隧道工程 admin@bmcanj.com 2023年，北丘当代艺术博物馆馆内隐藏的附楼揭幕，作为全新的展览空间。推出“隧道计划”，邀请年轻创作者参与，根据他们对山体一侧隧道空间的解读，呈现针对特定场地的个人艺术家项目。 The Tunnel Space is located alongside the main exhibition hall of BMCA and is a narrow space (about 3 meters wide and 20 meters long) resembling a tunnel, with one side facing a mountain. We have preserved the space's original load-bearing beams and old pipes, only renovating the walls and adding lighting tracks. This maintains the potential for various experimental interventions in this space. The "Tunnel Project" is characterized by the keywords: youthful, experimental, and local. As an art museum, we aim to provide young artists with opportunities to showcase their creations, while also addressing the urgency of self and locality.In this project, we do not limit the mediums of the artwork and are even more encouraging of experimental mediums, hoping these works will exhibit an unusual energy in this unique space. YAO CONG The Mountain Breathes Beyond Measure GAO LEI Testimony For The Future 展览 审判谷 展览 亲密之山 STEFFI REIMERS GUILTY GROUNDS

What's on 给未来的证物 LI RAN 朱朱策划的高磊、李怒双个展《给未来的证物》在BMCA主厅及隧道空间呈现。展出了艺术家近年来的重要作品、最新创作以及北丘当代艺术馆委托创作的作品。策展人将博物馆的空间想象成一个防空洞，作为艺术家们储存和分享作品的地方，当未来某一天开放时，它将成为两个人交叉生活的证据。作为这个时代的集体记忆和反思。 Read more 过往展览 展览 有人弄乱了玫瑰花 2023.9.9-2024.1.28 隧道工程 曝书谷 2023.9.9-2024.1.28 阅读更多 隧道 项目 2023年，北丘当代艺术博物馆揭开了馆内隐藏附属建筑的面纱，成为全新的展览空间。推出“隧道项目”，邀请年轻创作者参与，根据他们对山体一侧隧道空间的解读，呈现针对特定场地的个人艺术家项目。 阅读更多 公共 教育 阅读更多 The Impression of Deep Blue : A Cyanotype Event Myth, Fairy Tales, and Dream Tales Someone Has Been Disarranging These Roses 店铺 选购全部 地址 南京市北京东路1号凯瑟琳公园 电话 025-86219156 邮箱 admin@bmcanj.com 媒体

有人打乱了这些玫瑰 2023.9.9-2024.1.18 有人将这些玫瑰花融入到BMCA所在地——北极阁山的历史和现实语境中，考察它在中国气象科学演变中所发挥的关键作用。展览脱离了博物馆所在地的光谱氛围，将来自六个国家的约 20 名艺术家、建筑师和研究人员创作了一系列与这一历史血统相关的艺术作品，并为无处不在的气候危机现实提供了不同的视角。

展览 未来的见证 AN INTERMEZZO, PERHAPS Li Ran ROCK HOST: INFRASTRUCTURING THE VOID GROUP EXHIBITION MONSTER & THE NOCTURNAL POLLINATORS MONSTER TESTIMONY FOR THE FUTURE Gao Lei & Li Nu SOMEONE HAS BEEN DISARRANGING THESE ROSES Group Exhibition 21ST CENTURY HERBAL Artist: Emma Talbot MEMORIES AND DREAMS: MIRó'S GARDEN Artist: Joan Miró HEY,LOOK AT ME! I'M TOTALLY ENTANGLED WITH NOT-ME! Artist: Gabriel Rico BEYOND GENIUS: PICASSO’S PASSION AND CREATIVITY Artist: Pablo Picasso DIVING DEEP FOR LIGHT INTO DARKNESS Group Exhibition HUA HAO YUE YUAN Artist: Shen Jingdong HELLO!WORLD! Group Exhibition

