A SOLO EXHIBITION
BY XIAOWEN ZHU
Presented by Bloomsbury Gallery London
8 – 22 September 2016
Monday – Saturday, 14:00 – 18:00
Panel Discussion: 22 September 2016, 19:00 – 20:30
Unrolled Silks is Xiaowen Zhu's second solo exhibition. Presented by Bloomsbury Gallery, the exhibition features a series of works created between 2013 and 2016 – including a dual-channel film installation, Oriental Silk (2015), whose single-channel version has been shown around the world but the dual-channel version has never previously been exhibited. The exhibition also features a series of photography, textile installation and commissioned fashion design that explore materiality, personal and collective memories, craft and value – the essential themes touched upon in Oriental Silk.
Oriental Silk (2015) explores the worldview of the owner of the first Chinese silk importing company in Los Angeles. Carefully and quietly, the film observes this owner, Kenneth Wong, as he goes through his daily routine in the store and tells his story: how his parents, first-generation Chinese immigrants, realized the American dream through the store; how the once legendary store’s fortunes rose in close connection with the Hollywood entertainment industry, then fell with the proliferation of cheaper silk in the new global economy; how he himself came to be the owner of the shop and caretaker of the family legacy; and about his deep feelings for the shop, its history, and its future.
The dual-channel film installation portrays Mr. Wong's state of being inside Oriental Silk – a shop that serves as a museum and place of worship for traditional craftsmanship and the attendant cultural values that are largely now lost or even actively undermined in contemporary China, ideas which for him are intimately interwoven with his own history and the history of his family.
The single-channel version of Oriental Silk has been awarded the Jury Award of Mexico International Film Festival. It has been widely shown at Whitechapel Gallery, Whitstable Biennale, RISD Museum (Rhode Island School of Design), New York University, Aurora Museum Shanghai, Lund Museum and more. It is described by Sukhdev Sandu, Director of Asian/Pacific/American Studies, New York University, as “a beautiful articulation - thematically and visually - of the relationship between scale and intimacy.” It is also commented by Dr Cangbai Wang, Senior Lecturer in Chinese Studies, University of Westminster, as “a film that excellently reveals the complex relationship between people and objects in migrant worlds in an exquisite, rhythmical way. ”
Unrolled Silks will have a panel discussion on the topic of “personal and collective memories”, chaired by Gareth Evans, film curator of Whitechapel Gallery on 22 September, 2016.
Tailor-made jackets, 70s hand-embroidered silk fabrics with one hundred butterflies and one hundred goldfish, tailor-made jumpsuit modified from a 70s hand-embroidered coat, hand-made flag, raw silks, washed dragon tussah jacquard,
all silks from Oriental Silk shop in Los Angeles
Oriental Silk (2015), dual-channel film installation, 60 minutes
By Gareth Evans
When it comes to acts of witness, to testimonials of experience – lived, felt, shared or private – we tend to think first that these statements of heightened being are exactly that, dispatches snatched from the frontline (or thereabouts) of a crisis, histories oral or otherwise that have made it over the border to safety (the border, of course, might be geographical but could equally well be temporal, social, political, generational or defined around gender, belief, race and other tenets of identity: it can sometimes be as hard to survive a family as a war).
What makes Oriental Silk both poignant and useful is not only that it provides undeniably rewarding witness and testimony (as well as insightful responses from a soft threshold in the ongoing globalization of things) but that it reports from the counter of a single store and from the daily routine of a single man.
Kenneth Wong’s Beverly Hills Chinese import silk emporium (into its 40s now and inherited from his father) might not come to mind as a productive place to look to for evidence of either the often astonishing histories of twentieth century migration or the effects of international financial meltdown. That it offers both and much more besides is testament both to Xiaowen Zhu’s careful conversational style and to Mr. Wong’s own keenly felt sense – acutely aware of his role in both the long and shorter stories of international trade – that we are living at a moment of profound change in how human beings organize and prioritize both their collective and their intimate lives (in other words, their needs and their desires).
By looking ‘micro’ at a ‘macro’ situation, Xiaowen Zhu’s film can gently suggest where larger palette studies would feel the need to speak more loudly, or more insistently. And in Mr. Wong she has an affecting collaborator. An engineer by study and initial profession, he took the store on when none of his older siblings expressed an interest in doing so, and following his father’s decision to retire. Visibly moved when he speaks of having seen the store’s birth and the innumerable hours of labour expended to make it viable, Mr. Wong speaks to a wholly different register than that driving the imperatives – and decisions, sought or not – of almost all contemporary business.
In his case, the knowledgeable and sincere sale of Chinese silk in all its miraculous hues and textures is a commitment to the idea of the merchant as a joiner of disparate worlds, a conduit of the novel and the ancient-made-new, a shrinker of distances but an expander of the imaginative, a wanderer through the goods – and the good – of the world, so that those he returns to might benefit. It is not for nothing that the greatest trade route in history was called The Silk Road.
In this way, the ‘useless’ beauty of silk and its wondrous (labour- and time-intensive) hand-stitched adornments stand for all those human pursuits that link people and place - and provide purpose - across time and borders. Skilled craft, appreciated for centuries, bestows dignity and respect on the artisan, is enjoyed by and enhances the purchaser, their life and surroundings, and provides meaning for both the families and communities within which the maker and merchant reside. A thread runs – literally – from the silkworm farms of China to the television and film studios of Hollywood in this case. And attention is paid, along with the financial, at every step in the transactional process. This dedication to skill and its outcome raises the quality of the exchange and, in a very real way, the actual fibre of the human story of which it is a part.
The 2008 financial collapse – and the subsequent doubling in the price of silk – means that Mr. Wong’s store faces a very uncertain future. His own age, the steady erosion of a skilled labour base back in China, the growing contentment globally with industrially made products and the changing nature of Mr. Wong’s customers, especially in Hollywood, all suggest that Oriental Silk might struggle to reach its half-century anniversary. Another storefront vacant on Main Street – so it goes…
Well, yes, so it can go, but it doesn’t need to be this way. Mr. Wong, kind, generous, unfailingly modest, knows nostalgia when he sees it (and is surely entitled to feel it from time to time). But he also knows about priorities, and how meaning, an awareness of personal, shared and cultural history, can and should survive, to inform the present and enable a valid future. As always, it is not about establishing a turf war with Poundland but about allowing for a waterfront of possibility, a democracy to Capital and its offers that allows the craft to co-exist with the purely commercial. Market Capitalism it seemed, understood that. Finance Capitalism couldn’t care less – and arguably isn’t even aware of the concern.
Gareth Evans is a writer, editor, presenter and event / film producer. He is the Whitechapel Gallery’s Film Curator.