【目聶仔影展 2 實驗・時態】—On Time

【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.

（單元五）
On Time 徵件單元

徵件主題「On Time」，是即時、及時、有時，也是對時間的討論。實驗電影透過個人的創作再製各種私密的時間、社會的時間、虛擬的時間、回憶的時間、以及各種藉由影像來展現，我們所留住的時間。希望透過徵件，打開並連結社群，探索某種更貼身的，屬於創作者的「時間」。本單元為我們首次的全球徵件，由390部投件作品中精選出12部優秀作品。

The theme "On Time," which encompasses immediacy, timeliness, intermittence, and a discussion about time. Experimental cinema, through individual creation, reproduces various personal, societal, virtual, and captured times, as well as the various times we preserved through filmmaking. We also hope to expand the community and explore a more intimate concept of "time", made by and for the filmmakers. This program is our first attempt to make an international call for work. We selected 12 films from 390 submissions.

05.25 Sat. 15:30
05.26 Sun. 15:00 ★ 映後座談

決選評審 Jury of Final Selection

陳慧穎 是一名選片人、文字工作者，現任台灣國際女性影展策展人。畢業於紐約哥倫比亞大學電影研究所，自2017年加入女性影展選片團隊。近年多關注擴延電影、性別議題及位處多重邊緣的影史探詢。文章散見於《Fa電影欣賞》、《放映週報》等。

CHEN Huei-Yin is a curator, writer and researcher. She holds a MA in Film Studies from Columbia University, and has been involved in curatorial practices since 2014. She joined the programming team at Women Make Waves Int'l Film Festival Taiwan in 2017, and currently works as the Curator of WMWIFF. She also served as a jury member for various film festivals, including Internationales Frauen Film Fest Dortmund/Köln (2020), Taiwan International Documentary Festival (2022, 2024) and NETPAC Award at Taipei Golden Horse Film Festival (2023).

林仕杰，美國加州藝術學院電影與錄像研究所畢業，現居台北。創作包括實驗電影、紀錄片與環境聲響，作品多著墨於意識在日常語境中的重組，以主觀的聲畫作為擴增記憶的載體，描述身處另一種現實的可能。

Lin Sanmu is a filmmaker and audiovisual artist based in Taipei. He holds an MFA in Film and Video from California Institute of the Arts. His works include experimental films, documentaries and sound. He focuses on the synchresis approach to displace and re-arrange sound and image, sometimes playfully, to expose everyday symbols in another subjective consciousness, paving a trail to the realm of memories and dreams.

Jesse Cumming 是一位策展人、作家和研究者。他是多倫多國際電影節「Wavelengths」部門的副策展人，也是Open City紀錄片節和柏林電影節論壇的顧問。曾任 Hot Docs 加拿大國際紀錄片節的節目策劃人。文章散見 Cinema Scope、The Brooklyn Rail、MUBI Notebook、Filmmaker Magazine、Hyperallergic、Canadian Art、 Another Gaze、C Magazine、Berlin Art Link 等刊物。

Jesse Cumming (he/him) is a curator, writer, and researcher. He is an Associate Curator with the Wavelengths section of the Toronto International Film Festival, in addition to a consultant with Open City Documentary Festival and the Berlinale Forum. He was formerly a Programmer with Hot Docs Canadian International Documentary Festival. His writing has appeared in Cinema Scope, The Brooklyn Rail, MUBI Notebook, Filmmaker Magazine, Hyperallergic, Canadian Art, Another Gaze, C Magazine, Berlin Art Link, and more.

Esperanza Collado是一位西班牙藝術家兼研究者。她以表演環境、特定場域的作品及批判性文本之形式，研究電影在藝術實踐中的非物質化(dematerialization)、寫作的表演性(performative)及作為後設歷史學家（Metahistorian）的藝術家形象。2020年獲台灣獎學金進行東南亞的擴延電影研究。現任教於西班牙昆卡藝術學院(Cuenca Fine Arts College, UCLM)。

Esperanza Collado is a Spanish artist-researcher. Her practice encompasses performance-environments, site-specific works and writing. Her research often revolves around the dematerialization of film in art practices, the performativity of writing and the figure of the artist as meta-historian. In 2020, she researched expanded cinema in Southeast Asia under the Taiwan Fellowship. She lectures in Cuenca Fine Arts College, UCLM (Spain).

