"Hanzhong Road Station" (汉中路站)
// BLURB //
Come, come closer. Enough. A little bit farther. Perfect. Now we can see you. Now you’ve arrived at the place where the abstract notion of distance gets the most concrete. Physical distance, or distance in time, in the Euclidian space or only in your imagination, is all too dubious when it comes to the tangible yet obscure reality created by a single camera and a screen. In a digital space like this, only one of the endpoints is fixed. Correct, it’s you. When you stare into the camera, your replicant self substitutes you instantly, living a life restricted to the context of LCD screens. The truth is in the eye of the beholder? Not quite. As soon as your live flesh rematerializes in pixels, you become only one of the groups of dots that is perceived as part of the three categories: victims, criminals or latent criminals. Separated by six degrees of distortion, the image once based on you is unceasingly judged and used. And all this while you are free. Because no one controls your body, as it's not needed anymore. Would you rather still get out of the loop? Just hide your face. Or smile and say “qiezi!”
Come, come closer. Enough. A little bit farther. Perfect. Now we can see you. Now you’ve arrived at the place where the abstract notion of distance gets the most concrete. Physical distance, or distance in time, in the Euclidian space or only in your imagination, is all too dubious when it comes to the tangible yet obscure reality created by a single camera and a screen. In a digital space like this, only one of the endpoints is fixed. Correct, it’s you. When you stare into the camera, your replicant self substitutes you instantly, living a life restricted to the context of LCD screens. The truth is in the eye of the beholder? Not quite. As soon as your live flesh rematerializes in pixels, you become only one of the groups of dots that is perceived as part of the three categories: victims, criminals or latent criminals. Separated by six degrees of distortion, the image once based on you is unceasingly judged and used. And all this while you are free. Because no one controls your body, as it's not needed anymore. Would you rather still get out of the loop? Just hide your face. Or smile and say “qiezi!”
STATUS
SOLD. Public Collection, Sydney.
SOLD. Public Collection, Sydney.
EDITION, MEDIA, SIZE & WEIGHT
Unique Edition, Shanghai 2017
TFT display, acrylic painting on Plexiglas, CCD camera, teakwood frame
52(W)×52(H)×5.5(D) cm // 8.15 kg
TECH SPECS
1/3" Sony SUPER HAD II CCD (HS1177) with OSD, 600TVL, 10 mm lens (INPUT DC5~22V)
1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
1×TFT 3.5" LCD / (Board GDN-D567AT+ screen GTI050NA-08C) - (INPUT DC5V)
CRATE SIZE & WEIGHT
65(W)×65(H)×19(D) cm // 19.2 kg
EXPOSURE
“The Geometry Of Binary Life”
CREDITS
Owen 欧文 (painting) • Jin Yun 金云 (painting) • Thomas Charvériat (art direction & technical guidance) • Yeung Sin Ching 杨倩菁 (production supervisor & documentation) • András Gál (documentation & blurb)
Unique Edition, Shanghai 2017
TFT display, acrylic painting on Plexiglas, CCD camera, teakwood frame
52(W)×52(H)×5.5(D) cm // 8.15 kg
TECH SPECS
1/3" Sony SUPER HAD II CCD (HS1177) with OSD, 600TVL, 10 mm lens (INPUT DC5~22V)
1×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
1×TFT 3.5" LCD / (Board GDN-D567AT+ screen GTI050NA-08C) - (INPUT DC5V)
CRATE SIZE & WEIGHT
65(W)×65(H)×19(D) cm // 19.2 kg
EXPOSURE
“The Geometry Of Binary Life”
CREDITS
Owen 欧文 (painting) • Jin Yun 金云 (painting) • Thomas Charvériat (art direction & technical guidance) • Yeung Sin Ching 杨倩菁 (production supervisor & documentation) • András Gál (documentation & blurb)
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