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Au risque et limite de l?enfermement, une perception du monde dans un espace confiné. Petit à petit des images flottantes, des atmosphères de travail, des lieux de vie? Un mètre carré d?existence. Habiter un lieu, inventer des perspectives, vivre dans un temps autre que celui vécu par le commun des mortels et pourtant demeurer si semblable. Un paradoxe troublant

With evocative sound and visual elements, ETHER aims to create an immersive environment of data decay. Images crackle and distort, merging in and out of video noise. The hiss and hum of sound thousands of miles away fills the room, snatches of music and voices decompose into static. In a darkened room, the video diptych is projected on a flat white wall as the only illumination. Four speakers in the upper corners of the room put forth a wash of sound that envelops but doesn`t intimidate.

Bruce Tovsky is a visual/sound artist and resides in Brooklyn, New York. He earned his MFA degree in Multimedia (Film, Video, Sound, Performance and Installation Art) from Rutgers University in 1979. He began showing video across the USA, Europe and Japan in the early 1980`s. He has video in the collections of The Kitchen and The New York Library Donnell Library Center, both in NYC. He embarked on a diverse career as an audio producer (Liquid Liquid, Lydia Lunch, Karen Finley, Foetus) and video editor/designer for commercials and music videos. For the past several years he has been creating live video and sound improvisations, often in collaboration with sound artist John Hudak, in a variety of spaces around New York City, including Diapason, Experimental Intermedia, Issue Project Room, and his own installation space 106BLDG30 at the Brooklyn Navy Yard. In the summer of 2003 he performed "for the time being" with Hudak at Roulette`s "Festival of Mixology" at The Performing Garage. This performance was released in October 2004 on Jason Kahn`s CUT label, and was reviewed in the February 2005 issue of The Wire. In October 2003 Tovsky assembled a group of improvisors - Beo Morales, David Linton, Michael Schumacher and Brooks Williams - to perform a piece for the Réseaunances festival at Ircam in Paris. His most recent video/sound piece ETHER premiered at 106BLDG30 in the Navy Yard in June 2005, and has been playing in international festivals from São Paulo to Seoul. The audio from ETHER was recently featured in a BBC radio documentary on shortwave numbers stations.

Project Strings is an audio-visual live performance and a video essay by TraumaZone art duo. The project is based on the book Staying with the Trouble by Donna Haraway, where the author reflects on how ideas, beings, and worlds are connected together like strings in the game of Cat’s cradle. Taking the string games as the main idea, the Strings talk about the concepts of human and non-human co-existing together in a social system. As the narrative moves forward, the audience sees the solid grid of connections gradually dissolving, and fluidity emerging as the core cooperation principle. The performance consists of reactive live and prerecorded visuals, and the live sound set, that includes a 20-second loop of electromagnetic radiation emitted by a solar panel, combined with fragments of AM broadcasts recorded during an art residency in rural Bavaria. The video essay also includes the shortened version of the material with more energetic pace of narration. Project Strings invites the audience into a meditative landscape where sound and visuals work together, destroying rigid structures and embracing a more fluid, interconnected modes of existence.

TraumaZone is a live-coding duo based in Berlin, consisting of Ksenia Sova, a video artist and Fyodor Stepanov, a sound designer. Their main focus is to politicize the art community by bringing to the spotlight important questions and creating a safe space for discussion. Ksenia Sova (they/them) is a media artist based in Germany. They studied media art at the Academy of Fine Arts Leipzig, Germany. They work are especially interested in exploring topics connected with alienation, isolation and anxiety of a queer body in digital environments. They use an expanded cinema approach to create time-based art-pieces for personal and group exhibitions. Fyodor Stepanov (he/they) is a sound artist and composer based in Berlin, Germany. He specialises on electro-acoustic works for interactive installations, audio-visual performances and video art. His creative output is driven by notions of transience, non-linearity, and ambiguity intrinsic to sound. The approach he has developed over the past decade combines generative algorithms with bits of radio broadcasts, field recordings, and electromagnetic listening to produce eerie acousmatic soundscapes that slowly develop over long periods of time.

All the Good Times is a sound based video installation and performance examining transatlantic aspirations in land lock as a metaphor for generational divides and the fetishization of histiographies. Performative gestures that seek to reclaim dislocated fatherhood and recalibrated pride blend with archival footage shot by the artists’ respective grandfathers. Fleeting memories are punctuated with the rhythm and repose of staged theatricality. Immersed in a soundscape that transforms the traditional tune All the Good Times are Past and Gone into an aggressively celebratory jazz infused piece the gallery is peppered with tv stacks littered with repetitive inconclusive processions. The installation examines the role of nostalgia coupled with the legacies of creole cuisine and the Black Atlantic questioning the distancing of technology and spirituality. The piece premiered at the 2019 Art of Brooklyn Film Festival.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, The Rencontres Internationale Paris/Berlin, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY. In 2021, he received City Artist Corps Grant to curate and produce Archival Interventions, a film screening at FiveMyles gallery in Crown Heights and he is the recipient of a 2024 Foundation for Contemporary Arts Grant. Treadaway is a Fulbright Scholar to Italy and a Faculty member at The International Center of Photography in New York City where he has taught a range of courses including topics related to analog and digital photography, video, sound, installation and archival interventions as the as the founding media. From 2008-2020, Treadaway also held the position of Digital Media Coordinator at ICP. Additionally, he has taught a range of courses at Bard College, SUNY Purchase, The Fashion Institute of Technology (FIT), Barnard College and Louisiana State University. He is available for private and small group mentorship on all lens-based topics – critique and project development, technical skillsets and workflows and more. Justin Randolph Thompson is an artist, cultural facilitator and educator born in Peekskill, NY in ’79. Based between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of Black histories and cultures in the context of Italy founded in 2016. Having realized, coordinated, curated, facilitated and promoted over 300 events and with 8 ongoing research platforms, the initiative has been reframed as a Black cultural center called The Recovery Plan. Thompson is a recipient of a 2022 Creative Capital Award, a 2020 Italian Council Research Fellowship, a Louis Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin and an Emerging Artist Fellowship from Socrates Sculpture Park amongst others. His work and performances have been exhibited widely in institutions including The Whitney Museum of American Art, the Centro de Arte Reina Sofia and The American Academy in Rome and are part of numerous collections including The Studio Museum in Harlem, and the Museo MADRE. His life and work seek to deepen the discussions around socio-cultural stratification and the arrogance of permanence by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse, social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

"Beatings Of The Devil" is based on the concept and weather event called sunshowers, or, as my grandmother would often say when it rained while the sun was shining, “The devil is beating his wife”. This wildly inappropriate, and outdated colloquial phrase, which resonated deeply within me as a child, provides a point of departure and interpretation for this work. Created through a series of shoots spanning over four years, the piece has evolved into a memorial to my mother, and a reckoning for my father, who recently lost his wife of 51 years. The piece premiered at the 2022 Art of Brooklyn Film Festival, and won the Vanguard Award for Best Experimental Short.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY.

Booked For Safekeeping addresses faltering outlets for the containment and expression of violent impulses, the reactionary bluster of discourse in contemporary society and the isolation and paranoia developing within American communities. Juxtaposed against the grace, rhythm and force inherent within the motions of a boxer engaged in battle with himself are archival images from a 1960 film produced by the Louisiana Association for Mental Health addressing the apprehension and incarceration of "disturbed" people. While investigating the propensity and commonality of violence, the piece alludes to the distressing shift in tone and approach regarding the policing of communities, wherein patience, compassion, and de-escalation are too often replaced with militaristic distance and aggressive control.

Bradly Dever Treadaway is a Brooklyn and New Orleans based artist and teacher utilizing lens-based image making, sculpture, installation and performance to comment on the breakdown of intergenerational communication. His work revolves around fleeting family histories visualized through archival interventions and elevated domestic rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to fading family histories using with personal and public archives, recontextualizing the archive to serve as form, medium, subject matter and concept. Treadaway is a Fulbright Scholar to Italy and works as both a Faculty member and the Digital Media Coordinator at The International Center of Photography in New York City. His work has been exhibited at the Whitney Museum of Art, Center for Photography at Woodstock, The International Center of Photography, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council?s Scene: Brooklyn.

All the Good Times is a sound based video installation and performance examining transatlantic aspirations in land lock as a metaphor for generational divides and the fetishization of histiographies. Performative gestures that seek to reclaim dislocated fatherhood and recalibrated pride blend with archival footage shot by the artists’ respective grandfathers. Fleeting memories are punctuated with the rhythm and repose of staged theatricality. Immersed in a soundscape that transforms the traditional tune All the Good Times are Past and Gone into an aggressively celebratory jazz infused piece the gallery is peppered with tv stacks littered with repetitive inconclusive processions. The installation examines the role of nostalgia coupled with the legacies of creole cuisine and the Black Atlantic questioning the distancing of technology and spirituality. The piece premiered at the 2019 Art of Brooklyn Film Festival.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, The Rencontres Internationale Paris/Berlin, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY. In 2021, he received City Artist Corps Grant to curate and produce Archival Interventions, a film screening at FiveMyles gallery in Crown Heights and he is the recipient of a 2024 Foundation for Contemporary Arts Grant. Treadaway is a Fulbright Scholar to Italy and a Faculty member at The International Center of Photography in New York City where he has taught a range of courses including topics related to analog and digital photography, video, sound, installation and archival interventions as the as the founding media. From 2008-2020, Treadaway also held the position of Digital Media Coordinator at ICP. Additionally, he has taught a range of courses at Bard College, SUNY Purchase, The Fashion Institute of Technology (FIT), Barnard College and Louisiana State University. He is available for private and small group mentorship on all lens-based topics – critique and project development, technical skillsets and workflows and more. Justin Randolph Thompson is an artist, cultural facilitator and educator born in Peekskill, NY in ’79. Based between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of Black histories and cultures in the context of Italy founded in 2016. Having realized, coordinated, curated, facilitated and promoted over 300 events and with 8 ongoing research platforms, the initiative has been reframed as a Black cultural center called The Recovery Plan. Thompson is a recipient of a 2022 Creative Capital Award, a 2020 Italian Council Research Fellowship, a Louis Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin and an Emerging Artist Fellowship from Socrates Sculpture Park amongst others. His work and performances have been exhibited widely in institutions including The Whitney Museum of American Art, the Centro de Arte Reina Sofia and The American Academy in Rome and are part of numerous collections including The Studio Museum in Harlem, and the Museo MADRE. His life and work seek to deepen the discussions around socio-cultural stratification and the arrogance of permanence by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse, social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

"Beatings Of The Devil" is based on the concept and weather event called sunshowers, or, as my grandmother would often say when it rained while the sun was shining, “The devil is beating his wife”. This wildly inappropriate, and outdated colloquial phrase, which resonated deeply within me as a child, provides a point of departure and interpretation for this work. Created through a series of shoots spanning over four years, the piece has evolved into a memorial to my mother, and a reckoning for my father, who recently lost his wife of 51 years. The piece premiered at the 2022 Art of Brooklyn Film Festival, and won the Vanguard Award for Best Experimental Short.

Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY.

Booked For Safekeeping addresses faltering outlets for the containment and expression of violent impulses, the reactionary bluster of discourse in contemporary society and the isolation and paranoia developing within American communities. Juxtaposed against the grace, rhythm and force inherent within the motions of a boxer engaged in battle with himself are archival images from a 1960 film produced by the Louisiana Association for Mental Health addressing the apprehension and incarceration of "disturbed" people. While investigating the propensity and commonality of violence, the piece alludes to the distressing shift in tone and approach regarding the policing of communities, wherein patience, compassion, and de-escalation are too often replaced with militaristic distance and aggressive control.

