Edouard Malingue Gallery is pleased to present the annual screening program in the special year of 2020. Due to social restriction policies and ongoing gallery space renovation, the screening is going virtual this year. The online screening will be available from the 12 October to 6 November 2020, titled Side A/Side B.
馬凌畫廊很榮幸能在這特殊的2020年里延續一年一度的錄像放映項目。鑒於社交限制政策及當前仍在進行中的畫廊空間改造計劃，本年度的放映轉移到了線上的虛擬空間。本次線上放映將於10月12日開始，並持續至11月6日，題為「A面 / B面」。
Just like the two sides of a vinyl record, or the two sides of a coin, there are always side A and B in the world. As we cannot help but to examine anew the living conditions in the past and the present, we are to stay alerted by presenting Side A/Side B, reminding ourselves of both the clouds and the silver linings.
More than ever, one relies upon digital imagery on a daily basis. We use it to obtain information, to learn about the present global situation, to communicate and to maintain relationships, and even to accommodate affective and emotional needs. Digital imagery and videos have become one of the most intimate and private media today, as one stays home. For many contemporary artists, the video is a fascinating and complex artistic form. The “Side A/Side B” screening showcases recent works by Ho Tzu Nyen (Singapore), Hsu Chia-Wei (Taiwan), Li Shuang (China), Charles Lim (Singapore), Lo Lai Lai Natalie (Hong Kong), Rosalind Nashashibi (UK), Phan Thảo-Nguyên (Vietnam), Tao Hui (China) and Apichatpong Weerasethakul (Thailand). Making use of the convenience of the digital video form, and of the diversity embedded in the artworks from different regions, we aim at presenting a viewing experience that is at once poetic, stimulating and sensational, proposing provocative and challenging ideas, and encouraging the viewer to reconsider the two sides of the society caught in a special moment.
Ho Tzu Nyen 何子彥'Waiting'《等待》(Ripon Chowdhury with Ho Tzu Nyen), 2020, Digital video, single channel, 16:9 format, colour and sound (stereo), 4 min 36 sec
As a crossover artist, Ho Tzu Nyen often works across a broad range of mediums including film, theatre, installation art, sound, and writing. No matter in what identity or with what medium, Ho always reflects around several aspects: the research on Southeast Asia's regional politics and folk history, mythology and culture; the study of cinematic language, structure and symbols; and various visual experiments and metaphors in relation to social realities or inner illusions. Waiting is a special project from this epidemic, in which Ho collaborated with Ripon Chowdhury, a Singaporean expatriate worker from Bangladesh, and invited him to record a session of his lengthy quarantine on camera. Ripon Chowdhury is one of some 323,000 migrant workers living in dormitories amongst the city state of Singapore, where the overwhelming majority of Singapore's more than 30,000 COVID-19 infection cases take place. Since 21 April 2020, the government has imposed strict lockdown measures upon all dormitories, and the migrant workers-mostly hailing from South Asia or China-have been largely confined to their rooms. It is in this context that Ripon Chowdhury was invited by artist Ho Tzu Nyen to contribute to Contactless Deliveries. A poet, writer, and activist from Chittagong, Bangladesh, Chowdhury has been based in Singapore since 2010 as a migrant worker.
Hsu Chia-Wei 許家維'Black and White - Giant Panda' 《黑與白－熊貓》, 2018, Five-channel video installation, 16:9, colour, with sound 五頻錄像，16:9，彩色，有聲, 52 min 48 sec
Hsu Chia-Wei currently works and lives in Taipei. He graduated from Le Fresnoy - Studio national des arts contemporains, France in 2016. Hsu stresses specifically on the actionability underneath image creation when it comes to the practice of art, while linking up the relationships of humans, materials, and places omitted in the narrative of the conventional history through establishing the incidents beyond camera. In Black and White - Giant Panda, a panda is used as the entry point and acts as a connection between politics, history, animals, people and non-humans to tell the history of panda diplomacy. Pandas can only be found in the mountains of Sichuan in China. In other words, all pandas in the zoos in other countries are from China. Pandas even became an essential diplomatic tool in the 20th century. China's panda diplomacy goes back thousands of years to as early as 685 AD when Empress Wu Ze-Tian sent a pair of white bears and seventy furs of the white bear (white bear here refers to giant pandas) to the Japanese emperor. Pandas were smuggled or traded from China at the beginning of the 20th century. Panda fever started when they appeared in the United States and Europe. They played an important diplomatic role in World War II, the Cold War, and even till today, connecting China with the United States, Europe, Russia, Japan, Taiwan in an intricate web of relationships. The lecture performance, commissioned by the Arts Commons Tokyo in March 2018, was performed at the Taiwan Culture Center of the Taipei Economic and Cultural Representative Office in Japan. As a result of cooperation with the Japanese Manzaishis, panda's lovely image is used as a material for comedy performance; meanwhile, the historical and political issues of panda diplomacy are described amusingly. In Black and White - Giant Panda, performance, historical materials, and the screen window viewing experience reflect and complement each other.
