媒体墙展演拱廊4WALLS
为散步的参观者准备的媒体墙
- 日期2020年12月15日（周二）- 2021年6月14日（周一）
- 时间19:00 - 22:00
※ 根据广场内活动安排等内部情况，部分日程可能发生变更 - 地点亚洲文化广场媒体墙
- 价格 免费
- 预售自由观看
- 咨询+82-1899-5566
介绍
媒体墙展演拱廊4WALLS
媒体墙是横长75m、竖宽16m的大型投影屏，可以在亚洲文化广场和光之丛林一边散步一边参观。
媒体墙展演《拱廊4WALLS》是对新冠肺炎疫情之后的剧场和展览场进行摸索的媒体公共美术展，同时也是六位作家围绕光州和第四次工业革命技术、气候变化时代的人类与环境等主题的巡回展览。
媒体墙展演《拱廊4WALLS》是对新冠肺炎疫情之后的剧场和展览场进行摸索的媒体公共美术展，同时也是六位作家围绕光州和第四次工业革命技术、气候变化时代的人类与环境等主题的巡回展览。
全部日程
| 序号 | 时间 | 作家 | 作品名称 |
|---|---|---|---|
| 1 | 2020.12.15 ~ 2021.1.14 | Shireen Seno （菲律宾） | A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off （拱廊4WALLS edition） 孩子死了，孩子玩耍，女人出生，女人死了，鸟儿飞来，鸟儿飞走。 （拱廊4WALLS特别版） |
| 2 | 1.15 ~ 2.14 | Taiki Sakpisit （泰国） | Seeing in the Dark （黑暗中凝望） |
| 3 | 2.15 ~ 3.14 | Yangachi（韩国） | Sally says, （莎莉说） |
| 4 | 3.15 ~ 4.14 | 金雄镕（韩国） | 在她的波长上（On Her Wavelength） |
| 5 | 4.15 ~ 5.14 | Gym Lumbera（菲律宾） | The Black Dog Which Causes Cholera（引起霍乱的黑狗） |
| 6 | 5.15 ~ 6.14 | 叶旭耀（香港） | ☜ ☞ （左边, 右边） |
※ 根据广场内活动安排等内部情况，部分日程可能发生变更
节目
孩子死了，孩子玩耍，女人出生，女人死了，鸟儿飞来，鸟儿飞走。
（ARCADE 4WALLS特别版）
（ARCADE 4WALLS特别版）
A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off (Arcade 4walls edition)
- • 作品名称A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off (Arcade 4walls edition)
孩子死了，孩子玩耍，女人出生，女人死了，鸟儿飞来，鸟儿飞走。（拱廊4WALLS特别版） - • 创作者名Shireen Seno
- • 国籍菲律宾
作品介绍
孩子死了，孩子玩耍，女人出生，女人死了，鸟儿飞来，鸟儿飞走。（拱廊4WALLS特别版）
在过去的两年里，我从21世纪初移民美国的父亲的记忆中获得灵感，创作了长篇电影《野鸭》，研究来往于菲律宾的候鸟迁徙。该作品涉及各种形式和时期的迁移。鸟类，特别是鸭子，如同人类的榜样一样，它们通过多样的方式在不同的地形中生存。我希望打造一个本地鸟类和候鸟的结合体去跨越不同时代的动态影像。
此次的新作（拱廊4WALLS特别版）是为光州媒体墙特别制作的。在不得不对人类的生活方式提出质疑的情况下，鸟类会告诉你很多东西。鸟类同时隶属多个地方，是全世界的市民。我希望通过这些有翼生物在媒体墙三个大屏幕上的迁移来为人们重新找回活力。
A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off (Arcade 4walls edition)
Over the past two years, I have been working on a series of studies of the migration of birds in and out of the Philippines, a kindred project to a feature-length film I'm writing called "The Wild Duck", inspired by memories of my father's migration to the United States in the early 2000s. The project aims to deal with migration in many forms and times. Birds, and ducks in particular, are like role models for humans-they find ways to survive by various means across varied terrain. I hope to bring together a mix of local birds and migratory ones, migrating across different generations of moving image media.
