{"id":1642,"date":"2019-03-16T07:17:50","date_gmt":"2019-03-16T07:17:50","guid":{"rendered":"http:\/\/antenna-space.com\/?p=1642"},"modified":"2020-01-12T07:46:03","modified_gmt":"2020-01-12T07:46:03","slug":"zaidiyuzhou","status":"publish","type":"post","link":"http:\/\/antenna-space.com\/en\/zaidiyuzhou\/","title":{"rendered":"Liu Chuang\uff1aEarthbound Cosmology"},"content":{"rendered":"<p>In 1788, James Hutton published the famous Theory of the Earth, in which he talked about the earth as \u201ca machine of a peculiar construction,\u201d its inner components and how they work together to produce \u201cnature;\u201d 200 years later, Marshall McLuhan made the assertion that \u201cthe earth is programmable\u201d when commenting on the first Russian artificial satellite Sputnik. For the media theorist, \u201cnature\u201d has ended, and was replaced by an artificial, computational and cybernetic system. The shift of perspective between the inside and the outside no doubt presents us with a new prospect: the earth has never been \u201cunique\u201d or \u201cconstant,\u201d but a continually changing entity in a never-ending process of mediatization and remediatization, even gradually represented by a \u201cde-Earthed\u201d imagery. Artist Liu Chuang\u2019s latest solo show <em>Earthbound Cosmology<\/em> takes up this theme and brings to light the complex situations this planet currently finds itself in: with Geoengineering and \u201cdeep-time\u201d, both history and future appear to be so uncertain, and radical media ecology is providing new polyphonic narratives for subjectivity, temporalities and materialities.<\/p>\n<p>The show is rather abstract and specific at the same time. Through speculative research, Liu Chuang pulls various seemingly unrelated threads together, or in other words, the show is imbued with structures of speculative montage. Entanglements of scales permeate the show: the reconstruction of planetary scale by global infrastructures, the tension between sonic scale and political powers, the metamorphosis of anthropological scale in science fictions\u2014the mutual effects and cancellations of scales facilitate the transformations between different cosmos. In the video work <em>Bitcoin Mining and Field Recordings of Ethnic Minorities<\/em> (2018), the artist draws attentions to the connections between the hydraulic projects and the Bitcoin mines in southwest China, whose peculiar chain of exchange between energy and information serves as the beginning of this grand story. The chain is extending, from early informatization projects developed in the late Qing dynasty to workers standing atop optical cables whilst swiping through Kuaishou app, from blockchain to high-speed rails, from Zomia to Solaris, from data to sound, from local to global, this journey is like a \u201cspeculative adventure\u201d in Alfred North Whitehead\u2019s terms, a thought experiment aiming to break through epistemological frameworks. Moving image plays a crucial role in this process, three decentralised screens mirror the \u201cescape\u201d from the centre to the margins highlighted in the film. The succession of drone perspective, animation and archival images creates an ecosystem of movement-image with dynamic strata and topography isomorphic to media ecology, which is no longer confined to the forms of representation and documentation. This also applies to the installation work <em>Gluttonous Me<\/em> (2018), whose interactions between light and sound are not only for creating an atmospheric and immersive space, but an attempt to create a \u201cnonhuman\u201d language of the medium itself. It\u2019s an incarnation of the residue of media memory in EVD and tells a history about this planet in the form of \u201cautobiography\u201d.<\/p>\n<p>Full of imaginations and elasticity, the expositions of the <em>Earthbound Cosmology<\/em> compel us to delve in the fiction the artist has created for the world, and yet the fiction is real, built upon a new ontological dimension, where art may take up the important task of exploring origins and truths once again.<\/p>\n<p>&nbsp;<\/p>\n<p>Text: Yang Beichen<\/p>","protected":false},"excerpt":{"rendered":"<p>In 1788, James Hutton published the famous Theory of the Earth, in which he talked about the earth as \u201ca machine of a peculiar construction,\u201d its inner components and how they work together to produce \u201cnature;\u201d 200 years later, Marshall McLuhan made the assertion that \u201cthe earth is programmable\u201d when commenting on the first Russian [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1643,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false},"categories":[1],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.9 - 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