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牛房讲场 Symposium OX Warehouse
5月25日(星期日)下午6时
25/5 /2008 (Sunday)18pm
时间观The Sight of Time *
Robert Cahen录像放映活动Films and Videos by Robert Cahen
主讲嘉宾 SPEAKER
Robert Cahen
Robert Cahen 是实验录像创作领域中最著名的艺术家之一。Robert Cahen 欧洲艺坛的种子人物，在实验影片界已奠定了巩固的地位，并被视为是举足轻重的人物。
Robert Cahen is a seminal figure in the European art realm and is firmly positioned and widely regarded as one of the most important personalities in the field of experimental video.
免费入场 Free Admission
相关数据请浏览 / Please find the regarding information
http://www.alliancefrancaise.com.hk/en/culturel/french_may/2008/video/video.htm
http://www.alliancefrancaise.com.hk/paroles/numeros/213/02.html
Robert Cahen programme
Juste le temps (Just Enough Time) 刚够时间
Video 录像 –1983 –13 mins
Produced by INA
Acoustic design: Michel Chion
A landmark for video intheeighties. A fragment from a journey in which metamorphosed landscapes become the actors of a story which, between the lines, tells of the possible meeting between two beings. The limits between the external landscape and the interior of the compartment, between sleep and wakefulness, between sound and silence, and even between the characters, fade out totally. The idea of passage, which is so well illustrated by the train journey, pervades the whole story. (Source: Sandra Lischi, The Sight of Time )
这作品是八十年代录像艺术的里程碑。是一个旅程的片断，变形的风景成为故事中的演员，在故事的字里行间讲述两个生物可能的相遇。是有关存在于车外景色和车厢的内部、睡与醒、声响与寂静之间的界限。整个故事弥漫着过渡的观念，而火车的旅程正好将这观念完美的表现出来。﹙摘自Sandra Lischi的著作《The Sight of Time》﹚
Voyage d'hiver (Winter Voyage) 冬天之旅
Video 录像 – 1993 – 18 mins
Collaboration Angela Riesco
Music: Christine Groult
While on a trip to Antarctica, the director filmed glacial landscapes, bluish blocks of ice floating in the sea along with images of phantom boats and mysterious glimpses of people who seem more like apparitions. Through digital editing, these images constitute a new universe, one that is quite abstract and often disquieting.
Robert Cahen在一次到南极旅游时拍摄了冰川的景色，影片中看到一些浮在海面上浅蓝色的冰块，同时出现的还
有一些如幽灵船和几个如幽灵般不可触摸的人物的影像。这些影像经过数码处理后形成一个崭新、抽象和往往令人不安的世界。
Hong Kong Song 香江颂
Video 录像 – 1989 – 21 mins
In collaboration with Ermeline Le Mézo
Produced by INA, La Sept, FR3
Cahen writes that Hong Kong Song is an exploration of "the sonic identity of Hong Kong, its space and architecture. Modern China merges with ancient China; the reality of this city sounds and resounds from image to image, revealing a multi-faceted vision". Produced within the context of "Urbasonic 88", an artistic and scientific project of the French research studio Espaces Nouveaux, this work manifests Hong Kong's frenetic urban rhythms, its people, and its natural environment through a synergy of time and space, aural and visual textures.
C a h e n 表示， 《香江颂》是对香港的“声音的身份、空间及建筑物进行探索。现代中国与古代的中国融合；这城市的实况回响于影像与影像之间，呈现出一种多角度的视野。”这作品是法国新领域研究工作室为一项名为Urbasonic 88的艺术和科学计划所作之研究的一部份，这计划透过时间和空间、听觉和视觉触感的协同作用，将香港狂热的都市节奏，它的居民和大自然环境呈现示出来。
L'étreinte (Embraces) 紧握
Video 录像 – 2003 – 9 mins - B&W
Produced by Boulevard des Productions
Music: Francisco Ruiz de Infante
Light creates movement. This film uses black and white as a revealing element. Something is happening here between death, love and ecstasy. Appearance, disappearance, breathing rhythms; we hear the time that passes connecting and disconnecting our impressions.
