(11/22/2013-9/2/2014) G/F, 4 Po Yan Street, Sheung Wan, http://www.para-site.org.hk
A research-based exhibition looking at the origins of ‘performative’ anti-art in the three countries mentioned in the title of the show. As a concept, this is definitely a worthy endeavor to undertake. And I definitely got some new information from what was on display. But I left with an ambiguous feeling. I would say it was the tension between the grand title and the small fragmentary result. The title of the show could be the title of a large 500+ page book. But the result was more like a selection of 3 random pages on 1960’s action art from the respective national history. This was especially evident in the Korean contribution, where all exhibits were referenced to one book by Mikyung Kim (Experimental Art in Korea, Sigonart 2003). This was useful information that such a book exists and now I may search it out, but there seemed to be little ‘added value’ in terms of research done by the curators themselves. I read about the intention of bringing the three countries history ‘together’, but I could not feel any ‘dialogue’ among the works – they were simply placed side by side.
The amount of original documentation at documentary exhibitions like this is another factor of how interesting the outcome is – if all is just copies and prints, it may well be better off in a nice catalogue than on kappa mounted inkjet prints. Unfortunately not much material artefacts were on display. Two Taiwanese experimental films of the “Theatre” Group were being shown on computer screen-size LCDs, but unfortunately they featured the infamous ‘haircomb’ effect of not properly de-interlaced video – if one adds this to the miniature screen, it was barely watchable. Showing the original film, or at least a good quality digital transfer in ‘simulation mode’ (i.e. as a projection of similar size as the original), would be a completely different story.
Overall it always hurts me to see great curatorial ideas crippled by the tininess of the space at Para Site. I acknowledge that it is difficult to do anything comprehensive on the 30 square meter available at Para Site, and many of the shortcomings of the show can be directly linked to the lack of space and resources. The topic of the show should have been probably even narrower, keeping a focus on an even smaller area, maybe accompanied by a little research library. This leads me to question whether it makes sense at all to produce such comprehensive shows for this tiny space – recently this seems to have become the trend, at least when I think of the Plague show, the Death show and this show. I remember Cosmin Costinas’ (Para Site Director/Curator) inaugural show (in 2011, called “2011”) featuring 4-5 artists, one artwork each – that number seemed just about right.