北美館│2014台北雙年展_梁慧圭訪談 TB2014_Intreview with Haegue Yang

北美館│2014台北雙年展_梁慧圭訪談 TB2014_Intreview with Haegue Yang


So we have a room filled with sculptures Totally in twelve But in two groups One is “Female Natives” The other one is “Medicine Men” Each group consists of six sculptures And the”Medicine Men”‘s primary material is the wigs and electric cables And the “Female Natives” are equipped with also lighting cables But mostly decorated with the artificial plants And those sculptures are presented with the backdrop of the wallpaper The title of the wallpaper is ” Field of Teleportation” And what we see on the wallpaper is the flying objects on top of the installation view of previous exhibition so there are layers of artifact, object, installation view And they are kind of in a very non-hierarchical way like floating around given idea of kind of zero gravity Maybe technological speaking, the movement I was assuming was similar to the teleportation which appears in science-fiction as well as in Taoism The We as being… What is represented here is a sculpture, anthropomorphic sculptures are very bound to the places, and we are very dependent on the vehicles and the transportation And they kind of have an identity of hybridity that cannot in one place and indirectly and metaphorically suggests the idea of movement the free movement, physical movement, maybe without the logical explanation of how they move around. I think…maybe we can put it in this way that in this space We have a three-dimensional space which are physically occupied by the sculptures but then those sculptures are kind of relying on the layers of flatten images of wall paper two-dimensional space And then there’s is a space of the sound and timing the musical composition by Stavinsky which is also giving a historical background I was interested to represent or present the idea of culture detour so let’s imagine like historically those artists from Russia presented their radical idea maybe we can also say modern idea, avant-garde idea to the central Europe but by using the motif of American native how they sacrificed for the spring ritual was somewhat similar to the principle of the wallpaper they were layers, almost like irrational lost of cultures or maybe the unknownness, unknown cultures. So the audience will hear the musical piece “Sacre de printemps (The Rite of Spring)” Two or three times per day, according to the Islamic prayer time So the timing is maybe something very immaterial as well as the music and these two immaterial ideas again, inviting the heterogeneous cultural references We were talking about “coexistence” as well as “coactivities” I guess the sculptures coexisting with the immaterial musical elements as well as the timing of the prayer time But at the same time they build the coactivities together That is maybe not only physical but also environmental

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