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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. …

The Ventriloquists 14. Rybczynski: stretched vocabulary of narrativity, augmented attention to the material world  更多的圖形敘事解構,伸展了的敘事語彙,張開物理世界的奧秘。

The Ventriloquists 14. Rybczynski: stretched vocabulary of narrativity, augmented attention to the material world 更多的圖形敘事解構,伸展了的敘事語彙,張開物理世界的奧秘。

More pictograms representing two experimental films by Zbigniew Rybczynski, New Book (1975) and Tango (1981), by 3 artists at the show Ventriloquists…Thinking Narratively (4-19 July 2020). A stretched vocabulary of narrativity. Multi-linearity, simultaneity, superimposition, convergence of trajectories, generative loops. 更多的圖形敘事解構,伸展了的敘事語彙。多向多線發展。共時性。重疊。弧度的結點、匯合。衍生式的循環。張開現實的奧秘。

The Ventriloquists 13. More generative literature trans-mediated: five episodes from Queneau’s “Exercises in Style” 衍生性文學圖像轉化:「烏利波」實驗文學搞手雷蒙卡奴的《風格的練習》
The Ventriloquists 12. Intermedia dialogues with experimental literature: invisible cities 看不見的城市,看得見的後設城市藍圖

The Ventriloquists 12. Intermedia dialogues with experimental literature: invisible cities 看不見的城市,看得見的後設城市藍圖

A pictogram is a form of knowledge; a pictogram that reconstructs another existing work is the stretching of the epistemological potential of a work. In the pictogram exercises presented at “The Ventriloquists … Thinking Narratively,” the reading and re-reading of Calvino’s The Invisible Cities combines the methods of music scoring, cartography, story-boarding and chronology-making, each with its own conceptual emphasis in presenting pictures of realities. Here, one pictogram offers glimpse of these concepts. 解構式的圖形是知識的具體表現;重塑已存在的作品的圖形是對現有作品的知識能量的擴展,同時也是對班雅明的「作者作為生產者」的想法的一種回應,關注個別的作如何站立於一個時代的技術生產當中。這裡以一個創作為例。

The Ventriloquists 11. Intermedia dialogues with experimental literature: World Like Mist by YU Hua 跨媒轉化,還覺世事如煙

The Ventriloquists 11. Intermedia dialogues with experimental literature: World Like Mist by YU Hua 跨媒轉化,還覺世事如煙

Two artists read YU Hua’s novella World List Mists (1988) and translate it analytically and structurally into a pictogram form to augment textures of sentiments and narrative integrity, maximizing a fatal body of cybernetics through methods of scoring, cartography, chronology and storyboarding. 兩個圖像作品,兩個創作者對余華的《世事如煙》的轉化閱讀,呈現敘事性如何把哀愁、絕望化為結構,點對點的連線,網絡的展現,把個人的「命運」背後的人為操控層層展露。

The Ventriloquists 10. Meshes of the Afternoon: 3 pictograms of warped time & space 夢的秩序:午間的網陣,翹曲的時空
The Ventriloquists 09. Fishing with Popo. Visualizing personal remembrances 記憶魔法小時候

The Ventriloquists 09. Fishing with Popo. Visualizing personal remembrances 記憶魔法小時候

Connecting childhood: yours, mine and theirs. Fishing with Popo (2011) by Lilian Fu is among the artist-animator’s first experiments with documentary animation. Several young artists have responded… Two pictograms on this work, by William Phuong and Louise Chan, exhibited at The Ventriloquists…Thinking Narratively, 4-17 July 2020, are transmedia extension of Fu’s animated memories of her grandma.

The Ventriloquists 08. Animated, Moving, Half-awake. 9 montage pieces quietly thinking 動動象,喃喃自語,半夢半醒。
The Ventriloquists 07. An Open Book that Moves, 8 thoughts streaming on a flat surface. 動動書。8種停留在桌面上的不安
The Ventriloquists 06. From Dreamwork to Dream Narrative, 6 videos 夢境。夢作業。夢作為敘事法。夢作為藝術語言。

The Ventriloquists 06. From Dreamwork to Dream Narrative, 6 videos 夢境。夢作業。夢作為敘事法。夢作為藝術語言。

Five Ventriloquists artists show their dreamwork created with their own audio-visual language. It all lies in the crevices, fractures and gaps between shots, between locations, between actions… 夢作業是人存在的無形證據,實在處在夢象與夢象之間,在夾縫中,在虛處,在結合之間的斷裂處,是眾數的斷層。《腹語系》創作者也參與構築夢的敘事語法。

The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像

The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像

The Hand comes in from everywhere. It interrupts, commands, dominates…; it is omnipresent, irresistible, almighty, dressed and decorated nonetheless mercilessly brutal.. Such is the condition of an artist who wakes up one morning to find his normal routine totally ruled invalid. 木偶藝術小子一覺醒來,伸伸懶腰又期待著新一天的開始。怎知道一夜間世界變透了。一隻無名的手,由溫柔禮待到強權粗暴,無處不在,無孔不入。

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