{"id":9786,"date":"2016-03-07T07:24:00","date_gmt":"2016-03-07T07:24:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=9786"},"modified":"2023-02-23T09:55:20","modified_gmt":"2023-02-23T09:55:20","slug":"an-unending-battle","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/an-unending-battle\/","title":{"rendered":"An Unending Battle"},"content":{"rendered":"\n<p><em>This review first appeared in Ran Dian Issue 2, Winter 2015-16.<\/em><\/p>\n\n\n\n<p><strong><a href=\"http:\/\/www.kleinsungallery.com\/exhibitions\/li-liao-attacking-the-boxer-from-behind-is-forbidden\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cAttacking The Boxer From Behind is Forbidden\u201d<\/a>, Li Liao solo exhibition<\/strong><\/p>\n\n\n\n<p><a href=\"http:\/\/www.randian-online.com\/zh\/np_space\/venue_01\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Klein Sun Gallery<\/strong>,<\/a>&nbsp;New York,&nbsp;<strong>Oct 14\u2013Nov 14, 2015<\/strong><\/p>\n\n\n\n<p>In his performances to date, Li Liao has addressed himself to different environments, exchanging his own presence for outcomes either planned or undefined from the outset. He has been content to place himself directly, and sometimes painfully, in public situations, often seeming to relinquish agency for the sake of experiment.<\/p>\n\n\n\n<p>Five years ago in Wuhan, Li waited for a stranger he had met on the internet to come to a designated public place and slap him in the face as he stood with eyes closed. The following year for \u201cSingle Bed\u201d, he fell asleep in a playground, by a lake, outside a shopping mall and by an ATM machine, staying there until he woke up or was disturbed. \u201cWeight Loss Plan\u201d meant covering a month\u2019s worth of food, phone bill and transportation with only 350 RMB in 2011 (something he had also done a decade before for the same amount). He locked himself to the railing of an office building for a day (\u201cSpring Breeze\u201d, 2011).&nbsp;<a href=\"http:\/\/www.randian-online.com\/np_event\/li-liao-art-is-vacuum\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u201cArt is Vacuum\u201d<\/a>&nbsp;(2013) meant giving the 50,000 RMB production budget for his work for the Hugo Boss Art Award show to his girlfriend\u2019s father to compensate for having no better occupation than being an artist. Li\u2019s best-known (and most easily legible) work is \u201cConsumption\u201d (2012), for which he worked at Foxconn in Shenzhen for as long as it took to earn enough to buy one of the iPads for which he had been on the assembly line. (The piece, displayed by way of his old Foxconn uniform, ID card and the iPad, featured in the 2015 New Museum Triennial to much acclaim).<\/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\/2023\/02\/zh-hant\/image-246.png\" alt=\"\" class=\"wp-image-9787\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-246-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-246-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-246-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-246.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u674e\u71ce\uff0c\u300a\u4e00\u8bb0\uff08\u6b66\u6c49\uff09\u300b\uff0c\u5f55\u50cf\u5267\u7167\uff0c2011<br>Li Liao, \u201cA Slap in Wuhan\u201d, video still, 2011<\/figcaption><\/figure>\n\n\n\n<p>The focal piece in Li Liao\u2019s recent solo exhibition in New York (his first in America) did not fit squarely with either of the main tendencies evident from his previous works\u2014resigning himself in public, or actions to do with local or global socio-economic capital beyond the art world. A professional boxer awaited visitors to the gallery, against whom he would defend part of the space with his gaze and postures as if it were the ring. The title of the piece (also of the show) was printed in red letters on the wall behind the mercenary actor: \u201cAttacking The Boxer From Behind is Forbidden.\u201d The idea was ostensibly to \u201ccomplicate one\u2019s sense of expectation\u201d of a commercial place and to introduce tension there. That the situation was thus explained in the press release begins to suggest the conflicting strands of this piece, its intended and unintended effects and inversions.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/03\/Installation-view-Attacking-the-Boxer-from-Behind-is-Forbidden-2015-courtesy-Klein-Sun-Gallery-and-Dean-George-boxer.jpg\"><img decoding=\"async\" src=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/03\/Installation-view-Attacking-the-Boxer-from-Behind-is-Forbidden-2015-courtesy-Klein-Sun-Gallery-and-Dean-George-boxer-528x713.jpg\" alt=\"\u674e\u71ce\uff0c\u300a\u4e25\u7981\u4ece\u80cc\u540e\u88ad\u51fb\u62f3\u624b\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2015 Li Liao, Attacking the Boxer from Behind is Forbidden, video still, 2015\" class=\"wp-image-70789\" \/><\/a><figcaption class=\"wp-element-caption\">\u674e\u71ce\uff0c\u300a\u4e25\u7981\u4ece\u80cc\u540e\u88ad\u51fb\u62f3\u624b\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2015<br>Li Liao, \u201cAttacking the Boxer from Behind is Forbidden\u201d, installation view, 2015<\/figcaption><\/figure>\n\n\n\n<p>This was the first time Li Liao had substituted an actor for himself for one of his performances. Where Li slept in public places, the artist was absent here; the act, acted. At the opening, the limitations of performance as a challenge of managing a staged interactive (or reactive) encounter made themselves plain as the boxer strived to maintain a menacing expression; individual