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For your selected artist, could each of you choose one of their works that interests you and write about the following: 

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For your selected artist, could each of you choose one of their works that interests you and write about the following: 

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(1 )What is the work/project about?

(2) Five keywords to describe the project.

(3) Why does the work/project interest you? (Consider the context, medium, or process of making, etc)

Please upload an image of the work/project, with your text here.

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The velocity contest of art insight– the complex of the creator and creation

Fragmentation and fancy visual storytelling

By instantly and constantly interspersing fancy visualization narrative moving images, and fancy impact like high and contrast colors, reconstructed the real building, mixed the two-dimensional and 3-dimensional visual image, the artist created a fantastic world but also an easier forget world to me. It reflects the nowadays mass media entertainment’s typical features–fragmentation and leads the viewer easier forgettable.

However, this approach successfully captivated contemporary audiences spoiled by the high-stimulation digital world. When we find the story is fragmented and cannot be pieced together into a simple conclusion. It ends in a surprising way and makes no sense. This way would force our brainstorm and create a rational story based on our own knowledge, experiences and even the emotions to fill in these gaps and construct.

This process transforms the viewers from a passive recipient into an active participant, fostering critical thinking and personal interpretation.  Which is a successful artwork that has no straightforward teaching but actively the postmodern audience engaged into the story, even becoming the co-writer of the narrative.

Hence it plays a contradictory role in between three perspectives:

First, it's the narrative authority. She empowered the audience with absolute narrative authority as a creator and shared the final interpretive rights. There is no longer a simple relationship called creator and creation. It comes up with a power called deconstruction and collaboration of individuals. This power blurs the boundaries of the creator and the creation; artist and her characters; and human and the AI, fostering a collaborative and individualistic deconstruction of meaning.

Second, it’s the absence and presence. The ‘absence’ of content creates the ‘presence’ of meaning. The lack of a rational, real story allows an irrational, sensory, and fabricated experience to take root, prompting a more profound intellectual and emotional response.

Third, formalism versus existentialism. Especially the efficient and simple versus the patient and complex. By puzzling the piece of the story, the viewers are engaging in a process of self-reflection. This action itself is a rebellion against ‘efficiency above all’, challenging the pursuit of quick, single answers.

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Many Worlds Over by Ayoung Kim at Hamburger Bahnhof — Thisispaper

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Ayoung Kim’s Many Worlds Over at Hamburger Bahnhof in Berlin explores the intersections of AI, speculative fiction, and reality, immersing visitors in a universe where time, space, and identities blur.

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Evening Peak Time Is Back（2022, wallpaper installation, size variable）

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(1 ) What is the work/project about?

Ayoung Kim uses storytelling to describe her experiences and observations during the pandemic. She depicts the delivery drivers wandering the streets of South Korea, just like her protagonist, Ernst Mo, traveling between different worlds. In her "possible world theory," the protagonist might end up in a world similar to Earth or completely different, much like the streets of Seoul—similar yet distinct.

Ayoung Kim observed a surge in demand for food delivery during the pandemic. With unemployment skyrocketing, many people turned to delivery work.

As the protagonist navigates these various worlds, she inevitably encounters a multiverse-like problem: encountering someone who looks exactly like her. Ayoung Kim mentions, "The name of the opposite entity that appears to be perfectly identical to herself is En Storm." This refers to the protagonist's opposite entity. Their relationship generates sympathy, rivalry, and love for each other, a phenomenon we often associate with lesbianism. This is a controversial topic in society, and the author chose to incorporate this into the story's emotional arc. In this exhibition, Ayoung Kim discusses the trajectory of human activity during the pandemic, when unemployment was at its highest, and labor became the only option. She recounted an experience as a food delivery driver, following an experienced female deliveryman as she delivered croissants to a specific location. I could tell it was an intriguing experience, leaving behind the deliveryman's invisible footprints on the road. Perhaps this experience inspired her to consider this series of reflections and storytelling.

(2) Five keywords to describe the project.

Technology, Delivery drivers, Lesbians, Possible worlds, Pandemic

(3) Why does the work/project interest you? (Consider the context, medium, or process of making, etc.)

What immediately captivated me was Ayoung Kim's storytelling, and her use of technology and a futuristic setting. Furthermore, with a sexually charged emotional arc, Ayoung Kim incorporates Korean comics culture to depict the emotions between women. Why was this so appealing to me? While I don't deny my own sexual orientation, I'm also interested in the kind of story that connects the two female protagonists. Being a woman and liking women, exposing this issue in Asia might be a challenge.

