‘Upstairs / Downstairs’ Project 2012

題目: 樓上樓下: 1,440分鐘的人類活動故事

Format: Video Installation
Year: 2012

Video Introduction / Video Demo

 

藝術家企圖創新的流動而靜止的影像藝術語言,以上下,左右分割畫面建 築空間及新舊交替的油尖旺區內十二組人物的突徵及面貌,  即以一個主角, 有左右兩個裝扮及服飾, 代表二元身份生活在這舊交替的油尖旺區樓上下的不同而複雜的生活結構。

香港雖然地方小,但不同地區也擁有不同的特色。隨著新舊交替,油麻地旺角區成了一個既有摩天的酒店及時尚的構物建築群,但同時又保存著八十年代的電影中的江湖人物風情。藝術家透過長期實地考察及研究,總結了十二個’不同身份’ (differnet identities) 或 ‘多重身份’(multiple identities)。故此,其錄像作品決定以大道為中心,透過重疊的角色但不重疊的身份 ,配上特別創作的六套衣物,幻化成十二個獨特角色,遊走於油尖旺區。錄像中的畫面被分割成上下左右四個座標,成為文本的結構,比喻街道橫向的流動和大厦直向的室內風光,畫面時而靜止,時而流動,時而混合,以代表新舊大廈及街道的上下空間結構和關係。富實驗性的光影及色彩運用,配置在看似破碎卻又連貫的影像之中, 讓觀眾隨心地追隨藝術家的足跡欣賞新舊交替的油尖旺區,見證社區的變遷。(Draft by HK; Date: 09/2013)

 

 

香港雖然地方小,但不同地區也擁有不同的特色。隨著新舊交替,油麻地旺角區成了一個既有摩天的酒店及時尚的構物建築群,但同時又保存著八十年代的電影中的江湖人物風情。藝術家透過長期實地考察及研究,總結了十二個’不同身份’ (differnet identities) 或 ‘多重身份’(multiple identities)。故此,其錄像作品決定以大道為中心,透過重疊的角色但不重疊的身份 ,配上特別創作的六套衣物,幻化成十二個獨特角色,遊走於油尖旺區。錄像中的畫面被分割成上下左右四個座標,成為文本的結構,比喻街道橫向的流動和大厦直向的室內風光,畫面時而靜止,時而流動,時而混合,以代表新舊大廈及街道的上下空間結構和關係。富實驗性的光影及色彩運用,配置在看似破碎卻又連貫的影像之中, 讓觀眾隨心地追隨藝術家的足跡欣賞新舊交替的油尖旺區,見證社區的變遷。(Draft by HK; Date: 07/2013)

Title: 樓上樓下: 1,440分鐘的人類活動故事

香港雖然地方小,但不同地區也擁有不同的特色。隨著新舊交替,油麻地旺角區成了一個既有摩天的酒店及時尚的構物建築群,但同時又有八十年代的電影中 的江湖人物風情。藝術家的錄像裝置以大道為中心,是次作品他將逆向而行,將他遊走於社區油麻地、尖沙咀及旺角(油尖旺)的個人經歷,以精神分裂式的姿態, 以一位主角,化身成兩個身分,穿戴六套衣物,幻化成十二個獨特角色,遊走於油尖旺區。錄像的畫面被分割成上下左右四個座標,成為文本的結構,比喻街道橫向 的流動和大厦直向的室內風光,畫面時而靜止,時而流動,時而混合在一起,以代表大廈及街上的上下空間結構和關係, 在破碎的影像之中, 觀眾可追隨洪強的足跡欣賞新舊交替的油尖旺區,見證社區的變遷。

藝術家於2005年以新建成的朗豪坊作為這錄像軸線的起點,油麻地百老滙電 影中心為終結,一直穿梭其中建築物的樓上摟下空間結構及舜間風光,嘗試再重新以動及靜的畫面結構演繹這區的特色。另外,藝術家企圖以上下,左右分割畫面建 築空間及區內十二組人物的突徵及面貌, 藝術家設計了六套衣物及裝扮一分為二,左右各一個人物身份. 即以一個主角, 有左右兩個裝扮及服飾, 代表二元身份生活在這地區樓上下的不同身份或角色, 全片八成是靜止影像加上二成動態影像, 抅成了另外一種靜與動的視覺分解效果. 影像有時上下分解, 有時結合, 人物亦同。影像展覽時不以平時的橫度展示,換以直度,以代表大廈及街上的上下空間結構和關係。藝術家於2012年,重新修復及失去的原作錄像資料,再加以 改造及剪輯,配以一系列以分割畫面所組成的流動,靜止的錄像裝置藝術作品。

Title:Upstairs/ Downstairs: Stories of Human Activities Told in the 1,440 minutes of a 24-hour Stretch

Format: Video Installation
Year: 2012

My video works often take place on main roads, however, this time he adopts a contrasting approach and bases the featured work on his experience of wandering the communities of Yau Ma Tei, Tsim Sha Tsui and Mong Kok (The Yau Tsim Mong District). Almost schizoid in nature, the protagonist in the video embodies two identities: She wears six different outfits that represent twelve unique characters, and leads us through the streets in these districts. The screen is divided into sections- top, bottom, left and right, acting as four coordinates to the story’s main structure, and as metaphor to the lateral movements on the streets, and the vertical landscape viewed from within the buildings. The fragmented imageries move and stop, at times a mixture of the two, ushering the audience to follow closely the footsteps of the artist; as we appreciate the mingling of old and new in each district, and witness the vicissitudes of the community.

Today, digital technology allows artists to play with the idea of multiple identities because dual and multiple screens can help split identities and simultaneously present them to the viewers for comparison. Therefore, I take one of my experimental digital video installation, ‘Upstairs/ Downstairs’ project to exemplify how the experience of multiple and shifted identities could be visualized through digital technology, in relation to multiple spatial layers that viewers can experience when viewing the video’s different forms of visual representation (i.e., multiple identities & identity transitions; split frames, and motion and stillness). First, in relation to the concept of time, I used the concept of duration to make use of colour difference; I addressed viewers’ sense of motion by initiating colour-transition effects; I examined an illusionary temporal experience through a combination of motion (i.e., moving images) and stillness (i.e., still images). Second, in relation to the concept of space, I presented viewers the opportunity to have illusionary spatial experiences through those fragmentary moving images and still images.

HUNG Keung’s video works often take place on main roads, however, this time he adopts a contrasting approach and bases the featured work on his experience of wandering the communities of Yau Ma Tei, Tsim Sha Tsui and Mong Kok (The Yau Tsim Mong District). Almost schizoid in nature, the protagonist in the video embodies two identities: She wears six different outfits that represent twelve unique characters, and leads us through the streets in these districts. The screen is divided into sections- top, bottom, left and right, acting as four coordinates to the story’s main structure, and as metaphor to the lateral movements on the streets, and the vertical landscape viewed from within the buildings. The fragmented imageries move and stop, at times a mixture of the two, ushering the audience to follow closely the footsteps of HUNG Keung; as we appreciate the mingling of old and new in each district, and witness the vicissitudes of the community. ( text by ipreciation 2013)

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