Video artist Shake’s new work, entitled 1989, combines the ambience of the 1980s and the individual/collective memory of Madonna’s homonymous song. The film brings the audience back to school by reliving the practice of morning assembly in elementary schools as a way of revisiting the childhood memory informed by discipline, political propaganda and mass cultural experience. If the so-called memory represents trauma itself, according to Jean-Paul Gustave Ricoeur, the harm of memory resulting from ideological construction is in truth a rationalizing mechanism regarding identity, power, history and descriptions of social condition. In other words, the imposed memory formed through training often comes from the hegemony of the ruling power, which leads to collective influences. Using narratives of film and spatial installation, the artist transforms authentic records, documentation of certain eras and representation of scenes to address experiences of disciplining carried out through images, sounds, words and rituals as well as how these experiences have shaped a generation of people.

影像藝術家雪克的新作《1989》，是結合1980年代氛圍與西洋歌手瑪丹娜名歌的個人／集體記憶。影片經由小學朝會儀式重回校園空間，進而檢視一段摻揉了規訓、政治宣傳與大眾文化經驗的童年記憶。如果所謂的記憶可能就是創傷本身，依照保羅利科對於作用在意識形態建構上的記憶侵害所提出的觀察，其實是一套關於認同、權力、歷史與社會現況描述的合理化機制，換句話說，這些被強加、訓練形成的記憶往往是來自統治集團的霸權機器，所造成的影響是集體性的。藝術家於真實紀錄、年代顯影與景觀再現的轉化下，以影片與空間裝置的敘事方式，提出經由影像、聲音、文字與儀式所發生的規訓經驗，如何形塑一個世代的樣貌。

Shake received a DNSEP degree from l’École Nationale Supérieure des Arts Paris-Cergy, and later obtained a MFA degree in plastic arts at Paris 8 university.

Experimental moving images and film installation are Shake’s main medium, she exploits cinematic writing as the methodology to experiment the moving image narrative. She focuses on the relationship between the fact and the fiction in the narration and the representation of History. Her works often feature multiple discussions: the studies of variety historical documents concerning Asian geopolitic, folklore, myth and pop culture; the experiment on film language, semiotic thus its institutional mode of representation; and the construction and the interpretation of collective/personal memories. These studies are presented in a kind of mutual involvement and mutual expression, which makes her works have a qualitative characteristic of becoming between fiction and non-fiction, reflecting how the personal history could be constructed under the state power, education, culture and globalization order. Shake has done multiple international artist residencies, and her works have been exhibited in Europe, Korea, Japan, the US, etc.