Yeysk City of Streams–Bi-City Biennale of Urbanism\Architecture Yan Tian Venue
Bi Rongrong’s participating works:
Wall Painting: Connection Mode No. V – Laying/Overlaying
Wall Paper: Connection Mode No. X – Unknotting/Knotting
Fishing Net: Connection Mode No. L – Hauling In/Throwing Out
Cable: Connection Mode No. C – Floating/Navigating
空间二：壁纸：关于连结的第 X 种方式—解／结
The façade, the passageway and the corridor are integral parts of the building with different functions. And in terms of the communication with the public, the route forms a shift from a completely open and outdoor space to a half-open public space and then to a long, narrow and relatively less public indoor space. While working with the three spaces which are visually and physically interrelated, I resort to “cable”, a common tool to be seen at the Yantian Port, to make a connection among them. In reality, fishing boats are connected by cables that are seemingly messy and yet arranged quite in order. The ways they are fastened and the thickness of the cables vary due to their different uses. For the wall paper at the passageway, I did some research into the parabola-like patterns composed by the cables as well as how they were knotted. If we see the different surfaces of the passageway as those of a fishing boat, would these parabola-like patterns and knotting methods make the interconnection between these surfaces more visible?
Standing in front of the building, viewers would gain a full picture of a huge wall painting on the façade. Covering the whole space of the front façade, the wall painting features fragments of objects I encountered during my previous journeys. Making their way into the painting, forms, colors and lines are constantly blending and progressing, generating a variety of connections among which I feel that light is the only connector that could break through time and space and wanders smoothly within.
Following the passageway and going upstairs, the space becomes more independent. It could block light and re-generate it. In the corridor space I try to extend my research into the cables, managing to have a more intimate dialogue with viewers through the light rays and weaving texture of the cables. The cables in this work are knotted in a way similar to the fishing net commonly used in this area. Sharing the same height of the space, but due to the different proportional relation, its function and interrelation with us change accordingly. The shape of anchor imbues it with great intensity. I endeavor to capture such intensity and foster new power within the space, which embodies an alternative kind of connection I observe in this corridor space.
Connection modes evolve infinitely according to space and time. Within these three spaces, I number my way of connecting with roman numerals V, X, L and C. The numbers increase continuously and substantially, implying that there are countless possibilities lying within.
Connection Mode No. V – Laying/Overlaying
Coordinated by Bo Bing and Li Wengao
Created by the painting team of Tian Min, Liu Yushi, Chen Xianliang, Wu Xianguo, Liu Jianlong, Huang Yong et al.
Connection Mode No. X – Unknotting/Knotting
Wallpaper printing, variable size
《关于连结的第 X 种方式——解／结》
Connection Mode No. L – Hauling In/Throwing Out
Woven by Mr. Guo Zhiqiang, a Hardware Expert from Nan Ao,
3.3m tall, upper galvanized pipe diameter: 3m, middle diameter: 2m, lower diameter: 1.7m; luminescent, electric powered
高3.3米 ，上圆镀锌管直径3米，中径2米，下径1.7米， 冷光线，插电
Connection Mode No. C – Floating/Navigating
Instructed by Mr. Guo Zhiqiang, a Hardware Expert from Nan Ao.
Anchor, wire rope, buoy, pulley, rope, variable size