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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. …

Elliott Wan / HK’s Indie Music Scene (7): COVID-19 and Digital Media 香港獨立音樂場景系列之七:新肺炎時期的製作方法

Elliott Wan / HK’s Indie Music Scene (7): COVID-19 and Digital Media 香港獨立音樂場景系列之七:新肺炎時期的製作方法

Many innovative responses have been evident to survive the impact of the pandemic, sustaining jobs and income for some. What is lost and what is gained? 新肺炎刺激了不同的生存手法,不乏對音樂創作的傳承。危機是渡過了,接著呢?

Ventriloquists 2021 / 06-Fairy Tale Pictograms 腹語系之六:神話仙圖

Ventriloquists 2021 / 06-Fairy Tale Pictograms 腹語系之六:神話仙圖

誰需要童話、仙境?成年人。童話用美麗的外貌包裝著似謊話非謊話又不能盡言的現實碎片。五個作品,仙境是引入,內部內裡又一個世界。圖像解構,就是為了把外貌與內涵的勾連表達出來。Fairy tales are not just for children, nor are animation pictures. The works in this post seek to reveal appearances of fairy tale that hide the flip side of magic which could be horror.

Ventriloquists 2021 / 05-Dream Narratives 腹語系之五:夢敘事

Ventriloquists 2021 / 05-Dream Narratives 腹語系之五:夢敘事

Dreams are a place for the human brain’s sub- and unconscious; they are a space beyond the boundaries of reality and the everyday, but are the vibrant forces impregnating several works in The Ventriloquists 2, as Elizabeth Biek introduces them. 「夢」是我們的潛意識和下意識的彰顯,繪形繪聲,卻與現實和日常不同領域。這裡所介紹的幾個「腹語系」作品看來甚為日常,夢的流量卻溢滿、迴旋。

Elliott Wan / HK’s Indie Music Scene (6): Production Methods 香港獨立音樂場景系列之六:製作方法

Elliott Wan / HK’s Indie Music Scene (6): Production Methods 香港獨立音樂場景系列之六:製作方法

The bedroom studio is an apt solution to cost reduction, continuous music creation, and sustainable connectivity; but what long-term impact would it have on the integrity of live performance and the underlining sense of community? 睡房式獨立音樂製作模式解決資源財力有限和跨區隔閡的問題,也是COVID-19 期間的及時雨。但有那些長遠的負面影響?

Ventriloquists 2021 / 04-Complex Narrative Pictograms 腹語系之四:「圖像資訊分析」,繁複世界繁而不雜
Elliott Wan / HK’s Indie Music Scene (5): Distribution Methods 香港獨立音樂場景系列之五:發行方法
Ventriloquists 2021 / 03-Cut-up moving images: how I see the world 腹語系之三:「拼貼」,我這樣看世界

Ventriloquists 2021 / 03-Cut-up moving images: how I see the world 腹語系之三:「拼貼」,我這樣看世界

Collage and montage are well known genres in art, impregnated with subversion and revisionist intentions by playing with established cultural meanings; and the latter highlights not only clashes of images, but also juxtaposition, sequential ordering and more, calling our awareness to our existence as temporal and spatial beings. and art beyond making copies of our world. A few serious exercises of such intentions… 拼貼(單幅圖像)和蒙太奇方法有別,語法上、態度上、意識的探索上,都具創新的意向。拼貼顛覆文化符號的意義;蒙太奇說我們的存在是時間的存在、空間的存在以至創造。幾個有這種視野的小習作…

Elliott Wan / HK’s Indie Music Scene (4): Indie music and local identity 香港獨立音樂場景系列之四:本土身份

Elliott Wan / HK’s Indie Music Scene (4): Indie music and local identity 香港獨立音樂場景系列之四:本土身份

What specific shape has localism taken since 2009? What role has HK’s indie music arena played? In part 4 of his 10-part report, Elliott Wan makes the connection between between several activities and incidents. 本土精神強調本地生活、經驗的累積是身份認同的資源,自主生活的底。獨立音樂佔了個甚麼角色?

Elliott Wan / HK’s Indie Music Scene (3): Hidden Agenda, legacy of a venue 香港獨立音樂場景系列之三
Elliott Wan / HK’s Indie Music Scene (2): Hidden Agenda: rise and constraints 香港獨立音樂場景系列之二

Elliott Wan / HK’s Indie Music Scene (2): Hidden Agenda: rise and constraints 香港獨立音樂場景系列之二

How has HK’s independent music arena grown and sustained itself? What specific shape has localism taken since 2009? In the second of his 10-episode essay, Elliott Wan accounts for Hidden Agenda’s five-time threat of closure, which ironically was the result of an attempt to “(re-)vitalize” under utilized industrial space. 正是「活化」的果效,充滿活力的 Hidden Agenda 經歷了5次的關門。

Floating Projects Collective 2024