Nguyễn Đức Huy, 2022, 4’
Cardio is a concise expression of the transformation hinted at in beat 1 and 2: the intrusion of dream into reality via the creation of liminal spaces. It embraces the shifting and expansive meanderings of thought—especially early morning thoughts, caught between dreaming and wakefulness.
Like a body of water, Cardio offers a clearing for contemplations beyond language. No longer confined by the logic of physical reality, animations are free to emulate dreams. Cardio is centered on the act of skipping rope, an exercise that raises the heartbeat, moves air, creating wind and water—in the form of sweat. Sweat, in turn, is reimagined as leaks, raindrops, indoor condensation, and so on. The “body” is reconstituted in relation to water and air and metamorphoses into billowing sheets, mountains, or a pile of laundry, among other evocative yet mundane objects that are now imbued with sentience, made “flesh”. This seemingly minimal film reiterates primordial creation, the original “animation” of the physical world; that the word “cardio” refers to the heart is a provocative sign.