Guan Yu Da：The Power of Bodies—Han Xiao's Scalpels
The deBnicion of "artist" that arc history gives is in accordance with different notions and prototypes in different eras. The boundary of arc history that Han Xiao meant to exceed is that artists aren't regulated by art histor)7 itself. "Artist" shouid be redefined and be self-defined — this is the core of art experiment. Han Xiao is more chan an artist, a life expert, a philanthropist and a plastic sur^on. Ic is che accicude of wandering and refusing to be defined that keeps him enough prudence and critique on the "traps" set
by the contemporary art. In fact, since the appearance of Duchamp's art, the artistic democratization and the disappearance of the boundary between art and life have given art experiment great space on the one hand, and on the other hand, turned art into a hotbed for various opportunism and cjTiicism.
Therefore, the exhibition "The Power of Bodies — Han Xiao's Scalpels" is both a review of reflecting history and piecing clubs and a foresight of raising questions and generating meaning. It focuses on questions about historicism and has a utopia temperament of cultural idealism, which has been ^ner-ated and developed continuously. More importantly, it refuses any explanation which is existing or transcendental, modern or post-modern, eastern or western. That is to say, as an individual case, the exhibition illustrates or records the cultural tmth growing with the contemporary Chinese social life. It also intends to make judgments and explanations through Chinese own ways.
'The power of fiesh" proposed by Han Xiao, means to throw away cultural stereotypes, outmoded conventions, language hegemonism, and the pressure on ci\alization; to return to the item itself, namely the "flesh" itself; to start from fresh and acute personal experience and "flesh experience", from China, and the body, instead of from western countries and the brain. But the "proceeding" does not even begin, so the destination is meaningless. It tends to state facts and raise questions. But it rejects any answers. What MThe Strength of Flesh" presents is a state that individual souls can create freely, and the concrete, daily, acute and vivid flesh experience, shared by artists through all kinds of experi-ences. Jusc as Jack Kerouac says said in "On the Road": "What's j^our road, man? Holy road, rainbow road, guppy road or any other roads. Anyway, it is a road that can lead everyone to arrive at every? where.
Guan Yu Da
Written during the trip from Shanghai to Guangzhou
September 1st to 8th, 2013.