HsienYu CHENG enters the art scene with a background in information technology. He specializes in translating multiple knowledge systems and is concerned about the humanistic reality in the midst of technological evolution—where it comes from and where it is going. He has become a contemporary storyteller with dry humor. Afterlife Ver. 2.0 plays to the death of mosquitoes as a virtual life game. This immediate prophecy about rebirth is his debut work. Sandbox intercepts the signal of viewers’ mobile phones in real time and delivers a message to them. Now is the beginning, from which life starts to change.
Afterlife Ver. 2.0, 2013
Recycled E-waste, custom electronic circuit, micro controller, lamp, steels and monitor, 29 x 36 x 20 cm，3 Ed. + 1 A.P.
SDR (software defined radio), metal, customized software, FPGA board, laptop, signal jammer (optional), Based on Site Size, 1 Ed. + 1 A.P.
By intercepting and redirecting radio signals from the audience’s mobile devices provided by local carriers, sandbox seeks to make use of the empty exhibition space to obtain a temporary phone number by which SMS messages fabricated in situ can be transmitted in order to guide the audience to explore several works supposedly absent from the site. The content of the text messages mostly concerns “things that seem to exist even if the viewer cannot verify their existence from beginning to end”.
鄭先喻 HsienYu CHENG
鄭先喻，1984年出生於高雄，現居住、工作於台北。國立臺北藝術大學劇場設計系，並於荷蘭格羅寧根漢斯大學Frank Mohr Institute，Academe Minerva藝術學院取得藝術碩士。創作多以電子裝置、軟體、生物電子實驗裝置為主，內容多在探討人類行為、情感、軟體與機械之間的關係，企圖以詼諧的方式去賦予作品某種生命象徵或是存在意義，也是藉此隱喻自身對於周遭環境的體會與觀察。