PIPELINE Issue 47 March / April 2015
INTERNATIONAL CONTEMPORARY ART MAGAZINE BASED IN HONG KONG
DREAMS
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Gabriel Barredo Dana Harel Marina Cruz Youki Hirakawa Tsang Kin-Wah and more...
HK$ 65 EUR 6 US$ 8.50
Popular Cinema 流行影院 Institute of Contemporary Arts Singapore (ICA) 原文 Ruyi Wong
Singapore by Singapore: From myth to neon realism January 24th 2015.
A short film on the May 13 generation by Jason Soo, 2014. Video still, 19’25”. © the artist. Courtesy the artist and Institute of Contemporary Arts Singapore.
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Left page Sunsets of another world by Kevin Foong, 2010. Video still, 1’00”. © the artist. Courtesy the artist and Institute of Contemporary Arts Singapore. This page Sunshine Singapore by Rajendra Gour, 1968-72. Still,16 mm film, 6’47”. © the artist. Courtesy the artist and Institute of Contemporary Arts Singapore.
On January 24th, the Institute of Contem-
with Liao Jiekai’s Bukit Orang Salah (2013),
to her taste for controversial points in
於1月24日，新加坡當代藝術學院（ICA）
去的天際線，亦成為整個放映的結幕。透
場面調度瓦解了時間和空間，讓人記起其
porary Arts Singapore presented Singa-
with its ominous final scene of Singapore’s
national history.
呈獻《新加坡看新加坡：從神話傳說到新
過追溯新加坡的面貌——從紅樹林到大都
他歷史時期和歷史人物，例如哥倫布、三
pore By Singapore: From Myth To Neon
urban skyline from the perspective of the
現實主義》（Singapore By Singapore:
市，實現了一個近乎觸覺的體驗。這是一
寶太監鄭和，還有萊佛士爵士，揭露了國
Realism, a screening of nine Singaporean-
uninhabited Saint John’s Island. By tracing
Ho Tzu Nyen’s Utama – Every Name in
From Myth To Neon Realism），由 Silke
個包含感性層面的影院新體驗，更抽象模
家主權和神話傳記之間複雜的交叉點：歷
made films and videos, curated by Silke
a portrait of Singapore from mangrove to
History is I (2003), a historical melodrama
Schmickl 和 Nicole Brenez 策劃，放映
糊，而不是講故事而已。
史、摩擦、權力、偏見和希望。
Schmickl and Nicole Brenez. The films
metropolis, the programme proposed a
about Singapore’s pre-colonial founder,
了九套新加坡電影和影集，於ICA的公共
were shown on a six-metre-wide screen
nearly tactile experience – a new sensual
Sang Nila Utama, and his early mythic
空間裡的六米寬的大銀幕呈現。與其說觀
於陳彬彬的《八月九日》（9 August）
考慮到難以在畫廊空間裡讓觀眾細味這些
dimension of the cinematic experience,
presence and experiences on the rustic
眾來到了畫廊，不如說來到了流行影院。
（2006），從1965年，新加坡獨立那年
藝術作品，策展人偏好社區影院、自由戶
exhibition more about popular cinema,
more ambiguous and abstract, rather than
island, is heavy on the identity politics of
起，藝術家花了41年去拍攝新加坡國慶巡
外的模式來進行展覽，模仿睦鄰團結和節
rather than a gallery experience.
storytelling.
national history. Ho’s theatrical mise-en-
展覽裡的電影題材多樣，由不同年代和風
遊，並透過片段整合並置，賦予國慶巡遊
日儀式的感覺。
scène collapses time and space by
格的導演執導。以下為大家介紹有份於
一個崩壞的意味。在華麗的巡遊背後，有
in the public space of the ICA, making the
A display of films from directors of different
In Tan Pin Pin’s 9 August (2006), the
invoking other historical periods and
是次展覽的導演，其中包括老牌製片人
人看到一成不變的舞蹈表演和軍隊和軍用
generations and styles included work from
artist took 41 years of footage of
figures, such as Christopher Columbus,
Rajendra Gour，他從60年代起便開始
飛機出場的豪華典禮。標著「效率」、「
veteran filmmaker Rajendra Gour, one of
Singapore’s National Day parade, since
Admiral Zheng He and Sir Thomas
電影製作，是新加坡最早的獨立製片人之
發展」、和「和諧」的標語牌無處不在，
Singapore’s earliest independent
independence in 1965, and gave it a
Stamford Raffles, exposing the complex
一；年輕一代的知名製片人，如陳彬彬和
效果諷刺，將這個慶典變成了一場「馬騮
filmmakers, whose career began in the
sinister meaning through combinations
intersections between state’s authoritative
何子彥；新興的製片人，如 Nelson Yeo
戲」。陳彬彬的作品反映了她對新加坡歷
1960s; from a younger generation of well-
and juxtapositions. Beneath the sheen
and mythical versions of history, fiction,
和Wesley Leon Aroozoo。影片按照時
史的爭議點。
known filmmakers such as Tan Pin Pin and
of the parade, one sees the unchanged
power, bias and hopes.
序放映，Gour 製作的無聲16毫米電影《
Ho Tzu Nyen; and from emerging names
patterns of heavily choreographed shows
陽光新加坡》（Sunshine Singapore）
何子彥的《Utama – Every Name in His-
such as Nelson Yeo and Wesley Leon
and lavish assembly of military troops and
Considering the difficulty for audiences of ap-
（1963-72）最先呈現大銀幕，拍下了新
tory is I》 (2003)，是一套關於 Sang Nila
Aroozoo. The films were screened
aircraft. Ubiquitous placards carrying the
preciating time-based art within the confines
成立國家的日常運作與充滿希望的影像。
Utama 的歷史情景劇。他在新加坡殖民
chronologically, starting with Gour’s silent
words “Efficiency”, “Progression” and
of a gallery space, the curators favoured a
廖捷凱的《Bukit Orang Salah》 （2013
時期前發現了新加坡，神話般出現在這個
16mm film Sunshine Singapore (1963-72),
“Harmony” create a satirical effect,
community-cinema, free format outdoors,
）中，最後一幕意味不祥，定格於新加坡
鄉野島嶼上，在這裡有神話般的經歷。電
which captured images of a nascent nation’s
rendering the celebration a circus freak
emulating civic and neighbourly together-
的天際線，從無人居住的聖約翰島看過
影著墨於國家歷史的身份政治問題。何的
daily life and hopeful future, and closing
show. The filmmaker’s oeuvre is pinned
ness and the rites of popular festivals.
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