Regional Experimentation I & II: “Photographic Survey” & “Free Radicals” double-bill 地域實驗 I-II :「圖像勘測」及「游離基」兩個節目一場播放

據點在城中:2019年8月30日下午 7:30 |《原格破裂》香港藝術中心古天樂電影院發放
FP in Town: 30 August 2019 7:30pm | Elemental Dynamite @ HK Arts Centre
地域實驗 I -圖像勘測
Regional Experimentation 1: Photographic Survey

Echoed Silence | Lee Jangwook
Korea & USA / 1998 / Color / Silent / 8’ / 16mm
韓國、美國 / 1998 / 色彩 / 無聲 / 8’ / 原格式 16mm 數碼化高清放映
This film is an experiment on editing, aboutf deconstructing and reconstructing, a game of collision between frames. As a narrative body disintegrates, it gradually becomes possible for viewers to pay attention to the phenomena of intra-frame intervals.
這部作品是關於剪接的解構與重建,每幀菲林之間碰撞的實驗。敘事結構將被分解,片段與片段間構成的現象就是它的可觀處。

Lee, Jangwook studied filmmaking at the School of the Art Institute of Chicago (SAIC), founder of the Space Cell, one of the earliest artist-run film laboratories in Asia since 2004. His main idea of filmmaking is about combining traces of medium specificity in analog film processing with his own personal records. His works have appeared in many international & local film festivals and venues such as Oberhausen, Black Maria, Tate Modern, FIDMarseille, Jeonju and EXiS. He co-curated many screening events and organized filmmaking workshops with various organizations, including MMCA Seoul, Asia Cultural Center, Los Otros and so on. He is a professor at the College of Convergence Culture Arts, University of Suwon.
Lee, Jangwook 在芝加哥藝術學院(SAIC)修讀電影。他於2004年創立了Space Cell,是亞洲其中一間最早由藝術家營運的電影實驗室。他認為影像製作應將個人記錄融合於突出電影媒介特性之中,當中包括負片的處理過程。他的作品曾於多個本地及國際電影節目中展出,包括:奧伯豪森、Black Maria、泰特現代藝術館、馬賽影展、全州和韓國首爾國際實驗電影節錄像節等。他曾與多個機構共同策劃了各種放映活動與影像製作工作坊,夥伴包括:首爾國立現代美術館、亞洲協會與Los Otros 等。現為水原大學融合文化學院教授。

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FootageKim Minjung
Korea & USA / 2015 / B&W / 2’ 27” / 16mm on HD
美國、韓國 / 2015 / 黑白 / 2’ 27” / 原格式 16mm 數碼化高清放映
The physical length of our body turns into the temporal measurement on film.
In the 16mm world: 1 foot = 40 frames, 1 second = 24 frames, 100 ft = 4000 frames, 100 ft = 166.7 seconds
試把我們身體的物理長度轉化成負片上的時間量度。
在 16米釐的世界中:1英尺= 40幀格,1秒= 24幀格,100英尺= 4000幀格,100英尺= 166.7秒。

Kim, Minjung is a filmmaker and an artist. She received her BFA from Hongik University in Seoul, South Korea and an MFA degree in Film and Video at the California Institute of the Arts. She has lived in Chicago and Los Angeles and currently resides in Seoul. Her work has screened at Edinburgh, Athens, Ann Arbor, Black Maria, Experiments In Cinema Onion City, Winnipeg underground, Antimatter and the $100 Film Festival. Her films have received awards at the Ann Arbor and Black Maria Film Festival.
Kim, Minjung 是一名導演和藝術家。她在首爾弘益大學獲取視覺藝術學士,再於加州藝術學院取得影像藝術碩士。她曾旅居芝加哥與洛杉磯,現於首爾駐留。她的作品曾於愛丁堡、雅典、安娜堡、Black Maria、Experiments In Cinema Onion City、Winnipeg underground、Antimatter 與 $100電影節展出,並在 Ann Arbor and Black Maria Film Festival 中獲獎。

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Latent Sorrow | Shon Kim
USA  / 2005 / Color / Sound / 3’ 20” / 16mm on SD
美國 / 2005 / 彩色 / 3’ 20” / 原格式 16mm 數碼化高清放映
Moving Painting #7. To reach the point of coexistence where the abstract and the figurative are thoroughly fused.
移動繪畫 #7:到達抽象與肢體同等融合的共存點。

Shon Kim, born in Seoul, S. Korea, majored in Fine Art at the School of the Art Institute of Chicago (SAIC), and received an MFA in Experimental Animation at CalArts. His mentors include Jules Engel (1909-2003 and and Myron Emery, both known masters of experimental animation,, Shon Kim received his Ph.D. in Animation Theory from Chung-Ang University. He has presented his works at museums and festivals worldwide: MoMA, REDCAT, The Hammer Museum, Seoul Museum of Art, Arko Art Center, among others.
Shon Kim 生於韓國首爾,芝加哥藝術學院美術系畢業後,前往加州藝術學院研讀實驗動畫碩士,跟隨實驗動畫大師 Jules Engel(1909-2003)和 Myron Emery學藝,於韓國中央大學動畫理論取得哲學博士。Shon Kim 的作品曾在多個國際展覽及電影節展出,包括:紐約現代藝術博物館、REDCAT、漢默美術館、首爾市立北首爾美術館、Arko Art Center 等。

