Ava magazine 2012 e version s

va A

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MAGAZINE FOR VISUAL ARTS AND ARTISTS.

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EDITORIAL

32

Birth of Ava

Please Go Forward Slowly to Water the Plant

Ava的由來

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CREATIVE SPACE

小心灌溉

5 MIN FOCUS

Some Questions for … John Aiken 視覺藝術院莊藝勤院長專訪

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EMERGING

Splash - 2012 Graduation Show Splash - 2012年視覺藝術院畢業展

22

5 MIN FOCUS

Up Close and Personal with Dr Ho Siu Kee 何兆基博士專訪

24 PATHWAYS TO CREATIVITY Hello Justin

36 SPACES, PLACES AND TRADITION

您好 黃照達

Heritage Home – Kai Tak

30 BEHIND CREATIVITY

浸大視藝校園發展關注組簡介

A Passage in Time … 走過來 ……

Academy of Visual Arts

視覺藝術院

va A magazine for visual arts and Artists.

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Content

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Editorial 編輯的話 PP. 4-5 PP. 6-7

Birth of Ava Ava的由來 The Academy of Visual Arts 本院簡介

5 Min Focus 視藝焦點 PP. 8-11

Some Questions for … John Aiken 視覺藝術院莊藝勤院長專訪

Emerging 出類拔萃 PP. 12-19

Splash - 2012 Graduation Show Splash - 2012年視覺藝術院畢業展

36 in 12 – A Year in the Life of AVA 活在視藝院 PP. 20-21

AVA Timeline AVA的活動

5 Min Focus 視藝焦點 PP. 22-23

Up Close and Personal with Dr Ho Siu Kee 何兆基博士專訪

Pathways to Creativity 創意之路 PP. 24-29

Hello Justin 您好黃照達

Behind Creativity 創意背後 PP. 30-31

A Passage in Time … 走過來 ……

Creative Space 創意空間 PP. 32-35

Please Go Forward Slowly to Water the Plant 小心灌溉

Spaces, Places and Tradition 視藝傳承 PP. 36-37

Heritage Home – Kai Tak 浸大視藝校園發展關注組簡介

On the Grand Tour 藝術旅行團 PP. 38-41 PP. 42-45

How to Construct a Study Trip 如何組織一個遊學團？ Chance or Challenge IAM 國際藝術行動

It’s Show Time! 騷 time了 !

PP. 46-47

Exploring Chinese Art from a Cross-Cultural Perspective 從跨文化角度探索中國藝術

Moving On 繼續前進 PP. 48-49 PP. 50-51

Art, Vision and Education 藝術、視覺及教育 Life after AVA 藝海無涯

Staff Bites 職員花絮 PP. 52-53

What’s the Programme Like? 本科課程指南 PP. 54-67

編輯的話

Editorial

Dear Reader,

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this middle-eastern thread possibly the

an Island archipelago, where no momen-

name is simply from the acronym of our

在英語世界裡Ava原來是一個女性的名

緬甸歷史裡的阿瓦王朝，由他拖彌婆耶建

earliest known person of this name was

tous event is complete without the Ava-

institution’s name: Academy of Visual Arts.

字，但其詞源已不可考。其中一個可

立，國祚為1364年至1555年，其名字亦

In your hands you hold the first edition of

the poet Ava (c. 1060–1127), the first

ceremony, a solemn ritual during which a

A name, a femme fatale, a storm, a cere-

能，它是來自波斯語中的「ava」，意思

取自Ava。不過，阿瓦王朝似乎沒有上述

Ava, the Academy of Visual Arts’ exciting

named female writer in any genre in the

ceremonial beverage – called ‘ava’ – is

mony and drink, a kingdom, a ship, and

是「優美的聲音」，大概跟音樂有關

太平洋島國的Ava祭祀儀式。

new magazine. Ava is intended to com-

German language.

shared between the attendees.

now a journal. We are proud to bring to

係。除此之外，以Ava作為名字的例子，

you: Ava.

最早的首推德國女詩人Ava（約1060 ﹣

事實上，阿瓦王朝的名字，也觸發了英

and the general public about what is im-

Neither of Persian nor of German descent,

No such ceremony was known in the

1127年）。

國半島及東方汽船公司的靈感，因為船

portant to us, and our institution: how do

yet famous for the sultry sound of her

Burmese kingdom of Thadominbya, yet

we feel, think, and ultimately create?

voice was Ava Gardner (1922–1990) who

they did name their capital ‘Ava’ anyway,

was the revered personification of Ava

subsequently making the period from

A periodical magazine is a new endeav-

that made the name become the fourth

1364 to 1555 in Burmese history known

or to us, into which we start full of high-

most popular in the USA by 2007. It was

as the Ava Kingdom.

flying dreams, adventurous ideas, and

also Ava Gardner who separated from her

spirited enthusiasm; and of course our

then-husband Frank Sinatra – according

In fact the ancient Burmese capital was

ambitions need to be expressed through

to her own account – with the words.

prehensively and creatively inform you

our ‘baby’s’ name that needs to carry

公司在1855年，曾將旗下一艘來往中國

Ava的由來

相比起這些波斯或德國文化的聯繫，美

的汽船，題名為SS AVA。可惜，這艘汽

國女演員 Ava Gardner（愛娃．加德納

船並非一帆風順，它啟航了三年，大小

1922 ﹣1990）才真真正正令Ava這名字

意外接踵而來，最後更在1858年二月於

發揚光大。全憑這位聲線迷人，風靡萬

錫蘭海岸一帶擱淺沉沒，連帶船上價值

您手上所執的，是浸大視覺藝術院最新

千影迷的荷李活巨星，Ava在2007年獲

275,000英鎊的黃金，亦同時葬身大海。

出版的雜誌《Ava》的創刊號。

膺全美排行第四最流行的名字。Ava

由此看來，Ava的典故的確是引人入勝。

thus remarkable that the British Penin-

《Ava》是一本內容豐富，創意新穎的刊

Gardner性格鮮明，敢愛敢恨，據她的自

不過，我們的雜誌取名《Ava》，最直接

sular & Oriental Steam Navigation Com-

物，無論是視覺藝術院的最新動態，師

述，當年就曾以淑女的口吻，喝罵其前

的理由莫過於它是本院名字ACADEMY OF VISUAL ARTS的縮寫。

各位讀者：

notions of creative passion, sensory sen-

“Go f*** yourself,” I replied, always the

pany in 1855 named a steamship on the

生們的最新創作，您關心的，我們關心

夫法蘭仙納杜拉「X你的！我要留在這

sibility, and professional perseverance

lady. “I’m staying here.”

China mail service after it: the SS Ava.

的，都會為您一一搜羅。

裡」，成為她的經典名句。 Ava似乎也包含了一份堅持的意思。六、

的女星；是一種祭祀儀式、一種飲料、

woven into its legacy.

And that’s why we came up with ‘Ava’.

是一個簡單的人名，還是一位紅顏禍水

Unfortunately SS Ava was not a particuPerseverance is apparently a treat of Ava,

larly fortunate barque as she continu-

對我們來說，辦一份視藝雜誌是一次嶄

which didn’t prevent the name from

ously got involved in mishaps, before

新的嘗試。《Ava》不僅展示了我們對視

七十年代間，曾經有五次在太平洋出現

一個王朝、一艘汽船，抑或是一本新生

being applied to as many as five Pacific

she finally – after only three years of

藝的熱心、野心，以至好奇心，就連雜

的颶風，皆以Ava命名。還幸這些颶風並

的視藝雜誌也好，我們誠意向你推薦

To begin with Ava is simply a female first

hurricanes in the 1960s and 1970s, and

service – ran aground off the coast of

誌的取名，本身也包含了我們對創意、

未為薩摩亞群島造成重大傷亡。在南太

──《Ava》。

name in English language of not quite

yet this might again indicate the passion

Ceylon in February 1858, and sank with

感情，以至探索學術的堅持。

平洋島國的居民，每當舉行祭祀儀式

clear etymology. One possible origin

that comes with it too.

£275,000 in gold on board.

ing ‘pleasant sound’ usually referring to

Fortunately none of the hurricanes Ava

In the end, after all this musing, maybe

sounds associated with music. Yet, despite

caused any damage on the Pacific Samo-

the easiest way to deduce our journal’s

時，都喜歡請與會者喝一種特製飲料， 我們鍾情「Ava」，絕非偶然。

might be the Persian word ‘ava’ mean-

名字就叫Ava。

Editorial

編輯的話

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The Academy of Visual Arts

本院簡介

The Academy of Visual Arts (AVA) was founded in 2005 as an independent divi-

香港浸會大學視覺藝術院於2005年成

sion of Hong Kong Baptist University, dedicated solely and entirely to educate stu-

立，致力培育學生掌握視覺藝術的專業技

dents in the practice-based professional skills and academic knowledge of the visual

巧與學術知識，透過創新的課程探索個人

arts. AVA is committed to individual experience and creativity throughout our innova-

特質、發揮創意。

tive ­BA-programme structure.

本院致力成為視覺藝術創作與研究的

As an active research hub and community service provider, the Academy is run

樞紐，並著意將相關的經驗和成果回饋社

through a simple, organic administrative structure, capable of flexibly adjusting to new

會。精簡的行政架構，令我們能夠靈活地

trends and integrating the latest developments. AVA is strongly interlinked with other

作出轉變，以迎合社會發展及視覺藝術的

departments of HKBU and its sister institutions in Hong Kong through an exten-

最新趨勢。我們與浸會大學其他學系及本

sive system of professional networks, academic collaborations, and institutional

地相關機構保持緊密聯繫，建立專業網

agreements. We also pro-actively foster relations with the general community of Hong

絡，加強學術合作和院校協定。我們亦不

Kong, the visual arts-scene of the city and the region through numerous activities,

時舉辦展覽、講座、工作坊，並提供顧問

exhibitions, lectures, workshops and consultancies.

服務，以促進與本地社區及藝術文化界的

Today AVA has about 320 students, taught by 22 full-time staff through a choice

交流。

of 60 different ­courses. We have about 100 post-graduate students in the Master of

本年度視覺藝術院本科課程由22位全

Visual Arts-programme, and jointly offer an Associate of Arts (Visual Arts) programme

職教學人員任教，提供多達60個不同科

with HKBU’s College for International E­ ducation (CIE). AVA operates two campuses:

目的選擇，現有約324名本科生和約107名

Kai Tak Campus in Choi Hung, and the Communication and Visual Arts Building in

碩士生。此外，本院亦與浸大國際學院合

Kowloon Tong, both with fully equipped workshops and studios for visual arts disci-

辦文學副學士(視覺藝術)課程。視覺藝術

plines as varied as Chinese Painting, Sculpture, Photography, Media Arts, Ceramics,

院的教學設施分佈於啟德校園和九龍塘大

Glass, Print-Making, Graphic Design & Illustration, Installation, Wearables, J­ ewellery,

學本部的傳理視藝大樓，有多個設備齊全

and many more.

的藝術工作室，包括：中國書畫、雕塑、 攝影、媒體藝術、陶瓷、玻璃、版畫、平

Programme Philosophy and Vision

面設計、裝置、穿戴及首飾設計等。

At the Academy of Visual Arts, we believe that there are ideas, concepts and principles common to all creative disciplines. We provide a comprehensive education in the

課程理念及願景

spirit of HKBU’s Whole Person Education that focuses on the development of the

視覺藝術院認為不同的創作專業，皆能體

creative and intellectual potential of our students, encouraging them to build their

現共通的創作意念、想法和原則。我們依

own personal profile based on their specific interests and abilities, thus ultimately

據浸會大學推動全人教育的精神，提供全

enabling them to aspire towards careers throughout the whole spectrum of the

面的教育，啟發學生的創作潛力及思維，

creative and cultural sector.

鼓勵他們按自己的興趣和才能建立個人風

At AVA, we choose to focus on your abilities to think creatively, to develop ideas, to understand the principles that stand behind the visual arts, and on a solid foundation in the history and theory of art and culture.

The subjects at the academy reflect the commitment to the ideal of interdisciplinary study, the philosophy of bringing together the various ­formats, media, approaches, concepts, and methodologies of the visual arts.

格，以投身不同的文化藝術工作。 我們著重培育學生的創意思維、展示 嶄新意念、理解視覺藝術背後的理念等 能力，並要充分掌握文化藝術史與理論 的知識。 本院非常重視跨領域的學習模式，揉

Developments within the visual arts through the last century have introduced new

合不同的視覺藝術形式、媒介、意念和

processes and situations, which have resulted in an expanded notion of artistic

方法，突破傳統的藝術與設計概念，發

practice beyond the traditional concepts of art and/or design. Art is no longer based

展更廣泛的藝術創作手法。現今，藝術

upon strictly distinguished disciplines or particular media, but are rather a hybrid

已不再局限於單一學科或媒介，而是充

of many. A ­ ccordingly, the BA (Hons) in Visual Arts-programme operates in the

滿混雜多元的可能性。因此，本院提供

interdisciplinary area of artistic practice, which considers all creative disciplines as

的視覺藝術（榮譽）文學士課程，主張

equally valuable outlets for creative ideas and concepts.

跨學科的藝術實踐，認為所有創作方式 均有助啟發意念。

5 Min Focus

視藝焦點

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Some Questions for …

John Aiken – Director of the Academy of Visual Arts AVA is proud to welcome Professor John Aiken as our new director. Formerly the Slade Chair of Fine Art and Director of the Slade School of Fine Art, University College London, as well as an internationally renowned artist, Professor Aiken answers questions put forward to him by AVA’s students.

視覺藝術院莊藝勤院長專訪

You have moved from the Slade School of

and historic precedents. In this respect

and admire many artists, some are very

Fine Art in the UK. Why did you choose

my influences are eclectic and wide rang-

well known, and others more obscure or

Hong Kong?

ing but firmly dedicated to contemporary

in some cases completely unknown. The

Hong Kong is a great international city

visual art and its many contexts.

best I can do on this occasion is to men-

that I have been very interested in since

Ablaq 1,

tion someone whose work I saw recently

my first visit here nearly 25 years ago.

