<Performing consciousness> 展演的「我」現在進行式
Keywords
關鍵字
- precarious
- 不安
With the pandemic in 2020, invisible pain, trauma and doubt became visible. To portray the disquieted souls in quarantine, the constantly changing social environment, and the elusive link between the two, Xuan Liu penetrated her psychological labyrinth to capture her passage of self-realization with a collection of video documents, sketches, diary entries, quote fragments, and photographed physical items. Floating here and now. When to land, where to land, or is there whether or not somewhere to land? Not being ashore, am I departing or returning?
2020年疫情將不可見的疼痛、創傷和懷疑變得可見。面對通往自我的迷宮，通過收集和她的日常觀察，視覺細屑、錄像、速寫、日記、引用，和拍攝下來的物體收藏，劉琁試圖延展圖像表達的邊界，以再現隔離中不安的心靈，隨時變動的社邊環境，以至二者之間難以捉摸的關聯。浮動在這裡，我不確定何時落下，何地落下，或者有沒有降落的目的地。不能夠靠岸的時候，我是在出發還是在歸途？
BIOGRAPHY
創作者簡介
Xuan Liu, a graduate student in Art Video at Syracuse University, focuses on performance art, moving images and music. She practices a farming/gathering-style approach to the art world, and this season she has sown the seeds of body, mind, machine, and interaction among the three. Her works have been exhibited in Shanghai, Hangzhou, Shenzhen, Hong Kong, New York, Paris and so on.
劉琁是美國雪城大學Art Video 的在讀研究生，創作包括行為、影像、和音樂。她以踐行農耕式的方法進行創作，這一季度洒下的種子是身體、意識、機器，以及三者間的互動關係。她的作品曾在上海、杭州、深圳、香港、紐約、巴黎等城市發表。
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Juror’s SPECIAL MENTION 評審特别表揚
Keywords
關鍵字
- Video essay, desire, tender, intimacy, extimacy
COMET 01 is the first of a series of video diptychs playing with the notions of desire VS intimacy and beauty VS closeness.
Lisa & Louise attended the same art school in Brussels: ENSAV - La Cambre /
Yet they didn't know each other /
Lisa studied photography /
But doesn't believe in the relevancy of institutionalized art studies/
They met at a bar/
Lisa is an artist who practices photography, video, performance and installation/
Louise works as a costume designer and a creative director/
Then a pink moon lit the sky/
And they decided to follow it together /
They soon came up with a plan/
That every inch of their life would become a story for later/
For they believe in the power of a good narrative/
Whether it'd be literary, visual, material or audible/
No wonder their names speak of tales and stones/
Leconte & Lapierre 2020/
CREDITS
Director: LEL
Editor: Lisa Lapierre
Voice: Louise Leconte
BIOGRAPHY
創作者簡介
LEL’s main media are photography, video, texts and audio. They often bring them together in installation art questioning their interlacement.
An open window on daily life, their works stretch from intimacy to documentation, scratching the surface of time to make texture more appealing. Details of human-made materials, suspended time, flushed faces at parties, the lost gaze of teenagers, every inch of life is polished and compiled into visual installations and printed publications.
An apple on a table, a tablecloth of waxed canvas, a coffee upon waking, and suddenly the fruit becomes a target, placed on a skull, and the possibility of catching an arrow in the eye is drawn, it’s all these perceptions that she aims to transpose.
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Jurors’ notes:
COMET 01 uses the dual split-screen format effectively. The two images always work well together, creating visual similarities and contrasts, generating a tone of visual and tactile sensuousness and of bodily intimacy/closeness. The voice-over explicitly references specific people and dates, introducing an ambiguous and elusive narrative context for the images. It also refers to the body in a way that both resembles and differs from the images. The placement of the English subtitles is also carefully thought out to work with the visual design of the images. The subtitles are not merely added onto the images, but become integral elements of the work. (Hector Rodriguez)
Keywords
關鍵字
- after image, complementary colour, seeing, RGB colour system, perception
- 負後像, 互補色, 視覺, 三原色光模型, 感知
To see is to believe. Two complementary coloured lights add on to each other and cancel out each other whereas the shadow captures that process. Working with the limitation of optics and illusion, I encourage the spectator to think about what it is that they see.
I transform the optical phenomenon of the negative afterimage and its psychological version, ‘after-sensation’, into a five-minute moving image. I staged two complementary-coloured artificial light sources in symmetry, displaying the colour yellow and blue respectively. In the RGB colour system, mixing the primary colour blue with the complementary colour yellow would produce the colour white. The yellow light switches off all of a sudden, leaving a sea of blue light. Then the blue light is gone, only darkness remains.
互補色的光重疊。它們互相抵銷，影子卻留住了顏色。
眼見為實？ 視覺主導了我們對世界的感知。這份作品源於我對感官與感知的邊界的探究，觸及光學和幻象視覺的限制，試圖令觀者思考自己的所見。
我將「負後像」(after image) 這個視覺生理現像，以及心理學家稱之為「後感覺」的、停留於視覺的殘影，轉化成五分鐘的流動影像。影像中的我設置兩個互補色的光源，對稱地打在白幕上。互補色光源加疊後，原本的投射在白幕上的顏色會互相抵消，呈現白色。黃光消失於一瞬，餘下一片藍光。然後，藍光也熄滅了，畫面頃刻剩下黑暗。
BIOGRAPHY
創作者簡介
The primary interest of Echo Hui (HUI Gi-wai, b.1996) is to explore the senses, especially vision. She investigates the boundaries of the senses and perception while crossing disciplinary lines into the realms of science. She often works with light, chemicals, images and moving images, how audiences' motion and perception affect a work and vice versa. Echo’s focus on sight-related mediums is her way to challenge how we see reality.
