AVA Magazine #10 by Academy of Visual Arts, HKBU

Prof. Louis Nixon

New Faces in AVA II 視覺藝術院生力軍 II Noit Banai

2021 BA Graduation Show Review 2021本科畢業展回顧 Christine Chan Chiu

New Faces in AVA III 視覺藝術院生力軍 III

Manuela Catania

2021 MAVA Graduation Show Review 2021碩士生畢業展回顧 Vivienne Chow

New Faces in AVA IV 視覺藝術院生力軍 IV

Elaine W. Ng

Printmaking at AVA AVA版畫工作室 Chan An Gee

New Faces in AVA V 視覺藝術院生力軍 V

Wang Ling Jean, Sunny | Ho Pui Yi, Bowie

AVA Creative Robotics Lab 創意機械人實驗室 Prof. Louis Nixon | Ekkehard Altenburger

Situated Knowledges – Art and Curating on the Move 處境知識⸺流動的藝術與策展方式

New Frontiers: Shared Campus Activities 2020/21 新疆界：共享校園計劃2020/21 Peter Benz

Li Xiaoqiao

Esther Kwok

Glass Teaching During the Pandemic 疫情期間的玻璃藝術教學

Cedric Maridet

Reforming Impressions 重塑印象

Social Landscape 社會山水 Shum Kwan Yi, Sim

Qin Lai-yin, Anna

Waste or Underutilised Resources? 垃圾？抑或未被善用的資源？

The Journey in Ceramics 旅陶 Ho Lai

Nadim Abbas

Lai Ka Hang | Chan Nga Man, Amie | Lai Wai Shan, Gloria | Ma On Yee | Liv Tsim

From Bonsai to A.I. 從盆景到人工智能

Before a Passage 待渡

Ng Siu King, Kingsley | Wan Lai Kuen, Annie | Ting Lap Tak

38 New Horizons: Ways of Seeing Hong Kong Art in the 80s and 90s 多元視野⸺八、九〇年代香港藝術新象 Fong Man Yee, Janet

40 Interdisciplinary Art Practice and Research using Drawing as the Core 以素描為主軸的跨學科藝術實踐與研究 Yu Wai Luen, Francis

Fear(less) and Dear 誠惶(不)誠恐，親愛的 Mak Hoi Shan, Anson

New Faces in AVA I 視覺藝術院生力軍 I Shin Gyung Jin

Pink and White Shower Art Bazaar 節果決明花見藝術市集

72 Event List SEP2020–AUG2021

AVA Information 視覺藝術院資訊

Bachelor of Arts (Hons) in Visual Arts 視覺藝術(榮譽)文學士

Master of Arts in Visual Arts 視覺藝術文學碩士

Research 研究

102

AVA Facts & Figures 學院小統計

Contents 目錄

Foreword 序言

序

# 10 Welcome to Issue 10 of the Academy of Visual Arts (AVA) Magazine. 2021 continued to be the year of the pandemic and many of the facilities and activities that make the academy such a vibrant and special place – the studios, the workshops and the galleries remained inaccessible and the exhibitions and events, the visiting artists and the international exchange programmes were put on hold. Not easily deterred, we redoubled our efforts to enhance many of the initiatives we had put in place at the beginning of the pandemic, including online delivery of our courses, using new software and hardware to work virtually and deliver live courses over the internet, sending materials and tools back to students’ homes so they could continue to work remotely, and hosting virtual tours of artists’ studios from across the globe. When it was deemed safe, we brought our students back in to the Academy to work, wearing masks in socially distanced and frequently sterilised studios and workshops. It has been a strange time for everyone. The pandemic necessitated a radical and rapid shift in art education, and this new model of mixed-mode teaching, changing practice and research and combining virtual and physical realities has led to some interesting new approaches and outcomes – not just at AVA but at art schools across the globe. Developments in art and technology have advanced rapidly and the growth of virtual worlds and shared 3D spaces, plus rapid developments in artificial intelligence, augmented reality and their convergence with the internet, has speeded up the growth and development of the “metaverse”, where artistic practice now moves freely between the physical and the virtual in new and exciting ways. Here in Hong Kong there is now significant interest and investment in arts technology and over the next five years many staff and students here at AVA will be working on the University’s recently awarded themebased research grant of 53 million HKD to explore symbiotic creativity where humans and machines work together to develop new forms of art, music, film and creative writing.

