BANYI HUANG is a contributor to the Brooklyn Rail.
Looping endlessly on twelve television monitors, close-up shots of hands frenetically scratch different parts of the body. Zhang Peili’s iconic piece, Uncertain Pleasure II (1996), ironically anticipates today’s highly mediated experience of viewing, as well as the challenges of giving a coherent framework to the chaotic history of contemporary Chinese art.
Negotiating Gender, Labor, and Authorship:
by Banyi Huang
Thinking Machines: Art and Design in the Computer Age, 1959–1989
In what ways have machines reconfigured or reconsolidated pre-existing social hierarchies, human relations, and cultural production?