The creator smashed the country, and the "Reverberation of the System" passed through twenty years. Part 2.
From 1997 to 2009, everything was accelerating, everything was in motion, and the exhibition also presented a colorful and diverse exhibition hall, which provided an opportunity for the changes after the founding of the People's Republic of China. In the process of constantly searching for the "core" of creation, Sui Jianguo seems to have been plagued by trends, society, and politics. So far, Sui Jianguo, who is moving toward "post-idealism," has also encountered creative bottlenecks. Where is his next direction?
The impermanence that Sui Jianguo did not intend to create in 2006 became the beginning of the next stage. This part mainly presents its artistic exploration from 2008 to 2019. The latest series of 3D digital media works "Cloud Garden", a group of huge sculptures turned into a visual theater of the exhibition, recreating the artist's decade of creation.
The second floor of the North Exhibition Hall consists of four different spaces: “behavior and action”, “proportion and cutting”, “material and surface” and “worksite”. This part shows and tells the artist the creative way and thinking system. For Sui Jianguo, this is "exploring trial and error, looking for a process of getting rid of and getting rid of the outside."
Cui Cancan believes that Sui Jianguo created a personal system that is in line with the history of sculpture but is unique. “All works are related to the system.” He explained that the title “Resound of the System” refers on the one hand to the internal structure of the artist’s creation system in the past 20 years, and the reciprocal relationship between the systems; on the other hand, it implies that the artist always Maintain a broader sense of history, reassess and establish the ambition and ambition of the sculpture system.
Sui Jianguo told Art News/Chinese Edition that the “system” not only includes the individual creation system and the sculpture system but also includes the artistic creation closely related to the social system at the time. This relationship is not necessarily so direct or even unconscious. of. “Social awareness will enter personal works, but it will not be deliberately highlighted.”
Throughout the artistic creation of Sui Jianguo from 1997 to the present, it is basically in sync with the artistic trend of the time - consumerism, pop art, postmodernism, conceptual art... they are also consistent with the social ideology of China at that time. The works selected in this exhibition are also representative works of each period. For the artistic creation of Sui Jianguo, they are all works of great significance. "Through the various systems, so-called the 'reverberation of the system', the art of each period is connected in series, resonating, showing a new look."
When the concept of art came to the extreme, Sui Jianguo felt that "a little feeling that there is no way to go, simply blindfolded his eyes." In 2008, Sui Jianguo began to “fabricate” the Portrait of the Blind, completely abandoning the existing habits and artistic creation experience. Through the artistic practice of this period, Sui Jianguo found that the things that were blinded by the eyes were much more exciting than the ones that were pinched out. “All the skills and techniques of doing sculpture and doing art are moving towards more useful, better use, and more precise. What does this mean?”
In the creation of The Portrait of the Blind, Sui Jianguo placed his body and his movements at the heart of his work. He believes that in day-to-day work, the sculptor's body and repetitive sculptural movements (behavior) are as important as the finished sculptures. “The sculptural medium in the field of the sculptor's actions and movements; the final sculpture is the proof of the sculptor's body and the sculptural behavior (action).”
As early as 2006, Sui Jianguo’s works were related to his own body and experience, such as “24 bricks with the same weight as himself”, “74.5kg (weight stone)”, “The tension of sports”, etc. At that time, he used to expand and reflect on the most basic language of sculpture - space, volume, weight, time.
In the series of works after "Portrait of the Blind", Sui Jianguo tried to get rid of the language and thinking of traditional sculpture, and presented the behavior and action itself by pinching, pulling, pressing, punching, kicking, etc., and expressed this as the final expression of the work. One of the core content.
In the south exhibition hall on the second floor of the "Resound of the System", 1400 manuscripts of Sui Jianguo were used as the central axis of the exhibition, running through the entire space. These manuscripts are all freely pinched out by his blindfold, but none of them are the same. "The creation of the "Handwriting" series is to get rid of the consciousness control inside the body." Sui Jianguo told the "Art News/Chinese Edition" that in the process of repeated work and repetition, all kinds of contingency are covered, and the pinch More, the chance of contingency is greater, and all kinds of contingency are included, which gives him a particularly fresh feeling.
P.S. Continued in the next part.