【目聶仔影展 2 實驗・時態】—時差

【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.

（單元一）

時差
Time Zone

時間，一直都是電影媒材的核心概念。「如何表現時間？」，一直是每一代實驗電影工作者持續探究的問題。本單元納入九部視覺風格迥異的國內外實驗短片，試圖拆解電影的時間結構，展現最多元的時態：既是眼前無止盡的黑暗，也是稍縱即逝的瞬息；它深藏在膠卷的色層之中，也佈滿在模糊了我們視線的影像顆粒上；它是活在當下的過去，亦為已逝去的未來。藝術家們將個人的、集體的、城市的或荒野的——種種被捕捉的時間軸，透過重置、並置、疊置、倒置、錯置，形塑出新的視覺張力，挑戰觀者感知的慣性，以及對時間的既有想像。

Time has always been a crucial concept of the film medium. "How to represent time?" generations of experimental filmmakers continuously explore this question. This program consist of 9 experimental films with various forms, attempting to deconstruct the cinematic time and to manifest the diversity of tenses: it is the endless darkness ahead of us, also the fleeting instant; it lies deep within the color layers of film and scattered across the grainy image that blurs our vision; it is the past living in the present, as well as the future that has already faded away. Artists manipulate the timelines captured —personal or collective, urban or wild—through resetting, juxtaposition, superimposition, inversion, and dislocation, shaping new visual tensions, challenging the viewers' perceptual inertia, and reimagining the existed ideas about time.

05.25 Sat. 13:30 ★ 映後座談 (張若涵導演）
05.26 Sun. 19:00

選片人 Programmers

雪克
視覺藝術家雪克，畢業於巴黎賽爾吉國立高等藝術學院。她利用電影語言作為方法，進行動態影像的敘事實驗。近期創作關注亞洲地緣政治歷史、認同建構以及集體／個人記憶的關係。有多次國際駐村經驗，作品曾於法國、韓國、日本、美國等地展出。

Visual artist, Shake studied in Paris Cergy National Graduate School of Art. She employs film language as the methodology to experiment the moving image narrative. Her recent works center on Asian geopolitical history, identity construction and relation between collective/individual memory. Shake has done multiple international artist residencies, and her works have been exhibited in France, Korea, Japan, the US, etc.

郭立貞
法國新索邦大學電影視聽學博士，研究範圍涉及電影媒體科技史與美學。游移在荷蘭與法國兩地從事學術研究、影展策劃與影像修復工作。

Lichen Kuo has a PhD in Film Studies from the University Sorbonne Nouvelle Paris 3 in France. Her research covers the history of film media technology and aesthetics. Living between the Netherlands and France, she works as a film restorer in a photochemical film lab, alongside her research and programming activities.

吳梓安
從事實驗電影的創作、推廣與研究。創作上，習慣以拼貼揉雜各種異質的影像、聲音與文本，試圖質問敘事與自我的建構。作品橫跨實驗電影、紀錄片以及音像裝置及擴延電影表演。近年作品以類比膠卷的手工技法為主軸，從中摸索類比與數位影像生產技術的交界與其可能性。偶爾依個人興趣出發，從事影像書寫評論以及實驗影像教育。

Tzu-An Wu works between experimental film and its expansions. He makes collages with analogue films, through mixing heterogeneous images, audio, and texts in an attempt to inquire about the constructs of (cinematic) narratives and the selves. He also writes, teaches, and hosts screenings of experimental cinema.


世界之夜 Night of the World
Zbyněk Baladrán 茲比內克・巴拉達蘭
捷克 Czech Republic｜2011｜Digital｜黑白 B/W｜捷克語｜2 min

《世界之夜》是根據黑格爾的想像力神秘起源概念。在這個隱喻中，人就是夜晚，一個空洞的虛無，在其單純性中容納一切，富含許多表象、影像，但是這些都不屬於他，也非他當下的現實。這個夜晚，於此存在的自然，其內部是包圍他的夜晚，而其中射出的幻影，蘊含著他所拒絕的念頭萌芽，他決定不被這些念頭控制，以巴托比（Bartleby）的方式停止創造。當我們從他人眼中瞥見這個夜晚時，這個夜晚變得令人恐懼。

The short film Night of the World is based on an idea loosely related to Hegel's concept of the mysterious origin of imagination. A metaphor where Man is this night, this empty nothing that in its simplicity contains everything, an infinite wealth of many representations, images, none of which belong to him or are present. This night, the interior of nature that exists here is the night all around him, in which phantasmagoric phantoms shoot out, carries within it the germs of his rejection, with the decision not to be controlled by them and to stop creating, Bartleby-style. We catch a glimpse of this night when we look into another man's eyes - a night that becomes terrible.

