An Emptied Room
of One's Own extend Chou Tung-Yen’s interdisciplinary work Emptied Memories and the experimental dancing images developed by the long-term collaboration between Chou Tung-Yen and Chou Shu-Yi.
An Emptied Room of One's Own erases all visible scenes and backgrounds. The nearly boundless space in pure black, white, or grey implies that the person lives in a semi-vacuum state. His limbs struggle hard for something, while his shadow still lives in the imaginary space.
Rainer Maria Rilke has ever said, “This boundless loneliness creates sympathy between our daily life and the nature, namely the invisible space in which we live. And this space surrounds us with its innumerable presences.”
Both the person in the purely black, white, or grey space and the distorted “panoramas” taken by the panoramic camera represent the corporal exploration of the external (non-daily/daily) world. By utilizing images, this exploration helps the spectators to stare deeper into their internal, innumerable, and invisible spaces.
自己的空房間
An Emptied Room of Mine
形式：單頻道錄像與裝置
年份：2013
由跨界表演作品《空的記憶》的裝置與長期和周書毅共同發展拍攝的舞蹈影像延伸發展而成。《自己的空房間》將所有場景抹去，在幾乎沒有邊際的全黑、全白甚或全灰的空間中，人存在一種類真空的狀態裡。肢體繼續奮力探索、找尋，而影子在虛構的空間中，繼續活著。
里爾克說：「這種無邊界的孤寂，它令每一日的生命時光與天地聲息相通，用一個詞來說就是空間，那種人類總能活在裡頭的不可見空間（espace invisible），此空間以數不盡的化現（présences）圍繞著人。」
無論是黑／白／灰其中的人與空間，或是透過環景攝影機納入包容而又變形的「全景」，都是透過肢體向（非日常／日常）外在世界的探索，帶引觀者透過影像，更深入潛進自身內在數不盡的「不可見空間」。