Bradly Dever Treadaway is a Brooklyn and New Orleans based artist and teacher utilizing lens-based image making, sculpture, installation and performance to comment on the breakdown of intergenerational communication. His work revolves around fleeting family histories visualized through archival interventions and elevated domestic rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to fading family histories using with personal and public archives, recontextualizing the archive to serve as form, medium, subject matter and concept. Treadaway is a Fulbright Scholar to Italy and works as both a Faculty member and the Digital Media Coordinator at The International Center of Photography in New York City. His work has been exhibited at the Whitney Museum of Art, Center for Photography at Woodstock, The International Center of Photography, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council?s Scene: Brooklyn.

Comma Boat is one of four movies to date completed in 2013 by Trecartin, first shown as a work in progress at the Arsenale of the the Venice Biennale. Since settling in Los Angeles in 2010, Fitch and Trecartin have designed and built a modular maze of sets on a soundstage with the help of Hollywood technicians who have rigged the space with lights and hydraulics enabling it to move and change for different projects.

Termed "the most consequential artist to have emerged since the 1980s" by The New Yorker, Ryan Trecartin is one of the most innovative artists working with video today. Trecartin`s video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee`s Playhouse, Trecartin crafts startling visions that are thoroughly unique. Kevin McGarry writes, "Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life." Ryan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d`Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. In 2009 Trecartin was the recipient of the first Jack Wolgin Fine Art Prize, presented by the Tyler School of Art at Temple University, Philadelphia, which recognizes the highest level of artistic excellence on an international level. In 2009 he received the Calvin Klein Collection New Artist of the Year Award at The First Annual Art Awards, Solomon R. Guggenheim Museum, New York. He also received a Pew Fellowship in the Arts in 2009. Trecartin lives and works in Los Angeles.

A bed-bound woman's year passes as a day: her time is no longer measured by the increments of a clock but by the quality of weather outside her window. Objects emerge and merge in the gloom; the woman dissolves and reforms. Her muteness, her glaucomas and her inactivity render things indeterminate. By naming objects, animal and phenomena we reduce and delineate them, and so separate ourselves from the world around us - she cannot do this.

Peter Treherne is a moving image artist working in the South East of England. His films explore the affects of the environment, particularly weather, on agricultural and creative labour. His work is distributed by the Canadian Filmmakers Distribution Centre and Kinoscope, has been funded by Arts Council England, and has screened internationally at festivals and galleries including Festival ECRA, Whitechapel Gallery and London Institute of Contemporary Arts. Peter is also director of the Slow Film Festival, an organisation that shares moving image art with the British public in rural areas. The festival has collaborated on programmes with institutions including Close-Up Film Centre, MUBI and the British Council, and has screened work from artists including Ben Rivers, Kevin Jerome Everson, Babette Mangolte and James Benning. Peter also holds a master’s degree in Film Aesthetics from the University of Oxford.

As cows are milked on a British dairy farm a cataclysmic storm builds on the horizon. A mysterious meteorologist investigates the bizarre weather event and follows his equipment to the farm. But in the face of such contingency (the driving rain and restive animal life) can his research yield any results?

Peter Treherne is an experimental filmmaker and moving image artist working in the South East of England. He uses an arsenal of affordable cameras and ND filters, along with the contingencies of rain, snow, fog and other lugubrious atmospheric states, to pixelate and reconfigure landscapes and narratives. Peter was educated at the University of Oxford where he received a masters in Film Aesthetics. He is also director of the Slow Film Festival. The festival exhibits durational and landscape moving image art.

1221 Amor is a video combining live action with 3D animation. It explores issues of narrative in a work of fiction that has no protagonists and relies on matter and its processes of transformation. The story centers on the relationships between different mineral states, such as rock, bone, and fossil. In the three sequences that make up 1221 Amor, different temporalities merge to create a compressed, indefinite timeframe that runs counter to our traditional linear representation of time. The sounds and images have been produced from pseudo-scientific experiments and use the narrative codes of catastrophe films.

Nourished by the cinema, visual arts, literature, and philosophy, Julie Tremble uses video to explore the materiality of emotions and the narrative potential of natural elements. She has a Master’s degree in Cinema Studies from the Université de Montréal (Montréal, 2005) and a Bachelor’s degree combining cinema and philosophy (Montréal, 2000). Her work has been shown in artist-run centres, galleries, and various festivals across Canada. In 2013, she received the Prix du Conseil des arts et des lettres du Québec (CALQ) for the best work of art and experimentation at the 31st Rendez-vous du cinéma québécois. Her videos are distributed by Groupe Intervention Vidéo (GIV). She currently lives and works in Montréal. Julie Tremble is represented by Joyce Yahouda Gallery.

APOCALYPSE BABY is a teleshopping show that uses the fear of the climate crisis as a reason to instrumentalize the audience to consume more. A satire on consumption and the climate crisis, on global warming and individuality, on hedonism and bad conscience, on the contradictions within and all around us. A reflection about the way we look away and an exposure of the cynicism of a capitalistic system. “A great many of us engage in this kind of climate change denial. We look for a split second and then we look away. Or we look but then turn it into a joke (“more signs of the Apocalypse!”). Which is another way of looking away.” Naomi Klein (This Changes Everything: Capitalism vs. the Climate, 2014).

In an exercise of compensation, I invert the condition of the representations of prominent figures of class society. Between the social pages and the elitist advertising, I incrust them in the context of the settlers, the called ?D sector?. By means of digital abrupt manipulation turning to a stereotype, an exchange in a coarse way the roles of the social actors, I execute a pleasant revenge in photomontage key. For the speech, I used an early ?opened work?, as Umberto Eco concept, the prologue of a Peruvian basic book: Seven Essays Interpretation of the Peruvian Reality, by Jose Carlos Mariátegui, whose reflection about a racist society is still remaining up to the present. Declared in Quechua and without subtitles the voice force the spectator to enjoy a despised and unloved language.

Visual Artist and teacher Produced artwork with diverse media: video, installations, assembly, graphic arts, silkscreen, stage scene. In the decade of the 80`s, he participated in the underground scene of music and alternative art in Lima, Peru. Took part in artwork collective production: Macho Cabrio, Bestiarios, MUTA. Collaborates in initial and formative events of electronic art in Peru, organized by DACP, ATA, Medios Nómades. Founder member and director of DACP projects (Peruvian Cultural Artistic Development), Lima 2000-2008. Group of artists who promoted and produced Peruvian video-art works internationally. His video work was exhibited in diverse festivals placed in Japan, Los Ángeles, Barcelona, Madrid, Paris, Berlín, London. At the moment he is a teacher of Visual Arts at Corriente Alterna Fine Art School

Starting off of a visualization of satellite type, that used to spy to us, I discover the map of Peru, like a humanized silhouette. The satellite images can be destined like an illusion source: from very far the territory of the country is beautiful, and shows a vital green topography. Nevertheless closely together, the human drama that experiments most of inhabitants of those colorful zone, indicates the opposite... close by, everything seems so far. For that reason I display the form of our country in irreverent character. The orientation is reversed; the south is on the north, and the east on the west. Then, which will be the most resistant perspective?

He produced artwork with diverse media: video, installations, assembly, graphic arts, silkscreen, stagescene. In the decade of the 80`s, he participated in the underground scene of music and alternative art in Lima, Peru. Took part in collective artwork production: Macho Cabrio, Bestiarios, MUTA. Collaborates in initial and formative events of the electronic art in Peru, organized by DACP, ATA, Medios Nómades. Founder member and director of DACP projects (Peruvian Cultural Artistic Development), Lima 2000-2007. Group of artists who internationally produced and promoted Peruvian video-art works. Troncoso´s videoart was exhibited in diverse festivals in Japan, Los Ángeles, Barcelona, London. At the moment he is a teacher of Visual Arts at Corriente Alterna Fine Art School

"In Minh Quý Truong’s striking second feature, a man living on Mars in the year 2045 examines footage brought back from his encounters with an indigenous community in the jungles of Vietnam. As he experiments, his thoughts drift from matters of identity, aesthetics, and the politics of imagemaking, to ritual burial practices, to the seen and unseen forces that shape cultures. Combining elements of science fiction and ethnography, The Tree House is a powerful exploration of how time and environment relate to our understanding of home.", (57th New York Film Festival).

Truong Minh Quý was born in 1990 in Buôn Ma Thuot, a small city in the Central Highlands of Vietnam. Quý lives and works here and there in the vibrancy of memories and present moments, his narratives and images, lying between documentary and fiction, personal and impersonal, draw on the landscape of his homeland, childhood memories, and the historical context of Vietnam. In his films, he has experimented with combining abstract concepts-images with realistic improvisations during shooting. He is the alumnus of 2012 Asian Film Academy (Busan International Film Festival) and 2016 Berlinale Talents (Berlin International Film Festival). His films have been selected for international film festivals and exhibitions such as Locarno, New York, Clermont-Ferrand, Oberhausen, Rotterdam, Busan, Les Rencontres Internationales Paris/Berlin. He won the main Art Prize at the 20th VideoBrasil (Sao Paulo) in 2017. His second feature film, The Tree House, premiered in 72nd Locarno Film Festival (Filmmakers of The Present Competition, Swiss Critics Boccalino Award), where it was called as “Three of the festival's best premieres” by Mubi and “a singular entrancing ode to memory and filmmaking” by The Film Stage. The film continued to screen in 57th New York Film Festival (Projections), Viennale, Festival Des 3 Continents (Competition), Rotterdam International Film Festival (Bright Future Main Program), CPH:Dox (Artist & Auteur), Goteborg International Film Festival, among others. Currently Quý is taking his research on analog and new media at Le Fresnoy - National Studio of Arts in France.

The persons are looking for each other. Sometimes they feel they are going to see the other, but it is just an illusion of mind. The gazes that point out of the frames to somewhere invisible. The repetition of images recalls the feelings of a loosen memory.

Truong Minh-Quy was born in 1990 in Buon Ma Thuot, a small city in the central highlands of Vietnam. In 2008 he entered film directing class at the Cinema and Theatre University in Ho Chi Minh City. After one year, he decided to quit the school to pursuit his independent filmmaking path. In 2012, he was a fellow of AFA (Asian Film Academy, Busan International Film Festival). In Feb 2016, he attends Berlinale Talent Campus, Berlin International Film Festival. Gradually he has realized the dilemma that he feels between urban and rural life. His favorite place is his family farm where he can be alone with his dog, listening to the wind moving through the hills. Recently, he is working at ZeroStation, an alternative art space in Ho Chi Minh city.

An ancient tree tells us about a murder story that has happened deep in the jungle The author tells about the relationship between his father and him 1000 years have passed

Truong Minh Quy was born in 1990 in Buon Ma Thuot, a small city in the central highlands of Vietnam. From 2008-2010, he was a film directing student at the Cinema and Theatre University in Ho Chi Minh City. He decided to quit school at his second year to pursuit his independent filmmaking path. He gradually realizes the dilemma that he feels between urban and rural life. His favorite place is his family farm where he can be alone with his dog, listening to the wind moving through the hills. In 2012, he participated in AFA (Asian Film Academy, Busan International Film Festival). Recently, he is working at ZeroStation, an alternative art space in Ho Chi Minh city.

