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.

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In Shouting, the artist films crowds as they move through busy public spaces. He then lets out a scream and laughs, gauging people’s reactions as they turn in surprise or ignore his provocation. For the artist, the scream is a way of asserting his individuality in a society that prioritizes community and conformity.

Ma Qiusha, An Incident of Love, Video, Color, Sound, 1’12”, 2004

An overlapping time
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Wang Jianwei, Production, single channel, color, stereo sound, 60’, 1996

Production was the work of art Wang Jianwei presented on the 10th Documenta in Kassel. This work could be both considered as a documentary film and a video work. Wang filmed a few groups of people in the public spaces of Sichuan. In this 60-min clip without any traces of interviews, large sections its dialogues and monologues did not build up a central narrative, on the contrary, its discontinuous empty shots and its intentionally added artificial noise done in post-production engendered a kind of ambiguous and mixed – either politically or aesthetically – visual presence. Likewise, the title of the artwork equally embraces this bewildering character. “Production” is both a terminology rich in every day and local experiences, and a technical term with critical and theoretical implications. In all, this work is not only prescient for Wang Jianwei’s ongoing ambivalent attitude and approach thereafter, but also underscores the wavering conditions between “left and right” for contemporary Chinese art.

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