台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

 

展覽名稱 Exhibit

【以藝術之名:香港當代藝術展】

In the Name of Art: Hong Kong Contemporary Art Exhibition

展覽時間 Date

2015/08/15-2015/10/11

展覽地點 Venue

台北當代藝術館 MOCA Taipei

門票 Admission

NT$ 50

香港藝術館 Hong Kong Museum of Art

參展藝術家 Artists

又一山人(黃炳培) anothermountainman (Stanley WONG)

伍韶勁 Kingsley NG

張慧婷 Stephanie CHEUNG

文晶瑩 Phoebe MAN

鄧國騫 TANG Kwok-hin

黃照達 Justin WONG

程展緯 Luke CHING

林嵐合作社 Jaffa Lam Collective

策展論述 Curatorial Statement

【以藝術之名:香港當代藝術展】

In the Name of Art: Hong Kong Contemporary Art Exhibition

 

聯合籌辦:香港藝術館、台北當代藝術館

Jointly organised by Hong Kong Museum of Art and Museum of Contemporary Art, Taipei

 

策展序 Curator’s Preface

構思這個展覽時,我們知道臺灣觀眾或會問:何謂香港當代藝術?香港當代藝術與我有何關係?要三言兩語說明白,當然並不可能,想企圖以一個展覽完整表述,更是異想天開。不過,我們可以藉此機會對香港藝術作焦點演繹,讓對香港藝術感到陌生的觀眾,留下一個鮮活的「香港印象」,並且從中發現到一點點自己。

When this exhibition was being conceived, we thought that the audience in Taiwan might have questions about “What is Hong Kong contemporary art? And what is its connection with me?” It is indeed quite impossible to succinctly explain those queries, and to attempt to provide a comprehensive discourse through an exhibition also seems like an idea that is too good to be true. However, such an opportunity can be used to place emphasis on the art of Hong Kong, and for a vivid “Hong Kong impression” to be imprinted in people who may feel that Hong Kong art is quite foreign to them. It is also a way for a little piece of the self to be discovered.     

 

香港藝術一直遊走於東與西、古與今、新與舊、本土與國際不同場域,有一種強烈的「中間性」。藝術家很多時候在微小的日常事物之中,微觀生活經驗,所以香港藝術也帶著濃烈的「日常性」。不少當代香港藝術作品更卸下傳統純藝術的皮相,游離在是藝術或不是藝術,似與不似之間,以藝術之名提出一種生活探問,一種倡議行爲,甚或一種社會行動。這種「似是而非」的特性反映了香港當代藝術的走向。這種重視過程及群眾參與多於製成品,竭力把藝術還原於生活,以藝術介入社會的「作品」,其實是「反博物館」、「反展覽」的,所以我們希望展覽只作為一個引子,引發觀眾的好奇,從而對藝術和生活重新思考。

Hong Kong art has always roamed between different domains of East and West, ancient and present, new and old, local and international, exuding a strong sense of “betweenness”. Small everyday details are often used by artists to engage in intricate observations on life’s experiences, creating an intense quality of “everydayness” found in the art of Hong Kong. Many works of contemporary Hong Kong art have also strayed away from what is considered to be traditional pure art, drifting between the realms of art and non-art, with similarities and dissimilarities explored. Art is used to raise questions about life and also used to push for initiatives or even social movements. This notable feature of being “paradoxical” reflects the direction that Hong Kong contemporary art is heading towards. Emphasis is placed on the process and public participation rather than the finished product, with effort exerted in returning art to everyday life. Endeavors to use art to become involved in society are actually quite “anti-museum” and “anti-exhibition”; consequently, we intend to use this exhibition as a guide to spark the audience’s curiosity and to prompt for reconsiderations on art and life.         

 

【以藝術之名:香港當代藝術展】展出八位藝術家的十三組裝置作品,縱使會讓您有「似藝術而非」的感覺,但它們人性化、平實、內斂、感性、具親和力的性格,希望能感染您,也邀請您與藝術家們一同思考和提問,藉此促進港臺兩地的創意交流,掀起更豐富的美學討論。

In the Name of Art — Hong Kong Contemporary Art Exhibition includes 13 installation artworks by 8 artists, and perhaps you might wonder about the “artness” of these pieces, however, we hope that their humanized, humble, reserved, affective, and welcoming qualities can have an impact on you. We also welcome you to join the artists in thinking, asking questions, and to form more creative exchanges between Hong Kong and Taiwan, allowing more aesthetic discussions of greater depth to be conducted.      

 

本展得以玉成,有賴台北當代藝術館於展覽籌備期間的全力協助。台北當代藝術館是一所具有前瞻文化視野的美術館,一直致力與不同地域藝術家、策展人、藝術教育者交流合作,是香港藝術接觸臺灣觀眾的最佳平台,此次能夠有機會合作,是我館榮幸。同時,我衷心感謝參展的藝術家們,以及參與各項展覽講座和教育推廣活動的臺港藝文界學者朋友們,藉由此展,讓我們一起「以藝術之名」打開港臺兩地的話匣子吧!

This exhibition is made possible by MOCA, Taipei for the tremendous help it has provided. MOCA, Taipei is an art museum of pioneering cultural vision, as seen with the continuous and dedicated exchanges and collaborations it engages in with artists, curators, and art educators from different regions. It is a great platform for the audience of Taiwan to come into contact with Hong Kong art, and we feel tremendously honored to have this opportunity to work with MOCA, Taipei. I also want to extend my heartfelt gratitude to the contributing artists and the various scholars from Taiwan and Hong Kong taking part in the exhibition’s seminars and educational events. Through this exhibition, let talks that are “in the name of art” begin between Hong Kong and Taiwan! 

 

譚美兒 Eve TAM

香港藝術館總館長

 

【以藝術之名:香港當代藝術展】影音紀錄

     In the Name of Art: Hong Kong Contemporary Art Exhibition Project Video

 

【以藝術之名:香港當代藝術展】展覽問卷

     喜歡本次展覽嗎?歡迎填寫展覽問卷,謝謝您的支持與鼓勵!

