Ava magazine 2015 e version

#4 C el ebr ate the Pursuit 追尋

P. 4 — 8 The Pursuit of Happiness 追求快樂與幸福

No L im it s to Ke e p on Grow ing 成長無界限 P. 10 — 11 Artistic Creation as a Method

01 02

Vi su a l Ar t s à l a C ar te

藝術創作是一種方法

視藝任選餐單

Exhibition: “Ceramics Show by

P. 30 — 34

P. 12 — 15 Non-ceramics Artists”

HEUNG __ A Plea for ‘Visual Dialects’

不/一樣

and the Power of Local Cultural

P. 16 — 18

Diversity in Hong Kong Hands and Relations

香 ── 「視覺對話」及香港多元

雙手與關係

本土文化力量的訴求

P. 19 — 20

P. 35 It’s Great to Be a Student!!

Sound Art Workshop

當學生真好！！

聲音藝術工作坊

P. 21 — 23

P. 36 — 37 Learning from Jogjakarta

Combining New Technology and

向日惹學習

Traditional Crafting:

P. 24 — 27

Haptic InterFace Workshop 2015 Journey to New Haven

新技術與傳統手工藝的結合 ──

紐黑文之旅

2015年觸覺界面工作坊 P. 38 — 41 Designing Books on Reading: A Joint Adventure between Hong Kong and Germany 為閱讀設計書籍：香港與德國攜手探險

P. 42 — 45 Seeing It Through __ BA (VA) Graduation Show 2015 Review 看透究竟 ── 本科畢業展 2015 藝評

P. 46 — 49 City Metaphors: A University Collaboration Project 城市的象徵：大學協作計劃

P. 50 — 55 Kai Tak at Graduation __ MVA Graduation Show 2015 Review 啟德校園畢業季 ── 視覺藝術碩士課程 畢業展 2015 藝評

P. 56 — 59 Designing Experience: ‘The Ballerina on the Elephant’ 設計體驗：「大象上的芭蕾舞女子」

P. 60 — 67 AVA Event List 視覺藝術活動一覽

E x pl oring the Past , Pre s ent and Futu re E xp er i enc e

03

探索過去、現在與未來 P. 70 In Terms of Landscapes 風景的言說

P. 71 Rekindle the Dream of Art 藝火重燃

P. 72 Keep Growing 植根與成長

P. 73 A Few Reflections and Thoughts

04

T he Toppi ng s

課堂偶拾

正餐以外

Seek and Find: A New Way of Making

P. 86 — 87

P. 74 Book review : A Living Space __

尋與覓: 製造的新方式

P. 75

The Homes of Pak Sha O 書評：《可以居 ── 白沙澳鄉》

Some Things about P. 88 — 90

Traditional Handicraft 傳統工藝的二、三事

FORTY FIVE SYMBOLS: Ethnographic Visual Anecdotes __ Globality of

P. 76 — 78 Printmaking

Language and Culture; Rewriting

版畫製作

四十五符號: 民族志視覺軼事 ── 語言和文化的全球性；重寫

P. 79 — 82 P. 91

New Blood in AVA 學院新成員

Ever- changing Life,

P. 83

Never- changing Spirit Residency in Zurich __ Research

永恆的挑戰

P. 92 — 93

about the Rights of Pets 蘇黎世駐城計劃 ── 研究寵物權益

Rare Poster Collection 珍貴海報特藏

P. 94 — 99 Starting Off with Personal History

05

B ac kstage 後台點滴 P. 102 — 103 The Academy of Visual Arts 視覺藝術院

P. 104 — 111 BA (Hons) in Visual Arts Programme structure 視覺藝術(榮譽)文學士課程結構

一切由「個人歷史」開始

追求快樂與幸福 奔子墨 視 覺 藝 術（榮 譽 ）文 學 士 課 程 總 監 ／ 副教授

2006 年 9月 4日星期一，早上 9 時 30 分，我 開授第一節課，這是我新入職視覺藝術院

The Pursuit of Happiness

所上的第一節課。事有湊巧，那次也是我

Peter B enz

驗。當時我和學生素不相識，在開課之

BA (Hon s) in Visua l Ar t s Pro gra m m e D i re c to r /

前，大家都帶點緊張。

們第二屆本科新生基礎必修班的首節課 堂，所以亦是他們入讀本院後的初次體

As s ociate Professor 在授課之前，我按照慣例要求學生自我介 紹。「大家好，我是 Winnie，我選讀視覺 On Monday, 4 September 2006 at 9.30 am, I began my first class as a newly

藝術，因為我想成為 ……」；當 20 名同學

appointed member of staff of the Academy of Visual Arts. Coincidentally, that

一一介紹自己以後，我確是有點錯愕和困

first class was a required foundation course for new Year 1 students of AVA’s

惱：全班只有一人表明日後想成為某類視

second intake cohort; thus also for those students it was their first experience

覺藝術家，反而有些同學想成為教師，不

of AVA, and possibly – without one knowing about the other – both parties

少人更希望成為空中服務員，甚至有一、

in the classroom at the time were equally nervous about what was to come.

兩位同學矢志成為音樂人（那為何報讀我 們 的 課 程 呢 ？ ）； 少 部 份 同 學 明 顯 毫 無 頭

As a first activity in that class I called for the classic round of self-introductions:

緒，故只草草的說：「我想背着背包四處遊

“Hello, I’m Winnie. I study visual arts because I want to …” After all 20 students

歷」；最得我歡心的莫如有一位使命感十

had introduced themselves I have to admit I was somewhat dumbstruck and

足的男同學，他說：「我要向世人說愛」。

confused: only one student out of the whole class had actually suggested they wanted to become a visual artist of some sort. Instead I was facing a couple of future teachers; uncomfortably, many aspiring flight attendants; oddly enough, one or two students quite adamant about pursuing a career in music (why were they here then?); a couple more who clearly had no clue at all: “I want to be a backpacker”; and my favourite, a young man with a mission: “I want to tell the world about love.”

This year, in September 2015, AVA will admit its eleventh cohort of new BA students. It’s been a full decade since the newly founded Academy of Visual Arts admitted its first cohort of 42 students into its newly created BA (Hons) in Visual Arts programme in September 2005. When writing for this kind of occasion – a tenth institutional anniversary – one commonly looks back, like I did above, reminiscing about old friends and companions, good-humouredly revisiting old stories, and in general highlighting the success that the originally 5

fragile endeavour turned out to be.

I would like to take a slightly different path and instead consider a more qualitative question: was it worth setting up a school to teach visual arts at

時至 2015 年 9 月，視覺藝術院將錄取第十

tertiary level in Hong Kong? Did AVA bring about something of comprehensive

一屆本科新生。我們於 2005 年 9 月創辦視

value in these last approximately 3,650 days that may correspond with the

覺 藝 術（榮譽）文 學 士 課 程 ，首 屆 錄 取 42

spirit of the early 21st century?

名學生；十載過去，踏入創院10 年誌慶， 人們往往會落筆抒發感受，緬懷舊友同

C.S. Lewis once wrote “Friendship is unnecessary, like philosophy, like art, like

窗，分享有趣逸事，就如我上文中那樣，

the universe itself… It has no survival value; rather it is one of those things

並突顯院校如何由名不經傳努力促成當今

which give value to survival.”

的成就。

Interestingly, this notion seems to be paralleled by a real-life observation from

我卻希望稍稍轉向，改為思考一些較具質

the visual arts of today: every year increasing numbers of (young) people in

量的問題：當時香港值得另立一個學院來

developed societies – i.e. societies in which basic survival is generally secured –

教授視覺藝術嗎？在過去約 3,650 日光景之

enter the visual arts market, despite the fact that, on average, creative

中，視覺藝術院有否貫徹於 21 世紀初奠立

practitioners earn less than their peers of comparable education level, and

的精神，帶來一些具備綜合價值的成果？

have a higher degree of uncertainty looming over their careers. This seems paradoxical; why do these young people do this?

魯益師（C.S.Lewis）曾經寫道：「友誼如同 藝術、哲學和宇宙，並非必要，本身沒有存 在的價值，但卻賦予存在意義與價值。」 值得細味的是，這個看法似乎與視覺藝術 界 的 現 況 不 謀 而 合 ── 在 已 發 展 的 社 會 中，每年投身視覺藝術發展的青年有增無 減。在已發展的社會中，青年的基本生存 條件一般已經得到社會的保障，而創意工 作者的收入每每較學歷相若的同輩微薄， 事業前景亦較為不穩，為何這些年青人仍 樂意入行？

Well, recent research into the economics of creativity suggests that visual artists on average enjoy significantly higher job satisfaction than other employees, mainly due to the higher level of autonomy that creative practice allows for. In other words: visual artists earn less, but are happier, because they are freer.

This is a finding of huge socio-political implications as it suggests that a growing proportion of young adults are prepared to shun the most blatant excesses of the professional rat race for something the founding fathers of the United States phrased in the opening sentence of the United States Declaration of Independence of 1776 as the trinity of the “certain unalienable rights” of “life, liberty and the pursuit of happiness.” Apparently the visual arts do indeed offer value beyond the common economic denominations. 近期一份創意經濟學的研究指出，由於創 When Thomas Jefferson drafted the Declaration of Independence he was

意工作較為自主，視覺藝術家的工作滿足

influenced by the Epicurean doctrine that teaches the pursuit of happiness

感一般凌駕於其他行業的僱員。換言之，

as the purpose of a good life, and proposes autarchy – which translates as

視覺藝術家收入較少，卻自由得多，因而

“self-rule”, “self-sufficiency” or “freedom” – as the pathway to achieve it. Indeed,

較為快樂。

these are exactly the principles on which AVA has been building its curriculum and teaching for the last 120 months.

這項研究結果有別具深遠的社會與政治 含 意，意味着越來越多青年無意戀棧職場

At this point I’d like to return to the group of students I encountered on my

上無止境的追逐和比拼，取而追求美國開

first day in 2006. As it turned out, the class and I got along well to the point

國元老於 1776 年《美國獨立宣言》開首談

that after their graduation, every year in late April, we will get back together

及那些「不可剝奪的權利，包括生命、自由

for a reunion dinner.

及追求幸福的權利」，如此三位一體的理 念。就此，視覺藝術賦予的價值與意義， 顯然已經超越一般經濟名目所能衡量的。 傑佛遜（Thomas Jefferson）起 草《美國獨立 宣言》時，受到享樂主義理論影響。該派 教義主張美好生活就是追求幸福與快樂， 提出「絕對的主權」（autarchy），意指「自 治 」（self-rule）、「 自 給 自 足 」（ self-sufficiency）和「自由」（freedom），作為追求 幸福與快樂的途徑，這正正是本院創立與 教授課程 120 個月來秉持的原則。 回說與我在 2006 年任教首天結緣的學生。 自那天起，我們關係一直融洽愉快，他們 畢業後，我們總會相約在每年 4 月末晚餐聚 舊，交換近況。

不少同學最終三思自己的去向，現已加入 創意與文化界工作。他們不一定從事視覺 藝術創作，但至少仍有不少同學如我於當 日課堂後奢望，繼續藝術的道路，在相關 範疇的工作。平均來說，那一屆畢業生的 收入與他們同樣擁有大學學歷的朋友相 若，薪酬已勝過統計數字預測的表現。不 過，他們轉職似乎較為頻密，亦不會輕易 衡，欣賞所屬的社群，樂於服務社會，願 Many of them finally did reconsider and are today working in the creative and

意自主生命。他們當然亦會有如你我一樣

cultural sectors, not necessarily as visual artists – though more still practice

遇上問題，但他們仍能活得滿足，甚至稱

the arts than I would have dared hope after that first class – but at least in some

得上快樂。

related capacities. On average I’d say those graduates probably earn quite similar amounts to their peers from other degrees, thus doing better than

我相信，這正體現視覺藝術院歷年締結的

statistics would predict. They do, however, seem to change jobs more often

成果：從現實中開拓出一片略富幻想的園

and are less willing to settle for less than what they want. They value a good

地，讓人以稍為不同的視野與衡量方式，

work–life balance; they appreciate their community, for which they are

追求快樂與幸福。

willing to make efforts; they are willing to take their lives into their own hands.

They do also have their problems as we all do, but they seem to be content,

九年前那個要向世人說愛的同學，現今在

even happy.

本地某一粵語流行樂隊中倒是創作了多首 出色的情歌作品：世事果然難料！

And that’s what I believe AVA has achieved: to carve out from reality a slightly utopian enclave of freedom, where things are seen and evaluated a little bit differently for the pursuit of happiness.

The young man who wanted to spread the word of love nine years ago now rather successfully plays love songs in a popular Cantopop band: who would’ve thought…?

7

妥協心中所想。他們重視工作與生活的平

01 No L imits to Ke e p on Grow ing 成長無界限 P. 10 — 11 Artistic Creation as a Method 藝術創作是一種方法

P. 12 — 15 Exhibition: “Ceramics Show by Non-ceramics Artists” 不/一樣

P. 16 — 18 Hands and Relations 雙手與關係

P. 19 — 20 It’s Great to Be a Student!! 當學生真好！！

P. 21 — 23 Learning from Jogjakarta 向日惹學習

P. 24 — 27 Journey to New Haven 紐黑文之旅

Artistic Creation as a Method

藝術創作

Yu Wai Luen , Fra n ci s

余偉聯

As sistant Professo r

助理教授

The faculty meeting was ongoing and the room was quiet. Everyone was

房間內很安靜，院務會議正在召開，各人

listening to the briefing with rapt attention. All of a sudden, a colleague sitting

都在專心聆聽匯報，忽然間，坐在身旁的

beside me leaned over, asking me in a low voice: “What are you doing?” A

同 事 探 頭 過 來 ， 向 我 低 聲 細 問 ：「 弄 甚

hint of humour coloured his voice as he gazed upon the drawings on my paper.

麼？」他語帶說笑，盯看著我在紙張上繪

是一種方法

畫的草圖。 At the time, the exhibition was nearing and my mind was constantly at work, brainstorming ways to display the works in ways that best suited the

由於展覽在即，我的腦袋總是停不了，

venue. I had a flash of inspiration during the meeting, so I jotted it down

想着如何將作品最合適地在場展現，會

before it escaped me.

議中途靈機一觸，隨即將閃過的念頭記 錄下來。

I am used to bringing pen and paper to meetings for the important bits.

When I want to relax my mind, I also like to draw random circles on paper to

我慣常帶備紙張和筆出席會議，用作記下

give my idling hand some muscle exercise; the running lines are also

重要事宜。想輕鬆一點的時候，亦喜歡在

pleasing to the eye. It is exercise after a fashion, just like Mr Zhu Guangqian

紙張上隨意塗圈，好讓閒下來的手做些筋

has said: “At the end of the day, art making is no more than having one’s

肉活動，看着 線條走動時還教人賞心悅

hand follows one’s heart.”

1

目。固然，我是在練習。就如朱光潛先生 所說：「窮究到底，藝術的創作不過是手

The title of the exhibition is “Ceramics Show by Non-ceramics Artists”, curated

能從心」。 1

by ceramic artist Annie Wan. The topic she set out was to investigate the relationship between ceramics and contemporary art. Six artists of different

這次展覽名為「不 ／一樣」，策展人是陶

specialities were invited to create distinctive ceramics works according to

瓷藝術家尹麗娟，她以探討陶藝的當代性

their own areas of strength.2 I exhibited a new set of works, the concept of

為主題，請來了六位不同範疇的藝術家，

which is akin to my research approach. For years, I have followed the “total

期望各人以自己的專長，創作出不一樣的

painting” proposition and completed a series of paintings. I have dealt with

陶藝作品。 2 我參展的一組作品，創作意

different mediums including photography, installation and performance art.

念跟我一直以來的研究方向十分相近。這

My work this time also uses an interdisciplinary approach, and the partici-

多年來，我沿着「總體繪畫」的名題與思

pants of this particular project are painting and ceramics.

路，先後跟不同媒介包括攝影、裝置、表 演藝術等交往，這次展出的作品，同樣以 跨媒介手法作為出發點，而交往的主角， 是繪畫與陶藝。

1

About Aesthetics, Zhu Guangqian, Lijiang Publishing House, Guilin, page 86. / 《談美》朱光潛著，漓江出版社，桂林， 2011 。第 86 頁。

2

“Ceramics Show by Non-ceramics Artists” Exhibition location and time: 1a space, Cattle Depot Artist Village, May 2015. Curator: Annie Wan. Participating artists: John Aiken, Kurt Chan, Luke Ching, Jaffa Lam, Ivy Ma, Francis Yu. 「不／一樣」展出地點與時間：牛棚藝術村 1a 空間， 2015 年 5 月。 策展人尹麗娟。參展藝術家： 莊藝勤、陳育強、程展緯、林嵐、馬琼珠、余偉聯。

Although the group exhibition took place in May 2015, the creative endeavours

早於一年前的暑假，我經已開展創作計

began in the summer of the year before that. I went to Jingdezhen three

劃，曾三次走訪景德鎮，包括考察多個陶

times to join the residential studio programme and visit different ceramics

瓷製作工場、參與藝術家駐場項目 3 、還租

factories there. I also rented a porcelain workshop for my own creative purposes.

用當地的瓷板工作室進行實驗，參展

3

A few weeks ago, the venue arrangements of my one-person exhibition were

「不 ／一 樣」的 數 件 作 品 ， 正 是 概 括實踐

In the past two days, I went to Foshan and visited Guangdong Shiwan Ceramics

年後舉辦個人作品展覽的場地安排，明年

Museum and the Ancient Nanfeng Kiln to learn more about the ceramics

二月，便會展示另一組全新作品，作為繪

culture of southern China. Two weeks ago, I toured the National Museum of

畫與陶藝綜合創作的完結篇。過去兩天，

Modern Art in Kyoto where an exhibition of ceramics tableware by Kitaōji

到了廣東佛山市一遊，參觀石灣陶瓷博物

Rosanjin was held. I was deeply impressed and upon return immediately

館和歷史悠久的南風古灶，瞭解中國南方

located at the library classic works by this master Japanese artist. On another

的陶文化。兩星期前曾遊覽京都國立近代

occasion not long ago, I was invited to a discussion session for the exhibition

美術館，參觀北大路魯山人的食具器皿展

“Ceramics Show by Non-ceramics Artists”, where three guests and the curator

覽，回來後，隨即從圖書館借來這位日本

engaged in dialogue.4 I participated in the night’s discussions and discovered

藝術家的經典著作參看。「不 ／一樣」展

some questions of art making that I never thought of before. The campus

覽期間，請來三位嘉賓出席座談會 4 ，當晚

of AVA in the last semester was teeming with activities, with many artists

我列席旁聽，發現一些自己在創作上從未 想到的問題。上學期的校園非常熱鬧，邀 請了多位藝術家參與駐校計劃，還舉辦多

time allows, I would perhaps visit Jingdezhen again to experiment with the

個工作坊，當中包括遠道而來的日本陶瓷

glaze used there, to see how I can relate it to the fluidity of oil colour. Arrangements

藝術家石山哲也 5 ，我有緣跟他對話，彼此

will have to be made before the end of the summer though, about how these

討論藝術創作，得到不少啟發。年底的寒

research activities and the processes of practice are to be recorded, compiled

假，如時間許可，期望再走訪景德鎮一

systemically and analysed for publication at a later date.

趟，進一步試驗當地瓷釉顏料的特性，找 出它與油畫顏料流動性的關係。接下來的

Artistic creation stresses on the diversity of approaches employed. Artists

大半年，還會繼續活用不同的陶藝物料，

must create according to individual character and capabilities. Not being

探討跟繪畫綜合創作的可能。至於如何將

diverse for its own sake, but the trial and error during practice is essential;

這些研究活動和實踐創作的過程記錄下

so is setting the topic with skill. Lastly, the most important thing is to complete

來，作有系統的整理和分析，並留待日後

the work and elucidate the questions involved. This week, upon return to

編制成出版物，將會是這個暑假完結之前

my studio, I bask in the familiar aroma of oil pigment, stretch a few blank

需要妥善安排的事情。

canvases, and start painting once again. 藝術創作講求各施各法，藝術家必需依據 Artistic creation is a unique form of research. It boasts two sides: in terms of

各自的性情和能力進行創作。所謂各施各

artistic practice, the emphasis is on continuous exploration through presenting

法，當然不是無的放矢，有技巧地釐定主

works of art to question the being of "art" itself. Not only that, but I believe

題固然必要，創作過程之中的嘗試與錯誤

through artistic creation the artist engages his or her internal self. In terms of

同樣重要，最終以完成作品闡明相關答案

life practice, artistic creation is a method of searching for meaning of life –

至為重要。這星期回到畫室，聞得熟悉的

it explores the individual’s self-interpretation of the world, in the same way the

油畫顏料氣味，拉開幾張空白畫布，又再

question mark approaches the exclamation mark.

動手創作。

6

3

The Pottery Workshop, residential studio programme, Jingdezhen, Jiangxi Province. / 樂天陶社藝術家駐場項目，江西省景德鎮。

4

並憑藉作品的呈現，帶着問號認識「藝

Michelle Wong, Vivian Ding Wing Yan. Moderator: Annie Wan. /

術」6 本身。當然，我相信藝術創作不僅如

Tetsuya Ishiyama, Japanese ceramics artist. During his period of residence at the Academy of Visual Arts, he organized a wood-fired ceramics workshop. / 日本陶瓷藝術家石山哲也，駐校期間舉辦柴燒工作坊。

http://ava.hkbu.edu.hk/2015/03/wood-fired-ceramics-exhibition/ 6

實踐來看，它強調在過程之中不斷探索，

“Ceramics Show by Non-ceramics Artists” discussion session guests: Kwok Ying, 「不／一樣」小組討論會嘉賓：丁穎茵、黃湲婷、郭瑛。主持：尹麗娟。

5

藝術創作是一種特殊的研究活動，從藝術

use quotation marks to state “art” as a subject to research. / 以引號「」強調藝術作為研究的對象。

此，它更加是藝術家自我內在的認識活 動，若從生命實踐來看，它是一種求知的 方法，透過自我探索去認識人與世界的關 係，尋覓生命意義，猶如帶著問號接觸感 嘆號。

成長無界限

organising workshops, including Tetsuya Ishiyama. I had the good fortune of discussing art with him and was greatly inspired. During the winter break, if

5

No Limits to Keep on Growing

創作的初步成果。兩星期前，順利落實半

11

finalised, concluding this creative project due to take place half a year later.

Exhibition: “Ceramics Show

by Non-ceramics Artists” Annie Wan

不 / 一樣 尹麗娟 助理教授

As sista nt Professor

Ceramics refers broadly to utensils shaped with clay and hardened in an

「陶瓷」( Ceramics ) 泛指以黏土製造並已燒

oven. The traditions and culture embedded in the medium is rooted in the

成的器物，當中隱含傳統與文化，並植根

application of the raw materials and hand-craftsmanship. With the advent

於原材料應用和手工藝製作的觸感性質。

of contemporary art, however, the focus has shifted from workmanship to

然而，當代藝術的發展將重點從手藝轉移

concepts, from raw material to employment of the readymade, from

到概念、從原材料轉到現成物的應用、從

monotonic development to multi-faceted information transmission, moving

單一發展到多樣性的信息傳遞，也就傾向

toward the creation of media and images and away from material and

媒體和影像創作，甚至乎完全離開了物質

object performance.

與物體的表現。

The truth is the contemporary world is filled with simulacra, and there is

事實上，當今世界充滿了擬像，似乎沒有

nothing that is truly physical and singular. In a world such as this, paced

甚麼是實在和獨特的，而在這種環境和步

in such a way, how is ceramics – an art of materials and craftmanship – to be

伐中，注重物質和手藝的陶瓷創作在當代

positioned in the development of contemporary art? The curating of this

藝術的發展中又處甚麼位置呢？我藉着策

exhibition is my first step towards exploring the gap between ceramic creation

劃這次展覽作為探討陶瓷創作與擬像論述

and simulacrum narratives, and is aimed at extending the possibilities of

之間差距的第一步，旨在伸延當代陶瓷藝

contemporary ceramic art.

術的可能性。

13

Participating in this exhibition are contemporary artists invited from various No Limits to Keep on Growing

artistic realms beyond ceramics. They include John Aiken, Kurt Chan Yuk Keung, Luke Ching Chin Wai, Jaffa Lam Laam, Ivy Ma King Chu and Francis Yu Wai Luen.

成長無界限

Kurt Chan Yuk Keung’s work 陳育強作品

John Aiken’s work

被邀參加這次展覽的，都是來自陶瓷以外

莊藝勤作品

不同範疇的當代藝術家，包括莊藝勤、陳 育強 、程展緯 、林嵐 、馬琼珠 、余偉聯 ，

They are established artists, all of whom I know and whose work

他們都是我認識且欣賞、而又很成熟的藝

I appreciate. They each have their own artistic vision and creative form. The

術家，每人都已發展出自己一套的理念及

reason I enlisted their help is because their works are strongly conceptual,

創作方式。邀請他們的主因，是雖然他們

yet they are all highly sensitive about materials and experienced in creating art

作品的概念性都很強，但每人對物料卻仍

by hand. In this exhibition, I asked them to create works in the ceramic medium

保持很敏銳的觸覺，而且都有以雙手創作

to see how they will return to basics, innovate with raw materials and singular

的經驗。在這個展覽中，我要求他們以不

objects, solve problems, and ignite the creative spark. This exhibition imposes

熟悉的陶瓷作媒介，試圖看看他們如何回

few limitations on artists and its goal is to collect results and explore various

到根本，以原材料和獨特物體進行創作，

possibilities; I was basically asking them to create with ceramics.

又會如何解決問題，又會擦出怎樣的火 花。這次展覽完全沒有給藝術家很多的限 制，展覽目的在於收集結果並探索各種可 能性，所以我的基本要求就僅僅以陶瓷創 作而已。

結果，莊藝勤以現成的陶瓷碗碟作為雕塑 的部份材料：他將碗碟以我們慣常的方式 擺放在摺枱上，不過結構和形式的處理卻 跳出我的日常習慣，目的是要將陶瓷重新 定義。由此，他將日常物件變成藝術品， 同時在技術、概念和美學的層面上把熟悉 變成未知。陳育強則樂於摸索陶藝的技術 要求；他享受用雙手在泥版上刻痕，並在 過程中已窺見藝術創作的起源。當然他也 遇到燒製上的困難，惟有戰戰兢兢地邊學 邊做，最終完成一組表述物料也表述過程 的作品。程展緯 表示，只能在一個陶瓷展 覽中才可以對應地以「我不做陶瓷」作為 John Aiken’s work

宣言的開始。他將陶瓷的英文“china”轉

莊藝勤作品

換為中國，並以黏土在風乾的過程中退色 並變得易脆的物理特性來作政治諷刺。林

The artists have each produced intriguing results. John uses readymade

嵐認為，在她的創作過程中，物料的應用

ceramic bowls and plates as materials: he places ceramics on a folding table as

是根據意念所需而定，因此，根據今次作

per our usual habit, but presents it in a structure and form that departs from

品的意義、音質效果和造型，瓷土很自然

our day-to-day familiarity. Through this, he turns daily objects into art and the

地出現了。但製作陶瓷並非她所專長，於

familiar into the estranged on a technical, conceptual and aesthetic level. Kurt

是一如過往，陶瓷工匠就成了她的合作的

enjoys adapting to the technical requirements of ceramics; he enjoys carving

伙伴。馬琼珠的兩組作品都保持着她一貫

lines on clay tablets and in the process gains a glimpse into the origins of

的細膩觸 感 ， 她 試 圖 把 造 陶 的 觸 感 連 接

artistic creation. He also finds baking ceramics a challenge, so he has learned as

攝影圖像的空間感知，並通過她的點標

he worked and finally completed a set of works that addresses both materials

素描方式「再探訪」喬治·莫蘭迪（Giorgio

and processes. Luke says that only in a ceramics exhibition can he pertinently

Morandi）的繪畫題材，從現象學的角度重

make “I do not work with ceramics” the beginning of his artistic statement.

新體驗及理解立體物件。余 偉 聯 近 年 的 創

He plays with the connotations of “china”, both as a ceramic and as a nation,

作 和 研 究 也 是 從 拓 闊 繪畫語言着手，所以

and leverages the physical change of clay as it dries – becoming faded and

他樂於從其他媒介中攝取經驗，與陶瓷互

brittle – as a form of political sarcasm. Jaffa says that during her creative process

動也是他最近的計劃。他今 次 走 到 景 德 鎮

the application of materials is based on conceptual needs. Therefore, guided

進行創作，由買下陶瓷工場棄置的破爛

by the significance, acoustic quality and shape of the work, clay naturally gains

瓷 板 開 始 ， 並 嘗 試 繪 畫 陶 板 畫 ， 以「 破

form. Working with ceramics is, however, not her speciality, and like before,

爛 」作 為 主 題 創 作 一 系 列 作 品 。

the craftsman becomes her collaborative partner. Ivy’s two sets of works demonstrate her usual delicate touch, in which she attempts to connect the tactility of the clay with spatial cognition of the photographic image, to revisit Giorgio Morandi’s painting themes, and re-experience and understand three-dimensional objects from the perspective of phenomenology. Francis’s recent creations and research efforts focus on expanding on the language of painting, which is why he is keen to draw experience from alternative media – including a recent project involving ceramics. This time, he went to Jingdezhen – China’s renowned capital of ceramics – where he found ceramic tiles discarded by a ceramics workshop peculiarly beautiful. His attempts to draw on these ceramic tiles have resulted in a series of works titled Broken.

A public panel discussion was also held during the exhibition, with active contemporary art curator Kwok Ying, researcher Michelle Wong Wun Ting, and scholar Vivian Ting Wing Yan attending as keynote speakers. The discussions explored the gap between ceramic art creation and contemporary art, with a specific focus on whether ceramics have been marginalised in large-scale contemporary exhibitions. The impassioned discussions confirmed some of my thoughts and views and I have plans to continue to organise a number of closed panel sessions facilitating deeper exchange between artists of ceramics 15

and those from other realms, where they can compare their creative experience and thoughts.

No Limits to Keep on Growing

Jaffa Lam Laam’s work 林嵐作品

論，由活躍於當代藝術的策展人郭瑛、研 究員黃湲婷和學者丁穎茵主講，探討陶藝 創作與當代藝術之間的差距，尤其深入討 論陶瓷有沒有被當代藝術的大型展邊緣化 Ivy Ma King Chu’s work

這個問題。經過這次熱烈的討論，我的一

馬琼珠作品

些想法及觀點也都鞏固了，並計劃在展覽 結束後繼續安排多場不公開的小組對談， 開展陶瓷藝術家與其他範疇藝術家的深入 討論，比較創作經驗及想法。

Francis Yu Wai Luen’s work 余偉聯作品

成長無界限

此外，展覽期間亦公開舉行了一場小組討

Hands and Relations

雙手與關係

Ching Sze Yin , Cic y

程詩賢

Lec turer

講師

On 3 July 2008, my peaceful, ordinary life saw a momentous change: from

2008 年 7月3日，我平靜和安穩的日常生活

without to within; from within to without; reconceived, reshuffled.

起了徹底的變化，是由內至外、外至內的 從新思考、整合。

I acquired another full-time job – motherhood. 我增添了一份全職的工作 ── 母親。 Navigating between the worlds of family, career and ideals, I found fractures in my various spaces, breeding conflicts and dilemmas between different

遊走於家庭、事業和理想這幾個世界，不

identities. I have put in extensive thought hoping to resolve the conflicts and

同空間的分裂不免產生種種不同身分的衝

find a way out of the dilemma.

突和矛盾。我思前想後，渴望把衝突和 合，矛盾磨平。

Combing through the veins of my creative life and negotiating the differences of my various identities have become an urgent focus of this new job.

梳理我創作的脈絡，跟調和不同身分的差 異，成了迎接這新工作迫切的聚焦點。

I have a deep love for handicraft. Creating with my hands is a process much like that of an amplifier, magnifying the tiny voices in my heart into a discernible

我深愛手工勞作。以手創作的過程如同擴

volume. After the labouring, my work makes manifest my capabilities. It

音機，把我心中微弱的聲音放大到可被感

carries a cognition and affirmation of my abilities, leading me to believe that

覺的聲量。勞動後，作品把我的能力具體

through labouring I can complete a task.

化地展現。它盛載着自我能力的認知和肯 定，令我相信，經過努力，我可成功地完

For years I have used jewellery and small objects as creative media. As time

成一件事。

passes, they have become the embodiment of my own responses to situations and positions, and are the languages that I use to communicate with the world.

我多年來一直以首飾和小型物件作創作媒

These objects are tied to my life experience. For me, creating physical objects

體。久而久之，它們成了我回應自己處境

from materials is the equivalent of creating sentences from disjointed words;

和立場的載體，亦是我跟外界溝通的語

one can find in between the lines my feelings and responses to people, events

言，透過作品來連結個人的生活經驗。在

and objects.

