Space Regeneration Project #6 | NOT THERE
再生空间计划第六回展 | 不在
Opening: December 1th 2013, 2:00 PM
开幕式：2013年12月01日 下午2：00

地点：北京市朝阳区南皋路PAE公司旧址(观复博物馆向西300米)

参展艺术家：Alessandro Rolandi（意大利） 付帅 高露迪 高源 何情 Katie Morton（美国）Lauren McCarty（美国） 李泊岩 卢正昕 宁浩翔 潘丽 清水惠美（日本） 任瀚 王子夜 杨圆圆 野城


再生空间计划很高兴地迎来第六回展览——《不在》
 
一座建筑的历史可以有两种度量：一为其所经历的时间长度；一为其所经历的事件或进驻人群的更迭频率。一个场所随着所聚集人群的更替会发生存在意义的变化，不同人的精神世界可在同一空间中共存，再生空间计划就是给废墟提供这样一个机会：让艺术家进驻到当中，用艺术创作改变它的历史。
本次的展览场地PAE全称为Piech Art Enterprise，原为PAE传媒集团旗下一家专门为年轻创意工作者提供创业建议的咨询公司。据调查，此建筑于2008年竣工，因用地纠纷等原因，几乎未曾投入使用就被遗弃，拆迁工作不知为何只进行了一个开头。因此，这一结构奇特的现代废墟在京郊杂草深处一立就是五年，从半明半暗的楼道登上屋顶平台，可以远眺北京市区密集的高楼。这种与城市“隔海相望”的距离，加剧了这栋废弃建筑的悲剧性，它就像一座被人遗弃的孤岛。它“不在”城市规划的范围之列，也“不在”人群的视野里，更“不在”实用视野里。让—保罗•萨特将建筑看作人类身体的化身和抽象的再现，从这一建筑的独特设计上我们可以看出这具“身体”所曾承载的野心和自信，而它的命运却如此戏剧化地发展。“不在”作为第一人称的发声，指示的是一种告知的状态，暗合的是此时此地无有任何事件，投射出废墟颓变后的自白。而今，艺术家们的介入虽作为一场短暂发生，其意义却在这个场所的事件性历史中被改变了，最终被我们定义为“介入在场”。而原有应属于她的使命属性，早已“不在”。荒诞也好，悲壮也罢，所有作品在开幕后都留在原地，之后，将再也不在。

Space Regeneration Project is going to open its sixth exhibition: “NOT THERE”

There are two ways to measure the history of a building: one is the time span it has endured; the other is the number of events it has been through, or the times it has been occupied. As the group of people that a site calls together becomes different, the significance of this site’s existence changes accordingly, and the spiritual worlds of different groups of people may coexist in the same space. Space Regeneration Project aims at providing ruins an opportunity to have their histories rewritten by artistic creation with artists stationing in them.
The full name of the site for this exhibition is “Piech Art Enterprise”. It was originally used as a consulting company under the PAE media group, specialized in providing advice for the innovative youth who tried to start business. We learnt that the site was completed in 2008, but due to some land disputes, it was barely used when it got abandoned. For some unknown reason, the demolition only took a start and stopped soon. Since then, this peculiarly structured modern building has been standing as ruins amid weeds in suburban Beijing for 5 years. Stepping up through the dim stairway, one could overlook the crowded tall buildings of Beijing. Being so close to the urban area yet separated from it, the ruins of this site make the site itself more tragic, being like an isolated, abandoned island. She is “not there” in city planning and “not there” in view, or in the view of practicality. Jean-Paul Sartre sees architecture as the embodiment and abstract representation of the human body. From the unique design of this building, we could find the ambition and the confidence that her “body” used to carry; the tendency of her fate is nevertheless dramatic. As an articulation in the first person, “Not there” indicates a state of notification, implies that nothing at all is occurring here and now, and utters the voice of the ruins themselves about the site’s decline. The intervention of artists is but a brief happening to this site, the significance of it, however, is altered in the history of events of this site, and is in the end defined by us as an “interventional presence”, whereas the site’s initially supposed missions have long been “not there”. All artworks will stay where they are after the opening of the exhibition, yet will be not there anymore after an unknown period. This could be taken either as absurd or as tragic.