跳格 — 香港國際舞蹈影像節2023 Jumping Frames – Hong Kong International Movement-image Festival 2023

城市當代舞蹈團 City Contemporary Dance Company (CCDC)

城市當代舞蹈團是香港首個全職專業現代舞團，以體現香港當

代文化為宗旨，編創風格鮮明的作品，刻劃當代舞蹈發展軌跡。

舞團於 1 979 年創立， 2021 年起由香港資深舞蹈家伍宇烈擔

任藝術總監，至今製作超過二百齣原創舞碼，常與藝術家跨界 合作，並活躍於國際文化交流，致力在亞洲開拓舞蹈新想像。

歷年來，舞團代表香港在國際多個主要城市演出，海外巡演

二百七十多場，備受國際藝壇重視，更被譽為「當代香港藝術 靈魂」。

City Contemporary Dance Company (CCDC), the flagship of contemporary dance in Hong Kong, undertakes to blaze the path of contemporary dance scene with extraordinary performances representing contemporary Hong Kong culture. Founded in 1979 and directed by Yuri Ng since 2021, CCDC has presented more than 200 original works by leading choreographers, and pioneered in Asia to reimagine the possibilities of modern dance through innovative collaborations. Representing Hong Kong in more than 270 overseas performances at the world’s foremost dance stages and festivals, CCDC is regarded as ‘the artistic soul of contemporary Hong Kong’.

香港國際舞蹈影像節

Jumping FramesHong Kong International Movement-image Festival

「跳格香港國際舞蹈影像節」（前名「跳格國際舞蹈影像節」） 於 2004 年由城市當代舞蹈團創辦，是亞洲最具規模的舞蹈影 像盛事。其致力於呈現風格迥異、影像與身體之間跨媒界的展 演，更為舞蹈影像開發多元及可能性，探尋新世代形體和影像 的全新意涵。

‘Jumping Frames - Hong Kong International Movement-image Festival’ (Former ‘Jumping Frames - Hong Kong International Dance Video Festival’), presented by the City Contemporary Dance Company (CCDC) since 2004 is the only festival of its kind in Asia, committed to promoting the intersections between performance making and moving image, cinechoreographic interventions and the body.

前言 FOREWORD

我一直很喜歡攝影，對我來說，照片就像是將某一刻定格。當我看到一張靜止的 照片，我會感受到一種力量。這種力量為何對觀眾產生如此大的影響？我認為， 觀眾其實是在賦予這張照片生命。觀眾的「動」源自於照片的「靜」。靜與動， 它們是相對的，也可能只是我們站在不同的觀點上。

我在想，那「電影」不就是流動的光和影？不就是「光和影」在跳舞、在舞蹈、 在 dancing？所以，對我來說，「跳格」是重要的，因為它提供了另一種角度去感 受舞蹈。在這個平面的、特定的空間和時間裡，我希望觀眾在欣賞「跳格」今年 所選的作品時，能同樣以欣賞舞蹈的目光，與他們共舞的心情來感受它。

怎所謂「看舞蹈」？或許是身體的參與，或許是心靈的共鳴。觀眾或許可以問問

自己是否被這些影像引起了內心震動的感覺？甚至產生了某種從外到內，從內到 外的蠢蠢欲動？我堅信，每個人的身體和心靈都有自己的舞蹈。電影不一定只有 劇情，舞蹈不一定只在舞台流動的光影聲色，不止是影像，不止是身體，不 止是時間，而是關於情感，而是關於「它」⸺能否觸動我們的心？這或許是動 人的真正含義。

伍宇烈

CCDC 藝術總監

I have always loved photography. For me, photographs are the moments frozen in time. When looking at a still image, I am captivated by its power. How could this power have such a great impact on the audience? I think the audience themselves are actually the ones who give life to the still images. The notion of photographic truth is to capture motion in stillness. Motion and stillness is in fact, a relative concept, or perhaps it just depends on the position and perspective of the observer. The way I see it, isn’t cinematography choreographing lights and shadows? Then isn’t the lights and shadows in itself a dance? So, for me, ‘Jumping Frames’ has a crucial role in providing an alternative approach to experience dance. In the cinema, on a flat screen, in a specific time and space, I wish the audience could experience the same ephemeral performativity of this year’s festival selections as of a dance performance, and feel the dance within.

How do you appreciate dance? Perhaps it’s your physical participation or to allow the resonance of your souls. Ask yourselves if the images affect your emotions? Is there something that moves you from inside out or outside in? I firmly believe that every body and soul has their own dance. Film doesn’t necessarily have to be narrative centric and dance doesn’t necessarily have to be performed on stage…The moving image is more than just images, it’s more than the body, it’s more than time. It’s about sentiments and if it touches your heart. Perhaps that’s the real meaning of motion pictures - that moves you.

策展人的話 CURATOR’S NOTES

讓我告訴你今年「跳格」的關鍵詞……

記憶、事實與虛構

重訪檔案和重構敘事

回溯歷史或反思個人創傷

排練和重演

歷史重演或藝術重現

對媒體圖像的藝術審視

記憶媒介化……

過去與現在

地方與邊界

人類與機器

個人與集體

虛構與非虛構

真相

部分的真實

大概的真實

只剩下主觀的真實那是一場演出

或許，這是純真時刻

策展人

葉奕蕾

Let me do keywords here…

Memory, Fact and Fiction

Revisiting Archives and Re-organising Narratives

Re-experiencing History or Reflecting on Personal Trauma

Rehearsals or Reenactments

Historical reenactments, Artistic reenactments

Artistic Interrogation of Media / Images

Mediated Memory…

Past and Present

Place and Border

Human and Machine

Individual and Collective Fiction and Non- Fiction

Truth a certain truth, a kind of truth, nothing but the subjective truth : a performance

Perhaps, a moment of innocence

Curator

因此，如果要重演，就必須在某程度上進行想像。

也就是說，重演必須先在腦海中形成畫面，然後 ── 伴隨著所有可找到的不在場證據如文件、傳 統、遺物等 ── 成形。

雲妮莎．艾格紐

Thus, if reenactment is to take place it must to some extent be imagined. That is, reenactment must be pictured in the mind, and then — accompanied by as many alibis as documents, tradition, and material remains will allow — incarnated.

目錄 CONTENTS

開幕電影 OPENING FILM

�界

首映 WORLD PREMIERE ��作品 COMMISSION

情感即真實 Feelings are Facts

12/9 [ 二 TUE ]

6:00 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

城市當代舞蹈團「跳格―香港國際舞蹈影像節」 及文藝復興基金會「奪目影像」首次以公開徵集 提案的形式共同委約作品，為藝術家提供跨媒介 影像創作平台，讓具備實驗性的表演或與身體敘 事有關的影像作品得以公開發表。就著今年主題 「重演」，大會共收到 23 份提案書，評審團隊從 提案內容到團隊的藝術實踐作考量，挑選出兩個 最貼近主題的提案進行委約創作。

15/9 [ 五 FRI ]

7:30 pm

兩組背景各異的藝術家─楊適榕和江駿傑、 Florence Lam 和陳梓桓，橫跨視覺藝術、粵劇、 行為藝術和紀錄片作為創作的實踐方式，從自身 感知與經驗出發，分別以個人往事及《帝女花》 經典劇目作為創作原點，以不同方式重新演繹 對曾經發生的、或歷史中的某個時代的省思與 想像。

Launched for the first time this year, the open call for ‘Jumping Frames 2023’ commission, co-funded by CCDC and RFHK, offers artists a platform to realise new performance based, hybrid and interdisciplinary film projects to premiere in the festival. In receiving 23 proposals with open interpretation of the theme given by the festival: ‘Reenactment’.

The juries eventually shortlist two proposals that articulated thematic correlation based on the artist's comprehension, possible connection, and re-construction idea to the theme. Two teams of artists with diverse background - Kitty Yeung & Jason Kong, Florence Lam & Chan Tze-woon, from visual arts, Cantonese Opera, performance art and documentary filmmaking respectively, implemented different approaches in their reenactment process and presentation, integrating personal narratives and historical classic as their anchors.

�界 首映 WORLD PREMIERE

In Your Shoes

香港 Hong Kong

2023 / 30 分鐘 mins

�東� Cantonese

中���� Chinese & English subtitles

行為藝術家 Florence 與紀錄片導演梓桓是 一對情侶，他們相約交換相識之前的傷痛 記憶，並嘗試以自己的創作方式，重演對 方的經歷─他們是否真的能透過創作，走 進對方的內心？

Performance artist Florence and documentary filmmaker Tze-woon are lovers. They propose to exchange each other’s distressing memories before they met and attempt to reenact each other’s experience with their own art form Could they really walk closer towards each other through the process?

導演的話 FL ：穿進他破爛的鞋子裡，大小不合的腳， 感受對方烙印在鞋底的腳型，奔跑過後的 餘溫已經冷卻，我用體溫把它蹭暖，重演 那感覺。把腳抬起，鞋子看起來很大很重， 我卻能輕易提起來，然後我發現他一直蹲 著，用手替我承托著。即使重演當刻有多 真實，我所經歷的危險和恐懼都遠遠不及 當時的他。可是在理解他創作語言的途中， 我好像明白了什麼。抱著兩雙破舊卻捨不 得丟掉的鞋子，我們珍而重之。

TW ：「你作為男性，怎可能了解女性身 體獨特的經歷？」性別與身體，似是一個 難以跨越的鴻溝，創作亦然，我倆對於真 實的看法迥然不同，我們能否透過各自的 媒介，走進對方記憶裡的世界？縱使有點 懷疑，但起碼我們穿上對方的鞋子走前了 一步。

Directors’ Statement

FL: Putting on his tattered shoes, even if it's ill-fitting on me. I tried to feel the shape of his feet imprinted on the sole, but I can’t feel his body heat anymore. I rubbed to warm it up, to reenact that feeling after running. I lifted the shoes up easily, despite it looking big and heavy, until I found him squatting down supporting its weight with his hands. No matter how real the moment I re-perform his memory, I can never really replicate the danger he faced and the fear he endured at the time.

However, I seemed to understand something when I tried to learn his creative language. Holding the worn-out shoes that we were reluctant to throw away, we embrace them with care.

TW: “As a man, how would you ever understand the unique experience of a female body?” Indeed, body and sexuality are fundamentally incomprehensible, so is creative expression. Florence and I hold a completely different view towards the truth, could we walk into each other’s memory through our own creative media? Despite being sceptical, at least we stepped into each other’s shoes and tried to take one step forward.

融合粵劇和現代舞元素，實驗性地重演經 典劇目《帝女花》故事中遺漏詳情的明朝 末代皇帝崇禎自殺的段落。兵臨城下，崇 禎帝只剩忠心耿耿的太監王承恩陪同，共 赴煤山自縊身亡，王承恩也隨著殉主自盡。 以新視角描繪多於主僕之間的曖昧情愫， 還探討傳統父權下的生與死、權威與服從、 情愛與犧牲、權力與責任。

Reenacting the suicide episode of the last Ming emperor, Chong-zhen from the classic Cantonese Opera Floral Princess , this experimental short film blending Cantonese Opera and contemporary dance elements reveals the journey of the defeated emperor accompanied by his faithful eunuch, Wang Sing-yan, on their way to the summit of Coal Hill to end their lives. Apart from inviting new perspectives towards their ambiguous queer overtones, it also explores the crossroads of life and death, authority and obedience, love and sacrifice, power and duty, that befall under the traditional patriarchy.

導演的話

傳統粵劇的美學和肢體動作一直讓我深深 著迷。《帝女花》則是其中最吸引我的傑

作。在傳統父權框架下，女主角長平公主

不願受制於傳統的性別角色框架，勇敢地 追求自己的愛情。我在想，這個故事是否

還有更多未被發掘的內容及愛情故事？與 戲曲創作人江駿傑的交流中，我發現原劇

本省略了大明末代皇帝崇禎自縊的場景，

留下了很多疑問。這些模糊及被忽略的細 節，激發了我對皇帝與太監關係的想像， 在父權框架下的異性戀和忠僕之間，探索

新的視角。

Director’s Statement

The elaborated aesthetics and body movements of traditional Cantonese opera have always intrigued me. One particular masterpiece that has captured my heart is Floral Princess , portraying a strong female lead Princess Chang-ping, despite a strong patriarchal framework, defies traditional gender roles to pursue her love. I wonder if there's more to this tale that remains unexplored. Through collaborating with Cantonese Opera artist Jason Kong, I learned that the original script has omitted the suicide scene of Emperor Chong-zhen, leaving many questions unanswered. These ambiguities sparked a desire to explore alternative narratives within this traditional Chinese framework, to look for small gaps, especially towards the emperor-eunuch relationship, that’s not heterosexual under traditional patriarchy, to offer new perspectives by filling the unexplored territories.

國際精選 電影系列： 重現重演 INTERNATIONAL FEATURE FILM

SELECTIONS: REENACTMENTS

2020 年「奧林匹亞國際青年兒童電影節」最佳紀錄片獎

Best Feature Documentary Award, ‘Olympia International Film Festival for Children and Young People’ 2020

2020 年「鹿特丹國際電影節」

‘International Film Festival Rotterdam (IFFR)’ 2020

比利時跨媒介藝術家 Francis Alÿs 近十年來經 常到伊拉克進行創作，他跑到摩蘇爾附近的一 個偏遠山區小村落，計劃拍攝當地孩子在沙上 畫線的影片，以諷刺 1916 年將該地區一分為 二、導致伊拉克出現的英法秘密協議。但他驚 訝地發現，孩子們對自己的國家歷史沒甚麼概 念，因而觸發他與當地的小孩一起以純真、歡 樂、遊戲的方式，重新演繹屬於孩子們的伊拉 克世紀歷史。 香港逸東酒店

Sandlines

Belgian multidisciplinary artist Francis Alÿs has travelled frequently to Iraq over the last decade. He intended to make a film about children drawing lines in the sand in the remote mountain village near Mosul, a caricature of the Sykes-Picot line that bisected the region in 1916, which ultimately created the country Iraq. Struck by how little the children knew about their own country, he decided to dramatise key moments in history with the children, through games and play, to reenact a century of Iraqi history in their very own way.

泰國傳統孔劇，是只有男子才能演出的皇室宮 廷表演。舞者戴上華麗的面具，穿上耀眼的服 飾，以舞傳意，重複著不變的情節，描繪帝王 正統，有神猴輔助，戰勝魔王，為世界帶來秩 序與正義的英雄故事。影片拍攝於泰王繼位 時，社會動盪下，孔劇學生最後幾年的校園生 活。當全球為人權吶喊時，這些學生在 2014 年政變後的軍政府統治下度過了六年的愛國教 育。一方面被訓練去頌揚君主制度和民族認 同，另一方面在現實中迎來當權者的暴力和壓 迫，無情地衝擊著人類基本的價值觀。在保護 傳統與劇烈的社會變革狂流之間，這班年輕男 孩又抱著什麼現實與夢？

Khon, Thai traditional dance drama performed solely in the royal court by men in masks, depicting the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. Focusing on the lives of Khon students in their last years of study, the shooting of the film began at the time of the king’s succession, shortly after the great social awakening in Thailand. While the world is screaming for human rights, these students spent their six years under the rules of the military regime after the 2014 coup d’etat. On one hand being trained to glorify the monarchy and their national identity, on the other hand witnessing state violence and oppression against basic human values. Caught in between conserving the tradition and the currents of drastic social changes, these young boys grow up dreaming of a different future.

五道電影難題

The Five Obstructions

丹麥及瑞士 Denmark & Switzerland 2003 87 分鐘 mins

兩位電影大師 Jørgen Leth 及 Lars von Trier 以 Leth 在 1968 年拍攝的經典實驗短片《完美 的人類》為基礎，發展出五場藝術較量。 Von Trier 向老友兼前輩的 Leth 下戰書，要求他在 不同的條件和限制下拍出五個《完美的人類》 新版本，當中的條件一個比一個越發刁難， 包括「以�於 12fps 的影像幀率拍攝」、「將影 像變成動畫」、「選地球上最悲慘的地方拍攝」 等。

整場遊戲大膽切入創作過程的核心，審視一個 經典作品重新創作的可能性。從對話誘發挑 戰、解構原作並冒險即興再演繹，一種全新的 創作模式就此出現。不論你是電影人，還是 舞蹈藝術家或編舞，本片是創作人尋求靈感必

看之選。

A cinematic game of artistic play, obstruction, and improvisation,  The Five Obstructions  invites us into a collaborative exercise between two old friends and veteran filmmakers. Lars von Trier, positioned himself as game master challenges his mentor, Jørgen Leth, to remake Leth’s 1968 classic avant-garde short film  The Perfect Human  five times, with a series of increasingly outlandish guidelines, rising organically out of conversation between the two. Von Trier’s constraints include, among others, remaking the film using no more than 12 frames for each take, another in animation, and another in the most miserable place on earth.

Cutting to the heart of the creative process, this investigative journey of filmmaking energised a new possibility of creative renewal. Initiating dialogue, posing challenges, deconstructing the original and venturing into improvisation and play, a model to recreate new work is put in place. A must-see for artists who seek inspirations, not only filmmakers but choreographers alike.

青少年及兒童不宜

Not suitable for young persons and children

年逾 80 的德國舞者 Beatrice Cordua ，別名 Trixie ，回溯她超過 60 年的舞蹈人生。 Trixie 曾與多位大師合作，包括 Pina Bausch 、Merce Cunningham � John Cage ；她的已故丈夫―視 覺藝術家 Ludwig Schönherr 亦深深地影響著她 的事業與人生。影片中，她重演過去職業生涯 中曾演繹的作品，同時亦重述她那個時代的舞 蹈歷史。 Trixie 坦蕩蕩地以魅惑又殘酷的方式 娓娓道來自己踏入暮年的私密故事。即使帕金 遜症限制了其活動能力，她還是驕傲地說：「我 的身體一刻尚存，儘管可悲 、 脆弱，我就是 我。」 K11

A witty portrait of 80 years old German dancer, Beatrice Cordua, alias Trixie, recollecting her life. Unfolding years of creative effervescence, she reproduces her roles on stage, sketches steps and sequences throughout her professional career, retelling dance history of her time encircled by great icons like Pina Bausch, Merce Cunningham, John Cage and more. While her late husband, Ludwig Schönherr, the visual artist, remained an indelible influence. With her voice as with her body, she addresses the intimate topic of her ageing body in a profoundly charming and brutally honest manner. Even if Parkinson disease limits her movements, she proclaims, "My body is still there, mine, with the sadness and vulnerability it reveals."

前途無限的芭蕾舞蹈員 More ，一心只想做女 角，奈何諸多限制下，終在夜店當了 20 多年 的變裝皇后。有一天，「她」應邀到紐約為紀 念石牆事件 50 週年的同志平權運動演出，終 於有機會穿上天鵝裙和足尖鞋在舞台正式演 出。縱然「她」的境遇比劇本更曲折，成長、 愛情的起伏亦一直為「她」帶來無限挑戰；然 而，對 More 來說，「她」的舞台並不只限於此。

藉著電影，「她」將公共場所變成酷兒表演場， 向主流社會作出挑釁，亦同時宣示了「她」在 濃妝艷抹下的美學和真我個性。

A promising ballerino, More, who actually wanted to become a ballerina, ends up working as a drag queen artist for over two decades. One day, More is invited to New York to perform for the 50 th anniversary of Stonewall Resistance, and finally, in swan costume and pointe shoes. To More, all the world’s a stage. Apart from her life’s narrative, various scenes of captivating queer performance provocatively staged in ironic public spaces amplified her aesthetic, sexuality and true character.

泰國及德國 Thailand & Germany

2021

89 分鐘 mins

�� Thai 英文字幕 English subtitles

導演 Directors Thunska PANSITTIVORAKUL Phassarawin KULSOMBOON

2022 年「台灣國際紀錄片影展」國際競賽單元優異獎 International Competition - Merit prize, ‘Taiwan International Documentary Film Festival (TIDF)’ 2022 2022 年「阿姆斯特丹國際紀錄片電影節」Paradocs 項目 Paradocs

《死亡之舞》以舞蹈、音樂和影像探索一段段 被銘記、被遺忘的死亡往事。在那片皇室貴族 選作度假行宮的土地上，細數一個個不分身份 地位，從國王、平民以至連身份也沒有的殞命 亡魂。將過去 90 年在泰國發生的一宗宗可疑 死亡事件瘋狂拼湊，大膽混合極端暴力的素材 檔案、富象徵性的虛構敘事和展現同性慾望的 露骨舞蹈片段，坦蕩蕩地重拾那些被忽視、被 刪除、被禁止的故事。

Danse Macabre is a dance that explores deaths that are remembered and forgotten in history, including those of kings, citizens and stateless people, on land that many kings chose as their vacation residence. A frenzied collage of suspicious deaths that have occurred in Thailand over the last 90 years, it is a daring mix of archive materials depicting extreme violence, symbolic narrative fiction and explicit dance clips sketching feverish homoerotic desire to re-enact full and frank the neglected, erased and forbidden story.

《夢城狂舞》是一封寫給香港菲藉女傭的情 書。聚焦這 40 萬外籍勞動社群的真實故事， 講述一個二十多歲的菲律賓女孩，厭倦了每天 勞勞碌碌的家傭生活，計劃逃離香港去追尋夢 想、愛情與自由。

影片將靜止的影像與錄像相間，以視覺效果挑 戰記憶的主觀性，也以此對比加強了這群被邊 緣化女性跳街舞時的激情，讓觀眾更深入地體 驗她們內心的囚籠如何獲得短暫的解放。他們 用跳舞來慶祝、來記住、來忘記，來換取其卑 微的存在，在一個要求她們放棄自我的地方掙 扎求存。

We Don’t Dance for Nothing is a photo-montage love letter to the Filipina domestic workers of Hong Kong. A true memory shared by a community of 400,000 migrant workers, the story follows a twenty-something Filipina, living a humdrum life as a domestic helper, planning to run away from Hong Kong to pursue her dreams of independence, romantic love, and freedom.

The film blends still images with fluid motion to challenge the subjectivity of memory, and to underscore the passionate street dancing of these marginalised women, inviting viewers to viscerally experience their entrapment, and the enchantment as if released into freedom when they dance. They dance to celebrate, to remember, to forget, to take up space in a world that demands them to give up their individuality in exchange for a meek, submission existence.

日本前衛實驗電影導演伊藤高志的首部長片， 更邀請到大野一雄系下元老級舞踏家原田伸雄 粉墨登場。影片開首向觀眾展示了原田伸雄及 另一位演員久保瑞季的真實人設，然後才進入 角色，遊走於幾段不同的荒謬情節之間。兩名 拿著攝錄機追逐死亡與暴力的女學生、一名不 斷被突如其來的神秘女子所嚇的偷窺老人、一 名電話經常在響、在布袋裝著一截男人手腕四 處遊蕩的女子。看似毫無關聯，卻又環環緊扣， 真亦假時假亦真，讓人在螢幕世界的奇異空間 中不自覺地迷失於現實與虛幻之間。

The first feature film of Takashi Ito, one of the leading experimental filmmakers in Japan, starring Butoh master Nobuo Harada. At the beginning, Harada plays himself, as does another actress, Mizuki Kubo. They then reappeared as fictional characters while a series of absurd stories followed. Two students shooting a film gradually become obsessed with death and violence; an old man loves peeping haunted by visions of women; a woman wandering around with a man’s wrist in her bag. Presenting an unrealistic world as a vivid reality and creating a strange space peculiar to the media, the stories intertwine and keep us disoriented in the almost real world.

以 Alain Platel 創立的比利時舞團 les ballets C de la B 作品《不眠之夜》所探討的暴力與衝 突為原點，展現舞者以唯美的形體坦露暴烈背 後的種種，並記錄音樂設計、舞台裝置的創作 概念。然而，本片不止於該製作的舞台紀錄。

導演為探索個人及群體衝突的根源，從舞蹈紀 錄延伸成社會研究，藉不同層面深入探討，採 訪舞者痛苦的個人經歷，亦找來各方專家及通 過各種意象和視覺隱喻，從社會學、歷史、經 濟和哲學等方面，窺探人類永遠離不開暴力的 真相，在純美的創作與殘酷的暴力之間審視人 性的根本，讓身處其中的我們反思現世何去 何從。

A creative documentary depicting Nicht Schlafen , the production by Alain Platel’s les ballets C de la B, with harsh physicality among the performers and jaw-droppingly beautiful aesthetics of the stage as human forms enact their choreography of violence, accompanied by the music of Mahler. Apart from simply unfolding the making of the production, the filmmakers embarked on an odyssey to explore conflicts, whether on a personal level or a collective scale, with dancers interviews on their agonising personal experiences, insightful aspects from historian Philipp Blom, sculptor Berlinde De Bruyckere, conductor Teodor Currentzis and philosopher Tinneke Beeckman on the sociological, historical, economic and philosophical conditions that drive our species inexorably towards violence. With a variety of imagery and visual metaphors, the film analyses social change and the power of humanity, which always seems to balance between creating something spectacularly beautiful and something horribly cruel. By trying to understand the cruelty around us, and within ourselves, we are able to better cope with the world today.

焦點藝術家 ARTIST FOCUS

你哥影視社

Your Bros. Filmmaking Group

17/9

7:00 pm

「你哥影視社」成立於 2017 年，是藝術家蘇育賢、建築師 田倧源與藝術史研究者廖修慧共同成立的電影製作團隊，以當 代勞動者為主要關注對象，利用大量田野調查、讀書會、與演 出者的工作坊及集體敘事等方式製作影像。在去中心化的概念 下，「你哥影視社」藉由眾人之力創作出獨特的「工作坊電影」， 他們的創作靈感來自新聞和移民工在台灣的處境，並透過工作 坊、公開招募及與各種不同階層人士合作徵集演員及製作團隊。 「你哥影視社」的創作在真實的新聞事件上，讓故事自行演繹， 並演化出更多的細節與可能。 「跳格」希望通過他們跨界的合作經驗，及將表演元素注入工 作坊創作以重構社會議題的模式，讓更多香港創作人和觀眾得 到啟發與靈感。

‘Your Bros. Filmmaking Group’ is a filmmaking group formed by contemporary artist So Yo-hen, architect Tien Zong-yuan and art historian Liao Hsiu-hui in 2017. Focused on modern migrant workers, their production methodology is mainly based on field research, dialogic book sharing, creative workshops organised with performers and collective narrative practice. They believe in decentralisation, working together with all participants to create a “workshop film”. Their creative ideas are inspired by news and the circumstances of migrant workers in Taiwan. They call for actors and production teams by open recruitment, multiple workshops and collaboration with people from different walks of life. Based on true stories from news, they let the story interpret by itself and transform into diverse details and possibilities.

