Over the past decade, China’s contemporary art industry has continuously sought methods for public dissemination in its foundational development. Coupled with the rise of internet social platforms, we have indeed witnessed waves of responses from various online platforms targeting artists, artworks, exhibition planning, art fairs, and more. At the same time, driven by this intense desire for public engagement, artistic creation seems to have lost its secrecy, no longer requiring intellectual effort to unveil its inner layers. The long-standing global acceptance of interdisciplinary development in contemporary art has rendered the concept of “China” within the fragile and fragmented discourse of art disciplines even more ambiguous and abstract. Many creators have gradually lost their yearning for empathy, synchronicity, and reconnection—everyone can become an isolated island, appearing romantic yet disoriented, chaotic yet enigmatic.
In the early 1980s, during the theoretical evolution of domestic stage design, the concept of “theatrical assumption” was introduced to dismantle the dominant “illusionist” approach to stage art. The reality of any object acknowledged by the actor constituted an internal truth of the drama—if an actor “assumed” something to be a tree on stage, their performance could affirm it as such, making it real and indisputable. Today, this interpretive right belongs to every individual on the internet.
更多介绍：https://mp.weixin.qq.com/s/6-QPhZo44QASbu5sgbJqDw
“ON | OFF 2021: Carousel of Progress”, exhibition view, He Art Museum, Fo Shan, China. (Photo by He Art Museum)
“Untitled, Future Drama, It’s Up To You, What You Say is What You Say”
2022, Installation, Metal wood deconstruction, Video tape recorders, Literature & ready-made products, size variable
《无题——未来戏，你说什么就是什么》
2022年，装置，金属木质解构，标清磁带录像机，文献&现成品，尺寸可变
这十年，中国当代艺术行业在基础建设环节，不断寻求公共化输出方法，加之互联网社交平台的兴起，我们确实听见来自不同网络平台的针对艺术家、艺术作品、展览策划、博览会等等的回应声浪，同时在这种极端渴求公共化输出的强力推动下，感觉艺术创作好像不在有秘密，也不需要智性工作来掀开开的内部。全球范围内对当代艺术跨学科发展的长久默认，使得在脆弱、断裂的艺术学科话语中的“中国”这一区域，显得更加模糊和抽象，很多创作者逐渐不再有共情、共时以及再集结的渴望，即人人都可以成为孤岛，显得浪漫而恍惚，混沌而隐秘。
80年代初期，在国内舞台美术设计的理论发展中，抛出了“舞台的假定性”来分解持续霸占“幻觉主义”的舞美设计思路，一切由演员指认之物的实在性即是一种戏剧内部的真实，演员在舞台上“假定”这是一颗树，那么就可以用表演来证实它就是棵树，使其真实而不可辩驳，而这种演绎的权利正属于互联网中的每一个人。