When compared to students from other

and really enjoyed. Alighiero Boetti is an

Why now? After 30 years at the Slade I felt

similar courses in HK and UK, what

artist whose work I first came across when

that an opportunity to live and work

advantage(s) do AVA students possess?

living in Rome in the 1970’s. He was a key

in HK was an exciting and appealing

To be part of a new dynamic situation is

member of the Arte Povera Group of

prospect especially as the visual arts have

an enormous advantage for any young

young Italian artists in the late 1960’s who

begun to be more prominent and inte-

artist. There is more opportunity, more

worked in radical new ways using simple

grated in interesting ways into the dynamic

excitement about art and a general de-

materials and representing them in inno-

of the City and Region. I like being in

sire to find new talent and explore new

vative way. Boetti had a major retrospec-

an environment of growth and development

ideas and ways of doing things. AVA is a

tive exhibition at Tate Modern earlier this

and unfortunately the UK is in a period of

young institution, it is making its own

year and I was greatly impressed by the

recession and this is having a negative im-

history. Students who are currently at

quality, power, presence, ambition and el-

pact on Higher Education in the visual arts.

AVA or who have recently graduated

egance of the work produced over a long

have an opportunity to make a difference,

and sustained period of time.

What are the influences of your art works?

to be a real positive influence on a devel-

I have a very strong interest in architec-

oping market and an increased interest in

How would you like to see AVA develop?

tural form and how form interacts with

the visual arts. This is very rare and gives

I would like AVA to continue to develop

landscape physically and visually. Hong

a fantastic advantage to students who

those aspects that I identified above in

Kong is an excellent example of this. The

can really use the opportunity to put

relation to Boetti. An art school is only as

relationship of diverse materials and

100% effort into creating a strong and in-

successful as the synergies between peo-

methodologies of construction when ap-

dividual practice as an artist/designer/

ple that are generated within it in order

plied to the expanded field of sculpture

craftsperson.

to produce ambitious and convincing

also interest me greatly. I like looking,

new work. How that in turn creates a mo-

Granite and

seeing and exploring places and finding

Who is your favorite artist and why?

mentum that has resonance beyond the

marble, 2009

linkage between contemporary practice

This is always a difficult question. I like

art school into the world is equally im-

視藝焦點

5 min focus

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您的藝術作品受何影響？

學生上下一心，AVA定可發展成為本地

我對建築形態的作品有非常濃厚的興

最有實力的視藝機構。這就是我對AVA

趣，尤其是作品如何跟地貌在實質上和

未來的期盼。

視覺上產生互動，香港在這方面便是一 個極佳的例子。在雕塑的層面，我也很

您想為AVA留下什麼印記呢？

喜歡研究各式物料和建構方法之間的關

我希望可帶領AVA走向另一個積極、有

係。我喜歡觀看、思考和發掘不同的地

抱負的階段。我的印記（一個不幸的用

方，尋找當代運作模式和前人經驗之間

語）是要在視藝教育上精益求精，繼承

的連繫。故此，我所受的影響是很廣泛

AVA七年來的成就，再攀高峰。AVA處

的，並不局限在某一方面，不過可以肯

於一個具影響力的位置，現在正是向大

定的是離不開當代視藝及其相關的背景。

眾展示它的卓越教學及研究成果，我會 竭盡所能，確保把這方面做到最好。

跟香港或英國同類型學科的學生比較， 浸大視覺藝術院的同學有何優勝之處？

您希望跟學生建立何種關係？

對青年藝術家來說，能夠在一個充滿活

有建設性的，互相尊重，在多元的環境底

力的環境下工作，是有很大的禆益，因

下，共同創造機會，製作高質素的作品。

為在藝術方面，這會提供多些機會、多

Wednesfield Link Regeneration Project, 2008/09.

些刺激，人們會有意慾去尋找新的才

您以為一個地方（如啟德校園）會有創

華、新思維、新的做事方式。AVA是一

意，抑或它是來自藝術家本身呢？

所年青的學院，它正在締造自己的歷

藝術家是有創意的。藝術是通過藝術家

史。視藝的市場正值發展，人們對此的

的創意而展現出來。創意並不關乎某一

portant. It is through the commitment of

Do you think that creativity is found in a

may be, this “moment” of clarity (ironical-

興趣日益增加，AVA現屆的或剛畢業的

空間或地方，它是存在各種複雜和艱難

students, teachers and support staff that

place (like Kai Tak Campus) or inside an

ly almost impossible to define) makes it

學生大有機會為此帶來改變。此等機會

環境之中。正如啟德校園的情況，可以

AVA will develop strongly as a centre for

artist?

all worthwhile.

難得，如果學生們能全力以赴，利用優

為大家帶來創意和發展，但創意並非是

the visual arts in HK. This is how I would

Creativity is inside an artist. Art however

As an educator it is when things start

勢，定可晉身為一個獨當一面的藝術

依附在某一地方。AVA很幸運可以擁有

like to see the future shape of AVA.

is different, it is when an artist makes

taking off and ideas come fast and with

家／設計師／工藝家。

這樣的校園。然而，創意是掌握在有創

their creativity manifest and visible. This

excitement and energy. When the results

What is the stamp you would like to put

is not dependent on a particular space or

of this is powerful and convincing student

on AVA?

place but on a complex and often diffi-

work that makes it also all worthwhile.

I would like to lead AVA into a positive

cult and challenging range of circum-

術家很多，有著名的，也有較少人認識

您作為一位藝術家和教育家，有何難忘

and ambitious next stage of develop-

stances. In this respect situations like

If you could be an artist anywhere in any

的，有的甚至乎是寂寂無名。要回答此

的經驗？

ment, my “stamp” (an unfortunate term)

those found at the Kai Tak Campus can

medium what and where would that be?

問題，我想最佳的方法，是就我最近看

作為藝術家，最興奮莫過於見到自己的

would be to continue to strive for excel-

help create the circumstances where

An impossible place, but great fun trying

過的藝術品，揀一位令我印象難忘的作

作品誕生，而它又能夠與觀者對話。儘

lence in visual arts education and build

creativity can flourish in innovative and

to find it, maybe that’s why I am here in

者來談談。我第一次看到阿里杰羅．波

管這一刻是一閃即逝，作品最終成功與

on the very successful work already es-

expansive ways, but creativity is not de-

Hong Kong!

堤的作品，已是1970年代，其時我是在

否，這刻清明的狀態卻是最彌足珍貴。

tablished at AVA over the last 7 years. AVA

pendent on any particular site. AVA is

is in a very strong position to begin to as-

fortunate to have such a place as a part of

年藝術家組織「貧窮藝術」的骨幹成

如果您是一位藝術家，在沒有地理和媒

sert its authority as a centre of excellence

its overall portfolio of places and spaces

您放棄了英國斯萊德藝術學院的工作而

員，以激進創新的手法，表述簡單的物

介限制的情況下，您會選擇在什麼地方

in teaching, learning and research. I will

but creativity is in the hands of creative

選擇香港，何解？

料。本年初波堤在泰特現代美術館舉行

創作，又會創作什麼作品呢？

endeavor to ensure that I do my utmost

people, It is their responsibility to deliver

香港是一個很好的國際城市，我廿五年

了一個回顧展，展出了他歷來的代表

一個沒可能的地方，不過要找出這地方

to enable that to happen.

new and exciting work.

前第一次來港，經已對這地方留下很深

作，作品展現的質素、力量、風度、野

也很好玩。可能這也是我來香港的原因！

的印象。何解會在這個時候來港工作？

心和優雅，令我印象難忘。

Installation in soft sand, GT Gallery Belfast, 2010 Europea 2, Granite and enamelled steel, 2009

意的人手中，要創作新穎令人興奮的作 您最喜愛那一位藝術家？為什麼？

羅馬居住。1960年代，波堤是意大利青

What kind of relationship are you hoping

What is your best experience as an artist?

我在斯萊德已三十年了，如果有機會來

to build with students?

As an educator?

港居住和工作，會是相當刺激的事。目

您期望AVA如何發展？

A productive one, with mutual respect

As an artist the moment when something

前香港及亞洲區的視藝發展愈來愈出

我上述對波堤的認同，也就是我期望

and a desire to generate exciting new op-

I am working on comes to life and begins

色，我相信在此地工作有很好的前景。

AVA可繼續發展的方向。一所藝術學院

portunities to create work of high quality

to have an independent dialogue that is

我很嚮往在一個會成長、會發展的環境

所以成功，全賴院裡各人同心協力，推

and ambition within a diverse and inclu-

bigger than the sum of its parts. However

生活，可惜英國正值經濟衰退，視覺藝

陳出新，創製有視野的作品。此股動力

sive environment.

fleeting this moment is and however suc-

術高等教育方面的發展亦不能倖免。

會在院外引起迴響，觸及大眾，對學院

cessful or disastrous the final artwork

品，他們是責無旁貸的。

這是一個很難回答的問題。我欣賞的藝

的發展同等重要。只要AVA的教職員和

出類拔萃

Emerging

{ 12 }

{ 13 }

Splash - 2012 Graduation Show

By Tang Cheuk Man

(BA-Student, Year 3)

Splash - 2012年視覺藝術院畢業展。

Chiu Yu Kan, The Containers, Mixed Media, 2012

The annual graduation exhibition is a

with all their might for what they long

great event for every upcoming graduate:

for at heart.

This is the time to showcase your art work

Kenny Chiu’s pieces are tailor made

to the public, to demonstrate what you

containers arranged on the wall on dis-

have learnt and contributed in the past

membered body parts of a model. The

few years. This also is a opportunity for all

display is a grisly reminder of the po-

graduates to look into themselves one

tential of objectivation of the human

last time, and enjoy the unrestrained

body in the fashion industry, while at

freedom of creation.

the same time it shows off Kenny’s re-

Every year AVA’s graduates choose a

markable skills in handling leather and

theme for their graduation show, and

skin. The smell of leather expands the

this year it is “Splash’’, a reference to the

sensational experience of his work

“unaccountable and surprising emer-

throughout the space.

gence of new qualitative content in artis-

Another example of an artwork ex-

tic creativity”. As it turns out this is quite

ploring a particular material, is the piece

an appropriate choice, since the art

of Justin Chow, who produced an in-

works in the venue ranged across a wide

depth experimental exercise on a rather

selection of media, each providing not

specific medium – soap. On display is a

merely visually stimuli for the audience.

documentary video of a performance by

In this year’s show is of exceptional

Justin: He starts by forming cubes out of

outcome: The artists explore a great di-

soap bubbles, cutting them into smaller

versity of topics in an astounding variety

parts, blowing spheres of soap from a

of media, relating their work to our daily

straw. Ultimately, he wraps his body in

lives, thereby giving it meaning and val-

soap bubbles and waits for them to dis-

ue. The show is evidence that students

solve. The audience watches the process

are indeed involved with their context

from the beginning to end, witnessing a

of living, that they are in fact searching

fundamentally new approach to a sim

Hsu Wai Lun, Breathe, Video, 2012 Chow Man Hing, A Sculpture of my Breath, Performance, 2012

出類拔萃

Emerging

{ 14 }

Chong Wai, Equilibrium . Distance, Video, 2012

ple material. Justin’s work is proof of the

hopes, and strikes to the core values

importance of spending time to explore

that live inside us.

even the meanest medium.

Be it conceptual, abstract, metaphysi-

Another artist, Isaac Chong, uses his

cal, or realistic, art inspires us to contem-

body to present his work “Equilibrium

plate. This is the essence of what art aims

Distance” in the exhibition.

at, and this is what “Splash” has delivered.

“Equilibrium Distance” takes the human body as a measure, guiding us to focus on the physical changes within us.

Distance, tension, the ups and downs of

Some of the photography used for this article is supplied by the HKBU Library in conjunction with the hkbutube project.

his body’s representations are emotional responses of the performers to the audience. The whole piece renders a beautiful aura of poetry, the interactions between the performers and the audiences are

Au Yin Chung, I Have A Secret About You, Print on Paper, 2012

soft, compelling and enlightening. The human touch in Equilibrium plays on the contrast of life’s realities and personal

Kwan Long Hei, Tracing on Paper, Fiber-Based Silver Print, 2012

{ 15 }

出類拔萃

Emerging

{ 16 }

{ 17 }

Chan Pak Kin, Soles’ Stories, Mixed media, 2012

浸大視藝院的畢業年展，對每位應屆畢

中的表演，記錄了由製作塊狀肥皂，切

正是「潑瀉」的原意，以及展覽要達到

業生來說都是一件盛事。透過年展，大

割成粒，到吹肥皂泡末，以至最後把肥

的效果。

家向大眾展示歷年所學，同時間又可藉

皂塗在身體上，等待它慢慢溶解的過

製作畢業作品，享受創作自由之餘，加

程，在視覺上充滿懾人的力量。

本年的畢業展有一個意料之外的效 果。藝術家們的創意，展現在多元化的

只要能目睹整過創作過程，即使再簡

題材和媒介。作品內容往往來自日常生

本年畢業展題為《潑瀉》 「SPLASH」。

單的物料，也可為觀眾帶來認識該物料

活的方方面面，如朋友、家庭，以至一些

將「SPLASH」解作為「藝術創作中一些

的新體驗。要透徹了解一件作品，必須

受爭議的社會議題。這無非顯示了學生

出乎意料的新穎、有質量的內容」，是貼

花時間，從物料到最後的成品，都可發

對自己身處的地方的關懷。即使他們尋

切不過的。展場中不同的媒介展示了創作

掘到理解作品的種種可能性。

找的步伐不一致，他們都是從心底所想出

深對自我的了解。

上的不同嘗試，它們不僅為觀眾帶來視覺

另一位藝術家莊偉以自己的身體作為

發，製作出新穎、具創意的藝術作品。

Chan Po Fung, Flour Figure, Installation, 2012

作品，名為《平衡．距離》。莊偉以人

Lam Allison Yarli, The Uprooted,

趙汝勤的作品以裁製的物料，穿掛在

體作測試，誘導觀者去聚焦集肉體上的

Oil on wood, ceramics and metal stand, 2012

鑲嵌在牆上的模特兒肢體，營造了很強

轉變，如距離、張力、觀者與表演者之

的視覺效果，也展示了他個人對皮革和

間的溝通所引起的情緒起伏。

的刺激，亦觸動了大家的心情。

肌膚的看法。趙的作品使用了各式各樣

在作品中表演者與觀者的互動既溫

的物料，由改製的箱子到穿戴的飾件，

柔，又引人入勝，它表現的是如詩般美

豐富了其內容之餘，皮革散發濃冽的味

麗的意境。此藝術作品以現實的矛盾和

道，亦提升了觀眾的觸覺經驗。

我們內心充滿鬥爭的核心價值為主線。

周文慶的作品以肥皂為媒介，透過作

無論是以概念、抽象、形而上學或是

品深入剖析物料的特性。周借視像錄影

寫實為題，藝術刺激我們的思考。這正

ChanYuet Yi, Peculiar Extension, Brass and rubber glove, 2012

Emerging

出類拔萃

{ 18 }

{ 19 }

Yeung Pik Ki, Revenge, Glass and blood, 2012

Hung Ching Nga, Under the Cloth, Oil on canvas, 2012

Lau Man Pan, Brick of Gloves, Ceramics, 2012

Lui Hong Ling, What do we Live For? Who are We? What will we Become?, Clay and wood, 2012

Chan Wing Nga, Intimates, Hair Wearable, 2012

活在視藝院

36 in 12 – A Year in the Life of AVA

{ 20 }

{ 21 }

21 to 23 November 2012. International

12 August 2012. In the Kai Tak Campus

fort, Germany explored and rediscovered

11 to 26 May 2012. Home Grown (Koo

9 to 19 March 2012. Sleep Talking (Kai

Craft & Design Division (Kai Tak Campus

Conference on Research Creativity: Praxis

Art Auction HKBU’s AVA Campus Devel-

elements within their culture that are in

Ming Kown Exhibition Gallery) [p.42]

Tak Campus Gallery)

Gallery)

opment Concern Group raised $683,550

danger of extinction or have already dis-

for the rental of AVA campus.

appeared.

