Exhibition date: Aug 22- Sep 2
Opening: Aug 22, 16:00-18:00
Address: room 301, 571 Yuyuan rd, Shanghai
Artists: Liu yangyu, Bill Wangyi, Wang xinwei, Wen shuyu, Xu ziyi, Yang xi, Zeleo Zhao
Exhibition text:
Fusilli Pot is pleased to announce the launch of a group exhibition "Ghosts don’t die, they archive ". The exhibition
draws inspiration from the Thai folklore of Mae Nak, the “ghost wife,” a female specter continually
rewritten by culture—created and retold in the fissures between history and imagination. The recoil she
generates continues today in more abstract forms: among marginalized communities, in the gaps of
colonial histories, in unclassified images, in states of existence that are continually deprived of agency.
In this exhibition, seven artists use video and sculpture to invite the “ghosts” that have been archived. They drift beyond the flesh, yet remain inextricably bound to the body. The works in this exhibition each act as a structural “point of deviation.” Their formal and structural languages oscillate between “rupture” and “formation,” rendering them unclassifiable, yet all point toward a state of being at the intersection of body, consciousness, and history. Within the cyclical flow of images, the viewer’s body is subtly delayed, the mind drawn into an “unstable gaze”: what is seen may not be certain; what is heard may be precisely the unspeakable. Sculpture here does not serve as a visual appendix to explain the images, but stands as a kind of “anchor for ghosts” in the center of the gallery. They sprawl outward and twist inward—unrecorded forms, fragments resistant to naming. These works refuse to be directly “understood,” yet demand to be sensed, approached, and circumnavigated. The title borrows from William Burroughs’ classic work “Naked Lunch”. “Naked” is what remains after stripping away garments and ideological veneers—dreamlike yet feral, fallen yet innocent. “Lunch” is everything the body, in reality, actively or passively consumes and absorbs to sustain itself. I hope that when viewers enter this exhibition, they can see themselves as an unfinished archive in dialogue with these works."
There is no such thing as a complete man, only fragments.“ We have never been mere spectators—we, too, are being recorded, delayed, and archived. When time freezes at the tip of the fork, where does it point? And what, exactly, has it skewered?
In this exhibition, seven artists use video and sculpture to invite the “ghosts” that have been archived. They drift beyond the flesh, yet remain inextricably bound to the body. The works in this exhibition each act as a structural “point of deviation.” Their formal and structural languages oscillate between “rupture” and “formation,” rendering them unclassifiable, yet all point toward a state of being at the intersection of body, consciousness, and history. Within the cyclical flow of images, the viewer’s body is subtly delayed, the mind drawn into an “unstable gaze”: what is seen may not be certain; what is heard may be precisely the unspeakable. Sculpture here does not serve as a visual appendix to explain the images, but stands as a kind of “anchor for ghosts” in the center of the gallery. They sprawl outward and twist inward—unrecorded forms, fragments resistant to naming. These works refuse to be directly “understood,” yet demand to be sensed, approached, and circumnavigated. The title borrows from William Burroughs’ classic work “Naked Lunch”. “Naked” is what remains after stripping away garments and ideological veneers—dreamlike yet feral, fallen yet innocent. “Lunch” is everything the body, in reality, actively or passively consumes and absorbs to sustain itself. I hope that when viewers enter this exhibition, they can see themselves as an unfinished archive in dialogue with these works."
There is no such thing as a complete man, only fragments.“ We have never been mere spectators—we, too, are being recorded, delayed, and archived. When time freezes at the tip of the fork, where does it point? And what, exactly, has it skewered?