How these new developments tie in with our established technologies for glass, ceramics, drawing, painting, printing and film and photography is an exciting prospect for both teaching and research, and many of AVA’s staff and students are now engaging in these new technologies and virtual spaces in a variety of imaginative ways. At AVA we see these developments as an exciting expansion of what is possible. The pandemic has given us a whole new set of tools to play with and new spaces in which to experiment and create. For our students, the effects of living in a pandemic can be clearly seen in the work of our undergraduate and postgraduate final year exhibitions, where many works seemed to have benefited from the changing nature of time and the reduction of distractions – it was more detailed, more thoughtful, ideas were more focused and then patiently and accurately worked through and resolved. For our students there is a great deal of uncertainty ahead and they have had a challenging and difficult time, but they have achieved a great deal and have a lot of supporters here in Hong Kong; they are more resilient and better equipped to create and contribute to whatever lies ahead and outside the Academy. I hope you enjoy the magazine and looking back through some of the years’ activities, and I wish to extend a sincere thank you to all of AVA’s dedicated staff, who have so carefully guided the Academy and our students through this challenging time. Prof. Louis Nixon Director, Academy of Visual Arts

歡迎閱讀第10期視覺藝術院（AVA）雜誌。2021年疫情持續嚴峻，院

內的工作室與畫廊等設施，還有各式多元化的工作坊仍無法開放；展覽活動、藝術家駐校計劃，以及國際交流項目均須暫時擱置，讓校園頓失活力與姿彩。

然而，我們並未輕易妥協，更加倍努力，強化在疫情爆發初期提出的

許多新做法，當中包括將課程移師網上平台、使用新的軟硬件以虛擬方式工作並進行即時網上教學、寄送材料及工具給學生，讓他們能繼續在家創作，並舉辦虛擬導賞活動，帶領大家參觀世界各地藝術家的工作室。當疫情稍為緩和後，我們便立即讓學生回到校園，在佩戴口

罩並保持社交距離的情況下，在經常進行消毒的工作室中工作。是次疫情實在為學院中的所有人帶來全然陌生的嶄新體驗。

新冠疫情使藝術教育發生徹底且急速的轉變，而這種全新的混合教學模式、不斷轉變的實踐與研究方法，還有結合擬虛與現實的經驗已為AVA乃至全球的藝術學院帶來了引人入勝的新創作手法和成

果。藝術與科技的發展突飛猛進，虛擬世界和共享3D空間持續擴大，加上人工智能、擴增實境的急速發展，以及它們與互聯網的融合，加快了「元宇宙」（Metaverse）的成長和發展，讓藝術實踐得以在現實

與虛擬之間透過全新且令人興奮的方式自由移動。現今香港對藝術科技有着濃厚興趣，更對之投放了大量資源，單以香港浸會大學為

例，最近便就此研究範疇獲得5300萬港元的資助。在未來五年，AVA 的許多師生將致力研究人機協作的藝術創作模式，探索人類如何與

這些新發展如何與我們現有的玻璃、陶瓷、素描、繪畫、版畫和電影及攝影技術結合，將為教學與研究帶來教人振奮的新視野，而AVA的眾

多師生現時已著手利用各式各樣的創新方式探索這些新技術和虛擬空間。這些發展實屬令人鼓舞的新機遇。儘管疫情為我們帶來挑戰，但也為我們提供了全新的工具和空間，讓我們在其中實驗和創作。

對我們的學生而言，疫情對生活的影響從本科和碩士生畢業展便可見一斑，當中許多作品似乎因時間分配的變化和消遣活動減少而受惠，內容變得更細密周詳。同學們能耐心、準確地針對所探索的問題對症下藥，創作概念更淋漓透徹。就我們的學生而論，未來充滿不明朗因素，然而，他們在剛度過的難關與逆境中卻取得了非凡成就，再

者，本地不乏支持他們的人，他們的韌力及創作能力將讓他們在未來於學院以外的環境作出貢獻。

希望你會喜歡本年度的AVA雜誌，並能回顧過去一年AVA的活動。

我謹此感謝AVA全體員工的萬二分努力，帶領學院及我們的學生度

過這段充滿挑戰的時間。黎藝深

視覺藝術院總監

言

Foreword 序言

機器合作建立全新藝術、音樂、電影和創意寫作形式。

2021 BA Graduation Show Review

Christine Chan Chiu Based in Hong Kong, Christine is an independent art advisor and co-founder of AARRTT, a unique art platform startup. She is also a writer whose works can be found in several art publications. 趙陳綺瑩是獨立藝術顧問及藝術初創平台AARRTT的聯合創辦人，以本港為基地。身兼作家的她常在多本藝術刊物發表作品。

Unlike last year, this year’s show was thankfully able to open as scheduled despite the pandemic. Works by a total of 128 graduating students were showcased at the Academy’s Kai Tak Campus, a Grade I early 20th-century building and the site of the former Royal Air Force Officers’ Mess. The historical building, with its numerous rooms, adjacent annex buildings, surrounding lawns, and unique architectural features was the perfect backdrop. Following no particular route, visitors were free to roam around and explore artworks from 11 different categories. These comprised art books, ceramics, Chinese art, glass, installation art, media art, painting and drawing, performance art, printmaking, sculpture, and jewellery, though at times the distinction between the categories was not always clear.

