2010-2011, single-channel HD video, 16:9, color, sound, 24’2”
Ju and I have resided for nearly a whole year in the area of South Stone, of which appeared to be a distant village completely abandoned by the city, yet maintaining its very own independent system of living. Our perceptive consciousnesses were re-ignited (by the situation of South Stone area), our activities here made happening of improvised scripts, of images, and of body exercises, on the new time path, we are to be the man who plants scenarios. The imagination for the new geographical from random moment, instant action practice, and real-time script, constructed the narrative sequence of this video project. In terms of the perception of space, rationally speaking; it is feeling towards some unique moments that emerge in space. These moments are presented through the lens of my camera. These fragmented moments usually show very strong inner emotions. The feelings are so powerful that one is unable to get away from. They have intuitive strength. I think the ability to capture and to perform equally share these emotions. The complex of moments and feelings miraculously turns spaces into a magical cube, one that rotates both horizontally and vertically.
Born 1976 in Changsha, Hunan; lives and works in Guangzhou
Zhou Tao studied at the Guangzhou Academy of Fine Arts and received a bachelor of fine arts in oil painting in 2001 and a master of fine arts in mixed- media studies in 2006. Zhou Tao finds visual and narrative materials for his arresting film works in the places and communities he encounters, and the narration of the film is often developed from the accumulation of these encounters. There is no single entry to the practice of Zhou Tao. Through often subtle and humorous interactions with people, things, actions, locations and situations, Zhou’s videos invite us to experience the multiple trajectories of reality—what he once called the “folding scenario” or the “zone with folds.” Although all of his footage captures actual scenes, the poetics of Zhou’s visual narratives dissolve the division between fact and fiction. For him, the use of the moving image is not a deliberate choice of artistic language or medium, instead the operation of the camera is a way of being that blends itself with everyday life.