Secondly, this fantastical and technologically charged story reminded me of cyberpunk art. Will humanity's technological development and progress over the next few decades confirm the possibility of a multiverse? Will we discover other worlds similar or identical to Earth in the vast universe?

Furthermore, Ayoung Kim's work also explores the employment environment during a pandemic. Five years ago today, humanity was facing its greatest pandemic. As a student, I was unable to attend school, the DSE oral exam was canceled, and the graduation ceremony had to be held online from home. Many regrets are irreparable. Working adults are therefore faced with the crisis of company layoffs and rising unemployment rates. Faced with these unchangeable bad news, they have no choice but to find other jobs to support their living expenses. At a time when no one dares to go out, the work of deliverymen is gradually becoming popular, which also reflects one of Ayoung Kim's concepts.

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(1 )What is the work/project about?

This project is about the use of AI technology to show the world anew and create the narratives that create fiction in reality. Showing 20 minutes video with the exhibition installation to address the issues surrounding oil production through a virtual journey to Riyadh, Saudi Arabia. The exhibition immerses the public in a parallel universe in the exhibition "Plot, Blob, Plop," which focuses on the Al-Mather residential complex in Riyadh. The complex was constructed by a Korean business and later populated by Kuwaiti refugees during the Gulf War.  Based on the extensive research, including on-location interviews and the artist's father's recollections of his time working in the city, served as the foundation for the video piece. After the oil crisis impacted the Korean economy, many Korean construction companies earned oil money from projects in the Middle East. The project includes a variety of topics related to oil production, such as the Gulf War, the oil crisis, South Korean firms' involvement in the Middle East, and speculative speculation on this important commodity. The project  aims to reflect that situation.

(2) Five keywords to describe the project.

Imaginative, reflective,creative, inspiring and worldview

(3) Why does the work/project interest you? (Consider the context, medium, or process of making, etc)

Concept:

The project’s concept is related to society and even the worldview. Based on the current issue ‘oil production’ to show the arguments between countries.

Medium and making methods:

She used a range of image-making methods that are interesting. Such as live-action shooting, generative AI video-to-video conversion, LiDAR scanning and game engine animation. Combining a variety of techniques to achieve the project progress. The centerpiece of the installation is a movie made with state-of-the-art tools like generative artificial intelligence , which is given a synesthetic dimension by a light-based installation that goes with it. The audience's experience is further enhanced by sound effects.That was pretty cool knowledge of how to use those methods to create the work.

Metaphor:

Besides, she used ‘signs’ which are some geometric signs installed and hung among the tungsten lightbulbs to imply the operational maps for wars. Warm-colored tungsten lights to reflect the flicker, darken and tremble, recalling the lighting used in the residential interiors.

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"Plot, Blob, Plop" at the Atelier Hermès

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Ayoung Kim uses a range of media to create a narrative fresco that addresses the issues surrounding oil production through a virtual journey to Riyadh, Saudi Arabia.,Using cutting-edge technologies, the exhibition "Plot, Blob, Plop" brings to life a virtual world structured around concrete reality.,The visionary dimension of this exhibition offers visitors a unique and compelling experience.

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(1)

"Stop Peeping" is an animated short film by Wong Ping that follows a young man in Hong Kong who works two jobs and uses his limited free time to spy on his neighbor through a small peephole in the wall. The story humorously and critically explores themes of desire, sexuality, gender roles, obsession, and repression in contemporary society. The protagonist even sneaks into his neighbor's apartment to collect her sweat, which he then turns into ice lollies. The work explores complex social issues under a colorful, pop-art animation style, capturing the anxieties and tensions of Hong Kong’s younger generations with a blend of absurdity and sharp social critique.

(2)

Desire

Voyeurism

Repression

Humor

Social anxiety

(3)This work is intriguing because it combines vibrant, retro pop animation with deeply personal and societal themes, creating a striking contrast between its playful appearance and serious subject matter. Wong Ping's style of storytelling through bold, 8-bit-like visuals and absurd humor engages viewers while prompting reflection on personal desire, social taboos, and political limitations. The project stands out for its unique process of turning real-life observations and experiences into vivid, fantastical narratives that simultaneously entertain and provoke critical thought.This blend of approachable medium and provocative content makes "Stop Peeping" a compelling piece for exploring contemporary human emotions and societal issues through animation.

