藝術不能一下子為社區帶來改變,但藝術可以觸發個體改變想法,方法在於改變個人的視點:通過不同藝術經驗,擴闊看待社區的視野、透過認識社區的整體,調節觀看社區的視點,正如觀賞中式卷軸畫,視點往往不單止得一個。把古語「見山是山」應用到理解社區當中,是要破除對社區的固有觀念。而是次計劃以「見山不是山」為主軸,透過不同的藝術經驗,提供另一層面的閱讀,重新理解和感受事物,從而擴闊過往的單一觀念。
想像未來,打開選擇的空間
參與藝術創作是一種對未來的寄望。作品不一定表達愉悅美好的一面,但在不同程度上,都潛藏著期盼,為未來帶來改變。創作人有如社會的放大鏡,他們敏銳的觸覺,總會在日常中找到不尋常的景像、現象,通過藝術,引領公眾觀察、發現及重新思考,從而在公眾的生命中留下註腳。
計劃藉不同的藝術媒介、形式的體驗活動介入,讓公眾看見創作人及參與者對未來社區的想像,讓公眾認知想像的可能、生活的可能、生命的可能…… 種種的可能性都是為了開闊公眾的選項。
選擇,不一定會帶來翻天覆地的改變,藝術微妙之處,在於打開意識跟感官。心態一旦改變,便會看到不一樣的景觀。
不同社群參與方式及藝術經驗,透現不同理想
有很多社區藝術項目針對不同「需要」的社群或社區而設,然而社區並不一定「有問題」,藝術也並不一定是「解決」問題的工具。社區藝術項目也可以是多元的,以不同的策略,透視不同的理想。
社區藝術項目可以是純粹的美感經驗啟發及探索:重新發現尋常生活環境、習慣中的微妙之處,有如打開不被留意的隙縫,看到別有洞天的風景,帶來詩意的美感體驗;亦可以提出干擾與反思:稍稍改變一些慣常的操作,讓大眾反思對某些生活模式的必然性;還有較常見的提升認同感,成為充權與展現:鼓勵及提供機會讓某特定社群去展現未被看到的獨特之處及能力。
當然策略與理想還有很多未被發掘的可能,有待未來更多藝術家的參與,亦同時有待不同評論人的論述討論。就此,感謝六位藝術家的參與,藉他/她們不同的專長、關注、視點、媒介,構思了六種不同的藝術經驗。亦非常感謝三位接受邀請的評論人:張薇、阿三及黃嘉瀛,擔任這次計劃的「觀察員」,透過他們的視點,將為社區藝術項目打開另一層次的閱讀及思考。
Art cannot change the community overnight, but it can trigger people’s change of mind. The magic happens when one’s perspective shifts. Art can enhance your experience of life in a community. Such experience will give you a more holistic perception of the community. It works just like how multiple perspectives an ancient Chinese handscroll can provide. The intention to use the old saying “A mountain seen is a mountain being” from Zen Buddhism into understanding community, is to break down the conformation defining it. Under the umbrella of “mountain no mountain”, different art experiences will provide a whole new level of reading, understanding and feeling things, thus unfold the many different points of view about a community that was monotonous.
Imagining the future, making space for choices
Art creation is about imagining the future. Artworks don’t always project fantasies, but they do present hope underneath. The hope for bringing changes for the future. Artists/creators act like magnifiers for the society, they bear acute sensitivity, they can always discover unusual or unexpected scenery/phenomena in daily life. Art encourages the public to depart from the norm. The observation, discovery and reflection induced may perhaps annotate at some point in their life chapter.
The project adopted different art mediums/forms to provide various participatory experiences. The public will see how the artists/creators and participants envision what their good-old community could become. People will be able to acknowledge the possibilities to think out of the box and choices to live life are up for us to make.
Choices may not lead to drastic changes inside out, but the nuance of art is how it can touch your consciousness and senses. Once the mindset is changed, one would be able to see things differently.
Diverse ways of participation and art experiences present diversified ideals
There are many community art projects tailored for specific “needy” groups of people or areas, but not all communities carry “problems”. Art is not necessarily a tool for “problem-solving”. There are many more approaches to present more diverse ideals for the future.
Community arts could simply bring aesthetic experience by rediscovering the intriguing parts of the mundane surroundings and routines that people are so used to. It is like a glimpse of a brand new world enhancing daily life with a poetic touch. Community arts could also bring interference and reflection. A little change in some usual practices could let the public aware of what they have taken for granted in their way of living. Community arts could often hoist a sense of coherence: Empower specific group of people by uncovering their special quality and ability.
There are lots more to be discovered about approaches and ideals of community arts. We look forward to more participation from other artists and comments from different critics. Finally, we would like to thank the six participating artists for creating six different art experiences originated from their very own specialities. We would also like to thank the three invited critics, Cheung Mei, Chan Sai-lok and Ky Wong, as the “observers” for this project. Their unique views will unfold a whole new level of understanding about community arts.
展覽作為引子,旨在介紹一下參與的六位藝術家,以及他們帶來的不同活動/體驗/想法,如何以不同的媒介、形式、角度介入灣仔,希望您願意一起走出慣常,繞道看看別的風景!
An introductory exhibition, to introduce the six participating artists and their projects in bringing unique experience and ideas, through different media, formats and perspectives to approach Wanchai.
24/07/2021 - 01/08/2021
每日 11am-7pm daily
Our Gallery
灣仔軒尼詩道302-8號集成中心UG 10
UG 10, C C Wu Building, 302-8 Hennessy Road
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快閃掃葉工作坊體驗
Flash mob leaves sweeping workshop event
嗚謝 Acknowledgement (場地提供 Venue Support)
社群參與的公共藝術項目,在強調公眾參與度時,可能只著眼於公眾的參與人數,止於有沒有讓社群「開心」地參與,卻少有探討參與經驗有沒有提升社群對社區,以及藝術的理解,及參與者自身的創作能量有沒有因此被釋放。又或,有沒有回到文化藝術的角度去進行研究及論述,以至探索社區藝術項目的各種策略與理想等。
計劃邀請了三位評論人:張薇、 阿三及黃嘉瀛,擔任今次計劃的「觀察員」。他們將會分別出席計劃的不同活動,了解藝術家設計藝術經驗的理念、構思,又或會與藝術家及參與的社群、公眾交流,了解他/她們的體會,透過觀察員的視點,將會為社區藝術項目打開另一層次的閱讀及思考。
To see how well the public engaged in a certain community art project, it seems out of focus to check whether the people “enjoyed” the project or not. It’s even more distorted to determine only the number of participants. Did the experience raise people’s understanding of community, as well as arts? Did the people’s creative power unleash? Going back to the angle of art and cultural analysis, did the project study, comment or even explore various strategies and ideals of community arts? These are the questions to be answered.
