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影像档案与研究中心2019-2020年度系列讲座

2019-06-19 20:40:58 来源: 跨媒体艺术 作者:


2019-2020年度系列讲座
“亚洲影像艺术,1945年以来”

中国美术学院跨媒体艺术学院
影像与档案研究中心成立宣告

时间:2019年5月25日10:00-10:30

Lecture Series for year 2019 to 2020
"Moving Image in Asia: Since 1945"

Founding declaration for Archive and Research
Centre of Moving Image of School of Intermedia Art, CAA

Time: 10:00-10:30, May 25, 2019

《实验电影在台湾》
时间:2019年5月25日10:30-12:00
主讲人:刘永晧,台北世新大学教授
Experimental Film in Taiwan
Time: 10:30-12:00, May 25, 2019
Speaker: Liu Yunghao, Professor of Shih Hsin University

讲座简介:
作为台湾实验电影先驱的刘呐鸥,在他1933年创作的《持摄影机的男人》这部9.5釐米影片中展现了很多可能性。1966年《剧场》杂志的第一次发表是台湾实验电影历史性的集结与发表。邱刚健与庄灵为台湾实验电影掀起历史性的初潮与巨浪,至今这股力量仍旧持续。

台湾实验电影的优秀创作者辈出,邱才彦、高重黎等人,至今仍是台湾当代艺术中重要的力量。笔者身为电影学者,从引介西方的电影学术研究,在台湾进行电影与当代艺术策展实践,投入研究台湾的实验电影工作与教学,不断思考前卫性与实验性如何在时代的变化中推进,避免困滞于刻板老旧。笔者试图从摄影机与思想书写来界定台湾实验电影的特色。

在全球化世界村的时代,影像早已超速过载。部分学者针对当前电影境况,刻意提出“慢电影”概念,以对抗前卫电影的蒙太奇。实验电影中只存在快速的蒙太奇吗?这一问题是所有关心实验影像之人要思考的。
 
笔者在引介西方实验电影到台湾的过程中,也刻意引入各种另类的实验影像,如“口袋电影”与“猫影展”等等。希望藉此来刺激台湾的新电影创作者,共同探索实验电影与当代艺术的未来。

Summarized Introduction:
The pioneer of experimental film in Taiwan is likely to be Liu Naou, who presented lots of possibilities in 9.5-millimetre film "Man with Camera" in 1933. The historic publication and aggregation of Taiwanese experimental films first happened in the Theatre magazine of 1966. Qiu Gangjian and Zhuang Ling motivated historic tides and waves for Taiwanese experimental films, and this force has continued to this day.

Talents of experimental film in Taiwan are coming forward in multitudes, such as Qiu Caiyan and Chung-Li Kao, who are still influential in contemporary art filed of Taiwan. As a film scholar, I have worked on experimental film operating and teaching in Taiwan, through introducing western academic research of film, curating contemporary exhibitions of art and film in Taiwan, to think about how edgy elements and experimental forms can progress with the changing times, at the same time not to fall into stereotypes.

In era of a globalized world village, images are destined to be excessive and overspeed. Some scholars have deliberately proposed the concept of 'Slow Movie' to confront montages of avant-garde movies. Is there only fast montages in experimental films? This challenge is a matter for reflection about experimental films.

Besides introducing Western experimental films to Taiwan, I also introduced various alternative experimental images, such as 'pocket movies' and Taiwan International Cat Film Festival. Through this way, we will stimulate new film creators in Taiwan and jointly explore the future of experimental films and contemporary art.

EX!T II第二届台湾国际实验媒体艺术展《重复与暂停:穿透实验电影的光—高重黎的实验电影专辑:电影他者的电影》
The 2nd Experimental Media Arts Festival in Taiwan Repetition and Pause: Penetrating the Light of Experimental Films - Experimental Film Album of Chung-Li Kao: Movies of Others


主讲人:刘永晧
法国巴黎第八大学(Université ParisVIII)意义实践与理论研究所电影暨美学博士(Pratiques et Theories Du Sens),现任职于世新大学广播电视电影学系专任副教授。
个人专书著作
《失衡的电影文本:王家卫电影分析》(2015)。
《在场影像》(2015) 。
《小电影学:电影复像、转场换景与隙缝偷渡》(2011)。
专书主编《Le cinéma décadré- yann beauvais》(1999)。
个人策展作品
2019年 策划「第四届台湾国际猫影展-照膜」(与李明宇共同策展)。
2018年 策划「第三届台湾国际猫影展-照膜」(与李明宇共同策展)。
2017年「EX!T VIII第八届台湾国际实验媒体艺术展《局部初潮半岛:台湾实验电影的异色与岐流》」。
2017年 策划「第二届台湾国际猫影展-照膜」。
2016年 策划「第一届台湾国际猫影展-照膜」。
2014 识别系统:关渡双年展2014 高重黎+刘永晧。
2011年「EX!T II第二届台湾国际实验媒体艺术展《重复与暂停:穿透实验电影的光—高重黎的实验电影专辑:电影他者的电影》」。
1999年Yann Beauvais个展「Le cinéma décadré」(与巴黎庞毕度文化中心合作)。

Speaker:
LIU Yung Hao, Doctor of Aesthetics and Filmology in Institute of Practices and Theories (Pratiques et Theories Du Sens) in Université ParisVIII. He is currently a full-time associate professor at the Department of Radio, Film and Television at Shixin University.

Personal Monographs:
Wong Kar-wai: The Imblance Filmic Texts (2015)
Image Present (2015)
The Unformed Cinema: Multiple images, Scene changes and Clandestine passages (2011)
Le cinéma décadré- yann beauvais (1999)

Curated Exhibitions:
Tapetum Lucidum - 4th Taiwan International Cat Film Festival, 2019 (co-curated with Lee Mingyu)
Tapetum Lucidum - 4th Taiwan International Cat Film Festival, 2018 (co-curated with Lee Mingyu)
EX!T 8 - Experimental Media Art Festival in Taiwan 2017, Partially Hypnopompic Peninsula: The Eccentric and the Divergence of Taiwan Experimental Film
Tapetum Lucidum - 4th Taiwan International Cat Film Festival, 2017 (co-curated with Lee Mingyu)
Tapetum Lucidum - 4th Taiwan International Cat Film Festival, 2016 (co-curated with Lee Mingyu)
Recognition System: Guandu Biennale, 2014
EX!T II - Experimental Media Art Festival in Taiwan, Repetition and Pause: Penetrating the Light of Experimental Films - Experimental Film Album of Chung-Li Kao: Movies of Others, 2011
Le cinéma décadré - Solo Exhibition of Yann Beauvais (cooperated with Centre Georges-Pompidou), 1999


《修复记忆:韩国实验影像档案1953-1975》
时间:2019年5月25日14:00-15:30
主讲人:李幸俊,首尔实验影展总监
Prosthetic Memory: Documents of Moving Images in South Korea 1953~1975
Time: 14:00-15:30, May 25, 2019
Speaker: Hangjun Lee, Program Director of EXiS (Experimental Film & Video Festival in Seoul)

讲座简介
韩国当代艺术圈的人常将金丘林导演的《二十四分之一秒的意义》(1969年)视作韩国实验电影的起源。在这一观点的影响下,2013年在首尔艺术博物馆举办的金丘林回顾展“你知道这一切”,以重新发现韩国前卫电影先驱金丘林的实践为出发点,这也是韩国艺术机构初次正式使用“实验电影”这一词汇。2008年,白南准的反电影作品《电影禅》(1964)在白南准艺术中心举办的永久收藏展中展出。在这之前,《怀旧是反馈的平方根》以影像装置的形式在白南准80周年纪念展上展出,《电影禅》则以表演文献照片的形式在此展出,被视作“独立电影”。 韩国独立电影和录像协会(于1998年成立;INDIESTORY也是于同年成立的,是韩国领先的独立制作和发行公司),将李益泰的《从早到晚》(1970)视为第一部独立电影,并在首尔独立电影30周年开幕式上播放。他们还出版了特别刊物《引力记忆:独立电影》(2006),其中包含了协会挑选的1970年至1995年间的十部电影和录像,但其中并不包含纪录片作品。
记忆并不具有绝对的压倒性,也未必是一种强迫性的顽固力量。它不会强迫我们陷入某种特定位置中,或是作为手铐将我们与历史绑定在一起。它根据某种特定组织或制度的目的不断分散,要理解并解释这一现象的唯一方式便是不去考虑整体的电影史或活动影像的历史,而是认真反思韩国社会的记忆与创伤。修复记忆为共同体提供了令人愉悦的怀旧情绪,构成了我们现在所理解的历史。至此,我想呈现出各种断续零散的文献,阐释这些文献,并展现它们的可解读性,“创造出无限的悬念”。