我而言，拿着物料建構出一件又一件的實 體，如同把零星文字建構成一句又一句完

My recent works focused on relations. The development of the city prioritises

整的句子，字裏行間是我的感覺和對身邊

profit and efficiency, gifting the people of this city with opportunities and

種種人和事和物的回應。

conveniences, yet their true needs are neglected – even the people are cast aside, considered redundant, such that indifference prevails and relations

近年作品多着筆於關係。城市發展以利益

become fragile (Miles, Hall, & Borden, 2000). With information overflow and

回報和效率作大前提，為城市人帶來很多

technological developments the chances of interaction are diminished

機會和方便，但人們真正的需要大多不被

(Hopper, 2003). When everyone is busy with their own thing, the pastimes of

重視，人們被忽視或選擇忽視，令關係慢

our time turn from games of interaction between people into digitalised

慢 趨 於 冷 漠 ， 再 而 變 得 脆 弱 ( Miles, Hall, &

personal activities.

Borden, 2000 ) 。資訊充塞和科技快速發展把 人們交流互動的機會減少 ( Hopper, 2003 ) ， 而在各有各忙的處境下，生活的消遣也由 人與人之間互動的遊戲，轉化成電子化的 個人活動。

我以往的創作往往圍繞着對種種社會問題 的察覺，並以作品提問，從而為觀者提供 反思的機會。擔當起母親這個新角色，令 我變得比較主動，我察覺到小孩才剛落 地，實在沒有人生閱歷，哪有思想可以反 思？因此，我在提出問題以作為反省以 外，也想以母愛之情，改善和調節一下人 性化的問題。要發展一個以人為本的生活 環境，就由母子關係開始吧！ 17

我在書本上一面學習兒童成長期的發展， 一面依照書中的描述創作合年齡的小玩意 My past creative endeavours often address my perception of various social

愛玩的原因，一件一件的小玩意便在我們

issues, with my works acting as a form of query, aimed at offering a chance of

家中的工作室推陳出新。

reflection. After becoming a mother, I have taken greater initiative and I realise that my child, being just born, has no experience upon which reflections

書本說兩歲前後是語言發展的時期。我造

can be made. Thus, outside of proposing questions for reflection, I want

了好些和口腔發展有關的小玩意和小兒一

to address the more human issues. To develop a people-oriented living

起玩。水中吹泡泡、小樂器、小紙球 ⋯⋯

environment, I shall start with our very own mother-son relations!

小口每次也先抽一口大氣，全神凝聚 ──

No Limits to Keep on Growing

和他互動。單純出於我愛手作勞動、小兒

吹！氣一吹，物件立刻因而變、動。小 兒每次完成這個大工程也會滿足地笑起

replace: rewarding companionship.

來。快樂也許就是如此簡單。自由自 在、無拘無束的倘佯在自己營造的世界

As I read about child development, I also take reference from the descriptions

裏，享受與人和玩具之間的互動，從中

in the books to create small, interactive toys suitable for my son’s age.

獲 得 最 大 的 滿 足 ， 這 也 許 便 是 遊 戲 了(吳

Simply because I love working on handicraft and my son loves to play, one

幸玲，郭靜晃，2003 ) 。

after another small toys are fabricated from my workshop. 小男生一般不是沉迷「車車」，就是恐 The book says language development takes place before the age of two.

龍，小兒是「車車」一族。我把銅管切成

I have created small toys related to oral development to play with my son –

小段，彎曲成了一系列減除汽車外形細節

blowing bubbles in the water, making small musical instruments, paper balls

的雙圓管，並為它們命名為「車轆」。圓

and so on. Every time, my son will take a big breath, focus, then blow! With the

本身只欠少許推動力就能走動，我倆各選

gust of air objects transmute, become mobile, and my son laughs at the

一輛「車轆」，手指一動，比賽旋即開始。

accomplishment of the feat. Happiness comes perhaps from such simplicity.

時而比快，時而比準，小小的「車轆」把

As he wades with unfettered freedom through the world he has created,

我倆手指頭的小能量變作動能，行上了好

enjoying the interaction with both people and toys, he gains the greatest

多的路。把本來巨大的物件縮小到能把玩

satisfaction – this may very well be the game (Wu & Kuo, 2003).

於手中，我們 就 可 體 驗 到 雙 手 改 變 物 件 的 能力。玩具是把現實世界的精髓和本質

Boys are often either enamoured with cars or dinosaurs, and my son’s passion

留着的簡單版，把玩簡化了、縮小了的現

is with the former. I cut copper piping into sections, bending them into circular

實，讓人和物的距離拉近了 (Collins,2007 ) 。

shapes that bear little resemblance to a car. I named them “Wheels”. Circular shapes can be coaxed into motion with a little propelling. The small “Wheels” gain a boost of kinetic energy from our fingers, travelling great distances.

What is originally a gargantuan object is shrunk to handheld size, so that one can experience how objects can be shaped by bare hands. A toy is a simplified vision of the real world, retaining all the essences and qualities. Playing with a simplified, shrunk-down version of reality allows people and objects to grow closer to one another (Collins, 2007).

成長無界限

I believe a true tactile toy has some spark that its hi-tech counterparts cannot

孩子的生活圈子隨着年齡漸漸廣闊，我不 再是他唯一的玩伴了。我開始做縫繡，在 家中和坊間找來數件方便隨身攜帶的小工 具，如鉤針、編織小板等等，反正成品是 甚麼並不要緊，重要在它是我時間和記憶 As my son ages, his social circle expands and I am no longer his only playmate.

的載體。編呀編，有小手指的長度了；編

As he makes friends at the playground, I start to make embroidery in the

呀編，長度足夠打一個結了；編呀編，進

resulting free time, mimicking more traditional females. I located at home and

入平淡，墮進冥想 ( Gombrich, 1995 ) ⋯⋯回

from shops a few items suitable for carrying, like crochet hooks and small

到小時候和同學們在學校操場中，一條小

weaving panels. It does not matter what the final product is; all that matters is

繩子，你一來我一往的翻過不停。就此我

that it is an embodiment of my time and memory. Weave for a bit, now the

編了一條又一條的繩子。繩子輕巧得可隨

string is the length of my little finger; weave for a while more, now I can tie a

身攜帶，是個帶着無限可能性待你發掘的

knot with it; weave for a while longer, I fall into a mundane reverie (Gombrich,

東西。它回應身體的動能，可幻變出不同

1995) – back to the time when I was a schoolchild, playing string games with

的形態。用它找伴兒們玩翻線遊戲，有需

my friends in the school playground, one flick of my hand, another flick by

要時可結綁物件，想冒險一點的話甚至可

yours; these childhood episodes, perceived through the filter of time, are left

以把你的世界綁起來 ( Sandback, 1989) 。它

only as insubstantial gossamer, yet they still feel familiar. For this reason I

可記下你定義出的不同空間，更可以是母

have woven string after string – light, portable, these are objects of infinite

子間互動交流的題材。

possibilities waiting to be uncovered. They respond to the kinetic energy of the body, morphing into different shapes. They are used for string games, and

手作的過程引證我的能力，作品見證我努

when necessary can be used to tie objects; or if one is adventurous enough,

力的成果，我因而愛上手工勞作。正如小

they can tie up your world (Sandback, 1989). They remember the different

兒吹一口氣、動一下指頭，把自身微弱的

spaces you defined and can be a means of mother-child interaction

能力轉移成動能，把物件變動，他明白到

and exchange.

只需努力，自己的能力也可改變世界，他 因相信自己而快樂。我和小兒一同遊戲

The process of making by hand demonstrates my capabilities. My pieces are

時，身體力行，互相啟發、溝通 ( Winnicott,

the fruits of my labour, and this is why I love handicrafts. Through a breath of

1971) 。我們一起玩，一起成長，一起發現

air or a flick of his fingers, my son can transfer his minute energy into motions,

新事物。他如同清風吹醒了我，帶我回到

making objects move, witnessing how his efforts and abilities can change the

本已忘掉了的童年，重新發現以往未留意

world, and finding happiness through make-believe. When I play games with

的小事小物，令我對生活多了一層體會。

my son, we engage in physical contact, communicate with and inspire each other (Winnicott, 1971). We play together, grow together, discover the new together. Like a breeze of wind he has awakened me, bringing me back to a childhood that has long been forgotten – a life where the previously unnoticed is rediscovered; a life of enriched experiences.

Works Cited ` Collins, J. (2007). Sculpture Today. Phaidon Press. ` Gombrich, E. H. (1995). The Story of Art. Phaidon Press. ` Hopper, P. (2003). Rebuilding Communities in an Age of Individualism.

Aldershot: Ashgate. ` Miles, M., Hall, T., & Borden, I. (Eds) (2000). The City Cultures Reader.

London: Routledge. ` Sandback, F. (1989). Children's Guide to Seeing.

Houston: Contemporary Arts Museum. ` Winnicott, D. W. (1971). Playing and Reality. Middlesex: Penguin. ` Wu, Hsin-Lin, & Kuo, Jing-Houng (2003). Play and Early Childhood Development / 吳幸玲，郭靜晃 (2003) 兒童遊戲，遊戲發展的理論與實務 .

Taipei / 台北: Yang Chih Books / 揚智文化 .

當 學 生 真 好！！ 王鈴蓁 助理教授

It’s Great to Be a Student !!

去年暑假，我到美國西雅圖的森林玻璃學

Wang Lin g J ea n , Su n ny

家 Jon Chapman 和 Amie McNeel 研究如

As sista nt Professor

何透過木頭、鐵材、磚塊與石膏模協助玻

校 (Pilchuck Glass School ) 當助教兩週半，

今年暑假，我幸運地獲得美國康寧玻璃博 物館 ( Corning Museum of Glass) 的吹玻璃課 程獎學金，獎學金已包括課程學費和兩週 的住宿費，我更自費參加了一個為期一週 的燈工 (Lampworking) 玻璃課程。每天早

No Limits to Keep on Growing

璃吹製成型，把創意轉化成為藝術。

19

學習如何支援老師與協助同學，也跟藝術

七晚十一的工作營，需十分專注的活在當 但充實有勁，當了八年老師，能換個角色 當學生，覺得非常幸福，再忙再累都甘之 如飴。 燈工課程的老師是著名的玻璃花紙鎮藝術 家 Debbie Tarsitano。Debbie 教學專業、仔 Zen Stones encasing, with Debbie Tarsitano, 2015 July at Corning Museum of Glass.

細、溫柔，即使是最難搞、最麻煩的學

2015年7月 在美國康寧玻璃博物館與Debbie Tarsitano合作的玻璃禪石

生，她一眼就能看出他們的優點，並一一 稱讚，實在讓我們十分佩服！

I went to Seattle last summer to work as a teaching assistant at Pichuck Glass School. I supported teachers and assisted students, and learned with

六個同學中，我的燈工技法最差勁，有十

artists Jon Chapman and Amie McNeel how to shape glass with the help

幾年沒練習過，而且我習慣拿大吹管，小

of wood, iron, bricks and plaster moulds, turning creative vision into art.

玻璃棒實在不好感覺，對我的挑戰很大。 最初三天，我要推高手神經的敏感度，視

This summer, I had the good fortune of being offered a scholarship by the

線也要如加了放大鏡般放大幾倍，令我感

Corning Museum of Glass in the US, which covered the tuition fees and two

到好吃力！我再次感受到玻璃藝術每項技

weeks of stay. I also joined a one-week lampworking course, which I paid

術是何等艱深，就如篆書、楷書、行書、

for on my own. At the workshop that lasted from 7 in the morning to 11 at

草書等不同的中國書法，各有千秋。

night, I had to stay vigilant every single moment as any lapse of attention would result in painful burns. It was an exhausting yet immensely satisfying experience, and after spending eight years as teacher it felt like a blessing to be a student again. I am deeply thankful for this opportunity.

The teacher of the lampworking course was the renowned glass paperweight artist Debbie Tarsitano. Debbie was professional yet gentle, and she could see the best in the most difficult students. We were all very impressed!

成長無界限

下，不然就會被火紋傷；每天過得雖累，

課程的後三天，我終於進入狀態了。經過 一連串的實驗與失敗後，我終於成功做出 我有史以來最小的玻璃禪石！老師很讚 賞，我自己也很興奮，尤其是第一個高溫 真空熱熔鑄的黑白禪石紙鎮出爐後，我自 己都愛不釋手，原來小型作品都可以這麼 可愛，都可以這麼有成就感！ Among the six students taking the course I had the most difficulty with

吹製玻璃課程的老師是來自西雅圖的一對

lampworking, having been estranged from the art for over a decade. I was

美國藝術家Boy Sugiki 和Lisa Zerkowitz。每

used to handling large-sized blow pipes, and the small glass rods were

個人談起他們的教學，都讚不絕口；他們

a big challenge to me. In the first three days I had to adjust my reflexes and my

的教學與一般吹製工作室 ( Hotshop ) 大聲

vision to become exceedingly fine, and it was quite a challenge!

吵鬧的教學方式截然不同，兩位老師與助

I discovered again the intricacies of the various glass art techniques, which are

教都相當溫文安靜，同學看示範時，耳朵

not dissimilar to the diverse and elaborate styles of Chinese calligraphy.

都得拉長來仔細聽講；同學分三組練習， 老師、助教會因應每個同學的狀況個別指

In the 3 days that followed, I became more accustomed to the way of

導：手與工具如何用力、用力位置在哪、

lampworking. After a series of experimentation and many failures, I finally

工具角度與作品成型的弧度等等，很多表

succeeded in shaping the smallest glass zen stone I have created so far.

面看不到的細節與內力着力點，老師都會

My teacher was happy with it and I was elated. I found particular satisfaction in

每個步驟仔細講解。吹玻璃其實就像練功

my first black-and-white zen stone created by vacuum encasing. Who would

夫，三年、五年只是入門基本功，如不了

have thought there is so much satisfaction in creating this tiny object?

解箇中道理勤奮練習，努力不對力，也成 不了大師。技術練成了，還要修養自己的藝

The teachers of the glass-blowing course were Boyd Sugiki and Lisa Zerkowitz,

術品味，加上個人靈感與對人、事、物觀察

both from Seattle and highly acclaimed among students. Their teaching was

的敏銳度，才能成就一個好的藝術家！

unlike the conventional hotshop-style glass-blowing workshop: the teachers and assistant worked quietly and gently, and the whole class watched

能當學生真好！！

their demonstration with rapt attention. The class practiced in three groups with teachers and assistants giving guidance according to the progress of each student: where and how to exert force with hands and tools, the angle of the tools and the curvature of the formation and such. Many of the internal workings and exertions were not evident by plain sight, and as such the teachers explained and dissected each step in detail. Glass blowing is much like kung-fu training: with some three to five years of training one can only grasp the basics. If one fails to intuit the finer aspects of the art and practice diligently, or have misplaced the efforts, one could never become a master. And even after one has mastered the techniques, one has to hone the artistic senses, find inspiration, and develop a sensitivity toward people and objects. Only then can one become a true artist!

It’s great to be a student!!

向日惹 學習

Ng Siu K ing, K in gs ley

伍韶勁

As sista nt Professor

助理教授

The Asian Cultural Council provided support to me to research social

我獲得亞洲文化協會支持我探討美國和

innovation through artistic practices and strategies in the United States and

東南亞地區如何透過藝術實踐和策略達

throughout Asia. One of my destinations was Jogjakarta.

至 社 會創新。研究計劃的其中一個地點是

21

Learning from Jogjakarta

No Limits to Keep on Growing 成長無界限

日惹。 Managing luggage through the Jogjakarta international airport can be a bit rough.

在日惹國際機場處理行李，少不免要經過 一番折騰。

After going through customs, passengers gather behind a rope, and watch all the checked-in luggage pile up until there is no room left. Then, all of a

通過海關後，旅客得在繩子後面聚着，看

sudden, the rope is lifted and the competition begins: those with greater

着一件一件的托運行李堆起來，直到堆得

agility move through and catch their bags; those travelling in small groups

滿滿的。然後，突然間，繩子鬆開了，比

form human conveyor belts for passing luggage through the sea of people.

賽也正式開始了：較為矯捷的人會突圍越 過人群，迅速提取自己的行李；結伴同遊

The anecdote is telling of how things work in Jogjakarta. Amid active volcanoes

的則會排列出人肉輸送帶，把行李運過

and occasional earthquakes, with insufficient infrastructure improvement

人 海。

since the fall of Suharto, people here rely on collectives to get things done. 這樣的軼事正好讓我們了解日惹的處事模 式。在一片火山活躍且地震偶發的大地 上，該處的基礎建設自蘇哈托政權垮台後 再沒有得到重大改善，當地人都是靠群策 群力來把事情辦好。

In the sharing economy, many look up to young entrepreneurs from Silicon Valley and beyond – house and car sharing, co-working spaces, crowd-funding and micro-financing, etc. At the heart of all these is friends coming together to help one another and share resources.

在分享型經濟當下，許多人對來自矽谷 以至其他更優越地方的青年企業家抱有

Interestingly, the collective activities here predate many tech-savvy examples.

期 望 ── 與他人共享房子和汽車、共用工

“Arisan” is a form of rotatory saving, where members of a community put small

作空間、進行群眾募資和促成小額貸款

amounts together, and everyone takes it in turn to yield the sum. For affluent

等。以上種種無不出於朋友間的守望相

Indonesians, it is an essential part of social gathering; for the less privileged, it

助，共享資源。

is their form of micro-financing. 有趣的是，這裏的群策群力活動比上者更 Jogjakarta is also known as “kota seniman”, the city of artists. It is not surprising

早深入民心。「Arisan」是一種輪轉儲蓄方

that artists here take the “arisan” tradition to the next level.

式，社區內民眾把自己的一點積蓄交出， 聚沙成塔，然後輪流提取使用。對於富裕

On any given day, one finds half a dozen motorcycles parked outside KUNCI, a

的印尼人而言，這是社交聚會的重要一

cultural collective founded in 1999. Co-founding member Antariksa was having

環，而對於經濟環境欠佳的印尼人來說，

three meetings at the same time when I paid my visit.

則是一種小額融資方式。

While he was an undergraduate at Gadjah Mada University in the late 1990s,

日惹又稱「kota senima」，即藝術家之都。

he was involved in the protests that toppled Suharto. Frustrated by the lack of

這裏的藝術家把「Arisan」的傳統引領到嶄

independent research in Indonesia, he co-founded the country’s first cultural

新水平，實不足為奇。

studies centre. Currently KUNCI has eight team members and many volunteers, occupied with critical knowledge production and sharing through media

無論何日何時，KUNCI 門外都會有六輛摩托

publication, cross-disciplinary encounter, research-action, artistic intervention

車停放着；KUNCI 是於 1999 年成立的文化

and vernacular education.1

匯集中心。在我探訪當日，KUNCI 的聯合創 辦人 Antariksa 同時在內參與三場會議。

Antariksa, who had just got back from a four-year research residency in Japan, evinced that even though they did not receive any funding in the first seven

90 年代末，當他還是加札馬達大學 (Gadjah

years, they did not give up. They have gradually received project grants from

Mada University ) 學生的時候，就曾參 與 推

local and international bodies in recent years.

翻蘇哈托的示威活動。由於不滿印尼 缺乏獨立的研究機構，他遂與夥伴合力創

Another member, Brigitta Isabella, an anthropologist, introduced herself before

辦了全國首間文化研究中心。目前，KUNCI

hopping to another meeting on the front porch. Her up-coming project in

有八名團隊成員和眾多志願者，大 家 都 忙

Hong Kong with Para Site will be a series of writing workshops with migrant

於 透 過 媒 體 發 佈 、跨學科交流、研究行

workers in Victoria Park.

動、藝術干預和方言教育這些媒介，將重 要的知識和訊息分享開去。 1 Antariksa 在日本剛剛完成為期四年的研究 返國，他力指他們的研究團隊即使在最初 的七年完全沒有接受到一分一毫的資助， 他們都並沒有放棄。近年來，他們才開始 陸續得到本地和國際機構的計劃資助。 另一位成員Brigitta Isabella，在自我介紹後 便隨即趕往前廊參加另一場會議，她是一 名人類學家，即將在香港聯同 Para Site 藝

1

“About Us | KUNCI Cultural Studies Center.” Accessed August 3, 2015.

術空間合作，向在維多利亞公園聚集的外

http://kunci.or.id/about-us /

籍傭工開辦一系列寫作工作坊。

「關於我們 | KUNCI文化研究中心」http://kunci.or.id/about-us/，2015年8月3日。

At sunset, one can try out some Gudeg from the street, or dine at a fancy artist-run establishment, such as Kedai Kebun Forum. KKF consists of a gallery, performance space, a shop and a restaurant. Almost all activities are supported by the latter’s income. The shop sells products made to fundraise for the Kaleidoskop Project, a biennial exhibition for young artists to present in Jogjakarta.

Just around the corner is Cemeti Art House, one of the most established and 有名的印尼菜餚Gudeg，或在藝術家經營

international arena. They currently focus on international exchange through

的特色企業用餐，Kedai Kebun Forum ( 下

residency programmes and process-based practices.

稱「KKF」 ) 就是其一。KKF 由畫廊、表演空 間、商店和餐廳組成，幾乎所有的活動都 是由後兩者的收入支持。為「Kaleidoskop 計 劃 」 籌款的商品也都有在商店內出售， 「Kaleidoskop 計 劃」是 日 惹 兩 年一度的展 覽，特別供年輕藝術家展出作品。 轉角處便是 Cemeti 藝術之家，這是其中一

No Limits to Keep on Growing

日落時分，人們可以在街頭品嚐當地赫赫

Jaarsma 27 years ago, it has been a hub for local artists to springboard into the

23

influential artist-run spaces. Founded by Nindityo Adipurnomo and Mella

間歷史最悠久、同樣是由顯赫藝術家開設 Mella Jaarsma於 27 年前設立Cemeti 藝術之 家，這裏自此成為當地藝術家躍進國際 舞台的台階，他們目前專注開辦駐外實 習計劃和過程為本的實務工作，促進國 際交流。 在我訪問期間，Nindityo 舉辦了一場分享 During my visit, Nindityo was very kind to have hosted a sharing, when I

會 ， 我 有 幸 親 眼 一 睹 C e m e t i 的“ F a n s

witnessed Cemeti’s “fan club”—besides local practitioners, Professor John Clark

Club”── 除了當地藝術從業者外，悉尼

of Sydney University, Taiwanese curator Amy Cheng and artist FX Harsono

大學的 John Clark教授、台灣策展人鄭慧華

were among the guests.

和藝術家 FX Harsono 均為席上客。

Some may then call it a night, but the energetic may wander down to Mes 56,

分享會過後，有些人會溜到 Mes 56 藝術空

a collective working with photo-based media. Originally a place where

間再聚。Mes 56 是一所以照片媒體為主的

artists share equipment and facilities, after the ban of alcohol in small shops

集體工作室，本來就是藝術家共享設備和

and convenience stores, it has also become the place to go to for cheap

設施的地方，但自從印尼的小商店和便利

beer and homemade wine.

店禁止出售酒精飲料後，這裏也成為了大 家享用廉價啤酒和自釀美酒的地方。

For Hong Kong, with the temporary closure of the Museum of Art and a long way to go before the completion of M+ and Central Police Station, perhaps

在香港而言，藝術博物館暫時關閉，而 M+

much can be learned from cases like Jogjakarta, where artists do not only create

視覺文化博物館和中區警署活化項目的落

artworks, but also collectively cultivate a sustainable ecology for all. The

成日仍遙遙無期之際，我們大可借鏡日惹

model of “arisan” can build the vital infrastructure for many generations to thrive.

目前的情況；當地藝術家不僅創造作品， 也群策群力為所有人開創可持續的生態。 「Arisan」模式可以築起基建的骨幹，讓未 來世代得以繼續蓬勃發展。

成長無界限

的藝術空間之一。Nindityo Adipurnomo和

Journey to New Haven Parr y Ling 20 14 MVA G raduate ; Tec h n icia n / Demon st rato r

紐黑文之旅 The Yale-China HKETO NY Fellowship provided an impressive six months’ residence for me to explore and study New Haven and Yale with my

凌展騰

view and arts.

2 0 1 4 視覺藝術碩士畢業生； 技術員 / 實驗室指導員

In the fellowship programme, my major research focuses on the life cycle of sculpture, and I studied global food systems in the School of Forestry and Environmental Studies. I was interested in the topic of food waste caused by

參與雅禮藝術研究員項目，讓我獲得一

misshapen and unattractive fruit and vegetables, because it involved

個難忘的半年駐訪機會，我帶着理念和

aesthetic and human perception. Compared to my classmates, I had much

藝術到美國紐黑文地區與耶魯大學探索

more time for field research in New Haven since I was an arts fellow instead

和學習。

of a regular student. I began by visiting a variety of local farms, community farms, farm markets, grocery stores, schools and NGOs related to food. In

駐訪期間，我研究的主要對象是雕塑的生

the course of my field research, I was not only able to get local and current

命周期，另外我也選修了林業及環境研究

information from the residents, but also to explore and understand the

學院的全球食物系統。蔬果變形和外表有

neighbourhoods of New Haven such as Hills, Fair Haven, Westville and Dixwell.

欠吸引往往會導致浪費食物，這個題目令

Each neighbourhood is not large – their sizes are similar to Shatin or Fotan –

我很感興趣，因為它涉及美學和人類的認

but there is a strong and vivid community.

知。由於我是藝術研究員而非全日學生， 我比同學擁有更多時間在紐黑文做實地研 究。我開始走訪多個本地農場、社區農 場、農墟、雜貨店，以及與食物有關的學 校和民間組織。研究期間，我不但獲居民

提供本地和最新的資訊，還探索和認識了 毗鄰紐黑文市的希爾 ( The Hill ) 、費爾黑文 ( Fair Haven ) 、西維爾 ( Westville ) 、迪斯威爾 ( Dixwell ) 等地區。雖然這些區域就如沙田 For example, in Dixwell, the most impressive neighbourhood for me, there is

或火炭般面積不大，不過都有團結而活躍

an African–American community. Kidz Kook Association is an NGO based

的地區社群。

in Dixwell in which the volunteers teach and guide the kids to eat and cook nutritious food. The director of Kidz Kook, Tennille Murphy, not only showed me her vision and programme for health food but also guided me to understand and study the African-American community. She told me about 25

the history and culture of soul food (an African-American food style) and explained how it related to the slave history of America. Nowadays, it not only

No Limits to Keep on Growing

still affects their perception of food, but also damages public health in the US and even worldwide. In May, she invited me to make a sculpture of her community leader, Diane Brown, in appreciation of her many years of contribution to the community, during the International Festival of Arts and Ideas. Eventually, I carved an African-style wooden likeness of her within two days. Producing the sculpture built up trust between Diane, Tennille and I, so that they shared their friendship, culture, dance, music and food with me as a family. Even though Dixwell is one of the poorest places in New Haven, where crimes and violence are common, the people never give up and try Tennille's Kidz Kook workshop in International

made by Tennille and Diane. To engage the community in African culture,

Festival of Arts and Ideas

we may even plan to create a collaborative performance for next year’s

Tennille 於國際創意藝術節的Kidz Kook工作坊

International Festival of Arts and Ideas. 舉個例子，令我印象我最深刻的迪斯威爾 裏 有 個 非 裔 美 籍 社 群。Kidz Kook Association 是當地一個民間組織，由義工教導兒 童食用和烹調有營養的食物。組織總幹事 Tennille Murphy 不但跟我分享她對健康飲食 的願景和推廣計劃，還帶我理解和認識當 地的非裔美籍社群。她告知我騷靈飲食（非 裔美式飲食）的歷史和文化，並解釋它跟 美洲黑奴歷史的關係。這段歷史不但仍然 影響非裔美籍人士對食物的觀感，還損害 美國以至全球的公眾健康。五月時，她邀 請我為她們的民眾領袖 Diana Brown 創作雕 塑，以在國際創意藝術節表揚她對社群的 多年貢獻。最後我花了兩日為這位領袖製 成一個非洲風格的木雕。製作木雕過程 Yale Farm

中，Diana、Tennille 和我彼此建立了信任，

耶魯農場

她們視我如家人一樣，跟我分享她們的友 誼、文化、舞蹈、音樂和食物。雖然迪斯 威爾是紐黑文最貧窮的地方之一，罪案和 暴力事件頻生，當地人一直沒有放棄盡力 改善自己的生活和幫助下一代。我見證了 Tennille 和 Diane 的耕耘。為了鼓勵當地非 裔民眾投入，我們可能會籌劃一個協作演 出，參與明年的國際創意藝術節。

成長無界限

their best to change their lives and help the next generation. I saw the efforts

你可能不清楚國際創意藝術節是甚麼。其 實，國際創意藝術節就是普羅巿民與大學 師生互動而雙方互惠互利的最佳例子。這 You may wonder what the International Festival of Arts and Ideas is. Actually,

個藝術節是一個為期15 天的活動，節目內

it is positive evidence that the “town and gown” relationship is mutually

容包括表演藝術、講座和對話，目的是紀

beneficial. It is a 15-day festival of performing arts, lectures, and conversations

念世界各地最偉大的藝術家和思想家。當

that celebrates the greatest artists and thinkers from around the world. A lot

中很多講座、劇場表演和節目都由耶魯大

of lectures, theatre and programmes were supported by Yale University. Many

學贊助，很多耶魯學生亦有機會參與活動

Yale students had an opportunity to get involved in the preparation and

的籌備和執行工作。這個活動每年都為紐

execution of the festival too. Annually, it creates a great economic impact and

黑文帶來巨大的經濟利益和製造就業機

job opportunities for the city. From my point of view, the stronger impact

會。從我看來，活動最大作用並非製造了

is that it not only relaxed and delighted the local people, but also provided a

機會讓當地人得到放鬆和享樂，而是提供

platform for a variety of communities in New Haven to introduce their

了一個平台，讓紐黑文不同的社群透過藝

culture and concerns through the arts and events. For example, 80 per cent of

術和活動，展示他們的文化和關心的議

the events are free for the public, and everyone can attend the classes and

題。譬如，活動八成節目都免費讓巿民參

workshops held by different organisations. I attended a few of the dance

與，所有人都可參加不同組織主持的課堂

classes about African-style dance and dance therapy for Parkinson’s patients.

和工作坊。我參加了幾個有關非洲舞蹈和

They not only demonstrated and taught the participants how to dance, but

幫助柏金遜症患者的舞蹈治療課堂。課堂

also showcased their work and encouraged cultural dissemination in their

導師不但示範和教導參加者如何跳舞，還

community. It helped the public to understand the New Haven neighbourhoods.

介紹他們的工作和鼓勵大家在社區裏推廣

In New Haven Green, during this festival, there are daily concerts and

文化。活動有助公眾認識紐黑文各個社

performances to engage the people, encourage them to put their character

區。這一屆藝術節每日都在紐黑文公園舉

and race aside, to have fun together and let them sense the good of

行音樂會和表演，以提高公眾的投入感並

neighbourhood. I feel honoured that I was invited to hold the workshop and

鼓勵他們拋開日常的角色和種族，一同享

exhibit my six months’ research in the School of Arts gallery during the

樂和感受社區的美好。很榮幸我亦獲邀主

festival. In my workshop, I demonstrated and taught the public how to make

持工作坊和在藝術學院畫廊展示我在半年

a Chinese scale to show their concern about their lunch boxes. I not only

以來的研究成果。在工作坊裏，我示範和

earned their smiles and appreciation, but also learned more about their daily

教導公眾製作中式秤，並以之表達他們對

lives and concerns about the US via our chats.

午餐飯盒的憂慮。我的回報不單是參加者 的笑容和讚賞，我還在聊天時進一步認識 到他們的日常生活和關心的美國議題。

Parry showed the Dixwell key to Diane Brown 凌展騰向Diane Brown彈奏迪斯威爾的音調

你或許期望在學校裏找到自己想要的一 切，可是真理和現實往往在校門之外。身 為雕塑家，我的專業是創造新的形象和發 掘新的脈絡去表達我關心的事。雕刻、造 型和製模等只是我在創作室裏需要的技 巧，但如果我希望對我關心的事認識更 多，我就必須走出創作室；不過，保持雕 塑家的思維有助我探索外面的新世界。懂 得如何結交朋友和與人合作，雕塑家才會 遇上最好的工具和創作空間。感受城市和 27

郊外的生態和系統，雕塑家才會知道何謂 完美的縫接技術。我明白香港人缺乏時間 都需要並渴望獲得關懷和愛心，嘗試跟社 區裏的人做朋友、關心他們所關心的事， The freeze rope workshop for Educational Center for Arts

你可能會發掘到與別不同的創作空間和創

為藝術教育中心開辦的冷凍繩結工作坊

作脈絡。明年我會以協作項目形式再次參 與國際創意藝術節。 Sculptorpriori.wordpress.com.