初選 Selection Committee：目聶映像文化 Bak-Nih Audiovisual Lab Ltd.
主持人 Moderator ：吳梓安 Tzuan WU


序幕 Prelude
埃金哈茨．坎特 Eginhartz Kanter
德國 Germany｜2022｜DIgital (16mm original)｜黑白 B/W｜無對話 no dialogue｜3 min

★2023 Kassel Dokumentarfilm & Videofestival 卡塞爾紀錄電影暨錄像展
★2023 Kurzfilm Festival Hamburg 漢堡國際短片電影節
★2023 San Francisco Crossroads Film Festival

一陣斷斷續續的光芒劃破了夜色。 一瞬間，過往變得清晰可見。

A staccato of light flashes breaks through the darkness of the night. For a brief moment, the past becomes visible.

埃金哈茨．坎特 Eginhartz Kanter
1984 年生於萊比錫，曾在林茲藝術與設計大學、維也納美術學院和里昂國立高等美術學院學習美術、文化研究和攝影。他擅長以藝術創作來質疑日常生活和環境的界限和慣性。他在城市空間中的裝置除了與建築息息相關，亦涉及公眾各個層面的意義。
Eginhartz Kanter (b. 1984, Leipzig) studied Fine Arts, Cultural Studies and Photography at the University of Arts and Design Linz, the Academy of Fine Arts Vienna and the École Nationale Superieure des Beaux-Arts in Lyon. In his artistic approach he questions the boundaries and conventions of everyday life and living environments. His (sub)urban interventions negotiate aspects of the public and often have a direct relation to architecture.


服務台 Help Desk
艾德溫．羅斯頓 Edwin Rostron
英國 UK｜2023｜Digital｜彩色 color｜無對話 no dialogue｜3 min

★Ann Arbor Film Festival (USA)
★Monstra Lisbon Animated Film Festival (Portugal)
★Swedenborg Film Festival (UK)

一段神秘的傳輸展示了充滿趣味的幾何變化。《服務台》是一部催眠般的手繪動畫，提供一段冥想和沉思的空間，讓意識遊蕩在平面和深度，以及控制和失控間。這部電影使用即興創作的直接動畫製作而成，企圖在因疫情而碎裂的這幾年後，重新找回一些急需的專注力。

A mysterious transmission revealing playful geometric possibilities. Help Desk is a hypnotic hand-drawn animation, providing a meditative and contemplative space, oscillating between flatness and depth, control and instability. The film was made using an improvisational process of ‘straight ahead’ animation, and was primarily an attempt to regain some much needed focus after the fragmented years of the pandemic.

艾德溫．羅斯頓 Edwin Rostron
艾德溫．羅斯頓製作動畫電影已超過25年。他的作品根植於素描，但同時也包括繪畫、拼貼和攝影。他的作品曾在世界各地的電影節上展出，Ann Arbor Film Festival、The New Chitose Festival、Pictoplasma and Eyeworks Festival of Experimental Animation。2013 年，他創立了Edge of Frame，一個專注於實驗動畫的blog和放映系列。目前於倫敦生活與工作。

Edwin Rostron has been making animated films for over 25 years. His work is rooted in drawing, but also encompasses painting, collage and photography. His work has shown at film festivals worldwide, including at Ann Arbor Film Festival, The New Chitose Festival, Pictoplasma and Eyeworks Festival of Experimental Animation. In 2013 he founded Edge of Frame, a blog and screening series focusing on experimental animation. He lives and works in London.


雙八時光寶盒 In Littleness
劉行欣 Cherlyn Hsing-Hsin Liu
台灣 Taiwan｜2024｜Digital (Double 8mm & 35 mm original)｜彩色 Color｜無對話 no dialogue｜8 min

★2023 Fracto Experimental Film Encounter (Germany)
★2023 Kinoskop - Analog Experimental Film Festival (Serbia)
★2023 Antimatter [Media Art] Film Festival (Canada)

剛開始接觸這媒材的時候，被其迷你的規格所深深吸引。八毫米是一塊非常微小的空間以用來記錄影像，因此使我想起關於童年的林林總總，發生得那麼快，奇妙又多變。想起小時候多半時間是和奶媽在一起的，於是我決定將鏡頭對準生活日常，近攝放大它們，尤其是家務瑣碎，而這樣做的同時，童年世界的顆粒和塵埃也一起被放大了。

When I first came into contact with this medium, I was deeply attracted by its miniature size. Eight millimeters is a very small space on which to store images. It reminds me of all kinds of things from childhood: ephemeral, wonderful, changeable. Recalling that as a child I spent most of my time with my nanny, I decided to zoom in on daily life, especially trivial household chores. At the same time, the particles and dust of the childhood world are magnified.


