{"id":10607,"date":"2014-11-13T08:50:00","date_gmt":"2014-11-13T08:50:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10607"},"modified":"2023-04-18T08:54:02","modified_gmt":"2023-04-18T08:54:02","slug":"dust-and-shadows","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/dust-and-shadows\/","title":{"rendered":"Dust and Shadows"},"content":{"rendered":"\n<p><strong>\u201cCountershadows (tactics in evasion)\u201d<\/strong>&nbsp;\u2013 group exhibition with Heman Chong, Tamares Goh, Ho Rui An, Sai Hua Kuan, Jeremy Sharma, Tan Peiling and Robert Zhao Renhui.<\/p>\n\n\n\n<p><a href=\"http:\/\/www.randian-online.com\/np_space\/the-centre-for-contemporary-art-cca-singapore\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Institute of Contemporary Arts Singapore<\/strong><\/a>&nbsp;(1, McNally Street, Singapore)&nbsp;<strong>Sep 20\u2013Oct 26, 2014<\/strong><\/p>\n\n\n\n<p>How do you discuss something which is concealed, if doing so is to draw attention to\u2014and thus negate\u2014that concealment? Would an inquiry into evasion be itself evasive? These questions seem to flow through the Institute of Contemporary Arts Singapore\u2019s latest show, \u201cCountershadows (tactics in evasion)\u201d, charting a path from the birth of modern camouflage to some slippery usages in contemporary art.<\/p>\n\n\n\n<p>This conceptual slipperiness finds literal expression in Heman Chong\u2019s \u201cMonument to the people we\u2019ve conveniently forgotten (I hate you)\u201d (2008\u2013 ), which consists of a million plain black business cards scattered across the gallery\u2019s expanse in slippery, slightly reflective drifts. If you have ever moaned about having a million cards you\u2019ve yet to look at, the work ought to dispel some of that hyperbole. It might be a nod to the endless rounds of tedious networking that takes place in the art world, but it proffers more than just a cynical observation; while literally comprising discards to be trodden upon, it also envelops the space, somehow remaking the gallery\u2019s interior as some strange and blasted landscape\u2014shades of allegorical deserts\u2014with random drifts of cards drawing attention to your own (now squeaky, slippery) footfalls.<\/p>\n\n\n\n<p>Dominating this terrain like the monoliths in&nbsp;<em>2001: A Space Odyssey<\/em>&nbsp;is Sai Hua Kuan\u2019s \u201cSomething Nothing\u201d (2007)\u2014a white cuboid resting atop the blackened landscape, with a well-lit&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Squircle\" target=\"_blank\" rel=\"noreferrer noopener\">squircular<\/a>aperture as its most prominent feature. Entering the structure (which requires the ritual purification of doffing one\u2019s shoes and donning translucent plastic foot-covers) offers a rare perceptual treat\u2014the lights by the entrance, combined with the interior\u2019s geometry, cancel out all the shadows within, in what might be a literal application of the show\u2019s title.<\/p>\n\n\n\n<p>Left without visual and spatial cues (as one might find in a whiteout) there\u2019s a sense of being cast adrift in a limitless void: a curious blend of claustrophobia and agoraphobia, seasoned with a nagging discomfort at how easily our senses can be short-circuited. It is somehow reminiscent of&nbsp;<em>The Hitchhiker\u2019s Guide to the Galaxy<\/em>\u2018s \u201cTotal Perspective Vortex\u201d, except instead of a scale reference of yourself relative to the universe, you\u2019re confronted by a yawning expanse of coolly indifferent attempts at meaning and signification. Belying the work\u2019s sci-fi appearance, it is composed of workaday, fallible (the structure\u2019s surface is a little prone to creaking and cracking) materials like house paint and plywood. Along with the exposed lighting setup, the work remains within some comprehensible domain, as if it were a magician\u2019s trick that reveals its workings while not sacrificing its illusion.<\/p>\n\n\n\n<p>Process and material are also foregrounded in a series of evocatively titled (\u201cUnicorn\u201d (2014), \u201cLiner\u201d (2014), and \u201cRed Herring\u201d (2014)) sculptural works by Jeremy Sharma that rest on the gallery\u2019s floor. Like \u201cSomething Nothing\u201d, these sculptures seem quite at home rising out of Heman Chong\u2019s landscape of black cards\u2014but as gravid totems rather than a serenely impassive monolith. The works\u2019 serial forms seem factory-fresh from some unknown production line, molds for undisclosed automotive and other industrial parts.<\/p>\n\n\n\n<p>Both familiar and alien, these ghosts of our manufactured world, recalling J.G. Ballard, could offer some mute testament to accidental poetry and other hidden depths\u2014the stylized forms in \u201cUnicorn\u201d, for one, manage to simultaneously suggest pharaonic tombs and commonplace automobiles. In receding behind these automated, computer-aided processes, Sharma appears to eschew traditional modes of craft, at once placing long-standing artistic processes within the same frame as computer-mediated production, paradoxically drawing attention to artistic conventions by receding away from them.<\/p>\n\n\n\n<p>Further varieties of ambiguity and equivocation find expression throughout the show. For instance, Robert Zhao Renhui\u2019s evolutionary bio-fiction \u201cWhite House Crow\u201d (2013) translates the story of the Peppered Moth\u2019s adaptation to developments in British industry to Singapore\u2019s own brand of reclamation-mad development, just as the work\u2019s principal image, an adhesive vinyl print applied directly to the gallery wall, is slated to be destroyed along with the take-down of the show.