From about age 17 to 25, a time some people describe as "beautiful youth," it was "arranged" for me to live with two different collectives. These eight years where I had absolutely no choice influenced me in two ways: firstly, I gained an understanding of "freedom." To this day, I very much respect and treasure individual choice. Secondly, I developed a suspicion towards any kind of organization, collective, movement or uniform action, as well as a rejection of any kind of power.

We can no longer contemplate the subject - self - of contemporary art; it has been woven into infinite relationships, replaced by social movements, national image, and financial capital. The disappearance of the construction of the self of contemporary art makes it impossible to exist in the form of a subject. The subject of contemporary art that I speak of is a kind of naming event predicated upon the multiplicity of the environment. It includes politics, should have its own way of thinking, and can be perceived.

I think revolution happens when you distrust anything in its current state, including yourself.

When you are a part of a world that is within an enclosed system, the biggest threat is that the loss of contact with any voice from the outside - a point of reference that is different from you - becomes habitual. The loss of this reference makes the enclosed system seem perfect. I can still feel this kind of threat today, the voice that gives legitimacy to various kinds of enclosure.

The subject of contemporary art should include a political dimension, the distrust contemporary art has towards the existing order. One manifestation of this distrust is the mechanical dichotomization between art's form and its political content; the other is the institutionalizing tendency of anti-institutionalization. We almost never resist ourselves - the part of ourselves that has been institutionalized. We have occupied the word "resistance" and have become its owner, while "resistance" has become our servant. Thus, we own "resistance" and occupy it as a position of power.

There is the specter of "realism" that is still haunting Chinese contemporary art - that art is only an instrument, an instrument to reflect society, that it must be useful for society. Also, I have noticed many Western media outlets are very insistent on understanding contemporary art in China through this kind of realist approach. Sometimes I even sense that they are intent on, as we say in China, "picking bones of politics out of an egg of art." Or perhaps they see art as merely an instrument to reflect society.

From about age 17 to 25, a time some people describe as "beautiful youth," it was "arranged" for me to live with two different collectives. These eight years where I had absolutely no choice influenced me in two ways: firstly, I gained an understanding of "freedom." To this day, I very much respect and treasure individual choice. Secondly, I developed a suspicion towards any kind of organization, collective, movement or uniform action, as well as a rejection of any kind of power.