在材料边界逐渐消融的当下，艺术装置中的人文属性，被更显著的强调出来。 本设计运用苏绣与水袖的概念，在艺术传达与大众审美间找到平衡点， 在特别的时空交点，恰好促成了一次历史与在地性的文化再现。 丝绸的迷人之处，不仅在于源远流长，被时光磨灭的痕迹也同样迷人。 而在 “舞丝”的核心表达中，照见的不只是苏绣与戏曲的变迁， 更是对于苏绣文化的弘扬与沉浸式传播， 让更多人真实地走进千年来的苏韵风华。 每个人都有属于自己的形态识别方式， 在文明的缝隙中，与观者共同品味苏绣的一脉相承。 🟠 图⽚仅供参考，实际效果以实物为准， 所有装置结构、安装和⼯程细节都需要施⼯团队在现场测量确认。 🟤本案设计⽅案及⽂稿作者为舟扬工作室及其合作艺术家，未经同意， 任何⼈不得将上述所有资料⽤于其他⼀切⽤途或在媒体发表、出版、复制抄袭， 否则我司将追究其法律责任。

Artist: Adrien Missika Exhibition title: Demain Amélioration Venue: Bugada & Cargnel, Paris, France Date: September 10 – October 12, 2016 Photography: Marti

OKHA accessories - Alta made from brass and mild steel.

The meaning of the modern office no longer lies in a single solution to the problem of collaborative work; Cloud Land Business Center is, as its name suggests, we hope to create a space that communicates with nature and people. No matter what kind of design, in the end, it will return to people and nature, and the original point is the only way to bring everything back to the best state.

