What could expanded cinema be in the digital age when the impulses to understand multi-level consciousness could be articulated as the meeting of hardware and audio-visual data to be completed by visitors? Stanley Ng's experiment Circuit materializes all this, and further turns the installation site into that of meditation, the meeting one's selves.
Part 4 of “tool-being” series, Longman Luk looks inside a 360 panoramic camera for the everyday consumer, to hack its customized functions, and to test its operational limits, which results in his videographic exercise presented at Micro Narratives 2022. A manifesto on his videography follows.
聲音無處不在，聲音藝術始終難以被定義。鳥因歌而鳴，源自內在的想望，聲音多變因理念與堅持，才能被發掘與被聽見。黎仲民、張靜瑜呈現他們對聲音不同的觀察與研究方向，傳輸交流。Sound is ubiquitous. To produce meaning through/with sound is another issue. Many artists have forged many paths to explore sounds. Like tracing their steps on forking paths, Andio Lai and Annisa Cheung tenaciously follow their desires disregard what answers they may get. The two artists have been selected for Contemporary Musiking Hong Kong’s Sonic Transmission Artist Exchange Program 2019/20.
10月10-25日在據點現場發生的即興展／演《音》，是句點成員黎仲民的又一次實驗。新冠狀病毒期間可以搞怎樣的展覽？聲音的表演和展覽可以如何結合？取來的素材，是黃竹坑時期的 FP1.0 表演的翻新，以及石硤尾年頭的 FP2.0的表演紀錄，那會產生的是甚麼新活動？On site on 10-25 October at Floating Projects, A U D I O, a pop-up, is another one of FPC member Andio Lai’s experimental events of impromptu nature. With raw material from performances of FP1.0 (Wong Chuk Hang) and FP2.0 (Shek Kip Mei) as they were documented in different formats, what would be the outcome of the integration of sound, performance and exhibition?
Winnie Yan recounts her stagger towards appreciating sound-making that encourages the immediacy of exchange versus music for trained ears… 忻慧妍的聲音觀察誌 － 如何一步一步挨近聲音藝術。
This is a scene captured on camera some time around 18th July, 2012, in an industrial building in Kwai Chung. A few of us were in the studio of Fiona Lee’s (Left 1) that day. She was preparing her light bulb sound performance <<delight>> for an upcoming exhibition in Korea. We went there to […]
4D piano + No Bicycle Wheel / a work at WCH Assemblage #2 黃竹坑聚疊（二）/ on until 22 September 2015 @ Floating Projects I reorganized some of my tools for a future performance happening also in Wong Chuk Hang into a 4D piano. A main idea of Floating Projects is an ever-changing space and, for me, it is […]
– Edwin Lo “Acconci Studio and Ai Weiwei: A Collaborative Project” 8 May – 4 July, 2010 // Para/Site Art Space, Hong Kong Para/Site 藝術空間近年來一直專注於引入海外藝術家來香港展出作品。剛剛在藝術空間展出完畢的，是兩位甚具份量的當代藝術家艾未未（中國）和Vito Acconci（美國）。 兩位本來已屬重量級的當代藝術人物, 又是有名的建築家，這次同臨香港, 更開宗名義的以 “ Ai Wei Wei + Vito Acconci Studio: A Collaborative Project”為前題進行對話式的展覽。明顯的是, “collaborative” 是一個關鍵詞; 但是這一次展覽如他們在Para/Site和Asia Art Archive協辦的簡報一樣,「合作」這方面是令人相當失望的。 這一次展覽的創作方針是在展覽期內定期將作品放置於已劃分好的方格之中; 不斷加入展品, 意味著展覽一直在變化著。最後, 我們看到這次展覽的結果是: 三個電視播放著藝術家的視頻對話，兩件模型及盛載兩個模型的包裝，一組四張由 Vito Acconci Studio 負責撰寫, 配上虛擬影像的文案，一百二十多幅照片( […]
Edwin Lo reviewed Cedric Maridet's site-specific spatialized sound installatiopn at the Asia Art Archive, 2009.11 to 2010.05.
Yuejin Ho contemplates on his aural and visual experience in the urban space of Hong Kong and wonders if we should just fall numb to what could be oppressive to our senses. ...