Outing in full gear: these 3D printed filter containers are the best face mask savers.
A trip to supermarket #coronafashion #coronastyle #hongkong
The image of this @hannapettyjohn painting came with @silverlensgalleries newsletter today, which says the gallery is closed until further notice amid #coronavirus outbreak. It also says the gallery has “donated personal protective equipment to our country’s incredible medical frontliners through TOWNS Foundation and the UP Medical Foundation.”
Mask is Hong Kong’s symbol of resistance and resilience. From #HongKongProtests since June 2019 to the current battle against the coronavirus pandemic, mask is a form of shield, guarding ourselves from tear gas to germs. And we have managed to flatten the curve for as long as we can, before the second wave of outbreak, likely brought by returnees. In this series of paintings on show @galleryexit, Hong Kong’s @chowchunfai explores the memories, observations and reflections of Hong Kong protests. These images are the result of the political turmoil that has left a mark in our complex psyche collectively. The intensity of the events is expressed through the size of the paintings—most of them are very small. Standing from afar, they look like nothing. But the emotional intensity is magnified when you have to walk up close to the work to look at the details. It’s in your face. And there’s no escape from it.
#throwback: The Lines We Draw, bird migration in Yalu River. @Robert_zhao @shanghartgallery @gillmanbarracks
Taipei #throwback: @yutingthegoldfish @pondingspace
“Reading Method” (2018) by intext, an emerging art collective from Japan—this seemingly subtle and uneventful work presented by @182_artspace at @taipeidangdai is much more complicated than it seems. The page is taken from the Bible in Japanese, Genesis 11, which tells the myth of The Tower of Babel. Humans were once united and spoke one language, but God had them divided and speak different languages as they tried to build a tower tall enough to reach heaven. The Japanese text is to be read from top to bottom, right to left. But the voice from the audio installation reads the text from left to right, which is how English and many Western languages are read. But what what the voice says would make little sense despite the overlapping. Some have made the effort to understand each other, but centuries on, we are still lost in translation.
這是一個家暴的故事—「我的家裡沒有爸爸。」啪的一聲，一巴掌打往小弟弟的臉上。「我的家裡沒有爸爸！」啪！！再來一巴掌「我的家裡沒有爸爸！！」啪！！！這己耳光更響、更狠。 小弟弟的爸爸早已死了，突然有個叔叔搬到家中，說是小弟弟的監護人，然後硬要說是小弟的爸爸，監察他寫的功課，指駡他寫的字是錯的。最後終於被迫寫一個「爸爸」滿意的版本。 This is a story about domestic violence—a little boy lost his father long time ago and one day, a strange uncle emerged from nowhere and moved in with him. At first, the uncle says: “I’m your guardian.” Later the uncle insists on having the boy call him “father”. “But my father is dead!” says the boy. The uncle ignores him, giving him a hard slap of his little face and forcing him to write a “correct” version of the family for his homework. This installation by @tnua_anti_extradition featured at @mocataipei’s exhibition “Co/Inspiration in Catastrophes” explores the pain and trauma of the political catastrophe in Hong Kong. The anti-extradition bill movement since June 2019 is about the fear facing Hong Kong people—just like the little brother, he is no longer allowed to state the truth, but only an approved version. And like people who had experienced domestic violence, the people of Hong Kong are haunted by this experience for the rest of their lives like those suffering from PTSD. More on the exhibition in the next post.
Magic of light and shadow—this mesmerising piece by the talented @wuchitsung consists of just transparent plastic boxes installed on the wall and an LED light. As the light moves in circular motion on top of the boxes, it casts shadows on the wall that are also in motion, creating what looks like an aerial view of a city. The transparent boxes are tangible objects, but the shadows seem to be more real and solid. A lot of the times what we see is not what we get, especially in this highly urbanised day and age. We need the light to reveal the truth that lies beneath. Very lucky to have seen this at the artist’s studio in Taipei.