{"id":15666,"date":"2014-10-02T20:34:00","date_gmt":"2014-10-02T20:34:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15666"},"modified":"2023-10-30T20:38:02","modified_gmt":"2023-10-30T20:38:02","slug":"stewed-beef-and-potatoes-communism","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/stewed-beef-and-potatoes-communism\/","title":{"rendered":"Stewed Beef and Potatoes Communism"},"content":{"rendered":"\n<p><a href=\"https:\/\/www.randian-online.com\/np_event\/liu-xinyi-goulash\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>\u201cGoulash\u201d: Liu Xinyi solo exhibition<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/white-space-2\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>White Space<\/strong><\/a>&nbsp;(No.255, Caochangdi Airport Service Road Chaoyang District Beijing 100015),&nbsp;<strong>Sept 6\u2013Oct 19, 2014<\/strong><\/p>\n\n\n\n<p>Before anything else, this exhibition strikes one with its formal\u2014or physical\u2014clarity. Every shape, color and line is defined with a precision befitting reproducible products, more than singular artistic objects. Absent is a sense of the artist\u2019s direct touch; in its place looms large his design and the theme on which it is based\u2014a slightly more flexible version of Socialism adopted in Hungary known sardonically as \u201cGoulash Communism.\u201d This term gained confusion and complexity in China where, mistranslated and demeaned by Mao as inferior, it became \u201cstewed beef and potatoes Communism\u201d.<\/p>\n\n\n\n<p>The number of works is not many. On the back wall, \u201cOne Night Back to Wartime\u201d (2014) is a circular arrangement of acrylic stars; beacon lights flash form their protruding, missile-like centers. Nearby are two panels depicting globes, the word \u201cfriend\u201d (in different languages) pasted over them in a flurry of yellow labels (\u201cWe have Friends all over the World\u201d, 2014). There are two bright yellow dumbbells in a corner on the floor (\u201cWorking out Class\u201d, 2014). Lastly, curved sheaves of wheat in yellow and green roll against the wall\u2014their shapes instantly recognizable from various Communist emblems, wherein they would have framed a national badge or political motif (\u201cSurplus Value\u201d, 2014). Here they encircle nothing, however, and lie as if strangely \u201charvested,\u201d or as if in waiting for some new incentive.<\/p>\n\n\n\n<p>This is a confident exhibition with impresses itself on one through its economy, and the memorable directness of the shapes of the works. One has the feeling of these works\u2014especially \u201cSurplus Value\u201d\u2014having been scaled up from smaller models to make large conceptual objects. There is a sense of scaling in another way, however, which is intangible; it relates to the sensation of displacement that accompanies former political motifs being abstracted and presented as an artistic thought or response. These works are products of a certain scaling and change through time and through the mind of the artist. Looking on them here, one might wonder: what do they become, or stop being, in this context? Can they ever escape association? If one didn\u2019t recall the look of them as part of the Socialist visual arsenal, how would one react to them\u2014what might be added or absent? In what way are they now \u201cdefunct,\u201d or recast? Liu Xinyi has the knack of teasing such thought from existing imagery, and the uncertain values the attend it.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/09\/8.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/09\/8.jpg\" alt=\"\" class=\"wp-image-49561\" title=\"8\" \/><\/a><figcaption class=\"wp-element-caption\">Liu Xinyi, \u201cGOULASH\u201d, exhibition view<br>\u5218\u8f9b\u5937\uff0c\u300a\u571f\u8c46\u70e7\u725b\u8089\u300b\uff0c\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"990\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-504.png\" alt=\"\" class=\"wp-image-15667\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/yjaPX5zD-image-504-200x300.png 200w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-504-100x150.png 100w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-504.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Liu Xinyi, \u201cOne Night back to Wartime\u201d, beacon lights, timer, acrylic panels, dimensions variable, 2014<br>\u5218\u8f9b\u5937\uff0c\u300a\u4e00\u591c\u56de\u5230\u89e3\u653e\u524d\u300b\uff0c\u822a\u6807\u706f\uff0c\u63a7\u5236\u5668\uff0c\u4e9a\u514b\u529b\u677f\uff0c\u5c3a\u5bf8\u53ef\u53d8\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\/10\/zh-hant\/image-505.png\" alt=\"\" class=\"wp-image-15670\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-505-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-505-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-505-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-505.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Liu Xinyi, \u201cWe Have Friends All over the World\u201d, C-print, stickers, 160 x 160 cm x 3 panels, editions of 3, 2014<br>\u5218\u8f9b\u5937\uff0c\u300a\u6211\u4eec\u7684\u670b\u53cb\u904d\u5929\u4e0b\u300b\uff0c\u827a\u672f\u5fae\u55b7\uff0c\u6807\u7b7e\uff0c160 x 160 cm x 3 panels\uff0cedition 3\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\/10\/zh-hant\/image-506.png\" alt=\"\" class=\"wp-image-15673\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-506-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-506-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-506-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-506.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Liu Xinyi, \u201cSurplus Value\u201d, plastic foam, dimensions variable, 2014<br>\u5218\u8f9b\u5937\uff0c\u300a\u4f59\u7cae\u300b\uff0c\u5851\u6599\u6ce1\u68c9\uff0c\u5c3a\u5bf8\u53ef\u53d8\uff0c2014<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cGoulash\u201d: Liu Xinyi solo exhibition Whi &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/stewed-beef-and-potatoes-communism\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15676,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[10733,10734,10737,10735,10736,1113,10739,10738,10740,10741,7781,10742,10743,1119,7250,1120,10745,10744,10746,10747,10748,1122,10749,7255],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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