入围第十二届中国独立影像展“广阔天地”展映单元

屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

Farocki's newest film portrays a brainstorming session about new concepts for mobile workstations which would grant employees a high degree of autonomy - and leave experts grappling for words. The product concept is bold, but intellectually flimsy, and best serves as a reflection of existing world order. Once again, colored markers and eye-catching graphics are used to disguise heartless capitalism. The cutesy branding of neoliberal market economics is grotesque... and fascinating.

「設計思考」是當下設計界和企業界同樣熱門討論的一個話題, 近年由美國知名公司 IDEO 所引爆,提倡左右腦並進的企業模式,也將人性關懷及創意發想帶進創業與決策的大雅之堂。設計思考的理念和用途, 當前在美國備受爭議, 而本片的出現客觀呈現各界對設計思考的正反意見, 將能帶來更多的省思。

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."

2021威尼斯电影节非竞赛展映。

2021威尼斯电影节非竞赛展映。

一个女人与她的椅子的故事。