Li Ran, Mont Sainte-Victoire, Video, Color, Sound,Live performance & Video Installation, 34′36′′, 2012

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.

Man is living humbly like a slave submitted to himself and his surroundings. But this humble life, living in solitude, silence, fantasy, weariness, and passion are sometimes so overwhelming that at times we really just want to fly.
-It’s one way to transcend or escape
Can we really escape this gravity and lift up?
Which direction will we choose to fly?

摄影机的镜头取代了一只手和眼睛的位置在一个衣柜里翻来找去的动作，摄影机记录了镜头与衣橱里的衣服直接的接触过程，强调了主观视觉存在的可能性。