Liquid Health 液态健康 @Goethe Open Space

 

Liquid Health is a fictional cultural and creative company established by Li Hanwei, which exploits Chinese culture to conduct brand development, thereby creating a cultural brand that is designed to cultivate the body-mind-soul-spirit of human beings. On 13 January 2019, the exhibition entitled by the brand’s name “Liquid Health” will open in the context of the Goethe Open Space at the Department of Culture and Education of the German Consulate General. The entire office space will be transformed into a private lounge of the brand, and also the latest product series of Spiritual Beauty Instrument will be launched on that day.

Beauty mask instruments, eyes massagers and face lifting instruments ….. All these provincial TV products stem from advertisements the artist watched as a child. These ads usually arise from very spontaneous and shallow thoughts, and end up with shoddy produced “landscapes”. They also form the narrow core of “Chinese Dream, Blue Dream”. Together with the artificially high GDP and the overwhelming promotion of a great nation image their advertisers share a common enemy, and these circumstances form a strong contrast to the “American dream” that once tempted many people of the world.

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Ultimately, this exhibition may be seen as a confrontation between “Socialism with Chinese characteristics” and “American Imperialism.” Li Hanwei chose to stand on a side more related to himself. This means that he does not observe these Chinese phenomena with a Western gaze, but rather adopts abundant local resources in his artistic work. By so doing, he emphasizes more the cultural landscape in China’s special environment than just focusing on issues of pan-capitalism (like most post-internet art do).

If you would like to experience these cultural landscapes, just visit the Cross Tower at No. 318 Fuzhou Road in downtown Shanghai. Enter the lobby of this office building through the revolving door, and turn right into the “Liquid Health” high-grade private club. The first thing jumping into your sight will be the reception desk and the money drawing feng shui pool, which appear at the same time as our glittering brand logo. You can choose to stroll around, or lie on a comfortable lounge chair to watch the brand’s promotional videos. All this creates the cultural ambience for our brand. Three brand new spiritual beauty instruments, as this time’s blockbuster products released by Liquid Health, will provide unprecedented spiritual sublimation for customers by means of Chinese culture. Here, as a product, culture becomes purer and pleasing. The cultural impoverishment caused by the landscape will be compensated by a landscape correspondently. The healthy liquid, is the “zen” of lifestyle, “be water” encouraged by Bruce Lee, a cultural form that is floating and flexible, and it is also an anonymous thing, which is omnipresent, wrapping and pervading you.

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液态健康是李汉威建立的虚拟文创公司,利用中国特色文化进行品牌研发,借此塑造一个滋养人类身心灵健康的文化品牌。2019年1月13日,歌德开放空间将呈现品牌的同名个展,整个办公楼式的空间被改装成品牌的私人会所,并同时发布“液态健康”的最新产品系列“美灵仪”。

美容面具、眼保姆和瘦脸仪······这些地方性的电视营销产品来自艺术家从小耳濡目染的广告。拍脑门想出来的点子和粗制滥造的“景观”是此类广告的群体性特点,也形成了中国梦梦之蓝的局促内核。这些广告商与虚高的GDP、铺天盖地的大国形象宣传同仇敌忾,和曾经诱惑着全球人民的“美国梦”形成了鲜明对照。究其根底,这或许是中国特色社会主义与“美帝国主义”的对抗。而李汉威选择了更切己的阵地。这意味着他不是用西方化的眼光审视中国现象,而是从自身出发去采用丰富的本地资源。他针对的不是泛资本主义的问题(如大多后网络艺术一样),而是中国特殊环境中的文化景观。

想要体验这些景观,你需要找到位于上海市中心福州路318号的华设大厦,通过旋转门进入办公楼大厅,并右转步入“液态健康”的高级私人会所。首先映入眼帘的是接待前台与招财风水池,它们与金闪闪的品牌标识同时出现。你可以选择随处逛逛,或者躺在舒适的躺椅上观看品牌的宣传广告片,而这一切都是为了营造品牌的文化氛围。最新打造的三款美灵仪,作为“液态健康”此次推出的重磅产品,将通过中国文化为用户获得前所未有的精神升华境界。在这里,文化作为一种产品,变得更加纯粹并旷人心怡。景观造成的文化贫乏,也将由景观来弥补。健康的液态,是生活方式化的“禅意”,是李小龙的那句“像水一样(Be water)”,是流动随行的文化形态,也是无处不在包裹着浸染你的不具名的东西。

Despite Our Ruination 尽管我们毁灭 @Shanghai Curator Lab

by Jenny Chen / Giulia Colletti / Kate Davis / Thomas Laval / Viola Yip
Artists: Adelita Husni-Bey, Hanne Lippard, Lu Pingyuan, Viola Yip & Peter Ablinger
Despite our Ruination was included in the exhibition It was a dream of a trip which was curated by 21 curators and hosted by Shanghai Curator Lab. We took one month to work together in a tense situation. That was too crazy to be true. Thanks for all friends/cooperators/enemies, I’ve learnt a lot in this long lasting dream/nightmare. 

