濕熱––香港藝文態度 Damp heat - Hong Kong Art Writing Attitude by artfilmsider

Edited by @artfilmsider

Heat

September 2023

Hong Kong Art Writing Attitude

香港藝文態度

熱

Preface

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序

Who Needs Art Criticism?

誰需要藝術評論？ Chan Sai Lok 阿三

More Conversation from "Dialogues with Marcel Duchamp" and Thoughts on the Values We Pursue in Creation

Journey of High Tower and Deep Well

高塔和深井的旅程 Wong Sin 汪倩

2023.8 Magritte Exhibition in Tsim Sha Tsui Luxury Boutique

art filmsider

從杜尚對話錄中再對話：反思我們於創作追求的價值 Kaio Wu Hiu Nam 胡曉楠

二零二三年八月尖沙咀名店睇瑪格烈特 Gallerieboii

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Missing Persons: Art Review as a Means to Look for Hong Kong Contemporary Art Audiences

For Artists______ Conversation Starter with Audiences______Based on your Zodiac Signs

Long-lasting Moments — Rethinking Life and Gardening

Old Technologies, Imagining the Material: "Art Tech" in Hong Kong

A Brief Look at Art Criticism Language and its History in Hong Kong and Conclusion

尋人：以評論練習找尋香港當代藝術觀眾 Barren Rock Artchive 無用石

給藝術家_____快速訪問觀眾___星座小攻略 Siu Tung 小東短暫的永續關係——反思園藝和生活 Lavender Woo 胡夢未

舊的科技，物的想像：「藝術科技」在香港 Emilie Choi Sin-yi 蔡倩怡藝評的語言藝術及總結 art filmsider

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Preface Damp heat is a humid urban attitude. Only Hongkongers, who are used to such sensuous yet abstract linguistics as traditional Chinese medicine, understand this inexplicable yet irreplaceable term. 濕熱，這態度好「香港」，好多時解釋不知名的狀況，不就是又熱又濕。本地人的傳統，記憶、語言和分析喜用傳神而含蓄的表達。

濕熱是身體對潮濕氣候的城市環境體驗，有時亞熱帶的颱風和海洋氣流會加劇。夏日極炎炎，海水蒸發的濕氣，與城市中空調過濾不了的灰塵、交通堵塞的廢氣交融，滯於其中的對峙狀態介乎於冷卻與加熱、飽和與散發、蒸發與凝結、遲頓與發汗之間。

Our environment and minds were embodied in a humid climate in either extreme summer, especially with typhoons in subtropical oceans, or through the seasons. Damp heat is a mixture of moisture from the sea and heat with unfiltered dust from air conditioners and traffic jams in the inland area that traps a stagnated state in the polarised ends: cooling down against heating up, saturated against dispersal, condensed against evaporation, and inactive against sweat.

雖然香港的海平面與各地區連接，氣候卻是局部的，潮濕令炎熱和寒冷更滯，季節更不分明。與克勞德· 列維-斯特勞斯在《野性的思維》（1966）提到的「冷」社會和「熱」社會相比﹕「前者通過建立制度，消除歷史可能產生的影響，以類似自動的方式，衡量當中的平衡和連續性；後者內化歷史進程，並使其成為發展的推動力。」濕氣或令這座城市更冷更熱，處於消除和內化歷史進程的彼岸。

Although the ocean connects Hong Kong to other areas, the climate is still very local, and the culminating moist traps the heat and cold to eliminate any seasonal difference. The climate is in opposition to 'cold' and 'hot' societies, as suggested by Claude Levi-Strauss in The Savage Mind (1966): “the former seeking, by the institutions resolutely they give themselves, to annul the possible effects of historical factors on their equilibrium and continuity in a quasi-automatic fashion; the latter internalising the historical process and making it the moving power of their development.” The city is obliviously colder and hotter in the dampness, justaposing the annulment and internalisation of history.

art filmsider

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Preface

沒有一絲清涼氣流吹拂，頭腦被五花八門的文化精華滋養，感官被各種事情刺激，而身體被密集的大規模基建包圍。過於飽滿的身體內化這外來的濕氣，濕氣在精神上佔同樣比重。柏拉圖在《菲利布斯》（公元前4 世紀）中記錄了蘇格拉底的辯論，生命在冷與熱、乾與濕之間不斷流動和進行調節：「所有生物體由火、水和空氣構成，正如水手們所說的暴風雨中的海洋『充滿了氣息』。」作為一種體驗，濕熱深深地存在於神經元和血液中，並以不知悔改地阻礙這種流動。若要離開城市，那種濕熱未必是身體上的，也未必是情感上的，卻已成為了我們內在的特質揮之不去。

Without a breath of fresh air, our minds are fed a variety of cultural extracts, our intact senses are exposed to a variety of stimulating events, and our bodies are surrounded by densely developed infrastructure. Internalising the moist air from the exterior, the damp air holds an equal quality to the body’s psychic. Plato documented Socrate’s debate in Philebus (4th century BC) that life in-between pleasure and suffering is in constant flow with regulatory between cold and hot, dry and moist: “If we examine the constitution of all living bodies we observe fire, water, and air, and also, as sailors say of the sea in a heavy storm, 'the stuffs full of earth'.” As an experience, damp heat is deeply in our neurons and blood and obstructs the movements in an unforgiving but unapologetic way. When we leave the city, damp heat syndrome is no longer in our physics or emotions, but it retains an innate quality of life.

值得一提，濕熱和蒸汽波同用濕氣的槪念，但源起不同，蒸汽波被認為源自一句話「所有固體都融化成空氣」。

Damp heat has nothing to do with vapour waves, the latter of which could derive from different sources, as implied by the phrase "all that is solid melts into air.”

Vapour waves embody a stream of "isms," identities, and cultures in a vibrant flow, whereas damp heat, while transient but longlasting, does not. On the flip side, these inherent qualities pose a dilemma in that the moist vibrating heat could either manifest an instant collective sense that escalates damp heat or initiate a spark of weak current to change. 濕熱的體驗短暫而長久，不像蒸汽波所形成的流動能量，能深談各種主義、身份和文化。濕熱真的只是一種態度，集體意義上，這些固有的特質激發了彼此的連繫，或會更熱更濕，或會偶爾產生絲微改變現狀的氣流。本誌邀請了活躍於獨立項目的本地藝評人、藝術家和作家，作文探討藝術的濕熱態度。將不同的意見聚集於此，希望文章之間能激發更多討論，不論相關與另類，其本身或圓或缺、肯定與否定、成全自己或他人，互相爭論。

This zine invites local art critics, artists, and writers who are active in independent projects to write about the attitude of damp heat in art. I hope this will form dialogues between writings to spark more discussions by bringing different opinions together, whether relevant or alternative, full or empty, affirming or negating, fulfilling oneself or others.

@artfilmsider

Essay by Chan Sai-lok

Who Needs Art Criticism? ◎阿三

誰需要藝術評論？

Who Needs Art Criticism?

華文和英語藝術評論屬兩個世界，本文試談的現象或只能代表閱讀中文資訊的某些觀眾。

Chinese and English art criticism circles are two distinct worlds, and the phenomena under discussion in this article may only represent a subset of Chinese readers.

現在泛藝文活動區區都有，天天新款。不少觀眾渴求有專人「講兩句」，介紹一下展覽，談一談如何觀看藝術。他們（甚或商業畫廊老闆、部份藝術品購買者）似乎只期待導賞，了解作品的故事，不是需要評論，或觀點。「導賞」也可能只停留於交代策劃背景資料、創作人想法及作品「意義」層面。

Nowadays, there are multifarious arts and cultural activities with new models every day. Many visitors wish for a dedicated person to "say a few words" about the exhibition and how to appreciate the arts. Even commercial gallery owners and some art buyers appear to expect a guided tour in order to understand the stories behind the works without the need for criticism or reviews. "Guided tours" were constrained by the paradigm of curatorial background information, artistic ideas and "meaning".

Who else is interested in debating artistic creation, relevant art historical situations and concepts, aesthetic judgements, and forms? Is it, instead, just a question about the cultural anxiety of niche audiences with art school and institution backgrounds? 藝術家的創作脈絡、相關藝術歷史情境和概念、美學判斷，及創作形式的討論，又有多少人在意？還是，提出這個疑問只屬學院出身人士的小眾文化焦慮？過去傳統紙媒，均有若干版位刊登藝術評論文章。如今媒體環境劇變，社交平台傳遞資訊勢頭不可擋。不過，網絡世界講求速度，圖像優先，影片更佳，文字篇幅大減。讀者在電話屏幕停留不到一秒就會掃過發文，營運平台者往往斟酌如何獲得多點瀏覽人次，Like及 Share。其心力與時間能否或會否投放在深入的藝術討論上？或曰，嚴肅藝術討論對他們來說有否價值？「請你講一下你的創作理念。」然後KOL俾支咪藝術家講兩句就完結，那決不是健康的現象。認真討論要時間和篇幅，這包括判別創作在特定社會和藝術情境的意義（不是上文的「意義」），相關藝術歷史和觀念（當代藝術經常討論美學標準），或社會現象、生活模式及文化理論等。渴求有人講解藝術的觀眾，或者要認真想一想這個問題。話雖如此，是次約稿發起人都限定篇幅為五百至一千字內，現實終歸是現實。

阿三 Chan Sai-lok

Print media used to devote several sections to art criticism. Today's media environment is undergoing drastic changes, and social platforms are gaining unstoppable momentum for information delivery. The digital world, on the other hand, values speed, prioritises images, and prefers videos and shorter texts. Readers scroll past a post in a split second. Platform operators frequently strive for higher engagement. Can they channel this energy into in-depth artistic discussions? In other words, do they value serious debates? "Please tell us about your creative concept." Then, the KOL hands a microphone to the artist to round up in a few sentences. That is, by no means, a healthy phenomenon. Serious discussion requires dedication of time and words, distinguishing subject matters including the meaning of creation in particular social and artistic contexts (not the "meaning" mentioned above), related art histories and concepts (more commonly, aesthetic standards in contemporary art), social phenomena, modes of life, cultural theories, etc. Audiences who seek only certain explanations may want to consider this carefully. Having said that, the initiator of this collaboration has limited the length of this manuscript to 500 to 1,000 words. After all, that is the reality.

