《入世・離地／貼地・出世》港台藝術交流展
“Attachment-Detachment: The fluxes of subjects and objects”
Hong Kong Taiwan Art Exchange Exhibition
藝術與社會，本是一體？
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「當我們聽聞生活即藝術時，藝術的養分即在入世的過程中，然而風流倜儻、瘋狂古怪做為藝術家的描述時，藝術家此時是離地的；當我們聽聞藝術給人崇高與救贖的感動時，藝術彷彿給予觀者一種出世般，暫時的解脫，然而藝術家此時又是如此貼地的打動人心……」
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「『入世』與『離地』、『貼地』與『出世』，看似是對立的詞彙，但坐在香港油麻地咸美頓街由一個民間隱形委員會經營的另類藝術空間：『街坊排檔』，只消一個上午，便會發現凡人口中的『入世』與『離地』，不單未有明顯對立，更會時而膠著至兩者變得含糊，甚至教人覺得可以偷換概念。」
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「藝術與文化，從來是特定社會情境衍生出來的產物，如果『普羅大眾』仍然以為藝術有一道光環，那只是中了現代社會把藝術神性化的伏。藝術與文化的本質，一直藏於生活，又有異於生活。」
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台灣策展團隊成員 劉星佑
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香港策展人 馮穎君
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文字回應 陳世樂（阿三）
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「藝術到家」與台灣「水谷藝術」繼2015年「『加蚋仔流動故事車』香港藝術家駐場計劃」的合作後，再次合辦港台藝術交流，是次交流除了有12位香港和台灣藝術家參與，也邀請了兩地的新晉策展人－馮穎君與走路草農藝工作室加入，期望通過策展人宏觀的視野，串連對公共藝術、社區/社群藝術有興趣的藝術家參與對話。
台灣策展團隊「走路草」在2017年1月曾駐留香港，到不同的街市、市集、農墟考察，也參觀不少本港的藝術展覽和活動。期間令他們特別感興趣的，是「社區營造」、「社區藝術」和藝術自主的複雜關係，於是他們提出以《入世・離地／貼地・出世》此主題，繼續兩地藝術家的對話，而香港策展人馮穎君則從觀察香港藝術家的不同創作實踐，提出對應「入世」和「離地」定義的疑問，成為是次交流計劃和延伸展覽的理念。
參與的香港藝術家已於2017年10月中前往台北與參展的台灣藝術家交流及研討，並於2017年11月11日至2017年11月26日，在土瓜灣牛棚藝術村舉行展覽和公眾交流，一同發掘在公共空間進行藝術創作的不同「潛在」可能性。
台灣策展團隊「走路草」在2017年1月曾駐留香港，到不同的街市、市集、農墟考察，也參觀不少本港的藝術展覽和活動。期間令他們特別感興趣的，是「社區營造」、「社區藝術」和藝術自主的複雜關係，於是他們提出以《入世・離地／貼地・出世》此主題，繼續兩地藝術家的對話，而香港策展人馮穎君則從觀察香港藝術家的不同創作實踐，提出對應「入世」和「離地」定義的疑問，成為是次交流計劃和延伸展覽的理念。
參與的香港藝術家已於2017年10月中前往台北與參展的台灣藝術家交流及研討，並於2017年11月11日至2017年11月26日，在土瓜灣牛棚藝術村舉行展覽和公眾交流，一同發掘在公共空間進行藝術創作的不同「潛在」可能性。
Art and society: They are one?
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“When art is life, and when artistic spirit enters life, it turns an artist to be so charming, so romantic, so extraordinary and so mad that the artist would become so detached from the earth. While an artist creates the possible experience of the sublime and spiritual in the arts to enable audience to escape from daily struggles, this artist must, at the same time, be very socially engaged in order to fully understand the desire of audience.”
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“What is the spectrum of ‘attachment’ and ‘detachment’ when artists engage with community? What are their similarities and differences in terms of art practices? Through observing the fluxes of subjects and objects in Hong Kong and Taiwan — in particular To Kwa Wan and Wanhua, two districts at the brink of urban renewal — this exchange project hopes to inspire more diverse dialogues and thinking space.”
