You're Not Really Here, Are You?
Sometimes Monastery - Skene Milne (feat ASJ) - Sing Jantzen Tse - Kong Yiu Wing
As infinite new realities are continually being created through CGI, You’re not really here, are you? explores the fluidity of artificial landscapes in which artists create and re-interpret their identities through myth-making. The invention of myths involves a duality of time, simultaneously (mis)remembering a past, while inventing a future that is assembled from the present -- an unstable, swaying moment, neither here nor there.
The artists in this show create versions of alternative realities through different means, but always intimate, sensorial, and with a touch of humour -- Sometimes Monastery presents The Forgetter, an arthouse video game that invites the player to violently destroy unwanted memories to construct a more desirable brain which can be sold as a commodity.
Skene Milne’s dreamscapes imagine translucent bodies forming out of water, rejecting narratives of fixity, emphasizing instead the regenerative fluidity of identity-making.
Kong Yiu Wing’s eerie 3D rendition of Lo Ting, a mythological half man half fish creature (which half is what is yet to be determined), presents a commentary on the shifting grounds that many are experiencing, a puzzle rooted in the socio-political and art history of Hong Kong that is both alien and ancestral.
Dabinlo Lab presents two very different works that probe into the in-between state of reality and virtuality. An experimental animation series follows a cubical character called Bino, as he attempts to traverse from his CGI world into the physical world. A passageway in the art space is transformed into an MTR coach, traversing between unknown destinations, as TV adverts, news reports, memories amalgamate into blurriness. Two openings present a choice in entering or exiting, reflecting on the conundrum that many are facing now.
當CGI不斷創造出無限的新現實，You’re not really here, are you? 透過此科技現象，探索人造觀景的流動性。在這些虛擬世界內，藝術家通過神話創造重新詮釋自己的身份。由於塑造神話涉及時間的二元性，所以當記住（錯）往事時，亦能同時衍生出一個由搖擺不定、閾限的現實而組裝的未來。
這展覽中的藝術家雖然採用多種方式創造不同的虛擬現實，但每個版本都含有一種親密、具觸感、和幽默的特性 -- Sometimes Monastery 呈送帶有藝術影院風格的電子遊戲【遺忘者】，邀請玩家猛烈破壞不良的記憶來構建更理想的腦袋，以作為商品出售；Skene Milne 的夢境構思出在水中形成的半透明物體，從而拒絕固定性的敘述，強調循環流動性的身份構造；江耀榮以3D技術構造的傳奇半人半魚（其哪半屬意何哪尚待確定）怪物盧亭，替大家正經歷的不穩之路作個短評 — 是一個根植於香港社會政治和藝術的難題，既陌生、又有祖傳的親切感[a]；Dabinlo Lab 展示兩個截然不同的作品，探索現實與虛擬之間的邊緣空間。其一是實驗式的動畫系列，讓觀眾跟隨一個叫Bino的立方體角色，試圖從他的CGI世界穿越到物質世界中。另外的作品將一個藝術空間裡的通道改變成地鐵列車，在未知的目的地之間盤迴，周圍的電視廣告、新聞報道、回憶等慢慢變得模糊。兩個開口呈現「進、出」的兩個選擇，反映許多人進退兩難的困境。