“A constellation is made up of some stars that are nearer, others further away. It is only from our perspective, that of the here (and now), that they appear to take on a significant configuration.”

Spencer, Lloyd. “On Certain Difficulties with the Translation of ‘On The Concept Of History’”, 2000

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In an age of rising accountability over our most intimate gestures, where governance of borders, rights, and minds seems to be the norm, how can we evade regulation and take a journey into the unknown?

 

Taking cue from Walter Benjamin’s critique, Despite Our Ruination is
an exhibition that emanates from a constellation of objects. Displaying alphanumeric messages, a pager embodies impending automation, as well as the interdependency between humans and technology, which in our informational era is tinged with mysterious impulses. Within the constellation, these impulses are explored through the I Ching, an ancient Chinese divination text, using cleromancy to establish unexplored connections with the universe. Reimagining the rules that govern reality is a task also undertaken by science fiction novelist Octavia Butler, whose seminal book Wild Seed explores power struggles, eugenics, and cyborg identities. The blurred edges of actuality and fiction are at stake even in The Real As Imaginary, a piece by Peter Ablinger consisting of the recitation of a text over white noise that completely envelopes the speech. The white noise is, in fact, a theoretical idealization, assimilated to natural sounds such as the rain in a forest, which nurtures organic and inorganic species. In forests disturbed by humans, the matsutake grows. It is a mushroom utilised by Anna Lowenhaupt Tsing as a trope to picture a post-Enlightenment natural world, one that can answer to the promise of cohabitation in a time of unprecedented human destruction. These entities are assimilated into a natureculture vision, aimed at re- establishing a synthesis of nature and culture in a time when the dualism of science and the humanities prevails.

 

The constellation opens up to a series of artworks that challenge normative structures of thinking while stimulating critical paths. This interpretative exercise draws on artistic practices that deconstruct limitative visions on the environment,
noise, and the future of human and non-human species. The invited artists’ research spans from visual to sound art to suggest further vanishing points that jeopardise Western normative accounts of measurability, language, and rationality. Fostering an object-oriented approach that rejects the privileging of human existence
over the existence of nonhuman 10 identities, Despite Our Ruination is an invitation to explore routes not yet standardised.

 

Lastly, Despite Our Ruination proposes a Virtual Reality experience of the exhibition. Accessible via an internet link it introduces an extraterrestrial setting for the artworks presented. In this free space, the conventions of the white cube no longer assert a rational framework rooted in the history of exhibitions.

Pager

Supposedly technology never dies, it’s just no longer dominant; like the pager. Mostly seen in movies, their obsolescence is assumed. However, pagers are still used in hospitals, as for urgent messages, their simplicity makes them more efficient than the pervasive smartphone. Today, we work alongside ever-evolving and increasingly intelligent machines already capable of independent learning and development. Imagine that we are the pager and these machines the smartphone; what type of future awaits us?

This, of course, is not an accurate comparison. As biological beings we have to adapt to new conditions; otherwise, we die. That being said, some humans and machines already function as cognitive units, as for the past few decades humans have bent the laws of natural selection that previously governed Earth and life. Despite the vast quantities of data being gathered, and the multitude of scientists, technologists and futurologists attempting to answer this question, future forecasts vary greatly and there are no conclusive answers or solutions.

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I Ching

I Ching, also known as the Book of Changes, is an ancient Chinese divination text and one of the oldest Chinese classics. Published in the Western Zhou period (late 9th century BCE), I Ching was first mentioned in Europe by Leibniz in 1703. This sparked philosophical questions, such as universality and the nature of communication. The foreword of the English edition of I Ching was written in 1949 by Carl Jung.

