Anxiety - Exhibition views!!
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[楼主] art-pa-pa 2008-12-03 12:49:22
EXHIBITION VIEWS!!!

ANXIETY – Young Chinese Artists' Video Art Exhibition

Artists: SHENG Jie aka Gogoj (Beijing), Effie WU (Taipei/Berlin), LI Ming (Hangzhou)
Curator: Juliette YUAN
Opening: Nov 30th, 2008, Sunday, 3:00 p.m.
Exhibition dates: Nov 30th to Dec 21st, 2008
Venue: Shopping Gallery
1/F, Bldg 8, 50 Moganshan Road 200060 Shanghai
T: +86 21 62770903
F: +86 21 62771797
E: shoppinggallery2008@gmail.com
www.shoppinggallery.cn








At the entrance, a video by Li Ming, "Fireworks".
An old woman sitting on her bed comb slowly her hair in the middle of the night. Suddenly the room is enlighted by multiple fireworks cracking outside of the window, then in the room directly where wild plants took over the floor.
The old woman watch this scene impassible, while a group of men spy at her from outside. As everything is over, the old woman comb her hair as in the beginning. Did all of this actually happened? or was it just a sight to this old woman's illusions....










[沙发:1楼] art-pa-pa 2008-12-03 13:37:52

Facing "Fireworks", another video by Li Ming, "Hit me".
Where a young woman is gently slaping the face of someone in front of her (not in the shooting angle), as in a game. Then the 'adversary' replicates....

An innocent game turning into tears, as the girl feels guilty hitting her friend even though she's not allowed to stop, and fear being slaped back ...





[板凳:2楼] art-pa-pa 2008-12-03 13:44:47
Effie Wu, Wahn.

A looping video of 1/2 second.
the artist filmed herself making an expression of fear. this repetitive gesture give an hypnotising impression to the spectator where the face is move like a machine, as altered.











[地板:3楼] art-pa-pa 2008-12-03 13:54:08

Sheng Jie, entice confuse, video.
the artist here shows us her vision of the frenetic urban life in China, the society of consumption and all the temptations related to it...

"Entice-Confuse” is based on some feelings I had when I came back to China. I left China in 2000, and came back five years later. Although I know this is my country of birth, it still felt unknown and familiar at the same time. There are all kind of temptations, material and spritiual benefits, confusing us, faith and culture are metamorphosing at a fast pace. China resembles a strange creature, which looks like a magician’s conspiracy."











facing the video a light box with a shivering light...

[killer] “roman photo”

… a killer with his (the girl) gun…

By Sgogoj

August 2008

Photography by: Sheng JIe

Thanks to: He Long

Make-up: Tang Wei

Clothing design and production of the female character: Liu Lei Y.I.D

Main actors: Sheng  Jie, Olivier Heux

 

“Roman” photo, is in fact very artificial, badly played, insincere, and not romantic at all, only blood and death are the most authentic. This series of photographs is about a killer and his gun – represented by the girl – in this chaotic city. By the end, the killer isn’t brave enough to face what he should, then his gun puts an end for him to all the things which should be ceased.










[4楼] art-pa-pa 2008-12-03 13:55:14

If I'm not enthusiastic when I film, then the result will be bad.
Li Ming's interview

November 9th, 2008, discussion betweem Jin Feng and Li Ming on msn.

