Category: Art

With a degree in Fine Art the world’s my oyster!!

GeoSlant: Alessandro Rolandi

Alessandro Rolandi’s Social Sensibility R&D Program at BERNARD CONTROLS S.A. in Beijing

Guillaume Bernard and Alessandro Rolandi at Bernard Controls

When asked about her working environment, one worker said she would like to feel the sun on her skin for a while – a simple but poetic request, fulfilled by moving her workstation outside the factory for a short period. Another worker took the opportunity to make a fluid sculpture out of the big barrel of grease he was using, giving it the title: “A piece of shit.” These little gestures came about as part of Italian artist Alessandro Rolandi’s Social Sensibility R&D Program, instituted in the factory of Bernard Controls S.A. on the outskirts of Beijing.

Bernard Controls is a French family-owned company producing specialist servo engines for operating valves in water pipes found in nuclear power stations, but also used in places like the Beijing Opera House and the Olympic Swimming Pool (AKA the “Water Cube”) in Beijing.

For a factory to embrace such a distraction from the serious business of production is down to the initiative of the boss, Guillaume Bernard, an engineer with a particular interest in corporate social responsibility. But while Bernard Controls already had a steering committee working to improve management personnel relationships using activities such as exhibition visits and music concerts, M. Bernard was looking beyond this. “He’s one step ahead,” Rolandi says. “He’s an engineer, not a psychologist, sociologist, or a philosopher. We talked a lot about this, and he seems genuinely open to more socially aware activities, which I related to relational practice within the art world.”

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ArtSlant: Battleship Museum

Wang Du: Musée d’Art Contemporain de la Chine

Tang Contemporary Art, 798 Art District, No.2 Jiuxianqiao Road, Chaoyang District, Beijing, China

24 March – 30 April, 2012

Wang Du thinks big, and his new piece, a model of a split and rusting aircraft carrier hulk, purportedly presents his proposal for a suitably grandiose Chinese Museum of Contemporary Art. Wang’s installation could be taken for a monument to a megalomaniac architect’s visionary plans, or—as he suggests—a country’s obsessive statecraft through the building of overpowering structures.

But I see this installation not as a model that looks beyond itself to a completed form. For me the stress remains on this mass of iron as a sculpture in its own right. It does not represent a proposed thing anymore, this is not about projections into the future, but about the nature of the desire’s represented through the object as it stands. The artist makes this clear by referencing the use of museums as powerful tools of diplomacy, physical embodiments of ideology, and manifestations of propaganda. The model is as much representative of this as any completed structure.

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ArtSlant: Dancing Frog Legs

Symptoms: Becoming Peninsula I (Cheng Ran, Li Wei, Lu Yang, Ren Hang, Yan Heng, Yan Xing, Yuan Yuan, Zang Kunkun)

Iberia Center for Contemporary Art, E06, 798 Art District, Beijing

3 March – 3 April, 2012

In the first of what the organisers promise will be a long-term project with regular presentations (although “…to be held once or twice a year in different ways…” is perhaps a little vague), Iberia Center for Contemporary Art in 798 has brought together a patchy, but (perhaps for that reason) representative selection of young Chinese artists to show the state of art production in China at this time.

This show is ostensibly based on the truism that the works and the artists’ sensibilities are ‘symptoms’ of the society they have grown up in. The wall text for the show makes the case that after the ‘idealism’ of the ‘90s, business culture took over and young people had to fit into tiny gaps in the “highly specialised division of labour and elaborate social structure[s]”. By doing so they could then only develop inwardly, using their new-found access to media and technology. I’m not sure I completely understood the argument, but the upshot is that ‘diversity’ became the key to their lives and productions.

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Yishu Journal: Little Movements: Self-practice in Contemporary Art and A Museum That is Not

Little Movements: Self Practice in Contemporary Art
OCT Contemporary Art Terminal (OCAT), Shenzhen

September 10–November 10, 2011

A Museum That Is Not
Guangdong Times Museum, Guangzhou

September 11–October 30, 2011

Liu Ding and Carol Yinghua Lu on the cover of Yishu Journal No.49

“Edward Sanderson explores the increasingly blurred boundaries among curatorial practice, artistic practice, and institutions through the examples of two innovative exhibitions—Little Movements: Self-practice in Contemporary Art and A Museum That Is Not.”

Giorgio Agamben addresses the concept of movement as “that which if it is, is as if it wasn’t, it lacks itself; and if it isn’t, is as if it was, it exceeds itself.” This ambivalence between lack and plenitude marks the movement as “unfinished, unaccomplished,” suggesting that it occupies a point between the pre-political and the political, and a point without movement in an active sense, and, therefore, without a future or past of failure or resolution. This balancing point, by necessity, also makes “movement” hard to locate or define; hence its sense of being ripe for questioning when applied to the world.

Since 2010, Carol Yinghua Lu, Liu Ding and Su Wei—self-described as “a three-person curatorial team include[ing] an artist, a curator and a critic”—have been developing together what they call the Little Movements project. The recent presentation of this project at OCT Contemporary Art Terminal (OCAT) in Shenzhen, titled Little Movements: Self-practice in Contemporary Art, has provided an opportunity to see the current state of this project in the form of an exhibition.

By a happy quirk of fate, at the same time as this show, Liu Ding was fulfilling his role as an artist by presenting work in the group show A Museum That Is Not, curated by Nikita Yingqian Cai, at the Times Museum in nearby Guangzhou. A Museum That Is Not investigated the parameters of the museum as an institutional experience, with a particular focus on the host museum’s own position with the community around it, and conveniently showcased Liu Ding’s creative approaches to what can be seen as parallel concerns to the content and methods of Little Movements: Self-practice in Contemporary Art.

[To read the full article, please pick up a copy of the Journal or visit the Yishu website]

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