Sin City 00:00:00:00
2014.02.27～2014.04.27
09:00 - 17:00
Sin City 00:00:00:00 Works by Jun-Jieh Wang Produced by Center for Arts and Technology, TNUA Venue：Gallery 402 2-channel Synchronous Video Installation 2014 Sin City 00:00:00:00 is the newest artwork presented by the new media artist, Jun-Jieh Wang, as his 2014 project. This project is produced by the Center for Arts and Technology, Taipei National University of the Arts and performed by Yi-Ching Lu, an actress who received Asia Pacific Film Festival for Best Actress nomination. Sin City 00:00:00:00 is a video installation project created in parallel with the technological media Non-Human Theatre. The installation consists of a 2-channel synchronous video projection and three handmade models. The main setting in the video images is a large commercial space characterized by an unrealistic theatrical atmosphere where the action unfolds. A chase ensues for four characters (a female retail worker, a police officer, a young girl, and the manager of an international corporation) whose paths cross in the non-linear countdown of the final 24 hours till doomsday. They portray the flux of desire and ambiguity in the digital information age and in a capitalist world, and confront the realities of existence in an endless rheology of characters, objects, information, and civilization for the contemporary man. As an extension of the scenes from the video images, the modeled objects provide another type of sensory mode in the rheological relationship. If the video images present a multitude of possibilities and extensions in the relationship between objects and characters, the model corresponds by creating a conversation loop between the sites and images in its materiality and man-made quality.
The marketplace”,
the cliff”, and
the sea” each represent scenes from life, death and an infinite universal ennui that we all experience. Like the imagery of the obelisk in the film, these are both an ancient symbol of science and civilization, and the embodiment of massive quantities of information. They float disoriented in the universe, highlighting the contradictions and confusion between civilization and chaos. They become metaphors for the end of human history, the transport of the profusion of information, and the confusion between unknown quadrants. The misplaced time axis presented by the countdown numerals which recur in Sin City 00:00:00:00 dismantles the present and the future as conceptualized in linear time. The significance of a steady march toward zero does not end with the advent of doomsday or death, but rather continues in the overlapping of time, and a return from a disorienting drift in the universe. This return is a re-observation and re-imagination of the present situation. Explorations of the future are necessarily a renewed discovery and extraction of the contemporary. Sin City 00:00:00:00 is an attempt at extrapolation, a temporal topology constructed by objects and images. We question the meaning of human civilization and what it may lead to, and what possible imagined futures still exist for all of us. Center for Art and Technology website: http://cat.tnua.edu.tw facebook fan page: http://www.facebook.com/cat.tnua
The marketplace”,
the cliff”, and
the sea” each represent scenes from life, death and an infinite universal ennui that we all experience. Like the imagery of the obelisk in the film, these are both an ancient symbol of science and civilization, and the embodiment of massive quantities of information. They float disoriented in the universe, highlighting the contradictions and confusion between civilization and chaos. They become metaphors for the end of human history, the transport of the profusion of information, and the confusion between unknown quadrants. The misplaced time axis presented by the countdown numerals which recur in Sin City 00:00:00:00 dismantles the present and the future as conceptualized in linear time. The significance of a steady march toward zero does not end with the advent of doomsday or death, but rather continues in the overlapping of time, and a return from a disorienting drift in the universe. This return is a re-observation and re-imagination of the present situation. Explorations of the future are necessarily a renewed discovery and extraction of the contemporary. Sin City 00:00:00:00 is an attempt at extrapolation, a temporal topology constructed by objects and images. We question the meaning of human civilization and what it may lead to, and what possible imagined futures still exist for all of us. Center for Art and Technology website: http://cat.tnua.edu.tw facebook fan page: http://www.facebook.com/cat.tnua
Sin City 00:00:00:00 Works by Jun-Jieh Wang Produced by Center for Arts and Technology, TNUA Venue：Gallery 402 2-channel Synchronous Video Installation 2014 Sin City 00:00:00:00 is the newest artwork presented by the new media artist, Jun-Jieh Wang, as his 2014 project. This project is produced by the Center for Arts and Technology, Taipei National University of the Arts and performed by Yi-Ching Lu, an actress who received Asia Pacific Film Festival for Best Actress nomination. Sin City 00:00:00:00 is a video installation project created in parallel with the technological media Non-Human Theatre. The installation consists of a 2-channel synchronous video projection and three handmade models. The main setting in the video images is a large commercial space characterized by an unrealistic theatrical atmosphere where the action unfolds. A chase ensues for four characters (a female retail worker, a police officer, a young girl, and the manager of an international corporation) whose paths cross in the non-linear countdown of the final 24 hours till doomsday. They portray the flux of desire and ambiguity in the digital information age and in a capitalist world, and confront the realities of existence in an endless rheology of characters, objects, information, and civilization for the contemporary man. As an extension of the scenes from the video images, the modeled objects provide another type of sensory mode in the rheological relationship. If the video images present a multitude of possibilities and extensions in the relationship between objects and characters, the model corresponds by creating a conversation loop between the sites and images in its materiality and man-made quality.