每年夏天，香港浸會大學視覺藝術院（AVA）本科畢業展大概是本港

其中一個最令人引頸以待的群展。大批準畢業生均會趁此盛會展示

最新創作成果，進而在藝術界開展事業，成為許多贊助該展覽的本地畫廊代理的藝術家。參觀畢業展實在是欣賞這些新晉藝術家早期作品的絕佳機會。

有別於去年的展覽，本年的畢業展在新冠疫情尚未退卻的情況下如期於視覺藝術院啟德校園揭幕，在這個於二十世紀初建成的前皇家英國空軍（RAF）軍官俱樂部中展出共128名準畢業生的作品。這座

歷史建築擁有眾多房間、相鄰附樓、戶外草地和獨特建築風格，實屬畢業展的完美背景，參觀者可以隨心在校園漫遊，探索共11個類別的藝術作品。儘管這些類別之間的界線時有重疊，但粗略可分為藝書、陶瓷、中國藝術、玻璃、裝置藝術、媒體藝術、繪畫、素描、行為藝術、版畫、雕塑和首飾。

aVa MaGaZINE #10

The graduation show of the Academy of Visual Arts (AVA) at Baptist University every summer is probably one of the most eagerly awaited group shows in Hong Kong. Showcasing the latest talent, many of the graduating artists eventually go on to carve out productive careers for themselves in the art world, and to be represented by some of the main galleries in Hong Kong – many of which are sponsors of the exhibition. Seeing the show is the perfect opportunity to admire works by these artists early in their careers.

2021本科畢業展回顧

Greeting visitors as they arrived was In Solitude by Tse Tsz Kiu, Christy from the glass category, a two-metre-tall installation consisting of a cubicle made from small multi-coloured square glass panels. Positioned on the lawn near the entrance to the AVA building, the lone booth was oddly reminiscent of a church confessional, with its open door strangely beckoning visitors to enter. Perhaps to some, it also strangely referenced experiences of quarantine or solitary confinement, recalling the harsh social conditions during Covid-19 – an undeniable undercurrent running throughout the exhibition. The category of installation art proved most popular, totalling some 32 diverse multi-media pieces placed around the Kai Tak Campus. Engaging the audience and creating artistic dialogue were two objectives that many of these works succeeded in achieving, and this was largely facilitated by the unique architectural features present in the historical buildings of the venue. These features accented the works presented and also encouraged viewers to be active participants in response to the conversations being created.

本年度的畢業展以「畢業生與藝術之間的距離」為題。此命題沒有必

然的答案，而是透過每位藝術家單純的主觀感受，還有各自的獨特經驗與手法來詮釋。畢業生在展覽中摒棄先入為主的藝術創作觀念，嘗試拉近兩者之間的距離，並探究「為藝術而藝術」的觀點。儘管這聽起來陳腔濫調，但觀眾卻可欣賞到藝術家如何透過藝術品具體呈現各自的情感狀態。

當觀眾甫到展場，便會看到謝芷蕎的玻璃作品《只》佇立在AVA主樓

外的草坪上。這座兩米高的裝置鑲滿色彩繽紛的小正方形玻璃板，外型尤如電話亭。然而，這個形單影隻的「電話亭」卻出奇地令人想起教堂的懺悔室，它敞開的門戶不但寓意歡迎觀眾參觀畢業展，更以奇妙的手法向他們招手，引領觀眾走進亭內。對某些人而言，此作品或許不可思議地令人聯想到隔離或單獨囚禁的經歷，回憶起艱苦的新冠疫情日子，而這股無可否認的暗流更貫穿整個展覽。

這個畢業展一共展出了32件多媒體裝置作品，毫無疑問，裝置藝術是最受畢業生歡迎的類別。吸引觀眾參與並創造藝術對話是其中許多作品成功實現的兩大目標，而這很大程度上歸功於此歷史建築的建築特色。校園的建築風格突出了展品，並鼓勵觀眾積極參與，回應藝術家所建立的對話。

Tse Tsz Kiu Christy, In Solitude 謝芷蕎, 只

2021 BA Graduation Show Review 2021本科生畢業展回顧

The overall theme this year was “the distance between our graduates and art”. This was not only open to interpretation but also very subjective, being based on each artist’s unique experiences and processes. Exploring ways to discard preconceived notions of artmaking and art, this was a show where the graduates tried to close the distance between the two, and where they explored “art for art’s sake”. Despite the cliché, what audiences could appreciate was discovering how each artwork was a physical expression of the individual artist’s emotional state of mind.

2021 BA Graduation Show Review

Other works that distinguished themselves from the rest were time-based installations that sought to let their audiences experience art over time, as they unfolded via audio and visual presentations such as music and videos. Leong Krystle’s Depart, Exile and Return and Lam Mei Fan’s The things you see in apple-pie order are more of arbitrary – the recipients of the AVA and WMA Photography Awards respectively – succeeded in engaging the viewer beyond surface levels. With discrete presentations simultaneously being played on a loop as parts of a unified whole, the artists managed to hone their viewers’ sensory perceptions to add symbolic meaning. They are mature works that illustrate artistic understanding and depth, and which demonstrate that the artists were able to take advantage of the medium’s versatile nature.

