Presses of Light Year 24: Video Exhibition

LIGHT YEAR is a public art video projection presented on the Manhattan Bridge Anchorage.

Presses of Light Year 24: Video Exhibition

LIGHT YEAR is a public art video projection presented on the Manhattan Bridge Anchorage.

Presses of Light Year 24: Video Exhibition

LIGHT YEAR is a public art video projection presented on the Manhattan Bridge Anchorage.

Presses of Light Year 24: Video Exhibition

LIGHT YEAR is a public art video projection presented on the Manhattan Bridge Anchorage.

Presses of Light Year 24: Video Exhibition

LIGHT YEAR is a public art video projection presented on the Manhattan Bridge Anchorage.

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The Queens Time

Video Exhibition on the Manhattan Bridge Anchorage

queens times

Thursday, April 6, 2017
by Merle Exit

Grab a spot near Anchorage Place and Pearl Street in Brooklyn to see: Light Year 24: Passenger Moment on Thursday, April 6th, 7PM – 10PM

The exhibition will be presented via “Live Feed” online the day of the show as well. Curated by LuchiaMeihua Lee the participating artists and video titles are: MengChih Chiang,A Stranger to Words; Jeremiah Teipen,Ice Cubes Melting in a Plastic Cup; Poyen Wang, A Fabricated Personal History; Chinchih Yang,Kill Me or Change; Rosalie Yu and AlonChitayat,Skin Deep.

Got this info straight from Luchia.Passenger Moment is a title which designates reacting to a system of thought that is based on life. As humans, we are confronted with a transitory existence that is relative to the world when we arrived. Included in this exhibit are five artists who use their personal experiences in life to expand the relationship between themselves and their subjects, and furthermore to express their concerns about the surroundings. This presentation is not to celebrate the beauty of nature or to praise the charming, romantic and magnificent. Instead of that, we investigate self and society.

Poyen Wang in A Fabricated Personal History took faces of stranger children and transferred them to familiar yet alien faces. In doing so, he addresses the assimilation period to the new land or the new world.

All various color skins are also present in this multi-cultural city and in the Skin Deep project sketched by Rosalie Yu and AlonChitayat, where a wide variety of human faces appear in the running video that been painted in different colors. The dripping lines and colors show its spontaneous drawing texture and a cold, lifeless face as urban residents pass by.

After learning the various languages, the letters and venues in another way turn to familiar or unfamiliar ways to connect people universally, as decoded by MengChih Chiang’s A Stranger toWordsthat intertwines lines and mingles them with letters. The turning shape takes the viewer to an illuminated and illusionary world. In our materials world, we take pride in rapid high-tech development, ignoring the harmful effect on the environment and our very lives.

Overused consumer goods turn to be undecomposed chemical elements that fly around in Jeremiah Teipen’sIce Cubes Melting in a Plastic Cup.

Also, the 30,000 beverage cans – the number used by the average American in a lifetime – that drop onto Chinchih Yang’s head in Kill Me or Change remind us of the astonishing quantities of waste that we have created and that are so deleterious to the earth, the planet which we only recently have come to see as fragile. This view project in this light year is without doctrine, but a beautiful, creative, abstract image that indicates us as strangers to this world.