Interprétation libre du mythe dans laquelle Tsai Ming Liang propulse une femme délaissée par son amant dans la cohue de la gare des bus de Kuala Lumpur.

In 'Terms of Play' 60 different training sentences were taken of the voice-cloning software 'Lyrebird IA' and recombined in a screenplay to form a dialogue. This dialogue was then interpreted by two actors. Each part was interpreted in a different emotion: some factual, some dramatic, some singing… The 2-channel video work deals with the processes of machine learning technologies which are playing an increasing role in film production. By appropriating and reinterpreting the training sentences (which the software itself has taken from publicly available texts, novels and essays), the work inverts these processes and reflects them critically.

Florian Tscharf (*1987 in Germany) is a video and media artist. He studied Media Design in Ravensburg, Directing at the Film Academy Baden-Württemberg and Screen Based Arts at the Bezalel Academy in Jerusalem. He lives and works in Berlin.

The centerpiece of ROBERT MAPPLETHORPE is a never-before-seen interview conducted in his studio on Bond Street in 1983. On the verge of mainstream art success, following a well-received exhibition at the Leo Castelli Gallery, the interview captures the charismatic artist in the full bloom of his youth and vitality. As it explores Mapplethorpe the artist, and Mapplethorpe the man, this intimate film resonates with interviews with those who knew him best. Among those featured are: his father, Harry, brother, Edward, childhood priest, Father Stack, partner, Jack Walls, first art dealer, Holly Solomon, fellow artists, Gilles Larrain, Brice Marden and Louise Bourgeois, curator, Richard Marshall, attorney, Michael Ward Stout, and biographer, Patricia Morrisroe. Mapplethorpe?s remarkable talent as a photographer shines in this documentary featuring a full assortment of his arresting images, courtesy of the Robert Mapplethorpe Foundation. His portraits of famous people, pictures of flowers, and images of the New York Gay S&M underworld, are all icons of contemporary photography. His erotic work created considerable controversy when his posthumous retrospective ?The Perfect Moment? was cancelled at the Corcoran Gallery in Washington DC and later shut down by police in Cincinnati, Ohio. Robert?s ground - breaking photographs made him an internationally known and mythic figure in art and photography. His talent, vision and phenomenal success were cut short when he died of AIDS in 1989.

Paul Tschinkel is a painter with an MFA from the Yale School of Art and Architecture. In the early 1970s he turned to video as an art form and thus became one of the first video artists in this new medium. After showing video pieces in New York galleries, he turned to the fledgling New York cable system (Manhattan Cable downtown and Warner Cable uptown), producing a half hour weekly arts program ? a gallery on television. From 1974 to 1979 Paul ?Tschinkel?s Inner-Tube? was devoted to conceptual and narrative video art pieces. In 1979, Tschinkel turned from taping in his studio in Soho to recording and producing live Punk/New Wave music from New York clubs. This program, which ran from 1979 to 1984, presaged MTV and was the seminal Rock show that featured music from CBGB?s, The Mudd Club, Max?s Kansas City and many other venues in New York. It presented many young bands like the Ramones, Mink de Ville, The Cramps, The Heartbreakers, The Dead Kennedy?s among many others. In 1979 Tschinkel also created and produced a documentary series called ART/new york, that today consists of over 61 programs on contemporary art and artists. This ongoing series features artists such as Louise Bourgeois, Chuck Close, Jeff Koons, Jean-Michel Basquiat, Kiki Smith, Nan Goldin and many more. The series has been screened in major museums, such as The Whitney and MOMA, and on television in the US and Abroad. They have become an important historic document of the New York Art culture. In 2006 Paul Tschinkel completed and released his first feature length documentary on the noted photographer Robert Mapplethorpe. The centerpiece of Robert Mapplethorpe is a never-before-seen interview conducted in his studio on Bond Street in 1983.

Pays de neige (Snow Country), 2015 A walk to clear your mind as a moment of suspension, the undefined space similar to that of a respiration before every beginning. As time during which the canvas is prepared before applying paint, or the time in which the blank sheet waits for writing, or when a thought is about to be put into language. In this video Su-Mei Tse’s sweeping emphasizes the magic moment in which we are preparing to act, to be carried away by our desires, to walk into the snow ...

In "Mistelpartition" (2006), there is a travelling shot of a row of trees made to look like sheet music. The silence is broken by the sound of music which is visualized through illuminations in the mistletoe in winter branches ? the distant reflection of a lost tune.

Born in 1973, Su-Mei Tse is an artist based in Luxembourg and Paris. She uses different media (videos, photographs, installations, objects...) in function with the core idea she wants to express. Sound, rhythm, and music are also important components in her work, which is characterized by a placing in suspension, moments of silence, and an invitation to a degree of introspection. Su-Mei's work has recently been exhibited at Tim Van Laere Gallery in Antwerp, at Peter Blum Gallery and PS1 in New York, at Albion Gallery in London, at Casino, Forum d'Art Contemporain in Luxembourg, and at the Kunsthaus in Zürich. Her awards include: 2006, SR-Medienkunstpreis, Saarländischer Rundfunk, Saarbrücken 2006; 2005, Edward Steichen Award Grant and Art Residency in NY for 2006; 2003, Golden Lion for the Best National Participation, 50; Esposizione Internazionale d?Arte, Venice Biennial 2000; Prix d?art Robert Schuman, and prix interrégional SaarLorLux.

No land to live In the production process of this piece of work. I feel the transition of political atmosphere in Taiwan. The atmosphere of distrust spread around the society. In this work, all of these are just like after leaving an anxious scene. Maybe a insurrection, a late night party, an end of a sex, or on the way return after a rebellion protest. Don’t want to return, the so-called home, the place to live. No one will wait there, or it doesn’t matter anymore. Thinking of where can self exist. And the body rather stay at the interim middle, somewhere no where. I shoot 56 street scene in midnight Taipei. Those bodies have no intent to return to the place they live. Maybe they feel too strong about the place they just left, and the feeling can’t be soothed. They need a place in the middle, just stay there, exist there. Let self feel the existence of self. To recover the senses of the body. And this status becomes a kind of ceremony. The ceremony of trying to cover or stop what just happened. The fluttering insects are the summon of ghost. It’s a foretell of the past and those unhappened. Entrenching the body, waiting for the evidence left, becoming the existence.

TSENG YU-CHIN Born in 1978 Documenta 12 Germany Kassel Lectorate at the Shih Chien University Communication Design Lectorate at the Taipei National University of the Arts CCAA Best Young Artist of Chinese Contemporary Art Awards 2008 Paris La Cité internationale des Arts International Artist Residency Program New York Location One International Artist Residency Program honour 2003 Shih Chien University Communication Design Graduate with honor 2007 Technical Art at Taipei National University of the Arts outstanding alumni 2013 Shih Chien University Communication Design outstanding alumni Overseas Exhibition 2004 MOMA CONTEMPORARY The New Identity Part-5 Tracing Self 2005 The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) 2005 First 2005 The 3rd Fukuoka Asian Art Triennale 2006 England Asian Art Now ! 2006 Red Carpet : Art Video Screening `Taipei Croquis:Single Channel Video Works from Taiwan` Yokohama, Japan 2006 Rencontres internationales Paris/Berlin 2007 sensitivity:memories of twelve artisce works DIMENSIONS ART CENTER(Beijing) 2007 Documenta 12 Germany Kassel 2007 Soft Power: Asian Attitude Shanghai Zendai Museum of Modern Art Shanghai, China 2007 Rencontres nternationals Paris/Berlin/Madrid Paris，JEU DE PAUME 2007 Natura Dèi Teatri`s Performing Arts Festival-XII edizione opere turbate Italy，Parma 2007 TAIWAN CROSSOVER Austria ok-centrum 2007 KonstBio (ArtCinema) Swiss Kulturhuset 2008 Bubble Tea: Art of Taiwan and its Contemporary Mutations The Moravian Gallery in Brno 2008 Penumbra: Contemporary Art from Taiwan . Anne & Gordon Samstag Museum of Art Samstag Museum 2008 New York 5th (Asian Contemporary Art Week 2008)-- Snake Alley 2008 Daniel Andersson and Tseng Yu-chin . New York Location One Gallery 2008 China China China!!! Palazzo Strozzina, Firenze Italy 2008 Daniel Andersson + Tseng Yu-Chin Location . One Soho . New York 2008 CCAA chiese contemporary art awards Creative Center of Bund18 , shanghai 2008 CCAA chiese contemporary art awards Ullens Center for Contemporary Art , Beijing 2008 “ The Program”the video art exhibition Conduit Gallery , USA Texas Dallas 2008 A Voice of Taiwan Art , Japan , Tokyo , O Art Museum 2009 Rites de Passage Heerlen The Netherlands SCHUNCK* 2009 ratorial incubator v.6 The Dark Arts:magic and intuition Canada Toronto Vtape 2009 Love me tender exhibition Germany Kunstverein Wolfsburg 2009 PORTRAIT OF THE YOUTH China Shenzhen J&Z Gallery 2009 SuperGeneration@TAIWAN China Shanghai Art Museum 2009 SuperGeneration@TAIWAN China Beijing Today Art Museum 2010 RESHAPING HISTORY Chin art from 2000 to 2009 China Beijing 2011 ART STAGE SINGAPORE 2012 ART HK Hong Kong 2012 Rencontres nternationals Paris/Berlin/Madrid Paris，Palais de Tokyo，Paris 2013 FOKUS 2013 video kunst festivalGörlitz，German 2013 「urbanity」Asia Video Festival cutlog NY program，New York，USA 2013 Ars Electronica 2013 / Schizophrenia Taiwan 2.0 Linz Austria 2013 St. Petersburg Cyberfest / Schizophrenia Taiwan 2.0 St. Petersburg Russia 2014 Berlin Transmediale 2014/ Schizophrenia Taiwan 2.0 Berlin ，German

I hate New York! From the day I?ve stepped into the city, I?ve been feeling this way. It has never left my mind, and never denied, except for a few minor surprises or some little goodness. Eating brownies, or the dazzling lights of the Broadway, reduced my dislike of New York. It?s like when I repeatedly write ?I HATE NEW YORK? on the blackboard, at the same time erasing it with a duster, but yet, traces of the words remain, as though I haven?t had any intention to rub it off more forcefully and deliberately. This is a very uninteresting game, where you cannot hide too far in, you cannot hide yourself completely, or camouflage yourself as any item in the darkness under the bed hoping that you won?t be found, whilst listening to the noises outside, you feel safe as you hide. All because, you want to be found, and this is no longer innocent child?s play. You can recklessly hide, because of anger or simply because you wish to hide away with a friend, just the two of you. You can no longer do that! You must be found, and you must show yourself, and face the music! This indeed, is no longer child?s play. Ever since I came to New York, I?ve unconsciously begun to force myself to get along with myself, and even though I?m pretty used to getting along with myself. From the time back in my home country, the solitary me, has been forced to go out and face plenty of things, and this had been repeating itself. And eventually, I took a 15-hour flight and arrived in New York, and I?m left with only myself. It is really a test of inner strength, when you?re all alone, and the only thing you can rely on is the lingering scent of your home country that?s left in your suitcases. All I want to do is to curl up and sleep while embracing the scent, and even more often, I stay indoors, inside this so-called temporary apartment of mine. I confess about my initial insecurity. Amidst the noise that goes on every hour of the day, there is hardly any serenity, and any freedom to ponder. One thinks he can travel to many places, but the truth is, you can?t. The so-called travelling, is merely a physical shift of territory, and subsequently imprisoning oneself again. Forgive my use of vocabulary ? imprisoning. I?m imprisoned. By myself, by words and speech, by this conformity of a life that isn?t mine, by the responsibilities and obligations which I need to bear. I am imprisoned. I?m so perturbed in the winter of New York, that I can?t even be sure of the magnitude of the effects that this major illness that I?m going through is bringing me. I only recall the many feverish nights, dry-coughing, which kept me awake. I groaned with a slight growl, but still I can feel the trembles from the subway beneath my apartment. And I saw a kid, facing me, all curled up, and watching me restlessly, or at least I think he?s watching me! Perhaps?? his gaze isn?t at all on me. He may be simply staring straight, as though a beast is approaching. Or like stealing glances curiously, or perhaps not. I am unable to interpret his feeling. The complexity is preventing him from focusing. It?s a thought of speaking up, but he can?t, except for the urge to speak up, displayed through the shivering of his lips.

