fp-icon

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 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。

The Ventriloquists 04. Thought paths inside the Theatre Box, 12 montage sequences  十二串個性不同的思緒共享一個微型的小黑盒劇場,各有嗓音,合起來是洪流。

The Ventriloquists 04. Thought paths inside the Theatre Box, 12 montage sequences 十二串個性不同的思緒共享一個微型的小黑盒劇場,各有嗓音,合起來是洪流。

Twelve personal thought paths share the same space within a theatre box, each a unique stream of murmurs, together a torrent of existential quests. 十二串個性不同的思緒共享一個微型的小黑盒劇場,各有嗓音,合起來是洪流。態度的堅持,存在的疑問,主體的尋溯,無名渴求,生老病死。

The Ventriloquists 03. On Švankmajer’s Jabberwocky (1971) by Harmanjeet Singh 「物件」變「東西」。現在進行式傳真。定格動畫。
The Ventriloquists 02. We open. We speak. Do you hear? first 5 works 門半開啟。有話想說。五個作品門外恭候。
The Ventriloquists 01. Description as Storytelling…ask the objects, by Jake Wong 死物不死:描述也是敘述(黃汛一)

The Ventriloquists 01. Description as Storytelling…ask the objects, by Jake Wong 死物不死:描述也是敘述(黃汛一)

“The Ventriloquists…Thinking Narratively” (4-17 July 2020), begins with the on-line version of Jake Wong’s response to generative literature. | Generative Art –> Creative writing –> A story “generated” by surroundings –> “the window, the door, the cobble and the knife” | To Jake, what he offers is a framework — an initial state of a writing game that is endless with infinite iterations as long as we keep writing. Welcome to join. 《腹語系。微敘思考》啟動的第一個作品是創作性的文字。作者黃汛一的思路如下:衍生性藝術 –> 創作性文字 –> 一個因環境而衍生的故事 –> 「窗。門。卵石。刀。」| 黃汛一說與其說這是完整的作品,不如把它看成一個寫作方法的種子示範,為誘更多的迭代,寫之不盡。

Linda Lai / The Ventriloquists 00. Free imaging 2020 | 腹語系:微敘思考。需要多些自由的影像。

Linda Lai / The Ventriloquists 00. Free imaging 2020 | 腹語系:微敘思考。需要多些自由的影像。

腹語系:微敘思考 “Thinking Narratively… the Ventriloquists” | video dreamworks, thought paths as montage sequences, sight-and-sound data visualization of well-known moving image works | 63 works by young artists from the School of Creative Media’s BA program. Why do we install so many voices into Floating Project’s limited space? | 夢式敘事。影像/圖像蒙太奇。聲影數據圖像分析名作 | 63 個創意媒體學院文學學士課程的年青創作者的聲影訴說。為何在此時此地在「據點」有限的空間群星匯聚?

SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (4) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變(四)

SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (4) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變(四)

Nam June Paik (Paik Nam-June) represents Korean contemporary art, but only becoming a solid case in the 1980s, 34 years after he lived away from his home country. Artists and their fame are often appropriated to be subsisted to political agendas. The story remains, unveiling the story of globalization, what is missing, and what voices are never recorded, in the mainstream discourse of Korean art history? 白南準離開本家韓國34年。他的蜚聲國際把他「送回」南韓,成為1980年代及往後國內全球化策略下的國際級大節慶紅人。白南準的藝術地位和貢獻不可置疑。問題是,著眼於他這樣級數的藝術家的同時,我們失卻了甚麼?誰的主體性被泯滅?那些有關藝術的實存被滅聲?這不單是寫藝術史的人的問題,是每一個人如何存活與政治機器中要關注的。

SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (3) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變(三)

SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (3) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變(三)

In response to continuous authoritarian governments, anti-traditionalist Monochrome Painting versus pro-social participatory Public Art were born. The irony is that dictatorship incited economic growth which subsequently created a new class of art consumers: art galleries were born, inciting a growing demand for new species art and younger artists of promise. 韓國南北割裂之後,獨裁政府的持續在藝壇導致兩種不同的反應。抽象藝術的出現以反傳統、反具象、反日本影響為目標;而民眾藝術則伴隨民主運動,把創作帶到街頭,強調藝術的社會參與的面向。同時,獨裁統治催生經濟,新的財富階級打開了藝廊的潮流,藝術商品投資化令藝術品種類擴大,發現新進藝術家的需要亦由此而起。

Floating Projects Collective 2024