Yao Qingmei, Sanzu Ding and its patterns 2 — Hypotheses on the origin of the hammer-sickle sign: Shamanism, Video, Color, Sound, 11’50”, 2013–present

In 2013, during the construction operation in Longmen county of Yangshao area, Henan, workers unexpectedly discovered a red pottery tripod (“ding”). The vortex pattern on the vessel bears similarity with the modern “hammer and sickle” motif used to represent New China. According to the C-14 dating, the tripod excavated in Longmen has a five-thousand-year history. Chinese archaeologists have named its mysterious pattern the “hammer and sickle”. On the basis of archaeology, anthropology, psychoanalysis, semantics, semiotics and mythology, Professor Yao focuses her research on the origin and development of the “hammer and sickle” motif, concerning which she proposes six hypotheses with scientific significance.

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An overlapping time
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Zhang Peili, Assignment No.1

《作业一号》展示常规化验血样採集的影像:以消毒无脂棉球擦拭手指、用採血锥扎破手指、出血、玻璃吸管採血、用消毒棉花擦去手指上的血迹、挤压手指使其再次出血、用吸管採血。如此重复数次,最后将吸管内的血滴在玻璃片上,刮片。作品的影像均以慢速播放。这个有严格流程的纪录片让我们联想到人体控制的技术。一如张培力同时期的其他作品,《作业一号》让观众质疑作品所记录的严格流程,实际来自种种经编制的身体操控技术,把原本让人不适的过程转换为例行公事甚至沉闷的步骤。

Yu Honglei, bronze, flower, 71×47×29 cm

, #10 is a way of looking at the reality based on a person and one’s body, hence realizing image production from what has been seen and heard. Thus, they are the pictorial realities in response to or parallel to the physical reality. The body becomes the critical entry by which the artist enters abstraction – it is the intersection of all realities, the abstraction within the real, and vice versa.

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