The project started in 2018 and has taken on various forms, from multi-channel video installations to experimental outdoor screenings and theatrical screenings. The project is still ongoing as I feel there is an urgent need to expand the length and scope of the work. The work thus far has been in parallel to the birth of my daughter, so I was limited to footage I was able to shoot in two locations a few hours by car from Manila. I still have my limitations as a mother during a nation-wide quarantine. So this time, I would like to work with other bird enthusiasts to include found footage of birds sourced from all over the Philippines, and perhaps other countries as well. During my research, I made friends with several bird experts and birdwatchers, and I realized that they each have a wealth of footage from their own birdwatching. I will also look into using open-source footage of birds shared online.
This new work (Arcade 4Walls edition) will be created specifically for the Arcade 4Walls media screen in Gwangju. At a time when people are forced to question our way of life, birds can offer much to learn from. They are really citizens of the world, belonging to several places at the same time. I hope to bring together a dynamic mix of these brilliant winged beings, migrating across the three screens of the media wall.
在过去的两年里，我从21世纪初移民美国的父亲的记忆中获得灵感，创作了长篇电影《野鸭》，研究来往于菲律宾的候鸟迁徙。该作品涉及各种形式和时期的迁移。鸟类，特别是鸭子，如同人类的榜样一样，它们通过多样的方式在不同的地形中生存。我希望打造一个本地鸟类和候鸟的结合体去跨越不同时代的动态影像。
此次的新作（拱廊4WALLS特别版）是为光州媒体墙特别制作的。在不得不对人类的生活方式提出质疑的情况下，鸟类会告诉你很多东西。鸟类同时隶属多个地方，是全世界的市民。我希望通过这些有翼生物在媒体墙三个大屏幕上的迁移来为人们重新找回活力。
A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off (Arcade 4walls edition)
Over the past two years, I have been working on a series of studies of the migration of birds in and out of the Philippines, a kindred project to a feature-length film I'm writing called "The Wild Duck", inspired by memories of my father's migration to the United States in the early 2000s. The project aims to deal with migration in many forms and times. Birds, and ducks in particular, are like role models for humans-they find ways to survive by various means across varied terrain. I hope to bring together a mix of local birds and migratory ones, migrating across different generations of moving image media.
The project started in 2018 and has taken on various forms, from multi-channel video installations to experimental outdoor screenings and theatrical screenings. The project is still ongoing as I feel there is an urgent need to expand the length and scope of the work. The work thus far has been in parallel to the birth of my daughter, so I was limited to footage I was able to shoot in two locations a few hours by car from Manila. I still have my limitations as a mother during a nation-wide quarantine. So this time, I would like to work with other bird enthusiasts to include found footage of birds sourced from all over the Philippines, and perhaps other countries as well. During my research, I made friends with several bird experts and birdwatchers, and I realized that they each have a wealth of footage from their own birdwatching. I will also look into using open-source footage of birds shared online.
This new work (Arcade 4Walls edition) will be created specifically for the Arcade 4Walls media screen in Gwangju. At a time when people are forced to question our way of life, birds can offer much to learn from. They are really citizens of the world, belonging to several places at the same time. I hope to bring together a dynamic mix of these brilliant winged beings, migrating across the three screens of the media wall.
