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The Ventriloquists 06. From Dreamwork to Dream Narrative, 6 videos 夢境。夢作業。夢作為敘事法。夢作為藝術語言。
Five Ventriloquists artists show their dreamwork created with their own audio-visual language. It all lies in the crevices, fractures and gaps between shots, between locations, between actions… 夢作業是人存在的無形證據，實在處在夢象與夢象之間，在夾縫中，在虛處，在結合之間的斷裂處，是眾數的斷層。《腹語系》創作者也參與構築夢的敘事語法。
The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像
The Hand comes in from everywhere. It interrupts, commands, dominates…; it is omnipresent, irresistible, almighty, dressed and decorated nonetheless mercilessly brutal.. Such is the condition of an artist who wakes up one morning to find his normal routine totally ruled invalid. 木偶藝術小子一覺醒來，伸伸懶腰又期待著新一天的開始。怎知道一夜間世界變透了。一隻無名的手，由溫柔禮待到強權粗暴，無處不在，無孔不入。
The Ventriloquists 04. Thought paths inside the Theatre Box, 12 montage sequences 十二串個性不同的思緒共享一個微型的小黑盒劇場，各有嗓音，合起來是洪流。
Twelve personal thought paths share the same space within a theatre box, each a unique stream of murmurs, together a torrent of existential quests. 十二串個性不同的思緒共享一個微型的小黑盒劇場，各有嗓音，合起來是洪流。態度的堅持，存在的疑問，主體的尋溯，無名渴求，生老病死。
The Ventriloquists 03. On Švankmajer’s Jabberwocky (1971) by Harmanjeet Singh 「物件」變「東西」。現在進行式傳真。定格動畫。
On the eve of The Ventriloquists’ physical opening, … Adapting Ben Hjorth’s “Philosophies of Non-sense: Jan Svankmajer’s Jabberwocky”; Senses of Cinema, issue 71, 2014, Harmanjeet Singh pays special attention to Švankmajer’s object play.
The Ventriloquists 02. We open. We speak. Do you hear? first 5 works 門半開啟。有話想說。五個作品門外恭候。
Technically, spatially and conceptually, “The Ventriloquists…Thinking Narratively” looks like this… Here’s the introduction of the first FIVE works in the corridor outside Floating Projects. 《腹語系》先介紹據點門前長廊的5件作品。往後續一介紹。
The Ventriloquists 01. Description as Storytelling…ask the objects, by Jake Wong 死物不死：描述也是敘述（黃汛一）
“The Ventriloquists…Thinking Narratively” (4-17 July 2020), begins with the on-line version of Jake Wong’s response to generative literature. | Generative Art –> Creative writing –> A story “generated” by surroundings –> “the window, the door, the cobble and the knife” | To Jake, what he offers is a framework — an initial state of a writing game that is endless with infinite iterations as long as we keep writing. Welcome to join. 《腹語系。微敘思考》啟動的第一個作品是創作性的文字。作者黃汛一的思路如下：衍生性藝術 –> 創作性文字 –> 一個因環境而衍生的故事 –> 「窗。門。卵石。刀。」| 黃汛一說與其說這是完整的作品，不如把它看成一個寫作方法的種子示範，為誘更多的迭代，寫之不盡。
Linda Lai / Reading RAQS Media Collective: Manifesto 2 artists inspired: to be an artist by night? 「錄像宣言」的延伸閱讀：藝術勞工的景況：做個夜更的藝術家？
兩位參與「錄像宣言2」計劃的藝術家，在工作坊裡分享了一篇感動過他們的文章 — RAQS Media Collective 的 Monica Narula 於 2012年寫的「如何做夜更的藝術家：藝術學院 [給21世紀的提案]」。為了快點分享給更多的藝術創作者，黎肖嫻以局部引述和中文翻譯去展示，並加以短論，望引來更多討論。Two Manifesto 2 artists share an article of impact on them in an artist’s workshop session — “How to be an artist by night. Art School (Propositions for the 21st Century)” written in 2012, by RAQS Media Collective’s Monica Narula. A series of selected quotes from the piece was assembled by Linda Lai here with Chinese translation and a short commentary.
Manifesto 2 team / Documentary impulses: what to remember, how to remember (1) 紀錄的衝動：如何記住，記憶的實作（一）
Manifesto 2 artists have started to meet on-line to examine the what, why and how of their videographic practices as ways to remember. This is the first of a series to report on the artists’ conversations. We kick off with team-members’ words from Linda Lai, Winsome Wong and Elaine Wong on how they envision the project. 「錄像宣言2」的創作者的在線對話已經啟動，將在此園地陸續發表。首先，團隊成員的其中三位 – 黎肖嫻、黃慧心、黃淑賢 — 先來道出這次計劃點滴心思與憧憬。
Verina Gfader / Neighbourhoods & Aliens 鄰舍。陌路人。
The world is waiting to be animated.
Phantom Horizons 幻地平線
Visual abstraction opens up more worlds: Reality appears to shimmer through the layers of its decomposition…
