summer 2019 – spring 2020
二零一九 夏季 至 二零二零 春季

 

源於一股脈衝,又或是在諸多提問的裂縫中想去尋蹤覓跡的驅策,《原格破裂 – 動畫的互媒實驗綜覽》的研習以社會文化歷史與技術譜系的宏闊景觀作願景去研習動畫的端倪。如是,我們挑戰把動畫當作單一媒介去定論的狹窄視野,重申動畫精闢之處,正在於其跨媒跨界的支取。一系列著眼於場域研究的放映與實驗場將勾劃出一些少被關注卻至要的課題。以香港作為生產中心,我們與世界源遠流長的動畫脈絡有何聯繫?向來我們對於動畫的側重點又或是選擇性偏好是甚麼?有甚麼創作方向常被遺漏,又或有原由的被忽視?我們如何定義本地動畫?誰人或那些機構和機制塑造、支援或左右了動畫創作上資源的分配,主宰了動畫發展的趨勢?誰是把關者,不管是自覺或無意的?為甚麼動畫對成年人重要呢?為甚麼在今時今日的香港動畫創作不容忽視,而缺漏值得我們關注?我們應採取怎樣的動畫教育策略?我們又應如何把動畫化為一股本地或國際的新動力呢?

「致知在格物,物格而後知至。」(《禮記·大學》) 這個研究也強調知識的翻新與追求,由親身明辨為本,再推到歷史唯物與新唯物的層次,尋找器物與人性創造共同推動歷史的認知框架去進行研究。項目原名 Elemental Dynamite 與中譯《原格破裂》不盡相同,前者直譯元素炸藥,肇端於對創作者以各自獨到的視覺語言介入世界的想像;至於後者的「原」,則偏重考量對研究方向的嚴謹自我要求:從一幀影格作單位開始探討成像的「原本」,繼以再作推究成像「原理」的幾層基礎:資源材料的支援與流通性,器械軟件的運用與轉變,以致擴延而出的歷史追溯、語境脈絡與影像語法層面上的思考。

橫跨一年多的計劃,將先以放映會及各種技術主導的動畫實驗場啟動,邀請本地與國際的創作者、策展人、學者及動畫愛好者等不同持分者和生產知識的建構體系聚合,以錄像放映及專題討論等概覽各種動畫作為「載體」與「媒體」的實驗,再以動畫實驗場把創作經驗打開,剖析箇中的可塑及延伸性。冀望藉以透過種種細察與描述的契機,與一整年間項目研究員的田野工作,明瞭動畫不同系統的原動力。這個研究項目一方面強調科技與創作的相生與互為表裏,另一方面指出純創作以表個人情感這研究模式的限制,強調藝術創作不能離開勞動的機制的認知,即感知的孕育、資源分配、話語權的擁有、整體文化氣質與社會價值等。作為擴展原有空間的催化劑,《原格破裂》為香港動畫溯源,重塑軌跡,肯定香港動畫的國際性結連的同時,尋找本地本有的動畫生態,挑戰媒體歷史觀的單一性。

在此感激香港藝術發展局資助我們的「跨界藝術」研究計劃。

 

**新聞發佈 PR01-01 (中文版)

Driven by the impulse to understand animation in the expansive landscape of socio-cultural histories and genealogies of technics, Elemental Dynamite: Research on Intermedia Practices in Animated Pictures (ED), an 18-month study, was conceived to address the many questions that often fall into the crevices between disciplines as they are surplus to the notion of animation as a singular medium. ED asks:

Considering Hong Kong a unique production centre, how do we connect with the rich histories of animation practices around the world? What are our biases and preferences? What has been left out and less attempted? How do we characterise local animation? What individual and institutional forces shape, afford and restrict the availability of resources and creative tendencies? Who are the gate-keepers, deliberate and accidental? What are we missing by ignoring the technical histories that underline the practice of animation? If there exists a HK animation industry, what is it? Why is animation important to adults and to society in general? What pedagogic strategies should we call for? What kind of new vitalities of society could animation mean? By gaining understanding of how individual stake-holders make their marks in the web-work of the animated picture, we acquire deeper understanding of animation, like many artistic practices, is connected to many realms of realities. If animation is always part of a much bigger social organ at large, and yet a unique organ of its own affordance, we could start asking: how do we revitalise it/them?

