Muxingye Chen

abstract - audiovisueel - conceptueel - digitaal - installatie - media - video

Muxingye Chen is from Chengdu, China. He studied Time based design at the Art Academy of Minerva Groningen. He is now graduated from Piet Zwart Institute in Rotterdam with a Master's degree in Lens-based media. He works with digital art on an abstract representation of body movement. He uses animation and 3D programming as a kind of extension of the limited body. In this way, he tries to deconstruct, unravel and convert our current image of how we deal with social structure into our individual experience.

Doppelganger Audio-Visual Experiments ###001 - I focus on the research of the presentation in public: from experimental film to video installation, and audio-visual performance, especially as my research grows from graphical to spatial, from linear to multi-dimensional. On October 10th, I will present the second part of the research as an audiovisual performance at the Treehouse NDSM in Amsterdam. During the performance, the generation of images and sound frequencies are entirely controlled by data movement. Meanwhile, sound artist JiaXia will live to translate its velocity from alpha numbers to soundscapes. In reflection of my work so far: it is insufficient to focus merely on sound collection/visualization as it does not illustrate the integrity and objectivity of the connection between the data, me, and the physical world. For the next experiments, I will concentrate on how to deconstruct/reconstruct data-generated images in the virtual space that I built during the first experiments, and how the data frequency interacts with sound frequency. New insights: In my artistic research, the data, which is not composed and presented by a single element or object, is immediate interaction and derivation of sound, image, and visceral-virtual space. The generation of frequencies is the bridge that connects all the mediums to express the emotion of data, which I consider to be complex and multidimensional. During the pandemic, I was trying to connect to my hometown, my physicality, my consciousness, my situation in the virtual space through the frequencies derived from the online data. After the pandemic my behaviors are reshaped by the physical world, my perceptions, my migratory experiences and through the frequency of local data. Most of the time, the data we are exposed to is cold and conclusive, while the virtual space composed of data is structured and complex. I want to explore another possibility through the medium of frequency: the evolution of frequency is a process of decentralization. When I discuss how multicultural contexts justify their physical existence in contemporary times through a virtual environment, I don't need to take polarized attitudes toward the conclusion. It is about experiencing randomness, the possibility behind frequency. In the beginning, I struggled to find the conclusion of self-identity through frequency in the virtual space. But through my art practice, I found that my identity and my cultural background have already been integrated into my art creation, and the possibility that emerged was that through the experiment of exploring frequency.
Doppelganer Chapter 1 - This is the first chapter of a sensory experiment that starts from real feelings, presenting a multi-dimensional and repetitive momentary state by means of the decomposition and interplay of all frequencies in space. It does not simply rely on digital models and pictorial language, but on the uncertainty of life to embrace a new reality of the desert. In the repetitive movement of virtual and physical space, the subject will no longer exist. The space of the future is already dominant in people's daily lives, as the creator Muxingye himself experiences: "I am gradually adapting to the fullness that the online world gives me; instead, relationships in the real world exist as mere necessities to fulfill a specific function." In effect, the space of activity of the subject is compressed into the information, and here it can also be said that the subject becomes passive and the information becomes frequency. In a closed space (physically and psychologically closed), there is no longer a clear-cut relationship between objects; light and shadow, movement and stillness, words and ideas are broken down and reshaped in a holistic relationship, as they become subdivided pixel dots and code-editing breaths, forming a living field between a multitude of free-moving individuals. The nomadic nature of the work unfolds and extends here, with its duality of the imaginary and the real, symbolizing Muxingye's nomadic state in post-modern society, repetition in difference, and freedom in frequency. Text: 物无非彼,物无非是。自彼则不见,自知则知之。故曰:彼出于是,是亦因彼。彼是,方生 之说也。虽然,方生方死,方死方生;方可方不可,方不可方可;因是因非,因非因是。 There is nothing that is not a "that"; there is nothing that is not a "this." One cannot see oneself as a "that," but if one knows oneself, one knows what it is to be another. That is why it is said, "That arises from this, and this also relies on a that." This is the explanation of how this and that are born in the same instant.
Unframed (2021) - Medium: Experimental Film, Digital motion graphic Size: 5760:1080px 7mins20sec “Chapter 1: Unframed 离" [ 6’23”(loop) color, sound, video installation] This is the first chapter of the project called 离, unframed, 合 framed, 人间 In dimension). The narrative is based on a virtual performance telling that in a certain frequency, each part of the body forms its own awareness. They see their physicality as a shield, trying to de-construct it. Chapter one mainly uses images to experiment with two hypotheses. One: Assuming that the head is the carrier of consciousness, facial expressions, and body are the tools for transmitting information, then when they lose their integrity, all expressions become invalid. Two: If all body language and communication through linguistics is invalid, is there another medium that can communicate in human consciousness? Is it a frequency?