People from the contemporary art world in Korea believe The Meaning of 1/24 second (1969) directed by KIM Ku-lim is the origin of Korean experimental film. This conceptualization was deeply connect rediscover Kim’s practice as a pioneer of Korean Avant-Garde movement through retrospective Kim Ku-lim: Like You Know It All (2013) at Seoul Museum of Arts. This was the first time arts institution in Korea officially use the term experimental film. In 2008, When the Nam June Paik Art Center open the permanent collection exhibition including Paik’s anti-film Zen for Film (1964). Before they exhibited as film installation as part of Nam June Paik’s 80th Anniversary: Nostalgia is an Extended Feedback (2012), Zen for film was exhibited as performance documentation photo regarded as ‘independent Film’ at there. Association of Korean Independent Film & Video in Korea((founded 1998, the leading Korean indie production and distribution company, INDIESTORY also same year) considered Lee, Ik-tae’s  From Morning to Evening (1970) it is the first independent film and shown at the opening ceremony of 30years anniversary of Seoul Independent Film Festival .  They also published special publication The Attraction Memories: Independent Cinema (2006) which ten films & videos from 1970 to 1995  selected and published by The Association but there’s no documentary at all.
Memory does not have to be an overwhelming thing, a coercive or intransigent force that traps or fixes us in a particular position, a handcuff that ties us to our history. The only way to explain and understand this phenomenon, which is constantly fragmented according to the purpose and choice of a particular organization and institution without thinking about the history of an overall and comprehensive history of cinema or moving image, is to seriously reflect on memory or trauma in Korean society. Prosthetic memories, which provide pleasant nostalgia for the community, constitute a history that we now understand. Through this presentation, I want to present various documents that are intermittent and scattered, footnotes one by one on these and present the possibility of interpretation and also create infinite suspense.

    

我是一辆卡车,金綺泳(1919-1998)
韩国/1953/16mm/黑白/有声/19分钟
I am a Truck_Kim, Ki-young
Korea/1953/16mm/B&W/sound/19 min

二十四分之一秒的意义,金丘林
韩国/1969/16mm/彩色/默片/11分钟
THE MEANING OF 1/24 SECOND_Kim, Ku-lim
Korea/1969/16mm/color/silent/11 min

主讲人:
作为一位电影制作人和电影策展人,李幸俊自2009年起担任首尔EXiS实验影展的项目总监。他的作品以多重投影和光学及声音为基础,专注于自2000年代中期以来的即兴投影表演,与Martin Tétreault,Jérôme Noetinger,Will Guthrie等来自西方的即兴创作者展开合作。他的电影表演项目已在多个场馆展出过,包括美国纽约的Issue Project Room,英国伦敦的南岸中心以及OTO咖啡厅,比利时布鲁塞尔的BOZAR,布宜诺斯艾利斯的Museo Nacional de Bellas Artes,荷兰的鹿特丹电影节,以及意大利博洛尼亚Netmage10。他曾在韩国和伦敦举办过三次个展,并多次参与过首尔艺术博物馆,白南准艺术中心等艺术机构的多个展览项目。2009年,在他刚开始为EXiS工作时,便发起创建了致力于散播手工制作电影国际网络的亚洲论坛与实验室部门,组织了诸如Jonas Mekas(2009),Michael Snow(2010),Marcel Broodthaers(2014),Okuyama Junichi(2015)之类的回顾展览。此外,他还在首尔国家当代艺术博物馆策划了展览“电影差异”(2013)以及现场表演“Mujanhyang”(2014)。2015年,李幸俊在伦敦泰特现代美术馆策划了展览“1960年至今的韩国艺术电影和录像作品”,2018年在光州的亚洲文化中心策划了展览“Cine Commune”。

Lee, Hang-jun is a filmmaker and film curator who also works as a program director at EXiS festival in Seoul since 2009. His works are based on multi-projection and optical sound, focused on projector improvisation since the mid 2000s, collaborated with western improvisers Martin Tétreault, Jérôme Noetinger, Will Guthrie. His film performance have been shown at various venues, including the Issue Project Room(NY, USA), South Bank Centre & Cafe OTO (London, UK), BOZAR (Brussels, Belgium), Museo Nacional de Bellas Artes (Buenos Aires), Rotterdam Film Festival(Rotterdam, Netherlands) and Netmage10 (Bologna, Italy) and many others. He had three solo exhibition in Korea & London and attended many group exhibition at Seoul Museum of Art, Nam June Paik Art Center etc. He initialized Asia Forum & Lab sections devoted international networks of handmade cinema while he started working at EXiS 2009, organized many retrospective such as Jonas Mekas (2009), Michael Snow (2010), Marcel Broodthaers (2014), Okuyama Junichi (2015). He also has curated the exhibition and live performance program such as Cinematic Divergence (2013) and Mujanhyang (2014) for the National Museum of Contemporary Arts in Seoul and Embeddedness: Artist Films and Videos from Korea 1960’s to Now (2015) for the Tate Modern in London, Cine Commune (2018) for Asia Cultural Center in Gwangju.

 

“圆桌对谈”
时间:2019年5月25日15:30-16:00
嘉宾:刘永晧、李幸俊、高世强
主持人:董冰峰
Round Table Discussion
Time: 15:30-16:00, May 25, 2019
Guests: Liu Yunghao, Hangjun Lee, Gao Shiqiang
Moderator:Dong Bingfeng
————————————
地点:中国美术学院南山校区南苑大会议室
主办:中国美术学院跨媒体艺术学院
承办:中国美术学院跨媒体艺术学院影像与档案研究中心
Venue: Nanyuan Lecture Hall of Nanshan Campus,CAA
Host: School of Intermedia Art, CAA
Organizer: Archive and Research Centre of Moving Image

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