Guanhua Don's comments

People are incomprehensible and complicated, so it is both excessive and easy to interpret the crown with this double meaning. Just like himself, he is both young and not young, both ordinary and ordinary enough.

He likes to express his ideas in this way, or his way of thinking focuses on it. This contradiction makes him more willing to do a deeper and more self-analysis Many of his works and paintings, such as "Home Plan" and "Diary White Paper", which look like "gobbledygook" to me, can show his efforts in this respect. Of course, it is nothing more than a talent with the characteristics of "master".

As a designer, he is sensitive enough to business and has a good taste in "art". He has dabbled in various fields for many years, which is enough for him to create what we call "cross-border" and "new model" works. From the silent protest in Tiananmen Square in the early years, to the poetic exposition of the vision of hometown in Lighting Qingdao, and then to the intervention and cold-shoulder look of the documentary Garden, it is not difficult to see the complexity of its role and position change.

"Home Plan" and "Diary White Paper" are still in the implementation stage, and the surprise is certain.

Text/Xing Weidong

Hua Guan's work "Make a brick with your own hair on your birthday and bury it where you were born" reminds me of three other works. One is that Mr. Sui Jianguo chose several pieces of Shi Zhuan as heavy as him and placed them at will during the exhibition. One is to cement the Zhongshan suit with Mr. Jianguo. Another thing is that andy warhol filled a cardboard box with cement.

The significance of the above three works can be felt in the work "Make a brick with your hair on your birthday and bury it in the place where you were born", which also dispels all the works.

From entrusting Han Yu to make cement bricks, putting Hua Guan's hair in Shi Zhuan, shaping it in Shi Zhuan, burying Hua Guan in the place where he was born, and taking photos with me, the work is very important. It seems that every step of the work is more meaningful than the work itself. But the work was finally placed in a corner of the road, and the last position of the work dissolved the meaning of each step and became absurd again.

The negation of negation of negation of works makes people feel that there are many things at work in life or works, but they are not obvious and unknown to people. This concept is also reflected in many contemporary artists' works, such as Painting by Removing Slag from Plastic Board, Polishing Coins with Sandpaper and Founding the Country, Cleaning Brush by Xing Weidong, Folding by Wan Li Ya and Clearing Boxes by Cheng. These works all show this invisible power, which is why people are interested in the unknown. Returning to nature through art and from nature to nature is also a cycle.

This form of expression makes the work itself interesting, absurd and mysterious, especially like spells, rebelliousness, nervousness and nonsense. It is a typical schizophrenia, but at best it is a deconstruction of the mind.

Hua Guan turned unimportant factors into important factors in his works. For example, a pair of shoes and an assistant all become coordinates. The work itself is hidden in the coordinates, a bit like an anti-aircraft gun hitting mosquitoes. All the purposes of work are covered by material, energy, financial resources, preparation and action, so there is no purpose at all. It's like traveling, but you don't know the meaning of traveling when you go to a place.

The work seems to have amnesia, and any link is more important than the work itself, which has the feeling of referring to the deer as a horse. I have to praise the artist's courage.

Text/Oscar

From Yue Minjun to "Absurd Manufacturing"

Yue Minjun is really red, so red that we can see familiar strokes in almost every art exhibition: red face, stiff smile and dark mouth. It is said that Yue Minjun is a "successful" artist. After multiple distortions of self-image and commercial reproduction, Yue Minjun's works have become the mainstay of contemporary art in China. Some people like Yue Minjun's works because they think they can find the political irony impulse that has been suppressed for several years and only exists in China. Actually these works have nothing to do with politics. You can regard Yue Minjun as a tough creator, but in my opinion, he is more like a vagabond who knows the rules of art. Yue Minjun deeply knows what buyers like to see, and what works of art can become the most difficult lot in the auction after being created. As far as the collectors I contacted are concerned, Yue Minjun is definitely a flower inside the wall, and it smells good outside the wall. There are a large number of "Yue fans" in Hongkong and Japan. As long as auctions and exhibitions are held, Yue Minjun's paintings are basically regarded as the representatives of contemporary art in China. In fact, if you think about it carefully, there is a very simple truth. Don't you think there is some unspeakable agreement between Yue Minjun's works and Japanese comics? Japanese cartoons are symbolic and patterned. Almost every creator draws a girl's eyes bigger than a bowl and breasts rounder than a football within the framework of a set of multi-grid cartoons. In Yue Minjun's paintings, there are full of self-portrait images, all with eyes closed and mouth wide open, and deliberately highlighting the centrality of creating images. This logic is that Japanese comics have created a series of preset Japanese images. When someone mentions Japanese comics, what do you think of first?

