施慧 Shi Hui｜第60届威尼斯国际艺术双年展中国馆 The 60th Venice Biennale

施慧，艺术家，中国美术学院教授，博士生导师。万曼壁挂研究所主任。

施慧1982年毕业于浙江美术学院（今中国美术学院）染织专业，获学士学位。1986年-1989年在“万曼壁挂研究所”研修当代纤维艺术创作。1987年，作品《寿》（合作）参加瑞士洛桑“第十三届国际壁挂双年展”，实现了中国当代壁挂艺术走向世界的零的突破。

施慧是上世纪80年代中国第一批从事当代纤维艺术的艺术家，她坚持纤维艺术在当代艺术中的创作方向，作品以棉、麻、宣纸、纸浆等纤维材料为特征，在当代艺术的层面上体现出东方精神的底蕴。作品先后参加国内外许多重要展览及提名展、双年展，参加的群展有 2000年第三届上海双年展，2001年德国柏林国家美术馆  “生活在此时——29位中国当代艺术家”展，2003年法国蓬皮杜艺术中心“间”——中国当代艺术展，2013年德国科布伦茨路德维希博物馆双个展。2007年获马爹利非凡艺术人物奖，2014年获AAC第八届艺术中国年度影响力大奖。

施慧持续使用中国宣纸和纸浆为主要媒介，在这种钟爱的后面，显然既是对媒介与自己心灵默契的那种特殊属性的体认，也是对中国传统媒介在当代的价值转换的信念。施慧的作品在中国当代艺术的图式中，呈现出独特的视觉特征，她将传统意义上的编织拓展为一种视觉空间的建构，编织的过程被作为经验的流程，而成为一种“后现代的万物有灵论”的图像演绎。

Shi Hui (b. Shanghai, 1955) is a textile artist and educator. She has held the professorship position and served as a doctoral supervisor at China Academy of Art. She has also worked as the director of Varbanov Fiber Art Research Center. 

Shi graduated from the Zhejiang Academy of Fine Arts (now China Academy of Art) in 1982 with a bachelor's degree in dyeing and weaving, she studied contemporary fiber art at the Maryn Varbanov Institute from 1986 to 1989. In 1987, her work "Shou" (cooperation) was included in the "13th International Tapestry Biennale" in Lausanne and marked the first presentation in the contemporary Chinese tapestry art in the world-known occasion. 

Shi Hui was among the first generation of Chinese artists working in contemporary textile art in 1980s. Specially focused on the fiber art, Shi relentlessly incorporates materials ranging from cotton, hemp, rice paper to silk, mesh and paper pulp in her compositions that at once imbued with Chinese tradition. Her works have been featured in numerous exhibition worldwide, most recently including The 3rd Shanghai Biennial (Shanghai, 2020), Living in time: 29 contemporary Chinese artists from China at Berlin’s National Gallery (Hamburger Bahnhof, Berlin, 2001), Alors, La Chine at Centre Pompidou(Paris, 2003) and Flourish Spirits at Ludwig Museum (Koblenz, 2013). She has also been awarded as the 2007 “Martell Artists of the Year” and the 8th Award of Art China in 2014. 

Shi relentlessly employs the paper as fibrous material for weaving and sculpting. Her sustained emphasis on the materials reflects a special relationship between the materials and artist her self, revealing the artist’s devotion and belief to the traditional Chinese medium in thecontemporaneity. She challenges the conventional notion of the weaving and experiments in the physical space, and that marks her works intricate anddynamic. Through the deft use of warp and weft, Shi’s practice embraces the accumulation of the experience, which visually shows idea of the postmodernism animism. 

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