Manifesto

CONTENT LAB

「新常態」宣言  

1. 背景

在2020年,我們處身前所未有的挑戰,改變了人們生活與工作的方式,COVID-19帶來的全球危機把全人類的日常生活從根本連繫起來。過往數十年間,相互聯繫的環球經濟急速發展,地緣流動性快速增長,雖然令全球共同效率提升,但同時亦令傳染病擴散得更快更廣,也令人與人、國與國愈見互相依賴共存。危機中突如其來的挑戰,不僅突顯一碰即碎的經濟與政治關係,更重要的是我們開始看見了全球系統的脆弱。

 

由藝術品長期來回在不同國度間送遞,到業界人士馬不停蹄飛到世界各地參與藝術展,藝術世界是全球化的典範工業,藝術發佈不斷擴展的體制在不同層面上也值得我們深入研究。故此,我們需要認真重新審視藝術世界在過往數十年急速膨脹的發展——藝術市場被視為投資「熱錢」的代名詞,新興市場一頭熱的收藏家急切投入其中,加上藝術機構持續企業化。但可能藝術世界並非如許多人想像般運作。上個月,Jerry Saltz在《紐約》雜誌撰寫了題為《藝術世界的末日⋯⋯或新世界的誕生》(“The Last Days of the Art World … and Perhaps the First Days of a New One”) 的文章。也許有人會問,我們現在正處身新時代的開端嗎?還是站在藝術世界高低起跌輪迴上的轉折點,證明藝術世界永續膨脹並不可能?

 

在危機中,高貴晚宴、開幕酒會、VIP限定派對變成不可能,當藝術價值與縱橫交錯的社交互動和人際關係糾纏不清,經由藝術市場肥皂泡裡馬拉松式活動加持,而現在這個不停旋轉的迴旋木馬停下來了。然而這場危機亦加速了本身已進行中的轉型——重新考量藝術如何被接收,以及如何透過網絡初創計劃帶來影響力。在社區封鎖措施之下,實體白盒子藝術空間被轉化為「網上展廳」。霎時間,社交網絡不再只是宣傳平台,更是集教育、交流、互動於一身的空間。由一棟棟豎立於現實空間的博物館到一個個另類藝術空間均不得不投入創新。

 

實體藝廊在網上現身並非新鮮事,早在九十年代末,隨著互聯網急速普及,博物館館藏或展品便以數碼形式展出,加上「網絡藝術」等數碼藝術出現。「虛擬藝廊」在過往二十年的實踐證明,用滑鼠點選縮圖並選鏈結至高解像藝術品圖片的做法,並不如許多策展人預期般可以連繫觀眾。複製實體展覽空間——不論是360度浸入式導賞,還是高解像全景圖,均不可能遙距建構成觀眾在實體空間同等體驗,更做不到「看展覽」能夠做到的社交維度。也許嘗試用「虛擬」來取代實體藝廊是走錯了方向。

 

當我們重新審視藝術如何被接收以及如何透過網絡初創帶來影響力,還是面對著同一個問題——在這個受少數藝廊、收藏家及博物館主導的系統內,我們如何使藝術民主化?我們如何走出九十年代以「虛擬藝廊」主張來展示藝術的迷思?藝術世界怎樣可以在「後COVID-19」時代生存,沒有一個簡單的答案。與其回歸舊有常態,倒不如發掘何謂「非常態」並尋找不一樣的運作方式。

 

在現有挑戰的前提下,錄映太奇推出新創計劃「Content Lab」。Content Lab將致力推動創作,以新方式連繫觀眾,對香港以至其他地方更廣泛的社群發揮正面影響力。當中亦有培育新一代創作者的項目,鼓勵包括電影導演、社交影片製作者、迷因作者、遊戲玩家、視覺藝術家、聲音工程師、Instagram以至loop內容創作者。透過創作過程,此計劃用藝術去發掘個人身份、對人性的信心,以及對生命的正面態度。

 

2. 抱負

 

  • 教育公眾有關新媒體和傳播的知識,促進藝術業界與公眾合作。

  • 作為新一代探索創意創業潛能的跳板,促進橫跨不同年代創作思維的對話。

  • 鼓勵藝術表達將社會責任視為首要,讓社會弱勢能藉由創作發聲表達觀點。

  • 透過正視當代社會的「互聯個人主義」現象,擴展社區藝術的規模,連結社群成員。 

  • 透過建構平台令公眾更易於使用新媒體科技,培育個人表達。

     

3. 內容

Content Lab 設置七個項目,於網頁www.contentlab.hk及多個期間限定空間發佈:

MADE BY ARTISTS 藝術家製造: 

委托藝術家特意為社交平台發佈製作錄像作品及演出。

MADE BY THE LAB 自家製造:

錄映太奇團隊成員將製作錄像、迷因、創意文字等自家創意內容,意圖模糊策展人、藝術家、藝術行政、內容創意等角色的界線。

MAKE A CONVERSATION 製造對話:

透過社交平台直播活動,觀眾將有機會與藝術家直接對話。

MAKE WAVES - POP-UP CINEMA 製造浪潮 - 期限影院:

由錄映太奇團隊精心挑選作品,舉行一系列期間限定的流動影像網上放映活動。

MAKE YOUR CONTENT 由你製造:

為大眾提供機會製作自家虛擬實境錄像、濾鏡,以及由錄映太奇收集的錄像內容再創作。

MORE MAKINGS 延伸製造:

向公眾介紹一系列以媒體藝術史及背後故事主題的非傳統教育內容。

MAKE RESIDENCY LIVE  駐留製造:

透過邀請藝術家參與在不同遊戲平台上共同創作,一個以模糊虛擬與現實世界的數碼駐留計劃。

4. 影響

作為在香港成立超過三十年的非牟利團體,能夠以創新藝術方式實驗創作,超越固有設定,是我們一直以來的根本信念。 透過此初創計劃,錄映太奇將繼續在現有節目上精益求精,同時探索新媒體、教育、社區連結的不同方向,以期推動香港藝術生態向前發展。藉者把 Content Lab 當成將來創新策略與科技用途的試金石,錄映太奇期望推動藉著藝術在不同形勢仍保持靭力,幫助創造藝術在「後COVID-19」未來裡的可能性。

在那個仍未來臨的下一階段,希望等著我們的是一個「更好的常態」。

 

梁學彬

A “NEW NORMAL” MANIFESTO 

1.  Backdrop

The year 2020 has seen unprecedented challenges, marking a significant shift in the way we live and work, and revealing how the everyday lives of people have been profoundly mediated by the global crises of COVID-19. Over the past few decades, the interconnected global economy has accelerated significantly. The rapid increase in mobility between boarders has not only led to higher global efficiency, it has also allowed the rapid spread of contagious disease, alongside the deep-seated interdependence between people and nations. The unexpected challenge in moments of crisis not only exposes the fragility of our economic and political affairs, but more importantly, the vulnerability of the globalized system is only just beginning to become apparent to us.

 

The art world, an industry known as the epitome of globalization — from artworks constantly crossing borders to many art world players physically flocking to perpetual art fairs around the calendar — calls for a deeper investigation into the ever-expanding mechanism of artistic distribution at a variety of levels. It is necessary to seriously reevaluate the radical expansion of the art world over the past few decades in which the art market has been taken as a proxy for “hot money” in search of yield, alongside with the emergence of frenzy collectors from emerging economies and the perpetual corporatization of art institutions. Perhaps the art world does not work as many people thought it did. Last month, Jerry Saltz wrote an article on New York Magazine, titled, “The Last Days of the Art World … and Perhaps the First Days of a New One.” One may ask — are we in the dawn of a new era, or are we at the cusp of a permanent shift that proves that the endless expansion of the art world has never been sustainable? 

 

In the midst of the crisis, fancy dinners, gallery opening drinks, and exclusive VIP parties are gone. While artistic values are highly mediated by complex chains of social interactions and personal relationships, reinforced through marathons of events within the art market bubble, the merry-go-round has stopped spinning. Yet it has accelerated changes that were already underway — reconsidering the perception of art and how it is able to create impact with online initiatives. During the lockdown, physical white cube spaces have been reproduced into “online viewing rooms.” Suddenly, social media is not solely considered to be a promotional tool, but a place for education, transaction, and interaction. Players from brick-and-mortar museums to alternative art spaces are now forced to innovate. 

 

Physical galleries having an online presence is nothing new. Back in the late 1990s, digital representations of museums’ collections or exhibits, alongside with digital arts such as “net art,” emerged along with the popularity of the Internet. Two decades of experimenting with “virtual galleries” has proven that clicking a thumbnail that links to a high-resolution artwork image does not engage audiences as many curators thought it did. Replicating a physical exhibition space, be it equipped with immersive 360° tour or high-resolution panorama images, could never remotely create the sense audiences experience in a physical space, not to mention the social dimension enabled by a gallery visit. Perhaps the attempt to use “virtual” to replace the physical gallery has been going in the wrong direction.