 

參展藝術家 About the Artists

策展與籌辦 Curated and Organised

香港藝術館 Hong Kong Museum of Art

 

藝術家 Artist

又一山人(黃炳培) anothermountainman (Stanley WONG)

又一山人(黃炳培),1960年生於香港,畢業於香港工商師範學院設計應用系,現職為視覺傳達專業工作者,其藝術、設計、攝影及廣告作品屢獲香港、亞洲及國際獎項;2005年以《紅白藍》系列代表香港參與【威尼斯雙年展】、2011年獲「香港藝術發展獎之年度最佳藝術家獎(視覺藝術)」、2012年獲「香港當代藝術奬」;作品曾於韓國、英國、法國及加拿大等地展出。

anothermountainman (Stanley WONG) was born in Hong Kong in 1960 and graduated from Hong Kong Technical Teachers’ College (Design and Technology). He is now a visual communicator whose artworks, designs, photographs, and advertisement works have received numerous awards. In 2005, Wong represented Hong Kong with his “redwhiteblue” series to participate in the La Biennale di Venezia. He was awarded with the Best Artist (Visual art) of the Year of the Hong Kong Arts Development Award in 2011 and Hong Kong Contemporary Art Award in 2012. His artworks have been exhibited in many countries such as U.K., France, and Canada.

 

伍韶勁 Kingsley NG、張慧婷 Stephanie CHEUNG

伍韶勁,1980年生於香港,1999-2003年加拿大懷雅遜大學新媒體藝術學士,2004-2005年法國Le Fresnoy-National Studio碩士, 現為香港浸會大學視覺藝術院講師,並從事跨領域藝術創作;2009年獲「香港當代藝術雙年獎」、2013年獲「香港藝術發展獎之年度最佳藝術家獎(媒體藝術)」、2013年獲亞洲文化協會獎助金,近年曾先後於日本、土耳其、義大利、法國及加拿大等地展出。

Kingsley NG was born in Hong Kong in 1980. and graduated from Ryerson University (new media art), Le Fresony-National Studio and the University of Edinburgh (sustainable design). He now teaches at the Academy of Visual Arts of Hong Kong Baptist University, and practises as an interdisciplinary artist. NG received Hong Kong Contemporary Art Biennale Award in 2009, Best Artist of the Year (Media Art) of Hong Kong Arts Development Award in 2013, and an Asian Cultural Council Fellowship in 2013. His works have been exhibited internationally in Japan, Turkey, Italy, France and Canada, etc.

張慧婷,1979年生於香港,畢業於香港大學哲學碩士,曾擔任「Dream It Do It社會創新種籽計畫」及「造好嘢實驗室」的開發工作,現任MaD(Make a Difference)創不同協作的總策劃人,目前也是倫敦藝術大學的博士生,研究中國、香港、澳門及臺灣的參與式藝術。2015年獲選為「Angela Gill Johnson獎」得主,並專程來臺駐村兩個月進行研究與訪談。張慧婷特別關注社區藝術及公共藝術計劃,認為藝術與生活息息相關,致力探索藝術的人文視野。

Stephanie CHEUNG was born in Hong Kong in 1979 and graduated with a master of philosophy of the University of Hong Kong. She was the developer of “Dream It Do It Social Venture Seed Project” a social innovation seed project and “MaD Good Lab.” CHEUNG is now curator of MaD (Make a Difference) and a student in the PhD program of University of Arts London and studies participatory art in China, Hong Kong, Macau, and Taiwan. After she was awarded with the Angela Gill Johnson Award in 2015, she came to Taiwan to do research and interviews for two months. CHEUNG has been contributing to community art and public art programs. She thinks art is closely related to life and commits herself into exploration of art in the perspective of humanity.

 

文晶瑩 Phoebe MAN

文晶瑩,1969年生於香港,墨爾本皇家理工大學設計及社會環境學院藝術博士,現為香港城市大學創意媒體學院助理教授。她同時具有觀念藝術家、媒體藝術工作者、獨立策展人,和作家等多重身分,1998年獲亞洲文化協會獎助金,歷年作品,曾參與多項國際性展覽,包括2002年【光州雙年展】、2003年【威尼斯雙年展】及2004年【上海雙年展】等。

Phoebe MAN was born in Hong Kong in 1969. She received her PhD in art in the College of Design and Social Context in RMIT University and is currently assistant professor of the School of Creative Media at City University of Hong Kong. She is a conceptual artist, media artist, independent curator and a writer. MAN was awarded with the scholarship of the Asian Cultural Council in 1998. Her artworks have been exhibited in many international exhibitions including “Gwangju Biennale in 2002”, “La Biennale di Venezia in 2003”, and “Shanghai Biennale in 2004”. 

 

鄧國騫 TANG Kwok-hin

鄧國騫,1983年生於香港。2006及2008年先後取得香港中文大學文學士及藝術碩士。身兼混合媒體藝術家、獨立策展人以及作家等多重身分,於2009年獲「香港當代藝術雙年獎優秀獎」;2010年入選「傑出亞洲藝術獎」;2011年獲「第五屆國際拉古娜藝術獎個人展覽特別獎」、「香港藝術發展獎藝術新秀獎(視覺藝術)」,同年再次入選「傑出亞洲藝術獎」、2013年獲亞洲文化協會獎助金,作品曾於臺灣、新加坡、德國、義大利及美國等地展出。

TANG Kwok–hin, born in Hong Kong in 1983, received a Bachelor of Arts Degree and Master of Fine Arts Degree from the Chinese University of Hong Kong in 2006 and 2008 respectively. TANG is a mixed-media artist, independent curator, and writer. He was awarded in Hong Kong Contemporary Art Biennial Awards in 2009; selected to Sovereign Asian Art Prize in 2010; awarded the Special Award “Personal Exhibition” in the 5th International Arte Laguna Prize and the Young Artist Award by Hong Kong Arts Development Awards in 2011. He was once again selected to Sovereign Asian Art Prize in 2011 and received grants from Asian Cultural Council in 2013. His works have been exhibited in Taiwan, Singapore, Germany, Italy, and the United States.

 

黃照達 Justin WONG

黃照達,1974年生於香港,1996年畢業於香港中文大學藝術系,2002年畢業於英國雷文斯本設計與傳播學院互動數碼媒體碩士,現為香港浸會大學視覺藝術院講師,同時身為知名漫畫家及新媒體藝術家,其創作種類繁多,包括漫畫、設計、動畫、互動媒體藝術等,均常見刊載於報章及雜誌,作品曾於臺灣及韓國等地展出。

Justin WONG, born in Hong Kong in 1974, graduated from the Department of Fine Arts of the Chinese University of Hong Kong, and received his master degree of Interactive Digital Media from Ravensbourne College of Design and Communication. WONG is now a lecturer in the Academy of Visual Arts of Hong Kong Baptist University and a well-known cartoonist and new media artist. He produces comics, design works, animation films, interactive media art works. Many of them have been published in newspapers and magazines and exhibited in Taiwan and Korea.

