Both Sides Now II – It was the Best of Times, it was the Worst of Times? 彼岸觀自在II: 最好的時代，最壞的時代?

徐世琪畢業於加拿大多倫多大學科學系及安大略美術學院視覺藝術系。徐氏藉助現存的科學信仰系統，創作出引發人思考的作品，驅使觀眾探討自身存在、細味人類在時間與空間內留下的刻痕。她的生物畫作結合了科學化掃描的精準與美學所流露的神秘色彩，挑戰我們對生態及進化系統的看法。徐氏喜歡探索有關人體的想像與觀點，透過 “One-Woman-Apartment” (2008) 及 “The Hartford Girl and Other Stories” (2012)等以表演為主的作品，她努力不懈地探索藝術家在面對生命威脅或壓力時，個人在雙重身份之間的拉扯。徐世琪的作品曾在第二屆CAFAM雙年展，第17屆悉尼雙年展，Artists’ Film International 2014/2015，Rossi & Rossi及Saatchi Gallery展出。

This video was created in response to an artist interview conducted by curator

Johannes Hedinger for his project ‘Methods of Art’ (MoA), an international video

archive of artist interviews initiated in 2013 in Germany. The interview can be viewed

at http://methodsofart.net/artist.php?artist=su&base=

此錄像作品是爲對應瑞士策展人Johannes Hedinger與徐世琪的藝術家訪談而創

作。Hedinger的藝術家訪談計劃始於德國2013年，詳情請瀏覽

http://methodsofart.net/artist.php?artist=su&base=

His solo Photography Exhibition held in Canada at 2009 & 2013. He was selected as the finalist of the Hong Kong Contemporary Art Biennial Awards 2009 and finalist of the Hong Kong Art Prize 2013. He employs visual images to show his concerns on social development and leaves evidence to this ever changing city.

朱迅Birdy，影畫創作人，畢業於香港理工大學平面設計系，在加拿大進修電影、錄像製作及進階攝影，之後從事過攝影記者、導演及講師。

朱迅的創作多元化，短片於多個城市的電影節放影。

2009年於加拿大舉辦了個人攝影展 [十二 . 城記]，同年於香港浸會大學獲取藝術行政碩士，成立影畫家，推廣攝影及藝術教育，更憑錄像入選香港藝術雙年獎。2013年入選亞洲當代藝術獎。

朱迅 一直以攝影及錄像去關注社會發展，為消失中的風景留下見證。

Walking through the occupy zones, I’ve asked different persons about their views, their aspirations about the movement; what did they observed, encountered through these days. Clear demands from the interviewees with video footages showed us their strong beliefs and faiths are holding firmly.

我帶著相機，走過佔領街頭；接觸不同人仕，訪問他們的意見，對佔領運動的期望，經歷過些什麽…… 透過觀察、感受、交流，嘗試在香港這重要的時刻，見證雨傘運動的點點滴滴。

卓思潁是香港媒體藝術家。2012年獲得香港城市大學創意媒體學院榮譽文學士學位。創作媒介涉獵裝置、互動媒體、攝影和錄像。她專注以情感連結動力機械裝置，探究平凡物品或媒材之間相碰產生的對話和多重意涵。情感和質感同時揉合在她的作品裡。她愛探索電子，圖像及混合媒介，以觀察社會為主題，往往帶有諷刺和批評的態度。她首先由一個概念出發，然後開始做研究和實驗，從而創作和具體化地執行她的想法。最近積極探索聲音和物件之間的語境的可能性。

她的個人和合作作品曾於本地畫廊及海外藝術節展出，如ISEA國際電子藝術研討會(阿聯酋-杜拜)︒作品曾獲得「香港獨立短片及錄像比賽」特別表揚獎，並於林茲電子藝術中心和林茲電子藝術節（奧地利）展出︒隨後獲Burger COLLECTION和歐盟文化中心合作組織支持在該中心的未來電子藝術實驗室進行駐留計劃︒現為聲音掏腰包「藝術家支援計劃」2014-15 年度獲選支援藝術家︒

“Waiting for Another Round” is about the wheel, a symbol of the ruthless encroachment of urbanization. After the clearance of occupied sites, Cheuk patrolled the streets and documented the process of wheels devouring every inch of the remaining trace of the protest over 20 days. As the wheels roll on, different protest sites join together and fall apart endlessly.

