Online Exhibition

SUGAR, Richard Mark Rawlins, 2018 (Trinidad & Tobago)

This piece is a redactive moving image poem created from bubbling sugar, that takes as its starting point Stuart Hall’s analogy of the contested history of the Atlantic Slave trade, its consequences (colonialism), sugar and English identity. In his 1991 essay ‘Old and New Identities, Old and New Ethnicities’, Hall writes: “I am the sugar at the bottom of the English cup of tea. I am the sweet tooth, the sugar plantations that rotted generations of English children’s teeth.” With this statement, Hall speaks not only as a Jamaican descendant of enslaved Africans transported to the British colonies, but as all diasporic Africans whose legacy is rooted/routed in the transpontine consequence of sugar manufacture, thereby establishing a position of power and right to be/exist, in defiance of Otherness.

These conversations about sugar and identity are as relevant to the descendants of enslaved Africans brought to the Caribbean colonies by the British, French, Spanish and Dutch Empires, as they are to the progeny of those brought by the Portuguese to Brazil, as well as those enslaved indigenous peoples and those labourers in whose lot the task fell to continue the manufacture of sugar under the dubious banner of ‘indentureship’, within the context of the ‘supposed abolition’ of slavery in the colonies.

In this iteration the piece is meant to be a contemplative/hypnotic work played as a continuous loop, giving the viewer the opportunity to take in the consequence of these words (shaped by bubbling sugar) as they appear and disappear in the darkness, so as to reflect not only on their historical context, but to hopefully take the contemplation further into the realities that this legacy has left us in our here and now – be it the loss of ‘Sugar as King’, the shut down of Caroni 1975 in Trinidad, or the high prevalence of diabetes in the east Indian communities across the Caribbean or the state of slave labour still taking place because of Sugar manufacture in Brazil. This piece has also been translated into French, Dutch, Haitian Creole, Spanish and Portuguese.

这个作品是一个修剪过的用冒泡的糖创作的影像诗歌,以斯图尔特·霍尔(Stuart Hall)对大西洋奴隶贸易有争议的历史,其后果(殖民主义),糖和英国身份的类推为起点。这些关于糖和身份的对话与英,法,西,荷兰帝国带到加勒比殖民地的非洲奴隶的后裔以及葡萄牙人带到巴西的后代同等重要。那些被奴役的土著人民和劳动者,他们的任务是即便在“废除奴隶制”的背景下,依然在“契约”的可疑旗帜下继续制糖。


ROOTS | ROUTES, Kia Redman, 2017 (Barbados)

The things that make us who we are often go unnoticed. They are what we see everyday, the experiences we had as children, the little things unique to the places we spend our lives. We often see these things as a whole, something defined and steadfast, never really taking the time to consider all the little parts moving, growing and becoming that gradually change who we are. As Stuart Hall said “If you think of culture always as a return to roots — R-O-O-T-S — you’re missing the point. I think of culture as routes — R-O-U-T-E-S — the various routes by which people travel, culture travels, culture moves, culture develops, culture changes, cultures migrate”. Roots | Routes is a video, comprised of six vignettes, that celebrates the little things that define our journey.

使我们成为我们的人的事物经常不被注意。 它们是我们每天都会看到的东西,是我们小时候的经历,是我们度过一生的地方独有的小事情。 我们经常看到这些东西是一个整体,是定义明确的,坚定不移的,从来没有真正花时间去考虑所有细微的部分,它们的移动,成长以及逐渐改变我们的身份。 正如斯图尔特·霍尔(Stuart Hall)所说:“如果您始终认为文化是对根源的回归-R-O-O-T-S,那么您将失去这一点。 我认为文化是路线,即R-O-U-T-E-S,即人们旅行,文化旅行,文化运动,文化发展,文化变化,文化迁移的各种路线。 根| 路线是一个由六个短片组成的视频,庆祝定义我们旅程的小事情。


Gestation Period, Kadiejra O’Neal, 2017 (Barbados)

But I can’t help but feel this incredible longing…
A longing for connection…
a longing for warmth and a love I’m sure I’ve felt before…

This is an emotional and psychological investigation into my origin…
This is my attempt at trying to understand what my mother went through as a young island girl being thrust into woos of parenthood…
This is me trying to figure out what was going on in her head…her thought process…her worries…
This is me trying to piece together the factors in her life that contributed to or influenced my birth and our relationship thereafter…
This is a retrospective look at a mother-daughter relationship, in hopes of being able to find a deeper maternal bond in our present dynamic.

