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.
在荷里活工作--方琛宇
photo courtey: Selina Ho
錄像裝置/彩色/無聲43分鐘
在上環荷里活道工作一年多，午飯時間，我常看到一些工人在隱敝的街巷中，三五成群抽着煙、躺着。他們忙裏偷暇，享受着僅餘的自由時間和空間。我嘗試將上班一族的私人空間、時間、人物、對話和我對他們的想像重現，尋找社群中現實和理想的生活及城市空間。
Working in Hollywood--Silas Fong
Video Installation/Colour/No Sound43 mins
Working for a job at Hollywood Road in Hong Kong for more than a year, I often see workers taking rest from their very hard works. They are smoking, lying down and chatting at some hidden alleys. These might be their real moment and space of freedom in their daily lives.
In search of the community in workers’ realistic and idealistic livelihood, I try to represent their private space, time, characters, dialogue (monologue) and my imagination driven.
方琛宇，香港土生土長的當代藝術家。2008年於香港浸會大學視覺藝術院畢業，其間赴荷蘭阿姆斯特丹大學作交流生，畢業數月後在香港首次舉辦個人展 <不知名> 。他的錄像、裝置及新媒體作品曾於芬蘭、德國、香港、澳門、西班牙、韓國、英國及台灣展出。其中<販賣偷來的時間>羸得第十四屆香港獨立短片及錄像比賽互動媒體組金獎，並收藏於澳門藝術館中國行為藝術文獻。於2009年獲得香港當代藝術雙年獎 - 青年藝術家獎。
藝術家根據不同的概念而利用相應的媒介創作。透過介入各種社會與人際關係進行其研究。特別關注感知、日常生活、空間、時間、城市和陌生人各題材的相互關係。最近以錄像和行為藝術試驗創作。
網站: http://www.silasfong.com
電郵: info@silasfong.com
Born in 1985, Silas Fong graduated in the Academy of Visual Arts, Hong Kong Baptist University in 2008. He had completed a student exchange programme in University of Amsterdam, the Netherlands. Within several months after graduation, his first solo exhibitionwas held in Hong Kong Cattle Depot. His video, installation and new media works have been exhibited in Finland, Germany, Hong Kong, Macau, Spain, Korea, United Kingdom and Taiwan. His work received the gold award in the Interactive Media Category of the 14th Hong Kong Independent Short Film and Video Awards in 2009 and was collected in the Documentaries of Chinese Performance Art of the Macao Museum of Art. He won the Young Artist Award from Hong Kong Art Biennale 2009, as one of the promising young artists who demonstrate sensibility towards the urban environment.
Fong practices on different media according to the concept of his work. His research based on personal engagement into social and interpersonal relationships, and is especially interested in perception, daily life, space, time, city and strangers. Recently, he experiments ideas through videos and performances.
website: http://www.silasfong.com
email: info@silasfong.com
在上環荷里活道工作一年多，午飯時間，我常看到一些工人在隱敝的街巷中，三五成群抽着煙、躺着。他們忙裏偷暇，享受着僅餘的自由時間和空間。我嘗試將上班一族的私人空間、時間、人物、對話和我對他們的想像重現，尋找社群中現實和理想的生活及城市空間。
Working in Hollywood--Silas Fong
Video Installation/Colour/No Sound43 mins
Working for a job at Hollywood Road in Hong Kong for more than a year, I often see workers taking rest from their very hard works. They are smoking, lying down and chatting at some hidden alleys. These might be their real moment and space of freedom in their daily lives.
In search of the community in workers’ realistic and idealistic livelihood, I try to represent their private space, time, characters, dialogue (monologue) and my imagination driven.
方琛宇，香港土生土長的當代藝術家。2008年於香港浸會大學視覺藝術院畢業，其間赴荷蘭阿姆斯特丹大學作交流生，畢業數月後在香港首次舉辦個人展 <不知名> 。他的錄像、裝置及新媒體作品曾於芬蘭、德國、香港、澳門、西班牙、韓國、英國及台灣展出。其中<販賣偷來的時間>羸得第十四屆香港獨立短片及錄像比賽互動媒體組金獎，並收藏於澳門藝術館中國行為藝術文獻。於2009年獲得香港當代藝術雙年獎 - 青年藝術家獎。
藝術家根據不同的概念而利用相應的媒介創作。透過介入各種社會與人際關係進行其研究。特別關注感知、日常生活、空間、時間、城市和陌生人各題材的相互關係。最近以錄像和行為藝術試驗創作。
網站: http://www.silasfong.com
電郵: info@silasfong.com
Born in 1985, Silas Fong graduated in the Academy of Visual Arts, Hong Kong Baptist University in 2008. He had completed a student exchange programme in University of Amsterdam, the Netherlands. Within several months after graduation, his first solo exhibition
Fong practices on different media according to the concept of his work. His research based on personal engagement into social and interpersonal relationships, and is especially interested in perception, daily life, space, time, city and strangers. Recently, he experiments ideas through videos and performances.
