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Ringing Rings

Exhibition  /  04 Sep 2021  -  26 Sep 2021
Published: 07.09.2021
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Intro
In the exhibition of "Ringing Rings - Contemporary Jewellery Exhibition", B.R Gallery invites artists to work with practice-driven methods, and explore the “message” carried from the medium of "ring". It's important to let the ring itself not only being a mental and physical restriction but also contribute meaning to the creative concept of the work.

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Artist list

Xinru Dai, FIXI, Xu Han, Kaiqi Jiang, Bin Liu, Fan Pan, Xinzi Song, Huize Sun, Yuxin Sun, Jiaheng Wu, Mian Wu, Wenjun Xiao, Fei Xue, YDMD, Yanxue Yin, Guan Yuyang, Leslye Zhang, Siqiu Zhang, Wenmin Zhang, Ray Zheng
Ringing Rings - Contemporary Jewellery Exhibition
 
McLuhan raised the view “ the medium is the message” in his book Understanding Media. The medium here is placed in a broad context, which is “the extensions of man”. The general concepts preceded it held the content of medium as message, and the medium is nothing rather than a neutral tool or vector - it was not the content of the medium, yet the medium itself, that has such influence. McLuhan's perspective is that any content clearly expressed by medium is not as important as the presence of medium itself, yet we often disregard the characteristics of the medium itself, because of the content of the medium.

In 1967, McLuhan used a figurative example to depict the association between man and medium: “A wise man once said, we don’t know who discovered water, but we know it wasn’t a fish.” Such talk resembles the joke behind that expresses people who are immersed in the medium are unable to realize their status quo because fish can only be aware of they are in the water when the temperature of the water has been altered. Therefore, it is only when a new medium occurs that the original sensation mode of people will be impacted, thus provoking reflections.

McLuhan's perspective is particularly inspiring for our discussion of contemporary craft today because the “water temperature” of craft has been twisted for centuries. Under the influence of the industrial revolution and other backgrounds, no matter it is a method of crafting or a way of artistic expression, handcraft has been tested through the changes of time. In the western world, the separation of handcraft began at the age of 20 in the 20th century, and at the age of 80 in China. Dr. Yuan Xiyang has already indicated that such separation reduced handcraft to a cultural enclave, which is detached from the career of aesthetic (art), as well as the career of function (design).

It is easy to tell that the arise of new medium and new technology enables notable changes to the “water temperature ” of handcraft, thus provoking the reflection for handcraft itself. Hence no matter in China or the West, many contemporary crafters starting to emphasize the intellectual content of creation rather than the aesthetics of material and craft under the conventional concept, on which approach towards the path of exploration in the field of fine art. However, the journey is not smooth yet even stumbled, which leads the winner of the Turner prize Grayson Perry sighing with resignation“ it is more difficult to ask the art institutions for acceptance to my pottery and textiles work than to embrace I am a transvestite”.
The handcraft criticism Jorunn Veiteberg has indicated that the function of artistic work is one of the reasons, which makes people not accept handcraft as a pure expression of aesthetics. She pointed out that people think, a functional thing must be restricted by function, which means it can never be able to elevate itself into the free form of intellectual activity advocated by fine art. 

In the exhibition of "Ringing Rings - Contemporary Jewellery Exhibition", B.R. Gallery invites artists to work with practice-driven methods, and explore the “message” carried from the medium of “ring”. Besides these messages could be treated as nutrient mediums, breeding the intellectual minding of artists themselves. The presentation of final materialization could be diversified, jewellery and installations are all acceptable. More importantly, to let the ring itself not only being a mental and physical restriction, and contribute meaning to the creative concept of the work.
 

Visiting hours: 11:00 - 18:00 h.
 
Ringing-Rings exhibition B.R. Gallery Bejing.
Ringing-Rings exhibition B.R. Gallery Bejing

© By the author. Read Klimt02.net Copyright.
Ringing-Rings exhibition B.R. Gallery Bejing.
Ringing-Rings exhibition B.R. Gallery Bejing

© By the author. Read Klimt02.net Copyright.
Guan Yuyang. Ring: Diamond Forever, 2019. Silver, Wood, Diamond. Guan Yuyang
Ring: Diamond Forever, 2019
Silver, Wood, Diamond
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Yixuan Zheng. Ring: A Bore of Ring, 2021. Paper. Yixuan Zheng
Ring: A Bore of Ring, 2021
Paper
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Bin Liu. Ring: The Bonder Ring, 2021. Silver, turquoise. Bin Liu
Ring: The Bonder Ring, 2021
Silver, turquoise
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Wu Mian. Ring: Rejuvenation, 2016. Silver, zircon. Wu Mian
Ring: Rejuvenation, 2016
Silver, zircon
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Xinzi Song. Ring: Love, death and cliche, 2021. Silicone, zircon. Xinzi Song
Ring: Love, death and cliche, 2021
Silicone, zircon
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Wenjun Xiao. Ring: Fishing Net Ring, 2019. Diamond, fishing net. Wenjun Xiao
Ring: Fishing Net Ring, 2019
Diamond, fishing net
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YDMD. Ring: Ring Glass, 2020. Glass, silver, zircon. YDMD
Ring: Ring Glass, 2020
Glass, silver, zircon
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Yanxue Yin. Ring: Fuzzy Time, 2021. Silver. Yanxue Yin
Ring: Fuzzy Time, 2021
Silver
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Qin Zhang. Ring: Remote Habitants Ring, 2021. Alloy wires. Qin Zhang
Ring: Remote Habitants Ring, 2021
Alloy wires
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Wenming Zhao. Ring: Samurai control horse, 2021. Silver, jade. Wenming Zhao
Ring: Samurai control horse, 2021
Silver, jade
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