2022 Movie image, 2K, Colour, audio
8'45'' China
5+2AP
In the artist’s early moving-image practice, the work was informed by Kurt Lewin’s theory of the “gatekeeper.” Within this conceptual framework, the image is inseparable from the documentary dimension of social reality. The works foreground the relationship between mass communication and journalistic gatekeeping, suggesting that only those informational contents that conform to collective norms—namely, the value criteria established by gatekeepers—are able to enter the processes of information circulation and dissemination.
With the emergence of self-media and the rapid expansion of decentralized information flows, this previously singular channel of transmission has been fundamentally disrupted. The proliferation of media platforms has multiplied the sources through which the public encounters information, raising questions about whether malfunctions, distortions, or forms of informational disorder might arise at the interfaces of screen-based media. At the same time, the gradual erosion of journalistic credibility—together with the accumulation of unresolved social contradictions—has contributed to a growing atmosphere of public indifference toward institutionalized news discourse.
Against this backdrop of phenomena, the artist develops a series of works that adopt an absurd and surrealist aesthetic strategy in order to provoke critical reflection on the symbolic mechanisms through which cinematic content circulates. Within this work, the artist exposes the binary tensions that structure everyday human experience, particularly those between truth and falsity, as well as between memory and forgetting. The film engages with broader questions concerning the contemporary regime of information circulation, the formation of collective belief, and the division of informational labor, thereby functioning as a mode of reflecting upon shifting configurations of social events.
The narrative unfolds around four principal characters: a journalist animated by a persistent spirit of inquiry; a doctor who assumes an omniscient perspective; a massage therapist holding a watermelon; and an innocent boy. The film is structured through five distinct yet interrelated scenes, through which it examines the emergence of disorder within the internal structures of information and the unstable conditions of its circulation.