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主编：卡罗林 ·汉考克 弗朗索瓦 ·米肖

Edited by Caroline Hancock & François Michaud

Shen Wei:Exploring The Unknown

沈伟 :未知的探索

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Shen Wei:Exploring The Unknown

沈伟 :未知的探索

主编：卡罗林 ·汉考克 弗朗索瓦 ·米肖

Edited by Caroline Hancock & François Michaud

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目录 Content

序王隽，中国上海国际艺术节中心

前言卡罗林 · 汉考克和弗朗索瓦 · 米肖

早期创作

未知的探索：沈伟与卡罗林 · 汉考克的对谈

抽象、运动及音乐

自然身体发展法

沈伟的视野弗朗索瓦 · 米肖

心像景观

沈伟：游移于物像冥思之间毛奕龄

历程

展览作品列表

致谢

ForewordWang Jun, �e Center for China Shanghai International Arts Festival

 

PrefaceCaroline Hancock & François Michaud

 

Early Work  

Exploring �e Unknown: An interview between Shen Wei and Caroline Hancock

 

Abstraction, Movement and Music

 

�e Natural Body Development Technique  

Shen Wei's VisionsFrançois Michaud

 

Mindscapes

 

Trance and the Biomorphic Imaginary in

Shen Wei’s Art Yiling Mao

 

Chronology

 

Exhibition Work List

Acknowlegement

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香賁峰ḿǔ賁倸ь踞拿э射渎工钓隗 Current and following pages: Folding, 1999. Preparatory drawing and photograph of performance.

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Wang Jun

�e Center for China Shanghai International Arts Festival

Foreword序

Shen Wei’s name is familiar to the Chinese audience, especially art lovers.

Shen Wei was born in 1968 in Hunan. He moved to New York in 1995 with a scholarship, and founded his own company, Shen Wei Dance Arts, in 2000. His contribution to the field of contemporary dance is widely appreciated by the international dance world. He has recently received many international honours, including the international dance “Oscar” known as the “Ni-jinsky Award” (2004), the top creative talents prize in the United States – “MacArthur Genius Award” (2007), “John D. Rockefeller III Achievement Award” (2017). He became well known in China after he worked as the creative planner and chief choreographer for the 2008 Beijing Olympic Games opening ceremony.

However, his outstanding artistic talents in the field of visual arts creation are less known. He studied Chinese painting and calligraphy when he was young and then he trained in Western art history. He built up a strong foundation of Eastern and Western painting skills. In recent years, his art exhibitions have taken place in America, Europe and Asia. He shifts his unique creative vocabulary, from painting to multimedia installations, video, animation and live performance in special locations that form a unique personal style as a Gesamtkunstwerk.

On the occasion of the 20th anniversary of the establishment of China Shanghai International Arts Festival, we are very hon-oured to introduce this talented and creative artist to Chinese audiences through his first solo exhibition. As an intimate partner of the Festival and one of the most outstanding representatives of the Chinese community, Shen Wei has been committed to connecting with and exploring the cultural aesthetics between East and West and unknown areas over the years. The exhibition, entitled Shen Wei: Exploring The Unknown, presents a retrospective view, introduces his main creative experiences in art and dance since 1990s. His important theory the “Natural Body Development Technique” (NBDT) crosses different disciplines. The exhibition will include his latest artwork, commissioned by China Shanghai International Arts Festival, as well as paintings, sketches, film, and a selection of documents. As he has explained: “I have tried to create a mixed context with internal energy, volatility, rhythm and harmony. Through Chinese opera and abstract movement’s different perceptual elements that associated with people nowadays, a new way of performance has been created through cross culture communication”.

We sincerely thank the following organisations and individuals for their contribution to the success of this exhibition and publication: the Power Station of Art as joint organisation; two curators from Paris, independent curator Caroline Hancock and the Paris museum of modern art curator François Michaud, who have thoughtfully organised the exhibition and book; thanks to all our colleagues for their hard work; at last, thanks to the artist Shen Wei who has involved enormous enthusiasm and cre-ativity in this achievement.

Wishing the exhibition complete success!

颅扮胺佳嗨钫襄巯可牖绿粗瞑福钫襄鏊陛刖鲧倠蘸变嗨阜莲捏ň闔扌х

蘸变 1968 尿祷扌扮奏藩倠1995尿鹑颇扛练頑浍逻槌棹倠2000尿陕澌ｙ蘸变瞑鵑钫襄ｚ(Shen Wei Dance Arts)х被

煎劈泵瞑鵑覿桔嗨規茚讽第佳鬩瞑鵑揲嗨柠斟鷄誨倠鹑颇悶倔贄佳鬩稆髂倠粗胺遁蔬嫌佳鬩瞑鵑揲ｙ烤唯钒ｚ叭洎嗨ｙ伦

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逅х被跷價小價倔嗨佳瘁钫襄巯可牖編測倠汕块扮粗毖 2008跺剥烤夢编咆腻培嗨笛壤逵邓工鋃脑戗瞑х

阪刖倠被煎鑫鲅钫襄笛波维縹嗨乏價钫襄菌的方鰠吕熬宝赊狁х蘸变黻镍练柏佳掴ф摆这倠屨父素讽绗樵嗨龃

维钫襄弗袜旆倠醋嫌状肺嗨矮龃维橥掴蹿陕х謎尿小倠被嗨钫襄波蛊莫玛扮觊植ф 釉植峰帮植倠被路醋嫌芫垧笛壤嗨

鑫鲅钫襄寵扎倠钡橥掴释玛第均焦倔浪病跽贳ф漂畴ǹ抖掴ф 垧猎硷桔霖锡笛波逅倠匹陕搬按钳嘘測鰠斡嗨ｙ碗病钫

襄ｚ(Gesamtkunstwerk)懣癣х

炒予胺佳ɑ肿佳鬩钫襄钯 20格尿叭鬩倠擅笔縊内稆孽熹觉路廟柄涉泅绎做埃斜醋咆笛钳嗨騍均陕牖煎胺佳瘁检

嗨鋃有钫襄按玛难槲ɑ肿嗨鏊陛х波熬钫襄钯闲保琉嗨边瘪工发宝覿桔闲效祷嗨泵醴叭ǔ倠蘸变倔尿小ǔ帔眍懂扮鳴

素工酥缗矮龃维觊练嗨婉朵槌难ǹ厢狁嗨烤扒х香有阜熬 ｙ蘸变 :厢狁嗨酥缗ｚ嗨玛鲂倠路鋃有迸伎賚培嗨鑫鲑倠背

槊被钡 20哎椁 90 尿泵眄辈煎钫襄霖僥ǹ瞑鵑覿桔嗨翱龅笛壤榕菲х被损祷嗨襪龅菰蠶ｙ黻阪瀾病逢玛这ｚ(NBDT)倠

醋嫌膠练泮嗨从脘钳х廟有玛鲂路遁蔬钫襄钯垧底款棹嗨闲惟波蛊煎瘁嗨掴波ф射渎工揶漂倠付稳緬嫌均灣嗨婉茚х

隅克被鲛駝嗨 : ｙ擅場家笛鵬ǔ按镑榻岷瘁腎熹灣ф臻抖ф钯噬峰工踞嗨寵竞х拿羡漚悶胺佳闪掀工示頓夢抖窪ň付

嗨扰钳锤缑ǹ廟按稳泵嗨宝笔帑脘绗倠煎膠婉朵镑趾胺笛鵬祷ǔ泫惟嗨醴匮维培хｚ

煎予倠擅笔白龅蹙浦扰滌迸ḿ想胁ǹ按宝颅廟有玛鲂嗨陕侗傲栋迸峰掴村嗨祷圮赊陈祷嗨規茚 : 扰滌ɑ肿劈泵钫

襄帆垭鐒迸咆驼刖阿癌嗨器哦脘赋翱栋香有玛鲂 ; 扰滌鞍柄小黻母㏑嗨脘赋逵玛宝倠芫澌逵玛宝钒暌懈 ·喳牍淳工母

㏑莸泵钫襄帆垭鐒逵玛宝配馅缗蘅 ·嬲欷颅扮玛鲂工掴村维熏嗨骜浦逵邓 ; 扰滌丰ǹ香有玛鲂遴娟默波嗨赊嫌付豹嗨

駱队苯祷ああ闲父倠扰滌钫襄羚蘸变熬予施瓷嗨斜均谙泅ǹ笛鵬懂х

闾玛鲂贾亟陕侗 !

王隽中国上海国际艺术节中心

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前言

鋃醇倠廟有玛鲂梧ǹ蘸变嗨ǔ有襪均嗨颅車х擅笔嫌孽捋云檑╤钫襄藉頑编嵌噼僚琤背槊編測倠劈稳壳阿嵐损第倠

被場家ǹ龃维逵玛宝赋波镣陕廟按瘟滦绳瘡槲ɑ肿劈泵钫襄帆垭鐒嗨玛鲂х擅笔煎母㏑收燦搬被倠颅擅笔赊嫌宝小雛倠

熹觉钡倔按维縹素鲟被嗨波蛊捏路被嗨庞猷钳膏莸祷小梧ǔ毕斡午蹦宝岷膩嗨颁泅х

蟛阪蘸变衔榕倔有傲栋橥掴绗低按玛倠兵鎂辈緬厢路笛波菲浔柠斟检膏莸扮赐陛鑫彎хｙ厢狁嗨酥缗ｚ翱龅騍胺

煎蘸变嗨鑫鲅钫襄霖僥倠兵ň涪傾纯检榕内鹏聰廟梆波蛊ǹ被煎瞑鵑覿桔嗨榕鶩嗨选香工芫垧嗨脘绗х疗梧署稳獁貲

纽艘低嗨倠迸藏熹捉牺嗨膏莸廟謇ǔ有颅被嗨波蛊嗨阎菰х粗胺ǔ按玛扼选丝被嗨扌鸟菲浔慘贳搬硷锡倠嫌婉莲ф婉

毕 (隗圹ф宕擯香ф琵畴醴匮 )倠漚悶橥掴工缑孙暑富被嗨猢湎倠圉嗨梧玛愎被钡瘟陷咆块颅倔按覿桔嗨啦郄х被损

祷嗨菰蠶ｙ黻阪瀾病逢玛这ｚ(NBDT)韓湓扮被嗨霖僥叭胺倠屨岷稳獁嗨粟浍ň围镣貉 ; 剂予倠疗梧韓湓碗按玛鲂嗨翱腡倠

波熬ǔ按斡庥嗨酥湎工连煎嗨榈缗х

克谢漳嫌鏟牖ф慘幣济愷工祷圮憬嗨頦哦从侦倠廟香摆嗨戗措滦位这煎狯稳獁瘁镣陕х垧底梧弊瘁唯 · 渡暌弊 · 恫

葱 (Ines Leroy Galan) 煎忿ɑ肿叭奠倠煎母㏑嗨掴赁窪熬腎的赵掴波蛊噬塘帑圹х擅笔縊内扰滌廟梆付豹嗨谙泅工苯祷х

擅笔縊内扰滌蘸变钡謇ǔ有鍪縹咆块滦富擅笔豌咆浦摄倠屨岷锋達嗨逢玛倠廟泫查毖白颇第搬恫鹏х绳裆ɑ肿劈

泵钫襄帆垭鐒倠鐒尷丵僻工擅笔嗨付颁鯴縟肺巯倠认香有玛鲂柠斟卞屉蘸变嗨波蛊ф宝婉仟瘸工鑫彎х擅笔颅赊嫌如

冗敞祷波蛊嗨脱蜈羚醴愎蹙浦嗨扰滌х

卡罗林 · 汉考克和弗朗索瓦 · 米肖

射渎 Sketch, 2009 – 2010暌鳶 /槌棹 Rome / New York, 22 x 22cm钫襄羚香宝脱蜈 Courtesy of the artist

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射渎香 Notebook, 2012錨势唯倠颇淳瘕唯末 Dallas, Texas, 21 x 14.5cm 钫襄羚香宝脱蜈 Courtesy of the artist

Preface

This exhibition was first and foremost the occasion of a great dialogue with Shen Wei. We met thanks to Laura Ning, Director of the Mao Jihong Arts Foundation, when she mentioned intently that he was seeking to associate Western curators to the con-ception of the exhibition he had long promised to Power Station of Art. We visited him in Paris and it was immediately obvious to us all that it would be fascinating to approach the multiple facets of his work and present it in its continuity. Many meetings followed; words, texts and images exchanged.

Shen Wei has had solo exhibitions of his various painting series but no exhibition to date has had the ambition of a more broad retrospective review. Exploring The Unknown focuses primarily on Shen Wei’s visual art practice but it inevitably regularly emphasises its fundamental and unique connection with his experience in the field of dance. It is organised in a chronological hang to allow for the greatest possible clarity on the occasion of this very first survey of his work. One room sets the scene in terms of his biographical journey, with texts, documents (photographs, notebooks, filmed performances) with pointers to his re-search through drawings and sketches. The aim is to reveal his impressive multidisciplinary dexterity from an early age onwards. The “Natural Body Development Technique” (NBDT) he has imagined carries through his activities and refines through time; as such it is a leitmotiv that is returned to throughout the exhibition as a defining line of inquiry and existence.

Compiling this accompanying book in record time could not be achieved without the highly attentive focus of translators, a design team and publishing house. In extremis, Inès Leroy Galan kindly photographed paintings in the Paris studio just before they left for Shanghai. We are extremely thankful for their enthusiasm and engagement.

We are infinitely grateful to Shen Wei for opening up as much to us from the first meeting and this trust has been reinforced as friendship developed. May this exhibition, which is indebted to the commitment of Power Station of Art, its director, Gong Yan, and our colleague Catrina Bao, widely diffuse the awareness of the scope of Shen Wei’s work, humanistic thinking and pictorial vision. All the collectors who made this possible with their generous loans are warmly thanked.

Caroline Hancock & François Michaud

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香玛鲂梧颅蘸变波蛊嗨鋃有阎菰倠膏莸被煎鑫鲅钫襄维縹嗨霖僥倠捏塌愎騁霖僥ǹ被黻 90 尿泵莢煎瞑鵑覿桔赊

洙缟嗨榕鶩叭獁嗨选香脘绗х瀾熬戗瞑羚ф慘幣穆峰瞑鵑羚倠蘸变位蠶煎福ɑ福ḿ嗵褒髂佳鬩倠谤衔鹑頃熬 2008 尿

跺剥烤夢编咆腻培祷帶邓逵х阪刖倠被嗨橥掴峰漂畴笛波予奠钡厢煎胺佳均閿玛祷х

蘸变 1968 尿扌扮奏藩帷倠被渭猢柏胺佳摆掴倠白素讽闪掀嗨阿癌瀕楣х1978 尿倠蘸变滅瓷奏藩帷钫襄练绪倗莸

熬奏藩帷钫襄脶癌练浹倛倠素讽胺佳卞樵闪掀嗨氨癣瀕楣倗遁蔬亥ф起ф陈ф申倛х1984 尿倠被陕熬奏藩帷揍钓浹嗨ǔ

戈倠裁酹艘匮叭播白咆块酥缗莸泵峰劈泵嗨钫襄匹培хǹ財倔惟钟佤钫襄羚帑付倠蘸变白迸倔泫钫襄浪背工醴錨维培

滅酹霖鶩х1989 尿倠被恫瓷柠矮瞑鵑练绪莸泵瞑霖鶩菸倠先恫寨缝龃维钫襄嗨蹿的倠捏路倔泫鑫鲑峰扰烈羧编韓漚х

予有玛鲂膏莸搬蘸变扮騁稳陷笛波嗨措霖橥掴ｓｓ被嗨黻掴畴汕钫襄羚锋宝嗨掴畴х

1995尿倠蘸变鹑扛练頑鷄斗繼槌棹伦扶势 /鉸握瞑鵑霖鶩赁揞练倠予父藏煎槌棹猎逻х被嗨涉发亩庞斌眄醴匮钫襄ф

瞑福慘幣ф现跽慘幣峰鑫鲅钫襄逅覿桔х廟ǔ稳陷嗨被克銠滨字检缸脱岷陛倔钫襄匹培倠白煎恋芫胺淘缗ф炉鐾黻擅х

煎 90 尿泵父二辅倠被嗨宝病橥掴奉颇先梧设县膩泔ф克研滨镊嗨壤頓倠迸峰肜宝炉隔嗨漂畴波蛊ь冀弦э倗1998 尿倛

廟ǔ稳陷嗨醴錨膏莸ǔ泫謎八鉀莸霖翱扒嗨懣癣倠廟ǹ被劈稳颅黻擅ф恋芫ф研工位壤測嗨酥缗帑从х

2000 尿倠被笛耪搬ｙ蘸变瞑鵑钫襄ｚ倠蘸变肱稳 16 尿路黻牡嗨钫襄寵鲧绗樵朵倠熬粗耕阜ｙ黻阪瀾病逢玛这ｚх

廟ǔ悶浔柱嚯被赊丰ǹ嗨ǔ蹬钫襄匹培捏耪澌莢ǔ抗归练ǹ扌侄维培倠闲榫頌灘祷ň涪倔颇嗨瞑福芫匮ь奉看э

倗Variation倠2014倛倠颅粗菰起扳迸玛愎х钫襄羚迸ｙ黻阪瀾病逢玛这ｚ熬翱卫倠酥缗瘁煎瀾病熹灣ǹ抉煎闥懂汕闕猎

剂缑叭獁嗨趾抖从绗倠香玛鲂谤腌阝扮予х钫襄羚樯赋黻瀾嗨矮ф龃维病鶩倠畅掳ǔ泫嫌纽嗨疯襪懂竣速倠钡刖迸鳴

韓嗨抖波工克掴嗨病葵錨第菌宝赋ǔх漚悶酥缗宝病ф锡鏊ф浦竞懊眄示頓匹器倠蘸变损祷颅夢抖ф跟缸ф读熹ф泅

扰迸峰荽竞嗨鑫鲅午莸х

早期创作

胺佳卞樵闪掀鵬焦噴措 Chinese Opera Figure Sketch, 1984榘ɑ忸宕射橥 Charcoal on paper, 27.4 x 20cm 钫襄羚香宝脱蜈 Courtesy of the artist

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Shen Wei: Exploring The Unknown is the first survey of Shen Wei’s work introducing his artistic practice and the fundamental connection between visual arts and his experience in the field of dance from the 1990s to the present day. Admired internation-ally for his work on and off stage, as choreographer, designer and dancer, he was famously invited to contribute to the Opening Ceremony of the 2008 Beijing Olympics. His paintings, drawings and films have never been seen before in mainland China.

Born in 1968 in Hunan province, Shen Wei studies Chinese painting, calligraphy and receives professional opera training. From 1978 Shen Wei attends Hunan Arts School and undergoes rigorous Chinese opera training (including: Chinese opera movement, acrobatics, voice, acting). In 1984, he becomes a member of the Hunan Provincial Xiang Opera company where he explores modern and contemporary art forms beyond the official curriculum. Like most artists of the New Wave, Shen Wei ex-periments with diverse mediums and modes of expression. In 1989, he joins the Guangdong Modern Dance Academy in Guang-zhou. He increasingly absorbs Western art forms and merges these diverse perspectives and sensibilities. His realist paintings from this period are portraits of his artist friends and self-portraits.

In 1995, Shen Wei is offered a fellowship to study at the Nikolais/Louis Dance Lab in New York where he has been based ever since. His expertise extends into the realms of performance art, set and costume design and visual art. This period corresponds with an avid absorption of countless art forms and a time of isolated experimentation and self-definition. In the second half of the 1990s, his figurative paintings become more enigmatic in connection with the premonitory film April (1998); these works are imbued with an expressive and near surrealistic style connected with the exploration of the self, loneliness, dreams and the unconscious.

In 2000, he creates Shen Wei Dance Arts. He begins a sixteen year process formalising his own language into what he names the “Natural Body Development Technique”. This builds into a philosophy and a way of life with applications across all the art forms he practices culminating in a rare solo stage performance, Variations (2014) which acts practically like a demonstration piece. This exhibition highlights the consistent relevance of the Natural Body Development Technique as a constant in the art-ist’s research into the flowing connections between inner bodily energies and outside forces or existing parameters. Blending his experience of East and West, he advocates an organic anti-gravity-led loss of control to allow continuous movements and pictorial gestures in synch with the universe. Exploring the human body, land – and mindscapes, as well as forms of abstraction, Shen Wei proposes visual manifestations of movement, breathing, a certain momentum or sensibility and the environment.

Early Work

射渎 Sketch, 1989柠末 Guangzhou倠榘ɑ诏宕射橥 Charcoal on paper倠 26.5 x 19cm钫襄羚香宝脱蜈 Courtesy of the artist

1716

榘硤想 Paper-plane, 1990目縹赵掴 Oil on canvas, 45 x 28cm钫襄羚香宝脱蜈 Courtesy of the artist

1918

贱岷嗨锋宝欷畴 Portrait of Artist's Friend Sitting, 1993目縹赵掴 Oil on canvas, 65 x 53cm 钫襄羚香宝脱蜈 Courtesy of the artist

2120

黻掴畴倸返畴ǹ苓 Self Portrait: with cat on the floor , 1994目縹赵掴 Oil on canvas, 81 x 100cm钫襄羚香宝脱蜈 Courtesy of the artist

2322

少妮隶嗨宝 Men with Chapeau, 1999目縹赵掴 Oil on canvas, 91 x 122cm钫襄羚香宝脱蜈 Courtesy of the artist

2524

楮艋艏ǹ宝煎镬检ɑ Human with Red Butterfly on the Grass, 1998 目縹赵掴 Acrylic on canvas, 147 x 178cm钫襄羚香宝脱蜈 Courtesy of the artist

2726

风宝病 Two Figures, 1999軸宕ф柴隅著ф卞岈榘 Pen and correction fluid on fax paper, 19 x 26.5cm

钫襄羚香宝脱蜈 Courtesy of the artist

镬检ɑ宝病 Figure on the Grass, 1998軸宕ф柴隅著ф榘 Pen and correction fluid on paper, 15 x 21.5cm 钫襄羚香宝脱蜈 Courtesy of the artist

2928宝病猢湎 Figure Studies, 1995 榘ɑ軸宕射橥 Pen on paper, 30 x 23cm each, 钫襄羚香宝脱蜈 Courtesy of the artist

3130

研嗨射渎 Sketches about dreams, 1995射渎香湾賁 Notebook, loose pages, 23.5 x 18cm each钫襄羚香宝脱蜈 Courtesy of the artist

3332

3534

pp.32 – 39 ь冀弦э漂圹钓隗 Still from film April, 1998 – 2000

3534

四月，1998 – 2000

㏕嗳漂畴倠嫌踞倠16mm爨圹倠20的腫

戗钓峰掳匮倸蘸变

漂圹塘漂倸Daniel Cheng

碩巴倸绿旅选 ·淳伦膊旅 , 楝旅濘 ·拿旅倠 Ling Lee

弟波宝倸蘸变

掳匮斗菰倸腫了狼

弟圹斗菰倸Jen-Jan

戗淪嵌噼倸蘸变

踞樺倸蘸变

漂畴戗淪倸蘸变

漂畴戗淪斗菰倸腫了狼

踞樺戗淪倸棹氡 · M ·頑

琵樺倸腫了狼

钫襄羚香宝脱蜈

April, 1998 – 2000

Video, black and white, sound, transferred from 16mm film, length 20 min. Script and Director: Shen WeiCinematographer: Daniel ChengMusic: Jurgen Knieper, Nelson Hill and Ling LeeProducer: Shen WeiAssistant to Director and Producer: An-Ting ChungProduction Assistant: Jen-JanEditing Director: Shen WeiSound Designer: Shen Wei, An-Ting ChungVideo Editor: Shen WeiAssistant Video Editor: An-Ting ChungSound Editor: John M. KinSound Recorder: An-Ting ChungCourtesy of the artist

ь冀弦э噬塘扮槌棹工弊瘕钒х予圹梧蘸变煎鑫鲅钫襄霖僥閌员嗨笛波倠酥辮搬醴莸ǹ鉀莸霖懣癣倠病莸搬从扮黻擅ф

恋芫ф研竞工仡壤測叭獁嗨从绗х

April was filmed in New York and Ithaca during a period in Shen Wei’s visual art practice which is associated with an expressive and near surrealistic style connected with the exploration of the self, loneliness, dreams and the unconscious.

