{"id":8016,"date":"2016-08-25T12:36:21","date_gmt":"2016-08-25T04:36:21","guid":{"rendered":"http:\/\/www.meishuwenxian.com\/?p=8016"},"modified":"2016-08-25T12:36:21","modified_gmt":"2016-08-25T04:36:21","slug":"%e5%88%98%e5%81%a5%ef%bc%9a%e5%8d%b1%e9%99%a9%e5%85%b3%e7%b3%bbbetween%e8%89%ba%e6%9c%af%e5%ae%9e%e9%aa%8c%e5%ae%a4%e4%b8%8a%e6%b5%b7","status":"publish","type":"post","link":"https:\/\/www.meishuwenxian.com\/en\/%e5%88%98%e5%81%a5%ef%bc%9a%e5%8d%b1%e9%99%a9%e5%85%b3%e7%b3%bbbetween%e8%89%ba%e6%9c%af%e5%ae%9e%e9%aa%8c%e5%ae%a4%e4%b8%8a%e6%b5%b7\/","title":{"rendered":"\u5218\u5065\uff1a\u5371\u9669\u5173\u7cfb|Between\u827a\u672f\u5b9e\u9a8c\u5ba4\u4e0a\u6d77"},"content":{"rendered":"

\"SEMOLQ3H0{EOS@6`9S@ZAPT\"<\/a><\/p>\n

\u6587\uff0f\u9676\u5fc3\u742a<\/p>\n

\u82f1\u6587\u6821\u5bf9\uff0fZee Peng<\/p>\n

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As LIU Jian\u2019s first solo exhibition, Dangerous Edge<\/i><\/em>\u00a0presents the artist\u2019s intensive artistic exploration in the most recent year from multiple angels: method, language, material, concept and context. Such exploration is based on the form of painting while goes beyond it. Through the material and method, we are able to understand Liu\u2019s attitude and concept\u00a0for his works. However, the material and method themselves are not the cores of\u00a0his art making;\u00a0they essentially reflect the repetitive yet evolving process of the artist\u2019s self-recognition in the past seven years. In addition to\u00a0the presentation of Liu\u2019s complete works, Dangerous Edge<\/i><\/em>\u00a0<\/i><\/em>also shows other works that were\u00a0developed from Liu\u2019s\u00a0art\u00a0materials as well as marks of his physical labors.\u00a0The extended works and the evidences of Liu\u2019s labor are supplements to bring the audience closer to the structure of the exhibition and the process of Liu\u2019s art making.\u00a0And they reveal to\u00a0the audience Liu\u2019s way of thinking in his art making process and the connections grew between the artist and matter during an elaborated time\u00a0of labor. No word from other people can better describe Liu\u2019s art practice and inner-transformation\u00a0than his own statement: \u201cMy artistic practice is indeed a history of failures. Its pricelessness comes from my acknowledgement of my failures and my effort of making use of them. The one that had been eliminated was actually myself, but not the materials.\u201d<\/p>\n

\"3N8A5246\"<\/a><\/p>\n

\"3N8A5162\"<\/a><\/p>\n

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By resonating with the artist\u2019s practice, the first part of the exhibition chooses Liu Jian\u2019s temporary and improvisational art making condition — waiting for the rain — to lead the audiences into his spirit world and understand his\u00a0attitude when creating.\u00a0Such choice isn\u2019t random; it in fact reflects Liu\u2019s periodical work status: every year he spends approximately four months in the field creating art. The connection between the outside world and his works naturally leads the exhibition into Liu\u2019s point of views on the material level. The materials in Liu\u2019s works gradually became obsolete during the erosion and exploitation of both natural and labor forces, but such degradation presented another unique spiritual power. For Liu, this process results a nearly machine-made, irreplaceable residue of workforce. The second part\u00a0of the exhibition makes a transition from medium to the connection between the artist\u2019s material-based creation to real world. The life fragments in Liu\u2019s works truly reflect the artist\u2019s emotion, sentiment and personal narrative, which demonstrate the indivisibility of his art practice and contemporaneity. The last part of this exhibition emphasizes the core concept in Liu\u2019s body of work: an intermediate state as if on a dangerous edge. This state indicates the artist\u2019s own paradox faced with the untrue reality and context of contemporary art \u2014 to avoid his work being defined by any art history or time, and meanwhile to avoid completely returning to the inner self. Liu\u2019s processing of the image also indicates his doubt on the current power structure of it. Liu\u2019s rebellion of the form of painting is not an escape from the gigantic power structure of art, but breaking a new path, whose method is actually based on the modernist painting \u2014\u2014 to seize the power of the image by a spirit regenerated from degradation. The realization of reconstruction of power system in Liu\u2019s work depends on the artist\u2019s denying of explicit standards through constant self-denying and replacing them with an immediate standard from a swing state on the dangerous power edge of the image.<\/p>\n

