The solo exhibition is presented by Yanxin Wang, Resident Artist from DAC with appreciation to support from distinguished guests of Bin Zhou, Qingwei Lan, Shuya Kang.




■ ■  Curatorial Preface  ■ ■


No Bodies Home

  ---The bodies in a disappearing manner


        "Living is the process of concentrating and integrating the world into one's body through the symbolic system represented by the people."

--David LE Breton


        In the postmodern context, the choice of media in artistic creation has long been part of the concept. For performance art creation, choosing "body" as a medium means that creation will inevitably discuss the propositions of human existence and cognition, the relationship between the body and the soul, and the symbolism of the body.

        The body is the source of human identity, just as the French anthropologist and sociologist David LeBreton puts it in "Human Body History and Modernity": the body has a special position, self-existence ,and self-expression. The indispensable stage is also the symbol of the individual, forming a boundary with the outside world.

        This is why the “body” is called the “Ultimate Medium” in artistic creation.

        The creation of each artist's unique creative method comes from its own original motivation and core proposition. The process of exploring the artistic creation language is actually the process of finding the appropriate form around the core proposition. In the process of searching, your own life growth experience is a path that can be relied upon.

        The core proposition of the artist Yanxin Wang's creation is his reflection on history and human existence because of his dislike of lies, and the game experience in his growing process has shaped the unique playful temperament in his works. Since acting as the main creative method in 2012, he has explored the use of the body from a variety of perspectives, including the challenge of physical limits, the expression of poetry and the dramatic presentation of public space.


Night remembered the dawn  2016.12 

 Use the mouth to spray red pigment on the glass, then lift the glass until the holder run out of strength. Spray red paint to the glass again until the glass is all red.


HERO」 2014.12,China Zhengzhou Erqi People's Memorial Square

 Process:

 1. In the venue, the word “Hero” is repeated from small to large and.

 2. Take a shower in the square. Tell the audience that the performer has been invisible because he goes to take a bath after finished.

 3. Blindfold the performer with a black cloth and ask one of the audience to give him a slap in the face, then look for someone who did the slap, and the performer slaps back in the face of someone who he guesses to be.

 4. Use a knife to cut the hand and tell everyone that the performer is self-healing and will not be injured.

 5. Climb a pole 7 meters high on the square and tell the audience that the jump will do no harm to the performer.


        In his creative practice, one of the key nodes is the work of "Light of Power Plant" - Yanxin Wang's Personal Concert in Chongqing's DLAF Live Art Festival in 2017. Starting from this work, in visual form, he began to introduce elements such as sound and light, and then officially began to use LED cold light lines to outline the body at the "Responding" festival in Fukushima, Japan. The practice, using the transformation of materials, is the key to changing the perspectives of their creation. From this point of view, the accuracy of the material is the accuracy of the language.

        It is also from this work, in terms of working methods, the artist began to develop project-oriented multi-angle research creations around specific spatial fields shaped by power, capital, and historical synergy. The implementation site of his first project of "Light of Power Plant"--the abandoned power plant in Chongqing's old city. His interest in this space stems from his grow-up environment where his parents work in large state-owned factories with childhood memories living in a collective community. It is this series of creations that develops into the main content of this solo exhibition.


 

「The Light of PowerPlant」: Concert of Yanxin Wang 2017.12


        During the period of residence, Yanxin Wang's creation has undergone important phase changes, mainly in two aspects. One is from the use of the basic properties of the body to the symbolization and abstraction of the body.

        In this series of works, the artist's "body" in the LED cold light line outlines void, withdrawal, and slight deformation. When the human body disappears, only traces and contours of the body is left over. The visual appearance of this “disappearance” accurately conveys the theme he is discussing, namely, the physical exit and the social situation in the historical process of social history. This is concentrated in the works of "When We Meet Again", "Once", "The Spoiler" and "Upward" in this exhibition.


When we meet again」  2018.8

Abandoned house

 Abandoned daily necessities

 Abandoned memory

Fukushima nuclear radiation isolation zone at night


        When the "body" in his work is abstracted into a flat outline, the reference is no longer simply the basic attribute of the flesh, nor the specific body of a person, but a symbolic extraction of the public body state. This unique and accurate symbol is the "core vocabulary" of Yanxin Wang's subsequent creation. With this “core vocabulary”, the artist is free to express his judgments on social scenes and public events. It also leads to the second breakthrough in this stage, which is the transformation from individual social narrative to abstract group social landscape, which is concentrated in the exhibition works "Cold Sun", "Step by Step", "Victor", "They also do not know what they are doing, "Down" etc. 


https://v.qq.com/x/page/y0818k0gshx.html

「cold sun」 2018.10


        It was also the creation of this stage that helped him complete the transition from the simplification of the use of power symbols to the dialogue with historical and power fields. In the process, the “disappearing body” can reflect the real scene honestly and strongly. In other words, the body continues to be "present" in a "disappearing" manner. We can use the words of the anthropologist, Edmund Jabès, to say that the central truth is nothingness. As Edmund said, each society processes its meaning in its own way as it is tempered in the furnace. The so-called "facts" are only facts in their own eyes.



https://v.qq.com/x/page/h0818mcueh6.html

「DOWN」  2018.11


        Until the emergence of this abstract body symbol, Yanxin Wang finally found a language approach that was extremely consistent with his creative motives (the dislike of lies and the reflection of history and human existence).

