To reach “disCONNECT,” visitors had to navigate the winding roads of Hong Kong’s Causeway Bay area, away from the crowds, monumental billboards, and shopping malls, and up a 1950s building that was, until recently, carved into multiple residences. This was a fitting setting for the exhibition, which brought together immersive installations and mixed-media projects by 14 artists from Europe, Iran, and Hong Kong to offer insights into the psychological effects of house arrest and isolation during a pandemic.
Across the globe, sheltering in place has stirred intense anxiety. Speaking to this was London-based illustrator David Bray’s tally marks on the beige walls of the first-floor corridor, alluding to the stereotype of prisoners counting the otherwise indistinguishable days until their freedom. At the center of the wall were two sets of giant texts: “ALL THE WISDOM I GOT LEFT” and “THE SMELL OF THE SEA IS IN YOUR NOSE,” flanking a series of miniature seascape paintings, titled A Sea (2020). Impressionistic brushstrokes make up the compositions with ominous white and gray clouds lingering in serene blue skies. Bray’s installation reflects the fragility of seclusion: the texts on the wall express a desperation to hold onto sanity, while the paintings present a realm of escape, the calmness of which could be disrupted at any moment.
Under lockdowns, we have also had to make the most of confined spaces. Hong Kong artist Jaffa Lam’s Rocking in the Mini Zen Garden (2020), located in a bathroom, was a particularly inventive example. Lam used rocks that lined a path near her abode and everyday amenities such as thread and toilet paper to create an ersatz rock garden. The rocks gave off a green glow, while Lam lit the rest of the bathroom in a blue light, creating a dream-like space to help one’s mind wander and relax. A white rocking chair and a stereo playing white noise from behind a potted plant enhanced the tranquility of Lam’s pandemic hideaway.
Nearby, sculptor Isaac Cordal’s three cement figurines, Homie III, Homie IV, and Isolated (all 2020), each looking frustrated and standing on a balcony, convey the displeasures of having one’s movement restricted. Below, another man lay in a hammock—a blue surgical mask suspended from an electrical cable—with a phone in his hand, highlighting society’s reliance on technology during the pandemic.
Quarantines are not all bad though, at least according to the street art duo Herakut, whose surreal installation Silent Battle (2020) populated a room with supersized cardboard children in animal costumes. One figure plays chess with a monkey, hinting at the liberating power of children’s games. Contradicting opinions that seclusion hinders personal growth and has adverse consequences on the mental health of children, the duo instead argues alone time may offer the opportunity to tap into one’s imagination and evolve into a more appreciative and kinder version of oneself.
Equally surreal scenes are found in multi-media artist Kacey Wong’s black-and-white short film, The Quarantine (2020), set in a dystopian society. The protagonist is left stranded on an island. One day, he befriends a dead fish. As he interacts with his new companion, the man learns to laugh again. Through the story, Wong suggests that connection is essential for humans to thrive.
An amalgamation of reflections on Covid-19’s social and psychological side-effects, “disCONNECT” pointed to how we might process and combat solitude in uncertain times.
Ariana Heffner is an editorial intern of ArtAsiaPacific.
“disCONNECT” was on view at 16 Pak Sha Road, Hong Kong, from October 11 to November 29, 2020.
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