THE SCM ANNUAL 2014

創意媒體學院年度展

EXHIBITION PERIOD | 展期 14 | 07 ﹣ 31 | 07 | 2014
1100 - 1900    MON - FRI
1000 - 2000    SAT - SUN
VENUE | 場地 RUN RUN SHAW CREATIVE MEDIA CENTRE,
18 TAT HONG AVENUE,
KOWLOON TONG, HONG KONG
九龍塘達康路 18 號 邵逸夫創意媒體中心

ABOUT

關於展覽

<Glitch> is a night-blooming muse - a sudden malfunction that diminishes under an automatic correction of a perfect system, nearly impossible to troubleshoot. Hardly does it survive in the conventional, but blossoms as a defect. Experimentalists are those who no longer feel satisfied with the conventional. They hack into the normal to create abnormalities, and set the stage for the faulty and bring up the mighty. Beneath the imperfection, perfection they discovered. Participating graduates in SCM Annual 2014 includes: Bachelor of Arts (Honours) in Creative Media (BACM) - Animation Arts and Digital Imaging (AADI), Cinematic Arts (CA), Critical Intermedia Art (CIA), Bachelor of Arts (Honours) in Digital Media Broadcasting (BADMB).

<疵裂 Glitch>是於無瑕系統中瞬刻產生的故障,在自我修正的編碼中,它難以計算或糾正,霎眼間消失無蹤。疵裂不活於常規,卻如曇花綻現。這群實驗者感到怠悶,不甘安分於尋常中。透過蘊發裂縫間的可能,他們帶來嶄新的光芒,使其反常道而行,利用不完美演繹其美學。 「創意媒體學院年度展2014」將展出應屆畢業生試驗和創作中的成果,呈現裝置、電影、錄像、動畫、攝影、聲音等作品內的可能性,與觀眾進行感官互動。參展畢業生包括:創意媒體(榮譽)文學士(動畫與數碼影像、電影藝術、批判性跨媒體藝術)、數碼媒體廣播(榮譽)文學士。

GRAND OPENING

開幕禮

18 | 07 | 2014
1830

Shuttle bus from University Circle to Creative Media Centre will operate at a 15-minute interval that day.

開幕當晚設有免費接駁巴士服務,接載公眾從香港城市大學本部校園到達邵逸夫創意媒體中心。
服務時間為下午五時到七時三十分,每十五分鐘一班。候車站設於胡法光運動中心入口對出的迴旋處(大學廣場)。

1700  |  1715   |    1730   |  1745  |  1800  |   1815   |   1830   |   1845   |   1900   |   1915   |   1930

【 惡劣天氣安排 Adverse Weather Arrangement for Opening Reception 】

If black rainstorm warning or typhoon signal pre-No. 8 or above is issued at 2pm or before, the opening reception will be postponed to Monday, 21st July at the same time and same venue.

開幕禮當天(七月十八日)若香港天文台於下午二時或以前發出八號颱風信號預警、八號或以上颱風信號或黑色暴雨警告信號,或以上信號仍然生效,開幕禮將會延期至七月二十一日(星期一)同一時間、地點舉行,敬請留意。

TRAILER

預告

PREFACE

前言


Prof. JEFFREY Shaw
Dean and Chair Professor of Media Art
School of Creative Media, City University of Hong Kong

The practices of creative media are skill sets that one learns through instruction and self-discovery. There is a knowledge base and pool of achievement that sets the stage for whatever one sets out to do. And every person that aspires to being creative also searches for an originality that, in one aspect or another, will be an expression (and evidence) of that person’s sense of being one self. One can wonder where this difference comes from, and see each difference as a ‘glitch’ in the stereotype. Of course the stereotype is an absentconstruct because its every expression is a difference, and its that difference that we celebrate as a community of humans beings, enjoying the ‘glitchiness’ of others as a reflection and refraction of our own.

The SCM Annual is an annual efflorescence of creative energies that constitutes this delicate web of difference that is our community here at SCM. It’s an annual high light that brightens the horizon of our mutual enterprise:the mutuality of teacher and student and of person amongst people taking inspiration and sustenance from each other’s singularity. When we ‘go public’ in this way, whatever we thought to say assumes a shape outside ourselves and becomes a disturbance in the fabric of received knowledge. So this particular SCM Annual shapes and extols a timely lesson well learnt: that the glitch is the difference worth creating a disturbance for.


Prof. JEFFREY Shaw
Dean and Chair Professor of Media Art
School of Creative Media,City University of Hong Kong

The practices of creative media are skill sets that one learns through instruction and self-discovery. There is a knowledge base and pool of achievement that sets the stage for whatever one sets out to do. And every person that aspires to being creative also searches for an originality that, in one aspect or another, will be an expression (and evidence) of that person’s sense of being one self. One can wonder where this difference comes from, and see each difference as a ‘glitch’ in the stereotype. Of course the stereotype is an absentconstruct because its every expression is a difference, and its that difference that we celebrate as a community of humans beings, enjoying the ‘glitchiness’ of others as a reflection and refraction of our own.