4 to 11 May 2012. Private Collections

24 February to 4 March 2012. Shine -

January to December 2012. Visual Arts

(Kai Tak Campus Gallery)

The 2nd Christian Students’ Art Exhibi-

Axis Art as Advocacy (Collaboration with

will be accompaniedby an exhibition at

3 August 2012. Professor John Aiken as-

19 June to 15 July 2012. SPLASH:

tion by HKBU Students & Alumni (Kai Tak

AIDS Concern)

the Koo Ming Kown Exhibition Gallery.

sumed duty as the new Director of the

AVA Graduation Exhibition 2012 (Kai Tak

28 April 2012. Piaose Parade ( Mong Kok

Academy of Visual Arts. [p.9]

Campus) showcased the enthusiastic,

Pedestrian Precinct)

10 to 20 November. Haptic InterFace, a 10-day workshop in the Wearables Lab

8 to 14 November 2012. Seminar by

Campus Gallery) September 2011 to November 2012.

playful, daring and open-minded art-

Thirteen students who studied tradition-

15 February to 2 March 2012. I love

Visual Arts Axis V.Ai Japan, Community

Prof. Li Yanzu, Visiting Scholar of Tin Ka

31 July to 11 Aug 2012. 21 AVA-stu-

works of 85 emerging artists, working in

al handicraft brought the traditional Pa-

shopping! Shop till you drop? (Gallery of

Arts Project and Exhibition (Collabora-

Ping Foundation from Tsinghua University.

dents went on a study trip to Germany.

a range of formats and media, including

rade of Piaose out of Cheung Chau Da Jiu

Goethe-Institute Hong Kong)

tion with K11 art mall), HKBU, Knowledge

[p.38]

paintings, sculptures, installations, pho-

Festival to reveal the Taoist sacrificial cer-

27 October 2012. Information Day for

Transfer Office) To enhance students’ un-

tography, new media, mixed media, com-

emony to a greater audience, and at-

10 to 21 February 2012. Honey Mood

derstanding of the relationship between

Undergraduate Admission to be held at

22 July 2012. Art Performance by AVA-

ics, ink art, ceramics, glass art, and 2-D or

tempted to connect folk art form to eve-

— Glass Art Exhibition (Kai Tak Campus

art and community, a series of seminars

AVA’s Baptist University Road Campus

students in the Mong Kok Pedestrian

3-D designs. [p. 12]

ryday life by responding to the current

Gallery) The exhibition displayed glass

and workshops in design, visual arts as

and Kai Tak Campus.

Precinct.

issues of the society.

artworks of eleven emerging artists, who

well as culture were conducted to HKBU

presented their most recent sculptural

and secondary school students.

26 May 2012. Open Day ( Kai Tak Campus): 6 to 12 October 2012. Space Donation

13 July to 16 September 2012. Five

AVA

(Koo Ming Kown Exhibition Gallery). For

AVA-students participate in the IAM at

Group organized open studios, guided

this exhibition, the artists invited people

Ostrale ’012 in Dresden, Germany. [p.42]

tours, themed seminars, a music concert

from abroad to donate a corner of their

Campus

Development

Concern

26 to 30 April 2012. Ostrale Workshop

and interactive glass arts by using vari-

(Kai Tak Campus) [p.42]

ous glass techniques including blowing,

September to November 2012. Visual

casting, fusing and Pâte de verre.

Arts Axis Yau Ma Tei Leftover Food Guide

and art creation activities for the public

20 to 22 April 2012. Chinese Calligra-

(Collaboration with Woofer Ten)

personal space, as a way to acknowledge

10 to 22 July 2012. Here and There:

to raise awareness of the rental issues of

phy Culture Exhibition by Prof. Wang Yue

21 January to 6 February 2012. 1. Solo

the lack of space in Hong Kong as well as

­Dialogue between Hong Kong and Japan

Kai Tak Campus.

Chuan & Dr. Lau Chak Kwong (Dr. and

Exhibition by Tony Wong ( (Kai Tak Cam-

to reflect their views on personal living

(K11 Art Mall): Students of AVA and sec-

Mrs. Sze Chi Ching Exhibition Gallery)

pus Gallery)

spaces in different cultural contexts.

ondary schools joined to exhibit their

18 May 2012. Cabinet of Curiosity

artworks exploring the theme of “dis-

(Park Lane Hotel)

20 April 2012. Master Class and Seminar

18 to 30 January 2012. AVA x JCTIC Ex-

by Prof. Wang Yue Chuan (Wing Lung

hibition (CVA Gallery)

21 September to 14 October 2012.

tance” in an attempt to overcome the ge-

Aichi Art Lab, Nagoya, Japan. 12 AVA ­

ographic, language and cultural differ-

12 May 2012. What’s Up. Multi-dimen-

graduates of 2012 exhibited their work in

ences between Hong Kong and Japan.

sions of Public Art (Koo Ming Kown Exhi-

an art exhibition in Nagoya.

Bank Building for Business Studies) 18 January 2012. Song Dong’s Waste

bition Gallery) This seminar explored the

13 to 28 April 2012. Why Are You Sitting

Not: On Memories, Material Culture, and

Here? (Kai Tak Campus Gallery)

Art (Yue Hwa Chinese Products Lecture

21 June to 11 July 2012. In Out of Sight,

keys to the success of public art, includ-

September 2012. The first 54 students

Out of Mind, an exhibition held at Goe-

ing the assurance on the uniqueness of

of the 4-Year BA-cohort as well as 66

the-Gallery, Goethe-Institut Hong Kong,

art creation in a professional standard

24 March to 9 April 2012.

3-Year BA-students, and 64 MVA-students

students from AVA and Rhine-Waal Uni-

and consideration of the wishes of the

Tuna Migration: Review Exhibition of Tuna

10 to 15 January 2012. Light-Weight:

take up their studies.

versity of Applied Sciences, Kamp-Lint-

community in a public domain.

Prize Winners (Kai Tak Campus Gallery)

An Exhibition of student Works from

Theatre)

視藝焦點

5 Min Focus

{ 22 }

{ 23 }

Up Close and Personal with Dr Ho Siu Kee

By Mark Chung (BA-Student, Year 2)

何兆基博士專訪

What was your experience of receiving

Why do you use white panties in your

您可以和我們分享獲英國皇家雕塑家協

Associate Membership of the Royal

work?

會提名為專業會員的心情嗎？

British Society of Sculptors (ARBS)

I started to wear the white panties for

五月時，我曾遞交作品參加協會所舉辦

nomination?

the documentation of my performative

的年度公開比賽。個多月後，我收到協

I first submitted works to apply for an

works more than 15 years ago. The very

會的回信，指我已經超越了這比賽的資

open Award organized annually by the

simple reason is that I want to have a neu-

格（老實說，我也不知道原來這是一個

RBS in May. About a month later, I re-

tral costume, as much as possible, which

給新晉藝術家的比賽）。有見及此，評

ceived a letter from RBS saying that I was

would not side track the interpretation of

審們希望推薦我成為協會的專業會員。

judged to have exceeded the level of

the work to any specific background/issue

由於每年只有少數參加者獲此邀請，我

practice expected for that Award (I was

other than a purely bodily experience.

當然是樂於接受。英國皇家雕塑家協會

not aware that the Award is mainly for

的官方網頁，可參閱http://www.rbs.org.

您的作品很有宗教意味，您有宗教信仰

uk/rbs-history-0。

嗎？

emerging artists) however, as stated in

Why do you wear that a white robe in a

the letter, in recognition of the excep-

lot of your work?

tional quality of my application, the pan-

Recently, I changed the costume to a

您的創作靈感來源是什麼？

指精神上又或是心理狀態的話，我並不

el would instead like to recommend me

white robe which to me is still quite neu-

我仍然鍾情於探索關於身體的感知經

介意你對我的作品有此理解。身體和精

for full professional Associate Member-

tral but many people told me that it re-

驗。對我來說，感知經驗是我們認知和

神確實是二為一體的！

ship which is only offered to a few excep-

minds them a Buddhist monk. I tend to

理解世界的基礎。此外，與生俱來的求

tional applicants each year. I am of course

accept such interpretation though it is not

知慾、多方面的閱讀興趣和把過去經驗

對於您未來的作品，有甚麼大計呢？

very happy to accept it. For more infor-

my intention.

概念化的慾望，都激發了我的藝術創作。

我嘗試把「光」這個元素帶入雕塑作品

official website: http://www.rbs.org.uk/

Your work seems pious – Are you reli-

那可否告訴我們，為什麼您在作品中總

間，應該可以為我的創作帶來更多的可

rbs-history-0

gious? Can you explain?

會穿著白色貼身短褲呢？

能性吧！

If religious, in a broader sense, refers to spir-

我選擇在紀錄行為藝術作品中穿上白色

Where does your inspiration come from?

itual or the state of the mind, I don’t mind my

貼身短褲，一穿經已十五年了！原因很

何兆基博士，浸會大學視覺藝術院副教授及視覺藝術

I am still very interested in exploring the

work being interpreted as ­religious. Body

簡單，我想選擇一套中性的服裝，以不

碩士課程總監。

perceptual experience of the body. To

and mind are indeed two in one.

影響觀者對作品的演繹為主，讓大家可

如果「宗教意味」在廣義的層面上，是

之中。當身體浸沒於虛(光)與實(雕塑)之

mation of the RBS, please refer to their

me, it is the basis of our understand-

Ho Siu Ke, Aureola No.10, steel , 2012

以全心專注身體的經驗。

Dr Ho Siu Kee, Associate Professor and Programme

ing and interpretation of the world. Fur-

What are your future dreams for your

那穿白色長袍又有甚麼意思呢？

Dirctor of the Master of Visual Arts Programme,

ther, the innate curiosity to explore new

work?

最近我把服裝改為白色長袍，對我來說

Academy of Visual Arts, Hong Kong Baptist University

things, the diverse reading interests and

I am currently trying to explore light as

這件白袍其實也很中性呀！不過身邊的

the desire to conceptualize all those ex-

an element in my sculptural work. The in-

朋友總對我說，這件白袍讓他們聯想起

periences become the stimulation for

tangible (the light) and the tangible (the

和尚、僧侶。這並非我的意圖，但我會

artistic expression.

sculpture) as well as the body being im-

接受這樣的詮釋。

mersed in it might suggest new possibilities for my artistic investigation.

Ho Siu Kee, Aureola No.13, steel, 2012

Pathways to creativity

創意之路

{ 24 }

{ 25 }

Pathways to creativity

創意之路

{ 26 }

{ 27 }

Pathways to creativity

創意之路

{ 28 }

{ 29 }

創意背後

Behind Creativity

{ 30 }

{ 31 }

A Passage in Time …

By Dr Anson Mak

走過來 …… 麥海珊博士

Going Home CD cover

Kwun Tong Map Project screenshot

《番唔番屋企》唱片封套

觀塘地圖研究項目網頁版面

I was not trained in Fine Art and can only

these experiences are integrated in my

ages on black-and-white film. It was also

I will continue to adopt ethnographic

別(gender/sexuality)議題的非政府組織。

些地方，後來我發覺他們的故事都是關於

draw doodles. I always say my roots origi-

creative projects.

my first experience of using tactics of pho-

­research method, interviewing and data

這些總總，慢慢在我的創作中融合起來。

同一議題──自由。

nography to do sound design for a film.

collection and analysis in my new research

到了九十年代中，我考取了獎學金攻讀

http://www.aahsun.com/08/DVD.html

project, which examines the ­situation of

研究碩士學位，做性別研究和電影理

My Little Airport’s 在位於牛頭角的工作室

nated from music (e.g. post-punk, new wave, indie-pop, syn-pop, shoegazing,

In the mid-1990s, I got a scholarship for

noisenik), literature (e.g. Lu Xun, Xi Xi and

pursuing M.Phil. studies, working on gen-

artist studios in industrial buildings in

論 ， 也開始認識文化研究、跨學科的實

演繹作品，攝於《在浮城的角落唱首歌》 。

Wong Bik-wan) and European modernist

der/sexuality studies and film theories. I

Going Home (or not) is a CD publication of

Kwun Tong and Ngau Tau Kok. Research

踐和研究方法學。後來我離開了香港一段

我將會繼續沿用民族誌研究、訪問和數據

cinema (e.g. Jean Luc Godard, Chris Mark-

also learned about cultural studies, inter-

phonography sound art works produced

findings which are also creative art works,

時間，發覺人長大了，好想做三件事：

資料搜集的方法進行新的研究項目，探討

er, Alain Resnais, Agnès Varda, Derek Jar-

disciplinary practice and related research

in Kwun Tong, which was the home of my

including photographs, sounds, moving

一)重新檢視社區歷史，也是要找到香港

觀塘（包括牛頭角）工廈不同媒體藝術家

men). As I disliked the colonial education-

methodologies. After living abroad for a

childhood and is now undergoing the

images and texts, will be uploaded to a

作為「家」的意義；

的 工作室情況。研究結果包括相片、聲

al system in secondary schools in Hong

period of time, I did have more reflec-

largest urban renewal plan in Hong Kong.

free web-based hypermedia interactive

二)深入探討香港最重要和最需要不斷討

音、活動影像、文字等材料，將會上載到

Kong, I often skipped classes and went

tions. When I was back to Hong Kong, I

http://www.re-records.com/discogra-

archive for public access.

