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Photo by Yuen Nga Chi 
Courtesy of SAMPLE

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Scraps Not from the Odyssey  
零碎科幻


Mixed Media and Video Installation混合媒介與影像裝置, 2022

 

假想抑或推想,現在是以前的未來,人類文明慢慢從洞穴演變成空城裡無人居住的建築。洞穴的壁畫是現在由數碼像素構成的圖像,等待在未來被發現,成為過去的見證。握有權力資源的人,宣稱要探索在其他地方生存的可能性,或者率先佔據實踐這些可能性的手段。他們需要掌控一個地方的所有資訊,包括地質上的、生物上的,而他們企圖獲得的殖民地在地球,同樣在其他星球。 

 

 

這些人持續地實踐他們的「探索」。對於沒有/不能/不感興趣參與這種探索的人來說,未來的地方或當下的另一個地方,也許可以於這裡存在:貓的飲水機像神聖的水源;荒地上的龐大建築滲透對未來的期許,卻可能再次被植物吞噬;眼前的無人機就這樣攝取了所有肖像,貢獻急速膨脹、卻於很多人眼前隱去形貌的資料庫⋯⋯眼前或者經過的所謂普通事物及地景,有時混合着莫名的奇異感和熟悉感,像在數據穩定推算中的一場微妙變異。 

By hypothesis or conjecture, the present was the future in the past. Human civilisation slowly developed from caves to uninhabited buildings in vacant cities. Images made of digital pixels are the cave paintings of the present, waiting to be discovered in the future as a testimony to the past. Those who hold power and resources claim they are exploring the possibilities of living elsewhere, or they try to be the first to seize the means to realise these possibilities. They have to control every ounce of information, geological and biological, about a place. The colonies they seek to acquire are on Earth, as are on other planets. 

They continue their 'exploration' practice. For those who do not, cannot, or are uninterested to participate in their way of exploration, the place of the future or another place of the present may exist here: a cat's water dispenser is like a sacred source of water; enormous buildings in the wasteland is permeated with the promise of the future, but might be swallowed up by plants once again; a drone in front of us captures all the portraits, easily, contributing to the rapidly expanding databases that remain invisible in front of the eyes of many...The so-called ordinary things and landscapes passing by in front of us every day are sometimes mixed with an inexplicable sense of strangeness and familiarity, like a subtle mutation in data's steady calculation.

 

2022 Grounding, Group Exhibition by SAMPLE, Tomorrow Maybe, Hong Kong

 

 

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