Zbyněk Baladrán 茲比涅克．巴拉德
茲比涅克．巴拉德（Zbyněk Baladrán，1973 年生於捷克斯洛伐克布拉格）是一位視覺藝術家、策展人和導演。他關注於當代世界的矛盾以及透過藝術與藝術實踐來理解這些矛盾的可能性。2001年，他共同創立了 Display 研究與集體實踐協會，擔任組織成員與策展人。他參加過的展覽包括在聖塞巴斯堤安的 Manifesta 5（歐洲宣言展，2004 年）、第 11 屆里昂雙年展（2011 年）、第 56 屆威尼斯雙年展（2013 年）和紐約現代藝術博物館（2015 年）等。

Zbyněk Baladrán (b. 1973 in Prague, Czechoslovakia) is a visual artist, curator and filmmaker. He focuses on the contradictions of the contemporary world and the possibilities of understanding them through art and artistic practice. In 2001 he co-founded Display – Association for Research and Collective Practice, where he works as a curator and organizer. He has participated in exhibitions such as Manifesta 5 in San Sebastian (2004), the 11th Biennale de Lyon (2011), the 56th La Biennale di Venezia (2013) and MoMA New York (2015), etc.


二十四分之一秒的意義 The Meaning of 1/24 Second
金丘林 Kim Ku-lim
韓國 Korea｜1969｜16mm (Video original)｜彩色 Color｜無聲 Silent｜11 min
★本片使用16mm拷貝放映

★2020 伊赫拉瓦紀錄片影展

本片為韓國實驗電影先驅——金丘林的首部作品，也被視為韓國史上最早的前衛電影。藝術家以電影標準化的時間結構為題，大量使用僅一秒的鏡頭，挑戰觀者對運動幻覺的感知極限。時間成為了一種瑣碎、難以捉模、不斷位移、躁動的存在，這也精準地傳遞出韓國戰後首爾急速發展的社會氛圍與批判。

The Meaning of 1/24 Second is Korea's first experimental film and was filmed in 1969. This 16mm film in color and black and white is composed of hundreds of inconsistent scenes. Taking the basic structure of the film, which consists of 24 frames per second, The Meaning of 1/24 Second expresses the steep reality faced by modern man, and the sense of alienation that comes from uncontrollable speed.

金丘林 Kim Ku-lim
1936年出生的金丘林從未受過正統美術教育，自60年代就開始進行多元的藝術創作實驗，更主導了AG（Korean Avant-Garde Association）、第四集團（The Fourth Group）等韓國前衛藝術團體的發展，被視為為韓國實驗藝術先驅。作品型態廣泛，有繪畫、版畫、雕塑、裝置和表演，亦有地景藝術、錄像藝術和郵件藝術（mail art）的創作。近年來備受關注，作品除了在韓國本地，也在京畿道現代藝術博物館、泰特現代美術館、紐約古根漢美術館等世界各大藝術場館中展出。

Kim Ku-lim, born in 1936 in Sangju, Gyeongsangbukdo province, pioneered a unique creative career without ever receiving formal art education, and led groups such as Painting 68, A.G. Group, The Fourth Group, all of which left significant footprints in Korean avant-garde art. Furthermore, through inter-genre creative activities—such as happening, installation art, mail art, body painting, land art and experimental film—he created sensations in Korean art world in the 60s and the 70s, a period during which all attention were drawn to painting and sculpture.


