ARTISTS > FANG Er ｜ 方二
爱情宾馆（合作艺术家 孟瑾）
ARTIST INFO 
Born in Taipei, Taiwan.
Lives and works in Beijing.
2004 MA in Communication Design, Central Saint Martins College of Art & Design, London UK. Awarded Distinction in practical work.
2001 BFA in Computer Art, Academy of Art College, San Francisco, USA
Solo Exhibitions
2009
Love Hotel, with artist Meng Jin, m97 Gallery, Shanghai, China
Taiwan Photo Bazaar 2009, Taipei, Taiwan
Atlanta Hartsfield Jackson International Airport, Atrium Gallery, Atlanta, USA
Ommateum.Gaze, myhumblehouse, Taipei, Taiwan
2008
Constructed Re Constructed, Art Channel Gallery, Beijing, China
2007
Lost & Found exhibition, The Zoo and The Sweetest Thing series, m97 Gallery, Shanghai, China
2006
Been There, Done That, Platform China 798 Project Space, Beijing, China
The Sweetest Thing, The Green Tea Gallery, Beijing, China
Group Exhibitions
2009
PARALLAX, m97 Gallery, Shanghai, China
That Obscure Object of Desire, offChina, Beijing, China
2008
Sisley, Museum Of Contemporary Art, Shanghai, China
Exquisite Corpse, m97 Gallery, Shanghai, China
Three Directions, 2008 New York Photography Festival, New York, USA
Constructed Re Constructed, Art Channel Gallery, Beijing, China
There is no “I” in team, Newcastle upon Tyne, Gateshead, UK
London calling, Huashan CCA, Taipei, Taiwan
Urbanized Landscape, Shanghai eArts Festival, Shanghai, China
Night on Earth, Helskinki, Finland
Night on Earth, Museum of Contemporary Art, Shanghai, China
China Design Now, Victoria and Albert Museum, London, UK
2007
Grand Opening, Kiang Gallery, Atlanta, USA
Get it Louder 2007, touring exhibition, Guangzhou, Shanghai, and Beijing, China
The Boundless Reality, Photography Exhibition, 706 Factory in 798 Art Zone, Beijing, China
Still Moving, Space NOON Gallery, Beijing, China
Still Moving, National Film Institute, Seoul, Korea
Beyond and Crossover – MOCART 2007, Pudong Exhibition Hall, Shanghai, China
My Beijing 2X2 Photography Show, SOKA Art, Beijing, China
2006
Istanbul Art Fair 2006,“The Zoo”, Istanbul, Turkey
Art Fair, Frankfurt Foundation, “The Zoo”, Frankfurt, Germany
Eyes On, C5 Art Gallery, Beijing,
Eyes On, Bund 18 Creative Centre, Shanghai, China
Art Beijing, 2006 International Art Fair, Beijing, China
WALL, 706, Beijing, China
MOCART Contemporary Art Exhibition, Volkswagen Beijing Olympic Forum, Beijing, China
Replay, C5 Art Gallery, Beijing, China
Don’t Panic, The Aram Gallery, London, UK
2005
After Dark, Stella Screen, the Tour Show from Leeds, Birmingham to London, UK
Urban Tales. Urban Sounds, The Horse Hospital, London, UK
The Hidden Depth, Ecompass Gallery, London, UK
2004
The Hidden Depth, Tank TV, November Issue, London, UK
Direction, Lethaby Gallery, London, UK
Woof, Corridor Gallery, London, UK
69, The Mall, London, UK
Tank TV, November Issue, London UK
2003
Little Red Riding Hood, San Francisco Academy of Art College, Spring Show, San Francisco, USA
1996
Sarato Vodka Label Design, San Francisco Academy of Art College, Spring Show, San Francisco, USA
Collections
2007 The Zoo, collected by the Art Gallery of Ontario, Toronto, Canada
2004 The Hidden Depth, collected by Central Saint Martins College of Art & Design, London, UK
in practical work.
