Access Through a Detour

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© Courtesy of Magician Space
Access Through a Detour

798 East R.d, 798 Art Zone, No.2 Jiuxianqiao R.d, Chaoyang District
100015 Beijing
January 19th, 2018 - March 11th, 2018

+86 10 5840 5117 / 5978 9635
Tue-Sun 10:30-6:30


‘Access Through a Detour’ is a group show organized by Magician Space. The exhibition explores the discrepancy of what is seen and unseen to the viewer, looking at how artists move beyond the definable boundary of things. To go somewhere via a detour is not the same as losing attentiveness. It is about taking into account something not immediately visible, when there is a certain pleasure in becoming unmoored with a sense that an image can never quite fully capture something in its entirety. In this context, how does distancing help us to produce an effect within this situation? Here, we look at how strategy, allusion, and creating somatic experiences can offer alternatives to discover - and help better articulate - people and objects. Many of the works choose a way to filter or locate a particular signal from a noise of information in order to clarify our way of experiencing a phenomenon.

The filmmaker Krzysztof Kieślowski once described the role of a filmmaker as akin to participating in a ski slalom: the skill is to weave between obstacles laid out in advance of the oncoming artist – who moves around to both obscure and resist - looking to find a path in order to arrive back to the audience. He was talking about barriers of Polish filmmakers as a game against constraints. Is there something we can gain by using an indirect approach to engage? What if we imagine these poles to be dispersed further away? In other words, is there anything else a detour might grant us access to? 

aaajiao (b.1984, Xi’an) lives and works in Shanghai and Berlin. Active as a new media artist, blogger, activist and programmer, aaajiao is the virtual online persona of artist Xu Wenkai. Aaajiao’s works explore new systems of thought, emerging controversies and phenomenon surrounding the Internet – with many specific projects focus on data processing, the blogsphere/wemedia, and the filtration of information. His work has solo exhibitions organized at OCAT Xi’an, Xi’an (2016), Centre for Chinese Contemporary art, Manchester (2016), chi K11 museum, Shanghai (2016). Major group exhibitions including Institute of Contemporary Art Boston, Boston (2018); Haus der elektronischen Kunste, Basel (2017); Jewish Museum, New York (2016); YUZ Museum, Shanghai (2016); and chi K11 museum, Shanghai (2016).

Wong Ping (b. 1984, Hong Kong) discusses his observations of society using visual animations and auditory narrations that touch upon the abstract desires, pathos, and stories inspired by the urban conditions and sub-cultures existing in Hong Kong. He was awarded the Art Sanya Award in 2017 and his work has included in institutions including a solo exhibition at Things that can happen, Hong Kong (2015). Group exhibitions include Arts Center Melbourne, Melbourne (2017); Centre for Chinese Contemporary art, Manchester (2016); and M+ Museum, Hong Kong (2015).

Liu Yefu (b. 1986, Beijing) currently lives and works in Beijing. Behavioral traits, visual trends, body gestures, phrases or the intonation of foreign voices fall under his analysis as he explores the migration of language and emergence of new images produced through the unexpected encounters between East and West. Solo exhibition: Magician Space, Beijing (2016). Major exhibitions include UCCA, Beijing (2017); Goethe Institute, Beijing (2017); YUZ Museum, Shanghai (2016); Kimberly-Klark, New York (2015); and Vox Populi, Philadelphia (2014).

Liu Yin (b. 1984, Guangzhou) graduated from Guangzhou Academy of Fine Arts, and currently lives and works in Guangzhou. Liu Yin reinterprets a stream of images culled from news feeds, advertisements, as well as masterpieces from art history. They undergo a cartoon-effect as the images are painted again into another parallel reality re-imagined by the artist. She plays adds another layer to our way of seeing things, playing with our sense of knowing and feeling in this world. Major recent exhibitions include: BANK, Shanghai (2017); Arrow Factory, Beijing (2015); and M WOODS Museum, Beijing (2015).

Nabuqi (b. 1984, Inner Mongolia) graduated from Central Academy of Fine Arts in 2013, and currently lives and works in Beijing. Nabuqi works with sculptural forms in bronze and steel whose scale are often exaggerated or miniaturized in relation to the human body. The objects are perceived in an un-fixed state of movement between object and the transformation of its surroundings – a reciprocal process whereby human perception and the form of an object co-constitute one another. Previous exhibitions include: Sadie Coles, London (2017); UCCA, Beijing (2017); 11th Shanghai Biennale, Shanghai (2017); and Gwangju Biennale, Gwangju (2016).

Song Ta (b.1988, Leizhou) louche brand of conceptual art thrives on both the threshold of public tolerance and the emancipatory potential of a good absurd joke. He focuses on the enigmatic or eccentric hallmarks of a particular system, using his own unique form of humor and a series of caricatures to render visible clandestine forms of power and their endless network of bureaucracy. Previous exhibitions include: Times Museum, Guangzhou (2017); Sharjah Biennale, Sharjah (2016); Kunstmuseum Bern, Bern (2016); Para/Site, Hong Kong (2015); Taikang Space, Beijing (2015); and UCCA, Beijing (2013).

