TINA (There Is No Alternative) (from china exhibition)
Digital Print.
86″ x 52″
year: 2011
This is apparently “everything” that surprises us in some way by how it “behaves”. It has no autonomic existence and keeps changing its identity due to a series of creative endeavors. Individual versions no longer have an autonomic existence because there are too many of them. We lose essence of the symbol, a part of which has always been hidden.
Although our perception of reality is disturbed, we stick to the lie and do not reject it at all. Although the difference between ideology and reality has lost its meaning, the lack of meaning or other meaning opens up the opportunity for something new. But everything that is the best and unique gets released only within the framework of limitations imposed by some conceptual boundaries. B&W. Not everything is black and white. Nothing comes of our awareness that B&W is made up of six colors until that is officially “registered”. That only develops in a “certain” situation that we call “truth”. And that is what enables the processes that we feel are true and authentic (black and white printing in six colors) or a black and white painting made up of six colors. Or black and white COLORS that is actually colored. It is inaccessible in this situation, because it is inconceivable in the framework of this project. An opinion devoid of and beyond truth and falsehood, because its only goal is communication. But there is no way to communicate the result of the “truth” process.
Although it cannot be named and is “invisible” and has no sensory form, the truth of the six colors participates in the fact of its existence (its presence) in a troublesome manner. No falsehood is being reported here. The caution of its “negative” formula gives us something to think about. Does speaking the truth necessarily mean not lying or speaking falsehoods? And what is the nature of testimony that is genuine, but can also be taken to be a very good counterfeit. Making a judgement without exposing yourself to violent protests means saying very little, not much more than a definition. But there is no definition that takes care of the problem. The truth retreats from us, although it does not disappear from sight. But there is a contract that we can terminate at any time. Perhaps the thing that is important is not to find an objective explanation for a “significant” part of reality, but rather to accept the argument. Perhaps the best way to understand that is something that functions in the Chinese language, often called ‘Flowing Report’ (liushui zhang), or literally the Flowing Water Report Ledger”, suggesting a daily record of things that are completely unimportant, trifling, insignificant and fragmentary in daily life, and therefore there are no compositional concepts as a “whole” at all.
I am talking about Chinese Maximalism (what Professor Gao Minglu wrote about for the Maximalism exhibit), which does not focus on the conflict between the object and the soul and matter, means and margin. Each factor has no clear borders in transformation. And artistic work is a natural, repetitive, fragmentary process, as is ‘liushui zhang’.” Does the Truth have to change names? “Institutions and systems that used to be famous for being capable of change for the better are now responsible for changes using the more zealous and unquestionable TINA formula (There Is No Alternative).” But we cannot go back, because there might not be anything to go back to. Compulsory “delight” does not cause as much pleasure as it used to.
TINA (There Is No Alternative) (from china exhibition)
Digital Print.
86″ x 52″
year: 2011
This is apparently “everything” that surprises us in some way by how it “behaves”. It has no autonomic existence and keeps changing its identity due to a series of creative endeavors. Individual versions no longer have an autonomic existence because there are too many of them. We lose essence of the symbol, a part of which has always been hidden.
Although our perception of reality is disturbed, we stick to the lie and do not reject it at all. Although the difference between ideology and reality has lost its meaning, the lack of meaning or other meaning opens up the opportunity for something new. But everything that is the best and unique gets released only within the framework of limitations imposed by some conceptual boundaries. B&W. Not everything is black and white. Nothing comes of our awareness that B&W is made up of six colors until that is officially “registered”. That only develops in a “certain” situation that we call “truth”. And that is what enables the processes that we feel are true and authentic (black and white printing in six colors) or a black and white painting made up of six colors. Or black and white COLORS that is actually colored. It is inaccessible in this situation, because it is inconceivable in the framework of this project. An opinion devoid of and beyond truth and falsehood, because its only goal is communication. But there is no way to communicate the result of the “truth” process.
Although it cannot be named and is “invisible” and has no sensory form, the truth of the six colors participates in the fact of its existence (its presence) in a troublesome manner. No falsehood is being reported here. The caution of its “negative” formula gives us something to think about. Does speaking the truth necessarily mean not lying or speaking falsehoods? And what is the nature of testimony that is genuine, but can also be taken to be a very good counterfeit. Making a judgement without exposing yourself to violent protests means saying very little, not much more than a definition. But there is no definition that takes care of the problem. The truth retreats from us, although it does not disappear from sight. But there is a contract that we can terminate at any time. Perhaps the thing that is important is not to find an objective explanation for a “significant” part of reality, but rather to accept the argument. Perhaps the best way to understand that is something that functions in the Chinese language, often called ‘Flowing Report’ (liushui zhang), or literally the Flowing Water Report Ledger”, suggesting a daily record of things that are completely unimportant, trifling, insignificant and fragmentary in daily life, and therefore there are no compositional concepts as a “whole” at all.
I am talking about Chinese Maximalism (what Professor Gao Minglu wrote about for the Maximalism exhibit), which does not focus on the conflict between the object and the soul and matter, means and margin. Each factor has no clear borders in transformation. And artistic work is a natural, repetitive, fragmentary process, as is ‘liushui zhang’.” Does the Truth have to change names? “Institutions and systems that used to be famous for being capable of change for the better are now responsible for changes using the more zealous and unquestionable TINA formula (There Is No Alternative).” But we cannot go back, because there might not be anything to go back to. Compulsory “delight” does not cause as much pleasure as it used to.