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Cover feature: Sound Plus
Sound art seems to forever
occupy a misunderstood and marginalized position in society and culture. In
China and Taiwan, the ostracism is no different. LEAP's August issue creeps
into the periphery to briefly untangle the mess of people, artworks, and
happenings that constitute this surplus of culture. FM3, Yan
Jun, Qiu Zhijie, Li Zhenhua, Dajuin Yao, and
others figure into a sweeping survey of the stop-and-go history of sound
art in the Mainland, and cultural activist Ya-Zhu Xu organizes a
textual quartet on noise in Taiwan: Huang Sun-Quan considers noise
and neo-liberal social order; Wang Mo-Lin and Dawang Huang
discuss the resistance of noise against capitalism's structural exclusion
of the body; Liao Ming-He traces the history of materials in his
noise work; and Yannick Dauby narrates two journeys into the
materiality of peripheral sounds. The package culminates with Shanghai
sound artist Lou Nanli, commissioned by LEAP to transform an ancient
Chinese scroll into a work of contemporary electroacoustic music.
Other features
The lower body of our middle section is a
case-by-case study of art's treatment of power. Sun Dongdong
delineates political allegory throughout the ink wash of Yun-Fei
Ji; the artist Jiang Zhi shies away from statement, but infers
himself and everyman in his self-curated latest solo show; architect
Wang Jiahao deconstructs the rhetorics of power and exhibition via
the practice of Shi Qing; and Aimee Lin elucidates the
carelessness of Birdhead in the face of the ruling aesthetics of
photography.
Top
LEAP 16 opens with an overarching
review of dOCUMENTA (13) and its host city by Kito Nedo, which is
followed by an optimistically elegiac round-up of all things contemporary
in Athens from Stephanie Bailey. Further on: An argument for the
metaphoric functionality of the images of Andreas Gursky; profiles
of the painter Gong Jian and the actor/artist Hu Xiangqian;
in conversation with Shumon Basar, a leisurely serious reiteration
of Posthastism; over the information superhighway, the corporation
MadeIn Company get acquainted with the collective LuckyPDF; and
so much more.
Bottom
June and July offer plenty of
critical fodder, as this month's reviews section takes us to Manifesta 9,
La Triennale 2012, the 7th Shenzhen Sculpture Biennale, ten solo shows
including Zhao Yao, Zhang Hui, Paola Pivi, Yang
Xinguang, Zhang Ding, and Song Kun, and group outings in
Taiwan and Hong Kong.
Excerpts from this issue
"If
the exhibition presumes to bring distant ideas into proximity, then it also
assumes that the original distance between these positions can be measured
in Fear."
–Kate Sutton (Review: La Triennale
2012)
"Lawrence Grossberg painfully points out the reasons why
the children who grew up listening to rock and roll would come to elect
Reagan and Bush in the 1980s. Alas, we may finally understand where
capitalism and the record industry have grown together…"
–Huang Sun-Quan (Cover Feature: If Noise Ever Was, It Was Far
From Revolt)
"Perhaps the slightly biting tone here will
estrange critics. But what 30 years of sheer fact tell us is that obedience
to a single art historical logic inevitably leads to the omission of
countless moments of brilliance in artistic creation."
–Pu Hong
(Review: The 7th Shenzhen Sculpture Biennale)
"The issue of
cultural identity as raised by the process of modernization is for Yun-Fei
Ji not an end but a beginning, proffering material for new lines of inquiry
and reflection."
–Sun Dongdong (Feature: Yun-Fei Ji: Allegory
in Ink Wash)
"Everything is a process of formation and
disappearance, the intellectual perception of which must be based on
experiential understanding of that open space of a canvas."
–Bao
Dong (Review: Zhang Hui: Groundless)
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