{"id":6280,"date":"2016-10-09T01:47:00","date_gmt":"2016-10-09T01:47:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=6280"},"modified":"2022-12-14T01:54:43","modified_gmt":"2022-12-14T01:54:43","slug":"the-unbearable-tightness-of-being","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/the-unbearable-tightness-of-being\/","title":{"rendered":"The Unbearable Tightness of Being"},"content":{"rendered":"\n

\u201cNo Cause for Alarm\u201d<\/strong><\/a><\/p>\n\n\n\n

La Mama Galleria<\/strong><\/a> (47 Great Jones St, New York, NY 1000), Sept 15 \u2013 Oct 8, 2016<\/strong><\/p>\n\n\n\n

In a video of his performance \u201cFarming the City\u201d, a caption in amiable white lettering accompanies footage of Tsui Kuang-Yu planting seedlings in the dirt around a tree on the sidewalk; it wonders, \u201cCan we eat things grown here?\u201d<\/p>\n\n\n\n

The question is less straightforward than it sounds \u201chere\u201d in the contemporary city, and draws towards it further questions, for example about public and private space, individual agency, need, nature and artificiality, social conduct, economy, and time. \u201cFarming the City\u201d was part of \u201cNo Cause for Alarm\u201d, an exhibition of works by eleven artists from China, Taiwan, and Hong Kong assembled for the theme of anxiety in contemporary urban life. Curated by Chen Wei-Ching and Ying Kwok, the show envisioned \u201csuggestions and consolations\u201d and a humorous perspective from which to view daily life which, for the majority of people, plays out in a city.<\/p>\n\n\n\n

Tsui\u2019s attempt to grow food in the street furniture fails, quashing the suggestion of self-sufficiency (or just some supplementation) without a shop, transaction, and shared habitual structure. \u201cThe city seems to be all about how to accommodate to our needs in daily life\u201d (sic.), he muses, with an affected innocence. The sight of his hands patting soil in around the seedlings and their small shock of green among the greyer hues of sidewalk and stoops proves a truthful exercise in relative scale, intimacy, and futility.<\/p>\n\n\n\n

\"Tsui<\/a>
Tsui Kuang-Yu, \u201cFarming the city\u201d, video still, 2016<\/figcaption><\/figure>\n\n\n\n

Sustainability in cities is less about objective resources than subjective ones, and despite increased interest in mind-clearing self-help activities like yoga in metropolises like New York, people are struggling with what Tony Crabbe recently called \u201can infinite world\u201d in which work, thanks to technology, is not statistically more, but is always accessible. Wang Ding-Yeh\u2019s painful \u201cPortraits under electric shock\u201d (2014) and \u201cMadness electric shock\u2014Flag song\u201d (2014) could scarcely do more to illustrate the unnatural compulsion to continue and to keep doing<\/em> under convulsive and ambiguous pressure.<\/p>\n\n\n\n

Elsewhere in the show, physical action was put to more sublimely satiric ends. In Musquiqui Chihying\u2019s applaudable video piece \u201cThe Jog\u201d (2014), a man runs against the direction of a conveyor towards the checkout in a supermarket; the second video channel in which he stretches in the aisles is surplus to the incisive distillation of flows\u2014at once economic, individual and societal, of leisure and commerce, convenience and resistance\u2014that are conveyed by the runner\u2019s footfalls on the belt. The exhibition text spoke compellingly about the rolling belt implying \u201cthe objective of consumption behaviour and the end of movement\u201d, a statement somehow helped by slight vagueness in its English translation.<\/p>\n\n\n\n

The shortening and narrowing of perception, too, are general effects of prevalent technology and saturated environments. Elvis Yip Kin Bon\u2019s brilliant wall installation of 260 newspaper clippings, all excerpts from a speech by Qiao Xiaoyang (as former chairman of the Hong Kong Special Administrative Region [HKSAR] Basic Law Committee), sees each cut away differently and zipped into a cellophane bag. According to Yip, the work is meant as an exercise in defiance against \u201cevidence of a general absurdity\u201d conveyed in Qiao\u2019s words; the scraps provoke the speech to speak against itself by amplifying, isolating, and collaging its quotes into an altogether different medium to better reflect its message. Yip\u2019s work\u2014long and meticulous in method and subversive in effect, opposes different forces that act on perception.<\/p>\n\n\n\n

