Rebuilding The Rights of Pyramid

屏幕快照 2018-08-23 下午8.27.58《井口》 (1)《井口》 (6)《井口》 (2)


Rebuilding The Rights of Pyramid

2017

Site-specific Installation: Jingming Road, Shanghai


重塑金字塔的权利

2017

定点装置:上海市景明路

 

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Screenect VII: The Great Wall In Countryside


Screenect VII: The Great Wall In Countryside

2017

Video (1920*1080)

Outdoor movie used to play a great social and historical role in the cultural construction of new China. It was the only public entertainment in people’s labor life as well as a great way for the popularization of agricultural science and an ideology tool for the country to establish spiritual barriers. It is the first thing entered rural cultural market in the new period, but finally became unpopular after temporary success. It is the most fantastic part in the memory of the old generation and an absent “movie state” for the young generation.

The four young people hope to get memories about outdoor movies described by Chinese writers like Su Tong and Bayin Boluo through replaying outdoor movies. This video has recorded our whole journey with three screens and make the audience experience the charm of outdoor movies through reappearing real audio-visual feelings.


银幕通讯 VII:乡野长城

2017

影像 (1920*1080)

露天电影曾在新中国文化建设中产生过巨大的社会历史作用,它是劳动生活中唯一的公共娱乐,是普及农科的利器,更是国家建立精神壁垒的意识形态工具;它在新时期率先进入农村文化市场,经过短暂辉煌之后便归于沉寂;它是老一辈人记忆中最梦幻的部分,也是新一代年轻人心中空缺的“电影状态”。

四位年轻人期冀于重新放映露天电影,以此来收获苏童、格非、巴音博罗等中国作家笔下,关于露天电影的银幕记忆。这部短片以里外3个银幕记录我们此行的全部经历,并通过还原真实的视与听感受,带领观众感受露天电影的魅力。

Screenect IV: Film Censorship

 

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Screenect IV: Film Censorship

2017

4-channel video(1920*1080) (15”)

Abbas Kiarostami, Zhang Yimou, Lee Chang-dong and Apichatpong Weerasethakul are the four film authors who face the heart and are “international representatives” of the film industry in Iran, South Korea, China and Thailand. They have different views and approaches to film censorship. Through the simulation of a dialogue scene, we present four directors on four screens, and let cuts, black screen, silence, silence and other symbols of censorship intervene on the screen. In addition, the audience and its cross-dimensional “Q&A” were used to complete the thesis study of Asian film censorship.


《虚拟谈话:电影审查》

2017年

四屏影像装置(1920*1080)(15分钟)

如果伸手是为了感知存在,那么创作者的每一次题材都是在探索边界。阿巴斯、李沧东、张艺谋、阿彼察邦四位导演既是面对内心的社会观察者,也是面向制度与观众的创作者。他们对于各自当局的审查制度有着不同的和谐与博弈。我们通过虚拟了一个现场,黑屏、禁声的画面介入了四位导演身份,将角色引入了一个局面——在展厅里的谈话现场对话学生:制度、自由与创新的内在机理。欢迎,阁下大驾光临。

Watching

 

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Watching

2017

Film, Scenery

On the windows of a 5-storey building, a fictitious action event had occurred. Communication of window and behavioral implications can be perceived when viewed.


《观看》

2017

菲林,实景

在一栋5层楼建筑的窗户上,虚拟了一次行为事件。窗户的沟通性与行为的寓意,在观看中即可被感知。

Revealing Sculpture

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Revealing Sculpture

2017

Installation: Horn, Black plastic bag, Chair, Mini fan

The wind shaped the shell, but the sound spilled over the room.


《显露的雕塑》

2017

装置:大声公、黑色塑胶袋、椅子、迷你风扇

风把外壳吹出了型,但声音溢出了整个展厅。

Leap

 

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Leap

2016

Performance on film

Jumping is the act of being placed in two spaces. With the impulse of leaping between inside and outside. Finally, inside and outside’s meaning was transformed.


《起跳》

2016

表演于胶片

跳跃是置于两个空间中的动作。从“里”到“外”,从“外”到“里”的冲动,转换了里外的意义。