4/29/2023 0 Comments Film one hand clapping![]() At various times I have had name talent express serious interest in this project, but coming back here and going totally indie just feels right." Deal adds, "Returning to my Texas roots and filming with local cast and crew is actually very fulfilling. Since then, the screenplay has gone through numerous drafts. ![]() | U.S.A.Once the rights reverted back to him, he decided to produce and direct the project himself. Guggenheim Museum, 1071 5Th Ave, New York, N.Y. Kyung An, Assistant Curator, Asian Art, provided support. Ho Family Foundation Chinese Art Initiative. Ho Family Foundation Associate Curator of Chinese Art, and Hou Hanru, Consulting Curator, The Robert H. One Hand Clapping is organized by Xiaoyu Weng, The Robert H. The artists in One Hand Clapping are connected by their deep involvement in specific places, namely, Beijing, Guangzhou, Hong Kong, and New York their critical examination of our systems of exchange, communication, and production and their imagination of multiple futures as a form of poetic revolution. Evoking the idea of solitude, the image of “one hand clapping” also speaks to the ability of artists to put forth a singular vision that can contest entrenched beliefs, stereotypes, and power structures. In this exhibition, “one hand clapping” serves as a metaphor for the ways in which meaning is destabilized in a globalized world. Salinger’s 1953 book of fiction, Nine Stories, this koan has also served as the name of a British band, the title of an Australian film, and the title and lyrics of a Cantonese pop song. Popularized by its use as the epigraph to American author J. But what is the sound of one hand clapping?” Emerging from a tradition that originates in China’s Tang period (618–907), the phrase “one hand clapping” encompasses a history of cross-cultural translation and appropriation that continues into the present. The show’s title, One Hand Clapping, is derived from a koan-a riddle used in Zen Buddhist practice to transcend the limitations of logical reasoning-that asks, “We know the sound of two hands clapping. Together, these works challenge a universal, homogeneous, and technocratic future determined by economic growth and technological advancement. Samson Young plays upon our obsession with values of truth and authenticity by inventing an array of impossible musical instruments and digitally engineering their sounds. In her fantastical film installation, Cao Fei examines the physical and psychological impact that automated industry exerts on the human body and society. Lin Yilin’s VR simulation tests the potential of such technology to enable us to inhabit the experience of another person or even an object-in this case, a basketball. Wong Ping’s animated video, driven by the artist’s dark and risqué humor, addresses the tension between an aging population and the relentless pace of the digital economy. In her paintings and sculptures, Duan Jianyu celebrates the marginal figures who haunt the transitory zone where rural and urban, primitive and modern intersect. Their commissioned works represent a range of traditional and new mediums, from oil on canvas to virtual-reality software. The artists in this exhibition explore the ways in which globalization affects our understanding of the future.
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