"Lost" tells the story of Huang Xinjian's childhood during Taiwan's martial law period in the 1970s, and also explores the ethical issues of government digital surveillance.

Exploring oppression through the eyes of an old man.

The old man is a political prisoner and a ghost in the underworld.

In Taiwanese folk beliefs, the gates of hell are opened in the seventh month of the lunar calendar, the souls of the deceased can return to visit their families, and the protagonist returns to the earth to witness the deterioration of human memory and spirituality.

(Provided by Huang Xinjian)

[Reporter Ling Meixue/Taipei Report] Artist Huang Xinjian's first large-scale solo exhibition in New York, "The Materials We Call Home", opened last weekend (23rd) at the Pratt Institute of Art Gallery in Cherxi District, New York, and will be on display until 2023 March 4th.

Huang Xinjian, who was a Fulbright Scholar from 2019 to 2020, was invited to the Digital Art Department of the Pratt Institute as a guest guest. This time, the exhibition will be curated by Linda Lauro-Lazin, Deputy Director of the Department, to reshape Taiwanese folk customs and digital surveillance ethics. , spatial exploration, and the mind-body dichotomy across different media, with artist Lori.

A groundbreaking collaboration with Laurie Anderson.

The exhibition uses VR images, sculptures and films to present Huang Xinjian's new perspectives on the immersive possibilities of integrated media art practice.

Focusing on 4 large-scale VR journeys, they are "Reincarnation" (2021), "The Lost Story" (2019), "Moon Landing" (2018) and "A Room in the Sand" (2017).

Please read on...

Huang Xinjian and Lori.

The Moon Landing, co-created by Anderson, was originally commissioned by the Louisiana Museum of Modern Art in Denmark, and then presented at the Museum of Natural History on the 50th anniversary of the Apollo 11 moon landing. ) first exhibition.

Reconstructing the moon in 6 dimensions, viewers can explore the surface of this new moon, glide through space debris, and fly over the DNA bones of dinosaurs.

(Provided by Huang Xinjian)

There are also three stainless steel sculptures titled "Yun Kong".

Huang Xinjian refers to historical Buddha statues, removes their humanity, and reshapes them into robot-like creatures wearing high-tech armor, floating in a still space.

There is also a 3-D printing series "Touch" (2020), in which the artist has built a digital system to record his touches on public objects under martial law that were once untouchable, such as barricades, bunkers, and monuments that still exist in Taipei , and then re-materialize these hand-drawn trajectory-shaped objects in the form of pictures and 3-D prints.

Through these new sculptures, Huang Xinjian attempts to explore "body memory" and the connection between the physical representation of the body and history, art and technology.

For details, please refer to the exhibition theme website (www.pratt.edu/about/exhibitions/pratt-manhattan-gallery/ ).

Room in the Sand (2017).

(Provided by Huang Xinjian)

☆Artistic news is not missed, follow the fan page by like.


☆For more important art and literature news, please visit the Free Art and Literature website.