《日常飲像影食 – 盤旋在燈泡上的色階》放映會 “Having a Balanced Diet” 2: up and down the color scale over a light bulb

《日常飲像影食 – 盤旋在燈泡上的色階》放映會 | 丁卓藍策劃
“Having a Balanced Diet” 2: up and down the color scale over a light bulb | Curated by Ding Cheuk Laam
2018.5.20 | 7:00pm | Floating Projects 據點。句點
黃竹坑道40號貴寶工業大廈8樓D室
Unit 8D, Kwai Bo Industrial Building, No.40 Wong Chuk Hang Road
入場費: 自由捐獻 (建議 $60)
Entry Fee: Free donation (Suggested Price $60)

(Please scroll down for English)
《日常飲像影食》今年是第二年, 話題依然延續/延伸關於錄像的可能性,錄像如何撇掉“實驗“的稱呼,向前走到最原始的步伐(不一定線性向前),成為日常事物。

話說人們接觸到”實驗”錄像即時印象大底上是艱澀難懂,心裡總有一句“咁實驗既野我點會明”,如此,這慣性或恐懼就地扼殺了觀賞的可能性。回過頭來,究竟甚麼原因會令大部份人覺得“實驗 = 不明白” 呢?譬如以**上年IFVA作品《這是這文富》被認為其作品被評審認為成”炒雜碎”和看不明白 。我們是否習慣性大量地睇一些”好睇”(=“易睇”)的影像而即刻慣性作出對比呢? 起承轉合結構十分明確、主旨清晰固然正路,難道就不許擺別的陣勢嗎?還是我們早給“實驗“兩字灌注了特殊市場排位而嚇窒了,錯失了看片子本身好不好睇呢?

上述的狀態,猶如說我們的”觀賞習慣不敢跳出 “Comfort Zone” 。 好似我們習慣聽慣流行曲,就覺得聽Noise/電子音樂很不妥,甚至覺得只是一堆嘈音不知所謂; 看開寫實畫的看一幅抽象畫會不知所措,覺得要弄懂(眼裡/腦裡)畫的內容才會心安。又或習慣了社會上的全職工作,一旦不依那種模式做”工作”就感到很沒安全感和罪惡感。以上的種種都涉及限制自身的可能性,但這種限制性是從哪裡來的呢?

說到這次的《日常飲像影食 — 盤旋在燈泡上的色階》, “色階”可作多重理解。可以是顏色可以是世界。我們邀請了4位錄像創作者放映他們的作品。《lam Lam Larm》以影像回應音樂,重置視覺經驗去回應生活經驗。 《遇僧記》以形體表演回應一篇關於繪畫的文字; 《下雨天》運用20分鐘長鏡頭以說故事形式勾勒雨傘運動後的情感 ;《飛天潛水艇》以自身的農田生活經驗寫自然與人類相互矛盾的一篇自白式詩歌 ;《紫藍色卡車》記一段家庭旅程,以錄像、圖像、文字和聲音濃縮了不能消化的情感。

*放映後會有詳盡分享討論環節!

放映作品包括:
勞麗麗 《飛天潛水艇》 / 鄧樂滔 《lam Lam Larm》(音樂 calmwhiner and Folmer Sthurmovik) /  忻慧妍 《紫藍色車卡》 / 曾慶宏 《遇僧記》、 《下雨天》

祝大家均衡飲食,身體健康!

