WILS N7340 .S92 1999 p.20
WILS N7340 .S92 1999 p.20, 2018
44 x 42 inches, Archival inkjet print
WILS EAS DS715 .H74 1985 p.XXX
WILS EAS DS715 .H74 1985 p.XXX, 2018
44 x 68 inches, Archival inkjet print
WILS EAS DS715 .H74 1985 p.XI
WILS EAS DS715 .H74 1985 p.XI, 2018
44 x 45 inches, Archival inkjet print
WILS EAS DS715 .S42 1956a p.642
WILS EAS DS715 .S42 1956a p.642, 2018
44 x 59 inches, Archival inkjet print
WILS EAS DS715 .H74 1985 p.IV
WILS EAS DS715 .H74 1985 p.IV, 2019
44 x 44 inches, Archival inkjet print
WILS EAS DS715 .S42 1956a p.642
WILS EAS DS715 .Z435 2004 p.130, 2019
44 x 63 inches, Archival inkjet print
WILS EAS CC115 .U45 A34 1973 p.19
WILS EAS CC115 .U45 A34 1973 p.19, 2019
44 x 36 inches, Archival inkjet print

Installation view

In the archeological context, in situ refers to the state of artifacts in which they have not been moved from their original place of deposition. Archeologists often take photographs during excavations to document this locational information. Being in situ is critical for the interpretation of artifacts and the culture they belong to.
In the eponymous project, I excavate photographs that carry the in situ information from archives that are remote and foreign to these artifacts’ original culture. These photographs are printed and reprinted uncountable times, sailing across the ocean to the hands of the appropriator. Variation in time and space have distorted their visual information. By enlarging them to a visceral size, I invite audiences to travel back in time through these portals and see the artifacts upon their exposure to the contemporary. Squeezing myself through these dense halftones of time, I propose a possibility to see these artifacts in their original context with dirt and thick air. Furthermore, a possibility to question the national narratives and institutional interpretations of these discoveries that are under the guise of pristine museum display.
在考古學語境下,「在原地」指代的是遺物還未曾從它們原初的安置地點被挪動的狀態。考古學家經常在開採中使用攝影紀錄這一位置信息。維持在原地對遺物及其所處文化的解讀十分關鍵。
在同名的項目中,我從距這些遺物本身文化相隔遙遠的檔案庫中開採了包含它們在原地信息的攝影。這些圖像被反覆印刷過無數次、穿洋過海來到挪用者的手中。時間空間的變遷使它們的視覺信息扭曲失真。通過把它們放大到直覺性的尺寸,我邀請觀眾通過這些傳送門逆時間而行,觀看這些遺物被曝光到當代的一刻。躋身穿過這些時間性的稠密的網版印刷點,我提出一個從它們原始的塵土語境下觀看這些遺物的可能性。更進一步,一個質疑隱藏在一塵不染的博物館展示環境下對這些文化遺存的國家主義敘述和機構化闡釋的可能性。
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