- Duration of residencies：2014.11.15-11.29
- Location：GALLERY SOAP (1-8-23 2F Kajimachi, kokurakita-ku, kitakyushu 802-0004, Japan)
Artists: Li Li + Pang Xuan
Curator: Ni Kun (Chongqing, China) + Keiichi Miyagawa (Japan)
Location: GALLERY SOAP (1-8-23 2F Kajimachi, kokurakita-ku, kitakyushu 802-0004, Japan)
Fiction: the dual facts of “Text” by Ni Kun
In Gallery Soap, the work of the two female artists from Chongqing, China, Li Li and Pang Xuan, begins with thinking about the "text". Conceptually, “text” gives emphasis to the manifestation, while artists externalize it into two dimensions: emphasis on contemplation of artistic language itself , and the conversation as well as reaction to practical context. An interesting fact is that the works of them female artists shows some common features such as sensibility, intuition, poetry, body etc.
Always focusing on perception and emotion in creation, Li Li consists that art is not only the dialogue with the world around you but also the self-release channel emotionally. By contrast, the works of Pang Xuan appears to be more diverse, which changes from discussion about body, identity, memory and city before she was 30 to emphasis on “material and vision” , involving the deepest part of life: esthetic and existence gradually, which is an emotional expression under a form of rationality.
In Gallery Soap, the sound works brought by Li Li on the scene are sampled from the sound clips in Japanese films and television programs which are popular in China(more than 10, recommended by her Chinese friends of different ages).The artist only keeps the audio with a positive or negative tone made by female, and the rest of it are erased based on retaining the original length of the video. As a result, there are some weird or funny dialogues, especially when multiple audio players work simultaneously. The works of Pang Xuan continues thinking at this stage, emphasizing on “whether there are many possibilities on the same thing”, physical involvement and presence in creation as well. Certainly, this physical presence is not regarded as a kind of artistic language, instead, it is a direct intervention of senses or work. Therefore, from the moment she arrived in Kitakyushu, her work was going to be a discussion on "experience" and "unexpected" in exotic. Surely, it is certainly stylized, personal and aesthetic.