Diary is a person’s production of personal thoughts— thoughts that are usually ordinary and trivial, and some trivial things will cause a huge response as they will be pinned down in writing. When we review our diary, what we review is a process of life. In this work, the author and interpreter are the same person and yet the two roles work independently. The latter applies keywords (on screen) to dialogue with the former. They "recorded" and "edited" at different moments. The interpreter is in the present, analysing, reconstructing and rewriting the story of the recorder’s. The current "I" will reconnect with a later "I."
Yuyen Lin-Woywod was Taipei-born now based in Berlin. She received her Master’s degree in visual art from Kassel Kunsthochschule and her Bachelor’s degree in fine arts from Taipei National University of the Arts. She is interested in political identity, queer theory and cultural exchange. Other than her curatorial practice, she works with video installation and the moving image.
Lin-Woywod has been invited to several projects, film festivals and international residency programs. She has been nominated by 2019 Stuttgart, 30th Stuttgart stuttgarter filmwinter — festival for expanded media (DE) and 2019 Berlin, 69th Berlinale international Film-Festival Hochschule Talent in Markt Place (DE), as well as 2018 Cassel, 35th Dokfest Kassel Film-Festival (DE) and Art Residency “Move Art Japan” (Japan,2018).
林于嫣，德國卡塞爾藝術大學碩士，居住在台北與柏林兩地進行創作，主要創作媒材為影像媒體以及裝置作品，主題環繞在政治下的個人的自我身份認同以及酷兒理論與文化交流。2019年短片入圍柏林影展 Hochschule Talent in Markt place及多項國際影展，2018年獲選為日本MAJ的駐村藝術家，2017年曾在第十四屆卡賽爾文件展（documenta 14）藝術教育推廣組擔任實習生。
“Maybe, but only maybe, and only with intense commitment and collaborative work and play with other terrains, flourishing for rich multispecies assemblages that include people will be possible. I am calling all this the Chthulucene – past, present, and to come.” – Donna Haraway
The video was shot in May 2018 and made alongside a critical map of Aarey forest in Mumbai, at the time and still experiencing deforestation by a new metro line and metro carriage depot. Similar to other grand infrastructure projects around the world, speed and convenience often prevails in court and public imagination over people’s rights to the land, the environment and biodiversity.
Following my 2018 visit I have kept contact with the land protectors, staying updated and even collaborating with Warli artist Mahesh Bariya on a fictional story called “Planet Earth — Mumbai's Leopards” (published 2018).
This video essay builds on multi-species thinking and centres the 3,000+ trees and biodiversity of 300 members of a tribal community, all facing eviction through violent deforestation in 2017. Inspired by Donna Haraway’s book Staying with the Trouble: Making Kin in the Chthulucene, the video captures the intense commitment and collaborative work and play of many actors — from tribals to the jackfruit tree. It shows members of the Save Aarey Facebook group who generously guided myself and other Hong Kong artists through the capillaries in the forest, as part of an artist exchange between Mumbai and Hong Kong.
The film footage was idle on my hard drive after the 2018 visit. However, in March 2020, during pandemic restrictions in France whilst conducting my fieldwork, I decided to edit the footage into the video that you see now, albeit with music and no text. This iteration of the video includes an edited essay to accompany video. The original and longer essay was partly written for the Indian Anarchist Federation, as well as anyone who was not yet engaged with the situation at Aarey.
The video expresses solidarity with Little Miyashita Garden, Wang Chau, Aarey, and many more, and the courage to go beyond.
Michael Leung is an artist/designer, researcher and visiting lecturer. He was born in London and moved to Hong Kong eleven years ago to complete a Masters in Design at The Hong Kong Polytechnic University. His projects range from collective agriculture projects such as The HK FARMers' Almanac 2014-2015 to Pangkerchief, a collection of objects produced by Pang Jai fabric market in Sham Shui Po.
Michael is a visiting lecturer at Hong Kong Baptist University where he teaches social practice for the MA program. He is currently in the third year of his PhD at the School of Creative Media, City University of Hong Kong. His research focuses on Insurrectionary Agricultural Milieux, rhizomatic forms of agriculture that exist in local response to global conditions of biopolitics and neoliberalism. Locally, Michael is researching the colonial residue and (non-)Indigenous entanglements in the New Territories through his solidarity with Wang Chau villagers, who are currently being evicted by the Hong Kong government.
In 2014 Michael started writing fiction, self-publishing and reading them in public space. He contributes monthly to Fong Fo (馮火), an artist zine printed on the 21st of each month in Guangzhou. He is currently working on his thesis novel.
- Experimental documentary
Artist couple Silvia Amancei and Bogdan Armanu, who work between Iasi/Romania and St. Albans/UK, started their collaboration since 2012, and their practice gravitates around the utopian imaginarium, working with concepts like labour/immaterial labour, design/speculation, future/history/ideology, all under the umbrella of critical deconstruction and denouncing the (semio) capitalist society with its social ruptures. The Pearl of Moldova is a transmedia video framed by contemporary writings from critical theory (i.e. sociology, politics, economy and history) on the one hand and aesthetical investigation through multiple forms of artistic mediation on the other.
“Our main research interest is how art and artistic means can be instrumentalised in order to overexcite the ability to look beyond capitalism and create a (common) future.”
The artistic practice of SABA - Silvia Amancei and Bogdan Armanu (b. 1991, Iași and Timișoara) -- could be positioned at the border between social studies and visual art, researching for methods and examples where art and artistic means can be instrumentalised in order to invoke the ability to look beyond capitalism and create a (common) future. Among their recent solo shows are “s.a.b.a 1979-####” (2020, Ljubljana, SI), “It was always in plain sight” (2020, Bucharest, RO), “If Then What After” (2019, Baden, AT), “What Past? What Future?” (2017, Linz, AT), “Depression, Uncertainty and other symptoms of Mortality” (2016, Lodz, Poland), while their works have been present in many group exhibitions among which “Rewriting Our Imaginations” (2020, Basel, CH), “Go, Stop, Stay” (2019, Debrecen, HU), “STRIKE GENTLY AWAY ____” (2019, Salzburg, AT), “Displacement and Togetherness” (2019, Brussels, BE), “Capital’s Time Machine” (2018, Bucharest, RO), “Baywatch” (2018, Berlin, DE), “Alternative Facts” (2018, Stuttgart, DE), “Odessa Biennial” (2017, Odessa, Ukraine), to name just a few.