What are artistic truths? Truths that divorce art from reality (modernist aesthetics)? Or (postmodern) subjectivism about truths? Do makers of art believe that they have truths to impart? To the audience, does a work of art offer truths that are at once visionary and coming forth through thoughtful craftsmanship? In what unique ways do works of art purport to our “knowing” the world? To Alain Badiou, art produces (finite) “truths of its own, but it does so through oblique means, by dealing with sensible images, objects, bodies, or the material dimension…” The video essays in this session raise these questions and are themselves an answer.
Elie During, Alain Badiou: Key Concepts; Chapter 8: Art (Acumen Publishing, 2010), 82-93.
Andy Hamilton, “Artistic Truth,” Cambridge University Press; 11 March 2013, on-line,
10' 49" | 16:9 | 2020 | Digital HD 1080p Location : Chicago, USA 美國，芝加哥 Selected category:  OBJECT LIVES / OBJECT-LOGUES 「東西自白」  DETAILED EXPLANATION OF A SINGLE ART WORK 「我的作品由零說起」  ON-SITE DOCUMENTATION 「留住一瞬即逝的」  VIDEO ESSAYS THAT EXPLAIN HOW ALGORITHM WORKS 打開編碼演算的黑盒
live video, internet material, audiovisual material
現場錄像, 網絡材料, 影音材料
*Warning: strobe light effect
This video documents in real time as one camera sensor looks into another. It is live documentation without editing, forming feedback loops in both visual and audio. Using the internet and the ZOOM web-conference software, I “Zoom-called” myself using two machines (phone and computer) that could initiate a video call with both their cameras and microphones.
The green dot and the pink flickering lights are camera sensor lights, shown only when two cameras interact with one another. The cameras also capture my own face, shown on both screens. It is a study: signals sent through the internet produce flickering lights and sounds while vibrating with my fingers touching the phone-screen as well as vibrating with my own voice. It is like yelling towards the internet's black hole – thus the title "singing into the virtual private network". The other sound track is a sonification synthesis of the video signal, made with jit.peek patch on Max/Jitter.
Hua Xi Zi (Cecilia) works and thinks about light and the experience of seeing – in exploring the flowing life and one’s relation with outside systems. From celluloid film, analogue video signal to digital video processing, screen-based and optical projections, installed and performed, Cecilia questions the existing methods of shadow-image production by experimenting with alternative ways to “un-expose.” It is the refusal to use representational images to explicitly represent one topic, community, or ideology. Her practice and research turned into materiality while asking questions about spectatorship and participation – seeking for the tenderness that withholds freedom and forgiveness.
Her recent performance was live-streamed at the Experimental Sound Studio in Chicago, her installations exhibited at “思考回路 • Shikoukairo II-III” by Asian Improv aRts Midwest, 2019 Setouchi Triennale in Japan, and 2019 New Blood Performance Festival in Chicago. Her films were screened at SF Cinematheque CROSSROADS 2020 Film Festival and the 2018 Slamdance Film Festival, among others. Hua Xi Zi received her Master of Fine Arts at the School of the Art Institute of Chicago.
14' 02" | 16:9 | 2021 | .Digital HD Original Language : Cantonese 廣東話 Subtitle : English 英文 Location : Hong Kong 香港 Selected category:  THEMATIC EXPOSÉ / EXPRESSIVE JOURNALING 「有板有眼，有話要說，有感而發」
collective memory, nostalgia, time
集體回憶, 懷舊, 時間
The Years Flow Like Water details a fictional encounter between the video essayist and an elephant opposite a playground in Lai Chi Kok. By evoking and interweaving Lai Yuen Amusement Park and Canto-pop Icon Anita Mui as emblems of Hong Kong’s collective memory, the work explores the nature of nostalgia and the passing of time.
Pun is a Hong Kong-based emerging video artist. In the age of speed and sight-and-sound saturation, she reflects upon the meaning of stillness. In her work, she explores the nature of time, freedom and memory. Challenging the conventional split between documentary and fictional storytelling, she experiments with narrativity and imaging in a playful way. Pun holds a Bachelor’s degree in Arts and Sciences from the University College London and is currently an MFA student at the School of Creative Media, the City University Hong Kong.
WONG Fei-pang: I am very aware of her voice, and I appreciate such effort, such vibrance in wanting to explore such a medium. It reflects a sense of freshness and freedom of video making, and this is what I cannot sense in the other two (Best Work) videos. I like her first shot a lot, as it’s very refreshing and I miss it so much, as if she is sharing an experience she has while shooting the video.
Linda Lai: The moment I saw the opening shot, I knew she’s got it there, that she had found her story… I like the magical realism underlying the work. Her focus on urban legends speaks of how collective memory could be acquired, out of one’s deliberate act and desires to remember. She trusts story-telling, and calls our attention to the place of narrativity in ascribing an alternative history of a place and, as well, how to explore one’s identity.
WONG Chun-hoi: Works on collective memories have become very dominant these days. I think if not handled well, such kind of subject matter could be just noise. I like how she leverages the three timelines: the elephant, the collective memory, and her personal memory. I like the lightness of such an approach.
WONG Fei-pang: There is an important element in the work, which is that the “memory” she tells is not hers directly. I like the way that it has a sense of loss, also expressed in the title, which is how these things in her video are interrelated in a way. I could feel the author is fresh to videography and that is what carries her through. For that, I very much like to give her more credits.
08' 21" | 16:9 | 2020 | Digital Original Language : English Subtitle : English Location : Austria Selected category:  DETAILED EXPLANATION OF A SINGLE ART WORK 「我的作品由零說起」
Film, Cinema, Japan, Bologna
電影, 日本, 巴隆拿
In 2017 I saw a film called Hana Chirinu** in Bologna at a festival. It was just one of many cinematic encounters I have had with Japanese cinema over the years, yet this one stuck with me in particular. Since then I have realised how hard it is to see the film outside of Japan. I have decided to send its maker a filmic letter through time and space.
Hana Chirinu 花ちりぬ (Flowers have Fallen), 1938, dir. Tamizo Ishida, Japan
Sebastian Bobik is an Austrian filmmaker. In 2020, he graduated from the Friedl Kubelka School of Independent Film.
JURORS’ NOTES 評審評語
It is simply enchanting to see videos of this kind -- using moving images to “rescue” lost moving images, especially lost films. It opens a different door to cinematic history -- is it really not possible to write film history when the film text is lost or restrictively viewable?Perhaps works of art can at least be referred to with an equal sense of enchantment even when absent. (Linda Lai)
I simply find the idea of the work romantic, and the piece is easy to digest. (WONG Fei-pang)
The ____ World is a personal essay about connection and disconnection, in and through different realities.
OUYANG Peixuan (b. 1996) is an artist primarily working with experimental nonfiction videos. Ouyang is interested in how images infiltrate and mediate everyday life, and how humans negotiate with the world and connect with each other through images. Many of Ouyang’s projects focus on monumentality, globalization, and the absurdity of living
JURORS’ NOTES 評審評語
Winnie Yan: I quite appreciate the effort the artist put in. I think the approach she has taken is very direct. It’s visually impactful and attractive.
WONG Chun-hoi: I like how the video reflects her personal history, building up from childhood memories to recent experiences.
Linda Lai: The experience is two-step.
WONG Fei-pang: I quite like it but I think the use of images could be more concise.