.
結束了營養的dai week(上課週)後
我轉身前往阿姆斯特丹看紀錄片影展
看影展已成我這兩三年的興趣
在台北我會早起趕搭一大早的捷運到光點排電影節護照
然後到聞天祥的選片指南聽他簡潔風趣的全覽式介紹
接著開始排起片單 取捨往來時間距離
最後在電影節期間
乘坐捷運或公車旅行於台北市內的戲院
一天至多看上三'四部
有時後倒不是電影有多好看
反而有趣在戲跟戲之間那短暫的空檔
偶爾跨夜電影
一群陌生人在密室裡待整晚
休息時間再往便利商店裡大牌長龍
那一明一暗的交錯對我來說很有意思
這次阿姆斯特丹紀錄片影展是我第一次在國外看影展
體制上沒有什麼特別的出入
（我指的是單純就作為一個觀眾而言）
這次一共看了七部片
偶爾剛好遇到打工的同學在門口撕票,免費
偶爾票賣完了,硬等觀眾進完場,總是有前兩排幾個的空位,免費
於是看了四部免錢,真正花錢買票的只有三部
I'm a lucky snake!!!
幾部台灣來的紀錄片
都被直接寫上“china“或“taiwan,china“心裡頗不是滋味
明明說的是台灣小學生的童年
偏偏要說是中國小學生的童年
這種小地方催眠式的誤會
難怪到處都有荷蘭人問我台灣是不是中國的一部份
但我不解的是
作為一個想像中應有獨立、關懷或批判精神的紀錄片影展也必須要犯這種錯誤
我也跟這些對中國好奇的外國人們一起看了兩部中國紀錄片
其中一部“Up the Yangtze!“完全爆滿
這是一個華裔加拿大導演拍長江建大壩期間的故事
“Up the Yangtze!“官網:http://uptheyangtze.com/trailer.php
這是我繼“三峽好人“之後第二次看到這個題材
不管是“三峽好人“或是“Up the Yangtze!“的製作
都會忍不住想誇他們聰明
看看那宏偉的長江跟一旁無助的人們
國家的大建設跟被迫遷移的人民這樣的對比怎麼拍都會好看
好看在那真實太殘酷了,必定激起外來者的惻隱之心
相較於“Up the Yangtze!“,
周浩的“Using“顯得大膽許多
記者出生的周浩是福建人
周浩blog:http://www.sinoreel.com/blog/zhouhao/
在"Using"裡周浩追蹤一個福建的吸毒（竊盜）者阿龍（或是說他們做朋友的過程）
光是看到注射毒品的直陳陳鏡頭就忍不住打顫
"Using"裡有許多關於紀錄片拍攝者跟被拍攝者關係的辯證
偶爾阿龍伸手跟周浩要錢,偶爾試圖揣測鏡頭要的畫面...
拍攝者利用被拍攝者得到畫面
被拍攝者也某種程度曉得自己利用與被利用的相對關係
周浩是站到最危險的地方跟邊緣人打交道
在映後座談我還特別舉手對周浩說“respect!“
紀錄片之所以好看是因為創作者必須要在某種程度上放低姿態
儘管怎麼樣還是看得到鏡頭的主觀跟敘事
但至少是必須在較謙卑或旁觀的位置上
"The Gates"是記錄藝術家 Christo跟他太太 Jeanne-Claude
爭取在中央公園創作作品Gates的記錄
整部片分成三個劇組從80年代拍到2005年
從藝術家中年拍到老年
一路從製作草圖,諮詢律師,一場又場開公聽會跟市民討論...
可以看見作為一個公共藝術家
如何一個階段一個階段的說服,運作,磋商...到完成的誠懇
而這花二十幾年口舌的作品僅能存在中央公園十四天
在第一天看完影展的雨夜裡
意外摔了我的相機
除了苦笑我只能說這是我的命
最後一天發現我的火車票掉了
也只能摸摸鼻子再買一張
回到小鎮同學問我影展好不好看
[I have good time,but bad luck.....]
這是我看過最貴的影展......
.
2007年11月30日 星期五
2007年11月29日 星期四
2007IDFA
.
2007阿姆斯特丹國際紀錄片影展IDFA:
http://www.idfa.nl/en
我的片單
2007/11/26:
The Gates
Antonio Ferrera, Albert Maysles 94', USA, 2007
Artists Christo and Jeanne-Claude have been living in New York since 1964, but had yet to realise one of their controversial projects there. In 1979, they presented an ambitious plan to realise a work of art in Central Park called The Gates. To them, the process leading up to the realisation of a project is an essential part of the work. For that reason they asked the Maysles brothers, with whom they had collaborated before, to make a film about their new work. It would become an extremely lengthy project. The footage from 1979 (on which David, Albert Maysles's brother who died in 1987, also worked) shows that New Yorkers were not enthousiastic about the artists' plans - for a while, it seemed as if everything would fall through. But by 2003, things turned around and the project was approved after all. The camera closely follows the developments: the filmmakers attend the negotiations and film the construction of the numerous orange gateways and saffron-coloured fabric panels, as well as thereactions from those who attended the opening in February 2005.