website: http://www.silasfong.com
email: info@silasfong.com
《一個通往世界舞台的盒子》--王浩然+Anya Ventura
photo courtesy: Selina Ho
裝置舞台
《一個通往世界舞台的盒子》是裝置藝術家王浩然與文化地理學家Anya Ventura以實驗性手法展現的歷史想像。這兩位藝術工作者現正旅居香港。
學者Meaghan Morris曾寫道：「對歷史的渴求並非人類的原始需要。我們是經過教育才學會渴求歷史的，並了解到歷史正是我們所匱乏的事物，這種特殊的渴求和匱乏的教育與民族主義緊密相連，促使人們去掌控變化。」在探索渴求與匱乏的辯證關係時，我們會自問：我們希望或者需要從歷史中獲得什麼？為何需要夢想或想像歷史以另一個方向發展？西區是一個大規模重建的場域，而最受重建影響的是街坊老舖和本地小型作業，他們為了配合大環境的發展而被逼消失。我們希望以舞台裝置，將不為人所知、卻真摯動人的中西區歷史呈現出來。
在香港面臨中國民族主義、後殖民主義及全球主義這三種因素的影響時，本地人所指的「本土」概念，成為香港回歸後港人獨特身份的符號，意義深遠。同時，「本土」成為「傳統」或「過去」的同義詞，與旨在竭力打造香港成為世界級都市的大規模重建工程形成鮮明對比。在大規模重建工程的所在地西區，香港本土文化的意義和價值備受質疑。
中西區的重建工程力推以懷舊方式詮釋本土，以彰顯香港的獨特地位和推銷這個現代化都市。在此過程中，漂亮地拔取本土元素，開始了社會進步的線性敘述，也以全球現代化作為完結，而歷史被演繹是為了將來的憧憬作好準備。面對急速的城市變遷，保護本土文化的重要性毋庸置疑，但我們且挑戰本土的概念被矮化、定型、挪用及商品化，以成為令地方消失、及社會進步的藉口。透過訪談和研究，我們希望發掘西區的微觀歷史，以便在近期重建工程的堂皇發展中，以及基於匱乏的懷舊情緒對本土文化作出僵化的解讀以外，提出另一種方案。
我們研究的重點是展現當地店舖的產物及所涉的社會生活：這些物品的歷史對西區街坊的日常生活具有特殊意義，例如竹製筆筒，鐵皮郵箱，藤製雨傘，精工手製傢具。我們試圖突破傳統歷史調查的局限，探索這些物品／產品／工藝品對西區的集體意識所產生更為隱秘的影響。我們尋找真實與虛幻、主觀與客觀、本土與全球、傳統與現代的界限模糊不清的歷史。
《中西區的重建工程力推以懷舊方式詮釋本土，以彰顯香港的獨特地位和推銷這個現代化都市。在此過程中，漂亮地拔取本土元素，開始了社會進步的線性敘述，也以全球現代化作為完結，而歷史被演繹是為了將來的憧憬作好準備。面對急速的城市變遷，保護本土文化的重要性毋庸置疑，但我們且挑戰本土的概念被矮化、定型、挪用及商品化，以成為令地方消失、及社會進步的藉口。透過訪談和研究，我們希望發掘西區的微觀歷史，以便在近期重建工程的堂皇發展中，以及基於匱乏的懷舊情緒對本土文化作出僵化的解讀以外，提出另一種方案。
我們研究的重點是展現當地店舖的產物及所涉的社會生活：這些物品的歷史對西區街坊的日常生活具有特殊意義，例如竹製筆筒，鐵皮郵箱，藤製雨傘，精工手製傢具。我們試圖突破傳統歷史調查的局限，探索這些物品／產品／工藝品對西區的集體意識所產生更為隱秘的影響。我們尋找真實與虛幻、主觀與客觀、本土與全球、傳統與現代的界限模糊不清的歷史。
我們的研究以建造這個舞台裝置告終，其中拼湊了中國傳統建築、香港物質文化、懷舊的設計和軼事中的影像。空蕩蕩的舞台作為美學對象和歷史集合呈現，令人想起班傑明所說的「內部的虛幻」。我們想像這個舞台是佛教廟宇的一部分，遊行花車的一部分，路邊紀念碑的一部分及葬禮的一部分：那無定形的文化結構，作為面向歷史回憶的超現實所在。
展覽期間，舞台自由開放予社區大眾，歡迎使用。空蕩蕩的舞台令公眾有機會參與構造歷史和知識，藝術家留下的印記將被各社區組織的要求和期望所取代。我們希望創造一種實體結構，在展現西區有意識和無意識的敍述／歷史渴求的同時，藉此成型。
A Box in the Theatre of the World--Adrain Wong+Anya Ventura
Installation theatre
A Box in the Theatre of the World is an experimental historical imagining by installation artist Adrian Wong and cultural geographer Anya Ventura, both expatriate residents of Hong Kong.
The scholar Meaghan Morris has written, “Wanting history is not a primal human desire. We have to be taught to want it, to learn that history is the name of something we lack, and this particular pedagogy of desire and lack has been intimately bound up with nationalism as a project aspiring to govern change.” Exploring this dialectic of desire and lack, we ask: What do we want or need from history? Why is it important to dream or imagine history differently? Our installation aims to give physical shape to the untold, emotive histories traced in the Western district of Hong Kong Island, as expressed by the local small business-owners and craftsmen whose livelihoods are being eroded by redevelopment efforts.
As Hong Kong negotiates the triumvirate effects of Chinese nationalism, post-colonialism, and globalism, nativist notions of the “local” emerge as a profound signifier of a unique post-handover identity. At the same time, “local” has become synonymous with “traditional” or “of the past,” functioning as a counterpoint to the massive redevelopment efforts aimed at cementing Hong Kong’s status as a world-class city. In the Western district, a site of massive redevelopment, the meaning and value of Hong Kong’s local culture is highly contested.
In these redevelopment initiatives, nostalgic interpretations of the local are utilized to uniquely identify and market the modern metropolis. Colorful extractions of the local form the origin of a linear narrative of progress that finds its completion in a global modernity – with the past being performed in preparation for a vision of the future. While the importance of preserving local culture in the face of rapid urban change is undeniable, we challenge how notions of the local may be reduced, fixed, appropriated, and commodified in service of a particular story of disappearance and progress. Through a process of interview and research, we aim to uncover micro-histories of the Western District with the intention of proposing an alternative to both the sanitized omniculture of recent development efforts and static readings of local culture predicated on nostalgic feelings of lack.
