Big Workout
AMNUA International Project III
9/19 -10/17, 2018
Art Museum of Nanjing University of the Arts, Nanjing, China
Exhibition
The New Masses
9/19 -10/17, 2018
Art Museum of Nanjing University of the Arts, Nanjing, China
Ale Rolandi Annabel McCourt Another Land Cai Yuan Carl Akeley Chen Jie Chu Jini Claude Closky Daniel Ross David Barison Evening School Frederic Wiseman Gao Bo Gao Yuan Guo Jinhon Han Xu He Yunchang Heman Chong Hetain Patel Hu Renyi Huang Jingyuan Jin Yangping Kalaija Quinn Mallery Ken Kagami Li Binyuan Li Yifan Lin Aojie Liu Xinyi Lu Yang Ma Lijiao Michal Martychowiec Moon Ribas Musquiqui Chihying Nanjing Outsider Art Studio Neil Harbisson Peng Tao Qin Tian Richard Kuan Robert Yerkes Safe Mode Company Social Sensibility R&D Department Stefan Janoski Tan Yingjie Tang Yan Twitter Live Drama October Wang Haibiao Wang Jiyu Wanja Kimani Xing Xin Xu Bacheng Yao Qingmei Ye Funa Yu Bogong Zeng Hong Zheng Ningyuan Zhong Jinpei
Curator:
Yamin Wang Qu Jun
THIS IS NOW
Film and Video After Punk
9/27 -10/15, 2018
Art Museum of Nanjing University of the Arts, Nanjing, China
Adam Ant Cerith Wyn Evans Grayson Perry Isaac Julien Jennifer Binnie John Maybury John Scarlett-Davis John Smith Mike Mansfield Steve Barron The Neo-Naturists Vanda Carter
Organizer:
British Council LUX Art Museum of Nanjing University of the Arts Film School of NUA, Cinematheque
Zombies Controlled by Thumbs, Madmen Governed by Data
9/19-10/17, 2018
Art Museum of Nanjing University of the Arts, Nanjing, China
Chen Paian Cui Shaohan Lin Cong Ni Miao Nimue Played by Mobilephone Song Xi Tong Yao Wang Yini Wenjie Junjie Ye Hui Zhang Yongji Zhao Bang
Curator ：Yang Xinja
Special Project
The Big Screen
Cinema and Movement '68 in Italy
9/27 - 10/13 - 2018 -
Art Museum of Nanjing University of the Arts, Nanjing, China
Bologna,Italy
Alberto Grifi Comitato di lotta dellaRhodiatoce di Pallanza Cinegiornali Liberi 自由新闻 Carmelo Bene Gianfranco Baruchello Luca Maria Patella Lo Studio di Monte Olimpino Mario Schifano Marco Bellocchio Rosa Foschi Romano Scavolini Silvano Agosti Tonino De Bernardi Tanio Boccia Ugo Gregoretti
Project curated by WUXU
AMNUA International Project Team
Project Producer :Li XiaoShan
Project Director & meditaor ：Wang Yamin
Exhibition & special project curators ：
Wang Yamin Yang Xinjia William Fowler WUXU WUXU QuJun LiuTing
Executive Exhibition Director ：Qu Jun
Media Specialist ：Liu Ting
Designer ：GaoYa WangXin Jia Mengnan
Curatorial Assistants ：Jiang Yuhang Fan Jiayun Jia Zhenhai YangTao Zhang Lingling
Thanks to ：GuoYihan JiangHongmin LiMingwei LiTing LiYuxiao LinYaohui LiuShu OuZhihao ShenBin TuAnqi ZhangLimo
Curated by Wang Yamin
Distant Artists, Proximate Masses
In the past, workers operated machines and productionlines, becoming key features of social production. Later, artists found work incultural industries, gradually moving into the spotlight on the stage of socialproduction. Now, “everyone is an investor,” or “everyone is an artist,” and everyone has thrown themselves into the communist digital industry that is contemporary life. This is our larger reality.
In the past, when a painting, a sculpture, an installation, a performance art piece, or even a proposal text was presented in an artist’s studio, a gallery, a museum, the streets, or some alternate exhibition space, artists and their bodies were present. Art could still directly convey a concentration of the artist’s labor. Later, as the assembly line became longer, and the scale of outside contracting and hiring expanded, their methods became more advanced. Artists and their bodily labor were gradually lost—annihilated—when art became a consumer good.
The flesh-and-blood artists and their bodies have disappeared, but increasingly active amateur art lovers, the masses, and their bodies have appeared. Through the support of digital communication technologies with communist sensibilities, amateur art lovers and the masses have taken center-stage; they are tirelessly curious and idly chatting, making contemporary art lonely.
Running on Your Treadmills or Your Mobile Phone?
Not wanting to be left out, when the workout crew punches the clock and gets on the treadmill, a constantly increasing speed is set and they run continuously. Everyone is plugged into a smart phone, constantly touching it to launch WeChat and endlessly staring at the screen with headbowed, tapping at the keyboard to chat. With the amateur artists among the masses taking up this task with lightning speed and live-streaming their bodies, movements, and lives on the internet, they start a new round of never-ending group chats. Do we feel ourselves entering into an ultimate world from which labor has been eliminated, one in which only life and art exist?
There is still social production in a super-industry; it’s simply that the fixed assets are people and their bodies. Elon Musk has further shifted this game of the return to fixed asset investments into people’s brains. The plan to colonize Mars is his latest offshore economic proposal, and his Neuralink brain-machine interface wants to transform people into a new corps of man-machines. The threat that robots pose to humans and the threat of environmental apocalypse will be resolved by the proposals of this new space company, which promises a new free and democratic market for the universe. This is the path to human liberation that Musk has promised.