光线营造出来的动态。本片以黑白作为揭露真相的元素。这里，在死亡、爱和狂喜之间发生了一些事。出现、失踪、呼吸的节奏；我们听见流走中的时间正在将我们的印象连接和切断。
合办 / Co-organization：
婆仔屋艺术空间 / Old Ladies’ House Art Space
澳门法国文化协会 / Alliance Française de Macao
香港法国文化协会 / Alliance Française
赞助 / Sponsor：
民政总署 / IACM
支持 / Supported
FRAC Alsace
Art Viedo Heure Exquise !
An Event of
法国五月Le French MAY
CREB 装置创作伸一伸．展 创作演员作品展
A retake of CREB Installations’ Creation ----- Installation Exhibition by Performers of CREB:
Camp Response Element-Binding
展期 / Exhibition Period：
11/5/2008—8/06/2008
展览地点 / Location :
牛房仓库二楼 / 2 nd Floor , OX Warehouse
参加者名单 / Participating Artists:
林咏欣 Lam Weng Ian
陈妙芝 Chan Mio Chi
张楚诚 Cheong Cho Seng
关若斐 Kuan Ieok Fei
冯晓华 Fong Hio Wa
2007 Fringe Macau澳门艺穗节的其中一个演出──“CREB反应结合蛋白”，聚集了几位「创作演员」，他们除了在天台进行形体创作外，同时创作了他们的第一件装置艺术作品。「创作」到底是怎么一回事？常常听到大家在论讨这个话题，而我，则认为「创作」可以有很多不同的化身，它可以是严肃的、可爱的、美丽的、灿烂的、丑陋的、闪烁的、轻松的、自由的或者是压抑的；在创作里呈现的每个化身，都是艺术家的选择、判断和表达，也是源自创作者对生活的想法。
故事的开始，是这几位创作演员和我在讨论装置艺术是什么？他们对城市的看法和记忆是什么？即使这些演员主要的经验是在舞台上，但从“CREB反应结合蛋白”的创作过程里，我们探讨关于艺术创作、概念的表达、主题探讨，以至物料运用等不同面向的问题，对于我个人，也是一种成长的机会；这次在牛房的展览，除了想要尝试以更多不同的方式表达，展现这群年青人是怎样以他们的记忆回顾与展望自己生活的城市外；更重要的，则是希望能承着上次的创作经验，让这些对城市的关怀，能有进一步的表达和发展的空间。
策展人
简佩茵
“CREB反应结合蛋白”是去年(2007)自己在艺穗节中一个有点“不象话”的尝试，由于很想念小时候的天台和那段时光的城市，因此想进行一个让观众用望远镜观看，而演员在一个天台上进行的演出，但实行起来发现困难重重，在反复思考其它可行方法的时候，几个想法又同时作崇──“为什么表演一定要有“演员”？一定要有“东西”可看？表演一定要在现场进行吗？演出可不可以是“己经完成”就像记忆一样？．．”之类似乎系食滞咗才会想的问题，结果，一个没有演员在现场表演的关于天台和城市记忆的“演出”就出现了。
整个过程与过往的演出很不同，值得记录一下：制作人员帮忙一起找来几个天台，我和一班演员再加上负责拍摄的Bianca(李少庄)，在一天之内，拍下几名演员在天台上的个人表演，然后我和Bianca各自回家做剪接，演员则进入另一阶段──进行个人装置创作。
演出那天，观众不会在现场（天台）看到演员表演，只看到由演员创作的装置作品（演出的延伸），而观众在各个天台亲身感受现场环境后，回家再通过DVD机（代替最初构想的望远镜）看天台上的演出（日间的经历己经成为记忆的一部份）。演出己经消失，如同『天台』作为城市中曾经存在的一些美好特质的载体，观众是在观赏一个己经消失的『演出』，牵连带动回想一些己经消失的城市感觉。
这是一个和之前自己所做都不同的“演出”，对我自己来说，好玩是能把一些抽象的想法很具体地实行出来了，那个过程是很有趣的，尤其看到演员所做的装置作品，很惊讶她们可以这么费心思来实验自己的一个也是很抽象的想法，对我来说，这就是实实在在的“创作”，我被我的演员所感动，因此，和阿简(简佩茵)再构思了一个让创作再伸一伸的展览，故事还没有，好玩的才刚开始，如果我们的城市，我们的生活，毎一天也像这样，是一个可以不断延伸的创作．．就好了！
导演
李锐俊
A retake of CREB Installations’ Creation
Installation Exhibition by Performers of CREB: Camp Response Element-Binding‘CREB: Camp Response Element-Binding’ was premiered at the Macau Fringe Festival 2007. A group of ‘creative performers’ presented imaginative dance movements, creating simultaneously their first installation on a few rooftops, used as artistic venues. What on earth is ‘creation’? This is an often discussed topic. From my viewpoint, ‘creation’ stands for many incarnations, which can be serious, lovely, beautiful, resplendent, ugly, glittering, light, free or oppressive; any incarnation in any creation is always a result of the artists’ choice, judgment and expression, while reflecting their philosophy of life.
