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. …
2022 Assemblage: warming up 「石硤尾聚疊」2022 熱身
究竟是什麼原因，一段津津樂道的歷史，一個大家認為具代表性的活動，最後變成了文化遺產？ What does improvization look like? Here’s an account of what happened on site at Floating Projects in the evening of 6th of May, by FPC member WONG Fuk-kuen…
Why and how I made Gingerbread Man’s Destiny, notes to a pop-up show 薑餅人命運的聯想：動物平權創作手記
“Is double standard the emblem of our social reality?” — Niki Siu’s annotations on her week-long POP-UP “Laugh At Last: Gingerbread Man’s Destiny” at Floating Projects, 8-14 May 2021, the result of a half-year long thesis-art production.「雙重標準是社會現實的代表？」蕭麗琦為她的畢業論文作品作註腳，從民間流傳的故事薑餅人說起。
Multiple artists / Voices from the Atmosphere (4): open space「大氣中融融細語」（四）: 天大地大
Wavering thought paths as collage-montage videos… Speak to the air, trust that magic is just around the corner; most importantly, to Love is to Be…#4 D-Normal/V-Essay online video zine, collected and edited by Linda Lai. 說出來吧！天大地大， 魔法就在身邊。會有人愛我嗎？這確實需要點自我勸解。… 黎肖嫻蒐集彙編，搖擺的思路發了聲。《平地數碼》網上錄像誌第4期。
Multiple artists / Voices from the Atmosphere (3): spit it out… 「大氣中融融細語」（三）: 不吐不快
More wavering thought paths… Is remembering the same as nostalgia? What does street photography remember? Shall I be pretty, shall I be loved? What would happen to to me when I die? There are moments when you must spit it out… #4 D-Normal/V-Essay online video zine, collected and edited by Linda Lai. 記住就是懷舊了嗎？街頭攝影可記住的是甚麼？我長大後會漂亮嗎？會有人愛我嗎？我死了以後會怎樣？有些事情，確實不吐不快。… 黎肖嫻蒐集彙編，更多搖擺的思路。《平地數碼》網上錄像誌第4期。
Multiple artists / Voices from the Atmosphere (2): reconnecting, quarantine diaries… 「大氣中融融細語」（二）: 嘗試連線，隔離日記
“And then… and then…” and more … wavering thought paths… Blocked. Light flashes, time passes. During the quarantine… Reach out. Enter 2022 with a peephole of love. The forbidden zone? Accept forgetting as well as remembering… Assembled and edited by Linda Lai「然後 …，然後 …，接著 …，於是 …」被阻擋著。光閃爍著，時間過去了。隔離期間…。伸手接觸。進入2022年，進入窺洞裡的愛情。禁區？接受忘記，同時接受還記起。…《平地數碼》網上錄像誌第4期。
Voices from the Atmosphere (1): archiving thought paths in days of isolation 「大氣中融融細語」（一）: 隔離日子的思路的庫存
20 + 4 works on quarantine, isolation and (un)wavering thought path VOICES FROM THE ATMOSPHERE, issue #4, D-Normal V-Essay, , FP’s online video zine 「大氣中融融細語」，《平地數碼》網上錄像誌第4期。20+1 段關於隔離、獨思獨處的，堅定也搖擺的影像思路。
On Documentary Impulse: the desire to encounter the real through making records (2) 記述的衝動：長路漫漫（二）
In part 2 of her discussion on documentary impulse, Linda Lai keys in on “there-ness” as a specific form of desire manifested in image-making in French cinema between the two world wars. With additional historical examples, she contemplates moving image’s integrity in connecting and re-inventing our experiences as technics.「記述的衝動」的下半部，黎肖嫻專注於電影記述、保存、調解和開創現實的「他在」的個性，尤其以法國二次大戰期間的電影實存和理論發展，和紀錄片的被命名為特殊的歷史個案，再談到活動影像作為連結經驗的獨有的內部技術。
On Documentary Impulse: the desire to encounter the real through making records (1) 記述的衝動：長路漫漫（一）
First of 2 parts of Linda Lai’s Epilog for Our Manifestos II (2021) reproduced in Floating Teatime. Our desire to remember, preserve, transmit and retrieve drives the continuous innovation of technics, i.e. tools that embody and advance our perceptual experiences. Videography is a unique form of mnemotechnics. 記述的衝動超越了既成特定類型的「紀錄片」有更廣闊的空間。「紀錄」的初衷是《我們的錄像宣言2》（2021）的跋的主題，將分兩次於「據點一杯茶」轉載。第一部份，黎肖嫻引述不同不同的藝文創作為實例，指出我們要記住、保存、傳遞開去的衝動，推動著工藝技術的發展，打開了我們對「經驗」的重塑的新可能。
Mizuho Yamazaki, Virginia Liu / OWNNESS, an apexart 2021 winning proposal examining “her body”…
Five female artists will juxtapose their works to tackle gender inequality, showing how women across East Asia are fighting hand in hand to reassert their bodily control in their terms.
A poem on the event “Ferocity and Wonderment” 一首關於《殘酷與美好》的詩
Ferocity & Wonderment, on 2022.01.02-02.05, is coming to its final week of open door. Ma Wik (Joyce), one of the duo, shares a poem she wrote in the process of reconfiguring Floating Projects’ rectangular playground and “growing” the objects in it. … 馬域和汪倩的雙個《殘酷與美好》已來到最後一周。馬域一週接一週的耕耘著據點現場長方形的遊戲空間，設置改動又設置其中的小物，有感而發，寫了一首散文詩。
