E 9 one that broadens human vision, as if it were a moving organ of sight. At times, the slow drone footage recalls an extended Japanese brushstroke, imbued with a meditative, Zenlike quality. The exhibition Weaving Sky and Earth moves between the personal and the collective, and connects the upper world with the under world, the visible with the invisible, and past experiences with present and future aspirations. De-Kalo exposes hidden mechanisms, observing the tension between architecture and human existence, and invites the viewer to a continuous excursion through the campus as both a physical space and a human, affective, and social arena. Part One Underground City A: Four-Channel Video, Underground City B: Three-Channel Video The project's core lies in the university's subterranean spaces: vast warehouses and a printshop that house a massive logistical operation distributing textbooks and exams to about 50,000 students across the country. This efficient and vital mechanism is presented as an archaeological excavation of sorts that unearths spaces hidden from sight. But here, the archaeological layers are not fossilized; they pulsate in rhythmic movement. The protagonists of this project are the stacks of pages, the forklift, the yellow carts, the cardboard boxes, the suspended neon light fixtures and the people themselves — who appear integral to this single industrial system. De-Kalo constructs a trajectory with a defined beginning and end: in the opening scene, we descend underground, as we follow a white car entering the loading dock through a “tunnel of light.” This tunnel reappears at the end of the video, as the car is drawn back out, dissolving into the brightness outside. The viewers are asked to regard the building not only as a functioning machine, but as a metaphor for power relationships and architectural planning. The drone’s camera scans the spaces, connecting voids, machines, forklifts, and storage areas, rendering an internal topography of labor and matter. The video works are exhibited in two visual movements: Underground City A: Four adjacent horizontal screens present visual scans of the spaces in slow continuous motion. The images, duplicated across the four screens, produce a kaleidoscopic effect and a sense of flow. The gaze is not intrusive; it observes the people, their actions, and the world surrounding them. The screens alternately dim, and in the resonating darkness, viewers must focus on the others until the images resurface.
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