Central to our research is charting the social life of the objects produced by these local businesses: items whose histories are of particular significance to the daily experience of life in the Western District (eg. bamboo pencil-holders, tin mailboxes, rattan umbrellas, hand-made cabinetry). We seek to push beyond the limitations of conventional historical inquiry to tap into the more mystical significance that these objects/products/artifacts have taken on in the collective consciousness of the region. We seek a history that blurs the lines between fact and fiction, subjective and objective, local and global, traditional and modern.
Our research culminates in the construction of this theatrical stage-set which incorporate features of traditional Chinese architecture, Hong Kong material culture, outmoded design elements, and imagery from collected anecdotes. Evoking Benjamin’s “phantasmagoria of the interior,” the blank stage is presented as aesthetic object and historical assemblage. We conceive of the stage as part Buddhist temple, part parade float, part roadside memorial, and part funeral procession: a culturally amorphous structure designed to house and display the often surreal contents of historical memory.
The stage is available for community use over the course of the exhibition. The blank stage generates new possibilities for public participation in constructing history and knowledge, where the artists’ authorial presence is ceded to the needs and ambitions of various community organizations. We hope to create a physical structure that both gives shape and is shaped by the conscious and unconscious narratives/historical desires of the region.
王浩然於美國芝加哥出生及長大，現回流香港創作。他原接受心理學研究訓練，於二零零三年獲頒史丹福大學碩士學位；其後他繼續在耶魯大學學習，於二零零六年取得藝術碩士學位。他第一個個人展覽《A Fear Is This》，以黑色幽默角度審視中國傳統禁忌，理解城市生活的危機。零六年與Samantha Culp合作組織「大使計劃」，嘗試以研究為基調的方法論來探索跨文化經驗。他們視自己為「煽動者，建築師，最終成為外國領土中夢想及現實、自己及他人、童年及長大後一切的外交人員」。王浩然現在洛杉磯的加州大學教授雕塑，他最近回港完成這件裝置作品。
網站: embassyprojects.org
Adrian Wong Ho Yin was born and raised in Chicago, Illinois, USA, and is now based in Hong Kong. Originally trained in research psychology, he received a Master’s degree from Stanford University in 2003. He continued his post-graduate studies at Yale University, where he received an M.F.A. in 2005. His first solo exhibition in Hong Kong, A Fear Is This, offered a darkly humorous view into the taboos of Chinese custom and perceived risks of urban living. Together with Samantha Culp, he formed Embassy Projects in 2006, which uses a research-based methodology to explore “trans-cultural” experiences. They see themselves as “agitators, architects, and ultimately, diplomats between the foreign lands of dreams and reality, self and other, childhood and everything that comes after.” Presently, Adrian has recently returned to Hong Kong from Los Angeles, where he has been teaching sculpture and theory at UCLA, to execute this installation.
website:: embassyprojects.org
《一個通往世界舞台的盒子》是裝置藝術家王浩然與文化地理學家Anya Ventura以實驗性手法展現的歷史想像。這兩位藝術工作者現正旅居香港。
學者Meaghan Morris曾寫道：「對歷史的渴求並非人類的原始需要。我們是經過教育才學會渴求歷史的，並了解到歷史正是我們所匱乏的事物，這種特殊的渴求和匱乏的教育與民族主義緊密相連，促使人們去掌控變化。」在探索渴求與匱乏的辯證關係時，我們會自問：我們希望或者需要從歷史中獲得什麼？為何需要夢想或想像歷史以另一個方向發展？西區是一個大規模重建的場域，而最受重建影響的是街坊老舖和本地小型作業，他們為了配合大環境的發展而被逼消失。我們希望以舞台裝置，將不為人所知、卻真摯動人的中西區歷史呈現出來。
在香港面臨中國民族主義、後殖民主義及全球主義這三種因素的影響時，本地人所指的「本土」概念，成為香港回歸後港人獨特身份的符號，意義深遠。同時，「本土」成為「傳統」或「過去」的同義詞，與旨在竭力打造香港成為世界級都市的大規模重建工程形成鮮明對比。在大規模重建工程的所在地西區，香港本土文化的意義和價值備受質疑。
中西區的重建工程力推以懷舊方式詮釋本土，以彰顯香港的獨特地位和推銷這個現代化都市。在此過程中，漂亮地拔取本土元素，開始了社會進步的線性敘述，也以全球現代化作為完結，而歷史被演繹是為了將來的憧憬作好準備。面對急速的城市變遷，保護本土文化的重要性毋庸置疑，但我們且挑戰本土的概念被矮化、定型、挪用及商品化，以成為令地方消失、及社會進步的藉口。透過訪談和研究，我們希望發掘西區的微觀歷史，以便在近期重建工程的堂皇發展中，以及基於匱乏的懷舊情緒對本土文化作出僵化的解讀以外，提出另一種方案。
我們研究的重點是展現當地店舖的產物及所涉的社會生活：這些物品的歷史對西區街坊的日常生活具有特殊意義，例如竹製筆筒，鐵皮郵箱，藤製雨傘，精工手製傢具。我們試圖突破傳統歷史調查的局限，探索這些物品／產品／工藝品對西區的集體意識所產生更為隱秘的影響。我們尋找真實與虛幻、主觀與客觀、本土與全球、傳統與現代的界限模糊不清的歷史。
《中西區的重建工程力推以懷舊方式詮釋本土，以彰顯香港的獨特地位和推銷這個現代化都市。在此過程中，漂亮地拔取本土元素，開始了社會進步的線性敘述，也以全球現代化作為完結，而歷史被演繹是為了將來的憧憬作好準備。面對急速的城市變遷，保護本土文化的重要性毋庸置疑，但我們且挑戰本土的概念被矮化、定型、挪用及商品化，以成為令地方消失、及社會進步的藉口。透過訪談和研究，我們希望發掘西區的微觀歷史，以便在近期重建工程的堂皇發展中，以及基於匱乏的懷舊情緒對本土文化作出僵化的解讀以外，提出另一種方案。
我們研究的重點是展現當地店舖的產物及所涉的社會生活：這些物品的歷史對西區街坊的日常生活具有特殊意義，例如竹製筆筒，鐵皮郵箱，藤製雨傘，精工手製傢具。我們試圖突破傳統歷史調查的局限，探索這些物品／產品／工藝品對西區的集體意識所產生更為隱秘的影響。我們尋找真實與虛幻、主觀與客觀、本土與全球、傳統與現代的界限模糊不清的歷史。
我們的研究以建造這個舞台裝置告終，其中拼湊了中國傳統建築、香港物質文化、懷舊的設計和軼事中的影像。空蕩蕩的舞台作為美學對象和歷史集合呈現，令人想起班傑明所說的「內部的虛幻」。我們想像這個舞台是佛教廟宇的一部分，遊行花車的一部分，路邊紀念碑的一部分及葬禮的一部分：那無定形的文化結構，作為面向歷史回憶的超現實所在。
展覽期間，舞台自由開放予社區大眾，歡迎使用。空蕩蕩的舞台令公眾有機會參與構造歷史和知識，藝術家留下的印記將被各社區組織的要求和期望所取代。我們希望創造一種實體結構，在展現西區有意識和無意識的敍述／歷史渴求的同時，藉此成型。
A Box in the Theatre of the World--Adrain Wong+Anya Ventura
Installation theatre
A Box in the Theatre of the World is an experimental historical imagining by installation artist Adrian Wong and cultural geographer Anya Ventura, both expatriate residents of Hong Kong.
The scholar Meaghan Morris has written, “Wanting history is not a primal human desire. We have to be taught to want it, to learn that history is the name of something we lack, and this particular pedagogy of desire and lack has been intimately bound up with nationalism as a project aspiring to govern change.” Exploring this dialectic of desire and lack, we ask: What do we want or need from history? Why is it important to dream or imagine history differently? Our installation aims to give physical shape to the untold, emotive histories traced in the Western district of Hong Kong Island, as expressed by the local small business-owners and craftsmen whose livelihoods are being eroded by redevelopment efforts.
As Hong Kong negotiates the triumvirate effects of Chinese nationalism, post-colonialism, and globalism, nativist notions of the “local” emerge as a profound signifier of a unique post-handover identity. At the same time, “local” has become synonymous with “traditional” or “of the past,” functioning as a counterpoint to the massive redevelopment efforts aimed at cementing Hong Kong’s status as a world-class city. In the Western district, a site of massive redevelopment, the meaning and value of Hong Kong’s local culture is highly contested.
In these redevelopment initiatives, nostalgic interpretations of the local are utilized to uniquely identify and market the modern metropolis. Colorful extractions of the local form the origin of a linear narrative of progress that finds its completion in a global modernity – with the past being performed in preparation for a vision of the future. While the importance of preserving local culture in the face of rapid urban change is undeniable, we challenge how notions of the local may be reduced, fixed, appropriated, and commodified in service of a particular story of disappearance and progress. Through a process of interview and research, we aim to uncover micro-histories of the Western District with the intention of proposing an alternative to both the sanitized omniculture of recent development efforts and static readings of local culture predicated on nostalgic feelings of lack.
Central to our research is charting the social life of the objects produced by these local businesses: items whose histories are of particular significance to the daily experience of life in the Western District (eg. bamboo pencil-holders, tin mailboxes, rattan umbrellas, hand-made cabinetry). We seek to push beyond the limitations of conventional historical inquiry to tap into the more mystical significance that these objects/products/artifacts have taken on in the collective consciousness of the region. We seek a history that blurs the lines between fact and fiction, subjective and objective, local and global, traditional and modern.
Our research culminates in the construction of this theatrical stage-set which incorporate features of traditional Chinese architecture, Hong Kong material culture, outmoded design elements, and imagery from collected anecdotes. Evoking Benjamin’s “phantasmagoria of the interior,” the blank stage is presented as aesthetic object and historical assemblage. We conceive of the stage as part Buddhist temple, part parade float, part roadside memorial, and part funeral procession: a culturally amorphous structure designed to house and display the often surreal contents of historical memory.
The stage is available for community use over the course of the exhibition. The blank stage generates new possibilities for public participation in constructing history and knowledge, where the artists’ authorial presence is ceded to the needs and ambitions of various community organizations. We hope to create a physical structure that both gives shape and is shaped by the conscious and unconscious narratives/historical desires of the region.
