{"id":15100,"date":"2015-04-30T10:40:00","date_gmt":"2015-04-30T10:40:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15100"},"modified":"2023-10-26T10:51:06","modified_gmt":"2023-10-26T10:51:06","slug":"begging-to-differ-two-critics-on-wang-jianweis-time-temple","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/begging-to-differ-two-critics-on-wang-jianweis-time-temple\/","title":{"rendered":"Begging to Differ: Two Critics on Wang Jianwei\u2019s \u201cTime Temple\u201d"},"content":{"rendered":"\n

It can happen that exhibition reviews are worth reading not only in relation to the show in question, but also\u2014or more so\u2014when pitted against each other. This is certainly true for \u201cTime Temple\u201d<\/strong><\/a>, Wang Jianwei\u2019s recent solo project for the Guggenheim (ultimately destined for the Robert H.N. Ho Family Foundation), which included sculpture, painting, performance and an hour-long film. The exhibition gained mixed responses\u2014many were less impressed than by Wang\u2019s previous work\u2014and two reviews stand out.<\/p>\n\n\n\n

Robert Morgan is a contributing editor to Asian Art News<\/em>; Richard Vine is the senior editor at Art in America<\/em>. Both felt compelled to cover \u201cTime Temple\u201d at some length. Vine wrote \u201cA Chinese Metamorphosis\u201d \u2014the longer piece including a potted history of Wang\u2019s practice from birth through to the artist\u2019s pet theme, \u201ca gray zone of uncertainty.\u201d Vine finds Wang\u2019s \u201cembrace of pure formalism\u201d at the Guggenheim a \u201cmystifying\u201d departure from the socio-political thread his work had followed before; he notes Wang\u2019s comments with a degree of weathered skepticism: \u201cWang replied, as he often does, in an enigmatic monk-like fashion\u2026,\u201d and chose to open the review with \u201cI want to terminate Chinese contemporary art\u201d\u2014one of the artist\u2019s more direct (though still oblique) remarks. While Vine\u2019s review is seasoned with such morsels, its premise is largely to look at this show as part of the bigger picture of Wang\u2019s oeuvre and of the Guggenheim\u2019s programming. Indeed, the museum\u2019s name pops up frequently in Vine\u2019s text, and not just in the captions: who commissioned and curated this show, its budget, time scale and the \u201cpurchase plan\u201d which \u201cleaves the institution buying a pig in a poke\u201d; \u201cPay $10 million; get three exhibitions.\u201d Robert Morgan, however, steers clear of these details, burrowing as he does into the works\u2019 premise and form.<\/p>\n\n\n\n

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Robert C. Morgan for Asian Art News; Volume 25 Number 1 Jan\/Feb 2015<\/figcaption><\/figure>\n\n\n\n

For Morgan is ready to entertain Wang\u2019s formalism in no uncertain terms. Signaling this, his review is called \u201cTime Temple: Rehearsal In Search Of Form.\u201d (Vine\u2019s title echoes instead the eponymous nationalism of Art in America<\/em> and a step back from the work in isolation). With respectable mention of the curator and the Ho Foundation, Morgan acquiesces to the show\u2019s claim: \u201cthe rehearsal of a paradoxical object\/event called Time Temple<\/em>\u201d, and proceeds with initial paragraphs laced with artist quotes and references to Wittgenstein, Confucius and Taoism and concluding with this difficult remark from Wang Jianwei: \u201cUniversality is vigilant toward any kind of particularity in order to clear away the remnants of details from the interpretation of things\u201d. Checking himself, Morgan reverts to an extremely detailed description of all the works in \u201cTime Temple\u201d; except for the film (\u201cThe Morning Time Disappeared\u201d, based on Kafka\u2019s \u201cThe Metamorphosis\u201d) that is, which is not mentioned at all. Vine does comment caustically on it, saying, \u201cWang\u2019s narrative pacing is stately\u2026and we are locked outside the protagonist\u2019s mind\u2026. Unfortunately, none of these tweaks are improvements.\u201d One wonders why Morgan\u2014otherwise precise in his descriptions\u2014ignored it.<\/p>\n\n\n\n

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Richard Vine for Art in America; Volume 103 Issue 1, Jan 2015<\/figcaption><\/figure>\n\n\n\n