Shireen Seno
Shireen Seno是马尼拉的一位艺术家和电影制作人。她的工作涉及记忆、历史和形象的制作，通常与家的概念有关。她是菲律宾文化院选出的2018年度13位艺术家奖的获奖者，曾在鹿特丹、上海、Olhar de Cinema、符拉迪沃斯托克、印尼日惹、利马独立电影节上获奖。另外，她的作品曾在新导演/新电影特展、惠比寿国际影像艺术祭上映，并且在泰特现代美术馆、UCCA尤伦斯当代艺术中心、Poltikus、新加坡南洋理工大学当代艺术中心展出。
Shireen Seno is an artist and filmmaker based in Manila and whose work addresses memory, history, and image-making, often in relation to the idea of home. A recipient of the 2018 Thirteen Artists Award from the Cultural Center of the Philippines, she is known for her films which have won awards at Rotterdam, Shanghai, Olhar de Cinema, Vladivostok, Jogja-Netpac, and Lima Independiente and have screened at New Directors/New Films, Yebisu International Festival of Art & Alternative Visions, Rencontres Internationales Paris/Berlin, and institutions such as Tate Modern, UCCA Center for Contemporary Art, Portikus, and NTU Center for Contemporary Art Singapore.
Shireen Seno is an artist and filmmaker based in Manila and whose work addresses memory, history, and image-making, often in relation to the idea of home. A recipient of the 2018 Thirteen Artists Award from the Cultural Center of the Philippines, she is known for her films which have won awards at Rotterdam, Shanghai, Olhar de Cinema, Vladivostok, Jogja-Netpac, and Lima Independiente and have screened at New Directors/New Films, Yebisu International Festival of Art & Alternative Visions, Rencontres Internationales Paris/Berlin, and institutions such as Tate Modern, UCCA Center for Contemporary Art, Portikus, and NTU Center for Contemporary Art Singapore.
黑暗中凝望
Seeing in the Dark
- 作品名称Seeing in the Dark（黑暗中凝望）
- 创作者名Taiki Sakpisit
- 国籍泰国
作品介绍
1938年至1957年15年间一直担任总理的銮披汶·颂堪陆军元帅曾计划将泰国首都迁到碧差汶府。在第二次世界大战中，他在Tham Ruesi Sombat建立了财政部。那是山上的一个洞穴，该洞穴中藏有国家宝藏、金条和神圣的翡翠佛等，以躲避日本军队的袭击。
2020年的现在，只有废弃的堡垒和炮塔可以看到上方的洞穴，黑暗的洞穴被蝙蝠占据。1932年曾是人民党主导一员的銮披汶·颂堪通过不流血革命掌握了政权，他的业绩受到了参加2020年泰国抗议活动的年轻一代的赞美。从2014年开始，独裁政权一直在为清除人民党的残余而费尽心血。
《黑暗中凝望》巧妙地交织了这些叙述，让人联想到泰国悬而未决的阴暗面。
During his premiership for 15 years spanning from 1938 to 1957, Field Marshal Plaek Phibunsongkhram had planned to relocate the capital city of Thailand to Phetchabun province; and in WWII, he established the Ministry of Treasury at Tham Ruesi Sombat, a cave on the mountain there, where the national treasure, the gold bars and the sacred Emerald Buddha were hidden from the Japanese army. Now only the ruined fortress and turret can be seen above the cave, while the bats occupy inside the dark cave. Since 2014, the dictator government has made a conscious effort to remove the architectural heritage of the People's Party who revolutionized Thailand in 1932 and whom Phibunsongkhram was one of the leading members and whose legacy has been praised by the young generation of the 2020 Thai Protests.
Seeing in the Dark interweaves these narratives sensorially and echoes the dark enclosure of the unresolved Thailand.
2020年的现在，只有废弃的堡垒和炮塔可以看到上方的洞穴，黑暗的洞穴被蝙蝠占据。1932年曾是人民党主导一员的銮披汶·颂堪通过不流血革命掌握了政权，他的业绩受到了参加2020年泰国抗议活动的年轻一代的赞美。从2014年开始，独裁政权一直在为清除人民党的残余而费尽心血。
《黑暗中凝望》巧妙地交织了这些叙述，让人联想到泰国悬而未决的阴暗面。
During his premiership for 15 years spanning from 1938 to 1957, Field Marshal Plaek Phibunsongkhram had planned to relocate the capital city of Thailand to Phetchabun province; and in WWII, he established the Ministry of Treasury at Tham Ruesi Sombat, a cave on the mountain there, where the national treasure, the gold bars and the sacred Emerald Buddha were hidden from the Japanese army. Now only the ruined fortress and turret can be seen above the cave, while the bats occupy inside the dark cave. Since 2014, the dictator government has made a conscious effort to remove the architectural heritage of the People's Party who revolutionized Thailand in 1932 and whom Phibunsongkhram was one of the leading members and whose legacy has been praised by the young generation of the 2020 Thai Protests.