TSENG YU-CHIN Born in 1978 2002　Graduated from Shih Chien University Communication Design 2006 Graduate School of Technical Art at Taipei National University of the Arts. 2007 aching in Shih Chien University 2007 Documenta 12 Germany Kassel 2008 New York Location One International Artist Residency Program 2008-2009 Lectorate at the Shih Chien University Communication Design 2008 CCAA Best Young Artist of Chinese Contemporary Art Awards 2008 2009 Paris La Cité internationale des Arts International Artist Residency Program 2009-2010 Lectorate at the Shih Chien University Communication Design honour 2003 Shih Chien University Communication Design Graduate with honor 2007 Technical Art at Taipei National University of the Arts outstanding alumni Awards 2001 ?Worms? Print Design Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ?Hole? Multimedia Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ??Our Sanke??The Golden Harvest Awarde 2002 ?Projection and Reflection During That Time?Golden Horse Film Festival 2004 ?Projection and Reflection During That Time?Sprin Film Festival 2004 ?Who`s listening ?? 2004 Taipei Art Award Prizewinnimg 2005 ?I?m Leaving? The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) 2005 ? I despise presumptions? S-AN Cultural Foundation Prizewinnimg 2006 ?oxy_ Tseng Yu ching solo exhibition ? Taishin art award Final nominate 2006 "Un_let out the part" Taipei Digital Art Festival Prizewinnimg 2007 Yageo Tech-Art Award Prizewinnimg 2007 ?Acid Tongue Tseng Yu ching solo exhibition ? Taishin art award nominate 2008 CCAA Best Young Artist of Chinese Contemporary Art Awards 2008

In fact, I?ve known all along. Don?t deny me again. Although I can take more than a blow, I don?t enjoy masquerading. In fact I need to display a look of purity, to let you believe, that everything is fine. And then you will be assured that life is perfect. And then I must know where I stand, and be told bluntly what lies in the future for me. You will always believe that I will display the innocent look, and then smile blankly. This is how I will convince you. However, you did not notice what I?m lightly drawing on the floor with a finger of mine. It appears to bear the shape of a teardrop but yet will imaginatively evaporate in the light after which I will put up a faint smile, and enter my world of imagination. Everyone grows up, who wouldn?t? But have we really? When one loses his cool, it gets most noticeable as he ages. And I only hope to try hard and see a warm sunny afternoon, while you?re still great in my heart. Left in my memories, at least, when I recall them, you are still great, very, very great. However, I always remember, that I?m always denied, in the prettiest of situations. What have I done in the past? When I was indulging in senseless pleasure, or when I was just about to enter another phase. Yet suddenly, a shadow would always appear before me, blocking me. I can?t help but notice that my shadow had disappeared. In fact, I knew all along, what would happen in the future, although I couldn?t accurately put a finger to it. But believe me, I roughly know, and am able to gauge, which kind of route I will proceed along. This should not be about growing up in threats, really. Because, I would never succumb to threats, and hence get a better life. Everyone has had their difficult moments, and had endured hardships, and then they?ll be asked, whatever for? A laid back way of life is a forbidden thought, as threats will surface at anytime. Then, on whichever day, probably, just one day, I need not force myself to put up the innocent smiley face. To persuade everyone that I am fine, and I can be denied, and subsequently, I am still determined to grow up. And that would also be the day I hear the most sympathies? Fake sighs, as though they?re trying to retrieve or make amends to those denials and threats, and yet those people still continue to live marvelous lives. And then depart. The sun is great. The next person to be paralyzed here, drawing the floor with his finger, will subsequently appear. Anyway There is no great person Who would happily share his piece of candy, with another person?

TSENG YU-CHIN Born in 1978 2002　Graduated from Shih Chien University Communication Design 2006 Graduate School of Technical Art at Taipei National University of the Arts. Solo Exhibition 2005 TSENG YU-CHIN Solo Exhibition IT Park Taipei Overseas Exhibition 2004 ?Who`s listening ?? MOMA CONTEMPORARY The New Identity Part-5 Tracing Self 2005 ?I?m Leaving? The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) 2005 ?Thought Already? First 2005 ?Breath Hard? First 2005 ?I despise presumptions. But if I could at the very beginning, perhaps I could save a few? The 3rd Fukuoka Asian Art Triennale 2005 ?What had been done?? The 3rd Fukuoka Asian Art Triennale 2005 ??I despise presumptions. But if I could at the very beginning, perhaps I could save a few? England Asian Art Now! 2005 Red Carpet : Art Video Screening `Taipei Croquis: Single Channel Video Works from Taiwan` Yokohama, Japan 2006 ?? Un_let out the part?? Rencontres internationales Paris/Berlin 2006 ?? What had been done (extract)? Rencontres internationales Paris/Berlin 2006 ? I despise presumptions. But if I could at the very beginning, perhaps I could save a few? Rencontres internationales Paris/Berlin 2007 ?Who?s listening??1,5 documenta Germany Kassel Exhibition 2001 ?Age 20 and 40? Poor Film Festival 2002 ?Projection and Reflection During that Time? TAIWAN AVANT-GARDE DOCUMENTA Between Images 2002 ?Projection and Reflection During that Time? Poor Film Festival 2002 ?Projection and Reflection During that Time? 2002 ?Projection and Reflection During that Time? Golden Horse Film Festival 2002 ?Who`s listening ? ? RANDOM-IZE Film & Video Festival 2002 ?Who`s listening ?? concept net work TANET 2003. Taiwan Area Network Conference 2004 ?Projection and Reflection During That Time?Sprin Film Festival 2004 ?Who`s listening ?? 2004 Taipei Art Award 2004 ?Who`s listening ? ?（The Whimsical and the Fantastic: An On-line Exhibition of Taiwan`s Media Artists） 2004 ??Thought Already??[Tailly High Film Festival](SPOT TAIPEI FILM HOUSE) 2004 ?I?m Leaving? 2004 stock20 Film Festival 2004 ?I despise presumptions. But if I could at the very beginning, perhaps I could save a few? Taiwan Avant-garde Documenta II 2005 ?What had been done?? Con-temporary Citizens 2005 ?In All That Happened? Telepathy Technical Art 2005 ?Who`s listening ? ? Series Non Sign Internet Art 2005 ?Breath Hard? Series Non Sign Internet Art 2005 ?Who`s listening ? ? Series YOKOHAMA Red Carpet:Art Video Screening 2005 ?I despise presumptions. But if I could at the very beginning, perhaps I could save a few ? ?Noisy?Art Festival 2005 ?Morning Musings in Istanbul? 2005 Taipei Poetry Festival, 2006?oxy_ Tseng Yu ching solo exhibition ? Taishin art award 2006?In the Boring Conversation, I just Lean Against Something? SlowTech Museum of Contemporary 2006??3X3Eelite Drama Festival? The Man Become a Man Art Cooperation with Riverbed Theatre 2006?It couldn?t be beautiful?AVAT 2006??HIGHL IGHTS THE NEW WAVE OF TAIWAN DIGITAL ART 2000-2005?Project 2006 "Un_let out the part" Taipei Digital Art Festival Literary Works 2000 Poetry?Something Trivial? ?My lllness?? published in In-Between vol.2 2001Novel??Age 20 and 40? published in In-Between vol.3 2003??Don?t Worship Things That Dangle?? published in DPI Magazine vol. 55 Stage Design 2001　Tai-tung Theater Group ?Our Snake? Visual Art Inspector RecordingInstallation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival 2003　Tai-shun Performance Group Visual Art Design at International Art Village??Audience? Awards 2001 ?Worms? Print Design Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ?Hole? Multimedia Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ??Our Sanke??The Golden Harvest Awarde 2002 ?Projection and Reflection During That Time?Golden Horse Film Festival 2004 ?Projection and Reflection During That Time?Sprin Film Festival 2004?Who`s listening ?? 2004 Taipei Art Award Prizewinnimg 2005 ?I?m Leaving? The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) Collection 2005 TAIPEL FINE ART MUSEUM 2006 < I despise presumptions> Fukuoka Asian Art Museum 2006 < Who?s listening> National Taiwan Museum of Fine Arts

I get up in the morning. I dreamt of my grandmother last night. She was sighing; she lied down next to me. I receive a phone-call. Grandmother passed away. She was very important to me. These days, I keep on remembering when I used to run into grandmother's kitchen when I was a child. Grandmother always spoke in the Hakka tongue, and would ask me sweetly where I was coming from at that moment or whether I wanted something to eat. The Kitchen and the steam evaporate. Grandmother's hair is white. I grab the New Year's cake on the table and look stupidly at my grandmother. I miss my grandmother so much. My childhood was certainly not very joyful, but most of the joys I had came from my grandmother. These days, I want to cry when I ride my motorcycle. I feel like I am choking.

Born in 1978, Tseng Yu-Chin is currently studying at the Graduate School of Technical Art at Taipei National University of the Arts. From 1999 to 2002 he participated in In-Between Visual Art Design. In 2001 he was member of the Tai-tung Theater Group Visual Art Design and the AFA International Ltd. Visual Art. In 2003, he worked for the Tai-shun Performance Group Visual Art Design, and the National Symphony Orchestra Opera "Faust" Documentary Film Post Production. Tseng YU-CHIN spends a lot of time writing. In 2000 his poems "Something Trivial" and "My Illness" are published in In-Between vol. 2, and his novel "Age 20 and 40" in In-Between vol. 3. "Don?t Worship Things That Dangle" can be found in DPI Magazine vol. 55, 2003. Moreover, he worked in the Tai-tung Theater Group "Our Snake" as a Visual Art Inspector. Recording/Installation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival 2003　and Tai-shun Performance Group "Audience" Visual Art Design at the International Art Village. Yu-Chin has received the following awards: for "Our Snake" a Golden Harvest Awards 2001, and for "Projection and Reflection During That Time", at Golden Horse Film Festival in 2002. In 2004, his work "Projection and Reflection During That Time" was chosen for the Spring Film Festival. "I?m Leaving" was played for the 10th Hong Kong Independent Short Film and Video Awards 2005 (ifva Asian New Force). He has vast experience in exhibitions. His main works; "Projection and Reflection During that Time", "Who's listening?", "What had been done?", and "I despise presumptions. But if I could at the very beginning, perhaps I could save a few", have been shown at many festivals, including Poor film festival, Golden Horse film festival, Spring film Festival, "Noisy" Art Festival; and internet exhibitions, Non Sign Internet Art, The Whimsical and the Fantastic, and an on-line exhibition of Taiwan's Media Artists. In 2005, he presented his work in the 3rd Fukuoka Asian Art Triennale, and in 2006, Yu-Chin created the "oxy_ Tseng Yu ching solo exhibition", for which he received the Taishin art award.

