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 Vector Festival's digital art exhibition 'Baths' was a deeply moving experience that offered a unique perspective on complex geopolitical and personal themes. The exhibition, born from digital art and interactive media, conveys the multifaceted issues surrounding China's rapid economic development juxtaposed with its human rights record. One of the most striking aspects was how the artworks used digital human figures, like those by Lu Yang, to symbolize the tension between technological progress and social challenges. The exhibition also thoughtfully addressed grief, both personal and collective. The artist’s reflection on the loss of a father in 2017 served as a poignant lens to explore how grief shapes individual and cultural narratives. This added an intimate dimension to the broader political and social commentary, making the experience both emotionally resonant and intellectually stimulating. Beyond China, the exhibition delved into controversial political events, including the Israel-Palestine conflict and global protests, highlighting the often unseen human suffering behind headlines. By immersing visitors in this glow of economic power contrasted with social struggles, 'Baths' challenges us to reconsider our perceptions of modern societies and the digital age. As someone deeply interested in how art can expose societal truths, I found the exhibition’s approach refreshing. It reminded me of how digital media can amplify voices and stories that are rarely heard in mainstream discourse. If you have the opportunity to explore themes around politics, grief, and human rights through contemporary art, 'Baths' is a valuable, thought-provoking experience.
