Discharge what you charged

CHENG Hsien-Yu

Installation

The installation creates a few minutes of peaceful time to isolate the audience from mobile phones, which have become an essential gadget of everyday life.

This work is an electric mechanical cube. There is a mechanical structure above the square pillar, and the lid is usually open. When the audience come near the work, the work will display text that invites the audience to place their mobile phones on the platform.

After the audience place their mobile phones on the platform, the lid will close and it will remain locked. During the desired time, the device will discharge the audience’s mobile phones until the batteries are almost empty. The lid will then open and give an alarm sound to notify the audience, reminding them to retrieve their phones.

On average, a person spends more than 4 hours a day watching, listening and using a smartphone, and people are growingly attached to their phones. This work attempts to invite or force the audience to briefly part ways with their daily essential, with the mobile phones.

Practical Information

DATE

From 7 Jan. to 7 Mar. 2021

PLACE

21 Bis Mirabeau
Espace Culturel Départemental
, Aix-en-Provence

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Artist

CHENG Hsien-Yu (TWN)

Born in Kaohsiung, Taiwan, in 1984. Currently an artist & software developer based in Taipei.

Most of Cheng’s works are electronic installations, software, and experimental bioelectronics devices. His works explore the relationship between human behavior, emotion, software and machine.

He tries to bring out the meaning of life through his works that are filled with his own observation and feelings toward society & environment in a humorous way. Currently, he is focusing on the fields of biology, electronics, software, and making tools for creative industrial applications.

Cheng has been selected by Dutch Young Talent, and won First Prize of Taipei Digital Art Award, Quality Award of New Media of Kaohsiung Art Award, and Tung Chung Art Award.

 

Credits & mentions

This project is kindly supported by Taiwan Contemporary Culture Lab.