 

In the context of reconsidering the perception of art and how it is able to create impact with online initiatives, the question remain — how can we democratize art from a system in which artistic value is largely determined by a handful of galleries, collectors and museums and how can we disrupt artistic presentation beyond the 1990’s notion of “virtual gallery” in social media? There are no easy answers to question of how the artworld could survive in the post-COVID-19. Instead of returning to the old normal, revealing what was “abnormal” and finding ways to operate differently is the way to go. 

 

Against the backdrop of these current challenges, Videotage is initiating the new project Content Lab. The Content Lab will generate creative outputs that thrive, finding new ways to engage audiences and deliver positive impact to wider communities within Hong Kong society and beyond, it will also serve as an incubation program to groom a new generation of creators, covering a wide range of disciplines from featured film directors, social filmmakers, meme makers, gamers, visual art artists, sound engineers, Instagrammers to loop creators. Through the process of creating, the project aims to utilize art to discover identities, find faith in humanity, and create a positive outlook on life.

2.  Missions 

  • To EDUCATE the public about new media and communication and to FOSTER collaboration between the art sector and the general public.

  • To SPRINGBOARD the new generation, allowing them to explore their creative entrepreneurial potential to cross-pollinate intergenerational dialogue. 

  • To MAKE social responsibility a priority of artistic expression and GIVE VOICE to the expression of minority viewpoints through content making.

  • To EXPAND the scope of community arts by acknowledging the phenomenon of "networked individualism" in contemporary society and RELATE to community members. 

  • To MAKE ACCESSIBLE new media technology to the public via a structured platform to NURTURE self-expression.
     

3.  Content

Content Lab includes seven distinct projects on a designated website www.contentlab.hk and at multiple pop-up spaces: 

  • MADE BY ARTISTS: 

Artists will be commissioned to produce video works and performances that are made specifically for social platforms.

  • MADE BY THE LAB:

Team members at Videotage will produce in-house creative content in the format of video, meme, and creative texts, attempting to blur the line between curator, artist, administrator, and content creator. 

  • MAKE A CONVERSATION:

Audience will have the opportunity to initiate dialogue with artists through a series of live social events.

  • MAKE WAVES - POP-UP CINEMA: 

A series of time-limited online showcase of moving images will be hand-picked by the team of Videotage. 

  • MAKE YOUR CONTENT:

An opportunity for the general public to produce homemade VR, filters and video contents by regenerating footage collected by Videotage. 

  • MORE MAKINGS: 

A series of nontraditional educational programs concerning media art history and behind-the-scene stories will introduced to the public. 

  • MAKE RESIDENCY LIVE: 

A digital residency program that aims to blur the boundary between the digital and physical worlds through engagement with artists in collective creative content-making sessions and various gaming platforms. 

4.  Impacts

As a non-profit organization that has been established in Hong Kong for over three decades, to be able to step to the forefront in experimenting with new artistic methods beyond the status quo remains our fundamental belief. Through this new initiative, Videotage will continue to improve on its existing programs and explore various approaches to new media, pedagogy, and community engagement that will potentially help to propel Hong Kong’s arts ecology forward. By using the Content Lab for testing innovative strategies and technological usages, Videotage aims to promote resilience in the face of adversity through art, and help create possibility of art in the post-Covid-19 future. 

The next phase, the one we have yet to enter, will hopefully be a “better normal.”

 

Isaac Leung 

ABOUT VIDEOTAGE 於錄映太奇

錄映太奇以香港為家,為非牟利藝術團體,專門推廣、創作並保存橫跨不同語言、形式和媒介的錄像及新媒體藝術作品。自1986年成立而來,錄映太奇已從最初的錄像藝術家聚會,日漸發展成為今時今日的國際媒體藝術網絡,鼓勵媒體藝術家透過其跨領域的藝術創作和交流平台去探索、研究並關注社會上各項與民生、文化及歷史息息相關的重要議題。

Videotage is a leading non-profit organization in Hong Kong focusing on the presentation, promotion, production and preservation of video and media art, serving artists in the expanding technological art and culture network. Since 1986, Videotage has developed itself from an umbrella for media artists, to a network of media art and culture for cross-disciplinary cultural productions, and platform to facilitate international exchange.

CONTACT US 聯絡我

Enter Your Email to Receive the Newsletter

Follow Us on Social Media

  • YouTube
  • Facebook
  • Instagram
  • patreon-512

© 2020 by VIDEOTAGE.

  • YouTube
  • Facebook
  • Instagram
  • patreon-logo-png-black-2