The Indeterminate Boundless
Zhang:Zhangbing  Wang:Wang Sishun

Zhang: When did the idea of The Indeterminate Boundless occur to you?

Wang: At Art Basel in Hong Kong this year, an Austrian gallery invited me to present a sculpture, not too big. So I thought I could make something with no dimensions or with variable dimensions or a 4D sculpture with different sizes and shapes.

Zhang: How you want to present this exhibition?

Wang: The floor of the gallery features a sheet of lead plate, which will be folded repeatedly till I feel the size fits the surrounding space perfectly. As the dimensions of the work are variable, theoretically it can be folded infinitely. And if it is to be presented at a different space, it can be folded and unfolded again according to the specific conditions of that space.
At one corner of the gallery there will be a pile of packed raw materials that are used to make the lead plate.
The three façades of the gallery space will be cut from lead plates of different sizes and shapes according to the surrounding environment and size of the walls.

Zhang: Why lead?

Wang: For one thing, it is easily folded and shaped.

Zhang: For the “shape” of The Indeterminate Boundless, you chose to retain, or say to present, the primitive status with traces of industrial processing. You even wanted to present packed raw material. Why is that?

Wang: Economy and manufacture indicate the conceptual tendency of some of my works. In this work, aesthetics are achieved through processing and manufacture rather than plastic art. The sizes and shapes of all the works of this series are made to cater for different spaces and events, and have nothing to do with the works themselves. In other words, they don’t have shape at all. Any incidental effects achieved during the process of folding and cutting are inevitable traces of uncontrollability during the manufacturing process. The packed raw material put on display at the side is an indicator of both pre-manufacture and sustainable production. In the meantime, it enriches the site and the concept itself.

Zhang: You work gives out a sense of rationality and calmness, and the title is so lyrical. It reads like a poem or the title of a play. How did the title occur to you?

Wang: Not long ago, Jérôme Sans asked me the same question during an interview. I would give you the same answer as I gave him. The meaning depends on the context. When I named the work in this way, a kind of intimate and yet disconnected relation between the title and the work was fostered. I don’t think title has always to be the interpretation or label of a work. Sometimes it could be a supplement or extension of the work; and sometimes it can even be the opposite.

Zhang: You are in nature a very romantic person, right?

Wang: Yes. You can see that from the exhibition.

Zhang: Let’s talk about the exhibit. Why did you name it The Indeterminate Boundless?

Wang: According to Anaximander, ancient Greek philosopher, the origin of every specific and determinate things is indeterminate boundless. As economic laws and relations of production are one of my focal points, production models such as processing and customization and extensive processing techniques are adopted for the exhibition, in the hope that it would transcend specific art and production and acquire a kind of indeterminate and yet stable nature during the boundless process.

Zhang: What’s the contextual relation between The Indeterminate Boundless and your previous works? Take your previous work Uncertain Capital for example. Uncertain Capital is an ongoing series. Will you also make The Indeterminate Boundless into an ongoing series?

Wang: The Indeterminate Boundless and Uncertain Capital both touched upon practical issues such as economy and production. But I adopted a more metaphysical way to express the content. Goldman Sachs Project and Uncertain Capital reflected the illusionary and risky nature of capital through the continuance of time. 21 Grams (for which a skillful craftsman was hired to make 21 grams of gold into a fine gold wire) managed to transcend physical weakness and shake up the soul through the extension of space. The Indeterminate Boundless endeavored to attain a kind of extreme freedom that could transcend all kinds of possibilities through the constant change of dimensions and shapes to fit different spaces and to break through the restrictions of time and space.
The concept and form of Uncertain Capital collectively determined that it should be carried on repetitively and indefinitely. The Indeterminate Boundless, on the other hand, is carried on repetitively based on conditions of each different space.

Zhang: Do you think the 9m2 space is a restriction or incentive?

Wang:It’s more an incentive than restriction.