Planet B-Boy
Benson Lee 95', USA, 2007
Once you've mastered the footwork, windmills, top rocks, suicide, and pop & lock, you are entitled to call yourself a B-Boy or B-Girl. As in Break Boy or Boogie Boy. In this documentary, which shows that Breakdance is by no means just a hangover from the 1980s, but rather a living, professional form of dance, we follow five ambitious dancers from all over the world, in their preparations for the biggest B-Boying event: The Battle of the Year. We see their techniques, their friends and family. What drives them? And who will beat - or smoke - the rest at the battle of the year? Breakdancing, originally a 1980s dance phenomenon, is still going strong. B-Boying started in the 1970s on the streets of New York. At the same time as phenomena such as emceeing, graffiti and DJ-ing. All of these art forms went to make up the original form of the hip-hop culture we know today. Thirty years on from the origins of break-dance, B-Boying is now more professional than ever. Where the old form was based on the classic moves from the 1980s - known as old skool - the new form (new skool) consists of moves the B-Boys have thought up themselves. Acrobatic dance moves that set them apart from the rest.
2007/11/27
Angelique & Titia
Claudia Tellegen 67', The Netherlands, 2007 WP
Angelique is a 22-year-old girl with Down syndrome. She lives with her mother - her brothers and sisters have already moved out. They make up a close-knit family; they often get together and support each other in everything. Because they have spent so much time together, the bond between Angelique and her mother Titia is very strong. "Angelique is my guardian angel," Titia says. Still, there has been some tension between them of late, because Titia is homesick for her native country Suriname and her health does not exactly benefit from the Dutch climate, either. She would prefer to spend her last years in her motherland, but she knows this would not be a good option for Angelique. In Suriname, the care for mentally handicapped people is not as good as in the Netherlands, plus people there look differently upon 'those children'. For Angelique, the solution is obvious: she thinks she is now old enough to move out and live by herself under supervision. When the decision has been made and the practical preparations for Angelique's move are underway, it is time for mother and daughter to let go of each other.
The Thirst of a Stone Sea
Vladimir Perovic 79', Montenegro, Serbia, 2007 WP
The camera glides across a rocky, seemingly uninhabited valley, upon which the sun shines mercilessly. In the distance, the echo of animal sounds can be heard, while an old man travels through the deserted surroundings with his improvised cane. Next, we see a man make charcoal in a brick hut. Another man covers the first part of his journey on horseback, then ties his horse to a tree and continues by car. One by one, the few inhabitants of a remote valley in the southwest of Montenegro are introduced, following them in their daily activities. They are mostly self-supporting and live off the yield of their land and their flocks of sheep. The documentary, clearly shot with affection and admiration, takes the time to show the rhythm of life in this arid vale, where water is drawn from deep wells and contact with the rest of society consists solely of the passing of the bus. Little is said. The old man occasionally hums a tune from days long gone, while another listens to news fragments on the wind-up radio. And yet, life here has not come to a complete standstill: a newborn baby sees the light.
Darfur Now
Ted Braun 95', USA, 2007 EP
According to the Sudanese UN Ambassador Abdalmahmood Abdalkhaleem, "We are proud to be an Afro-Arab country based on tolerance and understanding." In his mind, the allegation that genocide is taking place in the Sudanese region of Darfur, as the American government maintains, is "grossly exaggerated." There is a conflict, he admits, but it involves claims to natural resources. A visit to Sudan teaches us that the population is counting on the 'white people' who are helping to rebuild the country. A Sudanese man mentions the criminal practices that are of the order of the day: "Where are the media to cover it all?" Darfur Now does not try to depict the conflict in this African country - instead, it conveys a positive message and calls on Western citizens to take action. The film follows six people involved in several kinds of activities: a tribal chief in a refugee camp in West Darfur, an Argentinean prosecutor at the International Criminal Court in The Hague, a Darfurian woman who joins the rebels, a UN relief worker who offers help on the scene, a student from California handing out leaflets, and a Hollywood star who uses his contacts in China and Egypt for political lobbying. Even 'Governator' Arnold Schwarzenegger swings into action.
Up the Yangtze!
Yung Chang 93', Canada, 2007 IP
A luxurious cruise ship carries a group of predominantly Western tourists down the Yangtze River. On board, the well-trained Chinese staff offers a varied programme of food, drinks, and entertainment. Within the foreseeable future, the landscape that glides by will permanently disappear as a result of the construction of the gigantic Three Gorges Dam. This mega-project, presented as the symbol of progress in modern China, will force two million people to move. Complete cities and villages will vanish under the steadily rising water, and although the government is helping to build new houses, hundreds of thousands of landowners have been duped. In the film, we watch them seek shelter higher on the banks of the constantly swelling river, their humble possessions in tow. Two stories of young people working on the cruise ship illustrate the contradictions of modern China. 'Cindy' Yu Shui really wants to go to university, but her parents cannot afford it. As poor farmers, they are quite literally up to their necks in the rising water. Dead on her feet, she washes the dishes in the galley while the handsome, English-speaking 'Jerry' Chen Bo Yu counts his tips.