論的事──空間和香港人生活的關係；

免費的網上互動超媒體檔案庫，以供大眾

to play in record shops. At that time,

wanted to do a few things in my art

phy/re-on-002r/

三)做這些社會議題也一定要採取哲學的

參閱。

there were only two universities in Hong

works (and life) :

Kong. My A-level examination results

1. Re-examine community history, which

On the Edge of the Floating City, We

were just fair, but I was lucky enough to

is also a search for the ideas of “home” in

Sing features three groups of independ-

have a chance for an interview at the

Hong Kong;

ent singers in Hong Kong who chose

我不是讀藝術出身的，現在還只會畫火柴

《唱片上的單行道》用了大量殖民地時代

Department of Communication of the

2. Investigate in-depth the most impor-

one place to tell their own stories and

枝公仔。我時常說，自己的創作源頭是音

英國人拍（呈現）香港的archival footage

Hong Kong Baptist College. I discussed

tant issues that urgently need more

play a song in situ or on the street. After

樂(如 post-punk, new wave, indie-pop,

來作個人歷史的相互參照，探討什麼是家

Hong Kong independent music with the

discussions in Hong Kong— relationship

selecting their venues, I adopted ethno-

syn-pop, shoegazing, noisenik)、文學

的這個議題。我堅持做黑白菲林實驗影

interviewer who later gave me the ad-

between space and ways of life of Hong

graphic research (observation), inter-

(如魯迅、西西、黃碧雲) 和歐洲現代主義

像，也是第一次用田野錄音聲音藝術的方

mission offer. After my graduation, I

Kongers;

views and data collection and analysis

電影(如Jean Luc Godard, Chris Marker,

法來做電影聲音設計

worked in television broadcast compa-

3. While representing social issues, I also

to explore the meaning of the places. In

Alain Resnais, Agnès Varda, Derek

http://www.aahsun.com/08/DVD.html

nies for a short period and disliked the

have to adopt a philosophical perspec-

the end, I realize the musicians’ stories

Jarmen)。我討厭中學殖民地教育，一直

job very much. Then I moved into art ad-

tive, plus integrating the elements of ex-

are related, one way or the other, to the

都在考試快來臨前才溫習，平時都走堂去

《番唔番屋企》是在重建中的觀塘（我小

ministration, while continuing to make

pression, sharing and realization by using

same issue -- freedom.

唱片公司或去玩。當年香港只有兩間大

時候的家）市中心做的田野錄音聲音藝術

music with my band—AMK (as we just

visual languages of avant-garde film.

學，A-level成績中等的我，卻有機會到

作品。

https://www.facebook.com/

當年的浸會學院傳理系面試，結果我跟那

http://www.re-records.com/discogra-

events/283474211722241/

位老師談及香港獨立音樂，就是這樣他取

phy/re-on-002r/

signed contract with a music company)

http://www.kwuntongculture.hk/

面向，亦需具備表達、分享情緒、感悟的 元素（運用前衛電影的視覺語言）。

and contributing writings to magazines

One-Way Street On A Turntable used a

and newspapers. I also started to do vid-

large number of archival footages pro-

eo art works (I was a film student before

duced by British filmmakers to represent

On the Edge of the Floating City, We

短日子，超討厭那兒的工作，後來我轉職

《在浮城的角落唱首歌》講述三隊香港獨

so I seldom did video works). Moreover, I

Hong Kong in the colonial times, serving

Sing, an episode featuring My Little Air-

藝術行政工作，繼續做AMK的音樂（因

立樂隊各自選擇一個地方，在那裡說故事

joined and co-founded a few non-gov-

as inter-referentials to personal histories

port’s performance in their studio in

剛簽了唱片公司）和撰寫雜誌、報紙。同

和在現場或街頭演繹一首歌。在他們選了

ernmental organizations regarding is-

and investigation of the ideas of home. I

Ngau Tau Kok.

時，我也開始做錄像藝術作品（我從前很

地方之後，我採用民族誌的研究方法進行

sues of gender/sexuality. Today all of

insisted to make experimental moving im-

少做因為我是讀電影的），參與和成立性／

訪問，又用數據資料搜集的方法去認識那

錄了我。畢業後，我在電視台工作了一段

http://www.kwuntongculture.hk/

創意空間

Creative Space

{ 32 }

Please Go Forward Slowly to Water the Plant Stone white clay, plant and water. 2012

By Annie Wan Lai kuen

小心灌溉 尹麗娟

“Please Go Forward Slowly to Water the

in a constantly moving, de-structuring

Plant” is a work I made in June 2012 for

and re-organizing environment. Village

the exhibition “Is/Is Not Kai Tak River a

culturewithcharacteristicsofcommon

Metaphor”, which was part of the Kai Tak

bloodlines, intimate relationships, and

River Green Art Festival 2012. The Nga

communal behavior is replaced rapidly

Tsin Wai walled village, 650-year-old, in

by urban culture with characteristics of

Wong Tai Sin district along the Kai Tak

distant bloodlines, unfamiliar relations,

River is among the oldest cultural relic

and competitive behavior.

in Kowloon and is the only traditional Chinese walled village in Kowloon down-

The fragility of ceramics voices a reflection

town urban area. This village was proba-

on this change in “Please Go Forward

bly established in the mid-14th century

Slowly to Water the Plant” by creating a

by the Ng, Chan and Lee clans and most

rectangular tiled floor in the size of a

of the villagers are their descendant,

house unit of Nga Tsin Wai Village. Three

some in their 28th generation.

hundred thin fragile ceramics tiles were made and spread out in a way that re-

The village occupies an area of approxi-

quired the audience to step on them if

mately 0.4 hectare. What interests me

they wanted to water the plant in the mid-

most is its rectangular layout which is a

dle to keep it growing. Also, they have to

grid with 100 village houses connected

walk slowly and lightly otherwise the floor

by 3 narrow streets and 6 alleys. Every

would be shattered. However, rupturing

house unit is about 8’ x 16’, which carries

these tiles let them confront the aggres-

a trait of history with family living to-

siveness and vulnerability of urbanization.

At Cattle Depot Artist Village,

gether for a long time. There were times

Stone white clay, plant, water, 2012

when houses were built in the hope of

“澆水請慢行”，尹麗娟 牛棚藝術村， 白陶、 植物、 水， 2012

family stability and harmony. But today in Hong Kong, the culture of searching for family security has been declining and children now have to live and grow

{ 33 }

創意空間

Creative space

{ 34 }

《澆水請慢行》是我於本年六月為啟德河

不停遷移解體又重組的環境下成長及生

綠色藝術節2012的藝術展覽《啟德河是 /

活。村落文化中的族群性、親密關係及融

不是一個隱喻》而創作的一件作品。位於

洽互助精神迅速被都市化的陌生感、冷漠

啟德河畔的衙前圍村有六百五十多年歷

關係及競爭性行為所取代。

史，是九龍市區內唯一留下來且最古老的 圍村，大概於十四世紀中期由吳、陳及李

在《澆水請慢行》這件作品中，我透過陶

氏族所建，村民大多是他們的後裔，有些

瓷 的 脆 弱 質 地 對 這 種 時 代 的 變 遷 作 一反

已是第二十八代了。

省；我在一塊八呎乘十六呎由三百塊很薄 的陶磚砌成的土地中央放一盆小樹，並要

衙前圍村佔地0.4公頃，使我最感興趣的是

求觀眾幫忙澆水，不過這次澆水時，觀眾

那約一百間村屋由，三條狹窄街道及六條

都要踏過陶磚，如避免使陶磚粉碎，其步

小巷聯繫一起的矩型規劃，每戶房子佔地

伐則要輕要慢。然而，踏破陶磚的過程讓

約八呎乘十六呎，而每块土地都曾經有著

觀眾感受到城市化過程中的侵略但脆弱的

家庭成員共同生活了一個長時間的痕跡。

性質。

從前房子的建造是基於一種對穩定及和諧 的家庭生活的期望。今天，這種追求穩定 的家庭文化正快速衰落，小孩子正在一個

{ 35 }

Spaces, Places and Tradition

視藝傳承

{ 36 }

{ 37 }

浸 大 視 藝 校 園 發 展 關 注 組 簡 介

Heritage Home – Kai Tak HKBU AVA Campus Development Concern Group 2012年四月，視覺藝術院學生會得知視

In April 2012, the Visual Arts Student Soci-

pus Development Fund. The Fund is co-

覺藝術院(下稱學院)啓德校園將會因租約

ety learnt that the Academy of Visual Arts

managed by student representatives and

期滿後，大幅加租而被逼搬遷，馬上召集

(AVA) had to relocate from Kai Tak Campus

the Academy’s Director, to be used for the

師生及歷屆學生商討對策。於四月二日的

due to a significant increase in rent. Stu-

long-term retention of Kai Tak.

大會上，會眾決定成立浸大視藝校園發展

dents, teachers and alumni convened im-

關注組 （下稱關注組） ，核心成員現時接近

mediately to discuss the situation. On

四十人，專責跟進爭取全面保留啓德校園

April 2, the HKBU AVA Campus Develop-

For more details, please go to the concern

事宜，制定對策，並代表學生表達意見。

ment concern group was set up with a to-

group’s website at :

關注組一方面負責聯繫各相關機構，包括

tal of 40 members, to express their views

http://vakaitak.blogspot.hk/

浸大高層、政府各部門、議員、聯合國教

on behalf of the students. Since then, the

and Facebook page at :

科文組織等；另方面積極策劃行動，以讓

Concern Group has liaised with relevant

“HKBU AVA Campus Development

更多學生及公眾知道保留啓德校園作為學

bodies, including the HKBU administrative

Concern Group”.

院教學用途的重要性。關注組先後於校內

bodies, government departments, mem-

推出特刊、發動聯署、行為藝術展、專題

bers of legislative bodies, UNESCO, etc.,

論壇、校園開放日、音樂會等，目的是

and actively planned actions to allow

盡學生所能籌募租用校園所需要的年租

more students and the general public to

三百萬，以換取與政府討論的時間。關

become aware of the importance of pro-

注組共籌募逾七十萬的資金成立視藝校

tecting Kai Tak Campus. The Concern

園發展基金。基金由學生代表及學院總

Group launched a special issue magazine,

監共同管理，用作長遠保留啓德校園作

held art exhibition, and an art auction,

為教學之用。

various forums, an open day and music concerts, all aimed to raise $3 million to pay for the rent for the upcoming year, and to buy the time to negotiate with the government. To date we have raised $700,000 to establish the Visual Arts Cam-

On the Grand Tour

藝術旅行團

{ 38 }

{ 39 }

How to Construct a Study Trip

Peter Benz, Programme Director of the BA (Hons) in Visual Arts-programme, took a group of 21 students from AVA’s BA and MVA-programmes on a student-trip to ­Germany in August 2012: 12 days, 5 cities, 15 museums/exhibitions (including worldleading documenta 13), many group dinners, and no loss of life and property – except for one shoe.

如何組織一個遊學團？ 奔子墨，視覺藝術(榮譽)文學士課程總監，帶領廿一位本科生與研究生，在二０一二 年八月到德國遊學，全程十二天，共參觀了五個城市，十五個展覽/博物館(特別是國 際著名的《documenta13》)，吃了無數頓的團體晚飯，最終沒有任何財物或人命損 失，除了某成員在趕火車時，遺失了一只鞋子。

Dresden was good. Not that the other

are essential to grow up to become a

rather sleepy city of Kassel. A must-see for

places weren’t good, but in Dresden we

responsible, mature, and self-confident

anyone interested in the visual arts… So

finally reached a comfortable ‘operating

citizen and professional.

Germany it had to be.

to be rolling up two museums/sites per

Of course for me as an educator such

But of course if you travel half way around

day effectively while at the same time

trips also provide opportunities to re-

the world, you will not just go to see one

allowing enough surplus power to cater

connect with my students; I get to spend

event, no matter how big and/or impor-

for individual distractions, detours and/

time with them beyond classes; I can get

tant it might be.

or extra-ways. Dresden is sometimes

to know them better and deeper, which

called the ‘Florence of East Germany’,

is always rewarding – and simply fun.

>> Therefore every trip will also include

and indeed, strolling through the nar-

Study trips also allow me to pass on my

one large city, if possible the biggest or

row streets around the Frauenkirche in

passion for things that I care about very

most significant city of the country of

the warm late afternoon sun, watching

directly, through first-hand hands-on ex-

choice. In Germany this of course would

the sun go down behind the city skyline

periences. I have yet to find another way

have to be Berlin, known just as much

from the Elbe-shores, and then going for

to achieve this as effectively as through

for its flourishing cultural scene as for

a drink on the pavement outside of our

simply exposing students to them.

its nightlife, shopping and laid back

temperature’ providing enough ‘steam’

hostel, did have a very pleasurable Tuscan lightness to it.

Every couple of years I get the urge to

quality of life.

Whenever I start planning a student trip I always follow the same construc-

Yet, just like the USA in total is not like

tion principles:

New York, and Tokyo is quite different to

take students on an extended, if possible

almost all of the rest of Japan, Berlin is

long-distance trip, preferably to places

>> The trip has to have a reason: why are

not the average German place. Big cities

that they wouldn’t usually go to by them-

we going right there right now? This might

always have a distinct character to them-

selves. I strongly believe that traveling is

be collaboration of some sorts, a particular

selves, they are never good representa-

an indispensable part of any education,

exhibition, or other kind of unique event.

tives of the nations they belong to.

as only ‘on the road’ you will encounter

This year the immediate travel reason

your true self; only ‘on the road’ can you

turned out to be the documenta 13, one of

>> Thus I will usually insist that we travel

practice your skills of ‘survival’; and only

the most important art events internation-

to a more ‘provincial’ place too, some

there will you get the experiences that

ally, held every five years in the usually

place that is simply ‘normal’. In case of

藝術旅行團

On the Grand Tour

{ 40 }

{ 41 }

this trip this became to be Dresden, a

sausages and potatoes to eat than the

我說德累斯頓是一個好地方，並非指別處

時來說，我覺得沒有一種學習方法，比學

「郊外」的地方，就是單純地「正常」的

及好似失控的火車門搏鬥。八天後，我們

medium-size city in the very east of Ger-

average Cantonese can usually stomach.

不 好 ， 而 是 我 們 可 在 德 累 斯 頓 找 到 一個

生親身去體驗來得簡單而有效。

城市。於是以此團來說，就是德累斯頓

卻開始無分彼此，不論搬運行李、上落樓

Hong Kongers.