No Limits to Keep on Growing

和空間欣賞和理解社區創作，可是每個人

成長無界限

Parry open studio in the International Festival of Arts and Ideas 凌展騰於國際創意藝術節開放工作室

You may desire to find everything you want in schools; however, truth and reality is outside the school gate. As a sculptor, my profession is to create a new form and structure for what I am concerned about. Carving, modelling and casting are only techniques used in the studio part of my profession. If I want to know more what I am concerned about, the studio has to be put aside, but keeping the sculptor’s mind will help to explore the new world outside. By understanding how to make friends and cooperating, the sculptor will gain the best tools and studio. By sensing the ecology and systems of the city and country, the sculptor will have the best idea of a jointing technique. In Hong Kong, I know people lack the time and space to appreciate and understand artwork in community. However, everyone needs and desires to be cared for and loved. Try to be friends with them and care about what they are concerned about; it may help to find your own alternative studio and structure of artwork.

Next year I will participate in the International Festival of Arts and Ideas again for a collaborative project.

Sculptorpriori.wordpress.com.

02 Visu a l Ar t s à l a C ar te 視藝任選餐單 P. 30 — 34

P. 46 — 49 HEUNG __ A Plea for ‘Visual Dialects’

City Metaphors:

and the Power of Local Cultural

A University Collaboration Project

Diversity in Hong Kong

城市的象徵：大學協作計劃

香 ── 「視覺對話」及香港多元

P. 50 — 55

本土文化力量的訴求

Kai Tak at Graduation __

Sound Art Workshop

啟德校園畢業季 ──

P. 35

MVA Graduation Show 2015 Review 聲音藝術工作坊

P. 36 — 37

視覺藝術碩士課程畢業展 2015 藝評

P. 56 — 59 Combining New Technology and

Designing Experience:

Traditional Crafting:

‘The Ballerina on the Elephant’

Haptic InterFace Workshop 2015

設計體驗：「大象上的芭蕾舞女子」

新技術與傳統手工藝的結合 ──

2015年觸覺界面工作坊 P. 38 — 41 Designing Books on Reading: A Joint Adventure between Hong Kong and Germany 為閱讀設計書籍：香港與德國攜手探險

P. 42 — 45 Seeing It Through __ BA (VA) Graduation Show 2015 Review 看透究竟 ── 本科畢業展 2015 藝評

P. 60 — 67 AVA Event List 視覺藝術活動一覽

[Fig. 2]

HEUNG __ A Plea for “Visual Dialects” and the Power of Local Cultural Diversity in Hong Kong

香 ── 「 視 覺 對話 」 及香港多元 本 土 文 化力量 的 訴求 羅小弟 駐校藝術家

R oma n Wilhelm Ar t ist in R esidence 2015 年1 月6日至 3 月14 日期間，我在香港 浸會大學視覺藝術院擔任駐校藝術家。我 From 6 January to 14 March 2015, I was an artist in residence at Hong Kong

除了指 導「以城巿為書」（City as a Book ）

Baptist University, Academy of Visual Arts (AVA). Alongside teaching duties on

這個書籍設計速成班外，還進行藝術創

an intensive course on book design (entitled “City as a Book”), I was able to

作，作品在 2015 年 2 月26日至3月3日於九

develop an artistic project, scheduled to be exhibited at the AVA gallery in Choi

龍彩虹的視覺藝術院啟德校園畫廊展出。

Hung (Kowloon) from 26 February to 3 March 2015. From the start, I wanted to

從一開始，我就希望以香港不久前發生的

relate my work to the recent Umbrella Movement in Hong Kong and express

雨傘運動作為題材，以表同感和支持。可

my sympathy and support. But how should that be achieved, given the fact

是，沒有參與這場運動的我該用甚麼手法

that I didn’t participate myself? Using the colour yellow or umbrellas would

表達主題？使用黃色或雨傘容易流於庸

have been just cheesy. Thus, my research started from a less popular, more

俗，因此我着手研究香港這個政治現象

linguistic side of the current political Hong Kong phenomenon: the Cantonese

時，採取了一個較冷門和偏向語言學的角

language ( 廣東話 guǎngdōnghuà).

度：廣東話。

Every school kid, every foreign Chinese student, learns that the character 香 means “fragrance”, and 香港 “fragrant harbour”. However, not so many people, even in China, are very much aware of the fact that there is more than one spelling for these characters: the local Cantonese spelling (heung1 gong2, from which the English name Hong Kong is derived) and the more global Mandarin spelling (xiāng gǎng) – the first being commonly used throughout the city, the latter more by Peking-obedient politicians.

litical stench’ in Hong Kong”, and, at the same

道它的意思指「香氣」，是

time, I began to research what could possibly

跟「香港」有關。然而，即

represent Hong Kong’s identity as a “visual

使在中國，也很少人關心

dialect”. After getting off at the wrong bus

這個字有多於一個的拼

stop, I recognised that I had for a long time

法，就是本地廣東話拼音

been unwittingly passing by a crucial element:

heung1 gong2 (Hong Kong

the unique style of Hong Kong’s street mark-

的英文音譯亦由此而來) 與

ings – the characters on the asphalt [Fig. 1].

全球較為廣泛採用的普通

Because these markings are still hand-let-

話拼音xiāng gǎng ── 香港

tered using paint-rollers even today, their ap-

人普遍使用前者，而擁護

pearance is highly unlike that of any other

北京的政治人物則傾向使

Asian city. First, their English–Chinese layout

用後者。

strongly represents Hong Kong as a bilingual place. Secondly, the Chinese characters used

我開始將兩個拼音涵意推向

are always accompanied by their Cantonese

兩極：如果「香 (heung 1)」

transliteration, such as “牛頭角 – NGAU TAU KOK”, if not their English translation

[Fig. 1]

指「香氣」，那麽「香(xiāng)」就指「香港

of place names, such as “北角 – NORTH POINT”. Thirdly, unique local designs

的政治臭氣」。同時，我開始思考甚麽能

can be observed, such as a calligraphy-inspired hooked 不 (bat1, “no”) character,

夠代表香港的「視覺對話」身份。下錯巴

allegedly written in that way for better distinction from 𣎴 (dan2, “tree stump”),

士那一刻，我猛然醒覺自己一直在不知不

a rare character used in local place names. And, finally, these road markings –

覺間錯過一個重要元素：香港獨特的路面

characters and colourful patterns at the same time – represent a dense visual

標示── 瀝青路上的文字 [Fig.1] 。時至今

texture upon which the students had been actually walking on during the

日，這些標示仍以油轆手寫，效果跟亞洲

Umbrella Movement; therefore in this I had found the visual element I so

其他城市的路面標示大相逕庭。首先，

desperately needed for my project. However, I also knew at once I had to

中英文並列是香港作為雙語城市的明顯

develop a typeface of several hundred characters first. It quickly had a

特 徵；第二，中文名稱均伴以英文意譯，

name, in Cantonese for sure, “香港馬路體 (heung1gong2 maa5lou6 tai2)” or

如「北角 NORTH POINT」，如無英文翻譯，

just “Hong Kong Street Face”.

一律以廣東話音譯，如「牛頭角 NGAU TAU KOK 」；第三，標示採用的字體本土特色明 顯，例如「不」字 繼 承 了 書 法 的 勾 ， 方 便 與「𣎴」字（音dan2，如樹𣎴，罕見或只用 於本地地名）區別。此外，這些路面標示的 文字和彩色圖案與在它們上面走過的雨傘 運動學生，呈現出一種鮮明的視覺質感。 這正正是我的創作計劃需要的視覺元素。 我立刻想到我必須先用數百個字元建立一 種字體，字體也很快就有了名字，當然是 用廣東話取名的 ──「香港馬路體」(Hong Kong Street Face )。

視藝任選餐單

文字「香」的時候，都會知

Visual Arts À la Carte

海外每個華人學生學習中 31

I started to polarise: “If 香 (heung1) meant ‘fragrance’, then 香 (xiāng) had to signify ‘po-

To express a sense of fragility, I decided to fill the exhibition space with a series of posters, hand-cut instead of printed. The visitor needed to walk through the room to be able to really read the messages, for they were not all legible from a single perspective [Fig. 2] , and to be able to piece together the central statement “Hong Kong’s visual identity speaks many languages – and dialects.

Please mind the cultural gap”. Other messages are only tangible for those familiar to Hong Kong, such as the fictitious road marking “TO NORTH POINT 往北角 / TO NORTH KING 往北京 ”, the first half referring to a

為了呈現脆弱的感覺，我決定用一系列人

very local place name ( 北角 bak1gok3), the latter to the Chinese

手剪裁而非機器列印的海報填滿展館空

capital ( 北京 bak1 ging1, the Cantonese spelling of ‘běijīng’

間。由於展覽中的訊息不能從單一角度

being the original source for the English “Peking”), where all

[Fig.2] 完整看到，訪者 必 須 穿 越 空 間 才 能

things Hong Kong are decided from nowadays, far away. An

看到所有訊息並湊拼出展覽的核心思想：

incorrect translation back to English (“king” for capital) adds an

「香港的視覺身份由多種語言及對話組成。

even more bitter taste to the message. To explain another ex-

請小心文化空隙。」部份訊息只有諳熟香

ample, “LOK FU 樂富 / LOOK FOOK 六福 ”, again a real place name

港的人才能解讀，例如在虛構的路面標示

( 樂富 lok6fu3, meaning “happiness in abundance”), has been

「TO NORTH POINT 往北角 / TO NORTH KING

contrasted with the name of the most prevalent jewellery

往北京」中，前者是香港人熟識的地區，而

chain store in the city, 六福 Lukfook. “SHOPPING 買嘢 / SHOP-

後者則是中國首都（「北京」的廣東話拼音

PING 鳩嗚 ” tells a different story, directly related to the Umbrella

bak1ging1，源自英文Peking），暗示香港

Movement. When the government tried to mobilise citizens to

一切決策今後都由遠方作主。「京」的正確

go to the barricades against the students, they had to send

英文意譯雖非 King，但以 King 表示一國之

people in from the mainland, crossing the border to Hong

首都又使暗喻的意味更添苦澀。再解譯一

Kong under the pretext of shopping ( Mandarin: 購物 gòuwù ).

些例子。「LOK FU 樂富 / LOOK FOOK 六福」

Rumour has it that a few of them never dug it and kept on

中的前者是香港一個真實存在的地區，意

asking for the mall. Now, since shopping is “買嘢 ( maai5ye5)”

指富足歡樂，後者則是遍佈城中的六福珠

in Cantonese, the students quickly branded a new vocable,

寶 連 鎖 店（ L u k f o o k ）， 兩 者 讀 音 十 分 接

phonetically mimicking the Mandarin term using Cantonese

近。「SHOPPING 買嘢 / SHOPPING 鳩嗚」

spelling – “鳩嗚 gau1wu1” was born, cynically referring to the

是另一個故事，跟雨傘運動有直接關係。 政 府 動 員 中 國 內 地 的「市民」以 來港購物

futile attempts by the government to establish an opposition

（普通話拼音 gòuwù）為名，跨越邊境到警

among Hong Kong citizens [Fig. 3].

方防線制衡參與運動的學生。據聞部份從 However, that is not really what mainlanders learn about Hong

內地來港的「市民」始終不明就裏，還一

Kong. I still remember a friend, who is also one of China’s most

直問購物商場在哪兒。由於「購物」的廣

renowned typographers and researchers of the young genera-

東話是「買嘢」，學生很快便利用類似普通

tion, saying to me Hong Kong is just boring to him, the hidden

話 的 廣 東 字 創 出 新 詞 ──「 鳩 嗚 」於 是 誕

message probably being: Hong Kong is not a place of genuine

生，用以諷刺政府嘗試營造反對香港市民

Chinese culture. I dare say I don’t think anybody would be

的勢力卻徒勞無功 [Fig. 3]。

able to define what contemporary Chinese culture really is. In other words: Quo vadis, China? It might be a nightmare come

可惜，這並非內地人認識的香港。我的一

true, a city full of cloned Luk Fook branches, local culture to be

個年輕朋友是中國其中一位最知名的字體

found exclusively in the Heritage Museum, local language

設計師兼研究員。他曾告訴我他覺得香港

only in advertisements.

很無聊。這話背後的意思大概是：香港沒 有真正的中國文化。可是，我敢說沒有人 能闡明當代中國文化的真正意涵。換句話 說：Quo

vadis,

China?（中國，你往哪裏

去？）惡夢可能成真，這個城市將只會充 斥着一間又一間千篇一律的六福珠寶分 店，本土文化將只放在歷史博物館裏陳 列，本地語言亦將只會在廣告裏出現。 [Fig. 3]

0:00

1:00 PU TONG HUA

2:00

BELL RINGING (2X) PU TONG GUANG HUA DONG HUA

GUANG DONG HUA

PU TONG HUA

ENG LISH

ENG LISH

GUANG DONG HUA

PU TONG GUANG HUA DONG HUA

PU TONG HUA

ENG LISH

ENG LISH

TRILINGUAL BEEPING OF CLOSING DOOR SAFETY ANNOUNCEMENT

3:00

GUANG DONG HUA

PU TONG HUA

ENG LISH

TRILINGUAL BEEP TRILINGUAL BEEP ING SAFETY ING SAFETY ANNOUNCEMENT ANNOUNCEMENT

GUANG DONG HUA

GUANG DONG HUA

ENG LISH

PU TONG HUA

PU TONG HUA

PU TONG HUA GUANG DONG HUA ENG LISH

GUANG DONG HUA

ENG LISH

TRILINGUAL TRAIN ANNOUNCEMENT

ENG LISH

TRAIN ARRIVING

33 Visual Arts À la Carte

PUTONGHUA: 小孩兒

WHY 小孩兒

... ...

兒兒兒

兒兒兒兒兒兒

兒兒兒

儿儿儿

儿儿儿

RRRRRRRRR RRRRRRRRR RRRRRRRRR RRRRRRRRR

CANTONESE: 小朋友

[Fig. 4] Yet, there would be no vernacular urban visual identity, no “visual dialect”

沒有聲音，就沒有了民間的都市視覺身

imaginable without the presence of sound. Music being part of my artistic

份，「視覺對話」也無從想像。音樂在我

repertoire, I had planned from the start to add a dimension of sound to the visual

的藝術創作裏擔當重要角色，因此我一開

research. A series of “muzak” recordings, recorded in buses, MTR stations,

始就打算在這次視覺探索計劃中加入聲音

public spaces or buildings of all purposes, served as a basis for a 40-minute

元素。作品展開幕禮時有一段 40 分鐘的現

musical piece performed live during the opening reception, accompanied

場演奏，音樂背景是在巴士上、地鐵站

by projections, where the sound recordings were analysed, displayed and

內、公共空間和各式大廈裏蒐集錄製而成

annotated. I dare say it’s as crucial to Hong Kong’s identity as much as the

的 muzak 背景聲音系列。演奏時，旁有投

“Hong Kong Street Face”. Going back to the more political aspects, I analysed

影展示音訊分析、視覺效果和註解的。我

trilingual public announcements near MTR escalators to prove the Mandarin

敢說，這個聲音創作跟「香港馬路體」對香

peaks higher than Cantonese and English [Fig. 4].

港身份的思考同樣重要。而政治方面，我 則在地鐵扶手電梯附近錄取了站內的三語 廣播並加以分析，證明普通話廣播音量大 於廣東話和英語廣播 [Fig. 4]。

視藝任選餐單

ENGLISH: CHILDREN

計劃還有很多內容可以分享，例如實際展 出的書本比以上描述的更多。其實計劃很 多工作尚未完成，但由於德國有很多新計 劃有待處理，我先行回去了。字體將會以 《香港增補字符集》完成，並包含所有本地 文字，以防它們被逐漸遺忘。這表示我要 設計近二萬個象形文字！無論如何，在這 個萬事俱備的環境下，我創作了一件對個 人創意發展別具意義的作品 [Fig.5] ，我將 永記這段工作效率奇高的日子。 我希望向有份參與這些計劃和助我一臂之 力的所有人致謝，包括莊藝勤教授、高木 毬子博士、羅步勤先生、尹倩盈小姐、德 國布朗斯威克市的 Nadine Blasche 女士。

A lot more could be said about the project, for instance there were more books exhibited than described above, but it’s far from done, for I have returned to Germany with a lot of new work to come. The font is to be finished in the Big5-HKSCS format (Hong Kong Supplementary Character Set), to contain all the local characters lest they be forgotten. That means approximately 20,000 glyphs have to be designed! Anyway, I remember a highly productive time in a perfect setting for a work crucial for my own creative development [Fig. 5].

I would like to express my deep gratitude to everyone involved in these projects and helping me to make it happen. Just to name a few: John Aiken, Mariko Takagi, Kevin Law, Sindy Wan, Nadine Blasche (from Braunschweig).

[Fig. 5] Heung Gong Maa Lou - 24 pt 10.04.15 15:25

Sound Art Workshop

聲音藝術工作坊 Eddi e L ado i re

駐校藝術家

Ed die Ladoire Ar t ist in R esidence 2015 年 4 至 5 月期間，帕斯卡爾．布可告 力奇 (Pascal Broccolichi ) 及 艾 迪．勒杜瓦 Artists-in-Residence at AVA during April and May 2015. They conducted sound

任視覺藝術院駐校藝術家。除了主持聲音

art workshops and shared their creative practice in an exhibition and a

藝 術 工作坊，他們還在展覽中分享個人創

symposium jointly hosted by AVA, French May and Connecting Spaces. This

作理念，並出席由視覺藝術院、法國五月

was Eddie’s perspective on sound exploration, and he revealed his feelings

與 Connecting Spaces 合辦的座談會。艾迪

for Hong Kong and how it responded to his work.

分享了他對聲音實驗的看法，並談及香港 給他的感受和對其作品的影響：

“For me, as an artist, Hong Kong is a great city from a sound point of view. The

Visual Arts À la Carte

(Eddie Ladoire ) 兩位法籍聲音藝術家來港擔

35

French sound artists Mr Pascal Broccolichi and Mr Eddie Ladoire were

areas of difference generate a strong and significant noise impact. We move 視藝任選餐單

from the sea to the jungle of human mass … tram to bus … It is a very rich city and has greatly influenced the work I've put together for the exhibition.

For now, after being back in France, I want to come back to expand my sound recording work. I have focused on the city centre and not on the outskirts.

When I listen to my piece, it seems important now to explore these new territories. I want to record sound coming from community: sport, religion and other things…”

「我從聲音藝術家的角度去看，覺得香港是 一個很棒的城市。我們從海上走進人群森 林、由電車轉乘巴士，城中區域之間的差異 給我強烈而巨大的聽覺衝擊。這個城市很 精彩，深深影響了我為展覽創作的作品。 現在回到法國，我想豐富自己錄製的聲音 作品。以往我都專注於市中心，忽略了郊 區範圍。現在重聽自己作品，感覺應該探 索這些新領域。我想記錄運動、宗教活動 和社區裏各種聲音。」

Combining New Technology and Traditional Crafting: Haptic InterFace Workshop 2015 Patricia Flanagan Assistant Professor

新技術與 傳統手工藝的 結 合 ──

2015 觸 覺 界 面 工作坊 傅織女 助理教授

可穿戴式設備可以視作為藝術家設計和策 劃界面互動的一個平台。觸覺界面（Haptic InterFace，HIF ）是個專業研究這個領域的 工作坊，專注研究可穿戴式界面的設計。 觸覺界面雲端工作坊是建基於雲端溝通上 的便利，藉以提升協同設計實踐的新方 法，來創作出嶄新的可穿戴式設備。

Un-titled / Tricia Flanagan Un-titled / 傅織女

Wearables can be viewed as a platform for artists to design and curate interaction at the interface. Haptic InterFace (HIF) is a professional research workshop that focuses on wearable interface design. The HIF Cloud Workshop is based on design practices that leverage the communicative potential of cloud computing to enhance new methods of collaborative design practice to create new modes of wearables.

In 2015, AVA partnered with Queensland University of Technology and University of Queensland. Students from design disciplines including visual arts, product design, industrial design, computer science and fashion design collaborated to create wearables with a future-focused, speculative design approach, addressing questions such as: - How can wearable technology change the way we live?

- How can we learn to make relevant, intuitive digital interfaces?

2015 年，視覺藝術院與昆士蘭科技大學和 昆士蘭大學攜手合作，讓來自視覺藝術、 計等設計學科的學生，合作設計出既切合

part-fashion and part-technological creations, wearables demand an inter-

未來需要且以推斷式設計為主的可穿戴式

disciplinary approach. It is this specific criterion that was the focus of

設備，以回應以下問題：

exploration with the HIF Cloud Workshop project. Utilising digital technologies to overcome physical distances and cultural divides, the programme

- 可穿戴式科技如何改變我們的生活方式？

challenged students to envision future ideas for wearable technologies that

- 我們怎樣才能學會創作合適且直觀性的數

enriched connections between citizens in the Asia-Pacific region.

碼界面？

Visual Arts À la Carte

產品設計、工業設計、電腦科學和時裝設

two-week inter-cultural and interdisciplinary collaboration. Part-product,

37

The project augments, extends and constructs learning through an intensive

計劃 通 過 為 期 兩 週 的 密 集 式 跨 文 化 、 跨 可穿戴式設備結合產品、潮流產物和科 技創作於一身，需以跨學科的思維去應 對，而這一特點正是雲端工作坊計劃的 探索焦點。計劃鼓勵學生運用數碼科技 克服地域距離和文化差異，要求他們構 思可穿戴式設備的未來技術，以加強亞 太地區公民之間的連繫。 2015 年，十名視覺藝術院的學生飛赴布里 斯班，完成觸覺界面雲端工作坊集體創作 的計劃，並於昆士蘭科技大學設計廊舉辦 公開展覽，其中五項計劃在展覽中以工作 Chan Lok Heng, Stacey, Li Tak Yung Doris & Kwok Tsz Lam Lamothy/

原型和錄像記錄的方式展出，當中兩項計

Without fear – The Umbrella Movement/2015

劃更獲邀在位於布里斯班毅力谷內的昆士

See more at: http://artisan.org.au/whats-on/current-exhibitions/

蘭手藝與設計廊「Artisan畫廊」的Wear Next

陳樂珩、李德蓉與郭子藍 / 毫不畏懼 ─ 雨傘運動」/ 2015

展覽中展示。視覺藝術院的學生參觀合作

詳情請瀏覽：http://artisan.org.au/whats-on/current-exhibitions/

夥伴昆士蘭科技大學和昆士蘭大學，並遊 覽州內著名的藝術畫廊。

In 2015 ten Academy of Visual Arts students flew to Brisbane to finalise projects created collaboratively in the HIF Cloud Workshop and to set up a public

觸 覺 界 面 雲 端 工 作 坊 展 覽 內 容 ，可瀏覽 :

exhibition at the Design Gallery at Queensland University of Technology. Five

www.hifcloudworkshop.com

projects were presented with working prototypes and video documentaries.

Two projects were selected for exhibition in the “Wear Next” exhibition at Artisan Gallery, Queensland’s leading craft and design gallery in Brisbane’s Fortitude Valley. AVA students toured partner universities Queensland University of Technology and University of Queensland, and visited the state’s leading art galleries.

The HIF Cloud Workshop exhibition can be viewed at : www.hifcloudworkshop.com

視藝任選餐單

學科合作，來提升、延伸並構建學習。

Designing Books on Reading: A Joint Adventure between Hong Kong and Germany

為 閱 讀 設 計 書 籍：

M ar iko Tak a gi

高木毬子

As s istant Professor

助理教授

In September 2014, I started a cooperation between my book design class

2014 年9月，我教授的書籍設計班「Cover

“cover to cover” and the book institution “das buchlabor” at the University

to Cover」與德國多特蒙德應用科技大學

of Applied Sciences in Dortmund, Germany. das buchlabor is an institution

的 書 籍 機 構 das buchlabor 展開合作。das

within the Faculty of Design, where BA and MA students do research on the

buchlabor 是設 計 學 院 屬 下 機 構 ， 讓 本 科

subject of books, design books and organise events and exhibitions. Together

生和碩士生進行以書籍為主題的研究，

with Prof. Sabine an Huef, the head of das buchlabor, we defined our topic

設 計 書 籍 ， 並 組 織 活 動 和 展 覽。我與 das

for the international cooperation as “reading”.

buchlabor 主管 Sabine an Huef 教授共同訂

香港與德國 攜手探險

定這次國際合作的主題為「閱讀」。 Over one year, students in Germany and Hong Kong (two classes during two semesters) were asked to develop their own concepts and ideas on “reading” to

在一年內，德國和香港學生（兩個學期內各

become the material for their book design. One aim was to create books that

兩 班 ） 要 建 立 自 我 對「 閱 讀 」的 概 念 和 想

could be shown in an exhibition organised and curated by das buchlabor in the

法，並以此作為他們書籍設計的材料。這

gallery space Dortmunder U in Germany, between the end of April and early

次活動其中一個目標是設計書籍在即將舉

July 2015.

行的展覽中展出，該展覽由 das buchlabor 籌劃，預計在 2015 年4 月底至 7 月初期間在 德國多特蒙德大學畫廊舉辦。 計劃推行時間越長，便越容易出現一些難 以預見的事情。這個計劃也遇上類似情 況。就在第一個學期開始時，學生和追求 民主的運動令香港失衡了。近兩個星期以 來，視藝大樓的教室空空如也，學生捍衛 自己的未來，也從中啟發了部份學生走出 教室以外捕捉經歷並撰寫成書，記錄他們 對香港當下面貌的觀點。學生的書籍，有 關於文字實驗的 ── 就如伍慧研創作的《超 乎尋常、令人難以置信的無形》，以頁面設 計挑戰讀者，字體由正常的文字逐漸變為 零亂破碎筆劃，句子和單字佈滿頁面；也 有分析把日本漫畫翻譯成英語時會出現甚

Entrance to the exhibition “über lesen” (“about reading”) at Dortmunder U. 多特蒙德大學「über lesen」（「關於閱讀」）展覽入口。

麼排版問題的作品 ── 就如曹芷昕創作的 《 翻轉！》，皆因日語和英語的閱讀方向正 好相反；另外，少不了談及雨傘運動的書 籍 ── 由司徒雋晞所創作的《黃色打印》，

While conducting a project that runs over a longer period of time, there are always unexpected coincidences. This was also the case with this project. At the beginning of the first semester, Hong Kong was thrown off balance by the student and pro-democracy movement. For almost two weeks, the classrooms at AVA were abandoned. To demonstrate for their own future encouraged some students to capture their experiences outside the classroom into a book that recorded their perspectives on current Hong Kong stories. Among books on typographic experiments challenging the reader by design, and going from properly typeset text to destroyed fractions, sentences and words spread over a page (Extremely extra-ordinary and incredibly formless by Ng Wai Yin) and a 39

book analysing the typographic challenges of translating mangas (Japanese comics) into English with a reversed reading direction (Flip! by Cho Tsz Yan),

Visual Arts À la Carte

were books on the so called Umbrella Movement. The book The Yellow Print by Szeto Chun Hei, covered in the textile of a broken umbrella, was a richly illustrated glossary on the side stories of the movement. In Germany only limited information, filtered by the media, reached the audience, but this book, a contemporary testimonial, made its way to the exhibition.

Cho Tsz Yan made a book in which she looked

reading direction from right to left in vertical line setting (Japanese) to left to right in horizontal line setting (English). 曹芷昕創作的書深入探討了翻譯時，日語從右 至左閱讀方向的垂直設置轉變成英語從左至右 的水平設置時，帶來甚麼影響。

以破傘布料覆蓋封面，豐富生動地描繪了 雨傘運動的周邊小故事。在德國，民眾得 悉關於這個運動的訊息很有限，而且往往 經過媒體過濾，但是這本書作為當下的實 Wong On Kei experimented with typography by visualising Cantonese adjectives.

證，順利成為展覽中的展品之一。

黃安琪以視像化方式展現粵語形容詞，進行文字實驗。

相比起第一學期，第二學期的課程來得較 為順利，學生在選擇主題上都有大致的方 向。「Cover to Cover」班上的視覺藝術院學 生傾向選擇與廣東話及中國語文有關的主 題。蔡安怡的《朗讀同音字》，黃安琪的《粵 語形容詞背後隱藏的故事》，或 Leona Poon 的《沒有音調 ／規則 》 （以視像化形式表現 粵語流行曲歌詞的書籍），這些學生設計出 雙語書，把本土語言文化的特色展示於國 際觀眾的眼前。

The Yellow Print by Szeto Chun Hei, a personal documentation on recent Hong Kong history.

司徒雋晞所創作的《黃色打印》，是近代香港歷史的個人紀錄。

視藝任選餐單

into the effect of translation by the change of

One area where the coursework of the two “cover to cover” classes was exhibited. 「Cover to Cover」兩班學生課堂作品的展區。

Compared to the first, the second semester went much more smoothly and

在學生各自的書籍創作中，我和 Sabine 都

there was a certain direction in the students’ choice of topics. AVA students of

要求他們收集一些有關閱讀的資料並記下

the “cover to cover” class preferred to choose topics about Cantonese and

觀察所得，把某一天閱讀過的所有文章收

Chinese language. With titles like Reading Homophones by Choi On Yi, The

集起來。之後，我們要求他們拍攝在公眾

hidden stories behind Cantonese adjectives by Wong On Kei or Without Tune/Rule

地方閱讀的人。這兩項任務令我對學生的

by Leona Poon (a book visualising Cantonese pop song lyrics), some students

閱讀態度有更深入的了解，結果出乎我的

designed bilingual books that investigated communicating information about

意料，而且令我擔憂 ── 他們這一代大多

their linguistic culture to an international audience.

數將閱讀行為與學習掛鉤，覺得閱讀沉 悶、困難且令人疲累。原來在香港要拍到

As well as the work on their own book projects, Sabine and I asked our

有人在公眾地方閱讀並不容易，為完成任

students to collect some information and observation on reading. We asked

務，有些學生會到圖書館或書店去。

them to collect one day of their readings, capturing all the text they read during one single day. In a second assignment we asked them to photograph

我詢問班上的學生是否喜歡閱讀，他們大

people reading in public. These two exercises gave me insights into the

多表示不甚喜歡，但這不是與這個書籍設

attitude of students towards reading, the result of which surprised if not worried

計班報名人數之多存有矛盾嗎？Sabine 也

me. Most of their generation relate the act of reading to studying and

提到在德國那邊也出現類似的情況。我和

associate it with boredom, difficulty and feeling tired. Taking snapshots of

Sabine 就 我 們 各 自 對 閱 讀 的 看 法，以及為

people reading in public turned out to be a challenge in Hong Kong,

「非讀者」設計書籍的責任這個議題，進行

which some of the students solved by visiting libraries or bookshops.

對話，並合撰成一篇文章於 das buchlabor 發表。

Asking the participants in my class whether they like to read, most of them denied it. This occurred to me as a contradiction to the number of enrolments in my book design classes. Sabine talked about similar experiences in Germany. In a shared article that was published by das buchlabor, Sabine and I wrote a dialogue on our perspective on reading and the responsibility of designing books for “non-readers”.

學生整個學期專注研究一個主題，自然會 思考得更深入。在學期期間，學生前來問 我的閱讀習慣。對我而言，閱讀是為了拓 寬思維：我閱讀專門書籍是為了學習新 知，我看小說是為了放鬆自娛，但凡讀到

《 普 魯 斯 特 與 魷 魚 ： 閱 讀 思 維 的 科學與故

habit. For my part I read to broaden my mind: I read specialist books to learn,

事》 （Proust and the squid – the story and sci-

I read novels to relax or entertain myself and I read anything that occurs to me

ence of the reading brain），作 者專注研究

as interesting. Recently I read Proust and the squid – the story and science of

閱讀、語言和閱讀障礙的神經學範疇。除

the reading brain, written by Maryanne Wolf, a researcher in the neurological

了神經系統範疇外，伍爾夫很巧妙地將閱

aspects of reading, language and dyslexia. Besides the neurological aspects,

讀描述為一種個人探索：「閱讀的時候，我

Wolf describes reading as a personal exploration in a wonderful way:

們可以放下自己的意識，代入他人的意識 中，代入他人的年齡、他人的文化。 [……] 當我們代入騎士的思維，代入奴隸的情

consciousness of another person, another age, another culture. […] When we

感，代入女英雄的行為，代入壞蛋作惡後

pass over into how a knight thinks, how a slave feels, how a heroine behaves,

如何感到後悔或全盤否認自己的過錯，我

and how an evildoer can regret or deny wrongdoing, we never come back

們再也不是過去的自己；我們或者有所啟

quite the same; sometimes we’re inspired, sometimes saddened, but we

發，或者會難過，但我們總會變得更加充

are always enriched. Through this exposure we learn both the commonality

實。通過這種體驗，我們學習到想法的共

and the uniqueness of our own thoughts — that we are individuals, but

同性與獨特性，我們是獨立個體，但並不

not alone.” (Wolf 2008, 7.)

孤單。」（伍爾夫2008年：7）。

While the cooperation with das buchlabor and Sabine an Huef will continue in

與das buchlabor 和 Sabine an Huef 的合作將

the next semester on a new topic, “photo book”, “reading” is a matter of interest

會延續到下一個學期，屆時會開展新的主

that I am planning to pick up in the second semester with a level 4 "further

題「相簿」，不過，出於我的個人興趣，我

studies". Instead of letting the students design their personal books, I am aiming

還是會繼續探討「閱讀」這個主題，並打

to let them curate and conduct an exhibition on this topic as a campaign to

算於第二學期以這個主題開設深造班。這

cherish our special human learned/acquired ability to “read”.