Jin: How many works did you complete this year?
Li: Hold on a second, I have to think…Eight, I am shooting a video at the moment.
Jin: Ah! You’re very productive! Which one do you like the most?
Li: Don’t exaggerate, these are all small productions, they are easy to shoot, and fast. I like “Back garden” quite a lot!
Jin: Many people like your “small productions”, I like them myself. But I have the feeling that in a way you are becoming an “expert”, do you think that these productions are getting too easy? Why?
Li: I read the small article you wrote last time on my solo exhibition, I think it is very true, this is precisely where I contradict myself. What do you think of ‘patterns’?
Jin: I think that patterns are mainly a way of using experiences to solve issues, including new ones, don’t you think?
Li: Yes. This “expert” aspect you mentioned before probably is my current issue. Creating becomes very easy when based on experiences, and it becomes very uniform as well. But now I have the intention to restrain myself, it is necessary to try new things…
Jin: Can you tell more about this restriction?
Li: I don’t want to sink into a permanent attitude, I might suffocate, there won’t be new feelings. On top of that, I always do very small things. If it doesn’t feel right, I want to suddenly change my way without reason. Then there might be some interesting things to discover.
Jin: I saw the works that you will exhibit at the Shopping Gallery, can you talk about the basic ideas behind them?
Li: Both videos’ ideas popped into my mind, then I realized them. “Hit me” was shot without any preparation or plan, it was totally improvised, I just wanted to put some constraints, feelings into the atmosphere. “Fireworks” was meticulously planned, but as I saw the scene, and the grandmother, I didn’t find the initial plan important anymore, I had to change the actor, so I modified everything.
Jin: What were the reasons then?
Li: I think it was just a question of feelings, many things can’t be properly explained, I don’t know how to say. Perhaps these kinds of modifications influence the whole situation, maybe it’s not good, but it felt right, I felt better afterwards.
Jin: What are you more inclined to? Improvised work or planned work?
Li: Improvised, I barely use plans, the same in life.
Jin: Doesn’t “Fireworks” have a scenario? For you, can a scenario also be considered as a plan?
Li: “Fireworks” does have a scenario, but it wasn’t used, only the initial thoughts were put into practice: shooting fireworks in a room. Then, I saw a piece of land, and made some modifications, turning the room into a wild field.
Jin: The work has some surrealistic elements, was this intentional, or were there other thoughts?
Li: It was intentional, maybe because I like to imagine things!
Jin: In your works there are always a lot of subtle and captivating things, perhaps this is what people like the most. Are these coming out during the process, or are they usually accumulated somewhere waiting to be used?
Li: Both, ha ha – your observation is very accurate, sometimes selfishness would be at the heart of my thoughts, and leads to my film ideas. Perhaps the things I want to express won’t take more than a few seconds, I always sink in the details. So, the editing is very difficult, there is no reason for a beginning or an end.
Jin: Maybe this is a brief standstill, is that sometimes vital for you?
Li: What do you mean by brief standstill?
Jin: I mean “sink”… sinking is sometimes a standstill, don’t you think?
Li: Probably, for me only feelings can face this kind of sinking. If I don’t feel enthusiastic when I film then the result will be bad, uncertain, it’s happened many times. Therefore, I’m afraid to create with other people, when I am by myself it’s enough.
Jin: Ha ha… self-employed work. Of course, thinking is a personal thing, and in practice many things can only be done alone. But I would still like to ask, does your sensibility actually help you to control the situation? Because many artists are working along with their sensibility…
Li: I don’t have any control. Once the work is finished I would have doubts about what I produced.
Jin: The beginning and the end of “Fireworks” are similar, was this your ideal thought?
Li: I have a very weak conception of situations, often it is a short pleasure, I satisfy myself first and leave the rest for after. The end of Fireworks originally was different, I made some changes during the post-editing so that the beginning and the end are exactly similar, like a dream, as if nothing happened.
Jin: We can tell that this decision was taken during the editing. But it still looks like a composition. Of course, this is my personal point of view.
Li: It is a little bit complicated…
Jin: What will you do next? Can you reveal it?
Li: Reveal, this kind of word is only for big production directors. I will keep producing new works, I am currently filming a video, related to the body. I also have ideas for the next video, if everything goes well it should be possible to realize.
Jin: Good! Last question, what do you hate the most?
Li: Why do you ask that?
Jin: It’s improvisation
Li: I hate to have a few people sitting happily on my bed.
Jin: Very good! I felt very happy and relaxed to make this interview with you….
Li: I’m very simple, when we’ll know each other better you will feel even more relaxed, now I have a new perspective about you, thank you!







[5楼] art-pa-pa 2008-12-03 13:56:13

If I have to explain it only proves my incapacity
Interview with Sheng Jie



November 9th, 2008, Sheng Jie’s interview with Jin Feng on msn
Jin: Do you mainly work in video?
Sheng: Yes, I also work with sounds.
Jin: Could you talk about the initial thoughts in“Entice-Confuse”?
Sheng: “Entice-Confuse” is based on some feelings I had when I came back to China. I left China in 2000, and came back five years later. Although I know this is my country of birth, it still felt unknown and familiar at the same time. There are all kind of temptations, material and spritiual benefits, confusing us, faith and culture are metamorphosing at a fast pace. China resembles a strange creature, which looks like a magician’s conspiracy.
Jin: Can you tell more about the two words ‘Entice’ and ‘Confuse’ ?
Sheng: ‘Entice’ and ‘Confuse’ have a cause and effect relation.
Jin: Are you satisfied by the edited result? I mean from the point of view of “Entice” and “Confuse” these two concepts.
Sheng: The version I sent was re-edited in 2007, which is shorter than the first one. I am quite satisfied, athough many people thought it was too long.
Jin: Do you think that this kind of expression ideally reveals your judgment on China’s current situation?
Sheng: The word “judgment” is a little bit too serious, I mostly hope to observe and make a record of my country’s status from a personal angle. This is my ideal thought, more precisely it is an ideal thought I have when I produce my work.
Jin: Is it this record or other things that you would like to communicate?
Sheng: I want to communicate my surviving state of awareness through this record.
Jin: What did you mainly acquire while you were studying abroad? Can you talk about this briefly?
Sheng: If you’re asking about the way I think and approach my work, I would say a more systematic way of working.
Jin: Systematic in terms of technique or concept?
Sheng: This way of working refers to many things, not only technical issues. Generally speaking, what we’re taught overseas is this, to think first why we want to use a particular technique instead of another. Technique can be understood as a purpose, including softwares and artistic language, because these are meant to serve your works, as tools, and shouldn’t be used because of one’s vanity, that is, showing you know how to use a certain software or a certain artistic language. So from this point of view, I think that concept comes first and then the technique.
Jin: This is very good! According to what you said, they are different techniques for each idea, is that what you mean?
Sheng: Of course. No matter which tool is used, as long as you have a strong reason then it’s enough to reach the intended result .
Jin: Is this the case in the work “Entice-Confuse”?
Sheng: I think so. I always did this kind of work. I like long shots, perhaps a lot of people don’t find them special or sophisticated, thinking they are very common, but for me there are many things in each shot.
Jin: I would like to ask what is the meaning of the animation part in the work? The circles…
Sheng: These black circles or bubbles are a kind of desire. Desire is something that can’t be seen but cannot be hidden either. I need to give myself or the public some time to stop and slowly observe things in their daily life, things they’re familiar with and that are easily ignored. These scenes contain many things that can be explained but easy to forget.
Jin: When will you get with what you like, in other words, long shots, do you think it will still be as important as before?
Sheng: This is a way of observing and recording life, so it is very important.
Jin: From your working method point of view, do you think that there are a lot of issues in other Chinese artists’ video works?
Sheng: I haven’t seen many other Chinese artists’ video works. But from what I have seen I think there are a lot of problems.
Jin: Can you tell more about it? Explain a bit….
Sheng: Of course some of the videos I’ve seen were good. The main reason I don’t like much of the video works is because they tend to mix video art and cinema or documentary. But these are all different languages. They spend a lot of energy on equipment and technique, but in the end what’s produced doesn’t have a real existing need. In fact, I just don’t really agree with an argument saying that when you don’t have enough money to shoot a film then you use a DV to produce a small film. I don’t want to refute this kind of idea, but for me this is really not necessary. The things that are even harder for me to accept are that some people use a dv to film things, then add a lot of plots and edit the film into an old film style,. This makes me crazy.
Jin: Then, where do you think your work stands? Can you talk about it?
Sheng: What do you mean by where does my work stand?
Jin: What are your video’s initial thoughts: documentary? Film? Or other
Sheng: I think that I am still doing videos. For me, video is a kind of language, starting from the video tape, this physical magnetic product is different from the chemical film rolls. Also the reason why I like making videos is not because I want to shoot films, but it is the video language itself which attracts me.
Jin: Which means that you are seriously working under the concept of video. Then, how do you understand the notion of video?
Sheng: My understanding of video starts from the 1960s – 70s,. At that time a TV channel in the USA occasionally broadcasted artists’ videos. Also, back then, American TV constantly featured advertising, when video appeared, TV became an interesting magic box. The charm of the video is that it can be created independently, like a painting, it is a tendency and not an argument, it is a language full of codes, I like that quite a lot. This language is an art derived from media language, it is an accessible public art, but this art language conquers people the less, ha…
Jin: I understand, do you like to use enigmatic language in your works? For example, symbols like circles, or bubbles?
Sheng: Yes.
Jin: In this case, don’t you often have to explain your works so that people can understand them? Do you like to explain?
Sheng: I hate to explain. If I have to explain it only proves my incapacity.
Jin: But your answers all rely on explanations.
Sheng: When I came back to China, I noticed that if I don’t give people any explanation it is like I am bewildering them. But in fact, even when I explained, people still felt uneasy, afterwards I chose not to explain. I must be scared! It became a habit, only once I showed “Entice-Confuse” to a European, I didn’t say anything, I didn’t have the time to open my mouth and he understood everything, I nearly cried.
Jin: You have a very special temperament, you are very independent…
Sheng: Ha…. Thank you for your compliment
Jin: What are your next projects?
Sheng: I will keep making videos and sounds. Recently I enjoyed doing performances related to video and sound.
Jin: One last question, do you often cry?
Sheng: Hardly. Almost never, but I often want to, ha…
Jin: Your way of thinking is very meticulous, very logical, this is very important nowadays. I was very happy to make this interview with you, I learned a lot.
Sheng: Thank you for saying so, I am very happy!



