|Curator:||Li Shengzhao, Inna Xu|
|Artist:||Alex Gibbs, Bignia Wehrli, Candida Höfer, Chen Dongfan, Chen Chenchen, Cui Shaohan, Ding Shiwei, Fang Wei, Guo Xi, Guo Yilin, Hua Peng, Huang Songhao, Jiang Zhuyun, Li Ming, Liang Manqi, Liao Wenfeng, Liu Tian, Lou Shenyi, Lu Yang, Merijn Kavelaars, Noriko Shinohara, SAN XIAN TV, Shi Chuan, Yixin Tong, Ushio Shinohara, Wang Fei, Wang Kewei, Weng Shanwei, Wu Junyong, Wu Juehui, Xiao Bo, Yang Junling, Ye Nan, Yu Qiongjie, Zhou Yilun, Zhu Changquan, Zheng Hong, Zheng Wenxin|
|Venue:||Block No. 12,139 Liu He Road, Hangzhou, China|
2014 has been a year of vaulting advances for the Inna Art Space. This year, at the same time we acquired our new, 300 square metre exhibitions space, we were also hard at work establishing our New York Art Station. Following six, assiduous years working alongside us in Hangzhou, the practices of those artists who have matured together with the space are also increasingly at their prime. Hence now seems the right time to open our windows to the wider world, taking substantial measures to interact and engage in broader dialogues there.
Since starting out in 2008, it’s been very difficult for us to ever really describe, definitively the precise nature of our engagements. In an age that stipulates profit, speed of delivery and clarity of results, The Inna Art Space has invested itself consistently in discovering and extolling creativity, erecting a modest platform via which practitioners might exhibit their ideas forthright, thereby promoting the furtherance of their practices. The Inna Space has believed consistently in the implicit value of “independence”, taking this principle as an intellectual compass for their endeavours and pouring heart and soul into their projects. Ours is a team composed of artists and designers, a collective who have remained devoted throughout to investing their energies and tireless labour in the space. Even now, it remains impossible for us to really state any sort of clearcut, underlying rationale for it all. Nonetheless, having abided only ever in what was in our hearts and by engaging in those things which truly concerned us, before we knew it, to be sure, given time, these concerns have grown progressively more intense. It is given this as our remit that we have continued to engage in our projects with the tenderness and persistent industry we have, taking each challenge as it came to stride, steadily onwards into the future.more
“May we begin from Chaos” — Marcel Duchamp
The official inauguration of the Situationist International (SI) was announced in 1957 at an international convention staged in Italy. Employing both theoretical and pragmatic means, in the decade that followed the SI set to work chronicling and resisting what they referred to as “The Society of the Spectacle” (La Société du spectacle), searching for everyday, revolutionary means by which to unite the artistic with the political, attempting via practice to effect transient caesuras to subvert this spectacular, social entity. Today, almost sixty years after Guy Debord observed “The whole life of those societies in which modern conditions of production prevail presents itself as an immense accumulation of spectacles. All that once was directly lived has become mere representation”, what he describedremains a reality that holds us firmly within its enclosure, perhaps even more immaculately so than it did before, having become all that more discrete in its means. As far as our present “reality” is concerned, from here, we proceed ceaselessly both to further clarify and to obfuscate. For all we might rebel, there is nothing we can do to prevent the spiralling of our alienation. Nonetheless, to hope for a chance to begin again with history is an impossible delusion; at the same time, to attempt simply to repeat certain instances from the past is incongruous. All that remains for us to behold is the palimpsest of the present, innumerably marked with traces of former dissent. This is our sole horizon, inseparable from the waters of the sea. There is no chaste, extractible origin to which we might return, no hope of some perfected other’s falling into our midst and proffering our salvation. Suppose however we were to do away with all accessories to fantasy, escape and diversion; accepting instead the inevitability of our circumstance, the pressing veracity of this moment, perhaps then the ground beneath our feet might become more visible, more solid. After all, it is the intangible, imbricate nature of this firmament that offers itself as a base for our activities.more