 

程展緯 Luke CHING

程展緯1972年生於香港,香港中文大學藝術碩士,現為觀念藝術家,2005年獲「香港藝術雙年展優秀獎」、2006年獲邀日本福岡亞洲美術館藝術家駐留計劃,歷年作品曾於英國、法國及以色列等地展出。

Luke CHING is a conceptual artist who was born in Hong Kong in 1972 and obtained the master degree in Art in the Chinese University of Hong Kong. Ching was awarded with the superior class prize of the Hong Kong Art Biennale in 2005 and was invited to the artist-in-residence program of the Fukuoka Asian Art Museum in Japan. His artworks have been exhibited in many countries including U.K., France, and Israel. 

 

林嵐合作社 Jaffa Lam Collective

林嵐,1973年生於中國福州,目前定居香港,畢業於香港中文大學藝術系,現任香港藝術學院高級講師,本身也是多媒材裝置藝術家,近年作品曾先後於臺灣、日本、新加坡、德國及加拿大等地展出,並曾參與多項國際藝術家交流及駐留計劃。

歷年所獲藝術獎項包括:2003年度獲選為香港藝術推廣辦事處【藝遊鄰里計劃II 2003】的重點藝術家;2006年亞洲文化協會捷成漢伉儷獎助金得主;2007至2008年美國紐約Urban Glass的特邀藝術家;2007年加拿大多倫多Tree Museum十週年慶特邀藝術家…等。

Jaffa Lam was born in Fuzhou in 1973 and graduated from the Department of Fine Arts of The Chinese University of Hong Kong. Living in Hong Kong, Lam now is a senior lecturer of Hong Kong Art School and a multimedia artist whose artworks have been exhibited in many countries including Taiwan, Japan, Singapore, Germany, and Canada. Lam also participated in many international artist exchange and residency programs. She was chosen as one of the highlighted artists by the Hong Kong Art Promotion Office for its “Artists in Neighborhood Scheme II 2003”; Désirée and Hans Michael Jebsen Fellowship from the Asian Cultural Council in 2006; visiting artist fellow for New York Urban Glass in 2007-2008 and an invited artist for the 10th anniversary of the Tree Museum in Toronto, Canada. 

作品介紹 About the Artworks

戶外廣告牆與電視牆Outdoor billboard and TV wall

此次黃照達參展的作品包括:結合戶外廣告牆輸出和電視牆動態影像的作品〈這城〉,以及在108展間的錄像作品〈什麼新聞台〉。〈這城〉以清晰的黑白線描圖像,把臺北和香港兩個城市的特有景觀和地標等,透過電腦繪圖的手法重新拼貼組合,在大廣告牆下方的電視牆,則也同時穿插播映著港臺兩地的社會新聞。這些日常新聞或許未能吸引國際視聽,但卻能把兩地最真實的生活經驗串連起來。黃照達以城市空間為引子,試圖透過兩地的時空交錯,繪製出一個看似熟悉卻又陌生的城市,去引導觀者對身處的空間有更多的想像。

In this exhibition, WONG shows two of his works, This City, an art work that combines billboard input and animation on television wall, and WhatsNews Station, a video work. This City shows unique landscapes and landmarks of both Taipei and Hong Kong through clear black and white line drawing. By rearranging landscapes and using techniques of computer graphics, the television wall under the huge billboard is also airing news of Taiwan and Hong Kong. The news may seem too mundane for global attention, but it combines the most authentic life experiences of the two cities which are familiar and alien, encouraging viewers to have more imagination on the space they are in.

 

隨著社會經濟及科技的發展,我們享受著物質化、商品化的便利生活,絲毫沒有察覺圍繞身邊的宣傳、廣告,甚至新聞,正潛移默化地支配每個人對世界的認知與想像。人們被動地接受或認同媒體灌輸的生活意義,不自覺地陷入被建構的各種環境和景觀中。黃照達藉用日常所見的廣告形式,把發生在香港和臺灣的細微生活事件放大成外牆廣告,讓觀者從另類角度閱讀香港與臺灣的異同,為觀眾提供另一種思考的可能性。

Thanks to economic development and technology advancement, we enjoy a convenient life. Little do we realize that the advertising and news surrounded us are slowly controlling our perception to the world. We passively accept what the media tells us, and are unaware of the fact that we are already stuck in a constructed environment and landscape. Using an everyday form of advertising, WONG magnifies everyday events on billboards, and encourages viewers to look at the similarities and differences of Hong Kong and Taiwan from a completely new angle.




黃照達 Justin WONG

〈這城〉This City

錄像裝置 Video Installation

尺寸因場地而異 Dimensions Variable

2015

 

當代館建築牆面及廣場/The facade and plaza of MOCA

多年前,又一山人(黃炳培)開始以紅白藍帆布作為創作素材,因「紅白藍」帆布在香港是常見的建築和包裝物料,深受返鄉探親者愛用的旅行袋,也是用這種材料製作的。「紅白藍」被視為香港精神的象徵—平凡而實幹、草根而具生命力、大眾化、日常化,因而在民間大受歡迎。又一山人發現,「紅白藍」帆布其實源自臺灣,但是流傳到香港後改變了一些顏色。

A few years ago, Wong started to use redwhiteblue plastic canvas as the material to create his work. This plastic canvas is widely used in Hong Kong as the building and packaging material and is also used as the material of travel bag. A symbolism of Hong Kong spirit, the pattern of “red, white, and blue” is prevailing among the general public for its energy, filled with grassroots spirit and very close to everyday life. Wong also found that this kind of canvas actually comes from Taiwan but changes a bit in its color when it was brought to Hong Kong.  

 

此次到台北當代藝術館參展,又一山人特意把「紅白藍」帶回它的原鄉,並在展前進駐鄰近的成淵高中,邀請三十三位高中生參與創作,將他們的個人心聲或家園見解濃縮成簡短的標語文字,進而將這些文詞逐一刻寫在尼龍帆布上,最後成為張掛在美術館大牆上與公眾分享的一件集體創作。

〈這是我家︰有喜有悲〉,將個人作品延伸成集體創作,整個過程,不僅回應了人與人的相互需要,也就地建構了一種新的藝術場面、人文景觀和人際社會關係。

In his exhibition in MOCA Taipei, Wong uses a very innovative way to recreate the charm of redwhiteblue plastic canvas in Taiwan. Before the exhibition, he invited 33 students from Taipei Municipal Cheng Yuan High School near MOCA to participate in the process of his creation. Wong asked them to write down their feelings and their perspectives on their homes in short sentences. And he transcribed those words on the plastic canvas and hung this beautiful group work—This is Our Home:Something Happy.Something Sad—on the wall of MOCA. By extending individual work into a group work, Wong not only helps students to express their feelings and needs but builds a new way of art scenery, human landscape and  social relation.




