14 Paintings
CHEN Dongnan
China〡2023〡Doc〡Color〡24 min〡Mandarin
✧2024 阿姆斯特丹國際紀錄片電影節入圍
✧2023 SUNDANCE FILM FESTIVAL（2024日舞影展入圍）
✧2023 西寧FIRST青年電影展
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As a new government’s initiative compels thousands of painters in Dafen Village to shift from producing copies to creating originals, the film investigates fourteen made-in-Dafen paintings on set to explore the interplay between art, commodity, and social dynamics in today’s Chin The film also forms an expressive exhibition dedicated to the painters who must reassess their own identity while navigating a rapidly changing landscape.
Director
CHEN Dongnan
Dongnan Chen is an independent filmmaker from Xi'an, China. Her debut film, SOUND OF VISION, an experimental short following a blind man’s exploration of New York, was nominated for an Emmy, premiered at HotDocs and broadcasted on PBS POV. THE TRAIL FROM XINJIANG, a profile of three pickpockets from China's far west Xinjiang, won best documentary short at Asian American International Film Festival New York and has been widely screened worldwide. SINGING IN THE WILDERNESS tells the story of a Miao ethnic choir on the upland of China's southwest and is part of IFFR, ND/NF, DMZ, Sydney FF, Thessaloniki, RIDM etc,and won special jury prizes at LAAPFF. Dongnan is a graduate from New York University and a fellow of Sundance story and edit la
11.02 ㊅ 13:00 〡永成戲院
11.10 ㊐ 12:10〡台南新光影城 4 廳 〡★ Q&A session with the Director
同場放映：《仙境展開》《我記得．我記得》
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玲巧，會心，小吁嗟。
In today's Dafen, "copy painting" has become a veritable taboo, a notorious past that the community is eager to distance itself from. "Original painting" is the new hot word, in sync with the latest policy, calling for Dafen to "move towards high-end”. Since China’s reform and opening up, Dafen has been closely following the market trend. Its paintings, instead of the painters’ creations, primarily fulfill the changing needs of the consumers from different social backgrounds. In recent years, with the sharp decline of international orders, Dafen has to enter a new phase. Who are the consumers for the original paintings now? Where will they be displayed? Can the painters find themselves a place in the art hierarchy? Is “original art” a lofty ambition, or a way to survive? I want to carefully gaze at these paintings that are frequently encountered yet often overlooked, and to create an exhibition for these works that cannot enter the art museums.
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