跳格 2022 裝置、展覽及演出 |城市當代舞蹈團 Jumping Frames 2022 Installation, Exhibition and Performance |CCDC

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1/9 - 2/10 香港逸東酒店 4 樓藝廊 Tomorrow Maybe, 4/F Eaton HK 裝置 、 擴延展覽與 演出 INSTALLATION, EXHIBITION AND PERFORMANCE 擴展的空間: 破裂重序 擴展的空間: 破裂重序 擴展的空間: 破裂重序

Expanded Space: Body Dis-ordered 擴展的 空間: 破裂 重序 「擴展的空間」乃「跳格」從電影院延伸至展覽空間的 單元,將身體與影像的關係重新配置。本年度展覽名 為《破裂重序》,嘗試探索身體與機器、數碼系統等的 破裂失序,並如何通過錄像、裝置及表演藝術來接連與 聯繫。 The title of the ‘Jumping Frames’ Expanded Space 2022, Bodydis-ordered is a tangent coined out from the festival main theme this year: Body Non Body. The exhibition explores the dysfunction of both human body and the mechanical/ algorithmic system, and how they collide with each other in the language of video, installation and performance.  裝置及展覽 Installation and Exhibition 早上 11 時 – 晚上 9 時 (免費入場) 11am - 9pm (Free Admission) 現場演出 Live Performance 2/1010/91/9 2:00pm2:00pm6:30pm

Expanded Dis-ordered 擴展的 重序 共同策劃 Co-curation 葉奕蕾 Elysa WENDI ( 跳格 Jumping Frames) 蔡倩怡 Emilie CHOI Sin-yi ( 跳格 Jumping Frames) 陳敬元 Joseph CHEN King-yuen ( 香港逸東酒店 Eaton HK) * 徐皓霖作品《敲》由「跳格 2022 」和香港逸東酒店共同委約。 * Crack by Tsui Hou-lam is commissioned by Jumping Frames 2022 and Eaton HK. 參展藝術家 Participating artists 羅銳 Ray LC ( 香港 Hong Kong ) Joey HOLDER ( 英國 UK ) & Omsk Social Club ( 國� International ) 全普璟 JUN Bokyung ( 南韓 South Korea ) 田惠註 JUN Hyejoo ( 南韓 South Korea ) 徐皓霖 TSUI Hou-lam ( 香港 Hong Kong )* 董永康 TUNG Wing-hong ( 香港 Hong Kong )

展場空間猶如一間虛實交錯的科技實驗室,藝術品如 同各類測量儀表、測試紀錄、實驗樣本、模擬教具等 等,不難推想作品透視的機器與人類的互相理解、合 作共生或毁滅彼此的時空。無論是烏托邦、敵托邦或 異托邦式的科幻想像,展覽藝術家們皆試圖聯繫身體 與機器,介入觀眾的肢體運動與感官秩序,導向無以 名狀與不可思異的靈性關係。 是次展覽嘗試進一步拓寬對身體的想像,並重構身體 的記憶與秩序,藉此回應眼下分崩離析的世界。不管 是這數年間席捲全球的病毒,還是愈益紛陳的科技載 體,及無孔不入的資本主義與威權主義等,也讓我們 更急需對身體作出新的理解、發展新的論述。展覽內 的作品相互對照了身體如何作為社會圖景、以及日常 生活的政治。如無際的監控與審查,身體以不同形式 抵抗、爭持,並重新建立我們的主體。身體與機器不 再涇渭分明,破除了過去二元的結構,也能更有效地 展示模糊不定的情感與想像,與當下無法以語言直述 之的事物。這些作品皆展示了身體與政治、地方、主 體及律動等相互依存又各自獨立的關係,引向畸零的 異流,由我們各種微小的反應及參與形塑獨一無二的 體驗。 - 葉奕蕾、蔡倩怡、陳敬元 破裂重序: 策展論述

