bodies-myths

Fejka

Delayne Sternbeck-Rutter (AU)

Oscillating between cellular and planetary impact, potentially lethal microplastics (MP) are imperceptible to the senses. Fejka 2022) seeks to make this invisible phenomenon visible, connecting data on MP from Aalborg University’s 2019 study to everyday objects, consumer habits, and the corporate agenda of neoliberal capitalism that give rise to the growing microplastic problem.

Samsara

Yuwei Jiang (CN)

Samsara* (2022) challenges the socioeconomic frameworks woven within our optimism about gender equality. By allowing each audience to become digitally reborn as a female in the program based on their life choices, it draws attention to the parallels between the myth of meritocracy and the myth of progress, asking us to reconsider the power dynamics in the future tense.

Her Monologue

Yuanyuan Xu (CN)

A fictional story about a Chinese woman who is accused of cheating and is domestically abused by her husband. Focusing on Chinese social media, Her Monologue uses marriage as a metaphor for the internet, a digital panopticon shaped by patriarchal discourse.

Winner Winner

Qiao Ye (CN)

Winner Winner (2002) is a simple and fun game for two people. The audience competes for first place in the game through simple interaction. The theme of the project is to make people aware of how systems influence our behavior by showing the framework of the game system that puts people in a competitive mindset.

What is Left Behind?

Hooria Sanei (IR)

What is Left Behind? is a multi-media installation converting unspoken words into sounds. The project reflects upon the philosophical understanding of time and considers how human words function as a metaphor for what we leave unsaid.

Haneen

Thana Alharbi (SA)

Haneen (2022) is an experimental film about a third culture kid persona who is struggling to find their own identity and differentiate who they truly are from all the different ideas and culture they picked up in their early childhood.

The Orchid

Xinyun Huang (CN)

The Orchid (2022) demonstrates a hybridized virtual plant, generated by GANs based on the symbol of sex and the orchid in visual form. The project serves as a commentary on how we gradually forget about the orchids’ materiality.

The Earth

Yuying Wang (CN)

The Earth is an interactive ceramic design, which makes reference to the traditional Chinese ceramic type 'reverse pot,' made by Northern Song Dynasty Kuan Ware. The project produces spiritual rituals between audiences and the Earth at the consciousness level.

Psychic

Yue Wang (CN)

The installation is built upon a generative Tarot deck system made with GANs. Both being seen as a mysterious black box process, Tarot divination and AI-created arts are juxtaposed to provoke speculation on AI's self-awareness, creativity, and politics.

The Fault Line

Yili Zhao (CN)

The project takes fragments of the artist’s family history back to a hybrid space where a simulation of the actual environment and imagination of the missing archive are established. It shows the artist’s practice as resistance to the disconnection of memory between generations and attempts to discuss the missing archive, not as an absence but as a presence that can be examined.