Article

Strongest Dragon Gets Across the River

Fang Min'er

Sun Yuan & Peng Yu are good at using unique techniques to get their audience into their works. This project filled a 150 sqm space with black cubes made of soft sponge. The space was designed so that it was one meter deep at the entrance of the exhibition. The audience who wanted to see the rest of the exhibition had to go though this sponge pit. After getting into the pit, visitors had to struggle to get through and to "escape" to the other side to continue their journey in "art appreciation." From the quiet of watching the exhibition to the excitement, cries and shouts were heard when falling into the pit, audience re-experiences of childhood with the whole process equivalent to a game of wry humor. Behind this playful, farcical artwork is a serious rethinking of the essence of art if not subversion of art itself.

不是猛龙不过江

方敏儿

孙原和彭禹擅长以独特的方式引导观众参与他们的作品之中。这个作品用看似份量十足、造型见棱见角的黑色大方块填满一个一百五十立方米的空间，但这黑色方块的材质却是柔软的海绵。作者故意把这个空间堵在展览的入口处，相对于观众入口的大门，它是一个有一米左右落差的下沉式空间。若观众要看这次展览必须无可选择地穿越这个海绵坑，这令观众对“看展览” 与“欣赏艺术”的方式有着截然不同的体验。观众的身体陷进这个放满黑色海绵的大坑后，他们只能跟随作品的意图予以配合，并设法“逃脱”到彼岸，以继续艺术欣赏之旅。观众从看展览的静态，到坠入坑后的兴奋，呼叫打闹，带着丝丝的童真气味，过程充满着黑色幽默的游戏感。这个调皮玩闹的作品，背后却有着对艺术本质的严肃反思与艺术形式上的巅覆性。


	Strongest Dragon Gets Across the River Fang Min'er Sun Yuan & Peng Yu are good at using unique techniques to get their audience into their works. This project filled a 150 sqm space with black cubes made of soft sponge. The space was designed so that it was one meter deep at the entrance of the exhibition. The audience who wanted to see the rest of the exhibition had to go though this sponge pit. After getting into the pit, visitors had to struggle to get through and to "escape" to the other side to continue their journey in "art appreciation." From the quiet of watching the exhibition to the excitement, cries and shouts were heard when falling into the pit, audience re-experiences of childhood with the whole process equivalent to a game of wry humor. Behind this playful, farcical artwork is a serious rethinking of the essence of art if not subversion of art itself. 不是猛龙不过江方敏儿孙原和彭禹擅长以独特的方式引导观众参与他们的作品之中。这个作品用看似份量十足、造型见棱见角的黑色大方块填满一个一百五十立方米的空间，但这黑色方块的材质却是柔软的海绵。作者故意把这个空间堵在展览的入口处，相对于观众入口的大门，它是一个有一米左右落差的下沉式空间。若观众要看这次展览必须无可选择地穿越这个海绵坑，这令观众对“看展览” 与“欣赏艺术”的方式有着截然不同的体验。观众的身体陷进这个放满黑色海绵的大坑后，他们只能跟随作品的意图予以配合，并设法“逃脱”到彼岸，以继续艺术欣赏之旅。观众从看展览的静态，到坠入坑后的兴奋，呼叫打闹，带着丝丝的童真气味，过程充满着黑色幽默的游戏感。这个调皮玩闹的作品，背后却有着对艺术本质的严肃反思与艺术形式上的巅覆性。