Disney cartoons can be caught in our collective childhood. Their bright and elastic scenes have shaped our value system and behavior, and even without even we realized this. However, the second review of adults’ critical eyes can reveal the new meaning, hiding a new level of information and social dynamics, and this may not be so obvious for the first time. In order to debut with YVEYANG for the first time, the rise of Chinese artist Huidi Xiang staged a sculptural arrangement at a specific location. She called the “object language” to explore the cross points of power, labor and care.
Her starting point is a scene that is almost sugar -containing CinderellaJaq, Gus, and a trembling blue bird choir pour in, on the evil stepmother to tear up her mother’s old clothes to prevent her from participating in the prince’s ball. At that moment, it made people feel Dream is your heartThe central information aims to strengthen the fairy tales-even in the case of dirty, hoping to be friendly can take advantage. However, here, Xu checked more delicate information, revealing the glory hidden in the original story, the subtle fables of the marginal labor in the magical outer wall.
At the opening ceremony of the exhibition, Xu told “Observer” that she started the project and knew that it would be installed in the rear room of the gallery in the space of the space where the sewing machine factory. She said: “I hope my work and the history of space resonate.” “My research has expanded to nursing and family labor, and I am doing a lot of work around cleaning work. This makes me realize that the exhibition will explore another kind of another type Forms of the ideal places of family care labor (sewing labor) have also significantly shaped labor reform in the United States.
Most of Xu’s visual vocabulary mostly attracted a lot from American comics, especially in Disney comics. Ferry and stereotypes abound, thereby making up many developments between humans and material worlds, as well as these two. Interpersonal relationships between people. She grew up in the 1990s, and she absorbed English and the entire Western cultural value through Disney’s classic pirated DVD. “When I was young, the golden age of American animation, including Disney cartoon, represented my own world. They spoke a language different from my language, not just in the dialogue, but through visual style, gestures and gestures and Everything. Her sculpture is played by the characteristics of the characteristics of comics and popular culture and a typical in -depth understanding, usually more like toys and statues designed for children. “Now, in the origin of these comics, I think part of my brain has been revitalized. It seems that I can use the language system a long time ago, but I can use it with my own words.” Xiang explained. “Review these cartoons today, I approach them with more critical shots. I think they are a set of words I have learned, but now my goal is to use them to make new stories with challenging and destructiveness. “” “
Xu’s sculpture seems to be harmless-wealthy, playful, and even very interesting-but they are catalysts for fictional scenes, and the structure of strength is quietly developed. She said: “Through my work, I plan to create or predetermine in the future.” “My job refers to those familiar images, but to different time or space.”
Xiang’s sculpture is usually similar to the prototype designed for function, which is part of the social machine designed for human efficiency-detection and destroying multiple levels of labor and production concepts. They explored the interactive relationship between machines and humans. She was lifelike through the life of objects. Although these objects showed their function, they did not intentionally. Their existence caused people’s speculation, and their importance and manufacturing process revealed a deeper meaning layer.
Xu has the architectural background and completely embraces the dance between creative intuition and mechanized production. She first rendered sculpture in a digital manner and then created with external experts. This is an intentional interaction and communication process. With the rise of the world factory, she grew up in China and witnessed the fantasy of economic progress. This is based on ruthless production, excessive production and endless consumption equal to the false commitment of prosperity.
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“When I was young, my father, a polymer scientist, often took me to visit the production line he was engaged in, which stimulated my curiosity about how things designed and produced; when I reflect on these experiences, I realized that they were still deepening. I understand how human labor intersects with machines. “Xiang said.
The work in the show and its interesting title raised basic questions: Who designed these objects? Who produces them on the body? Who can benefit from their existence? Xiang cleverly reduced the personality, toolization and alienation of defining contemporary excessive consumption.
She believes: “With the development of my practice, I now realize that the tension you mentioned in your work must definitely stem from the surge in large -scale production, the hug of technological development and its general representative in the mass media.” “I think part of my practice is about exploring my position in these tensions.”
Xi’an’s world construction gift allows her to transform her dreamy scene into a test field, where she explores the continuous development of human beings, materiality and production. She raised an emergency problem about direct human creativity (close connection between the brain), which is a world of people who are increasingly relying on machine labor. This is not just the object of production; it has expanded to the generation of creativity itself-the reality published in the debate on AI
When asked how this fast -growing technology complicates human -computer dynamics, as an artist engaged in digital modeling and manufacturing, I am constantly changing the boundaries between human agents and mechanization. “However, she still firmly believes that creative investment is still firmly in the hands of human beings.” The digital labor I interact with it still surrounds human investment. This is about a person’s actions and labor in the context of numbers, not AI gradually take over. “
Xu’s works run in the continuous creative interaction between the physical and digital fields, exploring the potential coexistence between the two-one is not confrontation but symbiosis, each media will enhance and enhance each other’s information: The feeling of our moment was caught in these two fields. “Xu Shixi’s uniqueness lies in her ability to interact with her at the same time, and regards digital manufacturing and handmade as a dialectical process, not a separate way of production. When she is carved in the physical world, she constantly updates the digital model and is in Data and materials create fluid exchange, digital input and manual touch, individual and invisible people-this method reflects our increasingly mixed relationship with reality. There is no strict front and rear relationships, and it develops at the same time as the progress of the carving. “
Xiang is not interested in solving this tension or providing solutions, but she hopes to continue to explore, experience, and experience the endless difference in our daily creative and existence paradox every day. She said: “The language of sculpture and installation helps me to propose a slight difference.” “Reappearing popular cultural images and scenes through sculptures, or we should speak object language, you can experience the degree of familiarity in different timetables and participation methods. “” “
She deliberately exerted a sense of disturbing alienation. When the familiar objects were redefined, this careful planning novel will appear to trigger the link to the aid character and challenge the assumptions embedded in the symbols embedded in our material world. Through clever adjustment of recognizable forms, she urged her to conduct more critical inspections on the production, circulation and consumption of anthropology, politics and economic forces. It seems that neutral or objective things are just-every material existence has been dynamically dynamic, hidden historical and social structure codes. She said: “As the audience walk around in a specific site, they have time and space noticing that something has been closed, prompting the subtle twists and turns on the surface to reflect on the surface.” “The formal familiarity becomes the audience Invitation to enter a new space, in this space, another narrative starts. “
Huidi xiang “Walk around the circle until very dizzy“By March 1, at YVEYANG.