“He who would purify his motives must first perfect his knowledge: knowledge has for its object the nature of things.”* (Li ji Daxue; “Classics of Rites: the Great Learning,” Confucius) An alternative translation reads, “Knowing in the object, the object and then knowing.” 

Named Elemental Dynamite, the project’s Chinese title has a slightly different call. “Elemental dynamite” suggests a chemical explosion, alluding to the creators’ overflowing imagination which castes a new perspective on the world through their individual visual language. The Chinese title, deliberately adapted, literally means “cracking the boundaries of a cell, or a frame,” referring to our research rigour — to think of a frame as a basic unit that embodies challengeable principles. The potential of the frame is closely tied to issues of accessibility and circulation of raw materials and cultural resources. Thus, we argue that the transformative power of experimentation cannot be fully understood without a close study of machines and software’s affordance for artistic innovation on the one hand, and the organisation and alignment of artistic labor, on the other, both integral elements of the story of innovations of the animated picture we attempt to investigate.

Spanning across a year and more, ED adopts diverse strategies. We begin with screening events to present a corpus of landmark experimentation from around the world; workshops and technical laboratories open up the many forgotten techniques that have marked the animation histories that have made our contemporary scene. Symposium series follows to frame more strategic questions.

ED is action research that seeks community building. We gather a range of stakeholders — creators, curators, theorists, researchers, educators and animation enthusiasts at large — to gain new knowledge. Individual pursuits are closely studied as agential articulations but also to understand image-making’s technical processes. Our basic orientation is, therefore, the expandability of animation as an expressive/aesthetic practice, as general and historical knowledge, and as critical inquiry for change and innovation. All this goes on the agenda of our research team’s field work and performative enquiry by making things happen. ED is thus meant to be a catalyst for discovery that hopefully leads us to a more holistic view of the history of animation practices, with Hong Kong at the centre of our study, and poses critical questions to the writing of local media histories.

This multi-disciplinary art research would not have been possible without the Hong Kong Arts Development Council’s full support.

 

Press Release: English version | ED_01-01_e

 

《背景和幕間》藝術家講座 | 曹澍
Dream Background Source Code: An Artist Lecture by Cao Shu

26.10 (SAT) 12pm
據點。句點 Floating Projects

曹澍將分享自己近年關於影像創作的一些”內幕”- 他的記憶和潛意識,作者這幾年的作品像偵探返回記憶現場,尋找一個人或一些事情的線索,以求案情大白。翻讀日記,有時會出現一個意外的身影,有些蛛絲馬跡仿似神諭,引導對更大問題的思考。如果說人會不自覺被語言演練驅策,那作者在自己夢中看到的就是演出的後台、卸妝的演員和道具物品散落一地的”案發現場”。

Cao Shu will share some of his own experience and practice of image creation in recent years, which is mainly related to the two elements from “backstage” – the artist’s memory and subconsciousness. The main subject matter of Cao’s recent artworks is quite similar to an attempt to crack a case by returning to the scene of the memory in order to look for any traces or clues about a particular person or some happenings. When we open the diary, there could sometimes be a sight of one’s long forgotten silhouette which unexpectedly and suddenly emerges out of an old memory. Some clues and hints are just like coming from the oracle, which can help to unfold more thoughts about the bigger picture or problems which are suppressed by the subconscious. If a person during the day is said to be unconsciously driven by the language to perform some kind of performance, what the author can see in his dreams is more like a scene from the backstage of performance, with the actors wearing no makeup, and all kinds of props and items being scattered in this “scene”.

普通話主講。
免費入場,無需事先登記。

Conducted in Mandarin
Free admission, no prior registration is required.

*20% off for each purchase of 4 or more standard tickets.

《即興》藝術家工作坊 | 鐘甦
Improvisation: An Artist Workshop by Zhong Su

26.10 (SAT) 4pm; 27.10 (SUN) 1pm; 30.10 (WED) 7pm
據點。句點 Floating Projects

宣傳(Propaganda)式影像,常帶著既定的價值觀或明確的思維,作者是想將特定理念以視聽方式解釋和傳播給觀眾。影像本身是手段而不是目的。因此,讓影像回歸本體的方式是盡可能去掉宣傳的成份。工作坊本質上是反宣傳的,不但要求參與者不預設任何的立場或觀念,還要在制作過程中不斷調整甚至放棄已有想法,以回應實際遇到的問題。最終目標是引導參與者從一個念頭或是契機開始,對單一畫面乃至鏡頭進行視覺化創造,再以此為基礎發展出鏡頭組,最后剪輯成完整影像作品。在這一過程中,允許初始想法發生變動、修正,甚至徹底翻轉。

