TANK SHANGHAI presents More, More, More, a major international group exhibition of contemporary art that works against theoretical traditions that fuse knowledge with sight, opening the field of artistic experience to a diversity of phenomena.
Featuring works by Sophia Al-Maria, Art Labor, Cecilia Bengolea, Dora Budor, Cheng Xinyi, Claudia Comte, Chelsea Culprit, Jesse Darling, Allison Janae Hamilton, Hao Liang, Huang He, Irena Haiduk, Brook Hsu, Devin Kenny, Ghislaine Leung, Ad Minoliti, Jota Mombaça, Mountain River Jump!, Lisa Naftolin with Alex Mcleod, Laure Prouvost, Peng Wei, Pamela Rosenkranz, Victoria Sin, Jenna Sutela, Tan Jing, Cecilia Vicuña, Nicole Wermers, Wong Kit Yi, Zhang Ruyi and Zhao Yao.
Exhibition: More, More, More
Venue: TANK Shanghai, 2380 Longteng Avenue, Shanghai, China
Locations: TANK 4 (July - October 2020);
TANK 4 and Grand Hall (November 2020 - January 2021)
Dates: 16 July, 2020 - 31 January, 2020
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From 16 July, 2020 through 31 January, 2021, TANK Shanghai presents More, More, More, a large-scale international exhibition featuring new commissions and existing artwork by 28 domestic and international artists and groups. For many of the artists, this will be their first showing in China and/or Asia.
The title of this exhibition, More, More, More, is a reference to a popular disco song from the mid-’70s, released by The Andrea True Connection. It features several musical elements that epitomize the aesthetic excess of early electronic dance music, such as verbal innuendo, a consistent “four on the floor” beat, lush studio strings, and, especially, excessive repetition.
The use of repetition in music—like in all media— changes our perception of the thing repeated. If excessively repeated, a familiar word may sound like gibberish, gain a double meaning, or transform into a different kind of speech act. [For example, when the word “more” is sung or emphasized repeatedly in English, it sounds more like the Chinese pronunciation of “mo, mo, mo,” meaning “touch, touch, touch!”] Through this process, the “meaning” of a word breaks down. It loses its conventional function as a fixed signifier for something else, becoming a more sensuous kind of object, lying somewhere between locution and music, symbol and noise, or the mind and the mouth.
This exhibition embraces a similar attitude of sensorial play, extra-linguistic excess, and mutable meaning as the old hit song from the 1970s. Working with the textures of a text, the sonority of language, the traces in a translation, or even the relationship between the visible and the microbial, More, More, More features art that works to open the field of artistic experience to a diversity of phenomena. In ways large and small, the artists and collectives in this exhibition break from the grim persistence of philosophical traditions that fuse knowledge with sight, allowing for new possible meanings, re-affixed to the body, to emerge.
The majority of artworks in More, More, More are multisensory forms crafted from materials that are not always accessible to eyesight, such as perfume, music, bacteria, digital machine-readable formats, and different frequencies (of light). More traditional media like figurative painting, poetry, ink painting, and line drawing also has a crucial presence in this exhibition. Such works enhance (or exaggerate) the sensuality of surfaces and cast doubt on the certitude of visual perception.
The diversity of practices in More, More, More attests to the vitality of transfeminist and non-Western subjectivities. Through different modes of making, the artists in this exhibition direct our attention to the methods of embodiment that facilitate even the most normalized techniques of knowledge production (such as reading a map or watching a TED Talk on YouTube). Many also illuminate the divergences between the experience of bodies on the one hand and the words and images used to give a body its identity on the other. Collectively and individually, the artworks in More, More, More possess a dynamic potential through which new orientations to knowledge can be sensed-- which, as art audiences, we should be inclined to emulate.
More, More, More is organized in three and a quarter “phrases,” a term lifted from music theory. The first phrasing of the exhibition unceremoniously began in July 2020. This exhibition was initially scheduled to open in March 2020. However, due to the challenges incurred by the viral pandemic, it was continually rescheduled. For the curatorial team, this dilemma provoked us to consider the conditions that produce singular, immediate events. The temporal structure of More, More, More reflects this evolved understanding of eventfulness. It will continue to develop, grow, transform, crescendo, and diminuendo until early 2021.
More, More, More is curated by Passing Fancy (X Zhu-Nowell and Frederick Nowell) with the support of Elise Armani and organized by TANK Shanghai.
Exhibition Publications
More, More, More is accompanied by two illustrated bilingual exhibition guidebooks and a bilingual reader. More details regarding the bilingual reader will be released in December. (Guidebook: 10RMB)
Education and Public Programs
More, More, More will be accompanied by a variety of programs both online and offline, the following programs are only a portion of the confirmed events. Additional programs will be announced later in the summer and fall.
