House of Oracles, Huang Yongping exhibition
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最后更新：2008/08/12 14:59:37 by
Building Code Violations II
Exhibition dates: March 1st, 2008 - April 4th, 2008
Opening: March 1st, 2008
Venue: Long March Space, Buildling B (Beijing)
Curator: Lu Jie
Co-curator: Xiao Xiong
Participating artists: Chen Jieren, Chen Jie, Chen Qiulin, He An, Hong Hao, Huang Kuan + Wei Xuebing, Huang Kui, Hu Liu, Ingeborg Luscher, Jiang Zhi, Jin Feng, Soni Kum, Li Chuan, Li Yong, Lisa Norton, Liu Wei, Qin Ga, Qiu Zhijie, Shao Yi, Shen Shaomin, SHen Ye, Su Zhongqiu, Tang Maohong, Tang Yi, Wang Yigang, Wei Bingqiang, Xiao Xiong, Xu Zhen, Yang Guangnan, Yu Ji, Yang Zhenzhong, Zhang Ding, Zhang Liaoyuan, Zhang Qing, Zhou Xiaohu, Zhu Yu
Highlights of Commentary
by Art-ba-ba
Original post in Chinese, please click here
Building Code Violations, around which a lot of hype has been generated, was finally unveiled and exposed to the public. Some of the works have not only violated the code, but the contract as well. Some have even invited sweeping criticism. All the 30 plus artists involved are, literally, gathered together to be screened or censured at the same time.
Artibaba, the correspondent of Art-ba-ba, is now sending back the latest reports from the site of the exhibition. All works have been tagged under his critical and sharp eye.
Exhibition dates: March 1st, 2008 - April 4th, 2008
Opening: March 1st, 2008
Venue: Long March Space, Buildling B (Beijing)
Curator: Lu Jie
Co-curator: Xiao Xiong
Participating artists: Chen Jieren, Chen Jie, Chen Qiulin, He An, Hong Hao, Huang Kuan + Wei Xuebing, Huang Kui, Hu Liu, Ingeborg Luscher, Jiang Zhi, Jin Feng, Soni Kum, Li Chuan, Li Yong, Lisa Norton, Liu Wei, Qin Ga, Qiu Zhijie, Shao Yi, Shen Shaomin, SHen Ye, Su Zhongqiu, Tang Maohong, Tang Yi, Wang Yigang, Wei Bingqiang, Xiao Xiong, Xu Zhen, Yang Guangnan, Yu Ji, Yang Zhenzhong, Zhang Ding, Zhang Liaoyuan, Zhang Qing, Zhou Xiaohu, Zhu Yu
Highlights of Commentary
by Art-ba-ba
Original post in Chinese, please click here
Building Code Violations, around which a lot of hype has been generated, was finally unveiled and exposed to the public. Some of the works have not only violated the code, but the contract as well. Some have even invited sweeping criticism. All the 30 plus artists involved are, literally, gathered together to be screened or censured at the same time.
Artibaba, the correspondent of Art-ba-ba, is now sending back the latest reports from the site of the exhibition. All works have been tagged under his critical and sharp eye.
［此帖子已被 嘿鬼妹 在 2008-8-11 17:07:43 编辑过］
The meanest work: by XU Zhen
The paint, processed according to his unique inherited secret recipe, will never dry, thus it easily stains your clothes. That made the audience so angry! Hence, the meanest work, without doubt, goes to this one which has received the most criticism in the exhibition!
［此帖子已被 嘿鬼妹 在 2008-8-11 16:35:11 编辑过］
The shabbiest work: by HUANG Kui
A pile of shabby fake bricks made of wooden boxes with moss painted on the surface are put into slanting and messy shapes.
A pile of shabby fake bricks made of wooden boxes with moss painted on the surface are put into slanting and messy shapes.
The wettest work: by YU Ji
A dungeon filled with running water looks bleak and gloomy just like YU Ji’s small eyes. Nails also cross like canines, forming the shape of a human figure whilst a television next to it records the happenings. Well, a naked body shown there will be much better!
A dungeon filled with running water looks bleak and gloomy just like YU Ji’s small eyes. Nails also cross like canines, forming the shape of a human figure whilst a television next to it records the happenings. Well, a naked body shown there will be much better!
The highest work: by ZHU Yu
Glass fragments withholding pieces of mutton are stuck onto the ceiling; actually, the mutton will fall to someone"s surprise!
Glass fragments withholding pieces of mutton are stuck onto the ceiling; actually, the mutton will fall to someone"s surprise!
The most shocking work: by YANG Zhenzhong
While everyone is preoccupied with the show, a certain naughty artist will turn off the power all of a sudden, wrapping everyone in the darkness and shocking all of them!!!
While everyone is preoccupied with the show, a certain naughty artist will turn off the power all of a sudden, wrapping everyone in the darkness and shocking all of them!!!
