2018.01.20 & 01.27 So Far, So Right Special Screening: Drowning Dew, Flat Sunlight & The Island | 走私 特別放映:潛露水、平日光與島


For English, please scroll down.

時間:2018.01.20 (Sat.) 15:00、2018.01.27 (Sat.) 15:00  
地點:台北當代藝術中心,台北市保安街49巷11號(捷運大橋頭站)

放映影片:
潛露水 | Trương Quế Chi & Đỗ Văn Hoàng  |  15:00-15:40
平日光 | Lêna Bùi  |  15:50-16:40
島 | Tuan Andrew Nguyen  | 16:50-17:30 

此《走私》計畫之首場放映聚焦在近年於越南活躍的當代影像創作。作品呈顯出某種在個體、民族、物種、土地、神話、歷史記憶的多重界域間的越境,試圖在當代離散性經驗中纏繞與穿縫出一種跨主體性的可能。

(本放映活動皆以英語字幕放映)

《潛露水》
Trương Quế Chi & Đỗ Văn Hoàng
2017 | 彩色、有聲、越語發音、英文字幕 | 40分鐘

《潛露水》是一部關於越南中部高地的環境、景觀、人文和社會的快速變遷,批判且具詩意的虛構性描繪。
作品可根據不同場合,被設想為單頻道播映的一系列實驗影片,或具有六頻道投影結構的錄像裝置。一系列影片包含了6部短片作品,它們大致上是基於嘉萊族的傳說神話而作為一個開放性的敘事框架,是則關於東南亞不同地區在現代化與工業化過程中不可避免的變革之寓言。

此作是由越南藝術團體「藝術勞工」(Art Labor)發起的創作計畫之一部分,由兩位電影製作人:Trương Quế Chi和Đỗ Văn Hoàng所合作創作,他們長期從事越南中部高地之景觀、宗教、民族誌與美學研究。此作於2017年10月龐畢度中心〈大都會〉展覽中首映。

(圖片由Art Labor與藝術家提供)



《平日光》
Lêna Bùi
2016 | 彩色、有聲、越語發音、英文字幕 | 48分鐘

江在夏天裡去前江拜訪梅姨,好讓母親有些個人的空間和時間來處理些問題。
農村生活的緩慢節奏、兒童們的嬉戲和鄰里間親近的關係,幫助江忘卻了自己的煩惱和湄公河的炙陽。看著六十歲的梅姨不斷地忙碌於農務之中,江決定要來幫忙。
影片從江的角度出發,以虛構的情節編織著紀錄式影片。透過江和梅姨的關係發展,我們感受到越南南部農村生活曠日緩慢的節奏,人與動物之間的密切接觸,從傳統方法到依賴工業飼料的轉變,對食安問題的關注,以及湄公河三角洲典型農戶的觀點。這部影片也為人與動物、生與死的密不可分的關係帶來了一個嶄新視角。

(圖片由藝術家提供)

《島》
Tuan Andrew Nguyen
2017 | 彩色、立體聲、英文字幕 | 42分鐘

《島》是全程於比農島所拍攝的短片,此馬來西亞海岸邊的島嶼成為越南戰爭後規模最大也歷時最久的難民營。藝術家和他的家人是那在1978到1991之間住在這小島上25萬人的其中一份子;這裡曾經是全世界人口密度最高之處。在聯合國難民署於1991年關閉了這個難民營之後,比農島重新長滿了叢林,充滿著破碎的紀念碑和遺跡。
影片是關於一個反烏托邦的未來,在其中逃離被迫遣返越南的地球最後一個男人,找到一位在世界最後一次核子戰爭後被沖上岸的聯合國科學家。通過編織布農島過去的歷史畫面和未來的敘事,藝術家質問著個人與歷史、創傷、國家和流離失所的關係。

(圖片由藝術家提供)

