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The footage shows a secret force in the Second World War. This particular troop is called Ghost. What they contributed is not firing or bombing, but deceiving others with sounds or inflatable sculptures. On D-Day, they went straight to the front and built dummy objects and trompe l’oeil devices. The soldiers of the troops were most of the art schools students from New York and Philadelphia. Many of them have become known after the war.















The various conceptual sculptures on site constitute part of the thought-experimental project, which is aimed to establish the aesthetic of ghostification via re-ghostifying the haunted weapons. By treating the ghostification as a particular technique for particular context of production, we fall into certain historical and aesthetical moment when the artist-to-bes identified themselves as a ghostly existence. Instead of creating, their practice of bewitching made these objects able to deter enemies. It can be easily imagine that these spectators perceived the ghostly exhibition via telescopes and be cheated. While it is ethically good to follow this tele-image logic for the production of The Inflatables, he faxed his sketch to Far East for production and received the products from DHL. The ghostly imitation is re-enacted and re-inflated. Thus the very different pictures of artist career is indicated, by subjected his professional identities to the ghost artists.
Text by /  Zian Chen   2013. July













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