Between Memory + Image 在記憶+影像之間  (7 videographers on what they do with a camera)

Between Memory + Image 在記憶+影像之間 (7 videographers on what they do with a camera)

2018.10.01 (Mon) | 3pm-6pm.| Floating Projects 據點。句點

L3-06D , Jockey Club Creative Arts Centre (JCCAC) No.30 Pak Tin Street, Shek Kip Mei, Kowloon, Hong Kong (MTR Shek Kip Mei Station Exit C, 5-8 mins walk)

九龍石硤尾白田街30號 賽馬會創意藝術中心(JCCAC) L3-06D (港鐵石硤尾站C出口,步行約5至8分鐘)

入場費: 自由捐獻 (建議 $50) Entry Fee: Free donation (Suggested Price $50)


A group of videographers from the US, China, Korea and Hong Kong met at USC in Los Angeles. Two of them traveled from city to city and found FP's recent Manifestos book in Taipei. We connected. They will be at Floating Projects on 1 Oct 2018 to discuss what videography means to them and share what they and their group of friends have done. 幾個在洛杉磯遇上的年青人嚮往實驗性的影像創作,其中二人在台灣遊訪時看到「據點」這個暑假剛出版的錄像宣言,之後跟我們連上了。他們會在「據點」漫談錄像書寫在他們的生活世界裡的位置,並現場分享他們和友人們的作品。  

Here are works made by our friends. We all drifted into each other’s lives while living in Los Angeles. Maybe it was because we were all asking similar questions, maybe it was because we all at a point turned the camera towards ourselves. And when we did, the images we found became a middle space: between arrival and departure, home and afar, belonging and not belonging. Maybe we don’t understand why we are taking a photo or video, but we are struck by the importance of something in the moment. Whether it is a scene of our arriving in our grandparent’s home or a scene of friends sitting in a field. We know the self who edits later, who has passed through time, will find a way to understand it. We look, and then we look again. We are still learning. Making the archive in order to make sense of it again. Returning to look back at ourselves. 

這些,都是我們的朋友們所創作的作品。我們在大家都生活在洛杉磯時進入了各自的生活當中。這也許是因為我們都在質問相似的問題,也許是因為我們都在某一時刻將攝影機轉向了我們自身。而在這之後,我們所找到的影像成為了一種「之間」:在到達與離發之間,家與遠方之間,屬於與不屬於之間。也許我們並不明白我們為什麼在拍一張照片或一段視頻,但我們都被這一時刻中的某種重要性所打動。這或許是我們到達外公外婆家的一個場景,或是坐在一片原野上的夥伴們。我們知道,穿越過時間后的未來的自己,會在剪輯時找到一種方式來理解這些影像。我們一看,再看。我們仍在學習。我們仍在搭建著自己的檔案庫以理解它們,以有朝一日回首來看,看到我們自己。 / Zach McLane and Susan Lin / Zach McLane 與 林星語 撰寫  


Works to be shared in the event:


Zach McLane - sometimes I wish my life was a movie 《有時我希望自己的生活是一部電影》 

Paul Lee 이종헌 - Q008 Kevin Tian 田恺文 - Arrival Departure  《到達|出發》 

Susan Lin 林星語 - scenes from a film I will never make《一部我永不會做出的電影中的戲》 

Yuchi Ma 馬語遲 - I can only talk to you When I stand in Shadows《唯有在影子中我才能同你說話》 

Cecilia Hua 滑惜子 - Where Are You From? 

Natalie A. Chao 趙芷妮 - Searching for Her《尋找她》 


Special thanks: Linda Lai and the Floating Projects Collective 特別致謝:Linda Lai 與 Floating Projects Collective ========================================================================


Work briefs... 作品簡介

 sometimes I wish my life was a movie / Zach McLane / 2016 / 2’48” / 16:9 / color / sound 《有時我希望自己的生活是一部電影》/ Zach McLane / 2016 / 2’48”/ 16:9 / 彩色 / 有聲 sometimes I wish my life was a movie is a short video about the distance between our lives and the images that fill them. Through a combination of music, text, and screen recording, the video explores the ways in which thoughts, notes, and writings exist in abstract digital space. 《有時我希望自己的生活是一部電影》是一段有關距離的短視頻:我們的生活與填滿我們生活的影像之間的距離。通過音樂、文字、與屏幕採集的結合,這段視頻探索了思想、音符、與寫作存在於抽象數字空間中的方式。 


Q008 / Paul Lee 이종헌 / 2018 / 12’41” / 16:9 / color / sound / Korean & English subtitles 《Q008》 / 이종헌 / 2018 / 12’41” / 16:9 / 彩色 / 有聲 / 韓語 配英文字幕 An unnamed man boards flight Q008 in the year 2028. The plane crashes into the Pacific, killing everyone on board. Without his consent or knowledge, he is brought back to life. 一位無名男子在2028年登上Q008號航班。飛機墜毀至太平洋海面,無人幸還。不經他的准許或是他的知曉,他被復生了回來。


