LEAP 31

Each generation of artists has to be sensitive to the needs of changing social and cultural structures in order to select the tactics of their practice. Tactics involve shaking off the rigidity of the art system—its productions and value systems—and, ultimately, mobilizing spaces beyond artistic practice. This issue’s cover feature probes into how artists worldwide “strategize”: we examine the art fair, corporatized art production, the urban context, invented and incorporated artist identities, and other tactics that expand the possibilities for contemporary art.

In addition, our middle section introduces two artists—Liu Wei, a unique Beijing figure, and medium-savvy Taiwanese video artist Kao Chung-Li. Robin Peckham uses diagrams to investigate the material and linguistic features of Liu’s work between 1999 and 2015; while Hsu Fang-Tze analyzes Kao Chung-Li’s video practice by way of his machines (including all sorts of video cameras, projectors and other mechanisms for image circulation propelled by capitalism), and looks at how the artist turns his eye back on the intellectual hegemony of image machines and machine images alike.

In our regular column “My Miles” in the top section, LEAP interviews Art Basel’s newly appointed Director Asia, Adeline Ooi. “New Directions” explores China’s first generation of internet artists through the artist Miao Ying’s practice; “Conference Room” documents French philosopher Alain Badiou’s restaging of his intense conversation with an unnamed Chinese philosopher; “On Canvas” investigates the spiritual elements in Shanghai-based painter Fang Wei’s work; and“Yet Unknown Monuments” finds Hong Kong’s geographical, architectural, and cultural imprint on a map of Admiralty.

Our bottom section includes 14 exhibition reviews in all, including “The 10th Shanghai Biennale,” “Kochi-Muziris Biennale 2014,” “4th Taiwan International Video Art Exhibition,” and other large-scale exhibitions around the world. You’ll also read about Zhan Wang, Yu Honglei, Hito Steyerl, and Matthew Barney’s most recent solo exhibitions.

 

P028 THE STATE OF THINGS

P032 MY MILES  ADELINE OOI

P036 EXHIBITION MAKING  A MAZE OF INTERSECTING VIEWS: 2ND SHENZHEN

INDEPENDENT ANIMATION BIENNALE

The Ouroboros-film in art history and experimental video in film history-creates a continuous cycle of meaning by devouring and producing history.

P040 ON CANVAS  ASSASSIN, HERO, FANG WEI

P044 NEW DIRECTIONS  MIAO YING AND THE FIRST GENERATION OF

CHINESE NET ART

Miao Ying’s practice—particularly her web-based work—allows users outside China to get a glimpse of life within the Great Firewall in a humorous and accessible way.

P048 INSTITUTIONAL CRITIQUE  LEARNING PERSPECTIVE

HB STATION Contemporary Art Research Center stands for the preservation and support of experimentation in art. It is a loose yet cohesive institution, but it does not offer absolute guidance or services.

P052 WRITERS’ CAMP  OVERLAPPING IMAGES:AN ANALYSIS OF FOUR PORTRAITS

Despite his untimely death, the German artist Harun Farocki leaves behind a monument to our visual epistemology, demanding that future artists remain critical of the regime of images within their work.

P056 BOOKSHELF

CONTEMPORARY CHINESE ART & ITS CRITICAL HISTORY

TWO ARTISTS’S BOOKS: COLLAGE & MAN OVERBOARD

P060 CONFERENCE ROOM  CREATIVE NONFICTION:A LECTURE-PERFORMANCE BY ALAIN BADIOU

P064 UNKNOWN MONUMENT  AD HOC ADMIRALTY

The neighborhood has no center, no axis, no edge. There is no square, no boulevard, no significant monument. There is no symmetry. Admiralty, like Hong Kong, has no ground, culturally or physically.

P068 CROSSOVER

 

COVER FEATURE # TACTICS

P078 ALL THE WORLD’S A FAIR

P086 SUPERARTISTS

P094 ART IN THE URBAN ENVIRONMENT

P102 INVENTED AND INCORPORATED

P114 SHANGHAI DEAL

P116 MIND GAMES

P118 PORTFOLIO

 

P126 LIU WEI

No matter how abstract or formal his objects sometimes appear, Liu works in what is ultimately a realist mode that cannot help but reflect the world around him. For the artist, successful art accurately captures and reflects the state of the self, which is naturally formed and permeated by its immediate environment, itself a product of the workings of society.

P140 GAO CHONG-LI

An industry-standard 35 mm camera is transformed into a projector, transmitting a video composed of half-frame camera shots of family life.

P150 BUILDING THE BEAST

P156 “45 DEGREES AS THE REASON”: SELECTED PROPOSALS

 

P172 SOCIAL FACTORY: 10TH SHANGHAI BIENNALE 2014

“Social Factory” is no longer a massive social narrative and cultural critique; instead, it is a microcosmic consideration of the internal systems and mechanisms of society. This perspective is rooted in local history and reality, but the exhibition outlines social systems of a global nature.

P178 KOCHI-MUZIRIS BIENNALE 2014

Curator Jitish Kallat takes cues from the history of Kochi as a maritime hub since the fifteenth century, but, while invoking an age of discovery, he also raises its unseemly aspects: subjugation, colonialism, and exploitation.

P182 PIERRE HUYGHE

Huyghe’s exhibition acknowledges its own discomfort within the institution. For all the seductive, sublime charm of the artist’s work, it is still left to the audience to participate: the retrospective rests on uneasy haunches in the museum, waiting for customers who may or may not come, but upon whose complicity the exhibition hangs.

P186 4TH TAIWAN INTERNATIONAL VIDEO ART EXHIBITION

P188 780s

P192 BOREDOM IS THE BEGINNING OF ACTION  OMNIPRESENT CONCRETE

P194 ZHAN WANG

P196 HITO STEYERL

P198 MATTHEW BARNEY

P200 YU HONGLEI

Yu offers his audience a refresher course in the vocabulary of the everyday, terms visual and conceptual that ultimately become building blocks for his tinkering.

P202 CUI JIE

P204 QIN QI

P206 TURNER PRIZE 2014