This is because Sun Yuan and Peng Yu present a whole range of artistic intentions for their piece and are rather successful in translating their ideas into a fully functional art piece. Seemingly innocent on paper, but in action the robot assumes a villain-like demeanor and has it’s own disturbing characteristic. The robot’s intention is trivial, mechanic, and functional. This left blood-like smudges on the ground walls. When the sensors on the machine detected that the paint had strayed too far, the arms scooped it back into place, towards the middle of the area. The robot had one specified duty and intention – to contain the thick, deep-red liquid within a fixed area.
It is interesting to navigate an understanding of intentions from both the artist and the art piece itself, AKA the robot. Courtesy: the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana. It is the opinion of this author that Sun Yuan and Peng Yu have answered their own ethical debate in that using human material in art is inappropriate, irresponsible and can be avoided while still creating great art.Ĭan’t Help Myself 2016, Kaka industrial robot, stainless steel and rubber, cellulose ether in colored water, lighting grid with visual-recognition sensors, acrylic wall with aluminum frame. The piece provides association of human materiality as art medium while not actually using human/animal material. Their use of non-biological material in “Cant Help Myself” demonstrates a less controversial attempt to achieve shock-value while providing an in-depth political statement and provoking visual disturbance. However, “Cant Help Myself” marks a unique turning point and breakthrough moment in their art practice. They have previously been known for working with materials such as live animals, baby cadavers and human tissue to deal with issues of death and the human condition. Sun Yuan and Peng Yu are two of China’s most controversial artists, known for pushing boundaries and shocking audiences.
This critical review will asses the artwork’s intentions, audience effect and wider political influences, alongside discussing installation and presentation methods. The texture and color of the paint was sickly, yet the viewer couldn’t take their eyes off the actions going on inside the glass cage. The repeated mechanical action and splashing of the machine was hypnotizing yet uncomfortable to watch.
This installation captured the audience immediately and really took over the whole room. The claw-like robot arm splashed blood-hued paint on the walls, floor, and ceiling. *seen at the Venice Biennale, Central Pavilion/Giardini – “May You Live in Interesting Times” 2019*Īt the Giardini, Sun Yuan & Peng Yu presented a giant robotic paintbrush that thrashed paint around a glass cage. CAN’T HELP MYSELF, SUN YUAN AND PENG YU, 2016.
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