Nanjing Art Fair International

Wang Rui's life, like most of ours, is punctuated by regular intervals into the virtual abyss of online shopping, chatting, surfing, entertainment, gaming and art. It is an adventure that simultaneously enhances and confounds conventional reality leaving us further from metaphysical truth and closer to the boundless smorgasbord of information revelry. It is also one where posturing has become a form of communication, self-branding/identity construction and existing. In her multichannel video Spring (2015) she both scrutinizes and embraces female stereotypes and the notion of self-representation. Pictured are two teenage ballerinas in flowery tights that play casually with an inflatable balls and a hula-hoop. In their awkward, overly contrived positioning they glance towards the camera, self-aware, as if part of a photo shoot. The camera graces them as they adoringly yet clumsily strike positions and flirt with the camera. It is reminiscent of both slapstick films and fashion videos, it is intensely naïve, sexy and funny. As girls world-wide are prepped for their future lives the study of ballet has become a norm. In China this is intensified by social competition, the love of everything Western classical and its emphasis on mastering rather than enjoyment.