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Moving Panorama | Byun Jae-kyu
Korea / 2006 / Color / Sound / 7’ 33” / HD
韓國 / 2006 / 彩色 / 4’ 11” / 高清
In Moving Panorama, the artist wants to show the march of time using panorama images in this work, which is different from the still panorama photos. First, he made an equipment, which automatically turns 360°, to obtain serial pictures at regular intervals. He then put assemble all still photos into a sequence, s another kind of panorama. Rather than regular music, he distorted real sound and created a pulsingregular electronic noise to emphasize the camera at work. The images were shot in spots in Busan and Kyoto.
有別於靜止的全景照片,我想以全景照片指出時間的運行。在開始之前,我先製作了一個會自動旋轉360 度的儀器,指令相機定期進行拍攝。其後,我把所有全景照片湊成一個序列,產生另一種攝像組合。在音樂方面,我修飾了原本真實的聲音,變成了一些常規的電子噪音,以強調相機在作品中的角色。這部作品涵括了釜山和京都的一些景點。

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925 Pieces of Busan Tower | Byun Jae-kyu
Korea / 2010 / B&W / Sound / 3min 7sec / HD
韓國 / 2010 / 黑白 / 3’ 7” / 高清
Taking pictures frame by frame is intense labor similar to mediation. The work is a body of memories and nostalgia for the Busan Tower, the symbol-landmark of the artist’s hometown. The artist clicked the shutter of the camera as the town is dimming. The piece intensifies to an emotional climax as he reached the 925th photograph, about to be back to ‘0’. “At that time I experienced that the mass of emotions faded out. Now all that remains with me are just 925 pieces of still cuts, the only trace of memory for playback.” .
這種逐幀拍照的勞動過程大概是一種冥想。釜山塔是我故鄉的一個象徵,我對它的段段回憶與情懷,竟在持續按動相機快門之間逐漸變得黯淡。不斷的拍攝曾令我的情緒愈益高漲,直到第 925張相片達致高峰,瞬間,洶湧情緒隨之消逝。現在只剩下這925 片靜止的切割作為記憶回放的痕跡。

Byun Jae-kyu lives and works in Busan. He graduated from a film course at Kyoto Seika University in Japan, where he also completed an M.A and PhD.. His works show panoramic reinterpretation of space and processes how scenic experiences can be structured into material/immaterial forms through various media. His film has been invited to ACC Cinema Fund (2018), Gwangju Biennale “Imagined Borders” (2018), “Cinematic Divergence” MMCA (2013), 13TH MEDIA ART BIENNALE National museum in WROCŁAW, Poland. 2007 European media art festival, and Hamburg International Film Festival in Germany. In 2006, he received the best award of work in BACA-JA and KT&G award in Experimental Film and Video Festival in Seoul.
Byun Jae-kyu 於釜山生活及工作。從京都精華大學影像系畢業後,於該研究所繼續研修,相繼取得碩士與博士名銜。他的作品展示了對全景空間的再詮釋,以及透過不同媒介結構性地處理影像,重塑景象體驗中物質與非物質的形態。他的作品獲邀參與亞洲電影基金(2018)、光州雙年展 <Imagined Borders> (2018)、<Cinematic Divergence>,國立現代美術館(首爾館) (2013)、波蘭弗羅茨瓦夫國家博物館第十三屆媒體藝術節、2007年歐洲媒體藝術節及德國漢堡國際電影節等。他在2006 獲得 BACA-JA 電影節的最佳作品以及韓國首爾國際實驗電影節的KT&G 大獎。

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Ganymede | Moon Yujin
USA / 2016 / Color / Sound / 9’ / HD
美國 / 2016 / 彩色 / 有聲 / 9’ / 高清
Ganymede is an experimental video whereby the viewer is immersed in an abstracted world of rippling waves, vibrating foliage, and migrating populations. Organic textures continuously reshape each frame, conjuring up granular forms, nest-like structures, and undulating stars. The dissemination of pixelated light and sonic elements transports the viewer to a new dimension of space and time.
是一部實驗性作品,讓觀眾沉浸在一個以洶湧的波浪、抖動的樹葉及遷徙的人群中組成的抽象世界。有機的紋理不斷重塑每一格影象,形成顆粒狀,或巢狀結構,又或是起伏的星晨。那種以素化光和聲波元素的形態傳播給觀者一種新的空間和時間維度。

Moon Youjin is a visual artist and filmmaker based in Boston. Moon holds MFA degrees in Painting and Film/Video from the Massachusetts College of Art and Design. She has shown her work at national and international short film Festivals, including the Seoul International New Media Festival and a solo exhibition at DM Contemporary, New York City. She received the Korean EXiS Award at the 12th Seoul International Experimental Film and Video Festival.
Youjin Moon 是一位駐波士頓的視覺藝術家和實驗電影導演。 Moon 於馬薩諸塞州藝術與設計學院先後獲得繪畫碩士與電影/錄像碩士學位。她曾於國家和國際電影節和展覽中展出她的作品,包括首爾國際新媒體節,曾於紐約DM Contemporary 舉辦個人展覽。她在第12屆韓國首爾國際實驗電影節和錄像節上獲得了韓國EXiS獎。

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The Hardboiled Lovestory | Roh, Youngmee
Korea / 2017 / Color / Sound / 4’ 46” / HD
韓國 / 2017 / 彩色 / 5’ / 高清
Roh selected some scenes of Snow White and Prince Charming from Snow White and the Seven Dwarfs and put them into 212 °F boiling water. This climatic temperature, image surfaces dissolve and blend with steam. Will the two characters be able to transcend the fatal formula of beginning-middle-and-end or establishment-conflict-resolution? Will they survive the pains that come with it and endure until the very end? Is there no other alternative to the cliche of a happy ending premised on tremendous tortures?
我從《白雪公主與七個小矮人》中選取了一些白雪公主與白馬王子的片段,並將這些畫面放在 212度 華氏的沸水中,在高溫下溶解、混合。他們能否避開起承轉合,高低起伏的痛楚,實現理想與愛情?又可否避開那「先苦後甜」,陳腔濫調的敘事結構呢?

