20100214

2013.5.1筆記

Patty Chang
America born 1971

Since her sensational appearance on the New York art scene in the late 1990s with performance art and performance-based video works, Patty Chang has continually explored the limits of our physical and psychological comfort zone. In this video, Melon (At a Loss), facing the camera head on, Chang narrates a story of a special porcelain plate made in honor of her aunt who had died. But the storytelling becomes less an act of remembering her dead relative and increasingly irrelevant in the course of the video. Using a cantaloupe as a prop that is shaped like one of her own breasts, Chang performs a bizarre mutilation as she slices and eats the fruit in a self-cannibalistic act. Standing with a ceramic plate placed on top of her head, the artist personifies the precarious balance between mind and body.

Patty Chang was born in San Leandro, California, in 1972. Originally trained in painting,
she is now primarily known for videos and photography documenting her own performances. Using her body as a medium of expression, she employs satire to question contemporary gender issues and to lead viewers to reconsider the popular image of China in the West and in Asia. She currently lives and works in Brooklyn, New York. Her latest solo exhibitions include “The Product of Love,” Mary Boone Gallery, New York (2009); and “Die Ware Liebe,” Arratia, Beer, Berlin, Germany (2009); recent group exhibitions include “Chewing Color: Patty Chang, Kate Gilmore, Marilyn Minter,” MTV HD Screen, Times Square, New York (2009); “The F Word,” The Western Front, Vancouver, Canada (2008); “You Are My Mirror 1 (Je T’aime Moi Non Plus),” FRAC Lorraine, Metz, France (2008).

Untitled (Eels) 1999
video (color，sound），16 min

一開始的畫面就是坐著一個把襯衫塞進黑色裙子裡的女孩。襯衫似乎濕濕的。鏡頭一直維持在同一個位置。這女生動的非常詭異。腳一直動，時不時的露出白色內褲。一開始讓我聯想到她是不是在自我滿足。表情似乎想引誘些什麼，但有詭異的不知道是在幹嘛。
接著她的臉，開始驚恐，身體裡一直有個東西會突然的快速扭動。不知道是什麼，她突然會突出，這女生感覺是害怕。手也會摸自己的身體，但不知是否真的碰觸到，還是碰到那個怪怪扭動物。感覺像鰻魚。現在想起來實在不舒服的噁心，尾聲時她似乎有笑，摸不著頭緒的情緒。我一直看到最後，想說她到底如何結尾，結果就這樣一直到結束。
一個另我好奇的身體，她在幹嘛?有點顯得私密的窺探。滿害怕的



Lynda Benglis
America born 1941

Since more than 30 years, Lynda Benglis (born in 1941 in Lake Charles, Louisiana, lives and works in New York), one of America's most important artists, a leader of Post Minimalism along with Richard Serra, Eva Hesse and Bruce Nauman, explores in her work a wide range of techniques and mediums, from wax abstract painting, to latex, polyurethane or metal sculpture, through video and performance footage.
This formal diversity expresses a complex and radical thinking about body, gender identity, representation of women and male dominance, beyond her feminist icon status since a series of sulphurous advertisements published with Robert Morris in the 1970s, including the famous and controversial ad inArtforum featuring her aggressively posed with a giant dildo and wearing only a pair of sunglasses.

Now 1973

video (color，sound），12 min

這個影片我沒看完，畫面一開始是一個女，她好像是要跟她身後那顆影像對話，"recording"一直重複.
她的嘴巴剛好對到那個影像的嘴巴，開開合合。她伸出舌頭，與那影像進進出出，似乎交疊，但卻不同，不是複製。
我感覺挺有趣的。顏色畫面有水水的流動感。

Sanja Ivekovic

Croatian born 1949

Born 1949 in Zagreb, Croatia

Sanja Iveković's art production has spanned a range of media such as photography, performance, video, installations and actions in the public domain since the 1970s. She belongs to the artistic generation which emerged after '68 and was raised in Socialist Federal Republic of Yugoslavia whose post-object art was usually covered by the umbrella term New Art Practice. Ivekovic’s work is marked by the critical discourse with the politics of images and body. The analysis of identity constructions in media as well as political engagement, solidarity and activism belong to her artistic strategies.

In the Yugoslav/Croatian art scene she was the first woman artist to express a clearly feminist attitude. In 1973 she started to work with video. In the late eighties she was a founder and a member of a number of women's non-guvernment organizations in Croatia such as Elektra- Women's Art Centre, The Centre for Women's Studies, B.a.B.e – the women's human rights group . Her work from the 1990s deals with the collapse of socialist regimes and the consequences of the triumph of capitalism and the market economy over living conditions, partucularly of 

women.

http://www.digitalartlab.org.il/ArchiveArtistPage.asp?id=53（作品）

Personal Cuts 1982

video (color，sound），4 min

一開始背景都是黑色的，有位女人坐在鏡頭前方，頭戴絲襪，隱隱約約可以看到眼睛，五官不是很清晰。她每剪一個洞，剪刀以及絲襪破掉的聲音，非常清楚響亮。在每個剪破的動作，畫面迅速的切換到一些黑白的看似歷史場景。直到這女人露出全部的臉。

Ken Jacobs

As one of the founding fathers of American experimental cinema, Ken Jacobs’s impact cannot be overstated. He is a pioneer who, after more than 50 years as a filmmaker, remains as innovative and productive as ever. Correction: at 80 years old he’s moreproductive than ever, having enthusiastically embraced digital filmmaking. Enormously influential as both a teacher and a font of radical filmmaking ideas, he has prepared several generations of teachers, writers, filmmakers, and discerning audience members to actively engage, with an equal amount of open-minded awe and healthy skepticism, with a media-saturated world. A frequent guest at the Museum—and the subject of a 1996 MoMA retrospective—Jacobs continues to surprise us with amazing inventions that mine the unlimited possibilities of creating with light and moving images. For this installment of MoMA’s Carte Blanche screening series, Jacobs presents films from MoMA’s collection that have influenced and inspired him, alongside selections of his own work—film prints, electronic media pieces, Nervous Magic Lantern performances—that represent key moments in his artistic life. The series also includes the world premiere of Jacobs’s four-part Joys of Waiting for the Broadway Bus cycle of digital works.

today I see

• Entr’acte

  1924. France. Directed by René Clair. “My first avant-garde film, the eye-opener that decided everything. Then MoMA played À nous la liberté just to make sure. It made perfect sense, and so another Lefty emerged on Rockefeller property.” 22 min.

• Joys Of Waiting for the Broadway Bus 1

  2013. USA. Directed by Ken Jacobs. With technical assistance by Nisi Jacobs. Part one of four. “Joys…began on the corner of Broadway and Spring but it was the next night waiting on Bleecker that it was understood a movie of sorts was underway, depicting a general waiting for the bus rather than one specific evening. Since acquiring a small 3-D camera I dawdle everywhere but prolonged bus-waits allow for a continuity of images, thus a movie. Computer-editing with Nisi Jacobs allowed further investigation, this time into digital 3-D itself.” In 3-D. 40 min.

 Entr’acte

 人好慢好慢的跑，飛起來掉下去。很荒謬，消失，動作十分的不尋常，但吸引我。

• Joys Of Waiting for the Broadway Bus 1

  
  
  3D的畫面，她一個畫面裡，又出現另一個3D方塊，那空間十分有趣，這點大概是整片最打到我的地方。畫面都是晃動的雖然停格，但照片中的人可看出他們在移動時被記錄下來。背景的燈都成線。