Gloss 光鲜亮丽

Performance and exhibition by Chunyin Rainbow Chan

Date: Sep, 22 - Oct 7, 2018
Location: I: project space

The rhetoric of originality is linked to the way that capitalism claims a natural history of ownership and possession. The counterfeit product, on the other hand, poses a key threat to Western conceptions of authorship and therefore profit. Through obvious acts of copying, the counterfeit reconfigures familiar commodities into incoherent signs. As such, the fake exposes that value is not innate but socially-determined by rituals that are more vulnerable than we might imagine.

Gloss aims to interrogate the socio-political significance of the counterfeit and its representation. How can images of fake designer goods reveal the way power is constructed and propagated in fashion photography, social media and advertising? How can low quality rips and bootlegs disturb the seamless synergy of pop songs, video streaming platforms and online shopping?

Gloss will bring together interdisciplinary practices through an installation work comprising of music, sculpture and performance to focus on the global circulation of the counterfeit in various forms. Embedded in media theory and cultural studies, this project will experiment with different digital media, image making, performance, and songwriting methods. It will “misuse” tools that standardise sound such as translation apps, autotune, voice generators and file compression. The linguistic and aesthetic errors generated in the process of quantisation serve as a metaphor for the impacts of Westernisation on modern China. The garbled end result also alludes to tongue-in-cheek nature of knock off goods. As such, Gloss will propose a unique perspective on counterfeits and creativity in post-socialist China.

About the artist

Chun Yin Rainbow Chan works across music, performance and installation. Born in Hong Kong and raised in Sydney, Chan is interested in mistranslations, diaspora and the effects of globalisation on modern Chinese society. Her research engages with the authentic and the copy, exploring sites of exchange and desire which complicate Western notions of originality and appropriate consumption. Central to Chan's work is the circulation of knock-off objects, sounds and images in global media. Her work positions the fake as a complex sign that shapes new myths, values and contemporary commodity production.

Tying together her works across installation and pop music is the relationship between nostalgia, migration and identity. She released her debut record Spacings (Silo Arts & Records) in 2016, which was feature album on FBi Radio, Radio Adelaide & RTRFM. She’s been nominated for numerous awards including FBi SMAC 2016 for Best Live Act, Record of the Year, and AIR 2017 Best Dance/Electronica Album. Her stunning single "Let Me" won SMAC Best Song of 2017.

Rainbow has performed extensively including live appearances at Sydney Opera House, Museum of Contemporary Art, Gallery of Modern Art, Art Gallery of New South Wales, Museum of Old and New Art, Iceland Airwaves and National Taiwan Museum of Fine Arts. Her installations have been exhibited with Firstdraft Gallery, Liquid Architecture, 4A Centre for Contemporary Asian Art and Longli International New Media Arts Festival, China. Composing in a wide range of styles, Rainbow has created soundtracks for ABC web documentary, "The Glass Bedroom" directed by Kate Blackmore, Sydney Opera House’s podcast “It’s A Long Story”, and a live score commissioned by AGNSW as part of “Starburst”: Chinese Film Season (2018). She is one half of the techno duo, DIN, and also releases experimental music under the moniker Chunyin. Rainbow is currently working on her sophomore album.

日期: 2018年 9月22日 - 10月 7日
地点: I: project space

资本主义宣称“所有权”这个概念来自于自然而然的发展,由此便产生了声称“独创性”的修辞逻辑。假冒伪劣产品对西方的著作权或知识产权这些概念以及其所带来的利润便产生了很大的威胁。通过明显的复制,假冒伪劣产品把熟悉的商品重组为无条理的符号。如此,假货就揭示了一件商品的价值并非是本质性的,而是社会性的,由一系列仪式所决定的。这些资本主义的仪式比我们想象的更加脆弱。

光鲜亮丽旨在质问假冒伪劣商品和其影像的社会政治意义。假冒名牌商品的图像如何揭露权力与利益在时尚摄影、社交媒体和广告里的构建与散播? 低质盗版音乐与视频如何打断流行歌曲、在线视频和网络购物间无缝的协同能量?

光鲜亮丽以装置艺术的形式和跨媒介的方法融合音乐、雕塑和行为艺术,聚焦全球范围内各种形式假冒商品的流通。通过媒体理论和文化研究的方法,这个项目在数字媒体、图像生成、行为表演和歌曲写作间实验,并“误用”声音标准化工具,例如翻译软件、自动调音、声音生成器和文件压缩工具。量化过程中所产生语言和美学的错误偏差成为西方化对现代中国影响的隐喻。含混不清的成品也暗示着假冒伪劣商品戏弄和讽刺的本质。如此,光鲜亮丽将以一个独特的视角看待后社会主义中国里的假冒与创造。

关于艺术家

陳雋然出生于香港,成长于悉尼,她的作品融合音乐、行为表演和装置艺术。陳雋然的兴趣在于误译、侨居身份、以及全球化对现代中国社会的影响。她的研究关注真品与复制,探索一些让西方原创性这个概念和消费的对与错变得复杂的一些产生交易和充满欲望的地方。她作品的核心在于全球媒体中假冒物件、盗版声音和图像的流通,把假的东西当作一种构建新神话、价值和当代商品生产的复杂符号。

穿插在她的装置艺术和流行音乐之间的线索是怀旧之情、移民和身份之间的关系。她的第一张专辑Spacings (Silo艺术与唱片)发布于2016,成为了悉尼Fbi电台,Radio Adelaide,RTRFM电台的主打专辑。她曾被多个奖项提名,包括Fbi SMAC 2016年的最佳现场奖,最佳唱片奖,和AIR2017年的最佳舞曲/电子专辑。她的惊艳单曲 “Let Me”获得了SMAC 2017年的最佳歌曲奖。

陳雋然多次在悉尼歌剧院、悉尼当代艺术博物馆、现代艺术画廊、新南威尔士美术馆、新旧艺术博物馆、冰岛电波音乐节和国立台湾美术馆表演过。她的装置艺术曾展出于Firstdraft画廊、Liquid Architecture、4A当代亚洲艺术中心和贵州龙里国际新媒体艺术节。陳雋然以广泛的风格作曲,曾为澳大利亚ABC网络纪录片It’s A Long Story做原声带,并由新南威尔士美术馆委托创作过澳大利亚星尘华语电影季中的乐谱。她同时也是DIN的Techno二人组的成员,也以Chunyin的名字发布过实验性音乐。陳雋然现在正在制作她的第二张专辑。

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