WILL TO FAITH

Curated by Yan Wang


Artist’s Work

Fu Donting

Fu dongting graduated with a Bachelor's degree from China Academy of Art in new media art, later got a master's degree from CAA in vision of China, living in Hangzhou now. Concentrating on the art of real-time interactive audiovisual, three-dimensional video installation, computer image generation, etc. Keen to break the inherent rules, especially the boundaries between the virtual space and the real world.
By combining virtual reality technology and environment projection, the light field field shows a surreal space in reality. The participants can create different virtual objects and light in the virtual space, and the virtual light and shadow that is invisible outside would be projected to the corresponding position of the hall space in real time, so that the viewer feel the existence of virtual objects and light through their own experience of light and shadow without wearing VR glasses. Through the projection of virtual shadow and light, controlling the mixture ratio of reality and virtual , suturing the boundary of the two side. The virtual reality space is integrated into the reality hall from the closed personal space to discuss the relationship between the virtual and the reality, the intangible and the form, the private and the public.

Fu Dongting

A Suture of Space, 2018
Virtual reality interactive program, Installation of projection

Song Gewen

Works of Song Gewen focus on structure of motion and drive force, coupled with the wave length and other physical phenomenon produced by stroboscopic and vibration. He induced this motion to certain situations for micro amplification, which can be regarded as forging in a magnetic field furnace, and it is related to the contradiction and balance of the state of matter and the state of form, like a rebirth, a conservation of energy.
If body is a ship, where is the bank? For the boundary of still and moving is so vague. Speaking of installations, given the various mechanical principles and industrial elements applied by Song Gewen, which makes them exquisitely simple, but for
him even the excellent mechanical work might be the most primitive way. For this reason, hand-made elements are implicated in all the key nodes and assembly methods, awaking and overturning the normal roles everyday materials play in the industrial society. It gives materials a home, makes the cold elegant, and reveals the culture, industry, and system. Besides, Song designed crucial devices in his works. For example, mechanical members of his installations may move rhythmically
with external force, which often goes with the strong consumption, contradiction and confrontation between materials and materials or materials and energy, like a gunpowder burst, a pair of golden wings that flap desperately, or a golden “book” that is burned etc. It seems to display certain energy by wearing the materials thoroughly. By arranging and combining materials, Song’s installations successfully transform materials into new pieces that are poetic, opposite, and mutated.

Heading content

The Other Shore: the Boat without Paddle, 2015
Metal, neon lamp, wood, Arduino controller, cube sugar

Wang Zhenyu

“Traces of life” is the most important clue in this series.
Part 1: It first comes with a painting. The painter hurt his brain in an accident. He is curious when he sees the brain CT. Is this the vessel that maintains “thinking”, like “I think therefore I am”? Am I thinking really? Or is it thinking? Then a series of works generated from the “Traces of Life”.
Part 2: This is a recorder of a painting made on site. Out of keen curiosity to “the traces of life”, the artist is not satisfied with observing in the distance; he craves to go into the body, which is the outer manifestation of life. Thus an “operation” on cow is created.
Part 3: This is the latest painting in the series. It is also a painting, in which Laocoon, who was once winded by serpent, is now winded by “the electric wire”. This originates from the artist’s reflection on linear objects including “the serpent”, “the shackles”, “the electric wire” and “the neurons”. The electric wire extends everywhere in our life, and you are also shrouded and winded by the data and information inside “the electric wire”.
It is a dialogue between the primitive and unordered “traces of life” and the measurement based on human logic. Has human beings discovered the inner code of the unordered life with their established logic of order? Order. Disorder. Control. Out of control.