After getting her BFA. at the School of the Art Institute of Chicago (SAIC), Roh went on to study animation at the Korean Academy of Film Arts. Since 2012 She has been working on various media such as graphic novels, paintings and installations. Recently Roh focuses more on stop-motion, playng with the smallest units of time and image. With this method Roh answers the doubts she has had about common values like victory, happiness and utopia held since childhood.
於芝加哥藝術學院美術系畢業後,Roh 前往韓國電影學院修讀動畫。自2012 年開始,Roh 嘗試利用圖像小說、繪畫及裝置等不同的媒介創作。Roh 現在專注於實驗動畫,以最微小的時間單位及圖像創作。Roh 以這種創作手法帶出自小對普世價值的疑問,例如勝利、快樂,與烏托邦。

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Oloc Boloc | Shon Kim
Korea & USA / 2014 / B&W / Sound / 8’ 30” / HD
韓國 / 2014 / 黑白 / 有聲 / 8’ 30” / 高清
In pursuit of a highly personal visual method, the artist creates an apparently abstract space in which he transforms labels of brand names of consumer products from different periods of time into an idiosyncratic dance of emotions. The auditory field is also that of personal memory. The truncated found sounds may have been assembled out of personal subjective preferences, but the uncoupled sight and sound is a double discourse pointing back to social life — each fragment pertaining not only to a product but also the specific moments of its production. “I hope this work reminds us of the therapeutic aspect of art and injects a little warmth into the now highly technologized and intelligent medium of cinema.”
藝術家以一種個人的視覺手法將作品呈現。把量產的統一性轉化為具情感抒發的抽象空間。作品以聲音及個人回憶刻畫了不同時代的貨幣和消費品,嘗試喚起每種物件背後的社會意義。「我希望透過向高度技術化和智能化的媒體注入溫暖,以作品提醒藝術的治療作用。」

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Cho, Seoungho. Latency Contemplation 1 (2016)

Latency Contemplation 1 | Cho Seoungho
USA  / 2016 / Color / Sound / 6’ 24” / HD
韓國 / 2016 / 彩色 / 6’ 24” / 高清
Cho transforms the sea shore into a visual poem. His inner landscapes and his perception of the outer world come together in an abstract meditation about space and place, light, time and traveling. The video consists of heavily electronic and distorted images which result in mainly horizontal lines and colour bars which are reminiscent of the horizontal lines of VHS video. At the same time, Cho pushes the image to the edge of abstraction whereby  its relation to painting comes to the fore. Emphasizing the flatness of an image this work reminds us of colour field painting (Mark Rothko). The soundtrack consists of manipulated audio of sea sounds, like waves and wind, also pushed towards abstraction. To the ‘noise’ he created, a minimal, poetic piano sound is added which brings a melancholic sphere to the work. Montage work in the piece is barely felt as cuts seem to be absent: things metamorphose into one another. The contemplative quality of the sound and image turns, this video into a wondrous experience.
Cho 把海岸化作一首視覺詩。他把內在的景觀與外在世界的感知融合,化成一次關於空間、地方、光影、時間與旅遊的抽象冥想。視頻當中常常出現的水平線與彩軸是由受電子干擾的失真影像所組成,讓人聯想起VHS 的掃描線。與此同時,Cho 把圖像推往抽象的邊緣,強調圖像的平整性,嘗試提出它與繪畫的關係,或聯繫到畫家馬克·羅斯科的色域創作,而透過操縱海浪與風的聲效,將視頻進一步推向抽象。在此之上,一厥極簡單又具詩意的鋼琴聲為作品披上了一層憂鬱的氣氛。蒙太奇的剪接手法似乎亦因視頻的各種元素融為一體而變得無跡可尋。這作品以聲音與影像式的沉思營造一種奇妙的體驗。

Seoungho Cho was born in 1959 in Pusan, South Korea, and currently lives and works in New York. He received a BA and an MA in graphic arts from Hong-Ik University, Korea, and an MA in video art from New York University. He has had solo exhibitions in many prestigious venues such as the Museum of Modern Art in New York and his videos have been shown in biennales and group screenings throughout Europe and North America. Cho has received various awards and grants including one from the Jerome and Rockefeller foundations. Cho uses digital image processing techniques to manipulate simple, everyday objects, scenes or landscapes into highly lyrical sound and image collages. Cho’s videos are often very painterly in their use of rich, saturated colour and exquisite composition of space on screen. These  works sometimes involve subtly developed, open-ended narratives that emphasize the embodied nature of perception and experience. The formal aspects of Cho’s videos are closely tied to explorations of how nature is represented through technology, specifically how representation is constituted by traces of contact between bodies, technology and the environment.
Seoungho Cho 1959 年生於韓國釜山,目前於紐約生活及工作。他於韓國弘益大學獲平面藝術學士及碩士學位後,於紐約大學取得影像藝術碩士。他曾於紐約現代藝術博物館等多個知名機構舉辦個展,他的錄像作品亦於歐洲和北美多個不同的雙年展及影展展出。他獲得多個獎項與資助,包括杰羅姆與洛克菲勒基金。他擅於運用數碼影像處理技術,將簡單的日常物件、場景及風景轉化成極具抒情的聲音和影像拼貼。他的作品經常以豐富而飽和的色彩以及精細的構圖,如繪畫般抒發予影像空間之中。作品時而涉及巧妙研發的開放式敘事,強調體驗感知與經驗中的本質。Cho 常以作品探討運用科技表達自然的構想,特別是如何表現身體、科技、環境三者互動的痕跡。

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Object Dream | Song Kyungwon
USA / 2018 / Color / Sound / 2’ 11” / HD
美國 / 2018 / 彩色 / 有聲 / 2’ 11” / 高清
Drawing an image on an object and then moving the object — that to me  is a process of animating. As the object becomes a subject, it becomes animated and eventually we can watch what it is dreaming and imagination.
先在物件上繪畫圖像,繼而移動物件,對我而言是一種製作動畫的過程。作為主體,它們帶著動能,我們亦因此看到它的夢與想像。

