Final week! Don't miss @lawrencelek' AIDOL at @taiwancontemporaryculturelab.
MEDIA ART / ART MEDIA
“You are the screen. The images wrap around you. You are the vanishing point.” — Marshall McLuhan. SCREEN aims to sharpen our image of media art.
Through news coverage, art criticism and curatorial projects—media art and art media—we hope to concentrate attention into one online space. Founded in New York in 2014, our regular, bilingual updates are organized into Conversations, Screenshots, Views and Updates.
《SCREEN介面》 2014年成立於紐約， 是一個獨特的雙語媒體頻道，以策展的概念，播送、評論與推廣影像與媒體藝術的發展，精心揀選當前的資訊， 透過獨具觀點的視角，持續探索當代藝術的過去與未來。
Final week! Don't miss @lawrencelek' AIDOL at @taiwancontemporaryculturelab.
Rochel Rosheger, Niagara Falls, 2021. @microscope_gallery
What Kind of Borderline? -- Museum Lab of Lives in Disorder
Wearing rose-coloured glasses, people often romanticize about how mental illness influences artistic creation, with examples such as Vincent van Gogh cutting off his ear and Yayoi Kusama committing herself voluntarily into a psychiatric clinic. These stories are told with mythical reverence, as if to affirm the resilient strength that human beings possess in their endurance of great suffering. In this narrative, art becomes the sought-after sublime of human existence, but do we empathize with the actual personal experiences of those veiled behind this mythology? These representations persist throughout history, while people labeled as sufferers of mental illnesses are inevitably affected by such stories. Museum Lab of Lives in Disorder, presented in C-LAB from July 4th to August 2nd 2020, brought together residents of Easy Clubhouse (Cih-Fang) with contemporary artists to work with the collection of the National Palace Museum (NPM) as a starting point. The over six-month-long collaboration reconsidered how art and mental illness could interact to dually destigmatize mental illness sufferers as well as cease its romanticization in the arts.
The exhibition opens with artist Xu Wei of the Ming Dynasty from the NPM collection. According to historical records, Xu Wei was suspected of having mental issues. Using a newspaper format, the first section of the exhibition attempts to tell the story of Xu in a relatively objective manner: from being identified as a child prodigy, his failure in the civil examinations eight times, the criminal charge of killing his wife, to his twilight years selling paintings to sustain his impoverished life. Through detached reports, the audience can learn about the plights Xu faced, without a romanticized correlation made between his art and his life. Meanwhile, viewpoints from the residents of Easy Clubhouse are exhibited alongside the newspaper. Reading these, the residents’ desires for empathy and understanding become palpable.
The following section, ‘The Heart as Home’, exhibited replicas of works from the collection of NPM. Installed by the Easy Clubhouse residents, the display realizes their ideal presentation in an imaginary home for Xu. As a collaborative process during the six-month duration, residents wrote their interpretations of the works and their imaginations on the surface of the replicas, which included NPM’s famous porcelain piece Pillow in the shape of a recumbent child with white glaze and the Ru ware Lotus-shaped warming bowl in light bluish-green glaze. In the gallery, the audience are also invited to write down their own thoughts after reading the texts of the residents.
The exhibition continues with the collaborations between contemporary artists and the Easy Clubhouse residents. Artist Tu Wei-Cheng adopted his signature molding technique to cast objects that represent residents’ identities and memories. He prompted the residents to choose these objects by asking them two questions: “How do you want to be remembered after your death?” and “What do you hope to leave behind?” One resident chose a key, and another a comb, reflecting how personhood is entangled with possessions. Conversely, artist Yi-Lun Lu did not use his modus operandi of photography. Instead, he chose to make paintings with the residents, inviting them to paint their dream houses and furnishings. In the exhibition, these paintings were installed in a triangular space, with the participants introducing the works in their own words, which in their sincerity compensate for what they lack in professional terminology.
The collaboration between artist Yung-An Wang and the residents of Easy Clubhouse focused on the tactile perception of images. The needs for care and comfort are universal, and should not be excluded from a stigmatized person’s experience. On the other hand, sound, considered the medium that evokes memories most directly, is utilized in the work of artist Alice Hui-Sheng Chang’s work. She invited residents to recall their most impressive auditory experiences. Wen-Hsuan Chang, continuing her practice of writing, asked the participants to write love poems, which were then inscribed on multiple columns of mirrored surfaces, standing on a bright yellow carpet in the exhibition. The sensitivity revealed in these expressions can be regarded as a sign of madness, while also being the beginning of the creative process.
