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Légendes de gauche à droite :
1/ Xiao Yu - 萧昱, GROUND - 地, performance - 行为, 2014.
2/ Xiao Yu - 萧昱, GROUND - 地, performance - 行为, 2014 (preparation process) - (布展场景).
3/ Xiao Yu - 萧昱, GROUND - 地, performance - 行为, 2014.
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présentation - 展览介绍 :
Pace Beijing is pleased to announce the opening of "Xiao Yu: Ground" on March 27th, 2014. This is Pace Beijing’s first exhibition opening in 2014, and will be the first exhibition at the gallery of Xiao Yu, who recently became an artist, represented by Pace Beijing. You can expect a pure “Xiao Yu-style” performance, and until the very moment the exhibition opens, the entire piece is continuously growing. The performance can be seen as a ritual regarding labor and consumption: the workers, artists, and performers are all involved simultaneously, and their work will become nothingness by the end of the exhibition. According to Georges Bastille’s theory of consumption, when a labor serves as a ritual, it draws an entirely clear line between production, accumulation and the resulting flow with social expenditure. In the case of Xiao Yu, the continuous labor first cut off the natural relation with economics, and further faded the symbolic and lyrical functions. Building, stirring, farming and lingering here only represent actions and repeating itself, which is just a series of phenomenon in biology and physics. Xiao Yu's performance is not for the significance of proliferation, circulation and consumption, but for a complete elimination: an elimination of meanings.
Xiao Yu once said, "The creation of my work lays on the premise of visual presentations. Many of the pieces were made from my own understanding and judgment of Chinese culture and the surrounding reality. I believe that such presentation works for all people, and will no longer be confined to the limited scope of Western or Eastern – it stands for a third-party point of view that ignores all the conflicts of interest, and this is the genuine essence of art. Otherwise, if you attach some additional texts to try to explain the hidden meaning of a piece in front of you today, in the next hundreds or thousands of years, others may have already forgotten or not care about the lengthy explanation of the work, which only remains a pure visual identity facing the viewers. Can your work still establish its self-existence?”
Thus, at the scene of this exhibition, audiences are not only counted in numbers, but also need to actively or passively participate in the exhibition, to feel the diffuse atmosphere, the tension of material and the agitation, the space that can be viewed differently by your movements, and all the uncertainty. This is an opportunity as well as challenge. On March 27th, Pace Beijing gathers extraordinarily creativity people, and just like the work of Xiao Yu: it is not a final version – it is only the beginning.
Xiao Yu, born in Inner Mongolia in 1965, graduated from the Mural Painting Department at the Central Academy of Fine Arts in 1989 and now lives and works in Beijing. He was invited to participate in international exhibitions including La Biennale di Venetia, Lyon Biennial of Contemporary Art, Shanghai Biennale and Guangzhou Triennial including the Offsite Project at the Royal College of Art in London. He has exhibited works at Centre Pompidou, Fukuoka Asian Art Museum Japan, Seoul Art Museum, Art Bern Art Museum Switzerland, NAMOC, Shanghai Art Museum, Guangdong Art Museum, Ullens Center for Contemporary Art (UCCA), Pace Beijing and other eminent exhibition spaces. He was awarded the Chinese Contemporary Art Award (CCAA) in 2000.
佩斯北京荣幸地宣布萧昱个展《萧昱：地》将于2014年3月27日开幕。作为佩斯北京2014开年展览，即萧昱签约佩斯北京的首次个展，本次展览将呈现一场纯粹的“萧昱式”表演，直到开幕时，整件作品都是未完成的和不断生长着的。
整场表演在某种意义上可以被看作是一场关于劳动和耗费的仪式：工人们、艺术家、表演者同时卷入其中，而他们的劳动将在展览结束之后化为虚无。根据巴塔耶的消尽概念，作为仪式的劳动同生产、积累和随之而来的流通与消费彻底划清了界线。在萧昱这里，这些持续的劳动首先切断了同经济学的自然关联，更进一步褪去了象征与抒情的功能。建造、搅拌、耕作与踯躅在这里仅仅是这些动作与重复本身，仅仅是生物学和物理学上的系列现象。萧昱的劳动表演并不是为意义的增殖、流通和消费，而是为着彻底的消尽：意义的消尽。
萧昱说：“我创作作品的前提是强调视觉上的呈现。可能我很多作品的创作缘起是因为自己对于中国文化和周边现实的的认识与判断，但作品的视觉形式是对所有的人都起作用的，这种视觉呈现并不单纯局限在西方或东方的狭义范畴之内，它是没有利益争夺的第三方立场，这才是艺术的实质。否则的话你今天用很多附加的文本来解释眼前这件作品背后的意义，但在一百年甚至上千年之后，人们已经淡忘或者不在意关于这件作品的冗长阐释了，并仅仅只留下单纯的视觉本体面对观众的时候，你的这件作品是否还成立呢？”
因此这次的展览现场，观众不仅仅是一个人数上的概念，而是要主动或被动地投入到展览中，感受弥漫的气息，材料的张力和搅动，空间的移步换景，以及一切的不确定性。这是一个机遇，一次挑战，3月27日佩斯北京将创造力超凡的人们聚集在一起，就像萧昱的作品一样，这不是最终版本——一切只是开端。
萧昱，1965年生于内蒙古，1989年毕业于中央美院壁画系，现工作生活在北京。曾受邀参加威尼斯双年展主题展，法国里昂双年展，上海双年展，广东三年展和英国伦敦皇家艺术学院三年展场外项目等国际展览。作品先后展出于法国蓬皮杜文化中心、荷兰格罗宁根美术馆、奥地利格拉兹艺术宫、福冈亚洲美术馆、韩国汉城美术馆、瑞士伯尔尼美术馆、瑞士巴塞尔丁格力美术馆、英国伦敦皇家艺术学院画廊、中国美术馆、上海美术馆、广东美术馆、尤伦斯艺术中心UCCA和佩斯北京画廊等知名艺术场馆。获2000年中国当代艺术大奖。2014年3月，萧昱成为佩斯北京签约艺术家。
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