{"id":12535,"date":"2016-11-08T10:24:00","date_gmt":"2016-11-08T10:24:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=12535"},"modified":"2023-09-14T10:39:24","modified_gmt":"2023-09-14T10:39:24","slug":"everyday-transformations-guan-xiao","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/everyday-transformations-guan-xiao\/","title":{"rendered":"Everyday Transformations: Guan Xiao"},"content":{"rendered":"\n

This piece is included in Ran Dian\u2019s print magazine, issue 4 (Winter 2016\u20132017)<\/em><\/p>\n\n\n\n

In nova fert animus mutatas dicere formas corpora (I intend to speak of forms changed into new entities) <\/em>\u2014Ovid, Metamorphoses<\/em><\/p>\n\n\n\n

Ovid opens the Metamorphoses <\/em>(AD 8) with an explicit statement of intent. In the 250 myths that follow, the Roman poet chronicles the subject of transformation\u2014sometimes in an arbitrary fashion, sometimes retelling well-known Greek fables, and sometimes straying in other, unexpected directions. One of these stories, which entered our collective consciousness, can be seen at Rome\u2019s Galleria Borghese, where Giovanni Bernini\u2019s famous sculpture tells the tale of the nymph Daphne in mid-metamor\u00adphosis\u2014her limbs turning into the twines of a laurel tree as she escapes from the love-stricken Apollo. Transformations occur in our everyday lives, too; we experience this in cinema, as film scores transport audiences sonically through visual imagery. In Ikon of Light <\/em>(1983), for instance, the composer Sir John Tavener articulates the transformation of matter between the duality of absence and the fullness of light in music. The work is an expres\u00adsion of light in sound\u2014light as both a physical illumination and a resplendent spirit. This fluidity and mutability of the sonic and the visual can equally be found in performative practices: in both classical Indian dance and Beijing Opera productions, a multitude of hand gestures and movements communicate a very distinct narrative meaning. Gestures, then, can be heard, music seen, and literature transmogrified.<\/p>\n\n\n\n

\"\u5173\u5c0f\uff0c\u300a\u65e5\u843d\u300b\uff0c\u706f\u7bb1\u7167\u7247\u3001\u6728\u5934\u3001\u91d1\u5c5e\u3001\u5047\u82b1\u3001\u6811\u8102\uff0c\u5c3a\u5bf8\u53ef\u53d8\uff0c2012<\/a>
\u5173\u5c0f\uff0c\u300a\u65e5\u843d\u300b\uff0c\u706f\u7bb1\u7167\u7247\u3001\u6728\u5934\u3001\u91d1\u5c5e\u3001\u5047\u82b1\u3001\u6811\u8102\uff0c\u5c3a\u5bf8\u53ef\u53d8\uff0c2012 \/ Guan Xiao, \u201cThe Sunset\u201d, lightbox photo, wood, metal, artificial flowers, resin, dimensions variable, 2012<\/figcaption><\/figure>\n\n\n\n

Guan Xiao, too, is interested in all kinds of transitions between forms, be they intermedia or conceptual. She explores how contemporary ways of seeing are influenced by digital imagery in a world of hyper-interconnectedness. By way of example, she has previously referenced (in a Frieze \u201cPortfolio\u201d piece in which she describes her sources of inspiration) a news event from 2013 showing a group of Russian photographers taking pictures of a gigantic meteor. We receive such imagery via social media platforms day in, day out. Technology telescopes us into other times and other places, collaps\u00ading geography and temporality and resulting in a state that means we no longer operate in a singular moment\u2014one that opens the technological object to repetition (and even distortion). What we physically see can be transformed, as can the way in which we view it. In Guan\u2019s own words: \u201cWhat is shown is now very common: an image of an event being documented and so widely circulated to the extent that the event itself ceases to be the subject. The image is no longer in the service of the event; it\u2019s the other way around.\u201d<\/p>\n\n\n\n