──一個位於德國東部的中型城市，鮮有

梯、穿梭窄狹的火車門，懂得互相照應，

我有一套獨有的組團守則：

香港人的蹤跡。

自動自覺去關心同伴。由此，獨行俠之間

一）旅學團必須有明確的目的：為什麼今

遊學團餘下的行程就像是精美的配菜：以

「氣氛」舒適的地方，讓我們有足夠體力

many, not usually travelled by many Yet more importantly: On the first day of

去完成任務──每天至少參觀兩個博物館

居然培養出真正的友誼。

our tour, everybody was still pretty much

或景點後，在剩餘時間 ／力量還要滿足個

The rest of the trip was ‘garnish’: a good

a lone warrior, fighting by oneself with

別團員的消遣、娛樂。

opener to start with (Frankfurt), a little de-

heavy luggage, steep stairs, and unruly

次我們要去這裡？原因可以是這裡正好有

法蘭克福為頭盤，卡爾斯魯厄的ＺＫＭ為

或者你會覺得我誇大了兩個星期遊學團的

tour here (ZKM in Karlsruhe), a short stop

train doors. Eight days later we worked

德累斯頓又稱為東德的佛羅倫斯。試想像

展覽或相類似的活動。今年旅學團的目的

行程外的小插曲，再短暫停留在萊比錫，

成果，但我確信透過這個德國之旅，會造

over there (Leipzig), and everything else

together effortlessly like greased clock-

一下，在午間和暖的陽光底下，於聖母教

就是要參觀《documenta13》── 一個

其餘就依照行程去實行。

就出莫逆之交的情誼，或者其它更大的得

came down to planning the logistics.

work, helping each other to haul lug-

堂附近的窄巷中邊漫步，邊欣賞著太陽緩

五年一度，於卡塞爾( 有別於一貫平淡的

gage up or down station stair ways,

緩地從易北河落到城市後的地平線上，最

氣氛 )舉辦的重要國際藝術活動。這是一

信不信由你，依照這個公式一般也能規劃

或充實我們的生活，儘管這些轉變是極為

It might sound unlikely, but I found this

through narrow train doors, and in and

後在旅館外的行人道上找間酒吧喝杯酒，

個視覺藝術愛好者不能錯過的好節目，所

出非常「平衡」的旅程：由數個比較清幽

微不足道 。

formula usually works rather well in es-

out of trains’ overhead compartments.

確實是充滿意式風情吧！

以今年我們選擇了德國。

城市出發，然後在首都風味地過上幾天，

tablishing a ‘balanced’ trip: You build

The lone warriors had grown to be an

up with a couple of smaller places of

actual companionship.

每隔數年我都會主動舉辦遊學團，盡可能

要是你千里迢迢走到地球的另一邊，相必

著。我更加相信這個難得的經驗，會改變

最後於近郊過上悠閒愉快的一天為旅程劃 上句號。

帶學生去一些「冷門」地方。我堅信「讀

不會滿足於單單一個展覽吧，那怕這是一

climatic days in the capital, and finally

It would of course be over-interpreting

萬卷書不如行萬里路」，旅遊是任何教育

個多大多重要的展覽。

let the trip end on a more relaxed note

the effects a two-week study trip can

都不可缺少的部份。在旅程上，你會找到

in a place off the centre.

possibly have, if I’d assume that from our

自 我 ， 也 會 學 懂 怎 樣 生 存 。 只 有 離 鄉別

二）所以每一個遊學團都必須包括一個大

城市，參觀了十五個展覽 ／博物館，在

Germany-trip would spring any ‘life-long

井，才會懂得成為一個負責任、成熟和自

城市，盡可能是該國最大或最重要的城

《documenta》留了兩天的時間。剩餘

I believe I may claim that it worked well

friendships’ or other such major out-

信的公民。

市。去德國的話當然要去柏林 ── 一 個 夜

時間，尚可遊覽各式市場、教堂、德國國

also this time: We spent 12 days and 11

comes, but I do believe that the experi-

生活、購物與文化並重的城市。

會大廈和動物園。整個旅程我們都使用公

nights in Germany, visited five cities, saw

ences of this trip – especially the inter-

作為一個老師，我以為遊學團是一個很好

15 museums/exhibitions, and spent two

personal ones – will indeed change and

的 機 會 ， 讓 我 跟 學 生 溝 通 、 聯 繫 。 遊學

不過，紐約就不一定是去美國必去的地

和薯仔，其份量遠遠超出了一般香港人的

days at documenta. We additionally went

enrich all of our lives at least a little.

胃口，令大家眼界大開！

lesser intensity, then you spend some

天十一晚的德國之旅中，我們遊歷了五個

共交通公具，住在小型旅館，吃到的香腸

時，我有機會認識到學生在課堂以外的面

點，東京也跟日本其他城市相差很遠，柏

to various markets, several churches, the

目，而我更享受了解他們的過程──就本

林也有別德國的一般城市呢。

German parliament, and even a zoo. We

來是很好玩的啊！此外，在旅途上，我可

travelled entirely by public transport,

就自己關切的事，有更多親身的體驗。暫

stayed in small hostels, and had more

若以今次為例，其實還有以下選擇：十二

還有，最重要的是旅程開始時，我們每人 三）所以，我通常都堅持選擇去那些比較

都獨力與重型行李、又長又斜的樓梯，以

On the Grand Tour

藝術旅行團

{ 42 }

{ 43 }

Chance or Challenge: AVA students showing their work at an art festival in Dresden IAM International Art Moves

IAM 國際藝術行動

International Art Moves (IAM) is a project

tations were documented in a video. The

challenges: camping in a tent, communi-

with the ambition to create a network of

performance as well as the election of the

cation with local people, trying out local

international art students, and to provide

five representatives of AVA who would

food, sharing sessions with international

them with a platform for exchange and

travel to Dresden and set up the exhibi-

students and particularly facing the site

communication. During the year the fly-

tion marked the end of the first phase of

for the exhibition.

ing curators of IAM, Martin and Anne

cooperation with IAM in Hong Kong.

Their personal conclusion on what

Müller, artists themselves, visit interna-

After five days working with the group

they gained through this experience is

tional art schools and academies to work

of our students Martin Müller gave us the

diverse due to their personalities. While

on site for five days with students. Their

following feedback:

one reports about the local food, friend-

intention is to bridge practise based work

“The artistic quality and engagement,

ship and the importance of teamwork,

and curatorial as well as management

the problem-solving and social compe-

one talks about a particular conversation

tasks. At the same time the intensive

tences and flexibility, the reflective atti-

and another compares the different way

workshop prepares the participants for

tude and will to do of all participants are

of working.

their presentation at the contemporary

more than remarkable. In total they are

“The thing that amazed me the most

international art festival Ostrale in Dres-

even exceptional.” (Dr. Martin Müller,

is how different the working method is

den, Germany.

Dresden, 14.05.2012)

between the Hong Kong team and the

15 students of AVA were selected to

The result of the home match of the

work together with the IAM representa-

AVA students was presented for two

In Hong Kong, we are used to plan

tives on this year’s theme “home grown”.

weeks at the Koo Ming Kown Gallery of

everything. And when we foresee some

Cultural identity and diversity at a person-

the Communication & Visual Arts Build-

difficulties in our plans, we rarely think of

al, local, regional, national and interna-

ing at the end of May.

a way to overcome it, instead, we forgo

teams from other countries.”

tional scale, expressed by artistic methods

At the end of June, Rosette Chan, Ng

something that we want and replace

were the core topics for a five days work-

Sum Chi, Sue Lai, Lau Man Pan and Tony

with something that is less amazing. At

shop held at the end of April 2012 on Kai

Wong travelled to Dresden, Germany to

the same time, we also missed the chance

Tak Campus. During those days not only

set up their group exhibition, and in a

of exploring different possibilities. One of

the art works to be shown at the festival

way that was the start for their personal

the reasons why Hong Kong students

were discussed but the students were

adventure, outside of their home zone.

work like that maybe because of the fast

asked to come up with a performance of a

The period before the opening of the

living pace, we are used to get things

German poem (by R.M. R ­ ilke). The presen-

exhibition was accompanied by different

done immediately and to us, wasting time

On the Grand Tour

藝術旅行團

is unacceptable. Yet, at the same time, we

六月底，

never realize that a waste of time some-

文彬、黃子駿到達德國德累斯頓，籌備他

times can be so inspiring and worthy.

們在當地的聯展，對他們而言，可說是首

{ 44 }

陳詠琳、吳森枝、賴曉蘇、劉

次遠赴重洋的一次考察。

When I observe the way how other teams work, they rarely think of what is

展覽正式開始之前，同學們遇到不少

workable, instead, they just think of what

挑戰：戶外露營、與當地人溝通、吃當地

they really want, they never worry what

的食物、跟來自不同國家的同學分享，以

they cannot do, but what they want to

及在展場的工作。

do. At the early stage, no one, even them-

各人性格不同，所以有不同的得著。

selves think that they can execute what

有些同學關注當地的食物，交友和團隊的

they want. But through trial-and-error,

重要；有的則留意個別的對話內容；另外

they finally work things out and they get

也有的會比較不同的工作模式。

something that is even more amazing

「我很驚訝香港隊的工作模式，原來跟別

than they expected.” (Tony Wong)

國的很不同。香港人慣於事先計劃一切，

“During the setting up, we had some

每遇到難題，通常會避開，寧願退而求其

time to talk to other students from other

次，找別的方法代替，也不願嘗試去克服

countries. I still remember we were siting

困難。如此，我們很多時會錯失了探索的

behind the artwork from Peru. And then, he (one student from Peru) told me that

Chan Wing Lam, Insect No.4, 2012

機會。一般的香港學生都有這種思維，大 概是因為香港的生活步伐太快，大家慣了

he really liked my artwork. To be honest,

即食麵，時間不容浪費，但很少人會想到

he was not the first one told me that. In

多花了的時間，其實是可以為我們帶來新

our conversation, we discussed lots of

國際藝術行動(IAM)旨在為國際間的藝術

的啟發，最終是有價值的。當我留意其它

thing, like art, culture, theory, lifestyles,

學生提供一個溝通交流的平台。馬田．梅

隊伍工作時，他們很少考慮什麼是可行，

experience, beer and so on. The most im-

拿和安妮．梅拿既 是 藝 術 家 ， 亦 是 策 展

什麼是不可行，他們只會在意自己想做什

pressing sentence was “all about visual.”

人，多年來他們走訪國際間的藝術學院，

麼。最初大家對想做的事都沒有把握，不

(Ng Sum Chi)

於所到每處，跟學生一起工作五天，目的

過不斷從錯誤中學習，他們最後卻做到自

Over-all, this was the first contribution

是想連繫創作、策展和管理的層面。參加

己所想的，而且很多時會有令人喜出望外

of a Hong Kong based university to IAM.

的學員透過密集式的工作坊，為在德累斯

的效果。」（黃子駿）

The world is becoming a smaller place.

頓的當代國際藝術節OSTRALE作準備。

「籌備展覽期間，我們有機會跟別的

AVA共有十五位同學，獲選中與IAM的代

隊伍傾談。我還記得當時我們坐在秘魯隊

表，就本年度的主題《HOME GROWN》

的作品後面，有一位秘魯隊員向我說他很

合作。在2012年四月尾，啟德校園舉辦

十分喜歡我的作品。坦白說，他不是第一

了一連五天的工作坊，核心主題是借藝術

個這樣跟我講的人。言談間，我們談了很

方式，表達對個人、本地、區域、國家以

多事情，如藝術、文化、理論、生活風

至國際層面的文化身份和多元的意見。參

格、經驗、啤酒等等，其中最為人印象深

加者在工作坊討論了將在藝術節展出的作

刻 的 一 句 ， 是 『 一 切 跟 視 藝 有 關 』 。」

Sue Lai, Aphasia, 2012

{ 45 }

品外，AVA的同學們還作了一次德國詩歌

（ 吳森枝）

表演（R.M.萊納之作品）。這些討論都製

總括而言，這是本港大學首次參予Ｉ ＡＭ。

成錄像，而上述的表演和AVA五名赴德累

天涯若彼鄰，你我的距離原來是那麼近。

斯頓代表的選舉，標誌了IAM和香港第一 階段合作之結束。 馬田．梅拿與我 們 的 學 生 共 事 五 天 後，有如下回應： 「同學們很投入，藝術質素不俗，他 們敢於面對問題，無論待人處事或自我反 省的能力，都是令人印象難忘。總的來 說，他們的表現是很突出的。」（2012 年5月14日 ， 於德累斯頓 。馬田．梅拿） 五月底，AVA同學的作品在傳理視藝 大樓的顧明均展覽廳展出，為期兩週。

Ng Sum Chi, Time and Nature, 2012

騷 time了 !

It’s Show Time!

{ 46 }

{ 47 }

Exploring Chinese Art from a Cross-Cultural Perspective

By Dr Michelle Huang

從跨文化角度探索中國藝術 黃映玲博士

Chelsea College of Art and ­Design where the TrAIN ­Research Centre is located.

TrAIN研究中心位於切爾西藝術與 設計學院內。

As a Chinese scholar born in Hong Kong

of Chinese painting in Britain and abroad.

and to other visiting scholars at UAL. I also

“VA3620 Cross-Cultural Perspectives in

在不同的機構搜尋收藏家、策展人、藝術

2013學年的秋季，我在新學科「VA3620藝

who grew up in the context of a British

I visited several archives, museums, li-

learned about the programmes and re-

Art History” will guide students through

家、學者和藝術品經紀的信札，匯集在不

術史中的跨文化視野」中，將會引導學生

colony, I developed a strong interest in

braries and private collections in Europe,

search activities at Camberwell, Chelsea

an exploration of world art from a trans-

同地方得來的相關歷史證據，利用原始史

從跨國的角度去探索世界藝術。

investigating cross-cultural interactions,

America and Asia, unearthing important

and Wimbledon (CCW). Prof. Toshio Watan-

national perspective.

料進一步為我的研究專題提供新的敘述。

especially the transmission and influence

primary and secondary sources, such as

abe, Director of TrAIN Research Centre,

of East Asian art in the West. I was edu-

letters and diaries, as well as registers

shared with me his experience in organiz-

cated in the disciplines of Business, Art

and objects of Chinese painting and cal-

ing research forums and conferences in the

作為一個生於英國殖民地時代的香港學

支持下，成為倫敦藝術大學「跨國藝術、

and Humanities in Hong Kong and in

ligraphy, which I subjected to quantita-

UK, Taiwan and other countries.

