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		<title>嗜睡 SOMNIA</title>
				
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		<pubDate>Sat, 04 Feb 2023 21:14:06 +0000</pubDate>

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		嗜睡
SOMNIA
&#124; Ongoing &#124;

功能性磁共振成像(fMRI)显示，当我们在回忆过去和想象未来时，我们的大脑活动保持惊人得一致的认知柔韧性。脑神经科学家推测这可能是一种能让我们更好应对未知事物的能力，我们对记忆的含糊与对未来的预测都呈现一种不可知的状态。在摄影诞生以来，无数摄影师都以“记忆”为题去窥探摄影作为一种决定性的、时间切片的本质，但是大多数照片都被作为一种静态的记录，记忆在这个行为在这个过程中是被动的。实际上，我们的记忆会随着时间的流逝而改变，记忆常常会变得更加模糊，重新被诠释，重新一次又一次被涂抹上新的含义;就像个人记忆当中能窥见集体经验一样，照片的个人所属权也会随着集体时代的变迁慢慢淡化。虽然照片相比起人类的记忆而言更加静止，但是它们并不深陷于时间的泥泞中。一张照片比起诞生于决定性瞬间，它更像诞生于按下快门之前脑内对将要发生一切的臆想。 我的作品《嗜睡》系列通过一系列的摄影术手法，从那些我们无需质疑的“纪实性真实到摆拍，档案照片，网络图像，包括后期的二次绘制，试着去捕捉照片/记忆在跨越空间、时间、和内容之间的某种潜在动力。
然而让一张照片的最终结果去模仿绘画一样要比模仿绘画的过程容易得多，如果我们将一张完整的画看作是一名画家的最终抉择的话，那么绘画的过程就是用笔刷作无数个 微小决定的过程。《嗜睡》的创作过程也是如此，正是创作过程中的不断微小决定建立起 的视觉骨架。我的美学观受中国明末画家八大山人朱耷影响很大，「他绘画的动物栩栩如生、灵动睿智，而且带有虚幻错觉。他笔下的鸟和鱼往往像是违反地心吸引力，在时空漂浮。」八大在画面中追求的简洁表意，不二法门，视觉上的幻象也是我在《嗜睡》中追求 的感官体验。摄影终究还是一种对无尽的消亡的抗衡。可能正是因为人对最终消亡的恐惧，当今的图像才会以一个不可估量的指数性速度增长，创造出一个平行的图像现实。但是这些图像，他们中的大多数会像扔进湖里泛起微微涟漪的小石头一样，在流行文化的覆盖下缓缓 下垂。所以当我们死后究竟谁拥有这些电子像素的所属权?虽然我们有生之年创造的图像会比我们活的更久，但是更有可能的是这些图像的拥有权会随着我们的死亡和我们一起步入坟土。或者说，如果记忆没法脱离一些证据(照片)被无条件信任的话，当我对我自己的照片作后期调试并且和他人的电子像素垃圾相结合的时候，对我那段记忆会有什么影响呢？如果我不断地调试同一张照片，增加一层又一层电子试剂，这又会怎么影响的记忆和那张照片相关事件的方式呢？这种手段能否作为一种艺术心理治疗来对待，或许可以将人的负面记忆变成正面的?更进一步，通过《嗜睡》我想试着去质问是否可能利用摄影的媒介完全将我从记忆本身的累赘中释放出来？我观察到当我沉浸在对现实截取的拍摄体验中时，我自身就成了 一个空瓶，我不再去记忆现实中的细节和感受，取景框替代了我看到的现实，在拍摄中我不可能同时作为旁观者和参与者去和现实互动，最终的我获得的不是在某地的个人体验， 而是在某地的拍摄体验。那么这些被相机过滤过的记忆中，到底有多少我可以称之为我的？仿佛谁都不拥有照片，谁都不拥有记忆，一切都没什么意义。一切图像的反复调试，切割，分裂，结合，都是我靠着一种自我毁灭式的冲动来保持我记忆的流动性，而这一切的起点都源自于某个嗜睡的、世界末日光景一般的午后。A scan of the human brain remains almost the same whether the subject thinks about the past or the future. Neuroscientists assume that this better equips us to deal with the unknown. The implication being that our memories of that which has already been are as uncertain as our expectations of that which is yet to come.Owing to the way in which photographs appear to “capture” a slice of time, numerous photographers have addressed the theme of memory in their work - with varying degrees of insight. Yet most treat both photographs and memories as static phenomena; and the act of remembering as passive. Nothing could be further from the truth.Indeed, our memories change over time; typically becoming hazier and less detailed; fusing with other unrelated reminiscences; and gaining culturally-prescribed significance. And just as private memories can become collective, images, too, can lose their individual ownership.True, photographic memories are perhaps more static than those we carry in our minds, independent of technology. Yet they are by no means stagnant. Indeed, contrary to popular belief, photographs are not born of a “decisive moment.” Rather, they emerge from a process that extends chronologically both backwards and forwards from the moment of capture. It’s this dynamic evolution of image-memories across space, time, and context that forms the conceptual focus of Somnia; a body of work spanning the breadth of photographic techniques, from those we might uncritically describe as “documenting reality;” through staged scenarios; archival or found imagery; and interventions that are perhaps closer to painting.However, to make a photograph superficially resemble a painting is much easier than replicating the process of its creation; where the final image is the result of countless micro-decisions in the form of brushstrokes. But it is just such a process that forms the backbone of Somnia. In particular I have been influenced by the works of Bada Shanren, a 17th Century Chinese artist-monk known for his disorienting use of juxtaposition, double meanings, and an eschewal of traditional perspective; techniques closely tied to Buddhist ideas of emptiness and worldly illusion.Ultimately photography is an act of defiance against the irreversible anonymity towards which we all march. Perhaps as a consequence of this, today photographs are produced on an unprecedented scale, constituting a parallel - but no less real - world of images. Yet most of these will cause little more than a fleeting ripple on the surface of popular culture before sinking to the depths of obscurity.Who owns our pixels after we die? It’s possible that some of the images we create in our lifetimes will outlive us. But in all likelihood our ownership rights over them will follow us to the grave. And yet, if memory cannot be trusted without the support of “documentary evidence” (i.e. photographs), what might be the effect on my personal memories if I combine my own photographs with this digital detritus? If I repeatedly manipulate the same image-memory, adding consecutive palimpsestic layers over time, how will this impact my recollection of the events depicted? Can this serve as a form of therapy, transforming negative memories into positive ones?Going a step further, with Somnia I ask whether it is possible to use the photographic medium to free myself from the burden of memory altogether. And, consequently, also from the need to participate in unmediated reality. If I spend all day taking photographs, I become an empty vessel; not only has the camera done memory’s job, but it has also removed me from meaningful lived experience. That being the case, can I still legitimately claim these memories as my own?


