{"id":12600,"date":"2016-08-31T11:01:00","date_gmt":"2016-08-31T11:01:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=12600"},"modified":"2023-09-14T11:15:56","modified_gmt":"2023-09-14T11:15:56","slug":"the-work-of-liao-fei","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/the-work-of-liao-fei\/","title":{"rendered":"The Work of Liao Fei"},"content":{"rendered":"\n<p><em>This piece is included in Ran Dian\u2019s print magazine, issue 3 (Spring 2016)<\/em><\/p>\n\n\n\n<p>My understanding of Liao Fei\u2019s work began with a conversation at his studio in Taopu, Shanghai. It was past nine o\u2019clock in the evening, and we met in haste. I vaguely remember his somewhat messy studio; an artwork depicting two light tubes pieced together was on the floor, as was a small four-wheeled trolley with two sets of wheels, two large and two small. I also saw his paintings of books without titles. I can\u2019t recall the subject of our conversation, other than that we mentioned a few unrelated figures such as Jean-Jacques Rousseau, Ren\u00e9 Descartes, and Kurt G\u00f6del. I later found out that they were not just a matter of casual reading for Liao Fei.<\/p>\n\n\n\n<p>The next time I met Liao was half a year later. In between, I saw a few of his friends\u2019 exhibitions, and in my mind I placed him in that category. As for which category exactly, there was no way for me to say clearly. I put in some effort to decipher my own judgments. Liao is that Shanghai, Hangzhou \u201ctype\u201d of artist who pays little attention to what happens around him. He reads books and makes artworks in his studio, quietly. He\u2019s somewhat cool and detached, and the issues he talks about seem rather abstract and disconnected from reality. But by making this claim, I\u2019m not really saying anything. It neither explains his work nor positions it suitably from any angle. I am also aware that these rough notions occur in the mind on a daily basis; the things they reference and jumble up together on the inside are complicated. Inevitably, there is both a longing for and a rejection of art history, plus that gloomy and violent judgment of reality and of the knowledge of the self, and excessive imagination as well as indiscernible blindness.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/LIAO_Fei_39_s_Profile_2016-18_edit.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/LIAO_Fei_39_s_Profile_2016-18_edit-528x578.jpg\" alt=\"\u5ed6\u6590\uff0c\u300a\u79fb\u52a82\u53f7\u300b\uff0c\u4e24\u4e2a\u94c1\u76ae\u6c34\u6876\uff0c\u4e24\u652f\u7eaf\u51c0\u6c34\u62bd\u6c34\u6cf5\uff0c\u6c34\uff0c2013\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548c\u504f\u950b\u65b0\u827a\u672f\u7a7a\u95f4\u63d0\u4f9b\uff09\/ Liao Fei, \u201cMovement No. 2\u201d, two tin buckets, two water pumps, water, 2013 (courtesy the artist and PIFO gallery)\" class=\"wp-image-79247\" \/><\/a><figcaption class=\"wp-element-caption\">\u5ed6\u6590\uff0c\u300a\u79fb\u52a82\u53f7\u300b\uff0c\u4e24\u4e2a\u94c1\u76ae\u6c34\u6876\uff0c\u4e24\u652f\u7eaf\u51c0\u6c34\u62bd\u6c34\u6cf5\uff0c\u6c34\uff0c2013\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548c\u504f\u950b\u65b0\u827a\u672f\u7a7a\u95f4\u63d0\u4f9b\/Liao Fei, \u201cMovement No. 2\u201d, two tin buckets, two water pumps, water, 2013 (courtesy the artist and PIFO gallery)<\/figcaption><\/figure>\n\n\n\n<p>There is a video work by Liao called \u201cCrossroads\u201d. From a vantage point overlooking an intersection, the artist\u2019s camera records how pedestrians cross the road. He has designed a few trajectories completely in accordance with traffic rules and asked actors to walk back and forth accordingly, mixing with people on the street so that we might not be able tell them apart. In Liao\u2019s estimation, when pedestrians cross the street, they more often than not choose the shortest path instinctively, which often leads them to violate traffic rules. The paths the actors took had the same end goal as the other pedestrians\u2014to \u201cget to the other side\u201d\u2014butthey followed the rules fully. In mixing the two together, reason and instinct became inseparable\u2014this is the boundary of cognition. At the end I thought that I must have been in this state of mind when I looked at his works of art.