Single-channel Video, Colour, Stereo Sound, No Dialogue, 5min 0A symbolic history of Kapital – a symbolic history of the West.
Inspired by Kasimir Malevich's minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born out of the desire to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod's, etc. When technology’s progress became an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of Capital itself in the age of peak oil.
Year of Production: 2006 | Production Format: Video, Computer | Music: Laibach and Zukunftsmusik | Language: no dialogue | Length: 5 minutes
Yin-Ju Chen (b.1977) studied video and performance art at the San Francisco Art Institute in the New Genres Department, currently lives and works in Taipei. She was a resident artist at the Rijksakademie van beeldende kunsten in Amsterdam, the Netherlands. She has participated in many important international exhibitions and film festivals, such as “Traversing the Phantasm”, Forum Expanded at 66th Berlin Film Festival (Germany, 2016), "Social Factory”, Shanghai Biennial (2014), “A Journal of the Plague Year”, (Para/Site, HK, 2013), "Modern Monsters Death and Life of Fiction”, Taipei Biennial(2012), International Film Festival Rotterdam (2011), EMAF - European Media Art Festival (2011), “Multitud Singular”, Museo Nacional Centro de Arte Reina Sofia (Spain, 2009), International Documentary Film Festival Amsterdam (NL, 2008), and San Francisco International Film Festival (USA, 2006).
Yin-Ju Chen has invited to participate “The future is already here—it’s just not evenly distributed”, 20th Biennial of Sydney (AU, 2016) and Liverpool Biennial (UK, 2016).
James T. Hong（b.1970) discontinued his Ph.D. program in philosophy at the University of Illinois and studied filmmaking at the University of Southern California. He has recently participated in many important international exhibitions and film festivals, such as “Traversing the Phantasm”, Forum Expanded at 66th Berlin Film Festival (Germany, 2016), “A Journal of the Plague Year”, (Para/Site, HK, 2013), The Berlin International Film Festival (Germany, 2013), "Connecting the Dots: The Evolution Will Be Social", The Online Biennial (2013), "Modern Monsters Death and Life of Fiction”, Taipei Biennial (2012), International Documentary Film Festival Amsterdam (NL, 2008, 2012), and the International Film Festival Rotterdam (NL, 2001, 2007, 2008, and 2011), Taipei Golden Horse Film Festival (2005), Taiwan International Documentary Festival (2004). Several of his films have received awards and grants, including Behold the Asia: How One Becomes What One Is (2000), Die Entnazifizierung des MH (2006), and Lessons of the Blood (2010). In 2008, Hong was a guest of the Berliner Künstlerprogramm des DAAD. His recent articles are published in e- flux Journal and the Taipei Times. Hong currently lives and works in the USA and Taiwan.