It is within this fluid framework that Guan Xiao presents two new works, \u201cHow to Disappear\u201d (2016) and \u201cWeather Forecast\u201d (2016), in Jeu de Paume\u2019s 9th Satellite program entitled \u201cNotre oc\u00e9an, votre horizon \/ Our ocean, your horizon.\u201d An installation consist\u00ading of sound, video on a small screen, and a projection of disap\u00adpearing text, \u201cHow to Disappear\u201d includes a soundtrack composed of three intermingling voices, each speaking a different language and announcing a disappearance, after which the image and the sound effectively vanish. As we reorient ourselves, we begin to think about the difference between discussing a disappear\u00adance and actually experiencing an absence. This is exactly what Guan Xiao wants to achieve\u2014an environment that makes visitors more aware of their cognitive processes. We become almost hyperaware of our senses and what might occur next. She sees this artwork very much as a preface to her next work in the exhibition. It\u2019s as if \u201cHow to Disappear\u201d forms the first part of a diptych to her show at Jeu de Paume, prim\u00ading the viewer to fully experience \u201cWeather Forecast\u201d.<\/p>\n\n\n\n

The three-channel video \u201cWeather Forecast\u201d presents a more vivid look at the possibilities for conceptual transformation. Taken from footage found on the internet (a frequent source for the artist and a process she describes as \u201cthem finding her\u201d rather than the other way around), the videos use travel as a metaphor to con\u00advey the parameters of conceptual transformation. Just as travel can transform us, so can a concept, a thing, and even human beings and animals. The artist chose \u201cWeather Forecast\u201d as the title because weather, in its very nature, is an impermanent, fluctu\u00adating, amorphous phenomenon. It is both an abstraction and an apt apparatus through which Guan Xiao can weave her narra\u00adtive of change.<\/p>\n\n\n\n

The video, although nonlinear, is separated into three sequential parts spread over three screens. In each segment, Guan uses images and video that, in her words, share \u201cthe same rules or logic.\u201d In her narration of these sections, which informs processes of transforma\u00adtion that occur in the work, she attempts to correlate one piece of subject matter to the next. Between each sequence, a text appears on all three screens that reads: \u201cHow can you view Europe from a chair?\u201d Guan Xiao suggests that the phenomenological change that takes place through travel and from experiencing new sights and sounds is a transforma\u00adtion that can be provided in your own home.<\/p>\n\n\n\n

What is fascinating in this is that Guan Xiao\u2019s work itself becomes an agent for transportation. In the science fiction world, transport\u00aders (\u00e0 la Star Trek<\/em>) convert a person or object into an energy pattern or dematerialized form before \u201cbeaming\u201d it to a destina\u00adtion, where it is reconverted into matter, or rematerialized. Guan Xiao poses a question by typing in coordinates that her viewership might choose to accept. Is physical movement from one place to another necessary for transformation to take place? What else can we beam across the world? If we needn\u2019t travel to experience other places, how might we identify ourselves or where we are from in the first place? Although the artist does not directly focus on ideas of identity in this particular case, she does allude to how identity can trans\u00adform from one thing to another.<\/p>\n\n\n\n

Guan recently had her first solo show in the United Kingdom, \u201cFlattened Metal\u201d, at London\u2019s Institute of Contemporary Arts (ICA). The exhibition included a new installation comprising five large printed screens in front of which were placed sculptures composed of various materials, including muted speakers. The assemblage of objects conflated history, transforming linear assumptions of time. For instance, in one work, a replica of a sev\u00adenth- to tenth-century Amazonian bird head, remade using resin and fiberglass, sat above what looked like the handle of an ancient scepter. These two pieces, which appear to have been sourced from antiquity, interacted with a high-tech racing boot to form a strange composite structure that perhaps belonged in the future. This work reiterates the artist\u2019s interest in finding formal equivalences between objects that are dissimilar in time, place, and purpose. In her view, \u201cwhether a plant, a human, or an animal, the process of how they feel the world is exactly the same.\u201d In a world where the internet provides a platform where voices are commeasurable, Guan Xiao, with this work, seems to ask how we might create our own hierarchies amid new information.<\/p>\n\n\n\n