Authors of “propaganda” type of images usually have some established values or clear ideas to express, and the purpose is to interpret and disseminate some of these values or ideas to the audience through audio-visual communication. The image itself is the means, not an end. Hence, the only way to switch back our focus onto the ontology of image is to remove all the components of propaganda as much as possible from the images. The workshop is essentially aiming at an anti-propaganda intention. It requires participants not to presuppose any position or concepts, but constantly to adjust or even give up their initial ideas during this process of image production and problem-solving. The ultimate goal is to guide participants to start working from their own initial ideas or thoughts to create a single visual image or a series of shots for their video or animation type of artwork. During this process, such initial ideas could be changed, corrected or even dramatically overturned completely.

普通話主講。
自由捐獻,報名詳情:
https://forms.gle/amwAkcRBGEiXNei56

Conducted in Mandarin.
Free Donation, for registration:
https://forms.gle/amwAkcRBGEiXNei56

中國動畫藝術的力量:想像、記憶和心靈視野的塑造
The Power of Chinese Animation Art:
(Re-)shaping Imagination, Memory and Vision of the Mind

28.10 (FRI) 7pm
亞洲協會香港中心
Asia Society Hong Kong Centre

 /  /
/  /

在另類或獨立動畫的領域中,實驗始終是關鍵的元素。藝術家們也是從各式各樣的實驗過程中,試行並創造各種新的藝術表達形式或方法。實驗動畫藝術在中國一直被主流所忽略。直至近年來,才越來越多的中國藝術家開始嘗試運用各種新的科技和技巧來進行動畫實驗。動畫已形成一股潮流,並成為一種常被運用的藝術表達媒介,而部份動畫更被冠以 “獨立動畫”或“實驗動畫”等名詞來區分其意義或屬性。今天我們在許多國際動畫節上,可以看到越來越多的中國動畫作品展現出娛樂或教育以外的用途,例如在作品中表達其對中國的各種感受。對許多藝術家來說,動畫能提供一個另類模式,讓他們探索深層的意識和過去的回憶,並藉此表達關於世界的另類真相。動畫是獨特的藝術媒介及工具,能表達某些歷史、概念或技術層面上的思想,幫助藝術家擴展其個人視覺和感受,或帶動共同的集體情感。 在嘗試拓闊受眾的個人意識的同時,藝術家亦可從中獲得某種深刻的自我理解。他們使用動畫來重塑其內在視覺和思維,探索個人的意識,或簡單地呈現和表達其個人感受,敘述一些想像的情節,甚至是帶出某些顛覆性的信息。

In the field of alternative or independent animation, artists’ experimentation is a catalyst for renewal: to remove existing boundaries, and to allow imagination to reign freely. While the art of experimental animation has always been neglected or obscured, in recent years, increasingly more Chinese artists identify their works to be experimental by applying advanced technologies, or by experimenting with different languages, forms or techniques in their animation works. Other than trendy projects such as Flash animation, many such novel activities have been brought under the umbrella term of “independent animation” or “experimental animation”. In many international animation festivals, we notice how more and more Chinese animation artists use such platforms to express their feelings about China in their works. To some artists, animation is an additional, alternative territory in which they explore new modes of consciousness and ways of remembering the past, thus help expressing alternative truths about the world. The unique provisions of animation – historical, conceptual, and technical – enable artists to stretch the visual articulation of their personal vision as well as collective sentiments. In seeking to expand the consciousness of others, artists also gain a richer understanding of themselves. Animation is now an important location where artists re-shape their innermost visions or, at times, send out disruptive messages.

票價:$80 / $60*
門票現已於亞洲協會香港中心的線上票務平台公開發售。
http://bit.ly/31aHlF8

*全日制學生、六十歲或以上高齡人士、殘疾人士及看護人及綜合社會保障援助受惠人可獲八折優惠(票數有限,先到先得,額滿即止)。優惠票持有人士入場時,必須出示可以證明身份或年齡的有效證件。
*每次購買4張或以上之正價門票,可以享有八折優惠。

Ticket price: $80 / $60*
Tickets are now available at the online ticketing platform of Asia Society Hong Kong Center.
http://bit.ly/31aHlF8

*20% off discount for full-time students and senior citizens aged 60 or above, people with disabilities and the minder, Comprehensive Social Security Assistance (CSSA) recipients. Concessionary ticket holders must produce evidence of their identity or age upon admission.
*20% off for each purchase of 4 or more standard tickets.