"I despise presumptions. But if I could at the very beginning, perhaps I could save a few". I am losing language, especially the vocal part. It used to function with rare shocking but lately it is replaced by random vomit and phlegm. Those who used to speak with me gradually disappeared. I am seeing myself living like this inside of my body. Don't even have energy to be loud. When I am talking to others, my throat hurts and I cannot catch up with my breath. My body and my mouth feel dried-out. I feel my two fake front teeth about to break. I want to say something, but I keep on hurting in my chest. Creation no longer is an enjoyment. Originally, it was to cure my pathetic self-indulgence. But now not anymore. I cannot speak about anything. I used to be crazy about images but now I deny it, not being understood. I do not even understand myself. I realized I would become psychotic and sickening. Especially when emotions run high. My shaking hands make me fearful and I have to pinch them, try to stiffen my muscles until they are on the edge of splitting. Yes I admit. I am wishing for pure emotions. But even with a simple swallowing, I am afraid it will hurt. Things repeat themselves, especially at night. Breathing sounds coming next to me. I watched her shoulder moving up and down. It all seemed the same. I do not care who it is, is that not it? I see it as I am sick. I sigh again. It is an old habit, I like to sigh. Was that me? Was that myself? Or someone's back? At least the smell of people becomes rare. I hate presumptions, really. About every aspect. Actually, I force myself. What is there to be regretted? Yes, it is another equal sign. Presumption and regret to me are equal, absolute. Because I force myself. There is no use for this word "regret". Nonetheless, it is no use. He cannot change anything in the body. Cannot turn, cannot clean Or is it the so called "wisdom"? The presuming tone always being shown as know-it-all. I do not know, but at last I cannot presume. I would not allow myself. But that evening, that person's back, a few smells. The body warmth flew over. I feel pain. My skin stuck with the organs and it was painful. Difficult to breathe smoothly. Really. If I really could, if I closed my eyes at the beginning. Like a game of trust Let it guide me. Let air, let body warmth, let sounds feel. Beginning, the so-called beginning is when things are in their most tortuous state. When I am still clean, when the body is still pure white. Really. If I really could. Perhaps, maybe I can save something. I cannot speak, because I lost the language. Water, sunshine. I would no longer feel the organ's pain. My body is white, no more spots. No longer going toward emotions' directions with stains. Now even these smallest things no longer are. I regret. I force myself. What is there regret? I hate presumptions. That evening, that person's back. A few snoring sounds. I see a white wall that appears to be grey due to darkness. Suddenly I see myself in a moving bus. I am sleeping with my eyes closed. Sounds pass through. Sun passes through. Air passes through. Suddenly, I think of some old man, on a bus, touching my hips over my uniform. And some elementary school girl sitting in front of me, making an arousing pose. Her uniform and skirt slightly lift up. Looks at me and smiles. I cannot sleep. My brain starts to function again. I cannot speak. Who can I talk to? Not about those. But deeper, more personal, more sobbing. Until morning. The breathing sound next to me still exists. And I am sitting on a bus with my eyes closed but he is looking at me with eyes closed. What is that. I do not know. I cannot tell.

Born in 1978, Tsent Yu-Chin graduated from Shih Chien University with Communication Design Major in 2002. He is currently studying at the Graduate School of Technical Art at Taipei National University of the Arts. His work experience includes: 1999-2002, In-Between Visual Art Design; 2001, Tai-tung Theater Group Visual Art Design; 2001, AFA International Ltd. Visual Art; 2003, Tai-shun Performance Group Visual Art Design; 2003, Eslite Books 116 Anniversary Commercial Post Production; 2003, National Symphony Orchestra Opera "Faust" Documentary Film Post Production Literary Works; 2000, Poetry "Something Trivial" and "My Illness" published in In-Between vol. 2; 2001, Novel "Age 20 and 40" published in In-Between vol. 3; 2003, "Don?t Worship Things That Dangle" published in DPI Magazine vol. 55 Stage Design; 2001,　Tai-tung Theater Group "Our Snake" Visual Art Inspector Recording Installation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival; 2003,　Tai-shun Performance Group "Audience" Visual Art Design at International Art Village. His awards include: 2001, "Worms" and "Hole", Print Design Taipei Intl Design Exhibition The Young Designs Exhibition 2001; "Our Snake", The Golden Harvest Awards; 2002, "Projection and Reflection During That Time" Golden Horse Film Festival; 2004, "Projection and Reflection During That Time" Spring Film Festival; 2004, "Who's listening?", 2004 Taipei Art Award; 2005, "I'm Leaving", The 10th Hong Kong Independent Short Film and Video Awards His many exhibitions include: 2001, "Age 20 and 40", Poor Film Festival; 2002, "Projection and Reflection During that Time", Taiwan Avant-Garde Documenta, Poor Film Festival, and Golden Horse Film Festival; "Who's listening?" RANDOM-IZE Film & Video Festival; 2004, "?Projection and Reflection During That Time" Spring Film Festival; "Who`s listening?" Taipei Art Award; "I'm Leaving" stock20 Film Festival; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Taiwan Avant-garde Documenta II; 2005, "I?m Leaving" The 10th Hong Kong Independent Short Film and Video Awards; "What had been done?" Con-temporary Citizens; "In All That Happened" Telepathy Technical Art; "Breath Hard" First ; "What had been done?" The 3rd Fukuoka Asian Art Triennial; "Who's listening?" Series YOKOHAMA Red Carpet:Art Video Screening; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" 'Noisy' Art Festival; "Morning Musings in Istanbul" Taipei Poetry Festival; 2006, "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Asian Art Now!; "oxy_ Tseng Yu ching solo exhibition" Taishin art award.

I'm not so bad. I don't want to strongly to shock others by saying "Do you know..." I dragged in a huge silence, I am wet, I close myself tightly, my past, and my nose waters and tears flow. I am losing my body, and I am gone. I hate shock, and want to knock out my throat, which is choked with sobs. Then cut everything with knife. Watch a kind of complete and great thin waste lose. I grab a paper and sway it slowly. It is the process where the matter occurs, on the paper. Swing and swing it, then put it down. A black, dense, and numerous paper picked up again, sway and sway. That happened, that?s all. Heard the sound of the paper shocked. It's like reading some words but forgetting the shape of those words because of the swinging and swaying. Scrappy, some night, scrappy and dense, like something happened. I do not necessarily have to say it all, because I'm not so bad.

Born in 1978, Tsent Yu-Chin graduated from Shih Chien University with Communication Design Major in 2002. He is currently studying at the Graduate School of Technical Art at Taipei National University of the Arts. His work experience includes: 1999-2002, In-Between Visual Art Design; 2001, Tai-tung Theater Group Visual Art Design; 2001, AFA International Ltd. Visual Art; 2003, Tai-shun Performance Group Visual Art Design; 2003, Eslite Books 116 Anniversary Commercial Post Production; 2003, National Symphony Orchestra Opera "Faust" Documentary Film Post Production Literary Works; 2000, Poetry "Something Trivial" and "My Illness" published in In-Between vol. 2; 2001, Novel "Age 20 and 40" published in In-Between vol. 3; 2003, "Don?t Worship Things That Dangle" published in DPI Magazine vol. 55 Stage Design; 2001,　Tai-tung Theater Group "Our Snake" Visual Art Inspector Recording Installation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival; 2003,　Tai-shun Performance Group "Audience" Visual Art Design at International Art Village. His awards include: 2001, "Worms" and "Hole", Print Design Taipei Intl Design Exhibition The Young Designs Exhibition 2001; "Our Snake", The Golden Harvest Awards; 2002, "Projection and Reflection During That Time" Golden Horse Film Festival; 2004, "Projection and Reflection During That Time" Spring Film Festival; 2004, "Who's listening?", 2004 Taipei Art Award; 2005, "I'm Leaving", The 10th Hong Kong Independent Short Film and Video Awards His many exhibitions include: 2001, "Age 20 and 40", Poor Film Festival; 2002, "Projection and Reflection During that Time", Taiwan Avant-Garde Documenta, Poor Film Festival, and Golden Horse Film Festival; "Who's listening?" RANDOM-IZE Film & Video Festival; 2004, "?Projection and Reflection During That Time" Spring Film Festival; "Who`s listening?" Taipei Art Award; "I'm Leaving" stock20 Film Festival; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Taiwan Avant-garde Documenta II; 2005, "I?m Leaving" The 10th Hong Kong Independent Short Film and Video Awards; "What had been done?" Con-temporary Citizens; "In All That Happened" Telepathy Technical Art; "Breath Hard" First ; "What had been done?" The 3rd Fukuoka Asian Art Triennial; "Who's listening?" Series YOKOHAMA Red Carpet:Art Video Screening; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" 'Noisy' Art Festival; "Morning Musings in Istanbul" Taipei Poetry Festival; 2006, "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Asian Art Now!; "oxy_ Tseng Yu ching solo exhibition" Taishin art award.

No land to live In the production process of this piece of work. I feel the transition of political atmosphere in Taiwan. The atmosphere of distrust spread around the society. In this work, all of these are just like after leaving an anxious scene. Maybe a insurrection, a late night party, an end of a sex, or on the way return after a rebellion protest. Don’t want to return, the so-called home, the place to live. No one will wait there, or it doesn’t matter anymore. Thinking of where can self exist. And the body rather stay at the interim middle, somewhere no where. I shoot 56 street scene in midnight Taipei. Those bodies have no intent to return to the place they live. Maybe they feel too strong about the place they just left, and the feeling can’t be soothed. They need a place in the middle, just stay there, exist there. Let self feel the existence of self. To recover the senses of the body. And this status becomes a kind of ceremony. The ceremony of trying to cover or stop what just happened. The fluttering insects are the summon of ghost. It’s a foretell of the past and those unhappened. Entrenching the body, waiting for the evidence left, becoming the existence.

