Steadfastly Revise for the Standards in Nonproductive Construction (Part II: Liquid Circulates)
Mar 11, 2023 - May 07, 2023
Inspired by the architectural text 鈥淪teadfastly Lower the Standards in Nonproductive Construction鈥 (1955), which informed the counter-narrative coined for the previous iteration of 鈥淪teadfastly Raise the Standards in Nonproductive Construction鈥 (2018), curator Evonne Jiawei Yuan addresses the canonical forms of 鈥減roductivity鈥 anchored by the two architectural typologies 鈥 monument and skyscraper 鈥 as well as its dialectics of 鈥減roductive鈥 and 鈥渘onproductive,鈥 with artworks by eight artists (-duo)s including Chen Wei, Cui Jie, Liu Ren, Liu Wei, Lu Lei, Inga Svala Thorsdottir & Wu Shanzhuan, Joey Xia, Zeng Jiahui in Long March Independent Project, 鈥淪teadfastly Revise for the Standards in Nonproductive Construction, Part I: Solid Molds.鈥 The notions of monuments bind people's will to social production, and the skyscrapers' pursuit of height and speed in the context of the social output are mutually supportive and reliant on one another.
For instance, juxtaposed diagonally, the two large-scale installations by Inga Svala Thorsdottir & Wu Shanzhuan, Cause in Projection (2017) and Cause in Perspective (2017), highlight their intertextual connections. They were primarily devised for an architectural idea entitled
鈥淐ause and Examples Projected from It鈥 as a pair of library models. 鈥淐ause,鈥 as an abstract 鈥渙rigin鈥 or 鈥渞eason,鈥 suggests an infinite spindle structure through two opposing processes of construction, namely, 鈥減rojection鈥 and 鈥減erspective,鈥 where the vanishing point of focal-point perspective and the starting point of projection overlap, as the myriad of worldly things split and multiply in-between. Likewise, if the notion of 鈥(non-)productivity鈥 is considered a 鈥渃ause,鈥 then 鈥減rojection鈥 and 鈥減erspective鈥 would best correspond to 鈥渓owering鈥 and 鈥渆levating,鈥 and any single construction would institutionalize this very 鈥渃ause.鈥 In addition, Joey Xia鈥檚 Terrestrial Echo of Solar Energy (No.1鈥10) (2022), commissioned by the Long March Independent Project for this exhibition, responds to Georges Bataille鈥檚 association between surplus solar energy and 鈥渦nproductive鈥 consumption, as mentioned in The Notion of Expenditure (1933) and The Accursed Share (1949).
Instead, frontlines are dedicated to regional activities as part of the infrastructure network. Eleven (sets of) works of art by Shuyi Cao, Julian Junyuan Feng, Hu Wei, Liu Chuang, Liu Yujia, Nabuqi, Pu Yingwei, Zhang Ruyi, and Vivien Zhang are included in this exhibition, investigate architectural projects, urban narratives, natural spectacles as attributes of 鈥減roductive鈥 or 鈥渘onproductive鈥 architecture, and the political order concealed in their 鈥渟tandards.鈥 The artists adopt 鈥渞evision鈥 as their creative approach, attempting to heal the land damaged by 鈥減roduction鈥 and construction.
For instance, juxtaposed diagonally, the two large-scale installations by Inga Svala Thorsdottir & Wu Shanzhuan, Cause in Projection (2017) and Cause in Perspective (2017), highlight their intertextual connections. They were primarily devised for an architectural idea entitled
鈥淐ause and Examples Projected from It鈥 as a pair of library models. 鈥淐ause,鈥 as an abstract 鈥渙rigin鈥 or 鈥渞eason,鈥 suggests an infinite spindle structure through two opposing processes of construction, namely, 鈥減rojection鈥 and 鈥減erspective,鈥 where the vanishing point of focal-point perspective and the starting point of projection overlap, as the myriad of worldly things split and multiply in-between. Likewise, if the notion of 鈥(non-)productivity鈥 is considered a 鈥渃ause,鈥 then 鈥減rojection鈥 and 鈥減erspective鈥 would best correspond to 鈥渓owering鈥 and 鈥渆levating,鈥 and any single construction would institutionalize this very 鈥渃ause.鈥 In addition, Joey Xia鈥檚 Terrestrial Echo of Solar Energy (No.1鈥10) (2022), commissioned by the Long March Independent Project for this exhibition, responds to Georges Bataille鈥檚 association between surplus solar energy and 鈥渦nproductive鈥 consumption, as mentioned in The Notion of Expenditure (1933) and The Accursed Share (1949).
Instead, frontlines are dedicated to regional activities as part of the infrastructure network. Eleven (sets of) works of art by Shuyi Cao, Julian Junyuan Feng, Hu Wei, Liu Chuang, Liu Yujia, Nabuqi, Pu Yingwei, Zhang Ruyi, and Vivien Zhang are included in this exhibition, investigate architectural projects, urban narratives, natural spectacles as attributes of 鈥減roductive鈥 or 鈥渘onproductive鈥 architecture, and the political order concealed in their 鈥渟tandards.鈥 The artists adopt 鈥渞evision鈥 as their creative approach, attempting to heal the land damaged by 鈥減roduction鈥 and construction.
