The Offline Exercise:
Hypotheses on “Return”
Apr 14, 2026 – Apr 17, 2026
2nd Floor, 20 Scott St, Glasgow, G3 6RJ
The exhibition begins with a question of displacement: how does one locate the self when perception, attention, and daily experience are increasingly mediated by algorithms, platforms, surveillance systems, and digital production? Within this condition, “return” becomes a speculative gesture — a movement toward material contact, embodied perception, temporal awareness, and renewed forms of relation.
The exhibition approaches the offline not as a withdrawal from contemporary life, but as an exercise in reorientation. Works by Luyi Wang, Asbeel, Jack Lander, and Stevie Jones engage directly with systems of mediation, from digital permissions and surveillance logic to LiDAR-scanned terrain, AI-generated atmosphere, electronic composition, and processed audiovisual structures. Their works trace how technology shapes not only what we see, but how we move, listen, remember, and inhabit space.
Materiality and bodily experience form another current throughout the exhibition. Sean Merrin’s mixed-media bricolage draws spiritual and symbolic charge from unconventional materials, while Jessica (SICA) Wu’s Bon Appétit stages a tactile tension between fragility, consumption, and endurance. Arabella An’s work with mycelium imagines a future ecology shaped by symbiosis and more-than-human systems. YiHe Wen and Xinrou Wu turn toward confinement, urban structure, power, and memory, using painting, sculpture, and installation to register how external systems press into private experience.
Across the exhibition, image-making becomes a way to examine identity, projection, and social form. Jiaqing Chen’s experimental moving-image work opens a space of emotional projection through abstraction and fragmented sound. Jiawen Zhang’s Stay Gold I reflects on masculinity, familial distance, and the instability of remembered images. Kama Jing reworks familiar icons of authority through softness and stylization, allowing cultural symbols to slip into more ambiguous emotional and visual registers.
Together, the works in The Offline Exercise: Hypotheses on “Return” propose return as an unfinished process. The exhibition does not seek a pure outside to technology, nor a simple recovery of an earlier self. Instead, it gathers artistic practices that slow perception, disturb mediated habits, and open space for sensing the body, the material world, and non-human systems differently. In this space of pause and recalibration, “return” becomes a practice of reoccupying attention, agency, and presence.
Installation View