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"If ‘the masses’ think of art as if it sports a halo, it only means that they have fallen into the trap of the mystification of art by modern society. The essence of art and culture has always been hidden in everyday life, and at the same time differs from everyday life."
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Curator from Taiwan,
LIU Shing-You, Walking Grass Agriculture |
Curator from Hong Kong,
Vivian FUNG |
Writer-Respondent
CHAN Sai Lok (Ah 3) |
Following the ‘“Mobile Art Strollers” Hong Kong Artists-in-Residence Scheme’ in 2015, “Attachment-Detachment: The fluxes of subjects and objects” presents the second collaboration between Art Together and Waley Art in terms of art exchange between Hong Kong and Taiwan. In the exhibition, emerging curators Vivian FUNG (Hong Kong) and Walking Grass Agriculture (Taiwan) are invited to join 12 artists from the two cities for an extended dialogue on public and community art.
The first half of the exhibition theme ‘attachment-detachment’ is brought up by Walking Grass Agriculture, who became particularly interested in the complex linkages between ‘community engagement’, ‘community art’ and the autonomy of art after visiting local markets, farms as well as art exhibitions in Hong Kong during their residence in January 2017. By posing a series of shared questions on the engaging and detaching aspects of art, the team seeks to facilitate a continual discussion between Hong Kong and Taiwan artists. In response, Vivian FUNG looks into the practices of Hong Kong artists and poses further questions on the definitions of "attachment" and "detachment" when art interacts with communities, thus completing the second half of the exhibition theme – ‘the fluxes of subjects and objects’.
In October 2017, participating Hong Kong and Taiwan artists exchanged ideas in Taipei. From 11th November 2017 to 26th November 2017, they presented their work, meet the public and discover opportunities for public art in Cattle Depot Artist Village, To Kwa Wan.
The first half of the exhibition theme ‘attachment-detachment’ is brought up by Walking Grass Agriculture, who became particularly interested in the complex linkages between ‘community engagement’, ‘community art’ and the autonomy of art after visiting local markets, farms as well as art exhibitions in Hong Kong during their residence in January 2017. By posing a series of shared questions on the engaging and detaching aspects of art, the team seeks to facilitate a continual discussion between Hong Kong and Taiwan artists. In response, Vivian FUNG looks into the practices of Hong Kong artists and poses further questions on the definitions of "attachment" and "detachment" when art interacts with communities, thus completing the second half of the exhibition theme – ‘the fluxes of subjects and objects’.
In October 2017, participating Hong Kong and Taiwan artists exchanged ideas in Taipei. From 11th November 2017 to 26th November 2017, they presented their work, meet the public and discover opportunities for public art in Cattle Depot Artist Village, To Kwa Wan.
展覽作品 Works
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開幕式 Opening：11-11-2017（六 SAT）2:30pm
展期 Exhibition Period： 11-11-2017（六 SAT）— 26-11-2017（日 SUN） 時間 Opening Hours：12am - 7pm 地點 Venue：土瓜灣馬頭角道63號牛棚藝術村12號單位 Unit 12, Cattle Depot Artist Village, 63 Ma Tau Kok Road, To Kwa Wan, KLN, Hong Kong 策展人：馮穎君（香港）、走路草農藝工作室（台灣） Curators：Vivian FUNG (Hong Kong), Walking Grass Agriculture (Taiwan) 協同策展人：水谷藝術 楊雅翔（台灣） Co-curator: YANG Ya-Siang (Waley Art, Taiwan) |
參展藝術家：
（香港）街坊排檔、張才生、馬智恆、彭震、陳沁昕、小蘭 （台灣）李亦凡、羅懿君、陳漢聲、黃博志、劉玗、鄭亭亭 Participating artists: (Hong Kong) Kai Fong Pai Dong, CHEUNG Choi Sang Samson, MA Chi-hang, PANG Chun, Tap CHAN, Siu Lan (Taiwan) LI Yi-Fan, LO Yi-Chun, CHEN Han-Sheng, HUANG Po-Chih, LIU Yu, CHENG Ting-Ting 文字回應 Writer-Respondent： 劉星佑 LIU Shing-You 馮穎君 Vivian FUNG 陳世樂（阿三） CHAN Sai Lok Stevie TSUI |
台灣策展團隊 「走路草農藝工作室」
蓋正經猶夫溝渠，奇經猶夫湖澤。正經之脈降盛，則溢於奇經。故秦越人比之天雨降下，溝渠溢滿，霶霈妄行，流於湖澤；此發《靈》、《素》未發之秘旨也。八脈散在群書者，略而不悉；醫不知此，罔探病機，仙不知此，難安爐鼎。
－明 李時珍《奇經八脈考》
‘The normal meridians of a body are like one’s drainage, while the extraordinary meridians are like a reservoir of a body. When the normal kinds are all full, the extra substances would overflow into the extraordinary meridians. Ancient physician, Qin Yue-ren described it as the overflow of drainage into lakes and reservoirs after heavy rainfall. This is the significant hint not being revealed in ancient medical literatures about spiritual pivot and questions of fundamental nature. The eight extraordinary meridians were only mentioned briefly and separately in different literatures only. Any doctors who do not understand them are not able to heal. Anyone who does not master this knowledge cannot make suitable medicine.’