Li Shuang 李爽'T', 2017–2018, 4 channel video with sounded, 四頻錄像，有聲 Music by Eli Osheyack Performance/voiceover Naomi Yu, 15 min 17 sec
Li Shuang received her MA in media studies from New York University in 2014. She currently lives and works in Berlin, Germany and Yiwu, China. Situated in globalized communication systems and inspired by various localities and uneven information flows, Li’s work, which encompass performance, interactive websites, sculpture and moving image installations, studies various mediums composing the contemporary digital landscape. Crucial to this practice is the interaction between the medium and its users as well as amongst the mediums themselves. These diverse forms of intimacy form a motif that runs through the artists practice, as she explores how various forms of technology bring us into contact, and how they form part of a neoliberal apparatus that regulates the body and desire. Yet her focus is not limited to the virtual, but also includes the material lives of those digital landscapes, such as the infrastructure and logistics systems that support it, and more importantly, the cracks in between. T is a 4-channel video, with music by Eli Osheyack, performance and voiceover by Naomi Yu. Taking imagery of feet as a starting point, Li subtly interweaves the experience of a customer service representative (positioned as a straight, cis male) of a Taobao women’s socks online retailer, with reminiscent self-narrations, internet slangs, and cultural symbols. Through the non-linear narratives and fragmented visuals, the film exposes the stereotypes imposed onto sexuality within the familial and social constructs, and its performativity in a virtual, suppositional world.
This film was exhibited at OCAT Shanghai, X Museum, Beijing, International Studio & Curatorial Program (ISCP), New York in 2020; Centre Pompidou in collaboration w/ Mao Jihong Foundation, Chengdu, Taikang Space, Beijing in 2018.
李爽目前居住生活在德國柏林和中國義烏。2014年，她於紐約大學傳媒研究專業取得碩士學位。李爽置身於全球性流通系統中，受在地性與不平衡信息流的啓發，以行為、網站、裝置、影像等形式研究構成當代電子風景的各種媒介，背後的運行基礎、物流系統以及兩者間的裂痕。她尤其關注媒介連接、進而管控人類身體和慾望所形成的新自由主義範式。在她所探討的關係中，媒介與使用者、媒介與媒介的互動佔據重要地位。《T》是李爽的四頻錄像作品，由Eli Osheyack配樂，表演及旁白由Naomi Yu完成。藝術家從「腳」的意象出發，將一名「直男」在淘寶女襪店的客服經歷、自述式的絮語回憶、網絡暗語與文化象徵交織在一起。影片通過碎片化的敘事手法和視覺形式，展現出性別在社會和家庭結構中被賦予的刻板印象和在虛擬場景下的表演性。
Charles Lim 林育榮'Alpha 3.9: silent clap of the status quo' 《初始3.9：現況的沉默拍擊》, 2016, Video 單頻錄像, 2 hr 26 min 30 sec
Charles Lim Yi Yong currently lives and works in Singapore. He was a professionally trained sailor, and has competed in the 1996 Olympics representing Singapore and Team China in the 2007 America’s Cup. Later, Lim went to study art in Central Saint Martins School of Art and Design, and has graduated with a BA Fine Art. He also co-founded the seminal net-art collective tsunamii.net. Working across multiple media including photography, video, drawing and performance, Lim has combined his art practice with his consistent interest and extensive research into the maritime environments and histories. Within our cultural imagination, the sea has been endlessly depicted as unoccupiable — commonly expressed through the phrase 「high seas」 — a zone that is thought to be free from the control of any individual nation or state. Article 112 of the United Nations Convention on the Law of the Sea states that, All States are entitled to lay submarine cables on bed of high seas. Thus 99% of the world’s internet and international communications runs through cables laid at the bottom of oceans and seas. Deep within the archives of the various parties involved in these endeavours sits a collection of inspection videos of cables covering the length of these networks.
Lo Lai Lai Natalie 勞麗麗'Cold Fire'《冷火》, 2019-2020, Single channel video, stereo, colour, with Chinese and English subtitles 單頻錄像，彩色、雙聲道，帶中英字幕, 10 min 18 sec
Lo Lai Lai Natalie currently works and lives in Hong Kong. She has received her Bachelor of Art (Fine Arts) and Master of Fine Arts from The Chinese University of Hong Kong in 2017. Lai Lai is a former travel journalist. She is interested in the development and the construction of nature. As a learner at the collective organic farm Sangwoodgoon (Hong Kong) where she also explores the lifestyle of 「Half-Farming, Half-X」, a practice that seeks alternatives and autonomy as an artist and Hong-Konger, Lai Lai finds her interests in food, farming, fermentation, slow-driving, surveillance, and meditation. She works across multiple and mixed media including moving images, photography and installation. Cold Fire is a film about air disasters and fermentation. It takes the unpredictable process of plane crash and fermentation as a metaphor for our current society and relationships, in which there are too many unknowns, leading us to feel the uncomfortable effects of the inexplicable minutiae of everyday life.
