{"id":10747,"date":"2014-06-13T06:21:00","date_gmt":"2014-06-13T06:21:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10747"},"modified":"2023-04-21T06:36:05","modified_gmt":"2023-04-21T06:36:05","slug":"subtle-levels-of-involvement-the-8th-shenzhen-sculpture-biennale","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/subtle-levels-of-involvement-the-8th-shenzhen-sculpture-biennale\/","title":{"rendered":"\u201cSubtle Levels of Involvement\u201d: the 8th Shenzhen Sculpture Biennale"},"content":{"rendered":"\n<p><a href=\"http:\/\/www.randian-online.com\/np_event\/the-8th-shenzhen-sculpture-biennale-we-have-never-participated\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The 8th Shenzhen Sculpture Biennale: We Have Never Participated<\/strong><\/a><\/p>\n\n\n\n<p><strong>OCT Contemporary Art Terminal<\/strong>&nbsp;(<strong><\/strong>OCAT Hall A, Hall B, and OCT Loft B10, Enping Road, Overseas Chinese Town, Nanshan, Shenzhen\uff09<strong>May 16\u2013Aug 31, 2014<\/strong><\/p>\n\n\n\n<p>Situated at the center of the exhibition venue of the Shenzhen Sculpture Biennale, the Research Station is a comfortable reading space specially designed by Sheila Pepe. You stand in the center of it, barefoot, flipping through some literature on the exhibition\u2019s off-site projects; on the adjacent bookshelf are some thirty books related to participatory art and social art interventions. Of three indoor venues at the Shenzhen Sculpture Biennale, the Research Station also houses documents related to Ahmet \u00d6\u011f\u00fct, Zheng Bo, and others. You could say this colorful woven textile piece is the heart of the exhibition; it is more than a simple spatial installation, symbolizing the nerve center of the entire biennale. Through Pepe\u2019s work, the curator emphasizes the essential connections binding conceptually oriented political aesthetics with an aesthetics of materiality based on artistry. Meanwhile, at the other end of the site, Chen Shaoxiong\u2019s \u201cInk Media\u201d has been installed at a vantage point high enough to broadcast the artist\u2019s video work throughout the entire exhibition hall, underlining the political tenor of his piece. When you raise your head to watch this animated work on street protests, you are reminded that underlying Joseph Beuys\u2019s concept of \u201csocial sculpture\u201d, referred to in the exhibition, there is a layer that is linked to direct democracy.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-64.png\" alt=\"\" class=\"wp-image-10748\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-64-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-64-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-64-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-64.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Sheila Pepe, \u201cFor the People\u201d, installation, 2014<br>\u5e0c\u62c9\u2022\u4f69\u4f69\uff0c\u300a\u4e3a\u4e86\u4eba\u6c11\u300b\uff0c\u88c5\u7f6e\uff0c2014<\/figcaption><\/figure>\n\n\n\n<p>Though previous curators for the Shenzhen Sculpture Biennale have expanded upon the definition of sculpture, in this eighth Biennale, the curator Marko Daniel still symbolically chose to build his curatorial discourse around the term \u201csocial sculpture\u201d as a point of departure in exploring artistic creation in post-participatory art. The reason Daniel\u2019s curatorial gesture can be called \u201csymbolic\u201d is that the curator appears not to have restricted each piece into a dialogue with the theme.<\/p>\n\n\n\n<p>Perhaps the piece that best fits the definition of \u201cparticipatory art\u201d at the biennale is Qiu Zhijie and Song Zhen\u2019s \u201cThe Society\u2014Diankou, Villager Furniture\u201d, in which the artists invited students from China Academy of Art to be \u201csent down to the countryside\u201d. Fifteen wooden benches placed in front of the Research Station are the physical manifestations of this undertaking; the table belongs to the village committee, while the benches themselves were provided by the \u201cvillagers\u201d. The crux of this project was the construction of a space for dialogue between the local officials and the villagers. In the two-way communication organized by the art group between government officials and the villagers, the officials wrote down\u2014in chalk\u2014on the table all the promises they made, while the villagers, with the artists, preserved the sentences as relief carvings as evidence of the art event.