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

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给未来的证物 2024.3.30-2024.6.30 Artist：Gao lei, li nu curator: zhu zhu 展览的概念灵感来自于北丘当代美术馆与“白盒子”空间的差异。作为一个由防空洞改造而成的艺术空间，美术馆保留了原有的结构特征和历史遗迹感，以及与鸡笼山密不可分的地理环境。 “防空洞”的空间被视为高雷和李怒存放和交流作品的地方。有一天，遥远的未来，回望过去，“庇护所”的大门将被打开，这是两个相互交叉的个体生活以及当下时代的集体记忆和反思的见证。 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 在展览的具体结构安排中，两位艺术家的作品被有机地组合在一起，形成直接的主题对话、叠加的视觉张力或可理解的相互联系，将两种独立的个体创作形式编织成时空隧道中的一根裸线。从各自的方法论来看，高雷的表达不断出现理性思考，而李怒则不断地在轻盈与沉重、沉默与爆发之间转换。他们的作品既是现实的见证，又是形而上的探究。与上一代本土观念艺术家相比，高雷和李努避免了过度的象征性生产，而是更多地关注艺术本身来回应世俗环境。 此次展览首次在北丘当代美术馆主展厅和隧道分空间同时呈现。双人展将于2024年3月30日开幕，并于2024年6月30日闭幕。 gao lei Artist Gao Lei’s art practice spans multiple media, including installation, sculpture, photography, and painting. Gao often adopts everyday objects and “standardized” industrial products as the essential component, whose works are manipulated through synthetic or abstract regulatory forms, in which the functions, properties, and meanings are tampered with or added through blurring transformation. Thus, they become a scale or model for measuring various domains such as the body, power, consumption, and religion. Through precise material testing and vectorization of graphics, Gao’s works, along with the objects they confront and the questions raised, alternate between spatial and conceptual dimensions, allowing the viewer to re-examine and remeasure our inherent boundaries with the world using a standard other than that of experience. Gao’s works have been the subject of solo exhibitions at White Space (Beijing, China), Arario Gallery (Seoul, Korea), Museum of Contemporary Art Taipei, etc. His works have also been exhibited in international art institutions including, Ullens Center for Contemporary Art, Minsheng Art Museum (Shanghai), Long Museum, Tank Shanghai, Hao Art Museum, Guangdong Times Art Museum, Singapore Art Museum, Institute of Modern Art (Valencia, Spain), Tinguely Museum (Basel, Switzerland), Ludwig Museum im Deutschherrenhaus (Coblence, Germany), National Museum of Modern and Contemporary Art (Korea), and others. li nu Artist Li Nu, graduated with an MA in sculpture from Royal College of Art, London, Li Nu won the RBS (Royal British Society of Sculptors) Bursary Awards in 2015 and is a member of the RBS. He currently lives and works in Beijing. Rooted in everyday life, Li Nu’s practice captures personal experiences and subjective feelings and thus reflects shared sentiments of the broader environment, individual’s mood swings, and the collective mental state in the social evolution. Drawn to the accidental, the unexpected, the present rather than techniques or forms, Li resists visual monotony as well as coherent, strategic, stylized methods pursued by many Late Modernists, and explores instead the potentialities of installation, contemporary sculpture, experimental video, events, etc. He subverts the perceived boundaries between documentary and fiction, representation and abstraction, transforming seemingly unpromising materials into metaphorical, piercing, humorous, poetic, and dramatic expressions with multiple connotations. ZHU ZHU Curator Zhu Zhu, a poet, curator, and art critic, was born in September 1969. He has been awarded the Anne Kao Poetry Prize, the Chinese Contemporary Art Award for Criticism (CCAA), and the Hu Shi Poetry Prize. He has authored numerous collections of poetry, essays, and art criticism, including the French edition of poetry collection "Blue Smoke" (2004, translated by Chantal Chen—Andro), "The Grey Carnival—Contemporary Chinese Art Since 2000" (2013, published by Guangxi Normal University Press' "Ideal Country" series, 2016, Taiwan's Eslite Press), "Only One Gram" (2017, Henan University Press), and the English edition of poetry collection "Wild Great Wall" (2018, published by Phoneme Media in the United States).

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.

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.

潜入深处 光明进入黑暗 2022.3.18-2022.6.5 group exhibition Curator:yang tiange 巴勃罗·毕加索（Pablo Picasso，西班牙马拉加，1881 年 10 月 25 日 - 法国穆然，1973 年 4 月 8 日）是 20 世纪最伟大的艺术天才之一，拥有无限的才华和对创造的渴望。他的想象力滋养着他周围的一切。他的灵感源自古代文化、遥远的文明或他周围的环境。他把日常生活中最简单的形式变成了艺术。 这个毕加索。激情与创造展览让参观者更接近艺术家通过绘画、蚀刻、陶瓷和照片创造的巧妙宇宙。毕加索同样精通所有这些技巧。作为一名画家，他从学院派出发，创造了立体主义，并在不断变化和断裂的过程中经历了古典主义、超现实主义和表现主义，在他对自由永无休止的追求中。人物，或更具体地说肖像画和静物画是巴勃罗·毕加索整个职业生涯的主题。他的绘画和蚀刻版画是他职业生涯中最重要的部分之一，也许是因为它描绘了躁动和冒险、顽强和热情的精神，这些精神是毕加索的特征。他。对于毕加索来说，雕刻提供了描绘他最深刻的欲望、情感和思想的手段。 一切能想象到的，甚至是他想象中未能承认的一切，都反映在他的图形作品中。困扰他一生的不同个人和艺术痴迷在这里找到了一条出路，让我们能够追踪他生命和创作艺术的每个阶段。毕加索的图形艺术包括2000多幅作品。他经常混合使用多种技术，例如蚀刻和干刻，或蚀刻和凹版。 作为一名陶艺家，毕加索与他的雕塑建立了开放的对话。陶瓷让他锻炼了绘画技巧、非凡的绘画技巧以及造型造型的微妙天赋。其可塑性的灵活性，加上前卫的精神和创新能力，使其超越了传统上将陶器视为一种工艺的考虑，从而达到了艺术的范畴。 毕加索无疑是20世纪最具革命性和孜孜不倦的艺术家。凭借他的创造力和艺术潜力，他挑战了那个时代的规范，并在艺术史上开辟了新天地。 yang tiange Curator Tiange Yang is a Beijing-based curator and writer. He currently holds the position of curator-at-large at the Beiqiu Museum of Contemporary Art, Nanjing, and is enrolled in a Ph.D. in art history at Peking University. Yang has curated numerous exhibitions including Leisure of Auteur and Amateur; How many times, I have left my everyday life; Diving Deep for Light into Darkness; Contamination: Not for Perfection, but for Contamination; Buddhist Youths: United Collective Indifference, and There are Volcanoes Under the Sea at institutions including Cloud Art Museum, Beiqiu Museum of Contemporary Art, Inside-Out Art Museum, Goethe-Institut, Hua International and others. Yang is the inaugural recipient of the Mo Yuan: Art History Research and Writing Grant in the field of contemporary Chinese art writing from the New Century Art Foundation. His research explores issues of the body and the construction of identity, and nationalist formations in twentieth-century China and the contemporary world.

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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.

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.