谈判消失:西蒙·刘的准抗议三部曲中的保护性抽象

D. Holton
{"title":"谈判消失:西蒙·刘的准抗议三部曲中的保护性抽象","authors":"D. Holton","doi":"10.1386/jcca_00061_1","DOIUrl":null,"url":null,"abstract":"The simultaneous phenomena of the political upheaval in Hong Kong and Sinophobia in the United States produce a double bind for diasporic artists working about and between Hong Kong, China and the United States. Hong Kong diaspora filmmaker Simon Liu navigates this political landscape through experiments in abstract film as a medium for documenting protest and urban transformation sans spectacle. This article locates Liu’s work in the transnational matrix of Hong Kong’s post-colonial non-sovereignty and American Sino-diaspora politics to analyse the ways in which the filmmaker’s diasporic positioning necessitates abstraction and to demonstrate the potential of abstraction as an apparatus for geopolitically vulnerable subjects to continuously deconstruct and re-establish their subjectivity under political conditions that threaten their erasure. I posit that abstraction in Liu’s quasi-protest trilogy – consisting of Signal 8, Happy Valley and Devil’s Peak – offers a sensory orientation for finding blind spots between recognition and indecipherability, opening up new ways of documenting a crisis through the disarticulation of discrete events into atmospheric conditions.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Negotiating disappearance: Protective abstraction in Simon Liu’s quasi-protest trilogy\",\"authors\":\"D. Holton\",\"doi\":\"10.1386/jcca_00061_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The simultaneous phenomena of the political upheaval in Hong Kong and Sinophobia in the United States produce a double bind for diasporic artists working about and between Hong Kong, China and the United States. Hong Kong diaspora filmmaker Simon Liu navigates this political landscape through experiments in abstract film as a medium for documenting protest and urban transformation sans spectacle. This article locates Liu’s work in the transnational matrix of Hong Kong’s post-colonial non-sovereignty and American Sino-diaspora politics to analyse the ways in which the filmmaker’s diasporic positioning necessitates abstraction and to demonstrate the potential of abstraction as an apparatus for geopolitically vulnerable subjects to continuously deconstruct and re-establish their subjectivity under political conditions that threaten their erasure. I posit that abstraction in Liu’s quasi-protest trilogy – consisting of Signal 8, Happy Valley and Devil’s Peak – offers a sensory orientation for finding blind spots between recognition and indecipherability, opening up new ways of documenting a crisis through the disarticulation of discrete events into atmospheric conditions.\",\"PeriodicalId\":40969,\"journal\":{\"name\":\"Journal of Contemporary Chinese Art\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Contemporary Chinese Art\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/jcca_00061_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Contemporary Chinese Art","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/jcca_00061_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0

摘要

香港的政治动荡和美国的恐华症同时出现,给在香港、中国大陆和美国工作的散居艺术家带来了双重困境。散居香港的电影制作人Simon Liu通过抽象电影的实验来驾驭这一政治景观,将其作为记录抗议和城市转型的媒介。本文将刘的作品置于香港后殖民时期的非主权和美国华人流散政治的跨国矩阵中,分析电影制作人的流散定位如何使抽象成为必要,并展示抽象作为一种工具的潜力,使地缘政治上脆弱的主体在威胁其被抹去的政治条件下不断解构和重建其主体性。我认为刘的“准抗议三部曲”——包括《八号信号》、《欢乐谷》和《魔鬼峰》——的抽象性提供了一种感官取向,可以在识别和不可解读之间找到盲点,通过将离散事件分解成大气条件,开辟了记录危机的新途径。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Negotiating disappearance: Protective abstraction in Simon Liu’s quasi-protest trilogy
The simultaneous phenomena of the political upheaval in Hong Kong and Sinophobia in the United States produce a double bind for diasporic artists working about and between Hong Kong, China and the United States. Hong Kong diaspora filmmaker Simon Liu navigates this political landscape through experiments in abstract film as a medium for documenting protest and urban transformation sans spectacle. This article locates Liu’s work in the transnational matrix of Hong Kong’s post-colonial non-sovereignty and American Sino-diaspora politics to analyse the ways in which the filmmaker’s diasporic positioning necessitates abstraction and to demonstrate the potential of abstraction as an apparatus for geopolitically vulnerable subjects to continuously deconstruct and re-establish their subjectivity under political conditions that threaten their erasure. I posit that abstraction in Liu’s quasi-protest trilogy – consisting of Signal 8, Happy Valley and Devil’s Peak – offers a sensory orientation for finding blind spots between recognition and indecipherability, opening up new ways of documenting a crisis through the disarticulation of discrete events into atmospheric conditions.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.50
自引率
25.00%
发文量
12
期刊最新文献
China’s cautious ‘facetuning’: The art of cultural diplomacy and nation branding1 From the dilemma of Chinese nation branding and soft power to the performativity of creative power: The TAZARA Memorial Park and artistic intervention in Zambia Rebranding China through facsimiles: A study of mubanshuiyin reproductions in PRC’s art diplomacy and soft power building, 1952–79 Capitalizing on art and artifying capitals: China’s journey to Venice and scandal around the Kenya Pavilion K11 alternative diplomacies: Penetrating the global arts markets
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1