TSENG YU-CHIN Born in 1978 Documenta 12 Germany Kassel Lectorate at the Shih Chien University Communication Design Lectorate at the Taipei National University of the Arts CCAA Best Young Artist of Chinese Contemporary Art Awards 2008 Paris La Cité internationale des Arts International Artist Residency Program New York Location One International Artist Residency Program honour 2003 Shih Chien University Communication Design Graduate with honor 2007 Technical Art at Taipei National University of the Arts outstanding alumni 2013 Shih Chien University Communication Design outstanding alumni Overseas Exhibition 2004 MOMA CONTEMPORARY The New Identity Part-5 Tracing Self 2005 The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) 2005 First 2005 The 3rd Fukuoka Asian Art Triennale 2006 England Asian Art Now ! 2006 Red Carpet : Art Video Screening `Taipei Croquis:Single Channel Video Works from Taiwan` Yokohama, Japan 2006 Rencontres internationales Paris/Berlin 2007 sensitivity:memories of twelve artisce works DIMENSIONS ART CENTER(Beijing) 2007 Documenta 12 Germany Kassel 2007 Soft Power: Asian Attitude Shanghai Zendai Museum of Modern Art Shanghai, China 2007 Rencontres nternationals Paris/Berlin/Madrid Paris，JEU DE PAUME 2007 Natura Dèi Teatri`s Performing Arts Festival-XII edizione opere turbate Italy，Parma 2007 TAIWAN CROSSOVER Austria ok-centrum 2007 KonstBio (ArtCinema) Swiss Kulturhuset 2008 Bubble Tea: Art of Taiwan and its Contemporary Mutations The Moravian Gallery in Brno 2008 Penumbra: Contemporary Art from Taiwan . Anne & Gordon Samstag Museum of Art Samstag Museum 2008 New York 5th (Asian Contemporary Art Week 2008)-- Snake Alley 2008 Daniel Andersson and Tseng Yu-chin . New York Location One Gallery 2008 China China China!!! Palazzo Strozzina, Firenze Italy 2008 Daniel Andersson + Tseng Yu-Chin Location . One Soho . New York 2008 CCAA chiese contemporary art awards Creative Center of Bund18 , shanghai 2008 CCAA chiese contemporary art awards Ullens Center for Contemporary Art , Beijing 2008 “ The Program”the video art exhibition Conduit Gallery , USA Texas Dallas 2008 A Voice of Taiwan Art , Japan , Tokyo , O Art Museum 2009 Rites de Passage Heerlen The Netherlands SCHUNCK* 2009 ratorial incubator v.6 The Dark Arts:magic and intuition Canada Toronto Vtape 2009 Love me tender exhibition Germany Kunstverein Wolfsburg 2009 PORTRAIT OF THE YOUTH China Shenzhen J&Z Gallery 2009 SuperGeneration@TAIWAN China Shanghai Art Museum 2009 SuperGeneration@TAIWAN China Beijing Today Art Museum 2010 RESHAPING HISTORY Chin art from 2000 to 2009 China Beijing 2011 ART STAGE SINGAPORE 2012 ART HK Hong Kong 2012 Rencontres nternationals Paris/Berlin/Madrid Paris，Palais de Tokyo，Paris 2013 FOKUS 2013 video kunst festivalGörlitz，German 2013 「urbanity」Asia Video Festival cutlog NY program，New York，USA 2013 Ars Electronica 2013 / Schizophrenia Taiwan 2.0 Linz Austria 2013 St. Petersburg Cyberfest / Schizophrenia Taiwan 2.0 St. Petersburg Russia 2014 Berlin Transmediale 2014/ Schizophrenia Taiwan 2.0 Berlin ，German

I hate New York! From the day I?ve stepped into the city, I?ve been feeling this way. It has never left my mind, and never denied, except for a few minor surprises or some little goodness. Eating brownies, or the dazzling lights of the Broadway, reduced my dislike of New York. It?s like when I repeatedly write ?I HATE NEW YORK? on the blackboard, at the same time erasing it with a duster, but yet, traces of the words remain, as though I haven?t had any intention to rub it off more forcefully and deliberately. This is a very uninteresting game, where you cannot hide too far in, you cannot hide yourself completely, or camouflage yourself as any item in the darkness under the bed hoping that you won?t be found, whilst listening to the noises outside, you feel safe as you hide. All because, you want to be found, and this is no longer innocent child?s play. You can recklessly hide, because of anger or simply because you wish to hide away with a friend, just the two of you. You can no longer do that! You must be found, and you must show yourself, and face the music! This indeed, is no longer child?s play. Ever since I came to New York, I?ve unconsciously begun to force myself to get along with myself, and even though I?m pretty used to getting along with myself. From the time back in my home country, the solitary me, has been forced to go out and face plenty of things, and this had been repeating itself. And eventually, I took a 15-hour flight and arrived in New York, and I?m left with only myself. It is really a test of inner strength, when you?re all alone, and the only thing you can rely on is the lingering scent of your home country that?s left in your suitcases. All I want to do is to curl up and sleep while embracing the scent, and even more often, I stay indoors, inside this so-called temporary apartment of mine. I confess about my initial insecurity. Amidst the noise that goes on every hour of the day, there is hardly any serenity, and any freedom to ponder. One thinks he can travel to many places, but the truth is, you can?t. The so-called travelling, is merely a physical shift of territory, and subsequently imprisoning oneself again. Forgive my use of vocabulary ? imprisoning. I?m imprisoned. By myself, by words and speech, by this conformity of a life that isn?t mine, by the responsibilities and obligations which I need to bear. I am imprisoned. I?m so perturbed in the winter of New York, that I can?t even be sure of the magnitude of the effects that this major illness that I?m going through is bringing me. I only recall the many feverish nights, dry-coughing, which kept me awake. I groaned with a slight growl, but still I can feel the trembles from the subway beneath my apartment. And I saw a kid, facing me, all curled up, and watching me restlessly, or at least I think he?s watching me! Perhaps?? his gaze isn?t at all on me. He may be simply staring straight, as though a beast is approaching. Or like stealing glances curiously, or perhaps not. I am unable to interpret his feeling. The complexity is preventing him from focusing. It?s a thought of speaking up, but he can?t, except for the urge to speak up, displayed through the shivering of his lips.

TSENG YU-CHIN Born in 1978 2002　Graduated from Shih Chien University Communication Design 2006 Graduate School of Technical Art at Taipei National University of the Arts. 2007 aching in Shih Chien University 2007 Documenta 12 Germany Kassel 2008 New York Location One International Artist Residency Program 2008-2009 Lectorate at the Shih Chien University Communication Design 2008 CCAA Best Young Artist of Chinese Contemporary Art Awards 2008 2009 Paris La Cité internationale des Arts International Artist Residency Program 2009-2010 Lectorate at the Shih Chien University Communication Design honour 2003 Shih Chien University Communication Design Graduate with honor 2007 Technical Art at Taipei National University of the Arts outstanding alumni Awards 2001 ?Worms? Print Design Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ?Hole? Multimedia Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ??Our Sanke??The Golden Harvest Awarde 2002 ?Projection and Reflection During That Time?Golden Horse Film Festival 2004 ?Projection and Reflection During That Time?Sprin Film Festival 2004 ?Who`s listening ?? 2004 Taipei Art Award Prizewinnimg 2005 ?I?m Leaving? The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) 2005 ? I despise presumptions? S-AN Cultural Foundation Prizewinnimg 2006 ?oxy_ Tseng Yu ching solo exhibition ? Taishin art award Final nominate 2006 "Un_let out the part" Taipei Digital Art Festival Prizewinnimg 2007 Yageo Tech-Art Award Prizewinnimg 2007 ?Acid Tongue Tseng Yu ching solo exhibition ? Taishin art award nominate 2008 CCAA Best Young Artist of Chinese Contemporary Art Awards 2008

In fact, I?ve known all along. Don?t deny me again. Although I can take more than a blow, I don?t enjoy masquerading. In fact I need to display a look of purity, to let you believe, that everything is fine. And then you will be assured that life is perfect. And then I must know where I stand, and be told bluntly what lies in the future for me. You will always believe that I will display the innocent look, and then smile blankly. This is how I will convince you. However, you did not notice what I?m lightly drawing on the floor with a finger of mine. It appears to bear the shape of a teardrop but yet will imaginatively evaporate in the light after which I will put up a faint smile, and enter my world of imagination. Everyone grows up, who wouldn?t? But have we really? When one loses his cool, it gets most noticeable as he ages. And I only hope to try hard and see a warm sunny afternoon, while you?re still great in my heart. Left in my memories, at least, when I recall them, you are still great, very, very great. However, I always remember, that I?m always denied, in the prettiest of situations. What have I done in the past? When I was indulging in senseless pleasure, or when I was just about to enter another phase. Yet suddenly, a shadow would always appear before me, blocking me. I can?t help but notice that my shadow had disappeared. In fact, I knew all along, what would happen in the future, although I couldn?t accurately put a finger to it. But believe me, I roughly know, and am able to gauge, which kind of route I will proceed along. This should not be about growing up in threats, really. Because, I would never succumb to threats, and hence get a better life. Everyone has had their difficult moments, and had endured hardships, and then they?ll be asked, whatever for? A laid back way of life is a forbidden thought, as threats will surface at anytime. Then, on whichever day, probably, just one day, I need not force myself to put up the innocent smiley face. To persuade everyone that I am fine, and I can be denied, and subsequently, I am still determined to grow up. And that would also be the day I hear the most sympathies? Fake sighs, as though they?re trying to retrieve or make amends to those denials and threats, and yet those people still continue to live marvelous lives. And then depart. The sun is great. The next person to be paralyzed here, drawing the floor with his finger, will subsequently appear. Anyway There is no great person Who would happily share his piece of candy, with another person?

TSENG YU-CHIN Born in 1978 2002　Graduated from Shih Chien University Communication Design 2006 Graduate School of Technical Art at Taipei National University of the Arts. Solo Exhibition 2005 TSENG YU-CHIN Solo Exhibition IT Park Taipei Overseas Exhibition 2004 ?Who`s listening ?? MOMA CONTEMPORARY The New Identity Part-5 Tracing Self 2005 ?I?m Leaving? The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) 2005 ?Thought Already? First 2005 ?Breath Hard? First 2005 ?I despise presumptions. But if I could at the very beginning, perhaps I could save a few? The 3rd Fukuoka Asian Art Triennale 2005 ?What had been done?? The 3rd Fukuoka Asian Art Triennale 2005 ??I despise presumptions. But if I could at the very beginning, perhaps I could save a few? England Asian Art Now! 2005 Red Carpet : Art Video Screening `Taipei Croquis: Single Channel Video Works from Taiwan` Yokohama, Japan 2006 ?? Un_let out the part?? Rencontres internationales Paris/Berlin 2006 ?? What had been done (extract)? Rencontres internationales Paris/Berlin 2006 ? I despise presumptions. But if I could at the very beginning, perhaps I could save a few? Rencontres internationales Paris/Berlin 2007 ?Who?s listening??1,5 documenta Germany Kassel Exhibition 2001 ?Age 20 and 40? Poor Film Festival 2002 ?Projection and Reflection During that Time? TAIWAN AVANT-GARDE DOCUMENTA Between Images 2002 ?Projection and Reflection During that Time? Poor Film Festival 2002 ?Projection and Reflection During that Time? 2002 ?Projection and Reflection During that Time? Golden Horse Film Festival 2002 ?Who`s listening ? ? RANDOM-IZE Film & Video Festival 2002 ?Who`s listening ?? concept net work TANET 2003. Taiwan Area Network Conference 2004 ?Projection and Reflection During That Time?Sprin Film Festival 2004 ?Who`s listening ?? 2004 Taipei Art Award 2004 ?Who`s listening ? ?（The Whimsical and the Fantastic: An On-line Exhibition of Taiwan`s Media Artists） 2004 ??Thought Already??[Tailly High Film Festival](SPOT TAIPEI FILM HOUSE) 2004 ?I?m Leaving? 2004 stock20 Film Festival 2004 ?I despise presumptions. But if I could at the very beginning, perhaps I could save a few? Taiwan Avant-garde Documenta II 2005 ?What had been done?? Con-temporary Citizens 2005 ?In All That Happened? Telepathy Technical Art 2005 ?Who`s listening ? ? Series Non Sign Internet Art 2005 ?Breath Hard? Series Non Sign Internet Art 2005 ?Who`s listening ? ? Series YOKOHAMA Red Carpet:Art Video Screening 2005 ?I despise presumptions. But if I could at the very beginning, perhaps I could save a few ? ?Noisy?Art Festival 2005 ?Morning Musings in Istanbul? 2005 Taipei Poetry Festival, 2006?oxy_ Tseng Yu ching solo exhibition ? Taishin art award 2006?In the Boring Conversation, I just Lean Against Something? SlowTech Museum of Contemporary 2006??3X3Eelite Drama Festival? The Man Become a Man Art Cooperation with Riverbed Theatre 2006?It couldn?t be beautiful?AVAT 2006??HIGHL IGHTS THE NEW WAVE OF TAIWAN DIGITAL ART 2000-2005?Project 2006 "Un_let out the part" Taipei Digital Art Festival Literary Works 2000 Poetry?Something Trivial? ?My lllness?? published in In-Between vol.2 2001Novel??Age 20 and 40? published in In-Between vol.3 2003??Don?t Worship Things That Dangle?? published in DPI Magazine vol. 55 Stage Design 2001　Tai-tung Theater Group ?Our Snake? Visual Art Inspector RecordingInstallation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival 2003　Tai-shun Performance Group Visual Art Design at International Art Village??Audience? Awards 2001 ?Worms? Print Design Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ?Hole? Multimedia Taipei Int`l Design Exhibition The Young Designs` Exhibition 2001 2001 ??Our Sanke??The Golden Harvest Awarde 2002 ?Projection and Reflection During That Time?Golden Horse Film Festival 2004 ?Projection and Reflection During That Time?Sprin Film Festival 2004?Who`s listening ?? 2004 Taipei Art Award Prizewinnimg 2005 ?I?m Leaving? The 10th Hong Kong Independent Short Film and Video Awards ( ifva Asian New Force) Collection 2005 TAIPEL FINE ART MUSEUM 2006 < I despise presumptions> Fukuoka Asian Art Museum 2006 < Who?s listening> National Taiwan Museum of Fine Arts