又一山人(黃炳培)  anothermountainman (Stanley WONG)

〈這是我家︰有喜有悲〉This is Our Home:Something Happy.Something Sad.

手工刻字於塑膠帆布上 Hand Lettering on Plastic Canvas 

尺寸因場地而異 Dimensions Variable

2015 

 

入口形象區/Entrance Hall

〈給每一天的練習曲〉,是2013年以來持續進行的社會參與式藝術方案,有鑑於生活在紛擾雜亂的城市中,人們過著忙亂、沒有節拍的日子,而忽略了生活中微小卻重要的美好事物。伍韶勁與張慧婷於是邀請上百位香港文化藝術界朋友,各自在筆記書上譜寫了發現生活美好的各種「練習曲」,邀請社會大眾透過每天參考練習,從中重拾生活的感動和動力。此次,兩位藝術家帶著103首「練習曲」來到臺灣,尋找越洋的共鳴,豐富彼此的經歷。這些既是藝術練習,亦是生活的演練,希望成為自身、人與人及人與自然之間的連結,引領我們看到所看不到的,將那未被發現或已被人遺忘的事物轉化為一種可分享的實踐。

Etudes for Everyday is a socially-engaged art work since 2013. The two artists, NG and CHEUNG, of this work think the pace of the city life is so quick that people often ignore the little things in life. To help people find happiness and inspirations in life, they invited hundreds of their friends in the art field of Hong Kong and asked them to write down their own etudes (their ways to find happiness in life) for the general public to practice. In this exhibition, the two artists present 103 pieces of “etudes” to Taiwan and enrich each other’s experience. These etudes not only serve as a practice for art and life but also a channel to connect people with themselves and with other people naturally Etudes will guide them and help them see the undiscovered and forgotten beauty in their life and encourage them to share with the world.  



伍韶勁、張慧婷  Kingsley NG、Stephanie CHEUNG

〈給每一天的練習曲〉Etudes for the Everyday

裝置: 103本「練習曲」、木架400×20cm Installation:103 etudes, Wooden Frame 400×20cm

2013-2015    

                                             

105展間 / R105

105展間的錄像裝置〈閒〉是伍韶勁針對當代館的建築空間而量身打造的新作,標題的〈閒〉,依《說文解字》的概念,由「門」和「月」兩個元素和意象組成,可直接關聯月光透過門縫瀉入屋內的寧靜和詩意情境;另外,古字的「閒」和「間」兩字也可相通,可間接指涉介於兩個時段、兩個空間、或兩件事情之中的一種過渡狀態。伍韶勁把他對文字意象的理解做了視覺形式的延伸:他以科技媒體手法在105展場中,虛擬再現了從窗外流瀉進來的自然月光,串聯三台不同角度的投影裝置,透過光、影交錯的豐富層次,創造了一個詩意流麗的「空間」和如真似幻的情境。展場中隨著光影晃動的樹影和風聲,細聽之下,原來竟是調頻電台的聲波,這是藝術家從臺灣各地電台廣播收集的,內容包羅萬象,從平凡的日常生活到世界性的深切話題,由此營造從光影思想宇宙,從風中聆聽世界的觀賞意境,在虛幻的詩意中注入一點現實,這也是藝術家與在地連結的創意手法。

The video  moon‧gate  in R105 is an artwork NG especially made for MOCA according to the space in the museum. The Chinese character“閒” is made by two elements, “門”(gate) and “月”(moon), which makes people relate to the serenity and the poetic atmosphere of the moonlight streaming into the house. The Chinese “閒” and “間” are quite similar. Both of them indirectly refer to the transition between two stages of time, space, and events. NG visualizes the image of these two characters, and virtually represents the scene of moonlight streaming into the house in R105. He puts three projectors in different positions to create a poetic and fantastic space woven with abundant flow of light and shadow. At first, the audience would think that they hear the sound of trees and wind, but after a few minutes, they will find that it is actually the sound of the radio. The content of the sound are various Taiwanese radio programs collected by the artist, including programs talking about daily life or discussing about the global issues. By adding sounds of reality into this poetic space, the artist hopes that through this innovative way he can connect with local people. 


伍韶勁、張慧婷 Kingsley NG、Stephanie CHEUNG

〈閒〉moon‧gate

錄像、聲音 Video, Sound

尺寸因場地而異 Dimensions Variable

2015

 

1F走廊 / 1F Hallway

鄧國騫喜歡將作品直接放在地上展示,以呈現一種有別於消費文化的空間規劃思維和藝術展示邏輯。本次參展作品分散於當代館一樓長廊的不同節點,讓觀眾如同進入都市的符號叢林,逐一檢視閱讀藝術家仿製改造的生活應用物,如燈柱、路牌、欄杆、垃圾桶、轉角鏡、巴士站等,以及指涉權力運作的議事椅、選舉傳單等。鄧國騫應用這些物件時,除了脫除其原本外貌,也刻意加入化妝品、鑽石等矯飾元素,讓這些本來用於指示或警戒民眾行為的公物,產生了令人目不暇給的新訊息或眼花撩亂的新姿態。這些內外表現不一的都市文物,究竟能讓民眾魅惑或產生焦慮感? 究竟代表了一種追求自由開創的意志,或暗示了各種被壓制的內在慾念。

TANG Kwok-hin always displays his artworks on the floor to break the stereotype of exhibiting artworks carefully. When stepping into the exhibition area, it is like entering a jungle of symbols in a city. The artist modified everyday objects or made imitations, such as lampposts, road signs, and bus stops. He also includes politically items with cosmetics and diamonds to create a dazzling effect to those signals and cautionary objects. Does this design attract people or make viewers feel anxious? Does it represent a free will or internal suppressed desires?


鄧國騫 TANG Kwok-hin

〈所有〉All Things

複合媒材 Mixed Media

尺寸因場地而異 Dimensions Variable   

2015

 

106展間 /  R106

106展間展出的〈一坪金磚〉,是結合社會議題和民眾參與互動的裝置作品。入口旁繽紛的外牆,乍看仿似臺灣房仲業圖文並茂的櫥窗廣告,但在這些華麗的廣告標語之下,實際混充了文晶瑩向香港藝術家們、報紙、雜誌、網路…等收集得來,民眾對房市炒作現象的一些諷刺和批評話語;同樣地,牆面上播放的錄像作品也隱藏了一種對比。主畫面雖呈現了燈火朦朧,大廈林立的浪漫都會景象,並搭配了斗大粗體的房售廣告詞令,如恆久經典、氣派非凡…等,但在畫面最下方緩緩流動的細字跑馬燈,播出的卻是新聞報導般的社會訊息和揭露真相的統計數字。藝術家在展間中展示的888個金磚中各包藏了一包白米,寓意住屋正如白米一般,應視為人類生存的必需,並擺脫違反公平正義的炒作。在本展覽最後一天,888個金磚米包,將免費發送給到場的觀眾,藉此將食物和訊息分享傳送到不同的家庭。

