Friday, December 31, 2010

Oh Bye Bye Baby

Oh bye bye baby, oh bye bye new clothes and bags, all go to the mother of my niece, and I can stay away from those horrible sitting and waiting.
Oh bye bye baby, oh bye bye old blushes and crushes, all go to the mother of my niece, so I can stick to my plane yet dull three and a half walls.
Oh bye bye baby, oh bye bye the usual fears of taking first steps, but don't all go to the mother of my niece, cuz I still want to save a little for every morning.
Oh bye bye baby, oh bye bye the warm sun and chilly nights, all stay with the mother of my niece, well over here I am running after an young bright sun but felt cold at heart when it sets down into the frozen Lake Michigan.
http://www.youtube.com/watch?v=yDYGIeZDMyg

二零一零年的最後五張照片






美國時間十二月三十日
早上醒來 決定整理行李去機場試試看運氣
看看被取消的飛機是否可以讓我坐到候補

因為早上九點多飛加州的飛機因為近日紐約大雪芝加哥大雪加州大雨緣故
一波影響著下一波 被取消了
想著不去跟家人過跨年實在可惜 所以整裝整行囊
坐上八十幾歲老房東的車去了MD機場

去到那裡 等了一班上不了 下一班也爆滿 班班都滿的情況
有人居然在機場睡了兩天都回不了家
那女孩是買候補機票的 可能難得新年想回西岸去過
沒想到還是留在芝加哥

有人暗暗的在哭
有一個媽媽帶著三個孩子 跟一個先生還有一個保姆

那位媽媽很值得敬佩
一直很鎮定 總是面黛微笑 三個小孩也很乖
而我 自從中午吃了個簡單的三明治後 就沒有吃過東西(老房東給的餅乾不算)
因為害怕地勤人員叫候補時沒聽見 就足足從一點多等到晚上八點半 不敢離開櫃台
終於 連加開的一班飛機都補不上 外家肚子餓情緒暴躁又覺得美國航空真的很爛的情況下
反而心情愉悅的回家去了

去機場時是一個小行李箱外加一個中的 裡頭裝滿禮物跟新衣服新褲子
大概半年一次著購物使我格外開心 所以充滿喜悅想要帶去加州分享

補位是這樣的
人沒有補上 行李不管你也就先飛去了
就這樣
禮物加上新貨飛到了LAX 而我 難得坐飛機會打扮的一身 滯留在芝城

姊姊去領了行李 我說 禮物都去了人也就不用了 可惜的是 那些給自己的新行頭啊

聽起來很好笑吧
新行頭 滿箱的禮物 一班又一班排不上的飛機...
我是在過幾零年代?

心中感激我還曾經 或者還是會有機會這樣子的輕描淡寫地訴說這故事
那些真的好久沒有回家的人 我希望明天一早大家可以順利坐上飛機
我已經在家裡了 不管是在芝加哥 在洛杉磯 在台灣 在日本 在匹茲堡 在義大利
想到你們都同我一樣有家可歸的心情
真是感恩的

忘記提一下
候機室停留期間 留下了這五張令我今年最滿意的照片
其中一個原因 可能是他們來自國家地理雜誌吧
但最主要是 拍他們時真好玩
開心的五張
二零一零年最後的照片

Thursday, December 30, 2010

答答答 既然如此

既然如此
能夠飛就飛 不能飛就閉關吧
脫離漂浮的時期,能夠走走路也是好的。

到底強求和爭取兩者的差別是什麼?
我是應當像S說的 假如你真的想去 你就能夠找到辦法
還是應該就像水流 前頭堵住了 繞道而行 誰說不定也能看見一片天

一直也是如此

有些人不能夠懂 並不是想要離開 想要去哪 想要過什麼特別的假期
而是滿滿的行囊裝著想分享的東西 結果 勒?沒有辦法親手拿去了呢?

