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Searching for tag: fresh-graduate

Cher / Action in Love: the making of “How I met your mother” 李祉昕《浪漫史》,為了學習感悟。據點打開門。

Cher / Action in Love: the making of “How I met your mother” 李祉昕《浪漫史》,為了學習感悟。據點打開門。

While deeply aware of the underlying tensions in all love relationship, fresh graduate Cher believes it’s very worthwhile to preserve and present the blissful moments of a couple, even if just for a moment. Thus started her months-long action research — photography as an event — to act out as a sonder person. 對周遭的人的感悟有多少?李祉昕以行動出發,攝影是牽動關係的探索行動,為了展出,更是為了接觸別人和自學。

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。

Linda Lai for FP / Fresh videos, in-depth transformation: 3 thoughtfully crafted journeys of the selves 三種深度轉化:三段不一的旅程

Linda Lai for FP / Fresh videos, in-depth transformation: 3 thoughtfully crafted journeys of the selves 三種深度轉化:三段不一的旅程

19 June 2021 六月十九日. Three video essays on living through time with one’s bodily presence. Tracey Ngai acts out her retrospection. Faith Monsod turns image objects into a passage to the infinite liminal. Pun Tsz-wai’s past resides in media artefacts and urban legends. Three fresh videos completed in May 2021, premiered at Floating Projects. 三個今年五月新鮮出爐的錄像文章。據點首次亮相。記憶是甚麼?我是誰?我的根是甚麼?用身體的實存與行動。魏芷軍演述;潘子懷在都市神話中設置自己;Faith Monsod 的主體盡在可翻開可啄蘑的聲影碎片中。

NGAI Tsz-kwan / A Trip to “There” — an indefinite journey that fuels itself 在記述的軌道上作內部連結:《我在追憶,我在追,我在》

NGAI Tsz-kwan / A Trip to “There” — an indefinite journey that fuels itself 在記述的軌道上作內部連結:《我在追憶,我在追,我在》

It is perhaps a maker’s natural obsession to narrate oneself, deliberately or not, but through one’s life-time. A Trip to There, Tracey’s graduation thesis, is in a way a monumental push to enter this journey in flux. Embracing all she can, there also always seems to be void to fill. Traces of her having been there are as concrete with a forensic rigor. 每個創作者都曾經 — 以至窮盡一生 — 有意識或不自覺的記述自我。年青藝術創作人魏芷軍很用力的穿過這甬道,滿滿的收穫,卻又惘然若失。實在的卻是用時間和身體鑄出來的創作道途。愛看(錄像)作品的朋友們:這裡,你會讀到一個認真地記下來的寶貴創作歷程。潛進後,我們會對藝術的耕耘多一份敬意嗎?

Faith Monsod / Liminality & the full-stop that never came 虛界裡的游離身份,等待不會來的句號。

Faith Monsod / Liminality & the full-stop that never came 虛界裡的游離身份,等待不會來的句號。

Is there an intangible essence that might embody who we are? What positions do memories hold in forming one’s identity? Do our physical bodies suffice in representing us? How much of our sense of self relies on the reflexive process that governs our interpersonal relationships? HK-born Faith Monsod commits her graduation thesis to the quest.「我是誰」可以被理解為無形的實質嗎?例如,記憶能賦予我個人身份嗎?我的身體足以表徵我時誰?我的「自我意識」有多少是由我與別人的變動中的關係所衍生的?出生於香港的 Faith Monsod 用一個21分鐘的畢業作品去回應。

PUN Tsz-wai / If an elephant never forgets, would it also yearn for the past that is gone? 大象可曾忘記?

PUN Tsz-wai / If an elephant never forgets, would it also yearn for the past that is gone? 大象可曾忘記?

“Born in the later part of 97, I never got to experience Lai Yuen. For me, it is a place constructed by words and stories. … I would hear bits and pieces about the park and, somehow, it became part of my own childhood, part of my own memory.” (Pun Tsz-wai)「我出生於1997年的下半年,從未經驗過荔園是怎樣的。它是個由別人的字詞和故事合成的地方。一點一滴的聽著,荔園好像就是我自己的童年,是我個人的記憶。」– 潘子懷

Ryan Chung / let the mind speak 5: Loneliness is a Cry for Nothing「思維自說自話」5 : 孤單是無端而吶喊

Ryan Chung / let the mind speak 5: Loneliness is a Cry for Nothing「思維自說自話」5 : 孤單是無端而吶喊

Finding an ensemble of words to give form, thickness and density to flickering thoughts and fleeting sentiments is Ryan Chung’s persistent experiment in his “let the mind speak” series — speaking for its own sake, this time, “loneliness” must imprint its presence… What is the vocabulary of our own loneliness? 表述是為了堅守表述自由的維度。孤單是怎樣的?孤單的語彙是怎樣的?說了就是。鍾樹仁的思維自說自話。

Ryan Chung / let the mind speak 4: Twenty-two: reflection on experiences, a starting point 「思維自說自話」4 – 反照經驗,就這樣開始可以嗎?

Ryan Chung / let the mind speak 4: Twenty-two: reflection on experiences, a starting point 「思維自說自話」4 – 反照經驗,就這樣開始可以嗎?

You are twenty-two, or you could be 24, 30 or just 16. Emotions often escape words, but writing the act preserves that moment of struggling to give sentiments an outfit. Keep writing: let realities come through the cracks of grammatical and syntactic fabrics. 確定是22歲,或許24, 30;16歲可以嗎?情緒和感覺往往挑戰文字的限度;裹不住,盛載又不完全。只有「寫」,作為行動,以「演」為述。抓著那個時刻,殘酷的現實或許找到那片刻的機會破裂縫而迅出。

Ryan Chung / let the mind speak 2: Do You See What I See? 「思維自說自話」2 – 你看見我所看見的嗎?

Ryan Chung / let the mind speak 2: Do You See What I See? 「思維自說自話」2 – 你看見我所看見的嗎?

“Hopefully that’s not a boy’s answer.” Ryan Chung, graduated last summer with a Bachelor of Art & Science degree, allowed himself to follow what came by with utmost self-guarded curiosity. He is now a primary school teacher! In the closed laboratory of making the child for his future, he runs into a familiar boxing situation. 九個月不長也不短,卻足夠一個好奇而樂於隨機而伺的大學新鮮畢業生勘測四周。鍾樹仁沒想過會當上小學教師;面對孩童被模塑的場景,總是看到了多一點自己。例如:怎樣的答案才算是男孩的答案?何來這樣的問題?

Floating Projects Collective 2023