以城市化的一個標誌產物－車輪，蠶食鯨吞為主題︒在運動清場后重返街頭二十多天，紀錄每個車輪完全遮蔽馬路上遺留下來的抗議痕跡︒利用車輪把佔領區重新連接，不斷地重組，然後再度分離︒

多媒體音樂人蔡世豪，2008年於城市大學創意媒體學院碩士畢業，首位代表香港參與澳洲墨爾本舉行的「Red Bull 音樂學院」的香港音樂人（2006），香港 Time Out 雜誌 The Best of Hong Kong Indie 2009 第一位，2011年CNNGO十大最佳香港音樂單位，並獲2012香港藝術發展獎：藝術新秀獎〔媒體藝術〕。演出包括：香港Clockenflap 2011音樂與藝術節、瑞士 Electron Festival 2012、德國 Worldtronics 2012、第42屆香港藝術節《形象香港：也斯詩作命題音樂會》（2014）等。展覽或作品放映包括：美國 Perform Media Festival 2006、巴西 VideoBrazil Festival 2007等。至今已舉行兩場個人多媒體音樂會《聲．影．演》（2010）及《星．音．演》（2013）。

(2014, 5m23s, Original footage : 720×576 dpi. Final output : 1920×1080 dpi. Color. )

Drawing inspiration from the sounds, instruments, style, texture, mixing and record back spinning of 1960s pop music (the likes of The Beatles, The Doors, The Velvet Underground), modern sampling methods (such as the remixing styles of Unkle, Amon Tobin and the composing styles of The Chemical Brothers) is used to re-present, synthesize and “musicify” the content of Ya Si’s poems. It also references the line from Bob Dylan’s 1960s classic Blowin’ In The Wind, “The answer is blowin’ in the wind”, to correspond to the line in Ya Si’s poem that pays tribute to the song. This is recited in a recording by singer-songwriter Jing Wong.

The Hong Kong historical footage of the 1960s is used to construct the visual.

Acknowledgement:

Historical footage provided by Public Records Office, Government Records Service, the Government of the Hong Kong Special Administrative Region

借鑒六十年代流行音樂（如披頭四、The Doors、The Velvet Underground 等）的聲音、樂器、質感、混音特色、倒播處理等，再嘗試以現今電子音樂拼貼方法〔如 Unkle、Amon Tobin 混音（remix）六十年代音樂，或如 The Chemical Brothers 等電音單位的歌曲創作手法般〕重新展現、組合，並「音樂化」也斯在詩中提到的內容，當中亦借用了卜戴倫在六十年代紅極一時的經典歌曲《Blowin’ In The Wind》的一句歌詞「The answer is blowin’ in the wind」回應和延伸也斯詩中的「答案啊，我的朋友是在風中飄動」，由同樣是唱作人的本地創作歌手黃靖錄音朗讀。

作品影像取用了香港六十年代片段建構而成。

鳴謝：

香港特別行政區政府香港政府檔案處歷史檔案館提供歷史檔案片段

於香港中文大學藝術系先後取得藝術學士(BA)及藝術碩士(MFA)。現任「伙炭」藝術村董事會主席。2012年以藝術家身份參選香港立法會「體育演藝文化及出版界」。近期展覽包括利物浦雙年展(Liverpool Biennial)、薩奇畫廊(Saatchi Gallery)等。曾獲獎項包括「香港藝術中心三十週年大獎」、「Sovereign亞洲藝術獎」等。

The Artist made 58 pieces of paintings from the movie Infernal Affairs. The 58 paintings were recorded in front of a television, which the movie was playing. A 3 minutes video was re-produced.

“The classics are books which exercise a particular influence, both when they imprint themselves on our imagination as unforgettable, and when they hide in the layers of memory disguised as the individual’s or the collective unconscious.” –Why Read the CLASSICS? Italo Calvino, 1981

作者以五十八張繪畫重現電影《無間道》，並在播放該電影的電視機前拍攝五十八張畫，製成三分鐘的影片。

「經典是具有特殊影響力的作品，一方面，它們會在我們的想像中留下痕跡，令人無法忘懷，另一方面，它們會藏在層層的記憶當中，偽裝為個體或集體的潛意識。」—《為甚麼讀經典》卡爾維諾，1981

DDED，由廣告創作人Albert Leung於2014年4月成立的網絡動畫團隊，以「偽8-bit」2D平面仿電視遊戲畫面的諷刺時弊動畫最為知名。

September 28th

Location: Admiralty

Anti-riot Citizens vs Brutal Police

Civilians Equipment: Umbrella, Surgical Mask, Plastic Wrap

Police Equipment: Pepper Spray, Tear Gas Grenade, Rubber Bullet, AR-15 Semi-Auto Rifle

The Battle: 87 tear gas grenades were used against the protesters in one night by police force, civilians including students were aimed and threatened by loaded shotguns.