This project invited three critics, Cheung Mei, Chan Sai-lok and Ky Wong, to be the “observers”. They will attend various activities and learn how the artists designed the art experience. They would even communicate with some participants and the public to find out how they perceive. The observers’ unique views will unfold a whole new level of understanding about community arts.
張薇 Cheung Mei
張薇畢業於香港中文大學新聞及傳播學系和美國紐約大學跨學科人文思潮碩士課程,從事文化藝術的報道及編輯工作多年。1999年獲亞洲文化協會利希慎獎助金。現為自由文字工作者。
Cheung Mei graduated from Journalist and Communication Department, The Chinese University of Hong Kong, and John W. Draper Interdisciplinary Master’s Program in Humanities and Social Thought, New York University. She has worked as an arts and culture journalist for many years and received Lee Hysan Foundation Fellowship from Asian Cultural Council in 1999. She is now a freelance writer.
陳世樂(阿三)Chan Sai-lok
藝術家、藝評及寫作人。香港中文大學藝術系畢業,後修畢藝術碩士(創作)及性別研究文學碩士課程。近年個展包括「Everyday Practice」(香港及紐約,2019及2020)及「一夕餘地」(2019)等。曾入選Sovereign傑出亞洲藝術獎,獲大華銀行年度水墨藝術大獎等。現為藝評組織Art Appraisal Club成員、藝評計劃「時刻導賞員」計劃總監及電台藝術節目嘉賓主持。
Artist, art critic, and writer based in Hong Kong. Chan holds a BA and MFA in Fine Art and an MA in Gender Studies, all from the Chinese University of Hong Kong. His recent solo exhibitions include Everyday Practice (Hong Kong 2019 and New York 2020), and Land of Longing and Exile (2019). Chan has been a finalist in the Sovereign Asian Art Prize, and a winner of the UOB Art in Ink Award.Chan is a co-founder of an art-critic-collective Art Appraisal Club, project director of an art review project “Free Walk In”, and guest host of a radio art program.
黃嘉瀛 Wong Ka-ying (KY)
黃嘉瀛,香港藝術家,於2013年獲香港中文大學藝術學士及於2021年獲香港浸會大學視覺藝術哲學碩士,現為香港中文大學文化研究博士生。策展項目、藝術創作及寫作散見於香港及其他城市之報刊、美術館及社區空間。
www.wongkaying.com
Wong Ka-ying (b. 1990) is an artist and writer based in Hong Kong. She received her BFA degree from the Chinese University of Hong Kong in 2013 and obtained her M.Phil. Visual Arts from Hong Kong Baptist University in 2021. A keen observer of the art community and society, Wong critically reflects on the various social, cultural, and gender issues today through using a wide range of media from performance to social media platform. Wong expresses passion in writing, curating and art educations. She made an outward appearance on various public sharing, seminars, panel discussion and talks, actively engaging with the communities and art lovers.
策劃人 Curators
方韻芝 Vangi Fong
浸會大學視覺藝術院首屆畢業生,副修人文學。從事設計統籌、藝術教育、公眾參與等策劃工作,關心社區、城市發展及土地議題,擅長讓年青人及公眾體驗藝術創造的各種可能。2019年參與自然學校舉辦的教師培訓課程,展開與年青人向自然扣問的旅程。
2012年組織「油麻地花王」,試圖以城市種植作為基進的抵抗示範,計劃包括「剩食圖鑑」、「拾德好」年宵拾物活動,計劃引起NGO的回應,改變公眾對剩食、年宵剩物的處理態度;2014年社區藝術空間「活化廳」未能續約,與同伴組成「活化廳」繼續做工作組,同年「蘇波榮」合作社成立,以共享經濟形式運作社區廚房,亦引起公眾就消費及飲食習慣的思考。
其他合作策劃項目,以公眾參與為主,包括:MaD@西九(2011)、自由嘢(2012-13)及伙伴創意市集@文化中心:自由市場 (2014-16);2015年開始參與由聖雅各福群會營運的「We嘩藍屋」項目,推動文化保育、社區教育及公共空間文化等工作;2019-2020年共同策劃項目「還原頁」,於油街實現試驗藝術作為每日修練的形式,讓公眾體驗藝術與生活結合的可能性。
Graduate from HKBU Academy of Visual Arts and minor in Humanity; Vangi works for design coordination, art education and public participatory projects, focusing on the issue of community, development and land. She is good at guiding young people and public to experience possibilities of art creation. In 2019, she attend Teacher Orientation Course organized by RTC Gaia School and start questioning the nature with the youth.In 2012 co-found Yaumatei Gardener that tried resisted city development via gardening, initiated projects included 'Yaumatei Gardener', 'Yaumatei Leftover Guide' & 'Pick It Good', all related to leftover cycle in urban city. She was also a member of Wooferten (community/art space) and So Boring (Community Kitchen) based in Yau Ma Tei. Other co-curated project focused on public participation including 'MaD@Westkowloon', 'FreespaceFest-Collaborative Programmes 2012', ''FreespaceFest- Construction in Progress 2013' and 'Creative Market in Partnership- The Free Marketeers (2014-2016)'. From 2015-2018, Vangi was team leader of education program of Blue House, curated programs about community education, cultural conservation as well as public open space workshops. Co-curate “A Page A Wish” at Oi! in 2019-2020, let the public experience the possibility of combining art into daily life. Another exhibition “The Practice of Every day Life” questions the feasibility of embedding environmental-friendliness into our daily practices.