In \u201cAction\u201d (2014), a three-chan\u00adnel work that was also included in the London exhibition, the artist likewise integrates sound, text, and images to produce a visual journey. The three screens display a rhythmic harmony: hands clap while feet tap, and as the pages of a book turn on one screen, a girl\u2019s hair flies in the wind on another. On the central screen, text displays Guan\u2019s inner musings: \u201cFor me, rhythm means all the intersections of sense. It\u2019s a way I understand the associations between things. It helps me to try and transfer action, see, listen, think about interactions and freely build a link between them.\u201d<\/p>\n\n\n\n

This way of seeing rhythm visu\u00adally, through imagery within moving image work, reminds me of how a musical score can carry out the visual sensibilities of a film. Birdman <\/em>(2014), directed by Alejandro I\u00f1\u00e1rritu and scored by Antonio S\u00e1nchez, comes to mind. S\u00e1nchez, a jazz percussion\u00adist, was tasked with finding \u201cthe internal rhythm of the film.\u201d An intrinsic rhythm governs the film\u2019s visual imagery, narrative, and storytelling, and it seemed to me that this rhythm moved and trans\u00adformed the characters to interact, not the other way around.<\/p>\n\n\n\n

In a recent interview, Guan observed that \u201cwe have five senses, but we are becoming more and more focused on just seeing and hearing.\u201d In her work, she appears to equalize the hierarchies of value inherent in senses, objects, and humans. A democra\u00adtization (of the sensorium) occurs in order to facilitate our understanding of this, because for the artist, different pieces of matter are comprehensively interrelated.<\/p>\n\n\n\n

It seems natural that digital mediums provide the perfect environment for the entropic variables Guan Xiao likes to manipulate. Guan\u2019s unique voice, her innate ability to recognize anomalistic associations and express her ideas about the transformative nature of objects has seen her featured in prominent international exhibitions (in addition to the ICA and the Jeu de Paume) including the 13th Lyon Biennale, the 9th Berlin Biennale, and the 5th Moscow Biennale for Young Art, as well as in the Zabludowicz Collection.<\/p>\n\n\n\n

All of this recent activity makes for an impressive lineup for the artist, who incidentally isn\u2019t very interested in labels such as \u201cyoung,\u201d \u201cfemale,\u201d or \u201cpost-inter\u00adnet.\u201d Hers might be an assertive and conscious resolve to be set apart, as if, and not unlike Heisenberg\u2019s uncertainty princi\u00adple for quantum mechanics, her ideas might suddenly lose their meaning if they were classified. At a time when some suffer constantly from a \u201cfear of missing out,\u201d perhaps these transformative experiences are needed in order to engage us: a real transporter, beaming us between our own and other, more virtual realities.<\/p>\n\n\n\n

 About the writer<\/strong><\/p>\n\n\n\n

Ying Tan is the curator at the Centre for Chinese Contemporary Art (CFCCA) in Manchester, UK, where she is in charge of the annual program of exhibitions and public program, as well as national and international touring shows. She has curated numerous exhibitions at CFCCA, in addition to many off-site projects in London and internationally. She is a visiting lecturer for Christie\u2019s Education (UK) and a contributor to KALEIDOSCOPE Asia magazine. Ying is on the curatorial faculty for Liverpool Biennial.<\/em><\/p>\n\n\n\n

