Yellow Signal-Chapter4：Go to the Conference Room on the 13th Floor for Free Films

Pioneering video and multimedia artist Wang Jianwei is about to take us into an ‘in-between’, ‘undefinable’ zone, where truths are yet to be discovered, and where most of us live. The obliterated traffic light is both a signal and a sign, a rational state between red and green, between forbidden and permitted. Wang has created this project specifically for the UCCA Galleries to unveil an ongoing, finished narrative in four distinct chapters over a period of three months, in a coherent fashion. One of Wang’s motivations for choosing such an arrangement is to integrate the artist’s studio with the entire gallery, so that the artist’s creative process and the exhibition can be juxtaposed in a complete and parallel manner. The artist’s daily work can be viewed visually, and this unusual style of exhibition allows us to see clearly the mistakes, omissions, and execution of plans in the creation of art. While one may begin to think and power of imagination when looking at his works, Wang has hidden some ‘accidents’ in ‘unexpected’ places – under two large public wash basins, a basketball court, a basketball court, a basketball court, a basketball court, and a basketball court. A model of a basketball court and a conference hall was set up on the surface of the two large public wash basins. In this frustrating, dysfunctional and seemingly impossible space, Wang creates a clear socio-political metaphor, but the message is ambiguous. With each step, he forces us to question our senses and to question our visions. For Wang, seeing is not always believing, as everything we see may be an illusion, or even an illusion may become the only truth. In ‘Mistletoe,’ as in all of his works, Wang continues to push the boundaries of what is expected of us and to reveal the fascinating and ambiguous realities of contemporary Chinese life.

The Realm of Ambiguity Jerome Sans, Curator, Ullens Center for Contemporary Art