Students responded by yelling “shame on you! shame on you! shame on you!”.

Result: Students did not back down, the protest became 「Umbrella Movement」.

That night, Hong Kong lost, but i see a victory of conscience.

9月28日

地點: 金鐘

防暴市民vs殘暴警察

市民裝備: 雨傘、口罩、保鮮紙

警察裝備: 胡椒噴霧、催淚彈、橡膠子彈、AR-15自動步槍

戰鬥過程: 警察一晚內向示威者發放87枚催淚彈, 並用雷明登散彈槍指嚇市民，以槍咀瞄準學生。

學生反擊: 高呼「可恥！可恥！可恥！」

結果: 學生沒有退下，更演變成「雨傘革命」。

那夜，香港輸了，但良知贏了

In 1986, Ms Pau co-founded Videotage, a media art collective in Hong Kong aiming at creating an umbrella organization for media artists, facilitating artistic and cultural exchange and promoting video and media art in Hong Kong. She is also the founding director cum curator of the Microwave International New Media Arts Festival.

Ms Pau works as an independent cinematographer, curator, art critic and researcher focusing on Asian new media arts. She also works as an art consultant for her newly founded company Inter-Act Arts. Her single channel videos and video installation works have been extensively exhibited worldwide in film festivals and art biennials. In 2001, ‘Recycling Cinema’ was selected and exhibited at the Hong Kong Pavilion in the 49th Venice Biennial.

鮑藹倫女士自學錄像藝術，其作品自1987年始見於小型放映會，並在世界各地展覽。自此，鮑女士致力投身錄像創作，對香港的錄像及媒體藝術發展有莫大貢獻。

鮑女士於1986年與友人合作創辦「錄映太奇」，以媒體藝術家作集結點，為媒體藝術家提供藝術創作和文化交流平台，促進錄像及媒體藝術在香港成長。 鮑女士亦是微波國際新媒體藝術節的創辦人及策展人。

鮑女士的藝術工作涉及電影、策展、藝術評論及研究亞洲新媒體藝術動向，她亦在其創辦的Inter-Act Arts中擔任藝術顧問一職。她的錄像作品及錄像裝置於世界多個電影節及藝術雙年展展出。在2001年，她以作品《循環影院》入選第49屆威尼斯雙年展，於香港館展出。

Produced one year after the June 4, 1989 incident, Diversion focuses on the immigration flush in Hong Kong. The Victoria Harbour swimming contest scenes of the 1960s by the Hong Kong Government are returned as absurd metaphors and black humor. No special editing equipment is used. The overlaying of images is not done electronically, but produced by recapturing the reflected image from the television screen. By combining footage from various sources- government newsreels of the swimming contests, educational videos on swimming performance video of the sequence of a burning newspaper goat-head floating down a stairwell- the video is a personal reflection of a collective memory.

《兩頭唔到岸》創作於1989年天安門事件翌年，以另類的眼光審視香港當時的移民潮。影片的素材取材自香港政府檔案處所從六十年代保存下來的維港渡海泳紀錄片段，與一系列藝術家所收集的影像。透過反覆播放的游泳、遁入水中或跌倒等動作，反映或放大城市的轉瞬即逝，以及那個歲月的集體記憶。