Eight Extraordinary Meridians by Li Shi-zhen from Ming Dynasty (1368-1644)
－明 李時珍《奇經八脈考》
‘The normal meridians of a body are like one’s drainage, while the extraordinary meridians are like a reservoir of a body. When the normal kinds are all full, the extra substances would overflow into the extraordinary meridians. Ancient physician, Qin Yue-ren described it as the overflow of drainage into lakes and reservoirs after heavy rainfall. This is the significant hint not being revealed in ancient medical literatures about spiritual pivot and questions of fundamental nature. The eight extraordinary meridians were only mentioned briefly and separately in different literatures only. Any doctors who do not understand them are not able to heal. Anyone who does not master this knowledge cannot make suitable medicine.’
Eight Extraordinary Meridians by Li Shi-zhen from Ming Dynasty (1368-1644)
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當「入世」與「出世」一詞自古以來，被相對的道出之際，世界已成為被人們進出的客體，待人們進一步的實踐與面對，或是放下與解脫，無論是實踐與面對世界的入世，或是選擇放下與解脫的出世，上述成為被觀看的客體的時候，「離地」與「貼地」一詞進而成為對他者的形容。
當「離地」與「貼地」成為生活用語時，入世與出世的意義已兼容「姿態」與「態度」，交纏在觀看與被觀看的方式中，換言之離地與貼地，是有／無意識的觀看與被觀看的實踐，換言之，沒有人能夠全身而退，但仍有可能被視為置身事外。倘若藝術家熟稔的是觀看之道，而這觀看之道之於社會如何成為一種奇經八脈式的存在，是「溝渠溢滿，霶霈妄行」的顯現，而在「仙不知此，難安爐鼎」的關鍵性中，藝術家之於社會的關係如何可能且必要？ 當我們聽聞生活即藝術時，藝術的養分即在入世的過程中，然而風流倜儻、瘋狂古怪做為藝術家的描述時，藝術家此時是離地的；當我們聽聞藝術給人崇高與救贖的感動時，藝術彷彿給予觀者一種出世般，暫時的解脫，然而藝術家此時又是如此貼地的打動人心，藝術之於生活的必要性是值得質疑的，正是因為值得質疑，所以藝術才有機會是必要的，藝術與生活是彼此的小念頭*，念頭之後，是一系列的尋橋與指標，此次的港臺交流計劃，不只是一個藝術家之間的交流，也不只是一個刻板印象中的文化交流活動與展覽，與追求異國情調相反的，是異地的刺探同一的想望。 (*小念頭、尋橋與指標，分別是詠春拳三個有次序的套路，在本文中將小念頭比喻為藝術家創作時幽微而細膩的發想，將尋橋與指標比喻為藝術家創作的方法與對話的對象。) |
The terms ‘worldly’ and ‘unworldly’ long existed. When both are discussed, the world becomes a passive entity being intruded or dismissed by humans: waiting for human beings to practically engage themselves in it, or to escape from it. Either way, when the world is gazed as an object, the terms, ‘socially detached’ and ‘socially engaged’ also become the adjectives for the objects.
