從此岸緩緩的擺渡到彼岸，是地域的轉移，也是時光的流逝。在游移的過程中，物非人非事事變，催促我們留意身邊的人與事、收拾值得留念的物件與回憶、思索要麼留戀原地見證變遷，要麼告別所處再出發遠行…
是次展覽，我們擺渡到中、上環，與十一位藝術家/組合一起重新發掘區內的生活經驗，以及身邊的人事物如何隨地域、時間的擺渡而改變。這群生於斯、長於斯或選擇在香港生活的藝術家，有著不同的文化經歷。透過錄像、表演、木偶劇、裝置等媒介以及不同形式的活動實驗，我們各自表達在本地尋求身份和關係的特殊經驗，同時關注城市的生活空間、微觀歷史和社群記憶，以及藝術如何與社群建立關係。
沒有歷史的大敍事、也沒有經濟的神話。我們試圖藉著個人經歷、社區集體的故事，從具體的生活和「被消失」的空間出發，追問本土文化如何再生產及思考價值的可能性。這意味著改造本土文化的內在訴求，探索「自我」在本土文化的定位，並尋回我們對地方的歸屬和文化再創造的能量。
在擺渡的過程中，我們相信本土情境該是過去、現在、未來的互動。藝術文化不分種族、地域、傳統或現代，我們在乎的卻是它是否包容開放，以接納各方交流共享。是次藝術家或以特殊的互動協作，或以社群參與方式作回應，大家不妨擺渡其中，探求自身發展空間、身份意義和參與經驗。上岸一刻，大家或許會帶點擺渡過後微醺，搖搖晃晃間瞥見繆思之所在。
策展人:丁穎茵、何翠芬、黃傑瑜
參展藝術家:王浩然、Anya Ventura 、方琛宇、李民偉、林欣傑、海潮及美姬．藍、許方華、陳錦成、黃頌恩、魂游、劉學成、鄭志明
展期:1月23日-3月13日逢星期五、六、日
地點:荷里活道舊已婚警察宿舍
開幕演出:王浩然、Anya Ventura、海潮及美姬
工作坊:陳錦成
與策展人及藝術家對話
2月28日2-4pm
丁穎茵、何翠芬、黃傑瑜、李民偉、海潮、許方華、陳錦成、魂游、鄭志明
Re-orientation
Re-orientation is a journey through different spaces and time. On this journey one may witness things changing, and the people around us transforming; one may desire to keep some of these things by collecting memories. One then might ponder whether to linger in the same place, or depart for another.
In this exhibition, the tour goes through different locations with 11 artists/groups to reexamine the experience of daily life in Central and Sheung Wan, to try to understand how people or things respond to spatio-temporal changes. Though some were born and raised, or living in Hong Kong, the artists have different cultural backgrounds and experiences. They demonstrate their unique experiences through diverse mediums including video, performance, a puppet show, installations, and creative activities. Their artworks are also reflective of many city living spaces, micro-histories, and how arts builds a relationship with the communities.
Turning away from a grand narrative of history or economic myth, the journey begins with personal stories, communities’ memories, life experiences, and ‘the lost’ space. This exhibition encourages viewers to consider how local culture may reproduce other possibilities and contemplate on ones own values. It is a self-reflective journey that considers how ‘an individual’ is positioned in the context of local culture, re-establishing a sense of place, and revitalising the creative capacity of the culture. In the process of re-orientation, we believe that local context is shaped by the interaction between the past, present and future. In removing boundaries between races, regions, and even traditions and modernity, it is imperative that arts should be open to embracing the exchange and sharing of ideas.
In this exhibition, the artists initiate different forms of interactions, or community participation that encourage one to transform individual viewing experiences into explorations of personal identity, the meaning within a space and how should it be developed. Upon leaving, one might feel slightly intoxicated by the arts; here, and encounter their muses.
Opening 23 Jan 3:00pm-8:00pm (Performance by Hoi Chiu and Maggie Blue O’Hara at5:30pm, and Adrian Wong at 6pm.)
Curators: Selina Ho,Vivian Ting, Jonathan Wong
Participating artists: Chris Chan,Cheung Chi Ming, Carl,Silas Fong,Hoi Chiu and Maggie Blue O’Hara,Phoebe Hui,Lau Hok-shing,Keith Lam,Tim Li + Paul Chan, Adrian Wong and Anya Ventura,Magdalen Wong,wenyau
Venue: Block B, the former Police Married Quarters, Hollywood Road
Opening Hours: Fri, Sat and Sun
Website: http://www.huluhk.org/had/
When: 23 Jan 2010-13 March 2010
Performance by Adrian Wong and Anya Ventura, Hoi Chiu and Maggie Vlue O'Hara
Workshop by Chris Chan
Artist talk
28 Feb, 2010
Selina Ho, Vivian Ting, Jonathan Wong, Chris Chan, Cheung Chi Ming, Hoi Chiu, Phoebe Hui, Tim Li and wenyau
2010年2月5日 星期五
回憶銀行--策展團隊
photo courtesy: Selina Ho
想清理悲傷的債務，回憶銀行幫到你！策展團隊身為銀行大班，以來自社群絡的回憶為銀行儲備，歡迎公眾前來交換有關中，上環難忘的回憶，以悲傷換取快樂。本號歡迎大家帶同相片一張，背後寫上你的回憶，即可前來開戶。成為存戶，可自由選取其他存戶的回憶，為回憶不斷增值。
程序︰
1. 將自己的回憶或感受寫在你帶來開戶的照片背面。
2. 於回憶銀行的儲備中尋找你心儀的照片或回憶，並取下。
3. 換上由自己帶備的中、上環照片。
* 如果你沒有帶備照片，本號也歡迎閣下在白卡紙上以文字或圖畫的形式記下你的回憶，交換其他相片。
Memory Bank
Curatorial Team
Do you want to clear your debt of grief? “Memory Bank” is here to help you! Collecting memory from the community as the bank reserve, Memory Bank welcomes you to exchange your sadness with other people’s happiness through exchanging memories of Central and Shang Wan. Bringing photos with memory or feeling written at the back, you are entitled to open an account and able to exchange with other people memory freely.
