On March 19 QI MU SPACE is to present “Light in
itself”, Song Meng’s solo. The exhibition, centered on light, offers a self-service
theatre where visitors can take whatever they need.
Taking into full consideration of the
exhibition condition, Song Meng chose altogether eight sets of works for this
exhibition, his first solo. The reflection that an object produces with the
light projected on it or the physical property of selective absorption was used
as cognitive language for the replacement (illusion conducive) of media in the
space.
With the object’s capacity
of reflection, absorption, or penetration of light varies, colors and light are
produced. Luster is actually an indicator of the object’s reflection
and absorption. To visitors, in such a self-service context that can leads to
illusion, their spiritual interpretation of the luster can be refraction of
this exhibition which can produce very strong effect on their inner world: “luster”. The artist
considers the self-service exchange at the exhibition as a perceptual
invitation, and all the language for communication comes from itself when light
is projected on it. As he told us, “Luster, as something
natural, can be a prefix or suffix to an object, either changing from a noun to
an adjective or into something interchangeable. In the end refraction becomes a
way of understanding.”
“The Evoked Height” in this exhibition can be taken as a collection of the artist’s perception
over time. It is about the reading and observation of light, as well as the
imagination about sound, both being a form of perceptive induction, or a spear
that is based on luster in a broader sense. “Lucky Invalid” turned the
exhibition hall into a space for the opening optic imaging; “Synchronization
Mirage” activates and links the context by borrowing the refraction in a
mirage to synchronize perceptual simulation with a psychological span; “Careless
Light” is a gift from nature that people find in the end; “Plain
Reading” is the artist’s writing about “ordinary stuff” in nature, a wild story of the moment about the materialization of
luster; “A Fairy Land Available·Pingpang Hole” mobilized many a medium to build a imaginary space that intersect
with “luster” to build a fairyland that can measure institution and perception; “Seeds:
Cool-Headed Visitors” takes advantage of the plasticized material and the out-lookers to
show that it is the artist’s concretization of the formal “self-service” and a knot
to be solved; “Spring” deals with transformation on a return visit, in which the artist
hands himself over and questions himself.
About the artist:
Song Meng, born in 1980, is now based in
Guangzhou and Beijing. He graduated from Luxun Academy of Fine Arts and Central
Academy of Fine Arts.