By inviting ‘Your Bros. Filmmaking Group’, we hope to glean inspiration from the experiences of this cross discipline collective and to learn the archetype of how they construct performative workshops connecting to social issues, to engage the audience and artmakers in Hong Kong in a creative way.

NALAM

以另類方式重現一宗 2013 年 6 月 2 日的小新聞， 一位印尼非法移民工 Nalam 在茶園誤將警方喊叫的 台語「嘜造」聽成了中文「拍照」，結果在合照後當 場被捕。導演邀請了同為印尼籍移民工的三名武術 教練，重回 Nalam 被逮捕的地方，上演一場浮誇的 戲碼：如果 Nalam 會武功，那麼會如何反抗脫逃呢？

A reenactment of a true incident. 2 nd June 2013, Nalam, an Indonesian illegal worker working in a tea plantation misheard the police saying “don’t run” to “take a photo”. He was arrested right after a photo with the officers. The directors invited three Indonesian migrant workers, who also are martial arts practitioners, returning to the exact location where Nalam was arrested and simulated an exaggerated scenario, “What if Nalam practised martial arts and made an escape?”

台灣 Taiwan

2018

20 分鐘 mins

������ Indonesian & Mandarin 中英文字幕 Chinese & English subtitles

導演 Directors 蘇育賢 SO Yo-hen 廖修慧 LIAO Hsiu-hu

2018 年「南方影展」最佳實驗片獎入圍

Best Experimental Film Award Nomination, ‘South Taiwan Film Festival’ 2018

(阮國非) Nguyen Quoc Phi

2017 年 8 月 31

九槍身亡，警方說辣椒水與警棍對他皆無效。「你哥 影視社」跟據警方的口述記錄拍攝了這部作品，缺 乏閉路電視影和阮國非的證詞，影片就只剩下兩個

警察對著空氣格鬥的畫面。

31 st August 2017, Nguyen Quoc Phi, a Vietnamese undocumented runaway foreign worker, got nine shots by the police, who claimed he resisted arrest and he couldn’t be stopped by pepper spray or truncheon. Since there’s no CCTV footage nor testimony from Nguyen, the film was made according to the police report’s perspective and therefore only visualizing two police officers fighting with thin air.

宿舍 Dorm

《宿舍》的靈感來自於 2018 年 4 月，新北市汐止一

棟女子宿舍，有超過 100 位越南籍女移民工因不滿

宿舍空間狹小、伙食不佳、浴室不足等生活問題，

多次向工廠、中介反映未果，在宿舍發起了一場罷

工。人與空間的關係因為一場罷工產生了巨變。過

程當中，人和空間均被賦予新的意義。

The idea of Dorm was inspired by Vietnamese migrant workers' strike in April 2018. More than a hundred workers stood up against the narrow living space, poor diet, and insufficient bathroom facilities, while their previous complaints were ignored. Relationships with people and space changed drastically because of the strike. During the process, both people and its space were given a new meaning.

台灣 Taiwan 2022

6 分鐘 mins

�� Mandarin

中英文字幕 Chinese & English subtitles

導演 Director 蘇育賢 SO Yo-hen

2022 年「跳格香港國際舞蹈影像節」破格形體影像大獎

Expanded Frames Award, ‘Jumping Frames - Hong Kong International Movement-image Festival’ 2022

⾹�

台灣 Taiwan

2021 54 分鐘 mins �南� Vietnamese 中英文字幕 Chinese & English subtitles

導演 Directors 田倧源 TIEN Zong-yuan 蘇育賢 SO Yo-hen 廖修慧 LIAO Hsiu-hui

2021 年「山形國際紀錄片影展」亞洲新潮單元入圍

New Asian Currents Nomination, Yamagata International Documentary Film Festival 2021

2022 年「 DM Z 韓國國際紀錄片電影節」短片比賽大獎 Grand Prize, Shorts Competition, DMZ International Documentary Film Festival 2022

日，越南移民工阮國非被警察連開

「你哥影視社」電影工作坊： 揍，或被空氣揍！

Your Bros Filmmaking Workshop: Beat it or be beaten by air!

11/9 [ MON ]

10 am -6 pm

香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

客席藝術家 Collaborating Artisttor and Founder 李珮瑜 Lee Pei-Yu

放映及討論：「你哥影視社」《（阮國非）》

Screening & Discussion: Your Bros. Filmmaking Group’s (Nguyen Quoc Phi )

以「你哥影視社」製作的短片《（阮國 非）》展開討論，分享移民工參與電影拍 攝的過程、當中的電影哲學與美學，及 電影背後的詮釋與想像。

Presenting ( Nguy e n Qu o c Phi ), the short film by ‘Your Bros. Filmmaking Group’ as a starting point for discussion, the filmmakers will share the process of how the migrant workers participated in the film, their philosophy of aesthetic in photography, their interpretation and the creative concept behind.

身體工作坊及排演拍攝

Movement Workshop & Shooting Rehearsal

學員將先進行簡單的暖身及肢體練習，

其後互相分享自己欲搏鬥卻又看不見的 人或物，透過討論挑選排練及演出的地

點，「演出」一場各自與缺席者或物的

空氣搏鬥⸺是揍，或是被空氣揍！過 程將被拍攝記錄，並一起重溫和討論。

「你哥影視社」公眾講座：

影像背後 It’s Your Bros! Behind-the-Scenes Public Talk

2 -5 pm 15/9 [ 五 FRI ]

香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

「你哥影視社」自 2017 年開始，與台 灣的外籍移民工（印尼、越南、泰國） 合作拍攝電影，從移民工的生活方式、 困境與壓力尋找作品的切入點，也關注 台灣傳媒如何透過新聞塑造移民工的形 象，觸及的議題相當廣泛，當中包括逃 跑的無證移民工、無盡的罷工與異地生 活的悲歡、值得珍惜的時光等。然而， 在製作過程中，攝製團隊一直在拿捏與 移民工的距離，他們並非拍攝報導式的 紀錄，而更像與移民工社群共同組成臨 時的影視團體，利用「工作坊」的方式 共同閱讀新聞、譜寫文本、佈置場景、 施作電影美術、設定個人角色等。他們 一起在片場排練、打鬧、討論，甚至睡 覺或放空，或許這過程的重點是這個臨 時社群如何共同工作，拼拼湊湊地譜出 一部電影。

After simple warm-up and physical practice, participants will share with each other something or someone invisible that they want to fight with. After group discussion, a location will be decided together and the participants will perform their fight with an invisible character or thing or be beaten by thin air! The process will be recorded and replayed for group discussion.

本講座由「你哥影視社」三位成員蘇育

賢、廖修慧及田倧源親自進行，播放創 作片段之餘，一起分享和移民工合作拍 攝電影的過程和細節，與參與者在虛構 與現實的辯證中一同反思。

Since 2017, ‘Your Bros. Filmmaking Group’ has collaborated with foreign migrant workers (Indonesian, Vietnamese, Thai) in Taiwan to make movies. Taking their way of life, their struggle and their oppression as starting points, the filmmakers also pay attention to how Taiwan media manipulated edited newsreels to shape the image of migrant workers, revealing issues of runaway workers without legal identification, never ending strikes, the sadness, the happiness and every moment they cherished living in a foreign country. It has always been a challenge for the filming and production team to keep the right distance with migrant workers. They are trying not to cover the story as a news report, but rather to create a temporary filmmaking community with the migrant workers. They utilise "workshop" format, reading newspapers together, writing scripts, setting the stage, creating the set, designing the characters, etc. They rehearse, fight, discuss, and even sleep and relax together on the set. Perhaps the key to this process is how this temporary community works, and putting together the movie piece by piece.

So Yo-hen, Liao Hsiu-hui and Tien Zong-yuan from ‘Your Bros. Filmmaking Group’ will share and analyse their experience in collaborating with the migrant workers in this public talk.

世界光譜： 國際藝術影院觀摩 SPECTRUMS: INTERNATIONAL ART HOUSE SHOWCASE

本年首度邀來多國知名藝術影像節參與「跳格」， 包括歐洲、北美及東亞等多個地區，為香港觀眾精 選獨樹一格的藝術影像作品，讓本地觀眾一窺國際 舞蹈影像節於不同地域的展影經驗，同時展現這些 藝術影院與實驗片平台的關注及創見。今年「跳格」 更邀來部份影展策劃人於影像節間親身到港，提供 平台讓本地觀眾、業界與影展藝術總監及策展人等 親身交流，從中了解各個影像節的特色、理念、策 展心得及競賽機會。

An assemblage of art house short films from key dance and art film festivals across Europe, North America, and East Asia, ‘Spectrums: International Arthouse Showcase’ presents a rare occasion for audience members, industry participants and media professionals alike to converse and interact with important programmers and curators from the invited festivals so as to understand their curatorial visions, as well as the current trends, focuses, and considerations in various international scenes.

格拉茲 Dance On Screen 電影節 Dance On Screen FilmFestival Graz

奧地利「格拉茲 Dance On Screen 電影節」是奧

地利第一個，也是唯一一個舞蹈電影節。格拉茲

於 2003 年當選為聯合國教科文組織「設計之城」

和「歐洲文化之都」，自 2016 年起， Dance On Screen 每年在該地舉行，並將於今年 11 月進入第 八屆。

其精彩緊湊的節目包括電影放映、工作坊及由國際

評審頒發的電影獎項，是奧地利與國際舞蹈電影製 作人、舞者和觀眾的藝術平台和交匯點。電影節旨 在為舞蹈電影提高知名度、發展和推廣奧地利舞蹈 電影及通過與歐洲和國際舞蹈電影網絡的聯繫，促 進藝術交流，包括與德國、意大利、瑞士、希臘、 西班牙和奧地利等地區作電影節夥伴合作，推動歐 洲舞蹈電影的發展。

2016 至 22 年期間，Dance On Screen 曾在格拉茲放映 超過 300 部舞蹈電影，並在 archive.danceonscreen.at 建立公眾網上檔案館。

策展人的話 親愛的香港觀眾！我很高興能帶「 Dance On Screen 電影節」的一小部分走了 8,833 公里， 來到這個不論在歷史、地理和文化上也完全 不同，郤又同樣對舞蹈電影充滿熱情和興趣 的地球另一邊！我為你揀選了我們電影節中 特別受重視的片單，在於其藝術美學和與觀 眾對話的獨特方式，亦在於其代表了舞蹈電 影的多樣性：有純粹的舞蹈、真實和超現實 的故事敍述、流露著社會信息和一些公開作 出的譴責。這七部截然不同的電影有一個共 通之處，就是重點均放在身體──當中的編 舞亦包含強烈的「當下」意識。這些電影將 豐富和細緻的身體表達轉化為錄像，為我們 這個時代創造了一種新的視覺語言。身體和 空間之間始終存在著一種相互依存的關係， 描繪身體律動如何被看待和感知，為舞蹈提 供了新層面的理解方式。我特意挑選了非大 型製作公司的獨立作品，我深信電影節如我 們都肩負著一個責任，就是要支持和推廣這 些作品，讓人們認識到他們的名字。在此， 我必需表達對電影製作人、編舞和表演者的 感謝，如果沒有他們的創意和積極的溝通， 世界將變得暗淡；更感謝「跳格―香港國際 舞蹈影像節」的邀請。

‘Dance On Screen FilmFestival’ is the first and only screendance festival in Austria. It takes place in Graz, UNESCO City of Design and Cultural Capital of Europe 2003, annually since 2016 and will enter its 8th edition in November this year.

The festival offers an intense program with film screenings, workshops, and film awards with international juries. It acts as an artistic platform and meeting point for Austrian and international dance filmmakers, dancers and the audience.

The aim of the festival is the promotion of the visibility of dance film and the development and promotion of a dance film community in Austria and enabling artistic exchange by contributing to an active European and international dance film network. With an additional annual tour, ‘Dance On Screen’ also sets impulses for dance films in Europe during the year through cooperations with partner festivals in Germany, Italy, Switzerland, Greece, Spain and in other Austrian provinces.

In the 2016-2022 editions, the festival screened over 300 dance films in Graz and offers a public online archive under the domain archive.danceonscreen.at.

Curator's Notes

Dear Hong Kong audience! I am happy to take a small piece of ‘Dance On Screen FilmFestival’ 8,833 miles away, to a different part of the world in terms of history, geography and culture but with the same passion and interest in an art that thrives on excellent health, videodance! I wanted to choose films that the festival gives special importance to, because of their aesthetics and the way they manage to speak to the audience, and because representing the variety of screendance, such as pure dance, storytelling (real and surreal), social message and denunciation. The common thread in these 7 very different films is the focus on the body - the choreography has always a strong sense of 'today'. The films translate the richness and nuances of physical communication to the screen to create a new visual language for our time. There is always an interdependent relationship between body and space that delineates how movement is seen and perceived: they give a new dimension to understanding movement. I deliberately chose productions by independent artists, outside of large production companies: I think that the duty of festivals, like ours, is to support and spread their works, connecting people and names.