3736 3736

3938

ь冀弦э的蕒钓香 Script for the film April, 1998榘ɑ宕射橥 Pen on continuous form paper with edge perforations, 24 x 28cm each 钫襄羚香宝脱蜈 Courtesy of the artist

ь冀弦э的蕒钓香 Script for the film April, 1998榘ɑ贾萑宕射橥 Pen on continuous form paper with edge perforations, 24 x 28cm each 钫襄羚香宝脱蜈 Courtesy of the artist

4140

Caroline Hancock: 铂煎阜熬ьǜ垭嗵嫌脘绗эǔ摆胺赊錯第嗨ｙ厢狁ｚ第奴暑嗨梧

暴捌偀 1

沈伟： 钡 1998 尿莢倠擅滦咆块煎厢狁嗨覿桔窪逢玛黻牡嗨钫襄寵鲧х擅申夤搬黻

瀾嗨赊嫌闕弟倠嵌仟牍克谢宪岷ǔ泫示頓匹培奠滅嗨車倠ḿǔ娱编梧暴捌х漚悶霖僥ф

练柏倠擅笛鵬搬ǔ泫鑫鲅钫襄ǹ抖波ф矮维ǹ龃维嗨芫垧樯赋х2000尿笛耪ｙ蘸变瞑鵑

钫襄ｚ嗨稳偿倠擅拿羡廟按济病灵楝先倔旋嗨钫襄х工財倔煎佳鬩ɑ侄踐嗨瞑鵑赐釜ň付倠

擅带猎ň步抻ｙ赐釜ｚ廟按饞倠颅予倠擅嗨付颁笔涪熹嫌悶貴撺倠兵擅而的箭熟х劈稳

梧鹃扮ǔ泫黻擅逢莸嗨閌员倠刖莸煎幡小倠廟ǹ辈谓赊颇琉ň涪的х

C.H: 钡 2000尿莢倠铂胁耪搬ｙ黻阪瀾病逢玛这ｚх铂洙斜施瓷搬眄吕 16 尿路廟ǔ

病绗濃娱耪莢х廟庇钵凛愎搬铂煎副泫钫襄笛波懊眄扌侄ɑ嗨霖僥х煎闲狄胁瘸廟有玛

鲂嗨稳偿倠擅笔藏嫌ǔ按捉牺嗨腋起倠龅廟有玛鲂纪樗岷铂涟涟ň倡嗨曾缗小玛咆х

沈伟： 廟泫省这暑掳擅笔瀾病嗨瘁煎ǹ格喬嗨抉腎查窍倗宝ф胁鵬ф黻阪倛峰熹灣

逢扌从绗倠钡刖鹑颇ǔ泫嫌想嗨抖器х瀾病嗨瘁腎胁鵬带猎搬擅笔嗨抖器х鏊龙盆懂

ǹ从钯嗨咆赋倠从侦瘁煎熹灣ф跟缸ф酽孱胺嗨趾抖迸峰黻阪揲嗨ǔ蹬帑尕牖倠廟眄从

襪龅х擅笔越按宝獅讽抉煎查窍赊漂瓜倠獅跷襪懂赊沫甫х擅ǔ帔煎猢湎恰旋路廟梆羧

瓷钫襄捏嫌赊庞斌х

C.H: 颁霖ɑ廟ň符梧ǔ泫省这倠廟梧铂嗨归练仟瘸倠白梧铂嗨扌侄维培倠捋予幡小倠

哎揲ǜ垭嗨庥獅梧嫌赊脘绗嗨ああ

沈伟： 廟梆鏊起漂瓜岷擅陈祷嗨带猎迸峰擅ǹ廟哎揲嗨从脘х廟劈阪白雛颇ɑ梧裒

钳嗨倠剂熬粗胺蚬肝岷ǹ钵袜仟瘸帑漚叭鹃х擅帑查ǜ垭嗵嫌裒倠遁蔬抖垭ф伴祥ф序相ф

馒门ф狴蔼逅逅х煎夢抖ф趁賕工襪懂叭獁龅升第ǔ泫鸟醪倠廟梧ǹ辽劣耪澌嗨脘绗倠

ǹ均检窍窍帑从倠梧擅笔赊鹃嗨乌菀工憬编嗨ǔ腎的х廟ǔ蹬獅梧嫌想嗨倠兵紿龅均灣

嗨瀕楣捏十ḿ尷陷洙缟刖陕嗨葵读ǹ悉測涉涪鹑颇х

钡瞑鵑胺洙缟嗨霖僥夢抻ǹ袜练粗霖庞斌第搬擅赊陈嗨维维縹縹倠紿龅鳥炉ǔ泫

浦砌丸壤嗨扰狁懂涉熹醴錨х铂曝賅驼咆黻牡倠夢抻黻阪泅竞ｓｓ白滦梧廟按辽劣ｓｓ

小陈祷抖波х橥掴胺倠廟ǔ悶浔先熬辚熔倠兵付旋醋嫌ǔ眍钳倠闲榫步铂颅嫌匹工位

未知的探索

1.

ｙ擅煎素讽钫襄戒瀕嗨稳偿漳嫌胜ň付嗨钫

襄尕底的咆颅乒倠赊迸擅白漳嫌胜疗笔煎

擅嗨波蛊胺扼的咆小х剂熬擅梧ǔ按掴羚倠

擅瘸幡第瞑鵑抖波梧恰旋ǹ樺巴苞扌从脘ф

樺巴工瞑鵑梧恰旋ǹ鑫鲅钫襄苞扌从脘嗨倠

幡第廟ê泫锤缑梧恰旋赋捏第ǔ莢嗨 ...擅

嗨波蛊ň梧从扮莸霖扌侄嗨倠白ň梧从扮

龃维汕矮维嗨 ...擅瘸龅酥缗厢狁х擅煎炉

升ǔ泫惟嗨镑趾维培хｚ

蘸变倠ьǜ垭嗵嫌脘绗э倠

蘸变弟波倠槌棹 2012尿 謇 105賁

婉莲波牖倸蘸变ф了廓 · 藉井旅苫军ф亚

袄鸩 ·潤ф母淳 ·ǜ楝ф鸩势 ·吸暌泮嘧烤ф

鹘跨唯 ·拿抵ф龃馈 ·抵垧ф淳窪唯伸配 ·云ф

效龃 · 社窪垧ф配馅唯 · 蹯表ф党蓥蒎 · 湘

纺垧ф唯窬铗 ·蛉ф了埔鯡 ·牍鞘х？

沈伟与卡罗林 · 汉考克的对谈

射渎香 Notebook, 2012跺剥 Beijing, 21 x 14.5cm 钫襄羚香宝脱蜈 Courtesy of the artist

4342

匹嗨ǔ蹬獅嫌先状瓷嗨右誨х瘸頓懂屨岷抖熹熬越ǔ宕鲟會扳陵哦工壤扒倠钡刖孙橥

醒ǔ泅锡ф醒ǔ连煎嗨後獁х

C.H: 铂梧钡暴捌稳偿咆块掴掴嗨偀

沈伟： 擅次慢稳咆块掴掴倠劈稳緬厢ɑ练倠

滦煎羚窪倠粤克掴在菀倠掴祷澌病扰嗨榧钯倠

擅白掴悶∣ф艋艏叭尕嗨倠孙掴疗笔搿砻ɑ嗨

骜眍家楸х擅緬衔颅掴鸭苞扌丛艱倠韌梧讽第

劈稳内内祷莸煎膺奴嗨鸭雅楸鎧赊敢逢倠韌编

吹嗨胺佳鸭雅緬ň倔鍪х存父小倠擅抻卞樵嗨

默宕掴这掴ǹ胺佳闪掀现鎧帑从嗨宝垭х1984

尿月癌嗨稳偿倠擅素鲟第龃维钫襄х煎擅劈稳

嗨宝垭掴胺倠擅嗨宕鲟奉颇先恫黻捋倠熬碗按

掴縹灸谆搬扌想工抖扰х擅槲擅煎瞑鵑揲工橥

掴揲嗨险锋笔掴搬欷畴х

C.H: 龃维钫襄胺嗨规梆矮龃槲铂难小搬敢

逢偀

沈伟： 擅闲瘟煎胺佳素鲟第龃维钫襄梧煎 1983尿嗨稳偿х劈稳擅闖第ǔ香从扮壤

均抵婉钫卷丛嗨摆倠钡予藏巯ɑ搬錨 · 铗刊工嬲咆馅葆暌嗨掴х廟白陀奉搬擅嗨懣癣х

煎擅钡颁瞑鵑颁癌叭奠倠埔恫滦亩榕颅擅嫌赊漂瓜倠颅鹆撓窪帮伦嗨棵钳宝畴擅白狠

友搬ǔ员稳獁х帔第莸煎倠擅緬颅井虑迸峰被钚譬夢抻縊内醚巯х擅嗨可锋 Shu-Lei衔

榕梧擅嗨橥掴敫穆倠 80尿泵胺佳惟钟佤夢抖嗨稳偿被煎奏藩栋悶玛鲂х擅嫌ǔ恼掴羚险

锋倠擅笔ǔ莢若萨岷钫襄羚煎百削驴鉸ɑ鸚劉鴕懣фǔ付波掴ああ廟梧讽擅笔煎摆胺闖

第嗨炎頦工頦先嗨扌侄ǹ锋達赊敢逢х擅笔苹丸彼廟鞍柄钫襄羚熹觉鳥屨黻牡嗨研瘸х

敌第槌棹稳倠擅捏漳嫌澌滇狠友ɑ示頓劈泵钫襄х擅梧熔熔搬鲛疗嗨х暌唯泮嗨橥

掴熬擅申咆搬ǔ舍嵐倠標擅扰讽第副泫泅檗倠滦畴梧幡揶漂ǔ旋х

C.H: 铂漚悶橥掴赊醴錨嗨嫌暴捌ň付偀扰鲅廟梧ǔ泫先熬恋芫工泱琉嗨酹熬倠梧

铂煎柚其嗨瞑济谓浔叭抉垧底褒讽嗨х铂白衔胜铂嗨橥掴粤波ǔ泫谓擯倠熹遲榧錯ǔ錯

噶偀

沈伟： 橥掴粤瞑鵑龅熔ああ漚悶橥掴擅熹觉鲛带ǔ梆黻牡嗨崍腡х煎縹颅韌按崍腡

工逡熏稳倠铂镣镣词词梧ǔ按宝х擅鲅颇廟梧ǔ按刳尷嗨悶浔х擅亩榕榕菲悶財倔ň付

嗨扌菰工浦菰堠器倠白煎ň付閌员фň付默波赁升第悶擅嗨逡熏х2004 尿倠擅胜默波

赁谈第咸顾賕ḿ窖泔哎壺胺浦符嫌诞晓醍嗨检维х擅紿龅ǔ按標擅词阃韓侦嗨检维小酥

缗夢抖ǹ熹灣叭獁嗨从绗倠抻嗨碑碑梧掴目ɑ摆这培嗨邈法宕鲟х咆块父倠擅ǔ按宝芫

黻煎掴赁窪乒搬诞按弦倠粗獁澮搬ḿ业败梆赴嗨倠擅诞八漳嫌奬毖并宝素鲟х2011尿倠

槌棹嗨大菌縊内袋倠擅劈稳嗨默波赁柄扮惟整龃嗨鳶楝劈泵钫襄胺浦倠兵擅秉煎咸顾賕

龃削х煎扰鞘钯第有尿诬钯陷獁倠擅賕阪嫌扰倠扮梧煎默波赁工秉赊獁嗨检漬频覓諾胺

迸峰紜检酹計叭稳炉升逡熏х逡熏闲榫迸翱聰熬㏕ф嗳ф脔嗨均焦示畴波蛊颇迸膏莸х

劈ǔ按宝颅瀾病工鑫鲅状哦鼠嗽捏ǔ帔鹃扮ǹ黻阪ф貴扰ф樺巴迸峰抖器嗨工撣堠

器胺埃稳刖苞扌骜阃从脘稳倠鏊起ǹ瘸这嵌熹煎掴目ɑ颇迸駝驼х擅苹褒讽郄楣检孙橥

醒ǔ垧猎稳滇汕泅锡х靥衷培瞑鵑嗨阿癌省漠损彩搬ǔ泫词阪ň付嗨维培煎掴目ɑ膏

莸绎富工榄富嗨抖波倠廟梆抖波渭縊词阪讽速白ň梧符挡黻鲅х煎ň付嗨螺有ɑ路匹

堠奉伎匹培倠廟蹦擅岷膩х

C.H: 梧暴捌操步铂忿尿路默波赁嗨ǔ腎的谈第母㏑偀母㏑廟欧窖木熹难槲铂暴捌偀

铂工现跽慘幣穆鳶涪 2008 尿煎母㏑嗤羚赐际赋波嗨頦椤猎弟现跽泸梧甘梧鲟逢铂谈默

波赁嗨沸剂叭ǔ偀

沈伟： 捏ň阿剂熬韌有嗨赋波х倔尿獁擅内小母㏑倠廟窪颅擅小雛滦畴梧ǔ按了縟

嗨哎抉穴遵倠擅熹阿浦橥掴ф笛波迸峰芫黻仟牍х擅巯廟窪嗨帆垭鐒ф窖木鎏邓ф耪逍ф

铟际緬嫌觊磽х廟窪嗨唇榈白梧ňǔ旋嗨倠廟颅钫襄羚刖鲧垧底菰瘸х擅忿丰鏊搬井

虑煎这佳藩腎嗨默波赁倠苹讽敢逢х

闲謎廟ê按二弦擅獅嶗从煎擅嗨默波赁窪倠擅煎炉曾掴目ɑ先滅ǔ螺嗨唇榈ǹ在檜х

擅ň围酥缗扌侄倠白率場岷菰鲛擅笔赊扌侄嗨廟按哎揲х劈阪倠擅捏ň瘸符梧掴祷ǔ按

靥雹嗨家畴汕戒蹿醒泫ň諳嗨省这倠龅升第蚂扮铂黻牡嗨逡熏ф迸铂芫嫌嗨维培小醴

錨黻牡梧苹铟稳獁嗨х

C.H: 铂 1995尿第槌棹倠闲狄韌 5尿铂词懂缸楝搬倔泫倔旋嗨婉朵匹培х劈稳嗨铂

漚悶煎槌棹均练揶漂绗滦闖嗨险锋练编搬步抻被笔嗨慘娟倠铂熹錯錯廟颅铂嗨襪龅漂瓜

迸峰铂钡廟ǔ惟巯可窪练第搬暴捌噶偀

沈伟： 钫襄揶漂蹦擅扰鲟钔倔倠陀奉搬擅幡乒瞑鵑嗨维培х廟白步擅煎瞑福ɑ恫瓷

倔浪病х帔第莸煎倠擅贝阪状讽韌梆弟鵬鹏诶闪钓鏊扰嗨揶漂均穆笔嗨敢逢х粤克雛倠

擅垧底膩羌惊涪军唯藉嗨ь百群э倗1983尿倛工ь蕒隶э倗1975尿倛ф護窪伦嗨ь巯泅阃車э

倗1969 尿倛ф农唯家窪钒嗨ь检ḿэ倗1995尿倛迸峰这唯岭埔嗨揶漂х

霖鬩ɑ擅ǔ帔獅颅糙暌唯婉朵倗揶漂ф婉练倛苹扰丛艱倠狠友疗笔状栈嗨泅檗ǹ秋

辩嗨長壤х擅笔胺佳颅予倔吕嫌梆郄擒倠庇钵廟鞍泫犟病叭獁连煎岷醒泫脘绗х

淳窪唯伸配 ·瘡葱嗨揶漂ь乌鬩湓價э倗2014 尿倛胺嫌ǔ梆员癀白蹦擅苞扌囱⊿х

湓岷胺佳闪掀现跽嗨棵粮

Girl in Chinese Opera, 1986榘邪ɑ赵掴 Oil on hard stock paper, 50.8 x 76.2cm钫襄羚香宝脱蜈 Courtesy of the artist

