6th SHANGHAI BIENNALE 2006
05 Sep - 05 Nov 2006
6th SHANGHAI BIENNALE
Hyper Design
05 Sept - 05 Nov 2006
Curators:
Zhang Qing (China), Huang Du (China), Gianfranco Maraniello (Italy), Shu-Min Lin (USA), Wonil Rhee (Korea), Jonathan Watkins (U.K.) , Xiao Xiaolan (China)
Artists:
Design and Imagination
Alessandra Tesi (Italy)
Armando Andrade (Peru)
Cody Choi (Korea)
Chan Yau Kin (Hong Kong)
Ding Yi (China)
Gerda Steiner (Switzerland)
Haruki Nishijima (Japan)
Huang Kui (China)
Joachim Sauter (Germany)
Julian Opie (UK)
Kristian Ryokan (UK)
Lee Yong Deok (Korea)
Danniel Lee (USA)
Liang Shaoji (China)
Masanori Sukenari (Japan)
Maurizio Mochetti (Italy)
Ma Yansong (China)
Michael Craig-Martin (UK)
Osman Khan (Pakistan/USA)
Pae White (USA)
Patrick Tuttofuoco (Italy)
Paul DeMarinis (USA)
Peter Callesen (Denmark)
Ron Terada (Canada)
Sylvie Fleury (UK)
Shen Ye (China)
Shen Fan (China)
Tetsuya Nakamura (Japan)
Tomma Abts (Germany)
Thomas Demand (Germany)
Wang Luyan (China)
Wu Chi-Tsung (Taiwan China)
Wang Yahui (Taiwan China)
Xia Xiaowan (China)
Practice of Everyday Life
Anonymous (China)
Annika Larsson (Sweden)
Beatriz Milhazes (Brazil)
Chen Wenbo (China)
Caro Niederer (Switzerland)
Ceal Floyer (UK)
Chen Wenling (China)
Cibic & Partners (Italy)
Francesco Vezzoli (Italy)
Gao Shiqiang (China)
Gong Yan (China)
Hans Op de Beeck (Belgium)
Joe Scanlan (USA)
Jimmy (Taiwan China)
John Armleder (Switzerland)
Jorge Pardo (Cuba)
Lev Manovich (USA)
Liu Jianhua (China)
Luc Deleu (Belgium)
Marnix de Nijs (Holland)
Massimo Bartolini (Italy)
Naoto Fukasawa (Japan)
OH Yong-Seok (Korea)
Plamen Dejanoff (Bulgaria)
Wang Xingwei (China)
Mindicraft Group (China)
Nara Yashitomo (Japan)
Yan Jun (China)
Zhan Wang (China)
Zhong Biao (China)
Zhou Wu (China)
Future Constructions of History
Atelier van Lieshout (Holland)
Cathrine Yass (UK)
Charles Sandison (UK/Finland)
Guan Huaibin (China)
Ilkka Halso (Finland)
Ji Wenyu (China)
Rolf A. Kluenter (Germany)
Loris Cecchini (Italy)
Lee Kyung-Ho (Korea)
Li Hui (China)
Lim Joo Hong (Singapore)
Li Lihong (China)
Lu Lei (China)
Mathilde ter Heijne (Germany)
Matthew Barney (USA)
Mika Tannila (Finland)
Paul Ramire Jonas (USA)
Qiu Anxiong (China)
Shilpa Gupta (India)
Shi Jinsong (China)
Tallur L.N. (India)
Wei-Cheng Tu (Taiwan China)
Choe U-Ram (Korea)
Wang Guofeng (China)
Wang Yin (China)
Yang Qian (China)
Yang Xu (China)
Qin Yufen&Zhu Jinshi (China)
Xu Yongfu (China)
Theme: Hyper Design
Today, we live in an era that design dominates in our society, life and art. Design is often related with functional practice. Under the theme of design, it aims to liberate the simple opposing relationship between art and function. Through the re-pondering of art and design, design and industry, life and production, it tries to resume the liaison between art and ordinary life practice to initiate its vitality and energy.
Design, as the closest approach of creation in our ordinary daily life, leads us towards the pondering of aesthetics of life, technology and society. Design is continuously surpassing itself. ¡°Hyper Design¡± is not a result originated from this era, but also actively drives our era. It reflects a common aesthetic target in our era. The artists hope to explore that ¡°design as materials¡± to create the conceptual art pieces. Here, design is not only treated as a technology mode, but also as a functional object. Most important of all, it links the intention of aesthetics that includes artistic value and social idealism. Design not only creates a product, but also points towards a series of life-styles, social idealism and history as well. Thus, design moves towards ¡°Hyper Design.