次，學生不會再設計個人書籍，我的目標 是讓他們就這個主題策劃和舉辦展覽，藉 以歌頌我們人類從學習得來的一種特別技 能 ──「閱讀」。

The collected text of "one day of reading” was shown as an installation in the exhibition. An old style dot-matrix printer was used to print the collected text during the exhibition opening. 「閱讀天」收集所得的文章在展覽中以裝置方式展出。收集到的文字在展覽開 幕期間以舊式點陣打印機打印出來。

Reference Wolf, Maryanne: Proust and the squid – the story and science of the reading brain.

Cambridge, Icon Books Ltd. 2008.

視藝任選餐單

“While reading, we can leave our own consciousness, and pass over into the

Visual Arts À la Carte

think deeper. During the semester, students asked me about my own reading

41

The involvement of a student in one topic for a whole semester forces one to

的文章我都覺得趣味盎然！最近，我讀 到瑪麗安 . 伍 爾 夫（Maryanne Wolf ）所著的

看 透 究 竟 ── 本 科 畢 業 展 2015 藝評 Char l e s M e rewe t he r

訪問學人

「想像就是開展一個轉化現實的過程。」 ── 胡克斯 想像與過程立定契約，把想法與富想像的 思維實現 1 。這個過程就是數年受訓光景所 建的基石。藝術學院正是這樣的一種訓練 園地，讓藝術新手「摸索訣竅」，從實踐 中學習：從中觀看、理解和反省。 然而，過程的結果往往不會一下子盡現人 們所願、所想像，又或是所夢寐的意念甚 或期望。有時候，結果體現的意念並不清 晰，或不如腦海所想那樣完整；我們往往 也不能確定結果，只能達至一種近似的演

Seeing It Through __ BA (VA) Graduation Show 2015 Review

繹，就是人們所說的「諸如此類」！不過， 只做到近似當然並不足夠，演繹既不鮮 明，又欠清晰，好像一幅輕微失焦的照 片。箇中的思維、過程及物料不夠明確、 清明，意念並沒有成功轉化過來。我們可 用綵排的觀念作一比喻：演員綵排表演、 劇目或舞 蹈演出，他們排練參演的部份，反 覆練習任何一節，有時找出自己演繹不足

Charles M ereweth er

之處，加以排練，這與樂手綵排的過程相

Vis iting schola r

若。可是，視覺藝術家創作的過程卻不盡 相同，畫家尚有可能在原有作品上再畫再 創作，但對於雕塑或裝置創作等領域的藝 術家來說，他們駕馭不同的物料來創作，

To imagine is to begin the process that transforms reality. _ Bell Hooks

用料一經變換，便不可還原。

Imagining and process have a pact, one that materialises thought and imaginative thinking.1 This process becomes the cornerstone of those years in training. Art school is one such training ground in which emerging artists “learn the ropes”, that is, learn through practice: looking and reading and reflection.

1

I am indebted to the writings of Mikhail M. Bakhtin, Towards a

1

Mikhail M. Bakhtin 的《 Towards a Philosophy of

Philosophy of the Act and Martin Heidegger, The Origins of the

the Act 》與 Martin Heidegger 的《 The Origins of

Work of Art.

the Work of Art 》啟發我這個想法。

Oftentimes, the results do not initially fulfil the idea or even expectation of what one hoped for, imagined or even dreamed of. Sometimes, the idea is not clear or as complete as envisaged in the mind’s eye. Nor, of course, might we be sure of the result. Rather, it remains an approximation, “something like that”, one might say! But an approximation is never sufficient. There is no sharpness, even clarity, as if a photograph taken was slightly out of focus on viewing. The translation has not succeeded due to insufficient clarity in the thinking or in the processes and materials used. Perhaps, we might draw an analogy with the notion of rehearsal, where actors practise their part, working through the 43

performance, play or dance. They start and stop, at any point, go back over and over again, sometimes picking up where they left off or starting again. It is the visual artist. Perhaps with painting, one retains the possibility of painting over. But, contrary to this, with sculpture or installation, the manipulation

Luk Chun Wang / Just The Same / 2015

of materials by an artist – or anyone for that matter – transforms that material

陸俊宏 / 都是一樣的 / 2015

in a way that is irreversible. 我們從實踐中發掘和了解各種物料如何施 展作用，學習如何處理或駕馭物料來達到

they need to be handled or manipulated to get results, or how to respond to

應有的效果，或是理解如何回應自己的意

ideas one has and would like to make visible. Of course, these ideas and what is

念，將之按照心中屬意的模樣顯現。那些

identified as the subject are intimately related, although not the same. It is

意念或被識別的「主體」雖然並不相同 ──

the distinction between something identifiable, outside of oneself, and the

一種是源自內在的體會，另一種則屬於自

idea which is the inner experience of that. Let us say the concept of subject

身 以 外 可 識 別 的 東 西 ── 可是兩者卻息息

here opens the way to speak of experience. The subject may not necessarily be

相關。單是這種主體的概念，就可促成

a physical object or identifiable event. It may be an experience, an action taken

我們開展經驗之談。那個主體不一定是

or an event. Or, it may relate to issues, stories, memories, perceptions: a sensate

實在的物件或可識別的事件，那可以是

response to the world around us. This is the “now”, the event or act which is

一次經驗、一個行動又或活動，甚至可以

unique even if it is in the light of recollection. The idea is a mental condensation

關乎一些議題、故事、回憶或看法，換 言

of the subject. The artist seizes this experience and both shapes and transforms

之，亦即是我們對周遭環境的感知反

it, as if it cools like lava into rock. Here, we are at the stage of movement between

應。儘管那次事件或行為源於往事，但

being and language. This movement can be named a translation: the

事件或行為在「這一刻」是獨一無二的。刻

translation of an idea into the visible. And here too lie many challenges as we

下的意念凝聚着主體的神緒，藝術家掌握

are faced with concrete decisions: the materials used, the images chosen,

這千鈞一髮的一刻加以勾勒與變換，過程

the scale and size of the work, the time at our disposal. Concrete choices are

猶如熔岩冷卻後凝固成石一樣；這時，我

to be made and, as such, serve as the form of articulation for an audience,

們正處於人和語言之間一種「轉化」的動態

for someone else to listen to, to see or witness.

中，把一個意念轉化成為可見的實體，過 程充滿挑戰，需要我們當機立斷，落實作 品的物料、形象、規模大小，以及創作的 時間。我們作出各項具體的選擇，作為向 受眾或聆聽、觀看或見證作品的對象一種 表述的形式。

Chan Cho Kiu / The Fourth Seeing / 2015 陳楚翹 / 四色風景 / 2015

視藝任選餐單

One discovers and learns through practice the ways materials function, the way

Visual Arts À la Carte

similar to the processes of a musician. However, there are differences with

撇開那些決策行為，意念與表現形式之間 的轉化其實是似是而非的。創作過程中， 即使我們由意念啟發，經過種種心照不宣 的階段，運用物料將意念表現出來，卻從 來也沒有實在的看透那個意念。因此，要 在抽象的開端與具體地實現意念或概念之 間觸發轉化，決心攸關重要。你我有責任 把這些經驗、行為和事件賦予意思，令四 周的環境煥發意義，並彼此分享我們的世 界。我們的生活、經驗、看法和回憶透過 藝術作品得以提煉和過濾，藉着作品實現 的模樣及陳列或展覽，我們的作品變得獨 一無二，並達到與人分享的目的。 Lam Wing Sze / Look and See / 2015 林穎詩 / 看，看見 / 2015

在實踐的過程中，我們學到一些技巧，懂 得如何處理或運用物料創作，例如紙張、

Over and above these decisive acts, the movement between idea and

鋼筆、帆布、顏料、金屬、玻璃、影片或

manifestation is paradoxical. We work through the tacit stages of the process,

日常物件等，自信油然而生，成為我們稱

working with the materials, but we cannot see the idea, even though the

呼的藝術直覺。我們運用不同的物料，把

idea itself has been the starting point. Thus the process is critical to activating

物料置於股掌之上，因應我們的目的把它

a movement between the abstract beginnings and the material realisation

折曲塑形。這個過程或會較慢，不太穩

of the idea or concept – that is, its resolution. There is a responsibility here to

定，又或充滿疑慮；有時候，實踐的步履

oneself and the other. We bring meaning to these experiences, acts and

會略欠信心，篤定不夠。幸好時間無垠，

events. We make sense of the world around us. We share our world. Our lives,

讓我們可以隨自己步伐徐徐推進。

our experience, our perception and memories are distilled and filtered through the work of art; it is both unique and shared with others through its

創作時，技巧或手法當然是琳瑯滿目，各

realisation and display or exhibition.

適其適。我們可以回顧舊作，視之為這次 創作的出發點，與舊作開展某種對話；或

In the practice of process, one learns certain skills, an acquired confidence in

是以不要太在乎的心態哄騙自己，告訴自

knowing how to handle or craft materials, whether it be with paper, pen,

己將要創作的僅是個草稿或視覺化的意念

canvas, paint, metals, glass, video, everyday objects, etc. It becomes virtually

而已。有人則會較為冒險，以模仿藝術名

what we might call intuition. We work with the materials, manipulate

家的方式創作。事實上在 19 世紀以前，藝

them, bending and shaping them to our purpose. The process may be slower,

術家都是在工作室內師承「大師」受訓的。

perhaps more precarious, filled with doubt and hesitation. At times, the steps become less confident, less assured. But time is immeasurable and we slowly push forward.

We enter into the process of making a work. There are, of course, various techniques or tactics at our disposal. Reviewing previous work, with a view to using it as a point of departure, we form a kind of dialogue with the previous work. Or, we trick ourselves into under-expectation, thinking what we are doing will amount to just a sketch, a visual idea, little more. A more dangerous way is to copy an admired artist. And certainly, up until the 19th century, artists trained in an atelier, under a “master”. They learnt to copy the work of the master, acquiring techniques or working as apprentices in the completion of major work by the artist. Some artists in contemporary times have studio assistants who do the same thing. The artist simply has the concept or idea and the assistant undertakes its making. This is rare and a body of work and appreciative or critical appraisal has already been accomplished.

Chau Wai Ting / Endlessness / 2015 周蔚庭 / 無盡 / 2015

We may, of course, discover the result of the process is unintended, unplanned:

他們學習如何模仿大師的造詣，或是擔當

a mistake of sorts, felicitous nevertheless. If it is a mistake, nonetheless, it

學徒，協助大師完成重要的作品。當代仍

is valuable in retrospect. Lessons learnt unintentionally. The artist learns on the

有藝術家安排工作室助理做同樣的事情，

job of making, of making that commitment, and therefore is able to be the

他們只提出創作的概念或想法，交由助理

first and toughest critic of her or his results. To make mistakes is a necessary

落手製作，不過這種模式已經十分罕見，

condition of the process. Writers have the advantage of the computer these

現已有一批這樣創作出來的作品，只是評

days, where erasure is performed seamlessly. Gone are the days of laboriously

價優劣參半。

cutting and pasting. But did it make of them better writers? No! Faster? Not then again, building again and moving further, beyond. There are countless

經意或意外地造成的：來自某種美麗的失

examples in the published drafts by poets. The drafts of poems by the great

誤。如果那是錯誤，亦實屬寶貴的回憶，

Irish poet W. B. Yeats show how very often only a few lines or phrases

讓人無意間受教獲益。藝術家從致力創作

survived beyond the early drafts. Two steps forward, one step back. Yet,

中學習，學習完成這項使命，所以是最有

nevertheless, they are often gems of phrases captured in that initial

資格成為第一個去嚴正評論這次創作成果

moment and energy of inspiration.

的人。犯錯是創作過程中必然經歷的一 環。現今的作家有幸以電腦撰稿，不用像 舊時那樣去剪貼刪改，彈指之間已能夠把 任何內容抹掉淨盡。只是這樣令作者更出

Visual Arts À la Carte

我們不難發現，創作過程的結果每每是不 45

really! Yet process is critical, building up words, then taking some away and

色嗎？沒有！可以加快他們創作的速度 者建立文本，這裏稍作刪減，再作刪減， 又或加入新元素，過程就是不斷增刪改 動。詩人的草稿就是最常見的例子，就以 偉大的愛爾蘭詩人葉芝 ( W.B.Yeats ) 的草稿 為例，初稿中一般只有片行數語能夠過度 到成品。過程總是進進退退，不過這樣的 Lee Siu Hin / ·|囗 |··| 囗 |··|囗 |··|囗 |··|囗 |··|囗 |·|·o·||·o·||·o·||·o·||·o·||·o·| / 2015

片行數語，往往卻是當初那刻靈感勃發時

李肇軒 / ·|囗 |··| 囗 |··|囗 |··|囗 |··|囗 |··|囗 |·|·o·||·o·||·o·||·o·||·o·||·o·| / 2015

所捕獲的瑰寶。

There are many artists here, many ideas, materials, works of art. There is work

世上的藝術家不少，各有意 念，採用各式物

that makes us think or puzzles us. Other work seems incomplete, under-

料，創作 出 無 數 的 藝 術 品。有 些 作 品 發 人

developed or unrealised in its initial idea, and therefore more apparent than

深 省 或 叫 人 迷 茫，另一 些 似 是 不太 完 整，

its visual translation. There is some work where the idea appears simply

有待成 熟或 未 能 把 最初的 意 念 實 現，較 本

unembellished, straightforward, almost too simple in both its definition and

身視 覺 轉 化的 程 度 更 為片面。有些 作品的

execution, not using the material in any transformative manner. Other

意 念 看 似了無 潤 飾，坦 率 直 接，釋 義 和 實

work surprises or shocks or makes us smile. Some work solicits our respect,

踐 形式 過 於 簡 單，沒有 把 物 料 轉 化 來 演 繹

our admiration. All the work here is the final work of training and therefore

意 念。有作 品 則 令人 驚 奇、錯 愕 或 會心 微

a culmination. For each artist, their work represents a recognition of what

笑，另一 些 叫 人仰 慕 和 讚 嘆。所 有 作 品 都

they are capable of and, therefore, a watershed moment that can open

是 藝 術 家 受 訓 的 成 果，極 致 的 表 現。對 每

up not only new possibilities of practice but also new horizons towards

個 藝 術 家 來 說，作 品 肯 定了他 們 的 才 能，

which they can move.

標 誌 着 關 鍵 的 時 刻，帶 來 更 多 實 踐 的 機 會，更開拓一新的視野讓他們游走創 作。

Until that moment of material creation, it is speculative thought that is then realised in form, that is, it takes shape in a way that had never previously

創作成真那刻以前，正是我們知性的思想

existed. This then is a moment of realisation, a manifestation of thinking

將要實現成形，變成不曾出現的模樣。接

through. There is something pleasurable in this achievement, a sense of

着來到實現那刻，是藝術家深思熟慮的表

accomplishment, of seeing it through. This is what art brings! It condenses,

現。這項成就帶來點點喜悅，一種看透究

crystallises thought in a way that is different or new, offering a perspective

竟的成功感，正是藝術可貴之處！藝術以

on the world and life around us.

不同或一新的方式結聚和實現思想，為世 界和我們的生活帶來另一角度。

視藝任選餐單

嗎？並不盡然！創作的過程才是關鍵，作

城 市 的 象 徵： 大學協作計劃

City Metaphors: A University Collaboration Project

奔子墨 副教授

2 0 1 5 年 4 月 ， 視覺藝術院奔子墨副教授帶 領六名視覺藝術碩士學生，到瑞士蘇黎世 及德國漢堡遊學。該旅程是大學協作計劃 「 城 市 的 象 徵 」其中一項活動。回港後，他

Peter B en z

寫下了旅程中令他印象深刻的經驗，與大

As s ociate Professor

家分享。

In April 2015 AVA’s Peter Benz took a group of six MVA students on a study trip to Zürich, Switzerland, and Hamburg, Germany, as part of the university collaboration project “City Metaphors”. Following the trip, he remembers some of the most impressive experiences from the project.

MVA student, Michelle Fung, visited animal sanctuaries during the trip to develop her artwork related to contemporary city fable. 視覺藝術碩士學生馮捲雪走訪動物收容所建構

1

一個關於城市寓言故事的作品。

I really had completely forgotten that April in Switzerland by no means

necessarily implies “spring” or “warm” or “nice”. And now I’m participating in a sound walk led by one of the lecturers from Zürich University of the Arts (ZHdK), trying not to be blown over by the ice-cold winds of hurricane Niklas.

The sound instructor manages to make himself heard apparently effortlessly.

He even manages to make the hurricane appear a good thing as it brings forward new sounds in the cityscape: the dramatic boom of the wind in the structure of the bridge, the surprisingly loud crackle of a torn warning tape, the occasional garbage bin being push-blown across the pavements.

1

出發前，我完全忘記了瑞士到了四月，

並不一定代表春天已經降臨，天氣也稱不 上「和暖」或「舒服」。此時此刻，我就一

2

邊參加蘇黎世藝術大學 ( Zürich University of ZHdK’s Museum of Gestaltung (Museum of Design) offers a series of

the Arts ) 講師帶領的聲音散步，一邊掙扎着

workshops in which external designers are invited to teach members of the

不 讓 龍 捲 風 尼 可 拉 斯 ( Niklas ) 刺骨的寒風

public to re-design one of their own designs. On the third day of our visit,

吹翻。

we are lucky enough to participate in one of these workshops. Our workshop students, which gives us the opportunity not only to do hands-on work on

不費吹灰之力，甚至還把刮龍捲風說成一

some design projects, but to also meet and work with local students, which

件好事，說它為城市帶來了新的聲音，例

of course is always one of the major intentions of any university collaboration.

如：風穿過天橋結構誇張地「轟轟」作響、

However, before we begin the workshop, the director of the museum gives

警告膠紙撕裂的聲音大得驚人，還有垃圾

us an exclusive tour of the museum’s storage depot: hundreds of thousands of

筒被吹得在行人路上滾動。

objects from design history, including all the most famous Bauhaus designs, within arm’s reach… What a treat!

視藝任選餐單

The actual workshop then is set in the museum’s exhibition hall, surrounded by the current exhibition on DIY design. For a couple of hours we work, chat and explore side-by-side with other students, building a series of wooden furniture pieces that then are added as new exhibits to the exhibition.

3

The way life works is sometimes truly astonishing: fresh off the plane on

Monday morning we stumbled into a guest lecture at ZHdK by Clémentine Deliss, the director of an anthropological museum in Frankfurt, introducing her work. One thing led to another, and after the lecture our MVA students simply invited themselves on a visit to that museum in the coming week on our way through Frankfurt. Surprisingly, Dr Deliss agreed.

Visual Arts À la Carte

活動導師盡量令自己的聲線能令大家聽得

47

is special in that the external designers are actually a group of Swiss design

2

蘇黎世藝術大學開設的設計藝術館舉辦

一連串工作坊，邀請校外設計師教導公眾 重新設計該名設計師自己的原創作品。旅 程第三日，我們幸運地能參與其中一個工 作坊。這一節工作坊的特別之處在於導師 其實是一班瑞士設計學生，讓我們不但有 機會參與設計實作，還可跟當地學生會面 和合作，這正正是大學協作計劃其中一個 主要目的。 然而，在工作坊開始前，博物館館長特別 帶領我們參觀博物館的庫藏：設計史上成 千上萬的藏品就在伸手可及的距離，包括 所有最著名的包浩斯設計作品，真棒的意 外收穫！ 正式的工作坊在博物館展廳裏舉行，今期 展覽「自家設計」的展品圍繞着我們。接着 的幾個小時裏，我們與其他學生並肩合 作、交流和探索，製作一系列的木質家具 作為該展覽的新展品。

3

命運的發展往往出人意表：星期一早

晨剛下飛機，我們偶然闖進了當天在蘇黎 世藝術大學舉行的客席講座，聽到法蘭克 福一個人類學博物館館長 Clémentine Deliss 博士介紹她的工作。故事沒有就此結束。 聽完講座，我們的視藝碩士學生竟然向 Deliss 博士提議我們路經法蘭克福的時候去 參觀她的博物館。出乎意料地，Deliss 博士 同意了。

So it comes that some days later, on Easter Sunday, Dr Deliss awaits us at the

幾天過後，就在復活節後的星期天，Deliss

Museum of World Cultures in Frankfurt to personally guide us around the

博士親自帶我們參觀法蘭克福世界文化博

current exhibition, but also to show us some of the extended facilities of the

物館今期展覽，也帶我們參觀博物館的附

museum, in particular the museum’s artist labs. It is part of the curatorial

屬設施。附屬設施中最特別的是駐博物館

concept of the museum to invite artists, designers and also members of other

藝術家的工作室。設立藝術家工作室其實

professions to work with the museum’s collection of anthropological artefacts

是博物館維持藏品「生命力」的其中一個概

in creating new works, thus keeping the objects “alive”.

念。博物館邀請藝術家、設計師和其他專 業人士，運用館內的人類文化產物創作出新

This visit turned out to be one of the most refreshing, inspiring and thought-

的作品，使藏品生命力源源不息。

provoking museum experiences I’ve had in years. The notion that museum objects are not merely “dead material” behind glass, but can actually be catalysts

結果，這次參觀成為了我多年來體驗過最

for active new explorations, would be something museums in other places

新鮮、最大開眼界和發人深省的其中一個博

could also consider in their practice.

物館之旅。各地博物館可以考慮採用這家 博物館的概念，讓展品成為激發新創作的

4

催化劑，而非躺在玻璃窗背後的「死物」。 Of course this trip/project is not only about fun: amongst other things the

students have to spend time on their personal works too. After all, the project is supposed to conclude with an exhibition of the creative outcomes, and before that there is the interim work-in-progress presentation scheduled in June 2015, when the Swiss and German students will pay a return visit to Hong Kong.

4

當然，這個旅程或計劃並非純粹好玩而

已，學生還得花時間建立他們的個人作品 和完成其他事情。畢竟，計劃完結時會有 一個展覽讓學生展示他們的創意結

Accordingly, throughout the trip our students have time slots and opportunities

晶，2015 年 6 月也有一次中期展覽讓他們

to go their own ways, to explore their own thematic interests; one student,

展示「創作進行中」的作品。中期展覽舉行

Cheuk Wing Nam, visited cemeteries in all the places we stayed to record the

時，瑞士和德國學生也會到港出席。

sounds of the graveyards; another student, Siddharth Choudhary, worked on a project that required him to distribute candies on respective public

就是這個原因，在整個旅程中，學生都有

transportation systems around the world and to record the reactions of the

時間和機會獨立行動，為他們的創作題目 收集靈感和資料。卓穎嵐踏足了我們到訪

other passengers; yet another student, Michelle Fung, visited animal sanctuaries in each city to develop something like a contemporary city fable.

1

的每一個地方的墳場，錄下墳場內的聲 音；另外一個學生 Siddharth Choudhary， 則因應其作品內容的需要，在世界各地 的公共交通工具上派發糖果並記錄乘客 的反應；還有馮捲雪，她走訪了各個城 市的動物收容所，要建構一個類似城市 寓 言 的 故 事 。1

5

This collaborative project was set under the topic “City Metaphors” that

could be understood in the classic perspective of cultural studies – what meanings does city have as a metaphor? What metaphors of city exist in the arts, in urban planning, in everyday culture, in theoretical discourses, in politics? – but it also could be taken as a starting point for art or design explorations, open to documentary or interventionist approaches – how can I make visible/perceptible the city and its metaphors? How can I affect “the city”, “the urban” in concrete urban space? 我們可以從一個傳統的文化研究角度來

理解「城市的象徵」這個大學協作計劃 ──

49

5

「城市」作為一個象徵代表甚麼意義？在藝 政治裏，我可以找到怎樣的城市的象 徵？ ── 這個題目同時也可以是紀錄片、 干預式手法等藝術或設計探索的出發點， 啟發我們思考 ── 我能夠怎樣向他人呈現 城市和它的象徵？在都市的實體空間裏，我

Visual Arts À la Carte

術、都市計劃、日常文化、理論話語甚至

可以如何為「城市」或「都市」帶來影響？

在這三個截然不同的都市空間裏，發揮不 同的觀察力和文化思維方式，思考跟世界 各地當代都市內涵研究相關的議題。 For this purpose the students taking part from all three participating universities

學生從創意、理論或結合兩者的角度去探

were to explore the theme in three very different urban spaces (Zürich,

討他們的意念，並運用他們的好奇心、創

Hamburg, Hong Kong), opening up opportunities for differentiated observations

意和獨特的個人專長構思出很多新穎、理

and cross-cultural reflections on the questions and issues related to the study

論性或兩者兼容的創作計劃。他們的創作

of contemporary urban textures worldwide.

成果將於 2015年9月在蘇黎世和香港同時展 出，並在瑞士網上學術期刊《公共 ── 藝

Students could investigate their ideas from a creative and/or theoretical point

術與公共空間》( Common – Journal für Kunst

of view, and apply their curiosity, creativity and their specific competences

& Öffentlichkei ) 的英文版特刊中發表。

to come up with creative or theoretical projects (or projects bringing together both these perspectives) that will be presented to the public in two parallel

走筆至此，我真心感到整個計劃中最美好

exhibitions in Zürich and Hong Kong in September 2015. Additionally, the

的收穫，就是我們遇上的人和建立的關

project results will be published in a special (English) edition of the online

係。也許，這就是城市的意義所在。

journal Common – Journal für Kunst & Öffentlichkeit (Common – Journal for Art and the Public Sphere).

Having written this, frankly, the best outcome of the whole project was the people we have met and the connections we have made. And probably that’s also what cities are about.

1

Results and reflections on these and more projects

1

所有學生搜集資料的成果和感想將於

may be accessed after 2 September 2015 via

2015 年 9 月 2 日起刊登於

http://commonthejournal.com/

http://commonthejournal.com/ 。

視藝任選餐單

來自蘇黎世、漢堡和香港三間大學的學生

啟德 校 園 畢 業 季 ── 視覺藝術碩士課程 畢 業 展 2015 藝評 Jo hn B at te n John Batten 於《南華早報》撰寫藝術評論，是 Hong Kong ArtWalk 的組織人和城市規劃推動 組織中西區關注組的召集人。

Kai Tak at __ __ Graduation Kai Tak at Graduation MVA Graduation Show MVA Graduation 2015 Review Show 2015 Review

啟德校園別具特色：園內散發着歷史氣 息，靈活多變的空間和輕鬆的學習環境， 於畢業季度尤可大派用場。在香港，沒有 其他場地比這裏更適合用作展覽畢業作 品，因為畢業生可以把作品隨意擺放在視 覺藝術校園的任何一處和眾多不同的課室 內。在啟德校園，畢業展品不會被硬塞進

John B atten

一個展覽廳中，畢業生有各式各樣的空間

John Batten is the contributing art critic for the South China Morning Post, Organiser of

可以選擇，可以更好地襯托他們的藝術品。

John B atten Hong Kong Artwalk and Convenor of the urban planning advocacy group the Central & Western Concern Group.

我對觀察到的部份（非全部）藝術作品有以 下評價。「藝術行政」課程畢業生的寫作手 法和展示方式均能很好地呈現出來，包括

Kai Tak Campus is special: it oozes history and is a flexible, relaxed study

在地板上指示林雅晶論文的有趣文字「這

environment that shows its best at graduation time. There is no better

不是展覽文字」。

exhibition venue for graduates in Hong Kong as they can spread themselves around the AVA campus grounds and in its many, varied rooms. At Kai Tak, the graduate exhibition is not crammed into a single exhibition gallery; graduates have a wonderful choice of spaces that better complement their embryonic artwork.

I make some observations below about some (but not all) of the artwork I saw. The Art Administration writing and its display, including the witty floor text of “this is not exhibition text” referring to Cindy Lim Nga Ching’s own thesis, was very well presented.

在附近草坪上的前防空洞裏，杜卓璣擺放 51

了他的〈感知外的脈搏〉聲音裝置。這件作 品展現了靈敏的觸感，但並沒有充分善用 是太微弱，就是聽域寬廣度不足。然而，

杜卓璣 / 感知外的脈搏 / 2015

裝置的擺放位置絕佳！

On a nearby lawn, in a former air-raid bunker, Aaron d’Aquino has placed his

簡約是吳菁菁作品〈空〉的精髓，正如她所

Unseen Pulse sound installation. Showing touches of sensitivity, this piece

解釋的「探索對家的印象」。她用布包裹着

did not fully explore this unique space as the emitted sounds were either too

剛硬但幾乎無形的支撐物，懸浮於半空形

subtle or needed a wider aural range. But, great location!

成一系列相互連接的屋中屋裝置。這是個 美觀的設置，布料由內至外逐漸由綠色轉

Simplicity is at the core of Ng Ching Ching’s Unheimlich, which is, as she

為紫色，再轉為白色，最後形成絲縷，如

explains “a search for the definition of home.” She used sections of cloth

同婚禮襟花般，散落一堆。整個裝置看起

wrapped in a long roll around rigid but almost invisible supports that float

來像女性的陰道：比喻可將家庭視作人生

and form a series of interconnected houses-within-a-house installation.

的開端，意象既明顯又親密。然而，地板

It is a beautiful construction. Moving outwards, the cloth gradually changes

上凌亂的布料則示意任何一個家也會偶爾

from green to purple to white and then trails, like a wedding corsage, into

成為一個令人不安、衝突連連的地方，讓

a dishevelled pile. The entire installation looks vaginal: metaphors for home

人不其然想逃離。

can allude to life’s beginnings and be both obvious and intimate. But, the cloth’s disarray on the floor is like any home, at times a place of discomfort, conflict, a place to escape from.

Nearby, Ingrid Leung’s interactive and bouncy installation, Xpect the uneXpected, used tightly compacted drinking straws and sponges within a horizontal plane of open-topped square glass boxes in grid formation. This work encouraged viewers to sit and walk on a fragile and unlikely looking minimal sculptural installation that also successfully answered her own question: “When materiality has been changed, what will happen?”

Similarly, Frank Chan’s O (The Circle) is an elaborate presentation of the process of the production and the long-term storage of his work, with its evolution as a smart-looking installation on AVA’s basketball court. Viewers are invited to sit in hammock/sling-like seating in a circle and reflect on themselves and their surroundings (there is a convex mirror placed in the middle of the circle on the ground to help). This is a wonderful piece of production, beautifully conceptualised and finished.

Ng Ching Ching / Unheimlich / 2015 吳菁菁 / 空 / 2015

視藝任選餐單

Aaron F .D'Aquino / Unseen Pulse / 2015

Visual Arts À la Carte

這個獨特的空間，因為裝置發放的聲音不

離這裏不遠處，展覽了梁韻妍的互動彈性 裝置〈Xpect the UneXpected 〉，作品是多個 平排成格柵狀的開頂方形玻璃盒子，盒子 內壓滿吸管和海綿。觀者可以在這個外表 脆弱但卻毫不簡約的雕塑裝置上坐下和行 走，從而來解答她自己的提問：「當物質改 變了，接下來會發生甚麼事？」同樣，陳 復的〈O 〉 （圓圈）詳細呈現了他創作的過程 並展示了他長期珍存的作品，這個作品最 Ingrid Leung Wan In/Xpect the unXpected/2015

終屹立在視覺藝術校園的籃球場上，成為

梁韻妍 / Xpect the UneXpected / 2015

別具一格的裝置。觀者會獲邀坐在圓形的 吊床 / 吊椅或座椅上，觀察自己和周遭的環

As I write, it is the beginning of the Yu Lan Festival (Hungry Ghost Festival) and

境（地 面 上 圓 圈 中 央 放 置 了 一 塊 凸 面 鏡 有

Cheuk Wing Nam’s Necropolis is an appropriate reminder that death and

助 觀 察 ）。 這是一個出色的作品，構思精

our choice of final resting place or “going home” can give great comfort. Hong

巧，成品精美。

Kong’s Tung Wah Hospital ran a remarkable service for nearly 150 years: their Pokfulam Coffin Home transported and received the ashes of overseas Chinese

我 撰 寫 此 文 之 時 ， 正 藉 盂 蘭 節（ 鬼 節 ）開

who died away from home. The hospital then arranged for those who wished

始，卓穎嵐的作品〈不變的事〉正好提醒我

to be buried in their home village within China. Cheuk’s installation has a subtle

們，死亡和我們選擇的長眠之地或「回鄉」

sense of final purpose – its kinetic, sound and physical presence of white

能給予我們莫大的平靜。香港東華醫院過

pebbled mounds, of the type often used in cemeteries and places of memorial,

去近 150 年來一直提供一項卓越的服務：

was just right.

