The opening of the collective exhibition named Nankan was held in SurplusSpace on May 22. lt shows works of Bai Qianshen, He An, He Yida, William LLutgens, Tan Tian, Xiao Kegang and Zhao Yao. Twenty-odd works are put ondisplay, including paintings , films and installation.

Eyesore (Nankan in Chinese) is a term used to define the exhibition. We are notquite sure about its meaning, and do not even try to figure it out. Thus, it is arelatively vague judgment. Judged by the words, Eyesore (or Nankan inChinese) has no specific standards. it depends on the widespread aestheticsinterests and experience of individuals, certain era or region. But today, the woroEyesore (Nankan) or Beauty (Haokan) is not judged by aesthetics or interests. itspreads to politics, ethics and culture. Indeed, this is related to the selfintervention and self- reflection within the artistic system. Because, the Eyesorehere plays a righteous role to prevent the Beauty class and its power. By nowthe Eyesore becomes Beauty and the Beauty becomes Eyesore. We cannotfigure whether it is eyesore or not, and the judgment itself makes no senseEyesore is an inexplicit ethics factor. it is unstable and dynamic language andpolitics without any sense of class.

This exhibition avoided works with a more outspoken style and works with beautylabel. The exhibited work of the six artists, namely He An, He Yida, William LLutgens, Tan Tian, Xiao Kegang and Zhao Yao, and Being Prentice of AncientTimes and Juanjuan Hair Salon of Bai Qianshen, strike a dialectical balancebetween various perspectives, methods and channels, and also between obieciand style, picture and narration, knowledge and life, and between beautiful andugly things. They discard correct or incorrect posture, while creating distancesharpness and strength through the impeccable obstacle.