YMA: China, Japan, and Korea

TASML organized the Chinese young media artists’  participation in the exhibition SENSE SENSES at Incheon International Media Art Festival, which brings together and showcases (YMA) Young Media Artists from China, Japan and Korea. The Festival ran from  September 1 to September 30 2010 in Tomorrow City, Incheon, Republic of Korea.

Sense Exercise

Curated by ZHANG Ga

The development of digital technologies has unequivocally expanded the horizons of technical media of expression to engage our entire sensorial faculties as sites of artistic inquiry, at the same time reinforcing our perceptual encounters with the external world with an augmented intensity. Sensing technologies along with other digitally enabled tools are therefore at the core of our relationship with the extended body space and the mediated human sphere.

Through an exemplary body of works that appropriate as well as question various types of sensing systems and feedback mechanisms and investigate the materiality of digital media and its multiple manifestations, this exhibition examines the ways in which young media artists seek to reevaluate a spatial / temporal duality and to examine the reconfiguration of our social relationships and behavioral patterns in a pervasively technological society.

These sensitive devices and systems embodied in objects and insinuated into responsive environments or experienced in ephemeral and temporal settings conjure our sensorium through haptic and physiological manipulation as seen in WU Juehui’s performative works USB Organs and Countdown. TIAN Li and ZHANG Liaoyuan’s explorations into the two sides of the digital psyche reveal psychological and perceptual intrigue. Misalignment explores media’s capacity to render parallel and evocative memories implied in surveillance-style recycling of live captured images and 0-255 strips to its barebones digital coloration by isolating and illuminating one single pixel in the RGB spectrum extracted from an entire feature length film. GUO Xi, on the contrary, imbues a Duchampian sense of irony and humor in his frantic rhyme of electronic tap dance (I Would Like To Satisfy Your Foot Fetishism In Such A Way, Even) while LU Yang plunges our senses into an uneasiness that is both visceral and concealed by transcribing a hair-raising neuronal operation equipped with fantastical machinery into harmless two-dimensional printouts, suggesting as well as erasing the technological cruelty. SHI Chuan invites us to venture into the many possibilities of digital hallucination, twisting our tactile and perceptive faculties. Finally, in Breathing Series, WANG Yuyang sets out to make alive the inorganic with puffed hopes and measured inhaling, a desire that has long been man’s fantasy that seems to have claimed legitimacy as our senses expand and as advancement of technology consistently reshuffles our understanding of reality and our relationship with the physical and the fantastical.

The Chinese component of this exhibition features works by artists between the ages of 24 and 30, most of whom are recent graduates, alumni and young faculty members from two media art programs in China: the Information Art and Design of the Academy of Arts and Design, Tsinghua University and the New Media Art Department of China Academy of Fine Art. The works are fresh and ample with wit and intellect, imaginative and inspiring.

Although seemingly unanimously congenial in their technological appearances, the works in this exhibition, selected from artists in China, Japan and Korea, unveil their distinct sensibilities and modes of thinking, making the “sense exercise” simultaneously many senses, a way to understand differences, and in differences there are multiplicities and possibilities.


USB Organs
2010
Performance with Media: Mask, HMD, USB Camera, USB Mic.
By WU Juehui

A person whose organs have evolved into USB Organs (sockets) is connected to cameras, microphones and speakers as sensory substitutes to feel his existence. If a future human being may not need a corporal body, at least his / her organs can be exchanged with electronic devices. We anticipate our body as a universal plug / sockets that can be utilized at any moment and at any place.

The performer wears a helmet that is equipped with a head mounted display and a microphone. A USB camera and microphone are also connected to the helmet, which function as tentacles to sense the external world. The performer experiences temporal and spatial dislocation via a pre-configured duration of time-lapse which determines the time difference caused by the two time streams: time obtained through the audio-visual senses within the helmet and the time projected from outside the helmet.

Countdown (5 min. Ostrich)
2009-2010
A time based experience / installation
By WU Juehui

This is a time-experience machine that restricts the participant through a mandatory rule of the game: time lock. A participant inserts his / her head into the cutout hole which is constructed to be a semi-soundproofed dark space, the countdown timer starts immediately and the red digital countdown signal ticks every second until it reaches a duration of 5 minutes, the time locker then releases itself to free the participant. During the countdown time, the participant cannot interrupt the program, unless by pressing the emergency button to escape.

Page last updated on 十月 15, 2010 at 2:44 下午