…if the emotional blockage is from me, then I too must go through my own Gestation Period…

Gestation Period is a performance video grounded in themes of personal history, mother daughter relationships, tension and struggle.

我的母亲凯伦(Karen)和我的关系很棘手。这些年来,我们经历了许多艰难的时期和压力因素,使我全心全意地说:“与其说别的,不如说我妈妈是我的朋友”。

这是对我出身的情感和心理调查。
这是我试图理解我的母亲作为一个年轻的岛屿女孩对生育的追求。
这是我试图弄清楚她都经历了怎样的思绪……她的担心……她的思考过程……在我到来时影响了她的生活和不同关系的因素……
这是对母女关系的回顾性研究,希望能够在我们现在的生活中找到那种母性感觉。
这是对我出身的情感和心理调查。
这是我试图理解我的母亲作为一个年轻的岛屿女孩对生育的追求。
这是我试图弄清楚她都经历了怎样的思绪……她的担心……她的思考过程……在我到来时影响了她的生活和不同关系的因素……
这是对母女关系的回顾性研究,希望能够在我们目前的动态中找到这种母性纽带。

…如果情绪障碍来自我,那么我也必须经历自己的妊娠期…


我的弟弟 My Little Brother, Wang Chen, 2019 (China/Australia)

Exploring a narrative approach instead of one of judgment and criticism, combining the VHS style imagery and performance, Wang Chen represents the lonely growth of China’s millennial generation born in the 1990s under the One Child Policy. Although abolished in the present context, the repercussions of the policy implicitly explore the irresistible individual destiny in certain political environments. In this video, Wang Chen simulated “the brother’s voice” with her own voice using software, and shot the VHS style footage with an application on her smartphone.

在这部作品中,王忱将家庭录影带风格的影像和表演艺术结合,用软件将自己的声音模拟成“弟弟”的电话录音,用智能手机软件虚构了家庭录影带。在中国计划生育已经被废止的语境之下,以娓娓道来的叙事方式代替批判和评论,王忱用非常个人化的视角展示了在计划生育政策下出生的中国千禧一代孤独成长的经历;同时,她也隐晦地探讨了在特定政治环境下不可抗拒的个人命运。


秘密 Secret, Wang Chen, 2019 (China/Australia)

Wang Chen recalls a traumatic memory of the first time she became conscious of adults’ sexuality in her video Secret. In this video work, Chen represents three identities via performance and monologue: the storyteller, the receiver of the text message, and her traumatised inner self. She faces the camera as if facing a mirror, as well as facing up to the audience directly. By showing the three figures, Chen reveals the nature of human carnal desire, and the brutal reality of a loss of innocence.

在《秘密》中,王忱面对镜头独自表演和讲述,如同面对一面镜子,也如同直面观者。她回溯了年少的自己在毫无准备的情况下,遭遇成人世界的动物性而形成的创伤。王忱在《秘密》当中有三个形象:秘密的讲述者,秘密短信的秘密接受者,以及因承受秘密而受创伤的自我。通过三个身份的交错,王忱用并不尖锐却令人隐隐不适的方式,揭示了人类的动物本质,以及生活美好表面下的残酷真相。


Buchibushi, Adam Patterson, 2019 (Barbados)

“I was weeding the back garden and thinking about the way plants seed themselves, windborne, animalborne, waterborne, far from their parent plants. They have no ability at all to travel great distances under their own power, and yet, they do travel. Even they don’t have to just sit in one place and wait to be wiped out.” – Octavia Butler, “Parable of the Sower” (1993)

[Filmed by Sharelly Emanuelson. Written, edited and directed by Adam Patterson.]

“我正在除草后花园,并思考植物如何自己播种,风生,动物生,水生,远离其亲本植物。它们根本没有能力依靠自己的力量行进很长的距离,但是他们的确行进。甚至他们都不必干干在一个地方坐等被消灭。”

-Octavia Butler,“播种者的寓言”(1993年)

由Sharelly Emanuelson拍摄。由Adam Patterson撰写,编辑和导演。


Rammelaar, Adam Patterson, 2019 (Barbados)

Something shimmery rambles through the forest.