Procedure:
1. Write down the memory or feeling on your photo(s) of Central or Shang Wan.
2. Choose the photo(s) of other people from the Memory Bank reserve and take it down.
3. Replace it with your own photo(s) of Central and Shang Wan.
If you don’t have any photos with you, you are also welcome to write or draw your memories on the white card in exchange of others’ memories.
鳴謝/Acknowledgement: After School
程序︰
1. 將自己的回憶或感受寫在你帶來開戶的照片背面。
2. 於回憶銀行的儲備中尋找你心儀的照片或回憶，並取下。
3. 換上由自己帶備的中、上環照片。
* 如果你沒有帶備照片，本號也歡迎閣下在白卡紙上以文字或圖畫的形式記下你的回憶，交換其他相片。
Memory Bank
Curatorial Team
Do you want to clear your debt of grief? “Memory Bank” is here to help you! Collecting memory from the community as the bank reserve, Memory Bank welcomes you to exchange your sadness with other people’s happiness through exchanging memories of Central and Shang Wan. Bringing photos with memory or feeling written at the back, you are entitled to open an account and able to exchange with other people memory freely.
Procedure:
1. Write down the memory or feeling on your photo(s) of Central or Shang Wan.
2. Choose the photo(s) of other people from the Memory Bank reserve and take it down.
3. Replace it with your own photo(s) of Central and Shang Wan.
If you don’t have any photos with you, you are also welcome to write or draw your memories on the white card in exchange of others’ memories.
鳴謝/Acknowledgement: After School
百年老店之學成號雜貨: 舊物交換與收集行動--劉學成
photo courtesy: Selina Ho
混合媒介裝置
“學成號雜貨舖”是一幢仿照舊唐樓的建築風格，用舊紙皮和舊物建造的流動舖頭。在區內四出遊走，我會坐鎮鋪內，打開窗戶與街坊聊天，藉以收集不同物品和物品背後的故事。期間在不同地點開鋪的過程會被一一拍攝，錄影，並與所收集的物品重新裝置成雕塑，在展覽場地展出，與觀眾分享舊物舊事舊情味。
我一直擔心這副人鋪合體的怪模樣會嚇壞街坊，又或遭受街坊冷遇，無法與大家展開交流。原來這副擔心是枉費的。當我拉著舖頭四出巡行，街坊大多好奇走來觀看，你一言我一語的，告訴我住在這區的點點滴滴。有一些媽媽更帶著小朋友前來，憶述自己住在舊唐樓的兒時往事。原來過去與現在是這樣的接近。
特別鳴謝照片攝影師：林磊剛
錄像攝影師：梁世潘
錄像剪接：麥梓樂
劉學成畢業於澳洲皇家墨爾本大學藝術學士，碩士學位。自2003年起，劉氏積極參與多個本地聯展，2006年曾於香港舉辦“規律”及“詩前想後”兩次個人展覽。作品曾於 2004及2005年兩度入選“夏利豪基金會藝術比賽”，現為香港藝術學院助教。劉氏喜以現成物組合成為裝置作品，他對歷史及文學題材深感興趣。最近，劉氏挑選了12首他最喜愛的唐宋詩詞作為他的創作靈感，以雕塑及繪畫來創作一系列的作品，將原來字裡行間的想像空間轉化為實在的裝置場景。
劉學學士學位，並獲得由外交部在澳大利亞墨爾本皇家理工大學，分別在2005年和2007年。他有興趣製造現成的普通，失去物體通常所體現的歷史和記憶，發展他們具有獨特的視覺特性和雕刻字符。他已舉行過兩次個展，即“詩。想像”和“訂單 - 備案個人行動”於 2006年。他是決賽中夏利豪基金會藝術比賽，在2004年和2005年。 2008年，入選的藝術家舉辦鄰里計劃由香港視覺藝術中心，他擔任節目專輯“Soulful景觀乞泉齋內”。他還加入了“現實反向”交流項目在波特蘭，美國於 2008年。最近，他還積極參與當地的展覽，如“重生”。
“學成號雜貨舖”是一幢仿照舊唐樓的建築風格，用舊紙皮和舊物建造的流動舖頭。在區內四出遊走，我會坐鎮鋪內，打開窗戶與街坊聊天，藉以收集不同物品和物品背後的故事。期間在不同地點開鋪的過程會被一一拍攝，錄影，並與所收集的物品重新裝置成雕塑，在展覽場地展出，與觀眾分享舊物舊事舊情味。
我一直擔心這副人鋪合體的怪模樣會嚇壞街坊，又或遭受街坊冷遇，無法與大家展開交流。原來這副擔心是枉費的。當我拉著舖頭四出巡行，街坊大多好奇走來觀看，你一言我一語的，告訴我住在這區的點點滴滴。有一些媽媽更帶著小朋友前來，憶述自己住在舊唐樓的兒時往事。原來過去與現在是這樣的接近。
特別鳴謝照片攝影師：林磊剛
錄像攝影師：梁世潘
錄像剪接：麥梓樂
劉學成畢業於澳洲皇家墨爾本大學藝術學士，碩士學位。自2003年起，劉氏積極參與多個本地聯展，2006年曾於香港舉辦“規律”及“詩前想後”兩次個人展覽。作品曾於 2004及2005年兩度入選“夏利豪基金會藝術比賽”，現為香港藝術學院助教。劉氏喜以現成物組合成為裝置作品，他對歷史及文學題材深感興趣。最近，劉氏挑選了12首他最喜愛的唐宋詩詞作為他的創作靈感，以雕塑及繪畫來創作一系列的作品，將原來字裡行間的想像空間轉化為實在的裝置場景。
劉學學士學位，並獲得由外交部在澳大利亞墨爾本皇家理工大學，分別在2005年和2007年。他有興趣製造現成的普通，失去物體通常所體現的歷史和記憶，發展他們具有獨特的視覺特性和雕刻字符。他已舉行過兩次個展，即“詩。想像”和“訂單 - 備案個人行動”於 2006年。他是決賽中夏利豪基金會藝術比賽，在2004年和2005年。 2008年，入選的藝術家舉辦鄰里計劃由香港視覺藝術中心，他擔任節目專輯“Soulful景觀乞泉齋內”。他還加入了“現實反向”交流項目在波特蘭，美國於 2008年。最近，他還積極參與當地的展覽，如“重生”。
木偶劇《紙心心》--海潮、藍美姬
photo courtesy: Selina Ho
紙心心圍繞收集紙皮為生的老婆婆及養子的生活點滴。故事講述老婆婆收養被遺棄於垃圾站外的嬰兒，兩母子共同渡過許多快樂時光﹕一起吃熱騰騰的雞蛋仔、一同在盂蘭節燒衣紙。她教孩子剪出一串串的紙心心，而他幫助母親收集紙皮。
然而，男孩日漸長大，成為收入不菲的建築師。他不喜歡母親的生活方式，更多番遊說母親不必收集紙皮。他無法理解母親為何孜孜不倦的工作，也不再欣賞正正是她的辛勤造就了今天的他。
一日，男子正為案頭埋積如山的文件而麻煩，他忙得不暇接聽母親的電話。直至…母親臥病在牀，男子方才驚覺…自己與母親共渡的日子所餘無幾。最後，母子兩人渡過了如夢似霧的一天。他們一起回到從前玩耍的舊公園，然而，四周的景物不再一樣，建築工程處處，新建成的高樓大廈密麻麻的，城巿變得又嘈又吵。不過，就在母親剪出一串串紙心心的一刻，時間停頓了，噪音消失了。男子記得自己還是小孩子的時候，母親與他一起盪鞦韆，一事一物都是那樣的平凡而美好。他感謝母親為他所做的一切，他們又再手掀手回家。
