Discordant Harmony, 2017, Exhibition view. Courtesy: Beijing Inside-Out Art Museum.
From explorations into the varied meanings of 'Asia' to an uncomfortably personal solo show, highlights of the best shows across the city
Discordant Harmony: Observations of Artistic Practices in East Asia at the Transition between the 1980s and 1990s, Beijing Inside-Out Art Museum, 4 November – 4 February 2018.
Beijing is the final stop in a series of exhibitions that began in Seoul in 2014 before moving to Hiroshima and then Taipei. The four curators – Chien-Hung Huang, Yukie Kamiya, Sunjung Kim and Carol Yinghua Lu (a contributing editor to frieze) – have worked towards fostering a platform for new explorations into the varied meanings of 'Asia' and how the connections between the contemporary artistic practices of these four countries might be considered afresh. The Beijing show, which focuses on a number of late-1980s to early-1990s case studies, continues Yinghua Lu and Inside-Out Museum's (where she is director) interest in historical exhibitions that challenge the status quo of art historical narratives. Spread across the museum's three floors there is no thematic link between the projects that are presented here, rather materials are collected together so as to give an insight into some of the happenings that the curators have decided are worthy of elaboration. Some events are more well-known than others, for instance, the Tokyo street-based group exhibitions, The Ginburart (1993) and Shinjuku Shonen Art (1994) (both featuring a young Haruki Murakami), versus the almost completely forgotten Garage Show (1991), a three day exhibition that took place in an underground car park in Shanghai, reanimated here with photographs, posters and a recreation of a small Hu Jianping installation.