展览开幕：2010年4月15日，星期四下午四点
展览日期：2010年4月15日—— 5月16日
出品人：高平、邱晨枫
馆长：夏季风
艺术总监：左靖
策展人：孙建春
艺术家：陈劭雄、陈侗、洪浩、林一林、刘鼎、倪海峰、施勇、王鲁炎、王友身、Art-Ba-Ba & ARTSPY、颜磊、阳江组（郑国谷+陈再炎+孙庆麟）、杨振忠、朱加
项目负责：郭城
展览地址：伊比利亚当代艺术中心（北京市朝阳区酒仙桥路4号798艺术区E06）
主办：伊比利亚当代艺术中心
协办：西班牙国际文化艺术基金会
这个展览的主题源自诗人欧阳江河的一首诗歌名，这首诗的第一句就是从“看见”开始，视觉穿透物质，物质在被触摸到之前都是抽象的、精神化的。
玻璃工厂，既造就了消费文明的神话囚禁（橱窗、大楼的玻璃外墙），更造就了消费文明的新观看方式（照相机、摄像机、电视）。玻璃既在中世纪参与了教堂的神话特征，也在消费时代参与了橱窗这一世俗神话。正是新的城市文明中的玻璃构建了消费心理，消费品“看得见，摸不着”的视觉文化直接作用于金融时代的一切细节之中。这种虚伪的透明性渗透在社会机制甚至社会群体心理的内部。
“玻璃工厂”某种意义上说是一个生发自艺术家内心自觉性的一个展览，1979年的改革开放至今恰好经历了整整30年，09年隐隐地显露出中国社会的“盘点”特征，中国社会中离奇古怪、花样百出的“现象”完全超出了任何既定的思想和学科的阐释范畴，这一无比混乱的现场构建出人类史上从未出现过的复杂“情境”。在巨大的场景前，我们总会有瞬间“被震惊”的空白，当我们试图假定09年是一个阶段性的终结，对话语的诉求就成为必然。我们需要一种新的审视方式来寻找这些现象背后的话语，所以，这个展览选择从生态的内部考察开始进入艺术机制，和以往强调单件作品的视觉性不同，“玻璃工厂”选择类似社会学和统计学的工作方式来完成和展示作品，“玻璃”强调了观看，而其透明性也许让我们一无所获，但是，起码我们在努力寻找着一种可行的方法来看到玻璃的实质。
Glass Factory — Art in the New Financial Age
Opening: 15 April 2010, Thursday, 16:00
Dates: 15 April — 16 May 2010
Producers: Gao Ping, Qiu Chenfeng
Director: Xia Jifeng
Art Director: Zuo Jing
Curator: Sun Jianchun
Artists:
Chen Shaoxiong, Chen Tong, Hong Hao, Lin Yilin, Liu Ding, Ni Haifeng, Shi Yong, Wang Luyan, Wang Youshen, Art-Ba-Ba & ARTSPY, Yan Lei, Yangjiang Group(Zheng Guogu + Chen Zaiyan + Sun Qinglin), Yang Zhenzhong, Zhu Jia
Exhibition Superviser: Guo Cheng
Venue: Iberia Center for Contemporary Art
E06, 798 Art Zone, no.4 Jiuxianqiao Road, Chaoyang District, Beijing
Organiser: Iberia Center for Contemporary Art
Co-organizer：International Art & Culture Foundation of Spain
The exhibition title is an inspiration from a homonymous poem by the Chinese contemporary poet Ouyang Jianghe, which opens with the metaphor of “sight”: the conceptual penetration of the visual through matter which gives physical shape to everything originally abstract and spiritual.
Glass factory symbolizes a fairy-tale imprisonment of our culture of consumption (fashion window and the shimmering glass wall of skyscrapers), also suggests a new way of viewing typical of this age (camera, video camera and TV). Glass, once a characteristic representation of the medieval church myth, now is building a secular legend with fashion windows for the consumption era. It is exactly the “glass” born from a young urban civilization that is structuring consumptive psychology. The “visible but intangible” nature of consumption goods rooted in visual culture directly impacts every corner of the financial world. Its deceptive transparency infiltrates into the inside of social institution and even the mentality of a community.
“Glass Factory” in a sense is an exhibition that echoes with artists’ conscious pursuit. Thirty years have gone since the “opening-up and reform” of 1979. Various social symptoms seem to have been inventoried in China 2009: the bizarre and spectacular “phenomena” have gone beyond the interpretation of any existing ideas and disciplines, constituting an intricate “context” of the first kind that have ever appeared in human history. When confronted with an enormous picture, our minds tend to blank out due to the unexpected visual “shock”. If the year 2009 was meant to be a juncture point for the end of an age, the pursuit for an expression will naturally arise. It’s necessary for us to employ a new perspective in search for expressions responding to those phenomena. This exhibition attempts to embark in an art institution from an internal survey of art ecology. Unlike the customary emphasis on visuality of a single artwork, “Glass Factory” utilizes a way of working similar to sociology and statistics to install and complete the presentation of art pieces. “Glass” reminds us of the existence of “viewing”, whereas its transparency could lead us to nowhere. Despite of that, we are moving closer to a practical approach that may unveil the nature of glass.