Toy Warehouse! Neighborhood & Archive Fever in childhood dream
打造玩具城！童夢空間內的鄰坊性、檔案熱
ASTROJOKE
推開Floating Projects玻璃門，縮細！我成了史迪仔。身邊的San Fancisco模型變成電視機斑爛、Pokémon卡、彈珠人檯、DIY turntable、軍事模型。。眼前一亮，一陣孩童的喜悅！<Play Time>(1967)的視覺，玩具小馬在地上旋動的機器聲；引導好奇眼睛穿梭，空間裡擬制好的編鋪。
Gently pushing the transparent glass door, shrinking, I have become Stitich from Lilo and Stitch. Those San Francisco blocks I sat in have become beaming television, Pokémon cards, pinball machine table, DIY turntable, battlefield miniature... Thrilling, homecoming of my childish self. Along with the sight of Play Time (1967), a toy horse spinning on the floor with mechanical ticking noise, drawing my blinking eyes through the arranged orderliness in the space.
乍看展場，就能感受到是一個由相似喜好、美學策略的群體，以各人不同回憶、經驗疊加出來的空間。順移到近門的桌，是福權將Pokémon卡改良後的<Balance of Power>。他曾是Pokémon卡2005年夏季聯賽冠軍，將生命經驗中對遊戲檔案的體悟拆解再重構。他希望「大家落場玩時，都是百花齊放，而且配搭無窮無盡，沒有固定的主流組合，每隻精靈也有它在遊戲中獨有的位置」手繪的卡簿是被重新設計的精靈：被官方删除掉的屬性重現，加上雙屬性系統和新的特殊狀態，跳出初代151隻的界限。召喚者對遊戲的舊歷史/規則和自身記憶進行篩選、重組，在新與舊的交替中進行考古式的深掘，最終以新的檔案呈現規則下隱含的權力痕跡，為檔案化。
Taking a peek at the exhibition… It gathered a group of like minds with analogous aesthetics, layered with each’s memories and experiences. Approaching the desk by the side of the entrance, that is Wong Fuk-kuen’s resolved version of Pokémon cards “Balance of Power”. Fuk-kuen is the champion of 2005 Summer Pokémon Card Game, he deconstructed and reconstructed his understanding towards the game through his life experience. He hopes that "when people come to play, their own distinct style could be recognized. Combinations in the game are endless with no fixed-mainstream combination, each Pokémon has its own unique position in the game." The hand-drawn card album holds a collective of redesigned Pokémons. Attributes on Pokémons that were deleted by the company returned, coupled with the dual attribute system and new Special Conditions, breaking through the limits of first generation’s 151 Pokémon. Summoners get to select and reform the history, rules and their own encounters in the game, digging in the interchange of new and old, and finally formatted in a new form to reveal the traces of power hidden under the rules.
更新舊的檔案，並不代表會謀殺檔案的原初屬性，而是還原精靈（德希達口中的檔案幽靈）的所有屬性。現在官方的拳擊系包括了拳擊、地面和岩石，本來獨立的屬性放一起令奇怪的現象發生：岩系的滾動岩無法剋制飛行系，因為它同時是拳擊系。為此福權釋放原有的屬性相向關系，由8個系變成18個系。去中心化後，再為精靈的原屬性增添本來沒有的特質：「急凍鳥跟水系出的招沒分別，我為它設計魔法式的防守如令敵方不能進化和不夠energy打」。創造新系統時，福權把精靈依附在一個特定打鬥場景、新舊系統相撞下產生的異化情形中。新規則需要有舊規則做根基去做改革，不是由無生有的新規則，而是往返新舊檔案，由某一特異強度向另一強度的跨越
。一邊逆向檔案權力本身，一邊朝向精靈的新模樣。而整個手繪卡簿（檔案）就是以新精靈（未來）開啟通往原屬性（過去）的路。
Updating the cards does not mean killing the original attributes of them, but exposing the entire attribute of the Pokémon (Archived Ghost). The official Fighting-type is now including Fighting, Ground and Rock type. When the originally independent attributes are put together, a magical phenomenon results: Golem, which is a Rock type Pokémon cannot restrain the Flying-type anymore as it is a Fighting-type at the same time. Thus, Fuk-kuen releases the original type matchup relationship, from the 8 types to 18 types. After the decentralization, he added new properties on Pokémons’ original attributes: "Articuno’s moves are no different from the Water-type moves so I designed a magical defense for it to prevent enemies from evolving and to not have enough energy to attack." When creating a new system, Fuk-kuen attached Pokémons to a specific fighting scene; an alienated scene caused by the collision of the old and new systems. Reform of new rules have to be based on existing rules. New rules should not be set up from nowhere, but to get back to the existing files, then leap forward from one specific degree of power to another, backed up by the power of documents while facing the new format of Pokémon. The whole hand-drawn card album (document) is the opening up of the original attributes (the past) by evolving the existing Pokémon (the future).
從2016年走到2024年，玩具媒介成員在同一個空間生產他們各自的「童夢空間」。舊的模型、彈珠檯「置疊」新的形狀，當中夾雜著他們長大成人所累積的資源和經驗，呈現眼前新的展場路線。彈珠檯的新物料、聲音車房的新載客、塑膠說歷史的新時間線、電視機的新舊曲；是以新的載體（3D Printing、模型、玩具）、表演者推動、空間易位的過程去建構新的鄰坊(neighborhood)。2024年的彈珠人由新舊面孔發動，洛托絲車車撞上了新的航線，觀眾越過椅子射槍踩中了玩具小馬。在這個特定處境下的共同體，令Floating Projects出現了新的實存形式。
From 2016 to 2024, members of Toys as Medium produced each of their “dreamscape” in the same space. Aged figures, the pinball machine table “assemblage” into new forms, blended in with the materials and experiences they have accumulated as adults, a new exhibition orderliness is presented in front of visitors. New materials in the pinball machine, new passengers in the sound garage, a new timeline of history told by thermoplastic polymers, new and old songs in the TV; all planted new carriers (3D printing, figures, toys), performers’ motions, and the process of spatial translocation to construct a new neighborhood. In 2024, B-Damans are activated with new and old faces, Nostos is collided with a new grand line, and the audience trespassed chairs to shoot yet stepped on the toy pony. This community in this specific setting gave Floating Projects a new form of existing.
11/1/2024 -9/2/2024
Toy As Medium 3 ｜玩具媒介 3
