Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 源自：https://iffr.com/en/iffr/2023/films/blank-photograph ------------- This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 源自：http://www.hsucheyu.com/2022/11/blank-photograph.html
