水土不伏: 都市邊界．映像對話 Interflow: Screening Series on Urban Frontier
2024/10/27-11/3
剝皮寮視聽室 Bopiliao Movie Theater / 現流冊店 hiān-lâu tsheh-tiàm, Taipei
Curator: Qi Li, Po-yee Ip
Interflow indicates a movement of stream that dances back and forth between earth and water. Throughout the ages, massive infrastructural construction has gradually and constantly interrupted the vibrant, creative interplay between earth and water. Capitalist enclosure forges new territories, while others endeavor to mend what has been engulfed. Our collection of films repeatedly explores human’s two-way routes between water and land – charting the evolution of a lake’s shoreline, documenting the faces and happenings within evolving landscapes, and unraveling the complex spatial histories due to land disputes. Through the eye of the camera, we witness the multiple imprints left by interflow and the physical and emotional symptoms of the dwellers. Facing such unstoppable momentum, how might the everyday individual make their stand?
Turn to the divine, rewrite grassroots histories and tales, join collective actions, and bargain with the officials. Let multiple undercurrents go beneath the surface to reveal different trajectories of urban landscape beyond developmentalist narrative.
This screening series presents four films – Li Wen at East Lake (2015) and Go to Street with Boat towards Coop (2022), each captured in Wuhan, alongside Belief before the Deserted City (2023) and Remembering Haikou by Reperforming (2024), both set against the backdrop of Taoyuan. These films serve as inter-reference to each other under land acquisition and real estate monopoly, delving into place memory, unveiling the religious or historical enigmas, and championing artivism and cultural activism.
流動的水，有時覆蓋陸地，有時沿邊失守而向內退縮。人類史上各式各樣的浩瀚工程，漸次打斷水土之間的進退遊戲。圈地的怪獸開疆拓土，有人試著修補。我們在幾組影像裡，一再看見人們往返於水域和大地的路徑——他們測量湖岸線被移動的位置；觀察開發現場的人和事；因地塊爭執的現況而深掘歷史。攝影機捕捉地方水土被搬動後的殘影，還有人們的身心症狀。若開發的意志不可阻止，草芥小民如何反駁？
遍求諸神，編造野史，集體行動，與官周旋——讓眾多伏流重新浮上地面，覆寫發展敍事掩蓋的地景。
本活動展映四部影片——於武漢拍攝的《李文漫遊東湖》(2015) 和《路上行舟》(2022)，於桃園拍攝的《空城前的相信》(2023) 和《造舟、問石，祭（記）海口》(2024) ——作為彼此的時空參照，共同討論土地徵用和地產霸權下的水土記事、神秘現象、藝術行動和文化抗争。