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Jessica Fu
Entropy Zero Black Box Reset
Jessica Fu
Entropy Zero Black Box Reset - A multimedia installation exhibition drifting between reality and illusion. Artist Jessica Fu, dedicated to research-creation explorations of historical sites in recent years, transforms historical buildings into vessels of collective memory for people and place. On the canvas of red-brick heritage architecture, she etches “ephemeral tattoos” through fictional sci-fi symbols—fleeting imprints of forgotten collective consciousness—guiding audiences into a vortex that blurs the tangible and the imagined.
“Entropy Zero” Through the eyes of animal spirits, it gazes at the rise and fall of shattered window frames in the ruins.
”Black Box” The hazy warehouse window becomes a lens; a spaceship whispers the city’s memories along a coastline wrinkled by time.
“Reset“ As bells ripple through air, she carves the “ephemeral tattoos” onto a historical schoolhouse’s window frames.
This exhibition reimagines site-specific installations and research-creation artworks, unveiling multi-contextual realities and historical narratives within time’s hidden threads.
「熵靈」「黑盒」「重啟」是一場穿梭於虛實之間的多媒體裝置藝術展覽。藝術家傅至雅近年來專注於歷史建築的研究型創作，將城市建築轉化為當代社會集體記憶的隱喻載體。她在紅磚歷史建築上，運用虛構的科幻符號，為被遺忘的集體潛意識烙下「瞬間即逝的刺青」，帶領觀眾進入一場在虛實之間遊走的迴光旋渦。
「熵靈」透過動物幽靈的視角，凝視廢墟中破碎窗框的消長；「黑盒」讓我們透過朦朧的倉庫窗戶，見證太空船在海岸線上低語著城市的記憶；而「重啟」則在鐘聲迴盪之際，於舊校舍的窗框裡刻畫出瞬逝的刺青。
這場展覽將以全新的形式，呈現近年來的場域特定裝置及研究型創作作品，重新探討歷史建築的多重脈絡與歷史敘事。
Chapter One: Entropy Zero
If we take "Nightmare" as an entry point...
"Animal Sprits"
During a research project at the Cattle Depot, I imagine about the visions seen by animal ghosts at the cattle depot. "Nightmare" was originally exhibited in the Room 14 of the cattle depot, which served as a waiting room before animals were sent to the electric shock chamber. Using the phenomenon of Terminal Lucidity as the concept for "Nightmare," the moving image was remixed with the unpublished experimental footages of the project.
This work resonates with the work “Entropy Zero”.
【動物幽靈】
在牛棚進行研究計劃時，我試問動物幽靈在牛棚所見的景象。《惡夢》最初展出於牛棚的14號房，該處為送往電擊室前的等候室。以迴光反照的現象作為《惡夢》的藍本，重新剪輯動畫與未公開的場域實驗的影像。
這件裝置呼應了作品《熵靈》。
Nightmare, 2025.
Video installation, 8 mins (Loop)
惡夢, 2025
映像裝置，8分鐘 （循環）
Chapter Two: Black Box
“Black Box”
Through the use of a mechanised viewpoint, the chapter "Black Box" lets us enter a spaceship and experience the empty spaces of a post-human world.
【黑盒】
借喻的場景為太空船《11152182852000》的飛行紀錄儀，俗稱黑盒，內部可視化的景象。
是次章節在「黑盒」內的一段回憶映像。讓我們代入太空船，利用後人類視覺，機械化地觀察自然中的虛蕪。
Data Collecting (Tree), 2025.
Video installation, 24 mins (Loop)
樹木數據收集中, 2025
映像裝置，24分鐘 （循環）
Chapter Two: Black Box
The black box is a reinterpretation and extension of the work in the Data Collecting (Universe). The narrative starts in a fictional storytelling located in Oil Street, Hong Kong. Reconfiguting a site-specific installation, the gravel ground represents the free area for the landing and takeoff of the spaceship.
Within the black box, some leftover attachments and memories' artifacts become data and symbols.
Transparent crystals—fragments from a local antique sculpture "n," whose origin is unknown.
These translucent, imaginary bits, which endlessly represent a particular feeling, flow freely. The black box records that "n" was previously a time-traveling doorway for an alien ceremony, now left shimmering phantom on the gravel ground.
The spacecraft leaves sea jade, or ocean chalcedony, scattered across the gravel ground, to honor the distance, vanished shoreline memories.
