Art Review 藝評 – Kingsley Ng’s ‘Twenty-Five Minutes Older’: An immersive, sensory tram experience 伍韶勁的《25分鐘之後》: 一次感性與深入的經驗

Kingsley Ng “25 minutes older” - Human Vibrations Facebook page.

Article contributed by Joana Schertenleib from Cultural Journalism Campus

When the black painted tram arrives visitors were already waiting. On the first floor instructions were given by two young women. Windows were covered with a dark brown film allowing light to shine in only through clear clippings of text. We have boarded the mobile artwork: Kingsley Ng’s Twenty-Five Minutes Older.

ABHK17, Misc, Twenty-Five Minutes Older, Kingsley Ng, PR20170321_JH__EH_1185
Jessica Hromas for Art Basel

Text on the windows explained the stories behind the different layers of this transmedia work. The first clear patch of text describes the work’s first layer; a sound installation we listened to later that was based on snippets out of author Lau Yee Cheung’s well-known novel Tête-bêche.

The second layer was the title itself, a reference to the 1978 Latvian black-and-white documentary by Herz Frank’s Ten Minutes Older, which was on the emotional journey of a group of children watching a 10-minute short film. The third layer dominated the entire upper level of the tram by using camera obscura, which turned the whole interior into a moving screen.

We climbed to the second floor and the mood became dreamlike. Windows were sealed on the upper floor, only two benches on the sides of the tram were illuminated. Splitting us into two groups, we decided which of the two audio lines to listen to before taking a seat. As soon as the headphones went on, the light dimmed and the journey began.

Kingsley Ng “25 minutes older” – Hong Kong Art Development Council

Music took us by the hand into the darkness and projections slowly appeared. Turned upside down through the camera obscura’s lens, the outside street scenes flickered on the inside walls. Using a simple visual setup, light entered the enclosed environment through an aperture and was cast, inverted, onto the inner surface. Lights appeared in the viewer’s mind like vague, forgotten memories coming through the shadows. Together with the soft rocking of the tram and the quietly spoken story fragments we were lulled.

Surprised when the lights suddenly came on again, as quickly as a dream disappeared, this sensory experience was over.

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文章由Joana Schterleib撰寫,Garde Magazine翻譯
特別鳴謝文化新聞學研習營協助

Kingsley Ng “25 minutes older” – Human Vibrations Facebook page.

當黑盒一般的電車到達站台的時候,乘客們已經在靜靜等候了。在電車下層,有兩位年輕的女士給予乘客們指引。窗戶都被深棕色的膠片遮住,光線只能透過膠片上的文字透進車廂。我們已經登上了一件流動藝術作品:伍韶勁的《25分鐘後》。

窗戶上的文字解釋了這跨媒體作品不同層次的故事。最表面一層的文字用以描述這作品:一個我們待會就欣賞得到、以朗讀香港著名文學家劉以鬯著名文學作品《對倒》片段為內容的聲音裝置;

第二層是一段充滿情緒的旅程:以赫茲•法蘭克在1978年拍攝的拉脫維亞黑白紀錄片《10分鐘後》為本的內容,看著一群小孩觀看一段10分鐘的短片;

第三層則是使用了電車上層全部空間佈置為暗箱式房間,搖身一變為一個流動式的屏幕。

Kingsley Ng “25 minutes older” – Human Vibrations Facebook page.

當我們爬到電車上層時,整個氛圍變得如夢似幻了。窗戶都封上了,只有兩邊的兩張排木椅被照亮。我們先分開為兩組人馬,然後決定聆聽哪一段錄音後就坐下了。在我們戴上了耳機之後,燈光暗了下來,就這樣開始了我們的旅程。

音樂緩緩的在黑暗中引領著我們的路,投影從暗到明的輕輕浮現。由於暗箱設置的關係,外面街道的投影在牆上上下倒轉;燈光透過快門似的裝置調皮地射進這密室環境在平面顯現。如被遺忘並模糊的回憶一般,眼前的投射彷似霧影;而電車似搖籃的顛簸配合著故事的起伏讓我們更容易進入狀況。

當光線再次盈滿空間的時候,我們被拉回去現實:夢已經完結,這多層的觀感體驗也已終了。

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