When ‘socially detached’ and ‘socially engaged’ are applied to describe daily life activities, ‘worldly’ and ‘unworldly’ both suggest the ‘gesture’ and ‘attitude’ involved in the gaze of the subjects and the objects being seen. Being socially detached or socially engaged is a matter of being conscious or not in the process of seeing or being seen. No one can be excluded completely, although some may be considered as the outsiders. If the expertise of artists is seeing and the way of seeing can be understood as the eight extra meridians in society for the overflow, then what is the possible and significant role of artists in society for the suitable medicine? When we hear that life is art, the nutrients of art enter the world. However, in this process, when artists become so charming and elegant, so strange and mad, artists are socially detached. When we learn that art can provide a sublime state for salvation and art helps a viewer to escape from the world, the artists behind must be very socially engaged. The necessity of art in life is questionable. Due to this doubt, art may become necessary. Art and life is the ‘little idea’* for each other. Following through would be ‘bridge seeking’ and ‘goal reaching’ in a series. The current Hong Kong-Taiwan exchange project is not merely an exchange platform for artists, nor a boring exhibition looking for exotic images from another region. Instead, it is probing questions through reviewing the one another. (* ‘Little idea’, ‘bridge seeking’ and ‘goal reaching’ are three steps in the martial arts of Wing Chun Kung Fu. ‘Little idea’ is used here as an analogy to illustrate the delicate ideas of artists, whereas ‘bridge seeking’ and ‘goal reaching’ are like the art-making process and target audience in the artistic quest.) |
香港策展人 馮穎君
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離開商界公共事務的崗位而投身藝術，是感言語的局限而冀學習視覺的語言；寄望藝術的距離，能帶動個人與事物的親近，開展另一角度的反思、啟發另一層次的討論。
「入世」與「離地」、「貼地」與「出世」，看似是對立的詞彙，但坐在香港油麻地咸美頓街由一個民間隱形委員會經營的另類藝術空間：「街坊排檔」，只消一個上午，便會發現凡人口中的「入世」與「離地」，不單未有明顯對立，更會時而膠著至兩者變得含糊，甚至教人覺得可以偷換概念。 藝術家選擇在基層社區擺檔，以藝術與勞動階層共同創作，是貼地的行動； 但「街坊排檔」有一天、沒一天地經營，算不算離了地的運作？ 剛從學院畢業的彭震，在喧鬧都市裏搜集游離人物的故事，是入世的田調； 但理解世俗眼中怪人的內在邏輯後，反覆思考何謂正常，是否離了地的迷思？ 年少在鄕下以目測便能裁剪的小蘭，來港車衣四十載，貼着地生活； 但踏入七旬才自創其古裝時着，顛覆何為太早完結、太晚開始，是否出了世的行為？ 花四年時間做紀錄片的馬智恆，追査漁港裏幾乎失傳的昔日漁歌，是入世的尋究； 但質疑找到懂曲詞的長輩，卻終留不住活的蜑家文化，是不是離地的無奈？ 從小在土瓜灣上學的陳沁昕，一直探索日常生活中意識邊緣的狀態，接近出世的思辯； 重回舊地創作，用裝置道出歷史的真實與虛擬，傾向貼地的體現？ 兩年前在水谷藝術駐村的張才生，問居民當地植物加蚋仔的來源，騎着單車貼地追溯； 今天在土瓜灣以聲音梳理兩個舊區的矛盾心情，算否離了地的措舉？ 策劃是次展覽，希望呈現藝術家探索社區時「入世」與「離地」的光譜，處理手法的異同。透過觀察香港及台灣，當中兩個面臨都市更新的舊區——土瓜灣及萬華——聚焦內裡的人、物、時、空之流動，進入更多元的對話思域。 |
Feeling the limits of the spoken language, I left the commercial sector to join the art world to learn the visual language. I hope that the distance created by art, can inspire connections among individuals and things, whereby fostering new angles of reflections and new levels of discussions.
