Monster & The Nocturnal Pollinators
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。
本次展览参展艺术家包括：Ben Rivers、何子克、胡云、James Benning、James Bridle、Kadambari Baxi & Research Group、罗力、柯林、Philippe Rahm、凌文、徐震、明亚、杨洋、曾根丰、郑博和李俊
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YANG NAITIAN
Curator
Yang Naitian is an architectural designer currently living and working in New York City, USA. Focusing on the sensory experiences provided by architectural structures and materials and the power relations behind their formal language, he explores the role of belief systems in the built environment. He has worked at AWP Architects in Paris and Jianmeng Studio in Beijing. At Guy Nordenson and Associates Structural Engineering Company in New York, he participated in the design and construction of a number of public cultural buildings and art projects, including Day's End, a sculpture commissioned by David Hammons for the Whitney Museum of Art, and Shenzhen in collaboration with Sou Fujimoto Architects. The Reform and Opening Up Pavilion, and the Emnauel Nine Memorial designed in conjunction with Handel Architects. His writing has been published in Karma International, Serving The People and other platforms.
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LIU LIN
Curator
Liu Lin, writer and curator, currently lives and works in Shanghai. Recently, I have focused on exhibition production and technical theory, and tried to discuss the issue of "co-working" through cooperation with creators in different fields. From 2013 to 2021, he worked as a curator at Sifang Contemporary Art Museum and initiated and implemented the "Topography" (2015-2019) project. Some of the planned exhibitions are: "Yanzhong Art Museum" (2016), "Unfinished" (2019) and "Must Dream of This Blue Tonight" (2020), etc.; he regards writing as a method of action and tries to use it in different ways. Experiments were carried out in the field of writing, and some articles were published in media such as ARTFORUM Chinese website, Art News Chinese version, Art-Ba-Ba, Wallpaper, and The Paper.