Album review
Humans, as social beings, whether living in bustling cities or remote tribes,often express their inherent sense of community and collective cohesion through various rituals and festivals. These rich forms of spiritual culture, accumulated over thousands of years, have imperceptibly influenced humanity, shaping the cultural landscape we see today.
Through Perceiving: The Body of Group Ritual, and the Resonant, curators Zijian Chen and Yonglin Xian, together with the exhibiton’s executive team ARTUNNEL(Xiangxiang Huang, Xinyi Liu, Yupei Liang), explored the issues of “Group Rituals” and “Resonant Memories”, with nineteen emerging artists’ work being shown on the exhibition, which was held at Acute Angle Gallery in Guangzhou, China.
Rituals, as a distinctive manifestation of collective consciousness, not only record the passage of history and time but also serve as a confluence of human emotions and traditions. Sociologist Émile Durkheim observed that individuals, through collective actions like rituals and festivals, transcend themselves and even reach a higher spiritual realm. Similarly, Clifford Geertz emphasized that rituals are not merely displays of symbols and actions but the concretization of a society’s “self-understanding,” carrying the intrinsic bonds of a community. Whether it is sharing familial joy, celebrating life, mourning the deceased, or praying for the future, every gesture and every chant within these rituals resonates with the collective heart. Rituals blend individual emotions with collective experiences, fostering the emergence of new beliefs and traditions, thus injecting endless vitality into cultural continuity.
However, as collective consensus continues to evolve, the traditions, forms, and meanings of rituals are also undergoing transformation. Whether it is long-established customs or newly emerging “festivals,” once they become part of human life, we naturally dedicate time and attention on specific days to reflect on the meanings these occasions bring to us through particular rituals. Moreover, there are tangible representations of spirituality and faith, such as deities and religions, which are embodied in specific forms shaped by human imagination and reverence. These are symbols of people’s beliefs and hopes.We believe this evolution reflects humanity’s emphasis on and response to collective consensus. When people no longer fully embrace traditional rituals and beliefs passed down through generations, collective consciousness is continuously redefined and expanded through diverse mediums. This process of evolution, we wondered, isn’t it a means of renewing and enriching contemporary culture?
This exhibition presents unique interpretations and expressions from various artists. For instance, Herbary: Co-respiration illustrates how the ritual of scattering medicinal herbs was used to dispel illness and evil, showcasing how herbal plants, as carriers of shared beliefs, embody therapeutic and spiritual significance. In The Carnival of the Horse Thieves, the artist reflects on cultural traditions, responding to the celebratory Mongolian Cham Dance—a ritualistic and symbolic performance—through tangible exhibits that offer viewers an intimate glimpse into these expressions. Beyond exploring the grand concept of “collectives,” this exhibition also delves into the delicate and powerful perceptions of individuals toward collectives. In Last night she dreamt of a settled world falling into places, the artist reconstructs the impact of colonial culture on identity awareness through a unique personal lens. Similarly, The Grand Tour gathers memories, experiences, and observations on the theme of “human migration,” creating “portable suitcases” imbued with social landscapes and cultural meanings. At the same time, some artists use imaginative approaches to speculate on the future of “collective consciousness.” For example, Today is 32nd envisions a scenario where even a seemingly insignificant creature like a flea could become the center of ritual expression. Meanwhile, AIvine Comedy imagines a world 50 years from now where humanity’s objects of faith may shift from deities and religions to AI and machines, leading to absurd transformations in collective consciousness.
Artunnel, an art platform dedicated to promoting Sino-British art and cultural exchanges, focuses on the emergence of new artists and support the growth of outstanding artists. Through various exhibitions and events held in China and the UK, Artunnel provides a wide range of opportunities for artists to showcase their work, and at the same time connects artists with collectors, curators, and art organizations, expanding the influence of artists and deepening international art exchanges.
The exhibition begins on December 1, 2024 at Acute Angle Gallery and will run through January 20, 2025.
Artists include Burenerdene, Vinitte Chen, Yaohan Chen, Xianda Hu, Yuhe Hu, Cube Li, Hairun Li, Mingxiao Liang, Yi Lu, Ziyao Lin, Zihuai Liu, Jiayi Lin, Raine Li, Zhongyao Su, Krithvik Wang, Man Yin Wu, Shuwen Wang, Juntao Yang, Yiming Zhu
