Monologue : Works on Paper Exhibition


Hu Yun, Hu Zi, Mo Di, Wang Dawei, Wang Tingting
April 18 2010 – Jun 17 2010
Opening Reception: Apr 17 Sat 4-8pm
2010年4月18日 - 2010年6月17日
开幕式: 2010年4月17日 周六 下午4 – 8点

In recent years, young / new artists have responded increasingly to the shifts that have occurred in the Chinese art world by rejecting certain ‘standards’ and benchmarks that had become almost a de facto part of being a Chinese artist. One of these contra-stances has been a reduction not only in the scale of art works being produced, but also in the physical substance of those works. No longer the exclusive, grand gesture in paint on a perfectly mounted piece of canvas but, instead, tiny scribbled reflexes on scraps of paper, cloth, tissue; whatever, in fact, is at hand. Here, too, one finds a shift in values: no longer are such works considered precious ‘products’, although ironically, the best of them have exactly this quality in the combination of their physical fragility, the intriguing nature of their purpose and intent and their precious proportions  – Karen Smith

Monologue is a most intimate activity.

The works from this exhibition are all initially for artists themselves, they are the dialogue with artists themselves, perhaps to express feelings to someone they love or the critical representation to people surrounded or even to themselves. This direct and pure expression of an artist’s thoughts without any intention of making a ‘grand’ artwork is what makes these works precious.

Karen Smith stated in her introduction to Hu Yun’s work: “We encounter Hu Yun’s work and it leaves an impression. This impression takes the form of a question, a lingering curiosity: the artist whets our palette, and we want more. We become determined, consciously or not, to keep this artist in mind, and to learn more about them at the earliest opportunity… Details, then, become paramount; every little gesture speaks volumes about the artistic intention and, more importantly, the ability to achieve that intention through a chosen form of expression.” Hu Yun puts his feeling onto his objects drawn; each of his work has a unique designed frame to match the work by artist himself.

Hu Zi in her words describes her own work: “The form is simple, heavy sexy color, little temperament but big thoughts using the notion of body. Under the absurdity, weirdness, sensitivity, and subconscious of day dreaming, the loneliness and sadness is shown. The works explore the notions of the actual existence of our youth culture: lover, gender roles, pretending, estrangement, naked, balance, drug-taking, homosexuality, power and cross dressing; The wordless ferocity and poetic infatuation flashed between same sexes; The intangible affection among opposite sexes, just like dismantled parts of organs in desolation, murmuring with vain hope.”

Wang Dawei’s works are mostly self portraits with recurring backgrounds, industrial objects, the artist reading and falling airplanes. The black sky is a repressive lingering backdrop as the artist considers the use of black as a rational space to calm down, to grieve, and to contemplate. The self in the work sometimes with companions inhabiting modern cities all appear to be silent, some open their mouths wide but seem cannot speak. People are often set into a combination of empty space and cold objects. Wang Dawei dismisses the civilized industrial products, and questions what is lost during the process of modern development.

Dream is the theme for Mo Di’s art creation. In her bizarre images, the self in reality meets up with the self in her dream. She uses ink wash, acrylic and pencil as media to record her dreams; the brush strokes are odd but confident. Chinese ink wash in her hand becomes very un-traditional yet different from the cartoon work one often sees. The oriental psychological horror hidden in the work travels right into one’s soul but  instantly escapes with the light hearted cartoon look of the shapes.

A girl turning into an adult woman is always the subject in Wang Tingting’s works. She doubts, feeling lonely, helpless, lost, all those fragile moments everyone has at some point in life. She is able to accurately catch these moments in her drawings, with either very simple lines or fulfilled illustrated images. The relationship between her work and the audience is just like the pet found by its ‘person’, once the resonance hits the viewer, the viewer feels the work belongs to him/her.

近几年来,中国当代艺术界出现了一个转换现象,反感以某种既定的“标准”和尺标来名就“中国”艺术家。年轻和新艺术家尤其对于这个现象反应强烈。其中一种对立姿态反映在不单单减少艺术作品的尺幅大小更是减少作品画面的实体大小。再也不是以庞大的姿态出现在完美装裱好的油画布上,相反,可能是非常小的涂抹画在邹邹的纸上,布块,纸巾,随便什么只要是当时在艺术家手上的材料。同时我们也发现了在价值观上的转换,艺术家作品再也不被认为是珍贵的“产品”,而非常讽刺的是,这类作品中的精品又恰恰是以这样的质量,存在于一个脆弱的实体,令人好奇的出发点和珠宝似的作品比例大小,成为珍贵的“产品”。 — 凯伦 史密斯





胡子描述她自己作品非常精到:“形式感简约,色彩欲浓重 ,小情趣,大思维 ,都关于身体。在看似荒谬,怪诞,神经质臆想的潜意识,却潜藏着悲情,孤独的情绪. 展示大众和边缘文化下的真实存在:情侣,性别角色,伪装,隔阂,赤裸,依赖体,平衡,吸毒,同性恋,权利,易装癖. 同性间孕育着诗意的暧昧,不语的狰狞,犹如舔血般凄美;异性间流离的,不确定的情念,宛如瓦解的器官零件般孤寂,妄想和自语。”