Group Exhibition ShanghART M50, Shanghai
ShanghART M50 is launching a special project that is not just solo or group exhibitions, focusing on the presentation of a singular subject within an overall context. Artists, as the subjects, extract emotions and philosophical reflections from the repetitive treatment of a single object, compressing them into the embrace of the subject. This project presents only one artist and one subject in the same time and space, with chapters transitioning and evolving.
The things that capture the interest of artists are fixed others. These others often exist in the most inconspicuous ways in daily life (even becoming abandoned objects). Depicting these others requires a long time of gazing and devoutly waiting for a response that awakens from within the object. This response is enough to separate it from its original context and unearth it, allowing the artist to reimagine and shape it from their subjective perspective, merging with this other. The process involves fluidity and control, ultimately endowing it with eternal spiritual attributes.
Liu Weijian: Sofa
Exhibition Dates: February 3, 2024 - March 2, 2024
During this period, beds and sofas have become the focal point of the artist's attention, especially the red sofa in the studio, which intersects with every visitor who enters. This ordinary and common piece of furniture becomes a tangible symbol of individual life. Covered and revealed, collapsing like memories in a space-time tunnel, the artist emphasizes the projection of the individual's most familiar existence. Life activities leave profound imprints on the sofa, allowing the audience to perceive the existence of life. It also witnesses the artist's shift of focus from macro-sociality to the specific states of individuals in life.
The sofa carries people, yet their physical forms are absent due to their departure, leaving behind traces of their existence. The artist does not strive to create an atmosphere but rather waits for the sudden cessation that comes from the beyond. They do not intentionally capture light and shadow but rather invite them to enter the urn. In the glaring and contrasting color relationships, the artist subtly hints at a certain concrete state.
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