Category: Video

  • We each walked 2000 kilometers to say good-bye

    2012 Digital Video
    HDV/ Color/ Sound/ 9’46”

    It is an exploration question of Love – how long does love last? In seeking meanings of life, some people find love as the answer. German words Leben and Liebe write and pronounce so similarly and that manifests the cultural mentality of the people in equality of Life and Love. Questions followed – Does all Love end? Why and how does it end?   Instead of hectic urban cityscape, this work I chose to work with a hundred years old dam built by the nature. It is a self-exploratory project. I situate myself in this magnificent monument, which has the natural feel yet highly artificial. The dam stops water flows through and over for a specific reason. A story is told in 3 perspectives and to be shown in 3 locations. First-person, third-person perspective and the omniscient narration helps to illustrate and examine floating quality of a story.   The text of this work is developed from and inspired by works of others, from selected films, poetries, old anonymous postcards from flea market and antique stores, novels, interviews and most importantly Marina Abramovic’s and Ulay’s collaborative work The Lovers: The Great Wall Walk. The diversity of text attempts to exploit audience’s comprehension and interpretation to where lingually unreachable.

    Exhibited in
    Inventing Dreams
    Weeds Studio, Hong Kong

    我們各走2000公里前來道別
    2012
    數碼錄像

    高清/ 彩色/ 有聲/ 9分46秒

    探討愛情問題一則 − 「她」可以存活多久?  一些人認為「她」是生存的意義。舉例在德語中 ’Leben’ 與 ‘Liebe’ 串字讀音非常相近,或可見其文化思維將生活和愛情看成對等。又問:愛情都會終結嗎?為甚麼?這是怎樣發生的? 在這次創作中,我走離都市繁囂,來到一所背靠自然的百年水壩之前,進行一個自我探索的習作。站於這所壯麗古蹟之前,感覺它既悠然,亦相當人工化,它阻隔滾滾流水唯我們所用。我在三個地方、以三種觀點 – 第一身、第三身及全知來敍說一個流動不停的故事。 作品的文本從其他創作中轉化而成,選自電影、新詩、舊名信片、小說及訪談,而當中最受瑪麗娜•阿伯拉莫維奇所啟發。嘗試以文本的多樣性開拓觀眾對作品不止於語言所及的理解及闡釋。

    展覽
    《發明了 發夢》香港勁草工作室, 2012

    Part II – Documentation with dialogue

  • Memoriescape

    2011 Video Installation
    26-channel video installation on monitors

    The exhibition is a video installation consisting of 26 videos, slide shows and text captions. The videos are captured by telecine super 8 film, webcam, cellphone, camera and digital video of different qualities.

    With Memory Disorder, Fong investigates how the temporality of memory comes into play. In our consciousness, the images that one sees prompt an associate with images drawn from our memory. This often triggers flashbacks and even imagined events. Our minds are often a sequence of randomly connected scenes. Is there an ordering for memories? Are they organized chronologically or dependent on one’s state of mind, or an inseparable mixture of both?

    By using his biography as a specimen, Fong choreographs an experience of immerging in memories and imagination by letting moving images appear and disappear. The scenes are drawn from personal encounters with conflict, the youthful urge to search for something not known, people to empathize with and places imbued with affection. According to Fong, the work is an on-going fragmented narrative that raises the question: “do we want to forget, or not?”

    -Aenon Loo

    Exhibited in
    Memory Disorder
    Gallery Exit, Hong Kong


    Installation views

    Click here for screen shot of individual video (PDF by Gallery Exit)

    Photos courtesy of the Gallery Exit

    Video Documentation of Memoriescape

  • Memory Disorder

    http://www.silasfong.com/memory/

    2011  Web Page
    Approx. 10 mins depends on internet connection speed

    Is there an order for memories? I wonder how they are arranged so that the scenes in our mind somehow appear randomly. Are they organised according to chronological order or according to the relevance of one’s state of mind? Cinema to me is an art of memories.
    Cinema works with how the images that one sees are associated with the lost and remembered images and imagined ones. It manipulates the perspective and the perception of time by the audience. In this work I try to create an experience of memories and imagination by letting moving images appear and disappear. Footage ranges from telecined super 8 film, web cam, photographs and digital video cameras at different qualities. It is displayed in a web browsing environment in multi-channels. With different internet connection speed, system of the computer and the dimension of monitor, the work can be viewed differently in the sequential arrangement and content narrated.

    Exhibited in
    The Order of Thingsa net video art exhibition
    Netfilmmakers, Copenhagen, Denmark
    Videotage, Hong Kong


    Screenshots

  • Towards the air 朝空

    2010 Digital Video
    HDV/ Color/ sound/ 15’30”

    The sunken belongings of a flight passenger were recalled back into the air.

