实与虚拟世界的边缘。在他看来，生活本身就是一个幻想游戏：人们在公众视野中的言行举止，试图经营的形象与人设，名人与大众之间相互影响与控制的关系...他试图用一种更加身临其境的方式去表达这种人与环境关系的浪漫与互动。他的创作往往来自真实的社会新闻和事件，性别认同、生活体验、好莱坞文化、公众媒体都是他热衷的话题，同时都一点点模糊着虚拟与真实的界限。因此，他常常通过作品中的视觉陷阱来定位和重现生活中的幻象: 通过拼接融合材料与质地、平面与立体空间、自然与数字来呈现他对于生活和虚拟文化的理解与质疑。伊夫·舍雷尔设法避免陷入涉及流行流派广泛含义的琐碎化，将其置于反思和调查的中心，在虚拟与现实之间观察社会关系的紧张感。
舍雷尔的创作媒介丰富多元，包括绘画、摄影、超现实雕塑和装置。他以创作传统摄影与数字成像拼贴而成的二维作品起步，逐渐转向更多简单和未经加工的材料。对于木、草、布、人造皮草等材料的实验性运用使他成为当代贫穷艺术的代表人物之一，以传统雕塑表现虚拟文化的手法亦是舍雷尔的重要标志。
Yves Scherer was born in Switzerland in 1987 and now lives in New York. Graduated from the Royal Academy of Arts in London, majoring in sculpture, his works have been widely exhibited in art institutions around the world. Scherer has won the 2015 Swiss Art Award, as well as the German Cultural Agency Board of Directors and the IAAB Beijing Travel Foundation Art Award.Scherer's works always explore the edges between the real and the virtual worlds. For him, life itself is a fantasy game: the way people behave in public, the images and persona they inted to have, and the reciprocal influences between celebrities and the general public... He tries to express those romantic and interactive relationships in a more immersive way. His creations often come from social news and real events. Gender identities, life experiences, Hollywood culture, and public media are all topics that he is passionate about, as they are gradually blurring the boundaries between the virtual and the real words. Therefore, in his works, he often locates and reproduces the illusions in life through visual traps: splicing and fusing materials and textures, combining two-dimensional and three-dimensional spaces, mixing nature and numbers, to present his understandings and questionings on life and virtual culture.Yves Scherer manages to avoid the trivialization that involves a broad implications on popular genre, instead, he puts it at the center of reflection and investigation, explores the tension of social relationship between the virtual and the real worlds. Scherer employs a diverse media for creation including painting, photography, sculpture and installation. He started creating mostly two-dimensional works such as traditional photography and digital imaging collage, while gradually shifting to use more simple and unprocessed materials. His use of wood, grass, cloth, artificial fur and other experimental materials make him a star of the contemporary arte povera. The way of expressing virtual culture with traditional sculpture is also an important symbol of Scherer's.
李子勋
Lee Tzu-hsun
![]()
李子勋擅长将心灵对世界的虚幻感受，用极度物理现实的操作手法来展现，两者之间的张力构成了其作品独特的魅力。他的创作主要源于个体对内在生命的感知与体验，并以重新虚构的想像来呈现世界所不可见的本质。他的创作过程如同搭建一个近似于推演法则的独立实验系统，在逻辑的极限内争取自由发展的可能性，藉由不断地自我进化，来构筑完善一个非现实的想像世界。他的大型剧场装置，自然地营造出一种梦境时空氛围，以及诗意和理性秩序并存的个人化美学风格;2007 年开始创作“异星”系列则藉由融汇运动、声音、光等不同介质，将高度制作技术带入纯艺术形式，创造了一种介于生命体、无生命体之间的“仿生机械” 与其半抽象独特的机械美学秩序与语言。
他曾多次参加国内外大型展览，其中重要个展:“异星系”(台北市立美术馆，2018);“异星系列”(佩斯北京，2012);“玻璃珠游戏的秘密”(台北诚品画廊，2004)。联展选辑如下:《迷惑的潘朵拉》发表于台中台湾美术馆(2015)、上海当代艺术馆(2008);《迷宫剧场》发表于台北双年展(2002);《爱情殿堂》分别发表于北京今日美术馆(2009)、 法国克雷泰伊艺术之家、莫伯日演艺剧场(2007)、台北当代艺术馆(2001)、德国舒林恩的巴登美术馆(2000)等;《大鱼》发表于北京中国美术馆(1999)、台北历史博物馆(1999)、高雄山美术馆(1999);《机械人II》发表于德国科隆视觉艺术家协会(2006)、美国纽约康奈尔大学 / 赫伯特 F·约翰逊美术馆(2004)、高雄市立美术馆(2002)与德国杜塞尔多夫艺术宫(1997)。他的作品被海内外各大美术馆、基金会、艺术机构、藏家收藏。
Lee Tzu-hsun is adept at presenting the mind's illusory feelings about the world withthe manipulation of utmost physical reality, and the tension between the two formsthe unique appeal of his works. Lee’s work originates from the artist's perceptionand experience of inner life, which he translates into symbolic images that correspondto each other, and through complex mechanical design, he constructs a continuousrunning scenic installation. Lee Tzu-hsun's work uses re-fictional imagery to presentthe invisible nature of the world, and uses a precise and detailed expression to mapthe relationship between people and the world. His large-scale theatre installationsnaturally create a dream-time atmosphere and a personal aesthetic style where poeticand rational order coexist. "The Alien Galaxy" series that Lee began to create in 2007is a 'bionic machine' that lies between living and inanimate objects. In this way, Lee Tzu-hsun mimics life forms, exploring whether there are forms of existence outside thehuman perspective in order to consider a redefinition of the consciousness of life.
