CINEMA 2.0: Hard Cinema 硬電影 Cinema has often been considered as a form of virtual experience: elusive, weightless and immaterial. In the forthcoming edition of CINEMA 2.0, Hard Cinema is interested to explore the physicality, materiality and spatiality of cinema: the other dimensions of cinema that are often being systemically neglected under standard film practices and spectatorship. We will re-examine cinema s material being and survey alternative practices of cinema that address issues of materiality and spatiality. Through this probing, we attempt to unleash cinema s creative potentials, extending and experimenting cinema as a tangible, sculptural, kinetic and spatial medium. Showcasing alongside the Hard Cinema are ten media art pieces ranging from video, sound art to interactive installations by the 20th ifva Awards - Media Art Category Finalists. This competitive category was introduced in 2005, and accepts entries for media arts from Asian countries since this edition. It will continue its mission to present a good mix of local and Asian media artworks and facilitate exchanges. 電影往往被視為虛擬的體驗：它難以捉摸、輕若鴻毛又似有還無。在泛光的暗室內，電影把觀眾帶到鬼魅的世界，讓人踏上奇異的幻像 旅程。一系列構成電影院的技術及符號，制度化地製造出聲影，暫時中止我們對真實世界的認識，讓我們進入擬真的觀影經驗，從此電 影的肉體真身被忽視。然而，這種對電影物質的抑制是一個非常有趣的現象，CINEMA 2.0：硬電影嘗試用另一個角度探討電影的肉體、 物質及空間感，把其隱藏的一面呈現。 同場更展出十個第二十屆 ifva 比賽媒體藝術組入圍作品，類型橫跨錄像、聲音藝術到互動媒體裝置，此競賽部份始於 2005 年，今年首次 把比賽拓展至亞洲地區，致力連繫本地與亞洲藝術家的交流，強化 ifva 於亞洲媒體藝術領域之地位。
Featured Artists 參展藝術家 (In random order 排名不分先後 ) Rosa Barba Gebhard Sengmüller Peter William Holden
（Italy / Germany 意大利 / 德國） （Austria 奧地利） （United Kingdom 英國）
Together with the finalists of Media Art Category, 20th ifva Awards: 同場更展出第二十屆 ifva 比賽媒體藝術組入圍作品，藝術家包括 (In random order 排名不分先後 )： Yuto Hasebe Fu Yunxue Snow Long Xinru Zhou Shan Huang Yin-tzu Ong Kian-peng Samuel Yip Thomas Ip Silas Fong
長谷部勇人 傅韻雪 龍心如 周杉 黃尹姿 王建斌 葉韋瀚 葉國棟 方琛宇
（Japan 日本） （China 中國） （China 中國） （China 中國） （Taiwan 臺灣） （Singapore 新加坡） （Hong Kong 香港） （Hong Kong 香港） （Hong Kong 香港）
Lau Ching-wa Morgan Wong Lai Ka-yiu Ruck Mau Kai-chau Chan Chong-tat Kan Ho-fai Lam Cheuk-hin Leung Kin-hung
（Hong Kong 香港） （Hong Kong 香港） （Hong Kong 香港） （Hong Kong 香港） （Hong Kong 香港） （Hong Kong 香港） （Hong Kong 香港） （Hong Kong 香港）
劉清華 黃榮法 黎嘉曜 繆啟宙 陳昶達 簡浩輝 林卓軒 梁堅洪
10. 2. 2015 (Tue 二 ) 4:30pm - 6pm
Artist Discussion 藝術家分享會
Pao Galleries, Hong Kong Arts Centre 香港藝術中心包氏畫廊
Visceral Cinema: VR and Physical Interaction Workshop 「VR 與真人互動電影」工作坊
21. 3 - 22. 3. 2015（Sat & Sun 六及日）2 - 6pm McAulay Studio, LB Level, Hong Kong Arts Centre 香港藝術中心低層地庫麥高利小劇場
Free of charge. Limited quota. Registration required. 費用全免，名額有限，詳情及登記留座：www.ifva.com/VRworkshop
Organised by
Sponsored by
Pure Art Foundation Awards, Media Art Category
CINEMA 2.0 is supported by
Curated by
Partner
Art Direction and Spatial Design
Technical Support
TV Support
In Collaboration with
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Featured Artists 參展藝術家
Austria 奧地利
Slide Movie 2006 – Present 現在 12 Slide Projectors, 960 Framed 35mm Slides 12 部投映機、960 片 35 亳米投映片
CINEMA 2.0: Hard Cinema A film sequence (35mm motion picture) is cut up and the individual frames are mounted as slides. They are distributed among 12 slide projectors that are all focused on the same screen. Via electronic control of the projectors, individual images are reassembled – in an extremely cumbersome way – into a chronological sequence. The formula one projector per frame thus gives rise to something that at least rudimentarily suggests a motion picture. The film soundtrack emerges as a by-product – the mechanical clattering of the projectors changing slides. 以大量電影用的 35 毫米菲林為材料，把菲林分割成個別的投映片，分佈在十二部投映機，全部聚焦投射於同一螢幕上。投映機經電子控 制，依照時間順序，把影像以笨拙的方式投放出來。這種「一投映機一格菲林」的方式，製造出原始的電影。投映機更換影片的聲音， 同時成為電影配樂。
About Gebhard Sengmüller
關於 Gebhard Sengmüller
Gebhard Sengmüller is an artist working in the field of media technology, currently based in Vienna, Austria. Since 1992, he has been developing projects and installations focusing on the history of electronic media; creating alternative ordering systems for media content; and constructing auto-generative networks. His works has been shown extensively in Europe, the US and Asia, among others in venues such as Ars Electronica Linz, the Venice Biennale, the Institute of Contemporary Arts London, Postmasters Gallery NYC, the Museum of Contemporary Photography Chicago, and the ICC Center Tokyo.
Gebhard Sengmüller 的專長是媒體技術，現居維也納。自 1992 年起他開始製 作不同作品與裝置，主要集中電子媒體的歷史，為媒體內容創作另類的指示系 統，以及建立自動生成的網絡。Gebhard 的作品在歐美亞地區廣泛展出，包括 奧地利 Ars Electronica、威尼斯雙年展、倫敦當代藝術中心、紐約 Postmasters Gallery、芝加哥當代攝影館、東京 ICC 中心等。
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Italy / Germany 意大利 / 德國
Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints 2012 3 Filmic Sculptures, 35mm Film, Motor 3 座菲林雕塑、35 毫米菲林、摩打
The three sculptures Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints are kinetic paintings : Three big mechanical instruments in which 35mm strips are constantly moving, each of them reproducing a colour – red, blue and yellow – with a word. These sculptures are reminiscent of the internal mechanism of a clock but they are different in the sense that they do not define time but reverse it in an endless loop. It s a meditation on colour, time, perception and language, on the meaning of a word when repeated to infinity. 三座雕塑其實是三幅「動態畫」。在這三座機械儀器中各自裝上一條不斷移動的 35 毫米菲林，每條有紅、藍、黃其中一種顏色，菲林上 寫上該顏色的名字。作品讓人想起時鐘的內部機械結構，不同的是作品不會界定時間，反而無止境地令時間逆轉。作品思考顏色、時間、 感官與語言，並探索語言不斷重複時的含義。
CINEMA 2.0: Hard Cinema
Stating the Real Sublime 2009 16mm Film, Modified Projector 16 亳米菲林、經改造的投映機
Suspended from the ceiling by the diaphanous loop of film that spins through its system, it casts an anamorphic square of light that stretches across the floor and up the wall. The film it projects has no image, other than the dust scratches that breed on the surface of the celluloid, slowly accumulating over the course of the exhibition. The power cable slumps untidily to the floor beneath the projector in a disorderly coil, as if to contradict the taut rationality of the loops above it, implying the projector is invested with alchemical powers to transform entropy into order unless, of course, it is the other way around. 以半透明的菲林懸掛於天花，當菲林經過這個系統時，便會在地板和牆身投映出一個歪歪斜斜、光亮發白的四方形。菲林本身沒有影 像，只有塵埃在膠片上留下的刮痕，在展覽期間慢慢累積。電線亂七八糟地跌落並盤踞在投映機下方，彷彿與上方整齊繃緊的電線形成 對比。這暗示投映機好像懂得煉金術，把失序變得井然，除非，反之亦然。
Invisible Act 2010 16mm Film, Silver Globe, Celluloid 16 毫米菲林、銀球、合成樹脂
Invisible Act is one of Rosa Barba s sculptural orchestrations that ultimately opens up into a conceptual practice. These works develop an almost multi-sensorial effect due to their special treatment of material, form, surface, light, and sound. The absence of a projected image causes the focus to shift to the material, thus heightening the sculptural effect. Rosa Barba 的多種雕塑配機器作品發展出一系列概念上的實踐，《Invisible Act》就是其一。這些作品以獨特的材料、形式、表面、光線 與聲音，製造出一種近乎多感官的效果。作品沒有投映的影像，讓人把焦點轉移到材料上，彰顯雕塑的效果。
About Rosa Barba
關於 Rosa Barba
Rosa Barba (born 1972, Sicily) lives and works in Berlin. Her work engages questions of time like inscriptions in landscapes, language, cuts across history and subject matter.
1972 年生於西西里，現居柏林工作。Rosa Barba 愛在作品中思考關於時間的問 題，涉及不同的歷史和題材。她對把電影攝影抽象化特別有興趣，以圖探更多可 能性。
Rosa Barba studied at the Academy of Media Arts in Cologne and at the Rijksakademie van Beeldende Kunsten in Amsterdam. Her recent selection of solo shows include: Turner Contemporary, Margate, UK, 2013; Fondazione Galleria Civica-Center of Research on Contemporary Art, Trento and MART Museum, Rovereto, Italy, 2011; Tate Modern, Level 2, London, 2010. She has also participated in group shows amongst others at Swiss Institute, New York; 8th Berlin Biennale for Contemporary Art; 19th Biennale of Sydney; 52nd and 53rd Venice Biennale etc.
