TV, hook, rope, hair, broom handle, shower head, shower head handle, hose
This work contains a series of three videos about kill myself. The suicide objects I chose (hydrogen balloon, ice, hair) are objects that can be slightly noticed, but they can hardly exist in any stable way. According to the characteristics of the material, I want to think in the essence of the material. I control these videos at the intersection of common sense and ridiculous to create an unreal feeling.
In the construction of the scene of my video installation, I took some of the elements that appeared in the videos into the real scene, as if to represent that moment. Guide the audiences to perceive a misplacement of time and space, and combine different plots of a story in a single composition. In fact, all the events depicted on the screens are presented simultaneously. At this time, the video installation covers the past and the present. The constant physical space-time becomes an uncertain poetic space.
I was inspired by a passage from Einstein. Einstein pointed out in The Special Theory of Relativity (1905) that "Every reference-body (co-ordinate system) has its own particular time; unless we are told the reference-body to which the statement of time refers, there is no meaning in a statement of the time of an event."
Ceal Floyer, Plughole, 2017
Mary Lucier, Wilderness, 1986
Peter Fischli & David Weiss, Der Lau der Dinge, 1985-87
I wanted to find an artist who developed ready-made work, and then I researched Ceal Floyer's work with the teacher's recommendation. Floyer's phenomenological readymades, often subject to bewilderingly simple semiotic inversions that have the power to re-route perception. Regarding thinking about how my videos are displayed, I researched the work of Mary Lucier. Mary Lucier's work Wilderness mixed three simultaneous videotapes, which were intertwined onto each other on seven television displays. Contradictory expressions of the work are implicitly reflected in the contrasting images shown simultaneously. Der Lau der Dinge by Fischli & David Weiss is the most inspiring in my art practice. Peter Fischli & David Weiss spent months realizing their unrealistic plans. The implication here is that the temporary existence of something is just to experience the joy of seeing an idea become a reality, and it is valuable to take the time to make something that is basically useless. This notion of spending time devoted to innovative play is basically contrary to the everyday view of time in industrial societies. These works have given me a lot of inspiration.
In Floyer's "Plughole", the video depicts a stream of water that is redirected in an attempt to fill each hole perfectly with the flow of the faucet, moving from one hole to the next. The drain's function as a receptacle for water becomes a kind of short-circuit, as water itself becomes the material that plugs its own pathway. This transference of states is a recurring motif in some of Floyer's most effective work with manmade interventions into natural experience. Simple phenomena are exploited for their most basic physical malleability, and coaxed to create counterintuitive or impossible paradoxes laid bare and envisioned in real time.
Mary Lucier's work Wilderness focusing on the conflicts between civilization and nature using seven monitors mounted on classical pedestals, tree trunks and a garden urn.
In Der Lau der Dinge by Peter Fischli & David Weiss, the termination of the movement of each object triggers the movement of the objects that follow it. This chain reaction expresses time concretely and slightly in the form of absurd kinematics: In a series of real-time events that occur continuously in 30 minutes, one motion is cleverly designed as an inducer of the next.
This work has site specificity. The river in the video is far away from my motherland. It is a river in London. I repeat the action in it, conveying a state in which I have been working hard in a foreign country but many things cannot be changed, conveying a feeling of futileness.
video, color, sound
The rolling pin is used to flat the flour. I use it to flat the water surface. I'm trying it again and again.
The work contains a huge contradiction. In this process, I have developed a dialectical reflection on the relative concept of "stillness and movement". I am constantly repeating the action of flat water. Repeating is an important part of it. It is about the confusion that is difficult to get rid of, it is about the process, and it is about the situation of human beings. People can never edit nature.
Richard Long, A Line Made by Walking, 1967
Song Dong, Stamping the Water, 1996
Janine Antoni, To Draw a Line, 2003
In Richard Long's work A Line Made by Walking, he also intervened in the scene as. In Song Dong's work Stamping the Water, he also used the characteristics of water to complete this work. In Janine Antoni's work To Draw a Line, she explores the concepts of motion and stillness. I think their works all have points that are close to the form or concept of my video.