Another work of MAN’s, One Pyeong of Golden Bricks in R106, is an installation which conveys social problems in Hong Kong and allows the audience to participate in the process of creation. In the exhibition, the wall by the entrance is covered by all kinds of advertisements which look like the window advertisings of the real estate. However, if you look closer, you will find that they are actually comments and appeals about the situation of flipping properties that MAN collected from Hong Kong artists, the Internet, newspapers, and magazines. There is also a video projected on the wall which explains the flipping properties situation in a sarcastic way. While the beautiful and magnificent mansions in the video are with slogans in bold like “classic,” “magnificent,” and “extraordinary,” the scrolling text alongside the video unveiling the truth and some statistics of the real estate market. MAN also puts a bag of rice in each of the 888 “golden bricks.” She emphasizes that house, like rice, is indispensable for people to survive; therefore, should be free from market manipulation. At the last day of the exhibition, the 888 bricks of rice will be distributed  to the audience for free to convey her ideas to different families. 


文晶瑩 Phoebe MAN

〈一坪金磚〉One Pyeong of Golden Bricks

裝置:海報、紙、米、錄像 Installation:Poster, Paper, Rice, Video

尺寸因場地而異 Dimensions Variable

2015

 

107展間 /  R107

本次參展兩件作品,著眼於探討港臺兩地,生活大眾最關心但也至感無力的房地產炒作問題。其中107展間的〈食咗我隻居?〉,是件邀請觀眾參與作品形成的空間裝置,展場中設定了一個問題「為了買磚頭(房子),你放棄過什麼?」,並提供了4000張磚紙,讓臺灣觀眾可以將個人回答寫在磚紙上,然後將磚紙拼貼在牆上,同時可以對照閱讀另外一展牆上,香港民眾回應同一個問題的種種答案。廣東話「食咗我隻居?」,直譯是下棋者所說的「吃了我的車」,真意則是「佔了我的便宜」,此作讓參與寫作和閱讀的觀眾,了解人們為了買房子而各自犧牲了什麼?從而看出房地產炒作者佔盡了民眾多少的便宜。

The two artworks in the exhibition focus on the serious flipping properties problem in Hong Kong and Taiwan. One of the works, Erosion of Home in R107, is a space installation that invites the audience to participate in the creating process. MAN asks the audience a question: What did you give up for buying a house? And she prepares 4,000 pieces of brick papers for Taiwanese audience to write down their answers and stick the paper on the display wall in the room. The audience can also read the answers of the audience from Hong Kong on another wall. By the audience participation in the process of creation, this installation provides an opportunity for the audience to understand what they gave up for a house and how much advantage the real estate speculators have taken from them.




文晶瑩 Phoebe MAN

〈食咗我隻居?〉Erosion of Home?

裝置:紙磚塊、攝影 Installation:Paper Brick, Photograph

尺寸因場地而異 Dimensions Variable

2015

 

108展間 / R108

108展間的錄像投影作品,以矩陣排列的眾多電視畫面,化約呈現了香港和臺北兩個大都會中,千家萬戶忙著各自接收不同媒體訊息的一種當代社會景觀。

The video art exhibited in R108 includes many pictures in a matrix form from TV channels, representing thousands of households receiving information from different TV channels in Taipei and Hong Kong.

 

擅長政治漫畫的黃照達,以香港和臺灣的新聞畫面為此作的藍本;在此,真正引起他興趣的並非所謂的「大新聞」,而是一些極少被關注的「小事件」。應用動畫形式和敘述手法,他將情景相似的港臺兩地電視新聞串連起來,再套用香港、臺灣觀眾各自習慣的畫面風格,或重新演繹對方的新聞,或挪用、轉移兩地的文化特色,以製造一種錯亂閱讀的效果。

Justin WONG is a master of political cartoons, he takes news images from Hong Kong and Taiwan as the inspiration for the artwork. In this art piece, the focus is not on headlines but on some small incidents. In a form of motion picture with narration, the artist combines alike news pictures from both Hong Kong and Taiwan, and presents them in a common way that people in both places, are used to then transfers the cultural characteristics to create a baffling effect.

 

照達意識到,每天社會發生的事情被賦予何種意義,完全取決於媒體的報導方式和敍述手法。實際上,媒體所用的技術工具以及發佈資訊的途徑,已大幅超出客觀敍述事實的需要。當資訊過份應用影音化、圖像化、即時化、甚至透過動漫手法來傳達與描述時,人們是否還能從觀看過程中保有自主性的思考?

He realizes that the meanings of everyday incidents are decided by the way they are reported. Through technology, and the media has nowadays disseminated more than what is needed to report in an objective way. Are people able to think independently as news is constantly presented in forms of videos, pictures, or even comics?


黃照達 Justin WONG

〈什麼新聞台〉WhatsNews Station 

錄像裝置 Video Installation

尺寸因場地而異 Dimensions Variable

2015

 

2F走廊  /  2F Hallway

〈燈謎〉從二樓樓梯間延伸到整個長廊的空間裝置作品,藝術家鄧國騫應用了投影、錄像、生活現成物、民俗物件、多媒材製作物…等,是一件立意將節慶的時光氛圍融入當代館的空間環境中,引導觀眾細細體會傳統與現代的進程、藝術與生活之分合的作品。

Riddles of Light is an installation of TANG Kwok-hin that exudes a festive aura and uses projections, projections videos, ready-made objects, folk art objects, and other mixed media. It makes viewers reflect on the relationships between art and life, traditional and modern development of lantern riddles.

 

傳統與自身的關係,是鄧國騫時常思考的問題,在香港新界圍村(*註)長大的他,更深入體會到傳統節日的意義和內涵。對他而言,中秋是一年內唯一可在屋頂陽台跟大半鄰居相見的大日子;這一天,圓月在紙燈籠的映襯下,照亮不同年代的人和物,如同穿梭古今,場景動人。為了這次展覽,鄧國騫走訪香港及臺灣廟宇,參考各種花燈造型,接觸兩地酬神文化,進而把中秋氣氛帶進美術館內,他以傳統與現代的符號構思中秋花燈會的景象,藉此觸發觀眾對傳統節日的反思。藝術家認為,在現代化的過程中,為消費而生產的慶典和事物,賦予傳統新的詮釋,當節慶文化不斷被商業市場操縱利用,其價值和意義已逐步和傳統脫軌—保持傳統,真的有可能嗎?

