{"id":11068,"title":"The Documentary: Geocentric Puncture","dimensions":"3 x (230 x 280 x 210 cm)","date_begin":"2012-01-01","material":"mixed media","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":4,"permalink":"the-documentary-geocentric-puncture--2","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Installation","nl":"Installatie","fr":"Installation"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/798/large/GuanX_Geocentric_Puncture.jpg?1402304747","poster_credits":"(c)image: Guan Xiao","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eMerging multiple visual languages to form something graphically vibrant, the sculpture triptych \u003cem\u003eThe Documentary: Geocentric Puncture\u003c/em\u003e reflects broad changes in how our perception of physical materials and their \u0026lsquo;materiality\u0026rsquo; has changed to something more simulated. The work combines sets of artefacts or totems, all displayed in front of large freestanding screens, each possessing a kind of snakeskin camouflage. The deliberate use of overly vivid camouflage occurs regularly in Guan\u0026rsquo;s works, drawing us closer to readings of surface. These artefacts, some notionally representing renowned historical artefacts \u0026ndash; such as an Easter Island Moai statue or an Ancient Egyptian Ouroboros snake biting its own tail \u0026ndash; are all positioned alongside camera tripods, signifying firstly our knowledge of them via secondary sources, as well as the boundless idiosyncratic \u0026lsquo;museums\u0026rsquo; we can create ourselves from the various means at our disposal. (NH)\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eDoor het samenvoegen van meerdere visuele talen in een grafisch levendig geheel, weerspiegelt de drieluiksculptuur \u003cem\u003eThe Documentary: Geocentric Puncture\u003c/em\u003e brede veranderingen in de manier waarop onze perceptie van fysieke materialen en hun \u0026lsquo;materialiteit\u0026rsquo; plaatsvindt, en die nu verworden is tot iets dat eerder gesimuleerd wordt. Het werk combineert sets met artefacten of totems, geplaatst voor grote vrijstaande schermen, elk bedekt met een soort slangenhuidachtige camouflage. Het opzettelijk gebruik van overdreven levendige camouflage komt regelmatig voor in de werken van Xiao, en zet aan tot een meer aandachtige lezing van het oppervlak. Deze artefacten, waarvan sommige fictief beroemde historische voorwerpen vertegenwoordigen \u0026ndash; zoals een Moai standbeeld van Paaseiland of een oude Egyptische Ouroboros die in zijn eigen staart bijt \u0026ndash; zijn langs camerastatieven geplaatst, die in de eerste plaats refereren naar de manier waarop we onze kennis via secundaire bronnen opdoen, alsook de grenzeloze eigenzinnige \u0026lsquo;musea\u0026rsquo; die we zelf kunnen construeren met de verscheidenheid aan middelen die ons ter beschikking staan. (NH)\u003cbr /\u003e\u003c!--[if !supportLineBreakNewLine]--\u003e\u003cbr /\u003e\u003c!--[endif]--\u003e\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eLa sculpture triptyque \u003cem\u003eThe Documentary: Geocentric Puncture\u003c/em\u003e refl\u0026egrave;te les vastes bouleversements subis par notre perception des mat\u0026eacute;riaux physiques et de leur \u0026laquo;\u0026nbsp;mat\u0026eacute;rialit\u0026eacute;\u0026nbsp;\u0026raquo; vers plus de simulation. Elle fusionne de multiples langages visuels pour former une \u0026oelig;uvre vive, presque bariol\u0026eacute;e, et combine des ensembles d\u0026rsquo;artefacts ou totems, tous pr\u0026eacute;sent\u0026eacute;s face \u0026agrave; de grands \u0026eacute;crans autonomes, chacun gain\u0026eacute; d\u0026rsquo;une sorte de peau qui lui sert de camouflage. L\u0026rsquo;usage d\u0026eacute;lib\u0026eacute;r\u0026eacute; d\u0026rsquo;un camouflage color\u0026eacute; se r\u0026eacute;p\u0026egrave;te r\u0026eacute;guli\u0026egrave;rement dans l\u0026rsquo;\u0026oelig;uvre de Guan, et nous invite \u0026agrave; ne pas chercher de profondeur dans ce qui est surface. Ces artefacts, dont certains \u0026eacute;voquent des artefacts historiques c\u0026eacute;l\u0026egrave;bres, tels une statue Moai de l\u0026rsquo;\u0026Icirc;le de P\u0026acirc;ques ou un serpent Ouroboros qui se mord la queue de l\u0026rsquo;Ancienne \u0026Eacute;gypte, sont tous accompagn\u0026eacute;s de cam\u0026eacute;ras sur tr\u0026eacute;pieds, ce qui signifie d\u0026rsquo;abord que notre connaissance de ces objets provient de sources secondaires, et \u0026eacute;voque ensuite les \u0026laquo;\u0026nbsp;mus\u0026eacute;es\u0026nbsp;\u0026raquo; idiosyncratiques infinis que nous pouvons cr\u0026eacute;er nous-m\u0026ecirc;mes avec les moyens dont nous disposons. (NH)\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":2475,"name":"Guan Xiao","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}