Li Yi-Fan’s site-specific installation Screen Melancholy brings together fragments of customised sculptural limbs with an uncanny yet humorous monologue film, featuring a naked human body as a puppet-character. Responding to the history and architecture of Venice’s Palazzo delle Prigioni, a former prison, the installation places audiences within a theatrical stage set. In a world of constant productivity, information overload and the necropolitics of war, Screen Melancholy confronts viewers with a sense of uncertainty and non-direction. Through fragmented bodies, accelerated speech and a strange mixture of humour and vulnerability, the work asks how we navigate a world increasingly mediated by screens, platforms and image-making technologies. Jessica Wan: Screen Melancholy is a title that feels emotionally loaded and also points to the question of whose melancholy it is. What does melancholia mean to you and why did it become the emotional framework for this project? Li Yi-Fan: The title actually came from discussion with Raphael Fonseca, the curator. Before I made this work, we were looking at the work I had made previously and he found this …