展览时间：2023年4月29日-2023年10月8日

展览地点：上海玻璃博物馆园区 H18展厅

项目艺术总监：李力

Duration: April 29, 2023 – October 8, 2023

Venue: H18 Shanghai Museum of Glass Park

Art Project 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、尹秀珍双个展。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。宋冬带来《退火不退火》，尹秀珍带来《涟漪应力》，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》。

In 2023, the “Annealing” project of the Shanghai Museum of Glass will present the two exhibitions of Song Dong and Yin Xiuzhen to audiences. As  world -renowned  artists, Song Dong and Yin Xiuzhen participated in and witnessed the entire historical process of contemporary art over the past 30 years in China. Their works have their own aesthetic frameworks, but they also pay attention to the relationship between personal emotions, memory and destiny in the political and economic environment of rapid development and changes. This exhibition project is the first time that Song Dong and Yin Xiuzhen created with glass as the primary core materials, and further explored the philosophy and social significance contained in the materials. Song Dong brought “To Be or Not To Be”, Yin Xiuzhen brought “Ripple Stress”. At the same time, Song Dong, Yin Xiuzhen, and Song Er Rui’s family of three will join hands again, bringing the cooperation exhibition “The Way of Chopsticks-Tasting Light”.

尹秀珍，1963年生于中国北京，1989年毕业于首都师范大学美术系。尹秀珍从上个世纪九十年代初开始了她的当代艺术实践，她的作品具有实验性和多样性，把不同人的经历、记忆和时代的印痕作为创作的元素之一，并对材料进行反思和实验进行了大量的不同形态的艺术创作。作品涉及装置、行为、陶瓷、影像、绘画雕塑等众多领域。曾参加过威尼斯双年展，并在荷兰格罗宁根博物馆、德国杜塞尔多夫美术馆、纽约现代艺术博物馆等地举办过个展。2014年，费顿出版社著名的“当代艺术家”系列丛书为尹秀珍出版专集，这也是继草间弥生之后的第二位入选的亚洲女性艺术家。

Yin Xiuzhen, born in Beijing, China in 1963, graduated from the Fine Arts Department of Capital Normal University in 1989. Yin Xiuzhen started her contemporary art practice since the early 1990s. Her works are experimental and diverse. Reflection and experiments have carried out a large number of different forms of artistic creation. The work involves many fields such as installations, behaviors, ceramics, images, and painting sculptures. He has participated in the Venice Biennale and held a exhibition at the Graunagen Museum in the Netherlands, the Dulsolopher Museum of Dusserto, and the Museum of Modern Art in New York. In 2014, Fiton Publishing House’s famous “Contemporary Artist” series of books was published for Yin Xiuzhen, which is also the second Asian female artist after Kusama Yomi.

宋冬，1966年生于北京。1989 年毕业于首都师范大学美术系。宋冬从早期的中国先锋艺术运动中脱颖而出，成为中国当代艺术发展中具有国际影响力的重要艺术家。宋冬的作品横跨行为、录像、装置、雕塑、摄影、观念绘画、策划和戏剧等多个领域，对人类行为短暂性的观念进行了探索，用“无界”的理念进行创作和生活。先后参加了卡塞尔文献展、威尼斯双年展、圣保罗双年展、光州双年展等众多国际艺术展，并在纽约现代艺术博物馆、荷兰格罗宁根博物馆、杜塞尔多夫美术馆、上海外滩美术馆等地举办大型个人展览。曾获得光州双年展大奖、CCAA 中国当代艺术奖杰出贡献奖、AAC 年度装置艺术家、中国当代艺术权力榜年度艺术家。

Song Dong, born in Beijing in 1966. He graduated from the Fine Arts Department of Capital Normal University in 1989. Song Dong stood out from the early Chinese Pioneer Art Movement and became an important artist with international influence in the development of contemporary art in Chinese contemporary art. Song Dong’s works spanned many fields such as behavior, video, device, sculpture, photography, concept painting, planning and drama, etc., and explored the short -term concepts of human behavior, and used the concept of “unbounded” to create and live. He has participated in many international art exhibitions such as the Carhal Literature Exhibition, the Venice Biennale, the St. Paul Biennale, and the Gwangzhou Biennale. Large personal exhibitions were held at the Bund Art Museum and other places. He has won the Guangzhou Biennale Award, the CCAA Chinese Contemporary Art Award Outstanding Contribution Award, the AAC annual installation artist, and the annual artist of the Chinese contemporary art power list.