TONY CRAGG AT GALERIE THADDAEUS ROPAC PANTIN Febuary 21, 2016 – July 16, 2016 TONY CRAGG AT GALERIE THADDAEUS ROPAC PANTIN Febuary 21, 2016 – July 16, 2016 Galerie Thaddaeus Ropac is delighted to host a comprehensive solo exhibition of new sculptures by Tony Cragg (b 1949), one of the most distinguished contemporary sculptors, in the vast halls of the gallery space in Paris Pantin. The exhibition will feature 25 new sculptures of steel, bronze, wood, fibreglass and stone. The exhibition coincides with one of the artist's solo exhibitions at the Eremitage St. Petersburg (March to June 2016) and a retrospective at the Von-der-Heydt-Museum in Wuppertal (April to August 2016).   Cragg's sculptural œuvre was originally motivated by his encounter with English Land Art and Performance, and is still distinguished by an immense wealth of surprising formal inventions and combinations. Cragg sees himself as a materialist, constantly seeking to explore and expand new materials. He has frequently applied techniques such as stacking, layering and heaping to different types of waste material and everyday objects, giving them an unexpected interpretation. Here, it is primarily steel, bronze and wood that he uses for his almost geologically layered arrangements.  "Cragg's materialism suggests several meanings. In its most comprehensive sense, it implies a philosophical point of view, a conception of the world concentrating on physical phenomena and those circumstances which can be directly deduced from them. His artistic work shows a view of the human being gained through his relation to the environment – ranging from geological formations to urban constructions, from the tools we use to shape the world to furniture and other objects we produce in order to satisfy our needs." (Lynne Cooke, 2003)  In recent years, heads and faces have been appearing like leitmotivs in Cragg's work. A morphing circular movement shapes the rhythm of the sculptures. Overlapping, layering and convolution give rise to body landscapes forming positives and negatives, asserting a form and at the same time mapping out their vacant spaces. Cragg develops his forms from "artistic sediments that appear to arise from different eras" (Eva Maria Stadler, 2008). The horizontal extension of the biomorphic form is reminiscent of futurist Italian speed fanatics like Umberto Boccioni and Giacomo Balla, while the verticality of his pillar-like sculptures brings to mind Constantin Brancusi, who similarly arrived at a reduction of the natural form through his abstract formal language. Nature with all its structures, from micro to macro, has been the dominant theme of Tony Cragg’s works over the past ten years (such as the monumental sculptures Must Be, 2012, Mean Average, 2014 and Contradiction, 2014, shown in the exhibition).  In Early Forms, a series of cast works, which began in the late 1980s, Cragg has created a catalogue of unique sculptural forms derived from a diverse range of vessel types - from ancient flasks to test-tubes, jam jars and detergent bottles - that are twisted and mutated together to make new forms.  The title refers to the fact that vessels are among the simplest and earliest surviving man-made forms and, in archaeological terms, are important markers of culture.  During the 1990s the Early Forms became increasingly complex. In his latest sculptures, Tony Cragg draws on the idea of the Early Forms and increases the elasticity and dynamics of their composition to such an extent, making it hard to believe that such forms could actually be made out of bronze. This dynamic reaches a preliminary peak in the monumental sculpture Stroke (2014), resembling a giant frozen brushstroke.  A new way of cutting the shape, of fanning it out, is a further characteristic of his latest sculptures, such as Hardliner (2013), Parts of Life (2014) and Parts of Life II (2015), where the outer surfaces have apparently been effortlessly fragmented.  Tony Cragg’s sculptures "are not closed objects, nor are they impenetrable, designed integral realities. To the contrary, their segmentation, their fracturing or lack of rectilinearity transforms them into open structures, into open motivations of a visual universality, of a visual cosmos. They are structures of a sculptural language that is ready to communicate with the others, the different, ready to be open to dialogue. Even the outlines of these sculptures are never classic geometrical structures, nor are they traditional optical narrations. The eye of the viewer falls upon them and, after the first contact, is directed towards a second reading, full of optical surprises and imbalances that are, however, structured in such a way that, despite their deceptive anarchy, they end up with a balanced, anarchic geometry" (Demsothenes Davvetas, 2015).  Tony Cragg's distinguishing feature is his primary concern to find new, unprecedented forms that amaze the viewer by their unusual biomorphic and technoid references. A very apt remark which was made in 1911 by the Cubist sculptor Raymond DuchampVillon might well have come from Tony Cragg: "The sole purpose of the arts is neither description nor imitation, but the creation of unknown beings from elements which are always present but not apparent".   http://ropac.net/exhibition/sculptures-3 You may visit Tony Cragg: Dialogue with Duomo di Milano Past exhibition news to click below link. http://mymagicalattic.blogspot.com.tr/2015/09/tony-cragg-dialogue-with-duomo-di-milano.html MEAN AVERAGE, 2014 Bronze Dimensions: 570 x 241 x 255 cm - 5000 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg    MEAN AVERAGE, 2014 ( DETAIL ) MEAN AVERAGE, 2014 ( DETAIL ) RUNNER, 2013 Wood Dimensions: 360 x 251 x 146 cm - 1600 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg LOST IN THOUGHT, 2012 Wood Dimensions: 450 x 220 x 300 cm - 2500 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg   RUNNER, 2013 ( DETAIL ) RUNNER, 2013 ( DETAIL ) LOST IN THOUGHT, 2012 ( DETAIL ) LOST IN THOUGHT, 2012 ( DETAIL ) MIXED FEELINGS, 2012 Bronze Dimensions: 550 x 236 x 224 cm - 4160 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg   MIXED FEELINGS, 2012 ( DETAIL ) MIXED FEELINGS, 2012 ( DETAIL ) GALERIE THADDAEUS ROPAC Since its foundation in 1983, Galerie Thaddaeus Ropac has specialized in international contemporary art representing around sixty artists including very established names, mid-career artists and