The SCM Annual is an annual efflorescence of creative energies that constitutes this delicate web of difference that is our community here at SCM. It’s an annual high light that brightens the horizon of our mutual enterprise:the mutuality of teacher and student and of person amongst people taking inspiration and sustenance from each other’s singularity. When we ‘go public’ in this way, whatever we thought to say assumes a shape outside ourselves and becomes a disturbance in the fabric of received knowledge. So this particular SCM Annual shapes and extols a timely lesson well learnt: that the glitch is the difference worth creating a disturbance for.


Mr. LEUNG, Chi Wo Warren
Assistant Professor
School of Creative Media,City University of Hong Kong

I don’t want to repeat myself.
I wrote for the SCM Annual catalogue last year.
I do repeat myself sometimes. There is always something important that needs to be addressed again.

Recently I went to an interesting talk by Michael Craig-Martin who spoke about his artistic journey in the last 40 years. Having been a teacher, he found difficult to convince someone to be an artist. Actually nobody should be asked to an artist. Only those who want to be an artist will try themselves. It is not the teacher’s responsibility to make someone as artist. As a teacher, I try to demonstrate ways to make art and discuss with my fellow students about the significance of doing so. However it is all up to the students if they will become an artist.

You do not have to be an artist to make art but artists do make art and good artists make interesting and inspiring art. However, art is not limited to work that we see in exhibition or any conventional artistic context. In a broad sense, everything nowadays can be approached artistically and in all those activities that one engages her or himself creatively could be regarded as a piece of art (some like to call it performance.) Recently it was well circulated in the social media that a decorator in Indiana of the US has been painting continuously his baseball every day since 1977. More than 22 thousand coats have been painted and the ball has grown up to over 55 cm in diameter. We are not sure if he is conscious about making this as art but this unusual obsession has prompted out to me a sense that is very close to art making which is based on the urge of expression by means of mundane and repetitious activities in order for some sorts of transcendence. Another good example in spite of its controversy in our local art world is King of Kowloon who had been claiming his kingdom by means of graffiti for many years in Hong Kong.

Maybe persistence is an artistic quality beyond the perceptual level. Practice can be very labour intensive, almost like a craft. However, that can be a joyful experience besides the pain usually associated. We can sense kind of beauty of it but after all, we know it is less the visual outcome than the process itself (although many people appreciate the beautiful calligraphy by the King of Kowloon and they call it art certainly.) What is interesting to me lies not on the declaration of it as art but its potential to encourage alternative perception to issues that we may be so used to. Thus it is almost like an artistic strategy that can be adopted and practised.

I am looking forward to seeing our graduates’ persistence, which might not be noticed yet in this exhibition. But after sometime, hopefully they will find something that they can really continue for years for some self-discovered values. Besides its own nature, it may count on how they view themselves engaged in it beautifully. By then, they make themselves artists already.


DR. YOUNG, KAR FAI SAMSON
ASSISTANT PROFESSOR
CRITICAL INTERMEDIA ART STREAM LEADER
SCHOOL OF CREATIVE MEDIA, CITY UNIVERSITY OF HONG KONG

