觀察報道
Observation

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.

觀察員 Observers

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.

觀察紀錄 #1

大家的掃把 大家的公園

張薇 (計劃之觀察員)

有一套多啦A夢大電影叫《日本誕生》,講述大雄離家出走,卻發覺現代社會無論是閒置空地還是公園,全部都已被「擁用」,於是決心回到史前尋找尚未屬於任何人的空間……

香港的公園雖說是為公眾而設,但規例密密麻麻幾頁紙,羅列出規劃者想得出的「不得」做之事。但規劃者規劃不到公眾「可以」做的事——即使設計了棋盤也控制不了下棋的方式。公園的使用者透過日常生活的運用,形成公園「可使用」的規則——非正式、不明文、協商、約定俗成、浮動,甚至有時是雙重標準的。很多使用方式看似隨意、細微,但卻有著難以阻擋的韌性。程展緯的灣仔公園快閃掃樹葉活動本來安排在星期天舉行,也因未預先考慮外傭放假會在公園聚集而需臨急改期。大批外傭的空間需要就是這項空間使用最強大的正當性。

第一次快閃時吸引了一位平時來觀棋的伯伯,退休前從商的他認為這麼多年輕人來掃地「不符合成本效益」,亦表示掃樹葉揚起塵土會影響遊人。我想正是這十個參加者十把掃把在這個空間所形成的陌生景觀,讓人看到了每天都在這裡打掃的清潔者以及工具背後被忽視的勞力;他們的服務讓公園成為「大家的公園」。

或者大雄不過早放棄,先來為他的社區掃落葉,就不用回到冰河時期去擁有一片屬於他的空間。