國影電影編號：M2025_12_13

放映規格：DCP

級別：普遍級

片長：65分鐘

發音：無對白

字幕：無字

★ 嘉妮凱瑟（電影導演與藝術家）、劉行欣（EX!T15 策展人, 電影導演與藝術家）出席映後座談 Post-screening talk with Janie Geiser and Cherlyn Liu Hsing-hsin

聚焦影人：世界的地板 － 嘉妮・凱瑟 8 部精選電影

Filmmaker in Focus: The Floor of the World – 8 Selected Films by Janie Geiser

1. 突然止血帶 Sudden Tourniquet

USA ｜ 2025 ｜ Video｜ Color ｜ Sound ｜ 7min 41sec

人體的醫學插圖與紙質建築物以及栽培和野生植物的圖像融合在一起，經歷了一段走向短暫性的橢圓形旅程。身體失去了體積，以某種方式存在，沒有了肉體。它們只是輪廓，穿越不確定的空間，無論是家庭空間還是其他地方。被切開，但沒有流血，當我們不再有眼睛時，我們會看到什麼？

「如同夢境，或一場狂熱，凱瑟的作品探討著深不可測、難以捉摸的事物，一個在她腦海中蘊含著特殊意義的宇宙，一個等待我們去探索的事物……凱瑟的圖像中蘊藏著太多值得探索的東西，她複雜的語言如同一本厚厚的潛意識使用手冊，充滿趣味的圖像有著太多值得探索的東西，她複雜的語言如同一本厚厚的潛意識使用手冊，充滿趣味的圖像有著獨特的語調。」 —— 何塞・薩米恩托・伊諾霍薩，《Desistfilm》

Medical illustrations of bodies merge with paper buildings and images of cultivated and wild plants in an elliptical journey toward ephemerality. The bodies lose their volume and exist, somehow, without flesh. Mere outlines, they travel through indeterminate space, domestic and otherwise. Cut open, but not bleeding, what do we see when we no longer have eyes?

"Like a dream, or a fever, Geiser's work deals with the unfathomable, with the ungraspable, a universe that has a particular meaning inside her mind, something that we deal to discover… There's so much to unveil in Geiser's images, her complex language is like a vast manual of instructions of the unconscious, playful images with a particular voice, layers and layers of different dialogues." — José Sarmiento Hinojosa, Desistfilm

2. 22 光年 22 LIGHT-YEARS

USA ｜ 2021 ｜ Video｜ Color ｜ Sound ｜ 13min 30sec

「在嘉妮・凱瑟的實驗電影中，陰影本身也成為了投影的空間，想像中的他者以視頻圖像的形式意外回歸的空間。」—— 丹尼斯・庫珀

暫停時間中的一次時間衝突，相隔數光年，綿延數光年。一棟房子／家被一次又一次地想像，住著一個從未見過面的家庭。他們離開又返回。這種情況一直持續著。

《22 光年》借鑒了一系列視覺來源，包括攝影底片、圖表、發現的圖案紙和檔案錄影。這些來源有時會與操作桌面家居設計軟體時螢幕錄製的影片合併，讓人感到不舒服。透過即時創建數位平面圖、景觀設計和無屋頂房屋，並操縱這些視訊使其進一步偏離軟體的意圖，凱瑟構建了一個數位化的、華麗的、橢圓形的、神秘的世界，在這個世界裡，房屋規劃永遠不會產生有形的房屋。熟悉的物質元素（底片、圖表、花籽包）披著非物質領域的外皮，暗示時間是同時的、可變的、未知的。

"In the experimental films of Janie Geiser, the shadow itself also becomes the space of projection, the space where the imagined other, in the form of a video image, makes its unexpected return."  — Dennis Cooper

A time clash in suspended time, light-years away and light-years long. A house / home is imagined and re-imagined, inhabited by a family who never met. They leave and return. This goes on and on and on.

22 Light-years draws on a range of visual sources, including photographic negatives, diagrams, found patterned papers, and archival footage. These sources merge, sometimes uncomfortably, with video that was screen-recorded while operating desktop home design software. By creating digital floor plans, landscaping, and roofless homes in real time, and manipulating those videos to move them further away from the software's intent, Geiser fabricates a digitally lush, elliptical, uncanny world, where home planning never results in a tangible home. The familiar material elements (negatives, diagrams, flower seed packets) wear the skin of the immaterial realm, suggesting time as simultaneous, mutable, and unknown.