<\/p>\n\n\n\n<p>In an email, Liao wrote, \u201cThe major factor that drives my practice is existential bewilderment about the self and the outside world. There isn\u2019t a true and sufficiently satisfying explanation for understanding the world today. With the demise of an individual\u2019s life so incredibly close, one inevitably would want to do something, to approach things more. For me, it is a process through which I can relieve the anxiety of existential ignorance. Religion, science, and philosophy are different fields that overlap; their truths in cognizing things are also to be understood within their own parameters. In my view, I am powerless to create something new; instead, I only desire to present what already exists. On this, I partly agree with Heidegger\u2019s claim regarding \u2018disclosure\u2019 [aletheia]. Behind this \u2018disclosure,\u2019 however, lies the cognitive ambition of a classical philosopher, while my interests are in thinking and action. I am someone who is unconcerned with politics when making works of art. I am not indifferent, because I watch the news at home. Politics and my social surroundings inevitably shape and influence my work. Yet I cannot pinpoint the specifics. I can only use reductio ad absurdum. If I hadn\u2019t lived in this time and this place, then my works would certainly have been different. I think they must impact me in abstract ways. If my foes are the \u2018soft material,\u2019 an \u2018ambiguous narrative,\u2019 and \u2018personal feelings,\u2019 then my friends must be conceived of as \u2018hard material,\u2019 a \u2018clear narrative,\u2019 and the \u2018absence of emotion.\u2019\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/1-8.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/1-8-528x420.jpg\" alt=\"\u5ed6\u6590\uff0c\u300a\u4f7f\u4e00\u652f\u7403\u6746\u4ea7\u751f\u56db\u9053\u6295\u5f71\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2013\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548cVanguard\u753b\u5eca\u63d0\u4f9b\uff09\/ Liao Fei, \u201cCreate 4 Shadows of The Cue\u201d, installation view, 2013 (courtesy the artist and Vanguard Gallery)\" class=\"wp-image-79245\" \/><\/a><figcaption class=\"wp-element-caption\">\u5ed6\u6590\uff0c\u300a\u4f7f\u4e00\u652f\u7403\u6746\u4ea7\u751f\u56db\u9053\u6295\u5f71\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2013\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548cVanguard\u753b\u5eca\u63d0\u4f9b\uff09\/ Liao Fei, \u201cCreate 4 Shadows of The Cue\u201d, installation view, 2013 (courtesy the artist and Vanguard Gallery)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"415\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/zh-hant\/image-46.png\" alt=\"\" class=\"wp-image-12601\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/zh-hant\/image-46-300x236.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/zh-hant\/image-46-150x118.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/zh-hant\/image-46-382x300.png 382w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/zh-hant\/image-46.