重點一直都是在人
地點與人相結合在一起才形成那氛圍

去年有過那難忍的寂寞
今年有些事情已經改變了
說不定 並不那麼難熬啊?

熬什麼?本來就不需要熬 因為今年有好多事情可以做,
有工作室 有期待的人 有等著完成的作品。

也可能一直以為明天就可以離開去放個假
所以直到目前為止 怡然自得
但是那箱滿滿的分享

可以的 晚一點交過去也行的

累了時做的決定都不準
答答答

答答答

Saturday, September 11, 2010

a test



This is a ToonBoom test of a scene I will be animating with pencil on paper.

Monday, September 6, 2010

Living Room Sketch


20 more drawings today, not much, only done in the morning. So before I sleep, I had to draw something...
I still wish I could tell a story that will warm one's heart, but that isn't enough, there is something deeper, I just couldn't figure it out yet.
So let me start from here:
A mom is feeding her baby dinner. They both sit in front of the TV because the mom is so tired after cooking and working for the entire day, and she wants a little relax as well. So does the baby, the baby is finally quiet down and wants to sit still and eat. As the baby is fascinated by what is showing on the screen, the mom has already fallen asleep, and she is still holding the baby food in her hand. At the same time, the dad comes home and sees this funny little moment. He doesn't want to wake her up, so he quietly approaches them and slowly setting down his suitcase. The baby is so into the TV show and doesn't even notice her dad has come home...

Maybe one day a little scene of a story can help me construct my big picture.

Sunday, September 5, 2010

300-drawings-per-day Goal

Quietly I stopped feeling jealous of you people,
cuz a 300-drawings-per-day goal has filled in the gaps of my life.
Maybe once in a while I would wish I could be there and speak our language,
but I know I will be back soon.

Monday, August 30, 2010

Technically, It's Art 2



Three of my animations are participating in this upcoming show down the loop. It's in one of the Pop-Up Art Spaces, curated by Angela Bryant of Abryant Gallery~
The pieces including the Banana Project, Alligator, and there/ almost: Driving in Bad Weather, Good Morning, and a new piece Kitchen.



http://abryantgallery.com/
Location: 23 E Madison, Chicago IL
Opening Reception: September 2nd, 2010. 5pm - 8pm

Wednesday, August 25, 2010

15th Asian American Showcase in Chicago Gene Siskel Film Center



This was the 15th Asian American Showcase in Gene Siskel, although I am not Asian American, but, as long as I am Asian and have some good things to show~ yeah~ I am happy to screen my work in this one of the best theaters! The work looks awesome on big screen! Really, unbelievably awesome!
Posting this again is also a way of keeping tracks for myself.
http://www.faaim.org/local-shorts/

Thursday, August 19, 2010

Butter Elbow in Op Shop on Chicago Art Magazine!



Butter Elbow animation screening is on Chicago Art Magazine!
Thanks to Robin Dluzen and Laura Shaffer!
http://chicagoartmagazine.com/2010/05/butter-elbow-at-the-opportunity-shop/

Saturday, August 14, 2010

還是想要創造美麗的事物

這暑假又看了幾部Studio Ghibili 以前的幾部作品,看了總是熱淚盈眶的收尾。
對於美麗的事物,我還是嚮往的。想要創造這樣的東西,是從心底美出來,眼角流露出來的那樣的作品。
但是我的手慢了,手慢了也是因為心忘記了。

開始數數忘記的東西有哪些,雖然平日健忘習慣,但是那些小事情時時又會再出現的,可是少少幾樣真的忘記的事情,不是腦子忘了,是心忘了。
我忘記愛的感覺,我忘記單純畫畫美好的感覺,我忘記曾經感動的大哭的感覺,我忘記開心的笑的感覺。
宮崎 駿說的那棵大樹,在我心裡已經乾枯的差不多了,但是我知道還來得及。

回去小時候的自己吧,那個什麼都不會,就知道生氣哭鬧耍脾氣還有畫畫唱歌的人。
從頭開始學,可以的。

Saturday, August 7, 2010

it might not be about my ability to love

What if I can delete a part of my memory for an imagined happiness, love for a person, and to convince myself they were all just concepts of a lifestyle, a love story, a relationship? I can go into another concept of a new imagined happiness of life, and be able to love again?

Tuesday, July 27, 2010

不要告別 詞:三毛 曲:李泰祥

我醉了
我的愛人
我的眼睛有 兩個你
三個你 十個你
萬個你

不要抱歉 不要告別
在這燈火輝煌的夜裡

沒有人會流淚 淚流

我醉了 我的愛人
不要不要說謊
你的目光 說明一切
我們的一生已經滿盈
不要抱歉 不要告別
在這燈火輝煌的夜裡
沒有人會流淚
淚流



I am drunk
my love
there are two of you in my sight
three of you
ten of you
ten thousands of you

don't be sorry
don't say goodbye
in this splendid night

no one will have their tears dropped
dropped tears

I am drunk
my love
please don't, don't lie
your sight explains everything
our whole life is already full and filled
don't be sorry
don't say goodbye
in this splendid night
no one will have their tears dropped
dropped tears

lyrics by Echo


listen:
http://lth.e-lib.nctu.edu.tw/muz-5.htm

Monday, July 26, 2010

今天

今天從一天二十四小時換算成為
七年又四十八天又三十二個小時。
我數學不好,所以不要問我是怎麼換算的。
有人說重點是過程而不是解答出來的結果,
所以這題打大XX, 重算。

問題是不能夠重算了,因為過了也就過了。
我要重新計算新的二十四小時,
盡量就讓她二十四小時的過。

明天已經開始。就也是今天了。

Sunday, July 18, 2010

the man and the whale

a man found a little whale and kept it in a plastic bag. he didn't want to take care of it until I begged him. he was nice to me and took the little whale and put it into a bath tub and filled it with water. he gave bath to the whale once in a while. the whale grew bigger and knew how to play splash. the woman who was deeply in love with the man was sick, she died no long ago. on the way home he found the empty medicine plastic container that used to fill with her pills. he swallowed it and died on the road. he left me alone with the whale.

Friday, May 21, 2010

Jerry and Carrie


Being a young art student, one of the biggest challenge for me is:
When you open up a Jerry Saltz article on New York Art, and there is Sex and the City 2 trailer waving at you right beside it.
http://nymag.com/arts/art/reviews/65723/

Wednesday, May 19, 2010

想小故事二



春天沒有真相,脫俗後隱藏謊言。to be continued.

想小故事一

Monday, May 3, 2010

知道後無所改變

牆上有隻蜥蜴
我瞧見牠已有三十
多分鐘
牠沒有挪動一根手指頭
我站在這塊地磚上
也就這樣沒有移動
直到牠下了一顆蛋
又一顆接著一顆
落在地上打出蛋花我才
踏出一步
踩在上面
有如海綿一樣柔軟
我才放心
看牠在第四十九分又
二十一秒

透明
消失

Tuesday, April 20, 2010

Butter Elbow Animation Screening in Op Shop v.2



Participating Artists:
Mobile Animation Station
Simon Allen
William Cleveland
Samantha Lotti
Emily Tzu-Han Wang
Lizi Breit
Kiel Darling
Vicky Yen
Michael Mallis
Danielle Albert
Aaron Wendel
Wei-Lun Lin
Ernest Kim
and
Special Guests
and MORE TO COME!

(update up date UP DATE!)

Saturday, April 17, 2010

"If Art Is for Everyone"

If art is for everyone,
I've been giving too much.
I think I am a simple minded person
I think I am a pretty generous person
I think I've been thinking too much for others and
I think if I have chances to give, I will do that every time but,
If art is for everyone,
I've been giving too much already.
My art is for myself, is the little tiniest thing I begged for full freedom.
If my art is not for others, that is a permission.
I can contain myself in many other ways but
please don't question my art.
My art is for myself.

Tuesday, April 13, 2010

Kitchen




This is a work in progress, but today was a wrap for the shooting part! Yeah!!
Now I will start working on the editing and sound. I love making Foley to my images, that is such a reward! Besides doing Foley, there will also be dialogue for this piece. A third part for There/Almost.

Monday, April 12, 2010

Butter Elbow Animation Screening in Op Shop v.2



Butter Elbow Animation Screening at Op Shop v.2,
http://www.theopshop.org/
May 1st, 7:00-8:00 pm

This event will be the premiere for our Mobile Animation Station's hard work in Op Shop v.2. Four of the brilliant animators: Weilun Lin, Kiel Darling, Samantha Lotti and me animating literary in the space, on the wall, to the floor~ all over~ doing stop motion animation!

Also, there will be more talented animators' work joining us for the event~ I will update soon.

Wednesday, March 24, 2010

Vicky Yen's Noon Time Artist Talk in SAIC



I am going to do a Noon Time Talk on March 30th, Tuesday @ SAIC~
Following by Mr. Frog turning into a Prince ceremony~
Wanna know the meaning behind straight ahead stop-motion animation?

12 Noon-1PM,
Michigan Building, Room 601,
March 30th, Tuesday
SAIC

Monday, March 15, 2010

15th Asian American Showcase in Chicago Gene Siskel Film Center




My recent work: There/ Almost: Good Morning, Driving in Bad Weather, will be presenting in the 15th Asian American Showcase in Gene Siskel Film Center, Chicago!
My second screening in the showcase, and my third time participating in the event!
This work will be continued to develop into a bigger project.

http://www.faaim.org/local-shorts/

Monday, February 22, 2010

小牛妹

為什麼叫做小牛妹?
why "little cow girl"?


因為固執像頭牛!
because, stubborn as a cow!

Monday, February 15, 2010

太過專注

當妳太過專注於聽著每個聲音,
注意腳下將要塌陷的積雪,
還有隨時都有可能攻擊妳的大野雁,
妳就會以為
所有都已傳收進了錄音機。

回到家聽了所有的東西,心滿意足的
讚嘆今天的美好,
霎時間就會想起這遺失的一塊
空白。
1013wav和1014wav之間難道真的沒有1013.1.2.3嗎?

在接近一群埋頭苦幹,
在積雪已融化的草地上覓食的野雁是非常有趣又驚險的。
有幾隻會抬頭來順便哼一聲警告一下同伴,
或者只是下到的呀一下,
我都可以給自己捏一把冷汗。

總共有三群,
分三塊空地嘖嘖嘖地。
抬頭的每一隻
嘴上都黏著溼潤的草渣,像兩撇小鬍鬚,
又像我們嘴上的飯粒。

天邊傳來幾聲
來自三個遲來的饕客的呼喚。
聽得心裡暗爽,
給我賺到這多樣化的大自然之聲。

一隻落單了,但她獨佔一整片小窪地。

穿越他們之間,臨走前又細細從放大聲響的耳機中
聽他們嘖嘖嘖的...

聽見了不代表記下了。
但沒記下的
也迴繞地特別大聲
特別起勁!

Friday, February 12, 2010

You, Are Not That Important

Adapted from a friend's note:"You, are not that important."
Every time I visited her blog,
I saw this line on top of the page.
Every time I whispered
in my mind.
"You, are not that important."

A few days ago, I found she changed the line to another one.
I couldn't remember what did she changed it in to,
but I repeated the old one that was already stuck in my brain.

Everyday, I think about myself.
Even when I thought I was thinking for other people,
I wasn't.

"You, are not that important."

For what i know,
I am spoiled,
I am selfish,
I am stubborn as a cow.
and,
I am sick and tired of myself.

"You, are not that important."
(a toy, green brick flows over in front of my eyes)

I just want to be happy.
(the toy has numbers or alphabets on it)

I am sick and tired,
like how I faced math quiz in high schools,
my mind would automatically
shut down and opened another door for another world.
(that's how I see the green brick now)

Escape.
Indirect.
Escape.

Escape.

"You, are not that important."

Monday, February 1, 2010

不是因為書都讀到屁股上才多肉

剛剛跟媽通個電話,
問她剛剛在跟誰說話?
她說她的朋友。
我理直氣壯的問:哪個朋友?
她氣了,她說妳問那麼多幹嘛?
加上這個問題之前我說了些五四三的玩笑話,
她就不好氣的說給我唸書不是是非不分亂七八糟,是不是書都讀到屁股上去了?
我聽了又好氣又好笑的說,
我屁股多肉不是因為書都念到那裡去好不好?
她說最好是這樣。

是啊,
其實,有一點這個可能,
但我想主要是因為,我剛好念的,都不是可以貼在臉上到處去獻給人家看得書,聽的也不是隨時掛在嘴邊可以講的話。
想聽聽這一刻之前我在念什麼嗎?
有聽過“垮掉的一代“嗎?
這我可是越聽越起勁,越看越對味啊。

請問,我要不要試著興高采烈的告訴親愛的媽媽說我的屁股是屬於那垮掉的一代呢?
我想因為我才剛開始所以還不至於搞到屁股皮肉鬆弛垮垮如林旺。
“所有東西都是我的因為我很窮。“凱洛華說。
真的有點慶幸有點可惜,我的翹屁還是不屬於那一代,因為何從體會而來?又從何捨得這豐裕的生活?

當然啊,
說說嘴皮子是也,書還是得念,但正不正經還是在我。
(認真的,我是很努力想要正經的。)

Sunday, January 31, 2010

"Windy Day" by John and Faith Hubley



A friend shared this link to me, very lovely.
It's been a while that I am trying to write something, or make something with this kind of topic.
Lovely. Hopefully I can make something like this soon.

四合一的冬日遊記

相隔四個年頭的,當衝破了二十五這個巔峰後,就沒有那個差距了。
冬日逃離了寒冷的芝加哥,主要不是因為寒冷,是因為留在這裡使我無法忘記工作。
忘不了睡不好卻吃的多時,
當然逃!

逃到大姊家,大姊家就是我家。
下了飛機馬上把大衣塞進行裡箱;出了LAX還拎著這黑矇矇的羽絨衣我看人家要笑了。
(而我心裡也恥笑那些穿著睡褲跟UGG雪靴的洛城人。)


在加州的一星期半真是人間享受。
大姊,姊夫從家鄉回來時差,而我從東岸來也時差,那樣庸慵懶懶地,這才是放假嘛!
在芝城我早上醒來想到的就是那被擱置的工作室,沒有做完的動畫,還有空空得補貨的冰箱。
在家,真正有家人的家裡,醒來就是開開心心吃早餐,看個電視,在外頭澆澆花,逗逗貓。
曾經跟友人提過,無法在家呆久,因為那種安逸會使人害怕。
這次,我學會完全擱置工作,完全就是為了放鬆:給他安逸到飄上雲端去跟上面的人說嗨。
不,真的,我想讓全身放鬆。去給人指壓,每個都會忍不住說,怎麼定扣扣!
壓力跟焦慮使我全身緊繃。
以前在家鄉總說焦躁焦躁,在這裡可能所有都被雪景給冰凍了,安靜地埋藏在身雪裡,反而不躁;
身體沈重了,頭腦緩慢了,只能說壓力壓力焦慮焦慮。

為了新的學期著想,我逃去了,放鬆了,解放了!
除此之外,發現了個有趣現象:我看著大姊,看見未來我要走的路,而她看著我,說那是她走過的。


白頭髮,前陣子有個朋友說她發現我有根白頭髮。我走在大姊身後,發現她一根白頭髮。
我真的很慶幸自己是家中的老二,前面總是有人在提著燈為我打著,說小心有個窪有個坑,別跌著了;說有座山在前頭別提早把力氣用光。在我後身後,也總有個人可以讓我也學習著做相同類似的事情,也看看過去曾經的那一種姿態。

相隔四年的差距已經在一個半禮拜中給縮短,短到似乎是妳跟我之間的一大步而已;
因為家人姊妹兄弟不就是這麼近嗎?

Saturday, January 30, 2010

那個包裹中的背影

今天見到了從家鄉回來的朋友,
這個朋友帶來了絹的包裹。
手指頭一處碰到那塊布包著的東西,心就軟綿綿了。
spring field.

我一看到布包中露出來的中文字,就回想到那天絹在辦公室笑的東倒西歪的談話,
原來談話背後的意義遠渡重洋而來到我雙手中。
(現在可以轉頭過去在妳耳朵邊說悄悄話)

打開來,把上面的盒子輕輕翻開,
看見裡面的東西- 我被真空了嗎?為什麼全身是凝結的懸在一個不知名的空間中?
三毛的背影,三毛的背影,三毛的背影。

匆匆的過了半個年頭,留下的背影回到我身旁。
已經不只是本書,是上個年頭炎熱暑期的絹的房的顏色,氣味,和音樂。

我翻起書頁,很順手的,很自然的,我在找東西。
一定還藏著什麼。
書頁翻過沒有見著,我轉頭對家鄉回來的朋友說,一定還有什麼。

阿!在那兒呢!緊緊的夾在那的
不能沒有你的呦。

馬上,兩個物件包回原來捧在手中的樣子,
因為氣味阿精神阿要好好儲存著深怕溜走消散在冰冷的空氣中,跟著雪飄走,
放進背包,歐,
怎麼像多了個暖暖包了呢?

por moi, for me, for Vicky.

我收到了!謝謝絹!

而我的朋友阿,我們中間的無形的線
就也是這樣剪也剪不斷的呀!謝謝芳!

Friday, January 15, 2010

Animisim- in Extra City and M HKA


This is a show I really want to go.

FYI:

http://www.extracity.org/projects/view/52
22 January – 2 May 2010

Opening Thursday 21 January at 19:00

Animism is a long-term exhibition and publication project first presented between 22 January and 2 May 2010 in Antwerp in a collaboration of Extra City Kunsthal Antwerpen and the Museum of Contemporary Art (M HKA). A second version of the exhibition will be shown at Kunsthalle Bern from May till July 2010. Subsequent versions will be developed at the Generali Foundation in Vienna and the House of World Cultures in Berlin in 2011 and 2012, respectively.

The project approaches the concept of animism – coined by 19th century anthropologists in the context of the colonial encounter – from a contemporary perspective. It addresses the current increase in interest in animism, which stems from a widespread re-visioning of modernity, by a reflection on aesthetic processes seen through the prism of an exhibition.

The normative modern understanding of the concept holds animism to be a pre-modern social and psychological mechanism by means of which nature and things were erroneously endowed with souls and agency. This project seeks to move beyond those mistaken but sedimented commonplaces that have narrowed the understanding of animism to a matter of belief and psychology and instead raise questions about the collective practices of humans and non-humans and the qualitative relations that they produce. The term is employed like a mirror in an investigation of modern cosmography, reversing its underlying assumptions, and in particular, the way in which modernity conceived of the boundary between life and non-life.

Historically, this separation between the animate and inanimate gave rise to dichotomies characteristic of modernity, such as the opposition between nature and culture, the subjective and objective world, and the relation between fiction and reality so notorious to the arts. As these distinctions are challenged and transformed on a massive scale, fuelled by changing global political geographies, ecological crisis, technologies and forms of power, the exhibition seeks new forms of engagement with history and reality.

Animism has evolved around two opposed and yet complementary processes: animation and objectification. The exhibition meditates on the paradoxical status of objectification in modernity, its relation to conservation, mummification, and simultaneous re-animation and mobilization, and the forms of power relations it gives rise to. It puts the modern imaginary of inanimate matter and reification under critical scrutiny, and questions the economies of ‘transgression’ that have long informed modern aesthetics of enchantment and disenchantment.

By placing selected historical references next to contemporary work, Animism brings together works that reflect and negotiate the boundary between the subjective and the objective. Across the registers of technological media, moving images, depictions of life and embodiment, the exhibition questions the mimetic processes of modern aesthetics as ways to negotiate and, often paradoxically, confirm and maintain the imaginary oppositions of modernity.

An accompanying catalogue – the first in a series of two – connects several recent attempts at rethinking animism from a variety of perspectives, and traces their various historical genealogies.

With works by:

Agency, Art & Language, Christian W. Braune & Otto Fischer, Marcel Broodthaers, Paul Chan, Tony Conrad, Didier Demorcy, Walt Disney, Lili Dujourie, Jimmie Durham, Eric Duvivier, Harun Farocki, León Ferrari, Christopher Glembotzky, Victor Grippo, Brion Gysin, Luis Jacob, Ken Jacobs, Darius James, Joachim Koester, Zacharias Kunuk, Louise Lawler, Len Lye, Étienne-Jules Marey, Daria Martin, Angela Melitopoulos & Maurizio Lazzarato, Wesley Meuris, Henri Michaux, Santu Mofokeng, Vincent Monnikendam, Tom Nicholson, Otobong Nkanga, Reto Pulfer, Félix-Louis Regnault, Józef Robakowski, Natascha Sadr Haghighian, Paul Sharits, Yutaka Sone, Jan Švankmajer, David G. Tretiakoff, Rosemarie Trockel, Anne-Mie Van Kerckhoven, Dziga Vertov, Klaus Weber, Apichatpong Weerasethakul.

Contributors to the publication:

Irene Albers, Bart De Baere, Oksana Bulgakowa, Edwin Carels, Brigid Doherty, Masato Fukushima, Avery Gordon, Richard Hill, Darius James, Gertrud Koch, Bruno Latour, Maurizio Lazzarato and Angela Melitopoulos, Bruno Latour, Vivian Liska, Philippe Pirotte, Florian Schneider, Erhard Schüttpelz, Michael Taussig, Marina Warner, Martin Zillinger, et.al.

Animism is a collaboration between Extra City Kunsthal Antwerpen and the Museum of Contemporary Art Antwerp (M HKA) and in cooperation with the Kunsthalle Bern, the Generali Foundation Vienna, the Haus der Kulturen der Welt Berlin and the Free University Berlin.

Concept: Anselm Franke

Curators: Antwerp: Anselm Franke (Director Extra City Antwerp), Edwin Carels (Researcher KASK/HoGent), Bart De Baere (Director M HKA Antwerp); Bern: Anselm Franke, Philippe Pirotte (Director Kunsthalle Bern); Vienna: Anselm Franke, Sabine Folie (Director Generali Foundation Vienna)

Locations:
Extra City, Tulpstraat 79, BE-2060 Antwerp, www.extracity.org
M HKA, Leuvenstraat 32, BE-2000 Antwerp, www.muhka.be

Wednesday, January 13, 2010

想做傳統動畫嗎?

想學傳統2D動畫嗎?
台灣誰還想來一起做傳統動畫呢?
誰想一起做好的動畫呢?
舉手!

我不是在打廣告,我只是想知道。

Wednesday, January 6, 2010

After the Wild Kingdom

I have heard my sister talked about the book, Where the Wild Things Are. She said that was one of her favorite children book. When the movie came out, I told my friend that I wanted to see it, since the book was never a thing to me when I was a kid or even now. My friends were surprised: How come you are the one who is suppose to have the book then us? I simply didn't know why, it was never a thing to me.

I missed the screenings in theaters when it first came out. After I saw the trailers, I wanted to see it since it made me cried in such a short time. I have heard people talking about it after watching it, saying how disappointing it was comparing to the book. I've heard someone saying that he wouldn't spend that much money to watch a long music video. I would want to go, but I missed the chance eventually.

