电影开映前的广告
不知道你是否会有这样的经验，在一些电影导演的作品面前，你对时间和金钱的消费问题上会有进退两难的境遇：到底是应该做一个负责任的消费者，像对选购什么蔬菜什么咖啡都作一番理性判断一般来选择要看的电影；还是赌气地对自己说：“再给他一次机会吧！”。当然，后者的潜台词是，糟糕是必然的，但看看到底能糟到什么程度。选择后者通常是两种状况，要么情绪空虚，要么受周围人群的影响。昨晚又抱着“再给他一次机会”的心情踏进了张艺谋的《金陵十三钗》的放映厅，这次是在家人的要求下作出了这样的选择。毕竟，是春节。
2011年的国产电影，让观众目睹的是商业如何与爱国主义在互相结合和利用，而张艺谋的新片也加入了这个行列。从张艺谋当年的批判现实主义到今天的爱国主义，不得不让我感叹商业的力量是多么强大的。
踏出电影院，我的家人说看得头都紧。我的头没事儿，只是觉得电影票钱花得有些冤，并不是说好片子还是坏片子的问题，而是这样的片子应该是学校和单位统一送票给学生和职工看的，就像2004年 Mel Gibson 拍的《耶稣受难记》，上映的时候美国的一些教堂买电影票分给他们的教会成员。这时我又后悔为什么没有选择更加娱乐的贺岁片，因为如果这些电影都已经失去了让人思考的功能，那就应该摘下一切文艺和艺术的假面具，让糟粕来得更彻底一些吧。
This was Jan 2nd the second day after the new year. The weather was cold, only a handful of occupiers remaining on the Wall street.
Among this crowd, 1/3 were protestors, 1/3 were police, 1/3 were passerby like me.
My “life” as taxi driver in Havana.
Asia Art Archive interview with Fang Lu by Fiona He
AAA’s Fiona He spoke with artist Fang Lu about her unique style of camera direction, her interest in food as an artistic medium, and the reality of being a female artist in China today…
Fiona He (AAA): In your earlier works such as Untitled Beings series and Skin, as well as in recent works such as Automatic Happenings, you have self-directed and performed in the artwork. Most of them focus on simple tasks such as lip-syncing while eating cake, repetitively putting on and taking off your clothes, or performing timely awkward quasi-cooking actions in a non-descriptive environment. Can you tell us about your role as a performer in front of your own camera and the relationship between that and your role as artist? Moreover, how does the solitude or intimacy in working alone allow you to explore and convey the possibilities of this medium?
Fang Lu (FL): In my works, the camera is not used to document a phenomenon, but to transform simple tasks and everyday actions. As the camera enters an everyday, common space, time and objects of portrayal transform through which an altered representation is created. The same transformation also happens to the performer. In fact, the most apparent example would be public space under surveillance, and how our behavior in public is in fact, shaped by these cameras. Therefore, when the camera is intentionally placed within a private space, the camera has an instrumental effect on the performer (either myself or other performers). I am interested in this unique characteristic of the camera. Therefore, in many of my works, I create an isolated filming environment in order to allow myself as a performer or other performers to enter a staged scenario. A lone individual may forget the existence of the outside world and that may be quite a liberating moment, whether used to play a role or complete a task.
(more…)
That is Cuba! Since I got back from the trip all I could think about is how to return there sooner.
(and finally visit a country where Chinese passport is actually useful.)
(more…)
诚邀阁下出席2011年九月23日晚上8点在博尔赫斯书店艺术机构举行的“做食——方璐录像作品展”开幕式。
展出日期：2011年九月23日至十月22日
Libreria Borges Institute for Contemporary Art ( CANTONBON ) cordially invites you
to the opening of “Eclipse-Fang Lu video exhibition” at September 23,
20:00.
Exhibition Date: September 23 – October 21, 2011
广州市海珠区怡乐路怡乐一巷7号
7, Yile Lane 1, Yile Road, Guangzhou, 510260, P.R.China
020-84031435
cantonbon@163.com
Farewell George. You let me understand the wide possibilities of film production. I will always think of you when I do lighting for my video shoot.
很久很久没有上来博客更新的欲望了，可能这说明是时候换新网站了。
今天是我在成都的第五天，连续几天拍摄和剪辑新的录像“腐朽”。新的录像和最近做的“自动发生”将在成都的A4展出，作为鲍栋策划的五个个展之一，同时展出的还有陈友桐、陈轴、姜鹏、吴俊勇。
A4青年艺术家实验季第三回展
A4 Young Artist Experimental Season
3rd Round Exhibition
艺术总监：孙莉
特邀策展：鲍栋
展览助理：蔡丽媛
参展艺术家：陈友桐、陈轴、方璐、姜鹏、吴俊勇
展览主办：A4当代艺术中心
展览地点：中国.成都.双流.麓山大道二段十八号麓镇
展览时间：2011年8月20日—2011年9月16日
开幕酒会：2011年8月20日15：00
