Omnipresent Concrete

群展

2014.12.21—2015.2.28

世界砼 蔡磊 陈晓云 侯勇 梁硕 陆垒 宋建树 王卫 王光乐 杨铭 于吉 曾宏 张如怡 张震宇 郑国谷

_{Omnipresent Concrete}

_{Beijing, or the top rock musicians and the top contemporary artists in China have met in the same space. This is supposed to be an eye-catching advertising slogan, but it will not have any use because it is too vulgar and not impatient enough.}

_{Whether it's rock musicians, contemporary artists, or young people living in China around the age of one hundred thousand years (the founder of hundreds of thousands of space), all kinds of descriptions revolve around a kind of self-identity and the way of expression and speech after identification.}

_{However, I always believe that the struggle and uncertainty of self-identity are the "common problems" of this society, especially those who can deeply perceive society and reflect on themselves. For example, we are Chinese, but we often deny this cultural identity in our daily life; we are women, but we often instinctively refuse a series of definitions brought about by this identity; we are residents of second tier capital cities with backward economy and withered culture, and we can't plant the roots of life on this land; we express ourselves with rock music, but There are many contradictions between criticizing the system, disintegrating the mainstream value system and the sense of stability and order in daily life.}

_{This has given birth to constant self questioning, self breakthrough, self destruction and self reconstruction. To find an intermediate state and constantly changing state, breaking through the state of the circle becomes the normal of life and the normal of self-expression. This is probably my understanding of the intention of setting up a hundred thousand spaces and its social representation.}

_{Of course, this so-called intention to set up is a metaphysical expression. In the lower level, it naturally includes the need to make profits as an art trading institution, as well as the drive to expand and reproduce the existing cultural capital and social capital. But these are all in parallel, and together contribute to the formation and development of this space.}

_{In the first exhibition, "world concrete" points to a variety of expressions about "cement". It includes the creation of works of art made of cement, breaking through the daily use of "cement" and trying to reposition its referential system in the language of art media; it also includes the theme, main content and central idea of "cement" by means of general artistic expression. It can be simply understood as the inversion and exchange of art content and form. It can be transformed into a proposition contest touching the boundary of media language.}

_{Cement has been unable to stimulate any sensory system in our daily experience. But after entering the space of one hundred thousand, the reinforced concrete waste of the construction site is welded and hung on the wall again, which brings the impulse of expression and the experimental nature of media language. Some people ask, if such a hanging thing appears on the construction site, it is just construction waste. Why does it appear here and become art. To this, I seem to be very difficult to have a good answer, probably only: "let's try it.". In fact, this itself reflects the relationship between the daily attribute of "cement" and its artistic expression medium attribute, which is a kind of intertwined and inseparable intermediate state.}

_{The definition of different art categories is generally based on the characteristics of their media language, which returns to the discussion of signifier and signifier system. For example, the music language system is mainly composed of melody and rhythm, which is also a language built on the auditory system. Then, when music language is required to create the perception of visual and even tactile system, it forms a new attempt of artistic media language expression. Li Jianhong's experimental music performance, an important part of the "world concrete" exhibition, brought us this experience. He dealt with the noise and the sound of guitar playing, and showed us the life experience brought by cement to us through sound and music. Every corner of the music scene is filled with the power of sound waves, and the eardrum and chest vibrate accordingly. As an audience, I can really fit this experience with cement. For example, I may sit on a construction site and the noise of cement pouring is deafening; or it may be that the cement dust and fragments scattered all over the sky fall on my body. It's a pity that any attempt to describe will stifle the infinite malleability of the experience.}

_{On a certain level, artistic creation is the practice of some artistic language built on the expression of impulse, and its fundamental point is to see the way of self and world. And because of the impulse to break through these ways and seek new possibilities, there is a space of one hundred thousand.}

_{Generally speaking, if one day I have mastered the language of a dog and can use "bark and bark" to express itself from me, then I and the world in my heart must have opened up a new latitude.}

_{Of course, a hundred thousand is a virtual reference, which refers to the infinite number. What is added up here is the possibility of looking at the self and the world.}

_{Omnipresent Concrete}

Curator: Bao Dong

_{Artists: Cai Lei, Chen Xiaoyun, Hou Yong, Liang Shuo, Lu Lei, song Jianshu, Wang Wei, Wang Guangle, Yang Ming, Yu Ji, Zeng Hong, Zhang Ruyi, Zhang Zhenyu, Zheng Guogu}

_{Exhibition time: December 21, 2014 to February 28, 2015}

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