Independent Documentation And Data Center: Art In The Number

The independent documentation and Information Center (IRAC) near the Malay Cultural Centre is on the first floor of a row of old shops.

Li Wen, a performing artist in China, lives in the two floor room of the center.

The reason why IRAC was founded was Li Wen's solo exhibition at the Singapore Art Museum two years ago.

For the solo exhibition, he displayed many of his collection of information on performing art for many years.

After the exhibition, the earliest plan is to continue to set up a long-term document center in the Museum of art.

Li Wen then rented the space and placed the exhibition materials here.

"It's really hard for a person to sort out the materials. Although I ask for help, there are volunteers from time to time, but it's really time-consuming."

Li Wen said he also consulted the Contemporary Art Center of the camp, hoping that they would be interested in inheriting the database.

IRAC's document focuses on the collection of Contemporary Asian visual arts, especially the related photos, videos, digital records, picture books, and art workers' materials for performing arts.

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The centre also invites visual arts and experimental musicians to organize activities in the venue.

Last Friday, Luo Zihan, a young artist in China, held performances and seminars in space.

Li Wen said that there is no art research institute in China, and there is no magazine to comment on visual arts. Young art workers, especially experimental arts workers, lack the platform for discussing works.

"Therefore, this space invites you to communicate with each other and enhance mutual confidence.

We also put on a new show.

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The performance of performance art is fleeting. Photography and video are the only way to keep records for them.

IRAC's long-term goal is to put all the materials on the Internet so that the public can browse freely and even upload art materials.

"Documents should not be just a way of remembering, but to extend the discussion of history and the study of art."

It is not only the mainstream of visual art in China, but even the tributary. In 1994, Huang Xinchu was banned for ten years in the event of shears and shames.

Li Wen said that he had lived a poor life for many years. Only last year did he have the opportunity to show up at the Basel Art Fair in Hongkong under the arrangement of the first sight Gallery in China.

"I was very poor before I went to Hongkong.

Now with money, all of them are invested in IRAC. "

Li Wen said he had many ideas about IRAC, but he didn't receive many applications.

In Li Wen's eyes, the support of the local classes is far from enough.

"What has been lacking for decades in our country is the place where art records, research and discussion are carried out. This is what official institutions and universities should do, and we have lagged behind for decades.

In 1960s, the economy needed to develop and could not support local art. Today, as the economy develops, we can't catch up with the demands of the market. "

Li Wen, who graduated from Raffles College, is an anomaly among his classmates.

"Students are successful people, doctors and lawyers.

I asked them to visit my exhibition at the Singapore Art Gallery, and told them they were free to enter, and only one person came.

They don't understand my work at all.

Our country lacks art education, and there are too few people who appreciate art. "

At the end of the interview, Li Wen said that in the days when art seems to be booming in the local world, we should rethink the position of art and artists.

"Is art just about buying and selling? Do we view history and art from the perspective of economic and monetary values? Where are our confidence and respect for local art?"