With the pandemic in 2020, invisible pain, trauma and doubt became visible. To portray the disquieted souls in quarantine, the constantly changing social environment, and the elusive link between the two, Xuan Liu penetrated her psychological labyrinth to capture her passage of self-realization with a collection of video documents, sketches, diary entries, quote fragments, and photographed physical items. Floating here and now. When to land, where to land, or is there whether or not somewhere to land? Not being ashore, am I departing or returning?
Xuan Liu, a graduate student in Art Video at Syracuse University, focuses on performance art, moving images and music. She practices a farming/gathering-style approach to the art world, and this season she has sown the seeds of body, mind, machine, and interaction among the three. Her works have been exhibited in Shanghai, Hangzhou, Shenzhen, Hong Kong, New York, Paris and so on.
劉琁是美國雪城大學Art Video 的在讀研究生，創作包括行為、影像、和音樂。她以踐行農耕式的方法進行創作，這一季度洒下的種子是身體、意識、機器，以及三者間的互動關係。她的作品曾在上海、杭州、深圳、香港、紐約、巴黎等城市發表。
- Video essay,
COMET 01 is the first of a series of video diptychs playing with the notions of desire VS intimacy and beauty VS closeness.
Lisa & Louise attended the same art school in Brussels: ENSAV - La Cambre /
Yet they didn't know each other /
Lisa studied photography /
But doesn't believe in the relevancy of institutionalized art studies/
They met at a bar/
Lisa is an artist who practices photography, video, performance and installation/
Louise works as a costume designer and a creative director/ Then a pink moon lit the sky/
And they decided to follow it together /
They soon came up with a plan/
That every inch of their life would become a story for later/ For they believe in the power of a good narrative/
Whether it'd be literary, visual, material or audible/
No wonder their names speak of tales and stones/
Leconte & Lapierre 2020/
Editor: Lisa Lapierre
Voice: Louise Leconte
LEL's main media are photography, video, texts and audio. They often bring them together in installation art questioning their interlacement.
An open window on daily life, their works stretch from intimacy to documentation, scratching the surface of time to make texture more appealing. Details of human-made materials, suspended time, flushed faces at parties, the lost gaze of teenagers, every inch of life is polished and compiled into visual installations and printed publications.
An apple on a table, a tablecloth of waxed canvas, a coffee upon waking, and suddenly the fruit becomes a target, placed on a skull, and the possibility of catching an arrow in the eye is drawn, it’s all these perceptions that she aims to transpose.
- after image,
- complementary color,
- RGB colour system,
To see is to believe. Two complementary coloured lights add on to each other and cancel out each other whereas the shadow captures that process. Working with the limitation of optics and illusion, I encourage the spectator to think about what it is that they see.
I transform the optical phenomenon of the negative afterimage and its psychological version, ‘after-sensation’, into a five-minute moving image. I staged two complementary-coloured artificial light sources in symmetry, displaying the colour yellow and blue respectively. In the RGB colour system, mixing the primary colour blue with the complementary colour yellow would produce the colour white. The yellow light switches off all of a sudden, leaving a sea of blue light. Then the blue light is gone, only darkness remains.
我將「負後像」(after image) 這個視覺生理現像，以及心理學家稱之為「後感覺」的、停留於視覺的殘影，轉化成五分鐘的流動影像。影像中的我設置兩個互補色的光源，對稱地打在白幕上。互補色光源加疊後，原本的投射在白幕上的顏色會互相抵消，呈現白色。黃光消失於一瞬，餘下一片藍光。然後，藍光也熄滅了，畫面頃刻剩下黑暗。
The primary interest of Echo Hui (HUI Gi-wai, b.1996) is to explore the senses, especially vision. She investigates the boundaries of the senses and perception while crossing disciplinary lines into the realms of science. She often works with light, chemicals, images and moving images, how audiences' motion and perception affect a work and vice versa. Echo’s focus on sight-related mediums is her way to challenge how we see reality.
- Performance Art
The text in the video was the notes taken by the author on the last day of her re-play in 2019 of a previous work I choose to sleep (2016) whereby she slept in a gallery for 3 days during opening hours. In this video, to explore the blurred line between conscious action and natural biological needs, she also observes the gradual transformation, disassociation and empathetic understanding of the relationship between her mind and her body.
Florence Lam (b.1992, Vancouver, BC) lives and works in Hong Kong. Her practice is an exercise of staying hopeful in any situation she encounters. She works with wonder and magical thinking to fuse together current moral issues with child-like world views, working towards mainly live art, including performance, installation, video and poetry. She elastifies worldviews by treating all elements in her work as equal in the context of universal acceptance and respect, aiming to explore the fertility and sterility of the mind manifested through the properties of the biological body and language as a hint to the evolution of human values and spiritual understanding.
Lam obtained her BA and MA from Central Saint Martins College of Art & Design, London (2014) and Iceland Academy of the Arts, Reykjavík (2017) respectively. Lam has exhibited around Europe (Bergen, Lublin, Lviv, Rome, Reykjavik, Akureyri, Osnabrück and Zürich) and Asia (Taiwan and Japan). In Hong Kong, she has shown her work at Hidden Space and 1a space in 2020.
Florence Lam於1992年出生於加拿大溫哥華，現居香港。她的創作是給自己一個遇到任何情況都能夠尋找希望的一種鍛煉。她以wonder和心理學上的魔術思考作為靈感，透過行為藝術、文字、影像和聲音，將當代倫理問題與孩童般的世界觀結合。對所有作為創作對象的事物，她均等地以尊重和接受的態度來軟化其世界觀，探索通過肉體和語言表現人類思想的孕育性和不育性，暗示人類價值觀和精神理解的進化。英國倫敦中央聖馬丁學院獲得學士學位(2014)後，於2017年在冰島藝術學院取得碩士學位。她的作品曾於歐洲和亞洲多個城市展出，包括香港的1a space（2020）和台北南海藝廊（2019）。