劉行欣 Cherlyn Hsing-Hsin Liu
劉行欣（1982 年出生於台灣高雄）是一位跨學科藝術家、電影創作者和作家，其作品以文學和觀念藝術為基礎，畢業於加州藝術學院（CalArts）電影與數位影像創作所（The School of Film/Video）獲得藝術碩士（MFA）學位。劉行欣的藝術創作受到東西方哲學之啟蒙，也深受美歐先鋒派（avant-garde）電影之影響，作品經常源自生命中事件的延伸思考，抑或是對於周遭細微事物的覺察，時有觸及跨文化現象、跨域語言、結構主義與後結構主義等的反芻。她的影像性格體現在手工方法、混合媒材、與新舊技術之間的實驗交流上。

Cherlyn Hsing-Hsin Liu (b. 1982, Kaohsiung, Taiwan) is an interdisciplinary artist, filmmaker and writer whose work is grounded in literature and the conceptual avant-garde. Cherlyn’s creative activity often starts from a life event or curiosity concerning an anomaly in language or in the material world. It continues by employing methods drawn from both Eastern and Western practices and philosophies. Her working method at various times involves handcrafted material, mixed media, and experimental interchange between new and old technologies.


青園 The Cyan Garden
彭祖強 PENG Zuqiang
中國 China｜2022｜Digital (16mm & Super 8mm original)｜黑白 B/W & 彩色 Color｜華語 Mandarin｜8 min

★2023 40th Kassel Documentary Film and Video Festival (Germany)
★2024 Alchemy Film and Moving Image Festival (UK)
★2024 Images Festival (Canada)

《青園》試圖賦形於一系列不連貫的歷史與回憶。作品部分使用已停產的軍用過期樂凱航空膠卷拍攝，影像徘徊於一個隱蔽的電台遺址和⼀位藝術家友⼈經營的「情人」民宿之間。1969年到1981年間，流亡的馬來西亞共產黨地下電台「馬來亞革命之聲」曾在離友人住所不遠的城鎮駐留，而其遺址正被改造成為一個度假村。投射在半透明壓克⼒板上的影像，生成朦朧的殘影，搖曳閃爍於檔案音頻、電台遺址和裝修成「東南亞」風格的民宿之間。空間的重飾、⾰命的殘存、被扼殺的浪漫和從未準確的回憶在《青園》中交織成⼀組視覺筆記，並隨著電台調頻裡的流⾏歌曲逐漸散去。

The Cyan Garden considers the limits of giving form to the past which cannot cohere into memory. In part filmed on ‘Lucky', a discontinued b&w 16mm film reel stock intended for military aerial detection, the film revolves around a radio station that was not supposed to be detected and an Airbnb apartment ‘The Lover’, run by the artist’s friend in their hometown. Between 1969 and 1981, a Malaysian communist underground radio in exile Voice of the Malayan Revolution resided in what is now soon to be a resort. Contemplation on a revolution’s fraught relation to emancipation, The Cyan Garden interweaves visual notes on contemporary urbanization, revolutionary bodies, stifled romance and inability to remember ‘rightly’ as love songs lull in the background.

彭祖強 PENG Zuqiang
彭祖強的創作以錄像、電影與裝置的形式展開，著眼於具體物件、語言與歷史中潛藏的多元聯系與情感痕跡。作品曾在 Cell Project Space、e-flux放映廳、Kevin Space、巴西錄像藝術雙年展、尤倫斯當代藝術中心、25FPS影展、倫敦 Open City 紀錄片影展等展映。 他曾榮獲得 Illy Present Future大獎（2022）、歐洲媒體藝術節對話獎（2023），並於 2023 年以其首部長片《難》獲得印尼日惹紀錄片電影節國際長片競賽單元的「特別提及」。他於 2022 年開始在荷蘭皇家視覺藝術學院的駐村。

Peng Zuqiang works with film, video and installations. Recent exhibitions and screenings include Cell Project Space, E-Flux screening room, Schirn Kunsthalle Frankfurt, Times Museum, UCCA Beijing, 25FPS, IDFA, Antimatter, and Open City Doc Festival. He is the recipient of the Present Future Prize 2022, and a ‘Special Mention’ from Festival Film Dokumenter, Yogyakarta for his first feature film, Nan (2020). A resident artist at Rijksakademie van beeldende kunsten (2022-2024), he lives and works in Amsterdam.


