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Season
of the Boys
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CANADA,
U.S.A./ 1999 / English / Color / Video / 4 min
Director, Photography, Producer: Ho Tam
Source: Video Pool Inc.
#300-100 Arthur Street, Winnipeg, Manitoba, R3B 1H3
CANADA
Phone: 1-204-949-9134 / Fax: 1-204-942-1555
E-mail: vpdist@videopool.mb.ca
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Ho
Tam
Born in Hong Kong and educated in Toronto, Canada. Worked in advertising
firms and community psychiatric facilities before turning to art.
He works in a diverse mix of disciplines including painting, video,
print and public art and has exhibited in various cities across North
America. His first video, The Yellow Pages, was commissioned
by the public arts group Public Access for an installation/ projection
at Union Station in Toronto in 1994-95. Tam currently lives in New
York City and is a graduate of Whitney Museum Independent Studies
Program and a recent artist-in-residence at Charles Street Video,
Toronto. He is working on his new tape, Matinee Idol. |
Shot at the Chinatown Basketball Tournament in New York City, August
1997, which the director stumbled upon by chance. The video documents
Asian boys who can jump, or, at least, pass the ball. Living between
Black and White Americans, the Yellow boys attempt to negotiate a
space for themselves. An exploration of how the culture of youth and
beauty is constructed from an intimate viewpoint, mixing unlikely
subjects of athletics, voyeuristic desire, and poetic expression.
Director's Statement
My work is an exploration of our understanding of universal truths
within the context of present time. Using personal history and experiences,
it is conjugated of images and sometimes languages exploring our relationship
to the "trans-cultural" changes around us. Through layering and shifting
the images and words, I am interested in creating a new set of perspectives
and possibilities for re-invention and interpretation.
Focusing on issues around identity of community and individual, the
work examines a human society that has become increasingly diverse
and intricate. It looks at various myths and legends in our everyday
living. And at the same time, the human traces depicted confront the
meaning of our very own existence.
While documenting truths in human understanding, the work itself is
not intended to illustrate any collective experience. Rather, it is
made up of my very own detached and fragmented visual memories, often
simple and mundane. And it is with this self-consciousness that the
work questions and expands the manner of our perception.
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COPYRIGHT:Yamagata International Documentary Film Festival Organizing Committee
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