SPF: Sunbathing
This series of Seasonal Passing Fancy (SPF) events for More, More, More takes inspiration from the activity of sunbathing, one of the most egalitarian acts with next to no barriers. Participating artists have conceived programming in response to this theme. The resulting events will be organized in a range of formats, including performances, vegetarian picnics, film screenings, conversations, amateur botanical tours, whispered readings, and more. The ethos of Sunbathing embraces differences and preferences as a means of dismantling segregation, barriers, and other structures that allow bias to remain “implicit.”
Free with exhibition admission
Virtual Tours by the Curators
August 15, 2020 at 2 PM
Join exhibition curators for specially designed bilingual live virtual tours. Visitors of all ages and abilities are encouraged and welcome to join. These programs will be led virtually through Zoom, a free video-conferencing software. Participants should have access to a computer, smartphone, or tablet with a microphone and internet access. A Zoom link and password will be emailed ahead of the program. All times listed are
Free with registration
Guided Tour
Every day at 3 PM
Join us for a guided tour to the More, More, More exhibition in person. Program length: 45 minutes. Led by TANK Shanghai educators and open to everyone.
Free with exhibition admission
ArtistTakeoverTANK
April 29 - July 10, 2020 (first phrasing)
October - December, 2020 (second phrasing)
Since April 29, with a rhythm of roughly two artist takeovers per week, artists Ad Minoliti, Jenna Sutela, Zhao Yao, Cecilia Bengolea, Dora Budor, Mountain River Jump!, Hao Liang, Cecilia Vicunña, Tan Jing, Pamela Rosenkranz, Mire Lee, Victoria Sin, Brook Hsu, Art Labor, Devin Kenny, Chelsea Culprit, and Lisa Naftolin were invited to takeover TANK Shanghai’s social media platforms to share some current and past projects, work in process, reflections, inspirations, and a bit of their studio life in the shared COVID-19 climate. This program will continue in September.
To review the past takeover materials, please visit:
Instagram (English only) :
https://www.instagram.com/tankshanghai/
WeChat Official Account (Bilingual):
http://mp.weixin.qq.com/mp/homepage?__biz=MzU2NTU5Njg0Nw==&hid=7&sn=4ccc983105b037fd023e354841926d56&scene=18#wechat_redirect
BIOGRAPHIES
Curators:
X Zhu-Nowell joined the Guggenheim’s curatorial staff in 2014, and curated the exhibition Art and China after 1989: Theater of the World (2017-19), and subsequently managed its tours to SFMOMA and Guggenheim Museum Bilbao. They are currently working on a full rotunda exhibition, tentatively titled Performance, Process, and Politics in the 1970s (2022) and developing a series of exhibitions and projects for Guggenheim’s reopening. They are one of the founding curators for the museum’s Asian Art Circle, an acquisition group dedicated to facilitating the museum’s ongoing efforts to diversify and strengthen its programming and collection, through a concerted focus on the contributions of emerging and established artists from Asia. Within this initiative, Zhu-Nowell is responsible for programming the annual performance program, Asian Art Circle Presents. This public program initiative provides an institutionally supported platform for Asian artists, especially those that have traditionally underrepresented intersectional identities (particularly trans and queer identified artists), and whose individual artistic practices often cast them to the fringes of dominant historical narratives, in large part due to the difficulty of “acquiring” their work (i.e., performance and time-based practices) and how their identities complicate dominate narratives of “Asian-ness.” They lead Frameworks, a curatorial working group within the curatorial department at the Guggenheim, as a think tank dedicated to (re)considering dominant notions of curatorial practice and discourse, underlining the importance of decoloniality, and queer and/or trans perspectives. They also lead the Indigenous Art Initiative working group at the Guggenheim. Prior to joining the Guggenheim Museum in 2014, they were part of the curatorial team for the 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms and held curatorial positions at the Museum of Contemporary Art, Chicago, the Sullivan Galleries and the Hyde Park Art Center. Since the fall of 2018, Zhu-Nowell has collaborated with Frederick Nowell as Passing Fancy. X Zhu-Nowell holds a master’s degree from the Massachusetts Institute of Technology.
