The Hymn
2017, 850* 1350* 300mm
Loudspeaker, Stainless steel plate
The art history just looks like the game rule, which also involves the idea of anti-art. The project, Hymn, shows my view about the basic rules of art history from the ‘wall’ that was pushed down by Marcel Duchamp. It is the summary or the attitude. The start is the creation of ‘Spring’, in other words, from publishing the magic ‘the ready-made is the art’, the classical ‘wall’ was nearly destroyed completely. As the result, most of our artistic practice is involved in discussing pushing the wall.
In the construction of the project, Hymn appears as a type of confrontation. As the constituent materials of works, artists who have become a part of art history will act as the recipient of "ready-made products", and the microphone which continuously sends out the knocking act the batterer. For a hundred year, we have set up a new wall when the former one was pushed down. We must admit that the ‘anti-classic’ also become the ‘classic’.
赞美诗
2017, 850* 1350* 300mm
扬声器喇叭，不锈钢板
艺术史犹如游戏规则，即便是‘反艺术’也是遵照着相应的规则行事。《赞美诗》是我对自杜尚推翻‘墙’以来的艺术基本规则——挑战艺术的边界的一次行事，是总结亦是态度。一切均由《泉》开始，即: 由‘现成品成为艺术’的魔咒提出开始，‘经典’的围墙几乎被连根拔起，后世所开展的种种艺术实践均以围绕‘推墙’来展开。
作品《赞美诗》的构成呈现出明确的对抗性，作为作品的构成材料，这里将已成为艺术史一部分的艺术家作为‘现成品’扮演接受方，而持续爆音的喇叭则是攻击方。一百年来推翻一面墙又竖起了另一面墙，‘ 反经典’反而成为了‘经典’。