{"id":12991,"date":"2015-03-18T09:25:00","date_gmt":"2015-03-18T09:25:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=12991"},"modified":"2023-09-19T09:35:43","modified_gmt":"2023-09-19T09:35:43","slug":"devotions-upon-emergent-occasionsjoao-vasco-paiva","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/devotions-upon-emergent-occasionsjoao-vasco-paiva\/","title":{"rendered":"Devotions Upon Emergent Occasions:Jo\u00e3o Vasco Paiva"},"content":{"rendered":"\n

In The Book of Dave<\/em>, Will Self imagines a post-apocalyptic future in which our \u201cmodern history\u201d has been almost erased, where the diary of an ordinary London taxi driver\u2014a diatribe that was randomly unearthed\u2014has been adopted as the creation story and theocratic law for a regressed people. In this future\u2014which might yet come to pass\u2014wherein England has become an archipelago of islands, the \u201cCreation\u201d is referred to as \u201cMadeinChina\u201d because many of the found objects unearthed bear the imprint \u201cMade in China\u201d on them. The dual theme of the metaphor of the island (a geographic, temporal, social, intellectual and cultural fortress\/prison) and the randomness of objects and events, (with the abandonment of objects, through rejection and failure, as well as their reincarnation as archeological treasures and religious tokens\u2014as art!) echoed in my mind when reflecting on the works of Jo\u00e3o Vasco Paiva. His works play with abstractions of an everyday cultural geography of vertiginous contrasts; his practice, frequently departing from happenstance discoveries, is refracted by an archaeology of the present that generates its affective work through displacements.<\/p>\n\n\n\n

Born in 1979 in Coimbra, some 200 kilometers north of Lisbon, Jo\u00e3o Vasco Paiva headed to Hong Kong after having graduated from Porto Art School (E.S.A.P.). With a scholarship from the Orient Foundation in 2006, he pursued a Masters in Fine Arts in Creative Media at the School of Creative Media, City University of Hong Kong. He has been a Hong Kong resident ever since.<\/p>\n\n\n\n

The move to Hong Kong was almost random but, as Paiva said to me in conversation, \u201cDuring high school and at uni, all my close friends were from Macau\u2014Chinese-Portuguese, Chinese, Macanese.\u201d Though the circumstances may seem random, the move actually opened up some artistic possibilities. \u201cAt the time I felt everything in Europe was the same,\u201d says Paiva, \u201cI was tired of the historical ways I had to carry on my back.\u201d Portugal was perhaps not a formative influence in his artistic career; in fact, he considers the few early shows he held there irrelevant.<\/p>\n\n\n\n

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

\"\"
Jo\u00e3o Vasco Paiva, \u201cUntitled (from the Wanchai Market 1)\u201d, oil on stone resin,\u00a060 x 44 x 35 cm each, 2013(photo courtesy: the artist and Edouard Malingue Gallery)
\u5468\u5965\uff0c\u300a\u65e0\u9898\uff08\u6e7e\u4ed4\u8857\u5e021\uff09\u300b\uff0c\u6811\u8102\u4eba\u9020\u77f3\u4e0a\u6cb9\u5f69\uff0c60x44x35\u5398\u7c73\/\u4e2a\uff0c2013\uff08\u56fe\u7247\uff1a\u827a\u672f\u5bb6\u53ca\u9a6c\u51cc\u753b\u5eca\uff09<\/figcaption><\/figure>\n\n\n\n

People are notably absent in Vasco Paiva\u2019s work; his interests look up to a higher level, of systems human, physical, or otherwise. Even a street video of people accidentally bumping into the artist is so \u201ccorrupted\u201d or glitchy as to make them indiscernible. Yet an anthropomorphic thread of usage and repetition runs throughout his work, the apparently abstract patterns sitting closely with human experience. Images and forms that initially appear abstract, like his wall works\u2014that is, not realistically mimetic or expressive\u2014are actually drawn from the quotidian urban landscapes of high modernity, particularly regarding Hong Kong (one of the paradigms of urban hypermodernity). Seemingly random systems of existence emerge and ignorance slowly precipitates meaning. Things are recovered. The shipwrecked survivors begin to understand, or to create an understanding. It is a type of knowledge, possibly scientific, possibly not.<\/p>\n\n\n\n

