{"id":2481,"date":"2020-09-23T14:33:50","date_gmt":"2020-09-23T05:33:50","guid":{"rendered":"http:\/\/www.imageforumfestival.com\/2023\/?page_id=2481"},"modified":"2023-10-19T17:00:34","modified_gmt":"2023-10-19T08:00:34","slug":"program-f","status":"publish","type":"page","link":"http:\/\/www.imageforumfestival.com\/2023\/en\/program-f","title":{"rendered":"\u300aF\u300bEast Asian Experimental Competition6"},"content":{"rendered":"
\n\"\"<\/p>\n
Taiwan \/ USA<\/span><\/p>\n

Teetering Graphite<\/h2>\n

Cherlyn Hsing-Hsin LIU \/ digital \/ 13min. \/ 2022<\/h3>\n

\u201cMama, do you remember me?\u201d This question is repeated over and over in a gentle tone. No clear reply comes from the mother. Scenery of the surrounding mountains and rivers shot in black and white on 16mm film is obscured by multiple exposures and soft focus, as though corresponding to the mother\u2019s vague memories. A portrait of lost, irreplaceable moments tenderly captured by the camera. <\/p>\n

\"\"Cherlyn Hsing-Hsin LIU<\/strong>
\nCherlyn Hsing-Hsin Liu is an interdisciplinary artist, filmmaker, and writer whose work is grounded in literature, painting and the conceptual avant-garde. Her working methods involve handcrafted material, mixed media, and interchange between new and old technologies.
\nShe is a lecturer at CalArts, curator of the film series Threshold to Threshold, founder of Experimentalist Media Collective, and editor of B-Journal.<\/div>\n<\/div>\n

\n\"\"<\/p>\n
Japan<\/span><\/p>\n

ABITA<\/h2>\n

nakice (OKUNO Miwa, FUJISHIRO Yohei) \/ digital \/ 20min. \/ 2022<\/h3>\n

Transitioning from garbage floating to the surface of a river, a living room appears on the screen. The sliding door opens, and a woman gets up from her futon. Then there is another transition. In a large, empty room, a woman creakily pushes a chair up to a bed. Cuts between the ordinary and extraordinary. Eventually the setting becomes a large empty room\u2026 An experimental work of physical expression in which dancers interweave with objects such as drums and bathtubs.<\/p>\n

\"\"\"\"nakice (OKUNO Miwa, FUJISHIRO Yohei)<\/strong>
\nUsing the body, artifacts, and natural objects as materials, nakice expresses in the form of installations, videos, and art works that use performance and its traces as an art. This work, “ABITA” (2022), exhibited at the installation “ABITA@JINNAN HOUSE,” and it\u2019s nakice’s first work as a video.\n<\/div>\n<\/div>\n

\n\"\"<\/p>\n
China \/ USA<\/span><\/p>\n

The Perfect Human<\/h2>\n

Lilan Yang \/ digital \/ 13min. \/ 2023<\/h3>\n

J\u00f8rgen Leth\u2019s \u201cThe Perfect Human\u201d (1967) is a thirteen-minute cult work that uses the approach of a mock scientific film to pose the philosophical question \u201cWhat is the perfect human?\u201d By feeding footage of this film into machine learning and outputting it through analogue printing technology, this work attempts to bring into relief an archetype of the \u201cperfect human\u201d that connects print media to the era of AI. <\/p>\n

\"\"Lilan Yang<\/strong>
\nLilan Yang (b. Chongqing, China) is a Boston-based artist and experimental filmmaker who explores the myth of cities and landscapes, ways of seeing and unseeing, and sentiments of remembering and forgetting, through lens-based analog media and digital technologies. She received a BS in Computer Engineering from University of Illinois at Urbana-Champaign and an MFA from Rhode Island School of Design.\n<\/div>\n<\/div>\n

