Image: Adam Hsieh, 'i didn't come here for love,' 2023, 'electronic erotica,' installation view, Good Grief Studios, 2023, image courtesy of the artist
Image: Adam Hsieh, 'i didn't come here for love,' 2023, 'electronic erotica,' installation view, Good Grief Studios, 2023, image courtesy of the artist
Image: Adam Hsieh, 'i didn't come here for love,' 2023, 'electronic erotica,' installation view, Good Grief Studios, 2023, image courtesy of the artist
Image: Adam Hsieh, 'i didn't come here for love,' 2023, 'electronic erotica,' installation view, Good Grief Studios, 2023, image courtesy of the artist
Image: Adam Hsieh, 'i didn't come here for love,' 2023, 'electronic erotica,' installation view, Good Grief Studios, 2023, image courtesy of the artist
Image: Adam Hsieh, 'i didn't come here for love,' 2023, 'electronic erotica,' installation view, Good Grief Studios, 2023, image courtesy of the artist
In the digital age, the global communication infrastructure has inevitably transformed how we explore and interpret a place, transcending tangible settings and creating a hybrid space encompassing reality and virtual reality. A surge of location-based social networking apps has emerged through smartphones, the internet, and GPS systems, providing innovative ways for individuals to connect and collaborate, particularly within marginalised LGBTQ communities. ‘What are you looking for?’, ‘Where are you?’, ‘Can you host?’... These desire-driven private messages circulating between nearby strangers weave new relational networks that overlay the visible landscape and further blur the boundaries between the physical and non-physical realms.
Upon relocating to Nipaluna/Hobart in Lutruwita/Tasmania, an island south of the Australian mainland, Adam Hsieh endeavoured to navigate the unfamiliar environment by observing kunanyi/Mount Wellington, a 1200-meter-high summit, visible from nearly every part of the city. Intrigued by the dominant geographical feature, Hsieh captured multiple wide-angle landscape videos of the peak using a fixed camera from different standpoints, presenting kunanyi as a guiding landmark to orient himself. Simultaneously, Hsieh mapped his digital surroundings by engaging with nearby users on Grindr, a geosocial app for the queer community, which added an affective dimension to the five-channel video installation i didn't come here for love. Despite responses ranging from flirty to icy, the intimate exchanges highlighted how social activities play key roles in shaping our experience of a place. Whether manifested in bodily selves, technological selves, or a combination of both, the inherent human desire to touch, feel and understand the external world persists.

CREDITS
Adam Hsieh (concept development/director/editor)
MEDIUM
Five-channel digital video, 1080p, colour, with stereo sound
DURATION
10 minutes
EXHIBITIONS
electronic erotica (2023). Good Grief Studios, nipaluna/Hobart, Australia. 17 Nov - 5 Dec 2023.
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