4544

ь冀弦э漂圹钓隗

Stills from film April, 1998 – 2000

C.H: 2018 尿 3弦倠煎槌棹帮植罚编ǹ云糠丆棵据嗨颅錯胺 2倠铂损第铂噬悶漂畴

波蛊兵梧钡厢玛污悶х廟敢逢搬擅工配馅缗蘅 · 嬲欷忿升铂 1998 尿抻 16陨嬲爨圹噬塘

嗨ь冀弦эх廟腎漂畴波蛊遁肝搬铂扰丛艱嗨處倔维縹工钡韌稳莢滦煎滅酹嗨猢湎倠擅

笔屨芳带猎曝賅胜廟腎漂圹驼第廟有玛鲂胺小х

沈伟： 丹娟搬遲仑嗨祠香父倠韌尿诬菌倠擅工鞍柄险锋腫了狼фDaniel Cheng煎槌

棹弊瘕钒噬塘镣陕х韌稳嗨擅颅厢小緬苹膩镗ああ漂圹窪白嫌醒泫長壤嗨古群х兵梧

擅嗨嗳钚瀾漂梧頓贫拿羡嗨х噬镣父嗨ǔ按弦倠擅陈搬ǔ有均焦嗨浦祆射襄ｓｓ廟颅擅

位蠶梧煎按宝扌侄ɑ緬梧钫襄ɑ獅梧ǔ有寞均嗨壟奉х擅带猎防ḿ遁跣倠檑猷奠酹х

C.H: 廟腎漂圹嫌ǔ泫鉀莸霖嗨扰鲅倠疗標擅瘸莢標 ·獨淳倔嗨ь烤疱唯ê腎掀э工

瘕昊旅·慣淳垧嗨ь揶漂эх波熬翱匮嗨铂难岷騭驪付病嗨觊扰倠瀾岷㏕钚汕嗳钚嗨醮现倠

稳刖湓岷肺襪嗨均醮ǹ尷纈倠稳刖识岷魯姓嗨目旺х钡均损萱ф宸ф驴损萱第懣胺棠锨

嗨酿镬ф∣⊿ф縟￤嗨僬目倠樺巴炫锡汕位踞炫锡滨八獅覬愎岷ň阊х煎閃抉堂祷嗨研

镊葵读朵波嬲咆馅葆暌培嗨颅澌鸟醪倠奉陕孥缕畎嗨膩絀胺配势斡苫滨嗨瞑娱倠圣汕丈

熬墀拜嗨鎳磅х粗被禱ǔ旋嗨垭毕倠粤克相裸ф晗菀ф醮惺ɑ嗨嗳鹾豕倠緬嫌ǔ按井亟

酿镬ф跷氏书岷湓悶词硷嗨蟹抗倗騁垭毕白祷莸煎劈稳嗨倔拟橥掴胺倛х

沈伟： 廟岈嗨梧ǔ腎縊内泱宝朵嗨漂圹倠擅钡厢愎宝х疗醴錨搬副泫泅檗ф研竞迸

峰扌刖熬宝嗨黻擅逢莸х醒泫浔哦ɑ倠疗卞瘧搬ǔ阜钫襄羚嗨恋芫ｓｓ韌泫庶社倠韌

泫刳尷嗨尾浔х

C.H: 铂熹錯錯煎槌棹稳ǹ福组钫襄羚滌埔泞嗨素鲟噶偀铂钡被嗨俑滅醴匮胺练第

搬暴捌偀

沈伟： 被煎 90 尿泵縊内生熟钫襄羚倠粗胺白遁蔬擅х被嗨藉頑编榕内槲钫襄羚笔

损彩遁秉领嗨默波赁х擅嗨险锋腫了狼沸梧柄踞樺跽贳钫襄羚倠壳滦煎韌吹鵓揞悶х擅

笔劈稳ǔ莢哦悶ǔ员稳唇ｓｓ被劈稳亩榕ň存滅酹钫襄笛波倠符黻牡坦耪奢裸倠粤克廟

欧秉裸х擅劈稳編測嗨煎槌棹嗨均閿宝苹吕倠均倔烷獅梧福组汕錒自悶小嗨х

C.H: 铂帔素丰牍搬铽培扶簇际懈ф扶萱樺凭ф14哎椁嗨長掴均穆钞薅ф17哎椁嗨橥

掴均穆刺均馒宝迸峰ь楮业研эфь揍刻前э逅倹ь揍刻前э嗨妥颁趾卞搬冀儿播尿倠揍刻氅

鋃帻军倠迸枕支縹倠枕枝濞刖揞咄х劈阪倠铂嗨羚殴炫锡工瘟尿嗨瀕楣白步铂煎陕尷悶浔

胺讽第胺佳闪掀嗨瀅阪х婉繆陷獁倠財倔卞樵钫襄匹培獅喬第远袤х廟梧甘梧铂檑猷颅韌

泫啡腦滅酹疯诗捏跟腐卞樵钫襄嗨ǔ泫维培偀铂梧甘路黻牡幡波醒泫婉朵均步偀

沈伟： ǔ鉸計小會扳搬擅廟旋嗨圉嗨倠兵韌捏ň梧擅嗨狄蹙х波熬宝倠擅笔编肾匮醒

梆垧猎嗨鲑钚倠廟鑫泅竞刖猎倠刖縊沸香幣邓可嗨х第莸煎熬渔倠擅煎扌耕胺榕菲悶ň付

嗨毙炒病绗х擅嗨瀾ɑ渭嫌矮维嗨锤缑枫嫌龃维嗨锤缑х莸煎倠位蠶擅煎规窪默波汕扌侄倠

擅獅探难岷ф醴錨岷ф的褒岷廟泫均项谔х

C.H: 铂熹孙餒ǔḿ铂煎瞑鵑维縹赊讽嗨翱龅漂瓜噶偀

沈伟： 钡 1998 尿莢倠擅滦滇壤鎳泔毖并ǔ泫漂瓜遵捏逢玛擅黻牡芫嫌嗨钫襄寵鲧倠擅

嗨夢抖寵扎倠廟闲榫匹陕搬ｙ黻阪瀾病逢玛这ｚх擅劈稳练柏搬苹倔嗨省这х

擅苹狠友嘧廓·鯴暴嗨波蛊倠煎小觊佳叭奠滦亩榕狠友搬倠擅嗨按宝波蛊ь驴奢獁э倗1994

尿倛讽第搬瞑鵑钓浹嗨ǔ梆敢逢хǔ有煎波掀羚ф暑漱羚釘帼羚胺傲栋嗨惟尿腌编ɑ倠掳

匮萧了白煎倠擅榕背槊編測搬闪钓掳匮篡戗瞑羚莪鸩 ·淳势淳倠壳屨芳頃觸擅恫瓷壳х

C.H: 铂嗨樺巴蛊隔而的柠斟х擰兽樺巴稳铂幡襪嗨梧暴捌偀

沈伟： 擅幡襪踞樺嗨貴灣фňǔ旋嗨葫樺倠擅煎ň付閌员白跷ň付嗨樺巴赊缸陪х泔

咆胺佳叭奠擅苹狠友摘跨 ·奎促ｓｓ被韌泫丙栈嗨葫樺工儒嫂嗨钳隶ǹ劈稳嗨擅均ň帑付х

擅香宝状讽难嫌裂袜钳貴嗨樺巴赊扰俘倠韌梆僚縟嗨樺巴倠粤克鬮旅辗 ·娜旅垧工棹氡 ·惊

婉楝嗨波掀倠滦榕内祷莸煎擅嗨波蛊胺х选丝踞樺ф亥愍工貴扰嗨奉朵倠闲榫嗨拓谢白副

嫌ň付х擅颅廟梆ň付锤缑赊苞扌嗨颅車嫌稚肺嗨丛艱х擅白苹巴扮黍缮ǹ先恫腋起钳ф

樯胁钳汕示頓钳嗨劈泵扶簇巴滅酹颅車倠粤克弗损军 · 鹈財ф弊鬮伦唯 ·整楝藉唯ф鹆賕 ·

護旅埔咸逅宝嗨波蛊х

C.H: 铂熹嵌樯ǔḿ铂熬 2008 尿跺剥烤夢编咆腻培笛波嗨榕菲噶偀韌有榕菲梧甘嫌陀

奉铂嗨笛波滅浔偀

沈伟： 擅煎碗按悶浔胺练第搬苹倔х闲咆块倠擅波熬钫襄济愷胺嗨ǔ戈工鑫鲅钫襄羚

聃佳鹏ǔ莢ɑ镑搬咆腻培嗨笛波损熏х2007尿狄倠嵌掳匮盆钫帶頃觸擅恫瓷嵌賚崍嗨辮蠶х

被煎炉升ǔ按寞焦家锡倠翱腡梧ｙ付ǔ按哎揲倠付ǔ按研瘸ｚх擅槲被笔幡搬擅嗨波蛊ь鳴

素壟斯э倗2004 尿倛嗨圹员倠被笔捋予讽第敢逢倠咆块胁仟莸硷波掴х盆钫帶標擅翱掳戗瞑倠

扮梧擅笛波搬ь掴房э腎的х標倔宝丰ǹ嗨均弟波鎏异颅擅小雛梧词惟嗨х廟ǔ榕菲难槲

擅先倔查浦素讽惟嗨黍缮х予父倠擅狁簽擅暴捌獅熹陈陕х廟帔素侈扌搬擅父小煎胫埔濘

椁起袜借陈嗨鋃有硷检垧弟醴匮ь鳴素壟斯 IIэ倗2008 尿倛х

2.

ｙ蘸变倸ǹ蘸变瞑鵑钫襄赊波嗨瞑鵑ф钫

襄工揶漂醴錨ｚ倠 帮植罚编倠 槌棹倠 2018 尿

3弦х騁侄抖嶗腻稳驼污搬蘸变熬 MAD耪

逍穆颁冻赊慘幣耪鵬嗨㏕丳乍顾旅芈余钓

浹赊波嗨漂圹х鳶帽携標蘸变煎余钓浹咆

驼奠屨壤祷瓷倠廟步蘸变颇迸醴莸ǔ员煎

廟按位宝溆獁窪嗨尾浔倸ь瘁漂帑酹э

(2016 尿倠塘畴倸效淳 · 鳶顾疱 ).

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C.H: 庥霖倠煎韌叭父倠铂先朧柚检鹑頃煎哎揲副检嗨癃阜觊襄鐒笛波醴匮ф醴匮

跽贳迸峰硷检垧弟波蛊х廟梧甘壤隔岷ǔ泫ň付嗨默波维培偀

沈伟： 烤夢叭奠倠擅符煎瞑福ɑ默波悶х擅逢莸黻牡涪迸ň渔娱扮予倠2008 尿迸

父倠擅咆块煎弟波胺恫瓷烷猗浪病倠赘赋ň付嗨菌检х2009 尿倠槌棹赐际均簽挫颜农

款棹擅颅釉瘁唯垧 ·堪伸嗨跽贳ь尕宝荜э滅酹瓣抖笛波х2011尿倠被笔枫款棹擅笛波

黻牡嗨佩均跽贳ь赋ǹ的эх付ǔ尿倠擅熬槌棹均獅编帆垭鐒笛波醴匮倠白梧均獅编帆

垭鐒郡ǔ有滅酹韌旋嗨醴匮х醴匮玛莸搬钡扶簇瀾病倗驄鲸倛第劈泵瀾病倗瞑牖倛嗨悶姿х

钡韌迸父倠均獅编慘澌搬ǔ按醴匮钫襄腎х

縟渔嗨浍抖 Still Moving , 2011醴匮跽贳 Performative installations煎槌棹均獅编钫襄帆垭鐒嗨觊佳攵

American Wing, Metropolitan Museum of Art, New York.

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Caroline Hancock: What is this “unknown” you were referring to in your monograph ti-tled Everything is connected 1

 Shen Wei: Since 1998, I have worked specifically to develop my own language through unknown territories. I have pushed all my limits, always wondering what the next step would be towards a form of abstraction. Through practice and learning, I have created a unique fusion between visual arts and movement, between the East and the West. When I founded Shen Wei Dance Arts Dance Arts in 2000 I wanted to make sure it involved more arts. Many colleagues would question my decision not to use the word “company” like most international dance com-panies would normally do. But I was adamant. This has been a time of self-discovery which is now somehow beginning to make cohesive sense with hindsight.

C.H. From 2000 onwards, you have conceived what you call the Natural Body Develop-ment Technique. You have developed this actively but also progressively over the course of sixteen years at least. It rings like a manifesto that finds its applications in all the art disciplines you practice and also in life. Very early on in the conceptualisation of this exhibition, it was clear to us that everything should be focused around this continuous field of inquiry. 

S.W. It is a technique to direct internal energy from our body to relate to surrounding external information (human, built, natural) and thus achieve an organic motion. Internally the way we are built dictates how we move. It is essential to observe the tensions and all the joints that unfold and fold, but also pay attention to the inner energies and breathing, to what goes on through the veins and all the equivalents in nature. We are all affected by external infor-mation and by gravity. I have been researching how to combine all this in art and go beyond.

C.H. In fact it is more than a technique, it is your philosophy or way of life according to which everything is indeed connected...

S.W. These concepts fuel how I make decisions and how I relate to the world. It is of course nearly spiritual too with parallels in Buddhist thought for instance. I believe everything that exists has a spirit, including animals, clouds, trees, mountains, rock formations and so forth. There is a balance to be found between motion, suspension and gravity, a relation to build with the universe, in relation to the Earth, as part of this planet and within society. It is all rather or-ganic but it does take a lot of training, unlearning certain accumulated gestures or knowledge.

What seems to have started in the field of dance with practical applications and teaching, in fact carries over into everything I do. It has to do with a quest for a certain respect-ful sensibility to convey. You have to allow yourself to let go, to use the natural situation – the universe – to move. In paint-ing, the workings out were much slower, but just as consist-ent, leading to a deep appreciation of shapes and non-shapes alike. The imagination finds the momentum to give breadth and meaningfulness in each stroke in order to depict a situa-tion, a particular moment of being.

C.H. When did you start painting?

S.W. I started at the age of six before going to school, at home, depicting balloons for instance with great three-dimen-sional detail, I also did birds, butterflies for the exquisite pat-terns on their wings. I also got into painting bridges inspired by those that tended to appear at the bottom of bowls in ad-miration for these then still rare infrastructures in China. Then I painted figures in the traditional Gong-bi painting technique and in relation to Chinese opera costumes. When I graduated in 1984, I discovered Western arts. In my figurative paintings at the time, the brushstrokes became freer, adding life and movement to the pictures as a whole. I painted portraits of my friends in the fields of dance and painting.

C.H. What were your inspirations in Western visual arts?

S.W. The first Western art I was able to discover while still in China was from 1983. I was able to pour over a book on Italian Renaissance and have since adored Leonardo da Vinci and Michelangelo’s drawings. This changed my style. Degas was an influence even before I started dance and I was quite taken by Modigliani’s portraits of women for a time. I am still an immense admirer of Cézanne and his colours. I had a great

Exploring The UnknownAn interview between Shen Wei and Caroline Hancock

射渎香 Notebook , 2014 – 2015們鬮琉 /槌棹 /錒自 Miami, New York, Hong Kong, 33 x 24cm钫襄羚香宝脱蜈 Courtesy of the artist

1. “I wasn’t taught the arts separately, so I don’t separate them in work. Because I’m a painter, I want to see how dance movement relates to music and also how music and dance relate to visual art, to see how the three elements combine... my work isn’t about real life, or about being Western or Eastern... I’m exploring the unknown. I’m looking for a new way to communicate.” Shen Wei. Everything

is connected, Shen Wei Productions, New York, 2012, p.105. Texts written by the artist, Anna Kisselgoff, Melissa Chiu, Buck Wanner, Sara Procopio, James Healey, Thea Little, Christopher Mao, Jesse Zaritt, France Paper, Kathleen Jewett, Stephen Xue, Andrew Cowan.

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some food downstairs, I did not see anyone. Winter 2011 was a very cold winter in New York, and my painting studio was located in New Jersey at MANA Contemporary, while I lived in the West Village in Manhattan. I had a bit of an epiphany between Thanksgiving holidays and Chinese New Year, I was taking the train between the two locations and walking in the snow to find answers. This came in the form of the large format abstract works which are mostly black, white and gray.

Concepts and ideas somehow find resolutions on the canvas when you dig deep physically and visually in harmony with nature, texture, music and movement, and sometimes with a spiritual or particular type of mental connection. I delight in becoming versed in rendering a specific moment or situation. The technique of professional floating dance moves provides a completely different way to make gestures across a horizontal or a vertical canvas in moves which are neither entirely controlled nor fully intuitive. I am fascinated to take shape back to form again, but on a different level.  

C.H. What motivated the partial move of your studio to Paris last year? What can this city allow? Was your collaboration with the designer Ma Ke for a Paris Haute Couture presentation in the Jardin du Palais Royal in 2008 one of the triggers?

S.W. It wasn’t particularly that project. I have come here often over the years and basically it is a quiet haven where I can focus on painting, creating works or just thinking alone. I love the museums, the city planning, the architecture, the gardens, the food. And the light is differ-ent – ideal for artists! It has been so inspiring to visit Cézanne’s studio in the South of France.

friend, Shu-Lei, who was my painting teacher. He was exhibiting in Hunan during the time of the Chinese New Wave generation in 1980s. I had a group of painter friends with whom I shared this romantic view of an artist cycling around the countryside and making paintings to-gether... inspired by what we had read about the lives and friendship of Van Gogh and Gauguin. We admired the fact that they seemed to be following their passion.

I wasn’t taken by abstract contemporary art at first when I arrived in New York. I came to know it slowly. Mark Rothko’s paintings opened a door for me to feel emotions, as if watching a film.

C.H. What is different about what you can express through painting? It seems to be a more solitary or private activity you intensely delight in whenever your busy dance company schedule allows it. You have also described your paintings as a form of journal. Can you tell us more about this?

S.W. Painting is slower than dance... it has been a place where I can work things out for myself. You are literally the only one facing that question and answer. I have found it to be a long journey. I have been through so many physical and mental states to find my answers in different periods, in many studio spaces. In 2004, I moved my painting studio to Lower Man-hattan, a few blocks from the World Trade Center. I needed a totally focused place to explore the relations of movement and energies through only simple calligraphic brushstrokes on can-vas. I started this process and stayed alone in the studio for several months – besides getting

射渎香 Notebook, 2012跺剥 Beijing, 21 x 14.5cm 钫襄羚香宝脱蜈 Courtesy of the artist

饵父钧闈种 Afternoon Sun Tan, 1998目縹赵掴 Acrylic on canvas, 91.4 x 121.9cm, 泱宝脱蜈 Private collection

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C.H. In your conversation with YiLing Mao at the Asia Society in New York in March 20182, you mentioned that you have made films that you have never shown. This enabled François Michaud and I to discover your black and white 16mm film April made in 1998. This seemed such a seminal work encapsulating so many strands of your interests and research from then on that it immediately seemed crucial to include this work in this exhibition.

S.W. Having prepared a very detailed script, I filmed it with the collaboration of two friends An-Ting Chung and Daniel Cheng, during springtime in New York and Ithaca. At the time, the future was so uncertain... There is a certain poetic sadness about it. But the white figure of my-self was meant to symbolise hope. In the following month I underwent major heart surgery – a very significant transformative moment in my personal and artistic development. I decided to drop the bag and keep going.

 C.H. There is something very surreal about this film; it reminds me for instance of Jean Cocteau’s Orphic Trilogy or even Samuel Beckett’s Film. The main performer – you – is blessed with hermaphrodite beauty, dressed in black or white, clad either in heavy coat and boots or light floating drapes. The sounds or the silences are incredibly ominous from cello to flute or violin, to dried grass in the wind, birdsong or a mute waterfall. The dreamy poses in the countryside evolve into a Michelangelesque contrapposto, quasi flamenco dance in a powdery haze, or frenetic escape. Other enigmatic appearances include wooden buildings, tennis balls, a white shirt on a hanger while a pillow bag (an object which also appears in various paintings then) is filled with hay and dragged across the landscape.

  S.W. It is a really personal film that I have never shown to anyone much. It expresses various emotions, dreams, the self-discovery of oneself as a human. Somehow it conveys the loneliness of an artist – the struggle, the long journey.

The recent three and half months alone (嶗从bi-Guan) in my painting studio here, I have been seeking that additional quality of light and air on my canvas. I continue to explore life and attempt to digest the world we are living in. I certainly don’t want to just paint a nice image or develop a fine technique, it takes a long time to find your own answers and to express yourself in your own way. 

C.H. You arrived in New York in 1995 and proceeded to absorb as many diverse cultural forms as you could during your first five years. You were able to use equipment at NYU through friends who were studying in the Film Department there. How important was this and what did you learn from this new interest?

S.W. I was specially moved by the art films, it changed the way I see dance! It also led me to include multimedia on stage sometimes. I am still particularly inspired by master filmmak-ers with an inclination for visually powerful theatricality. I am enamoured for instance with Nostaghia (1983) or The Mirror (1975) by Tarkovsky, Satyricon (1969) by Fellini, Underground (1995) by Kusturica and Fassbinder’s films.

  In fact I was always very attracted to Russian culture (films, literature), to the descrip-tion of heavy emotional and poetic with some sorrow, Somehow we are familiar with this in China – it is as if there are connections between communities.  

Christopher Nolan’s film Interstellar 2014 has passages which really resonate with me as well.

騍病塑萎 Collective Measures, 2010 鳴素壟斯 Connect Transfer, 2004

2. “Shen Wei: Expressions in Dance, Art and Film

With Shen Wei Dance Arts”, Asia Society, New York, March 2018. This event ended with the premiere of a recent film by Shen Wei in response to the newly constructed Harbin Opera House in Heilongjiang (China) by MAD architects. Ma Yansong gave him access to the building prior to the opening which led Shen Wei to create a journey through an empty space: The Inner Shadow of Movement (2016, cinematography: Jake Mahaffy).

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S.W. From 1998 onwards, I deliberately wanted to get away from any particular influence and create my own unique language, my movement vocabulary, in what turned out to be the Natural Body Development Technique. I had learnt so many techniques! I have really admired the work of Pina Bausch, even before coming to the United States, and my solo production Small

Room (1994) had some of Dance Theater inspiration. During a New Year gathering in New York at composer conductor Tan Dun’s home with filmmaker Ang Lee, I was introduced to theatre director and choreographer Martha Clarke who immediately involved me.

C.H. Your tastes in music are extremely eclectic. What are you looking for through your selections?

S.W. I am seeking certain qualities of sound, different voices, and I am attracted by differ-ent music in different periods. I loved Tom Waits before leaving China – the low tone of voice and this relaxed personality which was so unlike mine during that time. I am personally drawn to spiritual music, to calm music by the likes of Arvo Pärt and John Tavener whose compositions have appeared a lot in my work over the years. The outcome is so varied according to the sound, the vocal or the texture. I am interested in the conversation between all these ingredients. I have also enjoyed the challenge of conversing with more conceptual, structured or abstract contem-porary classical music by Steve Reich, Xenakis, or Morton Feldman.  

C.H. Can you tell us about your encounters in New York then with the Taiwanese artist Tehching Hsieh? What did you learn from his radical performances?  

S.W. He was incredibly supportive to artists in the 1990s, including myself. His foundation frequently provided live-in studio space for artists. My friend Chung An-Ting who is a sound installation artist stayed there. We spent time together then – he had already stopped creating art and was building houses by himself, such as this residence house. I met very few people from mainland China in New York then, compared to people from Taiwan or Hong Kong.  

C.H. You have made direct references to the Classical Gardens of Suzhou, to Gu-Qin music, to the 14th century painter and poet Ni-Zan and the 17th century painters Baba Shanren, to sto-ries such as The Dream of the Red Chamber (which you interpreted in 1996), as well as that of the four-thousand year old story of Madam Xiang waiting for her husband whose tears showed up as marks on bamboo. Of course, your family background and your early training has raised you within Chinese opera. During the Cultural Revolution between 1966 and 1976 in China, many Chinese traditional art forms were destroyed. Is this your continued way to revolt and celebrate? Do you consider yourself a sort of cultural ambassador? 

S.W. The journey gives that purpose but it is not what I set out to do. We have certain roles as humans which happen through circumstance, rather than anything planned. I have experi-enced different value systems in my life by now. I am made of Eastern and Western ingredients. Now wherever I work or live, I bring, express and share this conjunction of states of being.

C.H. Can you describe some of your primary influences in the field of dance?

ь冀弦э漂圹钓隗 Still from film April, 1998 – 2000

ь莸泵ｙ楮业研ｚэ胁仟射渎香 Sketchbook for The Dream of the Red

Chamber, 1996熬瞑福弟波嗨慘瘸 Preparing the stage production, 20.7 x 24cm each钫襄羚香宝脱蜈 Courtesy of the artist

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C.H. Can you summarise your experience of working on the opening ceremony of the 2008 Beijing Olympics? Did it change the course of your work?

S.W. I learnt so much through that process! At first, I was part of an artistic team with visual artist Cai Guo-qiang for the submission proposal for the opening ceremony. In beginning of 2007 the General Director Zhang Yimou had invited me to be part of the overall advisory discussions. He was searching for the big picture which emerged as “one world, one dream”. I showed them footage of my production Connect Transfer (2004) which inspired them as they started to visualise the concept of making a live painting together. Zhang Yimou asked me to lead on the choreography and I created the Scroll

Painting segment. The scale of this production with so many people working on it was really new to me. I found that this situation expanded my confidence in taking on new challeng-es. I knew that I could do anything after that. It led directly to my first site-specific performance: Connect Transfer II (2008) in Judson Memorial Church. 

C.H. Indeed since then you have increasingly been com-missioned to imagine performances, performative installa-tions and site-specific works in major museums worldwide. Has this implied a different way of working?

S.W. Before the Olympics, I had only worked on stages. I discovered I could expand on this and from 2008 started to include digital media in my production, mixing universes. In 2009, New York Park Avenue Armory commissioned me to interact with Ernesto Neto’s installation Anthropodino. In 2011, they commissioned me to produce my own ambitious installation: Divided Undivided. That same year I created a performance – the first of the kind in this museum – for the Metropolitan Museum of Art. It traced a path from the classi-cal to the contemporary body. Since then, they have created a performance department.

ь的ǹ赋э射渎工钓隗 Undivided Divided Preparatory drawing and documentation, 2011

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ь诬叭阍э樺巴嗨猢湎倗论腎倛

Study for Rite of Spring, Detail, 2003 目縹赵掴 Oil on canvas

抽象、运动及音乐Abstraction, Movement and Music

蘸变颅示頓钫襄嗨狄娱場酥遁蔬 2003尿嗨ь熬诬叭阍赊波嗨掴波猢柏э工 2005尿嗨ь夢抖э绗低逅倠廟梧ǔ甥

迸樺巴工夢抖熬裒扰笛波嗨橥掴х廟梆波蛊梧蘸变抵抻稳獁ф溆獁工楸菰申鵬刖陕倠匹阃篡醋倠ǹ瞑鵑窍窍帑从х瞑

鵑戗艘嗨菰起踐阪膏莸扮蘸变嗨掴目叭ɑ倠夢抖朵熬鑫鲅х被嗨宕鲟硨鋪倠讽射ф鹼懊眄词瀾鵒鴇倠琳锘摆这х克予

黻捋嗨匹培倠蹦宝ň阚瘸第觊佳示頓醴莸翱扒ｓｓ克效淳濘 ·臻知淳嗨厍枝掴工 50ф60尿泵鳶淳 ·暌唯泮嗨钚键ｓｓ

迸峰 60尿泵弊军 ·淳鹈剂嗨ь宝病致灣эх阪刖倠蘸变颁醇厢衔狁物廟梆奠攣叭波倠粗ň帶刖赋先梧陪宝瓷焱х

蘸变颅樺巴工宝踞嗨擰兽涪誕ň恃ǔ癣倠弊苫旅 ·唯垧势婉唯藉ф扶萱掀ф摘跨 ·奎促ф母劑懊眄龃蜈炎搁獅梧

被嗨裒扰叭遵х2005尿倠蘸变讽懈斓胺浦钫襄钯叭頃笛波ь检家э倠擰抻嗨藏梧唯窬军 · 鹈刊東措嗨ǔ员斜邈未凭х

熬騁醴匮倠蘸变橥弟搬瞑福均驴嗨炫锡迸峰枣在菀х枣在菀煎均放玛愎倠波熬香有玛鲂嗨咆块х廟梆煎宕擯胺嗨橥掴

峰侦駝跷驼均咆小倠瘊鵬祷ǔ泫ǜ铟逖畎嗨拓谢х

Shen Wei’s first forays into abstraction take place in music and movement driven paintings spanning from Painting Study for

Rite of Spring (2003) to the variations of the Movement series in 2005. Intimately related to his dance practice, Shen Wei uses time, space, texture to create these gestural works involving body and mind. Choreographic ideas find their way on his canvases. Movement is translated visually. Reminiscent of calligraphy, the flowing brushwork is activated by hands, feet and bodies. With regards these free forms, American Abstract Expressionism – Jackson Pollock’s drip paintings or Mark Rothko’s pictorial spaces in the 1950s and 60s – but also Yves Klein’s Anthropométries in 1960 inevitably spring to mind also. It is nevertheless intriguing to realise these earlier creations sometimes occurred unbeknownst to Shen Wei.

