{"id":15161,"date":"2015-04-08T11:08:00","date_gmt":"2015-04-08T11:08:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15161"},"modified":"2023-10-26T11:30:03","modified_gmt":"2023-10-26T11:30:03","slug":"art-week-aftermath-part-ii","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/art-week-aftermath-part-ii\/","title":{"rendered":"Art Week Aftermath: Part II"},"content":{"rendered":"\n

Machine<\/strong><\/p>\n\n\n\n

Galerie Steph<\/strong> (39 Keppel Road #02-06), January 7 \u2013 February 17, 2015<\/strong><\/p>\n\n\n\n

Moving Light, Roving Sight<\/strong><\/p>\n\n\n\n

Ikkan Art International<\/strong> (39 Keppel Road #01-05), January 23 \u2013 February 18, 2015<\/strong><\/p>\n\n\n\n

A Tree With Too Many Branches<\/strong><\/p>\n\n\n\n

DECK<\/strong> (116 Prinsep Street), January 25 \u2013 March 15, 2015<\/strong><\/p>\n\n\n\n

To pick up where we left off with our post-Art Week round-up, while there has been a great heap of exhibitions and other events\u2014the phrase \u201cover a hundred\u201d having been bandied about with some glee\u2014a few things did stand out from the pack, and not just at Gillman Barracks.<\/p>\n\n\n\n

Two of them are tucked away in a corner of an unassuming cargo distribution complex in the port district, both with a decidedly fitting technological-industrial bent: \u201cMachine,\u201d at Galerie Steph, by a group of young Chinese artists, and Ikkan Art International\u2019s \u201cMoving Light, Roving Sight\u201d featuring, among others, teamLab and Jenny Holzer.<\/p>\n\n\n\n

\"\"
\u201cMachine\u201d, Exhibition View<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Li Shurui, \u201cHome Made series No.4\u201d, acrylic on canvas, 90 x 90 cm, 2014<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Tao Hui, \u201cEmotional Manufacturing\u201d, Router and Antenna, Dimensions Variable, 2011<\/figcaption><\/figure>\n\n\n\n

\u201cMachine,\u201d as its title baldly suggests, concerns itself with our relationship between ourselves and our almost wholly mechanized world. It is somewhat reminiscent of the New Aesthetic\u2019s ruminations and experiments\u2014though thankfully lacking in drone-panic or techno-utopianism\u2014translated through relatively analogue modes of production: plenty of paintings, for one, and most of the works are mounted on an IKEA-esque shelving unit.<\/p>\n\n\n\n

In their own ways, the paintings on show arguably depart from convention. At first glance, Li Shurui\u2019s works appear no more than orderly, monochrome, airbrushed patterns, perhaps hinting at some process of mechanical production. But within moments they have a tendency to induce an eye-watering shimmer\u2014something like a scintillating grid illusion hopped up on exotic pharmaceuticals. While optical illusions tend to offer little more than brief, confused amusement, Li\u2019s \u201cHome Made Series No. 4\u201d (2014) seems more like taking sandpaper to your optic nerve. It\u2019s a raw heightening of one\u2019s awareness of vision that lays bare the fact that the whole phenomenon of vision is, so to speak, a mechanical system\u2014and, like any such system, vulnerable to exploits.<\/p>\n\n\n\n

On top of hacking our sense of vision, Machine also features a work which can only be fully observed through everyone\u2019s favorite communicative prosthesis, the smartphone. Tao Hui\u2019s \u201cEmotional Manufacturing\u201d (2011) is, to the naked eye, little more than three wifi routers and antennae\u2014in sensory terms, possessed of an anodyne, manufactured seriality which befits functional electronic components. However, whipping out your phone to sniff for free wifi results in a barrage of textual abuse: the three networks are named, \u201cYou must be infected with HIV,\u201d \u201cYour mom is dead,\u201d and \u201cYour baby was raped.\u201d It is an elevation of vulgar bathroom graffiti to some electronic ether which<\/a>, despite apparently gleeful crudity, hints at the electronic extension of our senses\u2014and, conversely, an intrusion of the electronic into our senses.<\/p>\n\n\n\n

\"\"
teamLab, \u201cFlowers and People, Cannot be Controlled but Live Together-Dark\u201d, 2015 (artist impression)<\/figcaption><\/figure>\n\n\n\n
\"\"
Haegue Yang, \u201cJewel-Wish Table Light\u201d, 2010<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n\n\n\n

\"\"
Jenny Holzer, \u201cTRUISMS (selections from 1977-79)\u201d, 2013<\/figcaption><\/figure>\n\n\n\n

