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!