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Revival Malady 復興夢
Revival Malady 復興夢
Revival Malady 復興夢

Revival Malady復興夢

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Through physically cutting out the figures in the old photos, as a way to be detached from the original contexts, collected from the ruins of military dependents’ village, which afterwards were filmed on the original site according to the rewritten stories of those subjects, I attempt to recall and to reexamine the historical past of the military dependents’ village. In the film I used a lot of obscure symbols such as portraits of military personnel, children with guns in their hands that reveal the political atmosphere back then, as well as unusual spectacles during demolition (e.g. ruined lanes and paths, water spurting from broken pipeline, bushes on fire, shattered glasses in a pile). At the end of the film, those cutout figures—the villagers—were run over by industrial machines. Such visual violence indicates that all things would return to its initial state, a wide and lonely plain, as if nothing had ever existed, neither the village nor the people. As its name suggests, the “Fu-Xing (Revival) Village” was ironic both literally and politically, for it still ends up like a vain hope in history.




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