CAA News Today

The following article was written in response to a call for submissions by CAA’s  International Committee. It is by John Tain, Congyang Xie, Michelle Wong, Cici Wu, and Noopur Desai, all researchers at Asia Art Archive.

Introduction, John Tain, Head of Research, Asia Art Archive 

In the first few months of this year, one thing that became clear was how deeply divided the world remained and remains, even as globalization brought us all closer physically and virtually.  There have been of course the many overt racist acts around the world, and also the less visible but no less insidious effects of structural racism on individuals and communities of color. There also remains plain ignorance reinforced by geography. In long distance calls and video meetings, it became clear that what people across Asia recognized right away as a cataclysmic life-or-death disaster remained literally and figuratively a faraway concern for many people in the United States and Europe—until it wasn’t anymore. 

At Asia Art Archive (AAA), we have seen the drama unfolding firsthand in both Asia and North America.  Our colleagues in Shanghai went into lockdown almost as soon as the news came out of Wuhan, with our main office in Hong Kong soon to follow. For those first few weeks, outpourings of concern, sympathy, and sometimes curiosity accompanied the daily news and dreaded case tallies.  Then, as the pandemic spread, it was our colleagues in New York and then New Delhi who were hit, along with the rest of the world, and it became our turn to send support and supplies when possible. We had already been in the habit of meeting regularly on Zoom as a way to work across distances, but throughout these months, talking with one other online became about more than work. It became a way to bridge the chasms keeping us apart all the more now.  It is in the spirit of those conversations that I have asked my colleagues to share their thoughts, as reminders that whatever the disparities, we must deal with this together. 

The Pandemic and Politics, Congyang Xie, Research Associate, Asia Art Archive, Shanghai 

In early February, two weeks after the shutdown of Wuhan due to the outbreak of the coronavirus, an article was published by Slovenian philosopher Slavoj Žižek titled “Clear Racist Element to Hysteria over New Coronavirus.” Translated into Chinese and circulated through the social media platform WeChat, it quickly became one of the most widely shared texts among contemporary art practitioners in Mainland China. Žižek, who has built a large readership in China over the last decade, began by saying that “Some of us, including myself, would secretly love to be in China’s Wuhan right now, experiencing a real-life, post-apocalyptic movie set.” (https://www.rt.com/op-ed/479970-coronavirus-china-wuhan-hysteria-racist/) 

More challenging statements followed. Unsurprisingly, there were all kinds of reactions within the art world, which amplified when more articles were published and circulated via WeChat by other Western thinkers who are more or less known to Chinese art practitioners, including Jean-Luc Nancy, Jacques Rancière, and especially Giorgio Agamben (Fig. 1). But the controversies around Žižek were particularly interesting. If Žižek’s text, as many have pointed out, disregarded the local context in China, the reading and sharing of the article in Chinese was also decontextualizing. The (re-)awareness of the very existence of intellectual borders that so many people tried hard to ignore may be one of the by-products of COVID-19. 

Figure 1. Left: A WeChat account publishing translated articles by various Western philosophers regarding the pandemic. Middle: Screenshot of Žižek’s article published in Chinese. Right: Screenshot of an article by Chinese poet Xiao Yin, titled “The Wuhan City That Žižek Cannot Understand”. Photo provided by the author.

Reading the text in a literal way, Žižek’s fiercest critics denounced the philosopher as naïve, if not delusional, for saying the situation in Wuhan was desirable, for ignoring the real tragedy in Wuhan, and for being indifferent to the dead and to those who were still suffering. Such opinion is based upon a humanistic attitude. The most extreme camp, however, went so far as to reach a nationalist point of view, concluding that Westerners never understand what is happening in China, and that Western theories are irrelevant and not applicable to China’s problems.  

Another group of critics, non-nationalists, with a more liberal mindset, were thus highly attentive to Žižek’s call for “a new form of what was once called Communism.” Based on modern and contemporary history of China, this group considers Communism as just the flip side of the coin of authoritarianism. Taking individual freedom as a priority, this group worried that the activity-monitoring technologies used by the government in the name of containing the epidemic would eventually normalize and strengthen total governmental control over society, even after the epidemic ends. 

This critical attitude towards authority was shared by a third group of people, who would agree at least partially with Žižek, citing his words that “If there were people in China who attempted to downplay epidemics, they should be ashamed.” In fact, during the first days of the coronavirus outbreak, transparency from authorities was the strongest demand from all of China’s social groups. The protest reached a peak when Li Wenliang, the whistleblower doctor who was forced to keep silent by authorities, was reported to have passed away from the deadly disease on February 7. That night, lit-candle emojis were all over social media. In response to the event, artist Zhang Peili designed a minimalist set of two T-shirts, which are worn frequently by artists and visitors to exhibitions (Fig. 2). 

Figure 2. Online shop selling T-shirt designed by Zhang Peili. The text means “I understand.” Photo provided by the author.

