Wavering thought paths as collage-montage videos… Speak to the air, trust that magic is just around the corner; most importantly, to Love is to Be…#4 D-Normal/V-Essay online video zine, collected and edited by Linda Lai. 說出來吧!天大地大, 魔法就在身邊。會有人愛我嗎?這確實需要點自我勸解。… 黎肖嫻蒐集彙編,搖擺的思路發了聲。《平地數碼》網上錄像誌第4期。

 

To Love, to Be… 愛,存在 …

Watch videos on Dn/Ve #4 […]

True Friend (LAW Yee-lam 羅以琳)

忠心赤誠的友誼可能嗎?化成了圖像,細節在腦海裡栩栩如生。

I constantly encounter of difficulties in interpersonal relationships. It occurs to me that people often make friends with hidden purposes. This work speaks of my ideal image of true friendship and deep relationship. All pictures are my own hand-drawn work. I keep the two characters in fixed postures throughout with variation in other elements so as to call attention to the passing away of time. I hope viewers notice the changing details. The pictures grow thicker, but also darker, and provoke more questions about relationships than my own answer. 

 

Time, Existence and Love (TANG Ka-hei 鄧家希)

如果一切早已預設,那自由意志還有意義嗎?「現在」必然在「未來」之先嗎?未來臨到之前已被咒詛,搗亂了時間的秩序,如何?困惑重重,唯有愛可令人支撐下去。

This photo montage sequence presents some of my confusion and thoughts about time and human existence. I have created this work rather fortuitously. Then I found myself watching TheMatrix series and I repeated the fourth episode. The scene that struck me most is that about the choice between Red Pill and Blue Pill, a decision about facing an uncertain future or staying in a beautiful prison. For Neo, the main character, a decision has been made even before he makes his own. My mind was stuck. If the future is already condemned, does free will still mean anything? Is the “present” followed by “future” really as it is, or just how we perceive time? The Matrix contradicts my common sense. I have always thought, after Sartre, that existence precedes essence. Now, what if there is no before and after? The mystery of our existence remains – I feel lost in a big maze, not knowing if there is an exit. We will never perceive time outside of it. The big blur around me took me to the thought of “50 years remaining unchanged” and someone who says, “Love you for 10000 years.” The former is a story I am part of whereas the latter is a line from Wong Kar-wai’s Chungking Express (1994). But how can I make sense of 10000 years, literally? … All I did was to sculpt time, inspired by Tarkovsky and that my work would hopefully take me a step closer to the truth of existence.

 

Zemblanity (TAM Lok-yee Christy 譚樂怡)

放棄「緣份」這例牌的愛情故事的敘述策略,選擇了時光隧道裡的穿梭,加強兩個人相遇的隨機性…。

“Zemblanity” is the antonym of serendipity. It means making unhappy, unlucky and expected discoveries occur by design. Zemblanity is the protagonist’s discovery of the tragic destiny he has to face. Zemblanity is inspired by a few films — Chinese Odyssey Part 1: Pandora’s Box 《西遊記第壹佰零壹回之月光寶盒》(HK, 1995), My Tomorrow, Your Yesterday (2016, Japanese romance), and La Jetée (1962, French science fiction, dir. Chris Marker). In place of the usual emphasis on fate-encounter and inseparability of two persons in love, I have adopted “time travel” to be my main narrative strategy.

 

Open Space: Magic is Around Us  天大地大: 魔法就在身邊,,,

Watch Video on Dn/Ve #4 […]

Possibilities (CHAI Jing-boong Shine蔡沁紘)

腦海裡隨意跳動的影像化成可以分享的不假思索式敘述。這份好奇,連結了好些實驗性作品提供的可能性。再看完成的錄像自娛一番。怎麼我的鼻子、我的嘴巴… …?

I want to capture the busy thoughts in my mind as much as possible and turn them into visual narratives like chance encounters. One moment, I look into the mirror at myself. Suddenly, I notice my mouth becoming extremely big and getting stuck in my eyes, my mind. … What is the actual use of my mouth? Just for the intake of food because that’s what we humans do? And is that the only place that food gets through? What else does my mouth do? Possibilities is an open space I’ve marked out for the audience, like a game. How long would they stay with me? I was inspired by Yoko Ono’s Eye Blink, Zbigniew Rybczynski’s Tango, Duane Michals’ photo sequences and more.  Ono’s Eye Blink to me indicates eye blinking as a loop series: there is also something possible upcoming, the next possibilities, the play of time and space. 

 

Black Rain (WANG Siyu王思雨)

雨灑在頭上,然後大雨傾盤濕透了全身,滲入毛孔。如果雨是黑雨呢?可是,為甚麼雨會是黑的呢?

Rain has its own colors. Transparent rain washes away dust and impurities in the world, while black rain fills the earth with another layer of turbidity. A man stands on the empty land of the earth, eager to receive a baptism from the rain, without any obstruction, nor any protection. Black rain comes down from the sky with a fierce and growing intensity, soaking him. There is no way back, no return. The black rain flows through his hair, wraps his face, invades the torso and the whole body, until it penetrates the soul.

 

Dream (TANG Wing-ka Yuna 鄧詠嘉)

一個靜態的圖像凝結了一切,還能令它「動」嗎?可以的。構圖本身就藏著多線的「看」的路程,讓人隨走隨賞。留意細節吧。又或,一個圖像接上另一個圖像,繼續接上。這是個無限的陳述遊戲。

A photographic image freezes all things in it at the moment of photo-taking. But the stories viewers could pick up is limitless. A still image may start to move in a viewer’s mind, from one to many, as imagination takes it. As a maker, I decide how a single image could succeeded by other images in a sequence — the work of montage. Dream, inspired by Claude Cahun’s photo collage works, plays with montage. Also inspiring me is a new platform Dreamcore, which adopts a surrealist aesthetic using dream-related motifs, highlighting weird, unrealistic elements as opposed to familiar objects. “What’s going to be in the next image?” This is not just a guessing game, but the language of dreams.

 

Light Time (NG Ka-kei 吴嘉淇)

「光」是甚麼形骸的?是甚麼顏色調性的?移動的姿態又如何?這樣的好奇,可比光的作用同樣有趣。作者又為甚麼想光呢?… …

“We don’t see light, we see the reflection of light.” It reminds me that light tells a lot – clock-time, space, mood … . Hence I ask myself … Can I tell a story with the reflection of light as the main element? Where does light come from? What is the direction and angle of light? How does it create interaction?

Lights in different environments have a different shape and texture. Is my work going to draw viewers’ attention on such aspects? As my montage sequence flows forward, the indoor becomes outdoor. “Light” is the only character. But “behind” the camera and the images, who is there? Is that me? Other people? Or a cat? What are they/she/he/it thinking? What is going to happen next? 

 

/…END of series