A big disappointment or a work of genius?
Paris Syndrome is one of science's freak disorders. Its occurrence is a response of some Japanese upon encountering Paris. They are shocked and unable to cope with the discovery that the reality does not match their previously perceived image of the city.

So, with an exhibition named after the disorder it would be logical to expect something focusing specifically on the Japanese being in Paris.

But on sitting down to watch the video installation, the viewer does not see anything remotely Parisian, instead they are confronted with the all too familiar suburban cityscape of their current location, Guangzhou. Now confused but a little intrigued, they continue to watch as seemingly nothing unfolds before their eyes. Sound is reserved for sparse use, and the actors barely move, instead preferring to adopt stationary positions in a variety of barely differing locations. The viewer walks away, and if lost in pondering the emptiness could easily fail to notice the house plants, wall, and hanging lamps that are also part of the installation.

But if the viewer steps back and reassesses they may conclude that this is in fact a brilliantly conceived work of art. Every aspect of the process seems to mimic the idea of Paris Syndrome. Just like the Japanese, the viewer is also confronted with an image that does not meet their expectations – but rather than a failing Paris they have Guangzhou. Just as they may become comfortable the film suddenly jerks them out of this mind state, with a brief text to inform of the location in which it was shot. The actors in the film remain expressionless, unable to assimilate into their surroundings, instead sticking out like the columns and buildings that they imitate. All of the locations are desolate and somewhat lacking, despite often being grand developments or wealthy housing projects, complete with fake Venetian lakes or replicas of other 'ideals' from throughout the world.

It seems then that all of the components purposefully combine to demonstrate the fact that nothing happens. Jun Yang adopts Paris Syndrome as a method of expressing a much greater disorder, one that that we are all constantly battling with. Unable to escape reality we remain lost and dislocated, whether it be in a foreign country or in our home land. With the increasing predominance of real estate as a market, and grim urban sprawl, everything everywhere becomes a pale repetition of itself.

It may be intentional, nonetheless the exhibition remains hard work and somewhat inaccessible.

Review by Nathania Hartley
www.vitamincreativespace.com