黎蘊賢 Orlean Lai
成立 orleanlaiproject (www.orleanlaiproject.net),強調「混雜協作」的跨域合作,探索不同展現方式的混種可能,模糊藝術類型框框、媒界的分野。
2014年獲邀於「油街實現」策劃了「像是動物園」展覽,嘗試以展場作為歷程、敘述、跨越展覽與表演的實驗場域。2018年策劃的新版《像是動物園2》於新視野藝術節2018上演,在香港醫學博物館重新打開「珍奇屋」奇觀之旅。以跨界協作班底 -區華欣、許敖山、馮程程、伍韶勁、吳子昆、文美桃、洪忠傑等,為觀眾帶來一趟跨越演與展的社會實驗歷程,從第一回的藏品展示,到第二回把焦點放在「人」的展示上,尋找現代處境底下的「奇人」。
此外,2018年初製作了《肖像曲》,串連 Nerve與卓翔將「紀錄」從影片延伸到劇場,化為混種歌劇,從中探視崑曲、能劇與西方歌劇表演者的創作生平。2017年策動了多頻道演出《親密 Claustrophobia》與創作人馮程程、譚偉平及袁卓華共同實驗了一次裝置聲域平行敘事演出。
2018及2019年,獲香港藝術發展局委約,為賽馬會藝壇新勢力策劃了兩個跨媒介演出系列,分別為「風平草動」- 於中環大館的監獄操場內進行的場域回應式演出系列,及「游山行」系列- 於中上環一帶的古蹟歷驗演出之旅。
2019年成立另一機構 No Discipline Limited,希望發展更多跨領域的合作計劃及文化交流。並嘗試邀請不同文化藝術工作者參與,聯合策劃不同項目,以更寬闊視點、模式及討論,去探索對當代藝術/演出的理解與實驗。
Orlean 為2016年為亞洲文化協會年度獎助金得主。
Orlean Lai founded her production unit – orleanlaiproject (www.orleanlaiproject.net), focuses on curating hybrid collaborations across performing art and visual art, in exploring new possibility of presentation formats and fuse the boundary of art forms and mediums.
Orlean has curated Zoo as Metaphor (2014 at Oi!), which has attempted to adopt exhibition space for an experiential journey of narrative and performance; while the new edition of Zoo as Metaphor 2 (2018 at New Vision Arts Festival) has evolved from a crossed form of exhibition and performance into an experiential journey of social experiment.
Other collaborative projects include: Songs of Portrait (2018) with Nerve and Cheuk Cheung expanded the medium of documentary beyond the screen to live performance on stage, illustrating the lives and practices of performers from the traditions of Kunqu, Noh and Italian opera. In 2017, orleanlaiproject also featured the intermedia collaborative performance, Claustrophobia with Vee Leong, Tam Wai-ping and Yuen Cheuk-wa, which experimented with integrating installation, sonic writing, and soundscape into a parallel narrative performance.
In 2018 & 2019, orleanlaiproject was commissioned by the Hong Kong Arts Development Council to curate the Finale programme series for the Jockey Club New Arts Power. The projects were: Swim Walking (2018) – a series of art journeys held in the Central / Sheung Wan district; and Wild is the Grass (2019) – a series of site-responsive performances held at the heritage site of Tai Kwun.
In 2019, she founded another organisation – No Discipline Limited, aims to foster more intermedia experiment and cross-cultural collaboration. NDL tries to invite other cultural/arts practitioners to share the curatorial, with widening the perspectives in mind, practices and discussion on contemporary arts/performance.
Orlean was Asia Cultural Council Fellowship recipient of 2016.
製作及鳴謝
Production & Acknowledgements
聯合策劃人 Co-curators:
方韻芝 Vangi Fong
黎蘊賢 Orlean Lai
參與藝術家 Participating Artists:
程展緯 Luke Ching
許敖山 Steve Hui
劉曉江 Lawrence Lau
吳暐君 Sharon Ng
黃進曦 Stephen Wong Chun-hei
素黑 Black (Su Hei)
觀察員 Observers:
張薇 Cheung Mei
陳世樂(阿三)Chan Sai-lok
黃嘉瀛 Wong Ka-ying (KY)
項目統籌 Project Coordinator:
蕭朗宜 Siu Long-yee
主圖設計 Key Visual Design:
MAJO
特別鳴謝 Special Thanks:
伍集成文化教育基金會 C. C. Wu Cultural & Education Foundation Fund
夕拾 Jiksap
朝花 Lightime Blossoming
Pointsman
張嘉莉 Clara Cheung
鄒樂怡 Yoyo Chow
何比 Kobe Ho
顧國慧 Sabina Koo
羅偉珊 Susi Law
曾志雄 Hugo Tsang
謝金寶 Kampo Tse
黃祖森先生
鳴謝 Acknowledgement [場地提供 Venue Support] :
靠在牆邊的掃把原來是城市裡的寓言故事。
清潔工雖然不是魔女或巫婆,當中不少人都懂得自己製作掃把。仔細觀察的話,每把掃把都是由不同植物重組而成,不單是標本,更具有魔法,在公園施法控制落葉,營造季節的氣氛。掃把會一直放在公園裏,然後拜託落葉有靈,在功能和慾望之間留下你我他的故事。
計劃會招募「研究團隊」成員,通過研究植物,及它們作為物料、欣賞清潔工的智慧和想像工具的可能性,解構掃把背後的故事,並提出更多掃把作為遊戲道具的可能。
Brooms lying on the street corner are indeed fables of the city.
Though street sweepers are not witches or wizards, each of them knows how to make the broom of his/her very own. Take a closer look at those brooms, see? They were made up of different plants. They are not dead objects. On the contrary, they do have magic. In our playground, the broom regulates fallen leaves to suit the seasonal mood. Brooms always belong to our parks and playgrounds, channelling with those fallen leaves, leaving no traces but stories about us.
