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.



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

Please,Do Mind The Gap

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

Art Channel



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 采访 | 郑江




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410000 Changsha

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