0:00 - 1:41 [Room 2048, 2017]
Room 2048 (2048號房) — a dream machine for the Cantonese diaspora. In digital light and smoke, we pursue a history that is not ours. A living past, a dying future, and a stillborn present. We will lie. We will cheat. We will spend a thousand years here. Room 2048 is a multi-media dance theatre work for three performers with live-generated electronic sound and projection. It was originally conceived as a companion piece/sequel to NINEEIGHT.
0:00 - 0:58 [Foxconn Frequency (no. 3), 2018]
Foxconn Frequency (no.3) - for three visibly Chinese performers is a work of "algorithmic theatre" that incorporates real-time game mechanics, piano pedagogy, 3D-printing, and the poetry of former Foxconn worker Xu Lizhi (许立志).
Three performers work with and against each other as they move through a series of testings and mini-games sourced from piano training. They succeed and fail in real-time, forced to correct their mistakes before they can continue. In each performance, 3D-printers output an object documenting the performer's competency over time. Fully automated and generative, the work is different every performance, ranging from 50 minutes to 80 minutes: an experiment in digital game-mechanics as a way of meaning making in the performing arts.
11:55 - 13:10 [NINEEIGHT, 2014]
NINEEIGHT is a multi-media dance theatre work for three performers with live-generated electronic sound and projection. The work sources from Mo Lei Tau, a phenomenon of absurdist, comedic film that emerged in Hong Kong in the 1990’s. Through the lens of this peculiar cinematic language, the work unpacks the climate of political uncertainty and anxiety of Hong Kong in the years awaiting its return to the hands of Mainland China on July 1, 1997. NINEEIGHT reflects on personal fractures, disorientation, and the significance of “motherland” at times of political, social and geographical transition.