Artists: Ulises Carrión, Stephanie Syjuco, SHIMURAbros, Zihan Loo, and Anicka Yi

In 1981 Ulises Carrión decided to use gossip as a starting point for an artwork. He later realized that this experiment revealed traits about the participants, and the chain of people involved in the rumor. Carrión’s method of employing a minor gesture like gossip induces an unstructured potential of intensity that lays the groundwork for the exhibition.

The work “Condition Report” capture details, objects or particles that slip or get lost between collection management, artwork preservation and the object’s presentation in exhibition spaces. Small sculptures titled “Film without Film” appear as metallic mineral stones and the crystallized 3D scans from five scenes of a film become materialized data manifesting a different perspective of cinematic space. Another work, “Subject to Shame” involves objects censored from a previous exhibition and the act of zooming into, and isolating these objects provide a better understanding of the values and pathologies of the public sphere we operate around in. Lastly, silk exotic flowers wrapped in silicone called “Laughter In a Bead of Sweat” catalyzed from a sci-fi hybrid rendering of botanical life and neuroscience that blurs the boundaries between the artificial and the natural.

In the exhibition, artworks serve as case studies from which a symptom or a trace emerges. Varying ways of how we collect, gather and distribute information created by minor gestures, open up questions to different paths of understanding.

The Case of the Osmanthus Flower Jelly is an exhibition that finds validity in conscious experiences and perception with a curatorial approach that is not conclusive, but exploratory and phenomenological.

Curated by Lian Ladia