Syntax of Intervention   When we frequently invoke the term “experimental”  to describe the qualities—or even the very essence—of moving images, what we refer to may no longer point singularly to a genre, method, style, or spirit. The boundaries of “experimental film” as a category of visual culture remain in constant flux. As Jacques Rancière argued in The Future of the Image , the images refer to nothing else, yet it is not what people frequently claim them to be intransiti

无尽的悬搁 虹吸实验电影单元的三组影片向我们展示了何为创造力的炼金术：当我们将创作者的主体加入一个要求赋形的质料，骤然浮现的作品似乎总会指向一系列层层嵌套、彼此映射的悖谬，只能由感性的逻辑所统辖。 之所以这些电影令人目眩，因为它们总在影像定义外延的边缘试探，通过无尽的悬搁，...

“虹吸”现象是一种天然的力量抗衡，三台各有显像问题的曲面屏和一部高清数字投影构成独一无二的非完美观看容器，将反常的观影体验桥接到观影者既熟悉又陌生的装置之中，光影在这里扭曲缠绕为莫测的感官隧道，恍如梦境般重回模拟信号年代。这是两种影像展示方式——展览和放映的混淆和博弈，SI...