Exhibition Review | Muhan Wu：Moment and Eternity of Force

"All behaviour is the result of interactions." - Aristotle

 

In Nan Ke Gallery's new double solo exhibition Thus Have We Seen, artist Muhan Wu's exploration of installation focuses on the idea of "force". Mechanical rhythms and the principles of physics derived from them have always been the main threads in her creative lineage. The works in this exhibition are based on the artist's favourite useage of waste material, and include parts from her personal collection; which reflect her thoughts on the original properties of objects that have been removed from the realm of human use and the symbolic meanings they have been given after entering human society.

 

Installation view of Thus Have We Seen, February 29, 2024 - April 14, 2024, Nan Ke Gallery, Shanghai ©  Courtesy Nan Ke Gallery, photographed by AHstudio

 

The definition of "objects" is inherently rooted in human society. However, if divorced from the modes of human production, customary use, and culturally established notions, does the essence of "objects" undergo transformation? Approaching the artwork "Feel Alive" by the artist, one can observe a profound reinterpretation. Components originally fashioned as parts of a clothes hanger are disassembled and repurposed to form a rocket. Within the exhibition space, this piece is elevated upon a pedestal, demanding a gaze upwards, seemingly alluding to a reverence for the intrinsic nature of objects emancipated from human norms and efficiency.

 

Installation view of Thus Have We Seen, February 29, 2024 - April 14, 2024, Nan Ke Gallery, Shanghai ©  Courtesy Nan Ke Gallery, photographed by AHstudio

 

In contemporary art discourse, "naturalism" has perennially served as a focal point. With the expansion of production leading to encroachments upon the natural environment, artists are fervently engaged in discussions surrounding the intrinsic rhythms of nature divorced from human influence or themes depicting a post-human era where the Earth is reclaimed, devoured, and recaptured by nature. However, Wu Muhuan shifts her focus to a more transitional period: a time beyond the mythic unity of humans and nature, yet preceding the widespread utilization of tools in history, and predating the post-human fantasies—a period akin to a "human ruins" epoch.

In her artistic contemplation, she directs her gaze towards the artifacts and machinery invented by humans—the antithesis of "naturalism." Yet, her creations pivot towards avenues that attenuate human impact, whether through the presentation of disassembled objects stripping them of their original attributes or through the imaginative reconstruction of industrial ruins postulating a world bereft of human existence.

 

 

In the artwork "An Apple A Day", the erasure of human traces renders New York as "Apple City", a condensed symbol. The staid, icy embrace of concrete structures harmonizes with the frivolous, vibrant hues of wooden artifacts, crafting a contemporary totem embodying the fragments of industrial manufacture. Muhuan Wu strips away human imprints from the products of human creation, employing these more palpable "basic blocks" to delineate and articulate human behavior, habitats, and even power dynamics, thus forming a cyclical loop of portrayal and commentary.

 

Muhan Wu
An Apple A Day, 2023
Cement, wood
16h x 12w x 3.3d cm
© Courtesy of the artist

 

Mechanics embodies the manifestation of force, a concept frequently utilized to encapsulate the relationships within human society and the resulting dynamic equilibrium. From Aristotle's assertion that "all action is the result of interaction" to Jaspers' theory of "twice-told conversations", the tension and release inherent in mechanics have long served as a metaphor and resolution for social relations. The installation piece "Everything is Temporary" eloquently underscores this notion: chess pieces in tension, windmills rotating with the sunlight, foot molds used for nail art practice, treadmill for drums—all these elements compose a subconscious montage, reconfiguring fragments of tension and balance in the three-dimensional world. It feels as though the balance could be shattered in the next moment: chess pieces wandering and consuming, drums shout sharply, windmills starting or halting their rotations with variable speeds. The equilibrium of forces from the past exists only momentarily, swiftly transitioning into the next balance under the chaotic control of tension. Everything is temporary, and time gracefully oscillates forward within these fleeting moments of equilibrium.

 

 

Muhan Wu
Everything is Temporary, 2023
Metal, plastic, silicone model, glass box, cement
58h x 85w x 70d cm
© Courtesy of the artist

 

Muhan Wu
 Body, 2023
Metal gasket, brass, iron, plastic
26h x 16w x 16d cm
© Courtesy of the artist

 

'The artwork incorporates car parts, brass supports, and plastic massage toys, repurposed and combined to express a playful perspective: if the myth of creation were to be reimagined in modern times, then perhaps Nuwa's hands might be shaping inorganic plastic rather than clay. (The plastic massage toys conveniently resemble the shape of hands grasping and shaping.) The two-color hand-shaped toys correspond to the two genders of the human body.'

——Muhan Wu

 

Inheriting such contemplation, "Body" simplifies and concretizes the interaction of two opposing forces. The artwork utilizes two objects of different colors, formed through grip strength, to represent the confrontation of forces, constructing not just a visual symmetry but also a three-dimensional intersection both horizontally and vertically on a support frame. "Feel Alive", on the other hand, focuses on reflecting upon contemporary gender power structures. A male chastity belt and gold ingots create a delicate balance, while the upward posture can be interpreted as both sharp and keen as well as indicative of positive vitality and vigor.

 

Muhan Wu
Feel Alive, 2023
Iron, gold, chastity lock, plastic
64h x 23w x 26d cm
© Courtesy of the artist

 

 In this exhibition, Muhuan actively explores new expressive content. A series of works such as "Growth Record", "My Spring", and "Assembly House" fuse childhood play experiences from memory, showcasing a more relaxed and cheerful artistic contemplation, along with imaginative combinations of detached attributes of objects. She employs crocheted lace, electronic components, clay, non-woven fabrics, and other materials to recreate the hazy feeling of looking back on childhood after adulthood.

 

Installation view of Thus Have We Seen, February 29, 2024 - April 14, 2024, Nan Ke Gallery, Shanghai ©  Courtesy Nan Ke Gallery, photographed by AHstudio

 

In Muhuan's installation artworks, reason and emotion, much like interacting forces, engage in a constant struggle, each asserting dominance in different moments represented by various pieces. The interplay between these two forces encapsulates contemplations on industrial rhythms, societal norms, and human progress, gradually unfolding into an eternal, shifting dynamic equilibrium.

 

Text by Roxane Fu