writings and works

Published papers & articles :

• Public Art 2.0, octobre, 2009. 歐洲台灣青年學者人文社會學會，Berlin.

• 活體行動誌 Topographie in Vivo, Catalogue, Septembre, 2009, CCTP, Paris.

• Dessiner l’autre espace : trois types de geo-mentalité post-dramatique “Déplacement et mémoire”, journée d’étude, Université Paris 8. Mai, 2009.

• L’écosophie de Tino Sehgal, avril, 2009. (http://www.geneveactive.com/?p=664)

• L’enfer de Tracey Emin est magnifique, avril, 2009. (http://www.geneveactive.com/?p=644)

• Book review on Jacques Rancière’s «Le spectateur émancipé» : La voix rebelle pour lutter contre la domination du régime esthétique, janvier, 2009. (http://www.geneveactive.com/?p=604)

• La performance héroïque de Mishima revue par Yasumasa Morimura, décembre, 2008. (http://www.geneveactive.com/?p=577)

• Day of the Figurines, un théâtre techno-nomade, Novembre, 2008. (http://www.geneveactive.com/?p=55)

• Á un moment le metteur en scène dit “STOP” et l’illusion disparut, Novembre, 2008. (http://www.geneveactive.com/?p=569)

• Les expositions – mises en scènes de Frédéric Moser et Philippe Schwinger, Mars, 2008. (http://www.geneveactive.com/?p=475)

• Day of the Figurines : une illustration du théâtre techno-nomade comme reflet de la situation post-dramatique. “Mobile-Immobile”, journée d’étude, Université Paris 8.

• L’éveil de la conscience de soi chez le spectateur dans l’art interactif 觀眾在互動性數位藝術作品體驗中的自我意識, Master Mixte d’arts plastiques 2006, Sous la direction de Jean-Louis Boissier.

• Des aspects post-minimalistes dans le cinéma exposé 被用來展覽的電影–幾個後極限面相, Paris VIII Maitrise arts plastiques 2004, Sous la direction de Maren Koepp.

Works :

• recent works : « The Day That Suzan Left »
• 2007 Fishing II, video-installation.

When you enter and move through this interactve projection-installation, Fishing II , the visual experience leads to ask this question to the spectators : ” What is looking at you ?”. This calls up an emotion within the viewers, causing them to interact with the piece. Artist, Yi-hua wants spectators to sense physical and emotional shifts as they circulate around and within the installation, to explore like fish and fisher at once, to experience a psychological impulsion in between the obvious and the obscure, caused by the presentation of the images themselves. The spatial image is that of descent into the depths, every atom saturated. Just as she experienced the effects of time spent in the novel of Virginia Woolf «The Waves».Yi-hua’s films and installations work in tandem to compress and expand cinema’s codes, tools and conventions, and posit a mobile, active spectator who generates meaning rather than passively following a plot or receiving narrative elements. In her work we become wanderers, intruders and explorers – characters on a journey through the very architecture of cinema.

• 2007 Stalker, installation.

Un projet interactif qui consiste à cartographier un micro espace virtuel et d’inspiration gothique au moyen d’une interface portable. Il s’agit d’utiliser la densité spatiale et corporelle en tant que sujet, cette installation interactive, qui n’est pas un jeu de fiction, présente un espace à plusieurs facettes aussi mouvant qu’insaisissable. Ce procédé est une méthode de cartographie psychocartographique dans laquelle le cyber espace et l’utilisateur se fondent en une seule entité, et les rues acquièrent une entité psychologique et une personnalité changeante.L’oeuvre cherche à montrer les limites inhérentes à un tel procédé.

Avec la coopération de Ellen Gjerdsjø et Inger Ulleberg.

• 2007 The paradise of sleepwalkers, social intervention.

The Paradise of Sleepwalkers is a social intervention set in the Parisian subway on March 20, 2007. After a casting call to recruit participants, four participants: Pierre-Marie Dantec, Mari Flønes, Yan Tian, Agnes Tyldum responded. these people, all wearing dressing gowns and sunglasses, descended upon the centre of Paris, using the underground.“The Paradise of Sleepwalkers” is a piece of psycho-geographical research on Parisian urban life. This explorative performance tries to create theatrical situations by observing urban public space from an angle of our attitudes, conventions and mechanisms. Thus dramatizing everyday life in order to create a subconscious realisation of Parisian urbanity.

2001-2004

 

• 2003 Aller-retours, 1 min in loop. B&W. muet.

In this calm and immense sea, an unknown force gives the illusion of a displacement of the landscape where as it does nothing but return to its initial state. It is an infinite return like an eternally ephemeral constant.

Wu Yi-hua’s blog Pirouette cacaouette, featured links to her own work, with a subdued but nevertheless strikingly powerful simple piece:« aller-retours». This is probably one of the most minimalist piece in this subjective overview: a one minute b/w the view of a beach, with heavy clouds looming, and but little wave movements, as the sea is almost still. During the endless loop from one-minute footage, the clouds slightly shift into the horizon, to retreat back again, witnessing the feeble moves of the sea onto the shore. This insistent gaze, the framing of probably the most inconspicuous setting, leads, to a meditative image, a “reverie” not unlike Bachelard’s insistence on the literary image to be “enriched by a new oneric life, to create a different meaning and evoke a different reverie….
Present, yet constantly receding.

One would then be reminded of Italo Calino’s Mr. Palomar reading a wave. Named after a famous telescope, Mr. Palomar is a quester after knowledge, a visionary in a world sublime and ridiculous. In his observations, he focuses both on inconspicuous natural phenomena and urban paraphernalia. Whether contemplating a cheese, a woman’s breasts, or a gorilla’s behavior, he brings us a vision of a world familiar by consensus, fragmented by the burden of individual perception:

“…But how can you look at something and set your own ego aside? Whose eyes are doing the looking? As a rule, you think of the ego as one who is peering out of your own eyes as if leaning on a windowsill, looking at the world . . .. So, then: a window looks out on the world. The world is out there; and in here, what do we have? The world still – what else could there be? With a little effort of concentration, Mr. Palomar manages to shift the world from in front of him and set it on the sill, looking out. Now, beyond the window, what do we have? The world is also there, and for the occasion has been split into a looking world and a world looked at.
And what about him, also known as ”I,” namely Mr. Palomar? Is he not a piece of the world that is looking at another piece of the world? “

So the above mentioned, selected videos could also be seen as contemplations. Introspective, scrutinized personal reveries, on inconspicuous moments; Captured and manipulated by newly available technological means, extrovertly catapulted into public domain for further perusal, each with different agendas and out-looks.

Quotation from «Inconspicuous spaces, unassuming ramblings and interpretative gazes», Published in ACSIS, June 11 – 13, 2007.
by Thomas Wiesner, Associate professor, architect MAA School of Architecture, Royal Danish Academy of Fine Arts, Copenhagen.

• 2001 Index, 30 sec in loop.