Interview|On Behalf Of: Kate
I think there are a lot of very interesting things in the process of finalizing the program with everyone, that is, everyone’s understanding of the masterpiece, although they don’t know each other, is slowly moving towards a trend. For example, the artists who created this exhibition in the medium of painting, such as Zheng Haozhong, Tang Dixin, Shen Han, and I think Li Weiyi’s painting is also a kind of reflection on painting.
In fact, all of them have gone to a very random state of painting in this exhibition, a state like returning to a child’s state, that is, painting whatever they want to paint, that is, a bit of scribbling. I think the attitude of painting in the studio is relatively serious, but in this exhibition, it has been turned into this kind of feeling. I think there are also many other works that have a feeling of the present, which is actually the present, and some of them are newly made, so it is impossible to escape the feeling of time and space that we are in now. The beginning of this feeling.
For example, Yang Jian’s work, which is actually a work he did more than ten years ago and then he showed it again, is actually about the end and the beginning of this work, that is, how to start again. I think it fits very well with the present, that is, with the current moment we are in, how to start again after experiencing a point or whether we want to start again, which is one of his own. In fact, I made a cut, like, to cut out some of the feelings of everyone. (Question: How did you think of finding these ten or so people at the beginning?) At the beginning, I actually knew some of them, and some of them were introduced by friends I knew, which was more important to me in terms of participation. The first thing is that I think their works are interesting and fun, and I am willing to respond to them with a little humor and jokes. The second thing is that when I talk to people about the project, I really need the artists to really participate in it and make an exhibition. The exhibition is not a habit, not a work that I like, you are responsible for helping me to connect with me for transportation, not just handing over these things. For me, this exhibition is not like that, so when I go to talk about it, I think it is very delicate, I will capture whether they want to play together or not. I think there are many objective factors, for example, the exhibition may not take that long to set up, or some people are not that fun-minded, so I think this kind of fun-minded participation is one of the factors I consider when I talk to people. (Question: How long does it take to set up the exhibition?) Actually, the exhibition was set up quite quickly, about four or five days. But almost all the artists were there when the exhibition was set up, like this part of Tang Dixin’s wall, which we all painted together. (Question: What do you think is the most difficult part of this exhibition?) In fact, this exhibition is very unconventional, its first unconventional is that Yang Jian opened this unconventional part, that is, he very much wanted to dig a hole in the ground and then many art institutions may hesitate to do so, we also communicated for a long time and finally this thing took shape. Since he needed to dig the pit, the pit had to be dug earlier or the other works might not be able to dig while setting up, so he dug a pit first, and everyone came and slowly felt the unusual way of setting up the exhibition, so everyone started to be infected by the atmosphere. For example, Ge Yulu said, “When I came I saw a footman. He said, “I think the feeling of looking up at it from a height is very good and fits well with my works, so I want to hang my works on this scaffolding, and on the plane of the scaffolding, so I have to look up. And his work also happens to be a masterpiece that he imitates Li Liao. So he half-jokingly said, “I hope everyone will look up to Li Liao’s work. In this way, he acknowledges the representative status of this work, and his imitation fits in very well with the way of this exhibition. (Question: Is the work of Li Liao mentioned just now the one made this time?) In fact, I think Li Liao’s work has an interesting point, because I remember that when I talked to him, he asked to find a photographer to shoot him. He had never done this before, he used to have a plan or a program like this and then he went to shoot it, so in fact his uncontrollable factors may not be that big, for example, this time we directly gave him someone to find a new work, so I think I can’t see what the other half of this work is like, I only know that he I only know the framework of this work in advance, so I also had a few phone calls with Li Liao at that time. He said he thought about it for about a week or so, he felt he still wanted to do it, so he told me, I said then I also want to think about it, I probably also thought about it for more than a week I called him again I said, that this thing actually you want to do this work is a bit like let me accompany you to bet a hand, that is, you this work in the end can