\n\"\"<\/p>\n
China \/ USA<\/span><\/p>\n

fur<\/h2>\n

Zhen LI \/ digital \/ 7min. \/ 2022<\/h3>\n

An expression of one-sided love? A girl\u2019s finger reaches out toward a boy sitting in front of her in class. When the boy turns around, she quickly pulls her hand back. When she leans from the window she sees the moon along with the boy, and something like a thin thread descends from it\u2026 A hand-drawn animation in which psychological scenes unfold one after another, but the live-action scenes are also remarkable!<\/p>\n

\"\"Zhen LI<\/strong>
\nZhen is a Chinese-American animation artist based in LA. She worked years as an architectural designer and live-action line producer before she started making animation. Her work centers around expressing the in-between, and often reveals an affinity to darkness, misalignment, warping realities and folded feelings.
\nZhen is pursuing an MFA in experimental animation at CalArts.\n<\/div>\n<\/div>\n

\n\"\"<\/p>\n
Japan<\/span><\/p>\n

\u30e9\u30a4\u30ab\u30ef\u30a2\u30c3 \/la\u026akawa\u02d0\u0294\/<\/h2>\n

NOSE Daisuke \/ digital \/ 2min. \/ 2023<\/h3>\n

On grass bathed in soft sunlight, a lone figure quietly practices the bass. Along with the dull sounds of the bass, the sounds of nature surrounding him are audible. A light new work released in 2023 by NOSE Daisuke, an artist who has been making personal films since the 1990s.<\/p>\n

\"\"NOSE Daisuke<\/strong>
\nHe began making films in 1997. ” DAILY LIFE, DAY AFTER DAY ” (1999) was nominated for the Image Forum Festival 2000. In 2021, he purchased a ukulele bass and started the bass fingering exercises. While practicing scales daily, he is considering the relationship between sound and movement (mainly the pinky finger).\n<\/div>\n<\/div>\n

\n\"\"<\/p>\n
Japan<\/span><\/p>\n

Howling<\/h2>\n

KAWAZOE Aya \/ digital \/ 24min. \/ 2022<\/h3>\n

The protagonist who sensed his own death the face of his dead younger brother deeps his conception of the uncertainty of his own existence. The latest work by IFF 2012 Grand Prix winner Kawazoe Aya, this film was inspired by the short stories \u201cTooboe (Howl)\u201d and \u201cMeiido (Hell)\u201d by Uchida Hyakken. An ambitious work that aims to express the interplay between life and death in the flickering light of cinematography through a narrative that weaves back and forth from memory to reality.<\/p>\n

\"\"KAWAZOE Aya<\/strong>
\nBorn in Yokohama in 1989. Studied under Shinji Aoyama at Tama Art University, then under Kiyoshi Kurosawa at the Graduate School of Tokyo University of the Arts. “Flame Out” (2012) won the grand prize at the Image Forum Festival 2012. “Humongous!” (2020) was officially selected for the short film section of the 2020 Cannes International Film Festival\u2019s Semaine de la Critique.\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Taiwan \/ USA Teetering Graphite Cherlyn Hsing-Hsin LIU \/ digital \/ 13min. \/ 2022 \u201cMama, do you remember me?\u201d This question is repeated over and over in a gentle tone. No clear reply comes from the mother. Scenery of the surrounding mountains and rivers shot in black and white on 16mm film is obscured by […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"program.php","meta":{"_locale":"en_US","_original_post":"http:\/\/www.imageforumfestival.com\/2023\/?page_id=2244"},"_links":{"self":[{"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/pages\/2481"}],"collection":[{"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/comments?post=2481"}],"version-history":[{"count":7,"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/pages\/2481\/revisions"}],"predecessor-version":[{"id":4834,"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/pages\/2481\/revisions\/4834"}],"wp:attachment":[{"href":"http:\/\/www.imageforumfestival.com\/2023\/wp-json\/wp\/v2\/media?parent=2481"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}