"Memory Passage" (记忆通道)
// BLURB //
What will techies of the future watch online? It may sound like a ridiculous question, but there are 1.2 million data-creating users per day worldwide. Will scholars refer back to classic Youtube or Youku Tudou videos the same way film critics and scholars do in their inflated publications? I wonder if in a few generations, instead of trawling libraries and public records, those trying to connect with their genetic heritage will watch hours upon hours of archived amateur video footage hoping to catch a glimpse of their great-grandma giving cultural commentary about the economic rise of China or hosting a beginner Guzheng tutorial. Maybe instead we’ll keep creating content, and fully realize the postmodernist vision of continual critique, revision, and newness. This isn’t unlike images created by Barbara Kruger, overlaid with text to tell us something damning about the artist, the audience, and the environment in which they were forced to interact. Kruger had the right idea, I think—don’t let the end of the sentence be the end of the discussion: keep creating.
What will techies of the future watch online? It may sound like a ridiculous question, but there are 1.2 million data-creating users per day worldwide. Will scholars refer back to classic Youtube or Youku Tudou videos the same way film critics and scholars do in their inflated publications? I wonder if in a few generations, instead of trawling libraries and public records, those trying to connect with their genetic heritage will watch hours upon hours of archived amateur video footage hoping to catch a glimpse of their great-grandma giving cultural commentary about the economic rise of China or hosting a beginner Guzheng tutorial. Maybe instead we’ll keep creating content, and fully realize the postmodernist vision of continual critique, revision, and newness. This isn’t unlike images created by Barbara Kruger, overlaid with text to tell us something damning about the artist, the audience, and the environment in which they were forced to interact. Kruger had the right idea, I think—don’t let the end of the sentence be the end of the discussion: keep creating.
EDITION, MEDIA, SIZE & WEIGHT
Unique Edition, Shanghai 2019
TFT display, acrylic painting on Plexiglass, CCD camera, teakwood frame
52(W)×52(H)×5.5(D) cm // 12.3 kg
TECH SPECS
• 1/3" Sony SUPER HAD II CCD (HS1177) with OSD, 600TVL, 10 mm lens (INPUT DC5~22V)
• 10.4" TFT LCD display with LED backlight - TKUN JT104-HD (INPUT 12V 3A)
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 1×M120300P911 (INPUT 100~240VAC@1.2A / OUTPUT 12VDC@3A)
CRATE SIZE & WEIGHT
64(W)×64(H)×18(D) cm // 27.2 kg
EXPOSURE
“Who Needs Men Anyway?” at island6 Main Space
CREDITS
Lu Xiao Tian 陆晓添 (painting) • Zoé Charvériat, Sophie & Ben Grant (model) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction) • Carlin Reinig (documentation & blurb) • Iris Gardener (documentation) • András Gál (documentation)
Unique Edition, Shanghai 2019
TFT display, acrylic painting on Plexiglass, CCD camera, teakwood frame
52(W)×52(H)×5.5(D) cm // 12.3 kg
TECH SPECS
• 1/3" Sony SUPER HAD II CCD (HS1177) with OSD, 600TVL, 10 mm lens (INPUT DC5~22V)
• 10.4" TFT LCD display with LED backlight - TKUN JT104-HD (INPUT 12V 3A)
• 1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• 1×M120300P911 (INPUT 100~240VAC@1.2A / OUTPUT 12VDC@3A)
CRATE SIZE & WEIGHT
64(W)×64(H)×18(D) cm // 27.2 kg
EXPOSURE
“Who Needs Men Anyway?” at island6 Main Space
CREDITS
Lu Xiao Tian 陆晓添 (painting) • Zoé Charvériat, Sophie & Ben Grant (model) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction) • Carlin Reinig (documentation & blurb) • Iris Gardener (documentation) • András Gál (documentation)
CLOSE-UPS
VIDEO