Dewey Visits Cao Fei’s “A hollow in a world too full” at Tai Kwun, Hong Kong

Dewey Punk Pickles doesn’t understand art. She’s never studied art in school though she was a librarian at an art and design university. She goes to art exhibitions because it seems like the cool thing to do. All the cultured, intellectual, creative types, the type of people she associates with, are all going to drink wine at the art opening.

Dewey goes to the JC Contemporary at Tai Kwun to see Beijing-based artist Cao Fei’s show, A hollow in a world too full. Tai Kwun used to be a prison complex back in the colonial days of Hong Kong. The Jockey Club spent a fortune restoring and renovating the previously abandoned space. Dewey thinks it’s ironic that the institution that makes its bucks luring Hong Kongers with horse racing and gambling is now the city’s peddler of art and culture.

The entrance of JC Contemporary and its lobby is full of pretty, well-dressed people.  They stand in clusters, chatting while sipping on their wines and beer. Dewey stands with her husband, Mean Dean, while drinking a glass of white wine. For free wine, it isn’t bad at all, she thinks to herself. She says hi to some friends, people she knew when she was a librarian. Then, with Mean Dean, she walks up to a grand staircase leading to the exhibition space. The place still smells like fresh paint. She has no idea what to expect.

Rumba (2015-2018). Video capture from the exhibition. 

The first things Dewey encounters are some seemingly mindless yet hyper-aware disc-like robot cleaners roaming on a minimalistic landscape. They navigate the narrow passageways from one island to the next without aim but always swivel at the edge of the raised platform.

“I don’t get it,” Dewey thinks to herself, “what are these Roomba vacuum robots supposed to say?”

She keeps these thoughts to herself as she doesn’t want the people around her to hear her stupidity and ignorance. She clutches her exhibition catalog, hoping to glean some insight from it. But she has trouble reading while walking, and Mean Deans has already moved on to the next room.

The next room is a darkened theater. On the wall outside, it has a sign indicating that only those over the age of 18 are allowed to enter. The film shows a post-apocalyptic fantasy world filled with miniature architectural sets and figurines. Dewey sees the derelict golden arches of MacDonald’s restaurant and abandoned Porsches. There are people in this film too, and they look scared, in pain, or like zombies.  Then, the scene changes and a man and a woman start to have a conversation in French. Dewey feels a little voyeuristic at this point as she stares at a pair of figures fucking on the screen. The woman is on the top riding the man. Dewey can’t help but notice that it looks like the woman is riding a metal rod, the rod is the man’s dick. Riding a rod doesn’t sound like a pleasurable experience.

Dewey is not bashful or anything, but while the film is fascinating on some level, it lacks plot. It doesn’t have a beginning or an end, and things are happening randomly. Sitting there in the dark room, she starts to feel sleepy. She curls up next to Mean Dean and falls asleep.

Prison Architect (2018). This is a close-up of one of the installations.

She wakes up when Mean Dean stands up to go to the next room, which has distressed walls with grey, peeling paint. Close to the back wall is a desk with an old-timey lamp on it. The lamp is on. Dewey sees a black rotary phone, a glass ashtray with two boxes of matches, and a file on a prisoner open for all to see. Behind the desk is a portrait of Queen Elizabeth II hanging crookedly on the wall.

“Ah,” Dewey thinks to herself, “this must be one of the offices when Tai Kwun was still a prison.” This she understands and thinks is interesting. She feels that she understands culture and history better than art.

At this point, the exhibition space has closed. Dewey Punk Pickles and Mean Dean leave the exhibition, having seen only half of it.

A week later, Dewey returns to the JC contemporary. This time, she reads the exhibition catalog before going to the show, so she has some vague idea of what to expect.  After seeing the vacuum robots, the film with the zombies and the fucking couple, and the prison room, she finds herself on the top floor.  There are two screens flashing with animations. She looks at one of them for a while. It looks like a city in China but like a Chinese city on crack. It has a crazy, over-the-top color palette, and the perspective spins as if we are seeing the city from a drone.  At one point,  Dewey sees Tiananmen Square. In the place where Mao’s portrait should have been is a picture of a panda. She chuckles.

She doesn’t bother to look at the other screen in the same room. Instead, she climbs down the grand staircase and continues the exhibition.

Prison Architect (2018). This is the space where the film is shown.

