Preface
When I talk to industrial workers. They often say that there is an “assured stability.” They mean that there is stable employment, medical care, pension—everything is guaranteed. Their point of view might seem superficial at first glance, but behind this expression of a human desire we find a deeply rooted anxiety about how to survive.
“Assured Stability”— the clear and yet somewhat mundane words possess a sense of universality. We all understand and share the dream of tomorrow remaining bright and trouble free. Still, there is another side to the words that suggests that each individual only becomes a part of an economic system, a cog in a wheel of a seemingly meaningless giant machine of society. And that image can slowly eat its way into our consciousness like a virus. Perhaps we find ourselves in a situation where everything has improved on the surface and yet our lives have become empty and meaningless?
Introduction to “Assured Stability”
In the recent decades of economic development, large parts of Chinese society have developed into a web of large factories of mass production. The participants in the exhibition “Assured Stability” offer different interpretations of what they can draw from this process. The artists who originate from Northern Europe live in countries with the most developed social and economic security on the planet. They have since long lived what Chinese workers call “guaranteed stability.” The artists have expressed some difficulty in understanding the widespread and “simple aspirations.” Still they use their artistic methods and experience to explore contemporary society. They try to make sense of a world in constant and violent flux and full of paradoxes—this is not only related to the demands of standard industrialized societies, but is also an expression of a kind of cruelty and beauty.
The works on display in the exhibition raise questions about the sites of production as well as the relationship between the producers and society as a whole. They investigate states of consciousness and reflect on how human values inform how we experience the flow of time and of life. They question how ethics inform or directly or indirectly relate to our world, to our own personal “assured stability.”
About the “Assembly Line” Project
“Assembly Line” is a continuing series which was initiated in 2010 by Li Xiaofei. It is a practice which is related to the process of social change in contemporary society.
Currently there exist two phases. The first phase from 2010-2013 focused on video as a form and as a tool to analyze the assembly line. During this period, Li worked successively in the Yangtze and Pearl River Delta regions, the US, Sweden, Norway and New Zealand to shoot over 100 different kinds of factories, having dialogues and exchanges with people of different positions within the assembly line. He used a “realtime” shooting technique which is difficult to control, mixed the language of documentary and sociology and used a fragmented interwoven approach to create a mutual restructuring and transformation of the relationship between man and machine, to reconstruct an illusory reality. In Li Xiaofei’s view, “Assembly Line” is a mode of production driven by capitalistic desire—it is repetitive, consistent, mechanical and devoid of emotion. At the same time, it is highly efficient, and can expediently expand the volume of production to create the maximum amount of value. This kind of repetition and consistency not only refers to the machine, but also represents the people in between and finally the products themselves.
Since 2013, Li Xiaofei has been primarily exploring what lies beyond the orderly-ness of the assembly line, the capitalist factory, consumer society, social progress, social mores—the reality of the people living in a highly systematic and institutionalized environment. In the past two years, he has used various artistic forms using “everyday objects” as his medium, using a non-narrative method to depict different landscapes and homes, to move people from different angles, from the observation of details to the whole, and to realize that that though it may look unremarkable or natural, it implies a profound social significance.
As the “Assembly Line” project progresses, it has become a rich, diverse, complex and fascinating creative project. Li Xiaofei would like to establish a creative platform to use an open approach to communicate with different people to discover connections with the “Assembly Line” and how to further extend the project. At the same time with every stage he invites different art workers and scholars from different disciplines to discuss, research, participate and collaborate with him.
About the artists
Per Hüttner (b. 1967) is a Swedish artist who lives and works in Stockholm and Paris. He was trained at Konsthögskolan, Stockholm and at Hochschule der Künste in Berlin.
Hüttner’s work investigates impermanence as a global principle, especially how ideas of permanence and purity are used to perpetuate social, political and economical structures and how that influences human communication and interaction. The work often deals with transformation, change or various forms of transgressions of boundaries or borders. His work dialogues with the history of performance and explores the genre in innovative ways by provoking the curiosity and imagination of the visitor as well as by reflecting on notions about time, knowledge and the human body.
Hüttner has shown extensively in Europe, North America, Australia and Asia, solo exhibitions include “>unkown” at Zendai Contemporary Art Museum in Shanghai, “Repetitive Time” at Göteborgs konstmuseum, and “I am a Curator” at Chisenhale Gallery in London. Participation in group shows include Museu de Arte Moderna de São Paulo (MAM); Palais de Tokyo in Paris, the Hayward Gallery in London, Palais de Tokyo in Paris, Moderna Museet in Stockholm, MACBAin Barcelona and he has performed at Tate Britain, Tate Modern, Pinacoteca and the Venice Biennial. A dozen monographs on the artists work have been published in the last decade. Hüttner is the founder and director of the Vision Forum, a project-based international experimental research network.
