About《Spider-2》| 关于《蜘蛛-2》
From the angle of relationship, spider offered a new “architecture” idea, that’s to say, to establish someone’s own space in some kind of relationship while at the same time not to change the property of the original space, constructing a kind of “ecological” relationship.

“Spider-2” is a place where the dramatic, fantastic space overlapped a real, ordinary space. Things happened in the most basic places in a family, such as the living room, kitchen, bedroom and the toilet respectively and the persons’ action is between ordinary condition and “somnambulate”. Besides the family members, there is some kind of “invisible member (imagination and mental hint)” wandering in the room. Are they from one member’s imagination or are they the fragments of memory? They shared the same space and time while at the same time they turn a blind eye to each other.

“Spider” is experimenting the possibility to establish the new relationship between public space and contemporary art, overlapping and juxtaposing different spaces obsessively by transferring and replanting them. Different ways of using the space bring the meaning of new space while modifying our opinion about fixation and definitude. The “Spider” makes the meaning in the relationship become “gray”.

                                                18.7.2005

《蜘蛛-2》,一个充满戏剧性的幻想空间与真实的日常生活空间互相重叠,它们分别发生在家庭最基本的功能场所——客厅、厨房、卧室、卫生间,人的行为介于日常状态与“梦游”之间。在看得见的家庭内部之外,潜在着想象与心理暗示的另一种存在,一种“看不见的成员”游走于同一空间,它来自于家庭内部个人的某种幻想?还是残存于记忆的某种片断?他们共享相同的空间与时间,但彼此又视而不见。

《蜘蛛》是在尝试公共空间与当代艺术之间新的关系的可能性,将不同的空间通过行为的转移与移植,强迫性的重叠与并置在一起,不同的使用方式,既带来了新的空间意义,也修正了我们固定和明确的看法。《蜘蛛》使意义在关系中变得“灰色”。

2005.7.18

 
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