New Language in Sculptures

Sculptors Born After the Year 1970 Group Exhibition New Language in Sculptures Beijing New Age Gallery, which has been committed to discovering and introducing to the public young contemporary artists, is pleased to present an exhibition on Jan. 2, 2010 under the title “New Language in Sculptures: Sculptors of the 70’s Group Exhibition”. The title is aimed to highlight the exploration and studies in sculptural arts on the part of these sculptors of the 70s, who, inspired by the Chinese aesthetics and their life experience, brilliantly captured the essence of the relation between the progress of the modern world and the demand for visual culture, which enabled them to create sculpture in a way that is strikingly different from the tradition in matters of concepts, techniques and material, and so on, therefore displaying the new language unique to a new generation of sculptors. To Xia Hang, “play” is the essence of his sculptures and “disassembly” the feature. By focusing on the interaction between works of art and viewers, he, in a playful and interesting manner, invites people to approach his works and assemble them in a magical world of games, and thus the hidden instinct for play in human nature gets stimulated. He came to an insightful conclusion. “In our age characterized with highly developed information technology based on the Internet, also an age of the one child generation, play on the individual level and entertainment and game become a feature of modern world. The playful part of art probably echoes in an artistic fashion the playful attitude toward life.” Zheng Lu, on the other hand, elaborates on “interpreting nonexistence”. In view of the title, “interpreting” means “reading or reading aloud”. The sculptures are based on characters comprising lines or passages for reading, so as to establish the connection between the artistic charm and the theme. “Nonexistence”, on one hand, derived from the pierced works’ visual feature, indicates the visual dissociation from the physical reality and the “existence” of hollow frame; on the other hand, “nonexistence”, carrying the meaning of “nonbeing” and “etherealness”, stresses the pursuit of intrinsic beauty of life particular to the East. The appeal of words and their connotation are highlighted, and “emptiness” and “hollowness”, “Yin” and “Yang” are reflected as well. The illuminated works thus begin their journey of inexhaustible changes and extension, wandering between “to be or not to be” and “to be fantasy or to be reality”.