Aike-Dellarco Gallery, at Art Basel Hong Kong (Hall 1, Booth 1D50)
23 – 26 May, 2013
Interviewer: Edward Sanderson Interviewee: Li Ran
Li Ran is a Chinese artist working with performance and video to create “mockumentaries” around fictional (or part-fictional) characters. Over the last year Li has had solo shows at Beijing’s Magician Space and Shanghai’s Aike Dellarco Gallery, and was included in the Shenzhen and Gwangju Biennales. Li took part in curator Biljana Ciric’s “Alternatives to Ritual” exhibition at the Goethe Institute Open Space in Shanghai, and ON/OFF, a major survey of young Chinese artists in Beijing’s Ullens Centre for Contemporary Art (UCCA). Currently he has new work on show at Shenzhen’s OCT and has just appeared in a group show focusing on reassessing performance art in China (curated by Su Wei at Beijing’s Star Gallery). For Art Basel Hong Kong, Li has been commissioned by Aike Dellarco to create a new piece for the gallery’s space in the “Discoveries” section of the fair.
Curated by Su Wei. Participating artists: Chen Shaoxiong, Chen Zhou, Li Qi, Li Ran, Liu Ding, Ma Liuming, Xing Danwen, Zhu Ming. At Star Gallery, Beijing
April 13 – May 16, 2013
In this inaugural exhibition for Star Gallery’s new Beijing space, curator Su Wei addresses certain perceived limitations in the discourse surrounding Chinese performance art. Drawing on the work of eight artists, the presentation avoids “formulated mechanisms,” Su writes, to specifically address works “irreducible to any classification within the historical process of aesthetics.” Su proposes that this can partly be accomplished by more fully addressing the original contexts of the performances: “It is impossible to [remove] the work of the artist from its site.”
Curating needs a bit of a shake down in China. The term has become a cliché to describe pretty much any situation in which one can point to a modicum of organisation, and is often characterised as a perfunctory look at the issues raised. Seminars that take a long hard look at the subject, and successfully integrate local and international resources and audiences, are also pretty rare in this context. So, despite the Summer heat in Guangzhou, we couldn’t refuse the invitation of the Guangdong Times Museum to attend their “No Ground Underneath: Curating on the Nexus of Changes” which brought together practitioners from near and far in an extended forum over three days of intensive presentations and discussions.
Nikita Yingqian Cai, curator of the Times Museum, in collaboration with the seemingly ubiquitous independent curator and critic Carol Yinghua Lu, co-curated this event as a prelude to a new series of books on the general subject of curation, to be published by the Museum beginning later this year.
The 7th Shenzhen Sculpture Biennale: “Accidental Message: Art is Not a System, Not a World” (curated by Liu Ding, Carol Yinghua Lu, Su Wei)
OCT Contemporary Art Terminal, Enping Road, Overseas Chinese Town, Nanshan District, Shenzhen, China
12 May – 31 August, 2012
Following their Little Movements exhibition in the same venue last year (which I reviewed on ArtSlant.com at the time), the curatorial group of Liu Ding, Carol Yinghua Lu and Su Wei return to Shenzhen’s OCT Contemporary Art Terminal to undertake the broader task of a biennale. Despite retaining the moniker of “Sculpture,” this seventh iteration of the Shenzhen Sculpture Biennale has less to do with sculpture as a distinct discipline, than with what amounts to a renewed opportunity for the curators to expand on the theories and practices they had expounded in Little Movements.
The choice of the rather contrary title Accidental Message: Art is Not a System, Not a World positions this Biennale as a clear statement against large-scale trends or movements. The idea that art imparts, or is itself, an “accidental message” is a troubling but simultaneously interesting proposition given the current state of art. It is troubling in that (aside from the obvious questioning of historical impetus), having thus placed art-making as an “accidental” communication, the curatorial process itself seems to made problematic. This position appears antagonistic to the assumption that a show is curatorially held together with a clear theme or relation.