Frederick Nowell is a musicologist and art theorist interested in the intersections between musical-theoretical concepts and the history of thought in aesthetics and Art History. He researches the specificity of media in the arts, the history of medium-specificity arguments after 1750, and concepts of 'intermediality' from a cross-disciplinary perspective. His primary research involves the large-scale transformations of the media apparatus in modern and contemporary art history, particularly after the conceptual turn. He has secondary interests in popular music studies and the history of the senses, and advocates for the study of transgender history beyond the philosophical framework of the linguistic turn. He was a University Fellow at Northwestern University in Art, Theory & Practice, and is currently working towards a Ph.D. in Musicology at Cornell University. Since the fall of 2018, he has collaborated with X. Zhu-Nowell as Passing Fancy.
Elise Armani is a New York-based curator, writer, and art historian. She has contributed to curatorial projects at the Solomon R. Guggenheim Museum, the Dallas Museum of Art, the Walker Art Center, and the Weisman Art Museum. Her recent exhibitions include More, More, More (TANK Shanghai, 2020), Body Ego (Dallas Museum of Art, 2018), and Cultivating the Garden (Walker Art Center, 2017). She is currently teaching and working towards her PhD in the Department of Art History and Criticism at Stony Brook University.
Artists:
Sophia Al-Maria (b. 1983, Tacoma, USA) lives and works in London. An artist, writer, and filmmaker, Al-Maria studied comparative literature at the American University in Cairo, and aural and visual cultures at Goldsmiths, University of London. Her work has been exhibited at various institutions around the world including Tate Modern, London; Palais de Tokyo, Paris; Kunsthall Stavanger, Stavanger; Ullens Centre for Contemporary Art, Beijing; Museum of Contemporary Art, Chicago; Whitney Museum of American Art, New York; LUMA Westbau, Zurich; New Museum, New York; and Serpentine Galleries, London. In 2016, Al-Maria participated in the Biennale of Moving Images (BIM), organized by the centre d’art contemporain in Geneva. Her writing has appeared in Harper's Magazine, Five Dials, Triple Canopy, and Bidoun. She is also the author of Virgin With A Memory and The Girl Who Fell To Earth. In 2018 she was a writer-in-residence at Whitechapel Gallery, London.
Art Labor is an artist collective based in Ho Chi Minh City, who works at the intersection of visual arts and social and life sciences. Composed of Arlette Quynh-Anh Tran (b. 1987, Berlin), Thao Nguyen Phan (b. 1987, Ho Chi Minh City), and Trương Công Tùng (b.1986, Daklak), the collective does not produce discrete and singular artworks, but rather pursues years-long “journeys”, which expand the duration of projects and related works. Their previous journeys include Unconditional Belief (2012-2015), Jrai Dew (2016-ongoing) and JUA (2019-ongoing). Their practice has been widely exhibited in Vietnam and internationally in notable venues such as the 57th Carnegie International, Pittsburgh; the Bangkok Art Biennale; Dhaka Art Summit; Para Site, Hong Kong; Museum of Modern Art, Warsaw; and the Centre Pompidou, Paris.
Cecilia Bengolea (b. 1979, Buenos Aires) lives and works in Paris, where she translates her practice of anthropological community dance through video, sculpture and installation. Bengolea has collaborated with dancehall artists such as Craig Black Eagle, Bombom DHQ, Damion BG. Alongside François Chaignaud, Bengolea founded the dance group Vlovajob Pru, and the duo have won several awards, including the Prix de la Critique de Paris in 2009 and the Young Artist Prize at the Gwangju Biennial in 2014. Bengolea’s work has been widely exhibited, including at the Gwangju Biennial; Biennale de Lyon; the Tanks at Tate Modern, London; Faena Arts Center, Buenos Aires; Institute of Contemporary Art, London; Dia Art Foundation, New York; Spiral Hall, Tokyo; Biennale de São Paulo; Hayward Gallery, London; Elevation 1049, Gstaad; Palais de Tokyo, Paris; Fiorucci Art Trust, Stromboli, Italy; Dhaka Art Summit; and the Centre Pompidou, Paris.
Dora Budor (b. 1984, Zagreb) lives and works in New York. Her work has been exhibited extensively throughout the U.S. and Europe including exhibitions at Kunsthalle Basel; La Panacée Montpellier; Aishti Foundation, Beirut; Louisiana Museum of Modern Art, Humlebæk, Denmark; Museum of Contemporary Art, Belgrade; Palais de Tokyo, Paris; MAK Museum, Vienna; Whitney Museum of American Art, New York; KW Institute for Contemporary Art, Berlin; Fridericianum, Kassel; and Swiss Institute, New York. Budor has participated in numerous biennials including the Berlin Biennial; Vienna Biennale; Art Encounters, Timișoara, Romania; Baltic Triennial; Istanbul Biennial; and in the upcoming RIBOCA 2, Latvia; Geneva Sculpture Biennial; and Belgrade Biennial 2020. She was a recipient of the Rema Hort Mann Foundation’s Emerging Artist Prize in 2014 and Pollock Krasner Foundation Grant in 2018. In 2019, she was awarded the prestigious Guggenheim Fellowship for Creative Arts.
