{"id":2179,"date":"2019-06-17T16:58:00","date_gmt":"2019-06-17T16:58:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=2179"},"modified":"2022-12-02T17:14:09","modified_gmt":"2022-12-02T17:14:09","slug":"soulmates-at-hb-station","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/soulmates-at-hb-station\/","title":{"rendered":"\u201cSoulmates\u201d at HB station"},"content":{"rendered":"\n<p>By Yisi Li<\/p>\n\n\n\n<p>When I think of JY, I always see her as a wicked and reserved commentator. She will secretly crack a joke of history just to make her argument sensible to the minds of insiders and outsiders. She can make a dull, logical elaboration of a system at once intimate, intriguing, and with a taste of bitterness. She walks comfortably in and out of different communities, leaving everyone some food for thoughts, and the warmness of a diligent, modest artist.<\/p>\n\n\n\n<p>As the result of her 2017 residency at HB Station (Guangzhou), JY transformed the orderly-looking HB station office into a mini foam-maze with disposal foam boards collected from nearby neighborhoods. Although these boards are cut into similar sizes, patterns vary. Deprived of the context their raison d\u2019etre are granted, I find it difficult to decipher what these patterns tell. The setting evokes a sense of Whiteread\u2019s installation: it feels intimate, yet detached; it touches you gently, yet a sense of cruelty lingers in your mind. A handful of paintings in JY\u2019s typical realism style scatter around the space, each hidden in a small foam box as if the bulb inside that lits up each box is its sole spectator. Rest assured, there are indeed two paintings hung on walls. They are portraits of two female television stars. The one affixed to the wall furthest to the entrance is Ye Qian Wen, a 90s Hongkongnese popular singer, while the other portrait of Dong Qing\u2014a CCTV television host familiar to every Chinese household, is hung next to the entrance.<a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2019\/06\/%E7%8E%B0%E5%9C%BA%E5%9B%BE%E7%89%87installation-view4.jpg\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-51.png\" alt=\"\" class=\"wp-image-2180\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-51-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-51-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-51-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-51.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-52.png\" alt=\"\" class=\"wp-image-2183\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-52-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-52-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-52-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-52.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view<\/figcaption><\/figure>\n\n\n\n<p>Feeling fuzzy and warm in this dimly lit space, I naturally seated myself. My attention is soon directed to the video installation occupying most of the space\u2014a 17 minutes long double-screen video work. Fragments of artists interviews, television dramas, CCTV live shows and academic forums form an atlas, ambitiously attempting to unfold the realities of the present day Chinese art world.<\/p>\n\n\n\n<p>The video seems to be a harsh critique to the art world\u2019s bipolar nature. It does not matter if you fail to drop names of supposedly-familiar artworld faces in the video or not. The persisting boundary between canonistic arts and Outsider art is omnipotently manifested through the cinematic language itself. The arrangement of the dual screen put down JY\u2019s argument in an almost unmistakable way.<\/p>\n\n\n\n<p>\u201cWhat we are searching for is the truth.\u201d<br>The comment is followed by a deliberate moment of silence that was allocated to the professionals at an academic forum\u2014a moment to carefully digest the statement. Lenses on both screens abruptly switch focus\u2014from the panoramic view of the forum to the close-up of two respected critics, capturing the immense elegance and ease of them in handling and sipping the Gong-Fu Cha (Chinese traditional tea making).<\/p>\n\n\n\n<p>\u201cWhen no one can save you, it is only you that can save yourself.\u201d<br>Upon carefully inspecting each painting laid in a row at a living room, the right screen is cut to the close-up side face of our heroine Xiao Qin, with her gaze extending from what we could see in the screen to an imperceptible distance. Seated, facing against the left screen \u2014where a live recording of the same academic forum is played, she gave us her final words.<\/p>\n\n\n\n<p>\u201cI would say, generations of our artists aspire to portray the Zeitgeist.\u201d<br>Almost like schizophrenia, the left screen uses the classic short-reverse-shot to unfold a conversation between a CCTV host and a well-known art professional. Both eagerly to reach a consensus, their confidence of defining history naturally reveals itself. Yet, what appears on the right screen\u2014the fleeting image of an artist whose voice is muted\u2014put an unease to the portrait of this harmony.