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Toward the Emergence of Resistance' is a group exhibition co-curated by four young curators Yuan Fuca, Miao Zijin, Jo Wei and Yao Mengxi, who are all currently dedicating their careers to independent curating and art criticism. In this exhibition, each curator is in charge of a singular unit, while through the negotiation and discussion among the curators, the four different yet related units are activated and displayed under a common framework. Different from the traditional thematic exhibitions with clear clues and ordered contents, 'Towards the Emergence of Resistance' has less limitations for both the curators and the invited artists, aiming to absorb more various layers, stronger and subtler expressions, more focused yet more flexible strategies, and merge them with the passion and curiosity as well as a reflective attitude towards curating. Compared with individual curated projects, the four curators working as a team have a common faith and bear the mutual understanding, communication and collaboration with one another. There is no necessity for them to show an absolute consensus, what they need is the encouragement from one another. They are aware of what the other ones are doing while without intervening in the work of the others. In the process of their own work being put forward through rounds of discussions, the outline of the whole exhibition is gradually emerged as well. 'Towards the Emergence of Resistance' is actually a resistance shown through the practice of the young generation, a resistance against the repression of individuality caused by collectivism and the consuming of life resulted from outmoded conventions.
In the unit 'Disarming Charm' curated by Yuan Fuca, she invites three video artists – Lin Jiayue, Shen Xin and Yang Luzi – to reveal the performativity of knowledge (aesthetics, body and affect) from the dimensions of geo-psychological and time-space dichotomy as well as paradigms beyond language. The title, 'Disarming Charm', implies a possibility to repairative reading and the potential of art to share and renovate the world.
Miao Zijin constructs her unit 'Make It Wrong, Till It's Right' with three project-based artworks created by Hu Wei, Tan Tian and Zhao Tianji respectively. The three artists explore the similar theme with high reflexivity via disparate language and media: what effects will interventional individual behaviours have on the original context of production? Will there be intensified queries and criticism, or more experiments, tests and even divorce from one’s original thinking?
Focusing on the trans-boundary crossover between art and science and embracing a future-oriented research path, Jo Wei named her unit 'The Eye of Representation'. Jo Wei is familiar with the scientific epistemology, philosophy of science and biological art, which enable her to work fluently among complex media and multidisciplinary fields of art. The three artists that she has chosen – Wu Ding, Ren Ri and Liu Guoqiang, all enrich the ways to construct representations through different language forms and perceptual logics.
Yao Mengxi considers her 'Emergency Action' as an urgent calling, gathering Ce Zhenhao (Guangzhou), Tang Chao (Shanghai) and Zheng Yuan (Chicago) to conduct a series of wandering and prospecting in Caochangdi, where Taikang Space locates, within one week. The artists aim to physically experience and explore an unfimiliar region, to collide and measure the gap between action and reality, and to discover new means of production and connection among subjects by a kind of collaboration which is active and respects the independence of the individual.
With the launching of a new starting point, 'Taikang New Generation Curator Program', Taikang Space targets its aim to young curators. This time, with independent research methods, brand new curating perspectives and comprehensive multidisciplinary backgrounds, the four selected curators will show the features of art curating and research of a rising generation.