「圍爐獎」得主李穎芝的作品《唯識》便是其中一個例子。這件投射虛

構童年回憶的作品位於校園底層主畫廊，結合場內原有的壁爐，連同兒童木馬和周遭牆上的繪畫，散發出溫暖和熟悉的氣氛，使觀眾陶

醉地尋找心中的童年回憶。「無名雕塑獎」得主蘇瑞欣則巧妙地將作品《分享生機》安放在畫廊對面的一間小房間內，讓觀眾利用單車氣

泵為作品注入生命力，增強互動效果。而何寶怡的《依附與被存在的》則是一組探索精神失衡的裝置作品。這組作品放置在光線有限的暗房內，只能經室外藍球場進入觀賞。一進門，觀眾便會頓時感受到籠

罩着整組裝置的陰霾情緒，接着更會接獲提示而向下彎腰，以便識別出地上藍色玻璃碎片的形狀。彎腰並靠近裝置的這兩個肢體動作具

有雙重目的，讓觀眾與作品作出身體和情感上的互動，深刻體驗精神失衡的意思。

其他出色且別樹一格的作品則是一些基於時間的裝置。這些作品旨在透過音樂和影像等聽覺和視覺呈現方式，讓觀眾隨時間體驗藝術

的流動。梁頌鍶的《其實這不曾休止》和林美芬的《你所見的井然有序不過是隨意相連》均以不連貫的方式循環播放錄像，成功跨越表像層次，與觀眾互動。兩位藝術家成功磨錬了觀眾的感官，使他們聯想到

作品的象徵意義。這兩組分別奪得「視覺藝術創作獎」和「WMA大專

生攝影獎」的作品均非常成熟，展現了兩位準畢業生對藝術的深入了解，並表明他們能夠充分利用此媒介的多功能特質。

So Sui Yan, Sharing Vitality 蘇瑞欣, 分享生機

Leong Krystle, Depart, Exile and Return 梁頌鍶其實這不曾休止

aVa MaGaZINE #10

For example, Lee Wing Chi’s See the mind with the mind – recipient of the Insider Award – is a projection of imagined childhood memories. Located in the main ground floor gallery, the original fireplace of the building is part of the installation; together with the child’s rocking horse and the paintings around it, the fireplace seems to emit warmth and familiarity, encouraging audiences to search for childhood memories within themselves. So Sui Yan’s Sharing Vitality – which won the “Anonymous Award for Sculpture” – was aptly placed in a tiny cubicle of a room on the first floor, where the effects of the viewer activating the installation via a bike pump could be magnified and amplified. Ho Po Yi’s Dependency and the Existed, which explores mental imbalance, was installed in a dark room with limited lighting, and only accessible via the outdoor basketball court. Upon entry, one immediately felt the sombre mood enveloping the installation. Furthermore, the viewer was prompted to stoop low in order to make out the shapes of blue glass fragments on the floor. The physical act of lowering and closing the distance between oneself and the installation served the dual purpose of engaging the viewer physically as well as emotionally. The message could not have been more poignant.

2021本科畢業展回顧

Lee Wing Chi, See the mind with the mind

Ho Po Yi, Dependency and the Existed 何寶怡, 依附與被存在的

Lam Mei Fan, The things you see in apple-pie order are more of arbitrary 林美芬, 你所見的井然有序不過是隨意相連

2021 BA Graduation Show Review 2021本科生畢業展回顧

李穎芝, 唯識

2021 BA Graduation Show Review

Kwan Wing Chi, Not a Bed of Roses

關詠之, 紅了櫻桃，綠了芭蕉

Xiao Jia Hui, Eye Candy

aVa MaGaZINE #10

肖佳慧, 秀色可餐

2021本科畢業展回顧

余靖, Weeping Man

In the media art category, over 20 works were shown in different digital formats in the various rooms, with some more immersive than others. Kwan Wing Chi’s Not a Bed of Roses was an eye-opening experience in more ways than one. The viewer was invited to lie down on a mattress placed on the ground in order to appreciate the artist’s personal video recordings being shown on a small screen. Stopping short of being voyeuristic, getting “up close and personal” with the video work created a sense of intimacy that was literally measurable by physical distance. It also questioned the authenticity of the digital relationships that have taken over our society during the pandemic. Other works of particular mention are Xiao Jia Hui’s Eye Candy, where the artist’s actions of food preparation reference those of women prepping meticulously for a night out – something that will surely give audiences food for thought; Yu Mufasa’s multi-award-winning Weeping Man, where the anonymous characters in the 3D animations appear to blindly go through the motions of their everyday existence; and Mow Ka Kei’s O P D, V P D, where nine screens positioned strategically in a rose-lit room address pre-conceived notions of sexual identity and sexual preference – issues especially pertinent in modern society.

