阚萱，1972年生于中国安徽宣城。Kan Xuan was born in 1972 in Xuancheng, Anhui Province, China. 阚萱出生于文化大革命末期，即20世纪70年代初。她最初将中国古典水墨画的经典实践与实验视频相结合，并由耿建义（1962，中国）和张培利（1957，中国）等处于中国概念主义前沿的艺术家相伴。他们在杭州的早期努力为视频艺术和概念主义铺平了道路，这催生了过去二十年中许多最有趣的艺术实践。从表演到摄影和录像，她早期的作品专注于日常生活，以冥想的方式记录。阚萱的非凡能力一直是沟通和表达真实存在的能力，“此时此地”，解决没有时间的问题，展示存在的物质性和主观性。她的作品非常人性化，它描绘了一种直接的存在感，这是一种感官和本能的体验，在这种体验中，美学被解释为视觉、触觉和声音的结合。她对身体与物体和现象的关系游戏吸引了观察者，他们被体验中的小乐趣所吸引，这些小乐趣往往以强烈的讽刺感汇聚在一起。 Kan Xuan was born towards the end of the Cultural Revolution, in the early 1970s. Her initial training combines the classical practice of classical Chinese ink painting with experimental video, accompanied by artists at the forefront of Chinese conceptualism such as Geng Jianyi (1962, China) and Zhang Peili (1957, China). Their early efforts in Hangzhou paved the way for video art and conceptualism, which gave rise to many of the most interesting artistic practices of the last twenty years. Ranging from performance to photography and video her early works focus on everyday life, recording in a meditative conscious way. Kan Xuan’s extraordinary ability has always been that of communicating and articulating the real presence, “the here and now”, addressing issues that have no time and that demonstrate the materiality of existence and subjectivity. Her work is marvellously human, it portrays an immediate sense of being as a sensual and visceral experience in which aesthetics is interpreted in a combination of sight, touch and sound. Her relational play of the body with objects and phenomena fascinates the observer attracted by the small pleasures of the experience that often converge in a strong sense of irony.