While Morgan does allow some concession to viewers (and his readers) for the potentially obfuscating, overly \u201cconceptual\u201d manner of the show, his article effectively adopts a similar style, falling in with the exhibition\u2019s proposals. His analysis is impressive and sustained. What\u2019s more, he finds that the wooden have their \u201cown character,\u201d with \u201cexquisite finish\u201d and striking details. The crunch comes when the dogged Morgan, on his third visit to the exhibition, turns by chance see the sculptures align to form a visual and conceptual whole: \u201cI knew I had reached the universality of the form that Wang Jianwei had in mind. It was literally as clear as a bell.\u201d Such rapture evaded Vine who, blinded by the project\u2019s \u201cover-determination\u201d in the exhibition texts, found his patience tried by \u201ca show that is respectable but inert, emotionally numb and numbing.\u201d For him, there was no \u201cholistic ensemble\u201d of the sort that delighted Morgan; Vine was left asking \u201cWhat is the key insight that these paintings and sculptures offer? Simply that things\u2026look different at different times, from different perspectives\u2026do we really need a full-dress museum exhibition to remind us of this basic perceptual fact\u2026.\u201d<\/p>\n\n\n\n

In the end, both critics are satisfied that this exhibition happened, finding much to say about it. But where one was tickled by its formal exercise\u2014\u201cThis is the profound beauty of \u2018Time Temple\u2019\u2026Once it is seen, the rewards follow\u201d\u2014the other refuses to play lap-dog to the Guggenheim\u2019s maneuvers with \u201ca show that is more compelling as a diplomatic move by the museum than as an art experience for the viewer.\u201d<\/p>\n\n\n\n

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Wang Jianwei, \u201cTime Temple 2, wood, rubber, and steel; five parts: one part 196 x 152.5 x 123 cm; one part 150 x 220 x 117 cm; one part 147 x 97 x 102 cm; one part 35 x 60 x 35 cm; one part 35 x 60 x 35 cm, dimensions vary with installation, 2014. (Solomon R. Guggenheim Museum, New York; The Robert H. N. Ho Family Foundation Collection)(This work was created on the occasion of the commission Wang Jianwei: Time Temple, presented at the Solomon R. Guggenheim Museum, New York, and made possible by The Robert H. N. Ho Family Foundation) (All works by Wang Jianwei \u00a9 2014 Wang Jianwei, used by permission)<\/figcaption><\/figure>\n\n\n\n
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Wang Jianwei, \u201cTime Temple\u201d, acrylic and oil on canvas, 210 x 301 cm, 2014 (Solomon R. Guggenheim Museum, New York; The Robert H. N. Ho Family Foundation Collection)(This work was created on the occasion of the commission \u201cWang Jianwei: Time Temple\u201d, presented at the Solomon R. Guggenheim Museum, New York, and made possible by The Robert H. N. Ho Family Foundation) (All works by Wang Jianwei \u00a9 2014 Wang Jianwei, used by permission)(Photo: Xu Boxin; courtesy the artist)<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

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Wang Jianwei, \u201cThe Morning Time Disappeared\u201d, digital color video with sound, 55 min., 8 sec., edition 1\/5, 2014 (Solomon R. Guggenheim Museum, New York; The Robert H. N. Ho Family Foundation Collection)(This film was produced on the occasion of the commission \u201cWang Jianwei: Time Temple\u201d, presented at the Solomon R. Guggenheim Museum, New York, and made possible by The Robert H. N. Ho Family Foundation) (All works by Wang Jianwei; \u00a9 2014 Wang Jianwei, used by permission)<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

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Wang Jianwei, \u201cTime Temple\u201d, acrylic and oil on canvas; four panels: 258.5 x 205.5 cm each, 258.5 x 822 cm overall, 2014 (Solomon R. Guggenheim Museum, New York; The Robert H. N. Ho Family Foundation Collection)(This work was created on the occasion of the commission \u201cWang Jianwei: Time Temple\u201d, presented at the Solomon R. Guggenheim Museum, New York, and made possible by The Robert H. N. Ho Family Foundation) (All works by Wang Jianwei \u00a9 2014 Wang Jianwei, used by permission)(Photo: Xu Boxin; courtesy the artist)<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

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Wang Jianwei, \u201cTime Temple 4,\u201d 2014, wood and paint, two parts: one part 340 x 124 x 58 cm; one part 90 x 211.5 x 101.5 cm, dimensions vary with installation Solomon R. Guggenheim Museum, New York,\u00a0 The RobertH. N. Ho Family Foundation Collection. This work was created on the occasion of the commission Wang Jianwei: Time Temple, presented at the Solomon R. Guggenheim Museum, New York, and made possible by The Robert H. N. Ho Family Foundation. All works by Wang Jianwei \u00a9 2014 Wang Jianwei, used by permission<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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