Jo Law 擅長於借用不同的媒介來表現她那建基於日常生活經驗的美學。她近來的視像作品有於紐約的 ISE 文化基金會（ISE Cultural Foundation）展出的〈不跨國界：流動的邊界和空虛的承諾〉（2012）和於英國曼徹斯特展出的〈60分鐘電影—我家香港〉（2012）等。她曾於三藩市國際電影節及香港獨立短片及錄像比賽中獲獎，而她的作品亦為不同機構（如澳洲的SBS 電視台或香港的錄影太奇等）所收藏。於2008年她獲澳洲文化局選為東京駐住藝術家，並於東京完成〈東京秋天的生活曆〉（http://www.photonicsmedia.net/about-autumn）。現在的她正與不少的藝術家攜手創作，如與Ali Jane Smith合作的〈六十秒的思想〉（http://sixtythoughts.tumblr.com/），與Sue Healy，Louise Curham及Michele Elliot合作的〈凝住時間〉，或是與Redmond Bridgeman合作的〈萬物世界〉等。

除了藝術創作之外，Jo亦於澳洲新南威爾斯州的卧龍崗大學（University of Wollongong）任教。

I heard a boy say that he wants to record a shooting star on videotape, so that he could make a wish whenever he wants Elvis on TV again. Seemingly, comfort can only be found in late night television. The after-image of memory survives only as these.

曾聽說過有孩子想把流星拍下來，好讓他可以隨時向流星許願。

又在電視看到了貓王。似乎只在夜深的電視節目中才找到一絲慰藉。

記憶的殘像就僅以這樣的形態留下來。

A graduate from the Porto Arts Institute, João Vasco Paiva moved to Hong Kong in 2006 to complete a Master of Fine Arts in Creative Media. Upon graduation with distinction in 2008, Paiva set to create works in multiple mediums, which consistently explore how urban spaces may serve as catalysts for aesthetic production. While Paiva’s work is intrinsically tied to Hong Kong, his work resounds with dense urban environments around the globe: it suggests that cities, regardless of location, share certain visual and physical characteristics that, following a process of documentation and abstraction, may be reduced to readable and informative truths.

At the core of Paiva’s practice is therefore an interest in deconstructing complex urban environments to create a set of identifiable codes: a universal urban alphabet, one may say. The aim of Paiva’s artistic process thus extends beyond mere simplification; it is about identifying a common language that reverberates both on a local urban level as well as on an international cosmopolitan level; it is about unveiling a linguistic system, which is shared by multiple countries and is intrinsic to our current age of hyper-modernity.

João Vasco Paiva is considered one of Hong Kong’s leading emerging contemporary artists and has been exhibited widely in museums as well as galleries from Hong Kong and Portugal to the UK, Australia, Hungary and New York. Recently, Paiva was selected for the Encounters section of Art Basel Hong Kong 2015 by Alexie Glass-Kantor, completed a residency at Lichtenberg Studios, Berlin and was part of a group exhibition at the Witte de With, Rotterdam as well a travelling exhibition at Artsonje, Seoul, OCT Contemporary Art Terminal, Shanghai and MAAP, Brisbane. Furthermore, Paiva held a major solo exhibition at the Orient Foundation in Macau and upcoming exhibitions include a solo show at Counter Space, Zurich. Finally, Paiva is the recipient of multiple awards, including the Hong Kong Emerging Artist Grant and the International Artist Support Grant awarded by the Calouste Gulbenkian Foundation in Portugal.

Paiva（1979年生於葡萄牙）是城市空間的「解碼者」。現居香港的他喜歡觀察大都市中複雜而顯著的混亂特質，而繁華街道的聲音與秩序、快速行駛的地鐵與密集的空間，正是其作品的核心主題。他系統地記錄、分析、抽象與分解這些現象，創造出一種可編碼的闡釋，這過程本身也是一件藝術創作。Paiva旨在尋找都市複雜本質中的秩序與內在邏輯。

Paiva畢業於葡萄牙波爾圖藝術學院，2006年移居香港研修藝術碩士課程。在2008年以優異成績畢業後，Paiva開始用多種媒介進行創作，不斷探索城市空間如何成為美學作品的催化劑。Paiva的作品本質上與香港緊密相連，同時亦可應用於全球各地的密集城市環境，顯示出不管是哪個城市，其實都有著同樣的視覺與物理特徵，而這些特徵在經過記錄與抽象化的過程後，能分解成為可被解讀與具有豐富資訊的事實。

Paiva主力探索結構複雜的都市空間，並從中創造出一組識別碼，它也可被視為一個通用的都市符號。Paiva藝術實踐的目標超越了對城市觀察之單純簡化，他實質是在尋找一種共同的語言，不僅適用於本土城市，也適用於國際性大都市。他嘗試發掘一種多個國家可共享的語言系統，而這也正是我們這個「超級現代性」時代的本質。

