Beijing Commune is pleased to represent the important Chinese artist Wang Luyan, and will present his first solo exhibition Corresponding Non-correspondence in the gallery on July 5, 2018. This exhibition will showcase a new series of works created by the artist, and it will last until August 21, 2018.
Wang Luyan considers that all things exist in relationships, and relationships all present their correspondences. Every judgment or choice made by people ismade when it forms a correspondingrelationship with things. However, for those uncontroverted and indisputable correspondences, there is no need for people to judge or make decisions about them. Questioning is the basis of thought rather than belief. Wang Luyan attempts to question the conventionalised corresponding phenomena which no longer lead people to think in a skeptical way. For example, is there a substance of 'back' hidden behind the representation of 'face'? Could the distance that people tend to shorten be an indispensable demand when they communicate with each other? Is the opposite direction corresponding to the target the destination that the walkers are going to?
The artist attempts to present the paradox in the corresponding relationship through this exhibition as an observer rather than a respondent. Question and confusion always occupy a preponderant position in his works. The thought of questioning is not merely to transform ignorance to awareness, but to move from one confusion to another which requires more deep thinking. Confusion keeps the humanmind fresh, whereas the uncontroversial mind means the end of the mind. Once the mind ends, the individual will no longer exist. Wang Luyan's works in this exhibition are filled with various confusions as well.
This exhibition will showcase dozens of the artist's latest works in the series of 'Corresponding Non-correspondence'. Those works all face the paradox in various correspondences from different perspectives. Through the use of everyday materials, such as newspapers, latex, cardboard, acrylic paints, plastic boxes -wooden boxes and others, the artist presents his creative process from generating concept to generating works, from the practice in his studio to the presentation in this exhibition. The artist keeps his mind fresh during the creative process by means of self questioning and self-denial. The artist believes that the original project will be changed for various unexpected reasons. He regards the procedural drafts as 'formal works', constantly raises questions during his creation and logically speculates and demonstrates them in a visual way. This reflects Wang Luyan's exploration ofusing draft as art language.
As mentioned by the artist, the judgments in the paradox are mutually negated. The judgment in the artist's works is also negative by questioning the reverse of the opposite concept. For the artist, the 'face' is the 'back' and vice versa; to the left is to the right; going forward is going backward; the other is the self and vice versa. Those corresponding relationships make it difficult to judge their distinction.
However, will there still be self if we do not judge? If the judgments are always incorrect, will the self be difficult to be established? The self can be fulfilled bya series of clear wills, each of which isaconclusive concept. Thus, the self is in a certain finished form likes thoseworks. But if the artist wants the work–the self to be 'alive', he cannot end it at the end. The work will eventually 'die' in some physical forms, while only the thought–the concept that the artist constantly endows the works with, could keep it alive.
Nevertheless, to make the work never end requires satisfying a harsh premise, that is, the questions for the works need not to be answered by the artist, or whose answers would be denied by the latter answers. The thought in Wang Luyan's works is in an infinite cycle, which will not end in negating certain negative judgments. For Wang Luyan, the alive thought will not end to the end. It is also the basic reason why the artist uses art as a tool of thought.
Wang Luyan was born in 1956, and he has been a major participant in the developmental history of Chinese modern and contemporary art. He was a part ofthe historic Stars Art Exhibition, held along the fence outside of the National Art Museum of China in 1979, and the China / Avant-Garde Exhibition, held inside the National Art Museum of Chinain 1989. In 1988, together with Gu Dexin, he created Tactile Sensation. Between 1988 and 1995, he was a member of the New Measurement Group, together with Gu Dexin and Chen Shaoping. He has been featured in many important exhibitions over the years, including: Exceptional Passage—China Avant-garde Artists Exhibition, Fukuoka, Japan, 1991; Silent Energy: New Art from China, Museum of Modern Art Oxford, Oxford, 1993; Uecker Sends a Letter to Beijing (a collaborative exhibition with Group Zero artist Günther Uecker), New Berlin Art Society (NBK), Berlin, 1995; the Second Asia-Pacific Triennial of ContemporaryArt, Queensland Art Gallery, Brisbane,1996; Inside Out: New Chinese Art, Asia Society and P.S.1 ContemporaryArt Center, New York, 1998; The First Guangzhou Triennial—Reinterpretation: A Decade of Experimental Chinese Art, Guangdong Museum of Art, Guangzhou,2002; the solo exhibition Sawing or Being Sawed?, OCT Contemporary Art Terminal, Shenzhen, 2007; Wang Luyan, Total Museum, Seoul, 2010; Wang Luyan: Diagramming Allegory, Parkview Green Exhibition Hall, Beijing, 2013; Wang Luyan, Musée d'art moderne et contemporain de Saint-Etienne, 2014; and Walking, Beijing National Stadium Bird's Nest Art Center, 2015. That same year, his work Net was exhibited at the Oceanographic Museum of Monaco, while Downward Force on Upward Moving Objects was presented at the Ekaterina Foundation in Moscow and the National Museum of China. In 2016, his solo exhibition Communication was presented in the Space of DRC No.12 in Beijing. His exhibition 2017-2018 Wang Luyan is now shown in the Yalu River Art Museum in Dandong.
Press release courtesy Beijing Commune.