醫院旗下的薄扶林義莊過去一直運送和接 收於海外去世的中國人的骨灰，醫院隨後 更會為希望安葬在家鄉的中國人作出安 排。卓穎嵐的裝置牽引出死亡的一種微妙 感覺 ── 白色鵝卵石丘的外形，就像墓地 和紀念場所慣用的一樣，其動力、聲音和 外觀在裝置上運用得恰到好處。

Frank Chan / O / 2015 陳復 / O / 2015

Cheuk Wing Nam / Necropolis / 2015 卓穎嵐 / 不變的事 / 2015

53

李美嫦 / 特納坐墊 / 2015

Melany Yip, DupliCity, 2015

葉美麟, 歧．視, 2015 Surprises can be round any corner. Melany Yip’s DupliCity of dual printed stickers of a slim man/pregnant man were good. I would like to have seen more,

驚喜似乎是遍佈於不同的角落。葉美麟的 〈歧．視 〉，是一個印上了苗條的男人 / 懷孕

to surprise as I walked around AVA’s corridors.

Visual Arts À la Carte

Michelle Lee / Turner Cushions / 2015

的男人雙印刷貼子，效果很不錯。我希望 每步都滿載驚喜。 我喜歡李美嫦的〈特納坐墊〉，將特納解釋 為觸覺而非視覺的油畫，是一個很好的構 想。然而，這並不完全成功。要把「對」的 感覺拿揑得準確，是個主觀的東西，即使 我未能完全拿揑李美嫦的視覺替代演譯， Michelle Kuen Suet Fung / Plastic, plastic, every

Tang Yiu Ho/ Organ / 2015

where!/ 2015 / 馮捲雪 / 茫亡膠海 / 2015

鄧耀豪 / Organ / 2015

但由我自己詮譯所得的感覺也很不錯。 韋琳的〈小小〉影片結集在一群畢業生的影

I loved Michelle Lee’s Turner Cushions – it was a great idea to interpret Turner

片和裝置之內，帶來極佳的示範作用。馮

as a tactile, not visual, canvas. However, it was not entirely successful. Getting

捲雪真正關心我們的環境，雖然她使用了

the “right” feel was a subjective endeavour, but I enjoyed my own feel even if

過於血紅的燈光，不但沒有加強信息的傳

I missed Lee’s complete interpretation of the visual equivalent.

遞，反而使之減弱，但裝置畫作的構想出 色。鄧耀豪成功地將三個赤裸的燈泡連接

Rachel Wai Lam’s Tininess video joined a group of graduates whose videos and

到三隻股票的交投情況，跟隨股票指數的

installations were exemplary. Michelle Kuen Suet Fung has real concern for

走勢，不過這件作品應該獨立展示在個別

our environment and her paintings as installation are well developed, although

房間，以免令其成功營造的極簡美學效果

the message became muted rather than stronger with the overly blood-red

受到附近展品所影響。

lighting. Tang Yiu Ho’s successful three naked light-bulbs connecting to three stock exchanges following their index movements should have been installed in a separate room. Its successful minimalist aesthetic unfortunately was compromised by nearby exhibits.

Rachel Wai Lam / Tininess / 2015 韋琳 / 小小/ 2015

視藝任選餐單

看到更多，希望在視覺藝術院走廊漫步時

張艷的茶和李均豪的葉片刺繡，以至吳江 樺的〈嚐影〉均為精美的裝置。Siddharth Choudhary 的〈為旅程加糖〉畫作，切實表 現出對社會的關注－－正如作品中擁擠的 公共場所－－與靈巧的繪畫之手。 周思顯的〈失落碎片．香江印象〉和文穎恩 的〈雙譜〉裝置出色地喚起回憶和過去，我 希望這兩位藝術家可以在其他藝術場所再 Tiffany Zhang / Travel is like medicine / 2015

次展覽作品。張煥森細小得荒謬的〈有錢買

張艷 / 旅行．藥 / 2015

蚊香，無錢買蚊帳〉作品，是香港許多巿民 生活在細小劏房裏的寫照。蘇曼華的〈一針

Tiffany Zhang’s tea and Lee Kwan Ho’s leaf embroidery were both beautiful

一 生 〉的 床 、 針 和 線 裝 置 捕 捉 到 死 亡 的 痛

installations as was Ng Kong Wah’s Tasting Shadow. Siddharth Choudhary’s

苦，陳百堅的〈二十四小時〉報章，是馬拉

A Sweeter Journey paintings indicated a good appreciation of society’s

松式的演示和裝置，應將其規模擴充，使

concerns – in this case, crowded public spaces – and a deft painting hand.

各處都可以看到。 陳紅娟的二十四小時夜－晝－雲－月－日 影片〈光．陰〉，非常適合作為我參觀碩士 畢業展觀看的最後一件作品，這正正反映 了我們的日常生活，白天和黑夜的晝夜序 列，受到外來力量和我們自身的決定所影 響。祝願你們未來的藝術事業如日方中！

Jane Ng / Tasting Shadow-An Edible Menu / 2015 吳江樺 / 嚐影 / 2015

Memory and the past were wonderfully evoked by Chow Sze Hin’s Lost fragments – Hong Kong Symbols and Carol Man’s Mixed Blessing installations; I hope both artists can exhibit their work in other art spaces. Likewise, Cheung Wun Sum’s absurdly small room-as-home is a Hong Kong reality for many residents living in minute, subdivided flats. So Man Wa’s …needled my heart bed, thread and needle installation caught the pain of death and Chan Pak Kin’s 24 Hours paper was a marathon performance and installation that

Samuel Cheung / Affordable mosquito coi,

should be expanded and seen elsewhere.

but unaffordable mosquito net / 2015 張煥森 / 有錢買蚊香，無錢買蚊帳 / 2015

Suitably, Melon Chen’s 24-hour landscape of night-day-clouds-moon-sun video, Time, was one of the last pieces of art I saw while visiting the MVA graduation exhibition. Our daily lives are exactly that, a diurnal sequence of night and day, interrupted by outside forces and our own decisions. All the best in your future art endeavours!

55

Siddharth Choudhary / A Sweeter Journey / 2015 Siddharth Choudhary / 為旅程加糖 / 2015

Visual Arts À la Carte

Lee Kwan Ho / The Moment / 2015 李均豪 / 當下 / 2015

視藝任選餐單

Carol Man / Mixed Blessing / 2015 文穎恩 / 雙譜 / 2015

Chow Sze Hin / Lost fragments – Hong Symbols / 2015 周思顯 / 失落碎片．香江印象 / 2015

Chan Pak Kin / 24 Hours / 2015 陳百堅 / 二十四小時 / 2015

Arabii So Man Wa / "...needled my heart" / 2015 蘇曼華 / 一針一生 / 2015

Melon Chen/ Time / 2015 陳紅娟 / 光．陰 / 2015

Designing Experience: “The Ballerina on the Elephant”

設 計 體 驗： 「大象上的 芭蕾舞女子」

Peter B enz

奔子墨

As s ociate Professor

副教授

From 27 to 29 November 2014 the Academy of Visual Arts hosted the

2014 年11月27日至29日，視覺藝術院主辦

international conference Designing Experience: “The Ballerina on the

國際會議 ── 設計體驗：「大象上的芭蕾

Elephant” to explore current theories and practices in the emerging area of

舞女子」，探索新興領域「體驗設計」現

Experience Design.

今的理論與實踐。

In academic and professional discourse, the commercial purpose of Experience

在學術和專業話語中，「體驗設計」的商業

Design and the cultural practices of the (fine) arts are commonly sharply

目的和藝術（美術）的文化實踐通常有明確

divided, yet this tends to get confused with the methods of shaping and making

分野，然而，這往往會使人混淆塑造體驗

sense of experience. In practice, artists can be – maybe have to be – just

的方法與理解體驗這兩方面。在實際應用

as coercive as designers when it comes to manipulating audience response.

中，藝術家可以 ── 也許必須 ── 如同設

On the other hand, many purely commercial events have, even inadvertently,

計師一樣以強硬的手段受眾得出預期的反

created shared experiences that lodge deeply in the popular memory.

應，不過，也有不少純商業的活動，有時 在不經意間就能在受眾的腦海中留下深刻 的共同體驗。

In his Aesthetic Theory (1970) Theodor Adorno put forward this observation: “Certain forms of so-called low-brow art, like the circus tableau in which the elephants stand on their hind legs each carrying on its trunk a pretty ballerina in a graceful pose, are unintentional archetypal images of the very same truth we try to decipher in art. Much can be gleaned from such ostracised forms about the intractable mystery of art…”

在狄奧多 . 阿多諾（Theodor Adorno）的美學 理論（1970 ）中，他將觀察所得總結如下： 57

It was from this quote that our conference borrowed its title, and also its approach; at the Academy of Visual Arts – more precisely within the Experience

「某些所謂低俗的藝術形式，例如馬戲團中 大象以後腿站立再用鼻子托起姿勢優美的

current practice and scholarship in the emerging field of experiential design. In

漂亮芭蕾舞女子的經典場面，正正在有意

particular we are interested in its relationships, touch points and coincidences

無意間演繹出我們在藝術中夢寐以求的原

inspired by shared issues across a range of disciplines from the spectrum of

型圖像。此等遭排擠的藝術形式，其實有

contemporary visual arts and also beyond. It was the aim and purpose of the

很多地方可以讓我們窺探到藝術上一些難

conference to expand our own explorations by inviting a wider international

以解答的謎團 …… 」

Visual Arts À la Carte

Design group of AVA that is linked with our MVA programme – we investigate

circle of practitioners and scholars with a multitude of backgrounds to enquire 視藝任選餐單

into the ways in which slippery notions of “experience” are shared, commodified, theorised and politicised in respective fields, and then to contemplate what this could effectively imply for a design genre that is yet trying to find itself.

Following an open online call for papers and the subsequent double-blind peer-review of submitted abstracts, the conference’s programme committee felt it was possible to “distil” three core themes from those submissions that seemed to conglomerate much of the research work done in and on experience design around the world: 1. Experiential aesthetics 2. Participation/Co-creation / Co-production / Co-experience

這次會議的主題及研究方式，正是取材自

3. Contexts & relations

以上的一段引文。在視覺藝術院內 ── 更 確切地說應該是視覺藝術院內視覺藝術碩 士課程的「體驗設計」小組，我們正探討 當前新興體驗式設計領域中的實踐方式和 學術研究，其中當代視覺藝術以至其他範 圍的跨領域共同議題所衍生的相互關係、 交接點和相符之處，更是我們興趣的焦點 所在。這次會議的宗旨和目的，是邀請國 際上不同背景的從業者和學者加入，拓闊 我們的研究，共同探討「體驗」一詞的模 糊概念以怎樣的方式在各個領域共享、商 品化、理論化和政治化，然後審視這樣對 尚未定位的設計領域有何實際含意。

Of course, it was understood that these themes are by no means exclusive, that there always are overlaps, influences, intertwinings, and that – especially in a field as naturally interdisciplinary as experience design – there are never any clear divisions between areas. Nonetheless, it was felt to be appropriate enough to utilise those headings to establish a general structure for the conference. 公開網上徵文並為提交的論文摘要進行雙 匿名審查後，會議的執行委員會認為可將 提交的論文「精煉」出三個核心主題，而這 三個主題似乎也綜合了世界各地大部份有 關體驗設計所進行的研究工作： 1. 體驗美學 2. 參與 / 共同創造 / 共同製造 / 共同體驗 3. 語境脈絡與關係

At the conference, each core theme was initially introduced by a respective keynote speaker, who was invited to sketch out the perimeters of the themes in relation and with reference to the notion of designed experiences in their presentations. Their introductions were then followed by 20+ presentations delivered by scholars and professionals from four continents covering the nature and scope of experiential design.

But of course, as the conference was about experiential design, through the general programming of the conference we were also attempting to establish an experience: the catering for participants and guests experimented

當然，我們明白到這些主題絕非獨立存在

with taste and textures, including, for example, home-made ice creams with

的，它們之間總有重疊、相互影響和交織

“Elephant” or “Ballerina” flavour; instead of the mandatory guided city-tour for

之處，尤其是體驗設計本身就是一門跨領

international guests we offered a tour of Hong Kong’s neon signs at night; in

域的學科，各領域之間根本從沒有任何明

addition to the academic programme we offered opportunities for meetings

確的分界線。然而，以這些主題作為會議

and discussions with local artists, gallerists, activists, etc.

的基本框架，似乎又甚為適合。 會議上，每個核心主題均先以個別主題發 言人的發言作為引子，按設計體驗的概念 勾畫出圍繞主題的相關議題。引子過後， 來自四大洲的學者和專業人士就着「體驗 設計」的性質和範圍進行了20 多個發言。 由於會議的主題是體驗設計，我們的會議 日程也自然給與會者安排了一些體驗：提

供自家製「大象」或「芭蕾舞女子」口味 的冰淇淋，給與會者和嘉賓的味覺和口感 帶來體驗；為來自其他國家的與會者安排 59

夜間香港霓虹燈觀光之旅，而不是一般強 制的城市導覽活動；除了會議日程外，我 展人和藝術活躍份子等進行討論和會面。 時光飛逝，會議已經落下帷幕。我們在兩 天多的時間內舉行了約25 個發言，不少發 言的討論氣氛熱烈、富建設性，而且饒有

25 presentations over two days, and had engaged in many very lively,

趣味，雖然幾乎每個發言都過了時限，但

constructive, and fun discussions that effectively meant we were running late

與會者反而都顯得不亦樂乎。這次會議的

almost throughout the entire programme – which was, however, valued by

最理想成果，我個人認為是促成了「體驗

all participants. In effect, I personally believe the best outcome of the conference

設計」的核心社群；「體驗設計」這門學

was the establishment of a core community; as Experience Design is still

科仍在尋找自我定位之中，學科的支持者

searching for its identity the proponents of the disciplines are still relatively few

還相對較少，亦分散於世界各地，大家彼

and scattered all around the world. Meeting and getting to know each

此親身會面和認識可以凝聚這股支持的力

other personally meant everyone felt supported, and in the mid-term this will

量，並促成日後進一步開展新的計劃、合

certainly lead to further new projects, collaborations and exchanges.

作與交流事宜。

As of today, half a year after the conference, two concrete projects have been

會議結束至今已有半年，期間兩項具體計

developing from it: an academic book publication of a selection of the papers

劃已經應運而生：於11月發表的論文將選

delivered in November, focusing especially on the exploration of notions of

輯成學術書刊出版，主題集中在探索體驗

experiential aesthetics; and – very excitingly – AVA is currently in negotiations

式美學的觀念；與此同時，令人非常興奮

to muster the funding to establish the first academic online journal with a

的是，視覺藝術院目前正在洽談籌集資金

focus on experiential design and the general notion of experience.

的事宜，以建立首個以體驗設計和體驗的 基本概念為主題的學術網絡期刊。

More exciting times are ahead of us! 前面的路必定還有更多的驚喜等待我們！

視藝任選餐單

Far too quickly, the conference came to an end. We had seen approximately

Visual Arts À la Carte

們還提供機會讓與會者與本地藝術家、策

AVA Event List 視覺藝術活動一覽

2015 17 Jul – 9 Aug

“In the Name of Drawing” (Koo Ming Kown Exhibition Gallery) This exhibition brought together 18 visual arts students who used drawing as an autobiographical record of their own experiences and discoveries. The variety of techniques and approaches that they employed exemplify the extraordinary range of possibilities in contemporary drawing as a medium for expression and communication.

17 Jul – 9 Aug

“Weight” (Koo Ming Kown Exhibition Gallery) This exhibition showed the work of 10 art students and how they looked at the fundamentals of an object – the materials used to create the object and the emotions evoked by that object. As time passes the emotional weight exceeds the physical weight of the material used.

11 – 31 Jul

“Here” – Master of Visual Arts Graduation Exhibition 2015 (Kai Tak Campus ) Contemporary art and society are becoming increasingly complicated. The relationship between artworks and various systems has become intricately linked. Different identities and socio-political ethics compete for a say in this narrow domain. This exhibition employed “here” as the theme, with an emphasis on the “contemporary”, and covered the three areas of studio art & extended media, experience design and art administration.

7 – 21 Jul

“Y Waste?”

(K11 Art Mall ) This exhibition challenged our current clothing consumption and waste culture and is a question that is as relevant for fashion as it is for food or fuel. The large sculpture installation created by AVA students was displayed in this exhibition.

6 Jul

Public lecture: Artistic Research in Museum Collections How can theory and practice in the visual arts be integrated? The speaker, Dr Clémentine Deliss, is an independent curator currently based in Germany.

She has implemented a new methodology of artistic research and production based on historical ethnographic collections. In this lecture, Dr Deliss shared her projects and research in museums.

29 Jun

Guest lecture: Landscape Reflected and Multiplied – A Visual Survey on Landscape, Image and Art Landscape sells. Images of ideal Swiss landscapes travel around the globe on chocolate packages and other commodity surfaces. In a global context such locally grown visual stereotypes are both disseminated and put into perspective with other concepts, for instance those created by Chinese landscape paintings. The speaker, Dr Annemarie Bucher, focused on landscape as a metaphor for aesthetic perception and production, and discussed the relationship of landscape as space and landscape as image and its relevance for art and science.

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22 – 26

International Art Moves (IAM) workshop: Handle with Care In the third edition of the IAM workshop, visiting lecturers from IAM, Dr Martin Müller and Anne Müller, taught about the theoretical and practical aspects of curating an art exhibition. They mentored the students in realising an exhibition due to take place at Kunstquartier Bethanien in Berlin, Germany, in January 2016. Of the 20 students, 5 will travel to Berlin to set

Visual Arts À la Carte

Jun

up the exhibition.

“Urban Exotic Dilemma” (Koo Ming Kown Exhibition Gallery) “Urban Exotic Dilemma” is an academic enquiry and collaboration based on the research of Visual Arts PhD students Wang Dong and Craig Cooper. It showcased around 20 works of oil painting, video, installation, performance and photography by 10 artists from Hong Kong, Mainland China, Europe and America.

30 May – 21 Jun

BA Graduation Exhibition 2015 (Kai Tak Campus) This exhibition embodied works in various media, letting our audience experience a wide range of art forms to gain knowledge of arts and deepen their interests. Using tools, the show echoed the diversity of the academy.

Together with works from 107 graduates, this show presented the idea of “N tools = N inspiration + N process + 107 works = 1 show”.

24 – 30 May

“Why Jewellery?”

(Koo Ming Kown Exhibition Gallery) Starting with the question “Why Jewellery?” 30 participants from AVA and Queensland College of Art, Griffith University, Australia, sought to create their answers based on their individual backgrounds and experiences. This exhibition attempted to be a starting point in demonstrating the variety of contemporary jewellery.

視藝任選餐單

4–8 Jun

2015 25 Apr – 7 Jun

“About Reading” (Gallery, Dortmunder U – Centre for Art and Creativity, Germany ) During the academic year 2014/15 two Cover-to-Cover classes led by Dr Mariko Takagi and students of the Buchlabor at the University of Applied Sciences Dortmund, taught by Prof. Sabine an Huef, created books reflecting the topic “Reading”. During the international cooperation the students of both universities developed their own attitude towards “reading” and visualised their thoughts, experiments and playful research in the form of books. More than 20 works by AVA students were exhibited in Germany at the Dortmunder U gallery.

18 Apr – 16 May

“Living Sound” (Koo Ming Kown Exhibition Gallery) “Living Sound” was a bold attempt by AVA, an institution dominated by the visual, to feature an exhibition with sound as the major creative medium. It was launched together with the Sound Art Symposium, Beyond the Sound, in the French May Arts Festival 2015. Seven artists/artist groups, from current students, alumni, and staff worked either directly with sound or created visual art projects with significant audio components.

Symposium: Beyond the Sound Co-presented by AVA, Connecting Spaces, Consulate of France in HK & Macao and soundpocket, the symposium focused on the problematic question of what sound art is, and was divided into two parts – one based on a theoretical approach regarding the historical dimension of sound art and one based on artistic practice. The symposium included a lecture, “Sound between the disciplines”, and a discussion, “Sounding Territories: Site specific sound works and artistic practices between artists”.

Audio ROOM – Workshop with Eddie Ladoire This workshop aimed to discover a part of the experimental field of Radio Creation, increasing awareness of its codes and transforming them to create other means of broadcasting. This workshop helped participants to achieve awareness of contemporary musical creation by discovering radio art, to understand composition and the broadcasting process from the exploitation to the installation of musical theories, and to understand the composition process behind CDs, the Internet, installation and performance.

Sound Art Workshop with Pascal Broccolichi This workshop with students directly connected with Pascal Broccolichi’s own artistic research and his working environment. The artist and the participants went to different places in the town ( inside and outside ) to conduct exercises of listening and recordings. They created a sound library of typical vibrations and rhythms to prepare a collective broadcast.

4 – 9 May

“Daniel Says: Works of Chinese Calligraphy and Seal Engraving” (Koo Ming Kown Exhibition Gallery) The exhibition showcased works of Chinese calligraphy and seal engraving

by Dr Daniel Lau and his students at Hong Kong Baptist University. Most students’ works were finished as partial requirements of the various Chinese calligraphy and seal engraving courses conducted by Dr Daniel Lau. In these courses, the dialogues between students and their teacher played a pivotal role in the interactive teaching-and-learning process.

30 May

Creative collaboration workshops: Exhibition Design, Lighting and Framing workshops covering some key practical issues in exhibiting. The aim of the workshops was to bring together young artists and curators who are pursuing an exhibiting career with professionals in relevant fields in order to open up discussion and exchange of ideas on exhibiting.

22 Apr –

“To weave” (Gallery, Kai Tak Campus ) Curated by five young female artists, Choi Wing Yan, Hui Hoi Kiu, Lam Hau Yi, Wong Yuen Ying, and Yeung Hoi Ning, the exhibition aimed to explore the perspective of young females nowadays through Chinese paintings.

Featuring the traces of the artists’ lives, the artworks put forward a new vision about women.

Mar,

University collaboration project: City Metaphors

Apr,

The students taking part from three participating universities – Zürich University

Jun and Sept

of the Arts, the HafenCity University in Hamburg and AVA – were to explore the theme in three very different urban spaces, opening up opportunities for differentiated observations and cross-cultural reflections on the questions and issues related to the study of contemporary urban textures worldwide.

Students investigated their ideas and these were presented to the public in two parallel exhibitions in Zürich and Hong Kong in September 2015.

27 Mar – 23 Apr

Documentary Vision Screening Workshop 1: On Social Happenings – Walk On! Shun Ning Road In June 2009, the Urban Renewal Authority (URA) announced that 69–83 Shun Ning Road had been zoned as an urban renewal area. Since then, 13 tenant households there have received notices of evacuation from the landlords.

The property agents have used every means to evict them, while the URA have ignored the problems. What makes these tenants keep on fighting was discussed.

視藝任選餐單

5 May

Visual Arts À la Carte

Kaitak Centre for Research and Development in Visual Art ran a series of

63

25 Apr –

2015 27 Mar – 23 Apr

Documentary Vision Screening Workshop 2: On Places – The Forgotten Space The Forgotten Space is based on Sekula’s Fish Story, seeking to understand and describe the contemporary maritime world in relation to the complex symbolic legacy of the sea. A range of materials was used: descriptive documentary, interviews, archive stills and footage, and clips from old movies. The result is an essayistic, visual documentary about one of the most important processes that affects us today.

Documentary Vision Screening Workshop 3: On People – My Way This is a story about Male Dan (male performer playing female lead) in Cantonese Opera, a documentary seven years in the making about a marginalized art form. Cantonese Opera is not a popular art field in Hong Kong; it is impractical and generally not supported. How one continues and reaches one’s final destination when the road ahead is unclear was investigated.

15 Mar – 19 Apr

Mini-gama workshop by Tetsuya Ishiyama In this workshop taught by Japanese ceramic artist Tetsuya Ishiyama, participants were divided into groups to build a mini clay kiln. Participants were also given the chance to use the mini clay kiln to fire their works.

“Wood-Fired Ceramics” exhibition (Gallery, Kai Tak Campus ) In the course of his residency at AVA, Tetsuya Ishiyama led a group of 22 students to experience the art of wood-fired ceramics and Japanese chawan.

Through building and using a wood-firing kiln, Ishiyama passed on the Japanese wood-firing technique, giving a rare chance for the students to merge the exquisite natural ash glaze formed by wood-firing into their ceramic pieces. Their works, either in the form of chawan or ceramic sculpture, were showcased in the exhibition alongside information documenting the whole process of kiln building and wood-firing.

10 Mar

Artist talk by Richard Wilson Richard Wilson is one of Britain’s most renowned sculptors. He is internationally celebrated for his interventions in architectural space, which draw heavily for their inspiration from the worlds of engineering and construction and are characterised by concerns with size and structural daring. The artist shared his experiences in making art.

16 Feb – 9 Mar

YCE Awards 2015 Workshop 1 – Combining Creativity with Business How can young creators start their own business and be an entrepreneur in the creative industry? What problems or struggles will one face when executing creative thoughts in a commercial world? How does one keep a good balance between creativity and profit making? Apart from working with a business partner, what is collaborating with different creative parties like? This seminar looked into the questions raised above with experiences shared by our speaker, a young entrepreneur in the design industry.

YCE Awards 2015 Workshop 2 – Creative Business as a Cultural Community Being in the industry is not always about money making. With cutting-edge visions and a daring mind we can be a change-maker and contribute to shaping a better future of our society. With the participation of the peer group that shares the same values as you and your business idea, a cultural community with an expanding audience base can be formed. This can be regarded as a sustainable way to run a platform for exchanging ideas and styles.

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YCE Awards 2015 Workshop 3 – Working on Business Proposals: Pitching Practice Humans are born to be creative and we always have interesting ideas popping convincing, practical and promising proposal to attract funds and investments which will make our dreams come true? In this workshop, the speaker focused on the skills and techniques of proposal pitching, aiming to give practical and inspiring guidance to participants. The speaker also shared tips on successful proposal preparation and pitching presentation.

3 Mar

“AIR Exhibition: HEUNG!” (Gallery, Kai Tak Campus ) The exhibition displayed the results of research on about the rapid social, architectural, and even linguistic change of the Kowloon City neighbourhood through the form of an installation, a series of books developed during the two-month residency and an experimental musical performance, as well as the results of an intensive course conducted by Roman Wilhelm.

13 – 22 Feb

“Balance” (Gallery, Kai Tak Campus ) This is an annual exhibition by the Visual Arts Students Society, exhibiting twelve groups of students and alumni’s artworks on the theme of “balance”. In the exhibition, students and alumni also worked in pairs or groups and looked for the balance between their ideas and concepts.

30 Jan

Lecture: Paintings and the Stories of Death In this talk, a number of masterpieces were selected as examples to discuss how painters deal with the subject of death in their works and how they respond to the claim “painting is dead” in defence of their works. The talk was conducted by AVA Assistant Professor Dr Francis YU Wai Luen.

29 Jan – 27 Feb

Scotty So “Self-introduction” photography exhibition (Koo Ming Kown Exhibition Gallery) “Self-Introduction” was a photography exhibition by Scotty So, an Associate of Arts in Visual Arts student. It featured seven collections and more than 40 works of self-portrait taken by himself. The notion of “self” was the major topic of this exhibition.

視藝任選餐單

27 Feb –

Visual Arts À la Carte

up all the time. But how do we consolidate all these fanciful concepts into a

2015 29 Jan – 25 Feb

“Etc.” (Koo Ming Kown Exhibition Gallery) This exhibition showed some experimental works from AVA final year students and alumni towards their honours project. The works were not just shown as examples, but also to pose questions. It was hoped that the exhibition would be a trigger point for fellow schoolmates to discuss more about their artistic creations in the academy.

27 Dec

“CRAFT: Ceramics x Glass x Jewellery” exhibition

2014 –

(Koo Ming Kown Exhibition Gallery)

19 Jan

This exhibition displayed magnificent handicrafts in ceramics, glass and

2015

jewellery by eight current students, together with a collaborative artwork in jewellery by another nine students. The young artists were longing to show a sense of their strong passion for art and crafts to the public.

13 Dec

“Sustainable Christmas” art exhibition

2014 –

(Hong Kong International Airport)

2 Jan

Together with the HKBU Task Force on Sustainable Campus, students of AVA

2015

on the Sustainable Design course used waste materials such as discarded red-wine boxes, wooden pallets, cartons and plastic bottle caps to create an environmentally friendly Christmas corner at the end of aisle A of the Departures Hall at the airport. Through the art, they introduced to the community a low-carbon culture in the hope of promoting the concept of “Green Festivals”.

2014

“Haptic InterFace 2014 Designing Experience”

3 –19

(Koo Ming Kown Exhibition Gallery)

Dec

The exhibition brought together professionals and creative thinkers from a range of backgrounds in an innovative trans-disciplinary exhibition that explored the borders and intersections of art, science and technology.

27-29 Nov

Haptic InterFace public lecture Haptic InterFace brought together 20 professionals and creative thinkers from different disciplines, cultures and countries to explore the borders between art, science and technology in an innovative trans-disciplinary presentation of new ideas in relation to the body through the creative use of materials and praxis.

21 Nov

Conference: Designing Experience: The Ballerina on the Elephant A two-and-a-half-day conference about experience design. Three keynote lectures and 14 papers were presented under three main themes. A panel discussion was held on the final day of the conference to conclude the matters under the three main themes.

21 Nov

Lecture: Political Comics – A Dialogue with Society This talk was conducted by Justin Wong, AVA lecturer, with the aim of providing an overview of the recent development of political cartoons in Hong Kong in the light of observations of the Umbrella Movement and the speaker’s own experience in comics writing. It tried to analyse the systems and mechanisms behind the language of comics and see how the artists respond to social issues with simple tools such as a pencil, a notepad and a folded chair in such a turbulent period of time.

19 Nov

Seminar: Repetition, Rhythm and Blues 67

Prof. Thomas Bayrle is a German artist, a pioneer of pop, seriality and media art. From 1975 to 2007 he was one of the most active professors at the Städel artists. The seminar was organised in collaboration with M+, West Kowloon Cultural District Authority. It attracted more than 70 university academics, students and members of the public.

13 – 23 Nov

“OMG“ Alumni joint exhibition (Gallery, Kai Tak Campus) explored themselves, trying to discover the feedback around them for art creation.

Lecture: What Museums do – On Social Justice and Community Empowerment Dr Vivian Ting explored the role that museums have in society and in connecting different groups and their own histories. The talk also offered an overview of new museological practices with which museums have sought to engage with contemporary social concerns, to tackle specific manifestations of inequality and to act in partnership with communities to advocate social change.

17–26 Oct

“ 今 心 ” Alumni joint exhibition (Gallery, Kai Tak Campus) The original concept for this joint exhibition by three alumni was art creation related to books and reading. Because of the recent “occupy” issue, they changed the concept to “How they read Hong Kong city now”.

視藝任選餐單

The four alumni, Hui Hong Man, Lau Tsz Ho, Yip Chun Kit & Yiu Kwok Ho,

30 Oct

Visual Arts À la Carte

Schule in Frankfurt, teaching many of today’s internationally recognised

03 E xpl oring the Past , Pres ent and Future E xp eri enc e 探索過去、現在與未來 P. 70

P. 75 In Terms of Landscapes

Some Things about

風景的言說

Traditional Handicraft 傳統工藝的二、三事

P. 71 Rekindle the Dream of Art

P. 76 — 78

藝火重燃

Printmaking 版畫製作

P. 72 Keep Growing

P. 79 — 82

植根與成長

New Blood in AVA 學院新成員

P. 73 A Few Reflections and Thoughts 課堂偶拾

P. 74

P. 83 Residency in Zurich __ Research about the Rights of Pets

Seek and Find: A New Way of Making 尋與覓: 製造的新方式

蘇黎世駐城計劃 ── 研究寵物權益

In Terms of Landscapes

風景的言説 卓有瑞 助 理 教 授 ( 2 0 0 5 _ 2 0 1 2)

Cho Yeou J ui As s istant Professor ( 2005 _ 2012) 退休後的日子閒雲野鶴，除旅遊外，每天 都在工作室畫畫讀寫。 Post-retirement leisure: in addition to travel, daily painting and study in the studio.

在台灣台中月臨畫廊個展的陳述，可以代

Some thoughts on the occasion of a solo exhibition at the Moon Gallery in

不是一個時髦的藝術話題，也不是個奪人

Taichung, Taiwan, representing my current state of mind: Landscape art is not

眼球的展覽主題，但如同輪迴千萬年的自

a fashionable genre, nor is it an attention-grabbing exhibition theme.

然大地，冬去春來，枯榮交替，世事變

表 現 今 的 心 境 ──「 風景（ landscape ）」

But as the natural cycles of the earth have continued unbroken for millions

易 ，「 風 景 」一 直 靜 靜 地 屹 立 着 —— 平

of years, and as the seasons have perpetually returned as the eras have

靜、平淡而曠達。

passed, so, too, has landscape art persisted: tranquil, pure, open. 一切深入生命深層而能出入自在者，都稟 Those who have the ability to access the deepest layers of life have a pair

俱了一雙讓他得以活在世間，卻又不屬於

of eyes situated on the world’s edge. That is, such a pair of eyes allows one to

世間的邊緣的眼睛，正是依憑此眼，得以

live in this world, but also to penetrate what lies beyond. One depends

凌越深植於意識的一切習見遮蔽，而直接

on such a pair of eyes to move beyond the deep-rooted limitations of everyday

貼近存在所給予之陌生情境，因而有了嶄

consciousness, and gain direct access to the insights of the sublime.

