Boers-Li Gallery荣幸的宣布，邱黯雄个展《动物园》将于2010年10月16日至11月7日在本画廊开幕。本次展览将展出邱黯雄最新创作的油画、雕塑以及录像装置。

整个展览围绕着那些些许衰败的动物园场景展开。曾经自由驰骋和翱翔的动物被囚禁在一个似乎“人道”的人造自然之中。被囚禁的动物，在有限度的自由中多少有些百无聊赖的感觉。这些以绘画形式存在的动物园作为展览的背景而存在。“动物园”在本次展览中或者说这个新的系列中，其隐含的意思的关于“囚禁”。沿着这个概念，邱黯雄试图审视我们的广泛存在于我们文明、教育与生活方式中的“囚禁”，探讨源于外部世界的控制如何在不知觉间转换成我们习惯的自我控制，其对象也从动物转换成了我们自身。作为这个不断延续的对“文明”及其控制探索的一部分，邱黯雄在本次展览中试图以动物与文明的方式呈现历史的误区。通过将拟人化的方式，围绕或被奉为神祉（《异端》）、或被加工成食物（《革命》）、或者被当作宠物围观（《启蒙》）的各种动物，艺术家试图以一种博尔赫斯式的方式，揭露出所谓人的历史中“文明”如何以集体主义的各种变体方式“囚禁”乃至“抹灭”个体。作为动物的拟人化的反面，在展览的最后，艺术家用动物化的方式描述了在消费社会下一个家庭的场景，从而呈现在精神领域之外，物质消费对于人的囚禁。

从广为人知的《新山海经I》开始，艺术家就以一种将神话和现实中的动物比拟到现实文明中的方式来展开对于现实社会的分析和批判。与此同时，其作品中叙事与象征总是相对节制的态度不断构筑全新的视觉叙事。邱黯雄作品的魅力在于他奇诡的异形妄想及其伪造的百科知识。这种独特的叙事方式可以上述到博尔赫斯的叙事方式，但是其精神实质却更接近于奥维尔在《动物庄园》所呈现的现实批判性。这也是邱黯雄的作品在视觉叙事中特殊精神气质所在。

邱黯雄1972年生于成都，他的先后参加了上海双年展（2006）年，中国电站II（2007）， 亚太三年展（2009）以及最近的圣保罗双年展（2010），并于2007年在东京现代美术馆举办了个展。他的录像作品《新山海经II》及其版画作品也于最近被纽约当代美术馆（MOMA）收藏。

Qiu Anxiong: Zoo

Boers-Li Gallery is pleased to announce the opening of a solo exhibition for Qiu Anxiong entitled Zoo on 16 October 2010 and continuing through 7 November. The exhibition will include the artist's new work in oil painting, sculpture, and video installation.

The exhibition as a whole revolves around the decaying scenes of the zoological garden. Animals once free to gallop and soar are here confined to a purportedly humane synthetic nature, held captive in the limited degree of freedom endemic to the zoo and certainly experiencing some degree of boredom. Such paintings exist here as a background to the exhibition, allowing the figure of the zoo to come to stand in for captivity itself within this new series. Alongside this conceptual development, Qiu Anxiong attempts to survey the broader meaning of captivity within more expansive spheres of culture, educational systems, and lifestyles, a discussion that originates with the phenomenon by which external control imperceptibly becomes habitual self-control, mirroring another process by which the object of control shifts from the animal to the human.

As a portion of this continuing exploration of culture and control, this exhibition employs models of the zoo and civilization to manifest mistaken understandings of history. Animals are here taken as gods, as in “Heresy;” turned into food products, as in “Revolution;” or observed as pets, as in “Enlightenment.” The artist here uses a method of Borgesian personification to reveal how, throughout the history of civilization, the various manifestations of collectivism have imprisoned and even extinguished the individual. Through the reverse of such personification, the artist concludes the exhibition by animalizing a domestic scene depicting consumer society, thus expressing the captivity of material consumption outside the spiritual realm.

Beginning with his widely known work “New Classic of the Mountains and Seas I,” Qiu Anxiong has drawn on a method in which mythical and existing animals are metaphorically drawn into reality in order to develop his analysis and critique of contemporary society. At the same time, the narratives and symbols present in his work continuously construct new forms of visual narrative in a relatively restricted system. The attraction of this work lies in its eccentric and abnormal quixotic pursuit, particularly in the artificial encyclopedic knowledge it spawns. This  unique narrative mode could be linked to those of Borges, but its spiritual quality is actually much closer to the critique of reality manifested in Orwell's Animal Farm.

Qiu Anxiong was born in Chengdu in 1972. He has exhibited in the Shanghai Biennale in 2006, China Power Station Part 1 in 2007, the Asia Pacific Triennial of Contemporary Art in 2009, and most recently the São Paulo Biennial in 2010. He also held a solo exhibition at the Museum of Contemporary Art Tokyo in 2007. His video work “New Classic of the Mountains and Seas II” and related print works have recently been acquired by the collection of the Museum of Modern Art in New York.