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策展人:
棉布。诗人。在3画廊创始人。
艺术家:
朱小地：1964年出生于北京，清华大学建筑学院毕业，著名建筑师、艺术家，长期进行当代艺术探索与创作。是中国最为杰出的两栖文化身份的艺术家。其代表成就是他的“建筑装置”作品系列，已成为中国公共艺术的杰出的思想实验和典范。
方二和孟瑾是一对斜槓的夫妻艺术家，他们的创作涉及城市公共艺术、装置艺术、数字艺术、摄影和绘画，以及城市涂鸦等多个领域。方二毕业于英国伦敦中央圣马丁艺术学院，获得硕士学位；孟瑾则完成了英国伦敦艺术大学切尔西艺术与设计学院的硕士学位。他们的作品曾在世界各地的著名艺术机构收藏及展出，包括上海美术馆、纽约MOMAPS1、伦敦V&A博物馆、巴黎Photoquai摄影双年展以及香港M+美术馆。方二孟瑾的创作探索城市空间的表达与符号语言，作品融合了城市景观、建筑元素和抽象符号，通过对城市空间的重新演绎和再构建，探讨城市文化、社会变迁和个体身份的关系，引发观者对城市生活和文化的思考。方二孟瑾还积极参与公共艺术项目，用艺术介入城市空间，创作大型雕塑和装置，为城市带来更多的艺术和活力，也为城市文化的发展做出了积极的贡献。除此之外，2005年出版了第一本以中文介绍的街头涂鸦书，此书并获诚品书局2006年度之最。并同年策划了《Start Making Sense/开始言之有物》涂鸦展，邀请到当今最有名的涂鸦艺术家如英国的Banksy和法国的Blek Le Rat等参与展出。作为观察者，探寻者、写作者这些角色让方二孟瑾的创作实践更蕴含着对城市文化的深刻思考和表达，不仅具有艺术性和观赏性，更创造出一个个独特而富有想象力的城市糖果地图。
Curator(s):
Exhibition Curator: Mianbu – Poet, Founder of Being 3 Gallery
Artist(s):
Zhu Xiaodi
Born in Beijing in 1964, Zhu Xiaodi graduated from the School of Architecture, Tsinghua University. As a renowned architect and artist, he has long been engaged in the exploration and creation of contemporary art, standing out as one of China’s most prominent artists with a dual cultural identity. His representative achievement lies in his "architectural installation" series, which has evolved into a distinguished intellectual experiment and paradigm in Chinese public art.
Fang Er & Meng Jin
Fang Er and Meng Jin are a multi-disciplinary artist couple whose practice spans urban public art, installation art, digital art, photography, painting, and urban graffiti, among other fields. Fang Er holds a master’s degree from Central Saint Martins College of Art and Design, University of the Arts London, UK; Meng Jin completed her master’s degree at Chelsea College of Art and Design, University of the Arts London, UK. Their works have been collected and exhibited by prestigious art institutions worldwide, including the Shanghai Art Museum, MoMA PS1 (New York), the Victoria and Albert Museum (London), the Photoquai Photography Biennale (Paris), and M+ Museum (Hong Kong).
Fang Er and Meng Jin’s creations explore the expression and semiotic language of urban space. Integrating urban landscapes, architectural elements, and abstract symbols, their works re-interpret and reconstruct urban spaces to examine the relationships between urban culture, social changes, and individual identity, prompting viewers to reflect on urban life and culture. The duo also actively participates in public art projects, intervening in urban spaces through art and creating large-scale sculptures and installations. These endeavors have infused cities with greater artistic vitality and made positive contributions to the development of urban culture.
In addition, they published China’s first Chinese-language book on street graffiti in 2005, which was named one of Eslite Bookstore’s "Books of the Year" in 2006. In the same year, they curated the graffiti exhibition Start Making Sense, featuring leading international graffiti artists such as Banksy (UK) and Blek Le Rat (France). As observers, explorers, and writers, their multi-faceted roles endow their artistic practice with profound reflections on and expressions of urban culture—works that are not only aesthetically striking and visually engaging but also construct unique and imaginative "urban candy maps."
