Shen Xin’s Forms Escape: Prologue + Jen Liu’s Pink Slime Caesar Shift – A Screening and Discussion

Thursday, June 21, 2018
Asia Art Archive in America
Video documentation by Asia Art Archive in America

A screening of Shen Xin‘s Forms Escape: Prologue (2016, Color & Sound SD Video, 36’22”) and Jen Liu‘s Pink Slime Caesar Shift (2018, Color & Sound 4K Video, 24’20″), followed by discussion with artist Jen Liu and scientist Sam Hart.

Pink Slime Caesar Shift is the name of Liu’s body of work that posits the use of stem-cell hamburgers as a vehicle to covertly transmit messages of labor insurrection for Special Economic Zone (SEZ) factory workers in China. Part of this on-going project is a 2018 prospectus video, in which her speculative proposal is connected to the lived realities of SEZ workers through interweaving appropriated texts: Chinese labor activist manuals, NGO white paper reports, science equipment advertisements and documentary recordings, amongst others. The speculative is used to elucidate the legal, environmental, and safety concerns surrounding factory labor today.

Shen Xin’s Forms Escape: Prologue, on the other hand, examines the afflictions of contemporary capitalism’s relationship with power, specifically appropriation, objectification, and exploitation. Shen addresses each affliction or ‘suffering’ in three connected videos compiled from an array of online footage. The film explores these intertwining conditions as symptoms of political as well as spiritual crisis. The viewer is invited to navigate the work as a guide to the three ‘sufferings’.

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Jen Liu is a New York-based artist working on topics of national identity, economy, and the re-motivating of archival artifacts. She is a 2017 Guggenheim Fellow in Film/Video, and NYFA/NYSCA Gregory Millard Fellow in Digital/Electronic Media. She has presented work at The Whitney Museum, The New Museum, New York; Royal Academy and ICA London; Kunsthaus Zurich; Kunsthalle Wien; the Aspen Museum of Art; Henry Art Gallery, Seattle; MUSAC, Leon; as well as the Shanghai Biennale (China).

Shen Xin lives and works between London and Amsterdam. Through moving image and performative events, Shen’s practice often aims to fabricate affective relationships, examining the techniques and effects of how emotion, judgment, and ethics circulate through individual and collective subjects. Her recent solo presentations include half-sung, half spoken, Serpentine Pavilion, London (2017); Strongholds, Lychee One, London (2017); At Home, Surplus Space, Wuhan (2016). She recently participated in group shows Songs for Sabotage, New Museum Triennial (2018), BALTIC Artists’ Award, BALTIC Centre for Contemporary Art, Gateshead (2017); The New Normal, UCCA, Beijing (2017). Shen is awarded the BALTIC Artists’ Award in 2017, and she’s currently an artist in residence at the Rijksakademie, Amsterdam.

Sam Hart is a scientist, publisher, and curator living in New York. As a bioinformatician at the Sloan Kettering Institute, Sam works across cancer genomics and cellular engineering, where he has contributed to The Cancer Genome Atlas and performed the first genetic characterization of numerous rare diseases. His current research focuses on the development of computational methods for the construction of novel chimeric antigen receptor therapies. Sam is Founder and Editor-in-Chief of Avant.org, a distributed project space for artist research, curator of the online technical catalog, Research Tactics, and co-founder of the artist-run Cybernetics Library.

Image caption: Jen Liu, Pink Slime Caesar Shift (still), 2018. 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