His eclectic musical or vocal choices and inspirations range from Igor Stravinsky to Gu-Qin, Tom Waits, Bach or Tibetan chants. A minimalist composition by Steve Reich is the score Shen Wei worked with for his commission from the Lincoln Center Festival in New York in 2005, entitled Map. This is the performance for which he painted the stage-size backdrop and the helium balloons included in this exhibition. These blown-up transfers of drawings and notations in his notebooks contribute a kaleido-scopic effect.

6160 ь诬叭阍э樺巴嗨猢湎 Study for Rite of Spring, 2003 目縹赵掴 Oil on canvas 6160 诬叭阍 Rite of Spring, 2003

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ь诬叭阍э樺巴嗨猢湎謇 3, 4俯 Study for Rite of Spring No. 3, 4, 2003目縹赵掴 Oil on canvas, 278 x 179cm钫襄羚香宝脱蜈 Courtesy of the artist

ь诬叭阍э樺巴嗨猢湎謇 1, 2俯 Study for Rite of Spring No. 1, 2, 2003目縹赵掴 Oil on canvas, 278 x 179cm泱宝脱蜈 Private collection

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夢抖謇 1俯 Movement No. 1, 2005目縹赵掴倗㏕钚宕鲟倛 Oil on linen (in Black brushstrokes), 163 x 130cm廟拟掴选丝酥辮从扮母劑軸萱掀嗨樺貴刖笛波 Painted to the sound of piano music by Bach泱宝脱蜈 Private collection

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夢抖謇 3俯 Movement No. 3, 2005 – 2006目縹赵掴倗嗳钚宕鲟倛 Oil on linen (in White brushstrokes), 163 x 130cm廟拟掴选丝酥辮扮胺佳卞樵扶萱嗨樺貴刖笛波

Painted to the sound of Chinese Music on traditional Gu-Qin instrument泱宝脱蜈 Private collection

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夢抖謇 7俯 Movement No. 7, 2005 – 2006目縹赵掴倗嗳钚龈嚯㏕钚嗨宕鲟倛 Oil on linen (White on Black brushstrokes), 167 x 127cm廟拟掴选丝酥辮从扮掣踞捱頦樺匮亥嗨踞樺貴扰刖笛波倠匮亥牖了埔诶帮唯 ·欷旅 Painted to the sound of a countertenor singing by Andreas Scholl on A Musicall Banquet (1610) by Robert Dowland 泱宝脱蜈 Private collection

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夢抖謇 8俯 Movement No. 8, 2005 – 2006目縹赵掴倗嗳钚工楮钚宕鲟倛 Oil on linen (White and Red brushstrokes), 132 x 183cm廟拟掴选丝酥辮扮胺佳卞樵扶萱掀ǹ摘跨 ·奎促嗨余掀嗨踞樺貴扰刖笛波Painted to the sound of Chinese Music on traditional Gu-Qin instrument and songs by Tom Waits.钫襄羚香宝脱蜈 Courtesy of the artist

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夢抖謇 6俯倗祠嗨爻抖ǹ壟抖 – 脔钚倛 Movement No. 6 (Slide-Turn by Feet B in Grey), 2005 – 2006 目縹赵掴 Oil on canvas, 132 x 183cm钫襄羚香宝脱蜈 Courtesy of the artist

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夢抖謇 5俯倗祠嗨爻抖ǹ壟抖 – ㏕钚倛 Movement No. 5 (Slide-Turn by Feet A in Black), 2005 – 2006 目縹赵掴 Oil on canvas, 129.5 x 183cm 钫襄羚香宝脱蜈 Courtesy of the artist

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蘸变煎槌棹艘楣放 Shen Wei in New York Dance Studio

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自然身体发展法�e Natural Body Development Technique

黻 2000尿莢倠蘸变咆块逢玛ｙ黻阪瀾病逢玛这ｚ倠卫煎壢鵬魯噔ф姓櫟埃熹觉瓜弄瘁抉熹灣鸕抖嗨瀾病х瘁煎熹

灣小黻跟缸ф臁臊ф从钯ф阃榕迸峰酽扈倠抉煎熹灣迪遁肝黻阪波抻懂倠克襪懂ф懣懂倠圣汕被宝嗨鲟怆ǹ臀碩х

蘸变讽黻阪敢逢倠慘瘸岷克并路粗壟贳扮宝病劈胺х廟ǔ仟缗倠莢狄梧熬瞑鵑瀕楣倠刖父方煎被嗨ǔ蹬酹熬胺獅

颇第韓瞥х龅路趾抖ф读熹工襪懂嗨楹赋贳扮鋃柄倠迪紿貉扮素楝倠十咆颅夹嫌抖波峰匹器嗨覬鍪х騁病绗侦襪颅

未壟ф论腎抖波迸峰趁賕嗨楣柏х蘸变谓卷ǔ谓倠鳥炉岷溆獁胺示泔扮宝病嗨楱骖夢抖х

ｙ瘸頓ǔ圹颂癀煎驴座窪嗨辅隶倠疗位这速弟黻牡嗨酹抖倠刖梧捋座择陪掳倠序辅颅座择嗨抖波陈祷疯弄倠庞猷

岷座择嗨抖波хｚｓｓ蘸变

From 2000, Shen Wei develops his “Natural Body Development Technique”. The objective is to create a body that is soft, sup-ple, and able to respond to both internal and external impetuses for motion. Internal energies include breath, muscles, joints, nerves and veins within the body. External energies include natural forces, such as gravity or wind, as well as the touch or ma-nipulation of other persons.

Inspired by nature, Shen Wei imagines how it might be transposed to the human body. It is conceived for dance training in particular but this research carries through to all his activities. It requires heightened receptiveness, unlearning preconceptions of set movement and shape, in order to prioritise combinations of flow, momentum, gravity. The technique focuses on exercises in rotation, isolation, and suspension... The artist increasingly seeks pure motion in space, abstracted from the human form.

“Imagine, for example, a leaf in a stream; it does not decide what movement to make. The motion of the water directs it, and the leaf reacts to and sustains the motion of the water.” – Shen Wei

宕擯香 Notebook, 2010的卸宝病从钯ǹ溆獁从绗嗨腋起射渎

Concept drawing focusing on the levels of a human body's joints in space, 21 x 13cm 钫襄羚香宝脱蜈 Courtesy of the artist

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变奏， 2014

譬钚漂畴倠7的腫

戗瞑工醴匮倸蘸变

碩巴倸鬮旅辗 ·娜旅垧嗨ьVariations for the Healing of Arinushkaэ

鋃匮倸槌棹劃埔宴袜借倠2014

噬塘倸2014觊佳瞑鵑钯

款棹倸觊佳瞑鵑钯峰 Celia工 Silas Chou

Variations, 2014

Film, colour, 7 minChoreography and performer: Shen Wei Music: Arvo Pärt, Variations for the Healing of Arinushka

Premiere: 2014 Judson Church, New YorkFilming: The American Dance Festival 2014

Commission: Celia and Silas Chou with support from American Dance Festival

《自然身体发展法》相关元素：

未壟

胺浦壟浍

券钳抖懂

跟缸

芫澌的鲛

驼携ǹ襪灣

阃榕

趾掊

请衷 /庞玛

瘁懂臁病速弟

贾嗨仆荽逢玛

Supporting NBDT:

Rotation

Center Shifting

Momentum

Breath

Isolation

Release and weight

Nerve

Flow

Suspension / extension

Internal muscle control

Continuous circular motion

 

奉看 Variations, 2014

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“自然身体发展法”（NBDT）技术技巧训练课程 �e Natural Body Development Technique（NBDT）Class

内在能量（气）

跟缸粤裁

廟抗省漠瀕楣純浔梧瀕楣瀾病恰旋宋琐跟缸在熹灣嗨惟嗨ǔ泫夢抖维培х瀾病瘁腎涪迸跷瘸頓陕梧著病倗酽著趾

悶瀾病倛倠跷鲁嶗煎朋钳嗨嘧飚瘁х滦畴梧ǔ按窪縹春亟择嗨在菀倠瞑牖嗨瀾病瘁春亟搬熹灣工在窍х漚悶﹣隶跟缸倠

在窍醇滅瓷第炫嗨ḿ二腎的倠阪父钡韌窪熔熔嗨静亟瀾病х騁楣柏墁克ǔ按粤裁抡倠静春瀾病嗨在窍屨岷越ǔ有嗨

缸在濃酌灸恫倠捏迸嗌的粤嗨匹培跷哦灣朵х捋瀾病胺嗌的叭ê而嗨熹灣咆块倠擅笔熟猷钳嗨灸恫熹灣嗨灣倗滦畴在

菀灸恫粗胺嗨择的ǔ旋倛х煎嗌的叭刺而嗨稳偿瀾病嫌搬鹼觉嗨骜懂小富奠錦娱倠煎嗌的叭罢而第嗌的叭嗌嗨稳偿擅笔

涪迸縑鹼屡酹計х在窍殓熟岷仆荽嗨趾抖倠煎缸在嗨闲榫倠漚悶父炫ḿ二腎咆块跟在倠瀾病煎缸在第粗斜闕嗨稳偿倠

捋疗嗨炫嗨ḿ二腎的路在窍跟在駝驼祷小х廟泫襪夫嗨抖器倠煎付ǔ稳獁路瀾病贳扮鞍泫抖器叭ḿ嗨匹培梧 NBDT省

漠瀕楣瘸龅鳥炉嗨粗胺ǔ按玄浦倸標瀾病恰捌殓熟煎廟泫黻阪夢抖堠器胺х

廟泫楣柏韓湓岷碗按瀾病抖波拟哦濃酌奉均嗨悶浔х越有缸在赊苞扌嗨溆在 /熹灣迸峰剂越有跟在苞扌嗨抖器跷

陪掳第瀾病胺嗨醒按垧猎腎柄工溆獁胺嗨垧猎腎柄小笛鵬抖器х裁扮溆在春亟簽词瀾帔第操步射暑屡富溆獁胺暑忿х

射暑屡春亟搬赊缸滅嗨在倠瀾病抖波路在庞斌祷忿倠疗屨岷廟泫抖器富抉斌富溆獁胺х標ǔ按驴爻娱步颇碗按瀾病煎

溆獁胺殓熟岷讽跟在粟抖嗨ǔ泫夢抖懂倗跟在嗨抖波滦畴梧找择煎富奠趾倠瀾病白屨岷廟择趾浍抖倛х廟按楣柏煎ň付

嗨诟跷霖萎倠跷暑陪富ň付嗨维富х父炫ḿ二腎嗨跟在弟鵬祷ǔ泫煎溆獁胺嗨夢抖懂х缸在步在趾迸颅鲑榈嗨匹培富

帑疯维富趾抖眄射碥倠瞑牖駝驼祷ǔ有跟在陀奉襪浦刖步颇被笔煎溆獁胺尝聶х素ḿ小嗨缸在路在趾春眄暑屡倠步粗

暑富菌溆х瞑牖笔屨岷煎跟在工襪灣嗨难抖瀾病眄扮检縹倠毓抖捏咆块缸在闲父標廟飕在趾路被笔钡检ɑ损莢小х

在窍粤裁抡步瀾病ǔ帔鹃扮缸在工跟在嗨瘁煎抖器叭胺х廟泫熟猷嗨抖器梧熬韓湓扮省漠叭胺操步先均拟哦ф先

門噴工先垧底嗨抖器嗨藉饬省襄省漠х

廟泫跟缸省漠白颅ь伎叭ǔэ倗2006 尿倛胺嗨瞑鵑抖波嗨省漠工貴灣嫌恼斗х跟缸熬溆獁胺嗨抖波笛鵬搬ǔ泫渭

魯噔枫社霖嗨貴灣倠庇钵梧跷瞑牖格纪工瀾病瘁腎嗨溆在赊粟抖х

Internal Energy (Qi)

Breath Scale

This initial exercise in NBDT prepares a body that is connected through the flow of energy, or Qi. This body can be envisioned as liquid on the inside (the flow of blood through the body), encased in an elastic skin. Like a balloon filling with water, the dancer’s body fills with energy and breath. Inhaled through the nose, the breath enters the lower back first, filling the body from there. The exercise is a scale, with the amount of breath that fills the body increasing with each inhalation, quantified through percent-ages. Starting with 30 percent energy in the body, dancers sequentially increase the amount of energy, as if the amount of water in the balloon increases. At 80 percent, the body has enough energy to take a step forward, and at 90 to 100 percent it can rise onto the tips of the toes. The breath is maintained in a circular flow: at the end of the inhale, the low back begins the exhale, so that the body is finishing the inhale at its extremities as the exhale begins at its center. This overlap of motion—the ability of the body to be in two movements at once—is how NBDT enables the body to react to and sustain natural motion.

The exercise moves through a progression of increasingly larger movements of the body. The energy created with each inhale and the motion created by each exhale can be directed into a specific point in the body and a specific direction in space to create motion. The first example is the air filling to the fingertips, which are pointed forward in space. The fingertips fill to the maximum inhale and as the body exhales, it follows the motion forward in space. A small sliding step allows the body to sustain a forward locomotion in space supported by the exhale. The exhale acts like a river flowing forward, with the body carried upon it. This exercise is repeated with different body points leading in different directions. The exhale into the low back creates loco-motion forward in space. By contrast, the inhale on a backward upward diagonal into the shoulder creates an exhale that moves the dancer backward in space. An inhale into the fingertips towards the sky allows the dancer to fall to the floor on the exhale, roll, and initiate an inhale that pulls her or him back up off the floor.

The Breath Scale exercise prepares the body for the constant internal motion of inhale-to-exhale. This constant motion is the basis for the larger, faster, and more specific motions of the technique.

This breath quality provides the sole movement technique and quality in the repertory work Re- I. The breath creates a light, yet grounded quality of movement through space, as if propelled by air from around the dancer and from within the dancer’s body.

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pp.84 – 95 射渎香 Notebook, 2009 – 2010暌鳶 /槌棹 Rome / New York, 22 x 22cm 钫襄羚香宝脱蜈 Courtesy of the artist

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圆的循环发展

贱澌ｓｓ贾嗨仆荽逢玛

瞑牖笔贱煎检邪ɑ倠瀾病剂在窍粤裁路抖波奉颇硫嫌ň付浔哦嗨夢抖熹灣х扉炫潸帔倠硗嚯棚掀倠祠驼煎检邪ɑ倠

魯魯检琐岷被笔嗨熳癭х跟缸倗跟在汕缸在倛嵌梧醇扮抖波倠刖抖波嵌梧捋父炫ḿ腎逢祷х楣柏嗨咆濡捋跟在路碗按

瀾病姓樓朵捏路甫碥钡熳癭捋缸在难抖熹灣祷忿х

漚悶缸在倠熹灣钡父炫ḿ二腎ɑ尔第ɑ瀾捏庞玛第彀腎工覯腎倠存第煎郡貰ɑ倠素岷熟猷第ǔ符姓樓嗨射碥工

射暑屡ɑх钡射宋酹眄暑屡嗨熹灣闲榫煎宪奠嗨跷駝驼祷小х煎缸在樯宵叭奠倠跟在存ǔ有嗨咆块倠笛鵬祷ɑ縹损莢

悶嗨瀾病瘁腎抖器嗨襪夫 倗暑屡贝阪梧缸在嗨闲沦濡倠付稳父炫ḿ腎 /胺浦亩榕咆块搬ḿǔ有跟在倛х煎越ǔ楹抖波胺倠

甫射碥醇陈鞍有颅缸在波疯弄倠阪父存沫射碥白逢扌鞍有疯弄х

廟泫跟在 /缸在嗨异培韓湓扮碗按楣柏叭胺х謇板楹抖波紿龅先倔嗨熹灣小步射碥煎迸暑屡暑富菌溆镣陕缸在嗨

付稳煎ǹ奠维玖縹鸟酹嗨堠器ḿ煎溆獁窪陈祷ǔ按ｙ烷莲 8ｚ嗨匹堠х謇ê楹抖波竊仆ǹ謇板楹抖波帑疯嗨鉸聘倠缸

在路ɑ瀾工暑屡富抉斌玛陈祷ｙ烷莲 8ｚ嗨匹堠х

廟ê楹抖波襪卷滅酹倠步抻鞍昌嗨熹灣小步鸟醪嗨抖波韓湓扮鞍符射碥倠騁抖波煎越ǔ楹滅酹鞍有х

煎巴濑镣樯腎倠跟在路碗按ɑ瀾富甫父縑倠缸在路瀾病频奠难眄鞍砺叭獁倠跟在枫路粗洳洳频胺獁难倠闲父ǔ有

缸在嗨在趾湓悶瀾病胺峻频ɑ酹滅漚悶鞍射嗨射暑暑富菌溆х

越按父猷嗨抖波楹赋弄騁煎奠ǔ楹嗨藉饬ɑ耪澌先倔嗨熹灣х越ǔ楹獅龅曾粤奠ǔ楹先倔嗨熹灣倠剂予紿龅瞑牖

笔颅扮赊施瓷嗨熹灣工越ǔ有跟在插熟廠霖嗨器哦х

Continuous Circular Motion

Continuous Circular Motion Siting

With the energetic body cultivated by the Breath Scale, the dancer sits on the floor with erect spine and bent knees, feet on the floor, gently grabbing hold of the shins. The breath always precedes the motion, and the motion always emanates from the low back. The exercise begins with an exhale softening the entire body and releasing the right arm from the shin.

With an inhale, the energy travels from the low back upward along the torso through the shoulder and neck, rounding off at the top of the head before continuing down through a supple arm to the fingertips. There is energy through the fingertips as the palm finishes facing the front of the room. Before the inhale completes, the exhale begins again, creating the previously noted overlap within the body (fingertips still in the last of the inhale while the low back/center is already beginning the next exhale). For each set, the right arm reacts to the inhale twice, and then the left arm twice.

This exhale/inhale pattern continues throughout the exercise. The second set requires a little more energy to send the arm through a “figure 8” in space, parallel to the front wall, finishing the inhale with the fingertips toward the sky. The third set traces the second set in reverse, the inhale sending the torso and fingertips forward in space and out through the “figure 8.”

These three sets repeat, running through each set twice, using twice as much energy to produce motion through both arms in unison.

For the coda, the exhale takes the entire upper body back toward the right, the inhale takes the body forward to the center between the legs, the exhale goes back slightly to the center, and then one last inhale through the center goes up toward the sky through both fingertips.

Each successive set builds upon and demands more energy than the set before it. This requires honesty from the dancer regarding the amount of breath and energy she or he puts into the exercise.

8786

8988

中心转移

煎胺浦壟浍胺倠瞑牖钡ǔ按柄贳奉斯第辐ǔ按柄贳倠漚悶粗ǹ检縹素鲟嗨越按诟標被 /壳嗨碗按襪灣现钡扮襪懂х

煎位抖扰嗨堠器胺倠廟旋嗨鹃菰涪迸雛梧异庇韌梆耪逍嗨騮匹х瘸頓ǔ按ê诟ǹ检縹素鲟嗨ê鲑惺倸疗煎殓熟沸嫌匹

器嗨堠器ḿ路赊嫌襪懂癀第廟ê诟ɑх煎胺浦壟浍胺倠擅笔路瀾病驼携第检浦陪懂襪灣倠驼袍颅扮擅笔嗨襪灣工柄

贳嗨速弟х廟泫貴扰颅扮笛鵬检縹嗨夢抖抖波縊内嫌拓倠白颅潲澌夢抖抖波付旋苹嫌拓 х位蠶梧贱岷緬梧潲澌倠駝

驼襪灣嗨貴扰獅梧ǔ旋嗨倠兵梧弟鵬祷小嗨匹堠缝带扮瀾病胺嗨规ǔ腎币熹素鲟第检邪ɑ小熬抖波损彩ǔ按浼猎嗨

奠损藉饬х胺浦壟浍抖器煎ь诬叭阍э嗨钓圉謇 13濑钯工ь检家э嗨钓圉謇 2濑钯胺而的内鍪х

瞑牖瀾病嗨胺浦嗨抖波嵌梧抖波嗨莢遵ｓｓ瀾病夢抖嗨襪夫腋起存有祷莸倠ň悶煎廟窪澮搬瀾病熟猷煎熹灣ɑ嗨

襪夫堠器倠白灸恫搬瀾病抖波煎垭菰腋起ɑ嗨熟猷襪夫х

謇ǔ楹胺浦壟浍嗨抖波楣柏遁蔬煎检邪ɑɑ钡ǔ按柄贳浍抖第辐ǔ按柄贳倠煎越按抖波稳獅路瀾病镣词镑槲襪

懂х瘸頓ǔ按维键襪灣獅驼煎疗次縹胺嗨ǔ縹ɑ倠路编掳眍廟ǔ縹尝ḿ小帔第辐ǔ縹素射廟襪懂х煎胺浦壟浍胺倠瀾

病迸ǔ绗低宝尕瀾病涪熹錨第嗨葵读小奬屨廟泫襪懂嗨奉朵х圉嗨梧颅扮瀾病恰旋驼携ф襪懂工胺浦煎越按抖波滅酹

稳鹃扮暴捌柄贳插熟ǔ泫捉姚刖廠霖嗨器哦х

謇板楹抻先倔嗨熹灣路越按柄贳鳴素莢小倠逢玛祷ǔ泫黻阪朋矯嗨夢抖貴扰х煎越按壟奉叭獁嫌ǔ艾黻阪伎朋夢

抖匹陕嗨烹哦小庞猷抖懂陪掳第ḿǔ按壟奉ɑ忿х熬搬插熟廟泫貴扰倠瞑牖笔曝賅步抻吕灣瘁煎嗨熹灣工溆獁小插熟

瀾病嗨堠器工樯胁倠垧底梧煎彀腎工讽襪灣嗨从钯ɑх朋矯倗胺浦壟浍嗨謇板楹倛帑滨扮菀朋矯夢抖堠器倠兵付稳標

瀾病抖波扰弄扮襪懂富ḿ嗨嗨懂灣赊苞扌嗨抖波堠器ф工敞伎朋懂粟抖ḿ维检邪苞扌嗨瀾病抖波嗨疯弄х

謇ê楹耪澌煎朋矯嗨貴扰ɑ倠捏纪樗鳴素朋矯嗨维富步粗奉熬趾抖嗨抖器х漳嫌法芫嗨烹哦夢抖堠器倠越按朋

矯嗨烹哦趾掊ǹḿǔ按朋矯夢抖鳴素莢小煎瀾病瘁工溆獁瘁逢玛祷ǔ泫趾抖扰熟猷夢抖堠器х插熟瀾病瘁襪夫嗨堠

器梧煎熟猷胺浦壟浍省漠ň涪晟吕嗨х

Center-Shifting

In the Center-Shifting exercise, the dancer moves from position to position allowing her or his full weight to settle downward into gravity through each point that is in contact with the ground. In a motionless state, this settling would mimic that of a ru-dimentary piece of architecture. Imagine a tripod with three points of contact with the floor: its full weight falls into those three points, without collapsing its shape. In Center-Shifting, the dancer softly releases down into gravity, relinquishing control of weight and position. The quality is equally effective in creating floorwork phrases as it is in creating standing movement materi-al. The quality of released weight is the same regardless if the dancer is seated or standing, but the shape is dependent on which parts of the body can reach the floor and provide a stable base on which to settle. Center-Shifting motion is seen especially in Rite Of Spring Track 13 and Section 2 of Map.