紐約三原色 NYC RGB
維多莉亞・施密特 Victoria Schmid
奧地利 Austria｜2023｜16mm｜彩色 Color｜無聲 Slient｜7 min
★本片使用16mm拷貝放映

★2023 多倫多國際電影節
★2023 蒙特婁新電影影展

本片為施密特針對早期彩色電影原理研究的系列作品之一，她利用三原色光展現出一個我們從未見過的紐約。分色曝光的城市空間被重置推疊在膠卷上，細膩地透露出各種平日所看不見的色光。只有仔細觀察這些不尋常的顏色，才得以透視時間的軌跡。

With NYC RGB Viktoria Schmid shows us a view of New York that we’ve never seen before, made possible by historical color film processes. The material, triple exposed with different color filters, mixes colors, space, and time to a perception that is possible only in film. Evidence of cinema’s potential for bursting open reality. The film is part of a series of works in which Schmid looks back to early color film processes.

維多莉亞・施密特 Victoria Schmid
奧地利視覺藝術家與電影導演。長年以電影、錄像與攝影為主要創作媒材，並聚焦於動態影像介面與展覽空間裝置的互動關係。作品除了常見於國際實驗電影節之外，也於藝廊展場中展出。

Viktoria Schmid is a visual artist and filmmaker based in Vienna, who is working at the interface of the cinematic and the exhibition space. Her work has been shown nationally and internationally in exhibitions and film festivals. She studied filmmaking at the Friedl Kubelka School, holds a BA in Cinema Studies from the University of Vienna and a Masters in Time-Based Media from the University of Art and Design Linz. The different mediums she uses, like film, video and photography are the co-authors of her work - she enjoys that their specific characteristics form her pieces.


罌粟和帆船 Poppies and Sailboats
蘿絲・羅德 Rose Lowder
法國 France｜2001｜16mm｜彩色 Color｜無聲 Silent｜2 min
★本片使用16mm拷貝放映

一點點變化就足以讓一切顯得不同。日期、時間、天氣、空間佈局、某人的眼神或心境⋯⋯都能讓一切改變。帆船從七月的馬賽老港啟航，前往五月盛開燦紅的罌粟花田。

Little is necessary for everything to appear differently. The date, the hour, the weather, the space's layout, one's glance or presence of mind... can make everything change. The boats sail out of the Vieux port in Marseille to be amongst the poppy fields.

蘿絲・羅德 Rose Lowder
法國實驗電影教母級人物，於2023榮獲AWARE女性藝術家傑出成就獎，這項肯定像是對其四十多年來實驗電影創作生涯的致敬。除了創作，她曾是電影剪接師、任教於藝術學院，也是亞維農實驗電影資料館（AFEA）的創辦人之一。視覺感知與電影表現形式之間的關係為她影像實驗的核心，讓影像的造形性、圖像與攝影媒材特性，在時間流動的過程中有不同的表現力。她的電影製作如編織般地細緻，膠卷上每個畫格都有經過精確計算的曝光與排列位置，再利用膠片放映的物理特性，直接在觀者的視覺感知裡產生新的構圖。

Though known for her work in experimental cinema, Rose Lowder is also a visual artist. A pioneer of the global and ecological approach to artmaking and with a singular use of technique, she has directed some fifty films. She lives in Avignon, where she co-founded, and continues to curate programmes for, the Archives du Film Experimental. In focussing her research on visual perception in relation to the cinematographic means of expression, Lowder concentrated on the different ways one can modify the graphic and photographic visual features of the image as it transforms in time. This work led her to compose the image in the camera, usually by interweaving the frames as the film strip passes the lens several times. This way of working is relatively meticulous and complex as it means recording a succession of images, frame by frame, in the camera, so that they appear simultaneously when seen projected on the screen.


撿起放下墜落提起 It follows It passes on
徐璐 Erica Sheu
台灣 Taiwan｜2023 | 16mm | 彩色 Color｜無聲 Silent｜5 min
★本片使用16mm拷貝放映

★ 2023 Toronto International Film Festival 多倫多國際影展（Canada）
★ 2023 Ji.hlava IDFF 伊赫拉瓦紀錄片影展（Czech）
★ 2024 First Look, Museum of Moving Image, New York（USA）

爸爸的兒時玩伴告訴我，當他們在躲砲彈的時候，只能用香微弱的光照著路。在海灘上，破碎的瓷器時光旅行了。從家族軼事中爬梳戰爭與歷史在家人身上留下的情緒。光同時顯露也同時隱匿了不想被提及的故事。
Incense yields a little light. Dishes I broke time travel. A study on film as a bandage to heal, to protect, to reveal, and to hide a wound. The film sees a crack and does not see it through.
徐璐 Erica Sheu
畢業於東華大學英美語文學系、美國加州藝術學院電影與錄像研究所（CalArts MFA in Film/Video）。創作包含實驗電影短片、現場電影表演與裝置藝術。作品主要關注於變形的日記電影、手作膠卷電影、投影與投射、家族與國族記憶。作品曾在紐約電影節、多倫多電影節、鹿特丹影展、台灣國際紀錄片影展等場合放映。台灣實驗電影集社「後照鏡ЯeaRflex」的成員。目前在美國洛杉磯工作生活。

Erica Sheu/徐璐 makes short films, expanded cinema and installation with celluloid film. Her work is often about diary film, handmade film, screen and projections, cross-generational memories, Taiwanese identity politics. Her experimental short films have been shown at NYFF Currents, TIFF Wavelengths, IFFR Bright Future, International Short Film Festival Oberhausen, (S8) Mostra de Cinema Periferico, EXiS, TIDF among other film festivals and venues. Sheu holds an MFA in Film/Video from CalArts. She works and lives in Los Angeles.


雙八 Double 8
克莉絲蒂娜・貝雄 Christiana Perschon
奧地利 Austria｜2016｜16mm (double 8mm original)｜黑白 B/W｜無聲 Silent｜3 min
★本片使用16mm拷貝放映

★2017 Ji.hlava International Documentary Film Festival 伊赫拉瓦紀錄片影展

這是克莉絲蒂娜貝雄與女性主義前衛藝術先驅——琳達克里斯坦內爾（Linda Christanell）的相遇，也是兩人為彼此拍下的肖像。《Double 8》利用未經切割的雙8釐米影片，讓時間軸上的兩個瞬間、實驗電影史的兩個世代、攝影機前與後的兩個空間、看與被看的兩個觀點，在同一個影像中相遇，展現了一個特殊影像時空交界。

Double 8 focuses on the encounter with Linda Christanell, artist of the feminist avant-garde of the 1970s and opens a projection space. In Double 8 the need for interchange with the history of film and its makers becomes tangible: as mutual viewing and being viewed. Two handheld cameras, two spools of double-8 film, four frames: two artists from different generations encounter one another by pointing the camera at each other.

克莉絲蒂娜・貝雄 Christiana Perschon
奧地利實驗電影導演、策展人，維也納電影錄像藝術平台 Golden Pixel Cooperative成員之一。作品曾入選至多個國際實驗電影展，亦多次獲獎。
Christiana Perschon is a filmmaker and artist based in Vienna. Her films have received several awards and grants (Best Camera Diagonale'19, Theodor Körner Preis 2018, Best Austrian Short Film, Vienna Shorts'14) and have been shown at international film festivals, such as Kurzfilmtage Oberhausen (DE), Duisburger Filmwoche (DE), New Horizons IFF (PL), Visions du Réel (CH), Edinburgh IFF (UK), Cork Film Festival (IRL), Jihlava JIDFF (CZ), Viennale (AT). She is a member of the Vienna based video and film artists‘ platform Golden Pixel Cooperative.