\"\u201c\u5173\u5c0f\uff1a\u6241\u5e73\u91d1\u5c5e\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u4f26\u6566ICA<\/a>
\u201c\u5173\u5c0f\uff1a\u6241\u5e73\u91d1\u5c5e\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u4f26\u6566ICA \uff1b\u4e0eK11
\u827a\u672f\u57fa\u91d1\u4f1a\u5408\u4f5c\uff08\u6444\u5f71\uff1a\u9a6c\u514b\u00b7\u5e03\u6d1b\u5c14\uff09\/ \u201cGuan Xiao: Flattened Metal\u201d, exhibition view, ICA London; in association with K11 Art Foundation. Photo: Mark Blower.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u201c\u5173\u5c0f\uff1a\u6241\u5e73\u91d1\u5c5e\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u4f26\u6566ICA \uff1b\u4e0eK11
\u827a\u672f\u57fa\u91d1\u4f1a\u5408\u4f5c\uff08\u6444\u5f71\uff1a\u9a6c\u514b\u00b7\u5e03\u6d1b\u5c14\uff09\/ \u201cGuan Xiao: Flattened Metal\u201d, exhibition view, ICA London; in association with K11 Art Foundation. Photo: Mark Blower.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u201c\u5173\u5c0f\uff1a\u6241\u5e73\u91d1\u5c5e\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u4f26\u6566ICA \uff1b\u4e0eK11
\u827a\u672f\u57fa\u91d1\u4f1a\u5408\u4f5c\uff08\u6444\u5f71\uff1a\u9a6c\u514b\u00b7\u5e03\u6d1b\u5c14\uff09\/ \u201cGuan Xiao: Flattened Metal\u201d, exhibition view, ICA London; in association with K11 Art Foundation. Photo: Mark Blower.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u5173\u5c0f\uff0c\u300a\u4e94\u4e2a\u6f2b\u6b65\u7a7f\u8fc7\u9ec4\u660f\u300b\uff0c\u96d5\u5851\uff0c\u9ec4\u94dc\u3001\u6c7d\u8f66\u8f6e\u58f3\u3001\u81ea\u62cd\u6746\u3001\u6d41\u82cf\uff0c47 \u00d7 75 \u00d7 245 cm\uff0c 2015\u3002\/ Guan Xiao, \u201cFive Walks Through the Dusk\u201d, Sculpture, brass, car wheel, selfie stick, tassels, 47 \u00d7 75 \u00d7 245 cm, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u5173\u5c0f\uff0c\u300a\u57fa\u672c\u903b\u8f91\u300b\uff0c \u5c55\u89c8\u73b0\u573a\uff0c\u5929\u7ebf\u7a7a\u95f4\uff0c2015 \/ Guan Xiao, \u201cBasic Logic\u201d, exhibition view at Antenna Space, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u5173\u5c0f\uff0c\u300a\u8c03\u8272\u677f\u2014\u51b7\u9177\u68d5\u300b\uff0c\u96d5\u5851\uff0c\u6728\u677f\u3001\u6a21\u578b\u571f\u3001\u6f06\uff0c164 \u00d7 120 \u00d7 7 cm\uff0c2015 \/ Guan Xiao, \u201cPalette\u2014Cold Brown\u201d, sculpture, wood board, poly clay, lacquer, 164 \u00d7 120 \u00d7 7 cm, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u5173\u5c0f\uff0c\u300a\u84dd\u86d9\u300b\uff0c\u96d5\u5851\uff0c\u9ec4\u94dc\u3001\u6c7d\u8f66\u8f6e\u58f3\uff0c164 \u00d7 120 \u00d7 7 cm\uff0c2015 \/ Guan Xiao, \u201cBlue Frog\u201d, sculpture, brass, car wheel, 105 \u00d7 200 \u00d7 70 cm, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u5173\u5c0f\uff0c\u201c\u57fa\u672c\u903b\u8f91\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c\u5929\u7ebf\u7a7a\u95f4\uff0c2015 \/ Guan Xiao, \u201cBasic Logic\u201d, exhibition view at Antenna Space, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
\u5173\u5c0f\uff0c\u300a\u65e5\u843d\u300b \uff08\u5c40\u90e8\uff09\uff0c\u706f\u7bb1\u7167\u7247\u3001\u6728\u5934\u3001\u91d1\u5c5e\u3001\u5047\u82b1\u3001\u6811\u8102\uff0c\u5c3a\u5bf8\u53ef\u53d8\uff0c2012 \/ Guan Xiao, \u201cThe Sunset\u201d(detail), lightbox photo, wood, metal, artificial flowers, resin, dimensions variable, 2012<\/figcaption><\/figure>\n\n\n\n
\"\"
\u5173\u5c0f\uff0c\u300a\u53ee\u53eeja\u300b\uff0c\u9ec4\u94dc\u3001\u6c7d\u8f66\u8f6e\u58f3\u3001\u7ef3\u5b50\u3001\u6811\u8102\uff0c115 \u00d7 40 \u00d7 78 cm\uff0c2015 \/ Guan Xiao, \u201cDin Din Jaarhh\u201d, brass, car wheel, robe, resin , 115 \u00d7 40 \u00d7 78 cm, 2015.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

