PODIUM, Oslo, Norway
28 Jul—1 Aug 2021

‘Oh, Those Beautiful Boys’ (Room 1 of ‘Vi Sees’); site-specific audio installation; speaker, sound, vertical blind, bead chain, hair clip, stainless steel curtain clip, moisture proof lamp, flower brooch, corpse fly, rusted Pétanque ball, vintage beads, threated eye hook, (grinded) plaster powder; dimension variable

Close-up of ‘Oh, Those Beautiful Boys’

Installation view of ‘Oh, Those Beautiful Boys’

‘The Perfect Image’ (Room 2 of ‘Vi Sees’); site-specific audio installation; speaker, sound, projector, renewable cotton (Lenda), bucket, wet plaster, water, ice cube, stainless steel curtain clip, dryer balls, immobile car seat, seat belt, car cup holder, glass, corpse fly, chair, threated eye hooks; dimension variable

Close-up of ‘The Perfect Image’
Close-up of ‘The Perfect Image’

Installation view of ‘The Perfect Image’
Close-up of ‘The Perfect Image’

Installation view of ‘Vi Sees’

Close-up of ‘The Perfect Image’

Close-up of ‘Oh, Those Beautiful Boys’

Close-up of ‘Oh, Those Beautiful Boys’

Close-up of ‘Oh, Those Beautiful Boys’

(Photo documentation by PODIUM; video documentation by Rickard Aall)

Corpses lay on a windowsill, exposed for days. Their lifeless wings airily sway gently in the stillness. On the other side, the frenetic flies flap their wings and buzz along the surface of the pane. Back and forth, forth and back they shuttle on both sides of the glass, circling around the room at violent speed. Frantically they navigate away from the room then, back, colliding brutally against transparency, dying in their attempt to break the bright which separates them.

Sitting, watching, we might be synchronized.

‘Vi Sees’ (Eng: I will see you later) is an ongoing project scrutinising the photographic writings and configurations of Jacky Jaan-Yuan Kuo’s summer residency at Podium. Jacky patches his past pictorial experiences at the space, recording the readings, dialogues, current writings, noises generated throughout his stay at Podium, integrating them into two sets of sound scripts and site-specific audio installations.

Jacky has invited an Oslo-based Taiwanese musician Wei Ting Zeng to participate in these audio installations, and improvisations which are performed live and spontaneously every day during the opening of the space. These audio materials and improvisations are responding to their changing bodies, both in terms of space, machine, renewing their memories, identity insecurity, physical perception, and the potential sources of combining sensations, memories as alternative knowledge.

The ‘Vi Sees’ project is an extension of Jacky’s previous solo exhibition ‘The Location of Tears’. The work concerns the ongoing, something without exact end. His photographic experience pertains to the reconstructed - inevitably fictionalised - as fragments of memory, shuttling backwards and forwards in between notes, bodies of authorship, fictions, and autobiography. Furthermore, it asks is individual identity a constant relocation of estranged collective consciousness, or is it integral to the whole of the collected narrative?

A collaborative sound piece (19:48 min) by Wei Ting Zeng & Jacky Jaan-Yuan Kuo

Composition & sound editing:
Wei Ting Zeng;
Soundscape & recording:
Wei Ting Zeng & Jacky Jaan-Yuan Kuo;
Sound script, text-based video & monologue:
Jacky Jaan-Yuan Kuo;
Live improvisational performance (Cello):
Wei Ting Zeng;

Site-specific installation:
Jacky Jaan-Yuan Kuo;
Technical support:
Åsmund Kvarme Skuterud, Joanna Chia-Yu Lin, Eirik Melstrøm, Lesia Vasylchenko & Nikhil Vettukattil
Textile support:
Margaret Abebe Abeshu;

The Relief Fund for Visual Artists (Bildende Kunstneres Hjelpefond—BKH) & Arts Council Noway (Kulturrådet)

(ENG︎︎︎中文)   (︎︎︎Back to Overview)

Improvisational performance of ‘Vi Sees’ by Wei Ting Zeng at PODIUM, Oslo, Norway.

Improvisational performance of ‘Vi Sees’ by Wei Ting Zeng