"The Hidden Beauty Of Unknown Times" (未知时代的隐藏之美)
// BLURB //
There are two kinds of objects. The clean ones and the ones that are hard to find. The loved ones and the neglected ones. The preserved ones and those on the shelf or underground. On the other hand, being loved means the increased possibility of irreparable damage and destruction, while the decline of appreciation might provide protection from history. The remains of ancient Pompeii, the Babylonian Ishtar Gate, and the Rosetta Stone were only preserved because there came one moment when nobody thought they were important anymore. Let’s take a flower vase for example. What is a lifespan of such chinaware? Fifty years? Maybe a hundred? Five hundred? Surviving all these generations means protection from this invisible layer of aging, forgetting, and being lost: dust. I know it. Until I visit, that is. I’m a dust collector. I have bags of dust at home. So much that I sometimes forget where I got them from and they just lay there getting extended by newer and newer layers. To me they are the same as the porcelain they cover – little pieces of abstract memory.
There are two kinds of objects. The clean ones and the ones that are hard to find. The loved ones and the neglected ones. The preserved ones and those on the shelf or underground. On the other hand, being loved means the increased possibility of irreparable damage and destruction, while the decline of appreciation might provide protection from history. The remains of ancient Pompeii, the Babylonian Ishtar Gate, and the Rosetta Stone were only preserved because there came one moment when nobody thought they were important anymore. Let’s take a flower vase for example. What is a lifespan of such chinaware? Fifty years? Maybe a hundred? Five hundred? Surviving all these generations means protection from this invisible layer of aging, forgetting, and being lost: dust. I know it. Until I visit, that is. I’m a dust collector. I have bags of dust at home. So much that I sometimes forget where I got them from and they just lay there getting extended by newer and newer layers. To me they are the same as the porcelain they cover – little pieces of abstract memory.
STATUS
SOLD. Private collection, Shanghai.
SOLD. Private collection, Shanghai.
EDITION, MEDIA, SIZE & WEIGHT
Unique Edition, Shanghai 2018
RGB LED display, acrylic painting on relief Plexiglass cutout, paper collage, teakwood frame
102(W)×102(H)×5.5(D) cm // 36.6 kg
TECH SPECS
• SLC SD Card
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 4×ELN-30-5 (INPUT 100~240VAC@0.75A / OUTPUT 5V@5A)
• (8+1 spare)×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
Owen 欧文 (painting) • Zoé Charvériat-Young 杨素儿 (performance) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction & animation) • András Gál (blurb) • Irmantas Bortnikas (documentation)
Unique Edition, Shanghai 2018
RGB LED display, acrylic painting on relief Plexiglass cutout, paper collage, teakwood frame
102(W)×102(H)×5.5(D) cm // 36.6 kg
TECH SPECS
• SLC SD Card
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 4×ELN-30-5 (INPUT 100~240VAC@0.75A / OUTPUT 5V@5A)
• (8+1 spare)×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
Owen 欧文 (painting) • Zoé Charvériat-Young 杨素儿 (performance) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction & animation) • András Gál (blurb) • Irmantas Bortnikas (documentation)
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BEHIND-THE-SCENES VIDEO
[DOWNLOAD VIDEO ↓]