22235078 KWAN Chui Man Tracy

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Tromarama, Patgulipat (2022). Inflatable castle, speaker, construction helmet, paracord, mini PC, custom software.

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(1)

This project is a multi-faceted art installation that resolves the complex relationship between social media, labor and leisure. The center of this device is an upside-down inflatable castle, which is a common symbol of leisure and entertainment, but its inversion has changed this traditional concept. It indicates that in this digital age, the boundary between work and entertainment is being reversed. Around the inflatable castle, many construction helmets are hung, which indicates that it is people's work and labor. These elements combined convey that in the context of social media, work and entertainment are intertwined.

"Patgulipat" is also part of Tromarama's "Personalia" exhibition, which explores the collapse of the boundary between labor and entertainment in the endless production-consumption cycle. So "Patgulipat" represents the blurring of professional and personal domains in the social media-driven world by using a unique combination of physical objects (inverted elastic castles and construction helmets) and digitally triggered sound elements.

Another feature of this device is a sound element triggered by a Twitter activity. This sound element adds interactivity and real-time nature to the work, highlighting the constantly flowing data and information on social media. This indicates that our online activities on platforms like Twitter are not merely for leisure or entertainment but are part of a larger production and consumption system. Using Twitter activities as triggers also means that social media users contribute to this system unconsciously through their daily posts and interactions.

(2)

Multi-Sensory, Reversed, Social labor, Leisure, Boundary

(3)

What attracts me is that it focuses on a kind of tension that we can all handle but seldom mention: the disappearance of "non-working hours" in a social media-driven world. In this era, scrolling, Posting or responding to online content may seem like "leisure", but it has quietly become part of the data economy (our attention and activities have turned into commodities). Pagulipat is not just "talking" about this, but showcasing it. An inverted inflatable castle (with a casual icon turned upside down) and a construction helmet (a labor symbol); They reflect how our "entertainment time" online has turned into an unrecognized "job". This background is not niche; it is universal.

Regarding the use of media, I think Tromarama aimed to avoid giving people a sense of distance or being overly technical when it comes to "digital art". On the contrary, he combines familiar physical objects (inflatable castles, construction helmets - the things we associate with childhood or daily work) with real-time digital interactions (sounds triggered by twitter). He enables anyone who has seen an inflatable castle or used social media to immediately grasp the core metaphor within it. The sound element adds another layer - you can not only see the device but also hear the buzz of social media activities (via twitter), transforming abstract data into a sensory presence.

He uses Twitter campaigns to trigger voices - turning cold, invisible data (likes, retweets, posts) into something that comes from the heart. Most of us interact passively with social media data, but Pagulipat makes this data "sound" like part of a device ecosystem. This process is not merely technical; It is emotional: it requires the audience to recognize that their online behavior is not "empty" - they are part of a larger, ongoing "production" (even if we think we are "playing"). By transforming data into sound, works make abstract concepts (digital labor) tangible.

Mary

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(1) Ho Tzu Nyen's Night Charades, co-commissioned by M+ and Art Basel and presented by UBS, is an animation that pays homage to the history of Hong Kong cinema. The work uses artificial intelligence to reinterpret classic scenes and movements from Hong Kong films of the 1980s, creating a visual theater that interweaves memory and technology. The work is the result of an AI system's understanding and reinterpretation of these film scenes. The generated characters are both familiar and unfamiliar, like visitors from the future or a parallel universe, performing an endless "charade" in a silent pantomime, allowing the audience to reflect on cultural memory between the familiar and the unfamiliar.

(2) keyword

- AI Art

- Hong Kong Cinema Homage

- Nostalgia

- Algorithmic Generation

- public art

(3) What attracted me most about this work was Ho Tzu Nyen's unique approach to reinterpreting cultural memory using AI technology. He uses algorithms to reconstruct classic clips from Hong Kong cinema into unprecedented visual forms. This is not only a nostalgic experience, but also a creative re-creation. By generating images that create a "strange yet familiar" effect, he invites viewers to consider whether the "Golden Age" is not a static peak, but an open field that can be constantly activated and reinterpreted. Ho Tsz-yin's playful approach invites viewers to reflect on history and reimagine the future, while also hinting at the significant influence of Hong Kong cinema's golden age on Asian culture.