3. 螢光女孩 Fluorescent Girl

USA ｜ 2018 ｜ Video｜ Color ｜ Sound ｜ 1min 31sec

螢光燈反射在書店裡一本攝影書中的一個女孩的照片上。她與其他陰影和光線的圖像融為一體，凸顯了她的短暫性和我們的短暫性。 這張名為《裁縫學徒》（1953）的照片由 Paul Strand 拍攝。

Fluorescent light reflects on a girl's image, found in a book of photographs in a bookstore. She merges with other images of shadow and light, highlighting her ephemerality and ours. The photograph, Tailor's Apprentice (1953), is by Paul Strand.

4. 幽靈代數 Ghost Algebra

USA ｜ 2009 ｜ 16mm to digital｜ Color ｜ Sound ｜ 7min 30sec

在變幻莫測的天空下，一個孤獨的身影穿越由人造自然和碎骨組成的景觀。 她透過腐爛的孔洞向外凝視，等待著，觀察著：身體的脆弱暴露無遺：短暫、液態，是緊張夢境的戰場。 《幽靈代數》使用發現的自然物體、重新拍攝的影片、醫學插圖和其他拼貼元素，暗示了「代數」一詞的原始含義之一：恢復缺失部分、將破碎部分重新組合的科學。

「……一個潛伏在意識邊緣的故事。」

——霍莉威利斯，《KCET》，《嘉妮・凱瑟的奇幻電影》

「 一部優美卻又頗具挑戰性的電影……『代數』這個詞似乎曾經與修復或重逢有關……但這部電影並非真正關乎數學。至少不是那種常見的數學。它關乎拼湊出一個世界觀。沉浸其中。 」

——阿萊桑德羅・西瑪，《燭光故事》

Under erratic skies, a solitary figure navigates a landscape of constructed nature and broken bones. She peers through a decaying aperture, waiting and watching: the fragility of the body is exposed for what it is: ephemeral, liquid, a battlefield of nervous dreams.

Using found and natural objects, rephotographed video, medical illustrations, and other collage elements, Ghost Algebra suggests one of the original meanings of the word "algebra": the science of restoring what is missing, the reunion of broken parts.

"…a story that lurks just on the edge of consciousness."

— Holly Willis, KCET, Janie Geiser's Fantastic Films

"A beautiful but difficult film..The word 'algebra' apparently used to have a meaning related to restoration or reunion…But this film is not really about mathematics. At least not the usual kind. It's about piecing together a vision of the world. Immersion."

— Allesandro Cima, Candlelight Stories

5. 樹影 Arbor

USA ｜ 2012 ｜ 16mm to digital｜ Color ｜ Sound ｜ 7min 04sec

透過一組在舊貨店裡找到的照片，凱瑟在表象與抽象、人物與風景、虛構與記憶之間創造了一個閾限空間。 《樹影》透過對照片進行微妙的處理來暗示記憶及其產物的脆弱性和短暫性：重新構圖、分層、反轉以及引入花朵和樹葉等立體元素。照片中的人物很少面對鏡頭；它們是瞥見的，而不是被看見的。他們將目光轉向別處，等待著某些不可避免的事情發生。 聚集在山坡上，躺在現已消失的樹木之外的草地上，《樹影》 的居民們度過他們一個難以捉摸的下午，逐漸屈服於時間或融入風景，為自己保留我們所不知道的東西——並成為他們自己故事中的影子。

嘉妮・凱瑟 的《樹影》由一組現成的照片組成......營造出一種幽靈般的幻影感。她將男女——凱瑟不認識的人——的影像疊加，疊加到他們躺在寬闊草坪上時，透過各種鏡頭和透明紙張扭曲他們，最終抹去他們的身影，用周圍的草叢取而代之。他們身體的痕跡不復存在。這種回歸自然的氛圍，也縈繞在電影和攝影媒介中。正如《樹影》令人難以忘懷地展現的那樣，兩者都處於一種陰影狀態，正如羅蘭·巴特所言，相機記錄下的存在，在被觀看時，必然會消失殆盡。 —— 吉納維芙・岳，《反向鏡頭》

From a set of photographs found in a thrift store, Geiser creates a liminal space between representation and abstraction, figure and landscape, fiction and memory. ARBOR suggests the fragility and ephemerality of memory and its artifacts through subtle manipulations of the photographs: reframings, layerings, inversions, and the introduction of dimensional elements, including flowers and leaves. The photographs' subjects rarely engage the camera; they are glimpsed, rather than seen. They look elsewhere, and wait for something inevitable. Gathering on a hillside, lounging on the grass beyond now-lost trees, the inhabitants of ARBOR cycle through their one elusive afternoon, gradually succumbing to time or dissolving into landscape, reserving for themselves what we can't know—and becoming shadows in their own stories.

