Inferno is a robotic performance inspired by the representation of the different levels of hell as described in Dante's Inferno or the Singaporean Haw Par Villa's Ten Courts of Hell (which is based on a Chinese Buddhist representation).
The works presented by this exhibition are closely linked to the performance and are produced by more than 30 artists worldwide in different phases in forms of installation, moving image, performance art, theater, dance, sound, poetry, etc. questioning (answering): Why the Performance?
The idea of the “boundary” lurking within our thinking may insensibly and ceaselessly do the job of distinguishing, expelling, and demarcating.
Actually, performance artists are the ones who are making art with the most precious resource in the world. Indeed, they are making art with their lives.
The exhibition follows the clues of He’s creative process, real situations and transformation of the artist to present new discussions. Through various narrative methods, it illustrates the richness...
Created by Xu Zhen, “Physique of Consciousness” is the first “cultural fitness exercise” ever made. It consists of movements inspired by dance, martial arts, gymnastics and different forms of exercise, alongside spiritual and cultural rituals.
Tianzhuo’s mental projections are composed of images and installations constructed as theatres, filled with a menagerie of acrobats, androgynous characters, five-eyed blondes, gangster rappers and other outlandish characters on caramel and neon-coloured backgrounds.
Zhou Xiaohu’s gesamtkunstwerk is an attempt to reconcile many conflicts from Chinese contemporary culture. Chinese bumpy journey towards modernity has been constantly challenged by the vast differences between the rural and urban, the traditional and modern.
20 of the group's works have been selected for reproduction based on archives and documentary materials, which include installations, performances, videos, and photography.
On the basis of his lifelong archives, Jan Lauwers is building a monumental installation in which he reinterprets past works and materials and confronts them with art history.
Hereon, Zero For Conduct is neither a test nor a judgment. The curator wants to appropriate the name of Jean Vi-go’s movie to intimate an interaction between individual and system; at the same time, providing a response to the so called “attention economy”.
As a limited individual, man cannot understand the infinity of life. However, through body performance, one can explore and measure, thus increasing sensory perception as well as comprehension of this concept. Through his art, Liu Chengrui enhances individual experience and expands its dimensions.