Siu Fei / 藝術場合, 藝術解決 — 回應《後#MeToo》藝術展覽公仔被露胸事件 “Like and…” at Post#MeToo Art exhibition. 2020.03.11-18
《後#MeToo藝術》一共有12個/組藝術家，16組作品，於賽馬會創意藝術中心L1藝廊和據點空間舉行。當中的小風波也許就是未來的大事件的思源。從2017年#Metoo 運動在國際間的廣泛傳播到一件作品的一件小事，在這裡我們分享的是參與藝術家温倩蘅（小肥, Wun Sin-hang Cynthia, aka Siu Fei）的筆記，在全景中帶著點睛作用，留給我們細味的空間。A docent at the Post #MeToo Art Exhibition found that the dolls’ clothes were unbuttoned, their breasts of the dolls exposed; it felt like they were being sexually assaulted. Soon after the docent immediately buttoned up the dolls, artist Siu Fei installed a board to the doll set that says, “Don’t touch my body !!” Here’s the artist’s own notes on the incident.
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
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。
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 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。
LAI Wai-leung / 總在你身邊（五）: 黑暗中對峙 絕望仍奮戰 瘟疫蔓延時 惟信念不變
In the 5th piece of his “Just Around You” series, FP writer/manager Wai delivers a self-dialogue through two fictional characters… How to live with hope and what hope is in store?「總在你身邊」要說的是這個地方普通人的故事，其中人物的名字或故事情節容或杜撰，但角色的處境及遭遇皆為我所知所遇所見所聞，志在刻劃現實。系列的第五篇有如一個人的一個「我 」和自己的另一個「我」在聊天，在這個城市最艱辛的一年給自己加把勁。
Simone Dompeyre / No Paths but My Footprints. Image-writing from a Distance.
Traverse Video’s Festival Director Simone Dompeyre reviewed Linda Lai’s video works presented in March 2019 at the Festival. Three videos are in discussion: No Paths but My Footprints, Diaries – ‘Dry rain’ and Doors Medley. Caroline Ha Thuc translated this piece published in French in the festival catalogue into English.
WONG Chun-hoi / 勤力電路 #1.0 – #1.4 Hardworking electricity #1.0-#1.4
FP Art Engineer Hoi9 (Wong Chun-hoi) reviewed his ever-growing work-in-progress, a generative series that began with turning electricity into artistic raw material. An impulse: undress thickly dressed media art pieces, show the skeleton, open the black box.
LAI Wai-leung / 無中生有 沒有故事的故事 相原信洋的世界 The world of Nobuhiro Aihara: whence comes the story
黎偉亮 寫《原格破裂 – 動畫的互媒實驗綜覽》研究計劃夏季放映會《第三眼－相原信洋作品選》。FP writer Wai-leung Lai appreciates Nobuhiro Aihara’s unconventional take on histories, memories and realities.
Linda Lai / Levitated Potentiality 2: software writing, soliloquy & magic 《移形换步》之2 – 機器書寫、喃喃自語、變戲法
“Levitated Potentiality 2019,” presented by FP at the FLAME Festival HK, gathers video works that connect with the experimental tradition, highlighting the narrative intricacy of the very process of an image discourse unfolding in time. 8 artists shows 14 video works.
