https://liu-yu.net LIU YU Thu, 09 Jul 2026 10:05:39 +0000 https://liu-yu.net en https://liu-yu.net/HOME Sat, 18 Aug 2018 11:11:53 +0000 LIU YU https://liu-yu.net/HOME &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; https://liu-yu.net/The-Moon-s-Shadow Thu, 09 Jul 2026 10:05:39 +0000 LIU YU https://liu-yu.net/The-Moon-s-Shadow <img width="3822" height="2353" width_o="3822" height_o="2353" data-src="https://freight.cargo.site/t/original/i/8bb239de5ecb245bb16bd60d457a1b4048ffb0714ac69d7ff1a1616923958885/XHN_5930.png" data-mid="250242614" border="0" src="https://freight.cargo.site/w/1000/i/8bb239de5ecb245bb16bd60d457a1b4048ffb0714ac69d7ff1a1616923958885/XHN_5930.png" /> The Moon's Shadow Single-channel video, color, stereo sound, Drawing exercises, Watercolor paper, Grey cardboard 2026 The living beings collected, identified, and understood within the village were not regarded as isolated individuals, but rather as part of an entire worldview woven together by environment, customs, collective values, personality, and memory. Within such a system, the environment, humans, and other living beings were inseparable from one another. They shared the same rhythms and frequencies, preserved and transmitted through stories, rituals, and customs accumulated across generations. This knowledge was not sustained by any single individual; it required the collective participation and shared effort of the community, continually reaffirmed and enacted through oral storytelling and embodied practices. In this context, storytelling was not merely a way of transmitting information, but an act of shaping the world itself. Stories influenced how humans understood themselves and others, while also defining their place within society and the environment. Across many regions of Asia and India, one can observe a widespread yet regionally varied narrative lineage: ancient myths surrounding rice. Although these stories take different forms across cultures, they share a similar structure: the spirit of rice often appears in the form of a woman, frequently depicted as a maternal figure who, through self-sacrifice, allows the earth to regenerate and humanity to endure. The goddess’s body transforms into crops, symbolizing the cyclical process of fertility, death, and harvest. In cultures where rice cultivation forms the foundation of life, rice beliefs developed a close and dynamic relationship with monsoon climates, agricultural festivals, and ecological change. From this perspective, perhaps we can begin to ask again: how do we look at ourselves, and how do we position ourselves within culture? Is culture merely tied to a fixed geographical location, or is it instead a fluid system of continuous exchange and mutual influence? This project is based on field research conducted in the village of Panggungharjo, Indonesia. Through conversations with the village chief, women’s farming collectives, and local farmers, the project documents stories, beliefs, and the traditional rice mortar music Gejog Lesung associated with the rice goddess Dewi Sri. The research focuses on “local perception,” examining how plants are preserved within cultural knowledge systems through memory, naming, use, and oral storytelling. Presented as a single-channel video and shadow puppet animation, the work combines eclipse mythology, goddess narratives, and Gejog Lesung to explore interconnected rice myths and narratives of female sacrifice across East and Southeast Asia. Through abstract silhouettes of human figures and objects, layered rhythms, and collective sound, the work attempts to reweave the relationships between people, nature, and cultural memory. <img width="3182" height="1716" width_o="3182" height_o="1716" data-src="https://freight.cargo.site/t/original/i/4cf10d337a3a5b18811a65f9068c7acc997a679aac8dccffbd8904bc78d77f2c/---06-5PNG.png" data-mid="250242627" border="0" src="https://freight.cargo.site/w/1000/i/4cf10d337a3a5b18811a65f9068c7acc997a679aac8dccffbd8904bc78d77f2c/---06-5PNG.png" /> <img width="4500" height="3000" width_o="4500" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a6fa620e0706185cfe8f9025e3ec788ae17e7380714c8c69cc53d7ec889d4d31/XHN_5801.jpg" data-mid="250242720" border="0" src="https://freight.cargo.site/w/1000/i/a6fa620e0706185cfe8f9025e3ec788ae17e7380714c8c69cc53d7ec889d4d31/XHN_5801.jpg" /><img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/5017579b4971afa7726fa612662a24c0261f1cf0f1e213be43459fa15b031f54/-2026-07-09-18.11.17.png" data-mid="250244879" border="0" src="https://freight.cargo.site/w/1000/i/5017579b4971afa7726fa612662a24c0261f1cf0f1e213be43459fa15b031f54/-2026-07-09-18.11.17.png" /><img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/97d761f224aafd590d1490a5c9aadc5238b738766ede89ec758d7cddd99a1d93/-2026-07-09-18.12.37.png" data-mid="250244934" border="0" src="https://freight.cargo.site/w/1000/i/97d761f224aafd590d1490a5c9aadc5238b738766ede89ec758d7cddd99a1d93/-2026-07-09-18.12.37.png" /> ︎︎︎︎︎︎︎︎︎ https://liu-yu.net/They-dance-in-the-dark Thu, 09 Jul 2026 07:32:50 +0000 LIU YU https://liu-yu.net/They-dance-in-the-dark <img width="6158" height="3625" width_o="6158" height_o="3625" data-src="https://freight.cargo.site/t/original/i/047254f4b2d811dca756774279b08e0e53418aeaeb88af53014e95a4faffcf79/ps-1.jpg" data-mid="250237888" border="0" src="https://freight.cargo.site/w/1000/i/047254f4b2d811dca756774279b08e0e53418aeaeb88af53014e95a4faffcf79/ps-1.jpg" /> They dance in the dark Aluminum