全球唯一“城市\建筑”双年展
THE ONE AND ONLY BIENNALE
OF URBANISM\ARCHITECTURE IN THE WORLD
In the Name of Luohu

盒子艺术空间 / 中国

Boxes Art Space / China


(in alphabetical order)

Dai Yun / SIT ON ME Sofa

The new work Single Sofa is more concise and abstract, and closer to the concept of objects than the one previously shown in Beijing Art Exhibition. Here I want to quote the remarks from Mr. Yin

ShuangXi that Dai Yun's imitation of real objects is not the "reproduction" imparted by academic realism education, but rather something that "looks like reproduction", behind which there are many implied meanings, and the most important of all is his refection on the materialism of our times.

Dai Yun / Bicycle

The bicycle is a combination of three materials, i.e., bricks, cast copper and ready-made bicycle parts, unlike previous art works whose structure is made of single material, i.e., bricks only (some parts of the displayed works are made of sand casting copper while some are readymade parts, presenting another possibility about the object for the audience).

Fan Bo / The Field

Space is "visible" and subjective; therefore it is "controllable". When we operate a space with aim, the entities operating it are also controlled and defined. They are intersecting but staggered. In this work, concrete material constitutes the solemn cubic appearance; the intersecting ladder-like interior spaces link up different surfaces of the work; the windows on every façade is where viewers can peep. Thus,the work becomes a game of finite control and infinite imagination. Finiteness lies in the physical measuring unit of space while infiniteness lies in the motility of thought. Game means that the two don't demonstrate clear demarcation.The dark grayish cement is calm, solemn and silent. It forms specific boundaries and its tactility is indifferent. It rises from the ground, as if it is born from the earth. Getting close is a secret peep; keeping faraway is a distant gaze. The former means approaching and breaking; the latter means reverence and enchantment. That's what the work implies.

Guan Huaibin / Concerning Photos of Sphere without Anybody and Installation Skyline

The photo series Sphere without Anybody is an art project I've been doing in recent years. Over the past six or seven years, I had taken thousands of photos of the scenery on the top of buildings. Some were taken in vehicles or hotels when I was travelling around the world; others were taken when I was overlooking or horizontally looking at roofs from mountaintops or high-rise buildings. The conditions of locations and records are various, so these photos carry with another visual experience. At least they are not professional photography. The exhibition of Sphere without Anybody contains two parts, namely photos and serial installations. The former part is a 31-minute video made up of 800 photos; the latter, the installations of Sphere without Anybody, is a series of interlocked installations.

He Yibo / Damaged Temperature(2017)

Among us today, there are a group of people who live in cramped old lanes and alleyways in old urban area. The bricks in my work are found on construction sites in these old lanes and alleys of Shanghai. They look smaller than normal bricks, with layers of colors gradually changing from black on the shell to red in the core due to firing temperature and curve. Such abnormal "problematic" bricks without normal brick strength had been widely used in our city. Why? It has been discovered that they are massively used in illegal buildings, either a small shop at the road corner or a kitchen in an old lane. They never appear in skyscrapers or famous buildings. Such special bricks used as main building materials, despite their small volume and unstable attribute, had brought great warmth to grassroots in old urban areas of big cities. These bricks are now used to build a memory wall with a change of identity to commemorate the imperfect temperature they brought to our city.

Hei Yiyang / Hello (2017)

The flashing tube lines outline the different contents that audience input into the computers. Through the DMX512 receivers, the information was shown on a two-meter-high and one-meter-wide " 日

" shaped stand built by 90cm-long T8 tubes. On 70 tubes, ten letters are displayed one after another continually across time and space. In time intervals, when the content changes, the phrases are replaced by a clock showing the current time. It is just like an alarm bell that facilitates people to think about the relationship between time and everything. This is a dialogue between people and the world, a dialogue between man and nature and a dialogue between people. In an era when science and technology kidnaps the human being, interpersonal relationship has been unconsciously kidnapped and constrained by a variety of high-tech electronic products, so interpersonal communications have become unusually simple and fragile. "HELLO" was meant to be an opening sentence for daily greetings, telephone calls or attention attraction. This is an interactive on-scene device with which the artist expresses the desperate appeal of the social beings for sincere

communications.

Jin Jiangbo / Shanghai, Shanghai: Engine Plan

Jin Jiangbo's "Shanghai, Shanghai: Engine Plan" filmed Shanghai in a great bustle of large-scale constructions in a special time point, at a special location and with a special theme - One-year

Countdown to 2010 Shanghai World Expo. At that time, Shanghai was a large scale construction site,and Jin Jiangbo was filming the final chapter of his "Economic Trilogy". He recorded and demonstrated the booming sounds of the economic construction engine in Shanghai under the guidance of national power in a bid to ensure the success of the World Expo at the time of the outburst of the global financial crisis. Shanghai's intention of driving economic development with mega-events at the time when the global economy fell into a recession attracted worldwide attention. Behind such intention lies Shanghai's motive of seizing the opportunity to change the urban spatial structure and reshape the urban image.

Zhou Li / The Ring of Life

The Chinese character " 環" (ring) can also be understood as " 环"(circle), but the former one is closer to its meanings in the ancient Chinese philosophies. Jade rings are sacrificial vessels in ancient China, considered to be representations of forces between the heaven and the earth. Their geometrical forms are based on the essential relationship between the man and the nature as understood by the ancient Chinese. Zhou Li's work is also representing this relationship: an abstract circle which concludes the way of seeing everything in the nature. Along with the development of physical sciences, this way of seeing is not to be denied, but has also developed to a more visible and rational level. This is why Zhou Li can reproduce this visual form with her own actual experience about the life. With her own feelings, she travels across the present and the ancient times to explore the truth of the world.