{"id":15889,"date":"2014-04-22T17:08:00","date_gmt":"2014-04-22T17:08:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15889"},"modified":"2023-10-31T17:23:13","modified_gmt":"2023-10-31T17:23:13","slug":"attached-at-force-gallery","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/attached-at-force-gallery\/","title":{"rendered":"\u201cAttached\u201d at Force Gallery"},"content":{"rendered":"\n<p><a href=\"https:\/\/www.randian-online.com\/np_event\/attached\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>\u201cAttached\u201d: group show with Lee Donsoon, Han Ho, Tao Na, Yan Kai, Tan Tian<\/strong><\/a><\/p>\n\n\n\n<p><strong><a href=\"https:\/\/www.randian-online.com\/np_space\/force-gallery\/\" target=\"_blank\" rel=\"noreferrer noopener\">Force Gallery<\/a>&nbsp;<\/strong>(798 art district, Chaoyang, Beijing)&nbsp;<strong>March 8\u2013April 22, 2014<\/strong><\/p>\n\n\n\n<p>Exhibitions at Force Gallery are always a meeting of Chinese and Korean artists, and the current show is no exception. Entitled \u201cAttached,\u201d all of the works featured have different \u201csupplements\u201d attached to their surfaces. For example, Tao Na\u2019s \u201cSex and the City\u201d comprises two layered images composed of ten thousand \u201cpaint chips\u201d covered in magnetic paint\u2014the top layer of multicolored pieces of paint creates a mosaic effect, which gives the impression of a vibrant cityscape lighting up at dusk. Viewers can move and remove these magnetic paint chips at will, or even slip a few into their pockets. This gradual process of erosion eventually reveals the layer of images hidden beneath the first\u2014a grouping of male genitalia, a reference to the lust hidden beneath a bustling metropolitan fa\u00e7ade. In contrast, the Korean artist Lee Donsoon\u2019s work possesses a greater sense of refinement. By hammering innumerable nails onto large wooden boards and spray painting the nail heads, the artist has formed different images which speak a similar visual language to woodblock prints, creating a beautiful effect that is testament to the large amount of manual labor involved in the process of creation. Han Ho, another Korean artist, has chosen to modify a landscape by a Tang Dynasty artist, Li Zhaodao, called \u201cEmperor Going to Shu\u201d. In \u201cEternal Light \u2014 Lost Paradise\u201d, Han Ho inserts several female nudes into Li Zhaodao\u2019s famous landscape. In comparison with Hong Hao\u2019s&nbsp;<em>Elegant Gathering<\/em>&nbsp;series, Han Ho\u2019s methods are subtler. Additionally, the artist has made small perforations in the edges of the mountains and installed LED lights behind the canvas. When the lights are turned on in the evenings, the piece is all the more dazzling.<\/p>\n\n\n\n<p>Clearly, the artists have adhered to the exhibition\u2019s theme of \u201cattachment\u201d. All of their pieces also emphasize workmanship; the intricate labor involved brings their work to a higher level of exquisite detail. However, there are a few essential differences between the works by the Chinese and Korean artists in this exhibition. The Chinese works comprise clearly layered thematic elements and intent, much in the same way that \u201cSex and the City\u201d is formed of two layers of images. In other words, audiences who experience the Chinese artists\u2019 pieces can easily fill in the blanks to the sentence: \u201cthe piece expresses _____ through the use of _______.\u201d On the other hand, the Korean artists\u2019 works here are different, since on the surface, perhaps, they lack any obvious \u201cdeeper meaning or intent\u201d and are therefore more susceptible to being censured\u2014especially by a number of Chinese viewers who have the habit of interpreting contemporary art under the framework of specific concepts.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"369\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-557.png\" alt=\"\" class=\"wp-image-15890\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-557-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-557-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-557-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-557.