Garden of Mir(ror/acle) series exhibition IV
The Practices of Everyday Life No.1. / No.2. : 何昱達
The Practices of Everyday Life No.1. / No.2. : Yuda HO
2013. 10. 19 - 2013. 11. 10
PHOTOS
如果將城市看作ㄧ個巨大機器，它無時無刻都在運行著繁殖，破壞，與再造的過程，而生活在城市中的人們，終其一生也就為了服侍這巨大機器而勞動，工作。我們無力去改變這城市，相反地，我們隨著城市ㄧ同呼吸，脈動，透過影像，建築與景觀中累積我們對城市的感知。在這永無止境的機器運動中，"記錄，城市”成為我每日的練習工作。
No.1
在空間中懸掛起6面並置的螢幕，兩台投影機對立設置，投影出所拍攝的ㄧ天24小時的影像片段，但卻彼此時序相反。投影光線的逐漸螢幕並置擴大失焦，當光線失焦的同時亦象徵時間的消逝。而兩台投影機的光線重疊交錯，代表ㄧ個時間的消散，與另ㄧ個時間的開始，影片的循環與投影光的循環，創造出ㄧ個週而復始，日複ㄧ日的生活週期。
No.2
把在城市中的景觀，以水平與縱向的方式將影片做切割，在縱向的影像中，影像中的人物像是在面對自己，與自己對話的過程；在水平的影像中，則是橫切把人從中間切開，構成ㄧ個沒有頭（思想）只有腳的物體，在城市中勞動，行走。
Taking consideration into
the city as a self-motion machine, the function of city operates autonomously
in which the role of human being is relatively limited, and the density of
human being is nothing less than serving to this system within little changes
and improvements. On the contrary, we breath and live in the city rhythm
whereas image, architecture and the spectacle accumulate our perception to the
city. In this endless circulation
mechanical movement, the way of documenting city life becomes my practices
of everyday life.
No.1
By hanging 6 parallel
fabric screens in the space, the moving image is projected by the two
projectors from the opposite position enlivening a journey of everyday life in
24 hours. When two projected images are overlapping as a montage of broken
screens, the beam of projection light represents the beginning of one time and the
disappearance of the other. The loop of light and images thus acted as space
inverting boundary surfaces between inner and outer space in a way reminiscent
of Escher’s etching “three worlds”.
No.2
In this installation, the urban landscape is visually
divided by a vertical line and a horizon line. In the vertical direction, the
moving image create a mirror effect which evokes a scenario of self-consciousness.
In the horizon direction, the character of image presents a sci-fi look
creature with only 4 legs which represents a urban symbolism in human tragedy.