Cheng Xinyi (b. 1989, Wuhan) lives and works between Shanghai and Paris. Trained as a sculptor in China, Cheng left for the United States to study painting before joining the artist-in-residence program at the Rijksakademie van Beeldende Kunsten in Amsterdam. Her works have been shown at Antenna Space, Shanghai; Galerie Balice Hertling, Paris; Matthew Marks Gallery, New York; Frans Hals Museum, Haarlem; Practice, New York; the Bronx Museum of the Arts, New York; and the Rijksakademie, Amsterdam.
Chelsea Culprit (b. 1984, Kentucky) lives and works in Mexico City. Recent solo exhibitions of Culprit’s work include Malas Madres, Lulu, Mexico City (2019); Fear of Seduction, Queer Thoughts at Maureen Paley, London (2019); DMing Purgatory, Queer Thoughts, New York (2018); Fishnets, Uma Certa Falta de Coerência, Porto, Portugal (2017); Right to Remain Elegant, Galería La Esperanza at Barba Azul, Mexico City (2017); and Miss Universe, Yautepec, Mexico City (2016). Culprit’s work has been featured in group exhibitions at Palais de Tokyo, Paris; Museum of Modern Art, Warsaw; Revolver Galería, Lima; Australian Centre for Contemporary Art, Melbourne; and Museo de Arte Carrillo Gil, Mexico City.
Claudia Comte (b. 1983, Grancy) is a Swiss artist based in Basel, Switzerland. Her work is defined by her interest in the memory of materials and by a careful observation of how the hand relates to different technologies. Comte studied at the Ecole Cantonale d’Art de Lausanne, ECAL (2004-2007) followed by a Masters of Art in Science of Education at Haute Ecole Pédagogique, Visual Arts, Lausanne, Switzerland (2008-2010). Her body of work is best known for her site-specific installations and her practice is guided by a distinct rule-measurement system of her own creation, wherein each artwork specifically relates to one another. Recent exhibitions of Comte’s work include How to Grow and Still Stay the Same Shape, Castello di Rivoli (2019); Fruits and Jungle, König Galerie, London (2019); I Have Grown Taller from Standing with Trees, Copenhagen Contemporary (2019); The Morphing Scallops, Gladstone Gallery, New York (2019); Zigzags and Diagonals, MOCA Cleveland (2018), and Swiss Performance Now, Kunsthalle Basel (2018).
Jesse Darling (b. 1981, Oxford) is based in London and Berlin. In an ongoing project to denaturalise the theological ecosystem of capitalist modernity as “an arbitrary, violent fairytale,” JD’s work and research considers the social, physical and narrative body as a site where architectural, [bio]political and social structures manifest and become transformed. Jesse Darling works in sculpture, installation, text, sound and ‘dasein by design’. Their work has been published and exhibited internationally, including recent participation in the Yokohama Triennale (curated by Raqs Media Collective) (2020) and the 58th Venice Biennale, Venice (2019). JD’s recent solo exhibitions include Jesse Darling at Kunsthalle Freiburg (2020); Crevé, Triangle France - Astérides, Marseille (2019); and The Ballade of Saint Jerome, Tate Britain, London (2018). They have published texts in print and online including The Best British Poetry 2015 (Salt Press); Mass Effect: Art and the Internet in the 21st Century (MIT Press, 2015); and Art After the Internet (Cornerhouse Books, 2014).
Allison Janae Hamilton (b. 1984, Kentucky) was raised in Florida, and her maternal family’s farm and homestead lies in the rural flatlands of western Tennessee. She lives and works in New York. Hamilton has exhibited at the Museum of Modern Art, New York; Storm King Art Center, New Windsor, NY; the Studio Museum in Harlem; MoMA PS1, Long Island City, NY; the Smithsonian National Portrait Gallery, Washington, DC; the Jewish Museum, New York; Fundación Botín, Santander; the Brighton Photo Biennial; and the Istanbul Design Biennial. She has had solo exhibitions at the Massachusetts Museum of Contemporary Art, North Adams; Atlanta Contemporary; and at Wonder Room at Recess, New York. Hamilton was a 2013-2014 Fellow at the Whitney Independent Study Program and has been awarded artist residencies at the Studio Museum in Harlem, Recess, and Fundación Botín. She is a recipient of the Creative Capital Award and the Rema Hort Mann Foundation Grant.