Motion at the center of the dancer’s body always precedes the motion of the periphery. Again, the principle is overlapping motion in the body. Here, physical motion is added to the circulation of energy.

The first set of a Center-Shifting exercise moves from position to position on the floor, fully settling into gravity in each position. Imagine a cube resting on one of its six sides, fully resting into gravity on that one side. It is then pushed over an edge onto another side, and re-establishes its relation to its own weight and the downward force of gravity on this new side. In Center-Shifting, the body follow this shift of weight through any series of positions imaginable. The goal is to be clear and honest about how the body is resting, and where the weight and center is in each position.

The second set is done with additional energy, creating a natural bouncing motion quality. There is a slight natural re-bounding curve motion between each shift to redirect the motion to the next shift. To retain this quality the dancer must use small amount internal energy and space to maintain shape and structure, especially in the joints of the shoulders. Bouncing (the second set of Center-Shifting) like a motion of ball bouncing, reacting to the pull of gravity downward and the push of the shape and position of the floor below.

The third set builds on the bouncing quality, rounding and connecting each direction of bounce into a continuous flow of motion within the body and through space. The overlap of motion within the body proves indispensable when shifting into continuous movement.

8988

9190

惯性动力

黻阪刖鲧倠抖波嗨苞扌块瓷抖懂嗨波抻х煎 NBDT窪券钳抖懂梧漚悶夢抖鹑颇嗨懂灣倠 刖黻阪检殓熟工逢玛被莢

块嗨熹灣工堠器懂х

券钳懂嗨貴灣梧耪澌煎恫鹏亩连煎嗨熹灣ф噴哦迸峰抖波嗨藉饬ɑ嗨х瘸頓爻邪牖煎二孱焦烹哦嗨耪逍ɑ爻酹х

克谢爻邪牖钡二孱焦烹哦嗨耪逍病嗨丙濡咆块频鞍滿ɑḿ爻抖莢小倠熔熔抖懂频鞍残ɑ浍倠付稳灸恫頦哦工噴哦倠廟

旋路编鹑颇券钳懂х廟滦梧券钳抖懂省襄省漠抖波楹赋瘸龅錨陕嗨夢抖堠器倸钡垭菰堠器鹑颇噴哦工熹灣ɑ嗨灸恫

嗨ǔ泫黻阪嗨券钳抖懂刖ň梧颅扮熹灣嗨贳瓷捋均祛逢莢速弟阪父滅瓷臁臊х煎 NBDT窪券钳抖懂嗨沸菰小黻扮煎夢

抖悶浔溆獁胺瀾病熟驼携抖器小淶瘪熟猷工鸟醪券钳懂倠刖縊捋瞑牖步抻臁臊熹灣苞扌嗨熟猷嗨粟抖懂х

Momentum

In nature, there needs to be an impetus for motion to occur. In NBDT, momentum—the force gained through motion—utilizes and sustains the natural impetuses for motion.

Momentum is a quality that builds increased energy, speed, and motion on pre-existing energy, speed, and motion. Im-agine a skateboarder on a half-pipe. If the skateboarder started at the bottom and rocked up and down each side, gaining in height and speed, she would be gaining momentum. This is what a Momentum exercise combination tries to create: an increase in speed and energy from a physical situation rather from than an input of energy, initiated by the brain, into the muscles. In NBDT, momentum is accompanied by an ease of motion through space, rather than a constant push of muscular energy from the dancer.

91

9392

检縹ｓｓ券钳抖懂嗨熟猷逢玛

贱岷嗨抖懂楣柏咆块扮瞑牖笔贱煎检邪ɑ倠砺煎奠维堂陕墜狴堠倠ɑ瀾縑煎驼煎碲腎父维嗨射ɑх付旋瀾病胺

腎緬梧闲醇嗨夢抖莢诟х謇ǔ按抖波楹赋遁蔬钡瀾病胺浦咆块嗨冀有砺腎拊爻堂抖х越有砺腎嗨拊爻堂抖獅耪澌莢熹

灣倠闲榫錨第煎廟按楹赋赊熹逢玛嗨闲均熹灣х

騁楣柏嗨謇板楹赋路碗按瀾病獅难瓷第越ǔ有嗨砺腎拊爻堂抖叭胺倠捏越有獅壟斯滿х瞑牖笔標被笔碗按瀾病煎

钡ǔ滿壟斯第辐ǔ滿嗨悶浔胺鹃扮ｙ菀ｚ嗨柄贳х煎步抻甫滿瀾病工射遁陕ｙ菀ｚ稳倠甫射工碲殓熟煎检邪ɑ倠熹灣

檑猷钡郡貰祷忿倗煎甫滿迪帑疯倛х壟斯稳瀾病胺峻醇聶伎倠煎瀾病胺弟鵬祷ǔ绗低襪夫嗨抖器倠捏埃煎拊爻堂抖第

辐ǔ滿忿嗨稳偿钡ｙ菀ｚ嗨柄贳嗨胺獁鹑缝熹灣х

謇ê楹赋步熹灣漚悶瀾病胺浦壟嚙第ǔ符祠存第硗嚯第瀾病第郡倠煎胺浦未壟ɑ忿х钡予滇咆块倠洙缟嗨熹灣

工抖懂曝賅煎素ḿ小嗨抖波楹赋胺獅跷步抻第х

煎謇冀楹赋倠瞑牖漚悶瀾病胺浦壟嚙第富岷颅鲑均赔鬻娱滨嗨ň围灸恫嗨熹灣х

煎謇办楹赋白梧闲硫嫌熹灣嗨楹赋胺倠瞑牖嗨瀾病抖波煎熹灣颇迸煎胺浦碌富菌溆叭奠镣陕壟斯х眄从襪龅嗨梧

步抻券钳抖懂小殓熟廟泫熹灣嗨脱騍工熹灣嗨鸟醪倠工縊内襪龅嗨梧瀾病胺熹灣嗨襪夫堠器 х

謇次楹赋嗨贱岷检縹券钳抖懂嗨楣柏標瞑牖笔煎疯伎检邪叭奠法祠潲澌倠廟梧騁楣柏胺抖懂工熹灣嗨镣词神玛х

缙奬岷廟按倠楹赋恫瓷搬熟猷夢抖嗨堠器倠廟梧ǔ泫殓熟浼猎嗨噴哦工券钳抖懂灣嗨维培х存ǔ有嗨倠瀾病瘁腎

抖器嗨襪夫奉颇眄从襪龅倠兵梧ň畴奠奠父父嗨抖懂楣柏倠煎熟猷抖器叭胺倠瞑牖殓熟岷ǔ泫富奠嗨熹灣х圉嗨梧熬

搬插熟瞑牖笔漚悶抖懂楣柏刖耪澌莢小嗨熹灣х颅扮熟猷抖器倠越ǔ楹獅弄騁嫌工謇ǔ楹抖波ǔ旋嗨抖懂 /熹灣 /噴哦倠

步抻襪夫嗨抖器小殓熟倠刖ň梧ǔ帔煎贳瓷惟嗨熹灣х

Momentum in Continuous Motion on the Floor

The Momentum Seated exercise starts with the dancer sitting on the floor, legs in a diamond in front, upper body resting on hands placed behind the hips. Again, the center of the body precedes the motion of the periphery. The first set consists of four leg swings initiated from the center. Each swing builds in energy, ending with the maximum energy this first position can allow.

The second set brings the whole body along with each leg swing, alternating side to side each time. The dancer brings the whole body into a “ball” position as it passes to each side. Moving to the right, the right hand and hip remain on the floor and the energy continues out the top of the head; the action is mirrored on the left. The center of the body falls first, creating the overlap of movement within the body, gaining energy through the center “ball” position as the swing shifts to the other side.

The third set takes the energy through the body into a spiral on one foot and one knee. From here, the accumulated energy/momentum must be utilized in each successive set.

In the fourth set the dancer takes a large lunge out on the diagonal as a way to use the increasing energy.

With the fifth and most energetic set, the dancer passes through the center before allowing the energy to shoot upward toward the sky. The overlap of energy in the body is crucial when using momentum to maintain the energy-gathering and-sus-taining process.

The sixth set of Momentum Seated brings the dancer to one foot standing before falling back to the floor. This is the full extension of momentum and energy in this exercise.

Following this, the dancer adds Continuous Motion, a way of sustaining a steady amount of speed and momentum. Again, the overlap of motion in the body is crucial, but in Continuous Motion the dancer maintains a forward energy, unlike the back-and-forth of the Momentum exercise. The goal is to sustain the energy the dancer built in the Momentum exercise. To do this, each set should have the same amount of momentum, energy, and speed as the first set, using the overlap of motion to sustain it, rather than having to continually input energy.

9392

9594

潲澌ｓｓ券钳抖懂嗨熟猷逢玛

潲澌券钳抖懂嗨熟猷逢玛省襄省漠梧煎宝病潲澌堠器胺逢玛祷帑滨嗨熹灣工噴哦峰耪澌异培х

煎ň付嗨插揞钓圉胺倠瞑牖ǔ畎路券钳抖懂潲澌工券钳抖懂贱澌赘赋第被笔芫瞑抖波胺工鉸聘胺х券钳抖懂嗨襪

龅钳ň煎扮楣柏胺慘猎嗨垧猎抖波倠刖梧煎扮韌泫熹觉漚悶毖并嗨柄贳汕梧ǔ绗低嗨ｙ娱臂ｚ煎溆獁胺鵒鴇抖器胺嗨

噴哦工熹灣嗨扰鲅х廟煎瞑牖嗨瀾病胺工溆獁窪笛鵬祷搬ǔ泫ň讽漂瓜嗨魯携嗨熹灣趾工抖器х

潲澌ｓｓ贾嗨仆荽逢玛

廟梧闲均嗨溆獁胺嗨夢抖堠器倠付稳步抻迸奠嗨楣柏胺赊颇嗨瘁煎熹灣嗨维培х騁楣柏迸砺腎爻拊堂抖咆块倠素

ḿ小梧瞑牖跟缸嗨趾抖倠闲榫耪澌莢ǔ按熟猷嗨夢抖堠器х克谢瞑牖熹煎溆獁窪笛鵬祷ǔ按趾掊嗨鉸聘倠被笔滦熹

煎ň步抻悶倔臁臊懂灣嗨泅代ḿ殓熟逢玛抖器嗨趾抖х

煎廟按楣柏胺闲从鄺嗨狁測梧煎扮恰旋煎ň夢抻悶倔臁臊熹灣嗨泅代ḿ壟斯维富汕牖梧克并煎均拟哦堂抖瀾病稳

ň夢抻悶倔懂在х

Momentum Standing

Momentum Standing creates a similar buildup of energy and speed with the dancer standing upright.

In various Shen Wei’s works, dancers tend to use Momentum Standing and Seated in their solo choreographic movement and motion pathways. The importance of Momentum is not in the specific movements of the exercises, but the technique of being able to ride the speed and energy of motion through space in any position or series of “steps.” In a momentum phrase, the “steps” melt into and out of one another, creating an uninterrupted, easy stream of energy and motion through the dancer’s body and through space.

Continuous Circular Motion Standing

This is the fullest motion through space, utilizing the internal energy skills from previous exercises. It begins with leg swings that follow the flow of the dancer’s inhale and exhale, eventually building into a continuous phrase of motion. If the dancer can create a smooth pathway through space, she or he can maintain a continuous flow of motion without excess muscular effort.

The key lesson of this exercise is the ability to turn without using excess muscular energy or effort in the swing of the body.

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予圮婉莲小黻扮 2012尿鋃有泛递祷圮嗨ьǜ垭嗵嫌脘绗倸蘸变嗨钫襄э謇 323 – 325賁х

遵扮蘸变 2001尿眄 2012尿獁蘸变耪澌嗨省襄省漠瀕楣純浔捋了埔鯡 · 牍鞘壟琵х

As developed by Shen Wei between 2001 and 2012, transcribed by Andrew Cowan, and first printed in 2012 in the publication Shen Wei. Everything Is Connected, pp. 323 – 325.

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基于NBD 技术技巧的使用因素

未壟

胺浦壟浍

疯朋

芫澌的鲛

券钳抖懂

潲澌ｓｓ贾嗨仆荽逢玛

Supporting NBD technique information

Rotation

Center shifting

Re-bouncing

Isolation

Momentum

Continuous circular standing

 

地图，2005

腋起ф戗瞑ф瞑觊慘幣倸蘸变

碩巴倸唯窬军 ·鹈刊ь樟卦э

亵唇倸唯泮垧 ·帆旅咸

现跽慘幣倸蘸变ф较蒎廓 ·泮钽錨倔旅

醴匮倸蘸变瞑鵑钫襄

鋃匮倸2005懈斓胺浦钯

款棹倸2005懈斓胺浦钯倠槌棹

Map, 2005

Concept, choreography, and set: Shen WeiMusical score: The Desert Music by Steve Reich

Original lighting design: Scott BolmanCostume design: Shen Wei and Elena Comendador Performance: Shen Wei Dance ArtsPremiere: 2005 Lincoln Center FestivalCommission: 2005 Lincoln Center Festival, New York 

ь检家э鋃匮扮 2005尿倠梧槌棹懈斓胺浦钫襄钯款伸蘸变笛波嗨ǔ按瞑鵑波蛊х被绳事腋起ф戗瞑ф瞑觊工现跽慘幣嗨笛波х

廟毕射橥瞑福炫腻笛波扮 2005尿倠祷黻蘸变嗨戗瞑维熏工射渎х廟梆枣在菀梧选丝 2005尿沸渎倠蘸变路射渎奉陕橥掴倠熬 2014

尿煎槌棹嗨劃埔宴袜借荽匹硷锡窪嗨霖锡玛匮溆獁阿嵐襪惟慘幣嗨х

The original Map performance took place in 2005. The Lincoln Center Festival in New York had commissioned Shen Wei for a new dance work. The concept, choreography, set and costume design are his creation. The painted stage backdrop was made in 2005 as a collaged compilation of sketches transferred from the artist’s notebooks. The helium balloons were imagined for an adaptation of Map in a circular setting at Judson Church, New York, in 2014.

奠賁倸ь检家э瞑福炫腻 Previous Pages: Backdrop created for the original performance of Map, 2005目ɑ皑谛射橥 Painted fabric, 9 x 16m蘸变瞑鵑钫襄峰钫襄羚香宝脱蜈 Courtesy of the artist and Shen Wei Dance Arts

ь检家э在菀 Map Balloons, 2014ǖ按抻皑谛颯旺橥弟家熏嗨枣在在菀跽贳倠越按棹 2-5嬲 Installation of 7 painted helium balloons, acrylic on plastic, approx. 2-5m each蘸变瞑鵑钫襄济峰钫襄羚香宝脱蜈 Courtesy of Shen Wei Dance Arts and the artist

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ь检家э宕擯倗4盆倛 4 Notes for Map, 2005 榘ɑ軸宕 Pen on paper, 28 x 22cm each 钫襄羚香宝脱蜈 Courtesy of the artist 

ь检家э Map, 2005醴匮倸蘸变瞑鵑钫襄 Performance: Shen Wei Dance Arts

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As Shen Wei was a painter before he became a dancer and a choreographer, the evident correspondences between some of his paintings and his dance might be interpreted as a conscious practice, as though the artist had always wanted to cross the bridge between visual and performing arts. Nevertheless, profound changes appeared in his painting after he settled in New York or when he started including paint in the choreographies, asking his dancers to perform with the medium. The first stage pieces show another kind of correspondence. He explains that when he conceived Near the Terrace, 2000, pictures by Belgian artist Paul Delvaux served as a model. The dancers were painted in white, their somehow hieratic appearance and the naked chest of the women directly evoking scenes Delvaux was partial to. If, in that case, the reference was explicit, what we generally read is that Shen Wei’s pictures and dance are marked by the legacy of Surrealism – a word appearing in many texts. However, the model for the early paintings shown in the exhibition should be sought out in British art, from Stanley Spencer to Francis Bacon, more than in Surrealism – except for Human with Red Butterfly on Grass, 1998, whose strangely disarticulated bodies make one think of Max Ernst and a painting in particular, from the Tate Collection: The Elephant Celebes, painted in 1921, the year when the German artist was acclaimed in Paris by a small group of Dada poets, of which André Breton was to become the leader. In fact, the accurate questioning might be quite different: Surrealism crosses Shen Wei’s practice because his artistic mood was acclimated from the very beginning to such a way of considering reality as part of a larger world made of images, words and feelings, excluding conventional categories. 

Abstraction itself, in its first experiments in the early 2000s, not only deals with the conceptual notions of space, time, form or texture, but with the synthesis of aesthetic categories; the attempt to make dancers transform into human paintbrushes – not exactly in the way Yves Klein did it in France in 1960 with his “Anthropométries”, although it remains difficult to not stress the link between their practices – corresponds to a similar wish to transcend borders. I remember Shen Wei explaining in his Paris-ian studio, in front of his last abstract paintings how, for him, notions of suspending spaces, anti-gravity were important. His research places the openness of movement into the foreground and the possibility of an anti-gravitational form is one of his tar-gets. The Surrealists, in the 1920s, had tried to develop a kind of scientific exploration of the forms created by the unconscious, referring to the young psychoanalysis but making it derive into a freer time-space, where conceptual, aesthetic or moral barriers would be abolished. Their purpose was already to explore the unknown. When Breton and Philippe Soupault wrote Les Champs

magnétiques (The Magnetic Fields) in 1919, they were discovering the creative possibilities of automatic expression, the exist-ence of which had been understood by 19th century psychiatry, before Freud. An example of such a new conception of literary creation is clearly given by the following verses, written by the poets without any rational control, the text being the result of all the “free associations” coming to their mind:

“The time had come. Yet king dogs never grow old – they stay young and fit, and someday they might come to the beach and have a few drinks, a few laughs, and get on with it. But not now. The time had come; we all knew it. But who would go first?”

Shen Wei’s Visions François Michaud

ь位腡謇 34俯э论腎 Untitled No. 34, Detail, 2015目ɑ赵譬工皑谛 Oil and acrylic on canvas

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The Surrealists searched for similar possibilities in visual arts, and found a successive materialization of it in the work of sev-eral artists: Giorgio de Chirico, Francis Picabia, Marcel Duchamp, Max Ernst, Salvador Dali, René Magritte or Joan Miró. Ameri-can abstract painters, from Jackson Pollock to Mark Rothko, were profoundly inspired by Surrealism when they moved towards an expression detached from any reference to reality that was to be known as “Abstract Expressionism”. Jackson Pollock, for instance, produced paintings by pouring paint directly onto the canvas without apparent premeditation. When Zao Wou-Ki was able to see their works in New York in 1957, less than ten years after his arrival in France, he felt comforted in the path he had chosen. Through abstraction indeed, different opposed categories could find conciliation: expression of the voice and expres-sion of the mind, articulated words and visible signs, movements of the hand and movements of the body. Shen Wei very likely integrated all these elements in his own language when he arrived in New York and was able to study works by the artists who had preceded him and encounter the work of his contemporaries. In his recent abstract paintings, a form of dream-like method seems to guide him and he came to that point through the experiments done in the context of a personal reflection about Igor Stravinsky’s Le Sacre du Printemps (Rite Of Spring). The Ballet provoked a scandal when it was performed in the Théâtre des Champs-Elysées in Paris in 1913 and somehow announced the revolution introduced later by the Surrealists. For the first time indeed, dancers seemed to imitate savage rites, freeing their body from all the conventions of classic ballet. Movements seemed to be driven by the body itself, disconnected from the mind. Shen Wei used abstract painted studies in 2003, as a response to different musical forms in order to direct his dancers and to open his own mind to unpremeditated forms and movements.

Although he had discovered the films by Yang Fudong much later, Caroline Hancock and I were amazed by a form of com-mon language which both artists seemed to have shared around the mid-90s, when Shen Wei conceived and performed the film April. The black-and-white image is but another element of such a correspondence. The film appeared to us as a link, an invisible bridge between the pictorial painted expression the artist had brought to New York and the collective performances he conceived there, with many precise drawings, sometimes automatic-like, before giving the dancers his indications. The perfor-mance conceived for the film, from very precise sketches, produces an effect of mental and physical chaos which may be seen as the basis of both performing and visual pieces which he realised in the following years.

Later, such correspondences reappeared, for instance when the large painted backdrop of Map (2005) brought painting into the visible part of the stage, not horizontally as for Rite of Spring, but now vertically. The lines were drawn there. The new directions to follow were successively brought to light, and the curtain would become what it is today: a canvas – and the canvas would be able to bear new images, mental landscapes, neither abstract nor real places, surreal perhaps. 

