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宋冬

Same Bed Different Dreams

Song Dong Usefulness of Uselessness - Varied Window No. 12, 2018-2019. old wooden windows, mirror, mirror panel, glass, 188 cm × 240 cm × 8 cm (74" × 94-1/2" × 3-1/8").

Song Dong Usefulness of Uselessness - Varied Window No. 12, 2018-2019. old wooden windows, mirror, mirror panel, glass, 188 cm × 240 cm × 8 cm (74" × 94-1/2" × 3-1/8").

Song Dong Window Door No. 3, 2019. old windows/doors, glass, mirror, colored plastic mirror, window and door hardware, 174 cm × 100 cm × 88 cm (68-1/2" × 39-3/8" × 34-5/8").

Song Dong Window Door No. 3, 2019. old windows/doors, glass, mirror, colored plastic mirror, window and door hardware, 174 cm × 100 cm × 88 cm (68-1/2" × 39-3/8" × 34-5/8").

Song Dong Usefulness of Uselessness - Varied Window No. 13, 2019. old wooden windows, mirror, mirror panel, glass, 192 cm × 258 cm × 8 cm (75-9/16" × 8' 5-9/16" × 3-1/8").

Song Dong Usefulness of Uselessness - Varied Window No. 13, 2019. old wooden windows, mirror, mirror panel, glass, 192 cm × 258 cm × 8 cm (75-9/16" × 8' 5-9/16" × 3-1/8").

Song Dong Window Door Screen – Single Screen No. 2, 2018-2019. old windows/doors, glass, mirror, colored plastic mirror, window and door hardware, 174 cm × 80 cm × 15 cm (68-1/2" × 31-1/2" × 5-7/8").

Song Dong Window Door Screen – Single Screen No. 2, 2018-2019. old windows/doors, glass, mirror, colored plastic mirror, window and door hardware, 174 cm × 80 cm × 15 cm (68-1/2" × 31-1/2" × 5-7/8").

Song Dong Same Bed, Different Dreams No. 3, 2018. steel, wooden windows/doors/beds, mirror, coated glass, lights, daily necessities, porcelain, 254.5 cm × 224.5 cm × 361 cm (8' 4-3/16" × 88-3/8" × 11' 10-1/8").

Song Dong Same Bed, Different Dreams No. 3, 2018. steel, wooden windows/doors/beds, mirror, coated glass, lights, daily necessities, porcelain, 254.5 cm × 224.5 cm × 361 cm (8' 4-3/16" × 88-3/8" × 11' 10-1/8").

Song Dong Eating Drinking Shitting Pissing Sleeping, 1999. color photograph, 77.2 cm x 620.4 cm x 9.2 cm, overall installed; each 77.2 cm x 77.5 cm x 9.2 cm, set of 5.

Song Dong Eating Drinking Shitting Pissing Sleeping, 1999. color photograph, 77.2 cm x 620.4 cm x 9.2 cm, overall installed; each 77.2 cm x 77.5 cm x 9.2 cm, set of 5.

Song Dong Sketch 1896 mm x 437 mm, 2015. porcelain, 171.5 cm × 43 cm (67-1/2" × 16-15/16").

Song Dong Sketch 1896 mm x 437 mm, 2015. porcelain, 171.5 cm × 43 cm (67-1/2" × 16-15/16").

Song Dong Mandala 008, 2015. Ginger powder, coconut, beetroot powder, small soybean, Black sesame, white sesame, red pepper, lemon powder, cumin, sea salt and other condiments, knife, Diameter 31 cm32 x 32 x 30 cm (frame).

Song Dong Mandala 008, 2015. Ginger powder, coconut, beetroot powder, small soybean, Black sesame, white sesame, red pepper, lemon powder, cumin, sea salt and other condiments, knife, Diameter 31 cm32 x 32 x 30 cm (frame).

Song Dong Eating the City - Vienna 01, 2007. color photograph, 80 cm x 60 cm (31-1/2" x 23-5/8").

Song Dong Eating the City - Vienna 01, 2007. color photograph, 80 cm x 60 cm (31-1/2" x 23-5/8").

Song Dong Usefulness of Uselessness - Rectangular Window No. 9, 2017. old wooden window, mirror, mirror panel, glass, hinge, handle, door and window bolts, 68 cm × 172 cm × 8 cm (26-3/4" × 67-11/16" × 3-1/8").

Song Dong Usefulness of Uselessness - Rectangular Window No. 9, 2017. old wooden window, mirror, mirror panel, glass, hinge, handle, door and window bolts, 68 cm × 172 cm × 8 cm (26-3/4" × 67-11/16" × 3-1/8").

