Photo credit: Tao Art Space
When Rembrandt painted himself in the mirror, the insight of art seemed to be hidden deeply in the dark corners of the physical world; the shadows in the mirror under the paintbrushes of Bacon and Lucian Freud, on the other hand, presented an unwillingness to disappear in the vortex of broken images. However, when we face information that has become the mirror of today, every flowing mirror projects partial images when they encounter people. Such a massive number of mirrors float in the ocean of information, carrying out various kinds of connections through the accumulation of each other’s own projections. Then, what look will we present? Or we have already transcended looks in this network? Being “lost” in today’s massive amount of streaming is not an error in direction, but the infinite splitting of direction; this is not a maze of walls, but a labyrinth of desert or ocean.
Ming Wong and Yu Cheng-Ta are contemporary artists who make us realize and consider the above-mentioned questions. Wong constantly “accelerates” to intervene with roles of different contexts, confusing texts so that they present the set narrative structures to ignite the discussion on colonization and fiction; Yu is accustomed to using “overlapped bodies” to derive scenes resembling chorus, creating vibrating images for preset texts and leading to the implosion of sensitivity. “The Watermelon Sisters” is a project in which the two artists collaborate, and this project shows us that, only through “costumes” and “performances,” can we capture the reflected images that constantly alternate with the streaming videos of society and history, or invent “self” through “over fabrication” with commercial environment or merchandise. They “perform” to label a position within the relational network of images and information, rather than to satisfy the fixed viewing relationship; in other words, dressing up self or expressing self can hardly achieve “performativity,” and “performativity” happens in “position” woven by the Internet; only by projecting self into information and imitating information for performance can we live “ecologically” in the world of information.
Self is the confusing agent of information, and vicarious learning is no longer a pedagogical jargon, but the back and forth, and rewriting, of information in ecology. Therefore, through their complete presentation of “The Watermelon Sisters” at TAO ART, the “production” with rich layers of considerations can thus trigger us to be more creative and excessively energized in the digital network, while also guiding us to realize that “acceleration,” “overlapped bodies,” and “daze” are already the essence of “queering,” and “queerization” of information is a revolution that will transform the world.
黃建宏 Huang Chien-Hung
王叡栩 Wang Rui-Xu
2020/01/15 (wed.) - 2020/3/28 (sat.)
Tao Art Space
黃漢明 Ming Wong
余政達 Yu Cheng-Ta