Yu Honglei’s “Fat Mouse” looks like a primitive land infected by space-age aesthetics.Three spheres on tripods, each 1.5 meters in diameter (Mud Ball 1, Mud Ball 2, Mud Ball 3, 2014) recall Eero Aarnio’s famous “Ball Chair,” yet possesses the texture of crude pottery. There is also a line of totem poles made of bright green wigs (A Week of Hers, 2014) that formally suggest Constantin Brancusi’s Endless Column. In a work inspired by Wolfgang Laib’s piece of the same title (Rice House, 2014), three metal objects sit on a light olive-yellow block: a long house, an eight ball and an architectural structure formed by a sphere, a cube, a pyramid and disks. Like Rice House, Woman in Venice and Fat Chair adopt the same (non-linear) logic and methodology; they start with reproductions of works of the same name by Alberto Giacometti and Joseph Beuys.
