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water sleep II Akaike river under Xizang Road

Su Yu Hsin

This video is no longer available

Su Yu Hsin, water sleep II Akaike river under Xizang Road (still), 2019.

e-flux presents Ecology After Nature: Industries, Communities, and Environmental Memory water sleep II Akaike river under Xizang Road
Su Yu Hsin
2019

20 Minutes
Taiwan

Date
September 13–26, 2020

Join us on e-flux Video & Film for an online screening of Su Yu Hsin's water sleep II Akaike river under Xizang Road (2019), on view from Sunday, September 13 through Saturday, September 26, 2020.

Maps are controlled by nation-states: who creates them, what they will look like, how they will be read, and how they will be shared. water sleep II Akaike river under Xizang Road (2019) is an essay film in which the artist guides us in the search of the lost river in historical maps. Taipei/Taihoku City Planning Map with Bird’s-eye View (1935) and Taihoku Aerial Map, American Army 14th Air Force (1944) represent the colonial history of Taiwan. The search process provides another reading through decolonization of the gaze of maps and turns the focus towards evidence of objective portraits of the landscape.

water sleep II Akaike river under Xizang Road is presented here as one of four films in Part Three | Decolonizing the Landscape: From Invisible to Visible, the third of six programs in the online film and discussion series Ecology After Nature: Industries, Communities, and Environmental Memory programmed by Lukas Brasiskis for e-flux Video & Film.

Ecology After Nature runs from August 14 through November 8, 2020. The films in Part Three will screen for two weeks, and subsequent parts will follow bi-weekly, with new films screened every other Sunday.

For more information, contact program@e-flux.com.

Category
Film, Nature & Ecology
Subject
Landscape, Anthropocene, Environment, Video Art, Maps, Decolonization
Return to Part Three | Decolonizing the Landscape
Filmmaker

Su Yu Hsin is a Taiwanese artist and filmmaker currently based in Berlin. She weaves together tropes of artistic documentary and essay film and uses composite imagery and video installations to materialize her technological, ecological, and infrastructural investigations of planetary imaginations.

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