紙心心滙聚了本土文化的元素，如傳統風俗、舊建築、舊街道等，是撫今追昔的嘆喟，也是香港歷史知識、社區回憶與個人經歷的反映。全劇旨在與觀眾一起細味舊事舊物的智慧，並思考我們何所依歸，未來又將何去何從。
Paper Hearts The Puppet Show--Hoi Chiu and Maggie Blue O’Hara
Paper Hearts is a touching story about a local (Hong Kong) Chinese woman in her sixties, who has been a paper collector all of her life. On one of her typical days flattening cardboard boxes and pushing her paper cart up the steep hills of Sheung Wan, she finds an abandoned baby in the garbage. She takes the baby home and becomes his mother.
Paper Hearts takes the audience on a journey, observing the lonely woman who now has a young child to care for. They have many lovely times together: eating fresh warm egg tarts, lighting incense and burning paper during Yulan. She shows him how to cut paper hearts with scissors; he helps her collect paper on her route.
But the boy grows up quickly and is soon embarrassed by his mother's way of life. He becomes a highly paid architect and tries to force his mother to quit her paper collecting. He doesn't appreciate how hard she has worked her whole life and how much she has helped him become the man he is today.
One day, while working at his office with many overdue projects on his desk, he ignores a phone call from his mother. When he finally visits her she is in the hospital. Later they have one final dreamy day together at the old park where she used to take him. All around them is construction and new buildings going up; the city is noisy and distracting. Yet she makes another row of paper hearts with her scissors and gives it to him. Time slows down and the noise dissolves. He remembers when he was a child and how she would push him on the swings and how that simple action made them both so happy. He finally thanks his mother for everything she has done for him. They hold hands and walk home.
Paper Hearts is about appreciating the past, learning to understand each other and trying to work together in harmony. It holds knowledge, memories and personal stories we need to remember in order to appreciate where we've come from and therefore have faith in the path of our future.
藍美姬是演員、作家、舞者、歌手、木偶師、編劇及電影人，在加拿大的劇場、電視及電影工業工作超過25年。她曾於多個電視節目中亮相，並連續四年 參演加拿大廣播公司的家庭劇《Northwood》。她亦是加拿大的一級配音藝人，曾為《變種特攻》及《龍珠》等多部日本動畫配音。踏入2009年，藍美姬正埋首電影創作、作曲，以及發展全劇場的新製作。她為《時間之手》國際綜藝合家歡 2009 面具木偶兒童音樂英文劇《MoMo JaJa 瘋狂亂性小丑show》、《夢高十度》乙城節2009閉幕節目、《The Journey of Lotus 蓮花道》等演出擔任編舞、舞者、演員、編劇、配音及填詞等工作。
Maggie Blue O’Hara is an actress, writer, dancer, singer and filmmaker with over 25 years’ experience in the Canadian theatre, television and film industry. Her many North American television guest appearances include X-Files, The L Word and Da Vinci’s Inquest and she was a regular for four years on a CBC family series, Northwood. In 2009, Maggie Blue wrote the lyrics and sang the theme song as well as played The Lover in MONGO: Dream Ten Degrees Higher at The Day Dream Walking Opening night Multi Media Art Exhbition. She also directed and co-choreographed the dance show The Journey of The Lotus. Maggie Blue is the playwrite for All Theatre’s next show: The hands of Time and also play Maid 12. Maggie Blue and Hoi Chiu will perform at The Seoul Fringe Festival in August and in September will attend the Hooyong Arts Centre in Korea for an Artist in Residency program.