This story was started by discussions between the performers and me, about installation art and their views and recollections of the city. Despite their experience being focused on the stage performance, during the creation of CREB we explored together a wide variety of different topics regarding artistic creation, the expression of concepts and themes as well as the use of materials, all of which I found personally rewarding. Through this exhibition in Ox Warehouse, we not only try to explore different expression modes, trying to show how the CREB performers look back on and look forward to their own city through their reminiscences. But we also aim to develop further the last CREB performance, so as to offer the artists a space to better express and increase their care and concern for the city.
Kan Pui Ian, Curator
‘CREB: Camp Response Element-Binding’ was my ‘extravagant’ attempt at the Macau Fringe Festival 2007. Since I missed my childhood rooftops and the old days of the city, I conceived such a performance: audience watch from a distance with binoculars while artists perform on rooftops.
But the concept proved very difficult to stage. While thinking about some solutions, silly questions came to me: “why there must be ‘performers’ at all in a performance? Why must we always see ‘something’? Why must we see a performance ‘on a spot’? Can performance just be ‘done’, like recollections of memory?” After elaborating on these, I came up with the idea of a performance about rooftops and memories of the city, without performers or venues.
This completely different performance approach is worth of a note: the production team found several rooftops where each performer’s individual act was filmed by the performers, the photographer Bianca Lei and me. Bianca and I then edited the films, while performers moved on to another stage – to create their own installations.
On the performing day, the audience did not see the performances on the actual venues (rooftops), but instead the performers’ creation of installations (as an extension of the performance), which drove viewers into a personal feeling of the ambience. Then at night (when the daytime experience had become already a reminiscence) they would see the rooftop performances at home with DVD players (as a substitute for the originally conceived binoculars). Once finished, the performance would thus vanish, just as the former ‘rooftops’, once carriers of some beautiful things, had disappeared from the city’s skyline. The audience was witnessing a vanishing ‘performance’, reminiscent of some feelings about the city which are there no more.
This was a ‘performance’ completely different from all my previous ones. For me, it meant lots of fun, as I was able to put some of my very abstract concepts into practice. The whole process was indeed very interesting. It was particularly a high moment to see the performers’ installations. Their dedicated efforts to join my testing of romantic abstractions left me astonished. This was to me a truly tangible ‘creation’, in which I was moved by the performers.
Therefore, Kan (Pui Ian) and I design again this exhibition, as a retake of the original creation.
The story is yet to start and the fun just begins. If every day in our city and life could be an extensible creation, how fantastic it would be!
Jane Lei, Director of CREB Camp Response Element-Binding
主办 / Organization：
婆仔屋艺术空间 / Old Ladies’ House Art Space
赞助 / Sponsor:
民政总署/ IACM
澳门霍英东基金会 / FUNDAÇÃO HENRY FOK
地点 / Venue：牛房仓库OX Warehouse
(美副将大马路与些喇提督大马路交界/ No Cruzamento entro a Avenida do Coronel Mesquita e a Avenida Almirante Lacerda Macau)
开放时间 / Opening time：(12:00 ~ 19:00, 逢星期二休息 / Closed on Tuesdays)
查询 / For enquiry：28530026
E–mail：oxwarehosue@gmail.com
Website：http://oxwarehouse.blogspot.com
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