ь请衷 –襦謇 2俯э论腎 Suspension in Blue 2, Detail, 2017 – 2018目ɑ赵譬工皑谛 Oil and acrylic on canvas

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ь位腡謇 31俯э论腎 Untitled No. 31, Detail, 2015目ɑ赵譬工皑谛 Oil and acrylic on canvas

If Shen Wei is exploring a new dimension in his recent paintings, the word does not refer to the large canvases he now utilises; there is a search for a renewed dimension of his artistic expression as a whole, and for new dimensions of the “real” space the canvas opens to. The backdrop painted for Map was a turning point, when the diagrammatic lines one can see in many earlier or later drawings were suddenly projected onto the canvas – the largest he ever used. The dimension in which his pictorial work would now develop was given, but the space was not – the space was not on the canvas, it was on the stage with the dancers, and the painting – not only a backdrop, but a piece in itself – was clearly abstract, mathematical, as a paraphrase or a synthesis of the movements executed by the performers. On the contrary, the works which we can see in the fifth room of the exhibition, from Untitled No.1, 2013 to the ones he painted in 2017 – 2018 (Blue Series), and which we cannot call “abstract”, are for him the depiction of a possible space for human beings. The words of Hamlet might be recalled here: “To sleep, perchance to dream.” as this is the exact feeling one can get in front of them: Do we sleep? And if we do, a dream is certainly to come and in this dream we should feel better than if we did not sleep. Whether the paintings describe a space, whether they utilise realistic codes and means (sometimes the idea of a theatre backdrop remains in the eye when one looks at them) or the evident fact that such a space remains unreal, are not accurate questions to the artist. The place he proposed is a place to live in, maybe to fly, perchance to fly, and the fact that such a place may correspond to one’s immediate perception (it partly does, partly does not) is not important. Feelings only are; and the artist was often convinced by the viewers’ reactions that one can feel perfectly well in it. Do we feel at home while looking at these large paintings? Can we follow the movement of our eyes which try to embrace all the microscopic variations of colour and texture? Some works necessitated years before Shen Wei considered them as achieved. A place in which we may project ourselves easily becomes a better place than all the landscapes we are accustomed to.

Sometimes, in his dreams, Shen Wei becomes a prehistoric bird, perceiving the world with the bird’s eyes and flying above a world that resembles some of his mental landscapes. In his Parisian studio, we looked at some parts of Untitled No. 31 – a work he began in 2015 and finished this year. I cannot describe what we saw then, it would be false, inaccurate… What you see is not what you see, there is something else, inside the painting, inside the world you are entering; one must see the painting before speaking – see it in person, as Shen Wei always says.

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位腡謇 21俯 Untitled No. 21, 2011目縹赵掴 Oil on canvas, 135 x 246cm钫襄羚香宝脱蜈 Courtesy of the artist

ь位腡э绗低镣陕扮 2013眄 2015尿獁倠廟梆寞焦橥掴鬃得扮示頓ǹ懣锡倠射这谓眇啦郄倠鑫鲅先硫状哦倠宕鲟遷督嫌懂枫

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逢鉀禊册哎嗨栈仟х

All Untitled and realised between 2013 and 2015, Shen Wei’s monumental paintings hover between abstraction and landscape with increasingly elaborate treatment of surface and depths made of visually suggestive and energetic brushstrokes. Shen Wei compares these works with making a journal and proposes new manifestations of movement, breathing, and the environment. Travels along the Silk Road, to Angkor Wat, Tibet, Patagonia and Ushuaia have a lasting impact on his mindfulness and imagination, as has the work of 17th century ink painter Bada Shanren for instance.

The smaller scaled but more intricately detailed and layered recent works with their brighter palette take new directions which hint further towards potential representational analogies. Notions of anti-gravity, suspension, lightness and freedom organically weave hopeful propositions. This time corresponds with a partial move of his studio to Paris.

Shen Wei openly ponders the potentials of the sixth sense or the fourth dimension and believes that everything is connected. As alternative realities, these mental landscapes offer a chance for a journey and otherworldly contemplations.

心像景观Mindscapes

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位腡謇 11俯 Untitled No. 11, 2013相ɑ赵譬工皑谛 Oil and acrylic on wood, 76 x 304.5cm钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 5俯 Untitled No. 5, 2013 – 2014目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 212 x 498cm 钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 6俯 Untitled No. 6, 2013 – 2014目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 212 x 490cm 钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 2俯 Untitled No. 2, 2013目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 214 x 551cm钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 1俯 Untitled No. 1, 2013目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 209 x 537cm钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 3俯 Untitled No. 3, 2013 – 2014目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 212 x 508cm钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 4俯 Untitled No. 4, 2013目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 212 x 505cm 钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 8俯 Untitled No. 8, 2013目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 420 x 554cm 钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 33俯 Untitled No. 33, 2015目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 209 x 474cm 钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 34俯 Untitled No. 34, 2015目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 209 x 474cm 钫襄羚香宝脱蜈 Courtesy of the artist

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请衷 – 襦謇 1俯 Suspension in Blue 1, 2017 – 2018目ɑ赵譬工皑谛 Oil and acrylic on canvas, 91 x 152cm钫襄羚香宝脱蜈 Courtesy of the artist

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请衷 – 襦謇 2俯 Suspension in Blue 2, 2017 – 2018目ɑ赵譬工皑谛 Oil and acrylic on canvas, 91 x 152cm钫襄羚香宝脱蜈 Courtesy of the artist

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请衷 – 襦謇 3俯 Suspension in Blue 3, 2017 – 2018目ɑ赵譬工皑谛 Oil and acrylic on canvas, 91 x 152cm钫襄羚香宝脱蜈 Courtesy of the artist

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请衷 –襦謇 4俯 Suspension in Blue 4, 2017 – 2018目ɑ赵譬工皑谛 Oil and acrylic on canvas, 91 x 152cm钫襄羚香宝脱蜈 Courtesy of the artist

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位腡謇 31俯 Untitled No. 31, 2015目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 164 x 347cm 钫襄羚香宝脱蜈 Courtesy of the artist

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请衷嗨唇 Suspension in Light, 2015 – 2017目ɑ赵譬工皑谛 Oil and acrylic on canvas, 181 x 296.5cm钫襄羚香宝脱蜈 Courtesy of the artist

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扌稞 Suspending Motions, 2018跽贳倸譬钚嫌踞漂畴倠3的腫 Installation: video, colour, sound, 3min on a loop

钫襄羚香宝脱蜈 Courtesy of the artist

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Suspending Motions, a brand new multimedia installation inspired by the bodily experience of a train ride in 2011, invites ever increasing experiential connectivity. The mirrored video projections are a metaphor for Shen Wei’s “Natural Body Development Technique” as a defining line of inquiry and existence. Inner energy is supplemented by external movement and light. One can either go this way or that, backwards and forwards.

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沈伟：游移于物像冥思之间 毛奕龄

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低汕財梧蘸变闲氟崍浦籩嗨匮槟х扶ǹ辈ф矮ǹ龃ф间ǹ弹叭獁倠被咆祷ǔ晓漚频隅鲅嗨簽鉸х

扮蘸变刖鲧倠廟员泽抢叭尾嶧诮岷扌耕嗨稞稞葡唇х闲謎嗨倔浪病跽贳波蛊ь扌稞э倗2018 尿倛胺倠蘸变潲煎ǔ

緑湓價胺佳百削嗨亳劉ɑ路廟泫浦竞说水х狯狯诞沱瘁倠鞍宵凭抖嗨闈唇锘芳锘泔倠膿悶劉溧嶧诮ф洲竣х酹滅胺倠

擅笔敞蘸变嗨蕒郡滅瓷ǔ按连煎嗨滿竞倠縊予縊拼х的沱趾龐倠擅笔ǹ被ǔ付跟缸倠峁奠赊鍪觊隴觊凯倠位鹃ň煎х

墙渠獁倠擅笔滨八颇迸鉀價倠洲竣嗨揲诟迸唇斡俘裹х

ь位腡謇 8俯э论腎 Untitled No. 8, Detail, 2013目ɑ赵譬工皑谛 Oil and acrylic on linen canvas

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Be it in movement or on canvas, the art of Shen Wei is hypnotic. We feel time intensely, yet a sense of timelessness consumes us; we dream in bouts, half-states, and entrancement, but are held forcefully in the present. Shen Wei’s formidable body of work, spanning dance, drawings, performance installations, short films, and paintings across three decades, often displays a haunting sensibility that derives its power from a liminal state. Both ghostly and godly, Shen Wei’s creations exude a psychic tension that cuts into his purist abstractions. Shen Wei’s aesthetic approach to form and surface may seem akin to Surrealism and Abstract Expressionism, his kinetic energy originates in the ritual and myth of Shen Wei’s birthplace: the ancestral land of Hunan, China, where tales of spirit mediums, Daoist deities and otherworldly birds and beasts have loomed large in the everyday imagination.

Shen Wei’s first commissioned painting emerged directly from this fantastical realm. In the early 1980s, the local Daoist temple, upon noting the disappearance of an altar, halted its proper rites until its divine attendance returned. Appearing from a child prodigy’s paintbrush, Wang Mu Niang Niang, the female deity of Heaven and Earth’s middle ground, replenished her celestial absence. At the age of thirteen, Shen Wei bridged human and other, conjuring a goddess of the “in-between.” This channeling of a world beyond that began in childhood has become all-consuming pathway for Shen Wei as an artist on the world stage. As Shen Wei says, “I’m open to all sentient beings, be it plants, animals, clouds, rocks, humans and other beings.” At the core, Shen Wei is a medium and his art is the intermediary, his choreographed motions and brushwork creating rites of passage through which viewers re-enact spectra of consciousness. His formative training in Chinese opera, an art form with its own rituals and performance liturgy, has only further enhanced the theatricality of his artistic vision.

“Folding” (2000) epitomizes this borderline state. It is an early signature work that makes most poignant Shen Wei’s fasci-nation with transcendental realities. Like apparitions wandering in the netherworld, alabaster bodies shuffle and glide in alien ways, rising and falling to a fused soundscape of John Tavener’s music and the chanting of Tibetan monks. It is a stirring scene of bewilderment that seems at once occult and heavenly. That Shen Wei would stage a painting by the late-Ming-dynasty artist Bada Shanren as the backdrop to this enchanting ceremony is telling. Bada Shanren was a Chinese monk artist who relished si-lence and painted enigmatic allegories after the fall of the Ming dynasty. Like him, Shen Wei is an artist unattached to a specific time, statehood or geography. Shunning explicit references to meaning, Shen Wei chooses an ascetic path of self-cultivation, aspiring instead to an inner, meditative enlightenment. For him, each moment, each movement can be an awakening. It is nota-ble that Shen Wei created “Folding” on the cusp of a racking physical breakdown when a heart surgery tuned him to contemplate his own life, on the borderline. Eventually, a soulful journey to Tibet would make him conceive breathing as a conscious and meditative act.

ь请衷嗨唇э论腎 Suspension in Light, Detail, 2015 – 2017目ɑ赵譬工皑谛 Oil and acrylic on canvas

Trance and the Biomorphic Imaginaryin Shen Wei’s Art

Yiling Mao

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The pathos for transcendence is critical to the fundamental conception of Shen Wei’s art. We see this existential yearning for crossing the threshold of life keenly manifested as early as his film “April” (1997) when flowers blossomed in a desolate terrain. It appears later, in the ascendant staircase in “Near the Terrace” (2000), and most recently, in his rather unorthodox ending of a resurrection scene in “Neither” (2016), Shen Wei’s dance re-adaptation of Samuel Beckett’s poem against Morton Feldman’s anti-operatic score. It is not surprising that in 2003 it was Igor Stravinsky’s Rite of Spring that sparked a new creative fervor in Shen Wei. This ballet music, after all, has its origins in a tale about a primitive ritual in which a maiden is sacrificed at the advent of spring. Beyond pain and death can be promises of rebirth and renewal. Shen Wei’s calligraphic strokes in the Rite of Spring

painting study series, of course, does trace the intuitive spontaneity of gestural responses to music, likening the works by Kan-dinsky and other abstract modernists. But in some ways, we can also relate the jolting impulses in his calligraphy with another cultural context for interpretation; namely, the convulsive lines and drawings of spirit-writing and talismans made by Chinese Daoist mediums in a trance, in midst of seasonal rites to transform human fate.

Such an association between nature, Daoism, and artistic response has historical precedent in the long tradition of monu-mental landscape paintings in China. Since the Northern Song, Chinese artists such as Guo Xi, Li Tang and Fan Kuan have found spiritual pathways in art, depicting mountains that were deemed as hallowed habitats of immortals and heavenly beings. In these classical masterpieces of Chinese landscape painting, dragon veins direct the emotive energy of mountains; serpentine mists envelop a cosmos in a constant state of flux. The epitome of artistic achievement was a spontaneous calligraphic brush in the hand of a knowing artist who unleashes the primal truth of the universe. Such mythicized views of nature as a sentient, living being developed from a confluence of Buddhist and Daoist beliefs that date back to 10th century in China. It was an inclusive philosophy that took permanent hold for centuries, as Chinese society became riven by contending systems of thought. The relevance of this grand legacy of pre-modern Chinese art cannot be denied to Shen Wei, a China- born artist who, in spite of his worldly engage-ments, continues to be reflectively immersed with his roots and tradition. In our contemporary era of heterogeneity, change and chaos, Shen Wei has embraced this profound and enduring connection between life, nature and art; “Everything is connected,” says Shen Wei, when asked to summarize his creative vision, echoing the core concept in Daoist philosophy.

Hence, in Shen Wei’s “Untitled” series from 2013 onwards, we find large-sized abstract black- and- white compositions with an astonishing performance of energy in brushwork. Archaic, intense, and mystical, these landscapes teem with animalistic forces that act as if paths toward a primal ecstasy. In the engendering and dissolution of forms that swirl across and drip off from these magnificent canvases, a three-dimensional biomorphic mass of oils, acrylics, and ink take hold. A contemporary culmina-tion of that ancient imaginary is materialized before our eyes. When viewing some of these works that span over ten meters long, we become moving bodies in creation. To take in the totality of the art, we must step back, traverse the length of the painting, and thus interact with the performativity of these works in our experience as viewers. Altogether, the “Untitled” series may be Shen Wei’s most provocative attempt to stage and reconcile the experiences at the thresholds. Between the archaic and the modern, the East and West, and the sacred and the profane, he is cultivating a pathway towards enlightenment.

That journey, to Shen Wei, is an eternal passage glowing with the shimmers of life. In his most recent short film installation, “Suspending Motion” (2018), Shen Wei captures this state of mind as he stands still, at the head of a train carriage, on a rugged ride through the Chinese countryside. Within mere seconds, we see two moving lines of pulsating sunrays move towards and away from us, glimmering and disappearing in sync through the carriage windows. Moving, yet neither here nor there, we enter an existential limbo through Shen Wei’s lens. From one second to the next, we breathe with him, awakened to the revelation of such phenomenal beauty that is omnipresent.

In trance, our transcendence seems immanent, as the vanishing point beckons us with light.

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位腡謇 9俯 Untitled No. 9, 2013目ɑ赵譬工皑谛 Oil and acrylic on linen canvas, 218 x 996cm ｙ蘸变倸瞑橥ｚ倠帮植罚编錒自胺浦 Shen Wei: Dance Strokes, Asia Society Hong Kong Center, 2016

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射橥宕擯香 Notebook, 1982胺佳卞樵闪掀ь舍隶侗э嗨擯東家

Notation drawings on Chinese Opera movements with a folding fan

蘸变扮胺佳卞樵闪掀嚯止钓圉ь雨携申怒э Shen Wei in Chinese Opera Gai-Pai style, Wu-Song Da-Dian, 1980

历程Chronology

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蘸变工掴羚险锋笔煎奏藩謇ǔ穆锶均练揞漂

Shen Wei with other painter friends in Hunan, China, 1985

1968

蘸变祷扌扮胺佳奏藩倠劈稳胺佳隅榕菲岷婉朵均繆耕倗1966 – 1976倛х煎垡保蘸緡澧嗨暑掳ḿ倠煎羚素讽钫襄袜旆х蘸緡澧梧奏藩鞍羚胺佳卞樵闪钓浹嗨掳匮倠捏骜猢摆这х蘸变嗨曰保閼弦岭彩脶扮匮祷赐釜х被嗨鞍柄垂尷倠蘸廖工蘸闈倠獅钡颁扮鑫鲅钫襄覿桔х

Shen Wei was born in Hunan, China, during the Cultural Revolution (1966 – 1976). Artistic education at home under the tutelage of his father, Shen Qing Tong, who was director of two city Chinese opera houses in Hunan and a practitioner of calligraphy. His mother, Chen Yue bin, worked in performance management company. His brothers, Shen Hong and Shen Yang, are visual artists.

1984

月癌扮奏藩钫襄练绪х

恫瓷奏藩帷揍钓浹倠脶癌匮戈х

咆块练柏龃维橥掴х

Graduates from Hunan Arts School in June.

Becomes a member of the Hunan Provincial Xiang Opera Company, based in Changsha, Hunan.

Begins to study Western painting.

1985

85惟佤: 劈泵钫襄霖僥煎胺佳嗌铟﹫驼х

’85 New Wave: flowering of artistic experimentation in modern art across China.

赵掴倸欷畴绗低

PAINTINGS: Portrait series (1985 – 1994)

1986 – 1987

工险锋煎跺剥胺峻觊襄练浹狯陷练柏х

Studies with friends at Central Academy of Fine Art, Beijing.

羚殴赋隗 Shen family, 1966

蘸变ǹ曰保峰况啃嗨赋漂

Shen Wei with his mother and aunts, 1972

1978 – 1984

扮奏藩帷钫襄练绪练柏胺佳卞樵闪掀ｓｓ揍钓倠榕讽氨癣嗨亥ф起ф陈ф申逅醴匮瀕楣х

Studies Chinese opera at the Hunan Art School: rigorous training in dance, acrobatics, voice, and acting.

蘸变扮钫襄练绪嗨揞漂 Shen Wei at school, 1980

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1991

胺佳鋃按莸泵瞑济ｓｓ柠矮莸泵瞑济嗨笛块陕戈叭ǔх熬瞑济笛波波蛊遁蔬倸ь緬梧粮隶эфь喀垡鳥谓эфь醵钚从绗эфьň岘叭爵эфь驴浦э倠陕熬廟按稳陷瞑济嗨插揞钓圉х瞑波ь藩百隶э莫伎扮帮植工釉植倠波掀釘帼х

Founding member of the Guangdong Modern Dance Company. Choreographic works – Still Child, Racing With The Sun, Colored Relations, Insomnia, Be Careful – became part of the repertory of the company during this time. Southern Story toured in Asia and Europe. Music by Tan Dun.

1994

ь驴奢獁э倗稳尷65的腫倛倠芫鲑闪倠倔浪病霖鶩瞑鵑钓硷醴匮倠煎柠末ф跺剥ф錒自莫匮х

Small Room, 65 minute one-man, experimental multi-media dance theatre show. Tours to Guangzhou, Bei-jing, and Hong Kong.

ь钧闈隗内尔莢э

The Sun Rises As Before, 1990

翱匮扮捋㏑肿僚戗瞑嗨ь罢余э倠波掀釘帼х

Performing in Helen Lai’s Nine Song. Music by Tan Dun.

瞑鵑波蛊ьň岘叭爵э鹑颇胺佳鋃骡莸泵瞑均積戗瞑工醴匮鞍贄頑扛х

Dance work Insomnia won first prize in both choreography and performance at the National Modern Dance Competition in China.

1988

泔咆奏藩帷揍钓浹倠申咫第跺剥滅柴橥掴х熬搬霖莸廟按研瘸倠蘸变丰恫搬ǔ按瞑鵑粤積倠捏鹑颇搬ǔ币扛頑倠抻扮橥掴练柏х被予有嗨戗瞑裒扰小黻扮诞尿奠煎跺剥幡悶嗨ǔ按恫孰均莸泵瞑济嗨匮祷倠捏迸胺佳卞樵闪钓抖波省这陈熬笛波锤缑倠廟毕斜醋笛惟嗨瞑鵑波蛊熬被輯颇搬粤積х付尿浍逻柠末倠恫瓷柠末缮据余瞑济х

Leaves the opera company with the intention of pursuing painting studies in Beijing. In order to fund this dream, Shen participates in a dance competition that offered a cash prize. His choreography was inspired by a Canadian modern dance company he had seen in Beijing several years earlier, and based on strong traditional Chinese Opera movement technique. This innovative piece won the competition. He also earned a place at the Guangzhou Soldiers Song Dance Company and moved to Guangzhou, Guangdong.

1989

被鹑颇搬柠矮莸泵瞑菸ｓｓ胺佳鋃按莸泵瞑戒瀕贄圉嗨想编倠予贄圉捋柠矮瞑鵑练绪ǹ觊佳瞑鵑钯赋波倠捏颇第帮植婉朵罚编嗨臀熟х

Offered tuition at the first modern dance training program in China: the Guangdong Dance Academy which collaborated with the American Dance Festival with support from the Asian Cultural Council.

1990

月癌扮柠矮莸泵瞑菸х

被嗨謇ǔ臀戗瞑波蛊ь钧闈隗内尔莢э煎柠末ф錒自ф跺剥工泛哦佳鬩瞑鵑钯莫匮х

Graduates from Guangdong Modern Dance Academy.

His first modern dance choreography – The Sun Rises As Before – is performed in Guangzhou, Hong Kong, Beijing and the India International Dance Festival.

蘸变熬ь驴奢獁э赊慘幣嗨钯圉法 Program of Small Room, design by Shen Wei, 1994

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1995

鹑颇槌棹伦扶势/鉸握唯瞑鵑霖鶩赁嗨词颶扛练頑х

浍逻觊佳倠逻秉煎目鯡淳懈х

漚悶练柏猢湎了埔诶 · 惊涪军唯藉ф護埔窪泮 · 護窪伦ф胞抵 · 钒窬较 – 目低携逅钫襄羚嗨笛波倠被玛咆搬颅副尕钫襄覿桔嗨酥辮工霖鶩х付稳煎瞑鵑钫襄胺倠ň围酥缗副泫ň付嗨瞑鵑省襄省漠倠钡刖咆块滅瓷逢玛黻牡嗨瞑鵑抖波寵鲧х

Receives full scholarship from Nikolais/Louis Dance Lab in New York.

Moves to the United States, lives in Brooklyn.

Expands his artistic knowledge, studying artists such as Andrei Tarkovsky, Federico Fellini, Henri Cartier-Bresson. In dance, he explores different dance techniques from which he began to develop his own movement language.

ь闲父嗨裆钧刊э倠捋鬮旅婉 · 钭鸢板济醴匮The Last Montage, performance by Alvin Alley II., 1996

ь扭э煎觊佳瞑鵑钯佳鬩戗瞑款棹贄圉嗨匮祷

The Bed, at The American Dance Festival’s International Choreographer Commission Program, 1995

丰ǹ￤窪 · 鉸握唯瞑鵑济嗨醴匮峰莪鸩 · 淳势淳嗨冀按波蛊嗨笛波匮祷х

鹑颇帮植婉朵罚编扛练頑倠事毖觊佳瞑鵑钯佳鬩戗掳倠笛波搬波蛊ь扭эх

讽鬮旅婉 · 钭鸢板济款棹笛波ь闲父嗨裆钧刊эх

讽福组伴嵐瞑騍頃觸熬淋脑戗瞑ь扭эх

Performs for Murray Louis Dance Company and is part of four of Martha Clarke’s productions.

