{"id":15315,"date":"2015-02-15T12:19:00","date_gmt":"2015-02-15T12:19:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15315"},"modified":"2023-10-26T12:23:58","modified_gmt":"2023-10-26T12:23:58","slug":"critique-is-the-beginning-of-dialogue","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/critique-is-the-beginning-of-dialogue\/","title":{"rendered":"Critique is the Beginning of Dialogue"},"content":{"rendered":"\n

Boredom is the Beginning of Action<\/strong><\/a><\/p>\n\n\n\n

L-Art Gallery <\/strong><\/a>(Area C1, Tianfu Software Park, Tianfu Avenue, Chengdu), Dec 20, 2014 \u2013 Jan 30, 2015<\/strong><\/p>\n\n\n\n

The title of this nine-person group exhibition is taken from Slavoj Zizek\u2019s proposition that boredom is the beginning of every authentic act. \u201cWithout boredom,\u201d he says \u201cno creativity. If you are not bored, you just stupidly enjoy the situation in which you are. It is boredom that opens new career space.\u201d Here, however, the creative efforts on show continue to reflect their usual creative processes\u2014the result of action, rather than the foreshadowing thereof.<\/p>\n\n\n\n

Clearly, Lu Mingjun had good intentions; his exhibition foreword repeatedly emphasized the word \u201cbeginning\u201d over \u201cboredom\u201d. He believes boredom is a sign of the coming revolution, because when a condition has persisted beyond transformation and climax to a state of idleness\u2014a state without any sense of novelty or possibility\u2014its sedimentation becomes fertile soil for new changes. This small group exhibition of nine artists\u2019 work was meant merely to be a catalyst, a fuse, a parting shot\u2014an aggregate of numbers insufficient to constitute a phenomenon and a sample too small to search for commonalities. What\u2019s significant lies not in the artists, or the pieces on show, but in the title, which encapsulates the curator\u2019s dissatisfaction with the status quo. With the art world in China today, which is already in a state of \u201cboredom\u201d (or even \u201csenselessness\u201d; wuliao), the curator believes that not only has \u201crevolution\u201d not even entered the picture, but there is in fact little sign even of something so simple as \u201caction\u201d.<\/p>\n\n\n\n

By introducing this perspective and expanding upon it through an exhibition, and thereby raising questions and awareness, perhaps the curator hoped this expected turmoil would find a catalyst.<\/p>\n\n\n\n

The last revolution in art happened half a century ago, and to artists today, it may seem a distant past. Artists are no longer satisfied with working and reworking the microcosmic games\u2014the \u201cpost-XXX\u201d, \u201canti-XXX\u201d, or \u201cneo-XXX\u201d\u2014on the basis of concepts from the past. The idea of a new revolution remains attractive within the popular imagination, and the \u201cexposition on boredom\u201d prompted in Lu Mingjun\u2019s exhibition is simply a new approach to the same idea.<\/p>\n\n\n\n

Unfortunately, most of the pieces on show do not display this state; instead, they concentrate on interpretations of \u201cboredom\u201d [wuliao]. How, then, do the artists approach this? With a mixture of flashiness, an affected stillness in order to avoid flashiness, and \u201caction in the guise of inaction\u201d. Yu Ji\u2014the male artist who is the oldest in the exhibition\u2014chose the most direct approach. Usually appearing in performance-related venues, in this exhibition, the artist chose to show two small oil paintings. The first is a portrait of Lu Mingjun smoking a cigarette, and the other is a left hand giving the viewer the middle finger. These images (untitled) could be applied to any theme for any contemporary exhibition under any context whatsoever. Yu Ji\u2019s understanding of \u201cboredom\u201d is thus quite subtle, but it also stops at boredom\u2014any possibility of more is dissolved within the overpowering present.<\/p>\n\n\n\n

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<\/a>
Yu Ji, \u201cUn-fucking Believable\u201d, acrylic on canvas, 60 \u00d7 80 cm, 2014
\u4f59\u6781\uff0c\u300a\u771f\u4ed6\u5988\u96be\u4ee5\u7f6e\u4fe1\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c60 \u00d7 80 cm\uff0c2014<\/figcaption><\/figure>\n\n\n\n
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Yu Ji, \u201cAbso-fuckin-lutley\u201d, acrylic on paper, 40 \u00d7 50 cm, 2014
\u4f59\u6781\uff0c\u300a\u7edd\u5bf9\u662f\u300b\uff0c\u7eb8\u672c\u4e19\u70ef\uff0c60 \u00d7 80 cm\uff0c2014<\/figcaption><\/figure>\n\n\n\n
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Wang Sisun, \u201cDesire And One of N points\u201d, Installation, performance, video, 2012
\u738b\u601d\u987a\uff0c\u300a\u6b32\u671b\u53c8n\u5206\u4e4b\u4e00\u300b\uff0c\u88c5\u7f6e\u3001\u884c\u4e3a\u3001\u5f55\u50cf\uff0c16\u00d78\u00d72cm\uff0c2012<\/figcaption><\/figure>\n\n\n\n