Mow Ka Kei, O P D, V P D

茅嘉琦,《人心木；女心木》

在媒體藝術類別中也有逾20件以不同數碼形式創作的作品在啟德校園的不同房間展出，而當中更有數件作品特別令人沉浸其中。關詠之的《紅了櫻桃，綠了芭蕉》在多方面都帶來了令人大開眼界的體驗。作品邀請觀眾躺在地上的床墊，欣賞小螢幕上的藝術家個人錄像。有別於一般窺視式錄像作品，《紅了櫻桃，綠了芭蕉》以「近距離」手法建立親密感⸺一種甚至可透過實際距離來衡量的親密感。此外，作品還對新冠疫情期間橫掃社會的數碼關係真實性提出疑問。

其他特別值得一提的作品還包括肖佳慧的《秀色可餐》。藝術家以烹調食物來比喻女士精心打扮準備晚上外出，讓觀眾反思佳餚與女性

之間的微妙關係。余靖則在《Weeping Man》中透過3D動畫呈現一名

匿名角色盲目地經歷生活中的種種日常；而此作更為她贏得多項奬

項。另外，在《人心木；女心木》中，茅嘉琦更透過於玫瑰色房間內精

心編排的九個螢幕探討在現代社會尤其有關且意義重大的性取向認同和性傾向的問題。

2021 BA Graduation Show Review 2021本科生畢業展回顧

Yu Mufasa, Weeping Man

2021 BA Graduation Show Review

Chan Nga Ying, Loving you is a tragic way to affirm myself

陳雅瑩我愛你是以悲劇的形式肯定自己

Chan See Teng, The butterfly or not the butterfly 陳鍶婷, 蝶非蝶

Besides the more conventional media of oils and acrylics, other multi-media works were also showcased within the same category. It was a breath of fresh air to see Chan See Teng’s delicate paper cuttings The butterfly or not the butterfly; Tang Tun Lai’s hauntingly romantic monochromatic charcoal sketches Murmur With Tenderness; and Wong Kit Kwan’s Painting, Painting and Painting – winner of the Best Award for Western Painting – a product of the artist’s keen eye for observation. In addition, Ng Cheuk Wing’s triptych from the Chinese painting category, Our Last Journey, perfectly captures the poetry of Chinese landscapes, recalling the romance of Song dynasty (960–1279) Shanshui paintings.

Wong Kit Kwan, Painting, Painting and Painting 黃杰堃, 畫畫畫

在繪畫與素描類別中，陳雅瑩在《我愛你是以悲劇的形式肯定自己》的三幅油畫系列中將一對牙刷擬人化，暗喻親密關係中的可取和可

悲之處，對新冠疫情期間的社交距離和恆常的消毒措施作出評論。在描繪人際關係和接觸的過程中，藝術家還邀請觀眾將個人物品的平庸拋諸腦後，重新評估它們的神聖地位。

除了油彩和塑膠彩等較傳統的媒體外，好些展出的多媒體作品均屬

此類別。陳鍶婷的剪紙作品《蝶非蝶》實在令人耳目一新；而鄧敦禮的浪漫單色炭筆掃描《溫柔錄》同樣令人難忘；「最佳西方繪畫獎」得主

黃杰堃的《畫畫畫》更是其敏銳觀察力的結晶。除此之外，吳卓穎的中式三聯畫《只能陪你走一程》還完美捕捉中國山水的詩意，讓人聯想到宋代（960-1279年）山水畫的浪漫情懷。

aVa MaGaZINE #10

From the painting and drawing category, Loving you is a tragic way to affirm myself by Chan Nga Ying is a series of three oil paintings where the artist personifies pairs of toothbrushes. The series is a metaphor for both the desirable and deplorable aspects of intimacy – a commentary on the pandemic with its rules of social distancing and constant sanitisation. In the process of illustrating the physicality of human relationships, the artist also challenges the viewer to reassess the sanctity of personal items, however banal they might be.

2021本科畢業展回顧

In conclusion, the numerous works in the exhibition expressed through various channels of artistic language, and encompassed a wide and diverse range of subject matters. Although the sheer volume was at times overwhelming, audiences could arrive at a much deeper appreciation of the works by taking the time to understand the artists’ processes and individual narratives. The exhibition echoed the sentiments of the new generation, with its hopes and dreams as well as challenges and disappointments, and with the theme of the pandemic running quietly throughout. If any lessons were to be learnt, it would be to appreciate and reconnect with the communities around us, something many of the graduates demonstrated through works that showed their keen sense of observation and inward reflection.

不論藝術家要透過行為藝術探索死亡禁忌或人際關係，在首飾作品中讚頌我城的脈博或反思過去的回憶，抑或在陶瓷作品中尋找與自然的連繫或見證時間的流逝，甚或在版畫作品中以個人角度觀察我們的社區，不同主題的作品同樣多姿多彩。如果時間許可，觀眾還可以細閱於附樓展出的眾多藝術書籍，當中許多作品更可媲美精彩的漫畫小說。

總而言之，展覽的逾百件作品均透過各種藝術語言表達思想，內容涵蓋廣泛且多樣的題材。雖然作品數量之多難免令人手足無措，但觀眾大可以多花時間了解藝術家的創作過程和敍事手法，從而更深入地欣賞他們的作品。這個含蓄地圍繞新冠疫情的展覽不僅反映了新一代的情懷、希望和夢想，還呈現出他們遇到的挑戰與失望。假若要談論從畢業展中的得着，相信那定是欣賞我們周遭社區並與之建立連