    Screened in
    Brian Eno’s Music for Airports: New Audio–Visual Counterpoint for Aenon Loo’s music under the same title

    朝空
    2010
    數碼錄像

    高清/彩色/聲音/1530″

    航機乘客沉沒於水的隨身物被召回空中。

    放映
    布賴恩.伊諾的《機場音樂》:當代音影實驗現場音樂會與羅家恩的當代音樂作品共同演出


    Performance view


    Video stills

  • Working in Hollywood 在荷里活工作

    2010 Dual-channel digital video
    HDV/ Color/ No sound/ 43’

    Working for a job at Hollywood Road in Hong Kong for more than a year, I often see workers taking rest from their very hard work, they are smoking, lying and chatting at some hidden places. These may be their real moment of freedom and space in their daily lifes. In search of the community in their realistic and idealistic lifes, I try to represent the spaces of these people of working class with their private space, time, characters, dialogue (monologue) and imagination.

    Exhibited in
    Re-Orientation Former Married Police Quarter, Central, Hong Kong, 2010

    在荷里活工作
    2010 雙頻數碼錄像


    高清
    /彩色/無聲/ 43

    在上環荷里活道工作一年多,午飯時間常看到一些工人在隱敝的街巷中,三五成群抽着煙、躺着。他們忙裡偷暇,享受着僅餘的自由時間和空間。
    我嘗試將上班一族的私人空間、時間、人物、對話和我對他們的想像重現,尋找社群中現實和理想的生活及城市空間。

    展覽
    《擺渡》
    香港荷里活道前已婚警察宿舍, 2010


    Video stills


    Video Excerpt

  • Asleep 小睡

    2009 Digital Video
    HDV/ Color/ Sound/ 5’30

    as I sleep from shallow
    as I see from sunset
    as I hear the sound under lids
    from what you found and did
    The feet get wet and the hair are drunk
    On the way I sweat and sunk
    – Ant Ngai

    Exhibited in
    Mirror Stage》Hong Kong Visual Arts Centre, Hong Kong, 2009

    小睡
    2009 數碼錄像
    高清/彩色
    / 聲音/ 5’30

    展覽
    《鏡子舞台》
    香港視覺藝術中心, 2009


    Video stills

  • Waiting 等待

    2009 Digital Video
    HDV/ Color/ 43′

    At Times Square in Hong Kong, I wait for people staying on the bench, who are probably waiting for someone. Videos are shot and edited for audience experience.

    Waiting is a transitional stage before an event happens and time might be meaningful because of waiting. To me, waiting is an uneasy play with time in which it induces emotions dramatically and sometimes sufferings. It gives an intense experience of time and being, sometimes it is like a meditation or self reflection.

    Since the advancement of technology, especially in transportation and communication, waiting becomes a basic part of daily life in the contemporary society. Much time is saved but people are less patient.

    When economic effect and efficiency become the sole considerations for time measurement, an inhuman society will come as no surprise.

    Exhibited in
    a place changes as we look agnes b.’s LIBRAIRIE GALERIE, Hong Kong, 2009

    等待
    2009 數碼錄像
    高清/彩色
    / 43′

    在時代廣場上,我等待一些待在長凳、可能在等人的人。鏡頭下將情境拍攝成錄像後剪輯為短片。

    等待是進行或發生一件事前的過渡階段。時間亦可能因等待變得有意義。就我而言,等待是令人情緒起伏,使人忐忑不安的一場(遊)戲,也可說成一種折磨。等待期間產生對時間強烈的感覺及自我存在感,有時像一種冥想或自省。

    從當代社會看,等待已成為日常生活中主要組成部分。由於科技進步,特別在交通運輸及通訊,我們省下不少時間,但也失去耐心。

    當一個社會將經濟效益及效率作為量度時間的大前題,我們不難看到它的涼薄無情。

    展覽
    《凝視中,事過境遷》
    香港 agnes b.’s LIBRAIRIE GALERIE, 2009

    Video stills

  • Stolen Times for Sale 販賣偷來的時間

    2008 Video Installation/ Performance
    Exhibited in

    Move On Asia 2010 Single Channel Video Art Festival(Touring Exhibition)
    Para/Site Art Space, Hong Kong; Tate Modern, London  Alternative Space LOOP, Seoul, Korea;
    《Hong Kong Contemporary Art Biennial Award 2009
    Hong Kong Museum of Art, Hong Kong
    The 14th ifva (Interactive Media Category) Finalist Works Exhibition
    4/F, Pao Galleries, Hong Kong Arts Centre, Hong Kong, 2009
    Anonymity – The Debut Solo Exhibition of Silas Fong
    Artist Commune, Cattle Depot Artists Village, Hong Kong, 2008

    New Trend 2008Artist Commune, Cattle Depot Artists Village, Hong Kong, 2008
    Current
    Graduation Exhibition, Academy of Visual Arts, Hong Kong Baptist University, 2008

    We are merchants
    Everyday we purchase

    Time for money
    Money for time

    I sell the stolen times
    For reasonable price

    Silas Fong is the first merchant in Hong Kong, for giving customers outstanding value for money, the highest quality in fresh time.

