{"id":14471,"date":"2016-01-26T11:56:00","date_gmt":"2016-01-26T11:56:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=14471"},"modified":"2023-10-17T12:17:38","modified_gmt":"2023-10-17T12:17:38","slug":"the-peep-show","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/the-peep-show\/","title":{"rendered":"The Peep Show"},"content":{"rendered":"\n<p><a href=\"https:\/\/www.randian-online.com\/np_event\/peepshowlong-march-space\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cPeepshow\u201d<\/a>: group exhibition with Tianzhuo Chen, He Yida, Hu Qingtai, Lin Ke, Tang Dixin, and Trevor Yeung<\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/long-march-space\/\" target=\"_blank\" rel=\"noreferrer noopener\">Long March Space<\/a>&nbsp;(798 Art District, Chaoyang, Beijing),&nbsp;<strong>Dec 12, 2015\u2013Jan 31, 2016<\/strong><\/p>\n\n\n\n<p>With the turn of 2015, Long March Space, known for its serious mien, seemed intent on disrupting low spirits in the middle of winter. Its most recent exhibition consisted of artworks by young artists, each occupying a relatively complete and delineated exhibition space. The six participating artists (Chen Tianzhuo, Hu Qingtai, He Yida, Lin Ke, Trevor Yeung, Tang Dixin) are called \u201cyoung artists\u201d\u2014though in actual fact the pace of today\u2019s art world long ago made artists jettison their youthfulness, while the spoils they have earned really constitute the \u201ccapital\u201d for this exhibition. \u201cPeepshow\u201d appears direct without entailing a thematic, intellectual direction; instead it displays a rather soft attitude\u2014a vibe of \u201cgoing with the flow\u201d and of making external observations of quotidian conditions.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/298829799292878850.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/298829799292878850-528x396.jpg\" alt=\"Peepshow, 2015, Long March Space, installation view \u201c\u7aa5\u89c6\u79c0\u201d\uff0c2015\uff0c\u957f\u5f81\u7a7a\u95f4\uff0c\u5c55\u89c8\u73b0\u573a\" class=\"wp-image-69598\" \/><\/a><figcaption class=\"wp-element-caption\">\u201cPeepshow\u201d, 2015, Long March Space, installation view<br>\u201c\u7aa5\u89c6\u79c0\u201d\uff0c2015\uff0c\u957f\u5f81\u7a7a\u95f4\uff0c\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n\n\n\n<p>\u201cPeepshow\u201d presents an extension of a perspective, emphasizing ways of casting spells on what is \u201cdaily\u201d within new segmentations of time in order to permit serious consideration of it. In contrast with the usual approach of mature, established art galleries, the curator (Theresa Liang) at Long March Space has used concrete structures to divide the space into compartments which can be peeped into. Such an approach is often seen in experimental spaces and has indeed allowed for dialogue between the artworks. Perhaps earlier on, young artists\u2019 practices collectively tended to embody concepts as experience through the progression of the quotidian. For instance, Wang Guangle\u2019s Water Rubbing Stone series and Song Kun\u2019s solo exhibition \u201cIt\u2019s My Life\u201d unanimously convey a marked resistance through a tremendous number of living, daily fragments as props. At the same time, in an era overtaken by homogenous grammar, the spaces for artistic experimentation do not only involve art galleries, art museums, experimental spaces and art studios; it matters little being produced by the tools of shops, advertising, and social media in order to acquire new spaces of resistance.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/489238014843403816.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/489238014843403816-528x225.jpg\" alt=\"Peepshow, 2015, Long March Space, installation view \u201c\u7aa5\u89c6\u79c0\u201d\uff0c2015\uff0c\u957f\u5f81\u7a7a\u95f4\uff0c\u5c55\u89c8\u73b0\u573a\" class=\"wp-image-69599\" \/><\/a><figcaption class=\"wp-element-caption\">\u201cPeepshow\u201d, 2015, Long March Space, installation view<br>\u201c\u7aa5\u89c6\u79c0\u201d\uff0c2015\uff0c\u957f\u5f81\u7a7a\u95f4\uff0c\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n\n\n\n<p>This suggests that one may enter into the exhibited \u201cquotidian\u201d at any minute, as production and viewing take place simultaneously. Tang Dixin\u2019s video work \u201cForce Majeure\u201d is like this. When the camera becomes the eyes of the cameraman, when the rough filming technique dissolves and distances itself from professionalism, the viewer is beckoned in quite naturally. Although \u201cjumping onto the tracks\u201d (subway tracks, that is) is not exactly your average daily experience, the residual imagery here may nevertheless offer you a sense of familiarity. In fact, Tang isn\u2019t keen on others bringing up this work and thereby inviting possible misinterpretations of social issues. Clearly, Tang Dixin\u2019s focus was to offer up a hallucinatory challenge towards the simple objects of everyday life. This is a practice that Tang has taken to an extreme in the work \u201cLive Burial\u201d, in which he presents face to face a tacit understanding with a Japanese male who may very well be buried alive. Contrary to Chen Tianzhuo, with his willful theatrical stage tension, Tang interprets performance onto a flat surface; on an open wall, he places his works on paper with graffiti over it in order to enact an additional layer. The intentional brushwork and above-eye-level perspective are as wanton as \u201cfloating subtitles\u201d.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/Tang-Dixin-Act-of-God-video-2015-%E5%94%90%E7%8B%84%E9%91%AB%EF%BC%8C%E3%80%8A%E4%B8%8D%E5%8F%AF%E6%8A%97%E5%8A%9B%E3%80%8B%EF%BC%8C%E5%BD%95%E5%83%8F%EF%BC%8C2015.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/Tang-Dixin-Act-of-God-video-2015-%E5%94%90%E7%8B%84%E9%91%AB%EF%BC%8C%E3%80%8A%E4%B8%8D%E5%8F%AF%E6%8A%97%E5%8A%9B%E3%80%8B%EF%BC%8C%E5%BD%95%E5%83%8F%EF%BC%8C2015-528x704.jpg\" alt=\"Tang Dixin, Act of God, video, 2015 \u5510\u72c4\u946b\uff0c\u300a\u4e0d\u53ef\u6297\u529b\u300b\uff0c\u5f55\u50cf\uff0c2015\" class=\"wp-image-69600\" \/><\/a><figcaption class=\"wp-element-caption\">Tang Dixin, \u201cAct of God\u201d, video, 2015<br>\u5510\u72c4\u946b\uff0c\u300a\u4e0d\u53ef\u6297\u529b\u300b\uff0c\u5f55\u50cf\uff0c2015<\/figcaption><\/figure>\n\n\n\n<p>The concern with everyday conditions may present many points of attack. One may choose to transpose the everyday object\u2014for instance, choosing plants and water in their natural state in order to pierce loathsome elements of social ideology. Trevor Yeung adopts photosynthesis and manipulates the light (spinning) to make it look like two clown-like palm trees, circulating in the glass vat in which the \u201cstagnant water\u201d seems to overflow. One can also become infatuated with inadvertent everyday friction in order to engender possibilities of language substitution. For example, in Hu Qingtai\u2019s video \u201cStubborn\/Serious\/Obstinate\/Eccentric\u201d, the figures perform \u201ccharades\u201d according to the given terms. Of course, there are also diaristic sculptures where the \u201cstudio practice\u201d artist He Yida displays his love for incredibly inexpensive materials, while indulging in manic interpretations\u2014to which is added humorous writing, allowing (non-human) programs and software to become the tool for writing diaries.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/Trevor-Yeung-Initial-Ritual-of-Mr.-Butterffies-Butterfly-palm-tree.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/01\/Trevor-Yeung-Initial-Ritual-of-Mr.-Butterffies-Butterfly-palm-tree-528x704.jpg\" alt=\"Trevor Yeung, Initial Ritual of Mr. Butterflies, Butterfly palm tree, LED light, spinner, Dimensions variable, 2015 \u6768\u6c9b\u94ff\uff0c\u300a\u8774\u8776\u5148\u751f\u7684\u7b2c\u4e00\u6b65\u300b\uff0c\u8774\u8776\u68d5\u6988\u6811\uff0cLED\u706f\uff0c\u8f6c\u76d8\uff0c\u5c3a\u5bf8\u53ef\u53d8\uff0c2015\" class=\"wp-image-69601\" \/><\/a><figcaption class=\"wp-element-caption\">Trevor Yeung, \u201cInitial Ritual of Mr. Butterflies\u201d, Butterfly palm tree, LED light, spinner, Dimensions variable, 2015<br>\u6768\u6c9b\u94ff\uff0c\u300a\u8774\u8776\u5148\u751f\u7684\u7b2c\u4e00\u6b65\u300b\uff0c\u8774\u8776\u68d5\u6988\u6811\uff0cLED\u706f\uff0c\u8f6c\u76d8\uff0c\u5c3a\u5bf8\u53ef\u53d8\uff0c2015<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"704\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-218.png\" alt=\"\" class=\"wp-image-14472\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/gaeQbsAx-image-218-225x300.png 225w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-218-113x150.png 113w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-218.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tang Dixin, \u201cPile\u201d, oil on canvas, 2007<br>\u5510\u72c4\u946b\uff0c\u300a\u4e00\u5806\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c2007<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"396\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-219.png\" alt=\"\" class=\"wp-image-14475\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-219-300x225.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-219-150x113.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-219-400x300.png 400w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-219.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u201cPeepshow\u201d, 2015, Long March Space, installation view<br>\u201c\u7aa5\u89c6\u79c0\u201d\uff0c2015\uff0c\u957f\u5f81\u7a7a\u95f4\uff0c\u5c55\u89c8\u73b0<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"337\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-220.png\" alt=\"\" class=\"wp-image-14478\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-220-300x191.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-220-150x96.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-220-470x300.png 470w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-220.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Works by Tianzhuo Chen<br>\u9648\u5929\u707c\u4f5c\u54c1<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"396\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-221.png\" alt=\"\" class=\"wp-image-14481\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-221-300x225.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-221-150x113.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-221-400x300.png 400w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-221.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Lin Ke, \u201cHelmsman\u201d, video, 2015<br>\u6797\u79d1\uff0c\u300a\u8235\u624b\u300b\uff0c\u5f55\u50cf\uff0c2015<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"221\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-222.png\" alt=\"\" class=\"wp-image-14484\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-222-300x126.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-222-150x63.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-222-500x209.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-222.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Works by He Yida<br>\u4f55\u610f\u8fbe\u4f5c\u54c1<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"224\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-223.png\" alt=\"\" class=\"wp-image-14487\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-223-300x127.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-223-150x64.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-223-500x212.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-223.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Peepshow, 2015, Long March Space, installation view<br>\u201c\u7aa5\u89c6\u79c0\u201d\uff0c2015\uff0c\u957f\u5f81\u7a7a\u95f4\uff0c\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cPeepshow\u201d: group exhibition with Tianzh &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/the-peep-show\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":14490,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[10256,10254,10252,10255,10253,5079,3594,10257,10258,10259],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Peep Show - \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\/the-peep-show\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Peep Show - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201cPeepshow\u201d: group exhibition with Tianzh &hellip; Continue reading &rarr;\" 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