not do out. This is the kind of work that may be a more essential thing he wants to present can not be done. Then Li Liao said, “Of course you have to believe in the artist, of course you have to bet with me. I said, “Okay, let’s gamble with you to make this work. (Question: Li Liao’s work was not introduced in the three videos, can you tell us a little bit about it?) This is his intention, he does not want people to have an excessive interpretation of this thing, in this is, this I still do not say, I want to respect his opinion, is to let the audience to see for themselves. But one thing about this arrangement is that it is quite good and fits this. That is, we go in there are three is the same as three Li Liao surrounded by everyone. In fact, I think this is such a feeling that he wanted. (Question: What kind of person is standing there shooting him?) It’s a person he randomly found who is willing to photograph him. (Mentioning Li Liao’s last work) It’s Li Liao’s physicality in both of them, he’s always been a very physical artist, and he wants to intervene in a way. (Question: Do you think his focus is more on the kind of things between the genders?) I think this is an afterthought, that is to say, we look at it and see if we feel that there is gender or power or whatever on it. But I think when he was shooting, it was a natural thing, he wanted to capture the most real thing, so it was an instinctive thing. (Question: What do you think about this kind of work that has exchanged places as a curator?) This is what I said just now, that is, I think it is not very controllable, because I think in the past, Li Liao still kept the control in his own hands, and of course, he has been playing with this way of handing over the story. But I think this time he is more interested in handing over this work to me, so I think this is the place to go to gamble with him to see if this thing has achieved an effect that he is satisfied with (Question: From my point of view, I still feel that I want to create a masochistic feeling, and I want to talk about it from your curatorial point of view). What Li Liao wants is such an effect, you can say that there is a tendency of masochism or Sade, but he also wants many people to go in and say, “Hey, he is in isolation! (Q: So let’s talk about Zhou Yilun) I think Zhou Yilun is an artist with a very strong style, that is, for him, what I can intervene with him is not that strong programmatic, I think I can intervene with him not a lot, but what he has done is to hang a lot of hats on three crosses, and this hat he wants to sell in the exhibition hall, and then after selling it, it will The cross is actually nailed with a lot of nails, and the nails are supposed to be ship nails or coffin nails. In fact, when you buy the whole thing, his work is actually a little bit scary, maybe a little bit eerie, I think, but if you go in and look at it directly now, you will feel that this work may be more of a playful feeling. I think one of the strong points of Zhou Yilun’s work is that he can interact with the whole exhibition and play well with everyone. I think Zhong Yunshu is also a person with such qualities, and they can both work well with the exhibition and with other people in the exhibition. In an exhibition that requires participation, they are a very good match for this kind of role. (Question: What about Zhong Yunshu?) Zhong Yunshu gave me a proposal at that time, and she said that the whole proposal gave me a PDF theme. She said, how to embarrass the audience with boring works. Then I think such a sentence actually read is the feeling of this person Zhong Yunshu. Then I think she made such a is more out of the exhibition of this is the noise, clutter. In fact, when you see her works at the door or when you see the whole exhibition back at the door, you will feel that Zhong Yunshu’s works are quite refreshing when you look to the right, but she does not conflict with the whole exhibition, in that kind of intense visual or some unusual way of display, you will also feel very comfortable when you see Zhong Yunshu’s works after seeing all these impacts. Zhong Yunshu is a person who makes people feel very comfortable, including you chat with her or something you will feel very comfortable, very refreshing kind of feeling. I think her work is her, so I don’t have anything to say to her about you in this work, because her work is her, and her state is also her when she does her work, so I think this is very rare and very good. She doesn’t think too much (Q: Can you tell us about Hu Qianqian’s work from your curatorial point of view?) I think Hu Qianqian’s work is to a large extent part of our exhibition, because I’m not sure if another exhibition or another curator would come up with such a proposal or if he would want everyone to cooperate with him. Because if it’s a possible other artist he doesn’t really know or something like that, he might not be so active to propose a program that requires everyone’s cooperation. I think this work may be a state of his in the past few years, he has transformed from an artist to a gallery