Oct 1, 2021
Ge Yulu The laster underneath the Green Cloth, 2021 Acrylic on canvas, wood frame, engraved brass plate Courtesy Beijing Commune.
seen from Bulgaria
seen from Oman
seen from Türkiye
seen from Singapore
seen from United Kingdom
seen from Malaysia
seen from Russia
seen from United States
seen from Germany
seen from United States
seen from Malaysia
seen from United Kingdom
seen from Netherlands
seen from United States
seen from United Kingdom
seen from China
seen from Yemen
seen from Brazil
seen from Russia
seen from Malaysia
Ge Yulu The laster underneath the Green Cloth, 2021 Acrylic on canvas, wood frame, engraved brass plate Courtesy Beijing Commune.
Ma Quisha, One Spirit 20190911 (2019). Acrylic on found fabric. 50 x 50 cm. 19 11/16 x 19 11/16 inches. Courtesy Beijing Commune.
Richard Deacon, Unknown Custom (2018). Stainless steel. 243.5 x 135 x 203 cm. 95 7/8 x 53 1/8 x 79 15/16 inches. Courtesy Beijing Commune.
Richard Deacon, New Alphabet ABC (2018). Stainless steel and paint. 264 x 206 x 47 cm. 103 15/16 x 81 1/8 x 18 1/2 inches. Courtesy Beijing Commune.
Wang Guangle, '150624,' 2015, Beijing Commune
Wang Guangle, '150614,' 2015, Beijing Commune
esc(space) - Living room, Cul-de-sac, Harry The work consists of three installation pieces; Living room, Cul-de-sac and Harry. The stuffed goat decorated with embroidery and fringe, leaving behind the flashing lights Cul-de-sac onstage fills a private space named a living room. A few video cameras with different standards in general use around the world broadcast a vivid scene captured in real-time via an old TV monitor, brand-new flat screen monitors and larger beam projection on the wall. Watching at montages of switched images in which the features of various perspectives are superimposed over one another as if monitored by surveillance camera that is not unfamiliar scenery unfolded before us as we are quite experienced in such ‘Broadcast Yourself’ culture. The society is becoming increasingly entertaining, and everyone making a spectacle of him/herself and becoming a spectator occupies places to relax and spaces to contemplate. At the point where private space is blurred, as there is no exit, art descending to entertainment will vanish like event creations. The event-like art productions eliminate time to think about and proper distance to appreciate a work of art. In this opened living room, the scapegoat faced with a dead end reminds of a portrait of the artist living in troubled times with no way out.
Zhao Yao at Beijing Commune