王浩然於美國芝加哥出生及長大，現回流香港創作。他原接受心理學研究訓練，於二零零三年獲頒史丹福大學碩士學位；其後他繼續在耶魯大學學習，於二零零六年取得藝術碩士學位。他第一個個人展覽《A Fear Is This》，以黑色幽默角度審視中國傳統禁忌，理解城市生活的危機。零六年與Samantha Culp合作組織「大使計劃」，嘗試以研究為基調的方法論來探索跨文化經驗。他們視自己為「煽動者，建築師，最終成為外國領土中夢想及現實、自己及他人、童年及長大後一切的外交人員」。王浩然現在洛杉磯的加州大學教授雕塑，他最近回港完成這件裝置作品。
網站: embassyprojects.org
Adrian Wong Ho Yin was born and raised in Chicago, Illinois, USA, and is now based in Hong Kong. Originally trained in research psychology, he received a Master’s degree from Stanford University in 2003. He continued his post-graduate studies at Yale University, where he received an M.F.A. in 2005. His first solo exhibition in Hong Kong, A Fear Is This, offered a darkly humorous view into the taboos of Chinese custom and perceived risks of urban living. Together with Samantha Culp, he formed Embassy Projects in 2006, which uses a research-based methodology to explore “trans-cultural” experiences. They see themselves as “agitators, architects, and ultimately, diplomats between the foreign lands of dreams and reality, self and other, childhood and everything that comes after.” Presently, Adrian has recently returned to Hong Kong from Los Angeles, where he has been teaching sculpture and theory at UCLA, to execute this installation.
website:: embassyprojects.org
無視//不在──尋找城市裏或忘的段落--魂游
photo courtesy: Selina Ho
針孔攝影及聲音裝置
1903年，維多利亞城定名。東起黃泥涌，西至堅尼地城﹔
2010年，維多利亞早已失落在城市不同角落的光影裏。
走在大街小巷，佇著，發現許多久存而無視的遺骸……
讓我們探勘故地所在，觀照記憶虛實的色相，聆聽活埋城市的設想。
這幾個月來，我走訪了維多利亞城的大街小巷，用針孔相片收錄了或被遺忘的光與影，不慌不忙的為即逝時光附上備誌。特此鳴謝李太（鴨巴甸街水果檔）、林先生、阿十、阿七（中培花店）、阿美（嘉咸街水果檔）、陳靜昕、曾栢添（香港建築中心）、廣仔（廣記食店）、蘇先生（城皇街垃圾收集站）、John Batten、Peter Leung、Chris Owens及Donna Scammell為圖片作註釋，想像在捉拿不住的回憶裏，尋找城市裏或忘的段落。
Seeing is Existing– something awesome between spaces and our memories--wen yau
pinhole photography & sound installation
The City of Victoria was established in 1903, spanning from Wong Lai Chung to Kennedy Town.
Nowadays in 2010, the City of Victoria has dissipated in different corners of the city.
Stroll around and hold back; breathe in the intangible remains of time.
After all, memories are as slippery as light and shadow, and substances are flashing as fast as sound…
In the last few months, I have been strolling around in places which used to be named the City of Victoria and collecting light and shadow of things that have existed for long but we may have missed. I enjoyed very much the process of pinhole photography which allows me to slow down and accentuate the transience of our reminiscences. Special thanks to Chris Owens, Donna Scammell, Graham Street, Gutzlaff Street, Janet Chan, John Batten, Kwong at Kwong Kee Food Shop, May at Fruit stall, Mr Lam, Mr So at Shing Wong Street Refuse Collection Point, Mrs Lee at Fruit shop in Aberdeen Street, Peter Leung, Platteen Tsang at Hong Kong Architecture Centre, Ten & Seven at Flower Shop, who have contributed their interpretations to the recollection of places in these pictures. Reminiscences of our city are never as viable as what we see, with vivid semblance of the discarded history.
魂游，跨媒介藝術家、研究、策劃及評論人，近年專注於即場／行為及媒體藝術的創作及研究。作品多是就地創作，愛在文化差異及公共與親暱之間進行微軟游擊，主要作品包括﹕「無視//不在」（針孔攝影，2008-）、「尋找國民」系列（錄影及即場演出，2007-）、「以身相許」系列（即場演出，2007-）、「聽寫王」系列（即場及媒體裝置，2005-）及《(我)沒有罪》系列演出計劃（演出，2004-05）等。作品曾於香港、澳門、中國內地（北京、成都、西安、廣州）、台灣、日本、菲律賓、瑞典、玻利維亞、紐西蘭、意大利等地展出，並為香港及亞洲多份報章、雜誌撰寫文章，曾策展「10 年回歸前後話」（香港，2007）、「i-D 兒女— 公展生活」（香港，2005）及「LIVE+MAY」（香港，2003）。現兼任亞洲藝術文獻庫香港研究員，並積極參與創意及藝術教育活動。
網站: www.wenyau.net
As a cross-media artist, researcher, curator and writer, wen yau has been concentrating on performance/live art and time-based media in the last few years. Her works often grapple with cultural difference and intimacy in public space. Recent projects include Seeing is Existing (pinhole photographic series, 2008-), Civil Left/Right (video & performance, 2007-), i-(s) wear project (one-to-one performance, 2007-), TengSeWong/Voice-Writer series (media & live art, 2005-), I pledge (not) guilty (live art, 2004-05), etc. Her work has been shown in Hong Kong, Macau, Mainland China (Beijing, Chengdu, Xi’an & Guangzhou), Taiwan, Japan, Philippines, Sweden, Italy, New Zealand, Bolivia, etc. She is also actively engaged in various creative and arts educational projects and curated "Talkover/Handover" (Hong Kong, 2007), "i-D Generations – Living Art Expo" (Hong Kong, 2005) and "LIVE+MAY" (Hong Kong, 2003). Currently she works as Researcher for Hong Kong at the Asia Art Archive and contributes to various newspapers and magazines
in Hong Kong and Asia.
website: www.wenyau.net
2010年，維多利亞早已失落在城市不同角落的光影裏。
走在大街小巷，佇著，發現許多久存而無視的遺骸……
讓我們探勘故地所在，觀照記憶虛實的色相，聆聽活埋城市的設想。
這幾個月來，我走訪了維多利亞城的大街小巷，用針孔相片收錄了或被遺忘的光與影，不慌不忙的為即逝時光附上備誌。特此鳴謝李太（鴨巴甸街水果檔）、林先生、阿十、阿七（中培花店）、阿美（嘉咸街水果檔）、陳靜昕、曾栢添（香港建築中心）、廣仔（廣記食店）、蘇先生（城皇街垃圾收集站）、John Batten、Peter Leung、Chris Owens及Donna Scammell為圖片作註釋，想像在捉拿不住的回憶裏，尋找城市裏或忘的段落。
Seeing is Existing– something awesome between spaces and our memories--wen yau
pinhole photography & sound installation
The City of Victoria was established in 1903, spanning from Wong Lai Chung to Kennedy Town.
Nowadays in 2010, the City of Victoria has dissipated in different corners of the city.
Stroll around and hold back; breathe in the intangible remains of time.
After all, memories are as slippery as light and shadow, and substances are flashing as fast as sound…
In the last few months, I have been strolling around in places which used to be named the City of Victoria and collecting light and shadow of things that have existed for long but we may have missed. I enjoyed very much the process of pinhole photography which allows me to slow down and accentuate the transience of our reminiscences. Special thanks to Chris Owens, Donna Scammell, Graham Street, Gutzlaff Street, Janet Chan, John Batten, Kwong at Kwong Kee Food Shop, May at Fruit stall, Mr Lam, Mr So at Shing Wong Street Refuse Collection Point, Mrs Lee at Fruit shop in Aberdeen Street, Peter Leung, Platteen Tsang at Hong Kong Architecture Centre, Ten & Seven at Flower Shop, who have contributed their interpretations to the recollection of places in these pictures. Reminiscences of our city are never as viable as what we see, with vivid semblance of the discarded history.
魂游，跨媒介藝術家、研究、策劃及評論人，近年專注於即場／行為及媒體藝術的創作及研究。作品多是就地創作，愛在文化差異及公共與親暱之間進行微軟游擊，主要作品包括﹕「無視//不在」（針孔攝影，2008-）、「尋找國民」系列（錄影及即場演出，2007-）、「以身相許」系列（即場演出，2007-）、「聽寫王」系列（即場及媒體裝置，2005-）及《(我)沒有罪》系列演出計劃（演出，2004-05）等。作品曾於香港、澳門、中國內地（北京、成都、西安、廣州）、台灣、日本、菲律賓、瑞典、玻利維亞、紐西蘭、意大利等地展出，並為香港及亞洲多份報章、雜誌撰寫文章，曾策展「10 年回歸前後話」（香港，2007）、「i-D 兒女— 公展生活」（香港，2005）及「LIVE+MAY」（香港，2003）。現兼任亞洲藝術文獻庫香港研究員，並積極參與創意及藝術教育活動。
網站: www.wenyau.net
As a cross-media artist, researcher, curator and writer, wen yau has been concentrating on performance/live art and time-based media in the last few years. Her works often grapple with cultural difference and intimacy in public space. Recent projects include Seeing is Existing (pinhole photographic series, 2008-), Civil Left/Right (video & performance, 2007-), i-(s) wear project (one-to-one performance, 2007-), TengSeWong/Voice-Writer series (media & live art, 2005-), I pledge (not) guilty (live art, 2004-05), etc. Her work has been shown in Hong Kong, Macau, Mainland China (Beijing, Chengdu, Xi’an & Guangzhou), Taiwan, Japan, Philippines, Sweden, Italy, New Zealand, Bolivia, etc. She is also actively engaged in various creative and arts educational projects and curated "Talkover/Handover" (Hong Kong, 2007), "i-D Generations – Living Art Expo" (Hong Kong, 2005) and "LIVE+MAY" (Hong Kong, 2003). Currently she works as Researcher for Hong Kong at the Asia Art Archive and contributes to various newspapers and magazines
in Hong Kong and Asia.
website: www.wenyau.net
行街－街 --李民偉 (與Pauldesign limited栛作)
photo courtesy: Selina Ho混合媒介裝置
摩囉街廟街鴨寮街女人街雀仔街砵甸乍爹核士街盧吉道金文泰... ...。香港的街道多不勝數，每天都有數不盡的人在這織密的街道上穿梭和流動，街道充滿了城市人的記憶，你還記得兒時街頭最佳的消遣玩意？街道和其它文化產物一樣，同樣反映香港的故事。而新的街道故事由你的參與開始。此三項多媒體互動裝置由Pauldesign limited協作。
Street Walking--Tim Li
Multi-media Installation in collaboration with Pauldesign limited
Cat Street Temple Ap Liu Street Women's Street Bird Street Pottinger Davis Street Lugard Road, Clementi road ....... Hong Kong's streets are numerous. There are countless people doing all kind of activities and flowing through the inter-weaved streets everyday. Street is filled with memories of the people from this city, can you remember your favor pastime on the street? Street is like other cultural artifacts narrating the Hong Kong's story. The new street stories begin with your participation. Multi-media Interactive installations by Tim LI in collaboration with Pauldesign limited.
李民偉畢業於新南威爾斯大學建築系，現為皇家墨爾本理工大學藝術系博士生。曾應邀參展2002韓國光州藝術雙年展，2003威尼斯藝術雙年展，2006威尼斯建築雙年展及2008香港– 深圳建築雙年展。他是亞洲文化栛會授助人及透視雜誌“40 驕子”的得獎者。近期著作有“與床對話”一書。
Tim Li graduated with a degree in Architecture from the University of New South Wales, Australia, and he is currently a doctorate candidate in Fine Art study with RMIT. He has participated in the Gwangju Biennale, Korea, 2002, Venice Biennale, Italy, 2003, Venice Architecture Biennale, Italy, 2006 and Hong Kong – Shenzhen Architecture Biennale, 2008. He is an Asia Cultural Council grantee and winner of the “40 under 40” award by the Perspective Magazine. His recent publication includes “dialogue with the bed”.
