Category: Personally Speaking 私物語
發明你的字句，操練你的發聲，給未有名字的起個名，為碎片堆築一條路。Share it if we deserve it: thoughts on living and being, poetry, automatic writing… silences, speechlessness, noise, soundings… fragmentary thoughts in search of a path, elliptical sentiments, the unspeakable…
Ventriloquists 2021 / 09-Jacky Choi’s Generative Literature (the writing) 腹語系之九：蔡俊希《把迷戀說成夢》（下）
蔡俊希《把迷戀說成夢》。十個夢。十種心情。十種慾望。十種閱讀。Choi Chun Hei Jacky‘s ten successive rounds of automatic writing and subsequent modifications results in a readable work, in all of which the writer was strolling on the street alone at night, contemplating the mysteries of life — the complete series of the 10-dream series in Chinese…
Ventriloquists 2021 / 08-Jacky Choi’s Generative Literature (intro.) 腹語系之八：蔡俊希《把迷戀說成夢》（上）
蔡俊希《把迷戀說成夢》。十個夢。十種心情。十種慾望。Choi Chun Hei Jacky‘s Generative Literature project combines dream narrative based on his automatic writings. Ten successive rounds of automatic writing and subsequent modifications results in a readable work, in all of which the writer was strolling on the street alone at night, contemplating the mysteries of life.
Ventriloquists 2021 / 04-Complex Narrative Pictograms 腹語系之四：「圖像資訊分析」，繁複世界繁而不雜
Six more works from The Ventriloquists II exhibition (2021.08.18-09.13), shows two kinds of pictograms that interpret existing moving image works: those that unravel complexity, and those that detail the process, Sofya Anatova observes.
Ventriloquists 2021 / 03-Cut-up moving images: how I see the world 腹語系之三：「拼貼」，我這樣看世界
Collage and montage are well known genres in art, impregnated with subversion and revisionist intentions by playing with established cultural meanings; and the latter highlights not only clashes of images, but also juxtaposition, sequential ordering and more, calling our awareness to our existence as temporal and spatial beings. and art beyond making copies of our world. A few serious exercises of such intentions… 拼貼（單幅圖像）和蒙太奇方法有別，語法上、態度上、意識的探索上，都具創新的意向。拼貼顛覆文化符號的意義；蒙太奇說我們的存在是時間的存在、空間的存在以至創造。幾個有這種視野的小習作…
Ventriloquists 2021 / 02-Individual Perspectives 2 腹語系之二：個人故事個人觀點（下）
Sofya Antonova continues Flynn Hadre’s discovery of individual perspectives to introduce personal stories told with intense photographic intervention. 有些作品值得看，就因為它是作者的個人經歷和生活的過程。繼 Flynn Hadre 的介紹，Sofya Antonova 察看到攝影和活動影像語言的震撼力；聲影不單說故事，更開創了個人經驗。
Ventriloquists 2021 / 01-Individual Perspectives 腹語系之一：個人故事個人觀點（上）
With the subject “Individual Perspectives,” Flynn Hadre discovers his fellow classmates’ works in Ventriloquists 2021 that tell an artist’s personal stories. 有些作品值得看，就因為它是作者的個人經歷和生活的過程。Flynn Hadre 從36個同伴的作品中挑出了三個可細聽細看的故事。
Linda Lai / La Casa 3: The Apartments: moving, day-dreaming 房子一二三之三：搬家、夢遊（1996-2021）
La Casa 3: The Apartments records a series of apartments, from Manhattan to different parts of Hong Kong, where the artist and her partner took abode. A 18-minute exercise of the mind’s power to remember, from the most material to the unspeakable… 如何說自己的居所？只想為生活的內部節奏留些可歌可譜的痕跡，核心是白日的失神、晚間的夢魘、錯置、不明所以，走一步就是一步。作品，就在表達與木訥之間進行了一次18分鐘裹藏著的念力。
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。
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？
“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