For Jung, I Ching was a way of exploring the unconscious, and an approach to the nonhuman field. As stated in his introduction: “The Chinese mind, seems to be exclusively preoccupied with the chance aspect of events. What we call coincidence seems to be the chief concern of this […] mind, and what we worship as causality passes almost unnoticed”. (1) The I Ching not only offers a path into the unknown but raises a counter perspective to scientific causality by investigating the asynchronicity of real events.

Wild Seed

Octavia E. Butler was an African- American science writer. Her novels and short stories tackle a scope of issues still omnipresent today, such as climate change, the increasing gap between the rich and the poor and pharmaceutical developments, as well as sexual identity. Her science-fictional storytelling warns of malignant possibles, and gives voice to destitute living forms, offering a path for an expanded understanding of the world.

Butler’s novel Wild Seed (1980) introduces Doro, a thousand-year-old cyborg living off the bodies of others. A gang from the New World destroy the African village Doro cultivated for centuries, and force him to leave. On his way, he meets a shapeshifting and equally powerful rival; Anyanwu, able to heal with a kiss. Their encounter triggers a century-long conflict jeopardising the essence of humanity.

Aside from her published writing, Butler’s notebooks serve as a space for her innermost thoughts. These pages enliven Butler’s practice and inform
her inspirations and horizons. Partial sketches of a novel, or an expression of a condensed state of mind, mirror the author’s profound wishes for humankind.

The Real as Imaginary

Peter Ablinger’s The Real as Imaginary is a composition for a solo speaker and noise. The performer can have any voice type; however, the text should be translated into a language that the audience can understand. The performance noise track should be generated by the sum of frequencies in the recording of the performer’s recitation of the text. The noise track, then, needs to be further filtered through oscillated frequency bands to create “windows”.

As a result, this noise track is played at a volume that is just loud enough to envelop the performer’s voice; but with the oscillated “windows”, the voice floats between the foreground, background and space in between.

The Real as Imaginary questions whether the “imaginary” and the “real” oppose each other in our perception. Ironically, perceiving reality relies on our imagination, as Ablinger expressed, “I had asked whether it would ever be possible to reach the real, whether it would ever be possible to break through the prison of my imaginations onto the real.” (2)

The monologue allows Ablinger to search for the idea of the “real”, and the relationship between the “real” and the “imaginary”. At the end of the text, he concludes that:

The imaginary as real, and equally the real as imaginary – this would then be, so to say, a formula for the interpenetration of the two, a formula for the living and for the being-here.” (3)

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Matsutake

We are stuck with the problem of living despite economic and ecological ruination. Neither tales of progression nor of ruin tell us how to think about

collaborative survival. It is time to pay attention to mushroom picking. Not that this will save us – but it might open our imagination.”(4)

The matsutake is one of the most expensive mushrooms in the world, as it grows in destroyed forests across Asia and North America. Due to its capacity to nurture trees, matsutakes enable forests to flourish in human-damaged places. It
is also an edible delicacy in Japan, where it can fetch astronomical prices. In The Mushroom at the End of the World, Anna Tsing offers insights into areas far beyond just mushrooms, using the matsutake to ask a crucial question: how are we going to live in the ruins we have made?

The matsutake becomes a metaphor to narrate a tale of diversity within our daunting landscapes, exploring the unexpected edges of consumerism, and challenging the connections between capitalist destruction and collaborative survival within multispecies landscapes; demonstrating the potential for fungal ecologies to foster a better understanding of cohabitation in a time of significant human destruction.

Notes
(1) Wilhelm R. (trad.) and C.G. Jung (Foreword), The I Ching, or, Book of Changes. Princeton: Princeton University Press, 3rd edition, 1967.
(2) https://ablinger.mur.at/i+r_the-real. html
(3) https://ablinger.mur.at/i+r_the-real. html
(4) Tsing, A., The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton: Princeton University Press, 2015.

星丛是由一些距离较近的星星组成 的,另一些则相对远。它只从我们的 角度出发,而在此时此地,它们显现 为一种重要的构型。

劳埃德·斯宾塞,《论翻译“历史概念” 的若干困难》,2000

 

寻呼机

假设技术永远不会消亡,它只是不再占据主导地位; 像寻呼机一样。 我们可以经常在电影中看到被过时化的它们。然而,寻呼机仍然在医院使用,至于紧急信息,它们的简单性使它们比普及的智能手机更有效。今天,我们与不断发展且日益智能的机器一起工作,这些机器已经能够独立学习和开发。 想象一下,我们是寻呼机,这些机器是智能手机; 什么样的未来等着我们?

当然,这不是一个准确的比较。作为生物,我们必须适应新的条件; 否则, 我们就会面临死亡。话虽如此,一些人类和机器已经被作为认知单元在发挥作用,因为在过去的几十年里,人类已经扭曲了曾经统治地球和生命的自然选择规律。尽管收集了大量数据,众多科学家、技术专家和未来学家都在试图回答这个问题,但未来的预测差异很大,也没有确定的答案或解决方案。

易经

《易经》,也被称为《变化之书》,是中国古代的占卜文本也是中国最古老的经典著作之一。出现于西周时期(公元前9世纪晚期),《易经》在欧洲最早于1703年被莱布尼茨提及。这引发了如普遍性与沟通本质的一系列哲学问题。《易经》的英文版序言由卡尔·荣格于1949年撰写。

对于荣格而言,《易经》是一种探索无意识的方式,也是一种探索非人类领域的方法。 正如他的介绍中所述:“中国人的思想似乎完全专注于事件的偶然性方面。 我们所说的巧合似乎是这种思想的主要关注点,而我们所崇拜的因果关系几乎没有被注意到“。(1)《易经》不仅为我们提供了进入未知世界的道路,而且通过调查真实事件的异步性, 提出了与科学因果关系的相反视角

野生种子

奥克塔维亚·巴特勒是一位非裔美国科学作家。她的小说和短篇小说解决了当今仍无处不在的一系列问题,如气候变化、贫富差距和药物发展以及性别认同等问题。她的科幻小说讲述了“恶”的可能性,并为贫困的生活形式发声,为扩大对世界的理解提供了一条道路。

巴特勒的小说《野生种子》(1980) 讲述了一个有着千年历史的赛伯格“多罗”的故事,他依靠其他人的身体存活。一天,来自新大陆的一伙人摧毁了几个世纪以来由多罗耕耘的非洲村庄, 迫使他离开。路上他遇到了一个能变形并且和他同样强大的竞争对手:安言午,能够用吻来愈合创伤。他们的遭遇引发了长达一个世纪的冲突,并危及人性的本质。

除了她出版的文章,巴特勒的笔记本也在此为我们呈现了她内心的思想世界。这让巴特勒的实践显得更加生动,并让我们了解她的灵感和视野。小说的一部分草图,或这说是一种思想的凝聚表达,反映了作者对人类的深切愿望。

真实如虚幻

彼得·阿林格的《真实如虚幻》由独诵和噪音演奏组成。表演者可以用任何音区演奏;但是,诵词需要被翻译成观众可以理解的语言。表演者需表演前把诵词录音,然后把音轧的所有音频重叠,形成噪声。然后,需要通过振荡频带进一步过滤噪声轨道以创建“ 窗口”。这个噪音音轨一方面能以音量包围表演者的声音;而另一方面,声音随着振动的“窗口”在前景、背景和噪音跟诵词的空间之间浮动。

《现实如虚幻》质疑“想像”和“现实” 在我們的感知中是否相互對立。 諷刺地,感知现实依賴於我們的想像力, 正如阿林格在词中表達:“我曾經問過是否可以達到现实,是否有可能突破想像力的監控来感知现实。”(2)

这独白允许阿林格寻问“现实”的概念,以及“现实”和“虚构”之间的关系。 在文本的最后,他得出结论:

“虚构作为真实,同样是现实的假想 – 这就是说,这是两者一个相互渗透的公式,和一个生活和此在的公式。” (3)

松茸

“尽管经济和生态破坏,我们仍然陷于生存问题。无论是进步还是毁灭的传说都没有告诉我们如何思考共同生存。现在是时候关注蘑菇采摘。并不是说这会拯救我们 – 但它可能会打开我们的想像力。“(4)

松茸是世界上最昂贵的蘑菇之一,因为它生长在亚洲和北美洲被毁坏的森林中。由于其培育树木的能力,松茸使森林在人类破坏的地方蓬勃发展。它在日本也是一种可食用的美味佳肴,可以以天价获得。安娜·秦于《在世界尽头的蘑菇》中,提供了远超蘑菇范畴的见解,通过松茸提出一个关键问题:我们将如何生活在我们所制造的废墟中?

