轻的还是重的

颗粒物 装置 （拆佳节又重阳迁现场废弃砖头打磨） 尺寸可变 2010           将在拆佳节又重阳迁现场收拣来的废弃砖头打磨成类似钻石一样的颗粒物，再将其放置在原来的现场拍成照片。

Merry Christmas!! Wishing you a year of peace and joy.... 

My works mainly involve the mental state of human as individual in the drastically changed Chinese society, the relationship of alienation and intimacy, resistance and acceptance of human towards the norms in the fluctuant scene consciously or unconsciously, the awareness and criticism of the harm to body brought by the knowledge, information communication, and inundant media; the concerns on the soul predicament and evolution of the individuals who are at the bottom of the changed Chinese society, and the doubt of the power which infiltrates into the daily life everywhere. I believe, the works from the perspective of microscopic studies and day-to-day experience will make me recover the unique qualities and possibilities of Chinese community, and that is why, in the background of the worldwide cultural interaction, my art works reveal the unique constructiveness and value.The choice of books, newspapers and magazines as the creation materials, in addition to some kind of cultural and sociological metaphor characteristics of their own, is duo to the necessity to stress the day-to-day experience in the creation. At the same time in such necessity maintain the vigilance and alienation of the mean experience and inertia thinking. The result of alienation is the natural resistance, whose prerequisite is the challenge ---- as for reading, it is the question of acquiring knowledge physically or well educating the body? In other words, in the age of extremely spread information, how to maintain the clear soul and the fresh physical feeling?

 Perhaps, this doubt is just the existence reason of the so-called "art".  

Remains of Time ，cement+ steel tube +3000kilogram   newspapers(930×820×280cm), installation, 2006 

  …… Wang Jun chose a far more complicated, longer and more flexible way: Along with the daily reading and thinking, to resist the meticulous and long-term coverage of the violent fashion words towards the individual living space, with black splendid alkene painting, in a variety of individualized approach to graffiti and cover the various fashion magazines he has read, day after day, year after year. In the course of graffiti and coverage, the simple cool black ink cool slowly and long-lasting the non-rational desires produced and mobilized by the fashion words, make these currently blooming text historical, and let them recover the simple and come to the nature accompanied by the infiltration and rinsing of the time, the soaking and scouring by the rational liquid. 

 In the course that the books were torn reveals the shape that looks like the body organs, and the serious cold books suddenly emit a smell of erotica; dual relations such as cultural / natural, mental / physical, rational / emotional,…… assemble together absurdly and peculiarly, which makes people see the truth in the gap of the torn thick book full of text. He then makes use of women’s hands of thick makeup to further guide the separate of the sex, bestows the seemingly rational, objective, neutral and authoritative knowledge with body and passion, secretly disseminates his sarcasm, and provides a turning point to let the body and knowledge get a new possibility in the process of mutual challenge and struggle.

 …… Media’s communications functions outflank and infiltrate the body comprehensively. On its ability to control the body, there so far has not been a culture which can contend with it. Wang Jun has his profound understanding of this outflanking and infiltration, which visually expressed in his 2006 installation piece "The Remains of Time": The omnipresent newspaper cover the individual's living space, forming a powerful strange force, or even having a monument, the day-to-day time of the absent subject is exhausted in this infinit coverage.

 In the "Living Room", he used the raw materials concisely duplicate a abandoned living space in the surge of reconstruction and removal mainly based on the pursuit of “prestige economies". In order to obtain certain social identity, people from all walks can’t help falling into passively in these "symbol value" races, and doing such 'rabbit dogs' cross-country chase. As the physical dwelling, private houses is originally personal space of a high degree of freedom, is a solid base of the body resisting the public words, and also one of the strongest strongholds that is most difficult for the social force to infiltrate into. This personal space of high degree of freedom has the traces of the individual life everywhere, which should be cherished and upheld, but collapsed, and finally completely disappeared in such frequent refresh movement. In this process, the subject dose not become successful and self-sufficient day by day, but could not help increasingly breaking. Wang Jun duplicates this "body" which is broken and will soon completely disappear for pondering, and through erosive, twisted, fractured and broken materials, metaphors the similar memory. He reinforces this painful psychological experience, but dose not excessively go sensational, while wittily controls the emotion in the subtle level, in order to arouse and mobilize self-examination and reflection of the visitors.


Living Room  installation（concrete、floor tiles 、 electric fan、 calendar  1200x1300x280cm ）  2007

  In the "Black Box", he lights the inside of the accusation letter box, and play the videos related to the accusation system and actual situation fuzzily and repeatedly. The repeated voice alternately linger, luring the outside visitors spot the inside accusation letter box from the small hole on it, while the dazzling lights stop their impulses. Through this repeated decoy to tease the audience, to change the conflict and paradox of secrete and openness, darkness and brightness, security and risk into the exact experience to tingle the body, so as to let the visitors get the understanding on the complex situation of current system in this kind of tingling.

 "Provisional Gun" is the works Wang Jun places at the center of Guiyang biennial exhibition hall. He assembles all kinds of sanguineous fire extinguishers into the shape similar to the large-scale destruction weapons, and also set up covert infrared sensors. When the visitors enter the sensor area, the voice of the time bomb into the countdown sounds relentlessly, the harsh warning lights are flashing at the same time, and the exhibition is enveloped in a disturbing, dangerous atmosphere, facing the terrible situation of demolition and destruction at any time. In this way, he conveys his doubt to the Biennale, the strategic cultural system which hides the complex political motives.