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| The black wooden frame encases a single feminine figure, LED transmitting a neon glare from within the translucent, newssheet covered plane, depicting a woman whom leaps straight up while simultaneously raising her arm in full extension above. She seems deliberate and intent to offer a salute or perhaps achieve an unsurpassed victory of space, the action concise and repetitive. A reference to the research which points towards the Chinese nation having lost the urge for perfection together with a certain self-esteem and self respect, an individual beckons singularly in direct visual opposition to the observer. The digital gesture mirrors questions of utopia, socialist collectivism and new individualism, and divisively narrates the phenomena of the mass “performances”- staged by the propagandists of the PRC- with irony. The enormous auditoriums and public amphitheatres of the PRC where thousands become one in identical and mimetic movements, choreographed for the designated celebrations which are to occur in order that the national pride is furthered and communal psychology of the countries people strengthened. The singular figure depicts failure or loss of the collective, while uniformity of physical language retains the alienation of the individual self in communal mass representation. She is emblematic of the sense of purpose instilled by the rhetoric of success, “progress” being defined as achievements which, if not beyond the real, aspire to excel towards a realization of perfectionism and ideals: a central platform of the State whose birth was announced with the reforms of Deng Xiao Ping. [Rajath Suri] |
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