生于台湾台北，现住北京。
2004 毕业于英国伦敦中央圣马丁艺术学院，获艺术硕士，并授予荣誉毕业
2001 毕业于美国旧金山艺术大学，获艺术学士
个展
2009
“爱情宾馆”，（联合艺术家孟瑾）， m97画廊，中国上海
台湾摄影Bazaar,台北信义公民会馆，台湾台北
美国乔治亚州的亚特兰大机场, 中庭画廊, 美国亚特兰大
“复眼凝视”,寒舍空间, 台湾台北，台湾台北
2008
“建与再建” ,艺术通道, 中国北京
2007
“失去 · 寻获”, M97画廊, 中国上海
2006
“他乡旧事”，站台中国798项目空间，中国北京
“Sweetest Thing 20.04.04”, The Green Tea Gallery, 中国北京
展览
2009
“视差”, m97画廊，中国上海
“欲望的隐晦介质”，意中艺术工作室， 中国北京
2008
“Sisley緣月”慈善艺术展，上海中信泰富广场 ，中国上海
“精致的尸体：超现实中国”，m97画廊，中国上海
“创意中国”，V&A博物馆，英国伦敦
“Three Direction”, 2008纽约摄影节，美国纽约
“地球之夜”，上海Moca当代美术馆，中国上海 / 赫爾辛基 芬蘭
“少数服从多数”，Newcastle upon Tyne, Gateshead, 英国纽卡索
2007
“新空间”开幕展，Kiang Gallery，美国亚特兰大
韩国汉城 国家电影学会，宁静的反响Space NOON, 韩国汉城
“我的北京2X2”摄影展，SOKA当代画廊，中国北京
“边界线录象”艺术节，中国北京
“大声展2007”，中国广州，上海，北京
加拿大安大略美术馆 收藏 “动物园”
“无边的现实”, 北京 706, 798艺术区, 中国北京
“有界 无界”, 浦东展览馆，新天地, 中国上海
2006
依斯坦布尔艺术博览会 “动物园”, 土耳其依斯坦布尔
法蓝克福艺术博览会，德国法蓝克福
“他乡旧事”， 中国站台798新项目空间, 中国北京
“打眼 Eyes On” 艺术展，外滩18号，中国上海
“打眼 Eyes On” 艺术展，C5画廊，中国北京
“WALL” 艺术展， 北京 706艺术区，中国北京
“Sweetest Thing 20.04.04” 艺术北京, 当代艺术博览会，中国北京
“MOCART当代艺术展” , 上海大众北京东方广场展厅, 中国北京
“Replay概念摄影展”, C5画廊, 中国北京
“Don’t Panic”, Aram Gallery, 英国伦敦
2005
Stella Screen “After Dark” 展，英国伦敦，曼撤斯特，利兹，伯明翰
Ecompass 收入 “The Hidden Depth”, 英国伦敦
The Horse Hospital “Urban Tales. Urban Sounds”展, 英国伦敦
2004
Tank TV November Issue 收入 “The Hidden Depth”影片，英国伦敦
The Mall Gallery “69”展，英国伦敦
Lethaby Gallery “Direction”展，英国伦敦
Corridor Gallery “Woof” & “Summer Group Exhibition” 展，英国伦敦
2003
美国旧金山 Academy of Art College Spring Show 收入“Little Red Riding Hood”, 美国旧金山
1996
美国旧金山 Academy of Art College Spring Show 收入“Sarato Vodka Label Design” 美国旧金山
收藏
2007 作品〈动物园〉，收藏于加拿大安大略美术馆
2004 作品〈隐藏的深度〉，收藏于伦敦中央圣马丁艺术与设计学院
SERIES INFO 
INTRODUCTION
Partners Meng Jin and Fang Er’s first collaborative photography project, Love Hotel explores the two artists’ ongoing interest in urban life, architecture, memory and found objects, and the inter-relationship between physical buildings, objects and their social context. The couple worked on-site within the framework of 3-hour ’rest’ periods in various ’short-stay’ hotels creating improvised, spontaneous sculpture works with the existing objects found in the rented love hotel rooms. Slightly amorphous structures, the rearranged inanimate objects hint at entangled anthropomorphic creations in this fantasy space devoid of actual human presence.
read more
《爱情宾馆》是孟瑾和方二首次以艺术伙伴身份完成的合作性摄影作品；它探讨了两位艺术家对城市生活、建筑、记忆和他们喜爱的事物所持有的不间断的热情，表现了建筑物实体、事物和它们所象征的社会内容之间的内在关系。这对伙伴呆在各种“短住”宾馆里，借用3小时“休息”时间这一框架完成了该系列作品。
LOVE HOTELS, SCULPTURES AND SPACE
By MENG Jin & FANG Er
Love Hotels ordinarily offer two kinds of rates: One is the three-hour ’resting’ rate and the other is the overnight rate. In most cases, Love Hotels are cheaper than other hotels. . . . After entering a Love Hotel, one experiences a transformation in the normal order of things in one’s everyday life. Love Hotel spaces are meant to give one the liberating feeling of having left reality. Many people look to Love Hotels for psychological respite, if not refuge.