新的視域。

What lies in front of the eyes is merely a road without signposts, a road of

橫亙眼前的，只是一條不見盡頭，也不見

which one cannot see the end. But gazing into the vastness of nature, with no

指標的路；俯仰空闊，蒼蒼莽莽，前不見

sight of those who have come before and no sight of those who will come

古人，後不見來者，至此終於抵達了一種

after, one may finally arrive at a profound solitude, a transcendent freedom.

深邃的孤獨與自由。

Rekindle the Dream of Art Ts e K a N in g, N ing S enior Technica l O f f i cer ( 2009 _ 2014)

71

The immense creative aura experienced in my AVA years since 2009 recalls the distant artistic passion in my university studies and rekindles a teenage I am able to focus upon personal creative works and learning.

I am practising ceramics at the moment; the focused heart on the interactions between hands and clay brings me tranquillity and peace, and will often elevate me into a meditative condition, which I enjoy most. Another interesting thing about ceramics is following the erratic condition of the clay and creating an ideal form by seizing the right chance; the end product after firing is also very unpredictable. I found this experience fruitful in applying to our normal daily living. Apart from this, I am experimenting with a series of mixed media works for my group show in December 2015.

藝火重燃

Exploring the Past, Present and Future Experience

artistic dream. I served the Academy for five years and left the post last year;

謝家寧

自 2009 年加入視覺藝術院，在院內藝術創 意濃厚的氛圍下工作，使我回憶起大學時 期專注創作的熱情和樂趣，亦重燃年少時 的藝術夢。去年底，我毅然離開工作 5 年 的崗位，全身投入創作和學習的生活。 我現正學習陶藝。每當我全心專注在雙手 與陶泥之間的互動，整個人就不期然放 空，內心感覺平靜，有時還會進入一個近 乎冥想的狀態，我很享受這個過程。陶藝 創作另一個有趣的地方，就是要順着陶泥 的狀態，再把握恰當的時機，才能造出理 想的造形，從來不能勉強；製成品燒製出 來後，結果更往往難以預料。這經驗代入 做人處事的態度上，也讓我有所領悟。此 外，我也着力創作一系列混合媒介作品， 預備參與 2015 年底一個聯展以激勵自己持 續創作。

探索過來、現在與未來

高級技術主任 (2009 _ 2014)

Image of the small writing pad. ` Special credit to photographers Miss Tina Pang

Keep Growing

植根與成長 蔡仞姿 助理教授 (2005 _ 2010)

Choi Yan Ch i As s i stant Professor ( 2005 _ 2010) 2015 年原來已是視覺藝術院的十歲生日！ 啟德校園內的影樹紅花已不見了，同學老 The year 2015 marks the tenth anniversary of AVA. The old Delonix tree with

師們已把它化為雕塑與木製品，這些作品

red flowers on the AVA campus has gone, as teachers and students made use

可會引起同學們追尋木製作的興趣？我倒

of its fallen trunk, turning it into sculpture. Will it grow students' interest in

是很喜歡今年同學們送給我的木製咭片紀

woodcarving? I am very fond of my wooden name-card case, a souvenir that I

念盒。

received from the students this year.

2010 年後，我雖已不用全職教學，不過生 Since 2010 I have stopped teaching full-time, but my life has become busier.

活卻更見忙碌：2013 年，我參與了Burger

In 2013 I co-curated the exhibition “I think it rains” by Burger Collection, which

Collection「I think it rains」的策展，近距離

allowed me to see the making of an international showcase from up close.

看到一個國際視點的製作。2014 年，我鋪

In 2014 I did an interactive work, Head to Head Conversations, through which

排 了 一 個 互 動 創 作「平行對話」，無 意 中

I witnessed the emotional journey of the Umbrella Movement. On 21 June

見證了雨傘運動點滴與各人的心路歷

2015, the Summer Solstice, I took part in “Yoko Ono Morning Peace” which was

程 。2015年6月11日，時為夏至，我參與了

simultaneously held at M+ and MOMA. At 5 am a group of us waited for the

M + 與 MOMA 同步進行的 Yoko Ono Morning

sunrise on the rooftop of West Kowloon Site Office. Waiting for Dawn is the title

Peace；晨曦四時許，一群人靜默地在天台

of the work as well as a metaphor.

上「等待黎明」。「等待黎明」是我作品的 命題，也是一個隱喻。

A Few Reflections and Thoughts

課堂偶拾 黃頌恩 講師 (2007 _ 2011)

M agdalen Wong Lec turer (2007 _ 2011) 我會永遠懷念在浸會大學視覺藝術院講課 的光陰。那時，為了設計出新穎有趣的課 brainstorming new engaging ideas. I remember all the fun experimental

盪。學生跟我一邊擺着自己最不舒服的姿

drawing exercises, like drawing in the most uncomfortable position one

勢一邊畫畫，也曾經在城裏一邊遊走一邊

can get into, or the chance drawing while travelling around the city. It was

創作，過去每個趣味盎然的畫作實驗我都

so much fun for me, and I often giggled as students tried their best to

記得清楚。我設計的練習往往害學生覺得

complete my often embarrassing exercises. But it was truly exhilarating when

很尷尬，但他們盡所能完成這些練習時的

students came up with individual ideas that were also conceptually

樣貌，經常讓我「咭、咭、咭」地笑起來，

stimulating. I remember the nervous excitement when students first performed

帶給我無窮樂趣。學生提出極富挑戰性的

in public, and all the silly gestural explorations, like connecting our heads

概念，每每讓我欣喜若狂。他們第一次在

on the entire subway ride, or sitting next to a dried seafood shop putting on

公眾場合表演或做一些看來很滑稽的姿勢

layers and layers of make-up for hours. It was physically and mentally

探索，都會叫我又緊張又興奮。我們曾經

demanding, yet greatly rewarding.

在地鐵上，整個旅程都頭靠着頭；又曾經 坐在海味店旁好幾小時，往臉上抹上一層 又一層的化妝品。這些練習對身心都是個 極大挑戰，不過也同時讓我們收穫良多。

Exploring the Past, Present and Future Experience

堂，每段構思過程都好像跟自己玩腦激

73

I will always cherish my time at AVA, where coming up with a lesson plan is like

探索過來、現在與未來

我現在住在紐約，在藝術創作裏掙扎奮 鬥，跟各種不同想法搏鬥，感覺就像我的 Now living in New York, I struggle with my artistic practice, wrestling with

學生，在學習新知識、跟別人分享不完整的

ideas, as much as when my students tackle new knowledge, sharing incom-

想法和探索不同藝術形式結合的可能性。

plete thoughts, and assembling numerous artistic possibilities.

Seek and Find: A New Way of Making

尋與覓:

Chr istop h er R oth erm el

Chr i s to p he r R o t he r m e l ( 2005 _ 2011)

As s istant Professor ( 2005 _ 2011)

製造的新方式 助理教授

我是視覺藝術院的創始成員之一，參與學 院初期的設備配置和課程構思，時至今 日，這仍是我人生中最刺激、最讓我津津 樂道的經歷。親眼目睹首屆畢業班的設計 和他們的首個畢業展，是我最難忘的時刻 之一。看到學生把我們所教授的運用出 來，並融入個人風格，我感到非常自豪和 高興。我也永遠不會忘記與我共事的教職 員，我從來沒有遇見過如此投入和熱愛工 作的教師團隊。在這裏任教之時，我無論 作為藝術家、教育家或單純一個普通人， 我無不獲益良多。 自離開視覺藝術院後，我轉到商界發展， 現在開設了 Roth Projects LLC 。這是一間設 I was one of the founding members of AVA and was involved with the initial

計建築公司，與建築師、發展商和設計師

development of the facilities and curriculum. This was by far one of the most

合作聯合提供一站式建築/雕塑/設計解決方

exciting and fulfilling experiences of my life. One of my favourite experiences

案。我們開發的建材 CercaTrova，是一項以

was seeing the first graduating class design and present their first honours

複合石材為主的材料，風格源於經典古董

project exhibition. I was very proud and excited to see what students did with

和意大利傳統的人造大理石製作；研發這

the things we taught them and how they shaped it to make it their own.

種建材的目的，不外乎是想把藝術應用於

I will always remember the faculty I worked with. I have never met a more

當今設計建築社群的建築之上。我們就如

dynamic group of people that were so invested and passionate about what

同麵包師一樣，以手混製每個訂單的所需

they were doing. I grew tremendously as an artist, educator and human being

物料，然後將物料壓製在客人特製的模具

while I was there.

中；模具和材料會維持黏合，直至材料完 成固化過程；然後，成品會經人手從主模

I have moved out of the university scene since my time at AVA and am now a

具中取出，再利用抗微生物密封劑進行拋

business owner of “Roth Projects LLC”, which is a design–build company

光和處理，打蠟過後再由我們的團隊運送

that works with architects, developers and designers to provide one kind

到施工現場。目前，我們在北美地區提供

architectural/sculptural/design solutions. We developed the material

運送訂製物件服務。我很高興能夠把 Cerca-

CercaTrova, a composite stone-based material with its roots in classical

Trova 引入市場！

antiquities and the traditional Italian method of Scagliola, out of a desire to see artistry applied to the architectural framework of today's design–build community. We batch-mix each order by hand as a baker would. The batch is then pressed into each approved mould. The mould and material remain married until the materials curing process completes itself. The piece is then removed by hand from the mother mould, polished and treated with an anti-microbial sealant, waxed and delivered by our team to the job site.

We are currently delivering custom pieces on order in the North Americas.

I am excited to be taking CercaTrova to market!

Some Things about Traditional Handicraft

傳 統 工 藝 的 二 、三 事 梁美萍 副教授

Leung M ee Ping As sociate Professo r 近幾年，香港政府或民間團體關注本土文 化，積極發掘和保存傳統手工藝，這或許 75

是由於大眾日常生活文化受到媒體影響， 大家開始反思人與人的真實接觸，甚至知 始在學院和社區進行傳授。 視 覺 藝 術 院 的「香 港 工 藝：傳 統和轉換」 開課已經六年，請來的老師傅教授的傳統 工藝包括：紙紮燈籠、皮偶、貴州傳統刺 Due to the increasing attention to local culture from the Hong Kong

繡、飄色巡遊、花牌、打鑄鐵、皮革工藝

government and local organisations, traditional handicrafts are now more and

等等。各位老師傅不是因年邁要退休、手

more exposed and valued. The genuine connection between people is also

藝被工廠生產替代，就是小舖抵不過租金

being reflected as a result of the burgeoning multimedia that forms part of the

而關閉，同時也沒有年輕人入行，以上種

daily cultural life of the community. The connection involves more than the

種因素令手藝失傳。

actual transition of knowledge, and includes the transfer of skills in colleges and communities by craft masters.

開設這個課程，沒有企圖嘗試把上述的社

Exploring the Past, Present and Future Experience

識的實體轉移，老師傅的工藝，亦因而開

會文化結構改變，只是希望提供多一個非 學院式的師徒傳承平台，讓學生增加多一

at the Academy for Visual Arts for more than six years. Invited masters and

種視覺表現的可能，學生從師傅身上更學

professionals teach traditional handicrafts including paper lanterns, shadow

懂待人處事和人情的文化。

puppet art, Guizhou traditional embroidery, Piaose Parade, flower boards, galvanised iron manufacture, traditional leather crafts, etc. Yet, due to the fact

課程完結了，看到還有學生參與了兩屆飄

that all these masters and professionals are at retirement age, that the skills of

色巡遊。畢業後成為中學視藝科老師的，

handcrafting are being replaced by machinery, and that no youngster is willing

在中學傳授改良了的皮影工藝，並在當代

to join the field, these traditional hand-crafting skills are slowing fading away.

藝術創作中轉化傳統工藝形式。我亦認識 了不少老師傅，有空時相約聚面飲茶，常

The reason for opening this course was that, instead of changing the social

常談及記不起名字的學生和傳統工藝的

cultural structure, we wanted to provide a platform that enabled inheritance

二、三事，我其實是蠻享受的！

between the masters and the students, a rather different mode when compared to the conventional student academy mode. This allows the students to increase the possibilities of visual presentation and to learn from the intangible moral culture of the masters.

After the course was finished, there was a particular AVA student association that continued to attend the Piaose Parade for two years. Another student became a high school art teacher after graduation, teaching a modified version of shadow puppet art and also changing contemporary art creation to use more conventional skills. I have also met quite a few experienced masters outside the classes. We often have tea together and talk about things related to traditional handicrafts and the students whose names we cannot even remember! Indeed, I enjoyed it a lot!

探索過來、現在與未來

The course “Hong Kong Craft: Tradition and Transformation” has been running

Printmaking

版畫製作

Chan An Gee

陳安之

Part-time Lecturer

客席講師

The printmaking process was invented for the purpose of reproduction. The

版畫的發明目的是為了使訊息有效廣傳，

earliest print methods were used for spreading Buddhism in China. The main

最早期在中國被用作傳揚佛法。版畫製作

printmaking processes are monotype, relief printing, intaglio printmaking,

主要分為凸版印刷、凹版印刷、平版印

lithography screen printing and digital printing. Printmaking has been widely

刷、絲網印刷和數碼印刷，發展至今，已

used by artists and designers. Many creative types use these processes to

被藝術家和設計師廣泛應用。他們使用版

create editions of their work, while some use the process to create a unique

畫創作不同版畫版本，而有些則會運用版

piece of work. This is one of the features that interested me and attracted

畫製作技巧引用到其他作品的創作上，這

me to printmaking.

一點正正是版畫製作吸引我並使我產生興 趣的其中一個原因。

Printmaking is a very specific medium. There are rules to follow, but like

版畫製作是一個非常獨特的創作媒介，雖

other forms of art such as painting, the results can be very different depending

有規則依循，但卻像繪畫等其他藝術媒介

on the printmaker.

一樣，作品面貌可以因應版畫家的表達技 巧和風格而截然不同。

Printmaking techniques and technology have developed over the years. 版畫技巧和技術經已發展多年。印刷的技

possibilities and potential for artists to create their work. We are not restricted

術和材料推陳出新，為藝術家的創作開闢

to printing only onto flat surfaces – we can now print on almost anything!

了無限的可能性。我們已不再局限於平面

I was introduced to printmaking during my studies in London, and yearning

料上印刷！

to learn more, I pursued my Master’s degree in printmaking. The printmaking process very much suits my method of working, experimenting with materials

我在倫敦讀書時接觸到版畫，為深入了解

and processes to produce unique prints. The main printmaking processes I

相關知識，我修讀了版畫碩士學位。我喜

utilise are mono screen printing and hand-torn paper stencils for screen printing.

歡探索新方法和技巧來進行創作。我會在

I enjoy experimenting and exploring new ways and techniques for creating.

材料和技巧上作不同的嘗試。我認為版畫 製作非常適合我的創作表達，我主要創作

Printmaking is very prominent in many countries throughout the world. In

包括把紙撕出圖形作絲網印刷模板的版畫

London you can easily find well-equipped open-access print studios and

和獨幅絲網印刷版畫。

people who are interested in printmaking. People from all walks of life use 版畫在世界上許多國家都非常普及。在倫

wanting to print their illustration onto tote bags, or designers printing a

敦，你可以很輕易找到設備齊全的開放式

publication. Artists also frequently use these studios to create editions

版畫工作室，也較容易遇上喜歡版畫的

of prints. For example, one artist printed poems onto fabric as part of a

人。版畫工作室內的人來自各行各業，他

large installation exhibition. Christmas time is always a busy time at the

們均希望加深對藝術的認識和了解版畫可

studios, as people rush to print quirky and creative Christmas cards for their

為自己創作帶來的可能性，當中可能有想

family and friends.

把自己的插畫印在袋上的插畫家，又或者 是想印製一本刊物的設計師們。藝術家也 是常客，經常利用版畫工作室創作作品版 本。記得曾有一位藝術家把詩詞印在布料 上，作為個人展覽大型裝置藝術作品的一 部份。這些工作室在聖誕時節特別鬧哄 哄，皆因不少人都趕着親手為親朋好友印 製別出心思的聖誕賀卡和禮物。 在香港，版畫並未廣為大眾認識，對其用 途亦多只聯想到在商業層面上，版畫工作 室的數目更是廖廖可數，要找到做製作版 畫或學習版畫製作的地方並不容易。

Mum and I/ 2014 媽媽與我 / 2014年

探索過來、現在與未來

these studios to learn more about this form of art. It could be illustrators

Exploring the Past, Present and Future Experience

版畫創作 ── 現在我們幾乎可以在任何物

77

The development of printing technology and materials has opened up endless

In Hong Kong, printmaking is not as well known to people and is mainly

返港後，我在求職期間得知香港浸會大學

considered and used as a commercial process. There are very few print

聘請兼職版畫講師。於是，我在 2014 年開

studios and it is difficult to get access to print facilities or learn the processes

始在浸大兼職任教版畫。能夠在香港從事

of printmaking.

有關版畫的工作確實令人雀躍，而且對我 來說，在大學任教是個既富有挑戰性和啟 發性的經驗。在教學過程中，牽涉不少研 究工作，進一步加深我對版畫製作的了 解，從而增加創作的發展空間。除此之 外，與學生分享版畫和鼓勵他們把其融入 他們自己的創作中，也是別具意義的。令 人鼓舞的是，課程完結後，有些學生會回 到版畫工作室創作作品，能善用版畫製作 技巧應用在其他創作上。不過，我關心的 是，他們在畢業後會否能夠繼續創作版畫 和展示自己的作品。

Installation of show ' When you're not around', at Tintype Gallery, London/2015 倫敦Tintype Gallery 展覽「When you’re not around」展品 / 2015年

On returning to Hong Kong, while looking for work I learned of a teaching placement at Hong Kong Baptist University. I began teaching part-time printmaking at the University in 2014. It was exciting to be working in a printmaking environment in Hong Kong and teaching at the University has been a challenging yet inspiring experience for me. There is a lot of research involved in teaching, which deepens my knowledge of the printmaking process and helps further my artistic development. Furthermore, it is very rewarding to share with students the skills they can use to incorporate printmaking into their own practice. It is motivating to have students returning to the studio for their work after their courses have finished. However, where they might continue printmaking and showcase their works after the

Better see , Battersea !/ 2010

courses is of concern to me. 在不久的將來，我期望能夠舉辦展覽向公 In the near future, the next step will be to organise exhibitions to showcase

眾展示學生的作品。我希望藉此鼓勵學生

the students’ work to the public. I hope that this will also encourage the

緊密合作，在畢業後仍能透過這個人脈網

students to work closely together and create a supportive network upon

絡相互支援。

graduation. Printmaking can be fun, expressive, and something that I believe can be for everyone. I hope that I can help promote printmaking so

版畫製作是富趣味性的，我希望更多人有

that more people can start to understand more about this unique

機會接觸到版畫製作。我也可以為版畫製

technique and its endless possibilities.

作的推廣工作出一分力，使大眾認識它的 可塑性。

New Blood in Ava

學 院 新 成員

Claudia Terstrappen

Claudia Terstrappen

Uni versit y Fellow

訪問學人

Claudia Terstappen 將於 2015 年 9月至 2016

世界多個地方工作，研究文化習俗、信仰 Cranes for Peace (detail) / Claudia Terstappen

和儀式超過 20 年，近期亦有研究影響及變 更我們環境的各種轉變。

From September 2015 to June 2016, Claudia Terstappen joins AVA as a University Fellow. Claudia Terstappen is an artist, educator and researcher who has

「過去 20 多年，我專注研究知識系統及不同

worked world-wide. For over 20 years she has been exploring cultural traditions,

時代、國家和文化傳遞知識的方式，最重

beliefs and rituals and more recently environmental changes that affect

要的貢獻是在宗教知識傳播領域。

and modify our environment. 我們在四周和國際環境裏，每天都會遇到 "Over the past 20 years my research has concentrated on knowledge systems

各式各樣的宗教信仰和崇拜儀式。我想了

and how knowledge is communicated in different times, countries and

解人們相信甚麼，他們的信仰又如何影響

cultures. My most important contribution to this field has been in the area o

他 們 。 我 特 別 觀 察 世 俗 環 境 裏 的「 宗 教 圖

f religious communication.

像」，分析信仰如何透過物件、圖像和儀式 一些則平平無奇、毫不起眼。這些平平無

in both our local and global environments. I am interested in what people

奇的祭壇滲透着濃濃的原住民文化。我在

believe in, and how this influences their life. I particularly look at “religious

美洲郊外地區和澳洲內陸荒野花了多月，

iconography” in secular settings and investigate how belief is expressed

研究神山或石堆等重要遺址。

through objects, images and rituals. I find it fascinating that some altars can look spectacular while others look quite ordinary and are therefore much

很期待訪港之旅，希望能夠研究香港及周

more difficult to identify. These unspectacular ones are areas nominated by

邊地區日常生活裏的信仰、迷信行為和宗

indigenous cultures. I spent many months in rural America and the Australian

教儀式。中國民間信仰的表現方式和習

outback, focusing on important sites such as holy mountains or significant

俗，以及傳統、現代和不同世代因宗教行為

rock outcrops.

差異而可能出現的張力，讓我特別感興趣。

I am very much looking forward to spending time in Hong Kong and hope to

研究過程中，我會利用影像、錄音和攝影

be able to investigate beliefs, superstitions and rituals in the daily life of the

方式記錄個別地點的宗教行為，所得資料

city and surrounding areas. I am particularly interested in the expressions and

會成為我新一部錄像作品的主要素材。我

practices of Chinese Folk Religion and the tensions that might exist between

希望以美學手法創作出既引人入勝又激發

traditional and contemporary practices and between different generations.

思維的錄像和故事，為文化身份、政治、 宗教和傳統的批判思考和辯論提供一個新

My research will be carried out through video- and sound recordings and

平台。」

photographic documentation addressing specific locations. My findings will build the vocabulary for a new video work. I am after aesthetically intriguing and confronting images and stories that will provide a platform for critical thinking and debate about cultural identity, politics, religion and tradition."

www.claudiaterstappen.com

探索過來、現在與未來

呈現。有趣的是，有些祭壇富麗堂皇，另 Different religious beliefs and forms of worship are part of our daily experience

Exploring the Past, Present and Future Experience

Claudia 身兼藝術家、教師和研究員，曾於

79

年 6 月期間擔任視覺藝術院訪問學人。

Jia Zhen

賈甄

R es earch Assista nt Pro fe sso r

研究助理教授

Jia Zhen is an art historian specialising in gender issues in the visual arts in

作為一個藝術史研究者，我的研究興趣集

Chinese culture. She will begin teaching at AVA in September 2015. “My focus is

中於視覺藝術中的性別問題，中國藝術當

both on images of women in Chinese art and women as practitioners. My

中的女性形象和女藝術家是我最為感興趣

current research is about the images of women in the 20th century. The diverse

的研究領域。目前，我的研究課題是 20 世

themes and visual representations of Chinese women allow me to see the

紀中國印刷媒體中的女性形象。從主題豐

changing paradigm and the influences of modern technology on art. These

富、表達各異的女性形象中，我們可以看

images also open a window onto the changing social culture and gender

到範式的變化和現代科技對藝術的影響。

hierarchy in modern China.

除此之外，這些視覺史料也為我開啟了一 扇窗戶，使我可以領略現代化進程中性別

My courses have a lot to do with the art of the 20th century in the Chinese

秩序和社會文化的變化。

and Asian context. By analysing the artworks, artists and trends, I hope that students will not only enjoy the works, but also think about the power relations

在日後的教學中，我會與同學們一起欣賞

of people from different classes, genders and ethnic origins who are involved

和分析 20 世紀中國和亞洲藝術。在觀察和

in art production and evaluation. I also hope my courses will help art students

分析不同時代、地域的藝術作品的時候，

discover their own direction and path, and be more sensitive to gender issues

我希望同學們能體會藝術作品背後不同階

in the production and evaluation systems of different areas of the visual arts.”

層、族群的權力關係，以及這些複雜的社 會現象如何影響藝術作品的表達和評價。 另外，我也希望同學們可以通過修課，反 觀自己的創作，探索個人的表達方式，並 且對視覺藝術生產和評價系統當中的性別 問題有更多的自覺。

Chinese Woman in the New Era (Feb. 1939), The Young Companion , Du Ao & Weng Feipen. 《新時代之中國女性》( 1939 年2月 ) ，《良友》， 杜鰲&翁飛鵬。

Tom O’Dea

Tom O’Dea

Lec turer

講師

Tom O’Dea is an artist and art history and theory lecturer. He will start teaching

Tom O’Dea 是藝術家，也是美術史及美術理

at AVA in September 2015.

論講師。他將於2015 年9 月開始在視覺藝術 院任職。 81

Tom 的主要研究領域包括當代藝術、抽象 表現主義、極簡主義和後極簡主義。他的 意識形態影響，並滲透着辯證的悖理。他 的教學風格貫徹他對藝術品的整體取態， 既以創作者的角度出發，也着重理論層 面，兩者並重。Tom 認為，對美術史的濃 厚興趣及對批判理論的透徹理解，皆為視 覺藝術院學生發展的基礎，使他們能夠自 信地在最具挑戰性的當代藝術之中翱翔。

Untitled / 2010 /

Exploring the Past, Present and Future Experience

藝術作品深受現代主義的產物和極簡主義

Tom O'Dea 探索過來、現在與未來

Tom’s main research interests include contemporary art, Abstract Expressionism, Minimalism and Post-Minimalism. His art practice is heavily informed by the legacies of Modernist and Minimalist ideologies and often the absurdity of the polemics involved. His holistic approach to artworks as both a maker and through theory has heavily informed his teaching style. Tom believes that a healthy interest in art history and a robust understanding of critical theory are fundamental to the development of the AVA students and will enable them to engage confidently with the most challenging contemporary art.

2 thought experiment / 2015 / Tom O'Dea

James Ellis

James Ellis

R es earch Assista nt Pro fesso r

研究助理教授

James Ellis is AVA’ s new art theory teacher. He is an art historian from the

來 自 美 國 的 藝 術 歷 史 學 者 James Ellis 將 於

United States. He will begin teaching art theory and art history at AVA in

2015 年9 月起，在視覺藝術院教授藝術理論

September 2015.

及歷史。 「我認為修讀視覺藝術的最主要原因之一， 是它的過程像開啟一扇窗，讓你認識不同 的想法，拼發熱忱。浸淫在藝術創作形 式、理論和歷史的知識裏，有助學生培 養自身的創意和了解他人的創作語言。 在工作室創作不僅是種磨練，也是自我 反省的一種方法，甚至有治療作用。藝 術歷史和理論研究將視藝作品呈現為承 載了特定價值觀和信仰的文化產物。我 是一個在工作室裏創作的藝術家，但也 深造多年攻讀藝術歷史博士學位，可是

The Breadline / Reginald Marsh

到現在，我也無法說出創作藝術還是研 究藝術更讓我着迷。我很羡慕正在視覺

“One of the best reasons I know for studying the visual arts is the process opens a

藝術院讀書的學生，他們身處的時代有

window onto ideas and passions. Immersion in art practice, theory and history

不同的藝術形式在百花齊放，有未曾發

helps students develop their own creative expressions and discover the inventive

掘的創作媒介等待他們探索，加上社會

languages of others. Producing art in the studio can be demanding, self-reflec-

秩序正經歷巨變，他們面前是個黃金機

tive, even therapeutic. Studying art history and theory reveals art objects as

會，讓他們為21世紀的藝術寫下定義。

cultural artefacts embodying specific values and beliefs. I still haven’t decided

在這方面或許我可以幫上一點忙。」

which aspect is more exciting; I am a practicing studio artist but spent years earning a PhD in Art History. I envy AVA’s current art students. In the midst of an explosion of styles and unexplored media, and seismic shifts in the social order, they have a golden opportunity to define what art means in the 21st century.

Perhaps I can help.”

The Great Falls of the Passaic River

Residency in Zurich – Research about the Rights of Pets

蘇 黎 世 駐 城 計 劃 ── 研究寵物權益 楊沛鏗 2010年本科畢業生 83

Trevor Yeung 2 010 BA graduate 士蘇黎世留駐了三個月，研究當地的寵物 Trevor works mainly in installation and photography. He recently completed

權益。

a three months’ residency in Zurich, where he was working on research about the rights of pets in Switzerland.

「留 駐 計 劃 初 期 ， 我 比 較 了 寵 物 在 香 港 和 我拜訪過的蘇黎世家庭的居住環境。瑞士

“The residency started by comparing the living conditions of pets in Hong

的寵物受《 寵物保護法 ( 455 ) 》保護，包括

Kong with the families I visited in Zurich. Pets are protected in Switzerland by

牠們的尊嚴和身心健康。雖然香港沒有相

the Animal Protection Act (455), which covers dignity and well-being. Hong

同法例，但也設有第 169 章《防止殘酷對待

Kong doesn’t have such an act, but it does have The Prevention of Cruelty to

動物條例》。由於飼主的居所環境決定寵物

Animals Ordinance, Cap 169. This project was also further elaborated to

的居住條件，因此計劃的調查範圍擴大至

include human living, as the physical living conditions of pets are directly

人的生活環境。

related to the space the owner has.

Exploring the Past, Present and Future Experience

楊沛鏗擅長藝術裝置及攝影。他最近在瑞

計劃還包括一個展覽。我與寵物和飼主見 面，收集他們的故事，然後以我的角度重

their owners, I collected the stories and re-interpreted them from my own

新演繹這些故事。寵物其實不是計劃的最

perspective. The project is not focused particularly on pets – I used pets as

大焦點，而是橋樑，讓我可以在暫住瑞士

a bridge to start conversations with different people or families, and as a way

期間與當地不同的人或家庭打開話題，從

to observe daily life and emotional status during the residency.

而觀察他們的日常生活和情緒狀態。

This is exactly as my biography always explains: ‘Yeung’s practice uses

這個想法，也就正正是我個人履歷裏所寫

botanic ecology, photography and installations as metaphors referencing the

的一樣：『楊沛鏗以植物生態、攝影和裝置

emancipation of everyday aspirations towards human relationships.’”

藝術，以此喻意出從人際關係的日常渴望 中獲得釋放。』」

探索過來、現在與未來

The project came together with an exhibition. After meeting the pets and

04 The Toppi ng s 正餐以外 P. 86 — 87 Book review : A Living Space __ The Homes of Pak Sha O 書評：《可以居 ── 白沙澳鄉》

P. 88 — 90 FORTY FIVE SYMBOLS: Ethnographic Visual Anecdotes __ Globality of Language and Culture; Rewriting 四十五符號: 民族志視覺軼事 ── 語言和文化的全球性；重寫

P. 91 Ever- Changing Life, Never- Changing Spirit 永恆的挑戰

P. 92 — 93 Rare Poster Collection 珍貴海報特藏

P. 94 — 99 Starting Off with Personal History 一切由「個人歷史」開始

Book review : A Living Space __ The Homes of Pak Sha O

書 評： 《 可 以 居 ── 白沙 澳鄉 》

Wong Suk K i

黃淑琪

Lec turer

講師

A new book called A Living Space is about to come out as the first in its series,

這本名為《可以居》的新書為一項藝術計

which is an art project that uses photographs, narratives and storytelling to

劃的首部出版作品，通過相片、生平事迹

reflect on what “a living space” means to us. It is not meant to be a historical

和故事，讓我們反思究竟一個怎樣的地方

study of Pak Sha O, but rather an intricate examination of how people create

及居所，才稱得上「可以」停留安居？而

their own living space, though we often came across the history of Pak Sha O

人們又如何創造自己的生活環境？這計劃

while researching and listening to the stories of all the interviewees. This

並非本地歷史檔案，只是當我們追溯和探

book is divided into three parts, namely “Pak Sha O Ha Yeung: The Legend of

索白沙澳的故事時，在傾聽人們跟該地的

Yung Si-Chiu”, “A Fresh Start for an Old House” and “Daily Life in Pak Sha O”.

牽繫時，免不了觸及歷史。《可以居》內容 共分三章，分別題為：〈白沙澳下洋：翁氏 傳說〉、〈舊居新氣〉和〈白沙澳村的日常 生活〉。

87 The Toppings

Hidden telephone line 藏在地底的電話線

正餐以外

“Pak Sha O Ha Yeung: The Legend of Yung Si-Chiu” is a story written by Sim Lau about four generations of the Yung clan, which brings forward this question: What does the history of a person, our ancestors or even our nation really mean to us? The second part of the book, “A Fresh Start for an Old House”, is about how an outsider became a long-term resident of the house at Pak Sha O

Digging septic tank in 1985

village. These stories are good examples of how a heritage place has been

“There was no toilet here during the first five

adapted and has a new life in modern times. “Daily Life in Pak Sha O” consists of

to six years. I only built one when my mother-

stories of present and former Pak Sha O villagers illustrated by photos from

in-law came for a visit.”

their personal archives, along with new photos taken by our photographer at

1985年挖化糞池

each house, giving us a fuller and better picture of the village, as well as how

「最初的五、六年並沒有廁所，後來外母來訪

Eastern and Western cultures blend into one or confront each other.