Time: 2018.01.20 (Sat.) 15:00, 2018.01.27 (Sat.) 15:00  
Venue: Taipei Contemporary Art Center, No. 11, Lane 49, Baoan Street, Taipei (MRT Daqiaotou Station)  

Screening list:
Drowning Dew | Trương Quế Chi & Đỗ Văn Hoàng  | 15:00-15:40
Flat Sunlight | Lêna Bùi  | 15:50-16:40
The Island | Tuan Andrew Nguyen | 16:50-17:30 

The first screening section of So Far, So Right project features the contemporary moving-image practices in Vietnam. The selected works reveal a certain state of trans-subjectivity, which intertwines the segmented and diaspora experiences of contemporary society,through crossing the multiple boundaries and regimes between individuals and the society, ethnic and species, land and mythology, history and memory. 

Drowning Dew

Trương Quế Chi & Đỗ Văn Hoàng
2017 | Color, sound, Vietnamese with English subtitles | 40 min 

“Drowning Dew” is an artwork that, depending on the occasion, can be considered as series of experimental films if it is set up as one-monitor consecutive screening, or as video installation with 6-channel projected structure. 

The film is a critical yet poetically fictional depiction of rapid changes of environment, landscape, human habits and society in Central Highlands of Vietnam. The film series contain 6 mini pieces that are loosely based on Jrai myth of posthumous metamorphosis. The myth acts as an open narrative framework, and as allegory of inevitable transformations of the area during this modernization and industrialization, which occur also in different regions in Southeast Asia.

This is a work of Art Labor and created in collaboration with 2 filmmakers Truong Que Chi and Do Van Hoang, who have individually conducted researches on landscape, religion, ethnography and aesthetics in Central Highlands for long time. This work will premier at Centre Georges Pompidou in October 2017 within Cosmopolis exhibition.


Flat Sunlight
Lêna Bùi
2016 | Color, sound, Vietnamese with English subtitles | 48 min 

Giang visits her aunt Muoi in Tien Giang for the summer to give her mother personal space and time to sort things out.

The slow rhythm of countryside life, children’s games, and close relationship within the neighborhood help Giang forget about her personal troubles and the hot Mekong sun. Seeing her 60-year-old aunt constantly busy with farm work, Giang decides to help out.

The film develops through Giang’s perspective, weaving documentary footages with a fictional storyline. Through Giang and aunt Muoi’s developing relationship we get a sense of the slow and drawn-out rhythm of life in the rural South of Vietnam, the close contact between human and animals, the switch from traditional methods to reliance on industrial feed, concerns surrounding food safety, and the perception and interests of a typical farming household in the Mekong Delta. The film also introduces a new angle into the relationship between human and animals, and the inseparable ties between life and death.

The Island
Tuan Andrew Nguyen
2017 | Color, sound, stereo, English subtitles | 42 min

The Island is a short film shot entirely on Pulau Bidong, an island off the coast of Malaysia that became the largest and longest-operating refugee camp after the Vietnam War. The artist and his family were some of the 250,000 people who inhabited the tiny island between 1978 and 1991; it was once one of the most densely populated places in the world. After the United Nations High Commissioner for Refugees shuttered the camp in 1991, Pulau Bidong became overgrown by jungle, filled with crumbling monuments and relics.

The film takes place in a dystopian future in which the last man on earth – having escaped forced repatriation to Vietnam – finds a United Nations scientist who has washed ashore after the world’s last nuclear battle. By weaving together footage from Bidong’s past with a narrative set in its future, Nguyen questions the individual’s relationship to history, trauma, nationhood, and displacement.