<\/p>\n\n\n\n<p>If the above piece is a model example of an art intervention into the realm of reality, then the works situated nearby do not have such distinctive involvement or participation. The title of Meiro Koizumi\u2019s video work \u201cTheatre Dreams of a Beautiful Afternoon\u201d immediately labels the work as one founded outside o reality. The piece is a dual-channel video shot on the subway; the male and female protagonists are seated on the left and right sides of the subway car. The way their gazes keep glancing off each other is somewhat reminiscent of a Japanese television drama, while the audio track intermingles their existential internal monologues. Only when the male protagonist\u2019s quiet weeping gradually turns into an upheaval of loud sobbing do we, on the other side of the screen, realize the extent to which these actors\u2019 actions have taken over the entire subway car. Nearby, Cheng Ran\u2019s multi-channel video installation also emphasizes how artistic techniques can be deployed to attract and then to involve the audience in the narrative of a piece. Worth mentioning is the way the curatorial statement for the biennale makes a shift by replacing \u201cparticipation\u201d with the term \u201cinvolvement\u201d in its final paragraph; this subtle distinction constitutes a liberal interpretation of the theme \u201cWe Have Never Participated\u201d\u2014when an audience is \u201cinvolved\u201d in a piece, it is not just \u201cparticipating\u201d in or \u201cusing\u201d the work on the surface.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/05\/024.jpg\"><img decoding=\"async\" src=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/05\/024.jpg\" alt=\"\" class=\"wp-image-42341\" title=\"02\" \/><\/a><figcaption class=\"wp-element-caption\">Qiu Zhijie and Song Zhen with Diankou residents and Total Art Studio, \u201cThe Society \u2013 Diankou Villager Furniture\u201d, installation, 15 carved tables and 60 chairs, 2012<br>\u90b1\u5fd7\u6770\u3001\u5b8b\u632f \u4e0e \u5e97\u53e3\u5c45\u6c11\u3001\u603b\u4f53\u827a\u672f\u5de5\u4f5c\u5ba4\uff0c\u300a\u793e\u4f1a\uff1a\u5e97\u53e3\u6751\u6c11\u5bb6\u5177\u300b\uff0c\u88c5\u7f6e\uff0c15\u5f20\u96d5\u523b\u6728\u684c\u300160\u628a\u6905\u5b50\uff0c2012<br><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-65.png\" alt=\"\" class=\"wp-image-10751\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-65-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-65-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-65-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-65.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Cheng Ran, \u201cAlways I Trust\u201d, HD video, light boxes, installation, 2014<br>\u7a0b\u7136\uff0c\u300a\u4fe1\u300b\uff0c\u9ad8\u6e05\u5f55\u50cf\uff0c\u706f\u7bb1\uff0c\u88c5\u7f6e\uff0c2014<\/figcaption><\/figure>\n\n\n\n<p>As the viewer becomes more familiar with the layout of the exhibition, you get the sense that the pieces most in dialogue are scattered throughout the venue. For example, the exhibition\u2019s most introspective piece appears at the end of the long and narrow exhibition Hall B, where Chen Yufan and Chen Yujun have comprehensively laid out their own studio. Meanwhile, in another exhibition space, Jia Chun\u2019s nearly all white narcissus installation also manifests the inclination towards total individualization. To the artist, this space delineated by six panes of glass is completely independent from the outside world. This internal perspective can perhaps find some connection to what lies outside in Youn\u00e8s Rahmoun\u2019s installation wherein a composite timber room is set apart by a set of automatic screen doors designed by H\u00e9ctor Zamora; isolated and towering above the ground, its dimensions are based on a room in Rahmoun\u2019s own home, and the room serves as a reflection on private spaces. The doors leading to the installation also open towards the holy city of Mecca, which recalls how the spiritual connects the individual and the collective.<\/p>\n\n\n\n<p>My impression of viewers\u2019 vague consensus of the exhibition was that everyone was in search of the meaning of \u201cWe Have Never Participated\u201d in the various threads dispersed throughout. In this vein, the title of Li Ming\u2019s piece provides a useful cipher. Through various techniques marked with his personal style, the artist inserts \u201cNothing Happened Today\u201d into a coherent series of everyday milieux, forging a paradoxical space for reflection. The curator might be attempting to preserve precisely this type of reflective space by giving the Biennale its earworm of a title. \u201cWe Have Never Participated\u201d may not directly relate to the pieces on show, nor is participation obviously present in every piece, and yet, as in Li Ming\u2019s self-contradictory pronouncement, juxtaposition happens to be one technique used to question existing systems. In a way, \u201cWe Have Never Participated\u201d relies on the audience to fill in the gaps in meaning.