圣魔元史第三章,暗藏的佛厉真相,同时牵连沉寂在哭战天阁的止战之印,将为动乱的武林,交织出一场奇诡变局.

중년의 대학교수가 초등학생 아들을 데리고 이혼한 아내의 집을 찾는다. 교수의 전처는 이혼 후 커밍아웃을 하고 레즈비언 파트너와 동거 중이다. 보호자 역할을 교대하는 과정에서 교수는 전처의 파트너와 단 둘이 남게 된다.

圣魔烽火亘古蔓延，以太荒神决为始，圣护、魔禘共启鏖战，龠胜明峦、修罗鬼阙为立场与信念抛洒颅血，在海蟾尊运筹帷幄、叶小钗率古武族驰援、鬼如来内应配合之下，他化阐提开启魔皇陵失败，在丧失逆转胜败契机的同时，骇世之秘揭露，隐于征战背后的黑手，早已悄然浮上台面，厉族原生八种相继现世，即将带来一连串更为混乱的局面。

一部以阴森恐怖为主题、包含短片的恐怖故事集。由全球各地的邪典地下电影导演共同打造。这是有史以来最极端的地下恐怖故事集之一。

《图像研究》是一部桌面录屏作品，一幅罗兰·巴特抽烟的照片窗口缩小后，旋即弹出的窗口中是一段由电脑的前置摄像头所拍摄下的卷烟教学视频。与“如何去卷一根完美的香烟”同时出现在电脑桌面上的，是“如何去制作一副完美的图像，在这个窗口中，艺术家挪用了不同影像中的“教学片段”：从 Youtube上的 Photoshop教学，到哈伦・法罗基所拍摄下的《花花公子》杂志封面的制作过程，再到电影《放大》中商业影棚的拍摄场景……与这些不同的“如何去……”所对应的，是艺术家本人在作品中所做出的声明：“我，除非在万不得已的情况下，才会使用摄影机”，他的意思大概是在景观社会永远在场的现今，我们已无需生产出更多新的图像去制作一部影片。（OCAT 上海馆）

《图像研究》是一部桌面录屏作品，一幅罗兰·巴特抽烟的照片窗口缩小后，旋即弹出的窗口中是一段由电脑的前置摄像头所拍摄下的卷烟教学视频。与“如何去卷一根完美的香烟”同时出现在电脑桌面上的，是“如何去制作一副完美的图像，在这个窗口中，艺术家挪用了不同影像中的“教学片段”：从 Youtube上的 Photoshop教学，到哈伦・法罗基所拍摄下的《花花公子》杂志封面的制作过程，再到电影《放大》中商业影棚的拍摄场景……与这些不同的“如何去……”所对应的，是艺术家本人在作品中所做出的声明：“我，除非在万不得已的情况下，才会使用摄影机”，他的意思大概是在景观社会永远在场的现今，我们已无需生产出更多新的图像去制作一部影片。（OCAT 上海馆）

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney