Tzuan Wu

이야기란 자고로 수없이 회자되는 과정 속에서 화자가 누구냐에 따라 새로운 형태를 띤다. 해안가에 부딪치는 파도처럼, 기억은 매번 다른 형태로 밀려들고 곧 부서진다. 실험적인 다큐멘터리 〈디아스포라의 해안〉은, 미국의 한 중식당에서 (주인공의) 할머니의 그림을 우연히 마주한 고모가 눈물을 펑펑 쏟은 이야기로 시작한다. 이후 영화는 냉전 시대의 형성, 대만과 미국의 관계, 디아스포라 세대의 탄생, 가족들의 연애 사건, 그리고 속세의 괴담을 자유로이 넘나든다. 개인의 기억과 집단의 기억이 중첩되자, 어느덧 영원히 바다를 항해할 운명에 처해진 네덜란드 유령선 ‘더 플라잉 더치맨’의 또 다른 이야기가 펼쳐진다. (2021년 제18회 EBS 국제다큐영화제)

Many years after graduation. Some one left earlier while the party goes on. We made a day to visit the green lake together. In that burning afternoon. These fragments of over-exposed, out of focus film were produced without a purpose. Then seamed together by chance. All of these probably are merely a reminder of our rights of indulgence; These are things you should commemorate, these are your memento mori. Thousand layers of Absolute Terror Field. In the center the princess is still praying for maintaining the world. Covered by magic circles, under the urban plan construct with an inverted pyramid shape. She prays in a basement that no one could reach.

Tzu-An Wu makes experimental films. Most of his works are collages with heterogeneous images, audio, and texts in an attempt to inquire about the constructs of narratives and self. In recent years, Wu produced pieces of handcrafted techniques and experimentations with super 8mm and 16mm films, in which the artist explores the junctions and new possibilities of the production technologies for analog and digital images.

After WU’s arrival in New Zealand, WU has been trying to take a photo of the starry night sky every day with his phone, whether or not it was clear. The star photos can be interpreted as diaries. Using a 16mm Bolex camera to film the stars frame by frame with long exposure. Exposure time was determined by the mind. These uneven pulsations of lights correspond to the starlight changing along with the thoughts that were at mind. This film documents WU’s everyday ritual of star-gazing with the related associations and inspirations and forms a meditative process.

A study of the plants, ducks and waterfalls in Oakley creek. The film is hand dyed with ferns I gathered in the creek walkway.

A love letter in collage style, consisting of found footage and a strange reading of Kang-Chien Chui’s work, karaoke and diary videos.

This work is an argument initiated with Wendy Brown’s article Resisting Left Melancholy. She applied Walter Benjamin’s notion of “Left Melancholia” to see the political thoughts and the norms in the left-wing movement/ theory traditions as the notion of melancholia. There is the thingness of the thoughts that can see as the lost object. Extends this idea, the thingness of thoughts, come from one’s personal or collective memories could become the pathological fixation.

Shot / Edited on 16mm film stock, Cross-Processed by MONO NO AWARE, Transferred by DiJiFi.com.

The cat I don't own runs through windows between different spaces and times, and it disappears before finishing a sentence. Using outtakes and rushes (what "fur film" means in Mandarin) to redeem the affects in these images we produced for. The film is the first volume of an ongoing exchange diary project between Erica SHEU and Tzuan WU. From the filming exercises and hand processing from the very beginning, we collaborate and experiment with different workflows of audio and visual between Taiwan and USA.

A documentation of the solar eclipses in an afternoon. I use different filters and multiple exposure, with both negative and reversal film stocks, compose this sketch of the sheltering black sun.