2007/11/28
Using
Zhou Hao 145', China, 2007 WP
"If you are in the jungle, you're not the one in control," Ah Long sighs at the end of Using. For the past 10 years, he has led a transient life as a junkie in the Chinese city of Guangzhou, the last three years of which director Zhou Hao has followed him. At intervals, that is, because Ah Long often changes his phone number and has the tendency to disappear off the face of the earth. Nevertheless, he always gets in touch again after a while, or otherwise his girlfriend Ah Jun manages to reach the director. This produces many scenes in miserable hostels where the two addicts argue or lethargically sit around chain-smoking and shooting up. Zhou Hao films this misery without compassion and tries his best to get under their skin, but in the end nobody reveals all that much. Ah Long and Ah Jun have someone they can tell their story to and scrounge some money from, but to them, Zhou Hao will always be the journalist. In their minds, we all use each other, albeit for different purposes.
（以上圖片與資料來自: http://www.idfa.nl/en）
2007阿姆斯特丹國際紀錄片影展IDFA:
http://www.idfa.nl/en
我的片單
2007/11/26:
The Gates
Antonio Ferrera, Albert Maysles 94', USA, 2007
Artists Christo and Jeanne-Claude have been living in New York since 1964, but had yet to realise one of their controversial projects there. In 1979, they presented an ambitious plan to realise a work of art in Central Park called The Gates. To them, the process leading up to the realisation of a project is an essential part of the work. For that reason they asked the Maysles brothers, with whom they had collaborated before, to make a film about their new work. It would become an extremely lengthy project. The footage from 1979 (on which David, Albert Maysles's brother who died in 1987, also worked) shows that New Yorkers were not enthousiastic about the artists' plans - for a while, it seemed as if everything would fall through. But by 2003, things turned around and the project was approved after all. The camera closely follows the developments: the filmmakers attend the negotiations and film the construction of the numerous orange gateways and saffron-coloured fabric panels, as well as thereactions from those who attended the opening in February 2005.
Planet B-Boy
Benson Lee 95', USA, 2007
Once you've mastered the footwork, windmills, top rocks, suicide, and pop & lock, you are entitled to call yourself a B-Boy or B-Girl. As in Break Boy or Boogie Boy. In this documentary, which shows that Breakdance is by no means just a hangover from the 1980s, but rather a living, professional form of dance, we follow five ambitious dancers from all over the world, in their preparations for the biggest B-Boying event: The Battle of the Year. We see their techniques, their friends and family. What drives them? And who will beat - or smoke - the rest at the battle of the year? Breakdancing, originally a 1980s dance phenomenon, is still going strong. B-Boying started in the 1970s on the streets of New York. At the same time as phenomena such as emceeing, graffiti and DJ-ing. All of these art forms went to make up the original form of the hip-hop culture we know today. Thirty years on from the origins of break-dance, B-Boying is now more professional than ever. Where the old form was based on the classic moves from the 1980s - known as old skool - the new form (new skool) consists of moves the B-Boys have thought up themselves. Acrobatic dance moves that set them apart from the rest.
2007/11/27
Angelique & Titia
Claudia Tellegen 67', The Netherlands, 2007 WP
Angelique is a 22-year-old girl with Down syndrome. She lives with her mother - her brothers and sisters have already moved out. They make up a close-knit family; they often get together and support each other in everything. Because they have spent so much time together, the bond between Angelique and her mother Titia is very strong. "Angelique is my guardian angel," Titia says. Still, there has been some tension between them of late, because Titia is homesick for her native country Suriname and her health does not exactly benefit from the Dutch climate, either. She would prefer to spend her last years in her motherland, but she knows this would not be a good option for Angelique. In Suriname, the care for mentally handicapped people is not as good as in the Netherlands, plus people there look differently upon 'those children'. For Angelique, the solution is obvious: she thinks she is now old enough to move out and live by herself under supervision. When the decision has been made and the practical preparations for Angelique's move are underway, it is time for mother and daughter to let go of each other.
The Thirst of a Stone Sea
Vladimir Perovic 79', Montenegro, Serbia, 2007 WP
The camera glides across a rocky, seemingly uninhabited valley, upon which the sun shines mercilessly. In the distance, the echo of animal sounds can be heard, while an old man travels through the deserted surroundings with his improvised cane. Next, we see a man make charcoal in a brick hut. Another man covers the first part of his journey on horseback, then ties his horse to a tree and continues by car. One by one, the few inhabitants of a remote valley in the southwest of Montenegro are introduced, following them in their daily activities. They are mostly self-supporting and live off the yield of their land and their flocks of sheep. The documentary, clearly shot with affection and admiration, takes the time to show the rhythm of life in this arid vale, where water is drawn from deep wells and contact with the rest of society consists solely of the passing of the bus. Little is said. The old man occasionally hums a tune from days long gone, while another listens to news fragments on the wind-up radio. And yet, life here has not come to a complete standstill: a newborn baby sees the light.
