展览时间：2009.10.31-2009.11.7(周一闭馆)

开幕时间：2009.10.31下午3点

主办：艺术景中心

展览地点：上海多伦现代美术馆一楼(多伦路27号)

历史也能开口说话吗？这正是艺术家毛艳阳想要探寻的问题。毛艳阳的创作涉及环保、战争到儿童保护、流行文化等广泛的社会文化及政治议题。1983年出生于湖南，2002年毕业于四川美术学院，毛艳阳从众多当代艺术家中脱颖而出，成为了2007中国新锐画家大奖的金奖得主。

毛艳阳的作品主要探讨如何呈现客观事实。他善于运用话筒这一标志性的符号，质疑媒体如何能够从复杂的社会、文化和历史环境中提取真相。理论上，话筒是一个中立的接收设备，而通常在困难的、悲惨的或不合常理的环境中，这种中立是无法实现的。毛艳阳的作品一方面提醒我们，被访者一旦知晓媒体的潜在影响，就有可能对访问做出不同回应。另一方面，社会中的受害人常常无法察觉媒体的控制性与错误报道的倾向，艺术家以此质疑媒体是否有这种控制的权力。

毛艳阳本身擅长于图像运用的操控，因此他并不回避此类话题。关于艺术家总在试图探寻他自己永远无法获得的东西的说法并不完全正确。毛艳阳选择在完全主观的世界里享受黑色幽默。也许画面里的话筒无法避免现实的影响，它们的形态和颜色必须受当时当地的历史情境所限。而在一些涉及政治人物及难民儿童的系列作品中，话筒作为强加的部分则显得格外讽刺与滑稽。另有几幅作品以出席/缺席为主题：当不再有任何人对事件发表评论，后果将会如何？毛艳阳试图在作品中呈现各种可能的变化。

毛艳阳此次最新个展名为“两万赫兹”：事实上两万赫兹的声音已超过人类听觉能力的上限，隐喻当代社会将无法得知这些被错误报道的人，事物及社会情境、问题。另一方面也隐喻真相的确实存在于世界的某个角落。尽管毛艳阳向我们展现了一幅进退两难的困境，但也许只有通过揭示表现形式的不可靠，人们才有机会发掘客观的事实真相。

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）