古琴音乐讲座11/9 香港电影放映座谈会11/16

Film: Lost In The Fumes《地厚天高》
- Victoria Tin-bor Hui 许田波 (Associate Professor of Political Science in the University of Notre Dame)
- Ho-Fung Hung 孔诰峰 (香港民族论 author and Chair of the Department of Sociology at The Johns Hopkins University)
- Walter C. Clemens, Jr. (Professor Emeritus at Boston University and author of “Could Hong Kong Become Another Estonia?”)
- Frances Hui 许颖婷 (Author of “I am from Hong Kong, not China” and Hong Kong activist based in Boston)

(The panel discussion is conducted in English. The film has Cantonese audio, with English and Chinese subtitles.)

Massachusetts Institute of Technology Hong Kong Student Society
Local HK-activist Frances Hui

We will screen the movie Lost In the Fumes, which is a biography of Edward Leung realizing his struggle during his political movement in 2016 (Read the details below), following a panel discussion, which will focus on the political climate of Hong Kong, such as the rise of localism, the conflicts between HK and China under one-country-two-systems, and the rapid evolution of the format of the Hong Kong political movement.

Invited speakers:
Victoria Tin-bor Hui, Associate Professor of Political Science in the University of Notre Dame
Ho-Fung Hung, Professor and Chair of the Department of Sociology at The Johns Hopkins University
Walter Clemens, Professor Emeritus at Boston University and Associate Professor at Harvard University's Davis Center for Russian and Eurasian Studies
Frances Hui, Hong Kong activist based in Boston and student journalist at Emerson College minoring in political science

Date: November 16 (Saturday)
Venue: MIT Building 34-101, 50 Vassar St, Cambridge
Time: 2:30 p.m - 5:30 p.m.


许田波:University of Notre Dame 政治学系副教授
孔诰烽:The Johns Hopkins University 社会学系主任及教授
Walter Clemens:Boston University荣誉退休教授 及 Harvard University Davis Center for Russian and Eurasian Studies副教授
许颖婷:bet356邮箱验证_bet356靠谱不_bet356首页顿香港社运人士及Emerson College 新闻学系学生,副修政治系

地点:MIT Building 34-101, 50 Vassar St, Cambridge

Clash of The Times in Hong Kong: Independent Movie Series and Discussions on Hong Kong's Political Climate

In this series, we will screen movies made by independent filmmakers that reflect Hong Kong’s political climate in the past five years, followed by a panel discussion on related topics. Through the message of movies and the exchange of ideas in the discussion, we aim to unveil the root cause of social conflicts seeded since the Umbrella Revolution in 2014, and the emergence of the unprecedented protest-model in recent anti-extradition-law movement. We hope the series could be an opportunity for the audience to review their standpoints and compare the diverse political views that arose in such an uneasy peace. Ultimately, we wish all of us put aside our prejudice, respect the diversity of the social movement and keep striving for the development of civil society in Hong Kong. The series is co-organized by Harvard University’s Asian Pacific American Law Students Association, the Hong Kong Student Society of MIT and local HK-activist Frances Hui.

There will not be any entrance fee. But voluntary donation in cash/credit card is highly encouraged. Collected donations will first be transferred to a non-profit organization (will be announced soon) as an intermediary to cover the cost of the event, then a portion will go to subsidizing Ying-E-Chi for its film production cost and future operation, while the remaining funds will be transferred to "Spark Alliance HK" to aid protesters in Hong Kong arrested from political engagement.

Ying-E-Chi is an HK-based non-profit arts organization established by a group of Hong Kong independent filmmakers. We acknowledge their hard work in creating Hong Kong independent movies that reflect topics untouched by the mass media industry.

Spark Alliance Hong Kong is a non-profit foundation that supports grass-root arrestees, including free legal consultation, subsidized emergency medical service, arranging family visits, and assisting employment in future.

【时代中的矛盾与革命: 独立电影放映会及香港政治气候嘉宾座谈】

是次放映活动系列由 哈佛大学亚太美国法学生组织、 麻省理工学院香港学生会 以及 bet356邮箱验证_bet356靠谱不_bet356首页顿香港社运人士许颖婷 联合举办,将会播放独立制作电影,反映这五年来香港政治气候。电影播放完毕後,将会有嘉宾座谈会讨论相关的焦点议题。我们希望观众藉此讨论,理解香港各种政治思潮的异同,以及社会各种冲突和矛盾的成因,从而思考自己在动荡政局中的定位,放下彼此成见,让各种社会运动百花齐放,为建构香港公民社会共同奋斗。




Lost In The Fumes|Hong Kong|2017|93min|In Cantonese with Chin&Eng subtitles
Edward Leung was an average student before he unexpectedly finds himself at the focal point of two Legislative Council elections. The 60,000 votes from By-election guaranteed his seat in the next round, yet the regime closed the door of LegCo by imposing extra measures. He could only put his backup Baggio Leung into the race. Meanwhile Edward faces counts of rioting charges for taking part in the Mongkok Protest. Once an rising star, now may be a doomed prisoner. As the oath-taking controversy unfold, Edward retreats from spotlight and goes studying abroad while chaos continue to reign over Hong Kong.