@free_walkin

積極樂觀的文化人，則採取順水推舟、乘風破浪的策略。藝術評論不妨走一走位，盡量在觀眾主導的現況中尋找縫隙。藝評人因而要懂得講人話，化「深奧」而複雜的專業論述為一聽即明的說話，從書房裡的專業寫手躍身為藝術主播。他們可以化身KOL在鏡頭前閒話藝文日常，或置身展覽場地掛個導賞員牌，繼續演繹其心中的嚴肅評論。文章換成影片，發表觀點形式修整為網絡帖文；不論衣飾外觀如何改頭換面，穿著的人仍然秉持認真討論藝術的初心。誰需要藝術評論？這個提問不是甚麼敲響「藝評瀕危」的警號，而是每個年代均需要思考的事情，不時要重新拿出來討論的議題。

阿三 Chan Sai-lok

Our cultural people could devise a positive strategy to go with the flow and move forward. Art critics may adjust their mindsets and try to fill in the gaps in the current situation, which is audience-oriented. As a result, instead of being professional writers in their study rooms, they must work on more audiencefriendly language, simplify "difficult" and complicated discourses into straightforward dialogues, and become art vloggers. They can become KOLs and speak about daily art and culture in front of the camera, or show up with a tour guide card in the exhibition gallery and continue to elucidate the serious reviews in their minds. Replace lengthy essays with video essays and shorten them for social media posts. Whatever the medium, the initial passion for serious art discussion should remain. Who needs art criticism? This question is not a warning sign that "art criticism is in danger," but rather a subject matter that must be considered in every era and discussed from time to time.

@free_walkin

Essay by Kaio Wu Hiu Nam

More Conversation from "Dialogues with Marcel Duchamp" and Thoughts on the Values We Pursue in Creation ◎胡曉楠《杜尚對話錄》中再對話，反思我們於創作中追求的價值

從《杜尚對話錄》中再對話：反思我們於創作中追求的價值

More Conversation from "Dialogues with Marcel Duchamp" and Thoughts on the Values We Pursue in Creation

最近反思藝術是否帶象牙塔形象，讓我們自滿作為「藝術家」，被潛移默化地改變了創作動機。我們創作、思考，不知不覺自以為站在了知識的清晰面，接受了藝術為思考帶來的「超然」，有或無意識的與社會的普世價值對抗，擺弄、圍繞著「藝術家」的普世形象而不自知。「藝術家」這頭衍或許是自由定價，不時自覺高人一截。文章啟發自法國藝評家Pierre Cabanne於1920年的著作《杜尚訪談錄》。跟杜尚來了個「心事台」，說說藝術也訴說人生。杜尚不觀展不戀展，他反藝術，也「反清高」。

It was recently pondered whether art has acted as Ivory Tower, thereby subtly altering the creative motivations of "artists." They unwittingly believe, whether consciously or unconsciously, that they are on the bright side of knowledge, confronting society's universal values and tinkering with the universal characterisation of "artists." This article was inspired by the 1920 book "Dialogues with Marcel Duchamp" by French art critic Pierre Cabanne. In his lifetime, Duchamp seldom went to exhibitions or fantasise about them. He was anti-art and "anti-arrogance.”

1.「藍色窗簾」是自省也是課題

1. "Death of the Author" is both introspection and a topic

「⋯⋯從根本上我不相信藝術家的創造功能，他和任何人是一樣的。他的工作是要做某種事情，那麼商人也是做某種事情，你明白嗎？」

“[…]fundamentally, I don't believe in the creative function of the artist. He's a man like any other. It's his job to do certain things, but the businessman does certain things also, you understand?” (p. 16)

「⋯⋯我不期待任何東西，我也不需要任何東西⋯⋯我不覺得藝術家是那種必須做出什麼來的社會角色，好像他欠了大眾什麼似的，我討厭這種想法⋯⋯」

“[…]I don’t ascribe to the artist that sort of social role in which he feels obligated to make something, where he owes himself to the public. I have a horror of such considerations.” (p. 81)

杜尚提到「藝術家的社會性」就是「我們沒有比較特別」，並針對他羞於使用「創造」藝術這字進行解釋。譯者王瑞芸在序也當頭棒喝：「杜尚終其一生都在排斥那種對立面的勾當，而這種事卻使得那麼多的現代藝術家不能自拔，不得安寧，自欺而欺人。」可說是下了一地圖炮。「藍色窗簾」，指讀者對作者的過份解讀與曲解，及對於作品進行無限延伸之行為；而「對立面」更是藝術創作的一大幻象，我們總要為某些議題、某些感覺立下言論與立場。我們習慣站在獨各的立場，是否形成了另一種自以為是的幻象？「社會性」是個嚴肅的詞彙，我們在創作時或許是抒發，又或是渴望某一個精神、真相、或是社會反應被實現。當大眾的某個共同反應被實現，那麼就啟動了我們「做」藝術的源頭，渴求著進一步實現某程度的社會性，或是渴求實現「我們」自身，目的只是某程度的存在感或歷史意義。

胡曉楠

Duchamp condemned "artist sociality" and the phrase "creation" of art made him cringe at explaining it. "Death of the Author" sometimes indulges readers to over-interpret and misinterpret the artist's intention and extend the work indefinitely; while "duality" is the illusion of artistic creation, we must always be opinionated on certain issues and feelings. Is the habit of holding an absolute personal stance a type of illusion? The term "sociality" is taken seriously. When we create, we may express or wish for a specific spirit, truth, or social reaction to be realised. When a common reaction from the public is elicited, a sense of accomplishment will be dangled as an attachment to art "making". The eagerness to realise sociality underpins the desire to strike a mark of existence or significance in art history.

Kaio Wu Hiu Nam

Katherine Dreier and Marcel Duchamp

「藍色窗簾/作者已死」除了諷刺觀眾，未嘗不是一個自省的良好工具，我們是否也常年活在自己製造的藍色窗簾或是大幻象中？

"Death of the Author" not only ridicules the audience, but it also serves as a tool for introspection. Are we also, most of the time, living in our delusions?

藝術家作為反思生命的先驅者，可否識破精神面，防止自我感動和自我溢價 —— 這或許是杜尚給後世藝術家的開放式問題。

Whether artists, as forerunners in life reflection, can avoid self-moving and self-flattering—this is a question Duchamp left for posterity.

2. 平面化自己，接受「俗氣」的一面

2. Flatten yourself and accept "cheesiness"

問：「當你還年輕的時候，你沒有感到要接受藝術熏陶的欲望嗎？」

Cabanne: When you were young, didn't you ever experience the desire to be artistically cultured?

「⋯⋯我本該努力作畫的，但我骨子裡太懶。我喜歡活著、呼吸，甚多於喜歡工作。我不覺得我做的東西可以在將來對社會有什麼重要意義。因此，：每一秒、每一次呼吸就是一個作品，那是不留痕跡的，不可見也不可想。這是一種其樂融融的感覺。」

“[…]I would have wanted to work, but deep down I'm enormously lazy. I like living, breathing, better than working. I don't think that the work I've done can have any social importance whatsoever in the future. Therefore, if you wish, my art would be that of living: each second, each breath is a work which is inscribed no-where, which is neither visual nor cerebral.” (p. 72)

如果你願意那麼看，我的藝術就可以是活著的「⋯⋯純粹的偶然之所以讓我有興趣，是因為它和有邏輯的現實是對立的⋯⋯」

“Pure chance interested me as a way of going against logical reality[…]” (p. 46)

@kaio__w

杜尚與皮埃爾•卡巴納的對話多次以「自娛」二字，沒有引用厚重的哲學，單是「自娛」已是動機。成為藝術家，「偶像包袱」可能比十二面鏡還要多。在以往創作、學習生涯中，好像需要跟隨某種形象，「偶像包袱」不能太「俗」，不能被別人發現我不夠「藝術」，配不上「做藝術」這個稱呼。杜尚以8 年的時間創作《大玻璃》，否定美學，否定時間線，不依傳統放任作品自然發展，即使讓搬運工人意外摔裂《大玻璃》。杜尚抱有更遠的目光，不介意藝術品的「沒有用處」，也不覺得藝術家和作品，必須於社會具有意義。與其說他一生挑戰藝術，更多的是挑戰參與其中的人，挑戰社會隨風而擺的普世價值觀。

In his conversations with Pierre Cabanne, Duchamp frequently mentioned the motive of "selfentertainment." In my creative career, there seemed to be a need to fit into certain characters, or else I could not live up to the title of "making art." Duchamp worked on "Large Glass" for eight years, denying aesthetics and timeliness and allowing the work to develop naturally, even after the delivery person accidentally broke the glass. Duchamp had a broader perspective instead of dwelling on the "uselessness" of artworks and despised that artists and works must have social significance. Throughout his life, he not only challenged art but, more importantly, the people involved and universal values.

