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预告的预告｜关于“楚人美与慧珠”

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楚人美与慧珠：原型海报

2023，尺寸可变 *海报设计：Sojeong Kim

致谢： “楚人美”与“慧珠”分别引自恐怖片《山村老尸》和《女高怪谈3：狐狸阶梯》中的角色名，前者代表原型的（女性）鬼魂，后者代表原型的（女性）被附身者。

谈及恐怖类型的核心，尤金·萨克（Eugene Thacker）将其定义为两个极端之间的空间：“我不敢相信我所看到的”和“我看不到我所相信的”。以这样的可见性光谱来衡量，双人项目“楚人美与慧珠”对所谓“东亚恐怖效应”的定义无疑落在光谱的某处，却以一种复杂化的样貌出现，即“让人化为幽魂，使鬼长出血肉”。她们探究基于“缺席的存在”的恐怖，并试图诊断，当东亚灵异叙事被转译为“现代”恐怖片类型的符号和范式时，会呈现出何种错位的契合。

2023年6月17日，在阿姆斯特丹，一部据称已停拍的“楚人美与慧珠”电影在“缺席的相机”前进行了拍摄

2023，表演，影像装置，声音，时长20分钟

*该作品作为If I Can't Dance, I Don't Want To Be Part Of Your Revolution （阿姆斯特丹）项目“公开排练#2”的一部分展出。

“楚人美与慧珠”致力于研究和穷尽东亚恐怖电影制作的惯例，这种惯例通常（社会性地）将闹鬼归因于女鬼。尽管身处荷兰，远离那些被女鬼缠身已成为潜意识设定的地理场景，她们在观看东亚恐怖片时仍然感到后背发凉。是因为电影中的故事真的“吓死人”吗？或许不是。——或许，这些电影只是副产品，而使她们恐惧的关键隐藏在幕后或屏幕前，即在制作和流通过程中。

胆大鬼俱乐部??

2023，虚构网络平台 *由IICD提供技术支持

如此，“楚人美与慧珠”设想了一家恐怖片制作公司，其本身或许也笼罩在鬼魅阴影之下；以自我指涉的方式，她们力图实现这样一个恐怖片制作公司的构想。鉴于预算有限，“楚人美与慧珠”以“双人”作为复数的最小形式，充当制片人、导演、演员、剧组成员、剪辑师到发行人，影迷甚至盗版贩子等各种角色。她们宣称电影只是副产品，逐一剖析恐怖电影制作的整个装置——从幕后到屏幕前；与屏幕上的情节相比，她们相信这一过程本身对恐怖效应的形成具有同等，甚至更大的关联性。

截至2024年，“楚人美与慧珠”通过一系列与低成本恐怖片工作室相关的物证来表达自己，其中包括（未）完成的电影、预告片、片场实拍、意外流出的花絮片段、道具、演示版DVD、剧本和场景设计等。

预告片：手指抬高

2024，单频影像，声音，1分钟

* “楚人美与慧珠”（成立于2022年，鹿特丹）是一间低成本恐怖片工作室，位于两位艺术家张渼瑛（韩国）和寇塔（中国）各自艺术轨迹的交汇点。两人于2022年获得荷兰艺术学院（Dutch Art Institute）的硕士学位。

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<Acknowledgement: The names “Chu Renmei” and “Hyejoo” are borrowed from the horror films山村老屍 (The Wicked Ghost) and ???? 3: ???? (Whispering Corridors 3: Wishing Stairs) respectively, each designating the archetypical (female) ghost and the archetypical (female) possessed.>

On what is at the core of the horror genre, Eugene Thacker defines it within the space between two poles: “I can’t believe what I’m seeing” and “I can’t see what I believe.” Measured by Thacker’s spectrum of opacity, the duo project Chu Renmei & Hyejoo situates the “East Asian horror affect” not as an exception but as its complication, i.e., “rendering the person ghostly and making the ghost fleshy.” Investigating the East Asian horror affect premised on “absent presence,” the duo attempts to diagnose the concealed unfitting fits that occur when East Asian ghost narratives are translated into the “modern” cinematic codes of horror.

Chu Renmei & Hyejoo is dedicated to studying and exhausting the conventions of East Asian horror filmmaking, which socially attributes hauntings to female ghosts. Based in the Netherlands, displaced from the geographical sites where being haunted by female ghosts is taken as the subconscious stipulation, the duo finds themselves nevertheless scared of the East Asian horror genre. Is it because the stories in the movies are genuinely “scary as fuck?” Probably not. Perhaps, the films are just byproducts, and the key to answering their question lies behind the scenes or in front of the screen, i.e., within the process of production and circulation.

Henceforth, Chu Renmei & Hyejoo speculates on a horror film production house that might itself cast shades of mysteries, a self-referential approach aimed at realizing such a horror film production house. Since they are low-budgeted, Chu Renmei & Hyejoo takes the form “two” as the minimum for the plural, taking on roles from producers, directors, actors, film crews and editors, to distributors, fans and even pirates. Declaring that the film is a byproduct, Chu Renmei & Hyejoo dissects the apparatus of horror filmmaking—from behind the scenes to in front of the screen—as equally, if not more, relevant to how one is dreaded.

As of 2024, Chu Renmei & Hyejoo expresses itself through a selection of material evidence of the production house, ranging from (un)finished films, trailers, shootings, leaked footage, props, demo DVDs, scripts, and set design simulations.

*Chu Renmei and Hyejoo (b.2022, Rotterdam) is a low-budget horror film production house established at a point of convergence between the respective artistic trajectories of two artists, Miyoung Chang (KR) and Dakota Guo (CN). The two artists obtained their MA degrees from the Dutch Art Institute in 2022.