1972, Toffler.

The title of the exhibition is inspired by American futurologist Alvin Toffler’s book, Future Shock (1970), which was translated into Mandarin and published in 1972. In Su’s homonymous work, Future Shock of 2019, he utilizes the approach of re-shooting to re-interpret Toffler’s masterpiece, from which he applies keywords from new terms and notions proposed by Toffler to the narrative. Three years later, Su presents his latest work, Toffler, Oliver, and the Last Man on Earth, which continues the creative concept of re-shooting. However, different from the previous work that has a narrative based on chapters, the video work in 1972, Toffler is divided into several frames, combined with photographic works and sketches, which are shown in two gallery rooms. The images of the video show an endless road trip of the last survivor on Earth, accompanied by Oliver, a smart computer from the original book, invented as an aid to humanity. The labyrinthian style of visual expression prompts the audience to piece together the otherwise fragmented images by themselves, allowing them to choose their own viewing angle to approach and understand the work.