“Urban Country” is a virtual group exhibition presented by ARTLAND, featuring works by Fu Wenjun, Zhai Liang, Zou Sijin, Lu Xinjian, Gao Yuan, and Liu Di, in collaboration with five leading contemporary art galleries based in China — A Thousand Plateaus Art Space, ART LABOR Gallery, Capsule Shanghai, Independent Image Art Space and Migrant Bird Space.
Since March 2020 I have been in various stages of lock-down, much like everybody else.
As an artist my daily life wasn’t changed much as I usually spend my days working by myself in the studio.
What is striking now is that humanity is experiencing an event as one organism, for the first time ever.
That understanding pushed me within, going deeper than ever before, finding new layers of my inner being and an all-encompassing connection with everybody and all. …
Victor Cuzmenco refers to his art as Ontologic Painting, which comprises the idea of fundamental philosophical questions studied by ontology. Through his art for the last thirty years, he has explored “being” rather than simply existing. Victor visualizes such broad categories as space, time, structure, movement, spiritual states, and interactions among them.
I’m interested in exploring subcultures, indigenous cultures and countercultures, alongside a personal connection to the landscape, organic matter and entanglements of consciousness amid precarious times.
My work approaches the painting world in a phenomenological way. Shifts of scale, ambiguity, and temporality are central themes of my work. I’m interested in having viewers explore the canvas as if traversing through a landscape. Earth excavations and emptiness, natural and artificial, built landscape and natural landscape, alienation and existential strangeness are dualities I wish to investigate in my practice. …
My Constructed Voids step into the spaces of my in-between. I gaze upon these photographs and wonder if their metaphor represents spaces inside of me or if the metaphor points to my presence inside of a larger multiverse.
These Voids merge mystery with spectacle in a manner that queries expectations of the contemporary photograph. I position them as ethereal landscapes — sublime, yet otherworldly — and embrace the idea that their visual ambiguity invites interpretation. To that end, their titles (Parna, Quin, Amsu, Jern) are fabricated words intended to strip away narrative connotation and encourage meditative consideration.
All images are parts of the series Tar Trails. They show line-shaped repair work of asphalt cracks, from single motifs composed tar signs on the underground of the asphalt.
I am interested in the idea of transforming institutional spaces of violence through re-imagining them as places of play and possibility. Covid has exposed the factory farm as a place of contamination and has become seen through a global conscience, as a virus-spreading threat to society. By erasing the subjects of violence and adding the idea of possibility, innocence, imagination and play I want to take a global “emperor has no clothes” situation and imagine that humans can find new possibilities and carve out a different outcome.
“Heterotopias are worlds within worlds, mirroring and yet upsetting what is outside.” (Wikipedia)
Markus (Warlike) is a Sonic Art Installation that rewrites the expectations and satisfaction within the reality of home. Markus (Warlike) is a 1:10 scale model that represents a Domestic desire presented in a miniature gallery space.
The work encourages viewers to build their own narrative, giving back a portion of control and satisfaction to the upheaval of daily virtual living.
Sonically the work characterizes the Warlike nature of an individual, this is done through musical composition. The composition represents the lifestyle that provides sanctuary within reality. Exploring the themes of Virtual noise, chatting and Silence.
Markus (Warlike) depicts a version…
Shortly after the outbreak of COVID-19, I decided to tackle with “The Divine Comedy Volume 1: Inferno” by Dante, which was from my speculation that the current situation in the world would share the view depicted in the novel.
As I started working on this series, I was thinking a lot about what education means and decided to conduct around 30 informal interviews asking people I met on the airplane, in galleries, and friends of friends about their paths and what it means to receive an education. I based my interviews around the differences and the similarities between Chinese and American education. There is more freedom of choice within American education and more restrictions on Chinese education. I experienced those restrictions growing up and am thus conscious of the fewer restrictions existing in the American context. Black and white…