Some of the residents are amateur artists, creating works intuitively. Lung-Chiuan Su, an enthusiastic singer, crafted a mannequin wearing a shiny stage suit and singing without restraint. Yan-Qing Zhan exposed his desires, arranging the exhibition space as his bedroom, which included pornography magazines. He wishes the audience to understand that the residents of EasyClub House also have bodies which long for intimacy. Wan-Shan Tsai documented her cat with video over a ten-year duration, recording the warmth and companionship it has provided her throughout her daily struggles.
Interactive experience is extended further in a section of the show. The audience is able to take fragments of the residents’ personal experiences to create alternative narratives and make decisions based on the stories. Through this process, the audience is invited to think about the nature of narration, and what consequences these narrations may have. Are prejudices merely caused by different narrative perspectives? Is inaction sometimes the most harmful act?
The exhibition closes with a return to the artworks of Xu Wei. He made a living in his old age by selling paintings. The brazenness of his paintings echo the oscillations in his life. They are an inseparable part of him, and not to be glorified as the aura of a prodigy, nor as an unmentionable dark madness. Likewise, Museum Lab of Lives in Disorder is an attempt to make the voices of the residents of Easy Clubhouse heard. Taking place in a site named a cultural lab, the exhibition is a tripartite collaboration between heritage museum, mental institution and contemporary art. By mutual exploration and friction, these three different institutions working outside the original framework of their functions is effectively an experiment. In the research of scholar Tony Bennett, the idea of the ‘exhibitionary complex’ refers to museums as the display and wielding of power by the ruling class. This same function can be applied to a mental hospital, with its disciplining of a body through a collective regulatory power. If both art and mental illness can be seen as a rupturing of existing frameworks, why do people regard the latter with discrimination or indifference? Perhaps through this exhibition, the audience is able to empathize with the specific personal and embodied experiences of each individual who falls under this label. Sometimes, what we may need is an attempt to be grasped - in nuanced understanding, not stigmatized generalization - when falling out of the borderline.
《關鍵字時代 – 當地理作為一種隱喻》關鍵字：加速主義
《關鍵字時代 – 當地理作為一種隱喻》關鍵字：媒體考古學
《關鍵字時代 – 當地理作為一種隱喻》關鍵字：北京
#SCREEN #MediaArt #ArtMedia #郝敬班
《關鍵字時代 – 當地理作為一種隱喻》關鍵字：空間
《關鍵字時代 – 當地理作為一種隱喻》關鍵字：世界外
Please follow up our new editorial in the New Year! Happy New Year!
a new column features essayistic reviews and/or fictions.
Shout out to video artists! Submit your work to Taiwan International Video Art Exhibition. The deadline is April 30, 2018.
We have to stand up and be silent no more. #notsurprised @notsurprised2017
We are opening today, 1-6pm.
3fl, 456 Broadway, New York, NY, 10013.
come and join us for the opening tonight. Resistance is Futile, Artist: Musquiqui Chihying. 6-8pm, 3fl, 456 Broadway, New York, NY, 10013.
Come and join us for the opening today! Tall Non-fat Raspberry White Mocha Latte, curated by @n.i.h.a.o and @anedham. ☕️opening reception: 9/16 1pm-5pm EST.🚪425 5th Ave. #42A, New York, NY 10016 🍸5th Ave.🍺The Tower 🍹You're Fired. Cocktails from Trump Tower will be served. 👙bring your swimwear and enjoy swimming pool and steam room on 11th Fl.👙🏊🏻🏊🏊🏾
Samson Young @labiennale. #HongKongPavilion #soundart #installation #contemporaryart #art #film #BiennaleArte2017 #vivaarteviva #venice #venicebiennale #Hongkong #collateralevent
Bedtime...Pipilotti Rist: Pixel Forest. 2016. Installation View. @newmuseum #goodnight #dreamcatcher #dream #dreams #contamporaryart #weekendvibes
#TehChingHsieh #DoingTime #vivaarteviva @labiennale #labiennalevenezia #BiennaleArte2017 #taiwanpavilion #performanceart #mediaart #artmedia #artgram @themuseumofmodernart @Tate @barnesfoundation
Hale Tenger, Balloons on the Sea, 2011. #vivaarteviva #videoart #mediaart #artmedia #HaleTenger #BiennaleArte2017 #labiennalevenezia #artgram #contemporaryart
Felix Gonzales-Torres at @rockbundartmuseum #Shanghai #contemporaryart #mediaart #artmedia
The must-see exhibition in Venice this summer. "The Boat is Leaking. The Captain Lied." Experiencing images as ghosts in different mediums. @FondazionePrada #pradafoundation #venice #mediaart #artmedia #transmedia #alexanderKluge #ThomasDemand #AnnaViebrock #UdoKittelman #art
#martaminujin the pantheon of books #documentakassel
“Having already counted a few distinguished awards in video in his rising career, as well as a background in architecture, Lek creates speculative worlds and site-specific simulations using gaming software, video, installation, and most recently, VR feature film. As stated by the artist on Sinofuturism, Western media presents China as exotic, strange, bizarre, kitsch, tacky, or cheap. In domestic media, China is portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these narratives, Lek’s work pushes them even further. By embracing seven key stereotypes of Chinese society — Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling — Lek’s prototypal pseudo-documentary Sinofuturism, proposes that China's technological development constitutes a new form of Artificial Intelligence. ”- Sinofuturism: An Interview with Lawrence Lek by Danni Shen
"Sino-Futurism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows….it is often mistaken for contemporary China. But it is not.…
“How can I break the rules of how art history is written?” asks Guggenheim curator Xiaoyu Weng, the critical mind behind Tales of Our Time on view at the Guggenheim through March 10, 2017. The exhibition is a striking, and for many, surprising selection of contemporary art from China. - written by Danni Shen. Solomon R. Guggenheim Museum Danni Shen http://onscreentoday.com/conversation/tales-of-our-time
In addressing the specificity of locality, Tales of Our Time critically explores today’s territories, boundaries, and even utopias with candid nuance. And if the essential function of utopia as “no place” is first a critique of what is present, the idea of “China” too, is presented here, as a cue fo...
