wmc_e6 2018.10.15 | 歧路結節,開合解謎 Hidden Variables | 羅海德 Hector Rodriguez | 最後今天 Last day of the show, 11:00 – 19:00 |

A student visitor’s notes to the Artist shared here with her permission:

Research Room occupies the central zone of the exhibition venue, where visitors may take time to read the many conceptual, mathematical and technical issues the Artist had worked through in making the works in this retrospective (2011-2018)

 

Hi Hector,

I and …my friend… said we like your works. I hope you know that was not for being polite, you know, we are young people, we like what we like. ( 🙈) We both think that the exhibition is interesting. Although we may hear and see some of your works before in class, it helps a lot when we know more what is actually going on inside your works (but still some works speak more by themselves).

You recommended us to watch Ken Jacob’s Tom, Tom, the Piper’s son before in your Walter Benjamin’s note. I find that your works are highly related to this film. I love cinema (maybe not as much as you do) and this film changes how I think towards cinema. When people talk about how great a film is, they talk about the theme, the narrative, the characters, the mise-en-scene, the editing…etc. but always neglect (are not/cannot be conscious of) how those basic graphical and sonic units combine together [and how that] stimulates and please our brain. We all take those magical perception processes for granted and therefore miss the chance to find a new way to experience cinema. But your works do make those fundamental conflicts be brought to the surface — some conflicts among the units that were not yet discovered. 

I like simple pieces, among those my favourites are Inflections and the one with ongoing 3D terrain indicating the fading memory [Entropic Envelope]. These two give me a poignant feeling right away but the last one you showed us, Z,.. it stands alone. It is very challenging to the audience but also intriguing. Those wheel-like disks make it like a hardworking machine powered up by the film. And then I have a hypothesis for your whole exhibition. Maybe it is a superficial interpretation that you won’t like — you give all these vision machines some characteristics about their processes; they are all struggling but hardworking. And especially in Theorem 8. — why do you give them only 21 frames to reconstruct the movie? They seem really struggling ( 😂). 

Forgive my mumble, I am writing this email to just express that your works mean something to me, again not for being polite. Can I ask you a question? How do you choose which framework or theory to work with different ideas? Do you find the theory interesting first or do you find it very related to what you find interesting first? And one more — I hope I will understand the math one day ( 😅).

Sophie