I SEE International Video Art Festival 国 际 艺 术 影 像 节
PROGRAM 3: THE FORCE OF ARCHITECTURE 建筑的力量
Total Duration: 77 MIN
总时长 77 Min
Since the dawn of time, humans have erected buildings, walls and monuments with powerful intentions and motivations. Cities are man’s answer to nature, a world shaped by human thought. The organization of most societies demands physical walls and doors. Architecture from deep time up until the present day defines hierarchies and transitional spaces. Artists have always questioned these very visible and physical borders from the inside and outside. This program is taking a closer look at the level of national representation of architectural form, its value for future generations, virtual aspects of newly-designed structures and the inscription of memory into architecture.
从文明诞生之时，人类便建造了各种不同形态，不同功能的建筑、围墙和纪念碑，城市是人类对自然探索的产物，是人类主观意识的产物。几乎所有的社会构成都离不开四壁和门窗。从古至今，建筑都定义着我们的社会阶层和内外有别的生活。众多艺术家开始对这些可见的物理边界，对墙内和墙外的世界提出疑问：这些建筑对下一代人是否具有价值？记忆是怎样被铭刻在建筑中的？人类为何树立领袖纪念碑？公司会代替国家掌控未来的边界吗？
ARCHITEKTURA 建筑学
Ulu Braun / 15 min
Rather than reinventing the wheel, Ulu Braun re-envisions the structural potential of the brick, in this revisionist fable of mankind’s urbanization of our planet. Employing playful and visually dense digital collages, Braun’s associative tableaux collates an alternative vision of our world, where nature invades the urban, and vice-versa. We are transported by a comforting narrator through postapocalyptic, post-capitalist habitats, where the material co-exists with the metaphysical, the literal alongside the figurative. “Architektura” echoes our civilization’s childlike ingenuity in creation and destruction, as we question the inheritance we pass on to our future generations.
与其创造一个前人已经发明过的东西，不如自己琢磨出些新点子。在地球城市化的修正主义论调愈演愈烈之际，艺术家重新设想了砖在结构上的潜能。通过运用充满视觉趣味的数字化拼接，艺术家对场景的重组为我们描述了世界的另一种幻象。在这个世界里，自然侵犯着城市。我们沉醉于叙述者关于后世界末日，以及后资本主义栖息地的描述，在那里物质与超自然并存，写实与抽象共生。《建筑学》影射在创造与毁灭上，人类文明所展现的独特性，因为我们质疑，我们究竟会给后代留下什么样的文化遗产。
ESCAPE POD 逃生舱
Jonathan Monaghan / 20 min
“Escape Pod” is based on hunting mythologies of the Greek and Nordic traditions. It captures the journey of a golden stag that roams modernist spaces of authoritarian confrontation and material excess. Lavish bedrooms, airport checkpoints, and a luxury riot gear boutique are encountered. Composed of one continuous tracking shot, the journey imagines a new reality devoid of human bodies, left only with material desires and ambitions of power.
《逃生舱》改编了希腊和北欧传统的狩猎神话。这是关于一头金色的鹿漫步在对抗权利和物质过剩的现代空间的一次旅程。豪华的卧室、机场检查站和一个奢华的防暴精品店依次出现。旅程由一个连续跟拍镜头构成，设想了一个缺乏人的存在，只留下物质的欲望和权力的野心的新现实。
MEIN HUTONG (MY HUTONG) 我的胡同
Jie Jie Ng 黄洁洁 / 11 min
The Hutongs in Beijing contain a special atmosphere. As an overseas Chinese who has never lived in China, the artist has nevertheless found a way to identify with these places. After the experience of re-visiting them as a foreigner, the artist imagines some myths coming alive in the Hutongs. Even though buildings and artifacts disappear in the face of modernity, myths remain and preserve our collective memory.
北京的胡同有一种特殊的气场，尽管艺术家是一个从来没有在中国生活过的华侨，但是他依旧能通过某种方式与这些地方交流。作为一个外国人再一次拜访北京的胡同后，艺术家产生了奇思妙想，好像看到了神怪穿梭于胡同之间。即使这些老建筑，老物件在现代文明中逐渐消失，那些光怪陆离的故事却依旧保留在我们的集体记忆中。
FIGURA 菲古拉
Katarzyna Gondek / 9 min
It is white and windy all around. A gigantic figure emerges from behind the snow curtain and hits the road. It passes through towns, villages – and lands on top of a hill, next to spiders, saints and bumper cars. FIGURA is a surreal tale about creating myths, about religious kitsch, and about the desire for greatness. Who is our protagonist? The world’s largest sacral miniature park resident. A gigantic contradiction.
四周白茫茫一片，一个巨大的身影从在远处的雪雾中浮现出来，撞向公路，它穿过城镇，村落，最后轰然停在山顶上，与蜘蛛，圣人和碰碰车作伴。《菲古拉》讲述的是一个关于创造神话的超现实故事，一个关于宗教媚俗和追逐伟大的故事。我们追随的人在何处？他就住在世界上最大的圣礼微缩公园。该片入围 2016 年美国圣丹斯电影节。
THE MARBLE WORKERS 菲古拉
Chiu Chen-Hung 邱承宏 / 9 min
In “The Marble Workers”, two Thai workers push a mine trolley through a marble factory in Eastern Taiwan as a gesture of interaction with the space. It is an attempt to rewrite a choreography about memory by reconnecting histories. These old-fashioned mine trolleys were once utilized for long distance transportation in the mines, but are today all replaced by new crane models. For the video the artist repaired and renovated the old mine trolley and gilded the surfaces. The journey of the trolley connects the factory, disused mine districts, worker dormitories and mining tunnels. The light gently reflects from the gold leaf, the machineries and other objects as they travel through time an space.
作品讲述台湾东部大理石矿场的两名泰国籍劳工，用矿场的工作车与场所进行了一次的互动。在这过程中，他们试图书写一篇关于记忆的地志学。作品中出现的小车在过去一度肩负着长距离运输的功能，今天已逐渐被吊车取代。艺术家将车加以修复改造，并在车身裱满金箔，小车一路经过了不同的地点：山区废弃的矿区、曾经的劳工宿舍、挖掘隧道，金箔反射的光与矿场的工具相互映照，拼凑出一段关于记忆和现实层叠的旅 程。
YOU ARE THE CENTER OF THE WORLD 你是世界的中心
Julia Charlotte Richter / 15 min
“And all, all, all was nice and good” is the last sentence, sung by a chorus of middle aged men, that opens “You are the Center of the World”. A horse walks around, the hooves clatter in the courtyard of a pretty detached house. Three young men look around and wander through the streets of a village. Finally, they find themselves in a living room and remain in there. All they can do is wait and listen to the silence. Where are all the other people? Out there, something is wrong, for sure.
一匹马在四处走动，一个漂亮的别墅庭院传来清脆的马蹄声。有三个年青人环顾四周，百无聊赖在街上散步。最后，他们发现自己身处于一个客厅，在那儿他们所能做的就是静静地等待和倾听，其他人都在哪儿？室外总让人感觉不大对劲儿。小镇变成了这三个当地青年的舞台，他们的一举一动被摄像机和表演记录着。