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动员 - 穿越南亚共识区

发表时间:2019-10-24 00:00

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北纬34℃的三八线从地理上划分了军事对峙的临界点,从此冷战的铁幕开始蔓延,从朝鲜半岛到台海两岸从罗湖囗岸到柏林墙下,冷战的意识形态在全球弥漫。回顾过去的半个世纪亚洲始终被安置在生产经验与产生冲突的前沿地带,正如亚洲复杂的历史与多变的地质构造以及失调的雨季台风。


因此我们凝视着亚洲、充满好奇与尊重,并勇敢的冲破价值导向的霸权共识,重新复制被剥夺的尊严与记忆。


因此我们的影像目录移植了这个项目———-移动的亚洲,作为开端动员和调动我们的替能,激活感知、点燃革命的热情,正视“多元文化”下普遍的认知贫困与无产化的政治现实。


The 38th parallel at 34 ℃ north latitude geographically divides the critical point of military confrontation. Since then, the iron curtain of the cold war has begun to spread. From the Korean Peninsula to the two sides of the Taiwan Strait, from the Luohukou coast to the Berlin Wall, the ideology of the cold war has spread all over the world. Looking back over the past half century, Asia has always been placed at the forefront of production experience and conflict, just as Asia's complex history and changing geological structure and maladjusted monsoon typhoons.


So we stare at Asia, full of curiosity and respect, and bravely break through the hegemonic consensus of value orientation, and reproduce the deprived dignity and memory again.


Therefore, our image catalogue transplanted this project Move on Asia as the beginning to mobilize our hidden energy, activate the perception and ignite the enthusiasm of the revolution, and face up to the political reality of the widespread recognition of poverty and non production under the "multi-culture".



放映时间/Opening Time

每周三、五、六 下午

Every Wed, Fri, and Sat afternoon

14:00-17:00



Housewifi

by Marishka Soekarna
时长/Duration:13’43’
印度尼西亚/Indonesia

苏哈托政权继苏卡诺政权之后主张"新秩序", 以发展"好妈妈"的理念, 从而推动"好母亲"及妇女"家庭生活化"的形象。在不断地重复当中暗示了妇女作为个体的意义以及印度尼西亚社会中对女性的定义之间所产生的问题与矛盾。


The Soeharto regime, following the Sukarno regime, advocated for a “New Order” driven by its development-centered logic that endorsed the ideals of a “good mother(Ibu)” and thereby enforcing the “housewifization” of women. These layers and repetitions suggest a long struggle with issues of women as individuals and a definition of womanhood imposed by Indonesian society.


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The Warm Breeze of Winter

by Sherman Ong
时长/Duration:18’09‘’
马来西亚&新加坡/Malaysia&Singapore

作为一位在马来西亚出生的新加坡艺术家,王雪曼在短片中探讨了"双重身份"的主题。


As a Malaysia-born, Singapore-based artist, Sherman Ong explores themes of ‘double identity’.


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Smoke and Fire

by Wang Tuo
时长/Duration:31’18’’
中国/China

王拓在《烟火》中让我们看到一个同时存在于两重交错现实中的农民工形象。一边,这位农民工正在一个时空感异常模糊的电影道具仓库中,通过阅读志怪与传奇故事,将自我投射进一个个文本中,并在现实亦或是他的幻想中进行着一次次的“演练”;另一边,艺术家对这位在东北某小城的打工者进行了样本式的观察,记录下他的日常、情感与返乡之路。真实的记录慢慢变成了对一起中国近期发生并被广泛讨论的社会暴力事件的戏剧化的“重新排演”。在这个有关复仇的叙述中,疗愈长久沉积的创伤仿佛变成了一场等待已久的仪式。艺术家通过这场身体式的“反扑”,暗示出一种社会性身份与内在身份之间的撕裂,以及个体病症与无能为力的庞然现实之间的潜在矛盾。


In the thirty-one minute video, a migrant worker oscillates between a two-part, intertwined, simultaneous reality. In one world, the film’s subject finds himself in a movie prop warehouse with a disorienting sense of time and space. By reading tales of the miraculous and the legendary, he infiltrates these texts, rehearsing them out loud and in his imagination again and again. In the other world, the artist documents and observes the same migrant worker in his small town in Northeast China—recording his daily life, his emotions, and his journey back home. The work slowly births a third narrative; a dramatic rehearsal of an actual violent crime that recently boggled the Chinese news media (Zhang Koukou’s revenge killing). A story of long awaited revenge, hinging on deep-seated wounds that ultimately unfolds through a ritual of corporeal counterattacks. Wang Tuo ruptures social and internal identities, as well as the latent contradiction between individual traumas and an often monstrous, yet powerless reality. Through this entanglement of narratives, his practice documents, choreographs, and reimagines the relationship between humanity, myth, and the cultural archive. Through a performative manipulation of his subjects’ lived experiences, the artist employs various media and processes that combine interviews, reality shows, and the theatre of the absurd in order to construct a maze of melodramas.


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A Day in North Korea

Archive Video

时长/Duration:48’09‘’
朝鲜/North Korea


影片记录了北朝鲜一天之中的社会生活。


The film documents the social life within one day in North Korea.


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ABCD

by Roque Federizon Lee
时长/Duration:05’26’’
菲利宾/Philippine


罗克斯利•费德里森•李是菲律宾地下和独立电影的代表人物。作为动画家, 视觉艺术家, 音乐家和电影制作者, 他使用平凡的材料创作强有力的画面。ABCD(1985)是由A,B,C,D开头的单词及图像构成的动画。这部对字母表的具有娱乐性及个人见解的实验动画, 包含着超现实主义和卓越的见解以及对社会和政治的评论。


Known for Roxlee, Roque Federizon Lee is an icon of the Philippine underground and independent film. As an animator, visual artist, musician, and film maker, he creates strong images out of tacky materials. ABCD (1985) is an animation composed of different words beginning with A, B, C, D and images illustrating those words. Entertaining new and personal concepts of alphabet, this experimental animation contains surrealistic and brilliant ideas along with commentaries on society and politics.


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Phallo-Me

by Han Yohan
时长/Duration:06’56’’
韩国/South Korea


韩耀汉在这部作品中探索了朝鲜战争后的一代韩国人对于学习英语的盲目信奉。


In this work, Han Yohan explores the post-Korean war generation in Korea and their blind commitment to learning English.


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Notes from the New World

by Mark Salvatus
时长/Duration:12’14’ 双屏/Dual-screen
菲利宾/Philippine


马克∙萨尔瓦图斯在父亲的收藏中偶然发现了一张由菲律宾警察组成的乐队唱片。军事乐团服从于幻想实现"新世界"的权威,他们的共振可能让这些权威对过去负责,并为将来找到一个正确的方向。


Mark Salvatus, looking through his father’s LP collection, chanced upon an album containing a musical performance by a Philippine Constabulary Band. Performances by military bands which served different authorities who dreamed of ‘the new world’, may resonate to make those same authorities take responsibility for the past and find a proper direction for the future.


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Good Day and Good Night

by South Ho
时长/Duration:39’00’ 双屏/Dual-screen
香港/Hong Kong


展现了香港一周的城市景观和现场。


Displays the social landscape and social scene in a week in Hong Kong.


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