Song Dong Edible Penjing No.1 to 4, 2000. color photograph with handmade frame, each 86 cm × 60 cm, total of 4; each 240 cm × 79.5 cm × 8 cm with frame, total of 4.

Song Dong Edible Penjing No.1 to 4, 2000. color photograph with handmade frame, each 86 cm × 60 cm, total of 4; each 240 cm × 79.5 cm × 8 cm with frame, total of 4.

About 宋冬

宋冬,1966年生於中國北京。他從中國先鋒藝術運動中脫穎而出,成為中國當代藝術發展中重要的藝術家。 1989年,宋冬畢業於首都師範大學美術系油畫專業。他從九十年代初開始從事行為、錄像、裝置、攝影、觀念繪畫和戲劇等多媒介的當代藝術創作,並參與策劃當代藝術的展覽和活動。 藝術形式橫跨多個領域,對人類行為短暫性的觀念進行了探索。 他的作品用東方智慧探討生活與藝術的關係,具有國際影響力。 宋冬在世界各地舉辦過個展,也是各種群展的焦點。他曾在紐約現代藝術博物館舉辦個人展覽,曾參加「威尼斯雙年展」「聖保羅雙年展」「伊斯坦布爾雙年展」「利物浦雙年展」「光州雙年展」「亞太三年展」「廣州三年展」「台北雙年展」和「世界影像節」等國際大型藝術展。代表作品有《水寫日記》(1995-今)、《哈氣》(1996)、《印水》(1996)、《撫摸父親》(1997)、《砸碎鏡子》(1999)、《揉上海》(2000)、《吃城市》(2003-今)、及《物盡其用》(2005)和《窮人的智慧》(2005-2011)系列作品等。策劃過的實驗藝術活動包括《野生 1997年驚蟄 始》(1997-1998);《新潮新聞》(2001)等。宋冬於2001年與藝術家尹秀珍一起創造了合作方式「筷道」(THE WAY OF CHOPSTICKS)。2005年與藝術家洪浩、肖昱、劉建華和冷林一起共同創建了集體創作方式的藝術小組「政純辦」(POLIT-SHEER-FORM OFFICE)。 宋冬出生於文化大革命中,面臨資源有限的社會環境。因此,他在藝術創作上常常採用與「公寓藝術」有關的粗陋材料。裝置事件作品《物盡其用》陳列了宋冬母親趙湘源不捨得扔的各種日用物品,他與母親合作探討了存在的本質,以及用於記錄歷史和情感的循環往復的記憶。同時,藝術家對將東西方的對立性融合在一起有著濃厚的興趣。因此,宋冬的作品處於現代與傳統、藝術與生活的縫隙間。宋冬在世界各地都實踐了《吃城市》項目——用餅乾搭建的城市在展覽期間被觀眾一起吃掉。這個可以被觀眾吃掉的作品探討了現代消費主義觀念的相關問題。 宋冬大多數作品都關注藝術的過程而非最終成品,因此也創造了其獨特的媒介和裝置方式。其中最著名的作品之一《水寫日記》是以他特有的方式用水書寫日記,給自己以精神寄託的同時也對外在世界保留了自己的秘密。作品既是一種個體經驗的自我抒發,同時又是在一個公開環境的藝術創作。這樣,藝術家以一種了無痕跡的近似「冥想」的方式探討著道教哲學的種種觀念。雖然他的這些隨寫隨消失的文字在可視的記憶中消逝了,但是它們依然可以通過口述保留在歷史記錄的想象中。作品純粹存在於時間和記憶當中,借此藝術家鼓勵觀眾關注當下。 宋冬曾獲2000年聯合國教科文組織頒發的青年藝術家獎金(UNESCO/ASCHBERG Bursary Laureate)。2006年獲得「韓國光州國際當代藝術雙年展」大獎。2010年度AAC藝術中國年度藝術家裝置新媒體大獎。2011年獲美國舊金山市榮譽證書。 受聘於中央美術學院、北京電影學院、廣州美術學院任客座教授。 宋冬現在是佩斯北京的代理藝術家,生活和工作在北京。

Press Release

  • Same Bed Different Dreams

    The exhibition will be on view at 6 Burlington Gardens from 1 October to 5 November and will coincide with both Frieze Art Fair and Asian Art in London.

    The opening week of the exhibition will feature a site-specific installation and interactive performance of Eating the City (2019), in which visitors are invited to consume the installation itself.