The next exhibition is another film, and according to the catalog, it is called The Prison Architect, a newly commissioned work. The film is only a part of the work, as it also includes installations that span three floors. The film takes place in Tai Kwun in the past as Victoria Prison and in the present as Hong Kong’s hub of art and culture. The protagonists of the film, a female prison architect and a male poet-prisoner, exist in parallel realities–she lives in the present while he stays in the past. Cao creates illusions in the physical space by installing prison-style bunk beds, the same ones from the film, in the theatre, which allows Dewey and the other people watching to immerse themselves in Cao’s imagination.

Dewey recognizes the prison office where the poet-prisoner is getting yelled at by a crude, mango spewing guard. She becomes excited that the exhibition is coming together through this film. The open file she saw during her last visit must belong to this poet-prisoner.

In another scene, she notices that the prison architect is slicing her mango carefully in her modern Hong Kong apartment, and placing them in a bowl. Later on, there was the poet-prisoner, holding a half-peeled mango.

She wonders about the mangos.

Dewey has her Eureka moment in the scene that takes place in a starkly white room that looks familiar. There are three ghost-like prisoners with painted faces that are spinning around the poet-prisoner as if trying to suffocate and swallow him.

“Oh! That’s in the same room where the Roomba cleaners are!” She shouts inside her own head, “the robots might be a representation of the prisoners prowling in a random yet cognisant way.”

Dewey feels pleased about making this connection.

The rest of the exhibition doesn’t interest Dewey Punk Pickles as much, now that she feels like she’s figured it out. She walks down the grand staircase and notices fake mangos dangling.

At home, Dewey tells Mean Dean about the exhibition and what she figured out. Then she remembers the mangos.

“What is up with the mangos?” She asks.

Mean Dean tells her that there used to be a massive mango tree in the Victoria Prison complex, and the guards used to eat the sweet, meaty fruit from it.

How does Mean Dean know this? Dewey has no idea.

A Solo Exhibition by Cao Fei, A hollow in a world too full @ Tai Kwun, Central, Hong Kong. On view until December 9, 2018. 

 

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New Category: Art Writing and an Introduction to Dewey Punk Pickles

Guy Rose, The Green Mirror (1911). This painting shows my quest for learning to look at art objects, as well as myself, from different angles and perspectives.

Sometimes I feel uncomfortable and threatened at art exhibitions and gallery openings. I feel like a poser, pretending to enjoy something I don’t understand.

“I didn’t study art,” I think to myself, “I don’t know what I am looking at.”

Other times, I feel downright rejected by an object, but don’t know why. I am looking and trying to figure it out, but I always fail. I feel anxious, looking around at other people who seem to know exactly what they are looking at.

“This sculpture doesn’t want me to understand it. It’s an asshole.”

Lately, the works of Lynne Tillman, The Complete Madame Realism and Other Stories inspired me. I have also been reading a lot of other writers, such as Bruno Latour, Kathy Acker, and Chris Kraus.

These writers have challenged the way I look at art objects and how I write about them. As a writer, my instinctive inclination is trying to understand something and to write about it. In my In the Shadow of the Middle Kingdom thread, I explain things through storytelling. However, this strategy doesn’t seem to work with art objects.

Instead of trying to understand them, I decided to do an experiment and just let it be. Instead of asking, what is this supposed to tell me, I pose new questions. What is this making me feel, and why? What’s around it? Who’s looking at it? How is it displayed?

Lynne Tillman, a fiction writer, was asked to review different art exhibitions and cultural events. She created a fictional character, Madame Realism, and sent her to these exhibitions and events. The result is a collection of dazzling, humorous fictional essays that chronicles American culture.

Taking a cue from Tillman, I’ve created a character, Dewey Punk Pickles. For those of you who know me personally, you know that Dewey is the name of my beloved feral cat that I picked up on the streets of Dubai ten years ago. In my stories though, she is a person–she has a part of my history and my sensibilities (she is a writer who used to be a librarian at an art and design university), but she also has feline characteristics, like she curls up and goes to sleep, she purrs, she hisses, she might be bitey with her words.

This thread is an experiment, in my attempt to write about art in a way that is accessible and fun. I would love to hear about what you think. My first post in this thread is where Dewey Punk Pickles goes to see the Cao Fei’s A hollow in a world too full at Tai Kwun, a cultural hub in Central, Hong Kong. Please leave a comment or message me if you want to have a conversation! You can chat with me via my Facebook page.

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