閃爍鷗 Glistening Seagull
柳彩晶 Chae Yu 유채정
韓國 Korea｜2023｜Digital (Super 8mm original)｜彩色 Color｜無對話｜10 min

你如閃爍蕩漾的水波流動，我如海鷗於其上飛舞。
本片探討記憶中的視覺備忘物，包含物體和周圍環境，和與之相關的空虛和缺席，為記憶的機制提供了一條路徑。 與影像相互矛盾的聲音，像過去的觸發器，或現在的殘片。 本片為一種新的時間-空間關係記譜。

You moved as if shimmering and rippling water, and I danced above like a seagull.

The film explores visual reminders of objects and surroundings of memory to the void and absence tied to it, offering a path for the mechanism of memory. The imagery is contradicted by found sounds that operate as triggers of the past or as debris in the present. The film notes a new category of space-time.

柳彩晶 Chae Yu 유채정
熱衷於實驗性的電影製作。她對體驗數位與類比音像的不同表現特別感興趣。她的影片曾在東京 Image Forum、Ji.hlava IDFF、EXiS、首爾 SIFF、京都京瓷博物館、釜山當代藝術博物館等展出。


Chae Yu (b.1996) is based in Seoul, South Korea, and has an inclination for the experimental stream of filmmaking. She is particularly interested in experiencing different expressive positions in sound and image, filmed on both digital equipment and a 16mm camera. Her films have been presented at Image Forum Tokyo, Ji.hlava IDFF, EXiS, SIFF Seoul, Kyocera Museum Kyoto, Museum of Contemporary Art Busan, Asian Artist Moving Image Platform, New York, among others.


時間測量（15公尺）Measuring time (15 meters)
豪赫．拉米雷斯 Jorge Ramírez
西班牙 Spain｜2023｜Digital (Super 8mm original)｜彩色Ｃolor｜無對話 no dialogue｜4 min

★2024 Milwaukee Underground Film Festival 密爾瓦基實驗電影節 (USA)

這部影片利用超八的媒材特性來測量時間的流逝。將 15 公尺的捲尺刻度直接展現在 15 公尺長的膠卷上。風景、文本、侵蝕和記憶的框架重新表述了構成膠卷影片的長度。每個鏡頭都有不同的位置，每個鏡頭間隔 375 公分，每個鏡頭稀釋時間，而在這些鏡頭之中，我們可以度過一個人的一生，一段普世的歷史或僅僅一幕單純的日落。

The need to measure and control time is materialized in this super 8 film by equating the 15 meters of the cartridge with the 15 meters of a tape measure that proposes different ways of measuring the passage of time. The frames of landscapes, texts, erosions and memories reformulate the meters and centimeters that make up the duration of a reel. Each shot has a different position, each shot has 375 cm, each shot dilates time and in each shot we can live a whole life, the universal history or a simple sunset.

豪赫．拉米雷斯 Jorge Ramírez
視覺和聲音藝術家，繼承結構主義傳統，將電影形式應用於類比電影、電玩和網路等不同媒體上創作。他對時間、風景的物質感知，以及數位與類比媒體之間的關係感興趣。LAV 碩士學位，作品曾在多倫多LIFT、Círculo de Arte Toledo 和馬德里 Cineteca 放映。他也曾在馬德里策劃電影放映。

Visual and sound artist who works from the heritage of structuralism applying its cinematographic forms in various media such as analog cinema, video games and the internet world. Interested in the materialistic perception of time, landscape and the relationship between digital and analog. He has done the Master LAV and his work has been screened in LIFT, Toronto, Círculo de Arte Toledo and Cineteca, Madrid. He has also worked as a film programmer in Madrid.


小眼複眼 Ommatidia
Gloria Chung
美國、冰島 U.S., Iceland｜2022｜Digital｜無對話 no dialogue｜7 min

★ 2022 Bogotá Experimental Film Festival - CineAutopsia (Columbia)
★ 2022 Antimatter [media art] (Canada)
★ 2023 Strangloscope Festival (Brazil)

用借來的眼睛來觀察旅行中遇見的意外碎片，與光的場域。
The unexpected fragments and fields of light we encounter while traveling, and borrowed eyes with which to see them.

Gloria Chung
Gloria Chung 於紐約生活與工作。她的電影作品在美國及國際間的各種影展和藝廊展出。
Gloria Chung lives and works in New York. Her films have been screened at festivals and galleries in the U.S. and internationally.


潮起 Upwards Tide
丹妮拉．扎爾納 Daniela Zahlner
奧地利 Austria｜2022｜Digital (16mm original)｜彩色 Color｜英語 ｜5 min 30

★2022 Indielisboa Int. Film and Videofestival (Portugal)
★2023 Kurzfilm Festival Hamburg (Germany)
★2023 BFI Flare LGBT Festival (UK)

歷時四年，扎爾納選擇在滿月的那一天於蘇格蘭的卡倫湖和綠樹成蔭的維也納森林拍攝神奇月球幻境。這首閃爍流暢的影像詩，流暢地結合了兩地的圖像。兩者相互模糊、相互滲透，就像電影本身（用已過期的膠卷拍攝）在人體和水體之間自由漫步一樣。超越、變形、改變。（Neil Young VIS 2022）

A magical lunar reverie filmed over four years on the days and nights of the full moon, this shimmering moving-image poem fluidly combines images of the saltwater Loch Carron in the Scottish Highlands and leafy Viennese forests. The two locations blur and bleed into each other, just as the film itself (shot on gloriously outdated analogue stock) wanders freely among human bodies and bodies of water. Transcendent, transfiguring, transformative. (Neil Young VIS 2022)

丹妮拉．扎爾納 Daniela Zahlner
Daniela Zahlner，80 年代出生於奧地利，從事美術、電影和表演工作。她在彼得·庫貝卡學校學習電影製作，並在維也納和格拉斯哥學習電影/媒體理論和美術。作品除了在國際電影節中放映，也於藝術展覽中展出。

Daniela Zahlner, born in Austria in the 80s, works between Fine Arts, Film and Performance. She studied Filmmaking at the School Friedl Kubelka and Film/Media Theory and Fine Arts in Vienna and Glasgow.


精屍揀骨三部曲 Exquisite Corpse Trilogy
Seokyoung Yang
韓國 Korea｜2023｜digital, 16mm, 8mm｜彩色 Color｜韓語｜17 min

★2023 DMZ International Documentary Film Festival (Korea)
★2023 Beijing International Short Film Festival 北京國際短片聯展 (China)

透過了三次不成功的嘗試與考驗，一位電影創作者試圖和她父親的死亡和解。
Through three unsuccessful attempts and trials, a filmmaker seeks to reconcile with the death of her father.

Seokyoung Yang 是一位專注於藝術實驗的策展人、詩人和電影創作者。在韓國出生長大，透過動態影像和文字探究失常語言、離散身體以及內在的失落之間的關聯。加州藝術學院電影和錄像學士。她是洛杉磯電影論壇的副策展人，目前居住在首爾。

Seokyoung Yang (she/they) is a curator, poet, and filmmaker dedicated to artistic experimentation. Born and raised in South Korea, she investigates the correlation between anomaly of language, diasporic bodies, and internal loss through moving images and texts. She received her BFA in film and video program at California Institute of the Arts. She is an associate programmer at Los Angeles Filmforum and currently resides in Seoul, South Korea.


炙墨映像書簡：天書篇
ABURIDASHI Assortment: Video Letters Written in Invisible Ink
映像書簡あぶり出し・あそーと。
鈴木野々歩 Nonoho Suzuki
日本 Japan｜2022｜Digital｜彩色 color｜日語｜9 min

★ 2024 VIDEOFORMES 評審團特別獎 (France)
★ 2024 International Festival of Animated Film Stuttgart (Germany)
★ 2023 Bogotá Experimental Film Festival (Colombia)
★ 2023 Doclisboa 里斯本國際紀錄片影展 (Portugal)

這部實驗動畫紀錄片採用日本忍者傳統中名為「炙出」的隱形墨水技術。本片分為三個部分：開端、中段和結尾。「開端」是我對朋友平竹先生的一段祝賀。「中段」講述了平竹對於對東日本大地震的政府回應所感到的憤怒。「結尾」則是關於個體被捲入戰爭的恐懼。這部作品展示了在這十年的時間裡，我從由關注個體轉向為關注國家的視角變化。

This work is an experimental documentary animation by the traditional Japanese technique of "ABURIDASHI". It consists of three parts: Beginning, Middle, and End. "Beginning" is a personal video made to celebrate my friend Hiratake-san. "Middle" is about Hiratake-san's anger at the government responses to the Great East Japan earthquake. "End" is about the fear of war in which individuals get involved. This work depicts how my perspective changes from an individual to a nation over a period of 10 years.