The project will recruit a team of “researchers”. Through studying plants and the method of upcycling them, we will uncover the folk wisdom behind and the unlimited possibilities of tool making. Let’s unlock the stories and unleash the capability of brooms.
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研究團 Research Team
研究範疇:
~ 創意工具設計
~ 可做掃把的植物
~ 不同種族的掃把探知
~ 公園清潔工的工作處境研究
~ 掃把作為遊戲道具或公園常設公共設備
Research areas:
~ Creative tools design
~ Brooms materials and plants
~ Brooms making and races
~ Working situation of street sweepers in parks
~ Brooms as game props / permanent public facilities in parks
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快閃掃葉工作坊體驗
Flash Mob Leaves Sweeping Workshop Event
「前奏展覽」期間進行
during the ‘Prelude Exhibition’ period
1/8/2021 (日 Sunday)
2:30 - 5:30 pm
Our Gallery
灣仔軒尼詩道302-8號集成中心UG 10
UG 10, C C Wu Building, 302-8 Hennessy Road
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工作坊及體驗日 Workshop & Practising Day
容後公佈,敬請留意!
will be announced soon, stay tuned!
程展緯 Luke Ching
程展緯18歲前是木顏色高手(全班數一數二),篆刻都唔錯;26歲前跟陳老師學習混合媒介創作,當年混合媒介在媒介分類中就是「其他」。30歲前曾當四年級班主任,主教美勞兼教常識,30歲後才學會游水和踏單車,但還未懂中文打字就結婚了,算是一生的成就。40歲前關心社會的公共空間和探討禮物經濟發展,希望在活生生的社會中回收活生生的藝術再學習。40歲後專注個人職業發展,立志成為黃馬褂。
Before the age of 18, Luke Ching was known as a pro in colour pencil drawing and was among the best in his class. He was pretty good at seal carving too. Before turning 26, he learned to work with mixed media under the tutelage of Chan. At the time, mixed media was categorised as 'others' when one had to specify the medium of an artwork. Before 30, he worked as a teacher of grade 4 students, teaching art and general studies. After 30 he finally learned to swim and cycle, but before he managed to learn to type in Chinese, he got married - which is his lifetime achievement. Before the age of 40, he took an interest in public space in our society and the development of gift economy, hoping to recycle lively art from a lively society and learn from that. After turning 40, he started focusing on his personal professional development, hoping to become a boss's pet.
人人天生都會唱歌,只是不知從何時起就不再唱了;人人都玩過音樂,只是覺得無時間無地方無技術就不再玩了;公共空間本來是為所有人而設,只是大家習慣了以為只可以路過。城市的開放空間有限,在鬧市找到可以行逛、遊戲、發白日夢的空間甚為艱難;疫情下,大家經常長時間留在家中,日日對著四面牆,心情和想像力都處於低潮。
「解心樂團」是一隊非專業臨時樂團,不論年齡、職業、種族或音樂能力也歡迎你加入成為團員。樂團將會在灣仔多個開放空間及之間的路線,一齊唱歌、玩音樂,並以一首二十年代的粵謳改編而成的粵語歌曲《新粵謳解心》為主題曲,透過音樂和空間的共享讓大家解開心事、保持身心健康。
為樂團成員以設的工作坊,將於今年秋天舉行。巡樂日將於年底至明年初舉行。
We all know how to sing, but we just don’t sing anymore. We have all played music, but we no longer do so with lots of sound excuses: no time, no space, no skill. Public spaces are for public use but we pass them by most of the time.
Open spaces in the city are so scarce. It is hard to find a city space just for fun, for daydreaming or for wandering. Since the pandemic, we have been staying so long at home as if being detained. How depressive and boring.
“Unlock the Heart” is an amateur and temporal band. Regardless of age, occupation, ethnicity or music talent, everyone is welcome to join us. The band will perform at and around several open spaces in Wanchai. Using a 1920s Canton old song as its theme, the band will use music and space sharing to unlock people’s heart and keep up people’s spirit.
Workshops for recruited band members will be held in the fall this year, and Music Parade Performance will be organised at the end of 2021 and early 2022.
解心樂團 Unlock the Heart
樂團成員招募 Band Members Recruitment
** 參與資格 requirement:
年齡、種族、音樂能力不拘
All age, ethnicity, and music ability are welcome!
遴選日 Audition Day
(1) 12/9/2021 (日 Sun) 11am - 1pm
(2) 15/9/2021 (三 Wed) 5:30pm - 9:30pm
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新粵謳解心 - 工作坊 Workshop
(只供成功獲選的參加者 for those successfully selected only)
容後公佈,敬請留意!
will be announced soon, stay tuned!
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巡樂日 Parade Music Performance
容後公佈,敬請留意!
will be announced soon, stay tuned!
許敖山 Steve Hui
許敖山以香港為基地,專注混合藝術形式、跨越界別及實驗傳統,經常以多重身份穿梭現代音樂、聲音藝術、多媒體劇場及地下文化之間。其作品曾於香港藝術節、新視野藝術節演出,獲香港小交響樂團、香港城市大學、香港創樂團、進念‧二十面體、現在音樂、無極樂團、城市當代舞蹈團、不加鎖舞踊館委約創作,並與 orleanlaiproject 合作多個跨界項目。主要作品包括與卓翔合作《肖像曲》紀錄歌劇、《1984》電影歌劇、與龔志成合作《家‧春‧秋》現場電影配樂及多媒體歌劇《利瑪竇的記憶宮殿》。作為表演家及唱片騎士活躍於 15 Grams、HKCR 及 DIY 戶外派對地下場域,並於柏林 CTM 及瑞士洛 LUFF 演出。創立及擔任實驗樂團 Decade Ensemble 總監。香港演藝學院作曲及電子音樂碩士,曾任教香港兆基創意書院及香港國際音樂學校,現為香港演藝學院兼職講師。2017年獲亞洲文化協會獎助於紐約考察研究。
Steve Hui is a Hong Kong based multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. Experimenting with tradition and remixing art forms, Hui's music has been presented at the Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. He has received numerous commissions, from the City Contemporary Dance Company, City University of Hong Kong, Contemporary Musiking Hong Kong, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, Unlock Dancing Plaza, Wuju Ensemble and Zuni Icosahedron. He is also a long-time collaborator with orleanlaiproject. Recent theatre works include the documentary opera - Songs of Portrait, cinematic opera - 1984, digital opera - The Memory Palace of Matteo Ricci, live soundtracks for the 1950s films - Family, Spring, Autumn, and the Run Run Shaw Creative Media Centre opening performance - Four Infinities. Collaborative works include Zurich x HK Mirror Factory, Tokyo x HK - Absolute Airplane, installation/performance - Zoo as Metaphor, experimental Naamyam - A Wanderer's Autumn Anthology, dance performance - Almost 55 and never-never land. Hui is active in the local and international underground scene, performing and djing at 15 Grams, HKCR, CTM (Berlin), LUFF (Lausanne), as well as numerous DIY outdoor parties. He is the founder and artistic director of the experimental music group Decade Ensemble. Hui holds a master degree in composition and electronic music from the Hong Kong Academy for Performing Arts, where he is currently a part-time lecturer. He has also held teaching posts at HKICC School of Creativity and Hong Kong International Institute of Music. In 2017 he was an Asian Cultural Council fellow in New York.
談起「社區」,最常見的詞語都離不開「共同」,比如說「集體回憶」、「共享空間」、「約定俗成」。對於流動人口遠大於固定人口的灣仔區,是否還有更多尋找「共同」的媒介或方式?
以聲音作為媒介,邀請你接受訪問,紀錄答案之餘,透過你的發問,連結下一位受訪的灣仔人,創造一個問答相續的平台,一串又一串的問與答,加上受訪者送贈下一位的歌曲,將會成為獨特的灣仔區聲景。
劉曉江將於9至11月期間,在灣仔街頭進行「連鎖對話」,期待與大家的相遇。
活動後段 (12月期間),將會以一場「神秘音樂約會」,作為契機,讓參與過問答的群眾聚首同一空間,繼續以聲音/音樂創造共同經歷,探索彼此進一步溝通的可能。
When we talk about “community” we talk a lot about sharing. Common terms like “collective memories”, “space sharing” and “social conventions” are all about shared understanding. In Wanchai, where its number of commuter is much larger than its number of usual residents, is there another way to look for its common ground?
Using sound as a medium, you are invited to attend an interview. Your answers will be recorded, and the questions you posted will link up with the next interviewee. These chained questions and answers will become a platform. Each interviewee will also suggest a song as a gesture of courtesy for the next one. All these will add up to create a unique Wanchai soundscape.
Lawrence will carry out the ‘chain of dialogues’ on the streets in Wanchai in September to November. Looking forward to the encounters with you!
There will be a “secret music gathering” in the end. All interviewees will be invited to meet at a physical space. They will continue to create a collective experience with sound and music, and opening up a continuous dialogue.
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神秘音樂約會
參與了「對話」的人士,將會收到個別通知。
People who participated in the ‘dialogue’ will receive the notification privately.
將於12月期間舉行,詳情容後公佈,敬請留意!
Programme will be held in Dec. Details will be announced soon, stay tuned!
劉曉江 Lawrence Lau
先後於香港演藝學院及香港城市⼤大學獲取其學士及碩士學位,分別主修作曲及電⼦⾳樂與創意媒體藝術。作為一名作曲家、電子⾳樂人、聲音藝術家,其聲音作品包括室內樂、管弦樂、中國樂、現場電子樂、聲音設計、裝置等。他同時熱衷於在劇場創作中探索各種概念和語言。曾參與《浮⼠德》、《梅瑟原則》、《世界(曾經)是平的》、《跳著舞去火星》及《⾝體活》等劇場作品。於媒體藝術方向,他亦以創作、表演者、聲音設計及作曲家等角色參參與裝置及視聽現場的創作。曾參加的藝術展覽包括:北京民生美術館《時間迷宮》、北京時代美術館《超級對撞》、今日美術館《Future of Today》及3-Legged Dog NYC《Developing the Future.zip》、華盛頓 D.C. Artechouse現場等。
Lawrence Lau Hiu-kong graduated with a Bachelor of Music in Composition and Electronic Music from The Hong Kong Academy for Performing Arts and obtained a Master of Fine Arts in Creative Media from the City University of Hong Kong. He is the recipient of a number of scholarships, including those from HSBC, the Composers and Authors Society of Hong Kong (CASH), The Lions and Joseph Koo Music Foundation and Musicus Society. Lau’s works span from composition, live performance and audiovisual art, and have been performed in Hong Kong and internationally including at the Asian Composer League Conference and Festival (Taiwan), Hong Kong Arts Festival, highSCORE Festival (Italy) and Musicus Fest. His recent productions for theatre include: Faust, Das Prinzip, Meese and The World Was Once Flat. Lau also creates media artworks, which have been exhibited in the Beijing Minsheng Art Museum, Beijing Time Art Museum, Today Art Museum (Beijing), 3LD Art & Technology Centre (New York) and Artechouse (Washington).
你可曾夢見過灣仔?灣仔在夢中又會是一個怎樣的時空?
夢境夾雜情緒、虛幻與現實的片段,今年秋夏以灣仔人的夢境作入口,記錄當中的境象與情緒輪廓。計劃將會透過「捕夢站」及「夢境話語」留言信箱,有系統地結集及分類灣仔人演繹的夢境及其對夢境的詮釋,以夢作為媒介,整合及展示成「灣仔大夢」視覺藝術創作。
吳暐君將於8至於10月期間在灣仔區不定期出沒,以「捕夢站」收集大家的夢與解釋。
方便喜歡私密細語的你留個夢境訊息,特設「夢境話語」留言信箱及線上「捕夢站」。
Dreamscapes are composed of emotions, fantasies and realities. In this summer and fall, we will record systematically dreams made by Wanchai people. There will be “Dream Catching Stations” and “Dreamlike Whispers” collection box to categorize all sorts of dreams about Wanchai. With our dreams as the medium, a collective artwork “Dream Wanchai” will be created.