In contrast, recent generations like to "add value" to their works by relating various schools of thought and mythologies. Can we relieve ourselves by admitting that self-entertainment is the purest pursuit and being humble? 反觀後世皆愛「左兜右兜」，不惜拉上中西各派學說與神話，為作品「增值」。我們又能否以「自娛」來釋放自己，承認我們最純粹的追求，承認我們並沒有很高尚？

Top left: The Top Inscription Bottom left: The Chocolate Grinder Right: The Large Glass Completed (1965–1966) Marcel Duchamp Whitney Museum of American Art, New York; gift of Milton and Rosemary Okun © Estate of Marcel Duchamp / Artists Rights Society (ARS), New York / ADAGP, Paris

胡曉楠

Kaio Wu Hiu Nam

3. 前人的繪畫已死亡

3. Paintings of predecessors are dead

「⋯⋯對我來說，藝術的歷史是把某個時代保存在美術館裡，但這並不意味著它們一定是那個時代最好的東西。它們甚至可能是那個時代平庸的表達⋯⋯」

[...]For me, the history of art is what remains of an epoch in a museum, but it’s not necessarily the best of that epoch, and fundamentally it’s probably even the expression of the mediocrity of the epoch[...] (p. 67)

「⋯⋯像Rembrandt或Cimabue每天都在作畫，畫了四五十年之久。後來的人因為那些作品是由Rembrandt或Cimabue畫下的，就說它們肯定是好的，任何Cimabue的廢品也要去讚揚⋯⋯」

[...]People like Rembrandt or Cimabue worked every day for forty or fifty years, and it is we, posterity, who have decided that this was very good because it was painted by Cimabue or Rembrandt. Any little bit of trash by Cimabue is still very much admired[...] (p. 69)

杜尚認為藝術家是不需要被膜拜的，也不希望別人膜拜他。他認為歷史必須要利用時代物件來作助證，但其實歷史與藝術的高尚證明沒有直接關係——這是現代社會的迷思之一。前人的樹蔭大得我們連大氣層都看不見，規矩太多、要尊重的規條太多。我們在樹蔭當中成長，未有足夠分辨「歷史造神」的能力。說是「造神」也過於無禮，杜尚在對話中表達他對藝術家與觀眾之間扶植關係的思考，細觀歷史與偉人的「建造工程」，不同於社會認為的藝術家是特別之存在，是時代給予了觀眾「造神」之能 ——「飯碗」是別人給的，藝術家需要依靠觀眾而存在。

Duchamp did not expect to be worshiped, as artists should not be. Despite the fact that in art history writing, objects serve as evidence of living in a specific time period, there is no relationship between the art and proof of nobility. There are too many structures and rules imposed by the success of predecessors. We grew up in their shadow and lacked the ability to discern history’s capability of placing artists on remote pedestals. Duchamp examined art history and artistic figures closely and condemned the nurturing relationship between artists and audiences, which resulted in times when audiences connived at pedestal set-ups, and thus the artist relied on audiences for his existence.

百年前的對談，放在今天也足夠「啜核」。杜尚看穿藝術界的雞肋，百年後不出自己意料地，也成為歷史洪流其中一位「大神」。其「反清高」的精神境界，早於上世紀20年代已看到端倪，凌駕於繁華、藝術理論與美學，活中出真正的「佛系人生」。《泉》為當代藝術帶來了奇異點，也可能因為他是史上第一人，有足夠的勇氣與智力翻開「潘多拉的偶像包袱」，《泉》也「貼地」的打了藝術和同行幾巴掌，彰顯精神的偉大。藝術家站在高地思考社會是一種暢快，也是毒瘤。看此文者若感到被冒犯，那麼就正中了時代的下懷。當我們卸下「自以為」的形象，創作是為了什麼而創作？

Fountain (1917), Marcel Duchamp

Duchamp spotted the drama in the art world, and a century later, unsurprisingly, he became one of art history's "great artists." Living like a monk, Duchamp's spiritual realm transcended prosperity, art theory, and aesthetics. Perhaps because he took a daring first step in art history, he brought a singularity to modern and contemporary art in his quest to discover the truth of the universe. Thinking about society from a higher ground can be both pleasurable and intoxicating for an artist. What else is the purpose of creation after we surrender our high and mighty character?

引文皮埃爾•卡巴納（Pierre Cabanne）：《杜尚訪談錄》，王瑞蕓譯，廣西師範大學出版社，2013年。

Reference Cabanne, Pierre, and Marcel Duchamp. Dialogues with Marcel Duchamp. Vol. 303. Da Capo Press, Incorporated, 1987.

@kaio__w

Poem by Wong Sin

Journey of High Tower and Deep Well ◎汪倩高塔和深井的旅程

高塔和深井的旅程我想像我的想像你活在想像的世界裏覺察了真相想像之外那個遼闊的荒地築起一座灰白色的高塔繞著它跑了一圈仍沒法用感知量測高度尖聳的頂部刺入深夜刺入你漆黑的髮不斷地跑而無法脱離高塔看似是那世界的重心跑著跑著將周圍的雲都引過來潔白的雲跟灰白的牆雙雙交融分不清裏裏外外，暈眩高塔裏的人群互相追逐互相仇恨互相鄙視被語言限制的思想一如既往慾望平衡著高潮彷如旋渦循環不斷天使閉眼俯視眾生茫茫我想像遠方而遠方如此接近你把自己退後為了看見更繁多更廣闊的景象風影隨後退往前，事物隨著後退顯現蜘蛛攀爬於複雜的神經線網絡錯綜複雜地由此岸交織到彼岸從彼方落下來的水是黑色的，石是白色的冷靜而躁動他們說水是白色的，石是黑色的暖和而寧靜我找不到精準的意象去描繪描繪你的墜落、你的絕望、你的恐懼我找不到美華的言語去傾談傾談你的亮麗、你的狂喜、你的安祥當我張口白牙通通滾進灼熱的胃部當我閉口重覆敲擊的鐘擺成為連接麻痹的橋當每日每夜飲用的水都同樣濁白伸展、撫平、擠壓、扭轉

汪倩

一隻黑蝙蝠巨大的翅膀底下有什麽猛烈如火焰般燃燒他帶著歷史的灰燼、透徹的瞳孔如風吹彿，此刻此地會不會遺留下什麼獨自深入井穴往下、往下、往下、往下未知刺激著毛孔刺激著頭頂的黑髮首先是喪失，然後是充滿首先是麻木，然後是在喪失與麻木中更替意志的火焰從未熄滅如風吹彿到底會否遺留下什麼不、井裏難以有強風，而風藏於心臟深處這次我恍然察覺語言的困局不、困局只存於思想之中高塔的內部

汪倩

Wong Sin

Journey of High Tower and Deep Well I imagine my imagination You live in an imagined world and realise the truth in that vast wasteland beyond imagination a gray-white tower built I ran around it but couldn't perceive the height of the pointy top pierces into the nocturnal night, into your ebony hair, keep running from the inescapable High Tower sucks in the gravity of the world I run and run, summoning all the clouds around me blending white clouds and off-white walls confusing inside and outside, dizzy The mobs in High Tower chase one another, hate one another and despise one another Thoughts limited by language as always Desire balances climaxes like a vortex forever Angels close their eyes and look down at sentient beings I imagine far away and the far away pushing close You step back to see more diverse and broader panorama The shadow of the wind then recedes forward, and things appear as they recede Spiders climb a complex of neural webs intricately weaving from shore to shore The water falling from the other side is black; the stones are white, calm and restless They say water is white; the stones are black, warm and quiet I can't find precise imagery to depict, to depict your fall, your despair, your fear I can't find embellishing words to talk, to talk your beauty, your ecstasy, your peace When I open my mouth white teeth roll into the burning stomach When I shut my mouth repeatedly striking pendulum bridges to paralysis When the water I seep in every day and night is as foggy-white, stretched, smoothed, squeezed, twisted

@sin.constansin

Under the huge wings of a black bat what’s the thing as fierce as a burning fire? It carries the ashes of history in pupils crystal clear If the wind blows, here and now will there be anything left behind? Descending in the well alone down, down, down, down the unknown stimulates pores, stimulates the epony hair on top of the head First the lost, then the full First the numbness, then the interchange between loss and numbness The flame of will never dies out If the wind blows will there be anything left behind? No, there’s hardly any strong wind in the well, and the wind hides deeply in the heart This time, I suddenly realised the language dilemma No, the dilemma exists only in “the” mind within High Tower

汪倩 Wong Sin

@sin.constansin

Online Art Magazine

「數位藝術雜誌」

also known as 唔通我話你知呢個只係一個「網站」咩 a website

Gallerieboii

@gallerieboii 16

MEME by Gallerieboii

2023.8 Magritte Exhibition in Tsim Sha Tsui Luxury Boutique ◎Gallerieboii

二零二三年八月尖沙咀名店睇瑪格烈特

二零二三年八月 2023.8 尖沙咀名店睇瑪格烈特 Magritte Exhibition in Tsim Sha Tsui Luxury Boutique

Gallerieboii

@gallerieboii

Heat

熱

Essay by Barren Rock Artchive

Missing Persons: Art Review as a Means to Look for Hong Kong Contemporary Art Audiences ◎無用石尋人：以評論練習找尋香港當代藝術觀眾

尋人：以評論練 Missing persons: Art Review 習找尋香港當代 as a Means to Look for 藝術觀眾 Hong Kong Contemporary Art Audiences

早年，網絡漫畫家 Adam Ellis 的作品 shhh ，被改成迷因 “Let People Enjoy Things” 而爆紅。引發一連串針對評論家或負評家的討論，指控他們對各項事物過度「把關」，抹殺他人享受事物的權利[i]，而首當其充被討論的領域當然是藝術。有關於觀眾的討論，對於香港的音樂界、電影界、甚至劇場界都不陌生。

A few years ago, the work "shhh" by webcomic artist Adam Ellis was cited as the viral meme "Let People Enjoy Things". The meme triggered a series of discussions targeting critics or negative reviews, accusing them of overly gatekeeping and stripping people's rights to enjoy things.[i] Art, unsurprisingly, has become the foremost field discussed under the topic. Discussions of art audiences are familiar to those in Hong Kong's music, film, and even theatre industries but, specifically, not to contemporary art.

