My name is Zachary Smith aka Hoeken. I have been building 3D printers since 2007 as part of the RepRap project. I created a non-profit foundation (the RRRF) dedicated to pushing open source 3D printing forward. In 2009, I invited my friends Adam Mayer and Bre Pettis to go into business with me building 3D printers. Thus, MakerBot Industries was born. Fast forward to April, 2012 when I was forced out of the very same company. As a result, I have zero transparency into the internal workings of the company that I founded. See
by Chris Thompson for more infomation.
I do not support any move that restricts the open nature of the MakerBot hardware, electronics, software, firmware, or other open projects. MakerBot was built on a foundation of open hardware projects such as RepRap and Arduino, as well as using many open software projects for development of our own software. I remain a staunch supporter of the open source movement, and I believe the ideals and goals of OSHW remain true.
I have never wavered from this stance, and I hope that I never do.
Future me, beware.
I have been withholding judgement until hearing official word regarding the open source nature of the latest MakerBot printer. I’m trying to contact people to find out what the real scoop is but so far nobody is talking, and my ex-partners are not returning phone calls or emails. It certainly doesn’t look good.
The best information I have found is
that has come to characterize my interactions with MakerBot in recent memory.
If these allegations do prove true, it would be a sad day indeed for the open hardware movement. Not only would it be a loss of a large Open Hardware manufacturer, but it would also be a loss of a poster child for the movement. Many people have pointed at MakerBot and said “Yes, OSHW is viable as a business model, look at how successful MakerBot is.” If they close those doors, then it would give people who would say OSHW is not sustainable ammunition for their arguments. It would also discourage new OSHW companies from forming. That is a sad thing indeed.
For me, personally, I look at a move to closed source as the ultimate betrayal. When I was forced out, it was a normal, if unfortunate, clash of wills where one person must stay and one person must go. I swallowed my ego and left, because I knew that the company I founded would carry my ideals further into the world. Regardless of our differences, I had assumed that Bre would continue to follow the principles that we founded the company on, and the same principles that played a major part in the success of our company. Moving from an open model to a closed model is contrary to everything that I stand for, and as a co-founder of MakerBot Industries, it makes me ashamed to have my name associated with it.
Bre Pettis, please prove me wrong by clarifying exactly what license MakerBot will be releasing the design files and software under.
That is all we (the community) wants.
In closing, I would like to point out the , which MakerBot has endorsed. This document spells out in very clear terms what it means to be an open hardware company. I’ll leave this here for you to ponder:
Open source hardware is hardware whose design is made publicly available so that anyone can study, modify, distribute, make, and sell the design or hardware based on that design. The hardware’s source, the design from which it is made, is available in the preferred format for making modifications to it. Ideally, open source hardware uses readily-available components and materials, standard processes, open infrastructure, unrestricted content, and open-source design tools to maximize the ability of individuals to make and use hardware. Open source hardware gives people the freedom to control their technology while sharing knowledge and encouraging commerce through the open exchange of designs.
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| Reviews Date: - | Reviews Venues: Beijing Commune
View of “I Am Your Night” 2011 Beijing Commune
The phrase “I am your night” could essentially be interpreted as a blunt statement aimed at the audience, and especially at the artists, or socalled experts, who showed up to Zhao Yao’s latest solo show. And if this audience adopt this rather poetic phrase for their own rhetorical needs—by turning it into one of those stock phrases used when responding to an exhibition—then they’ve unfortunately missed the joke. For in comparison to the work featured in the exhibition, the title seems to be reserved for those in the know.
I first encountered Zhao Yao’s work at his solo exhibition in the 51m2 series at Taikang Space in 2010. This time, at Beijing Commune, Zhao’s intention seems to be to push his practice even further towards its fundamental purpose. At last year’s solo show, he used a pencil to meticulously color in the banknotes of various nations, leaving only the smiling face of their leaders. Although not a particularly refreshing idea, this piece did succeed in raising a smile in those who shared with the artist an appreciation for simple logic and subtle transmutation. However, it could very well be this empathic event that engendered greater suspicion among the audience present this time around.
It’s clear that in this show Zhao Yao is attempting to break free from the interpretive and conceptual tropes that allow the viewer to familiarize himself with a given work, though the motive driving this escape is less an apprehension of entrenched rhetoric than a conscious decision informed by experience in another field. Himself a writer and editor of an art website, Zhao necessarily spends hours trawling through other artists’ websites, endlessly scanning the blogs and Wikipedia pages. In light of this, Zhao’s solo show at Beijing Commune could be seen as an attempt at a kind of conceptual overhaul, and on a formal level, as an attempt to expose the limits of technology. In his series “A Painting of Thought,” for example, simple geometric shapes (mathematical equations taken from brain-teaser books) are painted onto found fabric, itself geometrically patterned—here the artist expresses a desire to merely act on a material. However, technological simplicity does not prevent this painting from participating in the wider discourse of the exhibition: free-standing installations and paintings dominate bo prints of the character “ah,” a non-verbal interjection, similar in function to “oh” or “aaah,” stutter across the walls and floor in an ascending/descending pattern, while the sound of a tongue clicking in sync with intermittent flashes of color from television screens can be heard throughout the gallery.
A Painting of Thought I &#11 Acrylic on found fabric Diameter: 80 cm
Mixed-media installations (employing steel, plastic bottles, cling film, planks of wood, bits of metal, amongst other things), rather than betraying an obsession with material itself, instead reveal the artist’s deftness in the manipulation of such disparate objects: Zhao Yao cuts, splits, wraps, and colors until this collation of contrasting materials develop their own kind of system in accordance with each work’s aesthetic needs, or even better, towards the continual development of its independent formal logic.
Though even if the information presented in this exhibition seems relatively straightforward— by the trail of “ah”s, the tongue clicks that ricochet around, the patterned material and its overlaid geometric shapes—Zhao Yao at every point strives to turn a material choice into a conceptual proposition or symbolic invocation. This new direction in his practice insists on confronting speculative problems, whilst the strength of information (read: knowledge) could certainly develop into a unique formal vocabulary. However, the way in which these signs and symbols are used to shape the artist’s practice needs further development, and bona fide clarity. Otherwise, no one will be able to make out to whom this dark night actually belongs.
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Abstract Art and Society
Whitechapel Gallery
Opening on 15 January, this epic show takes Kazimir Malevich’s radical painting of a black square – first shown in Russia 100 years ago – as the emblem of a new art and a new society. The exhibition features over 100 artists who took up its legacy, from Buenos Aires to Tehran, London to Berlin, New York to Tel Aviv. Their paintings, photographs and sculptures symbolise Modernism’s utopian aspirations and breakdowns.
Presented chronologically the show follows four themes:
‘Utopia’ is expressed through Malevich’s black square, the progenitor of new aesthetic and political horizons, seized by artists from Vladimir Tatlin to Hélio Oiticica.
