OFFSPACE BIANCA REGL STUDIO / CV BIANCA REGL / CV ANNA HOFBAUER

黑桥OFF是一个在中国北京由艺术家组织的非商业空间，被Anna Hofbauer和Bianca Regl建立和经营。 座落与Bianca Regl 的黑桥工作室，每月会邀请一位艺术家策展人用视觉的方式来讨论一个他或她感兴趣的现代议题。 策展人被要求不把重点放在单一的立场上, 但试图找到能产生强烈现代艺术形状的不同作品间的联系。黑桥OFF空间试图远离为市场设计的艺术，而更关注于年轻的和职业生涯中期的艺术家，以及进行创作之前和创作之中的他们。
Blackbridge Off is an artist-run, non-commercial space in Beijing, China, initiated and run by Anna Hofbauer and Bianca Regl. Located in Bianca Regl's studio in Heiqiao, it invites an artist-curator every month to visually discuss a contemporary issue of his/her interest. Curators are asked not to focus on singular positions but find linkage between works which designate strong forms of contemporary art production. The main emphasis of Blackbridge Off is to turn away from artworks designed for the market and question notions relevant to young and mid-career artists before and during their work.



第二 NUMBER TWO: CURATED BY JIAN CE 简策 / CV JIAN CE

戴亮 Dai Liang / 何意达 He Yida / 简策 Jian Ce / Bianca Regl / 梁硕 Liang Shuo / 吕松 Lu Song / 原晓光 Yuan Xiaoguang /

第二眼 /（再）架构现实 - - AT SECOND SIGHT / (RE)CONSTRUCTION REALITY

展览关注我们认知现实的方法。 “现实”既可以是我们的日常生活，又可以是更普遍理解的自然世界, 抑或是实践中的常见问题。身处在城市中的我们习以为常被各种媒介和图像所包围，而很少在日常琐事之后去真正地注意和思考它们。 然而正是这样的现实，它充斥着我们的头脑并入侵着我们想像。
展览中的作品以不同的方式讨论了来源于外界的图像和材料。 不论是电视新闻，街道上的物体或者是普通的风景，这些被人们想当然的材料，开始呈现它们内部的多重性和隐藏的叙事。 用通过重复和（再）架构这些我们所熟悉世界中的元素，艺术家们提供了一个让我们去重新看待事物的机会。
带着独立的视角和偏好，他们用各自不同的媒介和工作方式回应着这个他们共同身处的嘈杂城市环境。用观察的眼光去看待事物， 艺术家们的创造出具有分析力且趣味无穷的作品。它们具有着强烈图片感和对现代现实的一种幽默的颠覆。 本次展览试图结合这些不同的途径，反射它们的周遭环境的复杂性，去打开一个交流 和讨论的空间，去超越一种固定媒介创作.

The exhibition circles around the question how we perceive our reality, which can be the common everyday world or the empirical nature in a general sense. Living in an urban environment, surrounded by all kinds of media and random images, we barely take notice of it when we go after our daily business – yet it is this reality that fills our minds and feeds our imagination.
The artworks in this exhibition demonstrate different ways of working with images and materials offered by the outside world. Whether it’s the news on TV, an object in the street or a banal landscape – which was taken for granted, now reveals its inherent ambivalence or hidden narrative. By repeating and (re)constructing the elements which make up our familiar world, they offer us a chance to see it at second sight.
Having individual perspectives and preferences, the young artists work on various media and strategies in response to the buzzing urban environment they share. With observant attention, they create analytic or playful pieces that are both an empathic portrait and a witty subversion of modern reality. The exhibition tries to combine these diverse approaches – mirroring the complexity of their surroundings – and thus open a space for exchange and discussion, beyond a media-bound art practice.

第一 NUMBER ONE: CURATED BY ANNA HOFBAUER / CV ANNA HOFBAUER

刘文涛 Liu Wentao / 马葭 Ma Jia / 王光乐 Wang Guangle / Martin Wehmer / Eddie Weki / 闫冰 Yan Bing / 杨心广 Yang Xin Guang / 张新军 Zhang Xin Jun / Anna Hofbauer

是与否 / 一个似另一个 - - 特殊的笔画 / YES AND NO / ONE IS LIKE THE OTHER - SPACIAL STROKES

组展"是与否"将展示来自中国, 德国及奥地利的艺术家的作品, 它将是一组关于抽象艺术方式的装置艺术.
关于艺术的选择, 我最主要的兴趣在于那些有助于理解怎样把绘画语言转变成雕塑语言的作品. 浮雕, 作为一个徘徊于绘画和雕塑之间的概念, 将成为两者间的演练场地和检查点.
展览的名字"是与否 / 一个似另一个" 道出了这场展览的两个方面. 首先它否定了绘画与雕塑的明确区别. 第二它暗示了艺术和艺术感受之间语言上的近似. 这是关于削减艺术整体性的行为. 每一个组成整件作品的视觉元素本身都没有意义又平等于其他元素, 这里没有等级, 没有是与否的联系, 没有红与绿的联系. 但我们仍把它们放在一起以寻求某种联系. 同样的准则也适用于组展中作为组成部分的不同艺术作品.
-- 一个似另一个
The groupshow YES AND NO... will display works by artists from China, Germany and Austria and will be an installation about the means of abstract art.
Regarding the selection of the artworks, my main interest lies in works that contribute to the question of translating painting practices into sculptural language. The relief as a wandering concept between the both categories of painting and sculpture will serve as an exercise field and checkpoint for the qualities of the 2 disciplines.
The title YES AND NO / ONE IS LIKE THE OTHER refers to two aspects of the show.
First it negates the categorical difference between painting practice and sculptural practice.
Second it implies a linguistic approach to art and art perception. It's about the act of cutting down the wholeness of an artwork. Each visual element that builds up the work is by itself meaningless and equal to the others. In that sense there is no hierarchy or relation whatsoever between yes and no / green and red. And still we put them together in the need of relation. The same applies to the different artworks as parts of the groupshow.
-one is like the other.