有人打乱了这些玫瑰 2023.9.9-2024.1.18 有人将这些玫瑰花融入到BMCA所在地——北极阁山的历史和现实语境中，考察它在中国气象科学演变中所发挥的关键作用。展览脱离了博物馆所在地的光谱氛围，将来自六个国家的约 20 名艺术家、建筑师和研究人员创作了一系列与这一历史血统相关的艺术作品，并为无处不在的气候危机现实提供了不同的视角。 胡昀，《星星》，2017-2018，陨石，3D打印，音乐盒，亚克力盒，60×40×12厘米，OCAT西安馆委约，图片由艺术家、昊美术馆及艾可画廊提供 Kadambari Baxi & Research Group，Air Drifts，2016，高清视频，附有图画、图表和文本，研究小组包括 Janette Kim、Meg McLagan、David Schiminovich 和 Mark Wasiuta，与马里兰州 NASA 全球建模和同化办公室的科学家合作，美国，由艺术家提供 北极阁是南京与中国历史与现实的交汇点。它交织了多种元素，包括古代神话/道教传统、节气/农业活动、现代气象科学/中国现代化进程中的知识分子（如北极阁中央气象台创始人竺可桢），以及民间国防项目/消费空间，共同创造了一个复杂、暧昧和浪漫的环境。博物馆现有的空间进一步巩固了这一本质，将山地地形、防空洞和“白立方”画廊环境融为一体。展览力求通过图像和声音来描绘这个被压缩的瞬间，提炼出风、雨、云等动态意象，从对这种现象的感知，演变成数据云的无形存在，最终演变成文化和文化。政治天气和整体气候。 建筑师杨乃田对展览空间的编排创造了一种与现有混凝土结构协调并与天气本身的振荡节奏产生共鸣的体验。在天气和气候问题已经超越理论话语，成为紧迫现实的时代，展览力求将人和天气融入到同一个流动的、不稳定的、关键的状态中。展览中的艺术品暗示了通常所说的“恶劣天气”，但“好/坏”的二元概念不再适用于我们对天气的判断。超越以人为中心的视角，混乱的综合体成为天气的常态，“好”和“坏”在这里结合在一起。它渗透到存在的各个方面，无论是活着的还是死后的。 Monster Chetwynd Artist Monster Chetwynd (b. 1973, London, England) lives and works in Zürich. Chetwynd’s multifarious practice – spanning interactive performances, film, collage, painting, and installation – interweaves elements of folk spectacle, popular culture, and surrealistic cinema. Chetwynd is known for per bric-a-brac style performance pieces, featuring handmade costumes, props and sets. Describing per work as ‘impatiently made’, ze often re-uses cheap materials that are easy to process to create costumes and scenery that are easy to deploy and adapt, while incorporating eclectic cultural references – from Bertolt Brecht to Bugsy Malone. At the core of Chetwynd’s practice is an emphasis on the work’s collective development. Zoe Chang Exhibition Consultant As an experienced practitioner of Chinese contemporary art, she has curated and organized over a hundred art exhibitions, projects, and events both domestically and internationally. As an independent writer for art media and a curator, she focuses on the growth and renewal of the young creative ecosystem, establishing sustainable communication mechanisms, and promoting more possibilities through proactive actions.

