摘要：PART2 与GridthiyaGaweewong的对话 ConversationwithGridthiyaGaweewong GridthiyaGaweewong曾与阿彼察邦在1997年成立了曼谷实验电影节，目前任职于曼谷吉姆·汤普森艺术中心，担任艺术总监 GridthiyaGawe…
Conversation with Gridthiya Gaweewong
Gridthiya Gaweewong founded the Bangkok Experimental Film Festival with Apichatpong in 1997, and is currently the Artistic Director of the Jim Thompson Art Center, Bangkok.
阿彼察邦 Apichatpong Weerasethakul, 热室 Fever Room, 2015, 现场图 Installation View, Courtesy Kick the Machine Films
Apichatpong Weerasethakul, Uncle Boonmee Who Can Recall His Past Lives, Shooting Site, Courtesy Kick the Machine Films
January 1, 2016
Khamvongsa Hotel ,Vientiane, Laos
GG: What do you enjoy the most when you are working?
AW: I used to love developing scripts. The filming process is torturous because it's very stressful. Lately, since working on Primitive (a multi-platform work), I try to think of the developing process and production as the same thing. Production is more responsive to change. It 's greatly influenced by art the readiness to improvise. I let myself go more. When I created Sud Pralad, I was a real monster. But by the time ofSyndrome and a Century, I started to change. I think I've changed a lot up till now.
GG: How do you divide the work? How do you choose which is a piece of art and which is a feature film?
AW: Art is a large canvas. It is about the participation of an active audience. Film embraces the viewer. For me, art requires the memories and perspectives of the audience to complete. Like in Fireworks, the audience can see the work from a different perspective than I can. There is a push and pull between art and film, a shift in the activity and passivity of the audience and the filmmaker or artist.
GG: But your films don't necessarily manipulate the audience. There may be many moments that remind the viewer- hey, this is a movie. I think your films give the audience a lot of freedom rather than telling them when to laugh and when to cry. There is so much freedom in your filming that I can't delineate which is art and which is film. The line is blurred.
AW:Because you are a particular kind of audience. You don't approach watching like a zombie. Sometimes a film hits you in the right spot and activates you . Not everyone is like that. Some are used to having their hands held. That's why films have somany cuts, so that the audience can forget the frame, forget the mechanics of film.
Courtesy Kick the Machine Films
Conversation with Andrea Lissoni
Andrea Lissoni，英国泰特美术馆, 担任高级策展人，负责电影和动态影像的展览以及展示。
As Senior Curator, International Art (Film), Andrea Lissoni is responsible for exhibitions and displays of film and moving image works at Tate Modern.
Apichatpong Weerasethakul, Uncle Boonmee Who Can Recall His Past Lives (still), 2010, Courtesy Kick theMachine Films
AL:你之前经常会提及某些艺术家和实验电影制作者(玛雅·黛伦, 安迪·沃霍尔, 布鲁斯·百利…)对你产生了很大的影响。实验电影制作是如何在你的作品中继续占有一席之地的?
Jenjira Pongpas, Apichatpong's regular actor, played several important roles in his works, Courtesy Kick theMachine Films
AL:Night and day, light and dark. The fading and interplay of these are strongly present in your work and are intertwined either in smooth or abrupt manners. You evoke this through the use of flares and fireworks or within natural environments, such as lightning in caves. These techniques can recall both the cinema, its nature and its apparatus, and the representation of historical moments as well. Do you think of this when conceiving a film or an installation work?
AW: I empathize with a cave man who seeks comfort in the dark, who is calmed by fire and shadows. We all are. I was drawn to filmmaking because of this awe in natural phenomena. Movies and dreams were hard to distinguish when I was young. Animated flashes of thunder in ghost movies, massive floods, earthquakes, or a shot ofthe sun with scratches as the rain, they are embedded in youth's reality from popular fiction.When I make movies, I am fascinated by simple light change, or disruption. It's aprimal pleasure.
AL: Where does your relation to art come from?
AW:I never thought of getting myself into the art context. I was into cameras and experimental film. It was during the early 2000 that Thailand's art scene became active. I was working in film in this collective calledProject 304. I coprogrammed screenings and film festivals. That was a time when experimental film had started to have many crossovers with visual and media artists. Venues intermixed and the borders slowly disappeared. I am interested in the different ways I use the camera in relation to this border, which for me is still there but it's becoming more fluid. Memories are also affected, because I view my work as a diary. The expression of memory is a kind ofmemory. It's interesting to live this transformation.
AL: In the past you often recalled how certain artists and experimental filmmakers (Maya Deren, Andy Warhol, Bruce Baillie...) were influential for you. How has experimental filmmaking continued to play a part in your work?
AW: I am amazed by the way these artists use their cameras to look. Their works evoke the artificiality of the medium, of time. I am always inspired by this effect because it echoes the existence (or not) of self. You can look at the mind and the body as artificial as well.
AL:How do you see the life and the survival of film?
AW: The actual material, film,will be gone of course. Physically, it has been always in transformation, from nitrate toacetate, from different sizes of film, etc. Digital is a big change but I believe if we look back from the future, it will be an opening of an era when cinema starts to be more personal. Our manipulation of light is getting closer to interacting with our mind, our voices.
Conversations were excerpted from Apichatpong Weerasethakul Sourcebook: The Serenity of Madness, edited by Apichatpong Weerasethakul, ICI and MAIIAM Contemporary Art Museum, November 2016.
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