Although it is clearly aware that most audiences come from the same industry, comparatively, the audience proportion of the contemporary (visual arts) scene seems to be even more overwhelming[ii]. 雖然大家都清楚香港的藝術觀眾群，實際上也是不同程度的「塘水滾塘魚」，但相比之下，當代（視覺）藝術界似乎真是一「塘」全是「自己人」的觀眾[ii]。

無用石

Barren Rock Artchive

怎樣才能成為成為當代藝術的觀眾呢？

How to become an audience for contemporary art?

你能成為當代藝術的觀眾嗎？“Let people enjoy things” 背後所引伸的正是誰在觀看，在怎樣觀看的問題，亦是享樂主義與理性主義的對碰：藝術終究是娛樂，還是不斷反省和思考的苦行呢？河水不犯井水，與其說這是兩者的爭論，不如說是邊界的問題。在2023年香港藝術發展局的藝文活動參加者的行為模式研究[iii]中，大眾選擇了前者，但我相信當代藝術傾向找尋後者。面對藝術的知識體系與大眾期望之間的落差，不妨借用評論家 Ben Davis 在回應 Sean Tatol 文章 Negative Criticism 時，所提及的知性的興趣（Intellectural Curiosity），代替批判標準[iv]作起點。如果你對藝術的世界有興趣，或許你也應花點心思，讓這有趣的世界也找到你。

The questions behind "Let people enjoy things” lie in who and how audiences could and should perceive art. It also reveals the choice between hedonism and rationalism: Is art entertainment or a continual, reflective way of thinking? And we have no right to infer people’s choices. According to the Behavioural Study on Arts Participants 2023[iii] conducted by the Hong Kong Arts Development Council, most interviewees chose the former. Yet, I believe contemporary art should lean towards the latter. Facing such a gap between the art academia and the public’s expectations, it might be plausible to consider the approach suggested by critic Ben Davis, cited in the response to Sean Tatol's article "Negative Criticism", to put forth “intellectual curiosity” instead of critical standards[iv] as an entry point for appreciating art. If you are interested in the world of art, perhaps it takes work to allow this interesting world to approach you.

無用石

Barren Rock Artchive

成為藝術的觀眾是件花氣力的事，但這門欖實在不高，喜歡其他媒介的香港觀眾絕對能證實這一點，他們的「𠝹櫈區」[v]總能有著不同形式的討論。誠然，不管有多少經驗的觀眾，面對當代藝術作品中可能出現的大量文本和理論，還是會遇到陌生的課題，或是未能理解的立場。如此，有人選擇拒絕接收，放棄成為當代藝術的觀眾。但要理解，然後欣賞，就必先主動地擺脫既有價值觀，走進作品的世界，加點同理心，尋找居於自身視野外的價值。

Becoming an art audience takes effort, but the threshold is not high. Audiences from other art mediums in Hong Kong can certainly prove that - their online discussion groups[v] are always flooded with comments in various forms. Indeed, contemporary works usually render a lump sum of contents and theories. No matter how experienced an audience may be, s/he still has the chance to encounter unfamiliar topics or stances that are hard to relate to. As such, some choose to reject listening and give up. But to understand and appreciate requires one to actively put aside your pre-conception, immerse yourself in the artwork’s distinctive language, cultivate empathy, and dig for values that dwell outside your intellectual geography.

Such training may seem related to professional criticism. Yet, the practice resembles the compassion and relational skills required when meeting new friends, which could at the same time be an ordinary and everyday practice. 這種鍛練看似與評論專業掛勾，但誠如與了解一位新朋友無異，當中所需的關係實踐以及對他者的關懷，實對大部份人並不陌生，亦可是件日常不過的事。當代藝術的精英社群?

The elite community of contemporary art?

的確，當代藝術是一組多變，具獨有語言的知識系統，有人甚至不諱承認藝術是精英主義的學科。這知識系統所建立的象牙塔形象，解釋了 “Let People Enjoy Things” 事件中網民（大眾）所抗拒與不滿的權力關係。可是，我不曾認為藝術對「精英」的追求是建立於排斥他者的關卡上，重點是我們可以如何透過觀看的實踐，找到屬於自己的語言，而這是能夠在進一步的評論和討論中鍛練的。

Undeniably, contemporary art has its own complex and unique language. Some may also propose art as an elitist discipline that somehow constructs an image of academics and ivory towers. The hierarchical image explains the objection and dissatisfaction towards the power dynamic by netizens (the public) in the "Let People Enjoy Things" discourse. However, I never believed that “elite” art pursuits should build upon excluding others and, instead, we can find our own language through practices of appreciation, criticism, and discussion.

評論的基本是梳理並道出思考，需要面對自己的喜好與個人經歷。理解作品是必要的禮節，同時亦要找出「戳中你的」與「戳不中你的」的差異。觀看藝術的知識系統，說穿了就是連結符號、視覺與自身情感的語言。這與理性沒有必然關係，靠的更多是生活經驗和自覺，亦未必需要學術語言。評論作為表現想法的行為，更常是把複雜的情感和思緒轉換成可與他人互通的言語，這亦有助我們在及後的討論中，透過他人的回應檢視自己的思維。

Appreciation is the practice of organising and articulating one's thinking with profound comprehension of one's personal preferences and experiences. It is about understanding artworks with the necessary courtesy. One also needs to find the difference between what "strikes you" and what does not. The knowledge system of viewing art ultimately involves relationships between symbols, visuals, and one's emotions through language systems. Rationality is not the only possible formula, as the connection is more relevant to life experiences and self-awareness. Academic language is not compulsory either. Criticism, as an act of expressing ideas, more commonly translates complex feelings and thoughts into digestible language. Successful translation further facilitates our ability to review ourselves through others' responses in subsequent discussions.

@barren.rock.artchive

討論亦可以與他人交換想法與共學，在更多的碰撞中進行更多次的了解他者與自我探索。在內，評論是整理自己，然後表現於他人眼前的過程；在外，它是引發討論，延增波紋的節點。如果我們都視評論與討論為共同精進的過程，就會有 “Let” 與否的問題，因為藝術討論本來就提倡多元觀點，不是多數人認為的反社會行為[vi]。

Discussions are platforms to exchange ideas and co-learn through intellectual and experiential collisions and encounters, gaining a deeper understanding of both oneself and others. Internally, criticism is a way of organising and then presenting oneself; externally, it is a node that sparks discussions and reverberations. If criticism and discussion could be perceived as a common and collective intellectual progression, the hesitation of "not letting people enjoy things” would not arise, as art discussions are meant to advocate diversity instead of the presumed antisocial acts of individuals[vi].

小結

Conclusion

藝術觀賞從來都要求觀眾主動地由個人開始，向世界提問，最後亦向自己提問。“Let People Enjoy Things” 爆紅明示在網絡年代下，大眾已失去觀賞的耐性。面對「人各有志」的年代，藝術評論與討論又應以怎樣的形式，陪伴觀眾進入觀看的練習呢？

Appreciating art has always required audiences to actively question the world and, ultimately, question themself. The viral popularity of "Let People Enjoy Things” makes it clear that the general public has lost patience with appreciating things in the Internet era. In response to easy and irresponsible comments, a follow-up question should be: How, or in what form, should art criticism and discussion accompany audiences in the practice of appreciating art?

註釋

Notes

[i] Grady, C. (2019, May 16). How “Let people enjoy things” became a fight against criticism. Vox. [ii] 也可能是當上觀眾的，最後也成了行內人吧 wwww。 [iii] 藝文活動參加者的行為模式研究第二階段：座談會報告 — 視覺藝術 (2023). 香港藝術發展局. [iv] Davis, B. (2023, September 1). The “quasi-theological” turn in art criticism is a mirage leading US the wrong way. Artnet News. [v] 「劇場界刂櫈區 - Re-Run」香港活躍的劇場討論群組。其他媒介如電影、音樂等亦各有類同的社群。雖然討論質素各有千秋，但亦顯然比當代藝術討論活躍。 [vi] Tatol, S. (2023, July 19). Negative Criticism. The Point Magazine.

[i] Grady, C. (2019, May 16). How “Let people enjoy things” became a fight against criticism. Vox. [ii] Perhaps all art lovers turns out working in the art field? LOL [iii] Behavioural Study on Arts Participants (2023). Hong Kong Arts Development Council. [iv] Davis, B. (2023, September 1). The “quasi-theological” turn in art criticism is a mirage leading US the wrong way. Artnet News. [v] "Theatre Circle - Re-Run" is an active online theater discussion group in Hong Kong. Other media such as movies, music, also have similar communities. Although the quality of the discussions varies, they are obviously more active than contemporary art discussions. [vi] Tatol, S. (2023, July 19). Negative Criticism. The Point Magazine.

無用石

Barren Rock Artchive

Toolkit by Siu Tung

For Artists______ Conversation Starter with Audiences______ Based on your Zodiac Signs ◎小東給藝術家_____ 快速訪問觀眾 _____星座小攻略

給藝術家_____ 快速訪問觀眾 ___星座小攻略就是_______開不了口________ 讓他知道_________ _________其實都想傾吓偈

_________er errrr_ 我想問吓呢

_________er errrr_I want to ask…

喂喂，你會想知觀眾睇完作品嘅感受嗎？藝術創作大部分時間都好孤獨，亦可以完全唔在意他人。但係，創作到底都係一場溝通。藝術家做完作品，就好似拋出一句說話，能夠俾人回應。有時，或好多時，其實我哋係想聆聽別人，聽吓對方睇到啲咩。當然，當機會嚟到嘅時候，相信大家都會極度害羞甚至嚇親。如果對方無提問，你會由佢靜靜咁睇跟住離開，無法捉緊開口嘅時機。你諗吓，觀眾心中可能都係同一狀態。佢可能都等待緊，或者因為香港嘅溝通文化，而完全無諗過有開口呢個option。或者，我哋係唔知點問、唔習慣問，而令到我哋唔想問問題。有見及此，今版就想建議一堆問題，俾大家袋定喺袋，更特意按照星座屬性嚟設計㗎！要同觀眾即場交流無難度！偽編按：實屬亂嚟嘅星座噱頭。重點係希望建議唔同切入點，等大家多啲角度傾吓啲work，因為如果你問觀眾「你覺得點啊」，其實好闊好難招駕嘅。敬請按自己情況mix and match，按返自己個vibe嚟問。最緊要係講啲輕鬆嘢開始先，人哋有啲dead air唔好慌，追問多幾句，做到㗎。

For Artists______ Conversation Starter with Audiences______Based on your Zodiac Signs I just can’t speak_________ Let her/him know_________ _________In fact, I want to chat with you.