有人打乱了这些玫瑰 2023.9.9-2024.1.18 有人将这些玫瑰花融入到BMCA所在地——北极阁山的历史和现实语境中，考察它在中国气象科学演变中所发挥的关键作用。展览脱离了博物馆所在地的光谱氛围，将来自六个国家的约 20 名艺术家、建筑师和研究人员创作了一系列与这一历史血统相关的艺术作品，并为无处不在的气候危机现实提供了不同的视角。 北极阁是南京与中国历史与现实的交汇点。它交织了多种元素，包括古代神话/道教传统、节气/农业活动、现代气象科学/中国现代化进程中的知识分子（如北极阁中央气象台创始人竺可桢），以及民间国防项目/消费空间，共同创造了一个复杂、暧昧和浪漫的环境。博物馆现有的空间进一步巩固了这一本质，将山地地形、防空洞和“白立方”画廊环境融为一体。展览力求通过图像和声音来描绘这个被压缩的瞬间，提炼出风、雨、云等动态意象，从对这种现象的感知，演变成数据云的无形存在，最终演变成文化和文化。政治天气和整体气候。 建筑师杨乃田对展览空间的编排创造了一种与现有混凝土结构协调并与天气本身的振荡节奏产生共鸣的体验。在天气和气候问题已经超越理论话语，成为紧迫现实的时代，展览力求将人和天气融入到同一个流动的、不稳定的、关键的状态中。展览中的艺术品暗示了通常所说的“恶劣天气”，但“好/坏”的二元概念不再适用于我们对天气的判断。超越以人为中心的视角，混乱的综合体成为天气的常态，“好”和“坏”在这里结合在一起。它渗透到存在的各个方面，无论是活着的还是死后的。 Beyond engaging individuals and their shared sensibilities, this intermezzo mode of viewing unfolds as a more expansive synecdoche for the structural contradictions embedded in Li Ran’s artistic practice. These contradictions manifest in the interplay between film and painting, between text as writing/reading and image as analog/production, between self-performance and reflexive viewing, between the internal and external mechanisms of the art world, between autonomy and heteronomy—among many others. More crucially, however, moving beyond these intermezzo contradictions compels us to step back and confront a “total theater” —one in which we are all, inevitably, cast as participants. At this very juncture in the 21st century, what roles are we destined to play? Are we merely enacting the figure of a little artist of our time, or are we stepping into the role of a general artist? And how, then, should we perform? li ran Artist Li Ran was born in Hubei, China in 1986. He relocated from Beijing to Shanghai in 2018. He graduated from the Oil Painting Department of Sichuan Fine Arts Institute in 2009 with a bachelor's degree. In 2015, Li Ran held a solo exhibition at the Xi'an of OCT Contemporary Art Center. His single - screen video works have been screened at institutions such as the M+ Museum in Hong Kong, the Thorvaldsens Museum in Copenhagen, the Jewish Museum in New York, the ICA in London, as well as at numerous independent film festivals and art festivals. His works have also been exhibited at art institutions around the world, including the NYU Shanghai Art Center, Shanghai, China (2025); the Tank Shanghai, Shanghai, China (2024); the Star Museum of Art, Shanghai, China (2024); the Hong Art Museum, Suzhou, China (2024); the X Museum, Beijing, China (2024); the Donlon Art Museum, Shanghai, China (2023); the Tai Kwun Contemporary, Hong Kong, China (2023); the BY ART MATTERS 天目里美术馆，Hangzhou, China (2023); the Sangwidae Art Center, Seoul, South Korea (2022); the He Art Museum, Foshan, China (2022); the Sifang Art Museum, Nanjing, China (2021, 2015); the OCT Contemporary Art Center (Shanghai), Shanghai, China (2021, 2019, 2014, 2013); the Inside - Out Art Museum, Beijing, China (2020); the HOW Museum，Shanghai, China (2019); the Ullens Center for Contemporary Art, Beijing and Shanghai, China (2023, 2017, 2013); the Centre Pompidou, Paris, France (2017); the Museum of Contemporary Art and Design, Manila, Philippines (2016); the OCT Contemporary Art Center (Shenzhen 馆), Shenzhen, China (2016, 2013, 2012, 2011); the NTU Centre for Contemporary Art, Singapore (2015); the Wattis Institute for Contemporary Arts, San Francisco, USA (2014); the Haus der Kulturen der Welt, Berlin, Germany (2013); the BAK, basis voor actuele kunst, Utrecht, Netherlands (2013); the Contemporary Arts Museum Houston, Houston, USA (2012), etc. He has participated in the Beijing Biennale (2022), the Montreal Biennale (2014), the Geneva International Festival of Films on Art (2014), the 4th Moscow International Biennale for Young Art (2014), the 2nd CAFAM Biennale (2014), the 4th "Former West" Project in Berlin (2013), the 9th Gwangju Biennale (2012), and the 7th Shenzhen Sculpture Biennale (2012). He won the "Best Artist Award" at the 2014 Moscow International Biennale for Young Art and was shortlisted for the "Future Generation Art Prize" at the PinchukArtCentre in 2017. wang yamin Curator Wang Yamin, a Doctor of Literature, is an art creator and curator. Currently, he serves as the curator and Director of the Academic Department at the Art Museum of Nanjing University of the Arts. Wang Yamin regards art exhibitions and performances as an increasingly important medium for artistic creation. He has curated dozens of exhibitions and events for domestic and international artists and creators. Recently, he has mainly focused on issues such as the re - trans - individualization of the public in the reality of contemporary technological culture and the re - creation of daily life. He has participated in art projects and held exhibitions in China, the UK, Germany, etc., and his writings have been published in various art periodicals, magazines, and exhibition literature.