[Filmed by Kamali van Bochove & Adam Patterson. Edited and directed by Adam Patterson.]

闪闪发光的东西在森林中漫步。

由Kamali van Bochove和Adam Patterson摄制。 由亚当·帕特森(Adam Patterson)编辑和导演。


阻滞之梦 Stranded Dreams, Zhao Xu, 2019 (China)

I was once stuck on railway when I was travelling in Morocco because the train I took broke down halfway. While waiting, many passengers got off and walked along the rail. I felt hot and bored inside the carriage, so I watched those passengers through the window and shot a video with my phone. When I was filming, it felt like I got rid of the time and space that I was in. Back to China, I found my parents sleeping in their bedroom one day. Suddenly that scene reminded me of the video I shot before. My parents’ bedroom and the train carriage overlapped in my mind and I began to question whether the “I” in Morocco come back home, or my parents – who have never been abroad – were the ones sleeping in that slow-moving train?

在摩洛哥旅行时,我曾经被困在铁路上,因为我乘坐的火车在途中发生故障。在等待期间,许多乘客下车沿着铁路走。我在车厢内感到闷热而无聊,所以我看着窗外的那些乘客,并用手机拍摄了一段视频。 当我拍摄时,感觉就像摆脱了自己所处的时间和空间。回到中国,我发现我的父母有一天在卧室里睡觉。突然,那个场景让我想起了我之前拍摄的视频。 我父母的卧室和火车车厢在我脑海中交叠。 是摩洛哥的我回到了家,还是从未出过国门的父母在那辆缓慢行驶的火车上睡觉?


Shareable Horizons, Zhiliang Jin, 2018 (China/UK)

My work attempts to visually represent the experience of objects or things, inspiring the viewer to perceive them differently and rediscover another meaning. The TV screen is the carrier of information. The screen conveys the world’s recorded messages like a window. Through this window, people capture and receive recorded “real” messages. The video reflects a recorded “real” and sometimes “real” under control. The field of view between the sea and the sky varies by the flip of the display. Thus, in different perspectives, the scope of the message has expanded and reduced. So how do we know the boundaries of the message?

我的作品试图从视觉上表现物体或事物的体验,激发观看者以不同的方式感知它们,并重新发现另一种含义。 电视屏幕是信息的载体。 屏幕像窗口一样传达全世界录制的消息。 人们通过此窗口捕获并接收记录的“真实”消息。 视频反映了录制的“真实”,有时甚至是“真实”在控制之下。 海洋和天空之间的视野随显示屏的翻转而变化。 因此,从不同的角度来看,消息的范围已扩大和缩小。 那么我们如何知道消息的边界呢?


一千零一夜 (At this Moment), Sucheng, 2015 (China)

“The truth is not only in a dream, but in many dreams.” (One thousand and one nights)

At this moment is composed of a number of pictures, alternately superimposed at random. It explores the transcendent nature of memory, time and reality; the truth is there, yet it is neither nothing nor everything…we can approach it infinitely, but we can’t catch it. The so-called “moment” is a flash of the past and the future, both instantaneous and eternal; both ordinary and legendary; a defiance of logic in favour of being present.

“真相不只在一个梦里,而是在许多梦里。”(一千零一夜)

此时此刻,真实就在那里,它既不是无,也不是一切,我们可以无限接近它,但不能抓住它;它就像是黑洞,我们知道它在那里,而得到它的方法就是成为它。

现实不是真实;真实超越现在、过去与未来;但现实是路径,是眺望真实的无数个窗口。影像来自现实,又与现实无关。所谓“此时此刻”,是过去和未来在当下的一个闪现,既是瞬间的,也是永恒的;既是平凡的,也是传奇的。

生活比作电影,时间就是剪辑师;一部由时间加工的回忆,哪里加了特效,哪里被篡改,有多少素材被反复播放,又有多少素材被遗弃;我们想要的和时间留给我们的是一致的吗?