I have an urgent need to thank the filmmakers, choreographers and performers of the films. Without their creative ideas and communicative urgency, the world would be grimmer. Thank you, ‘Jumping Frames – Hong Kong International Movementimage Festival’ , for the invitation!

泰然 Composure

快不能住了 Almost Uninhabited

如絲 In Velvet

阿賓

她 She

越 Beyond

The International Festival of Films on Art (Le FIFA)

The International Festival of Films on Art (Le FIFA)

四十多年來一直為觀眾搜羅別樹一幟的藝術電影，

逐步成為世界最大型的藝術電影節。然而， Le FIFA 不僅策劃一年一度的節目，並在全球文化合作夥伴 的支持下全年無休地推廣藝術電影，提高公眾對藝 術的認知和欣賞度，以及對該界別的藝術家給予支

持； Le FIFA 亦同時間無間斷推廣以舞蹈為主題的 電影。

Le FIFA 抱持分享優秀藝術電影並捍衛藝術家作品 的使命，充滿熱情且立場堅定地與海外文化大使 合作，一起致力推廣藝術電影和藝術家。這次，

Le FIFA 為「跳格―香港國際舞蹈影像節」精選了五

部影片，歌頌舞蹈的豐富性和身體的多樣性。

策展人的話

我們很高興能為觀眾推介多部既多樣化又發 人深省的電影，通過舞蹈、律動和影像探索 豐富多姿的人類體驗。今年，我們很榮幸 為你介紹五部傑出的作品：《共躍銀河》、 《魚人》、《鏡舞》、《銀幕背後》和《迴》。 每部電影均具獨特的視角，突破了電影敘事 的界限，讓觀眾沉浸在引人入勝的影像故事 之中。

策展時，Le FIF A 希望能呈現電影的多樣性， 並與「跳格―香港國際舞蹈影像節」展開有 意義的對談。我們想讓觀眾全情投入這些扣 人心弦的作品，探索新的視角，懷抱舞蹈與 錄像的力量，帶動溝通和理解。來踏上這段 令人著迷的旅程，突破藝術和故事敍述的界 限，將濃縮的人生體驗活現大屏幕！

Andreina AVELEDO，常年策展人

The International Festival of Films on Art (Le FIFA) has been showcasing unique art films for over 40 years, making it the world's largest art film festival. However, Le FIFA is more than just an annual event, as it works to promote art films throughout the year with the help of cultural partners worldwide. The festival aims to increase public awareness and appreciation of art while also advocating for artists in the image and arts fields. Le FIFA also features films that highlight dance throughout the year.

Le FIFA's mission is to share unique works of art across borders and to defend the work of artists. The festival works passionately and determinedly alongside cultural ambassadors abroad to promote art and artists. Recently, Le FIFA celebrated the richness of dance and bodily diversities through a program of five films at ‘Jumping Frames - Hong Kong International Movement-image Festival’.

Curator's Notes

At Le FIFA, we are delighted to present a diverse and thoughtprovoking selection of films that explore the rich tapestry of human experiences through dance, movement, and image. This year, we are proud to showcase five exceptional films: La Goddam voie lactée , LUCE , The Mirror of Others , Au-delà du hors-champ, and Écho. Each film offers a unique perspective, pushing the boundaries of cinematic storytelling and engaging the audience in captivating narratives.

Through the curation of these remarkable films, Le FIFA aims to celebrate the diversity of cinematic expression and spark meaningful conversations with ‘Jumping Frames - Hong Kong International Movement-image Festival’. We invite our audiences to engage with these compelling works, explore new perspectives, and embrace the power of movement and image as a catalyst for dialogue and understanding. Join us on this captivating journey, where the boundaries of artistry and storytelling are pushed, and the essence of the human experience is brought to life on the big screen.

Andreina AVELEDO, Year-round Curator

13/9 [ 三 WED ]

2:30 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

共躍銀河 La Goddam voie lactée

導演 Directors

Mélanie DEMERS & Jérémie BATTAGLIA

��大 Canada / 2021 / 20 分鐘 mins

��白 No dialogue

魚人 LUCE

銀幕背後 Au-delà du hors-champ

導演 Director

Valeria GALLUCCIO

��大 Canada / 2022 / 7 分鐘 mins

��白 No dialogue

導演 Director Axel ROBIN

��大 Canada / 2022 / 9 分鐘 mins

�� French / ���� English subtitles

鏡舞 The Mirror of Others

迴 Écho

導演 Director Kristen BROWN

��大 Canada / 2022 / 7 分鐘 mins

�� English

���� English subtitles

導演 Director

Édouard LOCK

��大 Canada / 2021 / 23 分鐘 mins

��白 No dialogue

Cinedans 舞蹈影像節 Cinedans

藝術節目策劃 Artistic Programmer and Andreas HANNES

荷蘭「 Cinedans 舞蹈影像節」於 2003 年成立，是 當地唯一一個專注於舞蹈電影的單位，匯集舞蹈影 像的放映、發展和國際發行。

Cinedans 背負促進舞蹈電影製作、以舞蹈為中心 的舞台表演和多媒體製作的使命，並將其與荷蘭和 世界各地的廣大觀眾聯繫起來。 Cinedans 旨在鼓 勵舞者和其他藝術家以自己的個人方式為舞蹈、 電影和新媒體作出貢獻，並提供一個創作平台。

Cinedans 由四個主要部分組成，分別是 Cinedans

FEST 電影節、 Cinedans LAB 教育與人才發展的實

驗平台、 Cinedans TOUR 與國內和國際合作夥伴合

作發行舞蹈電影以及 Cinedans WEB 網上平台，當 中 Cinedans WEB 是電影節最新的分支，是一個共 享知識、發佈特備節目和檔案的網上平台。

策展人的話

每年， Cinedans FEST 的精選影片也受邀參加

巡迴計劃，在全球各地上映。在過去的幾年 裡，我們的巡演節目越來越受到不同國家的 舞蹈界的關注。 Cinedans TOUR 已到訪過澳 洲、中國、捷克、芬蘭、黎巴嫩、菲律賓、 美國和全球許多其他國家。

這次的選片展是 2022-23 年最新的「國際 短片巡演」節目。一小時的節目囊括了多元 化的片單類型、迴異的舞蹈風格和情感滿滿 的精彩之作。這些電影通過舞蹈談論文化挪 用和與身體相關的定型觀念，挪用風景和建 築，產生懷舊感並喚起記憶。

Cinedans, founded in 2003, is the only organisation in the Netherlands dedicated entirely to the dance film, bringing together presentation, development and international distribution of the genre.

The mission of Cinedans is to promote and stimulate the production of films, stage performances, and multimedia productions that feature dance as the central theme, and to connect it with a broad audience in the Netherlands and worldwide. Cinedans aims to encourage and provide a platform for dance makers and other artists who contribute to the discourse around dance, film, and new media in their own unique way. Cinedans has four pillars: Cinedans FEST, Cinedans LAB, Cinedans TOUR, and Cinedans WEB. Cinedans FEST is the core pillar, presenting an annual dance film program in Amsterdam, showcasing the latest developments in the genre. Cinedans LAB focuses on education and talent development, while Cinedans TOUR distributes the dance film in collaboration with national and international partners. Cinedans WEB is the newest branch, an online platform for sharing knowledge, special programming, and archives.

Curator's Notes

Every year the best films of Cinedans FEST are invited to the TOUR program, travelling worldwide from screen to screen. Over the past years our touring programs grew more and more attention among the dance communities in different counties. Cinedans TOUR has been to Australia, China, Czech Republic, Finland, Lebanon, Philippines, USA and many other countries around the globe.

The current selection presents the International Shorts Program from our latest TOUR 2022-2023. The diverse onehour film program showcases films of different genres, dance styles and sentiments. The films talk about cultural appropriation and the stereotypes associated with bodies through dance, they appropriate landscapes and architecture, process the feeling of nostalgia and revoke memories.

Andreas HANNES, Artistic Programmer

潛 Dive

導演 Director Oscar SANSOM �國 UK / 2022 / 13 分鐘 mins

��白 No dialogue

鬼斧 TOPORZEL

導演 Director

Iwona PASIŃSKA

波� Poland / 2019 / 9 分鐘 mins

��白 No dialogue

震央 ÉPICENTRE

快樂生辰

導演 Directors

Anne NGUYEN

南方影展

South Taiwan Film Festival

「南方影展」為臺灣推廣非政府、非主流影視文化

之獨立影展，亦為南台灣唯一之獨立電影節。「南 方影展」於 2001 年創立於臺南藝術大學，源於平 衡台灣影視資源重北輕南的現象。 20 年後的「南 方」，不僅標示著地理和資源中心相對位置，也標

示著當代議題、影像美學與人文思想在「中心－邊 陲」的多向度思辨。

影展除每年以「國際觀摩單元」引介世界知名之電 影作品外，同時以「南方獎－全球華人影片競賽」

向全球徵集當代華人議題之獨立電影作品。「南方 影展」除了展示最前衛、爭議的影像作品外，也將 影展視為平台，一個得以令觀眾、影像創作者與當 代議題產生對話的公共場域。

策展人的話

令人動容的影像作品，總是起始於創作者對 現實社會的觀察，並以此為基礎，丈量出自 我與事件的距離。

繼 2022 年的「身體檔案 : 港台的歷程和想 像―傷停補時（台灣）& 身體漫遊（香港）」後， 「南方影展」有幸再次受邀參與本屆「跳格― 香港國際舞蹈影像節」。去年為觀眾細數 90 年代焦躁無序卻創意盎然的台灣地下藝術風 景；今年我們帶來「南方獎 - 全球華人影片 競賽」的得獎新作︰《 K 的房間―關於世界 的創造與毀滅》與《通往世界的起點》。創 作者藉由對劇場空間的解構、身體展演、口 說吟唱等表演形式，試圖將歷史中未能解釋

的人類複雜情感，化為虛構的個人歷史，並 為觀者帶來共感。

「跳格―香港國際舞蹈影像節」對於「舞蹈 影像」所提出的思索路徑，非常令南方影展 驚豔。這是一條新的路徑，讓我們得以用「新 舞蹈影像」的眼光，一窺影像游移於虛構， 卻又無比真實的曖昧縱深。

黃柏喬，藝術總監

The Southern Film Festival (STFF) is the oldest indie film festival in Taiwan.  The festival has been carrying its legacy for over 20 years since 2001 at the Tainan National University of the Arts, in response to the fact that Taiwan's film and television resources concentrated mainly in the north. 20 years later, "Southern" not only marks the relative position of the geographical and resource centres, but also represents the multidimensional reflection of contemporary issues, film aesthetics, and humanistic thoughts in the "centre-periphery'' dynamic.

The Festival screens panoramic programs featuring films from around the world and hosts the ‘South Award-Chinese Films Competition’ every two years. In addition to presenting avant-garde and controversial film works, the ‘Southern Film Festival’ also sees itself as a platform for public discussion between audience and filmmakers to reflect on contemporary issues.

Curator's Notes

Outstanding film works always begin with the filmmaker's observation of reality in the society, in which it acts as a measurement of the distance between oneself and the event.

Since last year’s participation in the special programme of ‘Jumping Frames’, ’Body Archive: Trajectory Re-imagined for Hong Kong and Taiwan – Extra Time (Taiwan) & Body of the Flâneur (Hong Kong)’, STFF is honored to participate at the Festival again this year.  After last year’s portrayal of the restless, disorderly yet creative underground art scene in Taiwan during the 1990s, this year, we bring to you the award-winning new works from the ‘South Award-Chinese Films Competition’: K’s room–the creation and destruction of the world and A Long Goodbye to the Origin . Through deconstructing theatrical space, bodily performance and oral chanting, the filmmakers attempt to transform unexplainablehistorical-complex-human-emotions into fictional personal history, connecting the audience with empathy.

We are inspired and amazed by the vision of ‘Jumping Frames’ in “movement images”. Such original interpretation of “screendance” opens a new path beyond the opposite realms of reality and imagination.

14/9 [ 四 THU ] 11:00 am

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

K 的房間——關於世界

的創造與毀滅

K’s room–the creation and destruction of the world

通往世界的起點 A Long Goodbye to the Origin

影像論壇電影節 Image Forum Festival

藝術總監 Artistic Directorr and 山下宏洋 Koyo YAMASHITA

節目策展人 Program Curatorr and 赤堀香菜 Kana AKAHORI

日本「影像論壇電影節」是一個匯集了具高度表現 力、創造力和藝術性作品的錄像藝術節。電影節從

「地下電影新作選」（ 1 973-1975 ）和「實驗電影節」

（ 1981 -1985 ）經過發展後，加入更多國際內容和 公開競賽元素演化而成，於 198 7 年開始舉辦，今

年已是第 37 屆。電影節的公開競賽部被公認是日 本年輕導演邁向成功的大門。 2018 年開始，本來 僅限日本作品參與、前稱「明日日本」的競賽單元， 重新推出成「東亞實驗電影」競賽單元，並接受其

他東亞地區的參賽作品，包括中國大陸、香港、台 灣、澳門及韓國。

策展人的話

這是 202 1/2022 年日本影像論壇電影節 「東亞實驗競賽單元」的精選作品，其中 包括 2022 年大獎獲獎作品《幽默曲》。

獨立電影的製作方式讓家庭成員參與其中， 這兩部電影的導演，捕捉女性面對自我的同 時又扮演孩子母親的時刻。母親變成了一座 電影院：我們如何在子宮內投射我們的夢 想？透過媽媽的眼睛嗎？

赤堀香菜，節目策展人

‘The Image Forum Festival’ is a festival of moving image art that brings together for screening works with a high degree of expression, artistry, and creativity. A successor to ‘New Works of Underground Cinema’ (1973-1975) and ‘Experimental Film Festival’ (1981-1985), this festival, which expanded to include more international content and an open competition section, began in 1987 and is being held for the 37th time this year. The festival’s open competition section has come to be known as a gateway to success for ground-breaking young filmmakers in Japan, and in 2018 the Festival have expanded this section (formerly known as the ‘Japan Tomorrow’ section) that had been restricted to Japanese works and relaunched it as the ’East Asian Experimental Competition’ which accepts submissions from the East Asian regions, including Japan, Mainland China, Hong Kong, Taiwan, Macau and Korea.