Seeing in the Dark interweaves these narratives sensorially and echoes the dark enclosure of the unresolved Thailand.
Taiki Sakpisit
Taiki Sakpisit是一位在曼谷工作的视觉艺术家和电影制作人。他通过重新塑造多种声音、图像的作品，观察当代泰国潜在的紧张和冲突，探究对泰国未来的期待。他的电影营造了一种高度紧张的观感，这种观感往往与泰国动荡的社会政治有关。他的电影《残像，烟雾》(2019)获得了ACC电影基金的支持。他之前的作品《成熟的火山》(2011)在50多个国际电影节和博物馆上映。第一部故事片《黎明的边缘》目前正在后期制作中。
Taiki Sakpisit is a visual artist and filmmaker working in Bangkok. His works explore the underlying tensions and conflicts, and the sense of anticipation in contemporary Thailand, through precise and sensorially overwhelming audio-visual assemblage using a wide range of sounds and images. His films produce heightened and uneasy modes of spectatorship that often relate to the tumultuous socio-political climate in Thailand. His film Shadow and Act (2019) was supported by ACC Cinema Funds. His previous work A Ripe Volcano (2011) has been screened internationally at more than 50 film festivals and museums. His first feature film The Edge of Daybreak is currently in post-production.
Taiki Sakpisit is a visual artist and filmmaker working in Bangkok. His works explore the underlying tensions and conflicts, and the sense of anticipation in contemporary Thailand, through precise and sensorially overwhelming audio-visual assemblage using a wide range of sounds and images. His films produce heightened and uneasy modes of spectatorship that often relate to the tumultuous socio-political climate in Thailand. His film Shadow and Act (2019) was supported by ACC Cinema Funds. His previous work A Ripe Volcano (2011) has been screened internationally at more than 50 film festivals and museums. His first feature film The Edge of Daybreak is currently in post-production.
莎莉说
Sally Says
- 作品名称Sally Says（莎莉说）
- 创作者名Yangachi
- 国籍韩国
作品介绍
《莎莉说》提出了新的世界、虚拟的首尔，一切都基于人工智能、移动设备、机器人、能源和智慧城市。他用激光雷达摄像机和热像摄像机作为一种新的视觉媒体，向大家展现了一个充满新视觉数据的城市。与此同时，作品介绍了基于数据的基本收入、数据银行、数据中介等，以及因数据而进入了新社会的内容。
< Sally says, > proposes new world, virtual Seoul that grounds on AI, mobilities, robots, energy and smart city. He uses Lidar camera and Thermography camera as a new visual medium announcing new city which is full of visual data. It also informs basic income, data banks and data intermediaries; and reports entry into new society due to data.
< Sally says, > proposes new world, virtual Seoul that grounds on AI, mobilities, robots, energy and smart city. He uses Lidar camera and Thermography camera as a new visual medium announcing new city which is full of visual data. It also informs basic income, data banks and data intermediaries; and reports entry into new society due to data.
