NOW&AFTERТ23

Now&After’23 special project «Dis-placed Landscapes»

International Video Art Festival Now&After'23 presents a special project "Dis-placed Landscapes" created within collaboration of Now&After Festival and the Waley Art Center for Contemporary Art in Taipei, Taiwan.
"Dis-placed Landscapes" is an exhibition of Taiwanese video artists which will be held on CCI Fabrika 14.11-10.12.2023.

Opening: 14.11, 7 pm. Address: Moscow, Perevedenovsky Lane, 18.

Curator of the exhibition: Huang Yi Hsuan
Project director: Peng Tsai-Hsun
Now&After director&curator: Marina Fomenko

The exhibition "Dis-placed Landscapes" brings together works of eight Taiwanese video artists and art groups developed on the topics of human beings, natural ecology and the environment. The exhibition aims to emphasize the “displacement” of the “landscape” seen from someone’s eyes. “Landscapes” serves as a metaphor for the “changing scenes” of environment and ecology, reflecting the views of the artists and how it embodies the posture of the viewers.


Participants

Tuan Mu, Transformation of Things, 2021
Virtual Reality, Unity, 3D Computer Animation, 5’00’’

The “Transformation of Things” originates from Zhuangzi’s writings: the chapter « Qi Wu Lun » attempts to point out the dynamic relationship between Subject and Object, reality and illusion, a relationship as much opposed as united. With virtual reality installations, “Transformation of Things” sets up a special system of observation. The Viewer begins as an observer outside the virtual object, then throughout an ongoing immersion inside the object, it goes on to observe the inner structure of the virtual item. Following how the Subject’s position keeps on delving inside the Object, it eventually passes from the outside in, through the material structure of the virtual object: texture, polygon mesh, armature, coordinates. Ultimately, the Subject exhausts the virtual entity, the very visibility of its external materiality, and dives into the innermost part of it. Inside this space, materiality of the virtual entity is revoked, and by seeing the invisible Object, the Subject then faces the essence of the virtual.

Tsai Pou-Ching, Reverberations at Altitude 2000, 2021, 20’08”
single-channel video installation

The artist came upon a handful of specimens from the Japanese occupation period. These specimens are stored away in Tainan University in a tiny lab away from the public and seldom used for teaching the artist chooses a woodpecker from amongst the specimens and invited a pet psychic so he could hear its voice and have a conversation. Through the descriptions of the pet psychic, the artist searched and found its former habitat. He set up his woodpecker apparatus so the pecking of the bird can reverberate through the woods again, commemorating the life that was there.

Engineering of Volcano Detonating (HSU Po-Yen, LU Chun-Cha, LU Guan-Hong, LIANG Ting-Yu), The History of Yen, 2021, 27'00''
2-channel video installation

The History of Yen originated from the tales of a red-eyed, red-skinned short man who resides around Datun Volcano Group; the project depicts the connection between extraterrestrial life, UFO sightings, ancient tomes, relics, and devil gods (môo-sîn-á). Various heterogeneous knowledge is agglomerated in the geographical field of volcanoes, weaving into a science fiction narrative towards “The City on Volcanoes” in the near future.

Mark Wang - Microbe-Mate, 2020
Video installation in two parts

Microbe-Mate project presents a possible future that humans dominate microorganisms and raise them as pets. Through the fiction stories of different situations, it reveals the dilemma faced by modern people and the relationship between human and non-human species. Microbe-Mate aims to question postmodernism through absurd narratives and speculations. Invites the audience to explore human psychological needs, emotions, and morals.
Part 1 - “On the sea” narrates the process of human raising dinoflagellate as emotional projection.
Part 2 - “Lifelong companion” describes the possibility of humans using technology to control the lifespan of water bears to meet the need for companionship.

Wang Shao-Gang-One Stroke, 2018, 5’20’’
Single - channel video

In 2018, Wang Shao-Gang releases an experimental video One Stroke which records the larva of a Taiwanese parasitica in cooperation with the department of entomology, National Taiwan University. He discovers the vitality and the state of co-existence among lives. In only one instant, a complicated, grandeur lifestyle is built. I am curious about and fascinated by such power of life and destruction, so I resort to the concepts of symbiosis and evolution to develop my project, which is a new media installation that combines documentary and sci-fi movie genres to discuss life in an era of modern technology.

Chang Nai Ren, The Lost, 2023
Single-channel video

If all mixed media require the process of being read, then perhaps dreams can also be treated as media. During sleep, “dreams” become a medium, and dreams are translated into readable experiences and symbols. I use dreams, this pure and illogical media, as a way of reinspecting purpose-led media or use dreams to explore the quality of media.
I collected real dreams and transformed them into a collection of short works using three-dimensional animations and real images. The screen frames expand into multiple space-time narratives that point to the relationship and time sequence, while the panoramic view that occurs at the same time or close-up moving shots describe how the dreams have their own consciousness or are branches of individual senses and a fluid form of sensory experiences.

Lu Chih Kai, On the Roof, 2021, 02’30’’
Single-channel video

Flying and landing are the bird’s instincts to survive. Regarding the camera movement, a drone moves vertically to look down these social animals —egrets. With a single—channel installation, this project shows the scenes of day. It reveals footprints and the habitat of the egrets in the woods.
I am physically close to the birds while filming the video, while we cannot understand each other and itis impossible to break the essential estrangement. It is a weird interaction and viewing experience that can fully prove such a contradictory relationship between the egrets and me.

Lin, Yan-Xiang, Copy Island, 2021
Single-channel video

The genre of works mainly extends to video, action, and writing. He works with how people respond to their own Biopolitics through ecological environment, geopolitics, religious beliefs... .Through field practice and artistic research, he produces aesthetic experiences and texts. And he uses video as a visualization of action in response to the social phenomena and his own feelings.
The video Copy Island is based on the dream of a believer, the intertwined narrative of the island and the land Gods. Using 3D models in computer software to simulate the process of visualizing faith in religion, and the fictional grafting of spirituality from different eras. In this way, it reflects how society transforms natural capital and responds to the sense of Taiwan as an island.

Copyright (c) Now&After. International Video Art Festival in Moscow
Director/curator Marina Fomenko. All rights reserved.

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