The Queens Museum spaces are given an architectural form evocative of the Socialist era meant to bring viewers directly into the collectivist imagination. This exhibition is a survey of the most representative works created by Polit-Sheer-Form-Office during its nine years of existence, but it is also in some way a single project that integrates the individual artworks with the site. The collective derives its creativity from this equality and adaptability. On a foundation of deep understanding and trust, the roles and responsibilities of the group’s members can change to fit the situation. According to them, members enjoy absolute equality and are willing to set aside the self as the condition for fusion onto the collective. PSFO is a highly adaptable organism: when they come together, they adjust their roles, fitting into the collective through their greatest strengths to become units in a greater whole-as the propaganda of their childhood might have encouraged them to do. Instead of political content, we have sheer, unadulterated political form-hence “Polit-Sheer-Form-Office.” The fact that the group calls itself an “Office” is another ironic reference to officialdom.Įach PSFO member has a significant and successful solo artistic career, and PSFO represents an opportunity for them to experiment with another way of making art over an extended period of time. The very emptiness of the political rhetoric of their childhood is what inspires the group’s name. But this is not nostalgia for one of the most controversial periods of Chinese history. By eating, drinking and playing together, the PSFO members revive a collective way of life associated with the Communist era of their youth, reawakening a long-lost state of being, by which they contend with contemporary China’s ideology of consumerism.
At the same time, “sheer form” without content allows room for the individual to grow. Within this framework, individuals may find the ties that bind them to others. In its activities and artworks, PSFO attempts to create a framework-albeit tongue-in-cheek-for collective life in today’s consumer-oriented China. Born in the mid-1960s, as children they all experienced the late Cultural Revolution, a period of Communist ideological orthodoxy that powerfully affected the preceding generation.ĭrawing on this personal history, PSFO’s artistic practice strives to create a collective way of life while removing the political content historically associated with it. Materials are specified for long-term exposure to harsh, outdoor conditions so they are not prone to corrosion or rust.Polit-Sheer-Form-Office (PSFO) is a China-based art group established in 2005 by artists Hong Hao, Xiao Yu, Song Dong, Liu Jianhua and curator/critic Leng Lin. In addition to vehicular & pedestrian entryways, these flood barriers can be designed to protect vulnerable vent shafts & ducts. Moreover, FloodBreak products are designed for long service life with minimal maintenance so they will operate as designed for decades. These self-rising flood barriers, unlike traditional flood control measures, permanently mitigate flood risk. Passive flood barriers like FloodBreak’s eliminate this requirement and deploy automatically regardless of whether personnel can get there or not. FloodBreak eliminates that problem and the risk posed to people and owned assets.įEMA states its preference for passive flood mitigation measures because it eliminates human intervention. There has never been flood damage behind a properly installed FloodBreak-protected entrance.Īctive flood control products require human action, a primary cause of avoidable flood damage. Without human intervention and without power. FloodBreak was founded on a fundamental yet very simple concept - using the power of rising water against itself to automatically protect structures from flood damage caused by floodwaters.
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