特別鳴謝:句點藝術群體 | 鮮浪潮電影節有限公司

**去年放映會<日常飲像影食:再沒有被實驗了的影像>
資訊重溫 : goo.gl/jFCCVA
_______________________________

《飛天潛水艇》 / 勞麗麗 / 2017 / 9’40” / 4:3 / color / sound
大自然中的她化作飛天潛水艇,來者不拒,多年來運送五花百門的物、事,包括欲望。

《lam Lam Larm》音樂錄像 / 2018 / 13’15’/ 4:3 / B&W / sound
錄像:鄧樂滔/音樂:calmwhiner and Folmer Sthurmovik
音樂人以特首就職典禮的錄音作素材,對居港五年多的感受和印象進行聲音創作。拍攝者藉這次合作的契機,以剪接日常紀錄的影像回應音樂,又重置視覺經驗去回應生活經驗。

《紫藍色車卡》 / 忻慧妍 / 2018 / 9’25” / 4:3 / color / sound
《紫藍色車卡》以錄像與圖像、文字和聲音濃縮了我前往兄長於關島舉行的婚禮的旅程中不能消化的情感。種種呈現與凝視,看與被看,婚禮攝影師重複的鏡頭,神父複述的誓言,各人(包括自己)不受控制地瞄準不同事物按下一次又一次快門,還有不斷走到島的不同角落看一面面零碎的西太平洋。關島是一個二百二十平方英里的美屬島嶼,大概是香港面積的百分之二,擁有近四十個海灘。幾個早上的清晨,我坐在自助早餐的座位上看著不同種族的人拉著行李箱來來往往,每個服務員都有自身種族的腔音,這些角落都好像個只屬於過客的地方,夢幻又現實。

《遇僧記》 / 曾慶宏 / 2018 / 6’46” / 1:1 / color / sound
《遇僧記》收錄於『呂壽琨手稿』,是一個夢中遇僧的故事。在夢中,「我」渴望出家以求清靜,專心追求畫道,卻遭到僧人責難。短片於碼頭取景,除了與呂氏曾於渡輪公司任職有關外,亦因為「渡」這個概念。
此短片由香港獨立導演曾慶宏執導,黃衍仁設計聲音與創作音樂,黃漢樑、藍嘉穎編舞,更有幸邀得呂氏高足及著名設計師靳埭強博士聯同舞者黃漢樑演出。從呂壽琨到靳埭強博士再到一群不同界別的年輕本地藝術家,影片可謂一次跨時代、跨界別的嘗試,亦有傳承的意味。
此片曾於「自我有乾坤—呂壽琨與早期水墨運動」展覽(中國美術館,2018)

《下雨天》 / 曾慶宏 / 2018/ 22’ / 16:9 / color / sound
2014 年10 月的一個夜晚,雨下個不停。大學宿舍內,雨聲讀書聲討論聲聲聲入耳。幾個各有各生活背景和立場的年輕人,被分派到同一楝宿舍生活,共同度過這一夜。在沉默與吵鬧之中,他們學習互相了解和體諒,憑藉的是對社會的關懷。聲援同學的行動一觸即發,靜止長鏡頭所捕捉的,是年輕人思變的躁動與不安。
_______________________________

勞麗麗 LO Lai Lai
藝術家勞麗麗是一位「退役」旅遊記者。現專注於與旅遊及大自然生態有關的藝術創作。她現時在生活館學習務農之餘並探索「半農半X」生活方式。這種生活實踐促使她對另類生活模式、以及作為一位香港人兼藝術創作者的自主性作出提問。她成立了「漫慢電視」,主要硏究課題跟食物、農耕、蘊釀、慢駛、監視、冥想相關。
近日,她對自然及人類間相互牽引、相互制衡的情緒及欲望甚感興趣,箇中所呈視出來人類與自然的角力與矛盾引人入勝,延伸出來的感悟、感知是一個深不見底的深潭。勞麗麗近期參與的項目包括「魚塘源野藝術節」(2018)、「廿年回歸前後話Talkover/Handover 2.0」(2017)、「油街實現即日放送項目:「Interlocutor—我與你同在」(2017)、「香港農民曆 HK FARMers’Almanac」(2015)等。