繫的體驗，因為這正正是許多畢業生透過敏銳的觀察力和內省能力，於作品展現的東西。

Ng Cheuk Wing, Our Last Journey 吳卓穎, 只能陪你走一程

Tang Tun Lai, Murmur With Tenderness 鄧敦禮, 溫柔錄

2021 BA Graduation Review 2021本科畢業展回顧

Whether the artists were exploring the taboos of death or interpersonal relationships in the performance art category, celebrating the pulse of the city or reflecting on past memories in the jewellery category, finding a connection with nature and acknowledging the passage of time in the ceramics category, or observing our community through a more personal lens in the printmaking category, there was certainly no lack in subject matter. If time were not an issue, viewers could also pore over the numerous art books presented in the annex building, although many could be described more aptly as graphic novels, and very good ones too.

2021 MAVA Graduation Show Review

Vivienne Chow Vivienne Chow is an award-winning journalist and writer specialising in arts and culture. She was presented the Arts & Culture RepOrting honour by the SOPA Awards in 2020 and was the first Hong Kong-based journalist to receive the IJP Premium Fellowship Award 2018 by the Internationale Journalisten-Programme in Germany. Her work has appeared in dozens of international outlets. Vivienne Chow是屢獲殊榮的資深藝術及文化記者及評論人，

其作品常獲多間不同的國際媒體刊登。她在2018 年獲德國國際新聞計劃（Internationale Journalisten-Programme）頒發IJP

高級獎學金獎，成為首名獲得此殊榮的香港新聞記者。2020年，她更獲亞洲出版業協會（SOPA）舉辦之《卓越新聞獎—藝術及文化報導》特別加許。

A RECORD OF OUR TIMES

Young artists have shed light on the burning questions brought upon by the Covid-19 pandemic at the HKBU MAVA Graduation Exhibition Sitting on a rocking chair by the waterfront may be soothing. But sitting on this rocking chair in an exhibition room at the historic HKBU Academy of Visual Arts’ Kai Tak Campus, watching the “waves” created by mosaic tiles in shades of blue going up and down, makes one feel nothing but melancholy.

The mourning for loss and separation, as well as the coping mechanisms for stress and anxiety, are the emotional drivers that run through On The Grid, the HKBU MAVA Graduation Exhibition 2021 featuring 19 artists, a show conceived under the ongoing Covid-19 pandemic. Our mobility and freedom may have been stripped away because of travel bans and social distancing measures, but our senses towards our surroundings and inner state have been sharpened. In addition, the pandemic came before we had the time and space to digest the social events from the previous year. The suppressed emotions, like a pressure cooker, demand an outlet. And the MAVA Graduation Exhibition, along with various other creative outputs emerging in recent years, are exactly what we – artists and audiences alike – need to brace ourselves for the socio-political changes and uncertainties that lie ahead.

年輕藝術家在香港浸會大學視覺藝術文學碩士畢業展上闡明新型冠狀病毒疫情所帶來的迫切問題

坐在海濱的搖椅或許會使人心曠神怡，但當你置身於歷史悠久的香

港浸會大學視覺藝術院（AVA）啟德校園，坐在展覽廳的這張搖椅上，

看着由藍色馬賽克紙皮石製成的斑駁「波浪」上下起伏，卻會感到無

比憂鬱。《我親像海波浪，有起也有落》道出了謝俊昇對祖父的回憶，當中令人著迷的虛構「波浪」動態和閩南歌聲，不僅反映出藝術家與他祖父「錯過了的時光」，更呈現出我們錯過和失去了的東西。

2021年度香港浸會大學視覺藝術文學碩士畢業展在新冠疫情肆虐

期間構思及舉行，在這場題為「在網格之上」的展覽中，對失去和分離的哀悼，以及應付壓力和焦慮的方式不但激發了 19位參展藝術家的

情感，更充斥於各件作品中。儘管旅遊禁令和社交距離措施或多或少剝奪了我們的流動和自由，但我們對周遭環境，還有自身內在情況的感受卻變得前所未有的敏銳。這場突如其來的疫情使我們來不及消

化前一年的社會事件。這些壓抑的情緒就像高壓鍋一樣，需要宣洩的缺口。而本年度的視覺藝術文學碩士畢業展，還有近年來先後湧現的

各式創意作品，正正提醒藝術家和觀眾需要為未來的社會政治變遷，以及各種不確定因素作好準備。

AVA M AG A Z I N E # 1 0

I am like seawaves, going up and down is Tse Chun Sing’s tribute to the memories of his grandfather. The mesmerising kinetic movement of the imaginary waves and the sound of a Minnan song are not just a nod to “the days we (Tse and his grandfather) missed”, but a window into what we have missed, and what we have lost.

