展覽單元 Exhibition programs
8 月 26日 (SAT)– 9月 3日(SUN) 11: 00 – 17:00/ 免費參觀
地點/ Location：台電板橋新民大樓1樓/ 2F- Shin Min building
開幕/ Opening: 8/26 (SAT) 13:00 pm
策展人/ Curator: Jamie Wyld, Christopher James Tyrer, Moritz Cheung
藝術家和作品/ List of artists & works:
藝術家/ Artists: Andrea Luka Zimmerman, Adham Faramawy, Evan Ifekoya, Lucie Rachel, Patrick Staff, xname (Eleonora Oreggia), Zarina Muhammad.
Full Body Facial – Adham Faramawy (2014)
Duration: 05’17”
Full Body Facial by Adham Faramawy is an extract from an audiovisual piece developed in 2014. The digital artwork is constructed around a video of a performance enacted for the camera. Three anonymous performers slather each others’ bodies in viscous clay. The footage is embedded within a computer simulation of liquid surfaces: the sea, a puddle, and a pool. The soundtrack features a composition drawing from samples of running water, a bird song and an ASMR (autonomous sensory meridian response) video of a young woman gently whispering about the healing effects of a full body mud wrap.
The work is part of a series that explores and plays with the effects of mediated images and the prevalence of computer generated imagery in advertising on notions of embodiment. As part of the piece sounds and images from multiple sources both amateur and professional are overlaid, creating a calm, deliberate and subtle rupture in the language of commercial framing of moving-images.
Merzschmerz – Andrea Luka Zimmerman (2014)
(4 short films)
Merzschmerz: Lucky Hans
Duration: 08’09”
Merzschmerz: Good Man
Duration: 01’36”
Merzschmerz: Tiny Mouse
Duration: 02’16”
Merzschmerz: Flying Fish
Duration: 04’43”
Fairy tales are handed down from mothers to daughters, and from fathers to sons. As they are passed on, the tales grow in the telling – or gradually depart from the original, as new elements get added, or others get cut. Steeped in memories of childhood, nursery rhymes and other bedside stories seem to speak with the authentic voice of pre-history, and forge a direct link to that bygone past. Although this is an enchanting notion, the reality is that these age-old fables are always something of a patchwork: the product of different authors, at different times.
The party line about Kurt Schwitters was that he was many things: poet, performer, painter, prankster (and permutations of the above). It’s less often noted that he was also a writer of children’s stories – a playful, avuncular spirit with a penchant for the macabre and the absurd. A number of Schwitters’ captivating children’s tales form the basis of Andrea Luka Zimmerman’s Merzschmerz, a series of short videos in which children revisit what they remember of each recently-read story, and relay it in the company of an adult (family member, neighbour, guardian or friend). As the children furrow their brows in concentration, or smirk in advance at the funny things they are about to impart, their excited faces are echoed by the indulgent, quizzical smiles of the adults, creating a moment of togetherness, and adding to the pieces’ infectious charm.
She Was a Full Body Speaker – Evan Ifekoya (2016)
Duration: 17’30”
Combining found footage from Rewind/Fast Forward with the artists’ personal archive, She Was a Full Body Speaker addresses blackness, sociality and inheritance diffracted through queer nightlife and trauma as an endless repetition.
She Was a Full Body Speaker has been made with a package of support from BFI, no.w.here and Wellcome Trust as part of the Queering love, Queering hormones project and a grant from Heritage Lottery Fund as part of Rewind/Fast Forward.
Where We Are Now – Lucie Rachel (2016)
Duration: 09’18”
Where We Are Now is short documentary about the changing relationship between the director and her trans parent, who recently made the decision to transition.
Produced by Scottish Documentary Institute and Arpeggio Pictures, commissioned by Creative Scotland in the context of Bridging the Gap, one of the leading documentary new talent initiatives for cinema and broadcast in the UK.
Weed Killer – Patrick Staff (2017)
Duration: 17’00”, loop
'Weed Killer' (2017) takes as a starting point the artist and writer Catherine Lord’s memoir 'The Summer of Her Baldness' (2004) – a moving and often irreverent account of her diagnosis, treatment, and transformation through her experience of breast cancer. At the heart of Staff’s film is a monologue, adapted from Lord’s text, in which an actress reflects on the chemically-induced devastation of chemotherapy. This monologue is intertwined with comparatively otherworldly sequences, including choreographic gestures shot with thermal imaging, evoking the ways in which the impact of illness extends beyond the visible. Weed Killer draws into focus the intersection of queer identity, cross-generational dialogue, illness, and the fine line between alternately poisonous and curative substances.
Weed Killer was commissioned by The Museum of Contemporary Art, Los Angeles. The video was produced by Spike Film and Video.
The Brutalist Kiss – xname (Eleonora Oreggia) (2014)
Duration: 24’35”
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.
The piece, inspired by Marcel Duchamp's Large Glass (La mariée mise à nu par ses célibataires, même, The Bride Stripped Bare by Her Bachelors, Even), and commissioned by the Barbican centre as part of the show celebrating the work of the artist and its legacy on the culture of XX century and beyond, was part of a series of three Net art works re-interpreting Duchamp's influence in the digital era.
The Brutalist Kiss is an edited version of the stream that was broadcasted live in the Internet for almost month, until the end of the Dancing around Duchamp season.
FEAT SEEMA AND YO YO HONEY SINGH-Untitled 13 – Zarina Muhammad (2016)
Duration: 03’30”
Digjihad – Zarina Muhammad (2016)
Duration: 02’18”