			
	
    
    
	
	
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	SOMNIA翻书视频


书名         《嗜睡》
摄影师       王文楷
书本设计    阿咸
出版           沼泽之地
视频            三影堂
音乐            4:36PM &#38;amp;5:59 PM- Celia Hollander


Photobook         
Photographer    Wenkai Wang
Book Design       Shiro 
Publish                Swampland
Video                   Three Shadows Photography
Music.                  4:36PM &#38;amp;5:59 PM- Celia Hollander


	









	
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    </description>
		
	</item>
		
		
	<item>
		<title>逃离计划</title>
				
		<link>https://wenkaiw.com/30484045</link>

		<pubDate>Thu, 23 Feb 2023 18:49:02 +0000</pubDate>

		<dc:creator>NEWNEWNEWWenkai</dc:creator>

		<guid isPermaLink="true">https://wenkaiw.com/30484045</guid>

		<description>
	
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逃离计划

&#124; 2021 &#124;

为了听到杰克·凯鲁亚克笔下中心点蓝光砰的一声爆裂，为了逃离大都市而出发的我在北方重工业化城市边缘的残骸里找一棵人造树。





			
	
    
    
	
	


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    </description>
		
	</item>
		
		
	<item>
		<title>白房子 The White House</title>
				
		<link>https://wenkaiw.com/The-White-House</link>

		<pubDate>Thu, 30 Mar 2023 20:07:16 +0000</pubDate>

		<dc:creator>NEWNEWNEWWenkai</dc:creator>

		<guid isPermaLink="true">https://wenkaiw.com/The-White-House</guid>

		<description>
	
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白房子

&#124; 2021 &#124;


如今科学理性思维占领了不可置疑的高地，然而我们的现代大脑依然对巫术着迷。从日常大大小小的迷信 到社交论坛上的阴谋论，巫术依然以不同的载体贯穿西方社会。巫术往往以奇观的方式再呈现。科幻小说家 Arthur C. Clarke写道，“在任何一项足够先进的技术和魔法之间，我们无法做出区分。” 当代科技的确 给予人类在电子屏幕上一键生成一个平行世界、神一般的能力。 在摄影发展的初期它就以真相的守卫者姿态出现。但是当摄影在19世纪初期用来作为一种学习灵异现象 (灵魂质量、降神会)的客观工具后，该媒介就包含了和超自然现象的关系。除了它与生俱来的纪实性， 在当今我们仍然倾向于将摄影视为对窥见其他次元的置于坟墓之上的窗口。 唯灵论者相信逝去者不仅拥有和现世者沟通的能力也有想沟通的欲望。因为摄影在19世纪被唯灵论者作为 一种直接纪实灵异现象的手段，可以说唯灵论是最早的一种基于现代科技的宗教。摄影师Shannon Taggart 认为，唯灵论是历史上第一个不是用油画来表达精神肖像的宗教——而是用摄影。 而正因为早期 摄影普遍的中性真实性，唯灵论者的摄影被作为证实超自然现象的证据。 当代科技的进展如果极大地削减了摄影对真实的呈现，第一颗怀疑的种子早就在摄影发明的初期由唯灵论 者埋下了。19世纪末期，著名的灵异摄影师William H. Mumler 吸引了科学家、学者，以及各种的好奇的大众。随着美国内战的开始，Mumler在失去亲人的悲痛中看到了用摄影来安抚他们的机会。以现代的眼光 看来，Mumler在当时蹩脚的后期制作图像的技术并不能说服所有人，意料之中他最后因为行骗被送上的法庭。 在这之后的很多年里，不同程度教育背景的人都尝试着去揭开巫术现象和摄影之间的关系，用相机作为一 种理性作证的必备工具。我们可以看出唯灵论与摄影不仅以一种共生的状态形成互相造就彼此的对话，同时也不断揭露彼此。在一个充满了以摄影术为基础的假新闻时代，巫性思维再次回归，人们再一次需要找 到新的揭露巫术的方法。 经过严格地学术探究摄影与唯灵论之间的平行历史，我选择在『白房子』中用摄影叙事来描绘光怪陆离又 似曾相识的巫性世界。受漫画的视觉叙事和▸Dunae Michals的影响，我用电影置景以及打光的方式来尽可 能还原一个巫性思维的空间。我从1692年的塞勒姆女巫审判案以及其他的神秘主义题材历史中汲取素材， 演员会按照我事先写好的这个剧本在规定的空间中自由探索，我希望结果是一种介于纪实摄影和艺术摄影 还有沉浸式舞台之间的视觉奇观。我需要的是摆脱一种科学至上的正确，离开所谓的现实，回到想象构建 的巫性空间中。
Today scientific thinking may appear unassailable, yet magic remains surprisingly attractive to the modern mind. From the micro-superstitions that permeate our daily lives, to the fantastical tales of 4chan conspiracists, magic thrives in Western society.Magic trades in spectacle. As sci-fi author Arthur C. Clarke has written, “[a]ny sufficiently advanced technology is indistinguishable from magic." Indeed, modern technology bestows the user with formidable powers; godlike, we now conjure alternative worlds with the mere tap of an OLED display.Since its inception, photography has enjoyed a privileged relationship with the truth. But from capturing the souls of colonized subjects to the ectoplasmic séances of mid 19th Century spirit photography, the medium has maintained an equally close relationship with the supernatural. Despite its documentary credentials, even today it can be tempting to view photography as a window onto other dimensions. Dimensions that, as Barthes famously noted, are frequently located beyond the grave.Spiritualists maintain that the deceased have both the ability and the inclination to communicate with the living. Because photography served as the primary method of “documenting” 19th Century Spiritualist phenomena, it could be argued that Spiritualism constitutes the earliest example of a religious faith emerging from modern technology. As Shannon Taggart has observed, it was certainly the first to have produced its iconography not by means of painting, but photography. What’s more, widespread belief in the indexical nature of photography meant that Spiritualist images - rather than merely being seen as idealized artistic depictions - were treated by many as “documentary evidence” of paranormal activity.Nonetheless, if recent digital innovations have drastically undermined photography’s hold on truth, the first seeds of doubt were planted by Spiritualism itself only a few decades after the medium’s invention. In the late 19th century, the pioneering spirit photographs of William H. Mumler attracted the curiosity of scientists, scholars, and the general public alike. Following the American Civil War, Mumler saw great success in reuniting the bereaved with lost relatives by photographic means. Mumler’s claims that he could summon supra-normal apparitions in the form of silver halides did not convince everyone, however, and he was eventually taken to court for fraud and larceny.Yet advocacy of Spiritualism also came from more respected quarters. Most notably, science and mysticism met in the experiments of the esteemed British physicist and chemist, Sir William Crookes. Crookes invented the cathode-ray tube; a core component of both television and the X-ray. But he is also notorious for having attempted lens-based communion with the spirit world - with rather less spectacular results.Over the years, many other learned individuals championed the photo-occultist cause, employing that scientific apparatus par excellence, the camera, in the name of psychic research. As we’ve seen, though, in dialogue, spiritualism and photography not only symbiotically create each other, but also “expose” o ne another. At a time when photo-generated realities coincide with “fake news,” clearly magical thinking is once again ascendant. This calls for similar exposure.Revisiting the overlapping terrain between photography and Spiritualism, The White House reflects upon these issues by means of a sequential photographic narrative depicting esoteric rites. Inspired by the visual language of comics and the photographic storytelling of Duane Michals, I was interested to discover how our ingrained proclivity for magical thinking would manifest itself when transferred to the realm of staged photography. In practice, although the narrative follows a “script” based on research into the 1692 Salem witch trails, I encouraged the actors to freely explore this theme for themselves within the defined parameters. The goal; to create a parallel docu-fictional reality encouraging magical thinking.





