Images from Shanghai Biennale Rehearsal Act I

Shanghai Art Museum, Shanghai


Chen Chieh-jen

The Route was commissioned for the Liverpool Biennial in 2006. Chen Chieh-jen filmed real Kaohsiung dockworkers staging a symbolic picket, recalling the strikes that stopped the Neptune Jade, Those strikes were a milestone in the history of the global labor movement.

For Chen Chieh-jen, filming this imagined striek was in one way looking forward, toward a new system of freedom, opposed to the collaboration of capital and state. Equall important, though, is how to use art to 'extend' historical events. The lessons of history should not be relegated to the past simply because the historical event is over. Art can produce new versions of these stories, making history part of our collective 'story' and 'experience.'



Liu Wei

Merely A Mistake II, 2010, wood, steel and cement

'To fit these things into this space, I piece them together, even scoop out holes. Anything in this area will be sucked in and will generate meanings, and when that happens, the so-called artwork is diluted, and even disappears. On the suraface, it seemed that design in the socialist era took away people's indivudality, but all that was actually lost was a label which had long been used to define them. And what emerged was a greater collective spirit and strength.'-Liu Wei


Zhang Hui

Relief, 2010, acrylic on canvas

What determines the visual experience? How does one decide what to do and how to view things? Zhang's paintings are not what you get is what you see' --not even compensating the visual defects with technology, but are focusing on how you look at the world--which of course depends on your cultural accomplishment, knowledge base, judgement--and the depth
you desire to find out in things you see.



Must Act, 2010, oil and acrylic on canvas

The Spread series is all about 'realism.' Pretty much all the images, shapes, and ideas come directly from the media. What this series represents is our relationship with tthe media, our attitude towards it, even how we grow with it. All of this, these cartoons, fabrics, installations, sculptures thatyou see here, and those abstract installations and paintings, they all try to represent a single basic idea, which is using the media as a medium, using the media to create media.

In this media age, the real world is no longer important What we deal with is a reality made up of images processed by the media. And that reality now plays a major role in world events.



Wang Jianwei
Output of The Labor Force on Timeline, 2010, five channel film

‘The starting point of Output of the labor force on timeline is based on a true report: a 16 year old teenager from rural China went to the city one day. Naturally inclined to retreat from reality, the boy was only able to find his true social place in fantasy and internet games. In his fictitious world, misconceptions and misunderstandings were foundations to human behavior, while reality and illusion were perfectly synchronized. In the end, murder in his fantastical world became a true incident.

There is a relation between the juvenile and the five stories; were these five fictional stories written in his laptop or are they true reflection of his life. Which answer is closer to reality?’





Wu Shanzhuan

d=m^2, 2010, installation