24226408 CHEN Yongru (Ella)

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Wong Pui Man(24226920)

1. "Time & the Tiger" is a mid-term retrospective of Ho Tzu Nyen's work, bringing together two decades of paintings, videos, theatrical performances, and installations. It explores the intertwined concepts of time, history, myth, and revolution in Southeast Asia. The exhibition features an immersive multi-channel video installation and includes the newly commissioned work "T for Time."

The exhibition uses the tiger as a central symbol, representing the relentless force of time, the ferocity of communist guerrillas, and the lingering presence of forgotten histories. It connects Southeast Asia's colonial history, myths, and ecological changes. The tiger is both a symbol of power during the Japanese colonial era and a bridge of ancestral memory in Malay culture. It also bears witness to ecological evolution under the influence of glaciers and sea level fluctuations. The exhibition also uses "time" as a thread, employing algorithmic editing techniques to richly collage archival images, classical paintings, and images from computer-generated urban environments, creating a hypnotic, linear narrative.

2. •Metaphor

•Meditations on Time

•Algorithmic Images

•Colonial Memory

•Transmedia Narrative

3. Contextual Depth: Ho Tzu-yen views history not as a fixed fact but as a living, contested, and often spectral presence. His approach to the Malayan Emergency transcends a simplistic binary of good and evil, revealing the complexities and tragedies embedded within the conflict. This nuanced perspective is intellectually stimulating.

As for his innovative media, his use of algorithmic editing systems is captivating. His new work, "T for Time," transforms the artwork into a living entity, utilizing dual-screen projections and algorithmic real-time editing to produce a different sequence with each viewing. This process reflects how our understanding of history is never final but constantly reconstructed from fragments. The medium itself becomes a metaphor for the workings of memory and time.

In terms of metaphor, the choice of the tiger as the central motif is exceptional. It is a creature both real and mythical, feared and revered. This ambiguity allows the work to operate on multiple levels—historical, political, ecological, and philosophical—without becoming didactic. The exhibition invites viewers to form their own interpretations.

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(1) The Night Parade of a Hundred Demons depicts a Japanese folklore legend where various monsters parade through human streets after nightfall. This work meticulously renders the forms of legendary monsters through animated imagery.In his picture scroll, however, one sees not only legendary monsters such as the Kitsune (Fox Spirit), Kappa (River Sprite) or Tanuki (Raccoon Dog). A number of historical Japanese individuals who participated in the occupation of the Malayan Peninsula during World War II, including General Tomoyuki Yamashita and the wartime secret agent Yutaka Tani—both of whom were widely known as the Tiger of Malaya, have found their way into Ho’s bestiary.

（2）

Legends

Monsters

Cartoons

Visuals

History

（3）The Artist transforms Japan's terrifying ghosts and monsters into visible, recognizable cartoon creatures through animation, making them less frightening and even somewhat amusing and approachable.

Tai Yee Ping

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1 )What is the work/project about?

Stack (faces)" is a physical, sculptural installation within the exhibition "R for Rhombicuboctahedron".It materializes concepts from Ho Tzu Nyen's larger Critical Dictionary of Southeast Asia (CDOSEA) project into a tangible form. Stacked light boxes are basically lenticular prints which means that the image shifts according to where the viewer is positioned. Stack (faces) is made up of 26 faces, one for each letter of the alphabet which is stacked on top of one another using the lenticular print technique.' The core is the representation and instability of identity. By using shifting faces linked to the alphabet (the structural basis of CDOSEA), the work explores how identity, representation, and categorization (especially concerning Southeast Asia concept) are fluid, multifaceted, and dependent on perspective. The stacked, shifting faces visually embody the fragmented, layered, and elusive nature of defining individuals or a region.

2) Five Keywords to Describe the Project:

Multiperspectival, Reflective, History, identity, layer

3) Why does the work/project interest you?

It takes the abstract, algorithmic fluidity of the online Critical Dictionary of Southeast Asia and gives it a powerful physical form. The lenticular prints literally make identity and perspective shift before your eyes, making the conceptual instability of Southeast Asia  viscerally tangible. Compared to watching footage shot by others, I would much rather experience the awe-inspiring nature of the work for myself.

