2022.05 筆記合集

藝術家 Artist :
葉「中村」政宏

地點 Venue :
Hidden Space

撥開浴簾，你會見到主角瑟縮喺浴缸之中。雖然蝴蝶喺浴簾上起舞，但只要你走到下一個場境，你就會知道，光滑嘅皮膚從來都冇同周遭嘅東西發生過任何關係。物件不斷增加，只係令身軀向內收縮，喺床上，喺浴室、屋企入面，赤裸地、又不能避免地同生活碰撞。

我特別喜歡相片偏暖調色同情感嘅對比，好似即使光線有幾暖都好，都改變唔到籠罩我地嘅一切。空間設置亦都好睇，由一開始帶觀眾入內嘅浴簾、稍有擋住相內浴簾擋住主角嘅第一幅右牆、同床一樣可以瑟縮嘅暗角，同埋最後同相呼應嘅單點透視走廊，由開始走到最後，每一下轉角都有唔同視點去睇作品。

故事完喺一個毅然離家嘅決定，赤裸上身，背向嗰個過於擠迫、已經超載嘅地方。主角會去邊？我想像唔到會係一個點好嘅地方。

藝術家 Artists :
Chris SHEN

地點 Venue :
Current Plans

（信任／陷阱）

一個「被迫」實驗唔需要人都可以運作嘅展覽，展出多件以電子感應器而製作嘅高互動性作品。運作上，實驗非常成功，未入門口已經有自動 disco 燈同強制性酒精搓手液招呼，入門後亦有三件挑戰觀眾互動能力嘅作品比大家玩。

其中 Nearness (Auto) (2022) 同 Drawn Door (Auto) (2022) 都需要觀眾嘅專注同耐性去令作品運作。為左睇 Nearness (Auto) ，我郁都唔敢郁，怕要再重啟作品。當時，視線的確冇離開過作品，甚至令到旁邊需要郁動嘅 Lume (2022) 都唔再運作，成間房黑哂，得返 Nearness (Auto) 係我眼前。但比起欣賞錄像，我更怕前功進廢，更多反覆觀察感應器嘅反應，對機械嘅信任，瞬間變成隱形嘅規條，放棄規條就等於百分之百放棄關係，放棄觀賞。等待 Drawn Door (Auto) 開門係另一個信任嘅挑戰，門後面漆黑一片，只有鐵鏈滾動嘅聲音，你唔知門會幾時開，亦唔知信任會唔會突然一拍兩散。與其話呢個係互動裝置，不如話呢到只有單向嘅命令同服從。

0101 嘅世界只有「運作」同「唔運作」，當然我唔認為觀眾喺呢個空間只有呢兩個選擇，但當你願意投入自動世界，願意探索對方為你設計嘅（體驗／陷阱），就好似必順捨棄選擇第三個可能。展覽引用 Paul Fitts 問：機械同人究竟分別叻啲乜？應該交咩比佢地做？或者係呢個探索嘅時候，你就已經跌入左「必須相信」嘅陷阱。

A “forced-to-be” self-running exhibition-experiment that showcases few highly interactive installations activated by electronic sensors. Our beloved audience will be first welcomed by the auto disco lighting and the obligatory sanitizer machine. Through the doorfront, 3 more installations are set to challenge your interacting capabilities.

Nearness (Auto) (2022) and Drawn Door (Auto) (2022) demands your concentration and patience. To hope Nearness (Auto) to work and not rewinding back, I barely dared to move, silencing the space, even Lume (2022), the installation nearby that bears a sensitive motion trigger. There was only Nearness (Auto) working, but rather than focusing on the moving image, my eyes could not help checking on the electronic triggers and hoped all things were on track. There was trust between me and the work, rather, it was rules that bounded between us. Drawn Door (Auto) also demands your credence. You will be sealed from the door behind, recognizing only darkness and sound from the moving iron chains. You will not be sure of whether the door will really open for you, or fail you, unless you keep your position very right. Instead of being interactive installations, mono-directional regulations might be an inevitable outcome.

Digital world bears only “0” and “1”. I believe, of course, the audience do have more options than right or wrong in the exhibition. But when one, truly and fully, devotes oneself into the set-up (experience/ trap), one seems to inevitably forgo all the alternatives. Chris quoted Paul Fitts on asking what man and machines are better at, and tasks that we could hand machines. Perhaps, we will in no means not fall into their trap of “necessary trust” whilst exploring their capabilities.

藝術家 Artist :
沈君怡 SHUM Kwan Yi

地點 Venue :
Grotto Fine Art

「浮生」、「秘文」和「荒島」

輕柔地打造一片大海，即使會隨風而浪，但我地依然祈求，佢總有辦法將我地舟載於上，陪同我地去面對嗰片過於巨大的陸地、同𠴱啲粗暴地佔據空氣嘅氧化物。無數個前航嘅黑夜，我地都喺框外，睇框內遠處嘅火焰，將一切燒焦，然後捲入大海。故事嘅結局，我／我地早就見過，當海面回復平靜，我地唔會再問曾經係大火同迷霧之間依然堅持前行嘅你，何以擱淺、靠岸、或再見。

世界出現左新語，喺鐵窗內就有兩種：一種只（能）靠日月記時；另一種由「學校」軒旗，只取形式，不取內容，要求絕對服從。幸好我地仲可以創造，好讓我地依然能夠喺風雨中抓緊泥土，腳踏實地。借樹喺字帖同書信上練習，係要學會能屈能伸，喺有限嘅空間依然擺出姿態。小心翼翼，喺不觸及紅色邊界嘅同時，用力地捉緊一字一句，喺可能絕無僅有嘅說話中，確保我地依然會真誠、會光明磊落、會傾盡全力將情感同真相傳遞出去。

我地都幻想過可以搬入一個不被監視嘅荒島，出世而自由。但當我地凝視荒島，世界亦可以凝視荒島，經緯就係荒島不存在嘅鐵證。