Pandemic Chronicles Stream 3
Connection, Disconnection and Navigating the Social
Pandemic Chronicles Stream 3
Connection, Disconnection and Navigating the Social
Pandemic Chronicles Stream 3
Connection, Disconnection and Navigating the Social
Pandemic Chronicles Stream 3
Connection, Disconnection and Navigating the Social

Featured Contributors to date

Ying Liang – Filmmaker |Abracadabra (2020, HD video, sound, 4:29)

Kerry Tribe – Artist | Title To Be Announced


Introduction

Mariana Pestana – Curator

Every day, we are drowned by data-as-proof of the irrevocable climate crisis in which we find ourselves in. We may have been numbed by the data, paralyzed by the statistics, immune to the proving numbers. But aren’t we starving for emotional attachment?

More than 100 years ago, Violet Paget wrote about empathy as the lending of one’s life to a thing. The thing could be an object or a landscape. And empathy was the process through which feelings transferred across that thing and her own body. She wrote down those feelings. Symptoms worth recording were, for example, breathing and heartbeat rhythm variations. Things worth feeling were a chair, a painting, a sculpture, a mountain. All observations required deep attunement: to the moment, to the place, to the self. The term empathy was translated from the German einfühlung, and it literally means “feeling into”. Empathy sought to capture the transference of feelings from one body to another. The symptoms that Paget noticed in her body, and recorded in her notebook, were provoked by a third body – that of the thing being looked at. Empathy has since gained new meanings, and nowadays it is generally understood as the capacity to understand, grasp or simulate the feelings of other people, not objects or the natural world. 

Biologically, we were affective before we were rational, cooperative before we were individual. The standard histories of human evolution and culture focus on rational achievements, problem solving intelligence, invention. They disregard the role of affect and feelings. But as neuroscientist António Damásio puts it: reason and intelligence’s purpose is care. Caring is a fundamental aspect of survival. Feelings are what guide homeostasis - the necessary equilibrium between any entity or species and their environment, in order for it to thrive into the future. A stability between body and environment, a negotiation between self and other. I like how the beginning of empathy resonates today, in a time when we broadly recognise the agency and the rights of more-than-human entities - be them plants, animals, microbes, fungi, minerals or bodies of water - but struggle how to care for them. And how it echoes in the precise now, when we have been deprived of sociality between humans.

The current state of social isolation, globally motivated by a virus, accelerated the already rising atomization of society. We now see the world from a new perspective, split as we are into as smaller as possible units of people. It shows how irremediably social, interdependent we were, after all. The psychological effects of social isolation are yet to be fully written, coined, and proved. But we already feel what the deprivation of care and affect to which we have been subjected to produces. And we also suspect that the cause of the spread, in the first place, was a larger crisis of ecological affect.  This 2020 disconnection has forced us to diagnose a lack of connection, which is a necessary principle of homeostasis. Human and more, how do we navigate the social from here? What does a more-than-human form of sociality look like? What empathies towards objects and nature are being restored, rehearsed or invented out there?

 Stream 3 – Connection, Disconnection and Navigating the Social

Provocation

What happens when we cannot hug the ones we love? When touch becomes dangerous or feared and human encounter is marked by distance or rendered virtual? This crisis has radically altered how we relate, from our most intimate and personal relationships to our wider social orientation as individuals within a collective. It has tested human empathy, revealing extraordinary acts of solidarity and self-sacrifice, while exposing empathic ruptures in people’s ability to think beyond their boundaried selves. Competition and mistrust have overtaken unity and bodies become suspect. Nationalist sentiment has accelerated in parts of the world, further polarising communities. As the virus exploits the body’s weakness, so too does it exploit the weaknesses in our social fabric. How can the human spirit (and our spirit of humanness) persist, resist and prevail? Artists, filmmakers, writers and curators respond in a series of micro shorts and written texts.

Watch Now


In the days when we couldn’t go out, a child flew a paper airplane that carried Abbas Kiarostami's portrait.


 

Coming Soon



 

Biographies

Mariana Pestana

Mariana Pestana is an architect and independent curator interested in critical social practice and the role of fiction in design for an age marked by technological progress and an ecological crisis. She is a member of the collective The Decorators, an interdisciplinary practice that makes collaborative public realm interventions and cultural programmes. Mariana recently co-curated the exhibitions The Future Starts Here (V&A, 2018) and Eco Visionaries: Art and Architecture After the Anthropocene at (MAAT, 2018; Matadero & Royal Academy, 2019). She was appointed curator of the 5th Istanbul Design Biennale taking place between October 2020 and April 2021.

(Photo credit: Gustavo Imigrante)

Ying Liang

Ying Liang is a Chinese independent filmmaker who was born in Shanghai. He studied in Beijing and Chongqing before settling down in the city of Zigong in Sichuan Province. He made his directorial debut in 1999, and since then, has made four feature films and more than a dozen shorts, including Taking Father Home, The Other Half, Good Cats, When Night Falls , A FAMILY TOUR, Condolences, and A SUNNY DAY. These were greeted with a number of important prizes at international film festivals, including the Special Jury Prize at Tokyo FILMeX International Film Festival, the International Film Critic FIPRESCI Prize at Brisbane International Film Festival, the Tiger Award for the Best Short at International Film Festival Rotterdam, Best Director & Best Actress at Locarno International Film Festival, Special Citation for a Film awaiting U.S. Distribution (The National Society of Film Critics), Best Live Action Short Film at the Golden Horse Awards, among others. In 2011, he moved to Hong Kong. In 2020, he received “Artist of the Year”(Film) Award from Hong Kong Arts Development.

Ying Liang is also a film educator and festival curator. In 2008, he became the Program Director of Chongqing Independent Film & Video Festival. In 2009, he became the Principal Lecturer for Li Xianting Film School in Beijing and in the following year, he became the Director of Education for Li Xianting Film Fund. In the same year, he organized a ten-city screening tour of the best works from Chongqing Independent Film & Video Festival, in China as well as London and Cadiz.

He was a part time lecturer of Film/TV School at the Hong Kong Academy for performing Arts and Hong Kong Baptist University. He was a part time researcher of Hong Kong Baptist University, programming for Chinese Documentary film festival (Hong Kong), one of the founders of Chinese Independent Documentary Lab (Hong Kong). He is currently Senior Lecturer of Film Academy of Hong Kong Baptist University.

He recently finished shooting the short film I Have Nothing to Say, the feature film A Family Tour, and writing the script Windy Season.

About Ying Liang’s Abracadabra

"The wind will continue to carry us, and life goes on..." – Ying Liang.

In the days when we couldn’t go out, a child flew a paper airplane that carried Abbas Kiarostami's portrait.

Kerry Tribe

Kerry Tribe is an artist and filmmaker based in Los Angeles. Her work has been the subject of solo presentations at SFMOMA, San Francisco; The High Line, New York; Carpenter Center for Visual Arts, Cambridge; The Power Plant, Toronto; Modern Art Oxford and Camden Arts Centre, London. Tribe was the recipient of the Presidential Residency at Stanford University, the Herb Alpert Award, the USA Artists Award, and she was the Guna S. Mundheim Fellow at the American Academy in Berlin. Tribe’s work is in the public collections of MoMA, the Whitney, the Hammer Museum, LACMA, SMAK Ghent and the Generali Foundation, among other institutions. She has served as visiting faculty at Stanford University, UCLA, CalArts, Harvard University, and regularly teaches at ArtCenter in Pasadena. Tribe received her MFA from UCLA, attended the Whitney Independent Study Program, and received a BA from Brown University.