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The Hole

Exhibition  /  21 Dec 2024  -  05 Jan 2025
Published: 23.12.2024
The Hole.
The Closer Gallery
Curator:
Junjin Wu, Xiao Liang
The Hole.

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Intro
The art exhibition entitled The Hole derives from a Chinese idiom meaning the wind from the empty hollow, implies that an empty space possesses inherent potentials and possibilities. As noted in the preface, it emphasizes the notion of creating a void in an overly  saturated world. This void can be treated as a space relevant to both physical reality and imagination.

中文版 - Chinese version      View / hide description

Artist list

Xi Chen, Yanyi Dai, Gantea, Luran Huang, He Jing, Anqi Li, Weiyi Li, Yi Li, Xiao Liu, Xiaoqi Liu, Thanh-Truc Nguyen, Ningsi Rui, Fumie Sasakie, Hansel Tai, Teng Fei, Ye Wang, Yihan Wang, Zhipeng Wang, Zixin Wei, Mian Wu, Pei Wu, Xiaoyou Ying, Zhixuan Zeng
Arthistoryconstantlyaddressesthenotionof'holes',thoughitemploys
fewer summaries and comparative analyses. A notable illustration of
thisisfoundintheDunhuangpiercing-and-powderingpaintingsofthe
Han and Tang Dynasties of ancient China. This technique involves
perforatingpaperandapplyingpowdertocavewalls,servingasaform
ofreprography.MarcoPololaterintroducedthistoEuropethroughthe
Silk Road, leading to Italian-style brocade patterning. In this context,
the perforations symbolize absence, which, paradoxically, highlights
their signicance. In the Atlantic Manuscript, Leonardo da Vinci
comparedthehumaneyetoasmalldarkcontainer,displayingpinhole
images and proposing that this limited space could profoundly
encapsulatealltheimagesoftheuniverse.Fivecenturieslater,Roland
Barthesanalysedphotographyfromtheperspectiveofpunctumpoints.
InhisbookLaChambreClaire(CameraLucida,1981),heemployedthe
Latintermpunctum(athornortinyhole)toconveyimageclarity.
This punctum serves as a catalyst for awakening, providing shock,
insight,andatransientsenseofvoid.In1977,RosalynKraussremarked
on her publication, Passages in Modern Sculpture, emphasizing the
importanceofopenspacewithinmodernsculptureandcontemplating
atransformativejourneyacrosstime.
 
How can those experiences be reinterpreted in the project The Hole?
The Taoist principles that "everything under the sun originates from
existence, and existence arises from nothing" act as both the 
theoretical underpinning and the practical framework for this
endeavour. Approximately 30 professional artists, primarily with
backgroundsinjewelleryartsorvisualarts,wereinvitedtoparticipate.
They acknowledged the openness andexibility that implied by the
invitation.Theirresponsesvaried:somedecidedtoleaveablankspace
for fresh ideas to surface, while others chose to explore the temporal
andspatialdimensions,engagingintheirownartisticpracticeswithin
andbeyondthehistoricalcontext.Fewexamplesbrieffollow.
 
YeWang: Theartisthascreatedalongchainmadeofwhiteopalbeads
arrangedinaspiral.Theindividualbeadsarecloselylinked,butwhen
someone interacts with them, he or she creates negative spaces
betweenthebeads.Thismeansthatwhiletheartworkdoesntspecify
howtowearit,itencouragesengagement,revealingitssecrets.Asan
individual engages with the piece, manipulating the beads through
stretching or twisting, they grasp its functionality, including its virtual
conguration and constraints. This engagement allows them to
perceivethelogicalsignicanceofthenecklaceasarepresentation
of an alternate reality. In this context, the underlying concept of
creationtakesprecedence,whilethemannerinwhichitiswornholds
second priority. It becomes evident that when external inuences are
eliminated,thebeadstendtoreverttotheiroriginalstate.Theinterplay
between the unseen and the seen, as well as absence and presence,
evolvesintandem,signifyingthe(spiral-shaped)evolutionarynatureof
theuniverse.
 
Weiyi Li:  As a conceptual artist, Weiyi createsbead chains using
virtualimagestoexpressherout-of-the-boxthoughtsandperceptions.
During the project's open call and public submission phase, she was
inspired by the idea of 'trajectories of movement', imagining a line of
beadsonatimeline.ShemadeGIFsthatenableloopingandlayeringin
dierentdimensions.Shethenaddsthatthissphere,asfarasoureyes
can perceive, is also a bead, and it is our body - the necessity of
navigating human perception - that connects each moment to a bead
chain of life. For many viewers, grasping the connection betweena
bead and the imaginarychain of beads and recognizing its
signicancemayposeachallenge.Anartworkhowever,thatevokesa
powerfulimpressionofperceptionisbothintriguingandconfusing.
XiaoLiu: Inthisexhibition,theartistpresentsanolderpiecealongside
two new works. The designation of 'old' for this singular artwork not
only indicates its age but also connects it to its inspiration - the
traditionaljadecoveringsthatshieldedthefacesofthedeceasedfrom
theWesternZhoutoHanDynasty(c.1046BC-220AD).Thesehistorical
artifacts add further layers of meaning to the piece. In contrast to the
original jade coverings, which were intended to protect the facial
featuresandsafeguardthesoul,theartistutilizesmodernmaterialsby
transforming plastic shopping bags into shapes that evoke jade. This
metamorphosis seeks to reinterpret the notion of non-corrodibility as
anidealizedcrystallization.Ascontemporarycontextsshift,thecultural
relevance of these ritual objects is purposefully diminished. PVC
crystalsorjades,whilereminiscentofjadecoveringsormasks,become
detached from their original meanings, engendering a sense of
emptiness. This prompts a contemporary inquiry: what exists behind
the Jade Mask? A genuine face, or merely another hollow facade?
(Extended associations: Photoshopping, Plastic Surgery, Filters, AI
Deepfake,TheTrumanShow,etc.).
 
FumieSasaki(JP): Acollectionartisttailoredfortheexhibitionfurthers
herexplorationofsilhouetteswhileintroducingasignicantconceptin
Japanese culture:/Ma. This character, akin to a traditional
Chinese character, merges(gate) and(sunlight),
suggesting that an empty doorway symbolizes purity and openness,
facilitatingtheowoflightandair.Consequently,/Maembodies
more than mere emptiness; it evokes silence, void, and tranquillity.
Sasaki embodies the conceptual idea of the 'gate' within the spatial
contextthroughsimpleyetpowerfullanguage.Byselectingthefragile
material - Nacre, she provides the audience with a refreshing
experiencethatgentlyandenchantinglytranscendsthematerialrealm.
Although/Ma's essence can be sensed, articulating it in texts
proves challenging. To elucidate this concept, one might reference
MatsuoBashō'sZen-inuencedhaiku(poem):Fragrantplumllsthe
air.Andtherisingsunon.Amountainpath!,whichillustratesaspace
where the subject has vanished yet retains a presence, rendering the
entire world increasingly vacant. Therefore, audiences are naturally
expected to observe, feel, and interpret these works from the 
beginning. In an era saturated with excessive information, the
preservation of aura - a force that invites people to pause and
appreciate Ma -uptotheviewers.
 