關於藝術家
About artists

Lêna Bùi
Lêna Bùi(生於1985年,越南峴港),是活躍於胡志明市的藝術家。畢業於美國康乃狄格州的Wesleyan大學,並於日本京都同志社大學進行東亞研究。過去展覽包含:「分裂的編排」,Carré美術館,尼姆,2014。「外來的身體」,Wellcome Collection,倫敦,2013。「貪婪的擁抱─動物/人類的介面」,胡志明市美術館,越南,2012。「讓桃太郎吃蛋糕」,聯展,Mino-Washi美術館、「築巢」,永久畫廊,Mino-Washi Akari美術館,岐阜,2010
 
Lêna Bùi (b. 1985, Danang), is an emerging artist based in Ho Chi Minh City. She received her B.A. from Wesleyan University, Connecticut, USA with further studies in East Asian Studies from Doshisha University, Kyoto, Japan. Previous exhibitions include ‘Residual: Disrupted Choreographies’ at the Carré d’Art, Nimes, 2014; ‘Foreign Bodies’ at the Wellcome Collection, London, 2013; ‘Voracious Embrace’ at the Fine Arts Museum HCMC, 2012, ‘Let Momo eat cake’, Mino Washi Museum, 2011; and ‘Nested’, Mino Washi Akari Art Museum, Gifu, Japan, 2010.
 
 
Trương Quế Chi
Trương Quế Chi (生於1987年),巴黎第三大學電影研究碩士畢業,以影片製作者、藝術家與策展人的角色活躍於視覺藝術與電影等領域。她的創作實踐考察了越南日常暴力的奇觀,探討檔案、記憶與想像之間的複雜關聯。她的作品曾多次在越南本地與國際的電影節、展覽、研討會上展出。自2015年起擔任Nà Sàn Collective策展人理事會,並於河內影劇大學擔任電影講師。
 
Truong Que Chi(b. 1987) is an M.A. graduate of Film Studies from the University of Paris III: Sorbonne Nouvelle, active in both the visual art and cinema scene as a filmmaker, an artist and a curator. Her practice examines the spectacle of everyday violence in Vietnam and delves into the complex relationship between archive, memory and imagination. Her works have been featured at various local and international film festivals, exhibitions, and symposiums. Trương Quế Chi is currently a member of Nhà Sàn Collective’s curator board since 2015 and a film lecturer at the Hanoi University of Theatre and Cinema.
 
 
Đỗ Văn Hoàng
Đỗ Văn Hoàng (生於1987年)畢業於河內影劇大學。作品曾於河內Docfest、山形影展、龐畢度中心、時代美術館展出。
 
Đỗ Văn Hoàng (b. 1987) graduated from the University of Theatre and Cinema at Hanoi. His works have been shown at Hanoi Docfest, Yamagata Film Festival, Centre Pompidou, Times Museum.
 
 
Tuan Andrew Nguyen
Tuan Andrew Nguyen(生於1976,越南),現工作與居住於胡志明市。他是San Art的共同創辦人與現今的成員,作品展出於許多電影節與國際展覽中,收藏於Queensland Art Gallery, Carre d’Art, the Museum of Modern Art 以及 Soloman R. Guggenheim Museum等。他的作品探索著在公共空間裡身體作為一場域與抵抗時刻,以及大眾傳媒如何影響這種抵抗的時刻。他於2006年成立藝術團體Propeller Group,以持續不斷重新審視公共空間和大眾媒體的權力動態。
 
Tuan Andrew Nguyen, (b. 1976, Vietnam), currently lives and works in Ho Chi Minh City. He is a co-founder and currently board member of Sàn Art. Tuan has shown in numerous film festivals, international exhibitions, having works in the collection of the Queensland Art Gallery, Carre d’Art, the Museum of Modern Art, and the Soloman R. Guggenheim Museum. His work explores the body as sites and and as moments of resistance in public space and the impact of mass media on these moments of resistance. In his continual attempts at reworking the power dynamics of public space and mass media in general, he founded The Propeller Group in 2006.


本展覽計劃為國家文化藝術基金會視覺藝術策展專案所贊助
The project “So Far, So Right” is sponsored by the Production Grants to Independent Curators in Visual Arts of National Culture and Arts Foundation of Taiwan