鄧樂滔 TANG Lok To
素食合作社廚師 vs 錄像創作者 vs 平面設計師
tanglokto.tumblr.com

忻慧妍 YAN Wai Yin
2016年畢業於城市大學創意媒體學院,專注於錄像與動畫的大提琴演奏者,現於SCM當研究助理。

曾慶宏 Eric TSANG
曾慶宏,香港獨立電影導演、作家、文藝復興基金會青年理事、青年社企「人人映像」創辦人。香港中文大學新聞與傳播學院畢業,曾為香港大學客席講師。曾為《明報》及《Milk》雜誌撰寫專欄,有著作《亥時出世》(2009) 及《蜜糖不壞:華語80後導演訪談》(2015)。曾獲全球華人青年短片大賽最佳導演、台灣金甘庶影展最佳攝影及香港鮮浪潮國際短片節鮮浪潮大獎等獎項。電視紀錄片作品見於國家地理雜誌頻道、香港電台及Viu.Tv。
————————————————————————————————————————————————-

Second year in a row, FPC videographer Ding Cheuk-laam returns with five recent works by four artist friends in “Having a Balanced Diet” #2 (2018). She remains committed to her platform:
*Do not allow uniform standards to delimit our imagination;
*Step up from our mindless surrender to the hearsay that “experimental = fussy & incomprehensible”
*Ignite our curiosity for what is outside your comfort zone: stretch our taste, multiple the colors of our thoughts, be persistent with the unlimited ways images “speak,” “sing,” “think” and…

Ding extends the problem of habitual diet and asks:
*Is “quick comprehension” the only way to eat and digest (moving images)?
*Has our ease with Cantopop turned all electronic sounds into sound pollution?
*Have we got so stuck with the standard of having a stable full-time job that we have turned a blind eye to other modes of work?
*With the great variety of painting styles and methods, why must we set figurative realism to be the default?

Perhaps we may start coming up with a new list of “action verbs” to go with looking at videos. Lo Lai-lai’s poetic confessions on nature-human conflicts suggest the action “deep gliding.” Winnie Yan’s thick sight-and-sound descriptions suggest images are for themselves, for what words fail to carry: feel, guess, persist in the here and now, emerge, be transported… Eric Tsang takes a piece of writing on painting and turns it into a ritualistic body ceremony: welcome to take his work through the grammar of yet another medium for the next possible transmedia iteration. In another work, Tsang holds dense emotions for the Umbrella Movement for a 20-minute long take. Tang has no intention to tell you any message, but to glide through music with new images, and to reorder images to give you a touch of his experience: taste, swallow…
(**adapted into English by Linda C.H. Lai from the programmer’s original concept statement in Chinese)

Works in the event :

LO Lai-lai 《Deep Flight Single Channel》/ TANG Lok-to 《lam Lam Larm》Video:Tang Lok To , Music:calmwhiner and Folmer Sthurmovik / Winnie Yan 《Hyacinthine Scar》 / Eric Tsang 《Meeting with Monk》/ Eric Tsang 《The Umbrella》

Special thanks: Floating Projects Collective | Fresh Wave Film Festival Limited
____________________________________________

Deep Flight / LO Lai-lai / 2017 / 9’20” / 4:3 / Colour / Chinese & English Subtitles
She became a deep flight in the natural environment, never saying no, delivering diverse kinds of matter and happening, including desires.

lam Lam Larm / TANG Lok To / 2018 / 13’15’ / 4:3 / B&W / sound
The musician composes, using recordings of the SAR Chief’s inauguration ceremony, to articulate his impressions and feelings for the five years he has lived in Hong Kong. The videographer responds to the musician with images he has harvested from his daily life, which he also composes, and returns with a transformative visual experience
Video:Tang Lok To / Music:calmwhiner and Folmer Sthurmovik

Hyacinthine Scar / YAN Wai Yin, Winnie / 2018 / 9’25” / 4:3 / color / sound
Hyacinthine Scar condenses the undigested emotions in me while traveling from Hong Kong to my brother’s wedding in Guam. Presences and gazes of all sorts, to look and to be looked at, repetitive camera work of the hired videographers, the vow that is rehearsed over and over again by the priest, all the uncontrollable clickings of the shutter from all the us (including myself), and the endless sightings of different sides of the fragmented Western Pacific… Guam is a 220 sqm island that belongs to the United States, about 2% of the size of Hong Kong, and with nearly 40 beaches. The several mornings I was there, I sat through my breakfast buffet watching people of different ethnicities pulling their suitcases in and out of the hotel, each speaking their own dialect. The many spots I visited appear as though they belong to the passersby. They are as real as they are dreamy.