Song Kyungwon is an LA based artist. Her main medium is experimental animation. She is currently pursuing a Master’s degree in the field of experimental animation at the California Institute of the Arts.
Song, Kyungwon 是在洛杉磯工作的藝術家,擅長以實驗動畫創作。現於加州藝術學院修讀實驗動畫碩士課程。

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

Colour Box | Len Lye 
1935 / Color / Sound / 4min / 35mm on HD
1935 / 顏色 / 有聲 / 4′ / 原格式 35mm 數位化高清放映
The first of Lye’s “direct (camera-less) films” to receive a public screening. The direct application of paint onto the surface of ceeluloid transformed the dynamics of the graphic film. A wavy, vertical line multiplies itself and interacts with circles and fields of dots against a background washed with paint. Promoted by Sidney Bernstein’s Granada chain of cinemas, it eventually came to be seen “by a larger public than any experimental film before it, and most since” (as the film historian David Curtis has pointed out). Its soundtrack is a beguine – a dance popular in France during the 30s – played by Don Baretto and his Cuban Orchestra. The G.P.O. Film Unit sponsored the film and used it to add fun, colour and energy to its otherwise sober programmes. Colour Box won a medal of Honour at the 1935 International Cinema Festival in Brussels – there was no suitable category for it, but the jury was so impressed that they invented a new category.
倫恩第一部公開放映的「直接(無相機)電影」,透過將顏料直接塗在菲林表面帶動圖像影像的節奏,襯托上波浪形的垂直線與其自身相乘,再與圓圈波點等圖案互相交錯。在西德尼.伯恩斯坦 (Sidney Berstein) 旗下的格拉納達 (Granada) 院線的大力推動下,這部作品終被電影歷史學者大衛.柯提斯 (David Curtis) 評為「當今最多人觀看的實驗電影」。作品的配樂由Don Baretto 與他的古巴樂團演奏,是三十年代法國流行的比津舞。 G.P.O. 電影單位贊助了這部作品並以它為其他清新的節目添上更多樂趣、色彩與能量。《色塊盒》於 1935年布魯塞爾國際電影節獲得榮譽勳章,當時它無法歸類,評審因被作品深深打動而開辦了新的組別。

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Trade Tattoo | Len Lye
1937 / Color / Sound / 5mins / 16mm on HD
1937 / 彩色 / 有聲 / 5’ / 原格式 16mm 高清版放映
Trade Tattoo went even further than Rainbow Dance in its experimental use of the three-colour process. This time Lye used the Technicolor system. The film is based on black and white “found footage” taken from GPO Film Unit documentaries (including Night Mail). The way he transformed these images has been described as the most complex job of film printing and colour grading ever attempted. He added animated words and patterns to make the images incredibly rich and multi-layered. Music was provided by a Cuban group, the Lecuona Band. The GPO sponsored the film as publicity for the idea of “posting early”.
Trade Tattoo 與前作 Rainbow Dance 相比,在三色處理中作出了更進一步的嘗試。這次Lye 運用了特藝七彩的技術。這部作品借用了G.P.O. 電影單位部門的紀錄片(包括夜間郵報),抽取了其中幾段錄像。他改變這些圖像的方式被描述為史上最複雜的負片印刷與調色嘗試。他透過插入繪畫文字與圖案動畫使圖像變得更加豐富與多層次。配樂由一隊古巴組合The Lecuona Band 演奏。 G.P.O. 電影單位部門贊助了這部作品並起名「請早投寄」。

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Free Radicals | Len Lye
1957-1979 / B&W / Sound / 5min / 16mm on HD
1957-1979 / 黑白 / 有聲 / 5′ / 原格式 16mm 數位化高清放映
In Free Radicals Len Lye put aside his interest in colour and concentrated on a stark, black and white use of the ‘direct’ method by scratching on black leader. As he has described it, in the film “white ziggle – zag – splutter scratches…in quite doodling fashion”. Free Radicals is a masterly poetic expression of Len Lye’s lifelong concern with movement, as a celebration of energy. The film’s title is a reference to modern physics – “free radicals” are particles of energy – but the visual style is still reminiscent of tribal art. When  completed in 1958, it immediately won an award at the International Experimental Film Competition (EXPRMNTL, also known as the Knokke Experimental Film Festival) at the 1958 Brussels World Fair. LEN LYE recomposed the film in 1979, resulting in a tighter four minute version.
倫恩.黎 (Len Lye) 在《游離基》中暫別對色彩的追求,以「直接」刮擦黑色底片的手法創造黑白鮮明的影像。他把作品形容為「白色的擺動 – 搖曳 – 劈哩啪啦的划痕 – 如塗鴉般的風格」。倫恩.黎一生關注動態的創作,這是一部既具詩意亦能量充盈的作品。作品標題參考物理學 — 游離基是能量的粒子;但作品的視覺風格更令人聯想起部落藝術。它於 1958年布魯塞爾世界博覽會首次上映時,為國際實驗電影大賽選為獲獎影片(EXPRMNTL,亦稱為克諾克實驗電影節)。倫恩.黎於 1979年重新編排這個作品,生出一個更緊湊的四分鐘版本。

