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1012日開始,並持續至116日,題為「A / 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 Tho-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.


    何子彥現工作及生活於新加坡。他的創作涉及電影、劇場、裝置藝術、聲音、寫作等多個領域。無論以何種身份、何種媒介開展藝術實踐,何子彥都在試圖思考如下幾個方面的議題:東南亞地域政治與民間歷史、神話、文化的研究;對電影語言、結構和符號的研究;與社會現實或內心幻想相關的種種視覺實驗和隱喻。《等待》是何子彥在疫情期間開展的一個特別項目,他邀請孟加拉國籍勞工里蓬·喬杜里(Ripon Chowdhury)用攝像機記錄下他在度過漫長隔離時間中的一些片段。喬杜里是居住在新加坡國家宿舍中愈32萬名的外籍勞工的其中一員。因宿舍居住條件簡陋、衛生狀況不佳,新加坡的3萬多例新冠肺炎感染病例中的大多數病例都在這裡發生傳染。自2020年4月21日起,政府對所有宿舍實施嚴格禁閉措施,外籍勞工們(大多來自南亞或中國)基本被限制在自己的房間里。喬杜里來自孟加拉國吉大港,他是一名詩人、作家和活動家。2010年以來,他便一直以外籍勞工的身份在新加坡工作生活。

  • 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.


    許家維生活及工作於台灣台北。他於2016年畢業於法國國立當代藝術工作室。在藝術實踐的方式上,許家維特別著力於影像創作背後的行動性,並透過建立鏡頭以外的事件,連結正規歷史描述所未及的人、物質與地方的關係。《黑與白-熊貓》以熊貓作為切入點,貫穿政治、歷史、動物等人與非人之間的連接,講述了一段熊貓外交的歷史。熊貓原本只生活在中國四川一帶山區。換而言之,目前全世界動物園裡的熊貓都來自中國,特別在二十世紀,熊貓更成為重要的外交工具。中國的「熊貓外交」已有上千年歷史。早在公元685年,武則天就曾送給日本天皇兩只「白熊」和70張「白熊」毛皮,此處的「白熊」就是大熊貓。二十世紀開始,貓熊曾經被偷渡或買賣交易離開中國,當他們現身美國或歐洲時,曾經席捲一股熊貓熱。他們分別在二戰、冷戰時期以及今日,扮演著重要的外交角色,也連結美國、歐洲、俄羅斯、日本、台灣與中國之間千絲萬縷的錯綜關係。2018年3月由東京藝術公社委託製作的Lecture Performance於台北駐日經濟文化代表處台灣文化中心演出。透過與日本「漫才師」合作,以熊貓可愛的形象為喜劇演出的材料,用詼諧的言語描述熊貓外交的歷史與政治問題。《黑與白-熊貓》結合當時的表演影像、歷史材料與螢幕視窗的觀看經驗相互映照與補充,透過漫才師的敘事重新在熊貓的移動與交換拓展出歷史、國際政治的樣貌。


  • 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.




    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

  • 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.


    《薇薇安的花園》(2017) 描繪了同為藝術家的母女——伊麗莎白·懷爾德和薇薇安·蘇特居住在危地馬拉帕納哈切爾的一座叢林花園中的日常和兩人的關係。伊麗莎白和薇薇安生活在一起的時候,有多個瑪雅村民作為守護人和女傭陪伴。這部溫情的電影並沒有回避這個大家庭中的殖民關係,但也展現了所有角色之間傳遞的母愛般的關懷。他們的家是一個逃避恐懼的避難所。電影匯集了諸多納沙希比作品中常見的主題,其中包括個人與公眾表現之間的張力,尤其是在以某種方式封閉或孤立的社區內展現的張力。

  • 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18SESC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?

    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?