Rosa 先後畢業於科隆的媒體藝術學院和阿姆斯特丹的皇家視覺藝術學院。近 年個人展包括英國泰納當代美術館 (2013)、意大利特倫托市立基金會藝術中心 （2011）、倫敦泰特現代博物館 (2010) 等。此外她亦參與多個群展，包括紐約瑞 士學院、第八屆柏林雙年展、第十九屆悉尼雙年展、第五十二及五十三屆威尼斯 雙年展。
The monographs Rosa Barba: White Is an Image (2011) and Rosa Barba: Time as Perspective (2013) were published by Hatje Cantz and the monograph Rosa Barba: In conversation with (2011) by Mousse Publishing.
《Rosa Barba：時間作為一種 著作包括《Rosa Barba：白色是種圖像》(2011) 、 角度》(2013) 及《Rosa Barba：訪談錄》(2011)。
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United Kingdom 英國
AutoGene 2005 Umbrellas, Computers, Compressed Air Components 雨傘、電腦、壓縮空氣組件
CINEMA 2.0: Hard Cinema Giving a first impression of a simple commodity sculpture, AutoGene lures the viewer into a false sense of security, which is rapidly dispelled when the seemingly mundane umbrellas are transformed into magical, animated objects. The circular arrangement combined with the striking contrast produced as the umbrellas expand and contract engender the formation of abstract ephemeral patterns, which are seemingly governed by the accompanying music. The viewer is obliged to re-evaluate the sculpture, inviting comparisons with dance and animation as the mechanical pixels complete their choreographed movement through time and space. 作品似是座平凡的日常用品雕塑，但這種安全感將在剎那間蕩然無存。看來平平無奇的雨傘變得魔幻而生動，它們以圓形方式排列，配 合本身一開一合、對比分明的動作，構成一組組抽象而短暫的圖案，隨著伴奏音樂而變化。這些機械化的像素在這個時空下完成一連串 舞蹈動作，讓人不禁重新思考雕塑的意思，並將它與舞蹈和動畫比較。
About Peter William Holden
關於 Peter William Holden
Peter William Holden was born in the UK and is now living in Germany. His works explore ways of dissolving the boundaries between cinematography and sculpture, with a fascination with moving imagery and transformation of objects. He uses computers combined with mechanical elements to create installations, which focuses on an ephemeral choreography. His works have been exhibited all over the world, and winning awards such as the First Prize in media arts at the 13th Canarias Mediafest in Spain.
Peter William Holden 在英國出生，現居德國。其作品展現出對流動影像和物體轉 化的著迷，並探索如何消弭電影拍攝與雕塑創作之間的界線。他結合電腦與機械 元素創造裝置藝術，重點在於轉瞬即逝的動作編排。作品曾於世界各地展出，並 曾贏得不少獎項，包括西班牙第十三屆 Canarias Mediafest 媒體藝術的首獎。
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The Fading Piece 消失之中
APHASIA 失語
Lau Ching-wa 劉清華 / Hong Kong 香港
Huang Yin-tzu 黃尹姿 / Taiwan 臺灣
Work Description 作品簡介
Work Description 作品簡介
This is a duo stop-motion animation. On the right it shows a diminishing pastel, while the left reveals the development of a line-drawing on the landscape, simultaneously, line by line.
This video installation portrays four Taiwanese women from four different historical periods in the last 130 years, each speaking a different language. They all speak but suffer from aphasia, the inability to talk in the language that they have used for their whole lives, just as Taiwan had to constantly adapt to different colonisers and to constantly shift its cultural identity. The installation is made of four separate vertical screens placed side by side, with the performance of four characters, all played by the artist herself. At the end, these videos interact with one another.
It is based on a photo named Kwun Tong Town Centre from Wikipedia, which no longer looks the same due to the urban renewal programme. In this work, I restrict the role of the animator, as the length of the animation is solely based on the consumption of the pastel. It also reveals my engagement with time via the process of the consumption of the pastel. 這是一個雙視頻的定格動畫作品。右面的動畫是一枝不斷變小的粉彩畫筆，左面 的動畫則看到觀塘市中心的繪線畫逐線成形，兩邊視頻同步發生。現實中 , 左邊 視頻的動畫是由右邊視頻的畫筆繪製而成。 這作品源自維基百科上一幅名為《觀塘市中心》的照片，但現實中的觀塘因著市 區重建經已面目全非。創作時我限制了動畫師的角色，因為動畫的長度完全受制 於粉彩畫筆的消耗，而透過其消耗過程亦反映我投放的時間。
Artist s Statement 創作者的話 Substances and energy are unceasingly circulating. A stop-motion animation in the virtual world is formed when the pastel in reality transformed into the scenery (Kwun Tong) on the paper, simultaneously, line by line. The animation is the recorder as well as the carrier of the energy. I spent half a year to make this animation. Every stroke I drew, I had to record the drawing and also the pastel. I repeated around 14,000 times to finish it. I tried to highlight the process of the creation of animation and this is a long meditative process of making it happen. 物質與能量永無休止地流轉。當現實世界的粉彩畫筆轉化成紙上的景色（觀塘）， 逐線成形、同步發生之際，便構成了虛擬世界裡的定格動畫。動畫作品記錄和盛 載著能量。我花了半年時間創作這部動畫。我畫的每一筆，都需要記錄圖畫和畫 筆變化，總共重複了一萬四千次才完成。我嘗試突顯動畫的創作過程，這個作品 能夠成事其實也是一個漫長的思考過程。
Juror s Comment 評審評語 Compression – Disintegration. Expansion – Merging. The repetition of the videos becomes a mantra showing how fleeting our actions are. Drawing – the first medium humans have been used to express themselves. Lau Ching-wa impressively demonstrates with her work The Fading Piece that this medium has lost none of its topicality and relevance. (Harald Kraemer) 壓縮 - 分解。擴張 - 合併。片中重重複複的內容就像真言一樣，讓人感到一己 的行為是如此朝生暮死 。繪畫是人類最早用來表達自己的媒體，劉清華在《消 失之中》漂亮地示範了這種媒介在今時今日仍能引起話題、仍然合適。(Harald Kraemer)
這個錄像裝置包括了四個臺灣女人的人像，她們來自過去 130年間不同的時期， 每人說著一種不同的語言。她們都會說話，卻患上失語症，無法用說了一輩子的 語言來講話。就正如臺灣要不斷適應不同的殖民者，因而不斷轉變文化身份。這 個錄像裝置將四個垂直的錄像並置，四個角色均由藝術家本人出演，而最後這四 個錄像也有所互動。
Artist s Statement 創作者的話 Taiwan s fragmented political identity and changing of language and culture is the main focus of the installation. I play all four female characters in the videos. They are from the region I was born in, but in different historical periods. Each video screen presents one female character. To me, this project has been an important discovery process in knowing where I am from, more exactly who I am or who I think I am. Meanwhile, I do this in order to focus on the cultural identity crisis in Taiwan. 臺灣分裂的政治身份和不斷轉變的語言文化，是這個裝置的焦點。我扮演了錄像 裡的四個女人。她們來自我所出生的地區，但卻來自不同的年代。每個錄像呈現 一個女性角色。於我而言，製作這個項目是一個重要的發現過程，關於我從哪裡 來，更準確地說，是關於我是誰和自以為是誰。與此同時，我的創作希望關注臺 灣的文化身份危機。
Juror s Comment 評審評語 It starts with a name describing the symptom of physical language disorder and fluently extends to the cultural and historical development of languages and dialects in both communication and yet non-communication, with an installation setup of the artist s synchronised and playful performance of the utterance in these languages. (Bryan Chung) 作品以描述失語症的名稱作開始，然後非常順暢地伸延至語言及方言的文化和歷 史發展，涉及溝通與非溝通的範疇，藝術家運用裝置把這些語言中的種種表達方 （鍾緯正） 式同步表演出來，玩味十足。
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The Remnant of My Volition (Force Majeure)
Surveillance 監控
Morgan Wong 黃榮法 / Hong Kong 香港
Zhou Shan 周杉、Long Xinru 龍心如 / China 中國
Work Description 作品簡介 The work follows Wong s meditative act of peeling off over fifty thousands red flag stickers to reveal empty/white flag as a sarcastic surrendering to patriotism under One Country Two Systems amid Chinese Reunification . Cushions embroidered with calendars, starting from 1st July 1997 until 30th June 2047, complete this stage for contemplation. The work speaks of an ad-hoc city state of Hong Kong being subjected to become an impossible/fictional nation under the irrepressibility of time. If volition means making a conscious choice, volition is never really conscious in the end at a place deprived of the power or confidence of self-rule. 黃榮法藉作品揭示他在一國兩制的語境下，對愛國主義一次帶有諷刺意味的投 降。幾近冥想的行動中，他將逾五萬枝小紅旗撕去繼而洩漏出背後的白旗。刺繡 在墊子上的年曆從1997 年 7 月1日細數「不變的50 年」到 2047 年 6月 30日，完 成這個用以沉思的舞台。作品呈現出在壓制不住的時間中，香港這個臨時城邦如 何轉化為一個不可能／虛構的國家。如果意志等於有意識地選擇，那麼在一個沒 有自我統治力量或信心的地方，意志最終永遠不會是有意識的。
