展览回顾 | 4C Exhibition 2023Q2
法国哲学家居伊·德波(Guy Debord)在《景观社会》(The Society of the Spectacle)中写道：在资本主义的时代，人的物质生产与精神生产及其产品变成异己力量，在导致精神异化(alienation)的同时，图像的表征代替了我们对于世界的真实感知。4C Exhibition 2023Q2展览呈现了卞卡、任碧筠、贾佳、陈佳韵、赵坤、潘梵怡、晋文捷、朱思凝、贺小、赵增熠这十位艺术家的作品，他们通过绘画、摄影、影像、装置等媒介，讨论了异化世界中人的物化、身体、全球化、自然、主观性等议题。本次展览中，4C秉承了展览、宣传当代观念艺术的宗旨，为华裔艺术家提供展示和交流的专业空间，为华裔艺术社群培养深厚的文化土壤做出贡献。
French philosopher Guy Debord wrote in The Society of the Spectacle that in the age of capitalism, human material production and spiritual production and their products have turned into alien forces, leading to mental alienation while images replace our genuine perception of the world. In the 4C Exhibition 2023Q2, ten artists, Bian Ka, Biyun Ren, Jia Jia, Jiayun Chen, Kun Zhao, Pan Pan, Wenjie Jin, Sining Zhu, Xiao He, and Zengyi Zhao, discuss topics including objectification of people, bodies, globalization, nature, and subjectivity in the alienated world through mediums like painting, photography, video, and installation. In this exhibition, 4C adheres to the purpose of exhibiting and promoting contemporary conceptual art, providing professional space for Chinese artists to display and communicate, and contributing to the cultivation of a rich cultural soil for the Chinese art community.
Zengyi Zhao's photographic works explore the moment of spectacle concentration, questioning the objectivity of vision. Through post-production techniques, he synthesizes and stitches the photos together, making them largely realistic but also strange. However, at first glance, the audience would only think of them as a dreamlike real scene in the photos. In the society of spectacle, the absolute order of society - "the Real" - is obscured by the social construction of spectacle, thus becoming unreachable and indescribable, and what we see of reality is merely an illusion. Extending this point, Zengyi Zhao questions the objectivity of photography and light as mediums, and whether we have the ability to challenge the status of vision as the most "objective" sense.
Jia Jia's installation work discusses the alienation and resistance of individual identity under globalized capital. In the wave of capitalism, individual value is defined by economic concepts such as productivity and efficiency, detaching from the authentic self. Within fragments of surgical knives, clay, and dictionary paper, there are many contradictions and ambiguities. It is in such existential crises, in our fragmented conception of the world, that we redefine our identity in the world.
Jiayun Chen uses the combination of arms and clothing to explore the humorous and absurd mistranslations found in English text on T-shirts and Chinese tattoos. Language is a construct made up of countless symbols, and the chaos generated in the process of symbol transformation precisely illustrates the limits of translatibility of symbolic systems in global cultural exchange. This prompts us to reflect on whether humanity has entered a "post-globalization" phase. But such limitations also bring humor, such as translating "Keep moving" into "bao liu yi dong" (literally, "preserve motion"), which is amusing.
贺小的手制书页聚焦于女性在社会建构下的体验，例如母亲身份、家庭责任、精神疾病等方面。女性主义提出“性别是社会建构”的观点。其中一本手制书中，贺小以夏洛特·帕金斯·吉尔曼(Charlotte Perkins Gilman)的小说《黄色墙纸(The Yellow Wallpaper)》为灵感，截取了文字，并为其中的意象绘画。书中的的女主人公被丈夫带到一件老宅修养，因能看到房间的黄色墙纸里有无数女人在爬行而后疯癫，也成为了一个爬行的女人。在以精神分析剖析女性镜像身份构建的同时，还讽刺了当时的父权体制对于女性心理健康的忽视与摧毁。
Xiao He's handmade book pages focus on the experiences of women under social construction, such as the identity of mothers, family responsibilities, and mental illness. Feminism puts forward the view that "gender is socially constructed". In one of the handmade books, Xiao He took inspiration from the novel The Yellow Wallpaper by Charlotte Perkins Gilman, extracting text and painting images from it. The heroine of the book, brought by her husband to an old house for recuperation, goes insane from seeing countless women crawling inside the room's yellow wallpaper, becoming one of the crawling women herself. While analytically dissecting the construction of the female mirror identity from a psychoanalytic perspective, it also satirizes the patriarchal system's neglect and destruction of women's mental health at that time.
When humans are alienated, the conflict between the individual and social construction often brings about bodily trauma. Biyun Ren's experimental video works on the body take the perspective of self-collision with the world. Through the use of numerous symbols, images, and virtual scenarios, she displays the unspeakable female experience. The performance in front of the mirror also seems to mirror the theory that humans always "misrecognize" their own image through the other in the mirror, thereby compensating for the fact that the self is fragmented.
In Sining Zhu's multimedia work, she delves into the topics of living condition and death of marginalized groups, focusing on the psychological state of elderly people living alone who ultimately commit suicide. She uses these elderly people's suicide notes as the blueprint for her creation, carving them into stones, and burning them with flames. As the stones slowly turn charred, these inscriptions gradually disappear, representing the ignored loneliness of the elderly, and finally, the traces of their existence disappear. Sining Zhu also made a video with these suicide notes as the voiceover, showing a book with images of these stones. We can hear that these words are gentle, but they also allow people to feel the authors' alienated psychology in their loneliness and silence, and a peaceful departure is their only way out. When the reading of the suicide notes ends, the book turn to two black sheets of paper, ending the story.
Wenjie Jin uses abstract methods to depict architectural structures, and her minimalist compositions have the tranquility of Hopper. She emphasizes the role of windows in architecture - they bring in light and serve as a conduit for connection with the outside world. As an image in art history, it also carries a strong religious significance. Her window-centric images display surreal dreams, and just as Freud said, dreams are a reflection of the subconscious, her images can bring a strong sensory resonance.