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JES FAN Selected Press Pavel S JES FAN Selected Press Pavel S. Pyś, “Hot! Jes Fan”, CURA issue 36, 2021 April 12 6':6$; 233 2#8'.52;¦ JES FAN In 1986, performance artist Stelarc wrote: tionships. Speaking of this series, the artist “skin has become inadequate in interfacing TGŕGEVGFəJQNFKPIVJGJQTOQPGUKPO[JCPFU YKVJ TGCNKV[ =ȵ? VGEJPQNQI[ JCU DGEQOG VJG =ȵ?VJGTGɜUUQOGCDUWTFKV[KPKVɚ2 In isolating body’s new membrane of existence.”1 While these politically charged substances, Systems Stelarc posited on the cybernetic—hybridizing SWGUVKQPUJQYVJG[DGEQOGVGVJGTGFVQŔZGF the bodily with the robotic—his assessment categories. Contingent and ephemeral, the shares common ground with the work of New UEWNRVWTGUGORJCUK\GŕWKFKV[CPFOCNNGCDKNKV[ York-based artist Jes Fan, whose works often #NQPIYKVJ(CPɜUQYPNKHGUVQT[ɌCUCPKOOK- begin with a contemplation of skin. Drawing grant, someone queer, having transitioned— on laboratory processes of distillation, ex- the Systems series is a contemplation of traction, and injection, Fan turns our attention identity never monolithic nor solid, but always to the skin as a coded boundary that conceals subject to change. a vast unseen molecular world inextricably linked to our assumptions of identity, race, and #VVKOGU(CPɜUUEWNRVWTGUCEEQORCP[OQXKPI gender. Pliable, porous, yet simultaneously image works in immersive installations. Part of RTGUWOGFVQŔVTKIKFPQTOCVKXGGZRGEVCVKQPU the 2020 Biennale of Sydney, two multi-tiered skin, in Fan’s work, is a contested entry point sculptures (Form Begets Function and Func- in a practice that unravels understandings of tion Begets Form, both 2020) presented glass what constitutes a ‘normal,’ ‘natural,’ ‘healthy’ DNQDUŔNNGFYKVJGUVTQIGPUGOGPCPFDNQQF body. #RRGCTKPITGOKPKUEGPVQHUVQTGFKURNC[UVJG[ were, in fact, inspired by Chinese scholar Though also working with moving image and shelves, which typically house arrangements performance, the core of Fan’s practice is of collectibles. Standing atop amoebic-shaped sculptural, catalyzed by an enquiry into the pedestals, all of the surfaces are rounded, social, cultural, and political meanings that their sinuous curvatures bringing to mind Tis- have been ascribed to particular substances. han Hsu’s architectonic paintings or Isamu Fan has worked with many materials that ap- 0QIWEJKɜU OQFWNCT UEWNRVWTGU #PEJQTKPI proximate the body (silicone and 3D printed the room is Xenophoria (2020), a video shot in TGUKP RQKPV VQYCTFU KVU ŕGUJ[ KPVGTKQTU INCUU ENQUGWRVJCVYQWNFFGNKIJVCP[#5/4HCPQP globules become stand-ins for organs), but petri dishes and metallic laboratory surfaces also its excretions (urine), sex hormones (tes- we see slick liquids bursting from ruptured ink tosterone, estrogen), and pigment (melanin), UCEUCPFHWPIKDGKPIUETCRGF9GCNUQŔPFNKP- exploring the gendered and racialized status gering shots of Western-style portraits by the EQPHGTTGF WRQP VJG XGT[ UVWő VJCV OCMGU WR Chinese painter Lam Qua (1801-60), who was our bodies. The series Systems (2018-ongo- EQOOKUUKQPGFD[VJG#OGTKECPOGFKECNOKU- ing) consists of wooden structures clad with sionary Peter Parker (1804-88) to depict pa- resin, which, once sanded, become similar to VKGPVU UWőGTKPI HTQO XCTKQWU FKUŔIWTGOGPVU skin. Within the lattices, Fan arranges glass especially tumors. The work pushes the limits QDLGEVU GCEJ ŔNNGF YKVJ UKNKEQPG KPVQ YJKEJ of the very absurdity that fascinates Fan: the the artist injects melanin, progesterone, es- video documents the artist searching for the tradiol, and depo-testosterone. Systems con- manifestations of melanin in the human, ani- trasts opposing forces—hard with soft, the mal, and fungal realms. The title—a play upon grid with the biomorphic—to short circuit the both ‘xenophilia’ (love of the foreign) and its logic of binary thinking, proposing instead— inverse ‘xenophobia’ (prejudice against the as the title suggests—a new network of rela- foreign)—actually derives from xenophora, (pp. 232-233) II, 2018 Systems (p. 231) Le Hors Pierre Photo: IX, 2021 Diagram ing 2021 Liverpool Biennial, and 2022 solo ex- 239 ,'5(#0 JKDKVKQPUCV6JG-KVEJGP0GY;QTMCPF'ORV[ the name of a sea mollusk species, which at- Gallery, Hong Kong—Fan seeks to upturn our tach shells and rocks to their own shells as assumptions of contamination and infection, VJG[EQODVJGUGCŕQQTə+HGGNCMKPVQVJKUCPK- issues especially timely today. Drawing on re- mal,”3 Fan admitted, and we might wager that search into symbiotic relationships as well as the xenophora can be read as a metaphor for parasites, Fan explores how disease can yield Fan’s own narrative as an immigrant—born in objects deemed precious and beautiful (such Canada, raised in Hong Kong, now living and as pearls or perfume). How might infection working in the United States. be understood as ‘productive’? How do we assign