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2022 Assemblage: warming up 「石硤尾聚疊」2022 熱身

2022 Assemblage: warming up 「石硤尾聚疊」2022 熱身

究竟是什麼原因,一段津津樂道的歷史,一個大家認為具代表性的活動,最後變成了文化遺產? What does improvization look like? Here’s an account of what happened on site at Floating Projects in the evening of 6th of May, by FPC member WONG Fuk-kuen…

Why and how I made Gingerbread Man’s Destiny, notes to a pop-up show 薑餅人命運的聯想:動物平權創作手記

Why and how I made Gingerbread Man’s Destiny, notes to a pop-up show 薑餅人命運的聯想:動物平權創作手記

“Is double standard the emblem of our social reality?” — Niki Siu’s annotations on her week-long POP-UP “Laugh At Last: Gingerbread Man’s Destiny” at Floating Projects, 8-14 May 2021, the result of a half-year long thesis-art production.「雙重標準是社會現實的代表?」蕭麗琦為她的畢業論文作品作註腳,從民間流傳的故事薑餅人說起。

Multiple artists / Voices from the Atmosphere (4): open space「大氣中融融細語」(四): 天大地大
Multiple artists / Voices from the Atmosphere (3): spit it out… 「大氣中融融細語」(三): 不吐不快

Multiple artists / Voices from the Atmosphere (3): spit it out… 「大氣中融融細語」(三): 不吐不快

More wavering thought paths… Is remembering the same as nostalgia? What does street photography remember? Shall I be pretty, shall I be loved? What would happen to to me when I die? There are moments when you must spit it out… #4 D-Normal/V-Essay online video zine, collected and edited by Linda Lai. 記住就是懷舊了嗎?街頭攝影可記住的是甚麼?我長大後會漂亮嗎?會有人愛我嗎?我死了以後會怎樣?有些事情,確實不吐不快。… 黎肖嫻蒐集彙編,更多搖擺的思路。《平地數碼》網上錄像誌第4期。

Multiple artists / Voices from the Atmosphere (2): reconnecting, quarantine diaries… 「大氣中融融細語」(二): 嘗試連線,隔離日記
Voices from the Atmosphere (1): archiving thought paths in days of isolation 「大氣中融融細語」(一): 隔離日子的思路的庫存
Cutting Thoughts 04 剪紙憶思之四

Cutting Thoughts 04 剪紙憶思之四

In the 4th piece of her Cutting Thoughts, NY-based artist Cici Wu articulated her liminal state in search of her presence as part of multiple continua — human and cosmic. 《剪紙憶思》之四。武雨濛讓思潮流淌是自由,涓流所到之處風景卻不一樣。個人、存在、氣質,都在眾數的連續體中浮沈、穿梭,自有其道。

Cutting Thoughts 03 剪紙憶思之三

Cutting Thoughts 03 剪紙憶思之三

In the 3rd of a 4-piece contemplation on her overstaying in home city Hong Kong, Cici Wu persists in grasping the complexity of the city’s colonial experience, but can’t help linking that to the impossibility of a definite denouement in life encounters. 《剪紙憶思》之三。讓流淌的思潮穿梭於殖民經驗的繁複性,以至生活機遇的沒有清晰的結局。

On Documentary Impulse: the desire to encounter the real through making records (2) 記述的衝動:長路漫漫(二)

On Documentary Impulse: the desire to encounter the real through making records (2) 記述的衝動:長路漫漫(二)

In part 2 of her discussion on documentary impulse, Linda Lai keys in on “there-ness” as a specific form of desire manifested in image-making in French cinema between the two world wars. With additional historical examples, she contemplates moving image’s integrity in connecting and re-inventing our experiences as technics.「記述的衝動」的下半部,黎肖嫻專注於電影記述、保存、調解和開創現實的「他在」的個性,尤其以法國二次大戰期間的電影實存和理論發展,和紀錄片的被命名為特殊的歷史個案,再談到活動影像作為連結經驗的獨有的內部技術。

On Documentary Impulse: the desire to encounter the real through making records (1) 記述的衝動:長路漫漫(一)

On Documentary Impulse: the desire to encounter the real through making records (1) 記述的衝動:長路漫漫(一)

First of 2 parts of Linda Lai’s Epilog for Our Manifestos II (2021) reproduced in Floating Teatime. Our desire to remember, preserve, transmit and retrieve drives the continuous innovation of technics, i.e. tools that embody and advance our perceptual experiences. Videography is a unique form of mnemotechnics. 記述的衝動超越了既成特定類型的「紀錄片」有更廣闊的空間。「紀錄」的初衷是《我們的錄像宣言2》(2021)的跋的主題,將分兩次於「據點一杯茶」轉載。第一部份,黎肖嫻引述不同不同的藝文創作為實例,指出我們要記住、保存、傳遞開去的衝動,推動著工藝技術的發展,打開了我們對「經驗」的重塑的新可能。

Floating Projects Collective 2023