FeiTeng: Inthedualroleofacademicadvisorforthisexhibitionandas
aparticipatingartist,theindividualperceives'remaking'asameansto
honour the past while simultaneously embracing the future. This
perspective reects a deep awareness of temporal and contextual
dimensions.Theconceptofremakingarisesfromtheartist'sprofound
insight, revealing the intrinsic emptiness of a simple bamboo branch
sourced from her garden. When instinct transitions into thoughtful
considerationandreectioninspiresaction,thisemptinesstransforms
intoa'functional'componentthatconnectsafracturedwineglasswith
adamagedyswatter.Therepairofthesetwodamageditemsinspired
deeprejuvenation,astherestorationprocessimpartedanunexpected
yet enchanting sense of harmony. This act of restoration presents a
valuable opportunity for both physical and psychological healing,
creating a calming experience. In this context, one may recall Matsuo
Bashō's haiku collection, Narrow Road to The Interior - a subtle,
meandering journey that imparts wisdom, marked by its direct and
hollow cadence - an artistic expression that encapsulates pure
simplicity and profound spiritual beauty, linking all to the mind, to
wonders,andtotheunendingowoftime.
 
Thanh-Truc Nguyen (DE):  Thanh is an artist with a solid educational
foundationintheeldofindustrialdesign.Shedrawsinspirationfrom
surrealimagerythatproducesextraordinaryvisualeects.Asaresult,
herartisticpathisdeeplyintertwinedwithherfascinationwithOpArt
andDigitalVisions.Forher,thesurreallandscaperepresentsadomain
where materiality is dissolved and material properties are liberated.
Her works, employing cutting-edge technologies, showcase complex
lines and designs that clearly dierentiate between the physical and
theabstract,aswellastheinnerandouterrealms.Thisformofartistic
expression, however, goes far beyond binary opposition, fostering
solidswhilewelcomingvoids,mergingtheintangiblewiththetangible.
As the delicate linesow elegantly throughout the composition, they
merge into theoating of ideas and energy, the internalization and
externalization of art. Therefore, explorations such as Thanh's offer 
signicant insights: in the digital era, it is essential to develop an
understanding and mastery of the relationship between reality and
illusion to enhance one's emotional and intellectual experience.
 
AnqiLi: Asaprofessionaljewelleryartist,Anqiisdeeplyengagedinthe
study of the jewellery industry and its societal implications. Recently,
she has developed a keen interest in leftover jade pieces that feature
holes, which are often regarded as waste in manufacturing settings.
This intrigue underscores her sensitivity (boundary awareness) to
overlooked materials. How can we interpret these discarded objects?
Rather than viewing them through the lens of so-called material
upcycling or sustainability, Anqi's innovative perspective uncovers a
moreprofoundsocietalcommentary:dothesegaps(holes)reectour
daily experiences? This viewpoint recognizes the inherent
unpredictability of things while proposing an alternative method -
utilizing these gaps to gain recognition. In other words, it encourages
concept recontextualization by deconstructing history. This raises a
fundamental question in art creation: what constitutes originality, and 
does it really exist? As someone once said: If originality exists, it likely 
resides in re-creation.
 
The idea of remaking forms the core theme of the project. While
collaborating with professionals, the initiative also encouraged public
participation,fosteringaspacefordialoguethatsupportedre-creation.
The outcomes of these collaborations varied widely, ranging from
adherencetotheoriginaltodivergence,andfromacknowledgmentto
disintegration. These interactions enabled participants to access
creative momentum-the core essence of art. Thisinternalframework
alignswellwithThanh'sartisticvision:mergingtheimaginarywiththe
real and uncovering hidden meanings related to era shifts. Artistic
reinterpretation broadens the approach to art, allowing it to connect
deeplyandhaveawideinuenceonitsaudience.
 
Exploring the notion of emptiness/nothingness involves being open,
allowing people to blend into the world around them. When viewed
throughthelensofnothingness,objectsareliberatedfromuniformity.
This fosters remarkable diversity and interaction, helping people
cultivateacceptanceandempathy.
 
Theexhibitionfeaturesnearly30artistsandover70publicparticipants
from an open call, showcasing around 80 artworks. These pieces are
presented to the audience in both physical and virtual formats. Fei
Teng, the exhibition's academic advisor, noted that the exhibition
servesasareferencepointwhosesignicancewillgrowovertime.
Duration: 2024/12/21-2025/01/05
 

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