Yangachi
Yangachi是一位对虚拟、网络、监控、物体、技术、数据、基本收入、人工智能、移动设备、机器人、能源和智慧城市感兴趣的艺术家。他发表了《Middle Corea》《电子政府》《Paik/Abe Video Synthesizer, Willy-Nilly Version》《海盐剧场》 《七步诗》《明亮的鸽子贤淑小姐》《信用》《我在1956年去办公室上班。1956年在办公室发明了1966年之前的1976年、1980年、1986年，2010年从办公室下班。 坐火车在1980年站下车后，在2012年汽车旅馆看向窗外》《骨肉俱焚的夜晚》等作品。
Yangachi is an artist who is interested in virtuality, networks, surveillance, object, technique, data, basic income, AI, mobility, robot, energy and smart city. He produced various projects; < Middle Corea >, < eGovernment >, < Paik/Abe Video Synthesizer, Willy-Nilly Version >, < Sea Salt Theatre >, < Seven-Step Poem >, < Bright Dove Hyunsook >, < Credit >, < I go to the office in the year of 1956. In 1956, I invent the year of 1976, 1980, 1986 which were before the year of 1966 and get off work in 2010. I got train and stop the station called the year of 1980. After take off the train, I gaze over the window at Inn, the year of 2012 >.
Yangachi is an artist who is interested in virtuality, networks, surveillance, object, technique, data, basic income, AI, mobility, robot, energy and smart city. He produced various projects; < Middle Corea >, < eGovernment >, < Paik/Abe Video Synthesizer, Willy-Nilly Version >, < Sea Salt Theatre >, < Seven-Step Poem >, < Bright Dove Hyunsook >, < Credit >, < I go to the office in the year of 1956. In 1956, I invent the year of 1976, 1980, 1986 which were before the year of 1966 and get off work in 2010. I got train and stop the station called the year of 1980. After take off the train, I gaze over the window at Inn, the year of 2012 >.
在她的波长上
On Her Wavelength
- 作品名称在她的波长上(On Her Wavelength)
- 创作者名金雄镕 Woong-Yong Kim
- 国籍韩国
作品介绍
沉睡的男人梦见夜晚在汉江边散步。女人采访男人，她在采访中描绘的画面让人想起在电影中看见或听见的光州。这条江仿佛在追赶男人。男人睡着的床有时是空的。是得了梦游症吗？在那个夜晚, 这些事情反复浮出又沉下。
depicts in her interview reminds of seen or heard scenes from the movies about Gwangju. The river seems like chasing a man. The bed he was sleeping is empty at times. Does he have sleepwalking? These things comes up and down the surface at night.
depicts in her interview reminds of seen or heard scenes from the movies about Gwangju. The river seems like chasing a man. The bed he was sleeping is empty at times. Does he have sleepwalking? These things comes up and down the surface at night.
金雄镕 Woong-Yong Kim
出于对记录背后遗漏的内容及其与录音媒介间循环关系的兴趣，金雄镕创作了《鄂霍次克海高压》《隐藏在皮肤下的名字》《夜与雾》等实时视频表演，以及《垃圾》《样本唱片》《清醒》等录像。他的作品曾在国立现代美术馆、阿尔科美术馆、首尔市立美术馆等国内外机构展出。他在研究生阶段继续深造，探索电影与新媒体过渡时期的历史特征和时间性，并把《活动影像的展示：历史重游》翻译成韩语。
Woong-Yong Kim produced real-time video performances < Okhotsk Sea Anticyclone >, < Hidden Names Under The Skin >, < Night And Mist >, based on his interests in omissions found behind the documentation and its circular relation with recording mediums. His works have been showcased in many local and international institutions including ARKO Art Center, Seoul Museum of Art and National Museum of Modern and Contemporary Art, Korea. He furthered his studies in graduate school, where he explored historical traits and temporality which occurred in transition period of film and new media. He translated < Exhibiting The Moving Images : History Revisited > into Korean.
Woong-Yong Kim produced real-time video performances < Okhotsk Sea Anticyclone >, < Hidden Names Under The Skin >, < Night And Mist >, based on his interests in omissions found behind the documentation and its circular relation with recording mediums. His works have been showcased in many local and international institutions including ARKO Art Center, Seoul Museum of Art and National Museum of Modern and Contemporary Art, Korea. He furthered his studies in graduate school, where he explored historical traits and temporality which occurred in transition period of film and new media. He translated < Exhibiting The Moving Images : History Revisited > into Korean.
