Racket of Cobwebs: Chinese Contemporary Art Group Exhibition

Ai Weiwei, Chen Fei, Chen Ke, Huang Yuxing, Liu Wei (b. 1965), Liu Wei (b. 1972),

Ouyang Chun, Wang Guangle, Wang Xingwei, Wang Yin, Xie Nanxing,

Yu Youhan, Zhang Xiaogang, Zhou Chunya

 

Curator: Amy Lee

07.08 - 08.13, 2020

Hong Kong

 
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Racket of Cobwebs: Chinese Contemporary Art Group Exhibition

 

Curatorial Statement

Discussions that use works of art as blueprints have long been divorced from materials or tools of production and other foundational elements; instead, they have expanded to encompass chance encounters and feedback that arose as they grew and developed. In the infinite extension of its chain of life, publishing labels serve as intermediate points and not endpoints. Humanity’s interest in the process of spiders making a web has almost completely disappeared, and the arrangement, reorganization, hunting, and counterattacks that take place after the cobwebs form have become the subjects of a new kind of observation. However, artists are not content to have their subjectivities taken as samples to be observed, and with their rackets of cobwebs, they echo society’s voices. The best works that arise out of this back and forth are rackets that have survived countless tests, and in different contexts, the artists’ reactive movements and hitting methods reflect a personal style.

 

In the course of globalization, a generation of artists has collectively sought out precise coordinates for Chinese contemporary art. Eastern contexts and spiritual signs are instruments of attack that can be used at any time, and whether in China or abroad, Chinese artists existing alone and confronting various challenges in the art world often find this overwhelming. However, the most important thing, an individual life, is overlooked, and so the first group of artists started to explore their inherent foundations, building and weaving their own styles and fashioning a shield of cobwebs.

 

This shield does not have superficial, traditional Eastern characteristics, nor does it respond to the Western media’s clichés about the unfamiliarity of Chinese culture. Therefore, it uses dynamic coordinates to fight back against the intense provocation of constantly being questioned; it transforms itself into an active element in a relationship network and contributes nodes to this extant yet amorphous network in real time. A sustainable ecosystem that nurtures cobwebs changes its structure in response to constant counterattacks, bringing out the new and providing inspiration and support for a new ecosystem.

 

In the highly entropic stage at the end of every rapidly-developing process, cobwebs absorb these conflicts with their soft embrace, then present a product in their structural features. It is avant-garde not because it provides clever visual perspectives or displays impressive techniques, but because it is omnipresent in battle, and because it absorbs the things that occasionally control or restrain individual or collective emotion in a space. The act of hitting a ball is just a hypothetical, but it has intrinsic, unique properties that are related to our understanding of the dialogue between artists and viewers. Extending the concept of dialogue to the bodily dimension, the interlocking cycles formed as times change, as history cycles, and as regions shift, as well as the artists’ analysis and organization of their artistic ideas, are condensed into a site that allows for the casual contemplation of ideas. The artists in this exhibition coincidentally chose this “racket of cobwebs” strategy. From accumulating the energy to spinning a web to wielding it freely, this one coherent, smooth movement could highlight the driving forces in the competitive arena of this new era.

 

​Curator:Amy Lee

 

Download Curatorial Statement

 
Portrait Mao

Portrait Mao

Yu Youhan Acrylic on canvas 130 x 110 cm 2006

Abstract 2018·7-2

Abstract 2018·7-2

Yu Youhan Acrylic on canvas 154 x 127 cm 2018

My Father and Mother

My Father and Mother

Liu Wei (b. 1965) Oil on canvas 104 x 84 cm 1993

Who am I ?

Who am I ?

Liu Wei (b. 1965) Oil on canvas 200 x 150 cm 2001

In-Out Series No.4

In-Out Series No.4

Zhang Xiaogang Oil on canvas 170 x 330 cm 2006

Marble Plate (No.1)

Marble Plate (No.1)

Ai Weiwei Marble plate, Iron wood 175 x 70 x 70 cm Artwork size: 27.5 x 50 x 27.5 cm 2009

Nine Cans of Acrylic

Nine Cans of Acrylic

Wang Guangle Acrylic on canvas 76 x 51 cm 2004

Wave

Wave

Liu Wei (b. 1972) Oil on canvas 200 x 420 cm 2005

Spell of Moon

Spell of Moon

Huang Yuxing Oil on canvas 180 x 40.6 cm 2001

Treasure

Treasure

Huang Yuxing Acrylic and oil on canvas 172 x 276 cm 2012

Dance

Dance

Chen Ke Mixed media on canvas 160 x 110 cm 2015

Dog (female)

Dog (female)

Zhou Chunya Fibre-reinforced plastic 105 x 42 x 115 cm 2008

Green Dog (male)

Green Dog (male)

Zhou Chunya Fibre-reinforced plastic 105 x 42 x 115 cm 2008

Missing

Missing

Chen Fei Acrylic on canvas 80 x 100 cm 2011

Untitled

Untitled

Wang Xingwei Oil on canvas 80 x 100 cm 2005

Down the Stairs Woman

Down the Stairs Woman

Xie Nanxing Oil on canvas 120 x 100 cm 2002

Fate of a King

Fate of a King

Ouyang Chun Oil on canvas 185 x 280 cm 2008

Flower

Flower

Wang Yin Oil on canvas 180 x 247 cm 2001

Online Walkthrough
 
Curator

 

Amy Lee

 

Amy Lee graduated from the Art Management Department of Central Academy of Fine Arts and later gained FMBA degree from the Cheung Kong Graduate School of Business. She worked for the Beijing Times and was a senior expert in Modern and Contemporary Art Department for Poly Auction for eight years, as one of the crew members setting up Chinese New Paintings Session. She currently serves as the curator of modern and contemporary art and the founder of Seamew Culture.

 
Inquiry

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Hong Kong

10/F, H Queen's,

80 Queen's Road

Central, Hong Kong

TANG Art Foundation

7/F, M Place, 54 Wong Chuk Hang Road, Hong Kong

Bangkok

Room. 201 - 206
River City Bangkok,
23 Soi Charoenkrung 24,

Bangkok, 10100, Thailand

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Chaoyang Dst. Beijing, China

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