“   ” Quote Unquote attempts to reveal the absurdity of the juxtaposing absence and presence in certain social gestures by representing different levels of visibility, authority and extractivism. “   ” Quote Unquote is a curatorial project generated from resisting the hegemony of patriarchal narratives.


In its first edition, we are pleased to present (number) artists of Chinese descent, whose works emerge as collective responses to recent social and domestic brutalities against women and sexual minorities in China(1). Their works revolve around exploring diverse cultural facets of identity politics practice, in the context of inquiring about the relationship between excessive self-censorship and patriarchal hegemony in the authoritative system of governance. Ideologies that celebrate compliance towards patriarchal society are well constructed and promoted by the nation through cultural products and mass media discourse.


This utterly impedes marginalised individuals both economically and politically in establishing and preserving sustained subjectivity, not to mention the psychological coping mechanisms required to perceive and detox the hidden pain generated by experiencing these public events.


In the London milieu which is comparatively tolerant towards transgenderism and postgenderism, this exhibition intends  to showcase the subtlety of the sense of misalignment and incongruity, exploring the difference between the productive rhythms of identity politics in China and others.




1.2022 Xuzhou Chained woman
https://en.wikipedia.org/wiki/Xuzhou_chained_woman_incident
https://www.rfa.org/mandarin/duomeiti/mother-of-8/
2022 Tangshan restaurant attack
https://en.wikipedia.org/wiki/2022_Tangshan_restaurant_attack#Official_response



Host @weareuglyduck
Producer @a.phantom.city
Curator @uchercie
Poster design: Still @Virtio.djvu, Motion and sound @theunderdor

Opening:
6 - 10 pm 17th FEB
10 - 6 pm 18 - 19th F




Tide, Angoscioso, Heave, Redemption, 2023
20 x 10 X 6CM

Portia Yuran Li  @portia__lee
Life is Parody, Horseshoe crabs that are randomly discarded on the seashore after blood is extracted near the heart are facing the same situation as women who are used as reproductive machines. When a punch is punched in the belly of a pregnant woman, ethical, moral and legal issues follow one after another. What if it is the choice of the pregnant woman?




Utopia of the Problematic, 2021

120 x 160 CM
Carpet, Knife
Zeus Li @lizeqize

To spread out a soft carpet over the dense tips of knives is the metaphor for how society itself carries people, and people need to depend on society. But when people live in a society with too many problems and malice, we become so numb that we can't feel the harm at all. The truth is that our situation is very dangerous. The power penetrates our life, the sharpness has been dissolved and spread across.




-𝟯𝟮𝟭 °𝗙 | 𝒊𝒏 𝒔𝒂𝒓𝒄𝒐𝒑𝒉𝒂𝒈𝒐 𝒗𝒊𝒗𝒖𝒎 𝒂𝒆𝒓𝒊 ,2020 

Celeste Viv Ly @virtio.djvu (https://v-l-y.io/) 
Installation, sculpture, mixed media.

-𝟯𝟮𝟭 °𝗙 | 𝑖𝑛 𝑠𝑎𝑟𝑐𝑜𝑝ℎ𝑎𝑔𝑜 𝑣𝑖𝑣𝑢𝑚 𝑎𝑒𝑟𝑖 is a body of work in an ongoing research project catalysed by the intermingling strands of a series of real-life events reflective of the surreal era of 2010-2200-∞. Some of these events may have trans-spatiotemporally informed each other in the parallel of their aftermaths caused by cryopreservation and/or refrigeration. The works in the installation feature the condensation from the immaterial to material, from events to material evidence and vestiges, from the real to the parafictionalised.