"Janie Geiser's ARBOR (2012), made from a set of found photographs… produces a sense of ghostly apparition. She doubles the images of men and women, people unknown to Geiser, over themselves as they recline on a broad lawn, distorts them through various lenses and sheets of transparent paper, and finally erases their figures and replaces them with the grass around them. No traces of their bodies remain. This return to nature, so to speak, also haunts the media of film and photography. As ARBOR hauntingly illustrates, both share a shadowy condition in which, as Roland Barthes has argued, the presences recorded by a camera are, by the time of their viewing, inevitably gone." — Genevieve Yue REVERSE SHOT

6. 天空之花 Flowers of the Sky

USA ｜ 2016 ｜ Video｜ Color ｜ Sound ｜ 9min 15sec

《天空之花》（彗星的中世紀術語）取材自洛杉磯一家舊貨店發現的兩張全景照片，描繪了共濟會東方之星成員的聚會。第一張照片拍攝於一場宴會，參與者坐在桌旁，面對鏡頭。第二張照片中，每個人都穿著儀式長袍，目光從鏡頭移開，望向舞台。舞台中央站著一個人影，正對著他們。每個人都懸在空中，滿懷期待。

《天空之花》透過分離照片的各個部分，並突出東方之星成員的不同組合，揭示並模糊了原始事件。照片中傳達出一種觀望和等待某種超越日常生活體驗的事物發生的感覺。而某種事物確實發生了。大自然重新展現了自身，人物形象重合、顫動、升起，試圖逃離他們相互依存的生活，暗示著一種超越印刷世界的狂喜。

「在《天空之花》中，嘉妮・凱瑟優雅地將兩張舊照片進行疊加和遮罩處理，以此顛覆並重塑20世紀初的歷史。」—— 安德里亞・皮卡德，多倫多國際電影節

「凱瑟是一位極簡主義大師……她將過時的圖像和照片、神秘的物品以及被遺忘的流行文化重新語境化，將我們帶入一種感官的紋理暗流——一個暫停時間的休息室。 」—— 史蒂夫・安克，REDCAT

FLOWERS OF THE SKY (a medieval term for comets) draws on two panoramic photographs, found in a Los Angeles thrift shop, that depict a gathering of members of the Eastern Star, a Masonic order. In the first photograph, taken at a banquet meal, the participants are seated at tables and facing the camera. In the second photograph, everyone is dressed in ritual robes, looking away from the camera and toward a stage. A single figure stands there, centered on this platform, and faces them. Everyone is suspended, expectant.

Through isolating parts of the photographs and highlighting the different groupings of the Eastern Star members, FLOWERS OF THE SKY reveals and obscures the original events. There is a sense, in the photographs, of watching and waiting for something to happen, something beyond the experience of daily life. And something does. Nature reasserts herself, the figures double, vibrate, and rise, trying to escape their emulsive lives, suggesting a rapture that extends beyond their printed world.

"In FLOWERS OF THE SKY, Janie Geiser elegantly submits two thrifted photographs to superimpositions and masking techniques in order to trouble and recast histories of the early 20th century."  — Andrea Picard, TIFF

"Geiser is a master of minimal means…she recontextualizes outmoded images and photographs, arcane objects, and forgotten popular culture, releasing us into a sensual undercurrent of textures---the anteroom of suspended time."  — Steve Anker, Redcat

7. 反向陰影 REVERSE SHADOW

USA ｜ 2019 ｜ Video｜ Color ｜ Sound ｜ 8min

河流染紅，飛機盤旋在水面上，船隻在黑暗中航行，高樓聳立搖搖欲墜。當獵人們準備射擊時，災難似乎迫在眉睫。屍體成了軟靶子。

「我反覆夢到自己在樹林裡行走，一個獵人把我誤認為是一隻鳥。我能聽到它在森林裡穿梭的聲音。我總是在槍響前醒來，但那種恐懼感會整天縈繞在我的心頭。最近，即使沒有做這個夢，那種恐懼感依然存在。」——凱瑟