Darfur Now
Ted Braun 95', USA, 2007 EP
According to the Sudanese UN Ambassador Abdalmahmood Abdalkhaleem, "We are proud to be an Afro-Arab country based on tolerance and understanding." In his mind, the allegation that genocide is taking place in the Sudanese region of Darfur, as the American government maintains, is "grossly exaggerated." There is a conflict, he admits, but it involves claims to natural resources. A visit to Sudan teaches us that the population is counting on the 'white people' who are helping to rebuild the country. A Sudanese man mentions the criminal practices that are of the order of the day: "Where are the media to cover it all?" Darfur Now does not try to depict the conflict in this African country - instead, it conveys a positive message and calls on Western citizens to take action. The film follows six people involved in several kinds of activities: a tribal chief in a refugee camp in West Darfur, an Argentinean prosecutor at the International Criminal Court in The Hague, a Darfurian woman who joins the rebels, a UN relief worker who offers help on the scene, a student from California handing out leaflets, and a Hollywood star who uses his contacts in China and Egypt for political lobbying. Even 'Governator' Arnold Schwarzenegger swings into action.
Up the Yangtze!
Yung Chang 93', Canada, 2007 IP
A luxurious cruise ship carries a group of predominantly Western tourists down the Yangtze River. On board, the well-trained Chinese staff offers a varied programme of food, drinks, and entertainment. Within the foreseeable future, the landscape that glides by will permanently disappear as a result of the construction of the gigantic Three Gorges Dam. This mega-project, presented as the symbol of progress in modern China, will force two million people to move. Complete cities and villages will vanish under the steadily rising water, and although the government is helping to build new houses, hundreds of thousands of landowners have been duped. In the film, we watch them seek shelter higher on the banks of the constantly swelling river, their humble possessions in tow. Two stories of young people working on the cruise ship illustrate the contradictions of modern China. 'Cindy' Yu Shui really wants to go to university, but her parents cannot afford it. As poor farmers, they are quite literally up to their necks in the rising water. Dead on her feet, she washes the dishes in the galley while the handsome, English-speaking 'Jerry' Chen Bo Yu counts his tips.
2007/11/28
Using
Zhou Hao 145', China, 2007 WP
"If you are in the jungle, you're not the one in control," Ah Long sighs at the end of Using. For the past 10 years, he has led a transient life as a junkie in the Chinese city of Guangzhou, the last three years of which director Zhou Hao has followed him. At intervals, that is, because Ah Long often changes his phone number and has the tendency to disappear off the face of the earth. Nevertheless, he always gets in touch again after a while, or otherwise his girlfriend Ah Jun manages to reach the director. This produces many scenes in miserable hostels where the two addicts argue or lethargically sit around chain-smoking and shooting up. Zhou Hao films this misery without compassion and tries his best to get under their skin, but in the end nobody reveals all that much. Ah Long and Ah Jun have someone they can tell their story to and scrounge some money from, but to them, Zhou Hao will always be the journalist. In their minds, we all use each other, albeit for different purposes.
（以上圖片與資料來自: http://www.idfa.nl/en）
我在林布蘭廣場對面的林布蘭咖啡
.
林布蘭廣場（rembradtal）對面的林布蘭咖啡
只剩我一個客人
咖啡還剩杯底第五口
這是我第二天第四次來到這裡
bartender硬是放著快歌
一如昆丁塔倫提諾電影裡
辣妹在公路旅行會跟著大聲唱的那種
快歌掩飾我跟他已維持三十分鐘的沈默
蠟燭還亮著
對面餐車霓虹燈還亮著
城市的燈總是亮得比小鎮久
是人有沒有足夠的想像支撐到下一首
天冷著人走過電車軌道
戲院裡外人都喘息著
我要喝下最後一口咖啡
穿上外套
我會給他2.5歐
在他還未找我0.25歐之前離開
.
林布蘭廣場（rembradtal）對面的林布蘭咖啡
只剩我一個客人
咖啡還剩杯底第五口
這是我第二天第四次來到這裡
bartender硬是放著快歌
一如昆丁塔倫提諾電影裡
辣妹在公路旅行會跟著大聲唱的那種
快歌掩飾我跟他已維持三十分鐘的沈默
蠟燭還亮著
對面餐車霓虹燈還亮著
城市的燈總是亮得比小鎮久
是人有沒有足夠的想像支撐到下一首
天冷著人走過電車軌道
戲院裡外人都喘息著
我要喝下最後一口咖啡
穿上外套
我會給他2.5歐
在他還未找我0.25歐之前離開
.
2007年11月22日 星期四
第三週的第四天
.
