展览时间：2013年7月6日（周六）- 2013年8月25日（周日）10：00 ~ 19：00
       展览开幕：2013年7月6日（周六）16：00 ~ 19：00
       艺 术 家：李伶美（韩国）、刘冰（中国）、佐藤令奈（日本）
       策 展 人：管郁达
       展览总监：Shun
       展览主办：上海熏依社画廊
       地    址：上海市莫干山路50号3号楼103/208
       Tel/Fax：86 21 5252 7198
       Web：www.shunartdesign.com
       Email：gallery@shunartdesign.com

展览前言：
       与老子“以身观身”（第五十四章）的说法不同，“以身观心”是策展人造出来的一个概念。用来说明或指称，在李伶美、刘冰和佐藤令奈三位女性艺术家作品中观察到的一种“身体”的现象。这种“身体”现象与艺术家关于“东亚”社会近二十年来的想象有关。由于三位艺术家都是女性，分别来自韩国、中国和日本，成长于上个世纪七十年代与八十年代，而这一时期，正好是中国、日本、韩国经济社会、文化高速发展与变化的期间。所以，她们的艺术创作就不可避免地具有了一种社会学意义的图像功能，或者说，艺术中的图像恰好也是社会剧变中艺术家各自所文化处境一种个人“心性”的显现。“以身观心”的意思是，不同文化情景中艺术家关于身体的想象，尽管因其文化传统和文化性格而呈现出不同视觉表达意图，但是由于近二十年来消费主义和全球化进程，正在拉近或改写关于“文化”及国家的定义。在一个同步的时空之中，文化的碎片化和穿越感正在成为一种趋势。艺术家在东京、北京或首尔工作，其实变得越来越不重要。相反倒是他们面对基于人性、人心共同处境或问题的思考与表达，却显得日益紧迫。所以，相对于现代主义时期艺术家对形式风格的纯化与深度掘进，今天的艺术家，特别是像李伶美、刘冰、佐藤令奈这样具有文化游牧经验，在全球化和消费主义浪潮中成长起来的艺术家，她们对文化碎片的整合能力与自由穿越的经验，使真正的个人“心性”表达获得了一个生长的空间。正如米歇尔·福柯所言：“当今时代也许是一个空间的时代，我们都处在一个同时性的时代，一个并列的时代，一个远近的时代，一个共存的时代，一个散播的时代。”在这种所谓后现代的文化转型中，身体这一文化景观再次凸现了出来，身体作为主体的欲望可能性再次被艺术家肯定，欲望和与之相关的技术建构着身体本身，纯感性成为身体美学重点关注的对象。李伶美、刘冰、佐藤令奈三位艺术家作品中关于“身体”的塑造和想象，既是这一后现代语境中身体转向的个体经验，又是中、日、韩文化差异和社会剧变格局中的文化“独白”。有意思的是，在利用“身体”这一媒介进行表达时，她们可能无意建构起一种关于“东亚”的文化共识，却在身体想象中呈现出一幅关于“东亚”社会的现实图景。这种从身体出发的表达及观念，与那些关注社会学图像和事件陈述的艺术家不同，以身观心，借身体转向内心观照，个体心性在身体表达中才是最重要的。身体并非文化或社会的载体，身体就是身体。用身体去建构或想象文化，最终的落脚点仍在艺术家的“心性”与个人经验。尽管，这些“心性”与个人经验不可避免地纠缠于中、日、韩三国各自的现实社会情景与文化传统之中。

       Body: glimpses of the nature of mind
       -- Group Exhibition by Lee Young-mi, Liu Bing and Haruna Sato
       Exhibition：Body: Glimpses of the nature of mind
       -- Group Exhibition by Lee Young-mi, Liu Bing and Haruna Sato
       Duration : ul.6, 2013(Sat.) - Aug.25, 2013(Sun.)10：00-19：00
       Opening:  Jul.6, 2013(Sat.) 16：00-19：00
       Artists：Lee Young-mi(Korean), Liu Bing(Chinese) and Haruna Sato(Japanese)
       Curator： Guan Yuda
       Director:  Shun
       Venue： Shun Art Gallery
       Rm103/208, Building 3, No.50 Moganshan Rd, Shanghai
       Tel/Fax： 86 21 5252 7198
       Web：  www.shunartdesign.com
       Email： gallery@shunartdesign.com

       About the Exhibition：
       Unlike the concept of “observing other self from oneself” by Lao-tzu (chapter 54), the “Body: Glimpses of the nature of mind” is the curator’s concept invented to indicate a “body” phenomenon observed in the artworks of these three female artists—Lee Young-mi, Liu Bing and Haruna Sato. This “body” phenomenon is actually relevant to the artists’ imagination of “East Asia” society in the past two decades. Given that all these three artists are female, who come from Korea, China and Japan respectively, and that they grew up in the 1970s and 1980s when China, Japan and Korea were developing and changing economically, socially and culturally at a high speed, therefore, their artistic creation inevitably displays the image function in a sociological sense. In other words, the art image happens to be the depiction of artists’ mind and nature” under their own cultural contexts in the social upheaval. “Body: Glimpses of the nature of mind” means that artists’ imaginations about the body in different cultural contexts are getting similar or rewriting the definition of “culture” and “nation” because of the consumerism and globalization in the last two decades despite their different intentions of visual expression due to their own cultural traditions and characters. In the synchronized time and space, the fragmentation and sense of crossing of culture is becoming a trend. In fact, it becomes less and less important where artists are working now, whether in Tokyo, Beijing or Seoul. On the contrary, it’s their reflection and expression of humankind’s common situation or problems based on human “nature and mind” that are becoming increasingly prominent. Hence, compared with the purification and deep exploration of form and style by the artists in the period of modernism, current artists, especially like, Liu Bing and Haruna Sato who have the experience of different cultures and grow up in the wave of globalization and consumption, provide a development space for the real expression of personal “mind and nature” through their ability of integrating the cultural fragments and experience of crossing freely. Just as Michelle Foucault has said, “The present era may be a space era; we are in an era of simultaneity, an era of side-by-side, an era of distance, an era of co-existence, an era of spreading.” During this so-called post-modern cultural transformation, the body, the cultural landscape, is highlighted again, that is the possibility of desire for “body as a subject” is reaffirmed by the artists again. The desire and the technology concerned construct the body itself, and pure perception becomes a focus of body aesthetics. In the artworks of these three artists, namely, Lee Young-mi, Liu Bing and Haruna Sato, their shaping and imagination of “body” is not only the individual experience of the body transformation in this post-modern context but also the cultural “monologue” of Chinese, Japanese and Korean cultural differences and social upheaval. Interestingly, when they resort to the medium of “body”, they may have no intention of constructing a cultural consensus of “East Asia”, but they show a realistic view about “East Asia” in the body imagination. The expression and concept springing from the body differ from the sociological images and event statements of other artists since “Body: Glimpses of the nature of mind”, namely, the inner contemplation through the body, attaches most importance to the individual nature of mind for the body expression. Body is not a carrier of culture or society, and instead body is body. The construct or imagination of the culture with body ultimately still rests on the artists’ “nature of mind” and personal experience, though this “nature of mind” and personal experience inevitably get entwined in the real social situation and cultural traditions in China, Japan and Korea.