引起霍乱的黑狗
The Black Dog Which Causes Cholera
- 作品名称引起霍乱的黑狗(The Black Dog Which Causes Cholera)
- 创作者名Jim Lumbera
- 国籍菲律宾
作品介绍
引发霍乱的黑狗与菲律宾传说中的吸血怪兽“阿苏昂”一起被称为“游街黑狗”，它们被认为导致了20世纪初群岛部分地区的霍乱大流行。巧合的是，这与菲律宾-美国战争的爆发是同一时期。据推测，死亡人数为20万人。究竟是霍乱还是物理冲突所导致，死亡原因仍不清楚。2020年传染病再次蔓延的黎明，作家Lumbera听到远处狗的嗥叫。无名的恐惧笼罩着人们，人们确信黑狗回来了。在疫情爆发的头几个月里，他独自寻找并追踪那些重新占领了地盘的狗，总共收集了7000张图片。这些魔法般的图片汇集在一起，仿佛魔鬼翩翩起舞。这一切都证明，失踪的黑狗又回来作祟了。
The Black Dog Which Causes Cholera, a vernacular in Philippine history mentioned alongside the supernatural creature Asuang, "that a black dog which runs down the street" caused the great cholera epidemic of the early 1900's in some parts of the archipelago, a phenomenon that coincided with the Philippine-American War. The estimated death toll reached 200,000 - a great number to which the cause of deaths, whether due to cholera or the actual conflict, remained in doubt. At the dawn of pandemic 2020, Lumbera heard nothing but the howls of the distant dogs, a resonance of the unknown fear of all people in hiding, and thus convinced that the black dog has returned. Solely seeking and following the movement of the dogs that reclaimed territory upon the deserted streets, Lumbera conjured the dance of a ghost with a total of 7,000 images accumulated during the first months of the pandemic, - a proof that the unaccounted black dog has returned to haunt this time.
The Black Dog Which Causes Cholera, a vernacular in Philippine history mentioned alongside the supernatural creature Asuang, "that a black dog which runs down the street" caused the great cholera epidemic of the early 1900's in some parts of the archipelago, a phenomenon that coincided with the Philippine-American War. The estimated death toll reached 200,000 - a great number to which the cause of deaths, whether due to cholera or the actual conflict, remained in doubt. At the dawn of pandemic 2020, Lumbera heard nothing but the howls of the distant dogs, a resonance of the unknown fear of all people in hiding, and thus convinced that the black dog has returned. Solely seeking and following the movement of the dogs that reclaimed territory upon the deserted streets, Lumbera conjured the dance of a ghost with a total of 7,000 images accumulated during the first months of the pandemic, - a proof that the unaccounted black dog has returned to haunt this time.
Jim Lumbera
Jim Lumbera是一位研究历史文化习语的视觉语言学家。他于1986年出生于菲律宾。幼年的他，看着故乡位于湖中心的火山周围永恒的景象长大。直到今天，这种景象仍萦绕在他以镜头为基础的作品中。
Jim Jasper J. Lumbera is a visual linguist of historical and cultural idioms. Born in the Philippines (1986), he grew up to the sight and dialogue of the timeless phenomena surrounding the volcano at the heart of a lake of his hometown, that continues to haunt the theater of his lens-based works up to this day. From his short, Class Picture (2011) to his feature, Anak Araw (2012) exhibited in Documenta '14, and all shot entirely on Film, his works evince the unsung ghosts of impaired time, a visual conversation that more than a filmmaker, a visual artist, an ethnographer, and an archivist, Lumbera otherwise seeks from the hidden and reveals only a glimpse of magic. Thus, in 2012, he became a recipient of the Ani ng Dangal National Award for Cinema from the President of the Philippines. Today, his current works are a decade-long series of photographs about lost faith and an angry God, and The Black Dog Which Causes Cholera, that return him to this strange time of turning.
