Cernuschi video art - fourth edition
Cernuschi art video # 4: Natura naturata
20 - 25 October 2020
The year 2020, with its procession of natural disasters, zoonoses and health constraints, recalled with a certain cruelty the interdependence of humanity and the environment in which it operates. For its fourth edition, organized in partnership with ASIA NOW and the Society of Friends of the Cernuschi Museum, the “Cernuschi video art” program is devoted to these complex, frustrated, but also sometimes fantasized relationships between Man and nature. A selection of videos, created by Chinese, Korean, Japanese or Vietnamese artists, tackles these relationships through various forms, poetic or documentary. The methods and consequences of an artistic, symbolic, economic and technical appropriation of the territories are thus successively described by means of filmed performances, images taken on specific sites or through the eyes of the fauna. Animals are indeed a subject and a privileged object for videographers who are interested in this type of question. They are both potential victims and witnesses to the effects of the increasingly advanced anthropization of the world.
The works presented invite a reassessment of the effects and meaning of human actions and reveal the varied attitudes of artists in the face of these changes in the environment. Thus, while Zhuang Hui (born in 1963), wishing to abstract himself from social issues, draws inspiration from Chinese scholars and deliberately chooses to take refuge in nature, Chen Qiulin (born in 1975) stages a symbolic farewell and tearing between her and her hometown, destroyed, displaced and rebuilt, during the impoundment of the Three Gorges dam. Kentaro Taki (born in 1973), he documents the domestication of nature by the installations aiming to capture the hot springs of the city of Kannawa and the economic decline that follows their disaffection by the public.
Chan Kai-yuen (born 1948), introduces the animal theme and features a chicken cooking as if it were a man in a bath, thus emphasizing the fragility of life and the absurdity flood of the social world. Yang-Ah Ham (b.1968) spins the metaphor by filming the new occupants of the old Seoul station, pigeons that she sees as the symbol of human beings formed and controlled by as much as for life in society. Akino Kondoh (born in 1980) opted for an intimate and surrealist vein to evoke the remorse felt in the face of the destruction of the living world, in this case two ladybugs. Finally, the intensity of this feeling gives way in Nguyen Phuong Linh (born in 1985) to the melancholy of the blind gaze cast by an old elephant on a cotton plantation.