ÃÖ°í°ü¸®ÀÚ | February 17, 2014 | view 5,805
2011 l Jeong Moo Yang l Jia CHANG 
Jia CHANG
Jeong Moo Yang, 2011

Looking at Jia CHANG¡¯s work, one is taken aback twice: once by the radical character of the artist¡¯s work, and twice by today¡¯s sense of art criticism which remains nonchalant after seeing the brutality depicted in her work. Jia Chang has been consistent in dealing with taboo subjects that would be difficult for any artist to pick up and address, and the art community has been consistent in turning its eyes away from them. It is possible for any contemporary artists to address a nasty subject once or twice. But it is hard to imagine an artist who would delve into anti-aesthetic subjects so tenaciously and objectively as Jia Chang has been doing.
Let us now take a look at her major works. Physical requirements for an artist (2000) is a series that could be considered as Chang¡¯s debut work. It is a single channel video in which Chang portrays herself as an artist who languishes under the routine violence of everyday life. In this video, Chang interprets the criticism leveled at artists through a performance; and while the content is cruel the performance is measured, and it strongly conveys the sense of fear and crisis that contemporary artists experience. In her later works Princess sad (2004) and Menstruation blood(Flower stamp, 2004), Chang delves into desires that have become chronic in the routine of daily lives with cold rigor. Chang¡¯s fourth solo exhibition Omerta(2006, Space Loop), in particular, has left many anecdotes. She filled the gallery space with images of, and actual, fecal matters; the visual and olfactory senses of the audience were polluted by the images and the actual materials on display, and they were faced with the unforgettable displeasure of having to deal with them. But the visitors did not easily leave the gallery. They gathered in front of the works such as Standing up peeing and P-tree, or ¡®a tree with urine hung in full bearing,¡¯ and they wondered about them and liked them. In the more recent past, Chang has been working with the subject of applying physical torture. These works include The sitting young girl (photography, 2009) and Beautiful instruments (2009).

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