Body CuratorialDis-ordered:Statement

Elysa WENDI, Emillie CHOI Sin-yi, Joseph CHEN

If we are to consider the exhibition site of Body Dis-ordered as a technological laboratory where the real and virtual can coincide and intersect, then it would not be too much of a stretch to imagine that the art works contained therein could serve in the same functions as that of instruments, documentations, specimens, or even simulation test data, where humanity can interface with machineries in thought experiments speculating on notions of mutuality— either productive, or otherwise. No matter the form of the fabulation, be it utopic, dystopic, or heterotopic, the artists in this exhibition all share a common concern of the body and/as technology, where the embodied subjectivities and affects of the audience can tend towards an ambivalent (de) Thismateriality.exhibition is a step towards expanding our collective imaginary of the somatic, and to reconstitute its memories and orders so as to respond to a world which is disintegrating before our eyes. No matter if it is the viral plague that has affected the globe these few years, or the non-stop onslaught of virtualisation, or even the insidious seepage of capitalism and authoritarian ideologies, we are in urgent need of new ways of theorising and understanding the body. The works in this exhibition deploy the notion of the body as site and context to probe at the mundane politics of daily living. Just as how contemporary surveillance and control has infiltrated our lives, so has the body’s capacity to resist grown to encompass different methods and processes that allow us to maintain the integrity of our selfhood. In this trajectory, one can no longer differentiate between the technological and the physiological order, and it is precisely by shattering these binary constructs that we can explore the amorphous ambiguity of our emotions and sentiments, amongst other inarticulable gestures. Through these works that interrogate the inter-dependencies of the body with politics, space, rhythm, and the self, we may find a way forward to sensing the world differently, uniquely, that builds on the minutiae and textures of our collective -existence.

Memeplex ™ 「首先,我將向您介紹一些有關 Memeplex™ 的資料。我們是 一家專門從事神經手術的中立醫院……這意味著我們將許多迷 因移植到在一個人的大腦中,通常平均一個人為一生三次。這 些迷因來自不同的社會政治群體派系⸺患者無需支付任何費 用,但派系必須支付費用⸺一些派係有自己的資金,其他派 系則籌款,還有一些有贊助人為植入他們的迷因屍體付費。」 來自 The Wet Altar 的 Memeplex™ , Omsk Social Club , 2021 年 Memeplex™ 將兩個故事合二為一。故事的首部份,探索將想 法、信仰和觀點實踐至迷因產物。在這種情況下,它們是政治 活體迷因,依附於宿主以發揮生存主義者功能,讓人聯想到病 原真菌蟲草。蟲草是一種寄生真菌,附生在昆蟲的幼蟲體內。 當這些真菌感染宿主時,它們會取代宿主的組織並長出細長的 莖,延生至宿主體外。眾所周知,它們會支配宿主的思想,控 制其思想和行為,因此獲得了「殭屍真菌」的綽號。在第二部 分,我們了解到現今人體帶有動物、礦物和植物基因,隨著增 加相關接觸,並通過外族( Otherkin )、獸人( Therian )和皮行者 ( Skinwalkers )的身份認同,探索非人類中心的敘事。 由 Yikii 創作的配樂為展覽奠定了基礎,環繞於醫院綠色 ( infirmary green )和貝克米勒粉紅色( Baker-Miller pink )的房間 與醫療設備。 Joey Holder 和 Omsk Social Club 為回應當代迷因 潮流和病毒基礎建設,而培育出這種推想性有機體。 2021 單頻錄像投影 Single Channel Video 20’26” 尺寸可變 Dimension Variable 裝置與擴延展覽 Installation & exhibition


Photo Credit: Mark Hunt aka player Jack

來自英國的跨領域藝術家 Joey Holder 與德國的 Omsk Social Club 自 2017 年起一直在展覽、研究、 教育及網上平台等方面合作。雙方曾一起出現在德 國柏林世界文化中心( 2017)、第六屆雅典雙年展 (2018)、柏林數位藝術節( 2019),柏林 CTM 音樂 藝術節( 2021)、第 34 屆盧布亞納國際雙年展(2021) 和倫敦薩默塞特宮( 2022)的展覽中。共同參與 的聯展包括︰奧地利維也納麗莎 坎德霍夫畫廊的 《 Cursed Images》(2019)、瑞士 La Dépendance 的 《 Ghost Camp Remnants》(2018)和阿爾勒梵高空 間的《Faire Monde》(2021 年)。 2021 年,他們發 起 SPUR ,一個推動數碼藝術實踐的網上平台和教 育資料庫。近期合作的《 Memeplex™ 》,一個集裝 置、音效和電影佈景的多重角色扮演展覽於倫敦拾 柒藝廊展出。


“I will start by telling you a little about Memeplex™. We are a neutral hospital that specialises in neuro ops… which means we transplant a number of memes into a person’s mind over their lifespan, it typically averages at 3 times a life. These memes are from various socio-political human factions – it is at no cost to the patient but the faction must pay – some factions have their own funds, others fundraise and a few have patrons who pay for their meme-corpse plantation.” Memeplex ™ from The Wet Altar, by Omsk Social Club, 2021 Memeplex™ is two stories in one. The first explores the implementation of ideas, belief and conviction that occurs through memetic artefacts. In this instance they are political living memes that attach themselves to the host in order to perform a survivalist function, reminiscent of the pathogenic fungi Cordyceps. The Cordyceps is a genus of parasitic fungi that grows in the larvae of insects. When these fungi infect their host, they replace its tissue and sprout long, slender stems that grow outside the host’s body. They are known to take over the mind of the host, controlling its mind and behavior, leading to the nickname ‘zombie fungi’. In the second part of the story, we learn that the human body now carries animal, mineral and botanical genes, and with contact this increases, bringing into question the human-centric narrative that is navigated through practices of Otherkin, Therian and Skinwalkers. A sound score, composed by Yikii underpins the exhibition, flooding into each room amongst medical equipment coloured infirmary green and Baker-Miller pink. This speculative organism has been grown by Joey Holder and Omsk Social Club responding to contemporary memetic currents and viral infrastructures. Joey Holder and Omsk Social Club have collaborated on exhibitions, research, education and online platforms since 2017. Institutional shows that have included both artists are HKW, Berlin (2017), 6th Athens Biennale (2018), Transmediale (2019), CTM Festival (2021), 34 th Ljubljana Biennial (2021) and Somerset House, London (2022). Group exhibitions include Cursed Images at Galerie Lisa Kandlhofer (2019), Ghost Camp at La Dépendance, Switzerland (2018) and Faire Monde at Espace Van Gogh, Arles (2021). In 2021 they initiated SPUR, an online platform and educational resource for digital practice. Their most recent collaboration Memeplex™ at Seventeen, London is a multi-layered RPG installation, soundscore and film set.

Do You Love Me 全普璟以錄像及裝置記錄新科技帶來的轉變。通過考究人類和 機器重疊和脫節的地方,她探索人類作為異質性的存在,如何 通過技術不斷被重組,以及過程中所產生的新感覺。 這個動作的主題不僅是在工廠裡工作的機器人手臂的動作,還 有波士頓動力公司在 2020 年 12 月發布的機器人舞蹈。當人類 發現動作的節奏感和規律時,他們會視之為舞蹈;這種感覺無 一例外地出現在機器人手臂的編程運動中。舞蹈真的只屬於人 以及藝術的領域嗎?還是可以在非人性的及非藝術的領域中找 到它呢? Jun Bokyung works with video and installation to document the changes brought by new technology. By searching the places where humans and machines overlap and are out of joint, she explores the human being as heterogeneous beings that are constantly restructured through technology and the new sensations that it gives rise to. The motif for this project is based on the movement of not only the robotic arm in a production plant but also the robot dance released by Boston Dynamics in December 2020. When humans discover a sense of rhythm and regularity in movement, they feel that it dances. This sense is found without exception in the programmed movement of the robot arm. Is dance really in the realm of humans and in the realm of art alone? Or can it be found in the inhumane and non-artistic realm? 2021 錄像 Video 10’56” 尺寸可變 Dimension Variable 裝置與擴延展覽 Installation & exhibition

全普璟畢業於梨花女子大學,主修繪畫,並於羅德 島設計學院主修數碼媒體及於普拉特學院主修新 形態,均獲藝術創作碩士。隨後,重返梨花女子 大學修畢繪畫藝術創作博士。其重要個展包括︰ 《 Abstract Machine》 ( 南韓首爾「媒體畫布」媒 體藝術展 2022)、《Confirm Humanity》 ( 南韓首爾 Alternative space Loop 藝廊 2021) 及《 Sonnet Not Written Yet》 ( 南韓首爾 Soorim 藝術中心 2020) 。 她亦曾參加不同的藝術家駐留計劃,包括︰首爾美 術館藝術家駐留計劃、首爾藝術空間、韓國國立現 代美術館、仁川藝術平台、台北國際藝術村 ( 台灣 ) 及布宜諾斯艾利斯 ‘ace 當代藝術基金會國際藝術家 駐留項目 ( 阿根廷 ) 。 Jun Bokyung majored in Painting at Ewha Womans University. She earned her MFAs in Digital Media from the Rhode Island School of Design and in New Form from the Pratt Institute. She received her PhD in Painting from Ewha Womans University. Notable solo exhibitions include Abstract Machine (Seoullo Media canvas, 2022), Confirm Humanity (Alternative space Loop, 2021), and Sonnet Not Written Yet (Soorim Art Center, 2020). Jun also participated in various residency programs at SeMA Nanji Residency, Seoul Art Space Geumcheon, National Museum of Modern and Contemporary Art Goyang, Incheon Art Platform, Taipei Artist Village (Taiwan), and Proyecto ‘ace Buenos Aires (Argentina). 全普璟 BokyungJUN

