Organised by the Macao Museum of Art, the Macao-China Pavilion was inaugurated on May 9 at the 58th Venice Biennale, one of the most prestigious art events in the world. The exhibition featured at the Pavilion entitled Apparition, will showcase 10 pieces/sets of ceramic installations by the up-and-coming New York-based Macau artist, Heidi Lau, aiming to “apparate” the “invisible” Macau in response to the title of this year’s Biennale, “May you Live in Interesting Times”.
Before departing for Venice, Heidi Lau sat down with CLOSER to talk about the exhibition and the inspirations behind her work.
“The Chinese title – which literally means exposed or unmasked – is a reference to Strange Stories from a Chinese Studio, and other Chinese fantasy fictions. It’s a way for me to use allegories and symbolism to work out certain feelings about the history and memories I have of Macau,” says the artist.
Lau admits that her reflections on the city she grew up in were encouraged by a book written by local cultural critic Chin Pang Lei, Invisible Macao: The Ignored City and Culture. The book argues that for a long time, Macau has been leading an invisible existence. Were it not for the enviable financial performance of the gaming and tourism industries – which has in turn brought about numerous social issues criticised by the public – the identity of Macau would hardly be discussed, let alone problematised.
“Not only are those from the outside unable to see Macau well, the locals are also unable to recognise themselves,” comments Heidi.
The artist attempts to reveal Macau’s complex identity and history in the style of classical Chinese supernatural fiction. Her works resemble the crumbling remains of historical relics, and feature images of Taoist and folk mythologies, engaging the audience in profound reflection with her bizarre and extraordinary interpretations.
The exhibition is divided into four themes: “Apparition I: Primitive Memories”, “Apparition II: The Ancestral House”, “The Contemporary Moment: Learning from Casino”, and “Reflective Nostalgia: The Old Recreation Garden”, taking the audience on a journey to a world of forgotten spirits and beliefs from an artistic perspective, through the exploration of Lau’s childhood memories.
“The venue in Venice is literally like a house, so we use the form of the house to think how the exhibition is organised. When you walk into the courtyard, you’ll see a fountain based on Nüwa (the mother goddess of Chinese mythology whose creative ambitions led her to shape humans out of clay in Chinese legends),” Heidi explains. “We call that area ‘Primitive Memories’. I want to create a mythical space for visitors when they first come in. The place has got a lot of foliage, it does feel magical in a way – like the feelings I get when I go to some gardens in Macau.”
For the mostly international visitors to the exhibition, Lau hopes that they can “learn a little bit more, not just about Macau, but also what it means to experience a city, and how a place manifests itself”.
She finds many connections between Venice and Macau: “We’re both in some ways burdened by a very long history of occupation by different peoples, and both have over-tourism issues. Even if visitors don’t read the text, they can still see the possibilities of ceramic art. Ceramics can be contemporary. Using an old medium to me feels like travelling back in time, and I hope people will feel the same,” she laughs.
The exhibition runs until November 10, and is open daily from 10am to 6pm (local time), closed on Mondays. The exhibition hall is located in front of the Arsenale, the Biennale’s main building, at Arsenale, Campo della Tana, Castello 2126/A, Venice, Italy.
