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ZENG Hong / 打開演算藝術的黑盒:《演算藝術》策展人黎肖嫻談科技為本的藝術樂園 Opening the black box: what’s in Algorithmic Art: Shuffling Space & Time

ZENG Hong / 打開演算藝術的黑盒:《演算藝術》策展人黎肖嫻談科技為本的藝術樂園 Opening the black box: what’s in Algorithmic Art: Shuffling Space & Time

Curator, scholar and contributor to HK01, ZENG Hong, interviewed Linda C.H. Lai on her attempt to bring art and the sciences together in her research-based curatorial project “Algorithmic Art: Shuffling Space & Time”…學者及《香港01》特約作者曾泓訪問《演算藝術:劃破時空》策展人黎肖嫻,談這個研究為本的計劃背後對藝術與科學對話的願景和實踐。

Linda Lai / Heterotopia as artistic practice: Lost Textures of QRC folding and unfolding 異質地誌作為藝術方法:褶疊待延的皇后大道中

Linda Lai / Heterotopia as artistic practice: Lost Textures of QRC folding and unfolding 異質地誌作為藝術方法:褶疊待延的皇后大道中

…the world is interpreted as a body of infinite folds and surfaces that twist and weave through compressed time and space. — Simon O-Sullivan on Gilles Deleuze>   Lost Textures is the work of artist cum historiographer, Linda Lai, in collaboration with experimental artists Winnie Yan and Michelle Lee from the Floating Projects Collective (FPC) […]

Jessica Fu / 哥多華當代美術中心創作紀錄:定睛眼前,凝視過去,觀望宇宙 Documenting C3A Cordoba: site-specific views of the invisible and the potential

Jessica Fu / 哥多華當代美術中心創作紀錄:定睛眼前,凝視過去,觀望宇宙 Documenting C3A Cordoba: site-specific views of the invisible and the potential

完成「據點。句點」第一屆西班牙哥多華C3A駐場藝術家計劃的Jessica Fu回顧一個月的體驗,再次覺悟她我的特定環境裝置作品往往是個引導體,領觀眾超越可見作品的本身朝向為可見的未來,應對數據爆發的時代的無助感。Jessica Fu completed her month-long residency in Cordoba’s C3A, FP’s first edition of artist’s residency at Centro de Arte Contemporáneo, Cordoba, Spain. She understands her site-specific installations are often visible vehicles that lead their beholder to the unknown visible of the future and, personally, her response to a sense of helplessness living in a milieu of exploding data yet kept esoteric by authorities.

Zach McLane / How might a beginning be an opening?

Zach McLane / How might a beginning be an opening?

Zach McLane “returns” to FP with a new video work and expanded notes after his last and first visit to Hong Kong in September 2018. In renewed confidence of his own language, in words or images, Zach turned a strip of trashed 35mm film found in a backyard creek into the preserved evidence of an unknown yet concrete history. A documentary impulse of his pushed physical marks, scratches and patterning into the materialization of an absence now surfacing as perceivable forms and motions.

Andio Lai / Voices from “Nothing Can Come Closer” (3) 無法取得位置:弦音(三)
YIP Kai-chun, Winnie Yan / Voices from “Nothing Can Come Closer” (2) 無法取得位置:弦音(二)
Voices from “Nothing Can Come Closer” (1) 無法取得位置:弦音(一)

Voices from “Nothing Can Come Closer” (1) 無法取得位置:弦音(一)

Individual works from “Nothing Can Come Closer”: Lam Kin-choi, Wong Fuk-kuen《無法取得位置》作品逐個講:林建才、黃福權

Winnie Yan / 柔軟的齒輪 往 臺中國際動畫影展 2018 札記 Notes on TIAF 2018 (Taichung International Animation Festival)

Winnie Yan / 柔軟的齒輪 往 臺中國際動畫影展 2018 札記 Notes on TIAF 2018 (Taichung International Animation Festival)

FP Writer and Artist Winnie Yan’s glimpses of the TIAF 2018 highlights how seeing differently in animation is rooted in the technology that evolves around and generates the art form. To some animation artists, the single frame, as opposed to the shot in live action film/video, is the basic unit of experimentation, or that all innovative animation works are intermedia in nature. Either way, the persistence of vision makes our eyes unique apparatus connecting to the world of the unknown imaginary.

Zach McLane / Crossing the Distance Between Reading and Speaking

Zach McLane / Crossing the Distance Between Reading and Speaking

Zach McLane and Susan Lin, two fresh graduates from USC, visited the Floating Projects and activities associated with FP members all over Hong Kong a weekend in late September. Zach returns with a “dedication” to mark the brief moment of his trip which seems the new beginning of many things to come. And what about videography?

Winnie Yan / through eyes, we wander / through hands, perhaps speak and sing 若然透過眼睛游離,以手說話唱歌

Winnie Yan / through eyes, we wander / through hands, perhaps speak and sing 若然透過眼睛游離,以手說話唱歌

FP writer Winnie Yan’s thoughts on the unique, interchangeable place of the artist’s hands and eyes, and the pro-musicial quality of moving image streams, were provoked in her visit at the EXiS 2018 while contemplating the works of montage masters such as Stan Brakhage and Robert Breer, and recently fuelled by her direct encounter with 16mm filmmaking. 「據點」作者忻慧妍遊訪首爾的實驗電影與錄像節2018,眼前眾蒙太奇大師如Stan Brakhage 和 Robert Breer 的作品,加上個人近期親身「落手」的16釐米電影拍攝經驗,勾起了各種對活動影像的迷思:手與眼的結合,影像流的近音樂性等等。

Floating Projects Collective 2023