‘Architectonics’ presents floating geometries that propose new social spaces as imagined by Lyubov Popova or Piet Mondrian and Liam Gillick.
‘Communication’ spreads the message to the masses in manifestos and avant-garde graphics.
The ‘Everyday’ embeds routines and objects in the aesthetics of progress as observed in a textile by Sophie Taeuber-Arp or the abstract motifs painted on Peruvian lorries captured by Armando Andrade Tudela. Middle Eastern artists such as Nazgol Ansarinia link Modernism with Arabic and Per while Western artists such as Lewis Baltz, Peter Halley orJenny Holzer critique economic and political abstraction. Adventures of the Black Square explores how abstract art has travelled worldwide, permeating our life and times.
赵要(Zhao Yao)将参加伦敦白教堂美术馆(Whitechapel Gallery)举行的大型百年抽象艺术展”Adventures of the Black Square：Abstract Art and Society ″。此展选择了近百年来100位现代大师和当代艺术家的100余件作品。其中包括知名艺术家卡济米尔·谢韦里诺维奇·马列维奇(Kazimir Malevich), 卡尔·安德烈(Carl Andre), 丹·弗拉文(Dan Flavin), 彼埃·蒙德里安(Piet Mondrian)等。展览时间为日-日。
白教堂美术馆成立于1901年，美术馆致力于现当代艺术展览策划，因举办的各种开创性的公共教育活动项目而享有国际声誉。白教堂在伦敦多元文化中扮演着独特的角色，是伦敦艺术持续发展演化的主要中枢。美术馆举办过毕加索(Pablo Picasso)、弗里达o卡洛(Frida Kahlo)、杰克逊o波洛克(Jackson Pollock)、马克o罗斯科(Mark Rothko)、南o戈尔丁(Nan Goldin)等国际艺术家在英国的首场展览，同时举办过吉尔伯特&乔治(Gilbert & George)，卢西安o弗洛伊德(Lucian Freud)，彼得o多伊格(Peter Doig)，马克o渥林格(Mark Wallinger)等知名英国艺术家的展览。
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&# | PACE HONG KONG
佩斯香港将在一月14日展出中国艺术家赵要首次香港个展, 带来其最新系列在织品上的丙烯画作
On 14th January, Pace Hong Kong will hold the Chinese artist Zhao Yao’s first solo exhibition in HK, featuring a series of acrylic painting on fabric
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With : Renaud JEREZ, LI Gang, Edwin LO, NADAR, Aude PARISET, WU Hao, YU Ji, ZHAO Yao, CHENG Ran
In the context of its international mission, the Palais de Tokyo chose curator Jo-ey Tang to travel to China and Southeast Asia. After a year of prospection, Inside China presents a selection of five Chinese artists in dialogue with three French artists including the renowned Nadar.
INSIDE CHINA : L’INT?RIEUR DU G?ANT
Zhao Yao (b. 1981, lives and works in Beijing) forges a haptic dissonance in his sculptures, paintings and performances. Dislocating the mundane and the spiritual, sight and touch, his sculptures are reminiscent of totems at once ancient, contemporary, and futuristic, manifesting the material energies of yet-to-be-named rituals.Great Performance (2014), hanging pelt-like pieces of digital prints on artificial leather, flanked and backed by linen, cotton, and artificial fur, create strange layers of flatness in a sort of dissection. Zhao Yao has searched the Internet for images of collectivity, of a crowd gathering to protest the change of Cantonese to Mandarin on television in Guangzhou P and an empty street as a barricade explodes in Istanbul. Interested in the way in which language and ideology can trigger action and conflict, Zhao Yao elicits us as witnesses with an aura of digital abstraction and tactile precision.
Zhao Yao, I am Your Night No. 10 (2011) Steel, Styrofoam, acrylic, nylon powder 170 x 290 x 160 cm Courtesy of the artist & Beijing Commune (Beijing)
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27 SEPTEMBER – 23 NOVEMBER 2014
Wonder, 2014
Zhao Yao has created contoured carpets featuring aerial views of Chinese airports undergoing development and expansion, reflective of the country’s rapid urbanization. Visitors are invited to walk across the carpets, like the travellers who pass through these airports, and when the exhibition is finished, they will bear the traces of those who have passed by.
Responding to the Asia Triennial Manchester 14 (ATM14) theme of ‘conflict and compassion’, this exhibition will be seen from an international perspective, re-examining the ‘conflicts’ as well as the ‘harmony’ of China, or indeed, the Greater China, and that of Asia and the world.
In the past three decades, Mainland China has experienced unprecedented political reform, economic development and rapid urbanisation. This upheaval together with all its consequences – including the Handover of Hong Kong – has amalgamated into daily life. The international press report many social issues and challenges in and beyond the country including Cross-Strait and international relations. Responding to ATM14’s theme, ‘Conflict and Compassion’, the curatorial focus of the CFCCA project apparently presents ‘no conflict’ but rather, almost poetically, a ‘harmonious society’ (hexie shehui). In this exhibition, ‘Harmonious Society’, is re-interpreted in Chinese instead as ‘tianxia wushi’, literally, ‘nothing (has happened) under the heavens’. The title, precisely, is derived from the current socio-economic vision and the political proposition of China’s regime since 2005, whilst its Chinese version alternatively extends its cultural and philosophical connotations to be perceived in the global context (tianxia).
The project invites more than 30 artists from Mainland China, Taiwan and Hong Kong to develop artistic responses. Almost all the works are UK premieres and many of them are specially commissioned and site-specific. It takes place at six major venues across the city centre of Manchester, including , , , , and .
Harmonious Society is produced in collaboration with ,
(Beijing, China) and
for ATM14. It is also supported by , , , , ,
成立于2008年的曼城亚洲艺术三年展（Asia Triennial Manchester，以下简称ATM）是亚洲以外唯一的亚洲艺术三年展。今年9月26日，第三届ATM开幕的同时，由中国当代艺术中心（CFCCA,前身为华人艺术中心）主办，当代唐人艺术中心、曼彻斯特市议、萨尔福德大学等机构支持的大型主题展“天下无事（Harmonious Society ）”也将在英国曼彻斯特当地多个展馆举行。今天策展团队来到北京为展览做了正式介绍。“天下无事（Harmonious Society）”策展团队由主策展人姜节泓及郭瑛、骆易、谈颖、邰林溪组成。展览标题是对今年ATM的中心议题“纷争与怜悯”的回应。“天下无事（Harmonious Society）”暗指了“中国大陆在2005年以来所建立的一种新的社会想象”，在从侧面透视中国社会近些年来经历的巨变之外，重点呈现对当代艺术实践本身的思考。而对于为什么是亚洲和中国？英国当地对从中国输入的文化交流是什么态度？姜节泓认为：“这个展览是在艺术层面的挑战，同时也是对政治的挑战。因为一旦展出，作为亚洲艺术家、中国艺术家的身份进入这个场域之后，这个场域给我们留下的羁绊是很厉害的。那么这就是我们在这里面如何得到自由的问题。”“天下无事（Harmonious Society ）”势将由2014纽约军械库“聚焦中国”、刚刚开幕的“CCAA中国当代艺术奖十五年”燃起的中国当代艺术热度带到秋天。“再次考察中国当代艺术”是每一个华人大型群展不可避免的一个话题。对“中国性”的讨论一直备受诟病，却也是经久不衰。姜节泓表示这次展览将不谈“中国性”：“近几年展出的中国当代艺术，包括在国内展出的展览，很多‘中国性’已经没有了。这种判断是因为中国艺术家更自信了？还是中国艺术家更国际化了？但都已经是一个不需要再探讨的问题，因为它不再是一个现象。”参展艺术家之一郑国谷在谈到“中西观众的差别”时则表示：“艺术家做作品只把发言权留给作品就已经完成了。每个人都是独立的，一群人也有一群人的想法，所以很多时候我们只是把发言权留给那件作品。”
本次展览已确定的展馆现在共有六个，分别是：中国当代艺术中心、UHC当代艺术空间、约翰瑞兰图书馆、科学与工业博物馆、国家足球博物馆、曼彻斯特大教堂。
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Exhibition period: 07.07..2014
Zhao Yao’s works “Now” and “Great Performance No.4″ will be shown at Galeries Lafayette in Paris. In Vitrines surl’Art of the Galeries Lafayette, in the framework of the partnership with K11 Art Foundation and the Modules-Foundation Pierre Bergé – Yves Saint Lauren hors les murs.
For the 6th consecutive year, Galeries Lafayette presents the event “Vitrines sur l’Art” from the 7th to the 30th July 2014 in Paris. Museums and arts centres are invited to sponsor window displays at the Haussmann store. This year, each institution teams up with one artist who makes one (or several) previously unseen installations for the windows. Through the works of the artists on display, visitors will have a panoramic vision of creation and design today and the cultural offerings of their city.
“Vitrines sur l’Art” forms part of Galeries Lafayette’s commitment connecting it with creation and design. Founded to democratize fashion and make the beautiful accessible to all, Galeries Lafayette puts its trust in artists to enlighten us on the future and open our eyes to the world of possibilities before us.
Curator Jo-ey Tang selected Zhao Yao as the artist of 2014. This is also the first time that Palais de Tokyo works with Chinese artist on the “Vitrines sur l’Art” project.
赵要作品“当”(Now)和“伟大的表演No.4”(Great Performance No.4)将参加由巴黎东京宫(Palais de Tokyo)与K11 Art Foundation和PierreBergé – Yves Saint Laurent基金会合作策划的项目Vitrines sur I’art。作品将在巴黎老佛爷百货(Galeries Lafayette)橱窗中展示，展出时间为日-7月30日。
“Vitrines sur l’Art”项目：
今年是巴黎老佛爷百货举办“Vitrines sur l’Art”项目的第六年，每年“老佛爷”与各大博物馆和艺术机构合作，在豪斯曼店的橱窗中做艺术品展示。今年，每一个机构选择一位艺术家，在橱窗中展示来自艺术家的一件或多件装置作品。通过这些展示的装置作品，使大众能够全面的了解当代设计与创新的理念，并感受到不同文化带给巴黎城市的不同气息。“Vitrines sur l’Art”项目旨在体现“老佛爷”对于创意和设计领域的关注，通过对艺术家作品的展示，使得时尚理念和审美态度能够渗透到人们的日常生活，拓展观众的视觉体验。今年的“Vitrines sur l’Art”项目，巴黎东京宫选择了展出艺术家赵要的作品，策展人为Jo-ey Tang。这是东京宫第一次与中国艺术家合作“Vitrines sur l’Art”项目。
Vitrines surl’Art
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荷兰鹿特丹波伊曼斯·范伯宁恩美术馆
Zhao Yao, I am your night nr 9, 2011, Collection De Heus-Zomer
This summer Museum Boijmans Van Beuningen is showing a selection of contemporary Chinese art from the collection of Henk and Victoria de Heus-Zomer. Acquaint yourself with two generations of Chinese artists in the galleries around the Bodon Gallery. The exhibition provides a broad survey of developments in contemporary art in Beijing. The works are being publicly exhibited for the first time.
The exhibition ‘Focus Beijing’ features the work of two generations of prominent artists from Beijing. The first generation grew up in the 1950s and 1960s. They include Zhang Dali (Harbin, 1963), Zhang Xiaogang (Kunming, 1958), Hai Bo (Changchun, 1962) and Ai Weiwei (Beijing, 1957). Their work shows a strong sense of political engagement, referring to China’s traumatic history and the social and cultural revolutions of recent decades. The second generation grew up in the 1970s and 1980s: the period of China’s Open Door Policy. Artists such as Qiu Xiaofei (Hoerbin, 1977), Wang Guangle (Fujian, 1976) and Liang Yuanwei (Xi’an, 1977) were born in a period in which Chinese society became more oriented towards the West, a period of massive economic growth and new markets. Individuality and intuition are key to their artistic practice. They are informed better about international art developments than their Western counterparts are about current developments in Chinese art. The exhibition highlights the different standpoints of each artist, presenting a broad view of contemporary art developments in Beijing, with Shanghai, as the capital of Chinese Art.
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Private View: Wednesday, 5 March 2014, 2pm to 5pm (by invitation only)
Vernissage: Wednesday, 5 March 2014, 5pm to 8pm (by invitation only)
Public Days: 6-9 March 2014
Zhao Yao’s diverse practice incorporates installation,painting, video, photography, and other media. With a conceptual rigor, wry wit, and critical imperative uncommon for an artist his age, Zhao’s artwork reects on and deconstructs modalities of production and dissemination within contemporary art.
For Armory Focus: China, Beijing Commune will present a set of new works from Zhao’s series “A Painting of Thought”along with a new installation piece The Form of the Ten Thousand Things . “A Painting of Thought” appropriates the visual language of brainteasers to form quasi-modernist painting installations on found fabric. A more direct translation of the series’s title is “Very Clever Painting,”hinting that the artist is not merely interested in the abstract aesthetics of mental puzzles, but also in the individual and cultural constructions of meaning, by both artist and viewer, that mediate the experience of art. The tongue-in-cheek name of the series may refer to the tendency among audiences to “decode” and reduce artworks into packaged, easily digestible messages.
Zhao’s new installation piece The Form of the Ten Thousand Things inspires its title from renowned East Asian art historian Lothar Ledderose’s book Ten Thousand Things. The book describes modular systems of cultural production in ancient China, that is, the production of objects and cultural systems out of standardized parts. For his piece, Zhao takes as his medium die-cutting molds used in printing. The artist is interested in the metaphorical implications of these molds, which embody a peculiar conceptual duality of form and formlessness, abstract concept and physical product.The plating of the metal and imitation monumental appearance of the work imply a sense of reverence, though not without skepticism.
北京公社诚邀您莅临我们在2014军械库艺术博览会 “军械库焦点:中国” 单元的548展位。此次军械库艺术博览会，我们为大家呈现艺术家赵要的最新作品。
赵要的创作涵盖了装置、绘画、录像及摄影等多种媒介，富于观念的思辨性。赵要有着丰富的视觉及信息储备，他对于这些知识的判断和处理能力部分体现为其自觉性反思。在一个包罗万象、信息迅速传递和冲撞的世界当代艺术的环境中，赵要的作品用充满机智和幽默感的方式对艺术的展示及创作机制展开了一场内省的、反思的实践。在此次的“军械库焦点:中国” 单元中，北京公社将呈现赵要《很有想法的绘画》系列作品的新作及由此延展出来的新的装置作品《万物有形》。《很有想法的绘画》系列作品表现赵要对于观众在艺术的形式、美感经验、观念与认知的探索。艺术家给作品提供一定的线索，同时又不直接表态，为这个对话带来一个开放的平台。在这系列的绘画中，赵要以带有几何花纹的现成纺织布料作为画布，撷取智力训练书籍中的图案为画面内容，以这种是似而非的“抽象”的形式试探和挑衅着观众的视觉经验并以此引发观众对自身审美认识形成过程的反思。他用强烈的画面吸引观众，希望借由形成画面的元素（各种不同目的和功能的现成图案）诱导观众到达绘画形式背后的观念。
赵要的最新装置作品《万物有形》的名字来源于雷德侯的书《万物》。该著作从各个角度讲述中国古代社会的模块化的结构组成，呼应了艺术家一贯爱用的用现成“结构”（或“样式”）为形式的创作以及这种实践中暗含了对某种现有机制的反思。赵要选用印刷上会使用的刀模为媒材，在形式上艺术家看重的是刀模在有形与无形、抽象与商品之间这种具体和抽离的关系。“刀”是一种带有心里和直观感受的体验形式，而“模”则是一种高度抽象化的一个形式概念理解。模具现成品的部分镀金与作品仿照纪念碑式样的外观都暗示着一种崇高性。赵要将它看做是一个利用审美形式来处理人与形式、形式与社会属性之间关系的探索过程。
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Performance, installation
This work is derived from the two media images above. The images are photographed again with the built-in kaleidoscope special effects filter of the Apple iPad camera software, and the new distorted image is printed onto synthetic leather. Elements of revelry, riot, rally, and game convene and constitute this piece. A myriad of relationships involving form and content, image and narrative, as well as image and meaning are present within this performance. By liberating an image from a discourse and reinserting it back into discourse, the multiplicity of visual culture within contemporary society is discussed. “Great Performance” is another focused attempt on the relationship between form and content where content interferes with form and form is used to reflect upon content. Great performances are therefore not a specified narrative response, but rather a humanistic practice with form and content.
作品从以上两张图片出发，使用iPad万花筒翻拍之后打印在人造皮革上。把狂欢，暴动，集会，游戏中的各种元素集合在一起构成此次表演。涉及形式与内容，图像与叙事，图像与意义的多重关系。把图像从话语中解放出来，并又回到话语中去。讨论视觉文化在当代社会里面的多重性。《伟大的表演》是作者对形式内容两者关系的又一次集中尝试。利用内容干扰形式并又利用形式消解内容。所以伟大的表演不是针对具体叙事的回应。而是一场面对形式与内容的人文实践
广州近一批包括80后年轻人在内的近三千民众，星期天聚集在江南西路地铁站外，他们的口号是“齐撑广州，齐撑粤语”，反对广东电视台以普通话取代粤语播音。当局出动大批公安驱散人群。自由亚洲电台特约记者乔龙的采访报道
In Guangzhou, a group of nearly three thousand citizens, including those born after the ;s, gathered outside Jiangnanxilu subway station and shouted the slogan “We support Guangzhou, we support Cantonese” to protest against Mandarin Chinese replacing Cantonese Chinese on Guangdong television stations. A large number of the police force was dispatched to break up the crowd. Reported by Qiao Long of Radio Free Asia (RFA)
示威者在伊斯坦布尔的塔克西姆广场2013年6月11日的冲突在路障爆炸后的反应。/路透社
Protesters react after an explosion on a barricade during clashes in Istanbul’s Taksim square June 11, 2013.
Photo: Yannis Behrakis/ Reuters
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December 4, 2013 – August 1, 2014
二零一三年十二月四曰到二零一四年八月一日
28 Chinese is the culmination of the Rubells’ six research trips to China between 2001 and 2012 where they visited one hundred artists’ studios in Beijing, Chengdu, Guangzhou, Hangzhou, Hong Kong, Shanghai and Xi’an and acquired artwork from twenty-eight artists.
These artists will be represented by paintings, photographs, sculptures and video installations. This will be the first exhibition in North America for many of these artists. The oldest artist in the exhibition was born in 1954 and the youngest was born in 1986. A fully illustrated, 262 page catalog in Chinese and English with text from all of the artists will accompany the exhibition as well as a complementary audio tour. This exhibition will occupy the Foundation’s 28 galleries, 40,000 sq foot museum.
All of the artwork in the exhibition is from the permanent collection.
To celebrate the opening of 28 Chinese, Jennifer Rubell will be presenting her annual breakfast project: a new, large-scale, food-based installation titled Faith. The press preview for Faith will be held on Wednesday, December 4, 9am to noon. The official opening is Thursday, December 5, 9am to noon. Faithis made possible by illycaffè.
《中华廿八人》是卢贝尔家族于年间六次来中国考察的成果；在此期间，他们拜访了位于北京，成都，广州，杭州，香港，西安和上海的一百间艺术工作室，并收藏了28位艺术家的作品。这些作品包括绘画，摄影，雕塑和视频装置。
这将会是其中许多艺术家在北美的首次亮相。该次参展的艺术家中，年龄最大的生于1954年，最小的则生于1986年。本次展览将同时提供语音导览及图文并茂的中英文双语画册。该画册长达256页，其包含了各位艺术家的声明。该展览将占据卢贝尔当代艺术基金会40,000平方英尺博物馆中的所有28个展馆。
本次展览中的所有艺术品都属于永久藏品。
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“Archipelago”,group exhibition /群岛
15 September – 6 October 2013
V-Art Center and Art-Ba-Ba Mobile Space is proud to announce “Archipelago”, an group exhibition academic guidanced by Liu Xinghua consisting of si He An, Zhao Yao, Ding Li, Zhang Jiebai，Lu Pingyuan and Liao Guohe presenting their newest works at V-Art Center. Archipelago is by definition a cluster or collection of islands. Based partially in Beijing and Shanghai they have come together as a set of islands forming an archipelago for the audience to explore. “Archipelago” is a condition a state of mind, together they share the same values acting as a dispersed force. As with today’s society, where we emphasize individality, separating, sometimes even isolating, ourselves from the idea as an collective. What “Archipelago” is about is that although in the midst of today’s society where an individual may seem as an isolated islands, we’re actually a part of something larger. If we’re willing to step outside our own islands, there’s more to discover in our near surroundings. In a lot of senses we need to take our environment into account. Therefore “Archipelago” is not a theme, there’s no hidden agenda but rather a condition of these five artist’s at the same time refecting today’s society.