Curator's Notes

This is a selection of works which was presented in the ‘East Asian Experimental Competition’ section of ‘Image Forum Festival’ in 2021-22, including Humoresque , a grand-prize winning work of 2022.

Through the individual filmmaking method which makes their family involved in its process, in these two films the directors catch the moment when a woman faces her inner self and at the same time acts as a mother of her child. A mother becomes a cinema herself: how do we project our dreams inside the womb? Is it through our mothers’ eyes?

14/9 [ 四 THU

1:00 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

透明的我 Transparent, I am.

幽默曲 Humoresque

首爾實驗電影節

Experimental Film and Video Festival in Seoul (EXiS)

藝術節總監 Festival Directorr

PARK Dong-hyun

節目策劃 Programmer

Inhan CHO

韓國「首爾國際實驗電影節」又名 EXiS ，由流動

影像論壇於 2004 年創立，旨在放映實驗電影和藝

術家的流動影像，探索電影的未知形式和領域。他 們重視藝術家以原創視角製作的電影，敢於接受挑 戰和讓審美冒險，是亞洲少數仍然放映許多重要藝 術家的菲林電影的場所之一。

今年， EXiS 將慶祝成立 20 週年。他們每年放映約 120 至 140 部影片，包括「國際競賽」和「策展 單元」。2023 年，他們累計篩選播映了來自 40 多 個國家的 1 ,480 部參賽作品。

作為韓國和亞洲重要的實驗電影平台，EXiS 是首個將國 際知名電影製作人和藝術家引進韓國的電影單位，包括

Hollis Frampton (2005)、Jonas Mekas (2009)、Michael Snow (2010) 以及 Marcel Broodthaers (2013) 等。

自成立以來， EXiS 一直在電影節框架以外積極組 織放映，將韓國藝術家和電影作品推向國際舞台。

值得注意的包括《嵌入性：從 1960 年代至今韓國

的藝術影像》（泰特現代美術館， 2015 年）、《潛 伏 / 沉思─ 1960 年以來韓國藝術家的電影和錄像》

（錄像雙年展， 2016 年）、《韓國實驗動畫》（香

港藝術中心， 2019 年）等。

策展人的話 本節目以韓國早期實驗電影為關注點。要說 韓國實驗電影完全不在任何主流或建制機構

支持下培育出來，而是獨立地、斷斷續續 地發生和變化，也不算誇張。因此，儘管 個別作品取得了美學成就，節目並不倉促

地暗示這就是韓國早期實驗電影的代表性 趨勢。然而，基於當時韓國社會的政治狀況 和藝術實踐的條件，能在個別作品固有的， 或可推測的狀態下，希望能夠理出韓國實驗 電影歷史的脈絡，而一開始似乎是不可能。

(本節目是 2015 為泰特現代美術館策展與駐英國韓國文化 院、 EXiS 的合作，並獲 LUX 支持的《嵌入性：從 1960 年 代至今韓國的藝術影像》新修訂版）

14/9

香港逸東酒店

‘Experimental Film and Video Festival in Seoul’, a.k.a EXiS, was founded in 2004 by Moving Image Forum in order to screen experimental films and artists’ moving images that explore the unknown forms and territories of cinema. They value artists’ films made with an original vision that take challenges and aesthetic adventures. The Festival is one of the few places in Asia that still screen works of many important artists who work with celluloid film.

This year, EXiS is celebrating their 20 th anniversary of the festival. Every year they screen about 120-140 films including international competitions and curated sections. In 2023, they have accumulated the screening of 1,480 works in total from over 40 nations, submitted for the competition programs.

As an important experimental film platform for Korea and Asia, EXIS is the first festival to introduce one of the most important filmmakers to Korea such as Hollis Frampton (2005), Jonas Mekas (2009), Michael Snow (2010), Marcel Broodthaers (2013) etc.

Since its inception, EXIS has been actively organizing screening programs outside the festival framework to bring the work of Korean artists and films to international stage. Notable ones include EMBEDDEDNESS: ARTIST FILMS AND VIDEOS FROM KOREA 1960s TO NOW (Tate Modern, 2015), Latency/Contemplation. Artist Films and Videos from South Korea since the 1960s (the Biennial of the Moving Image BIM, 2016), Korean Experimental Animations (Hong Kong Arts Centre, 2019) etc.

Curator's Notes

This program focuses on pioneering works showing the early Korean experimental film in a historical context. It is not an exaggeration to say that Korean experimental films were not cultivated based on the activities of any mainstream group or institutional support, but occurred and changed individually and intermittently. Therefore, despite the aesthetic achievements of individual works, this program does not hastily suggest that these are representative trends of early Korean experimental films. However, based on the socio-political situation in Korea at the time and the conditions for practicing artistic activities, which can be inherent in or speculated on individual works, we hope to discover the vague foundation of mapping the history of Korean experimental film, which seemed impossible in the first place. (This program is a modified version of the program in 2015, Embeddedness: Artist Films and Videos From Korea 1960s to Now originally curated for the Tate Modern in collaboration with the Korean Cultural Centre UK, EXiS and supported by LUX).

Inhan CHO, Programmer

1/24 秒的意義 THE MEANING OF 1/24 SECOND

韓文字母

從日到夜

身體檔案：亞洲城市的當代重演 I

BODY ARCHIVE: CONTEMPORARY REENACTMENTS IN ASIAN CITIES I

身體檔案： 亞洲城市的 當代重演 I

BODY ARCHIVE: CONTEMPORARY

REENACTMENTS

IN ASIAN CITIES I

表演日常 Mundane Truth

9:30 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

疫症蔓延後的真實，每每顯得光怪陸離。真實還 是同樣的真實、還是歷經反覆重演後的荒誕？ 「身體檔案：亞洲城市的當代重演 I 表演日常」 匯集四部來自不同背景的亞洲導演之短片作品， 以各自迴異的視角重構疫症後的現實生活，並 通過身體的律動與重演來發掘涉足真實的多重可 能性。

四部短片除了窺探個體在日常與環境中的生存狀 態，更透過身體牽引出每個城市所隱埋的過去與 未來，以藝術影像展演城亦如何因疫症的襲來而 變得脆弱且流動。不管是藏在城內一隅的秘密、 還是無法消散的畸零風景，也指向身體如何繼續 於不同空間中踽踽而行。

The truth that emerges in the wake of the pandemic seems so surreal. Is the truth still the same truth, or has it become absurd after repeating over and over? ‘Body Archive: Contemporary Reenactments in Asian Cities I Mundane Truth’ brings together four short films by Asian directors from different backgrounds, each offering a unique perspective on post-pandemic reality and exploring multiple possibilities to find the truth through movement of the body and reenactment. These four films not only delve into an individual's state of survival in daily life and environment, but also reveal the hidden past and future of each city through the body, as well as how it becomes vulnerable and fluid in facing the pandemic. Whether it's a secret that hides in a corner of the city or an indelible bizarre landscape, these films recount how the body continues to move on in solitude in different spaces.

身體檔案：亞洲城市的當代重演 I

BODY ARCHIVE: CONTEMPORARY REENACTMENTS IN ASIAN CITIES I

House of Chifan

WORLD PREMIERE

香港 Hong Kong

2023 / 17 分鐘 mins

�東������� Cantonese & Flemish

中英文字幕 Chinese & English subtitles

導演 Director

曾翠珊 TSANG Tsui-shan

參與舞蹈藝術家 Collaborating Dance Artist

陳詩蘊 Bobbi CHEN

比利時異鄉定居、疫情的無助、女兒的 牽絆、摯親的離世―芷薰承受重重的身 心困擾。自我孤立的她，內心的壓力與 痛苦，沒有誰能傾訴，只能與幻影相依 共舞。戲棚內侷促窘迫，內心的界線就 是她的房間。她能走出去嗎 ?

Social isolation, loneliness in a foreign land, pandemic fatigue, parental anxiety, loved one departure, Chifan is deeply stressed and withdrawn. Her room is a theatrical space, a personal space and her heart and soul. Could she even walk out from her own sanctum?

時間影子 Time pass, Years past

國� 首映 INTERNATIONAL PREMIERE

新加坡 Singapore 2023 / 17 分鐘 mins

�� Mandarin / 英文字幕 English subtitles

導演 Director

廖捷凱 Jiekai LIAO

編舞 Choreographer

劉美玉 LOW Mei-yoke

通過 2023 年的導演視覺審視新加坡新典 舞團 1998 年的舊作，探索時間的概念和

意念蛻變的無限可能。舞團的現任舞者 獲過去作品的啟發，重新排演，加入新 元素即興創作，過程以舞蹈影像整合的 新型態重現原作的主題。從上一輩的舞 者身上獲得靈感，傳承前輩的精神與意 念，重新出發。面對舞團創立 32 年，即 將退出全職行列的今天，作品尤具意義。

Remote

⾹� 首映 HONG KONG PREMIERE

澳門 Macau 2023 / 14 分鐘 mins

�東� Cantonese 英文字幕 English subtitles

導演 Director 劉景愉 LAO Keng-u

參與舞蹈藝術家 Collaborating Dance Artist

陳世平 Chan Sai-peng

轉動不息的迴旋木馬、葡式建築、小丑

的表演，澳門歡快的聲音與市民在電台 上的意見此起彼落，還有威尼斯酒店裡 亦真亦幻的藍天白雲隨著澳門特別行 政區成為大灣區的一員，一位看似享受 澳門生活的神秘男子卻無法適應這座城 市的發展。他發現了其下體的秘密，以 及通往烏托邦的鑰匙。

The endless carousel, Portuguese-style architecture, clown performances, the cheerful sound of the city, the opinions of citizens on the radio and the stunning views of the Venetian Hotel. As Macao (SAR) becomes a member of the Greater Bay Area, a mysterious middle-aged man who seems enjoying life in Macau fails to adapt to the city's development. He discovers the secret of his own body and the key to utopia.

行李 Bagasi

�界 首映 WORLD PREMIERE

新加坡及印尼 Singapore & Indonesia

2023 / 15 分鐘 mins

��白 No dialogue

導演 Director

楊國瑞 Nelson YEO

參與舞蹈藝術家 Collaborating Dance Artists

Ari DWIANTO

Siska APRISIA

By examining the Frontier Danceland’s 1998 archival dance piece under the lens of 2023, residency filmmaker Jiekai Liao explores the concept of time and metamorphosis. The present dancers rehearse and improvise motifs from the past work and put their senses through transformative processes. Inspired by the older generation, the spirit of the former piece is rejuvenated, while the young ones carry on their legacy. The dance film project is especially meaningful while the company just announced their transition out of full-time dance company operation by 31 st March 2024, after 32 long years of artmaking in Singapore.

離開。然後，就沒有然後了。

In the middle of the night, a woman dragged a huge heavy bag into the darkness. Keeping a steady pace, appearing pre-occupied, she remained dejected, yet steadfast. Abandoning the mysterious "thing" in a remote dark alley, humming her melancholy song, she finally walked away.

夜深沉，女人拖著一個大帆布袋在寂靜 的街上費力地行走，不疾不徐，卻又滲

著點滴無奈與失神。帶著「東西」遺棄

在黑暗的盡頭，是惦掛？是割捨？放下。

身體檔案：亞洲城市的當代重演 II

BODY ARCHIVE: CONTEMPORARY REENACTMENTS IN ASIAN CITIES II

身體檔案： 亞洲城市的 當代重演 II

BODY ARCHIVE:

CONTEMPORARY REENACTMENTS IN ASIAN CITIES II

遊魂行動 Operation Wandering Souls

14/9

8:30 pm

香港逸東酒店 1 樓 Kino

Kino, 1/F Eaton HK

引自越南戰爭期間美軍軍隊展開的宣傳戰和心理 戰的一個策略，《遊魂行動》作為此短片集的策 展概念及聯想。美軍利用越南人相信死者必須葬 在家鄉，否則死者的鬼魂將會遊蕩的觀念，在前 線播放錄製的鬼魂叫聲，以打擊越南敵軍的意念 和戰鬥力。 《九龍東往事》和《玉門》以二戰後香港頭髮貿 易和靈魂移民之間的關係作據點，勾劃衰落的重 工業城市―甘肅玉門和它的人文記憶；兩個影片 偏向視覺藝術和研究觀點，以近乎「考古」的視 角呈現，潛行在歷史的狹縫裡，探索各自不同的 研究主題，並透過一連串的創作行動，包括虛構 的鬼魂旁白、現場的行為藝術等等，積極介入過 去隱晦的人文歷史、城市變化。

‘Operation Wandering Soul’ in reference to the propaganda campaign and psychological warfare tactic carried out by U.S. forces during the Vietnam War, serves as our curatorial reference of this short film collection. Using the Vietnamese belief that the deceased must be buried in their homeland, or their soul will wander aimlessly in pain and suffering, the U.S. forces tried to trick the Viet-Congs into leaving by playing an eerie ghost audio recording at the front line to weaken their morale.

