Slide

The Storm Valley

Exhibition

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

2020.8.22 - 2020.9.23

The fiction of art was very romantic before the revolution, as light as a feather, when Picabiya said: “You serious people, it smells worse than cow dung. As for Dada, it smells nothing, it is Nothingness, nothingness, nothingness.

It is like your hope: nothingness. It is like your heaven: nothingness. It is like your politician: nothingness. It is like your artist: Nothingness…” When social revolutions are constantly in progress, from Dada to punk, from Fluxus to Situationist International, cultural groups and organizations of various genres are all permeated with dissatisfaction with reality. , The party’s fighting spirit swept through like a storm. Looking back at all of this now, it is like “a feather falling in the sky.”

The Exhibition “The Storm Valley —— How to prevent wind from destroying a fictional community?” Through three chapters, a fictitious non-existent loose community is created, the “wind” is metaphorized as a sudden crisis, and the difficulties that every community group is facing today are discussed. We should clearly realize that the cultural construction behind the community lies largely in fictional elements. What makes us think that the here and now are the best? It is the purpose of our discussion today.

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艺术家:汉娜·贝纳西

Art Channel

艺术频道

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 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 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。”

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。

ARCH 采访 | 薛若哲

“绘画没有办法不诚恳,这是一种无法伪装的媒介。我对绘画的诚恳和机械的、拾得的图像产生的化学反应感兴趣,尤其是当网络图像和铜板线腐蚀这种必须要经过转化才能成型的绘制方式相遇,就形成了有意思的关系。”

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