Saturday, May 15, 2010

Video Art: Guillaume Mazloum

The Lost Cause

France | 2010 | 12mins

以超八釐米軟片及HD數位拍攝製作,Guillaume Mazloum 的短片「失落的動機」關注於人在反叛及暴動中尋求意義的生命經驗。主角身處於反烏托邦的景況,失去一切、感到絕望。存在著的沮喪感來自人類的自由及責任,因為意義無法被定義,而是應該被實踐。主角在自我責任的隱喻中掙扎,思考自我的存在性與生命的意義。我們到底應該發起怎樣的革命?還是它僅止於本片的標題,是一個「失落的動機」?

Shot in Super 8mm film and HD digital, Guillaume Mazloum’s [The Lost Cause] hinges on the human experience search for meaning amid a rebellious uprising. A complete loss or absence of hope is discerned by the protagonist through a dystopian tableau. This existential despair marks the consequences that come with human freedom and responsibility because meaning cannot be prescribed but must be realized. The protagonist grapples with the implications of self-responsibility over who we are and what our lives mean. Whatrevolt should we lead? Or is it merely a ‘lost cause’ as the title suggests?

Guillaume Mazloum (FR)

Guillaume Mazloum 是一位結合傳統與數位創作的法國電影工作者,同時也是一位攝影師。

Guillaume Mazloum is a French filmmaker and photographer who makes work intersecting traditional and digital film.

Video Art: Raphaël Girault


France | 2005 | 6mins

恐怖事物的化身—邪靈,貫穿了這部實驗影片,迴盪著令人不舒服的恐懼與危險感。利用人類意識的邊緣找到的斷簡殘篇,以及晦澀藝術作品的片段,Spektr 結合了拼貼、雕塑及攝影,延伸了動態影像的傳統語彙。片中的視覺手法讓觀眾感知到身處鬼魅知域的恐懼,以及將至的毀滅之境。

Something widely feared as possible unpleasant danger echoes in this experimental video
through incorporeal spirits; an apparition signaling some source of terror. Using found footage from the fringes of popular consciousness and artworks of obscure scrap materials, Spektr extends beyond the traditional language of the moving image by the integration of collage, sculpture and photography. The visual tactic in this film allows us to sensate the haunting predicament of what is yet to come--total destruction.

Raphaël Girault (FR)

Raphaël Girault 拍攝電影、非主流影片,也拍攝紀錄片。他的作品曾入選Côté-Court電影節 、馬賽國際記錄片影展,以及其他大小影展。

Raphaël Girault is a filmmaker from France. Girault’s work has been selected by the Festival Côté-Court, French Film Library, the International Documentary Film Festival of Marseille, and others.

Video Art: Dolcevita Zheng


Taiwan | 2010 | 5’20”

【流】表現了時間的流動,描摹當人們迷失於時空中所產生的困惑混亂,以及其中倏忽即逝的心理回音。該實驗影片以觸發幽閉恐懼及焦慮的方式來述說失去控制的昏眩不安。朦朧彷彿催眠式的視覺捕捉與組合,交織以扭曲的影像,【流】嘗試要捕捉生命中飄渺幽微 的變化,卻也同時絕望地蔓生滋長著感懷,對於一年裡不停運行的季節──隨著流動的呼吸自然蒸散。

A representation of the flux of time, 流, which means “flow,” draws on the notions of the temporal and the psychological echoes of confusion when one experiences a loss of space and time. Evoking fears of claustrophobia and anxiety, this experimental video addresses the qualms of losing control. Shot and composed through hazy and trance-like visuals intertwined with distorted and stitched photographic imagery, 流 seeks to capture the subtle nuances and erratic moments in life while hopelessly trailing the fainting nostalgia of seasons that shift continuously throughout the year--exhaled by nature, one breath, or flow, at a time.

Dolcevita Zheng 鄭惠璞 (TW)


VJ Dolcevita is a video performance artist who makes moving images created from analog films cut-and-pasted with impressionistic hues. Displayed on large screens to create an atmospheric experience, her work is conceptually driven stemming from personal experiences and subjective observations of the everyday. VJ Dolcevita has been an active participant in music festivals and performances in Beijing and Taiwan.

Video Art: Doll Chao

Shōwa Incident

Taiwan | 2010 | 09’06”


Shōwa Incident is edited and combined by different mediums, such as photos, films, images taken from super8, DV, digital camera and cell phone. The adaption of mediums
puts emphasis on the characteristic of film and the subversive results of re-editing the digital data. To create the random effects, the artist shot the film casually. For example, by adjusting digital contrast of the over-exposed film done by a battery malfunctioned camera will generate an unusual color texture. With the nature of a super8 film, the artist uses handmade method, changes the temperature and times taken to make the qualitative change of the film. Lastly, she uses the technical skills of scanning, re-shoot, digital editing and other digital conversions to make new arrangements, also the integration of different media.

