展覽時間：2009.10.31-2009.11.7(周一閉館)

開幕時間：2009.10.31下午3點

主辦：藝術景中心

展覽地點：上海多倫現代美術館一樓(多倫路27號)

歷史也能開口說話嗎？這正是藝術家毛艷陽想要探尋的問題。毛艷陽的創作涉及環保、戰爭到兒童保護、流行文化等廣泛的社會文化及政治議題。1983年出生于湖南，2002年畢業于四川美術學院，毛艷陽從眾多當代藝術家中脫穎而出，成為了2007中國新銳畫家大獎的金獎得主。

毛艷陽的作品主要探討如何呈現客觀事實。他善于運用話筒這一標志性的符號，質疑媒體如何能夠從復雜的社會、文化和歷史環境中提取真相。理論上，話筒是一個中立的接收設備，而通常在困難的、悲慘的或不合常理的環境中，這種中立是無法實現的。毛艷陽的作品一方面提醒我們，被訪者一旦知曉媒體的潛在影響，就有可能對訪問做出不同回應。另一方面，社會中的受害人常常無法察覺媒體的控制性與錯誤報道的傾向，藝術家以此質疑媒體是否有這種控制的權力。

毛艷陽本身擅長于圖像運用的操控，因此他并不回避此類話題。關于藝術家總在試圖探尋他自己永遠無法獲得的東西的說法并不完全正確。毛艷陽選擇在完全主觀的世界里享受黑色幽默。也許畫面里的話筒無法避免現實的影響，它們的形態和顏色必須受當時當地的歷史情境所限。而在一些涉及政治人物及難民兒童的系列作品中，話筒作為強加的部分則顯得格外諷刺與滑稽。另有幾幅作品以出席/缺席為主題：當不再有任何人對事件發表評論，后果將會如何？毛艷陽試圖在作品中呈現各種可能的變化。

毛艷陽此次最新個展名為“兩萬赫茲”：事實上兩萬赫茲的聲音已超過人類聽覺能力的上限，隱喻當代社會將無法得知這些被錯誤報道的人，事物及社會情境、問題。另一方面也隱喻真相的確實存在于世界的某個角落。盡管毛艷陽向我們展現了一幅進退兩難的困境，但也許只有通過揭示表現形式的不可靠，人們才有機會發掘客觀的事實真相。

Mao Yanyang @ 20,000 Hz Press Release

Can history speak for itself? Artist Mao Yanyang seeks to answer this question by exploring numerous social, cultural and political problems in his art, ranging from the environment and war to child protection and pop culture. Born in 1983 in Hunan province China, the artist graduated from the Sichuan Academy of Fine Art in 2002. In 2007, Mao Yanyang was awarded the Gold Prize of the Chinese Art Prize, establishing him as a breakthrough contemporary artist.

In Mao Yanyang’s art, the key point of debate is the feasibility of representing objective facts. His trademark symbol- the microphone- serves to criticize the media’s ability to discern truth from complex social, cultural and historical situations. Logically, the microphone is a neutral receiving device, yet the often extreme, tragic and/or absurd nature of these situations ostensibly renders that function impossible. On the one hand, we are reminded that interviewees are likely to alter their responses to media enquiry if they are conscious of its potential impact. On the other hand, victims of society are often painfully unaware of the media’s tendency to manipulate and misrepresent, questioning if the media has a right to impose its presence.

Mao Yanyang himself does not escape this enquiry, for the artist is also the master manipulator of images. That his art attempts to explore what he himself can invariably never achieve is ironic. Mao Yanyang thus chooses to revel in the dark humor of an entirely subjective world. Even the microphones in his paintings cannot escape this reality; their models and colors conditioned by the historical situation in which they are placed. The never-ending imposition of the microphone in the portrait series of politicians and refugee children is so absurd, it is tragically comic. Several paintings play on the theme of presence/absence, depicting the aftermath of an event where there is no longer anybody to pass comment; arguably the most effective variation of this theme.

The title of the exhibition is pertinent. 20,000 hz is the frequency beyond which humans cannot hear and the implication is that society will forever be ignorant of the truth behind misrepresented peoples, problems and situations. On the other hand, the implication is also that the truth is out there somewhere. Although it seems that Mao Yanyang presents us with an impossible quandary, it is only by exposing the fallibility of all forms of representation that we can ever hope to discover objective truths.

Period: 31th Oct, - 7th Nov,2009

Opening: 3pm.31th Oct,2009

Sponsor: Art Scene China

Venue: 1st Floor, Shanghai Duolun Museum of Modern Art

（No.27,Duolun Road, Shanghai, China）