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Inspired by the architectural text 鈥淪teadfastly Lower the Standards in Nonproductive Construction鈥 (1955), which informed the counter-narrative coined for the previous iteration of 鈥淪teadfastly Raise the Standards in Nonproductive Construction鈥 (2018), curator Evonne Jiawei Yuan addresses the canonical forms of 鈥減roductivity鈥 anchored by the two architectural typologies 鈥 monument and skyscraper 鈥 as well as its dialectics of 鈥減roductive鈥 and 鈥渘onproductive,鈥 with artworks by eight artists (-duo)s including Chen Wei, Cui Jie, Liu Ren, Liu Wei, Lu Lei, Inga Svala Thorsdottir & Wu Shanzhuan, Joey Xia, Zeng Jiahui in Long March Independent Project, 鈥淪teadfastly Revise for the Standards in Nonproductive Construction, Part I: Solid Molds.鈥 The notions of monuments bind people's will to social production, and the skyscrapers' pursuit of height and speed in the context of the social output are mutually supportive and reliant on one another.
For instance, juxtaposed diagonally, the two large-scale installations by Inga Svala Thorsdottir & Wu Shanzhuan, Cause in Projection (2017) and Cause in Perspective (2017), highlight their intertextual connections. They were primarily devised for an architectural idea entitled
鈥淐ause and Examples Projected from It鈥 as a pair of library models. 鈥淐ause,鈥 as an abstract 鈥渙rigin鈥 or 鈥渞eason,鈥 suggests an infinite spindle structure through two opposing processes of construction, namely, 鈥減rojection鈥 and 鈥減erspective,鈥 where the vanishing point of focal-point perspective and the starting point of projection overlap, as the myriad of worldly things split and multiply in-between. Likewise, if the notion of 鈥(non-)productivity鈥 is considered a 鈥渃ause,鈥 then 鈥減rojection鈥 and 鈥減erspective鈥 would best correspond to 鈥渓owering鈥 and 鈥渆levating,鈥 and any single construction would institutionalize this very 鈥渃ause.鈥 In addition, Joey Xia鈥檚 Terrestrial Echo of Solar Energy (No.1鈥10) (2022), commissioned by the Long March Independent Project for this exhibition, responds to Georges Bataille鈥檚 association between surplus solar energy and 鈥渦nproductive鈥 consumption, as mentioned in The Notion of Expenditure (1933) and The Accursed Share (1949).
Instead, frontlines are dedicated to regional activities as part of the infrastructure network. Eleven (sets of) works of art by Shuyi Cao, Julian Junyuan Feng, Hu Wei, Liu Chuang, Liu Yujia, Nabuqi, Pu Yingwei, Zhang Ruyi, and Vivien Zhang are included in this exhibition, investigate architectural projects, urban narratives, natural spectacles as attributes of 鈥減roductive鈥 or 鈥渘onproductive鈥 architecture, and the political order concealed in their 鈥渟tandards.鈥 The artists adopt 鈥渞evision鈥 as their creative approach, attempting to heal the land damaged by 鈥減roduction鈥 and construction.
For instance, juxtaposed diagonally, the two large-scale installations by Inga Svala Thorsdottir & Wu Shanzhuan, Cause in Projection (2017) and Cause in Perspective (2017), highlight their intertextual connections. They were primarily devised for an architectural idea entitled
鈥淐ause and Examples Projected from It鈥 as a pair of library models. 鈥淐ause,鈥 as an abstract 鈥渙rigin鈥 or 鈥渞eason,鈥 suggests an infinite spindle structure through two opposing processes of construction, namely, 鈥減rojection鈥 and 鈥減erspective,鈥 where the vanishing point of focal-point perspective and the starting point of projection overlap, as the myriad of worldly things split and multiply in-between. Likewise, if the notion of 鈥(non-)productivity鈥 is considered a 鈥渃ause,鈥 then 鈥減rojection鈥 and 鈥減erspective鈥 would best correspond to 鈥渓owering鈥 and 鈥渆levating,鈥 and any single construction would institutionalize this very 鈥渃ause.鈥 In addition, Joey Xia鈥檚 Terrestrial Echo of Solar Energy (No.1鈥10) (2022), commissioned by the Long March Independent Project for this exhibition, responds to Georges Bataille鈥檚 association between surplus solar energy and 鈥渦nproductive鈥 consumption, as mentioned in The Notion of Expenditure (1933) and The Accursed Share (1949).
Instead, frontlines are dedicated to regional activities as part of the infrastructure network. Eleven (sets of) works of art by Shuyi Cao, Julian Junyuan Feng, Hu Wei, Liu Chuang, Liu Yujia, Nabuqi, Pu Yingwei, Zhang Ruyi, and Vivien Zhang are included in this exhibition, investigate architectural projects, urban narratives, natural spectacles as attributes of 鈥減roductive鈥 or 鈥渘onproductive鈥 architecture, and the political order concealed in their 鈥渟tandards.鈥 The artists adopt 鈥渞evision鈥 as their creative approach, attempting to heal the land damaged by 鈥減roduction鈥 and construction.
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