For more info see: http://www.perhuttner.com/
Guo Qingling, graduated from the Stage Art Department of Shanghai Drama Institute, she was born in Henan province and now lives and works in Shanghai. Her works, which boast a strong social practicality and sense of intervention, mainly focus on exploring women from different dimensions in life through painting, video, installation and radio drama.
For instance, the images of women engaged in scenes of street life created from 1999 to 2002 were saturated with exaggerated expressions, vibrant colours and vigorous brush-work. The “Seafood” series (2002-2005) with a liberated style and fluid lines portrayed a group of women constituting a class of consumers who could be described as fashion exhibitionists. The “Grey” series (2006-2009) studied women suffering from physical and mental illnesses. The “Second Series” (2012-2014) focused on independent and professional female intellectuals who have made significant contributions to society. Since 2014, Guo has begun painting images of a lower-class demographic, factory girls and single women in the cities, portraying the anxiety and malaise which manifests their lives which reflects more complex social issues.
The works of Guo Qingling have been exhibited in 2014. “Precariously Yours: Gender, Class, and Urbanity in Contemporary Shanghai”, Fei Contemporary Art Center, Shanghai, China (2014) ; the “10th Shanghai Biennale 2014 City Pavilion: Urban Work&Shop”, Xintiandi, Shanghai, China (2014); “SNAP: Resolution”, SVA-NYC Art Platform, Shanghai, China (2014); “Reactivation”, Fei Contemporary Art Center (Shanghai, China) and “Benton Box” (Dusseldorf, Germany) (2013); “They!—Solo Exhibition by Guo Qingling”, PRETTY LAND Gallery, Germany (2009); “Broken Mirrors”, CATTD Gallery, London ,UK (2008); “FCA-xxx Contemporary Art Exhibition”, Fei Contemporary Art Center, Shanghai, China (2007); “She is sick!—Solo Exhibition” by Guo Qingling, Fei Contemporary Art Center, Shanghai, China (2007); “High Art from Shanghai”, Contemporary Art Exhibition, Arc de Triomphe, Paris, (2005); “FALL OUT”, H Gallery, Bangkok, Thailand (2005) ; “Open Road”, The Creek Art Center, Shanghai, China (2005); “Fei,Fei, Fei,” Duolun Museum of Modern Art, Shanghai, China (2004); “The Contemporary Asian Art Fair”, Art Seasons Gallery, Singapore (2003); “Seafood—Guo Qingling Solo Exhibition”, Eastlink Gallery, Shanghai, China (2003); “99 Exhibition of Young Shanghai Artists”, Liu Haisu Art Museum, Shanghai, China (1999); “The Brilliance of the City—Shanghai Invitational Exhibition, and “New—Figurative Paintings”, Shanghai, China (1999).
For more info see: http://www.guoqingling.com
Jiang Dandan, Distinguished Research Fellow, Department of Philosophy, University Jiaotong,Shanghai.Correspondent, director of program, Collège International de Philosophie (CIPh, France). Specialized on philosophy of art, theory on art criticism, crosscultural dialogue. Visiting scholar, Maison des sciences de l’homme (MSH, France); Visiting professor, Institute for advanced studies in Humanities and Social Sciences, Taiwan University. Post-doctor, Centre de recherches sur les arts et le language (CRAL), École des hautes études en sciences sociales (EHESS). Laureat of the fellowship “ Researches in Paris”, City of Paris, France (2009-2010). Director of the collection “Festina Lente” (“Qing yu Zhong”, Vihorae, East China Normal University Press, 30 titles published).
Lise Kolstad Yuen, graduated from The National College of Art and Design, Oslo, Norway, was born in Lillehammer and now works and lives in Oslo. In her work she strives to find an alternative reality, often based on her own sense of nature. Abstraction itself is a meeting between the defined and the undefined—a reduction to uncover a fundamental essence. Simplicity and accessibility are important parameters in creating visual associations and leading an artistic process to a result which is universal and recognizable. She seeks inspiration by reflecting on the tension between perception and reality, subject and object, culture and nature, as well as the relationship between the inner and outer world. She also is fascinated by ambiguity and likes to create a confrontation between opposing elements, combined with conceptual simplification, material expression and the craft. In our quest to understand, to find scientific proof and absolute answers, we are about to lose something important, our sense of wonder. In Lise´s visual universe, wonderment is a driving force which propells the development of her installations and sculptures.