_________ 袋定喺袋

A _________ toolkit for you.

Hey, would you like to know how the audiences feel after seeing your work? Art creation is very lonely most of the time, and you don’t have to care about others at all. But, after all, creation is all about communication. After the artist completes a work, it is like finally uttering a phrase to be responded to by others. We sometimes, or often times, indeed want to listen to others and hear about what they see. Of course, when there’s an opportunity, I believe everyone will be extremely shy or even intimidated. If the audience doesn't react, you will have to wait for them quietly until they leave, unable to seize any opportunity to speak. You may think that the audience may be in the same state of mind: s/he may be waiting for someone to talk to, or because of Hong Kong's communication styles, s/he may not even consider the option of speaking up. Perhaps we don’t know what to ask or are not used to socialising, so we don’t want to ask any questions. In view of this, I would like to suggest a bunch of questions, specially designed according to the attributes of your horoscopes, for everyone to choose from! It’s easy to communicate with the audience on the spot! Editor's note (presented to be / a pseudo one) : The use of the horoscope angle is really a gimmick. In fact, I hope to suggest different entry points for everyone to share their works from more angles. If you ask the audience, "What do you think?" it is actually very broad and difficult to come up with anything. Mix and match according to your own situation and vibe. The most important thing is to start with daily chitchats, and talk about something easy to understand. If you encounter silence, don’t panic. Ask a few more questions and just do it.

小東 Siu Tung

水象星座

Water sign

心靈連結類

Spiritual connection

雙魚：你最鍾意邊份作品？點解嘅？

Pisces: What is your favorite work? Why?

天蠍：有無啲位令你好好奇，想深入了解多啲？（）

Scorpio: Is there anything you are curious about and want to know more? ( )

巨蟹：有無作品呼應到你近嚟嘅狀態，或者感受？

Cancer: Are there any works that echo your recent state of mind or feelings?

火象星座

Fire sign

😏

直接開波類

Direct type

人馬：（解釋幾句）聽完之後，同你一開始對件作品嘅想像有咩唔同？

Sagittarius: (Explaining a few sentences) After listening, how is it different from your imagination of the work?

獅子：（解釋做嗰件作品時嘅特別經驗）聽完之後，有無話引起你思考多啲呢個議題 / 自己嘅經驗？

Leo: (Explaining a special experience during work creation) After listening, is there anything that made you reflect on this issue/relate to your own experiences?

白羊：（爽快語氣）我係 artist，有咩感覺呢？！

Aries: (In a straightforward tone) I am the artist. How do you feel?!

風象星座

Air sign

一齊兜風類

Let’s take a ride

天秤：有無啲位係令你感到一啲共鳴我都會想聽多少少你嘅分享⋯

Libra: If there is anything that resonates with you, I would love to hear what you have to share...

雙子：你覺得呢件作品同其他作品之間有無咩連繫？任你想像吓吖。

Gemini: Do you think there is any connection between this one and other works? Let your imagination go wild.

水瓶：淨係睇件作品，唔睇作品說明，有無覺得有個故事喺入面發生緊？係點㗎？

Aquarius: Just by experiencing the work without reading the description, can you tell any story happening within? How does it evolve?

土象星座

Earth sign

踏實細察類

Practical and careful observation

山羊：（平實語氣）你睇呢份作品嘅時候，腦入面有無諗起啲咩？（由Jeremy Ip提供）

Capricorn: (Plain tone) When you look at this work, what has popped up in your mind? (Contributed by Jeremy Ip)

金牛：留意吓呢份作品嘅材料係咩／咩質地，俾到咩感覺你？聯想到啲咩？

Taurus: Pay attention to the material/texture of this work. How does it make you feel? What do you associate with?

處女：如果叫你focus一個好細好細嘅位，你覺得幾得意、吸引你嘅，會係邊個位？

Virgo: If you were asked to focus on little details, what would you find interesting and attractive?

@siutungcreates

Prose by Lavender WOO

Long-lasting Moments Rethinking Life and Gardening ◎胡夢未

短暫的永續關係—— 反思園藝和生活

短暫的永續關係 Long-lasting Moments ——反思園藝和 Rethinking Life and 生活 Gardening 小時候上學的路上，看到馬路旁的含羞草，矮小的、葉子繁密的、半隱身在樹叢下，我總會蹲下身子逗它玩耍。小小的手伸出，幼嫩的葉子迅速地收起來，彷彿這觸碰即退縮的瞬間，就是當時眼中最重要的一切。後來去動植物公園，才知道原來有這麼多不同的植物品種，例如上千種的亞熱帶的植物中，劍型鳳梨的體積比較龐大，不僅花蕾形狀較大，葉子的色澤和根莖的硬度也是不一樣，還有溫室裏也有百多種，如攀援植物的。花是主角，草生植物總是顯得比較失色。

When I was a kid, I used to see the mimosa on my way to school, beside the road, short, densely leafed, and semihidden under shrubs. I used to squat down and play with it all the time. The little hand stretched out, and the cotyledons quickly folded up, as if shying away when touched was the most important thing in my eyes at the time. Later, when I visited the Hong Kong Zoological and Botanical Park, I discovered that there were far more plant species than I could have imagined, as well as thousands of subtropical plants. Vriesea splendens, for example, was relatively large in size, with not only larger buds but also different leaf colours and rhizome elasticity. Hundreds of species, including climbing plants, were housed in the greenhouses. Flowers are the stars, and grassy plants are always overshadowed.

家裏不常放植物，大概只有小學課堂裏種的綠豆發芽，還有中學時以碳酸鈉加熱浸煮的葉脈書簽，也許還有新年婆婆家裏的火白合和過了一年再盛放的水仙。

We do not have plants at home very often, probably only mung beans grown in primary school classrooms, sprouts, leaf vein bookmarks soaked in sodium carbonate when we were in middle school, and flame lilies and re-bloomed narcissus at my grandmother's house during Chinese New Year.

My associations and feelings about plants are relatively fragmented, and they are neither vivid nor unforgettable in my memories, despite the fact that they were always there for me. This type of intimacy has been subtle but palpable. 我對植物的聯想和感受比較零碎，就算它們一直相伴於我，在回憶裏不算鮮明也不算瀝瀝在目。這種體貼毫不起眼，卻是最真實的。

它們沉默的個性，堅靭和強壯得讓我們舒服而不在意。直到美術科素描課上畫花，生物科上學到植物的解剖圖，才感受到植物和其他學科裏的知識一樣，看似平凡易懂，同時一步步令我們了解這個世界更多，（儘管這可能是零碎的經驗。）

胡夢未

Despite its tenacity, it has been so quiet that we have not even noticed. It was not until I drew sketches of flowers in craft class and learned anatomy in biology class that I realised plants, like any other subject, were knowledge systems. They appear ordinary and simple to understand, while also assisting us in experiencing the world step by step (though these may be fragmented).

Lavender WOO

@littlereading_hk 30

要是說在香港，除了郊野公園和每年一度的維園花展，你可以叫看得到最繁多的植物和鮮花品種？大概是在太子花墟，買校服的必經之路，於太子道西那排拆除的戰前唐樓和旺角大球場旁邊的這個小空間。乘小巴在太子的十字路口下車後右轉，聞到襲人花香前行，眼前是那一條滿是花店的街道，有多達數十年歷史的老舖，也有全新的，賣着各式各樣的園藝植物和用具，在有有點陳舊的架上放有滿是生命力的鮮花或者盆栽，來自各式各樣的原產地，低至十元也有交易。當中也有盆栽店、餐廳、蛋糕店等，唐樓與商業高樓交集。嬌艷的玫瑰和耀目的太陽花，恬靜的滿天星，還有不可缺少的尤加利葉襯托。雖然香港各區也有花店如中環的擺花街也有五六間花店，實在少有花店和園藝店集中在同一條街上。

Where in Hong Kong can you see the most variety of plants and flowers, aside from country parks and annual flower shows in Victoria Harbour? It is probably this small space in Prince Edward Flower Market that is the only way to buy school uniforms, next to a row of demolished pre-war tenement buildings on Prince Edward Road West and Mong Kok Stadium. Take a minibus, get off at the crossroads of Prince Edward, and turn right. Following the delightful scents, there is a street lined with flower shops in front of you. There are old shops with many decades of history, as well as new shops selling a variety of gardening plants and utensils. There are fresh flowers or potted plants full of vitality on the somewhat old shelves, from various origins, and they are available for as low as ten dolloars. Other potted plant shops, restaurants, cake shops, and so on can be found beneath the tenement buildings that intersect with commercial high-rise buildings. Delicate roses, brilliant sunflowers, calming gypsophila, and essential eucalyptus leaves. Although there are flower shops in various districts throughout Hong Kong, such as Lyndhurst Terrace in Central, which is a lane of five or six flower shops, flower shops and gardening shops are rarely concentrated on the same street.

