ON DRAWING - VISIBILITY OF POWER (group)
... closes in 45 day(s)Jan 7, 2017 - Mar 10, 2017
|Opening||Jan 7, 2017, 15:00, Saturday|
J: GALLERY (Shanghai, China)
|Artist(s)||Harry Bix, Chang Yuhan, Chen Ying, Cheng Tingting, Lin Yilin, Liu Yujia, Liu Yefu, Qian Jiahua, Ren Jie, Shi Jiayun, Tao Siqi, Zhan Jia, Zhuang Hui|
J: GALLERY (Shanghai, China)
EXHIBITION SYNOPSISAbout On Drawing - Visibility Of Power
Statement by Lu Mingjun
This is a project concerning “Drawing”. The project is constituted by two parts (or two exhibitions): one is On Drawing: Visibility of Power, the other is the group show On Drawing: Apperceive of Liberation,opened 13th December 2016 at Wuhan Art Museum.
In the exhibition On Drawing: Apperceive of Liberation, the exhibited works do not necessarily possesscommon elements of “Drawing”; in fact, the gaze, the body and imagination ofthe artist constitute a kind of “Drawing”. What I have been interested with isthat as a medium of perception (or way of “Drawing”), how “skin” can straight forwardly represents contemporary social life and its cultural agency. Or we can rather interpretit as a “new” form of Pop Art. It is not my intention to offer too manycomplicated thoughts in this exhibition, it is even not necessary for the be holders to stay in front of a work too long; it is rather an exhibition thatcontras exhibition guide.
The two exhibitions share a common ground: that Visibility of Power does not derived from a strict definition orour general experience of “drawing”, but to look back to “drawing” as anessence, or the point of genesis of art, to re-observe and re-discuss itscontemporary operative system, i.e. the intrinsic motivation, impetus and relations,disorder, etc.; for example, reciprocal gravitation and balance，including tension, combat, and finally apossible separation and disorder. For this part I especially choose 13 invisible,more “abstract” cases of “Drawing”. If the Apperceiveof Liberation fabricates a “plane of culture”, Visibility of Power then attempts to search for a “line ofperception” that goes deep into the mechanism of the physics (i.e. objects (物) and logos(理) of human perception and imagination; at the endthat could be a line, a grid, or a crystal complex. Albeit some of the works onshow are not visually abstract, what the exhibition seeks to test, to consider,or intends to awaken, is their internal abstract power. The key issue is thatthis self-reflective intrinsic power activates simultaneously the realisticorganisms that have been thoroughly abstracted.
The media or the topics artists choose to engage with become subsidiary,however, it does not mean that the power of abstraction is universal or homogeneous;here the “Drawing” differs from the logic of its power. Apart from variousforms of artworks, the intellectual strata of the exhibition are represented inits rich, yet invisible perceptional dimensions. Theso-called “visibility” is a symptom of individual awareness, sensation andmind, at the same time it could lead towards some kind of social resistance or reaction.The word “power” and “visibility” in fact are keywords that frequently appearin discourses on contemporary Chinese politics, society, culture and ideology.
Through this new syntax of space or time, this exhibition seeks toreinvestigate a new form of political poetics. When we venture to partially extractdifferent active power agencies, the process very much resembles that of“Apperceive of Liberation”, which similarly relies on the astute perception andapprehension of the artist. Contemplation and analysis are inevitably there,but text and opinions are not the prerequisite or focus of the parole. Hence this demonstrates againthe connection between these two exhibitions, or rather, they constitute the binaryaspects of one single exhibition.