Through our perceptions, the various forms of contemporary art integrate with each other much in the same way found with quantum entanglement, as they wildly push against their intrinsic boundaries. This phenomenon has allowed some room for us to contemplate: Are there any possibilities for the demarcations between different forms of classical art, or rather the separations between classical art and contemporary art, to be melted down to then randomly “entangle” themselves with one another? This inspires the conceptualization of “Trans-Media” art, which revealed itself to the world in 2010. The concept is that a medium traverses its original boundaries to become another medium or otherwise metamorphose into unlimited varieties.
For this reason, this new conception can very well be playfully nicknamed “quantum aesthetics”.
“Trans-Media” is a high-level form of entanglement. “Trans” here means the meeting and combination of artistic thought, the accumulation of inventive energy, and the enhanced materialization of the human sensory experience within either the real or virtual world. Many unprecedented forms of art have thereby made their way onto the stage as a result, and these include the trans-narrative, trans-reality, trans-sculpture, trans-fixation, trans-behavior, trans-incidental, and trans-language, among many, many others.
“Trans-media” is a concept, a methodology, and, before anything else, “the free interchanges of perception”. Joseph Beuys once said, “Art is the only power to free humankind from all repression.” From my point of view, it is no exaggeration to say art is a science deeply rooted in freedom.
The very nature of trans-media art that goes against the rational definitions of artistic expression and mediums and that also blurs the boundaries of thought, emotion, expositional delivery, and consciousness, allows itself to become a unique, exclusive, and original form of narration. An illustration can be found with Marcel Duchamp’s ideology of attempting to avoid principles, truth, and all metaphysical concepts. When many artists, with an eagerness to express themselves, bring their works to a specific exhibition space or gathering field, a subsequent question is left for audiences to ponder: Where should one’s focus of attention lie? In this infinite dimension of art, we may engage with shocking transient moments; all-encompassing emptiness; or an intangible, abstract, and metaphorical obscurity. Whatever the result, each and every member within an audience therefore inherently receives a vividly emotional trans-media experience free from any sort of convention or doctrine.
From the perspective of Hegel’s definition of aesthetics, this exhibition presents a special formation of a field which gathers jarring yet mysterious expressions of sentimentality based on the trans-media conception.