Lee Tzu-hsun has participated in many major exhibitions both at home and abroad, amongwhich are important solo exhibitions: "The Alien Galaxy" (Taipei Fine Arts Museum,2018); "The Alien Galaxy" (Pace Beijing, 2012); "Mystery of the Glass Bead Game "(Cheng Pin Gallery, Taipei, 2004). Selected group exhibitions are as follows: "ConfusedPandora" published at the National Taiwan Museum of Fine Arts, Taichung (2015)and the Museum of Contemporary Art, Shanghai (2008); "Maze Theatre" publishedat the Taipei Biennale (2002); "Temple of Love" published at the Today Art Museum,Beijing (2009), Maison de l'Art de Créteil, France, Theatre de l'Acte de Maubeuge(2007), Museum of Contemporary Art, Taipei (2001) and Baden-Museum in Schwerin,Germany (2000), among others. “Big Fish” was published at the National ArtMuseum of China, Beijing (1999), the Museum of History, Taipei (1999), and theKaohsiung Museum of Fine Arts (1999); "Robot II" was published at the Associationof Visual Artists, Cologne, Germany (2006), Cornell University/Herbert F. JohnsonMuseum of Art, New York, USA (2004), the Kaohsiung Museum of Fine Arts (2002),and the Kunstpalast, Düsseldorf, Germany (1997). His works have been collected bymajor art museums, foundations, art institutions and collectors in China and abroad.
李子勋擅长将心灵对世界的虚幻感受，用极度物理现实的操作手法来展现，两者之间的张力构成了其作品独特的魅力。他的创作主要源于个体对内在生命的感知与体验，并以重新虚构的想像来呈现世界所不可见的本质。他的创作过程如同搭建一个近似于推演法则的独立实验系统，在逻辑的极限内争取自由发展的可能性，藉由不断地自我进化，来构筑完善一个非现实的想像世界。他的大型剧场装置，自然地营造出一种梦境时空氛围，以及诗意和理性秩序并存的个人化美学风格;2007 年开始创作“异星”系列则藉由融汇运动、声音、光等不同介质，将高度制作技术带入纯艺术形式，创造了一种介于生命体、无生命体之间的“仿生机械” 与其半抽
妮可·卢里耶（1985年出生于智利圣地亚哥），跨学科艺术家和研究者。妮可的创作围绕研究振动和声音作为空间和身份的建筑材料展开，深入探讨能动性、身份、集体性以及激发对于振动的想象等问题。她的创作形式包括装置、声音/振动雕塑、定制（听觉和/或发声）设备、表演、实验性作曲、膜结构诗和写作。妮可获得了麻省理工学院媒体艺术与科学博士。她的作品近期在Transmediale、Sonic Acts艺术节、巴登巴登美术馆、乌拉尔工业双年展、MAC当代艺术馆（Museo de Arte Contemporáneo）、圣地亚哥媒体艺术双年展、威尼斯建筑双年展和林茨电子艺术节等展出。
Nicole L’Huillier (b. 1985) is a transdisciplinary artist and researcher from Santiago, Chile. Her practice centers on exploring sounds and vibrations as construction materials to delve into questions of agency, identity, collectivity, and the activation of a vibrational imagination. Her work materializes through installations, sonic/vibrational sculptures, custom-made (listening and/or sounding) apparatuses, performances, experimental compositions, membranal poems, and writing. She holds a Ph.D. in Media Arts & Sciences from MIT (2022). Her work has been recently shown at Transmediale, Sonic Acts, Kunsthalle Baden Baden, Ural Industrial Biennial, Museo de Arte Contemporáneo MAC, Bienal de Artes Mediales, Venice Biennale, Venice Architecture Biennale, and Ars Electronica, among others.
