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Michael Leung 梁志剛 / 集體 The Collective (「在地」中譯 1)

Michael Leung 梁志剛 / 集體 The Collective (「在地」中譯 1)

Michael Leung’s “On Land” series is now readable in Chinese translation. 集。群。體。正因為個別的不同,個人自主受到尊重,所以,能一起前進,共負一軛,沿途照應,你是我的地圖,我是你的另一張地圖。每個人都各自是一個索引目錄。

六顆子彈 6 Bullets, an exchange

六顆子彈 6 Bullets, an exchange

FPC dialogues… Jess Lau wrote a poem and shared it with Linda Lai, who wrote a poem in response. The exchange develops into that of images. 劉清華隨心寫了一首詩,分享了給黎肖嫻。黎回了另一首詩。後來這個對話由文字推至圖像。

LAI Wai-leung / 不是影評。從光華迸發到日暮星沉,由舊戲「英雄本色」說起  A Better Tomorrow and beyond, not a film review

LAI Wai-leung / 不是影評。從光華迸發到日暮星沉,由舊戲「英雄本色」說起 A Better Tomorrow and beyond, not a film review

In an extended roll call of local made movies, FP writer Wai-leung Lai tells an integrated story of his history of local film viewing, an assertion of the right of a serious non-expert viewer’s voice to be heard. After, popular cinema is a specific way to connect with the ordinary people on the level of living. And after all, Readership Theories have covered much ground in film and media studies in the past 30 something years in the academia. 黎偉亮一個人睇戲的故事,追述多年來看港產片的心跡,說明了用心看戲也就是用心活著。一個用心的觀眾絕對有權在「影評」的建制圈外肯定表述的聲音。

Ryan Chung / let the mind speak 5: Loneliness is a Cry for Nothing「思維自說自話」5 : 孤單是無端而吶喊

Ryan Chung / let the mind speak 5: Loneliness is a Cry for Nothing「思維自說自話」5 : 孤單是無端而吶喊

Finding an ensemble of words to give form, thickness and density to flickering thoughts and fleeting sentiments is Ryan Chung’s persistent experiment in his “let the mind speak” series — speaking for its own sake, this time, “loneliness” must imprint its presence… What is the vocabulary of our own loneliness? 表述是為了堅守表述自由的維度。孤單是怎樣的?孤單的語彙是怎樣的?說了就是。鍾樹仁的思維自說自話。

Michael Leung / ON LAND 13: There’s No Need to Add Oil Anymore (a fictional story)「在地」十三:不再需要加油(虛構故事)

Michael Leung / ON LAND 13: There’s No Need to Add Oil Anymore (a fictional story)「在地」十三:不再需要加油(虛構故事)

Is it a dream, nightmare, mind escape, or transcendent float in time-space? It takes a fictional moment to fully embody Michael Leung’s many episodes of intergalactic traversal, to regain the potency to enter a boundless performative space. 虛擬不一定是逃脫,反而是全情貫注的為跨界、跨域、跨族類的慾望賦予實質、形骸,以至可在其中遊蕩潛行,延展無邊際的演述空間。

Linda Lai / 方寸之間。氣流。你在牆上留了個暗號。Love in the Time of COVID-19. You’ve left a mark at the foot of the wall. (a poem)

Linda Lai / 方寸之間。氣流。你在牆上留了個暗號。Love in the Time of COVID-19. You’ve left a mark at the foot of the wall. (a poem)

她(黎肖嫻)寫了一首別人的情詩。已沒有話可述說愛情,只知道「想」之際自覺存在多一點。找文學對愛情的書寫,總覺女作家和男作家的視野不盡相同。沒有性別基要主義。只是好奇。想聽讀者們的回贈,讓她不落入自說自話的荒涼。Linda Lai wrote a poem contemplating the phenomenology of being in love and losing it. Great quotes from the internet were grabbed in search of the male protagonist’s voice, says she. Let’s have a conversation!

The Ventriloquists 21. Coda. Highly appraised works at “The Ventriloquists…Thinking Narratively” 《腹語系》佳作選出,展覽放映研討圓滿結束。
Natalie Chao / Wilderness poems #5: “the land of logs”
Michael Leung / ON LAND 12: Pre-existing Conditions 「在地」十二:既有狀況

Michael Leung / ON LAND 12: Pre-existing Conditions 「在地」十二:既有狀況

In these COVID-19 days, “underlying conditions” undermine those with chronic diseases in fighting the virus. Rather than a sheer physiological condition, Michael Leung quotes Rene Gabri: what are considered pre-existing conditions are “those imposed on people by capitalism and the state, making some more vulnerable than others (during the pandemic).” What are the possibilities of being immune not just a personal matter but a collective act?「本有」狀況?「既有」狀態?還是「固有」狀態?梁志剛在英回顧法國行程的經驗,體悟藝術家 Rene Gabri 的申述:既有狀態其實是資本主義和國家政府加諸我們身上的,其結果是有些人總比另一些人「脆弱」,例如在疫情高漲的時候。如是,「既有」的,因政策管治的上綱下達,便成了「固有」的境況。往下想,「免疫」或「免疫系統」的出現,是否可以超越「個人」層面而成為「協作」的、社區群體的?

The Ventriloquists 20. A narrative pictogram for Red Balloon 《紅氣球》解放路線圖

The Ventriloquists 20. A narrative pictogram for Red Balloon 《紅氣球》解放路線圖

The pictograms for this 101 moving image classic show more than just the exemplary precision of continuity editing and a classical 3-act structure in plotting. These pictograms function as analytical tools to show how the intensifying bond between the boy and the balloon evolves; to superimpose the 1955-56 location of the film Red Balloon onto the contemporary map of Paris, … and to single out the swerving energies and roughening emotions of the story world in mood-board like representation.《紅氣球》是學過活動影像拍攝的入門經典,或許是這樣,我們可能錯過了敘事藝術上的微細質感。氣球於小孩的動人關係不用質疑了,可是甚麼叫我們感動?這裡四個圖形分析,從唯物的層面揭示創作者的藝術心思,著我們不再輕易走漏眼。

Floating Projects Collective 2024