A+ Contemporary 2018 Yearbook

2018     180×255 mm      96pages

Upon writing the preface for 2018 A+ Contemporary Yearbook, I simultaneously look back at this year, haven’t we done many interesting things in 2018? In the mass contemporary art world that subtly shifts with the changing trajectory of time, finding the way to move forward is still our persisted goal. “Experimental” is the word I found myself often used, it might have become a cliché which is easy to say. But under the cotemporaneous commercial economic paradigm, I think only by keep on making and doing the exhibitions, could reveal the existential values of A+ Contemporary.

The non-stop exhibitions, openings, lectures, activities and parties at museums, galleries, art fairs and biennales, indeed bring us many excitements. Yet, the grandeur of the art world could also make one loose ground and put one into fatigue. The rapid increasing pace of our life offers us the nutrients of the bliss of life, or the vast material environment. The world of art reflects our lives in such a straightforward way. Fortunately, at the same time, art reminds us to slow down our paces, and gives us the right to choose, asserting us with the courage to face the endlessly repeated art production cycle, liberating us from the mass loophole of the false assumption of arts. The creative souls pursue the true essence of dialectics, the real experiences and perceptions. They push forward the past methodologies of creations, allowing the concept of “experimental” to become the core for contemporary art practices.

We held six exhibitions this year, thank you all the artists for willing to share your precious time and vitalities with A+ Contemporary. Chen Xi’s animated feature film “Sleepwalking through the Walk Simulators” gradually unfolds the events occurred in one’s life cycle into a 79-minutes long narrative. The imaginative plots, the design of the characters and the laws embedded inside this fictional realm, seemingly absurd, yet, they resonate with the audience. In Chen Yufan and Chenyujun’s Taipei exhibition “Mulan River-Voyage” , artists relocate the fragments of imagination, and their memory lane of hometown’s migrating experience towards the South ocean onto the soils of Taiwan. He Xun, from painterly works to descriptive acts, from poems, scripts to ritualistic sites, opens up a multi-sensorial experience that exceeds the sphere of two-dimensionality, attempting to explore his own visual pictorial languages.

In the first edition of Condo Shanghai, A+ Contemporary and Mexico-based gallery joségarcía ,mx co-present artists Morgan Wong’s, José León Cerrillo’s and Nina Beier’s practices that interpret time, space and materials. Yet, Condo, this new mode for gallery cooperation, not only effectively uses the limited resources, also reduces the costs, offering an alternative proposal for art fairs. Mao Chenyu’s “Litchi Girl” unfolds a legend from Dongting River, where artist differentiates the sites, things and memories (narratives) , imaging the elements of time, contexts and history into the Green Curtain artist provides, allowing the film to congeal a fluid form of representation. The statement at this particular time, therefore, challenges the logic trajectory of audience’s interpretation of the history (legends). In Hu Weiyi’s solo exhibition, the peripheral expanded circulation of the “Tentacles” unfolds the ambiguous intersection between the man-made and the natural. Simultaneously, the shifts of actions that are embedded inside the site activate the switches for the states of time that oscillate in between exuberance and perils, simulating the psychological perceptions of the audience generated by the transfers of stillness and motions between the works and the space.

I think, the artistic experimentations at A+ Contemporary, reflect the variability and changes of the contemporary art, as well as how the presence of this shifting lineage gradually takes place at the living practices of each artist. From 2015 to now, each yearbook records and silhouettes the imprints of the memories, making a conclusion for my working ideas in these years, and reciprocally reexamining myself for the promise made dated back to the founding time. Experimentations might be the games for creation, which interweave histories, cultures, people and the contemporaneous society. Based from this as the foundation for exhibition, and to experience the ignited inspirations with artists and curators, extending the thoughts for dialectics, as well the perception of the bodies and actions, these give me the opportunity to understand more profoundly about this world, and to make the direction of my heart much clearer.

A last, I want to thank my team for pushing forward each job task.



Yuyun Chiang