{"id":2479,"date":"2017-03-31T18:36:00","date_gmt":"2017-03-31T18:36:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=2479"},"modified":"2022-12-04T08:31:42","modified_gmt":"2022-12-04T08:31:42","slug":"you-wont-be-young-forever","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/you-wont-be-young-forever\/","title":{"rendered":"You won\u2019t be young forever"},"content":{"rendered":"\n<p><a href=\"http:\/\/www.randian-online.com\/np_announcement\/you-wont-be-young-forever\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>\u201cYou won\u2019t be young forever\u201d<\/strong><\/a>,&nbsp;No.235 Guang Fu Road, Shanghai, China ( Near Wu Zhen Road Bridge)&nbsp;<strong>2016.11.11-2016.12.10<\/strong><\/p>\n\n\n\n<p>The most fascinating thing about Milorad Pavi\u0107\u2019s 1984 novel&nbsp;<em>Dictionary of the Khazars<\/em>&nbsp;is that regardless of their cultural background, every reader ends up asking the question\u2014where did the Khazars go? Those with a deeper contextual understanding may arrive at the more astute question: is this a metaphor for Serbia? For an excellent author, it is obviously of utmost importance to inspire questions. How, then, should an art curator, as the \u201cauthor\u201d of an exhibition, raise questions under the labyrinthine conditions of present society?<\/p>\n\n\n\n<p>The group exhibition \u201cYou won\u2019t be young forever\u201dcurated by Biljana Ciric last November during the Shanghai Biennale did not yield any surprises. She has always insisted on institutional critique as her modus operandi, and now a new batch of artists who haven\u2019t yet entered the mainstream has appeared. The exhibition was presented in a raw and original fashion with emphasis on self-governance, exchange, and experimental collaborative approaches: the artists were asked to handle all exhibition-related matters on their own, including the catalogue. The show was in some ways conversant with and a continuation of the \u201cMommy Project\u201d, a program Ciric initiated in 2009; \u201cYou won\u2019t be young forever\u201d also entailed responses to the reception of the \u201cMommy Project\u201d at the time.<\/p>\n\n\n\n<p>Yet undeniably this exhibition resembled more of a mid-term report from a long-term fieldwork research project; the presentation of the artworks felt loose and random due to a lack of integration and in-depth exploration. What came across superficially as diverse and accurate was in fact repetitive and non-diverse. With her long-term, fieldwork style of working, Ciric seems to neglect one point: contemporary Chinese society has levels of complexity, contradiction, and diversity that have never been seen before. The three are no longer distinct from each other, but are very much intertwined. The contemporary artistic ecology has undergone many changes and is no longer as homogeneous and deficient as it was ten years ago. Close exchange between cultures and disciplines (as was evident in many artworks related to performance, drama, science, and especially philosophy, sociology and anthropology presented in the \u201cTheory Opera\u201d section of the Shanghai Biennale), the significant emergence of media art, internet art, and bio-art, among others, and the re-establishment of the rights of capital on an overall societal level have challenged the traditional understanding of \u201ccore\u201d and \u201cperiphery\u201d (in terms of the historic bifurcation of official and unofficial art) . The contemporary situation has made us admit that in the process of eliminating, reconstructing, and re-abolishing different borders, there have been continuous contingencies and new variables, causing art to surpass its original boundaries and forcefully disrupt existing institutional discourses. Today\u2019s art system is no longer in a state of simple opposition, but has come to be characterized by mutual permeation.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-132.png\" alt=\"\" class=\"wp-image-2480\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-132-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-132-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-132-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-132.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u6731\u5efa\u6797\uff0c\u300a\u6210\u5c31\u300b\uff0c\u88c5\u7f6e\uff0c\u300a\u597d\u666f\u4e0d\u5e38\u5728\u300b\u5c55\u89c8\u73b0\u573a\uff0c2016\uff08\u9e23\u8c22\uff1a\u827a\u672f\u5bb6\u548c\u6bd4\u5229\u5b89\u5a1c\uff09\/<br>Zhu Jianlin, \u201cAchievement Project\u201d,&nbsp;Site Specifc installation,&nbsp;\u201cYou won\u2019t be young forever\u201d exhibition view,&nbsp;October 2016<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"382\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-133.png\" alt=\"\" class=\"wp-image-2483\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-133-300x217.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-133-150x109.