Ocula MagazineContentsView All
Featured ContentView All
‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

Fade out copy.
Read More
Takashi Murakami and Tobias Berger Talk Murakami Ocula Conversation
In Collaboration with Tai Kwun Contemporary
Takashi Murakami and Tobias Berger Talk Murakami

For three months from 1 June to 1 September 2019, Tai Kwun Contemporary in Hong Kong showcases MURAKAMI vs MURAKAMI, a major survey exhibition of the Japanese artist Takashi Murakami. Curated by Tobias Berger, head of art at Tai Kwun, and Gunnar B Kvaran, director of Astrup Fearnley Museet, Oslo, the exhibition spans the three floors of Tai Kwun's...

Fade out copy.
Read More
Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

Fade out copy.
Read More
Ocula Insight

'Annals of Floating Island' at Hanart TZ Gallery, Hong Kong

Elliat Albrecht Hong Kong 22 August 2016
Image: Exhibition view, Annals of Floating Island, 2016. Courtesy Hanart TZ Gallery. Photo: Kitmin Lee.

Imagine a floating island, with no roots at the bottom of the sea: an unanchored site that drifts slowly across the water. This idea of a transient, fictionalised space is at the centre of Annals of Floating Island (22 July - 27 August 2016), a group exhibition curated by Song Zhenxi and Zhang Cheng at Hanart TZ Gallery in Hong Kong. Comprising of works by eight Chinese artists, the exhibition focuses on shifting constructs of truth and fiction, illusion and ideology. Each of the participating artists (Guo Xi, Zhang Jianling, Gong Xu, Zhu Xi, Feng Chen, Hong Dan, Shao Wenhuan and Tong Yixin) and the two curators are graduates of the China Academy of Art in Hangzhou, a progressive institution with interdisciplinary programming and curriculum which spans traditional Chinese painting to new media and digital art. Works in the show include abstract painting such as Hong Dan’s Black Memory (2016), mixed-media sculpture like Zhu Xi's Laboratory for Metamorphosis, (2014) and video works such as Feng Chen’s Pirate (2014) in which a modern day one-eyed pirate lays bare his ocular insecurities. The works were selected by Song and Zhang for their explorations of authenticity and creativity, each blurring the line between truth and construct.

Image: Feng Chen, Pirate, 2014. Single-channel video with sound, HD 6’41”. Edition of 5. Courtesy the artist and Hanart TZ Gallery.

Encompassing an entire room of the exhibition space is Guo Xi and Zhang Jianling’s work The Grand Voyage: π Day (2016), part of a long-term collaboration between the artists called ‘The Blue Triology’. The pink-painted room holds a collection of objects and documents based off of a lengthy boat excursion taken in 2014. Two years ago, before embarking on an 86-day-long cruise around the world together, the artists drafted 12 prophecies of events and characters they would encounter aboard the ship. In a nod to sea-bound artistic predecessors such as Bas Jan Ader and Arthur Cravan, the romantic and fantastical predictions were partial to lost souls and vanished figures. One prophecy imagines an encounter with a lone traveler wearing a moustache and a pair of John Lennon’s glasses; another depicts an amateur soprano with ‘a scar, as secretly as possible, crawling from her chin to ear root like a sewn-up gill’. Another: a conversation shared with a mathematician who felt ‘one moment of happiness every day gazing at the crystallised structure of 11:11 for 30 seconds’. Indeed, math and time are recurring themes: the artists’ journey at sea coincided with the 14th day of March or ‘Pi Day’, the only day of the year when the calendar date aligns with the circumference of a perfect circle divided by its diameter.

Image: Guo Xi and Zhang Jianling, The Grand Voyage (detail), 2014 to present. Installation: video, photography, objects, texts, prints, sound. Dimensions variable. Courtesy the artists and Hanart TZ Gallery. 

Setting off with the mission to ‘discover miracles’, the artists acted as witnesses and record-keepers during their voyage, collecting ‘visual testimonies’ which are presented in the gallery next to textual descriptions. A video of a young man describing how he acquired his favourite Beatles’ spectacles is placed next to a ‘real human hair moustache’ with a costume shop’s address on its label. Irregular chips of paint scraped off a wall by a reclusive mural-restorer are collected in a bag. An Oreo cookie that mysteriously turned blue upon first bite is secured to a wall. Separate from the other artists’ works in the gallery, the room that The Grand Voyage: π Day is housed in is painted pink with the words ‘Today’ repeated in large lettering on the walls. The aesthetic closely emulates the ship’s daily newspaper by the same name which included a schedule of the happenings onboard. Collected and presented together on one wall, these newspapers may be the only examples of truthfulness in the show.

Image: Exhibition view, Annals of Floating Island, 2016. Courtesy Hanart TZ Gallery. Photo: Kitmin Lee.

Objects throughout the room (paintings of sunrises, videos of rushing water, a newspaper from Honolulu) refrain from revealing entire stories or their alignment with actual events, but rather create indexical narratives which viewers must suspend their disbelief to navigate. In fact, the work is best appreciated when one slips into the dream. Like a Jorge Luis Borges or Italo Calvino novel, the boundaries between so-called ‘absolute reality’ and ‘absolute fiction’ are obscured at the service of tangled, beguiling fantasy. Indeed, visitors to the exhibition experience a similar type of pleasure to that of reading: wild imaginations and wandering minds are more than welcome. —[O]

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

Scan to follow Ocula on WeChat.
iCal GoogleYahooOutlook