藝術家高重黎繼在倫敦The Peltz Gallery的首次個展之後，現正在同樣位於倫敦的LUX在英國時間5月14日舉辦放映座談會，高重黎的最新作品《延遲的刺點：堤Ⅱ》（2015）在此舉行首次放映。現場並將由英國泰德現代藝術館（TATE）助理電影策展人George Clark主持座談，邀請藝評人張世倫及高重黎倫敦個展策展人周郁齡，探討高重黎的電影語言、影像政治美學、台灣在冷戰下的歷史脈絡，以及家庭電影與台灣早期實驗片的關係。除了高重黎的《家庭電影》（1988），也將放映1960年代《劇場》季刊核心人物之一——莊靈的影片作品《延》（1966），以及張照堂早期的實驗短片《剎那間的容顏》（1970）等。
In conjunction with ‘The Man with the Film Projector’ (23 April – 5 May 2015), Kao Chung-Li’s first solo exhibition in the UK, LUX is hosting a screening and panel discussion which aims to explore the history of experimental film in Taiwan as well as Kao’s specific film aesthetics.
The screening will showcase a number of rare films, never previously shown in the UK, including Zhuang Ling’s Life Continued (1966) and Chang Chao-tang’s Face in Motion (1970). Zhuang Ling was one of the core members of Theatre Quarterly, a self-funded avant-garde magazine which introduced European art and film theory to Taiwan, and was published in Taipei by a group of young film aficionados and intellectuals in the 1960s during the martial law era. In a claustrophobic environment that exercised strict thought control, Western modernity represented for these young people an attempt to break free. Chang Chao-tang participated in Theatre’s second experimental film screening with his short film Diary (1967). He later worked at a government-controlled TV station where he made Face in Motion as a result of being bored beyond belief. Kao Chung-Li’s early experimental film Home Movies (1988), which inspired Yu Wei-yen’s film Gang of Three Forever (1989), will also be shown at LUX.
Chaired by George Clark, Assistant Curator of Film at Tate Modern, the panel will consist of Chang Shih-lun, a PhD candidate at the Centre for Cultural Studies, Goldsmiths College, and Chou Yu-ling, the curator of the exhibition of Kao Chung‐Li’s work at The Peltz Gallery (Birbeck), who will discuss Kao’s idiosyncratic investigation of cinematic language, film history, and the Cold War politics within the historical context of Taiwan, as well as the relationship between home movies and Taiwanese early experimental film.