Sharon will host the “Dream Catching Stations” at different spots in Wanchai during August to October, to collect your dreams and interpretations.
You can also tell your dream at the “Dreamlike Whispers” collection box, or “Dream Catching Station” online.
「夢境話語」留言信箱
"Dreamlike Whispers" Collection Box
Tel: 5962 4040
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工作坊 Workshop
將於10至11月期間舉行,詳情容後公佈,敬請留意!
Programme will be held in Oct-Nov. Details will be announced soon, stay tuned!
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發夢日 Dream Day
將於11月期間舉行,詳情容後公佈,敬請留意!
Programme will be held in Nov. Details will be announced soon, stay tuned!
吳暐君 Sharon Ng
香港觀塘出生、成長,生活健康。唯一的錯誤行為是通宵工作,休息不足。有時記性不好,但必定記得本土時刻。吳暐君香港浸會大學視覺藝術學士畢業後,曾到加泰從事設計工作,一年後回到香港,開始設計教育工作。現為講師,教授插畫設計及視覺傳意設計。
2016年末創辦《香港着草地圖》,前後出版七篇。透過地圖小誌導賞團、工作坊及展覽,積極以着草角度演繹本土文化、歷史,直至2020年初圓滿結束。
最近計劃為「自然早死」,透過展覽思前想後自己的死、了解前人對「永久」的渴望,以及參考同代人活下去的理由。 以此為思想實驗,觀照自己,並探究香港社會對死亡的容忍度。
目前繼續藝術及設計創作、探索不同媒介、關注生活議題及努力經營關係。
Ng was born and raised in Kwun Tong, Hong Kong, where she leads a healthy life except for her occasional lack of sleep after pulling an all-nighter for work. Her memory fails her sometimes, but she always keeps the local time in mind.
She started working in the design industry in Catalonia after graduating with a BA in Visual Art from Hong Kong Baptist University. One year later, she expanded her career to design education following her return to Hong Kong.
In late 2016, Ng launched the project ‘Hong Kong Jack Ciao Map’ to present much neglected local culture and history through seven maps of local destinations dedicated to ‘escapees’ to and from Hong Kong. When creating the maps, she added to the project guided tours based on the information from a map zine, workshops, and an exhibition for further promoting the unknown side of the city before ending the project in early 2020.
Her latest project was the exhibition ‘Natural Early Death’, through which she pondered over her death, learnt about older local generations’ desires for permanent residency and being buried in a certain place, and examined her contemporaries’ reasons for choosing to live. To her, the exhibition is a thought experiment for self-reflection and for exploring locals’ tolerance for death.
Ng teaches illustration and visual communication design as a lecturer. She is also an active artist and designer interested in exploring different mediums. Meanwhile, she cares about everyday-life issues and maintaining relationships.
城市寫生本來就是一種用眼去駐足、以手去描繪,從而加深自身對社區認識的過程。通過集體寫生創作,以兩種視角經驗,把每個人的視角連接,呈現出一個連繫你與其他人的社區風景。
特製的手推寫生車將會停泊在灣仔的不同位置,並邀請途經的你對著眼前景象寫生,一幅作品連貫地鄰接上一幅作品的景物,直至一幅長長的橫軸風景作品完成。
縱向的視角將會揀選灣仔其中一幢大廈進行,同一座向,同一幢大廈內所見到的景物其實是相同的,但因為高度不同,不同樓層所見到風景就存有少許差異。垂直集體寫生把不同樓層的窗外風景及其室內場景都畫下來,互相對照之下,可以看見另一個前所未見的社區風景面貌。
Urban sketching helps us deepen our understanding of our community through our eyes and hands. By sketching in groups, we use two angles of seeing to connect the perspective of different people, resulting in a cityscape drawing us together.
A tailor-made sketching cart will park in different parts of Wanchai. Passersby will be invited to sketch the scene at that moment. The scene at a sketch be connected with the scene depicted in the previous sketch, creating an elongated landscape scroll.
The vertical perspective will be taken from one of the buildings in Wanchai. The view from the same building is actually the same, but because of the different heights, there is a slight difference in the view from different floors. The vertical group sketches will be made by drawing the scenery outside the windows of different floors and the interior scenes of the buildings, so that they can be contrasted with each other and see another view of the community that has never been seen before.
將於2022年初舉行,詳情容後公佈,敬請留意!
Programme will be held in early 2022. Details will be announced soon, stay tuned!
黃進曦 Stephen Wong Chun Hei
黃進曦,生於1986年。2008年畢業於香港中文大學藝術系(文學士)。作品主題圍繞自然風景繪畫,早年以電玩遊戲中的景觀作寫生,突顯虛擬映像於視覺的衝擊。近年專注到香港郊野寫生,加入想像,描繪人和自然之間的角力和共存。
Born in 1986, Wong Chun Hei Stephen graduated from Fine Art Department (CUHK) in 2008. Wong’s paintings are focus on natural landscape scenery, his early paintings sourced from the scenes from Video Games, in order to highlight the visual impact from virtual world. In recent years, Wong keeps going to the natural parts of Hong Kong and paint in open air. By adding his own imagination, the paintings reveal the relationship between mankind and the nature.
素黑 Black (Su Hei)
素黑為香港及內地知名療癒師作家,心共振療癒顧問總監、生命管理顧問,北京大學社會學系首位學生成長導師,2021香港書展年度主題「心靈勵志」代表作家。她擁有二十多年臨床個案療癒經驗,被譽為「療癒天后」、「華語世界首席情感療癒作家」、「是療治這個時代的藥」,以「素黑式的愛」風靡全球華人地區。她的文字被形容為「直搗人心,冷靜地纖細,堅定地陰柔,散發深邃如黑洞的力量」、「能一語道破你的迷執」。
她的書是醫生、教授、名人、僧侶及平凡女男的枕邊讀物。
她說:「你不是來看我,你是來看你自己。」
她創辦「麻木樹」療癒工作室,臨床療癒經驗二十年,處理過個案諮詢逾萬,受療者來自全球華語地區。她研發聲療工具如定心銅磬及自療音叉,及監製情緒療癒系列芳療油。
她於全國及馬來西亞等地巡迴開辦過逾百場演講及課程,談自愛及修養的課題,示範聲音自療,教授情緒急救法,吸引數萬觀眾及媒體出席。經典作《好好愛自己》銷量突破一百萬冊;《好好修養愛》上架初週已超越一直位居排行榜榜首的《喬布斯傳》;《一個人不要怕》為大學教授向學生推薦之指定讀本及修行人廣閱之讀物。
A well-known healer-writer in both Hong Kong and Mainland China, Black (Su Hei) is the Director of Heart Resonance Consultant; a life management consultant; and the first Student Development Mentor of the Department of Sociology at Peking University.She is selected as “representative author” for Theme of the Year "Inspiring the Mind and Refreshing the Soul" in the 2021 Hong Kong Book Fair.
