ArtAsiaPacific: Yu Honglei at Magician Space, Beijing

“Everything is Extremely Important: There is Nothing That Will Not Come Back Again”

Yu Honglei solo exhibition, curated by Aimee Lin @ Magician Space, 798 Art District, Beijing, China

12 July – 8 September, 2013

By Edward Sanderson

Various objects and constructions are dispersed around the first room of “Everything is Extremely Important: There is Nothing That Will Not Come Back Again,” Yu Honglei’s solo exhibition at Magician Space. It is assumed that each is intentionally chosen and arranged, and as such suggests that they are imbued with meaning. Yet in Yu’s presentation, while objects and assemblages tempt interpretation, their meanings are left resolutely unclear—never quite fulfilling the viewer’s efforts to read them.

A low barrier perforated with a brickwork pattern is coated in a lumpy, clay-like material with two digital clocks, displaying identical times, inserted in the gaps. On the other side of the room, a similar barrier is laden with the same shapeless material this time supporting a light bulb and fitting. Towards the back wall two sky-blue wooden beams (reportedly from an “ancient building”) stand upright on tripods, with stuffed budgerigars clinging to their surface. A low, black, wooden box stands to one side, with two black porcelain cat figurines perched neatly on top.

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Fresh Visions 2013 curator’s text: Judging the Temperature of Art by Degrees

[English text below]

由毕业展探测艺术的未来温度:艺术学院及批判性实践

李蔼德

作为文章的前言,我想说明一下,虽然我在中国当代艺术界积累了一些经验,但为这次展览做的前期准备是我第一次与中国学院系统进行的持续接触。这篇文章则是我对这一体验的初步回应。

今年新视觉展的参展作品选自中国八大美院绘画系的学士、硕士生毕业展。毋庸置疑,我对这些作品充满期待,毕竟它们的作者理论上将构成中国艺术界的未来。可惜的是,满足这一期待的作品虽未匿迹(其中一些将出现在新视觉展上),却也寥寥无几。宏观看来,各大毕业展中的作品在艺术实践上都稍显保守,我猜测这种保守主义与推进学生艺术创作的美术院校不无关系。其中,具有批判性的艺术实践是最为关键的缺失,在我看来这却正是艺术院校应当展示出的成果。

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