花藝、園藝和植物，一般予人靜態的感覺，實則不然。當中是種分門別類的技藝，由孕育成幼苗，到以各種方式點綴生活和佈置空間，而在傳統的節慶、婚儀憑弔、情人節，鮮花亦有其角色。在回憶裏，我和植物的感覺似是在熟悉和不熟悉之間，每次我想了解她們，才發現當中的世界沒有想像中般狹隘，由生活社區的常綠植物，還是商店中調劑生活和慶祝人生重要里程的花藝品，植物的角色往往是在默默的維繫和平衡我們的生活和感受。生活中的幸福感在有型和無形之間，以最豐盛的姿態散佈在生活空間。

In general, flower arrangements, gardening, and planting create a static atmosphere, but this is not the case. Growing seedlings and decorating lives and spaces in various ways requires a variety of skills. Flowers also play a role in local traditional festivals and wedding ceremonies, also on Valentine’s Day. In my memories, the impression towards plants seems to be in the milieu of familiarity and unfamiliarity. Every time I try to understand something, I discover that the world is not as limited as I thought it was: from the evergreen in the neighbourhood to the floristry in the store that celebrates life's milestones. Plants often quietly balance our sense of living and feeling. A totality of happiness in life, between tangible and intangible, abundantly supports our living space.

胡夢未 Lavender WOO

Plants seem not to be commonly present in mainstream cultural memory, but they are always there in our lives. 植物似乎不在主要的文化記憶裏，卻也不曾在生命裏缺席。十七世紀在荷蘭鬱金香貴如黃金，而廿一世紀的香港，閒時賞花，雅趣來時園藝。生活裏的一丁點期待，談不上無碳生活或什麼熱帶的碳循環，家中一隅談不上什麼園藝演算法減碳排放的話題，連本地綠化帶的討論也沾不上邊。植物比不起拍賣會上的藝術品和NFT，總是缺少話題性。花開花落，和香港這個城市一樣衰舊有時，繁華當中，有其循環和規則，於都市看到路邊不起眼的植物試回想自己的生活有植物常伴和點綴的時候，說不定會對這些細節有新的看法。

Tulips were as valuable as gold in 17th-century Holland. Today, in Hong Kong, we appreciate flowers in our spare time and gardens for their elegant taste. Plants unfold our lives with a glimmer of hope. On the other hand, the local floristry culture does not encourage a carbon-free lifestyle with detailed carbon cycles. Placing it in a tiny corner does nothing to the gardening algorithm to reduce carbon emissions, nor does it contribute to Hong Kong's green belt. They are not as current as the most recent auction artworks and NFTs. Flowers bloom and wilt, like the cycles and rules governing the bustling city. Walking through the city, you notice the plants that are always with you. Try to remember a time when your life was lightly decorated with plants. Perhaps you will gain some insight into some aspects of life.

@littlereading_hk

Essay by Emilie Choi Sin-yi

Old Technologies, Imagining the Material: "Art Tech" in Hong Kong ◎蔡倩怡舊的科技，物的想像：「藝術科技」在香港

舊的科技，物的 Old Technologies, 想像：「藝術科 Imagining the Material: 技」在香港 "Art Tech" in Hong Kong 近年「藝術科技」（Art Tech）之說大行其道，政府亦推出相應政策，大力推動。坊間以「藝術科技」之名的展覽如雨後春筍；但我不禁納悶，「藝術科技」所指的是什麼？是否在藝術作品或展示場域中加入「科技」的元素便等於「藝術科技」？兩者的關聯又是什麼？「藝術」與「科技」兩個領域也自有其駁雜悠長的歷史脈絡，當這兩個範疇覆疊交錯，指向的除了一般對科技的廣泛想像與定義（如快速、便捷與互動）外，「藝術科技」還有何種可能性？它能否在單向道的社會打開嶄新的異質空間、生長出歧異的圖景？而「藝術科技」在當前的香港又處身一個怎樣的位置？緣於對「藝術科技」的好奇，我翻查了香港2020年施政報告，首次談到「藝術科技」：「科技應用擴闊了藝術的創作空間，為藝術和創意產業帶來新機遇。」而在 2022-2023年度的財政預算報告更提出「藝術科技資助先導計劃」，撥款三千萬元，主要對象為「九大藝團」。團結香港基金在《「藝術×科技」的進一步發展：讓科技賦能文創生態》一文中則指：「藝術科技不僅是創造新型文化內容的一種手段，亦是振興傳統文化藝術形態的一種方法。從機械臂到無人機，除了輔助創作，有時候科技更會搖身一變成為『主角』。」

In recent years, the concept of "Art Tech" has been gaining popularity, and the government has introduced corresponding policies to vigorously promote it. Exhibitions under the name of "Art Tech" have sprung up like mushrooms. However, I can't help but wonder: what does "Art Tech" refer to? Does adding technological elements to artworks or exhibition sites qualify as "Art Tech"? What is the relationship between the two? Both "art" and "technology" have their own complex and extensive historical contexts. When these two domains overlap and intersect, in addition to the broad imagination and definition of technology (such as speed, convenience, and interactivity), what other possibilities does "Art Tech" hold? Can it open up new heterogeneous spaces and create diverse landscapes in a unidirectional society? And what is the current position of "Art Tech" in Hong Kong? Out of curiosity about "Art Tech," I looked into the 2020 Policy Address of Hong Kong, which mentioned "Art Tech" for the first time: "The application of technology has extended the horizon of creativity in arts and brought new opportunities for the arts and creative industries." In the 2022-2023 Budget Speech, the "Arts Technology Funding Pilot Scheme" was implemented with an allocation of 30 million Hong Kong dollars, primarily targeting the nine major performing arts groups. In an article titled "The Further Development of 'Art x Technology': Empowering the Cultural and Creative Ecosystem with Technology," Our Hong Kong Foundation states: "Art Tech is not only a means of creating new cultural content but also a method of revitalising traditional cultural art forms. From robotic arms to drones, technology not only assists in creation but sometimes becomes the 'protagonist' itself."

Technology here reflects a linear view of time —inevitably tied to progressive development —and compels the production of art to rely on the circulation of capital and large-scale production, which may not necessarily fulfil the technical needs of artists. 科技在此折射了一種線性的時間觀—— 離不開前進的發展，也驅使了藝術的生產方式不得不倚仗資本的循環與大型製作，卻未必能承接藝術家在創作上真正的技術需要。

蔡倩怡

Emilie Choi Sin-yi

這種論述與當前最火熱的人工智能與科技市場產業等發展不謀而合，定義了何謂「藝術科技」；亦設下了觀賞的門檻——觀眾無法理解艱澀複雜的科技知識，因此觀看從這些話語發展出的作品或展覽只如墮五里霧中。然而，「藝術科技」是否只有此單一面向？我想以兩個例子來展開「逆向」的科技觀——「藝術科技」可以是日常的、微細的，更可以是從舊中見新的。第一個例子是由藝術家及學者黎肖嫻發起的「文字機器創作集」創作群體，由2004年成立至今展開了七次環繞程式編碼的研究、創作與討論的小輯。其核心方向為探索書寫與電腦編碼的聯繫與對話，並構築了實驗場域，打開書寫與編碼的展演性與更多的藝術潛能。當書寫與編碼常被置於媒介時性的兩端——書寫是舊媒介、編碼乃新媒體，但文字機器創作集正正打破了如此二元對立的線性想像，讓書寫為新媒體定錨，亦從新媒體的科技中尋索書寫的脈絡與意象。如黎肖嫻在簡介中所探問：「如何以跨界的視野去從非數碼、非電子的作品中探討數碼化與計算思維哲學。」

This discourse aligns with the current booming development of artificial intelligence and the technology industry, defining what "Art Tech" means . As a result of setting a threshold for appreciation, audiences may find it challenging to comprehend artworks or exhibitions that stem from these discussions. However, does "Art Tech" only have this singular aspect? I would like to explore a "reverse" perspective on technology through two examples: "Art Tech" can be mundane and subtle, and it can also bring novelty from the old. The first example is the Writing Machine Collective, initiated by artist and scholar Linda Lai. Since its establishment in 2004, this collective has conducted seven editions of research, creation, and discussions centred around coding. Its core direction is to explore the connection and dialogue between writing and computational coding, constructing an experimental field that opens up the performative aspects of writing and coding and reveals their artistic potential. When writing and coding are often placed at the two ends of media temporality—writing being an old media and coding being a new media—the Writing Machine Collective breaks free from such binary oppositions and locates writing in new media. It also seeks the trajectories and traces of writing from the technology of new media.

Left: Writing Machine Collective Edition 1, 2004 Top right: Hello Zombies, Winnie Soon, Writing Machine Collective Edition 5, 2014 Bottom right: grARTphicator, Eric C.M. SIU, Writing Machine Collective Edition 2, 2007 Source: Website of Writing Machine Collective

蔡倩怡 Emilie Choi Sin-yi

Hundred Jumps (2015), Tung Wing Hong, courtesy of artist

另一例子是藝術家如何以舊的媒介技術來創造新的意義。藝術家董永康常以舊的媒介裝置來結合機械動態與流動影像，如作品《一百次跳躍》（2015）便以CRT電視以及由膠索帶與摩打所製造的機械裝置打向電視螢幕，通過重覆的動作來模擬身體的躍動，將科技的能動性溢出單一的媒介。去年，藝術家鄧伯軒在Hidden Space 的展覽《Your Warmth is the Cut of My Flesh》中所展示的作品《Inertia (Pulse of Your Dying Hearts Equal Mine)》（2022）也是一例，鋪滿了遍地不同的舊式電子儀器（如電子變換器、指南針及光管等）。他將這些被遺棄之物重新拼湊與改裝，形成了全新的「機器」，搖撼不斷翻陳出新的科技，並藉此審視其對社會的操控、監視與規訓等治理方式。以過時的科技與媒介來探問與質疑新興的科技迷思與幻象，正正是米舒·傅柯所提出的「當下的歷史」之概念，而受其啟發的媒介考古學所討論的科技觀，亦同樣以過去言及當下與未來，並強調科技的普及性，而非壟斷於龍頭企業之手。

Another example is how artists use old media technologies to create new meanings. Artist Tung Wing Hong often combines mechanical movements and moving images using old media devices. For instance, Hundred Jumps (2015) employed cable belts and motors to strike the TV screen, simulating body movement through repetitive actions. The agency of technology transgressed beyond a singular media. Last example is Shawn Pakhin Tang’s Inertia (Pulse of Your Dying Hearts Equal Mine) (2022) in the exhibition Your Warmth is the Cut of My Flesh at Hidden Space. The installation was filled with various obsolete electronic instruments such as electronic transformers, converters, clock mechanisms, compass needles, and heat lamps. He reassembled and modified these abandoned objects to create entirely new "machines," challenging the everchanging technology and scrutinising social control, surveillance, and regulation as the governance of technology. By using obsolete technology and media, he explores and questions the emerging myths and illusions of new technologies. This approach is in tune with Michel Foucault's concept of the "history of the present," and it resonates with media archaeology, which draws on the past to address the present and future critically, emphasising the democratisation of technology rather than its monopolisation by dominant corporations.