			
	
    
    
	
	


	
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WTHIE HOUSE-EXHIBITION from Wenkai Wang on Vimeo.
	






	
	
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		<title>日以作夜 Day for Night</title>
				
		<link>https://wenkaiw.com/Day-for-Night</link>

		<pubDate>Thu, 23 Feb 2023 18:49:58 +0000</pubDate>

		<dc:creator>NEWNEWNEWWenkai</dc:creator>

		<guid isPermaLink="true">https://wenkaiw.com/Day-for-Night</guid>

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日以作夜
Day for Night
&#124; 2020 &#124;日以作夜（Day for night）是一个电影术语，意味在白天拍摄伪夜景，以此来节省制作经费同时增加对光的可控度。其本质上反应了人对再创造自然现象的控制欲，以及让观众相信所见的一切幻象。这种对待真相的二元对立的态度也是我对古巴最大的感受。古巴短暂的被反反复复殖民的历史给这个国家上了一层魔幻现实的糖衣，让我这个局外人感到困惑，究竟哪些是实在的真实，我在这个国家体验到的一切又有哪些可以被称为正宗的古巴？对于这个地方的历史了解的越多，听到的口述越多，我越发觉得这个地方就像是日以作夜般的巨大片场。这个地方实行两种货币系统，一种给本地人用，另一种给外地人/游客使用；有两种工作，一种拿着固定的永远不够用的薪水，另外一种在政府许可下赚着大把大把游客的钞票；有两种态度，乐观主义者选择留下因为他们相信更好的未来，悲观主义者离开因为他们相信更好的未来不可能在古巴。在白天我见证了这个地方在经济上赖以生存的人造景点和另一边的贫穷；在晚上我感受到社区休眠后的寂静和潜藏的街头暴力。数量惊人的野猫野狗在街上残喘苟活，自由竞争；家猫家狗在阳台上，栅栏的另一边安全地观看街上发生的一切。猫狗生态圈很好地绘制了古巴的政治经济隐喻。在这段短暂停留的时间里，我从未真正在其中看见什么，而是在外面观看着一场巨大的、自我矛盾的幻象。


“Day for Night” is a cinema term that refers to shooting night scene during day time in order to save budget and have more controls over lights.


At the core of its concept lays the human desire to dominate and recreate natural phenomenon that illudes others to believe what is shown. This is how I feel about Cuba, too. The magical realism embedded in Cuba’s convoluted history makes an outsider, like me, constantly question what is the truth of everything that I have experienced so far here. The more time I spend here, the more people I talked to, the more polarized I feel about the Cuban reality, where everything seems to work in a binary system, self-conflicting but special in its own way. With two different currencies and price systems, where Pesco is for the locals and the Cucs for tourists; with two different jobs, one for fixed salary and the other part-time; with two views people hold toward their countries, where the optimist stays for a better future and the pessimist leaves for a better future as well. I witness the fabricated city attractions designed for outsiders and the harsh reality of life during the day; I also sense the tranquility of bedroom community and lurking violence during the night. The city is filled with unleashed wild dogs and cats, struggling for survival day and night, whereas in people’s houses I also see dogs and cats are the most common pets. The cat-dog ecology forms a polarized portrait of Cuba’s new now. Within the short period of time that I stayed in Cuba, mainly Havana, I never really see but only look.





			
	
    
    
	
	
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    </description>
		
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		<title>Visual Diary</title>
				
		<link>https://wenkaiw.com/Visual-Diary</link>

		<pubDate>Thu, 30 Mar 2023 20:42:54 +0000</pubDate>

		<dc:creator>NEWNEWNEWWenkai</dc:creator>

		<guid isPermaLink="true">https://wenkaiw.com/Visual-Diary</guid>

		<description>
	
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        About
    






	

		















			
	
    
    
	
	

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    </description>
		
	</item>
		
		
	<item>
		<title>FILM PAGES</title>
				
		<link>https://wenkaiw.com/FILM-PAGES</link>

		<pubDate>Fri, 03 Feb 2023 04:23:57 +0000</pubDate>

		<dc:creator>NEWNEWNEWWenkai</dc:creator>

		<guid isPermaLink="true">https://wenkaiw.com/FILM-PAGES</guid>

		<description>
	
    	Home
    	Photography
		Film
    
    
    	Wenkai Wang
        About
    







Campaign

2022 后人类时代 Post-Human Era

2022 第二人生 Second Life

Music Video
2022 Sublunary

2021 Tub Erupt

2021 曹路夜生活指南

2021 脱节 Nerve Passenger

2020 Blanc’


Shorts

2022 失乐园 Lost Eden

2019 无头之主 Headless Chicken















	失乐园 Lost Eden︎︎︎
/Shorts/2022DirectorN Katherine Hayles- ‘increasingly the question is not whether we will become post-human, for post-humanity is already here. Rather, the question is what sort of post-humans will we be?'