The marketplace”,
the cliff”, and
the sea” each represent scenes from life, death and an infinite universal ennui that we all experience. Like the imagery of the obelisk in the film, these are both an ancient symbol of science and civilization, and the embodiment of massive quantities of information. They float disoriented in the universe, highlighting the contradictions and confusion between civilization and chaos. They become metaphors for the end of human history, the transport of the profusion of information, and the confusion between unknown quadrants. The misplaced time axis presented by the countdown numerals which recur in Sin City 00:00:00:00 dismantles the present and the future as conceptualized in linear time. The significance of a steady march toward zero does not end with the advent of doomsday or death, but rather continues in the overlapping of time, and a return from a disorienting drift in the universe. This return is a re-observation and re-imagination of the present situation. Explorations of the future are necessarily a renewed discovery and extraction of the contemporary. Sin City 00:00:00:00 is an attempt at extrapolation, a temporal topology constructed by objects and images. We question the meaning of human civilization and what it may lead to, and what possible imagined futures still exist for all of us. Center for Art and Technology website: http://cat.tnua.edu.tw facebook fan page: http://www.facebook.com/cat.tnua
The marketplace”,
the cliff”, and
the sea” each represent scenes from life, death and an infinite universal ennui that we all experience. Like the imagery of the obelisk in the film, these are both an ancient symbol of science and civilization, and the embodiment of massive quantities of information. They float disoriented in the universe, highlighting the contradictions and confusion between civilization and chaos. They become metaphors for the end of human history, the transport of the profusion of information, and the confusion between unknown quadrants. The misplaced time axis presented by the countdown numerals which recur in Sin City 00:00:00:00 dismantles the present and the future as conceptualized in linear time. The significance of a steady march toward zero does not end with the advent of doomsday or death, but rather continues in the overlapping of time, and a return from a disorienting drift in the universe. This return is a re-observation and re-imagination of the present situation. Explorations of the future are necessarily a renewed discovery and extraction of the contemporary. Sin City 00:00:00:00 is an attempt at extrapolation, a temporal topology constructed by objects and images. We question the meaning of human civilization and what it may lead to, and what possible imagined futures still exist for all of us. Center for Art and Technology website: http://cat.tnua.edu.tw facebook fan page: http://www.facebook.com/cat.tnua
Jun-Jieh Wang graduated from the HdK Art Academy in Berlin. He received the Hsiung-Shih New Artists Award in 1984, Berlin Television Tower Award in 1996, Taishin Arts Award in 2009 and became one of the pioneers of new media art in Taiwan. Invitations to major international exhibitions includes: the Venice Biennial, the Gwangju Biennale, Johannesburg Biennial, the Asia-Pacific Triennial, Taipei Biennial, Ars Eletronica and Transmediale. Wang's work as curator includes: "Navigator: Digital Art in the Making", "B!AS: International Sound Art Exhibition", "2006 Taipei Biennial", "Taipei Digital Art Festival" and "Videonale: Dialogue in Contemporary Video Art". Wang’s work in interdisciplinary theatre includes: co-directing the technological media theatre work L'Après-midi de la Gravité in 2010, directed the Sin City in 2013. Jun-Jieh Wang is currently Director of the Center for Art and Technology at Taipei National University of the Arts, as well as Chair and associate professor of the Department of New Media Art, TNUA.
2006台北雙年展」、「台北數位藝術節」、「Videonale－當代國際錄像藝術對話」、「超旅程－未來媒體藝術節」等。近期參與跨域劇場視覺設計作品包括：華格納歌劇《尼貝龍指環》，導演《萬有引力的下午》（與王嘉明共同執導）、《罪惡之城》等科技媒體劇場。現專任於國立臺北藝術大學新媒體藝術系副教授，並兼藝術與科技中心主任。
2006台北雙年展」、「台北數位藝術節」、「Videonale－當代國際錄像藝術對話」、「超旅程－未來媒體藝術節」等。近期參與跨域劇場視覺設計作品包括：華格納歌劇《尼貝龍指環》，導演《萬有引力的下午》（與王嘉明共同執導）、《罪惡之城》等科技媒體劇場。現專任於國立臺北藝術大學新媒體藝術系副教授，並兼藝術與科技中心主任。
Jun-Jieh Wang graduated from the HdK Art Academy in Berlin. He received the Hsiung-Shih New Artists Award in 1984, Berlin Television Tower Award in 1996, Taishin Arts Award in 2009 and became one of the pioneers of new media art in Taiwan. Invitations to major international exhibitions includes: the Venice Biennial, the Gwangju Biennale, Johannesburg Biennial, the Asia-Pacific Triennial, Taipei Biennial, Ars Eletronica and Transmediale. Wang's work as curator includes: "Navigator: Digital Art in the Making", "B!AS: International Sound Art Exhibition", "2006 Taipei Biennial", "Taipei Digital Art Festival" and "Videonale: Dialogue in Contemporary Video Art". Wang’s work in interdisciplinary theatre includes: co-directing the technological media theatre work L'Après-midi de la Gravité in 2010, directed the Sin City in 2013. Jun-Jieh Wang is currently Director of the Center for Art and Technology at Taipei National University of the Arts, as well as Chair and associate professor of the Department of New Media Art, TNUA.
2006台北雙年展」、「台北數位藝術節」、「Videonale－當代國際錄像藝術對話」、「超旅程－未來媒體藝術節」等。近期參與跨域劇場視覺設計作品包括：華格納歌劇《尼貝龍指環》，導演《萬有引力的下午》（與王嘉明共同執導）、《罪惡之城》等科技媒體劇場。現專任於國立臺北藝術大學新媒體藝術系副教授，並兼藝術與科技中心主任。
2006台北雙年展」、「台北數位藝術節」、「Videonale－當代國際錄像藝術對話」、「超旅程－未來媒體藝術節」等。近期參與跨域劇場視覺設計作品包括：華格納歌劇《尼貝龍指環》，導演《萬有引力的下午》（與王嘉明共同執導）、《罪惡之城》等科技媒體劇場。現專任於國立臺北藝術大學新媒體藝術系副教授，並兼藝術與科技中心主任。
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