‘Attachment’ and ‘Detachment’ are seemingly two opposing vocabularies. But after spending a morning at Kai Fong Pai Dong (KFPD), an alternative art space managed by an invisible organizing committee in Yau Ma Tei, I realized most people not only don't refer them as opposing terms, their meanings are deadlocked and vague, and at times their concepts are interchangeable. When artists choose to manage a stall in a community and co-create with grassroots, it’s a very attached action. But when KFPD does not have regular opening hours, does the operation become detached? When PANG Chun studies his wandering subjects in his field research, his actions are attached to the city. But after understanding the internal logic of those commonly seen as ‘weird’, his line of questioning turned to the notion of ‘normality’. Are his thoughts detached from our daily understanding? After moving to Hong Kong, Siu Lan worked for 40 years as a seamstress, attached to a factory. But when she turned 70, she launched her own series of “Old Fashioned Wearables”. Is her entrepreneurial venture defining, or detached from the world? MA Chi Hang spent four years looking for ballads sung by fishermen in Hong Kong. But after attaching with all the elderlies who could sing the tunes and improvise the lyrics, he questions whether the Tanka culture could be conserved if sea life no longer exists. Tap CHAN usually explores liminality embedded in daily lives, where most feels detached. But when revisiting To Kwa Wan where she spent her childhood, her installation is rooted in the boundaries of fiction and history, where people seems attached. Two years ago, Samson CHEUNG spent days during his residency attaching to the neighbourhood to find the origins of the local plant where the district is named after. Two years later and detached from Wan Hua District, he attempts to use sound to address the sentiments of the neighbourhood. What is the spectrum of ‘attachment’ and ‘detachment’ when artists engage with community? What are their similarities and differences in terms of art practices? Through observing the fluxes of subjects and objects in Hong Kong and Taiwan – in particular To Kwa Wan and Wan Hua, two districts at the brink of urban renewal – this exchange project hopes to inspire more diverse dialogues and thinking space. |
12/10/2017 - 15/10/2017
台灣台北市 Taipei, Taiwan
台灣台北市 Taipei, Taiwan
「牛棚貼地出世」藝術活動
Attachment-Detachment Art Activities @ Cattle Depot
藝術家對談 Artist Dialogue
藝術家對談 Artist Dialogue
11-11-2017（六 SAT）3pm – 4:30pm
（香港）馮穎君、街坊排檔、張才生、彭震、陳沁昕、小蘭
(Hong Kong) Vivian FUNG, Kai Fong Pai Dong, CHEUNG Choi Sang Samson, PANG Chun, Tap CHAN, Siu Lan
（台灣）走路草農藝工作室、李亦凡、羅懿君
(Taiwan) Walking Grass Agriculture, LI Yi-Fan, LO Yi-Chun
11-11-2017（六 SAT）3pm – 4:30pm
（香港）馮穎君、街坊排檔、張才生、彭震、陳沁昕、小蘭
(Hong Kong) Vivian FUNG, Kai Fong Pai Dong, CHEUNG Choi Sang Samson, PANG Chun, Tap CHAN, Siu Lan
（台灣）走路草農藝工作室、李亦凡、羅懿君
(Taiwan) Walking Grass Agriculture, LI Yi-Fan, LO Yi-Chun
思箱計畫 – 香港製造 Made in Hong Kong & Hand-made by Taiwan
思箱計畫 – 香港製造 Made in Hong Kong & Hand-made by Taiwan
11-11-2017 (六 SAT) 4:30pm – 5:30pm
藝術家 Artist：陳漢聲 CHEN Han-Sheng
《思「箱」計畫》是走路草農/藝團的一項長期創作計畫。
台灣多數的農地位在台灣的中部、南部，透過紙箱包裝，農作物將會運送到臺北地區，走路草農/藝團的成員，在台北工作生活的時候，發現了生活中有許多來自南部的紙箱，紙箱上印著蔬果農作的圖案，文字標示著農產品名稱、產地名稱與生產者的姓氏，思「箱」計畫就是緣起自走路草在臺北生活、移動的過程中，所遇見的中部、南部的農作紙箱，透過再現與複印，得以重新凝視紙箱的意義，而非只是紙箱的功能。
還記得第一次探訪香港錦田，令我非常驚訝，香港的農地多麽有別於刻板印象，而沿途的景色、建築、農地都讓我想起台灣的家鄉–高雄。但是當我回到香港市區，走入菜市場，幾乎所有的蔬菜水果，都來從中國進口。連結上述經驗，我回到自身農業背景的家庭，因此我以台灣農產包裝最為常見，也最具特色的紙箱，作為此次「思箱計畫—香港製造」創作的方法，透過手工印製的版畫，執行這一次的購買計劃。欲購買紙箱版畫作品的人，會獲得一個真正的「香港製造」，「香港製造」不單透過創作，被人消費，還得以被看見。「在地」因為「脈絡」的關係，才有機會真的無法被取代。
I still remember my surprise visiting Kam Tin for the first time. It was so unlike my stereotypic impression of a highly urbanized Hong Kong. Its countryside landscape, architecture and farmland, reminded me of Kaohsiung, my hometown in Taiwan. But when I returned to the city and visited Hong Kong’s wet markets, I was also surprised that almost all fruits and vegetables were imported from Mainland China.
