地點：蕭壠文化園區 A3 館
Location: Soulangh Cultural Park A3

藝術家：路克．弗勒、王君弘、李幼鸚鵡鵪鶉、吳梓安
Artists: Luke Fowler, Wang Chun Hong, Li You Parrot Quail, Tzuan Wu

另一種影像記事 The Other Cinema 策劃
The Other Cinema Collective Presents

視覺設計：鄭婷
預告剪輯：王鈞
開頭音樂：Simon Frank

攝影與電影是面對人們慾望而生的雙生孿子。人們為了精確地抓取流動的世界，他們發明暗箱在暗室的牆壁鑿了一個小洞，外在世界的影像便以反面的倒影被收攏在方屋裡。人們千方百計的想留住稍縱即逝的幻象，於是拼命地使用各種材質想把這幻境永久地固定與保存，於是人們讓記憶棲息在銅板上，玻璃板上，紙面上，這些影像的保留術便是攝影。讓影像靜止棲息後，似乎還不夠，人們便想盡辦法讓靜止的影像復活，不斷地驅使影像運動與流動，在暗室裡的投影，一道光束幻化為軌道上直行的火車，它就成了電影。運動的影像，似乎註定了它們不斷的在媒介裡，相異的空間裡流轉的命運，更甚，當運動被認為是電影最顯著的特色之一，電影影像便有了它的生命（animated film）如，尚．艾普斯坦（Jean Epstein），法國早期前衛電影導演與理論家認為電影是智能機器，是超級人類：「它複雜的內部結構與有機體般的內部反應，讓機械有了個體」，不僅僅是影像機械被擬人化，艾普斯坦還認為電影是一種招魂的，神秘主義的藝術，一種有靈的，招喚著物體生命的巫術。

運動中的電影影像，使得它們寄生在不同媒介與場所，尋找棲所。為了釐清電影影像在媒體與空間之間的搬遷圖誌，人們討論著，藝術與電影如何在機制間交流，電影影像如何從戲院的黑色空間進入白色的美術館空間，或是，擴大電影展現模式指向未來電影可能的任何媒介（擴延電影），抑是，謙卑地讓電影(cinematic)成為一種形容詞在美術館裡招喚古老的電影式觀影經驗。在「每部影片都是一道謎語」展覽裡，我們想探討的除了是動態的影像在戲院黑色空間，抑或美術白色方盒所呈現相異的觀影經驗。也想藉由藝術家的作品一窺電影影像的生命特性，關於影像的精神世界，情慾，生死，甚至影像的轉世。

Photography and film are the twins that were born to answer people’s desire to capture this ever-moving world. For this reason, the camera obscura was invented. An upside-down image of the outside world was projected through a tiny hole on to the wall of a dark room. People then exhausted all measures to preserve these evanescent mirages, until they could capture their memories on silver-plated copperplates, on glass plates and eventually on paper. The process to preserve these images is known as photography. However, it wasn’t sufficient to capture still images and hold them on a surface, so efforts were committed to reactivate these still images, to make them move and flow, as if in the real world. A projected image in a dark room, a beam of light transformed into the moving image of a train speeding forward on its tracks; these images in motion later became known as cinema. Images with movements seem destined to circulate constantly between mediums and dissimilar spaces. Moreover, when movement is considered the most distinctive characteristic of film, such animated films begin to possess a life of their own. An early French avant-garde film director and theorist, Jean Epstein believed that cinema was an intelligent machine, a superhuman, while he asserted that “the complexity of the structure and the internal interactions of a mechanical organism leads to the individualization of the machine...” Not only personified as the image machine, Epstein also considered cinema to be a spiritualistic and mystical art, or an animist art, that “reveals the life of things.”

Hence, cinematic images travel between mediums and spaces in search of a residence. There have been discussions aimed at illustrating the relocation of moving images between mediums and spaces, including the way in which images have moved from the dark room to the white cube and on to the grey space. Debate has also taken place on how art and cinema interchange between various exhibition mechanisms, as cinematic images begin to enter the gallery space and break through existing modes of display (Expended Cinema). Through the exhibition “Every Film is an Enigma”, we would like to explore the experience of viewing animated images in the diverse spaces of the black box and the white cube. The exhibition also aims to reveal the dynamic traits of moving images through the work of a number of artists, to expose love and lust, life and death, and furthermore the reincarnation of cinema.