牛房講場(chǎng) Symposium OX Warehouse
5月25日(星期日)下午6時(shí)
25/5 /2008 (Sunday)18pm

時(shí)間觀The Sight of Time *
Robert Cahen錄像放映活動(dòng)Films and Videos by Robert Cahen

主講嘉賓 SPEAKER
Robert Cahen
Robert Cahen 是實(shí)驗(yàn)錄像創(chuàng)作領(lǐng)域中最著名的藝術(shù)家之一。Robert Cahen 歐洲藝壇的種子人物，在實(shí)驗(yàn)影片界已奠定了鞏固的地位，并被視為是舉足輕重的人物。
Robert Cahen is a seminal figure in the European art realm and is firmly positioned and widely regarded as one of the most important personalities in the field of experimental video.

免費(fèi)入場(chǎng) Free Admission
相關(guān)數(shù)據(jù)請(qǐng)瀏覽 / Please find the regarding information
http://www.alliancefrancaise.com.hk/en/culturel/french_may/2008/video/video.htm
http://www.alliancefrancaise.com.hk/paroles/numeros/213/02.html

Robert Cahen programme
Juste le temps (Just Enough Time) 剛夠時(shí)間
Video 錄像 –1983 –13 mins
Produced by INA
Acoustic design: Michel Chion
A landmark for video intheeighties. A fragment from a journey in which metamorphosed landscapes become the actors of a story which, between the lines, tells of the possible meeting between two beings. The limits between the external landscape and the interior of the compartment, between sleep and wakefulness, between sound and silence, and even between the characters, fade out totally. The idea of passage, which is so well illustrated by the train journey, pervades the whole story. (Source: Sandra Lischi, The Sight of Time )

這作品是八十年代錄像藝術(shù)的里程碑。是一個(gè)旅程的片斷，變形的風(fēng)景成為故事中的演員，在故事的字里行間講述兩個(gè)生物可能的相遇。是有關(guān)存在于車外景色和車廂的內(nèi)部、睡與醒、聲響與寂靜之間的界限。整個(gè)故事彌漫著過渡的觀念，而火車的旅程正好將這觀念完美的表現(xiàn)出來。﹙摘自Sandra Lischi的著作《The Sight of Time》﹚

Voyage d'hiver (Winter Voyage) 冬天之旅
Video 錄像 – 1993 – 18 mins
Collaboration Angela Riesco
Music: Christine Groult
While on a trip to Antarctica, the director filmed glacial landscapes, bluish blocks of ice floating in the sea along with images of phantom boats and mysterious glimpses of people who seem more like apparitions. Through digital editing, these images constitute a new universe, one that is quite abstract and often disquieting.
Robert Cahen在一次到南極旅游時(shí)拍攝了冰川的景色，影片中看到一些浮在海面上淺藍(lán)色的冰塊，同時(shí)出現(xiàn)的還
有一些如幽靈船和幾個(gè)如幽靈般不可觸摸的人物的影像。這些影像經(jīng)過數(shù)碼處理后形成一個(gè)嶄新、抽象和往往令人不安的世界。

Hong Kong Song 香江頌
Video 錄像 – 1989 – 21 mins
In collaboration with Ermeline Le Mézo
Produced by INA, La Sept, FR3
Cahen writes that Hong Kong Song is an exploration of "the sonic identity of Hong Kong, its space and architecture. Modern China merges with ancient China; the reality of this city sounds and resounds from image to image, revealing a multi-faceted vision". Produced within the context of "Urbasonic 88", an artistic and scientific project of the French research studio Espaces Nouveaux, this work manifests Hong Kong's frenetic urban rhythms, its people, and its natural environment through a synergy of time and space, aural and visual textures.
C a h e n 表示， 《香江頌》是對(duì)香港的“聲音的身份、空間及建筑物進(jìn)行探索。現(xiàn)代中國與古代的中國融合；這城市的實(shí)況回響于影像與影像之間，呈現(xiàn)出一種多角度的視野。”這作品是法國新領(lǐng)域研究工作室為一項(xiàng)名為Urbasonic 88的藝術(shù)和科學(xué)計(jì)劃所作之研究的一部份，這計(jì)劃透過時(shí)間和空間、聽覺和視覺觸感的協(xié)同作用，將香港狂熱的都市節(jié)奏，它的居民和大自然環(huán)境呈現(xiàn)示出來。

L'étreinte (Embraces) 緊握
Video 錄像 – 2003 – 9 mins - B&W
Produced by Boulevard des Productions
Music: Francisco Ruiz de Infante
Light creates movement. This film uses black and white as a revealing element. Something is happening here between death, love and ecstasy. Appearance, disappearance, breathing rhythms; we hear the time that passes connecting and disconnecting our impressions.
光線營造出來的動(dòng)態(tài)。本片以黑白作為揭露真相的元素。這里，在死亡、愛和狂喜之間發(fā)生了一些事。出現(xiàn)、失蹤、呼吸的節(jié)奏；我們聽見流走中的時(shí)間正在將我們的印象連接和切斷。
合辦 / Co-organization：
婆仔屋藝術(shù)空間 / Old Ladies’ House Art Space
澳門法國文化協(xié)會(huì) / Alliance Fran?aise de Macao
香港法國文化協(xié)會(huì) / Alliance Fran?aise
贊助 / Sponsor：
民政總署 / IACM
支持 / Supported
FRAC Alsace
Art Viedo Heure Exquise !
An Event of
法國五月Le French MAY