By examining the relationship between Hong Kong's hair trade and immigration of the spirits after the World War II, and outlining memories of the crumbling city, Yumen, once prosperous in heavy industry, An Asian Ghost Story and Yumen are films that focus on visual art and research perspectives, adopting an almost “archaeological” approach. Between the cracks of history, exploring different research topics to create, including fictionalised ghost narrative, live performance art happening, the filmmakers actively intervene with the obscure history and urban changes in the past.

身體檔案：亞洲城市的當代重演 II

BODY ARCHIVE: CONTEMPORARY REENACTMENTS IN ASIAN CITIES II

玉門 Yumen

中國及美國 China & USA

2013 / 65 分鐘 mins

�� Mandarin

���� English subtitles

導演 Directors

黃香 Xiang HUANG

史杰鵬 John Paul SNIADECKI

徐若濤 Ruo-tao XU

2013 年「柏林國際電影節」

Berlinale’ 2013

2013 年「紐約現代藝術博物館紀錄片雙週影展」

Documentary Fortnight: MoMA’s International

Festival of Nonfiction Film and Media 2013

拜別石油生產的繁華時代，乾旱枯竭的甘肅 玉門，成了衰落破敗的鬼城。 2012 年春節， 三個導演帶著一部 16mm 攝錄機來到這座廢 墟，試圖以外來者的身份將表演介入錄像，以 玉門這座被遺棄的城市為背景，拼貼出幾個玉 門人虛構的真實故事，追尋共同的過去和人際 間的渴求，將虛構、表演和社會現況融為一體， 在記憶和幻想的混沌中，向一座被丟棄的空城 致敬。

During the Spring Festival 2012, three directors arrived at Yumen, a quasi-ghost town that once thrived with oil production in China's arid northwest with their 16mm cameras. They tried to engage artistically as an outsider, bringing fiction, performance, and socialist realism of an imaginative memory together. Yumen is a collage of wandering souls, searching for human connection and a collective past among the town's crumbling landscape.

九龍東往事

An Asian Ghost Story

⾹� 首映 HONG KONG PREMIERE

香港及荷蘭 Hong Kong & Netherlands

2023 / 37 分鐘 mins

�東���� Cantonese & English

中���� Chinese & English subtitles

導演 Director

王博 Bo WANG

一個有關假髮的鬼故事，帶我們回到 1960 年 代香港假髮製造業的全盛時期，窺探背後對經 濟、社會、政治和歷史的影響，反映香港今昔。 試想像一束束由活人頭上「收割」的真髮，編 成假髮，作為人身體的一部分，很有可能每頂 假髮都承載著一個的靈魂。這超越肢體的獨立 存在更是永生不滅，成為能展現自我的個體， 周遊列國，過遍不同的人生，甚至接受採訪， 飄著秀髮，親自講述自己的經歷。影片幽默逗 趣、充滿睿智，娓娓道來一個不一般的假髮 故事。

Vision

International Documentary Film Festival (CPH:DOX)’ 2023

A haunting story about Asian wig in its heyday of the 1960s, reflecting Hong Kong’s complex cultural, economical and sociopolitical histories that resonate the city today. While every wig resides a ghost from the imperial past, it becomes an amputated part of the body that exists almost immortally, beyond human life. As a performative living being, it travels across borders, living multiple lives and even accepts interviews to tell its own story. Exploring the liminality of the living and the dead, the film presents the wig history with sophistication, humour and great wit.

擴展的空間： 《重(構)／ 再(演)》 EXPANDED SPACE: (RE)PLAY

「擴展的空間」乃「跳格」自 2021 年

起從電影院延伸至展覽空間的單元，引

發不同藝術實踐和領域之間的多重對話。

「跳格」透過跨領域形態來探索超越傳 統影像的呈現方式，以及尋索表演與流 動影像、電影編舞和身體之間的交匯點。

「擴展的空間」過去曾展出一系列將影 像形式和敘事轉化成於空間呈現的聲音、 物件、媒體和動態等裝置作品，並詰問 構成展演的動力，也結合了律動和影像 製作之間的異流。

本年度展覽名為《重（構）/ 再（演）》， 嘗試讓兩位跨表演創作領域的前衛藝術 家印尼行為藝術家 Melati Suryodarmo 及法國編舞家兼舞者 Xavier Le Roy 併發 火花 , 探索他們的現場表演、記錄策略與 形式。前者以長時及極耗費體力的表演 著稱，後者則為 90 年代末始於歐洲的非 傳統「編舞伸延概念」推動及發展的重 要人物。

二人回應本年度「跳格」的重演和檔案 重建的主題，分別為香港觀眾呈現一場 講座式展演― Suryodarmo 的《拆開 1 ： 愛》 (2023) 和 Le R oy 的《情境的其他 產物 (2009) 》。兩個展演將著重於強調 他們在作品存檔的方法論，觀眾將被邀 請通過物件和影像等重新形塑藝術家的 實踐場景與本質。

展覽 Exhibition 13/9 - 6/10

香港逸東酒店 4 樓藝廊 Tomorrow Maybe, 4/F Eaton HK

Initiated in 2021 as an exhibition sidebar of ‘Jumping Frames’, ’Expanded Space’ is a proposition to explore new possibilities of presenting movement/images beyond traditional screen-based cinematic formats. Aiming to instigate a multi-layer dialogue between different artistic practices and domains under the auspice of an interdisciplinary film festival, ‘Expanded Space’ reflects the festival commitment to probe at the intersections between performance and the moving image, cine-choreographies, and the body.

Over the years, ’Expanded Space’ has hosted a diverse collection of sound, object and media installation works that transmitted and transmuted filmic gestures and narratives into the spatially demanding gallery presentation. Extending its inquiry transversally, it has also included sculptural and kinetic installation works that questioned what constitutes the performative impulse and bridging the divide between movement- and image-making.

For 'Expanded Space 2023': (RE)PLAY, the exhibition will examine the archival strategies, considerations, and formats of two seminal artists working across the valencies of performance-making: Melati Suryodarmo, an Indonesian performance artist known for her durational and physically demanding performances; and Xavier Le Roy, a choreographer and dancer often associated with the development of the notion of expanded choreography that started in Europe at the end of the 90’s.

Each artist will present a performance, UNPACKED No. 1: Love (2023) by Suryodarmo and Product of Other Circumstances (2009) by Le Roy, — that draws on the ‘Jumping Frames 2023’ themes of reenactment and archival (re)construction. Emphasising their methodologies in archiving works, the audience is invited to re-imagine scenes and essences of their practice through objects, videos and still images.

2:00 - 9:00pm

擴展的空間：《重 ( 構 ) ／再 ( 演 ) 》由「跳格」策展人葉奕蕾及

香港逸東酒店文化總監陳敬元共同策劃

‘Expanded Space’: Re (PLAY) is co-curated by Elysa WENDI , Curator of ‘Jumping Frames’ and Joseph CHEN King-yuen, Director of Culture, Eaton HK

特邀藝術家 I

Featuring Artist I

Melati SURYODARMO

Melati Suryodarmo 被譽為印尼當今最重要的 在世藝術家之一，現於印尼梭羅居住及工作。

Suryodarmo 畢業於德國布倫瑞克藝術學院， 獲藝術學士學位和行為藝術碩士學位，師從 行為藝術家 Marina Abramovi 和舞踏大師及編 舞家古川杏。她的藝術實踐受舞踏、舞蹈和 歷史等的啟發。她的行為藝術作品發軔於她 對形體動作、自身和世界關係的課題研究， 並通過攝影、舞蹈、影片和現場表演等方式 銘記和呈現這些概念。

作為一名行為藝術家， Suryodarmo 的存在感 對各種作品的成敗都起著關鍵性的作用。觀 眾的感官從非言語中溝通中提取訊息，將他 們分析為意圖、情緒、能量或身份認同感。

這些訊息開啟了一種比語言溝通更為敏感、 個性化的認知與存在。然而，由於每位觀眾 的性格、意識與想法不同，所得出的結論也 會因人而異。 Suryodarmo 通過壓縮、提取、 概念化與轉化她作品中的存在感，來詮釋人 與環境之間不斷流動的分界線。這種流動性 深為詩人們所知字句與空間在他們的詩詞 中交錯，產生各種隱喻與意象。

視覺上壯觀的表演，是 Suryodarmo 對時間、 體能和身份概念質疑所提出的耐力考驗。她 曾在國際藝術節和世界各地的藝術展覽中演 出，包括馬斯特里赫特 Bonnefanten 博物館 ( 2022 年)、雅加達 MACAN 博物館( 2020–21 年)、新加坡雙年展( 2016 年)、柏林世界 文化中心( 2009 年)和威尼斯雙年展( 2003 年)。

自 200 7 年起， Suryodarmo 每年均在其家 鄉梭羅舉辦「行為藝術實驗室計劃」和行為 藝術節《不明領土》。 2012 年，她創立了 「 Plesungan 工作室」，一個供表演藝術家用 作實驗室的藝術空間。 2017 年，她獲任東南 亞最重要的視覺藝術雙年展之一第十七 屆耶加達雙年展的藝術總監，並擔任 2022

年和 202 4 年印尼文化藝術節的藝術總監。

Melati Suryodarmo is one of Indonesia’s most important living artists, currently living and working in Surakarta, Indonesia.

Suryodarmo earned a degree in fine art and an MFA in performance art at the Braunschweig University of Art, Germany under the tutelage of Marina Abramović and Anzu Furukawa. Her practice is informed by Butoh, dance and history, among others. Her work is the result of ongoing research in the movements of the body and its relationship to the self and the world. These are enshrined in photography, translated into choreographed dances, enacted in video or executed in live performances.

As a trained performance artist, presence is integral to the accomplishment of Suryodarmo's work in all mediums. The senses pick up non-verbal inputs and receive them as communication of intent, emotion, energy or identity. These non-verbal inputs open the door to sensitive and individual perception and the creation of presence. By compiling, extracting, conceptualising and translating some of these factors of presence that she recognises into her work, she intends to tease open the fluid border between the body and its environment. These movements are understood through the metaphor of poets, who similarly assemble words and spaces to create their poetry.

Visually spectacular, Suryodarmo’s performances are feats of endurance that interrogate notions of time, labour and identity. She has presented her works in international festivals and exhibitions including Bonnefanten Museum, Maastricht (2022), Museum MACAN, Jakarta (2020 – 21), Singapore Biennale (2016), HKW Berlin (2009), and the Venice Biennale (2003).

Since 2007, Suryodarmo has been organising an annual ‘Performance Art Laboratory’ and Undisclosed Territory, a performance art festival, in Solo, Indonesia. In 2012, she founded 'Studio Plesungan', an art space for performance artists to use as a laboratory. In 2017, she served as Artistic Director for 'JIWA', the 17 th Jakarta Biennale, one of the core visual arts biennales in Southeast Asia and also as Artistic Director of the Indonesia Bertutur 2022 and 2024, Indonesia Festival of the Arts and Culture.

拆開 1：愛 (2023)

Melati SURYODARMO 講座式展演及展覽

UNPACKED No. 1: Love (2023) Performance Lecture & Exhibition by Melati SURYODARMO

Melati Suryodarmo 的《拆開 1 ：愛》是其富詩 意地深入探討其個人經歷和想法的講座式展演 系列之一，藉一系列的行為動作和挑釁，一步 步展開鮮明的敘述。

Suryodarmo 在展演中與過去演出相關的物件、 文物和碎片互動，她認為這些物件是循不同方 面檢查和審視我們存在的重要工具；她相信物 件見證著一起生活的人們，擁有傳達意義、歷 史和情感的力量。

Suryodarmo 透過展演，在不同的時間和框架 下與物件表演和互動，令原來的意義和目的逐 漸地被取代，這些被轉移的狀態正正昭示著我 們出生、死亡、前進以至在世界遊走暫皆來去 匆匆。

《拆開 1 ：愛》為 Suryodarmo 提供了一個重置 框架和重新詮釋她過往作品的平台，注入全新 層面的理解和意義。她選取了一些影響她作品 的文獻、物品和參考資料，其中包括《溫柔地 愛我》 (2001) 、《關係的畸形倫理 1.0 和關係 的畸形倫理 2 .0 》 (2005) 、《 Komodo 檔案》 (2005) 、《癡戀的高度》 (2005) 和《祖先搖籃 曲》 (2001) 。

Suryodarmo 認為，愛情最能揭示人類的存在狀

態。《拆開 1 ：愛》中，她運用愛情的陳腔濫調 和媚俗的特質，講述愛情的所有歡快與輝煌， 當中卻夾雜難以解釋的絕望、疏離、自謙和拒 絕。隨著的講述表演的進行，場地空間也發生 變化。當物件本身和當它們融入藝術家的故事 敘述時，空間得以演進並成為整場體驗的一個 組成部分。它成為探索愛情、妄想、悲劇和人 類複雜處境的畫布。

通過多重視角的協調，藝術家邀請觀眾參與， 加入他們自己的闡釋和想法。講述表演本身沉 浸式的特質，加上所展示的物件涉及隱私和具 親密性，讓藝術家、作品和觀眾之間建立深厚 的聯繫。

這場物件演出展現了富詩意的自發與抽象行 為，模仿類似抽象畫大師康汀斯基充滿活力的 繪畫美學。在編織她過往的演出時，這些物件 充當了個人軼事，隨著講述表演徐徐展開，物 件在演出空間之中棲息、點頓，促使觀眾深刻 地接觸蘇若道默的作品和其身體藝術實踐。

Melati Suryodarmo presents UNPACKED No.1: Love , one of her performance lecture series that delve into a poetic exploration of personal experiences and reflections. This lecture is brought to life through a series of actions and provocations, gradually unfolding the narrative.