2014 is my fifth year as a faculty at SCM, but my connection with the school goes much further back in time. Two of my earliest artistic collaborators – and perhaps the most important artistic influences of my formative years – were both proud graduates of SCM. The first artist collective that I was a part of, the now-defunct Emergencylab, consisted of poet and writer Ron Lam (BACM 2002), video artist and interactive designer Christopher Lau (MFACM 2003), and myself. The three of us shared a studio at the Footak Building in Wanchai. At the time I was what you might call a “straight-down-the-center” composer. It took me some effort to undo the narrow worldview that my specialist training had bestowed upon me. While back then I defined myself mostly as a “composer” and operated within its accepted social limits, Ron and Chris had considerable trouble defining themselves as specific types of artists and moved between artistic roles. They blew my mind open with wild ideas that knew no disciplinary boundaries: bits of cut-up tabloid magazines that doubled as notations for sound poetry; a “digital banquet” that involved the “feasting” of short films that featured various Chinese delicacies; virtual altars that accepted prayers in the form of SMS messages, which were then rendered into animations. I was deeply envious of their lack of inhibitions, and I wondered what sort of training could have granted them the liberty to swim between multiple modes of self-expression with such ease. I recently came to the realization that fluidity and openness of the mind had little to do with one’s training, upbringing, or any other external circumstances. It stems from a deep conviction from within that one always has a choice. The moment you succumb to pessimistic determinism and cease to see the world around you as genuinely open to change, that is when you stop crossing boundaries, and begin to only operate within the limits of what is considered to be acceptable by the system. This pessimism is also the beginning of all forms of cynicism and inertia. The people of Hong Kong are living in a time of unprecedented political turmoil. Today, the conviction that we as individuals have genuine choices is constantly under assault. These assaults come from systems and institutions, corporations, bureaucracies, suppressive regimes, conservative politicians, to name just a few sources. As such, we must constantly reaffirm and reinvigorate our belief in the possibility of genuine change for the better – and I believe this is precisely where artists have a fundamentally important role to play. You might have entered our program envisioning yourself in one specific societal role, but if the education at SCM had achieved what it is supposed to, you should have the confidence that at this critical juncture all options are still genuinely available to you. This freedom of the mind is indeed a privilege, and you must sense its arbitrary aspect, but the choice remains yours. Political activist, urban farmer, theatre director, entrepreneur, inventor and patent owner, exhibiting artist, award-winning director and animator – these are just a few of the adventures that some from the graduating class have already embarked upon. The evening before our legislative council brutally sealed the fate of the North East New Territories Development Areas, I saw a few of you preparing colorful banners and beautiful signs of protest at the butcher's table. Indeed, SCM students have a long and distinguished tradition of participation in political activism, direct action, and other forms of social engagement. Ron, Chris, and the open mindedness of many past and current SCM students continue to reinvigorate and inspire me. Even if you have chosen to stay away from the picketing line, when time is tough, I hope that you will be relentless. Even when battles are lost, I hope that you will continue to choose the life of a builder, and never one of a cynic.


Leung Wing YEE Liberty
PROJECT MANAGER
SCM ANNUAL 2014 COMMITTEE

Be honest to the art we make and embrace the imperfection in ourselves. Feel no disgrace, no shame, and no resentment but pleasure in our blemishes. Weaknesses shape our playground, while we accept what holds us back and use it rationally, turning from defiance to an embodiment of the quality. It is not about overcoming a symptom, but turning it into a flair. In this way, we are free.

WORK PREVIEW

作品預覽

C03_1 copy
C01_1 copy copy
C02
DMB_1
CA14_1
CA15_1 copy
CA13_1
CA12_1
CA11_1 copy
CA10_1
CA09_1 copy
CA08_1
CA07_1
CA06_2
CA05_1 copy
CA04_1
CA03_1
CA02_1
CA01_1 copy copy
P12_1
P13_2 (1)
P11
P02
P09_1
P10
P08_1
P07
P06_1
P05 copy
P04_1 copy
P03 copy
P01_1updated copy
P00 copy
A23_1
A22_1
A21_1
A20_1
A18_1
A17_1
A16_1
A15_1
A14_1
A13_1 copy
A12_1
A11_1
A10_1
A09_1
A08_1
A07_1
A06_1
A05_1 copy
A04_1
A03_1
A02_1 copy
A01_1

SCREENING

放映時間

14/7 [MON]

TITLE DIRECTOR DURATION (MIN) TIME
唐亦枝 Miss Tong 楊子程 Yeung Tsz Ching 30 1300
Let The Sorrow Flow 郭漫儀 Kwok Man Yee 35 1330
空氣蛹 Invisible Visible 袁恬怡 Yuen Tim Yi 44 1405
六度相遇 Six Degrees of Separation 蘇俊禧 So Chun Hei 34 1449

15/7 [TUE]

噓,時光如海   許智生 Hui Chi Sang 50 1500
及早 By now 吳哲鋒 Ng Chit Fung 20 1550
小時光 Missing Days 林美兒 Lam Mei Yi 31 1610
有一種相對論 Scandant 葉麗芳 Yip Lai Fong 41 1700
Three as One 馮德權 Fung Tak Kuen 60 1741

16/7 [WED]

坪洲 Peng Chau 曾子健 Tsang Tsz Kin 30 1500
歸野犬 Dog Gone Wild 莫詠晶 Mok Wing Jing 35 1520
未命名 Untitled 劉仲瑋 Lau Chung Wai 35 1605

17/7 [THUR]

他從慈雲山到西貢買蘑菇批給他 The Gift 楊柏匡 Yeung Pak Hong 30 1500
今日星期幾 What day is today 楊凱婷 Yeung Hoi Ting 20 1530
宇田 Indifferent Room 潘家儀 Poon Ka Yee 40 1550
走過那一段路途 The way gone through 翁杏媚 Yung Hang Mei 45 1630

18/7 [FRI]