TANG Kwok-hin often thinks what traditions mean to him. Growing up in the walled villages* in the New Territories of Hong Kong, he understands better about the meaning and importance of traditional festivals. On this particular day, people of different ages gather together to celebrate the full moon. For the exhibition, he visited many temples in Taiwan and Hong Kong and learned the culture of thanking deities and the ways to make different lanterns. He uses traditional and contemporary symbols to construct an image of a Chinese lantern fair and to provoke viewers to reflect on traditional festivals. In the process of modernization, the artist also thinks that festivals and traditional objects produced for the purpose of consumption actually have new interpretations. When festival culture is manipulated by the commercial market, its values and meanings has already beyond authentic traditions. Then, is it possible to keep the originality of traditions?

 

﹡註:圍村是香港最古老的民間建築,早期住在村落裡的多是同一姓氏家族,為抵抗海寇侵擾或不同族群間的侵迫,於村莊外建築石牆。保存至今的圍村多集中於新界,部分仍保留若干習俗、言語和生活文化的特色。

Note: The walled villages are one of the oldest buildings in Hong Kong with people of the same last name. The ancestors built walls around the house to protect villagers from invasion. lived in Nowadays, most of the walled villages are located in the New Territories with some parts still maintaining the tradition and lifestyle of the past.



鄧國騫 TANG Kwok-hin

〈燈謎〉Riddles of Light 

複合媒材 Mixed Media

尺寸因場地而異 Dimensions Variable

2015

 

205展間 / R205

香港科學館有一具仿真的工人公仔,他因重複演出千百次未配戴安全帶而墜樓死亡的戲碼而引人注目,他的「反安全行為」,有效地提醒了民眾注意高空作業的安全措施。身為創作者,程展緯試圖以藝術角度重新詮釋這件科學館的道具,他以香港製造的Holga120底片相機,拍了上百張假人公仔墜死的照片加以濃縮合成,凸顯了假人公仔以反其道而行的方式和自我犧牲的行為,來啟發和教育民眾的勇士形象。

Hong Kong Science Museum collects a worker dummy that is well known for its display of falling down from the building purposefully because it doesn’t fasten the safety belt. His “anti-safety behavior” makes people aware of the security measure for aerial work. In this exhibition, CHING reinterprets this worker dummy from the angle of art. He uses Holga 120 film camera to take hundreds of pictures for this dummy to praise his sacrifice and hero image for enlightening and educating people the importance of working safety. 

 

本次展出,程展緯向香港科學館借出這個假人公仔,原版的教育影片,加上假人摔死的面部特寫照片等,邀請觀眾看完假人公仔反覆墜死的情節後,各自為這無名英雄命名,並將其拼貼在這工作台四周牆面。展覽結束時,這個原本默默無名的假人公仔,將因此得到無數的封號。

In the exhibition, CHING presents the dummy and the original version of the educational video borrowed from the Hong Kong Science Museum, and the face shot of the dummy after it fell down from the building. After watching the video of the worker dummy falling down from the building, the audience are invited to name the dummy, so that this unknown dummy will gain numerous distinguished title.

 

為了外借這個假人公仔來臺展出,程展緯另外以自己的形象製作了一個假人公仔,與香港科學館交換之用,同時再用Holga相機拍成了一套以自我形象犧牲的公仔墜死照,作為對照之用。而除了視覺性元素之外,展場中也同時設置了體驗區,讓觀眾依照牆面指示說明穿著安全帶後,實際感受身體懸空吊掛的特別滋味。

To borrow this worker dummy from the Hong Kong Science Museum, CHING also made a dummy according to the his own image, and exchange it with the museum. He simulates the situation of him as a dummy falling down from the building, in addition to the visual elements, there is also an area for the audience to experience aerial work themselves. 



程展緯 Luke CHING

〈香港人:沒戴安全帶公仔〉Man Without a Safety Harness

海報、錄像、攝影、人偶 、體驗裝置 Poster, Video, Photograph, Mannequin

尺寸因場地而異 Dimensions Variable

2015

 

204展間-203展間-/ R204-R203

如果說又一山人在廣場上展出的〈這是我家︰有喜有悲〉是集體創作和社會導向,204、203展間展出的兩組〈無常〉作品,則明顯強調藝術於個人觀想和自我提煉的另一功能意義。對又一山人而言,「藝術品」也可以從個人品味出發,成為一種純粹的「私人習作」,如204展間的〈無常〉裝置,可以從日用家具的沙發、茶几和書架,重新組合成完結此生的個人棺材;電視屏幕上同步播出的,是書法家鍾輝平以水在水泥磚地面上書寫〈空〉、〈色即是空〉、〈心經〉的三件錄像作品,它們以客觀的影像呈現了從有到無的生命哲學醒悟,同時呼應了又一山人研修佛學的領悟過程。

While WONG’s work This is Our Home:Something Happy.Something Sad. is a group work containing social implications, the two pieces of Impermanence highlight the other function of art: self- mediation and-cultivation. For Wong, the definition of artworks of each person is different. Like the installation of Impermanence in R204, art works could be furniture such as sofa, coffee table, and bookshelf. The three videos broadcasting in the room are videos of the calligrapher Chung Hwei Ping writing Emptiness,Form is Emptiness, and Heart Sutra on the cement tile floor. These videos show the philosophy of “nothing to something” from an objective point of view and WONG’s apperception to Buddhism.

 

在又一山人眼中,生與死、存在與空間都是微妙的對應,如佛法所說︰「色即是空,空即是色」。生死課題雖為老生常談,卻也是社會約定俗成的禁忌,這些作品貫徹了簡約的設計概念和環保意識,將身體、行為、思想與感受,同時融入生活和藝術的實踐,也設定了觀眾與作品互動思考的機制。相較之下203展間的另一件同名作品〈無常〉,就不再拐彎抹角,而直接以一具可容單人躺入休息的木箱,搭配Harold Budd抒情怡人的鋼琴曲Sweet Earth  Flying,讓觀眾明心見性地去看待死亡的議題。 

As the Sutra goes, “Form is Emptiness, Emptiness is Form.” For WONG, life and death, existence and space are corresponding to each other. Although death is the natural part of life, it is the taboo of the society. He puts his ideas toward human body, behavior, thoughts and feelings into his artworks and invites the audience to interact with his works. In comparison, the other work shared with the same title Impermanence in R203 is more direct. Wong put a wooden box which reminds people of a coffin in the room while playing Harold Budd’s Sweet Earth Flying. By this, he hopes the audience can learn to see death as the natural part of life. 