24226432 FUNG Man Yee Olivia

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22237828 LI Lok Yiu Kristen

1. What is the work/project about?

The artwork is about the relationship between the protagonist and his nose. The protagonist was sick of overindulging in interactions with friends while enjoying an intimate relationship with his nose. Nevertheless, after their relationship grew deeper, the nose wanted to leave the protagonist, as it could no longer bear the sadness of the protagonist. The protagonist tried different methods to keep the nose around, such as avoiding deep topics like political issues and losing hair. But the turnout was unsuccessful. He accepted his fate and let go of his nose. He sometimes caught glimpses of his nose like spending time with truffles and women while having an unsatisfying life. A vicious cycle happened. Knowing his nose was having a good time, he became sadder. He wonders if he will become so upset that his nose will cross the world and return to him in the end.

2. Five keywords to describe the project.

Lonely

Dark Humor

Poignant

Saturated

Fantasy

3.Why does the work/project interest you? (Consider the context, medium, or process of making, etc)

The context is unique as it is not a usual narrative animation for kids although the colour combination is very attractive and joyful. The geometric shapes come together with the pattern is very eye-catching.

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(1).

Debit is an artwork for trauma exhibited in 2022. It consists of several parts a background wall that looks very much like a liquid cans that arranged in a square area facing different directions with many speakers inside it mini PC and monitor each parts are connected by messy cables with each others.

Sounds coming out from the cans while the custom computer program is typing characters on the monitor automatically is rhythmic following with the typing action. The typing sound proper gate through the cans so it doesn’t sound like the origin typing sound. The can typing sound accompanied by a very soft rumble of Motorcycle to some extent it echo the rat cans packaging the artwork as a hoe gives me the feeling that I’m living in a very busy street there are pedestrian traffic lights, keeping making continuous noise and I’m busy with my work typing things and drinking Red Bull not only the sound but also the disc Play of the cables give me that feeling of noisy messy and crowded but liquid texture and grand background makes me feel like I’m still in my apartment by referring to the title of the artwork we know that might encountering gapped pressure at the time. Period or situation.

(2).

Loneliness

Pressure

Repeat

Mechanically

Crowded

(3).

Tromarama’s artwork always give me some feelings and space to imagine instead of making me to interpret the artwork as a really practical way of making personal archives that if you could really bring your audience to experience your archive for the artwork debit, it really brings me to the situation. The reason of choosing this specific piece is that that represents the artist so well in my in my interpretation, Dramarama likes to zoom in something to take it as the background of the art device. He also have some pieces that seems to be quite similar to debit which are debit to in 2023 and so sore in 2024 and contract and 2025. He uses a matrix of different objects from daily life as the medium to convey the sound of typing combined with different backgrounds in the space.

Susie ZHANG

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Energy drink can, mini speaker, mini pc, monitor, custom computer program, #force
SoundFont: Harsya Wahono
Variable dimension

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(1).

Debit is an artwork of Tromarama exhibited in 2022. It consists of several parts: a background wall that looks very much like a liquid, cans that are arranged in a square area facing different directions with many speakers inside them, mini PCs and a monitor. Each parts are connected by messy cables with each other.

Sounds are coming out from the cans while the custom computer program is typing characters on the monitor automatically. It's rhythmic, following the "typing" action. The typing sound propagates through the cans, so it doesn’t sound like the original typing sound. The can typing sound accompanied by a very soft rumble of motorcycles. To some extent, it echoes the Red Bull cans' packaging .

The artwork as a whole gives me the feeling that I’m living on a very busy street. Pedestrian traffic lights are making continuous noise, and I’m busy with my work, typing things and drinking Red Bull. Not only the sound but also the display of the cables gives me that feeling of noisy, messy, and crowded. But the liquid texture and grand background make me feel like I’m still in my apartment. By referring to the title of the artwork, we know that the artist might have encountered debt pressure at the time. Period or situation.

(2).

a. Loneliness

b. Pressure

c. Repeated

d. Mechanically

e. Crowded

(3).

Tromarama's artwork always gives me some feelings and space to imagine, instead of making me interpret the artwork as a really practical way of making personal archives that, if you could really bring your audience to experience your archive for the artwork Debit, it really brings me to the situation.

The reason for choosing this specific piece is that Debit represents the artist so well. In my interpretation, Dramarama likes to zoom in on something to take it as the background of the art device. He also has some pieces that seem to be quite similar to debit, which are debit#2 in 2023, Sore Sore in 2024 and contract and 2025. They use a matrix of different objects from daily life as the medium to convey the sound of typing, combined with different backgrounds in the space. (Elements like human body skin, eyes, fingers in liquid form, large but empty space devices and so on)

Susie ZHANG

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Wong Ping Crumbling Earwax, 2022, 3-channel video, 10 min.

