Firstly Exhibited at Yongkang Lu, Shanghai 2010, Konstantin Bayer got a visit by journalist Hunter Braithwaite.
Archeology of Waste – by Hunter Braithwaite, printed at Cityweekend Shanghai, 08th of July, 2010
Two months ago, Latvian artist and curator Zane Mellupe started converting storefronts on Yongkang Lu, the former site of a vegetable market, into small galleries. It’s a great move for the local art scene, but the openings present questions of gentrification and cultural ownership.(...)At No. 64, Konstantin Bayer’s the rise of no revolt plays on the relationship between locals and the implanted-culture industry.
In a tiny room, the German artist displays several relics that together form an archeology of waste. The floor is made of packed charcoal dust, giving it an aboriginal feeling or perhaps one of nuclear winter. A retro video projector records minnows swimming in a moldy fish tank. Some decompose on the surface of the water. Crayon scribbles on the back wall, remnants of the space’s previous tenant, evoke both Lascaux, a site in France famous for its Paleolithic cave paintings, and the walls of orphanages. The rise of no revolt also touches on the topics of time misspent and energy squandered. A beckoning cat is turned to the wall so that its paw bangs on the concrete. The original beckoning is inverted to supply endless grieving, begging at the
front door. Shards of pottery are set in concrete. Bayer is preoccupied with preservation, but, in many ways, he negates the utility of the preserved. What good are bowls filled with concrete? What does a vegetable market need with art galleries? (...)