「藝術科技」的走向仍然未可知，但在擁抱前沿的科技前，或許我們更需要討論的是在當前香港的語境中，藝術何為、科技何為—我們還有沒有別樣的方式來理解兩者的關聯？

"Art Tech" encompasses various possibilities, but its trajectory remains uncertain. Before embracing cutting-edge technology, perhaps we should discuss what art and technology mean in the current context of Hong Kong, and do we have alternative ways to understand the relationship between the two?

@emiliesyyy

@visionmachine.note

Inertia (Pulse of Your Dying Hearts Equal Mine) (2022), Shawn Pakhin Tang. Photo by author.

蔡倩怡

Emilie Choi Sin-yi

Essay by art filmsider

A Brief Look at Art Criticism Language and its History in Hong Kong ◎art filmsider 藝評的語言藝術

藝評的語言藝術

A Brief Look at Art Criticism Language and its History in Hong Kong

由於大多數人都用Instagram來發佈藝術創作和藝評，在如此國際的平台上，我們先比較一下香港和其他地方。上個月，在 Instagram經營三年內跑出的頭馬––曼哈頓藝評專頁––樹大招風，藝評爭論於紐約興起，到底自發經營的藝評有否有公信力和理據，創始人Sean Tatol發表文章後，終於被傳統網媒藝評人Ben Davis當頭棒喝。對於藝評人品味如何囂張，怎樣閙，有多惡，這場辯論讓人想起對2015年中大畢業展的尖酸批評，令日後不少人假設寫作人應在公眾面前「表演」讓他們「食花生」。

As most of us need Instagram for art, on this international platform, I would like to first look into the current trends in Hong Kong and other parts of the world. Last month, the first successfully self-made critic page, Manhattan Art Review, on Instagram within three years of running finally led to a resurgence of art criticism debate in New York between Sean Tatol, founder of the Instagram page, and Ben Davis, an art critic in traditional online media. The debate reminded me of harsh comments made at the 2015 CUHK graduation, and such arguments stigmatised the way art criticism language should perform and be provoking with their hard-to-please aesthetic tastes in order to sound radical to the public.

與其互相攻擊，不如用批判態度，將怒氣藏在有感染力的語氣中，就像甘甘，即何慶基，在1988年《信報》上發表的《藝術。生活。藝術。》，評論一個展覽的失敗，文中也對比了其他報章的觀點：

Instead of attacking each other, a more critically sound piece of writing with an infectious tone would be like one of Ho’s criticisms, “Art. Life. Art”. In 1988, Oscar Ho published an article in the Hong Kong Economic Journal about the failure of an exhibition, in which he contrasted other viewpoints from various newspapers:

「……有一段時間，當二千多作品如崩堤般湧進來時，曾經問自己﹕是否還喜歡藝術？搞什麼鬼？凡參與者都可以展出？藝術中心要變成年宵市場或垃圾崗啦！」只要連結其他觀點和聲音，主觀的語氣就似乎更有張力，在眾說紛紜中突出自己的觀點。

“[…] At some point, when 2000 works invaded (the exhibition) like levee failure, I asked myself whether I was still into art. What the hell? Exhibit any works by attendees? Art Centre is becoming a New Year’s Eve market or junkyard!” As long as other voices were included, the subjective tone immediately rationalised the tensions and stood out from the debate.

Except from HO Hing Kay Oscar, “Art Criticism for the People: News clipping collection of Oscar Ho Hing-Kay 1980-90s.” Published in 2020.

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舊派的藝評人很個體的，在某種程度上在自製一種表達方式，無論是升格還是平民語氣，任何渠道都可能有他們的觀眾。追溯源起，六十年代和七十年代以前，香港沒有很多專做藝評出版的。有些人找到了出路，郵寄文章給台灣雜誌《獅藝》。儘管多是報告風格，當中也有「鬧」和吐苦水的成份﹕文人提拔近親的腐敗環境直到八十年代初才停止[i]。在香港清理門戶也需一段時間，直至八十年代中，儘管展覽宣傳在媒體上引起了轟動，展覽結束後的討論（和批評）卻「從高溫降到冰點」 [ii]。活躍於報章的何慶基也講述了這一現象，他也用直截了當的語氣批評當時的藝評大多是形式上的分析，未有涉及社會。 [iii] 同時，大槪觀察一下報章的排版，這些藝評被夾雜在電影、時尚、表演、粵劇和文化研究的寫作之中，如果不用文字功力突出自己，可能真的不太起眼。

Local art critics used to be very individualistic and, to some extent, self-made expressions with a harsh or a soft tone for audiences through any possible channel. There was not much specialised press in Hong Kong until the 1960s and 1970s. Mui Chong Kee found an outlet by mailing his writing in the style of reports to Lion Art, a Taiwanese magazine. It took time and effort to finally clear the air: the corruption in which writers promoted close relatives in art histories did not cease until the early 80s,[i] and despite the fact that promotions were a big hit in the press in the mid-80s, the discussions (and criticisms) died right away after the exhibitions.[ii] Ho, who was active in local newspapers at the time, echoed this phenomenon, adding that the majority of art criticism at the time was apolitical, formalist analysis.[iii] Meanwhile, in the layout of the press, these art criticisms were mixed in with writings about movies, fashions, performances, Cantonese operas, and cultural issues. If the language lacked articulation, art criticism might be even more dull.

The phenomenon of homogenising contemporary art among film, music, literature, and even food persists today, as readers and audiences compare language in the part review in art criticism with star ratings, brief comments, and thought documentations in IMDb, Letterboxd, OpenRice, etc. 將當代藝術與電影、音樂、文學，甚至食物同質化的心態至今仍然存在，就如大眾將藝評的評論部分與 IMDb、Letterboxd、OpenRice的星級評價和簡短紀錄作比較。

Except from “Art Criticism for the People: News clipping collection of Oscar Ho Hing-Kay 1980-90s.” Published in 2020.

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在八十年代末和九十年代，由於政治辯論對不同的觀點更寬容，更多文人學者加入分析政治、社會和身份議題，例如《新人》的裸露爭議挑戰了當時社會對性別的保守思想。爭辯語言多用文雅詞藻，就算作品對應某類被受關注的議題也會被大膽批評當中的美學。評論限制有如像 Instagram的中文篇幅。有些藝評更像社評，或用藝術品做文本分析，向形式主義的另一極端走。這種特定語言滿足公眾自身的焦慮和對社會時事的關注或許對作品理解也有限制，相比起今天，這已經是相對上輝煌的時期，然而公眾口味易變未必令這時代感持久。

In the late 1980s, more intellectuals participated in newspaper discussions on social, cultural, and identity issues in Hong Kong before the 1997 Asian financial crisis. The 90s rhetorical language pushed some conservative boundaries, such as gender issues in the display of naked bodies in “New Man”, due to greater tolerance for political debates. Even though some works reflected certain hot issues, their aesthetics were still challenged. A departure from the previous apolitical formalist analysis, the assumption of art as general culture prompted more textual analysis, limiting art criticism to cultural and social commentaries with its particular language to feed public and political concerns, which was not sustainable as audiences’ tastes for contents changed quickly in such an atmosphere. This was a comparatively glorious period.

Except from “Through the Transition and Over the Millennium: Self-Selected Essays by Seven Visual Art Critics.” Published in 2002.

文字的影響力在1991年達到頂峰，獨立雜誌《越界》發表聲明，只有二十二人便改變了香港藝術館的策展方針。之後大家不時愐懷九十年代的文人節操。2009年，劉建華在《別與愚人爭論》中形容文化政策爭論為兔子洞，總結藝術人和藝評人不再對政策有影響力，屈服於審查制度和媒體素養下降的問題。一些高潮的情緒導致了一些爭論——甚至近年來對藝術的焦慮的談論，情況與1997年之前很相似——今天的獨立雜誌未必能引發什麼巨變，更不用說「大時代」過後，一連串現存或不復存在的藝文出版物了。

The peak of the influence of writing was in 1991, when Crossover, an art magazine composed of only 22 art critics and artists, published a statement that prompted the HKMoA to change their curatorial focus to include local living artists in their exhibition line-ups.[iv] Following a downturn, most writers sought to revitalise and uphold the social virtue in their blood today by reminiscing about intellectual influences from the 1990s. In 2009, Jasper Lau concluded the loneliness of artists and art critics in “Don’t argue with the fooled” to jump into the rabbit hole of cultural policy debate but surrendered to the issue of censorship and declining media literacy in art criticism.[v] Some emotional culmination led to some debates and breakthroughs— even the talk of anxiety, which has been overused in recent years as much as it was prior to 1997—but magazines with a rhetorical tone may not elicit any radical changes today as much as it did in the 1990s, not to mention a long list of publications dedicated to art and culture that exist or no longer exist after the big era.