Even if the rooms are only simply decorated with cheap furniture and fittings, they still manage to impart a sense of fantasy, imagination and sweetness, each object intimating that here you might find the satisfaction that you’re missing in your everyday life. It’s as if Love Hotels provide an emotional something otherwise missing in the lives of people living in the city. Here in its spaces is the order of things and people as they were intended to be. For these series of collaborative works, we used the objects that belonged to each room as materials. We would then stack and wrap these objects into amorphous agglomerations. Each resulting form was not pre-conceived but generic, in that it was defined only in terms of the materials used in its composition. And yet, in as much as each individual object originated in the space and related to the other objects in the room, each work was also specific to its site. Our intervention was not designed to bring attention to a generic subject (such as Love Hotels per se), but rather to carefully preserve the original elements of the site, to not reduce the site to a generic idea, nor to elevate or privilege the site, but to simply alter the existing order of things within a specific time and space.
The process of taking the photographs was no different or less important than the process of making the sculpture. While it was a process that took less than 5 minutes to set up and less than one second to execute, nonetheless, its importance in the re-ordering of things cannot be over-stated. As a process, it had a dual function in as much as it was undertaken in a specific room in a specific Love Hotel and in a specific three-hour time period after we showed up, it was a process not unlike the process by which we made the sculpture itself. By stacking and wrapping all the objects in the rooms we entered, we had originally sought to destroy the original meaning of the spaces. In the end, perhaps due to the enormity of meaning that informed such places, coupled with the quizzical lack of human presence therein, the found objects took on a life of their own and together an anthropomorphical reconfiguration that make the photographs in this series so nuanced and striking.
爱情宾馆，雕塑与空间
作者 孟瑾 & 方二
爱情宾馆通常提供两种收费：一种"休息"所收取的利率约3小时，另外一个就是"过夜"的计算，通常时间和计价方式会比一般的旅馆饭店稍微便宜。由于价格低廉，这类空间有时也会吸引一些因经济条件拮据而以此为家的客人。在拍摄的过程中，我们就曾遇过一住十几年的老房客，落魄的都市边缘客。
秩序的转化是在进入爱情宾馆之后，这里的空间给人一种脱离现实的解放感，许多人在爱情宾馆中得到了精神上的慰留及庇护。即便是简陋的房间布置，廉价的家具配 备，都透露出梦幻、想象、与甜蜜，每一个简单的物品似乎在暗示这里可以找到日常现实中无法填补的那分满足，似乎也只有爱情宾馆可以填补都市人生活所失落的 那份爱，这样的空间蕴含着物品与人的原始秩序：容纳，样式，颜色，材质，大小，图案，连接，使用......
我们利用每一间房间内所属的物品作为材料，堆砌捆绑而成一个形态模糊的聚合体。它们的相互呈现，是一种完全物质性的存在，而它们之间的所属关系决定了此地的 现场感。这种干扰现场景观的做法，并不是要突出某一个非现场的主体，而是完全此时此地的现场性的细心发挥，室内场景和室内物品的属性并没有得到改变，原生 的细节得到保留的，现场感没有被压缩，也没有所谓的情感升华，有的只是秩序的变化。与其说是摄影，其工作过程更象是在做物品雕塑。拍摄只是最后的程序，时 间不到5分钟，而按下快门甚至和和还不到一秒。但者最后的一秒意义重大，的对我们而言存在着双重属性：既属于爱情宾馆的那个特定的房间，也只属于我们出现 之后的3个小时。捆绑的方式是在企图打破这类空间的定义。而正因为这个定义的庞大，还有使用者的莫名缺席，使得这些物品各自复活，获得一种拟人化的重塑。