Artists: Gao Yu, Li Haiguang, Zhang Yuequn
开幕时间 / Opening Reception: 2016/6/5, 4pm
展览时间 / On View：2016/6/5—2016/6/18
Location: Vacuum Gallery, North Dorm of Ring Rail Area, 1 Jiuxianqiao N Rd, Chaoyang Qu, Beijing
“ISBN: 9787214056061”是一本常常出现在机场或者火车站书店里的书，和这本书相呼应的一些书还有“ISBN: 9787501233045”“ISBN: 9787807538639”“ISBN: 9787536057142”等，和这本书相对应的是“ISBN: 9787506035101”。它们几乎都是同时出现并列在书架上的，显得莫名其妙，又自相矛盾。“高兴”与“不高兴”在此成了举旗不定的悖论，而“祖国”被拟人化为一个大佬式的人物，荒诞且幽默。
“ISBN: 9787214056061”的书名具有挑衅意味，引人窥探究竟。然而，它与它的兄弟姐妹书籍的内容都乏善可陈，营养不良，可想而知。在此，展览借用该书名的目的是通过一个窥视内部的方式企图引人好奇，观众可以通过空间大门上的猫眼分别看到三件作品，对应着“ISBN: 9787214056061”的副标题中的三个部分，“大时代、大目标及我们的内忧外患”。
ISBN: 9787214056061 is a book frequently found in bookstores in airports or train stations. Books with similar names are ISBN: 9787501233045, ISBN: 9787807538639, and ISBN: 9787536057142. The one corresponds to the book ISBN: 9787214056061 is ISBN: 9787506035101. They appear together in book shelves, which look perplexing and contradictory. Happy and Unhappy form a pair of indecisive paradox, while Homeland impersonates a baron like figure, which is ridiculous and humorous.
The book’s name ISBN: 9787214056061 is provocative and intriguing. Yet, it is not hard to imagine that its content, together with its sibling books, is dull and poor. Here, the exhibition borrows the name from the book in order to inspire curiosity via a peeping manner, where audiences could view the three art work through the peep holes on the door. The three art work correspond to the three parts of ISBN: 9787214056061’s subheading: the great time, the big goal, and our domestic concerns and foreign challenges.
Li Haiguang’s video work Site Zero favors a monumental expression, which was risky and dangerous. Two buckets of eighty-eight display shells were detonated under a highway’s bridge, with the artist himself standing in the middle wearing a helmet. The explosive and destructive behavior and earsplitting explosion sound make the uninformed audiences curious and want to steal a glance. The fearful violence in the big era becomes safe in the space. This work corresponds to “the great time” in the book’s subheading.
Zhang Yuequn’s video work How to be naked in Bad Sulza recorded, with a hidden camera, an interference she made in a sauna room in German in 2014. The artist colored part of her body red with lipsticks, appearing as if she was wearing some clothes. This was done to satisfy the artist’s wish to cover the naked body, on the one hand, and, on the other, to avoid breaking the rule of the sauna room. The behavior travels the construction of different societies and cultures as art, striving not to be unaffected by any of them. This work corresponds to “the big goal” in the subheading.
The work 968 from Gao Yu is a piece from childhood dairy, enlarged, rewritten and hanged on the wall. The dairy entry records the everyday impression from a child’s perspective of August 1966, during the flooding period. The work reflects the huge gap between an individual narration of a group event and the group event itself. The pale and helpless relationship in the work corresponds to “our domestic concerns and foreign challenges” in the subheading.
The idea of the exhibition is to play with the neighborhood of Vacuum Gallery and its special location. The tightly closed black gate separates audiences from the work, making peeping the only communication channel between audiences and the work. Names are concealed for security reason, as well as, not to give audiences implications overly inciting. In the displaying windows along the street, big-character posters and books, as the inspiration of the exhibition, are placed inside, echoing with the outside. The three work, via being snooped from afar, peeped at, and pried into the past, attests to the general social conditions, with each other as clues through the enticed viewing. Generally speaking, ISBN: 9787214056061 is for sure an exhibition name that nobody would remember, just as the collective needs the individual to forget what should be forgotten. In the end, being happy or unhappy is merely mood, not thoughts.