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DEBRIS (2019) NEWSPAPER PUBLICATION ︎︎︎

Graphic Design YUAN HUA
Photography YUAN HUA
Art Direction YUAN HUA
Text writting YUAN HUA

Debris (2019) is a newspaper publication that unfolds the understanding for the text ‘In Defense of the poor image’ by Hito Steyerl, which puts forward the idea of ‘The relationship between the original information and the audiences is tertiary or multilayered. For the previous one has been condensed, pruned, destructed or blurred.’

In the publication, low-resolution images have been produced and use the trick of folding paper to hide some content, readers needs to interact with the papers to find more hidden text, to present the understanding for what Steyerl says 'The poor image is no longer about the real thing—the originary original. Instead, it is about its own real conditions of existence.'

Packed in a rough denim pocket just like most of the information and data in post-internet era comes and goes like as the fast fashion manufacture.



Some thoughts... 

Weeks ago I went to the Tate Britain to tour the exhibition “Turner Prize 2018” which is named after the painter J. M. W. Turner, it is an anniversary prize awarded to an England artist. Four nominees include site-specific filmmaker Naeem Mohaiemen, video artist Charlotte Prodger and Luke Willis Thompson, multidisciplinary team forensic architecture in this year. The exhibition is quite controversial as a result of some works line in the boundary of ‘Arts’ and ‘Life’ – they are too dubious to be considered as the typical ‘Art pieces.’ However, the exhibition is both thought-provoking and intriguing that it embraces an extensive range of current topics, from queer identity to political privilege and public prejudice.

If someone asked me which work impressed me the most, without considering the aesthetic standard, I must say it will be the work from team Forensic Architecture. Once viewers get into the exhibited space, gunshots, shouts and siren sounds occur before we can see the blurred captured moving pictures. A chaotic film presents a violent sight in southern Israel. No clues could be detected from the video, but dread could be felt at that moment. Going deep inside the room, along with a sudden glare flash, white paper posts on the wall appear. If we come closer to read the substance, there are the media reports about the incident as the official claim by Israeli police – a ‘terror attack’, that Abu al-Qi’an(the dead man who was considered a terrorist during the event) charge at a group of policemen with his car, killing the policeman Levi before being shot dead. It seems like most people believe it as what it declares. Except the folks and activists on account of the attack happened in the Bedouin communities of Naqab desert, a sensitive site that the Israeli army was attempting to ruin.

The crew collects dispatches relate to the case from diverse approaches. To testify the assertion, they adopt archive and navigation to analysis then reconstruct the event through architecture, film and computer 3D modelling. Spectators can notice it was actually the officer who squeezes the trigger and shot Abu al-Qi’an’s knee precisely, which explains why he accelerated the vehicle towards the policemen and killed one of them. The reorganisation signifies it was not a ‘terror attack’. The group then exposes testimony to interrogate and demolish the official statement, the fact surfaces. After publishing the investigation through social media, the police response it as a ‘distortion of evidence.’

The pieces of evidence are organised in the investigated progression order. Curation as a round, besides the dark space there are two entrances to the light space, viewers get one way in and one way out, before seeing the testimony the film is confusing then come out with an overwhelming impression.

However, the work keeps me pondering. Are those against lie and false are fact and truth? To answer that, what is the criterion of ‘fact’? Integrity? The apt complex in the duration of the occurrence? Or as philosopher Jonathan Dolhenty states ‘correspondence, coherence and pragmatic theories of truth’?

The contemplation reminds me of another thought. Whenever watching a Heroism movie, at the end the superstar always defeat the evil. I began to accustomed to these cliché endings, but then I realised the finale of the flick is not the ultimate ending, perhaps it continues, and the hero died terminally in reality, it is we didn’t see the moment doesn’t mean it is a foregone conclusion. So is the time the condition of revealing true?

Recently I read a news report about an airline employee steals aircraft and takes it on ‘erratic’ flight in Seattle, and I shared it with my Japanese fellow who also read about this news in a Japanese news website, but our comprehensions are disparate for the sake of we saw the news from distinct illumination.

In the version she saw is blaming the man as a selfish man who extravagantly wasted an aircraft to satisfy his intention and alleges he has the suicide tendency. But in my edition, the article gives the detailed conversation between the man and the commander, saying the man just wished to fulfil his fantasy to cruise and feel the moment of freedom and infinity. I compared the articles and discovered that those prone to leave a negative comment on the man’s behaviour chose his picture that looks a bit more wicked, the one trend to give an opposite comment chose a truthful portrait of the man. What is more striking is that I noticed the remarks from the viewers are influenced, or to say ‘manipulated’ by how the journalist’s attitude towards it.

Why human beings become easier to lean to one side than ever, like a swing pirate ship? Human invent news to discover truth but does it somehow lie to us all?

So what exactly is fact…?
(written by YUAN HUA on Oct.29.2018)


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Graphic Design/YUAN HUA
Photography/YUAN HUA
Art Direction/YUAN HUA
Debris (2019) is a newspaper publication that unfolds the understanding for the text ‘In Defense of the poor image’ by Hito Steyerl, which puts forward the idea of ‘The relationship between the original information and the audiences is tertiary or multilayered. For the previous one has been condensed, pruned, destructed or blurred.’
In the publication, low-resolution images have been produced and use the trick of folding paper to hide some content, readers needs to interact with the papers to find more hidden text, to present the understanding for what Steyerl says 'The poor image is no longer about the real thing—the originary original. Instead, it is about its own real conditions of existence.'
Packed in a rough denim pocket just like most of the information and data in post-internet era comes and goes like as the fast fashion manufacture.(more writings on computer version)
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