PARTICIPATING ARTISTS AND THEIR WORKS
Coupe – jalousie room / YoHa – Endless War / Howe & Cayley – The Real Story of Ah-Q / Ip – Rehearsals for muted films #2 / King – map01 / Lai – Vaulting Space / Lau – The Fading Piece / Rodriguez – Theorem 8 / Samson – ne.me.quittes.pas / So – Weather Forecasting / Soon – Hello Zombies / Wong – Autocomic#1
James Coupe – jalousie room (2014)
jalousie （法）/1.嫉妒 / 2. 百葉窗簾
法國「新小說」大師亞蘭．霍格里耶1957年撰寫的小說《嫉妒》裡，女子與一位鄰居的交接一直被觀察著。觀察者是她的丈夫，或一個攝影機而已？不得而知。無論如何，觀眾都成了同謀，一直位處外面望進去。觀眾知道的亦僅止於此，全憑攝影機的描述 — 即使所描述的是甚麽無法確定、非線性，甚至是充滿矛盾的。
jalousie / ʒaluzi / nf  jealousy;  venetian blind
In Alain Robbe-Grillet’s 1957 novel, Jealousy, a woman is observed in her interactions with a neighbor. It is unclear if the observer is her husband or simply a camera, but regardless, the reader is complicit, always on the outside looking in, all we can know is what we are told and even that is uncertain, non-linear and contradictory.
This installation is an observation room with three parts: a camera that meticulously and obsessively analyses the street and buildings outside the gallery; a camera that is looking for a specific woman inside the main gallery; and a conversation between three people, one of whom never speaks. Binding it together is a disembodied mechanical voiceover.
The work is concerned with the role of the viewer as voyeur, and the fractured, confused narrative that such a position provides. It uses the slatted windows of the gallery to ensure that what we see is always the part, and never the whole
YoHa (Graham Harwood and Matsuko Yokokoji) – Endless War
2010年7月25日，维基解密發佈了一份名為《阿富汗戰爭日記》的文件，當中包括超過91,000個 (其中15,000份絕密)由士兵及情報人員作的有關2004至2010年間阿富汗戰事的報告。《Endless War》並非一個錄像裝置作品，而是一項持續的、實時式、以多角度分析的數據處理系統。在漫長的戰事中產生出大量數據，將經由軟件程式進行分析，去發現當中的模式，包括事故出現、地理分佈資料、參與人員、時間性及其細節事項等。作品展示大家對戰事的構想，與其實況比對，兩者都看似是沒完沒了的過程，當代列強數理上的想像比照它們實戰上的失敗。
How does the way war is thought relate to how it is fought?
On 25th July 2010, WikiLeaks released a document set called the Afghan War Diary, which includes over 91,000 (15,000 withheld) reports by soldiers and intelligence officers covering the war in Afghanistan from 2004 to 2010. Endless War is not a video installation but a prolonged real-time processing of the data set seen from a series of different analytical points of view. As the war is fought it produces entries in databases that are in turn analyzed by software looking for repeated patterns of events, spatial information, kinds of actors, timings and other factors. Endless War shows how the way war is thought relates to the way it is fought. Both are seen as potentially endless, computational processes. The algorithmic imaginary of contemporary power meshes with the drawn out failure of imperial adventure.
Daniel C. Howe & John Cayley – 阿Q正傳 The Real Story of Ah-Q (2014)
An English translation of The Real Story of Ah-Q is read by an algorithmic process that highlights phrases from Lu Xun’s revolutionary work. The phrases selected are words that others have also written – that is, they have been found on the Internet in other documents not written by or about Lu Xun. As the work progresses, the algorithmic reader sends these phrases to search engines (executed by the iPad), showing how they can be read now, in real time. This networked re-reading, augmented with targeted advertising, images, and even censorship, exists within an algorithmic framework still little-examined in terms of its effects on reading, and, indeed, its control of free inquiry itself. Lu Xun’s original text lies closed, nearby on the lectern.
葉旭耀 Ip Yuk Yiu – Rehearsals for muted films #2 (2014)
《Rehearsals for muted films #2》重構了三齣與香港有關的荷里活電影，包括《生死戀》 (1955)、《蘇絲黃的世界》 (1960)及《龍爭虎鬥》 (1973)。作品猶如一段沈默的旅程，被投影播放著的文字開啟觀眾以全新方式去觀看、聆聽及閱讀普及的電影，同時把三部電影中的對話重新想像為有關文化與身份的寓意性的對話。
Rehearsals for muted films #2 reworks three Hollywood films with stories that were set against Hong Kong. The work for the visitor is a speechless excursions of projected text, which proposes new ways of seeing, listening and reading popular cinema while at the same time re-imagining the dialogue (or the lack of it) as an allegorical conversation about culture and identity. The three films are Love is a Many-Splendored Thing (1955), The World of Suzie Wong (1960) and Enter the Dragon (1973).
