Story-telling, as a basic form for keeping memories, probably originates from ancient and temporary community activities of people gathering together to kill time and exorcise fear. In the past, when heavy snow cut off the roads to the mountains, or nightfall came, people would sit around in groups and share stories with each other. Forms of story-telling range from solemn rituals to casual folks and tales as well as anecdotes with various subjects and topics that include cultural developments of human beings, ghost tales, heroic legends, myths of beauties and so forth. In ancient times, there were mythical stories like yueweitang caoji that tells folktales and anecdotes. Nowadays self-development contents and media broadcast that comfort the youngster’s emotions and encourage those who are frustrated with their current living conditions. Plenty of stories are told at different locations in all kinds of circumstances. However, no one except artist Lu Pingyuan, moves the activity of story-telling into museums and gallery spaces and broaden the existence of art works in reality.
Writing, in its traditional sense, is an activity with eternity and monumental significance. It endows human beings with an privilege of speech and empowers us with a great capacity to explore truth. The results of writing represents ideas and equal to human thinking. In Roland Barthes theory, “text” is described as an object constructed to formulate the concept of generation. The subject is concealed in those words that shape the “text” and turns into something special. Stories do not follow a singular type of imagination. Instead, they are a theater that imitates the society, special and universal. In this sense, “text” constitutes the appearance of the art work and makes it perceptible. Lu Pingyuan emphasizes the idea of “creating something” in his work, and stories in his art do not follow standard order or logic. They are greatly influenced by his personal life, thus a global path to understand his works hardly exists. His art removes the correspondent social background with romantic and direct narratives and goes around concepts and metaphors. Lu’s works are not experimental outcomes of word playing. He works in-between the gap within the speakable and unspeakable and creates art with imagination. Writing is the only thing that survives in the waves of history, and becomes the consequence of compromise that slips in memories, as well as free opportunity. Moreover, writing turns life into a kind of fate, and transform memory into a special function. Only in this way, can stories exist as an form of life that extends time. Only when the text is not the habitat of poetry, the subject gains a new neutral standpoint that do does present and when meaning does not promise anything, can imagination embrace a great freedom that go far beyond the reality. As a result, the art work can gain a dimension with negation and transcendence that goes against the reality and the social situation.
Stories that feature treasure are usually twisted and mysterious. Wheather the ending is pleasant or not is rather unpredictable. Lu Pingyuan changes the gallery into a space with karst landform. This is not like playing the game Takagism. However, while go through the winding and zigzagging path, the audience can read the stories created by the artist and do treasure hunt in the texts. This would be an interesting and refreshing journey, as treasure hunt in real life is very much desired but difficult to achieve. Stories are tales, legends, anecdotes, facts and truths. They are both fortunes like golden mountains and a pile of hard rocks. Exploration can only shine when go around in the space, stay and gaze.
黄中华 Huang Zhonghua
杨 述 Yang Shu
倪 昆 Ni Kun
张小吧 Zhang Xiaoba
乙 丹 Yi Dan