Wang Zhenyu

Slaughter, surgery and statues, The Golden Calf, 2017
Performance video stills

Wang Zhenyu

Slaughter, surgery and statues, The Golden Calf, 2017
Performance video stills 

Shao Ruilu

There are many different themes in Still Life. But all in all, the most essential theme is always "Life" and "Death." The painters at one time created still life paintings with super lifelike descriptions and photographers nowadays captured them in an instant with using cameras. What they all hopeis to freeze their most beautiful and delicious moments, they hope that they could never die. But at the same time, a skull in the shadow said coldly, "life is short-lived, and nothing can be eternal."
In this time, I pursued the visual effects of the 17th-century Dutch classical still life paintings. With no satisfied with merely presenting as still photos, I chose to use time-lapse photography to continue shooting for more than a month. During this period, there are continuously growing plants in the picture, with constantly dying flowers and rotting fruits, deer skulls, a sweater of my paternal grandma during her lifetime, and a steel nail which had been put in my maternal grandma’s body and was left in cremains after the cremation, daily updated newspapers and ashes of yesterday’s. But these are not all of this work. When you come to this scene, you can see the entire work, as well as the life and death that occurred on the stage during this month, which is also maybe you have seen several times before. There is an interactive installation inside the work. When the audience watch it from far away, it will be just like a still photo. But when they want to see it clearly and come up to it, the 40-day time-lapse photography begins to play. And when they leave, it will return to a still photo again.

Shao Ruilu

Do Not Be Afraid of Life or Death, You Have Already Seen A Lot, 2018
Interactive Time-Lapse Still Life

Shao Ruilu

Do Not Be Afraid of Life or Death, You Have Already Seen A Lot, 2018
Interactive Time-Lapse Still Life

Zhu Xi

KILL SHOT THE SPACEMAN is a branch of the entire individual faith series of the artist. Science is placed on the other bank of religion, becoming a new “religion”. The artist regards astronaut as a “mascot” of this religion. Artists have always been remaining neutral when confronting religion. In terms of the branch of “science faith”, which presents a totally different picture from other series, the “shooting” among astronauts is invalid in reality, since by no means will bullets fly in outer space where there is no air. I tend to investigate some issues brought by science faith as well as exist in the world politics by means of colors and ridicule.
Zhu Xi, starting from his first exhibition Song of the Conquerors, gradually shifted his focus to “war” from diverse topics. It does not reveal a special taste for cold, brutal, bloody war, but an understanding and thought of this question through deep reasons and from a neutral perspective after wars. In recent years, the topic of “war” has derived many branches: geological edge, confront between two poles, personal faith, personal room and nature law, so on and so forth, which dramatically expanded the creating space. At the same time, artists will somehow treat the “expansion” with restrain.

Zhu Xi

Kill Shot The Spaceman, 2017
Metal, soft tube

Zhu Xi

Kill Shot The Spaceman, 2017
Metal, soft tube


Duan Guanlai

Since graduation, I have been focusing on the creation of installation works. In terms of size and production, my works belong to the "delicate" type of creation. I do not start with a large volume, nor does I pay attention to complex technical correlation and complicated logical combination. I like to think about the subtle relationship between things. My intention is to present sensitive details and simple and effective mechanical forces directly. The work more centers on in discussing some questions about the human senses and desires, which is also the pleasure and experience that language and words cannot describe. The symbolization of ready-made object is matched with the objects that are polished and made by myself, which is more like a poem without words, and in the keynote of abandoning melodramatic feeling, I find the logical relationship between things and create our imagination.

Duan Guanlai

All Sentient Beings, Pleasing to the ear, 2017
Polyethylene, mirror, reduction motor, gesso, feather, metal parts

Duan Guanlai

All Sentient Beings, Snooping, 2017
Wood, reduction motor, butterfly wings, metal parts

Duan Guanlai

All Sentient Beings, Wild fancy, 2017
Cuprum, reduction motor, resin, feather, metal parts

Duan Guanlai

All Sentient Beings, Hardship, 2017
PVC brain model, reduction motor, ring ruler, metal parts

Fu Donting

A Suture of Space, 2018
Virtual reality interactive program, Installation of projection

Wang Zhipeng (flower)