隱蔽的魔法:中國動畫的新視角和實驗
Obscure Magic: New Perspectives and Experiments in Chinese Animation

1.11 (FRI) 7pm
亞洲協會香港中心
Asia Society Hong Kong Centre

 /  /
/  /

隨著實驗動畫家們致力擺脫既有的規範或模式,不斷作出自我否定和革新,持續地進行實驗,從而引發新的觀感及創作思維,終令實驗動畫具備真正的藝術價值和精神。有些藝術家以互動或跨媒體等表現形式求拓闊想像空間,打破動畫與其他藝術形式之間的界限;也有一些藝術家將動畫與當代藝術中的某些表達形式相結合,例如概念藝術、裝置藝術、傳統繪畫、電影或錄像藝術等。有些甚至將動畫與某些西方哲學概念相結合,試圖創建某些新的視覺體驗和範式。

傳統觀眾往往習慣被動地接收一般卡通動畫中的信息,而實驗動畫藝術家則不理客觀環境,用盡方法刺激觀眾的好奇心和主動性思維,驅使他們接收圖像中各種隱藏的意識形態、思想和信息。但是,如果我們將其中一些作品放到一個標準的放映環境中如電影院而非藝廊,在單屏投影的空間限制下展示,觀眾能否從中接收到當中的實驗性或另類表達形式?作品的意圖或意義會完全落空嗎?

If an animated picture is experimental, it is because it persists in showing new perspectives as well as the very process of making. Self-conscious rejection of established norms or set expectations, therefore, is to invite us back to the question: why do we cherish the artistic spirit? Some artists rely on interactive or cross-media methods so as to expand their vocabulary of imagination, and to break down the wall or boundaries between animation and other artforms. Within the contemporary arts domain, many combine animation with other practices, such as conceptual art, installation art, traditional paintings, films, or video arts. Animated images exemplifying western philosophical concepts also open up new visual paradigms for new viewing experience.

Many of these works discourage passive viewing; the experimental edge of these works is to re-focus our attention to the ideology of conventional story-telling forms, to trigger curiosity and provoke thinking, that is, to promote active viewing in the cinematic space. But, how would viewers, whose imagination of the animated picture is limited to single-screen projection in the dark, cope with such cross-media innovation? Is there really no more to experiment with in the theatrical setting of a cinema? What is it that we have lost by equating animation experiments strictly with the art gallery environment? What are the main differences between experimental animated pictures in the past and those recent attempts?

票價:$80 / $60*
門票現已於亞洲協會香港中心的線上票務平台公開發售。
http://bit.ly/2B3Gnjt

*全日制學生、六十歲或以上高齡人士、殘疾人士及看護人及綜合社會保障援助受惠人可獲八折優惠(票數有限,先到先得,額滿即止)。優惠票持有人士入場時,必須出示可以證明身份或年齡的有效證件。
*每次購買4張或以上之正價門票,可以享有八折優惠。

Ticket price: $80 / $60*
Tickets are now available at the online ticketing platform of Asia Society Hong Kong Center.
http://bit.ly/2B3Gnjt

*20% off discount for full-time students and senior citizens aged 60 or above, people with disabilities and the minder, Comprehensive Social Security Assistance (CSSA) recipients. Concessionary ticket holders must produce evidence of their identity or age upon admission.
*20% off for each purchase of 4 or more standard tickets.

Lu Tingting. Stills from The Person in Crevice (2018). Courtesy of Lu Tingting.

難以察覺之處 — 新靈感的誕生 | 魯婷婷
In Search of the Imperceptible Elements: The Birth of New Inspiration
Workshop + Discussion from Lu Ting Ting

2.11 (SAT) 2pm
據點。句點
Floating Projects

藝術家將透過實例的講述,分享其動畫及各種跨媒介的創作的經驗、帶領參加者一起尋找藝術創作的靈感。

這創意工作坊的藝術家不單製作傳統動畫,她更時常在作品中對動畫能否拓展到多維度的空間等問題提出了各種疑問。在傳統動畫之外,其實創作者一直在作出各種跨媒介的嘗試。藝術家會嘗試帶領參加者從"小藝術"拓展到"大藝術"的範疇 ,希望他們在這個不確定的實驗過程中,希望能幫助參加者抓住創作過程中一閃而過的靈光,能引發一些更有意思的事情。當中的討論涉及很多跟時間有關的創作方法,希望他們最終能以動畫或以外的媒介來把構思實踐作品。

In this workshop, the artist will share her experience and knowledge of art-making through examples of some selected animation or cross-media artworks. With the artist’s guidance during the exploration process, this workshop aims at leading the participants to search for their own inspiration in the process of art creation.