Earns Asian Cultural Council fellowship to create work The Bed for the American Dance Festival.

The Last Montage is commissioned for Alvin Ailey II.

The Bed is performed at the Cloud Gate Dance Theater, Taiwan.

1996

赵掴倸宝垭掴

PAINTINGS: Figures (1995 – 1999)

黻掴畴 : 隅縹贱扮扭ɑ Self Portrait: Face Front Sitting on bed, 1996目縹赵掴 Oil on canvas

鋃有富赐陛咆驼被煎胺佳柠末嗨掴赁

Opens his painting studio to the public for the first time in Guangzhou, 1994

黻掴畴倸贱澌ǹ苓 Self Portrait: Sitting with Cat, 1994目縹赵掴 Oil on canvas

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1999

玛鲂倸ｙ连煎嗨瀾病ｚ倠 槌棹瞑鵑钓硷默波赁掴怕х

Exhibition: The Existence of the Body, Dance Theater Workshop Gallery, New York.

孝觊葸棵据頃觸被熬柠矮莸泵瞑济笛波ǔ毕波蛊х

Invited by Madam Yang Mei Qi to make a piece with Guangdong Modern Dance Company.

瞑鵑倸ь踞拿э倠1999 – 2000腋起ф戗瞑ф瞑觊工现跽慘幣倸蘸变碩巴倸棹氡 · 惊婉楝嗨抨巴冀襪看掀ьLast Sleep of the Virginэ倠蜈卞钵袜嗨功賻款棹倸胺佳柠矮莸泵瞑济

DANCE: Folding, 1999 – 2000Concept, choreography, set and costume design: Shen WeiMusical score: Last Sleep of the Virgin for Bells and String Quartet by John Tavener and Tibetan Buddhist ChantsCommission: Guangdong Modern Dance Company of China

ь踞拿э Folding, 1999 – 2000

ь溆奏嗨钟э The Wave of the Empty Lake, 1998 ь驴奢獁э倗謇板圮倛 Small Room II, 1997

1997

波蛊ь驴奢獁э倗謇板圮倛煎遍玩检维钓浹ф槌棹帮植罚编ф殓复伦帮末嗨綾懈唯练浹莫匮х

Small Room (version II) tours to the Place Theatre, London, Asia Society, New York and Hollins College, Virginia.

迸胺佳卞樵扶萱樺巴熬炫锡倠夢抻被芫嫌嗨飙病夢抖寵鲧刖笛波嗨芫瞑波蛊ь紈趁嗨稳仓эх

When Rain Stops: solo work with his own movement language music based on Gu-Qin, Chinese traditional music.

秉煎槌棹顾懈扼х

Lives in Harlem.

1998

謇ǔ腎揶漂弟波波蛊ь冀弦эх

Makes his first film: April.

榕菲浦祆射襄х

Undergoes heart surgery.

倔浪病瞑鵑倸ь溆奏嗨钟э腋起ф戗瞑ф倔浪病跽贳ф瞑觊峰现跽慘幣倸蘸变款棹倸绢奎骏擅笔瞑鵑

MULTIMEDIA DANCE: The Wave of the Empty Lake

Concept, choreography, media installation, sets and costume design: Shen WeiCommission: Dances We Dance, Hawaii

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2000

电颂搬峰砀嗨尷逢х咆块惟嗨菲浔х

Shaves his hair off. New departure.

瞑鵑倸ь菌言э倠2000腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变醴匮倸觊佳瞑鵑钯嗨匮戈款棹倸觊佳瞑鵑钯

DANCE: Near The Terrace, 2000Concept, choreography, sets and costumes: Shen WeiPerformance: American Dance Festival dancersCommission: American Dance Festival

蘸变瞑鵑钫襄济嗨笛块陕戈赋漂

Founding members of Shen Wei Dance Arts, 2001

笛栋蘸变瞑鵑钫襄济х默波锶搦诌峰碗病弟波倠现跽ф亵唇工瞑觊慘幣逅逅х

Founder of Shen Wei Dance Arts. Total stage productions including costumes, light-ing, and sets.

槌棹钫襄藉頑编扛

New York Foundation for the Arts fellowship

2001

咆块猢湎逢玛ｙ黻阪瀾病逢玛这ｚ瞑鵑倸ь播樺э倠2001腋起ф戗瞑ф瞑觊工现跽慘幣倸蘸变款棹倸槌棹末澌均练娜蹬唯练浹

Starts to develop the Natural Body Development Technique (NBDT)Dance: Behind Resonance, 2001Concept, choreography, set and costume design: Shen Wei. Commission: SUNY Purchase

鹑颇槌棹扶选肿跨藉頑х

Guggenheim Fellowship.

ь菌言э Near The Terrace, 2000

ь播樺э Behind Resonance, 2001

2002

橥掴倸 ь樺巴猢湎э

PAINTING: Music Studies (2002 – 2003)

蘸变煎掴赁 Shen Wei in painting studio, 2002

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2003

瞑鵑倸ь诬叭阍э倗冀射軸萱圮倛倠2003腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变碩巴倸弊苫旅 · 唯垧势婉唯藉ь诬叭阍э莸硷樺巴倸这饼 · 積菜倗冀射軸萱圮倛款棹倸觊佳瞑鵑钯

DANCE: Rite of Spring (four hands piano version) , 2003Concept, choreography, set and costume design: Shen WeiMusic: Le Sacre du Printemps by Igor Stravinsky, performed by Fazil Say in a four-hand piano versionCommission: American Dance Festival

ь诬叭阍э2003 尿煎觊佳瞑鵑钯鋃匮 Rite of Spring, 2003, premiere at the American Dance Festival

蘸变瞑鵑钫襄济鋃有煎槌棹懈斓胺浦醴匮х

Shen Wei Dance Arts first time perform in New York city at the Lincoln Center Festival 2003.

玛鲂倸懈斓胺浦势薰撓帮樺巴放均借傲栋掴玛ｙь诬叭阍э嗨橥掴猢湎ｚх

EXHIBITION: Painting studies for Rite of Spring, Lincoln Center La Guardia Concert Hall Foyer.

煎咸顾賕ḿ窖嗨掴赁 Painting studio in Lower Manhattan, 2004

2004

鬃菲胺佳х

Travels to China.

匮祷倸ь鳴素壟斯э倠2004腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变碩巴倸党婉 · 辗葱唯ьString Quartet No. 6э倠弊鬮伦唯 · 整楝藉唯ьEvryaliэ倠嗣旅复 · 抵嚯窬ьSonatina: II – Andate, Monument, In zart fliessender bewegungэ款棹倸懈斓胺浦钯倠觊佳瞑鵑钯

PERFORMANCE: Connect Transfer, 2004Concept and choreography, costume and set: Shen Wei Music: Kevin Volans, String Quartet No. 6, Iannis Xenakis, Evryali György Ligeti, Sonatina: II – Andante, Monument, In zart fliessender Bewegung

Commission: Lincoln Center Festival and American Dance Festival

橥掴倸ь夢抖工樺巴猢湎э

PAINTING: Movement & Music Studies (2004 – 2007)

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2005

鬃菲龃蜈х

Travels to Tibet.

稆鹑俚均抵帮皎吸咸扛ｓｓ闲捕瞑鵑波蛊扛х

弄擒伦钫襄钯頃觸倠煎擒伦余钓浹ɑ匮搬ь踞拿э工ь诬叭阍э倠廟梧煎俚均抵帮嗨鋃有匮祷х

Helpmann Awards for Performing Arts in Australia: Best Ballet or Dance Work.

Australian debut at the Sydney Festival with Folding and Rite of Spring at the Sydney Opera House.

瞑鵑倸ь检家э倠2005腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变碩巴倸唯窬军 · 鹈刊ь樟卦э款棹倸懈斓胺浦钯

DANCE: Map, 2005Concept, choreography, costume and set: Shen WeiMusical score: selections from The Desert Music by Steve ReichCommission: Lincoln Center Festival

闪钓倸ь板滅菱э倠2005腋起ф戗瞑ф暑掳ф瞑觊峰现跽慘幣倸蘸变款棹倸觊佳瞑鵑钯

OPERA: Second Visit to the Empress, 2005Concept, choreography, direction, sets and costumes: Shen WeiCommission: American Dance Festival

2006

鬃菲朽皆拢刚贯滗父伎第龃蜈х

跟缸工辚熔夢抖跷羧瓷第黻阪瀾病逢玛这胺х

稆鹑捋ь铙蚓2000э项柒煎伤楝Palais钯賧逢嗨这佳佳鬩瞑鵑叭乌均扛х

Travels to Angkor Wat, Cambodia, and returns to Tibet.

Breathing and slowness are integrated into the Natural Body Development Technique.

Les Etoiles de Ballet Award, award by Ballet2000 magazine at the Palais des Festival, Cannes.

玛鲂倸ｙ夢抖ｚ倠錒自婉朵胺浦均借хｙ夢抖ｚ倠槌棹轉表唯觊襄鐒х

Exhibitions: Movements, Hong Kong Cultural Center foyer. Movements: Paintings by Shen Wei. Chambers Fine Arts, New York. Text by Christopher Mao.

瞑鵑倸ь伎叭ǔэ倠2006腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变

DANCE: The Re-Triptych: Re-I, 2006Concept, choreography, sets and costumes: Shen Wei

2007

召岷胺佳艾殡叭鉸尾酹х

Travels along the Silk Road in China. 

觊佳〨淳鬮蓥菌涉扛х

觊佳佳羚钫襄羚均扛х

斓伦撓醴匮钫襄胺浦办尿鵓匮钫襄羚х

MacArthur “Genius” Award.

US Artist Fellow award.

The John F. Kennedy Performing Arts Center Five-Year Artist Residency (2007 – 2013).

ь板滅菱э Second Visit to the Empress, 2005

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橥掴倸ь貴扰э绗低 (2009 – 2012)ǹ稳虑蛊圯ｙ位抻ｚ嗨慘幣穆鳶涪赋波倠煎母㏑嗤羚铟际傲栋搬ǔ硷母㏑頦椤猎弟稳跽泸х

PAINTINGS: Textures (2009 – 2012)Collaboration with the designer Ma Ke of the fashion label WUYONG choreographing a Paris Haute Couture presentation in the Jardin du Palais Royal, Paris.

跺剥烤夢编咆腻培瞑鵑倸ь掴房э Beijing Olympics: Scroll Painting, 2008

瞑鵑倸ь伎叭板э倠2007腋起ф戗瞑ф倔浪病ф瞑觊峰现跽慘幣倸蘸变款棹倸恫孰均裆垧抵旅均铙蚓瞑济

DANCE: The Re-Triptych: Re-II, 2007Concept, choreography, sets and costumes: Shen Wei Commission: Les Grands Ballets Canadiens de Montreal

2008

骂有第胺佳尾酹х

讽嵌掳匮盆钫帶工鑫鲅钫襄羚聃佳鹏叭頃倠事毖2008跺剥烤夢编咆腻培嵌戗瞑х

Travels extensively in China.

Invited by film director Zhang Yimou and visual artist Cai Guo Qiang to lead choreography for the Opening Cere-mony of the 2008 Beijing Olympic Games.

2009

鬃菲鬮选旁嗨母惊贯伦帮ф吧唯砌帮ф母龃嗨帮鳶濘х

Travels to Patagonia, Ushuaia, and to the Amazon in Brazil.

倔浪病瞑鵑倸ь伎叭êэ倠2009腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变款棹倸巯ù谨佳鬩钫襄钯倠懈斓胺浦钯倠觊佳瞑鵑钯

MULTIMEDIA DANCE: The Re-Triptych: Re-III, 2009Concept, choreography, sets and costumes: Shen WeiCommission: Edinburg International Festival, Lincoln Center Festival, American Dance Festival

跽贳钫襄醴匮倸ь播樺э槌棹赐际均簽挫颜农颅较瘁唯伸 · 瘁伸嗨波蛊ь尕宝荜э嗨伎弄х

INSTALLATION PERFORMANCE: Behind Resonance, New York Park Avenue Armory.Response to Ernesto Neto’s installation Anthropodino. 

ь踞拿эь菌言э煎槌棹嗨赊暌嵐 · R · 扶选肿跨帆垭鐒匮祷х

Folding and Near The Terrace performed at the Solomon R. Guggenheim Museum, New York.

2010

ь伎叭ê倸氣目槌棹э倠2010腋起峰戗瞑倸蘸变检诟倸稳泵柠硷ф发旅醍ф脘赋柠硷ф謇42醍检漬潲ф槌棹赐囱家摆鐒抉ф均獅编钫襄帆垭鐒抉ф贯遍粤帮均练峰诎福赐际

RE-(III) Throughout New York City, 2010Concept and choreography: Shen WeiSites: Times Square, Wall Street, Union Square, 42nd st. subway station, outside of New York Public Library, out-side of The Metropolitan Museum of Art, Columbia University, and Battery Park.  

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醴匮跽贳倸ь縟渔嗨浍抖э倠觊佳鐒倠槌棹均獅编钫襄帆垭鐒倹ьRe-turnэ倠壤均抵 Collezione Maramotti 钫襄鐒х

PERFORMATIVE INSTALLATIONS: Still Moving, American Wing, Metropolitan Museum of Art, New York. Re-turn, Collezione Maramotti, Italy.

ь縟渔嗨浍抖э煎槌棹均獅编钫襄帆垭鐒醴匮 Still Moving, Metropolitan Museum of Art, New York, 2011

ь的ǹ赋э煎槌棹赐际均簽挫颜农醴匮 Undivided Divided, Park Avenue Armory, New York, 2011

捋窪钒倔 · 淠窬暑漱倠熬暌鳶余钓浹祷蛊嗨暌龃伦嗨ь滔龃工这敫э戗瞑х

Choreographs Rome Opera House’s production of Rossini’s Moise et Pharaon, conducted by Ricardo Muti.

谈羚第槌棹龃削х

Moves to a home in the West Village, New York.

2011

匮祷倸ь的ǹ赋э倠2011腋起ф戗瞑峰鑫鲅慘幣倸蘸变碩巴倸S⒑申导巴济款棹倸槌棹赐际均簽挫颜农

PERFORMANCE: Undivided Divided, 2011Concept, choreography,and visual Design: Shen WeiMusical score: S⒑ PercussionCommission: Park Avenue Armory, New York

2012

烤撓胺佳尿哦闲捕钫襄羚扛х

槌棹木胺浦鵓匮钫襄羚藉頑扛х

鬮旅扶旅 · H · 亚倔唯扛х

Audi-China Artist of the Year Award.

New York City Center Choreography Fellowship.

Algur H. Meadows Prize.

祷圮垭倸ь蘸变倸ǜ垭嗵嫌脘绗э倠2012倠蘸变祷蛊х婉莲瘁灵捋钫襄羚了廓 · 藉井旅苫军ф亚袄鸩 · 潤ф母淳 · ǜ楝ф鸩势 · 吸暌泮嘧烤ф鹘跨唯 · 拿抵ф龃馈 · 抵垧ф淳窪唯伸配 · 云ф效龃 · 社窪垧ф配馅唯 · 蹯表ф党蓥蒎 · 湘纺垧ф唯窬铗 · 蛉ф了埔鯡 · 牍鞘脘赋戗措х

PUBLICATION: Shen Wei. Everything Is Connected, Shen Wei Productions, New York, 2012. Texts written by the artist, Anna Kisselgoff, Melissa Chiu, Buck Wanner, Sara Procopio, James Healey, Thea Little, Christopher Mao, Jesse Zaritt, France Paper, Kathleen Jewett, Stephen Xue, Andrew Cowan.

2013

ь发旅醍谓蚀э胺佳笛惟扛х

捋ьGQэ项柒傲栋嗨尿哦宝垭賧扛簇慊ɑ賧逢嗨尿哦闲捕钫襄羚扛х

Chinese Innovator Award from the Wall Street Journal-China.

Artist of the Year Award at the GQ-China Man of the Year Awards.

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醴匮跽贳倸跺钒暌鹈楝钫襄帆垭鐒х煎Yerba Buena钫襄胺浦傲栋嗨蠶件х斓伦撓醴匮钫襄胺浦х

PERFORMATIVE INSTALLATION:North Carolina Museum of Art, Raleigh.Forum at the Yerba Buena Center for the Arts, San Francisco.Kennedy Center for the Performing Arts, New York.

倔浪病瞑鵑倸ь騍病塑萎э倠2013腋起ф戗瞑峰瞑觊慘幣倸蘸变波掀倸敖伦旅 · 表淳碩巴倸Illusion Of SafetyьCrossing Now Bridges Intactэ倠ArrowsьTraveler Piercedэ倠AsherьLandscapes Elsewhereэ倠Jerry FellerьTranslation As Rhythmэ倠Daniel Burke鑫朧抖掴省襄倸鹈鞘 · 目馅唯建ф靶暴 · 綾暌奎镖款棹倸觊佳瞑鵑钯

MULTI MEDIA DANCE:Collective Measures (2013)Concept, choreography, set design: Shen WeiComposer: Daniel BurkeMusical score:  Crossing Now Bridges Intact  by Illusion of Safety,  Traveler Pierced by Arrows, Landscapes Else-

where by Asher, Feller by Feller of Translation As Rhythm by Jerry Feller, Original Score by Daniel Burke Video Animation Technicians: Layne Braunstein and Josh HorowitzCommission: American Dance Festival

橥掴倸ь溆獁ф稳獁ф熹灣工袭愎匹培嗨猢湎э

PAINTING: Studies in Space, Time & Energy and Suggestive Forms (2013 – 2018)

2014

玛鲂倸ｙ蘸变倸㏕嗳脔ｚ倠們鬮琉MDC钫襄ǹ慘幣帆垭鐒倠們鬮琉母井旅钫襄玛倠逵玛宝倸效蒗嬲 · 嬲涪势社淳х

ｙ蘸变橥掴ｚ倠錨势唯淳知帮植钫襄脱蜈倠逵玛宝倸钒懈 · 鞘х

EXHIBITIONS: Shen Wei: In Black, White and Gray, MDC Museum of Art + Design, Miami.Curated by Jeremy Mikolajczak.

Shen Wei Paintings, Crow Collection of Asian Art, Dallas. Curated by Karin Oen.

余钓倸ь目葱長余э倠2013腋起ф戗瞑ф暑掳ф瞑觊峰现跽慘幣倸蘸变碩巴倸钒旅 · 烤旅军款棹倸韌ň渡唯间钒知余钓浹

OPERA: Carmina Burana, 2013 Concept, choreography, direction, sets and costumes: Shen WeiMusic: Carl OrffCommission: Teatro Di San Carlo, Naples

ь目葱長余э Carmina Burana, 2013

瞑鵑倸ь诬叭阍э倗镑瓜巴圮倛倠2013腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变碩巴倸弊苫旅 · 唯垧势婉唯藉ь诬叭阍э孱抨巴愷倸皎葱佳羚镑瓜巴济醴匮倸皎葱佳羚铙蚓瞑济款棹倸皎葱佳羚铙蚓瞑济

DANCE:Le Sacre de Printemps (orchestra version), 2013 Concept, choreography, sets and costume design: Shen WeiMusical score: Le Sacre du Printemps by Igor Stravinsky Orchestra: Dutch National Symphony Performance: Dutch National BalletCommission: Dutch National Ballet

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瞑鵑倸ь位腡12-2倗茚槲瀾病倛э倠2015腋起ф戗瞑峰现跽慘幣倸蘸变碩巴倸格婉胺ь獨弄э踞樺倸蘸变轭赋钯噬浑倠瞑牖莸硷匮看款棹倸觊佳唯表势家钫襄钯倠觊佳瞑鵑钯

DANCE: Untitled No.12-2 (for bodies), 2015Concept, choreography, and costume design: Shen WeiMusic: Echoes from the Gorge by Chou Wen-ChungSound design: Metronome collage by Shen Wei, played live by the dancersJointly commissioned by: Spoleto Festival USA and American Dance Festival

2016

玛鲂倸ｙ蘸变倸瞑橥ｚ倠帮植罚编錒自胺浦х逵玛宝倸帮菲馒均 · 嵐暌ф閼吕矮х

EXHIBITION: Shen Wei: Dance Strokes, Asia Society Hong Kong Center. Curated by Alexandra Munroe, Dominique Chan.

煎帮植罚编錒自胺浦玛鲂莸硷嗨家畴椁琵

Installation view, Asia Society Hong Kong Center, 2016

瞑鵑倸ь位腡12-2э倠2014腋起ф戗瞑峰垭貴慘幣倸蘸变踞樺倸蘸变轭赋钯噬浑倠瞑牖莸硷匮看х款棹倸觊佳唯表势家钫襄钯倠觊佳瞑鵑钯

DANCE:Untitled #12-1, 2014Concept, choreography, and costume design: Shen WeiSound design: Metronome collage by Shen Wei, played live by the dancers.Commission: Spoleto Festival USA, American Dance Festival

ь奉看э倠2014戗瞑峰醴匮倸蘸变碩巴倸鬮旅辗 · 娜旅垧ьVariations for the Healing of Arinushkaэ款棹倸觊佳瞑鵑钯峰Celia工Silas Chou倠捋倔袄艾 · 销淳/SHS藉頑编惟瞑鵑扛臀熟х臀熟倸销淳均练帮钧猢湎赊х鋃匮倸2014槌棹钫襄链倠蘸变瞑鵑钫襄济煎劃埔宴椁起袜借匮祷х

Variations, 2014Choreography and performance: Shen WeiMusic: Arvo Pärt, Variations for the Healing of Arinushka

Commission: Celia and Silas Chou and American Dance Festival with support from the Doris Duke/SHS Founda-tions Award for New Dance. Additional support: Asian/Pacific Studies Institute, Duke University. Premiered during Shen Wei Dance Arts 2014 New York City Season at the Judson Memorial Church.

2015

赵掴笛波х

Works in oil and acrylic.

玛鲂倸ｙ蘸变倸㏕嗳脔ｚ倠家宴钫襄帆垭鐒嗨〨淳疱旅埔掴怕倠逵玛宝倸湘鸢 · 瘕井х

ｙPerformance & Remnantｚ倠煎遍玩觊襄练编嗨犟玛倠了撓 · 苫埔唯发橘ф棹氡 · 靶瘡ф蘸变ф烤抵 · 癣暴垧ф們淳旅 · 膊垧窪ф劃唯增 · 少殓唯 · 了埔宴ф靶 · 目毒賕ф效势旅ù · 唯櫨鞘工势樟埔 · 槌宴х

EXHIBITIONS: Shen Wei: In Black, White and Gray, The Maxfield Gallery, Tucson Museum of Art. Curated by Julie Sasse.

Performance & Remnant, The Fine Art Society, London. With Andy Goldsworthy, John Giorno, Shen Wei, Ori Gersht, Michael Petry, Justin Davis Anderson, Jo Broughton, Geraldine Swayne and Rashaad Newsome.

