Lin Yilin, Golden Journey, Video, Color, Sound, 16’40”, 2011

I considered this series of work as a diary of a journey, in which accidental encounters and interesting happenings unfolded. At the same time, “events” were produced. Landmarks are the witness of the journey. I worked hard to make this series of work into “landmarks” of the landmarks so the audience can remember them.
The geographic environment stimulated me to test out the most basic physical movements of my body—”self-rotating,” or more precisely, rolling. This imagery came from the tiresof an automobile’s wheels. The slow walk of the participants required an enduring self- consciousness that made their brains numb. Their awareness of the distinction between themselves and the other pedestrians evoked a paradoxical state of mind. But what is more, they were also thinking about me rolling behind them. When I walked on the Golden Gate Bridge, I looked down to the fascinating ocean. But reason prevented me from jumping. Then, I decided to slowly roll down the bridge on the pavement. Fighter planes repetitively flew over my head. I became aware that they were supervising me. At the end, the U.S. Navy understood: This was art. Then they did not come back to disturb us any more. Luckily, they became the greatest audience of my work.

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Wang Xingwei, Ji Gong, oil on canvas, 240×200cm, 2015

Both Wang Xingwei’s Ji Gong and Duan Jianyu’s The Muse has Awoken No.3 both offer conspicuous comical impressions, which on the one hand, articulate a kind of literary comedy from the narrations of the figures on canvas, their expressions, motion, theatricality and etc., while stylistically – be it Wang Xingwei’s compositional momentum and the exaggeration rendered through brushwork, or Duan Jianyu’s kitsch and crass emphasis – give shape to the comedy of mannerism, providing theatricality for the language of painting. Thirdly, they are comical on a cultural history level as they have adopted the Baroque style to portray the Mad Monk and placed the Goddess on Dunhuang murals into modern countryside context, this kind of casual yet poignant fusion has taken the “La Comédie Humaine” approach to respond to the rapidly evolving Chinese society and the unsettled dust of cultural order.

Payen Zhu, Each Is a Corporate and Each Is a Product, Video, Color, Sound 12’17”, 2015

Wuhan Ecological Art Park is a place frequented by an illegal pyramid scheme organization. The salesperson would lead a tour and give random meanings to the public sculptures in order to persuade the public to join their organization. The artist interrupted the tour with similarly or even more absurd acts, such as talking to a bronze figure. The salesperson was freaked out by Zhu’s performance and left. Zhu then took over and told a story to the crowd about the battles between the real estate and East Lake, rise of central China, Capitalism, and the desire for success.

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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