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The Raver 囈語者 | 2018 | Performance and video installation 表演、錄像裝置

Taking inspiration from electric chair used in executions, the artist explores the physical attachments of a concep- tual execution. Like the dilemma of the contemporary moment, our body is pushed to produce a constant stream of content yet this processural flow of information works against our will. The device itself will have a couple doz- ens of mini cameras reaching out, like octopus’ tentacles, and pointing at the written words on the actor’s body. Since words will be spreaded over the entire body, including face, torso, arms, and thighs, the footage will not only contain the words but also partial images of the flesh. A programed terminal device controls the real-time footage taken by these cameras. On the projected screen, the foot- age cuts rapidly and randomly corresponds to the order of a noun, a conjunction, and an adjective to form short sentences. The body is trying to deliver information that is disorganised and inconsistent. The actor’s body, as a sub- ject that is restricted from freedom and speech, yields to the chaotic narratives made by electronic devices, such as cameras and screens. We are reading, processing and in- terpreting the language that comes directly from our body but does not necessarily represent what we truly believe.

靈感來自處決的電椅,藝術家探索思想處決中的物理依附。如同當代的困局,我們的身體被逼製造持續的內容串流,然而這資訊流動的過程與我們的意願背道而馳。 器材包括幾十個向外延伸的迷你錄影機,彷似章魚的觸手,指向演員身上寫的詞語。由於詞語遍佈全身,包括 面部、軀幹、手臂,以及大腿,影像將不只涵蓋詞語,還有一部分肉體。編程過的終端器材將控制錄影機所拍 攝的實時影像。在投影屏幕中,影像迅速以名詞、連接詞以及形容詞的次序,隨機切換以構成短句。身體將嘗試提供雜亂無章以及亳無連貫的資訊。演員的身軀作為 被限制自由和言語的主體,如相機和屏幕等的電子設備般混亂叙事。我們閱讀、理解以及演譯身體直接發出的言語,然而我們卻未必相信。