例如，2011年舉行的Paiva個人展覽《Palimpseptic》中呈獻之作品，正提供了一種了解上班族每天使用香港地鐵的模式。展覽重點是一個地鐵閘機的裝置，它根據乘客的使用頻率而變動，其搖擺頻率則因應每天不同時段而產生變化。這個有如鬼影般的裝置旁還配有錄像與繪畫，將人群及其動態分解成為不同的色塊，因此將很大程度上難以辨認的過程轉化為清晰的數學圖表，這圖表可以同樣用來理解巴黎地鐵的運作，或是倫敦與紐約的地鐵系統。

Paiva被視為香港最傑出的當代新晉藝術家之一，他的展覽遍及香港、葡萄牙、英國、澳洲、匈牙利與紐約。最近，Paiva獲邀參加了倫敦薩奇畫廊具開拓性的展覽《Hong Kong Eye》。他未來的動向包括在荷蘭Witte de With、OCT當代藝術中心上海館、澳洲布里斯班MAAP參與群展以及澳門東方基金會舉行個展。此外，Paiva曾獲得多個獎項，包括香港藝術新秀獎，以及葡萄牙Calouste Gulbenkian基金會所授予的國際藝術家支援獎。

Action Through Non Action is a video performance where the artist uses his body as an interfering sensor to capture the rhythm caused by its presence in a crowd.

The performer stands still in the middle of a crowd in the most densely populated district in Hong Kong. The artist performs no action, even so interaction cannot be avoided, his presence creates an interference in the normal flow of the crowd.

The individuals change their paths, the presence of the performer originates multiple chain reactions. The touches of the elements of the crowd in the performer’s both arms are recorded through the use of several contact microphones connected to a recorder and a headphone set. The headphones isolate the performer’s audition, he can only listen to the sound of people touching him. The encrypted data originates a score that interferes with the video playback by controlling an optical flow algorithm. The video presented in the performance interference in its own documentation.

Action Through Non Action是一段視像表演。藝術家João Vasco PAIVA以他的身體作感應器，來捕捉他在人群之中所產生的旋律。

只見藝術家身處香港最擁擠的地段的人群之中：他並無動作。即便如此，他與人群的互動仍在所難免。他的存在已產生干擾，擾亂了人潮本身的移動。藝術家如連鎖反應的源頭，人群因他而改變原來的路線。當人們與他相觸碰之時，觸碰就由安裝在藝術家雙臂的感應器所紀錄，並同時傳送到錄音儀器及藝術家所戴的耳機內。由於耳機有隔音功效，在表演過程中藝術家就只能聽到因別人觸碰他而起的聲音。另一方面，加密過的錄音則按一套以光流而定的計算法來干擾錄像重播。這錄像是表演本身及其干擾過程作出的表演記錄。

黃國才的實驗藝術項目探討人和居住環境之間的空間及社會問題。黃氏對藝術家的定義如同偵探，追蹤事件的來龍去脈。

黃國才獲得多個藝術獎項，包括：香港藝術館主辦的香港當代藝術獎（2012）和香港藝術發展局頒發的最佳藝術家獎（2010）及藝術新進獎（2003）和藝術教育獎（2003）。畢業於康奈爾大學取得建築學學士，接著先後在切爾西藝術與設計學院和墨爾本皇家理工大學取得藝術系碩士及藝術系博士。他是Art Citizens and Street Design Union 的創辦成員，此機構主要研究藝術家和設計師與社會和政治之間的關係。他也是Para Site 藝術空間的前成員。現為香港理工大學環境及室內設計學院助理教授。

他過去的作品亦得到知名的世界藝術舞台上的青睞，例如：流動三輪車計劃－“Wandering Homes” 曾在威尼斯建築雙年展（2008）上展出、以「浮屋」為概念的“Paddling Home”曾於香港維多利亞港上展覽和流動散裝床“Sleepwalker” 亦曾在深港城市\建築雙城雙年展（2010）（2012）上展出。

Hongkongese Warning Squad is an artistic performance work by Hong Kong artist Kacey Wong performed on July 1st 2014 during the annual July 1st Demonstration. This work was inspired by the 〝warning banners〞 frequently used by the Hong Kong police to threaten peaceful demonstrators. The artist and his squad members engages the pubic with their warning signs as well as engaging the real police warning everybody the immediate danger the city is now facing. This work was very well received by the public generating cheers and claps on the streets and generated more than 15,000 〝likes〞in the news media network. Many citizens in Hong Kong felt the police are abusing their power when it comes to handling peaceful demonstrator and this work inspire the viewers to reflect about this issue.

