展・演談 - 知識與表演 跨領域交流
exhibition & lecture performances
- from knowledge to performativity exchange

Table(s) of Contents

因應政府最新公布收緊防疫措施,原訂於2022年1月8日至29日於 Soho Yard舉行之壓軸節目《搭枱》的實體展覽及「演談」將會取消,「演談」改為網上播放。
To comply with the latest government disease prevention, the exhibition and lecture performances will be broadcast online!

頻道 Channel:
JCNAP Facebook / YouTube

Duck and Cover
黃麗茵 Cam Wong x
黃俊達 Ata Wong
首播 Broadcast on:
15/1/2022 (Sat) 20:00
(粵語演出 In Cantonese)

Flow to unfold
潘詩韻 Janice Poon x
黃詩懿 Wong Sze-yi
首播 Broadcast on:
15/1/2022 (Sat) 21:00
(粵語演出 In Cantonese)

Clear Mirror, Still Water
梁偉怡 Verdy Leung x
林沛濂 Lam Pui-lim Anson
首播 Broadcast on:
23/1/2022 (Sun) 20:00
In Cantonese, with some Japanese)

Emotions, Processing
黃裕邦 Nicholas Wong x
趙朗天 Alain Chiu
首播 Broadcast on:
23/1/2022 (Sun) 21:00
(英語演出 In English)

Soho Yard
中環奧卑利街 19 號地下
G/F, 19 Old Bailey Street, Central, HK

場地伙伴 Venue Partner

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查詢 Enquiry:
tel: 2820 1080

Jockey Club New Arts Power 2021/2022 – Finale Programme

策劃團隊 Curatorial Team:
黎蘊賢 Orlean Lai  |   黃大徽 Dick Wong   |  賴閃芳 Lai Sim-fong

創作人 Creators:
趙朗天 Alain Chiu | 林沛濂 Lam Pui-lim Anson | 梁偉怡 Verdy Leung | 潘詩韻 Janice Poon | 黃俊達 Ata Wong | 黃麗茵 Cam Wong | 黃裕邦 Nicholas Wong| 黃詩懿 Wong Sze-yi

「table of contents」中文解作「目錄」,是大部份書藉的開首頁,用於闡述內容架構。

三人策劃團隊以混合而跳躍的聯想,將「table of contents」化成一張張實體的枱,作為知識交流的聚腳點、盛載意念內容的器皿,以至「演談」 (lecture performance) 的講台/舞台。



「演談」在其中兩個週末舉行,但於日間的展覽,幾組枱,也就是幾組創作人的展覽作品,呈現他/她們較為抽象的概念的面向。展覽請來 KaCaMa Design Lab 團隊,為四組創作人就他們不同界別的特質、共同關心的題目、卻又不同的思考方式,構作出不同的「枱」,讓創作人置放、融合內容於其中,成為不同的「Table(s) of Contents」。


“Table of contents” generally refers to the opening pages for books where readers are provided with a brief description of the structured materials.

Juxtaposing thoughts and perspectives, the three-member curatorial team are trying to connect the “table of contents” to a physical table which will serve as a rendezvous for knowledge exchange, a vessel for ideas and a podium/stage for “lecture performance”.

The project provides opportunity in connecting and pairing of the eight creators for dialogues, and generating interaction with each other based on their respective professions. In the process, unexpected resonance sparked, on social or personal issues. They also drew reflections upon similar and contrasting experiences. In such context, “performativity” can be observed as something common yet different across different disciplines. Performativity is not unique to theatre production; it manifests itself in distinct forms among sectors and media. Through “table sharing”, four sets of intertwined works and conversations are expected to be reached.

“Lecture performance” has gained much international attention as a cross-disciplinary performance form in recent years. It is both a speech: sharing of knowledge, ideas and issues, and a performance: a performance with elements such as body, sound, images, etc., conceived by the speaker or creator.

Apart from the “lecture performance” on two weekends, there will also be a daytime exhibition showcasing the creators’ concepts through “several tables”. We have proudly invited KaCaMa Design Lab to design and produce the “tables” for the project, where the tables are integrating with the creators’ unique disciplines, common concerns and unique ways of thinking. The table here is a carrier and a wire to the content. Tables of varied materials, shapes and conditions, intricately merge and form the four groups of exhibits. The outcome is beyond our imagination.

跨領域「演談」Cross-disciplinary “Lecture Performances”

仿鴨與掩蓋 Duck and Cover

黃麗茵 Cam Wong (廚師及視覺藝術家 Chef & Visual Artist )
黃俊達 Ata Wong (劇場導演 Theatre Director)

14 & 15/1/2022 (五及六 Fri & Sat) 20:00 


「Duck and Cover」模仿鴨子般縮下身子去掩蓋自己,是源於50年代冷戰時期,美國政府教導民眾應對原子彈襲擊的民防社會指導影片。以「Duck and Cover」方式抵抗核武當然成疑。到70年代英國政府製作了一段怪異但實用的影片教導民眾從核災難中求生,建議躲藏時間最少14天。恰巧在新型肺炎爆發期間,政府有隔離14天的抗疫措施。這個情景大家似乎已經不再陌生,但可有想到香港家庭14天的糧食儲備會有什麼?



Imagine you are struck by a disaster having nowhere to flee but stranded at home, how long do you think your pantry supplies can keep the family alive?