视界艺术中心即将推出由 ART-BA-BA流动空间 策划，陆兴华 为学术指导的当代艺术展——“群岛”。 “群岛”由 何岸，丁力，廖国核，陆平原，赵要，张洁白六位活跃的艺术家最新的作品组成。他们分别用绘画，装置，表演等各自熟悉的媒介展现最新的探索。“群岛”是一种群集的岛屿类型，也是一种观看视角。这六位各自不同的艺术家因为“群岛”这个展览汇聚。这正像今天的社会一样，我们的创作有时候像是处在岛屿之中，岛屿有着独立的生态系统，但岛屿之间又相互关联并构成一个更大的生态。其中强调着个人的追求，也无法忽视外部的环境和共同要面对的局面。因此，“群岛”既是一次观看的探险，也是一种展示的姿态。
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Zhao Yao: Spirit Above All
Voon Pow Bartlett
According to Pace London Gallery press release, the artworks for Spirit Above Allwere brought to Tibet to be blessed by a “Living Buddha.”[1] This is documented through mural photographs of the Tibetan landscape that provided the backdrop on the walls of the gallery upon which the paintings are hung. The press release also informs us that the artist is “fascinated by the relationship between art and its audience,” creating an “on-going cycle of self-assessment, and reconstruction of the old to produce the new, a process the artist describes as ‘self-consumption’.”[2] Zhao Yao expresses the wish to challenge how art is perceived, that ‘‘the attention should never be on the paintings themselves, which I deliberately repeat in different series to deconstruct their visual power, but the concept behind the forms. I am interested in the way we look at exhibitions and how our pre-existing knowledge, whether cultural, religious, or political, affects our perception of art. I like to provide context for my works, but not to disclose my own opinion so the discussion can remain open. In the same way that the puzzles I use aim at training one’s brain to think logically, I want my exhibitions to challenge people’s conventional way of looking at art.”[3]
Spirit Above All consists of a series of paintings, nine in all, executed with acrylic on denim, averaging a size of 250 x 200 x 8 cm. The colour scheme of the installation gives an impression of a grey day in London. Nevertheless, I found myself drawn to the shapes and patterns on the canvases and challenged to recall my mathematical training. There were circles combined with triangles to look like rabbit ears, circles on squares, cuboids that look like square rooms placed on their sides and some on their oblique sides, with their roofs sliced off, providing views from the top, like scenes from ancient Chinese paintings. Pentagons, octagons, parallelograms, and intersecting rings, executed in black, white, and light grey on stripy bluish denim canvases.
Zhao’s artworks and installation do not appear to be guided by any form or logic. In fact, Zhao himself revealed that there is no social significance or spiritual relationship in the installation, merely an experiment to see how the different elements interact with each other, and with the audience. The geometric patterns that can be found in brain teaser puzzles are to do with a desire to dis the references to Buddhism and Tibet are to bring into the work some external factor which may potentialize meaning or layers of meaning, or to bring into question what lies beneath its formal qualities and symbolic meaning. [4]
Nonetheless, in the context of the historical and social backdrop in which Zhao lives, the images and the particular way this installation is put together, provoke an interesting discussion relating to probable Russian influence, ideological and religious connotations, and, in particular, early and recent trends in contemporary Chinese art.
The juxtaposition of geometric shapes, spaces, and colours in the series entitled Spirit Above Allecho the Russian Constructivists, many of whom were also graphic designers. Constructivism was an artistic and architectural philosophy that originated in Russia in 1919, in the aftermath of World War I and the Russian Revolution, which was a rejection of the idea of autonomous art.[5] Chinese artists such as Zhao are living under a similar political turmoil and social upheaval. Where the Russian community had lost confidence in Tsar Nicholas II in the early twentieth century, the Chinese experienced trauma after the Cultural Revolution during 1966–76. Where Russia turned from an agrarian society into an industrial one, Mainland China also underwent a cataclysmic transformation where millions of farm workers swarmed to find work in cities. An agrarian society was transformed in a projected four hundred million Chinese citizens became urban residents over the last decade.[6]
It is no surprise then, with China’s own industrial revolution following its opening up to the rest of the world in the late 1970s that Zhao may share in concept the Russian constructivists’ celebration of the contemporaneity in machines. Zhao’s current obsession with mathematical puzzles and the power of logic echo the incessant references to the machine aesthetic that can be seen in Kasimir Malevich’s Scissors Grinder, 1912 and Natalia Goncharova’s The Laundry, 1912.[7]In particular, Zhao’s Spirit Above All I-93A with its cuboids and Spirit Above All I-259 with black circles are reminiscent of El Lissitzky’s Proun Composition in both the use of geometric shapes and an understated tonal range. Perhaps Zhao is intentionally, or unwittingly, celebrating or challenging an aesthetic in China’s “Mechanical Paradise,” its “Unfinished Revolution.”[8]
Kasimir Malevich’s Scissors Grinder, 1912
As the Constructivist movement was also in favour of art as a practice for social purposes, the analogy with Zhao’s work can be taken a stage further, one beyond the visual seductiveness of plasticity of the abstract shapes into the Receptionist theory from the work of Viktor Shklovsky and Mikhail Bakhtin. There is ashared desire of involving the audience, to create works that would make them active viewers of the artwork. Shklovsky wanted to develop the meaning of art through the act of perception in order that people can discover more about life in other words, to make things that are familiar to us unfamiliar, to oppose the “automatism of perception,” that the artist should “de-automatize” the perceptions of the audience.[9] “The technique of art is to make objects unfamiliar, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the art the object is not important.”[10]
The above statement is almost contiguous to Zhao’s own manifesto in the Pace London press release, where he declares more interest in the relationship with the audience than the artworks themselves. He demonstrates his desire to communicate with the audience in this exhibition by having straw mats for them to sit on and albums of documentary photography showing the ascent of the artworks to the Tibetan mountains. He compares his work to a relationship between a TV soap opera and its audience, and considers every piece of work as a collaborative effort with his audience, and a development from his previous series [In the interview with the artist, he said,
‘I consider my recent work to be like a TV soap].