《反向陰影》的創作素材範圍十分廣泛，從兒童射擊練習遊戲到二戰戰機手冊、醫學書籍、全景照片，以及從飛機座位上拍攝的 iPhone 影片。聲音拼貼包括冷戰短波「數位電台」的錄音以及愛迪生錄製的瑞普・凡・溫克爾故事等來源。沉浸在一種懸而未決的憂慮氛圍中，我們感覺到災難正在等待著，等待著發生。

「嘉妮・凱瑟廣受好評的拼貼電影深入探究了清醒夢境的領域，將聲音片段和動態圖像編織成邏輯和記憶邊緣的神秘、省略的敘事。——史蒂夫・安克，REDCAT

Rivers run red, planes hover above water, ships travel in darkness, and towers loom and topple. Disaster seems imminent as the hunters prepare to shoot. The body is a soft target.

"I had a recurring dream that I was walking in the woods and a hunter mistook me for a bird. I could hear him moving through the forest. I always woke up before the gun was fired, but that feeling of apprehension would stay with me throughout the day. Lately, even without dreaming this dream, that apprehension is present."---Geiser

REVERSE SHADOW draws on a range of sources, from a child’s target practice game to brochures of WW2 warplanes, medical books, panoramic photographs, and iPhone videos shot from an airplane seat. The sound collage includes, among other sources, recordings of Cold War shortwave "numbers stations" and an Edison recording of the Rip Van Winkle story. Immersed in an atmosphere of suspended apprehension, we sense disaster is waiting, waiting to happen.

"Janie Geiser's acclaimed collage films delve deeply into the realm of waking dreams, weaving fragments of sounds and moving images into mysterious, elliptical narratives at the edge of logic and memory. "——Steve Anker, Redcat

8. 世界的地板 The Floor of the World

USA ｜ 2010 ｜ 16mm to digital｜ Color ｜ Sound ｜ 9min

在泥土和天空不斷變化的景觀中，挖掘和施工融為一體。人物在生與死之間來回移動，也可能移動至其他地方。存在是否短暫，是這個以數字為指引方向的世界中一個平凡的問題。世界的底部原來是容易被刺穿的、液態的、可滲透的。

「地球裂開，又吞噬掉它所有的秘密。」 —— 吉納維芙・岳，《視差視角：嘉妮・凱瑟近期電影評論》

In a shifting landscape of dirt and sky, excavation and construction merge. Figures move back and forth between life and death, and possibly somewhere else. The ephemerality of existence is a mundane question in this world, where numbers mark the way. The floor of the world turns out to be easily pierced, liquid, permeable.

"The earth opens up, then swallows back up, its many secrets."  — Genevieve Yue, The Parallax View: On the Recent Films of Janie Geiser

關於導演 About the Filmmaker：

嘉妮・凱瑟 Janie Geiser

嘉妮・凱瑟是一位多學科藝術家，其實踐涵蓋表演、電影、裝置和藝術。 凱瑟的作品以對廢棄圖像和物體的重新脈絡化、對人造物的擁抱以及對記憶、力量和失落的探索而聞名。凱瑟是古根漢研究員、2016 年多麗絲杜克藝術家獎得主和創意資本獎得主。凱瑟獲得了 2023 年斯坦布拉哈格視覺獎，該獎項頒發給「其作品突破了前衛和實驗電影製作極限」的電影製作人。他最近獲得了 2025-2026 年卡普蒂瓦島勞森伯格駐留計畫。「凱瑟表達了潛意識的聲音，指出了在社會和語言規則之前存在的被遺棄的輝煌。」（Holly Willis，Res，2004 年）。

凱瑟的電影曾在美國國家美術館、顯微鏡畫廊、惠特尼博物館、古根漢美術館、現代藝術博物館、太平洋電影資料館、蓬皮杜藝術中心、薩爾茲堡博物館、舊金山現代藝術博物館、洛杉磯郡立藝術博物館、沙迦雙年展、紐約電影節、鹿特丹國際電影節、多倫多國際電影節、倫敦國際電影節、奧伯豪森電影節放映。

