Lustre
dal 24/3/2003 al 11/4/2003
Segnalato da
24/3/2003
Lustre
CAAW - China Art Archives and Warehouse, Beijing
Works by Yu Fan & Liu Ding. In this view the reading of a work of art endures a travel through layers of different deconstructing passages, editing its value in a superficial appearance, whose significance is always-at first sight-buffling and undisclosed.
In his assay Presence and Resistance critic and writer Philip Auslander states that in our present mediatized culture we can't possibly justify the traditional ontological association of evanescence and disappearance between a live performance and the riproduction or filing by mediatic tools.
In this view the reading of a work of art endures a travel through layers of different deconstructing passages, editing its value in a superficial appearance, whose significance is always-at first sight-buffling and undisclosed.
The soft brightness of smooth and shining surfaces is for the players presented in this 'two-man- show the common ephemeral medium by which 'dissimilar subject matter and psychological experiences are lead to a new boundry'(From the intorducing assay written by Ai Weiwei).
Two lustres (thus 10 years) run between Liu Ding (1976) and Yu Fan(1966), the first a young artist coming from Nanjing and the second a well-established sculptor teaching at the Central Academy in Beijing.
Despite their generational differences the works exhibited here at CAAW and put togather by Ai Weiwei shares the dazzling magical nature of the spellbound.
The gigantic sculptures by Yu Fan (as Hallo, 1999 -100x100x320 cm; Horse, 2002 -220x50x195cm; San Sebastiano, 2001 -55x70x165cm) are fixed up with a unique kind of texture and colour, where the technical polishness and ripeness of method as well as the minimal rendering of the portraited subject are evidence of an underground inner world still confused and misleading, whereby the unpredictable universe he's constructed hides within the glimmering effect of the spray painting (i.e. car varnish) he uses to cover those objects.
A silver mane horse, a saint, a waving Mao Zedong, a 'personal-tower' they all bear the secrets of a personal path searching for grips, be it in art or life, in what one can see in it's own visual experience.
On the other hand Liu Ding, whose experiments have been playing with installation and potograpfhic media, are the result of a unitary muse.
A silver life-size tooth drowned in a 10.000 watt flow of light (Silver Tooth, 2002 -installation work), capsules mushrooms, n.5 capsules hanging dipersed all over in his installation and photographic works are unexpected risults of a clearcut and conscious replacements of ultimate answers (Fragrant Essence Good for Spring, 2002; Chinese Mushroom - installation, 2002 and photography, 2003; Mushroom - installation, 2002 and photography, 2003).
Liu Ding is fascinated by the texture and phisical appearance of things and uses it as the platform for arguing on the liability and legitimacy of their existence. You can only think about what you can see (2002)was an installation work made up simply with a mirror. Thus under the apparent confusing consistence of his unpredictable objects hides a meaningfull set of ontological rules inspired by the observation of everyday life details in the ingenious inventions of a thoughtfull new arrangement.
Existence is for both of these two artists a multilayered set of images taken from the stock market of the real world and the visual kingdom which history keeps on reinterpreting.
China Art Archives & Warehouse
P.O.Box 100102 - 43
Beijing