作品《此时此刻》由大量图片交替叠加而成,叠加的原则是:随机,非逻辑,去设计。

这个系列跨越了很长的时间。不用去探索其中的逻辑,跟着影像随意穿越就好了。


For Peace, Versia Harris, 2018 (Barbados)

This video is part of the installation “For Peace.” The voice is Forbes Burnham. It is his speech given on the day he was elected President of Guyana in 1964. Burnham was a hope for the country, to pull them from a previously corrupt government and economic slump, but he turned out to be a dictator. I seek to address ideas of power and how fantasy and ideals are used to manipulate and change society and culture.

该视频是《为了和平》装置的一部分。声音是Forbes Burnham的。这是他在1964年当选圭亚那总统的那一天发表的讲话。Burnham是该国的希望,将他们从先前政府的腐败和经济的萧条中解救出来,但他却成为了一个独裁者。我试图探讨权力的观念,以及幻想和理想如何被用来操纵和改变社会与文化。


SURROUND SOUNDS, Kia Redman, 2019 (Barbados)

Developed during ‘PunchIn 2’, an open studio residency held by Punch Creative Arena, Barbados in 2018 and finished in 2019, Surround Sounds experiments with captured sound effects created with objects representative of the sound, memory and culture of the island. Juxtaposed with equally culturally retrospective, yet mismatching images, it mirrors the cacophony of Caribbean life.​​​​​​​

在Punch Creative Arena在2018年开放的开放工作室驻留Punch In 2期间发展,并于2019年完成,《环绕立体声》利用捕获的声音效果进行实验,这些声音效果代表了岛上的声音,记忆和文化。它与同样具有文化回顾性但又不匹配的图像并列在一起,反映出加勒比海生活的刺耳声音。


Tan boudé chiré…, Luk Gama, 2017 (Guadeloupe)

With this musical/poetic clip, the artist challenges the foreign viewer to engage with his culture in his native language (Guadeloupean “Creole”). The text written in Guadeloupean is an original poem by the artist, using metaphorical references to traditional drum practices that he hijacks here through an invented, unconventional rhythm and on a worn-out instrument. The title literally translates to “time shunned and torn.”

通过这种音乐/诗意的剪辑,艺术家向外国观众挑战以他的母语(瓜德罗普岛的“克里奥尔语”)融入他的文化。 瓜德罗普语写的文字是艺术家的一首原创诗,使用了隐喻性的对传统鼓练习的引用,他通过发明的非常规节奏在破旧的乐器上劫持了他。 标题的字面意思是“避免和撕裂时间”。

Poem Translation :

Title: Time shunned and torn…

When the double-six to the ideas remain you in the hands
scream for help and raise your hand!
Under the table of your forehead and over the slab of the bottom of your heart
Play his music. This famous sound of your soul.
Push the time, so that it gives you time to finish
with this rhythm of the mind, this solo marker of your understanding,
and maracas of Life. Yes! He’ll give you some of…
…this renewal. The one you need
To get rid of this tear…

Luk… (Author / Composer / Director, 2017)


Deep Relax, Chen Dandizi, 2018 (China)

The video begins with a meditative sound app, which is a meditation on auditory images, and I attempt to treat my severe insomnia with this closed, deep hypnosis. However, the sound of the meditative sound app is nothing more than a product of electronic synthesis, contradicting the purpose of this app which is presents the sounds of nature. At the same time, for me, nature as the purpose of “spiritual healing” remains paramount. It is only in meditation that my parallel imagination can be evoked by a dazzling array of visions.

该影像以冥想的声音应用程序开头,该应用程序是对听觉图像的冥想,我试图通过这种封闭的深度催眠治疗我严重的失眠。但是,冥想声音应用程序的声音仅是电子合成的产物,这与该应用程序的目的——呈现自然声音——相矛盾。同时,对我来说,自然作为“精神治疗”的目的仍然至关重要。只是在冥想中,眼花缭乱的视觉才能唤起我平行的想象力。


 

 

As part of TVE’s emphasis on community engagement, we invite input from those interested in TVE 2019’s programming, or those who attend any of the screenings in Trinidad & Tobago, Barbados or China, to share their thoughts or questions with the TVE Team and participating artists.

Click here to submit your question!