She has over twenty years of clinical experience, and is hailed as ‘Queen of Healing’, ‘Principal Emotional Healer-Writer in the Chinese World’, and the ‘Therapeutic Antidote to Our Age’, captivating the world’s Chinese communities with ‘Su Hei-style’ love.
Her prose style has been described as: ‘directly touching one’s heart, calmly elegant, strong but gentle, holding a power and profundity comparable to that of a black hole’; ‘capable of exposing our obstinacy and perplexity in one sentence’.
Her books are the close companions of doctors, professors, celebrities, monks, and common persons alike.She said, ‘You are here not to see me, but to see yourself’.
She is the founder of Asagi & Tree Healing Space, where her clients come from different parts of the world. She has developed sound healing devices such as centering singing bowl and self-healing tuning forks, and has overseen the production of her own series of aromatherapy oils for emotional healing purposes.
She has toured around China and Malaysia, holding over one hundred seminars and courses on topics such as the importance of self-love and self-improvement. In these sessions she has also demonstrated the effectiveness of sound therapy and taught techniques relating to emotional first aid. Such events were widely attended by tens of thousands of learners and members of the press.
Her most representative works include Love Yourself Better, which has sold over one million copies; Love to Nourish, Love to Transform, which topped best-selling charts in place of Steve Jobs during the first week of its release; and No Fear in Loneliness, which has been put on recommended reading lists by university professors, and is widely read amongst mindfulness and meditation practitioners.
沒有固定的日期和時間、沒有次序的體驗模式,遊走在囂鬧的灣仔,緩緩發掘如何用各自的方式去愛自己及關愛他人。「和自己相認體驗」一共有三個活動,活動主題以「觀照自己」相連。
An experience without any fixed date, time or sequence, you are invited to wander around the busy Wanchai. Uncover your very own way to love yourself and care for others. “Experiencing Self-recognition” consists of three activities linked up by the idea of “self-reflection”:
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愛自己漂流卡
Love Yourself Drifting Cards
隨漂流咭去到灣仔區的不同角落,隨心抽一張,看看今天的自愛運程。也許它會提提你忽略或忘記了什麼,應該或不該做什麼。你可以帶它走,讓愛能量隨身。改天,你回到同一處,`,放回卡,重新抽,帶它走,帶回去……讓卡如水般漂流,來又去,去又回。
每次調整心情、更新自己。和自己好好相愛,練習「取」與「放」,不佔有,共分享,讓自愛的能量在社區循環不息。
Follow the cards to different street corners in Wanchai. Take a new card, see how it tells about your self-love fortune. It may remind you of something you missed or forgot. It may advise you to or not do something. You can take the card with you to gain its energy of love. The next time at the same spot or another location, put back the card, take a new one, and so forth. Let the cards flow like water. Let them come and go.
Adjust your mood and renew yourself every time. Embrace yourself, learn “give” and “take”. Don’t own anything, do share everything. Let the energy of self-love flow around the city.
派發期:2021年9至於10月
distribution period: Sept-Oct 2021
**派完即止 upon availability
派發地點 distribution outlets:
容後公佈,敬請留意!
will be announced soon, stay tuned!
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約素黑相睇告解
Confessing with Black
約會素黑,一對一,「相睇」諮詢,「睇」清楚自己,「告」訴她你最想「解」困的二三事。化「解」久藏的心結、不甘、委屈、無奈、不安、傷痛、迷茫等疑團。讓你和自己相認,學懂自我療癒的方法。
Make a private date with Black. Consult her to see through yourself. Tell her what is hindering you. Untie the knot in your heart. Reassure yourself. Learn how to heal yourself.
將於9下旬至於10月舉行,詳情容後公佈,敬請留意!
Programme will be held in late Sept to Oct. Details will be announced soon, stay tuned!
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黑洞觀音體驗會
Blackhole Sound Appreciation
黑,是一種力量,萬物存在的依歸,走向定與靜的心之居所。黑,是一種自由。在全黑裡打開五感,感受聲息動靜的無限空間,單獨又不單獨。
閉上眼,張開眼,你由最初看不見,到逐漸看見意想不到的奇景。這是一次觀黑與觀音,釋放與發現的奇妙旅程,強化定心、勇氣、自信和對生命的肯定。
Black is a kind of energy: the origin of all existence, the home of silence and tranquillity. Black is a kind of freedom: in total darkness, we open our five senses in full and feel the infinity of even the slightest vibration. Alone but not lonely.
Close eyes. Open eyes. Initially, there is nothing to see but then unexpected sceneries will appear gradually. This will be a journey to appreciate blackness and sound. A journey to release and discover. A journey to centre ourselves, to reinforce courage and confidence, and to assert life.
容後公佈,敬請留意!
will be announced soon, stay tuned!
