Mechanism by Yuan Gong
Curator of Guangdong Museum of Art Luo Yiping
Mechanism is a control shown in chaos. Yuan Gong’s artworks, being exhibited in Guangdong Museum of Art, blur the lines between art exhibit and the creation process. The works’ foggy identities are established on the basis of a symbolic system. As a starting point, the artist uses his works shown in the Venice Biennale in 2013 and 2011. Re-interpreting the Air Strikes around the World – attacking the National Pavilion at the 55th Venice Biennale, and The Scented Air 6000 m³ exhibited in the 54th Venice Biennale, Yuan Gong develops his own language: inter-connecting various socio-political actors (government, common people, art dealers, academics etc.); disturbing our perceptible world to stress on Chinese people anxiety and loss of orientation; establishing dialogue with the rights-centric European art and calling into question the artist status itself. The metaphor brought by the materials and media goes through the “practical increment”. The works’ interpretive force will eventually prevail on the artist himself and thus form a new mode of expression.
The system set up in the Mechanism exhibition superposes the symbolic force of the works shown at the Venice Biennale with their new interpretation and relation displayed in the Guangdong Museum of Art. It is an extension and development elaborated in Venice by the artist, which provides an aesthetic re-creativity perspective.
In the exhibition, the opening adopts the “node trigger” mode. The arrangement of the exhibition halls 5, 6 and 7 adopt a frequencial display: the first exhibit opening is in Hall 7, with the “Relation” series, which act as the starting point of the creation process. During this period, the audience can have free access to other exhibition halls, and participate in the exhibition construction process together with the curators, museum staff and other media personnel. This period is a theoretical variable parameter in the exhibition equation, adding the social and media practical increment on different nodes. The final presentation of the works lies in the rich combination of incidental relations, responses of the audience. The artworks variables, transforming visitors’ reactions to a continuing flow of influences, act as emergency responses and participate to the artworks grammar, morphology and context. In addition, the controlled implementation of the exhibition mode inherits the social intervention from the previous works history and interleaves a contextual relation between the symbol and experience in Guangdong Museum of Art.