The Destroying is Out of Control; the Caring is Out of Control is an installation work that uses abandoned, unappreciated material--shredded A4 documents blended by a food blender. Waste materials always have an expression of pathos.

The paper bits are tirelessly, almost neurotically placed one by one in a grid on the floor. It owns a spot, no matter how small it is. By completing the action and dedicating the amount of labor, the work appears to visualize the philosophical notion of the unity of opposites, and the endless struggle that come along with it.

 

Through the observation of social and political issues, my sensitivity is always triggered by the complexities of duality. The oppression and resistance, love and hate, construct and destroy, the validity and the uselessness, nonsense and rationality etc. The coexistence of two opposite sides together constructs matter, yet the impermanence of matter often teases us. This work abstracted and symbolized the extremely fine line in between two opposites. The rigorous arrangement of floating paper bits can easily destructed by gentle breeze, then all the effort vanish into the air. However, the work is also trying to tell—when destruction goes out of control, care would follow.

 

 

既是装置又是行为表演，我将付出的劳动力丝毫不减地用视觉表现了出来。

每一次的布展都耗费大量时间，在红外线仪器下纸张的陈列精确到毫米。然而细小如无意者经过的脚步带起的微风就能将其毁于一旦，看似庞大又疯狂的事物，实则可能脆弱又不知所谓。无常可以同时与乐观和悲观做朋友，这件作品具像且符号化了两极之间极微妙的分界线。我想说，压抑与反抗、爱与恨、建立与摧毁都是世间事，两极的共存才一同构成物质。

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在展览开幕的头15分钟，就有一个冒失鬼（objectively）因为没注意脚下而径直穿过作品，规整的“方格“立刻被拉出一道豁口。观众的这个意外行为使作品的含义更加混乱又有趣：艺术在哪里？艺术品的价值又在哪里？是否要在作品上加聚光灯，四周安排安保，才明确告诉大家：我值得被欣赏呢。抑或是，艺术本身就是鲍勃迪伦的那句歌词：The answer is blowing in the wind (答案都飘荡在风中）。

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© Cen Yunyang