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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. …

Chin-yin Chong / 因歌而鳴 The bird sings, for it has a song

Chin-yin Chong / 因歌而鳴 The bird sings, for it has a song

聲音無處不在,聲音藝術始終難以被定義。鳥因歌而鳴,源自內在的想望,聲音多變因理念與堅持,才能被發掘與被聽見。黎仲民、張靜瑜呈現他們對聲音不同的觀察與研究方向,傳輸交流。Sound is ubiquitous. To produce meaning through/with sound is another issue. Many artists have forged many paths to explore sounds. Like tracing their steps on forking paths, Andio Lai and Annisa Cheung tenaciously follow their desires disregard what answers they may get. The two artists have been selected for Contemporary Musiking Hong Kong’s Sonic Transmission Artist Exchange Program 2019/20.

Martha Hatch / Urban Hijack: The Reproduction of Urban Space from the Lens of the Hong Kong Art Scene 騎劫城市:從香港藝術界的角度來看被重塑的城市空間

Martha Hatch / Urban Hijack: The Reproduction of Urban Space from the Lens of the Hong Kong Art Scene 騎劫城市:從香港藝術界的角度來看被重塑的城市空間

Martha Hatch detected a shift within the art scene in some shows she visited late last year. A new form of resistance? A new way to stay alive? An attempt to preserve a Hong Kong spirit? Hatch in in her final semester researching on art and urban space for her BA graduation thesis.

Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓:大排檔、公屋,香港電影的民間典型

Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓:大排檔、公屋,香港電影的民間典型

In the second of a series of field notes as short essays, Linda Lai continues to craft possible histories of Hong Kong’s everyday interiority through the lens of “intelligentsia” responses within the filmmaking community in the immediate post-WW2 years. 一連三篇由「細路祥」出發的第二篇:黎肖嫻繼續探討「細路祥」化身銀幕上,成為了甚麼樣的文化資本。小孩所牽連的是一張複雜的管治的權力網。

Linda Lai / A-Chang the HK kid: Interpolating Education, Interpellating the Child 北方有三毛,南方有細路:1950 港產《細路祥》策問教育,召喚小孩

Linda Lai / A-Chang the HK kid: Interpolating Education, Interpellating the Child 北方有三毛,南方有細路:1950 港產《細路祥》策問教育,召喚小孩

In a series of 3 articles, Linda Lai shares her field notes in film studies from a Cultural Studies perspective. The first discusses the kid A-Chang (1950), a HK counter-part of Shanghai’s Three Hairs 1940s. 有關香港「細路祥」三篇連載的第一篇,黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。

WONG Fuk-kuen / 我與彈珠人:小孩的他和三十歲的他接軌了。 B-Daman and I: once a kid, now I’m 30

WONG Fuk-kuen / 我與彈珠人:小孩的他和三十歲的他接軌了。 B-Daman and I: once a kid, now I’m 30

「我跟彈珠人有一種緣份,跨越了二十多年時間,這種特殊的喜愛也是一樣的。無論在小學,還是到現在,相比其他漫畫,這個故事情節也比較真實…。」(2017,黃福權)成年人眼中的沈溺,在一個小孩來說,或許是有他們的原因的,也可以是一生的能源的暗出口。今天的他再回顧小六時候的記憶。Wong Fuk-kuen sees a clear linkage between the young kid and the adult of himself through the marble shooting toy B-Daman. Here, he speaks of the 20-something-year attachment.

Linda Lai / Ocular Oracular: Tentacular thinking & the horses that stroll on the digital flatland 觸角思維:在數碼平地上隨走的馬

Linda Lai / Ocular Oracular: Tentacular thinking & the horses that stroll on the digital flatland 觸角思維:在數碼平地上隨走的馬

