WMC_e6 第六輯Running, Walking, Jogging along the timeline with the same speed 假如速度與跑姿換腳幅度無關

Opening this Saturday: “Running, walking, jogging along a timeline with the same speed” by Wong Chun-hoi and Hugo Yeung 假如速度與跑姿換腳幅度無關:王鎮海與楊鳴謙對話周六開幕

wmc_e6 2018.10.23 | 假如速度與跑姿換腳幅度無關,文字機器創作集第六輯展覽「象裡有象。通電造影」之三 2018年10月27日至11月18日灣仔富德樓本星期六開幕 Running, walking, jogging along the timeline with the same speed | 2018.10.27-11.18, part 3 of WMC_e6 “Cinema Expanding” opening this Friday at Fu Tak Building, Wanchai

hardworking circuit #1.4 – A switched-on projector [work-in-progress]
勤力電路1.4 – 開著了的投影機 (持續創作)
王鎮海 Wong Chun-hoi (Hoi9)

Harmonic Montage 諧波蒙太奇
楊鳴謙 Yeung Ming-him Hugo

27 Oct to 18 Nov 2018
12:00 – 19:00

灣仔軒尼詩道365-367 富德樓六樓 L6, Foo Tak Building, 365-367 Hennessy Road, Wanchai

由兩位年青媒體創作者合成的雙個展,「跑姿」確有不同。王鎮海對活動影像的「動」作出物理上的重塑;楊鳴謙則意圖打開誰是觀眾、觀眾與影像的主客關係的種種問題。王鎮海的《勤力電路1.4 – 開著了的投影機(持續創作))》把交流電流化作為待發的單子(monad)、創作的原素材,書寫著像電影般具時間性、強調流程、帶起合和清晰結尾的微敘事。說是「膨脹」電影的搞作,箇中是對合成媒體的解構,潛進至深至微處,憧憬著未來的電影,卻不忘「電」的原塑力。今天,我們對「電力」的存在於人間看成理所當然,王鎮海讓我們重新「看」到電的實時表演,寫出可看的新電影。楊鳴謙的《諧波蒙太奇》以數學上的「離散傅立葉變換(Discrete Fourier Transform)作為編碼的運算基礎去編排預先處理好的影像,空間的安排上以音樂的和聲(harmonics)和合奏(ensemble)為基本法則,透過觀眾與現場發聲物件的互動寫出聲與影的彈道(trajectory)

Presented by two emerging artists Wong Chun-hoi and Hugo Yeung, the exhibition, Running, walking, jogging along the timeline with the same speed, highlights two different responses to the call of cinema’s possible expanding. Wong Chun Hoi demonstrates the “motion” of moving image in physical reconstruction in “hardworking circuit #1.4 – A switched-on projector [work-in-progress],” while Hugo Yeung attempts to question the definition of “audience” by challenging the power relationship between audience and images in his “Harmonic Montage.”

While electricity has always been taken for granted in media art, Wong takes up electricity as an artistic raw material, to perform its manifestation in many physical forms by highlighting the relay process of electricity flow as if it is a moving image sequence with a plot-structure and a denouement.

In Yeung’s “Harmonic Montage,” he designs an audio-visual algorithm that foregrounds lower-level data such as image pixels, audio waveform, temporal linearity and so on, with the aim to expand the definition of “editing.” Is it possible to execute “montage” through signal interference, like an intrusive mediator between juxtaposed images? The project will also allow participants to engage in the production of both the audio and visual elements using the system the artist custom-makes.