許敖山 Steve Hui
許敖山以香港為基地,專注混合藝術形式、跨越界別及實驗傳統,經常以多重身份穿梭現代音樂、聲音藝術、多媒體劇場及地下文化之間。其作品曾於香港藝術節、新視野藝術節演出,獲香港小交響樂團、香港城市大學、香港創樂團、進念‧二十面體、現在音樂、無極樂團、城市當代舞蹈團、不加鎖舞踊館委約創作,並與 orleanlaiproject 合作多個跨界項目。主要作品包括與卓翔合作《肖像曲》紀錄歌劇、《1984》電影歌劇、與龔志成合作《家‧春‧秋》現場電影配樂及多媒體歌劇《利瑪竇的記憶宮殿》。作為表演家及唱片騎士活躍於 15 Grams、HKCR 及 DIY 戶外派對地下場域,並於柏林 CTM 及瑞士洛 LUFF 演出。創立及擔任實驗樂團 Decade Ensemble 總監。香港演藝學院作曲及電子音樂碩士,曾任教香港兆基創意書院及香港國際音樂學校,現為香港演藝學院兼職講師。2017年獲亞洲文化協會獎助於紐約考察研究。
Steve Hui is a Hong Kong based multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. Experimenting with tradition and remixing art forms, Hui's music has been presented at the Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. He has received numerous commissions, from the City Contemporary Dance Company, City University of Hong Kong, Contemporary Musiking Hong Kong, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, Unlock Dancing Plaza, Wuju Ensemble and Zuni Icosahedron. He is also a long-time collaborator with orleanlaiproject. Recent theatre works include the documentary opera - Songs of Portrait, cinematic opera - 1984, digital opera - The Memory Palace of Matteo Ricci, live soundtracks for the 1950s films - Family, Spring, Autumn, and the Run Run Shaw Creative Media Centre opening performance - Four Infinities. Collaborative works include Zurich x HK Mirror Factory, Tokyo x HK - Absolute Airplane, installation/performance - Zoo as Metaphor, experimental Naamyam - A Wanderer's Autumn Anthology, dance performance - Almost 55 and never-never land. Hui is active in the local and international underground scene, performing and djing at 15 Grams, HKCR, CTM (Berlin), LUFF (Lausanne), as well as numerous DIY outdoor parties. He is the founder and artistic director of the experimental music group Decade Ensemble. Hui holds a master degree in composition and electronic music from the Hong Kong Academy for Performing Arts, where he is currently a part-time lecturer. He has also held teaching posts at HKICC School of Creativity and Hong Kong International Institute of Music. In 2017 he was an Asian Cultural Council fellow in New York.
社群參與的公共藝術項目,在強調公眾參與度時,可能只著眼於公眾的參與人數,止於有沒有讓社群「開心」地參與,卻少有探討參與經驗有沒有提升社群對社區,以及藝術的理解,及參與者自身的創作能量有沒有因此被釋放。又或,有沒有回到文化藝術的角度去進行研究及論述,以至探索社區藝術項目的各種策略與理想等。
計劃邀請了三位評論人:張薇、 阿三及黃嘉瀛,擔任今次計劃的「觀察員」。他們將會分別出席計劃的不同活動,了解藝術家設計藝術經驗的理念、構思,又或會與藝術家及參與的社群、公眾交流,了解他/她們的體會,透過觀察員的視點,將會為社區藝術項目打開另一層次的閱讀及思考。
To see how well the public engaged in a certain community art project, it seems out of focus to check whether the people “enjoyed” the project or not. It’s even more distorted to determine only the number of participants. Did the experience raise people’s understanding of community, as well as arts? Did the people’s creative power unleash? Going back to the angle of art and cultural analysis, did the project study, comment or even explore various strategies and ideals of community arts? These are the questions to be answered.
This project invited three critics, Cheung Mei, Chan Sai-lok and Ky Wong, to be the “observers”. They will attend various activities and learn how the artists designed the art experience. They would even communicate with some participants and the public to find out how they perceive. The observers’ unique views will unfold a whole new level of understanding about community arts.
張薇 Cheung Mei
張薇畢業於香港中文大學新聞及傳播學系和美國紐約大學跨學科人文思潮碩士課程,從事文化藝術的報道及編輯工作多年。1999年獲亞洲文化協會利希慎獎助金。現為自由文字工作者。
Cheung Mei graduated from Journalist and Communication Department, The Chinese University of Hong Kong, and John W. Draper Interdisciplinary Master’s Program in Humanities and Social Thought, New York University. She has worked as an arts and culture journalist for many years and received Lee Hysan Foundation Fellowship from Asian Cultural Council in 1999. She is now a freelance writer.
陳世樂(阿三)Chan Sai-lok
藝術家、藝評及寫作人。香港中文大學藝術系畢業,後修畢藝術碩士(創作)及性別研究文學碩士課程。近年個展包括「Everyday Practice」(香港及紐約,2019及2020)及「一夕餘地」(2019)等。曾入選Sovereign傑出亞洲藝術獎,獲大華銀行年度水墨藝術大獎等。現為藝評組織Art Appraisal Club成員、藝評計劃「時刻導賞員」計劃總監及電台藝術節目嘉賓主持。
Artist, art critic, and writer based in Hong Kong. Chan holds a BA and MFA in Fine Art and an MA in Gender Studies, all from the Chinese University of Hong Kong. His recent solo exhibitions include Everyday Practice (Hong Kong 2019 and New York 2020), and Land of Longing and Exile (2019). Chan has been a finalist in the Sovereign Asian Art Prize, and a winner of the UOB Art in Ink Award.Chan is a co-founder of an art-critic-collective Art Appraisal Club, project director of an art review project “Free Walk In”, and guest host of a radio art program.
黃嘉瀛 Wong Ka-ying(KY)
黃嘉瀛,香港藝術家,於2013年獲香港中文大學藝術學士及於2021年獲香港浸會大學視覺藝術哲學碩士,現為香港中文大學文化研究博士生。策展項目、藝術創作及寫作散見於香港及其他城市之報刊、美術館及社區空間。
www.wongkaying.com
Wong Ka Ying (b. 1990) is an artist and writer based in Hong Kong. She received her BFA degree from the Chinese University of Hong Kong in 2013 and obtained her M.Phil. Visual Arts from Hong Kong Baptist University in 2021. A keen observer of the art community and society, Wong critically reflects on the various social, cultural, and gender issues today through using a wide range of media from performance to social media platform. Wong expresses passion in writing, curating and art educations. She made an outward appearance on various public sharing, seminars, panel discussion and talks, actively engaging with the communities and art lovers.