{"id":8039,"date":"2016-04-16T10:57:00","date_gmt":"2016-04-16T10:57:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=8039"},"modified":"2022-12-21T11:03:54","modified_gmt":"2022-12-21T11:03:54","slug":"joan-jonas-they-come-to-us-without-a-word","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/joan-jonas-they-come-to-us-without-a-word\/","title":{"rendered":"\u201cJoan Jonas: They Come to Us without a Word\u201d"},"content":{"rendered":"\n<p><strong>\u201cJoan Jonas: They Come to Us without a Word\u201d<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/ntu-centre-for-contemporary-art-singapore\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>NTU Centre for Contemporary Art<\/strong><\/a>&nbsp;(Block 43 Malan Road Gillman Barracks Singapore 109443),&nbsp;<strong>Jan 22 \u2014 Apr 3, 2016<\/strong><\/p>\n\n\n\n<p>There is a question the exhibition\u2019s co-curators Ute Meta Bauer and Paul C. Ha seem keen on provoking with this new edition (and subsequent editions) of Joan Jonas\u2019 \u201cThey Come to Us without a Word\u201d: What is site specificity, and how may it be translated? And: How does Jonas\u2019 work shift and change\u2014beyond such physical necessities of adapting to rooms of different sizes and shapes\u2014between the US Pavilion of the 56th Venice Biennale, and a contemporary art institution, amid what was by many accounts a rather damp and tired Singapore Art Week?<\/p>\n\n\n\n<p>In so doing, one might wonder at the coincidence of the MIT List Visual Arts Center and the NTU Centre for Contemporary Art Singapore (NTU CCA) both being visual art institutions as part of technological universities, or some connection between the mercantile history of Venice and Singapore\u2019s position in trade and finance. Ha imagines Venice as a dying city of vanishing trades, much as the bees, fish, and mirror-makers Jonas discusses in the exhibition are in peril. This relation, then, between the exhibition and its host city rather hinges on how one perceives Singapore\u2014as some shining smart-city upon a hill, a bureaucratic morass of gilded rot, or something in-between. It is not as if the exhibition needed extra layers of complexity and nuance, but it is certainly fun to think about.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/04\/160125-1244.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/04\/160125-1244-528x352.jpg\" alt=\"\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b, \u5c55\u89c8\u573a\u666f\/ \" class=\"wp-image-73015\" \/><\/a><figcaption class=\"wp-element-caption\">\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b, \u5c55\u89c8\u573a\u666f\/ \u201cThey Come to Us without a Word\u201d, exhibition view. Courtesy of NTU CCA Singapore.<\/figcaption><\/figure>\n\n\n\n<p>Contextual resonances aside, \u201cThey Come to Us without a Word\u201d evokes themes and concerns that approach some sense of universality without the po-faced didacticism which would undermine such an effort. Major touchstones of the exhibition as a whole are those of fragility, loss, and various perspectives on grief. The exhibition is split across a number of thematically oriented rooms, each containing\u2014with some variation\u2014video-performances, props from the same, a selection of drawings, enigmatic hand-written quotations on the walls, and vitrines containing personal effects and artifacts which act, so to speak, as the seed-crystals of each room. The video-performances, as a whole, require a little more unpacking; they frequently involve groups of children reacting to the general theme of each room, spliced with numerous layers of somehow related footage. Each layer moves at odds with its fellows, yielding considerable disorientation.<\/p>\n\n\n\n<p>The first two rooms concern themselves with bees and fish, respectively, tempting us to foreground an environmentalist perspective on the exhibition\u2014the dangers we face as a result of Colony Collapse Disorder, or the effects of overfishing on marine ecosystems. The next room, however, complicates such a reading\u2014each wall is covered with mirrors, a chandelier hangs from the ceiling, and a skewed projection plays across all four walls. Reflecting in on itself over and over, it rather feels as if Jonas is exploring what it might be like to live inside a television. Alternatively, we might take it as a pivot or border of sorts, with the subjects of the succeeding rooms being somewhat different in character.<\/p>\n\n\n\n<p>\u201cWind\u201d and \u201cHomeroom\u201d follow next. While the former could be linked to the threatened species in the previous rooms, via green energy and so on, the subject of the final room should suffice to dispel any notion of the exhibition being a straightforward piece of environmental activism. As a concept, \u201cHomeroom\u201d makes for a strange fit in Singapore, being something encountered almost exclusively in the media. What might be a familiar touchstone (the idea of \u201chomeroom\u201d) to some has, in the context of Singapore, the potential to compound and extend the overall strangeness of the exhibition..<\/p>\n\n\n\n<p>A video in \u201cWind\u201d, for instance, cements a certain sense of warm, playful irreverence that pervades the exhibition, despite the delicate layers of abstract theorization that could be laid on it. A camera barrel-rolling over and over, is trained on Jonas walking one of her dogs. It is as disorienting as it is delightfully absurd, as a counterpoint to another persistent element of the exhibition\u2014fragmentary recordings of Nova Scotian ghost stories. These dry exclamations wind their way disjointedly through the space, eliciting anything from confusion to faint chills.