I Recognized the World: Born in the 80s and 90s
Museum of Contemporary Art (MOCA) Yinchuan
2021.09.25 – 2022.01.09
Exhibition Director: Lv Peng
Curator: Wang Xiaosong
Assistant Curator: Zhao Ziyi
 
Artists (In alphabetical order)
Chen Dandizi, Cheng Xinhao, Chi Peng, Ge Yulu, Hu Jiayi, Hu Weiyi, Hu Yinping, Li Binyuan, Liu Xin, Ma Haijiao, Tong Kunniao, Wang Zhiyi, Wu Wei, Wu Ziyang, Xu Yibo, Yang Di, Yang Mushi, Ying Xin Xun, Yu Ying, Zhang Zipiao, Zhou Zanzhu



我认出了世界：生于八、九十年代
银川当代艺术博物馆
2021.09.25 – 2022.01.09
展览总监：吕澎
策展人：王晓松
助理策展人：赵子懿
 
艺术家（按姓氏拼音顺序排列）
陈丹笛子、程新皓、迟鹏、葛宇路、胡佳艺、胡为一、胡尹萍、厉槟源、刘昕、马海蛟、童昆鸟、王智一、伍伟、武子杨、许毅博、杨迪、杨牧石、应歆珣、于瀛、张子飘、周褐褐

 
 






This exhibition revolves around Chinese artists born in the last two decades of the 20th century. The 1980s was the most important watershed in the modern history of the world, and was also the moment when we met the world again. It took only 20 years for us from recognizing and arguing about the world in ignorance, confusion and anxiety, to the self-acceptance as a part of the modern world in peace of mind. If you regard joining the WTO again as a sign, it happened to divide the era into two twenty years. It seems destined that this generation are "born" as "specimens" for "us" to watch the world and the relationship between "us" and the world. Using vision as the main means of expression, art shapes the history of ideas and is shaped by ideas simultaneously.
 
However, neither art nor ideas in the general sense are fabricated out of nothing, and the problem-oriented exhibitions should be more vigilant against falsification. Between works and ideas, we first construct a chain of evidence through the process of "resources-motivation-methods-objectives/results", and then return to the corresponding ideas for comparison, judgment and screening. Taking the 1980s as the starting point of "life", this exhibition gets into the issues of the artist’s concern through the focus of the artwork, and then discusses the methods they use when raising or responding to these issues. These issues are presented in the exhibition into four sections : "Fables Turn the World", "Intimate Relationship", "Finding the Lost Lands"and "Human , humankind!".
 
In terms of the composition of artists, the exhibition tries to maintain a proportional balance between age (post-80s or post-90s), gender, and educational background (at home or abroad), and the artists were deliberately distributed to avoid people who have exactly the same attributes in the above three conditions to appear in the same section. The world has never been homogeneous. People in this generation have a huge "jet lag" with their parents who were active at the time of their birth, even each group and individual have their own differences in the acquisition of social resources and the formation of their worldview. And the difference in micro-social factors is often the most important influence in the process of concretizing the same world. Art does not lie. The issues, methods and basic attitudes reflected in art can often be mutually confirmed with the life and experience of the artist.
 
When globalization is turning due to various reasons and the world is blocked by the epidemic, the exhibition site also flashbacks from present. We admitted that the thinking of each artist was much more complicated than the classification of the exhibition. The works of different sections are explicitly or implicitly related, and the theme is only the greatest common divisor of the topic he/she/they cares about; we also admitted that the purpose of most of the works were universal. But frankly speaking, we don’t care about the "international", the only thing we care about are their expressions of "I", "We" and "the world related to us".
 
21位出生于二十世纪最后二十年的代表性艺术家构成了此次展览的主体。他们出生之时，世界正在一波向好剧变的时刻。在中国，从懵懂、错愕、焦虑中辨认、争论世界为何，到心安理得自我接纳为现代世界的一份子，只不过短短一代人的时间，似乎命中注定，这一代人天生是我们的“世界标本”。
 
展览内容由“寓言推转世界”、“亲密关系”、“寻归失地”与“人（类）啊，人（类）”四个主题单元构成，并根据美术馆的空间状况进行了技术性调节。但这些问题都不是事先虚构，而是通过从作品的关注点中汇集艺术家所关心的问题，并在艺术家的年龄（80后、90后）、教育背景（海外或本土）、性别等对应身份属性上，最大限度地维持比例均衡。在同一单元的艺术家中又有意做差异化处理，使同一个单元中避免出现完全相同的两类人。
 
这一世代的人的世界观不仅与活跃在他们出生之际的父母辈不同，每一个群体、个体因社会资源获得和身份的差异，也会带来认知上的时差，而这些微观的、社会的甚至世俗的因素往往是同一世界在具体化过程中最重要的影响力量。当所有这些落到作品中，将会映照出这一世代的人和他们理解、构成世界的方法，而世界就在认识之中。