The artist is personally focused on the “fractal” image represented by the mathematical concept of “fractal”.  "I have excavated, pondered and questioned the theoretical and aesthetic value behind the fractal image, and considered the complex relationship between it and nature, universe and religion. As a mathematical concept, the special algorithm of "fractal" is called "iteration"; to put it simply, extremely complex and even unpredictable behavioral results would be generated through continuous iterative calculations. As the natural world is full of such complex and changeable chaos, can they be supported and determined by the "fractal" methods and rules? Do they follow some sort of “ultimate purpose” to develop, change, or evolve itself? Can such “ultimate purpose” be considered a simple mathematical algorithm and formula?More importantly, "fractal" is just a carrier, an excuse, to carry my thoughts and infinite questions about the origin of time, space, and the universe.
MANDALA is one of the series of thoughts. Growth. Construction. Aggregation. Change. Separation. Disintegration. Disappearance. Reincarnation. Fragmented and disorderly, but regular and orderly. These patterns constantly and quietly revoked the visual experience that already existed in my mind. It is an image of all things, but it is not as well. It is just itself; it constantly completes and becomes itself for its own purpose. There are three dimensions of perspective in the work, which is an attempt to strengthen the perception of this mathematical object."

Wang Zhipeng

Mandala, 2016

Wang Zhipeng

Mandala, 2016

Wang Zhenyu

Slaughter, surgery and statues, The Golden Calf, 2017
Performance video stills 

Wang Zhenyu

Slaughter, surgery and statues, The Golden Calf, 2017
Performance video stills 

Shao Ruilu

Do Not Be Afraid of Life or Death, You Have Already Seen A Lot, 2018
Interactive Time-Lapse Still Life

Shao Ruilu

Do Not Be Afraid of Life or Death, You Have Already Seen A Lot, 2018
Interactive Time-Lapse Still Life

Sun Xiaoyu

Romote area of red, is a deep self-dialogue, double personality, dual monologue, exchange of mind is a character of the dual evolution of the origin. This may be a self-rescue surgery, but also most people do not realize the "disease" and "hidden" initial diagnosis.
To silence and narrator's image overlap, to break the distance between the role, while in the visual expression of "intention" to pass the emotional poetic, surreal metaphor picture, on the one hand from the dream, on the other from the self Reverie, including the interspersed male role is a non-material expression, they are not a person, a thing that is present in the air flow between the unreal objects. Some secrets are hidden in the language can not describe the space, it may be indulging in the light which may also wander in the mountains and the lake between the floating waves.
Works in a huge three-screen video narrative to show in the space to create a mysterious poetic atmosphere of the "field", the red space in the film to replace the exhibition space, overlapping image scenes and exhibition space space and time context, isolated inside and outside the exhibition hall, view Into the space that moment, they began to be “Romote Area Of Red” to create the sensory consciousness.

Sun Xiaoyu

Remote Area Of Red, 2017
Video still

Sun Xiaoyu

Remote Area Of Red, 2017
Video still

Wu Qiong & Wang Yang

‘Elephant in the room’ is an English-language metaphorical idiom for an obvious problem or risk no one wants to discuss or challenge. This work depicts three unfinished journeys that took place at three locations and three different periods of time and space. This work delineates a foreign journey of two young people, a universe-migration of an astronaut, and the inner vision of a Burma immigrant.This film represents the situation and choices of people in different situations with five narrative paragraphs. Tourists run into 'invisible elephants' one by one during their trip.
This work is a certain response to the current situation of the two artists in a certain period of time, seeming to be a “present” given to the artists themselves in the time node, which determines the nature of “half documentary” of this work. The genuine elements tend to make the work more convincing, but the artists did not make this work into a real documentary in the eventual processing. Contradicting to common creation logic, I transferred my creation domain from the focus and curiosity over macro-biology and macro-sociology in undergraduate period to the investigation and research on certain social phenomenon, and now I gradually focus on my own anxiety, trying to demonstrate the perplexed images of the new generation. Of course this is not an ignorance of or escape from macro-narration; The Elephant on The Road also mixed the social elements of different coordinates, forming a local, complex symbol aggregation together with the subjective perceptual experience.

Wu Qiong & Wang Yang

Ice Monster, 2018 
Video poster