鈴木野野步 Nonoho Suzuki
1980 年生於東京。他是 Image Forum 影像研究所第26期畢業生，是詩人和導演鈴木志郎康的次子，也是導演和詩人村岡由梨的丈夫。他的作品包括《Take the Wind》（2008）、《I, and LA TAKE and Wii》、《Gypsum》（2009）等。《Take the Wind》曾獲2009年 Tokyo Video Festival 優秀作品賞。也是兩個女兒的父親。

Nonoho Suzuki was born in Tokyo 1980. Graduated the 26th class of Image Forum Institute of the Moving Image. He is the second son of Shirouyasu Suzuki who is a poet and a filmmaker and the husband of Yuri Muraoka who is a filmmaker and a poet. His works are Take the Wind (2008), I, and LA TAKE and Wii ”Gypsum” (2009) and so on. Take the Wind (2008) won the Excellence Awards at the Tokyo Video Festival 2009. A father of two daughters.


夢在此境已不再 We dreamed in places that no longer exist
尤哥・愛西米歐 Giorgos Efthimiou
希臘 Greece｜2024｜Digital video｜彩色 Color｜希臘語｜6 min

★2024 International Short Film Festival of Oberhausen (Germany)

作者回憶起和朋友在希臘阿提卡半島的Elaionas一間廢棄工廠裡所度過的一天。這間工廠已不復存。他想，為何曾經讓他感到自由的地方，在這個「新世界」都不復存在了呢？

The filmmaker recalls a day with friends in an abandoned factory in Elaionas, an area of Attica. This factory no longer exists.The filmmaker is wondering, why all the places where he once felt free no longer exist in this "New World"?

尤哥・愛西米歐 （Giorgos Efthimiou）居住在雅典。他是一位電影導演、表演者、視覺藝術家和策展人。他製作了40多部獨立電影和錄像作品。並在許多其他影片中擔任攝影師、參與者和編輯。作為策展人，他創辦了實驗電影放映系列 Pugnant Film Series。

Giorgos Efthimiou lives in Athens. He is a film director, performer, visual artist and curator. He has made more than 40 independent films and videos. He has photographed, participated and edited in many other films. As curator his name is associated with the Pugnant Film Series, of which he is a founder.


牽掛的季節 Seasonal Concerns
麥斯米蘭・路克・波可特 Maximilien Luc Proctor（MLP）
德國 Germany｜2024｜16mm｜彩色 color｜無聲 Silent｜3 min
★本片使用16mm拷貝放映

★2024 First Look Museum of Moving Image, New York (USA)
★2024 16mm films by MLP - CIRCUIT & Pyramid Club (New Zealand)

本片用 EXR 50D 16mm 膠卷三重曝光：夏天拍攝兩層，第三層則在入冬之際拍攝。在創作者所居住的柏林東北部的魏森湖周圍，雕像群在意識中淡入又淡出。

A triple exposure on EXR 50D 16mm film: two layers shot in summer, and the third captured on the cusp of winter. A collection of statues fading in and out of consciousness, around the Weissensee lake in northeast Berlin, where the filmmaker lives.

麥斯米蘭・路克・波可特（Maximilien Luc Proctor，MLP）是一位法裔美國電影製片人、評論和策展人。2014 年畢業於奧克拉荷馬大學，獲電影和媒體研究書卷獎。在樂隊 Two Nice Catholic Boys 中擔任錄音，現為實驗電影平台 Ultra Dogme 的創始人和共同編輯，並在柏林 Art-on-the-Run 電影學校的教授前衛電影。

MAXIMILIEN LUC PROCTOR (MLP) is a French-American filmmaker, critic and curator. He graduated from the University of Oklahoma with honors in Film and Media Studies in 2014. He records music in the band Two Nice Catholic Boys, is the founder and co-editor of Ultra Dogme, and the avant-garde instructor for Berlin’s Art-on-the-Run film school.