Lan "Florence" Yee: Which Came First, The Home or The Stranger?
The artist will be joined in conversation with Camila Salcedo and Karina Roman Justo from "Mending the Museum".
According to the Metropolitan Museum of Art, several prized paintings from their Asian Art collection bear fake signatures. A handscroll titled Garden Estate was found to be a seventeenth-century forgery of a twelfth-century painting. Proclaiming itself to be the work of Liu Songnian, (one of the Masters of the Southern Song dynasty), the forgery was likely made 鈥渢o satisfy market demand for old paintings鈥� at the time.
Lan鈥檚 practice has long been concerned with the act of reproduction鈥攃opying, re-tracing, and commodifying. These processes, first revealed in the diasporic iconography from the artist鈥檚 childhood home, are now investigated in tandem with the globalized desires that drive their replication. Over the last three centuries, the materiality of this reproduction has shifted from ink-brush recreations on paper, to mass prints on synthetics, and then to the computerized image on the internet, maintaining a fictional timelessness of so-called traditional Chinese art. In Lan鈥檚 practice, the works are perversely rendered in the Northern European application of oil paint, surrounded by decorative fragments of raw canvas.
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The artist will be joined in conversation with Camila Salcedo and Karina Roman Justo from "Mending the Museum".
According to the Metropolitan Museum of Art, several prized paintings from their Asian Art collection bear fake signatures. A handscroll titled Garden Estate was found to be a seventeenth-century forgery of a twelfth-century painting. Proclaiming itself to be the work of Liu Songnian, (one of the Masters of the Southern Song dynasty), the forgery was likely made 鈥渢o satisfy market demand for old paintings鈥� at the time.
Lan鈥檚 practice has long been concerned with the act of reproduction鈥攃opying, re-tracing, and commodifying. These processes, first revealed in the diasporic iconography from the artist鈥檚 childhood home, are now investigated in tandem with the globalized desires that drive their replication. Over the last three centuries, the materiality of this reproduction has shifted from ink-brush recreations on paper, to mass prints on synthetics, and then to the computerized image on the internet, maintaining a fictional timelessness of so-called traditional Chinese art. In Lan鈥檚 practice, the works are perversely rendered in the Northern European application of oil paint, surrounded by decorative fragments of raw canvas.
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At Zalucky Contemporary, Toronto, the artist builds on legacies of copies and proxies.
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