 Arrival Departure / Kevin Tian / 9’ / 2018 / 16:9 / color / sound / Chinese & English subtitles 《到達|出發》/ 田恺文 / 2018 / 9’00” / 16:9 / 彩色 / 有聲 / 普通話 配英文字幕 During four years of film school, I concluded that I wanted to make neither narratives nor documentaries nor the experimental. All the filmmakers I’ve admired – as much as I still like them – fell from their pedestals, because none of their works was close enough to what I vaguely knew I wanted. Too much fictionalization, or too much proclamation of truth, or too much experiment for experiment’s sake. All the filmmakers, except for one – my friend Susan Lin. Their works showed me a brand-new possibility. It’s a kind of cinema that turns its lens back into one’s own life, humbly, without glorification or romanticization, and honestly, without embellishment or embarrassment. So here’s an example of my own pursuit of this cinema. It started with nothing other than a simple wish: I’ve arrived at and departed from so many places so many times, yet I’ve never filmed any of it. And of course, there is what’s in between the arrival and the departure, too. 四年的電影學院讓我意識到了,我既不想做敘事片,也不想做紀錄片或實驗片。所有我曾欽佩的電影人都跌下了殿堂,因為ta們中誰也沒能做出我模糊地認為自己想做的東西。太多虛構,或太多自稱真實,或太多為實驗而實驗。所有的電影人,除了一人——我的朋友林星語。林的作品向我展現了一種全新的可能性:將鏡頭謙虛并誠實地轉向我們自己。不為虛榮,不加浪漫;不畏羞恥,不加修飾。於是,這裡便是我自己對這種電影的追逐。它的開端不過於是一點小小的心願:我許多次到達和離開過許多地方,卻從未拍攝過其中的任何。當然,還有到達與離開之間的東西。


 scenes from a film I’ll never make / Susan Lin / 2017 / 8’20” / 16:9 / color / sound / English subtitles 《一部我永不會做出的電影中的戲》/ 林星語 / 2017 / 8’20” / 16:9 / 彩色 / 有聲 / 英文字幕 Comprised of a series of fragmented memories, this film speaks to the textures and emotions of a time in my life when I felt truly at home. 這部影片由一系列碎片式的記憶所組成。它所講述的,是我生活中一段時間的紋理與情感——感覺自己是真的在一個家中的一段時間。


 I can only talk to you When I stand in Shadows / Yuchi Ma / 2018 / 5’53” / 16:9 / color / sound / English & Chinese subtitles 《唯有在影子中我才能同你說話》/ 馬語遲 / 2018 / 5’53” / 16:9 / 彩色 / 有聲 / 中英字幕 A girl in her late teens contemplates the conflict between family identity and self, in face of the cruelty of times. This is a brief moment of my coming of age. 面臨著時間的殘酷,一名幾近成年的少女思考著家庭身份與自己個人之間的衝突。這是我自己成年時一個短暫的時刻。


 Where Are You From / Xizi Cecilia Hua / 2017 / 4’ / 16:9 / color / sound / Chinese & English subtitles <Where Are You From?> / 滑惜子 / 2017 / 4’00” / 16:9 / 彩色 / 有聲 / 普通話 配英文字幕 It is an autobiographical experimental documentary exploring the state of mind of China’s young generation abroad and the conflict of being a “parachute kid.” In a world where western values dominate, coming to America at an impressionable age can make parachute kids feel ashamed of their identity. Often times the “stuck-in-between” feeling became more acute because they are more and more accustomed to the American democratic values while questioning different viewpoints posed on contemporary Chinese society and politics. They are put at odds in answering to the media’s critique of China as well as of their presence in the United States. This video raises questions of origin and identity to create discussion on what it means to be an international citizen. 這是一部自傳式的實驗紀錄短片,它將作者每次回國回家拍攝記錄的影像與照片,以及與家人通話的音頻拼接組合在一起,對中國家庭、城市、與個人的發展提問。它探索了如今很小就出國海外,被稱之為「降落傘孩子」的一代人的內心世界。他們在自己價值觀尚未成型時便獨自成長于美國社會中,徘徊搖擺于不同聲音之間。雖然他們比晚些出國的孩子更能融入美國主流社會,但他們卻時常為自己的中國身份感到羞愧。面對著西方社會對中國與中國人的評頭論足,情況更甚。於是,這部片子既是作者自己從小出國的感受,也是對留學、國家、與身份從另一種角度的思考。