剛剛走出教室的我眼角是剛哭過的痕跡
這一切真是太複雜的
晚上的演講
是來自德國70年代的重要女性藝術家Ulrike Rosenbach本人
http://www.ulrike-rosenbach.de/
一整個情緒對我來說實在難以言說
她在演講中播放著她一件又一件的作品
大部分都是我還沒生出來的時候做的
在她播放最後一件作品時
看得我不知不覺眼淚一直從眼角緩緩流下
留眼淚聽起來是很搧情的私人情調
但是我一點都不覺得自己造作
從肺裡胸口實實在在的湧出來的是真的感動
這就是傳說中的七零年代德國女性藝術家本尊
曾幾何時在台灣研究所考試時被教授批評作品概念人家早就在七零年代做過的我
今天是第一次看到活生生的70's
後來我就舉手說問那個藝術家
做作品的當下 妳感到痛苦嗎
她說不會
一切都在她控制當中
我說: 我都流下眼淚了
下課包括校長在內很多人跑來跟我說
我跟你有一樣的感覺
晚餐盛菜時
校長在我對面她問我這兩天過的好不好
我說我正要謝謝你
你讓我感覺自己彷彿是個西藏的小活佛
謝謝你幫助我建立世界觀
她端著菜呵呵地笑開懷
今天白天下午是發表作品時間
每個人有二十分鐘發表自己作品
一共八個人發表作品
今天的客座藝術家Ulay
是著名女性行為藝術家Marina Abramović的夥伴
Ulay (Uwe Laysiepen, 1943, Solingen, Germany) studied photography from 1962-68 after an apprenticeship as a mechanical engineer. He worked in the fields of experimental photography, film and environment until 1975. In all his works the central content is the relationship of body, space and society. During his live he traveled to different countries to collaborate with local artists, among others the Netherlands, Central Australia, China, Germany, United States.
From 1976 to 1989 he worked together with Marina Abramović. The performances of this period are amongst the best known of Ulay's work. In 1988, Ulay and Abramovic decided to make a spiritual journey, which would end their relationship. Each of them walked the Great Wall of China, starting from the two opposite ends and meeting in the middle. Ulay started from the Gobi Desert and Abramović from the Yellow Sea. After each of them walked 2500 km, they met in the middle and said "good-bye".
Due to his education as a photographer, he documented his performances constantly. One of his favorite media is and was the Polaroid. After 5 years as a professor for performance and media-art at the Staatliche Hochschule für Gestaltung Karlsruhe (1999–2004) in Germany he moved back to Amsterdam but he still travels through the world. He continues working with photography but performed for the last time at Mediamatic's "It's Happening Now" in Amsterdam on May 6th 2007. His actual project WATERTOALL focuses on the Arab world and its water shortage in comparison with the sinking Netherlands.
總之,
這一切簡直就是西洋當代藝術史的真人秀
原來他們不只是一些文件
而是活生生會在我們眼前呼吸的人類
明天藝術家訪談
Ulrike Rosenbach會來跟我聊天
我忐忑不安
.....
.
剛剛走出教室的我眼角是剛哭過的痕跡
這一切真是太複雜的
晚上的演講
是來自德國70年代的重要女性藝術家Ulrike Rosenbach本人
http://www.ulrike-rosenbach.de/
一整個情緒對我來說實在難以言說
她在演講中播放著她一件又一件的作品
大部分都是我還沒生出來的時候做的
在她播放最後一件作品時
看得我不知不覺眼淚一直從眼角緩緩流下
留眼淚聽起來是很搧情的私人情調
但是我一點都不覺得自己造作
從肺裡胸口實實在在的湧出來的是真的感動
這就是傳說中的七零年代德國女性藝術家本尊
曾幾何時在台灣研究所考試時被教授批評作品概念人家早就在七零年代做過的我
今天是第一次看到活生生的70's
後來我就舉手說問那個藝術家
做作品的當下 妳感到痛苦嗎
她說不會
一切都在她控制當中
我說: 我都流下眼淚了
下課包括校長在內很多人跑來跟我說
我跟你有一樣的感覺
晚餐盛菜時
校長在我對面她問我這兩天過的好不好
我說我正要謝謝你
你讓我感覺自己彷彿是個西藏的小活佛
謝謝你幫助我建立世界觀
她端著菜呵呵地笑開懷
今天白天下午是發表作品時間
每個人有二十分鐘發表自己作品
一共八個人發表作品
今天的客座藝術家Ulay
是著名女性行為藝術家Marina Abramović的夥伴
Ulay (Uwe Laysiepen, 1943, Solingen, Germany) studied photography from 1962-68 after an apprenticeship as a mechanical engineer. He worked in the fields of experimental photography, film and environment until 1975. In all his works the central content is the relationship of body, space and society. During his live he traveled to different countries to collaborate with local artists, among others the Netherlands, Central Australia, China, Germany, United States.
From 1976 to 1989 he worked together with Marina Abramović. The performances of this period are amongst the best known of Ulay's work. In 1988, Ulay and Abramovic decided to make a spiritual journey, which would end their relationship. Each of them walked the Great Wall of China, starting from the two opposite ends and meeting in the middle. Ulay started from the Gobi Desert and Abramović from the Yellow Sea. After each of them walked 2500 km, they met in the middle and said "good-bye".
Due to his education as a photographer, he documented his performances constantly. One of his favorite media is and was the Polaroid. After 5 years as a professor for performance and media-art at the Staatliche Hochschule für Gestaltung Karlsruhe (1999–2004) in Germany he moved back to Amsterdam but he still travels through the world. He continues working with photography but performed for the last time at Mediamatic's "It's Happening Now" in Amsterdam on May 6th 2007. His actual project WATERTOALL focuses on the Arab world and its water shortage in comparison with the sinking Netherlands.