Ikkan Art International\u2019s \u201cMoving Light, Roving Sight,\u201d on the other hand, takes a different route in being anchored by the work of collectives teamLab and invisible designs lab: respectively, \u201cFlowers and People, Cannot be Controlled but Live Together\u2014Dark\u201d (2015) and \u2018\u201cTIME CORD\u201d (CARNIVOROUS ROBOT eats SOUNDS and NOTES)\u2019 (2015). Each, in their own way, presents an overwhelming technological spectacle: in the case of teamLab, being wholly immersed in a dazzling, all-around landscape of virtual flowers caught in a cycle of growing, blossoming, and withering. teamLab claims that each successive frame of the animation will never repeat a previous state\u2014a cyclical, chaotic infinity to meditate upon or to be lost within.<\/p>\n\n\n\n

As opposed to the landscape, invisible designs lab\u2019s spectacle takes the monolithic form: an electro-mechanical juggernaut which bears a passing resemblance to the Large Hadron Collider. Instead of smashing hadrons together at mind-melting speeds, the installation\u2019s centerpiece involves chimes and laser lights in a ring of articulated arms, surrounding a screen which displays pulsating, abstract polygons. All of this responds to input from a nearby record player, generating disquieting patterns of sound, light and motion; despite being very much a product of human agency\u2014invisible designs lab\u2019s condensation of the history and activity of the universe\u2014its mechanical sophistication seems to harbor some cryptic potential to indifferently exceed its programmed parameters.<\/p>\n\n\n\n

If there is a weakness to \u201cMoving Light, Roving Sight,\u201d it\u2019s a tendency towards hyperbolic pomp, best seen in Naoko Tosa\u2019s achingly relentless, exhaustingly luxurious slow-motion videos, which bear some resemblance to those bizarrely abstract video<\/a> clips designed to showcase the technical capabilities of cutting-edge televisions. A possible antidote, if needed, might be Ang Song Nian\u2019s \u201cA Tree With Too Many Branches,\u201d at DECK, a relatively new photography-focused space welded together out of cargo containers.<\/p>\n\n\n\n

\"\"
Ang Song Nian, \u201cWoods\u201d, from the series As It Grows Older & Wiser, 2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Ang Song Nian, \u201c#2\u201d, from the series The Perfect Pattern, 2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Ang Song Nian, On-site installation of \u201cHow The Forest Follows Me Around\u201d, 2015. Photo by Marvin Tang<\/figcaption><\/figure>\n\n\n\n

Ang\u2019s work, as a counterpoint to industrial ephemerality of cargo containers, begins with a particular plant his father tended over the years, expanding into a general commentary on our relationship with the world of green and growing things. The show finds itself dispersed amongst these interconnected containers; fittingly enough, each space houses a distinctly different experience, the highlight of which is a wall-to-wall installation of eight hundred potted iron tree saplings (Dracaena fragrans \u2018Massangeana\u2019) in a pyramidal, rectilinear formation, suggesting some tension between the chaos of organic growth and development\u2019s tendency to impose order on the world.<\/p>\n\n\n\n

It\u2019s a theme that\u2019s also explored in the show\u2019s other bodies of work, in particular the miniature photography of the series \u201cThe Perfect Pattern\u201d (2015), in which tiny potted plants are set amidst a landscape of otherwise identical plants. As a whole, the show blends ruminations on the anthropocene<\/a> with Ang\u2019s personal memories, framing our reflections on our relationship with our biome in terms of Ang growing up with his father\u2019s miniature garden. While not, at first glance, at the forefront of technology-driven changes in society\u2014as with \u201cMachine\u201d and \u201cMoving Light, Roving Sight\u201d\u2014nevertheless offers a restrained, reflective look at the very same, from a different point of view.<\/p>\n","protected":false},"excerpt":{"rendered":"

Machine Galerie Steph (39 Keppel Ro … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15189,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[10493,10492,10497,10495,1519,10494,10496,3477,10498,10499,10500,2375,4116],"yoast_head":"\nArt Week Aftermath: Part II - \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\/art-week-aftermath-part-ii\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Art Week Aftermath: Part II - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Machine Galerie Steph (39 Keppel Ro … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/art-week-aftermath-part-ii\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2015-04-08T11:08:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-10-26T11:30:03+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/4427.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"2000\" \/>\n\t<meta property=\"og:image:height\" content=\"1124\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\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=\"7\u5206\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/art-week-aftermath-part-ii\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/art-week-aftermath-part-ii\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Art Week Aftermath: Part II\",\"datePublished\":\"2015-04-08T11:08:00+00:00\",\"dateModified\":\"2023-10-26T11:30:03+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/art-week-aftermath-part-ii\/\"},\"wordCount\":1066,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"A Tree With Too Many Branches\",\"Ang Song Nian\",\"DECK\",\"Galerie Steph\",\"Gillman Barracks\",\"Ikkan Art International\",\"Jenny Holzer\",\"Li Shurui\",\"Machine\",\"moving light\",\"Roving Sight\",\"Tao Hui\",\"teamLab\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-CN\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/art-week-aftermath-part-ii\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/art-week-aftermath-part-ii\/\",\"url\":\"http:\/\/www.randian.art\/art-week-aftermath-part-ii\/\",\"name\":\"Art Week Aftermath: Part II - 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