Hao Liang (b. 1983, Chengdu) lives and works in Beijing. He studied Chinese painting at Sichuan Fine Arts Institute, receiving a Bachelor and a Master of Fine Arts. Hao Liang’s work has been exhibited internationally at numerous venues including the Venice Biennale; the Metropolitan Museum of Art, New York; Centre Pompidou, Paris; and Foundation Louis Vuitton, Paris. His recent solo exhibition Hao Liang: Circular Pond was held at Aurora Museum in Shanghai in 2019.
Huang He (b. 1985, Guangzhou) graduated from Guangzhou Academy of Fine Arts in 2008, now lives and works in Foshan. In 2016, she founded artist-duo Mountain River Jump! with her identical twin sister Huang Shan. Huang He literally means the Yellow River in Chinese. Huang’s work has been exhibited at Pingshan Art Museum, Shenzhen; Goethe-Institut China; Para Site, Hong Kong; Sifang Art Museum, Nanjing; Taikang Space, Beijing; and SLEEPCENTER, New York.
Irena Haiduk is against biography.
Brook Hsu (b. 1987, Pullman, Washington) lives and works in New York. Recent solo exhibitions include: Conspiracy theory at Et al., San Francisco (2019); pond-love, Bortolami Gallery, New York (2019). Group exhibitions include: Let Me Consider It from Here, The Renaissance Society, Chicago (2018-2019); Fruiting Body, Bahamas Biennale, Detroit (2018); The End of Expressionism, Jan Kaps, Cologne (2020); Polly, Insect Gallery, Los Angeles (2019-2020); A Cloth Over a Birdcage, Château Shatto, Los Angeles (2019); and Finders’ Lodge, in lieu, Los Angeles (2019). Upcoming exhibitions include More, More, More (curated by Passing Fancy), TANK Shanghai; summer group show, C L E A R I N G, New York; and Particularities (curated by Chris Sharp), X Museum, Beijing, 2020. A monograph and edition is forthcoming from American Art Catalogues.
Devin Kenny (b. 1987, Chicago) is a cross-disciplinary artist, writer, musician, producer, and independent curator. He has collaborated with various art and music venues in New York, Chicago, Los Angeles, and elsewhere, including Recess, New York; Het Roode Bioscoop, Amsterdam; REDCAT, Los Angeles; Freak City, Los Angeles; Julia Stoschek Collection, Berlin; the Core Program at the Museum of Fine Arts, Houston; SOMA Summer, Mexico City; Goethe-Institut New York, and MoMA PS1, where he participated in Greater New York (2015). A graduate of Cooper Union, Kenny received his MFA in 2013 from the New Genres department at University of California Los Angeles and is an alumnus of the Whitney Independent Study Program.
Ghislaine Leung (b. 1980, Stockholm) lives and works in London. Leung has exhibited across Europe, India, and North America. Recent solo exhibitions include CONSTITUTION, which was part of the 2019 commissions programme at Chisenhale Gallery, London; POWER RELATIONS at ESSEX STREET, New York; and VIOLETS 3, the third installment of a long-term project developed with Netwerk Aalst in Belgium. Her work resides in the permanent collections of public institutions internationally including FRAC Lorraine, Metz; the University of Chicago’s Booth School of Business; and the Arts Council Collection, London. Recent museum exhibitions featuring Ghislaine Leung’s work include I, I, I, I, I, I, I, Kathy Acker at the Institute of Contemporary Arts, London and The Making of Husbands: Christina Ramberg in Dialogue, which began at the KW Institute for Contemporary Art, Berlin to travel to the FRAC Lorraine, and the Baltic Centre for Contemporary Art, Gateshead, UK.
Ad Minoliti (b. 1980, Buenos Aires) earned a BFA from the National Academy of Fine Arts P. Pueyrredón in Buenos Aires. They have been an agent at the Artistic Investigation Center of Argentina since 2009, the same year in which they founded the group PintorAs, a feminist collective of Argentinian painters. Minoliti has had solo exhibitions at Massachusetts Museum of Contemporary Art, North Adams; Contemporary Arts Museum Houston; Museum of Modern Art, Buenos Aires MALBA; Art Basel; and Kadist Foundation, Paris. Their work was included in the Venice Biennial, Cleveland Triennial, Aichi Triennial, and Porto Alegre Biennial. They have received grants from the Ministry of Culture of Argentina, the Metropolitan Fund for the Arts of Buenos Aires and Mexico’s FONCA Conaculta, as well as several awards including the 2015 National Painting Award from the Central Bank of the Republic of Argentina and the 2013 Acquisition Prize at the Arcos Dorados Latin American Competition.
