The location is the underground passage of the Fuxingmen subway in Beijing, a public space from one platform to another.I ran through the crowd and shouted my name and answered. It was as if I were calling myself and answering myself; It’s like I’m imitating others calling myself or I’m imitating myself in answering. I’m interested that when the spatial relationship between the caller and the responder becomes blurred, the form and result of being recognized by oneself or by others. What I shouted was “Kan Xuan! Ai!”
Book Painting No.26 (Karl Blossfeldt. Wunder in der Natur, H. Schmidt and C. Günther, Leipzig, 1942, Page 115), Acrylic on Canvas, 32.5 × 24 cm, 2019, Private Collection
Chen Dandizi, Conversion of Feelings, horseshoes, nails, metallic paint, giclee 101 horseshoes in 10-15 diameter, photo 100cm x 72cm, 2020
I scatter the nailed horseshoes along routes people must encounter in the space in order to discuss a concealed emotional boundary. Stepping on the tipping point of the nails triggers a sudden ache, by which I would like to refer to those strong yet vague pain gained from the interpersonal relationships.
Pain could be conceived as one of the challenges for people to undertake in the reality, and we all have different reactions towards it. No matter it is the immediate turning away from the extreme painfulness, or it is the gradual process that a horseshoes-like thick cuticle grows out and covers the physical body after a long distance walk, both are examples of an inner decision.
Yao Qingmei, Sanzu Ding and its patterns 2 — Hypotheses on the origin of the hammer-sickle sign: Shamanism, Video, Color, Sound, 11’50”, 2013–present
In 2013, during the construction operation in Longmen county of Yangshao area, Henan, workers unexpectedly discovered a red pottery tripod (“ding”). The vortex pattern on the vessel bears similarity with the modern “hammer and sickle” motif used to represent New China. According to the C-14 dating, the tripod excavated in Longmen has a five-thousand-year history. Chinese archaeologists have named its mysterious pattern the “hammer and sickle”. On the basis of archaeology, anthropology, psychoanalysis, semantics, semiotics and mythology, Professor Yao focuses her research on the origin and development of the “hammer and sickle” motif, concerning which she proposes six hypotheses with scientific significance.