Body Check 《 Body Check 》是一個動態聲音裝置,它研究現代監控技術, 並以聲音再現了這些技術的運作機制。 現時滲透到日常生活中的各種技術變得越加複雜,這些技術以 智能化和自動化的名義延伸到所有領域,其共同任務是控制和 監控,並強行索取個人信息。這些技術的生理機制是單方面且 不可見的,滲透我們的身體,看穿我們的生物信息、政治取向 和未來。 目前,無人機行業正引發各種安全問題。最終,由戰爭武器製 成的無人機,即所謂的無人駕駛飛行器( UAV ),將注定被現代 軍事武器再次被擊落,形成「無人機與反無人機」的對抗。 《 Body Check 》通過超聲波定向揚聲器再現現代信號穿透人體 的單邊性、直線性及暴力。該設備可以傳輸封閉和破壞性的聲 音,這種聲音一直以來被應用於軍事用途,以控制人群。它描 繪了被逼受無數無形的信號系統逐步消滅的個體,一個具競爭 性以征服世界為目標的科技系統,一個人工智能終將按下自己 的毀滅按鈕的反烏托邦。 2020 聲音裝置 Kinetic Sound Installation 尺寸可變 Dimension Variable 裝置與擴延展覽 Installation & exhibition

來自南韓的藝術家田惠註,一直致力於研究週遭環 Body Check》(首爾藝術空間 PS333,首爾, 2020)、《 Whirl》(當代藝術網絡空間 Space CAN, 首爾, 2019)及《 Horizon 00:00:00》(仁川藝術平 2018 Hyejoo is an artist based in South Korea. She has been working on the idea in which the surrounding environment and time and space relate to each other and the way and possibilities of works of art intervene in public places through multimedia such as videos and installations. She received a M.F.A., Art and Media and a Meisterschüler, Art and Media from Berlin University of the Arts. Her major solo exhibitions include Body Check (Geumcheon Art Space PS333, Seoul, 2020), Whirl (Space CAN, Seoul, 2019), Horizon 00:00:00 (Incheon Art Platform, Incheon, 2018).

境與時空的相互聯繫,以及藝術作品如何通過錄像 和裝置等多媒體形式介入公共空間的方式和可能 性。她獲柏林藝術大學藝術與媒體藝術創作碩士, 並獲選該年度傑出畢業生大師榮譽。她的主要個展 包括︰《

)。 Jun

Body Check aims to realise the unilaterality, straightness and violence of modern signals penetrating people's bodies by using ultrasonicoriented speakers. The device can transmit closed and destructive sounds, which have been used for military use or for controlling crowds. It depicts an individual who is forced to be neutralised under numerous invisible signaling systems and a competitive system of science and technology that fights for the conquest of the world as one dystopia where the end of artificial intelligence is designed to push its own destruction button.

The various technologies that penetrate everyday life today have become increasingly sophisticated. The common task of these technologies, which extend to all areas under the name of smartification and automation, is to control and monitor, to extort information from individuals. The physiological mechanisms of these technologies are unilateral and invisible, then penetrate our bodies, seeing through our biological information, political orientation and the future. Currently, the drone industry is causing various security problems. Eventually, drones made of war weapons, so-called Unmanned Aerial Vehicles (UAVs), will be destined to be shot down again through a military weapon of modern times, creating a confrontation called "Drones vs Anti-Drones."

Body Check is a kinetic sound installation that researches technologies for modern surveillance and control, and acoustically reproduces the mechanisms by which these technologies operate.


田惠註 HyejooJUN

CATCH AND RELEASE 我們想像機器如何看待我們是充滿了個人偏見和期望的,與實 際上機器如何看待我們乃全然不同。在這件作品中,我利用舞 蹈作爲媒介,來展示機器如何消化不同流派的音樂驅動下人類 身體的律動。當我們驚嘆於擺脫了人類視角、被電腦視覺檢測 到的路徑,我們便開始理解如何以機器的科學館方式看世界。 直到舞蹈結束時,我們才能與我們舒適的人類視覺重聚,但到 那時,舞蹈結束了。我們想知道,如果不必把自己局限在機器 的鏡頭裡,舞蹈的體驗到底是什麼樣的。機器視覺只能捕捉人 類稍縱即逝的形態,並在它們不再被檢測到的時候釋放它們。 他們可以看到動態模式,但他們看不到抽象背後的現實。也許 僅僅抽象就足夠了? 通過「 Catch and Release 」的反覆計算,機器對單支舞蹈的詮 釋可與不同機器所呈現的舞蹈作對比,從而展示機器所給予的 豐富感知體驗。由舞蹈所帶出的單一的視覺形式,延伸至透過 聚合而產生的多重視覺,並揭示視覺背後蘊藏的思想。 2021 錄像 CRT Video 尺寸可變 Dimension Variable 裝置與擴延展覽 Installation & exhibition

The way we imagine machines see us is imbued with our own biased perceptions and expectations, and nothing like the way machines actually see us. In this work, I use the medium of dance to show how machines can digest the dynamic forms of human bodies in different genres of music-driven movement. As we marvel at the patterns detected by computer vision, free of the human way of looking, we begin to understand how to see the world the way machines do. It isn’t until the end of the dance when we can reunite with our comfortable human visions, but by then the dance is finished, and we wondered what the dancing experience really was like, if we didn’t have to limit ourselves to the lens of the machine. Machine vision can only catch the fleeting forms of the human, and release them when they are no longer detected. They can see the dynamic patterns, but they can’t see the reality behind the abstractions. Perhaps mere abstractions are enough?




羅銳致力於在社區和機器之間建立聯系,他的實踐 從人機互動、新媒體和合作敘事等角度創造互動和 環境。他於加利福尼亞大學洛杉磯分校取得神經科 學哲學博士以及於帕森設計學院取得設計與科技藝 York Hall of (紐約科學館), Residence (薩利進 (塔林), (蒙特利爾), (拉 Electronica(林茨), Digital Arts Festival(霓虹燈數字藝術節), New Museum (新 當代藝術博物館), NY Short Documentary Film Festival (紐約短紀錄片電影節), NeurIPS (溫哥 華), Osage Gallery (奧沙畫廊), JCCAC (賽馬會 創意藝術中心), Soho House (香港上環), Hong Kong Arts Centre (香港藝術中心), Science Gallery Detroit (科學館底特律)。 RAY LC’s practice creates interactions and environments for building bonds between human beings and between humans and machines, by utilizing the nonverbal communication media of movements, sounds, and cinematic storytelling. He holds an MFA from Parsons School of Design and a PhD from UCLA. He is Assistant Professor of Creative Media at City University of Hong Kong. He takes perspectives from his own research in neuroscience (pubs in Nature Comm, J. Neurosci, J. Neurophys) and in HCI (pubs in CHI, DIS, HRI, TEI, Frontiers, etc) in his artistic practice, with notable exhibitions at BankArt, 1_Wall, Process Space LMCC, New York Hall of Science Residency, Saari Residency, Kyoto Design Lab Residency, to name a few. 網頁 : http://raylc.org 工作室 : https://recfro.github.io IG: https: www.instagram.com/recfreq LC


In this iteration of Catch and Release , we show how one dance interpretation by the machine can be compared with one another to see the varieties of machine perception experiences. This is done by showing the dance in one visualized form followed by multiple visualizations that group together to reveal the mind behind the visual.

合爾), Ars



術創作碩士。他目前專注透過以藝術的介入展現空 間設計對我們的感知和行為的隱性影響。 重點展覽: BankArt (東京), New

羅銳 RAY

敲 Crack 雞蛋彈力球在《敲》裡成為聚焦女性身體商品化的隱喻。藝術 家渴望透過作品探索身體體驗、情感和性別符號。部分創作靈 感源自川上未映子的著作《乳與卵》,其中一幕母女二人在自 己頭上敲碎雞蛋,展現自己最脆弱的一面,互相叩問,流露出 惱怒和失落感。這些「雞蛋」試圖呈現另一個面向,審視當代 社會下碎片化的、被囚禁的身體。 藝術家同時邀請 Florence Lam 以行為藝術的形式回應《敲》, 與作品互動。 2022 混合媒介 Mixed Media 尺寸可變 Dimension Variable 裝置與擴延展覽 Installation & exhibition

Leeds in 2018. Her practice centers around personal experience, gender politics, boundaries, and peripheral storytelling. Her


2018 年畢業於英國列斯大學,獲藝術及藝術史文學士。 她的創作圍繞個人經歷、性別政治、邊界以及邊緣 敘事。近期展覽包括「後人類敘事⸺以科學巫術 之名」(香港醫學博物館,2022 年)、「盲彎處」(RNH Space,2022 年),以及「貴腐」( Para Site 藝術空 間, 2021 年)。 Tsui Hou-lam

exhibitions include PostHuman Narratives—In


Witchery (Hong Kong Museum


Kong. Tsui received a BA in Fine Art

Sciences, 2022), Blind Curve (RNH Space, 2022), and Noble Rot (Para


Crack uses bouncy egg balls as a metaphor to shed light on the commodification of the female body. The artist is interested in exploring bodily experiences, emotions, and gendered connotations. This work is partially inspired by Mieko Kawakami’s Breasts and Eggs, especially the scene when the mother and daughter crack eggs on their own heads, being vulnerable and expressing rage and frustration through asking questions. The “eggs” attempts to offer an alternative window on viewing the body as fragmented and entrapped in contemporary Thesociety.artist invites Florence Lam to do a performance by responding to and interacting with Crack 1997 年)現於香港生活及工作。 (b. 1997) and works Hong and History of from of recent the Name of Scientific of Medical Site,

the University

2021). 徐皓霖 Hou-lamTSUI

一百次跳躍 Hundred Jumps 影像與現實的碰撞,在我們的想像中結合。 The interaction between moving image and reality, combined in our imagination. 2015 顯像管電視 , 數碼錄像 , 膠索帶 , 摩打 CRT TV, Digital Video, Cable Tie, Motor 23cm( 高 H) x 27cm( 闊 W) x 45cm( 深 D) 裝置與擴延展覽 Installation & exhibition

of art and spatial





董永康 Wing-hongTUNG


Tung Wing-hong is a visual designer. spectatorship sensation, creates synchronisation of two media him and sets off his continuous experimentation. also offers his expertise in art production and technical support for local artists and tertiary institutions. currently lives and works in Hong Kong.

董永康為視覺藝術家,並從事展覽及作品製作、程 式編寫和機械設計等工作。他現於香港生活及工 作,並以個人專長為本地藝術家和大專院校提供藝 術製作與技術的支援。他結合移動影像與機械動態 兩種基於時間的媒介 進行場域特定的裝 置藝術創作,希望透過持續的實驗,探索空間感知 以及藝術與觀者之間的關係。

site-specific installations combining moving images and mechanical movements. The

Exploring the

artist, programmer, fabricator and mechanical

回 Counter Occurrencesof 《回》是「跳格」的嶄新嘗試,邀請兩位藝術家以身體作媒介, 穿梭於不同空間作偶發性的介入,亦將舉行特定的現場行為。 身體的擺盪既植根影像,同時長出獨立的姿態。「回」,既有 復返之意;同時可化身為圖像,映照兩個覆疊的屏幕⸺如同 影像與現場行為的回應與折射。身體律動,千回百轉,既延展 影像的時空,也重返自身的能動性,讓身體與影像產生有機的 對話與連結,讓「跳格」展現身體與影像的流動性,不局限於 單一的時空或媒介之中。 攝影 Photo Credit: 王穎琳 Vivian Wong Wing-lam演出 Performance

Florence Lam (b.1992 Vancouver, Canada) is currently based in Hong Kong. Lam works with wonder and magical thinking to fuse together current moral issues with child-like world views through performance art, poetry, video and sound. She obtained her MA Fine Art from Iceland Academy of the Arts in 2017 and her BA Fine Art from Central Saint Martins in 2014. Lam has performed around Asia and Europe, including Tai Kwun Contemporary (Hong Kong, 2022), Para Site (Hong Kong, 2021), Nanhai Gallery (Taipei, Taiwan 2019), Manifesta 11 (Zürich, Switzerland 2016) etc. Festivals include Black Market International - Exploring 2021 (Frankfurt, Germany 2021), ZABIH Performance Festival (Lviv, Ukraine 2019) etc. She worked as a re-performer for “The Cleaner” Retrospective of Marina Abramović at Bundeskunsthalle, Bonn, Germany (2018). She has been holding performance art workshops since 2020. She is the co-founder and co-curator of Per.Platform, Hong Kong-based live art platform founded in 2021. Born in Hong Kong, Hui Ka-chun is both a dance artist and creator. Hui is currently studying the Master of Cultural Management in The Chinese University of Hong Kong. In 2014, he completed professional dance training at The Hong Kong Academy for Performing Arts with First Class Honours. After graduation, Hui started his professional career in Hong Kong Ballet. Later, he joined Danish Dance Theater (Denmark) and Mainfranken Theater Würzburg (Germany). Hui returned to Hong Kong in July 2020 and now he is a freelance dancer, choreographer, dance video director and photographer.


Recent works include: Tender in the Night , a dance video commissioned by Hong Kong Ballet (2022), Beyond the Veil and Hollow Landscapes, dance videos presented by Unlock Dancing Plaza (2021), Me, a Man video exhibition commissioned by City Contemporary Dance Company (2021) and Let the Body Talk photography exhibition (2020).

LAMFlorence 許嘉俊,生於香港的表演者及創作者, 於 2014 年以一級榮譽畢業於香港演藝學 院。畢業後加入香港芭蕾舞團,其後加入 丹麥舞蹈劇場和德國烏茲堡舞蹈劇場擔任 舞者。現於香港中文大學修讀文化管理碩 士。 許嘉俊在 2020 年 7 月回港,成為自由身 舞者、編舞、舞蹈錄像導演和攝影師。 近期作品包括《讓身體說話》攝影展覽 ( 2020),《彼岸》、《空心地貌》舞蹈錄像 作品(不加鎖舞踊館策劃) ( 2021 ),「我, 人一個」錄像展覽(城市當代舞蹈團委約 作品)( 2021 ),《夜色的溫柔》舞蹈錄像 作品(香港芭蕾舞團委約作品)( 2022 )。

許嘉俊 HUIKa-chun 偶發性演出 Incidental performance 影展期間穿梭於不同空間、 跨越劇場界限的介入式現場 演出將不定時出現 Performance intervention may appear during the festival anytime, anywhere, and in any form (1/9 - 2/10) Counter of Occurrences is a new attempt of ‘Jumping Frames’. Living artwork created through actions, executed by 2 artists’ performance intervention. Their performances may happen anywhere, anytime time during the Festival. Their bodies are the vessels that draws audience closer to the screen or they could independently become the moving images themselves.  “Counter of occurrences” symbolised numerous time of returning and could also be transformed into an overlapping image on screen that encounter with live performances. By extending time and space, bodies and cinematic images, we make dialogues and connections, literally breaking the forth wall. Hence, ‘Jumping Frames’ could expand something beyond a film festival. 現場演出 Live performance 2/1010/91/9 香港逸東酒店 4 樓藝廊 Tomorrow Maybe, 4/F Eaton HK Florence Lam 於 1992 年出生於加拿大 溫哥華,目前於香港生活與工作。她以 wonder 和心理學上的魔法思考作為靈感, 透過現場行為藝術、文字、影像和聲音, 將當代倫理問題與孩童般的世界觀結合。 她於 2014 年在英國倫敦中央聖馬丁學院 獲得學士學位, 2017 年在冰島藝術學院取 得碩士學位。 她曾於亞洲和歐洲等地展覽,包括香港 大館( 2022),香港 Para Site (2021), 台北南海藝廊( 2019),蘇黎世歐洲宣 言展( 2016)等。藝術節包括:德國法 蘭克福 Black Market International –Exploring (2021),烏克蘭利沃夫 ZABIH 行為藝術節( 2019)等。她曾在德國波恩 Bundeskunsthalle 為 Marina Abramović 的 「The Cleaner」回顧展( 2018)擔任 reperformer。她在 2020 年開始舉辦行為藝 術工作坊,亦是「Per.Platform」(成立於 2021 年的香港現場藝術平台)的聯合創辦 人和聯合策展人。

田惠註的作品 Body Check 由首爾 Urban Art Lab 提供統籌支援 Body Check by Jun Hyejoo is partially supported by Urban Art Lab in Seoul

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