"Ming, Qing, and Song" (明、清和宋)
// BLURB //
Mid-life crisis. Yes, we can get it when we are 39, 72, or even 18. Worrying about the future and everything we’ve created. The main problem with us creators is we so desperately search for others to appreciate what we have, and at the same time, we fear departing from the things we make. The more we live, the more products we accumulate. These objects, however, represent nothing but our thoughts and inner feelings that stop existing without us. When we die, only the objects remain, waiting to be understood again like the vestiges of civilization after an apocalypse. If anyone can make sense of them at all. Yet, misunderstanding is a kind of understanding as well. Aliens pondering upon our abandoned infrastructures and appreciating them for the aesthetic value of concrete and metal, the misreading of traditional Chinese characters because we are so used to the simplified ones – it’s all about the lost visage of the source. Our fear of – not afterlife, but – life after life is the uncertainty regarding the loss of context. But there is always one, even if we would certainly misunderstand it.
Mid-life crisis. Yes, we can get it when we are 39, 72, or even 18. Worrying about the future and everything we’ve created. The main problem with us creators is we so desperately search for others to appreciate what we have, and at the same time, we fear departing from the things we make. The more we live, the more products we accumulate. These objects, however, represent nothing but our thoughts and inner feelings that stop existing without us. When we die, only the objects remain, waiting to be understood again like the vestiges of civilization after an apocalypse. If anyone can make sense of them at all. Yet, misunderstanding is a kind of understanding as well. Aliens pondering upon our abandoned infrastructures and appreciating them for the aesthetic value of concrete and metal, the misreading of traditional Chinese characters because we are so used to the simplified ones – it’s all about the lost visage of the source. Our fear of – not afterlife, but – life after life is the uncertainty regarding the loss of context. But there is always one, even if we would certainly misunderstand it.
STATUS
SOLD. Private collection, Munich.
SOLD. Private collection, Munich.
EDITION, MEDIA, SIZE & WEIGHT
Unique Edition, Shanghai 2016-2018
RGB LED display, acrylic painting, paper collage, Corian and teakwood frame
102.5(W)×102.5(H)×5.5(D) cm // 36.6 kg
TECH SPECS
• SLC SD Card
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 6×ELN-30-5 (INPUT 100~240VAC@0.75A / OUTPUT 5V@5A)
• 12×P5-2727(6)-64×32-8S-HL3.0 / D180218
CRATE SIZE & WEIGHT
115(W)×115(H)×18(D) cm // 69.2 kg
EXPOSURE
“Disaster Diaries” at island6 Shanghai Main Space
“Fathers Of My Father” at island6 Shanghai Main Space
CREDITS
Ryan Nimmo (painting) • Yeung Sin Ching 杨倩菁 (performance & production supervisor) • Thomas Charvériat (art direction & animation) • András Gál (documentation & blurb) • Irmantas Bortnikas (documentation)
Unique Edition, Shanghai 2016-2018
RGB LED display, acrylic painting, paper collage, Corian and teakwood frame
102.5(W)×102.5(H)×5.5(D) cm // 36.6 kg
TECH SPECS
• SLC SD Card
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 6×ELN-30-5 (INPUT 100~240VAC@0.75A / OUTPUT 5V@5A)
• 12×P5-2727(6)-64×32-8S-HL3.0 / D180218
CRATE SIZE & WEIGHT
115(W)×115(H)×18(D) cm // 69.2 kg
EXPOSURE
“Disaster Diaries” at island6 Shanghai Main Space
“Fathers Of My Father” at island6 Shanghai Main Space
CREDITS
Ryan Nimmo (painting) • Yeung Sin Ching 杨倩菁 (performance & production supervisor) • Thomas Charvériat (art direction & animation) • András Gál (documentation & blurb) • Irmantas Bortnikas (documentation)
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