 Searching for Her / Natalie A. Chao / 2016 / 4’24” / 4:3/ color / sound / English subtitles Searching for Her / 趙芷妮 / 2016 / 4’24” / 4:3 / 彩色 / 有聲 / 英文字幕 Searching for Her began as a poem I had written in response to watching hours of home-video tapes that my Dad had decided to digitize 7 years after my mother’s passing. Seeing these images of her, as well as those captured by her — rekindled feelings of nostalgia and deep loss. The more I yearned to see her and hear her, it became clear that I was never going to experience her as a person beyond my perception of who she was based on my memory and shaky camcorder videos. I wanted to know, what separates us except time and space? Making this film was an attempt for me to bridge that gap and began my artistic and personal journey of rediscovering her personality, dreams, desire and emotions. 《尋找她》起始於我寫下的一首詩。我母親過世七年後,我爸爸決定數字化了許多個小時的家庭錄像帶,而這首詩是我在看完了這些錄像后寫下的。看著這些有著她的影像,還有那些被她捕捉下的影像——懷舊與沉重缺失的感覺被再度燃起。我越是渴望看到她和聽到她,我絕不可能經歷到她作為一個人是怎樣的感覺的事實越發清晰——我只能通過我的記憶和搖晃著的錄像視頻來感覺她是怎樣的一個人。我想要知道,將我們兩人間隔開來的,除了時間與空間,還有什麼?製作這部電影是我的一次嘗試,嘗試去越過這條間隙并開始我藝術和私人的旅途:去重新發現她的人格、夢想、慾望、與情感。


About the artists… 藝術家簡介


Zach McLane I am an artist and writer. Sometimes I am drawn to images, many times I am drawn to words. Always I am drawn to points of connection—where seemingly disparate ideas might meet and speak to something new. My work takes shape in essays, videos, and poems. It moves between memoir and theoretical discourse, personal reflection and artistic critique. Recently, I have been interested in the movement of people and how words and images move with them. 我是一名藝術家與作家。有些時候我被影像所吸引,大多時候我被文字所吸引。所有時候,我都會被關係的節點所吸引——看似完全無關的概念匯聚在一起,并指向某種新事物的地方。我的作品會呈現為論文、視頻、詩歌的形式。它穿行于回憶錄與理論論述之間,個人感受與藝術批評之間。最近,我的興趣在於人的運動,以及言語和影像是怎樣與人一起運動的。 


Paul Lee 이종헌 Paul Lee 이종헌 (b. 1997, Kuala Lumpur), is a Korean filmmaker exploring the space “in-between”. In between places, in between memories, in between indecisions. He aims to make personal narrative films that, through an observational lens, cast an eye into our own conflicting contemporary lives. tinypaul.com 一名在1997年生於吉隆坡的韓裔電影人,他探索著「之間」的空間。在地方之間,在記憶之間,在躊躇不定之間。他的目標是製作私人性的敘事電影,并透過觀察性的鏡頭來看待我們自己當代的生活中的衝突。tinypaul.com 


Kevin Tian 田恺文 I was born in Montréal, but I grew up in Beijing and Chongqing, went to high school in Vancouver, and then college in LA. This is a sentence that I’ve repeated a thousand times, to strangers, acquaintances, friends, and everyone in between and beyond. Yet every time I hear it again from my own mouth, I still – if not more and more – feel amazed, and privileged. And a lot of this time has been alone, too. I was a boarding student in kindergarten, in elementary school, in senior high, and in college. So, a lot of my work – and a lot of what I do and what I say and what I think, too, I’d imagine – has centered around this experience, in all its simple complexity. I write, I take photographs, and I make videos. I helped make a game too, and I hope to make many more. But the specifics perhaps don’t matter too direly. The main thing in all of this, maybe, is this feeling I have that I don’t – and can’t – truly know anyone’s experience other than my own. So I won’t try to, or pretend, or put on the glorifying mask of ‘storyteller’ and tell others’ stories. Here’s a work of mine, which, like my other works, I hope, tells you something more about myself, and what I see and what I hear and what I feel. All of it is real; not much of it is a ‘story’. And – I really hope – it’s honest. 我生於蒙特利爾,長於北京和重慶,在溫哥華上的高中,然後在洛杉磯上的大學。這一句話,我重複過無數次。向陌生人,向相識,向朋友,以及其中和其外的所有人。然而每一次聽到這一句話從我自己的嘴中出來時,我都依然會感到驚歎和感激。這些旅途中,我大多都是一個人。寄宿在幼兒園,寄宿在小學,寄宿在高中,寄宿在大學。因此,我作品中的許多——以及我自己言行舉止中的許多——都是關於這段經歷的,它既繁複,也簡單。我寫字,我拍照片,我做視頻。我也曾製作過一部遊戲,并希望未來能做更多的遊戲。但也許這些細節都並不重要。所有的這一切,其核心在於我自己的一個感受:除了我自己的經歷外,我永遠無法真正地了解到另一個人的經歷。因此我不會去嘗試,也不會去假裝,也不會去扮上「講故事的人」的面具。這裡是我的一部作品。同我其它的作品一樣,我希望它能告訴你一些關於我自己的事,我的所見、所聽、所想。它的全部都是真實的,它的大部分都不是什麼「故事」。而且,我希望,它是誠實的。 


Susan Lin 林星语 Susan Lin is an inter-media visual artist and poet. They were born in Brooklyn, New York but raised mostly in Southern California by a single mother. Lin’s intersecting identities and experiences as Chinese American and non-binary guide their work and academic interests. Their work uses poetics to address race and gender as they relate to cultural politics, diaspora, feminist theory, and phenomenology. Their art returns again and again to the immediate ways that people relate to each other and their environments everyday. Lin is particularly interested in the way people understand the concept of “home” and how those with marginalized identities find a sense of home in countries, spaces, and institutions that are not their own. 林星語是一位跨媒體視覺藝術家與詩人。ta出生於紐約布魯克林,但ta成長的大多數時間是與ta的單親母親一起在南加州。作為一名非二元性別的華裔美國人,林充滿交錯的身份與經歷引導著ta的藝術作品和學術興趣。ta的作品用詩意來思考種族和性別,以及它們與文化政治、離散、女性主義理論、及現象學的聯繫。ta的藝術一次又一次回到的母題,是人與人以及人與環境每天相關聯的最直接的方式。林尤其感興趣的是人們理解「家」這一概念的方式,以及那些身份被邊緣化的人們是如何在並非自己的國家、空間、及機構中找到家的感覺的。 


Yuchi Ma 馬語遲 I wish to capture and create the personable poetics in our everyday life, to see life in the magnifying glass of emotions and to reflect on our human conditions. 我希望能捕捉到并創造出,我們每日生活中的詩意。我希望用情感的放大鏡來觀察生活,并映射出我們作為人的生存狀況。 


Xizi “Cecilia” Hua 滑惜子 Xizi “Cecilia” Hua is a filmmaker, photographer and documentarian. Born into 90s China, Xizi grew up in multiple cities of China and moved to the U.S. at fifteen. Living between countries and different cultures, Xizi has the privilege to be both an insider and outsider. In her photos and films Xizi explores individual identity and growth in one's original cultures as well as changes in new social and political reality. Her works range from experimental documentary, film and video essays to photo/video journalism and double exposure photography. Her films are showcased at festivals such as 2018 Slamdance Film Festival, 2018 Seattle Asian American Film Festival, 2017 Central American International Film Festival and 2017 NY Indie Doc Fest. Her other video works are featured on NBC Asian America, Flaunt Magazine, and the Broad Museum #infiniteLA site. She believes camera can serve as a mirror for reflection. Xizi wants different sides of these intercultural and transnational stories to be heard. She is currently pursuing her MFA at the School of the Art Institute of Chicago. 滑惜子是一位影像工作者。她在1994年出生於西安,隨後分別在北京和上海長大,十五歲時她搬去美國俄勒岡州就讀高中。從小生活在不同文化與國家之間,她希望通過照片和影像來探索她個人的內心成長,觀察周圍的環境,并反映我們在複雜的文化、社會、政治背景下的生活。她的作品有實驗紀錄片、電影及視頻論文、攝影新聞、和雙重曝光攝影。她的影片被展映在2018 Slamdance Film Festival, 2018 Seattle Asian American Fim Festival, 2017 Central American International Film Festival, 及2017 NY Indie Doc Fest。她的其它視頻工作出現在NBC Asian America, Flaunt Magazine, 以及The Broad Museum。她相信攝影機可以是一面鏡子,來講述這些跨文化、跨國界的故事的不同方面。滑惜子現在在芝加哥藝術學院完成她的藝術碩士學位。 


Natalie A. Chao 趙芷妮 Natalie Archambaud Chao 趙芷妮 is a Hong Kong born and raised filmmaker and cinematographer who recently finished her B.A degree in Film Production at the USC School Of Cinematic Arts in Los Angeles. Over the years, themes pertaining to time and space have persisted in in all of her work, as she continues to explore how memory, nostalgia and transience are inevitably present in both our mundane and extraordinary lives. Her goal is to bridge the gap between realism and poetic imagery in order to tell stories through the female gaze. 趙芷妮是一位香港土生土長的電影人與攝影師。她剛在洛杉磯的南加州大學電影學院完成了她的電影製作學位。這些年中,時間與空間的母題持續穿插在她的所有作品中,她也繼續探索著記憶、鄉愁、與短暫無常是如何不可避免地存在於我們平凡但也非凡的生活當中。她的目標是銜接起現實主義與詩意影像之間的間隔,以透過女性的凝視來講故事。


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