beijing

Liang Shuo, The Grand Topology (detail), 2015, particleboard, self-adhesive PVC, dimensions variable.

Liang Shuo

PIFO Gallery 偏锋新艺术空间

Liang Shuo, The Grand Topology (detail), 2015, particleboard, self-adhesive PVC, dimensions variable.

Liang Shuo’s recent solo show bore an odd name: “Tuo Pu Ou Le Ju.” It’s his own transliteration of the English word topology, devoid of any meaning in Chinese. Following on his earlier shows “Fit” (2010) and “The Story of Beginning” (2014), which turned gallery spaces into a “living room” and a “business incubator,” respectively, this time Liang transformed the space into something analogous to his understanding of the mathematical term topology.

Entering the exhibition hall, viewers were led directly into a gloomy, winding, cave-like structure made of coarse, irregular wooden planks and a jumble of small beams and braces. Exiting the cave, one found oneself in a room largely occupied by a formal, geometric arrangement of tools, leftover construction materials, and cigarette butts on the ground. As they climbed the steps to the second floor, viewers, looking down, could catch sight

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