13.8.2019 20:00
SJT | Moonshine Film Screening: Square, Park, Fairyland and Ruin
Soeng Joeng Toi

Ou Feihong: Burning (2019)

Ou Feihong: Burning (2019), 10’07’’, film still

Moonshine Screening Project

Moonshine Screening Project, installation view at SYNNIKA, 2019

What are the common features of Square, Park, Fairyland and Ruins?
That they are all man-made, artificially defined, managed or abandoned?
That they are all distinguished with memorability?
That they are within reach but out of control?
Or that they have been trendy once one after another and asleep in dust in other times?

Open urban spaces where citizens gather and separate,
representation of the wilds that, driven by animal instincts as well as calling by urban residents;
Surreal spiritual terrains subtly constructed by their rebellious objects, and in which the participators would subconsciously become anti-capitalistic and anti-disciplinary;
A sudden and sophisticated integration of the most splendid and ruined parts of human civilisation….
Going across thousands of squares on this planet, and they are just points of departure for memories and forgotten histories….

In Chinese, a ‘park’ literally means a public garden. That maybe because, in the past, ‘garden’ only refer to the ones that are privately owned or possessed by the aristocrats.
In the period of socialism, the most common name of a park was the ‘People’s Park’, an idealised community of collectivism.
Would a lazy, non-striving flaneur/ wanderer/tramp in the park equate himself with ‘people’?
Could loneliness and self-consolation achieve the occupation of parks, when ‘love and peace’ become the slogan of squatting/ occupation?

If happiness can be produced elaborately, can sorrow be commodified?
How is 36 months of life being told about the specific image of happiness?
Ball pools could still stimulate my natural interest at the age of 30….
Does escaping from the homogenized secular happiness mean being graceful and transcendent?

The ruins are always relative to human activities.
In the human world, all ruins have the value of being transformed from waste into treasures.
The ruins is a new type of composite geological resources. For instance, the longer age the minerals endured, the more valuable they are, becoming the paradise of capital.
On the other hand, those temporary ruins that sprout in the suburbs( the crack of capital integration) are usually ignored by human beings and become a paradise for non-human life/inanimate objects.

They are beneficial and healthy, popular and loved by the mass.
But they can also be shoddy, fake and despondent.
They can cultivate commonality, but can also be the faked version, which can not produce “undistorted communication” (Jürgen Habermas)

The following short films, entered these public spaces in Canton, China.
(Text: Moonshine Screening Project— Zimu,Yubin, Alu)

1 Fairyland yet to dream, 07’04 (2019)

This short video is inspired by the Guangzhou Children’s Park that was demolished in 2001 due to the excavation of the ruins of Nanyue Kingdom Palace. Wei used it as a narrative framework, linking it to the discussion on how homogenized methods of production compose contemporary happiness.

Xin Wei (born 1992 in Guangzhou) currently lives and works in Guangzhou and Shanghai. He graduated from the School of the Art Institute of Chicago. He creates research-based narrations using mixed media, including writing, programing, sculpture, and moving image.
His recent research is primarily concerning with the production logistics behind everyday objects that carry messages of social class and exist within the society of the spectacle. He purchases small projects from online retailers and commissions factories around China to witness their work process. With these actions, he attempts to create a re-narration of the production-consumption-production circle.

2 Burning, 10’07’’ (2019)

Introduction: A young beautiful mother is taking care of her children while sorting out pigwash in the suburb of Guangzhou. She said, there was no other way for us.
The overall environment has tightened and deviated to the right since the end of 2017. Looking around and seeing all evil, incapable as I am, can only go to the ruins to paint and set them on fire.
Cast: He Quan, Xie Shaoya, Liang Manyong

Ou Feihong:
Freelancer, currently work and live in Guangzhou, China. (ins:oufeihong)

3 Those Squares, 21’08’’ (2019)
Will you still experience nostalgia when the world starts to forget everything? Will you believe in the power of daydreaming? Will there be an explanation to everything that exists or has disappeared? Will you still remember those everyday feelings? This video documents the changes and memories that take place by the roads- just a small corner of a big city.

Lu Xinyang
She is an illustrator but now makes videos for documentation. She is a video game lover, an ordinary and friendly person, daydreaming in her conservative daily life.

4 Occupy Qing Xi Park, 07’42’’ (2017)
I returned to the small town Qing Xi where I grew up and documented how migrant workers were utilizing the public space, particularly the town park in their leisure time. They performed a certain type of occupation of the park (time, space, mind…). Together with participatory filming from the workers and my own reminiscence, the video serves as an affective archive of the world factory coming to an end.

Zimu Zhang:
Zimu Zhang is a moving image practitioner and researcher. She is currently conducting her PhD research at City University of Hong Kong. Her research focuses on the conjunction of moving image with new materiality and society of control. She is also active in film curating, alternative space building and socially engaged art practices. She is the co-founder of the Moonshine Screening Project, one of the proprietors of the co-organized space Soeng Joeng Toi in Guangzhou.







它们可以孕育公共性,但也可能是假冒的公共领域(哈贝马斯),无法产生“未失真的沟通(undistorted communication)”

(文字:月光放映计划—— Zimu, Yubin, Alu)

1《浮园遗梦》,07’04 (2019)

辛未: 1992年生在广州,本科毕业于芝加哥艺术学院,现生活和工作在上海广州两地;他的媒介囊括写作,编程,雕塑,影像等多种混合形式,以完成他相关研究的复合叙事。辛未近期的研究主题主要关注景观社会之中具备阶级特征的日常物品生产逻辑。他最近经常就通过网络购买各类小商品和对全国各地工厂下各类订单以推进工作进度,并在其中展开生产-消费-生产这一轮回的再叙述。

2《燃烧》,10’07’’ (2019)

欧飞鸿:自由职业, 目前工作生活于中国广州 (ins:oufeihong)

3 《广场的角落》, 21’08’’ (2019)

卢心洋: 她是一个有一定纪录片工作经历的插画师,现在开始尝试独立制作纪录短片。她喜欢电子游戏,是个普通而友善的人, 总是在局促的日常生活中做白日梦。

4 《占领清溪公园》,07’42’’ (2017)