Surplus Space in 403 International Art Center, Wuhan, China
Opening: 2016/05/21 16:00
William Ludwig Lutgens
Judged by the words, Eyesore (or Nankan in Chinese) has no settled standards. It
depends on the widespread aesthetics, interests and experience of individuals, certain
era or region. But today, the word Eyesore (Nankan) or Beauty (Haokan) is not judged
by aesthetics or interests. It spreads to politics, ethics and culture. Indeed, this is related
to the self-intervention and self-reflection within the artistic system. Because, the Eyesore
here plays a righteous role to prevent the Beauty class and its power. By now, the
Eyesore becomes Beauty and the Beauty becomes Eyesore. We cannot figure whether
its eyesore or not, and the judgment itself makes no sense. Eyesore is an inexplicit ethics
factor. It is unstable and dynamic language and politics without any sense of class.
Therefore, we avoid coarse works when we choose artists. We also avoid the socalled
beautiful works that focus too much on aesthetics or impose difficulty for
appreciation. These are two extremes and focus too much on class. They lack the
possibility of inexplicit and class-oriented flexibility. The reason why we choose Oscar
Chan, He An, He Yida, William Ludwig, Tan Tian and Xiao Kegang is that they strike a
balance of material and form, image and narration, knowledge and life with different
perspective, path and method. They give up correct and incorrect posture and still
preserve the sharpness and vitality of language.
Artists (listed in alphabetical order): Oscar Chan, He An, He Yida, William Ludwig, Tan
Tian, Xiao Kegang.
Producer: Sabrina Sui
Art Director: Lu Mingjun