[6楼] art-pa-pa 2008-12-03 13:56:49

I don't want you to watch me but I do want to become your mirror

November 12th, 2008, Effie Wu's interview by Jin Feng

Jin: Could you introduce yourself?
Effie: It is very difficult for me to introduce myself. I think you can better know me through my works, otherwise it is really too abstract.

Jin: What were you main intentions in your work “Wahn”? Can you briefly talk about it?
Effie: In fact, there are no intentions in “Wahn”. None of my works are based on intentions. On the contrary, it is when the work is achieved that I become aware of its content.

Jin: Do you understand Mainland China video art? What do you think are the main differences between Mainland China video art and Taiwan video art?
Effie: I always say that I don’t understand either Mainland China video art or Taiwan video art, I have lived in Europe for nine years; Taiwan mainly consists of memories for me now.

Jin: Your works seem to be very conceptual, how do you impose your ideas in your works?
Effie: I don’t consider my works as very conceptual, on the contrary I think they are straightforward. They don’t get into your brain, they are corporeal. But maybe they have some conceptual nature because they are not heavy.

Jin: Do you think that your work has become routine? Do you often dodge issues related to routine or experience? If you do how do you dodge them?
Effie: Does routine mean “pattern”? Does it mean unable to do new things? I’m not sure I understand. You probably ask these questions because “Super smile” and “Wahn” are very close. But my works are not all so similar.
In fact, I really don’t like repetition and lack of innovation. Experimentalism is, I think, the most important thing in the working process. New is what I am aiming to do.
Of course, each artist sooner or later develops the technique they prefer, and when it’s mature, it becomes the artist’s characteristic, which makes it different from the others.
I consider that an accomplished work isn’t an end, but a transition to the next work. Therefore, in the end, all the works form a long continuous road.

Jin: What are your main concerns in your work? Can you briefly describe?
Effie: I hope that when people watch my works they become aware of themselves. Although I am showing myself I don’t want you to watch me but I do want to become your mirror.

Jin: What do you think of video art’s current situation, can you tell us your opinion?
Effie: There are too many requests, too many opinions.

Jin: Generally speaking, when you encounter some difficulties in your work (obstacles in your working process), how do you solve these issues?
Effie: I clear my mind, I rest.
I often have a dialogue with my works, trying to feel what direction they want to take, I consider that they have their own life, that they would tell me what they want to become. Also I want to have the capacity of listening, understanding, and practicing.
Finally, my works would often tell me many things, giving me a lot of inspiration.

Jin: What kind of exhibition setting do you like, why?
Effie: The exhibition setting is decided according to the form of the work. The best one is the one which can show the work in the best way. It depends on the work.

Jin: Thank you.




[7楼] art-pa-pa 2008-12-03 14:04:04

opening views...





the artist Sheng Jie...




Opening views.... Shopping gallery organized a barbecue....



















curator Juliette Yuan (on the right)











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