者，我對跨文化的互動抱有濃厚的興趣，

身份和民族（TrAIN）研究中心」的訪問

the United Kingdom, at the same time

tive and qualitative analysis. Working in

特別是有關東亞藝術在西方社會的流播和

學者。我的偵探之旅得以延續，為研究項

­developing hobbies in music, travelling,

the manner of a detective, I enjoyed very

One interesting experience was being

影響的議題。我在香港和英國修讀商業、

目發掘更多新資料。TrAIN 的成員向我講

painting and paper crafts. This interdisci-

much locating correspondence between

able to visit the houses of eminent schol-

藝術和人文學科 ; 與此同時，培養了對音

述他們過往和近期的研究項目，又介紹我

plinary academic background and inter-

collectors, curators, artists, scholars and

ars, curators and their descendants, many

樂、旅遊、繪畫和紙工藝品的興趣。跨學

認識該校的研究院主任和其他訪問學者。

national experience drove me to d ­ evelop

art dealers scattered in different institu-

of them aged between 70 and 100! As

科的學習背景和國際經驗，驅使我開展有

我又認識了坎伯韋爾學院、切爾西藝術與

my research project on the ­reception of

tions, and pulling together relevant his-

well as their most generous hospitality,

關十九世紀晚期至二十世紀早期，中國書

設計學院，以及溫布頓藝術學院的課程和

Chinese painting in Britain in the late

torical evidence, so as to shed new light

they showed me their collections of West-

畫在英國的發展的研究項目。過程中，我

學術活動。TrAIN研究中心總監渡边俊夫

nineteenth and early twentieth centuries,

on my subject using original material.

ern and Asian art, while telling me fasci-

廣泛地探討多個主要的英國博物館，有關

教授與我分享他在英國、台灣及其他國家 舉辦研討會和學術會議的經驗。

於2012年的夏天，我在香港浸會大學的

nating stories about the provenance of

中國書畫的館藏、展覽、出版和策展方

tensively the collections, exhibitions,

With support from the Hong Kong Baptist

their art collections and their family histo-

式。透過考究歷史和比較的方法，我查考

publications and curatorial practice relat-

University, in the summer of 2012 I was

ries. My exploration of art collections in

了大英博物館的中國書畫及版畫藏品和展

在訪問之旅期間，一個有趣的經驗就是探 訪傑出學者、策展人和他們的後人，其年

in the course of which I investigated ex-

ing to Chinese ink painting in several ma-

given the opportunity to be a Visiting

museums and private collections has in-

覽，及探討其東方繪畫和素描部主任勞倫

jor British museums. Using a historical

Scholar at the Research Centre for Transna-

spired me with new ideas for future re-

斯 ·比尼恩（1869-1943）在英國和海外

齡大都介乎70至100歲之間！他們對我熱

and comparative approach, I examined

tional Art, Identity and Nation (TrAIN), Uni-

search projects.

積極提倡中國書畫欣賞所作出的貢獻。

情款待之餘，又展示東西方藝術品，告訴

the collections and exhibitions of Chi-

versity of the Arts London (UAL). The expe-

nese pictorial art in the British Museum

rience allowed me to continue my detective

My visiting fellowship in the UK broad-

我曾走訪多個位於歐美及亞洲的檔案館、

事。這些在博物館和私人收藏的考察經

and the pioneering curator of Oriental

journey, unearthing new material for my

ened my horizons in the methodology for

博物館、圖書館和私人收藏，發現不少重

驗，為我今後的研究項目開闢新的路向。

Prints and Drawings, Laurence Binyon

research projects. TrAIN members intro-

historical, theoretical and practice-based

要的一、二手資料，如：信件和日記、中

(1869-1943), who made a significant con-

duced me to their past and current pro-

國繪畫和書法的作品及記錄冊，以作數據

是次英國訪問之旅擴寬了我對視覺藝術的

tribution to developing an appreciation

jects, to the Head of the Graduate School

research in the visual arts. In the fall semester of 2012 _ 2013, my new course

和內容分析。我化身為一名偵探，很享受

歷史、理論和實踐的研究視野。2012至

我藏品的出處和一些有趣的家族歷史故

繼續前進

Moving On

{ 48 }

{ 49 }

Art, Vision and Education

By Sue So

(MVA (Art Administration) Student, Year 2)

藝術、視覺及教育

I am currently working for Asia One Prod-

has won a Distinguished Publishing Award

glad that I have taken this step so far

uct & Publishing Ltd – one of the most

at the 23rd Hong Kong Print Awards, which

since the programme really enabled me

prolific art book publishers in Hong

is the largest and most influential award of

to acquire knowledge in research meth-

Kong. Since 2009, I have managed over

its kind in Hong Kong and this is surely a

odologies, art writing, project manage-

30 titles by local and international artists

great recognition to my team’s effort.

ment, and strategic planning for artists.

and photographers, such as Michael

Some of the courses of the programme

Wolf, Danny Lee Chin-fai, Palani Mohan

Apart from publishing, I have also be-

are shared by all concentrations of Art

and Victor Lai Ming-hoi etc. Getting a

come the Manager of an emerging local

Administration, Experience Design and

book published indeed involved the in-

illustrator, Jeanie Leung, since 2010 and

Studio Arts & Extended Media, I quite

telligence of a group of people, including

I am responsible for all sales and market-

like this idea as we are able to work with

editors, designers and production team,

ing, product development and publish-

other group mates from different con-

PR and marketers. From concept devel-

ing issues on behalf of the illustrator. I

centrations to understand the rationale

opment, editing, design, colour manage-

enjoy performing this role in the back-

of artists and designers more.

ment, publishing, distribution to marketing, every single book is a brand new challenge for me. How to work well with

artists in Hong Kong, but not all of them

我目前在宏亞印務有限公司工作，它是香

現書本背後的理念。2011年，我們其中

這正正是我選擇修讀藝術行政的原因，我

all the in-house and freelance experts,

can stand out among the group and to

港其中一間最多元化的出版社。2009年

一本出版《Sheltered: Two Visions of

希望能以自身的經驗及能力，協助本地的

and ensure every part can be finished

be recognised by the audience, what

至今，我合共籌備超過三十部關於本地或

Canopy Design》更榮獲第二十三屆香港

藝術家去追求他們的理想。儘管這個課程

within a fixed schedule and budget are

they need is a group of experienced and

國際知名藝術家和攝影師的書刊，其中包

印製大獎的優秀出版大獎，它是本地其中

並不容易，但我慶幸能夠學習到關於藝術

the main issues that I have to deal with

creative art administrators who can help

括了Michael Wolf、李展輝、Palani Mohan

一個最大型及最具代表性的獎項，對我們

行政的種種知識，包括藝術研究、寫作技

them to tackle deal-making, sales and

和黎明海等。每一份出版項目，結集了出

製作團隊是一個重要的肯定。

巧、項目管理以至為藝術家制定未來策略。

marketing and PR issues.

版 社 各 成 員 的 努 力 ， 當 中 有 編 輯 、 設計

every day.

我們一直致力創作高質素的書刊，每一部

人 員，為他們解決問題，以及處理市場

stage very much though it is really chal-

書刊我們都視之為藝術品。我們會盡量滿

營運及公關事宜。

lenging, There are many outstanding

足作者們的要求，以不同手法，為觀者呈

此外，本課程亦設有共修科目，供不同專

師、製作團隊、公關和各營業代表。由設

除了出版項目外，我兼任本地新晉插畫家

修領域的學生── 藝術行政、體驗設計、

we treasure every book as a piece of art

This is the reason why I decided to pur-

計概念、編輯、排版、色彩管理、出版、

Jeanie Leung 的經理人。由2010年起，

藝術創作與延伸媒體、藝術實踐與文化行

and we are trying best to fulfill the desire

sue Art Administration in Academy of

發行以至市場營銷，每一部書刊的出版都

我負責所有關於她的市場營銷、產品開發

動及藝術與文化──共同修讀。我挺喜歡

of the authors and to present the underly-

Visual Arts, I wish I can assist the local art-

是一項新挑戰。我每天都需要與設計師們

及出版項目，我很享受這份極具挑戰的幕

這個做法，因為我們可以透過與其他專修

ing meaning of each book in different

ists to achieve their goals with my experi-

保 持 良 好 的 溝 通 ， 確 保 出 版 項 目 每 一部

後工作。本港有不少優秀的藝術家，但不

領域的同學合作，加深對藝術家和設計師

ways. One of our publications in 2011 –

ence and expertise. Though the workload

份，能在既定時間及成本下完成。

是每位都能夠脫穎而出，為大眾所認識。

的了解。

Sheltered: Two Visions of Canopy Design

of this programme is never easy, I’m

Dedicated to create books of high quality,

他們 需 要 一 班 具 經 驗 和 創 意 的 藝 術 行 政

Moving On

繼續前進

{ 50 }

本科課程基本理念

Moving on.

{ 51 }

Laurent Grasso: Anechoic Pavillion at Roof top Pier 4, presented by Edouard Maligue Gallery, June 2012.

Life after AVA

But the most exciting thing for me was to

記得初到畫廊工作時，它們正為一位

see the paintings in the storage area.

裝置藝術家搞展覽，及展出一些概念性的

There is always something from a private

繪畫，跟我原來對畫廊嘅想法，有啲出入。

collection that never goes on show to the

我對裝置藝術認識有限，不過這正是給我

public. These allowed me to realize that

學習嘅機會。一般畫廊都存放不少拍賣圖

There is always something you can’t learn

we usually study the famous works, see-

錄、藝術文章及雜誌，我不時翻閱這些資

at school you need life experience to

ing paintings from books or Internet. But

料，係短時間內便增進了對藝術家們的認

teach you. I graduated from AVA as a

there are so many good works, which are

識。我熟讀這些資料後，又可與客人深入

painting major, and I wanted to learn

not as famous trading in the field that are

討論作品，久而久之，我覺得自己對這些

more about art and painting. So I decid-

real treasures.

藝術家，他們的靈感和創意又加深了解。

By Ashley Ip , AVA Graduate 2012

藝海無涯

ed to look for work in a gallery, which had

Working in a gallery has shown me a

在畫廊工作，我有機會深入了解藝術

paintings I liked. This was a good plan for

different side of art but not enough I still

家，同時間我又可接觸到藝術行政、收藏

my future.

wanted to paint! What should I do, to

家、客人、郵寄運輸及買賣家等不同範疇。

But when I began work the gallery

have time and enough money to paint

不過，我覺得最過癮是係儲存倉裡睇

was showing an installation artist exhibi-

and to live? The gallery has been my an-

畫。很多時候，私人的藏品是無機會公開

tion and conceptual paintings!

swer, I found a job which satisfied my re-

展出的，我們平常對藝術作品嘅認識，不

I don’t know installation very well,

quirement to be near my studio, so I can

過都是來自書本或上網。事實上，很多好

but it was a chance for me to learn more.

go back to the studio immediately after

嘅作品都是寂寂無名，不為人知，它們都

In every gallery there is always a little

work, and the working hours are reason-

是真正的寶藏。

corner of artists and auctions catalogues,

able, which allowed me to keep on paint-

articles, statements and different kinds of

ing and have a full time job.

畫廊的工作，讓我看到藝術的另外一 面，不過我覺得並未足夠，因為我仲想繪

art magazines… I began by reading the

It is my first step to being an artist; I

畫呢！我應該點做先可有時間、又有足夠

artist catalogues and articles in the gal-

have a stable income to support my own

嘅錢，既可繪畫又可維持生計？畫廊呢份

lery. I guess it is the fastest way to know

life. At this moment, I still have to adapt

工解答了我嘅疑問。我返工的地方與我的

an artist better. I read the words sur-

and adjust and balance my spare time to

畫室相距不遠，放工後我可以很快返回畫

rounded by his works. Then as each visi-

keep painting. But all the things are go-

室，而且畫廊的工作時間穩定，如此，我

tor came in you discuss the art works

ing smooth and nice. There are many

既可有一份全職工作，同時間又可繼續繪

more. Soon you feel like you have come

more galleries who want to help young

畫創作。我想當藝術家的第一步，先要有

very close to being inside the artist, their

artists then I expected. I don’t worry so

穩定嘅收入，維持自己嘅日常生活。

inspirations and their creativity.

much like before now, because it is true -

目前我仍在學習和適應如何係工餘間

You do your best, and God will do the rest!

繼續創作，暫時一切尚好。不少畫廊都好

There are many resources for you to

支持新晉藝術家，所以我現時也不太憂

increase art knowledge while working in

慮，因為我相信只要盡了個人努力，其餘

Ashlee Ip,

the gallery, beside doing some artist re-

2012

search, I also learned about art adminis-

學習其實係無時地嘅限制。我哋日常生活

tration; gallery buyers, visitors, handling

的經驗，好多時都係來自課本以外。我在

the shipping and transportation and the

浸大視藝院主修繪畫，畢業後好想繼續學

sale and purchase of the art pieces.

藝術和繪畫，於是我決定到畫廊打工。

的便交託上主安排好了。

職員花絮

Staff Bites

{ 52 }

{ 53 }

Emma Watts

Peter Benz

Jack Lee

Why do you like walking around barefoot

What’s it like on your bad hair day?

What are your hobbies other than study-

during lectures?

ing art history?

I’m not really ever very concerned about

Ahh, you noticed! It helps me to think...I

my hair and I don’t worry about bad hair

I like sport, especially soccer. I am more

feel grounded. Art theory/history is like a

days. It’s just that for the last 20 some-

than happy to join your football team if

journey moving through time and space,

thing years, I used to have a skinhead and

you are looking for a good player! I like to

the landmarks and signposts are the art.

I didn’t need to style my hair at all. Now,

cook, both Chinese and western dishes. I

So barefoot, literally each step is like foot-

my wife said I should grow my hair as

enjoy the process of cooking, and eating,

prints in the sand. You may also have no-

long as I’m still young enough to pull it

of course. One of my current researches is

ticed I rarely sit down - for me each lec-

off. So, I did, but now I actually need to do

about the cultural history of food and

ture/seminar is the journey which, like a

something with it, because it really an-

cookbooks. I guess many people know

good walk (preferably on a beach) is new

noys me when my hair falls into my eyes,

that I am a Mini freak.

and filled with anticipation. But thank

or tickles my ear. So I gel it down to keep

goodness for Hong Kong – It is much hard-

it out of the way.

除了研究藝術史，你仲有無其它嗜好？

er barefoot in the UK winter! 我喜歡運動，尤其是踢波。如果大家有 興趣組隊踢波，或者想有個伴做做運 動，我樂意奉陪。我也喜歡下廚，中

點解你鍾意上課時赤腳踱步呢？

Andrea Ingrassia

Justin Wong

餐、西餐皆可。其一，是因為我享受煮 和食的過程；還有我的另類研究，是有

啊……給發現了！這令我感到很踏實。

Which part of Italy are you from? Do you

藝 術 理 論 ／歷 史 就 像 一 個 穿 梭 時 空 的 旅

We heard you like Vadeless’s posters, can

關中外飲食歷史和文化。另外，熟悉我

enjoy living in HK?

程，而地標和指示牌就是藝術。而赤

you tell us why?