Screen 介面's cover photo
Check our new screenshot on Agnieszka Polska's screening at @newmuseum. Thanks to Elizaveta Shneyderman and Erin Prinz Schwartz. 🎉🎉🎉 #onscreentoday #screening #videoart #contemporaryart #newmuseum #newyork
Gwangju Biennale - 광주비엔날레 will launch its 11th edition this Friday. Jeamin Cha is one of the participating artists. She's interested in the overlap between the personal and the historical, and how to re-member the past.
This series of interviews focuses on artist’s perspectives on that which remains offscreen in moving image. It accompanies our summer program of screenings: Seoul-based artist Jeamin Cha (born 1986), known for her sensitive interpolations of the personal and the historical, here voices her approach…
Hito Steyerl's work will be featured in this year's San Paolo Biennale, which launches its 32 edition on Sep. 7.
SCREEN's review on Hito Steyerl's semi-retrospective at Artists Space in New York City 2015. Her installation and essay film questioned the existing financial structure and the capital circulated in the world.
Last chance to see Guido Van Der Werve's Nummer Zes at Kansas City Art Institute. on view til Sep. 2.
好好把握欣賞圭多·范·德·维沃（Guido Van Der Werve）作品 〈第六號〉的機會，在坎薩斯市立美術館展出至九月二號。
The 54 minute video Nummer Veertien, Home by Guido Van Der Werve shows to advantage as the only work in the cavernous architecture of M Woods, a 2500 sq. m. former munitions factory in Beijing’s 798 District. Solemn choral music laced with explosions fills the space, accompanying the video of the ar...
Last week of Cao Fei's retrospective at MoMA The Museum of Modern Art PS1. Our new writer Diane Zhou unveiled Cao Fer's chaotic fable of modernity.
曹斐在紐約 MoMA PS1 的個展已經接近尾聲，新加入的作者周佳佳帶我們觀看曹斐充滿現代性的混亂童話。
Cao Fei's retrospective at MoMA PS1, her first museum solo show in the United States, charts these chaotic social changes, by visualizing their impact on both geography and flesh.
Robert Joseph Sandler ’s paintings, made on the iPad and iPhone, address tensions between traditional modes and practices of painting and the current ubiquity of the digital image.
羅伯特·沈德勒使用 iPad 和 iPhone 創造他的畫作，藉以探討傳統範式，繪畫實踐，以及數位影像的普遍性三者之間的張力。
Between New York-based SCREEN and Beijing-based I: project space, a group of young artists in New York, Berlin and Beijing will respond with images and links to a questionnaire on their living and working conditions. This survey will be published on SCREEN’s website and I: project space’s Wechat cha...
First Light: A Decade of Collecting at the The Institute of Contemporary Art/Boston shares the same name with Paul Chan's installation work, which will be featured prominently in the museum.
藝術家陳佩之（@Paul Chan）的作品 First Light 在波士頓當代美術館（The Institute of Contemporary Art/Boston )成為常設作品，而該美術館最近的收藏展 First Light: A Decade of Collecting 也以此件作品命名。
Many labels are associated with Paul Chan: multi-media artist, political activist, and publisher, to say the least. Categories seems rather futile for understanding his practice. Selected as the winning artist of 2014 Hugo Boss Prize, Chan is clearly well loved by the art world at the moment; curato...
New York, NY
Be the first to know and let us send you an email when Screen 介面 posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.
Send a message to Screen 介面: