ÃÖ°í°ü¸®ÀÚ | January 27, 2015 | view 4,820
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The Signs of Pain and Pleasure Imprinted in the Body
 
Sun-young Lee | Art Critic
 
CHANG¡¯s works are intense, yet not stubborn. They concern little with artistic sublimation, yet her creative language is quite elaborate: the animal skin seems to continue to maintain such homeostasis unique to organisms even in death and its surface harbors strong antagonism against being inscribed with some images; bizarre objects that seem to be wet with blood itself, not be painted with blood or bloody red pigments; her linguistic imagination through which artifacts found at flea markets in foreign countries are endowed with unfamiliar orders. According to my experience with the artist¡¯s personality, the intensity of CHANG¡¯s art seems to originate not from some peculiar abject taste but from her innocent mind and tenacious devotion to her artistic work. Nothing beats the marriage between innocence and sincerity. In short, a blind attitude to go all the way without reflecting on the circumstances tends to arrive at the door of taboos.    
     
The element of provocativeness, which had been the byproduct of CHANG¡¯s exhibitions, is related to the game of violating taboos. Here the body is in the crux of the taboo. The body is the most fundamental boundary that demarcates the line between normal and abnormal. The breaking of the most sensitive boundary of the body results in a broad spectrum of outcomes from a minor trivial injury to death. But breaking through a certain limitation brings about not only pain and death but ecstasy and transcendence as well. It fluctuates between lowliness and sublimity. The philosophers of violation, who regard taboos and the violence of violating them as sacred, do not hesitate to establish art as the offspring of religion. But if taboos and the incidents of breaking them are thought as only dark and dreary entities, one is unlikely to be fascinated by them. The instinct to transcend the limitations of taboos to seek after the absolute finds its outlet, and the body, which has constantly appeared in the work of CHANG becomes its battleground. In this exhibition where the works use the materials such as leather, blood and metal equipments, the body is both absent and present. Sharp metal objects will penetrate the skin, which protect internal organs and flesh, to discharge red bodily fluids. One is reminded of the pain and death of an organism by the act of drawing on the surface of leather with a hot iron while being exposed to the stenches of chemicals and burning flesh and by the unfamiliar metal apparatuses of which one can only wonder what operations require them. Nevertheless, the outcomes are artworks of visual pleasure and have healing effects. The combination of metal and flesh is suggestive of playfulness and hedonism in the deviant sexual practices such as sadomasochism and in such subcultural practices as piercing and tattooing. There are a considerable number of points where pain and pleasure cross each other in CHANG¡¯s work. ¡°one¡¯s pain is another¡¯s pleasure.¡±
 
What are shown in another leather work of CHANG in this show are a self-portrait shedding tears of blood, hands on which severe artistic labor inflicted, an organism that have become someone¡¯s food, the artist¡¯s own solutions and doctrines of ¡®surviving the death¡¯, and a scene where skeletons are tongue kissing. These images seem to show no distinct connection among them as if in dreams or unconscious minds. Yet they are the products of brutality that have conquered the obstinate resistance of the material and function as icons intimately related to love, death, madness, art and desire, all of which determine one¡¯s joy and sadness. They have become one with the material, which reminds one of flesh and blood. Yet CHANG lightens up these irrational and heavy subjects in her own ways. The artist extracts the heavy from the light and vice versa. Series from the Beautiful Instruments consists of objects that the artist found at a flea market in Beijing. The ornamental designs of those practical objects give them the appearance of relics. The artist¡¯s random comments about surgical equipments are more focused on the act of torturing than some sort of suspicious surgical operations. The work is in the same context of the sadomasochistic tools shown at I Confess in 2011. The slipshodness of the bricks for which the blood of a slaughtered cow is used and the sloppiness of the objects to the extent that they look as if a child made them, eradicate the seriousness that can be plausibly associated with all the bloody endeavors that the artist carried out for the very production of those crude artifacts.