Meeting with Monk / Eric TSANG / 2018 / 6’46” / 1:1 / color / sound
The video Meeting with Monk is based on a piece with the same title written by the artist himself, collected in the book “Manuscripts of Lui Shou-kwan”. It tells the dream of a painter who wishes to take up the tonsure in order to paint wholeheartedly but is rebuffed by a monk. Set in a pier, which is a reference to Lui’s stint at a ferry company, the video emblematizes Lui’s rite of passage.
The video is directed by a local young director Eric Tsang, with sound design and music by Wong Hin-yan. The monk featured is Dr. Kan Tai-keung, a renowned designer who studied under Lui whereas Wilfred Wong participated as the dancer and the co-choreographer of Blue Ka Wing. The video is thus a product of creativity by Hong Kong artists of different generations and different fields.
The video was shown in the exhibition “In search of Zen: The Art of Lui Shou-Kwan” in the National Art Museum of China in 2018.

The Umbrella / Eric TSANG / 2018 / 22’ / 16:9 / color / sound
It rained non-stop when Hong Kong was rocked by the tumultuous events in October 2014. At the university hostel, young souls are assigned to different rooms amid the sounds of rain, studies and heavy discussions. These strangers come from a variety of backgrounds but are united by their passion towards society. They may have dissenting opinions, but will learn to accept and be sympathetic with each other. The rainy night feels especially ominous when the students ponder at the events in Mong Kok.
____________________________________________

About the artists…

LO Lai-lai, Natalie
Lo Lai-lai Natalie is a former travel journalist. She is interested in the development of tourism and the construction of nature. She is a learner at the collective organic farm Sangwoodgoon (Hong Kong) where she also explores the lifestyle of ‘Half-Farming, Half-X’ – a practice that seeks alternatives and autonomy as an artist and Hong-Konger. Lai Lai founded the Slow-so TV channel, which highlights food, farming, fermentation, slow-driving, surveillance and meditation.
Recently, Lai Lai is especially interested in the mutual control and dependence between humans and nature, and the complex emotions and desires involved. To her, nature and humanity are inextricably bound up in conflict and power struggle, an insight profound like an an unfathomable pool. Lai Lai’s recent projects include “The Fish Pond Sustainable Art Festival” (2018), “Talkover/Handover 2.0” (2017), “Oi! : Interlocutor︱You Are Not Alone” (2017) and “HK FARMers’ Almanac” (2015).

TANG Lok To
Chef of a vegetarian cooperative vs Videographer vs Graphic designer

YAN Wai Yin, Winnie
Yan Wai Yin (b.1994,Hong Kong), graduated from the School of Creative Media in 2016, is a cellist working primarily with animation and moving images. Yan is currently a research associate at the School of Creative Media, the City University of Hong Kong.

Eric TSANG
Eric Tsang is an independent director and writer. He is co-founder of Human Images and youth board member of Renaissance Foundation. Graduated from The Chinese University of Hong Kong as a journalism major, he was a once visiting lecturer at the University of Hong Kong. Eric was a columnist of Ming Pao Sunday and Milk Magazine. Authored books include Born at Hai (2009) and Tales of Honey (2015). His films have earned several awards, including the Fresh Wave Award in Fresh Wave International Short Film Festival in 2018. His TV documentaries were made for National Geographic Channel, Viu.tv and RTHK.