There are three black boxes in the black box; each one carries codes left by the spacecraft. Each box contains data about a friend. For example, there are the often quarrelling neighbour tree, animals on a wind vane, and rabbits that appeared in the Data Collecting (Universe).
Every clear crystal ball represents the oil cone fish next to the farewell pavilion, where fear has long been forgotten, changed into transparent little balls within the black box, scattered in the gravel's cracks and crystallizes like water.
Lemons are emotional data collection tools planted by aliens in the garden. After many years, some lemons have turned a deep yellow, while others remain clear and transparent. This change may reflect the process of certain parts rusting.
Light and shadow continuously replay the scenes from memories, cycling through the black box like a revolving scenic lamp, documenting a certain time and space.
The ghost of a child from an abandoned school discovered this black box. They meet in a certain time and space, engaging in a silent dialogue through light, shadow, frequency, and consciousness.
Regarding the owner of the black box—the existing place where is the spacecraft "11502182852"—seem to be not important.
“Black Box”
Symbolic of the flight recorder of the spacecraft “11152182852," known as the black box, the installation visualizes the memory of it.
This installation connects further with the work "Reset."
第二章：黑盒
黑盒是《宇宙數據接收中》作品的重塑與延伸。故事始於香港 油街的一個虛構寓言。石子地是場地特定裝置的重塑，象徵著太空船著陸和起飛的空地。一些被遺留下的附號與回憶中的物件，幻化成黑盒內的一些數據與象徵。
透明晶體——無人知曉來源的神秘在地遺物雕塑《n》的碎片。這些碎片閃爍、透明，流動不息。在黑盒中記載著《n》曾經是外星人神秘儀式的一道穿越時空的門，現在卻化為遺留在石子地上閃閃發光的幻影。
海玉——海洋玉髓，散落在石子地上，是太空船為了紀念海岸線的距離、消逝與回憶而留下來的。
黑盒子——總共有三個黑色的盒子，上面刻有太空船留下的密碼。每個盒子都記載著一位朋友的數據。例如，宇宙數據接收中出現過的兔子、風向儀上的動物，以及經常吵架的鄰居樹。
每一顆透明的水晶球都象徵著 永別亭 旁邊的油錐魚。恐懼早已被遺忘，化作黑盒中透明的小球，散落在石子的狹縫之間，如水般結晶。
檸檬是外星人在園子裡種植的情感數據收集工具。經過多年後，有些檸檬變成了湛黃色，而有些則保持著清澈透明的狀態。這種變化或許反映了某些零件鏽蝕的過程。
光影不斷重播回憶中的景色，宛如走馬燈般在黑盒中循環播放著某個時空的紀錄。
找到這個黑盒的是在一所廢置學校裡的小孩的幽靈。他們在某個時空相遇，展開了一場以光影、頻率與意識進行的無聲對話。至於黑盒的主人——太空船《11152182852000》現在的軀殼身在何處，似乎已不再重要...
【黑盒】
借喻的場景為太空船《11152182852000》的飛行紀錄儀，俗稱黑盒，內部可視化的景象。
這件裝置同時呼應了作品《重啟》。
Black Box, 2025.
Mapping Projection Installation
黑盒, 2025
投影裝置（循環）
Chapter Three: Reset
This black box was discovered by the ghost of a child in an abandoned school. This school's basement serves as an archive with records of a community disappeared a century ago. The child tells the black box that several documents, including birth and death certificates of surrounding people and student attendance records, include handwritten remarks of these people etched in them. The spaceship finds this handwritten data strange. The spacecraft can not distinguish between the handwritten notes passed down through generations and the codes that are continuously forgotten even if it has been trained to experience complicated emotions throughout its time on Earth. Though printed on paper that can vanish at any time, lonely and delicate like the flight recorder of the black box, these papers seem professional, conventional, and clean. Sharing these "ephemeral tattoos" with the spaceship, the little ghost re-engrave these messages onto the building's framework using light and shadow.
“Ghost of the Child”
Inspired by an interview in1990 with a 90-year-old woman who was the student of the school. she disclosed early memories including names of teachers and fellow students, methods of instruction, and trauma in childhood. Even the architecture itself, if we suppose that the soul of this historical building has been watching the changes outside the school, can it heal those who once resided there when the old stories are once more told? The child ghost is a fictional character as well as maybe a forgotten "imaginary friend" from childhood. How do events from our early years impact our identities, values, and beliefs? Is this a dreamscape? Are some things we have been running away from all our life?