海潮是本地的活躍演員，1993年開始遊走於香港各專業劇團，擁有豐富的藝術人生及多方面的藝術才能，身兼木偶師、演員、導演、舞者、工作坊導師及 繪畫師。他亦嘗試探索不同的劇場種類，由祭祀劇場到以社區為主的一人一故事劇場。2002年他在日本的一人一故事劇場國際會議中教授及演出。他是香港木偶 中心的創辦人之一，多年來不斷磨練木偶演出及製作的技巧。曾於香港演藝學院及香港青年藝術基金會教授木偶技藝。2008年於香港賽馬會創意藝術中心正式開 設木人行 – 海潮工房面具木偶美術館。2009年，海潮積極參與創作不同劇場製作，擔任導演、演員、木偶師、佈景設計等不同的工作，包括《時間之手》國際綜藝合家歡 2009 面具木偶兒童音樂英文劇、《MoMo JaJa 瘋狂亂性小丑show》、《夢高十度》乙城節2009閉幕節目及《The Journey of Lotus 蓮花道》等。
Hoi Chiu has led a colourful artistic life as a puppeteer, actor, dancer, director and illustrator. From formal ritual theatre to the community-based Playback Theatre, Hoi Chiu has explored a wide spectrum of performance possibilities and is the founder of the Hong Kong Puppet Centre and The Hoi Chiu Art Gallery, which opened in 2008 at The J.C.C.A.C. His collaboration with Prince Wong on Yulan (Chinese Ghost Festival) produced four performances ranging from the sensational and provocative to the spiritual and meditative. Hoi Chiu created TRA-P-ART, a theatre piece about cruelty and love among cold-blooded instinctive insects, as part of the On & On Theatre Series in Hong Kong as well as The Macau Fringe Festival. n 2009, Hoi Chui has been played the role of director and actor for the shows, including Mongo: Dream Ten Degrees Higher performed at The City Festival in Hong Kong, MoMo JaJa, and The Hands of Time at International Art Carnival 2009.
然而，男孩日漸長大，成為收入不菲的建築師。他不喜歡母親的生活方式，更多番遊說母親不必收集紙皮。他無法理解母親為何孜孜不倦的工作，也不再欣賞正正是她的辛勤造就了今天的他。
一日，男子正為案頭埋積如山的文件而麻煩，他忙得不暇接聽母親的電話。直至…母親臥病在牀，男子方才驚覺…自己與母親共渡的日子所餘無幾。最後，母子兩人渡過了如夢似霧的一天。他們一起回到從前玩耍的舊公園，然而，四周的景物不再一樣，建築工程處處，新建成的高樓大廈密麻麻的，城巿變得又嘈又吵。不過，就在母親剪出一串串紙心心的一刻，時間停頓了，噪音消失了。男子記得自己還是小孩子的時候，母親與他一起盪鞦韆，一事一物都是那樣的平凡而美好。他感謝母親為他所做的一切，他們又再手掀手回家。
紙心心滙聚了本土文化的元素，如傳統風俗、舊建築、舊街道等，是撫今追昔的嘆喟，也是香港歷史知識、社區回憶與個人經歷的反映。全劇旨在與觀眾一起細味舊事舊物的智慧，並思考我們何所依歸，未來又將何去何從。
Paper Hearts The Puppet Show--Hoi Chiu and Maggie Blue O’Hara
Paper Hearts is a touching story about a local (Hong Kong) Chinese woman in her sixties, who has been a paper collector all of her life. On one of her typical days flattening cardboard boxes and pushing her paper cart up the steep hills of Sheung Wan, she finds an abandoned baby in the garbage. She takes the baby home and becomes his mother.
Paper Hearts takes the audience on a journey, observing the lonely woman who now has a young child to care for. They have many lovely times together: eating fresh warm egg tarts, lighting incense and burning paper during Yulan. She shows him how to cut paper hearts with scissors; he helps her collect paper on her route.
But the boy grows up quickly and is soon embarrassed by his mother's way of life. He becomes a highly paid architect and tries to force his mother to quit her paper collecting. He doesn't appreciate how hard she has worked her whole life and how much she has helped him become the man he is today.
One day, while working at his office with many overdue projects on his desk, he ignores a phone call from his mother. When he finally visits her she is in the hospital. Later they have one final dreamy day together at the old park where she used to take him. All around them is construction and new buildings going up; the city is noisy and distracting. Yet she makes another row of paper hearts with her scissors and gives it to him. Time slows down and the noise dissolves. He remembers when he was a child and how she would push him on the swings and how that simple action made them both so happy. He finally thanks his mother for everything she has done for him. They hold hands and walk home.
Paper Hearts is about appreciating the past, learning to understand each other and trying to work together in harmony. It holds knowledge, memories and personal stories we need to remember in order to appreciate where we've come from and therefore have faith in the path of our future.
