{"id":6794,"date":"2015-04-15T15:19:00","date_gmt":"2015-04-15T15:19:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=6794"},"modified":"2022-12-14T15:40:45","modified_gmt":"2022-12-14T15:40:45","slug":"extremely-unextreme","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/extremely-unextreme\/","title":{"rendered":"Extremely Unextreme"},"content":{"rendered":"\n<p><a href=\"https:\/\/www.randian-online.com\/np_event\/zhu-yu-%EF%BC%9Aseparation\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Separation\u2014Zhu Yu Solo Exhibition<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/long-march-space\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Long March Space<\/strong><\/a>&nbsp;(Jiuxianqiao Road, Chaoyang District, 798 Art District, Beijing 100015),&nbsp;<strong>March 7\u2013May 24. 2015<\/strong><\/p>\n\n\n\n<p>Sometimes, taking the extreme route is taking a shortcut. At other times, no reason is needed; extreme behavior can be dictated by irrational, emotional influences: utter despair when all hopes are dashed, tears of joy, a dip into extreme grief following a moment of profound happiness. But if a person who has always tended toward extremes exhibits an unusually mild side, their new choice still appears somewhat extreme: the extreme of non-extremes!<\/p>\n\n\n\n<p>On the first day of 2000, the performance artist Zhang Shengquan of Datong, Shanxi ended his life in suicide, becoming the most extreme of extreme artists. By sheer radicality, he had beaten other artists like He Yunchang, Zhang Huan, Peng Yu, and Zhu Yu. In an age in which the logic of the \u201csimulacrum\u201d had not yet truly penetrated Chinese culture and the myth of originality was worshipped and revered, Zhang Shengquan wrote on the wall of his own bedroom, \u201cThe endpoint of art is the question of whether or not to go on living. Because the moment any one of an artist\u2019s discoveries is used, whether by others or by the artist himself, it loses its meaning.\u201d Zhu Yu might not agree with this statement. After having fallen silent for a long time, he now exhibits paintings which, for the most part, are comprised of clean, delicate surfaces\u2014though the dining plates with outlines of vaguely identifiable human organs tell an older story\u2026.<\/p>\n\n\n\n<p>Zhu Yu\u2019s wide renown comes partly from his bloody \u201cPost-Sense Sensibility\u201d exhibition of 1999, and even more so from other series of works that made spectators bristle with anger. These include \u201cSacrifice: Feed a Dog with His Child\u201d (2002) (in which he fed a four-month old fetus he had conceived with a prostitute to a dog), \u201cEating People\u201d (2000) (photographs, exhibited in the \u201cFuck Off Exhibition,\u201d of the artist cooking and eating a human fetus), and so on. Although the powers that be later came out with laws forbidding the exhibition of such gory performance art, the shift Zhu Yu, Qiu Zhijie and others took in their practices was not necessarily because of this new policy (and He Yunchang did not stop at all), but rather because they began to feel that the discourse of body politics was no longer current.<\/p>\n\n\n\n<p>In the present exhibition, on kitchen dishes, Zhu Yu shows us patterns that bear resemblance to human organs steeped in tea at the same time as indicating spruce firs, or Taihu rocks, or other similarly sophisticated natural depictions. In almost every painting, in the same way, one can just make out the round shape of what could just as well be a plate full of still-born infants as a circular fan. If we were to locate the \u201cextreme\u201d nature in Zhu Yu\u2019s works here, it might be in his extreme knack for keeping up with the times. But even here, he will often carry a popular mode of expression to which he has adapted to its own extreme. Viewers can see this as they follow the trajectory of Zhu Yu\u2019s thought in his practice. His works have been ordered in this exhibition\u2014arranged in sequence based on when they were made.<\/p>\n\n\n\n<p>Audiences shocked by Zhu Yu\u2019s practices and \u201cincidents\u201d during the early years may gasp at the present display of elegant images. The rebellious edge is gone, the \u201cGolden Age\u201d of performance art in China has perhaps hastily wound to a close, and even that \u201cAge of Idealism\u201d\u2014so romanticized\u2014is nowhere to be found. But if we stop and consider for a moment everything that went on in those years, are hopes of Zhu Yu\u2019s continued persistence towards extremes themselves justified? Over twenty years ago in mainland China, the radical art that began to appear was more like a series of decontextualized performances floating amidst the blind conformity of the post-colonial age and the continuation of pre-Enlightenment collectivist thinking. It may also be said that the use of radical or extreme approaches for the sake of symbolic resistance to power is tantamount to an incorrect choice of weapon. In the ongoing discussion about the construction of the body in culture brought on by \u201cFoucault fever,\u201d the body has been imagined by some artists as a kind of signifier. But as to what is being signified, nothing has been clearly articulated. In essence, this is no different from the \u201carmed struggles\u201d of the Cultural Revolution: weapons are in hand, but an enemy has not yet been determined. So when it comes to the past and present for Zhu Yu and the rest, the truly meaningful question is: who has encouraged them? Who has changed them?<\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_event\/zhu-yu-%EF%BC%9Aseparation\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Separation\u2014Zhu Yu Solo Exhibition<\/strong><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/long-march-space\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Long March Space<\/strong><\/a>&nbsp;(Jiuxianqiao Road, Chaoyang District, 798 Art District, Beijing 100015),&nbsp;<strong>March 7\u2013May 24. 2015<\/strong><\/p>\n\n\n\n<p>Sometimes, taking the extreme route is taking a shortcut. At other times, no reason is needed; extreme behavior can be dictated by irrational, emotional influences: utter despair when all hopes are dashed, tears of joy, a dip into extreme grief following a moment of profound happiness. But if a person who has always tended toward extremes exhibits an unusually mild side, their new choice still appears somewhat extreme: the extreme of non-extremes!