the values of a ‘positive’ or ‘negative’ +PJKUŔTUVUQNQGZJKDKVKQPCV'ORV[)CNNGT[KP relationship when studying the natural realm? Hong Kong in 2018, Fan presented Mother Throughout his work, Fan unseats privileged is a Woman (all works 2018), a video that be- categories, instead seeking new ways to un- gan with the artist sourcing a sample of his derstand the body, race, and sexuality beyond mother’s urine, which he then transported to a normative viewpoint. His next chapter of the United States for processing in a labora- work brings to mind critic Nicolas Bourriaud’s tory. From extracted estrogen he produced notion of “co-activity,”5 an approach he sees a beauty cream, named after the work’s title. embodied by artists who seek an equivalence The video—which lightly parodies the format between the elemental, mineral, plant, animal, of an advertisement—shows various people and human in a bid to shatter the subject/ob- applying the lotion to their skin, while a voice ject divide and remove the human from the intones: “as your skin absorbs my mother’s privileged center. Within this world, in which, GUVTQIGP[QWCTGGőGOKPK\GFD[JGT=ȵ?MKPKU according to Bourriaud, relationships are YJGTGVJGOQVJGTKUɚ#EEQORCP[KPIVJGXKF- “horizontal” rather than “unidirectional,”6 Fan eo were a number of sculptural components learns from nature, seeking new dimensions that extended Fan’s concern with queering of value and meaning beyond the anthropo- Hong Kong and Empty Gallery, the artist Courtesy: All images our understanding of family ties, gender, ma- centric worldview. ternity, and particularly our skin. Wall-bound DiagramUEWNRVWTGUŔPFVJGKTUVCTVKPIRQKPVKP epidermis illustrations, while Visible Woman shows a lattice not dissimilar to those used in the Systems series, but here covered with 3D printed resin body parts. Like a scaled WRRWPEJQWVRNCUVKEUJGGV[QWOKIJVŔPFKP model toy sets, the installation takes its name HTQO C XKPVCIG #OGTKECP U CPCVQOKECN model. Underscoring the exhibition was also the story of transitioning, suggested via soy- beans and casts of yams, which are frequently used as sources for industrially produced sex hormones. In Fan’s hands, the body becomes a site of making and unmaking much like an CTVQDLGEV(CPTGŕGEVGFəWUKPIVGUVQUVGTQPG to masculinize my body is similar to using a EJKUGNVQECTXGQWVCUWTHCEG=ȵ?[QWɜTGUEWNRV- ing your body, I’m like that glass in this liquid VTCPUHQTOCVKQPQTRGTRGVWCNN[KPŕWZɚ4 +P JKU HCUEKPCVKQP YKVJ JQTOQPGU CPF ŕWKFU (CPɜURTCEVKEGŔPFUCŒPKV[YKVJCTVKUVU%CPFKEG 1. Stelarc, “Beyond the Body: Amplified Body, Laser Eyes, and Third .KP/CT[/CIIKE2CVTKEM5VCőCPF#PKEMC;K Hand” (1986), reprinted in Kristine Stilles and Peter Howard Selz (eds.), Theories and Documents of Contemporary Art: A Sourcebook of Artists who have each questioned how imperceptible Writing (Berkeley: University of California Press, 1996), 427-430. substances come into play in our understand- 2. Artist quoted in Jes Fan in Flux: Art21 “New York Close Up”, May 15, ings of one another’s bodies and selves. While 2019, available online. 3. Artist quoted in Jan Garden Castro, “States of Flux: A Conversation Fan’s work to date has been largely located in with Jes Fan,” in Sculpture, March/April 2020, 63. a consideration of the gendered and racialized 4. Artist quoted in Jes Fan in Flux: Art21 “New York Close Up”, May 15, human body, upcoming projects extend these 2019, available online. 5. For further context, see Nicolas Bourriaud, “Coactivity: Between Hu- concerns into the animal realm, probing at is- man and Nonhuman,” in Flash Art, issue 326, June/August 2019. Avail- sues of non-human and non-animal conscious- able online, accessed January 3, 2021. ness as well as interspecies relationships. In 6. Bourriaud quoted in the lecture Politics of the Anthropocene. Humans, https://curamagazine.com/product/cura-36/ Things and Reification in Contemporary Art, delivered at the Modern Art his new experiments with mold, mollusks, and Museum of Fort Worth, May 15, 2015. Available online, accessed January © CURA. 2020 agarwood—which will premiere at the upcom- 3, 2021. (p. 237) III, 2018 (pp. 234-235) Systems Michael Yu Photo: 2018 Woman, Visible Jes Fan with Deboleena Roy, “God Is the Microsphere, A conversation on the biochemistry of race and gender”, Art in America, Mar/ Apr 2021 International Review Since 1913 Lorraine O’Grady George W. Bush’s Immigrant Portraits Laurie Anderson $15.95 U.S. p. 28 $15.95 CANADA Mar/Apr 2021 Disability & Dance: Alice Sheppard and Laurel Lawson, Wired, 2019. AiA_MA_21_COVER_UPC_f.indd 1 2/3/21 11:37 AM the exchange God Is the Microsphere A conversation on the biochemistry of race and gender. Jes Fan with Deboleena Roy I first began working with hormones, decades ago, I noticed that we use all these metaphors to describe their actions.
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