meditations in an emergency ucca

Posted on October 8th, 2020


For any transaction, whether acquisition or sale; discretion, transparency and professionalism are paramount. From May 21 to August 30, 2020, UCCA Center for Contemporary Art presents the group exhibition “Meditations in an Emergency.” The exhibition emerges in the wake of the pandemic which has created the first truly global moment of the twenty-first century. The first section, “The Fragile Everyday,” examines the practice of everyday life. Like art institutions all over the world, in an unpredictable year UCCA has learned to prioritize adaptability and flexibility in light of changing conditions. building an IKEA-style bed in different places to sleep—in meadows, on a tree, under a streetlamp, inside a horse stable, for example—before finding peace behind the heavy anti-nuclear door of a bomb shelter. As it marks UCCA’s reopening after the longest closure in its history, since late January, the exhibition looks to art as a source of solace, reflection, and solidarity. This ten-channel high-definition video tells the history of a zoo in Lushan in the northern part of Jiangxi province, central China, where Tong was born. Located in the section titled 'Out of Focus', CX88 is staged as an airplane interior. It juxtaposes emerging artists with more established figures from China and abroad, and engages with pressing concerns that previously lurked beneath the surface. 'Out of Focus' modulates the landscape of a fragmented information society, whether in Yang Fudong's Beyond GOD and Evil – Enemies of Truth 10 (2019), in which aphorisms from Nietzsche's book Beyond Good and Evil (1886) are printed on black; Lu Lei's The Square (2015), a sculpture of 100 stacked galvanised barrel drums and tweeters; and Payne Zhu's Make Bad Cookies (2016–2020), consisting of two laptops placed next to wall-to-floor text inviting audiences to browse a programme that visualises the networked behaviour of a search engine.
A meditation on the anxiety caused by living 'out of place' in the United States while seeking out a 'place' in Hong Kong, chairs line a carpeted aisle facing two screens that play stills from the TV series 'Switched at Birth'. Among the works in 'Vital Signs', the show's second chapter, is an installation comprising three videos by Angela Su—Cosmic Call (2019), The Cephalopod (2019), and Angela Su's True Calling (2019)—first shown in the exhibition Contagious Cities: Far Away, Too Close, curated by Ying Kwok and coordinated by the Wellcome Trust at Tai Kwun in Hong Kong (26 January–21 April 2019). In the case of Hu Rui's new work, High Fidelity Magic Spell (2019–2020), the Chinese idiom 'one five one ten' (一 五 一十), which means to narrate in detail or give a thorough report on something, is considered a mantra that summons the truth. 1976, Buenos Aires), Angela Su (b. Hong Kong), Wolfgang Tillmans (b. An area partially painted sky blue appears behind Su's works: part of Amiko Li's The Purpose of Disease (2017–2020), an installation consisting of text, photographs, arches, and standing doors arranged across an enclave, where two chairs and a table stage a doctor's waiting room.

We have sent you an email containing a link to reset your password. Isabella Stewart Gardner Museum: Volunteer and Interpretation Coordinator, Aperture Foundation: Elaine Goldman and John Benis Internship, Fondazione MAST: “Inventions/Invenzioni” and “MAST Photography Grant in Industry and Work 2020”, Aperture Foundation: Stevan A. Baron Work Scholar Program, Career opportunities within Art Foundations, Grants and Artist Residencies from Art Foundations. This impressive fact illustrates one of the many states of emergency represented in this exhibition: a connection to the realities—and politics—unfolding right now in China and beyond, … The next section, “Vital Signs,” gestures towards the potential new biopolitics which may arise from the current moment, yet Wang Bing’s delicate documentary portrait of illness and aging in Mrs. Fang (2017) and Li Liao’s investigations of contemporary beauty standards and “gym bodies” speak to physical anxieties that are already well-cemented.
We hope that viewers may find comfort and joy in the familiar experience of visiting a museum, while also reflecting upon the experience we have all shared, the fascinating complexity of our planet, and the common challenges faced by all humanity.

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