    “The purpose of my work is for the city I build to be destroyed. … As cities in Asia grow, old buildings are knocked down and new ones built, almost every day. Some cities have even been built from scratch in twenty years. … My city will be built of sweets and biscuits, making it tempting and delicious. When we are eating the city we are using our desire to taste it, but at the same time, we’re demolishing the city and turning it into a ruin.”

    – Song Dong, 2006

    For three decades, Song Dong has been at the forefront of Chinese contemporary art. Since graduating from art school in 1989, Song’s artistic career has developed during a period of great political and social change in China, with modernization changing the face of cities and the lives of their citizens. In response to this provocative atmosphere, Song Dong’s art confronts notions of memory, impermanence, waste, consumerism and the urban environment. Simultaneously poetic and political, personal and global, his work explores the intricate connection between life and art.

    Same Bed Different Dreams, refers to Song Dong’s continual return to the same core ideas via a variety of methods. His practice embraces a wide range of media; performance, photography, video, sculpture, installation and calligraphy, often within a single work. Song’s radical approach blurs the lines of past and present, fact and memory, humor and trauma.

    In Broken Mirror (1999) and Crumpling Shanghai (2000), Song Dong uses video to capture the impermanent. Everyday street scenes in China unfolds, with passersby going about their business, only for their reflection in a mirror or their projection on a piece of paper to be smashed or crumpled by the hand of the artist. With these destructive acts, Song comments on the rampant industrial growth of the modern city; he is concerned with the fragility of things, of the fast-paced world that feels increasingly impossible to hold on to. Much like the rapid build and destruction of his edible cities, Song‘s video works and performance photographs such as Writing Time with Water Beijing (1995) seek to capture a fleeting moment in a world of constant change.

    Song Dong’s Sketch series (2015) are the result of his desire to find use in the useless. While working in Jingdezhen, the centre of ceramic production in China since 200 BCE, Song became fascinated by shards of porcelain tossed to the side of the road, splintered by the firing process. Song found beauty in their jagged imperfection. Referring to the intended dimensions of the original plaque, cobalt blue glazed measurements on each piece remind us that these works are sketches of the original, shadows of their former selves.

    Always working with the humblest of materials, Song Dong constructs sculptures using the detritus of old Beijing. Discarded furniture, and parts of demolished courtyard homes can all be easily identified in Song Dong’s most recent body of works. Taking centerstage in the exhibition, Different Dreams on the Same Bed No. 3 (2018) has been created using everyday household objects, such as crockery, pendant lights and decorative knick-knacks. These mundane objects are presented behind a polished case composed of salvaged window panels, the useless byproduct of modernization. Though each window has been carefully enhanced by Song Dong with vibrantly coloured mirror or glass, their recycled nature is nevertheless evident from the still flaking paint and rusting latches. These collaged remnants of people’s homes carry with them the history of a city and the lives of its people. As viewers are invited to peek inside, they are transformed into voyeurs: imagining their homes, their stories and perhaps identifying shared experiences.

    Food is a shared experience for all, it sustains life while creating culture and ritual. Song Dong has turned to food as a medium and subject throughout his career, utilizing its common nature to resonate with the broadest audience. Edible Penjing No.1 to 4 (2000), is the photographic documentation of an interactive performance held in London in 2000. Song used basic foodstuffs such as salmon, chicken thighs, minced meat and broccoli to create four Penjing, the Chinese art of creating miniature landscapes. The calligraphic inscriptions, which non-Chinese speakers may assume are lines of elegant Chinese poetry, are in fact lists of ingredients and cooking methods used to create the artwork: “three salmon heads, cooked in the microwave, and a little bit of skin, dotted with broccoli, pour on soy sauce; add other seasonings to taste”. Song Dong relies on this assumption by Western audiences in order to fulfill his intention of humorously juxtaposing two contrasting cultures and stimulating curiosity. Such playfulness is a recurring theme in Song’s practice as he strives to comment on East–West dynamics against the increasingly globalized modern world.

    In the Mandala (2015) series, Song Dong takes inspiration from Tibetan Buddhist ritual, where a circular image is created in a painstaking process of laying down granules of crushed coloured stone in an intricate pattern, only to be swept away once completed. Song subverts this tradition by creating his Mandalas using pulses, seeds and spices from around the world. The use of seasoning as a medium exemplifies how Song elevates both the everyday and the ephemeral to the status of high art.

    Song Dong is currently included in The Allure of Matter: Material Art from China, an exhibition presented at LACMA until 5January 2020.