Yet to come—The First Chapter: Solo Exhibition by Liang, Chia-Ning
Liang Chia Ning
” Yet to come—The First Chapter “
Through a bidirectional literary proposition, an imaginary spatial collection, as well as a narrative one, is unfolded, elaborating on the historicity of modern individuals: The witnessing of the object before you is an objectively complex ‘moment’. If narrative is itself a kind of power, then I will talk about what I want to show by ‘narrating’ it.
Taking the initial and final chapters as a topic, the first half of the text serves as an opening, firstly disclosing half of the text to illustrate the theme “Yet to come”; which is about space, people, bodies, and imaginary realities. Through the intersection of my personal experiences with others, and by the meanings created, an opportunity presents to unlock a temporal setting back and forth in a realistic imagination, responding to the personal imagination and spatial boundaries I have always concerned myself with. Identity shift suggests an individual state of being here at this point in time, and is also the pursuit of a meaning.
The thematic core consists of three parts: “Dwelling”, “Inverse Dwelling”, and “Alien Land”. “Dwelling” is the act of opening a door from the outside to the inside of a space, creating a field switch; a physical and mental shift which consists of a “habitable” living field and a “specific” mechanism within the same scene, becoming a developing interface. Furthermore, “Inverse Dwelling” stands for a non-life supporting, low-populated region, or for an environment which doesn’t allow you to stay long. By moving through the single-point guerrilla zone, cut-short images are intercepted, shaping the possibility to call for a new space, a virtual text, as well as breaking the images, light, and field of the space-time continuum. “Alien Land” acts as a broad geographical and mental cultural field. “Alien” reveals more diverse, not specifically defined references which can broaden the imagination, the boundaries of “land” belong more to the psychological space imagination; they open a flowing perception of immateriality, a decoded possibility through the readable and unreadable established spaces, becoming a whole with the first two parts of the artwork: “Dwelling” and “Inverse Dwelling”.
“Vanished Somatosensory Memory”: after some time many “moments” are forgotten, that is a spatial “departure”, and also a sort of experienced past. Even on returning to old haunts, everything will be recreated, reforged, or recalled. Speaking of “disappeared” somatosensory memory within an often experienced sense of time, human perception easily covers over previous experiences with more intense “immediate” ones. With this mechanism, a number of accidental and unexpected branchings off occur between the previous and the next experience. The passage from obscurity to clarity is just like our process of starting from zero and then knowing about things, to forget and return to the starting point, internalizing everything into a sort of time flow.
Therefore, mentioning Walter Benjamin: “broken and incomplete structures show a lack of time, an unspecified historical significance. To capture seemingly unrelated, non-crucial, evanescent experiences and memories is more like a creative state of constant return to the self, a rumination, an asking of questions. It faces nothingness, but it still exists. Between the upcoming future and the past which never happened, there are also only multiple “nows” and “heres”.