梁天琦没有想过自己会由寂寂无名的普通大学生,成为近年两场香港立法会选举的焦点。补选曾得的六万多票让他足以稳操胜券夺得一席,然而,下一轮选举中,他虽签过确认书,高墙却宣告他无缘踏足议会。他说过「就算爬入去、躝入去也好, 也要成为一个代议士」,结果,他只能作旁观者,为後备名单上的梁颂恒拉票助选。年初一晚,警察在旺角冲突时向天鸣枪,梁天琦也在现场。背着三条暴动罪的控告,他的自由生活正在倒数。镁光灯背後的梁天琦,不再是雄辩滔滔的明日之星,而是他朝可能锒铛入狱的阶下囚。梁颂恒当选以後,梁天琦骤然消失在政治乱局当中。当香港接连发生宣誓争议、人大释法、多位议员资格被取消,他在余下日子却毅然负笈美国进修。

坐忘雅聚  古琴音乐与文化讲座
由bet356邮箱验证_bet356靠谱不_bet356首页顿琴社主办,琴人杨信宜老师主持的『坐忘雅聚』将於119日﹝周六﹞下午二时正假Bedford Town Center举行年度雅集。内容有琴曲弹奏、文化讲座及交流时间三部份;讲题为「内视返聼:魏晋南北朝的音乐文」,主讲者吕晨晨,现为哈佛大学建筑与艺术史博士研究生。活动进行以中文为主,免费入场,欢迎自由赞助。地址:Union School Room, Bedford Town Center, 12 Mudge Way, Bedford, MA 01730,网址:www.bostonguqin.org

Attachments area

BCPA 10th Anniversary Gala

Purchase the ticket(s) for the BCPA 10th Anniversary Gala 订购BCPA十周年庆典晚会门票
Dress code (着装要求): Black Tie (正式)
Age (年龄): 21 or older (年满21岁)
Date (日期): October 6, 2019 (2019年10月6日) 5:00-10:30pm
Place (地点): Charles River Museum of Industry & Innovation (查尔斯河工业与创新博物馆) @154 Moody Street, Waltham, MA 02453
Food and drinks will be provided in the event. Event activities include keynote speech, performances, games, selfie photo studio and more. 晚会提供食物和酒水「门票包括中西式finger foods,点心Dim Sum和非酒精饮料。酒精饮料需自行购买(红/白酒:$5;啤酒:$4)」
   Brie and Pear Phyllo
   Caprese Skewers with Balsamic Drizzle
   Pecan Crusted Chicken Bites with Honey Dijon Dip
   Classic Crab Cakes with Roasted Red Pepper Remoulade
   Herb and Garlic Shrimp with Saffron Aioli
   Vegetarian Maki Rolls with Wasabi, Soy and Pickled Ginger
Ukrainian coloratura soprano (乌克兰花腔女高音歌唱家)Olga Lisovskaya, and Italian tenor Giovanni Formosano. Together they will perform well known Russian and Italian songs along with popular operatic arias.
《那些年》倍低音大提琴,吉他合奏-Carion and Cary
配乐诗朗诵 《光影之间》-单东旭
《再回首/ 凴着爱》国语粤语三人重唱-Annie,  Weibo and Cary
旗袍舞《韵》-表演者:BLT时装队,冯立宁,罗丹 ,周莉,王堤,唐昱寰, 王仲丽 。 编舞和指导老师:冯立宁
互动游戏,主持: 东旭
《My Way》– Annie, Daryl
Please select ticket type and number of ticket, then click “Add to cart”.
请先选门票种类 “Ticket type” (Member 会员 or Non-member 非会员),然後输入购买门票数量,最後加入购物车 “Add to cart”.
Each BCPA member may purchase up to two member tickets (one for the member and one for his/her dependent member). There is no number limit for purchasing non-member tickets. 
Please note: if you are purchasing member ticket(s), please add BCPA member # in the “Order notes” field when you fill out billing information.
请注意,如果您购买的是会员票,当您填写付帐信息时请在“Order notes”的地方填写BCPA会员号码。
You will receive a confirmation email once your payment is successfully processed. Your digital ticket(s) will be send to you in a separate email.