藍美姬是演員、作家、舞者、歌手、木偶師、編劇及電影人，在加拿大的劇場、電視及電影工業工作超過25年。她曾於多個電視節目中亮相，並連續四年 參演加拿大廣播公司的家庭劇《Northwood》。她亦是加拿大的一級配音藝人，曾為《變種特攻》及《龍珠》等多部日本動畫配音。踏入2009年，藍美姬正埋首電影創作、作曲，以及發展全劇場的新製作。她為《時間之手》國際綜藝合家歡 2009 面具木偶兒童音樂英文劇《MoMo JaJa 瘋狂亂性小丑show》、《夢高十度》乙城節2009閉幕節目、《The Journey of Lotus 蓮花道》等演出擔任編舞、舞者、演員、編劇、配音及填詞等工作。
Maggie Blue O’Hara is an actress, writer, dancer, singer and filmmaker with over 25 years’ experience in the Canadian theatre, television and film industry. Her many North American television guest appearances include X-Files, The L Word and Da Vinci’s Inquest and she was a regular for four years on a CBC family series, Northwood. In 2009, Maggie Blue wrote the lyrics and sang the theme song as well as played The Lover in MONGO: Dream Ten Degrees Higher at The Day Dream Walking Opening night Multi Media Art Exhbition. She also directed and co-choreographed the dance show The Journey of The Lotus. Maggie Blue is the playwrite for All Theatre’s next show: The hands of Time and also play Maid 12. Maggie Blue and Hoi Chiu will perform at The Seoul Fringe Festival in August and in September will attend the Hooyong Arts Centre in Korea for an Artist in Residency program.
海潮是本地的活躍演員，1993年開始遊走於香港各專業劇團，擁有豐富的藝術人生及多方面的藝術才能，身兼木偶師、演員、導演、舞者、工作坊導師及 繪畫師。他亦嘗試探索不同的劇場種類，由祭祀劇場到以社區為主的一人一故事劇場。2002年他在日本的一人一故事劇場國際會議中教授及演出。他是香港木偶 中心的創辦人之一，多年來不斷磨練木偶演出及製作的技巧。曾於香港演藝學院及香港青年藝術基金會教授木偶技藝。2008年於香港賽馬會創意藝術中心正式開 設木人行 – 海潮工房面具木偶美術館。2009年，海潮積極參與創作不同劇場製作，擔任導演、演員、木偶師、佈景設計等不同的工作，包括《時間之手》國際綜藝合家歡 2009 面具木偶兒童音樂英文劇、《MoMo JaJa 瘋狂亂性小丑show》、《夢高十度》乙城節2009閉幕節目及《The Journey of Lotus 蓮花道》等。
Hoi Chiu has led a colourful artistic life as a puppeteer, actor, dancer, director and illustrator. From formal ritual theatre to the community-based Playback Theatre, Hoi Chiu has explored a wide spectrum of performance possibilities and is the founder of the Hong Kong Puppet Centre and The Hoi Chiu Art Gallery, which opened in 2008 at The J.C.C.A.C. His collaboration with Prince Wong on Yulan (Chinese Ghost Festival) produced four performances ranging from the sensational and provocative to the spiritual and meditative. Hoi Chiu created TRA-P-ART, a theatre piece about cruelty and love among cold-blooded instinctive insects, as part of the On & On Theatre Series in Hong Kong as well as The Macau Fringe Festival. n 2009, Hoi Chui has been played the role of director and actor for the shows, including Mongo: Dream Ten Degrees Higher performed at The City Festival in Hong Kong, MoMo JaJa, and The Hands of Time at International Art Carnival 2009.
生命中不能承受的GAMES--鄭志明
混合媒介裝置
我探討博弈論，以自身升中派位的經歷 — 太多同學的相同選擇而改變原先之第一志願，此決定策略地影響了隨機變數令我升上皇仁書院，並因緣際會地來到中央書院（皇仁書院前稱）舊址展出藝術創作。
展出的藝術創作：
1. 「騫翁得馬，焉知非禍」，我升上皇仁書院，成為國父孫中山的校友，卻遇上人生的第一次重大打擊和挑戰，是命運的必然嗎？我會以電腦程式流程圖創作回應。
2. 「攪珠派嚟呀！」中一班主任駡人金句，意指我們根基差，只是憑運氣派入皇仁書院，我會以BINGO攪珠遊戲創作回應當中隨機變數在生命中的意義。
3. 「你都唔係波嚟嘅！」中一班主任另一駡人金句，意指我們沒有盡力，當時年少的我只覺「係波的話咪俾人踢嚟踢去囉」。我會以足球遊戲創作回應自身學習經驗。
4. 問答比賽﹕中小學階段的回憶。我會以裝置回應知和不知的局限，策略及隨機變數對結果的影響。
5. 漂流教室﹕皇仁書院以會考狀元輩出而為人所頌，今時今日學生則以補習天王為偶像，我會將他們的造像並例，讓人景
仰。
6. 我帶 Indestructible Bust of Dr Bateson Wright 回到中央書院﹕二次大戰日軍佔中央書院大戰，燒毀了書院所有，只剩下第二任校長 Dr Bateson Wright 的石雕像，現放於皇仁書院入口大堂。傳說此石雕稱為 Indestructible Bust of Dr Bateson Wright是因為日軍見人像之神氣而揮刀斬之，卻只破其額及鼻子，及後戰火亦沒有令它倒下。我會將 Dr Bateson Wright 的石雕像倒模並修補，帶回到中央書院展出 。
我能來到中央書院舊址展出藝術創作，是偶然，還是命運的必然？如果我沒有改變原先之第一志願，沒有升上皇仁書院，沒有成為藝術家，我會帶 Indestructible Bust of Dr Bateson Wright 回到中央書院嗎？
Photo courtesy: Selina Ho
The Unbearable GAMES of being--Cheung Chi Ming, Carl
Mixed media installation
I explore the game theory with my personal experience of secondary school places allocation. I, considering too many friends selected the same option, changed my original first choice, and eventually this random decision enabled me to study in Queen’s College. Curiously, I come to this site (the former site of Queen’s College which was then named as the Central College) and display my works of art here.
