'Side A / Side B'《A面 / B面》: Online Screening 線上放映

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。

該影片曾在OCAT上海館、北京X美術館、紐約國際工作室與策展計劃（ISCP）、成都蓬皮杜藝術中心與毛繼鴻基金會、北京泰康空間中展出。

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.

林育榮現工作生活於新加坡。他曾是一名專業航海人士，曾受專業帆船訓練。1996年曾代表新加坡國家隊參賽奧運會，2007年加入中國隊參加美洲杯帆船賽。他固然熟悉新加坡海域環境，從沿岸地貌到大海的國防議題他亦非常瞭解。退役後，他赴倫敦中央聖馬丁藝術與設計學院學習藝術，從事藝術創作。他也是網絡藝術團體tsunamii.net的創始成員之一。林育榮的的創作運用了攝影、錄像、繪畫及表演等多種形式，緊密結合他對海洋環境及歷史的關注和調研。在文化想像當中，大海總是被認為是無法佔有的——這在我們常用的「公海」這一概念中便有所體現。公海不受任一國家所掌控。聯合國海洋法公約中第112條便指出：「所有國家均有權在公海海底鋪設海底電纜。」全球99%的國家所使用的網路通訊都依賴於鋪設於海床上的電纜。從事與電纜相關工作的公司中，則在資料庫中存有大量有關這些海底網纜設備的檢查錄像。

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.

勞麗麗現工作生活於香港。她曾獲香港中文大學文學學士及藝術碩士學位，是一位「退役」旅遊記者，現專注於大自然生態有關的藝術創作。勞麗麗目前在香港生活館學習務農之余並探索「半農半X」生活方式。這種生活實踐促使她對另類生活模式、以及作為一位香港人兼藝術創作者的自主性作出提問。她的主要研究課題跟食物、農耕、蘊釀、慢駛、監視、冥想等相關，作品則混合運用了錄像、攝影、裝置等多種媒介。《冷火》是一部有關空難與發酵的錄像。悠揚鋼琴聲中鏡頭凝望飛機窗外的雲霧，而此刻字幕開始了關於空難的無聲的討論，飛機失事慘烈的畫面感通過文字在極不協調的背景音樂中浮現觀眾的腦海。影片下半部分是關於食物發酵的過程，這個過程和空難一樣不可預知，微生物群的作用、天氣的變化、室內環境因素都會對過程產生干擾，結果不可預知，每一次就像一次賭博。《冷火》以不可預計的空難和發酵過程作為隱喻，這也是關於我們當下社會和人際關係的一個隱喻，太多的不可知因素在其中，引領我們感受日常生活中無以名狀的瑣事帶來的不自在。

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 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.

羅莎琳德·納沙希現工作生活於英國倫敦，在英國謝菲爾德哈倫大學獲得繪畫學士。她入圍了2017年的透納獎，代表蘇格蘭參加了52屆威尼斯雙年展。納沙希比的創作包含電影製作和繪畫，以深切的同理心和私人的方式記錄了當代生活各種情形下的親密時刻。在她的電影和繪畫中，一件作品的內容經常滲入至另一件作品中，從而實現作品之間持續進行的對話。納沙希比總能通過對其作品對象的生活和生活環境的細節來捕捉各類關係。她的電影通常是非線性的，不時穿插著權力動態的表現，以及個人和集體歷史的潛在含義。

在作品《電力加沙》(2015) 中，納沙希比對實景拍攝與動畫的使用中強調了「具有雙重魅力的領域」，反映了加沙居民在衝突之中的生活有意想不到的雙重性——這是一個與外部世界隔絕、同時又被來自內部的社會契約層統治著的社會。在電影中，場景從風景如畫的棕櫚景觀或碧綠的地中海中的沐浴者突然切換至快速行駛的汽車中不和諧的鏡頭，或者整個畫面瞬間擠滿了互相推撞的男性的身體。豐富的色彩和歌曲美化了這些強烈的非線性場景，使得對一個有重大意義的地區的單一解釋變得複雜化。作品的名字進一步暗示了一個受到高度警示、緊張、不自然、甚至有些令人興奮的地方，但它與新鮮的空氣能夠提供的幸福與生活感相去甚遠。實際上你在那種氛圍里不可能永遠不受傷害、不感到疲憊的生活著。

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.

陶輝出生於重慶雲陽，畢業於四川美術學院的油畫系，目前生活在北京。雖然畢業於油畫系，但陶輝的作品以影像和裝置藝術為主，從個人記憶、視覺經驗和大眾文化中積累素材，通過提煉與改造形成嶄新的敘事模式和影像風格。陶輝從社會身份、性別地位、種族問題和文化危機等問題入手，以荒誕、吊詭、誇張的場景搭建，充滿隱喻和錯位感的人物設置，呈現出當代人的集體經驗，帶動觀者正視自身的文化歷史、生存現狀和社會身份。《蒙古症》是陶輝在大學時期的作品，對《還珠格格》這部古裝經典劇做的延續性創作，為古裝劇加入現象、經驗與想象，「續寫」一個陶輝希望看到的結局，這可稱為他創作的第一個階段。《蒙古症》講述了現代化進程中跨越地域的意識形態下的年輕人的精神狀況，用即興攝影的方式來控制演員，電視劇的框架來控制劇情；傳統藝術和民間文化成為影響作品的主要因素，毫無邏輯的人物關係構建了一個孤立的政治圖景，是一部關於自我精神認知的肥皂劇。

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 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。