有人打乱了这些玫瑰 2023.9.9-2024.1.18 有人将这些玫瑰花融入到BMCA所在地——北极阁山的历史和现实语境中，考察它在中国气象科学演变中所发挥的关键作用。展览脱离了博物馆所在地的光谱氛围，将来自六个国家的约 20 名艺术家、建筑师和研究人员创作了一系列与这一历史血统相关的艺术作品，并为无处不在的气候危机现实提供了不同的视角。 胡昀，《星星》，2017-2018，陨石，3D打印，音乐盒，亚克力盒，60×40×12厘米，OCAT西安馆委约，图片由艺术家、昊美术馆及艾可画廊提供 Kadambari Baxi & Research Group，Air Drifts，2016，高清视频，附有图画、图表和文本，研究小组包括 Janette Kim、Meg McLagan、David Schiminovich 和 Mark Wasiuta，与马里兰州 NASA 全球建模和同化办公室的科学家合作，美国，由艺术家提供 北极阁是南京与中国历史与现实的交汇点。它交织了多种元素，包括古代神话/道教传统、节气/农业活动、现代气象科学/中国现代化进程中的知识分子（如北极阁中央气象台创始人竺可桢），以及民间国防项目/消费空间，共同创造了一个复杂、暧昧和浪漫的环境。博物馆现有的空间进一步巩固了这一本质，将山地地形、防空洞和“白立方”画廊环境融为一体。展览力求通过图像和声音来描绘这个被压缩的瞬间，提炼出风、雨、云等动态意象，从对这种现象的感知，演变成数据云的无形存在，最终演变成文化和文化。政治天气和整体气候。 建筑师杨乃田对展览空间的编排创造了一种与现有混凝土结构协调并与天气本身的振荡节奏产生共鸣的体验。在天气和气候问题已经超越理论话语，成为紧迫现实的时代，展览力求将人和天气融入到同一个流动的、不稳定的、关键的状态中。展览中的艺术品暗示了通常所说的“恶劣天气”，但“好/坏”的二元概念不再适用于我们对天气的判断。超越以人为中心的视角，混乱的综合体成为天气的常态，“好”和“坏”在这里结合在一起。它渗透到存在的各个方面，无论是活着的还是死后的。 Monster Chetwynd Artist Monster Chetwynd (b. 1973, London, England) lives and works in Zürich. Chetwynd’s multifarious practice – spanning interactive performances, film, collage, painting, and installation – interweaves elements of folk spectacle, popular culture, and surrealistic cinema. Chetwynd is known for per bric-a-brac style performance pieces, featuring handmade costumes, props and sets. Describing per work as ‘impatiently made’, ze often re-uses cheap materials that are easy to process to create costumes and scenery that are easy to deploy and adapt, while incorporating eclectic cultural references – from Bertolt Brecht to Bugsy Malone. At the core of Chetwynd’s practice is an emphasis on the work’s collective development. Zoe Chang Exhibition Consultant As an experienced practitioner of Chinese contemporary art, she has curated and organized over a hundred art exhibitions, projects, and events both domestically and internationally. As an independent writer for art media and a curator, she focuses on the growth and renewal of the young creative ecosystem, establishing sustainable communication mechanisms, and promoting more possibilities through proactive actions.

有人打乱了这些玫瑰 2023.9.9-2024.1.18 有人将这些玫瑰花融入到BMCA所在地——北极阁山的历史和现实语境中，考察它在中国气象科学演变中所发挥的关键作用。展览脱离了博物馆所在地的光谱氛围，将来自六个国家的约 20 名艺术家、建筑师和研究人员创作了一系列与这一历史血统相关的艺术作品，并为无处不在的气候危机现实提供了不同的视角。 The entire exhibition leads up to the second-to-last piece, located down the steps of the tunnel. It is a work by Gao Lei , designed in the style of a mani stone pile. This piece is an organic fusion of natural and crafted materials that he collected around Shanghai, combined with materials gathered during his travels to Tibet. We know that in Tibet, mani stone piles usually appear on high-altitude plateaus, but this time, we have placed the work at the lowest point of the entire North Hill, creating a dual contemplation—both upward and downward—between this piece and Li Nu’s work.

关于 北丘当代美术馆（BMCA）位于江苏省南京市宣武区凯瑟琳公园的山坡花园内，背靠北极阁附近的鸡笼山。它是第一座位于市中心山坡上的艺术博物馆，集当代艺术收藏、展览、研究与开发和教育于一体。 博物馆的主体结构保留了二十多年前的原貌，并于六年前进行了修复和加固。 1100平方米的面积与青翠的山坡花园巧妙地融为一体。展厅内部采用裸露混凝土建造，体现了工业与自然美学的融合。这里是历史、自然和现实的交汇点，促进了前卫与传统之间的对话。在这里，北丘当代美术馆（BMCA）探讨了当代艺术的在地性、多模态性和不确定性等概念。

