2010年4月29日 星期四

March 14, Hong Kong Coliseum

作品名稱:《3月14日,紅墈體育館》
時間:7分43秒
呈現方式:雙頻道錄像裝置
創作年代:2009年
音樂製作:方彥翔

作品簡介:
《3月14日,紅墈體育館》的作品計畫是隨著馬來西亞華人歌手梁靜茹的巡迴演唱會做拍攝,隨著該次巡迴演唱會前往上海、香港、台北、新加坡、馬來西亞、北京、廣州、昆明、成都等幾個亞洲不同的城市做拍攝,並邀請梁靜茹配口白。拍攝巡迴演唱會的過程,同時也是旅行,透過旅行結合拍攝,不再是創造一個想像世界並讓它具有自明性,或是創造一個事件,而是去發掘特殊的地點,透過聚焦在大眾未知的時刻,我所做的只是把它介紹給大家,雖然時間空間是真實的,但影像輕微的扭曲了現實,使這特殊時刻成為傳說。

在這裡,一個龐大的娛樂產業開始以泛亞洲的方式做發行,演唱會內部的舞台、燈光、曲目在每個地點相當相似,但卻是在不同的城市之間發生真實的移動,於是巡迴演唱會的場景,發生了全球化與地方性的激烈作用。在梁靜茹的口白中,從作為一個歌手的自身經驗,開始對於聲音有了種種描述,同時也開始透過聲音轉喻為對於城市的想像。影片拍攝的是一個空無一人的演唱會現場,真實的事件,卻如同一個龐大且虛構的場景,在此,演唱會作為一個全球化的表徵,透過作品的處理而逐漸偏航。

作品由兩個影像同步播放構成,一個為單面觀看的正向投影,影片拍攝的地點是香港,由較短的鏡頭組成,同時包含字幕以及梁靜茹的配音,敘事性較強。另一個影像為背投影的雙面觀看,拍攝的地點是上海,鏡頭的長度較長,包含背投影布幕輕盈的材質,相較於香港的敘事性影像,性質上更接近一種影像物件。空間內安置紅地毯 (取自演唱會現場的地毯),演唱會的現場是一個無人的場景,使觀眾連結影片空間的講述工作,在存在的空間之間去默想(兩個不同城市影像與展場空間)。兩個不同城市的影像在同一個展覽空間內呈現,召喚一種鏡外空間,一個遠比影像本身還廣大的範圍(世界作為成堆的鏡外空間)。

Title: March 14, Hong Kong Coliseum
Total running time: 7 minutes and 43 seconds
Presentation: double-channel video installation
Year: 2009
Music supervisor: Fang Yan Xiang

Description:
Narrated by Chinese Malaysian singer Fish Leong, the project “March 14, Hong Kong Coliseum” follows her tour through different cities in Asia, including Shanghai, Hong Kong, Taipei, Singapore, Malaysia, Beijing, Guangzhou, Kunming, and Chengdu. Shooting the tour involved a lot of time spent traveling. The traveling and shooting did not create a self-evident world of images or events. Instead, it resulted in the discovery of extraordinary locations. By focusing on a time or location unknown to the public, I am introducing it to them. And although the time and the spaces are real, the video slightly distorts reality, and the moments themselves become myths or legends.

Here was a huge entertainment industry with a pan-Asian approach. The tour moved from city to city, and wherever it went, the stage, lighting, and songs at each event were similar, and each concert scene was also a confrontation between globalization and local cultures. As an experienced singer, Fish Leong’s voiceover describes various sounds, which she interprets as metaphors for the cities she visited. Even though they hold real events, the filmed, empty concert venues seem enormous and fictional. Here, the concerts represent globalization, but the video work makes this connection drift apart.

“March 14, Hong Kong Coliseum” consists of two channels. One is a single channel video directly projected onto the screen. Shot in Hong Kong, this more narrative-like video is presented with quick cuts, subtitles, and Fish Leong’s voiceover. The other one video is projected onto both the front and the back of the screen. This video, shot in Shanghai, feature longer cuts, and are projected onto lithe and soft screen material. Compared to the narrative images shot in Hong Kong, the Shanghai videos are more like “image objects.” The exhibition space is lined with a red carpet, and the screens display empty concert scenes. Within this setup, the audience responds to the narrative and meditates in a real space (with two images from different cities inside the exhibition room). These two different images of cities presented in one exhibition space introduce the off-screen -- a larger world beyond the images themselves (i.e., the whole world off-screen).







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