View of the 1st Asia Biennial and 5th Guangzhou Triennial at Guangdong Museum of Art, Guangzhou. All photos by Karena Lo for ArtAsiaPacific.
Chinese artist HU XIANGCHENG’s installation Once More with Forest (2015), made up of wood stacks.
The first artwork that visitors see is YU XUHONG’s stone rubbing on xuan paper, Dirt and Dust (2015). Here, through illumination from stage lights, tire traces from the crossroads of the Xi’an Datang Xishi can be clearly seen.
In the center of the first floor is YUE MINJUN’s Ink Shirts (2015). There are hundreds of white shirts with ink stains, which represent the artist’s childhood memories. While the ink references the Chinese traditions, the strategy of staining suggests an act of cultural invasion.
Post-Industrial Era (2015) by the Chongqing-born artist FU WENJUN presents several enormous tires with circuit boards and two mirrors on top of an abstract photographic image. The reflection projected by the mirrors creates a square-like shape, as if inviting visitors to stand inside the shadow to experience the work.
Another hall displays the World Factory No. 2 (2015) by BIG DIPPER GROUP, which recreates the manufacturing performed by Chinese sewing machines, using a few dim lights from some of the worn-out machines.
Re-Voice (2015), by the Korean artist AIRAN KANG, comprises images and video installations about the Asian comfort women of World War II. These are some of the historical materials and documents that the artist has collected over the years.
A former comfort woman covering her face.
Michael (2015), by the Baghdad-born artist ADEL ABIDIN, showcases a single-panel installation portraying himself as the late Michael Jackson, now alive again, attending a television talk show and speaking about his feelings regarding how much the world has changed over the last six years.
BU BING’s The Corridor fills a hallway with clear umbrellas and curtains, which have pockets that contain water bottles of different colors and brands—most of which are half full.
The video installation Fitness Guide (2011) records a suggestive performance in which GEUMHYUNG JEONG demonstrates the correct and incorrect ways to use a fitness machine for abdominal exercises.
Installation shot of PEI YONGMEI’s works, showcasing her “Dual Time” series.
Installation shot of On Two (2009) by ESTHER SHALEV-GERZ. The video features two people—a young woman and an aged man—both using different languages and movements, while speaking in front of the camera. Here, we see the young woman, Rola Younes, talking about her thoughts on life and recollections.
WANG WEI’s Beach—4 (Past “Jiefang Truck”) (2013), from the “Beach” series of acrylic-on-canvas paintings.
Next to each of WANG WEI’s works are framed pictures and sketch drafts with descriptions written in text.
In first seeing ANYA ZHOLUD’s Scheme of Space of Elementary Happiness (2007), viewers will notice a closet with three pieces of garment on the hangers, a coffee table and a sofa chair.
From another angle, we can see that there is a pair of slippers under the table and a lamp next to the chair. The artist deems these quotidian items the basis of happiness.
Indian artist PRANEET SOI’s 2015 work Migration of Form consists of multiple square tiles with different shapes and colors.
