ARTISTS > MENG Jin ｜ 孟瑾
爱情宾馆（合作艺术家 方二）
ARTIST INFO 
1973 Born in Chong Qing, China
Living and working in Beijing
Solo Exhibitions
2009
Love Hotel, with artist Fang Er, m97 Gallery, Shanghai, China
Taiwan Photo Bazaar 2009, Taipei, Taiwan
Every Room is Illuminated, Kiang Gallery, Atlanta USA
2008
Constructed Re Constructed, Art Channel, Beijing, China
2007
Lost & Found, m97 Gallery, Shanghai, China
2006
Been There, Done That, Platform China 798 Project Space, Beijing, China
Group Exhibitions
2009
PARALLAX, m97 Gallery, Shanghai, China
The Biennial Photoquai 2009, the musée du quai Branly, Paris, France
That Obscure Object of Desire, Officina, Beijing, China
New Trends: Fifteen Contemporary Chinese Artists, the Pacific Heritage Museum, USA
2008
Exquisite Corpse: m97 Gallery, Shanghai, China
vivia?, Moscow Young Art Biannual, Moscow, Russia
The Disappearance of Nature, L&Y Gallery, Shenzhen, China
House Arrest, Galerie Mai36 showroom, Zurich, Switzerland
Night on Earth, MOCA Shanghai, China, and Helsinki, Finland
The International Festival of Photography in Lodz, Poland
There is No I in Team, Newcastle upon Tyne, Gateshead, UK
Inactivation, MOCA Taipei, Taipei, Taiwan
China Design Now, Victoria and Albert Museum, London, UK
2007
Lianzhou International Photo Festival, Lianzhou, China
Fragmentation, Chenlinghui Art Center, Creek Art, Beijing, China
My Beijing 2X2 Photography Show, SOKA Art, Beijing, China
Unveil The Red Curtain, 10 Chancery Lane Gallery Hong Kong, China
Nostalgia, Chinese Culture Center of San Francisco, USA
Grand Opening, Kiang Gallery, Atlanta, USA
China Photography, Staedtische Galerie Haus Seel, Siegen, Germany
Borderline Moving Image Festival, Beijing, China
Get it Louder 2007, Guangzhou, Shanghai, Beijing, China
Whispering Wind: Recent Chinese Photography, Frist Center for the Visual Arts, Nashville, USA
Inactivation, Shanghai Art Museum, Shanghai, China
The Boundless Reality, Photography Exhibition, 706 Factory in 798 Art Zone, Beijing, China
Evolution, 2007 Guangzhou Photo Biannual, Guangdong Art Museum, Guangzhou, China
Still Moving, Space Noon GALLERY, Beijing, China, National Film Institute, Seoul, Korea
Beyond and Crossover – Mocart 2007, Pudong Exhibition Hall, Shanghai, China
Asia Young Artists in Heyri, KEUMSAN GALLERY, Seoul, Korea
The Thirteen: Chinese Video Now, John Hansard Gallery, Southampton, UK
2006
Eyes On, C5 Art Gallery, Beijing, Bund 18 Creative Centre, Shanghai, China
