【目聶仔影展 2 實驗・時態】—被殺的時間

【目聶仔影展 2 ba̍k-nih-á film festival 2 實驗・時態 Times Ex-Tense】2024.05.24 - 05.26 ＠C-LAB——臺灣聲響實驗室

時間為何物？電影又為何是一門「時基的技藝」？將連續動作的靜態分解畫面快速放映，電影讓我們重新獲得影像運動的幻覺。 電影也成了最適合用來表現「時間性」的媒體之一。1930年代，電影工業系統為電影影像設定了「標準時間」——一秒鐘放映24個畫格。這個運轉速率能降低讓早期初始電影放映的閃爍問題，讓影像的運動更為流暢、也能增強觀眾對連續動作幻覺的感受與音畫同步的現實感。實驗電影則利用電影媒材的物質性拆解這個「標準時間」，打破幻覺機制，將電影的時間變得有彈性，能容納更多元的敘事，表現電影時間更為豐富的層次。

繼「黑影展」 後，目聶映像文化本次以「時態」為主題，展現音像實驗的精神，為台灣觀眾精選了國內外30部實驗電影與動畫，有前衛經典、也有眾多近期的亮眼之作：《時差》單元聚焦在以視覺形式主導的實驗作品，強調類比媒材的解構，展現時間不可思議的向度；《被殺的時間》則為莫斯科國際實驗電影節創辦人——弗拉基米爾・納登（Vladimir Nadein） 為台灣觀眾所做的特別企劃單元，直探數位資本主義時代的時間困境；《遊戲時間》針對兒少觀眾構想，結合藝術家蔡宛璇的工作坊，希望讓兒童對時間的感知能有最直接的宣洩與自由的想像；《On Time》，是我們首次舉辦的全球實驗短片徵件活動，邀請國內外藝術家及策展人擔任評審，從近400件作品中揀選出最多元的「時態」，其中有瘋狂的視覺實驗，也有非常精彩的故事。今年的放映節目中，我們特選7部作品，以珍貴的16mm拷貝放映。此外，特別節目《聲感時間》——為西方當代音樂學專家周昭均所策劃的音像演出，用當代音樂曲目讓觀眾在現場用聽覺去體驗不尋常的「時間感」，加上藝術家雪克的現場影像，策劃僅此一場，令人耳目一新的表演。

What is time? And why is film a "time-based art"? By rapidly projecting a series of static frames depicting continuous action, film allows us to experience the illusion of motion. Film is one of the most suitable mediums for expressing temporality. In the 1930s, the film industry established a "standard time" —24 frames per second. This rate was chosen to mitigate the flickering issues in primitive film screenings, smoothen the motions and also enhance the audience's perception of the illusion of continuous motion and the realism of synchronized image and sound. On the other hand, experimental filmmakers utilize the materiality of film to deconstruct this "standard time". They disrupt the illusionary mechanism, rendering film time more flexible and accommodating to diverse narratives, thus enriching the layers of film temporality.

After "Black - A Film Festival” , Bak-Nih Audiovisual Lab focuses on "Time / Tense" to investigate the spirit of experimental cinema, this time we select 30 experimental films and animations, international or domestic, including avant-garde classics and recent dazzling works. In our programs, "Time Zone" focuses on works based on visual experiments, emphasizing the deconstruction of analog film and showing the extraordinary dimensions of time; "Killed Time" is a special program for Taiwanese audiences by Vladimir Nadein, founder of the Moscow International Experimental Film Festival, directly explores the dilemma about time in the era of digital capitalism and is thought-provoking; "Playtime", a screening conceived for children and young audiences, combining artist Tsai Wan-Shuen’s workshop, is an attempt to allow children express and imagine freely about their perception of time; "On Time" is our first global open call for experimental films. Invited international artists and curators as jury, selected 12 films from nearly 400 works, including wild visual experiments and delicate stories; For this yearùs program, 7 films will be projected on precious 16mm prints. In addition, this year's special program "Sounding Time" - an audiovisual performance conceived by Chou Chaochiun, an expert in Western contemporary musicology, who uses contemporary music to allow the audience to experience an unusual "sense of time" with their ears. Along with visual artist Shake’s live VJ, it will be a refreshing unique performance that only happens once.

（單元二）

被殺的時間
Killed Time

更努力工作，做得更好
做快一點，讓我們更強
越來越強，日以繼夜
工作永不停歇 — 傻瓜龐克

晚期資本主義抹去了工作與休閒之間的界線，剝奪人類自由的時間。它以更高、更快、更有效率的基準，持續對我們加壓，於是我們持續焦慮。在數位勞動的場域裡，對效率與優化的重視，讓我們將時間與空間都資本化以便達到更有效能的運用。我們蠟炬成灰，在倦怠邊緣死滅迴游，一邊滑手機，一邊繼續為演算法和資料變現工作。本單元以「殺死時間」為主題，尋找故障的可能，破壞現狀，試圖為集體閒置與怠惰創造動力，總有一天，我們會重新收回自由時間的權利。

Work it harder, make it better
Do it faster, makes us stronger
More than ever, hour after hour
Work is never over — Daft Punk

Late capitalism has erased the boundaries between work and leisure, depriving humans of their free time and causing constant anxiety driven by the pressure to perform at a higher, faster, and more efficient level. In the realm of digital labor, the emphasis on efficiency and optimization has allowed capital to capitalize on our time and space. As we teeter on the edge of burnout, we accelerate this process by taking short breaks to doomscroll, while still working for the algorithms and monetization. With the working title "Killed Time," this film program seeks for potential to glitch, disrupt the status quo, and create momentum towards collective idleness and laziness—ultimately reclaiming our right to free time.

05.24 Fri. 20:00 ★ 映後座談（策展人）
05.26 Sun. 13:00

Programmer 選片人
Vladimir Nadein 弗拉基米爾・納登
Vladimir Nadein 是莫斯科國際實驗電影節的共同創辦人，影展策展人、製作人與電影創作者，1993年出生於俄羅斯莫斯科。作品曾於Deep Play、VT藝術沙龍及大台北雙年展展出。曾任 Hubert Bals 基金支持的獲獎影片《Detours》的製作人，在 Les Arcs 獲得了 Eurimages Lab Project Award，並在威尼斯影評人週、維也納影評人週、塞薩洛尼基國際電影節、柏林影評人週、FICUNAM、全州國際電影節、IndieLisboa、Beldocs、 FILMADRID、卡姆登 IFF、TFAI、巴比肯中心、UNDERDOX 等。 2016年，弗拉基米爾共同創辦了莫斯科國際實驗電影節。他為第17屆威尼斯建築雙年展、奧伯豪森國際短片電影節、漢堡短片電影節、莫斯科國際青年藝術雙年展、車庫博物館、加州大學洛杉磯分校等場館策劃了特別節目和放映。他在各個藝術和電影學校教授有關檔案影像、實驗電影與開發的課程，包括台北市影視音實驗教育機構、莫斯科新電影學院、台灣藝術大學、Taiwan Pitch 等。

Vladimir Nadein (b. 1993) is a curator, producer and filmmaker. A member of the filmmakers’ duo Paracollective, together with Dina KARAMAN. He produced Detours, a recipient of Hubert Bals Fund and Eurimages Lab Project Award in Les Arcs. It was awarded at Venice International Film Critics' Week and selected at Viennale, Thessaloniki, Jeonju FF, IndieLisboa, among others. Vladimir co-founded Moscow International Experimental Film Festival and directed it for five editions. He curated screenings and public programs for Venice Architecture Biennale, Moscow International Biennale for Young Art, Garage Museum, and many other venues. He has lectured and given workshops on experimental film, found footage and script and project development at various film and art schools, including Taipei Media School, Moscow School of New Cinema, National Taiwan University of the Arts, National Tainan University of the Arts, Taiwan Pitch.


外送舞孃的絕對領域 Delivery Dancer’s Sphere
金雅瑛 Ayoung Kim
韓國｜2023｜Digital｜彩色 Color｜韓語｜ 25 min

Ernst Mo 是為強大的快遞服務公司「外送舞者」工作的外送員。在科技未來主義的首爾，她每天運送接踵而來的包裹，穿梭在演算法生成如迷宮般的路線。在她遇見另一個版本的自己後，她的現實開始漸漸崩裂。

Ernst Mo is a rider for the powerful courier service Delivery Dancer. Every day, she
transports an endless stream of parcels, following algorithmically generated routes through a labyrinthine, technofuturist Seoul. After she runs into an alternative version of herself, her reality slowly starts to crack.

金雅瑛 Ayoung Kim
金雅瑛是視覺藝術家與電影導演，她擅長結合迥異的概念，以推測式的故事技巧、敘事與修辭手段，為既有的世界狀態創造出新的閱讀、聆聽、與思考方式。其作品常以展覽、表演與出版呈現，形式則包含錄像、虛擬實境、聲音小說、影像、圖像與文字等。作品曾於威尼斯雙年展（2015）、法國巴黎東京宮（2016）、韓國藝術家獎（2019）、沙迦獨立電影平台（2019、2020）、德國柏林國際影展（2020）、台灣亞洲藝術雙年展（2021）、巴西錄像藝術節（2021）與沙迦雙年展（2023）展出。

Ayoung KIM (South Korea) is a visual artist as well as a filmmaker. Kim adopts the devices of speculative storytelling to evoke unfamiliar forms of reading, listening and thinking about the conditions of the world by focusing on unlikely encounters of ideas. Her projects take the forms of video, sonic fiction, VR, text, performance and game simulation and are presented as exhibitions, performances and publications. Kim exhibited and screened at Venice Biennale (2015); Palais de Tokyo (2016); Korea Artist Prize (2019); Sharjah Film Platform (2019, 2020); Berlinale (2020); Asian Art Biennial (2021); Videobrasil (2021) and Sharjah Biennial (2023).



星期天的閒人 People on Sunday
都拉博・森乍倫 Tulapop Saenjaroen
泰國｜2020｜Digital｜彩色 Color｜泰語｜ 21 min

★2020 鹿特丹電影節
★2020 Image Forum Festival 映像論壇影展

1930年的德國前衛默片《星期天的約會》為史上第一部使用非職業演員的電影。為此，而森乍倫在不同背景、時代、國家與工作條件下，試圖進行再詮釋和回應。重新詮釋的動機在於原片的故事設定——純粹的休息日和自由的生活。對森乍倫來說，這些非職業演員在鏡頭前表演他們享受休閒的樂趣，又在實際工作時享受閒暇時光的畫面。這種矛盾，提出了呈現「空閒」的可能性，也探究了可認知的勞動、精神疲勞與當代工作倫理間的關係等問題。本片試圖透過電影及其製作框架，提出控制與自由之間的悖論。

“People on Sunday” is a reinterpretation and a response to a pioneering German silent film “Menschen Am Sonntag” (1930). This response is executed from a different context, different era, different country, and different working conditions. What initiated the Saenjaroen to revisit and reinterpret the film was the setting of the story—simply about their day-off, life in free time. From Saenjaroen’s point of view, these non-professional actors performed as they were having pleasure leisure for the camera, having free time while they’re actually working. It's a question of representability of free time, of cognitive labour and mental exhaustion, of contemporary work ethic, and of the paradox between control and freedom via the frame of cinema and its production.

都拉博・森乍倫 Tulapop Saenjaroen
都拉博・森乍倫的創作質問影像生產與主體性生產之間的關聯，以及晚期資本主義下控制與自由交織的悖論。其作品曾多次參加電影節和展覽，包括柏林國際影展、盧卡諾影展、鹿特丹影展、紐約影展、法國真實影展、萊比錫紀錄片暨動畫影展、影像電影節、紐約動態影像博物館等。他的作品曾為 e-flux 放映室、芝加哥藝術學院的Conversations at the Edge、M+ 博物館的「殘像・留影」（Afterimage）等活動之焦點。

Tulapop Saenjaroen’s practice interrogates the correlations between image production and production of subjectivity and the paradoxes intertwining control and freedom in late capitalism. Saenjaroen’s works have been shown in film festivals and exhibitions, including Berlinale, Locarno; Rotterdam; New York; Cinéma du réel; DOK Leipzig; Images Festival; Museum of the Moving Image NYC; among many other. His work has been the subject of focus at e-flux screening room; Conversations at the Edge; M+ Museum After Image, and more.


幾乎不工作 Hardly Working
全面拒絕 Total Refusal
奧地利｜2022｜Digital｜彩色 Color｜英語｜20 min

★2022 盧卡諾國際影展明日之豹競賽最佳導演獎及青年評審團獎
★2022 溫哥華國際電影節

《幾乎不工作》將焦點放在那些通常停留在電玩幕後的角色：NPC，這些非玩家角色在數位世界中扮演臨時演員，好營造出一切正常運作的表象。該作品以民族誌研究的標準來檢視洗衣婦、馬童、清道婦與木匠等四個角色，他們就像是薛西弗斯（Sisyphus）的機器，其勞動流程、活動模式，甚至是錯誤與故障，均活靈活現地成了資本主義下勞動型態的模型。

Hardly Working sheds a limelight on the very characters that normally remain in the background of video games: NPCs. They are non-player characters that populate the digital world as extras to create the appearance of normality. A laundress, a stable boy, a street sweeper and a carpenter are observed with ethnographic precision. They are Sisyphus machines, whose labour routines, activity patterns as well as bugs and malfunctions paint a vivid analogy for work under capitalism.

全面拒絕 Total Refusal
由藝術家、研究者及影像創作者所組成的偽馬克思主義多媒體遊擊隊「全面拒絕」（Total Refusal）擅長挪用當代電子遊戲，並以書寫來討論遊戲和政治。他們改造主流電玩的資源，以錄像、干預、現場表演、講座和工作坊的形式建構新的政治敘事。自2018年成立以來，他們的作品已獲得超過五十個獎項與榮譽提名－包括歐洲電影獎及盧卡諾影展的最佳短片導演獎。

The artist, researcher and filmmaker collective and pseudo-marxist media guerrilla Total Refusal appropriates contemporary video games and writes about games and politics. They upcycle the resources of mainstream video games, creating political narrations in the form of videos, interventions, live performances, lectures and workshops. Since its foundation in 2018, their work has been awarded with more than 50 awards and honorary mentions - like the European Film Award or the Best Short Direction Award at the Locarno Film Festival.