1. The random choice of mine enabled me to study in Queen’s College and associated with Sun Yat-sen, the famous alumni of the College. However, this choice is the reason that I encountered the first major blow to life in school. I make a flowchart programme in questioning the unexpected turns of twists of life.
2. ‘Is it a luck draw? ’: My class teacher thought that it is a matter of luck that enabled many of us to get into the Queen’s College. I use a BINGO game to consider random variables and the meanings of life.
3. ‘What are you doing here?’: My class teacher used the metaphor of football game in referring to our lack of commitment to school work. I develop my own football game to consider what learning means.
4. Quiz: Based on my primary and secondary school memories, I use installation devises to demonstrate how known and unknown, strategies and random variables affect the results.
5. Drifting classroom: Queen's College is renowned for nurturing students who did extremely well in the open examinations. But nowadays students seek helps from private tutors. I use models and statutes of these private tutors to reflect on the phenomenon of ‘private tuition’.
6. Bringing Indestructible Bust of Dr Bateson Wright to Central School: During the Second World War, Japanese troop occupied the school, and burned it down. What was left is the bust of Dr Bateson Wright, the second chancellor, and the bust is now located at the entrance lobby of Queen's College. I cast a model of the bust of Dr Bateson Wright and display it at the Central School.
I keep wondering whether it is a coincidence, or some sort of curious affinity, that enables me to make artwork at the former site of Queen’s College. If I did not change me my mind, or I did not become an artist, what is the chance that I bring the Indestructible Bust of Dr Bateson Wright to the Central School?
鄭志明於香港中文大學取得工商管理學士，並於2008年從墨爾本皇家理工大學取得藝術碩士。鄭氏於2004年成立工作室「藝術家」(Arthome)，致力於藝術教學和創作。2009年，他獲選為Bloomberg新興藝術家，並在個展展示15件裝置作品，透過中國傳統的遊戲探討現代生活。他的藝術裝置往往規模甚巨，強調觀看藝術品的經驗不在於被動的「瀏覽」，而在於主動的參與，感受其中的人性思考。
Carl Cheng Chi Ming graduated from the Chinese University of Hong Kong with a Bachelor of Business Administration, and completed his Masters in Fine Art from the Royal Melbourne Institute of Technology University in 2008. He is devoted to teaching art and developing the art scene in Hong Kong through his studio “Arthome”, created in 2004. Being selected as Bloomberg Emerging Artist 2009, Carl has shown his 15 installations in his solo exhibition to explore themes and behaviours in our present lives through Chinese games. Through large scale art installations, visitors experience rather than passively view his work, being encouraged to feel and reflect on elements of human nature.
我探討博弈論，以自身升中派位的經歷 — 太多同學的相同選擇而改變原先之第一志願，此決定策略地影響了隨機變數令我升上皇仁書院，並因緣際會地來到中央書院（皇仁書院前稱）舊址展出藝術創作。
展出的藝術創作：
1. 「騫翁得馬，焉知非禍」，我升上皇仁書院，成為國父孫中山的校友，卻遇上人生的第一次重大打擊和挑戰，是命運的必然嗎？我會以電腦程式流程圖創作回應。
2. 「攪珠派嚟呀！」中一班主任駡人金句，意指我們根基差，只是憑運氣派入皇仁書院，我會以BINGO攪珠遊戲創作回應當中隨機變數在生命中的意義。
3. 「你都唔係波嚟嘅！」中一班主任另一駡人金句，意指我們沒有盡力，當時年少的我只覺「係波的話咪俾人踢嚟踢去囉」。我會以足球遊戲創作回應自身學習經驗。
4. 問答比賽﹕中小學階段的回憶。我會以裝置回應知和不知的局限，策略及隨機變數對結果的影響。
5. 漂流教室﹕皇仁書院以會考狀元輩出而為人所頌，今時今日學生則以補習天王為偶像，我會將他們的造像並例，讓人景
仰。
6. 我帶 Indestructible Bust of Dr Bateson Wright 回到中央書院﹕二次大戰日軍佔中央書院大戰，燒毀了書院所有，只剩下第二任校長 Dr Bateson Wright 的石雕像，現放於皇仁書院入口大堂。傳說此石雕稱為 Indestructible Bust of Dr Bateson Wright是因為日軍見人像之神氣而揮刀斬之，卻只破其額及鼻子，及後戰火亦沒有令它倒下。我會將 Dr Bateson Wright 的石雕像倒模並修補，帶回到中央書院展出 。
我能來到中央書院舊址展出藝術創作，是偶然，還是命運的必然？如果我沒有改變原先之第一志願，沒有升上皇仁書院，沒有成為藝術家，我會帶 Indestructible Bust of Dr Bateson Wright 回到中央書院嗎？
Photo courtesy: Selina Ho
The Unbearable GAMES of being--Cheung Chi Ming, Carl
Mixed media installation
I explore the game theory with my personal experience of secondary school places allocation. I, considering too many friends selected the same option, changed my original first choice, and eventually this random decision enabled me to study in Queen’s College. Curiously, I come to this site (the former site of Queen’s College which was then named as the Central College) and display my works of art here.
1. The random choice of mine enabled me to study in Queen’s College and associated with Sun Yat-sen, the famous alumni of the College. However, this choice is the reason that I encountered the first major blow to life in school. I make a flowchart programme in questioning the unexpected turns of twists of life.
2. ‘Is it a luck draw? ’: My class teacher thought that it is a matter of luck that enabled many of us to get into the Queen’s College. I use a BINGO game to consider random variables and the meanings of life.
