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Category: Seriously Speaking 大聲發表

心裡無雲,都總可以推理治情,開拓感知。水中有明鏡,明鏡在心中。又或者,有些事情你總是咬著不放。You deserve to be heard. Features, expository and argumentative pieces, in-depth commentary and research-based writing… … Our mind takes forms — thought paths, a statue, a floating object, a system of tales, …

Natalie Chao / Are We All Wilderness? – camera, image, ‘you’ and the becoming 我們都是荒蕪之地

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

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.

Vanessa Tsai / 殭屍。 教室裡。臺灣。2020…2014。2016。

Vanessa Tsai / 殭屍。 教室裡。臺灣。2020…2014。2016。

2014年3月18日,一群臺灣的大學生,為了制止海峽兩岸服務貿易協議不當立法通過而衝進了立法院,霸佔了立法院23天,引起社會各種討論。筆者於2016年生平第一次進行根管治療,之後嘴巴裡有了一顆不會感到疼痛卻足以協助咀嚼功能正常的牙齒。筆者不禁反思,傳統上的「孝順」、「不犯上」是以甚麼樣的形式進行著,因而記下這樣的感觸。

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 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。

Lee Hang-jun / Scoring Space: non-normative animated images? Rather, the direct encounter of the film apparatus

Lee Hang-jun / Scoring Space: non-normative animated images? Rather, the direct encounter of the film apparatus

Why did Hangjun Lee choose 3 projected animated work to mark the finale of Elemental Dynamite’s summer session? He showed us animation as performance, installation, sculpturing and graphic patterning thru’ direction encounter with the film apparatus … 動畫的電影本質與互媒體潛力始於電影器具。李幸俊投影的三個作品,結合了表演、投影、裝置、雕塑和圖形組合。如此,他為「原格破裂」的夏季熱浪畫上句號。

Free Radicals: a critique of strict classification: animation experiments from Europe/US/Japan as examples 游離基 – 擺脫標籤侷限,向歐美日實驗動畫借鏡

Free Radicals: a critique of strict classification: animation experiments from Europe/US/Japan as examples 游離基 – 擺脫標籤侷限,向歐美日實驗動畫借鏡

Lee Hangjun offers a defence for experiments in the animated picture: collapse the story-documentary-experimental triad, as the 11 work (1935-2015) from Europe and Japan manifest. 首爾實驗電影及動畫節總監李幸俊 以11部歐美日作品(1935-2015)去說明擺脫「故事-紀錄-實驗」三分法的囹圄去打開動畫的可能性早有先例。

Photographic Survey: Korean experimentation of the animated picture 地域實驗 I -圖像勘測

Photographic Survey: Korean experimentation of the animated picture 地域實驗 I -圖像勘測

EXiS Program Director Hangjun Lee surveyed the contemporary scene of experimental cinema in Korea in relation to animation and its expanded forms. 「首爾實驗電影錄像節」節目總監李幸俊素描當代韓國實驗活動影像的風景,尤其與動畫和動畫的延伸的千絲萬縷。

“Elemental Dynamite” kicks off this week with rare treasures

“Elemental Dynamite” kicks off this week with rare treasures

[press release] An intimate journey with experimental animation from the US, Europe, Japan and Korea (1935-2017). In the summer kick-off of “Elemental Dynamite: Research on Intermedia Practices in Animated Pictures,” EXiS Program Director Lee Hangjun takes us through in conversations.【新聞發佈】《原格破裂 – 動畫的互媒實驗綜覽》研究計劃向我們對動畫的裡所當然發出各種問題,尋求香港的本土角度,由夏季的兩場放映會和一個現場表演開始,先著眼於世界、歷史為我們留下的珍貴足跡。

《原格破裂》為何動畫? | 夏季 | 據點 “Elemental Dynamite” kicks off this summer

《原格破裂》為何動畫? | 夏季 | 據點 “Elemental Dynamite” kicks off this summer

【新聞發佈】《原格破裂 – 動畫的互媒實驗綜覽》研究計劃向我們對動畫的裡所當然發出各種問題,尋求香港的本土角度,由夏季的兩場放映會和一個現場表演開始,先著眼於世界、歷史為我們留下的珍貴足跡。

LAI Wai-leung / 最壞的時代 最好的時代 The worst of time, the best of time…

LAI Wai-leung / 最壞的時代 最好的時代 The worst of time, the best of time…

To FP writer Lai Wai-leung, what has played out in HK’s public space in June and July is no isolated drama. 歷史的緣由,這個地方的人口從來埋藏著一條思想鴻溝 …。

Floating Projects Collective 2024