Doll Chao 趙中慧 (TW)


Chao Doll is an experimental film director and a composer, currently a member of experimental electronic band “Varo”. Her works combines the mediums of super 8, 16 mm film and digital mediums, and the theme is mostly about the arduous path under the turmoil of personal emotions and family history.

Video Art: Chris Ritson

4 Works:
〈Sirius, Bright Star of the Celestial Wolf〉,〈Pound of Flesh〉,〈Ornamental Loop〉,〈Tabloid Phoenix〉


U.S. | 2009 | total: about 5min

Chris Ritson 以剪貼多種被遺棄的肢體印刷影像作為創作媒材,重新組合出動物或是抽象的形體,來檢視混合了神話與怪誕的,關於身體、形態學和文化的議題。物體一開始以變態的人類形象出現,Ritson以精密雕刻般的學院派技巧,巧妙地將原本無趣的物體變形為超脫定義之外的複雜組成。思考自然界中事物的轉變過程,以及我們是如何了解箇中奧妙,Ritson使用水晶,一種傳統被使用在科學領域裡的物質,創造出彷彿外星球的風景,並在整部片中引領以人聲旁白。就在物質與物質之間的關聯逐漸向我們顯現的同時,關於人工或自然的內在本質,我們對於人類感知自然的全是都是無效的,反倒接近於煉金術秘方或神祕占卜。

Examining issues relating to the body, morphology and culture infused with the mysterious and grotesque, Chris Ritson’s clipped images of the body from various discarded print media is reconfigured into animals or abstract shapes. What at first appears as perversions of the human form, Ritson’s detailed sculptural and collage techniques transmogrifies the formerly banal into complex formations that escape definition.

Contemplating the transformative processes in nature and the ways in which we come to understand them, Ritson uses crystals, a medium traditionally associated with science, to create an extraterrestrial-like landscape while initiating temporal narratives through video. As the relationship between the materials used begin to unfold before us, whether intrinsic to nature or artificial, our interpretation of how we perceive nature is negated and becomes analogous to alchemical secrecy or mystic divinations.

Chris Ritson (US)

Chris Ritson 是一位多媒體藝術家,長居於舊金山灣區。他的作品關注於神祕的有機過程、持續不斷的變化、墮落腐敗,以及自然中的再生現象。

Chris Ritson is a multi-media artist based in the San Francisco Bay Area. His work concerns mysterious organic processes, continual mutation, putrefaction, and rebirth in nature.

Video Art: Chang Deng-yao

Regeneration Project III-Popeggs

U.S. | 2009 | 5’30“


The snow-white eggs are placed one by one in a deserted microwave, piling up like a ill. In the wake of a bright beeping sound of the microwave, the egg liquid spurts everywhere, ended up recognizable shape. The simple documentary video seems to imply that with the overpopulation of human beings, the disaster is about to be triggered.

After coming to the US, I still keep being killed by...

這件作品是由兩部影片所組成的系列行為錄像作品的其中一件,拍攝於美國巴爾的摩的多處公共空間。藝術家將印有中、英文「刑案現場禁止進入Crime Scene Do Not Cross」的黃色警戒線置於公共場合的電梯門上,自己則橫臥在地,仿如行案現場的受害者。藝術家以「偽刑案」的事件介入公共空間,創造出「意外」的效果。在路人目擊事件的驚詫中,自身也入鏡成為事件的一部分。

This video art work is one of a series of the project composed by two videos, shot respectively in the public places in Baltimore, MD, USA. The artists hang the police line that says “Crime Scene! Do Not Cross!” in front of the elevator, and he lied down in it as the victim. By creating “pseudo crime scene”, the artist involves himself astonished at the sight of the scene. They become part of the event as well.

Chang Deng-yao 張登堯 (TW)

張登堯(Deng-Yao Chang),1984年生,旅美藝術家,就讀於馬里蘭藝術學院 (Maryland Institute College of Art),現居美國。

Deng-Yao Chang, born in 1984, an artist studying in Maryland Institute College of Art, nowlives in the U.S.