Len Lye (1901–1980) is arguably one of the twentieth century’s most original artists; a one-man art movement spanning several countries and multiple media over a lifetime and beyond. As a New Zealander practising in London during the pre-war years, and then a key figure in the post-war New York avant-garde art scene, Lye mapped a unique course through Modernism.
Living in London in the 1930s, Lye became well known for his pioneering work in ‘direct’ or camera-less filmmaking. To produce abstract animation Lye painted and scratched the film itself, and used innovative techniques of colour processing. Lye emigrated to the United States in 1944, settling in New York where he continued his work in film and began producing kinetic sculptures. In 1977, Lye returned to his homeland for the first New Zealand exhibition of his work at the Govett-Brewster Art Gallery, New Plymouth. Shortly before Lye’s death in 1980 he entrusted his work to the newly constituted Len Lye Foundation. He encouraged the foundation to build his work to the scale he envisioned. New Plymouth’s Wind Wand and Wellington’s Water Whirler are two examples of this work. The Len Lye collection and archives are housed and cared for by the Govett-Brewster Art Gallery through a trust deed with the Len Lye Foundation.
Len Lye (1901–1980) 被譽為二十世紀最具原創性的藝術家之一;在整個創作生涯中,以一己之力量掙脫地域與媒介的制肘。Lye是新西蘭人,二戰前在倫敦實習,戰後成為紐約前衛藝術界的先驅人物,他 為現代主義描繪了一個與別不同的路向。Lye 於1930 年代於倫敦生活時,因其開創性的「直接」與無鏡頭錄像創作而聞名。Lye 透過直接於菲林上繪畫及刻刮,並以嶄新的彩色處理技術製作出抽象動畫。Lye 於1944 年移居美國,定居於紐約,繼續他的錄像創作,並開始製作動態雕塑。於1977 年回到故鄉,參與在新普利茅斯 Govett-Brewster藝廊的首個個人展覽。Lye於1980 年離世,生前創立Len Lye基金會,按照他的遺願延續創作,當中包括位於新普利茅斯的Wind Wand 與惠靈頓的 Water Whirler。Len Lye 的館藏和文獻庫經由Len Lye基金會的信託契約保存,交託Govett-Brewster 藝廊管理。

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Yours | Jeff Scher
1997 / Color / Sound / 3min / 16mm
1997 / 彩色 / 有聲 / 3’ / 16mm
Yours, which begins with a soundie*, was made for projection in a “film jukebox” in 1945. Soundies were “three-minute American musical films, produced between 1940 and 1947, each containing a song, dance, and/or band or orchestral number … [made] on 35mm black-and-white film, … printed in the more portable and economical 16mm gauge” for theatrical release. (Wikipedia)  The soundie in Yours wasa popular song in its own day, pregnant with sentiments of eternal love It feels poignant in the context of separated loves in World War II. Yours features the performance of the Roberts Brothers and the Bunnell Sisters, as two sets of twins. Scher turned them into the film’s built-in doubles for an experiment he had in mind.
“What I did was shoot abstract animation literally through the original film. I used a Master Oxberry, once the `123123 gold standard of film animation cameras, now sadly verging on extinction. With this camera you can have two rolls of film running at the same time, “bi-pack” — or locked together — at the point of exposure. I shot through the film twice, first through the original and then through a negative of the original. The result is that all the blacks have been replaced by one layer of animation and all the whites by another. The surprise? How indelible the actual soundie is in the final film. It is now visible as the difference between my two replacements. I like to think that I added another twin act.* *Scher’s notes quoted here originally appeared in the New York Times’ “Opinion” page in “The Animated Life”. See: https://vimeo.com/37714779 
《您的》是一段1945 年經電影點播機投放的影片,由一首小序曲開始。那是一首當時流行的歌曲,描述二次世界大戰戀人分離的痛楚,及對愛情永恆的期許。《您的》由羅伯特兄弟與布乃爾姊妹兩對雙胞胎共同演出,與影片中的雙生概念相輔相成,亦和我想像中的實驗不謀而合。
「我是用直接在負片上重曝的手法拍攝抽象動畫。使用了當時被視為黃金標準的 Oxberry 光學印片機拍攝,這台相機已瀕臨絕種。您可以透過這台相機同時運行兩卷膠片,以「雙重」-或鎖定在一起進行曝光。我以同一卷菲林作了二次攝錄,第一次透過原版,然後再用它的負片攝錄,結果所有的黑影都被一層動畫取代,同樣效果亦出現在白影之上。那驚喜是甚麼?就是在最終的成像中仍可看到原本的影片,但經由兩次的替換後又顯然與原作大相逕庭。我認為我添加了多一對雙胞胎的演出。」*

Jeff Scher is a painter who makes experimental films and an experimental filmmaker who paints. His work is in the permanent collection of the Museum of Modern Art and the Hirshhorn Museum, and has been screened at the Guggenheim Museum, the Pompidou Center in Paris, the San Francisco Museum of Modern Art, and at many film festivals around the world, including opening night at the New York Film Festival. Mr. Scher has also had two solo shows of his paintings, which have also been included in many group shows in New York galleries. Additionally, he has created commissioned work for HBO, HBO Family, PBS, the Sundance Channel and more. Mr. Scher teaches graduate courses at the School of Visual Arts and at NYU Tisch School of the Arts Kanbar Institute of Film & Television’s Animation program. 
Jeff Scher 是一位製作實驗電影的畫家,同時亦是實驗電影導演。他的作品獲現代藝術博物館與赫須巨集博物館永久收藏,曾於古根漢美術館、巴黎龐比度中心、三藩市現代藝術博物館等眾多國際電影節中播放,紐約電影節的開幕夜亦見其身影。Scher曾開了兩個個人 繪畫展,亦參與多個紐約藝廊的群展。他亦曾應邀為HBO、HBO 家庭頻道、公共電視網、辛丹斯頻道及其他平台的委約創作。Scher現 於紐約視覺藝術學院及紐約大學蒂施藝術學院教授研究生課程。

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Trees in Autumn (BÄUME IM HERBST) | Kurt Kren
1960 / B&W / Sound / 5min / 16mm on HD
1960 / 黑白 / 有聲 / 5’ / 原格式 16mm 高清版放映
Kren looks at and simultaneously away from nature. He approaches the trees as an optical experiment, observing them in regard to their abstract value. Their effect upon the senses constitutes what is relevant, in order to be fit into a strict rhythmic and mathematical calculation, without having to consider narrative development or process. Kren provokes a state in which the eye is overwhelmed by what is seen and defensively attempts to control it. Seeing is ensnared in a competition with what it sees. (Thomas Trummer)
Kren 凝視大自然亦同時在窺避。他透過樹木作光學體驗,觀察它們的抽象價值。它們對相關事物所構成的感官影響,超越一般對敘事發展或過程的思量,直接迎合一種嚴格的節奏與數學計算。Kren 引發一種以影像淹沒眼球的狀態,並嘗試小心地操控它,使觀看這一種行為與眼球接收的狀態相互競爭。 (Thomas Trummer)

