No.241 Cao Chang Di Village, Cyi Ge Zhuang,Chaoyang District, Beijing, China, 100015 Beijing, China
“How much accumulation of contemporary art does anyone need, anyway? he said. “You can’t compare the needs of artists with the needs of the rural poor”. Leon Golub
“Accumulation” can take many forms. It can be the repetition of one basic element, the amassing of found objects, the assemblage of multiple parts to create new combinations and associations. It can also allude to the overwhelming emotion of shared cultural knowledge of momentous events such as an Olympics or an earthquake. Arguably, contemporary culture at the end of 2008 consists of nothing more than our accumulation of thoughts on and awareness of a long series of strange and unexpected events.
“Accumulation” will rotate the works of 13 artists in and out of the gallery space over the course of two months in an effort to comment on contemporary culture as process rather than the production of individual objects. And will include the following new works:
Bai Yiluo’s absurdist “Recycling” installation includes an over-sized fiberglass human heart, painted to look like the real thing, and strapped to the back of a three-wheeler, bound for the recycler.
Choi Jeong-Hwa continues to challenge the prevailing notion of artwork as saleable commodity: This time using plastic Ultra-Man toys, synthetic peonies as outdoor installation, towers of found landscape paintings, and vivid metal car-painted flower bouquets.
In a four-meter work from Huang Zhiyang’s latest “Dreamscape” series, Huang layers - and nearly obliterates - ink brush strokes, using ribbons of pigment paint in half natural and half technological dreamscapes.
He Yunchang’s monument to the absurdity of seeming heroism consists of an enormous wood block column carved on three sides with human figures, all in the artist’s likeness, taken from one of his most famous art performances, climbing out of the concrete block where he had himself embedded for 24 hours.
Two of Peter Sandbichler’s modular systems, of assembled plywood and resin objects are also exhibited. All of Sandbichler’s works are created out of one basic element that repeats itself, giving new structures to spaces and flat wall surfaces. By relying on patterns and repetition created on the computer, all of the works focus on architecture as well as on art.
Shandong artist Li Yao, the youngest artist to participate in Accumulation, displays his quirky repertoire of stone-carved busts, as tribute to the lonely pursuits of solitary studio practice.
New white-on-white works by Aniwar, Yeh Yi-li, Redxing Ye, Billy Lee and Marvin Mintofang are housed in a separate strictly monochromatic space, curated by Marvin Mintofang.
A representative “No Water Today” stream of consciousness diary painting by Wu Shanzhuan is also included. In the massive work on canvas, the artist unashamedly exorcises for all to see his daily demons of multiple irritations.
Multi-layered Suling Wang paintings recall the myriad pursuits of Western and Asian abstract painting visual language tradition.