The only variable might be the “threat” of a new conception of “everyone is an artist.” When we re-proposed the idea of “social sculpture,” we wanted to return to actively shaping our own bodies, especiall your own brains. The term brain sculpture “does not imply what our brains canendure, but what our brains can consciously do.” This is a “big workout” for anew social sculpture. In factory sites of super-digital production, the masses take over control of body and brain machines, once again happily and collectively laboring—is this not the ultimate world that we have always dreamed of, in which everyone is an artist?
Do You Know What the Bodies of the Masses Are Capable of?
“You know what a body is capable of.” Baruch de Spinoza’s self-confidence isn’t enough; we need to know the joint capabilities of bodies,so you should know what the bodies of the masses are capable of. Yes, social production constantly organizes the masses, and we now collectively live on WeChat groups. This “big workout” will be a joint exercise for everyone.
A mass “social sculpture” implies a collective exercise.The artists walk far, but the masses return. The artist’s body has left the site, but the masses are present. It’s not that the artists have gone far; it’s actually that the artists have once again joined the masses. In honor of the gifts best owed by social production, true artists own nothing but their bodies and brains. They join in the mass exercise movement. It’s not that “everyone is an artist.” In fact, artists are everyone and art is a collective mass movement, a big workout.
About AMNUA International Project/Reference：
Big Workout - AMNUA International Project III
Reference：
https://mp.weixin.qq.com/s/pOW_2hCGuLzshb52_IHcMw
https://mp.weixin.qq.com/s/uwWbx5Gqb4GMx6lwzDiDvA
https://mp.weixin.qq.com/s?__biz=MjM5MzQ5NDk1NQ==&mid=2650818095&idx=1&sn=899733770afbd9aa5a70f2bdd4287b47&chksm=bd62c4eb8a154dfd473e2baed8229b32543f762fce2f7696b57519dda83873a4ea3e12ff774a&scene=38#wechat_redirect
https://mp.weixin.qq.com/s/NXH1NMXcrRGczExL_eoQnQ
https://mp.weixin.qq.com/s/nYdWnjGzWY0LBlYUWDmr3w
https://mp.weixin.qq.com/s/oiEXoC5XAZk8dT10lGHbGg
https://mp.weixin.qq.com/s/37IJRxWhDUSSK0G_UvRSuA
SILK ROAD INTERNATIONAL
4 - 31th Mar. 2016
ART MUSEUM OF NANJING UNIVERSITY OF THE ARTS, NANJING, CHINA
AMNUA INTERNATIONAL PROJECT II
Selected artists, projects, groups, collectives, curators, writers and activists
Anabasis Alexandre Ouairy Apartment of Dreams Come True Cheng Jialiang Cabinet of Wonder Douglas Lewis Exhibitionist Fanchang Shit 596 Acres 596 Hu Xiangqian Hua Weihua iRRi ART Ju Anqi Lai Chih-Sheng Li Zhanyang Liu Chengrui & Gao Yuan Lin Ke Li Mu Moe Satt Mira Calix Cai Dongdong Pink Republic Pink Republic Path Project Qilin Stall Shi Jinsong Song Ta Shop of Painting Art Very MK rooftop farm VeryMK Xu Tan Xue Wenwen Xu Lu Xu Liwei Xiao Wucong Yu Ying Yue Luping Yangjiang Group
Producer：Li Xiaoshan
Curator：Wang Yamin
Reference：
https://mp.weixin.qq.com/s/ClZFmitFDVduWGaSuNJgJg
https://mp.weixin.qq.com/s/Cjez9w6DdCe0vlxb3_SWPA
https://mp.weixin.qq.com/s/8uYUf0lf0kAe3xCUcl4ZQQ
https://mp.weixin.qq.com/s/KlQKg1u5R-BlnCbyWfKLKQ
https://mp.weixin.qq.com/s/RaB3nOZo0RULpFTIxmyeuA
Artists&groups
AdadHannah(Canada)/ AndyDenzler (Switzerland)/ DarshanaPrasad(Sirlanka)/ Freeeart collective(UK)/ UptopiaGroup-Deng Dafei+ HeHai(China) / DoubleFLy ArtCenter (China)/ ChengHuasha(China)/ EdPien (Canada)/ GaoBrothers (China)/ IsabelleWenzel (Germany)/ JinFeng(China)/ JudyRoss(German)/ JonathanMognahan (USA)/ KangXueru(China)/ Karinvan Dam(Netherlands) KenLum (Canada)/ LiuDing (China)/LinJingjing(China)/ MathewCarver (Canada)/ MingWong(Singapore)/ PattyChang and David Kelley(USA)/ SarahAnne Johnson(Canada)/ ShenYi Elsie (China)/ TheaJones and Matthew Walker(Canada)/ ThomasBaumann(Austria)/ WimoAmbala Bayang(Indonesia)/ X1DP./ YanXiaojing (Canada/China)/ ZhangKechun(China)/ ZhangZhaohui (China)
AssistantCurator/
LeeQinling(Malaysia)/ Ash Moniz(Canada)/
Curator/
DouglasLewis,Guest Curator(Canada) & Wang Yamin, Host Curator (China)
Supportedby
Consulate Generalof Canada | Consulat général du Canada
ConsulateGeneral of the Kingdom of the Netherlands
The Canada Council for the Arts
Reference：
https://mp.weixin.qq.com/s/Lua_MCPnG6DFmEO0NeeNfQ
InvisibleHandouts（1）丨AMNUA INTERNATIONAL PROJECT II
https://mp.weixin.qq.com/s/MDansyjsRGNGIjkoTJKaxA
Art Museum of Nanjing Universityof the Arts
