In geology, a fault is a fracture structure in the Earth’s crust formed by external forces. In culture, a fault refers more to the difference between the desired culture and the actual culture. The historical context of a city shapes how the place is built, lived in, and creates culture. Cultural changes are like the power hidden before tectonic movements, not sudden but accumulating energy through gradual change.
The fragmentation of art forms, cultural faults in the process of globalization, and identity issues caused by population migration are gradually surfacing and intersecting with each other. Hou Hanru proposed a “dynamic and complex system” in his letter to Hans Ulrich Obrist, expressing the inability to define or summarize this ambiguous state. Critics intentionally summarize this complex and uncertain state as an “uncertain experimental field.” The cultural cleavages around the world, as well as the compensation of various civilizations for contemporary art, are like “fault lines”, which realistically and intuitively describe the energy gathered in an invisible place. When causality is repositioned, the enormous energy hidden under the surface image may be displayed and become a prophecy. This huge energy arises spontaneously from various corners of the world, and the public space becomes a stage for artistic expression.
One action often speaks louder than a single artwork. When art returns to its place of birth, whether on the street, in ruins, on vacant lots, or in factories, the information that mends cultural faults will be transmitted. When viewers break away from the preconceived and authoritative stance of appreciating art, reconstruction will occur, gradually becoming a force for exploring the boundaries of art with new logic and rules.
Curators: Sun Xiaoxing, Li Boyan Artists: Cai Ying, Gao Yu, Qu Yuanyuan, Zhang Jiahe, Zhang Jing & Ji Xiaoping, Zhang Yuequn, Sun Wei, Xu Jing