宋冬个展《退火不退火》围绕“退火”概念进行延伸，重新思考“退火”/“不退火”与“因”“果”之间的关系。室内展览空间中的四组作品《无知》《无量》与《无要》深入探讨、表达玻璃的精神性，作品“因”“果”相连，互为转换，有头无尾。户外霓虹灯装置《退火不退火》则将“文字”提炼为“图像”，通过不同速度的闪耀节奏产生不同语义和模糊表达，提供观者再创造的可能性。户外作品《无痕》使用中国传统建筑中的“影壁”概念，鼓励邀请观者加入其中，用毛笔蘸水在喷砂玻璃上自由写绘，使之成为吸收自然和各种公众创造力的平台。

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“修真粉”，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。

宋冬、尹秀珍和女儿宋儿睿也再次合作《筷道》，提出《品光》主题后三人互相保密，各自创作，直到展出前才了解对方的创作。《筷道：品光》是此次项目的核心，艺术家希望通过这一特别的合作方式，用自身微弱的“光”照亮他者，他者的光亦能照亮自己。在该项目中，宋冬将发起招募观众拍摄以“光”为主题的影像，置于作品中共同展出。期望大家都能带着自己的“光”，参与的人越多，光芒越盛越不同。

Song Dong’s exhibition “To Be or Not to Be” extended the concept of “annealing”, re -thinking about the relationship between “annealing”/”non -annealing” and “to be” and “not to be”. The four groups of works in the indoor exhibition space, “Ignorance”, “Limitless” and “Desireless” to discuss and express the spirituality of the glass. The outdoor neon lights device <To Be or Not To Be>is refined “text” into “images”. Different semantics and vague expressions are generated through the shining rhythm of different speeds, providing the possibility of the viewer’s re -creation. The outdoor work “traceless
” uses the concept of “screen wall” in traditional Chinese architecture, encouraging the invitation viewers to join it, and use a brush to dip the water on the sandblast glass freely to make it a platform that absorbs natural and various public creativity Essence

Yin Xiuzhen’s “Ripple Stress” is focused on the individual experience and subtle feelings under the great narrative, and at the same time put forward new vocabulary and expression on materials. “Ripple Stress” is not only an exhibition, but it is actually a carrier of life memory. The “Big Horn” and “Submerged Throat” of the great volume work are unique. This color is the “Xiuzhen pink” original created by Yin Xiuzhen. The work with full walls in the inside and outer wall has turned the space into an organic life body. Each glass in the work “Tear instrument” is one centimeter. The audience can find a group that suits them according to their height. In this silent space, think, meditation, and even crying. The work “108 Breaths at the Shanghai Museum of Glass” invited 108 participants to leave “one breath” and collected the clothes collected by others in the ventilation of the original building. The work of the same name “Ripple Stress” shows different force interaction and wrestling. Even if the surface is not shocked, there are fierce collisions under the bottom of the water to form a new life map and spiritual intersection. Bloom.

Song Dong, Yin Xiuzhen and his daughter Song Errui also collaborated again in “The Way of Chopsticks”, and proposed that the three of the theme of “Tasting Light” kept confidentiality with each other and created each other. They did not understand each other’s creation until the exhibition. “The Way of Chopsticks-Tasting Light” is the core of this project. The artist hopes that through this special way of cooperating, the person’s light will illuminate the other with his own weak “light”, and the light of the other can also illuminate himself. In this project, Song Dong will initiate the recruitment of audiences to shoot images with the theme of “light”, which are displayed in the work together. It is expected that everyone can bring their “light”. The more people participate, the more bright the light is.