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談「縫補歲月」,冀「歷史毋忘」On the Mending Years, and How to Fill in the Gaps of History

談「縫補歲月」,冀「歷史毋忘」On the Mending Years, and How to Fill in the Gaps of History

How not to forget history? Wai-leung Lai turns to the concrete contribution of an object-based approach in installation art, following up on his last piece on the show Mending Years to assert the place of the non-expert in completing an art event as a form of social commemoration. 據點作者黎偉亮要求「歷史毋忘」要具體,也許在以「物」為軸的場域特定展覽《縫補歲月》中,他找到了裝置藝術所盛載的一點貢獻。

The Past or the Present: on the Exhibition “Mending Years” 昨天還是今天 - 《縫補歲月》展覽

The Past or the Present: on the Exhibition “Mending Years” 昨天還是今天 - 《縫補歲月》展覽

[Mending Years 縫補歲月] Curator Ying-chi Tang sees the present in the 5 stories of the past that harp back onto the 1960s-1970s, arguing that the public and domestic are integrally one, as the artists in the group show present. 策展人鄧凝姿眼中的「縫補歲月」不單是上世紀的六七十年代,也是構成今天的一部份;透過五位創作者的視野,她看見公共領域和家居細活之間的千絲萬縷。

WONG Chun-hoi / 勤力電路 #1.0 – #1.4 Hardworking electricity #1.0-#1.4

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.

Home-Making 2: Marking Space 間房要不要牆? 2 – 創造空間
Home-Making: do we need walls for our habitat? 間房要不要牆? – 日常飲像影食(3)

Home-Making: do we need walls for our habitat? 間房要不要牆? – 日常飲像影食(3)

In “Home Making” (“Have a Balanced Diet” #3, 2019.07.12-26) FP member Ding Cheuk-laam and 14 other artists/researchers extend the quest for experimentation as a general attitude of life to home-making. What kind of habitats do we seek to create? How have we actually constructed our home via artistic imagination?「 間房要不要牆? 」是FP成員丁卓藍發起的《日常飲像影食》系列的第3部,連同14為創作和研究者繼續堅持實驗(性)作為一種整體的生活態度,並以房子這個熟悉而具體的日常空間為前題,看如何因著創作的行動,人的主體與媒體技術的互相啟發,「家」、房子就成了發聲運動的起點。

MAN Mei-to / 思緒撩亂的季節:沿著這路來到「彼岸之地」Whither my thoughts flow, to “Distance of Space” …

MAN Mei-to / 思緒撩亂的季節:沿著這路來到「彼岸之地」Whither my thoughts flow, to “Distance of Space” …

/文美桃 manmeito | artist Man Mei-to traces the many strands of everyday living conjoining in her recent show at FP (Apr-May 2018), “Distance of Space.”
展覽 《彼岸之地》(2018.04.14-05.06),記錄著文美桃由讀書時期到畢業後三年這段時期的創作方向。展覽中沒有張狂的議題,沒有政治的走向,更沒有話語權的指向。一切都沒有指向的答案呈現給了觀眾。

Everlyn Char, Yang Yeung, Eddie Cheung / Distance of Space, Materialized bodily presence: visitors’ notes 訪者絮語:文美桃彼岸之地
FPC members, Wong Chun-hoi / 計劃聚集記錄 Record of ensemble-plan

FPC members, Wong Chun-hoi / 計劃聚集記錄 Record of ensemble-plan

《計劃聚集》為「據點。句點」的原生遊戲系列《黃竹坑聚疊》。句點藝術群體會在區內拾遺,不加思索地處理著現成物料,推斷著現成/被棄物的物理性,可衍生的下一步,聚疊遊戲後又衍生即興演出《據點空間壓力測試》系列。是次據點聚疊這空間「變形蟲」外遊來到了台北的非常廟藝文空間。王鎮海作了詳盡的記述。Wong Chun-hoi, FP’s Artistic Engineer, keeps a dense record of the process of staging FP’s Assemblage game in a gallery in Taipei.

FPC members / 《吹脹.影像》繼續吹 “Expænsive Cinema”, keep blowing, keep expanding

FPC members / 《吹脹.影像》繼續吹 “Expænsive Cinema”, keep blowing, keep expanding

9 FPC artists stretch the possibilities of the moving image — the projecting apparatus, the projected image, the moving and projecting processes, projected surfaces, how and where… 九位「據點。句點」藝術家心目中的活動影像的膨脹性、膨脹度是怎樣的?他們多方對策:投影的器具、所投的影像何來、成像的過程、展示影像的「面」…

Samson Cheung /「曝光」之下 — 演後感 Notes on performing “Under Exposure”

Samson Cheung /「曝光」之下 — 演後感 Notes on performing “Under Exposure”

「相片沉了藥水後從一將白紙慢慢顯影。」這就是「曝光」。張才生就個人展覽 《從觀看說起》 及閉幕演出《「曝光」之下》給自己作了一點記錄。Artist Samson Cheung reflects on his “exposure” (exhibition and performance) in his solo show at FP last December (2016).

Floating Projects Collective 2024