24-07-16 Archive Display #3:《Exit-Entry 往來》

This is the third in a series of posts recording my efforts to organise and present my research archive of publications related to experimental music and sound art from Mainland China and Hong Kong. Today’s archive display is directly inspired by the next《Exit-Entry 往來》concert, EE04, coming up on Saturday 20 July 2024, and featuring the work of Oishi (Zheng Hao and Ren Shang), Joseph K, K Ying Wong, and 龢wo4 (Brian Chu).

《Exit-Entry 往來》is a series of events which I co-organise with Suze Chan and Brian Chu, bringing together artists from Mainland China and Hong Kong (or with a relation to those places), and inviting them to present their work in (usually) unofficial spaces.

This new display highlights publications by these artists from my archive. The listing below includes links to where they are available to listen to or buy online.

But if you would like to hear them live, then come to《Exit-Entry 往來》on Saturday! NB tickets must be purchased in advance – message our IG account for details.

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24-06-06 Archive Display #2: new additions

This is the second in a series of posts recording my efforts to organise and present my research archive of publications related to experimental music and sound art from Mainland China and Hong Kong. Today’s post brings us up to date with the current selection on display. These are the most recent items received for the archive, some old, some new, with a little background to each item.

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24-03-08 Archive Display #1 – International Women’s Day 2024

This is the first in what will be an ongoing series of posts recording my efforts to organise and present my research archive of publications related to experimental music and sound art from Mainland China and Hong Kong. Today’s post is a catalogue of the first display which was inspired by International Women’s Day in March 2024, and includes a selection of female artists.

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Yishu Journal: ON | OFF – China’s Young Artists in Concept and Practice

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Ullens Center for Contemporary Art, 798 Art District, Beijing

January 13–April 14, 2013

With ON I OFF, an extensive group show that occupied all of the exhibition spaces at Ullens Center for Contemporary Art (UCCA) in Beijing, curators Bao Dong and Sun Dongdong attempted to come to grips with the ongoing issue of rationalizing the latest round of artists to have emerged on the Chinese visual arts scene over the past few years. They chose to pursue a course of highlighting what they see as the diversity of current art production in China. The curators framed this diversity as a distinctive trait of the Chinese art environment, a trait they say works against generalizing views, describing the exhibition as an expression of “polyphony” and “multiplicity.” They go so far as to characterize contemporary art in China as “a series of encounters,” each of which must be taken on its own merits, also claiming that “any artistic practice is yet another attempt at defining the scope of practice itself.” As a result, contemporary art practices can be understood neither from “a sociological perspective—seeing [them] as evidence of any number of social realities and ideologies”—nor “by way of the so-called internal logic of artistic language and method.”1

In the exhibition format of ON I OFF itself, the curators deliberately attempted to reflect this understanding of the contemporary art world in China. Its fifty participating artists (or, in three cases, a duo of artists) were presented in what might be described as a “flat” format in the sense that there was no articulation by category, theme, or highlight. That said, despite the curators’ premise of multiplicity and the consequent lack of logical organization in the gallery spaces themselves, it was possible to pick out particular connections among the artworks.

Several artists’ work displayed an interest in investigating form or material, a a manifestation of a kind of “internal logic” that the curators apparently dismissed. The painterly abstractions of both Xie Molin and Wang Guangle, which, while using diametrically opposed techniques—Xie Molin has developed a machine to create the evenly-spaced furrows in the thick, multi-hued painted surfaces of Ji No. 4 (2012) and Inconsistent Output No. 6 (2012); while Wang Guangle labouriously hand-paints subtle progressions of coloured pigments, layer after layer, to create physical stacks of paint on the canvases121101 (2012) and 121102 (2012)—share a concern with the physicality of paint. In Heiqiao Tower of Babel (2012) and The Unknown Shimmering at the Edge of the World (2012) by Li Shurui, multiple canvases depicting shimmering interference patterns were connected to create structures that invaded the spaces in which they were installed. Liang Yuanwei’s paintings of repeating floral motifs, Pisces (left) (2011), and Pisces (right) (2012), retain an element of process-based activity in their creation, as these motifs were meticulously picked out from a gradation of colour travelling from the top to the bottom of the canvas. At first glance these repetitions appear cool and unemotional, yet the patterns apparently relate to clothes worn at significant events in the artist’s life.

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