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Big Workout AMNUA International Project III

Dates:9/19 -10/17, 2018

Venue:Art Museum of Nanjing University of the Arts, Nanjing, China

Big Workout

AMNUA International Project III

9/19 -10/17, 2018

Art Museum of Nanjing University of the Arts, Nanjing, China



The New Masses

9/19 -10/17, 2018

Art Museum of Nanjing University of the Arts, Nanjing, China


Ale Rolandi   Annabel McCourt    Another Land   Cai Yuan    Carl Akeley   Chen Jie   Chu Jini   Claude Closky   Daniel Ross    David Barison   Evening School   Frederic Wiseman   Gao Bo   Gao Yuan   Guo Jinhon   Han Xu   He Yunchang   Heman Chong   Hetain Patel    Hu Renyi    Huang Jingyuan    Jin Yangping    Kalaija Quinn Mallery    Ken Kagami    Li Binyuan    Li Yifan    Lin Aojie    Liu Xinyi    Lu Yang    Ma Lijiao    Michal Martychowiec  Moon Ribas   Musquiqui Chihying    Nanjing Outsider Art Studio    Neil Harbisson    Peng Tao    Qin Tian    Richard Kuan   Robert Yerkes   Safe Mode Company    Social Sensibility R&D Department    Stefan Janoski    Tan Yingjie    Tang Yan    Twitter Live Drama October    Wang Haibiao    Wang Jiyu    Wanja Kimani   Xing Xin  Xu Bacheng   Yao Qingmei   Ye Funa   Yu Bogong   Zeng Hong   Zheng Ningyuan    Zhong Jinpei 



Yamin Wang   Qu Jun 




Film and Video After Punk

9/27 -10/15, 2018

Art Museum of Nanjing University of the Arts, Nanjing, China


Adam Ant   Cerith Wyn Evans   Grayson Perry  Isaac Julien    Jennifer Binnie    John Maybury     John Scarlett-Davis    John Smith   Mike Mansfield   Steve Barron    The Neo-Naturists    Vanda Carter 


British Council      LUX      Art Museum of Nanjing University of the Arts      Film School of NUA, Cinematheque


Zombies Controlled by Thumbs, Madmen Governed by Data

9/19-10/17, 2018 

Art Museum of Nanjing University of the Arts, Nanjing, China


Chen Paian    Cui Shaohan    Lin Cong    Ni Miao  Nimue    Played by Mobilephone   Song Xi    Tong Yao    Wang Yini    Wenjie Junjie    Ye Hui    Zhang Yongji    Zhao Bang 


Curator :Yang Xinja 




Special Project

The Big Screen

Cinema and Movement '68 in Italy

9/27 - 10/13 - 2018 -

Art Museum of Nanjing University of the Arts, Nanjing, China



Alberto Grifi    Comitato di lotta dellaRhodiatoce di Pallanza    Cinegiornali Liberi 自由新闻   Carmelo Bene   Gianfranco Baruchello    Luca Maria Patella    Lo Studio di Monte Olimpino    Mario Schifano   Marco Bellocchio    Rosa Foschi    Romano Scavolini   Silvano Agosti    Tonino De Bernardi    Tanio Boccia    Ugo Gregoretti 
Project curated by WUXU  


AMNUA International Project   Team

Project Producer :Li XiaoShan


Project Director & meditaor :Wang Yamin



Exhibition & special project curators :

Wang Yamin    Yang Xinjia    William Fowler    WUXU WUXU    QuJun    LiuTing 


Executive Exhibition Director :Qu Jun


Media Specialist  :Liu Ting

Designer  :GaoYa   WangXin     Jia Mengnan  


Curatorial Assistants  :Jiang Yuhang    Fan Jiayun   Jia Zhenhai    YangTao    Zhang Lingling 


Thanks to :GuoYihan    JiangHongmin    LiMingwei    LiTing   LiYuxiao    LinYaohui    LiuShu   OuZhihao   ShenBin    TuAnqi   ZhangLimo 

Curated by Wang Yamin


Distant Artists, Proximate Masses

In the past, workers operated machines and productionlines, becoming key features of social production. Later, artists found work incultural industries, gradually moving into the spotlight on the stage of socialproduction. Now, “everyone is an investor,” or “everyone is an artist,” and everyone has thrown themselves into the communist digital industry that is contemporary life. This is our larger reality.


In the past, when a painting, a sculpture, an installation, a performance art piece, or even a proposal text was presented in an artist’s studio, a gallery, a museum, the streets, or some alternate exhibition space, artists and their bodies were present. Art could still directly convey a concentration of the artist’s labor. Later, as the assembly line became longer, and the scale of outside contracting and hiring expanded, their methods became more advanced. Artists and their bodily labor were gradually lost—annihilated—when art became a consumer good.


The flesh-and-blood artists and their bodies have disappeared, but increasingly active amateur art lovers, the masses, and their bodies have appeared. Through the support of digital communication technologies with communist sensibilities, amateur art lovers and the masses have taken center-stage; they are tirelessly curious and idly chatting, making contemporary art lonely.



