Chen Shaoxiong, Seesaw

让呼吸的起伏来影响拍摄使其影像上下晃动:一个是空荡荡的海景;另一个是作品所在地周围的各种景物,这两个视频搁于跷跷板的两端。中间的视频是用相反的方式屏住呼吸的拍摄,一支日光灯写着“SEE”,随着“砰”的一声而消失,接着又一支日光灯亮了伴着“SAW”字样,继而又是一声“砰”而消失……跷跷板前面悬着一杆气枪。

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Hu Xiangqian, Xiang Qian Museum, Video, Color, Sound, 14’31”, 2010

Xiang Qian Museum is an ongoing collection of artworks that exists in Hu Xiangqian’s mind. According to the artist, a museum collection is usually a collection of materials – the physical existence of artworks, while the collection at Xiang Qian Museum is represented through the artist’s body and conveyed to the audience–Xiang Qian Museum is non-materialistic. Hu believes art exists through his performance without physical form, as he said: “I think the best thing about art is that we are able to carry it around to wherever we go.”

Cao Fei , Chain Reaction, 2000, Video, Color, Sound, 5′25′′, 2000

Chain Reaction is a kind of independent thinking itself. Since everyone has his or her own experience and values, I call the world of Chain Reaction “a view of schizophrenia”. Most of the images of the video surpass, as well as imitate daily life experience absurdly. The film is to analyze and oppose evil by the way of using the power of evil inside human nature. Chain Reaction is an allegory of evil but without the function of salvation like the other allegories.

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