的朋友，都知道我是個超級迷你車痴 :) !

腳，就像是印在沙上的腳印吧。也許你

I came from Sicily! So, my students be-

還會留意到我很少坐下來，因為對我來

Their attention to detail impresses me.

have themselves in class because I have

說課堂就是旅程，好比一次既新鮮又充

The choice of colours and the style of illus-

… family!

滿期望的美好散步（最好是在沙灘上）。

trations give that series of posters unity

真幸運我是在香港，否則如何可以在英

and cohesion. The posters suit VadeIess’s

國的冬天赤腳踱步啊？

character! I really like it. It would be un-

I loved Hong Kong since I first arrived, on holidays in the beginning and then for a lot longer. What I like the most are the

necessary if I make any adjustments to it.

people here, I feel privileged every day to

The Vadeless knows the best of what they

live among them and I definitely enjoy

need and want.

being a part of such a fantastic crowd! 聽說你很喜歡視覺藝術學會的宣導海 報，為什麼呢？ 你來自意大利的哪一個城市呢? 喜歡香港 的生活嗎?

我欣賞他們對細節的留心和執著。從顏色 在頭髮篷鬆的日子，你會有何感受？

的挑選以及插圖的風格，該系列宣導海報 都很統一和連貫。這些海報都很切合學會

我來自西西里！嘿，那你知道為什麼我 的學生在上課時都這樣乖吧，因為我

其實我從不會太過在意自己的頭髮，我也

的風格呀！我都找不到可以挑剔的地方

有……一個家庭!

不擔心會有篷鬆的一天。只是在過去的廿

了，他們就是知道什麼是最需要的。

當我第一次來到香港渡假的時候，就已

年多，我都是保持著光頭，根本用不著打

經愛上香港，恨不得可以多留一會！

理頭髮。近來，我太太說我應該留長頭

我最鍾意這裡的人，與他們一起生活，

髮，因為我仍然有這個年青的本錢。那好

感覺很幸福，所以我絕對樂於成為香港

吧，我就去留吧。只是我現在真的要好好

的一分子！

打理它，那些遮掩眼晴、搔我耳朵的頭髮 真的很煩人呀！我只有每天用髮膠把它們 梳到腦後去，眼不見為淨！

What’s the Programme Like?

本科課程指南

{ 54 }

{ 55 }

Programme Structure

課程結構:

Concentrations, Divisions and Clusters

專修範疇、專業部門與學科群組

The four-year curriculum introduces subject concentrations, which are

四年制課程引入了「主修範疇」的設計，相關科目根據

based on AVA’s three divisions:

以下３個專業部門分配：

> Studio & Media Arts (SMA);

> 工作室與媒體藝術

> Craft & Design (CD);

> 工藝與設計

> Visual Arts Studies (VAS).

> 視覺藝術研究

Studio & Media Arts-Concentration

工作室創作與媒體藝術專修

A concentration in Studio & Media Arts allows the student to focus his/

此專修範疇讓學生集中學習傳統藝術媒介及當代數碼媒

her endeavours in traditional studio arts and/or contemporary media

體藝術，通過美學和觀念探索擴展作品涵義，超越作品

arts, aiming to generate meaning through aesthetic and/or intellectual

的功能限制。

concepts, beyond a merely functional approach. 工藝與設計專修

Craft & Design-Concentration

工藝與設計作品都以其實體造形為中心表達，不論是手

Craft and design both have the physical work-result at the centre of

工製品或大量生產的商品，均以其物質性為依歸，因此

their disciplines. Be it a hand-made artefact or a mass-produced indus-

作品的功能、實用性、可持續性、製作過程、市場需求

try product, the essence of the result is in its physicality. Because of this,

和一般效益，都是視藝工作者的重要考慮。

concepts of functionality, usability, sustainability, and also consideration of production processes, market-demand and/or general benefits

視覺藝術研究專修

play an increasingly important role for the visual artist.

此範疇教導學生各種藝術史與理論的研習方法，從視覺 文化、物質文化、中西藝術史方面，探討不同議題，

Visual Arts Studies-Concentration

如：公共經驗、視覺文化教育和創意策略等，以加強學

A concentration in Visual Arts Studies offers the student a range of the-

生的創意和批評性思考，培訓多種可轉移的能力。

oretical and historical approaches. Introducing material and visual culture, in addition to art history and in depth examinations of Western

學科群組

and Chinese art exploring notions such as p ­ ublic experience, education

本院的課程歸納於幾個學科群組，每一群組由４至５個

in visual culture and ­creative strategies, strengthening creativity and

第２及第３級別科目組成。學生必須在某一群組內完成

developing the student’s critical thinking to providing an extensive

３門科目，而在完成一個學科群組後，才能夠修讀第４

range of transferable skills beyond the degree programme.

級別科目，每位學生皆最少要完成３個學科群組。 學生修畢第１級別科目後，便可選修所有於第２級

Clusters

別內的科目(即2字頭的科目編號)。當在同一主修範疇

AVA’s BA-courses are collected into clusters of learning - each cluster

中，選修某些第２級別的科目後，學生便可選讀一系列

consists of a total of four to five courses of levels 2 and 3. Students have

第３級別的科目(及學科群組)，發展自己的主修路向。

to take three courses from one cluster to complete it. At least one com-

當完成同一專業部門中的兩個學科群組後(即18至24個

pleted cluster is needed to move forward to level 4-courses. Every stu-

學分)，學生便會完成一個主修範疇。

dent is required to complete minimum three clusters.

After completing courses at level 1, students have the full range of

的專業性和深度。群組的內容反映兩個視覺藝術主修

choices from all courses on offer at level 2 (courses starting with 2xxx).

範疇在學術上的共通點；群組的要求是要引導學生探

By choosing 2xxx-courses from the same concentrations, you will build

索當中的共通之處，這正好表明本院課程的跨領域教

a selection of level 3-courses (and clusters) available to yourself, devel-

育理念。

oping a clear focus for your studies.

A concentration is achieved through completing 2 clusters from Li Wing Ka and Ng Po Yiu, Fire Water Droplet, 2012 Wong Tze Ying, To See a World in a Drop of Water, 2011

學科群組的引入旨在協助學生發展他們選擇的範疇

same division (= 18–24 credit-units).

What’s the Programme Like?

本科課程指南

{ 56 }

The introduction of the clusters will help students to develop depth and

通識教育是什麼?

specialism in their areas of choice. The clusters essentially indicate aca-

所有香港浸會大學學生必須修讀通識教育課程，共68個

demic commonalities between two visual arts-areas; the cluster re-

學分。通識教育旨在鞏固學生在不同學術範疇的學習基

quirement directs students to explore these common grounds. In this

礎，而不局限於個別專業知識。

{ 57 }

sense the clusters are one way in which the Academy articulates its ideal of interdisciplinary direction in the curriculum.

通識教育如何與視覺藝術主修科互相配合? 通識教育科目的內容全面，教授學生共通的技巧、知 識、學術探究方法和寬廣的概念。學生宜於低年級時先

What is General Education?

修讀通識教育科目，再於高年級時集中修讀主修科目。

General Education (GE) is a compulsory academic programme for all

因此，視覺藝術（榮譽）文學士課程的科目是逐年增

students of HKBU in which students need to take 68 credit-units. The

加，期後漸漸取代所以選修通識教育科目的比例。

intention of GE is to provide students with a solid foundation in a variety of academic subjects beyond the limitations of individual disciplines.

學生能從通識教育中學到甚麼？ 通識教育是學生探索其他學科的大好良機。我們預期學

How does GE combine with the VA-major?

生能掌握自己的主修課程之餘，亦具備其他學科的知

As the term General Education implies the content of GE-courses is in-

識，達致全人教育的理想。通識教育提供自我增值的機

tentionally comprehensive, accommodating students from all kinds of

會、激發創意，因此我們建議學生於其他學系修讀至少

backgrounds, providing them with common skills and knowledge, as

6個學分的高級課程(等同第３、４級別的科目)。

well as academic methodologies across broad concepts. Accordingly

此外，浸大為四年制的同學提供副修的選擇，只需

students take their GE-courses in the first half of their studies, and focus

完成15個學分的副修科目。學生若了解自己未來的發展

on their major in the second half of their studies. For this reason the pro-

路向，副修可提供不少有趣的選擇。學生應小心選配主

portion of Visual Arts-courses in the BA (Hons) in Visual Arts-programme

修及副修科目，以助將來的就業或實習申請。有關副修

study plan gradually grows and ultimately replaces all GE-portion.

的資料可向相關學系查詢。

What academic opportunities does GE offer?

GE is a wonderful opportunity to explore other areas of academic life.

We expect our students to excel in their major, but in the s­pirit of Whole Person Education we also expect them to have a substantial ­standing in other subject areas. GE offers plenty of opportunities for self-­enhancement, self-cultivation and creative stimulation. To emphasise our a­ ppreciation of GE we therefore suggest our VA-students to take min. 6 credit units in upper-level courses (=levels 3 and 4) from other HKBU programmes.

HKBU’s GE-programme offers the opportunity to complete a minor with only 15 dedicated credit-units. ­Minors can be very interesting options if you already know what career you intend to pursue. In such case a carefully selected minor in combination with your major concentration can be an important advantage when applying for jobs or internships. Information on the possibilities of specific minors can be obtained from the offering department of HKBU.

Tse Wai Chung, World in Black Hole, 2012 Yeung Oi Man, Song of the Land, Porcelain, 2012

本科課程指南

What’s the Programme Like?

Foundation courses

{ 58 }

4-Year Study Plan

四年制學習計劃

1005

Introduction to Visual Arts I

1006

Introduction to Visual Arts II

2305

IntRODUCTION TO WESTERN ART

2306

INTRODUCTION TO CHINESE ART

3225

Screenprinting and Lithographic Printmaking

Integrated Practice

3005

Visual Arts Internship

3226

Relief and Intaglio Printmaking

and Research Courses

4015

SomEwhere: The Spatial Turn

3227

Evolutionary Graphics

4025

Sometime: Past, Present, Future

2235

From Liquid to Solid: The Art of Glass Blowing

4035

Something: From Object to Thing

2236

Ceramic Art:

4045

Somebody: From Self to Others

4055

Honours Project

Experimental Imaging

2225

Experimental illustration

3206

special topics in craft and design

{ 59 }

(experimental imaging)

GLass & Ceramics

From Pinched Pot to Sculptural Form

3207

special topics in craft and design (glass and ceramics )

Studio & Media Art Drawing & painting

3235 Drawing: Visual Thinking and Observation

2116

Painting: Image and Interpretation

3236

From Object to Installation: Glass Kiln-Forming

3105

Special Topics in Studio and media arts

3237

Creative Ceramics: Concept and Process

Lens-Based Media & Sound

Sculpture

Body

The Art of Glass Casting

2245

Wearables

3115

Drawing: Inquiry and Experimentation

2246

Small Metal Jewellery

3116

Painting: Expression and Exploration

3245

Second Skin

2125

Visual Literacy in Chinese Painting

3246

Self-Identity through Jewellery

2126

Chinese Word as Image

3295

special topics in craft and design (wearables)

3106

Special Topics in Studio and media arts

(drawing and painting)

Chinese ArtS

From Zero Space to Infinite Dimension:

2115

Wearables

2255

Space & Site

(chinese art)

2256

product design

3125

Convention and Innovation in Chinese Painting

3255

Exhibits & Displays

3126

Chinese Seal Engraving: The Expressive Identity

3256

sustainable design

2135

Looking through the Lens

3296

special topics in craft and design

2136

Sound: The Basics

3107

Special Topics in Studio and media arts

Objects & Environment

(object and environment )

(lens-based media and sound)

Visual Arts Studies

3135

indenpendent music video

Art History & Theory

3136

Experiments in Moving Image

3137

Constructed Reality

2145

Sculpture: Materials & Processes

3315

concepts in contemporary art

2146

Intersculpt

3316

cross-cultural perspectives in art history

3145

Sculpture: Form and Applications

3317

visual arts and modernity

3146

Installation Art

2325

arts of asia

3147

Public Art

3306

special topics in visual arts studies

3195

Special Topics in Studio and media arts (sculpture)

2155

Bodyscape

3325

contemporary vision in chinese art practice

3155

Bodily Perception in Artistic Practice

3326

hong kong arts

3156

Embodied Interaction

3157

Virtual Touch

3196

Special Topics in Studio and media arts (Body)

2315

Writing in ARt and culture

3305

special topics in visual arts studies (art history & theory)

chinese art studies

(chinese art studies)

Visual & Material Culture

3327

HK Craft: Tradition and Transformation

2335

material culture & collections

3307

special topics in visual arts studies (visual & material culture)

Craft & Design Graphic book

3335

museum studies

2215

typography

3336

exhibition and art markets

2216

graphic storytelling

3337

visual anthropology

3205

special topics in craft and design (graphic book)

3215

picture book

3216

cover to cover

What’s the Programme Like?

本科課程指南

{ 60 }

{ 61 }

BA-Admission

本科課程入學申請

We welcome students from any educational background, including

本院接受不同教育背景的學生提交申請，包括來自內

mainland overseas and mature students alike.

地、海外及年長的學生。

Students educated in Hong Kong applying for admission to the BA

本地學生如欲以香港中學文憑考試成績申請，應通

(Hon) in Visual Arts Programme on the strength of Hong Kong Diploma

過大學聯合招生辦法入學。中國內地學生可以本年度的

of Secondary Education (HKDSE) should apply through the Joint Uni-

普通高等學校聯合招生考試成績申請，計劃詳情請向教

versity Programmes Admission System (JUPAS).

務處查詢。本地及海外學生如以上述以外的其他資格申

China Mainland students who are sitting for the current year of Joint Entrance Examination (JEE) fall into a specific admission scheme of the University, and should refer to the University’s Academic Registry for

請，需通過大學非聯招途徑入學。 不論透過何種途徑申請入學，申請人都必須符合大 學及課程入學的基本要求。

scheme details.

Local and overseas students seeking admission on the strength of other qualifications, including mainland students other than the above-

交換生計劃

mentioned, should apply for direct admission to the University (gener-

視覺藝術院安排學生到德國、意大利、日本、英國，以

ally known as non-JUPAS).

至美國等地的聯繫大學進行國際交流。學生亦可參與由

Applicants should satisfy both the University’s General University Admission Requirements as well as the Programme Admission Requirements.

美國等地。

Exchanges at AVA

實習計劃

AVA currently offers international exchange programmes with sister in-

本院鼓勵學生參與跟主修科目有關的實習計劃，把課堂

stitutions in Germany, Italy, Japan and UK; further exchanges with USA

所獲取的知識學以致用。實習對學生的專業和個人發展

are in preparation. AVA-students can also benefit from HKBU’s extensive

相當重要，可提供一個課堂以外寶貴的學習經驗，有助

exchange in Asia, Australia, Europe and the USA.