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u5ed6\u6590\uff0c\u300a\u4f7f\u4e00\u652f\u7403\u6746\u4ea7\u751f\u56db\u9053\u6295\u5f71\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2013\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548cVanguard\u753b\u5eca\u63d0\u4f9b\uff09\/ Liao Fei, \u201cCreate 4 Shadows of The Cue\u201d, installation view, 2013 (courtesy the artist and Vanguard Gallery)<\/figcaption><\/figure>\n\n\n\n<p>One cannot, then, claim that Liao is an artist \u201cfree of any responsibility\u201d; at least the anxiety of reality still manifests itself physically. He is actively trying to gauge his relationship with reality, with this epoch, which leaves crevices in his artistic pursuits. The \u201chard material,\u201d \u201cclear narrative,\u201d and \u201cabsence of emotion\u201d that he mentions are not there in order to oppose social realities or the art world, but they inadvertently project his vigilance toward fixed concepts of freedom of expression, the individual, and everyday experience. Liao\u2019s practice expands from forms of understanding, much like digging a hole in reality only to find nothing in it. The earth dug out is set aside, while the shape of the hole becomes the metaphorical connection between reality and the world of ideas.<\/p>\n\n\n\n<p>Liao Fei\u2019s observations on cognizing things are often manifested through his ideas about \u201cformal systems.\u201d For example, in \u201cA Sculpture of the Globe\u201d, a hollow rectangular steel apparatus hangs at a slanted angle one meter above the ground. A monitor is attached to each end, broadcasting live images of typhoon movements in the northern and southern hemispheres. The screens are in fact showing two opposing cyclones of the Earth spinning on its orbital paths; they are imagined as conjoined entities that make up a simple dialectical formal system. This imagery appears emotionless, but is in fact at once absurd, humorous, and serious. The natural world as scientifically interpreted looks self-efficient and yet unreasonable: the cyclones on the screens seem to be caught in a deadlock, in spite of being anchored by the steel apparatus.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/1_tif.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/1_tif-528x702.jpg\" alt=\"\u5ed6\u6590\uff0c\u300a\u8f66\u5b501\u300b\uff0c\u7167\u7247\uff0c36 \u00d7 27 cm\uff0c2015\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548c\u504f\u950b\u65b0\u827a\u672f\u7a7a\u95f4\u63d0\u4f9b\uff09\/ Liao Fei, \u201cVehicle-1\u201d, photograph, 36 \u00d7 27 cm, 2015 (courtesy the artist and PIFO gallery) \u6c88\u8398\uff0c\u300a\u4ed8\u51fa\u5f0f\u6279\u8bc4\u300b\uff0c\u5f55\u50cf\u5267\u7167\uff0c2015 \/ Shen Xin, \u201cThe Gay Critic\u201d, video still, 2015\" class=\"wp-image-79244\" \/><\/a><figcaption class=\"wp-element-caption\">\u5ed6\u6590\uff0c\u300a\u8f66\u5b501\u300b\uff0c\u7167\u7247\uff0c36 \u00d7 27 cm\uff0c2015\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548c\u504f\u950b\u65b0\u827a\u672f\u7a7a\u95f4\u63d0\u4f9b\uff09\/ Liao Fei, \u201cVehicle-1\u201d, photograph, 36 \u00d7 27 cm, 2015 (courtesy the artist and PIFO gallery)<br>\u6c88\u8398\uff0c\u300a\u4ed8\u51fa\u5f0f\u6279\u8bc4\u300b\uff0c\u5f55\u50cf\u5267\u7167\uff0c2015 \/ Shen Xin, \u201cThe Gay Critic\u201d, video still, 2015<\/figcaption><\/figure>\n\n\n\n<p>Liao Fei\u2019s recent solo exhibition at PIFO was entitled \u201cThis Sentence Is False\u201d to emphasize the boundaries of form itself. The classic paradox of \u201cThis Sentence Is False\u201d cannot in and of itself be proven or falsified. The artist hoped to discuss the form of cognition as shaped by itself by means of metaphors and interferences. He turned this linguistic question into a series of works that deploy physical materials and formal games in an attempt to unveil the complexity between \u201cformal system\u201d and \u201ccognitive form.\u201d The breakthrough and imagination of cognition itself were kneaded within a series of self-engendered opposites, within the strength and violence that constituted the narrative of this exhibition. The largest work of art in the gallery was an installation comprised of a mechanical arm, a light ball, a steel plate, and stones; the light ball hung from the mechanical arm, mimicking the movement of stars in the universe, spinning on a preprogrammed oval orbit. The artist understands the phenomenon of night and day, and solar and lunar eclipses, occurring as events within this movement\u2014in other