张文心
Through the work of Xuan Ye and Wenxin Zhang, filling the Klein bottle navigates the touristic impulse of contemporary cyber-capitalist culture. This multi-site exhibition is curated by Belinda Kwan.
In a world of hyperwanderlust and the tendency to dream of other dimensions, there emerges an undying itch to travel and chase novelty experiences all over the world and beyond. New media technologies intensify this longing; they program a thirst for tourism by cultivating viral notions of nomadic pleasure with vast social networks and rampant imagery reiterating over and over again that the world is indeed your oyster.
《填充克莱因瓶》是叶轩和张文心的多地点双人展系列，策展人关浩恩。作为一次戏仿式的旅行，这是一次在当代赛博-资本主义文化中的巡航。
在一个超漫游癖（hyperwanderlust）盛行，并热爱对其他维度投射幻想的世界中，一种追逐新奇体验的强烈渴望正在涌现。新媒体技术愈发强化了这种渴望；它们借助社交网络和泛滥的图像不断地说服人们你可以随心所欲，病毒式地传播有关游牧之乐趣的观念，以此制造出一种对于旅行的渴求。
filling the Klein bottle (z) { }}}
2020.03.15 - 2020.05.30
Bunker 2 Contemporary Art Container, Toronto, CA
filling the Klein bottle (y) {
2020.03.04 - 2020.05.09
InterAccess, Toronto, CA
filling the Klein bottle (x) {
2020.02.15 - 2020.04.26
Varley Art Gallery of Markham, Unionville, CA
Echoes of Perfusion
2020
Three-channel color animation with sound, 6m27s
From the infrastructural and geographical to the viral and the genetic, Echoes of Perfusion is a trans-scalar meditation on the notion of path: described in mathematics as a sequence of links that begins at a node or vertex and then travels from vertex to vertex.
A medical term, perfusion refers to the movement of fluid through the circulatory or lymphatic system to an organ or tissue. Measured as the rate at which blood is delivered to tissue, the concept and term are often used in the healthcare industry to reference curative methods of fluid supply to the body. But perfusion is also a means for viral and microbial transmission—the circulation of certain bacterial, viral, and cancerous cells allows them to covertly migrate and eventually conquer much larger parts of the body.
When these notions of intelligent circulation and supply are scaled to capitalist and geopolitical systems of domination, the economy of the body can be seen as a microcosm of the diffusion of neocolonial power and a model for the feedback loop of structural domination. Motorways, liquid flows, sound waves, nerve fibers... in every dimension imaginable, info-power travels through omnifarious pathways—the passage shaping the info-power and vice versa.
In a stream of consciousness, Zhang explores various contradictions between these abstract and material considerations. The path takes on a biomathematic and aesthetic function here. Straddling the sublime and bio-systemically grievous, it transports the viewer through physiological pathways and concrete overpasses. No matter the host/vessel/infrastructure, each sensory experience gives rise to an uncanny experience of déjà vu: a moving-through strangely un/familiar to the body and the mind.
Written By Belinda Kwan
Music from Yu Jing and Wang Chenhuai
灌流的回声
2020
三频有声彩色动画，6分27秒
从基础设施到地理学，从病毒到基因，《灌流的回声》是一次对“路径”概念的跨尺度沉思：在数学中，路径被描述为从一个节点（node）或端点（vertex）开始，然后从端点到端点的一系列链接。
作为医学术语，灌流是指液体通过循环或淋巴系统向器官或组织的运动。 用血液输送到组织的速度来衡量，这个概念和术语在医疗行业中经常被用来指代治疗性的体液供应。 但灌流也是病毒和微生物传播的一种手段——某些细菌、病毒和癌细胞的循环使它们能够隐蔽地迁移并最终征服更大的身体部位。
当这些智能循环和供应的概念被放大到资本主义和地缘政治的统治体系中时，身体的经济学可以被看作新殖民主义权力扩散的缩影，以及结构性统治的反馈循环模型。车道、液体流、声波、神经纤维...........在每一个可以想象到的维度，信息力（info-power）都会通过各式各样的路径来传播，而路径又会对信息力进行塑形，如此往复。
张文心以意识流的方式探讨了上述抽象性和物质性要素之间的矛盾。在这里，路径兼具了生物数学和美学的功能，它横跨崇高感和生物系统性的悲哀，将观看者同时引导至体内的通道中和混凝土立交桥上。不管是经由何种主体/躯壳/基础设施，每一次的观看都召唤着一次似曾相识（déjà vu）的微妙感官体验：一种对身体和心灵的即熟悉又陌生的穿越。
作者：关浩恩
音乐：虞菁、王晨淮
Topophilia
2020
Sculpture (pigment print on clear film), dimensions variable
Topophilia is an installation in the form of a cut Möbius strip. The image forms a cycle of simulated body, landscape, highway, neurons, and vibratory motion. Like the infinite scroll of a social media interface, it loops over and over again, from the inside-out and the outside-in. These visual symbols intertwine with and penetrate each other in Ouroboric fashion, representing the spiritual experience of ego dissolution but also the act of self-consumption—producing inverse images of eternal return and rebirth.
This work is a collaboration with Belinda Kwan
恋地
2020
雕塑（透明菲林喷绘），尺寸可变
是一个由莫比乌斯环切割而成的装置作品。其中的图像形成了一个模拟身体、景观、公路、神经元和震荡动态的循环。如社交媒体界面的无限滚动一般，它由内而外，由外而内，循环往复。这些视觉符号相互交织、渗透，以衔尾蛇的方式，代表着自我解离的精神体验，也代表着自我消费的行为——由此产生着永恒的回归与重生。
THREE DIVINE MOUNTAINS
2020
VINYL TOPOGRAPHIC MAP, PIGMENT PRINT ON FILM, SILICONE
DIMENSIONS VARIABLE
The influential Chinese-American geographer Yi-Fu Tuan states that "The island seems to have a tenacious hold on the human imagination."
The work’s title Three Divine Mountains refers to a classic form of Chinese landscape design. This form simulated the Daoist immortals’ paradise. Through the act of constructing this symbolic form of landscape, people get to pin their earthly hopes on it. The vinyl map on the wall is an imaginative contour of the three mountains. If the map is a representation of a spiritual utopia, then the silicon islands are a representation of the earthly longing of human beings. Silicone, a material that is often used as a replacement for human body parts, is inorganic, yet soft and sensual. For this work the gallery floor is understood as a pond, and the handmade silicon sheets placed on it become three islands.
三山
2020