3. ‘What are you doing here?’: My class teacher used the metaphor of football game in referring to our lack of commitment to school work. I develop my own football game to consider what learning means.
4. Quiz: Based on my primary and secondary school memories, I use installation devises to demonstrate how known and unknown, strategies and random variables affect the results.
5. Drifting classroom: Queen's College is renowned for nurturing students who did extremely well in the open examinations. But nowadays students seek helps from private tutors. I use models and statutes of these private tutors to reflect on the phenomenon of ‘private tuition’.
6. Bringing Indestructible Bust of Dr Bateson Wright to Central School: During the Second World War, Japanese troop occupied the school, and burned it down. What was left is the bust of Dr Bateson Wright, the second chancellor, and the bust is now located at the entrance lobby of Queen's College. I cast a model of the bust of Dr Bateson Wright and display it at the Central School.
I keep wondering whether it is a coincidence, or some sort of curious affinity, that enables me to make artwork at the former site of Queen’s College. If I did not change me my mind, or I did not become an artist, what is the chance that I bring the Indestructible Bust of Dr Bateson Wright to the Central School?
鄭志明於香港中文大學取得工商管理學士，並於2008年從墨爾本皇家理工大學取得藝術碩士。鄭氏於2004年成立工作室「藝術家」(Arthome)，致力於藝術教學和創作。2009年，他獲選為Bloomberg新興藝術家，並在個展展示15件裝置作品，透過中國傳統的遊戲探討現代生活。他的藝術裝置往往規模甚巨，強調觀看藝術品的經驗不在於被動的「瀏覽」，而在於主動的參與，感受其中的人性思考。
Carl Cheng Chi Ming graduated from the Chinese University of Hong Kong with a Bachelor of Business Administration, and completed his Masters in Fine Art from the Royal Melbourne Institute of Technology University in 2008. He is devoted to teaching art and developing the art scene in Hong Kong through his studio “Arthome”, created in 2004. Being selected as Bloomberg Emerging Artist 2009, Carl has shown his 15 installations in his solo exhibition to explore themes and behaviours in our present lives through Chinese games. Through large scale art installations, visitors experience rather than passively view his work, being encouraged to feel and reflect on elements of human nature.
眾樂FUN FUN-- 黃頌恩
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photo courtesy:
Selina Ho
混合媒介裝置
店鋪老闆的任務﹕
1. 在你的店鋪內選擇一種物品或材料
2. 利用這物品或材料(數量不限，多多益善)製成雕塑或裝置作品
3. 你的雕塑或裝置創作必須與店鋪的環境相應
藝術家的任務﹕
1. 採用參與者所挑選的物品或材料
2. 利用這物品或材料製成雕塑或裝置
3. 雕塑或裝置創作必須回應參與者的創作
Hustle--Magdalen Wong
Mixed media installation
Instructions for participating local shopkeeper/owners
1.select ONE object/material found in your shop
2.construct a sculpture or installation with the selected object/material, which may be used in multiples
3.the sculpture or installation should refer or relate to the space
Instructions for artist
1.use the same ONE object/material selected by local participants
2.construct a sculpture or installation with this ONE object/material, which may be used in multiples
3.the sculpture or installation should relate to the piece previously created by local participants in their shops.
黃頌恩於2003年在馬里蘭藝術學院獲取藝術學士學位，2005年獲芝加哥藝術學院頒發藝術碩士學位，現任香港浸會大學視覺藝術學院講師。她曾參加奧地利的薩爾茨堡國際夏季學院的課程，並獲 美國奧地利聯會頒發2005 Hayward Prize of the Salzburg Stiftung。作為美國藝術家組合「i.e.」的一份子，她與另外六位藝術家致力於各地籌辦藝術活動及展覽，亦多次在香港及美國參與聯展和演出。
Magdalen Wong, received her BFA at Maryland Institute College of Art in 2003 and her MFA at the School of the Art Institute of Chicago in 2005, is now a lecture in the Academy of Visual Arts at the Hong Kong Baptist University. She had attended the Salzburg Summer Academy in Austria, receiving the 2005 Hayward Prize of the Salzburg Stiftung from the American Austrian Foundation. Ms. Wong is a member of the i.e. artist group, based in the United States, in which she collaborates with six other artists in organizing art events and exhibitions internationally. She has participated in group shows as well as performances in Hong Kong and the United States.
店鋪老闆的任務﹕
1. 在你的店鋪內選擇一種物品或材料
2. 利用這物品或材料(數量不限，多多益善)製成雕塑或裝置作品
3. 你的雕塑或裝置創作必須與店鋪的環境相應
藝術家的任務﹕
1. 採用參與者所挑選的物品或材料
2. 利用這物品或材料製成雕塑或裝置
3. 雕塑或裝置創作必須回應參與者的創作
Hustle--Magdalen Wong
Mixed media installation
Instructions for participating local shopkeeper/owners
1.select ONE object/material found in your shop
2.construct a sculpture or installation with the selected object/material, which may be used in multiples
3.the sculpture or installation should refer or relate to the space
Instructions for artist
1.use the same ONE object/material selected by local participants
2.construct a sculpture or installation with this ONE object/material, which may be used in multiples
3.the sculpture or installation should relate to the piece previously created by local participants in their shops.