學生建立和釐清自己未來的工作路向。為配合學生的學 習計劃，實習一般安排在暑期進行。

Cheung Tung Nam, Run HK Run, 2012

Hung Ching Nga, The Dreamlike Doll, 2011

浸會大學舉辦的交換生計劃，到訪亞洲、澳洲、歐洲及

Internships We recommend all of our students of the BA (Hons) in Visual Arts-pro-

浸會大學文學副學士(視覺藝術)課程

gramme to undertake an internship during their time of study. An in-

文學副學士(視覺藝術)課程由本院與國際學院合辦，此

ternship links classroom theory to professional practice, and provides

基礎課程幫助學生準備將來的升學，如視覺藝術（榮

the student with learning experiences beyond the academic pro-

譽）文學士課程。副學士課程旨在提供不同的基礎藝術

gramme. Such experiences are invaluable for the students professional

訓練，尤其著重教授相關的技巧和知識，促進學生的個

and personal development giving them the opportunity to experience

人成長及學術發展。

the wider arts arenas.

Internships are offered as independent study courses that will usually be taken during term-break.

副學士修讀期為兩年，學生在畢業後，可繼續報讀 浸大或其他院校開辦的視覺藝術、純藝術、設計、創意 媒體或藝術教育等學士課程。畢業生亦可選擇直接投身 創意工業及與藝術相關的行業。

The Associate of Arts (Visual Arts) at HKBU The Associate of Arts (Visual Arts)-programme is jointly offered by the ­Academy of Visual Arts and the College of International Education (CIE), and is an entry-level degree to prepare students for further studies in the Visual Arts, like e.g. in the BA (Hons) in Visual Arts offered by AVA. It provides students with basic training in various studio arts, with emphasis on relevant skills and knowledge acquisition, and generally encourages the individual academic and personal development.

本科課程指南

What’s the Programme Like?

{ 62 }

The Associate Degree-programme requires normally two years of study.

畢業生出路

AD-graduates are most likely to apply for admission into full undergrad-

於2011年，本院在學生畢業後六個月進行了一項調查，

uate ­degree programmes in areas of visual arts, fine arts, design, crea-

在79名受訪人當中，百分之六十五的畢業生成功尋找到

tive media and/or art education at HKBU or other universities and insti-

全職工作，而百分之十的畢業生則選擇繼續升學。至於

tutions, or they may choose to pursue creative careers and work in

就業的工作類別，百分之六十一的畢業生從事工商業

visual art-related fields.

界，百分之二十二為教育界，百分之十五則從事社會福

{ 63 }

利工作。超過百分之四十的畢業生受聘於藝術或設計相 關的機構，平均月薪約港幣10,360元。

Professional and career prospects In the graduate survey of 2011, conducted six months after graduation,

視覺藝術院如何貢獻社會?

among the 79 graduates, 65 % had secured fulltime equivalent jobs,

本院在香港視藝文化的發展及推廣上，擔當了一個重要

while 10% pursued further studies.

的角色。

Among the graduates who found full-time jobs, 61% entered the

「視藝薈」是我們其中一個最成功的社區服務例

commerce/industry sector, followed by education (22%) and commu-

子，多達三千名中小學生透過這項計劃積極參與攝影、

nity/social services (15%). More than 40% of the graduates were em-

動畫等創意工作坊和示範，學員的學習成果亦有作公開

ployed in art or design related industry. The average monthly first

展覽。

salary for graduates was around HK$10,360.

「視藝薈」亦不時舉辦藝術評賞活動，加深公眾對 視覺藝術的認識。活動形式包括：參觀博物館、畫廊及 藝術家工作室。

AVA’s contributions to the community?

視藝工作者與社區合作能達致互惠互利的效益。通

The Academy of Visual Arts is a key-player for the building and promo-

過合作，社區人士有機會積極參與視藝活動,而視藝工作

tion of visual and cultural awareness in the public mind of Hong Kong.

者亦可藉著社區藝術，表達個人情感和檢視個人生命與

One of our most successful community service initiatives is the Visual

社會的關係，合力締造和諧的社會。同樣地，「視藝薈」為

Art Axis (VAA) that has offered more than 3,000 primary and secondary

視覺藝術院建立擴大的觀眾群，跟社區進行互動的交流。

school students the opportunity to actively participate in creative prac-

透過参與「視藝薈」不同的項目，本院學生與社區

tices like photography and stop-motion animation. VAA offers students

人士分享他們在課堂所獲取的知識和技巧，並對社區有

workshops and demonstrations, and it organises exhibitions with the

更深的認識。

participants results.

VAA also conducts art appreciation activities that allow the general public to learn and understand more about the Visual Arts. In some cases these activities include daytrips to museums, galleries and artist studios.

Working with the community is mutually beneficial for both sides: the community has an opportunity to become active in the visual arts.

For the individual the visual arts provide outlets for emotions and reflections of life generally enhancing the well-­being of society. VAA offers AVA the opportunity to building an audience and interacting with the wider community.

Programmes of VAA offers our students critical opportunities to practise their skills to apply and transfer their knowledge in visual arts to members of the community. They can also foster their understanding of the community through participation in various projects.

Chan Yuet Yi, Peculiar Extension, Brass and rubber glove, 2012 Pook Yik Lok, Umbrella, 2012

What’s the Programme Like?

本科課程指南

{ 64 }

{ 65 }

General University Admission Requirements

大學基本入學要求

In general, applicants have to possess qualifications equivalent to

一般而言，申請人必須完成中學課程，並具備申請入讀

­s econdary school completion deemed appropriate for university ad-

大學的成績要求。

mission.

For JUPAS applicants, this is interpreted as: a) Level 3 in two HKDSE language subjects b) Level 2 in three HKDSE subjects including Mathematics and Liberal Studies

透過大學聯招辦法的申請人需具備以下資格： 1) 2科香港中學文憑考試語文科目第3級 2) 3科香港中學文憑考試科目第2級, 包括數學 及通識教育 至於非大學聯招辦法，申請人需具備其他認可資

For non-JUPAS applicants, this refers to any acceptable alterna-

格，例如：大學認可的副學士、高級文憑或文憑課程、國

tive qualification such as an Associate Degree or Higher Diploma/

際文憑試，或6科英國普通教育文憑考試(普通程度)、英

Diploma of a higher education institution recognized by the Univer-

國普通中學教育文憑考試、英國國際普通中學教育文憑

sity, an International Baccalaureate Diploma, or passes in 6 GCEOL/

考試及2科高級程度會考合格。申請人將獲個別考慮。

GCSE/IGCSE Exam and 2 AL subjects. Applicants will be considered on an individual basis.

有關大學基本入學要求的詳細資料，請參閱本校網 頁：www.hkbu.edu.hk

For details of the General University Admission Requirements, please refer to the University website at: www.hkbu.edu.hk. 課程入學要求 本院的視覺藝術（榮譽）文學士課程沒有特定的入學要

Programme Requirements

求，但視藝訓練及往後的就業情況往往要求良好的學術

AVA does not define specific academic requirements for admission to

表現，甚至某程度的才華。相關的才能包括不同的技術,

the BA (Hons) in Visual Arts-programme. However, the study of and sub-

如：手、眼和腦的協調、對空間有敏銳的觸覺，尤其要

sequently a professional career in the Visual Arts require good academ-

具有豐富的想像力、靈活的思維及對視覺藝術的投入。

ic skills, but also a certain degree of talent. Such talent includes various kinds of skills, for example, a good visual sense, good coordination of brain and hand, spatial awareness and especially a rich imagination, in-

入學評核測試

tellectual flexibility, and personal dedication.

為進一步評估申請人的創作才能，所有報讀視覺藝術（榮 譽）文學士課程的申請人均需要参加入學評核測試，藉 此展示個人在視覺藝術上的潛能。

BA-Admission Exercise To assess the creative talent of an applicant for the BA (Hons) in Visual

入學評核測試包括以下３個部份：

Arts-programme we request all applicants to participate in AVA’s Admis-

> 檢閱個人作品集

sion Exercise, which is designed to provide applicants with opportuni-

> 即場創作

ties to show potential for the field of the Visual Arts.

> 面試

The Admission Exercise is comprised of three parts: > A portfolio-review;

入學評核測試的評審準則如下：

> A practical exercise;

> 創意和豐富的構想力；

> An interview.

> 發展並實現複雜而具創意的解難能力； > 表達個人藝術意念的能力；及 > 個人對藝術專業的投入與熱誠。

All parts of the Admission Exercise will be evaluated on the following criteria: > Creativity and breadth of ideas; > Capability to develop and realise complex creative solutions; Tsang See Wan, Corona Crown, 2012

> Ability to present personal artistic ideas; and > Personal dedication and commitment for the subject area.

本科課程指南

What’s the Programme Like?

{ 66 }

{ 67 }

The MVA

視覺藝術碩士課程

本院學生人數

The Master of Visual Arts (MVA) programme is in-line with the interdis­

視覺藝術碩士課程貫徹視覺藝術院的跨領域學習特色，

學生人數：

ciplinary approach that AVA adopted as its distinctive characteristic.

涵蓋藝術文化生態的不同範疇，由創作、理論與藝術評

324名本科生；

The five MVA-­concentrations intentionally cover a wide range of as-

析, 到藝術行政及社會實踐。五個主修領域包括：

107名碩士生；

pects within the arts and culture ecology from creative practice to

> 體驗設計

69名副學士生；

­theory and criticism, art administration and social application. The five

> 藝術創作與延伸媒體

1名哲學碩士生；

­concentrations are Experience Design, Studio Arts & ­Extended Media,

> 藝術與文化

1名哲學博士生

Art & Culture, Art Administration, Utopics.

> 藝術行政

The MVA is to nurture creative talents with contemporary research

本科生：

> 藝術實踐與文化行動

> 18%男性 ; 82%女性

methodologies, in-depth p ­ rofessional knowledge and skills as well as

本院的碩士課程以當代研究方法為基礎，探究相關

cross-cultural and interdisciplinary awareness in ­diverse visual arts dis-

視覺藝術領域的專門知識與媒介技巧，並以跨國界、跨

> 76%經聯招入學；24%經非聯招入學

ciplines. Through Shared Courses and Specialized Courses built into the

學科的多元視野回應社會文化議題。透過「共修科」與

> 非聯招入學學生：46%持副學士資格；

integrated programme structure the MVA achieves a good balance be-

「專修科」的配合，共融與深化並行不悖，能同時兼顧

tween cross-discipline synergy and professional development, and

當代視覺藝術研習的闊度與深度，帶領學生按自己的研

guides students to further develop their personal artistic / academic

究興趣，深化個人藝術或學術的發展。

profile according to their ­research interests.

54%持高級文憑或學位資格 > 26名學生正於外地進行交流

Undergraduate Programme 78 visual arts courses:

畢業生總人數：

> 28 in Studio And Media Arts

345名本科生；73名碩士生；92名副學士生

Full-time Teaching Staff

> 26 in Craft And Design

22: 50% M; 50% F

> 16 in Visual Arts Studies

本科課程

Nationalities:

> 8 interdisciplinary courses

共有78門視覺藝術科目 > 28門工作室及媒體藝術科

Australia, Germany, Hong Kong, Ireland, Japan, Italy, Taiwan & UK Qualifications:

Teacher/student ratio:

> 26門工藝及設計科

36% PhD/DFA; 23% MFA; 41% MA /MVA/MPhil

1:12

> 16門視覺藝術研究科

Average age: 43

Average class-size:

> 8門跨學科

30 for theory courses; 17 for practice courses

師生比例：1:12

AVA’s Student Population

Average exit-GPA:

Students:

2.87

平均課堂人數：

324 BA students;

Average first income (in 2011):

理論科目 - 30人；

107 MVA students;

HK$10,360

實踐科目 - 17人 平均畢業成績：GPA 2.87

69 Associate Degree students; 1 MPhil student

全職教學人員

Exchange Collaborations

1 PhD student

22人：50%男性；50%女性

Local:

Undergraduate students:

平均首份工作月薪 ( 2011 ) ：港幣10,360元

CUHK and CityU

> 18% M ; 82% F

國籍：

International:

交換生計劃

> 76% admitted by JUPAS; 24% by non-JUPAS

愛爾蘭、澳洲、德國、香港、日本、台灣、意大利及英國

5 institutions in Germany, Italy, Japan and UK

本地： 香港中文大學、香港城市大學 海外： 5 間大學分別位於德國、意大利、日本及英國

> Non-JUPAS entrants: 46% AD holders; 54% HiDip or Degree holders

資歷：

Exhibition Opportunities

> 26 students currently on exchange

36%持哲學或藝術博士學位；23%持純藝術碩士學

> Three on campus exhibition galleries

展覽機會

Total Graduates:

位；41%持其他相關碩士學位

> Financial support & curatorial advice

> ３個校內展覽場地

平均年齡：43歲

Average On-Campus Co-curricular Activities

> 備有學院經費資助及策展咨詢服務

345 BA graduates; 73 MVA graduates, 92 Associate Degree graduates

Per Year > 15 _ 20 exhibitions

> 10 _ 15 art seminars/demos

平均每年校內活動 > 15至20次展覽 > 10至15次藝術講座或示範

{ 68 }

Data as of 31 Aug 2012 or for the past academic year.

資料截至2012年8月31日或以前學年為準。

Academy of Visual Arts

香港浸會大學視覺藝術院

Baptist University Road Campus:

浸會大學道校園：

Communication & Visual Arts Building

香港九龍九龍塘禧褔道5號

5 Hereford Road, Kowloon Tong, Kowloon

香港浸會大學傳理視藝大樓

Kai Tak Campus:

啟德校園：

51 Kwun Tong Road, Kowloon, Hong Kong

香港九龍觀塘道51號

T: 3411 8282

電話：3411 8282

F: 3411 8296

傳真：3411 8296

va@hkbu.edu.hk

電郵：va@hkbu.edu.hk

http://ava.hkbu.edu.hk

網址：http://ava.hkbu.edu.hk

Illustrations by Chino Ng

Design by Mariko Takagi

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Ava #1

How to Construct a Study Trip 如何組織一個遊學團？

Chance or Challenge IAM 國際藝術行動

46

IT’S SHOW TIME!

Exploring Chinese Art from a CrossCultural Perspective 從跨文化角度探索中國藝術

MAGAZINE FOR VISUAL ARTS AND ARTISTS.

38 ON THE GRAND TOUR