Exhibition: December 6, 2019 – January 14, 2020
Opening Reception: December 6, 2019 | 6-8 PM
Taiwan-based artist Esther Lin’s practice explores the modern systems in which we live, whether physical or psychological. The exhibition Revolving Corridor (n.) evokes imaginary alternative spaces through objects, videos, audio samples, lights, and text combined in an installation, which showcases her most recent artworks. The title refers to sushi corridor restaurants where diners create their own physical space through time while waiting for food to pass. A sushi corridor is an in-between space that allows people to connect while preserving a sense of personal psychological space. In a similar way, Lin generates a space for people to move along the long South Gallery so that they may explore the transitional zones between languages and actions in daily life as they walk from one work to the other. By acknowledging the gallery as a space that challenges the traditional white cube due to its particular elongated and vaulted architecture and the continuous movement of artists accessing their studios, Lin invites viewers to move at their own pace to dialogue with each of her works and create an insightful territory of their own. Inspired by everyday details, Esther utilizes previous works created in various cities around the world (London, Taipei, Los Angeles) to inspire conversation about the past, the present, and the future by addressing the movement of time and human desire as driving forces behind civilizations.
The exhibition includes a three channel video accompanied by digital printed works, a lighting installation and samples of a book, printed receipts, images and text along with sound, and objects in various materials (such as glass and pigments).
In conjunction with the opening of Revolving Corridor on December 6 from 6-8 PM, local artists will open their studios in the Airport Hangar and studio tours will be offered to visitors throughout the event. They include M. Susan Broussard, Susie McKay Krieser, Gregg Chadwick, Eric Merola, and more.
Esther Lin’s exhibition and three-month Artist Residency is generously supported by the Ministry of Culture, Taiwan and Taiwan Academy.
Join UCLA in a research presentation by scholars in Chinese music to discuss the Guqin, a traditional Chinese instrument. Hosted by the UCLA Center for Chinese Studies.
Please join UCI Center for Asian Studies in a discussion by Dr. Mu-Chou Poo, discussing the use of witchcraft in court politics and palace intrigues in early and medieval China from the Han to the Tang dynasties.
This talk examines the changing meaning of ding-tripod in the cultural memory of ancient China. It shows how an object of daily use could be invested with all sorts of cultural memories: during the Shang, personal achievement and family prestige were transmitted through the bronze ding and the engravings on it; during the Zhou, ding became the symbol of political authority; during the Han, through the recounting of the stories of the Yellow Emperor’s gaining the divine ding, it was elevated to the status of an auspicious omen that could legitimize the political power as well as personal virtue of the sovereign. Meanwhile, this expanded and mythical significance of ding gradually faded way after the Han dynasty. It was the physical aspects of the bronze ding—heavy and stable, finely decorated and expensively made, and the political implication of ding that were remembered and transmitted to the later eras. In modern Chinese, ding is a serious word, one with a certain aura of dignity. Only in the southern Fukien dialect, diang (=ding) is still a word of mundane use: an ordinary cooking pot in daily life, a meaning that goes back to the Neolithic period. The meaning of an object, or a word, therefore, is determined and affected by cultural memory. Meaning changes when cultural memory changes, new meanings were formed, old meanings were forgotten, or resurface after a lapse of time.