plate, wooden support structure, ceramic panel, ceramic work&nbsp; 2025 They Dance in the Dark is a newly commissioned work presented as a museological display centered on Mandragora (mandrake), the plant is a mysterious plant that has appeared in botanical compendiums since ancient times. As early as the 1st century, it was depicted as a hybrid creature with human-like features, reflecting the entangled relationship between plant anthropomorphism and female imagery. In the history of medicinal plants in the West, it has carried associations with hallucination and transformation, implicating ancient goddesses, witches, and maternal myths. Throughout the transmission of knowledge and imagery, the mandrake has continually shifted and reappeared, from classical antiquity to the Renaissance and even into modern times. In their effort to understand the world, ancient peoples named plants and animals, endowing them with symbolic meanings and functions, thus making them part of cosmogonic myth-making. The image of the mandrake is not merely that of a human-plant hybrid; through the construction of a gendered image, it leads us into a suppressed, almost unspeakable undercurrent of maternal narratives—at once herb and goddess, it exists at the threshold between hallucination and healing, death and rebirth. The mandrake often appears alongside female figures: from Hathor, the Egyptian goddess who embodies both fertility and destruction, to Circe, the Greek sorceress who used herbs to perform transformative magic, to the medieval witches accused of using mandrakes to make ointments for hallucinatory rituals or even for infanticide. These images and narratives together shaped the figure of the “witch” as a bearer of repressed knowledge and lunar energy. Women were long excluded from the male-centered writing of medicine and pharmacology, cast as the “Other” within systems of knowledge. The image of the witch became a convenient pretext for the witch hunts of the Middle Ages. But were these women merely imagined figures? Or were they knowledge practitioners who learned from plants and enacted their wisdom through embodied rituals—whose contours became blurred by oral transmission and the absence of historical record? The anthropomorphic image of the mandrake functions as a mirror of these submerged narratives, reflecting those unspeakable feminine forces and collective memories. In these rituals and myths, the relationship between humans and plants is not one of dominance and subordination, but one of co-dancing, forming a mode of existence as a “hybrid subject.” The mandrake is not merely an herb, nor simply a species under botanical taxonomy, but a spiritual being that carries&nbsp;history, energy, hallucination, and mystical perception. <img width="7618" height="5797" width_o="7618" height_o="5797" data-src="https://freight.cargo.site/t/original/i/d946e758304e1043cb926a86b4e1f83cb157a0859779995769f9ba16f4cbc6fd/All.jpg" data-mid="250238039" border="0" src="https://freight.cargo.site/w/1000/i/d946e758304e1043cb926a86b4e1f83cb157a0859779995769f9ba16f4cbc6fd/All.jpg" /><img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/89f3db0bac6519978a0604d3f910e493066c525f389a110be5ccd0e02f60d49d/ps-2.jpg" data-mid="250237924" border="0" src="https://freight.cargo.site/w/1000/i/89f3db0bac6519978a0604d3f910e493066c525f389a110be5ccd0e02f60d49d/ps-2.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/fc844e350be6620b3e2e3c98fab70912b88f8883fba1fc42e919b1f55a46ece8/ps-3.jpg" data-mid="250237946" border="0" src="https://freight.cargo.site/w/1000/i/fc844e350be6620b3e2e3c98fab70912b88f8883fba1fc42e919b1f55a46ece8/ps-3.jpg" /> ︎︎︎︎︎︎︎︎︎ https://liu-yu.net/Ladies Sat, 17 Jun 2023 16:22:39 +0000 LIU YU https://liu-yu.net/Ladies <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/091516c4ccdebf4cc68319a37d63a8249fd07d919747381c50ee8a84838dcfb3/Ladies-ANPIS-FOTO-.jpg" data-mid="182450801" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/091516c4ccdebf4cc68319a37d63a8249fd07d919747381c50ee8a84838dcfb3/Ladies-ANPIS-FOTO-.jpg" /> Ladies 2023 The Loves of the Plants written by naturalist and poet, Erasmus Darwin, in the 18 th century is a set of nature observation poetry based on a proposal made by Carl Linnaeus at the time, which classified plants based on their sexual characteristics. In the early stage of this plant taxonomy system, it was quite controversial to compare plant organs to human sex organs. However, this anthropomorphic way of imagining plants has become the foundation of today’s plant taxonomy. Through intricate biology observations, The Loves of the Plants presented the characteristics, senses, and desires of plants using anthropomorphic expressions, and female subjectivity was emphasized. The artwork, Ladies, presents a script adapted from three poems/three plants(Mimosa, Arum, and Cuscuta) written by Darwin and explores how humans perceived nature when this particular knowledge system was initially established. The content of this exploration is not intended as response to the age-old question of anthropocentrism; rather, emphasis is placed on tracing the driving force behind humans’ initial perception of the world. In the process of “seeing/perceiving/understanding”, human beings also carry out some kind of inner perceptual production, with imagination thereby evoked. The artists have pondered on the converging point of this driving force and the production of art, and they seek to use the three themes of senses, shapes, and narratives to construct Darwin’s imagination of plants. “Anthropomorphism” is based on an awareness that exploit all things, but it is also a biological instinct that empathizes with all things. &nbsp; <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/a54c32d28be7c03d0de4c4c37219b15d6cb8bdb9089cc4e90414873948174704/Ladies-ANPIS-FOTO--2.jpg" data-mid="182450806" border="0" src="https://freight.cargo.site/w/1000/i/a54c32d28be7c03d0de4c4c37219b15d6cb8bdb9089cc4e90414873948174704/Ladies-ANPIS-FOTO--2.