CREB 裝置創(chuàng)作伸一伸．展 創(chuàng)作演員作品展
A retake of CREB Installations’ Creation ----- Installation Exhibition by Performers of CREB:

Camp Response Element-Binding
展期 / Exhibition Period：
11/5/2008—8/06/2008
展覽地點(diǎn) / Location :
牛房倉庫二樓 / 2 nd Floor , OX Warehouse
參加者名單 / Participating Artists:
林詠欣 Lam Weng Ian
陳妙芝 Chan Mio Chi
張楚誠 Cheong Cho Seng
關(guān)若斐 Kuan Ieok Fei
馮曉華 Fong Hio Wa
2007 Fringe Macau澳門藝穗節(jié)的其中一個(gè)演出──“CREB反應(yīng)結(jié)合蛋白”，聚集了幾位「創(chuàng)作演員」，他們除了在天臺(tái)進(jìn)行形體創(chuàng)作外，同時(shí)創(chuàng)作了他們的第一件裝置藝術(shù)作品。「創(chuàng)作」到底是怎么一回事？常常聽到大家在論討這個(gè)話題，而我，則認(rèn)為「創(chuàng)作」可以有很多不同的化身，它可以是嚴(yán)肅的、可愛的、美麗的、燦爛的、丑陋的、閃爍的、輕松的、自由的或者是壓抑的；在創(chuàng)作里呈現(xiàn)的每個(gè)化身，都是藝術(shù)家的選擇、判斷和表達(dá)，也是源自創(chuàng)作者對(duì)生活的想法。
故事的開始，是這幾位創(chuàng)作演員和我在討論裝置藝術(shù)是什么？他們對(duì)城市的看法和記憶是什么？即使這些演員主要的經(jīng)驗(yàn)是在舞臺(tái)上，但從“CREB反應(yīng)結(jié)合蛋白”的創(chuàng)作過程里，我們探討關(guān)于藝術(shù)創(chuàng)作、概念的表達(dá)、主題探討，以至物料運(yùn)用等不同面向的問題，對(duì)于我個(gè)人，也是一種成長(zhǎng)的機(jī)會(huì)；這次在牛房的展覽，除了想要嘗試以更多不同的方式表達(dá)，展現(xiàn)這群年青人是怎樣以他們的記憶回顧與展望自己生活的城市外；更重要的，則是希望能承著上次的創(chuàng)作經(jīng)驗(yàn)，讓這些對(duì)城市的關(guān)懷，能有進(jìn)一步的表達(dá)和發(fā)展的空間。

策展人
簡(jiǎn)佩茵

“CREB反應(yīng)結(jié)合蛋白”是去年(2007)自己在藝穗節(jié)中一個(gè)有點(diǎn)“不象話”的嘗試，由于很想念小時(shí)候的天臺(tái)和那段時(shí)光的城市，因此想進(jìn)行一個(gè)讓觀眾用望遠(yuǎn)鏡觀看，而演員在一個(gè)天臺(tái)上進(jìn)行的演出，但實(shí)行起來發(fā)現(xiàn)困難重重，在反復(fù)思考其它可行方法的時(shí)候，幾個(gè)想法又同時(shí)作崇──“為什么表演一定要有“演員”？一定要有“東西”可看？表演一定要在現(xiàn)場(chǎng)進(jìn)行嗎？演出可不可以是“己經(jīng)完成”就像記憶一樣？．．”之類似乎系食滯咗才會(huì)想的問題，結(jié)果，一個(gè)沒有演員在現(xiàn)場(chǎng)表演的關(guān)于天臺(tái)和城市記憶的“演出”就出現(xiàn)了。

整個(gè)過程與過往的演出很不同，值得記錄一下：制作人員幫忙一起找來幾個(gè)天臺(tái)，我和一班演員再加上負(fù)責(zé)拍攝的Bianca(李少莊)，在一天之內(nèi)，拍下幾名演員在天臺(tái)上的個(gè)人表演，然后我和Bianca各自回家做剪接，演員則進(jìn)入另一階段──進(jìn)行個(gè)人裝置創(chuàng)作。

演出那天，觀眾不會(huì)在現(xiàn)場(chǎng)（天臺(tái)）看到演員表演，只看到由演員創(chuàng)作的裝置作品（演出的延伸），而觀眾在各個(gè)天臺(tái)親身感受現(xiàn)場(chǎng)環(huán)境后，回家再通過DVD機(jī)（代替最初構(gòu)想的望遠(yuǎn)鏡）看天臺(tái)上的演出（日間的經(jīng)歷己經(jīng)成為記憶的一部份）。演出己經(jīng)消失，如同『天臺(tái)』作為城市中曾經(jīng)存在的一些美好特質(zhì)的載體，觀眾是在觀賞一個(gè)己經(jīng)消失的『演出』，牽連帶動(dòng)回想一些己經(jīng)消失的城市感覺。

