The Shadow Never Lies by Jiehong Jiang

The Chinese term, yingxiang, refers to photographic and moving images and can be translated literally as ‘shadow image’. Based on etymological distinctions of ‘shadow’ in different cultural contexts, this research explores the linguistic and philosophical resonances underlying the many different ways artists engage these concepts today. It also reassesses a range of aesthetic theories and contemporary art practice between the East and West. The research is the first to make connections between different cultural perceptions of shadows through contemporary artistic interpretations and reflections. It spans the period from the invention of photography in the nineteenth century to today when our sense of the reality of the material world has been dissolved by digital technologies. This is a timely intellectual investment in new understandings of our era. This project was developed through curatorial discussions with leading international curators, including Peter Weibel (ZKM, Germany) and Ute Meta Bauer (CCA, Singapore). To facilitate in-depth discussions with artists, curatorial development visits were made by both Jiang and co-curator Mark Nash to artist studios located in world-centres of contemporary art, such as London, New York, Beijing, Shanghai, Tokyo, Seoul and Singapore. Staged at the Twenty-first Century Minsheng Art Museum in Shanghai, this exhibition presented works in a variety of media including photography, painting, printmaking, sculpture, installation, video, film, animation, performance and sound. It showcased thirty-five internationally renowned artists from fourteen countries including A K Dolven (Norway), Joan Jonas (US), Isaac Julien (UK), William Kentridge (South Africa), Qiu Zhijie (China) and Wu Chi-Tsung (Taiwan). The exhibition was awarded the Best Art Museum Exhibitions Nationwide (China 2016).

THE SHADOW

NEVER LIES

INTRODUCTION

This research is the first to make connections between different cultural perceptions of shadows through contemporary artistic interpretations and reflections. It spans the period from the invention of photography in the 19th century to today when our sense of the reality of the material world has been dissolved by digital technologies. As a timely intellectual investment in new understandings of our era, this research-led curatorial project was invited to be staged at the 21st Century Minsheng Art Museum in Shanghai, from 29 April to 30 July 2016, presenting works by 35 internationally renowned artists from 14 countries. The exhibition was awarded the Best Art Museum Exhibition Nationwide (China 2016).

THE SHADOW

TRANSCULTURAL CURATION

PUBLICATION

ZHANG Peili, the Entryway of the Hangzhou Parterre One Year Apart, 1999-2000

A K DOLVEN, Vertical on My Own, two-channel video installation, 02'55"

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THE SHADOW

The Chinese term yingxiang refers to photographic and moving images produced through traditional or digital techniques and can be translated literally as ‘shadow image’ in English. Our shadows link us to as well as distance us from reality – they are so to speak an indexical ﬁgure that guarantees our humanity. Originating from the notion of ‘shadow image’, or indeed, photography, this project was fundamentally extended through discussions between curators and artists, and the work was produced in a variety of media including painting, printmaking, sculpture, installation, performance and sound, in addition to photography and film.

HAN Kyung Woo, Projected Specimen, 2014, stuffed animals, projector, screen, dimensions variable

JIANG Pengyi, Everything Illuminates, 2012, archival inkjet print, 80 × 120 cm

Richard MOSSE, Platon, 2012, digital c-print, 40 × 53 cm

WANG Yuyang, Light², 2016, digital print on transparent film, 380 × 1900cm

ZHUANG Hui, A Solo Exhibition, Boluozhuanjing County Western Inner Mongolia, 2014

YUAN Gong, Hamlet-Machine: Family Album, 2016, performance and video, 10 minutes

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TRANSCULTURAL CURATION

Through this transcultural curatorial approach, this research-led curatorial project provides a platform inviting artists and curators internationally to revisit notions of ‘shadow’ in both western and eastern contexts, and to re-examine this through literary, artistic and curatorial perspectives. The project has a basis in etymological distinctions; in particular between a more descriptive Western language and a more poetic and philosophical Chinese language, which draws attention to the fact that what we understand as image, shadow and art work have different connotations in different languages and cultural contexts. It provides the opportunity to explore resonances with linguistics and philosophy to underlay the many different ways artists engage these concepts today and to reassess a range of aesthetic theories and contemporary art practice between the East and the West.

LAM Tung-Pang, A Day of Two Suns, objects and video projections on paper, dimensions variable

WU Chi-Tsong, Wire IV, metal, glass, motor, 40 × 16 × 24cm, 2009

Daniel BOYD, A Darker Shade of Dark, two-channel video installation, 17'40", 2012

Bashir MAKHOUL, Lost House, gold plated metal, oil and other materials, 200 × 200 × 110cm, 2016

Isaac JULIEN, Playtime, 2014, double video projection, edge blended, single screen ultra high definition with 5.1 surround sound, 66'57"

ZHANG Peili, A Walk with An End in Sight, 2016, mechanical installation, lace fabric, electric motor, 15 inch monitor, controller, iron flagpole, dimensions variable

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PUBLICATION

To reach a wider audience, a 320-page bilingual (Chinese and English) catalogue The Shadow Never Lies with a substantial introduction was co-authored and edited by Jiang and Nash and published by the People’s Fine Arts Publishing House (Shanghai) on the occasion of the exhibition.

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