Based on the experience in operating the past Biennales, the 2006 Shanghai Biennial will continue its local experience to face the global situation and cultural attitudes. It insists on constructing different cultural imaginations. Under the theme of ¡°Hyper Design¡±, as a very fresh element in visual culture and consummation industry, the Biennial explores the complicated, overlapping social liaison and cultural meanings hidden behind the phenomenon of ¡°Design¡±. It reveals and ponders the meaning of design in three layers, ranging from aesthetic, life-style to social history in order to broaden a humanistic vision and promotes the creative culture.
Framework:
Hyper Design is divided into three sections: design and imagination, ordinary life practice, future and history.
1.Design and Imagination: Design is usually considered as functional and practical. But sometimes function is often considered to confine imagination. But, the imagination in design is developed through its function. The confining in imagination and conditional freedom are quite important to the reconstruction of the commonness and meanings in contemporary art. This section will display to the public how the contemporary artists use their fresh angles to reconstruct design objects for re-design.
2.Ordinary life practice: People are accustomed to separate art with ordinary life practice and treat art as something particular outside their life. But in fact, ordinary life not only provides a solid base for artistic imagination, but also the stage and battlefield for contemporary art. The design of life is artistic ordinary life practice. It echoes with the intention of design itself and inherits the origin of art. This section initiates the linking between art and ordinary life objects. It builds up an aesthetic idealism of social life through the daily practice by the artists.
3.Future and History: Future is filled with all kinds of possibilities. But the possibility of future is, in fact, the mirror of history and society. It not only reflects today's reality, but also a construction of the history of tomorrow. This section combines the experimental concepts in contemporary art with the historic Utopian imagination through the review and re-ponder of the future history in a future vision.
Spotlights:
A theme that filled with the traits of our era, popularity and culture. It promotes the urban civilization and fixed the theme of ¡°Hyper Design¡±.
The most young and pioneering international curatorial team. The Biennial invites six famous curators both home and abroad to form the curatorial team, including Zhang Qing, Huang Du, Shu-Min Lin, Wonil Rhee, Gianfranco Maraniello, Jonathan Watkins, Xiao Xiaolan (assistant curator). Zhang Qing (artistic director).
Further extending to the city as the exhibition mode. From 5, September to 5, November 2006, the Biennial will be held at the Shanghai Art Museum. During the same period, the Biennale will coordinate with other institutions to develop a series of satellite venues. Under the Biennial theme, a series of events in regard with the Biennale will be conducted to strengthen the Biennale's social influence. It will become a visual and creative feast in building up the city's image.
Hyper Design
05 Sept - 05 Nov 2006
Curators:
Zhang Qing (China), Huang Du (China), Gianfranco Maraniello (Italy), Shu-Min Lin (USA), Wonil Rhee (Korea), Jonathan Watkins (U.K.) , Xiao Xiaolan (China)
Artists:
Design and Imagination
Alessandra Tesi (Italy)
Armando Andrade (Peru)
Cody Choi (Korea)
Chan Yau Kin (Hong Kong)
Ding Yi (China)
Gerda Steiner (Switzerland)
Haruki Nishijima (Japan)
Huang Kui (China)
Joachim Sauter (Germany)
Julian Opie (UK)
Kristian Ryokan (UK)
Lee Yong Deok (Korea)
Danniel Lee (USA)
Liang Shaoji (China)
Masanori Sukenari (Japan)
Maurizio Mochetti (Italy)
Ma Yansong (China)
Michael Craig-Martin (UK)
Osman Khan (Pakistan/USA)
Pae White (USA)
Patrick Tuttofuoco (Italy)
Paul DeMarinis (USA)
Peter Callesen (Denmark)
Ron Terada (Canada)
Sylvie Fleury (UK)
Shen Ye (China)
Shen Fan (China)
Tetsuya Nakamura (Japan)
Tomma Abts (Germany)
Thomas Demand (Germany)
Wang Luyan (China)
Wu Chi-Tsung (Taiwan China)
Wang Yahui (Taiwan China)
Xia Xiaowan (China)
Practice of Everyday Life
Anonymous (China)
Annika Larsson (Sweden)
Beatriz Milhazes (Brazil)
Chen Wenbo (China)
Caro Niederer (Switzerland)
Ceal Floyer (UK)
Chen Wenling (China)
Cibic & Partners (Italy)
Francesco Vezzoli (Italy)
Gao Shiqiang (China)
Gong Yan (China)
Hans Op de Beeck (Belgium)
Joe Scanlan (USA)
Jimmy (Taiwan China)
John Armleder (Switzerland)
Jorge Pardo (Cuba)
Lev Manovich (USA)
Liu Jianhua (China)
Luc Deleu (Belgium)
Marnix de Nijs (Holland)
Massimo Bartolini (Italy)
Naoto Fukasawa (Japan)
OH Yong-Seok (Korea)
Plamen Dejanoff (Bulgaria)
Wang Xingwei (China)
Mindicraft Group (China)
Nara Yashitomo (Japan)
Yan Jun (China)
Zhan Wang (China)
Zhong Biao (China)
Zhou Wu (China)
Future Constructions of History
Atelier van Lieshout (Holland)
Cathrine Yass (UK)
Charles Sandison (UK/Finland)