I get up in the morning. I dreamt of my grandmother last night. She was sighing; she lied down next to me. I receive a phone-call. Grandmother passed away. She was very important to me. These days, I keep on remembering when I used to run into grandmother's kitchen when I was a child. Grandmother always spoke in the Hakka tongue, and would ask me sweetly where I was coming from at that moment or whether I wanted something to eat. The Kitchen and the steam evaporate. Grandmother's hair is white. I grab the New Year's cake on the table and look stupidly at my grandmother. I miss my grandmother so much. My childhood was certainly not very joyful, but most of the joys I had came from my grandmother. These days, I want to cry when I ride my motorcycle. I feel like I am choking.

Born in 1978, Tseng Yu-Chin is currently studying at the Graduate School of Technical Art at Taipei National University of the Arts. From 1999 to 2002 he participated in In-Between Visual Art Design. In 2001 he was member of the Tai-tung Theater Group Visual Art Design and the AFA International Ltd. Visual Art. In 2003, he worked for the Tai-shun Performance Group Visual Art Design, and the National Symphony Orchestra Opera "Faust" Documentary Film Post Production. Tseng YU-CHIN spends a lot of time writing. In 2000 his poems "Something Trivial" and "My Illness" are published in In-Between vol. 2, and his novel "Age 20 and 40" in In-Between vol. 3. "Don?t Worship Things That Dangle" can be found in DPI Magazine vol. 55, 2003. Moreover, he worked in the Tai-tung Theater Group "Our Snake" as a Visual Art Inspector. Recording/Installation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival 2003　and Tai-shun Performance Group "Audience" Visual Art Design at the International Art Village. Yu-Chin has received the following awards: for "Our Snake" a Golden Harvest Awards 2001, and for "Projection and Reflection During That Time", at Golden Horse Film Festival in 2002. In 2004, his work "Projection and Reflection During That Time" was chosen for the Spring Film Festival. "I?m Leaving" was played for the 10th Hong Kong Independent Short Film and Video Awards 2005 (ifva Asian New Force). He has vast experience in exhibitions. His main works; "Projection and Reflection During that Time", "Who's listening?", "What had been done?", and "I despise presumptions. But if I could at the very beginning, perhaps I could save a few", have been shown at many festivals, including Poor film festival, Golden Horse film festival, Spring film Festival, "Noisy" Art Festival; and internet exhibitions, Non Sign Internet Art, The Whimsical and the Fantastic, and an on-line exhibition of Taiwan's Media Artists. In 2005, he presented his work in the 3rd Fukuoka Asian Art Triennale, and in 2006, Yu-Chin created the "oxy_ Tseng Yu ching solo exhibition", for which he received the Taishin art award.

"I despise presumptions. But if I could at the very beginning, perhaps I could save a few". I am losing language, especially the vocal part. It used to function with rare shocking but lately it is replaced by random vomit and phlegm. Those who used to speak with me gradually disappeared. I am seeing myself living like this inside of my body. Don't even have energy to be loud. When I am talking to others, my throat hurts and I cannot catch up with my breath. My body and my mouth feel dried-out. I feel my two fake front teeth about to break. I want to say something, but I keep on hurting in my chest. Creation no longer is an enjoyment. Originally, it was to cure my pathetic self-indulgence. But now not anymore. I cannot speak about anything. I used to be crazy about images but now I deny it, not being understood. I do not even understand myself. I realized I would become psychotic and sickening. Especially when emotions run high. My shaking hands make me fearful and I have to pinch them, try to stiffen my muscles until they are on the edge of splitting. Yes I admit. I am wishing for pure emotions. But even with a simple swallowing, I am afraid it will hurt. Things repeat themselves, especially at night. Breathing sounds coming next to me. I watched her shoulder moving up and down. It all seemed the same. I do not care who it is, is that not it? I see it as I am sick. I sigh again. It is an old habit, I like to sigh. Was that me? Was that myself? Or someone's back? At least the smell of people becomes rare. I hate presumptions, really. About every aspect. Actually, I force myself. What is there to be regretted? Yes, it is another equal sign. Presumption and regret to me are equal, absolute. Because I force myself. There is no use for this word "regret". Nonetheless, it is no use. He cannot change anything in the body. Cannot turn, cannot clean Or is it the so called "wisdom"? The presuming tone always being shown as know-it-all. I do not know, but at last I cannot presume. I would not allow myself. But that evening, that person's back, a few smells. The body warmth flew over. I feel pain. My skin stuck with the organs and it was painful. Difficult to breathe smoothly. Really. If I really could, if I closed my eyes at the beginning. Like a game of trust Let it guide me. Let air, let body warmth, let sounds feel. Beginning, the so-called beginning is when things are in their most tortuous state. When I am still clean, when the body is still pure white. Really. If I really could. Perhaps, maybe I can save something. I cannot speak, because I lost the language. Water, sunshine. I would no longer feel the organ's pain. My body is white, no more spots. No longer going toward emotions' directions with stains. Now even these smallest things no longer are. I regret. I force myself. What is there regret? I hate presumptions. That evening, that person's back. A few snoring sounds. I see a white wall that appears to be grey due to darkness. Suddenly I see myself in a moving bus. I am sleeping with my eyes closed. Sounds pass through. Sun passes through. Air passes through. Suddenly, I think of some old man, on a bus, touching my hips over my uniform. And some elementary school girl sitting in front of me, making an arousing pose. Her uniform and skirt slightly lift up. Looks at me and smiles. I cannot sleep. My brain starts to function again. I cannot speak. Who can I talk to? Not about those. But deeper, more personal, more sobbing. Until morning. The breathing sound next to me still exists. And I am sitting on a bus with my eyes closed but he is looking at me with eyes closed. What is that. I do not know. I cannot tell.

Born in 1978, Tsent Yu-Chin graduated from Shih Chien University with Communication Design Major in 2002. He is currently studying at the Graduate School of Technical Art at Taipei National University of the Arts. His work experience includes: 1999-2002, In-Between Visual Art Design; 2001, Tai-tung Theater Group Visual Art Design; 2001, AFA International Ltd. Visual Art; 2003, Tai-shun Performance Group Visual Art Design; 2003, Eslite Books 116 Anniversary Commercial Post Production; 2003, National Symphony Orchestra Opera "Faust" Documentary Film Post Production Literary Works; 2000, Poetry "Something Trivial" and "My Illness" published in In-Between vol. 2; 2001, Novel "Age 20 and 40" published in In-Between vol. 3; 2003, "Don?t Worship Things That Dangle" published in DPI Magazine vol. 55 Stage Design; 2001,　Tai-tung Theater Group "Our Snake" Visual Art Inspector Recording Installation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival; 2003,　Tai-shun Performance Group "Audience" Visual Art Design at International Art Village. His awards include: 2001, "Worms" and "Hole", Print Design Taipei Intl Design Exhibition The Young Designs Exhibition 2001; "Our Snake", The Golden Harvest Awards; 2002, "Projection and Reflection During That Time" Golden Horse Film Festival; 2004, "Projection and Reflection During That Time" Spring Film Festival; 2004, "Who's listening?", 2004 Taipei Art Award; 2005, "I'm Leaving", The 10th Hong Kong Independent Short Film and Video Awards His many exhibitions include: 2001, "Age 20 and 40", Poor Film Festival; 2002, "Projection and Reflection During that Time", Taiwan Avant-Garde Documenta, Poor Film Festival, and Golden Horse Film Festival; "Who's listening?" RANDOM-IZE Film & Video Festival; 2004, "?Projection and Reflection During That Time" Spring Film Festival; "Who`s listening?" Taipei Art Award; "I'm Leaving" stock20 Film Festival; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Taiwan Avant-garde Documenta II; 2005, "I?m Leaving" The 10th Hong Kong Independent Short Film and Video Awards; "What had been done?" Con-temporary Citizens; "In All That Happened" Telepathy Technical Art; "Breath Hard" First ; "What had been done?" The 3rd Fukuoka Asian Art Triennial; "Who's listening?" Series YOKOHAMA Red Carpet:Art Video Screening; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" 'Noisy' Art Festival; "Morning Musings in Istanbul" Taipei Poetry Festival; 2006, "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Asian Art Now!; "oxy_ Tseng Yu ching solo exhibition" Taishin art award.

I'm not so bad. I don't want to strongly to shock others by saying "Do you know..." I dragged in a huge silence, I am wet, I close myself tightly, my past, and my nose waters and tears flow. I am losing my body, and I am gone. I hate shock, and want to knock out my throat, which is choked with sobs. Then cut everything with knife. Watch a kind of complete and great thin waste lose. I grab a paper and sway it slowly. It is the process where the matter occurs, on the paper. Swing and swing it, then put it down. A black, dense, and numerous paper picked up again, sway and sway. That happened, that?s all. Heard the sound of the paper shocked. It's like reading some words but forgetting the shape of those words because of the swinging and swaying. Scrappy, some night, scrappy and dense, like something happened. I do not necessarily have to say it all, because I'm not so bad.