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/de5221033277157d2a8116c7105147e6c9fdd62d4f2a6c1f4ef1572be3e2184d/20230414_Ladies_0283_Small.jpg" data-mid="182451877" border="0" src="https://freight.cargo.site/w/1000/i/de5221033277157d2a8116c7105147e6c9fdd62d4f2a6c1f4ef1572be3e2184d/20230414_Ladies_0283_Small.jpg" /><img width="643" height="815" width_o="643" height_o="815" data-src="https://freight.cargo.site/t/original/i/f4ee4e3a5d64f8130571fd6c05bbb4c4e0ab88fceff2a952931d97126249585c/-2023-06-18-9.35.58.png" data-mid="182451856" border="0" data-scale="59" src="https://freight.cargo.site/w/643/i/f4ee4e3a5d64f8130571fd6c05bbb4c4e0ab88fceff2a952931d97126249585c/-2023-06-18-9.35.58.png" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0161a708306189d09afb6b22b69e5079063f07c2482e4aa3822b83d03946c907/Ladies-ANPIS-FOTO-6.jpg" data-mid="182450802" border="0" src="https://freight.cargo.site/w/1000/i/0161a708306189d09afb6b22b69e5079063f07c2482e4aa3822b83d03946c907/Ladies-ANPIS-FOTO-6.jpg" /><img width="1235" height="1604" width_o="1235" height_o="1604" data-src="https://freight.cargo.site/t/original/i/2618fc1c42d2a05780728f06d82d58c1a8a4398681154077e8df02aa8902a7d5/Flickr_-_BioDivLibrary_-_n268_w1150_2.jpg" data-mid="182451873" border="0" data-scale="68" src="https://freight.cargo.site/w/1000/i/2618fc1c42d2a05780728f06d82d58c1a8a4398681154077e8df02aa8902a7d5/Flickr_-_BioDivLibrary_-_n268_w1150_2.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/1231d5ecb319acd72bc41c71c850e43e2bf81220ac196fec3aac2746b5cbe4ed/Ladies-ANPIS-FOTO--3.jpg" data-mid="182450807" border="0" src="https://freight.cargo.site/w/1000/i/1231d5ecb319acd72bc41c71c850e43e2bf81220ac196fec3aac2746b5cbe4ed/Ladies-ANPIS-FOTO--3.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/f79aaeefa26b7c60e58bcff2fcf4c7eddc24167c902726185db1d1cb612c94da/Ladies-ANPIS-FOTO--5.jpg" data-mid="182450809" border="0" src="https://freight.cargo.site/w/1000/i/f79aaeefa26b7c60e58bcff2fcf4c7eddc24167c902726185db1d1cb612c94da/Ladies-ANPIS-FOTO--5.jpg" /><img width="2000" height="1339" width_o="2000" height_o="1339" data-src="https://freight.cargo.site/t/original/i/998b4ea4c977e5a5f512e22d82b7dcfe30cf8b5ff03c266017428ee7924c4e17/Ladies-ANPIS-FOTO--9.jpg" data-mid="182450813" border="0" src="https://freight.cargo.site/w/1000/i/998b4ea4c977e5a5f512e22d82b7dcfe30cf8b5ff03c266017428ee7924c4e17/Ladies-ANPIS-FOTO--9.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/3d63325565f6a83c3f8092d339e87ee916e379b6b2056fe07aabd85f2640c1fe/Ladies-ANPIS-FOTO--8.jpg" data-mid="182450812" border="0" src="https://freight.cargo.site/w/1000/i/3d63325565f6a83c3f8092d339e87ee916e379b6b2056fe07aabd85f2640c1fe/Ladies-ANPIS-FOTO--8.jpg" /> ︎︎︎︎︎︎︎︎︎ https://liu-yu.net/Escape-Route Sat, 17 Jun 2023 15:33:15 +0000 LIU YU https://liu-yu.net/Escape-Route <img width="6190" height="4127" width_o="6190" height_o="4127" data-src="https://freight.cargo.site/t/original/i/796e52912b08e00d6dc0ab07dfcbdae07653153cdc9de36069a1605fbc2745ce/eT6A0857.jpg" data-mid="182399858" border="0" src="https://freight.cargo.site/w/1000/i/796e52912b08e00d6dc0ab07dfcbdae07653153cdc9de36069a1605fbc2745ce/eT6A0857.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0d7043f9e1bf66e834c0bb420ddb497137c36b93ae5a5fc60ae04102364826a1/-2021-11-03-9.57.08.png" data-mid="182399793" border="0" src="https://freight.cargo.site/w/1000/i/0d7043f9e1bf66e834c0bb420ddb497137c36b93ae5a5fc60ae04102364826a1/-2021-11-03-9.57.08.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/56b83d5ce0dcd925aa9c54d3a6f6b3d5cda9fc75472cb3b9af88ce09c4534196/-2021-11-03-9.59.48.png" data-mid="182399833" border="0" src="https://freight.cargo.site/w/1000/i/56b83d5ce0dcd925aa9c54d3a6f6b3d5cda9fc75472cb3b9af88ce09c4534196/-2021-11-03-9.59.48.png" /> <img width="4016" height="2256" width_o="4016" height_o="2256" data-src="https://freight.cargo.site/t/original/i/edca42f13174eae19e5ce0504750879bc87c12a4ca634bdd4a7c615efd9ed664/Escape-Route_03.jpg" data-mid="182399856" border="0" src="https://freight.cargo.site/w/1000/i/edca42f13174eae19e5ce0504750879bc87c12a4ca634bdd4a7c615efd9ed664/Escape-Route_03.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/69512593ddf4ad3d781e16c332cd9259b4212b4ce06f63fc788cfec58188b061/-2021-11-03-9.59.38.png" data-mid="182399832" border="0" src="https://freight.cargo.site/w/1000/i/69512593ddf4ad3d781e16c332cd9259b4212b4ce06f63fc788cfec58188b061/-2021-11-03-9.59.38.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/914921653622cd441f2f173504dd27aa668149be20bfa1b2029c3a2d8ea4ecfa/-2021-11-03-10.00.47.png" data-mid="182399834" border="0" src="https://freight.cargo.site/w/1000/i/914921653622cd441f2f173504dd27aa668149be20bfa1b2029c3a2d8ea4ecfa/-2021-11-03-10.00.47.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c41dec525a420de81f77ca4b508f77d0e2478e333d097b264e6afbf476ed325c/-2021-11-03-10.05.29.png" data-mid="182399835" border="0" src="https://freight.cargo.site/w/1000/i/c41dec525a420de81f77ca4b508f77d0e2478e333d097b264e6afbf476ed325c/-2021-11-03-10.05.29.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6cc6b437cb0f0a0b8ab9ec63acf9e9a13b0c4a5743b0b17d767c0f6aaa0c1a9e/-2021-11-03-10.06.32.png" data-mid="182399836" border="0" src="https://freight.cargo.site/w/1000/i/6cc6b437cb0f0a0b8ab9ec63acf9e9a13b0c4a5743b0b17d767c0f6aaa0c1a9e/-2021-11-03-10.06.32.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/21a4547b9eb785202085bee01389602d0ec4eb676d499f9f238a078b65c9bee2/-2021-11-03-10.10.00.png" data-mid="182399853" border="0" src="https://freight.cargo.site/w/1000/i/21a4547b9eb785202085bee01389602d0ec4eb676d499f9f238a078b65c9bee2/-2021-11-03-10.10.00.png" /> <img width="2699" height="1517" width_o="2699" height_o="1517" data-src="https://freight.cargo.site/t/original/i/a4868526612d5c84db62f61fe296bd291a331f3cfb803ff973c6f1ea95e9b1fd/Escape-Route_04.jpg" data-mid="182399857" border="0" src="https://freight.cargo.site/w/1000/i/a4868526612d5c84db62f61fe296bd291a331f3cfb803ff973c6f1ea95e9b1fd/Escape-Route_04.jpg" /><img width="4016" height="2256" width_o="4016" height_o="2256" data-src="https://freight.cargo.site/t/original/i/3e3c9cebd8a5155bd1c8e44c2b02617601fc298f0b3f2f3cf5cb2ae257ed8a97/Escape-Route_01.jpg" data-mid="182399854" border="0" src="https://freight.cargo.site/w/1000/i/3e3c9cebd8a5155bd1c8e44c2b02617601fc298f0b3f2f3cf5cb2ae257ed8a97/Escape-Route_01.jpg" /> ︎︎︎ https://liu-yu.net/If-Narratives-Become-the-Great-Flood Fri, 16 Jun 2023 15:07:28 +0000 LIU YU https://liu-yu.net/If-Narratives-Become-the-Great-Flood <img width="2200" height="1276" width_o="2200" height_o="1276" data-src="https://freight.cargo.site/t/original/i/52a12f7d44ffd762a2128283cf6a744f0db439f12e2dac49fd36aa24c8ec45a6/0C2A6312.jpg" data-mid="182311184" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/52a12f7d44ffd762a2128283cf6a744f0db439f12e2dac49fd36aa24c8ec45a6/0C2A6312.jpg" /> If Narratives Become the Great Flood 2020 The Great Flood is regarded as a common myth in numerous cultures in the world. There are records of floods found in 254 ethnic groups and 84 languages. Regarding the eternal statement of human death and rebirth, the Great Flood is always believed as the most representative myth among all these catastrophes. As rivers converge into the sea, these detailed and continuous narratives of myth have been accumulated by day and night over years. Despite the dissemination through oral and written languages that vary and transform throughout generations, they all carry a similar and complete structure of narrative This project tries to explore and capture certain common characteristics of narration among “myth”, “consciousness” and “contemporary image” , merging into a dreamlike script with fluidity of consciousness, through a fragmental, repetitive, and deconstructing structure of narratives. The contemporary images are applied as the metaphor of various forms and symbols of ancient myths, in an attempt to reconstruct the way how we perceive the world in the modern era. In this sense, “If Narratives Become the Great Flood” does not intend to explore further about the authenticity and meaning of the myth of flood. The genre of narrative of “The Great Flood” is considered as the tree-like species classification of taxonomy in the modern era. The dissemination of how the myth creates all of the creation in the world is as how the flow of river from the mainstream into different branches of regions. <img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/dcf35f2172c02e257b5cca7444b561b12544c0689617b993853ffbd4b9f9616e/0C2A6140.jpg" data-mid="182311088" border="0" data-scale="93" src="https://freight.cargo.site/w/1000/i/dcf35f2172c02e257b5cca7444b561b12544c0689617b993853ffbd4b9f9616e/0C2A6140.jpg" /> <img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/9a36c00ad5750303657cc59847f53becd85e86e7848e15f3e46a683f6c0274c0/.jpg" data-mid="182314081" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/9a36c00ad5750303657cc59847f53becd85e86e7848e15f3e46a683f6c0274c0/.jpg" /> <img width="2000" height="1306" width_o="2000" height_o="1306" data-src="https://freight.cargo.site/t/original/i/a301ac305d5ecc9b0a2396c6258613ebb0da79916f2ed6fa484c069348e94aa3/0C2A6327.jpg" data-mid="182311186" border="0" src="https://freight.cargo.site/w/1000/i/a301ac305d5ecc9b0a2396c6258613ebb0da79916f2ed6fa484c069348e94aa3/0C2A6327.jpg" /> <img width="2200" height="1150" width_o="2200" height_o="1150" data-src="https://freight.cargo.site/t/original/i/afd873b100d6c688917a3979608adb7f0b706752e0dcb0463eba54a2ea4bd7a7/0C2A6151.jpg" data-mid="182311181" border="0" src="https://freight.cargo.site/w/1000/i/afd873b100d6c688917a3979608adb7f0b706752e0dcb0463eba54a2ea4bd7a7/0C2A6151.jpg" /> <img width="2200" height="1243" width_o="2200" height_o="1243" data-src="https://freight.cargo.site/t/original/i/38c5ea5317dbf82f618b54e83c1d7b9c26215988bb4ebb7e34b24c59423d82f3/0C2A6198.jpg" data-mid="182311182" border="0" src="https://freight.cargo.site/w/1000/i/38c5ea5317dbf82f618b54e83c1d7b9c26215988bb4ebb7e34b24c59423d82f3/0C2A6198.jpg" /> ︎︎︎ https://liu-yu.net/Caecus-creaturae Fri, 25 Oct 2019 13:21:13 +0000 LIU YU https://liu-yu.net/Caecus-creaturae <img width="5120" height="2880" width_o="5120" height_o="2880" data-src="https://freight.cargo.site/t/original/i/d2fed91b07d7910dc470a8b4047c59efcbad931fbdda67cb37c7296b2228270e/-2019-03-22-11.20.35.jpg" data-mid="53399471" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/d2fed91b07d7910dc470a8b4047c59efcbad931fbdda67cb37c7296b2228270e/-2019-03-22-11.20.35.jpg" /> Caecus creaturae. 201932’53” &nbsp;27’37”Two Channel Sound/Video Installation, color, stereo, 24 Acrylic Drawing Georgo Eberhard Rumphius (1627-1702) was a biologist employed by the Dutch East India Company in the 17th century, his important work Herbarium Amboinense covers up to 1,200 botanical species, 930 with definite species names, laying the biological groundwork of Maluku, Indonesia. The extensive research data left by Rumphius also indirectly led to the formalization of Carl von Linné’s binomial nomenclature. Some supporters even believe that Linné had stolen Rumphius' research. This era of big nomenclature became the beginning of species documentation and has evolved into the scientific basis of our current understanding of plants and animals. In contrast with other biologists, Rumphius became completely blind due to glaucoma in 1670, but was able to continue his research work on species. If we look at Rumphius' descriptions of plants in his notes, we would realize that he used a large number of comparisons to describe species, including olfactory and tactile ones, and he even described plants with human personalities. By using a personal and perceptual interpretation to remember, map and document these creatures, he had created another kind of abstract database in his mind. The Cabinet of Curiosities is a collection of Liu Yu’s research and extended interpretations of Rumphius from 2018 to the present, including documents on Rumphius, dozens of drawing exercises, and two documentaries. The text of the drawing exercises is from Rumphius' book The Ambonese Curiosity Cabinet, in which the forms of the species are transformed into abstract textual descriptions. Liu Yu attempted to retransform Rumphius' adjectives into images. Liu's study of Rumphius does not focus on the reorganization of natural history, but on capturing a certain way of interpreting the world by human beings. Comparing the world we know after the scientific era and the world of primitive cultures, is there still some kind of sensibility interwoven in the way people interpret everything? In either cultural system, the process of "knowing the world" requires another kind of reverse productive activity: the explosion of imagination, which is also some kind of original state when art is created. No matter how hard we try to depict more things in this world, whether through "comparisons," "personification," or "metonymy," we still fail to describe what makes humans frenzy. <img width="1000" height="563" width_o="1000" height_o="563" data-src="https://freight.cargo.site/t/original/i/38ff46b607d7de27a8ca7a2c11a37dbeda410652cbb5c53aa073a7f4b4c546c4/-2019-04-21-8.58.14.png" data-mid="53399591" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/38ff46b607d7de27a8ca7a2c11a37dbeda410652cbb5c53aa073a7f4b4c546c4/-2019-04-21-8.58.14.png" /> <img width="3000" height="1687" width_o="3000" height_o="1687" data-src="https://freight.cargo.site/t/original/i/d65cb4d861cc4f878ecaa102bc183053805e91157762ffcf992d9982c7f6fe31/--.png" data-mid="53399677" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/d65cb4d861cc4f878ecaa102bc183053805e91157762ffcf992d9982c7f6fe31/--.png" /> <img width="4000" height="2250" width_o="4000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/c7f52a8ee9a9cde501af010642be0df428131c1252a18d5ea3d6b0217cd10ff0/-2019-04-21-9.11.31.png" data-mid="53399697" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/c7f52a8ee9a9cde501af010642be0df428131c1252a18d5ea3d6b0217cd10ff0/-2019-04-21-9.11.31.png" /> <img width="3680" height="2760" width_o="3680" height_o="2760" data-src="https://freight.cargo.site/t/original/i/a0fb5cfffe39bce7a066b4c18f058f704eb2c83524c64250653d638fbd9ceea7/P1004192.jpg" data-mid="188394734" border="0" src="https://freight.cargo.site/w/1000/i/a0fb5cfffe39bce7a066b4c18f058f704eb2c83524c64250653d638fbd9ceea7/P1004192.jpg" /> <img width="3545" height="2760" width_o="3545" height_o="2760" data-src="https://freight.cargo.site/t/original/i/743ed10717c5fea5a17ad3c4623378333824f32a2f3947849069fd5dcb23f7c9/P1004278.jpg" data-mid="188394736" border="0" src="https://freight.cargo.site/w/1000/i/743ed10717c5fea5a17ad3c4623378333824f32a2f3947849069fd5dcb23f7c9/P1004278.jpg" /><img width="3569" height="2524" width_o="3569" height_o="2524" data-src="https://freight.cargo.site/t/original/i/be5091eb613a242ca4f270c42d4588d1ca068b5cf3a1c3a01e454b0dc82fc12c/P10041221.jpg" data-mid="188394740" border="0" src="https://freight.cargo.site/w/1000/i/be5091eb613a242ca4f270c42d4588d1ca068b5cf3a1c3a01e454b0dc82fc12c/P10041221.jpg" /> ︎︎︎ https://liu-yu.net/The-history-of-the-concave-and-the-convex Thu, 16 Aug 2018 04:22:42 +0000 LIU YU https://liu-yu.net/The-history-of-the-concave-and-the-convex <img width="1000" height="652" width_o="1000" height_o="652" data-src="https://freight.cargo.site/t/original/i/eb8f2820582eced9035a50ba4f859164529ace3acfe0f51ef03f264f334ae636/5-1.jpg" data-mid="22501814" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/eb8f2820582eced9035a50ba4f859164529ace3acfe0f51ef03f264f334ae636/5-1.jpg" /> Salvation Mountain&nbsp; 2018 23’54” Three Channel Sound/Video Installation, color, stereo The history of the concave and the convex Concave and convex are like two sides of the same mirror, seemingly contradictory yet complementary. Around 160 years ago, there rose a gold rush in