Over the past few weeks I’ve begun a series of interviews for the “Uncut Talks” sound magazine, a project initiated by the artist Ma Yongfeng of forget art. At this point I thought I would pull together the first three interviews which (coincidentally) have all been with Chinese sound artists and musicians. Future interviews will venture into other creative fields. Ma Yongfeng and the Italian curator and artist Alessandro Rolandi have also added their own interviews to the Uncut Talks site, so please take a moment and check them out, I think there is something for everyone there!
Alessandro Rolandi’s Social Sensibility R&D Program at BERNARD CONTROLS S.A. in Beijing
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.”
Not Only A Taoist Troublemaker! group show
za jia lab, Hong’En Daoist Temple, Doufuchi Hutong, Dongcheng District, Beijing
20 – 23 November, 2011
Not Only A Taoist Troublemaker! was a short-lived exhibition occupying a leaf-strewn room in a small arts space attached to a bar. A bar with a vegetable market behind; sharing a building that housed a screw factory during the Cultural Revolution. A screw factory built inside a Taoist temple, replacing the site’s original Buddhist temple. This overlapping of every kind of ideology provided an ideal backdrop for the six artists’ work in this show curated by forget art.
forget art is an organisation created by artist Ma Yongfeng, about whose “guerrilla” tactics I have written once before on ArtSlant. It has become well-known for the ironic nature of its exhibitions, interventions, and projects. These activities are knowingly aware of themselves and their contexts, and never take these or themselves too seriously.
What we are watching here is a video work from 2002 entitled The Swirl by Chinese artist Ma Yongfeng. This 15 minute video is one of Ma’s very first works at a point where he was displaying an interest in using what might be seen as futile behaviours, as a means of pricking the fabric of reality, and questioning it’s assumptions. Ma has more recently become known for his minimal interventions in daily life and socially aware services, but at the point at which this video was produced, these interests were still nascent.
Well, I can’t ignore the video anymore, and that of course is its problematic – this traumatic activity which is presented to us – these fish which are due for quite a ride, as we will see.
As the commentator for this work, and ostensibly representative of it and of the artist, the unfolding of the piece makes it tempting to expound my own strong opinions about the treatment of animals, which could come into conflict with my respect for the artist. But neither Ma, nor—I guess—you, as the audience, will thank me for making such apologies. What’s done is done, and we (the audience as well as the artist) must deal with the consequences.