這是一個(gè)和之前自己所做都不同的“演出”，對(duì)我自己來說，好玩是能把一些抽象的想法很具體地實(shí)行出來了，那個(gè)過程是很有趣的，尤其看到演員所做的裝置作品，很驚訝她們可以這么費(fèi)心思來實(shí)驗(yàn)自己的一個(gè)也是很抽象的想法，對(duì)我來說，這就是實(shí)實(shí)在在的“創(chuàng)作”，我被我的演員所感動(dòng)，因此，和阿簡(jiǎn)(簡(jiǎn)佩茵)再構(gòu)思了一個(gè)讓創(chuàng)作再伸一伸的展覽，故事還沒有，好玩的才剛開始，如果我們的城市，我們的生活，毎一天也像這樣，是一個(gè)可以不斷延伸的創(chuàng)作．．就好了！

導(dǎo)演
李銳俊

A retake of CREB Installations’ Creation

Installation Exhibition by Performers of CREB: Camp Response Element-Binding‘CREB: Camp Response Element-Binding’ was premiered at the Macau Fringe Festival 2007. A group of ‘creative performers’ presented imaginative dance movements, creating simultaneously their first installation on a few rooftops, used as artistic venues. What on earth is ‘creation’? This is an often discussed topic. From my viewpoint, ‘creation’ stands for many incarnations, which can be serious, lovely, beautiful, resplendent, ugly, glittering, light, free or oppressive; any incarnation in any creation is always a result of the artists’ choice, judgment and expression, while reflecting their philosophy of life.

This story was started by discussions between the performers and me, about installation art and their views and recollections of the city. Despite their experience being focused on the stage performance, during the creation of CREB we explored together a wide variety of different topics regarding artistic creation, the expression of concepts and themes as well as the use of materials, all of which I found personally rewarding. Through this exhibition in Ox Warehouse, we not only try to explore different expression modes, trying to show how the CREB performers look back on and look forward to their own city through their reminiscences. But we also aim to develop further the last CREB performance, so as to offer the artists a space to better express and increase their care and concern for the city.

Kan Pui Ian, Curator

‘CREB: Camp Response Element-Binding’ was my ‘extravagant’ attempt at the Macau Fringe Festival 2007. Since I missed my childhood rooftops and the old days of the city, I conceived such a performance: audience watch from a distance with binoculars while artists perform on rooftops.

But the concept proved very difficult to stage. While thinking about some solutions, silly questions came to me: “why there must be ‘performers’ at all in a performance? Why must we always see ‘something’? Why must we see a performance ‘on a spot’? Can performance just be ‘done’, like recollections of memory?” After elaborating on these, I came up with the idea of a performance about rooftops and memories of the city, without performers or venues.

This completely different performance approach is worth of a note: the production team found several rooftops where each performer’s individual act was filmed by the performers, the photographer Bianca Lei and me. Bianca and I then edited the films, while performers moved on to another stage – to create their own installations.

On the performing day, the audience did not see the performances on the actual venues (rooftops), but instead the performers’ creation of installations (as an extension of the performance), which drove viewers into a personal feeling of the ambience. Then at night (when the daytime experience had become already a reminiscence) they would see the rooftop performances at home with DVD players (as a substitute for the originally conceived binoculars). Once finished, the performance would thus vanish, just as the former ‘rooftops’, once carriers of some beautiful things, had disappeared from the city’s skyline. The audience was witnessing a vanishing ‘performance’, reminiscent of some feelings about the city which are there no more.

This was a ‘performance’ completely different from all my previous ones. For me, it meant lots of fun, as I was able to put some of my very abstract concepts into practice. The whole process was indeed very interesting. It was particularly a high moment to see the performers’ installations. Their dedicated efforts to join my testing of romantic abstractions left me astonished. This was to me a truly tangible ‘creation’, in which I was moved by the performers.

Therefore, Kan (Pui Ian) and I design again this exhibition, as a retake of the original creation.

The story is yet to start and the fun just begins. If every day in our city and life could be an extensible creation, how fantastic it would be!

Jane Lei, Director of CREB Camp Response Element-Binding

主辦 / Organization：
婆仔屋藝術(shù)空間 / Old Ladies’ House Art Space
贊助 / Sponsor:
民政總署/ IACM
澳門霍英東基金會(huì) / FUNDA??O HENRY FOK

地點(diǎn) / Venue：牛房倉庫OX Warehouse
(美副將大馬路與些喇提督大馬路交界/ No Cruzamento entro a Avenida do Coronel Mesquita e a Avenida Almirante Lacerda Macau)
開放時(shí)間 / Opening time：(12:00 ~ 19:00, 逢星期二休息 / Closed on Tuesdays)
查詢 / For enquiry：28530026
E–mail：oxwarehosue@gmail.com
Website：http://oxwarehouse.blogspot.com