20th century, abstract art, Abstraction, Access, Afghanistan, Alternative Space, American History, Animation, Anthology, anthropology, Architecture, Archive, Art Administration, art history, art writing, Artificial Intelligence, artist book, artist's book, artist’s book, Asia Art Archive, Asian American, Automation, Autonomy, avant-garde, Bangladesh, Buddhism, Burma, Cambodia, care-giving, Catalogue, Censorship, Central Asia, ceramic art, Chance, Chengdu, China, Chinatown, cities, collage, Collecting, Collective, Collectivity, commercial art, Communism, Composition, conceptual art, conceptual photography, Cultural Revolution, culture, Curating, Cutlural Revolution, Design, Diaspora, digital, digital print, Displacement, DNA, Documentary, Domestic Labor, Drawing, Economics, Education, encyclopedia, EPOXY, essays, exhibition, Exhibition History, Experimental Music, Feminism, Festivals, Fiction, Field-recording, Fluxus, Folklore, Form, Foundations, Gender, Genetics, Geography, ghosts, Godzilla, Graphic Novel, group exhibition, Gwangju Biennale, histories, history, Hong Kong, hong kong S.A.R., Identity, Imaging, Imitation, in situ, Independent Publisher, Index, India, Indonesia, Infrastructure, ink, ink and colors, ink painting, ink-painting, Installation, installation art, Institution, Internet, Iran, Island, Japan, Khmer Rouge, Korea, Labor, Land, Land Art, Language, Lhasa, literature, Locality, Madagascar, Malaysia, Manananggal, mapping, Memory, Mexico, Migrant Workers, Migration, Miniature Painting, Minimalism, mixed media, mixed-media, Model Opera, modern art, mourning, Moving Image, multimedia art, Museum studies, Museums, Music, Myanmar, mythology, nationalism, Nations, New Media Art, New York City, North Africa, oil, oil painting, painting, paintings, Pakistan, Pakistani, participatory, Pedagogy, people, Perennial exhibition, Performance, performance art, Philippines, photographs, Photography, Pop Culture, Pop Music, print, prints, Protest, Public Space, Publication, Realism, Revolution, Saudi Arabia, Sci-Fi, Science, Sculpture, Secrets, Shamanism, Singapore, Small Press, Socialist Realism, Sonic Art, sound, Sound Art, South Asia, South East Asia, south korea, Southeast Asia, Sri Lanka, Surveillance, System, Taiwan, technology, Thailand, the Middle East, The Philippines, Theater, Tibet, Tomato Grey, Tradition, trama, Tunisia, United States, united states of america, Unity, USA, Vampires, Video Art, Video Game, Vietnam, Violence, visual culture, War, Water Rights, watercolor, watercolour painting, woman artist, women, women artist, women artists, woodcuts, writing, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Aisha Khalid, Aki Onda, Alexandra Chang, Alexandra Munroe, Alf Chang, Amy Lien, Amy WOOD, Annysa Ng, Anthony Yung, Arin Rungjang, Ashley Billingsley, Ashok Sukumaran, Bani Abadi, Bani Abidi, Barbara London, Beth Citron, Betsy Damon, Bing Lee, Birgit DONKER, Boon Hui Tan, 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, Enzo Camacho, EPOXY Art Group, 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, Hajra Waheed, 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, Jen Liu, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, Katherine Grube, Kim Yong-Ik, Kimia Maleki, Kit Yi Wong, Koki Tanaka, Korakrit Arunanondchai, Laurel Ptak, Lê Thuận Uyên, Lee Kit, Lee Mingwei, Lee Weng Choy, Lesley Ma, Levi Easterbrooks, 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, Ming Fay, Miwako Tezuka, Moe Satt, Murtaza Vali, Museum of Unknown, Nadim Abbas, Naeem Mohaiemen, Nate Hun, Nico Baumbach, Nikhil Raunak, Nora Taylor, 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, Risha Lee, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Sam Hart, Samita Sinha, Samsom Young, Samson Young, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Sharmini Pereira, Shen Xin, Shiraga Kazuo, Shuddhabrata Sengupta, Simon Wu, Sohl Lee, Son Ni, Song Dong, Sopheap Pich, Stephanie Comilang, Stephanie H. Tung, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Tabaimo, Takahiko Iimura, Takeshi Ikeda, Tammy Nguyen, Tang Kwok Hin, Teresa Kwong, The Otolith Group, 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, Yang Wang, Yin Xiuzhen, Ying Kwok, YOUNG-HAE CHANG HEAVY INDUSTRIES, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhenzhen Qi, Zhou Tao, Zoe Butt