Month: April 2011

ArtSlant: Monuments to What?

Constructing Form: Ma Qiusha, Tang Hui, Li Yousong

Beijing Commune, 798 Art District, 4 Jiuxianqiao Road, Chaoyang District, Beijing, China

27 February – 20 March, 2011

[It may appear that I have something of an unhealthy obsession with Leng Lin (Director of Pace Beijing and Founder of Beijing Commune) and his activities, having now written two pieces about shows in which he has directly or indirectly been involved. Maybe this means he is doing something right, to have attracted my attention so often. That said, the reason those particular shows have attracted my attention has been for negative reasons, due to a lack I’ve seen in the quality of the work or the quality of the presentation. So, although I’m reviewing a show at Beijing Commune this week, for once I will concentrate on the artists’ own work.]

Constructing Form is a small group show presenting three Chinese artists—Tang Hui, Li Yousong and Ma Qiusha—including drawings, paintings and collages produced over the last two years. The artists all deal with a human relationship to architecture, but between the three of them, show two distinct approaches to this subject matter.

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ArtSlant: Pedestrian Potentialities?

19 Solo Shows About Painting (Bi Jianye, Huang Liang, Jia Aili, Jin Shan, Liao Guohe, Li Qing, Liu Weijian, Lin Yen Wei, Ma Ke, Qin Qi, Qi Wenzhang, Sun Xun, Sun Wen, Song Yuanyuan, Wu Guangyu, Xiao Bo, Xiao Jiang, Xu Ruotao, Zhou Yilun)

Platform China, Caochangdi, Beijing, China

12 March – 31 May, 2011

Over the last few years Platform China has established a strong programme of shows, displaying refreshing latitude with respect to exhibition formats and presentation of artworks.

A couple of highlights for me included the extravagant group show “Jungle” from early last year. This expansive show continually refreshed itself over its two-month period, inviting the artists to adapt their installations and bringing in new artists. In what seems to have been a precursor to the current trend in Beijing of withdrawing the curator from the process of the show, “Jungle” eschewed such a figure or even an strong theme leaving the results in the hands of the artists (for better or worse).

At the end of 2010 “The Third Party” (which I reviewed on this site) represented the opposite stance in relation to curation, with Beatrice Leanza taking, if not centre stage as curator, then at least a dominant role, corralling the large collection of alternative practices.

And so we reach the current offering: “19 Solo Shows About Painting” has been produced by the Platform China Contemporary Art Institute as the first of what they propose will be an annual series of shows. Stepping back into curatorially-bereft territory, “19 Solo Shows…” mirrors the format of “Jungle,” with an extended collection of artists and a sprawling layout taking up a large part of both of Platform’s buildings. But this time the focus is squarely on painting and its presentation.

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