This film was exhibited in the exhibition “Café do Brasil” at Para Site, Hong Kong, 2019; and “Give no words but Mum” at Tomorrow Maybe, Eaton Hotel, Hong Kong, 2020.
該影片在2019年香港Para Site的展覽「巴西咖啡室」，及2020年香港逸東酒店Tomorrow Maybe的展覽「保持緘默」中展出。
Rosalind Nashashibi 羅莎琳德·納沙希比'Electrical Gaza'《電力加沙》, 2015, Colour, Dolby SR, 4:3 (35mm 1.85), 17 min 53 sec
Rosalind Nashashibi currently works and lives in London, UK. She has received her BA in Painting from Sheffield Hallam University, Sheffield (UK). She was a Turner Prize nominee in 2017, and represented Scotland in the 52nd Venice Biennale. Nashashibi’s practice, comprised of filmmaking and painting, chronicles intimate moments of contemporary life across diverse circumstances with a deeply empathetic and personal approach. In both her films and paintings, one piece often permeates into the next one, creating an ongoing dialogue between bodies of work. Nashashibi is able to capture different kinds of relationships through the minutiae of her subjects’ lives and the lived environment. Her films are often non-linear, punctuated by manifestations of power dynamics and the subtext of individual and collective histories.
In Electrical Gaza (2015), Nashashibi combines her footage of Gaza, and the fixer, drivers and translator who accompanied her there, with animated scenes. She presents Gaza as a place from myth; isolated, suspended in time, difficult to access and highly charged.
Rosalind Nashashibi 羅莎琳德·納沙希比'Vivian’s Garden'《薇薇安的花園》, 2017, Colour, Stereo, 4:3, 29 min 50 sec
Vivian’s Garden (2017) depicts the relationship between twoSwiss / Austrian émigré artists – Vivian Suter and her mother Elisabeth Wild. They live together living in Panajachel, Guatemala, where they have developed a matriarchal compound in an environment that offers both refuge and terror. Elisabeth is in her nineties and Vivian in her sixties and they are as close as maiden sisters, in fact the family relationship is shifting, each is at times mother and daughter to the other. This film takes a close and dreamy look at their artistic, emotional and economic lives, with their extended householders: Mayan villagers as guardians and home help, and an assortment of dogs, it offers a tender look at an instance of post-colonial complexity.
Phan Thảo-Nguyên 潘濤阮'Mekong Mechanical' 《機械湄公河》, 2012, single channel hd video, sound, 18 min 33 sec
Phan Thảo-Nguyên currently lives and works in Ho Chi Minh City, Vietnam. Phan is a multimedia artist whose practice encompasses painting and installation. Through literature, philosophy and daily life, she observes ambiguous issues in social convention, history, and tradition. Through a combination of painting, video, performance, and installation, she manages to blend the universal and the local, reality and fiction in a poetic and visually powerful way, which opens new spaces for reflection. Mekong Mechanical focuses on a night shift of a young female worker who works in a fish factory in Tien Giang province, Mekong Delta, south of Vietnam, producing Pangasius fillets for export. The video is a day-dreaming journey of the worker constructed from the perception of the artist who intertwines scenes outside of the factory with a single repetitive footage of the worker trying to straighten fish fillets. Every time the footage repeats it is slowed down by 10% until both the worker footage and the viewer’s attention reach a state of boredom. The film quietly criticizes the Pangasius industry and other forms of industrialization of agriculture, which emphasizes on quantity and productivity regardless the rapid environmental degradation of the Mekong delta region.
During 2012 to 2013, this film was touring along with the exhibition "Riverscape IN FLUX", organised by Goethe Institute in Hanoi, and exhibited in Hanoi, Saigon, Bangkok, Phnom Penh, Manila and Yogyakarta. Recently it was featured on the online cinema platform Vdrome.