香港人警告部隊是一部以藝術表演方式拍攝的紀錄片，它於2014年7月1 日紀錄了七・一遊行示威。他的創作靈感源於近年不斷出現於警察對抗和平示威者的「警示標語」。黃氏及其警告部隊參與示威、舉起警示標語，亦與真正的警察警告大家面臨的城市危機。此作品大受廣大市民一致讚賞並在新媒體網絡上取得15,000的「讚好」，皆因普遍香港市民認為警方面對和平示威者時濫用暴力。而黃氏希望此片能夠令觀眾反思這議題。

羅玉梅畢業於香港中文大學藝術碩士，現任職「聲音圖書館」編輯暨研究員。2014年獲香港藝術發展局獎學金赴東京森美術館策展部實習。曾任職北京《ArtinChina》、《藝術與投資》雜誌編輯。個人從事錄像、攝影、文本創作，散文作品「遷徙、失眠、夢」收錄於《聽者言》。主要展覽包括:「en]counters 2014 ：Is there love in this air? 」, 印度孟買(2014)、香港小交響樂團特別委約錄像作品「走過的日子」(2013)、「第二屆北京國際電影節」(2012)、「KLEX 吉隆玻實驗電影節」(2011)、「香港第十六屆ifva短片節」(2010)、「Art in Busan: inter- city」, 韓國釜山(2009)。

445 is a play script I wrote during my sojourn in Beijing at the Beijing Jile Youth Hostel. It is a play about the sex industry in the Tuofangying area. When I was sorting out my hard disk later in 2014, I ran into the script I wrote in 2011, but could not locate the original video I shot at that time.

So I requested a friend from Hong Kong who was living in Beijing at that moment to shoot a video according to the script in one long take. I also used Wechat to contact three other friends of mine who were from the mainland – I call them J, P, and F – and asked them to recite a few lines with the recording function in Wechat. The lines were taken from our chats back in the days when I was in Beijing.

F: You haven’t whored, what the hell can you write?

J: This kind of things were common in our school (Sichuan Fine Arts Institute) back then. Our school is situated at the juncture of wealthy and poor districts, we know they [the sex workers] are called “boxed-lunch hooker.”

F: Clients this early, huh?

P: Yea! People wanna have sex when they wake up in the morning rather than at night

The wechat happened when J was in Kunming, P and F on Mount Fuji, and I in Hong Kong.

「445」是我在北京吉樂青年公寓居住時所寫下的劇本，關於駝房營一帶的性服務行業。2014年我整理自己的電腦硬盤，發現這2011年所寫下的劇本，但當初拍下的錄影片段卻不見了。

於是，我邀請了一位在北京居住的香港朋友，根據我的劇本內容拍攝一個一鏡到底的鏡頭同時我用微訊（wechat）聯絡三位內地朋友－ J，P和F，邀請他們用微訊的錄音功能，幫忙演繹其中幾句白，而這些對白的內容正是當年大家閒聊時說過的話。

你又沒嫖過你寫什麼呀？ -F

這種事以前在我們學校(川美)就很多。我們學校是處於一個貧富交界的地區，我們都知道她們叫飯盒雞。-J

這麼早有人幫襯？ -F

係o家！ 朝早起身個陣比起夜晚更想搞野 -P

微訊時J在昆明，P和F在富士山，而我在香港。

MAP Office是一個綜合各類學科的平台，由兩位藝術家 – 摩洛哥出生的 Laurent Gutierrez 和法國出生的 Valérie Portefaix – 所組成。這兩位藝術家（說是建築師亦無不可）自九六年起就居於香港，用各式各樣的工具（繪圖，照相，錄影，裝置，表演，甚或文學和論說的形式）來表現他們對人類所處的空間的思考。無論是實質的或是想像而成的空間，都是他們的反思的題材。他們的作品既是對時空關係錯置的批判，同時也記錄了人類如何顛覆和重新定義空間。

The production of the video grew organically with the production of the protest. Started in Hong Kong September 28th, the Umbrella Revolution has appropriated a large part of the business district in Admiralty, cutting the new government headquarter from the other parts of the city. Days and nights, protesters have been building a temporal city and consolidate the barricades. Beyond the claim for a democratic election of the chief executive, protesters have been fighting against the latent destruction of the social and physical fabric of the territory. In that sense, we are examining the making of the Umbrella Revolution as collective response to project possible future.

