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Sam Samore (1963); Zhang Peili (1957); Fact Study Institute: Cai Kai (1981), Yan Xing (1986); Jonathan Horowitz (1966); Jonathan Monk (1969); Gonkar Gyatso (1961); Trevor Paglen (1974); Qiu Xiaofei (1977)
zeng hong
Line Up
Tilted Horizon
I've Got Something
Chen Yujun and Chen Yufan
Extended Landscape
Propaganda Pavilion
The Stock Exchange, Weather and Sex
Breaking Away-an Abstract Art exhibition
ART HK 11
Paralysis Agitans Project
ART BEIJING
CIGE 2011
Chen Yujun, Gong Jian, Qiu Xiaofei, Song Kun, Yang Xinguang, Zhang Peili
Place of Games
Chen Shaoxiong, Geng Jianyi, Li Yongbin, Wang Jinsong& Xiaohong, Wang Gongxin, Wang Jianwei, Wang Peng, Xu Tan, Yang Fudong, Yang Zhenzhong, Zhang Peili, Zhou Tiehai, Zhu Jia
Chen Yujun, Qiu Anxiong, Qiu Xiaofei, Song Kun, Yang Xinguang
The Empty Room
Zoo
Point of No Return
Liu Chuang
Art 41 Basel
Trail
Hu Xiaoyuan, Ji Lei, Liu Chuang, Qiu Anxiong, Qiu Xiaofei, Yang Xinguang, Zhan Rui
Liu Chuang,Qiu Anxiong,Liang Yuanwei,Song Kun
Wormhole
Yes, That¡¯s All !
Qiu Anxiong
Art Premiere (booth H6)
Seeing is Believing
Chen Shaoxiong, Gong Jian, Liang Yuanwei, Qiu Anxiong, Qiu Xiaofei, Song Kun, and Yang Xinguang
People¡¯s Park
Consumed
Dharmaguptaka-vinaya: The Discipline in Four Parts
Xi Jia ¨C River Lethe
Liu Xiaodong, Xu Tan, Qiu Xiaofei, Liu Wei, Gong Jian, Yang Xinguang, and Zhang Liaoyuan
Chen Shaoxiong,Hou Yong,Liang Yuanwei,Liu Wei,Qiu Anxiong,Qiu Xiaofei
Xijing Olympics: An Exhibition by the Xijing Men Collective(Chen Shaoxiong, Gimhongsok, Tsuyoshi Ozawa)
BLDG 115, RM 1904
A Gust of Wind
Drowning
House of Recollected Fragments
Chen Shaoxiong, Gong Jian, Kan Xuan, Liang Yuanwei, Liu Wei, Qiu Anxiong, Qiu Xiaofei, Song Kun
James Beckett,Pash Buzari,David Zink Yi
Staring Into Amnesia
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The Outcast
Forged Realities
Love It, Bite It
Visible and invisible, Known and Unknown
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Bik Ver Pol ; Chen Shaoxiong ; Chen Xiaoyun ; Fu Jie ; Jia Zhangke ; Kan Xuan ; Liang wei ; Liang yue ; Liu ding ; Qiu Anxiong ; Qiu Xiaofei ; Song Kun ; Sun Xun ; Yangjiang group ; Zheng Guogu
Chen Shaoxiong Ozawa Tsuyoshi and their families
ZHENG Guogu (GuangdongYangjiang), Erik van LIESHOUT (NL), Charlotte SCHLEIFFERT (Xiamen, Rotterdam), Xu Tan (Guangzhou), XU Zhen (Shanghai)
JIANG Zhi (Beijing-Shenzhen), Aernout MIK (Netherlands), ZHOU Zixi (Shanghai)
FAN Di'an, LENG Lin, Karen SMITH, ZHANG Wei, PI Li,AI Weiwei,JIA Zhangke,WANG Jianwei

 

 
 