<\/p>\n\n\n\n<p><em>[correction note: an editing error mentioned Pepe as the curator in one instance. This has now been corrected\u2014the curator is, of course, Marko Daniel]<\/em><\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/05\/103.jpg\"><img decoding=\"async\" src=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/05\/103.jpg\" alt=\"\" class=\"wp-image-42352\" title=\"10\" \/><\/a><figcaption class=\"wp-element-caption\">H\u00e9ctor Zamora, \u201cOpening Up\u201d, installation, moving automated barriers, custom electronics, political slogans, 2014<br>\u6d77\u514b\u7279\u2022\u624e\u83ab\u62c9\uff0c\u300a\u5f00\u653e\u300b\uff0c\u88c5\u7f6e\uff0c\u81ea\u52a8\u5c4f\u853d\u95e8\uff0c\u5b9a\u5236\u7535\u5b50\u8bbe\u5907\uff0c\u653f\u6cbb\u53e3\u53f7\uff0c2014<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-66.png\" alt=\"\" class=\"wp-image-10754\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-66-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-66-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-66-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-66.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Song Ta, \u201cCivil Servants\u201d, digital print, 2009<br>\u5b8b\u62d3\uff0c\u300a\u516c\u52a1\u5458\u300b\uff0c\u6570\u7801\u5370\u5237\uff0c2009<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-67.png\" alt=\"\" class=\"wp-image-10757\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-67-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-67-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-67-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-67.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Yao Jui-Chung + Lost Society Document (LSD), \u201cMirage: Disused Public Property in Taiwan\u201d, photographs, installation, video, 2010-ongoing<br>\u59da\u745e\u4e2d+\u5931\u843d\u793e\u4f1a\u6863\u6848\u5ba4\uff0c\u300a\u6d77\u5e02\u8703\u697c\uff1a\u53f0\u6e7e\u95f2\u7f6e\u516c\u5171\u8bbe\u65bd\u62bd\u6837\u8e0f\u67e5\u300b\uff0c\u7167\u7247\u3001\u88c5\u7f6e\u3001\u5f55\u50cf\uff0c2010\uff0d\u73b0\u5728<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-68.png\" alt=\"\" class=\"wp-image-10760\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-68-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-68-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-68-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-68.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">L\u5341 (Pak Sheung Chuen, Wo Man Yee, Lee Soen Long) \u201cHeaven\u2019s Corners\u201d, painting on sculpture, 2014<br>L\u5341\uff08\u767d\u53cc\u5168\uff0c\u80e1\u654f\u4eea\uff0c\u674e\u6df3\u6717\uff09\uff0c\u300a\u5929\u56fd\u4f1a\u300b\uff0c\u5728\u96d5\u5851\u4e0a\u7684\u7ed8\u753b\uff0c2014<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-69.png\" alt=\"\" class=\"wp-image-10763\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-69-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-69-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-69-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-69.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Huang Po-Chih, \u201cProduction Line\u2014Made in China\u201d, installation, 2014<br>\u9ec4\u535a\u5fd7\uff0c\u300a\u751f\u4ea7\u7ebf\u2014\u2014\u4e2d\u56fd\u5236\u9020\u300b\uff0c\u88c5\u7f6e\uff0c 2014<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>The 8th Shenzhen Sculpture Biennale: We  &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/subtle-levels-of-involvement-the-8th-shenzhen-sculpture-biennale\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":10766,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[3283,6644,6645,3587,6647,6646,6648,6649,3588,6650,6651,851,6652,927,6653,6654,6655,6656,6657,3596,6658,3293,6659,1311,6660],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cSubtle Levels of Involvement\u201d: the 8th Shenzhen Sculpture Biennale - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/subtle-levels-of-involvement-the-8th-shenzhen-sculpture-biennale\/\" \/>\n<meta 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