漩涡的悬停
Hovering Vortex
影像是否可以取代记忆？
记忆是否能推导出时间？
而时间是将占领，还是掩藏影像的主体视角？
时间-记忆-影像，三者的反复“缠绵”和彼此频繁更替所形成的巨大引力，或许足可以构成我们影像生活的全部——它内里真空，外部在高速旋转，每次试图让它停滞的努力，反而只会让它加速。
让我们反复思考的是，我们该如何跳出漩涡，去观察并描绘漩涡本身。也就是说，该如何挣脱高速旋转的逻辑，去放任被现实俘获。漩涡没有绝对的停滞，只有相对的静止，我们看向它，而它始终高悬反复。
本次展览包括三部短片影像作品，将在9.16-28日期间每周一、三、五、七在 的｜艺术中心 放映。
Can image replace memory?
Can memory infer time?
And will time occupy or hide the subjective perspective of the image?
Time - Memory - Image, which have great gravity with each other by repeated entanglement and frequent replacement ,and the gravity may be enough to constitute of our whole imaging life -- it has a vacuum inside, and the external is spinning at high speed. Every attempt to make it stagnate only makes it accelerate.
What we think repeatedly by these three works is about how we jump out of the whirlpool to observe and depict the whirlpool itself. In other words, how to free out of the logic with high-speed rotation and let reality capture you.The whirlpool is not absolutely stagnant, only relatively static. We look at it, and it is always hanging over and over.
This project contains three short films, from 9.16 to 9.28 every Monday, Wednesday, Friday and Sunday exhibited in de Art Center.
Ⅰ
Cinema Paradiso | 天堂电影院
⊡ 易连 | 中国大陆 | 23min18 | 2018
我有一个朋友，她家在阳江曾经经营一家录像厅十几年，这段历史贯穿她从童年一直到长大成人，同时也浸透了她兴衰起落的家族史。这个观影体验的原始时代在我的朋友眼里是一个世界的共同记忆，相比于现在家庭成员平淡而支离的生活现状，想再次唤醒一种记忆的重生显得荒诞而无效，但是又充满惊奇。
I have a friend, whose family lives in Yangjiang and had been running a video room for more than a decade. Concurrent from her childhood to adulthood, this part of her family history bore witness to the rise and fall of her family livelihood. In my friend’s view, the original time frame of watching films represents those shared memories of the same world, which contrasts to the nonchalantand distant relationships among her family members in the present. To awaken part of one’s memory may seem absurd and feckless, yet one could also be pleasantly surprised.
Ⅱ
Xinyiwood | 辛夷坞
⊡ 林仕杰 | 中国台湾 | 25min | 2016
一座城往往在时间之流中倾毁，在记忆与梦境中重生，城若是个有机体，影像的角色则近似于她的梦境和记忆。无人知晓的春光，投影在中国城里的老戏院银幕上；影像游走于非虚构与虚构的边界，同时借由取样自华语老电影的声响来重构人-空间-媒体-记忆四者的交互关系。华语电影已在此销声匿迹，但影像的幽灵却是无处不在：一座荒废的香港电影院、一卷卷封藏在铁盒中的老华语电影胶卷、乏人问津的录影带出租店、消失的卡拉OK店和超现实的空城，借由摄影机，影像的幽灵缓缓流泻出一条属于意识的长河。
Xinyiwood is a poem written by the Chinese poet Wang Wei in the 8th century; the poem depicts the unseen ephemeral existence of the blossom of magnolia flowers in the mountain. In Los Angeles Chinatown, a place not far from Hollywood, the Chinese cinema and the entertainment business were once prosperous until the early 90s. Now the movie theater is abandoned, along with the forgotten places of collective memories. The resonance from the old cinema melds the past and the future, swaying back and forth between multiple memory space. At last, the cinematic ghost is therefore summoned.
Ⅲ
A Private Collection | 自选片单
⊡ 吴其育 | 中国台湾 | 14min | 2017
影片中的访谈来自于一段缅甸移工情侣收藏的DVD影片介绍，在距离曼谷三小时车程的台商工厂中工作的她们，除了工作与加班生活外，特别喜欢看着电影享受不多的工余时光，而片中介绍的电影及影像片单就来自于她们众多的盗版DVD收藏。她们作为放映节目的选片人，介绍这些来自于庙旁摊贩的盗版DVD如何进入她们的日常生活，同时在客厅中的银幕视窗也成为她们认识世界一种方式。
The interviews in the video derive from a Myanmar migrant couple’s introduction of their DVD collection. Working in a Taiwanese factory three hours from Bangkok and often having to work overtime, their limited pastime is spent mainly on watching movies. The film collection and the sequences being introduced in the video originate from their large pirate collection. As the host of the screening program, they described how the DVDs entered their lives when they bought them from the vendor next to the temple, and simultaneously how the television screen in their living room became their way of understanding the world.