In its use of black to hide content in a video, Ocean Leung\u2019s \u201cBlack Shapes\u201d (2016), in which eponymous black areas obscure footage of a fire and billowing smoke on a street at night, also implies a response to this situation by evoking censorship. At first hand, however, one thinks more simply of the challenge to clear, focused vision thanks to the clamor of varied focal points for attention. Nearby, the acrylic and stainless steel wall piece by Chou Yu-Cheng with a deliberately long title (recounting all the words printed at the bottom of the panel)\u2014\u201cChemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light. II\u201d (2016), aims to look at the socio-political chaos currently contained by capitalism. While these two pieces are fairly literal in responding to the current situation, one wonders whether this isn\u2019t an apt approach.<\/p>\n\n\n\n

Writing \u201cIn Praise of Idleness\u201d in the early 1930s, Bertrand Russell imagined a world where, thanks to advancements in technology, people need only work for four hours a day, with far more time for productive leisure. Little could he foresee the amalgamation of the two, when so much and so many different economies\u2014not only of money, but also of time and emotion\u2014combine to generate the \u201cinfinite world\u201d most prevalent in urban centers. This is a state of being which entails high levels of ambiguity (arguably, this is not acknowledged often enough), and for which there is no real strategy for those overwhelmed by it. Under the droll public service announcement manner of its title, the artists in \u201cNo Cause for Alarm\u201d admitted this ambiguity, along with states including inertia, innocence, resistance or absurdity which could arise as a result. More than this, they seem to seek these states as channels for empathy and relief\u2014sensations on which this show finally, if indirectly, insisted.<\/p>\n\n\n\n

\"Musquiqui<\/a>
Musquiqui Chihying, \u201cThe Jog\u201d, video still, 2014<\/figcaption><\/figure>\n\n\n\n
\"\"
Ocean Leung, \u201cBlack shapes\u201d, video still, 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
Yip Kin Bon, \u201cSpeech from Qiao Xiao Yang on 24th March 2013\u2033, (detail), 260 pieces of newspaper, 2013 \u2013 2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Chou Yu-Cheng, \u201cChemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light II\u201d, acrylic, stainless steel, 140 x 300 cm, 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
Wang Ding-Yeh, \u201cPortrait under electric shock\u201d C-print, 100 x 100 cm, 2014<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

\u201cNo Cause for Alarm\u201d La Mama Galleria&nb … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":6296,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[2587,149,415,67,2570,2568,2569,2571,102,2572,2573,2574,2575,416,2576,2577,2578,29,239,417,374,393,2579,2580,2581,2582,2583,2584,2585,2586,2588,2589,2590,419,210,2591,460,230,421],"yoast_head":"\nThe Unbearable Tightness of Being - \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\/the-unbearable-tightness-of-being\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Unbearable Tightness of Being - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"\u201cNo Cause for Alarm\u201d La Mama Galleria&nb … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/the-unbearable-tightness-of-being\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2016-10-09T01:47:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-14T01:54:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/Edouard-Malingue-Chou-Yu-Cheng-7091-1-1024x339.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"339\" \/>\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=\"6 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/the-unbearable-tightness-of-being\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/the-unbearable-tightness-of-being\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"The Unbearable Tightness of Being\",\"datePublished\":\"2016-10-09T01:47:00+00:00\",\"dateModified\":\"2022-12-14T01:54:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/the-unbearable-tightness-of-being\/\"},\"wordCount\":962,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"\u201cIn Praise of Idleness\u201d\",\"art\",\"art gallery\",\"artist\",\"Bertrand Russell\",\"Chen Wei-Ching\",\"Chou Yu-Cheng\",\"Elvis Yip Kin Bon\",\"exhibition\",\"Huang Yen Ying\",\"InCube Arts Center\",\"La Mama Galleria\",\"Luke Ching Chin Wai\",\"magazine\",\"Musquiqui Chihying\",\"Ocean Leung\",\"Qiao Xiao Yang\",\"Ran Dian\",\"Ran Dian magazine\",\"Ran Dian \u71c3\u70b9 magazine\",\"randian\",\"randian online\",\"Song Ta\",\"Su Yu-Hsien\",\"Tang Kwok Hin\",\"Tony Crabbe\",\"Tsui Kuang-Yu\",\"Wang Ding-Yeh\",\"Ying Kwok\",\"Yip Kin Bon\",\"\u53f6\u5efa\u90a6\",\"\u5468\u80b2\u6b63\",\"\u6881\u5fa1\u4e1c\",\"\u6b63\u5728\u5e03\u5c55\",\"\u71c3\u70b9\",\"\u738b\u9f0e\u6654\",\"\u827a\u672f+\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u753b\u5eca\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/the-unbearable-tightness-of-being\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/the-unbearable-tightness-of-being\/\",\"url\":\"http:\/\/www.randian.art\/the-unbearable-tightness-of-being\/\",\"name\":\"The Unbearable Tightness of Being - 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