Running on Your Treadmills or Your Mobile Phone?

Not wanting to be left out, when the workout crew punches the clock and gets on the treadmill, a constantly increasing speed is set and they run continuously. Everyone is plugged into a smart phone, constantly touching it to launch WeChat and endlessly staring at the screen with headbowed, tapping at the keyboard to chat. With the amateur artists among the masses taking up this task with lightning speed and live-streaming their bodies, movements, and lives on the internet, they start a new round of never-ending group chats. Do we feel ourselves entering into an ultimate world from which labor has been eliminated, one in which only life and art exist?


There is still social production in a super-industry; it’s simply that the fixed assets are people and their bodies. Elon Musk has further shifted this game of the return to fixed asset investments into people’s brains. The plan to colonize Mars is his latest offshore economic proposal, and his Neuralink brain-machine interface wants to transform people into a new corps of man-machines. The threat that robots pose to humans and the threat of environmental apocalypse will be resolved by the proposals of this new space company, which promises a new free and democratic market for the universe. This is the path to human liberation that Musk has promised.


The only variable might be the “threat” of a new conception of “everyone is an artist.” When we re-proposed the idea of “social sculpture,” we wanted to return to actively shaping our own bodies, especiall your own brains. The term brain sculpture “does not imply what our brains canendure, but what our brains can consciously do.” This is a “big workout” for anew social sculpture. In factory sites of super-digital production, the masses take over control of body and brain machines, once again happily and collectively laboring—is this not the ultimate world that we have always dreamed of, in which everyone is an artist?


Do You Know What the Bodies of the Masses Are Capable of?

“You know what a body is capable of.” Baruch de Spinoza’s self-confidence isn’t enough; we need to know the joint capabilities of bodies,so you should know what the bodies of the masses are capable of. Yes, social production constantly organizes the masses, and we now collectively live on WeChat groups. This “big workout” will be a joint exercise for everyone.


A mass “social sculpture” implies a collective exercise.The artists walk far, but the masses return. The artist’s body has left the site, but the masses are present. It’s not that the artists have gone far; it’s actually that the artists have once again joined the masses. In honor of the gifts best owed by social production, true artists own nothing but their bodies and brains. They join in the mass exercise movement. It’s not that “everyone is an artist.” In fact, artists are everyone and art is a collective mass movement, a big workout.


About AMNUA International Project/Reference:


Big Workout - AMNUA International Project III


4 - 31th Mar. 2016 

Selected artists, projects, groups, collectives, curators, writers and activists 
Anabasis   Alexandre Ouairy    Apartment of Dreams Come True    Cheng Jialiang    Cabinet of Wonder    Douglas Lewis    Exhibitionist    Fanchang Shit    596 Acres 596   Hu Xiangqian    Hua Weihua    iRRi ART    Ju Anqi    Lai Chih-Sheng    Li Zhanyang    Liu Chengrui & Gao Yuan    Lin Ke    Li Mu    Moe Satt    Mira Calix   Cai Dongdong    Pink Republic  Pink Republic    Path Project    Qilin Stall    Shi Jinsong    Song Ta    Shop of Painting Art    Very MK rooftop farm VeryMK   Xu Tan    Xue Wenwen    Xu Lu    Xu Liwei    Xiao Wucong    Yu Ying    Yue Luping    Yangjiang Group 

Producer:Li Xiaoshan  
Curator:Wang Yamin 




AdadHannah(Canada)/   AndyDenzler (Switzerland)/  DarshanaPrasad(Sirlanka)/   Freeeart collective(UK)/   UptopiaGroup-Deng Dafei+ HeHai(China) /   DoubleFLy ArtCenter (China)/   ChengHuasha(China)/   EdPien (Canada)/  GaoBrothers (China)/   IsabelleWenzel (Germany)/   JinFeng(China)/   JudyRoss(German)/   JonathanMognahan (USA)/   KangXueru(China)/   Karinvan Dam(Netherlands)   KenLum (Canada)/   LiuDing (China)/LinJingjing(China)/ MathewCarver (Canada)/   MingWong(Singapore)/  PattyChang and David Kelley(USA)/  SarahAnne Johnson(Canada)/   ShenYi Elsie (China)/   TheaJones and Matthew   Walker(Canada)/  ThomasBaumann(Austria)/   WimoAmbala Bayang(Indonesia)/   X1DP./   YanXiaojing (Canada/China)/  ZhangKechun(China)/   ZhangZhaohui (China)


LeeQinling(Malaysia)/   Ash Moniz(Canada)/  


DouglasLewis,Guest Curator(Canada) & Wang Yamin, Host Curator (China)

Consulate Generalof Canada | Consulat général du Canada 
ConsulateGeneral of the Kingdom of the Netherlands
The Canada Council for the Arts




Art Museum of Nanjing Universityof the Arts