The concern for art to have a social purpose is also reminiscent of earlier Chinese artists who turned making art into social projects. There were the revolutionary artists of the Luxun Academy of Fine Arts in Yan’an during the 1930s such as woodcarvers Gu Yuan who interacted with rural communities and invited them to critique their art.[11] Later, during the 1980s, the RusticRealism in China, which was first referred to as Scar art, depicted the impact of the Cultural Revolution on ordinary people in rural and border regions—Luo Zhongli’s Father is an influential example of Rustic Realism.[12]
Despite his claim of non religiosity, Zhao is impressed by the Tibetan people who kowtow to Lhasa every day as a form of pilgrimage, so much so that he organized the artworks to be carted up the difficult and treacherous (for both humans and artwork) trek up the Tibetan mountain to be blessed by a “Living Buddha,” a reincarnation of a previous Buddha according to Buddhist religious doctrine. This recalls Chen Danqing’s Tibetan series, shown in October 1980 at the graduation exhibition of the Beijing Central Academy of Fine Arts (CAFA). Chen portrayed Tibetans in their everyday life in a dignified way, ‘avoiding the patronizing depictions of ethnic minorities common at the time’.[13]
The abstract element of Zhao’s work also has a Chinese legacy. It is not clear if his intention is, like avant-garde artists such as the 1980s Stars Group, to challenge aesthetic convention and political authority in China, or the “Abstract Aesthetic” of Wu Guanzhong, who argued against the dominant forms of realism in favour of abstraction—“no subject, just form.”[14] However, the seemingly mathematical constructions of Zhao certainly harken back to the days of the New Measurement Group of the 1990s when conceptual artists such as Wang Luyang, Gu Dexin, and Chen Shaoping worked as a team from their home and created a mini-movement referred to as Apartment Art.[15] The New Measurement Group “aimed at eliminating individuality and arbitrary” to create work
“based on series of mathematically formulated propositions.”[16] Zhao goes even further by adding another layer—an empirical exercise—to his abstract canvases through observing, recording, condensing, and conceptualizing his journey on a Tibetan mountain.
It is interesting to note that Zhao’s way of working reflects the trend of conceptual, process driven, abstract work that many Chinese artists have adopted on the world’s stage. “ . . . recent attempts to revitalize Conceptual art practice have become something of a trend and constitute a welcome alternative to the primitive commercial operations previously prevalent in the Chinese contemporary art world,” writes Carol Lu.[17] This situation is evidenced in a few exhibitions I have seen recently, both in Beijing and in other parts of the world.For example, his way of working with abstraction and a fascination with the audience is also shared by another Chinese artist with a concurrent show in London.Le Guo “momentarily suspend(s) a painting not in order to encourage a spectator to assign fixed narratives and meanings to this image, but, instead, to encourage this spectator to imagine an unfixed process where potential forms become actualized and then frequently potentialized again.”[18] Hong Hao at Pace Beijing (March 16–April 27, 2013), digitally scans everyday objects to reduce them into abstract shapes to be presented neatly in a multitude of harmonious configurations and colours. Another concurrent show at Beijing Commune is that ofLiang Yuanwei who uses lipstick to draw on the irregular geometrical shapes formed by scrunched-up paper [Mar 21 – May 18, 2013]. Writing on one of her earlier shows in 2012, the critic Leng Lin rejoiced at the transformation of contemporary Chinese art from being preoccupied with socialist content to an exploration of art itself, which, in his view, emerged in Liang Yuanwei’s work as “consistent contemplation,” where “one can find the peacefulness of the traditional paintings from the Song dynasty.”[19]
The pursuit of peace and harmony can be seen with some Chinese artists working with nature, or at least natural materials. Hu Xiaoyuan at Beijing Commune in 2012, worked with found detritus of wood and transformed them with paint, nails, and silk. The various shapes and sizes of wood, although not vertical in orientation, exude a mystical aura similar to that of totem poles. Another artist who uses natural materials to comment on the industrialized society is Cui Fei.[20] She creates shapes that allude to Chinese calligraphy, much like Xu Bing, but with painstakingly positioned twigs, thorns, seeds. These tender tendrils emanate an incorporeal aura. Despite Zhao’s disinclination to discuss or disclose the true meaning of his work, the use of muted colours, pleasing abstract shapes, and mountain scenes are almost failsafe ways of conveying peace and contemplation.
Zhao’s new canvasses are drained of colour, a disaffected work to perhaps reflect a disaffection with life. Spirit Above All, albeit with a seemingly more upbeat title than I am your night, that was exhibited at Beijing Commune in 2011, seems to demonstrate a loss of his earlier vibrancy, fun, and joie de vivre. There is a new level of austerity and sparing use of shape. With this new restraint, it is tempting to read into Spirit Above All a dumbing down. Perhaps it is a personal maturation of a young artist, or perhaps it is a result of his reflection on the uncertainty of a country undergoing such enormous changes.
Despite his assertion of not being interested in presenting to the audience a didactic stance, it is clear that Zhao would like the audience to be challenged to think logically, to respond honestly and without preconceptions.He also hopes that the installation will work in unison, as a nostalgic function to recall and to inspire memories, just as the use of denim recalls and unifies with his previous exhibitions.
For Zhao, it is the reflection on process that is important for an artist, and the audience, of working beyond formal qualities. He invites us to b he hopes, to arrive at the essence of the content, the concept. He has faith that the audience not only knows more than he does, but is also able to help him develop his work. ‘I think in many situations, the audience has a very clear understanding of a situation and its development, sometimes even more than the artist’].His absorption with the audience may be interpreted as relegating the responsibility of constructing meaning, and becomes, not “self-consumption,” but audience-consumption. In any case, there is an ambivalence that is manifest in the disparateness of his current presentation that may serve to encumber such affiliation.
[1]Pace London Press Release, .
[1] All views from the artist, if not indicated as from the Press Release, are from an email conversation between author and artist.
[1]http://en.wikipedia.org/wiki/Constructivism_(art).
[1]/article//us-china-urbanisation-idUSBRE92U.
[1]“Mechanical Paradise,” the title of Robert Hughes’ first chapter in The Shock of the New, Thames and Hudson, London, ): 9, to describe art movements such as the Futurists and the Vorticists as a reaction to the conditions of the industrial revolution of the beginning of the twentieth century in the West. China’s Unfinished Revolution is the title of a talk by Jonathan Fenby, April 30, 2013 at Kings College, London
[1]http://blogs.ubc.ca/nachoip//shklovsky-and-bakhtin/Art as Tecnique. Viktor Shklovsky.
[1]Viktor Shklovsky, “Art as Technique,” in Art in Theory , eds. Charles Harrison and Paul Wood (Hoboken: Blackwell Publishing, 2011), 280.
[1]Ibid, 79.
[1]Gao Minglu, ed., The Wall: Reshaping Contemporary Chinese Art (New York: Albright-Knox Art Gallery, 2005), 369.
[1] http://www.artspeakchina.org/mediawiki/Chen_Danqing_陈丹青.
[1]Ibid., 369.
[1]Wu, Hung, Chinese Art at the Crossroads (London,: New Arts Media Ltd., 2001), 206.
[1], on an exhibition of Wang Luyang’s work at the Arario Gallery in Beijing in 2007.
[1] Author in conversation with Le Guo, March 19, 2013.