In A Line Made by Walking, Richard Long stopped in a field in Wiltshire where he walked backwards and forwards until the flattened turf caught the sunlight and became visible as a line. He photographed this work and recorded his physical interventions within the landscape. This piece demonstrates how Long had already found a visual language for his lifelong concerns with impermanence, motion and relativity.
Song Dong sat in the Lhasa River in Tibet for an hour repeatedly stamping the water with a large wood seal carved with the Chinese character for water (Shui 水). The piece is, among other things, a meditation on the evanescence of inscribed language. As Song has said, “I exerted great force [in stamping the seal on the water], but in the end left no trace.”
In 2003, Janine Antoni performed To Draw a Line at the Luhring Augustine Gallery. For this work, she took a long preparation period to train herself to walk the tightrope and how to ensure safety when falling. During the performance, she fell off the rope and fell into soft raw hemp. The installation consisting of steel wires and spools, as well as the original hemp with traces left by the artist when she fell, was exhibited as a witness to her walking and falling for several weeks. Antoni constantly adjusted his body posture to maintain balance while walking the tightrope. It seemed as if we implied that the moment of harmonious balance was fleeting, and a permanent stillness could not exist.
"Washing Ice Project"
video, color, sound
I put the ice in the washing machine and cleaned it. Ice is made from water, and now the water is used to clean the ice. Finally the washing machine is open, nothing.
The washing machine keeps turning, and the work shows meaning in the change of time. I am thinking about how the form of movement and change gives time to concrete meaning. When we look at a piece of art that has undergone subtle changes, we can realize the passage of time. This seems to be a meaningless process, but the meaning is in the meaningless.
Santiago Sierra, 250 cm Line Tattooed On 6 Paid People, 1999
Santiago Sierra, Veterans of war facing the corner, 2017
Santiago Sierra, Polyurethane Sprayed On the Backs of 10 Workers, 2004
In the development of my practice, I focus on some meaningless behaviours and constantly question the functionality of objects. In this regard, Santiago Sierra's work is useful in terms of meaningless behaviour.
Santiago Sierra planned a number of performances (recorded in black and white video) in which he hired people to perform various meaningless acts. This is a kind of extreme boredom, an endless monotonous repetition of meaningless trivial details in contemporary life. Previous works have included: paying illegal immigrants to sit under boxes in galleries for hours at a time; bricking a gallery worker inside a room for 10 days; covering 10 Iraqis in hardening foam.
I made a Lost and Notice because I want to find my lost ice. I print it out and stick it on the side of the road, waiting for a reply.
I used ice, an easy-to-melt material, to add physical changes to my work. I want to present the natural properties of the material, and remove the cultural interpretation and psychological meaning attached to the material.
Francis Alÿs, Sometimes Making Something Leads to Nothing, 1997
Olafur Eliasson, Ice Watch, 2018
Allan Kaprow, Fluids, 1967/2005
Paul Kos, Sound of Ice Melting, 1970
Zhang Huan, Pilgrimage - Wind and Water in New York, 1998
Nele Azevedo, Melting Man, 2009
My work uses ice as the element, and many artists have used ice to make their works. The different methods and concepts of their artworks made me think a lot. These include:
Francis Alÿs pushed a block of ice through the streets of Mexico City until it completely melted. The subtitle of the work is 'Sometimes Doing Something Leads to Nothing', an idea which speaks to the frustrated efforts of everyday Mexico City residents to improve their living conditions.
Allan Kaprow's happening Fluids involved constructing enclosures with ice blocks at various locations in Pasadena and Los Angeles. During three days, about twenty rectangular enclosures of ice blocks are built throughout the city. Their walls are unbroken. They are left to melt. In its temporality and materiality, the work represents a challenge to the traditional understanding of art in public space.
Zhang Huan lay naked on a block of ice atop a traditional Chinese bed frame. Purebred dogs sat around him, tied by their leashes the legs of the bed. When he could endure the cold no longer, he sat up, faced his audience, and the piece — part ritual, part ordeal — was over.
Olafur Eliasson displays blocks of melting glacial ice across two public sites in London as part of his 'ice watch' series. the work launches today on December 11, 2018, coinciding with the meeting of world leaders at the COP24 climate change conference in Katowice, Poland.