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Don’t despair. After 2000, debates on Hong Kong’s art criticism still continued as common as the bi-annual or tri-annual: 2006 ADC Criticism Website Under-wage Boycott[vi] 2009 MINGPAO’s Prejudice Headline on JCCAC Artist Studios[vii] 2013 ADC Art Criticism Awardee Jasmine Jia Incident 2015 CUHK Graduation Show Criticism[viii] 但不用灰心，2000年後，關於藝評的重大爭論如藝術雙年展或三年展般普遍： 2006年 - 抵制藝發局藝評網工資不足[vi] 2009年 -《明報》頭條對JCCAC藝術租戶的偏見[vii] 2013年 - 藝發局藝評獲獎者賈思敏事件 2015年 - 中大畢業展批評[viii] 值得注意的是，目前反智和蒙昧主義的意識形態下，似乎有種結構性壓迫，於是「同行評審」以辯論的形式體現在公眾輿論中，用自發的研究和分析來揭穿社會事件的真相。另一種大家期待的「罵」可能較多在幕後批評寫作人和藝術家，這便無從稽考了，除了曼哈頓藝評外，幸好大家一般對社交媒體上的自發藝評比較容忍，沒有面斥不雅。但這種自發性，不再如舊式藝評般個人，更像一種集體的行動。當下流行視寫作為社會過程，激發了更多反思實踐，與60年代的紐約藝術激進派的感性相似，與當今歐洲推廣的藝術社會理論針對的主題略為不同。整體上用語較溫和，黃峪在她的藝評中提到「每個人都可以做藝評人」。不僅是音樂和電影愛好者，各種各樣的評論家也活躍在視訊論文時代，拼湊各種理論來形成自己的美學，而這種文字更適合自我教育的提倡。作者已死、沃爾特·本雅門、斯多亞哲學和媒體理論成為了陳詞濫調——在緊在眉睫的問題上，人們開始讀西奧多·W·阿多諾、米歇爾·福柯和鄭明河。從記錄展覽的原則出發，即使是星級評價也可以很個人的，但同時也是集體的，不論主題或文本。周凡夫亦提倡藝術欣賞作為普及教育，從決策到拓展生活，從個體到集體教育。

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Anti-intellectual and obscurantist ideologies seem to be a social construct that oppresses the once influential school of thought instead of generating any momentum for discussion. Indeed, the ‘peer reviews’ appear in the form of debates amidst the setback of public opinions for the need to debunk with research and analytical tools. Another kind of attack towards art critics and artists that people expected might happen only backstage but there was no way to investigate or do research. Other than Manhattan Art Review, fortunately people are generally tolerant and encouraging to selfmade critique in social media. This kind of self-made is more collective than the individualistic style in the old days. A more suitable explanation for radical self-made would be views regarding art writing as a social process, popularised in the 2010s and 20s due to more reflexive writing on audience building and participation, parallel to the sentiment as a result of the art activism in the 60s in New York, or the promotion of social theories in art in Europe today. Overall, the use of language becomes more moderate. In her review, Huang Yu mentioned that 'everyone is an art critic.’[ix] Othan than music and movie enthusiasts, various commentators are also active in the age of video essays, in which people assemble a collage of theories to form their own aesthetics, promoting certain kind of language for self-education. The death of the author, Walter Benjamen, stoicism, and media theories became clichés - people begin referring to Theodor W. Adorno, Michel Foucault, and Trinh T. Minh-ha for pressing issues. Deriving from this principle, even reviewing star ratings can be very individual but at the same time collective, no matter the subject matter or texts.

針對整個系統，僅僅澄清、回應或發表某些內容就足夠激了，要相信自己的文字有讀者。除了 Instagram 之外，做一個藝評應用程式也可能有效，也許只是在等待機會。

Chow Fan-fu promoted art appreciation as common education, from decision-making to life-expansion outreach, from individual education to collectivism.[x]

註釋

Notes

[i] 梅創基，〈動盪中的平靜’83年香港畫壇總評〉，《雄獅美術月刊》第156期（1984年2 月），頁70–74。下載自雄獅美術知識庫。 [ii] 梅創基，〈’85香港畫壇回顧〉，《雄獅美術月刊》第180期（1986年2月），頁130– 132。下載自雄獅美術知識庫。 [iii] 何慶基，《不離地藝評：何慶基剪報集（一九八〇—一九九〇年代）》，梁寶山編，﹙香港﹕手民出版社，2020年﹚，第38 頁。 [iv] 亞洲藝術文獻庫及亞太藝術，〈香港美術館的明天：回顧九十年代〉，翁子健整理及撰寫前言，Pamela Wong翻譯，《亞太藝術》，2023年3月20日。 [v] 劉建華，〈「每個人也是藝評」的「！」與「？」〉，《國際藝評人協會香港分會》，2009年2月27日。 [vi] 〈抵制文化藝術工作新低價杯葛藝術發展局〉，《獨立媒體》，2006年7月3日。 [vii] 〈明報社評: 賽馬會創意藝術中心〉，《明報》，2006年2月16日。下載自Hong Kong Nonprofit Journal網站。 [viii] 周文慶，〈差劣的中大畢業展〉，《獨立媒體》，2015年6月8日。 [ix] 黃峪，〈這不是藝評／CECI N’EST PAS UN CRITIQUE D’ART ──多元視野──八、九十年代香港藝術新象〉，《微批》，2021年7月8 日。 [x] 周凡夫，〈明藝．特輯：香港的藝評生態及前景〉，《明報》，2017年10月2日。

[i] Mui Chong Ki. “Calmness in Turmoil 1983 Hong Kong Painting Circle Review.” Lion Art Monthly. Issue 156(February 1984), p. 70–74. Downloaded from LionArt Digital Archive. [ii] Mui Chong Ki. “’85 Review of Hong Kong Painting Circle.” Lion Art Monthly. Issue 180 (February 1986), p. 130–132. Downloaded from LionArt Digital Archive. [iii] HO Hing Kay Oscar, Art Criticism for the People: News clipping collection of Oscar Ho Hing-Kay 198090s. (Hong Kong: Typesetter Publishing, 2020), p. 38. [iv] ARTASIAPACIFIC X ASIA ART ARCHIVE. " A Better Tomorrow for Art Museums in Hong Kong: Looking Back at the 1990s." ARTASIAPACIFIC, 20 March 2023. [v] Jaspar Kin Wah LAU. “Everyone does art criticism ‘!’ & ‘?’” International Association of Art Critics Hong Kong, 27 February 2009. [vi] “Boycott the new low prices for cultural and arts jobs, boycott the Arts Development Council.” inmediahk.net, 3 July 2006. [vii] “MINGPAO Criticism: JCCAC.” MINGPAO, 16 February 2006. Downloaded from Hong Kong Nonprofit Journal. [viii] Justin M. H. Chow. “Poor CUHK Graduation Show.” inmediahk.net, 8 June 2015. [ix] Huang Yu. “CECI N’EST PAS UN CRITIQUE D’ART New Horizons: Ways of Seeing Hong Kong Art in the 80s and 90s.” Paratext. 8 July 2021. [x] Chow Fan Fu. “The art criticism ecosystem and prospects in Hong Kong.” MINGPAO, 2 October 2017.

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Perhaps having these systemic views, simply clarifying, posting, or publishing certain contents would be radical enough because no one has done it before. A contemporary art review application other than Instagram might be great too, but perhaps we haven't had the chance to make it for a potential demand yet.

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總結大家的寫作都有很多延伸討論的空間，由於篇幅和時間所限，只能略描一下藝文的態度，而今次《濕熱》只有一期，有幸與各有不同定位和背景的寫作人合作，其實更想帶給大家自發性項目的味道，就算是研究和寫作也有別於機構、學術、報章和傳統媒體，有另類的方向和方式，不滲雜廣告、宣傳或組織目的，盡量將說藝術的比重放到最大。請大家支持各寫作人的Instagram，也歡迎捐款支持本誌。

Conclusion There is a lot of room for extended discussion in each collaborative writing. Due to space and time limitations, we can only briefly explore the attitude towards Hong Kong art writing. “Damp heat” only launches one volume and it’s our pleasure to collaborate with writers from different backgrounds with unique motivations and styles. In fact, it aims to bring everyone, especially Hongkongers, the taste of a self-made project - even the directions and methodologies of research and writing can differentiate from that of academia, institutions, and newspapers, and traditional media, and without any advertisement, promotion and underlying organisational goals to long last, maximise the portion of talking about real art. Please follow, and support Instagram pages of writers. You are welcome to support this zine by donation too.

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歡迎自由捐款 :)

Welcome to support us by donation ^_^

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《濕熱——香港藝文態度》二零二三年九月編輯及設計﹕ art filmsider 聯合作者: 阿三 / 胡曉楠 / 汪倩 / Gallerieboii / 無用石 / 小東 / 胡夢未 / 蔡倩怡 / art filmsider 出版及發行﹕art filmsider 聯絡﹕artfilmsider@gmail.com https://www.instagram.com/artfilmsider/ 二零二三年九月網上版我們不擁有任何圖像的版權。版權所有，不得翻印或轉載

Damp heat - Hong Kong Art Writing Attitude 9/2023 Editor & Designer: art filmsider Collaborators: Chan Sai Lok, Kaio Wu Hiu Nam, Wong Sin, Gallerieboii, Barren Rock Artchive, Siu Tung, Lavender Woo, Emilie Choi Sin-yi, art filmsider Publisher and distributor: art filmsider Contact: artfilmsider@gmail.com https://www.instagram.com/artfilmsider/ Online edition Sep 2023 We do not own any right of images. All rights reserved

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