TITLE DIRECTOR DURATION (MIN) TIME
及早 By now 吳哲鋒 Ng Chit Fung 20 1000
坪洲 Peng Chau 曾子健 Tsang Tsz Kin 30 1020
小時光 missing days 林美兒 Lam Mei Yi 31 1050
宇田 Indifferent Room 潘家儀 Poon Ka Yee 40 1121
Three as One 馮德權 Fung Tak Kuen 60 1201
有一種相對論 Scandant 葉麗芳 Yip Lai Fong 41 1430
歸野犬 Dog Gone Wild 莫詠晶 Mok Wing Jing 35 1511
六度相遇 Six Degrees of Separation 蘇俊禧 So Chun Hei 34 1546
他從慈雲山到西貢買蘑菇批給他 The Gift 楊柏匡 Yeung Pak Hong 30 1620
Let The Sorrow Flow   郭漫儀 Kwok Man Yee 35 1650
今日星期幾 What day is today 楊凱婷 Yeung Hoi Ting 20 1725
噓,時光如海   許智生 Hui Chi Sang 50 1945
唐亦枝 Miss Tong 楊子程 Yeung Tsz Ching 30 2035
空氣蛹 Invisible Visible 袁恬怡 Yuen Tim Yi 44 2105
未命名 Untitled 劉仲瑋 Lau Chung Wai 35 2149
走過那一段路途 The way gone through 翁杏媚 Yung Hang Mei 45 2224

19/7 [SAT]

TITLE DIRECTOR DURATION (MIN) TIME
空氣蛹 Invisible Visible 袁恬怡 Yuen Tim Yi 44 1000
歸野犬 Dog Gone Wild 莫詠晶 Mok Wing Jing 35 1044
噓,時光如海   許智生 Hui Chi Sang 50 1119
唐亦枝 Miss Tong 楊子程 Yeung Tsz Ching 30 1209
今日星期幾 What day is today 楊凱婷 Yeung Hoi Ting 20 1239
走過那一段路途 The way gone through 翁杏媚 Yung Hang Mei 45 1430
未命名 Untitled 劉仲瑋 Lau Chung Wai 35 1515
坪洲 Peng Chau 曾子健 Tsang Tsz Kin 30 1550
Three as One 馮德權 Fung Tak Kuen 60 1620
他從慈雲山到西貢買蘑菇批給他 The Gift 楊柏匡 Yeung Pak Hong 30 1720
Let The Sorrow Flow   郭漫儀 Kwok Man Yee 35 1930
宇田 Indifferent Room 潘家儀 Poon Ka Yee 40 2005
及早 By now 吳哲鋒 Ng Chit Fung 20 2045
六度相遇 Six Degrees of Separation 蘇俊禧 So Chun Hei 34 2105
小時光 missing days 林美兒 Lam Mei Yi 31 2139
有一種相對論 Scandant 葉麗芳 Yip Lai Fong 41 2210

20/7 [SUN]

TITLE DIRECTOR DURATION (MIN) TIME
未命名 Untitled 劉仲瑋 Lau Chung Wai 35 1000
唐亦枝 Miss Tong 楊子程 Yeung Tsz Ching 30 1035
Let The Sorrow Flow   郭漫儀 Kwok Man Yee 35 1105
六度相遇 Six Degrees of Separation 蘇俊禧 So Chun Hei 34 1140
走過那一段路途 The way gone through 翁杏媚 Yung Hang Mei 45 1214
空氣蛹 Invisible Visible 袁恬怡 Yuen Tim Yi 44 1430
小時光 missing days 林美兒 Lam Mei Yi 31 1514
噓,時光如海   許智生 Hui Chi Sang 50 1545
宇田 Indifferent Room 潘家儀 Poon Ka Yee 40 1635
及早 By now 吳哲鋒 Ng Chit Fung 20 1715
有一種相對論 Scandant 葉麗芳 Yip Lai Fong 41 1930
今日星期幾 What day is today 楊凱婷 Yeung Hoi Ting 20 2011
坪洲 Peng Chau 曾子健 Tsang Tsz Kin 30 2031
歸野犬 Dog Gone Wild 莫詠晶 Mok Wing Jing 35 2101
Three as One 馮德權 Fung Tak Kuen 60 2136
他從慈雲山到西貢買蘑菇批給他 The Gift 楊柏匡 Yeung Pak Hong 30 2236

Some of the above 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, announcement will be made on this website. The SCM Annual 2014 Committee would ask audience under 18 years old to leave before the screening of a Category III work is being shown. Programme content does not reflect the view of the presenter.

以上部分影片仍未經電影、報刊及物品管理辦事處檢查。
將來如有影片被檢定為第三級,主辦機構將會於本網站上更新,並於放映前提供更新資訊,要求未滿十八歲人士離場。
節目內容並不反映主辦機構的意見。

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