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Wong Ping Crumbling Earwax, 2022, 3-channel video, 10 min.

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Wong Ping's "Crumbling Earwax" is a characteristically eccentric and psychosexual journey into the artist's interiority and perhaps identity. The work invites the viewer through an ear canal, establishing a metaphor for internal perception versus external reality. The central, provocative thesis is delivered upfront: the information that passes through the eardrum from the outside world is "all bullshit," while the accumulated, seemingly unwanted "earwax" is posited as "the only real wisdom." This immediately inverts conventional hierarchies of knowledge, championing the internal, the visceral, and the abject over the curated, external message.

The installation is framed as an "antechamber to Plato's Cave," a crucial conceptual leap. In Plato's allegory, prisoners see only shadows of real objects and mistake them for reality. In Ping's antechamber, we encounter "things without shadows”, which is raw, unmediated sensory data from within. This forces a profound question: which is more "real," the filtered shadows of the external world or the unprocessed internal truth? The work suggests that true wisdom (and the pursuit of happiness) lies not in accepting external narratives but in sifting through our own accumulated, messy, internal "earwax."

The medium is inextricably linked to this message. I feel like the experience is a direct "play between his animations with the medium. The installation format of using sound, architectural space, and his signature animated style, creates an intimate, almost claustrophobic connection between the artist and viewer. His ears are connected to ours, making the piece a deeply personal, yet universally relatable, communication. In the context of the "pandemic new age," this act of seeking a "hole to some fresh air" through a "secret canal" becomes a powerful metaphor for the hunger for authentic connection and unvarnished truth in an era of isolation and media saturation.

Ultimately, "Crumbling Earwax" is a critique of the "boring world" and its oppressive, sanitized narratives. Wong Ping argues that reality is not found in the polished, successful messages that "filter through," but in the crumbling, messy, and erotic wisdom we generate within ourselves. It is a celebration of the grotesque as authentic and a defiantly intimate rebellion against the bullshit of the outside world.

Chan Wan Ching, Chloe 22229922

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(1) "KI$$ KI$$" redefines the exhibition as a transformational journey or a "machine of experience." Shu's strong science fiction narratives, which are in connection with Philippe Parreno's last exhibition, look at non-human intelligences, both natural and artificial. The exhibition engages with new and old technology, and builds on previous exhibitions by Dumb Type, Tony Cokes, and WangShui to explore modern transmedia art practices.

(2) Keyword

old

modern

techy

avant-garde

playful

(3) I was attracted by the "KI$$ KI$$" neon light at first glance. A contrast of old and modern elements, exploring the themes of waste, technology, and the complex relationship between the natural and digital worlds.

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(1)     The setup involves hanging towels on ropes and displaying the images on the towels on a screen to create a stop-motion animation. The accompanying video projection depicts a staircase that is repeatedly walked on but cannot be climbed, symbolizing the consumption/alienation of individual labor, repetition, and value under the globalized capitalist system.

(2)

i. Repeat

ii. consume

iii. time

iv. effort

v. labor

(3)     Reasons for this work interest me:

-This work has established a connection with the audience by utilizing the medium of towels from the brand “Good Morning,” a common and affordable towel found in daily life, such as in some old salons.

-Additionally, I am interested in animation works that convey more than just an image.

-The setup of showing all the towels that were used for the animation production is also impressive.

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Wong Ping, The Other Side  (過奈何橋), 2015, Two channel animation, 8 minutes 3 seconds

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Wong Ping, The Other Side  (過奈何橋), 2015, Two channel animation, 8 minutes 3 seconds

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1.

“The Other Side” is an animation about a man's reluctance to be truly in the world, his questions of life  its familial relationships and burdens, and his desire and attempt to return to his mother's womb. This deeply melancholy work reflects contemporary experience and feelings of isolation, alienation and the confrontation we perhaps all have at times with the ties that bind. This could be read as an allegory of myriad experiences both personal and social, not least the geopolitical ones of Hong Kong itself.

2.

Humour

Surreal

Repressed

Twisted

Honest

3.

