| My experience of living abroad marked a difference if compared with other artists in China. In their early works, these artists chose videography as a way to document performances; these actions were imbued with conceptual meanings, and the particular social environment in China at that time didn’t allow them to perform freely in front of a crowd. The best way to convey their concepts was to present these actions through video images. Videography became a way of documentation for conceptual art. As for me, the work The Sky of Brooklyn—Digging a Hole in Beijing in 1995 was the first time I used TV as a part of my artwork. The sound, the setting, and the presence of the audience together with other factors all contributed as a kind of external narration accompanying the piece. Since then, I have become more and more interested in TV; I found it suitable and very inspiring, and apt to convey my ideas in a simple and direct way. |  |
Wang Gong-Xin
My experience of living abroad marked a difference if compared with other artists in China. In their early works, these artists chose videography as a way to document performances; these actions were imbued with conceptual meanings, and the particular social environment in China at that time didn’t allow them to perform freely in front of a crowd. The best way to convey their concepts was to present these actions through video images. Videography became a way of documentation for conceptual art.
As for me, the work The Sky of Brooklyn—Digging a Hole in Beijing in 1995 was the first time I used TV as a part of my artwork. The sound, the setting, and the presence of the audience together with other factors all contributed as a kind of external narration accompanying the piece. Since then, I have become more and more interested in TV; I found it suitable and very inspiring, and apt to convey my ideas in a simple and direct way. In all my works, images are an important part for the expression of a concept. Images become a medium or a kind of material that contains information and provides us with alternative ways of communication.
I turned to video art very gradually after I finished this work. More precisely, the works I realized in Europe between 1997 and 1998 such as Dialogue are much more like installations rather than pure video images. At that time, I found it difficult to convey my concept by mere usage of dynamic materials. Texture, light, and movement could not satisfy me, so I used video to add more factors and bring my works to life. In fact, light and movement are exactly two of the elements in a video. I gradually realized that videography is the most appropriate channel to express myself.
After 2000, I felt that I was becoming more and more confident with videos and images, and I decided to use this new tool for my works. At that time, I went abroad for some exchange programs and I was involved in some discussions where I noticed that foreign artists paid more attention to this field.
“Transcendental” is a universal image that exists in people’s mind but they never realize its existence, so you need to use a visual language to explore it and find a way to express it. I try to use this universal subconscious existence to stimulate a response and understanding from the public. If the so-called “transcendental” is something too personal, theological, mystical, or without any relation to the public, it loses the meaning and value I am pursuing.
The state of being is important to me. It is where my starting point and boundary are. When I do things, I leave aside other elements, and I achieve something very realistic and intrinsic. However, there are things that, as someone in the situation, are difficult to understand, because when you are in the situation, you tend to be confused. Personalities and ideas differ, and this is why I keep on exploring.
This is an excerpt from an interview that Wang Gong-Xin did with Chen Hai-Tao, director of Platform China, before Wang’s solo show Relating at Platform China.
