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ShanghART Gallery
9 Lock Road, #02-22, Singapore 108937

Opening hours:

Wed - Sun 11am - 7pm
Closed on Mon, Tue, and Public Holidays

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The Spectacle Of The Spectacles

SUN XUN, Magician Party and Dead Crow-Subtitle, 2013

OVERALL 58*81*5cm (x 5 pieces) | IMAGE 53*76cm (x 5 pieces), Painting | Ink and Colour On Paper

The Spectacle Of The Spectacles


Le juge, 2008, Painting | 158pcs in all of different size, (the minimal one: 15x10cm ; the maximal one: 40x53cm)

The Spectacle Of The Spectacles


Head, 2006, Diameter: 40.0cm, Installation | Painting | Oil

The Spectacle Of The Spectacles


Appearance of Crosses 2013-11, 2013, 120*140cm, Painting | Acrylic On Canvas

The Spectacle Of The Spectacles

XU ZHEN (MadeIn Company)

Safe House A, 2012, 320*210*140cm, Installation | Tent poles and fabric

The Spectacle Of The Spectacles


All That Is Solid Melts into Air-37, 2012, 30*40*20cm, Installation | Painting | Acrylic on corrugated carton

The Spectacle Of The Spectacles
20 Dec 2013 - 03 Feb 2014

Opening: 20 December 2013, 6-9pm

20 Dec 2013 - 3 Feb 2014

Artists: DING Yi, XU Zhen (by MadeIn Company), SHI Qing, SUN Xun, SHI Yong, TANG Maohong, ZHANG Enli, and ZHOU Tiehai.

This carefully curated show is a result of integrated evaluation and application of medium and material, demonstrating a strong initiation among contemporary artists in this aspect. Every single work displays a strong individuality and strength, providing a very different visual experience from each other. Nonetheless, they seem to share a latent commonality upon closer examination: On one hand, comparing to “spectaclised” works of enormous dimension that the artists have previously created, this exhibition showcases those of relatively small scale, a way of study which corresponds to how Chinese philosophy inspects the profound and extensive reflection from a micro point of view. On the other hand, this exhibition also aims to dialogue with Guy Debord’s monograph “The Society of the Spectacle”, in context with his statement on the separation between representation and reality. For example, TANG Maohong consciously defines such separation in his artworks so as to trigger an inspection to the deeper and boundless reality.

The alienation and expansion between the artworks’ external and internal layers showcase an appearance with a rich overtone that goes beyond the usual visual experiences: they have not only gone beyond the conventionally recognised geographical and physical boundaries, but more importantly the geopolitical conundrums. As a result the artworks stand on their own, and also work as imagined communities with their internal connections.