words, cognition as an event in itself. When the ball of light passed over the steel plate, the light would shine through the vertical gap in the plate onto the stone and changed constantly overhere may seem insignificant in relation to it\u2014and yet such a sense of insignificance ultimately invoked fate and tragedy. In correlation with this was a 3D-printed sculpture, \u201cThis Sentence Is False\u201d. The artist scanned the full torso of a person, but only printed half from life; the other half was simulated digitally. As a result, one saw a perfectly symmetrical body at life size, yet its flawless, smooth surface reminded one of its fictitious nature.<\/p>\n\n\n\n<p>Liao Fei\u2019s work makes me think of the works of the New Measurement Group (Gu Dexin, Chen Shaoping, Wang Luyan), Shi Yong, and Qian Weikang in the 1990s, as well as those of the Pond Society in Hangzhou. These antecedents have developed extremely creative work in a resolutely unsentimental, unemotional mode; yet their works were insufficiently described in the 1990s, when Chinese artistic practice was based on iconography and sociology. Due to tension between their works and the age they lived in, their wealth of ideas has merely been summarized in art history as \u201cconceptual practice.\u201d<\/p>\n\n\n\n<p>For this very reason, I became intrigued with Liao Fei\u2019s work. How to view his series of works that take formal systems as the object of observation and what to make of his anxiety about cognition is no simple matter. To a certain extent, on the \u201cinside\u201d at least, we can perhaps claim that his work is consistent with that of his antecedents, sharing as they do a certain interest in the world\u2014an interest that, in highly complex ways, relates to and conflicts with the preferences and constantly regenerated boundaries within Chinese cultural production. Yet at the same time, although the 1990s was a historical context closely tied to the present, on closer inspection there are a good number of differences in the way social and political landscapes, discussions about aesthetics and values, and an overarching national ideology were projected onto culture and art. Making such claims is not to seek an appropriate chronological position for Liao Fei\u2019s work. Verifying, repositioning, and probing the relationship between artistic creation and the period it is part of constitutes urgency in the present, shuttered as it is. It is also precisely amid this urgency that we regain an understanding of the actuality of artistic creation and the chance to grasp its inner trajectories.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/%E2%80%94%E2%80%9D%E2%89%A5%C2%A7%C2%B5%C6%92%C3%B7%C2%B1%C5%93%EF%AC%82%C2%A3%C2%AE1%C2%A3%C2%A9.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/08\/%E2%80%94%E2%80%9D%E2%89%A5%C2%A7%C2%B5%C6%92%C3%B7%C2%B1%C5%93%EF%AC%82%C2%A3%C2%AE1%C2%A3%C2%A9.jpg\" alt=\"\" class=\"wp-image-79248\" \/><\/a><figcaption class=\"wp-element-caption\">\u5ed6\u6590\uff0c\u300a\u5ef6\u957f\u7684\u76f4\u7ebf\u300b\uff0c\u5927\u7406\u77f3\uff0c\u94a2\u677f\uff0c\u6df7\u51dd\u571f\u5e95\u5ea7\uff0c160 \u00d7 70 \u00d7 75 cm\uff0c2015\uff08\u56fe\u7247\u7531\u827a\u672f\u5bb6\u548c\u504f\u950b\u65b0\u827a\u672f \u7a7a\u95f4\u63d0\u4f9b\uff09\/ Liao Fei, \u201cA Straight Line Extended\u201d, marble, steel plate, concrete base, 160 \u00d7 70 \u00d7 75 cm, 2015 (courtesy the artist and PIFO gallery)<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This piece is included in Ran Dian\u2019s pri &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/the-work-of-liao-fei\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":12604,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[9106,149,415,67,9068,102,9107,3624,416,5168,239,9057,374,9108,393,7237,9109,859,4515,1377,419,210,9110,1227,791,460,230,421,9111],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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