策展人：李力

展览时间：2017年11月4日-2018年2月28日

展览地点：上海玻璃博物馆园区艺术写字楼一楼、二楼

主办方：上海玻璃博物馆/Vanguard Gallery

展览规划及平面设计：协调亚洲

Curator: Lise Li

Duration: November 4, 2017- February 28, 2018

Venue: 1^ST and 2^nd Floor, Art Tower, Shanghai Museum of Glass Park

Organizer: Shanghai Museum of Glass/Vanguard Gallery

Exhibition Planning and Graphic Design: COORDINATION ASIA Ltd.

穹顶，这一源自美索不达米亚文明时期的建筑结构,与玻璃有着同样悠久的历史传承, 从公元 1 世纪古罗马奥古斯都的万神殿，到 16 世纪布鲁内莱斯基为翡冷翠营造的圣母百花教堂；从公元6世纪查士丁尼在君士坦丁堡为索菲亚女神屹立的大教堂，到公元21世纪泰晤士河畔为迎接千禧年而建的“世纪穹顶”，这个复杂、神秘且美妙的结构使得历代建筑师们花费毕生精力去探究它、超越它，因此这个结构的背后隐藏着的意义已经超越了这个图像、结构本身。

毕蓉蓉试图借用这个词去帮助自己构建一个自我认知，并且在不同的展览中，不停地去探索或者挖掘这个构建过程。在此次上海玻璃博物馆的展览中，起初由一个浪(水)的纹样为生发点。毕蓉蓉经常有意识无意识地运用一些浪纹样，好奇心使她将这些纹样再次利用和重组，慢慢地它们生发成了一些新的几何图形、渐变色、曲线、螺旋纹等各种形态以及它们与空间之间的关联，此时浪纹样本身似乎已经不再重要，而其中的构建关系已在过程中得以生成，如果说上一次毕蓉蓉的个展“穹顶”是这个构建的开始，那么这次“穹顶二”是对之前构建的延续。

从形状到色彩、从光影到透视，玻璃似乎就是为毕蓉蓉量身定制的一种材料，一个在表现中能实现与绘画完全不同维度的媒介，这能使她打开新的视角去诠释这种对象物间、结构间的关系，探索作品与场域之间的作用。作为本年度参与上海玻璃博物馆的重要当代艺术跨界“退火”项目的女性艺术家，毕蓉蓉不断触发玻璃与当代艺术的无限可能，扩展玻璃的边界，利用玻璃这种材料为观众和业界带来充满惊喜和出乎意料的精彩作品，这就是我们不断在坚 持的“退火”。

The dome(from Latin: domus), a building structure originated from the Mesopotamia civilization period, has the same long history as glass. From the Pantheon of Augustus of ancient Rome in the First Century AD to the Basilica di Santa Maria del Fiore Cathedral of Florence created by Brunelleschi in the Sixteenth Century and from the Constantinople Cathedral set by Justinianus the Great for the Goddess Sophia in the Sixth Century to the Millennium Dome aside River Thames built for new millennium in twenty-first Century, this complex, mysterious and admirable structure attracts numerous ancient architects to spend their lifetime to explore and overtake it, so the meaning behind this structure has gone beyond the images and the structure itself.

Bi Rongrong tries to borrow the meaning of this word to build up self-cognition, constantly explore or excavate the construction process in different exhibitions. In this exhibition of Shanghai Museum of Glass, her inspiration is coming from the wave (water) pattern. Bi Rongrong often consciously or unconsciously adopts some wave patterns and the curiosity drive her to reuse and restructure these patterns, so these patterns gradually created more various forms, like new geometric shapes, color gradient, curve, spiral and so on, and the connections between them and the space. And then the wave pattern itself seems to be no longer important because the construction relationship has generated during the process. If the last solo exhibition of Bi Rongrong, Dome (Absolute), was the beginning of this construction, then Dome 2 (Wave) now is a continuation of the previous work.

From the shape to color and from shadow to perspective, the glass seems to be a tailored material for Bi Rongrong and a media that has totally different dimensions with that of painting in the performance, which can enable her to open a new perspective to interpret the relationship between the objects and structures and explore the effect between the works and the fields. As an female artist that participated in the important contemporary art cross-border “Annealing” project in Shanghai Museum of Glass, Bi Rongrong constantly trigger unlimited possibilities between glass and contemporary art, extending glass boundary and using glass material to bring full of surprises and unexpected wonderful works for the audience and the industry, which is exactly the “Annealing” that we continue to insist on.