Her works have been exhibited in “10th Shanghai Biennale 2014—City Pavilion: Urban work & shop” Shanghai, China, “Precariously Yours, gender, class and urbanity in Contemporary Shanghai” at Fei Contemporary Art Center, Shanghai, China, “Change and Exchange 6”, Halle 50, Munich, Germany, “Matchmaking at Suzhou Creek”, Shanghai, China, “Talentborse”, Munich, Germany, “Cross Point”, Hennie Onstad Art Center, Oslo, Norway, “Taiga” Elverum museum, Elverum, Norway, “Time”, Krypten Oslo, Norway. Commissions: Hafslund Energy, Oslo, Norway, Elverum College, Elverum, Norway, Mølleparken, Oslo, Norway, Tabibito, Oslo, Norway, Lille Sumo, Oslo, Norway. Grants: Government grants for young artists. Lise Kolstad Yuen lived in Shanghai for six years. During this period she founded Creek Art Center in Shanghai and Beijing, and was curating and organized exhibitions and international cultural exchange events.
For more info see: www.liseyuen.com
Li Xiaofei (b.1973) is a Chinese artist who lives and works in Shanghai. He graduated from the Guangzhou Academy of Fine Arts. Li is the Co-Founder and Director of the Creek Art Center, Fei Contemporary Art Center (FCAC) Shanghai, and the Zendai Contemporary Art Exhibition Hall.
Li has been the recipient of grants and awards from multiple organizations, including the Asia New Zealand Foundation, Wellington Grants, New Zealand (2013), Iaspis International Residency Grant, Stockholm, Sweden (2013), The Sovereign Foundation Fellowship of the Asian Cultural Council (Rockefeller Foundation), New York, USA (2011).
Li’s work has been featured in solo and group exhibitions internationally, including: “LABOR REPRESENTATION”, Albright-Knox Art Gallery, Buffalo, New York, U.S.A (2015); “ARCTIC TAKE AWAY: Barents Spektakel 2015”, Pikene på Broen, Kirkenes, Norway (2015); “Social Factory: The 10th Shanghai Biennale”, PSA, Shanghai, China (2014); “COSMOS: Opening Exhibition of the Shanghai 21st Century Minsheng Art Museum”, Shanghai, China (2014); “The 2nd Xinjiang Biennale”, Xinjiang International Exhibition Center, Urumqi, China (2014); “{ } The 8th Berlin Biennale for Contemporary Art”, KW, Berlin, Germany (2014); “60th International Short Film Festival Oberhausen”, Oberhausen, Germany (2014); “Crabs and Chocolate—Li Xiaofei Solo Exhibition”, OV Gallery, Shanghai (2014); “2013 Bi-City Biennale of Urbanism/Architecture”, Shenzhen, China (2013); “Pavilion 0”, Palazzo Donà, Venice, Italy; “Assembly Line—A Packet of Salt, Li Xiaofei Solo Exhibition”, Toi Poneke Center / WARE, Wellington, New Zealand (2013); “Assembly Line—Entrance, Li Xiaofei Solo Exhibition”, Starkwhite Gallery, Auckland, New Zealand (2013); “Portraits”, Galerie C, Neufchatel, Switzerland (2013); “Descriptive Acts”, San Francisco Museum of Modern Art, San Francisco, USA (2012); “Melancholy in Progress, 2012 Taiwan International Video Art Exhibition”, Hong-Gah Museum, Taipei, Taiwan (2012); “Reliquie als Fetisch in Kirche, Kunst & Konsum”, Trier Contemporary Art Center, Trier, Germany (2012); and “JETLAG, Multimedia Contemporary Art in China”, Kunsthalle Faust, Hanover, Germany (2012).
For more info see: http://www.lixiaofei.org
About the exhibition
Participants: Per Hüttner (Artists, Sweden), Guo QIngling (Artists), Jiang Dandan (Art theoretician, Philosopher), Lise Yuen (Artists, Norway), Li Xiaofei (Artists)
Art Director: Chao Jiaxing
Curator: Assembly Line Projects Studio
Organization: V ART CENTER
Partner: The Consulate General of Norway in Shanghai, Fei Contemporary Art Center (FCAC), Vision Forum (Sweden)
Thanks: Jacky Yue, Liao Wenfeng, Yang Qingqing, Shanghai Napa Glory International Trading Co.,Ltd.
Courtesy of the artists and V ART CENTER.