總之,
這一切簡直就是西洋當代藝術史的真人秀
原來他們不只是一些文件
而是活生生會在我們眼前呼吸的人類
明天藝術家訪談
Ulrike Rosenbach會來跟我聊天
我忐忑不安
.....
.
2007年11月21日 星期三
第三週的第三天
.
今天一大早約翰老師給了我們media theory的導讀
他從youtub上一個穿插yoko ono作品的樂團mv當作開頭談起
解釋remediation
然後再從西哲的脈絡一路談到李歐塔等人
中午到下午被分成private跟public兩組人上課
被分到private的我們的課
是每個人發表一件作品
然後自己不要解釋太多關於這件作品
讓其他同學批評跟提問
晚上的演講題目是 the story about zoo
講者是public的老師
他談的是世界各地動物園(尤其歐美)發展的近程
how zoo present their animals?
從整個動物園發展的狀態
聽起來簡直就是殖民國對被殖民地人民的控制手段
先是早期歐洲某些國王如何配置他們的私人動物園
（他們只要溫馴並有用的動物）
環形動物園被分配成像比薩一樣每個區域
人類在中間可以環視一切
或是試圖讓來自不同區域不同種類的動物共處一個莊園
製造出某種和樂融融的情調
或是構作某些偽自然（仿叢林或壁畫之類的...）的空間
或讓動物做出偽人類的表演或設置動物擬人的雕塑在圓內
最後他停在一張櫥窗照片
照片是裸體的人類madol像動物一樣在櫥窗內或爬或坐.
聽完演講
我們各自拿出鑰匙打開工作室的同時
也忍不住覺得是個動物園的房間
.
今天一大早約翰老師給了我們media theory的導讀
他從youtub上一個穿插yoko ono作品的樂團mv當作開頭談起
解釋remediation
然後再從西哲的脈絡一路談到李歐塔等人
中午到下午被分成private跟public兩組人上課
被分到private的我們的課
是每個人發表一件作品
然後自己不要解釋太多關於這件作品
讓其他同學批評跟提問
晚上的演講題目是 the story about zoo
講者是public的老師
他談的是世界各地動物園(尤其歐美)發展的近程
how zoo present their animals?
從整個動物園發展的狀態
聽起來簡直就是殖民國對被殖民地人民的控制手段
先是早期歐洲某些國王如何配置他們的私人動物園
（他們只要溫馴並有用的動物）
環形動物園被分配成像比薩一樣每個區域
人類在中間可以環視一切
或是試圖讓來自不同區域不同種類的動物共處一個莊園
製造出某種和樂融融的情調
或是構作某些偽自然（仿叢林或壁畫之類的...）的空間
或讓動物做出偽人類的表演或設置動物擬人的雕塑在圓內
最後他停在一張櫥窗照片
照片是裸體的人類madol像動物一樣在櫥窗內或爬或坐.
聽完演講
我們各自拿出鑰匙打開工作室的同時
也忍不住覺得是個動物園的房間
.
第三週的第二天
.
早上先是校長問大家
一個月五天之外的時間
你們真的有在創作嗎？
面面相覷的大家微露心虛卻要故作鎮定的神情
幾個積極的同學說有我有在做作品
十一點過後的課叫做
Leaving the Cocoon, Facing the World
簡言之就是不要再當宅男（女）了,離開你的電腦吧！
這堂課的目地是要push我們表達自己
繼上週老師叫我們在三個小時內設計出自己網站的首頁後
這週的作業是用3D的任何素材,把想像中的網站概念架構出來
然後每個人作七分鐘的簡報
這堂課經過午餐後持續著
我用了豆腐當作網站的基礎
端著白盤子上盛著一塊大豆腐
我一邊說
網站對我來說
是一個臨時性的概念 就跟我們的身體一樣
不是我可以長久控制的
豆腐本身彈性柔軟易碎的質感跟我的概念符合
而關於我的資訊都是不斷折射或積累的結果
就像同一塊經過一再覆述的豆腐
但是這些豆腐的額外資訊
都無法取代真正的豆腐（我手上捧的）本身
晚餐時刻悄悄來臨
晚餐後是後殖民主義系列課程
今天的主題是African Cinema and the Postcolonial Discourse
今天的講者Mariët Bakker是個關於非洲紀錄片與電影的策展人
她先是畫了非洲的地圖
跟我們簡報整個非洲被歐洲國家瓜分的狀態
接著她開始放她帶來的珍貴VHS們
影片分別敘述著受殖民時的非洲種種政治或民生景況
這是我第一次如此有系統的觀看有關非洲的紀錄片,電影.
怎麼看歐洲人自己在講關於殖民的情境時
總覺得參雜著某種補償效果
而我們這些來自曾經受殖民國家的同學們
也總會在下課後以一種類似分享經痛的態勢討論或被討論著
幾度我不得不上奇摩知識家確認幾個重要的時期
每個人似乎都變成來自自己國家的唯一sales
務必謹慎地把自家產品成份年份搞清楚
.
早上先是校長問大家
一個月五天之外的時間
你們真的有在創作嗎？
面面相覷的大家微露心虛卻要故作鎮定的神情
幾個積極的同學說有我有在做作品
十一點過後的課叫做
Leaving the Cocoon, Facing the World
簡言之就是不要再當宅男（女）了,離開你的電腦吧！
這堂課的目地是要push我們表達自己
繼上週老師叫我們在三個小時內設計出自己網站的首頁後
這週的作業是用3D的任何素材,把想像中的網站概念架構出來
然後每個人作七分鐘的簡報
這堂課經過午餐後持續著
我用了豆腐當作網站的基礎
端著白盤子上盛著一塊大豆腐
我一邊說
網站對我來說
是一個臨時性的概念 就跟我們的身體一樣
不是我可以長久控制的
豆腐本身彈性柔軟易碎的質感跟我的概念符合
而關於我的資訊都是不斷折射或積累的結果
就像同一塊經過一再覆述的豆腐
但是這些豆腐的額外資訊
都無法取代真正的豆腐（我手上捧的）本身
晚餐時刻悄悄來臨
晚餐後是後殖民主義系列課程
今天的主題是African Cinema and the Postcolonial Discourse
今天的講者Mariët Bakker是個關於非洲紀錄片與電影的策展人
她先是畫了非洲的地圖
跟我們簡報整個非洲被歐洲國家瓜分的狀態
接著她開始放她帶來的珍貴VHS們
影片分別敘述著受殖民時的非洲種種政治或民生景況
這是我第一次如此有系統的觀看有關非洲的紀錄片,電影.
怎麼看歐洲人自己在講關於殖民的情境時
總覺得參雜著某種補償效果
而我們這些來自曾經受殖民國家的同學們
也總會在下課後以一種類似分享經痛的態勢討論或被討論著
幾度我不得不上奇摩知識家確認幾個重要的時期
每個人似乎都變成來自自己國家的唯一sales
務必謹慎地把自家產品成份年份搞清楚
.
2007年11月19日 星期一
第三週的第一天
.
今天是第三週的第一天上課
謹此做一個簡短的記錄
早上是media theory的課
老師先是給我們看一個叫做marol panic（道德恐慌）的短片
（p.s在今天之前,我並不知道“moral“跟“panic“這兩個單字
感謝快譯通md701讓我從容解決這個無知）
內容大致是1963-2004年間的大量的媒體剪接
包含戰爭畫面歷史鏡頭時尚電視購物色情影片...etc
藝術家配合音效跟剪輯效果還有選擇片段的品味剪輯
看完之後老師開始要我們討論影片對我們的衝擊
然後英文很好或有信心的同學們開始思考與發言
英文不好或沒信心的同學則開始聆聽與思考
可惜的是討論內容大致圍繞在較個人經驗式的抒發
究竟我們選擇媒體或媒體控制我們
對此發言的同學們一陣抗辯
老師同時叫我們看一篇紀傑克的文章
http://www.egs.edu/faculty/zizek/zizek-the-interpassive-subject.html
（歐,感謝台灣有人翻譯“幻見的瘟疫“,雖然這不表示我認識這個人,
但是至少不是完全的陌生人,就像台灣也有星巴克跟麥當勞一樣）
午餐時刻悄悄來臨
午餐之後繼續午餐前的討論
接著老師給我們看一部紀錄片
是關於一個國家地理雜誌的攝影師的紀錄片
這部片相當發人省思
鏡頭跟著這個攝影師到戰地或城市邊緣拍一些危險或不忍目睹的景象
譬如說他的大鏡頭直陳陳的在因為內戰而失去親人瘋狂哭喊的人們面前直按快門
那連續的快門聲真是聽的我覺得很殘忍
但當這攝影師受訪問時表示
他讓人們願意接納他 願意在那些難堪的時候讓他拍照
是因為那些人們知道透過照相機他們的悲慘會被世界知道
他在介入那些現場時 通常他講話盡量放慢 並且小聲 保持開放的心靈
他到採硫黃維生的地區拍攝時眼睛也一度因為濃煙而張不開
攝影機就停留在這個攝影師痛苦的臉上一陣子
他在攝影展開幕時誠懇而謙虛的說
這些作品都是來自於這些景像跟人物自己
他說總是有人要作這些事（到最前線記錄當下）
他說藝術家不做,那誰來做？
接著晚餐又悄悄來臨
晚餐是鮪魚義大利管麵
晚餐之後是另一個演講叫做
"Eclipse of the Spectacle and the Culture of Real-Virtuality"
是由一個叫Eric Kluitenberg的策展人主講
講者也是放了幾段影像作品
影像作品也是大抵是幾個重要新聞內容或特殊電視畫面的剪接
譬如把布希拿著擴音器對災區人名呼告的畫面與
電影ID4裡那個美國總統對剛打完外星人的美國大兵用擴音去講話的畫面剪接在一起
接著他講到保羅.維希留在消失的美學裡面的論點
（再次感謝台灣學者也翻譯了的消失的美學,讓我可以把那五成不懂的英文
稍微做出某種似懂非懂的意識形態上的串聯）
接著也講到Paul Celan
不過這個人我不認識
恩
於是今天就這麼結束了.
