Secret Rendezvous 密会
Website
2021
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The year 2020 put our existential condition in a state of “in-betweenness.” The liminal catastrophe of COVID forced us to lock down in fixed locations while creating political uncertainty and transition. Having grown up in a typical immigrant city and international school, I was familiar with multicultural communities that adopt liminality as essential habitat. Somewhere along the line, my mental state almost collapsed. When an astrologer mentioned I might be terribly afraid of intimacy out of fear of losing my separate identity or being engulfed, I realized my enemy was inside rather than my unconscious self.
So I tried to start a conversation with “Jonathan”, the artist I had imagined in my head, who became my new identity on the internet—a broken, symbolic and political presence of the body. I used his presence to re-examine my life, exploring the interstitial space of the internet, examining reproduction and productivity, love and art as labor within the inbetween spectrum of the digital community. I created a website under the artist name “Jonathan”, my tower of chaos and divergence, containing a letter, case study, and visual works inspired by Japanese existentialist novelist Kobo Abe.
Confined to my house by COVID-19, I discovered that creating art is fundamentally about conquering fear. Whether it's me or my Taiwanese estranged boyfriend or the people in Berlin posting their manifestos, everyone who shares black squares on Instagram, or those who browse this site from home—“Jonathan” is collectively constituted. He is fractal, like a small grass in the wind, in an energy field swaying and establishing his own form.
2020年将我们的存在状态置于一种“中间性”之中。新冠疫情这场边缘灾难迫使我们在固定地点封闭，同时也创造了政治上的不确定性和转变。由于在典型的移民城市和国际学校长大，我对那些将边缘性视为基本生存方式的多元文化社区已经相当熟悉。在某个时刻，我的精神状态几近崩溃。当一位占星师提到我可能极度害怕亲密关系，因为担心失去自我独立性或被吞噬，我意识到我的敌人其实是内在的——我的潜意识自我。
于是我尝试与“乔纳森”展开对话，这位艺术家是我在脑海中想象出来的，他成为了我在互联网上的新身份——一个破碎的、象征性的、具有政治性的身体存在。我通过他重新审视我的生活，探索互联网的间隙空间，检视数字社区中间地带的再生产与生产力、爱与艺术作为劳动的形式。我以“乔纳森”这个艺术家名义创建了一个网站，我的混沌与分歧之塔，其中包含一封信、案例研究以及受日本存在主义小说家安部公房启发的视觉作品。
被新冠疫情困在家中，我发现艺术创作本质上是关于征服恐惧。无论是我自己，还是我远距离的台湾男友，或是在柏林张贴宣言的人们，在Instagram上分享黑色方块的每个人，或是那些从家中浏览这个网站的人——“乔纳森”是集体构成的。他如同分形，像风中的一棵小草，在能量场中摇曳并建立自己的形态。
So I tried to start a conversation with “Jonathan”, the artist I had imagined in my head, who became my new identity on the internet—a broken, symbolic and political presence of the body. I used his presence to re-examine my life, exploring the interstitial space of the internet, examining reproduction and productivity, love and art as labor within the inbetween spectrum of the digital community. I created a website under the artist name “Jonathan”, my tower of chaos and divergence, containing a letter, case study, and visual works inspired by Japanese existentialist novelist Kobo Abe.
Confined to my house by COVID-19, I discovered that creating art is fundamentally about conquering fear. Whether it's me or my Taiwanese estranged boyfriend or the people in Berlin posting their manifestos, everyone who shares black squares on Instagram, or those who browse this site from home—“Jonathan” is collectively constituted. He is fractal, like a small grass in the wind, in an energy field swaying and establishing his own form.
2020年将我们的存在状态置于一种“中间性”之中。新冠疫情这场边缘灾难迫使我们在固定地点封闭，同时也创造了政治上的不确定性和转变。由于在典型的移民城市和国际学校长大，我对那些将边缘性视为基本生存方式的多元文化社区已经相当熟悉。在某个时刻，我的精神状态几近崩溃。当一位占星师提到我可能极度害怕亲密关系，因为担心失去自我独立性或被吞噬，我意识到我的敌人其实是内在的——我的潜意识自我。
于是我尝试与“乔纳森”展开对话，这位艺术家是我在脑海中想象出来的，他成为了我在互联网上的新身份——一个破碎的、象征性的、具有政治性的身体存在。我通过他重新审视我的生活，探索互联网的间隙空间，检视数字社区中间地带的再生产与生产力、爱与艺术作为劳动的形式。我以“乔纳森”这个艺术家名义创建了一个网站，我的混沌与分歧之塔，其中包含一封信、案例研究以及受日本存在主义小说家安部公房启发的视觉作品。
被新冠疫情困在家中，我发现艺术创作本质上是关于征服恐惧。无论是我自己，还是我远距离的台湾男友，或是在柏林张贴宣言的人们，在Instagram上分享黑色方块的每个人，或是那些从家中浏览这个网站的人——“乔纳森”是集体构成的。他如同分形，像风中的一棵小草，在能量场中摇曳并建立自己的形态。
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