Chui Wan X Telestron | Beijing Times Art Museum Performance

Wings – Ultimate Psychedelic Night review

Camera Crew:

Lui Chen, Jeroen Van Uum

Editing:

Lui Chen

Production:

Lolly Fan

VJ:

DOTAV LAB

Clothing:

Digestive Design Digest Design

Photos provided:

Beijing Times Art Museum

Chui Wan was invited to participate “Wings” an immersive experience held as part of the Beijing Times Art Museum’s 10th Anniversary Special Exhibition “Super Collision 10 Times Square,” on September 28.

The band performed live with Telestron, an installation of the US VT Pro Design team. Telestron visualizes time with laser rays, the movement of the beams in the room symbolizes the engraving and cutting of space. Reconstructing the dimensions of time and space from a macro perspective, Chui Wan’s live music added another dimension to the art of light and shadow – the dimension of acoustic art.

Chui Wan created “Super-Collision” by combining their music inspired by Eastern philosophy with the pioneering technology installation from the West. They performed an extremely delicate oriental melody under the wide open acoustic space of the Times Museum. The audience, completely immersed in this dreamlike sound painting, was treated to a real and illusory psychedelic experience.

TELESTRON uses modern technology to simulate the ancient Greek altar, restore the mystery and worship and warn the crowd. The two robotic arms provide a slow and methodical “illusion” of communication, which in fact is a fierce “conversation.” This “illusion,” the opening of the non-audioscopic “psychedelic,” is the initial entry point for the design.

In the design direction, we first respect ancient Greece – a period that payed great attention to harmony and nature. The ancient Greeks were good at using a piece of cloth and accessories such as pins and ropes to “match” the human body with geometric logic. Therefore, the overall design tone is relaxed, rigorous, in the shape of the classical proportion, cutting without sharpness, while using uniforms clothes to maintain an internal order and balance between the four musicians.

The top fabrics of the two musicians are from the “sunlight” hand-woven cotton fabric of the Yi people in Guizhou, China, and the “rain dew” linen from Normandy, France. The two pieces of fabric are very “simpler” in handling – the former is “bleached” with daylight and green dew after weaving into cloth, while the latter is in the unique climate of Normandy, through rain and sunlight. The effect is to peel off the “linen gray” yarn and woven into a cloth. —— By the power of nature, reducing the participation of people in the final product in extreme value is the end point for completing this design for “Blowing Wan”.

—— Dooling Jiang