<\/p>\n\n\n\n<p><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2019\/06\/%E7%8E%B0%E5%9C%BA%E5%9B%BE%E7%89%87installation-view3.jpg\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-53.png\" alt=\"\" class=\"wp-image-2186\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-53-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-53-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-53-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-53.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-54.png\" alt=\"\" class=\"wp-image-2189\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-54-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-54-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-54-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-54.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view<\/figcaption><\/figure>\n\n\n\n<p>In the words of Jing Yuan herself, her methodology is to challenge an existing system by offering her own picture of it. It isn\u2019t a rare practice, if we familiarise ourselves with artists such as Rikrit Tiravanija, who questions out loud the relation between arts and life with his caption \u201cDo We Dream Under the Same Sky\u201d screen-printed on top of collages of newspapers. To a more focused scope on the system of arts itself, we have the carefully scripted works of Andrea Fraser (A Gallery Talk 1989), Asli Cavusoglu ( Murder in Three Acts 2012), or Zhou Tie Hai. Being said, in comparison to her predecessors, JY purposely steps back from being an \u201cartist as a creator\u201d to \u201cartist as an observer,\u201d deploying a meticulous and reserved manner to scrutinise the system. Slicing the system apart recurrently from the same angle\u2014the unspoken barrier and compartmentalisation of the art world, her means of narration invites an intertextual and non-linear way of reading, in which a sense of anxiety\u2014from the incapability of defining and attributing causality\u2013emerged.<\/p>\n\n\n\n<p>This sense of anxiety is manifested through interviewees and audiences of the video. For instance, when the prosthetics are gifted to Lele as the moment of consummating the heart-felt compassion, an almost unconscious comment that \u201cLet\u2019s see what LELE likes when he is standing\u201d uttered from the TV commentator captures my attention. Juxtaposed it with a muted interview recording of an artist on the right screen, the fuzziness of shared sympathy transmutes into an uneasiness of those unspeakable thoughts. Meanwhile, the nature of Huangbian Station\u2014an artistic community affiliated with Times Museum yet remains independent in its program development\u2014might be the physical platform to battle against the anxiety. In the same way that the common thread of the five artists in JY\u2019s another video work \u201cSolutions\u201d is their shared identity as a mother and the daily happenings, this exhibition attempts to construct a malleable space where everyday life and professional practice could find ease at each other.<\/p>\n\n\n\n<p>In this way, the sense of unease becomes the emotional foundation, allowing the action of \u201cdiscussing arts\u201d to unfold realities from various systems\u2014CCTV charity live show, lives and works of the outsiders and the insiders of the artworld to us. With her decentralised and comparative approach, the artist suggests a consensus that could be reached not by any parameter specific to the artworld itself, such as the narration of global art history, or the logic of cultural production in the late-capitalism age. Rather, something more intrinsic to us as human being, hidden deep inside our subconsciousness is what JY aspires to evoke.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-55.png\" alt=\"\" class=\"wp-image-2192\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-55-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-55-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-55-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-55.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-56.png\" alt=\"\" class=\"wp-image-2195\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-56-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-56-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-56-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-56.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view<\/figcaption><\/figure>\n\n\n\n<p>All photos: the artist<\/p>\n\n\n\n<p>Huang Jing Yuan: Soulmates<br>Opening: 2019.3.23 (Saturday) 3:00pm<br>Duration: From Wednesday to Sunday: 2:30pm \u2013 6:30pm\uff082019.3.23-2019.5.2\uff09<br>Address: NO.338, Xiangrong Street. Huangbianbei Road, Baiyun Avenue, Guangzhou<\/p>\n","protected":false},"excerpt":{"rendered":"<p>By Yisi Li When I think of JY, I always  &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/soulmates-at-hb-station\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":2198,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[895,29,374,894],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cSoulmates\u201d at HB station - \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\/soulmates-at-hb-station\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cSoulmates\u201d at HB station - 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