The screen on the left consists of still images extracted from eleven Hollywood movies and American TV series produced from the late 1930s to the late 1980s, in which they centered around the portrayals of characters with Chinese descent, also including stories being filmed in Hong Kong. I use a mobile application that has synthetic media technology to convert the characters from the still images and rewrite their lines.
The body is re-enacting what has been created on the screen at the left, and they is not altering the characters on the other screen as it might appear to be from the setting.
The screen on the right is a character which I perform, named as the “Pre-CGI body”. The body which has dressed in a tight suit with a lot of motion tracking data points attached is widely seen in the pre-productions of commercials and movies where their actions and performances are used as a “material” for post-production to generate computer graphics or 3D animations on top of them. In spite of that, this “Pre-CGI body” I perform in the video is attached with fake tracking data points which do not function as it might suggest.
This video was filmed after the one on the left was made.”
Moses Tan presents works from his recent series, Memorial for Boogie Street (2018). Incorporating drawing, sculpture, audio and virtual reality, Tan’s suite of works in By All Estimates seek to re-articulate often forgotten, repressed and censored queer histories of Singapore, especially of the communities and activities that centred around Bugis Street from the 1950s to the mid-1980s when the downtown area begun its transformation from a well-known (and well-frequented) site for cruising and transgender sex workers and their clients to what is today a haven for tourists with malls, markets and cultural institutions.
穿越虛空之地 2020 120 x 77 x 60厘米 絕緣泡沫塑膠、影片、顯示屏、媒體播放器
Traversing Hollow Ground 2020 120 x 77 x 60cm Insulation foam, video, video monitor, media player