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The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像

The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像

The Hand comes in from everywhere. It interrupts, commands, dominates…; it is omnipresent, irresistible, almighty, dressed and decorated nonetheless mercilessly brutal.. Such is the condition of an artist who wakes up one morning to find his normal routine totally ruled invalid. 木偶藝術小子一覺醒來,伸伸懶腰又期待著新一天的開始。怎知道一夜間世界變透了。一隻無名的手,由溫柔禮待到強權粗暴,無處不在,無孔不入。

The Ventriloquists 04. Thought paths inside the Theatre Box, 12 montage sequences  十二串個性不同的思緒共享一個微型的小黑盒劇場,各有嗓音,合起來是洪流。

The Ventriloquists 04. Thought paths inside the Theatre Box, 12 montage sequences 十二串個性不同的思緒共享一個微型的小黑盒劇場,各有嗓音,合起來是洪流。

Twelve personal thought paths share the same space within a theatre box, each a unique stream of murmurs, together a torrent of existential quests. 十二串個性不同的思緒共享一個微型的小黑盒劇場,各有嗓音,合起來是洪流。態度的堅持,存在的疑問,主體的尋溯,無名渴求,生老病死。

The Ventriloquists 03. On Švankmajer’s Jabberwocky (1971) by Harmanjeet Singh 「物件」變「東西」。現在進行式傳真。定格動畫。
The Ventriloquists 02. We open. We speak. Do you hear? first 5 works 門半開啟。有話想說。五個作品門外恭候。
The Ventriloquists 01. Description as Storytelling…ask the objects, by Jake Wong 死物不死:描述也是敘述(黃汛一)

The Ventriloquists 01. Description as Storytelling…ask the objects, by Jake Wong 死物不死:描述也是敘述(黃汛一)

“The Ventriloquists…Thinking Narratively” (4-17 July 2020), begins with the on-line version of Jake Wong’s response to generative literature. | Generative Art –> Creative writing –> A story “generated” by surroundings –> “the window, the door, the cobble and the knife” | To Jake, what he offers is a framework — an initial state of a writing game that is endless with infinite iterations as long as we keep writing. Welcome to join. 《腹語系。微敘思考》啟動的第一個作品是創作性的文字。作者黃汛一的思路如下:衍生性藝術 –> 創作性文字 –> 一個因環境而衍生的故事 –> 「窗。門。卵石。刀。」| 黃汛一說與其說這是完整的作品,不如把它看成一個寫作方法的種子示範,為誘更多的迭代,寫之不盡。

Linda Lai / The Ventriloquists 00. Free imaging 2020 | 腹語系:微敘思考。需要多些自由的影像。

Linda Lai / The Ventriloquists 00. Free imaging 2020 | 腹語系:微敘思考。需要多些自由的影像。

腹語系:微敘思考 “Thinking Narratively… the Ventriloquists” | video dreamworks, thought paths as montage sequences, sight-and-sound data visualization of well-known moving image works | 63 works by young artists from the School of Creative Media’s BA program. Why do we install so many voices into Floating Project’s limited space? | 夢式敘事。影像/圖像蒙太奇。聲影數據圖像分析名作 | 63 個創意媒體學院文學學士課程的年青創作者的聲影訴說。為何在此時此地在「據點」有限的空間群星匯聚?

LAM Kin-choi / 林建才手繪「逆流索引」五:一分一秒  PRISON, “Quotidian Diversions: Kin-choi Lam in search of time lost” 05
Michael Leung / ON LAND 09: “Kai Shan” – a fictional story 「在地」(短篇小說):髻山

Michael Leung / ON LAND 09: “Kai Shan” – a fictional story 「在地」(短篇小說):髻山

Kai Shan in Wan Chau Village. Love in the time of resistance. A fictional story by Michael Leung. 元朗橫洲村髻山。愛在動盪不安的季節。梁志剛短篇小說。***Content warning 成年內容。

SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (4) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變(四)

SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (4) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變(四)

Nam June Paik (Paik Nam-June) represents Korean contemporary art, but only becoming a solid case in the 1980s, 34 years after he lived away from his home country. Artists and their fame are often appropriated to be subsisted to political agendas. The story remains, unveiling the story of globalization, what is missing, and what voices are never recorded, in the mainstream discourse of Korean art history? 白南準離開本家韓國34年。他的蜚聲國際把他「送回」南韓,成為1980年代及往後國內全球化策略下的國際級大節慶紅人。白南準的藝術地位和貢獻不可置疑。問題是,著眼於他這樣級數的藝術家的同時,我們失卻了甚麼?誰的主體性被泯滅?那些有關藝術的實存被滅聲?這不單是寫藝術史的人的問題,是每一個人如何存活與政治機器中要關注的。

Linda Lai / remembering a free flâneuse, Joey Luk, a poem 讀了好些有關你的,懷緬的詩,給漫遊者。

Linda Lai / remembering a free flâneuse, Joey Luk, a poem 讀了好些有關你的,懷緬的詩,給漫遊者。

Permanent youthfulness — a thought of no comfort at all! No certainty about the words I have, but those moments spent with Joey, a lasting imprint. Combining Joey’s writings she had shared in class with faint, ineffectual words I could barely utter, I post this buried poem today as a ritualist container for infinite nothingness. 這首詩是由我的文字和陸姵妏生前在我的文字創作工作坊裏分享過的作業的片段混合而成的。在黃花綠影之間虛實無分,是一個人?兩個人?多少種心情?精神思想記憶都漫飛無涯,涓湧成氣。除此,我對她的思念無以啟齒。十七年過去了,比我先行的學生還有幾個。…我總是為過去了的人寫詩。懷緬詩注定就是跟死亡手牽手的。奈何。

Floating Projects Collective 2024