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.

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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.”

Wang gongxin, Baby Talk

屋顶上方悬挂一架投影仪,将六个成年人(父母和爷爷奶奶,姥姥姥爷)逗弄小婴孩的表情动作投影在婴儿床的表面。婴儿床其实是一个盛满牛奶的容器,中间有一个循环装置能够推动牛奶循环。伴随着影像的动作,观众能听到的只是牛奶流动的声音。

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