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-133-415x300.png 415w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-133.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u6768\u5706\u5706\uff0c\u300a\u5728\u6c89\u8239\u4e0a\u300b\uff0c2013\uff0c\u8fdb\u884c\u4e2d\u9879\u76ee<br>\/ Yang Yuanyuan, \u201cOn the Shipwreck\u201d, 2013, ongoing project<\/figcaption><\/figure>\n\n\n\n<p>It is precisely amid this process of expanding boundaries that artists have achieved an unprecedented breakthrough in their ability to organize themselves thanks to prolonged negotiations with or oppression by institutions, systems, and capitalism. They have set up non-profit spaces, compiled publications, organized exhibitions, and even used social media platforms\u2014basically every means possible\u2014to spread their thoughts and ideas. So far, it has been active and quite effective. Examples include Arrow Factory and Telescope in Beijing, Yangtze River Space in Wuhan, Observation Society and HB Station in Guangzhou, am art space and Radical Space in Shanghai, and so on. One participating Guangzhou artist in Ciric\u2019s show, Lin Aojie, is a typical example: from his earliest collaboration with other artists, Double Color Balls Group, to his participation in Observation Societyto establishing Canton Gallery last year with others including Hu Xiangqian and his works in \u201cYou won\u2019t be young forever\u201d, \u201cGood Friend\u201dand \u201cAn Ideal Art Institution\u201d<em>,&nbsp;<\/em>Lin has always been inspired by personal experiences and&nbsp; everyday life; his work expresses humorous insights into life and art, power and institutions. Other works, like Fung Waiging\u2019s&nbsp;<em>Fongfo Monthly&nbsp;<\/em>(a periodical) and Zhu Jianlin\u2019s \u201cCheng Jiu\u201d, have also brought active and lively local contexts to us on a micro level; Tang Chao, who has grown much along with Radical Space, presents some \u201clocal photography\u201d worth attention, a project that connects his own images with the work of local police to create a new&nbsp;<em>smooth space<\/em>&nbsp;(in the Deleuzian sense)<em>.<\/em><\/p>\n\n\n\n<p>The non-profit spaces mentioned above and some of the works in \u201cYou won\u2019t be young forever\u201d embody how contemporary artistic production has been influenced by the philosophical ideas of Deleuze and Guattari. The importance of \u201cnomadology\u201d lies in its ultimately deconstructivist critique of the three major constituents of modern politics\u2014power, subjectivity, and rationality\u2014and in the way it can point out problems and provide solutions to social changes and situations. In his irrational, compelling and after all romantic theory, Deleuze presents a strong spirit that is&nbsp;<em>anti-core, anti-whole, anti-organ<\/em><em>&nbsp;and anti-authority<\/em>; here, a conventional \u201carboreal\u201d mode of thinking has been replaced by extremely creative \u201crhizomic\u201d thinking, and artists have, one after another, adopted new \u201clines of flight\u201d (in the words of Deleuze and Guattari) to escape omnipresent codes, expanding their practices in a netlike manner that extends in all directions. Nomadology, along with related concepts such as minority, rhizome, smooth space, and identity politics, has deconstructed the logic and order of grand narratives with rule-less, center-less, open, and accidental nature. This has stimulated artists, through their own work and parallel activities of deconstruction and construction, to produce work that focus on the microscopic everyday.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"382\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-134.png\" alt=\"\" class=\"wp-image-2486\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-134-300x217.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-134-150x109.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-134-415x300.png 415w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-134.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u5218\u91ce\u592b\uff0c\u300a\u5c0f\u62c9\u5c14\u592b\u300b\uff0c\u89c6\u9891\uff0c2015\uff0c\uff08\u5de6\uff09\uff1b\u300a\u6d6e\u70b9\u300b\uff0c\u5355\u901a\u9053\u9ad8\u6e05\u89c6\u9891\u88c5\u7f6e\uff0c2015\uff0c\uff08\u53f3\uff09<br>\/ Liu Yefu, \u201cralph rockefeller jr\u201d,&nbsp;video, 2015 (left); \u201cfloating point\u201d,&nbsp;single channel hd video installation, color, sound, 2015 (right)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"346\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-135.png\" alt=\"\" class=\"wp-image-2489\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-135-300x197.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-135-150x98.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-135-458x300.png 458w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-135.