才建成。」

A Living Space: The Homes of Pak Sha O is published in late summer 2015, and a

作家劉芷韻在第一章〈白沙澳下洋：翁氏

book launch event is scheduled for October at Pak Sha O. A Living Space is

傳說〉講述翁氏四代族人的故事，邀請我們

published as part of the Through Our Eyes Photography Education Programme

反問自己：一個人的過去、我們的祖先的

founded and funded by The Robert H. N. Ho Family Foundation.

過去，甚至一個國家的過去，究竟對我們 有甚麼意義？第二章〈舊居新氣〉則描述一 個外來人遷入白沙澳村某屋最後更長居於 此的經過。現代社會如何為有着豐富歷史 的建築重新賦予新的生命，這兩章故事就 提供了很好的參考例子。在末章〈白沙澳 村的日常生活〉裏，白沙澳村現有和已遷出 居民的故事、居民的私人生活舊照，以及 計劃團隊的攝影師逐戶拜訪拍下的新照片 互相交織對照，讓讀者可以更完整、清晰 地看到白沙澳村的面貌，了解東西文化如 何彼此融和或衝擊。 《可以居》於本年夏末出版，十月於白沙澳 舉行新書發佈會。本書為何鴻毅家族基金 創辦及資助的「憧憬世界」攝影教育計劃 之一部份。

四十 五 符 號 : 民族志 視 覺 軼 事 ── 語 言 和 文 化 的 全 球 性；重寫 Pas c al G l i s s m ann (2 0 0 9 _ 2 0 1 4)

助理教授

「四 十 五 符 號」是 視 覺 語 言 的 合 作 探 索 項 目，由師生、學者聯手參與，結集來自四 大洲上五個城市的精采構思。所有參與的 學術夥伴均來自設計或藝術學校，大家分 享自己如何教授視覺賞識能力；視覺賞識 能力可從學習而培養出來，因為普遍認為 在最廣泛的意義上，通過閱讀的過程，所 有圖片都可以解讀，可以表達思想。學生 開展研究之前，必須先有基本的視覺系統 知識，因為標誌無處不在。我們使用標誌

FORTY FIVE SYMBOLS: Ethnographic Visual Anecdotes __ Globality of Language and Culture; Rewriting

形象地傳達重要的資訊，作出警告，提供 指示，以至保護生活在城市環境的我們。 標誌在人機界面上亦不可或缺。我們習慣 遵循和遵守這些標誌，本能地在現實和虛 擬世界間遊走，而這兩個世界都傾向於創 建流線型的國際語言來服務全球公民。培 育下一代創意專才，自然少不了要教導他 們掌握技巧去創造可以在全球語境中有效 溝通的方法。然而，更重要的是，學生必 須學會擅於尋找和運用自身的視覺語言， 接受多樣性，推動自身身份，從而為自己

Pas ca l G lissmann,

的創作實踐帶來衝擊。要做到這一點，可

As s istant Professor ( 2007-2009)

以運用開放的環境邀請學生探索民族志的 背景，並通過接觸未知的事情誘發批判性 思維，例如探索未來生活的理想願景以至

FORTY FIVE SYMBOLS is a collaborative exploration of visual language

過去曾出現的不明現象。尚未能解讀的視

that unites students, teachers, scholars, and ideas from five cities across four

覺代碼的一個著名例子，以及視覺語言和

continents. All participating academic partners come from design or art

排版歷史的一個里程碑，就是斐斯托斯圓

schools and share the drive to teach visual literacy, which is based on the

盤 ( Phaistos Disc) 。雖然其用途和真確性還

idea that pictures, in the broadest sense, can be read and communicate

仍在討論之中，但大家一般認為斐斯托斯

meaning through the process of reading. Students enter their studies with a

圓盤極可能是早期或甚至最早的活字印刷

prior knowledge of visual systems because, at this point, icons have become ubiquitous. We use them to visually convey a vital piece of information; to warn, to guide, to protect us in our urban environments. They are also essential in computer–human interfaces. We are conditioned to follow and obey these

signs and instinctively navigate through physical and virtual worlds, both of which tend to create streamlined international languages to serve the global citizen. Educating the future generation of creative experts involves teaching in this global context. More importantly, however, students must learn to

述，包含四十五個獨特而重複出現的符

excel in finding and applying their own visual language, embrace diversity,

號。參加的學生探索這個古老圓盤的視覺

and propel their identity in order to vigorously influence their own creative

原理和象徵形式。受神秘而強大的文字啟

practice. This can be achieved through using open environments to better

發，他們發展出四十五個獨特的符號，代

invite students to explore ethnographic backgrounds, and to initiate critical

表他們身份的精髓，或是一種與他們息息

thinking through encountering the unknown, which can range from utopian

相關的文化精神。他們需要做的，並不是

visions of our future living to the unanswered phenomena of our past.

要再創造更多功能象形符號，而是由自身

A prominent example of unresolved visual code–and a milestone in the history

的故事引領去創作出主觀、激盪和吸引的

of visual language and typography–is the Phaistos Disc. Even though its

民族志視覺軼事。

purpose and authenticity is still discussed it is considered to potentially 這些視覺敘事都是通過與來自各地的所有

The clay-impressed notation is assumed to be a textual representation and

參與者平等分享方法和實踐塑造而成的，

comprises 45 unique and recurrent symbols. Participating students explored

從而引導他們探究可視化的各個領域：數

this ancient disc, its visual principles and symbolic forms. Inspired by its

據、訊息、知識和智慧。透過身份的審視

cryptic yet powerful character, they developed collections of 45 unique symbols

和各種的表達形式，學生解剖特定的文

to represent the essence of their identity, or the spirit of a culture that is

化，收集所有離散的元素和描述性事實。

relevant to them. Their mission is not to create additions to the endless

我們所知的數據如下：所有感官可以感知

repertoire of functional pictograms. Instead, they are driven by personal

的事情，繼而會經大腦詮釋。試想一下：

storytelling and creating ethnographic visual anecdotes that are subjective,

有甚麼獨特、單一的元素體現在危地馬拉

stimulating and inviting.

部落的視覺身份上？哪些接續瞬間塑造在 美國軍事設施中的成長經驗？把各個元素 連接起來和理解它們具意義的關係，帶出 對集體視覺瑰寶的描述，並讓之以訊息的 形式呈現出來。數據和訊息經過這樣的嶄 新組合，讓學生認識到模式，而他們由自 身歷史、家族及文化習俗所融和的意見、 技能、經驗，更增添額外的價值。這些講 述故事的瞬間成為在全球共享的知識，讓 朋友間打開話匣子，互相學習，並且集體 創造出我們獨特居所的豐富多樣文檔。最 終，這視覺軼事的記載可能會開創未來的 智慧。經過兩年的合作和創作，「四十五符 號」對藝術與設計學生已不僅僅是課堂作 業，這個項目已發展成創建本地和全球社 區、促進跨學科聯繫、推動不同文化之間 交流的一項活動。在德國科隆的藝術火車

These visual narratives are shaped equally through approaches and practices

站Sankt Peter 舉辦的展覽使項目變得圓滿，

shared with all international participants to guide them through the

就像達成了學術界的一項頂尖成就，不過

domains of visualisation: data, information, knowledge, and wisdom. Following

這並不意味着結束，這刻正好值得反思，

a general examination of identity and its various expressions, students dissect

值得慶祝，再踏步邁向全新未知的路徑。

a specific culture and gather all its discrete elements and descriptive facts. The data is this: all things that we can perceive with our senses and, subsequently, process with our brain. Consider: what are unique singular elements featured

Pascal Glissmann

in the visual identity of Guatemalan tribes? Which consecutive moments

現為帕森斯設計學院藝術、媒體與科技

shape the experience of growing up in US military installations? Linking these

助理教授。

individual elements and understanding their meaningful relationships

glissmap@newschool.edu

正餐以外

be an early, if not the earliest, document of movable type printing.

The Toppings

文檔。粘土核印的符號被視為一段文字表

89

them the necessary skills to create effective communication that can function

permits the description of a collective visual treasure that can be presented

ACADEMIC PARTNERS

as information. This new combination of data and information allows students to recognise patterns and add value through opinions, skills, and experiences

Parsons The New School for Design,

based on their history, family, and cultural rituals. These storytelling moments

School of Art, Media & Technology

are shared as knowledge globally amongst peers to open a dialogue, to learn

Pascal Glissmann, Assistant Professor Art, Media & Technology

from each other, and to collectively create a rich and diverse archive of our unique habitats. Eventually, this chronicle of visual anecdotes might lead to

Academy of Media Arts Cologne

future wisdom.

Andreas Henrich, Professor Olivier Arcioli, Lecturer and researcher

After two years of collaboration and creation, FORTY FIVE SYMBOLS has become more than an assignment for art and design students. It has grown

Hong Kong Baptist University

into an initiative that creates local and global communities and fosters

Academy of Visual Arts

cross-disciplinary liaisons to generate communication between diverse cultures.

Dr Mariko Takagi, Assistant Professor

The exhibition at Kunst-Station Sankt Peter in Cologne, Germany, brought the project full circle–almost like a capstone experience in an academic setting

Lebanese American University Beirut,

that does not signify the end but a moment of reflection, of celebration,

School of Architecture & Design

and a path into the new unknown.

Randa Abdel Baki, Associate Professor

http://www.45symbols.com

Falmouth University UK Graphic Design Department Randa Abdel Baki, Visiting Senior Lecturer Universidad de los Andes Design Department

Pascal Glissmann, is now Assistant Professor Art, Media & Technology of Parsons The New School for Design. glissmap@newschool.edu

Annelie Franke, Assistant Professor

Ever-changing Life, Never-changing Spirit

永恆的挑戰

H alley Ch en g

畢業生

鄭哈雷 2013 視覺藝術碩士

20 13 MVA gra duate 人若眼裏只看到自己多年以前所取得的小 就只會一敗塗地。有一個關於求職的笑

job hunting: an interviewee told his interviewer that he had 25 years’

話：一名求職者告訴面試官，他在現時的

experience in the field in which he is working, and the interviewer answered

工作領域有25年的經驗，面試官卻回答

him: “You don’t have 25 years’ experience; you only used the same experience

說：「你並沒有25年的經驗，你只是把掌

for 25 years”. It is always better to end your creation by yourselves instead of

握到的經驗重覆用了25年。」始終，人貴

having others end it. So I always push myself to make changes. Studying

自知，所以我一直推動自己去改變、作新

for the master’s degree is one of them. When I was an undergraduate I handed

嘗試，修讀碩士學位便是其一。我還是大

in a mixed media work for the graduation exhibition – at that time I

學生的時候，提交過一份混合媒介的創作

mainly painted. Except for the honour project, I didn’t hand in a single piece

作為畢業展作品，不過那時我的創作主要

of painting for the master’s programme – it’s like an opposite to the things

以繪畫為主。我攻讀碩士課程時，除了畢

I did in my undergraduate degree. I believed it would extend my opportunities

業作品外，卻反而一件畫作都沒有遞交

after my graduation. One example is my work shown in the exhibition “Past

過，與大學時期截然相反。我相信這樣做

is Continuing” at the Heritage Museum, which is based on the work I did during

有助開拓畢業後的創作機會。舉個例子，

my first year in the master’s programme.

我在文化博物館「時間遊人」展覽中展出 的作品，便是基於碩士一年級時的作品創

Furthermore, I was recently occupied by a commissioned tree painting, which

作出來的。

would be installed in the foyer of a new hotel in Jordan. Thanks to the MVA programme, the tree series is developed from my graduation work which was

此外，我最近正忙於處理一項有關繪畫

also shown in the Art Basel HK 2013. I am involved in more exhibitions in the

樹木的委託工作，成品將會擺放在約旦

second half of 2015.

一家新落成酒店的大堂內。我衷心感謝 視覺藝術碩士課程，樹木系列是我畢業 作 品 的 延 續 ， 亦 曾 於2013 年香 港 巴 塞 爾 藝術展期間展出。2015 年下半年，我將會 參與更多展覽。

Nam June Paik VS Gilbert & George 白南準大戰吉爾伯特與喬治

正餐以外

achieved for many years may bring them a bigger failure. There is a joke about

The Toppings

小成就和所達成的小小里程碑，未來可能

91

People relying on small successes and milestones they have previously

Rare Poster Collection

珍貴海報特藏

E m ma Watts

屈艾瑪

As s i stant Professor

助理教授

Long live Chairman Mao. 毛主席萬歲

視覺藝術院與大學圖書館聯合策劃並推出 中國傳教士及政治宣傳海報特藏，為19 及 In collaboration with HKBU Library, AVA has been formulating the beginnings

20 世 紀 視 覺 藝 術 文 化 的 研 究 提 供 珍 貴 資

of a new collection of missionary and propaganda posters. This collection

料。兩個部門此前已合作推出《倫敦新聞

complements The Illustrated London News and rare periodical collections held

畫報》 ( The Illustrated London News ) 及珍貴

at HKBU and provides a unique research collection of 19th and 20th century

期刊兩個特藏。

visual culture. 從這個罕有的海報紙本特藏，我們可以一 Covering the period from 1930 to the end of the 20th century, the poster

窺1930 年至20 世紀末期間，圖像在日常生

collection of rare works on paper exemplifies the use of the visual image in the

活中承載的功用。由於海報的設計是利用

everyday world. Posters are designed for temporary and targeted display,

簡單易明的圖像傳達訊息，為特定目的作

to be an accessible image to all and would normally have been thrown away;

短期展示，一般達到目的後都會被丟棄，

those that survive are both rare and fragile.

因此現存的藏品既珍貴又容易破損。

The missionary posters were intended to show how to live a life through Christianity; the propaganda posters aimed to entice the support of the people.

As a research and learning tool, the posters provide a wealth of information.

傳教海報的目的是顯示如何透過基督教信

Using both words and images to illustrate the message, each poster would be

仰獲得永生，而政治宣傳海報則旨在吸納

easily understood by normal everyday people. This gives an insight into

民眾支持。這些海報蘊含豐富資訊，是研

depicting homes, clothes, food and how people lived. They can also show us

究和學習的好工具。海報結合文字和圖像

how and what people were valuing and show the ways in which we have

訊息 ， 對 普 羅 大 眾 來 說 張 張 簡 單 易 明 ，

changed in society, politics and belief.

並能讓我們可從中窺探過去的家庭面 貌、大眾衣着、飲食和日常生活，得知 93

過去人們的價值觀以及社會氣候、政治 環境和信仰的轉變。這些特徵和轉變在 包括毛主席、中國的少數民族、國際關 係、文化大革命至四人幫倒台期間的政 治和社會議題及香港回歸。特藏中某些

The Toppings

政治宣傳的海報裏尤其明顯。海報主題

藏品特別引人注目。主題為香港1967年 地政府與支持中國共產黨的本地左派人 士各自的情緒與兩者間的張力。

Hong Kong comrades unite against British imperialism. 香港同胞團結抵抗英帝國主義

This is particularly seen in the propaganda collection. The themes portrayed include Chairman Mao, national minorities, international relations, politics and social issues in the Cultural Revolution until the fall of the Gang of Four, and Hong Kong's handover. Highlights include the posters from the Hong Kong riots in 1967, visually illustrating the sentiment and the tension between the colonial government and the pro-communist local leftists. Look out for the Poster Exhibition in 2016!

For further information about the collection please contact Lolita Kwok at HKBU Library.

The working class oppose British imperialism. 工人階級抵抗英帝國主義

海報特展將於 2016 年舉行，敬請留意！ 如欲查詢更多海報特藏的資料，請與香港 浸會大學圖書館郭玉梅女士聯絡。

正餐以外

暴動的海報以圖像刻畫出當時英國殖民

一 切由「 個 人 歷 史」 開始

Starting Off with Personal History

撰文 (中文) / 溫善婷 翻譯 (英文) / 蔡心怡

Tex t (Chin ese) / S and y Wa n 今年是啟德接手舉辦「憧憬世界」攝影教

Translation (En glish ) / Stella Tso i

育計劃的第二年，本年度的主題為「個人 歷史」，藉着對舊物和生活影像的重檢， The Through Our Eyes Photography Education Programme (TOE) has been

探入自身私密的記憶，同時從存留的物件

handed over to and will be run by kaitak for two years. This year, we

和影像中，思索自我身份以至社會意識的

have as the main theme, in which we aim to ignite the creative force of the

建構，並用相機去紀錄值得保存的意念和

participants through examining old belongings and daily images. The

片段，邁出創作之路的第一步。在籌備之

participants explore their reserved memories from the objects and photos,

初，特意請來英國的教育家及參與式藝術

investigate their identities and construct social awareness by using

導師Julia Winckler，為我 們 的 藝 術家導師

photography as the medium. To bring in more inspiration, we have invited

進 行 培 訓 ， 為他們準備教學的內容提供

Julia Winckler, an experienced educator and participatory art facilitator

靈感。「歷 史 難 以 被 捉 緊 ， 是 無 名 和 疏

from the UK, to conduct a training programme for our artist-educators .

離的，直至你去發掘人的故事。」Julia 如

“History can be hard to grasp; it is anonymous and alienated until we

是說。由此，一整年的攝影教育計劃鋪展

begin to examine individual stories,” said Julia. It all started here: seven TOE

開來，七位藝術家導師 1 對題目各有不同

artist-educators possessed their own interpretations of the theme

的詮釋方式，設計出與別不同的攝影課

Personal History and started an adventurous journey with students from ten

程，與十所中學的學生一起經驗一段探索

local secondary schools with their uniquely designed photography courses.

自身的旅程。

1

INSPIRED BY THE CONCEPT OF ARCHIVES Julia Winckler 2 is a senior lecturer in photography at the University of Brighton, UK. Over the past 20 years, she has developed curricula and art projects in the academic environment and for community organisations in Canada, the United States, Niger and Hong Kong. This year we invited Julia to host a three-day training camp, at which she prompted the artist-educators to search for their inner landscape through drawing. They also spent time looking at old photos, feeling the characters and space inside in order to extend the imagination of photographic narrative. Her research interests are interdisciplinary, bringing together knowledge gained from degrees in anthropology, African studies, social work and photography. Her work primarily deals with photographic explorations of journeys (through historical time) and archives of memory.

Always Look Back by Julia’s student Holly Oliver.

Julia 學生Holly Oliver 的「Always Look Back」 系列〈Amber & Rhiannon.〉 Photo source: http://www.hollyoliver.com 1

In total seven artist-educators have participated in ten elementary workshops of TOE this year, including Leung Yiu Hong, Li Chun Nei Jenny, Yip Kin Yiu Ellis, Lin Kam Shun Thomas, Vikas Lai, Mak Siu Fung Vincent, Chan Wing Yan Doreen.

2

Official Website of Julia Winckler - http://www.juliawinckler.com/

檔案庫的靈感 Julia Winckler 現為英國布萊頓大學的高級講 師（攝影），過去 20 多年於加拿大、美國、 西非尼日及香港進行藝術課程發展，今年 我們邀請她來港為導師進行培訓。三天的 培訓營裏，她讓各人以素描尋找內心的風 景，又以代入舊相片的人物和空間，創造對 相片的敍述空間。她擁有人類學、非洲研 95

究、社會工作及攝影的跨領域學術背景， 作品以攝影旅程的手法探討歷史時刻，也

Julia Winckler, an experienced educator and participatory art facilitator

The Toppings

環繞記憶存檔（archives of memory）2 。

from the UK, conducting a training programme for our artist-educators. 正餐以外

英國的攝影教育家 Julia Winckler 為藝術家導師進行培訓。

In particular, Julia investigates the role of the artist as an archivist of personal and collective memories – memories that are about to be lost or have been silenced. Freud regarded archaeology as a metaphor for psychoanalysis. Like archaeologists, psychoanalysts have to work slowly, with great care, to gradually uncover the buried “objects” and reconstruct the relationships

Julia prompted the artist-educators to search

between them. And in both professions, practitioners encounter cycles of

for their inner landscape through drawing at

long periods of frustration followed by periods of elation and excitement. So,

the training camp.

like archaeology, psychoanalysis deals with uncovering the past, using

培訓營裏，Julia 讓大家以素描尋找內心風景。

fragments and interpretation or reconstruction.3 Julia also links archaeology to the study of photography and has opened the course “Experimental

Julia 特 別 研 究 藝 術 家 作 為「檔案管理員」

Archaeology: Within and Beyond the Archive” at the University. The course

的角色 ── 管理個人與集體的記憶，一些

allows students to look into existing archives such as photo albums and

幾乎被遺忘或消音的記憶。佛洛依德以考

related documentation, to explore the orality and visuality of the materials.

古學比喻精神分析，因為兩者同樣要緩慢 地、小心翼翼地進行，才會逐漸發現被埋

Archives are cultural warehouses, storage systems for memories and data, offering insights, traces of past experience, and they may raise new questions.

4

藏的東西並重新建構它們之間的關係；在

A number of students who have done this project with Julia in the past six

過程中會經歷挫折、接着興奮、刺激、再

years indicated that projects with an archival starting point could lead to

挫折的漫長時期；最後是發現過去，中間

cathartic outcomes, could be freeing (bringing things to the surface) and

卻夾雜碎片、滲入詮釋和重構 3 ；Julia 也以

could lead to further artistic endeavours.5

考古學比喻攝影的研究方法，在大學開辦

1

今年參與 「憧憬世界」初階攝影課程的藝術家導 師共有 7 位，分別為梁耀康、李俊妮、葉堅耀、練 錦順、賴泳晨、麥兆豐、陳泳因，參與學校共有 十所。

3

Julia Winckler, PPT of Syllabus inspiration, p.15. Source from:

2

http://www.juliawinckler.com/

http://www.freud.org.uk/education/topic/40037/freud-and-archaeology-/ 4

Julia Winckler, Photographic brief and reading/viewing list for: Experimental Archaeology: Within And Beyond The Archive

Julia Winckler 官方網頁 :

3

Julia Winckler 「 Syllabus inspiration 」簡報檔 案，頁 15 。來源 :

http://www.freud.org.uk/education/top5

Julia Winckler, PPT of Syllabus inspiration, p.30

ic/40037/freud‐and‐archaeology‐/

科目「Experimental Archaeology: Within and Beyond the Archive」，讓學生由一個已存在 的 檔 案 庫（archive）如 相 簿 、 文 件 等 等 開 As part of the series Always Look Back by one of her students, Holly Oliver,

始，發掘材料的口述性和視覺性特質。檔

whose elder sister Amber passed away before she was born, Holly brought

案庫能儲存記憶、資料，給予洞見、痕跡

Amber’s old photos back to the house where they used to live. The original

和提出新的問題。 4 從過去六年進行此計劃

photograph was thus extended within the contemporary space of the house.

的學生身上，她發現以檔案庫為出發點的

Holly said, “I think for me one of the most important if not actually the crucial

計劃，可以釋放情緒並引發進一步的藝術

part of the project was using the archival photographs… It was important to

追求。 5 一位學生Holly 的系列〈Always Look

have left home… and to have returned and to have taken out the albums.

Back〉，她找出已過身的姐姐 Amber 小時候

The prints I made are on the wall in the staircase now. My mother put them up.

的舊照片，帶回舊居把相片與現場並置，

She wanted a set of them to display in the house.” 6

把姐姐帶回同一個時空。對她而言，更重 要 的 是「 曾 經 離 開 ， 然 後 回 去 ， 打 開 舊 相 簿，拍攝」的這個經驗，而媽媽也把作品 珍而重之，掛在樓梯的牆壁上。 6

「個人歷史」的攝影課程 訂立一個適合香港學生的題目，對一整年 的藝術教育過程尤其重要，因當中涉及教 育方向、對學生學習成果的期望，以及導 師與學生一起創作、建立關係的氣氛。計 劃總監黃淑琪和導師們把大主題訂為「個 人歷史」，因為從 Julia 的計劃中看到，她總 是由一個微小的歷史事件說起，再由此連 Our new goal this year is to hold a mini exhibition at each participating school,

結到宏觀的歷史語境，呈現事件之間的連

allowing students to go through the whole artistic process.

鎖反應。黃淑琪說：「藝術教育一向不只講

在每間學校辦小型展覽，是TOE 今年的新嘗試，希望學生經歷整個過程。

求作品，而是學生的意識與探索，是關乎 於整個生命發展、成長過程，以至於每日

PERSONAL HISTORY – THEMED PHOTOGRAPHY EDUCATION PROGRAMME

生活的細節。不同的個體陳述出來的小小 故事，慢慢結集存檔，便能窺看到一個時

It is particularly important to set up a framework for a one-year art education

代的面貌。」十多位 「憧憬世界」的導師

programme that suits Hong Kong students well. It will greatly affect the

在大主題下設計課程，分為三個部份，第

direction of the development, the expectation of the learning outcomes and

一部份教授基本攝影技巧，第二部份進入

the ambience in which art-educators and students bond and work with

個人歷史的探索，最後部份於學校裏籌備

each other. Inspired by Julia’s programme, Ki Wong, Programme Director of

展覽，一手一腳完成作品展示。

TOE, together with other artist-educators, set the theme as Personal History, hoping to value a tiny historical happening and draw connections to the larger historic context and bring forward a ripple effect. “When it comes to art education, we do not only emphasise the artwork itself. What is more important is the exploration of self-awareness, the whole life development, the growing

4

process, and the teeny-tiny things found in our daily lives. The collected stories

Julia Winckler, Photographic brief and reading/ viewing list for: Experimental Archaeology:

from each unique individual can be archived and reflect the essence of an

Within And Beyond The Archive

era,” said Ki. Basically, the specially designed syllabus is divided into three parts, starting with basic photographic techniques, followed by personal history

5

案，頁 30 。

exploration, which leads to the final part, organising a mini exhibition in school to showcase their works.

Julia Winckler 「 Syllabus inspiration 」簡報檔

6

Julia Winckler, Experimental archaeology with photography students, Del Loewenthal,

6

Julia Winckler, Experimental archaeology with photography students, Del Loewen-

Phototherapy and Therapeutic Photography in a

thal, Phototherapy and Therapeutic Photography in a Digital Age (2013), p.132

Digital Age (2013) ，頁 132 。

踏入探索個人歷史的部份時，導師與學生 先書寫「個人時間線」（Personal Timeline） 並找來舊照片，寫下人生重要的事件，每 位學生書寫的起點和終點都不一樣，有的 從自己出生開始，有的由上一代開始，有 的以大學畢業為終點，有的寫得更遠，都 顯示了學生對於自己生命所思維的幅度， 從中希望他們找到創作的素材和方向。導 師對題目各有演繹，李俊妮以「家」為題， 因為家往往是觸手可及、卻又很易被忽略 97

的，但說到個人成長，不可能迴避家庭， 因為今天我的習慣、喜好，都是在成長期 一口氣寫下並輪流讀出同組另一位同學的 幾十道提問，讓學生打開對家的想像；梁 耀康讓學生以「空間、人物、物件」三個方

when she went hiking.

向入手，其中一個練習讓他們找家庭舊相

學生許文姍拍攝行山的風光，表現自己的個性。

片，再以現在的自己，模仿當年的人物例 如父母。學生都有別樹一格的處理手法，

To explore personal history, artist-educators and students draw their own

有學生雖然沒有模仿舊相片的場景和表

personal timeline with collected old photos and important happenings in their

情，卻不自覺流露出跟爸爸年輕時一樣的

lives. Each timeline starts and ends differently. Some students start with the

瀟灑與不羈，大家都覺得分享照片這一堂

time they were born, some start with their previous generation; some portray

課很甜美；練錦順帶學生到歷史博物館，

their graduation at the University as an end, some see time beyond that.

增加對「時間線」的觀念，又讓他們以「我

Such practice allows them to expand the width and depth of their imagination

的時間」為題，有位學生回到以前就讀的

to life; it also helps them to define the materials and directions for their own

內地中學，重演一幕幕場景，另一位自小

creation. While artist-educators possessed their own interpretations of the

居於沙頭角的學生，藉此機會跑到香港六

theme, Li Chun Nei Jenny focused on “Home”, a place so closely connected

個禁區探險，因為從來只有別人對她居住

to us yet often neglected. It is undeniably important for shaping the growth

的地方好奇，自己卻不太了解；葉堅耀擅

of a person in their formative years. In one of her lessons, Jenny tried to

於 設 計 遊 戲 ， 要 學 生 帶 來「 無 用 之 物 」交

deconstruct the conformed conception towards home by asking her students

換，由物件的意義，思考過去人生；練習

to raise dozens of questions about it in 15 minutes. Leung Yiu Hong

拍攝人像和燈光設置的課堂，又着他們帶

concentrated on three aspects: Place, People, and Object. In one of his

來家庭成員的衣服，穿上並進行角色扮

exercises, students were asked to study their old family photos and to

演，增加對自身的認識。

reproduce a similar one by mimicking their family members. Though it might not be a complete replica of the old ones, some students unintentionally showed the natural spirit and unrestrainedness apparent in their older relatives.

Lin Kam Shun Thomas brought the students to Hong Kong Museum of History to strengthen their ideas of “timeline”. With “My Time” as the topic, one student went back to her secondary school located in mainland China and re-ran old scenes; another student who has been living in Sha Tau Kok since she was a child took this opportunity to go on an adventure to the Frontier Closed Area in Hong Kong, wandering around the area she lived in – an area that others are always curious about, though one she had never truly explored. In Yip Kin Yiu Ellis’s class, students were asked to bring “useless objects” to exchange with their classmates. Through redefining the meanings of the objects, they are able to reflect on the past. During portrait-shooting and lighting practice sessions, students put on clothing owned by their families for a role-playing

Students from Leung Yiu Hong’s class sharing

game; such experience also deepened their self-understandings.

their personal timelines. 導師梁耀康的學生分享個人時間線。

正餐以外

Hui Man Shan’s final work shows the beautiful scenery she experienced

The Toppings

形成的。其中一課，她要學生花15 分鐘，

MEANINGS TO THE PARTICIPANTS

對學生的意義

The final works of the students are the harvests of their learning experience,

學生的作品往往反映了豐富的學習過程和

from inspirations, practices, and failures to the final stage. A topic of personal

經歷，是一步一步由啟發、練習、失敗而

concern helps to draw students’ attention and engagement more easily. In

走到最後的。一個對學生有切身關係的主

Jenny’s class, the students have created a gigantic book “Our Home Dictionary”,

題，能讓他們更為投入。以李俊妮的學生

showcased in the mini exhibition. Each student is responsible for designing

為例，他們在小型展覽中製作了一本「Our

a page of the book telling their family stories. Tsui Kin Cheung’s work Everyday

Home Dictionary」巨型書，每位學生設計一

Loneliness depicts his empty home by taking a photo every hour every day

頁屬於自己家庭的故事。學生徐健璋的作

for a month, at the same spot with identical framing inside the house. Finally

品〈每天的孤單〉，把相機固定在家中同一

he selected 64 images out of 200. Unexpectedly, Cheung’s father appeared

位置，一個月內嘗試每天、每小時按快

continually in the frame. The photos not only revealed his flow of emotions, but

門 ， 最 後 從 200 多 張 照 片 中 選 出 64 張 展

also guided him to show more concern towards his father. In The Impossible

示。他本來想表達不同時間家裏各人的活

Home by Li Wui Chung, he mimicked Olympic athletes playing different sports

動變化，展現一個無人的家，但拍攝完成

such as diving, horse riding, fencing and shooting at home. His work shows

後，他希望繼續創作下去的題材已轉向

a great deal of playfulness in a serious way, which truly reflects his optimistic

了，由一開始對家的孤獨感，轉而關懷畫

view towards his family even though they were going through some hard times.

面中不時出現身影的爸爸；另一位學生李 回忠的作品〈不可能的家〉，則是他在家模 仿奧運項目選手的照片，跳水、騎馬、劍 擊、射擊等等，充滿玩味也非常認真。對 他來說，家是一個自由的地方，即使那段 時間家裏發生不如意的事，他仍要堅持自 己樂觀的性格，完成一輯快樂的作品。 今年參與課程的中學來自新界東，當中有 部份學生是近幾年才從內地移民到香港， 他們對自己的成長背景有較深感受。梁耀 康的學生許文姍六、七年前來到香港，她 在課堂上交了一輯家鄉梅州的照片，絮絮 而談對於這條客家村變化的感概；她喜歡 家鄉的生活，自言是個野孩子，但卻又表 示不想再以家鄉為創作題材，因為看着地 方一個一個慢慢地消失的感覺並不好受。

Tsui Kin Cheung’s work Everyday Loneliness.

最後，文姍的展覽作品是一輯行山時拍攝

學生徐健璋的作品《每天的孤單》。

的自然風光，加上樹木的插圖，單純分享 她認為美的事物，專注、安靜，沒有太多

The secondary schools engaged in the programme this year are all located in East New Territories. Some of the students are more sensitive to their background as they migrated from mainland China just a few years ago. Hui Man Shan, who is in Leung Yiu Hong’s class, came to Hong Kong six or seven years ago. She presented a series of photos about her hometown Meizhou during the class and described the rapid change of this Hakka village with a sense of sadness. Man Shan enjoys her life in the restful home but this may be the last time she chooses Meizhou as the subject matter, as it is simply too painful to witness the place you love slowly fading away. As a nature lover, Man Shan’s final work shows the beautiful scenery she experienced when she went hiking. Going side by side with her illustration of a big tree, it is tranquil, peaceful and pure, just like Man Shan.

