Yu Honglei, []#1 , 2018, Video loop; []#2, 2019 , Video loop; []#3, 2019, Video loop; []#4, 2021, Video loop

The video works []#1, []#2, []#3, []#4 are a series of experimental short clips. These works adopt various editing methods to present the combinations of sound and moving images.

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Qiu Xiaofei, Venus at the Outlets Mall, Oil on canvas, light, wood, 480×470×358cm, 2013

Venus at the Outlets Mall was Qiu Xiaofei’s critical attempt to look at painting through the perspective of an object. The sculpture in his work is the one found in the outlets mall close to his studio, but the disproportional ratio in the night setting has made the sculptural replica into a referential point, what Qiu Xiaofei was more interested in commanding was the object in the painting, painting as the object, and the possible relationships between the object and the painting. In addition, he adjusted the sentimental qualities in these relationships on the pictorial, color and material levels. Eventually, the painting and the image, color and lighting, site and material became mutually interrupting yet congruent factors to the overall composition. This phase marked Qiu Xiaofei’s transition from “image” to “painting” when the physical quality of the painting is recognized and represented, could painting truly confronts today’s experience as a conventional vehicle, and Qiu Xiaofei’s recent works experiment on a different level as he preserves this medium. Qiu Xiaofei’s transition from being “academic” to “pictorial”, to “installation” and lastly returning to “painting”, seems to follow a logic against the artistic form, but one that embodies a true understanding of precedent and subsequent painting practices in contemporary Chinese art.

Geng Jianyi, Eternal Rays of The Sun, Oil on canvas, 195×133cm×5, 1992

Eternal Rays of the Sun series were works Geng Jianyi has prepared specifically for the 1993 Venice Biennale. The work may seem to embody the “political pop” style, when in fact the artist’s emphasis was not to highlight the red, bright and glorious background of the Cultural Revolution and its representation of the farmers, worker, and soldiers class. Instead, it concealed a visual game where the center of each painting consists of the shifting foci of the group photograph on the backside of the 5 yuan bill. As if these paintings are five fixed frames of an animation, the radiant background could thus be taken out of the political myth and be restored to its initial impetus in visual design. In this sense, this work was meant to disenchant, rather than creating a myth to demystify, it confronted the experiences of a time through an individual’s everyday sentiments, this was the ingenuity Geng Jianyi has preserved throughout his lifetime.

Zhao Zhao, Rain, Video, Color, Sound, 15’35”, 2012

Rain was filmed during the flooding that occurred in Beijing on July 21, 2012, one of the worst in living memory and one of many that occurred throughout China during that year. There is a chronic shortage of water in Beijing but in just a few hours, the city received six to seven inches of rain, and nearby mountain regions experienced flash flooding and landslides, leading to mass evacuations and numerous deaths. Wanting to be more than a bystander, Zhao Zhao found an inflatable mattress, which he used as an improvised vessel to float around under the Guangqumen Overpass, which saw some of the most drastic flooding. He also documented the flooded city with a video camera.

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