"The Theory Of Fishing" (钓鱼理论)
// BLURB //
In the 1920s, mathematicians Theodor Kaluza and Oskar Klein suggested that Einstein’s theory of the four-dimensional spacetime should be expanded with an extra one and possibly more. These dimensions, however, would not be directly observable. We are really just like fish in a pond that are unaware of the world above the surface of the water until it starts raining, upon which the rippling of the water is visible even for the fish. According to the Kaluza-Klein theory, light and gravity are simply just the “ripples” of those other dimensions. The question is: what does this have to do with art? When we stand in front of an artwork, we face something alien that we have to communicate with. If an artwork and the observer both have their own dimensions, how can they have an effect on one other? Everything happening around us will influence our understanding of a piece of art, and at the same time, hopefully, the artwork will also change us forever. And art lies somewhere in this relationship in which we are unsure if there can ever be equilibrium or what we seek for is merely this magical disturbance itself.
In the 1920s, mathematicians Theodor Kaluza and Oskar Klein suggested that Einstein’s theory of the four-dimensional spacetime should be expanded with an extra one and possibly more. These dimensions, however, would not be directly observable. We are really just like fish in a pond that are unaware of the world above the surface of the water until it starts raining, upon which the rippling of the water is visible even for the fish. According to the Kaluza-Klein theory, light and gravity are simply just the “ripples” of those other dimensions. The question is: what does this have to do with art? When we stand in front of an artwork, we face something alien that we have to communicate with. If an artwork and the observer both have their own dimensions, how can they have an effect on one other? Everything happening around us will influence our understanding of a piece of art, and at the same time, hopefully, the artwork will also change us forever. And art lies somewhere in this relationship in which we are unsure if there can ever be equilibrium or what we seek for is merely this magical disturbance itself.
STATUS
SOLD. Private Collection, Shanghai.
SOLD. Private Collection, Shanghai.
EDITION, MEDIA, SIZE & WEIGHT
Unique Edition, Shanghai 2017
RGB LED display, acrylic painting, paper collage, teakwood frame
102(W)×102(H)×5.5(D) cm // 33.3 kg
TECH SPECS
• SLC SD Card
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 3×ELN-30-5 (INPUT 100~240VAC@0.75A / OUTPUT 5V@5A)
• (6+1 spare)×RGB P5(3528)-32X64-16S-75-15A / HG2016112316-100
CRATE SIZE & WEIGHT
115(W)×115(H)×18.5(D) cm // 58.6 kg
EXPOSURE
“The Geometry Of Binary Life” at island6 Shanghai Main Space
• cu.union Concept Fair at ALLUNEEDNOW
CREDITS
Jin Yun 金云 (painting) • Yeung Sin Ching 杨倩菁 (production supervisor & watercolor) • Thomas Charvériat (art direction, animation & technical guidance) • András Gál (documentation & blurb) • Zoé Charvériat-Young 杨素儿 (watercolor) • Irmantas Bortnikas (documentation)
Unique Edition, Shanghai 2017
RGB LED display, acrylic painting, paper collage, teakwood frame
102(W)×102(H)×5.5(D) cm // 33.3 kg
TECH SPECS
• SLC SD Card
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 3×ELN-30-5 (INPUT 100~240VAC@0.75A / OUTPUT 5V@5A)
• (6+1 spare)×RGB P5(3528)-32X64-16S-75-15A / HG2016112316-100
CRATE SIZE & WEIGHT
115(W)×115(H)×18.5(D) cm // 58.6 kg
EXPOSURE
“The Geometry Of Binary Life” at island6 Shanghai Main Space
• cu.union Concept Fair at ALLUNEEDNOW
CREDITS
Jin Yun 金云 (painting) • Yeung Sin Ching 杨倩菁 (production supervisor & watercolor) • Thomas Charvériat (art direction, animation & technical guidance) • András Gál (documentation & blurb) • Zoé Charvériat-Young 杨素儿 (watercolor) • Irmantas Bortnikas (documentation)
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