September 10, 2009 – October 11, 2009
Part of the 2009 Shanghai eArts Festival
DDMwarehouse | Shanghai, CN
curators :: Alex ADRIAANSENS, LI Zhenhua
exhibition design :: LI Naihan
09′ New Media Archaeology attempts to offer up new media realities happening at several time-cues in the past, the present and the future. This reality is revealed through several clues. One clue comes from the development of visual art after photography. Another is from the art forms influenced by the knowledge and technologies in different fields based on science of chaos developed in the 1960’s. 09′ New Media Archaeology intends to integrate new media art developments under these two main clues, and to implement further discourse, exhibition and discussion with such social topics as urban design, public education and concept integration. It is hoped that a new mode of development can be co-constructed beyond borderlines between artists, planners, organizations and universities from different countries, presenting the sources of these clues by establishing the past events of new media, determining starting directions through discussion of future events, and a platform for discussion can be provided through present exhibitions.
— from the event press release
September 8 – October 20, 2009
140 sqm Gallery | Shanghai, CN
curator :: Beatrice Leanza
participating artists :: Elaine W. HO, LIANG Shuo, QIU Xiaofei, SUN Xun
…all about a kind of door. To envision us approaching and pounding on this door, increasingly hard, pounding and pounding, not just wanting admission but needing it; we don’t know what it is but we can feel it, this total desperation to enter, pounding and ramming and kicking. That, finally, the door opens, and it opens outward — we’ve been inside what we wanted all along. Das ist komisch.
David Foster Wallace
The Shape of Things to Come is an experimental project bringing together four artists and one curator to test the ground of contemporary art in a time ‘other than’ the present. Conceived in reminiscence of a Wunderkammer, or Cabinet of Curiosity, the exhibition engages the task of exposing the status of artistic objects to scientific self-inspection. It does so by stretching the visual narratives and spatial extents of the creative process past its extinction, into the realm of a possible future. As the Cabinet contained an object-ified reservoir of history, this project deliberately captures itself and the works toward a latent new aesthetic order. Written in 1933 at the peak of the Great Depression, the novel by H.G. WELLS from which this exhibition takes its name provides an account of world history up to 2105; in a disastrous unraveling of ominous predictions towards global collapse, Well’s imagination purges the traces of the present with no regret for its oblivious passing away. What then, if we were able to test-drive the deflagration of our aesthetic universe? Manufactured in the conceptual size of a table-game, what parcels of history, relics of the contemporary, would be left as a visual repository of our present times, and in what new semiotic order would they re-awaken so that by way of an exhilarating expansion, stretched between experience and premonition, they’d frame the possibility of a hopeful artistic prophecy beyond its predictable end. Such is seemingly the quest of the current age. How to jump start history? Can we avoid a critical conflation of artistic paradigms, that is, a totalizing erasure of things past, their identity and difference, and still break through a concrete future? The project’s participants use the site and economics of the exhibition to play out such a fantastic threat. Site-specifically devised for the 140sqm Gallery, the show presents a series of interlocking installations and textual interventions where boundaries continue to be tested and stripped down.
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