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. 「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先來道出這次計劃點滴心思。

錄像書寫指向前衛的經驗主義,是一個由科技和工具啟發的起點,刷新經驗,打開經驗的門。錄像書寫的底是個人、主體性、洞見、獨到眼光。日常經驗是紛繁多序的,錄像去書寫經驗又怎能把豐富的被經驗的壓縮為單一的錯陳述,簡化的視像符號?錄像書寫人盤據此時此刻,滿心是已過去的茵陳,朝向的是未來的某點某處某個尚未起名的渴想。有些經驗是具體的,時間人物地點背景語境都不能弄錯,有些是有板有眼的,有些確實可見細節玲瓏剔透,卻有更多的躺臥在虛無虛擬的領域,你只能搭一條橋或多放幾塊踏腳石,又或勇敢的騰空跳;器具就在此間變得不可或缺。錄像書寫關於的是語言的事?以科技

為載體的生命?是美的表現?難道我們真的那麼急著要個單一的答案嗎?

Videography is a mode of radical empiricism, refreshing, via technology, asking what it means to experience. As a form of individuated experience, videography resists singularity; it embraces multicity and what is becoming. It liaises with what is concrete and what is virtual; it channels the flow between what is interior and what is exterior. Videography is a technological form of life that is not purely linguistic or aesthetic.

| 黎肖嫻2019年5月Linda Lai, May 2019

 

像做運動流汗一樣,清除雜念。自己的語言邏輯。記錄「當下」,讓它沈睡一陣子。
Like sweating in sports activities, I cleanse my mind, tidy my thoughts and the logic of my
language. To record the very moment is also to let it “sleep” for a while.

| 黃慧心2019年5月 Winsome Wong, May 2019

《錄像宣言2》的出版處於歷史的夾縫中,在社運消耗期與社運爆發期之間。無可避免的我們共同處於一個非常黑暗心痛的時期,同時渴望著黑暗中的爆裂,綻放激烈的思辨交流,推動我們建立對未來的想像,守住而且尋找屬於我們個人獨一無二的語言 … …。

“Manifesto 2” falls into the crevices of historical darkness, between the outbreak of a social movement and the consumption of the same movement in its aftermath. Inevitably we find all of us together wrapped up in massive pain and darkness, at the same time desiring certain dynamitic explosion in the midst of darkness, perhaps in the form of excited speech and daring exchange free from reconciliatory tones, perhaps what would push us a step further in envisioning a possible future or, if not, at least to preserve that unique voice of each one of us and to hear what is hidden.

| 黃慧心2020年3月 Winsome Wong, March 2020

 

有些東西需要藝術,去彰顯它的獨特。 … … 一種製造痕跡 (mark-making) 的過程 … …,結合外在呈現內在,… 是抹不走的。… … 這是我對「記述」這回事最深的印象。

[從「記述經驗」到「經驗記述」]

錄像作品中的影像呈現的不單是鏡頭下的視覺,更包括攝錄者的身體經驗,是攝影者與現實的關係之記述。

觀眾沉浸於交錯的時空,同時體驗個人的現在和她人的過去,外在的情感啟動內在的震動。

There are certain things whose integrity requires art for manifestation. … … Artmaking is the process of mark-making…, whereby exteriority manifests interiority. … The marks made are not erasable. … … This is my deepest impression about remembering through documenting.

[from “documenting experience” to “experiencing the documented”]

What is visible in videography is not only the visual evidence of the recordable; embedded in the images are the videographer’s bodily experience, a record of the instantaneous relations a videographer had with the world out there.

Audience may immerse themselves in the criss-crossing space and time, experiencing at once the viewer’s presence and the maker’s past. To a viewer, external sight and sound triggers interior vibrations.

| 黃淑賢 2020年3月 Elaine Wong, March 2020

 

*English translation: Linda Lai

 

相關閱讀 Related announcement: