Site Seeing 
 眼前 

Wong Pak Hang: Site Seeing
黄百亨：眼前

CRT televisions create images by rapidly illuminating lines of phosphors, using the persistence of vision to transform these lights into moving images. Cameras also account for the human eye, capturing action in front of the lens, frame by frame, and then connecting them into continuous sequences. Both technologies are designed to complement the human visual system, yet without an observer, they are reduced to repetitive stills and brief flashes of light. In moving images, collaboration between the human and the machine is essential for complete information transmission; only through ‘seeing’ can one ‘be seen.’
The commissioned project, Site Seeing by Hong Kong-based artist Wong Pak Hang, juxtaposes machine perspectives with human vision, exploring conscious and unconscious acts of filming and viewing. Within Videotage’s exhibition space, the artist reconnects cameras and televisions accumulated by the organisation over the years to create a field of machine interaction. Viewers wander between low-resolution lenses and colour-distorted screens, interfering with wireless signals while becoming objects of observation and merging into the image signals. The interplay between virtual and real, delay and immediacy, and engagement and feedback flows continuously along the cables, merging space, media devices, and viewers into a site-specific sensory experience.
Site Seeing is the inaugural chapter of Videotage’s media archaeology project, curated by Doris Poon and Johnny Au, which invites the artist to intervene in the organisation’s exhibition space and media equipment collection. In addition to the exhibition, Wong Pak Hang will extend these discussions through live performances and performance lectures in collaboration with Ian Tang, Jonathan Kan and Tsui Hou Lam.

CRT 電視透過快速照亮螢光體線來生成圖像，並藉由人類視覺暫留將這些光點轉化為動態影像。攝錄機同樣考量人眼的特性，逐格拍攝鏡頭前的動作並串連成連續畫面。兩者皆設計來配合人類視覺系統，但若無人觀視，則僅剩重複的定格與短暫的光束。在動態影像的世界裡，人與機器需要協作才能完成資訊傳遞，只有「看見」才能「被看見」。

本地藝術家黃百亨的委約創作項目《眼前》將機器視角與人類視覺並置，藉此探討有意識與無意識的拍攝與觀看行為。在錄映太奇的展覽空間內，藝術家重新連接機構多年累積的攝錄機和電視機，構建出一個機器交互的場域。觀眾在低解析度的鏡頭和色偏的電視間遊走探索，干擾無線訊號的同時，也成為被觀看的對象，成為影像訊號的一部分。虛與實、延遲與即時、投入與反饋在訊號線之間不斷輸入輸出，將空間、媒體設備及觀者融合成一場場域限定的觀感體驗。
《眼前》為錄映太奇媒體考古計劃的首篇章，由潘韻怡及歐健韋策劃，邀請藝術家黄百亨以創作介入機構的展場空間及其收藏的媒體設備。除展覽外，黄百亨將分別聯同簡以誠、鄧一言及徐皓霖以現場表演及表演講座作延伸討論。

Artworks
作品

1. Live Composition 現場構圖
2024
VHS, DV, security, wireless cameras, CRT TV, CCTV monitors (a set of 7)
VHS 攝錄機、DV 攝錄機、監控攝錄機、無線攝錄機、CRT電視、閉路電視監視器（一件七套）
Size variable 尺寸可變

Artists PH and HL rummaged through Videotage's storage room one afternoon, searching for obsolete media equipment. The 16mm film cameras, Super 8 film cameras, film projectors, and carousel slide projectors they had envisioned were nowhere to be found, replaced instead by various sizes of DV camcorders and televisions. “It truly is Videotage,” remarked the artists.

藝術家 PH 和 HL 在某日下午於錄映太奇的儲藏室翻箱倒櫃，尋找過時的媒體設備。腦海中浮現的 16mm 菲林攝影機、超 8 菲林攝影機、菲林放映機和轉盤幻燈片機一一沒有，取而代之的只有各種大小的 DV 機和電視機。藝術家感慨道，果然是錄映太奇呢。


2. Illumination 發光體
2024
Video (a set of 4)
影片 （一套四件）
2”40’

Machines operating on different frequencies cannot communicate effectively. In just one second, you might say 85 words while I can only process 50. It all ends up as mere noise.

不同頻率的機器無法有效溝通。一秒内，你說過 85 個字，而我只能聽到 50 個。吚吚哦哦，就這麼多。


3. Compound Eyes 複眼
2024
Pinhole camera, dummy camera, motor, plexiglass sphere, metal，CCTV monitor
針孔攝錄機、仿真監視器、馬達、有機玻璃球、金屬、閉路電視監視器
84 x 84 x 100 cm

The product requires two AA batteries or a connection to a wall outlet to operate. Included in the package is a product instruction that states: it can effectively deter and discourage thieves and lawbreakers, and it can be used in conjunction with real cameras, providing not only effectiveness but also significantly reduced security costs.

產品需安裝兩顆AA電池或插接濕電。包裝附有產品說明：可有效震懾並阻嚇小偷和不法分子，且能與真實攝影機配合使用，不僅有效，還可大幅降低安防成本。