Tag: Yang Jiechang

ArtSlant: Whose Autonomy?

ZiZhiQu (Autonomous Regions) (curated by Hou Hanru)

Guangdong Times Museum, Guangzhou

19 January – 17 March, 2013

As one of the more visible providers of a critique of the centre/periphery model of cultural development in the early 2000’s, a new exhibition by curator Hou Hanru is highly anticipated. ZiZhiQu: Autonomous Regions at the Times Museum in Guangzhou can perhaps be seen to develop this model as it applies to the cultural self-formation of individuals and groups, placing that development in contrast to a globalised institutionalisation of culture. Autonomy, then, moves across all scales in its realisation. ZiZhiQu presents expressions of autonomy at the level of the personal via the body, as well as the extension of personal autonomy into ideology and geography. In the process this show covers imaginary and real sites of the development and expression of this individual and communal state of being. This show’s tread is necessarily light, as the subject of autonomy quickly enters fraught territory in relation to specific realisations of the autonomous body in society, or its geographical presence.

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ArtSlant: Tang Reaches for the Stars

Tracing the Milky Way: Chen Zhen, Huang Yong Ping, Shen Yuan, Wang Du, Yan Pei-Ming, Yang Jiechang

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

26 March – 14 May, 2011

It may seem contrary, but I can’t ignore how new or renovated art spaces affect the way works are shown and received, as well as how they represent a gallery’s plans and priorities. Any conclusions drawn remain highly speculative, but in the physical remains left behind by the development process, the choices made and priorities focused upon as manifest in the physical spaces, we can perhaps gain some insight into the nature of a gallery.

Thai gallery Tang Contemporary originally opened their Beijing space in 2006 and have occupied their site with a series of large-scale installations and commissions. One in particular which stands out for me was Sun Yuan and Peng Yu’s Freedom in 2009, which seemed to push the space to an extreme, saturating the structure in gallons of water from its serpentine fire-hose. Although not necessarily a consequence of this piece, at the end of 2010 Tang made the traumatic leap of gutting the space and starting again from scratch.

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