Artist s Statement 創作者的話 Time, a phenomenon axiomatic to human experience is investigated in Wong s documented performance which invites the viewer to mediate on theoretical possibilities of a timeless suspension, one where physical intransigence is overcome with the annihilation of all time and spatial distinctions. Interested in the notions of materialisation of time and wasted effort, Wong s works always involve durational and sometimes tedious labour of repetitive actions which not only challenge his own physicality, but also the understanding of eternal verities. 時間是一個不言而喻的人類經驗，也是黃榮法記錄的行為所探討的主題，引領觀 眾深思永恒的暫停在理論上的可能性，當中時間和空間的差異被毀滅，戰勝了物 理上的拒絕妥協。黃榮法對物質化與無度的（若非無用的）付出甚感興趣，作品經 常包涵時間上有持續性的、枯燥的、動作重複的勞動，這不單挑戰他自己的物理 性，亦挑戰對永恒真理的認知。
Juror s Comment 評審評語 The work is a sarcastic attempt to look into the current situation in Hong Kong and at the same time reacts with the absurd manoeuvre to go nowhere. The artist exercises a lot of efforts to put together cultural symbols to highlight this absurdity. (Bryan Chung) 作品運用諷刺手法檢視香港目前的處境，並以做了等於白做的荒誕行徑去回應。 （鍾緯正） 藝術家殫精竭慮地讓大量文化象徵在片中共冶一爐，突出荒誕的意味 。
Work Description 作品簡介 Surveillance is an impromptu performance, in cooperation with two goldfish. During the performance, two fish are being tracked by a real-time analysis system, indicating both the moving speed and distance covered by the movements. They talk to each other about the latest news from online news service in real-time. The real-time analysis system keeps track of the movements, and project the processed information back onto them. 《監控》 是一場即興表演，由兩尾金魚合作完成。表演進行時，實時分析系統追蹤 著兩條魚，顯示牠們的移動速度和已移動的距離。牠們會跟對方實時「談論」來 自網上新聞的最新消息，而實時分析系統則會追蹤牠們的移動，將處理的資訊投 射到牠們身上。
Artist s Statement 創作者的話 This work discusses the relationship between individual and group in a real-time social system context, making tangible the invisible forces between individuals under different sociological and psychological influences. Information technology has redefined humanity s living space. The hybridisation of physical and virtual reality and its related problems, such as possession, privacy and control provide huge inspiration to this work. Their work combines elements of computer science, visual art and storytelling, using real-world generated data to create multi-sensory experiences in the physical space, allowing people to experience the systems they create in an artistic way. 這件作品在實時社會系統的語境下，探討個體與群體的關係，受到各種社會和心 理影響的個體，彼此之間的無形力量因而變得實在。資訊科技重新定義人類的生 活空間。物理和虛擬空間的混雜和因而衍生的問題，例如資產、私隱、控制等， 均是作品的的重要靈感來源。 他們的作品集合電腦科學、視覺藝術、講故事等元素，以現實世界產生的資料， 在現實空間創造多重感官經驗，通過藝術方式帶引人們認識自身建構的系統。
Juror s Comment 評審評語 Sharky and George are two online chatterboxes that are tracking each other with continuous updates of the latest e-news. The internet penetrates the sphere of a goldfish bowl, and we eavesdrop on ourselves via this aesthetically mediated appropriation of fish. It s the liquid spectacle of a ubiquitous wetware. (Jeffrey Shaw) Sharky 與George是兩個多口的傢伙，以不停更新的電子新聞來互相跟蹤對方， 互聯網入侵金魚缸，透過具有美感的媒介呈現金魚，我們窺見自身。這是無處不 在的生命體的液體眼鏡。(邵志飛 )
6
Particle Waves
Bring To Light
Ong Kian-peng 王建斌 / Singapore 新加坡
Lai Ka-yiu Ruck 黎嘉曜、Mau Kai-chau 繆啟宙、 Chan Chong-tat 陳昶達、Kan Ho-fai 簡浩輝、 Lam Cheuk-hin 林卓軒、Leung Kin-hung 梁堅洪 / Hong Kong 香港
Work Description 作品簡介
Work Description 作品簡介
Particle Waves is a kinetic sound installation that looks at the basic components of sound in the natural world. The installation consists of twelve mechanical sculptures that hold a clear bowl containing small metallic particles. As the bowl tilts and the particles shift, a spatial soundscape is produced.
Bring To Light is a project about online privacy issues. Nowadays online social platforms, such as Facebook, Twitter, Instagram, etc. have become more and more common. Many people are addicted to and rely on them. They share everything on these platforms, including daily lives, feelings, photographs and even their private lives. Originally these social platforms serve good purposes to link up different people and make a good use of the network. But is it still safe when people upload more and more private information to these networks? Will these platforms protect the information? WE DON T THINK SO.