This is a workshop supplemented with a sharing session of the artist’s creative process which is not only limited to her practice of traditional animation, but also expanded to the question of how artists can make works out of the multi-dimensional space, and the related issues involved during the process of cross-media art creation. In fact, the artist has always been trying to explore in cross-media works apart from her practice of traditional animation. She will try to lead the participants to expand their artistic practice from what she calls the “Small Art” to the “Big Art”, and hopefully, the participants can be inspired to generate something much more interesting and meaningful throughout this uncertain process of experimentation. The aim is to help the participants to learn how to successfully grasp their own creative thoughts and ideas during such a quick process. The discussion will involve a lot of time-based creative methods, but the final outcome of participants can be made by using media of their own choices, such as (but not limited to) animation or others.

普通話主講
自由捐獻,報名詳情:
https://forms.gle/azcULHXc8RMwqhGB9

Conducted in Mandarin
Free donation, registration required:
https://forms.gle/azcULHXc8RMwqhGB9

Duan Tianran. Stills from In Between Shadow (2011) & Maze of Noumenon (2017). Courtesy of Duan Tianran.

3.11 (SUN) 2pm
據點。句點
Floating Projects

變形的隱喻,來自於兩層含義:一為銀幕上幻象構成的演述,二為同理心與銀幕之間的隱喻形態。觀看行為及無意識結構形成了對主體的想像性認同。

Metamorphical metaphor comes from two aspects of meaning: one is the discourse of the visual illusion on the screen, the other is the metaphor of the relations between the audience’s empathy and the screen. Both the act of seeing and the structure of unconsciousness involved help constituting the imaginary identification of the subject.

普通話主講
免費入場,無需事先登記。

Conducted in Mandarin
Free admission, no prior registration is required.

Courtesy of Speculative Place.

鄰里與外星人
Neighbourhoods & Aliens

25.09 (WED) 7pm
據點。句點
Floating Projects

Presentation from Verina Gfader

研討將以放映、閱讀和討論的形式進行,考察當今的動畫生態與視覺抽象的各種形式和傳說,以更全面的方式思考動畫作為「任何類型的動畫力量」的取態。(Morton,2013) 探討存在於無生命和有生命之間的極限空間。類里與外星人圍繞各種單位,包括家庭,生活現實,居住環境:靠近卻又經常被忽視的地方(鄰近的環境/社區),看似疏遠或異化的各種情況。這次提出的作品偏向像野生的混合物,有來自花園,法國郊區與建築模型的圖像,家養動物​​,遊樂場以及不受空間限制的色彩⋯

The talk in the format of screening, reading, and discussion, contemplates on forms–and legends–of visual abstraction and the animation environment of today. – thinking in more holistic ways about animation as an ‘animating force of any kind’ (Morton, 2013), something that could be said to exist in a liminal space between inanimate and animate. Neighbourhoods & Aliens is organised around terms or figures; referring to home, living realities, inhabitations: what is close to us (proximate surroundings/neighbourhoods) yet is often overlooked, unnoticed, seemingly estranged or alien. The selected films hence may appear as a wild mix of things! featuring imagery from the garden, French suburban realms and architectural models, a domestic animal, play-grounds, as well as colours out of space …

* Timothy Morton (2013) Realist Magic: Objects, Ontology, Causality. London: Open Humanities Press.

票價:自由捐獻

Ticket price: Free Donation

Bianca Kennedy & Felix Kraus. Hybrid (2015/16). Courtesy of the artists.