In the installation, ‘in sarcophago vivum aeri’ (image on the right and in the right hand side in the image on the left) is a sculpture involving the transformation of the material cycle of water and wax, and its instrumentation and ‘weaponisation’. Developed from the artist’s ongoing research on cryopreservation, freezing as an archival and empirical method, the Essex refrigerator lorry incident and private cryonics organisations, the work expands to the Sisyphean cycle of labour, transportation, violence, mobility and displacement on a larger socio-cultural scale. Composed of the crystallised remains of ceromancy (echoing the motion in which bodies fall into water, conducted in the seawater transported into the sarcophagus) and mirroring inland territorial waters, the piece becomes the nexus of interwoven time and potential futures. Reflecting on the notion that the sea has been in some way a gigantic collective sarcophagus, the spiritual syntaxes of augury and obsequies embodied in the materiality of white translucent wax, and the process of transporting seawater — which parallels the movement and displacement of bodies carried across continents and waters— converge in the middle, as a tribute, a resting place beyond time, and the intensive signification of the notion (the sea as a collective sarcophagus) that has haunted the artist throughout all this time.

In the time-based sculpture ‘1̵̨̥͇͚̽͗́3̵̰̆̈3̵̥̝͈̤̙͕̈͋̀͛͝͝͝͝°̵̤̩̓̇ͅ ̷̲͛7̵͈̃9̵̗̳͔͕̮̻̟̓̈̀̕.̸̗̀̀̈́̐͆̈́͝5̷͇̰͇͉̗̝͑̿1̴̢̡̖͙̓͒͒́̒̎5̴͖͕̗͙̿̍̂̈̑́̈́̒̕͜ ̷̺̿̉͠N̶͉̗͚̍̀͗̀͝͝ ̴̧͉̝̽̊̓͐͠0̷̢̩̥̝̣͔̼̲͐̄͂͗͌1̸͕̈2̶̺̠͍͈͙͍̻͕̾̀̈͊̀°̵̘͗͋͂͛̅͒̌ͅ ̶̺͕̘̱̮̅̍͊̃͛̓9̸̨̩̱͕̥͚̲̩̀̌̄͜͝͝0̴͇͍̲̰͇̩̪̆̍̽̌͝.̷͖͛̓͆͠7̸̡̬͓͎͛́̈͗̓̐͆͗̚9̸͍̦̍7̷̮̯̱͈͖̱̰̓͛͒͛̿̈́͘͘ ̵̢̬̗̣̥̻̭̙͙͋̏͌Ë̴̠̣͚̥̙̣͙́̽͋̑̈̎̌͊ͅ’ (the upper right side in the image on the left), frozen seawater (transported from 133° 79.515 N  012°90.797 E, an undisclosed, 'nonexistent' location at sea) is transformed into an icicle hung in midair above the sarcophagus-like structure (‘in sarcophago vivum aeri’). Ice is sourced for its malleability and its transition of states as a requisite for its weaponisation, as water/ice is unsuspected, transparent and ‘invisible', and yet a lethal, untraceable weapon. Alluding to the processes of cryopreservation, water/ice as weapons, and the act of putting a stake through the heart in subjugating the Other in neogothic lores, the work parallels the futility of bodies, the resistance against, and the defence of them on the larger scale, revealing and integrating with its Sisyphean cycle. Throughout the duration of the exhibition, the suspended  icicle-like sculpture drips into the water held in the sarcophagus below and slowly melts away, paralleling ancient water torture and becoming both a weapon lethal by its potentiality and the drowned body of the victimised.

Exploring the liminal space between life, death and beyond, diasporic experiences, and necropolitics, the work is a reflection of the trajectories and struggle of bodies victimised by ideologies, in transgression, across systems of governance and bodies of water; aided, prostheticised, sabotaged, and/or eternalised by technologies and the technoscientific imaginary. It is dedicated to all the bodies that have been found and lost in the sea and beyond, the diasporic, and ‘us’.




Subordination and inclusion, 2020

10’30”
Zhu Qia @zhu_qia

The line in the work is "Do not grow strawberries in a field without a greenhouse, and they are stolen by children before they turn red". My uncle once planted a row of strawberries in the wheat field for me but never harvested ripe strawberries What he said was regretful. The current urbanized life removes the state of the tight connection between land and emotion from my personal life. The world outside humanity and I are divided. The narrator part of this work is a story created in the style of traditional Ghost Novels. The protagonist is a non- figurative thing without a concrete form. After many years,she became a human being, and after experiencing human emotions, she turned into a process of becoming a thing. In her view, there is no hierarchy of beings. She is persistent in the relationship with the Other. At the same time, it also metaphors the change of human relationship with non-human in different historical stages.