Jim Jasper J. Lumbera is a visual linguist of historical and cultural idioms. Born in the Philippines (1986), he grew up to the sight and dialogue of the timeless phenomena surrounding the volcano at the heart of a lake of his hometown, that continues to haunt the theater of his lens-based works up to this day. From his short, Class Picture (2011) to his feature, Anak Araw (2012) exhibited in Documenta '14, and all shot entirely on Film, his works evince the unsung ghosts of impaired time, a visual conversation that more than a filmmaker, a visual artist, an ethnographer, and an archivist, Lumbera otherwise seeks from the hidden and reveals only a glimpse of magic. Thus, in 2012, he became a recipient of the Ani ng Dangal National Award for Cinema from the President of the Philippines. Today, his current works are a decade-long series of photographs about lost faith and an angry God, and The Black Dog Which Causes Cholera, that return him to this strange time of turning.
☜ ☞ （左边, 右边）
- 作品名称☜ ☞ （左边, 右边）
- 创作者名叶旭耀 IP Yuk-Yiu
- 国籍香港
作品介绍
只要记住左边和右边是什么，就可以玩的电子游戏。本作品挑战我们对空间、意义论、理念上的“左”和“右”的感觉，以及我们的短期记忆的反复无常。
A video game for playing as long as you can remember what LEFT and RIGHT is.
☜☞ is a project that challenges our sense of LEFT and RIGHT spatially, semantically and ideologically, as well as the capricious nature of our short-term memory
A video game for playing as long as you can remember what LEFT and RIGHT is.
☜☞ is a project that challenges our sense of LEFT and RIGHT spatially, semantically and ideologically, as well as the capricious nature of our short-term memory
叶旭耀 IP Yuk-Yiu
叶旭耀，实验电影导演、媒体艺术家、艺术教师与独立策展人。他的作品涉及实验电影、现场表演、媒体装置及视频游戏，在欧洲媒体艺术节、纽约电影节（前卫观点）、影像节、Film Festival、VideoBrasil、Transmediale、NTT ICC和WRO媒体艺术双年展等主要国际场所和艺术节上广泛展出。他是art.ware专案的创办人，art.ware专案是一项独立的策展活动，致力于在香港推广新媒体艺术。他在电影、视频和媒体艺术领域拥有超过15年的策划经验，现任香港城市大学创意媒体学院的副教授。他最近的作品探索了结合电影、电子游戏和媒体艺术实践的融合创作形式。为了表彰其艺术成就，香港艺术发展局将他评选为“2019年度最佳艺术家（媒体艺术）”。
IP Yuk-Yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from films, live performances, media installations to video games, have been showcased extensively at international venues and festivals, including European Media Art Festival, New York Film Festival (views from the avant-garde), the Image Festival, FILE Festival, VideoBrasil, Transmediale, NTT InterCommunication Center [ICC] and WRO media art Bienniale. He is the founder of the art.ware project, an independent curatorial initiative focusing on the promotion of new media art in Hong Kong. IP has over fifteen years of curatorial experience in film, video and media art. Currently he is Associate Professor at the School of Creative Media, City University of Hong Kong. His recent works explore hybrid creative forms that are informed by cinema, video games and media art practices. In recognizing his artistic contributions, he was awarded the Artist of the Year (media arts) by the Hong Kong Arts Development Council in 2019.
IP Yuk-Yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from films, live performances, media installations to video games, have been showcased extensively at international venues and festivals, including European Media Art Festival, New York Film Festival (views from the avant-garde), the Image Festival, FILE Festival, VideoBrasil, Transmediale, NTT InterCommunication Center [ICC] and WRO media art Bienniale. He is the founder of the art.ware project, an independent curatorial initiative focusing on the promotion of new media art in Hong Kong. IP has over fifteen years of curatorial experience in film, video and media art. Currently he is Associate Professor at the School of Creative Media, City University of Hong Kong. His recent works explore hybrid creative forms that are informed by cinema, video games and media art practices. In recognizing his artistic contributions, he was awarded the Artist of the Year (media arts) by the Hong Kong Arts Development Council in 2019.
地点
亚洲文化广场, 亚洲文化广场媒体墙
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