EARTH - HO Tzu Nyen Solo Exhibition
Ho Tzu Nyen’s practice ranges across filmmaking, painting, performance and writing, and investigates the forms, methods and languages of art; the relationship between the still, the painted and the moving image; and the construction of history. His films expose the apparatus of cinema by mixing varied genres from music video to documentary, creating highly artificial sets, or by making cameras, crew and lighting a key part of the action.
Three signature video pieces will be shown: EARTH, NEWTON and GOULD.
What the video EARTH does to paintings such as Caravaggio’s The Incredulity of Saint Thomas, Girodet’s The Sleep of Endymion, and Gericault’s Raft of the Medusa is analogical to the operations that these images perform on the human body – a process of suspension, penetration, fragmentation and re-configuration.
We see the site of an unknown disaster, where fifty 50 humans oscillate between consciousness and unconsciousness, life and death, as the light constantly alternates between warm to cool, day to night.
EARTH is accompanied by a soundtrack composed of fragments of sounds picked up from films old and new, near and distant. Freed from the body of their original hosts, these found fragments populate the crumbling world of EARTH like ghosts.
NEWTON can be understood as a story about the beginning of a work of art (perhaps a story about itself). It begins with a falling book – a flash of inspiration that kick-starts a chain of events leading to the creation of an artwork which is nothing but the staging of its own origin – the rebirth of its own inspiration.
But the title also suggests that this work may refer to the anecdote of how Isaac Newton discovered gravity after being hit by a falling apple. Seen in this light, the mechanical and precise structure of the video is a demonstration of the laws of causality that structures the clockwork nature of Newton’s universe. And just as the Newtonian world is infinitely repeatable, and reversible, this video is constructed as a loop, where the end leads to another beginning.
But yet nothing is truly repeated – it is as though the ghost of differentiation perpetually haunts this dream of infinite repetition.
We see a disembodied hand upon a head and we hear a distorted piano track, interfered by a drone. Sometimes it seems like the hand is pushing the head, and at other times it seems to be the head that wills the hand. This might be a sketch of the ambiguities involved in power and resistance, inspiration and hallucination. But it could also be a highly compressed, emblematic portrait of Gould – as in the pianist Glenn Gould. He possesses the music, as the music possesses him.
就在藝術空間年度國際策展十月底即將登場的是第54屆威尼斯雙年展新加坡代表藝術家—--何子彥(HO Tzu Nyen)。
何子彥為新加坡在電影及視覺藝術創作領域極為傑出的一位，他的創作探究藝術的形式、歷史及語彙；琢磨動態影像、繪畫與寂靜之間的關係。在錄像當中混合不同類型的音樂，或者是在影片中讓機器設備：攝影機、團隊、甚至是對於作品中至關重要的燈光部分都顯露出來，創造出一個高度人為的場景，進而顯露出電影的結構。近年最為人熟悉的作品便是2011年威尼斯雙年展所呈現的作品《無知的雲朵》(The Cloud of Unknowing)，透過影像、聲音、裝置藝術等探討關於雲的種種意涵。本次『此地』個展將呈現其經典的三件錄像作品：《EARTH此地》、《NEWTON牛頓》、《GOULD顧爾德》。