{"id":19473,"date":"2014-03-13T11:54:00","date_gmt":"2014-03-13T11:54:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=19473"},"modified":"2024-09-17T08:49:10","modified_gmt":"2024-09-17T08:49:10","slug":"china-focus-cramped-for-space-at-the-armory","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/china-focus-cramped-for-space-at-the-armory\/","title":{"rendered":"China Focus\u2014Cramped for Space at the Armory"},"content":{"rendered":"\n

by Julie Chun<\/p>\n\n\n\n

The Armory Show may be smaller in scale this year (209 galleries compared with 228 last year) but it was no less vital. Not content with putting on a run-of-the-mill fair, it inundated viewers with exhibitions, lectures and special features, and partnered with the online art platform Artsy to provide a comprehensive guide to the fair. It was difficult, at times, to keep track of everything on offer; particularly chaotic was the China Focus section which, despite the amount of hoopla that surrounded it in the run up to the fair, was squeezed into a small back section. A special project from the Polit-Sheer-Form-Office collective dominated the section, with their bright blue exercise equipment installed throughout the large public lounge.  \u201cFitness For All!,\u201d certainly injected some fun into the event, and it was definitely a favorite of fair goers judging from the wide smiles as they swung their limbs and twisted their hips, but it encroached too closely on some booths (Zhang Ding\u2019s conceptual installation got lost in the shuffle) and competed fiercely for viewer\u2019s attention with MadeIn Company\u2019s performance piece \u201cPhysique of Consciousness,\u201d (2013), in which objects are thrown into the air from inside a white cube. Flashy booths (Double Fly at Beijing\u2019s Space Station) overwhelmed quieter presentations such as that of Pekin Fine Arts. China Focus was certainly a hoping party. Frantic and confusing at the same time, it rather lived up to the reputation of its namesake country. The commissioned artist this year was Xu Zhen, but outside the boundaries of China Focus, his presence was barely felt aside from a couple of reimagined CitiBikes with decals of his work \u201cUnder Heaven\u201d (2013) scattered throughout the entrance area, and his soft sculpture limited edition piece for the fair \u201cCurrency\u2019s Ideal\u201d (2014), which graced the VIP lounge.<\/p>\n\n\n\n

<\/a>Still, the selection of Chinese artists and representing galleries in this section presented an admirable effort. There was nary a smiley pink face (save for Yue Minjun\u2019s appearance at Galerie Daniel Templon), as the China Focus placed emphasis on emerging artists and experimental practices. Zhang Ding played with monuments and icons in ShanghART\/ Galerie Kringzinger\u2019s booth with an installation that consisted of paintings and sculpture. Beijing\u2019s Aye Gallery showed Ji Dachun\u2019s satirical paintings\u2014a selection of beautifully precise acrylic works that reference the macabre (a headless stork in \u201cMindlessness,\u201d 2011) and the absurd (\u201cRichter\u2019s Toilet Paper,\u201d 2005). Elsewhere in the fair, galleries were equally thoughtful in their choices of Chinese artists. Sean Kelly presented new colorful ink drawings from Sun Xun that the artist made during his residency at the gallery last fall. Galerie Thaddaeus Ropac included a painting by Yan Pei-ming alongside such heavyweights as David Salle and Alex Katz. Galeria Nara Roesler did not show Chinese artists, but did include a piece from British artist Isaac Julien from his \u201cTen Thousand Waves\u201d video projects shot in Shanghai and Southern China.<\/p>\n\n\n\n

\"\"
Venus drawn out: 20th Century Works by Great Women Artists. Pat Steir (b. 1940). Floating Line, 2014
\u81f4\u656c\u7ef4\u7eb3\u65af\uff1a20\u4e16\u7eaa\u4f1f\u5927\u5973\u6027\u827a\u672f\u5bb6\u4f5c\u54c1\u5c55\u3002\u5e15\u7279\u2022\u65af\u7279\u5c14\uff081940\u5e74\u751f\uff09\uff0c\u300a\u6d6e\u7ebf\u300b\uff0c2014\u5e74<\/figcaption><\/figure>\n\n\n\n