幻地平線
Phantom Horizons

18.09 (WED) 7pm
據點。句點
Floating Projects

Screening curated by Robert Seidel

Phantom Horizo​​ns 是 Robert Seidel 為 Kuenstlerhaus Bethanien 所策劃的一個放映系列。自2015年以來,於這個位於柏林的展覽空間和國際藝術駐場計劃持續進行的放映。Seidel 專注於實驗作品,透過展示多樣化的數碼與模擬影象作品,質疑線性視角的範例,尋求新的「地位視覺」[Bedeutungsperspektive]。後者是古代和中世紀繪畫發展處理的方法,其人物大小由等級重要性所決定。放映作品以解構各種方法和當代電影創作的可能性擴展,勾劃出全新的視野,提出一種獨特的抽象動畫模式。

Phantom Horizons, an on-going screening series, is curated by Robert Seidel for Kuenstlerhaus Bethanien. The Berlin-based exhibition space and international art residency hosts the film series since the year 2015. Focused on experimental works, Seidel presents digital as well as analogue films that question the paradigm of a linear perspective, seeking a new kind of “status perspective” [Bedeutungsperspektive]. The latter was a development of ancient and medieval painting, in which the size of figures is determined by their hierarchical significance. Extending this approach using the methodology of deconstruction and the possibilities of contemporary film creation, the presented works open up multifaceted, unseen horizons, a unique mode of abstract animation.

票價:自由捐獻

Ticket price: Free Donation

編譜空間:出格的動畫圖像
Scoring Space: Non-Normative Animated Images

Sep 7 | 9月7日 (SAT) 8pm
香港城市大學邵逸夫創意媒體中心多媒體劇院 (M1060)
Multimedia Theatre (M1060), Run Run Shaw Creative Media Centre,
City University of Hong Kong

80 分鐘 / 16米釐 現場投影表演
80 mins / 16mm Live Performance w/ projection

繼八月的兩場實驗動畫放映,韓國首爾國際實驗電影錄像節(서울국제실험영화페스티벌 EXiS) 節目總監李幸俊將為《原格破裂》的第一波帶來一場壓軸好戲,以16米釐放映機的延伸影像現場表演三組原作者編譜的空間投影。Richard Tuohy 和 Dianna Barrie 的設計《網點矩陣》,以一對放映機去探索偏差的投影的可創性的;Lis Rhodes 的《Light Music》以一系列黑白光塊編出影像樂譜;還有 Anthony McCall 的《Line Describing a Cone》,於煙霧之間透過一束光線塑造錐體。三個作品分別以點、線、面極簡元素對影像媒介作出種種提問,如媒介於機械運用層面上的考量,聲音與影像的多向連繫等,形成三組強調現場性、無可重塑的行為演出,回溯影像放映與觀賞者的互動關係,活化放映場所,也喚起更主動自覺的觀者。

A finale to Elemental Dynamite’s first wave,  an expanded cinema program in September follows up on the unique role of celluloid highlighted in our August events. Guest curator Hangjun Lee (EXiS) will perform three  16mm live projections as they were originally scored. Dot Matrix by Richard Tuohy and Dianna Barrie plays with the de-synchronization of images projected from two paired projectors. In Light Music, Lis Rhodes choreographs a series of black and white planes into a moving image discourse. In Line Describing a Cone, Anthony McCall sculpts a cone in the mist with a beam of light. Each of these works apply minimal elements — point, line and plane, respectively — to elucidate their curious attention to the different facets of the moving image. They consider the medium of film as mechanical and technical applications; and they unravel the multi-level connections between sound and the moving image. As three unrepeatable happenings, the staged live performances invoke the many interactive possibilities the film projection may generate for the spectators, turning viewing into a new experience in an enlivened sight-and-sound environment

地域實驗 II : 游離基
Regional Experimentation 2: Free Radicals

30.8 (FRI) 7.30pm
香港藝術中心古天樂電影院
Hong Kong Art Centre Louis Koo Cinema

1935-2015 / 90 分鐘 / DCP
1935-2015 / 90 min / DCP

時代變遷,科技不斷進步,在前數碼創作者的作品中,我們可窺見菲林在影像創作中的歷史面貌、實存和價值。在數碼時代,菲林的地位已無復舊觀。韓國首爾國際實驗電影錄像節(서울국제실험영화페스티벌 EXiS)策展及節目總監李幸俊為放映節目《地域實驗 II -游離基》帶來幾部歐洲的實驗錄像與動畫作品。觀眾可一窺已故大師 Len Lye 於早期(1935)及後期 (1957-1979) 的兩部經典作品,Malcolm Le Grice 如何以重疊印片等方式探索影像媒介,也有Jeff Scher 於現成舊日影片上添上一層抽象動畫去重新演繹歷史片段。節目亦包括由 Jodie Mack 與 Patrick Bokanowski 的兩部創作,以標示新近實驗的動向。不管你對菲林的認知如何,皆可從放映中看到它的特質與其在影像歷史中無可取替的獨特性。