The result of the first batch of video essay submissions: Diversity & variety Different speaking positions Empirical sources and geographic/regional variance From the smallest to the grandest   // ocular: about vision (seeing) // oracular: prophetic, speaking of the future; delivering opinions in cryptic phrases   // 甲骨文是漢字的書體名稱,是若三千四百多年前商朝的人刻在龜甲和獸骨上的文字。已收集的甲骨文單字有四千多個,其中一千多字可以釋讀。但是有許多字的筆畫和偏旁尚未完全定型。這就為這期錄像文章取名為《聲影甲骨文》的取向,強調「甲骨文」的引伸義 (由字的「本義」或「基本義」向相近相似的意義推演延伸至產生的新意義)– 於我們來說,就是繼續從未完全定型的聲、影物理素材和可擴展的論述定義向外、向周邊創造新作業。   What is artistic creativity? What kind […]

Sam Chan / 從《三毛流浪記》#10 讀到變天的時刻 The denouement of Three Hairs’ Wanderings: anticipating a new habitat

Sam Chan / 從《三毛流浪記》#10 讀到變天的時刻 The denouement of Three Hairs’ Wanderings: anticipating a new habitat

2020年5月,陳顯宗從黎肖嫻手裡拿走了共10冊,於1974-76改編並重發的 1947-49年上海《大公報》連載的《三毛流浪記》的最後一集。時值文革尾聲。為何此時重新整理流浪記?有何逼切性?是「創傷性黑暗時代後價值觀」的重新建立?重新尋找容身之地的時代? Reading the final of the 10 volumes 1976 adaptation of the wanderings of Three Hairs of 1930s-40s, Sam Chan asks if the denouement of the series is also a form of closure to the Cultural Revolution, in search of the ethos and pathos for China’s own post-trauma reconstruction.

Kel Lok / 《三毛流浪記》#七 讀後感 X, Y and Z reading the wanderings of Three Hairs #7

Kel Lok / 《三毛流浪記》#七 讀後感 X, Y and Z reading the wanderings of Three Hairs #7

2020年7月,據點成員駱敏聰從黎肖嫻的手裏取來《三毛流浪記》全集的第七集,寫個自由發揮的「閱讀報告」。三毛的遭遇,在三個「問三毛」的「隨機訪談」中漠然化開了,難成合體的論述;讀故事的人卻在前台亮點。這是個有關當下香港人的非典型讀漫畫的案例。FP member Kel Lok took #7 of the story of Three Hair’s wandering to attempt a book review, which turns out to be an ensemble of personae reading the copy on a poor kid’s encounters in the war-torn years of 1930s-1940s through the lens of a contemporary person. The sensationalist… The skeptic… The indifferent one… The one making detours…

Linda Lai / 我從摩羅上街地攤找到10 冊的《三毛流浪記》連環畫 I picked up The Wanderings of Three Hairs the Waif on Upper Lascar Row

Linda Lai / 我從摩羅上街地攤找到10 冊的《三毛流浪記》連環畫 I picked up The Wanderings of Three Hairs the Waif on Upper Lascar Row

The first of a series of articles on children, comic characters, movies and so on, to explore how the “child” is often the subject and object of interpellation to augment instrumental reasons in population management. Linda Lai started with her research notes on Sanmao (Three Hairs), a kid, a comics character created for adults, who has been “resurrected” constantly since his “birth” in 1930s in Shanghai. 以孩子論說苦難,召喚善心的行動,是人口或國民管理常用的工具理性,也是進步思想的倡議的濃縮再現。其實孩子們都是怎樣長大的?我們都曾是孩子。我們是怎樣活過來的?

Vanessa Tsai / 台北《巢》 獨立影音計畫 觀後 有感 A visit to Endospace Sound Visual Art’s “Nest”

Vanessa Tsai / 台北《巢》 獨立影音計畫 觀後 有感 A visit to Endospace Sound Visual Art’s “Nest”

《巢》是「安全感」的符號,內部的情感流向自成一體,同時是個「開發可重複利用的媒體裝置」;對訪者來說,強調無敘事的觀賞。據點海外作者蔡季妙於2020年12月底到訪了。巢內部住進皮膚裡的感官思維是怎樣的呢?Nest is the exquisite architectural work of the Ploceidae in nature; “Nest,” now on in Taipei, is an enclosed installation space of internal circulations deploying recyclable media. FP writer Vanessa Tsai just paid a visit.

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