<\/p>\n\n\n\n<p>Likewise, the otherworldly music which flows seamlessly from room to room, along with the diffuse, silvery light\u2014meant to evoke moonlight, and emanating from custom bulbs suggestive of science-fictional insects\u2014speak of Jonas\u2019 attention to detail in crafting a rich, varied, unsettling and yet heartening experience. Even when leaving the exhibition, passing through a curtain to the golden warmth of the gallery\u2019s study room, you get a sense that Jonas\u2019 dramaturgy is not quite finished, with that very action of leaving the main exhibition area being a part of her design. It is a moment of perceptual shock, blinking at the sudden, warm, light, that is both refreshing and unsettling, providing a definitive break with the phantasmagorical chambers of Jonas\u2019 exhibition.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/04\/160125-1300.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2016\/04\/160125-1300-528x352.jpg\" alt=\"\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b, \u5c55\u89c8\u573a\u666f\/ &quot;They Come to Us without a Word&quot;, exhibition view. Courtesy of NTU CCA Singapore.\" class=\"wp-image-73016\" \/><\/a><figcaption class=\"wp-element-caption\">\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b, \u5c55\u89c8\u573a\u666f\/ \u201cThey Come to Us without a Word\u201d, exhibition view. Courtesy of NTU CCA Singapore.<\/figcaption><\/figure>\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-1521.png\" alt=\"\" class=\"wp-image-8040\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1521-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1521-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1521-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1521.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b, \u5c55\u89c8\u573a\u666f\/ \u201cThey Come to Us without a Word\u201d, exhibition view. Courtesy of NTU CCA Singapore.<\/figcaption><\/figure>\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-1522.png\" alt=\"\" class=\"wp-image-8043\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1522-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1522-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1522-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1522.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b, \u5c55\u89c8\u573a\u666f\/ \u201cThey Come to Us without a Word\u201d, exhibition view. Courtesy of NTU CCA Singapore.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"351\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1523.png\" alt=\"\" class=\"wp-image-8046\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1523-300x199.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1523-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1523-451x300.png 451w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1523.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u743c\u00b7\u4e54\u7eb3\u65af\u548c\u4e4c\u6ecb Jonas and Ozu<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"301\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1524.png\" alt=\"\" class=\"wp-image-8049\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1524-300x171.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1524-150x86.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1524-500x285.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1524.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b,\u89c6\u9891\u622a\u56fe\uff0c\/ \u201cThey Come to Us without a Word\u201d, production still. Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"299\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1525.png\" alt=\"\" class=\"wp-image-8052\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1525-300x170.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1525-150x85.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1525-500x283.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1525.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b,\u89c6\u9891\u622a\u56fe\uff0c\/ \u201cThey Come to Us without a Word\u201d, production still. Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"308\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1526.png\" alt=\"\" class=\"wp-image-8055\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1526-300x175.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1526-150x88.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1526-500x292.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1526.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">\u300a\u743c\u00b7\u4e54\u7eb3\u65af\uff1a\u4ed6\u4eec\u6084\u7136\u800c\u81f3\u300b,\u89c6\u9891\u622a\u56fe\uff0c\/ \u201cThey Come to Us without a Word\u201d, production still. Courtesy of the artist.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cJoan Jonas: They Come to Us without a W &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/joan-jonas-they-come-to-us-without-a-word\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":8058,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[4288,4285,4286,4287,4289,4290],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cJoan Jonas: They Come to Us without a Word\u201d - \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\/joan-jonas-they-come-to-us-without-a-word\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cJoan Jonas: They Come to Us without a Word\u201d - 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