        LIN, CHIA-HUNG
YV Art Museum
administered under CAI

Acton, MA – Contemporary Arts International (CAI), a nonprofit art center, also known as YV Art Museum, presents the painting exhibition entitled FAR EAST PHENOMENON by LIN CHIA-HUNG in CAI’s Gallery. An opening reception with artist talk will be held on Sunday, October 6 at 2 PM.
After half a century of globalization and the existence of the internet, one would think the phenomena in the Far East are quite familiar to the world, but it is quite the contrary. This exhibition seeks to raise awareness, and hopefully, build a bridge for better understanding of the Far East. In this show, the paintings of “cute, little, girlish, and simplified” portraits undoubtedly confront the taboo in western art that “Art speaks the Truth,” with an assumption that the Truth of human nature is far from being cute and simplified. So the critical question is: Is it Lin the artist’s conscious confrontation or is it Lin Chia-Hung’s naiveté? 

Lin started his career as a portrait painter, however he was frustrated that viewers only wanted to see “who is the person of this portrait,” not its aesthetics, not its conceptual value, so he decided to remove individuality from the image.  His background in manga training equips him well with this stylizing technique. His bright-eyed girlish woman speaking through her stunning eyes and dainty nose and mouth, strongly suggests his influence from the Japanese manga art form.

It is common knowledge that manga is the most influential social commentary media in Japan. It reaches out to all walks of life, all ages, and backgrounds in society. In a highly structured society where rules bind everything, manga is like a little naughty devil, giving people tickles for some fun, to jump above social constraints for a little while. Overlain with visual Pop Art, it slips funky ideas or politically incorrect comments into peoples’ lives and the media know that its treacherous deeds will be forgiven. Taiwan, being under Japanese occupation for 50 years prior to the end of World War II, was certainly submersed in its influence. However, Chinese also has had its own “Maan Hua” (translated as “Manga” in Japanese) as one form of literary culture for centuries. This historical context helps us understand where Lin’s source of inspiration comes from. Evidently, from his series of paintings we have read his social commentary on “Student/ Schooling” issues, “Marriage” issues, and the “Rebels” in disguise behind the innocent face.

While in the old days, the mechanics of animation consisted of thousands of hand-drawn pictures, this process is now simplified by computers. As an experienced animation film editor, Lin expands the seemingly quiet female figure with subtle movement. She is not moving in this instance, but it looks as if she is surely about to move, her big eyes are going to blink any minute. The definition of “animation” is “bringing to life”, and Lin animates his painting, bringing us the essence that neither computer nor photograph can compare. From here on, one is equipped with sufficient information to imagine the drawings before and after this picture.

Surely, Truth can’t be all beautiful, but, fine artists seem to be the special genus of people who take on the mission to investigate deep into the not-so-beautiful part of human nature. Artists question troublesome social norms and the avant-garde, and we feel that we should carry the cross to speak up on subjects that are not “beautiful” and “comfortable”.  As a result, artwork that catches public attention is provocative by nature. It is not difficult to find evidence among renowned artworks that bravely demonstrate “Art speaks the Truth” with extreme means. One example is the use of unconventional material like elephant dung. Chris Ofili, 29, born in Manchester UK, just won the 20,000 pound Turner Award, by making shit beautiful. Another example is the human body exhibition by Gunther von Hagens, an attraction crafted out of the gruesome dead. As all material has been explored, all subjects have been examined; the Truth seems to be on the flip side of the beautiful. Being an academically trained artist with his antenna open to the art world, Lin knows what the art world is chasing after; therefore, “naiveté” is out of the question. The fact is, he bumps into the “prettiness taboo” head-on.

Furthermore, in the realm of portrait, regardless of style, Western perception of being “realistic” in terms of capturing the essence of the person is undeniably an important factor for its aesthetic value. So another question materializes: Is Lin’s portrait figure realistic? If so, in what sense is it realistic? For this question, let’s go to the market place in Asia. The millions who have traveled to the Far East surely have witnessed common places such as markets, department stores, restaurants, streets, and surely have had contacts with Lin’s “stylized” female figure. In Western countries with more diverse features, “beauty” stresses on individuality. Lin’s figure of the Far East, where features are fairly homogeneous (black hair, dainty noses and eyes, etc.), all differences have been simplified to the common denominator of femaleness. Lin’s depiction of the eyes seems to mock the fact in the Far East that big eyes are thought to be the essential trait in a beauty. But if one looks more closely, it is not so much the eyes that are big in proportion to her face, it is the rest of the features, i.e. mouth and nose, that are dramatically small. Moreover, the rest of the body is miniaturized, leaving only the round face and big eyes to advocate the story. Still, the general impression is they are too beautiful and too cute, even though one can see these are women, not little girls. Their make up and behavior captures the real women in service industries, for example restaurant’s wait staff. True, they are paid to do the job, but they are real, they are everywhere, real in the Far East and real in Lin’s painting.

