Hong Kong Tatler - - Life | Art -

Bei­jing-based Guan Xiao tries to steer away from the la­bel “postin­ter­net artist,” but it’s ob­vi­ous the tool is a big part of her cre­ative en­deav­ours. Both her sculp­tural and video pieces, which are of­ten in­ter­con­nected, draw on im­agery found on the net, treat­ing it both as a source and a plat­form. Guan jux­ta­poses el­e­ments of the past with her dig­i­tal finds, cre­at­ing mul­ti­me­dia in­stal­la­tions that dis­re­gard lin­ear time and com­bine the prim­i­tive and clas­si­cal, the crude and the high-tech, in a holis­tic and of­ten hu­mor­ous man­ner. David, her film at the Bi­en­nale, is a case in point. Named af­ter Michelangelo’s sculp­ture, it is an ab­sur­dist com­men­tary on the con­tem­po­rary com­mer­cial­i­sa­tion of a cen­turies-old statue. Guan draws on a va­ri­ety of on­line video ma­te­rial, to cri­tique how ktisch and sou­venirs are chal­leng­ing—and some­times de­stroy­ing—the in­tegrity of art.

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