As time passes alongside unceasing technological advancement, it is critical not to lose sight of the history and unique values of analogue film in moving image practices. Whereas the analogue is easily passed for being obsolete technology in the digital age, this screening program manifests the vitality of this medium through a range of experimental works in film-based animations and shorts. Curated byEXiS (Experimental Film & Video Festival in Seoul)program director Hangjun Lee, Regional Experimentation II: Free Radicals features two works by the late master Len Lye (1901-1980), an early work from 1935 and another from a later phase. In company also finds filmmaker / writer Malclom Le Grice’s experiments of varied technical means and Jeff Scher’s reinterpretation of historical found footage by overlaying abstract animation, plus contemporary artists Jodie Mack and Patrick Bokanowski’s recent experiments. Regardless of the audience’s prior knowledge of celluloid, this program calls attention to the genuine materiality and diverse aesthetics in analogue films.

地域實驗 I:圖像勘測
Regional Experimentation 1: Photographic Survey

30.8 (FRI) 7.30pm
香港藝術中心古天樂電影院
Hong Kong Art Centre Louis Koo Cinema

1998-2018 / 56 分鐘 / DCP
1998-2018 / 56 min / DCP

 地域實驗首場放映節目《地域實驗 I -圖像勘測》以韓國為焦點,邀請了首爾國際實驗電影錄像節(서울국제실험영화페스티벌 EXiS )節目總監李幸俊策劃,從歷屆EXiS影節的韓國本土參賽作品中精彩選八作品,闡述韓國當代的動畫實驗創作的不同面貌。當中放映作品涉及多種動畫製作手法,計有《Oloc Boloc》的拓印、《腳像》的光學印片、《潛在悲楚》的繪畫、《伽倪墨得斯》的影像重疊、《過熟的愛情故事》的紙張腐蝕與高溫處理、《延緩沉思 1》的電子干擾、《925片釜山塔》與《移動風景》的定格動畫,都各自創立出風格迴異的視覺語言。觀眾可透過種種成像技術,觀摩藝術家如何把尋常的事與物分解,透過精煉的技術給重塑成抽象空間,把大眾共同的文化語境與符號轉化成充滿個人情感以至無法言喻的感知經驗。 

Curated by Hangjun Lee, program director of EXiS (Experimental Film & Video Festival in Seoul), Regional Experimentation — I: Photographic Survey — features 8 works by finalists of previous editions of the domestic (Korean) competition section in EXiS to illustrate the different facets of the country’s experimental and contemporary moving image practices. The selected works demonstrate a dynamic variety of techniques, including monotype in Oloc Boloc, optical printing in Footage, painting in Latent Sorrow, collage in Ganymede, chemical corrosion and high temperature treatment on paper in The Hardboiled Lovestory, electronic distortion in Latency Contemplation, and stop motion in 925 Pieces of Busan Tower and Moving Panorama, each manifesting its own eccentric visual language. Viewers can thus, through such a spectrum of image-making approaches, observe how artists deconstruct the ordinary into the foundation of the abstract, transforming familiar cultural contexts and symbols into unspeakable experiences and beyond.

第三眼 − 相原信洋 作品選
The Third Eye – a Retrospective of Nobuhiro Aihara

29.8 (THU) 7.30pm
香港藝術中心古天樂電影院
Hong Kong Art Centre Louis Koo Cinema

1972-2008 / 96 分鐘 / DCP
1972-2008 / 96 mins / DCP

日本前衛動畫家相原信洋,自1965年創作第一部獨立動畫《雨》後,在跨越五十年的創作生涯中為後人留下了高達八十五部獨立作品,被譽為1960年代後期日本實驗電影活躍時期的一位代表人物。幸得日本戰後映像藝術文獻庫(戦後映像芸術アーカイブ)董事阪本裕文與韓國首爾國際實驗電影錄像節(서울국제실험영화페스티벌 EXiS )藝術總監李幸俊共同策劃,放映節目《第三眼》得以在香港與觀眾見面。兩人在館藏中選出18部作品,為相原畢生創作的幾個轉捩點留下註腳,從早期將紀實錄像融合細緻的繪畫的作品《虎斑頸槽蛇》,到探索物理空間與景框內的影像空間的邊界的《石》,以及再進一步擴大他那顯赫迷幻的抽象世界的《旋轉》。觀眾可一睹相原如何透過對生活細微的觀察,透過對動畫的批判與挑戰,逐步登上迷幻動畫創作的巔峰。

