Searching for tag: fp1-0
Dorothy Wong / 站在「錄像宣言一」與「錄像宣言二」的邊界上：族群參與改變了創作座標 Crossing the Border: videography re-oriented since community engagement
2018-2019年，黃加頌以 art collective o!sland成員的身份參與台灣森人藝駐計劃，到台灣太魯閤族的社區生活，後被鳳甲美術館邀請到台北北投社進行關於平埔族的計劃。黃加頌為「錄像宣言一」（2018）的策劃成員之一。她道出創作歷程上的改變：「2016－2017 錄像和影像為技巧訓練、自我察覺、從遙遠處觀看世界的練習。2017－2019 錄像為與他人、社區和世界連結的觀看點、載體和回應。」Dorothy Wong’s artist’s residency with Taiwan’s mountain communities changed her relation with videography.
Linda Lai / Code Name “Micro Narratives”: initiations into our Manifestos 行動代號「微敘事」。宣言的啟動。
An epilogue written on 22 June 2018 by Linda Lai for Videography. Micro Narratives. Temporal Beings. Our Manifesto / 2018]***黎肖嫻為《我們的錄像宣言》（2018）寫於2018年6月22日的「結語」。
FPC members / Let me see if I can put it in words: between FP 1.0 and FP 2.0 總有一點想法：「據點。句點」1.0 與 2.0 之間
Here we have recorded thoughts that could only be preserved and shared in words, from FPC members, including those just arriving and departing, between FP 1.0 and FP 2.0. 「據點。句點」1.0 與 2.0 之間，新成員、舊成員、離開了的成員，都用上了時間去勾畫這片據點。
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。
LAI Wai-leung / 從2.0回望 An insider taking on an outsider’s retrospective glance at FP 1.0 from FP 2.0
FP insider Wai-leung Lai (FP writer) takes an outsider’s view on the 3-year FP 1.0 at Wong Chuk Hang. 據點作者黎偉亮用局中人的局外視點輕輕的回看在黃竹坑的「據點 」第一個三年。
Winnie Yan / Document as medium, archive as structural framework 檔案作為一個媒介 | 檔案庫作為一個架構: 李繼忠韓國藝術駐場研究之旅
A visit to Gwangju Biennale alerted FPC member Lee Kai-chung to the possibilities of doing an artist’s residency in Seoul to study archiving practices for art, which he did and shared upon his return to HK in “Can’t Live Without.” 「這次駐場計劃是基於第一次在光州雙年展後到訪過MMCA作資料搜集的經驗出發的。那時其實並不知道有駐場計劃可以申請，只是純屬對一個藝術館的好奇…」
First exposure to 16mm shooting 初嘗16米釐
On 22 July 2017, seven FPC members and friends participated in Richard Tuohy and Dianna Barrie’s 16mm workshop with two Bolex cameras. Using “reverse printing” method, we were able to “develop” two rolls of films made in the Shamshuipo neighborhood the same day and view the outcome at the end of the day with great excitement. […]
FPC members, Wong Chun-hoi / 計劃聚集記錄 Record of ensemble-plan
《計劃聚集》為「據點。句點」的原生遊戲系列《黃竹坑聚疊》。句點藝術群體會在區內拾遺，不加思索地處理著現成物料，推斷著現成/被棄物的物理性，可衍生的下一步，聚疊遊戲後又衍生即興演出《據點空間壓力測試》系列。是次據點聚疊這空間「變形蟲」外遊來到了台北的非常廟藝文空間。王鎮海作了詳盡的記述。Wong Chun-hoi, FP’s Artistic Engineer, keeps a dense record of the process of staging FP’s Assemblage game in a gallery in Taipei.
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」…
Samson Cheung /「曝光」之下 — 演後感 Notes on performing “Under Exposure”
「相片沉了藥水後從一將白紙慢慢顯影。」這就是「曝光」。張才生就個人展覽 《從觀看說起》 及閉幕演出《「曝光」之下》給自己作了一點記錄。Artist Samson Cheung reflects on his “exposure” (exhibition and performance) in his solo show at FP last December (2016).