\"3N8A5150\"<\/a><\/p>\n

\"3N8A5173\"<\/a><\/p>\n

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In this dangerous zone, on\u00a0the edge, Liu\u2019s work contains irrationality and rationality at the same time. When we go beyond the work itself, the artist and the exhibition further raise a question needed to be solved: after countless times of pushing the limits, whether this automatic method of art making that is established through long-term practices\u00a0again inhibits the inner power of breaking the limits? In another word, would the pursuit of going beyond the limit itself become a shackle and create\u00a0a\u00a0new power structure?<\/p>\n

\u5f00\u5e55\u5f0f\u73b0\u573a<\/strong><\/p>\n

\"3N8A5253\"<\/a><\/p>\n

\"3N8A5144\"<\/a><\/p>\n

\"3N8A5157\"<\/a><\/p>\n

\"3N8A5170\"<\/a><\/p>\n

\"3N8A5173\"<\/a><\/p>\n

\"\u73b0\u573a\u8868\u6f14\u6d77\u62a5\"<\/a><\/p>\n

 <\/p>\n

\u5173\u4e8e\u673a\u6784<\/strong><\/p>\n

Between Art Lab \u4e3a\u4e2d\u56fd\u9996\u5bb6\u827a\u672f\u5b9e\u9a8c\u5ba4\uff0c\u6210\u7acb\u4e8e2013\u5e74\uff0c\u5efa\u7acb\u4e8e\u5317\u4eac\u4e0e\u4e0a\u6d77\u3002\u4f5c\u4e3a\u4e00\u4e2a\u66ff\u4ee3\u6027\u7684\u827a\u672f\u7a7a\u95f4\uff0c\u81f4\u529b\u4e8e\u62d3\u5c55\u5f53\u4ee3\u827a\u672f\u7684\u5ef6\u5c55\u6027\uff0c\u4fc3\u8fdb\u65b0\u827a\u672f\u5f62\u5f0f\u7684\u4ea7\u751f\u4e0e\u63a2\u7d22\u3002Between Art Lab\u5c06\u901a\u8fc7\u5c55\u89c8\u9879\u76ee\u8054\u901a\u591a\u5e73\u53f0\u4e4b\u95f4\u7684\u4e92\u52a8\uff0c\u63a8\u52a8\u827a\u672f\u4e0e\u8de8\u9886\u57df\u4e4b\u95f4\u7684\u4ea4\u6d41\u3002\u4ee5\u9c9c\u6d3b\u7684\u6001\u5ea6\uff0c\u4e3a\u7b56\u5c55\u4eba\u3001\u827a\u672f\u5bb6\u4ee5\u53ca\u827a\u672f\u673a\u6784\u63d0\u4f9b\u4e00\u4e2a\u4e2d\u95f4\u5e73\u53f0\uff0c\u5e76\u5c06\u52aa\u529b\u63d0\u4f9b\u591a\u91cd\u4fe1\u606f\u4ea4\u6d41\uff0c\u79ef\u6781\u8054\u901a\u79d1\u5b66\u6280\u672f\u3001\u5efa\u7b51\u3001\u8bbe\u8ba1\u3001\u591a\u5a92\u4f53\u7b49\u8de8\u9886\u57df\u4fe1\u606f\u7684\u5bfc\u5165\u3002\u5728\u4e00\u4e2a\u6b63\u5728\u5230\u6765\u7684\u65b0\u4e16\u754c\u8ba4\u8bc6\u4f53\u7cfb\u4e2d\uff0c\u4f34\u968f\u827a\u672f\u5bb6\u63a8\u52a8\u65b0\u827a\u672f\u5f62\u5f0f\u7684\u4ea7\u751f\u3002<\/p>\n

Founded in 2013, Between Art Lab is the first experimental art lab in China. Based in Beijing and Shanghai, BAL is committed to investigate and generate new art forms through exploring the extensibility of Contemporary Art as an alternative art space. By encouraging interactions and connections among various platforms through BAL\u2019s core exhibition projects, the lab is devoted to promote interdisciplinary communications between art and other fields. With enthusiasm and dedicated attitude, we provide an intermediate platform for curators, artists and art organizations, and strive to facilitate multi-layered information communication and the infusion of science and technology, architecture, design, multimedia, as well as other disciplines to the art world. In the coming world of a new cognitive system, Between Art Lab aims to boost the emergence of new art forms with the artists in our times.<\/p>\n

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