Li Jinghu’s installation is an abstraction of the artist’s home city, Dongguan, imagined as a living archaeological landscape. Engaging with recent history, the artist explores Dongguan’s emergence as a factory to the world in the era of globalization. Li has suspended reassembled lights used by factories into lines to produce an abstract formation of clouds. Alluding to the rural workers traveling from inland to the factories in search of a living, the clouds represent the past where field workers could once look up to sky, a connection with nature that is now irrevocably tainted. The artist also evokes the material flux of the region, where an immense volume of objects are manufactured to be shipped elsewhere, and at such rapid speed as to fall quickly into obsolescence. Li represents this through discarded fragments recouped from an assembly of rusted industrial molds once used for the mass-production of toys. Cast against the white light, the display has been designed to heighten their perception as historical relics from an ancient age.
李景湖在《現在考古（東莞）》以抽象的方式將他的故鄉——東莞——想像為活脫脫的考古現場。藝術家以東莞的歷史為出發點，探索城市如何在全球化年代冒起而成為世界工廠。他收集和重新組裝工廠用的光管並懸掛在展覽場地，形成線條抽象的雲塊。為求生計，農民穿州過省到城市的工廠工作，雲代表著逝去的時代：從前農民只要抬頭便可看見的雲，如今這種與大自然的聯繫已經變質。此外，東莞曾經對外輸出大量工業製品，然而輸出越多棄置越快，藝術家正是想借此喚起人們對這種物質流動的觀念。他回收了許多曾被用作玩具量產的生鏽工業模型，透過各種零碎組件表達這種思想。在白光映照下，這件裝置作品的觀感已提昇至遠古遺跡的角度。