Video Art: Stefano Giannotti

The Walbrzych Notebook

Poland, Germany | 2009 | 9mins


A former mining site since 1535, Walbrzych is the most populated city in south-western Poland. During the 1990s, the town’s coal mines were shut down due to societal and economic changes. As a result, the people of Walbrzych experienced a social crisis from the accompanying dismissal of hundreds of workers. While the city today show signs of renewal, this film illustrates the people moving within the city’s spaces confronting their reality. Digressing from historical and economic analysis on the details that took place, the film paints an anthropological portrait; a representation of a place and time filtered through visuals and musical scores of natural sounds, speeches and instrumental music.

Stefano Giannotti (IT)

Stefano Giannotti是一位來自義大利的電影工作者,同時擁有作曲家以及表演藝術家的身分。他的電影及錄像創作主要關注於景觀、記憶、生命循環以及語言等議題,目前正在進行一項綜合探討音樂、收音機及劇場的錄像藝術創作。

Stefano Giannotti is a filmmaker, composer and performance artist from Italy. His films and video work is focused on the themes of landscape, memory, life cycles, and language. He is currently developing video art exploring the synthesis between music, radio and theatre.

Video Art: Sascha Pohle (DE)

Reframing the Artist

China, Germany | 2010 | 90mins


Artists are often portrayed having idiosyncratic behaviors, torrid love affairs, uncontrollable acts of inebriated self-destruction, or all of the aforementioned, whether in fictional or biopic films. Therefore, it is apparent that there is a preconceived notion where creative production signifies a mystification of one thing or another; such as all artists are painters by medium. These stereotypes reconfirm the failing representation of visual artists in film.

In this video, fragments from roughly fifty different films such as Pollock (2000), Surviving Picasso (1996), or La belle noiseuse (1991) are reenacted by copyist employed in the Oil Painting Village of Dafen. Situated in Shenzhen, China, Dafen is the world’s largest area of mass-produced handmade oil-on-canvas paintings supplying a global market sourced largely from Western art. The copyists in the Oil Painting Village take on different roles as amateur actors by re-enacting scenes from various films depicting artists. The mass production of master oil paintings coupled with the recurrent use of artist stereotypes in films intersects into forming a new narrative thus creating an overlap of fiction and documentary.

This shift of context, or “Reframing the Artist,” raises questions about how we
view the exotic “other” which is both the visual artist as well as the Chinese copyists.

Sascha Pohle (DE)

Sascha Pohle是一位目前居住於荷蘭的德國藝術家,對於流行文化的集體關係充滿興趣。熱中於看著他人以及自身重新演示,Pohle探究媒體中的影像是如何影響我們對於現實世界的觀點。經由參照採用電影及攝影的影像,藝術家利用自己的影片、繪畫及照片,重新解讀被挪用的文本。

Sascha Pohle is an Gernam artist living the Netherlands with an interest in our collective relation towards popular culture. Intrigued by seeing others re-enacting and himself as the re-enactor, Pohle investigates how images in the media interfere with our perspective of reality. By adapting elements from films and photographic imagery as references, the context of appropriation is reinterpreted through the artist’s own videos, drawings and prints.

Thursday, May 13, 2010

Hsinchu Screenings 2010 新竹2010年節目表

時間 / Time: 5/14-30
地點 / Place: 新竹市影像博物館 新竹市中正路65號 03-5285840
Hsinchu Image Museum, #65 Jhongjheng Rd, Hsinchu
門票 / tickets: $20 / $10 學生 students

All the same great films from Taipei are traveling to Hsinchu for the last two weeks of May. On 5/23, several environmentalists will be on hand for the screening of Sharkwater and Taiwan's Critically Endangered Pink Dolphins. These incluede Mr. Tsai Jia-yang (Head of the Changhua County Environmental Protection Alliance) and A-da (activist-singer). Urban Nomad director David Frazier will also be there. Hope to see you there!


5月16日晚間7時,將播映開幕片:由當代知名學者娜歐蜜•克蘭Naomi Klein同名著作改編的紀錄片《震撼主義》(THE SHOCK DOCTRINE),探討極端資本主義在世界各地所引發的效應;



Monday, May 10, 2010


The Big Nomad 大遊牧獎(首獎)10,000元:
Huang A-yao 黃信堯 / 2009 / TW / 36min / En/Tw

Audience Choice Award 觀眾票選獎 5000元:
《Company Policy》
Mark Daniels, Frans Kromhout / 2008 / TW / 25min / Ch/En

Honorable Mention 佳作:
Lu Wen-chung 呂文忠 / 2009 / US/TW / 11min


小柯 - 濁水溪公社 主唱
徐文瑞 - 獨立策展人,前任2000,2008台北雙年展策展人
王耿瑜 - 電影工作者,2010台灣國際紀錄片雙年展策展人