Objects That Have Been Intruded
ARTISTS:Chen Wei/Jiang Zhi/Weizitong Kong/SU Yu Hsien/Trevor YEUNG/JiaXi Yang/Dragon Zheng
被包裹的雕像，2015，陈维 Wrapped Statue,2015,Chen Wei
情书2014，蒋志 love letters2014,Jiang Zhi
Hua-Shan-Qiang,Video,2013,SU Yu Hsien
The Enigma (Sheung Wan),Photo, Plant ,2015,Trevor Yeung
（作品由艺术家、Collection of Alfred Cheong & Kwong Yee Leong及刺点画廊提供）
The Horizontal Mode of A Waking Life,“Eggs, threads”,2014,JiaXi Yang
Photography, by capturing the images of objects, intends to imply something as if people tacitly see images and objects as things that are exchangeable. However, should we be alert to the sense of beauty embedded in the shape of the object and the validity of the question raised behind the visualized representation of the objects? During the process of interpretation, or purification, has the original potency of the object been conveyed? Has anything gone missing during the process? To evade the preset premise (that object and image of the object can be treated equally), we therefore shift our focal point to a somewhat marginalized issue: the intrusion of photography (before and after) upon the object and new questions that will arise following it.
In Bruno Latour’s “We Have Never Been Modern”, the author resorted to the notion of “quasi-object” to elaborate the relationship between the subject and the object, proposing that the relation was neither pre-Kantian (subject under the control of object) nor post-Kantian (subject-centrism). Rather, the intermediary between the subject and object makes them possible to interpenetrate. Drawing on this notion, “to intrude upon objects” also becomes a kind of intermediary. Artists featured in this exhibition resort to “intrusion” to tackle the various issues. The “intrusion” by “subjects” upon “objects” puts the objects at the central position. They are important and unimportant at the same time as they are detached from their original contexts during the shift of positions between the center and the periphery.
Very often, CHEN Wei’s work narrates through relocating objects in theatrical sceneries. However, this exhibition has deconstructed his usual way of working and proposed an alternative presentation, which is more like demonstrating his “methodology”. Various works are shown either in the form of visualization of his theatre, or of the objects per se that suspends his original process of visualization. Apart from what the artist has told in his works, this exhibition also leads us to the intervened objects as the signifiers by “breaking the myth of the theatre”.
It has been widely known that by photographing burning flowers, JIANG Zhi has written a “love letter” that is dedicated to everyone, in which flowers does not contain love messages, neither fire works as a language. But the act of “burning flowers” somehow turns into a “quasi-object” that substitutes emotional feelings. And in this romantic, sad, forced (with even more adjectives ahead) action, the lover letter is becoming more affectionate.
In the work “ Juxtaposition”, KONG Weizitong has created a world with his self-made background, mirror, metal ball and plastics. Through photographing in an absolutely two-dimensional way, he abandons the perspectives and presents purely abstract shapes and colours. In a world that does not count by volume but by area, the physical materiality of these objects vanishes. By then, the object connects the reality and its visual representation in which the construction of the later deconstructs the earlier.
In SU Yu Hsien’s still-image video “Hua-Shan-Qiang”, the paper dolls are only projections of the figures. Too much attention of the paper burning ritual will only lead the audience to take it culturally. But what does activate the objects (papers dolls) is the invasion of narrations (voice over and script). Together, they have conspired to produce a phantom-like body to respond to a world that has been commonly known. While in a comical turn, the activated objects and the activation per se have redirected the audience’s attention to numerous individual or historical, political or national meanings and metaphors that the artist wants to evoke.
This time, Trevor YEUNG puts plants directly in front of his pictures and builds up a barrier, which interferes not only with viewing the works, but also with viewing the works and the obstacles as a whole. The object’s alternation of being at the center and margin attracts the audience to choose a perspective on their own. In “The Horizontal Mode of A Waking Life”, YANG Jiaqian relocates those little common objects and food in a new context to reflect on what we are accustomed to. To achieve this, YANG chooses a reversed way of defamiliarization, like creating an unfamiliar space, an unfamiliar visual effect… Maybe, it is only in an unfamiliar environment that those accustomed experiences could catch our attention with an alert sound.
What Dragon ZHENG’s work “CHANNEL-e” has firstly demonstrated in this exhibition is his unique concern of the broken screen. Screen, like an intermediate between the real and virtual life, has further expended our imagination that an object could ever load. By showing the inner and outside world of a broken screen, ZHENG aims to reflect on the various issues of the Post Internet Age.