Guan Huaibin (China)
Ilkka Halso (Finland)
Ji Wenyu (China)
Rolf A. Kluenter (Germany)
Loris Cecchini (Italy)
Lee Kyung-Ho (Korea)
Li Hui (China)
Lim Joo Hong (Singapore)
Li Lihong (China)
Lu Lei (China)
Mathilde ter Heijne (Germany)
Matthew Barney (USA)
Mika Tannila (Finland)
Paul Ramire Jonas (USA)
Qiu Anxiong (China)
Shilpa Gupta (India)
Shi Jinsong (China)
Tallur L.N. (India)
Wei-Cheng Tu (Taiwan China)
Choe U-Ram (Korea)
Wang Guofeng (China)
Wang Yin (China)
Yang Qian (China)
Yang Xu (China)
Qin Yufen&Zhu Jinshi (China)
Xu Yongfu (China)
Theme: Hyper Design
Today, we live in an era that design dominates in our society, life and art. Design is often related with functional practice. Under the theme of design, it aims to liberate the simple opposing relationship between art and function. Through the re-pondering of art and design, design and industry, life and production, it tries to resume the liaison between art and ordinary life practice to initiate its vitality and energy.
Design, as the closest approach of creation in our ordinary daily life, leads us towards the pondering of aesthetics of life, technology and society. Design is continuously surpassing itself. ¡°Hyper Design¡± is not a result originated from this era, but also actively drives our era. It reflects a common aesthetic target in our era. The artists hope to explore that ¡°design as materials¡± to create the conceptual art pieces. Here, design is not only treated as a technology mode, but also as a functional object. Most important of all, it links the intention of aesthetics that includes artistic value and social idealism. Design not only creates a product, but also points towards a series of life-styles, social idealism and history as well. Thus, design moves towards ¡°Hyper Design.
Based on the experience in operating the past Biennales, the 2006 Shanghai Biennial will continue its local experience to face the global situation and cultural attitudes. It insists on constructing different cultural imaginations. Under the theme of ¡°Hyper Design¡±, as a very fresh element in visual culture and consummation industry, the Biennial explores the complicated, overlapping social liaison and cultural meanings hidden behind the phenomenon of ¡°Design¡±. It reveals and ponders the meaning of design in three layers, ranging from aesthetic, life-style to social history in order to broaden a humanistic vision and promotes the creative culture.
Framework:
Hyper Design is divided into three sections: design and imagination, ordinary life practice, future and history.
1.Design and Imagination: Design is usually considered as functional and practical. But sometimes function is often considered to confine imagination. But, the imagination in design is developed through its function. The confining in imagination and conditional freedom are quite important to the reconstruction of the commonness and meanings in contemporary art. This section will display to the public how the contemporary artists use their fresh angles to reconstruct design objects for re-design.
2.Ordinary life practice: People are accustomed to separate art with ordinary life practice and treat art as something particular outside their life. But in fact, ordinary life not only provides a solid base for artistic imagination, but also the stage and battlefield for contemporary art. The design of life is artistic ordinary life practice. It echoes with the intention of design itself and inherits the origin of art. This section initiates the linking between art and ordinary life objects. It builds up an aesthetic idealism of social life through the daily practice by the artists.
3.Future and History: Future is filled with all kinds of possibilities. But the possibility of future is, in fact, the mirror of history and society. It not only reflects today's reality, but also a construction of the history of tomorrow. This section combines the experimental concepts in contemporary art with the historic Utopian imagination through the review and re-ponder of the future history in a future vision.
Spotlights:
A theme that filled with the traits of our era, popularity and culture. It promotes the urban civilization and fixed the theme of ¡°Hyper Design¡±.
The most young and pioneering international curatorial team. The Biennial invites six famous curators both home and abroad to form the curatorial team, including Zhang Qing, Huang Du, Shu-Min Lin, Wonil Rhee, Gianfranco Maraniello, Jonathan Watkins, Xiao Xiaolan (assistant curator). Zhang Qing (artistic director).
Further extending to the city as the exhibition mode. From 5, September to 5, November 2006, the Biennial will be held at the Shanghai Art Museum. During the same period, the Biennale will coordinate with other institutions to develop a series of satellite venues. Under the Biennial theme, a series of events in regard with the Biennale will be conducted to strengthen the Biennale's social influence. It will become a visual and creative feast in building up the city's image.