Story, Alexia Goethe Gallery, London, UK
Art Beijing, 2006 International Art Fair, Beijing, China
Ogilvy Autumn Art Exhibition, Ogilvy 0 gallery, Beijing, China
Mocart Contemporary Art Exhibition, Volkswagen Beijing Olympic Forum, Beijing, China
Replay, C5 Art Gallery, Beijing, China
The Thirteen: Chinese Video Now, MOMA PS1, New York, USA
2005
Space, Aristao Gallery, London, UK
Performance Furniture, London, UK
The 6th International Photographic Art Exposition, San Francisco, USA
On the Underbelly, The Green, London, UK
2004
After Dark, the Tour Show from Leeds, Birmingham to London, UK
The Horse Hospital, London UK
2003
Spiritual Tour, Taikang Top Space, Beijing, China
2002
Self-Talking, Art Channel of TOM.COM Nominate Photo Exhibition
2001
Dialogue, Chinese Cotemporary Art Exhibition, Patova, Italy
2000
New Media Art Festival, Loft, Beijing, China
1999
Visible and Unknown, Beijing, China
Collections
Uli Sigg Collection
1973 生于中国重庆，
现工作生活于北京
个展
2009
《爱情宾馆》，（联合艺术家方二）， m97画廊，中国上海
台湾摄影Bazaar,台北信义公民会馆，台湾台北
《每个房间都被点亮》，Kiang Gallery，美国亚特兰大
2008
《建与再建》，Art Channel Gallery，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
展览
2009
《视差》，m97画廊，中国上海
第二屆Photoquai摄影双年展，法国巴黎
《欲望的隐晦介质》，意中工作室，中国北京
《新潮流：十五个中国当代艺术家》，太平洋传统博物院，美国三藩市
2008
《精致的尸体》，m97画廊，中国上海
《再见》，莫斯科当代青年艺术双年展，俄罗斯莫斯科
《自然的消失》，艺术方位，中国深圳
《软禁》，Mai36画廊展示厅，瑞士苏黎世
《地球之夜》，上海Moca当代美术馆，中国上海
罗兹国际摄影节，波兰
《少数服从多数》，Newcastle upon Tyne,Gateshead,英国纽卡斯尔
《果冻时代》，台北当代美术馆，台湾台北
《创意中国》，Victoria and Albert博物馆，英国伦敦
2007
连州国际摄影节，中国连州
《七零八落》，陈绫蕙当代艺术空间，苏河艺术，中国北京
《我的北京2x2 摄影展》，SOKA当代画廊，中国北京
《掀起一块红布》，10 Chancery Lane Gallery，中国香港
《乡愁》，旧金山中化文化中心，美国旧金山
《新空间开幕展》，Kiang Gallery，美国亚特兰大
《中国摄影展》，Staedtische Galerie Haus Seel，德国齐根
《大声展2007》，中国广州，上海，北京
《窃窃私语：中国当代摄影展》，Frist Art Center of the Visual Art，美国那西威尔
《无边的现实》，706，798艺术区，中国北京
《果冻时代》，上海美术馆，中国上海
《左右视线》， 2007广州摄影双年展，广东美术馆，中国广州
《宁静的反响》，Space NOON，789, 北京；国家电影学会，韩国汉城
《有界，无界》，浦东展览馆，新天地，中国上海
《亚洲青年当代艺术邀请展》，琴山画廊，韩国汉城
《十三：中国当代录像艺术》，John Hansard Gallery，英国南开普顿
2006
《打眼，新实验展》，西五艺术中心，北京；外滩18号创意空间，上海
《故事》，Alexia Goethe Gallery，英国伦敦
《艺术北京》，北京艺术博览会，中国北京
奥美秋季联展，奥美零空间，中国北京
《移动的艺术》，大众汽车现代艺术展，大众车苑画廊，中国北京
《重播》，当代摄影展，西五艺术中心，中国北京
《十三：中国当代录像艺术》，纽约现代美术馆PS1，美国纽约
2005
《空间》，Aristao Gallery，英国伦敦
《表演性的家具》，伦敦设计艺术节，英国伦敦
第六届国际摄影艺术节，美国旧金山
《在薄弱地带》，The Green Gallery，英国伦敦
2004
《黑暗之后》，影像巡回展，英国伦敦，利兹，伯明翰
2003
《神游》，泰康顶层空间，中国北京
2002
《自言自语》，Tom.com美术同盟摄影提名展，艺术文件仓库，中国北京
2001
《对话》，中国当代艺术展，意大利帕多瓦
藏酷新媒体艺术节，中国北京
1999
《可视与未知》，中国北京
收藏
Uli Sigg Collection
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。