觸不感 卓穎嵐個人展覽 No Sense of Touch – A solo exhibition by Cheuk Wing Nam
[FP members’ solo series 據點成員作品發表系列]
(Please scroll down for English)
展期：2016年6月18日（六）至7月6日 （三） 逢一休
6月19日(日) / 4:00pm / 特備節目一：
分享節目 － 新媒體Debug的樂與怒
7月2日 (六) / 8:00pm / 特備節目二：
‘No Sense of Touch’- Cheuk Wing-nam Solo Exhibition
press release download here
Bo has a bit of a foible. He feels uncomfortable interacting with others, particularly with any form of body contact. He can’t stand that slight accidental touch with strangers on a subway train. He feels awkward if anyone sits next to him in the bus. He never shakes hands with new friends; he only nods. Still, every day when he sits on the upper deck of a bus and notices couples walking by hand-in-hand down the street, his heart beats. He yearns for that experience of physical contact, be it the grab of a hand, a soft touch of the skin of other’s… He has forgotten what the warmth from a human body feels like. He has forgotten the rhythm of heartbeats. He has forgotten that he is also one living human like everyone else. He begins indulging himself in the virtual world of computers and digital objects. Yet the harder he tries to keep a distance from others, the more he craves for physical contact with them. Physical contact has become a luxury he could not afford.
Bo creates an alter-self, a virtual self that would seek to bump into other people on purpose, which he calls Bo II. Bo II is nothing but an expression of Bo’s impulse to have contact with others. Bo and Bo II collaborate restlessly to seek for objects they may collide with. This becomes endless, unfulfilled and recurrent adventures in the digital world. He longs for interaction. Deep down, the drive to recall the forgotten sense of touch intensifies.
Recently, Bo develops a new interest in the violin because the violin is a musical instrument that emits sound through “contact.” One day, he picked up a discarded violin from the garbage collection point. Its size suggests that it is the kind for a child. Another day, he found a used cassette tape recorder when roaming through Ap Liu Street. An idea came to him. How about exchanging the contact points of the cassette recorder and the violin to see what would happen? He changed the range of the violin’s sound so it no longer follows the standard pitch of a 12-tone scale in Western music, but also to include sounds outside that scale – sounds closer to the everyday person, as well as more tactile sounds.
The magnetic head of a cassette recorder is a very fragile part. The tape must be played at a stable speed in order to allow the head to “read” the magnetic signals on a cassette tape. Through trials and errors, he studied the mechanics of a violin and a cassette recorder. He turns to Bo II for help. “Perhaps we can use a motor like Bo II to drive the tapes…” He preserves the appearance of the cassette recorder but plays with different sizes of gears, different lengths of elastic belts, and different speeds and sizes of motors, different lengths of axles, tapes and so on to try out unlimited combination of parts to make an extraordinary violin bow.Bo switches on the new machine he made and puts on the violin a new violin bow with a magnetic head installed. He hears the sound of people talking though he can’t figure out the content. It is like murmurs, or perhaps it is just the sound of a tape rewinding. The new sound invokes personal memories. As well, it changes the violin’s destiny.
Exhibition Period: 18th June (Sat) – 6th July 2016 (Wed)
[closed on Mondays]
(There will be no opening reception.)
19th June (Sun) / 4:00pm /
Special Program 1: Sharing – Ups and Downs in Debugging New Media Program
2nd July (Sat) / 8:00pm /
Special Program 2: No Sense of Touch Sound Collision Inspection
Postscript: Bo II gets tired easily. Dedicating his whole life to replicate Bo’s desires, Bo II needs a lot of rest. If you discover Bo II is resting, please feed him batteries.
About the Artist
Cheuk Wing-nam is a cross-media artist who devotes herself to developing her artwork with new concepts of sound-sculpting and physical computing for interactivity. She received postgraduate training in Master of Visual Arts (Studio Arts and Extended Media) from the Hong Kong Baptist University.