松茸成为一种隐喻,构建了骇人图景中的多样性故事,探索消费主义的异常性,并在多种景观中挑战资本主义破坏与“共生”之间的联系;显示真菌生态的潜力,以便在人类面临毁灭的时候更好地理解共同栖居的意义。

 

环形狩猎 Hunting Cycle @MadeIn Park

展览海报(16:9)RGB

艺术家:陈冷、李汉威、陆平原

策展人:陈嘉莹

展期:2018月10月21日–12月31日

“环形狩猎”呈现了三位年轻艺术家的作品:陈冷的巨幅图像如天降业障般矗立在野外、李汉威汲取自身文化记忆而虚构的重武公司与陆平原因当地创作的故事;将通过不同的路径诠释当下的人文境况,并借由没顶公园特殊的地理环境织造一个跳脱城市喧嚣的局外境况。

狩猎,隐射的是一种捕猎状态,猎者可以是消费者、创作者或是任何一个等待猎物出现的角色,而在这个展览中猎物成为了工业产出、传统文化、想象力,甚至艺术家自身。猎者捕获猎物的过程,同时也被假象中的“牺牲者”控制着。这样的双向关系或许源于技术/工具的反身性。展览将通过影像、文本、装置与这样的周遭环境,呈现一个复杂丰富的狩猎关系。

Artists: Chen Leng, Li Hanwei, Lu Pingyuan

Curator: Chen Jiaying

Exhibition period: 2018.10.21-12.31

“Hunting Cycle” presents the works of three young artists: the huge image by Chen Leng stands in the wild as if an evil creature falling from the sky, the fictitious Heavy Weapons Company by Li Hanwei base on the artist’s own cultural memories and the story Lu Pingyuan inspired by the local environment. These different paths interpret the current humanistic contexts and create an outsider circumstance jumping out of the bustle of the city through MadeIn Park’s unique geographical environment.

Hunting refers to a state of “catch and hunt”. The hunter can be a consumer, a creator or any character waiting for the prey to appear. In this exhibition, the prey becomes industrial output, traditional culture, imagination, and even artists themselves. The process by which the hunter captures the prey is also controlled by the imaginary “prey”. Such a two-way relationship may stem from the reflexivity of technology/tools. The exhibition will present a complex and rich hunting relationship through images, texts, installations and such a surrounding environment.

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像素公园 | Pixel Park @Jingan Sculpture Park

cocurated with Lu Pingyuan

“像素公园”将是一个像素的模拟大观园,与周遭的雕塑公园形成内容上的虚实对照。像素作为电子图像的最小单位,在数码世界中与个体的角色类似。它们聚合在一起形成图像创造者的世界,有如意识的像素雕塑,在平面荧幕上堆叠出思想的动态形体。在展览呈现的众多作品中,艺术家都不一而同的表现出自我雕塑化的愿望。 在他们或身体或意识的参演中,缪斯症候作为日常神话,在影像中成为个体极欲纳入自身叙事的深层动机。

 

而公园,作为人类搁置社会性的半自然地带,其附带的集散和景观功能,成为人们实施白日梦想的完美场所。在像素风景取代自然景观之后,移步换景的游园模式变成了精神性行为。雕塑公园里的游人在长椅上观看雕塑的同时,自我也在静止中形成了雕塑。这样的静止状态同样也在“像素公园“里成为观看的线索。它所牵连出的,是像素在改变了人们衡量像的尺度之后,个体依存空间发生坍缩的变化趋势。“像素公园”正是我们针对这种预见而诞生的未来公园蓝图。

 

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Pixel Park is a simulated grand view garden of pixels. It forms a contrast between virtuality and reality with Sculpture Park. As the smallest unit of digital images, pixel plays a similar role to that of an individual in real world. Through the aggregation of these entities a world is created, like pixelated sculptures of consciousness, stacking themselves as dynamic figures on a flat screen. Within the works shown in Pixel Park, the artists all coincidentally present their desire of self-sculpting. In the participation of their body or consciousness, symptoms of the Muse, as a daily myth, become in the images the deep motivation of things individuals want to incorporate into their narratives.

 

While parks, with their attached features of distribution and scenery – as semi-natural areas in which human temporarily set society aside – become the perfect place for people to implement their daydreams. Now that pixel sceneries replaced natural landscapes, park wandering and exploration have been turned into a spiritual action. When visitors inside the Sculpture Park watch those sculptures, sitting on a bench, they turn into sculptures themselves. Such state of stillness becomes the viewing angle in the Pixel Park. What is implicated, is the changing tendency of the collapsed of individual spaces, after pixels modify the scale of image measurement. Pixel Park precisely is the blueprints of these generated future parks we refer to.