Wang Sishun\u2019s work is a video piece showing the same action repeated in a loop: a hand lobbing an object over and over again towards a circular outline on the floor (most of the shots do not make it into the circle). Unintentional actions do not equal \u201cboredom\u201d; boredom leads towards frustration, towards an empty outlook where \u201ceverything is meaningless and pointless\u201d. Yet Wang Shishun\u2019s piece features a commonly seen technique of \u201cintensification through repetition\u201d used to trigger anxiety, speculation and other feelings of discomfort in the viewer. It is oriented towards actual emotions; these emotions are not the starting point of action, but the result.<\/p>\n\n\n\n

The two other video works by Lin Ke and Lu Pingyuan do not take the concept any further than Wang Sishun. Lin Ke\u2019s piece is also a form of intensification through magnification; the artist has magnified and frozen simple operations such as \u201cediting\u201d or \u201cdeleting\u201d on a computer screen, bringing viewers to a state of anxiety by looping and lengthening the passage of time. This is more in line with the popular concept of boredom. For example, videos found online often have titles like, \u201cas a boring person, I actually watched this for 20 minutes\u201d. However, the starting point for such actions is curiosity, and an anticipation of novelty. Lu Pingyuan\u2019s \u201cStory Series\u201d is an adaptation of \u201cindecent\u201d anecdotes. The two artists\u2019 thought processes both find origin in the deconstruction of and rebellion against traditionally grand themes, a sort of \u201ccountercultural\u201d backtracking, and a mere symptom of the invisible anger typical of an extended adolescence.<\/p>\n\n\n\n

\"\"
Lu Pingyuan, \u201cFeng Xiaoqing\u201d, Live performance, Video, 2014
\u9646\u5e73\u539f\uff0c\u300a\u51af\u5c0f\u9752\u300b\uff0c\u73b0\u573a\u8868\u6f14\uff0c\u5f55\u50cf\uff0c16\u00d78\u00d72cm\uff0c2014<\/figcaption><\/figure>\n\n\n\n
\"\"
<\/a>
Lin Ke, \u201cRomantic Association Viewer\u201d, music video, 5\u203203\u2033, 2012
\u6797\u79d1\uff0c\u300a\u6d6a\u6f2b\u534f\u4f1a\u67e5\u770b\u5668\u300b\uff0c\u97f3\u4e50\u5f55\u5f71\u5e26\uff0c5\u203203\u2033\uff0c2012<\/figcaption><\/figure>\n\n\n\n

Ji Lei, Liao Guohe, Zhang Zhaoying and Ge Yan\u2019s pieces for this exhibition have little to do with the show\u2019s theme. The artists continue to expand on their own themes, which are only somewhat related to the definition of \u201cboredom\u201d in terms of the action and atmosphere of the images presented. Ji Lei selected two portraits of young women from his Daydream<\/em> series; the grey tones of the paintings tinged with traces of warmth are reminiscent of sleepwalking, and their subjects are shrouded within the safety of their environments. Soft edges give an intentional weightlessness to the figures, but the artist seems unable to relinquish his desire to shape the texture and volume of the pieces. The emphasis on balance within the composition also invites deliberation. Liao Guohe\u2019s \u201cTo Forge Iron, One Must Be Strong\u201d and Zhang Zhaoying\u2019s \u201cHappy Birthday\u201d are intriguingly similar; both pop pieces can formally trace their interpretation of meaning to Duchamp. Zhang Zhaoying\u2019s other exhibited piece \u201cRondo\u201d is somewhat interesting within the context of the theme; it is a declaration of romanticism through scenarios which are most likely to occur but have rarely occurred in reality. Let us not forget: romanticism was born alongside revolution.<\/p>\n\n\n\n

In contrast with the three artists mentioned above, Ge Yan\u2019s piece has gone so far off track into some diametrically opposed place. With far too many threads and story lines in the painting, the piece is at risk of over-interpretation. Aside from some threads pointing at the mockery of boredom, it seemed to have little to do with the theme of the exhibition.<\/p>\n\n\n\n

Interestingly enough, the only piece in the show devoid of a human subject also happens to be most consistent with its theme. Gong Jian completely abandoned the approach of using \u201cboring people\u201d to signify the concept of \u201cboredom\u201d, instead employing an objective approach based on the creation of images to depict a classical nocturnal scene. The painting has a focus but lacks a central point; the artist has employed color, but the work is not sensually coloristic. He has avoided an exploration of meaning in his work, viewing the piece itself as an object characterizing \u201cboredom\u201d. In the gaps between the classical and the contemporary, he has found one possible route way out.<\/p>\n\n\n\n

A vaguely appropriate exhibition title is the easiest way to circumvent the mismatch between title and content. But for this show, Lu Mingjun has quite bluntly set forth an entire sentence, refusing to describe the phenomenon and instead going straight for a point of view. Rather than calling this exhibition a nine-person group exhibition, it would be better to call it an interpretation of a text authored by Lu Mingjun alone\u2014an act which might be suspected of \u201cmuddying the waters\u201d in the curatorial scene. It is a clear criticism of the past and the present \u2014but whether opposition or contemplation will follow remains to be seen.<\/p>\n\n\n\n

\"\"
<\/a>
Ji Lei, \u201c Portrait for A Girl No.2\u201d, oil on canvas, 100 \u00d7 80 cm, 2014
\u5409\u78ca\uff0c\u300a\u5c11\u5973\u8096\u50cfno.2\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c100 \u00d7 80 cm\uff0c2014<\/figcaption><\/figure>\n\n\n\n
\"\"
Liao Guohe, \u201cTo forge iron one must be strong\u201d, acrylic on canvas, 146 \u00d7 200 cm, 2013
\u5ed6\u56fd\u6838\uff0c\u300a\u6253\u94c1\u8fd8\u9700\u81ea\u8eab\u786c\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c146 \u00d7 200 cm\uff0c2013<\/figcaption><\/figure>\n\n\n\n

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

Liao Guohe, \u201cTo forge iron one must be strong\u201d, acrylic on canvas, 146 \u00d7 200 cm, 2013
\u5ed6\u56fd\u6838\uff0c\u300a\u6253\u94c1\u8fd8\u9700\u81ea\u8eab\u786c\u300b\uff0c\u5e03\u9762\u4e19\u70ef\uff0c146 \u00d7 200 cm\uff0c201<\/a><\/p>\n\n\n\n

\"\"
Zhao zhaoying, \u201cRondo\u201d, oil on canvas, 120 \u00d7 160 cm, 2014
\u5f20\u948a\u701b\uff0c\u300a\u56de\u65cb\u66f2\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c120 \u00d7 160 cm\uff0c2014<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Boredom is the Beginning of Action L-Art … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15341,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[10518,10517,10519,763,962,10520,2357,4789,5354,10522,10521,10523,10524,10525,10526,10257,10527,10528,10529,2891,10530,10531],"yoast_head":"\nCritique is the Beginning of Dialogue - \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\/critique-is-the-beginning-of-dialogue\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Critique is the Beginning of Dialogue - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Boredom is the Beginning of Action L-Art … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/critique-is-the-beginning-of-dialogue\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2015-02-15T12:19:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-10-26T12:23:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/201517153121681.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1058\" \/>\n\t<meta property=\"og:image:height\" content=\"770\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/critique-is-the-beginning-of-dialogue\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/critique-is-the-beginning-of-dialogue\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Critique is the Beginning of Dialogue\",\"datePublished\":\"2015-02-15T12:19:00+00:00\",\"dateModified\":\"2023-10-26T12:23:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/critique-is-the-beginning-of-dialogue\/\"},\"wordCount\":1371,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"Ge Yan\",\"Gong Jian\",\"Ji Lei\",\"Liao Guohe\",\"Lin Ke\",\"Lu Mingjun\",\"Lu Pingyuan\",\"Wang Sishun\",\"Yu Ji\",\"Zhang Zhaoying\",\"\u4f59\u6781\",\"\u5409\u78ca\",\"\u5ed6\u56fd\u6838\",\"\u5f20\u948a\u701b\",\"\u65e0\u804a\u5c31\u662f\u884c\u52a8\u7684\u5f00\u59cb\",\"\u6797\u79d1\",\"\u738b\u601d\u987a\",\"\u845b\u5f66\",\"\u90a3\u7279\u753b\u5eca\",\"\u9646\u5e73\u539f\",\"\u9c81\u660e\u519b\",\"\u9f9a\u5251\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/critique-is-the-beginning-of-dialogue\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/critique-is-the-beginning-of-dialogue\/\",\"url\":\"http:\/\/www.randian.art\/critique-is-the-beginning-of-dialogue\/\",\"name\":\"Critique is the Beginning of Dialogue - 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