Image-sound mirroring
When visitors enter the exhibition’s first gallery, what immediately greets them is a sensation of dimness. They are then exposed to Wang’s ingenious uses of various media and existing furnishings: for example, a bright gap of light projected onto a suspended piece of fine gauze, traditionally printed photographs, superimposed images cast from a projector and a slide projector, family photographs, old newspaper materials, and a video of a triangular wood structure slowly burning by the sea. Going far beyond traditional exhibitions of printed and framed photographs, in Take Me Somewhere Nice Wang sets out to explore the rich possibilities of different media.
The exhibition’s second gallery plunges us into a quandary, depriving us of visual references. There are only projected blank canvases, which are arranged as if the entire space is an exact replica of the first gallery, but emptied of its visual content. Unlike the first gallery, however, the space here is pervaded by Wang’s deconstructionist reworking of the Greek-French composer Iannis Xenakis’s Okho, a piece scored for djembes. We would feel as though we had entered a mirror, but this experience of duplication is imageless and complicated by sound. Breaking away from classical music with its melodic and tonal conventions, Wang, like Xenakis himself, adopts an experimental form of music that jettisons tonality and accentuates sequentiality, randomness, and constant repetition. Finding ourselves in this soundscape within a replicated gallery space where visual frames of reference are forfeited, we have to rely on our bodies to feel the non-directional blankness and the rhythmicity of the sounds.
To sum up, the “image gallery” makes us feel the passage of time and temporal overlapping and instability. The dark space is deployed in a way that enables us to immerse ourselves more deeply in the experience of our inner “time.” On the other hand, the “sound gallery” makes prodigal use of white light and deconstructionist music, allowing us to become conscious—from a detached perspective—of the physical space that hosts the artworks.
Wang Hsiang Lin’s solo exhibition Take Me Somewhere Nice.