拍攝錄像的過程，和抗爭同步進行。自九月二十八日始，金鐘一大部分的商業區被佔領，佔領區並把新落成不久的政府總部和城市分割開來。日以繼夜，抗爭者們都在建立一個臨時城市並鞏固防務。除了要爭取一個合符民主原則去選舉行政長官的制度外，抗爭者們同時也為保護香港免受無形之手的破壞而戰。就此，我們把雨傘革命視作一個對未來的憧憬的集體行為來研究。

偉大臟言師林保怡曾經講過：「做大事，願付出一生代價。」

「一字馬」是一種態度，一種認真玩樂的生活方式。我們玩世不恭，卻嚴謹製作，趣味風格，又不忘認真，直到天空宇宙給我盡騎下，這¬氣魄就是我們四人相信的，男人心。

The Anti-Occupy Central..sorry, should be the Anti-Occupy Chinese University Alliance, are now protesting in The Chinese University of Hong Kong (CUHK) , to condemn the students who were instigated to occupy CUHK. Let’s see how the students participating the occupy movement “vigorously assaulted” the violent groups from the “Peaceful” Alliance.

「反佔．中大．聯盟」來到中文大學，聲討被煽動佔領中大既學生！ 佔領中大既學生竟然仲暴力衝擊，和平理性探訪學生既私煙集團！

When Grancher started in the art world in 1995, he used emails in his art to show the processes and exchanges of the Internet community (email art) in physical installations like ‘Alone’ (1995). In 1997 he used webcams in his project ‘webscape’, which dealt with the concept of “cybertime.” In 1998, Grancher experimented with pop art in his ‘webpaintings’ project. In 2002, as Google began to dominate the Internet, he launched the “Search Art” collaborative project by creating a piece called ‘Self Portrait.’ Google had become a buzz word in the art world.

In 2005 he exhibited and sold at FIAC, the international art fair in Paris, ‘the biggest Google paintings never (sic) produced.’

法國籍的Valéry Grancher以推廣網上藝術而在當代藝壇中別樹一幟。他的作品融合了概念藝術和普普藝術，興到之時還會挪用一下所謂的「時髦」，給作品添點幽默。

1995年出道伊始Grancher就來了個新嘗試，把自己和網上群體有關作品的電郵討論配合實體作品（如95年的裝置〈獨自〉）一併展出。兩年之後，他於〈網上風景〉項目中運用攝像頭來探討「虛擬時間」的概念。1998年Grancher於另一藝術計劃〈網畫〉中初次引入普普藝術的手法。1999年他於加州大學伯克萊分校的太平洋電影資料館（Pacific Film Archive）舉行個展。到2002年，時值谷歌於網上開始獨大，他發起了一個「搜尋藝術」的集體計劃，替用谷歌搜尋自己名字的頁面繪製了一幅〈自畫像〉，這迅即讓「谷歌」一詞於藝術界走紅。

2005年，他的作品〈最大兼從未完成的（誤）谷歌畫作〉於巴黎的國際藝術展FIAC展出，並馬上為收藏家所購。

A conceptual wandering during October 28 2014 in Wan Chaï Hong Kong, Occupy Central movement site, on the month birthday of this movement. As a foreigner we are in a center of a kind of local historical movement, without understanding the local language. We just have a kind of emotional feeling…

2014年10月28日於灣仔佔領現場來了一次「神遊」（時值佔領運動爆發一個月）。由於語言的隔閡，我們未能明白本地人在嘰嘰喳喳些什麽，我們只以外國人的身分處於這改變本土歷史的運動的中心。我們有的，只是情感上的悸動…

熱愛溝通但極不擅長
認為世事都被過份解釋
都只不過是一堆 NO WHY

“We must survive, so we want more.”

生存，我們需要更多。