Systems already in place work against other systems\u2014ideas, interpretations, and correlations\u2014molding and scarring them, creating hybrid systems, momentary and enduring. Each compels an engagement with its user-subjects, whether willing, incidental, or forced. \u201cCounterpoints\u201d (2011)1<\/sup>, a row of mass transit railway turnstiles that count invisible commuters in time, is an archipelago and a barrier, liminal space and limit-space. As a minimal art work, it is simply beautiful\u2014it counts people (it is automated to move according to the number of people that pass through their counterparts during rush hour in the central station). For the same reason, it is disturbing for its ghostly or machine animism. \u201cHow space is designed says more about people than if I include the human body,\u201d says Paiva. Another work, \u201cForced Empathy\u201d (2011), shows a buoy afloat in the sea, with the Kowloon skyline behind it (in fact, the nascent West Kowloon Cultural District): the buoy remains perpendicular while the sea and landscapes rock to and fro. A buoy is a type of island, a system of navigation; here, it is also a matter of perspective, an ordering of vision. More recently in \u201cThresholds\u201d, a video work from 2013, advertising from light-box billboards in a section of a flyover was removed\u2014repurposed, adapted\u2014the formalist oblongs invading and lighting up the suddenly un\/familiar arterial space.<\/p>\n\n\n\n

There are also physical systems, such as wind and sea currents (\u201cForced Empathy\u201d) but also the degradations of time on bricks and masonry, including the wrecker\u2019s ball, accidents and abuses, decorations, camouflage and tribal codings, the surfaces of broken pieces of wall splashed with dumb graffiti fragments. During a summer residency in Berlin in 2014, Paiva collected and refined pieces of masonry from a demolition site near his studio in Lichtenberg. Most were no more than knee-height or just big enough to be held in the hand. Each was accorded respect, carefully placed on low plinths cut from insulation panels or the concrete holding bricks together, and painted a bright cerulean blue. One piece of masonry with parallel slashes on its side recalls the angle of the teetering buildings in \u201cForced Empathy\u201d. All the works were documented and arranged together and, at the end of the residency, many were simply returned to the construction<\/em> site.<\/p>\n\n\n\n

The artist isolates himself on Lamma Island, one of Hong Kong\u2019s last remaining rustic havens. Along the coast, Paiva often finds flotsam and jetsam to incorporate into new works, including weathered concrete blocks and Styrofoam forms. Recycling and repurposing is another thread of his practice: the mis-appropriation is thematic. \u201cWhen you grab something that is already thrown away, not used any more, that can lead to a series of actions, not just a history.\u201d This is not about repurposing existing detritus but the concept of the rejected and lost objects, their raison d\u2019\u00eatre. Paiva created a resin copy of a \u201cStyrofoam box\u201d, which looked as if it had aged in the sea and the Hong Kong wet markets longer even than the \u201coriginal\u201d that inspired it. The result is a concrete monument\u2014a container doppelg\u00e4nger\u2014far heavier and more real than reality. Polystyrene, a material composed of air-filled polymers, light to carry but easily marked, along with the use of concrete, the dense, heavy and key material of the modern city, sets up a central conflict in the artist\u2019s work: the strain between the permanent and temporary, compression and density, transportation and containment\u2014no man is quite an island and no island is quite free.<\/p>\n\n\n\n

In 2012, the Lamma Island ferry had an accident in which 39 people lost their lives and almost 100 were injured. The tragedy is revisited in a work Paiva created for his \u201cCast Away\u201d exhibition in 2014 at the Orient Foundation, Macau. A fiberglass cast of a boat (that looks like concrete) sinks into a blue pixilated carpet on the floor, the angle of the prow recalling photographs of the incident. On the walls nearby, hung copies of polystyrene rescue flotation devices. Accompanying the ghost-wreck were a number of ghost-maps of islands, transparent blue elevations, with their plinths reflecting the design of the building, a seventeenth- century house originally built with the intention of replicating a European residence and providing an amulet-protection from the exotic \u201cisland\u201d outside. These jewel-like artifacts recall Jo\u00e3o Vasco Paiva\u2019s earlier series, \u201cTranslucent Debris\u201d, Constructivist-like sculptures that played on their component parts\u2014including the remains of colored Perspex\u2014the ability to physically bend and also to refract, filter and reflect light. Another work, a totem pole comprising a resin cast of a piece of a polystyrene packaging for a large TV monitor, again plays with notions of copying and transformation, space and compression.<\/p>\n\n\n\n

