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He Juxing: Backside, or Backdoor Made

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He Juxing: Backside, or Backdoor Made 崇真艺客

“

Things may not necessarily have two sides, but viewing the world is a matter of perspective. This is the logic that opens up the freedom of ideas, although logic is often the succubus of truth. —— He Juxing

”

I open a discussion on the spiritual essence of artists Yu Hong and Eliasson, as well as the future involvement of Start Museum, under the theme "Backside, or Backdoor Made".

From my perspective, the "Backside" refers to those obscured parts of a viewpoint, with the conceptual nature of perspective transcending objective reality. This also points to the existence and relationship between all truths or non-truths.

START Museum in early summer

I propose the concept of "Backdoor made" which rhetorically can be understood as a crisis or the aftermath of a crisis, containing elements such as sharpness, harm, escape, fugitives, dispersal, and frantic pursuit of a path, along with the corresponding efforts to rebuild balance. From a standpoint perspective, it can be seen as the awe-inspiring moment after overcoming a barrier, revealing another world beyond the perilous wall. In the realm of freedom, it signifies birth.

Thus, the concept of “The Backside” harbors the potential of the unknown and the future, and it's not just an exit for escapees but also a gateway for freedom-seekers. The conceptual world beyond the backdoor may be the “backdoor made”, a singularity of a new world, or perhaps a place of redemption, new order, clarity of vision and divinity, vast skies, emerging concepts, and their support.

The Backside: Yu Hong & Olafur Eliasson

START Museum, Shanghai

2024

When joining the exhibition, these artworks represent individual journeys. This emphasizes the importance of mutual observation and discussion beyond the exhibition: what I see are colors and shapes, and what I don't see are the harm and the edge. I rely on my experience to affirm the front, and my realization validates my back.

Exhibition view: She's Alredy Gone, Yu Hong

Acrylic on Paper, 34 Pieces

2017

Backside may not be innocent, while the front side is long unclear — this is the most extravagant color scheme I've seen in Yu Hong's work. She smooths the view of self into a delicate narrative in the world, and dominates flirtation over soaring and floating above concepts. In her interwoven stories, familiar faces are the directors of her drama, and random outcomes are also the directors of her drama.

Exhibition view: She's Alredy Gone, Yu Hong

2017

Her most effective weapon in her work is often to sharply perceive the front and warmly doubt the back. She presents facts to blur your vision and introduces doubt into the focal point of your observation, shattering your experience. However, the new system constructed from her personal perspective attempts to decipher the human heart, and deciphering hearts is often the most perilous.

Exhibition view: She's Alredy Gone, Yu Hong

Acrylic on Paper, 34 Pieces

2017

Placing Eliasson and Yu Hong side by side in the same exhibition is not about seeking mutual connections. Even if relationships cannot be avoided, I do it out of sheer randomness, because I want to illustrate: the greatest relationship among artists, artworks, audience and institutions... is independence, independence is paramount. Independence in the human realm is about cultivation rather than just existence; it's about spiritual value rather than mere survival. Eliasson’s Your Cosmic Campfire and Yu Hong's She’s Already Gone both these works mark not alternative departures but rather new beginnings in their creative histories, yet Eliasson’s departure leads him to a new journey, while Yu Hong's departure might be a long-planned breakout.

Exhibition view:

Sua Fogueira Co?smica (Your Cosmic Campfire), Olafur Eliasson

Aluminium, colour filter foil, glass, HMI lamp, motors, tripod

2011

In my personal time, I exhibit while being myself. This is also the tone and spectrum I see in Olafur's work. In his piece Your Cosmic Campfire Eliasson presents an infinite spectrum through the overlay of primary colors. This visual and sensory experience is Eliasson's color theory and his conceptual world – the backside of shapes is the world of light, and the world of light illuminate reality. This standpoint is not virtual for an artist, as every viewer in front of his work is a part of the real colors. Such a conceptual standpoint, rather than being a backside, is more of a made. The various shapes he created in the spectrum seemed to point to the invisible and endless free rhythm.