The same is true for Yue Minjun. What Yue Minjun hopes is that when someone mentions Yue Minjun, the first thing that comes to mind is those homogeneous images. So in these paintings, except the theme image, nothing else is important, even if the background is naked Chairman Mao. So, what does this have to do with politics? In my opinion, the big red mouth in Yue Minjun should be made into key chains or bracelets, and a number of "Yue Minjun gift shops" should be built around the world for sale, and it should be written: six yuan each, ten yuan each, which is called success.

Time and space transition, let's talk about the "absurd manufacturing" of Qingdao Post-85 Performance Art Troupe. First of all, I want to praise two young people born after 1985. At least you did it, and it was done in Qingdao, a place with a "performance art desert". No matter a businessman/beggar or a doctoral student/scavenger, people can see your efforts to break the cocoon into a butterfly, but the advice is hard to hear. If you really want to succeed, you must first ask yourself, what is the definition of success? Does it look like Yue Minjun? Or a refined artist? Or "deconstructing and dying"? Such as Yue Minjun, it is not difficult to do, "cleverness plus chance" is the only rule. To some extent, Made in Absurdity is a bit of Yue Minjun. The expression of images is based on the transformation of clothing, trying to take it as the starting point of identity transformation and breaking social order. Indeed, this has aroused the concern of all walks of life, but it only ends there. Even if you just want to do a real social experiment, it is absolutely impossible to change clothes, otherwise it will be different from COS.

I don't think it's necessary to play postmodernism for fun, cause some confusion, attract some attention, and fart again. After all, those celebrities have done enough work.

But if you really want to pursue a little art, then it is necessary to think more solidly and learn more solidly. On the one hand, performance art is a demonstration, on the other hand, it is also an experiment. Anyone who takes off his clothes and stands in the downtown area can be said to be performance art and courage; But if you want to get some results and leave some thoughts, experiments are more important and purposeful, especially when you show photos in a large space and explain the behavior process.

Text/lazy child

Hua Guan's work "Watching TV" is itself a device to gather participants and interact.

In an open business place with a large flow of people, it is very easy to express the works completely. The interesting anti-traditional visual experience will make the audience deeply impressed by the environment and have some reflection and interest in visual reading itself. This interest point and the thinking it triggered will be discussed and spread as a topic in the form of word of mouth, and will also be vaguely described or relayed to some extent to attract more new audiences. If it is applied in enterprises, the effect will also be most directly presented in the media. Therefore, the exhibition environment in which the works are located will become an inevitable element in the discussion. The added value of corporate brands will be promoted and disseminated through word of mouth and media. The audience who have experienced the work will also have a lasting memory effect on the work, which will instantly make customers curious and eager to know more about the company. At the same time, the word-of-mouth effect produced by the influence of the work may also inspire some potential customers, and the work itself will be enriched and complete through the whole process.

In several spaces without similar visual experience, we can watch the live video of another space scene through the familiar visual symbol TV, and generate the interaction between several identity participants in several spaces through the TV display screen. This interaction is multiphase and has no objective polarity. Interactive dynamic values directly affect the ray inversion of personal experience, but this change is reversible.

Watching TV plays an indispensable role in the enterprise art alliance. Visual experience is a fast and low-delay active sensory mode. For example, the reading intensity of advertisements inserted in the home TV programs we watch is relatively high and effective. Repeated memory effect is similar to the works of Hua Guan watching TV. The difference is that TV advertising is delayed and changes in visual experience are added.

This coincides with the concept of cultivating customer loyalty. The core competitiveness of contemporary enterprises to adapt to competition is the multi-directional promotion of added value of products and brands, including the cultivation of customer loyalty, the construction and replication of visual image recognition system, the research and experiment of behavior habit system, the construction and dissemination of brand culture, product design, packaging and promotion, etc.