展覽時間：2009.10.31-2009.11.7(週一閉館)

開幕時間：2009.10.31下午3點(diǎn)

主辦：藝術(shù)景中心

展覽地點(diǎn)：上海多倫現(xiàn)代美術(shù)館一樓(多倫路27號)

歷史也能開口説話嗎？這正是藝術(shù)家毛艷陽想要探尋的問題。毛艷陽的創(chuàng)作涉及環(huán)保、戰(zhàn)爭到兒童保護(hù)、流行文化等廣泛的社會文化及政治議題。1983年出生於湖南，2002年畢業(yè)于四川美術(shù)學(xué)院，毛艷陽從眾多當(dāng)代藝術(shù)家中脫穎而出，成為了2007中國新銳畫家大獎的金獎得主。

毛艷陽的作品主要探討如何呈現(xiàn)客觀事實(shí)。他善於運(yùn)用話筒這一標(biāo)誌性的符號，質(zhì)疑媒體如何能夠從複雜的社會、文化和歷史環(huán)境中提取真相。理論上，話筒是一個中立的接收設(shè)備，而通常在困難的、悲慘的或不合常理的環(huán)境中，這種中立是無法實(shí)現(xiàn)的。毛艷陽的作品一方面提醒我們，被訪者一旦知曉媒體的潛在影響，就有可能對訪問做出不同回應(yīng)。另一方面，社會中的受害人常常無法察覺媒體的控制性與錯誤報(bào)道的傾向，藝術(shù)家以此質(zhì)疑媒體是否有這種控制的權(quán)力。

毛艷陽本身擅長于圖像運(yùn)用的操控，因此他並不回避此類話題。關(guān)於藝術(shù)家總在試圖探尋他自己永遠(yuǎn)無法獲得的東西的説法並不完全正確。毛艷陽選擇在完全主觀的世界裏享受黑色幽默。也許畫面裏的話筒無法避免現(xiàn)實(shí)的影響，它們的形態(tài)和顏色必須受當(dāng)時當(dāng)?shù)氐臍v史情境所限。而在一些涉及政治人物及難民兒童的系列作品中，話筒作為強(qiáng)加的部分則顯得格外諷刺與滑稽。另有幾幅作品以出席/缺席為主題：當(dāng)不再有任何人對事件發(fā)表評論，後果將會如何？毛艷陽試圖在作品中呈現(xiàn)各種可能的變化。

毛艷陽此次最新個展名為“兩萬赫茲”：事實(shí)上兩萬赫茲的聲音已超過人類聽覺能力的上限，隱喻當(dāng)代社會將無法得知這些被錯誤報(bào)道的人，事物及社會情境、問題。另一方面也隱喻真相的確實(shí)存在於世界的某個角落。儘管毛艷陽向我們展現(xiàn)了一幅進(jìn)退兩難的困境，但也許只有通過揭示表現(xiàn)形式的不可靠，人們才有機(jī)會發(fā)掘客觀的事實(shí)真相。

Mao Yanyang @ 20,000 Hz Press Release

Can history speak for itself? Artist Mao Yanyang seeks to answer this question by exploring numerous social, cultural and political problems in his art, ranging from the environment and war to child protection and pop culture. Born in 1983 in Hunan province China, the artist graduated from the Sichuan Academy of Fine Art in 2002. In 2007, Mao Yanyang was awarded the Gold Prize of the Chinese Art Prize, establishing him as a breakthrough contemporary artist.

In Mao Yanyang’s art, the key point of debate is the feasibility of representing objective facts. His trademark symbol- the microphone- serves to criticize the media’s ability to discern truth from complex social, cultural and historical situations. Logically, the microphone is a neutral receiving device, yet the often extreme, tragic and/or absurd nature of these situations ostensibly renders that function impossible. On the one hand, we are reminded that interviewees are likely to alter their responses to media enquiry if they are conscious of its potential impact. On the other hand, victims of society are often painfully unaware of the media’s tendency to manipulate and misrepresent, questioning if the media has a right to impose its presence.

Mao Yanyang himself does not escape this enquiry, for the artist is also the master manipulator of images. That his art attempts to explore what he himself can invariably never achieve is ironic. Mao Yanyang thus chooses to revel in the dark humor of an entirely subjective world. Even the microphones in his paintings cannot escape this reality; their models and colors conditioned by the historical situation in which they are placed. The never-ending imposition of the microphone in the portrait series of politicians and refugee children is so absurd, it is tragically comic. Several paintings play on the theme of presence/absence, depicting the aftermath of an event where there is no longer anybody to pass comment; arguably the most effective variation of this theme.

The title of the exhibition is pertinent. 20,000 hz is the frequency beyond which humans cannot hear and the implication is that society will forever be ignorant of the truth behind misrepresented peoples, problems and situations. On the other hand, the implication is also that the truth is out there somewhere. Although it seems that Mao Yanyang presents us with an impossible quandary, it is only by exposing the fallibility of all forms of representation that we can ever hope to discover objective truths.

Period: 31th Oct, - 7th Nov,2009

Opening: 3pm.31th Oct,2009

Sponsor: Art Scene China

Venue: 1st Floor, Shanghai Duolun Museum of Modern Art

（No.27,Duolun Road, Shanghai, China）