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2017

煎母㏑耪澌掴赁х

Sets up a painting studio in Paris.

2018

绢链钫襄羚鵓硷贄圉倠臻据賕弊鸩慣势 · 唯家旅垧 · 恫埔楝帆垭鐒х

Summer residency, Isabella Stewart Gardner Museum, Boston.  

帮植婉朵菰颁编賧逢嗨棹氡 · D · 知淳疱渡謇ê扛х

Asian Cultural Council John D. Rockefeller 3rd Award. 

玛鲂倸ｙ蘸变倸厢狁嗨酥缗ｚ倠ɑ肿劈泵钫襄帆垭鐒倠捋謇板而骡ɑ肿佳鬩钫襄钯绳栋х逵玛宝倸钒暌蒎 · 喳牍淳工配馅缗蘅 · 嬲欷х

EXHIBITION: Shen Wei. Exploring The Unknown, Power Station of Art, Shanghai. During the 20th Shanghai China International Arts Festival. Curated by Caroline Hancock and François Michaud.

ь瘁漂帑酹э漂圹钓隗 Stills from film The Inner Shadow of Movement, 2016

胺佳佳羚骜阃扛

National Spirit Award of China

漂畴倸蘸变煎MAD耪逍颁冻赊熬胺佳㏕丳乍惟耪嗨顾旅芈余钓浹窪噬塘嗨漂圹х煎咆鐒叭奠倠鳶帽携觸被煎耪逍嗨溆紊溆獁窪滅酹ǔ员尾浔捏噬塘搬ь瘁漂帑酹э廟腎漂畴波蛊х捋效淳 · 鳶顾疱宋蕒х

FILM: The Inner Shadow of Movement, 2016, cinematography: Jake Mahaffy.In response to the newly constructed Harbin Opera House in Heilongjiang (China) by MAD architects. Ma Yansong gave Shen Wei access to the building prior to the opening.

ь谤縊予拼э Neither, 2016

瞑鵑/余钓倸ь谤縊予拼э倠2016腋起ф戗瞑ф瞑觊峰现跽慘幣倸蘸变碩巴倸鹆賕 · 護旅埔咸ь縊予縊拼э钓香倸瘕昊旅 · 慣淳垧ь縊予縊拼э款棹倸槌棹目鯡淳懈樺巴练浹罚栋倸槌棹末澌均练钫襄胺浦

DANCE/OPERA: Neither, 2016Concept, choreography, set and costume design: Shen WeiMusic: Neither by Morton FeldmanLibretto: Samuel BeckettCommission: Brooklyn Academy of Music (BAM), Brooklyn, New York Co-commissioned: the Performing Arts Center at Purchase College

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Shen Wei in Chinese Opera Gai-Pai style, Wu-Song Da-Dian, 1980

Hunan Xiang Opera Department, Hunan Art School

Teacher: Chen Duan-Sheng

Photograph: Lui Nian-qing

Notebook, 1982

Drawings on Chinese opera movements with a fan

21.5 x 19cm

Courtesy of the artist

Chinese Opera Sketch, 1984

Pencil on paper, 27.4 x 20cm

Courtesy of the artist

Sketch, Guangzhou, 1989

Charcoal on paper, 26.5 x 19cm

Courtesy of the artist

Notes about dreams, 1989

Pen on paper, 25 x 17.5cm

Courtesy of the artist

Paper-Plane, 1990

Oil on canvas, 44.5 x 27.9cm

Courtesy of the artist

Portrait of the Artist's Friend Sitting, 1993

Oil on canvas, 64.8 x 53.3cm

Courtesy of the artist

Self-Portrait On The Floor With Cat, 1994

Oil on canvas, 81.3 x 99.7cm

Courtesy of the artist

Figure Studies, 1995

Pen on paper, 8 drawings, 30 x 23cm each

Courtesy of the artist

Dreams, 1995

4 drawings on paper from a notebook, 23.5 x 18cm

Courtesy of the artist

Sketches for The Dream of the Red Chamber, 1996

Pen and marker on paper, 5 drawings, 20.7 x 24cm each

Courtesy of the artist

Preparation for The Dream of the Red Chamber, 1996

2 photographs, 17 x 12cm each

The Wave of the Empty Lake, 1998

Concept, choreography, set and costume design: Shen Wei

Music: Korean traditional folk music, Chinese traditional folk music

Video installation: Shen Wei and An-ting Chun

Poem: Shen Wei

Performance: Betty Jones, Fritz Ludin and Shen Wei

Commission: Dances We Dance, Hawaii

Sketches for The Wave of the Empty Lake, 1998

Pen on paper, 2 drawings: 22.5 x 30.5cm, 7 drawings: 21.5 x 28cm

Courtesy of the artist

Documentation of the performance of The Wave of the Empty Lake, 1998

Photograph

Courtesy of the artist

Human With Red Butterfly On The Grass, 1998

Acrylic on canvas, 147.3 x 167.6cm

Courtesy of the artist

Figure On The Grass, 1998

Pen on paper, 15 x 21.5cm

Courtesy of the artist

Script for the film April, 1998

Pen on continuous form paper with edge perforations, 24 x 28cm each

Courtesy of the artist

April, 1998

Video, black and white, sound, transferred from 16mm film, 20 min

Script and Director: Shen Wei

Cinematographer: Daniel Cheng

Music: Jurgen Knieper, Nelson Hill and Ling Lee

Producer: Shen Wei

Assistant to Director and Producer: An-Ting Chung

Production Assistant: Jen-Jan

Editing Director: Shen Wei

Sound Designer: Shen Wei, An-Ting Chung

Video Editor: Shen Wei

Assistant Video Editor: An-Ting Chung

Sound Editor: John M. Kin

Sound Recorder: An-Ting Chung

Courtesy of the artist

展览作品列表Exhibition Work List

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Movement No. 1, 2005

Oil on linen, 162.56 x 129.54cm

Painted to the sound of piano music by Bach

Private collection

Movement No. 3, 2005 – 2006

Oil on linen, 162.56 x 129.54cm

Painted to the sound of Chinese music on a traditional Gu-Qin instrument

Private collection

Movement No. 5 (Slide-Turn by Feet A in Black), 2005 – 2006

Oil on canvas, 129.54 x 182.88cm

Courtesy of the artist

Movement No. 6 (Slide-Turn by Feet B in White), 2005 – 2006

Oil on canvas, 129.54 x 182.88cm

Courtesy of the artist

Movement No. 7, 2005 – 2006

Oil on linen, 167.64 x 127cm

Painted to the sound of a countertenor singing by Andreas Scholl on A Musicall

Banquet (1610) by Robert Dowland

Private collection

Movement No. 8, 2005 – 2006

Oil on linen, 132.08 x 182.88cm

Painted to the sound of Chinese music on a traditional Gu-Qin instrument and

songs by Tom Waits

Courtesy of the artist

Second Visit To The Empress, 2005, 2007

Direction, choreography, set, costume and make-up design: Shen Wei

Music: from the traditional Chinese Beijing Opera 板滅菱

Lighting design: Jennifer Tipton

Commission: 2005 American Dance Festival & 2007 Lincoln Center Festival

RE- I, 2006

Concept, choreography, set and costume: Shen Wei

Music: traditional Tibetan chants, vocals by Ani Choying Dolma

Lighting design: Jennifer Tipton

Projection design: Shen Wei & Daniel Hartnett

Performance: Shen Wei Dance Arts

Re-II, 2007

Concept, choreography, visual design: Shen Wei

Music: Tears of Angels by John Tavener, traditional Cambodian music

Lighting design: Jennifer Tipton

Recorded sounds and images at Angkor Wat: Shen Wei

Projection design: Shen Wei & Daniel Hartnett

Commission and performance: Les Grands Ballets Canadiens de Montreal

Scroll Painting, 2008

Opening ceremony of the 2008 Summer Olympics, Beijing, China

Concept, direction, choreography and visual design: Shen Wei

Music: Chen Qi-gang

General Director of Opening Ceremony: Zhang Yimou

Premiere: August 8th 2008, Beijing

Commission: Opening ceremony of the Beijing 2008 Summer Olympics

Notebook during preparation for Scroll Painting, 2008

14 x 9cm

Courtesy of the artist

Sketches for Scroll Painting, 2008

Pen on paper, 5 drawings, 22.5 x 30.5cm each

Courtesy of the artist

Documentation of Scroll Painting, 2008

Live performance at the opening ceremony of the 2008 Summer Olympics

2 photographs, 18 x 26cm each

Video of Scroll Painting, 2008

Recording of performance in the 2008 Beijing Summer Olympics Opening Ceremony

Notebook, Rome, New York, 2009 – 2010

22 x 22cm

Courtesy of the artist

RE- III, 2009

Concept, choreography, visual design: Shen Wei

Music: original score by David Lang, violin: Todd Reynolds

Lighting design: Jennifer Tipton

Recorded sounds and images: Shen Wei

Projection design: Daniel Hartnett & Shen Wei

Commission: Edinburgh International Festival, Lincoln Center Festival, American

Dance Festival

7 to 8 and, 2010

Concept and choreography: Shen Wei

Music: Dirk P. Haubrich

Sets, costumes: Shen Wei

Video and projections: Shen Wei with the technical support of Henri Véran

Lighting: Shen Wei with the technical support of Jean Pascal Alouges

Performance: Les Ballets de Monte-Carlo

Commission and creation for Les Ballets de Monte-Carlo

Costume design for 7 to 8 and, 2010

6 drawings on paper, 30 x 40cm each

Courtesy of the artist

Two Figures, 1999

Pen and correction fluid on fax paper, 19 x 26.5cm

Courtesy of the artist

Men With Chapeau, 1999

Oil on canvas, 121.9 x 91.4cm

Courtesy of the artist

Folding, 1999

Concept, choreography, set and costume design: Shen Wei

Music: Last Sleep of the Virgin for Bells (String Quartet) by John Tavener,

and Tibetan Buddhist Chants

Original lighting design: Tommy Wong (1999), David Ferri (2003)

Performance: Guangdong Modern Dance Company

Commission: Guangdong Modern Dance Company of China

Documentation of Folding, 1999

Performance by Guangdong Modern Dance Company

Photograph: Zeng Qiang

Video of Folding, 2011

Recording of Shen Wei Dance Arts performance at Park Avenue Armory, New York

Sketch for Folding, 1999

Pencil on paper, 23 x 30cm

Courtesy of the artist

Notebook with teaching notes, American Dance Festival, 2000

22 x 15cm

Courtesy of the artist

Near The Terrace, 2000

Concept, choreography, set and costume design: Shen Wei

Music: Für Alina and Spiegel im Spiegel by Arvo Pärt

Lighting Design: David Ferri

Performance: Shen Wei Dance Arts

Commission: American Dance Festival

Rite of Spring, 2003

Concept, choreography, set and costume design: Shen Wei

Music: Le Sacre du Printemps by Igor Stravinsky,

performed by Fazil Say on four-hand piano

Original lighting design: David Ferri

Performance: Shen Wei Dance Arts

Commission: American Dance Festival

Study for Rite of Spring No. 1, 2003

Oil on canvas, 278 x 179cm

Private collection

Study for Rite of Spring No. 2, 2003

Oil on canvas, 278 x 179cm

Private collection

Study for Rite of Spring No. 3, 2003

Oil on canvas, 278 x 179cm

Private collection

Study for Rite of Spring No. 4, 2003

Oil on canvas, 278 x 179cm

Courtesy of the artist

Shen Wei in painting studio, New York, 2003

Photograph: An-Ting Chung

Connect Transfer, 2004

Concept, choreography, set and costumes: Shen Wei

Music: String Quartet No. 6 by Kevin Volans, Evryali by Iannis Xenakis,

Sonatina: II – Andate, Monument, In zart fliessender bewegung by György Ligeti

Lighting design: Jennifer Tipton

Sound design: Shen Wei & Fitz Patton

Performance: Shen Wei Dance Arts

Commission: Lincoln Center Festival, American Dance Festival

Map, 2005

Concept, choreography, and set: Shen Wei

Music: The Desert Music by Steve Reich

Original lighting design: Scott Bolman

Costume design: Shen Wei and Elena Comendador

Performance: Shen Wei Dance Arts

Commission: 2005 Lincoln Center Festival, New York

Backdrop created for the original performance of Map, 2005

Painted fabric, 9 x 16 m

Courtesy of the artist and Shen Wei Dance Arts

Sketches for Map, 2005

Pen on paper, 4 drawings, 28 x 22cm each

Courtesy of the artist

Video of Map, 2005

Recording of the world premiere at the Lincoln Center Festival

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Untitled No. 4, 2013

Oil and acrylic on linen canvas, 212 x 505cm

Courtesy of the artist

Untitled No. 5, 2013 – 2014

Oil and acrylic on linen canvas, 212 x 498cm

Courtesy of the artist

Untitled No. 6, 2013 – 2014

Oil and acrylic on linen canvas, 212x490cm

Courtesy of the artist

Untitled No. 8, 2013

Oil and acrylic on linen canvas, 420 x 554cm

Courtesy of the artist

Notebook, Miami, New York, Hong Kong, 2014 – 2015

33 x 24cm

Courtesy of the artist

Untitled 12-2, 2014

Concept, choreography, direction, set and costumes: Shen Wei

Music: Echoes from the Gorge by Chou Wen-chung

Sound design: Metronome Collage by Shen Wei, played live by the dancers

Lighting design: Christina Watanabe-Jensen

Projections: images of Shen Wei's Black, White, and Gray painting series

Projection realisation: Rocco DiSanti

Performance: Shen Wei Dance Arts

Commission: Spoleto Festival USA, American Dance Festival

Video of Untitled No. 12-1 for Bodies, 2014

Recording of Shen Wei Dance Arts performance at the American Dance Festival

Variations, 2014

Film, colour, 7 min

Choreography and performer: Shen Wei

Music: Arvo Pärt, Variations for the Healing of Arinushka

Premiere: 2014 Judson Church, New York

Filming: American Dance Festival

Commission: Celia and Silas Chou with support from American Dance Festival

Map Balloons, 2014

7 painted helium balloons, acrylic on plastic, diameter: 2 – 5 meters each

Courtesy of Shen Wei Dance Arts and the artist

Notebook, Shanghai, Reggio Emilia, Italy, New York, 2015

21 x 14cm

Courtesy of the artist

Untitled No. 33, 2015

Oil and acrylic on linen canvas, 209 x 474cm

Courtesy of the artist

Untitled No. 31, 2015 – 2018

Oil and acrylic on linen canvas, 164 x 347cm

Courtesy of the artist

Suspension in Light, 2015 – 2017

Oil and acrylic on linen canvas, 180 x 295cm

Courtesy of the artist

Neither, 2016

Concept, choreography, set and costumes: Shen Wei

Music: Neither by Morton Feldman, libretto written by Samuel Beckett

Lighting design: Jennifer Tipton

Projection design: Rocco DiSanti

Performance: Shen Wei Dance Arts

Commission: Brooklyn Academy of Music (BAM), Brooklyn, New York

and co-commissioned by the Performing Arts Center at Purchase College

Suspension in Blue 1, 2017 – 2018

Oil and acrylic on linen canvas, 91 x 152cm

Courtesy of the artist

Suspension in Blue 2, 2017 – 2018

Oil and acrylic on linen canvas, 91 x 152cm

Courtesy of the artist

Suspension in Blue 3, 2017 – 2018

Oil and acrylic on linen canvas, 91 x 152cm

Courtesy of the artist

Suspension in Blue 4, 2017 – 2018

Oil and acrylic on linen canvas, 91 x 152cm

Courtesy of the artist

Suspending Motions, 2018

Installation: video, colour, sound, 3min (loop)

Courtesy of the artist

Notebook for the preparation of 7 to 8 and, 2010

21 x 13cm

Courtesy of the artist

Sketches for 7 to 8 and, 2010

2 drawings, 32 x 29.5cm each

Courtesy of the artist

Notebook, New York, 2011

21 x 14.5cm

Courtesy of the artist

Untitled No. 21, 2011

Oil on canvas, 135 x 246cm

Courtesy of the artist

Undivided Divided, 2011

Concept, choreography, Installation and visual design: Shen Wei

Music: original score by S⒑ Percussion

Lighting design: Jennifer Tipton

Video animation technicians: Layne Braunstein, Josh Horowitz & Blair Neal

Costume design: Austin Scarlett

Sound design: Lawson White

Performance: Shen Wei Dance Arts and guests

Commission: Park Avenue Armory, New York

Video of Rite of Spring, 2011

Recording of Shen Wei Dance Arts performance at Park Avenue Armory, New York

Notebook, Dallas, Texas, 2012

21 x 14.5cm

Courtesy of the artist

Notebook, Dallas, Texas, 2012

33 x 24cm

Courtesy of the artist

Notebook, Beijing, 2012

21 x 14.5cm

Courtesy of the artist

Collective Measures, 2012

Concept, choreography, set design: Shen Wei

Music: Crossing Now Bridges Intact by Illusion Of Safety, Traveler Pierced by

Arrows- Landscapes Elsewhere by Asher, Translation As Rhythm by Jerry Feller

and original score by Daniel Burke

Video animation technicians: Layne Braunstein & Josh Horowitz

Original lighting design: Matthew F. Lewandowski II & Shen Wei

Costume design: Austin Scarlett & Shen Wei

Performance: Shen Wei Dance Arts

Commission: American Dance Festival

Notebook, Amsterdam, 2013

27.7 x 23cm

Courtesy of the artist

Le Sacre du Printemps, (orchestration version) 2013

Concept, choreography, set and costumes: Shen Wei

Music: Le Sacre du Printemps by Igor Stravinsky (Orchestral Arrangement)

Performance: Dutch National Ballet

Commission: Dutch National Ballet

Carmina Burana,2013

Concept, choreography, direction, sets and costumes: Shen Wei

Music: Carl Orff, Cantiones profanae cantoribus et choris cantandae comitantibus

instrumentis atque imaginibus magicis, with the addition of four anonymous

Cantiones profanae (orchestrated by Jordi Bernácer)

Performance: Teatro Di San Carlo, Naples, with Shen Wei Dance Arts guest dancers

Commission: Teatro Di San Carlo, Naples

Notebook during preparation for Carmina Burana, 2013

30 x 21cm

Courtesy of the artist

Costume design for Carmina Burana, 2013

3 watercolours on paper, 61.5 x 99.5cm each

Courtesy of the artist

Stills of Carmina Burana倠2013

Performance by Teatro di San Carlo,

Naples with guest dancers of Shen Wei Dance Arts

Photograph: Francesco Squeglia

Video of Carmina Burana, 2013

Recording of performance in Teatro di San Carlo, Naples

Untitled No. 1, 2013

Oil and acrylic on linen canvas, 209 x 537cm

Courtesy of the artist

Untitled No. 2, 2013

Oil and acrylic on linen canvas, 214 x 551cm

Courtesy of the artist

Untitled No. 11, 2013

Oil and acrylic on wood triptych, 76 x 304.5cm each

Courtesy of the artist

Untitled No. 3, 2013 – 2014

Oil and acrylic on linen canvas, 212 x 508cm

Courtesy of the artist

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诚挚感谢下列机构对展览和出版的热忱支持：

胺佳ɑ肿佳鬩钫襄钯胺浦

ɑ肿劈泵钫襄帆垭鐒

臻据賕弊鸩慣势 ·唯家旅垧 ·恫埔楝帆垭鐒

莸泵卞屉騍济

卷乌藉頑编

騏我婉朵騍济

ɑ肿云檑╤钫襄藉頑编

槌棹蘸变瞑鵑钫襄

觊佳瞑鵑钯

Grateful acknowledgement is made to the follow-ing for supporting this exhibition and publication:

The Center for China Shanghai International Arts Festival

Power Station of Art, Shanghai

Isabella Stewart Gardner Museum, Boston

The Modern Media Group

Fosun Foundation

Artron Art Group

Mao Jihong Arts Foundation, Shanghai

Shen Wei Dance Arts, New York

American Dance Festival

特别感谢：倗署宽灾鋃莲曰艘低倛

纤廠拙ф嘧较楝 · 钒蘅旅藉伦ф龃鸢帮ǹ積势唯 · 格ф较蒎廓ǹ钭表垧 · 泮窬廓ф呆扳ф膊复 · 汜癣旅咸ф钭埔窪了 · 靶照ф

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Special thanks to:

(Arranged in alphabetical order of last name)

Cao Chengyuan, Pieranna Cavalchini, Celia and Silas Chou, Elena and Albert Cortina, Feng Yu, Peggy Fogelman, Adrian George,

Gong Yan, Gu Runci, Guo Tingyu, Jiang Yipeng, Liao Duanli, Liu Binqi, Jeniffer Lu, Yiling Mao, Mei Wu, Laura Ning, Sun Hua,

Wan Jie, Wang Jin, Wang Jinyuan, Wang Jun, Wang Shangjun, Weng Ling, Xu Qianhui, Yang Xuelan, Zhao Yifeng

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鲁縹鲁奴倸ь位腡謇 31俯э Front and back cover: Untitled No. 31, 2015目ɑ赵譬工皑谛 Oil and acrylic on linen canvas

圮巷赊嫌 ·氲圮曝湎波蛊圮巷赊嫌 钫襄羚婉濑圮巷赊嫌 波牖家圹圮巷赊嫌 塘漂

All rights reserved under international copyright conventions.No part of this book may be reproduced or utilised in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher.Printed and bound in China.

© 2018 The Authors for their essays© 2018 The Artist© 2018 The Photographers

Shen Wei: Exploring �e Unknown

Published on the occasion of the exhibition at Power Station of Art, Shanghai, 25 September – 25 October 2018. Part of the 20th China Shanghai International Arts Festival.

Co-Organizer: The Center for China Shanghai International Arts Festival, Power Station of Art, Shanghai Chief Producers: Wu Xiaoming, Wang Jun, Gong Yan Project Directors: Li Ming, Yang JingDeputy Project Directors: Ruan Jie, Mao Shengrong, Li YandaProject Manager: Catrina Bao

Curators: Caroline Hancock and François Michaud

Editors: Caroline Hancock and François Michaud Authors: Caroline Hancock, Yiling Mao, François Michaud, Shen Wei.Exhibition & Graphic Design: Sun Hua, Zhao Yifeng, Feng Yu of AHA First print in China in 2018 by Artron

Translators: Sasah Chen, Feng Yu, Yunlin Zhu, Yiling Mao, Norbu Peng

Photography Credit: Zoe Liu, Zeng Qiang, David Massio, Briana Blasko, Liu Nianqing, Shen Wei, Francesco Squeglia, Liz Chow, Jake Mahaffy, Bruce R. Feeley, Barbra Bordnick, Mark Sadan

沈伟：未知的探索

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Shen Wei : Exploring The Unknown