She reveals objects, relics, and fragments that are directly linked to her past performances. Suryodarmo considers objects as significant tools for examining and scrutinising different aspects of our existence. She believes that objects bear witness to the people who live with them, and they hold the power to convey meaning, history and emotion.

Suryodarmo performs and interacts with these objects in a different time and context, their original meanings and intentions become displaced. This displacement alludes to the transient nature of our lives as we arrive, depart, move, and shift through the world.

UNPACKED No.1: Love serves as a platform for Suryodarmo to re-contextualise and reinterpret her previous works, infusing them with new layers of understanding and significance. She selected some documentations, objects and references which influenced her works, among them Love Me Tender (2001), Deformed Ethic of a Relationship 1.0 and Deformed Ethic of a Relationship 2.0 (2005), The Komodo Files (2005), Height of Limerence (2007) and Lullaby for the Ancestors (2001).

Love, notes Suryodarmo, uncovers the most existential conditions of being human. In Unpacked No. 1: Love , she employs the clichés and kitsch qualities of love, in a narration of love in all its joy and radiance, compounded by its inexplicable despair, alienation, self-effacement and denial.

As the performance lectures progress, the gallery space itself undergoes a transformation. The presence of these objects and its incorporation into the artist's storytelling allows the space to evolve and become an integral part of the overall experience. It serves as a canvas for the exploration of themes such as love, delusion, tragedy, and the complexities of the human condition.

Through this reconciliation of various perspectives, the artist invites the audience to engage with their own interpretations and reflections. The immersive nature of the performance lectures, coupled with the personal and intimate nature of the displayed objects, creates a profound connection between the artist, the artwork, and the viewers.

The performative-objects represent poetic actions –spontaneous and abstract – as Suryodarmo imitates, much like the vibrant forms of a Wassily Kandinsky painting. In weaving her past performances, these objects function as personal anecdotes, inhabiting and punctuating the gallery space as the lectures unfold, prompting profound and visceral encounters to Suryodarmo’s artistic oeuvre and somatic practice.

特邀藝術家 II

Featuring Artist II

Xavier LE ROY

情境的其他產物的 186 幀截圖

Product of Other Circumstances in 186 Screenshots

展覽 2023 年，截圖的照片打印

以《情境的其他產物（ 2009 年）》在 2011 年

在葡萄牙里斯本、韓國首爾以及 2019 年在

法國龐坦的 3 個演出錄像，進行每兩分鐘一

次的屏幕截圖製作而成。

這個作品是應「跳格香港國際舞蹈影像 節」策展人葉奕蕾的邀請，思考演出存檔模

式，並在展覽期間延續一個現場作品，於 9 月 13 日在香港逸東酒店展演。

《情境的其他產物的 186 幀截圖》以 201 1

年至 2019 年期間在 3 個不同地點以 3 種不 同語言錄製的 3 段《情境的其他產物》的

演出錄像。屏幕截圖的畫面選擇，與想要關 注的、想要顯示的，毫無關係，只是依照每 兩分鐘一次的屏幕截圖設定指示，令意義重

著名編舞家 Xavier Le Roy 是當代最有影響力 的舞蹈思想家之一。

Le Roy 法國蒙佩利爾大學取得分子生物學博

士學位，自 1991 年開始一直從事藝術創作。

2018 年起，擔任德國吉森大學應用戲劇研 究院的教授。他曾應邀到歐美重要藝文機構 任駐場藝術家，包括柏林的 Podewil（ 19962003 ）、蒙佩利爾國家舞蹈中心（ 200 72008 ）、麻省理工學院藝術、文化與技術 計劃（ 2010 ）及巴黎國際城市劇院（ 20122015 ）。

Le Roy 的多個獨舞作品，如《自我未完成》

（ 1998 ）、《情境產物》（ 1999 ）和《春之祭》 （ 200 7 ），為編舞界開創了嶄新的視野。他 的創作方式近似科學研究，既關注生成過程

與作品之間的關係，也著重他自己在生成過 程中的參與。他近期的作品旨在探討展覽中

時間與空間，以及在展覽空間、博物館或其 他公共空間，觀眾與現場藝術創作之間關係 的具體性。他的作品經常受國際知名藝術節 及藝術館邀請，包括 2017 德國明斯特雕塑 展、香港大館當代美術館、巴塞隆拿 Tapiès 基金會、紐約當代藝術館 PS1 、雪梨卡爾多 公共藝術計劃、巴黎龐比度藝術中心及威尼 斯舞蹈雙年展等。

Acclaimed choreographer Xavier Le Roy is one of the most influential dance thinkers of our time.

Le Roy holds a doctorate in molecular biology at the University of Montpellier, France, and has worked as an artist since 1991. Since 2018, he has worked as Professor at the Institute for Applied Theater Studies in Giessen (Germany). He was artist-in-residence at the Podewil in Berlin (1996-2003), Associated Artist at Centre Chorégraphique National de Montpellier (20072008), Artist in Residence fellow at the MIT Program in Art Culture and Technology (Cambridge, MA) (2010), and Artist-in-residence at Théâtre de la Cité Internationale, Paris (2012-2015).

Through his solo works such as Self Unfinished (1998), Product of Circumstances (1999) and Le sacre du printemps (2007), he has opened new perspectives in the field of choreography. Le Roy develops his work like a researcher, while simultaneously focusing on the relationships between process and product and his own involvement in the process. His latest works investigate the time and space of exhibitions as well as the specificity of the relationships between spectators and live art works that exhibition spaces, museums or other public spaces allow. His work has been presented internationally, include Skulptur Projekete Münster 2017, Tai Kwun Contemporary (Hong Kong), Tapiès Foundation (Barcelona), MoMA PS1 (New York), Kaldor Public Art Projects (Sydney), Centre Pompidou (Paris), and La Biennale di Venezia Danza, among others.

組，將 3 個不同演出的時間線並置，在其中 留住時空，讓觀眾不論何時何地繼續發揮想 像力，為存檔作品賦予生命。

錄像的畫面通過一幀跳到下一幀來產生動 態。而《情境的其他產物的 186 幀截圖》的 圖像讓參觀者從一幀走（跳）到另一幀。在 感知和想像之間，每位參觀者也能從過去的 表演、現在的感知和未來的存檔之間讓作品 更立體地呈現，並引發聯想。

Three series of pictures of each screen shot made every two minutes on video documentations of the choreography Product of Other Circumstances (2009) recorded in 2011 in Lisbon - Portugal, Seoul - South Korea, and in 2019 in Pantin - France.

This work is a response to the invitation of Elysa Wendi, Curator of ‘Jumping Frames - Hong Kong International Movement-image Festival’ to think about mode of archiving performances, as well as traces of a live work for an exhibition during a period extending the live performance on the 13th of September at Eaton HK.

The work Product of Other Circumstances in 186 Screenshots is based on three recordings of the performance Product of Other Circumstances (2009) in three different places for three different languages between 2011 and 2019. The choices of the screen shots are independent from the desire to be emphasised, or make certain contents visible despite others, but rather, following a set timeline of one screen shot each minute in order to recompose the meanings and juxtapose the timelines of the three different performances giving space and time in between, where when the visitors continue the necessary imagination to give a life to the archive works.

The projection of a film produces movements by jumping from one frame to the next. While the images of Product of Other Circumstances in 186 ScreenShots allow the visitors to walk (jump) from one frame to the other. Between perception and imagination, each visitor will compose something between the past performances, the present receptions and the future archives.

情境的其他產物 (2009)

Xavier Le Roy 講座式展演

PRODUCT OF OTHER CIRCUMSTANCES (2009)

Lecture Performance by Xavier Le Roy

發件人、作者： Xavier Le Roy 製作： Le Kwatt 聯合製作：雷恩國家編舞中心 感謝：波赫士夏瑪茲、表演藝術論壇

2009 年 10 月，一次電郵書信後（請參閱下文），

Xavier Le Roy 創作了一場名為《 Xavier 做一些再 舞踏》的表演。這作品在編舞的日常空餘時間 進行研究而成，可以算是業餘習作。《情境的 其他產物（ 2009 年）》算是這體驗的延伸，它 是一種情境的表現方式、一個講故事的演出， 是通過人人都能接觸的資源例如互聯網、書籍、 回憶和軼事去接近、去體現那些對外國舞蹈作 品的敘述。

來自： "Boris Charmatz" <borischarmatz@museedeladanse.org>

日期： 2009 年 6 月 25 日 15:35:54 GMT+02:00 至： <xavier.le.roy@free.fr>

主題：說了做了

你好，

有一天你告訴我（我們正在談論教育）：「要成 為一名舞踏舞者，你，需要兩個小時」。我喜 歡這句話，即使你已經忘記了（？）。從那時起 （ 5 年前？）我幻想著看你的表演，挑戰你說過 的話，我想像你練習兩個小時，然後去表演舞 踏。你覺得呢？我知道你不經常即興，但萬一 呢……

…… 10 月 24 日，我組織了一個名為《再舞 踏》的日子，也許在這個框架內你可以從這句 話開始做一些什麼…… ……但或許我問得太遲。我不知道是否仍有可 能。你覺得怎麼樣？當然，你可以再想想這個 提議、給點反應……甚至帶 15 名舞者一同前 來……我的構思從這個幻想、這個概念開始： 「有一天， Xavier 告訴我」……「要成為一名舞 踏舞者，你，需要兩個小時」……

來自： Xavier Le Roy <xavier.le.roy@free.fr>

日期： 2009 年 6 月 26 日 16:07:04 GMT+02:00

至： Boris Charmatz <borischarmatz@museedeladanse.org>

主題：回覆：說了做了

親愛的波赫士， 我真的在我們討論時說過這些廢話嗎？也許沒 有？讓我想想……如果我真的這麼說了，我就 得承擔責任。如果我從未說過這些話，那麼， 我認為你這是一個絕妙的主意。無論如何，我 正開始思考這個問題。我對舞踏一無所知，再 說吧。 10 月 24 日似乎奇蹟般地可以，只需調 整一下。今天，除了《春之祭》的舞台佈置和 綵排外，還有我們正在籌備近 3000 個節目的 In-presentable 舞蹈節，所以我現在真的沒有時 間，但我稍後會回覆……

From and by: Xavier Le Roy

Production: Le Kwatt

Coproduction: Le musée de la danse - Rennes

Thanks to: Boris Charmatz, PAF (performing arts forum)

In October 2009, after an email exchange (read here after), Xavier Le Roy created a performance titled Xavier makes someRebutoh. Resulting of a research done during the free time of the choreographer, this product could be qualified as being an amateur’s work. Product of other circumstances (2009) is the extension of this experience, it’s a method of circumstances, a show as storytelling, the narration of a work illustrated by attempts to get closer to, and to embody, a foreign dance using resources available to everybody such as internet, some books, as well as memories and anecdotes.

De: "Boris Charmatz" <borischarmatz@museedeladanse.org>

Date: 25 juin 2009 15:35:54 GMT+02:00

À: <xavier.le.roy@free.fr>

Objet: ditfait

Hello, One day you told me (we were talking about education): « to become a Butoh dancer you need two hours ». I loved this sentence, even if you already forgot it (?). Since then (5 years?) I fantasised about a performance from you that would challenge your words, I imagined that you would work 2 hours and perform a Butoh dance. What do you think? I know

that you don’t do very often interventions off the cuff. But maybe...

... On the 24th of October I organise a day called « rebutoh » and maybe in this frame work you could do something starting from this sentence...

... but I ask very late. And I don’t know if that will be possible. What do you think?

Of course you can twist the proposal, react ... come with 15 performers... But I start with this phantasm and this conceptual object : « one day xavier told me....... » “to become a Butoh dancer you, need two hours » ...

De: Xavier Le Roy <xavier.le.roy@free.fr>

Date: 26 juin 2009 16:07:04 GMT+02:00

À: Boris Charmatz <borischarmatz@museedeladanse.org>

Objet: Rép : ditfait

Dear Boris,

I really say whatever nonsense during our discussions, or maybe not? Let’s see... If I really said this, I have to take responsibility for it. If I never said this, then, I think it’s a brilliant idea from you. Anyway I start to think about it. I know nothing about Butoh so we will see. By miracle it seems that the 24th of October could work out, just one thing to move. Today there is the set up and rehearsal for “Le sacre” on top of the 3000 other activities of the festival Inpresentable that we organise. So I don’t have time, but I will come back to this answer later...

