Category / Art Notes 藝文談暢
Art reviews and art criticism. Review on reviews. Critique on the practice of criticism. Back story to a performance. Free associations with a novel. Observations on the current milieu of art and social life. …
Crossing the Distance Between Reading and Speaking
Zach McLane and Susan Lin, two fresh graduates from USC, visited the Floating Projects and activities associated with FP members all over Hong Kong a weekend in late September. Zach returns with a "dedication" to mark the brief moment of his trip which seems the new beginning of many things to come. And what about videography?
through eyes, we wander / through hands, perhaps speak and sing 若然透過眼睛游離，以手說話唱歌
FP writer Winnie Yan's thoughts on the unique, interchangeable place of the artist's hands and eyes, and the pro-musicial quality of moving image streams, were provoked in her visit at the EXiS 2018 while contemplating the works of montage masters such as Stan Brakhage and Robert Breer, and recently fuelled by her direct encounter with 16mm filmmaking. 「據點」作者忻慧妍遊訪首爾的實驗電影與錄像節2018，眼前眾蒙太奇大師如Stan Brakhage 和 Robert Breer 的作品，加上個人近期親身「落手」的16釐米電影拍攝經驗，勾起了各種對活動影像的迷思：手與眼的結合，影像流的近音樂性等等。
「歧路結節，開合解密」, 談羅海德個展 A review of Hector Rodriguez’s “Hidden Variables: Forking Paths of Visuality & Technology”
作為一個進深的影像活動研究者，張子木回顧剛完滿結束的羅海德首個個展（「文字機器創作集」第六輯），探出有別於一般影像創作的理路、胸襟。Zhang Zimu, advanced researcher of moving image events, sheds light on Hector Rodriguez's unusual rationale, impulses, technical and theoretical approaches to moving-image making as critique, as were articulated in the first solo show he just completed for the the Writing Machine Collective 6th edition.
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」。
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。
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。
From Melodrama to Near Drama 從粵語通俗劇到微情緒的潮漲潮落
黎肖嫻談粵語電影通俗劇的操作，以至吳子昆於「文字機器創作集」第6輯「象裡有象：通電作影」之《全情定位漂浮系統》（2018年9月1日開幕）的媒體分解遊戲 | notes by Linda Lai on melodrama's nature and Kwan's treatment in [G]Local Empathy System (opening 1 September 2018, curated by Lai), the first of a 3-exhibition series, "Cinema Expanding: Visualizing the Unseen," the Writing Machine Collective 6th edition.
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...」
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.
黑色的音符，黑色的顏料，透明的邊界：《港樂太古樂賞－波蘭動畫70年》札記
A note on Live Animation Performance + Concert "Swire Classic Insights -70 Years of Polish Animation" from Winnie Yan.