凱瑟的電影被收藏於現代藝術博物館、紐約公共圖書館的 Donnell 媒體中心、加州藝術學院和柏克萊藝術博物館太平洋電影資料館。他的電影《紅色的書》被收錄於國會圖書館國家電影登記處。美國電影學院檔案館已將他的作品列入保存名單，《異度觀看 》（2000 年）被《電影評論》評選為過去十年十大實驗電影之一。

作為美國先鋒派木偶劇復興的先驅之一，凱瑟創造了創新、催眠般的表演和裝置，將表演物件、木偶和投影融為一體。他的作品曾在公共劇院、文德博物館、聖安倉庫、Redcat、沃克藝術中心和蓋蒂別墅展出。 凱瑟的表演獲得了 OBIE 獎、Bessie 獎，以及洛克菲勒基金會、國家藝術基金會、文化創新中心、MapFund、加州社區基金會視覺藝術家獎學金、洛杉磯市藝術家獎學金和蓋蒂別墅劇院實驗室委員會的資助。

凱瑟於 Five Myles 畫廊舉辦他的 2025 年展覽，2018 年在 Track 16 畫廊舉辦展覽以及 2014 年在洛杉磯 China Art Objects 展出了單頻道和多頻道影片和照片。凱瑟曾在麥克道威爾藝術中心、漢比奇中心、大西洋藝術中心和蒙塔爾沃藝術中心擔任駐村藝術家。 他的著作《龍捲風條約》被收錄於現代藝術博物館的藝術家書籍收藏中。凱瑟現居洛杉磯，是加州藝術學院戲劇學院的教師。他是 Automata 的聯合創始人兼聯合總監，這是一個由藝術家經營的非營利表演畫廊。

Janie Geiser is a multidisciplinary artist whose practice includes performance, film, installation, and art. Geiser's work is known for its recontextualization of abandoned images and objects, its embrace of artifice, and its investigation of memory, power, and loss. Geiser is a Guggenheim Fellow, a 2016 Doris Duke Artist Award recipient, and a Creative Capital awardee. Geiser received the 2023 Stan Brakhage Vision Award, presented to a filmmaker "whose work pushes the limits in avant-garde and experimental filmmaking." She was recently awarded a 2025-26 Rauschenberg Residency on Captiva Island. "Geiser gives voice to the reaches of the unconscious, pointing to the abandoned splendor that exists prior to the rules of society and language."  (— Holly Willis, Res, 2004).

Geiser's films have been screened at the National Gallery of Art, Microscope Gallery, the Whitney Museum, the Guggenheim Museum, MOMA, Pacific Film Archives, the Centre Pompidou, the Salzburg Museum, San Francisco MOMA, LACMA, the Sharjah Biennial, and NY Film Festival, Rotterdam International Film Festival, Toronto International Film Festival, London International Film Festival, Oberhausen Film Festival, Curtas Vila do Conde, and Hong Kong International Film Festival.

Geiser's films are in the collections of MOMA, The NY Public Library's Donnell Media Center, CalArts, and the Berkeley Art Museum Pacific Film Archive. Her film The Red Book is part of the National Film Registry of the Library of Congress. The Academy of Motion Pictures Archive has selected her work for preservation, and The Fourth Watch (2000) was selected by Film Comment as one of the top ten experimental films of the past decade.

One of the pioneers of the renaissance of American avant-garde puppet theater, Geiser creates innovative, hypnotic performances and installations that integrate performing objects, puppets, and projection. Her work has been presented at The Public Theater, the Wende Museum, St. Ann's Warehouse, Redcat, The Walker Art Center, and The Getty Villa. Geiser's performances have been recognized with an OBIE Award, a Bessie, and funding from the Rockefeller Foundation, NEA, Center for Cultural Innovation, MapFund, the California Community Foundation Fellowship for Visual Artists, a City of Los Angeles Artist Fellowship, and a Getty Villa Theater Lab commission.

Geiser's 2025 exhibit at Five Myles Gallery, her 2018 exhibit at Track 16 Gallery, and 2014 exhibit at China Art Objects in Los Angeles, featured single and multiple channel videos and photographs. Geiser has received residencies at MacDowell, the Hambidge Center, the Atlantic Center for the Arts, and Montalvo. Her book The Tornado Treaty is in MOMA's Artists Book Collection. Geiser lives in Los Angeles, and is on the faculty of CalArts School of Theater. She is a Co-Founder and Co-Director of Automata, an artist-run nonprofit performance gallery.