owner, especially he used to do mainly performance, so there is more or less an act that is very front stage, very out, very performative and dramatic. But now, after becoming a gallery owner, he may be more interested in the relationship between himself and the art world and the artists, and how to adjust these connections. These connections have become a homework for him. That’s why he didn’t come out of this work in particular. He made a classroom and he didn’t say I’m going to be a teacher, he didn’t say I’m going to be a narrator, he was just inside the group but he initiated such an activity. So I think it’s quite similar to his current identity, and it does represent his current state. He is a gallery owner, but when we meet Hu Qianqian, we don’t think you are a pure gallery owner. You still feel that you are a very fun person, you still feel that you used to make works, you may also make works in the future, but now you are a role that is still active in the art world. (Question: What do you think of the gallery as an institution in your eyes?) I think the gallery will be replaced soon, I think I’m probably talking about China, because galleries have been around for a long time, if you look at the earliest. It may first have this kind of art dealer and then slowly developed into such an art institution. But this relationship may still be relatively a bit awkward such a state. How does a gallery really nurture and support an artist. Then I think that maybe in China, because I pay more attention to the state of the artist, I will be more and more spontaneous to try to make a way to go beyond the gallery step. I think a good gallery can mainly play with the artist and be a person who really knows how to play or loves to play. But maybe I’m just my own personal opinion, because I’ve seen a lot of friends around me who are trying to figure out a way to become a kind of institution, and then maybe most of them are mobile. Another thing is that the gallery is not so liquid, I think the whole trend is actually more and more towards liquidity. (Question: What do you mean by liquidity?) Galleries always need to meet the needs of the public, and this public includes the general art audience and collectors who need to buy. Then the gallery needs to have a display space of this kind. If you say I open a gallery but I do not have an address, then this thing is not accepted. But I think that if you have an address, then you have the cost, and you always have to do this kind of business. So whether you can break away from the business to do something with the artist that is purely based on the artist’s creation first, this may be a little bit difficult for many galleries now, because the economy may not be very good in these two years. Then I think artists tend to be a little bit tired now, that is to say, a gallery’s exhibition is more of a homework exhibition. Or it is more of an art market exhibition. I think this is the core of the art world, so what are we still doing? (Question: I mentioned earlier that I hope artists will play together so that they can be more creative, but is there such a thing as the Ivory Tower?) I think when you say ivory tower, do you think that you don’t care about the outside world and don’t have a connection with it? What kind of exhibition do you think is not an ivory tower? Do you think there is a conflict between social involvement and creativity? Do you think intervention will limit imagination? I don’t think I will ask them or have a tendency to say that we block out the outside world and we will just go play by ourselves this time and get high or whatever. I think the first thing is to stimulate each other, and the second thing is to do this exhibition, the whole process of this exhibition, maybe I just need them to be present, when they are really physically in this space, you believe in this thing, kind of like believing that a miracle will happen, kind of like believing that you are here, you are in this space, you have a kind of freedom when you are in this kind of time. freedom. You just can go and propose whatever you want to do. And then we come to the point when this thing comes up I want it to be free, like birth, when you’re in the belly you’re free. But when you break out of the shell, when you come into contact with the world you always have this element of reality, you can’t say I’ll just say this thing and come out, then this thing it is really very ideal and very ivory tower. But when it is in the process of production in this space, then I think this thing is more or less a little bit of intervention. After all, these artists are not children, they are not really an idealized thing. If you are creative when you are inside or when you are creating, but as a human being, we have been living in a social group for so many years, you must have some subconscious things that are suppressed, then this thing will come back naturally. The more creative you are, the more powerful this thing will return. Then this thing is that when you create under the more relaxed and free condition, the stronger it will appear.