Slide

OLLEH

Exhibition

OLLEH

Artist:Tai Ping

2020.12.12 - 2021.1.12

If language is the murmur of everything that is spoken, Taiping’s works will constantly change its bass vibration in the ears of everyone who enters the exhibition hall.

This phonetic change originates from the occasional and rebellious nature of the artist’s creative practice, i.e., his capture of momentary inspiration and his rebellion against the established paradigm. Through his ingenious nature, Taiping’s works show a sense of blocky division, and when we zoom in to look at these blocky areas, we will find that they are composed of fragments. As viewers, we need to observe and introspect to find difference that makes the fragments exist as what synthesize the continuity of literature.

The presupposition of difference is that Taiping remains a free attitude as an artist. This freedom is not anarchic, reversely, it is freedom governed by norms and criteria. Taiping has no intention of breaking or obliterating the cultural system and symbolic structure regulated by the elite, paradoxically but understandably, he acts through artistic practice, ridiculing the law of the art world like babbling with friends at midnight.

Taiping assumed himself as an object that is experimented on and criticized to satirize the already rigid ideological deception. Thus, he became a kind of simulacre, a kind of existence that is opposite to the image of imitation, which excludes similarities and feeds on differences. The titles of works derived from Pride and Prejudice and Beyond Good and Evil, the totem symbols in the blue and black pictures, and the repetitive “OLLEH” are all contremots that act as imitations and continue arrogating existing orders.

In this methodology, simulacre becomes a cunning means of dismantling paradigm and repetition.

This also just proves that when Taiping deprived the physical content of the old form facetiously and re-enacted in the form of parody is regarded as a failure in the accepted paradigm, this“failure”is a triumph in a manner of post-modernity.

Exhibitions

过往展览

Arched wave: Throwing the hidden string in the discontinuity

Artists: Qiushi Chen, Yujian Guo, Mingjun Luo, Lijun Wang, Li Zhou, Wei Zhou
Producer: Wenjing

Flower For Algernon

Artists: Jing Wang/ Yiwen Zhao
Curator: Xinyu Wong

Perceptual Track

Artists: Haiqiang Guo、Hang Su、Sibo Wu、Wei Zhou
Curator: Yu Xie
2023/07/22-10/09

Please,Do Mind The Gap

June Fischer, Xie Yu, Arch Gallery, 1L, 1123 Cultural and Creative Park, Tianxin District, Changsha City.

Art Channel

艺术频道

ARCH INTERVIEW | Guo Yujian

Since then, I have tried to let daydream-like imagination seep into the picture, and those earlier, more symbolic images have also been naturally diluted. Perhaps, it is precisely because of the temperament that seems to be infiltrated by the picture and some image contents that are contrary to reality that cause the association like a dream.

ARCH REVIEW | Guo Yujian :Dangerous Complicitiy

When looking at Guo Yujian’s works, what have been depicted is always in a state of flow, and the secret words that are related to each other become images that avoid us and approach us. The work that takes shape on the canvas in our sight is yet to come, in transition, about to embrace change, and it will not push us away until the feeling is fulfil.

ARCH REVIEW | Making Complicity

When the painting is really close to us, the first thing that appears to our eyes is this Le cimetière marin[1] written by Valéry in 1922. The curators Hu Yihang and Zhang Tingzhi, together with artist Guo Yujian, divided the exhibition “Dangerous Complicity” in the gallery into three chapters with words and symbols: imagination, a plateau, and a theatre.

ARCH REVIEW | 眼前

当我们把“看见”这一行为比作打开一个空房间的房门,看着这件物体的视线和它存留下的痕迹像是打开门后产生的余音,我们无法准确的追寻余音回荡的轨迹。不断地“看见”,新的东西累积产生同时,不可避免的产生了遗忘与消亡。一张照片保存了一个时间的瞬间,通过回忆,某些时刻得以持续存活,不相关瞬间的外观孤立了出来成为“科学家的信息、摄影师的引用”

ARCH 采访 | 郑江

“边界惊险但精彩,像绘制一个形象生动的轮廓线时一样充满诱惑力。我觉得创作过程本身就包含对艺术形式的思考,两者应该是一体、贴切的。”

ARCH REVIEW | 制造共犯

当画作真切地逼近我们双眼,首先出现的是这首瓦雷里1922年所写的《海滨墓园》。机构策展人胡奕航、张汀芷与艺术家郭宇剑一起,将这次拱形画廊名为《危险同谋》的展览,用文字或符号分成了几大篇章:臆想、一座高原、剧场。许是有意为之,又或是无心之举,开篇选取的这段文字,饱含着诗人瓦雷里对家乡赛特港的深沉眷念。

Tuesday – Sunday
10.00am – 6.00pm

ARCH Gallery
Yinjiachong Rd, Tianxin District
410000 Changsha

星期二 – 星期日
上午10.00 – 下午6.00

湖南省长沙市天心区殷家冲路
1123文创园一楼
ARCH GALLERY

© 2021  Arch Gallery all rights reserved. Email: info@archgallery.net
Site by XYCO