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u5c55\u5385\u4e09\u697c\uff0c\u674e\u723d\u4e0e\u949f\u5609\u73b2\u4f5c\u54c1 \/<br>Exhibition in 3rd Floor, works by Shuang Li and Zhong Jialing<\/figcaption><\/figure>\n\n\n\n<p>For audiences in Southeast Asia, China, and especially Shanghai, Ciric\u2019s distinctiveness is evident because she was once a typical \u201cminoritarian.\u201d With her long-term view and an independent stance carried through her curatorial practice and the perspective of the \u201cother\u201d, she has provided what was once a homogenous and deficient artistic environment with ways to open up new channels in a timely fashion. Her impressive curatorial projects on performance and on-site actions have challenged the existing order and constructed a whole new type of experience in the sense of looking at and participating in art. For example, her recent exhibition \u201cProposals to Surrender\u201d at Ming Contemporary Art Museum again refreshed viewers\u2019 perception of the \u201cbody,\u201d \u201cpresence,\u201d and \u201ctime.\u201d Her 2013 exhibition<em>&nbsp;\u201c<\/em>One Step Forward, Two Steps Back\u201d, a collaboration with Guangdong Times Museum, also left viewers with strong impressions of her mode of working and the dimensions of her perspective. Therefore, it is exactly these kinds of obvious \u201cdifferences\u201d that have become Ciric\u2019s \u201clines of flight,\u201d which successfully permeate these institutional systems. However, such becoming is not once and for all. What Deleuze proposes is a kind of difference in itself, in which \u201cbecoming\u201d means becoming&nbsp;<em>different<\/em>. Thus, becoming-minoritarian would be the new passage to true diversity. Ciric should hold firmly to her \u201cminor\u201d politics and form a natural, organic symbiotic relationship to the Chinese contemporary art ecology\u2014a form of \u201cdouble becoming.\u201d<\/p>\n\n\n\n<p>Positioning herself as a cultural \u201cother,\u201d Ciric has long focused on the study of contemporary artistic development in East Asia under the banner of institutional critique that she emphasizes and persists with. However, she will face enormous challenges if she remains content with being an \u201cambassador\u201d (which, of course, a curator could be) and continues to appropriate and critically reauthorize the external Eurocentric discourse without coming up with creative curatorial concepts and actions to participate in the more recent artistic and theoretical developments. In fact, the urgency of linkage and becoming in contemporary art\u2019s search for transformation is far greater than its urge for simple exchange and representation. For third-world cultural observer-researchers, if one is confined to pure institutional critique, one risks falling into a trap that the renowned Cuban curator Gerardo Mosquera once described in these terms: \u201ccritique of the contemporary art system itself will only give impetus to the authorization of the system.\u201d In this way, the curator her\/himself might simply become a power component in relation to how the art system functions.<\/p>\n\n\n\n<p>In their brilliant analysis of schizophrenia, Deleuze and Guattari give the following advice: \u201cFind your black holes and white walls, know them, know your faces; it is the only way you will be able to dismantle them and draw your lines of flight.\u201d May this be dedicated to all the participating artists and to the curator Biljana Ciric.<\/p>\n\n\n\n<p>\u2014\u2014\u2014<\/p>\n\n\n\n<p>Ann is an art curator and critic. Her research is focuses on cultural studies and art criticism. She lives and works in Shanghai.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"382\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-136.png\" alt=\"\" class=\"wp-image-2492\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-136-300x217.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-136-150x109.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-136-415x300.png 415w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-136.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u5976\u7c89Zhou\uff0c\u300a\u5582\u5496\u4ec6\u903c\u7279\u300b\uff0c\u4e19\u70ef\u3001\u55b7\u6f06\u4e8e\u5899\u9762\uff0c\u7ea61140\uff08\u9ad8\uff09x 960\uff08\u5bbd\uff09cm\uff0c2016 \/ Nathan Zhou, \u201cwake up beat\u201d, acrylic, spray paint on the wall, ca. 1140 (H) x 960 (L) cm, 2016<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cYou won\u2019t be young forever\u201d,&nbsp;No.23 &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/you-wont-be-young-forever\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":2495,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[149,415,67,940,102,416,944,239,374,393,85,945,946,947,419,948,210,460,230,421],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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