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. …
Michael Leung / ON LAND 04: Intergalactic Thinking 「在地」四：系際思維
Michael Leung shuttles between empirical planes, intellectual horizons and concrete dwellings of diverged spatio-temporal orderings… to assert research that is multi-species, and art that is energy that runs through all realms of living. 「萬物」在梁志剛的漂流路上漸成一張網，少數邊緣的、系統與系統之間的、跨族類的都可以平放或結連。思路無邊，在無政府主義狀態到專制主義運作之間，香港的形影浮現。學術研究如何實踐系際思維？
Emilie Choi / 【Multi-windows: viewing notes during social distancing】01 實驗視窗系列 一：封鎖下的觀影筆記
FPC member and writer Emilie Choi’s “Multi-window” is a series of notes on on-line moving image exhibitions occurring during the COVID-19 pandemic. In profiling these activities, she seeks to preserve observable details of the individual works for thorough discussion and research in future.「實驗視窗系列：疫情下的觀影筆記」將發表據點成員及寫作人蔡倩怡在網絡上所觀看的影像節目，嘗試從這些經驗中勾勒出流動影像在網絡上流轉的版圖與現象，為往後作出更具啟發性的討論。
Vennes Cheng / THINK-PAD series 01: archived art objects are time-capsules 「書寫作為思考」筆記系列一：封存的藝術物件，時間囊
THINK-PAD series records PhD researcher Vennes Cheng’s ongoing exploration for an alternative historiographic perspective that asserts the productiveness of histories deemed incomplete as they keep the door open for constant revision. Her objective is to revitalize our critical understanding of art in Hong Kong.
Michael Leung / ON LAND 01: NoTAVs Everywhere 「在地」一：反高鐵馬拉松
ON LAND is a series of on-going research notes by doctoral researcher Michael Leung with “Insurrectionary Agricultural Milieux” as his working thesis title. This series will start with a simple meal in the Basque Country in Spain and some noticeably repeating graffiti in Italy… “no TAV!” 梁志剛「在地」手記第一記，由一頓飯開始，英語、法語、西班牙話都好，總能溝通。…不管在那裡，只要留神，你會在交通幹線上的某處看到「no TAV!」。
Linda Lai / Reading RAQS Media Collective: Manifesto 2 artists inspired: to be an artist by night? 「錄像宣言」的延伸閱讀：藝術勞工的景況：做個夜更的藝術家？
兩位參與「錄像宣言2」計劃的藝術家，在工作坊裡分享了一篇感動過他們的文章 — RAQS Media Collective 的 Monica Narula 於 2012年寫的「如何做夜更的藝術家：藝術學院 [給21世紀的提案]」。為了快點分享給更多的藝術創作者，黎肖嫻以局部引述和中文翻譯去展示，並加以短論，望引來更多討論。Two Manifesto 2 artists share an article of impact on them in an artist’s workshop session — “How to be an artist by night. Art School (Propositions for the 21st Century)” written in 2012, by RAQS Media Collective’s Monica Narula. A series of selected quotes from the piece was assembled by Linda Lai here with Chinese translation and a short commentary.
Siu Fei / 藝術場合, 藝術解決 — 回應《後#MeToo》藝術展覽公仔被露胸事件 “Like and…” at Post#MeToo Art exhibition. 2020.03.11-18
《後#MeToo藝術》一共有12個/組藝術家，16組作品，於賽馬會創意藝術中心L1藝廊和據點空間舉行。當中的小風波也許就是未來的大事件的思源。從2017年#Metoo 運動在國際間的廣泛傳播到一件作品的一件小事，在這裡我們分享的是參與藝術家温倩蘅（小肥, Wun Sin-hang Cynthia, aka Siu Fei）的筆記，在全景中帶著點睛作用，留給我們細味的空間。A docent at the Post #MeToo Art Exhibition found that the dolls’ clothes were unbuttoned, their breasts of the dolls exposed; it felt like they were being sexually assaulted. Soon after the docent immediately buttoned up the dolls, artist Siu Fei installed a board to the doll set that says, “Don’t touch my body !!” Here’s the artist’s own notes on the incident.
Natalie Chao / Are We All Wilderness? – camera, image, ‘you’ and the becoming 我們都是荒蕪之地
In our recent video Manifesto 2 Artists’ Workshops, Natalie A. Chao said the camera was there to protect herself on the many street events in Hong Kong since 2019. She questioned the camera’s invasive nature and wonder how her camera thinks. Textualizing images she “gleaned” in writing is then a necessary part of the imaging event. Here is a set of notes Natalie wrote while reflecting on a film she made, Are We All Wilderness? (2019), revised this year.
Dorothy Wong / 站在「錄像宣言一」與「錄像宣言二」的邊界上：族群參與改變了創作座標 Crossing the Border: videography re-oriented since community engagement
2018-2019年，黃加頌以 art collective o!sland成員的身份參與台灣森人藝駐計劃，到台灣太魯閤族的社區生活，後被鳳甲美術館邀請到台北北投社進行關於平埔族的計劃。黃加頌為「錄像宣言一」（2018）的策劃成員之一。她道出創作歷程上的改變：「2016－2017 錄像和影像為技巧訓練、自我察覺、從遙遠處觀看世界的練習。2017－2019 錄像為與他人、社區和世界連結的觀看點、載體和回應。」Dorothy Wong’s artist’s residency with Taiwan’s mountain communities changed her relation with videography.
Manifesto 2 team / Documentary impulses: what to remember, how to remember (1) 紀錄的衝動：如何記住，記憶的實作（一）
Manifesto 2 artists have started to meet on-line to examine the what, why and how of their videographic practices as ways to remember. This is the first of a series to report on the artists’ conversations. We kick off with team-members’ words from Linda Lai, Winsome Wong and Elaine Wong on how they envision the project. 「錄像宣言2」的創作者的在線對話已經啟動，將在此園地陸續發表。首先，團隊成員的其中三位 – 黎肖嫻、黃慧心、黃淑賢 — 先來道出這次計劃點滴心思與憧憬。
Simone Dompeyre / No Paths but My Footprints. Image-writing from a Distance.
Traverse Video’s Festival Director Simone Dompeyre reviewed Linda Lai’s video works presented in March 2019 at the Festival. Three videos are in discussion: No Paths but My Footprints, Diaries – ‘Dry rain’ and Doors Medley. Caroline Ha Thuc translated this piece published in French in the festival catalogue into English.
