VIDEO ZINE #2 錄像雜誌第二期 /
The Ultra-realist, the Extra-ordinary 非凡超（極）真實 - p.6
L’automatique: hickory dickory dock 自動波：滴答滴答滴答滴
Automatism has different names. A rule-driven activity for discovery. Unusual combination of familiar objects – that’s visual surrealism. Programmed machine action leading to amazing, unpredictable results. A new materialist intention to let go of anthropocentric control. The video essays below have opened several doors. A sense of liberation. A touch of suspense. A celebratory note, or… Shush! Let’s wait.
In Unclear Proof, products from an Italian winery are abstracted and transformed into the shape-shifting protagonists of an alternate reality. Through this re-contextualisation of everyday objects into a new otherworldly role, we are distanced from their previous function and allowed to reflect on it and, by extension, also on the wider cultural and symbolic function of objects as a whole.
Max Hattler is an artist, researcher, curator and educator who works with abstract animation, video installation and audiovisual performance. He holds a master's degree from the Royal College of Art and a Doctorate in Fine Art from the University of East London. Hattler's work has been shown at festivals and institutions such as Resonate, Ars Electronica, ZKM Center for Art and Media, MOCA Taipei and Beijing Minsheng Museum. Awards and mentions include Annecy, Prix Ars Electronica, Punto y Raya Festival, London International Animation Festival, Vienna Shorts, and several Visual Music Awards. Max has performed live around the world including at Fest Anca, Anifilm Festival, Playgrounds Festival, Expo Milan, Seoul Museum of Art and the European Media Art Festival. He lives in Hong Kong where he is an Assistant Professor at the School of Creative Media, the City University of Hong Kong.
Tamas: It’s a very nicely made stop-motion animation with an interesting viewpoint and nice aesthetic -- though it’s really short.
John: I like visual-music a lot and this piece is a carefully designed, fun experience. … It seems like the creator doesn’t have much to say about the objects he has used, though.
Winnie: If you watch the whole series from Max, you will see an absolute animator who is capable of extending any objects around him.
Hoi: Yes, I’ve seen and liked Max’s old series.
Linda: I like it simply because it gives life to the objects, which exactly is what animation means - to animate. “Stories” in animation are best the potential extension of objects and their generative properties. I like works that step down from anthropocentrism, and this work enrols itself in the right category.
03' 55" | 19:9 | 2020 | HD digital (MP4) Location : Hong Kong 香港 Selected category:  ON-SITE DOCUMENTATION 「留住一瞬即逝的」
Kinetic Art, drawing machine, "Be Water", cycle of prosperity and decline
動力藝術, 繪畫機器, 如水, 盛與衰的循環
Fading Stone is a drawing machine that uses water as the drawing medium. Based on calculated modelling, the mechanical moving parts and assembly of woodworking, this drawing machine makes continuous circular drawings. The mechanical parts are my original design made by 3D printing. The core of this machine is an esp8266 wi-fi Arduino microcontroller, which controls the drawing patterns and speed, and the flow of water can be adjusted wirelessly by a tablet or laptop computer.
The machine processes enableme to contemplate the question of the recurring cycle of prosperity and decline. The culture integrity and values of my place are gradually disappearing, and I just artlessly hope that I can recover what is lost. The imperturbable drawing machine replaces me in expressing my perseverance. With water as a metaphor, it struggles to draw a stone with water, and even a mountain, if possible. Water leaves no traces; it just transforms a shape into another form, with more and more new traces on the canvas.
My work expresses my thoughts on an artist’s survival, and the reality of the survival of the fittest. I want to build trust and hope with the audience. From machine aesthetics, I have learnt something about operating systems. This is my take on the use of art.
Under the influence of the pandemic and the social movement in Hong Kong, this work is a record of a part of the great changes that are taking place at the moment.
Graduated from Hong Kong Polytechnic University’s SPEED with a Bachelor of Arts in Applied and Media Art in 2007, CHU Yiu-wai (Price) is a part-time lecturer at the Hong Kong Design Institute, and Creative Director of A Stroke Design Limited and Fishycraft. Since 2002, he has participated in many Hong Kong and overseas exhibitions. His artworks mainly explore performance and new media art in response to social and cultural issues, including the local art ecology. His works have been collected by private collectors and art museums.
Memories and sensations grow after moving back once again to the New Territories. It was where I had my first home in Hong Kong. Blurry boundaries of my identities. Memories of my father. ...
The voice-over was scripted in both Thai and Cantonese
The work was shot a bit at a time every morning when walking my dog, from 6 May to 22 December 2020, a total of 228 days. A total of1829 frames played 8 frames per second resulted in a stop-motion animation.
Weera-it Ittiteerarak (วีระอิทธิ์ อิทธิธีรรักษ์; 張國樑), also known as itit (b. 1994) is a Hong Kong-born-Thai and a Hong Kong-based interdisciplinary artist. His cross-cultural background allows him to develop a unique sensitivity to his surroundings, artistically and scientifically.
Itit is interested in environmental issues, psychiatric conditions and sustainability of human and nonhuman relationships. He creates with various mediums.
itit was diagnosed with PDD-NOS (Pervasive Developmental Disorder Not Otherwise Specified) in 2015; he transforms his acute senses into his artistic practice by triggering human sensations through sound, light, and smell. His one-year project, Wheel Our City (2017), received the Student Early Entrepreneurship Development Scheme (SEEDS) in 2017/2018 and Certificate of Recognition for Discovery & Innovation Award in 2017 from the City University of Hong Kong.He received his Bachelor of Arts & Science (honors) in New Media from the School of Creative Media, the City University of Hong Kong in 2020.
Tamas: I did not get anything from the video. Neither the images nor the monologues were interesting to me. Not my cup of tea.
John: It gives me a ‘heart-ache’ watching it. But I kind of catch how his life in Hong Kong is facing all kinds of impact of cultural differences.
Hoi: I appreciate the time and effort the creator spent on it. I like the camera movement and the intimacy even though I don’t like the monologue. The garbage on the sidewalk was interesting. I like the idea of paying attention to ‘neglected’ objects.
Linda: I don’t like the monologue that much either. The VO could have been treated more thoughtfully. Breaks? Silence? The sound track doesn’t have the dynamics the visual does, and at times the monologue is distracting. But I appreciate the micro drama which takes time to achieve. A work of time and labour.