{"id":2273,"date":"2018-07-05T08:07:00","date_gmt":"2018-07-05T08:07:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=2273"},"modified":"2022-12-03T08:17:42","modified_gmt":"2022-12-03T08:17:42","slug":"fantastic-grounds-jiu-jiu-and-the-politics-of-the-digital-image","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/fantastic-grounds-jiu-jiu-and-the-politics-of-the-digital-image\/","title":{"rendered":"Fantastic Grounds: Jiu Jiu and the Politics of the Digital Image"},"content":{"rendered":"\n<p>In \u201cFantastic Grounds\u201d, the artist Jiu Jiu juxtaposes computer-generated images with all manners of gathered materials: from early experiments with computer graphics and video to the experiences of gamers playing simulated games (like Sim Life), from hacked spoof videos to 3D models of Disneyland. These fragments are brought together and through the use of jump cuts inserted into the narrative, breaking up the linear temporality of the video. It also hides a thread of the artist\u2019s ideas about the interrelation between image generation and real space: rather imperceptibly, the working modalities in computer programming and the operational interface in design software shape our modes of thought and our means of carrying out tasks, leading to a homogenization of the user, which is projected out into real life, influencing how lifestyles are formed. For Jiu Jiu, this is the manifestation of the subjectivity of the image\/video. The process of creating architectural renderings of urban buildings, like the destruction and remodeling of the world, is like the constant rendering and re-rendering of the image itself, which simultaneously continues to improve upon itself.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-76.png\" alt=\"\" class=\"wp-image-2274\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-76-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-76-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-76-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-76.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u201c\u4eba\u9020\u573a\u5730 \u660e\u65e5\u201d\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2017<br>Fantastic Grounds \u2013 Tomorrow, installation view\uff0c2017<\/figcaption><\/figure>\n\n\n\n<p>As such, in order to ensure an integrated and complete exhibition, Jiu Jiu conducted step-by-step experiments in two different project spaces. I:Project Space, located in a courtyard house at the end of Banqiao Hutong, has floors painted with a layer of silver reflective material, while a black stand supports a LCD screen, which plays the first half of \u201cFantastic Grounds\u201d. In the \u201cLight Pavilion Project\u201d, located on the second floor of Taikang Space, a florescent tube is placed in one of the corners, its blue light filling up the entire space where three videos play, their content transitioning from the abstract to the representational. The punchline of the show comes from an early printed advertisement from Dell, with the slogan \u201cGet More Out of Now\u201d\u2014a symbol of the human desires which would soon emerge and which posed the ensuing question: could humanity actually control the future world then being birthed?<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-77.png\" alt=\"\" class=\"wp-image-2277\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-77-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-77-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-77-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-77.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u4eba\u9020\u573a\u5730\u300b\uff0c\u89c6\u9891\u622a\u5e27\uff0c2017<br>\u201cFantastic Grounds\u201d<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"296\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-78.png\" alt=\"\" class=\"wp-image-2280\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-78-300x168.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-78-150x84.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-78-500x280.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-78.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u4eba\u9020\u573a\u5730\u300b\uff0c\u89c6\u9891\u622a\u5e27\uff0c2017<br>\u201cFantastic Grounds\u201d<\/figcaption><\/figure>\n\n\n\n<p>This exhibition creates a scene of punitive seduction\u2014an \u201ciron hand in velvet glove\u201d sci-fi atmosphere\u2014and introduces a number of classic science-fiction themes: the coercive nature of technology, its effect on ethics and morality, the innate desires and ambitions of machines, and the deep-seated human anxiety about the the threat of runaway technology. At one point in \u201cFantastic Grounds\u201d, some young people aggressively hack apart a computer on the grass. In this deeply unequal struggle, the computer is only a lifeless object, weak and powerless, the unfortunate victim of their need to let off steam. Juxtaposed against other subjective, cold, calm imagery, this resentful, seemingly absurd act is imbued with pessimistic and nihilistic sentiments. It is as though humans are strapped in on the information highway\u2014that non-stop flow of traffic\u2014constant muttering to oneself and yet deaf to the unknowable truths and the essence of the universe. What is the subject? Where does the subject actually arise? As the images on the wall start to consolidate, transform, and spin, the real and the false, the subject and object become mutually convertible. The subjectivity that has emerged since Descartes has been disintegrated into an infinitesimal mass of densely packed individual entities, both restricting and influencing one other. There is no sovereign; there is no monotheistic god.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"534\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-79.png\" alt=\"\" class=\"wp-image-2283\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/4O1teMon-image-79-297x300.png 297w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-79-148x150.png 148w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-79.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u201cMaking Good Things Go Better\u201d\uff0c\u5c55\u89c8\u73b0\u573a<br>\u201cMaking Good Things Go Better\u201d, installation view<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"377\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-80.png\" alt=\"\" class=\"wp-image-2286\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-80-300x214.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-80-150x107.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-80-420x300.png 420w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-80.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u201cMaking Good Things Go Better\u201d\uff0c\u5c55\u89c8\u73b0\u573a<br>\u201cMaking Good Things Go Better\u201d, installation view<\/figcaption><\/figure>\n\n\n\n<p>From his 2016 solo show \u201cMaking Good Things Go Better\u201d at Telescope Space to \u201cFantastic Grounds\u201d in 2017, Jiu Jiu has been concerned with looking at counteracting forces produced by the formation of images. But the computer interface still remains in the \u201cothered\u201d position of being objectified, whether it is in the artist\u2019s artistic process or the audience\u2019s viewing experience. This strange \u201conlooker\u201d stance embodied in this \u201cothering\u201d carelessly exposes the artist\u2019s utilitarian tendencies, and prevents him from digging deeper into the background of this phenomena\u2014this transformation from subjecthood to objecthood. If the goal of tracing the origins of image formation is to dissect how images create meaning, perhaps we might expect more than simply a collage of materials, lists or elaborate descriptions, but rather comprehensive research and understanding of how images prescribe and discipline our gaze and behavior. What is needed is a more active and general questioning, critical analysis, or even a complete subversion of codified modes of thinking and everyday logic. Then this new, subversive logic could be used to reassess and reassemble these images anew\u2014a somewhat thorny path to navigate. Even though we have accepted this inversion of the subject-object, there is no denying or running away from the existence of the subject; the task at hand is to sum up principles and discover truths. Yet these truths and principles are all hidden behind the surface phenomena of the explosion of images in contemporary society, awaiting capture by a pair of hands.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"528\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-81.png\" alt=\"\" class=\"wp-image-2289\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/EJHUsgn1-image-81-300x300.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-81-150x150.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-81.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u573a\u5730\u300b\uff0c\u89c6\u9891\u622a\u5e27\uff0c2017<br>\u201cGrounds\u201d<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"702\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-82.png\" alt=\"\" class=\"wp-image-2292\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/LXuyznxp-image-82-226x300.png 226w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-82-113x150.png 113w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-82.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u573a\u5730\uff0c2017<br>\u201cGrounds\u201c<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>In \u201cFantastic Grounds\u201d, the artist Jiu J &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/fantastic-grounds-jiu-jiu-and-the-politics-of-the-digital-image\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":2295,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[920,919,921],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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