Effervescent Condition is a two-part exhibition, taking place concurrently at the Xuzhuo Museum of
Art
in China and at the School of the Art Institute of Chicago (SAIC) in USA.

Effervescent Condition explores perspectives on electronic forms of communication and information
distribution. In Xuzhou, the exhibition represents the School of the Art Institute of Chicago (SAIC) as part
of a larger exhibition, The Power of Copying. Effervescent Condition echoes the theme through its
conversational and collaborative projects that connect Xuzhou and Chicago. The two distinct contexts
parallel, juxtapose, overlap, and interweave relationships indicating the “real-time communication” mode
of contemporary life. Effervescent Condition engages in the discourse of art and globalization. New Media Curator Steve Dietz indicates “connectivity, computability, and interactivity” as the characteristics
of new media art. The current mass media embody these three capabilities, and blur the transmission
and receiving sides of information. In the Work of Art in the Age of Mechanical Reproduction,
Walter Benjamin discusses the shattering of the aura and the ensuing emancipation of art. Interpreting Benjamin through the lens of the present-day, the exhibition breaks through the boundaries of time and space by duplicating and setting up shop in two gallery spaces, exhibiting both incarnations simultaneously.

This exhibition presents five artists from the SAIC community, four graduate students and one faculty
member. The participating artists have created works that react to the effervescent condition of digital
globalization. The term, which is also part of the show’s title, is borrowed from anthropologist Aihwa Ong,
who uses the term effervescent to describe the metamorphosis of citizenship under globalization, in
which highly-skilled, creative individuals are enticed to move freely from one metropolis to the other.

Battlefield is Wang Yefeng’s dissociation of selfs. An unknown species’ head is digitally joined to a human body, representing the legend that Chinese people are descendants of a dragon. The image reflects the artist’s status between tradition and novelty, subtlety and boldness, reality and fiction. In DodgeDraw by Joshua Sampson, audience members participate in two time-space venues, playing a “game of re-presentation.” Real-time activity is juxtaposed with a delivery lag, the physical present
meets a virtual image, and the flux of a participant’s movement plays with its unaltered re-presentation.
In An Arch Type Florian Graf presents a textual “archetype” for architectural interpretation by two
teams, one in Chicago and one in Xuzhou. Rather than focusing on similarities and differences, of
reading and making practices between Chicago and Xuzhou, he emancipates the creativity of both participants and audiences. Strip / North Spaulding Ave. vs. Strip / Xuzhou, by Nadav Assor, dynamically and site-specifically intercuts two videos depicting rides along urban trails, one for presentation in Xuzhou, and the other in Chicago. This innovative intersection of time and space
through digital technology segments time and reproduces a new sense of place. Adelheid Mers creates an information flood with diagrams, many of which can also be downloaded for free on her website.
Her contribution radiates the message of this exhibition, beyond its physical confines. Her digital poster suggests neural pathways of reproduction and the capacity for thematic connections in all directions.

Effervescent Condition
presents international artists who dynamically act within a liquefied world. This
dialogic exhibition bridges art institutions, audiences, artists, students and faculty, East and West.

Fang-Tze Hsu
2010 Graduate Candidate for
MA in Arts Administration and Policy
The School of The Art Institute of Chicago


Joshua Sampson “DodgeDraw”, 2009
Joshua Sampson
“DodgeDraw”, 2009, Installation Shot, Chicago

 

2010 © All Rights Reserved SAIC, Xuzhou Museum of Art, and Participating Artists - Designed by Cheng-Yung Kuo