There was certainly no shortage of conversation starters to keep viewers engaged and surprised. Blain Southern brought crowd\u2014and Snickers\u2014to their booth with English artists\u2019 Tim Noble & Sue Webster\u2019s \u201cThe Wedding Cake,\u201d a bisected bust of Mussolini filled to the brim with jutting penises. The piece is based on Renato Bertilli\u2019s \u201cHead of Mussolini (Continuous Profile).\u201d Postmasters Gallery went for shock value with the inclusion of Brooklyn-based artist Monica Cook; \u201cReno with Hoagie, Tenderfoot, Precious, and Baby Corn\u201d (2014) which depicts a seated pig, fur matted, torso open, exposing a piglet suckling at her innards. Two other piglets scamper around the stool, seemingly vying for attention. Its grotesque beauty both mesmerized and repulsed viewers in equal amounts. A co-presentation from Berlin\u2019s Thomas Schulte and Santa Monica\u2019s Christopher Grimes impressed with beauty on a grand scale. Inigo Manglano-Ovalle\u2019s mercurial \u201cStorm Prototype II\u201d hung from the ceiling, its shape reminiscent of swirling hurricane winds or atomic mushroom clouds. The aforementioned Double Fly Art Center, presented by Space Station, had perhaps one of the most engaging works. Those familiar with the sheer insanity of their music videos (included in the booth) will not be surprised by the gleeful absurdity of their carnival games, in which viewers vie for prizes like paper shoes and McDonald\u2019s containers. The booth was a riotous explosion of color and chaos with plastic wrapped prizes festooning the walls along with \u201cBalloons,\u201d a large portrait of the artists in their skivvies.<\/p>\n\n\n\n

In general, however, the fair was an exercise in restraint and good taste. James Cohan Gallery featured the work of Michelle Grabner, who is having a stellar year so far as one of the co-curators of the Whitney Biennial, the opening of which coincided with the Armory Show for the first time. Known for her textured paintings of traditional domestic fabrics, Grabner displayed some spare monochrome versions this time. Francois Ghebaly Gallery dedicated their booth to another Biennial artist, the late Channa Horwitz, who\u2019s having a posthumous revival. She had a memorable showing at the Venice Biennale last year, and Hauser & Wirth will include her in a group show opening at the end of the month. It\u2019s not surprising, then, that the gallery nearly sold out of her work during the first hour of the preview day. Her geometric graph drawings, derived from musical compositions and math theories, take their inspiration from both logic and abstraction. Biennial artists played a major part in Susanne Vielmetter Los Angeles Projects as well, including two female artists\u2014Shana Lutker and Amy Sillman.<\/a><\/p>\n\n\n\n

\"\"
Abelardo Morell, \u201cCamera Obscura: View of Central Park Looking North,\u201d 2009 (Edwynn Houk Gallery)
\u963f\u8d1d\u62c9\u591a\u2022\u83ab\u745e\u5c14\uff0c\u300a\u9488\u5b54\u76f8\u673a\uff1a\u4e2d\u592e\u516c\u56ed\u5411\u5317\u98ce\u666f\u300b\uff0c2009\u5e74\uff08\u57c3\u5fb7\u6e29\u2022\u80e1\u514b\u753b\u5eca\uff09<\/figcaption><\/figure>\n\n\n\n

In fact, female artists had some of the strongest showings at the fair, no doubt to coincide with \u201cVenus Drawn Out,\u201d a specially curated show in the Modern section that features the work of female artists taken from a selection of participating galleries. A charcoal drawing from Kara Walker covered an entire wall of the booth of Sikkema Jenkins & Co., while neon text pieces from Tracy Emin greeted viewers as they walked into Lehman Maupin\u2019s space; the gallery also included a piece from Mickalene Thomas, \u201cHair Portrait #18\u201d <\/em>(2013), that sparkled with the addition of black rhinestones. Germany\u2019s Spruth Magers had a virtual bonanza of women, starting with a wall dedicated to Jenny Holzer\u2019s \u201cLiving Series\u201d (1980 \u2013 1982). Inside, there were works from Thea Djordjadze, Astrid Klein and Louise Lawler, who photograph artworks in museums, storage facilities, auctions and private collections, offering a different perspective of how we view art. Amy Sillman made another appearance at Crown Point Press the American answer to the Singapore Tyler Print Institute, where Sophia Coppola was spotted taking pictures in the booth. Brooklyn-based Spanish artist Elena del Rivero occupied the booth of Galeria Elvira Gonzalez with her series \u201cFlying Letters\u201d\u2014hand-made paper works stitched with feathers. Her works are subdued, thoughtful and skillfully executed, as are most of the works on offer throughout the fair.<\/a><\/p>\n\n\n\n

\"\"
Nick Cave, \u201cSoundsuit,\u201d 2014 (Jack Shainman Gallery)
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<\/a><\/a><\/a><\/a><\/a><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

by Julie Chun The Armory Show may be sma … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":19490,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[23],"tags":[11674,252,11970,13048,272,13049,13050,13051,13052,13053,13054,2555,117,13055,13056,13057,13058,13059,13060,13061,13062,13063,13064,2327,7755,3026,13066,13065,13067,3029,13068,13069,13070,3034,115,13071,13072,13073,119,13074,13075,13076,13077,13078,13079,13081,13080,13082,13083,10865],"yoast_head":"\nChina Focus\u2014Cramped for Space at the Armory - \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\/china-focus-cramped-for-space-at-the-armory\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"China Focus\u2014Cramped for Space at the Armory - 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