.
今天是第三週的第一天上課
謹此做一個簡短的記錄
早上是media theory的課
老師先是給我們看一個叫做marol panic（道德恐慌）的短片
（p.s在今天之前,我並不知道“moral“跟“panic“這兩個單字
感謝快譯通md701讓我從容解決這個無知）
內容大致是1963-2004年間的大量的媒體剪接
包含戰爭畫面歷史鏡頭時尚電視購物色情影片...etc
藝術家配合音效跟剪輯效果還有選擇片段的品味剪輯
看完之後老師開始要我們討論影片對我們的衝擊
然後英文很好或有信心的同學們開始思考與發言
英文不好或沒信心的同學則開始聆聽與思考
可惜的是討論內容大致圍繞在較個人經驗式的抒發
究竟我們選擇媒體或媒體控制我們
對此發言的同學們一陣抗辯
老師同時叫我們看一篇紀傑克的文章
http://www.egs.edu/faculty/zizek/zizek-the-interpassive-subject.html
（歐,感謝台灣有人翻譯“幻見的瘟疫“,雖然這不表示我認識這個人,
但是至少不是完全的陌生人,就像台灣也有星巴克跟麥當勞一樣）
午餐時刻悄悄來臨
午餐之後繼續午餐前的討論
接著老師給我們看一部紀錄片
是關於一個國家地理雜誌的攝影師的紀錄片
這部片相當發人省思
鏡頭跟著這個攝影師到戰地或城市邊緣拍一些危險或不忍目睹的景象
譬如說他的大鏡頭直陳陳的在因為內戰而失去親人瘋狂哭喊的人們面前直按快門
那連續的快門聲真是聽的我覺得很殘忍
但當這攝影師受訪問時表示
他讓人們願意接納他 願意在那些難堪的時候讓他拍照
是因為那些人們知道透過照相機他們的悲慘會被世界知道
他在介入那些現場時 通常他講話盡量放慢 並且小聲 保持開放的心靈
他到採硫黃維生的地區拍攝時眼睛也一度因為濃煙而張不開
攝影機就停留在這個攝影師痛苦的臉上一陣子
他在攝影展開幕時誠懇而謙虛的說
這些作品都是來自於這些景像跟人物自己
他說總是有人要作這些事（到最前線記錄當下）
他說藝術家不做,那誰來做？
接著晚餐又悄悄來臨
晚餐是鮪魚義大利管麵
晚餐之後是另一個演講叫做
"Eclipse of the Spectacle and the Culture of Real-Virtuality"
是由一個叫Eric Kluitenberg的策展人主講
講者也是放了幾段影像作品
影像作品也是大抵是幾個重要新聞內容或特殊電視畫面的剪接
譬如把布希拿著擴音器對災區人名呼告的畫面與
電影ID4裡那個美國總統對剛打完外星人的美國大兵用擴音去講話的畫面剪接在一起
接著他講到保羅.維希留在消失的美學裡面的論點
（再次感謝台灣學者也翻譯了的消失的美學,讓我可以把那五成不懂的英文
稍微做出某種似懂非懂的意識形態上的串聯）
接著也講到Paul Celan
不過這個人我不認識
恩
於是今天就這麼結束了.
.
2007年11月17日 星期六
2007年11月16日 星期五
2007年11月12日 星期一
2007年11月9日 星期五
2007年11月8日 星期四
DJ.ITS回信時間
昨天到阿姆斯特丹出外景
直到下午三點才吃午餐
飢餓的我狼吞虎嚥
以致今晨五點肚子嚴重絞痛到醒來
吞了一包胃藥才稍緩
中午心想要正常的吃一頓
準備到超市卻飄起小雨
此時郵差先生正投了三封信進門
等信的加拿大人迅速奔下樓拾起
沒想到三封都是我的
除了移民局的繳錢信跟郵局領件通知
意外收到來自西藏路的王彥翔小朋友的信又驚又喜
為保護寄件人隱私以及故作神秘感內容已作霧面處裡！！！！！
花一般之荷蘭少女就是我，我就是花一般之荷蘭少女！！！！
王彥翔小朋友是在誠品畫廊一起打拼（其實就是掛畫跟顧展場）的夥伴
是個身形高大但內心纖細綿密的孩子
謝謝你的來信
不過你不是本來要寄肉乾的嗎？
我今天在超市看到雞肝
雞肝有點可憐都沒有人買
我就把他買回家了
用酒跟醬油醃一醃再加上太白粉勾芡
最後佐以牛頭牌沙茶醬翻炒.....
oh~MAMAMIYA
我簡直變成國北師對面麗都小吃店的老闆娘了
蕃茄白菜餛飩湯
才華洋溢的manami簡直是行動理髮廳
.
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