Installation ｜装置《Fiction Landscape－Overlapping Fabric 4｜小说景观－重叠的织物四》
mixed material installation (silk screen cloth, laser cut on fabric，laser cut on stainless steel, wood, fabric, video, sound, etc.)
It is worth mentioning that the reverberating background music is a sonic element that carries through the entire exhibition, creating a series of harmonious effects among the visual works. Emanating from the audio of the video work Fiction Landscape, a reverberating bass line is complemented by another audio track that corresponds to the rhythms of the visual elements. Recalling Bakhtin’s comment that a church may be the most suitable physical space for polyphonic novel, we could say that this background sound is no different than that found upon entering a church: it leads one into a specific realm where one can hear the sonic identities that are present there.
The 17th century ink painter Shitao said, “Painting is the result of the receptivity of ink: the ink is open to the brush; the brush is open to the hand; the hand is open to the heart; all this is the same way as the sky engenders what the earth produces; everything is the result of receptivity.” Bi Rongrong has a deep relationship with traditional Chinese landscape painting, and although her works are not limited to any single media, the spirit of landscape painting appears to have impressed itself upon her. Her reflexive attitude brings her into contact, and allows her to accept the diversity of her era and all of its contradictions. She is constantly collecting various realities and fragments of memories. Within these fragments, she coexists with the boundaries of an objective life. To her, the different phases of her life are also different phases of spiritual growth. And as for the observer, in this alternate realm, the feeling of a blooming coexistence harkens back to the existence of a now withered common body.