Kurt Kren was born in Vienna in 1929. Some of his first artistic experiments with film were made in collaboration with the poet Konrad Bayer. As of 1957 Kren created his first 16mm film and in 1960 made his first serial montage film of many to follow. It is due to these early serial works that Kren is considered one of the most influential pioneers of structural filmmaking.
From 1964 through 1966 Kren made films based on “material actions” staged by Otto Muehl and Günter Brus performed exclusively for Kren and several photographers. In 1966 he participated in the Destruction in Art Symposium in London, during which the Viennese Actionists made their first international appearance. 
Kurt Kren 於1929 年生於維也納,早期曾與詩人Konrad Bayer 共同以錄像進行實驗。Kren 於1957 年創作他第一部16 米釐電影,並於1960 年創作他第一部序列蒙太奇電影,這些早期的創作使他被譽為結構電影中最具影響力的先驅之一。從1964 年至1966 年,Kren 根據 Otto Mueh與 Günter Brus 特別為他 和其他攝影師編排的「物質行動」製作錄像。於1966 年他參與了倫敦的「Destruction in Art」研討會,是維也納行動主義者在國際舞台上首次亮相。

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Berlin Horse

Berlin Horse | Malcolm Le Grice
1970 / Color / Sound / 8min / 16mm on HD
1970 / 彩色 / 聲音 / 8’ / 原格式 16mm 高清版放映
This film is largely filmed with an exploration of certain aspects of the film medium It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the “real” time which exists when the film was being shot, with the “real” time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later re-filmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing ‘solarization’ image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film.
這作品以探索局部電影媒介為主旨,相較我以往許多的作品,更傾向以虛幻的方式表達關於時間的某些概念。它試圖處理拍攝過程與放映過程兩者當中「真實」時間的一些關係與矛盾,以及如何通過技術操縱這些影像和序列。這部作品分為兩部分,以通過兩組材料的中心疊加連接在一起組成。第一部分採用我拍攝的一小段彩色 8米釐菲林,接著再以 16米釐黑白菲林運用各種方式重新拍攝。黑白素材經由不同濾色器以負片正片重疊印片,產生連續變化的「過度曝光」,令影像在概念上自我運行。第二部分則以相若的方式處理一段緊貼主題的早期黑白新聞片。在這個雙視頻的電影作品中,另一視頻是其黑白版本。

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Threshold | Malcolm Le Grice
1972 / Color / Sound / 13mins / 16mm on HD
1972 / 彩色 / 有聲 / 13’ / 原格式 16mm 高清版放映
Threshold, made five years later, aptly offers points of comparison with Little Dog For Roger. Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity. The initial use of pure red and green filters gives way to a broad variety of colours and the introduction of strips of coloured/celluloid which are drawn through the printer begins to build an image which becomes graphically and spatially complex – if still abstract – and which evokes the paintings of, say, Clifford Still or Morris Louis. With the film’s culmination in representational, photographic imagery, one would anticipate a culminating ‘richness’ of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate (as in Little Dog) the work which is necessary to decipher that cinematic image. (Deke Dusinberre)
相隔五年,Threshold 恰可與 Little Dog For Roger 作出一些對照。告別往昔,Le Grice 不再本能地利用光學印片機 ,而是透過負片處理,影響顏色的變化與圖像的排列多變性,使整體影像結構層層遞進。影片開首以純紅和純綠色的濾鏡產生各種各樣的顏色,繼而引入帶條紋的賽璐珞片,在光學印片的過程直接構建圖像,使整段影像無論在圖形或空間處理上越見複雜-即使依舊抽象-令人想起 Clifford Still 或 Morris Louis 的畫作。隨著電影中對寫實攝影圖像的累積,人們對於圖像的「豐富性」亦充滿期待;手法上,重覆錄像,持續剪接,利用這些過濾後的循環錄像互相衝突疊加,造出解構電影影像所需的作品(例如Little Dog )。 

Malcolm Le Grice studied painting at the Slade School of Fine Art but began to make film, video and computer works in the mid 1960’s. He has shown in major international exhibitions including at the Museum of Modern Art, New York, the Louvre Museum and Tate Modern. His films and videos are in collections at the Centre Georges Pompidou, the Royal Belgian Film Archive, the National Film Library of Australia, the German Cinematheque Archive and the Archives du Film Experimental D’Avignon. A number of longer films have been transmitted on British TV, including ‘Finnegans Chin’, ‘Sketches for a Sensual Philosophy’ and ‘Chronos Fragmented’.
Le Grice has written critical and theoretical work including a history of experimental cinema Abstract Film and Beyond (1977, Studio Vista and MIT).
For three years in the 1970’s he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected as an anthology under the title ‘Experimental Cinema in the Digital Age’ by the British Film Institute (2001).
Le Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.
Malcolm Le Grice 於斯萊德藝術學院修讀繪畫,但早於1960 年代中期已開始製作電影、錄像和電腦作品。他曾於主要的國際展覽展出,包括紐約現代藝術博物館、羅浮博物館與泰特美術館。他的電影與錄像被龐比度中心、比利時皇家電影資料館、澳洲國立影片與聲音檔案館、德國Cinamatheque 檔案館以及亞維農電影實驗檔案館所收藏。數部較長的作品曾於英國電視台上映,包括 Finnegans Chin, Sketches for a Sensual PhilosophyChronos Fragmented
Le Grice 亦撰寫具批判性和理論性的著作,作品包括實驗電影的歷史《Abstract Film and Beyond》 (1977, Studio Vista and MIT)。 於1970 年代的三年間,他為藝術月刊Studio International 撰寫定期專欄,亦發表了不少關於電影、錄像與數碼媒體的文章。許多文章經已被英國電影學院擷存。以《Experimental Cinema in the Digital Age》(2001) 為名輯錄成書。Le Grice 是倫敦藝術大學的名譽教授,他與 David Curtis共同策劃學院名下的英國藝術家電影和視頻研究收藏。

