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NANKAN

2016.5.22-2016.8.12

STATEMENT


Eyesore (Nankan in Chinese) is always referred. But we are not quite sure about, and even do not try to figure its meaning. Thus, it is a relatively vague

judgment. Judged by the words, Eyesore (or Nankan in Chinese) has not settled standards. It depends on the widespread aesthetics, interests and
experience of individuals, certain era or region. But today, the word Eyesore (Nankan) or Beauty (Haokan) is not judged by aesthetics or interests. It spreads
to politics, ethics and culture. Indeed, this is telated to the self-intervention and self- reflection within the artistc system. Because, the Eyesore here plays a
righteous role to prevent the Beauty class and its power. By now, the Eyesore becomes Beaury and the Beauty becomes Eyesore. We cannot figure
whether its eyesore or not, and the judgment itself makes no sense, Eyesore is an inexplicit ethics factor. It is unstable an dynamic language and politics
without any sense of class.

 

Therefore, we avoid coarse works when we choose artists. We also avoid the so-called beautiful works that focus too much on aesthetics or impose

difficulty for appreciation. These are two extremes and focus too much on class. The lack the possibility of inexplicit and class-oriented flexibility. The reason
whywe choose He an, He Yida, William L. Lutgens, Tan Tian, Xiao Kegang, Zhao Yao is that the strike a balance of material and form, image and
nattation,knowledge and life with different perspective, path and method. They give up correct and incorrect psture and still preserve the shapness and

vitality of language.



Artist:


Bai Qianshen, He An, He Yida, William L. Lutgens, Tan TianXiao Kegang, Zhao Yao




NANKAN

2016.5.22-2016.8.12

STATEMENT


Eyesore (Nankan in Chinese) is always referred. But we are not quite sure about, and even do not try to figure its meaning. Thus, it is a relatively vague

judgment. Judged by the words, Eyesore (or Nankan in Chinese) has not settled standards. It depends on the widespread aesthetics, interests and
experience of individuals, certain era or region. But today, the word Eyesore (Nankan) or Beauty (Haokan) is not judged by aesthetics or interests. It spreads
to politics, ethics and culture. Indeed, this is telated to the self-intervention and self- reflection within the artistc system. Because, the Eyesore here plays a
righteous role to prevent the Beauty class and its power. By now, the Eyesore becomes Beaury and the Beauty becomes Eyesore. We cannot figure
whether its eyesore or not, and the judgment itself makes no sense, Eyesore is an inexplicit ethics factor. It is unstable an dynamic language and politics
without any sense of class.

 

Therefore, we avoid coarse works when we choose artists. We also avoid the so-called beautiful works that focus too much on aesthetics or impose

difficulty for appreciation. These are two extremes and focus too much on class. The lack the possibility of inexplicit and class-oriented flexibility. The reason
whywe choose He an, He Yida, William L. Lutgens, Tan Tian, Xiao Kegang, Zhao Yao is that the strike a balance of material and form, image and
nattation,knowledge and life with different perspective, path and method. They give up correct and incorrect psture and still preserve the shapness and

vitality of language.



Artist:


Bai Qianshen, He An, He Yida, William L. Lutgens, Tan TianXiao Kegang, Zhao Yao




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