Baths
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Baths
C magazine review/etc.
Yuling Chen
2026 may 31st
The vector festival in 2018 born digital at the Interaccess examines the local police force through videos and interactive projects. It is talking about the suffering of people at police’s hands. It has ushered in a type of information rare to the public. It criticizes Israel Palestine conflicts, wars, and political events. It sees China as a country full of poor people who couldn’t get with the program, becoming digital. My father died, passed away in 2017. It had made me aware of different programming locally about grief. Grief is what made China an important trade partners. It had taught people how to make peace with death. It’s about China’s economic powers. The exhibition makes points about how China disregarded human life as it rose to the top tier of financial and economical powers. China’s human rights records have become very significant. The exhibition traces the history of China’s violation of human rights through digital videos of human figures by lu yang, etc. The exhibition is a mess about people and their perceptions of China. China is like a bird taking flight in the mid night. These works are like baths. They submerged China, us and UK in a sort of glow of economic strength. China is at large. China has made its point. Etc.
Attending the 2018 Vector Festival exhibition was a deeply moving experience that shed light on complex and often overlooked issues related to modern society and global politics. What struck me most about the exhibition titled 'Baths' was how it used digital art to immerse viewers into the multifaceted realities surrounding China’s rapid economic ascent alongside its troubling human rights record. The visceral digital videos by artists like Lu Yang portrayed human figures and suffering in a way that felt both intimate and universal. One of the themes that resonated with me was the exploration of grief, an emotion often sidelined in political discourse. The artist’s personal connection with loss, such as the death of her father in 2017, helped frame grief as a shared experience that transcends borders, yet can also be shaped by cultural, economic, and digital changes. This intersection of personal tragedy with larger geopolitical issues reveals how art can foster empathy around difficult topics like China's rise and its impact on global relations. The exhibition’s critique of police forces and local authority, through video and interactive media, also brought to light the human cost behind political power struggles. By weaving in references to conflicts like Israel-Palestine, ongoing wars, and social protests, the show connected diverse issues that often dominate headlines but get lost in the noise. The symbolism of ‘baths’—submerging viewers into these layered realities—helped me see how economic strength and human rights violations can coexist and influence public perception. Additionally, the curation emphasized how digital technology can both illuminate hidden truths and obscure them, highlighting China’s complex relationship with digitization and modernization. This sparked reflection on how societies process change, both collectively and individually, and how art can help make sense of such transitions. Personally, witnessing this exhibit deepened my appreciation for digital art as a powerful medium to convey difficult narratives. It also reminded me that behind every headline about geopolitical tensions or economic dominance are millions of human stories — stories of struggle, grief, and resilience. For anyone interested in understanding global issues through a humanistic and creative lens, 'Baths' offers an evocative and thought-provoking narrative that stays with you long after leaving the exhibit.