Linking these experiences with my agricultural family background, I conceptualized ‘Made in Hong Kong – Hand Made by Taiwan’, a shopping project involving hand-crafted silk-screen printing on paper boxes (a common farm produce packaging in Taiwan). Those who wish to get my silk-screen printing on paper box artwork will also get some authentically ‘Made in Hong Kong’ produce. Through this creative process, What is localization? What is national sovereignty? What counts is determination and confidence. The project of “Made In Hong Kong & Hand Made By Taiwan” discusses interpersonal relationships and context.
11-11-2017 (六 SAT) 4:30pm – 5:30pm
藝術家 Artist：陳漢聲 CHEN Han-Sheng
《思「箱」計畫》是走路草農/藝團的一項長期創作計畫。
台灣多數的農地位在台灣的中部、南部，透過紙箱包裝，農作物將會運送到臺北地區，走路草農/藝團的成員，在台北工作生活的時候，發現了生活中有許多來自南部的紙箱，紙箱上印著蔬果農作的圖案，文字標示著農產品名稱、產地名稱與生產者的姓氏，思「箱」計畫就是緣起自走路草在臺北生活、移動的過程中，所遇見的中部、南部的農作紙箱，透過再現與複印，得以重新凝視紙箱的意義，而非只是紙箱的功能。
還記得第一次探訪香港錦田，令我非常驚訝，香港的農地多麽有別於刻板印象，而沿途的景色、建築、農地都讓我想起台灣的家鄉–高雄。但是當我回到香港市區，走入菜市場，幾乎所有的蔬菜水果，都來從中國進口。連結上述經驗，我回到自身農業背景的家庭，因此我以台灣農產包裝最為常見，也最具特色的紙箱，作為此次「思箱計畫—香港製造」創作的方法，透過手工印製的版畫，執行這一次的購買計劃。欲購買紙箱版畫作品的人，會獲得一個真正的「香港製造」，「香港製造」不單透過創作，被人消費，還得以被看見。「在地」因為「脈絡」的關係，才有機會真的無法被取代。
I still remember my surprise visiting Kam Tin for the first time. It was so unlike my stereotypic impression of a highly urbanized Hong Kong. Its countryside landscape, architecture and farmland, reminded me of Kaohsiung, my hometown in Taiwan. But when I returned to the city and visited Hong Kong’s wet markets, I was also surprised that almost all fruits and vegetables were imported from Mainland China.
Linking these experiences with my agricultural family background, I conceptualized ‘Made in Hong Kong – Hand Made by Taiwan’, a shopping project involving hand-crafted silk-screen printing on paper boxes (a common farm produce packaging in Taiwan). Those who wish to get my silk-screen printing on paper box artwork will also get some authentically ‘Made in Hong Kong’ produce. Through this creative process, What is localization? What is national sovereignty? What counts is determination and confidence. The project of “Made In Hong Kong & Hand Made By Taiwan” discusses interpersonal relationships and context.