1/5400．單格舞曲Flight and Frame
張若涵 Johan Chang
台灣 Taiwan｜2021｜Digital (Super 8 mm &16 mm original)｜彩色 Color｜日語｜10 min

★2022 韓國首爾EXiS實驗與錄像影展 國際競賽
★2022 台灣國際女性影展 台灣競賽
★2022 高雄電影節 國際短片競賽 台灣組
★2022 南方影展 實驗類競賽 / 南方新人獎

在一間落後於時代的老屋裡，開啟一段緩慢的手工實驗。作者將折返國境之間而散落於相異時空顯影的8mm黑白膠卷，逐日逐格黏貼於16mm透明膠卷。時間秩序重整，以再製的格數計算前行。日子過去，間隙／格的光影留下。
An 8mm & 16mm film experiment made during the year of Covid-19 around the time I moved back to Taiwan from Japan. I shot 8mm footage during the state of emergency in Japan and just after moving back to Taiwan. I then spent several months cutting and pasting each 8mm frame onto 16mm film. Sometimes the daily fragments were too sentimental, but the film gave me shelter.
張若涵 Johan Chang
1990年生，台南人。從事紀錄片製作、推廣、影展等工作。於日本 image forum 修習實驗電影後，開始個人影像創作。

Johan Chang (b. 1990, Tainan, Taiwan) has been working in documentary film festivals/organizations and producing documentaries for many years. She started to make her personal projects in 2019 at Image Forum’s courses in Tokyo, Japan. Her work explores the expression of moving images to address memory, image-making, hand-made process, and diary films. She is also a member of ЯeaRflex (Taiwan) and Ground Rebel/Level Cinema (Japan).


影霧＃14 Brouillard Passage #14
亞歷山大・拉侯斯 Alexandre Larose
加拿大 Canada｜2013｜Digital (35mm original)｜彩色 Color｜無聲 Silent｜10 min

★2015 鹿特丹電影節
★2015 漢堡國際短片電影節國際競賽最佳影片

藝術家使用彩色反轉片與鏡頭內剪接（In-camera editing）的技巧，在不同的時間裡，多次拍下老家後院那條通往聖查爾斯湖的路徑。不同時間軸上的光點，在膠卷的感光乳劑上曝曬推疊一種既熟悉又抽象的時空意境。

A path that extends from my family's backyard into Lac-Saint-Charles (Québec City), condensed in multiple layers.

亞歷山大・拉侯斯 Alexandre Larose
對光學與膠卷媒材的研究為視覺藝術家拉侯斯主要的創作實踐。他經由對主題與影像技術的層層透析來探究媒材轉譯與影像再現的能力。作品也常以類比放映機裝置形式於不同空間中展出。

Alexandre Larose is a French-Canadian artist based in Montreal. His moving-image practice investigates phenomena of appearance and representation as translated by the media of optics and celluloid. His approach relies on a methodical stripping out of layers embedded in both the live subjects and the technique that translates them into visual artifacts.


一幀一幀的一個月 A Month of Single Frames
琳恩・薩克斯 Lynne Sachs
美國 United States｜2019｜Digital (16mm original)｜彩色 Color｜英語｜14 min

1998年，美國酷兒實驗電影先驅芭芭拉・漢默在一個沒水沒電的荒野小屋駐村。在那裡一個月的時光，她拍片、錄製聲音、書寫日記。十年後，正在面對死亡的她將這些內容交給了琳恩・薩克斯，並邀請她以此製作一部電影。薩克斯以自己的方式探索漢默這一個月的孤獨時光，並透過文字將不同層次的時空凝結在一起。

In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. While there, she shot film, recorded sounds and kept a journal. In 2018, Barbara began her own process of dying. She gave all of her material from the residency to filmmaker Lynne Sachs and invited her to make a film. Through her own filmmaking, Lynne explores Barbara’s experience of solitude. Her text on screen brings us all together in multiple spaces and times.

琳恩・薩克斯 Lynne Sachs
紐約的詩人與實驗電影導演。作品多探究身體、攝影、電影物質性的關係。她利用書信、檔案、日記、詩歌與音樂帶領觀眾穿越現實與記憶的旅程。作品多次入選至MOMA、Tate與多個國際實驗電影節。

Lynne Sachs is an experimental filmmaker and poet living in Brooklyn, New York. She has produced 40 films which often investigate the connections between the body, the camera, and the materiality of film itself. Lynne uses letters, archives, diaries, poetry and music to take us on a critical journey through reality and memory. Her films have screened at MoMA, Tate Modern, Image Forum Tokyo, and festivals such as NY Film Festival, Oberhausen, Punto de Vista, Sundance, Vancouver, and Viennale.