‘Behind the Scenes’ without walls

Graffiti, street culture and community connections are the starting points of Tan Jingcong's creation. In his early explorations, he attempt to utilize various board structures and establish his own artistic language. He retains a handmade and painterly quality in the cutting of wooden boards, combining tactile color blocks with dual hard edges of materials and colors to reflect on the flatness and plane of painting and creation.

Tan Jingcong’s works frequently show in parks, storefronts, and communities. Obviously, he hopes this creation will continue even extend the core of graffiti, while also moving beyond the walls of galleries to integrate directly into broader social spaces. Thus, the relationship between the work's space and the exhibition space becomes the second dimension of exploration.

During this residency, He continued using the negative-type boards and color block combinations, with diverse symbolic elements suspended, creating a "relief" infused with street culture. The exhibition space resembles the "backstage" of a theatre stage, inviting audience to freely move through it and experience different visual perspectives. On the "front," the pure color block arrangements offer a more open view; while on the "back," viewers can only observe the composition of symbols from specific angles.

During the creation of the works, Tan Jingcong invited dancer Wu Zilan, dramatic director Feng Yunshan, musician Qu Zhijie, lighting designer Xu Wenbo and Liang Qiwei to collaborate on the project. Additionally, the public education events associated with the residency exhibition are not mere "supporting" events but crucial processes in completing the work. As a result, the exhibition space continuously evolves towards a platform and forum. While the content in the space is initiated by the artist, the production and dissemination of knowledge are collaboratively accomplished by participants from various fields, the community, and audience. This is a performance not taking place on a stage, so the fourth wall does not exist between the viewer and the stage, but rather within the gallery's "walls." The artist's work aims to break the limitations of "walls" and weave a story of a "Behind the Scenes without walls".


By Jin Ran
2024.08.01