場域展演：「過渡」 Sound Performance: ‘Transition’
場域展演：「過渡」 Sound Performance: ‘Transition’
19-11-2017（日 SUN）3pm
藝術家 Artist：張才生 CHEUNG Choi Sang Samson
兩個舊區，兩條遲來的鐵路，即將達成了眾多台北南萬華與香港土瓜灣居民的心願。冗長工程讓兩地進入了一種「臨時性」和「過渡」的狀態，藝術家以自身對這種新景像的盼望、擔憂、懷緬等矛盾心情作為切入點。透過2015年到南萬華區駐村的聆聽經驗帶回香港，並嘗試以土瓜灣作為對照，以聲音表演的方式梳理和呈現。
The belated railway development has reached the aspirations of numerous residents in the area of South Wanhua in Taipei and To Kwa Wan in Hong Kong. The lengthy project has brought the two places into a kind of “temporary" and "transitional" status. The artist takes his own ambivalence with hope and worries of this kind of new sight. This performance reflects the artist’s listening experience as a Hongkonger in To Kwa Wan and South Wanhua District during his artist residency in 2015.
19-11-2017（日 SUN）3pm
藝術家 Artist：張才生 CHEUNG Choi Sang Samson
兩個舊區，兩條遲來的鐵路，即將達成了眾多台北南萬華與香港土瓜灣居民的心願。冗長工程讓兩地進入了一種「臨時性」和「過渡」的狀態，藝術家以自身對這種新景像的盼望、擔憂、懷緬等矛盾心情作為切入點。透過2015年到南萬華區駐村的聆聽經驗帶回香港，並嘗試以土瓜灣作為對照，以聲音表演的方式梳理和呈現。
The belated railway development has reached the aspirations of numerous residents in the area of South Wanhua in Taipei and To Kwa Wan in Hong Kong. The lengthy project has brought the two places into a kind of “temporary" and "transitional" status. The artist takes his own ambivalence with hope and worries of this kind of new sight. This performance reflects the artist’s listening experience as a Hongkonger in To Kwa Wan and South Wanhua District during his artist residency in 2015.
《岸上漁歌》放映會 Screening: Ballad on the Shore
《岸上漁歌》放映會 Screening: Ballad on the Shore
26-11-2017（日 SUN）7:30pm
藝術家 Artist：馬智恆 MA Chi-hang
小島之上，海風吹散老人的白髮。黎連壽口中哼著輕盈自在的漁歌：「大船拋住沱濘頭誒，舢舨送郎賴氏州呀，咪俾東風吹窒你妹娘裙尾呀，細魚投胎潡肚白呀，燈盞無油誒是黑岩……」隨興變奏，調子重覆，與海浪聲載浮載沉。海上風物，生老病死，漁歌歌者唸唸有詞。塔門黎氏靠捕魚維生，漁歌自古口耳相傳，但現在已難覓知音。黎伯生於戰前，與太太結婚六十餘年，是香港少數精通漁歌的水上人。子女無一從事漁業，也未曾經歷驚濤駭浪的生活，對父親的歌藝竟然未有所聞。
城市之中，昔日漁民黝黑皮膚仍沾滿海鹽。有人以漁歌表演，在社區教育兒童；也有人以漁歌傳道，敬拜上帝。漁歌成了這些水上人心靈的避風港，回首艱苦的前半生，竟能憶苦思甜。日子久了，漁民記憶褪色，漁歌從海上飄到岸上，沉澱成安撫心靈的淡然之音。
On the small isle of Tap Mun, the ocean breeze gently lifts up strands of grey hair on Lai Lin-shau’s head. He quietly sings in the characteristic tones of the fisherman’s ballads: Anchor large boats at the tip of To Nin, a sampan sends the lover to Sai See Island.....”. The melody alters with his moods and, seemingly without rules, the pitch and tones alternate and repeat themselves as if they were synchronising with the ocean waves. The lyrics of these ballads tell the stories of the trials and tribulations of the life of the fisherman. The Lai family had, for generations, fished for a living in the waters of Tap Mun, their ballads are passed down from one generation to the next, but the songs are finding fewer and fewer listeners today. Born before WWII, Mr. Lai has been wed to his wife for over 60 years. He is one of the few people alive who knows the fisherman’s ballads intimately. None of his children followed the ancestral path of a fisherman, and none experienced the harsh and unforgiving life at sea. They are not even aware of his singular and priceless knowledge of the ballads.
