2019.02.01 Trading Zone I: Les Règles de Savoir-vivre: Reserved Light of Its Own Fashion(Kim-kng é Ryūgi)
交易地帶 I: 衿光é流儀

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交易地帶 I:衿光é流儀

時間:2019.02.01 7pm
地點:台北當代藝術中心 TCAC (台北市大同區保安街49巷11號1樓,近捷運大橋頭站)
藝術家:徐璐+吳梓安

﷽﷽﷽﷽﷽﷽التس

雙16mm投影機、超八、幻燈片、彩虹水稜鏡、拔罐玻璃、魁儡戲偶、卡帶機的現場即興放映—矜持的單頻影像各各放蕩交融,流光變幻。

本擴延電影放映演出(expanded cinema performance)以兩卷16mm台灣解嚴前的政宣片為結構,分別自美國與比利時孫逸仙中心搜集而來,佐以Super 8 之70年代色情片、功夫片、手工膠卷與幻燈片。觀眾將不會完整看到政宣片本身,而是被各種數位╱類比方法操弄過的影像與聲音。

本表演約20分鐘,為一個實驗電影製作計畫的初步發想階段的先行呈現。

【衿-】 袖子,引申為傳統婦女美德,如:衿持。
【光】電影生成的必要條件,例句:there’s the shadow cast the light
【é】的,閩南語
【流儀】字面聯想是流行的儀式,日語漢字指作風,例句:昔むかしの流儀,老派的作風

交易地帶 I:以物質交換媚影
TCAC 2019 年將以「交易地帶」(Trading Zone)串連點狀活動,試圖在挖掘不定期與偶發的點狀活動中蘊含著隱而未現的關聯。引用自科學哲學家彼得‧加里森(Peter Galison)提出的「交易地帶」,該理論提出不同領域的人在進行知識交換時,如同說著不同語言的人在進行貿易行為。而「交易地帶」則是不同領域的人達到區域性協調的地帶。這不單是空間指向的概念,也是知識在局部領域內得以交換與各取所需的象徵。

第一回合的交換,我們試圖在影像的物質性中找尋隱身的幽靈,讓他們妖嬌獻(現)身。

 

 

Trading Zone I:  Les Règles de Savoir-vivre: Reserved Light of Its Own Fashion(Kim-kng é Ryūgi)

Time: 2019.02.01 7pm
Venue: Taipei Contemporary Art Center (1 Fl, No.11, Lane 49, Baoan Street, Datong District, 10346 Taipei)
Artists: Tzuan Wu and Erica Sheu

Dual 16mm, super 8, slide projection, sun catcher, acupuncture glass cup, marionette, cassette player – an improvised screening: the reserved single channels blend wildly.

Kim-kng é Ryūgi is an expanded cinema performance consisting of 16mm Taiwanese propaganda films, Super 8 porn and Kung Fu film, hand-made films and slides. The propaganda film would not be shown in its complete form but with manipulated visuals and sound.

The performance is about 20 min. It will be a preview demonstration of a work-in-progress experimental film project.

*note:
kim: “金” (golden) in Minnan. “金” pronounces as same as “衿” (sleeves; reserved) in Mandarin.
kng: “光” (light) in Minnan. “Kim-kng” can be referred to “glittering”.
é: “of” in Minnan.
Ryūgi: “流儀” (manner) in Japanese. When translated in Mandarin literally, 流儀 can be interpreted as “fashionable manner”

Trading Zone 1: Trading Materiality with Phantom
In 2019, TCAC will connect the happenings with the thematic idea “trading zone,” uncovering the hidden interdependence in between. Proposed by scholar Peter Galison, trading zone is often to denote the new language that is formed in the expertises among different disciplines. It is not only a metaphor for a physical space, but also how and where the knowledge to exchange and be built among different disciplines and practices.

In the first exchange in Trading Zone, we focus on finding the foxy phantom in the materiality of images.