the west of the U.S. To meet the demands of development and mining, Chinese labors were sent to the sites, away from home one group after another, building linear settlements on the dry continent out of thin air. As the gold mine went depleted in just decades, these labors hit the road again, part of whom came to Taiwan eventually, trying to get by in the modernized railway construction in the late Qing Dynasty. Those who knew gold panning technique found sand gold while building an iron bridge, and set in motion a fever for gold mining in the regions of Jinguashi and Jiufen along the way. The history repeats itself, nevertheless, as “Dacukeng”, the once prosperous mining settlement, was also gone in the wind after the depletion of gold vein in the 70s of the twentieth century. The ghost towns in the west of USA and the ruins in Jinguashi and Jiufen of Taiwan are bound together across the differences in culture and times by the yearning for gold mine. This solo exhibition of Liu Yu, The history of the concave and the convex, is thus born as a result. The artist unveils the hidden pages in history through the people, bits and pieces left behind, in an attempt to carve out the “equivalent” that strings up the yearns. The solo exhibition of Liu Yu this time consists of two 3-channel videos, two interview footages, a series of private collections, and a booklet. The exhibition’s narrative embarks from the United States, following the ghost towns left behind by the gold rush in the West in the 19th century, all the way to the rise and fall of the mining settlement in Jinguashi and Jiufen of Taiwan in 20th century. There is a timeline in the exhibition, which is not a chronologically straight line, however. Instead, it is more of a sewing thread in an attempt to connect bits and pieces of memories in the American West and Taiwan. The fragments of these memories are embedded on the minds of the wanderers on the roadside, savages in the mountains, residents remaining in the ghost towns, and the descendants after the village has perished. Liu Yu made efforts capturing these traces that will fade away in time. The booklet in the exhibition is like a book of long footnotes, being not only an information supplement regarding the people, things, and objects in the videos, but a profiling along Liu’s process of creation. The video The Stone Player filmed a tramp sitting on the beach of Santa Monica, dedicated to the arrangement of the stones in front. Even when the artist approached, trying to have a conversation, there was barely anything that could be called as such. His simple and repetitive behavior demonstrated that these stones in different sizes meant much to him. His dedication is the beginning of all narratives, shedding light to the interrelationship between Man and objects across time. Next, Salvation Mountain, a sophisticated 3-channel video that utilized drones, floor projection, and animations, comes into view. Displaying the enormity of mine pit and the desolation of ghost towns with vast projection on one hand while altering the physical experience of the audience that enter the space with floor projection on the other, the visual effect manifests the immensity of the American continent and implies the former glory the ghost towns used to enjoy, and that although mining can drastically change the landscape, the picture of white snow covers all these man-made traces. There are three figures in the only animation with conversation in the same set of works: a pioneer, a bus traveler, and a drone. These three movers from different times and with different agendas reveal some clues to the people come and go on these territories, so as to allow audience to get close to the history, whereas the ghostly conversation of these three voices foreshadows the films that follow. There comes the section where the story of Jinguashi and Jiufen is told. Nameless combines gauze screen projection and two screens, subtly echoing the worlds of yin and yang in the film via the textures of the mediums being projected onto. The abandoned mine pit at Dacukeng is not as desolate as the ghost towns in the American West. There is still a mountain savage nicknamed as village head in the abandoned building watching over, and the apparitions guarding the pit will summon their subjects to pay respects from time to time. Compared to the confessions made by the three fictitious characters in the animation earlier, the figures and audience of Nameless and Notes on the Stones belong to the same space-time. Their obsessions with “object” are more authentic. Through the collection and the interpretation of the work, people’s emotions and projections toward objects are vividly exposed. Such emotional projection becomes yet another clue in the exhibition: despite of the difference in the things pursued, people prone to have hope for the good things in their own imagination. Be it the people ventured into the wild west for gold over a hundred years ago or the laborers leaving their home behind, fighting for a higher pay, or even the common folks nowadays that collect stones and drift woods, the forms may change on the outside every now and then, but the idea of “trying to possess” remains the same on the inside. The Chinese characters for “Concave” and “Convex” in the title The History of the Concave and the Convex appear in opposite shapes. Yet, they are interrelated or even complementary to each other, illustrating the