It is an overwhelmed exhibition, in which the whole space is soaked in the subtle sound of dripping water. That’s where the narration of the exhibition starts and extends to the ceaseless ups and downs of life.
The main space presents the overwhelming installation of huge-scale sculptures and old doors and windows, like a still cross-sectionof history. The huge horizontal carrier is created with the old doors and windows dismantled from old factories in Nanjing and shacks in Shenyang, and plaster sculptures once displayed in Nanjing State-run Gypsum Factory are hungon it, creating different visual effects and ups and downs. The change of this form is not the parallel displacement of physical reason, but the re-start of artistic creation , which is the expansion after the transformation of the original local context, and it has the significance of the Times.The regular squarespace of the gallery is segmented into three perspectives from top to bottom,representing the flames, clashes and impermanence of life in the torrent of history.
Everyone attempts to surface from the exhibition. Li Nu weaves the metaphor with the Chinese title “Lurk” and the Englishone “Order & Disorder”. They confront each other but also convert into one another, and turn to more void and uncertainty in the continuous contrasts and conflicts.
Here, only times flows away like water, and Li Nu’s humble, real emotions lurk on his ego land, dashing desperately yet motionlessly.