This installation is a continuous attempt of exploring the correlation between sound, nature and the production of sound. In Particle Waves, the listening experience is closely tied to the visual experience, from motion to sound, allowing one to contemplate upon the sound that we hear in our natural world. 《Particle Waves》是一個動態聲音裝置，探討自然界裡聲音的基本構成。裝置包 括十二個機械雕塑，固定著一個載著金屬粒子的透明碗。當碗傾斜的時候，粒子 移動，製造出空間的聲景。 這裝置呈現了藝術家對聲響、大自然與聲響起源之間關係的研究，嘗試探索聲 音、自然、和聲音生產的關係。在作品《Particle Waves》中可以體驗到聽覺與視 覺經驗的緊密聯繫，由動作到聲響，引領觀眾思索在自然界所接觸到的聲音。
Artist s Statement 創作者的話 My work seeks to bring sound to the foreground, as a reaction towards the role of sound in contemporary cultures, and attempts to combine it with the visual in a sculptural way. My process often explores the physical phenomenon of sound in various ways that employs a multitude of simple mechanisms, resulting in a complex soundscape. My work process is tightly integrated with the use of various technologies, from using analogue motors that directly creates sound to digital audio synthesis. I am heavily involved in the technical aspects of my work because it helps me think and understand more. 我的作品希望讓人注意到聲音，以回應聲音在當代文化中的角色，並嘗試以雕塑 性的方式，將之與視覺結合。 我的過程經常以不同方法探索聲音的物理現象，當 中使用眾多基本機械裝置，創造出複雜聲景。 我的創作過程與各種科技緊密結合，由傳統摩打直接製造的聲音，到數碼合成的 聲音都有。在自己作品中，我在技術層面有很大的參與，因為經常會有新的啟發 和發現。
Juror s Comment 評審評語 A relatively simple technological apparatus and its coded operations are assembled to create a mechanic nursery, whose lively movements and granular sounds cannot help but associate with sea and sand, undulating breezes and the rustling of leaves. A compulsive aesthetics is evoked by this almost natural permutation of forms and forces. (Jeffrey Shaw) 作品運用頗為簡單的技術儀器，以多重編碼操作，編織成一首充滿器械風味的童 謠，生動的節奏與沙沙的聲音不禁讓人想起大海與沙灘、微風起伏、樹葉颯颯的 （邵志飛） 情景。種種形式和力量交織得近乎天衣無縫，營造出難以掩飾的美感。
《Bring To Light》是一個關於網上私隱問題的作品。現在網上社交平台大行其道， 例如Facebook、Twitter、Instagram 等等越來越普遍，不少人對它們無法自拔， 在這些社交平台分享一切，由日常生活、感受、照片以至於私生活。社交平台的 本意是好，讓不同的人互相連結，善用網絡。我們上載越來越多個人資料到這些 平台仍然安全嗎？它們會保障我們的私隱嗎？我們認為未必。
Artist s Statement 創作者的話 By having this project, we want to raise this issue and let the public have a chance to think and reflect. Would you rather keep on sharing yourself on the platform and leak your privacy? Or take action to stop it? Take your side and action. 我們希望透過作品提出這個問題，讓公眾有機會反思。繼續在社交平台上分享自 己、洩漏私隱？抑或採取行動制止？請決定你的立場，然後行動。
Juror s Comment 評審評語 Sixteen lockers. They promise stability, security, continuity. But all there are unsafe. What secrets are hidden behind their doors? If anyone can open them and read our feelings, our fears, our thoughts, for how much longer do we feel safe? Bring To Light shows that our lives are getting increasingly much transparent. Alone together. (Harald Kraemer) 十六個儲物櫃，保證能夠穩定、安全而長久，但實際上都不安全。櫃入面藏了 甚麽秘密？假如櫃門打開，我們的感覺、恐懼、思維被人知道，我們還能安心 多久？《Bring To Light》點出我們的生活越來越沒私隱，集體地孤獨。(Harald Kraemer)
7
Pro 親
Flat D D 室
Fu Yunxue Snow 傅韻雪 / China 中國
Silas Fong 方琛宇 / Hong Kong 香港
Work Description 作品簡介
Work Description 作品簡介
Pro is a video installation that reveals the simulated virtual environments within the structure of two curved white walls. Relating to the vertical framing motif of Chinese traditional landscape painting, Pro invites the viewer into a familiar but also unknown space of digital hyperreality.
In front of a door, someone is sitting on a chair. When you get close, this person greets you and asks if you want to enter. However, you are only allowed to enter alone, without your mobile phone, camera, electronic devices and books, etc. Inquiries about what is behind the door would not be answered. You would sign an agreement to confirm your decision at your own risk. After you enter, the door would be locked, and it would only be unlocked after 10 minutes. Every visitor is only allowed to enter the door once for the whole exhibition period.
《親》是一個錄像裝置，反映兩面白色弧型牆之間的模擬虛擬環境。 《親》令人想起 中國傳統山水畫的垂直度向，帶領觀眾進入一個既熟悉又陌生的數碼超真實空間。
Artist s Statement 創作者的話 My work began with traditional media and materials, but has evolved into an engagement with computer-rendered abstractions. Modeling my animations on the allegorical paintings of Casper David Fredrich, I discovered that his aspiration to explore the nature of physical and metaphysical limits mirrored a fundamental aspect of Chinese traditional landscape painting. Extending out from the pictorial, my installation work is engaged in a metaphoric relationship with physical perception, by which the sublime is framed and the viewer is invited to enter into a liminal interior within a digitally constructed realm. 我的創作始於傳統媒介和物料，後來發展到運用電腦製造抽象作品。當我效法 Casper David Fredrich 的隱喻畫作去創作動畫時，我發現了他探索物理和形而上 界限的野心，竟然反映著中國傳統山水畫的某種基本元素。從畫作延伸開去，我 的裝置涵蓋了一種物理觀念的隱喻關係，凝住昇華，帶領觀眾在數碼建構的國 度，進入一種分裂的內在。
Juror s Comment 評審評語 There is a gap, a crack in space beyond which another universe performs its visual raptures. Imagined landscapes, incandescent meteorological phenomena and inflamed cosmic disturbances constitute a sensually re-mediated world that lies along the vertical horizon of our gaze, extending beyond the periphery of our grasp. Ineffable. (Jeffrey Shaw) 太空裡有一道空隙、一道裂縫，隔著另一個色彩繽紛的宇宙。作品運用想像的風 景、白熾的氣象現象、火燒似的宇宙干擾，構想了一個以媒介重構的感官世界， 存在於我們目光的垂直視野，超出我們理解的範圍。效果妙不可言 ! (邵志飛)
門前，有人坐在椅上。你走近，他向你打招呼，問你是否想進入。但你只能獨自 進入，不能帶上手提電話、相機、電子用品、書等等。任何關於門後的查詢，均 不會回答。你會簽署一張同意書，確認一切責任自負。你進去之後，門鎖上，並 只會在十分鐘後開啟。每名參觀者在展覽期內，只能進去一次。
Artist s Statement 創作者的話 Fong works with moving images especially on video. With an intense interest in time and space, his research topics mainly explore the urban city life and subtleness in interpersonal relationships. His practice lies on visual art with a growing tension to media art. Recently he experiments with photography, text, light and space to build room installation to interpret time and boredom in terms of memories and subtle details. 方琛宇的作品以流動影像為主，特別是錄像。他對時間和空間極感興趣，研究課 題主要探討城市生活與人際關係的微妙。他的視覺藝術創作漸見與媒體藝術的張 力，最近嘗試以攝影、文字、燈光、空間建構室內裝置，以記憶和隱藏的細節， 詮釋時間與沉悶。
Juror s Comment 評審評語 Facehooked in a neverending small talk about vanities and addicted to the newest e-gadgets, games and rumours we are drifting among. Our yearning for ease of our mind as well as our fear to be alone even for a second, both are reflecting in Silas Fong s Flat D, this medialess chamber of torture. (Harald Kraemer) 我們的茶餘飯後話題總是華而不實，日常生活中充斥各種最潮的電子玩意、遊戲、 流言是非。我們渴望得到片刻心靈平靜，又極度害怕孤獨。《D 室》就像一所虐 囚室，反思上述種種問題。(Harald Kraemer)
8
Tree Guitar: The Trees, Our Blood Vessels
Autumn Rain
Yuto Hasebe 長谷部勇人 / Japan 日本
Samuel Yip 葉韋瀚、Thomas Ip 葉國棟 / Hong Kong 香港
Work Description 作品簡介
Work Description 作品簡介
In Asia, fretless string instruments such as Morin Khuur, Shamisen and Guqin use multiple strings to produce their unique oriental sounds, like the perfect pitch of the increasing C major scale C-D-E-F-G-A-B. But I am more concerned with natural scales influenced by the forms of nature, such as those occurring in the fractals. I have created a novel string instrument called the Tree Guitar that is strung with a branching-string. The performance is playing the Tree Guitar in a forest of, say, Japanese crowding trees or bamboos.
The Umbrella Movement broke out in Hong Kong in September 2014. Social networking platforms have been a catalysing force in this movement. Huge amount of feeds were streaming in various social media platforms rapidly. They include real-time news updates, personal thoughts and communications between protesters. The history is being written by everyone.
亞洲的無品弦樂器(fretless string instruments) 有馬頭琴、三味線、古琴等，以多 條弦線做出獨特的東方樂韻，例如 C大調音階的絕對音調 C-D-E-F-G-A-B。但我 更關注受自然形態（如分形）影響而衍生的自然音階。我創造了一件全新的樂器， 名為《Tree Guitar》，以弦線連起其他分岔開去的弦線，在日本的樹林或竹林中 演奏。
Artist s Statement 創作者的話 What can be seen in the eyes and what cannot be seen in the eyes. We recognise the structures in the outer and inner worlds at the same time. We can see the shape of a tree in a leaf, a branch and a root, but we cannot see the blood vessels running throughout the human body. However, with medical imaging techniques such as MRI, CT and X-ray, it is now possible to see them all. They share a common branching structure, and their morphogenesis may share the same rules. 肉眼所見和不能見的。我們同時認識外在和內裡世界的結構。我們從葉子、枝 幹、樹根看到樹的形狀，但卻看不見佈滿身體的血管。然而有了MRI、CT、X光 等造影技術，體內的血管一覽無遺。兩者都有同樣的分岔結構，他們的生成可能 有著同樣的規律。
Juror s Comment 評審評語 The artwork is a successful integration of the computational aesthetics in virtual world and the organic material of the nature. We often consider an interactive media artist as an instrument maker. It will be a good chance for us to experience the making and performance of this instrument. (Bryan Chung) 作品成功結合了虛擬世界的電腦程式美學和自然界的有機物料。跨媒體藝術家往 （鍾緯正） 往就像個樂器製作人一般，作品讓人體驗這件樂器如何製作和演奏。