Born in 1978, Tsent Yu-Chin graduated from Shih Chien University with Communication Design Major in 2002. He is currently studying at the Graduate School of Technical Art at Taipei National University of the Arts. His work experience includes: 1999-2002, In-Between Visual Art Design; 2001, Tai-tung Theater Group Visual Art Design; 2001, AFA International Ltd. Visual Art; 2003, Tai-shun Performance Group Visual Art Design; 2003, Eslite Books 116 Anniversary Commercial Post Production; 2003, National Symphony Orchestra Opera "Faust" Documentary Film Post Production Literary Works; 2000, Poetry "Something Trivial" and "My Illness" published in In-Between vol. 2; 2001, Novel "Age 20 and 40" published in In-Between vol. 3; 2003, "Don?t Worship Things That Dangle" published in DPI Magazine vol. 55 Stage Design; 2001,　Tai-tung Theater Group "Our Snake" Visual Art Inspector Recording Installation performed at Chung-cheng No. 2 Stage Fang Feng Art Festival; 2003,　Tai-shun Performance Group "Audience" Visual Art Design at International Art Village. His awards include: 2001, "Worms" and "Hole", Print Design Taipei Intl Design Exhibition The Young Designs Exhibition 2001; "Our Snake", The Golden Harvest Awards; 2002, "Projection and Reflection During That Time" Golden Horse Film Festival; 2004, "Projection and Reflection During That Time" Spring Film Festival; 2004, "Who's listening?", 2004 Taipei Art Award; 2005, "I'm Leaving", The 10th Hong Kong Independent Short Film and Video Awards His many exhibitions include: 2001, "Age 20 and 40", Poor Film Festival; 2002, "Projection and Reflection During that Time", Taiwan Avant-Garde Documenta, Poor Film Festival, and Golden Horse Film Festival; "Who's listening?" RANDOM-IZE Film & Video Festival; 2004, "?Projection and Reflection During That Time" Spring Film Festival; "Who`s listening?" Taipei Art Award; "I'm Leaving" stock20 Film Festival; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Taiwan Avant-garde Documenta II; 2005, "I?m Leaving" The 10th Hong Kong Independent Short Film and Video Awards; "What had been done?" Con-temporary Citizens; "In All That Happened" Telepathy Technical Art; "Breath Hard" First ; "What had been done?" The 3rd Fukuoka Asian Art Triennial; "Who's listening?" Series YOKOHAMA Red Carpet:Art Video Screening; "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" 'Noisy' Art Festival; "Morning Musings in Istanbul" Taipei Poetry Festival; 2006, "I despise presumptions. But if I could at the very beginning, perhaps I could save a few" Asian Art Now!; "oxy_ Tseng Yu ching solo exhibition" Taishin art award.

Deep in the future the massive Event that by definition cannot be remembered separates the Revolution from its history. A man, historical agent of the future socialist authority, believes he has found evidence of the Event`s origins in 20th century The Union. The post-industrial wasteland The Union previewed Earth`s future before it happened. So too, the Man believes, it previewed, and glimpsed the Event, and proved its true nature. The event was Metallic. Amnesialand is the whole world. Our inability to remember the past mirrors their inability to see their future.

Stefanos Tsivopoulos (b. 1973) lives and works in Amsterdam. He participated in international art residencies such as the Rijksakademie van beeldende kunsten Amsterdam, Netherlands; Platform Garanti Istanbul, Turkey; IASPIS Stockholm, Sweden; and ISCP NY, USA. Recent solo shows include The Blind Image, ISCP NY, USA; Amnesialand, Heidelberg Kunstverrein, Germany; The Real The Story The Storyteller Smart Project Space Amsterdam, Netherlands; Lost Monument, Art Forum Berlin, Germany. Group shows include The Rest is History, Manifesta 8 Murcia, Spain; On Morality-Act III, Witte de With, Rotterdam, the Nethrlands; One Giant Leap, BFI Southbank London, UK; Practicing Memory, Fondazione Pistoletto, Biella, Italy; And the moral of the story is... APEXART New York, USA; Hors Pistes-Un Autre Mouvement des Images, Centre Pompidou Paris, France; Monitoring, Friedericianum Kunstverein Kassel, Germany; Destroy Athens, 1st Athens Biennale, Athens, Greece, In Present Tense, Museum of Contemporary Art, Athens. He is recipient of the Golden Cube Award at the 25th edition of the Kasseller Documentary Film Festival in Kassel Germany for his film Untitled (The Remake). He was shortlisted for the 4th edition of the DESTE Prize for Contemporary Art, Athens Greece and the 7th edition of the "Future of Europe" Award.

"Object Reconnaissance" is a work of fiction that depicts actual artifacts, historical archives, and museum collections from the Netherlands. The story is set in the 1960s and references events such as the Indonesian mass killings, the Free Papua Movement, and stories of forced displacement. The narrative follows the fictional character Ratna "Merah Muda" Bakti, an Indonesian activist associated with the Gerwani movement who fled to the Netherlands in 1965 during the political crisis. In the present day, her granddaughter, Ria Bloem, seeks to uncover Merah's past by exploring letters, family albums, and Super 8 films. During her investigation, Ria discovers photos of a significant ceremonial object, a seashell, which has gone missing. Intrigued, she sets out to find the shell, leading her to uncover family secrets that shed light on Dutch colonial history.

Stefanos Tsivopoulos is an interdisciplinary visual artist, filmmaker, writer, and educator who divides his time between Amsterdam, New York, and Athens. Known for his research-based work on archives and the unique visual style of his films, which blend found footage with cinematic sequences, Tsivopoulos is motivated by a pressing need to delve into the anthropological aspects of contemporary global crises. These include ecological, economic, political, social, and cultural issues. His body of work focuses on personal and collective histories, examining their influence on present-day socio-political discourses. Throughout his 15-year career, Tsivopoulos has written, directed, and produced over 30 short and medium-length films across different countries.

Tsui’s works explore the adaptive relationship between humans and social systems, questioning the established structure through actions, and creates survival methods, and redefining reality through his behaviors and experiments. Tsui regards such behaviors as means to measure environmental tolerance, and attempts to highlight the absurdity behind certain social values within the system we are accustomed to. By transforming reality in this way, Tsui’s actions crossed various obstacles, and declares a guerrilla-style intervention, and uncovers invisible relationships in everyday environments.

Born in Taipei, in 1974. In 1997 he graduated from the National Institute of the Arts and has exhibited internationally since, including Venice Biennale, Liverpool Biennale, Werkleitz Biennial, Asian Art Museum San Francisco, ZKM Center, Contour Biennial, Chelsea Art Museum, Mori Museum, OK Centrum.

In this video work of 2005, "The Shortcut of Systematic Life ? City Spirit', Kuang-Yu sought out spaces in both London and Taipei that could be interpreted in two different ways, and that had ambiguous relationships with their environments. In these spaces he then interjected a specific action, using video to transform the entire scene into a temporary yet unreal segment of life. For example, on a thoroughfare with hectic traffic, he would wave a black-and-white checkered flag, as if urging the drivers to take part in a speed race. He would play golf in a certain green spot in the city. Or, on a small path stretching out in a park, I would roll a bowling ball at a flock of pigeons. On the surface, it is a little similar to rediscovering in a stereotypical environment a different level of urban space with which we are familiar, even though this invisible city can only appear for a few minutes or a few short seconds when the action takes place. Nevertheless, compared to "Superficial Circumstance," in which the artist transformed himself by adapting to his external environment, the mimicry that takes place in "City Spirit" transforms and expands the employed cultural symbol from clothing to a recognition of the similarity of environments. These selected environments genuinely possess a certain similarity with the predesignated scene which the artist imposes through his actions (such as imposing a golf course on the "turf" of a traffic island). This seemingly shared similarity appears to be a necessary symbol that determines the existence of a systemic relationship, but we also know that these similarities are not reliable. What the artist?s interjection of similarity underscores is in fact its limitation, and this limitation derives from the existence of institution. "In order to pursue the possibilities that lie within the crevices of the city... at any given time we place ourselves in the exotic moods that arise from the overlapping of fragmentary realities and everyday life." Perhaps we can view "City Spirit" as a form of environmental mimicry on a very large scale: In the name of art, in a series of casual pretences, all of our preconceptions are re-enacted. This self-awareness allows us to engage in these constant dead-end collisions and survive unscathed. Perhaps this is the true triumph of contemporary life.

Tsui, Kuang-Yu was born in 1974 in Taipei, Taiwan. EDUCATION 1997 Taipei National University of the Arts AWARDS 2003 "The Shortcut to the Systematic Life: Superficial Circumstance", Solo Exhibition by K. Y. Tsui in IT Park Gallery & Photo Studio, Taishin Arts Award "Jury?s Special Award" RESIDENCY PROGRAM 2004 Gasworks Studio, London, UK 2006 Rijksakademie van beeldende kunsten Stichting Trustfonds, Amsterdam, NL

The artist tries to perceive reality through the performer?s body movements, who confronts with the objects. He repeatedly jumps over different objects such as a window, mailboxes, and even a cow, and then rebounds. This repetitive action reveals his strong desire to be empowered in the physical world. Shao-Lin is a well-known Chinese temple where the legacy of martial art, known as Gong Fu, was originated. These legacies have been depicted in Chinese fictions, soap operas, and films, which represent Gong Fu in an overstated way. The eighteen Copper Guardians are monks who have mastered Gong Fu, and are assigned to protect the temple. They can use their bodies in many magic ways. For instance, they can use their heads to break hard objects. Tsui?s use of this title reveals his inspiration from Chinese legacy and popular culture ,however rather satirical. This Gong Fu monk lives in an urban environment. Gong Fu for him is not a way to show the magic power of body, but rather is just a way of living. He explores how easily he can deal with the obstacles that are in his way in reality. Will the performer?s strong will itself be enough to provide a "shortcut" to penetrate the obstacles and bring him to his desired destination quickly"? The question is apparently ironic and absurd.

AWARDS 2003 "The Shortcut to the Systematic Life: Superficial Circumstance, Solo Exhibition by K. Y. Tsui in IT Park Gallery & Photo Studio", Taishin Arts Award "Jury?s Special Award" RESIDENCY PROGRAM 2004 Gasworks Studio, London, UK 2006 Rijksakademie van beeldende kunsten Stichting Trustfonds, Amsterdam, NL

The art actions of the artist make use of simple digital video documentaries and installations, taking place in a city environment, underscoring the "interjection' of the individual, and serving as a provocative exploration and experimentation with a given environment's capacity for tolerance. In his 2002 video works "The Shortcut of Systematic Life ? Superficial Circumstance," the artist considered mimicry to be the work's key concept. For example, in one film segment, he walks into view of a video camera set at a fixed angle in a certain neighbourhood, and using a single set of clothes deliberately created for the demands of a specific venue and able to dramatically alter the response to the demands of different settings, he 'changes costumes' in front of the camera in order to blend into the environment. This is a morphological strategy, simple yet able to produce an effect of disguise. Frequently, a film segment closes with him walking into a chosen environment and becoming lost in a crowd. As the core concept of an art action, mimicry invokes a biological concept, not only providing a subject within an ecosystem with a tool-like interface that can change according to reality, but also achieving a strategy in which the subject deliberately alters his external appearance in order to penetrate environmental barriers. But these films of 'mimicry' usually include the action of the artist entering, passing through, and exiting the scene. It is an imitation, not an explanation. It is also a declaration of the dissonance among various pre-established identities: You arrive at a certain venue in society and at great pains perform an extremely divergent form of behaviour, acting out the inner drama that occurs in the daily life of urban people ? the attempt to demonstrate that one is no different from anyone else.

Tsui Kuang-Yu was born in Taipei, Taiwan in 1974. His education consists of a degree in 1997 from the Taipei National University of the Arts. His awards include: "The Shortcut to the Systematic Life: Superficial Circumstance, Solo Exhibition by K. Y. Tsui in IT Park 2003; and Gallery and Photo Studio, Taishin Arts Award, "Jury's Special Award". He has done two residency programs. One in 2004 at Gasworks Studio in London, England, and at the Rijksakademie van beeldende kunsten Stichting Trustfonds, Amsterdam, Holland in 2006.