No Transcendence, Only Immanence  
2022
beads, 8mm looped film projection, clay, water, found glass, jasmine tea
dimensions variable


Special thanks:
Florence Jung, María Mazzanti, Ana María Gómez López, Paolo Patelli, Ho Tzu Nyen

Super 8 projection with help from Ben Gerearts


Feng Shui is a practice used to organise the human-built environment in ancient China. It is an ancestral knowledge which initially functioned as a mechanism for women and peasants to locate themselves within Confucianism's patriarchal system. This vision has been dislocated from its original context in western imaginaries. In No Transcendence, Only Immanence, the deterioration of the courthouse is paired with the concept of hauntings in Feng Shui. The artist delves into these concepts by examining the presence of water leakages, excesses and imbalances of elements in the exhibition space. She adopts Feng Shui's spatial reconfiguration tools by 'shedding light' onto hand-spun bead curtain to counterbalance the surplus of water in the room. Through the voice of her female family members reading poems from 'The Book of Odes', a collection of poems focusing on Confucian ideology, the work highlights diasporic-Chinese women's awareness of perpetual hauntings in space as a hereditary coping mechanism for navigating the Confucian system. Expressed through various cyclical notions—looped celluloid film projection, disembodied readings and the spinning of beads—Virada emphasises the everlasting time experienced through these hauntings.











Descendant (spine 2)
2022

Clay, found glass, jasmine tea
400 cm





Descendant (spine 3)
2022

Clay, found glass, jasmine tea
400 cm





photographs by Tom Janssen and Sankrit Kulmanochawong 

Mark

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