Artist residency in Gwangju, Korea: 60 Encounters 

“60 Encounters” presents the memories and experiences in two months each day in Gwangju, Korea. It also conveys the message about the transition of readymades by time and space. These readymades may be shifted several spaces by any reasons already, despite each our first meet creates a new moment and even a history. The present scene of objects are reproduced in two dimensions photo by camera copy. This is also a  transition activity.  

In the “60 Encounters” exhibition, there are a photograph, a color and a short verse with each object. Photographing the object is for recording our first meet. A color shows the certain emotion at the moment. A short verse is about the daily emotional experience. Finally, physical time and space are compressed in the exhibition, as a quickly play film that plays my 60 days encounter in Gwangju.

 

“Fragment storage” is the short film which connects with “60 Encounters”. It’s about remembrance including my artist residency experience and some important locations in Gwangju. Memory is like a temporary storage, it becomes subconscious or dream through time passing. The first-person perspective route is the storage for connecting with other fragments of memories. There are many unreasonable images and sounds overlapped for conveying the fragments, dreams and memories. Moreover, image first or sound in the former? This is an other concept of Fragment storage. When the sound doesn’t match with image, people will feel surprised, curious and strange. Then people will try to figure out the sound from, at the same time, it causes the situation of ocular suspicion. These ocular suspicion express the anfractuous memory phenomena.   

「60個邂逅」,每個物件旁附上一張初次與之偶遇的照片和一個代表心裡感受的色塊,另外簡短的文字為文本紀錄。此撿拾計劃試圖呈現旅人記憶的串連、種種時空的切換及變化。從初次邂逅某一物件時,或許它已經歷了數個空間的轉換或是時間的推演,儘管如此,當下的遇遇創造了現成物與我初次見面的時空。透過相機,再次複製現成物當下的場景,但是空間、時間已經成為一個平面的維度。最後,現成物在展覽場域的呈現;時間、空間在展場裡瞬間縮短、縮小,有如電影迅速壓縮式的播放我每天在韓國長達兩個月偶遇物件的動作。

「暫存體」,是一部以記憶為主的短片,此短片涵蓋韓國光州駐村經驗的記憶,和光州重要歷史事件的記憶。第一視角的”路徑“為整個記憶載體的串連,其中許多影像的重疊、不合理的畫面切入和不相關聯的聲音為手法,表達某種片段、模糊的夢境和記憶。記憶就像一個暫存的空間,隨著時間的遠去逐漸模糊,甚至轉變為潛意識或夢境。此外,影像在前?還是聲音為先?這也是「暫存體」另外一個概念和探討的方向;當影像和聲音不相關時,人的感知開始出現某種驚訝、好奇、突兀,而試圖尋找聲音的來源,且造成視覺對影像的猶疑。此種種的視覺和聲音效果,就像挖掘記憶,有的片段清晰,有的好似湊不齊的拼圖。 

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