Gestalt (Heya/Keitai) (部屋/形態) | Ishida Takashi
Japan / 1999 / Color / Stereo / 7min / 16mm on HD
日本 / 1999 / 彩色 / 有聲 / 7’ / 原格式 16mm 數碼化高清放映
The film opens with a plain wood frame on a non-descript wall.  A black line paints itself around the frame, then bursts free of the confines of the picture frame to create dramatic patterns of black lines against the white background.   Black lines paint over white, white lines paint over black, and so on until the bold white on black title card appears reading “部屋/形態 gestalt”(部屋= heya = room, 形態 = keitai = form/shape) Ishida introduces us to the room with a shot of part of the old window flecked with paint and years of grime, but still allowing some amber light into the room.  
這部影片以掛於牆上一個普通的木框開始。黑色的線條在框架周圍逐漸延伸,脫離相框的範圍並開始在白牆上繪製戲劇性的圖案。黑白的線條互相重疊交錯,直至黑色的標題卡出現,以粗體白字寫著「部屋/形態  Gestalt」(部屋 = heya =房間;形態  = keitai = 形態/形狀)。石田以鏡頭對著舊窗帶領觀眾走入房間,舊窗油漆脫落沾滿污垢,仍無阻透進室內的一絲琥珀色燈光。

Takashi Ishida is a painter and film artist born in 1972 in Tokyo. He is also associate professor at Tama Art University. He uses a technique of drawing animation, which consists in drawing lines and shooting them one frame at a time. By interposing multiplying lines, moving points or some other mobile element, Ishida’s installations produce various changes in the quality of the space. His recent major exhibitions include “Light on the Arc”, the Aomori Contemporary Art Center (2019); Sharjah Biennial 13, “Tamawuj” (2017); Aichi Triennale 2016 and Kenpoku Art 2016 (both 2016); “BILLOWING LIGHT: ISHIDA Takashi”, the Yokohama Museum of Art and the Okinawa Prefectural Museum & Art Museum (2015). He received the Most Promising Young Talent Prize of the Gotoh Cultural Award in 2007. His work “Gestalt” won the Award for Excellence at Image Forum Festival 1999.
石田尚志 1972年生於東京,現為畫家、影像藝術家,並身兼多摩美術大學副教授。作品中採取傳統繪動畫手法,一筆一畫分鏡攝影,透過插入點與線,賦予畫面擴張和移位等動態元素,使空間產生各種質變。近年來主要的展覽有「Light on the Arc」(青森國際藝術中心,2019年)、「Tamawuj」(第十三屆沙迦雙年展,2017年)、2016愛知三年展、茨城縣北藝術祭及「BILLOWING LIGHT: ISHIDA Takashi」(横浜美術館、沖繩縣立博物館,2015年)等。他在2007年獲得五島紀念文化獎最具潛力新秀獎。他的作品 Gestalt 於1999年日本Image Forum Festival 獲取優異獎。

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In, Over & Out | Sebastian Brameshuber
2015 / Color / Sound / 10’ / HD
2015 / 彩色 / 有聲 / 10’ / 高清
There have been countless tributes made to the Lumière Brothers Workers Leaving the Factory since it was first exhibited in 1895, but few have been as technically ambitious, aesthetically assaultive or conceptually compelling as Sebastian Brameshuber’s In, Over & Out.
The main bulk of the action here depicts a small courtyard, with young adults entering and exiting the double-doors of an ostensibly anonymous building. This isn’t a factory in the traditional sense, and the cast members don’t belong to the industrial proletariat as they may have done in the Lumières’film. The shooting location here is the staff entrance at Le Fresnoy, the prestigious art school in Tourcoing, France. Founded in 1997, it was a popular entertainment site for local workers between 1905 and 1977.
Brameshuber captures this most quotidian of gestures, rinsed and repeated since the very start of cinema, with twelve simultaneous cameras — all arranged along a simple enough x-axis and encompassing celluloid, analogue video and digital formats. With dizzying and enthralling syncopation, he proceeds again and again between these formats with the use of a specially made video sequencer.
With only half a moment for each blink-and-miss image to register, we only have the rapidly fluctuating aspect ratios, the continual left-to-right succession between formats, and the dramatically varied audiovisual textures as clues of the film’s practical mechanisms. The visual set-up allows us to see and capture a single moment that in fact comprises an entire history of moving-image technology. Put another way, Brameshuber lends a new sense of technical awe to an otherwise routine film scene some 120 years after humans first saw it. (Michael Pattison)
儘管自Lumière Brothers Workers Leaving the Factory (1895)上映後出現數之不盡的致敬作品,只有少數能像 Sebastian Brameshuber 的 In, Over & Out 般展示出如此精湛的技術、尖銳的美學反思,與扣人心弦的概念。
作品主要描繪一個小庭院中的匿名建築物,一群年青人從建築物的雙扇門進進出出。這有別於一般對工廠的理解,當中的演員亦與當時盧米埃工廠的員工不一樣,並不屬於工業無產階級。拍攝的地點是圖爾寬著名藝術學校Le Fresnoy 的職員入口。它成立於1997年,於1905 年至 1977 年期間是一所備受當地工人受歡迎的娛樂場所。
Brameshuber 透過十二部攝錄機,同時捕捉了這種電影依始已經常出現的日常姿態 -以X軸的簡單方式排列各種底片與數碼攝錄機。他隨著這眼花繚亂與令人著迷的切分節奏,以特製的視頻音序器在這些格式之間反覆處理影像。
每張瞬間即逝的圖像之間,我們只能夠隱約捕捉到起伏不定的寬高比,從左到右連續不斷的格式變化,以及當中極其多樣化的視聽紋理,作為電影中實質機制上的線索。這視覺上的安排使我們可以看見及捕捉整個流動影像科技的歷史。換句話說,Brameshuber 以嶄新的技術向這本來常規的場景致敬,重新演繹這120多年來首次呈現於人類眼前的經典之作。(Michael Pattison)