Invited by The APENFT Foundation to make a creative short that imagines the stats quo of Post-human condition, Otion Studio creates a dance video that encapsulates the inevitable alienation that humanity is marching toward.


	
&#60;img width="3584" height="2240" width_o="3584" height_o="2240" data-src="https://freight.cargo.site/t/original/i/98d18f4348a604e905db6757094b250e222438b3563aa99a428b84b3920cae67/Screen-Shot-2022-09-22-at-6.19.41-PM.png" data-mid="172625563" border="0"  src="https://freight.cargo.site/w/1000/i/98d18f4348a604e905db6757094b250e222438b3563aa99a428b84b3920cae67/Screen-Shot-2022-09-22-at-6.19.41-PM.png" /&#62;
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&#60;img width="3584" height="2240" width_o="3584" height_o="2240" data-src="https://freight.cargo.site/t/original/i/ae4b8b329819ce450611e1c5dac122e388253cd80b7d8effea7f36bc3fa21021/Screen-Shot-2022-09-22-at-6.18.19-PM.png" data-mid="172625562" border="0"  src="https://freight.cargo.site/w/1000/i/ae4b8b329819ce450611e1c5dac122e388253cd80b7d8effea7f36bc3fa21021/Screen-Shot-2022-09-22-at-6.18.19-PM.png" /&#62;







	

后人类时代 Post-Human Era︎︎︎
/Campaign/2022Director











APENFT 基金会（APENFT Foundation）宣布规模为1 亿美金的艺术梦想基金（Art Dream Fund）第二期于8 月1 日正式启动，将于1 0 月3 1 日截止报名。2 0 2 2 年的征集主题为“ 后人类时代”，试图探索未来人类能否超越以人为中心的传统人文主义观念，并在一个由非人类的动物、植物、和其他半机械生命体组成的复杂生态中重新定位。获奖艺术家将分享超1 0 万美金的奖金池，并有机会在APENFT x TRON即将发布的The Sandbox 元宇宙游戏中创立艺术家工作室并参与APENFT 策划的年度线上线下大展、以及工作坊和驻地等各类艺术活动。

	
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&#60;img width="3584" height="2240" width_o="3584" height_o="2240" data-src="https://freight.cargo.site/t/original/i/475d1f8b92a87b80ac8348edd4e8ce2d4b2681c037225d6e725d42aef7b3c575/Screen-Shot-2022-09-21-at-4.43.51-PM.png" data-mid="171685004" border="0"  src="https://freight.cargo.site/w/1000/i/475d1f8b92a87b80ac8348edd4e8ce2d4b2681c037225d6e725d42aef7b3c575/Screen-Shot-2022-09-21-at-4.43.51-PM.png" /&#62;









	

第二人生 Second Life︎︎︎
/Campaign/2021Director“第二人生”是一个与元宇宙密切相关的概念，而NFT也被认为是“元宇宙的入场券”。自1970年代末和1980年代初以来，互联网Web3.0的乌托邦和反乌托邦愿景相继出现，它捕捉到了人类生活中日益复杂的虚拟世界和混合体验的出现。我们现在正处于数字黄金时代，享受着技术与科学领域的的巨大进步，区块链、NFT和链游的加速发展使人们对元宇宙的愿景比过往任何时候都更贴近现实。




	
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&#60;img width="3584" height="2240" width_o="3584" height_o="2240" data-src="https://freight.cargo.site/t/original/i/7b5521dfca0962e61b9d39b659b68277143478e3136541a2571423be400a4f22/Screen-Shot-2022-06-08-at-8.46.24-PM.png" data-mid="171685038" border="0"  src="https://freight.cargo.site/w/1000/i/7b5521dfca0962e61b9d39b659b68277143478e3136541a2571423be400a4f22/Screen-Shot-2022-06-08-at-8.46.24-PM.png" /&#62;
&#60;img width="3584" height="2240" width_o="3584" height_o="2240" data-src="https://freight.cargo.site/t/original/i/80862eba43305b07371d65a39e27d56ec1ac75be856b6ae748adede6bd08ccb8/Screen-Shot-2022-06-08-at-8.45.51-PM.png" data-mid="171685039" border="0"  src="https://freight.cargo.site/w/1000/i/80862eba43305b07371d65a39e27d56ec1ac75be856b6ae748adede6bd08ccb8/Screen-Shot-2022-06-08-at-8.45.51-PM.png" /&#62;
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Sublunary︎︎︎
/Music Video/2022Director/Editor











