Sun’s animated film 21 Ke (21 Grams) is based on the 1907 research by the American physician Dr. Duncan MacDougall who claimed the measured weight of the human soul to be twenty-one grams. Sun used this episode—which was not fully recognized by the scientific community—as a point of departure for his depiction of a dystopian world in which the narration of history and notion of time are interrupted. Because each frame was drawn by hand with crayon, it took Sun and his animation studio team a few years to complete this thirty-minute film of a surreal journey through mysterious cities, plagues of mosquitoes, broken statues, cawing ravens, waving flags, and flooded graveyards. Here, an ever-present man in a top hat makes obscure, cryptic references in scenarios that include the national anthem, factories belching soot into the threatening sky, and soaring planes dropping leaflets to earth. Rather than encouraging specific interpretations, 21 Ke is a visual commentary that asks essential questions of human existence: Who we are? What have we done? Where are we heading?
Sun Xun creates videos and animation films from his meticulous, highly detailed, and often monochromatic, hand drawings executed in ink, oil, and crayon. Drawing on the ideas of thinkers like Karl Marx, Theodor Adorno, and Max Horkheimer, Sun investigates revolution, existence, mythologies of society, the notion of time, and the construction and narration of history. Often in a style of magical realism, Sun’s works are full of metaphors and indirect visual associations that beg to be deciphered.
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...
603 Football Field presents a soccer game played inside a small student apartment in Shanghai...
It may take a minute to recognize the background of New Fall Lineup – the colors are tweaked into a world of cartoon and candy, and it is covered by leaping energetic figures and flying squirrels...
A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
In the video installation A Gust of Wind , Zhang continues to explore notions of perspective and melds them seamlessly with a veiled but incisive social critique...
The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement...
Although seemingly unadorned at first glance, Yang Xinguang’s sculptural work Phenomena (2009) employs minimalist aesthetics as a means of gesturing towards the various commonalities and conflicts between civilization and the natural world...
Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
Golden Bridge is part of “Golden Journey”, a series of site-specific performances and installations created during Lin’s residency at Kadist San Francisco...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...