展期 Period：
2024.5.18—2024.6.30
艺术家 Artist：
曹澍 Cao Shu、程新皓 Cheng Xinhao、陈哲 Chen Zhe、拆东西研究所 Assembly、郭城 Guo Cheng、于瀛 Yu Ying、辛云鹏 Xin Yunpeng + 叶秋森 Ye Qiusen、张文心 Zhang Wenxin
策展人 Curator：
地点 Venue：
⇨展品清单 Works List
新闻稿 Press Release：
香格纳北京荣幸宣布将于 2024 年 5 月 18 日推出《学习Ⅱ：博物学、另类知识和深度学习》。作为画廊周北京同期呈现的实验性艺术项目，这也是香格纳北京在草场地空间全新设计优化之后的首次展览。
此次展览由石青担任策展人，呈现了来自曹澍、程新皓、陈哲、拆东西研究所、郭城、辛云鹏 + 叶秋森、于瀛、张文心这 8 位 / 组艺术家或机构的创作，通过影像、装置、文本、档案、绘画等媒介的多重交汇，邀请观众进入自由开放的讨论现场，共同体验当代艺术生产中围绕“学习”展开的感性理解和拓展。
不容置疑，在今天当代艺术的发展确实与当前的知识生产形态有着密切关联，这使得艺术家伴随实践过程中的“学习”活动被凸显出来，并与全球范围的艺术教育机制转型相互影响着。在 2021 年上海呈现的第一次《学习》中，讨论的核心集中于以艺术家为主体的“个人学习”和“集体学习”等内容；今年 5 月在香格纳北京即将开幕的《学习Ⅱ》可以看成是这个项目的再启，并试图在技术哲学与生态学背景下进行艺术行动和知识系统的有关话题。
《学习Ⅱ》是一个论坛性质的展览，其呈现出一种进行中的工作状态；一个揭示实践后台的现场；也是一场新知识和新技术蜂拥而至时刻的召集；一种共同学习和汇报的机制。展览所邀请的这些艺术家或机构，都是在这些方面活跃着并有所贡献的参与者。“学习”作为一个古老的技术及行动，伴随在包括艺术在内的人类思想史的每一项进程里。“学习”这种方法早就存在于艺术家彼此之间那些正式或不正式的交流之中，而艺术家对“学习”的理解和扩展总是在感性的实践中进行。当代艺术本身就是一种“例外”和可能性的生产，它的价值不在于某种知识逻辑性的闭环营造，而多数时候呈现出一种生动的持续的具体形态。可以说，艺术家的“学习”也是一种另类的实践方式。
ShanghART Beijing is honoured to announce the opening of “STUDY II: Natural History, Alternative Knowledge and Deep Learning” on 18 May, 2024. As an experimental art project presented concurrently with Gallery Weekend Beijing, this also marks the first show of ShanghART’s Caochangdi space following its brand-new design and optimisation.
Curated by Shi Qing, “STUDY II” brings together works by eight artists or collectives: Cao Shu, Cheng Xinhao, Chen Zhe, Assembly, Guo Cheng, Xin Yunpeng + Ye Qiusen, Yu Ying, and Zhang Wenxin. Through the intersection of various media such as video, installation, text, archives, and painting, the exhibition invites audiences to enter an open discussion site, while collectively experiencing the perceptual understanding and expansion surrounding the concept of “study” in contemporary art production.
Undoubtedly, the development of contemporary art today is closely linked to current forms of knowledge production, which has brought the “study” activities that artists engage in alongside their practice to the forefront. This, in turn, interacts with the transformation of art education mechanisms globally. In the first edition of the STUDY exhibition, which took place in Shanghai in 2021, the core discussion focused on “individual learning” and “collective learning” centered around the artist as the main subject; The upcoming “STUDY II” happening at ShanghART Beijing in May this year can be seen as a reboot of this project, attempting to address topics related to artistic action and knowledge systems within the context of technological philosophy and ecology.
“STUDY II” is a forum-like exhibition that presents a state of work in progress; a site that reveals the backend of practice; a gathering at the moment when new knowledge and new technologies converge; and a mechanism for collaborative learning and reporting. The artists or institutions invited to participate in this exhibition are all active contributors in these areas. “Study,” as an ancient technique and action, has accompanied every process in the history of human thought, including art. This method of “study” has long existed in the formal or informal exchanges between artists, and artists' understanding and expansion of “study” always take place within their sensory practice. Contemporary art itself is a production of "exceptions" and possibilities, and its value lies not in creating a closed loop of a certain logic of knowledge but, in most cases, presenting a vivid and continuous concrete form. It can be said that the “study” process of artists is also an alternative mode of practice.