Jota Mombaça (b. 1991, Natal) lives and works between Fortaleza, Brazil; Lisbon, Portugal; and Berlin, Germany. They are an interdisciplinary artist whose work derives from poetry, critical theory, and performance and relates to anti-colonial critique and gender disobedience. Important to their practice is the sonic and visual matter of language. Through performance, visionary fiction, and situational strategies of knowledge production, they rehearse the end of the world as we know it and the figuration of what comes after we dislodge the Modern-Colonial subject from its podium. They have presented work in the Mercosul Biennial, Brazil; the Biennale of Sydney; and the São Paulo Biennial.
Mountain River Jump! is an artist duo founded in 2016 by twin sisters Huang Shan and Huang He, who were born in 1985. The duo works in a variety of creative formats, often applying “divination consulting” as a performance to examine the potential of such an art medium, and to interact with the audience at the intrinsic level. With their studies into Oriental mysticism and folklore, the artists pry open the topics of identity politics, labor issues, feminism, life politics, modernity and others. They pay attention to the embodiment of mythological clues in a daily context, attempting to carry out “psychoanalysis” of the reality, and reflecting on the materialist culture within modern China and its psychological status. Huang Shan and Huang He presently work and live in Foshan, Guangdong. Their practice was introduced by ArtAsiaPacific. Mountain River Jump!’s recent projects include: Yebisu International Festival for Art; Alternative Visions 2020 Regional Cooperation Project, Tokyo; Sunset on a Dead End, Power Station of Art (PSA), Shanghai; The Force Temple, Tank Shanghai; Waves wash away the sand FM, UCCA Dune, Beidaihe; Glow Like That, Victoria Dockside, K11 Art Foundation, Hong Kong; DOJO le temple de l’abstraction, Le Commun, Genéva; GENDERS ENGENDER, Taikang Space, Beijing, etc. They are going to take part in We Do Not Dream Alone, Asia Society Triennial, New York in 2021.
Lisa Naftolin (b. 1964, Toronto) is a New York-based Creative Director who has worked on cultural and commercial projects for museums, magazines, brands, and artists for the past 25 years. She has been Creative Director, Publishing and Digital Media at the Solomon R. Guggenheim Foundation, and Creative Director of Art + Commerce. Naftolin has been an Art Director at publications including The New York Times Magazine and Architecture. The recipient of numerous professional awards, Naftolin has sat on the board of the AIGA NY and on juries for The American Institute of Graphic Arts, the Hyères Festival, and the I.D Awards among others. She has been a visiting critic in Design at Yale, a mentor in the Photography program at the School of Visual Arts, and a visiting artist at Cooper Union.
Laure Prouvost (b. 1978, Croix-Lille) lives and works between Antwerp, Belgium, and London, United Kingdom. Graduated with a Bachelor of Fine Arts from Central Saint Martins (London, 2002) and a Master of Fine Arts from Goldsmiths College (London, 2010), Laure Prouvost is one of the most well-known artists on the contemporary international art scene. In 2019, Prouvost represented France at the 58th Venice Biennial and in 2020, she is participating in the Sydney Biennial. She has had recent solo exhibitions in prestigious institutions, including AM-BIG-YOU-US LEGSICON at the Museum of Contemporary Art Antwerp (2019); RING SING AND DRING FOR TRESPASSING at the Palais de Tokyo (France, 2018); They are Waiting for You at the Bass Museum (USA, 2018); and the wet wet wanderer at the Witte de With (Rotterdam, 2017). Laure Prouvost was awarded the Turner Prize in 2013, the Max Mara Prize for Women in 2011. She was the principal prize winner of the 56th, 57th and 62nd Oberhausen Short Film Festival in 2010 and 2011, as well as the EAST International Award in 2009. In 2016, she was distinguished as Knight of the Ordre National du Mérite, and in 2019 she was distinguished as Officer of l’Ordre des Arts et des Lettres.
