NoNo , Self-curated Exhibition of latest artworks by 11 individual artists

Is NONO a double refusal and rejection, or is it the rejection of refusal? Is it saying no, or not saying no? Perhaps the phrase accurately presents the current contradiction in contemporary art, both large and small. The exhibition, curatorless and themeless, is nonetheless linked with each artist’s personal perspective and their attitude towards the contemporary. In a period accustomed to the enfeebled iscourse of the curator, is the lack of a curator an inadequacy or a new type of artistic flamboyance? In contrast to naming a curator for the sake of having a curator, the act of refusing a curator is a direct and raw reality and experiment. The artist’s have done it all DIY, the exhibition itself is spontaneous, autonomous and naturally occurring exchange of experiences as well as a collective game. There is a consensus among the artists, one that is premised upon the ability to amuse one another. One can conflate it to a metaphysical artistic ideal, or a mundane and profane experience. This is a presentation of this reality, a self-referential packaging of artistic intelligence, and an artistic sincerity restricted by its own freedom. Is there an illusion of swampy marshes from which contemporary Chinese artists must rescue themselves? Is a “bottle neck” among art and artists a hypothetical exercise, or a sign of imminent disaster? To what degree can an artist’s social idealism incite response? Can the work be engaging, or will it merely exist as the artist’s self-delusion? Do these conflicting realities point at a deficiency in the practice of contemporary art, or in the artists themselves; or perhaps it is the “exhibition” which is the site of the problem?