[1]Beijing Commune catalogue on Liang Yuanwei, 2012.
[1]The Lookout: A Weekly Guide to Shows You Won’t Want to Miss, Aia Staff, 2.5.2013. Cui Fei’s “Tracing the Origin” is at Chambers Fine Art, New York, 2 May – June 7, 2013. . Accessed on 11.5.13.
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18 May 2013 – 6 October 2013
PinchukArtCentre presents “China China”, a major group exhibition including eleven Chinese artists of different generations, focusing on the tension between individuality and collective thinking – a subject, which not only defined Chinese history and continuously shapes contemporary society but equally gains importance in the West.
The exhibition includes the works of Ai Weiwei, Cao Fei, Chen Zhen, Sun Xun, Sun Yuan & Peng Yu, Xu Zhen, Yan Xing, Yang Fudong, Zhang Huan, Zhao Yao, Zhao Zhao.
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| TEXT:Sasha Zhao / TRANSLATION: Katy Pinke
So as to preserve a sense of mystery—and weaken, to as great an extent as possible, the audience’s romanticized versions of what happened—this is the only “evidence” available to prove that the event truly transpired.
In his work , Zhao Yao has found a sound and sustainable mode of exhibition that he calls “serial performance.” Born out of his suspicion with regard to all of the formalized complacencies created by contemporary art, the method allows him to engage in ongoing strikes against mechanisms of the exhibition as well as of his own working process.
In “You Can’t See Me You Can’t See Me,” his 2012 solo exhibition at Beijing Commune, Zhao Yao was extreme, nearly exactly copying his 2011 “I Am Your Night.” Some of the same works were made with different material, or with enlarged mass or geometric proportions, while others were borrowed from collectors who had already purchased them, for the purpose of re-exhibition. The show even opened on the same day, one year later. The result of the 2012 exhibition made Zhao aware of the fact that even when an artist does nothing, the audience is still able to enjoy the same thrill that would come with seeing an entirely new exhibition. Worth noting is that Zhao still identifies himself as a member of the media. He is therefore both a creator for and a professional member of the contemporary art audience, and uses his own exhibitions to test out the significance and efficacy of exhibitions themselves, the traditional relationship between artist and audience—formed as it is by the same one-time-only exhibition dynamic. This way of thinking is also extended to his latest solo exhibition, “Spirit Above All.”
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Chinese artist tells Phaidon about 200 mile journey to Tibet to have new paintings blessed by living Buddha
We were reflecting on Pace Gallery founder Arne Glimcher’s views on Chinese art as we took in a show that opened at Pace London yesterday. The works by Beijing-based artist Zhao Yao in his exhibition Spirit Above All are a prime example of Glimcher’s assertion of the importance of the narrative in Chinese art right now. We’ll recap briefly in case you missed it first time round.
“There’s an urgency there that does not exist here (in the west). The Cultural Revolution destroyed the entire history of China for a generation. So you’re dealing with the oldest country in the world and the newest country in the world and that schism between who they were and who they are and what is happening in China – that’s the narrative.”
As we know, understanding or following this narrative can be tricky at times but Zhao Yao, a young Chinese artist currently showing at
is inviting the viewer to reflect on their own perceptions of his work, saying the interaction with the artwork and the self-consciousness of the viewer is at the crux of it.
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Thu, by Christopher Moore Translated by: 梁舒涵
“,” Zhao Yao solo exhibition
(6-10 Lexington Street London, UK)Feb 12 – Mar 16, 2013
Painting is difficult and is getting more difficult. Most of the most interesting and provocative art of recent decades has not involved paint at all. Challenged first by photography and then by the rise of conceptual art in all its forms, including performance, the potential for painting, perhaps the most ancient art form, to contribute to new thinking now seems exhausted, condemned to be a talent of social instruction, an middle-class pedagogic discipline, like piano playing or sonnet composition, redundant and effete.
And yet its power to hold our gaze remains compelling. So what are we to do? How we expand its definitions now, our understanding of its conceptual registers, historically and as physical action, must be approached in unexpected ways. Its basic definition of the application of pigment to a surface must be challenged. Painting may even become a practice that may not involve anything we traditionally understand as paint at all (look, for instance, at the work of Katharina Grosse, Ann Veronica Janssens or Wolfgang Laib)
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| Reviews Date: - | Reviews Venues: Beijing Commune
Zhao Yao’s latest solo exhibition, “You Can’t See Me, You Can’t See Me,” is an almost total replication of last year’s “I Am Your Night.” It would be easy to take this exhibition as one-time-only event, a such an opinion would not be baseless. “You Can’t See Me” is a direct attack on the exhibition system and contemporary art production. It is not particularly fresh, nor is it difficult to comprehend. Its effectiveness is closely related to the present environment. The exhibition can be seen as an active response to the sluggish, pressurized status quo, pronouncing a warning without breaking the rules. Zhao puts a variety of questions on the table, from the issue of newness in contemporary art to the significance of duplication, serving as starting points for deeper discussions. Upon closer inspection, Zhao’s courage lies not in his grievances with the exhibition mechanism, or in the risk of raising doubts and conspiracy theories—well-trained audiences are unlikely to be moved, and anyway, perceptible, surface-level “newness” is not a necessary condition of contemporary art discussions—but in the bold, inward-looking move of putting himself on a point of no return: where can one go from there? This easy escape serves as the starting point for a more challenging artistic journey.
View of “You Can’t See Me, You Can’t See Me,” 2012 Beijing Commune
Of course, no exhibition is truly a matter of life and death, and artists should not imprison themselves within a single logic. Here, the artistic practice of GUEST, a small collective of artists including Zhao Yao, must be considered. As a group, GUEST has been able to conduct many experiments with a certain kind of openness, allowing Zhao to move forward with his own ideas within a dynamic, vigorous process of unceasing action and feedback. But when “action” itself becomes a kind of affirmation, those within it must ask themselves if active participation alone can satisfy their curiosity and conscience. Whether it is the staging of artistic happenings or the production of new ideas, the original “aspirations” often fade away in the name of “action.”
It is worth remembering that “You Can’t See Me, You Can’t See Me” is not a complete reproduction of “I Am Your Night.” Although Zhao Yao has emphasized that the minute differences between individual works are not of great importance, it cannot be denied that the artist has made some small-scale revisions. As always, form—dimension, material, and texture— is important here. After the initial wave of doubts, debates, and arguments wrought by different stances and intellectual games has faded, we can observe with cool heads the transformations of the objects within the gallery. (Upon closer examination, we discover that the transformations are not as minor as we initially believed.) Rewinding to a year earlier, we can consider the artist’s original intentions in positioning these forms within the same exhibition space (as well as the consequent reactions and judgments). We may also weigh the messages concealed within this iteration of the objects—even if whether or not the changes are complete is a topic for discussion in itself. If this exhibition is nothing more than a standalone conceptual experiment, why make formal changes to the objects?