Sound of Ice Melting is based on the ancient Zen Buddhist koan about the sound of one hand clapping. Here, Paul Kos has surrounded two twenty-five-pound blocks of ice with eight microphones that call to mind the political press conferences prevalent during the Vietnam War era when this piece was created. Zen practice values such as absurdity as a way to transcend the limitations of ordinary discourse and rational thought—empirical processes at the root of all political conflicts.
Brazilian artist Nele Azevedo, carved 1,000 figures out of ice and placed them on the steps of the concert hall in berlin’s Gendarmenmarkt square. with temperatures of 73 degrees Fahrenheit, the ice figures began melting within half an hour. the project entitled ‘melting men’ was meant to bring awareness to the world wildlife fund’s warning, that melting ice could cause sea-levels to rise more than 3.3 ft by 2100.
Down the Rabbit Hole, 2019
(Installation view at the Crypt Gallery London)
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"Down the Rabbit Hole"
table, book, mp3 player, speaker
Last term, I made the sound installation of the door. This work is a continuation of the previous work.
I got inspiration from Alice’s film Neco z Alenzy . The content of the film is Alice followed a strange rabbit into the drawer and fell into another world. I extracted some sounds from the film after she fell to another world. So the sound of my artwork likes some interesting things is happening in the drawers, just like it has another world inside. But when the audiences open the drawers, they will find nothing. It separates the perception of the audiences.
Together with different components, including sound, objects and text, builds a platform that allows audiences to rethink this place. The installation placed in the space seems to call for behavioural intervention to activate the dynamic potential. The audiences can read the book and open the drawers, which intensifies the uncertainty of the installation.
I hope that my work can inspire a kind of association. When the audiences come in this space, they need to rely on their imaginations to determine their visual, psychological and philosophical associations and meanings. The audiences need to create an idea for themselves by seeing the scene and hearing the sound. My goal is to make my work's space no longer as hard as reality, but soft as imagined.
Ceal Floyer, Bucket, 1999
Nelo Akamatsu, Chijikinkutsu, 2015
Bernhard Leitner, Ton-Liege, 1975
I am very interested in making sound installation, and I will continue to explore it. Sound always makes people associate, even the same sound is completely different in everyone's mind. Sometimes through the planning of sound, people can have various illusions.
For example, Ceal Floyer's work Bucket created an illusion for the audiences, causing people to be confused about the source of the sound. This is also the effect that my work wants to achieve. When my work Down the Rabbit Hole is displayed, I saw the audiences are kept searching for the source of the sound. I think my purpose has been achieved. Japanese artist Nelo Akamatsu uses magnetic force to make objects sound. This delicate way has touched me. I was also touched by Bernhard Leitner's work, he investigates the threefold relationship of sound, space, and body.
In Bucket, Ceal Floyer's work consists of an ordinary, black bucket. At regular intervals a sound recalling the steady dripping of a leak becomes audible. Viewers’ gazes are irresistibly drawn to the ceiling of the hall, where it would be reasonable to suppose that the leak could be. However, no indications of water damage can be made out in this area. The explanation for the unusual sound is finally to be found in the interior of the bucket. A CD player, as well as a speaker, have been placed inside of it, and these are the source of the puzzling noise. Neither of the devices is concealed, and the conditions leading to the illusion are thus immediately apparent. Her work creates an illusion only to expose its basis and to dispel it a moment later.
Nelo Akamatsu is a Japanese multidisciplinary artist. In “Chijikinkutsu”, sewing needles are floating on water in glass tumblers which are magnetized, so they are affected by geomagnetism and turn like a compass. When electricity is applied to the coil which is on the outside of the glass tumbler, it creates a temporary magnetic field drawing the needle to the coil. The needle hits the glass creating a very delicate sound.
In Bernhard Leitner's work Ton-Liege, the listener’s body lies in the axis of sonic motion. Two loudspeakers under the lower back and calves of the reclining body define the soundspace. Processed cello and horn sounds sweep the body, moving back and forth so that the sound shifts into the body. The body itself – with legs and feet propped up – becomes a vibrating form. The uniformly monotone sonic sweeps enfold the body and alter self-perception.