<\/p>\n\n\n\n<p>On the first day of 2000, the performance artist Zhang Shengquan of Datong, Shanxi ended his life in suicide, becoming the most extreme of extreme artists. By sheer radicality, he had beaten other artists like He Yunchang, Zhang Huan, Peng Yu, and Zhu Yu. In an age in which the logic of the \u201csimulacrum\u201d had not yet truly penetrated Chinese culture and the myth of originality was worshipped and revered, Zhang Shengquan wrote on the wall of his own bedroom, \u201cThe endpoint of art is the question of whether or not to go on living. Because the moment any one of an artist\u2019s discoveries is used, whether by others or by the artist himself, it loses its meaning.\u201d Zhu Yu might not agree with this statement. After having fallen silent for a long time, he now exhibits paintings which, for the most part, are comprised of clean, delicate surfaces\u2014though the dining plates with outlines of vaguely identifiable human organs tell an older story\u2026.<\/p>\n\n\n\n<p>Zhu Yu\u2019s wide renown comes partly from his bloody \u201cPost-Sense Sensibility\u201d exhibition of 1999, and even more so from other series of works that made spectators bristle with anger. These include \u201cSacrifice: Feed a Dog with His Child\u201d (2002) (in which he fed a four-month old fetus he had conceived with a prostitute to a dog), \u201cEating People\u201d (2000) (photographs, exhibited in the \u201cFuck Off Exhibition,\u201d of the artist cooking and eating a human fetus), and so on. Although the powers that be later came out with laws forbidding the exhibition of such gory performance art, the shift Zhu Yu, Qiu Zhijie and others took in their practices was not necessarily because of this new policy (and He Yunchang did not stop at all), but rather because they began to feel that the discourse of body politics was no longer current.<\/p>\n\n\n\n<p>In the present exhibition, on kitchen dishes, Zhu Yu shows us patterns that bear resemblance to human organs steeped in tea at the same time as indicating spruce firs, or Taihu rocks, or other similarly sophisticated natural depictions. In almost every painting, in the same way, one can just make out the round shape of what could just as well be a plate full of still-born infants as a circular fan. If we were to locate the \u201cextreme\u201d nature in Zhu Yu\u2019s works here, it might be in his extreme knack for keeping up with the times. But even here, he will often carry a popular mode of expression to which he has adapted to its own extreme. Viewers can see this as they follow the trajectory of Zhu Yu\u2019s thought in his practice. His works have been ordered in this exhibition\u2014arranged in sequence based on when they were made.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"217\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1258.png\" alt=\"\" class=\"wp-image-6795\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1258-300x123.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1258-150x62.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1258-500x205.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1258.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Exhibition View<br>\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"217\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1259.png\" alt=\"\" class=\"wp-image-6798\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1259-300x123.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1259-150x62.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1259-500x205.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1259.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Exhibition View<br>\u5c55\u89c8\u73b0\u573a<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"420\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1260.png\" alt=\"\" class=\"wp-image-6801\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1260-300x239.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1260-150x119.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1260-377x300.png 377w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1260.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Zhu Yu, \u201cStain T027\u2033, oil on canvas, 120 x 150 cm, 2015<br>\u6731\u6631\uff0c\u300a\u8336\u6e0d T027\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c120 x 150 cm\uff0c2015<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"392\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1261.png\" alt=\"\" class=\"wp-image-6804\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1261-300x223.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1261-150x111.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1261-404x300.png 404w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1261.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Zhu Yu, \u201cStain E.009\u2033, oil on canvas, 120 x 100 cm, 2014<br>\u6731\u6631\uff0c\u300a\u75d5\u8ff9 E.009\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c120 x 100 cm\uff0c2014<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"325\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1262.png\" alt=\"\" class=\"wp-image-6807\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1262-300x185.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1262-150x92.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1262-487x300.png 487w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1262.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Zhu Yu, \u201cStain T23\u2033, oil on canvas, 100 x 80cm x 2 panels, 2013<br>\u6731\u6631\uff0c\u300a\u8336\u6e0d T23\u300b\uff0c\u5e03\u9762\u6cb9\u753b\uff0c100 x 80cm x 2 panels\uff0c2013<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"396\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1263.png\" alt=\"\" class=\"wp-image-6810\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1263-300x225.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1263-150x113.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1263-400x300.png 400w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1263.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Zhu Yu, \u201cStain No. 17\u2033, oil on canvas, 150 x 200 cm<br>\u6731\u6631\uff0c\u300a\u8336\u6e0dNO.17\u300b\uff0c\u5e03\u9762\u6cb9\u753b \uff0c150 x 200 cm\uff0c2012<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Separation\u2014Zhu Yu Solo Exhibition Long M &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/extremely-unextreme\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":6813,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[2908,2902,2901,2903,2904,2905,1045,2907,2906,2910,2909,2911,2912,2913,862,2914,939,2915,2916],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Extremely Unextreme - \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\/extremely-unextreme\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Extremely Unextreme - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Separation\u2014Zhu Yu Solo Exhibition Long M 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