From Far East classical aesthetics, the 3-D likeness of a portrait to a real person is not from the contrast of light and shadow, a technique universally valued in the West. There was never a single light source like that of Rembrandt’s painting in the Far East tradition.  In fact, prior to westernization, shadow in a painting read as “dirty smudges” that a trained fine painter would not do. In contrast to the western tradition of portraits in which an artist may do several paintings from one model, each with a different setting, facial expression, or style to articulate the artist’s ideas, Lin creates one “signature figure” with a neutral expression. There is no indication of mood except a minimal area of white on or around the pupil, sufficient to suggest its context. He gave the portrait a clean (without shadow), universal (no individuality) look. Perhaps it is passive aggression, or more appropriately, an aggressive submissiveness, which many Westerners generalize as the Asian behavior toward outsiders. As a result, we often hear the comment “an outsider will never be truly accepted in an Asian society, particularly Japan”. 

When meeting with the public, Lin appears to be shy, quiet, and humble. Like his signature figure, he is projecting a “quiet space” for his audience to create their own context, a humble motivation, and quite effective. As art critic Yi Tze Guo so appropriately compared Lin Chia-Hung to Yoshitomo Nara, she commented “The manga/cartoonish style of his (Lin’s) characters manifests the young generations’ bantering attitude/humor; while on the other hand, the emotional layers under the seemingly serene surface are reminiscent of the subtle aesthetics of classic humanism.”
One could say that Lin’s work is the Taiwanese Yoshitomo.  

Furthermore, Edward Lucie-Smith in ARTODAY stated his observation that “The main difference (between the period from 1960 to the present and the first six decades of the twentieth century) is to be found in plurality, absence of hierarchy, and a vast expansion of the cultural base.” Any art movement has to build upon a former art platform, which we call heritage or tradition. The Pop Art movement in the US in the 60s from Andy Warhol certainly was no exception. What is Warhol’s heritage? We might say the late Modernism when commercialism started rising, which is very different from Japanese Pop Art star Takashi Murakami’s heritage in Japanese art, which combines westernization with commercialism. However, in Japan and Taiwan, while the Pop Art movement permeates into all forms of traditional art, we would also expect a society so repressed with rules and discipline to be cautious and play it safe for the act of Pop Art liberty. In Murakami’s case, he stands on the shoulders of sophisticated prints from fine art in the Emperor’s court down to the fabric design in the common market place. In terms of subject he tactfully blends fashion, commercial objects, advertisements, and even western performance. While his painting in the olden days would have been taken as wallpaper, it is now deliberately portrayed as fine art work in major Museums around the world. Lin’s painting is a continuation of the Pop Art movement in the Far East, constrained, but liberated nevertheless.

Surely no one doubts that Art is an important communication tool, and if one were to measure its success by how many people an art form has reached, Pop Art would rank most highly in the West, while in Japan, Manga would be the first of the first. The sheer number of people under Manga’s influence emphasizes its importance.

Pop Art is fine art. Lin’s painting is the meeting place where painterly tradition merges into the animated computer world, a 21st century Far East phenomenon that few westerners have shifted gears to enter, look, and understand.

Lin Chia-Hung’s manga style painting has won him many awards in international Art Expos. His paintings are in the collection of National Taiwan Museum of Fine Arts.

Our art grounds are open to the public Thursday-Sunday from 1PM-6PM. CAI’s admission fee is $5 for students & seniors and $10 for adults.

For more information, visit our website at www.contemporaryartsinternational.org.

Contemporary Arts International (CAI), also known as YV Art Museum, is a non-profit, 501c3 tax-exempt organization located in a 12-acre granite quarry in Acton MA. The mission of CAI is to promote the creation, understanding and appreciation of contemporary arts in the global context through art education, residency, exhibition, and international symposium. For more information, visit www.contemporaryartsinternational.org

Contemporary Arts International (CAI)
68 Quarry Road
Acton MA 01720
Phone: 617-699-6401  
Email:  ypeet@verizon.net

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