Group Exhibition : Accumulation
2008.12.13 – 2009.2.16
Aniwar (b. 1962 Kashgar, Xinjiang Province, China)
Bai Yiluo (b. 1968 Luoyang, Henan Province, China)
Billy Lee (b. South Africa)
Choi Jeong-Hwa (b. 1961 Seoul, South Korea)
He Yunchang (b. 1967 Yunnan, China)
Huang Zhiyang (b. 1965, Taiwan)
Li Yao (b. Shandong, China)
Marvin Mintofang (b. 1955, Taiwan)
Peter Sandbichler (b. 1964 Kufstein, Austria)
Redxing Ye (b. 1972 Guangxi Province, China)
Suling Wang (b. 1968, Taiwan)
Wu Shanzhuan (b. 1960 Fujian)
Yeh Yi-li (b. 1973, Taiwan)
Opening: Dec 13th, 2008 (Saturday) 2:00 pm
“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.
December 12, 2008
Recycling (Mixed Media Installation/2008)
Let's imagine for a minute a possible scenario: What if there was a man or a woman who decided one day to throw away his/her heart? What if he/she decided to sell his heart at a very cheap price? Sell it to the first guy that came around collecting rubbish for recycling? Off goes the heart, as the garbage collector tosses it on to his three-wheeled bicycle. And takes the heart away....
This memorial to the cheap sale of one's heart is related to one's fate, one's life situation, and the daily realities of one's life experience. The absurdity of such a scenario is far less absurd than many of life's realities.
In "Recycling", I present the experience of an ordinary artist, and the ordinary every day material and experiences he accumulates, and relies on, to express the vicissitudes of every day life. I leave it up to you to decide whether or not any of this has any real meaning.
December 12, 2008
Note: "Recycling" was first exhibited in the 3rd Nanjing Triennial, Nanjing Museum, Nanjing, China (September 10 - October 10, 2008)