日常飲像影食3 :「 間房要不要牆? 」
Have a Balanced Diet 3: Home Making
WHEN? | 2019.07.12 -2019.07.26 (except Mondays) 2:00-8:00pm
WHERE | 據點。句點 Floating Projects ,
九龍石硤尾白田街30號 賽馬會創意藝術中心 (JCCAC) L3-06D, Jockey Club Creative Arts Centre, 30 Pak Tin St, Shek Kip Mei
Screening + forum […] | 2019.07.12 6:30-10:30 | 2019.07.20 6:00-9:30pm
|| 梁嘉文 Leung Ka-man | 《2019年6月,工作室的靜物畫》 Still life of our studio, June 2019
鉛筆, 木顏色筆, 紙本 x 6 Pencil ,6 pieces , colour pencil on paper
The traces and positions of the objects reveal how we lived. I try to gaze at these daily trivialities and make some still life drawings.
|| 丁卓藍 Ding Cheuk-laam | 《如在夢》Dream Life Right Now (2019)
布料燙印 , 紙本打印 , 尺寸不一 , Printing on fabrics and paper , variable size
我收集了不同人在家裡/自處時寫的文字。有完成/未完成，鎖碎/完整的 , 跟別人說話的/絮絮私語的 , 而造成各種小故事 / 片段 / 畫面 / 狀態 , 而這些在僅餘私密又公開的空間四竄丶 停留丶離去 或是擴散。我把他們印在布料和紙本上 。
I collected different people’s texts from when they were at home or alone. Whether finished or in progress, complete or in scraps, conversational or introspective. All these kinds of stories, clips, images and situations are now scurrying, lingering, leaving, proliferating in your space; private and yet often public. I printed them on fabrics and papers.
“As if in a dream,” a friend once said. One day she asked,” Do you feel yourself as if in a dream?”
|| 黃慧心 Winsome Wong | 《嫲嫲爺爺》
Mahmah and Yeye’s Portrait (Grandma and Grandpa’s Portrait) (2018)
“C-type hand prints in wooden frame”
|| 黃慧心 Winsome Wong |《晏晝》Afternoons (2018)
Two-channels video installation 雙頻道錄像裝置
I don’t live with my grandparents anymore since I graduated from primary school. And my grandma has moved to the home for the aged since then, as her physical condition got weaker and weaker, she stayed home less frequent. Sometimes when I visited them, if grandma was also there, we would spend an afternoon basically doing nothing much, mainly with my grandma talking, repeating similar topics. Sometimes I would visit them separately, I would first visit grandma at the home for the aged, and then grandpa, who lives near by but would be difficult for him to walk too far to visit grandma, or maybe vice versa.
In 2016, I made the first part of the video, recording one afternoon in grandpa’s home, and the conversations of different times at grandpa’s home and the home for the aged. At that time, I didn’t intend to analyse the conversations in detail. Then in 2019, I occasionally watched the video again one night, I still didn’t pay much attention to the content of the conversations, I was just listening to grandma’s voice comfortably like listening to the radio. Then, I decided to go through it once again, together with the afternoon moments after my grandma passed away, to take it serious and record what were once being said.
|| 張子木 Zhang Zimu , Diana Pacheco Lagutienko | Flora spontaneus (2019)
print on paper from water color and pencil sketch, light box installation| with help from Olga Lagoutenko
自然生長的植物，紙本打印，水彩、鉛筆速寫，燈箱裝置，Olga Lagoutenko 輔助製作
|| 張子木 Zhang Zimu , Diana Pacheco Lagutienko | Impresiones Palmar (2019)
print on paper from water color and pencil sketch, light box installation | with help from Olga Lagoutenko
棕櫚樹之地印象，紙本打印，水彩、鉛筆速寫，燈箱裝置，Olga Lagoutenko 輔助製作
|| 張子木 Zhang Zimu , Diana Pacheco Lagutienko | 《一個島嶼的降生》 Birth of an island (2019)
時長未定| 16:9| 彩色 | 有聲 duration not defined yet | 16:9 | color | sound
Guayaquil, the main port and most populated Ecuadorian city, was built on a swamp and receives water from many directions. Due to fast economic growth, the waters that surround and invade the city – rivers, estuaries and mangroves – have become stagnant, dirty and turbid. They are used as a commercial engine but at the same time, forgotten and excluded by the city dwellers. In contemporary Guayaquil, these waters are connected with the idea of marginality. The marginal, nonetheless, is an interstitial space in which it is possible to collect, as sediment, cultural singularities of the city.
While Guayaquil was modernized, several building areas were built and the mangroves in its surroundings transformed into shrimp pools. Meanwhile, from the sediments of mud, little by little, a small island materialized in the most important river in the city. The island, now middling in size, was called “El Palmar”(despite us not having palm trees in Guayaquil), and its jurisdiction is not defined.
In a letter to a friend in China, I imagine this island as my alternative home: a space inevitably linked to the city but distant from its frenetic rhythm, an unstable space which allows building up sedimentary memories. In this research project, I collect archive pieces that allow me
Chen Jialu: Women’s Distance (2019)
|| 陳嘉璐 Chen Jialu | 《看似無害》 Seemingly Harmless (2018)
8’33” |16:9 | color | sound | “Two-channels video installation 雙頻道錄像裝置”
Recording daily life and watching playback as view and review. This repeated journey is a method to recognize the information around me. The subject of experience and action needs to be identified. I choose information within environment and persons, and identify the relation between them, confirming the subject of actions and discourse.The observation shifted from me and my mother to self observation. Mother accepted to be observed as it allowed for communication with the daughter. What I expected from this act was to recognize the education that I have ever accepted, from family, knowledge, friends and lovers, as well as experiences. It is about how those traces flowed to me, and left marks on my body. The process gave me a distanced perspective, not only about daughter and family, but also about personal history and society.
Processed with VSCO with b5 preset
|| 朱彥龢 (龢wo4) Brian Chu Yin-wo | 聲音表演 (12/7/2019) 和 錄像聲音表演 – 朱彥龢 , 黃頌恩 (20/7/2019)
Sound Performance(12/7/2019) – Brian Chu; Video Sound Performance (20/7/2019): Brian Chu, Wong Chung Yan
環境 / 我與環境 / 物與我 / 人與空間 / 我 與人
Years after years of repetitive life turns people numb towards situations. Sensibilities fade. Auditory sense is unconsciously muted and shut out. What remains in your brain are the mumbling thoughts and emotions, rapid and intense visual impacts from the city, perseverance and failure within relationships.
How to listen to spatial sound
How to interpret the rhythm of sound
How to reconnect, or reshape the connection with sound
How to open up the field beyond visual boundaries and imagination
How to listen between
environment/ me and environment/ objects and me/ me, and the others
Screening program […]
General announcement + Curatorial Notes […]