visitors approached him unthreatened, smiling shyly. Despite an aim to heighten the tension inside the white cube of a gallery\u2014most often tied to a feeling of intimidation as people assume they will not understand what they see or because they are in rarefied display environment whose real purpose is accessible only to the few\u2014the performance inverted its own intent. Suppressing slightly their mirth or curiosity, visitors empowered by the atmosphere of the gallery and the innocuous event of an opening were unperturbed by the boxer on his empty turf. At play, too, was the prevention of actual contact in this performance\u2014that the boxer couldn\u2019t touch the visitors, and they were told not to attack (implicitly, even approach) him from behind\u2014maintained a purely hypothetical atmosphere. For comparison, one could consider a recent piece called \u201cThe Count\u201d by the British artist Demelza Watts, wherein upon entering the room, the visitor is given a countdown by a boxing referee before being asked leave by a surly bouncer, who will escort them out if necessary. Without the threat of contact, Li\u2019s performance remained in the ring of hyperbole, his boxer \u201cdomesticated\u201d.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/03\/Installation-view-exhibition-courtesy-Klein-Sun-Gallery-2.jpg\"><img decoding=\"async\" src=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/03\/Installation-view-exhibition-courtesy-Klein-Sun-Gallery-2-528x314.jpg\" alt=\"\u674e\u71ce\uff0c\u300a\u4e25\u7981\u4ece\u80cc\u540e\u88ad\u51fb\u62f3\u624b\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2015 Li Liao, Attacking the Boxer from Behind is Forbidden, video still, 2015\" class=\"wp-image-70790\" \/><\/a><figcaption class=\"wp-element-caption\">\u674e\u71ce\uff0c\u300a\u4e25\u7981\u4ece\u80cc\u540e\u88ad\u51fb\u62f3\u624b\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2015<br>Li Liao, \u201cAttacking the Boxer from Behind is Forbidden\u201d, exhibition view, 2015<\/figcaption><\/figure>\n\n\n\n<p>Expectation, which the performance purports to complicate, is already complex in a gallery\u2014especially when one has been a told a performance will happen. Commercial galleries are strange places somewhere between the private and public realms; art\u2019s illusive relationship with value makes for an unclear space. What\u2019s more, viewers anticipate something to react to, as well as their own reactions. The other works on show by Li Liao at Klein Sun served as a reminder of the fact that performance as an experimental art form secures or risks a great deal by its choice of context. Unlike sticking to a budget (like \u201cWeight Loss Plan\u201d), \u201cAttacking The Boxer From Behind is Forbidden\u201d has no clear goal. Its cause and effects are both fueled and restricted by the gallery context. Watching \u201cA Slap in Wuhan\u201d and \u201cSingle Bed\u201d, both similarly open-ended works but for which there was no expectant audience, only a passing public, and where the surroundings were ordinary and unassuming, one is reminded of the value of anonymity for experiment. \u201cAttacking The Boxer From Behind is Forbidden\u201d both depended on and was deflected by its surroundings. The performance hovered, physically and conceptually, in a constant, sparring state.<\/p>\n\n\n\n<p>Li Liao\u2019s boxer was there every day until the show closed. Unwittingly, perhaps, this work tapped into a seam of empathy running through Li\u2019s work\u2014a sort of concentric vulnerability might connect this lone boxer in an unfamiliar environment with an artist bedded down on the street. \u201cAttacking The Boxer From Behind is Forbidden\u201d evoked more than had been imagined for it.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/03\/Single-Bed-2011-.jpg\"><img decoding=\"async\" src=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/03\/Single-Bed-2011--528x296.jpg\" alt=\"\u674e\u71ce\uff0c\u300a\u5355\u4eba\u5e8a No.1 \uff08\u5149\u8c37\u5e7f\u573a\uff09\u300b\uff0c\u5f55\u50cf\u5267\u7167\uff0c2011 Li Liao, A Single Bed No.1 (Optics Valley), video still, 2011\" class=\"wp-image-70791\" \/><\/a><figcaption class=\"wp-element-caption\">\u674e\u71ce\uff0c\u300a\u5355\u4eba\u5e8a No.1 \uff08\u5149\u8c37\u5e7f\u573a\uff09\u300b\uff0c\u5f55\u50cf\u5267\u7167\uff0c2011<br>Li Liao, \u201cA Single Bed No.1 (Optics Valley)\u201d, video still, 2011<\/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\/2023\/02\/zh-hant\/image-247.png\" alt=\"\" class=\"wp-image-9790\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-247-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-247-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-247-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/02\/zh-hant\/image-247.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u674e\u71ce\uff0c\u300a\u5355\u4eba\u5e8a No.2 \uff08\u5c0f\u64cd\u573a\uff09\u300b\uff0c\u5f55\u50cf\u5267\u7167\uff0c2011<br>Li Liao, \u201cA Single Bed No.1 (Small Playground)\u201d, video still, 2011<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>This review first appeared in Ran Dian I &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/an-unending-battle\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":9793,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[6089,6088,6090,6091,2282,2355,6092,4699,6093,6094,6095,6096,5082,6097,6098,6099,4711],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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