Under Right Circumstances - Pei-xin Chuang

 

  • EXHIBITION

  • PRESS RELEASE

  • INTRODUCTORY THEORY

  • MULTIMEDIA

  • RECORD

DATE:2017-11

 

Under Right Circumstances - Pei-xin Chuang

Date | 2017/11/11-12/24

Opening Reception | 11/11(sat) 15:30

Venue | Powen Gallery

 

Article / Ning Hsiang

With the explosion of information in the age of the Internet, all kinds of messages are easily communicated swiftly and conveniently in the absence of borders and without time differences. In this massive torrent of information, whether it is text, images, or audio, for us members of the Internet generation, what method of discrimination should we use to build a personal reading experience? Or how should we position our personal values in a world where truth and lies overlap?

 

In recent years, Pei-xin Chuang’s works have focused on the transformation and extension between real and fictitious, and have attempted to explore the conceptual awareness of disassociation produced by the mutual interactions between contemporary society and the world of the Internet. In this solo exhibition, ‘Under Right Circumstances’, he brings together a large amount of unclassified Internet information, subjectively organizes the appearance of the messages, and invites viewers to feel the discomfort brought about by the collection of technology.

 

The two parts of ‘Under Right Circumstances’ which are related separately and in parallel, are narrative video and information sculpture. Pei-xin Chuang utilizes the Internet to share the reorganization of videos, bringing out a collage of three short plays. A series of landscape scenes delivers a far-reaching tranquil atmosphere, while at the same time he puts the original translation of the film through Google Translate to translate the Chinese, making an important text which runs through the content, and then adds narration, narrating this seemingly esoteric and beautiful text in a moderate and unaffected tone. However, due to the erroneous deconstruction of each fragment of the original text carried out by this well-known translation tool, although the overall form possesses a poetic quality, its logic is incoherent, failed words and sentences appear continuously throughout the film, resulting in a powerful sense of breakage in the work’s reading. The artist makes ingenious use of a not yet completely developed technology (the translation tool) to lead to a 'dislocation' in the text, which is re-linked together with imagery and video to produce an extraordinary view of the modern age, attempting to calmly convey this bizarre and paradoxical information experience, and thus set in motion the subsequent imagination of viewers towards the message of the video.

 

Apart from dynamic imagery, Pei-xin Chuang has installed a number of twisted acrylic three-dimensional sculptures. Each piece has deep folds like a cotton curtain, and has been twisted, erected or hung in the exhibition. The Internet images stacked on the surface of the sculpture are a mixture of virtual and real-world images, all demonstrating a broken and chaotic state, and they are replete with all kinds of visual memories. The artist hopes that the viewer will be able to find the fragments of lost stories in the creases and folds of the work.

 

There have always been aspects of the interaction between technology and human nature worthy of debate, and the progress of the world continually reminds people to think about the boundaries between the two. Pei-xin Chuang has eliminated the traces of overlap between the digital world and the real world, and used this to ignite debate on the method of viewing. ‘Under Right Circumstances’ is like a maze; the choices taken at every intersection will affect the direction towards the exit, and as we face information, any method of interpretation taken will also induce the development of a totally different consciousness. 

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Under Right Circumstances _ Introductory theory

Article/ Amelie Kuo

 

 

Conceptual art is made to engage the mind of the viewer rather than his eye or emotions. Conceptual art doesn't really have much to do with mathematics, philosophy, or any other mental discipline. - Artforum (June, 1967).

 

"How can the world's objectivity be understood subjectively?" - Edmund Husserl

 

From the erroneous text produced by Google Translate, a universal technology tool representative of the era, a reading sense of erratic, elegantly unconventional, broken information unfolds. The screen could not be more ordinary and simple. Images from the image banks of the Internet world intersect each other, becoming the reality of each other's pictures, and becoming a 2-dimensional temporal sculpture in which it's difficult to separate the real from the illusory.

 

In the convenient, fast, and seemingly unlimited Internet information age, how should we face the unceasing rapid expansion of information experiences, memories and imagination in our current society? And how do we organize a 'new world view' built by the imagination while imagery and information are mass produced?

 

Although part of the original forms are preserved, the mixture of 'message sculpture', blue screen, and Internet information imagery presented by distorted postures puts together a separate soft sculpture collage of messages, and an unobtrusive effect between information image entities and blue cloth, which has become the most poetic memory point of Pei-xin Chuang’s work.

 

In the works of Pei-xin Chuang's 2017 solo exhibition, seemingly ordinary landscape scenes of mountains and forests become a screen, building a sensory theater in which the imagination and the spiritual overlap, as if groups of 'virtual, overlapping and splitting' images find a substitute for romance, and attempt to ask the question, which one is in fact easier, 'narrating reality' or 'creating fiction'?

  

respect to the artist's information experience, after trawling through and unearthing memories, he then turned to unobtrusive effects to attempt to elucidate the indiscernible effects between consciousness and specific objects. The artist's creations and cogitations remind us that what we may consider the geographical or the physical world, may also contain the projections of human consciousness and experience, and even reflections of the spiritual world.

 

Hidden away in this solo exhibition, Google Translate symbolizes the existence of something provided by technological society that is incomplete and functionally imprecise. This creation behind a great number of mistakes, though convenient, is not comfortable, and has even caused many dissimilations in life through its seemingly unhurried, leisurely and aesthetically pleasing text arrangements, and will continue to do so until such a day comes that it is improved and completed, and only then will the errors disappear. Facing a chaotic era of information experiences, in the accomplishments and implementation of the creations in this solo exhibition, the artist has chosen not to obey historical context, but rather to try to organize, and outline another kind of cognitive and narrative reality channel. “Under Right Circumstances” is an exhibition about rethinking the information age and the worldview of our imagination.

 

The exhibition includes a total of three plays lacking stories, worldview, and protagonists, in which the creator has put together subjective collages of information technology which paradoxically yet romantically play out, as a response to how the people of this era face messages, interpretation and imagination. The sense of vacuum felt by the viewer confronting the text on the screen comes from the chaos and alarm produced by the cool tone and unobtrusive nature of the work. In all the technology and information we face, every possibility may be interpreted in a broken manner, and every possibility may be accidental.