The deeply tanned skin with a whiff of sea salt coming off their bodies are the distinctive signs of an ex-fisherman to the city dwellers. As the fishing community shrinks, they found new ways of life on land. One performs and teaches the ballads to young children; another uses the ballads to spread her Christian faith. The ballads have become a spiritual harbour for these landed fishermen and appear to offer solace and certain selective nostalgia to a life of hardship. These ballads were once part of the nautical landscape of Tap Mun and as the memories of the fishermen’s past lives fade, the words and melodies have come ashore bringing spiritual serenity to those who would hear the songs of the sea.
26-11-2017（日 SUN）7:30pm
藝術家 Artist：馬智恆 MA Chi-hang
小島之上，海風吹散老人的白髮。黎連壽口中哼著輕盈自在的漁歌：「大船拋住沱濘頭誒，舢舨送郎賴氏州呀，咪俾東風吹窒你妹娘裙尾呀，細魚投胎潡肚白呀，燈盞無油誒是黑岩……」隨興變奏，調子重覆，與海浪聲載浮載沉。海上風物，生老病死，漁歌歌者唸唸有詞。塔門黎氏靠捕魚維生，漁歌自古口耳相傳，但現在已難覓知音。黎伯生於戰前，與太太結婚六十餘年，是香港少數精通漁歌的水上人。子女無一從事漁業，也未曾經歷驚濤駭浪的生活，對父親的歌藝竟然未有所聞。
城市之中，昔日漁民黝黑皮膚仍沾滿海鹽。有人以漁歌表演，在社區教育兒童；也有人以漁歌傳道，敬拜上帝。漁歌成了這些水上人心靈的避風港，回首艱苦的前半生，竟能憶苦思甜。日子久了，漁民記憶褪色，漁歌從海上飄到岸上，沉澱成安撫心靈的淡然之音。
On the small isle of Tap Mun, the ocean breeze gently lifts up strands of grey hair on Lai Lin-shau’s head. He quietly sings in the characteristic tones of the fisherman’s ballads: Anchor large boats at the tip of To Nin, a sampan sends the lover to Sai See Island.....”. The melody alters with his moods and, seemingly without rules, the pitch and tones alternate and repeat themselves as if they were synchronising with the ocean waves. The lyrics of these ballads tell the stories of the trials and tribulations of the life of the fisherman. The Lai family had, for generations, fished for a living in the waters of Tap Mun, their ballads are passed down from one generation to the next, but the songs are finding fewer and fewer listeners today. Born before WWII, Mr. Lai has been wed to his wife for over 60 years. He is one of the few people alive who knows the fisherman’s ballads intimately. None of his children followed the ancestral path of a fisherman, and none experienced the harsh and unforgiving life at sea. They are not even aware of his singular and priceless knowledge of the ballads.
The deeply tanned skin with a whiff of sea salt coming off their bodies are the distinctive signs of an ex-fisherman to the city dwellers. As the fishing community shrinks, they found new ways of life on land. One performs and teaches the ballads to young children; another uses the ballads to spread her Christian faith. The ballads have become a spiritual harbour for these landed fishermen and appear to offer solace and certain selective nostalgia to a life of hardship. These ballads were once part of the nautical landscape of Tap Mun and as the memories of the fishermen’s past lives fade, the words and melodies have come ashore bringing spiritual serenity to those who would hear the songs of the sea.
學校導賞 guided school tour
學校導賞 Guided School Tour
22-11-2017（三WED）
藝術家 Artist：街坊排檔 Kai Fong Pai Dong
22-11-2017（三WED）
藝術家 Artist：街坊排檔 Kai Fong Pai Dong
《入世・離地／貼地・出世》港台藝術交流作品集
“Attachment-Detachment: The Fluxes Of Subjects And Objects”
Hong Kong Taiwan Art Exchange Documentation
試閱版下載 Sample：
版權所有，不得翻印 All Rights Reserved
載有展覽全記錄和四篇回應的交流作品集現可在下列地點索取，歡迎參考。
The documentation booklet can be found at:
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