검색

Yan Wai Yin

약력

Yan Wai Yin graduated from School of Creative Media, City University of Hong Kong in 2016. She lives and works in Hong Kong. On behalf of the Floating Projects Collective, Yan initiated Elemental Dynamite in 2019, a series of thematic screenings and technical-oriented experiments that pose critical questions on the expandability of animation as a practice and a medium. Yan's works often depict a bystander's perspective versus personal experience. By drifting between her own observations and the temporal, emotional distance between different literary texts, she juxtaposes sentences with her own narratives, striving to retrieve quotidian fragments idling within spatial ruptures and daily objects. Yan primarily works with moving images and installation. Her work has been exhibited in various venues, including H Queen's, Hong Kong City Hall and Shanghai Power Station of Art.

참여 작품

Director

Tugging Diary documents a footbridge over a year between August 2019 to January 2021. Due to social unrest and the uncertainty of various immediate happenings, both the internet and physical spaces act as critical communication platforms of its own during this period. As such, information can be circulated in the community more widely and rapidly outside of the existing mainstream media. As time goes by, these materials are continuously altered, some were renewed, while the others were removed, covered with paint, or overlaid by other information.

Localized Blindness

Localized Blindness

Director

Constructed in the form of an eye test/observational diagnosis, Localized Blindness is a semi-autobiographical video that documents several internal monologues: What is left after the passing of an individual? It's between me - an individual who witnessed consecutive passings; another me - an observational being who observed the changes of my accompany and the surrounding; and the other voices, all that echo the distance between the subject and the outsider.

紫藍色卡車

Director

Hyacinthine Scar condenses the undigested emotions in me while traveling from Hong Kong to my brother’s wedding in Guam. Presences and gazes of all sorts, to look and to be looked at, repetitive camera work of the hired videographers, the vow that is rehearsed over and over again by the priest, all the uncontrollable clickings of the shutter from all us (including myself), and the endless sightings of different sides of the fragmented Western Pacific. The many spots I visited appear as though they belong to passersby. They are as real as they are dreamy.