Shen Yuan: The Usefulness of Useless History
Upon exiting Shen Yuan’s remarkable solo exhibition, Angling, I found myself on the precipice of an emotional outpouring.
Her masterful artistic expressions, ranging from delicately entwined hair combs to ethereal cobwebs and the symbolism of women’s corsets, served as poignant markers of perpetual struggles that I, too, encounter in everyday life. On the other hand, Shen Yuan’s verbal elucidation, wherein she centered around the themes of “surplus” and “useless history,”¹ effectively evoked profound contemplation on the plight of immigrants.
As a history major, I have long grappled with the perplexing conundrum of the usefulness of knowledge. In the face of the decline of liberal arts and humanities, where shall we embark upon a trajectory for the future? Within a broader framework, as the dominant narratives wield their influence, dictating the operations of various domains and the conduct of individuals, what options remain for immigrants who are “on edge all the time,” for the global sisterhood of women devotedly advancing feminism and equal rights, and for an artist like Shen Yuan, whose existence becomes indelibly intertwined with the immigrant experience while offering a perspective of women?
The remarkable artwork La Jardin commands attention with its distinct form mimicking a woman’s corset, bisected to create two distinct realms. Its sheer scale is awe-inspiring, towering as tall as a two-story building, rendering recognition a near-impossible feat for unsuspecting viewers. As I stood within the intricate webbing of the corset’s confines, my gaze ascended towards the ceiling, searching in vain for the concealed surveillance camera that dutifully monitored every movement within. Yet, all that met my eyes were the blinding radiance emanating from dazzling spotlights, their luminosity so intense that it proved impossible to maintain a direct stare.
In that singular moment, the wires encircling me gripped my senses, constricting like the shackles of a captive, not governed by the justice system, but by the prevailing moral codes of our society.
The work exudes a profound dichotomy — While the upper half, tightening up a woman’s body, lies the realm of constraint, the lower half unveils a metaphorical “emancipation” where viewers may traverse freely.
Crochet and sewing machine, symbols intrinsically linked to femininity, stand alongside steel racks and a flowing fountain, forming a tapestry of conflicting elements within this installation. Therein lies both confrontation and compromise, juxtaposed harmoniously. As a wife, mother, and, above all, a woman, Shen Yuan extends an invitation to all spectators to traverse the garden and contemplate their own connections to the ceaseless battles endured by women in everyday life.
As I returned home that evening, a resounding message echoed in my mind: I refuse to conform to the confines of that corset, not today, and most certainly not tomorrow.
Shen Yuan emerges as a formidable artist, exemplified not only through her evocative installations, each bearing its unique narrative of loss or the tribulations endured by immigrants, but also by her unwavering commitment to amplifying the voices of marginalized groups. These voices, long overlooked, buried, and disregarded within our current milieu, find solace and resonance in her work.
Though the voice of a single female artist may seem inconsequential, the profound message she imparts resonates indelibly within me, as well as in the hearts of countless others who draw inspiration from it. It serves as a catalyst to challenge prevailing narratives and effect transformative changes for those living on the fringes of society.
More info on the exhibition:
[1]: 【红砖 | 特稿】沈远：故事/事件https://mp.weixin.qq.com/s/P08r_IoWwiDHU64f71uN8Q
