關於 collective consciousness ，我們在網路上蒐集到這些相關的討論、資訊與評價

▋你所認為的正常生活不見得是「#正常」的
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前陣子，我看了一部名為《1917》的電影
在完全不曉得具體細節
僅知道這是一部戰爭片且得到許多獎項的前提下
我帶著週末小酌的悠閒怡情開始這部長近兩小時的電影
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片子開始的前 15 分鐘
我跟老公還一邊嬉笑打鬧，不是特別專注
15 分鐘後，我整個人被吸進它細膩且緊繃的劇情中
說是用跪著看完的也不為過（絕對目瞪口呆挑戰三觀）
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看完之後我腦中浮現的第一個念頭是：
「天啊，這大概是我這輩子看過最好看的電影耶⋯⋯」
我轉頭跟我先生對看了一眼
他對我說：「Damn! WHAT A TRIP!!!」
我突然整個人講不出話
想討論劇情也說不出來個所以然
完全深陷劇情中無法自拔
就像是創傷後遺症無法痊癒
當晚直至隔天（隔好幾天）
我腦中除了不斷回放的故事情節之外
都沒有辦法想其他東西
.
這部戲特別的地方在於一鏡到底的拍攝手法
加上恰到好處的音樂與出神入化的演技
看完之後覺得自己不是在看電影
而是欣賞了一個多小時的藝術品
.
我之所以會提到這部電影
是因為在我們日復一日的生活中
我們極有可能將它視為理所當然的正常生活
認為政府就應該保護我們
或者公司老闆應該要有更完善的應變措施
這些或許都是應該
但絕對不是理所當然
.
你能想像有一些地區的人現在除了疫情擴散
還得面臨戰爭、炮彈掃射家園的逃亡生活嗎
你能想像某些國家的人除了對抗疫情
還要努力在品質低劣的貧困日常中尋找活下去的希望嗎
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對我們這種幾乎是活在第一世界的人來說
這些生活樣貌是很難想像也很難體會的
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在台灣剛升三級警戒的當下
你或許會覺得你所認知的世界受到大力動盪
你或許會覺得這種恐慌感吞噬了你的好心情
你甚至會開始怪某些國家、怪某些官員
怪他們把你的計畫打壞、讓你無所適從
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但是
這也或許是上天賜給我們的挑戰
它讓台灣體驗其他國家的「正常生活」
它讓我們能不止看見自己的需求
而是跳出深井的體會世界各地正在經歷的苦難
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對於已經過了三級警戒超過十個月的 me 來說
我上一次去美容院剪頭髮、去電影院看電影
去博物館、去百貨逛逛購物
以及去餐廳的室內用餐
都已經是一年多前的事情了
.
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能夠身在台灣，能夠在出生時就成為台灣人
本來就是一種 Privilege 
本來就是一件超級幸運的事情
肯定是因為上輩子有燒好香
轉世才能在起點線就超前
但正因為如此
我們更不可忘記這是世界級的災難
這是歷史性的非常時期
非常時期就需要非常團結
非常時期更需要非常冷靜
.
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我現在也越來越常在睡前禱告
雖然本身無宗教信仰
但我覺得將好的祝福跟意念傳遞給 universe 
或許我們的 collective consciousness 
能夠帶起正面能量
這段時間我們共體時艱、一起禱告
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Nothing last forever,
This too shall pass.❤️
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Zoey
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👉Follow我的IG👉 @zoeyk.co

You are invited to my upcoming solo exhibition 𝘽𝙚𝙛𝙤𝙧𝙚 𝙈𝙚𝙢𝙤𝙧𝙞𝙚𝙨 𝙀𝙭𝙥𝙞𝙧𝙚 @jpsgallery !!

“How do we, as humans, individuals, and members of a community, embrace the destruction and recreation of our socio-economic cityscape, collective memories and interwoven identities?” — Elaine Chiu

Growing up in Yau Tsim Mong District, one of the busiest neighbourhoods in the city, Hong Kong artist Elaine has witnessed the drastic and continuous transformation of the urban space and environment since her childhood. The transient, fluidic, intersecting memories and impressions about Hong Kong have been deep-rooted in her consciousness and self-identity.

With the effect of the amendment of the Building Ordinance in 2011, thousands of sign boards, hand-written or neon-lit, have since been removed all around the city. In the past three years, Elaine initiated an on-site sketching campaign to record the fleeting cityscape with her paintbrush in the past three years. Street-sketching prompts her to contemplate the disappearance of numerous heritage buildings and tenement houses in the local community under rapid urban renewal.

Titled 𝘽𝙚𝙛𝙤𝙧𝙚 𝙈𝙚𝙢𝙤𝙧𝙞𝙚𝙨 𝙀𝙭𝙥𝙞𝙧𝙚, this exhibition is a continuation of Elaine’s previous on-site sketching and community art project. Centring her research around endangered buildings, architecture, cityscape, and memories of Hong Kong, her work explores different organic carriers, and their relationship with time and people, including community spirit, architectural structures and memories, that are formed bottom-up in the urban space. This exhibition features Elaine’s latest acrylic paintings, watercolour works on paper and a fresh to her practice sculptural work. ✨

This solo art exhibition will be on view from 6th May to 6th June, 2021 in JPS Art Gallery. The opening reception will be on 6th May, 2021, 5-8pm.
​
Rsvp for the opening: https://www.elainechiu.com/events/before-memories-expire-opening-reception

#BeforeMemoriesExpire
#記憶若有限期
#ElaineChiu #趙綺婷
#jpsgallery

《女性的復仇》最新專訪，刊登於藝術電影平台 MUBI。文章中也呈現了一些開拍前的分鏡手稿。
An interview/review by #MattTurner now on MUBI.

“In his recent “reshooting” series, Taiwanese artist-filmmaker Su Hui-yu takes forgotten or forbidden artifacts from Taiwanese’s cultural collective consciousness and brings them vividly back into the present, re-staging and reworking elements of the source materials into elaborate, expressive new scenarios that involve careful, considered choreography of both the camera and performers, bright, bold color and costuming, and no shortage of sexual or violent imagery. The result is something like a speculative remake, not so much a re-imaging but more a reimagining: a new work that bears ghost-traces of the original, related to it but unshackled from its limitations.”

https://mubi.com/notebook/posts/an-interview-with-su-hui-yu-ghost-traces-of-the-original-in-the-woman-s-revenge