'Scissor – Paper – Stone': New sculptures by Yan Gi Cheng at NON Berlin
21 apr 2016 by art:i:curate team
NON Berlin presents the solo exhibition of Yan Gi Cheng entitled ´A Harmonic Capacity of Possibilities', as part of the Asian Art Show Berlin 2016. The Asian Art Show is organised by NON Berlin in order to raise attention towards contemporary Asian artists.
Yan Gi presents a new body of work ´Scissor – Paper – Stone #1-10´ that consists of a series of hand marbled paper, recycled wood and acrylic paint sculptures in reference to the notion of memory and time. This project was realised after the artist's visit to Rome, where he experienced the architectural ruins of the Colosseum and the neighbouring law courts and to Berlin´s Dahlem Museum for Asian Art. There he had the chance to see the Kizil cave painting relics dated from 10th century China.
The making of these sculptural works have an intentional rupture in the process. This then reassembles in order to mimic the museological process of restoration yet embedded within a contemporary art object.
Yan Gi's sculptures are in reference to Georg Wilhelm Friedrich Hegel´s notion of the ´art of memory´, a radical historicity in which a contingent historical process results into the creation of all solid forms, social structures and principles. Hegel describes these forms as an inwardising of all the shapes of spirit, moving in a slow succession and filling up the void of the self.
Yan Gi Cheng, Scissor - Paper - Stone #1 & #2, 2016, hand marbled paper, wood and acrylic paint, courtesy of the artist.
The artist's interest lies in the process of relocating real memory in archaic societies, where in our imaginations, the absence of matter is as crucial as the presence of matter. This can be traced back to an ancient Eastern form of representation, where the space left unrepresented was intentional, giving the viewer the chance to develop their own narratives. He likens the experience of walking through the shells of ancient civilisation and memory, as it embodies a broken continuity between memories and its signs.
Yan Gi Cheng, Scissor - Paper - Stone #3 & #4, 2016, hand marbled paper, wood and acrylic paint, courtesy of the artist.
His artistic practice explores the disparate trajectories of art, philosophy, religion, science and design, often forcing contradictory gestures and relations to coexist as one. He aims to bring together and create new contingencies between these disciplines.
Coming from both western and non western cultures has been a catalyst to find ways of making art which transcends national categorisation. Yan researches in order to find a deeper understanding of the universal laws of geometry, which has been an underlying theme throughout his artistic evolution.
Geometry can be translated as 'measure of the world' and has been an ancient practice of philosophers, mathematicians and artists since Egyptian, Indian and Greek times. Reality consists of pure essences or archetypal ideas, of which the phenomena we perceive are mere pale reflections. Through geometry, Yan Gi seeks to articulate the metaphysical realms, thus a seemingly common mathematical activity becomes a discipline for intellectual and spiritual insight.
The exhibition will run between the 5th and 9th of May 2016.
Yan Gi Cheng, I search for you night and day, 2015, collage, 36 x 46 cm, courtesy of the artist.
Yan Gi Cheng is based in Berlin. He holds a MA in Contemporary Art from the Chelsea College of Arts - University of the Arts London, London (2008) and a MA at Transart Institute, New York (2015). He has exhibited in solo and group shows including 'PALA FRUITS _ Hierarchy of Perception', Plateau Gallery (Berlin, 2015); 'Curated by NoLIta', The Nolitan Hotel (New York, 2014); 'Neoscapes', Boom Gallery (Hong Kong, 2012); 'Representation beyond representation / Landscape beyond landscape', Kapok Gallery (Hong Kong, 2012); 'Power Woman' &'It’s just a F***ing Collection' Ground Zero (Hong Kong/Paris, 2011).