毕蓉蓉，1982年出生于宁波，目前生活工作于上海。

2005年，获得了西南师范大学中国画专业的学士学位。2008年毕业于四川大学的中国画山水画专业，获文学硕士学位。由于她感兴趣于寻找传统中国画和当代艺术之间的联系，这使得毕蓉蓉开始求学于欧洲。2008年，她入学于荷兰的Frank Mohr学院的绘画专业，在2010年获得美术硕士学位，在此期间，她也作为交换生，参加了在美国宾夕法尼亚大学设计学院的为期三个月的学习。

在她目前的实践中，毕蓉蓉的作品以绘画、和从绘画延伸的多种媒介的表现方式为主，如编织、场域特定的装置、视频等。于她而言，绘画（drawing）是一个根基，或者说是一个开端，中国画的学习背景，使她习惯于在游历途中，写生、采集一些所见、所感的事物，这是她解读周遭环境的一种方式。它可能会发展为一张绘画（painting），一件空间装置，一件数媒作品，或者其它形式的作品。它们之间以生长的状态相互关联着，也是毕蓉蓉书写我们所居住的环境的一种方式。这个书写过程随时间和空间变化、生发，从而创建她与我们之间的不停歇的对话与交流。

近期个展包括：“小说景观”，香港巴塞尔艺术展探索发现单元个人项目，香港，2018；“穹顶二”，上海玻璃博物馆，上海，2017；“小说景观”，千高原艺术空间，成都，2016；“穹顶”，Vanguard画廊，上海，2016；“三联图—制作中的素描”，千高原艺术空间，成都，2015；“曼彻斯特CMYK”, ART021个人项目，上海，2014；“磁场—毕蓉蓉和张如怡双人展”，视界艺术空间，上海，2013；“加油站五—毕蓉蓉和陈天灼双个展”，Vanguard画廊，上海，2012；“兼容的盒子 #4”，理想 & 无用的空间，上海，2011。近期群展与公共艺术项目：装置“一种风景的生长方式”，地铁口公共艺术项目，广州K11，广州，2018; 装置“穹顶”, Chi K11美术馆，上海，2016， 装置“如自然”，ArtReview Asia Xiàn Chǎng单元, 西岸艺术博览会，上海，2016；装置“呼吸”， 卡斯雕塑基金会，奇切斯特，英国，2016；装置“阴影的形状”，南京四方当代艺术中心，C号楼公共空间装置，南京，2014，等。

Bi Rongrong, born in Ningbo in 1982, and is currently based in Shanghai, China.

In 2005, she received a B.A. degree in Chinese Traditional Painting from Southwest Normal University in Chongqing. Afterwards, she continued her study in the Chinese Landscape Painting Department in Sichuan University, and obtained a MFA degree in 2008.

Her search to find a connection between traditional Chinese painting and contemporary art led Bi Rongrong to study abroad. In 2008, she enrolled in the MFA Painting Department of the Frank Mohr Institute in the Netherlands, and graduated in 2010. During this time, she also participated in a 3-month exchange program at the University of Pennsylvania’s School of Design.

In her current practice, Bi Rongrong makes drawings, paintings and drawing, painting based multi-media works, such as textile, site-specific installation, video, etc.
For her, drawing is a foundation. Because of her background studying Chinese painting, she is used to sketching and collecting what she sees and feels during her travels. This is her way of interpreting the surrounding environment. It may develop into a painting, a installation, a digital work, or other forms. They are associated with each other in a state of growth. It is also a way to try to write the environment in which we live. This process of writing changes and grows with time and space in order to create an ongoing dialogue between herself and the viewer.

Recent solo exhibitions include “Fiction Landscape”, Art Basel Hong kong Discoveries, Hong kong (2018); “Wave”, Shanghai Museum of Glass, Shanghai (2017); “Fiction Landscape”, A Thousand Plateaus Art Space, Chengdu (2016); “Absolute”, Vanguard Gallery, Shanghai (2016); “Tri-Images-A Drawing Being Produced”, A Thousand Plateaus Art Space, Chengdu (2015); “Manchester CMYK”, solo project at the Art 021 Art Fair, Shanghai (2014); “Converging Energies-Two Artists Solos by Bi Rongrong and Zhang Ruyi”, V-Art Center, Shanghai (2013); “Gas Station V-Two Solos by Bi Rongrong and Chen Tianzhuo”, Vanguard Gallery, Shanghai (2012); “Ideal & Useless Space”, Bazaar Compatible Program #4, Shanghai (2011). Recent group exhibitions and public art project include installation “A Landscape Turning Into A Silhouette”, public art project at the Guangzhou K11 subway entrance, Guangzhou (2018); Installation “As Seen in Nature”, ArtReview Asia Xiàn Chǎng section, West Bund Art & Design, Shanghai (2016) ; Installation “Absolute”, Chi K11 Art Museum, Shanghai (2016); Installation “Breathe”, Cass Sculpture Foundation, Chichester, UK (2016); Installation “A Tangible Shadow”, public art project, building c, Sifang Art Museum, Nanjing (2014), etc.