Category: Art Notes 藝文談暢
談藝術，談創作，回顧周圍看向前望。Art reviews and art criticism. Review on reviews. Critique on the practice of criticism. Back story to a performance. Free associations with a novel. Observations on the current milieu of art and social life. …
Ventriloquists 2021 / 01-Individual Perspectives 腹語系之一：個人故事個人觀點（上）
With the subject “Individual Perspectives,” Flynn Hadre discovers his fellow classmates’ works in Ventriloquists 2021 that tell an artist’s personal stories. 有些作品值得看，就因為它是作者的個人經歷和生活的過程。Flynn Hadre 從36個同伴的作品中挑出了三個可細聽細看的故事。
Ventriloquists 2021 / 00a-Thinking Narratively: all 36 works 36個聲影陳述，36個世界。
36 works are in dialogue at The Ventriloquists 2021 to explore narrative concepts in articulating our thoughts and sentiments. The full list of works are presented below. 三十六個作品，共同探索陳述的觀念，各自發聲，理念情感成為交流談話的起點。
Ventriloquists 2021 / 00-Narrative as processes, systems and organized randomness opening 17 August with 36 works 《腹語系。微敘思考。2021》繼續開發陳述的藝術
Why is narrativity a relevant artistic concept in a data-driven milieu? An exhibition with 35 works speak — as videos, photomontage, installation, pictograms, creative writing and game plans, by BA students at the School of Creative Media. The Ventriloquists 2021.《腹語系。微敘思考。2021》繼續開發陳述的藝術：層層推理。逐步走，慢慢說，用豐盈的小節。
Elliott Wan / HK’s Indie Music Scene (1): Hidden Agenda’s history and formation (2009-2011) 香港獨立音樂場景系列之一
How has HK’s independent music arena grown and sustained itself? What are the major factors at work? What specific shape has localism taken since 2009? How did COVID-19 alongside many social circumstances invoke modal changes in music production and distribution? Elliott Wan, in 10 episodes, accounts for many such questions through literature research, field studies and interviews with stakeholders. 香港獨立音樂場景系列一：溫啟朗讓「據點一杯茶」分享其對香港獨立音樂的景況的觀察和考查，回顧前瞻，翻出一個專屬香港的獨立音樂故事，作為創意媒體本科畢業的總結。
Linda Lai / La Casa 3: The Apartments: moving, day-dreaming 房子一二三之三：搬家、夢遊（1996-2021）
La Casa 3: The Apartments records a series of apartments, from Manhattan to different parts of Hong Kong, where the artist and her partner took abode. A 18-minute exercise of the mind’s power to remember, from the most material to the unspeakable… 如何說自己的居所？只想為生活的內部節奏留些可歌可譜的痕跡，核心是白日的失神、晚間的夢魘、錯置、不明所以，走一步就是一步。作品，就在表達與木訥之間進行了一次18分鐘裹藏著的念力。
Linda Lai for FP / Fresh videos, in-depth transformation: 3 thoughtfully crafted journeys of the selves 三種深度轉化：三段不一的旅程
19 June 2021 六月十九日. Three video essays on living through time with one’s bodily presence. Tracey Ngai acts out her retrospection. Faith Monsod turns image objects into a passage to the infinite liminal. Pun Tsz-wai’s past resides in media artefacts and urban legends. Three fresh videos completed in May 2021, premiered at Floating Projects. 三個今年五月新鮮出爐的錄像文章。據點首次亮相。記憶是甚麼？我是誰？我的根是甚麼？用身體的實存與行動。魏芷軍演述；潘子懷在都市神話中設置自己；Faith Monsod 的主體盡在可翻開可啄蘑的聲影碎片中。
NGAI Tsz-kwan / A Trip to “There” — an indefinite journey that fuels itself 在記述的軌道上作內部連結：《我在追憶，我在追，我在》
It is perhaps a maker’s natural obsession to narrate oneself, deliberately or not, but through one’s life-time. A Trip to There, Tracey’s graduation thesis, is in a way a monumental push to enter this journey in flux. Embracing all she can, there also always seems to be void to fill. Traces of her having been there are as concrete with a forensic rigor. 每個創作者都曾經 — 以至窮盡一生 — 有意識或不自覺的記述自我。年青藝術創作人魏芷軍很用力的穿過這甬道，滿滿的收穫，卻又惘然若失。實在的卻是用時間和身體鑄出來的創作道途。愛看（錄像）作品的朋友們：這裡，你會讀到一個認真地記下來的寶貴創作歷程。潛進後，我們會對藝術的耕耘多一份敬意嗎？
Faith Monsod / Liminality & the full-stop that never came 虛界裡的游離身份，等待不會來的句號。
Is there an intangible essence that might embody who we are? What positions do memories hold in forming one’s identity? Do our physical bodies suffice in representing us? How much of our sense of self relies on the reflexive process that governs our interpersonal relationships? HK-born Faith Monsod commits her graduation thesis to the quest.「我是誰」可以被理解為無形的實質嗎？例如，記憶能賦予我個人身份嗎？我的身體足以表徵我時誰？我的「自我意識」有多少是由我與別人的變動中的關係所衍生的？出生於香港的 Faith Monsod 用一個21分鐘的畢業作品去回應。
PUN Tsz-wai / If an elephant never forgets, would it also yearn for the past that is gone? 大象可曾忘記？
“Born in the later part of 97, I never got to experience Lai Yuen. For me, it is a place constructed by words and stories. … I would hear bits and pieces about the park and, somehow, it became part of my own childhood, part of my own memory.” (Pun Tsz-wai)「我出生於1997年的下半年，從未經驗過荔園是怎樣的。它是個由別人的字詞和故事合成的地方。一點一滴的聽著，荔園好像就是我自己的童年，是我個人的記憶。」– 潘子懷
Linda Lai / Art has its own truth content and truth procedures: In Defense of Video Manifestos (5) 藝術自有其滋養創造知識的過程，請繼續錄像宣言（5）
In the 5th and final part of Linda Lai’s Prolog for Our Manifestos II reproduced in Floating Teatime, she asserts art’s power to generate knowledge, citing several theorists in Critical Theory, reiterating the place of experience. 《我們的錄像宣言2》的「引言」來到轉載「據點一杯茶」的最後一節：黎肖嫻引述不同「批評理論」的觀點，總結錄像書寫不單帶有生產知識的能量，更打開對「經驗」的重塑。
