“I dedicated my throw to those whose dissenting voices remain unheard” – Chou Yu-Cheng’s Chemical Gilding… Reviewed // Liverpool Biennial 2018
Search and destroy: invited to throw rocks at a Liverpool Biennial sculpture by Chou Yu-Cheng, Claireabella finds herself considering the art of protest…
Consider the surface of this sculpture. With its 18 gold-plated, fence-like panels, a distorted reflection of your image is created.
Imagine: being invited to pick a small rock.
Imagine: being instructed to throw it directly at said sculpture.
Imagine: feeling the selected rock, its weight, its size, nestled in your palm’s centre.
Imagine: then projecting it, watching it sail through the air to connect.
Imagine: the sound – clanging, echoing and, perhaps, resonating within you.
Imagine: being invited to witness the now impregnated surface, as the veneer gives way and slivers of steel are visible; in direct consequence of your action. Indelibly leaving your mark.
On initially viewing Chou Yu-Cheng’s Liverpool Biennial work – entitled Chemical gilding, keep calm, galvanise, pray, gradient, ashes, manifestation, unequal, dissatisfaction, capitalise, incense burner, survival, agitation, hit, day light (2015) – in the cavernous setting of St George’s Hall, I asked myself several questions: What is it about? What is its significance? Why is it in this venue? What happened to create those dents? What is its purpose? Is there a purpose, other than for me to laugh at my distorted reflection; as if re-visiting a Hall of Mirrors at a fairground?
Chou’s sculpture, or wall-scape, requires your presence to ‘activate’ it; becoming performance art as soon as the first rock is hurled. Chou’s work embodies two principles: co-operation and collaboration. Throwing a rock at Chemical gilding…, a member of the public does both.
As I took my place, I felt acutely conscious of being asked to throw something: inevitably a staged event. However, a palpable rise of emotion still occurred. I paused, felt the weight of the rock, and dedicated my throw to those whose dissenting voices remain unheard. A cacophony echoed the chamber; zinging steel retaining its note, as the rock connected, ricocheted and fell with a dull thud. Between 20 to 30 people participated on that day.
St George’s Hall is a Grade I-listed building; iconic not only for its neo-classical architecture but also as a Court for Criminal Justice with its own gaol. I was very much reminded of these facts whilst walking around the Biennial exhibition of sculpture, films and drawings. It’s a space that witnessed countless trials of common people. Their crimes being: stealing bread from the kitchens of merchants, drunkenness, loitering, stealing a blanket, fighting, bigamy, counterfeiting, stealing a dress, horse stealing, stealing seven hens, malicious damage, wounding at sea. Also: larceny, terrorism, arson, malicious wounding, slaying and possessing explosives. I acutely felt Chemical gilding… had a fitting, temporary home.
Chou’s choice of instrument – a small rock – to indent his sculpture is also appropriate. Small rocks are plentiful, easily obtainable. As primal weapons, the ‘art of protest,’ which Chou’s work interrogates, is best documented through their use. Rocks can destroy and create. They are tools which can effectively demonstrate anger, release pent-up frustration and assert a vision of courage to others nearby.
Reflect for a few moments on any socio-economic conflict: up-risings, and emotions focussed on the action of throwing. People angst-driven against faceless authorities that systematically curtail, denigrate, oppress and repress. A consequence of that power, be it economic, militaristic or psychological, is one that indelibly leaves a mark.
Chou’s set-up invites us to concentrate on the dynamics between seeing, doing, reflecting, and our very being. As a young child explores its world and demonstrates its dissatisfaction by throwing its things about, rarely do we, as adults, have the chance to connect with our feelings in such a visceral way. Though throwing the rock appears innocuous, Chou is keenly interested in our actions, observations and reactions to the world around us.
Whilst a history of protest is encapsulated with this one sculpture, I also find contemplation. The words within the title indicate a more subtle, yet no-less key element of being human: our deep need to connect with each other, to co-operate, for optimism. Just as the sighting of a rainbow heralds the storm is over, it is important to remember the richness and beauty found in day light.
Chou, in an interview with Eva Kaczor, stated the unconventional title: “is based on three continuously cycling psychological conditions faced by individuals in social settings: agitation, pray, and keep calm.” Indeed, Chou’s Chemical gilding… is a powerfully constructed artwork that long remains in the psyche.
Claireabella is a recent graduate of Liverpool-based literature organisation Writing on the Wall’s 12-week Write to Work programme
Take part in Chemical gilding…: the public are invited to further activate the work at 2-3 pm on Sunday 28 October 2018, St George’s Hall – the last day of Liverpool Biennial
Exhibition open Sunday 12–5pm, FREE
See the Liverpool Biennial website for all artists, locations and opening times
See more on Chou’s website
Images: Chou Yu-Cheng, Chemical gilding, keep calm, galvanise, pray, gradient, ashes, manifestation, unequal, dissatisfaction, capitalise, incense burner, survival, agitation, hit, day light, 2015. Activation at St George’s Hall as part of Liverpool Biennial 2018, 14 October 2018. All photos courtesy Rob Battersby