Mike King – map01 (2014)
map01 is an experimental visual exploration of procedural interference between transcendental functions.
黎肖嫻 Linda Lai – 翻騰空 Vaulting Space (2014)
A 3-screen automated projection runs 441 clips from swordplay films spanning across 1927-2011, exploring visual styles and spatial imagination in Chinese swordplay films and their possible origins. This work adapts the codes of the artist’s former work, Door Games Window Frames: Near Drama (2012, Hong Kong Contemporary Arts Awards), to highlight the counterpoint relations of three image discourses, from the minimalist-constructivist view of the locomotive human body and tools/objects of swordplay to the most basic criterion of locomotion.
劉清華 Jess Lau – 消失之中 The Fading Piece (2014)
The Fading Piece is a duo stop-motion animation with sound. The animation on the right shows a diminishing pastel while the one on the left reveals the development of a line-drawing on the Kwun Tong landscape, simultaneously, line by line. Gradually, the skyline of the city is covered by black strokes left by the pastel.
羅海德 Hector Rodriguez – 第八定理 Theorem 8 (2012)
Theorem 8 is an experimental video processing software that decomposes every frame in a movie using a fixed database of frames from another movie. By means of a mathematical technique known as orthogonal decomposition, it achieves a superimposition of frames from two different films: Godard’s Alphaville and Witch’s Cradle, directed by Maya Deren. The technique of orthogonal decomposition is often used in surveillance software, and so the work aims to foreground and deconstruct the computational aspects of surveillance technologies. Its underlying philosophy is that radical politics demands radical artistic forms.
Audrey Samson – 請別離開我 ne.me.quittes.pas
ne.me.quittes.pas is an installation displaying digital data funerals. It is based on interviews that were conducted with participants on the subject of digital death, and how they imagined the afterlife of their data. The participants selected files they wish to permanently delete. The files were transferred to USB sticks which were then placed in highly corrosive acid at the bio-chemistry lab of the City University of Hong Kong. Once the IC chips containing the data were irremediably corroded, the remnants were collected like ashes. These corroded chips are exhibited in ‘urns’ in juxtaposition with the interview material. A video documentation of the degradation ritual is also displayed.
蘇慧怡 Zoie So – 氣象預測 Weather Forecasting
It is miraculous how the sun in our solar system beautifully interplays with water in all its forms on Earth to bring a variety of life-forms and the very conditions necessary for life itself. Here on Earth we humans feel impelled to predict and to prepare. Will it rain tomorrow? Should I bring a jacket along? Looking at the sky, how can we predict the weather? How far and beyond the clouds and past the stratosphere should we probe to obtain relevant climate data? How much can we learn about the past from weather fluctuations? How profound is our knowledge of the correlations of energies and forces in the universe with the climate? Is our technology sophisticated enough to accurately measure the data and really make sense of it? Do we understand the relationship between air pressure on our bodies and the forces that have kept planets, stars, and galaxies swinging for billions upon billions of years? Every humble measurement and prediction itself is a single solid stroke of the sketch of an ever-moving figure. I feel rather small thinking about this, but also feel a certain bliss having the chance to experience this grand world and its vital impulse.
孫詠怡 Winnie Soon – 回轉喪屍 Hello zombies
“We are with you everyday, we live in the Internet with peculiar addresses and enticing titbits, but you call us “spam”. We wander around the network, mindlessly, and you wanted to trash us, but we are still everywhere. We are just the children of your economic and social system, but you ignore and avoid us. We are not dead, we write, we create.”
—This artwork examines these nonhuman zombies as a cultural phenomenon that produces quantified data and network identities. Through running the automated living machines, the artwork intervenes the network by writing spam poems to zombies and reading networked replies continuously. This project explores zombies of the living dead that bring forward social, technical, capitalistic and aesthetic relations in everyday lives.
黃照達 Justin Wong – Autocomic#1
Autocomic#1 remakes the artist’s daily six-panel comic strips, Gei Ger Gaak Gaak, published in local newspaper Ming Pao. The stories and the plots are computer-generated based on several simple “rules” and “formulas” commonly found in the comic strip format. All the source materials are extracted from a library of graphics and texts that is built from the artist’s previous works.