        When a person finds his own unique language, his artistic language system begins to grow.

        Artistic creation is not an easy task. Wherever someone spends their time, they will get a response. Yanxin Wang's clumsiness and slowness are definitely his strengths. After all, for a person who plans to spend a lifetime doing art, six years of exploration is only a small step forward.


---Yanzi Hu in Huangjueping Dec.24,2018




■ ■  About the Artist  ■ ■



        I was born in Lanzhou Gansu, graduated fromSichuan Fine Arts Institute. From 2012 to now, I base on action art to makemultimedia creation. I take part in international art discussion for a longtime.I am active in the field of international performance art exchangesand have exhibited in Hungary, Poland, Slovakia, Australia, Japan, New Zealand,Thai,Taipei, HongKong, and Macao.

        The body has to revolt, it starts to shake, and I’m forced to rethinkthat which I can and can’t control about my body. To place the body in a publicspace, let it develop a relationship with nature and reality, to remaprelationships formed by the body in space. To have the body interact with thepublic, re-apprehend the subtle changes between people, and to write the body’slanguage and creative train of thought.

--WANG YANXIN



Solo Exhibition

2017 「I’M PRESENT」,Museum of Contemporary Art Chengdu


Partial Group Exhibition

2018

●"ImageMatrix" Experimental Art Exhibition, Star Art Space, Chongqing

●Affordable ArtFair HK,Hong Kong JACC

●Thai InternationalPerformance Arts Festival,BACC

●VAFA 2018 - thesixth Video Art For All International Video Art Festival,MACC

●Fukushima project-」Responding International Performance Art Festival」, Japan

●The Sixth ChengduUP-ON International Live Art Festival,A4 Museum,Chengdu

●Blue Roof MuseumExchaange Exhibition:Shift,Waikato Museum of Art, New Zealand

●Dameisha Program-WOW International Performance Art Festival,Shenzhen


2017

●Yunnan InternationalPerformance Art Festival 「on the cloud」5th

●Japan InternationalPerformance Art Festival NIPAF

●Taiwan Live ArtFestival

●Border Crossing -International Festival of Intermedia 2017,HK,JCCAC Art Center

●"PermanentMoment of Sichuan Performance Art Exhibition", Australia

●The 1st DimensionsInternational Live Art Festival in Chongqing


2016

●Xi’anInternational Performance Art Festival 3th

●The 10th year GuyuAction Performance Art Festival In Shen Zhen

●ChongqingChangjiang Art Museum 「Parabiosis」

●Budapest/SlovakiaInternational Performance Art Festival ‘「30 years」-Encounters with Chinese Artists’

●Chengdu Blue TopArt Museum [Regional Youth Artists' Ecology Exhibition]


2015

●Zheng Zhou 「Hui-art」International Live Art Festival

●The Third ChengduUP-ON International Live Art Festival


2014

●Chong Qing-METAInternational Performance Art Festival

●Beijing 「Wandering:rubik’scuke」Performance Art Festival


2013

●Chengdu MOCA

●MacauInternational Performance Art Festival MIPAF


Prize

●2017,SAYA,SupportingActive International young Artist Annual awards

●2018,Awarded bySlovakia, Hungary and Poland for Behavioral Art Projects,《PerformanceMade in Public Space》




■ ■  Exhibition Information  ■ ■


「 No Bodies Home」 Solo Exhibition of Xinyan Wang


Openning Time: 2019.1.1(Tue.)19:30

Exhibition Time: 2019.1.2 - 2019.1.13

(Fri.-Sun.14:00-18:00)

Venue: Dimensions ArtCenter(DAC), Huangjueping, Chongqing


Artist: Xinyan Wang (CN)

Art Director: Tu Zeng

Curator: Yanzi Hu


Coordination: Burning Bear

Poster Design: Jing He


Sponsored by: Dimensions ArtCenter (DAC)


Supporter: 

Sense health Management Studio


 SupportingMedia:

        DAC Artists In Residency (DAIR)  is a multi-dimensional art research and exchange platform with “contemporary”, “experimental”, “locality” and “publicity”. DAC is committed to materializing the symbiosis of art and society, facing the local social scene and cultural background under the context of the current era of international contemporary art environment to carry out cross-disciplinary, cross-media and interdisciplinary integration through researches on theoretical practices with open, innovative and experimental mindset.

        DAC continuously recruits and invites artists, curators, designers and other professionals from all over the world to Artists In Residency and provide months of local residence and works presentation opportunities. DAC help all kinds of professionals carry out theoretical research in locality and practices in creation on this platform, exerting their creativity with freedom. To this end, we also channel resources from various fields and leverage reasonable social cooperation and resources to materialize the social effect of art, the revitalization of the region and the symbiosis with joint efforts.