Harriet Min Zhang
哈利
1. Projects
Somewhere in the fog / 霧下症狀
Clean noise / 靜噪
Time moves with merciful slowness... / 慢鐘
Under the gavel / 一聲千兩
The enduring ephemeral / 慢漫
Echoes of Mt. Qomolangma / 珠穆朗瑪的迴響
I spoke to them
Parallel
Blue cables in Venetian watercourse / 他山之石，新代理人
People’s Park Plinth
2. Public programmes
3. Writings
4. Translations
5. studio@DING
6. About
7. Chronological archive
Somewhere in the fog / 霧下症狀
Group exhibition
at Third Street Gallery, Shanghai
from 2 Nov 2024 to 11 Jan 2025
Exhibition text
It was a group exhibition presenting five artists’ recent research. Fog in the title refers to our inability to escape various forms of sacred texts around us. The artists worked around themes including magic and gardening techniques, control and immune system, listening and ecological circulation, defence and night stalkers, and daily activities and cultural cooking. While scientific, technological, medical and social scripts imply on an overall logic in which contemporary bodies are highly medicalised and pathologised, the artists in the project were trying to reject it through their own visual symbols.
Wenxuan Wang’s new series, Step Back.
Wenxuan Wang. Corner home (wall piece). 2024. Photography, giclee print. Variable Dimensions.
Wenxuan Wang. Stalker (Fox，II-VII). 2024. Photography, giclee print. 16.5 X 24.5 cm each.
Wenxuan Wang. Eavesdropper. 2024. Sound, cement, resin, plaster, twine, straw, salvage bronze and wood cleat rope guide, mixed materials. Variable dimensions (sculpture). 15 min (sound).
Wenxuan Wang. Stalker (Foot). 2024. Cement, asphalt, mixed materials. 20 x 13 x 10 cm.
Karin Borer. Run Rabbit Run. 2023. 2-channel Video. Sound by Daniel Kurth. 5 min 30 sec.
Karin Borer. Run Rabbit Run. 2023. 2-channel Video. Sound by Daniel Kurth. 5 min 30 sec.
Lijuan Liu. Banyan. 2024. UV prints on lightboxes.
Variable dimensions.
Lijuan Liu. Canary off the mine.2024. Photography, giclee print. 20 x 30 cm.
Lijuan Liu. Skin reactions. 2024. Laser-cut mirror. 60 x 27 cm.
Ningyue Qian. Sugar Trade.
2024. Sugar, glass, brick.
50 x 40 x 10 cm. Ningyue. Qian. Circulation of the cooked. 2024. Sugar, glass, brick, flour. 48 x 40 x 18 cm. Gillies Adamson Semple. Volumes. 2024. 12’ Vinyl LP. 9 min 3 sec. Gillies Adamson Semple. Volumes. 2024. 12’ Vinyl LP, video. 9 min 3 sec. Ningyue. Qian. Circulation of the cooked. 2024. Sugar, glass, brick, flour. 48 x 40 x 18 cm.
Gillies Adamson Semple. Untitled (Aalto House) 1 & 3. 2024. White UV print on aluminium, fresh water pearls. 42 x 29 x 0.3 cm each.
Gillies Adamson Semple. Untitled (Aalto House) 1 & 3. 2024. White UV print on aluminium, fresh water pearls. 42 x 29 x 0.3 cm each.
Gillies Adamson Semple. Interior (North and East Doors) & Interior (East Wall Corner). 2024. Photography, giclee print.
95 x 75 cm each.
Ningyue Qian. Cooking. 2024. Flour, kitchenware, table. 面团，厨具，木桌. 280 x 240 x 100 cm
Ningyue Qian. Cooking. 2024. Flour, kitchenware, table. 面团，厨具，木桌. 280 x 240 x 100 cm Gillies Adamson Semple. Untitled (Curves).
2024. Wooden French curves, watercolour, steel pin. Variable dimensions. Gillies Adamson Semple. Untitled (Curves).
2024. Wooden French curves, watercolour, steel pin. Variable dimensions.
In the minutiae of diagnostic encounters, there emerges a conceptual order that carries serious ramifications. As the society and its patients (the poor, the unemployed, the homeless, the vulnerable) negotiate the meanings and values of social symptoms and distress, pathology and the logic of pathologisation, if not stigmatisation, are intersubjectively construed and put to work. The standardisation of medical apparatus and its linguistics also had a major part to play in the construction of social identities.
