Searching for tag: floating-projects-open-door
Michael Leung / An Impossible Exhibition 駐場延伸：相遇於小誌締造可能性
Michael Leung’s “Publishing (to Find Each Other)” grows on-site through his month-long residency as he fills Floating Projects week by week with his 8-year collection and documented encounters. 駐場的一個月是片諾大的空間。梁志剛的小誌、社關活動和理念研究逐一冒現，把一個不可能的、長達八年的相遇與關係網絡的展陳、聚會變得可能。
Michael Leung, Linda Lai / Publishing (to find each other) <-- ... --> (Publishing) To Find Each Other, A hybrid trajectory
In this show, Michael Leung’s zine publishing proliferates into a hybrid event — from storytelling, zine workshops, and ad hoc planting of new material during the month. 因書仔而相遇協作。30天的展場進駐，梁志剛把小誌出版打開，變為多源匯集的跨界分享，知己知彼。
Chin-yin Chong / 因歌而鳴 The bird sings, for it has a song
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.
Andio Lai / Analog Tapes and Digital Files: A U D I O_ a pop-up exhibition 錄音帶和數碼檔案:《音》，一個即興展
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?
FPC / Return Flight: MEL<---->HKG, after a year, the making of…
FPC members participated in an cross-ocean exchange of image and text with artists in Melbourne as the third and final episode of Elizaveta Maltseva’s curatorial project, in collaboration with the Melbourne-based literary journal Going Down Swinging. One year has passed since the show Return Flight: MEL <---->HKG met the public in Melbourne (August) and Hong Kong (September) respectively. This short video looks back on our exchange conversation. 《回程機：墨爾本<---->香港》18個兩地創作人的圖文交流轉眼已是一年前的事。存留的檔案為我們抓住了一些神髓。
Andy Li / Be Right Back To Where You’ve Left (a solo show). 那天會回到你那邊 (李新傑個展)
Photography is an event that honors relationship, an event whereby techniques, concepts and sentiments come together. This exhibition exploring portraiture will mark the end of a phase of artistic pursuit, says artist Andy Li. The show does assert technology’s impact on the materiality of imaging, which will be the artist’s next phase of endeavors. 這個展覽，多層次的彰顯了攝影（藝術）是關係的實踐，「人像」是理念情感技術心思的總體行動，攝影是藝術行動，並不為漂亮影像的生產或形式而存在。這個個展也是一個階段的句號。李新傑面向未來，希望繼續他對「影像的物質性」的好奇為研究性創作的核心，影像是開放的實驗結果，未可知的成果展示，由自創造影像的機器開始。（黎肖嫻，於「據點。句點」群體8月23日交流之後）
The Ventriloquists 20. A narrative pictogram for Red Balloon 《紅氣球》解放路線圖
The pictograms for this 101 moving image classic show more than just the exemplary precision of continuity editing and a classical 3-act structure in plotting. These pictograms function as analytical tools to show how the intensifying bond between the boy and the balloon evolves; to superimpose the 1955-56 location of the film Red Balloon onto the contemporary map of Paris, … and to single out the swerving energies and roughening emotions of the story world in mood-board like representation.《紅氣球》是學過活動影像拍攝的入門經典，或許是這樣，我們可能錯過了敘事藝術上的微細質感。氣球於小孩的動人關係不用質疑了，可是甚麼叫我們感動？這裡四個圖形分析，從唯物的層面揭示創作者的藝術心思，著我們不再輕易走漏眼。
The Ventriloquists 19. on nonsense in Svankmajer’s Jabberwocky (1971) by Steven Tsang 有關「物件」的動畫，打開怪趣無釐頭之門，打開文明歷史規範的一些「真相」
An assembly line of human figures grinding human figures for food, dolls feed dolls, doll eats dolls. Ironing, flattering, being dressed, being cut up, being tamed… Beyond Svankmajer’s dramatization of carnivorous acts, Steven Tsang sees the politics of nonsense, which the animator structured against the paradigm of human civilization. The animator wants us to see differently, and asks a different sort of questions in following a narrative unique to his use of stop-motion animation. 看到喂小娃娃的大娃娃就知道是女的，看到舞動的水手裝就自動知道是男的。再看下去，人吃人，有血有肉的黑貓時不時推倒積木，一面是歷史砌圖，另一面是迷宮的路線…最終，它被鎖在籠裏動彈不得。屋子裡一個「人」也沒有，卻充滿了人類的活動。物件長年累月吸收了人類強加它們身上的「用途」、「價值」，也穿背著人類的規範，像鬼魅的模仿著我們的「正常」活動。曾俊良看到歷史、文明、性別的社會結構。能看到，因為看穿了動畫大師史文梅耶以物件為本的獨特敘事結構和跨媒想像。
The Ventriloquists 18. Love Earth in 3 photographs 愛地球？三段循環。
A set of 3 black-and-white photographs on light-boxes speaks of Harmanjeet Singh’s warning on our destruction of the world. It’s a closed circuit, the looping of disasters: personal life-style, environmental pollution, illness and viral infection, extinction of the species, the world’s future… at Ventriloquists…Thinking narratively, 4-19 July 2020. 三張黑白照，串通個人、環境、體內、疾病、地球的未來。因與果是循環。
The Ventriloquists 17. Narrative pictograms for 2 animation pictures: Use Instructions, The Streets 動畫敘事掩眼法。兩個例子。
Caroline Leaf’s The Street shows montage at work by abolishing the shot-to-shot editing system of continuity. Guido Manuli’s Use Instructions is a series of synecdoche through which we are dragged down to hell to the final destruction of Earth. Both animation pictures play with the 3-act structure dramatic conventions. Two narrative pictograms augment what is just beneath the surface of pleasing imaging. 動畫的敘事法花枝招展，起承轉合是借用觀眾熟識的架構安置觀眾，看真是掩眼法。《街道》以水彩的流動取締了傳統分鏡的敘事法，鏡頭接合的文法銷毀，蒙太奇的效果卻豐盈漲滿，記憶的行動成了一場戲。《用家指南》的舉寓令人捧腹大笑，狂笑後往未來看，是希望的滅絕，地球成了渣滓糞便，是誰開始的超級玩笑？