許芷瑋，1996生，作品關注感官，尤其對視覺如何主導人類感知現實最感興趣。許探討感官與感知的邊界，近作利用光學和幻象探討視覺的限制，在藝術與科學之間遊走。作品形式多以光、化學品、影像、動態影像為主，觀者的感知及動態與作品裝置互相影響。許期望透過視覺主導的創作媒介去引起非常態的視覺感官討論，向我們所見的現實提出質疑。
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Keywords
關鍵字
- Consciousness, Sleeping, Performance Art
The text in the video was the notes taken by the author on the last day of her re-play in 2019 of a previous work I choose to sleep (2016) whereby she slept in a gallery for 3 days during opening hours. In this video, to explore the blurred line between conscious action and natural biological needs, she also observes the gradual transformation, disassociation and empathetic understanding of the relationship between her mind and her body.
這作品當中的文字，取自作者在2016年所創作的行為藝術作品《我選擇睡覺》於2019年一連三天的重演最後一天完成後所寫的筆記。這個作品紀錄作者在探索有意識的行為與自然生理需要之間的模糊界線，期間，她感覺到自己和自己的身體之間的關係的變化、抽離和互相理解。
BIOGRAPHY
創作者簡介
Florence Lam (b.1992, Vancouver, BC) lives and works in Hong Kong. Her practice is an exercise of staying hopeful in any situation she encounters. She works with wonder and magical thinking to fuse together current moral issues with child-like world views, working towards mainly live art, including performance, installation, video and poetry. She elastifies worldviews by treating all elements in her work as equal in the context of universal acceptance and respect, aiming to explore the fertility and sterility of the mind manifested through the properties of the biological body and language as a hint to the evolution of human values and spiritual understanding.
Lam obtained her BA and MA from Central Saint Martins College of Art & Design, London (2014) and Iceland Academy of the Arts, Reykjavík (2017) respectively. Lam has exhibited around Europe (Bergen, Lublin, Lviv, Rome, Reykjavik, Akureyri, Osnabrück and Zürich) and Asia (Taiwan and Japan). In Hong Kong, she has shown her work at Hidden Space and 1a space in 2020.
Florence Lam於1992年出生於加拿大溫哥華，現居香港。她的創作是給自己一個遇到任何情況都能夠尋找希望的一種鍛煉。她以wonder和心理學上的魔術思考作為靈感，透過行為藝術、文字、影像和聲音，將當代倫理問題與孩童般的世界觀結合。對所有作為創作對象的事物，她均等地以尊重和接受的態度來軟化其世界觀，探索通過肉體和語言表現人類思想的孕育性和不育性，暗示人類價值觀和精神理解的進化。英國倫敦中央聖馬丁學院獲得學士學位(2014)後，於2017年在冰島藝術學院取得碩士學位。她的作品曾於歐洲和亞洲多個城市展出，包括香港的1a space（2020）和台北南海藝廊（2019）。
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Keywords
關鍵字
- journal, Video Essay, fragments
- 隨筆, 錄像文章, 碎片
In the first half of 2020, I was on study exchange in Finland. Unsettled in how and where I position myself, regular documentation was an integral part of my journey. Reflections sought expressions. Longing contains my honest observations, intimate fragments of my daily surroundings and internal self-conflicts. The narrative body of Longing integrates different degrees of the documentary, experimental imaging and literature – a prose that is nonlinear, with no predetermined manifestation or object of study. It is a visual poem, or murmurs, constituted by the rhythm of reading, or a reading experience between images and literature.
2020年的上半年，我在芬蘭作交換生。對我來說，那是一段內外動盪不安的時間。我透過書寫和錄像，把一些難得的情緒和風景記下，以此觀察世界，觀照自己。《夜長夢多》可說是一些所見所聞，一些絮語，一些內心掙扎，它們都是誠實並赤裸的。至於作品的構成，《夜長夢多》揉合了紀錄性、實驗性和文學元素。它像隨筆般不以線性陳述作為主軸，沒有固定的情緒表現和記錄主體。它可以看成是一篇視覺上的詩或內心的呢喃；它以閱讀文本的方式和節奏編織而成，打開文學與影像的共同閱讀經驗。
BIOGRAPHY
創作者簡介
NGAI Tsz-kwan, a final BA year student at the School of Creative Media, is passionate about exploring the potential of moving images, spatial narratives and viewing experience. Ngai is interested in manipulating images in a materialist approach, also freely experimenting with narrative strategies regardless of whether the form is video art or photographic work.
魏芷軍為香港城市大學創意媒體學院文學士本科四年級學生，有意於探索影像與空間敍事的物質性，及觀賞經驗的可能性。魏志在以媒材及物質層面上進行不同形式的創作如錄像和攝影，並於其中實驗不同的敍事性。
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