This piece is included in Ran Dian\u2019s pri … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":12563,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[9069,149,415,67,9068,9070,102,9071,4023,5717,416,9072,29,9073,239,9074,776,417,374,393,1755,9075,9076,9077,9078,5727,9079,4031,9080,9082,9081,9083,9084,9085,9086,419,9087,9088,210,2525,9089,9090,460,230,421,9091,9092,9093],"yoast_head":"\nEveryday Transformations: Guan Xiao - \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\/everyday-transformations-guan-xiao\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Everyday Transformations: Guan Xiao - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"This piece is included in Ran Dian\u2019s pri … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/everyday-transformations-guan-xiao\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2016-11-08T10:24:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-09-14T10:39:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/ICA-Guan-Xiao-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1010\" \/>\n\t<meta property=\"og:image:height\" content=\"673\" \/>\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=\"11 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/everyday-transformations-guan-xiao\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/everyday-transformations-guan-xiao\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Everyday Transformations: Guan Xiao\",\"datePublished\":\"2016-11-08T10:24:00+00:00\",\"dateModified\":\"2023-09-14T10:39:24+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/everyday-transformations-guan-xiao\/\"},\"wordCount\":1887,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"2016\uff0d2017\u5e74\u51ac\u5b63\u520a\",\"art\",\"art gallery\",\"artist\",\"artist profile\",\"Birdman\",\"exhibition\",\"Frieze\",\"Guan Xiao\",\"ICA London\",\"magazine\",\"portfolio\",\"Ran Dian\",\"Ran Dian issue 4\",\"Ran Dian magazine\",\"Ran Dian print issue\",\"Ran Dian Winter 2016\",\"Ran Dian \u71c3\u70b9 magazine\",\"randian\",\"randian online\",\"sculpture\",\"Transformation\",\"Ying Tan\",\"\u4f20\u64ad\",\"\u4f20\u8f93\",\"\u4f26\u6566\u5f53\u4ee3\u827a\u672f\u5b66\u9662\",\"\u4f26\u6566\u624e\u5e03\u7f57\u591a\u7ef4\u8328\u6536\u85cf\u9986\",\"\u5173\u5c0f\",\"\u53d8\u5f62\",\"\u540e\u7f51\u7edc\",\"\u5929\u6c14\u9884\u62a5\",\"\u5973\u6027\",\"\u5982\u4f55\u6d88\u5931\",\"\u6211\u4eec\u7684\u6d77\u6d0b\uff0c\u4f60\u7684\u5730\u5e73\u7ebf\",\"\u6241\u5e73\u91d1\u5c5e\",\"\u6b63\u5728\u5e03\u5c55\",\"\u6bcf\u65e5\u8f6c\u53d8\",\"\u71b5\u53d8\u91cf\",\"\u71c3\u70b9\",\"\u7b2c13\u5c4a\u91cc\u6602\u53cc\u5e74\u5c55\",\"\u7b2c5\u5c4a\u83ab\u65af\u79d1\u9752\u5e74\u827a\u672f\u53cc\u5e74\u5c55\",\"\u7b2c9\u5c4a\u67cf\u6797\u53cc\u5e74\u5c55\",\"\u827a\u672f+\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u753b\u5eca\",\"\u884c\u52a8\",\"\u8bb0\u5f55\",\"\u975e\u7ebf\u6027\u53d9\u4e8b\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/everyday-transformations-guan-xiao\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/everyday-transformations-guan-xiao\/\",\"url\":\"http:\/\/www.randian.art\/everyday-transformations-guan-xiao\/\",\"name\":\"Everyday Transformations: Guan Xiao - 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