日常飲像影食3 :「 間房要不要牆? 」
Have a Balanced Diet 3: Home Making
WHEN? | 2019.07.12 -2019.07.26 (except Mondays) 2:00-8:00pm
WHERE | 據點。句點 Floating Projects ,
九龍石硤尾白田街30號 賽馬會創意藝術中心 (JCCAC) L3-06D, Jockey Club Creative Arts Centre, 30 Pak Tin St, Shek Kip Mei
Screening + forum […] | 2019.07.12 6:30-10:30 | 2019.07.20 6:00-9:30pm
On-Site Installations
|| 梁嘉文 Leung Ka-man | 《2019年6月,工作室的靜物畫》 Still life of our studio, June 2019
鉛筆, 木顏色筆, 紙本 x 6 Pencil ,6 pieces , colour pencil on paper
物體的痕跡和位置揭示了我們怎樣生活著，我試著凝視這些日常瑣碎，製作一幅幅靜物畫。
The traces and positions of the objects reveal how we lived. I try to gaze at these daily trivialities and make some still life drawings.
|| 丁卓藍 Ding Cheuk-laam | 《如在夢》Dream Life Right Now (2019)
布料燙印 , 紙本打印 , 尺寸不一 , Printing on fabrics and paper , variable size
我收集了不同人在家裡/自處時寫的文字。有完成/未完成，鎖碎/完整的 , 跟別人說話的/絮絮私語的 , 而造成各種小故事 / 片段 / 畫面 / 狀態 , 而這些在僅餘私密又公開的空間四竄丶 停留丶離去 或是擴散。我把他們印在布料和紙本上 。
「如在夢」一詞出自友人口中。一天她在問:「你覺吾覺得自己如在夢？」
I collected different people’s texts from when they were at home or alone. Whether finished or in progress, complete or in scraps, conversational or introspective. All these kinds of stories, clips, images and situations are now scurrying, lingering, leaving, proliferating in your space; private and yet often public. I printed them on fabrics and papers.
“As if in a dream,” a friend once said. One day she asked,” Do you feel yourself as if in a dream?”
|| 黃慧心 Winsome Wong | 《嫲嫲爺爺》
Mahmah and Yeye’s Portrait (Grandma and Grandpa’s Portrait) (2018)
“C-type hand prints in wooden frame”
|| 黃慧心 Winsome Wong |《晏晝》Afternoons (2018)
Two-channels video installation 雙頻道錄像裝置
小學之後不再與爺爺嫲嫲同住，嫲嫲也搬到老人院，隨著身體越漸衰弱也越來越少回家。有時探望他們，嫲嫲也在家的話，就享受在舊居百無聊賴，主要是嫲嫲說話、重複著話題的下午。 有時就分開探望老人院的嫲嫲，和住在附近但也不太方便走太遠路探望嫲嫲的爺爺。
2016 做了作品的第一部份，記錄了在爺爺家的一個下午，和與爺爺嫲嫲不同時候在老人院和舊居的對話，那時並沒有仔細分析那些對話。2019年偶爾有一晚回看這段影片，同樣沒有怎麼分析對話內容，就是很舒服的聽著嫲嫲的聲音，像收音機一樣。我於是決定再回顧一遍，加上嫲嫲過世後的一些下午的片段，好好認真紀錄一遍。
I don’t live with my grandparents anymore since I graduated from primary school. And my grandma has moved to the home for the aged since then, as her physical condition got weaker and weaker, she stayed home less frequent. Sometimes when I visited them, if grandma was also there, we would spend an afternoon basically doing nothing much, mainly with my grandma talking, repeating similar topics. Sometimes I would visit them separately, I would first visit grandma at the home for the aged, and then grandpa, who lives near by but would be difficult for him to walk too far to visit grandma, or maybe vice versa.
In 2016, I made the first part of the video, recording one afternoon in grandpa’s home, and the conversations of different times at grandpa’s home and the home for the aged. At that time, I didn’t intend to analyse the conversations in detail. Then in 2019, I occasionally watched the video again one night, I still didn’t pay much attention to the content of the conversations, I was just listening to grandma’s voice comfortably like listening to the radio. Then, I decided to go through it once again, together with the afternoon moments after my grandma passed away, to take it serious and record what were once being said.