2012至2013年間，該影片隨河內歌德學院舉辦的展覽「Riverscape IN FLUX」，巡迴至河內、西貢、曼谷、金邊、馬尼拉及日惹展出。近期曾在線上影院平台Vdrome中上映。
Tao Hui 陶輝'Mongolism'《蒙古症》, 2010, Single channel video, color, sound 單頻彩色有聲錄像, 30 min 01 sec
Born in Yunyang, Chongqing and a graduate from Sichuan Fine Art Institute, Tao Hui currently lives and works in Beijing, China. With an initial degree in Oil Painting, Tao traversed into the art of video and installation, drawing from personal memories, visual experiences and popular culture to weave an experimental visual narration, the focus of which is often our collective experience. Running throughout his work is a sense of misplacement vis-à-vis social identity, gender status, ethnicity and cultural crisis, prompting the audience to face their own cultural histories and living conditions. Finished in his art school years, Mongolism is a Tao Hui’s production deriving from the classic TV costume drama My Fair Princess (還珠格格) from 1990s. By incorporating phenomena, experience and imagination, Tao Hui presented a "sequel" to the TV show with an ending that he would like to see. This could be referred to the first stage of his practice. Mongolism addresses the mental condition of young people in the process of modernization across geographical ideologies, with improvised videography to control the actors and the framework of the TV series to control the plot. Traditional art and folk culture are the major influences on the production. An isolated political picture is construct by its illogical relationships between characters. The work could be conceived as a soap opera about the self-spiritual recognition.
This film was exhibited at “18th Contemporary Art Festival Sesc_Videobrasil: Southern Panoramas", São Paulo, 2013; “Chongqing Independent Film & Video Festival”, Chongqing, 2011; “70th Anniversary of Birth of Sichuan Fine Arts Institute”, Chongqing Art Museum, Chongqing, 2010.
該影片曾在2013年巴西聖保羅第18屆SESC巴西錄像藝術節「南部全景」單元、2011年重慶獨立影展CIFVF 實驗電影單元、2010年重慶美術館「四川美術學院 70 週年校慶展」中展出。
Apichatpong Weerasethakul 阿比查邦·韋拉斯塔古'Vapour'《霧氣》, 2015, Video, colour and B&W, silent, 21 min
Apichatpong Weerasethakul was born in Bangkok, raised in Khon Kaen. He studied architecture at Khon Kaen University and later received an MFA in filmmaking from the School of the Art Institute of Chicago. He started making films and videos in 1994 and has become an independent film producer in Thailand. In 1999, Weerasethakul started his own production company Kick the Machine, and made his first feature film Mysterious Object at Noon in the following year. The artist’s unique cinematic style was already manifest in this early work, which fused the documentary with the fictional, the journalistic with the folkloric, the ghostly with the sci-fi, sensitively responding to political and social issues through a non-linear, mismatched narrative. Vapour takes place at Toongha village in Mae Ram district that has been Apichatpong’s home for the past eight years. The village is one of several areas in the country that are plagued with land management issues. For the past sixty years, it has been a battleground between the people and the state. The clouds descend onto a village and engulf it for a day. They touch the roof tiles, the beds, the chairs, the carpets, the grass, and the bodies, infecting everything with the fever of white stupor.
阿比查邦·韋拉斯塔古出生於泰國曼谷，成長於泰國東北部的孔敬，曾入讀孔敬大學主修建築，其後留學美國芝加哥藝術學院學習電影製作並取得碩士學位，他從1994年開始製作電影和錄像短片，成為泰國獨立電影製作人。1999年阿比查邦創立自己的製作公司Kick the Machine，次年他完成了首部長片《正午顯影》（Mysterious Object at Noon），從這部電影起就奠定了阿比查邦電影的獨特風格，混雜了紀實與虛構、實事與傳說，鬼魂與科幻，以充滿錯位感的非線性敘事方式，巧妙回應政治和社會問題。《霧氣》拍攝於泰國Toongha村的Mae Ram區。這裡是阿比查邦過去八年來的家。同時，這個村莊是泰國幾個土地管理問題嚴重的地區之一。在過去六十年里，它成為了人民和國家之間的戰場。影片中烏雲降落在一個村莊上併吞沒了它一整天。它們籠罩了屋頂上的瓦片、床、椅子、地毯、草地和身體，使一切都染上了白熱病。
Greetings from the artists 藝術家的問候
Ho Tzu Nyen 何子彥What is the idea behind your new work? 新作背後的創作理念是？
HSU CHIA-WEI 許家維What new research projects have you been working on? 最近在開展什麼新的研究項目？
LI SHUANG 李爽How has the pandemic impacted your work? 疫情對你的工作有何影響?
Lo Lai Lai Natalie 勞麗麗Can you tell us more about the idea of fermentation? 能跟我們講講「發酵」嗎？
ROSALIND NASHASHIBI 羅莎琳德·納沙希比What's in your studio and what did you have for lunch? 你的工作室裡有什麼？午餐吃了什麼？
TAO HUI 陶輝How are you doing in Beijing? 最近在北京還好嗎？
Apichatpong Weerasethakul 阿比查邦·韋拉斯塔古How does isolation feel? 隔離是什麼樣的感受？