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

2021.01.17 - 2021.02.27

The Giant in the Attic

Artist: CHEN Zifeng
2020.11.7 - 2020.12.6

Power

Artist: GE Yajing
2020.10.1-2020.11.11

Kong Fu Or Disco?

Artists: HU Xiangqian, JIA Chun, LIU Lihong, LIU Qinmin, Megumi Shimizu, Rémi Voch, WANG Ziquan, ZHANG Yongji, ZHANG Zhaoying
Curator: LI Boyan
2020.8.22 - 2020.9.23

The Storm Valley

Artist: CHEN Zifeng, GAO Yan, GE Yajing, LI Haiguang, LING Hui, SUN Yi, SUN Yinxiaowen, XIONG Jiaxiang, YE Su, WEI Tao, WU Qingrun, Zhang Jiaxing, ZHANG Yehong, ZHANG Yunfeng, POCONO ZHAO Yu
Curator: LI Boyan
2021.01.17 - 2021.02.27

阁楼上的巨人

艺术家:陈子丰
2020.12.12 - 2021.1.12

OLLEH

艺术家:太平
2020.11.7 - 2020.12.6

Power

艺术家:葛雅静
2020.10.1-2020.11.11

练武术还是迪斯科?

艺术家:胡向前、贾淳、刘立宏、刘沁敏、清水惠美、黑米·沃什、王梓全、张永基、张钊瀛
策展人:李泊岩

Art Channel

艺术频道

豆豆也是拳拳

1985年在北京中国美术馆举办的《劳申伯格艺术展》让中国人近距离地看到了“后现代艺术”的形态,这些展品让中国观众目瞪口呆:山羊的标本,汽车的轮胎,废弃的地毯组成了前所未见的图腾。在展览期间,保洁员差一点把作品误作是垃圾清理。

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