tight connection in between these seemingly unrelated locations, people, events, and objects. The behavior of humans bestows unique meaning upon certain ores in the Nature. Such act of bestowing gives rise to pursuits of all sorts. The History of Concave and Convex is the very project that unfolds around these “traces” left behind by the pursuits. It is an observation on sections of time from diverse angles as well as a skeptical inquiry into those taken for granted. <img width="1000" height="563" width_o="1000" height_o="563" data-src="https://freight.cargo.site/t/original/i/8a922c45778844eb75d77eb4f95df6f750b33ac690c7761da254eb4b0e7ad6fa/.png" data-mid="22501809" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/8a922c45778844eb75d77eb4f95df6f750b33ac690c7761da254eb4b0e7ad6fa/.png" /> <img width="1000" height="563" width_o="1000" height_o="563" data-src="https://freight.cargo.site/t/original/i/2f9ab5ef67736de4ab94b2af47b7121ed9e476c1e00bdb016965a8b616e0fdd0/2.png" data-mid="22501811" border="0" src="https://freight.cargo.site/w/1000/i/2f9ab5ef67736de4ab94b2af47b7121ed9e476c1e00bdb016965a8b616e0fdd0/2.png" /> <img width="1000" height="563" width_o="1000" height_o="563" data-src="https://freight.cargo.site/t/original/i/2682af7c1d340b49d1c87c53ba253c381884e7a27da537da640068d09ad241d8/salvation-mountain-3d-model-1.png" data-mid="22501813" border="0" src="https://freight.cargo.site/w/1000/i/2682af7c1d340b49d1c87c53ba253c381884e7a27da537da640068d09ad241d8/salvation-mountain-3d-model-1.png" /> <img width="1000" height="503" width_o="1000" height_o="503" data-src="https://freight.cargo.site/t/original/i/c718cac09fbd4b8031e55a35d41a17974c33d00115663a8ea7359dc75014ea2a/mining-pit-3d-model-2.png" data-mid="22501823" border="0" src="https://freight.cargo.site/w/1000/i/c718cac09fbd4b8031e55a35d41a17974c33d00115663a8ea7359dc75014ea2a/mining-pit-3d-model-2.png" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/e5996448e2d643f9bfd963fdcae79c922d3d95dd0681173973fdfda3a4eab5da/east-jesus.JPG" data-mid="22501822" border="0" src="https://freight.cargo.site/w/1000/i/e5996448e2d643f9bfd963fdcae79c922d3d95dd0681173973fdfda3a4eab5da/east-jesus.JPG" /> <img width="892" height="1276" width_o="892" height_o="1276" data-src="https://freight.cargo.site/t/original/i/bf53e2ad610e3c97559ed1d08bfae68ef58bf6e4cdae6472b187e1208e65286d/37892021_10160566653780576_2356909891190259712_n.jpg" data-mid="22501808" border="0" src="https://freight.cargo.site/w/892/i/bf53e2ad610e3c97559ed1d08bfae68ef58bf6e4cdae6472b187e1208e65286d/37892021_10160566653780576_2356909891190259712_n.jpg" /> <img width="1000" height="697" width_o="1000" height_o="697" data-src="https://freight.cargo.site/t/original/i/b75810b877e7afbe72d726a1ba6e3e039dafca0acb4e1fce449f740bbf53cfbd/Bus-map-1.jpg" data-mid="22501818" border="0" src="https://freight.cargo.site/w/1000/i/b75810b877e7afbe72d726a1ba6e3e039dafca0acb4e1fce449f740bbf53cfbd/Bus-map-1.jpg" /> <img width="1000" height="642" width_o="1000" height_o="642" data-src="https://freight.cargo.site/t/original/i/8b132f42da0574db3dd03836b1b50f12cb01fa92ac8e6c6b06f3575179282285/drone-map.png" data-mid="22501821" border="0" src="https://freight.cargo.site/w/1000/i/8b132f42da0574db3dd03836b1b50f12cb01fa92ac8e6c6b06f3575179282285/drone-map.png" /> <img width="1000" height="622" width_o="1000" height_o="622" data-src="https://freight.cargo.site/t/original/i/0c3587d6c6104e7063cb02652f0445eb77aa0e07db17481718f32e72b5d71897/1848-Map-of-the-United-States-that-accompanied-President-James-K.-Polks-annual-message-to-Congress-Compromise-of-1850--c.-1848--Records-of-the-U.S.-House-of-Representatives--National-Archives.-.jpg" data-mid="22501816" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/0c3587d6c6104e7063cb02652f0445eb77aa0e07db17481718f32e72b5d71897/1848-Map-of-the-United-States-that-accompanied-President-James-K.-Polks-annual-message-to-Congress-Compromise-of-1850--c.-1848--Records-of-the-U.S.-House-of-Representatives--National-Archives.-.jpg" /> <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/36e9024310d1b875fe4f9252b6dba08cbfb81a171215bed5740f66caf5a306f9/cover1.jpg" data-mid="22501820" border="0" src="https://freight.cargo.site/w/1000/i/36e9024310d1b875fe4f9252b6dba08cbfb81a171215bed5740f66caf5a306f9/cover1.jpg" /> The history of the concave and the convex A book by LIU Yu Edited and proof-read by Zoe YEH and WU Sih-Chin Translated by WU Nai-fe Designed by Shauba CHANG <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/ab6d08c92d4a3fb758acdf8cdb175e892e0c535f689451f22a28fc2c8a83f82e/2-1.jpg" data-mid="22501824" border="0" src="https://freight.cargo.site/w/1000/i/ab6d08c92d4a3fb758acdf8cdb175e892e0c535f689451f22a28fc2c8a83f82e/2-1.jpg" /> Notes on Stones&nbsp; &nbsp; 2018 Philosopher’s Stone, Courtesy of Lai Zhi-Xian, collected since 1998 Stone Series, Wu Wen-Xiong, 2008 Flotsam Series, Wu Wen-Xiong, 2013 Coral Series, Wu Wen-Xiong, 2016 Minerals, Courtesy of Lin Jing-Long, collected since 2018 <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/6e5f81623b9988533d0a7aa6d1dc23ad85fab36eab2b7062ebcbaf3702f83b4c/4-1.jpg" data-mid="22501825" border="0" src="https://freight.cargo.site/w/1000/i/6e5f81623b9988533d0a7aa6d1dc23ad85fab36eab2b7062ebcbaf3702f83b4c/4-1.jpg" /> The Stone Player&nbsp; 2018 04’22” Single Channel Video Installation, color, 2018 ︎︎︎ https://liu-yu.net/Nameless Wed, 15 Aug 2018 05:56:11 +0000 LIU YU https://liu-yu.net/Nameless <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/8580f9437e95af80a3640c8e7a5e203fc0af86c37888d1a7e9f48bef9fc98ace/01.JPG" data-mid="22501827" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/8580f9437e95af80a3640c8e7a5e203fc0af86c37888d1a7e9f48bef9fc98ace/01.JPG" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/9639e0ede2afe4f910f3c9b67fea1d6c9da317ff79aa08e328f8b97669d70c26/02.jpg" data-mid="22501829" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/9639e0ede2afe4f910f3c9b67fea1d6c9da317ff79aa08e328f8b97669d70c26/02.