To celebrate the opening of the 2012 Shenzhen Sculpture Biennale, which opened last Saturday, all this week I’ll be posting texts that I wrote for the catalogue of said exhibition. Next up in this fifth of six pieces, the subject is the wound length of rubber seen recently at Pace Beijing’s solo show of the work of Sui Jianguo (note this text refers to an alternative, wall-mounted version, than that finally displayed in the Shenzhen show).
Rubber and nails, 1996–1997
Kill represents a point in Sui Jianguo’s work where his work past from an early “expressionistic” stage through to more conceptual representations, reflecting a more ironic use of symbolic imagery that could be seen as developing in parallel to the emergence of cynical realism in China at the time.
The two, long rubber sheets of Kill hang off lengths of old wood, the whole structure propped up against the wall. The sheets are studded with thousands of small nails forming an intricate, abstract pattern over the rubber surface (these patterns are perhaps more obvious when viewed from the side where the flat heads lie). Overall the strips look somewhat like flayed animal skins, hanging up to dry. Their bristly surface also has a thick, carpet-like appearance, belying the sharpness of the nail’s tips.
If anyone has a copy of this report, I would be very interested in taking a look (I might even cook you dinner). It would be fascinating to know what their criteria are for measuring “sentiment.” The report appears to look at a good range of artists1, so each one’s comparative results would be interesting to see. I’ve been hearing (mainly from auction results, so that’s pretty selective) that established names are recovering quickly, but the market for younger, less established artists is struggling (as one would expect). Most people I’ve talked to about this subject see these periodic downturns as, by and large, a “good” thing. I’m not denying the pain involved, but it’s a time in which everyone is forced to re-focus on their core strengths and if these aren’t sustainable then, perhaps, it’s time to move on.
The confidence in the Chinese Contemporary art market has strengthened significantly since February 2009, and is now back above the 50 level. The ArtTactic Confidence Indicator has increased from 16 in February 2009, to 57 in November 2009. The current level signals that there is more positive than negative sentiment in the art market. This is the first contemporary art market that ArtTactic has surveyed since the downturn, in which the Confidence Indicator has come in above the 50 level, which implies that the Chinese art market could be one of the quickest to recover.2
Ai Weiwei, Cai Guoqiang, Cao Fei, Chen Wenbo, Fang Lijun, Feng Mengbo, Feng Zhengjie, Gu Dexin, Gu Wenda, He Duoling, He Yunchang, Hong Hao, Li Shan, Li Songsong, Liang Shaoji, Lin Tianmiao, Ling Jian, Liu Wei (B. 1972), Liu Xiaodong, Liu Ye, Lv Shenzhong, Mao Yan, Nie Mu, Qiu Zhijie, Shi Jinsong, Song Dong, Sui Jianguo, Tan Ping, Wang Gongxin, Wang Guangyi, Wang Jianwei, Wang Qingsong, Wang Wei, Wang Xingwei, Wu Shanzhuan, Xu Bing, Xu Zhen, Yang Fudong, Yang Shaobin, Yin Xiuzhen, Yu Hong, Yue Minjun, Zeng Fanzhi, Zhan Wang, Zhang Dali, Zhang Huan, Zhang Peili, Zhang Xiaogang, Zhong Biao, Zhou Tiehai, Zhou Xiaohu.