牛房倉庫 / Ox Warehouse

牛房倉庫 Ox Warehouse

和隆街十五號 Rua do Volong, No.15

開放時間 Opening Hours12:00-19:00(逢星期一休息(Closed on Mondays)

郵寄地址/Postal address:澳門郵政信箱6303 P.O.Box 6303,Macau

電話/Tel(853)2853 0026 電郵/E-mailoxwarehouse@gmail.com


牛 房 講 場 Symposium OX Warehouse

5月25日(星期日)下午6 時
25/5 /2008 (Sunday)18pm
時間觀The Sight of Time*
Robert Cahen 影片和錄像放映活動Films and Videos by Robert Cahen
Robert Cahen

Robert Cahen 是實驗錄像創作領域中最著名的藝術家之一。Robert Cahen 歐洲藝壇的種子人物,在實驗影片界已奠定了鞏固的地位,並被視為是舉足輕重的人物。
Robert Cahen is a seminal figure in the European art realm and is firmly positioned and widely regarded as one of the most important personalities in the field of experimental video.

免費入場 Free Admission

相關資料請瀏覽 / Please find the regarding information http://www.alliancefrancaise.com.hk/en/culturel/french_may/2008/video/video.htm http://www.alliancefrancaise.com.hk/paroles/numeros/213/02.html


CREB 裝置創作伸一伸.展
<CREB反應結合蛋白> 創作演員作品展

開幕 / Opening Time:
10/ 5/2008 (Saturday/星期六), 15:00
展期 / Exhibition Period:

展覽地點 / Location :
牛房倉庫二樓 / 2 nd Floor , OX Warehouse
2007 Fringe Macau澳門藝穗節的其中一個演出──“CREB反應結合蛋白”,聚集了幾位「創作演員」,他們除了在天台進行形體創作外,同時創作了他們的第一件裝置藝術作品。「創作」到底是怎麼一回事?常常聽到大家在論討這個話題,而我,則認為「創作」可以有很多不同的化身,它可以是嚴肅的、可愛的、美麗的、燦爛的、醜陋的、閃爍的、輕鬆的、自由的或者是壓抑的;在創作裡呈現的每個化身,都是藝術家的選擇、判斷和表達,也是源自創作者對生活的想法。




A Retake of CREB Installations’Creation
Installation Exhibition by Performers of CREB: Camp Response Element-Binding
‘CREB: Camp Response Element-Binding’ was premiered at the Macau Fringe Festival 2007. A group of ‘creative performers’ presented imaginative dance movements, creating simultaneously their first installation on a few rooftops, used as artistic venues. What on earth is ‘creation’? This is an often discussed topic. From my viewpoint, ‘creation’ stands for many incarnations, which can be serious, lovely, beautiful, resplendent, ugly, glittering, light, free or oppressive; any incarnation in any creation is always a result of the artists’ choice, judgment and expression, while reflecting their philosophy of life.

This story was started by discussions between the performers and me, about installation art and their views and recollections of the city. Despite their experience being focused on the stage performance, during the creation of CREB we explored together a wide variety of different topics regarding artistic creation, the expression of concepts and themes as well as the use of materials, all of which I found personally rewarding. Through this exhibition in Ox Warehouse, we not only try to explore different expression modes, trying to show how the CREB performers look back on and look forward to their own city through their reminiscences. But we also aim to develop further the last CREB performance, so as to offer the artists a space to better express and increase their care and concern for the city.
Kan Pui Ian, Curator
‘CREB: Camp Response Element-Binding’ was my ‘extravagant’ attempt at the Macau Fringe Festival 2007. Since I missed my childhood rooftops and the old days of the city, I conceived such a performance: audience watch from a distance with binoculars while artists perform on rooftops. But the concept proved very difficult to stage. While thinking about some solutions, silly questions came to me: “why there must be ‘performers’ at all in a performance? Why must we always see ‘something’? Why must we see a performance ‘on a spot’? Can performance just be ‘done’, like recollections of memory?” After elaborating on these, I came up with the idea of a performance about rooftops and memories of the city, without performers or venues.

This completely different performance approach is worth of a note: the production team found several rooftops where each performer’s individual act was filmed by the performers, the photographer Bianca Lei and me. Bianca and I then edited the films, while performers moved on to another stage – to create their own installations.

On the performing day, the audience did not see the performances on the actual venues (rooftops), but instead the performers’ creation of installations (as an extension of the performance), which drove viewers into a personal feeling of the ambience. Then at night (when the daytime experience had become already a reminiscence) they would see the rooftop performances at home with DVD players (as a substitute for the originally conceived binoculars). Once finished, the performance would thus vanish, just as the former ‘rooftops’, once carriers of some beautiful things, had disappeared from the city’s skyline. The audience was witnessing a vanishing ‘performance’, reminiscent of some feelings about the city which are there no more.

This was a ‘performance’ completely different from all my previous ones. For me, it meant lots of fun, as I was able to put some of my very abstract concepts into practice. The whole process was indeed very interesting. It was particularly a high moment to see the performers’ installations. Their dedicated efforts to join my testing of romantic abstractions left me astonished. This was to me a truly tangible ‘creation’, in which I was moved by the performers. Therefore, Kan (Pui Ian) and I design again this exhibition, as a retake of the original creation. The story is yet to start and the fun just begins. If every day in our city and life could be an extensible creation, how fantastic it would be!

Jane Lei, Director of CREB Camp Response Element-Binding
Participating Artists:
林詠欣 Lam Weng Ian
陳妙芝 Chan Mio Chi
張楚誠 Cheong Cho Seng
關若斐 Kuan Ieok Fei
馮曉華 Fong Hio Wa
主辦 / Organization:
婆仔屋藝術空間 / Old Ladies’ House Art Space

贊助 / Sponsor:
民政總署/ IACM