"Law of Averages" Liu Shuiyang Solo Exhibition
City: Beijing
Curator: Wu Hong
Duration: 2017-09-23 ~ 2017-10-15
Opening: 2017.9.23,15:30
Venue: Common Art Center
Address: A2 Zuiku International Cultral Center Park,A8,Caochangdi Street,Airport Road,Chaoyang District
Participating Artist(s): Liu Shuiyang

Planner:Zhao Yi

In Liu Shuiyang's recent works, we can see his consistent language mode, that is, by changing the material properties of object, separating the relationship between signifier and signified in its usual meaning logic, so as to have the possibility of injecting new interpretations in this semantic gap, as well as a series of re-thinking of transforming the physical properties of the material to cultural attributes and social attributes. Therefore, revaluation is both his artistic language rhetoric, but also the extension base of the concept of his works.

The series of teaching aids in this exhibition, are the classic plaster teaching aids in art education system that is long term and institutional, which are re-molding and casting into new “sculptures” after packing with other materials and changing their detailed features. When facing such "sculptures", whoever has some so-called professional knowledge background can distinguish its "prototype" of a plaster model through its dynamic and volume characteristics; however, the disappearing of detailed features also brings fuzzy of "classic" legitimacy.

The thinking that arises here is whether excessive technological exploitation has brought about the disappearance of subject cultural features after homogenization? Meanwhile, it is puzzling that the ambiguity and disappearance of subject's cultural identity are also bidirectional.

His implied paradox lies also in that, under globalization logic featured as average and homogenization, the disappearance of differential aesthetics based on individual differences, is a kind of progress or a degeneration for the overall cultural development of human?

——Wu Hong

As a type of cultural product, western classical sculpture has been constantly consumed by artists, the consumption of the artist has replaced the original definition of sculptures, giving new meaning to these classical sculptures. This is also a kind of production process. Marcel Duchamp called such a process as putting an object into a new play and treating it as a character in a story.

Classical sculpture formed a completely different external form in a folded package, the original structure is changed into another image existing between the concrete and the abstract. The original message conveyed by classical sculptures is completely covered, giving the sculpture a new meaning. This meaning is a subversive consumer behavior, which ends the fate of sculpture as specific purpose, impacts the different understanding towards aesthetic, and brings questioning and challenge towards standard. It prompts that there is a difference between ideal beauty and reality, that is to say, the standard of art is not inborn, unchangeable and unchallengeable.

Art is liberated from the narrative which is controlled by teleology, and presents numerous and complicated diversity and difference. These sculptures convey information and images that are different from original creations after re-transformation and production. This is the end of art as said by Danto, art is liberated from the functions, becoming more personal and more free.

——Liu Shuiyang


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[Editor] 张艳