This sense of irresolution may be the most intriguing aspect of the exhibition, which turns out not to be a completely pure and dry conceptual exercise. Zhao Yao’s attitude is not as rigid and unwavering as it seems. Still struggling with whether his work has achieved full formal completion—while producing exhibitions, Zhao has not completely given up on producing artworks—he seems unable to escape the contradiction that arises from the combination of the roles of artist and curator. From another perspective, the legitimate status and respect accorded to the objects in the exhibition space remain inescapable to both curator and artist.
Guo Juan (Translated by Daniel Nieh)
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Ara Peterson (by )
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A Painting of Thought I -171
acrylic on found fabric
148 x 130 cm
A Painting of Thought series/很有想法的绘画
2011 – ongoing
This series of paintings is about the practice of painting. Flat geometric shapes are paint its absolute and contrasting colors allow one to associate the painting with typical abstractions. These paintings are not derived from any set of aesthetics nor are they explorations of certain ideology. Instead, they serve as a disruption to this form of understanding. The graphics that seem to have some sort of meaning are borrowed from logic or math challenge diagrams in puzzle books. Only colors are added to the graphics to produce paintings that circulates into the system of paintings.
这是一组关于绘画的绘画。在各种现成的的纺织布上，平涂抽象的几何图形，通过色块纯度较高、对比强烈的外观让个人先验地将作品与常规意义上的抽象绘画联系起来。但是它绝非来源于自我的美学趣味或对形式语言的探索，而是对上述创作和解读方式的破坏。这些看似颇具意味和情节暗示的图形来自一本名叫《全世界聪明人都在做的1000个思维游戏》系列丛书。随机抽取了里面关于数学题或逻辑的思维训练题中的图示，并按照原样绘制涂色，没有对这些题做任何修改。整个系列绘画被当着装置置入绘画系统之中。
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Feb 12, 2013 – Mar 16, 2013
6-10 Lexington Street, London, W1F 0LB
12 February – 16 March 2013
Opening: Monday, 11 February 2013, 6 – 8 p.m.
Pace London is pleased to present Spirit Above All, the first solo exhibition in the UK by the conceptual Chinese artist Zhao Yao. Spirit Above All will be on view at 6-10 Lexington Street from 12 February to 16 March 2013. The exhibition is a collaborative project between Pace London and Beijing Commune. Spirit Above All features seven new works created by Zhao Yao in 2012 and marks the first time that he has contextualised his paintings with photographic backdrops in a gallery. The exhibition features abstract geometric compositions painted in black, white, and grey on pieces of denim, a material that is recognised for its durability. Once completed, the artist brought the artworks to Tibet to be blessed by a “Living Buddha”, a reincarnation of a previous Buddha according to the Buddhist religious doctrine. Zhao Yao documented this process through photographs of the Tibetan landscape, which not only provide backdrops in the gallery but will also be presented in albums for visitors to look at while seated on the straw mats that form part of the installation.
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June 12 – August 20, 2012 | Beijing Commune, Beijing, China
“You Can’t See Me, You Can’t See Me” is a continuation of Zhao Yao’s solo exhibition from 2011, which opened on the same day in the same month this year. The paintings and installations showcased are reflections of time and space through a déjà-vu-esque approach re-examining the validity and meaning of an exhibition. This show features reproductions, enlargements, and scaled-down versions of works from the previous year. In addition, few pieces from the prior show are borrowed back from collectors to be included in the 2012 show. Zhao deliberately intertwines the relationship and roles of artists, viewers, gallerist, and collectors by presenting these works
together in this show.
日开幕赵要个展“你看不见我，你看不见我”，这是继他去年同日在公社首次亮相之后的第二次展览，将展出其最新的绘画和装置作品。同一时间、同一地点、同一个人，但相隔整整一年——这段距离意味着什么？诸多细节提示观众这是一个针对“展览”的展览：它由时间、空间的呼应重叠，似曾相识的布展方式，包括具有视觉侵略性的作品所共同构成。不同于常规展览对结果的展示，“你看不见我，你看不见我”的出发点在于重新审视展览的意义和有效性，破坏艺术家与观众之间通过一次次展览而建立的简单的对应关系。赵要试图让观众彻底放弃对展览的想象，以便让艺术家从观众的欲望需求中逃离出来；彻底解放自我创作，并且更加不受约束。对一个已知展览的“再次制作”是一种态度或价值观，在这一过程中必须克制强烈的、按捺不住的创造力，它像是黑洞或漩涡一般试图将艺术家的工作卷入其中；用赵要自己的话来说，即“创作的动力常常只是在欲望的惯性当中滑行”。但他同时也对所谓的“创造力”、以及整个社会对其不切实际的追求持怀疑态度。这种矛盾的姿态往往隐藏着对自我的否定。此次展览中的作品主要来源有四：一是将“我是你的黑夜”（北京公社，2011）中展出的作品换一种材质翻制；二是把作品在其原有基础上等比放大数倍、或不等比压缩；三是从藏家处协议借回作品参展；四是直接使用原作品。艺术家、观众、画廊和藏家被这四种方式重新拽回并纠缠在一起，在现实意义上完成了对去年展览的再消费，也同时开启了今年展览的观念之门；此次呈现不仅仅是上一次的提升和延续，更是一个完结。在形式不做过多变动的前提之下，赵要很有耐心地试探观众的反应：你们是否能仍获得新鲜感？是否仍能体会到创造力的存在？在这里，观众并不是被动地与作品相遇，而是与艺术家共同经历和改造记忆。
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Zhao Yao 2012 June 12 &# August 12
The “Ah” (ha) Moment
by Edward Sanderson
Last year’s solo show of the work of Zhao Yao, his first with Beijing Commune, left me with a less than positive feeling. To then have that (rather strong) feeling overturned by this new presentation of what is ostensibly the same work is surprising.
The development of Zhao’s two solo shows with Beijing Commune are important starting points for an analysis of this change of heart. In 2011 Zhao’s first solo show, entitled I Am Your Night, collected together a set of works that I disliked for being overly derivative of current stylistic clichés in internationalised contemporary art. Their aggressive shapes, mannerist constructions, and vibrant colours all seemed to smack of a style seen too often elsewhere in the world and possibly revealing a symptom of a globalisation of artworks. One nice touch however were the strings of the Chinese character 啊 (an “ah” of various kinds of interjection) in long, pulsing lines around the room, following the walls and floors to provide a physical thread holding the other objects together.
The current show is pitched as a continuation and manipulated repeat of I Am Your Night, demonstrated by its opening on the same date, and using many of the same works (several borrowed back from collectors for this purpose), in much the same arrangements, or adjusting the originals in scale or material to create new versions of the objects. The title of this show, You can’t see me, you can’t see me, is obscure, but perhaps mirrors this aspect of repetition.
Zhao Yao,You Can’t See Me You Cant See Me Exhibition V Courtesy of the artist and Beijing Commune
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