展览时间：2023年4月29日-2023年10月29日

展览地点：H18, 当代艺术馆

平面设计：协调亚洲

艺术总监：李力

Duration: April  29, 2023 – October 29, 2023

Venue: H18, Contemporary Exhibtion Hall

Graphic Design: Coordination Asia

Art Director: Lise Li

2023年上海玻璃博物馆“退火”项目将为广大观众带来宋冬、尹秀珍项目。作为享誉全球的重量级艺术家，宋冬和尹秀珍一起参与和见证了过去三十多年当代艺术在中国的整个历史进程。他们的作品，各有其美学框架，但都关注极速发展变化的政治和经济环境下，个人情感、记忆和命运与社会的相互关系。此次展览项目是宋冬、尹秀珍首次以玻璃为首要核心材料进行创作，对材料所包含的哲学及社会意义的进一步探索。同时，宋冬、尹秀珍、宋儿睿一家三口将再次携手，带来合作展览《筷道：品光》项目。

尹秀珍个展《涟漪应力》关注宏大叙事下的个体经验和微妙感受，同时对材料提出新的语汇和表达方式。《涟漪应力》不仅是一个展览，实则是一个个生命记忆的载体。极大体量作品的《大喇叭》与《潜喉》色彩独特，该色彩是由尹秀珍独创的“秀珍粉”，置于内外墙肉感十足的作品将空间变成了有机的生命体。作品《泪器》中每件玻璃器相差一公分，观众可以根据自己的身高找到适合自己的一组，在此静默空间中思考、冥想甚至哭泣。作品《108口气在上海玻璃博物馆》邀请了108位参与者留下“一口气”与收集来他人衣服相结合安置在原本建筑的通风口中。

展览同名作品《涟漪应力》展现了不同的力相互作用、角力，哪怕表面波澜不惊，水底之下都是激烈碰撞形成了全新的生命图景和精神交汇，并终将不可遏制地在水面之上绽放。

The “Annealing” project at the Shanghai Museum of Glass in 2023 will bring Song Dong and Yin Xiuzhen’s works to a wide audience. As renowned heavyweight artists globally, Song Dong and Yin Xiuzhen have participated in and witnessed the entire historical process of contemporary art in China over the past three decades. Their works, each with its own aesthetic framework, focus on the interplay between personal emotions, memories, and fates and society within the rapidly changing political and economic environment. This exhibition marks the first time that Song Dong and Yin Xiuzhen have used glass as the primary material for their creations, further exploring the philosophical and social significance of the material. Additionally, Song Dong, Yin Xiuzhen, and their son Song Er Rui will once again collaborate on the exhibition “The Way of Chopsticks: Tasting Light.”

Yin Xiuzhen’s solo exhibition “Ripple Stress” focuses on individual experiences and subtle feelings within grand narratives, while introducing new vocabularies and expressions for materials. “Ripple Stress” is not just an exhibition; it is a carrier of life memories. The massive works “Big Horn” and “Submerged Throat” feature unique colors created by Yin Xiuzhen’s innovative “Xiuzhen Powder,” transforming the space into an organic living entity with fleshy textures on both interior and exterior walls. In the work “Tear Instrument,” each glass piece differs by one centimeter, allowing viewers to find a set that suits their height and reflect, meditate, or even cry in this silent space. The work “108 Breaths at the Shanghai Museum of Glass” invites 108 participants to leave a “breath” and combines it with collected clothing to be placed in the ventilation shafts of the original building. The eponymous work “Ripple Stress” showcases the interaction and struggle between different forces, creating a new lifescape and spiritual convergence beneath the surface calm that will inevitably bloom above the water’s surface.

Yin Xiuzhen (born in 1963, Beijing, China) is one of the most important female artists in contemporary China. Her works focus on people’s subtle perception of changes in the objective external environment, conveying the sensitivity and delicacy of women to the audience in a gender-transcending manner. A series of her representative works, created with recycled materials, form a textual memory of sculptures. In the rapid changes of highly urbanized, modernized, and globally growing economies, she attempts to individualize those things that are usually ignored, displaying the uniqueness of life in a subtle way.

In the 1990s, Yin Xiuzhen created a large number of sculptures and installations, using worn-out clothes, shoes, furry animals, and simple building materials such as cement and stones, mainly displayed in public spaces. After 2000, her creation underwent a significant shift, focusing on the rich ideological connotations and diverse manifestations generated by collected second-hand clothing under the influence of modern technology. By selecting airplanes, vehicles, and highways as her largest and travel-related symbols, the artist places the seemingly limitless mechanical principles and the fastest pace of today’s world in front of the audience.

Yin Xiuzhen’s major solo exhibitions include “Mending the Sky” at CHAT Nam Fung Textile Mill in Hong Kong in 2020; Groningen Museum in the Netherlands and Düsseldorf Museum in Germany in 2012; Museum of Modern Art in New York, USA, in 2010; Ullens Center for Contemporary Art in China, in 2008; Moritzhof of Chemnitz and Weltecho Chemnitz Gallery in Germany, in 2008; REDCAT in Los Angeles, USA, in 2006; ISE Foundation in New York, USA, in 2003; Gertrude Contemporary in Melbourne, Australia, in 2000; Capital Normal University Art Gallery in Beijing, China, in 1996; and Beijing Contemporary Art Museum in 1995. In 2007, her works were exhibited in the Chinese Pavilion at the Venice Biennale and “May You Live in Interesting Times” at the Venice Biennale in 2019. Her works were included in the São Paulo Biennale in 2004, the Sydney Biennale in 2004, and the Gwangju Biennale in 2002.