#魅娓道來 #video #sound #montage #emotions #movingimage #ambience
She is never alone, even though she sometimes prefer to be alone.
They are here, always here.
They. You know.
Foucault (1978 p. 93) stated: ‘Power is everywhere; not because it embraces everything, but because it comes from everywhere.’
Surrounded by voices telling us what is right, what is wrong, who’s better, who’s worse, which is true, which is false – in the rhizome of truth and post-truth, everyone can have a say about everything. We listen, ignore, adapt, resist and compromise in the hyper-narrative world.
As a female in the society, under the influence of the world full of judgements – mother thinks women should not date a certain type of men, in-laws think women should be a mother, KOLs blog about what women should wear, talkshows criticise certain belief, commercials tell women what kind of lives they should live, random Facebook friends theorise their idea of the perfect girlfriend… from traditions to social media, we never stopped withstanding. In Foucaultian terms, the struggle against power is inevitable, wherever economic processes, knowledge relations, and sexual relations exist, struggle exists.
Phantoms of 20C takes us for a journey to the haunting experience of living with the v/noises of the world. Immersed in the sea of critiques, it is tiring to go against the current. When tried to catch a breath, the waves slap one’s face; sometimes they hit one so hard she passes out in the water and drown.
The flow of images and sound juxtaposed in the work depicts a representation of a mental condition of a person, who lives in Flat 20C, a 40-year-old apartment in Hong Kong. With an intention to visualise the tension between internal thoughts and the external world, the video plays around with texture and layering, sometimes the same motifs are shot under different effects and conditions, overlapped with one another and shown in different colors or temporal speeds, and then appear in different stage of the video; while the sound is composed of non-signifiable samples mixed from recordings of various sources that a person experience in her daily life, the sound is made to loop in one’s head and hold one spellbound. The heavily-textured images and sound, when put together, intensify the sense of ambiguity to waltz between reality and illusion, which are interwoven to become a mysterious and unexpected dialogue that leads a journey into darkness, and swirls through an experiential transformation.
Moving images as medium communicates in ways similar to some forms of mass media, audience are familiar and receptive to them. The single-channel work responses to the post-truth, post-democracy world that we situate, in a medium that suggests one of the channels that contribute to the over-political world, it confronts the inappropriate power acted on women, where the criticism is represented in not only in the content but also in its medium.
Foucault, M 1978, The History of Sexuality Volume 1: An Introduction, Pantheon, New York
TRAILER / EXCERPT
2017 “Orientations in video art: mapping the ‘before’ & ‘after’ of a work”, Floating Projects, Hong Kong
2017 “Orientations: Boundaries Surveyed”, Asia Forum, EXIS, Korea
Coverage / Extended readings: