【目聶仔影展 2 實驗・時態】—遊戲時間

【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.

（單元三）

遊戲時間
Playtime

回應兒童對時間的認知，展現影像心理時間的層面，打破線性時間的限制，自由徜徉在想像之中。葉宛璇、彭葉生的《離島的離島》透過對台灣澎湖二級離島孩童觀點拼湊出小島生活的想像；來自日本動畫《差異與反覆與咖啡》咖啡廳裡一鏡到底反覆旋轉的鏡頭看見時間與空間變化與流動；動畫短片《兔子洞》用黑白灰筆觸分割畫面混淆了時空，女孩追隨兔子的身影跌入深不見底的黑洞，展開一場奇幻旅程；《星期天》星期一到星期六像機械式地運轉，總是格格不入星期天最後只能暗自哭泣，然而，有著喜怒哀樂的變化才能創造繽紛豐富的生活。《死線》每個人生活中都曾經歷各種死線的追趕，導演給自己三十天每日都是死線的作業也記錄了心情完成了此作品；用16釐米膠卷短片《時光飛逝》利用零散的照片與手繪圖畫記錄所觀察的日常，推疊出回憶的片段。


映後工作坊
05.25 Sat. 10:30 ★ 工作坊 (蔡宛璇導演）
<手捂時間，眼吐話語>
在一小段的時間裡，藝術家設計幾種運用感官的遊戲讓大朋友與小朋友一起參與，在過程中會記錄遊戲的產出，活動結束後，由藝術家製作一段小小影片，寄給大家，記錄這段 一起的PLAYTIME。

請工作坊報名者在5月23日前，準備1-2張自己或孩子在嬰幼時期的照片(合照獨照皆可，如有疑慮，可提供非正面的照片)，並寄到shuengo@gmail.com，作為工作坊素材使用。

<Hands over time, eyes over words>.
During a short period of workshop’s time, participants will join the games that are designed by the artists, which encourage participants to use their senses. During the process, the artist will record the output of the workshops, a short video will be made and sent to the participants to memorize the togetherness and the playtime.

Applicants are requested to prepare 1-2 photos of themselves or their children during their infancy and childhood (group photos are acceptable; if in doubt, non-frontal photos can be provided) before 23 May and send to shuengo@gmail.com, photos will be used as workshop materials only.


選片人 Programmer
陳逸萱
國立臺南藝術大學音像藝術管理所碩士，曾任高雄市電影館教育推廣專員、國家電影中心影像教育扎根計畫統籌、教育部美感教育專任助理。喜歡教育推廣，嘗試各年齡層及對象多元影像教育的合作及推廣可能。

Chen I-Hsuan holds a master's degree from the Institute of Audiovisual Arts Management of the National Tainan University of the Arts. She once served as the education promotion specialist of the Kaohsiung Film Archive, the coordinator of the imaging education grounding program of Taiwan Film and Audiovisual Institute. She likes educational promotion and tries out the possibility of cooperation and promotion of diverse video education for all age groups and targets.

周郁齡
伯貝克學院倫敦大學人文與文化研究博士。她的研究範圍在視覺文化、動態影像策展、藝術史展覽研究在2019年曾擔任「哈恩內夫肯影像收藏基金會— 首爾市立美術館 韓國錄像藝術獎」評審，2021年獲得文化部選送文化相關人才出國駐村交流計畫於紐約ISCP駐村。

Chou Yu-Ling is a researcher, writer, and curator. She holds a Ph.D. in humanities and cultural studies from Birkbeck College, University of London. Her research areas include visual culture, moving images’ curation, the exhibition of art history, and curatorial methodology. In 2021, she received a grant from the Ministry of Culture to join the International Studio & Curatorial Program (ISCP) residency program in New York.


離島的離島 Childhood of an Archipelago
澎葉生＆蔡宛璇 Wan-Shuen Tsai & Yannick Dauby
台灣 Taiwan｜2016｜Digital｜彩色 Color｜華語 Mandarin｜17 min

生活在一座澎湖的島嶼上，是什麼樣的感覺？小島上的童年，跟其他地方有何不同？成長中的心魂和身體，是如何觸摸海和島嶼生活？透過對澎湖二級離島學校中一部分孩童的提問訪談，藝術家試圖呈現孩子觀點下的小島生活片段。

A film about the remote islands of Penghu archipelago, Taiwan, from the point of view of the children in the remaining elementary schools, between 8 and 11 years old. With the participation of the schools in the islands: Jibei, Niaoyu, Hujing, Wangan, Jiangjun, Qimei.

澎葉生 Yannick Dauby

聲音藝術工作者，由具象音樂的創作和研究開始，漸漸發展出即興演出、電子原音音樂編曲，以及人類音樂學的創作。1998年開始田野錄音工作，在大自然、都會和工業環境中進行錄音，成為他聲音紀錄片及編曲的素材，或與其它聲音媒介對話，時而與影像創作結合。作品除了有即興演出形式，也有聆聽活動的設計、出版或聲響裝置。其創作主軸在於於聽覺經驗的實驗和探索，並十分著迷於民族學與自然科學。常與聲音藝術家、舞蹈及視覺藝術家合作，也從事電影聲音設計(入圍第53屆金馬獎最佳音效)。未來計劃透過藝術活動、聲音紀錄及教學行動持續在這個島嶼中探索。

His sound practice was initiated around 1996, studying tape music (musique concrète in French). He began working with field recording since 1998, during a travel in a distant country, capturing fragments of environments, urban situations, animal signals and unusual acoustic phenomenas. On stage, he improvises mainly with recorded sounds, modular synthesizer and computer. Regular collaborations with other sound artists, contemporary dance or in association with visual artists. Experimenting the perception of acoustic spaces with sound installations. His activediscography includes personal compositions, documentations of performances, and selected phonographies. His plans for the next years include more exploration sessions of the island through artistic activities and sound documentation as well as teaching actions.

蔡宛璇
Wan-Shuen Tsai
她的創作媒介從裝置、圖像、錄像和詩文著手，近幾年也開展合作性質的創作空間，如：社群與藝術的交會、與不同藝術人文領域的人或團體合作。與Yannick Dauby共同創立回看工作室。並著有個人詩文集《潮汐》、《陌生的持有》。

Her art includes mixed-media installation, drawing, video, and poetry. Her installations are ephemeral and constitute a specific relationship to the physical space and architecture. Inspired by experimental cinema, her video art, which is often integrated with poetry, leaves room for open narratives or internalizes landscapes to reflect mental activities. In 2008, with sound artist Yannick Dauby, she founded Atelier Hui-Kan, concentrating on the promotion of sound art, sound work publication, and community-based art. Tsai also published a poetry collection titled Tide (2006); A Collection of Poems and Drawings (2013); and a letterpress printed poetry book with audio, realized with her child, Je Voudrais Me Réveiller Dans la Mer (2017).


差異與反覆與咖啡 Difference and Repetition and Coffee
工藤雅 Masa Kudo
日本 Japan｜2020｜Digital｜黑白 B/W｜無對話 no dialogue｜5 min

利用鉛筆筆觸繪製出咖啡店的風景，透過平移的鏡頭不斷地重覆旋轉，彷彿像是透過車窗外看見一閃而過的風景，隨著時間流逝呈現出店內人來人往的流動，而當有貓咪出現時又會發生怎樣的變化？

A swinging animation drawn with a pencil. It shows a view of a coffee shop interior by panning the camera. Small differences are repeated through rotation, and the inside of the store changes as if seen through a car window.

工藤雅 Masa Kudo
1993年出生於北海道，2020年畢業於Image Forum影像研究所，為實驗動畫電影創作者。

1993 Born in Chitose, Hokkaido. 2020 Graduated from Image Forum Institute of Moving Image. Masa Kudo is an animation filmmaker who uses an experimental approach.


兔子洞 Rabbit Hole
羅荷 LO He
台灣 Taiwan｜2021｜Digital｜黑白B&W｜no dialogue｜6 min

在我入睡的那一天後，一切都不一樣了。
本片耗時三年，用黑白灰筆觸分割畫面混淆了時空，女孩追隨兔子的身影跌入深不見底的黑洞，展開一場奇幻旅程。

The day I dream, everything is different.

羅荷 LO He
一名插畫、 漫畫、2D動畫作者。時常以手繪及幾何勻稱的構圖特質描繪時間、記憶、生活的塵埃以及奇特的世界觀。曾以短篇漫畫《禮物》獲第八回鳥取國際漫畫競賽優秀賞、音樂動畫《兔子洞》入圍第二十五屆日本文化廳媒體藝術祭動畫部門 、東京國際動畫影展等國際獎項。出版書籍有《禮物》、《Sound of Silence》。

Illustrator, comic, and 2D animation author. She often uses hand-painted and geometrically proportioned compositions to depict time, memory, the dust of life, and a peculiar world view. Her short comic "Gift" won the Excellence Award at the 8th Tottori International Manga Competition, and the musical animation "Rabbit Hole" was shortlisted for the 25th Japan Agency for Cultural Affairs Media Arts Festival Animation Department, Tokyo International Animation Film Festival and other international awards.Independently published books include "The Gift" and "Sound of Silence".


星期天 Sunday
范妮・德雷爾 Fanny Dreyer & 蓋葉・基里亞基迪斯 Gaël Kyriakidis
瑞士 Switzerland｜2018｜Digital｜彩色 Color｜無對話 no dialogue｜10 min

★2019 法國克萊蒙費宏國際短片展

星期天在每週的時間循環中扮演了什麼角色？在星期天被機械運作的週間逐出後，他遇到了一個神秘的另一個自我，進入了一段夢幻的內心旅程，找到屬於他的意義。他回到時間每週的運行機器，並重新改造了它。

Expelled from the machine-week for incompetence, Sunday meets a mysterious alter ego that takes him on a contemplative stroll.

范妮・德雷爾 Fanny Dreyer
2011年自布魯塞爾皇家美術學院插畫碩士畢業後，便以多重形式創作。她既是插畫家、平面設計師、佈景道具設計師、動畫電影導演，也是一位兒童文學作家。她為兒童舉辦許多工作坊，也創辦了兒童同人藝術雜誌Cuistax。《星期天》除了有平面展覽作品，也是他第一部剪紙定格動畫短片。

Fanny Dreyer was born in 1987 in Friborg in Switzerland. She stayed there until obtaining her baccalaureate then moved to Brussels in 2007 to follow courses in illustration at the Royal Academy of Fine Arts from which she graduated in 2011. In 2013, she created the fanzine Cuistax with the illustrator Chloé Perarnau. This bilingual children's fanzine brings together around fifteen Brussels authors and illustrators involved in children's literature. Alongside her activities as an illustrator, she started a collaboration with the Swiss musician Gael Kyriakidis, initially for the production of her stop motion clip then, for a project most ambitious short animated musical film in cut-outs.

蓋葉・基里亞基迪斯 Gaël Kyriakidis
來自瑞士弗里堡的歌手、作家和作曲家。早期就讀於古典鋼琴音樂學院，爾後學習爵士樂。20 歲時，她以 Gaelk 的名字在舞台上發表了第一首歌曲。 2000 年代初，她與鋼琴家、作曲家和編曲家弟弟 Mathieu Kyriakidis 創立了 Beaumont 樂團。2007年於巴黎西帖藝術駐村，也創造出另一個創作化身Pony del Sol——一個在不同流派音樂與戲劇舞台實驗之間穿梭的另一個自我。

Gael Kyriakidis is a singer, author and composer from Friborg in Switzerland. As a child, she attended the conservatory for classical piano, then later continued in the jazz section.
She presented her first songs on stage at the age of 20 under the name Gaelk. At the beginning of the 2000s, she created the group Beaumont with her brother Mathieu Kyriakidis, pianist, composer and arranger. In 2007, she won the Jean-Tinguely scholarship which sent her to an artistic residency at the Cité des Arts in Paris. There she gave birth to Pony del Sol, a musical alter ego flitting between pop music, music hall and other more theatrical experiments.


死線 Deadline
楊詠亘 Daz Yang
台灣 Taiwan｜2023｜Digital｜彩色 Color｜華語 Mandarin｜2 min

再來的三十天，每天都是死線。
30 days from now on, there’s a deadline everyday.

楊詠亘 Daz Yang
高雄人，喜歡手作的那種樸實拙拙感覺，主要創作方式為結合實拍、攝影及手繪的複合媒材動畫。平時從事動畫與插畫創作，地方文化、歷史與日常生活是主要創作靈感來源，希望能用影像保存一些生活片段與記憶。

A filmmaker/animator/illustrator from Kaohsiung, Taiwan. Interests in local culture, history and memories serve as the inspiration for her animation and drawings.


時光飛逝 Time Flies
羅伯特．布瑞爾 Robert Breer
美國 United States｜1997｜16mm｜彩色 Color｜無對話 no dialogue｜6 min
★本片使用16mm拷貝放映

利用零碎的圖畫、照片與日常生活的事件拼貼出布瑞爾獨特而逗趣時間節奏。有時，他也讓自己的手入鏡，提醒我們照片只是電影捕捉到的一個物件，而非電影本身。

Personal photos are interspersed with fragmentary drawings and flashes of colour, observed and/or remembered everyday events – all of which add to a general sense of reminiscence. Sometimes a hand appears (Breer’s own) on top of a photo, reminding us that the photo is but an object in the film, not the film itself.

羅伯特．布瑞爾 Robert Breer
1926 年出生於美國底特律的畫家、雕塑家，1950年代開始以16mm電影為主要創作媒材，並以前衛動畫電影創作而聞名。在1962年的紐約與「美國前衛電影教父」約拿斯．梅卡斯（Jonas Mekas）共創了電影人公社（The Film-Makers' Cooperative），成為了美國前衛藝術最活躍的創作者之一。他的創作風格混雜了不同的流派與媒材，試圖透過多元的動畫技巧（拼貼、抽象與具象繪畫、卡通、攝影等）改變觀者對空間和時間的感知。整個創作生涯可視為對「運動」無止盡地微妙探索。多數作品已成為世界各大現代美術館（如龐畢度中心、MOMA）之典藏。

Born in 1926 in Detroit, Robert Breer spent fifty years building up a totally atypical body of work which plays with different genres and abolishes the notions of space and time. Starting off as a painter, he then deconstructed his neoplastic works and ended up with kinetic objects. He dealt next with the thresholds of awareness and perception, both as a sculptor and a filmmaker. His films are composed of a jumble of images that pass at great speed, while his Floats move almost imperceptibly, in accordance with an unpredictable logic. Continuing his subtle exploration of movement, his work still today causes the space of reality -irrevocably unstable- to waver.