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


展覽名稱 Exhibit


In the Name of Art: Hong Kong Contemporary Art Exhibition

展覽時間 Date


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


In the Name of Art: Hong Kong Contemporary Art Exhibition



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


策展序 Curator’s Preface


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.     



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.         



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.      



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




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





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)


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


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


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


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


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


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


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.



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



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


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.  




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



入口形象區/Entrance Hall


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



105展間 / R105


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


錄像、聲音 Video, Sound

尺寸因場地而異 Dimensions Variable



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   



106展間 /  R106


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



107展間 /  R107


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



108展間 / R108


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.



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.



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



2F走廊  /  2F Hallway


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.



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?



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



205展間 / R205


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. 



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.



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



204展間-203展間-/ R204-R203


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)


裝置 Installation

209.5 × 79 × 74 cm, 2 pcs


〈空〉 Emptiness

單頻道錄像 Single Channel Video

8 min. 58 sec.


〈色即是空〉Form is Emptiness

單頻道錄像 Single Channel Video

6 min. 05 sec.


〈心經〉Heart Sutra

單頻道錄像 Single Channel Video

62 min. 48 sec.



202展間 / R202


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…



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



201展間 / R201


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. 



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.



“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.



 “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



※ 這件作品由林嵐合作社製作:





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

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