 

又一山人(黃炳培) anothermountainman (Stanley WONG)


〈無常〉Impermanence

裝置 Installation

209.5 × 79 × 74 cm, 2 pcs

2009

〈空〉 Emptiness

單頻道錄像 Single Channel Video

8 min. 58 sec.

2011

〈色即是空〉Form is Emptiness

單頻道錄像 Single Channel Video

6 min. 05 sec.

2011

〈心經〉Heart Sutra

單頻道錄像 Single Channel Video

62 min. 48 sec.

2011

 

202展間 / R202

202展間,是程展緯的觀念裝置作品,場內元素包括:藍底白字寫著「天氣報告:今日香港,明日臺灣」斗大標語的一面牆;左邊牆面,播放著香港藝術館前下雨的錄像投影和雨聲;相對的另一面牆,同步播放的則是台北當代藝術館廣場的雨中即景;這兩部雨景錄像,其實是程展緯在香港藝術館和台北當代藝術館廣場先後拍攝的人工降雨場景,當中除了下雨之外,一切都如日常進行,美術館建築屹立不搖,觀眾仍然扮演著觀眾角色,雖然好奇,也只是旁觀著人造雨的拍攝…。

The artwork in R202 is CHING’s conceptual installation, including a wall with white words and blue background, saying “Weather Report: Hong Kong Today, Taiwan Tomorrow.” On the left there is the video of raining scene in front of the Hong Kong Museum of Art, while on the other side of the wall is the video of raining scene at the square of MOCA Taipei. The two raining scenes were shot by CHING by using artificial rains in the two squares. During the shooting, everything went as usual just with some audience at the background watching curiously…

 

在與標語相對的另一面大牆,藝術家拼貼了近千張將港臺兩地風景明信片加工過的雨中風景。程展緯以此提問:為何各地的明信片都千篇一律只展示陽光普照的風景?他刻意在這些風景明信片上畫上雨線,以手繪方式製造出一場場的「人工雨」。不論是在風光必然明媚的港臺兩地明信片上故意畫上雨絲,或在錄像中呈現一場虛張聲勢的人工雨,藝術家似乎都有意把隨著氣候潮流而出現的、或因為人的操作而產生的某種精神符號,放大成為唯一的、不容錯過的主角。

On the opposite side of the wall are thousands of postcards of “artificial” raining scenes in Hong Kong and Taiwan. CHING wants to raise a question: Why are most landscape of postcards around the world only shot in sunny weather? Therefore, he drew some rain on the postcard with beautiful landscapes of Hong Kong and Taiwan or presented the artificial pouring rain in the video. CHING is one of the many outstanding artists who are capable of making use of the trends and phenomenon in the society and transform them into symbols that could be a topic in their artworks. 




程展緯 Luke CHING

〈天氣報告:液化陽光〉Weather Report: Liquefied Sunshine

明信片、錄像 Postcard, Video

尺寸因場地而異 Dimensions Variable

2015

 

201展間 / R201

林嵐,1973年生於中國福州,目前定居香港,畢業於香港中文大學藝術系,現任香港藝術學院高級講師,本身也是多媒材裝置藝術家,近年作品曾先後於臺灣、日本、新加坡、德國及加拿大等地展出,並曾參與多項國際藝術家交流及駐留計劃。

歷年所獲藝術獎項包括:2003年度獲選為香港藝術推廣辦事處【藝遊鄰里計劃II 2003】的重點藝術家;2006年亞洲文化協會捷成漢伉儷獎助金得主;2007至2008年美國紐約Urban Glass的特邀藝術家;2007年加拿大多倫多Tree Museum十週年慶特邀藝術家…等。

Jaffa Lam was born in Fuzhou in 1973 and graduated from the Department of Fine Arts of The Chinese University of Hong Kong. Living in Hong Kong, Lamis now a senior lecturer of Hong Kong Art School and a multimedia artist whose artworks have been exhibited in many countries including Taiwan, Japan, Singapore, Germany, and Canada. Lam also participated in many international artist exchange and residency programs. She was chosen as one of the highlighted artists by the Hong Kong Art Promotion Office for its “Artists in Neighborhood Scheme II 2003”; Désirée and Hans Michael Jebsen Fellowship from the Asian Cultural Council in 2006; visiting artist fellowship for New York Urban Glass in 2007-2008 and an invited artist for the 10th anniversary of the Tree Museum in Toronto, Canada. 

 

本次展出的大型空間裝置〈在“一樣的月光”下“明日話今天”〉,應用當代館空間最大的201展場,以鋪天蓋地的藍色雨傘布、8套睡袋、28組陶瓷杯和耳機筒、懶骨頭等日常物件,結合現場燈光與幻燈片播放…,創造了一個可以讓觀眾互動參與的沉浸式體驗空間。

The space installation Singing Under the Moon for Today and Tomorrow takes place in the biggest exhibition hall in MOCA, R201, and uses daily objects, such as numerous blue umbrella fabric, 8 sleeping bags, 28 sets of ceramic cups, headphones, lazy sofa, etc.. With the soothing light in the room, Lam creates a relaxing space for the audience where they can interact with her works.

 

「藝術真的能改變世界嗎?」,為了回應這個問題,林嵐參考了合作社的概念和運作形式,邀集因社會經濟轉型而被淘汰的車衣廠女工們,將港臺兩地回收的大量雨傘布車製成一個巨型的藍色天幕。這件懸吊在201室半空中的「軟雕塑」裝置,天幕中央有個碩大的圓月,正如一隻擎著溫柔且堅毅淚光的眼睛,深情地凝望著底下的世界。雨傘布薄透的光影流動,以及隨風擺舞的變化姿態,除了帶給觀眾一新耳目的雕塑體驗,觀眾也可以躺臥在天幕之下的懶骨頭中,用耳機聆賞藝術家邀請港臺兩地學生及朋友特別錄製的歌曲,或者,你會有一時感興要向未來的人贈言幾句,又或為自己高歌一曲?

“Can art change the world?” To answer this question, Lam followed the concepts and the operating mode of credit cooperative and invited workers who used to work in the garment factory but had been laid off because of social-economic transformation. She asked them to weave the blue umbrella fabric gathered from Taiwan and Hong Kong into a big blue sky dome. In the middle of this soft sculpture hung in R201 is a big round moon which resembles to a loving eye watching over the world below. The umbrella fabric is very thin that light can go through it and it is also very soft that it will fly in the wind. The audience can sit on the lazy sofa under the sky dome and listen to the songs that the artist’s friends and students in Taiwan and Hong Kong recorded.

