Chang Yuchen:Barbaric Poetry |常羽辰:野蛮诗歌

Sep 12, 2015–Oct 20, 2015 | 2015年9月12日–2015年10月20日

Opening Reception | 开幕酒会:  Saturday, Sep 12, 2015, 4-6pm | 2015年9月12日,星期六,4-6pm

Sound Performance | 声音表演:  Saturday, Sep 12, 2015, 5pm |2015年9月12日,星期六,5pm


Artist’s Page | 艺术家页面

Installation View| 展览场景照片

Location: BETWEEN ART LAB, Huantie Wuhuan, Jiuxianqiao Road, Chaoyang District, Beijing

地址: 北京朝阳区环铁北路五环一号BETWEEN艺术实验室

Hours|开放时间: Tuesday-Sunday 10:00am – 6:00pm|星期二 – 星期日,10am-6pm

Tel|电话: 86.10.842.000.24





Between Art Lab (Beijing) and Fou Gallery (New York) are pleased to announce the opening of Chang Yuchen’s solo exhibition on September 12, 2015. Under the title of “Barbaric Poetry”, this exhibition will include Chang Yuchen’s works based on various media, including printmaking, installation, artists’ book, video and among the others. On the opening reception, Chang Yuchen will perform a sound piece that combines vocal and electronic synthesizer. The exhibition will last until October 20, 2015.

“Barbaric Poetry”, as title, derives from “to write a poem after Auschwitz is barbaric” by T. W. Adorno. As an essential part of an artist’s being, to write a poem is a barbaric act to a large degree — it requires indifference to keep the critical distance between the artist and his/her surroundings, and mercilessly the artist rinses and filters his/her own emotion to reach certain limpidity. In Chang Yuchen’s work, barbarity manifests itself in the tension between fragility and violence, between the artist and the media used, between the media and the images. In “Rose”, an installation composed of eleven pieces of copper-plate, repeated erosion and abrasion turned the surface as rough as a wild and unsettled planet, depriving every bit of the delicate and youthful quality that usually associated with the image of rose. In “Snake”, a set of etchings on mulberry paper, artist’s restrained gesture lends lightness and serenity to this epic and savage image; when looking closer, however, the viewer will find the intricately patterned scars on the surface of the snake are silently recalling certain turbulent history, in the same way that the ruins silently recalls the memory of the past warfare. In “Necklace, in Collaboration with Yuan Yi”, an installation includes objects and video, Chang wears a necklace made with sharp cullets-an ornament, but also a dangerous weapon. In the ordinary and feminine act of putting on a piece of accessory, violence, presents itself in an ordinary and feminine way.

Read the full press release here.


“野蛮诗歌”这一概念来自德国哲学家阿多诺,“在奥斯威辛之后写诗是野蛮的”。 写诗,作为艺术家存活的必要形式,在相当程度上是野蛮的:它需要对人间的冷漠以维持批判性的距离,需要将自身的情感无情地洗刷与过滤,以期产生某种澄明。在常羽辰的作品中,这种野蛮体现为一种纤弱与暴力的抗衡,在艺术家与其媒介之间,在媒介与意象之间。《玫瑰》是由十一块铜版构成的装置作品,然而与玫瑰娇艳青春的意象相反,其表面因为艺术家反复的腐蚀和磨损变得如同荒蛮星球一般粗砺。《蛇》是印在桑皮纸上的一套铜版画作品,远古史诗一般庞大而充满启示意味的意象,因为艺术家克制的处理而获得了轻盈与安静。然而当观者凝神细看,蛇的表面错综复杂的伤痕召回着某种激烈的历史,如同宁静的墟骸召回着过去的战争的记忆。《项链,与袁奕的合作》是一个由实物与视频组成的装置作品,在视频中,艺术家佩戴着她用尖锐的碎玻璃所制成的项链,既是饰物也是危险的武器。 在佩戴饰品这个平常而又女性化的动作之中,暴力,以一种平常而又女性化的方式被呈现。