黃頌恩於2003年在馬里蘭藝術學院獲取藝術學士學位，2005年獲芝加哥藝術學院頒發藝術碩士學位，現任香港浸會大學視覺藝術學院講師。她曾參加奧地利的薩爾茨堡國際夏季學院的課程，並獲 美國奧地利聯會頒發2005 Hayward Prize of the Salzburg Stiftung。作為美國藝術家組合「i.e.」的一份子，她與另外六位藝術家致力於各地籌辦藝術活動及展覽，亦多次在香港及美國參與聯展和演出。
Magdalen Wong, received her BFA at Maryland Institute College of Art in 2003 and her MFA at the School of the Art Institute of Chicago in 2005, is now a lecture in the Academy of Visual Arts at the Hong Kong Baptist University. She had attended the Salzburg Summer Academy in Austria, receiving the 2005 Hayward Prize of the Salzburg Stiftung from the American Austrian Foundation. Ms. Wong is a member of the i.e. artist group, based in the United States, in which she collaborates with six other artists in organizing art events and exhibitions internationally. She has participated in group shows as well as performances in Hong Kong and the United States.
在尋索中留下了一些痕跡--陳錦成
photo courtesy: Selina Ho
裝置 夜光油、發泡乳膠、海綿墊、尼龍網、魚絲、木、金屬線、手電筒
我們總會用一些方法來觀照世界的事物，如您帶著光進入一個黑暗的空間，四周尋覓，將發現到的物件具體呈現，落入自己的認知範圍，為它們作說明，成為您生命中的存在。光線在物件上留下的痕跡，彷彿我們回憶舊事物時那份不確定的感覺。離去後，曾被照亮過的，再次沒落在黑暗中，一如把舊事物漸漸遺忘。
誠邀各位拿著一個電筒，走進這房子裡，尋找您生命中的痕跡。
Some traces are left in the path of searching--Chris Chan
Installation /dark glowing paint, expanding foam, foam-rubber cushion, nylon net, fishing line, wood, metal wire, light torch
Let’s grab a torch and enter a dark space. Light up the things, figure out and interpret them to become existence in your life. Some traces are left on the surface of the things, just like uncertain feeling is being stirred when you remember the old things. After you left, the things are trapped in darkness again, that is symbolically parallel to the moment when the past is being forgotten.
陳錦成分別在2004年及2006年於澳洲皇家墨爾本理工大學和香港藝術中心藝術學院合辦學士純藝術(繪畫)課程和該學院合辦的藝術碩士課程畢業。近年曾參與的展覽包括「十三個手提藝術的故事」（2009），「藝術貨櫃」（2008），「複數」（2007），「藝術常品–藝術家產品計劃」（2006），「東棟動– 觀塘藝術工作解構」（2006），「雕塑復雕塑（2004）」等。作為混合媒介雕塑藝術工作者，他喜歡利用不同的物料探索雕塑的可能性。他的作品經常透過物料的可變和不確定性，去呈現自我的存在和他自己的身體與外在世界的關係。
Chan Kam Shing, Chris graduated with bachelor of Fine Art (Painting) in 2004 and MFA in 2006 from Royal Melbourne Institute of Technology University co-presented with the Hong Kong Art School, HKAC. He has joined various exhibitions in Hong Kong and Shanghai, like, The Thirteen Stories of Portable Art 2009, Art Container 2008, Complex Number 2007, Artiple - Artist Product Project 2006, LEAP - Local East-Kowloon Art in Progress 2006, Sculpture Non-Sculpture 2004. He is a mixed media sculptural artist. He uses different kind of material to explore the possibilities of sculpture. His works always represent the self existence and the relation between his body and the external physical world through the variability and uncertainty of materials.
我們總會用一些方法來觀照世界的事物，如您帶著光進入一個黑暗的空間，四周尋覓，將發現到的物件具體呈現，落入自己的認知範圍，為它們作說明，成為您生命中的存在。光線在物件上留下的痕跡，彷彿我們回憶舊事物時那份不確定的感覺。離去後，曾被照亮過的，再次沒落在黑暗中，一如把舊事物漸漸遺忘。
誠邀各位拿著一個電筒，走進這房子裡，尋找您生命中的痕跡。
Some traces are left in the path of searching--Chris Chan
Installation /dark glowing paint, expanding foam, foam-rubber cushion, nylon net, fishing line, wood, metal wire, light torch
Let’s grab a torch and enter a dark space. Light up the things, figure out and interpret them to become existence in your life. Some traces are left on the surface of the things, just like uncertain feeling is being stirred when you remember the old things. After you left, the things are trapped in darkness again, that is symbolically parallel to the moment when the past is being forgotten.
陳錦成分別在2004年及2006年於澳洲皇家墨爾本理工大學和香港藝術中心藝術學院合辦學士純藝術(繪畫)課程和該學院合辦的藝術碩士課程畢業。近年曾參與的展覽包括「十三個手提藝術的故事」（2009），「藝術貨櫃」（2008），「複數」（2007），「藝術常品–藝術家產品計劃」（2006），「東棟動– 觀塘藝術工作解構」（2006），「雕塑復雕塑（2004）」等。作為混合媒介雕塑藝術工作者，他喜歡利用不同的物料探索雕塑的可能性。他的作品經常透過物料的可變和不確定性，去呈現自我的存在和他自己的身體與外在世界的關係。
Chan Kam Shing, Chris graduated with bachelor of Fine Art (Painting) in 2004 and MFA in 2006 from Royal Melbourne Institute of Technology University co-presented with the Hong Kong Art School, HKAC. He has joined various exhibitions in Hong Kong and Shanghai, like, The Thirteen Stories of Portable Art 2009, Art Container 2008, Complex Number 2007, Artiple - Artist Product Project 2006, LEAP - Local East-Kowloon Art in Progress 2006, Sculpture Non-Sculpture 2004. He is a mixed media sculptural artist. He uses different kind of material to explore the possibilities of sculpture. His works always represent the self existence and the relation between his body and the external physical world through the variability and uncertainty of materials.
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