<\/p>\n\n\n\n<p>For the show as a whole, though, ambiguity and equivocation seem to have been translated into a stark monochromaticism\u2014of white and black and all the shades of grey in between, the greys in particular being meditatively discussed in Ho Rui An\u2019s \u201cA Difficulty (Grey)\u201d (2014). Despite the odd splash of warm gallery spotlights, the emphasis placed on immediate, immaculate visual impact hints at the possibility of some misdirection, a flawless veneer that leaves one wondering about what might have been papered over \u2013 if perfect visual coherence was achieved at the cost of some unseen instability. Even as color\u2019s decorative character can be made to conceal something more essential, what if the show\u2019s equivocal tendencies apply here also? That the monochrome, rather than an absence of distracting decoration, could itself be a subtler form of camouflage, its coolness but a masquerade of essence?<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/11\/Countershadows_7.jpg\"><img decoding=\"async\" src=\"http:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/11\/Countershadows_7.jpg\" alt=\"\" class=\"wp-image-51085\" title=\"Countershadows_7\" \/><\/a><figcaption class=\"wp-element-caption\">\u201cCountershadows\u201d, exhibition view at ICA. (Image courtesy the artist and ICA Singapore. Photo: Olivia Kwok)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"990\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-34.png\" alt=\"\" class=\"wp-image-10608\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/pzcoBKo0-image-34-200x300.png 200w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-34-100x150.png 100w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-34.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Sai Hua Kuan, \u201cSomething Nothing\u201d, plywood, plaster, paint, lamp, 240 \u00d7 594 \u00d7 355 cm, 2007. (image courtesy the artist and ICA Singapore. Photo: Olivia Kwok)\u00a0<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"990\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-35.png\" alt=\"\" class=\"wp-image-10611\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/6EQQYSDk-image-35-200x300.png 200w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-35-100x150.png 100w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-35.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">\u201cCountershadows\u201d, exhibition view at ICA (Image courtesy the artist and ICA Singapore. Photo: Olivia Kwok).<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-36.png\" alt=\"\" class=\"wp-image-10614\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-36-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-36-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-36-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-36.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Ho Rui An, \u201cA Difficulty (Grey)\u201d, HD video, 5\u2019 30\u201d, 2014. (Image courtesy the artist and ICA Singapore. Photo: Olivia Kwok)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"68\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-37.png\" alt=\"\" class=\"wp-image-10617\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-37-300x39.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-37-150x19.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-37-500x64.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hans\/image-37.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cCountershadows (tactics in evasion)\u201d&#038;nb &hellip; <a href=\"http:\/\/www.randian.art\/zh-hans\/dust-and-shadows\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":10620,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[6552,3308,1520,6551,6553,6550,968,6554,6555,6556],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Dust and Shadows - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/dust-and-shadows\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dust and Shadows - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201cCountershadows (tactics in evasion)\u201d&amp;nb &hellip; Continue reading &rarr;\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/dust-and-shadows\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2014-11-13T08:50:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-04-18T08:54:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/uploadszinnia20160310tumblr_inline_ncrgsfrjfb1sxz7ka.jpg.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1650\" \/>\n\t<meta property=\"og:image:height\" content=\"1099\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u4f5c\u8005\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9884\u8ba1\u9605\u8bfb\u65f6\u95f4\" \/>\n\t<meta name=\"twitter:data2\" content=\"5\u5206\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/dust-and-shadows\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/dust-and-shadows\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Dust and Shadows\",\"datePublished\":\"2014-11-13T08:50:00+00:00\",\"dateModified\":\"2023-04-18T08:54:02+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/dust-and-shadows\/\"},\"wordCount\":924,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"CCA Singapore\",\"Heman Chong\",\"Ho Rui An\",\"J.G. 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