Imitating a duck to hunch down and elude a pursuer, ‘Duck and Cover’ is a safety drill and civil defense social guidance film introduced by the US government during the cold war in the 1950s. Such approach to nuclear resistance was indeed questionable. By the 1970s, the British government revamped a bizarre yet practical video about surviving the scenario by a minimum of 14 days in hiding. Coincidentally, during the recent pandemic outbreak, local government introduced a 14-day quarantine ordinance as an effort to contain the disease. By now the two-week confinement is no longer a provocative concept, but rather an outspread practice. While we are so accustomed to the new norm, have we thought about the stockpile content among Hong Kong families?

In times of crisis, food is nonetheless the main concern. Hong Kong people’s need for food way exceeds survival consumption. Streets are overflown with imported groceries with mind-blowing price tags. High-end restaurants emerged. A meal for HK$2,000-3,000 is in demand, and a paid reservation means only to put you on waitlist for over three months. In response to this unique phenomenon, Cam Wong and Ata Wong will collaborate on a ‘duck and cover’ dish in their lecture-performance. They will also explore eating options during mishaps by introducing unconventional emergency food.

時.間.流 Flow to unfold

黃詩懿 Wong Sze-yi (韻律泳泳手及導師 Artistic Swimmer & Instructor)
潘詩韻 Janice Poon (編劇及劇場構作 Playwright & Theatre Dramaturg)

14 & 15/1/2022 (五及六 Fri & Sat)  21:00 

塑造一個表演,不論是親身落水的韻律泳運動員,或是思考性的編劇/劇場構作,都同樣關注如何掌握時間的「流動」。如何在水中展現節奏與力量,有如在問如何在劇情中展現張力。兩個不同的演出場域 – 泳池與劇場,兩個南轅北轍的專業 – 韻律泳與劇作,在考慮角色扮演、節奏、力量、形式、敍事及結構等領域卻遙相呼應。


When it comes to sculpting a performance, whether for rhythmic swimming or reflective theatre dramaturgy, the ‘flow’ of time is the essence. Showing rhythm and power in the water is comparable with projecting tension in a play. The pool crashes the theatre; rhythmic swimming collides with dramaturgy. The distinct spaces and varying professions seclude yet converge in terms of role-play, rhythm, power, form, narrative and structure.

What she is good at, she lacks; through each other, they see themselves. The previously unconnected ‘shes’, Sze-yi Wong and Janice Poon, will intertwin in the invisible flow of time and space by re-examining past experiences. Using images, words, dialogues and demonstrations, they will embark on an overlapped journey of personal discovery and refinement, together with the audience.

Clear Mirror, Still Water
Ikebana, theatre and spiritual practices

梁偉怡 Verdy Leung (花道及媒體藝術家 Ikebana and Multimedia Artist )
林沛濂 Lam Pui-lim Anson (劇場演員 Theatre Performer)

21 & 23/1/2022 (五及日 Fri & Sun)20:00 




Ikebana artists prune branches and leaves in a container. Performers explore the theatre. Despite differences in art forms, theatre performers and ikebana artists share similar practices and characteristics. Both observe human feelings and contemplate the world by roaming between the stage and life, vases and nature; they foster spirituality through rigorous training of distinctive skills. The origins of ikebana and theatre are very much related to spiritual practices.

Fūshikaden (The Flowering Spirit), the ancient Noh theatre treatise, discussed the traditional Japanese performing art by referring to the image of flower. Theatre and flowers have long been related in Japan. When a theatre performer who reflects himself through ikebana meets an ikebana artist who uses a container as the stage, how will they fuse the two aesthetic forms into one?

The lecture-performance will invite audience to the lives and work of two artists: Anson Lam and Verdy Leung, who will share insights on the topic through respective artistic practices.

情緒處理中 Emotions, Processing

黃裕邦 Nicholas Wong (詩人 Poet)
趙朗天 Alain Chiu (作曲及聲音藝術家 Composer & Sound Artist)

21 & 23/1/2022 (五及日 Fri & Sun)21:00


Emotions, familiar or estranged, haunt. Sound artist Alain Chiu and poet Nicholas Wong attempt to use their medium to confront their lived emotions that constantly influence their aesthetics and ways of living. After more than a month of collecting and sorting artifacts, Chiu and Wong reveal the emotional landscape of what they have collected. Each emotion is rendered either musically or poetically. In their lecture-performance session, the artists will unravel their intricate and ambiguous relationship between their chosen objects and the emotions behind them.

製作團隊  Production Team

策劃團隊 Curatorial Team
黎蘊賢 Orlean Lai
黃大徽 Dick Wong
賴閃芳 Lai Sim-fong

監製 Producer
黎蘊賢 Orlean Lai

創作人 Creators
趙朗天 Alain Chiu
林沛濂 Lam Pui-lim Anson
梁偉怡 Verdy Leung
潘詩韻 Janice Poon
黃俊達 Ata Wong
黃麗茵 Cam Wong
黃裕邦 Nicholas Wong
黃詩懿 Wong Sze-yi

枱設計 Tables Design
KaCaMa Design Lab

燈光設計 Lighting Design
莫偉強 Christopher Mok

製作經理Production Manager
林慶麟 Lam Hing-lun

舞台監督 Stage Manager
吳紫靈 Kami Ng

宣傳品設計 Graphic Design
郭健超 Pollux Kwok

宣傳品攝影 Promotional Photo
何東盛Thomson Ho

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主辦機構 Presented by

捐助機構 Funded by

策劃及製作 Curated & Produced by