I heard from my professor that it is now showing in Gene Siskel Film Center. So I went for the 8 o'clock one. While I was waiting, the audience from the previous screening came out. It was a lot of people. I bet they were the ones who missed the main stream theater screenings as I did, or the second time goers. I tried not to hear their discussions, but I couldn't stop hearing more negative thoughts of the film. I think people were just having either too much expectations, or they just simply couldn't bare to appreciate things in another language of forms.

I met my professor J, he was one of the audience who just came out from the movie theater. He said he liked it. I am glad to hear that. Maybe I just didn't want anyone to ruin my feelings before I watch it, so it was good to hear a nice thought of the film I was about to see.

After I came out of the theater, I quickly got into the train station because it was too cold to stay one more bit in the wind. My phone rang, it was my dad. I couldn't believe I forgot to turned it off, but thank gosh it didn't ring during the screening. My back was in huge pain, and my body was shivering.

I remembered Jim said he didn't think it was a children's film. In certain point during the screening, I sort of agreed; there were some dark thoughts and violent.

The pain on my back was making my whole body shaking, so I told myself I would eat the whole chocolate cup cake before I go to bed, I believe it would ease up my uncomfortableness.

While I was eating the chocolate cup cake, I thought, if i were a mother, I would take my kids to see the film.

I believe most of the grown ups have underestimated children. Kids have their own world, and things they do or things they think are actually making more sense than grown ups. What they think and what they do is straight forward and bold. Like the emotions in the film; you got mad, you destroy stuff; you like someone, you hug someone ,and you don't do the same to the ones you don't like . Isn't that simple and straight forward?

I guess the reason why I would take my kids to see the film is because I believe they would understand it in their own ways, and it would definitely be a great memory for them to dig up after a few more years. When they grow up, they would recall their mom once took them to see a movie with ugly monsters that tried to eat them. They would realized how fearless they were: "How come I didn't thought it was a scary film at all at the time?" they might say.

I built my own kingdom in my sleep; before I fall asleep, I make up my dreams. The dreams contains daily stuff like people I met, things I saw, especially stories I read or I watched. I realize my favorite characters from my childhood memories were actually Beatle Juice and Edward Scissorhands.

The film for those who endure the original book doesn't consider bad. It is simply because the best thing they got from the book when they were kids is irreplaceable. So did my Edward Scissorhands. I believe the kids who watched Where The Wild Things Are would definitely remember it for the rest of their life, and even build up their own irreplaceable kingdom.

Saturday, January 2, 2010

Sisters Fight Work in Progress

from 2008




to 2010


there's always connections, I knew it already, I knew it.

Friday, January 1, 2010

2010

2010年沒有很切實際的感覺。這個數字給我唯一的感覺是恐懼。
這個好像來自未來的數字,很像科幻小說裡的未來,很像非常遙遠以後的年代。
It doesn't make sense to me at all.
好可惡阿,時間也過的太快速。
我三十歲時會是2014年吧,哎優,好難聽的感覺,我大希望我三十歲那年是2015年,聽起來開心多了,
但不免還是有科幻的味道。

回歸正題:
未來的未來已經來了,怎麼小時候都沒有想過這個數字?
別說小時候了,在五十分鐘以前都沒有想過這個數字。這次的跨年真的來的太詭異的稀鬆平常。
當然這也要怪我自己,沒有特別的去重視它,但不也就是這樣嗎?
還好有家人來的電話,媽媽興喜非凡的在家鄉倒數著,姊姊與姊夫也去了101看了煙火。說實在的,我從來沒有在101跨過年,或者任何一個現場的跨年晚會。我真那麼無聊嗎?

2010,我不怎麼喜歡你的氣味。吊兒啷噹,搞花招似的。

ㄉㄟ!

VickyEN過去的檔