計算，反而能更由衷地表達自己。

「生活是沉悶的，直至你從創作把想像力解 放出來。你賦予生活的意義變得很燦爛， 你創造自己的真實世界，可以是只有光 影、形狀、線條的世界；不只是埋怨家 庭、學校，而是看到自己改變的條件，我 擁有了創作的工具，換一個角度、觀點、 方法，去看出不一樣的東西。我們要去 問，甚麼才是『看得見』？」李俊妮說道。 梁耀康也提到，學生透過攝影，在課堂上 超乎意料地談及很多自己的經歷、故事， 99

私密的也會分享，同學之間互相鼓勵，精 神上互相支持，就是他一直想建立的，一 Li Wui Chung’ s work The Impossible Home. 學生李回忠作品《不可能的家》。

展示與檔案庫網頁

The Toppings

個可以放心交流的地方。

“Life can be boring, until you start to fantasise through making art. You fertilise 在每間學校辦小型展覽，是 「憧憬世界」

only of light and shadow, lines and shapes. You stop complaining about your

今年的新嘗試，希望學生經歷整個過程，

family and school as you know you have the power to change, to create, and

由拍攝、觀察、留意環境、到呈現作品，

to look at things so differently. We have to keep asking: what is seeing?” said

他們有多一層對於自己創作的理解，例如

Jenny. Leung Yiu Hong also mentioned that photography is like a catalyst;

思考作品的性質適合巨型的、吸引眼球的

through this medium, students opened up their minds and hearts to share

展示方式，還是隱身於一幽暗角落，讓人

their stories and secrets and they showed great support to each other. He is

不經意看到？跟學生逐步由大量照片中挑

happy to have created such a platform for these young people.

選、補影、研究，是個漫長的過程，但對 於學生和導師自己、以至學校老師也是一 次難得的機會，打開了學校對於藝術教育

EXHIBITION AND ARCHIVAL WEBSITE

及作品呈現的想像。

Our new goal this year is to hold a mini exhibition at each participating school.

今年攝影計劃的成果，將以網頁展示。我

It is hoped that students can have a deeper understanding of their own works

們收集十所中學的參與學生作品、個人時

through observation, photo shoots, spatial consideration and presentation of

間線、舊照片、物件，以及個人檔案，以

the works. By going through the whole artistic process, they gain a second

檔案庫的形式鋪展，也會加上不同參與者

layer of understanding about their creations and become more alert to the

包括 Julia、顧問 Joanne、「憧憬世界」團

critical decisions they made to articulate their ideas and emotions through the

隊、藝術家導師、教學助理、學校老師及

final works. The long development process provides students, artist-educators

學生的訪問，以解釋整個珍貴的教學過

and even schoolteachers opportunities to be part of an alternative experience

程，分享經驗及引發進一步討論。這是啟

of art education and presentation beyond the classroom and formal syllabus.

德第二年接手「憧憬世界」，黃淑琪認為， 這個教學團隊是最有價值的：「大家對每一

The fruitful result of this year’s education programme will be archived on a

個細節都認真深究、了解，對新事物抱開

web-based platform. Photographic works, personal timelines, old photos, and

放態度，也接受自己的錯誤並糾正。『個人

objects collected from all the participating students form a solid database,

歷史』的意義在於仔細地看每一個人，很

and together with interviews of students, artist-educators, teaching assistants,

微觀地看，學習怎樣去表達自己，透過藝

school teachers, the TOE team, and our consultants Joanne and Julia, will

術，把自己的狀態清晰地表達出來。團隊

best demonstrate the whole precious teaching process. “We are all very serious

與學生都在向着同一目標努力，我為此感

about every single detail in this programme and we always open up our

到很自豪。」

minds to new things. We see our flaws and weaknesses, we correct them and we move on. Through precise observation, we can see the unique aura of each person. Such practices allow us to clear our thoughts and express our minds through art. This is the significance of Personal History. I am proud to say our team and the students are all engaged to this same goal,” said Ki.

正餐以外

your life and create a reality of your own, like a simple world that is composed

05 Backstage 後台點滴 P. 102 — 103 The Academy of Visual Arts 視覺藝術院

P. 104 — 111 BA (Hons) in Visual Arts Programme structure 視覺藝術(榮譽)文學士課程結構

The Academy of Visual Arts 視覺藝術院 香港浸會大學視覺藝術院於 2005 年成立， 致力培育學生掌握視覺藝術的專業技巧與 學術知識，透過創新的課程探索個人特 質、發揮創意。 本院致力成為視覺藝術創作與研究的樞 紐，並着意將相關的經驗和成果回饋社 會。精簡的行政架構，令我們能夠靈活轉 變，以迎合社會發展及視覺藝術的最新趨 勢。我們與浸會大學其他學系及本地相關 機構保持緊密聯繫，建立專業網絡，加強 The Academy of Visual Arts (AVA) was founded in 2005 as an independent

學術合作和院校協定。我們亦不時舉辦展

division of Hong Kong Baptist University, dedicated solely and entirely to

覽、講座、工作坊，並提供顧問服務，以

educating students in the practice-based professional skills and academic

促進與本地社區及藝術文化界的交流。

knowledge of the visual arts. AVA is committed to individual experience and creativity throughout our innovative undergraduate programme structure.

本年度視覺藝術院本科課程由二十多位全 職教學人員任教，提供多達六十個不同科

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

目的選擇，現有約三百四十名本科生和約

is run through a simple, organic administrative structure, capable of flexibly

六十名碩士生。此外，本院亦與浸大國際

adjusting to new trends and integrating the latest developments. AVA is

學院合辦文學副學士 ( 視覺藝術 ) 課程。視

strongly interlinked with other departments of HKBU and its sister institutions

覺藝術院的教學設施分佈於啟德校園和九

in Hong Kong through an extensive system of professional networks,

龍塘大學本部的傳理視藝大樓，有多個設

academic collaborations and institutional agreements. We also proactively foster

備齊全的藝術工作室，可供從事中國書

relations with the general community of Hong Kong, the visual arts scene

畫、雕塑、攝影、媒體藝術、陶瓷、玻

of the city and the region through numerous activities, exhibitions, lectures,

璃、版畫、平面設計、裝置、穿戴及首飾

workshops and consultancies.

設計等創作。

Today AVA has about 340 students, taught by 24 full-time staff through a choice of 60 different courses. We have about 60 postgraduate students in the Master of Visual Arts programme, and jointly offer an Associate of Arts (Visual Arts) programme with HKBU’s College for International ­Education (CIE). AVA operates two campuses: Kai Tak Campus in Choi Hung, and the Communication and Visual Arts Building in Kowloon Tong, both with fully equipped workshops and studios for visual arts disciplines as varied as Chinese painting, sculpture, photography, media arts, ceramics, glass, printmaking, graphic design and illustration, installation, wearables, jewellery design, and many more.

課程理念及願景 視覺藝術院認為不同的創作專業，皆能體 現共通的創作意念、想法和原則。我們貫 徹浸會大學推動全人教育的精神，提供全 103

面的教育，啟發學生的創作潛力與思維， 鼓勵他們按自己的興趣和才能建立個人風

我們着重培育學生煥發創意思維、展示嶄

At the Academy of Visual Arts, we believe that there are ideas, concepts and

新意念、理解視覺藝術背後的理念等能

principles common to all creative disciplines. We provide a comprehensive

力，並要他們充分掌握文化藝術史及理論

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

的知 識。

development of the creative and intellectual potential of our students, encouraging them to build their own personal profile based on their specific interests and abilities, thus ultimately enabling them to aspire towards careers throughout the whole spectrum of the creative and cultural sector.

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.

本院非常重視跨領域的學習模式，揉合不 同的視覺藝術形式、媒介、意念和方法，

Developments within the visual arts through the last century have introduced

突破傳統的藝術與設計概念，發展更廣泛

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

的藝術創作手法。現今，藝術已不再局限

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

於單一學科或媒介，而是充滿混雜多元

longer based upon strictly distinguished disciplines or particular media, but

的可能性。有見及此，本院提供的視覺

is rather a hybrid of many. Accordingly, the BA (Hons) in Visual Arts programme

藝 術（榮譽）文學士課程，以跨學科的藝術

operates in the interdisciplinary area of artistic practice, which considers all

實踐為重點，認同所有創作方式均有助啟

creative disciplines as equally valuable outlets for creative ideas and concepts.

發意念。

後台點滴

PROGRAMME PHILOSOPHY AND VISION

Backstage

格，以投身不同的文化藝術工作。

BA (Hons) in Visual Arts Programme Structure

視 覺 藝 術 ( 榮 譽 )

CONCENTRATIONS, DIVISIONS AND CLUSTERS

主修範疇、專業部門與學科群組

The four-year curriculum introduces subject concentrations, which are based on

四年制課程引入了「主修範疇」的設計，相

AVA’s three divisions:

關科目根據以下三個專業部門歸類分配：

> Studio & Media Arts (SMA)

> 藝術及媒體創作

> Craft & Design (CD)

> 工藝及設計

> Visual Arts Studies (VAS)

> 視覺藝術研究

Studio & Media Arts concentration

藝術及媒體創作主修

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

此主修範疇讓學生集中學習傳統藝術媒介

endeavours on traditional studio arts and/or contemporary media arts, with the

及當代數碼媒體藝術，通過美學和觀念探

aim of generating meaning through aesthetic and/or intellectual concepts and

索擴展作品涵義，超越作品的功能限制。

文學士課程結構

moving beyond a merely functional approach. 工藝及設計主修 Craft & Design concentration

工藝與設計作品都以本身的實體造型為本

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

去表達創作的原意，不論是手工製品或大

disciplines. Be it a hand-made artefact or a mass-produced industry product, the

量生產的商品，均以其物質性為依歸，因

essence of the result is in its physicality. Because of this, concepts of functionality,

此作品的功能、實用性、可持續性、製作

usability and sustainability, and also consideration of production processes,

過程、市場需求和一般效益，都是視藝工

market demand and/or general benefits all play an increasingly important role

作者的重要考慮。

for the visual artist. 視覺藝術研究主修 Visual Arts Studies concentration

此範疇教導學生各種研習藝術史與理論的

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

方法，從視覺文化、物質文化、中西藝術史

and historical approaches. Introducing material and visual culture, in addition to

方面，探討不同議題，如：公共經驗、視覺

art history and in-depth examinations of Western and Chinese art, VAS explores

文化教育和創意策略等，以加強學生的創意

notions such as public experience, offering an education in visual culture and

和批評思考，培養多種可轉移的能力。

creative strategies, strengthening creativity and developing the student’s critical thinking, providing an extensive range of transferable skills beyond the degree

學科群組

programme.

本院的課程編排為多個學科群組，每一群 組由四至六個科目組成。學生必須完成同

CLUSTERS

一學科群組內最少三門科目。每位學生須

AVA’s BA courses are collected into clusters of learning; each cluster consists of a

最少要完成 三個學科群組。

total of four to six courses at levels 2 and 3. Students have to take three courses from one cluster to complete it. Every student is required to complete a

學生修畢第 1 級別科目後，便可選修第 2 級

minimum of three clusters.

別 內 的 科 目（ 即 科 目 編 號 以 2 字 為 首 的 科 目 ）。 在 同 一 學 科 群 組 中 ， 學 生 選 修 個 別 第 2 級別的科目後，便可選讀一系列第 3 級 別的科目，發展自己的主修路向。當完成 同一主修範疇中的兩個學科群組後，便視 作完成一個主修範疇。

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

學科群組的設計，旨在協助學生加強主修

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

範疇專業知識的發展和深度。學科群組的

By choosing level 2 courses from the same division, you will build a selection

編排反映不同視覺藝術範疇在學術上的共通

of level 3 courses (and clusters) available to you, developing a clear focus for

之處，並引導學生從學習中將共通點探索出

your studies.

來，貫徹本院課程的跨領域教育理念。

A concentration is achieved by completing 2 clusters from same division.

通識教育是甚麼? 所有香港浸會大學學生必須修讀通識教育 課程，合共 68 個學分。通識教育旨在鞏固

in their areas of choice. The clusters also essentially indicate academic

學生在不同學術範疇的學習基礎，而不局

commonalities between different visual arts areas; the cluster requirement

限於個別專業知識。

are one way in which the Academy articulates its ideal of interdisciplinary

通識教育如何與視覺藝術主修範疇科目互

direction in the curriculum.

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

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

念。學生宜於低年級時先修讀通識教育科

of HKBU, in which students need to take 68 credit units. The intention of GE is

目，再於高年級時集中修讀主修科目。因

to provide students with a solid foundation in a variety of academic subjects

此，學生修讀由視覺藝術（榮譽）文學士課

beyond the limitations of individual disciplines.

程開設的主修科目比例會逐年遞增，所選 的通識教育科目則會按年遞減。

How does GE combine with the VA major?

As the term General Education implies, the content of GE courses is intentionally

學生能從通識教育中學到甚麼？

comprehensive, accommodating students from all kinds of backgrounds

通識教育是學生探索其他學科的大好良

and providing them with common skills and knowledge, as well as academic

機。我們預期學生能掌握自己的主修課程

methodologies across broad concepts. Accordingly, students take their GE

之餘，也同時具備其他學科的知識，達致

courses in the first half of their studies, and focus on their major in the second

全人教育的目標。通識教育提供自我增值

half of their studies. For this reason, the proportion of Visual Arts courses in

的機會、激發創意，因此我們建議學生於

the BA (Hons) in Visual Arts programme study plan gradually increases and

其他學系修讀至少六個學分的高級科目 ( 等

ultimately replaces the GE portion.

同第 3、4 級別的科目 ) 。

What academic opportunities does GE offer?

此外，浸大為四年制的學生提供副修的選

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

擇，只需修讀其他學系15 個學分的科目，

our students to excel in their major, but in the spirit of Whole Person Education

便符合副修的規定。學生若了解自己未來

we also expect them to have a substantial understanding in other subject areas.

的發展路向，副修有多個不同學科可供選

GE offers plenty of opportunities for self-enhancement, self-cultivation and

擇，惟應小心選配主修及副修科目，以助

creative stimulation. To emphasise our appreciation of GE we therefore suggest

將來就業或申請實習。有關副修的資料可

that our VA students take a minimum of 6 credit units in upper-level courses

向相關學系查詢。

(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 cases 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.

後台點滴

GENERAL EDUCATION

Backstage

directs students to explore these common grounds. In this sense the clusters

105

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

 BA (Hons) in Visual Arts Major Course List Foundation courses

Integrated Practice and Research Courses

1005

Visual Arts PRACTICE I

1006

Visual Arts PRACTICE II

1305

ARTS AND ITS HISTORIES I

1306

ARTS AND ITS HISTORIES II

2305

Art in the 20th century I

2306 3005_7

Art in the 20th century Ii Visual Arts Internship

4015

reserach and practice in Visual Arts

4055

Honours Project

2115

Drawing: Visual Thinking and Observation

2116

Painting: Image and Interpretation

3105

Further studies in Studio and media arts

Studio & Media Art Drawing & painting

(drawing and painting)

Chinese ArtS

3115

Drawing: Inquiry and Experimentation

3116

Painting: Expression and Exploration

3117

LIFE DRAWING

2125

Visual Literacy in Chinese Painting

2126

Chinese Word as Image: foundational studies in chinese calligraphy and seal engraving

3106

Further studies in Studio and media arts (chinese arts)

Lens-Based Media

3125

Convention and Innovation in Chinese Painting

3126

Chinese Seal Engraving: The Expressive Identity

2135

Looking through the Lens

2136

Sound: The Basics

3107

Further studies in Studio and media arts (lens-based media)

Sculpture

Body as interface

3135

independent music video

3136

Experiments in Moving Image

3137

Narrative photography

2145

Sculpture: Materials & Processes

2147

installation art

3145

Sculpture: Form and Applications

3147

Public Art

3195

Further studies in Studio and media arts (sculpture)

2155

Bodyscape

2156

Interactive Art

3155

Bodily Perception in Artistic Practice

3157

human-machine interface

3196

Further studies in Studio and media arts (Body as interface)

Craft & Design Graphic book

typography

2217

Illustration

3205

Further studies in craft and design (graphic book)

3217

illustrated narratives cover to cover Design for Hypermedia

2227

Printmaking

3206

Further studies in craft and design (experimental imaging)

GLass & Ceramics

HYBRID PRINTMAKING

3227

Evolutionary Graphics

2235

From Liquid to Solid : The Art of Glass Blowing

2236

Ceramic Art : From Pinched Pot to Sculptural Form

3207

Further studies in craft and design (glass and ceramics )

3235

From Zero Space to Infinite Dimension : The Art of Glass Casting

3236

From Object to Installation : The Art of Glass Kiln-Forming

Wearables

Objects & Environment

3237

Creative Ceramics: Concept and Process

2245

Wearables: Materials & Processes

2246

Small Metal Jewellery

3245

Body vs. textiles

3246

studio Jewellery

3295

Further studies in craft and design (wearables)

2255

Design Thinking

2257

prototyping

3255

Exhibition & Design (L)

3256

Furniture design (M)

3257

Product design (s)

3296

Further studies in craft and design (object and environment)

Visual Arts Studies Art History & Theory

3305

Further studies in visual arts studies (art history & theory)

3345

concepts in contemporary arts

3346

CRITICAL STUDIES IN LENS-BASED MEDIA

3347

Chinese Literati Art: Identity, Transformation and Challenge

Visual & Material Culture

3307

Further studies in visual arts studies (visual & material culture)

3355

material culture & collections

3356

HK Craft: Tradition and Transformation

3357

the anthropology of art

後台點滴

3225

Backstage

3216 2226

107

Experimental Imaging

2215

ADMISSION

入學申請

We welcome students from any educational background, including mainland,

本院接受不同教育背景的學生提交申請，

overseas and mature students alike.

包括來自內地、海外及年長的學生。

Students educated in Hong Kong applying for admission to the BA (Hons) in

本地學生如欲以香港中學文憑考試成績申

Visual Arts Programme on the strength of Hong Kong Diploma of Secondary

請 ， 應 通 過 大 學 聯 合 招 生 辦 法 ( JUPAS) 入

Education (HKDSE) should apply through the Joint University Programmes

學。本課程過往的收生成績，可見於大學

Admission System (JUPAS). Admissions scores reference of previous JUPAS

教務處網頁。

entrants can be found on the webpage of the University’s Academic Registry. 中國內地學生可憑相同年度的普通高等學 China Mainland students who are sitting for the current year of Joint Entrance

校聯合招生考試成績申請入學，計劃詳情

Examination (JEE) fall into a specific admission scheme of the University, and

請向教務處查詢。本地、內地及海外學生

should refer to the University’s Academic Registry for scheme details.

如以上述以外的其他資格申請，如國際文 憑試 (IB)或英國普通教育文憑考試 (GCE)，

Local and overseas students seeking admission on the strength of other

需通過大學非聯招途徑入學。

qualifications, e.g. IB or GCE, including mainland students other than the above-mentioned, should apply for direct admission to the University

大學認可的副學士、高級文憑或文憑課程

(generally known as non-JUPAS). Final year students/holders of sub-degrees

的準畢業生或畢業生、大學學位持有人或

including higher diploma or associate degree, degree holders and transfer

其他大學轉學生，可申請入請課程高年級。

students can apply for admission to a senior year, i.e. Year 2 or Year 3, of the

不論透過何種途徑申請入學，申請人都必

programme.Applicants should satisfy both the University’s General University

須符合大學及課程入學的基本要求。

Admission Requirements as well as the Programme Admission Requirements. 大學基本入學要求 General University Admission Requirements

一般而言，申請人必須完成中學課程，並

In general, applicants have to possess qualifications equivalent to secondary

符合申請入讀大學的成績要求。

school completion deemed appropriate for university admission. 透過大學聯招辦法申請入讀人士需具備以 For JUPAS applicants, this is interpreted as:

下資格：

a) Level 3 in two HKDSE language subjects

1) 兩科香港中學文憑考試語文科目成績達

b) Level 2 in three HKDSE subjects including Mathematics and Liberal Studies

第3 級 ；及 2) 三科香港中學文憑考試科目成績達第 2

For non-JUPAS applicants, this refers to any acceptable alternative qualification

級，包括數學及通識教育。

such as an Associate Degree or Higher Diploma/Diploma of a higher education institution recognised by the University, an International Baccalaureate

至於以非大學聯招辦法申請入讀者，申請

Diploma, or passes in 6 GCEOL/GCSE/IGCSE Exam and 2 AL subjects. Applicants

人需具備其他認可資格，例如：大學認可

will be considered on an individual basis.

專上學院頒授的副學士、高級文憑或文 憑、國際預科文憑( IB )，或六科英國普通教

For details of the General University Admission Requirements, please refer to

育文憑考試(普通程度)、英國普通中學教育

the University website at: www.hkbu.edu.hk.

文憑考試、英國國際普通中學教育文憑考試 及兩科高級程度會考合格成績。申請人將獲

Programme Requirements

個別考慮。有關大學基本入學要求的詳細資

AVA does not define specific academic requirements for admission to the BA

料，請參閱本校網頁：www.hkbu.edu.hk。

(Hons) in Visual Arts programme. However, the study of and subsequently a professional career in the Visual Arts require good academic skills, but also

課程入學要求

a certain degree of talent. Such talent includes various kinds of skills, for

本院的視覺藝術（榮譽）文學士課程沒有特

example, a good visual sense, good coordination of brain and hand, spatial

定的入學要求，但視藝訓練及往後的就業

awareness and especially a rich imagination, intellectual flexibility, and

情況往往要求良好的學術表現，甚至某程

personal dedication.

度的才華。相關的才能包括不同的技術， 如：手、眼和腦的協調、對空間有敏銳的 觸覺，尤其要具有豐富的想像力、靈活的 思維及對視覺藝術的投入。

為進一步評估申請人的創作才能，所有報

programme we request all applicants to participate in AVA’s Admission

讀視覺藝術（榮譽）文學士課程的申請人

Exercise, which is designed to provide applicants with opportunities to show

均需要参加入學評核測試，藉此展示個人

potential for the field of the Visual Arts.

在視覺藝術上的潛能。

The Admission Exercise is comprised of three parts:

入學評核測試包括以下三個部份：

> A portfolio review;

> 檢閱個人作品集

> A practical exercise;

> 藝術創意測試

> An interview.

> 面試

All parts of the Admission Exercise will be evaluated

入學評核測試的評審準則如下：

on the following criteria :

> 創意和豐富的構想力；

> Creativity and breadth of ideas;

> 發展並實現複雜而具創意的解難能力；

> Capability to develop and realise complex creative solutions;

> 表達個人藝術意念的能力；及

> Ability to present personal artistic ideas; and

> 個人對藝術專業的投入與熱誠。

Backstage

入學評核測試

To assess the creative talent of an applicant for the BA (Hons) in Visual Arts

109

Admission Exercise

> Personal dedication and commitment for the subject area.

OTHER INFORMATION ABOUT AVA

交換生計劃

Exchanges at AVA

視覺藝術院安排學生到澳洲、德國、意大

AVA currently offers international exchange programmes with sister

利、日本、英國，以至美國等地的聯繫大

institutions in Australia, Germany, Italy, Japan, UK and USA. AVA students can

學進行國際交流。學生亦可參與由香港浸

also benefit from HKBU’s extensive exchanges in Asia and Europe.

會大學舉辦的交換生計劃，到訪亞洲及歐 洲等地。

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

實習計劃

to undertake an internship during their time of study. An internship links

本院鼓勵學生參與跟主修科目有關的實習

classroom theory to professional practice, and provides the student with

計劃，把課堂上獲取的知識學以致用。實

learning experiences beyond the academic programme. Such experiences

習對學生的專業和個人發展相當重要，可

are invaluable for the students’ professional and personal development, giving

提供一個課堂以外的寶貴學習經驗，有助

them the opportunity to experience the wider arts arenas. Internships

學生建立和釐清自己未來的工作路向。為

are offered as independent study courses that will usually be taken during

配合學生的學習計劃，實習一般安排在暑

term-break.

期進行。

Professional and Career Prospects

畢業生出路

In the graduate survey of 2014, conducted six months after graduation, among

於 2014 年，本院在學生畢業後六個月進行

the 109 graduates, 65 % had secured fulltime equivalent jobs, while 2%

了一項調查，在一百零九名受訪人當中，百

pursued further studies. Among the graduates who found full-time jobs, 75%

分之六十五的畢業生成功尋找到全職工

entered the commerce/industry sector, followed by education (19%) and

作，而百分之二的畢業生則選擇繼續升

community/social services (6%). More than 50% of the graduates were

學。至於就業的工作類別，百分之七十五

employed in art teaching or design-related industry. The average monthly

的畢業生投身工商業界，百分之十九為教育

first salary for graduates was around HK$13,100.

界，百分之六則從事社會福利工作。超過 百分之五十的畢業生受聘於藝術教育或設 計相關的機構，平均月薪約港幣 13,100元。

後台點滴

其他資料

AVA’s Contributions to the Community

視覺藝術院如何貢獻社會?

The Academy of Visual Arts established kaitak, Centre for Research and

視覺藝術院於歷史建築啟德校園（前英國

Development in Visual Arts at the Kai Tak Campus (the historical Royal Air Force

皇 家 空 軍 俱 樂 部）成立「啟德」視覺藝術

Officers’ Mess). kaitak conducts academic research and community projects

研 究 與 發 展 中 心 ， 轄 下 的「藝研中心」、

for the development of visual arts in and around Hong Kong through its three

「視藝社區起動」及「藝苗計劃」三個部份

branches: Research Hub, the VArtCommunity and the Young Artist Agency.

藉舉辦不同類型的學術研究及社區活 動，推動本地以及鄰近地區的視覺藝術

In collaboration with NGOs or charity organisations, the VArtCommunity aims

發展。

at initiating the interaction between artists and the general public through the process of art making, thereby arousing people’s interest and potential in visual

「視藝社區起動」舉辦多項社區藝術活動，

arts. Among various community projects, the ‘Through Our Eyes’ Programme

藉着與非政府組織及慈善機構合作，提升

(TOE) funded by Robert H. N. Ho Family Foundation is its core project, which

普羅大眾和藝術家的互動關係，並且在藝

runs different short courses, workshops, visits and exhibitions for teenagers

術創作的過程中引發對文化藝術的興趣與

to observe and explore the community through lens-based media.

潛能。當中核心計劃是由何鴻毅家族基金 贊助的「憧憬世界」攝影教育計劃，計劃

The Associate of Arts (Visual Arts) at HKBU

舉辦各式各樣的短期課程、工作坊、探訪

The Associate of Arts (Visual Arts) programme is jointly offered by the A ­ cademy

及展覽，鼓勵青少年透過鏡頭去觀察和探

of Visual Arts and the College of International Education (CIE), and is an

索自身的社區，以影像來表達其對自我身

entry-level degree to prepare students for further studies in the visual arts,

分、家庭及社會等不同課題的看法。

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

浸會大學文學副學士(視覺藝術)課程

knowledge acquisition, and generally encourages individual academic and

文學 副 學 士（視覺藝術）課 程 由 本 院 與 國

personal development.

際學院合辦，此基礎課程幫助學生準備將 來 的 升 學 ， 如 視 覺 藝 術（ 榮 譽 ）文 學 士 課

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

程。副學士課程旨在提供不同的基礎藝術

graduates are most likely to apply for admission into full undergraduate d ­ egree

訓練，尤其着重教授相關的技巧和知識，

programmes in areas of visual arts, fine arts, design, creative media and/or

促進學生的個人成長及學術發展。

art education at HKBU or other universities and institutions, or they may choose to pursue creative careers and work in visual art-related fields.

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

The MVA

術、純藝術、設計、創意媒體或藝術教育

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

等學士課程。畢業生亦可選擇直接投身創

approach that AVA adopted as its distinctive characteristic. The five MVA

意工業及與藝術相關的行業。

concentrations intentionally cover a wide range of aspects within the arts and culture ecology from creative practice to ­theory and criticism, art

視覺藝術碩士課程

administration and social application. The five ­concentrations are Experience

視覺藝術碩士課程貫徹視覺藝術院的跨領

Design, Studio Arts & E­ xtended Media, Art & Culture, Art Administration, Utopics.

域學習特色，涵蓋藝術文化生態的不同範 疇，由創作、理論與藝術評析，到藝術行

The MVA is to nurture creative talents with contemporary research methodolo-

政及社會實踐。五個主修領域包括：體驗

gies, in-depth p ­ rofessional knowledge and skills as well as cross-cultural

設計、藝術創作與延伸媒體、藝術與文化 、

and interdisciplinary awareness in ­diverse visual arts disciplines. Through Shared

藝術行政 、藝術實踐與文化行動 。

Courses and specialized Courses built into the integrated programme structure the MVA achieves a good balance between cross-discipline synergy

本院的碩士課程以當代研究方法為基礎，

and professional development, and guides students to further develop

探究相關視覺藝術領域的專門知識與媒介

their personal artistic/ academic profile according to their r­ esearch interests.

技巧，並以跨國界、跨學科的多元視野回 應社會文化議題。透過「共修科」與「專 修科」的配合，共融與深化並行不悖，能 同時兼顧當代視覺藝術研習的闊度與深 度，帶領學生按自己的研究興趣，深化個 人藝術或學術的發展。

Full -Time Teaching Staff

Exchange Collaborations

本科課程

24 Teaching Staff : 24: 58 % M, 42 % F

Local – CUHK and CityU

視覺藝術科目：

International – 9 institutions in Germany,

> 29 門藝術及媒體創作科目

Italy, Japan, UK, USA and Australia

> 26 門工藝及設計科目 > 11 門視覺藝術研究科目

Nationalities : Australia, Germany, Hong

> 7 門跨學科科目

Kong, Italy, Ireland, Japan, Mainland China,

Exhibition Opportunities

Taiwan, UK, USA

Three on-campus exhibition galleries

Qualifications : 63 % PhD/DFA ; 21 % MFA ;

Financial support & curatorial advice

師生比例：1 : 14.25

Average On- Campus Co - Curricular

平均課堂人數：

Activities Per Year

理論科目 - 30 人；

Student Population

> 15 - 20 exhibitions

實踐科目 - 17 人

342 BA students

> 10 - 15 art seminars / demos

16 % MA/MVA/MPhil

1 MPhil student

* Data as of 1 Sept 2015 for the past academic year.

平均首份工作月薪 (2014)：港幣 13,100 元

Backstage

60 Associate Degree students

111

平均畢業成績：GPA 2.87

29 MVA students

2 PhD students 全職教學人員

本地：香港中文大學、香港城市大學

> 19.3 % M, 80.7 % F

24 人：58 % 男性；42 % 女性

海外： 9 間大學分別位於德國、意大利、

> 1st year entrants :

國籍：日本、中國大陸、台灣、香港、

日本、英國、美國及澳洲 78 % admitted by JUPAS ;

英國、美國、意大利、德國、

展覽機會

22 % by non-JUPAS

澳洲及愛爾蘭

> 3 個校內展覽場地 > 備有學院經費資助及策展諮詢服務

> Senior year entrants :

資歷：63 % 持哲學或藝術博士學位；

42.6 % AD holders ;

21 % 持純藝術碩士學位；

平均每年校內活動

57.4 % HD or Degree holders

16 % 持其他相關碩士學位

> 15 至 20 次展覽 > 10 至15 個藝術講座或示範

> 20 students currently on exchange

本院學生人數 342 名本科生；

Total Graduates

29 名碩士生；

629 BA graduates

60 名副學士生；

224 MVA graduates

1 名哲學碩士生；

187 Associate Degree graduates

2 名哲學博士生

Undergraduate Programme –

本科生

Visual Arts Courses

> 19.3 % 男性 ; 80.7 % 女性

> 29 in Studio and Media Arts

> 一年級新生：

> 26 in Craft and Design

78 % 經大學聯招入學；

> 11 in Visual Arts Studies

22% 經非大學聯招入學

> 7 in interdisciplinary courses

> 高年級新生： 42.6 % 持副學士學位；

Teacher/student ratio : 1:14.25 Average class size : 30 for theory courses,

57.4 % 持高級文憑或學位資格 > 20 名學生正於外地交流

17 for practical courses Average exit - GPA : 2.87

畢業生總人數：

Average first income (in 2014) : HK$13,100

629 名本科生；224 名碩士生； 187 名副學士生

*資料截至2015 年 9 月 1 日。

後台點滴

交換生計劃 Undergraduate Students

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supporting the “Alumni $100 Monthly Donation

一百元，用作支持視覺藝術院以及大學的長期發

Campaign” does mean a lot! Please scan the QR code

展。請掃描QR code並選擇捐助「視覺藝術發展基

and choose to support “Academy of Visual Arts

金」、培育年輕藝術家的「藝苗計劃」或大學其

Development Fund”, “Young Artist Agency” or other

他項目，您的慷慨捐獻將惠及視覺藝術院的學

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生。請立即行動！

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