Escape from the Scene
2014, Sound and Color, 5-channel Video Installation, Monitors, Headphones, Tables, Chairs, Document & Ready-made, 600cm x 500cm (maximum size)
Consisting of a 5-channel video, some archival documents and ready-mades, the work was shot based on site-specific environments such as “room escape”, “game show”, “band rehearsal room” and “wild birds park”. In the videos based on “room escape”, “game show” and “band rehearsal room”, a mixture of real recording and virtual images was made through cutting, blending, switching, re-editing and re-combinating. Voices of interviewees and video clips downloaded from online were mixed together to give out psychological hint. And visible physical evidence was placed on the exhibition site. In the video featuring “wild birds park”, the artist used human voiceover to mimic wild birds speaking, contemplation, thinking and playing in cage. Such implicit expression targeted at the heavy mist he was faced with during his practice. Moreover, it also indicated the desires to escape and transcend the context of reality which was teeming with changes. In another channel of video, the artist shot while walking about the flat building he lived in. For instance, he stood beside the dust bin at the end of the corridor and peeped at another family through the window. Real recording and fictional imagination were mixed together. When it seemed the narrative was about to start, it abruptly broke down the previous imagination. At the exhibition site, besides the videos the artist also put on display various archival documents and ready-mades, revealing some of the problems the artist encountered during his creation process. One of the texts read: “My work is often put into an exhibition site that is not essential, not fixed, changing and with a confused stance. At first sight, these things may seem to have absolutely nothing to do with me.”
逃离场景
2014，有声彩色，多频道录像装置，监视器、文献 & 现成品，600cm x 500cm （最大尺寸）
这件作品分别用5通道的录像与文献及现成物组成，作品基于对真人“密室逃脱（Room Escape）”游戏现场、“乐队排练室”、“野生鸟类公园”等特定环境的拍摄。在其中几频录像中，艺术家基于真人“密室逃脱”游戏和“乐队排练室”的影像记录，呈现了从真实记录到虚拟素材的截取、混淆、切换、再编辑、重组着各种多样性的描述，从真实记录到对受邀者的采访录音，一边拼接着各种网络来源的视频频段进行心理暗示，一边罗列着可见性的物证置放在展览现场；在“野生鸟类公园”这一频中，艺术家用人声配音虚构了各种野生鸟类在笼中对话、沉默、思考、打趣儿等场景，这些暗含的表述中有许多都是针对艺术家在创作实践过程中所面临的层层迷雾，更是在各种变化不定的现实语境中期待着逃离和穿越；在另一频的录像中，艺术家在自己居住的公寓楼中穿梭着拍摄，例如在楼道的尽头垃圾桶旁张望窗外的另一户人家，并把无数真实或者虚构的想象呈现置放其中，而当叙述正要开始的时候又迅速的跳离了原本的想象。在展览现场艺术家用各种文献和现成品伴随着这些录像，其中一部分展示的文本资料也反映着艺术家在创作实践中所遭遇的问题，其中一段这样说道：“我的作品常常被放进的一个可有可无、可东可西、立场混淆、变化不定的展示现场，打眼望去似乎这些东西和我毫无干系。”