The debates highlight the ideological conflicts in China that have only intensified under the pandemic, though more space would be needed to map the full spectrum of opinions. Perhaps what makes Žižek’s text so appealing to art practitioners in China in the first place is the claim that “there is, however, an unexpected emancipatory prospect hidden in this nightmarish vision,” even if people may have (mis)understood it in a thousand different ways. 

Separate yet Together, Michelle Wong, former Researcher, Asia Art Archive, Hong Kong 

Figure 1. Screenshot of news livestream, July 1, 2020. Photo provided by the author.

One evening in March 2020, when Hong Kong’s first wave of COVID-19 cases was subsiding, we sat in a friend’s studio to look at the image archive of an artist-run space. “100 Square Feet Park,” or the Park, as we affectionately call it, was once a storefront on Lai Chi Kok Road, facing busy traffic. The image we were looking at was of a documentary exhibition from the Umbrella Movement of 2014. A monitor was placed on a table facing the street level. Pedestrians walking by wondered whether the images shown in the monitor were live or documentary images. It struck me at that 2020 moment, as we looked at the image five years on, that I had forgotten how it felt when livestreaming news—of marches, of roads puffing with smoke, of sparks flying out from long tubes, of people in all sorts of uniforms running—was not yet a norm. I remember an inexplicably overwhelming feeling of looking at the nine images on the split-screen livestreaming for the first time, and I thought my simmering anger would rise to the boiling point if I saw one more Instagram post that attempted to theorize this over-mediation.  

For some time now I have pondered the morbidity that is part and parcel of my vocation as a researcher at AAA. It is only half a joke when I describe my job as “talking to old(er) people and working on dead people stuff”. On various occasions I have described archives as haunted and haunting, trains for zombies, and repositories for art that could be undead. I still think about these things when I peer and squint at my computer screen while on Zoom/Jitsi/Skype. During the time leading up to the pandemic, and perhaps also during it (i.e. now), I think often about a generation of practitioners, many of them friends and colleagues who I have met through my work at AAA. I think of how these people, myself included, have knowingly or unknowingly committed ourselves to remembering other people’s lives. Everyone who tells stories of other people’s lives, in this case through dealing with their archives, is learning how to do so along the way, much like writers learning how to write. And as we remember these lives and tell these stories, our stories can become entangled with theirs. Sometimes, it is nice to know you can choose not to do it alone.  

Read Part II of the article.

THE MANY FACES OF HUMAN IMPACTS: Exhibition Review of The Seventh Continent, 16th Istanbul Biennial, curated by Nicolas Bourriaud, September 14–November 10, 2019.

The following article was written in response to a call for submissions by CAA’s International Committee. It is by Madeleine Kelly, an artist based in Sydney, Australia.

When artists work with archaeology and anthropology it is easy to imagine their work as a labor entrenched in the past. Yet, in the 2019 Istanbul Biennial—an enormous exhibition in three venues that presented the work of fifty-six artists and art collectives from twenty-six countries—artists engaged with the descriptive capacity of archaeological methods by reinvesting them in the metaphorical dimension of imaginative artifacts and languages. New and complex ways of signifying humanity’s traces, marks, and interactions with the non-human universe emerged, blurring the traditional separation between nature and culture. Following from this, the division between subjects and objects also breaks down, granting subjective agency to stones, plants, and other non-human voices. The most powerful works invented an “inter-subjective relation” (see discussion below) that proceeded by way of the form of the face. As othered subjects are often faceless, the mediums in which they are embodied configure them as anthropological concepts. Entitled The Seventh Continent after the drifting mass of plastic waste that contaminates the world’s oceans, this year’s Istanbul Biennial explored the complex entanglements of anthropogenic climate change and the human impact on the planet.

French curator and art historian Nicolas Bourriaud is known for his controversial book, Relational Aesthetics (1998, English translation 2002), which revitalized the discussion on aesthetics at the time. In it, film critic Serge Daney suggested that the invention of “inter-subjective relation” proceeds by way of the form of the face, an exchange that denotes the consideration we have towards others. Further, to produce a form is to partake in a transitive ethic in which an image mediates the longing to be looked at. He states that “all form is a face looking at me.”  In the biennial, Bourriaud drew attention to “the primacy of encounter over form,” arguing that dynamic encounters between different types of beings–and by extension forms–constitute relational formations. I propose that an echo of his early citation of inter-subjective relation is present in forms with subject-like qualities–in particular faces– and that these especially address our relation to dwindling diversity and mounting waste generated by industrial capitalism.

