Cloud Explosion: Dongting and the Death of Signifier by Mao Chenyu

Wednesday, July 20, 7:30pm
Asia Art Archive in America
43 Remsen Street, Brooklyn, NY 11201
Please RSVP Here

* Please note the film contains extensive use of Chinese language, and will be screened without English subtitles.

The film takes as its subject the personal Weibo account of the director of the Dongting Lake Porpoise Sanctuary, using syntactical analysis to gradually deduce an interrogation of “reality” as the medium of presence. “Dongting” as a signifier suspends itself above the bubble of time, losing the concrete field where its image is created.

Technology, speed of the universe, possible escape, and the speculation of futurism reconstruct the symbolic field, yet we forget there are such things as time and reality. “The order of meanings” is in crisis, the image of cloud explosion produces nothingness and the field of nothingness.

– Mao Chenyu
Join us for a screening of Mao Chenyu‘s Cloud Explosion: Donting and the Death of Signifier, followed by discussion with artist and curator Li Xiaofei. This program is part of Backyard Conversations, a series of informal screenings where we pause, rewind, forward, and look closely at works that escape easy interpretation.

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MAO Chenyu lives and works in Shanghai, China. He is the host of Second-Text Lab and the founder of Paddyfilm. He works around the area of Dongting Lake Watershed. In 2012 Mao founded the experimental social platform Paddyfilm in Hunan, which investigates and analyses rural societies in China. Thirty Mu (a Chinese unit of area, 1 Mu is approximately equal to 667 m2) of paddy field has been transformed into a self-sufficient farming system which nurtures the linguistic and film practices of Paddyfilm. In 2015, in opposition to the drastic transformation of rural societies in China, Mao has set up a private Elaphurus Davidianus University (EDU) within Paddyfilm’s farm, and has carried out social research and education as a kind of institutional practice aimed at the new formation of rural social subjects and their relation with modern knowledge production. www.paddyfilm.org

LI Xiaofei is an artist who lives and works in Shanghai and New York. He graduated from the Guangzhou Academy of Fine Arts. Li has received grants from the Iaspis International Residency (Sweden) and the Asian Cultural Council (U.S.A). Li’s work has been featured in exhibitions internationally, including ARCTIC TAKE AWAY: Barents Spektakel (2015),  Social Factory: The 10th Shanghai Biennale (2014), The 8th Berlin Biennale for Contemporary Art (2014), The 60th International Short Film Festival Oberhausen (2014), and Bi-City Biennale of Urbanism/Architecture Shenzhen (2013). www.lixiaofei.org

Image credit: Mao Chenyu, Cloud Explosion: Dongting and the Death of Signifier, 2015. Single channel HDV, color, sound, 78′, produced in Yueyang, Hunan Province, China. Courtesy of the artist.

 