She has had recent significant solo exhibitions in prestigious institutions, including at the MUHKA with AM-BIG-YOU-US LEGSICON (Belgium, 2019), at the Palais de Tokyo with RING SING AND DRING FOR TRESPASSING (France, 2018), at the Bass Museum with They are Waiting for You (USA, 2018), the Witte de With with the wet wet wanderer (Rotterdam, 2017), at the Consortium with DROPPED HERE AND THEN, TO LIVE, LEAVE IT ALL BEHIND (Dijon, 2016), at the MMK Frankfurt am Main with ALL BEHIND, WE’LL GO DEEPER, DEEP DOWN AND SHE WILL SAY: (Frankfurt, 2016), at the Kunsthalle Luzern with AND SHE WILL SAY: HI HER, AILLEURS, TO HIGHER GROUNDS... (Luzern, 2016), at the Pirelli HangarBicocca with GDM-Grandad Visitor Center (Milan, 2016), at the Red Brick Art Museum with Into All That Is Here (Beijing, 2016), and at the FLAX Foundation Fahrenheit with A Way To Leak, Lick, Leek (Los Angeles, 2016). Laure Prouvost was awarded the Turner Prize in 2013, the Max Mara Prize for Women in 2011, the Prize Winner of the 56th, 57th and 62nd Oberhausen Short Film Festival in 2010 and 2011 as well as the EAST International Award in 2009. In 2016, she was distinguished as Knight of the Ordre National du Mérite, and in 2019 she was distinguished as Officer of l’Ordre des Arts et des Lettres.
Peng Wei (b. 1974, Chengdu) lives and works in Beijing. Peng earned her BFA from the Department of Oriental Culture and Art of Nankai Univerisity in Tianjin, China in 1997, and received her MFA in Aesthetics from the same institution in 2000. Peng Wei’s work has been collected by The Cleveland Museum of Art, Museum of Fine Arts, Boston, Asian Art Museum (San Francisco), Brooklyn Museum, M+, National Art Museum of China, Hong Kong Museum of Art, Guangdong Museum of Art, He Xiangning Art Museum, Art Museum of Beijing Fine Art Academy, The Sigg Collection, and DSL Collection.
Pamela Rosenkranz (b. 1979, Uri) received her MFA from the Academy of Fine Arts, Bern, in 2004, and completed an independent residency at the Rijksakademie in Amsterdam in 2012. Rosenkranz is a professor at Kunstakademie Munich. Rosenkranz’ project Our Product was selected to represent Switzerland at the 56th Venice Biennale in 2015. Recent selected solo shows and special projects include: Okayama Art Summit: IF THE SNAKE (2019); 15th Biennale de Lyon:Là où les eaux se mêlent (2019); Sharjah Biennial 14: Leaving the Echo Chamber (2019); Alien Blue Light, Kreuzgang Fraumünster, Zurich (2018); Slight Agitation 2/4: Pamela Rosenkranz, Fondazione Prada, Milan (2017); Alien Culture, GAMeC Bergamo, (2017); Being There, Louisiana Museum of Modern Art, Humlebæk, Denmark (2017); and K21 Künstlerräume, Kunstsammlung Nordrhein- Westfalen, Düsseldorf (2017).
Victoria Sin (b. 1991, Toronto) has presented work at the Museum of Contemporary Art, Toronto; MOMENTA Biennale de l’image, Montreal; Hayward Gallery, London; Dortmunder Kunstverein; the Venice Biennale; Whitechapel Gallery, London; Palais de Tokyo, Paris; Serpentine Galleries, London; Chi-Wen Gallery, Taipei; Taipei Contemporary Art Center; Brunel Museum, London; Institute of Contemporary Art, London; and Tate Modern, London.
Jenna Sutela (b. 1983, Turku) is currently Visiting Artist at the MIT Center for Art, Science & Technology (CAST) for 2019-20. Recent exhibitions and presentations include Moderna Museet, Sweden (2019); Serpentine Galleries, London (2019); Guggenheim Bilbao, (2018); Surplus Space, Wuhan (2018); Bold Tendencies 12 (2018); MOMENTUM 9 (2017); and Museum of Contemporary Art Tokyo (2015).
Tan Jing (b. 1992, Guangdong) received her BA from Chelsea College of Art in 2015 and her MA from the Royal College of Art in 2017. Her recent exhibitions include: But there is no one for me..., Bolingbroke Walk project, Yard Gallery, Shanghai (2018); Space Chorus, Alte Handelsschule, Leipzig, Germany (2018); Re-set, Powerlong Museum, Shanghai (2018); and Mut zum Hut! Hats off to hats!, Spielzeug Welten Museum, Basel (2019). Tan is the recipient of a fellowship at HB Station Contemporary Art Research Centre in Guangzhou for 2019-2020.
