<\/p>\n
Inspired by the architectural text \u201cSteadfastly Lower the Standards in Nonproductive Construction\u201d (1955), which informed the counter-narrative coined for the previous iteration of \u201cSteadfastly Raise the Standards in Nonproductive Construction\u201d (2018), curator Evonne Jiawei Yuan addresses the canonical forms of \u201cproductivity\u201d anchored by the two architectural typologies \u2013 monument and skyscraper \u2013 as well as its dialectics of \u201cproductive\u201d and \u201cnonproductive,\u201d 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, \u201cSteadfastly Revise for the Standards in Nonproductive Construction, Part I: Solid Molds.\u201d The notions of monuments bind people\u2019s will to social production, and the skyscrapers\u2019 pursuit of height and speed in the context of the social output are mutually supportive and reliant on one another.<\/p>\n
For instance, juxtaposed diagonally, the two large-scale installations by Inga Svala Thorsdottir & Wu Shanzhuan, Cause in Projection<\/em> (2017) and Cause in Perspective<\/em> (2017), highlight their intertextual connections. They were primarily devised for an architectural idea entitled \u201cCause and Examples Projected from It\u201d as a pair of library models. \u201cCause,\u201d as an abstract \u201corigin\u201d or \u201creason,\u201d suggests an infinite spindle structure through two opposing processes of construction, namely, \u201cprojection\u201d and \u201cperspective,\u201d 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 \u201c(non-)productivity\u201d is considered a \u201ccause,\u201d then \u201cprojection\u201d and \u201cperspective\u201d would best correspond to \u201clowering\u201d and \u201celevating,\u201d and any single construction would institutionalize this very \u201ccause.\u201d<\/p>\n In addition, Joey Xia\u2019s Terrestrial Echo of Solar Energy (No.1\u201310)<\/em> (2022), commissioned by the Long March Independent Project for this exhibition, responds to Georges Bataille\u2019s association between surplus solar energy and \u201cunproductive\u201d consumption, as mentioned in The Notion of Expenditure<\/em> (1933) and The Accursed Share<\/em> (1949). His images, incarnated by ten flags hanging beneath the skylights on the elegantly jagged roof, provide a fresh view of the significance of architecture as objects and a means of conditioning.<\/p>\n \u201cSteadfastly Revise for the Standards in Nonproductive Construction, Part II: Liquid Circulates,\u201d focuses on the other two architectural genres, civic squares and frontlines, that encourage the mobility of \u201cproductivity.\u201d Civic squares are public spaces where the exchange of opinion and social integration occur, undifferentiated in both the physical and virtual worlds. 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 \u201cproductive\u201d or \u201cnonproductive\u201d architecture, and the political order concealed in their \u201cstandards.\u201d The artists adopt \u201crevision\u201d as their creative approach, attempting to heal the land damaged by \u201cproduction\u201d and construction.<\/p>\n Venue: Long March Independent Space, Beijing<\/p>\n Dates: 2023.3.11\u20135.7<\/p>","protected":false},"featured_media":572,"template":"","curatorial_category":[2],"class_list":["post-569","curatorial","type-curatorial","status-publish","has-post-thumbnail","hentry","curatorial_category-problematique"],"acf":[],"_links":{"self":[{"href":"http:\/\/evonnejiaweiyuan.com\/en\/wp-json\/wp\/v2\/curatorial\/569","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/evonnejiaweiyuan.com\/en\/wp-json\/wp\/v2\/curatorial"}],"about":[{"href":"http:\/\/evonnejiaweiyuan.com\/en\/wp-json\/wp\/v2\/types\/curatorial"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/evonnejiaweiyuan.com\/en\/wp-json\/wp\/v2\/media\/572"}],"wp:attachment":[{"href":"http:\/\/evonnejiaweiyuan.com\/en\/wp-json\/wp\/v2\/media?parent=569"}],"wp:term":[{"taxonomy":"curatorial_category","embeddable":true,"href":"http:\/\/evonnejiaweiyuan.com\/en\/wp-json\/wp\/v2\/curatorial_category?post=569"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}