![]()
王行云1997年出生于北京，现居纽约。通过纸上绘画，她的抽象作品深入探讨了女性主义、 酷儿文化和跨文化体验，提供了关于个人和心理叙事的深刻探索。王行云的艺术过程涉及将 薄薄的纸张层叠起来，形成脆弱性与韧性之间交错纹理的表面，创造出反映身体与景观之间 微妙互动。
王行云在多个展览中展出了她的作品。她近期的展览包括在中国上海外滩艺术中心185空间举办的“地心之旅”(2024年）；中国上海的 BROWNIE Project 举办的个展“毛刺时间”(2024年); 中国杭州的Zian Gallery举办的 “江湖: 中心的离散”(2024年); 在纽约 Hunter College的 “Thank God Every Day That the Whole House Did Not Burn Down”(2023年);在纽约布鲁克林的Bob’s Gallery的 “I Want Enough Luck”(2023年); 在纽约 205 Hudson Gallery 的“Terrible Terrible”(2023年); 在布鲁克林的Pierogi Gallery的 “Pulp”(2022年); 以及在马萨诸塞州波士顿的 Piano Craft Gallery的 “Forbidden Fruit"”(2021年)。王行云曾在巴德学院学习，并在纽约州立大学帕切斯学院获得了美术学士学位(2021年)。她目前是亨特学院美术硕士候选人(2022-2025 年)。
Xingyun Wang (b. 1997) is a New York-based Chinese artist, specializing in the transformative use of paper as her primary medium. Her abstract works delve into the realms of feminism, queerness, and intercultural experiences, offering a poignant exploration of personal and psychological narratives. Wang's artistic process involves layering thin sheets of paper, creating textured surfaces that reflect the nuanced interplay between body and landscapes; vulnerability and resilience.
Wang has showcased her works in various exhibitions. Her recent exhibitions include "A Journey from the Center of the Earth" at Shanghai Bund Art Center 185 Space (2024); "glitch" at BROWNIE Project, Shanghai, China (2024); "Jianghu: The Discrete Center" at Zian Gallery, Hangzhou, China (2024); " Thank God Every Day That the Whole House Did Not Burn Down" at Hunter College, NY, NY (2023); "I Want Enough Luck" at Bob’s Gallery, Brooklyn, NY (2023); "Terrible Terrible" at 205 Hudson Gallery, NY, NY (2023); "Pulp" at Pierogi Gallery, Brooklyn, NY (2022); and "Forbidden Fruit" at Piano Craft Gallery, Boston, MA (2021). Xingyun Wang studied at Bard College and received her BFA at SUNY Purchase (2021). She is currently an MFA candidate at Hunter College (2022-2025).
![]()
金赞颂 (b.1988，韩国)，拥有韩国首尔国民大学美术学院绘画学士学位。金赞颂感兴趣于“边界“的概念，在她以身体为主题的绘画中，主体与客体、亲密与陌生、驱逐与侵入总是在不断交织， 保持着紧张的关系，在模棱两可的边界上暗藏着悬而未决的时刻。而在这个过程中，边界被慢慢模糊，新的内核又会从中升起，引起新一轮的共生与博弈。她的作品曾受邀展出于全球各大艺术机构，近期重要展览包括个展“Casatopia”，德拉波特别墅，卡萨布兰卡，摩洛哥(2023)；“蓝色时光”，Pipe 画廊，首尔，韩国(2022);“姿势和诗歌”， CL 艺术，首尔，韩国(2022);“城市漫游者”，Artertain，首尔，韩国(2021);群展 “视线交汇”， OBJECTHOOD画廊，首尔，韩国(2024); "我话在你的世界“，New Spring Project，首尔，韩国 (2024); “阔步”，Supermarkt 画廊，东京，日本(2022);“反射:某种湍流”，Lee Eungno 驻地，巴黎， 法国(2018);曾获得奖项“年度青年艺术家”，GAMMA 青年艺术家竞赛，韩国(2020);“绘画奖”，Chang Ucchin 美术馆，扬州，韩国(2016)。她的作品曾被包括首尔市政府，清州美术馆，Chang Ucchin 美术馆等重要艺术机构收藏。
Chansong Kim (b. 1988, Korea) graduated from Kookmin University (Seoul, Korea) with a BFA in Painting. Kim’s practice revolving around the body explores the concept of "boundary". In her paintings, subject and object, intimacy and strangeness, expulsion and invasion are always intertwined, maintaining a tense relationship, like a moment in suspense on these ambiguous borders. In this process, the boundaries are gradually blurring, and a new core will rise from them, bring symbiosis and game again. Her works have been invited to various art organizations, recent selected exhibitions included solo exhibitions "Casatopia", Villa Delaporte, Casablanca, Morocco (2023); ''The Blue Hour'', Pipe Gallery, Seoul, Korea(2022); ''Gestures and Poem'', CL Art, Seoul, Korea(2022); ''Flaneur'', Artertain, Seoul, Korea(2021); Group exhibitions "Dual Gaze", OBJECTHOOD GALLERY, Seoul, Korea (2024); "My Word In Your World", New Spring Project, Seoul, Korea (2024); ''Stride'', Galerie Supermarkt, Tokyo, Japan(2022); ''Reflet : une certaine turbulence'', Paris Lee Eungno Residence, France(2018); Won awards ''2020 Young Artist of the Year'', GAMMA Young Artist Competition, Korea; ''Drawing Award'', Chang Ucchin Museum of Art, Yangju, Korea(2016) etc. Her works have been collected by Seoul City, Cheongju Museum of Art, Chang Ucchin Museum of art and other important art institutions.
