Screening 放映節目 / Illuminati 光影同流者 Curator 策劃: Ip Yuk Yiu 葉旭耀 (Hong Kong 香港) Date, Time and Venue 日期、時間及地點: 14.11.2007; 21:00 - 22:20 (Cinema, Hong Kong Film Archive 香港電影資料館 電影院 map) Conducted in Mandarin 國語主講 Ticket 票價 : $30 (Discounts) Tickets are available at URBTIX outlets from 5 November onwards 門票將於 11月5日 於城市電腦售票處發售 Telephone Reservation 電話留座: 2734 9009 Credit Card Telephone Booking 信用卡網上電話訂票: 2111 5999 Internet Booking 網上訂票 www.urbtix.hk Light and shadow has long been used as a pair of visual metaphor for moral and ontological edification: good VS evil; knowledge VS ignorance; truth VS falsity; reality VS illusion. The interplay of light and shadow is thus also a theater of power and knowledge. The writing of power with light (and shadow) has been an important feature of modern society as we relied increasingly on various forms of visual media to know (and control) the world. Instead of knowing the world directly, we are more and more inclined to know the world "through-images" and "as-images". That being said, I am not trying to invoke the "world-as-image" as a kind of simulacrum dystopia and appeal to un-mediated forms of knowing. Human communication and knowledge has always been mediated in one form or another. But what is interesting of the current condition is the ubiquity and hyper-mediation of new forms of technologized light/shadow that is found across different social sectors. From television to the pocketsize screens of mobile phones to the omnipresence of video surveillance cameras, it is not difficult to see that the modulation of light has become one of the most pervasive and efficient means to regulate human behavior. Against this backdrop, it is interesting to see how artists develop new strategies and content, and provide critical reflections of the problems of representations in this era of image-control. The series of works in Illuminati addresses these concerns through parallel trajectories: Jem Cohen's visual diary is at once an alarming portrait of the post 9-11 New York City and a lyrical meditation on image politics; on a similar vein, James T Hong's disturbing 731: Two versions of Hell critically questions the formation of our historical knowledge and problems of re-presentations. Liu Wei plays psychoanalysis with the "forgetful" Chinese collective unconscious in A day to remember. Likewise, Choi Sai-Ho's Star is also an inquiry of cultural amnesia beneath its fast-paced motion graphics. If Scott Stark's More than meets the eye is Jane Fonda redux, then Alexandra Crouwers's One short story is Snow White 2.0. The use of light as social inscription is surely not a new lesson. But the relevancy and urgency of this lesson to our current situation is that it serves as a pre-cautionary tale towards our growing obsession with (figures of) the luminous (e.g. neon signs, glowing screens, bright futures etc.). It is perhaps the right time for us to relearn the role and nature of shadow, light’s co-conspirator, in the often one-sided story. To reveal is always simultaneously to conceal. Allow me to repeat after the renowned Japanese writer Junichiro Tanizaki just once, "in praise of shadows". Title Artist Country Duration One short Story 一個小故事 Alexandra Crouwers 亞力山大．高華 Netherlands 4'00" NYC Weights and Measures 美國紐約市的重量與測量 Scott Stark 潔姆．柯漢 Born in Afghanistan, raised in New York 6'00" A Day to Remember 忘卻的一天 Liu Wei China 13'00" Star 星星 Choi Sai-Ho 蔡世豪 Hong Kong 7'00" More than meets the eye: remaking Jane Fonda 眼見之外: 再造珍芳達 Scott Stark 斯科特．斯塔克 USA 19'00" 731: 2 versions of Hell 731: 地獄的兩個版本 James T. Hong USA 23'00" Discounts 折扣優惠 Half-price tickets for senior citizens, people with disabilities, full-time students and Comprehensive Social Security Assistance (CSSA) recipients (Limited number of tickets for students and CSSA recipients available on a first-come-first-served basis) 10% discount for Friends of LCSD performing venues 高齡、殘疾人士、全日制學生及綜合社會保障援助受惠人士半價優惠 (全日制學生及綜合社會保障援助受惠人士優惠票先到先得，額滿即止) 康樂及文化事務署轄下各表演場地之友可獲九折優惠 < back