|| 張子木 Zhang Zimu , Diana Pacheco Lagutienko | Flora spontaneus (2019)
print on paper from water color and pencil sketch, light box installation| with help from Olga Lagoutenko
自然生長的植物，紙本打印，水彩、鉛筆速寫，燈箱裝置，Olga Lagoutenko 輔助製作
|| 張子木 Zhang Zimu , Diana Pacheco Lagutienko | Impresiones Palmar (2019)
print on paper from water color and pencil sketch, light box installation | with help from Olga Lagoutenko
棕櫚樹之地印象，紙本打印，水彩、鉛筆速寫，燈箱裝置，Olga Lagoutenko 輔助製作
|| 張子木 Zhang Zimu , Diana Pacheco Lagutienko | 《一個島嶼的降生》 Birth of an island (2019)
時長未定| 16:9| 彩色 | 有聲 duration not defined yet | 16:9 | color | sound
瓜亞基爾，是厄瓜多爾的主要港口也是人口最密集的城市，是在一片沼澤之中建立起來的，如今仍有很多水流從各個方向匯集於此。由於快速的經濟增長，那些環繞和侵入城市的水流——形成河流，江口，紅樹林之後變得污濁，骯髒和混亂。它們被用作商業的驅動但同時也被城市居住者們遺忘，排除在外。在當代瓜亞基爾，這些水流和邊緣化相聯繫。邊緣，儘管如此，卻仍是一個間質的空間, 可以從中收集城市的文化奇點。
在瓜亞基爾現代化的同時，一些建築地域興建起來，周遭的紅樹林被轉化成養蝦場。而與此同時，在城市裏最重要的一條河流裡，從泥土的沈積中，一點一點，一座小島形成了。這座島，目前已有中等大小，被叫做“棕櫚樹之地 ”（但瓜亞基爾其實並沒有棕櫚樹），它的管轄權仍不明。
在寫給中國友人的一封信裡，我想像這座島嶼和某種另類的家：一個無法避免和城市發生關係的空間，但是遠離它狂躁的節奏，一個不穩定的允許記憶從沈澱中不斷建構的空間。通過這個研究項目，我將收集可以讓我使用數據和記憶來繪製這個島嶼的檔案資料。我建議以想像力的殖民來代替物理性的侵入，以此來重新想像和城市的關係。
Guayaquil, the main port and most populated Ecuadorian city, was built on a swamp and receives water from many directions. Due to fast economic growth, the waters that surround and invade the city – rivers, estuaries and mangroves – have become stagnant, dirty and turbid. They are used as a commercial engine but at the same time, forgotten and excluded by the city dwellers. In contemporary Guayaquil, these waters are connected with the idea of marginality. The marginal, nonetheless, is an interstitial space in which it is possible to collect, as sediment, cultural singularities of the city.
While Guayaquil was modernized, several building areas were built and the mangroves in its surroundings transformed into shrimp pools. Meanwhile, from the sediments of mud, little by little, a small island materialized in the most important river in the city. The island, now middling in size, was called “El Palmar”(despite us not having palm trees in Guayaquil), and its jurisdiction is not defined.
In a letter to a friend in China, I imagine this island as my alternative home: a space inevitably linked to the city but distant from its frenetic rhythm, an unstable space which allows building up sedimentary memories. In this research project, I collect archive pieces that allow me
Chen Jialu: Women’s Distance (2019)
|| 陳嘉璐 Chen Jialu | 《看似無害》 Seemingly Harmless (2018)
8’33” |16:9 | color | sound | “Two-channels video installation 雙頻道錄像裝置”
紀錄日常與觀看素材形成了反覆的觀察和被觀察。反覆是辨認訊息的其中一種方法，身體經驗和行動的主體需要被辨認。我不斷地去選擇及辨認身邊環境的訊息和人與人的關係，確認話語及行動的主體。
從觀察母女的相處到自我觀察，媽媽接受被觀察的原因可能只是為了獲得與女兒對話的機會，而我是為了再次辨認所受到的教育，包括家庭的，知識的，愛人朋友的和經歷的。這些痕跡是如何流到我的身體裡。這個過程給予我抽離的角度，不只是關於女兒與家庭的，還關於個人歷史和社會的。
Recording daily life and watching playback as view and review. This repeated journey is a method to recognize the information around me. The subject of experience and action needs to be identified. I choose information within environment and persons, and identify the relation between them, confirming the subject of actions and discourse.The observation shifted from me and my mother to self observation. Mother accepted to be observed as it allowed for communication with the daughter. What I expected from this act was to recognize the education that I have ever accepted, from family, knowledge, friends and lovers, as well as experiences. It is about how those traces flowed to me, and left marks on my body. The process gave me a distanced perspective, not only about daughter and family, but also about personal history and society.
Processed with VSCO with b5 preset
|| 朱彥龢 (龢wo4) Brian Chu Yin-wo | 聲音表演 (12/7/2019) 和 錄像聲音表演 – 朱彥龢 , 黃頌恩 (20/7/2019)
Sound Performance(12/7/2019) – Brian Chu; Video Sound Performance (20/7/2019): Brian Chu, Wong Chung Yan
長年累月、重複不斷的生活會使人對處境麻木。感知力退卻，聽覺在不知不覺間消音，關閉。只剩下腦裡喃嘸的思緒、城市頻密的視覺刺激、關系裡的持續執著與挫折。
問題
關於
如何聆聽空間的聲音
如何解讀聲音的節奏
如何重拾或重塑事物與聲響的連繫
如何打開視覺印象以外的範圍與想像
何為
感受性
何為聆聽
環境 / 我與環境 / 物與我 / 人與空間 / 我 與人
Years after years of repetitive life turns people numb towards situations. Sensibilities fade. Auditory sense is unconsciously muted and shut out. What remains in your brain are the mumbling thoughts and emotions, rapid and intense visual impacts from the city, perseverance and failure within relationships.
The questions
are about
How to listen to spatial sound
How to interpret the rhythm of sound
How to reconnect, or reshape the connection with sound
How to open up the field beyond visual boundaries and imagination
What are
Qualia
How to listen between
environment/ me and environment/ objects and me/ me, and the others
Related post:
Screening program […]
General announcement + Curatorial Notes […]