Building Code Violations II
By ZHAO Yao
The exhibition of “Building Code Violations II” provides a valuable profile of today’s contemporary art in China, where the audience can relate to the following problems and get their own clear answers: how do those established artists maintain their level and meanwhile make ****ty works? How do rising artists mess up their works and how do they surprise the audience?... …What does a high-budget work look like? And what about a low-budget one? Those thought-provoking problems may respond to diverse situations confronted by artists under different circumstances. The first remarkable feature of “Building Code Violations II” is the number of artists involved-- over thirty artists are gathered. Something hidden behind that inclusiveness is really worth thinking about. Seemingly all kinds of works can find their way to Long March Space, which perhaps is a real violation of code. Anyone, young or aged, famous or obscure, from Shanghai or western provinces…all those established or self-proclaimed artists can find their niche in this mixed exhibition. On second thoughts, there are no more than five pieces of work that can be scored excellent. The majority are lacking in thoughts or even with no valuable thoughts at all. That’s also a big problem shared by large-scale exhibitions, say, biennale or a triennial event. Maybe fewer artists involved for a group show will be better. In that case, the artists may be more closely linked to the subject, instead of just dip into it, and that will make it possible for the works to have real interactive conversation with the (Long March) Space. If the Space relies on the large number of artists to generate possibilities, that will be a strong implication of a lack of confidence. Amongst all the artists involved in the show, the young have exposed quite specific problems, and the mid-aged were a bit weak in expression (the older ones seem quite hard-working). These are quite obvious issues. Then, what about those hidden and unseen problems? Why are they still undetectable? If we compare this show with the exhibition “Nothing” held in Hangzhou, we may find the “Building Code Violations II” more topical. But, the works on the show are not strong enough to support the topic, making the topic somewhat thin and dry. There are no conversational links between works, and no inherent points to encourage further discussion. Most works are not independent. In a sense, the show itself is not code-violated enough. The links between works are not fully broken and differentiated. A lack of layers and quality is perceivable. The works are indeed quite rough, while that roughness has made quite a scene of the exhibition. According to some artists, the involvement in the show didn’t make them suffered or distressed. To “violate code” in a group exhibition just means to “destroy or ruin things”; there’s no need to make any constructive points. If that’s the case, we can’t help asking: what’s the objective of the exhibition? What kind of discussion does it want? What are the points that need to be shown to the audience? I think the Space, even the curators, should be responsible for the weakness of “Building Code Violations II”. In most cases, if someone has been recognized and received for doing something, he will thus develop for some time. The consequent inertia will then turn to some kind of dependence. Disorder and diversity (or a kind of messiness and mix), that’s the way of expression of “Building Code Violations II”. That way needs constant updates and accumulation, which means more to see, more to think about and more to work on. “Building Code Violations II” has also disclosed quite a few common problems shared by group exhibitions. In group shows, artists are sometimes facing closely-related problems and thus they want a comprehensive expression or confliction; or in some cases artists in the same realm want to group together to show their creations; or they want to articulate certain attitudes, or to push ahead a media, or to make an attractive environment so as to evoke discussion. In a word, the relationship between exhibitions, individual artists, and the curators are still not clear-cut.
By ZHAO Yao
The exhibition of “Building Code Violations II” provides a valuable profile of today’s contemporary art in China, where the audience can relate to the following problems and get their own clear answers: how do those established artists maintain their level and meanwhile make ****ty works? How do rising artists mess up their works and how do they surprise the audience?... …What does a high-budget work look like? And what about a low-budget one? Those thought-provoking problems may respond to diverse situations confronted by artists under different circumstances. The first remarkable feature of “Building Code Violations II” is the number of artists involved-- over thirty artists are gathered. Something hidden behind that inclusiveness is really worth thinking about. Seemingly all kinds of works can find their way to Long March Space, which perhaps is a real violation of code. Anyone, young or aged, famous or obscure, from Shanghai or western provinces…all those established or self-proclaimed artists can find their niche in this mixed exhibition. On second thoughts, there are no more than five pieces of work that can be scored excellent. The majority are lacking in thoughts or even with no valuable thoughts at all. That’s also a big problem shared by large-scale exhibitions, say, biennale or a triennial event. Maybe fewer artists involved for a group show will be better. In that case, the artists may be more closely linked to the subject, instead of just dip into it, and that will make it possible for the works to have real interactive conversation with the (Long March) Space. If the Space relies on the large number of artists to generate possibilities, that will be a strong implication of a lack of confidence. Amongst all the artists involved in the show, the young have exposed quite specific problems, and the mid-aged were a bit weak in expression (the older ones seem quite hard-working). These are quite obvious issues. Then, what about those hidden and unseen problems? Why are they still undetectable? If we compare this show with the exhibition “Nothing” held in Hangzhou, we may find the “Building Code Violations II” more topical. But, the works on the show are not strong enough to support the topic, making the topic somewhat thin and dry. There are no conversational links between works, and no inherent points to encourage further discussion. Most works are not independent. In a sense, the show itself is not code-violated enough. The links between works are not fully broken and differentiated. A lack of layers and quality is perceivable. The works are indeed quite rough, while that roughness has made quite a scene of the exhibition. According to some artists, the involvement in the show didn’t make them suffered or distressed. To “violate code” in a group exhibition just means to “destroy or ruin things”; there’s no need to make any constructive points. If that’s the case, we can’t help asking: what’s the objective of the exhibition? What kind of discussion does it want? What are the points that need to be shown to the audience? I think the Space, even the curators, should be responsible for the weakness of “Building Code Violations II”. In most cases, if someone has been recognized and received for doing something, he will thus develop for some time. The consequent inertia will then turn to some kind of dependence. Disorder and diversity (or a kind of messiness and mix), that’s the way of expression of “Building Code Violations II”. That way needs constant updates and accumulation, which means more to see, more to think about and more to work on. “Building Code Violations II” has also disclosed quite a few common problems shared by group exhibitions. In group shows, artists are sometimes facing closely-related problems and thus they want a comprehensive expression or confliction; or in some cases artists in the same realm want to group together to show their creations; or they want to articulate certain attitudes, or to push ahead a media, or to make an attractive environment so as to evoke discussion. In a word, the relationship between exhibitions, individual artists, and the curators are still not clear-cut.