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/48579ec608a7037830984fa515ef3f0fa7962f2b5632ead4514e210aa2e9c3d8/03.JPG" data-mid="22501830" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/48579ec608a7037830984fa515ef3f0fa7962f2b5632ead4514e210aa2e9c3d8/03.JPG" /> &nbsp; Nameless 2017 13’44” Three Channel Sound/Video Installation, color, stereo Oral history is a method for collecting historical evidence based on people’s memory. By interviewing the witnesses who personally experienced the historical events in question, it makes the records more comprehensive and believable. However, the interviewees may recount something surreal beyond general understanding according to their personal affections, believes or mental states. In comparison with the systematically compiled "official history", are these invisible or even fictional oral expressions closer to personal real-life experiences?This is an abandoned mountain town located in the Shuijinjiu area where silvergrassis thick on the ground with high ambient humidity. Since its abandonment in 1979, many people have visited this place with sundry personal reasons. By reference to the interviewees’ dictation, this video seeks to reconstruct their fictional or real-life experiences of the historical, geographical and interpersonal contexts of this place. Since the place becomes an invisible image, it’s not necessary to know the names. <img width="2560" height="1522" width_o="2560" height_o="1522" data-src="https://freight.cargo.site/t/original/i/0357e9e5f1af01c5fe8b04cd042f1e66de15bea553dd8f5970a4ef7f32cd1c98/-2018-08-16-11.22.28.jpg" data-mid="22550172" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/0357e9e5f1af01c5fe8b04cd042f1e66de15bea553dd8f5970a4ef7f32cd1c98/-2018-08-16-11.22.28.jpg" /> <img width="1781" height="1125" width_o="1781" height_o="1125" data-src="https://freight.cargo.site/t/original/i/e9a7e87f771400fc5f00a82f2549fc025d24afb3fabbce5d4224b0fcb1e76259/-2018-08-16-11.22.36.jpg" data-mid="22550173" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/e9a7e87f771400fc5f00a82f2549fc025d24afb3fabbce5d4224b0fcb1e76259/-2018-08-16-11.22.36.jpg" /><img width="2560" height="1521" width_o="2560" height_o="1521" data-src="https://freight.cargo.site/t/original/i/da3f8064194ea2c0a8afa525edfb084ec64bbf57107c6eea2f5873f87a21aaaa/-2018-08-16-11.24.39.jpg" data-mid="22550174" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/da3f8064194ea2c0a8afa525edfb084ec64bbf57107c6eea2f5873f87a21aaaa/-2018-08-16-11.24.39.jpg" /> 名字不為人所知 201713’44”影音裝置、三頻道播放、彩色、雙聲道 口述歷史是一種搜集歷史的方法，以人的記憶作為依據，訪問曾經親身活於歷史現場的見証人，讓歷史更全面、更接近具體的歷史真實。但在這些口述的對象中也依著每個人的個人情愫、信仰、甚至是精神狀態，講述的內容會出現許多脫離一般認知之外的超現實狀態。但相對於篩選過後的「正史」，這些不可見的、甚至是虛擬的個人敘述是否更貼近「個人史」的經驗真實？ 這是一座廢棄的山城，座落於金九地區潮濕且芒草遍野的山區，從六十八年廢棄至今的期間，有許多人帶著不同的個人因素來到此地，影片中透過這些人的口述來建構此地的歷史情節、地理環境、人際網絡等各種虛擬或真實的經驗。而當地點成為不可見的影像，名字也不需為人所知了。 ︎︎︎ https://liu-yu.net/Somehow-I-feel-relaxed-here Wed, 15 Aug 2018 05:45:44 +0000 LIU YU https://liu-yu.net/Somehow-I-feel-relaxed-here <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6f1f72a7ebecc01ba848aeb73e3bc2cd2e9ee914b0ca8eb9720a41037c80321d/01.jpg" data-mid="22501832" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/6f1f72a7ebecc01ba848aeb73e3bc2cd2e9ee914b0ca8eb9720a41037c80321d/01.jpg" /><img width="2000" height="1121" width_o="2000" height_o="1121" data-src="https://freight.cargo.site/t/original/i/e5d03c6474e73d5dca40a1d26c4a1f0f782c19478ca9a5934c2deb73a677a09e/02.jpg" data-mid="22501834" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/e5d03c6474e73d5dca40a1d26c4a1f0f782c19478ca9a5934c2deb73a677a09e/02.jpg" /><img width="2000" height="1123" width_o="2000" height_o="1123" data-src="https://freight.cargo.site/t/original/i/a0d736e901e28a3b21cfcda6e00045c797c99ad5ff5deb15ca4c983cab1609b9/03.jpg" data-mid="22501836" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/a0d736e901e28a3b21cfcda6e00045c797c99ad5ff5deb15ca4c983cab1609b9/03.jpg" /> Somehow I feel relaxed here 2017 12’52” Single Channel Sound/Video Installation, color, stereo <img width="8479" height="4754" width_o="8479" height_o="4754" data-src="https://freight.cargo.site/t/original/i/eea69d70f628c6f02009ea49db074ddabe58f18f295ae049814c507604d76612/4-1.jpg" data-mid="22550940" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/eea69d70f628c6f02009ea49db074ddabe58f18f295ae049814c507604d76612/4-1.jpg" /> <img width="4052" height="2282" width_o="4052" height_o="2282" data-src="https://freight.cargo.site/t/original/i/04fad748666c80c3d199e2ae5592b8295cfd6a40be376d292cb7128e2e9e6731/3-1.jpg" data-mid="22550939" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/04fad748666c80c3d199e2ae5592b8295cfd6a40be376d292cb7128e2e9e6731/3-1.jpg" /> 在這裡我覺得還蠻放鬆的2017 12’52” 單頻道播放、彩色、雙聲道 作品於宜蘭五結的中興紙廠拍攝，中興紙廠於1935年日本時期建立，經過了二戰時期美軍轟炸、國民政府接管，到後來漸漸產業沒落，最後成為一座荒廢的廠房。從空襲倖存者、城市探索者、youtuber口述中引導著我們進行了一趟旅程，在我們所站之地（中興紙廠）展開了一系列空間與當代影像身體的對話。空間做為人類意識的居所，帶著不同原因與目的來到此地的人們，必然對此空間有著各自詮釋的語言與相貌，而影像如何在不同時空經驗之中，交織出具敘事結構的共享狀態，闡述人們如何使用個體語言，反向的從意識層面去建構空間。 ︎︎︎