The title of the duo exhibition, Date Line, marrying two diverting notions, the conceptual necessity in the Circumnavigator’s Paradox, and the namesake [excluding the space break] investigative journalism program in the tradition of 60 minutes, and 20/20 [deriving from the visual acuity], places disambiguation at its core. From Dr. Anshel’s Visual Ergonomics in the Workplace [1998] to the US’s Uniformed Services Former Spouse Protection Act [1982], amongst others, reiterate rules of 20/20/20 ratio, coercing a pareidolia of correlation, computation, and accuracy. In its material absence, the idea of Passepartout, the standardized device marginalizing visual representation, trails the execution of works presented in the exhibition. A fictional character, French valet Jean Passepartout appears in Jules Verne's Around the World in Eighty Days [1873], a novel with a culminated plot twist caused by the cartographic Line of Demarcation, a zigzag curving around national borders and landmasses to divide two calendar dates, dodging to be defined by international law till now, blurred and reinterpreted in efforts to facilitate advantageous trade. A portal proposed to prop two-way Dateline, the Pacific line denoting where gain or loss take place to complete a hypothetical of one’s own time

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