Wong Ping’s use of digital animation is what initially draws me in. His work stands out due to its playful, vibrant, and almost childlike aesthetic. The bold, flat colors and geometric stylization makes me think of early computer graphics or retro video games. However, this aesthetic contrasts sharply with the darker, more serious undertones of the narrative.

What interests me most about it is how Wong Ping’s work feels like a diary, filled with awkward truths about the human condition. It inspired me to think about how I can use humor, bold visuals, and personal narratives to explore complex themes in my own work.

The work reflects universal themes like loneliness, escapism, and the desire for freedom, all while being rooted in Wong Ping’s experiences within Hong Kong’s unique societal and cultural landscape. The metaphorical journey to a better life becomes a mirror reflecting the absurdities and contradictions of human desires. The animation (2015) mirrored the situation of Hong Kong after the Umbrella Movement (2014). Wong Ping invites the viewer to question whether the "other side" is a real destination or merely an illusion we create to cope with the struggles of existence. Whether true freedom is achievable within the current system. It is fascinating that it shows how the desire could be so hopeful and also futile. I appreciate Wong Ping’s perceptive observation of the society thus uses metaphor to express the truth. It really resonates with anyone who has ever felt trapped by societal expectations or personal circumstances, offering both a critique of modern life and a reflection.

Liyantung Belle 22232052

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(1)

The title of the work refers to the usual design of industrial imprisonment used today, which includes a 3 × 3 square metre cell that is continuously observed by six cameras. Thus, 3x3x6 shows the prison's physical layout as well as its use of digital surveillance systems.

In this exhibition, ten case studies from the past and present of people who were incarcerated or outcasted because of their race, gender, or sexual preference are exhibited. As a result, sex, gender, and race are rationalised. The theme of this exhibition explores the construction of visual and legal hegemonies over time. 3x3x6 also looked at other non-physical but more common types of imprisonment in this new digital era, where technologies and monitoring tools are becoming unavoidable.

(2)

Sexual

Prison

Surveillance

Digital

Outcasted

(3)

The visual presentation of the work attracted my attention to using video as a medium, placing 10 videos horizontally with unusual elements. Then, the theme about exploring the overcast situation of gender variance, sexual preference, racial differences, and the combination of using digital surveillance systems makes me wonder will their situation improve or still be incarcerated through the evolution of the digital era.

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(1)

Bowling Alley is a cybernetic installation

linking 3 public spaces (Walker Art Center's gallery 7, a local bowling alley Bryant Lake Bowl, Minneapolis and the bowling website) via ISDN lines and digital sensor data. This work explores the issues of power, access and desire in public and private spaces, highlighting the communication and exchanges happening at both locations, it was also about the same time when the U.S. Congress was discussing the passage of the Internet Decency Act, emphasizing the contemporary issue during that time.

(2)

Connection

Communities

Internet

Interactive

Access

(3)

As the work is done in the early stage of the popularization of the Internet, it is interesting to see how artists portray the connections between each users of the Internet, as well as the discussion of the potential issues that would come as the Internet becomes more common. Other than that, the elements of interacting and influencing a completely different places (gallery & local bowling alley) through Internet connection is what interest me into learn more about people's opinion on the early stage of cyber connection.

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Many Worlds Over: Delivery Dancer's Arc: 0° Receiver 2024 

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Many Worlds Over: Delivery Dancer's Arc: 0° Receiver 2024 

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The answers to questions 1 &2 (24218197_HeTingyan)

In her "Delivery Dancer" universe, infinite possible worlds collide, where time is cyclical and non-linear. At the original starting point of the Delivery Dancer’s Sphere 2022, Ernst Mo is a future Seoul delivery worker who was initially dominated by an algorithmic app named Deliver Dancer, engaging in endless delivery work. Her doppelgänger, En Stormdisrupts her endless delivery mazewhich reflects the plight of workers in the modern gig economy.

In this ACMI-commissioned sequence, Delivery Dancer's Arc: 0° Receiver 2024 ( now displayed in the exhibition called Many Worlds Over), successfully escapes the cycle and joins a multiverse resistance organization. Their mission is no longer to deliver physical packages but to transport the more abstract concept of 'time'. They traverse deserts, cities, and different dimensions, attempting to thwart algorithms that aim to 'flatten time' for the sake of production efficiency.

The five keywords

Dystopian Fiction

Myth

Narrative

High-stimulation

Fragementation

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Comparing workers' clocking in and out to the daily logins and logouts of social media users, so-called leisure is actually a form of (in)voluntary labor, contributing to the insatiable and inescapable data economy. Punched cards were one of the earliest data input methods in the early days of digital technology, and their gold-stamped finish further expresses the self-righteous leisure of modern people.

1.contribute

2.Digital Technology

3.labor

4.Data Input

5.Human

I'm particularly interested in the use of media. Using iron-on technology to cover up the blank space on most time cards suggests the way technology has taken over most of our time. The iron-on patterns, some resembling flowers, some resembling digital images, and their irregular arrangement create a sense of how digital life has become inseparable from daily life.

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Commissioned by the Guggenheim Museum as their first web-based artwork, Brandon was inspired by the real-life story of Brandon Teena, a transgender man who faced horrific violence in 1993 after his identity was revealed. But rather than a straightforward retelling, Cheang transforms this into a nonlinear, interactive digital experience that probes deeper themes of gender fluidity, societal surveillance, and the body’s representation in virtual spaces. Inside the site, you may encounter five different interconnected interfaces: bigdoll, where you could manipulate avatars to question gender constructs; roadtrip, a virtual map tracing Teena’s journey and blurring real-world boundaries; mooplay, with its multimedia clips that invited audiences to remix narratives; panopticon, simulating watchful eyes in online forums; and theatricum anatomicum, a collaborative space for anatomical explorations and public discourse. Cheang used early web tech such as HTML, Java applets, and chat rooms to make the work durational, which over a year it was unfolded with live events and user contributions that turned passive viewers into active participants in this “cyber-nomadic” puzzle.

Five keywords to distill Brandon: Innovative, Questioning , Interactivity, Ironic , and Narrative.

In the context of late ‘90s internet culture, when the web was still a wild frontier, Cheang’s process of making Brandon feels like a blueprint for the interactive designs I aspire to create. She collaborated with coders, performers, and institutions across continents, blending code with performance art to craft interfaces that aren’t just pretty but provocative—forcing me, as a user, to confront my own biases through disorienting navigation (no convenient buttons or menus). The medium of net art excites me because it democratizes design. Anyone with access to browser could engage and interact with the artwork. Overall, Brandon pushes me to think beyond static graphics toward designs that evolve with users, sparking social change—exactly what I hope to achieve in my career.

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1)For their first solo exhibition in the United States, Bandung-based artist collective Tromarama anchors the exhibition space of Document with a sophisticated installation, “Beta” (2019), reconfiguring the white-cube gallery into an artificial banyan tree, with melodicas and elongated digital prints hanging from the ceiling like aerial roots.

Opening the street-level door that leads to the gallery complex upstairs, I hear discordant sounds, as though a group of elementary school students were getting ready for their music class, casually making sounds on instruments. These sounds come from about a dozen hanging melodicas and a few soprano recorders on microphone stands. A minuscule fan is connected to a transparent tube that feeds to the mouthpiece of every instrument; when turned on, the fan blows air to the instrument to make acoustic sound. These fans are then plugged into a computer that tells them when to switch on or off.

The metaphors behind the work are as intricate as the installation itself, and the riddle begins with its homographic title. “Beta” has different meanings in different languages. In English, it indicates the final testing phase for a piece of gear or computer software. In Malay, it is a mostly obsolete form of addressing “I” or “myself.” The algorithmic “I” residing in this artificial organism, the “brainwork” that decides when to pump air to the melodicas and recorders, is a program that captures every tweet hashtagged with “nationality.” The program translates text into binary codes; the codes output commands to the fans. The whole process is completed without delving into the actual content of the tweets. It treats the word “nationality” as a floating signifier and takes full advantage of its being a buzzword on Twitter. This artistic decision nevertheless accurately reflects the discursive discussions on social media that are hashtag-driven. We put our advertisements, ideas or snarky comments in the form of a tweet, and we tag it liberally and excessively, without fully investing in the meaning and significance of these labels. “Beta” recycles these bits of language and abstracts them. In the end, the texts are transformed so much that all we hear is a series of intermittent atonal chords, a little dejected, almost nonchalant. The performers are bored, and I can’t quite decide whether their laissez-faire attitude under the appearance of some cute, toyish musical instruments makes me chuckle or sigh.

2)

1. Music

2. Sound

3. instrument

4. Playground

5. Link

3)I like this work because it having a different way to feel it and create a scene with both sound and visual. And it is fun to make sound by the tube liking.