［压缩的项目］ 上海 Vanguard画廊
［灌肠2-其乐融融］ 实验戏剧 杭州 一个空间
［产生许可］ 杭州 一个空间
［被偷走的能量］ 上海 昌平大厦209号
［灌肠］ 实验戏剧 杭州 天鸿美和院
［自燃］摄影展 杭州 邵一工作室
Bornin hunan in 1990, graduated from School of Inter-Media Art of China Academy ofFine Arts , now works and lives in Shanghai.
［NOWHERE TO HIDE］ ShangHai Vanguard Gallery
［COMPRESSED PROJECT］ShangHai，Vanguard Gallery
［ENEMANIA 2-HAPPY ALL THE TIME］ Experimentaltheatre HangZhou OneSpace
［NIGHTMARE OF EXHIBITION］ ShangHai RadicalSpace
［EXPERIENCE OF NERVOUSNESS］ ShangHai Radical Space
［PERMISSION］ HangZhou One Space
［THE HIDDEN POTENTIAL］ShangHai，ChangPing Building
［ALL NEW-FORMED ONES BECOME THEY CAN OSSIFY］ am space ShangHai
［ENEMANIA］ Experimental theatre HangZhou
［AUTO-IGNITION］ Photography Exhibition ShaoYi＇s Studio HangZhou
［THE AWAKENING Of NTUITION］PINGYAO INTERNATIONALPHOTOGRAPHY FESTIVAL ShanXi
［ONE METER THEATER］ HangZhou Imagokineticslab
我最看到的哈佛感官人类学实验室(Sensory Ethnography Lab)做的一些⽚子，里面有我感兴趣的虚构的真实、学科之间的平衡，而且是一种波动的平衡，就像茨维塔耶娃说的：可一旦刮起⻛风暴——无底深渊便横亘在左右两翼之间。它是超越了普通意义上的政治问题，而且同时说出了客观世界的风暴和抽象的深渊。
Artist’s View|Tang Chao
I don’t believe in objectivity, but I feel that art is always pursuing the real. This sounds contradictory, but reality isn’t Realist.It includes improvised reaction to the environment an artist is situated in. Of course for me, it’s a bit basic to present reactions as art works. The key is how to manipulate languages into both ambiguity and a metaphoric force underemergent situations.
Politics is about creating a commune. In this communeeveryone has to love the same street or the same tree. Art is to offer difference, differences in perception. I feel that the moment art and politic sreach an agreement is when an event could be political, or it could be not.This includes events that are supposedly public. They are still targeted towardprivatized perception. And I feel that perceptions are also creations. They could connect an audience through “synesthesia”. We cannot become someone else,but we can however provide an opportunity for others to perceive the way we do.My recent video work involved exiling myself into an amusement park and imagining I’m stuck on a lone modern island, where I subjectively explore newpaths and hunt for food. I sit on those game machines and feel nausea, and I shoot those signal missiles on cable cars. I want to present a kind of de-familiarization of game that came from urbanization. I think I should shut up at this point, because society has left the problem of game and aestheticsto industrialization and consumerism. This is bad, but this description is ofthe reality in the objective world, offering only food for thought while written down in words. It’s merely an ideology. It does not call upon people tolook, to listen, or to find a different way of perceiving said ideology.
Image from Tang Chao’s vidio work:Refuge Island
I recently saw a film from the Sensory Ethnography Lab at Harvard University. What interested me was the fictional balance betweenreality and multiple subjects of study. Such balance is oscillating, like what Marina Tsvetaeva said, “but when there is storm – endless abyss/span across theleft and right wing.” This balance is beyond political in the normal sense, andis really about the abyss of the storm and the abstraction in the objective world.
Another project I’m exhibiting here is about my dealing with local criminal police, including engaging myself in their work. This is along-term photographic project. I tried to give guidance and even change their working logic as criminal police. And when the forces were entangled, the photographs they produced generated some accidental images. The photographs’functions as evidence or art are blurred. Then I also play the role of an organizer,to collect, categorize and present these images.
I have not taken a photographfor a long time, and I have tried to present the intensity of shooting these photos to the exhibition hall. Once I had a dark room and brought a wolfhoundinside. I used three flickering devices to flash at the dog’s eyes. Theaudience could see through a small window on the door of the dark room a manand a huge dog when the flickers were triggered, as well as photographsscattered all over the floor. Photographs are accessories to theseperformances. I did not personally shoot the photographs in this exhibitioneither. Maybe I’m only presenting the process of photography, and the neglectedevent-ness and the labor of image production during this process. For me, who shotthe photographs, or whether anyone shot any photograph at all, is to the leastimportance at the end of the day.