This work resonates with the work "Black Box.”
第三章：重啟
找到這個黑盒的是一所廢棄學校裡的小孩幽靈。這所學校的地下室是一個資料庫，藏有百年前一個消失社區的紀錄。小孩對黑盒說過，這些人們的手寫字跡曾經很重要，刻劃在各種文件中，包括學生的出席紀錄及附近居民的出生和死亡證明。這些以手寫為主的資料對太空船來說是陌生的。雖然在地球的這段時間，太空船已被訓練學會感受複雜情感，但仍無法理解世代相傳卻又不斷被遺忘的手寫字跡與程式碼的區別。這些字跡看似官方、傳統且工整，卻印在隨時可能消逝的紙張上，像黑盒的飛行紀錄儀一樣孤寂且脆弱。小孩幽靈利用光影重新將這些字跡刻劃在建築結構上，與太空船一起刻劃著這些「瞬間即逝的刺青」。
【小孩幽靈】
延伸於《重啟第 12 號校區》，在加拿大北紐克歷史校舍中的音聲影像裝置展覽。啟發於1990年，與一位90歲的老太太對談，她曾在該校舍上學，分享了早年的回憶，包括同學和老師的名字、教學方式，以及童年的創傷記憶。若假設這座歷史建築的靈魂一直在觀察校舍外的變化，當故人再次訴說時，是否能夠療癒曾經生活的人，甚至是建築本身？小孩的幽靈既是虛構角色，也可能是童年時被遺忘的「想像朋友」。童年經歷如何影響我們的信念、價值觀和身份？這是一場惡夢嗎？是否有些事物是我們一生都在逃避的？
這件裝置呼應了作品《黑盒》。
Reset, 2025.
Mapping Installation
重啟, 2025
投影裝置（循環）
Chapter One: Entropy Zero
If "Nightmare" is the entry, can "Entropy Zero" help us to break free from this cycle?
“Entropy Zero”
A physical theory, entropy evaluates the energy in a system that cannot be utilized for "functional" states for each unit of temperature. Like a metaphor for ruins, the degree of entropy also represents the degree of disorder or randomise of the molecules of the system since functionality results from organised molecular mobility. Zero is a state of stillness, a great situation balancing bodily and inner turmoil. Spiritually, it represents the visual imaginative settings of artistic creations.
This installation speaks to the piece "Nightmare."
第一章：熵靈
若《惡夢》是入口，《熵靈》能帶我們脫離這次輪迴嗎？
【熵靈】
熵是物理學理論，衡量系統每單位溫度下，直到熱能無法再用於「有功能」的狀態。由於功能源自有序的分子運動，熵的大小也反映了系統分子無序性或隨機性的程度，猶如廢墟的隱喻。
零—靜止狀態，平衡內部與物理混沌的極端條件。
靈—在精神上象徵藝術作品的視覺想像場景。
這件裝置呼應了作品《惡夢》。
Entropy Zero, 2025.
Video installation, 14 mins (Loop)
熵靈, 2025
映像裝置，14分鐘 （循環）
Full Documentation
of The Exhibition : Entropy Zero Black Box Reset (40 mins)
「熵靈」「黑盒」「重啟」(2025)展覽完整紀錄片 (40分鐘)
Exhibition Credit
Curated, organised and managed by Jessica Fu
Visual identity - Enoch Ke (survivor_of00)
Exhibition Documentation - Chan Pui Shan
Audiovisual Technician & Production - Sparkle Solution
Docent- 域
Special Thanks
(alphabetical order)
Carol Chau
Chan Pui Shan
Cheung Ming Yee
Dave Kemp
Enoch Ke (survivor_of00)
DiDiWu
Katherine Gao
Kathy Kan
LY Chan
Marinella Li
Phoenix
Tammy Lee
Zoie Yung
域
HKADC Showcase Venue Team
Venue of Production: 1a Space, Oil Street Art Space and Toronto History Museum
Thank you so much for anyone who helped, supported and visited the exhibition.
Making of Exhibition Entropy Zero Black Box Reset (2025) by Jessica Fu
「熵靈」「黑盒」「重啟」 製作紀錄
Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
香港藝術發展局資助 Supported by HKADC
香港藝術發展局支持藝術表達自由，本計劃內容並不反映本局意見。
© 2025 Jessica Fu
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