Cecilia Vicuña (b. 1948, Santiago) is a poet, artist, filmmaker and activist. Born and raised in Santiago, she has been in exile since the early 1970s after the military coup against President Salvador Allende. Vicuña received her MFA from the National School of Fine Arts, University of Chile (1971) and completed postgraduate studies at Slade School of Fine Art, University College London. A recent survey exhibition of her work About to Happen was organized by the Contemporary Arts Center New Orleans, (2017), and traveled to the Berkeley Art Museum and Pacific Film Archive; Institute of Contemporary Art Philadelphia; Henry Art Gallery, Seattle; and Museum of Contemporary Art, North Miami. Vicuña has published 20 volumes of art and poetry. She is the recipient of several awards, including the Herb Alpert Award in the Arts (2019); Anonymous Was a Woman Award (1999); and The Andy Warhol Foundation Award (1997). In 2015, She was appointed the Messenger Lecturer at Cornell University.
Nicole Wermers (b. 1971, Emsdetten) lives and works in London. In 2015, Wermers was a Turner Prize nominee, for which she exhibited the installation Infrastruktur, originally shown at Herald St, London. Wermers is currently a professor of sculpture, ceramics and glass at Akademie der Bildenden Künste, Munich. In 2016, she launched her artist’s book Croissants & Architecture published by Motto Books. Wermer’s recent exhibitions include a two-person solo exhibition with Markus Amm at Herald St | Museum St, London (2018) and her most comprehensive solo show to date, Women Between Buildings, at Kunstverein in Hamburg, accompanied by a major monograph (2018). Following this, Wermers unveiled her public commission for Cambridge University and participated in the 2018 Athens Biennale. In 2020, Wermers is participating in group exhibitions at the Mutina for Art, Fiorano; the Gregg Museum of Art and Design, Raleigh; the Columbia Museum of Art, Columbia, San Francisco Museum of Craft and Design, San Francisco; Hamburger Kunsthalle, Hamburg and the 33rd Ljubljana Biennial of Graphic Arts, Center for Contemporary Art Ujazdowski Castle in Warsaw.
Wong Kit Yi (b. Hong Kong) lives and works between New York and Hong Kong. Her solo shows include “Magic Wands, Batons and DNA Splicers” (Art Basel Hong Kong, 2018), and “Futures, Again” (P!, New York, 2017). Her works have been included in group projects organized by Public Art Fund (New York, 2020); Para Site (Hong Kong, 2019); Surplus Space (Wuhan, China, 2018); the Latvian Centre for Contemporary Art (Latvia, 2017); and the Queens Museum (New York, 2014). Reviews of her work have appeared in such publications as the New York Times, Art in America, Contemporary Art Daily, e-flux conversations, ArtReview, ARTnews, ArtAsiaPacific, and Art Newspaper etc. She has been selected for the Chinati Foundation Artist in Residence program (Marfa, US, 2021), where she will walk to and fro between Mexico and the US to explore meteorological borders. She received an MFA from Yale University, and has been teaching university courses about performance, video art and new media. When she is not teaching, she loves lecturing people in her signature karaoke-inspired lecture format. She is the co-chair of LASER (Leonardo Art Science Evening Rendezvous) Hong Kong, and a die-hard member of KFC (kombucha fan club).
Zhang Ruyi (b. 1985, Shanghai) lives and works in Shanghai. Her conceptual practice includes sculpture, painting, and installation, and centers everyday logic, occupying a specific space at the nexus of reconciled artifacts, industrialized experiences, and urban life. Zhang’s work has been shown at the K11 Art Foundation, Hong Kong (2019); Shanghai Rockbund Art Museum (2018); the Ullens Center for Contemporary Art, Beijing (2017); Cass Sculpture Foundation, Chichester (2016); the Sifang Museum of Contemporary Art, Nanjing (2016); Shanghai 21st Century Minsheng Art Museum (2015); and other institutions. Recent solo exhibitions include Conciousness of Location, Don Gallery, Shanghai (2019); Bonsai, François Ghebaly Gallery, Los Angeles, (2019), Building Opposite Building, Don Gallery, Shanghai (2016); and Pause, White Space, Beijing (2016).
Zhao Yao (b. 1981, Sichuan) lives and works in Beijing. Zhao graduated from the Sichuan Fine Arts Institute in 2004. His works have been exhibited internationally at Palais de Tokyo, Paris; Museum Boijmans Van Beuningen, Rotterdam; Tate Modern, London; Fremantle Arts Centre, Australia; Rubell Family Collection, Miami; Eli and Edythe Broad Art Museum, Michigan; Whitechapel Gallery, London; and Rockbund Art Museum, Shanghai. Solo exhibitions of his work have been held at Taikang Space, Beijing (2010); Beijing Commune (2011 and 2012); Pace Gallery, London (2013); and Pace Gallery, Hong Kong (2015).
Information for the Visitors
To ensure safety conditions, all visitors must make reservations online. TANK will also be applying the safety and social distancing measures recommended for public spaces.
For more information on how to make a reservation：
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