擴展的套票 EXPANDED PACKAGES

擴展的空間:《重 ( 構 ) /再 ( 演 ) 》的講座式展演將以套票形式發售，

套票包括一場現場講座式展演，以及三場電影放映。

Expanded Space: (RE)PLAY: Lecture Performance / Performance Lecture will be sold as a package, which includes one performance and three film screenings.

RE(PLAY)1:

講座式展演《拆開 1：愛》

12/9 [

7:30 pm

身體檔案：亞洲城市的當代重演

II 遊魂行動

Body Archive: Contemporary Reenactments in Asian Cities II Operation Wondering Souls

Performance Lecture: UNPACKED No. 1: Love 14/9

泰國宮廷孔劇男孩的青春年代

對談 DIALOGUES

對談 I. 表演性檔案：當下的身體

Dialogue I. Performance as Archive: The Living Body

講者 Speakers

Melati SURYODARMO

行為藝術家 Performance Artist (印尼 Indonesia)

Xavier LE ROY

舞蹈藝術家 Dance Artist (法國 France)

13/9 [ 三

對談 III. 考古身體與另類媒體：

香港與韓國的六十年代與

七十年代實驗影像之批判史學

Dialogue III. Archaeological Body and Alternative Media: Critical Historiography of Hong Kong and Korea Experimental Moving Image in the 1960s and 1970s

主持人 Moderator Özge ERSOY 亞洲藝術文獻庫資深策展人 Senior Curator, Asia Art Archive (香港 Hong Kong)

對談 II. 舞蹈檔案的生成與創造

Dialogue II. Preserving Movement

講者 Speakers

主持人 Moderator

伍宇烈 Yuri NG

城市當代舞蹈團藝術總監

CCDC Artistic Director (香港 Hong Kong)

丘智華 CHIU Chih-hua

視覺藝術家 Visual Artist (台灣 Taiwan)

葉奕蕾 Elysa WENDI 「跳格」策展人

Curator, Jumping Frames (香港 Hong Kong)

蔡倩怡 Emilie CHOI Sin-yi

研究學者 Researcher (香港 Hong Kong)

講者 Speakers CHO Inhan 「首爾實驗電影節」藝術家及

節目策劃 Artist & Film Programmer, EXiS (韓國 Korea)

主持人 Moderator

葉奕蕾 Elysa WENDI 「跳格」策展人 Curator, Jumping Frames (香港 Hong Kong)

延伸對談 —「檔案衝動」的姿態： 存在、虛擬與重演

Extended Dialogue - Gestures of Archival Impulse: Presence, Virtuality, and Reenactment

講者 Speakers

主持人 Moderator

沈軍 SHEN Jun

研究學者 Researcher

(香港 Hong Kong)

李繼忠 LEE Kai-chung

藝術家 Artist (香港 Hong Kong)

董言 DONG Yan

劇場構作

Dramaturg (香港 Hong Kong)

11.9 MON 10:00am 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

12.9 TUE 6:00pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

7:30pm 香港逸東酒店 4 樓藝廊 Tomorrow Maybe, 4/F Eaton HK

9:30pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

「 你哥影視社」電影工作坊： 揍，或被空氣揍！ Your Bros Filmmaking Workshop: Beat it or be beaten by air!

開幕電影《情感即真實》 Opening film Feelings Are Facts*

擴展的空間：《拆開 1 ：愛》 Expanded Space: UNPACKED No.1 Love*

身體檔案：亞洲城市的當代重演 I 表演日常 Body Archive: Contemporary Reenactments in Asian Cities I Mundane Truth*

日期

14.9 THU 5:00pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

對談 III. 考古身體與另類媒體：香港與韓國的六十年 代與七十年代實驗影像之批判史學

Dialogue III. Archaeological Body and Alternative Media: Critical Historiography of Hong Kong and Korea Experimental Moving Image in the 1960s and 1970s

p.73

7:00pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK 《沙界：歷史的故事》 Sandlines p.14

8:30pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

身體檔案：亞洲城市的當代重演 II 遊魂行動 Body Archive: Contemporary Reenactments in Asian Cities II Operation Wandering Souls

p.57

15.9 FRI 2:00pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK 「 你哥影視社」公眾講座：影像背後 It�s Your Bros! Behind-the-Scenes Public Talk p.37

13.9

WED 11:00am 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK 對談 I. 表演性檔案：當下的身體 Dialogue I: Performance as Archive: The Living Body p.72

1:00pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

世界光譜：國際藝術影院觀摩 I

Spectrums: International Art House Showcase I

格拉茲 Dance On Screen 電影節 Dance On Screen FilmFestival Graz

p.40

2:30pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

4:00pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

世界光譜：國際藝術影院觀摩 II

Spectrums: International Art House Showcase II

The International Festival of Films on Art (Le FIFA)

世界光譜：國際藝術影院觀摩 III

Spectrums: International Art House Showcase III

Cinedans 舞蹈影像節 Cinedans*

p.42

p.44

6:00pm 香港逸東酒店 4 樓 Terrible Baby Terrible Baby, 4/F Eaton HK

7:30pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

對談 II. 舞蹈檔案的生成與創造

Dialogue II. Preserving Movement

擴展的空間：《情境的其他產物 (2009) 》

Expanded Space: Product of Other Circumstances (2009) *

p.72

Opening film Feelings

Are Facts

p.68

14.9

THU 11:00am 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

1:00pm

世界光譜：國際藝術影院觀摩 IV

Spectrums: International Art House Showcase IV

南方影展 South Taiwan Film Festival*

p.46

香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

世界光譜：國際藝術影院觀摩 V

Spectrums: International Art House Showcase V

影像論壇電影節 Image Forum Festival*

p.48

3:00pm 香港逸東酒店 1 樓 Kino Kino, 1/F Eaton HK

世界光譜：國際藝術影院觀摩 VI

Spectrums: International Art House Showcase VI

首爾實驗電影節

Experimental Film and Video Festival in Seoul (EXiS) *

p.50

LIVE LIKE 舉辦別具特色的活動

a Movie

Located in the heart of Kowloon, Eaton HK's Kino is a 50-seat theatre and lounge for lm enthusiasts.

位於九龍區黃金地段，香港逸東酒店設有50座位的放映廳，

為電影愛好者提供聚會的地方。

• AV support including 4K digital cinema projection system

配備�K數碼電影投影系統

• Perfect venue for o icial screening, panel discussion, presentations, cocktail party etc...

可用作電影首映、私人戲院、研討會、

• Catering service available 附有餐飲服務

門票 TICKETING 團隊成員 OUR TEAM

門票由 1.8.2023 起公開發售 Tickets are available from 1.8.2023

票價 Ticket Prices

於 K11 Art House 及香港逸東酒店 Kino 放映之節目

Screenings at K11 Art House and Kino, Eaton HK

「你哥影視社」電影工作坊及公眾講座

Your Bros Filmmaking group's workshop & Public Talk

「你哥影視社」公眾講座

It�s Your Bros! Behind-the-Scenes Public Talk

擴展的空間：講座式展演

Expanded Space: Performances

套票 Packages

$ 110

$ 550

$ 110

只限套票形式發售 Package Only

RE(PLAY)1 $500

RE(PLAY)2

1. 擴展的空間：《拆開 1：愛》Expanded Space: UNPACKED No. 1: Love

2. 身體檔案：亞洲城市的當代重演 II 遊魂行動 Body Archive: Contemporary Reenactments in Asian Cities II Operation Wondering Souls

3.《泰國宮廷孔劇男孩的青春年代》Khon Boys

4.《暮年少女》Trixie

1. 擴展的空間：《情境的其他產物（2009 年）》Expanded Space: Product of Other Circumstances (2009)

2.《沙界：歷史的故事》Sandlines

3.《五道電影難題》The Five Obstructions

門票優惠 Discounts

於 K11 Art House 及香港逸東酒店 Kino 放映之節目

Screenings at K11 Art House and Kino, Eaton HK

HK$ 85

全日制學生、60 歲或以上長者、殘疾人士及看護人及綜合社會保障援助

受惠人折扣優惠

For full-time students, senior citizens aged 60 or above, people with disabilities and the minder and Comprehensive Social Security Assistance recipients (CSSA)

九折優惠 10% Discount

CCDC「舞蹈靈」持卡人

Holders of CCDC Dance Inspirations Card

MCL MAX 會員 #

MCL MAX Members

*# Eaton House Members

「世界光譜：國際藝術影院觀摩」

$500 / 6 場 sessions

同時購買 6 場不同節目的門票可享套票優惠

Buying tickets of 6 sessions could enjoy package discount

購票途徑 Ticketing Channels

網上購票 Online

購票條款 Terms and Conditions

$500

凡享用 CCDC「舞蹈靈」、Eaton House 會員、香港電影節電影會會員、全日制學 生、 60 歲以上長者、殘疾人士及看護人及綜合社會保障援助受惠人折扣優惠，

若透過 K11 Art House 票房購票時，須出示有效之證明文件。 優惠票持有人入場時必須出示可以證明身份或年齡的有效證件，敬請合作。院方 有權拒絕沒有相關證件之人士入場，並不會作出退票或任何賠償。

優惠不能同時使用。

所有門票均受 MCL 院線、 Art-mate 的銷售條款所約束，詳情請瀏覽 MCL � Art-mate �� 如有任何爭議，主辦單位保留最終決定權。

Discounts for CCDC Dance Inspirations Card, Eaton House membership and HKIFF CineClub are valid for purchases of regular priced tickets at the box office of K11 Art House upon presentation of a valid membership card.

Audience with full-time students, senior citizens aged 60 or above, people with disabilities and the minder and Comprehensive Social Security Assistance recipients (CSSA) ticket, must present valid identity card to our staff at the entrance of auditorium; otherwise the organiser has the right to refuse admission of the audience without any compensations.

The listed discount offers cannot be used in conjunction with each other.

All tickets are subject to the Purchase Policy of MCL Cinemas & Art-mate. Please refer to the website of MCL cinema & Art-mate. Any disputes are subject to the final decision of the organiser.

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Film Classification and Refund

��目小冊�付��,�����未�����刊�物品�理�事�����來�

��目���為�三�者,未滿十��的���士可�� K1 1 Art House ���或

CCDC �理��手�,�����佈�

At the time this programme brochure goes to print, some films have not been submitted to the Office for Film, Newspaper and Article Administration. In the event that a film/video is subsequently classified as Category III, refunds will be made to ticket holders under 18 years old at the box office of K11 Art House or by CCDC Office. Detail will be announced.

�目內�並不反�主����單�的�見

Programme content does not reflect the view of the presenter and partners

城�當代��團�留更���者� / 或修�已�布的�目內���利

CCDC reserves the rights to substitute artists and vary advertised programmes

www.ccdc.com.hk www.mclcinema.com

僅限 K11 Art House 節目

For programmes at K11 Art House

戲院票房 Cinema Box Office

九龍尖沙咀梳士巴利道 18 號 Victoria Dockside K11 MUSEA L4 樓層

Level 4, K11 MUSEA, Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui, Kowloon

* ��用� K11 Art House ��� CCDC �頁 Applicable only at K11 Art House Box Office and www.ccdc.com.hk # � CCDC �頁購��須使用�員專用�惠代碼 Members should use the exclusive discount code when purchasing from CCDC website

影展策劃

策展人

葉奕蕾

藝術顧問

伍宇烈

CCDC 藝術總監

聯合策展人(擴展的空間)

陳敬元

香港逸東酒店文化總監

客席策展人

Valentina MOAR

「格拉茲 Dance On Screen 電影節」藝術總監及創辧人

Andreina AVELEDO

「The International Festival of Films on Art」常年策展人

Andreas HANNES

「Cinedans 舞蹈影像節」藝術節目策劃

赤堀香菜

黃柏喬 「 南方影展」藝術總監

Inhan

Artistic Consultant

Yuri NG

Artistic Director, CCDC

Co-Curator (Expanded Space:Re(Play))

Joseph CHEN King-yuen

Director of Culture, Eaton HK

Guest Curators

Valentina MOAR

Artistic Director and Founder, Dance On Screen FilmFestival Graz

Andreina AVELEDO

Year-round Curator, The International Festival of Films on Art

Andreas HANNES

Artistic Programmer, Cinedans

Kana AKAHORI

Program Curator, Image Forum Festival

Joe HUANG

Artistic Director, South Taiwan Film Festival

Inhan CHO

Programmer, Experimental Film and Video Festival in Seoul

Festival Research Team

Emilie CHOI Sin-yi

DONG Yan

Alfonse CHIU

Curator Assistant

Kelly CHEUNG

Production

Festival Coordinators

Cathy LAU

Kevin CHEUNG

Rosaline CHOI

Marketing Coordinators

Stephanie MAK

Thalia WONG

Kathy LIN

Aretta WONG

Ticketing

David LOK

Phebe LEE

Graphic Designer

Peter Bird Studio

Festival Trailer Editor

CHU Siu-fung

Copywriter and Translator

Maria Wan

影展研究團隊 蔡倩怡 董言 邱上源 策展助理 張瑋怡 製作 影展統籌 劉秀群 張家榮 蔡倖培 宣傳統籌 麥素瑩 王德榆 林詠祺 黃曉珺 票務 駱俊朗 李愷欣 平面設計 田雀工房　 宣傳片製作 朱小豐 撰稿及翻譯 尹子欣 後期製作與影像數碼管理 喜鵲媒體 Curatorial

Post Production Management

Pica Pica Media

"Spectrums: International Art House Showcase"