Paiva\u2019s work always begins with a search\u2014beachcombing, hunting, gathering, sorting, collating, analyzing. The remnant rubble, breeze block negative spaces, and the fissures in a concrete pier are about human enterprise and introversion, curiosities and fears, and the systems we have created to conquer them. As the artist commented to me, \u201cWhat connects everything [in the works] is a sense of isolating objects and situations.\u201d It is the alienation or misappropriation of the objects\u2014these redeemed pieces of masonry\u2014that gives them value. Objects go through different states but matter does not disappear\u2014only our perspective and definitions of it.<\/p>\n\n\n\n

Every man is a piece of the continent,<\/em>
A part of the main.
If a clod be washed away by the sea,
Europe is the less<\/em>.2<\/sup><\/p>\n\n\n\n

Notes<\/p>\n\n\n\n

1. Also known as \u201cSubway Turnstiles\u201d (2011), it was shown at the \u201cHong Kong Eye\u201d exhibition at Saatchi Gallery London in 2012.<\/p>\n\n\n\n

2. From \u201cNo man is an Island\u201d by John Donne (1624)<\/p>\n\n\n\n

\"Jo\u00e3o<\/a>
Jo\u00e3o Vasco Paiva
\u5468\u5965<\/figcaption><\/figure>\n\n\n\n
\"\"
Jo\u00e3o Vasco Paiva, \u201cMausoleum\u201d, latex and lacquer on stone resin, steel structure, 360 x 360 x 570 cm, 2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Jo\u00e3o Vasco Paiva, \u201cMausoleum\u201d, latex and lacquer on stone resin, steel structure, 360 x 360 x 570 cm, 2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Jo\u00e3o Vasco Paiva, \u201cPalimseptic\u201d, exhibition view, Saamlung, Hong Kong, 2011(photo courtesy: the artist and Edouard Malingue Gallery)
\u5468\u5965\uff0c\u300aPalimseptic\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0cSaamlung\u753b\u5eca\uff0c2011\uff08\u56fe\u7247\uff1a\u827a\u672f\u5bb6\u53ca\u9a6c\u51cc\u753b\u5eca\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Jo\u00e3o Vasco Paiva, \u201cFragment 5\u201d, Lichtenberg Studios, Berlin, 2014 (photo courtesy: the artist and Edouard Malingue Gallery)
\u5468\u5965\uff0c\u300a\u788e\u72475\u300b\uff0c\u674e\u5e0c\u817e\u8d1d\u5c14\u5de5\u4f5c\u5ba4\uff0c2014\uff08\u56fe\u7247\uff1a\u827a\u672f\u5bb6\u53ca\u9a6c\u51cc\u753b\u5eca<\/figcaption><\/figure>\n\n\n\n
\"\"
Jo\u00e3o Vasco Paiva, \u201cForced Empathy\u201d,\u00a0 video, 7 mins 29 secs, 2011(photo courtesy: the artist and Edouard Malingue Gallery)
\u5468\u5965\uff0c\u300a\u5f3a\u5236\u8ba4\u540c\u300b\uff0c\u5f55\u50cf\uff0c7\u520629\u79d2\uff0c2011\uff08\u56fe\u7247\uff1a\u827a\u672f\u5bb6\u53ca\u9a6c\u51cc\u753b\u5eca\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"
Installation view, \u201cObjects Encrypted\u201d, Goethe Institut, Hong Kong, 2013(photo courtesy: the artist and Edouard Malingue Gallery)
\u5c55\u89c8\u73b0\u573a\uff0c\u300a\u7269\u7684\u5bc6\u7801\u300b\uff0c\u6b4c\u5fb7\u5b66\u9662\uff0c\u9999\u6e2f\uff0c2013\uff08\u56fe\u7247\uff1a\u827a\u672f\u5bb6\u53ca\u9a6c\u51cc\u753b\u5eca\uff09<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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