Figure 1: HaZaVuZu art collective, Worlbmon, 2019, installation view and details; Mimar Sinan Fine Arts University Istanbul Museum of Painting and Sculpture (photograph provided by the author)

In the Mimar Sinan Fine Arts University Istanbul Museum of Painting and Sculpture, located in the heart of the city, the Istanbul-based HaZaVuZu art collective presented an alluring grotto-like installation of animated surfaces and faces inspired by everyday packaging, inkblots, and grotesque figures that “look back at us” (Fig. 1). The myriad images recall the semiotic wonderland of Istanbul’s Hagia Sophia Museum, weaving its historical thread of the iconophilic and iconoclastic, but the HaZaVuZu seems to riff on this legacy with forms that oscillate between iconic, indexical, and symbolic sign systems. Bourriaud’s statement (in an introduction to the exhibition) that “the work of art is a signal, akin to those all living organisms emit” seems to crystalize in these works where the artists breathe life into inanimate materials composed of matter seemingly evolving into being.

Figure. 2: Hale Tenger, Appearance (detail), 2019, mixed-media and sound installation, black obsidian mirrors, iron, epoxy resin based paint, water, audio-spotlight speaker, Büyükada Island (photograph provided by the author)

Along with the trope of the living work is that of art as a mirror to the world, reflecting the ineffable operations of nature. Yet in the context of the exhibition, an ideal nature is displaced to expose, as Bourriaud states, “the reverse mirror-image of our societies, the seventh continent is the country we don’t want to inhabit, made up of everything we reject.” On the island venue of Büyükada, a ferry ride from town, Istanbul-based artist Hale Tenger presented a mixed-media and sound installation entitled Appearance (Fig. 2). The viewer entered an apple orchard on the grounds of the dilapidated Sophronius Palace in which round black obsidian mirrors and pools of water reminiscent of black oil reflected skyscapes and trees. A voice from the house hoarsely whispered a poem by the artist: “I was a fruit tree . . . I gave, without expecting reciprocity . . . can you be by not doing?” And when we saw our faces reflected in the black mirrors we felt caught up in the quotidian complicities conjured by the question.

Another compelling work, this time the face of the deep, was also on the island. Armin Linke’s investigative film Prospecting Ocean (2018) transported viewers to the world of deep-sea politics where activists organize protests against seabed mining and the technocratic entanglement of industry, science, politics, and the economy. In the accompanying installation of documents related to Italian and Turkish marine history, a book chapter entitled “Ion by Ion,” by marine scientists Bruce Heezen and Charles Hollister, beautifully describes the evolution of mineral gardens comprised of manganese nodules. These polymetallic rock concretions accumulate daily in atomic layers and correlate with species abundance. Like strata that accumulate in the layers of a painting, the nodules embody an enlivening vitality.

Figure 3. Mika Rottenberg, still from Spaghetti Blockchain, 2019, 4K color video installation with 7.1 surround sound, 18:15 min.; Mimar Sinan Fine Arts University Istanbul Museum of Painting and Sculpture (artwork © Mika Rottenberg; photograph provided by the artist and Hauser & Wirth)

Artist Mika Rottenberg’s rapid-edit video Spaghetti Blockchain presents more strata, but hers are of oozy plastic modelling compounds, cakes that accumulate in layers of artificially coloured jelly, and molecular models scaffolded from skewers and marshmallows (Fig. 3). The film cuts to a potato-processing plant that rips through tree branches and thousands of potatoes in granular form. The agency of the hand appears as a critical element, often framed by hexagonal kaleidoscopic apertures that “blink” us through the brilliantly edited comic nightmare of her “organic chemistry.” Bourriaud proposes, “today’s artists practice a type of anthropology that one could call molecular.”

Figure 4: Eloise Hawser, Feathering, 2019, video sculpture, 76 x 101 x 20 in. (193.6 × 257 × 50 cm), steel, laminated and repurposed glass panels, Pera Museum (photograph provided by the author)

Another work, The Tipping Hall by London-based artist Eloise Hawser, takes the “petal claw” as its subject. These mechanical fists, with their twenty-six foot (eight meter) talons, do a vital job of aerating the waste of tipping halls to prevent the build-up of toxic gases. This work was displayed in the biennial’s third venue, the Pera Museum, as was Hawser’s Feathering (2019), a mesmeric kinetic sculpture made from waste and showing, at high magnification, the intricate and fine-toothed handling of e-waste (Fig. 4).

Figure 5: Jonathas de Andrade, still from O Peixe (The fish), 2016, 16mm transferred to 2K video, 5.1 sound, screen ratio 16:9 (1.77), 23 min.; Mimar Sinan Fine Arts University Istanbul Museum of Painting and Sculpture (photograph provided by Pedro Urano)

In Brazilian-based artist Jonathas de Andrade’s film O Peixe (The fish) (Fig. 5), Amazonian fishermen ceremoniously embrace and caress their slowly suffocating catch. While stylistically a pastiche of early ethnographic films, the intimate gesture between man and dying fish is an invention of the artist. Pertinent here is the aesthetic encounter between humans and animals being slaughtered, generating uneasy discussions and making this a challenging work.

In many ways, The Seventh Continent was an aestheticizing of the anthropogenic environmental tragedy. These artists translated notions of subjectivity into forms that document and/or question human impact–their forms look back at us, urging us to explore the complex entanglements of anthropogenic climate change and holding us to account for our impact on the planet.