joanna lyu
about

projects
geotagger (ongoing)
game (web)

Fan Ju/饭局 (2025)game (larp)

Sn, Cu, Fe... (2025)
video

Non-existent Intelligence(s) (2025)
installation

Warp and Weft (2023-2025)
game (street)

blinders (2024)
video

club with no entry (2024)
game (larp)

Dancefloor Assassination (2024)
game (larp)

Garden of Forks (2024)
installation

a fraction of time.zip (2023)
installation

Elderly’s Heave-ho! (2023) game (alt-ctrl)

Path of Spells/字字惊心 (2018) game (digital)

Life on a String (2017)
game (digital)

small games made between (2017 - 2018)
game (digital)
visuals/performances
"𝑓𝑖𝑛𝑎𝑛𝑐𝑒 𝑐𝑜𝑟𝑒" (ongoing)
"潮汐明体" A/V performance (2025)
“Odd Species” A/V performance (2024)
img2img home (2023)
“A/B” A/V interactive performance (2023)
a bunch of visuals (2019 - 2023)
client works
“NIKE LEBRON’17 INTERACTIVE BASKETBALL TRIAL” (2019)
 
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©2025 joanna lyu

“Sn, Cu, Fe...”


2025
— 2’20”, Digital Video, 15456 x 2184 pixels
— Supported by UFO Terminal
— Sound: Dominic Li
— Photo: UFO TerminalEvents
— 2025 Loading… Project, UFO Terminal, Tank Shanghai, China (group show)
A video piece made in a 15.6m x 6.5m circular space, where a narrative is divided into two physical paths and audience are prompted to physically move through the space and take actions using their bodies for what they choose to see. Drawing on Yanis Varoufakis’ concept of technofeudalism, the work traces the narrative of human technological advancement through elemental markers, unfolding along divergent paths shaped by the viewer’s decisions.

"Technology once held the promise of freedom, but over time it has been reshaped into a new form of control under capitalism. The chemical element discoveries once celebrated as sources of civilization advancements have become the roots of poverty. Labor hasn’t disappeared but been pushed aside, relocated, and hidden. Meanwhile, technology has been steadily abstracted and outsourced, wrapped in layers of "progress" until it exists in distant, inaccessible systems that most people can no longer reach or understand." — curator: sensend