The moment we are born, we already have language in our life. How language constructed a collective understanding of our tradition which we consider that is our authenticity? How does the massive and advanced vocabulary we inherit during our (academic) education drive us away from a fundamental perspective? We are in an old colonial tradition of discussing objects that we observe from a distance. We are disembodied “theorists”, and we take it like granted.

Result #1

The moment we are born, we already have language in our life. How language constructed a collective understanding of our tradition which we consider that is our authenticity? How does the massive and advanced vocabulary we inherit during our (academic) education drive us away from a fundamental perspective? We are in an old colonial tradition of discussing objects that we observe from a distance. We are disembodied “theorists”, and we take it like granted. We are living in a Western society that is at once culturally advanced and economically backward. Its a legacy of European colonialism. We are all colonized, but not all of us equally.The exhibition ended with the artist Ross Bleckners model of an airplane with a broken fuselage, a haunting image of the fall of the Berlin Wall. Bleckner has always been interested in the history of art and architecture, and his photographs of the Berlin Wall are a poetic tribute to the many people who have been lost to history. Bleckner has been internationally recognized as a leading authority on the problem of political representation. He has been particularly active in exposing the ugly side of the Western culture of art. His work has been compared with that of Marina Abramovic, and his photographs of the Berlin Wall are similarly political. But Bleckner is not merely a participant in the process of eroding the wall of separation between art and life. His photographs also reflect the current state of Western thought. Bleckner has made art as a means of protesting the denial of political representation. He is the only artist who has been able to work in both. In this way, his work is both an act of defiance and a gesture of liberation. His images of the Berlin Wall are a protest against the continuing ideology of separation between art and life. Bleckner does not use the camera to document a spectacle, but rather to document the actual passage of time, to document the passage of the wall, the passage of time as a space of transition and transformation. His photographs demonstrate that the final wall of separation is a metaphor for the gap between the past and the future. The images that Bleckner takes of the Berlin Wall are like fragments of a dream, an experience of an absent presence. They are the dreams of an absent presence, of an absent presence that cannot be apprehended by the viewer. Bleckner reveals the gap between the past and the future.

Result #2

The moment we are born, we already have language in our life. How language constructed a collective understanding of our tradition which we consider that is our authenticity? How does the massive and advanced vocabulary we inherit during our (academic) education drive us away from a fundamental perspective? We are in an old colonial tradition of discussing objects that we observe from a distance. We are disembodied “theorists”, and we take it like granted. . . . but only the mind can make sense of it. If we take the work as a whole, the answer is a resounding no. On the other hand, if we take it as a photograph, it is no less problematic. Can we be sure that the object isnt a made-up word, or a meaningless sign? The answer is yes, and no. The works status as a art object and its status as a material object are mutually dependent. In this respect, it is important that we consider the social function of the object. Is it a sign of an ideal society, or a sign of the individual? What is the relationship between the object and the viewer? In the end, this is a question that must be asked in the work itself.The photographs are made of white paper mounted on black frames. The image is divided into two parts: one part is a black frame with a white background. The other part is a white frame with a black background. The image is thus a photograph that has been printed in two formats. The black frame has the advantage of being a static image. It is not a photograph that can be transfigured, or that can be presented in other formats. The white frame, on the other hand, can be transfigured. The photograph is thus a black and white monochrome. In the end, however, the two parts are interchangeable, and the photograph is a dual image.The photographs are arranged in a grid, as if to indicate a relation between the grid and the object. The objects are placed in relation to the grid, and the grid is seen as a relation between the object and the grid. The objects are arranged in relation to the grid, and the grid is seen as a relation between the object and the grid. The objects are arranged in relation to the grid, and the grid is seen as a relation between the object and the grid.

Result #3

The sound of the buildings speakers, echoing through the gallery, is the sound of the English language being spoken. But what is the difference between the sound of the English and that of the Chinese? Both are spoken in Mandarin. The Chinese is the language of the emperor, but the Mandarin is the dialect of the princes family. So how is it that the voice of the imperial people in Cantonese is made to sound like that of the princely state?The exhibition ended with a series of wall texts, which was a fitting conclusion to the show. The texts, by David Walter, were taken from a book of essays by John Yau and from a long list of artists, poets, and critics. They were the only texts in the exhibition that were not appropriated from the books, and they were a crucial part of the exhibition. In the catalogue, Walter points out that the exhibition was the result of a dialogue between two Chinese artists: Guo Tianyuan and Wang Jianyuan. Guo is an artist who has been living in London for the past four years and Wang is a writer and critic. In a recent interview, Guo expressed his desire to become a diplomat, and Wang expressed his wish to become a photographer. The dialogue led to the realization that Guo and Wangs work is inseparable, and that the two artists should be considered as a kind of human team. They have both been trained in art and literature, and they share a desire to enter the art world. They are two artists who, by virtue of their being Chinese, have been subjected to the same cultural and historical process as the others.

Result #4

. . . To be an artist is to be an artist all the same, we are told. In the end, it is a question of identity, of self. I dont know if this is the right question, but it seems to be the right place. . . .

Result #5

“We never really think about the past, because we never really see it. The present, however, is the past, and the past is always present. “We only think about the future, about the future that is impossible to foresee. Our present is always already in doubt and uncertain.

©2021 Lucidbeaming