Sebastian Brameshuber studied scenography at the Vienna University of Applied Arts and contemporary arts at the audiovisual research institute Le Fresnoy – Studio national des arts contemporains in France. His interest in film and moving images was triggered by works of the so-called Austrian avant-garde cinema. Since 2004, Brameshuber’s work has been continuously present and occasionally awarded at renowned film and media art festivals such as the Berlinale, Viennale, Cinéma du Réel, FID Marseille, BAFICI, Karlovy Vary FF, Sarajevo FF, EMAF Osnabrueck, Impakt Utrecht, Media Art Friesland, etc. For international distribution of his films he collaborates with Cinephil (ISR), sixpackfilm (AT) and Filmgarten (AT). He lives and works primarily in Vienna.
Sebastian Brameshuber 於維也納應用藝術大學修讀舞台美學,其後於圖爾寬Le Fresnoy-法國國立當代藝術影像研究中心視聽研究所修讀當代藝術。他對電影與移動影像的興趣源於當時所謂奧地利的前衛電影作品。自 2004開始,Brameshuber 的作品屢於眾多國際電影節及媒體節展出,偶獲獎項,包括:柏林國際影展、維也納國際電影節、法國真實電影節、布宜國際獨立電影節、卡羅維發利國際電影節、薩拉熱窩電影節、歐洲媒體藝術節、
烏得勒支 Impakt 及弗里斯蘭媒體藝術節等。他的作品經由多個機構聯合發行,包括:Cinephil (ISR)、sixpackfilm (AT)和 Filmgarten (AT)。他主要在維也納生活和工作。

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Something Between Us | Jodie Mack
USA / 2015 / Color / Sound / 9’ 30” / 16mm on HD
美國 / 2015 / 彩色 / 有聲 / 9’ 30” / 原格式 16mm 數碼高清放映
A choreographed motion study for twinkling trinkets: costume jewelry and natural wonders join forces to perform plastic pirouettes, dancing a luminous lament until the tide comes in.
一段以閃爍的小裝飾品編排的動作研究,服裝珠寶與自然奇觀聯手呈現一場塑料式的旋轉表演,為一場明快的輓歌起舞,直到潮湧。

Jodie Mack is an experimental animator who received her MFA in film, video, and new media from the School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, as well as the tension between form and meaning. Musical documentary or stroboscopic archive, her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.
Jodie Mack 實驗動畫師,於 2007 年獲芝加哥藝術學院的電影、錄像和新媒體藝術碩士學位。她的手造作品以傳統抽象/絕對動畫與電影兩種技巧和結構互相配合,透過拼貼探討圖像電影與故事敘述的關係和形式與意義之間的張力。她的影像作品是音樂紀錄片或是頻閃檔案,都玩味於研究再生及家常材料,以闡明抽象性美術與大規模生產的平面設計兩者之間的共通性。她的許多作品釋放著日常被忽視與棄置的物件當中的能量,並質疑裝飾品在日常生活中的角色。

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Patrick Bokanowski. Battements Solaires (2008

Battements Solaires |
Patrick Bokanowski
France / 2008 / Color / Sound / 18’ 40”/ 35mm on HD
法國 / 2008 / 彩色 / 有聲 / 18’ 40’’ / 原格式 35mm 數碼化高清放映
Walking towards the fire. In a ceaseless stream of light, people, landscapes and objects lead us to mysterious regions. Animation film with special effects.
一步步走向火。在這不同的光流之間,人群、景觀與物體引領我們通往神秘的地域。這是具特殊效果的動畫影片。

Patrick Bokanowski. French filmmaker and artist who has developed a manner of treating filmic material that crosses over traditional boundaries of film genres: short film, experimental cinema and animation. His work lies on the edge between optical and plastic art, in a gap of constant reinvention. Patrick Bokanowski challenges the idea that cinema must, essentially, reproduce reality, our everyday thoughts and feelings. His films contradict the photographic objectivity that is firmly tied to the essence of film production the world over. Bokanowski’s experiments attempt to open the art of film up to other possibilities of expression, for example by “warping” his camera lens (he prefers the term “subjective” to “objective” – the French word for “lens”), thus testifying to a purely mental vision, unconcerned with film’s conventional representations, thus affecting and metamorphosing reality, and thereby offering to the viewer of his films new adventures in perception.
Patrick Bokanowski. 法國導演及藝術家,他以獨到的創作手法處理影像素材,跨越短片、實驗電影及動畫等傳統媒介。他的作品處於光學與塑型藝術之間,在可重塑的空間中不斷徘徊。Bokanowski 質疑電影是否必須從本質上複製現實和日常感知。他的作品抵觸攝影客觀性的假設,否定這個我們對電影製作上理所當然的要求。Bokanowski 的實驗嘗試打開電影藝術表達的可能性,例如透過「翹曲」鏡頭(他採用「主觀」而非「客觀」一詞 – 法語中的「鏡頭」),證明純粹精神視覺的可行性,打破電影必須呈現現實的成規,因此他的作品無拘無束扭轉現實,使之變態衍生奇狀,為觀眾帶來嶄新的感知歷程。