Searching for tag: floating-projects-open-door
Home-making 3: visions of home & its making 間房要不要牆? 3 – 築室
10 artists on “home” and its ramifications on-site exhibition until 26 July 2019 | 2nd screening + forum: Saturday, 20 July 2019, 6:00-10:00pm 李偉盛 Shing Lee on home-making… 阿嫲走了，但陪她走過的加州陽光，還陪著我走 Granny left us, but the Californian sunshine that once accompanied her never left. about the artist… 香港獨立電影人。2011年於香港知專設計學院畢業。自從2014年他的首部作品入圍台灣南方影展後，便開始從事獨立電影製作。期後，他到采風電影和北京草場地深造紀錄片拍攝。在2016至2018年期間，他與中國獨立紀錄片研究會的合作，讓他得到更多製作獨立紀錄片的機會。近期，他透過香港大學的香港紀錄片拓展種子基金完成了作品《團團圓》，並獲得第二十四屆ifva獨立短片及影像媒體比賽金獎(公開組)。 Hong Kong independent filmmaker. Graduated from Hong Kong Design […]
Home-Making: do we need walls for our habitat? 間房要不要牆? – 日常飲像影食(3)
In “Home Making” (“Have a Balanced Diet” #3, 2019.07.12-26) FP member Ding Cheuk-laam and 14 other artists/researchers extend the quest for experimentation as a general attitude of life to home-making. What kind of habitats do we seek to create? How have we actually constructed our home via artistic imagination?「 間房要不要牆? 」是FP成員丁卓藍發起的《日常飲像影食》系列的第3部，連同14為創作和研究者繼續堅持實驗（性）作為一種整體的生活態度，並以房子這個熟悉而具體的日常空間為前題，看如何因著創作的行動，人的主體與媒體技術的互相啟發，「家」、房子就成了發聲運動的起點。
Linda Lai / We need less perfect but more free films 2019: why do they think videography matters?
「我們需要少些完美的電影，但需要多些自由的電影。」Jonas Mekas 這話道出了《微敘事 2019: 在這，仍在，現在》的的根底。” We need less perfect but more free films.” Jonas Mekas’s words articulate the ethos and pathos of “Micro Narrative 2019: Right Here, Left Now, Out There”…
Money Supply: 4 episodes 貨幣供應：四種座標
“Money Supply” 《貨幣供應》 a show by Yasmine Huang, opened on a quiet Saturday on 11 May, to explore how art and social criticism may work together. The opening gathered a dozen of spontaneous visitors who readily turned her concern into ramifications of many burning questions of art beyond politics. 《貨幣供應》在晴朗溫煦的週末黃昏開幕，黃安瀾的四組作品是她對藝術創作與息息相關的生活、經濟課題可以如何銜接的策問，由研究出發，招引到場的來訪者恰巧都興致勃勃，把眼前的作品打開，引發各種與創作有關的閒談。
YIP Kai-chun, Winnie Yan / Voices from “Nothing Can Come Closer” (2) 無法取得位置：弦音（二）
Individual works from “Nothing Can Come Closer”: Yip Kai-chun, Yan Wai-yin Winnie 《無法取得位置》作品逐個講：葉啟俊、忻慧妍
Voices from “Nothing Can Come Closer” (1) 無法取得位置：弦音（一）
Individual works from “Nothing Can Come Closer”: Lam Kin-choi, Wong Fuk-kuen《無法取得位置》作品逐個講：林建才、黃福權
MAN Mei-to / 思緒撩亂的季節：沿著這路來到「彼岸之地」Whither my thoughts flow, to “Distance of Space” …
／文美桃 manmeito | artist Man Mei-to traces the many strands of everyday living conjoining in her recent show at FP (Apr-May 2018), “Distance of Space.”
展覽 《彼岸之地》（2018.04.14-05.06），記錄著文美桃由讀書時期到畢業後三年這段時期的創作方向。展覽中沒有張狂的議題，沒有政治的走向，更沒有話語權的指向。一切都沒有指向的答案呈現給了觀眾。
Everlyn Char, Yang Yeung, Eddie Cheung / Distance of Space, Materialized bodily presence: visitors’ notes 訪者絮語:文美桃彼岸之地
Several visitors — Evelyn Char, Yang Yeung and Eddie Cheung — have preserved precious impressions for Man Mei-to’s recent 3-week solo show “the Distance of Space” at Floating Projects.
LAI Wai-leung / 3 Models 三個模型，三個時空。
Stock-taking at Floating Projects. Model-mania. Please insert. 據點打開門，點子上倉。模型經。偉師傅起頭，歡迎插入。
FPC members / 《吹脹．影像》繼續吹 “Expænsive Cinema”, keep blowing, keep expanding
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」…
