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」…
（中文版在英文版和作品介紹之後）
“Expænsive Cinema” opening 11 March 2017 through April at Floating Projects [ANNOUNCEMENT]
“Expænsive Cinema” spawned from a discussion among Floating Projects Collective artists on the notion of “Expanded Cinema”, a term first brought out during the mid-1960s to highlight the activation of spectators’ space, among other things. The neologism is meant to associate the exhibition with both the “expansive” and the “expensive”. The “expensive” here is a kind of tongue in cheek: all the works in this exhibition make use of inexpensive materials. As for the “expansive”, the curators have used the word with a sense of loss: how exactly should we continue to work on the idea of “expanded cinema”, now no longer an avant-garde notion, to create something that is fresh and new, something that we can call expansive?
The Chinese name of the exhibition, on the other hand, is metaphorical. Literally “blowing up cinema”, the idea is to treat cinema as a balloon into which different artists are blowing air and, as a result, keeping expanding without limit.
We want to “blow some air into the balloon” in this exhibition. But how do we know what counts as “air” and what doesn’t? How do we know if the balloon has been expanded? How do we know expansion is caused by what we breathe out? And at the end of the day, why do artists always desire a constant expansion of the boundary of a certain media? Or, the more fundamental question to ask is: what does Cinema mean to us?
The dynamics between the curator’s intention and the final creation of the artists is an interesting dialogue. At the initial stage, we gathered to talk about the basics of cinema: light, shadow, projection device, screen, image-making…(unfortunately there is no work dealing with sound this time).
Under an infinitely broad framework, nine Floating Projects Collective artists blow air in the balloon.
(Bill Tam, Hugo Yeung)
+ + + + +
Jess LAU Ching-wa 劉清華 / Dear Florence / projection on paper 紙上投影
A letter to whom it may concern: I was not sure what to put in for the application. Then I started to search my table-top in the studio for evidence of myself as an artist. 在擬寫申請書時腦袋一片空白，於是在工作室的桌面上尋找作為藝術家的證據。
Andio LAI Chung-man & Kel LOK Man-chung 黎仲民，駱敏聰/ mini cine 迷你影像裝置/ mixed media 混合媒介
The work is inspired by a mechanism found from toys which is capable of projecting frames of cartoon pictures. We examined this little machine and worked on possible transformations to modify it to carry our own images. The hacked projectors are a follow-up response to our previous collaboration in “Toy as Medium” exhibition as well as the idea of “(in)expensive cinema” generated in the FP discussions leading to this exhibition. The new product we have created could be an ideal screening device for artists in terms of its low cost and portability. The images loaded inside the apparatus on site are from Floating Projects Collective members and personal friends, specified on labels. 我們可盛載怎様的光景?這作品的靈感，源自卡通玩具投影機的內部結構。在我們創作在的過程中，研究如何把它轉化，變得可以載入我們自己的影像。部分意念來自我們上一次以玩具作媒介的合作，融合是次Bill和Hugo提供的”Expensive”電影意念。其流動性與成本之低，使它可能成為影像藝術家最理想的放映裝置。放映的片段來自據點．句點成員和友人，詳情請參看標示。
LAM Kin-choi 林建才 / untitled 無題 / Image, paint, time, screen, light 圖像、顏料、時間、銀幕、光
Manually delete the background frame-by-frame of the video clips selected… Like fragmented images recurring in our mind, as the background of each image gradually fades out, only the people and their movement stays, never to be expunged from memory. 人手將每一格影片的背景刪掉然後重組。重複出現在腦海的片段，背景會漸漸變得模糊，只留下人和動作，像消失久遠的記憶。
LEE Kai-chung 李繼忠 / Front Window 前窗/ Single channel video | color | no sound | 16:9 | 06’10” 單頻錄像 | 彩色 | 無聲 | 16:9 | 6’10”
The community, in which I grew up and live ever since I was born, is part of a massive redevelopment program launched by Urban Renewal Authority, which commanded buildings 50 years of age or older to be “redeveloped”. A couple of residential buildings were demolished and rebuilt in the past 2 years. The new building next to my apartment is a typical skyscraper, which completely blocks the scenery outside my bedroom window. I have never felt so close to other households as our building and the new one are only six meters away from each other. The new property was just released for sale three months ago, yet nobody moved in so far. The property developer nonetheless keeps the lights on through the night to deliver a “warm and lively feeling of an ideal home”. I want to explore the notion of space and intimacy in this video project. The video sequence was filmed with different lens from surveillance cameras.
