{"id":11623,"date":"2012-12-23T11:37:00","date_gmt":"2012-12-23T11:37:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=11623"},"modified":"2023-04-26T14:53:16","modified_gmt":"2023-04-26T14:53:16","slug":"rodentia-in-absentia","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/rodentia-in-absentia\/","title":{"rendered":"Rodentia in Absentia"},"content":{"rendered":"\n<p><strong>Rodentia in Absentia<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_stockroom\/1994\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Saamlung<\/strong><\/a>&nbsp;(26B Two Chinachem Plaza, 68 Connaught Rd., Central, Hong Kong)&nbsp;<strong>Nov 23- Dec 29, 2012<\/strong><\/p>\n\n\n\n<p>\u201cRodentia in Absentia\u201d is the quirky title of Adrian Wong\u2019s current solo exhibition. That the artist has put a great deal of effort into conceiving and realising these works does not go unnoticed. Saamlung\u2019s compact white space plays host to a mini-landscape of planar sculptural pieces or objects \u2014 one draws a sensation of containment and territory from grids, shelving and frames. Flat colour resonates with an air of ordinariness or urban standardisation (institutional reds and greens), and works mounted on the wall have tessellated or endlessly replicable outlines as if cut from a greater pattern (this idea evokes all the more in the context of Hong Kong\u2019s socio-urban tapestry). There is also something slightly sci-fi or filmic in these re-constituted appearances \u2014 the feel of selection, subtraction and representation that pervades much of Wong\u2019s work as he perceives and processes his Hong Kong environment, and often through the lens of TV or film.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"370\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-245.png\" alt=\"\" class=\"wp-image-11624\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-245-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-245-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-245-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-245.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><strong>Adrian Wong, \u201cSolitary Confinement\u201d (detail), 2012, Steel, body paint, latex, plywood, and stain, 144 x 73 x 73 cm<\/strong><\/figcaption><\/figure>\n\n\n\n<p>Whilst the fabric of these works has been created by the artist with acute care, there is a performative aspect to their execution which he merely oversaw, and to which the title of the show relates. Filling in the white space between the grid lines in the latex and plywood piece \u201c<em>Two to the East, One to the West\u201d (2<\/em>012) is a film of thin splinters and trails of pink paint. These were created not by the hand of the artist, but by the feet of rats scuttling over the surface \u2014 indeed, on closer inspection one can see paw prints in the dark green diamond shapes in the middle (the note of cuteness one sometimes finds in Wong\u2019s work might this time be found here, and also in the toy rats poking through holes in \u201c<em>As Above, So Below,\u201d\u00a0<\/em>2012). Elsewhere in the exhibition, one discovers, rodents participated in other ways.\u00a0 The wall boxes (\u201c<em>The Irrevocable Sadness of Colette\u2019s Thank You,<\/em>\u201d 2012, for example) contained hamsters and rats that lived in them for a time and whose tooth marks are visible on the grates; a grouping of triangular works in different sizes upholstered with laminate vinyl and foam (\u201c<em>A Hare Turned Two-Hundred and Seventy Degrees,\u201d\u00a0<\/em>2012) have been chewed through in places where the animals smelt food hidden underneath.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"504\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-246.png\" alt=\"\" class=\"wp-image-11627\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-246-300x229.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-246-150x115.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-246-393x300.png 393w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-246.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><strong>Adrian Wong, \u201cTwo to the East, One to the West\u201d, 2012, Latex on plywood, 116 x 154 cm.<\/strong><\/figcaption><\/figure>\n\n\n\n<p>Thus does the exhibition \u2014 strictly conceptual at the outset \u2014 reveal the activities that contributed to its creation. In the manner of Wong\u2019s previous work, these pieces have come about at the intersection of sculptural form, research methods (looking at animal behaviour), performance and Hong Kong\u2019s specific urban environment, its street furniture and sensations. The atmosphere is infused with a sense of the artist\u2019s affection for form and for life (the rats are named and thanked in the exhibition text), and for the viewer, perhaps, the visual satisfaction of aesthetic objects cast from the familiar. \u201cRodentia in Absentia\u201d comes across as one of the more intensely sculptural of Wong\u2019s projects, where filmic references (the artist\u2019s statement recalls Alejandro Jodorowsky\u2019s film \u201cThe Holy Mountain,\u201d where animals enact human action) and performance have been poured into the process of the works, rather than their final display.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"400\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-247.png\" alt=\"\" class=\"wp-image-11630\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-247-300x182.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-247-150x91.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-247-495x300.png 495w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-247.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><strong>\u201cRodentia in Absentia\u201d exhibition view.<\/strong><\/figcaption><\/figure>\n\n\n\n<p>Underpinning this project, however, is a temporal focus. Wong\u2019s practice is associated with the idea of a rolling present \u2014 a continuum of culture and reference that simply \u201cis\u201d and at the same time unfolds seemingly without the bindings of history or the promise of future. Apparently, and due to the operations of instinct (this we may glean from the exhibition text), \u201dthe mental operations of non-primates approximate a twilight of perpetual present.\u201d Thus, featuring sculptural objects marked by the actions of these moment-bound, recollection-less rodents might offer the possibility of an conventional narrative kept in the now \u2014 in the words of the text: \u201cstorytelling in a perpetual present.\u201d In these terms, one might interpret the project and its ultimate exhibition as a unity of presence and the present \u2014 as if the former (a specific kind of presence based on the instinctive existence of the rodents), made concrete and recast as aesthetic, can sustain a perpetual state of the latter.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"447\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-248.png\" alt=\"\" class=\"wp-image-11633\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-248-300x203.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-248-150x102.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-248-443x300.png 443w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/zh-hant\/image-248.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><strong>\u201cRodentia in Absentia\u201d exhibition view.<\/strong><\/figcaption><\/figure>\n\n\n\n<p>\u201cRodentia in Absentia\u201d is therefore an engaging and memorable show on different levels \u2014 for the aesthetic quality of these well-executed and balanced sculptural objects, for the sustained engagement it represents by the artist with his chosen fields of interest and research, and finally the tidy fusion of the two under the auspices of exploring narrative and time, and the chance of something different therein. The exhibition is at once compelling and charming as a reflection of Wong\u2019s very persona artistic methods. That he has no qualms about rodents \u2014 amongst the lowliest of urban inhabitants \u2014 contributing actively to his refined art works (which in turn are emblematic of the city) is both pleasantly amusing and somehow appropriate.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rodentia in Absentia Saamlung&nbsp;(26B  &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/rodentia-in-absentia\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":11637,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[7436,7435,735,2371,4498,620,7437,6334,7439,3354,7438,7440,1755,7441],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Rodentia in Absentia - \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\/rodentia-in-absentia\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rodentia in Absentia - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Rodentia in Absentia Saamlung&nbsp;(26B &hellip; Continue reading &rarr;\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/rodentia-in-absentia\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2012-12-23T11:37:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-04-26T14:53:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/04\/Rodentia.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1703\" \/>\n\t<meta property=\"og:image:height\" content=\"1157\" \/>\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=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/rodentia-in-absentia\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/rodentia-in-absentia\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Rodentia in Absentia\",\"datePublished\":\"2012-12-23T11:37:00+00:00\",\"dateModified\":\"2023-04-26T14:53:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/rodentia-in-absentia\/\"},\"wordCount\":860,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"Adrian Wong\",\"animals and art\",\"conceptual art\",\"film\",\"form\",\"installation\",\"Ltd. 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