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

ALL KEYWORDS

Afghanistan, Alternative Space, American History, Animation, Anthology, Architecture, Archive, Art Administration, art history, artist's book, artist’s book, Asia Art Archive, Asian American, Automation, Autonomy, avant-garde, Bangladesh, Cambodia, Censorship, ceramic art, Chance, China, Chinatown, cities, collage, Collecting, Collective, Collectivity, Communism, conceptual photography, Cultural Revolution, culture, Curating, Cutlural Revolution, Design, Diaspora, Displacement, Documentary, Domestic Labor, Drawing, Economics, Education, encyclopedia, EPOXY, Exhibition History, Experimental Music, Feminism, Fiction, Fluxus, Form, Gender, Geography, ghosts, Godzilla, Graphic Novel, Gwangju Biennale, histories, Hong Kong, Identity, Imaging, Imitation, Independent Publisher, Index, India, Infrastructure, ink, ink painting, Installation, installation art, Institution, Internet, Island, Japan, Khmer Rouge, Korea, Labor, Land, Language, Locality, Madagascar, Malaysia, mapping, Memory, Mexico, Migrant Workers, Miniature Painting, Minimalism, mixed media, Model Opera, Moving Image, Music, mythology, nationalism, Nations, New Media Art, New York City, North Africa, oil, oil painting, painting, paintings, Pakistan, Pakistani, Pedagogy, people, Perennial exhibition, Performance, performance art, Philippines, Photography, Pop Culture, Pop Music, prints, Protest, Public Space, Publication, Realism, Revolution, Sci-Fi, Science, Sculpture, Shamanism, Singapore, Small Press, Socialist Realism, sound, South Asia, Southeast Asia, Sri Lanka, Surveillance, System, Taiwan, Thailand, the Middle East, Theater, Tomato Grey, Tradition, Tunisia, United States, Video Art, Vietnam, Violence, War, watercolor, woman artist, women artists, woodcuts, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Aisha Khalid, Alexandra Chang, Alexandra Munroe, Alf Chang, Amy WOOD, Annysa Ng, Anthony Yung, Arin Rungjang, Ashley Billingsley, Ashok Sukumaran, Bani Abadi, Bani Abidi, Barbara London, Bing Lee, Birgit DONKER, Boris Groys, Brinda Kumar, Cai Guoqiang, CAMP, Cao Fei, Casey Tang, Chang Chao Tang, Chen Chieh-jen, Chen Tong, Chen Wei-ching, Chen Xiaomei, Chihoi, Christoph NOE, Christopher K. Ho, Christopher Phillips, Chương-Đài Võ, Cici Wu, Cooperativa Cráter Invertido, Cosmin Costinas, David Smith, Desire Machine Collective, Dinh Q Le, Dooeun Choi, Ei Arakawa, Eleanor Heartney, Erin Gleeson, Eugene Wang, Fang Lu, Farah Wardani, Fei Dawei, FENG Yuan(馮原), Frédéric Dialynas Sanchez, fwf, Gao Shiming, Gianni Jetzer, Glenn Phillips, Go Hirasawa, Hammad Nasar, Heman Chong, Herb Tam, Hiroko Tasaka, Hitomi Iwasaki, Ho Tzu Nyen, Howie Chen, Huang Chien-Hung, Huang Hua-Chen, HUANG Xiaopeng, I-Hua Lee, Il Lee, Ingrid Chu, Jaeyong Park, Jane DeBevoise, Jean-Hubert Martin, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, Katherine Grube, Kim Yong-Ik, Kit Yi Wong, Koki Tanaka, Korakrit Arunanondchai, Laurel Ptak, Lê Thuận Uyên, Lee Kit, Lee Mingwei, Lee Weng Choy, Lesley Ma, Li Ming, Li Ran, Li Xiaofei, Liang Jianhua, Lin Yilin, LinDa Saphan, Liu Ding, Liu Shiyuan, Lynn Gumpert, Lyno Vuth, Maline Yim, Mao Chenyu, MAP Office, Margaret Lee, Margo Machida, Mariam Ghani, Marvin Taylor, Meghan Forbes, Meiya Cheng, Mel Bochner, Michelle Wong, Michelle Yun, Midori Yoshimoto, Murtaza Vali, Museum of Unknown, Nadim Abbas, Naeem Mohaiemen, Nate Hun, Nico Baumbach, Nikhil Raunak, nos:books, Ocean Leung, Onejoon Che, Pad.ma, Pak Sheung Chuen, Pan An-yi, Park Chankyong, Passenger Pigeon Press, Patty Chang, Pi Li, Polit-Sheer-Form Office, Prem Krishnamurthy, Qiu Anxiong, Qiu Deshu, Qiu Zhijie, Rabbya Naseer, Rania Ho, Raqs Media Collective, Reiko Tomii, Richard Vine, Rina Banerjee, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Samsom Young, Samson Young, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Sharmini Pereira, Shiraga Kazuo, Shuddhabrata Sengupta, Sohl Lee, Son Ni, Song Dong, Sopheap Pich, Stephanie Comilang, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Tabaimo, Takahiko Iimura, Takeshi Ikeda, Tammy Nguyen, Tang Kwok Hin, Teresa Kwong, Theresa Hak Kyung Cha, Tiffany Chung, Tobias Madison, Trần Minh Đức, Uli Sigg, Wang Jianwei, Wang Jing, Wang Wei, William LIM, Work on Work, Wu Shanzhuan, Xiaoyu Weng, Xin Wang, Xu Bing, Xu Tan, YANG Jiechang, Yin Xiuzhen, Ying Kwok, YOUNG-HAE CHANG HEAVY INDUSTRIES, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhou Tao, Zoe Butt