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Remapping Reality
Selected Video Collection from Wang Bing
Curators: Sun Dongdong, Lu Mingjun
Exhibition Duration: March 23, 2019 to June 16, 2019
Opening Reception: Saturday, March 23, 2:00-7:00pm
Venue: OCAT Shanghai
Remapping Reality
Living in the age of complete digital coverage, has the video art, grounded in modern media technology, as some media theorists have iterated, benefited from the remnants of media evolution as other visual arts have? For the very least, the dissemination and transformation of the video art within the system of Chinese contemporary art have proven to us that, since departing from the role of the so-called new media in avant-garde technology, its experiments in China, however, incline to integrate into the everyday practices and have hence become increasingly universal. The constant renewal in modern media technology allowing the popularization of media devices, is certainly part of the reason for this trend, but at the same time, we also bear witness to the rise and expansion of information capitalism and its mode of production in the global context, which in fact, is the essential drive that pushes forward the transformation of the social media conditions. In response, as a technical product embodies both frameworks of modernization and modernity, video art brings together the specificity and complexity of contemporary Chinese society and culture with the productivity of the everyday living. Furthermore, it projects the dialectical relationships between the production of materials (at the material level) and the production and dissemination of culture and information (at the spiritual level) since the modernization in China’s economic reforms.
Hence, setting as the theme for this exhibition, Remapping Reality, on the one hand, is aimed at reiterating the meanings and values of the world we live in. Its presentation of the new generation artists working in video art from the post-Olympic era is the visual source if to understand and interpret specific historical and media cultural experiences. Thereby, at the historical breaking points (nods), we could search for the context of discourse and the historical origin concerning the Chinese issues, whereon a new discourse--political installation could be built to decipher the contradiction and complexity shown in China’s course of globalization, and subsequently to realize a continuity within the Chinese experience, as it’s emphasized in the Chinese discourse. On the other hand, at this moment of global chaos and conflict, Remapping Reality also provides an outlook to the future, a reminder for the forthcoming “reconstruction project” in this critical historical turning point. As an exhibition of video art from a private collection, Remapping Reality marks the first time Mr. Wang Bing’s collection of contemporary Chinese video art is unveiled to the public. Although this exhibition only presents part of his entire collection, for the Chinese contemporary art ecology, perhaps, this is an opportunity to call on a foundational reconstruction.
Sun Dongdong
Sun Dongdong
Curator, Critic, Freelance Writer
He participated in organizing The First Chinese Art Triennial (the predecessor of Nanjing Triennial). Since 2001, he has been involved in criticism and curation of Contemporary Chinese art. In 2009, he began working at LEAP magazine as a senior editor, covering scholarship and exhibition reviews. In 2014, he was chosen to be one of seven members of the Pinchuk Art Foundation’s Future Generation Art Prize selection committee. From 2014 to 2018, he served as the jury for the primary selection of the Huayu Youth Award.
Notable curatorial experiences are: ON | OFF: China’s Young Artists in Concept & Practice at the Ullens Center for Contemporary Art in Beijing (2013); Wormhole—Geo-Attraction at Lin & Lin Gallery in Taipei (2014); No Express: Hu Weiyi at the Ullens Center for Contemporary Art, Pavilion in Beijing (2015); Shi Qing: Hinterland Project at Times Museum in Guangzhou (2015); The Third Huayu Youth Award Finalist at Baihua Gu Mall in Sanya (2015); Our Painting at Yang Museum in Beijing (2016); The Fourth Huayu Youth Award Finalist at Baihua Gu Mall in Sanya (2016); The Fifth Huayu Youth Award Finalist at Huayu Art Center in Sanya (2017); Well-Wishes at Gallery Vacancy in Shanghai (2018).
Lu Mingjun
Ph.D. in History, Associate Professor of Art History at Arts College, Sichuan University, Curator, Director of Surplus Space.
His recent curatorial projects include Frontier: Re-assessment of Post-Globalisational Politics (2017-2018), Assembling (2018), XU ZHEN®: Alien (2018), among many others. His essays have been published in Literature & Art Studies (Wenyi Yanjiu), Art Research (Meishu Yanjiu), Twenty-First Century (Hong Kong). His book projects are Visual Cognition and Art History: Michel Foucault, Hubert Damisch, Jonathan Crary (2014), Logos and Morale：Conception and Social Changes in the Painting Theory of Huang Binhong 1907-1954 (2018) and Post-sense Sensibility, Supermarket, Long March Project: Three Contemporary Art Exhibitions/Projects in 1999 and After (2019). Lu was also the grantee of Robert H. N. Ho Family Foundation Greater China Research Grant 2015. He received the 2016 Yishu Awards for Writing on Contemporary Chinese Art. In 2017, he was granted The Asian Cultural Council Fellowship. In the same year, Lu won the 6th CCAA Chinese Contemporary Art Critic Award.
作者：OCT当代艺术中心上海馆
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