镜观·曼波 Mirror Gaze·Mambo
策展·展讯I胡同美术馆开馆展《镜观·曼波》
棉布/Mainbu
朱小地老师的《月亮门》构筑了一个动态的记忆场域。两扇交接的镜面半月不仅阻碍了物理空间，更实现了时空维度的袅袅穿梭——当六百年的砖墙肌理与当代市井生活在镜中高层，一个美丽的人从月亮门中飘过，我们看到的是一部正在写的《城市记忆编年史》，和明媚的生活。
方二孟瑾的《银色曼波》则重新定义了公共艺术的参与性。五组可互动的镜柱系统，将极简主义转化为社会关系的游戏。而这种游戏性互动，消解美术馆的精英主义壁垒，让展览成为居民共治的开放实验室，最后参与者接触接触装置的参与者，都在参与构建这个“社会工程”的迭代版本。
方二孟瑾的《幻苔曼波》系列则开创了数字时代的“造境”传统。AI从古典窗棂中生长扩散生成的植物脉络，算法由此成为后文化基因变异报表，实现了传统美学的量子肉身，同时，这样的参数化美学，被赋予了文化的变异。
这三件作品共同构成了城市更新的艺术网络：
1.《月亮门》用月映万川转译时空折叠
2.《银色曼波》建立了社群赋能的行动模型
3.《幻苔曼波》开创了数字诗学观的技术路径
这就是朱小地老师所说的“爱的执着”的深刻内涵——以艺术重构人与空间的常新依偎，让胡同成为永动的生活诗篇——古老又年轻的我们爱的胡同。
Curatorial Practice & Exhibition Notice I: Inaugural Exhibition of Hutong Art Museum – "Mirror Gaze·Mambo"
Mianbu
我们非常荣幸地宣布，绵步——“存在3画廊”的创始人、艺术总监兼诗人——受京胡同美术馆长娄曦女士邀请，策划京胡同美术馆的首展“镜中凝视：曼波舞”。展览将于2025年9月20日开幕，持续至2025年12月15日。
作为中意当代艺术双年展的创始首席策展人，绵步曾运用当代艺术策展方法，并充分发挥牲畜中意关联知名艺术家的创造力，为意大利蒙皇家扎别墅和都灵市的复兴开发出切实可行的模式。此次，绵步将相关知名建筑师、Being 3画廊艺术家朱晓迪，以及长期与Being 3画廊携手杰出艺术家方尔和孟瑾，在北京古老的胡同——一个具有重要文化和历史意义的场所——探索当代艺术介入城市更新的新范式。
首展呈现了三位艺术家的创作成果，展现了一种历史街区共生复兴的艺术方法。朱晓迪的作品《月门》构建了一个动态的记忆场域。两面相交的半圆形镜子不仅映照出物理空间，更促成了一场绵延不绝的时空之旅——当镜中600年历史的砖墙纹理与当代都市生活交叠，当人影穿过月门，在我们眼前展开的便是一幅持续流传的都市记忆编年史，以及一段鲜活的生命历程。
Fang Er and Meng Jin’s Silver Mambo redefines the participatory nature of public art. Five sets of interactive mirror column systems transform minimalism into a game of social relations. This playful interaction dissolves the elitist barriers of art museums, turning the exhibition into an open laboratory for community co-governance; every resident who engages with the installation contributes to the iterative evolution of this "social sculpture." Their Phantom Moss Mambo series pioneers a tradition of "environment creation" in the digital age. AI-generated plant veins grow and spread from classical window lattices, with algorithms acting as post-cultural genetic mutation factors, endowing traditional aesthetics with a quantum physical form. Meanwhile, such parametric aesthetics are infused with the warmth of culture.
These three works collectively constitute an artistic operating system for urban renewal:
- Moon Gate translates the folding of time and space through the metaphor of "the moon reflecting in ten thousand rivers";
- Silver Mambo establishes an action model for community empowerment;
- Phantom Moss Mambo pioneers a technical path for a digital poetic perspective.
This embodies the profound meaning of what Zhu Xiaodi refers to as "the dedication of love"—using art to reconstruct the ever-renewing bond between humans and space, allowing the hutong to become an eternal living poem—a hutong of our love, both ancient and young.