{"id":2051,"date":"2020-09-04T18:59:32","date_gmt":"2020-09-04T16:59:32","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=2051"},"modified":"2021-01-19T09:48:10","modified_gmt":"2021-01-19T08:48:10","slug":"future-shock","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/future-shock\/","title":{"rendered":"Future Shock"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong><strong>Future Shock<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">SU Hui-yu<\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Video installation<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong>In 1970, American futurist Alvin Toffler\u2019s iconic work <em>Future Shock<\/em> was published. One year later, a translation by Zhiwen Publishing House hit the market in Taiwan, thus introducing the writer\u2019s theories to readers of Chinese.<\/strong><\/p>\n\n\n\n<p>The premise of the book can be summed up as: \u201cA future that comes too quickly creates more apprehension than that of a foreign land. Future society will be stricken with a plethora of choices, throw-away society, information overload, and unethical technology.\u201d<\/p>\n\n\n\n<p>The work <em>Future Shock<\/em> was inspired by Toffler\u2019s original, from which the artist adapted and developed Toffler\u2019s theories. The artist decided to shoot the film in the southern city of Kaohsiung for its industrial facilities, modernist architecture, power plants, commercial institutions, and deserted amusement parks, which were driven by economic policies in the 1970s, but today evoke feelings of strangeness and nostalgia for the city\u2019s golden age.<\/p>\n\n\n\n<p>This past which felt so futuristic 50 years ago is now both confusing and familiar. Future Shock leads audience members to revisit retro Kaohsiung from a contemporary perspective and look back as if in a dream at the influence of \u201cmodern\u201d and \u201cfuture\u201d when they were completely new concepts in Asia.<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/Future-shock-exhibition-view-1024x683.jpg\" alt=\"\" class=\"wp-image-2201\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/Future-shock-exhibition-view-1024x683.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/Future-shock-exhibition-view-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/Future-shock-exhibition-view-768x512.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/Future-shock-exhibition-view-1536x1025.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/Future-shock-exhibition-view-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 SU Hui-Yu &#8211; Courtesy of Double Square Gallery (Taipei)&nbsp;<\/figcaption><\/figure>\n\n\n\n<p class=\"noMarginBottom\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/future-shock\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/future-shock\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Future+Shock&amp;url=https:\/\/chroniques-biennale.org\/en\/future-shock\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/SUHUIYU02-1000x1000.png\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>SU Hui-Yu <sup>(TWN)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/www.suhuiyu.com\/\" target=\"_blank\">https:\/\/www.suhuiyu.com\/<\/a><\/div><div class=\"artisteContent\"><p>Su Hui-Yu obtained an MFA from Taipei National University of the Arts in 2003, and has remained active in the contemporary art scene ever since. Su is fascinated by the intricate tapestry interwoven by images, media, history, and daily life. In his videos, he explores both mass media\u2019s impact on viewers, and the projection of viewers\u2019 thoughts and desires onto media. Recently, Su\u2019s interest in old books, from which he re-reads, revises, and appropriates texts for his work, has led him to a new understanding of physicality, existence, and history. His work has been exhibited at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, MOCA Taipei, Double Square Gallery, Tina Keng Gallery, Kaohsiung Museum of Fine Arts, San Jose Museum of Art in California, Herbert F. Johnson Museum at Cornell University, Kunstmuseum Bonn, Casino Luxembourg and Power Station of Art in Shanghai.<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>This project is kindly supported by Taiwan Contemporary Culture Lab.<br>The production is sponsored by Kaohsiung Film Archive and National Culture and Arts Foundation.<\/p>\n\n\n\n<p>Production team:&nbsp;<br>Producer: Huang Jing-Han and Kuo Yi-Hsuan&nbsp;<br>1st Assistant Director: Liu Yueh-Min&nbsp;<br>Cameratographer: Chen Kuan-Yu&nbsp;<br>Art director: Liao Yin-Chiao and Su Hui-Yu&nbsp;<br>Custome Designer: Huang Jing-Han&nbsp;<br>Music: Su Hui-Yu&nbsp;<\/p>\n\n\n\n<p>Cast:&nbsp;<br>Craig Quintero&nbsp;<br>Liao Fu-Chi&nbsp;<br>Popcorn&nbsp;<br>Ethan Wang&nbsp;<br>Liu Yueh-Min&nbsp;<br>Jovi Lee&nbsp;<br>Hsing Feng&nbsp;<br>Liang Feng&nbsp;<br>Kaiti Shan&nbsp;<br>Yunuo Lin&nbsp;<br>Su Hui-Yu&nbsp;<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":2201,"menu_order":0,"template":"","edition":[20],"type_oeuvre":[28],"class_list":["post-2051","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/2051","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/2201"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=2051"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=2051"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=2051"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}