摩囉街廟街鴨寮街女人街雀仔街砵甸乍爹核士街盧吉道金文泰... ...。香港的街道多不勝數，每天都有數不盡的人在這織密的街道上穿梭和流動，街道充滿了城市人的記憶，你還記得兒時街頭最佳的消遣玩意？街道和其它文化產物一樣，同樣反映香港的故事。而新的街道故事由你的參與開始。此三項多媒體互動裝置由Pauldesign limited協作。
Street Walking--Tim Li
Multi-media Installation in collaboration with Pauldesign limited
Cat Street Temple Ap Liu Street Women's Street Bird Street Pottinger Davis Street Lugard Road, Clementi road ....... Hong Kong's streets are numerous. There are countless people doing all kind of activities and flowing through the inter-weaved streets everyday. Street is filled with memories of the people from this city, can you remember your favor pastime on the street? Street is like other cultural artifacts narrating the Hong Kong's story. The new street stories begin with your participation. Multi-media Interactive installations by Tim LI in collaboration with Pauldesign limited.
李民偉畢業於新南威爾斯大學建築系，現為皇家墨爾本理工大學藝術系博士生。曾應邀參展2002韓國光州藝術雙年展，2003威尼斯藝術雙年展，2006威尼斯建築雙年展及2008香港– 深圳建築雙年展。他是亞洲文化栛會授助人及透視雜誌“40 驕子”的得獎者。近期著作有“與床對話”一書。
Tim Li graduated with a degree in Architecture from the University of New South Wales, Australia, and he is currently a doctorate candidate in Fine Art study with RMIT. He has participated in the Gwangju Biennale, Korea, 2002, Venice Biennale, Italy, 2003, Venice Architecture Biennale, Italy, 2006 and Hong Kong – Shenzhen Architecture Biennale, 2008. He is an Asia Cultural Council grantee and winner of the “40 under 40” award by the Perspective Magazine. His recent publication includes “dialogue with the bed”.
城市閒蕩交響--林欣傑
photo courtesy: Selina Ho
混合媒介裝置
“街道成了遊手好閒者（flneur的另一譯法）的居所。他靠在房屋外的牆壁上，就像一般的市民在家中的四壁裡一樣安然自得。對他來說，閃閃發光的琺瑯商業招牌至少是牆壁上的點綴裝飾，不亞於一個資產階級者的客廳裡的一幅油畫。牆壁就是他按住筆記本的書桌，書報亭是他的圖書館，咖啡館的階梯是他工作之餘俯視家人的陽台。... ...“ - 班雅明
“街道成了遊手好閒者（flneur的另一譯法）的居所。他靠在房屋外的牆壁上，就像一般的市民在家中的四壁裡一樣安然自得。對他來說，閃閃發光的琺瑯商業招牌至少是牆壁上的點綴裝飾，不亞於一個資產階級者的客廳裡的一幅油畫。牆壁就是他按住筆記本的書桌，書報亭是他的圖書館，咖啡館的階梯是他工作之餘俯視家人的陽台。... ...“ - 班雅明
把逛街，閒蕩當是是一種藝術。以個人的感情，觀點透視這個城市的角落。同一個角落，不同的人以他們的觀點，透過腳步遊歷。發展出自己眼中的城市。也發展出一種看和被看的城市觸角。
“城市閒蕩交響”，把個人的閒蕩幻化成樂曲。記錄一種屬於一個人的城市觀點經驗。城市中的點點，透過閒蕩者的踪跡擷取，轉化成交響樂的音符，節奏。觀眾以觀看聆聽，遊歷別人的城市，也可以腳步由客為主，由觀看者變成被觀看中，讓別人窺看自己的城市。
觀眾可以在現場欣賞其他閒蕩者的樂曲，也可以帶上隨身裝置，隨身裝置會隨著閒蕩者的遊歷，記錄城市的種種，例如城市中跟其他路人的互動，空氣，光線等等。這些被記錄下來的資料會轉換成數據，送到現場的裝置，幻化成一首首樂曲。
林欣傑，創作團體層面 +藝術總監，香港理工大學設計學院和香港藝術學院的客席講師，曾擔任“微波國際新媒體藝術節”技術總監及顧問。基思曾被邀參展多個國際藝術展，如電子藝術節，ISEA，FILE2009等。作品“移動馬里奧”獲得電子藝術界桂冠2008年電子藝術互動藝術組別榮譽獎。他亦獲得香港藝術發展獎 08年之藝術新秀獎（電影及媒體藝術）。
網站：http://www.the-demos.com