兩年前，市區重建局在我自小成長及居住的社區推行了大型重建發展項目；不少樓齡超過50年的住宅都會被收購、折卸然後重建。在我居住的大廈旁邊，新建成了一幢典型高層小型豪宅，正好把我睡房窗外的風景完全摭擋 。我從來未感受過我的私人空間可以跟另一個陌生家庭如此到接近，因為兩幢大廈距離不多於六米。三個月前新建住宅正式推出售賣，但目前為止大部分單位仍然空置；因此，發展商為了營造「溫暖的家」的感覺，晚上都會開著房間的燈。我希望透過作品探討空間和私密的問題。錄像由不同監視攝像機鏡頭所拍攝而成。
Bill TAM Wing-bill 譚永標 /Fan TV 有扇電視 / Living fan, projector, projector screen cut into fan blade shape 座地電風扇、投映機、投映幕(剪成扇葉形狀)
Projecting on a functioning live fan has a lot of problems, such as the stability of the image and what to do with the motor occupying the central space of the fan. What if these are not problems but characteristics? Here I have created a special screen with its own moving-image selection mechanism, one that seeks to assert violence on to stable images. 把影像投映在電風扇有不少問題，例如影像震動、斷裂、中間的摩打軸心更佔據了畫面的中心等等。若不把這些問題當成是問題，而是特性，其實它在篩選影像。強烈地，主動地影響影像。
Hugo YEUNG Ming-him 楊鳴謙 / F(K) / Algorithmic computer programme 電腦演算程式
void Fourier analysis ( ) {
Kuleshov effect ( );
}
// 傅立葉 // 分析 // 蒙太奇
WONG Fuk-kuen黃福權 /not not present 不不在/Light, shadow, marbles光、影、波子
between presence and absence…
you are always here even without a definite shape…
we are marking your shadow no matter how briefly it casts itself the wall…
無論在不在你還在
我們永遠刻畫著暫時的影子
Winnie YAN Wai-yin 忻慧妍 / i met that stranger few years ago 他們說：我將逐漸淡忘一切 / Pencil on transparent slide, acrylic sheet, motor, light bulb 鉛筆、透明膠片、亞克力板、摩打、燈泡
They say, “All things will soon drift away from me.” I traced several pieces of my diaries and an unsent letter on a slide with a pencil. The machine staggers, crisscrosses, and scrapes the slide. The trace smears. Words from the past become images at the moment, a temporary scenery, the brittle memory towards this relation. 他們說：「我將逐漸淡忘一切。」 我運用鉛筆，把幾篇日記和一封仍未寄出的信件複印在膠片上，機器把膠片拖拉，交錯，重疊，摩擦，模糊，把屬於過往的文字化作當下的影像，化作一剎那的風景，猶如對這段關係的回憶。
＋ ＋ ＋ ＋
是的，用上「吹脹」一詞是以嘩眾取寵的方式來試著吸引你的注意。
Bill Tam譚永標: “Fan TV 有扇電視”
這個展覽的種子是Expanded Cinema，從這粒種子分叉聯想出Expansive和Expensive cinema詞作為展覽的主題。對於Expensive，策展人想說的其實是反話：以廉價材料完成作品而自稱Expensive；對於Expansive，則有一些灰心：如何在Expanded Cinema這個不再「前衛」的主題中創造嶄新的、稱得上Expansive的Cinema？最後，以此玩一個文字遊戲結合兩個英文詞：Expænsive Cinema就成為展覽的英文名。
至於展覽的中文名稱，曾經嘗試過用「拓展影像」試著翻譯Expanded Cinema，最後決定使用的「吹脹影像」，其實是一個比喻式的想像：將影像這個概念想像成為一個氣球，不少藝術家都努力把它吹脹，甚至脹至無限寬闊的概念。
我們這次展覽，也想來吹一吹Cinema這個氣球。但如何才算向氣球吹了氣？如何得知氣球已脹呢？或者氣球是被我們吹脹的呢？藝術家們為什麼總是想將媒介的概念、邊界不斷擴大？或者應先回答更根本的問題，我們為何需要Cinema？
策展人與藝術家的關係微妙。策展人固然有自己的主觀意願，但藝術家最終創造出什麼，使兩者的互動成為一個有趣的對話過程？在創作初期的會面後，我們討論了Cinema的各個基本元素 － 光影、投映機器、銀幕、成像過程⋯⋯（按：有點遺憾這次並沒有作品觸及聲音）
是的，框架很寬闊，收獲也很不同。9位「據點・句點」的藝術家，繼續吹… …
（譚永標、楊鳴謙）