Known as one of the key figures in the Japanese experimental cinema movement in late 1960’s,  Japanese avant-garde animator Nobuhiro Aihara created his first independent animation Rain in 1965. Over his 50-year creative career, he left behind eighty-five independent works for his followers.  Curated by Hirofumi Sakamoto, director of the Postwar Japan Moving Image Archive (PJMIA) and artistic director Hangjun Lee from the Experimental Film & Video Festival in Seoul (EXiS), screening program The Third Eye brings Aihara’s works to the Hong Kong audience for the first time. Eighteen works are selected from the collection to footnote several critical transitions in Aihara’s creative practice, from his early work Rhabdophis Tigrinus, in which he combines documentary video with intricate drawings, to Stone, in which he explores the boundaries between physical space and space within the frame and, finally, his substantial experimentation in the abstract and psychedelic world featured in Spin. Audience will have glimpses of how Aihara began his journey from subtle observation of life to his critical enquiries in animation-making, up till the peak of his psychedelic animation creation.

in progress…

| instagram: @floatingprojects | email: contact@floatingprojectscollective.net | facebook: facebook.com/events/509517916509215 |

關於 據點。句點 About Floating Projects

「據點。句點」是一個由藝術家營運的獨立空間,旨在生產協作式個性化的實驗,並對不同的藝術生產模式作批判性思考。相比於遵從嚴格的分工等級制度或系統性的年度計劃的標準運作模式,「據點」成員更熱衷於橫向結構的實驗,提倡發揮個別成員的專長和貢獻去實踐機動的團隊合作,按時機與需要變陣。據點群體的十七位成員不僅分擔日常開支和每月租金,亦透過個人的創作方向與信念自發組織的「打開門」的項目,爭取不斷的訪客捐贈去維持空間的營運與活力。創作上,「據點」不受藝術類型的限制,作品範疇涵蓋錄像、聲音、手繪、現成物的遊戲式聚疊、文字創作、硬件/軟體藝術等。近年,成員透過舉辦展覽、放映、論壇和表演等,增進與當地以及國際的藝術家及從業者之間的合作。成員希望將空間維持為一個自由的會面點以及一個可供自由上網的閱覽室,策勵個體之間的交流,並擴大跨學科和跨媒體實踐中實驗的界限。

《原格破裂》研究團隊:黎肖嫻、張曼慈(特約研究員)、忻慧妍

Floating Projects (FP) is an independent artist-run space established to generate collaborative-individuated experimentation and rigorous mutual critiques towards different modes of artistic production. Rather than relying on rigorous hierarchical structure, strict division of labor and systematic annual planning, FP members advocate horizontal structure and co-individuation as an experimental approach to a dynamic community. The 17 members of the Collective not only share general expenditure and monthly rent, but they also initiate projects that grow out of their artistic and personal convictions with no restrictions in artistic genres, in multiple fields from videography, sound art, object-play, hardware/software art, writing to research-based artistic creation. These events, together with our free wi-fi reading room, hopefully uphold basic donation from visitors to encourage a broader community of economy of contribution. Throughout the year, the collective has hosted multiple exhibitions, screenings, forums and performances that promote collaborations with local and international artists and researchers. The collective seeks to maintain the space as a fluid meeting point that promotes exchange among individuals and pushes the boundaries of experimentations in inter-disciplinary and inter-media practices.

Elemental Dynamite Research Team: Linda C.H. Lai (principal investigator), Terrie M.C. Cheung (guest researcher), Yan Wai Yin

鳴謝 Acknowledgement

主辦
Presented by

節目策劃合作夥伴
Curatorial Partnership




放映合辦
Screenings
Co-presented with

HKAC_Primary_(10)

資助
Supported by

*《原格破裂》 為 香港藝術發展局 2019-2020 年度資助的研究計劃。
Elemental Dynatmite is a research project supported by Hong Kong Arts Development Council from 2019-2020.
香港藝術發展局全力支持藝術表達自由,本計劃內容並不反映本局意見。
Hong Kong Arts Development Council fully supports freedom of artistic expression.
The views and opinions expressed in this project do not represent the stand of the Council.