隧道工程 admin@bmcanj.com 公开征集作品！ 公开征集作品！ 公开征集作品！ 公开征集作品！ 隧道空间位于BMCA主展厅旁边，是一个狭长的空间（约3米宽，20米长），类似隧道，一侧面向山体。我们保留了空间原有的承重梁和旧管道，仅对墙面进行了翻新，增加了灯光轨道。这保持了在这个领域进行各种实验干预的潜力。 “隧道工程”的特点是关键词 ：年轻、实验、本土化。 作为一个艺术博物馆，我们的目标是为年轻艺术家提供展示他们的机会 创作， 同时还解决 自我和地方的紧迫性。 在这个项目中，我们不限制作品的媒介，更鼓励实验性的媒介，希望这些作品能够在这个独特的空间中展现出不寻常的能量。 作为一家位于南京的机构，我们愿意与南京相关的艺术家合作，但我们也欢迎具有新鲜想法的展览项目 全国各地。 在此，我们诚挚地公开招募，欢迎大家向我们提交参展方案，希望我们有机会协助实现。除了空间的使用外，我们将为项目实施提供专业的人员支持，以及满足展览的设备和施工需求。 要求 申请材料 艺术品及展览提案及说明； 艺术家的简历和作品集。 申请时间及方式 本项目长期招募，随时欢迎您的项目！ 请将您的材料发送至官方邮箱： exhibition@bmcanj.com 邮件主题：隧道项目+申请人姓名 更多空间信息 潮湿：空间潮湿，下雨天山上会渗水。 管道：各种管道纵横交错，不可避免。 窗户：有不透明的窗户，透过窗户可以隐约看到对面垂直的悬崖。 柱子：由于交叉的柱子遮挡了视线，空间并未完全开放。

回忆和梦想： 米罗的花园 2022.12.10-2023.3.10 artist: joan Miró 胡安·米罗的创作风格经历了从野兽派、现实主义到超现实主义的转变。米罗年轻时在巴黎生活了很长一段时间，在那里他与超现实主义诗人的互动非常有益。诗歌开阔了他的视野，使他远离了现实主义的创作哲学。本次展览展出了米罗原创绘画诗的三个系列。在这些作品中，诗与画浑然一体，绘画增强了文字的表现力，文字增强了绘画的叙事性。两者的巧妙结合，为观众创造了无限的想象空间。 The flight of the lark , 1973, Mixed technique：GOUCHE AND INK ON PAPER, 30 x 25cm © Successió Miró/ADAGP, Paris-SACK, Seoul, 2022 Some Flowers for Friends , 1962, Lithograph printed in color and pochoir, 41 x 32.5cm © Successió Miró/ADAGP, Paris-SACK, Seoul, 2022 E mma Talbot, 21st Century Herbal, 2022, Acrylic on silk, Overall dimensions variable, Courtesy of the artist 胡安·米罗（Joan Miró，1893-1983）是20世纪现代主义艺术运动的重要人物之一。作为超现实主义艺术的先驱，米罗经常以象征性的方式运用色彩和形式，创造出复杂的构图和流畅的线性风格。他将抽象元素与反复出现的图案（如鸟、眼睛和月亮）结合起来，描绘了人类丰富多变的内心世界。作为与毕加索齐名的抽象艺术家，米罗的画作充满了非理性的艺术性，线条和色彩在艺术家的笔下自由流动，就像由梦幻般的联想和任意文字游戏组成的诗歌。本次展览精心挑选了20幅米罗创作的典范作品，运用了水彩、水粉、水墨、油画甚至纺织品等多种材料，极具代表性地展示了米罗绘画的综合风格。 米罗的主题包括儿童、太阳、月亮、星星、鸟类、眼睛和梯子。艺术家简化了画作中的形状、线条和色彩，最大限度地减少了描绘人物和物体的元素。在米罗看来，绘画中形式比色彩更重要；他相信，一旦形式确立，色彩自然就会显现。 本次展览精心挑选了20件米罗的典范作品，其创作材料包括水彩画、水粉、水墨、油画甚至纺织品等多种材料。这些作品展示了米罗绘画的综合风格，具有显着的代表性。 无题，1981 年，纸本油彩、水粉、印度墨水和木炭，54.6 x 40 厘米 © Successió Miró/ADAGP，巴黎-SACK，首尔，2022 年 镜子后面。纸板上的绘画，1965 年，彩色平版印刷，37.8 x 57.2 厘米 © Successió Miró/ADAGP，Paris-SACK，首尔，2022 年 Joan Miró Artist Joan Miró (1893-1983) was one of the prominent figures in the 20th-century modernist art movement. As a pioneer of Surrealist art, Miró often used color and form in symbolic ways to create complex compositions and flowing linear styles. He combined abstract elements with recurring motifs such as birds, eyes, and the moon to express the rich and ever-changing inner world of humanity. Renowned alongside Picasso as an abstract painter, Miró's works are filled with irrational artistry, with lines and colors flowing freely from his brush like a poem composed of dreamlike associations and whimsical wordplay. This exhibition meticulously selects 20 exemplary works by Miró, showcasing the artist's holistic painting style through various materials such as watercolor, gouache, Chinese ink, oil paint, and even textiles, making it highly representative of his oeuvre.