Forged Realities

UniversalStudios-beijing, Beijing (China)
2007.4.14 ¡ª¡ª 2007.5.12
Tuesdays to Sundays 11:00-18:00

Curator: Pauline J. Yao Ò¦¼ÎÉÆ

Ai Weiwei (b.1957, Beijing )

C & C Karaoke Factory ( New York )

Patty Chang (b. 1972, San Francisco ; lives in New York )

Gao Shiqiang (b. 1971, Shandong )

Hong Hao (b. 1965, Beijing )

Hong Hao & Yan Lei

Jonathan Monk (b.1969, Leicester , England ; lives in Berlin )

Kaz Oshiro (b. 1969, Okinawa , Japan ; lives in Los Angeles )

Ni Haifeng (b. 1964, Zhoushan, lives in Amsterdam )

Qiu Zhijie (b. 1969, Zhangzhou)

Stephanie Syjuco (b.1974, Manila , Philippines , lives in San Francisco )

 

What does it mean to call something authentic or fake? And how should we consider these terms in relation to contemporary art? Distinguishing between fake and real, truth and fiction, fact and fantasy is part of our negotiation with everyday reality and yet, within the context of art, issues concerning fakes, forgeries and copies pose profound philosophical concerns. One can cite the presence of ¡°fakes and copies¡± throughout recent contemporary art both in China, from Xu Bing and Gu Wenda¡¯s ¡°fake¡± Chinese characters to Ai Weiwei¡¯s experiments to Qiu Zhijie¡¯s tireless One Thousand Copies of the Orchid Pavilion; and internationally, from Sherrie Levine, Elaine Sturtevant and Jeff Koons to current examples Jeff Wall and Jeremy Deller.

The dictum ¡°falseness rules the world,¡± assumes the existence of its historically determined opposite: that there was a time when all was true and real. Similarly, to use the term ¡®fake¡¯ implies the very existence of something genuine or real when all efforts to define this realness are progressively more elusive and subjective. With our surroundings increasingly dominated by the presence of fake products, piracy, black markets, fake representations of culture (i.e. Beijing World Park, Shenzhen¡¯s OCT and most major tourist sites), and simulated experiences and environments, we have become accustomed to zones of ambiguity where ¡®fake culture¡¯ outstrips the real, and questions of authenticity are routinely destabilized and made arbitrary. Such ¡®grey zones¡¯ are most evident in the economic sector, where issues of copyright, piracy and counterfeits abound, but extend also into realms of contemporary art and current understandings of cultural authenticity.

Forged Realities is an exhibition that brings together ten artists from America, China and Europe to probe questions of authenticity, authorship, copying and production as these intersect with art, culture and mechanisms of cultural representation.The exhibition examines the ways in which artists reference fakes and copying in their practice and implement strategies of reproduction and fakery in light of this critical point in our culture where the attribution of ¡®original or fake¡¯ carries overblown and at times arbitrary significance. Sculptures by Kaz Oshiro and Stephanie Syjuco are designed challenge the autonomy of the indistinguishable while juxtaposing the handmade with the blandness of pre-fabricated furniture. Retelling existing narratives through film across different cultures or strategies of with deliberate anachronism are part of the work of Gao Shiqiang, Jonathan Monk; while Patty Chang¡¯s Shangri-La undertakes and documents her physical journey to a mythical place. Referencing China¡¯s unique global relationship with regard to copying and art production, past and present, is Ni Haifeng, whereas Qiu Zhijie¡¯s photographs looks at the ways in which self-conscious borrowing of iconic forms manifests itself on a more localized level. Works by Ai Weiwei and a collaborative piece Hong Hao & Yan Lei lay bare the underlying assumptions and power dynamics within the artworld ten years ago and form the basis for more recent experiments which, instead of copying or appropriating a specific style of artwork, now copy the ubiquitous features of the contemporary art industry.

 

 If you require more information about the exhibition or have any general queries please contact us:

Tel: +86-10-6432-2620

Email: info@boersligallery.com

Web: www.boersligallery.com