香港作品策展論述 Curatorial Statement of Works from Hong Kong

今次香港節目越了甚麼線？其中包括動畫的定義、意象、製作方法和過程、展示方法，甚至道德界線。或許可以用5W1H去理解。

Who？誰？

由誰去創作？一般認為藝術是個人的表達，個人獨特手藝和風格的表現。是否作者原創亦相當被看重。今次羅海德、葉旭耀、Tamas和文晶瑩便顛覆了原創的要求。羅海德和葉旭耀用了別人的創作去製作全新的作品。羅海德解構希治閣，葉旭耀修改電腦遊戲，變成無人的詩意風景。羅海德和Tamas由得電腦、數學運算去推展、創新作品。文晶瑩則呼籲大眾支持人權運動，每人畫兩格，共同製作一條心跳，「我心不死」的動畫。作為創作者，她只是起始者的角色，作品由觀眾完成。這些舉動可以是一種對經典的再閱讀、對現成美學的質疑甚至再創造，藝術可以是儀式和集體的力量。

What？甚麼是？

今次也有作品反思動畫的定義，例如Tamas問動畫是否一定要結合千百萬張圖畫，能不能只用一幅圖？Max的魔幻抽象動畫証明動畫不一定要説故事。又例如動畫是否只是單頻？余家豪則用兩個螢幕去展示更多更複雜的視點。黃炳的動畫極具顛覆性，甚麼是道德、父權、性別、左派右派都被他用幽默感一一撼動。

Where？内在和展示的空間

余家豪的雙頻顯示可在電影院亦可在展場以雙螢幕展示，重覆播放，這個節目大部分的作品也都可以在電影院和展廳播放，容讓多種電影的播放形式，可以但不一定在戲院裡。除物理空間外，羅海德、Tamas 和Max的作品也有內在複雜而豐富的空間表達，如前景背景互換和空間的轉移等。

When？時間

時間是動畫的重要元素，停頓、快慢之間在各動畫中都有獨特的表現。

Why？為何

作品裡面獨特的意象都由發問開始，吳啟忠問慾念和痛苦的關係，林昊德問工作和生命的意義。

How？如何？

詳細怎樣實踐各概念，希望觀眾來看作品和藝術家的表述。作品挑戰觀眾和我們一般對動畫、甚至道德的理解。動畫不只是迪士尼吧！

策展人文晶瑩

This time, what lines does the Hong Kong Programme trespass? Animation’s definition, imagery, production method and process, its screening modes, and even morality boundaries. We can use the ‘who, what, where, when, why, how’ approach to understand it.

Who?

Who creates? Usually art is considered a personal expression showing one’s unique skill and style. Being an original or not is also deemed important. This time, Hector Rodriguez, Ip Yuk Yiu, Tamas Waliczky and Phoebe Man subvert the definition of “original”. Hector Rodriguez and Ip Yuk-Yiu create new works based on other people’s creations. Hector de-constructs a Alfred Hitchcock’s thriller, while Ip transforms a video game into a man-less poetic landscape. Meanwhile, Hector and Tamas Waliczky use computer algorithms to develop and create a new work. By contrast, Phoebe Man calls on the public to support a human rights movement, asking people to draw a red dot and a heart, and later lining up the two pieces to form a banner of a beating heart, besides making the animation My Heart Beating Forever. As the creative mind, she only starts it, letting viewers to complete the work. Such creative approaches can be seen as a kind of re-reading of the classics, a sort of questioning or even re-creation of the “ready-made aesthetics” (in Hector Rodriguez and Ip Yuk-Yiu’s cases). And in Phobe Man’s case, using ritual and encouraging collective creation give art its power.

What?

This time, a few works reflect on the definition of animation. For instance, Tamas explores the possibility of using one image, instead of thousands to make animation. Max Hattler, with his magically abstract work, shows that animation is not necessary storytelling. What’s more, to challenge the stereotype of single-channel animation, Yu Kaho uses two screens to demonstrate more viewpoints, ever more complex. And Wong Ping’s animation humor is subversive, as he overturns morals, patriarchy, gender, and left vs right views.

Where?

Yu Kaho’s two-channel projection and its reiterative screening can be presented in cinemas or proper exhibition venues. Likewise, most works featured in the Hong Kong Programme can be screened at cinemas. They can be shown in a variety of projection modes, inside or outside a movie house. Apart from the physical space, Hector, Tamas and Max works have internally intricate, rich spatial expressions, such as foreground-background switches and spatial switches.

When?

Time is an important element of animation. Each animation presents distinctive freeze-frames, as well as fast and slow motions.

Why?

The works presents unique imageries through their questioning. Ng Kai Chung examines the relation between desire and suffering, while Lam Ho Tak enquires about the meaning of work and life.

How?

As to how the artists put their concepts into practice, audiences can check into it by watching the pieces and artists’ statements. These works challenge our normal perception of animation and even moral standards. Above all, animation is not a synonym of Disney!

Curator: Phoebe Man

1. 圍城私語____羅海德

Within the Walls ____ HectorRodriguez