Comments from the exhibition:

  • Whose Game Is It? delves into current socio-political issues through the work of ix artists from distinct geographical and cultural origins. Seeking ways to discuss these complexities, this exhibition presents artists using different methods of interaction and playful approaches to identify, critique, and manage being in the world now.
  • Echo Chambers is a unique, interdisciplinary collaboration with theatre designer, C. Lamford. Artists present wok in a fictional environment, imagined and developed by the curators together with Lamford. Each artist will activate the space at intervals over the course of the exhibition with film screenings, performances, and interventions, including both new and pre-existing work.
  • Dan Perjovschi sayys, ‘ My drawings mean something beyond ”art.” I can have a more objective and precise look at the events I comment on’. His forthright, powerful as well as humorous drawings discuss the individual’s relationships with political, social and structural issues. In this work, he also refers to other artist’s work in the exhibition.
  • Han Ishu. Imitating five famous Western statues, Han Ishu slowly falls to the ground to take on the pose of a reclining Buddha. Through this performance to camera the artist considers the differences of meanings of iconic statues; as symbols of nation, belief and freedom, and as popular tourist attractions, depending on the context from which they are approached.
  • Terra Incognita, et cetera consists of a map of the world based on Buckminster Fuller’s ‘Dymaxion Projection’, which features less distortion of the continents than  traditional projections. Visitors acquire land in a game played in the opening event, only to be erased at the closing of the exhibition. The fun is representative of the geopolitical scramble for the globe and creates a focus for conventions about the individual and their political responsibilities.
  • Lia Perjovschi’s Knowledge Museum is an ongoing interdisciplinary research project composed of handwritten notes and images alongside mind-maps and found objects. For Perjovschi ‘knowledge is transforming the ”object” into the ”subject” of the history’. Her research into how knowledge is generated, received and perceived is a practice to locate individuality in society and history, from a ‘macro-cosmic’ perspective. A workshop titled ‘How to survive in today’s world doing what you like/want?’ was held in conjunction with the exhibition.
  • Lee Wen’s doughnut-shaped ping pong table refers to two aspects of the history and the present under globalisation. In the other hand, i suggests colonial legacies articulated as the centre and periphery, and on the other current tendency for urban areas to become ‘hollow’ as populations more towards suburban areas. The 360-degree version of the table tennis nullifies the traditional rules of the game and layers must renegotiate their relationships in order to play.
  • Raqs Media Collective. Four uniquely-designed table mats illustrate a world map partially covered by images of commodities – tobacco, fish, tea and peanuts – whose value has been extracted and their leftovers remain. These residues of the consumables of everyday life find their way into the manifest narratives of how things are produced or come into existence. Audiences can consume this work during the ‘Tea with curators’.
  • Han Ishu. In London, Han plays a universal game, musical chairs. In the basic rules of the game, people must race to sit down in one of the chairs when the music stops. In this work, he simply finds a vacant seat on a public bench according to the video’s soundtrack. Set against the world’s historical context embodied in London’s buildings, the artist poses questions about the individuals’ participation in society and the merging of people’s everyday life with tourism, trade and globalisation.

How this exhibition relates to what I do?

‘Tea with curators’ – the project itself  is highly inspiring because of the communication with the audience, what is more, audience has a possibility to experience the ideas that the curators when gaining knowledge of what has been found out during the research period for this project. My intention for the FMP project is to communicate the ideas and research of he psychoanalysis research I have acquired when writing my dissertation/essay for this years course as well as the self-psychoanalysis communication and explanation  what I have learned about myself about my unconsciousness – what symbols does it appear in as well as the dreams it has created in my mind.

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