觀眾可以在現場欣賞其他閒蕩者的樂曲，也可以帶上隨身裝置，隨身裝置會隨著閒蕩者的遊歷，記錄城市的種種，例如城市中跟其他路人的互動，空氣，光線等等。這些被記錄下來的資料會轉換成數據，送到現場的裝置，幻化成一首首樂曲。
林欣傑，創作團體層面 +藝術總監，香港理工大學設計學院和香港藝術學院的客席講師，曾擔任“微波國際新媒體藝術節”技術總監及顧問。基思曾被邀參展多個國際藝術展，如電子藝術節，ISEA，FILE2009等。作品“移動馬里奧”獲得電子藝術界桂冠2008年電子藝術互動藝術組別榮譽獎。他亦獲得香港藝術發展獎 08年之藝術新秀獎（電影及媒體藝術）。
網站：http://www.the-demos.com
旋轉裝置研究：氹氹轉留聲機--許方華
是次作品嘗試以一個較具玩味的方法去回應展覽主題與場地：文化遺產，藝術與設計。作品的概念與一直進行的聲音研究有關，希望探討更多關於聲音的物理性，例如：聲音的播放速度。我把留聲機與兒時最喜歡玩的氹氹轉聯繫在一起，明顯是因為他們都以旋轉方式運作。有關的聯想，亦表達了我對是次展覽場地的直接回應。我想，如果我是住在這個空間的一名小孩，在這空著的遊樂場中最希望有什麼呢？於媽媽忙著做菜時偷偷地溜去公園玩氹氹轉是兒時最愛的幻想。
希臘人認為沿著圓形軌跡運行最具穩定性，動態最為完美。無論你在圓的哪個位置行走，你也總是與圓心保持著相同距離。而氹氹轉作為一個裝置介面，是最直覺和即時性的，觀眾一看見便知道如何參與。透過感測器，音樂播放的速度會因應觀眾玩氹氹轉的旋轉速度而改變。
是次的作品是發掘聲音創造的一個試點，更多的研究仍在進行中。
“這項研究的圓周運動：旋轉木馬全面留聲機”，楠慧
這項工作提出了有趣的撥款思想作為一種戰略為處理文化遺產。這是一個持續的一部分實驗項目，目的是在境內的物質性的聲音和直接操縱的特點。我來到關聯留聲機與理想中的旋轉木馬輪。這兩個對象，顯然聯結概念圓周運動。該協會還表示我對目前的安裝地點。我不知道，如果我是一個孩子生活在這個空間，有什麼我想這裡面就是空的操場？
我想起了希臘哲學家認為圓周運動誰是最完美的一種運動，因為它的穩定性：在任何一個圓圈移動始終保持在同一距離中心。在旋轉木馬，是一個直觀的全面和直接的界面，請好玩的參與。它包含一個傳感器，記錄數的革命每秒。計算機然後利用這些信息調整的速度播放聲音。這項工作應該被看作是一個持續的項目，探索其他方法產生的聲音。
許方華，別名靜兒，香港出生長大。畢業於香港城市大學創意媒體學院，並於英國倫敦藝術大學中央聖馬丁學院深造，獲藝術碩士。作品曾於國內，國外及歐洲等地展出。曾獲彭博新一代藝術家獎，香港藝術發展局藝術獎學金及香港設計師協會設計學生獎學金。關於創作，許氏認定作品的概念非常重要。文字與作品之別，是作品悄悄地低語語言與意念間那模糊，不一致的地方。
網站：http://www.earthlinginger.com
楠慧（化名因格）出生於香港。她獲得學士學位，在她的創意媒體從香港城市大學和碩士時的美術學院中央聖馬丁藝術與設計。回族的作品已被證明在英國，歐洲，日本和中國。她被授予彭博新興歌手獎（2008年），藝術獎學金由香港藝術發展局（2005年），香港設計師協會設計學生獎學金（2003年）。她的大部分作品表現出濃厚的興趣，在語言和實驗，視聽互動技術。
網址：http://www.earthlinginger.com
希臘人認為沿著圓形軌跡運行最具穩定性，動態最為完美。無論你在圓的哪個位置行走，你也總是與圓心保持著相同距離。而氹氹轉作為一個裝置介面，是最直覺和即時性的，觀眾一看見便知道如何參與。透過感測器，音樂播放的速度會因應觀眾玩氹氹轉的旋轉速度而改變。
是次的作品是發掘聲音創造的一個試點，更多的研究仍在進行中。
“這項研究的圓周運動：旋轉木馬全面留聲機”，楠慧
這項工作提出了有趣的撥款思想作為一種戰略為處理文化遺產。這是一個持續的一部分實驗項目，目的是在境內的物質性的聲音和直接操縱的特點。我來到關聯留聲機與理想中的旋轉木馬輪。這兩個對象，顯然聯結概念圓周運動。該協會還表示我對目前的安裝地點。我不知道，如果我是一個孩子生活在這個空間，有什麼我想這裡面就是空的操場？
我想起了希臘哲學家認為圓周運動誰是最完美的一種運動，因為它的穩定性：在任何一個圓圈移動始終保持在同一距離中心。在旋轉木馬，是一個直觀的全面和直接的界面，請好玩的參與。它包含一個傳感器，記錄數的革命每秒。計算機然後利用這些信息調整的速度播放聲音。這項工作應該被看作是一個持續的項目，探索其他方法產生的聲音。
許方華，別名靜兒，香港出生長大。畢業於香港城市大學創意媒體學院，並於英國倫敦藝術大學中央聖馬丁學院深造，獲藝術碩士。作品曾於國內，國外及歐洲等地展出。曾獲彭博新一代藝術家獎，香港藝術發展局藝術獎學金及香港設計師協會設計學生獎學金。關於創作，許氏認定作品的概念非常重要。文字與作品之別，是作品悄悄地低語語言與意念間那模糊，不一致的地方。
網站：http://www.earthlinginger.com
楠慧（化名因格）出生於香港。她獲得學士學位，在她的創意媒體從香港城市大學和碩士時的美術學院中央聖馬丁藝術與設計。回族的作品已被證明在英國，歐洲，日本和中國。她被授予彭博新興歌手獎（2008年），藝術獎學金由香港藝術發展局（2005年），香港設計師協會設計學生獎學金（2003年）。她的大部分作品表現出濃厚的興趣，在語言和實驗，視聽互動技術。
網址：http://www.earthlinginger.com
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