Creatures of the Air空气动物
MadeIn Gallery is delighted to present Wang Ziquan’s solo show “Creatures of the Air” on January 8, 2020, which is the first solo exhibition of the artist at MadeIn Gallery. Wang Ziquan transforms the entire exhibition space into a large-scale installation Creatures of the Air, building a complex access system across sculpture, performance, sound, racing, and video. In this system, the perspective and operation of the apparatus, just like an external organ, becomes an infinite extension to all humankind. The pipeline suspended in the gallery, on the other hand, is constructed as the gloomiest landscape, becoming an extraterritorial place beyond the control of management mechanisms established by technology.
Inside the pipeline, the first-person-view drones acting as prosthetic limbs for the audience initiate a three-hour-long uninterrupted survey under the control of the pilots. And on the screens set up outside the pipeline, the cameras on the drones transmit to the audience in real-time all the mysteries and unpleasantness inside the pipeline. The visibility or concealment of information is ultimately an artist's joke. The countless races that occur in this dark space, the unlocatable sounds, are just the wreckage of signal transmission.
Wang Ziquan identifies the pipeline as the bare landscape at the backside of the human society, and at the same time sees it as the “storage device” that admits personal and social materials and memories. The exhibition “Creatures of the Air” is an experimental field built by the artist, navigating between technology, sculpture and body. Its purpose is to continually access the massive storage device through a self-organized system, in which it is possible for us to question our identity.
没顶画廊将于 2022 年 1 ⽉ 8 ⽇呈现王梓全个展“空⽓动物”，这是艺术家在没顶画廊举办的⾸次个展。王梓全将本次展览的展厅整体转化为⼀件体量庞⼤的装置作品《空⽓动物》，构建⼀个跨越雕塑、⾏为、声 ⾳、竞速和影像的复杂访问系统。在这个系统中，机器的视⾓与运⾏，犹如外置器官般成全了⼈类的⽆限 延伸。悬置在展厅中的管道，则被构建成最灰暗的景观，成为了即便是技术所建⽴的管理机制也⽆法控制 的塞外之地。
在管道之中，穿越机作为观众的义肢，在⻜⼿的操控之下，开启⻓达三⼩时的不间断勘测，并且通过架设 在管道之外的屏幕，实时向观众传输管道之内的种种神秘与不堪。信息的可⻅或隐藏终究是⼀句玩笑话。 在此⿊暗空间发⽣的⽆数次竞速，定位不准的声响，都只是信号传输的残骸。
王梓全将管道确认为⼈类社会背⾯最⾚裸的景观，同时将其看作是接纳个⼈与社会物质及记忆的“存储器”。 展览“空⽓动物”是艺术家搭建的⼀个实验场，在技术、雕塑和⾁体之间浏览。其⺫的是通过⾃我组织的系 统展开对⼤型存储器的持续访问，其中夹杂了我们在当下对⾝份认知的质疑。