Editor’s Note:
Heichi Magazine is glad to announce a new collaboration with the Hyundai Motorstudio Beijing, jointly presenting a collection of essays edited by curator Jenney Chen Jiaying. Under the rubric of her curated exhibition, AI: Love and Artificial Intelligence, currently on view in Hyundai Motorstudio Beijing, this special column presents three long-form essays by the participating artists. This inaugural session explores the contemplation of sexualities in molecular level by the participating artist Johanna Bruckner, with an effort to translate her chemically induced linguistic experiments into the Chinese.
In the exhibition AI: Love and Artificial Intelligence, Johanna Bruckner's work Molecular Sex provides a proposal for dealing with this oppressive binary world thorough the works presented in the space of Hyundai Mostorstudio Beijing, referring to a series of dichotomies: left/right, like/dislike, male/female and so on. Karen Barad’s application of quantum field theory is an important resource for the text, which also constitutes a new vision of the networked world, reality conceived as a continuum of quantum entanglements where subjects can coexist as micro-agents. As such, all matter exists in inseparable entanglement, in contact with infinite alterity, and in recognition of the infinite responsibility of the other. In this way, the sexbot in the video envelops the images of micro-agencies attempting to dissolve the duality in the entanglement.
Read the original article here.
Born in Vienna in 1984, Johanna Bruckner is an artist whose works are shown internationally. Solo exhibitions and performances include: transmediale (2020); 57th Venice Biennale (2019); Mamco, Museum of Modern and Contemporary Art, Geneva (2019); Architecture Biennale, Venice, Swiss Pavilion (2018); Gallery EIGEN+ART Lab, Berlin (2018). Group exhibitions: Deichtorhallen Hamburg, Falckenberg Collection (2018); Gallery Reflector Contemporary, Bern (2018); KW, Institute for Contemporary Art, Berlin (2017); Migros Museum für Gegenwartskunst, Zurich (2017); Villa Croce, Museum of Contemporary Art, Genoa (2017); Kunsthaus Hamburg (2016); Kunstverein Harburger Bahnhof (2016); Manifesta 11, Cabaret Voltaire, Zurich (2016); documenta 13. Johanna Bruckner has taught at various universities and institutions. Bruckner is the recipient of numerous scholarships and was nominated for a fellowship at Harvard University. She was a fellow at the Akademie Schloss Solitude and is currently artist-in-residence at the Istituto Svizzero in Rome.
Jenney Chen Jiaying is a writer and curator. She is now a PhD candidate in Western philosophy at Eastern China Normal University. She holds a Bachelor of Arts from the Department of Art History of China Academy of Art and received her Master of Arts degree from Lancaster University in the UK. She has contributed to media such as Artforum (CN), Artshard, NOWNESS. Recent Projects include: AI: Love and Artificial Intelligence, Hyundai Motorstudio, Beijing, China (2020); Copernicus, E.M.Bannister Gallery of Rhode Island College, Providence, U.S.A (2019); Li Hanwei: Liquid Health, Goethe Space, Shanghai (2019); First edition of the Shanghai Curators Lab, Shanghai Academy of Fine Arts, Shanghai (2018). Jenny’s other academic activities include the First Annual Conference of Network Society “Forces of Reticulation” roundtable and Huayu Forum of Art, etc. Her article “Post-Internet Art Inside and Outside the Chinternet” was included in the collection of essays Forces of Reticulation published by China Academy of Art Press. Shanghai Contemporary Art Archival Project 1998-2010, which she co-wrote and edited, was published by MOUSSE in 2017.
