{"id":11975,"date":"2012-06-18T12:11:00","date_gmt":"2012-06-18T12:11:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=11975"},"modified":"2023-05-02T12:17:14","modified_gmt":"2023-05-02T12:17:14","slug":"two-young-artists","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/two-young-artists\/","title":{"rendered":"Two Young Artists"},"content":{"rendered":"\n

\u201cStatic Electricity,\u201d solo exhibition by Ma Qiusha.<\/strong><\/p>\n\n\n\n

Beijing Commune<\/strong><\/a> (798 Art Factory, 4 Jiuxianqiao Road, Chaoyang, Beijing). Mar 8\u2013Apr 19, 2012.<\/strong><\/p>\n\n\n\n

\u201cDisruptive Desires, Tranquility, and the Loss of Lucidity,\u201d solo exhibition by Huang Ran.<\/strong><\/p>\n\n\n\n

Long March Space<\/strong><\/a> (4 Jiuxianqiao Road, Chaoyang, Beijing). Mar 16\u2013Apr 16, 2012.<\/strong><\/p>\n\n\n\n

30, hip, foreign-educated, popular, (primarily) video artists; their first solo exhibitions in March 2012 in two of Beijing\u2019s best contemporary art galleries. Their exhibitions in part with that expansive subject, the everyday, and also the nature of aesthetics and our expectations thereof in the present moment.<\/p>\n\n\n\n

The first to open \u2014 Ma Qiusha\u2019s \u201cStatic Electricity\u201d at Beijing Commune \u2014 presented a fresh though somewhat frigid ensemble of works. Where Ma\u2019s previous pieces seemed sometimes to emanate a kind of personal sharpness \u2014 a spiky intimacy paired with a girlish aspect (like a kitten with needle-like claws), these newer works are more surgical in character; they are less emotive and more about inevitable or deliberate changes in physical state for substances extracted from the ordinary (liquids and vegetables, for example, are scrutinized and shaped before being re-presented in a gallery). The video element is composed of three screens each showing a condom-encased frozen block \u2014 blood, milk and urine. Filmed non-stop for 24 hours then shown in edited time, the blocks deplete gradually before our eyes \u2014 should we choose to wait and watch them. On the opposite wall we see a weird spot-lit view from the back of a moving vehicle of replica steaming entrails being chucked away and landing on the receding asphalt; in the background is the sound of a cat growling gleefully. Between these quite ambiguous \u201ccold\u201d and \u201cwarm\u201d pieces is the grid-like installation \u201cTo S,\u201d wherein the residual aura of compulsion inherent in Qiusha\u2019s work finds a literal realization: the artist spent hours trimming three kinds of vegetables to conform to a standard measurement taken from one example before stacking them all in chest freezers \u2014 one each for carrots, cucumbers and yams.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

At Long March Space later in the month was Huang Ran\u2019s \u201cDisruptive Desires, Tranquility and the Loss of Lucidity\u201d which showed at this year\u2019s Frieze New York   \u2014 an absorbing 22-minute video of two very attractive adolescents (they were projected as such, but the actors are clearly older \u2014 an initial chip in the crystal) encountering each other in some kind of doctor\u2019s room. The boy sits strangely astride an old carousel horse hanging from the ceiling; the girl stalks around him in a short, girlish dress, provocatively eating chocolates between pillow-lips; the golden wrappers she licks and pastes to the body of the horse, papering it with a Midas skin. The two characters\u2019 voices have been subtracted, leaving only subtitles; the video\u2019s soundtrack involves the sound of pouring rain \u2014 a sound which appears to be coming from outside the room. Meanwhile other scenes of eerie nocturnal forests with blue butterflies, water and sunbathed autumnal plants (scenery drawn from the artist\u2019s Sichuan birthplace) are accompanied by bouts of classical music. Huang Ran has remarked that people think art should change society, but it hasn\u2019t. This hothoused narrative in \u201cDisruptive Desires\u2026\u201d bathes our senses and draws us in as if we are standing with them in the room, but invisible. It is a vicarious visual by turns erotic, queasy and dark \u2014 and that finally moves away from you. And what have you gained? Do you feel different? There is a certain hollowness that follows one out of the room. In the next, four mysterious cuboid tanks hold combinations of water and oil. Titled \u201cThe Weakness of Will and The Fear of Society\u201d the tanks threaten to swill together, besmirching the minimalist tension of their separation.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

In the absence of Chinese symbols and in a manner highly controlled, both of these video-focused exhibitions seem to speak of the subsistence of art, its methods and possible offering in the contemporary moment. One might say these are un-generous exhibitions by young artists acutely aware of what they are willing to give and withhold, and what kind of view contributes significantly, to their minds, to aesthetic culture now. The results are stark \u2014 but good.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n","protected":false},"excerpt":{"rendered":"

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