我开始构思MV的时候会把这首歌归为某种‘ 通感类M V ’，将自己听完歌的感受，想象和歌词/ 曲子并没有直接关系的画面之间的衔接去构建一种私人化的视觉体验。我在构思这首歌的时候脑子里冒出来的都是一些碎片化的感受性图像，一些快速穿梭的洞穴；光怪陆离的动物园；半睡半醒的主角在爆炸的烟花里熟睡… 我的工作就是将这些抽象视觉碎片具像化。前期我在做视觉参考的阶段， Camille Summers - Valli和Matilda Finn两位都是我认为很擅长处理通感类MV的导演。作为专辑《Sublunary》主打曲目，它概括着这张专辑的世界观与音乐风格的交融，是游荡在幻想中的，地球与月亮之间“月下尘世”的初啼，这个虚构的异世与 vii M 的音乐之旅也在此启程。













Sublunary: to build a pure land between the earth and the moon, people thought that they could escape from the earthy life, but in the end they are still trapped in the mundanity.











	
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Tub Erupt︎︎︎
/Music Video/2021Director/Editor/Art Director











Vanishing Twin创立于2015年，是一个坐标伦敦的迷幻流行五人组合。由前Innerspace Orchestra主唱Cathy Lucas把乐团唤作“Vanishing Twin”，因为她真的有一位胎死腹中、被子宫吸收了的同卵双生姊妹。乐队由她再加上日本人低音结他手Susumu Mukai ( Zongamin / Floating Points )、奏出古怪声响的实验电音乐手Phil M.F.U. ( Man from Uranus ) 、鼓手Valentina Magaletti( Raime /Tomaga / Uuuu / Neon Neon ) 及负责敲击与长笛的视觉艺术家Elliott Arndt所组成。


组合的领头人Cathy Lucas既是歌手也是吉他手，她还是组合Farfarlo的一员，曾经出品了两张专辑：Choose Your Own Adventure和The Age of Immunology 。组合里的五人都各自在音乐领域摸爬滚打了超过十年。他们都有自己独特的即兴风格，这些都在他们的唱片—— 全英国最奇葩，最摇摆的专辑里有所展现。






	
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曹路夜生活指南︎︎︎
/Music Video/2021Director为乐队飞行游戏拍摄的MV



	
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脱节 Nerve Passenger︎︎︎
/Music Video/2021Director











我躺在冬雪里。






	
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Blanc’︎︎︎
/Music Video/2020Director/Editor











一对情侣在家中度过隔离的日子就好像在经历两种不同的时差。















A couple went through emotional turbulence as if they lived two differenct time zone during lockdown.






	
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	无头之主 Headless Chicken︎︎︎
/Narrative Short/2019DirectorIn a suburban town in China, a family runs a slaughterhouse. The father, a stubborn hothead, and the mother, a faithful Buddhist housewife, has an innocent, imaginative but quiet child. Under the influence of his fighting parents over his father’s affair, of his parents’ disappointment of his stutter, of the conflict between his compassion and the killing on a slaughterhouse, the child makes a choice.

一个脾气暴躁的屠夫父亲，和一个漠然焦虑的母亲，一个充满幻想喜欢画画的孩子，和一个被烤焦的鸡头。表面上波澜不惊的家庭其实金玉其外败絮其中，像一只没了脑袋还在狂奔的鸡。故事从成长在这样分裂环境下孩子的视角展开，直到发生一件让这个家彻底崩溃的事...


	
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