    The performer steals time from strangers through pressing the button of elevators. The stolen times are recorded as video and are being exhibited in a gallery. Visitors can purchase and take away these times, which are extracted into a CD with money from the performer. According to the duration, number of people involved, their approximate age, appearance and response, prices for stolen times are different. The video sequences once sold are replaced by “SOLD – XX SECONDS FOR $XXX”, and are being shown together with the unsold ones.

    販賣偷來的時間
    2008錄像裝置/行為

    展覽
    第十四屆ifva互動媒體組入圍作品展,香港藝術中心四樓包氏畫廊, 2009
    不知名》方琛宇首個個人展覽,牛棚藝術村藝術公社, 2008
    出爐2008大專藝術畢業生群展,牛棚藝術村藝術公社, 2008
    Current》畢業展,香港浸會大學視覺藝術院畫廊, 2008

    我們都是商人
    每天賣時間
    買時間

    我以合理的價錢
    販賣偷來的時間

    方琛宇是全港首位致力為顧客提供價錢至抵、高質素新鮮時間的商人。

    透過升降機的按鍵,陌生人的時間被偷走,這些偷來的時間被攝成錄像在畫廊中展出。參觀者可自由選購時間,表演 者將它放進光碟隨顧客帶走。被偷來的時間根據長度、片中人數、他們的年齡、外貌及反應,價格各有不同。而己售的時間片段,即時被換上“已售 – XX秒 XXX元” 的字樣,與還未被出售的錄像繼續播放。

    Catalogue for stolen times


    above: Silas Fong selling time

  • Upon the escalator 在扶手電梯上

    2009 Digital Video
    HDV/ Color/
    13′ 50″

    In the space with high pedestrian flow in the city, there is full of delicate communication between people. Artist reconstructs the relationship upon the escalators and the story of people by 3 video channels abreast.

    Different numbers of people, movements, and ups and downs are strewn at random through time and space. Strangers that never met are arranged to stare at and pass by each other in the overlapping space. This highlights the artist and audience, staying aloof but being in the story at the same time.

    With a dramatic arrangement, the artist shows his imagination of the cityscape and reflection on interpersonal relationship in the public.

    – Chan Yeuk Ming

    2009 數碼錄像
    高清/彩色/
    13′ 50″

    城市之中有許多高人流的空間。當中充滿了人與人之間的微妙交流。藝術家藉由並排三組凝視電梯的片段,重塑當中的人物關係。

    不同人數長度的停動、上落形成時空錯落。並未相遇並不相識的人在安排之下,於重疊的空間中曖昧對視,擦身而過。同時又突顯了旁觀的藝術家和觀眾,以孤獨的姿態冷眼旁觀但又置身其中。於戲劇性的鋪排下,藝術家展示了個人對城市風景的想像和公共空間中人際關係的玩味。

    陳曰明



    A preview of the video (please watch in HD mode and full screen)

  • In some seconds 轉眼

    2009 Dual screen video installation
    HDV/ Color/ 16’44”, 16’41”

    A video is shot on a bus towards the street on passers-by.

    In a populous city, a specific person could only be captured in a random manner whenever the bus stops, not before or after, and just for some seconds.

    I chose a lane I travel weekly for shooting. The footages, taken in different time are sequenced into two 16:9 videos with slightly different duration and order, being back projected on two screens facing each other. In such way they are hung to create a narrow “moving” space/path to embrace the audience in between, and an experimental cinematic space for the encounter between the audience and the people in each of the two screens.

    Exhibited in
    Some roomsOsage Kwun Tong, Hong Kong, 2009

    轉眼

    2009
    雙屏幕錄像裝置
    高清/彩色/1644,1641
    在繁囂的城市裏,坐在巴士上想遇上車外街上的某路人,只能隨巴士慢駛或停下,分秒不差,也只能維持數秒

    我選擇了經常乘搭的巴士路線進行拍攝,將拍攝得來的影片剪輯成兩段長度和次序接近的16:9錄像背投到兩個面對面的屏幕上,造成一個狹窄的流動空間/通道將觀眾包圍,讓觀眾及兩個屏幕中的人在這個實驗電影空間中各自相遇。

    展覽
    Some rooms奧沙畫廊,香港  2009


    Screenshots of the video