However, these individuals, the so-called patients, are not heard. Local voices are weakly represented. Technology computes the unknown. Digital tools assist us to heal, wound, and heal, and wound...
The ideology of healing only addresses issues once they manifest in front of us. Symptom control then follows immediately. Yet we seldom question the toxic, the oppressive, the civilised, the quantitative, the careless, the rational, the healthy, the scientific, the one-size-fits-all, the let's-optimise-our-body, the earn-more-spend-more, the heaven-awaits.
The danger of (over-)medicalising is that it deflects attention from what millions of people worldwide might cite as the basis of their distress. It tends to sequester problems into the private, apolitical space of family and culture, reducing racial profiling, social segregation, and poverty into individuals' own problems that no one can or should solve.
As the medical gaze increasingly categorised the unheard as ill, vulnerable, yet also dangerous, their experiences were increasingly coded as symptoms. The social construction of pathology is also the construction of a moral landscape, where subject positions are unevenly spread out - eventually, who should receive treatment? Whose distress is legitimised? Whose suffering is named and heard?
External links:
Press release published on Third Street Gallery’s WeChat official account.
Photo documentation on the gallery’s Instagram page.
The exhibition was recommended by Ocula.
哈利
Somewhere in the fog / 霧下症狀
Clean noise / 靜噪
Time moves with merciful slowness... / 慢鐘
Under the gavel / 一聲千兩
The enduring ephemeral / 慢漫
Echoes of Mt. Qomolangma / 珠穆朗瑪的迴響
I spoke to them
Parallel
Blue cables in Venetian watercourse / 他山之石，新代理人
People’s Park Plinth
2. Public programmes
3. Writings
4. Translations
5. studio@DING
6. About
7. Chronological archive
Somewhere in the fog / 霧下症狀
Group exhibition
at Third Street Gallery, Shanghai
from 2 Nov 2024 to 11 Jan 2025
Exhibition text
It was a group exhibition presenting five artists’ recent research. Fog in the title refers to our inability to escape various forms of sacred texts around us. The artists worked around themes including magic and gardening techniques, control and immune system, listening and ecological circulation, defence and night stalkers, and daily activities and cultural cooking. While scientific, technological, medical and social scripts imply on an overall logic in which contemporary bodies are highly medicalised and pathologised, the artists in the project were trying to reject it through their own visual symbols.
Wenxuan Wang. Stalker (Fox，II-VII). 2024. Photography, giclee print. 16.5 X 24.5 cm each.
Lijuan Liu. Skin reactions. 2024. Laser-cut mirror. 60 x 27 cm.
Gillies Adamson Semple. Untitled (Aalto House) 1 & 3. 2024. White UV print on aluminium, fresh water pearls. 42 x 29 x 0.3 cm each.
Ningyue Qian. Cooking. 2024. Flour, kitchenware, table. 面团，厨具，木桌. 280 x 240 x 100 cm
In the minutiae of diagnostic encounters, there emerges a conceptual order that carries serious ramifications. As the society and its patients (the poor, the unemployed, the homeless, the vulnerable) negotiate the meanings and values of social symptoms and distress, pathology and the logic of pathologisation, if not stigmatisation, are intersubjectively construed and put to work. The standardisation of medical apparatus and its linguistics also had a major part to play in the construction of social identities.
However, these individuals, the so-called patients, are not heard. Local voices are weakly represented. Technology computes the unknown. Digital tools assist us to heal, wound, and heal, and wound...
The ideology of healing only addresses issues once they manifest in front of us. Symptom control then follows immediately. Yet we seldom question the toxic, the oppressive, the civilised, the quantitative, the careless, the rational, the healthy, the scientific, the one-size-fits-all, the let's-optimise-our-body, the earn-more-spend-more, the heaven-awaits.
The danger of (over-)medicalising is that it deflects attention from what millions of people worldwide might cite as the basis of their distress. It tends to sequester problems into the private, apolitical space of family and culture, reducing racial profiling, social segregation, and poverty into individuals' own problems that no one can or should solve.
As the medical gaze increasingly categorised the unheard as ill, vulnerable, yet also dangerous, their experiences were increasingly coded as symptoms. The social construction of pathology is also the construction of a moral landscape, where subject positions are unevenly spread out - eventually, who should receive treatment? Whose distress is legitimised? Whose suffering is named and heard?
External links:
Press release published on Third Street Gallery’s WeChat official account.
Photo documentation on the gallery’s Instagram page.
The exhibition was recommended by Ocula.