A Tree Fell in The Forest, And No One’s There 林中的樹倒下而沒有人在

Date: 2 Nov 2018 - 24 Feb 2019
Artists:  Chan Ka Kiu 陳嘉翹, Oscar Chan Yik Long 陳翊朗, Cheng Ting Ting 鄭婷婷, Chi Po-Hao 紀柏豪, Mark Chung 鍾正, He Yida 何意達, Lau Wai 劉衛, Sudhee Liao Yuemin 廖月敏, Lin Aojie 林奧劼, Andrew Luk 陸浩明, Remy Siu 蕭逸南, Nicole Wong 王思遨
Co-curator:  Jing Chong Chinyin 張瀞尹
Venue: 200 Huayuangang Road, Huangpu District, Shanghai
Organizer:  Powerstation of Art, Shanghai
Scenographer: Charles Lai/aona architects
Supported by: Art Developments Council 

installation view

Selected Works

Mark Chung 鍾正
Warm light 暖光
2017    Single-channel video
Dimension variable, length of the video equals to the opening hours of the exhibition

Chi Po-Hao    紀柏豪
Lightscape    光景
2017    Single channel video projection with sound   

Andrew Luk 陸浩明
Untitled Écorché (Concrete Vests I-IV)  無題的解剖結構(水泥救生衣 I-IV)
2018     Concrete, oyster shells, life vests

curatorial statement

Phenomenalist philosophers have attempted to differentiate an observed reality through our senses from an unobservable actual reality; they proposed that the world is merely the sum of perceptions available to us, instead of the totality of the material noumenon. The underlying philosophical conundrum of the title raises a question: that without a present audience, would there be sound from a tree having fallen in the forest? Thus, separating the manifestation of the thing-in-itself and the human experience.

While philosophers try to distinguish perceptions and reality, physicists utilise this same conundrum to express the basic idea of quantum physics: everything in physical world and their motions stem from the collapse of possibilities. These collapses are results of observations, as the condition of Schrödinger's Cat is neither dead nor alive until the box opened. However, upon opening the box, it can only be dead or alive, thus two speculated possibilities collapsing into a singular fact.

Posing as observers of the world, artists synthesise their worldview into their practice. Rather than simply describing the world as it is, Kojin Karatani posits that the ‘inner-person’ discovers the outside fūkei (lived place). ‘The fūkei only emerges after the artist has externalised a unique manner of perceiving the world.’ The fūkei expresses is the inversion of the artists’ inner-self.

Artists reflect the manifested objects (phenomenon) they personally observe in their art practice, which in the process reiterates the way they understand the world. The resulting works are the product of the linkage between personal cognition and reality and thus demonstrating the artists’ system of thinking and expression.

While art work bridges the gap between audience and artists, the prevalence of cyberspace allows us to view art through a myriad social platforms. And lately, virtual reality and augmented reality are cutting edge emerging trends  in which art is situated. The once mandatory presence of a physical audience to activate an artwork has been lessened. Rather than showing the works with a narrow frame of virtuality, this exhibition seeks to emphasise the importance of the presence of the audience. By combining the work of the artists and scenography, it constructs a journey of a shared reality and knowledge recreation. Retrace and reiterate the importance of in-situ audience-ship in contemporary art.