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Tao Na, \u201cCity of Desire 1\u201d, 320 cm x 215 cm, ten thousand magnets, paint, PVC, 2009<br>\u9676\u5a1c\uff0c\u300a\u6b32\u671b\u90fd\u5e021\u300b\uff0c 320 cm x 215 cm\uff0c 1\u4e07\u7247\u78c1\u94c1\u3001\u989c\u6599\u3001PVC\uff0c 2009<\/figcaption><\/figure>\n\n\n\n<p>An ordinary Chinese viewer will probably find it difficult to find political, social or moral implications in the works of the Korean artists in this show\u2014and not even any traces of the \u201creflection on tradition\u201d all too easily found in so many Chinese artists. With the continual influx of Western art, the 1988 Seoul Olympics, Korea\u2019s economic ascent and its rapid urbanization and development, perhaps \u201ctraditional paintings\u201d (as they were) have entered a relative decline. In contrast, perhaps in no other country has traditional culture been rendered into mere symbols as precipitately as in China. Just like the Chinese courtyard houses (<em>siheyuan<\/em>), the Korean&nbsp;<em>hanoks<\/em>&nbsp;(traditional buildings) have also moved aside for high-rises; similarly, Korean art has aptly manifested the new visual experiences brought about by urbanization.<\/p>\n\n\n\n<p>This is not to say, however, that there has been no political art in Korea. In fact, the May 18<sup>th<\/sup>&nbsp;Democratic Uprising (the Gwangju Uprising), when students and workers rose up against the government in 1980, further stimulated the development of Minjung Art (People\u2019s Art)(akin to China\u2019s Political Pop). But without the aid of a \u201cCold War\u201d mentality, the \u201cfolk art\u201d movement faded out much earlier than did China\u2019s Political Pop. Like traditional ink painting, traces of political art still linger in Korea. However, the Korean paradigm is very different from China\u2019s because political art is relatively marginalized\u2014even to the point of being cast as \u201cLeftist art\u201d, by one Korean gallerist. Thus, when Chinese viewers see contemporary Korean art, it is easy for them to fall into the habit of leaning too far to the \u201cleft\u201d or the \u201cright\u201d. They might fail to find in the works any moral or political critical consciousness which they have come to expect, nor any familiar sense of \u201chistorical and cultural heritage\u201d (though historical and cultural, \u201cEmperor Going to Shu\u201d is merely the backdrop to Han Ho\u2019s work, and not a product of his own intent). Very possibly, the perceived emptiness and superficiality of Korean art under such a reading in China is due far more to the Chinese tendency to \u201coverload\u201d ourselves with concepts and preconceptions.<\/p>\n\n\n\n<p>(<em>The article has been emended since publication in accordance to the writer\u2019s wishes.<\/em>)<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"297\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-558.png\" alt=\"\" class=\"wp-image-15893\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-558-300x135.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-558-150x68.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-558-500x225.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-558.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/04\/21.jpg\"><\/a><br>Lee Donsoon, \u201cInter-Matamorphosis-Human Nature, wood panel, stainless nails, car paint, 180 x 400 cm, 2013<br>\u674e\u6566\u6df3\uff0c\u300a\u901a\u6d89-\u4eba\u7c7b\u3001\u81ea\u7136\u300b\uff0c\u6728\u677f\u4e0a\u9489\u5b50\u3001\u6c7d\u8f66\u6f06\uff0c 180 x 400 cm, 2013<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-559.png\" alt=\"\" class=\"wp-image-15896\" width=\"614\" height=\"316\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-559-300x155.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-559-150x77.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-559-500x258.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-559.png 660w\" sizes=\"(max-width: 614px) 100vw, 614px\" \/><figcaption class=\"wp-element-caption\">Han Ho, \u201cEternal Light-Lost Paradise\u201d, canvas on Korean paper, LED, punch, 110 cm x 110 cm (each), 2014<br>\u97e9\u9550\uff0c \u300a\u6c38\u8fdc\u7684\u5149-\u5931\u4e50\u56ed\u300b\uff0c \u5e03\u9762\u5ba3\u7eb8\u3001 LED\u3001\u7a7f\u5b54\uff0c 110 cm x 110 cm\uff0c 2014<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cAttached\u201d: group show with Lee Donsoon, &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/attached-at-force-gallery\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15909,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[10866,10867,10868,10869,10871,10870,10872],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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