Autumn Rain is an interactive installation transforming this movement into an immersive environment based on the feeds activity log. Visitors spectate the movement by reading the published feeds dropping on the umbrella, like gazing at the raindrops slipping away on it. 2014 年9月雨傘運動在香港爆發，社交網絡平台一直是運動的催化劑。大量消息 在不同社交媒體上發放，包括即時新聞、個人感想、示威者的溝通等。每一個人 都在編寫歷史。 《Autumn Rain》是一個互動裝置，按著社交平台上的動態消息紀錄，將這場運動 轉化成一場虛擬的雨。動態消息不斷散落在雨傘上，觀眾透過閱讀它們來觀察這 場運動，猶如望著雨點在傘上流過。
Artist s Statement 創作者的話 In June 2014, we prepared and documented this installation. The concept was to let visitors experience an immersive environment of large amount of feeds on social network platforms in real-time. The emphasis is on the speed of news feeds data flow in this digital dominated era. In September 2014, the Umbrella Movement broke out in Hong Kong. As Hong Kong citizens, we think we have the responsibility to focus our work on it, so we started collecting feeds and information from the beginning of this movement. At the time this statement is written, the Umbrella Movement is still going on, and so is this work. 2014 年6月，我們已準備和紀錄這個裝置作品。社交網絡平台上有大量動態消 息，當時的概念是希望參觀者能實時體驗由此構成的沉浸式環境，在這個數碼主 導的年代中，動態消息如何以高速流過。 到2014 年9月，雨傘運動在香港爆發，作為香港人，我們認為有責任把作品的注 意力集中在這場運動之上。因此我們自雨傘運動之初，便開始收集社交平台上有 關的動態消息。在執筆之際，雨傘運動仍然繼續，這件作品也是。
Juror s Comment 評審評語 It reminds me of Text Rain by Camille Utterback and Romy Achituv, one of the classic interactive artworks in the last century. At the same time, the loneliness of the participant holding an umbrella against the constant bombardment of the news feeds, and yet weightless as it is, offers us room for a poetic reflection of the Umbrella Movement in Hong Kong. (Bryan Chung) ，那是上世紀互 作品讓我想起Camille Utterback 和 Romy Achituv 的《Text Rain》 動藝術一大經典之作。作品的參與者孤獨地手持雨傘，對抗動態消息的不斷轟 炸，卻又輕如鴻毛，寫出對雨傘運動充滿詩意的反思。 (鍾緯正 )
Besides ifva Media Art Exhibition CINEMA 2.0: Hard Cinema cum The 20th ifva Awards – Media Art Category Finalist Exhibition, many other festival events are taking place in February and March, including: Indie is... Hong Kong Independent Short Films 1995 – 2014 | 20th ifva Awards – Short films, Animations, Award Ceremony | Filmmakers and Artist Discussions | Workshops | Creative shorts by local students and ethnic minority youths | New Action Express Short Film Highlights 今年 ifva 踏入第二十屆，除 ifva 媒體藝術展 CINEMA 2.0: 硬電影 暨 第二十屆 ifva 比賽媒 體藝術組入圍作品展以外，更多精彩節目將於二、三月期間登場！當中包括：
www.ifva.com/Festival
「獨立是…」本地獨立短片二十年金獎列陣 | 第二十屆 ifva 比賽本地及亞洲入圍短片及動畫 放映、頒獎典禮 | 導演及藝術家分享會 | 工作坊 |「影像無國界」少數族裔學員創意影片放 映及本地青年導演拍攝計劃 「香港短片新里程」 | 佳作巡禮
About ifva Organised by Hong Kong Arts Centre, ifva is an Incubator for Film and Visual media in Asia (formerly the Hong Kong Independent Short Film and Video Awards). Founded in 1995, ifva serves as a platform that actively promotes and encourages creative talents in Asia, making short films, videos, animation and media arts. With a cutting-edge vision and highlight independent spirit, ifva has evolved to promote different visual cultures while exploring the boundless potential of creative media. In addition to the annual competition and festival, ifva curates a host of programmes under two initiatives, Cultivation and Engagement . By connecting creative communities all over the world, ifva aims to engage everyone in the art of creation. ifva is also a core event of Entertainment Expo Hong Kong.
關於 ifva 由香港藝術中心主辦，ifva 是一個旨在推廣香港及亞洲獨立影像媒體創作人的搖籃及推手。 始於 1995 年，ifva 前名 ，以比賽為平台，歷年來造就了不少本地及國際上舉足輕重的電影及媒體創作人，涉獵 為「香港獨立短片及錄像比賽」 的範疇包括短片、錄像、動畫及媒體藝術。本著突破框框的信念和強調獨立精神，ifva 一直蛻變演進，推動各種影像 的文化及探索創意媒體的無限可能，除一年一度的比賽和 ifva 節，更著力舉辦「創意策動」及「全民參與」兩大範疇下 的各種計劃，旨在承傳獨立精神，連結創意社群。ifva 亦是每年香港影視娛樂博覽的核心項目。
About CINEMA 2.0 A joint venture with local media art collective art.ware, CINEMA 2.0, an extended arm of ifva Festival since 2011, recognises new trends of converging technologies and embraces new hybrid approach of cinematic production. The term and concept signifies a transmedial practice of filmmaking that aims to experiment with new creative expressions and technologies of cinema. Cinema 2.0 suggests a future-oriented attitude, beyond mere technological advancement, in thinking, developing, producing and presenting cinema.
關於 CINEMA 2.0 CINEMA 2.0 由本地媒體藝術團體 art.ware 和 ifva 共同策劃，自 2011 年起成為 ifva 的延伸項目。CINEMA 2.0 肯定了 不同科技融合的新趨勢。CINEMA 2.0 既是名稱也是一種概念，標誌著跨媒體電影創作的實踐，是進行嶄新創意表達 手法的和電影科技的實驗。CINEMA 2.0 是在技術、構思、發展、創作以及呈現電影方面，蘊含著展望未來的態度。