SCREENING I: VIDEO AS WRITING MACHINES
22.01.2010 (Saturday)｜ 17:30-18:40
Y-STUDIO (2/F, Youth Square, Chai Wan)
a video program from an open call for works on image-text dialogue and generative process (Curated by Linda Lai)
Broken machine / Carla CHAN陳好彩 / 3 m / 2010
We type what we think. Internet communication makes us type more and more. Typing makes sound, but as we type we lose the sound of our actual speech. I therefore created the Broken Machine: direct contact with people is broken, our voice is broken.
Untitled (Traces) / Vasco PAIVA / 5m 37s / 2010
Traces made in the water by the passage of a boat are treated by an algorithm that multiplies and overlaps the recorded footage. The result is an abstract visualization whereby the graphical properties of water dilute our perception of linear perspective.
Won’t be shy anymore / Step AU區詠欣 / 1m 59s / 2010
In the form of a poem hidden in a postcard, the artist speaks out her love and pain to her lost children.
Feeding the wolf / Step AU 區詠欣 / 1m 53s / 2010
I framed my mind onto a window. Simply, I was just daydreaming in class.”
Flowpoints: Kiss / Hector RODRIGUEZ 羅海德 / 8m / 2010
This is an experimental animation that deconstructs Andy Warhol’s movie Kissusing a motion tracking software the artist designed. The software computes and analyzes the micro-movements of the body in the original film. The resulting images represent motions rather than figures. The sound synthesis technique is a variant of the same algorithm that generates the images.
One strange case, two strange people / Doris POON潘韻怡/ 21m / 2009
This work shows two persons’ dialogue as a kind of “time image” (Deleuze). The lack of clean logical linearity in the conversation provides viewers with much room for interpretation. In this work, time is not objective. Each viewer forms his/ her own sense of time. I am curious about how viewers construct time with my video.
Decontextualization / Kenny WONG黃智銓 / 4m 15s / 2009
Ignore the passage of time, the varying of circumstances, and the speaker. I explore meanings by stepping backward to revisit the ‘origin’ of the text. I reduce the content to something “always true.”
Stutterer / Alan KWAN 關子維 / 7m 51s / 2010
Kwan Tsz-wai is a stutterer. Instructed by her doctor, she puts a speed-altering device on her mouth and looks forward to the day the treatment is completed so that she can speak normally and fluently.
Thickness of time / LI Yi-fung 李倚風 / 3m 50s / 2010
Normally, a new shot supercedes the previous one. My piece does the opposite. All shots that have appeared will stay while new ones are laid over them – with a 10-second delay. This is a thick description of time. Actually, there is thickness in time and distance in between the layers as well as between the image and sound signal.”
Spatial pattern / Carla CHAN 陳好彩 / 5m / 2010
Is it one space or many spaces? Are the four windows one space or four spaces? I have created a unified space with four windows to merge fragments into a world that you don’t see, but has emerged from a place I visited. Look for the secret rules that keep the fragments splitting and merging.
SCREENING II: VIDEO AS WRITING MACHINES
23.01.2010 (Sunday)｜ 14:00-15:15
Y-STUDIO (2/F, Youth Square, Chai Wan)
Moment from moments // WONG Chun-hoi王鎮海 / 5m / 2010
Take a look at old photos buried for decades under your bed. Old on the surface, young on the skin. Human growth, plant growth. Human becomes moody. Plants become woody. What makes a moment that moment was not the content itself but its materiality. A few lived moments of mine re-generate a new moment of me, intimately, over the light box, or else they would never have the chance to overlap and dissolve into each other. By the way, how long is a moment?
β // Kenji WONG 王偉健 / 15m / 2010
β is based on the artist’s research of light-box advertisements along the Tsuen Wan Line of the Mass Transit Railway (MTR). The method was to capture all light-box advertisements at every station on 23rd February 2010. The result was 572 photos turned into a 15-minute slideshow in video form.
Map of Problematique // WONG Fuk-kuen 黃福權 / 1m 45s / 2010
This work creates rhythm by regulating the motion of passers-by on the street from footage I collected in Fan Ling. I also want to explore how still and moving images work together to generate musical sense. Audience may consider this an MV, but actually I am re-writing the song Map of the Problematique by MUSE with my images.
I narrate the O // Iriz YUEN 袁雅詠 / 10m 15s / 2010
Listen. Descriptions. Ocean.
Let literature narrates the walk towards the sea.
3 stories // KWOK Chui-han Bao 郭翠嫻 / 3m 18s / 2010
Stories are usually read silently from a book with picture illustrations. This time, there is only my voice speaking words. Let’s see what kind of a story audience will get. I’d like to discover something about seeing and hearing.
Fish 1/2 // KWOK Chui-han Bao 郭翠嫻 / 2m 42s / 2010
One place, One fish. This work is about a fish. It moves in and out of the camera frame randomly. I use the footage to generate a video piece with some hidden rules that instruct me how to organize the shots. Look for the logic behind.
Wide Rothko // Vasco PAIVA / 10m / 2008
Using footage and audio recordings made in Hong Kong and in several locations in the Chinese province of Yunnan, Wide Rothko creates a new form of visualization exploring the relations between abstraction and figurative imagery.
Loss of footage: an invisible consciousness // Keith WONG 黃柏麒 / 5m / 2010
I lost my computer in March 2010, together with it all my video footage in the hard disk. Afterwards, I painstakingly sorted out all possible sources to redeem whatever I could – some final drafts, scratched DV tapes, and clips in secondary storage systems as well as those sent via e-mail. So here is the new story I weaved with the fragments at hand. I seem to discover an invisible consciousness hidden in my visual language, things I cannot talk about in my daily life.
Explosion // Alan KWAN 關子維 / 6m 50s / 2010
There are 3 explosion footages in extreme slow motion. Using Max/MSP/Jitter, I created the effect of two explosion clouds of different colors merging to form a black one. I imagine myself doing what the capitalists do – to act as a manipulator and design images whereby real meanings and nature of things are distorted. Ironically, with the music (Dream by John Cage) and color, the explosion, originally a lethal and terrible thing, becomes poetry or a painting with spreading ink. I have also removed the context: everything except the explosion clouds has been deleted from the scene. I substitute the pleasure of seeing for the contemplation on the horror of violence. But isn’t that what advertising does?
Communication // Winnie CHUNG 仲浩甄 / 4m / 2010
This work questions the normal practice of communication. We receive messages systematically through reading and listening. What would become of communication if what we hear is not what we see?
Live show is(n’t) showing live // Jolene MOK 莫頌靈 / 5m 2s / 2010
This short video plays with the notion of what is and what is not a LIVE SHOW… To me a videographer, a ‘live show’ begins with the moment I press the record button and ends when I press it again, whereas in the editing process, there is hardly any live moments as I show the record of records, and present the presence of the completed present.