Wang Shang (b. 1984, Beijing) currently lives and works in Beijing. Wang Shang is an artist and certified gemologist, whose work examines the convergence of art, geology, and natural history. He graduated from Goldsmiths College and the Royal College of Art. Upon graduation, he founded his own brand, the eponymous S.H.A.N.G. This has allowed Wang Shang work between these two fields in order to explore their possibilities and differences. Solo exhibitions include: Rubell Family Collection, Miami (2017); Art Basel in Basel, Basel (2017); OCAT Shenzhen, Shenzhen (2014); UCCA, Beijing (2011).

Cici Wu (b. 1989, Beijing) currently works and lives in New York. Cici conceives of sculptural ensembles whose anachronistic forms resist the rapid proliferation of technology and their covert role in conditioning behavior. She looks to heighten our engagement with culture to focus on more nuanced gestures and experiences, drawing on informal relationships to art making inspired by cinematic tropes. Her work seeks to avoid being political by reaching out for the universal.

Lantian Xie (b. 1988, China) is an artist from Dubai who makes images, objects, stories, and situations. Xie holds an MFA from the School of the Art Institute of Chicago and is editor-at-large at Dubai-based publishing practice THE STATE. He is a recipient of the Sheikha Manal Young Artist Award of the United Arab Emirates and recently exhibited in the UAE Pavilion at the 57th Venice Biennale.

Yu Ji (b. 1985, Shanghai) produces a constellation of work that draws together sculpture, installation, video, and performance. Her practice involves a long-term sculptural concern with volume and temporality, an inquiry that has expanded to an array of influences spanning ecological questions of a landscape, fragments of figures from archaeological ruins, geological features, bodily intervention, and man-made construction materials. She is co-founder of the not-for-profit AM Art Space in Shanghai (2008). This year she was nominated for the Hugo Boss Asia Art award and her work has been exhibited in exhibitions such as Sadie Coles, London (2017); 11th Gwangju Biennale, Gwangju (2016); and Palais de Tokyo, Paris (2014).


Yan Jun (b.1973, Lanzhou) is an influential musician and poet in the field of improvised experimental music. His individual and collaborative performances span from an interest in feedback, field recording, voice, and amplifying body movement, silent intervals and the working with background sound in a direct unmediated manner. Other projects include using the homes of audiences as a venue for a tour of impromptu performances. Yan is member of FEN, Tea Rockers Quintet, and founder of the guerrilla label Sub Jam. His projects can be followed on


导演克日什托夫・基斯洛夫斯基(Krzysztof Kieślowski)曾称,身为电影导演有如参加障碍滑雪:前方面临重重阻碍,艺术家需要运用高超的技巧穿梭其间,寻找一条高效的路径从滑雪场回到观众中去。这一手段既是掩饰也是抵抗。在他看来,这是一场对抗束缚的比赛。间接地接近世界将令我们有何收获?想象一下,假若障碍杆之间更为分散——迂回究竟为进入提供了怎样的渠道?



Cici Wu,1989年出生于北京,现工作生活于纽约。她创作的雕塑常采用“过时”的形态,与科技的迅猛生长及其对行为的潜移默化作用相比,Cici的作品呈现出刻意抵抗的姿态。她意图将人们对文化的诉求提升至更细微的行为体验,将艺术创作与电影转喻灵感结合。她的作品似乎避开了政治从而接触了一切与宇宙或世界相关之物。

谢蓝天,1988年生于中国,现工作生活于迪拜。他的创作对象涵括图像、物品、故事与情境。谢蓝天在芝加哥艺术学院取得艺术硕士学位,同时是出版物《THE STATE》的特约编辑。他曾获阿联酋Sheikha Manal青年艺术家奖,并于2017年代表阿联酋参加第57届威尼斯双年展。
于吉,1985年生于上海,毕业于上海大学美术学院雕塑系,现工作生活于上海。她的创作以雕塑和装置为主,亦涉及行为及影像。于吉的创作由特定地域的地理环境和历史背景展开,她采用田野考察以及身体性干预的方式,探寻考古遗迹、地质特征、人造材料、物的体积与暂时性等诸多问题。于吉是上午艺术空间创立人之一(该非营利空间2008年成立于上海)。今年,于吉入围Hugo Boss亚洲艺术大奖评选。
颜峻,1973年生于兰州,现居北京的实验音乐家,声音表演者,诗人,是即兴音乐和实验音乐领域的先驱人物。他在个人创作和合作作品中使用田野录音、噪音、背景、空白、不可控乐器、身体动作、人声等。他的其它项目包括在观众家中使用现成物品演奏(“客厅巡演”)。颜峻是游击厂牌“撒把芥末”创办人,FEN 乐队和茶博士五重奏成员。他的项目详见。
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