Curator: Axis Art Project
Axis Art Project is a spontaneous art project derived from a complaint — “Xiamen is so boring”. The main purpose is to “express ourselves and put up questions.”
Scheme PhaseⅠis The Possibility of An Island. Basing on the island Xiamen and from the angle of their own anxiety, they tried to find a way out by a series of exhibitions, lectures, workshops and so on.
The Flowing Shop of Market Plan is the first practice of Axis Art Project’s second phase. By the ‘opening’ of virtual shops successively, the plan tries to complete the mutual conversion of “virtual” and “reality”. Perhaps this is a construction of consumption relationships; perhaps it is to build up or tear down a wall; perhaps it is a description of the social landscape; perhaps it is nothing; or perhaps it is our questions on virtual reality. The Amoy Meat Factory, as the third one of the The Flowing Shop of Market Plan, from the classical text to the creation of the novel, to build a virtual world in the immersive and theatrical way.
Artists:
Dao, Jiang Sheng, Li Weiyi, Lin Kunhao, Liu Shuwei, Qin Jian, Shen Piji, Wu Wei, Happy Bird, Yang Jian, Yang Wenbin, Zhang Ligeng
About The Amoy Meat Factory:
Seemingly a location with specific address, “Amoy Meat Factory” stems from the virtual game “Street Fighter”. Despite this, its veritable origin has nowhere else to be traced and its future unpredictable as well.
Aimed at transforming its role in Scheme Phase Ⅱ, the Axis Art project team strives to be a novelist to write the “history”. Our knowledge on Amoy Meat Factory doesn’t outweigh anyone else’s, yet it never impedes our efforts to fabricate such a virtual location – an “unexpected” place in contemporary language context out of imagination. This location, as well as the world it inhabits, concern the result of our doubt, hesitation and research towards various symptoms in the contemporary society. Thus an access through it may approach furthermore the reality we feel.
Tracking an “in-out” or “out-in” structural prototype of the same category in certain texts, we try to write something new based on this structure: starting from a specific and seemingly familiar geographic space, we construct a deceptive but definite immersion.
At this point, the grand narration is converted into a narration specific to regions. Deceivers are being deceived. The actual writer, therefore, may either be the author, the protagonist or the invisible reader. Whoever it is, they will intrude this world by their own and experience the alienation effect via hesitation in the real illusion.
The text of the novel will finally be disassembled into two paralleled parts for theatrical presentation: one presented in drama language based on the time clue, and the other via visual exhibition by structuralizing the space in the text. As all the audience enter the spot forged by the text and the artists, the text is ready to withdraw at any moment and the art work will be resumed to symbols, the possibility to overturn the original text is thus achieved in the audience’s rearrangement.