 

「傘」在最近的香港社會運動中,凝聚了強烈而鮮明的符碼意義,藝術家以一塊塊本來只為個人遮日擋雨的傘布,縫合成串聯港臺兩地、護蔭民眾的一大片藍色天空,除了以此來關聯兩地民眾的生活情境和生命想望,也藉著這片藍天中此起彼落的波濤,來象徵和類比歷年來每遇外在環境、氣候變動時,臺港兩地境遇總是互為連動的一種關係狀態。以天象氣候為例,香港俗語說「今日臺灣、明日香港」──從熱帶海洋形成的颱風,經過臺灣後往往也會接著掃過香港,所以香港人都會提前關注媒體中的臺灣氣象報導;但是從政治氣候來看,反過來的一種說法就是:「今日香港、明日臺灣」──對於多年來同樣生活在「資本主義、民主法治」社會的港臺民眾來說,目前從大陸形成的政治新氣候,究竟能帶給香港人什麼樣的今日社會氛圍和明日生活環境,這除了是香港民眾下延至學生世代非常關切、力求表達的事務,看來也是臺灣民眾特別會去時時觀察、熱切討論和深加思索的明日生活與未來命運課題。

 “Umbrella” becomes a symbol in the recent social movements in Hong Kong. Lam and the workers sewed up the umbrella fabric and made them into a piece of blue sky dome which represents the unbreakable relations between Taiwan and Hong Kong. There is a saying in Hong Kong when talking about typhoon, “Taiwan today, Hong Kong tomorrow.” When there’s a typhoon, people in Hong Kong will first watch the weather forecast of Taiwan to predict the path of typhoon. However, when talking about politics, one should say, “Hong Kong today, Taiwan tomorrow.” For years, people in Taiwan and Hong Kong live in a democratic and capital society which is quite different from that of China. Therefore, the political decisions of China towards Hong Kong and Taiwan become very important issues for the general public in Hong Kong and crucial problems for Taiwan.



林嵐合作社 Jaffa Lam Collective

〈在“一樣的月光”下“明日話今天”〉Singing Under the Moon for Today and Tomorrow

裝置:傘布、陶瓷、幻燈片、聲音 Installation:Umbrella Fabrics, Ceramics, Slides, Sound

尺寸因場地而異 Dimensions Variable

2015

 

※ 這件作品由林嵐合作社製作:

縫製:香港婦女勞工協會:劉翠霞,梁偉琛;特別鳴謝:胡美蓮

製聲:何子洋

製燈:張素宜,王健偉,梅尚軒

製瓷:陳翹康

唱(香港):袁慧妍,沈瑤,鄧天恩, 譚卓琳,李慧慈,詹景匡,劉菁兒, 陳穎思, 

唱(台灣):徐建宇,施佩君,施樺珺,林季妤唱, 特別鳴謝羅仕東,類比裝置音樂工作室

 

* This work is fabricated by Jaffa LAM Collective:

Tailors: Hong Kong Women Workers’ Association: LAU Chui Ha, LEUNG Wai Sum;

Special Thanks to WU Mei Lin

Sound Engineer: Jacklam HO Tsz Yeung, 

Lighting Team: Zoe CHENG So Yi, Jan WONG Kin Wai, Justin Moy

Ceramics: Joe CHAN Kiu Hong, 

Singing (Hong Kong): YWY, SHEN Yau, Tiffany TANG Tin Yan, TAM Chuk Lam,
                                   Chris LEE Wai Chi, Jerry CHIM, LAU Ching Yee, CHAN Wing Sze

Singing (TaiWan): XU Jian Yu, SHIH Pei Chun, SHIH Hua Chun, LIN Chi Yu,

Special Thanks to LO Shih Tung,  ADM Music Studio

相關教育活動 Educational Programs

【以藝術之名:香港當代藝術展】相關教育活動

藝術家
面對面

《香港當代•當代香港》藝術家創作座談 

2015/08/15 Sat. 14:00-15:30

主持:譚美兒/香港藝術館總館長

主講:又一山人、鄧國騫、
           黃照達、程展緯/藝術家

報名網址:

http://goo.gl/forms/qCiIIR9Hmv

《香港當代•當代香港》藝術家創作座談 

2015/08/15 Sat. 16:00-17:30

主持:莫家詠/香港藝術館館長

主講:文晶瑩、林嵐、伍韶勁、張慧婷/藝術家

 藝術生態
論壇

【以藝術之名:香港當代藝術展】

2015 藝術生態論壇

2015/09/12 Sat. 10:00-17:00

《藝術團體進駐與藝術村空間活化》
主講:吳瑪悧、鮑藹倫、張慧婷、楊智富

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主講:潘大謙、鄭怡敏、梁寶山、柯念璞

《畫廊經濟與藝術博覽會體制探究》

主講:陸潔民、樊婉貞、陳育強、石隆盛

報名網址:

http://goo.gl/1PFJxz

MOCA講吧

《以塗鴉打造一場城市行動》專題講座

2015/08/29 Sat. 14:00

主持:鄭子靖/藝青會 創辦人

主講:Mr. OGAY/藝術家

           Sinic Choy/藝術家

報名網址:

http://goo.gl/forms/kKV2u8b3nk

MOCA講吧

《從媒體生態反思文化與藝術》專題講座

2015/10/03 Sat. 14:00

主持:張鐵志/文化工作者

主講:黎慕慈/作家、媒體工作者

           李傑/藝術家

報名網址:

http://goo.gl/forms/akZH1Ia05a

藝術工作坊

《你來說・我來畫》四格漫畫工作坊

2015/09/13 Sun. 10:30-12:30

講師:黃照達/參展藝術家

報名網址:

http://goo.gl/forms/0nMQ9m0FYS 

藝術工作坊

《舊傘布・新生命》心意縫紉工作坊

2015/09/13 Sun. 14:30-16:30

講師:林嵐/參展藝術家

報名網址:

http://goo.gl/forms/Pt0QSeKL0s

專家導覽

2015/08/23  、2015/09/13 Sun. 13:00

講者:崔廣宇/藝術家

活動網址:

http://goo.gl/UhOKuC

2015/08/30 Sun. 13:00

講者:孫嘉蓉/Art Plus 主編

2015/09/06 Sun. 13:00

講者:王咏琳/策展人

2015/09/20 Sun. 13:00

講者:鄭司維/點石設計有限公司藝術顧問

2015/09/27 Sun. 13:00

講者:陳敬元/藝術家

2015/10/04 、10/11 Sun. 13:00

講者:吳聲明/十禾建築設計協同主持人

MOCA LUNCH BOX 魔卡午餐盒

2015/08/26 Wed. 12:15-13:00

報名網址:

https://goo.gl/ryQ1ZH

2015/09/16 Wed. 12:15-13:00

2015/10/07 Wed. 12:15-13:00


 

【以藝術之名:香港當代藝術展】