8月 19日 (SAT) 13:00 – 15:00/ 免費觀賞
地點/ Location：台北台電大樓2樓204視聽室/ 2F - screening room 204 of Taiwan Power Company
俄羅斯現在與未來國際錄像藝術節影片單元/ Screening program of International Video Art Festival Now&After
策展人/ Curator : Marina Fomenko
居境
作為棲息地和生活環境亦是藝術家關注的領域。 他們邀請我們進入這所生活和工作的空間。 他們關係到人類和所有生物的存在間彼此依賴的微妙平衡。 他們提醒我們，我們都地球的一部分，世界的一部分圍繞著我們。
IN LIVING ENVIRONMENT
Living environment both as a habitat and as vital environment is in artists' area of interests. They invite us in space we live and work. They concern a subtle balance of relationships in which the existence of humans and all living beings is dependent on each other. They remind us we all are a part of living earth, a part of the world around us.
藝術家&作品/ List of artists & works:
Furen Dai, Commandments for Women, USA, 2015, 5:11
Marco Fedele di Catrano, Untitled, Switzerland, 2014, 5:30
Luca Ferri, Tottori, Italy, 2016, 6:00
Marie-France Giraudon, Entro(SCO)py, Canada, 2016, 15:30
Christian Niccoli, Untitled, Germany, 4:10, 2013
Nuno Manuel Pereira, Ana B., The Kingdom, Portugal, 2013, 2:38
Alexandra Pirogova, Biblimlen, Russia, 2013, 9:57
Yael Toren, Earth, Israel, 2015, 2:52
YunTing Tsai, Body of Knowledge, Taiwan, 2012, 1:00
Tushar Waghela, The Home, India, 2014, 4:54
Furen Dai, Commandments for Women, USA, 2015, 5:11
This work is inspired by the conversation around the content found in an ancient Chinese book called Commandments for Women. This book is written by a Chinese woman scholar named Ban Zhao in around 100 C.E.
Marco Fedele di Catrano, Untitled, Switzerland, 2014, 5:30
“The mirror sphere that never stops to roll, contains in itself the entire world that is in front of it. Moving in formalized ascetic space it opens new topography of life beyond its own rotation. Virtual volume of information that appears in the mirror image in this sphere offers us to live through the binary system of being where the “Yes” transfers into specular “No”, but specular “No” displaces with its great illusion questionable “Yes”. VitalyPatsukov
Luca Ferri, Tottori, Italy, 2016, 6:00
In Tottori, Japan, the smallest desert place in the world with an area of 30 km², where Hiroshi Teshigahara directed his film Woman in the Dunes, every yearmore than two million people come to visit this place, constantly changing, shaped by ocean currents and winds. As described in the composition of the film by Dario Agazzi, the human “points” with their umbrellas, wander in an almost metaphysical landscape.
Marie-France Giraudon, Entro(SCO)py, Canada, 2016, 15:30
A videoexperience, intimate and extreme, inside a glacier affected by global warming. In the manner of an endoscopic camera probing human organs, a strange character explores the cavities excavated by melting ice. Like a foreign body, he travels to the depths, revealing the inner metamorphosis of the site while transforming himself. In this metaphorical crossing, between a performative act, a challenging physical experience and a reconstructed imaginary experience, the body reveals the fragility of this natural environment, which humans are eroding. The experience ends in the sounds and the drabness of a port area. This unexpected culmination expands the scope of the journey, offering the viewer the possibility to reinterpret the work from an ecological point of view.
Christian Niccoli, Untitled, Germany, 4:10, 2013
The work consists of a single scene, showing a hostile, empty and silent landscape. Suddenly a helicopter flies from the horizon towards the camera. At a certain point the helicopter stops and a rope gets thrown out of the cabin. A man lets himself down this rope. Ones he touches ground, the rope gets pulled back into the cabin and the helicopter flies away. The person remains there, alone.
Nuno Manuel Pereira, Ana B., The Kingdom, Portugal, 2013, 2:38
This conceptual video is a tableau that explores the complexities of the image: playing at the same time with the illusion of reality in film movement and the impossibility of narrative and temporal linearity to understand the multiple layers of meanings an image provides to a spectator. The different scales also redistribute the fictional space in its relationship with the spectator’s view. The video is also an allegory of freedom and imprisonment: the birds and their rituals can somehow relate to humans’ behavior in their weird and timeless quest for the ultimate freedom.
Alexandra Pirogova, Biblimlen, Russia, 2013, 9:57
Familiar spaces are being interpreted unambiguously and superficially. We often just don’t see the details, don’t let the possibility of diverse existence in…
Yael Toren, Earth, Israel, 2015, 2:52
An inverted virtual scene of a futuristic imagery, back to an ancient origin, embryonic and terminal at the same time, linked to the dust of creation and earth of burial. The sculptural-material body, blindly withdrawn into itself, breaks up and crumbles before our very eyes. The whole cycle of life is completed; seemingly, the snake really bites its own tail. The embryonic image that Toren created seems vulnerable, though of a stony texture, or the opposite way around: an image of a forgotten fossil having “natural” physical characteristics. A hyper-realistic scene, culminating in a shining explosion within the darkness.
YunTing Tsai, Body of Knowledge, Taiwan, 2012, 1:00
In my experience, almost everyone who grows up in Asia, especially in Taiwan, is under academic pressure. There is keen competition surrounding academic performance. We are expected to go to the library, study and research, gather knowledge and obtain higher educational degrees over taking part in regular physical exercise. Body of Knowledge can be seen as mimic ontology for this observation, or, otherwise described, a playful study through its representation in dance of the phenomenon of competitive pursuit of knowledge and its relation to the underlying principles of human experience.
Tushar Waghela, The Home, India, 2014, 4:54
The home where we live is also a home to billions of living beings. They might remain out of our vision, their sounds and signs continuously register their presence before us. We believe ourselves to be the owner of our apartments and push them away from our kitchen and courtyard. Barely do we realise that much before we came into existence this planet has been their domicile for billions of years — our apartments are just a tiny corner of their vast habitat.