Tag / Floating Projects exhibition
Michael Leung / Hardened and Standing Together 日子變艱難，越站在一起
隨著一個月的《相遇於小誌小文學》，橫洲的居民和居所渡過了最終的清拆，土地正式地劃歸地產商的發展。展覽上有餘音，梁志剛將在「據點。句點」延續駐場直至4月14日。As "Publishing (To Find Each Other)" carried on in the month of March, Wang Chau village in Yuen Long was through its final phase of total demolition to make way for real estate developers. Many unfinished texts (writings and videos) to cover... Michael Leung's residency at Floating Projects will take two more weeks to round up until 14 April 2021.
Tokyo Doughnut, Audiobook read by Michael Leung 東京甜甜圈
Michael Leung continues to introduce the variations of his zine-making -- fiction as .an audio book. 梁志剛繼續展示他的小誌創作的不同媒體變奏 -- 這回是一個原以有聲讀物現身的短編故事。
Michael Leung / “Solidarity with Aarey” on site (video 2 of 4) 印度阿雷的盟友團結（駐場錄像四之二）
Aarey Forest is a rich urban forest which is within the eco sensitive zone of Sanjay Gandhi National Park (SGNP). It is classified as mixed moist deciduous type forest. Leung's video was shot in May 2018, at the time local people were experiencing deforestation by a new metro line and metro carriage depot.
Michael Leung / Drawing Paths Between 勾畫軌道，留住線索
The thickness of the present grows as a writer goes back to the past -- to question the protagonists of a situation from the point of view of what they could have done and what they may become capable of. Michael Leung takes off describing how he no longer calls himself a beekeeper as multi-species solidarity becomes growingly important to him.
Chin-yin Chong / 因歌而鳴 The bird sings, for it has a song
聲音無處不在，聲音藝術始終難以被定義。鳥因歌而鳴，源自內在的想望，聲音多變因理念與堅持，才能被發掘與被聽見。黎仲民、張靜瑜呈現他們對聲音不同的觀察與研究方向，傳輸交流。Sound is ubiquitous. To produce meaning through/with sound is another issue. Many artists have forged many paths to explore sounds. Like tracing their steps on forking paths, Andio Lai and Annisa Cheung tenaciously follow their desires disregard what answers they may get. The two artists have been selected for Contemporary Musiking Hong Kong's Sonic Transmission Artist Exchange Program 2019/20.
The Ventriloquists 20. A narrative pictogram for Red Balloon 《紅氣球》解放路線圖
The pictograms for this 101 moving image classic show more than just the exemplary precision of continuity editing and a classical 3-act structure in plotting. These pictograms function as analytical tools to show how the intensifying bond between the boy and the balloon evolves; to superimpose the 1955-56 location of the film Red Balloon onto the contemporary map of Paris, ... and to single out the swerving energies and roughening emotions of the story world in mood-board like representation.《紅氣球》是學過活動影像拍攝的入門經典，或許是這樣，我們可能錯過了敘事藝術上的微細質感。氣球於小孩的動人關係不用質疑了，可是甚麼叫我們感動？這裡四個圖形分析，從唯物的層面揭示創作者的藝術心思，著我們不再輕易走漏眼。
The Ventriloquists 19. on nonsense in Svankmajer’s Jabberwocky (1971) by Steven Tsang 有關「物件」的動畫，打開怪趣無釐頭之門，打開文明歷史規範的一些「真相」
An assembly line of human figures grinding human figures for food, dolls feed dolls, doll eats dolls. Ironing, flattering, being dressed, being cut up, being tamed... Beyond Svankmajer's dramatization of carnivorous acts, Steven Tsang sees the politics of nonsense, which the animator structured against the paradigm of human civilization. The animator wants us to see differently, and asks a different sort of questions in following a narrative unique to his use of stop-motion animation. 看到喂小娃娃的大娃娃就知道是女的，看到舞動的水手裝就自動知道是男的。再看下去，人吃人，有血有肉的黑貓時不時推倒積木，一面是歷史砌圖，另一面是迷宮的路線...最終，它被鎖在籠裏動彈不得。屋子裡一個「人」也沒有，卻充滿了人類的活動。物件長年累月吸收了人類強加它們身上的「用途」、「價值」，也穿背著人類的規範，像鬼魅的模仿著我們的「正常」活動。曾俊良看到歷史、文明、性別的社會結構。能看到，因為看穿了動畫大師史文梅耶以物件為本的獨特敘事結構和跨媒想像。
The Ventriloquists 18. Love Earth in 3 photographs 愛地球？三段循環。
A set of 3 black-and-white photographs on light-boxes speaks of Harmanjeet Singh's warning on our destruction of the world. It's a closed circuit, the looping of disasters: personal life-style, environmental pollution, illness and viral infection, extinction of the species, the world's future... at Ventriloquists...Thinking narratively, 4-19 July 2020. 三張黑白照，串通個人、環境、體內、疾病、地球的未來。因與果是循環。
The Ventriloquists 17. Narrative pictograms for 2 animation pictures: Use Instructions, The Streets 動畫敘事掩眼法。兩個例子。
Caroline Leaf's The Street shows montage at work by abolishing the shot-to-shot editing system of continuity. Guido Manuli's Use Instructions is a series of synecdoche through which we are dragged down to hell to the final destruction of Earth. Both animation pictures play with the 3-act structure dramatic conventions. Two narrative pictograms augment what is just beneath the surface of pleasing imaging. 動畫的敘事法花枝招展，起承轉合是借用觀眾熟識的架構安置觀眾，看真是掩眼法。《街道》以水彩的流動取締了傳統分鏡的敘事法，鏡頭接合的文法銷毀，蒙太奇的效果卻豐盈漲滿，記憶的行動成了一場戲。《用家指南》的舉寓令人捧腹大笑，狂笑後往未來看，是希望的滅絕，地球成了渣滓糞便，是誰開始的超級玩笑？
The Ventriloquists 16. Narrative pictograms: Inception, Flowers of Shanghai… 時空囊的兩個形態：《潛行凶間》、《海上花》
Narrative pictograms' view on two kinds of time and space -- the brothel as chronotope, timeless space (Flowers of Shanghai), and nested realities in the virtual worlds of the mind as dreamwork (Inception) -- presented at Ventriloquists...Thinking Narratively, 4-19 July 2020. 如果敘事法的性質是時空的呈現以至再組織，進而擴展我們對存在的認知，那麼敘述圖形是另一種實驗性的創作，就是動用跨媒的資源去尋找語言或純影音未能盡興的展陳。《潛行凶間》和《海上花》是兩個截然不同的時空構圖；前者踏進夢的潛意識的禁地，化之為慾望的戲劇舞台，後者則專注現象學的濃密經營，時間一點一滴，一舉手一投足，吃喝閒話家常，紛陳世事，時間停留在這裡、此刻，摺疊勾連，並不向前。