《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（Vivian FUNG）與「走路草農藝工作室」加入，期望通過策展人較宏觀的視野，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月駐留香港，到不同的街市、市集、農墟考察，也參觀了不少本港的藝術展覽和活動。期間，令他們特別感興趣的，是「社區凝造」、「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不同的香港藝術家之創作實踐，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計劃理念。
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，於2017年11月11日至2017年11月26日，他們將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。
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 upcoming 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”.
Participating Hong Kong and Taiwan artists have already exchanged ideas in Taipei in October 2017. From 11th November onwards, they will present their work, meet the public and discover opportunities for public art in Cattle Depot Artist Village, To Kwa Wan.
台灣策展團隊「走路草」在2017年1月駐留香港，到不同的街市、市集、農墟考察，也參觀了不少本港的藝術展覽和活動。期間，令他們特別感興趣的，是「社區凝造」、「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不同的香港藝術家之創作實踐，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計劃理念。
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，於2017年11月11日至2017年11月26日，他們將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。
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 upcoming 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”.
Participating Hong Kong and Taiwan artists have already exchanged ideas in Taipei in October 2017. From 11th November onwards, they will present their work, meet the public and discover opportunities for public art in Cattle Depot Artist Village, To Kwa Wan.
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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 |
台灣策展團隊「走路草農藝工作室」
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香港策展人馮穎君
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策展人簡歷 Curators' bio
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台灣策展人 Curator from Taiwan
走路草農藝工作室 Walking Grass Agriculture 「治本於農，以農入藝」是走路草農藝工作室的實踐的方法與目標。農業家庭的背景以及對藝術的熱愛，是團員們的共通點，農藝在此不單是指農業技術，我們更是治本於農的在家人傳承的農務經驗中，思考藝術的可能，農事是一種人文與自然之間的調和，藝術的初衷何嘗不是如此，因應節氣、順應天時地利、調節生活都是當代藝術可以取法借鏡的態度。 “flourish a state through agriculture, intervene art through agriculture” is the method and objective of walking grass studio. Our members have a family background in agriculture and a profound passion for art. We use the term agriculture not just for its technical implications, instead we explore the possibilities of art via the values we have inherited from our families. Agriculture is a balance between nature and culture, not unlike art, it responds to seasons; the heavens and the earth underneath it; time and space; the rhythm of life. All of these are phenomenon art can act upon. |
香港策展人 Curator from Hong Kong
馮穎君 Vivian FUNG 馮穎君，現居香港，1992年獲澳洲麥覺理大學文學士，在商界打滾廿年後重投學院，2016年獲香港藝術學院高級藝術文憑及香港浸會大學視覺藝術碩士，作品多以過氣物品探討人性的力量，亦嘗試策展。 Vivian FUNG is a Hong Kong-based artist and curator graduated from Macquarie University with a Bachelor of Arts degree in 1992. After working for the business sector for twenty years, she went back to school and received a Higher Diploma in Fine Art from Hong Kong Art School and a Master of Visual Arts degree from Hong Kong Baptist University in 2016. Her artworks, often involving found objects that are dated, enquire about the essence of strength and humanity. She also attempts to curate. |
「牛棚貼地出世」藝術活動
Attachment-Detachment Art Activities @ Cattle Depot
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。
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。
《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.