Liu Chang
11 - 26 Feb 2020
WINDOW DISPLAY
LIU CHANG
11 - 26 February 2020
The work Bystander exists in two worlds – the one of film and the one of video games. Its fragmented story unfolds as a journey from a childhood trauma. The protagonist open-sources the healing process and finds a way to unravel her personal experiences and repressed memories by shifting the focus to an artificial world. The closer we get to the truth, the more unstable and cloudy the sequences become, that dissolve the boundaries between past and present. Liu Chang uses technology as a device to virtualize her personal journey and to take full control over all its afterimages.Liu Chang, *1995, lives and works in Hong Kong | www.lunaliu.infoThe on-going screening series Phantom Horizons
presents digital as well as analogue works that question the paradigm of linear perspective, seeking a new kind of “status perspective” [Bedeutungsperspektive]. The latter was a development of ancient and medieval painting, in which the size of figures is determined by their hierarchical significance. Extending this approach using the methodology of deconstruction and the possibilities of contemporary film creation, the presented works open up multifaceted, unseen horizons.
LIU CHANG
11 - 26 February 2020
The work Bystander exists in two worlds – the one of film and the one of video games. Its fragmented story unfolds as a journey from a childhood trauma. The protagonist open-sources the healing process and finds a way to unravel her personal experiences and repressed memories by shifting the focus to an artificial world. The closer we get to the truth, the more unstable and cloudy the sequences become, that dissolve the boundaries between past and present. Liu Chang uses technology as a device to virtualize her personal journey and to take full control over all its afterimages.Liu Chang, *1995, lives and works in Hong Kong | www.lunaliu.infoThe on-going screening series Phantom Horizons
presents digital as well as analogue works that question the paradigm of linear perspective, seeking a new kind of “status perspective” [Bedeutungsperspektive]. The latter was a development of ancient and medieval painting, in which the size of figures is determined by their hierarchical significance. Extending this approach using the methodology of deconstruction and the possibilities of contemporary film creation, the presented works open up multifaceted, unseen horizons.