emerging young talents as well as several renowned estates. With a team of 80 employees and approximately 30 extensive solo and group exhibitions held per year in the Salzburg, Paris and Paris Pantin spaces, Galerie Thaddaeus Ropac supports and showcases the careers of some of the most influential artists today. With accompanying catalogues and books, written by prominent art historians, poets and Nobel Prize winners, such as Norman Rosenthal or Orhan Pamuk, the gallery has a thoughtfully selected editorial line resulting in an extensive library resource. From its origin in Salzburg, the gallery now holds three distinctive venues, two of which are located in the Paris region. Since 1983 Galerie Thaddaeus Ropac has established itself in Salzburg located in the Villa Kast, a 19th century townhouse in the picturesque setting of the Mirabell Garden and the historical centre. In March 2010, the gallery opened Salzburg Halle, an additional exhibition space spreading over 2,500 m² within an industrial building close to the city centre of Salzburg. In 1990, Thaddaeus Ropac opened his primary Paris space in the Marais. Today, the gallery space spans four floors with a 1000m2 exhibition surface that also includes an extensive Drawings Department. In October 2012, the most recent and ambitious project to this date was completed; redeveloping an early 20th century ironworks factory into an art space in Paris Pantin. Its location in the North East of Paris in the neighbourhood of the new Philharmonie de Paris has allowed for new perspectives for the gallery, fostering interactions and collaborations with the cultural community, and allowing for the unprecedented display of large-scale works.  Spread over an area of 5000m2 and several buildings, 2500m2 serve as exhibition spaces. Since its opening, this venue has also welcomed presentations of satellite events, such as performances, concerts and talks, expanding the gallery´s artistic outlook. Galerie Thaddaeus Ropac represents its artists at all major art fairs worldwide. Active in both the primary and secondary markets, the gallery’s role extends to curatorial work, where it acts as a consultant to major museums and public institutions as well as an advisor to private and corporate collections. http://ropac.net/about GALERIE THADDAEUS ROPAC PANTIN CONTRADICTION, 2014 Wood Dimensions: 350 x 162 x 142 cm - 1444 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg CONTRADICTION, 2014 ( DETAIL ) CONTRADICTION, 2014 ( DETAIL ) WILLOW, 2014 Bronze Dimensions: 235 x 232 x 251 cm - 2400 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg WILLOW, 2014 Bronze Dimensions: 70 x 69 x 75 cm - 100 kg (TC 1179) Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg   WILLOW, 2014 ( DETAIL ) CONTRADICTION, 2014 ( DETAIL ) CONTRADICTION, 2014 ( DETAIL ) FOREIGN BODY, 2015 Bronze Dimensions: 120 x 106 x 76 cm - 400 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg MEAN AVERAGE, 2014 Bronze Dimensions: 570 x 241 x 255 cm - 5000 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg STROKE, 2014 Bronze Dimensions: 240 x 224 x 110 cm - 1500 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg HARDLINER, 2013 Bronze Dimensions: 115 x 140 x 97 cm - 601 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg   PARTS OF LIFE, 2014 Bronze Dimensions: 123 x 100 x 100 cm - 745 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg MANIPULATIONS, 2015 Bronze Dimensions: 140 x 130 x 130 cm - 500 kg Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg EARLY FORM, 2015 Bronze Dimensions: 64 x 55 x 51 cm - 60 kg (TC 1182) Courtesy Galerie Thaddaeus Ropac, Paris © Tony Cragg   EARLY FORM, 2015 ( DETAIL ) TONY CRAGG Tony Cragg was born in Liverpool in 1949 and has lived in Wuppertal since 1977. He began his studies at the Gloucestershire College of Art and Design, before changing his course to the Royal College of Art in London in 1973. Since the 1980s his work has been represented at many important international exhibitions, including documenta 7 and 8 in Kassel (1982 and 1987), São Paulo Biennial (1983) and Venice Biennale in 1980, 1988 (he represented Great Britain), 1993 and 1997. In 1988 he was awarded the Turner Prize, and in 1992 he was made a Chevalier des Arts et des Lettres. From 1979 he taught at the Düsseldorf Academy of Art, where he became professor in 1988, and in 2001 he was appointed Professor of Sculpture at the Berlin Academy of Arts. Since 1994 he has been a member of the Royal Academy of Arts, London, and since 2002 a member of the Academy of Arts, Berlin. In 2007, Tony Cragg received what is probably the most prestigious art prize in the world, the Praemium Imperiale. In 2009 he succeeded Markus Lüpertz as Rector of the Düsseldorf Academy of Art (until end of 2013). In 2013 and 2014 Cragg lectured at the renowned Collège de France in Paris.   Important institutions have been presenting Tony Cragg's works in solo exhibitions since the 1980s; they include the Kunsthalle, Bern (1983); Lousiana Museum Humlebæk (1984); Brooklyn Museum, New York (1988); Kunstsammlung NordrheinWestphalen, Düsseldorf (1989); Art Institute of Chicago (1990); Reina Sofia, Madrid (1995); Von der Heydt-Museum, Wuppertal (1999); Tate Gallery, Liverpool (2000); Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (2003); Neues Museum, Nuremberg (2005); Lehmbruck Museum, Duisburg (2007); Belvedere, Vienna (exhibition with F.X. Messerschmidt in 2008); Staatlichen Kunsthalle, Karlsruhe; Museum der Moderne, Salzburg (2009). In 2011, nine new works by the artist were shown in the Cour Marly, the Cour Puget and I. M. Pei's glass pyramid at the Louvre, under the title Figure Out – Figure In. That same year, the Scottish National Gallery, Edinburgh, the Nasher Sculpture Centre, Dallas, and the Küppersmühle Museum, Duisburg, held comprehensive retrospectives of his work. 2012 saw a large-scale exhibition tour through China: the Shanghai Himalayas Art Museum, Chengdu MOCA and Central Academy of Fine Art Museum in Peking. In 2013, 2014 and 2015 followed extensive solo exhibitions at the Musée d’Art Moderne de Saint Etienne, Heydar Aliyev Center in Baku (Azerbaijan) as well as the Benaki Museum, Athens.  A catalogue with texts by the Greek philosopher, poet and artist Demosthenes Davvetas will be published in April 2016 to accompany the exhibition. http://ropac.net/exhibition/sculptures-3

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