Geopoetics: Changing Nature of Threatened Worlds
In his poem I鈥檓 Not Gonna Talk to You about It, poet Wu Cheng uses three negative sentences to unlock the political potential of the following three things: poetry, life experience, and modern society. He reminds us that we鈥檒l get closer to poetics as soon as we cease our empty rhetoric and interpretations in a cramped room, start to approach natural creatures and open fields of production, and try to extend the space-time for objects and humans through our senses.
Titled 鈥淕eopoetics: Changing Nature of Threatened Worlds,鈥� this exhibition owes its inspiration to the idea that nothing can be more optimal than poetry to be the rendezvous for the private and the public as well as for introspection and extroversion. This exhibition not only advocates a poetic survey into the material conditions of East and Southeast Asia in postwar geopolitics, but also unravels contemporary art鈥檚 critical perspective withinin the landscpae of anti-poetics.On the basis of geopolitics, the term 鈥済eopoetics鈥� further accentuates 鈥渇orm-making,鈥� i.e., the shared similarity between geospatial distribution and poetic formation, so as to extend our concern over East and Southeast Asia in terms of international politico-economic issues like nation, region, and the center-periphery structure.
As we employ poetics to imply the likeness between world-making and form-making, we鈥檒l discover that artistic creation bears more than a passing resemblance to geospatial reshuffle, and that natural / artificial landscapes can be analogized to aesthetic propositions. In this sense, poetic practice seems to emancipate Asia from unduly dogmatic geopolitics and ideology, which ergo offers alternative political potential for artistic creation.
Recommended for you
In his poem I鈥檓 Not Gonna Talk to You about It, poet Wu Cheng uses three negative sentences to unlock the political potential of the following three things: poetry, life experience, and modern society. He reminds us that we鈥檒l get closer to poetics as soon as we cease our empty rhetoric and interpretations in a cramped room, start to approach natural creatures and open fields of production, and try to extend the space-time for objects and humans through our senses.
Titled 鈥淕eopoetics: Changing Nature of Threatened Worlds,鈥� this exhibition owes its inspiration to the idea that nothing can be more optimal than poetry to be the rendezvous for the private and the public as well as for introspection and extroversion. This exhibition not only advocates a poetic survey into the material conditions of East and Southeast Asia in postwar geopolitics, but also unravels contemporary art鈥檚 critical perspective withinin the landscpae of anti-poetics.On the basis of geopolitics, the term 鈥済eopoetics鈥� further accentuates 鈥渇orm-making,鈥� i.e., the shared similarity between geospatial distribution and poetic formation, so as to extend our concern over East and Southeast Asia in terms of international politico-economic issues like nation, region, and the center-periphery structure.
As we employ poetics to imply the likeness between world-making and form-making, we鈥檒l discover that artistic creation bears more than a passing resemblance to geospatial reshuffle, and that natural / artificial landscapes can be analogized to aesthetic propositions. In this sense, poetic practice seems to emancipate Asia from unduly dogmatic geopolitics and ideology, which ergo offers alternative political potential for artistic creation.
