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. …
「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.
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 […]
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.
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…
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?
《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.
From her pool of automatic drawings turned into wooden fragments of her dreamwork, young artist Cherie Wong was watching the stars inside her own universe. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩,在她創造的世界裡觀星。
眼前的一切像多年的堆積,與之共存的是看不見的已被拆毀的家族過去的小節的餘韻。說到家族,也不是家國大族的堂煌,而是一張具體的網,連接、輸送、維繫,有個物理的據點。據點藝術家劉清華的「田野」訪談,拖出了「生存」的問題。如何活?我們如何從過去走到當下?過去的可以延伸下去,因為我們記得,而且還(用方法)記住。A community art project opens the door to a street of rich family stories in To Kwa Wan (Kowloon) for FP artist Jess Lau, thus also an old family story she has not dared to touch until now. Unlike tycoon stories of a growing empire, ordinary family stories are full of “holes” irreparable yet holding together those who refuse to forget.
Minority or majority is not about numbers. Majority practices could often be the conventions set by the minority few whereas what is broadly held may not be represented as “majority” positions. Being in the minority is not being weak. A “minor literature,” to Deleuze, is a strategic position whereby “de-territorialization” begins. 多數或少數與數量無關;多數人奉行的操作可以是少數人所決定的,而大部分人視以為閒常的,未必為主導主流所涵蓋以至突顯。特勒茲論述中的「少數文學」是個可用的據點,是語言表述活動的「反山頭主義式佔領」的開始。
The video essay is an expanding category, from the “film essay” named in the 1960s, generally considered non-fiction, to possible renewal of late 19th-C traveling lecture events which embraces pedagogic as much as fun purposes. Video essay is a form of “direct action” for the here and now, a critical response to the crisis of moving image as mnemontechnics (memory machines) that undermines our agency. 據點的《平地數碼》(2020年11月只2021年6月)志在翻開「散文電影」的系譜溯源,通過延伸的想像,擴大今時今日「錄像文章」的可用性以至成為如何活在當下的據點,對知識的守護和創造採取直接行動。請留意11月5日錄像文章比賽的正式發佈。