This is a nonexistent virtual reality viewing experience. By simulating a futuristic approach of viewing through video installation, Wu will explore Asia’s aerial territory. Inspired by the aerial warfare schematic left behind by the Air Force Commander Headquarters, Wu will examine how the sky is being used, understood, and divided by humans from historical and technological perspectives. Humans have historically used the sky for political, military, trade, and entertainment purposes; now, the sky is being used in even more ways. Through flight, humans are able to traverse national boundaries, and boundaries are constantly being redefined and delineated according to the political and economic might of a country. How many air defense identification zones are we passing through when we fly from one country to another? As technology continues to advance we can now see the world from the bird’s eye view of a drone while planting our feet firmly in the ground. Correspondingly, we have had to develop ways to manage and regulate the use of drones. The vastless sky before us has already been divided as to be managed.

Asia Air is a video installation that strings together aerial photographs taken from aircrafts and by drones and images of aerial warfare schematics to explore the use and management of aerial space. This work will be viewed as the latest viewing technology – virtual reality, which projects varying depths of field in both the left and right eye to create a three-dimensional viewing experience that is both virtual and futuristic.

這是一次不存在的VR觀看體驗。吳其育以影像裝置模擬未來人類的觀看方式，討論關於亞洲的空域關係。作品發想自空軍撤離後，遺留舊辦公大樓二樓牆面的空域作戰指揮圖，吳其育從歷史和科技的角度，思考「天空」是如何被人們使用、理解與劃分。人類對空域的想像涵蓋政治、軍事、經貿、娛樂各種層面，使用方式無止境擴張。人們藉著飛行得以跨國移動，而國際疆界則在一國的政經強度支撐下，得以重新界定、各自表述；一段跨國航段會穿越多少個航空識別區？科技一再突破，如今人們只需在地面操控無人機，便能宛如飛行般俯瞰地面；同時，無人機飛行管理規範則相應而生。眼前無垠的天空，早已被各種管理方式劃分。

《亞洲大氣》的影像串接與討論相關飛航畫面、空拍機影像、無人機禁飛地圖、空域作戰指揮圖、飛行空域、管制空域，以及相應的飛航規範、對天空的使用與限制等。作品呈現方式試圖對應當前最新穎的觀看方式——虛擬實境，分屬不同空間的畫面如同左右眼視窗，彷彿雙眼所映射出的、虛擬的、未來的新型態觀看方式。

Wu Chi-Yu’s practice shows a fundamental interest in how connections can be re-established among humans, things, animals and the world in a ruined landscape resulting from technocapitalism. His practice revolves around the moving image, looking for contemporary narratives in lost memory through the reproducing of oral history and myths. He is also involved in different collaboration projects of installation, video installation, and performance.

Wu Chi-Yu was a resident artist at Rijksakademie van beeldende kunsten (2014-2015). He had the solo show: “91 Square Meters of Time” (TKG+ Project, Taipei 2017). The exhibitions he once participated include: “The 12th Shanghai Biennale” (Power Station of Art, Shanghai, 2018); “Trans-Justice” (MOCA, Taipei, 2018); Taipei Biennial (Taipei Fine Arts Museum, Taipei, 2016). His films have been screened at the Beijing International Short Film Festival (2017); EXiS Festival, Seoul (2017); Arkipel Festival, Jakarta (2016).