Su Wen-Chi studies the place of the human body in a world dominated by technology. Through this installation-performance, the Taiwanese dancer and choreographer performs a solo show as beautiful as it is disturbing. Alone on stage, Su Wen-Chi dances in a dark space equipped with a moving sound and light grid pattern. More precisely, it is a motorized system made of 81 rectangular hanging objects. Each one is equipped with a LED and a small speaker. The installation seems alive and appears oppressive, even menacing. It perfectly embodies how technology has invaded our cities and our lives. The dancer who has become an androgynous being is struggling against an interactive virtual “wave”. Then, the Yilab company’s founder begins to perform a both demanding and sensual strange ballet, representing the struggle between man and machine, nature and synthetic, reality and the virtual world with some unknown language.
       
     
 由洞穴到建築到虛擬空間,人類在文明發展的累進中,因應生存居住空間的轉移,以理性控制著週遭的環境。城市作為一個獨立的空間時間單位,在有限的空間中梳理城市人的生活思考方式與邏輯。因新媒體工具的發明而大量充斥於生存空間中不可見的人工聲波/ 光波/ 磁波/ 輻射或資訊雲,以透明不可觸摸的形態牽引著城市人生活重心與權利分配狀態。身體是否從此自由滲透(或被滲透)於空間中的各個層面?
       
     
       
     
《W.A.V.E-城市微幅》2014

• 年份 Date:2014
• 地點 Location:兩廳院 National theater @ 台北 Taipei,Taiwan
• 尺寸 Size : 5 (m) x 5 (m) x 4 (m)
• 材質 Material:LED , 馬達 Motor , 金屬 Metal

 Su Wen-Chi studies the place of the human body in a world dominated by technology. Through this installation-performance, the Taiwanese dancer and choreographer performs a solo show as beautiful as it is disturbing. Alone on stage, Su Wen-Chi dances in a dark space equipped with a moving sound and light grid pattern. More precisely, it is a motorized system made of 81 rectangular hanging objects. Each one is equipped with a LED and a small speaker. The installation seems alive and appears oppressive, even menacing. It perfectly embodies how technology has invaded our cities and our lives. The dancer who has become an androgynous being is struggling against an interactive virtual “wave”. Then, the Yilab company’s founder begins to perform a both demanding and sensual strange ballet, representing the struggle between man and machine, nature and synthetic, reality and the virtual world with some unknown language.
       
     

Su Wen-Chi studies the place of the human body in a world dominated by technology. Through this installation-performance, the Taiwanese dancer and choreographer performs a solo show as beautiful as it is disturbing. Alone on stage, Su Wen-Chi dances in a dark space equipped with a moving sound and light grid pattern. More precisely, it is a motorized system made of 81 rectangular hanging objects. Each one is equipped with a LED and a small speaker. The installation seems alive and appears oppressive, even menacing. It perfectly embodies how technology has invaded our cities and our lives. The dancer who has become an androgynous being is struggling against an interactive virtual “wave”. Then, the Yilab company’s founder begins to perform a both demanding and sensual strange ballet, representing the struggle between man and machine, nature and synthetic, reality and the virtual world with some unknown language.

 由洞穴到建築到虛擬空間,人類在文明發展的累進中,因應生存居住空間的轉移,以理性控制著週遭的環境。城市作為一個獨立的空間時間單位,在有限的空間中梳理城市人的生活思考方式與邏輯。因新媒體工具的發明而大量充斥於生存空間中不可見的人工聲波/ 光波/ 磁波/ 輻射或資訊雲,以透明不可觸摸的形態牽引著城市人生活重心與權利分配狀態。身體是否從此自由滲透(或被滲透)於空間中的各個層面?
       
     

由洞穴到建築到虛擬空間,人類在文明發展的累進中,因應生存居住空間的轉移,以理性控制著週遭的環境。城市作為一個獨立的空間時間單位,在有限的空間中梳理城市人的生活思考方式與邏輯。因新媒體工具的發明而大量充斥於生存空間中不可見的人工聲波/ 光波/ 磁波/ 輻射或資訊雲,以透明不可觸摸的形態牽引著城市人生活重心與權利分配狀態。身體是否從此自由滲透(或被滲透)於空間中的各個層面?