8月 27日 (SUN) 14:00 – 18:00/ 現場售票(單場180/ 套票300)
地點/ Location： 西門 Woolloomooloo Moonshiner
英國倫敦影像俱樂部, 英國萊斯特藝術中心影片單元/
Screening program of Videoclub, Phoenix Leicester Independent Cinema, Art Centre
觀景窗 Viewfinder
「觀景窗」呈現處理多元議題的英國藝術家單元，其中關注包含性別、性愛、社會階級及種族等邊緣議題。藝術家邀請我們對現存的社會狀態提出問題，對社會的普遍價值保持警覺，同時挑戰大眾媒體給予我們意識形態的傾銷，影響著我們如何消費與被看待；論辯大眾媒體與社會普遍價值如何形塑我們，別且討論「公眾」之於「個人」的權力政治影響。
Viewfinder brings together a collection of diverse artists working with diverse subjects, which includes gender, sexuality, class and race. All the artists ask and challenge us to face our social conditioning and what society tries to convince us to believe what is normal. This includes challenging the media’s role in showing us how to react and obey, what to consume and what to look like. And to contest our acceptance of the media and social conditioning’s roles in shaping us; public impacting personal.
策展人/ Curators : Jamie Wyld, Christopher James Tyrer, Moritz Cheung
藝術家和作品/ List of artists & works:
紀錄片單元:
Estate a Reverie, Andrea Luka Zimmerman, 83', 2015
短片單元:
Janus Collapse, Adham Faramawy, 09’51”, 2016
The Gender Song, Evan Ifekoya, 02’25”, 2016
Let Us Let Go, Lucie Rachel, 09’29”, 2016
The Foundation, Patrick Staff, 28’00”, 2015
Who is La Mariée, xname (Eleonora Oreggia), 03’52”, 2014
JOI BANGLA, Zarina Muhammad, 10’17”, 2016
Estate a Reverie, Andrea Luka Zimmerman, 83', 2015
Estate, a Reverie is a spirited celebration of extraordinary everyday humanity.
Filmed over seven years, Estate, a Reverie reveals and celebrates the resilience of residents who are profoundly overlooked and stereotyped by media representations and wider social responses. Interweaving intimate
portraits with the residents' own historical reenactments, landscape and architectural studies and dramatised scenes, Estate, a Reverie asks how we might resist being framed exclusively through class, gender, ability or disability, and even through geography…
Samuel House, the final block in Hackney’s Haggerston estate was demolished in autumn 2014, exemplar of a nationwide, even international, shift in the character and fabric of the inner cities. Zimmerman lived in Samuel House for 17 years, at a time when the estate had been abandoned by Hackney Council and allowed to fall into dereliction, both architecturally and socially. Nevertheless, this was still a home to her and many others. Estate follows
an earlier building-wide site-specific photography project and an exploratory book of essays and images (see
www.fugitiveimages.org.uk).
Janus Collapse, Adham Faramawy, 09’51”, 2016
In the making of Janus Collapse, originally commissioned for a solo show at Bluecoat in Liverpool, Faramawy draws on the language of advertising, co-opting the special effects used to evoke desire for people, things and experiences. The artist combines these seductive devices of lustre, slipperiness, morphing and repetition with his own interest in the transgressive aesthetics of 'body horror', found in manga and anime, as well as Cronenberg's cult classic Videodrome (1983) and Octavia Butler's Xenogenesis science fiction trilogy.
The Gender Song, Evan Ifekoya, 02’25”, 2016
He? She? They? Don’t matter! A wry and knowing song about gender with a glitchy DIY aesthetic.
Let Us Let Go, Lucie Rachel, 09’29”, 2016
9 years after initial events, a young artist with PTSD receives a wake up call from her partner, catalysing the search for a way to treat and manage the condition. Influenced by this sudden realisation, her practice mirrors the change, propelling her into a new body of work exploring the visual nature of the disorder.
The project was selected by Glasgow Film, See Me Scotland and Scottish Mental Health Arts and Film Festival to be awarded part of the See Me Film Fund. The initiative was set up to give filmmakers the opportunity to share stories from people with experiences of mental health issues to inspire others to speak out and help end the stigma and discrimination surrounding mental health.
Let Us Let Go will premiere this October at the Scottish Mental Health Arts and Film Festival 2016
The Foundation, Patrick Staff, 28’00”, 2015
The Foundation is co-commissioned by Chisenhale Gallery, London; Spike Island, Bristol; Institute of Modern Art, Brisbane; and Contemporary Art Gallery, Vancouver. Co-produced by Chisenhale Gallery, London and Spike Island, Bristol.
Who is La Mariée – xname (Eleonora Oreggia), 03’52”, 2014
Dusty Mariée has been a live, continuous, audio-video stream broadcasted to the Internet from my apartment on the 19th floor of the Balfron Tower, the iconic example of brutalist architecture designed by Ernő Goldfinger in 1963. The stream represented the large glass that separates my personal space from the external world, that is to say: private and public life. The camera focused on the dust stratifying on the surface of the glass, while London and the artist inhabiting the flat appeared as projections, phantom shadows over the much more stable, yet ever-changing, image of the dust, representing time and matter. Contact microphones on the surface of the window transformed the glass into a very powerful long distance zoom: at random, the construction captured and reproduced the sounds that the city of London emits through the Net, transforming the glass into a gigantic microphone, producing a 'sounding' of both audible and visible multi-scalar dimensions of an environment.
This work, manipulating with technology the classical, yet twisted, ingredients of a fairy tale (the tower, the bride and the big city), and illustrating the transient and dystopian state of the surrounding area, finally identifies dust as the only representation of
humanity that preserves a coherence of intent.
JOI BANGLA, Zarina Muhammad, 10’17”, 2016
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