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. …
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）
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）
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。
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (2) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（二）
Korea’s 35-year long colonial history as Japanese occupied territory (1910-1945), followed by domination of the US and other powers which turned the country into the battlefield of a long Cold War, has every step of the way imprinted the legitimacy of art, thus also the relaxing and tightening of the circle of entitlement to artists. 2nd of a 4-part essay 繼朝鮮皇朝近二千年的「宮廷畫師」至深受中國宋明影響的「文人畫家」，辛庚珍進入一個歷史斷層，由日佔35年的殖民時期到戰後的冷戰時期韓國分裂為南北，藝術的存在價值以及藝術家入圈的合法性，看來都不是純粹的藝術問題。全文四部之二。
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (1) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（一）
Define an artist. This is no easy question. It could be more productive to change the question to “Who is an artist?” or “Who has proven him-herself to be an artist?” PhD candidate researcher Shin Gyung-jin adopts a discourse analysis approach to trace the different meanings and usage of “the artist” at specific moments of history. How is the idea of an artist produced? Regimes of knowledge are questions of power control. Her archaeology focuses on Korea, on and off in relation to Chinese art history. 博士候選人研究員辛庚珍受福柯的考古思維啟發，重回多個世紀的「現場」去重新凝視不同時代建構「藝術家」的論述和權力效應。藝術家的定義的問題，變為「誰身體力行符合了特定時空的標準藝術家？」又或…。全文分四次發表。
Linda Lai / PUSH: the Quest for a Voice, in Search of a Body. 「推」∶ 探索嗓音、設置身體
An unpublished text by Linda Lai as an observer’s soliloquy on a 12-part interactive sight-and-sound sequence she created with Theresa Junko Mikuriya at the HK Art Biennial 2003.11-2004.01. Lai’s attempt to make sense of their automatic creation… Not an annotation, but an extension in the form of automatic writing describing what she sees on screen, an assertion of narrativity. 一篇於2003-04年香港藝術雙年展隨作品出現過卻重來沒有發表的文字，與組織緊扣卻多處留白的聲畫流隔岸對話。不假思索，想像眼前碎斷的畫面背後的世界。是延伸創作，推開無限可能的下一個小步。
Jess Lau / 京都駐留筆記《步行電影院：飛翔的氣球》”Cinema of Walking: Airship” — notes on artist’s residency in Kyoto
In January 2020, FP artist Jess Lau took residency in Kyoto; in the three months she spent there, she finally found the time and space to realize a much awaited work on a river, and made The Cinema of Walking: Airship on the Kamo River, to her, a unique glimpse of freedom. 2020年1月 Jess 到京都駐留三個月，有機會到訪鴨川，突然可以做關於河川的作品，《步行電影院：飛翔的氣球》遠距離一口氣完成拍攝，劉清華看著路人一步一步踏過跳石，片刻看到自由的模樣。…
Jess Lau /「逆流索引」：林建才手繪連載 Quotidian Diversions: Kin-choi Lam in Search of Time Lost
Quotidian Diversions – Kin-choi Lam’s drawing series on HK to launch on Floating Teatime’s “Personally Speaking” 4 June 2020: 6 groups of drawings in 6 weeks on Thursdays 林建才手繪連載：「流水革命10月天」六月四日起每周四連載共六輯。
Emilie Choi / Realities from 2016: Today’s Relevance (2): what should an artists’ Union do? 2016年飄來的記憶。今天又如何？（二）- 藝術勞動，工會保障藝術家？
FP writer, Emilie Choi’s analysis continues on the question of art labor in Hong Kong. In part 2 of her report, she asks, “what should an artists’ union do?” 據點成員蔡倩怡進一步思考藝術勞動的光景四年來沒有甚麼變動，且客觀環境越來越嚴峻。她問：「工會該如何保障藝術家？」
Emilie Choi / Realities from 2016: Today’s Relevance (1): Art Labour, the Value of Being Human 2016年飄來的記憶。今天又如何？（一）- 藝術勞動，生而為人的價值
FP writer, Emilie Choi, former journalist for Ming Pao Weekly’s cultural page, recalls an investigative feature she did four years ago on the question of art labor in Hong Kong, and is dismayed that not much has advanced other than the many growing aggravations in the city. With a new introduction, she puts back in the spotlight realities we may have forgotten. 《「錄像宣言」的延伸閱讀：藝術勞工的景況：做個夜更的藝術家？》在「據點一杯茶」網上發表後，據點成員蔡倩怡不禁記起四年前她還是記者時所做過的專題訪問，驀然發覺時間過去了，藝術勞動的光景沒有甚麼變動，且客觀環境越來越嚴峻。她很想舊事重提，面對現實。這裡是翻新後的發表。