2021 MAVA Graduation Show Review 2021碩士畢業展回顧

2021碩士畢業展回顧

Tse Chun Sing I am like seawaves, going up and down, 2021 Mixed media installation 謝俊昇

《我親像海波浪，有起也有落。》, 2021 混合媒體裝置

2021 MAVA Graduation Show Review

Jiang Hai Chen Protectional protection, 2021 Soil, cotton, iron, plaster 姜海晨

《保護的保護》, 2021 泥土、棉布、鐵、石膏

There is no lack of works featured in On The Grid that reflect the challenges we face. Drawing inspiration from the visual icons and symbols that have been made common by the ongoing pandemic, the MAVA artists have created new meanings for our experiences.

Lee Ka Lun invites exhibition-goers to meditate on their Covid-19 experiences against the emotional records of the artist’s isolated activities over 365 days and world leaders’ pandemic narratives, as presented in multimedia installation Resilience. Sun Pui Ting has offered a suggestion on processing our stress and emotions through embroidery, as demonstrated in her work reCord, in which the artist turned the impression of the horrendous coronavirus that has disrupted the world into a symbol created by colourful threads, creating a breathing space between ourselves and the Covid-19 horror show.

這場畢業展不乏反映我們所面對的挑戰的作品；不同視覺圖案和符

號在疫情期間冒起，而參展藝術家亦從這些元素汲取靈感，為我們的經驗賦予嶄新意義。

在《保護的保護》中，姜海晨將一串串外科口罩化成警戒線，守護（或

分隔）着一組蓋有紅唇圖案布料的塔狀裝置，以及安放在其上的手狀石膏雕塑。姜氏認為我們因2003年爆發的非典型肺炎（SARS）而熟

悉口罩的功用，但欲透過在AVA啟德校園（前皇家空軍軍官俱樂部）的防空洞內展出裝置而為口罩注入新的脈絡，並從中對它不斷演變

的作用提出疑問：我們是否在不知不覺間置身戰爭之中？口罩的用途是保護我們免受危險，還是防止我們潛越無形的警戒線？

李家倫則邀請觀眾沉思新冠疫情期間的經歷，並將之與他在多媒體裝置《復原》中所呈現的365日獨自活動，以及世界各國領袖對疫情

的發言進行比照。而孫珮婷更透過刺繡來為我們處理壓力和情緒的方式提供建議。在作品《錄》中，孫氏運用了色彩繽紛的繡線，將自身對世界被可怕冠狀病毒破壞的印象轉化成一組符號，為我們與新冠病毒合演的恐怖故事建構出一個喘息空間。

AVA M AG A Z I N E # 1 0

In Protectional protection, Jiang Haichen turns surgical face masks into a cordon, guarding (or separating) an installation of plaster sculptures taking the shape of hands sitting on top of a tower covered by a cloth with a red lips pattern. Jiang attributes our familiarity with face masks to the times of SARS in 2003 but by placing the installation in the air-raid shelter at the AVA Kai Tak Campus, formerly the Royal Air Force Officers’ Mess, the artist has created a new context to question the changing role of face masks. Have we been in the midst of a war without knowing? Are masks protecting us from danger or preventing us from trespassing beyond an invisible cordon?

2021碩士畢業展回顧

Sun Pui Ting reCord, 2021 Embroidery

刺繡

Lee Ka Lun Resilience, 2021 Experience design with video, sound, light and an installation made of ink, paper, water, clay, a writing brush, a glass bowl, a bamboo basket and a meditation cushion 李家倫

《復原》, 2021

通過影像、聲音、燈光和由墨、紙、水、粘土、毛筆、玻璃碗、竹籃和坐墊製成的體驗設計裝置

2021 MAVA Graduation Show Review 2021碩士畢業展回顧

孫珮婷

《錄》, 2021

2021 MAVA Graduation Show Review Self-isolation has carved a much-needed space to reflect on what we have overlooked. The colourful tea bottles in Ew Long Tea looks like a trendy window display at first glance, but the thoughtful installation is the result of Huang Qian’s meticulous survey of how polluted our city is, as each fancy bottle contains rubbish collected from places along various rivers across town. Yeung Lam’s serene ceramic work Moles takes on an up-close and personal approach to the moles (believed to be) found on the artist’s body, an intimate self-exploration that we have previously been too busy to initiate. 自我隔離開拓了我們迫切需要的空間，讓我們反思忽視了的東西。

《污龍茶》中五顏六色的茶樽驟眼看來像是時尚的展示櫥窗，但這組精心構思的裝置卻是黃蒨仔細調查城市污染程度的成果，在各個精

緻的茶樽中，盛載的不是茶，而是從城中各條河流沿岸所收集到的垃圾。而楊琳的陶瓷作品《癦》則以個人方式近距離探討身上（自認為）的癦痣，展開了一場從前因生活忙錄而無法實踐的私密自我探索。

Huang Qian Ew Long Tea, 2021 Paper, water, glass bottles, waste 黃蒨

《污龍茶》, 2021

Yeung Lam Moles, 2021 Ceramic 楊琳

《癦》, 2021 陶瓷

AVA M AG A Z I N E # 1 0

紙、水、玻璃瓶、垃圾

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Dai Andi Older Friends of Time in Fragrant Harbour, 2021 Digital print, ceramics, hand cream, audio recording

2021 MAVA Graduation Show Review 2021碩士畢業展回顧

戴安迪

《歲月的老朋友在「香港」》, 2021 數碼印刷、陶瓷、護手霜、錄音

Zhang Wei Wei Be Happy, 2021 Painting, ready-made 張維維

《要開心》, 2021 繪畫、現成物

Dai Andi undertakes a major task to “study” older women in Older Friends of Time in Fragrant Harbour, presenting their memories side-by-side with these ladies’ hand creams – a personal item commonly found in many Hong Kong women’s handbags. The intimate connection between memories from the past and the scent of the present offers a lot of room for imagination. In times of uncertainty, some young artists remind us not to forget about the little things that bring us joy. Zhang Weiwei’s whimsical painting series Be Happy, though it may be reminiscent of David Shrigley’s famed illustrations, asks us not to forget the simple things that made us happy when we were young. Indeed, while some still need to polish their craft, these young artists have proved themselves to be our eyes and ears, and mirror their experiences and observations back to us through their artistic practice. If art serves as a record of our times, creations by artists today carry an extraordinary weight and they need to be protected.

在《歲月的老朋友在「香港」》中，戴安迪對一眾老年婦女進行了一項重大「研究」，透過將她們的回憶與常在其手袋內找到的護手霜並排呈現，展現過去記憶與當前氣味的親密連繫，為觀眾提供開闊的想像空間。

在充滿不確定因素的時代，一些年輕藝術家提醒我們不要忘記各式

瑣碎事情所帶來的喜悅。張維維的繪畫系列《Be Happy》或許會讓人

想起David Shrigley的著名插畫，但這組異想天開的畫作卻教我們緊記年輕時代為我們帶來快樂的簡單事物。

雖然某些年輕藝術家的技藝尚有改進空間，但他們卻已證明了自己有能力充當觀眾的眼睛和耳朵，並透過創作向我們反映各自的觀察

和經驗。如果藝術是這個時代的紀錄，那麼當今藝術家的創作定必具有非比尋常的價值，而我們亦必須好好保護它們。

AVA 版畫工作室

Chan An Gee Lecturer I

這個學期，AVA版畫工作室搖身一變成為創作火車頭；我們的學生、

校友和教職員為數個令人雀躍的版畫活動提供作品，當中包括「藏書票交流」、「Booked: 大館當代美術館之香港藝術書展」、「AVA Print Club展覽」和「IMPACT 11（國際多媒介版畫／藝術家／意念及技

Cheung Tsz Ki Left: And Then No.3, 2020 Mezzotint and Aquatint on paper Image: 39 × 29 cm, Paper: 57 × 49 cm

Right: And Then No.3 (plate), 2020 Oil on copper plate 39 × 29 cm

術）國際版畫研討會」。

我們受到過去五年參加「UK 20:20版畫交流」所啟發，終於在本年舉

辦了AVA版畫交流活動，並以「書籍、閱讀和版畫」為主題，舉行版畫

交流活動，徵集藏書票。參加者運用先前學會的版畫製作技術，各自製作出一款8x12厘米共50版的版畫。在這次交流活動中，我們很高

Inspired by the “UK 20:20 printmaking exchange”, which we’ve taken part in for the last five years, we finally organised our own AVA printmaking exchange this year. Under the theme “Books, Reading and Printmaking”, we called for a printmaking exchange of ex-libris bookplates. Participants were asked to use the printmaking techniques they had learned previously to create an edition of fifty 8 x 12 cm prints, and we were delighted to receive forty submissions, so that each participant was given a set of forty prints by the other AVA alumni, students and staff. It was a fun project in which we got to print and see others’ practices outside of the classroom. The collection was displayed alongside twenty new zines and artist books created by students and alumni at the book fair Tai Kwun “BOOKED” this year. A public ex-libris making workshop using letterpress and relief printing techniques was also conducted by students during the book fair.

Wan Lai Kuen, Annie Get back to where we belong, 2014 Stoneware 44 × 14 × 26 cm

興收到40份作品，亦向每位參加者送出一盒共40款由AVA校友和師

生創作的版畫。這個饒富趣味的活動不但讓我們有機會製作版畫，更

讓我們走出課室，看看其他人的創作手法。是次活動的作品更連同20

本全新出版的小誌，還有AVA學生和校友創作的紙本作品一同於本

年度的「Booked: 大館當代美術館之香港藝術書展」中展出。書展期

間，學生們還舉辦了一個工作坊，教授公眾以活版印刷和凸版印刷技術製作藏書票。

AVA M AG A Z I N E # 1 0

This semester, the AVA’s printmaking studio turned into a creative powerhouse! Our students, alumni and staff contributed their works to several exciting printmaking events: the ex-libris exchange, Tai Kwun “BOOKED”, “The AVA Print Club” exhibition and the international printmaking conference IMPACT 11 (International Multi-disciplinary Printmaking, Artists, Concepts and Techniques).

Organising this exhibition was a great experience for us, and it gave us the opportunity to work with staff and alumni to learn about their different perspectives on printmaking. More importantly, I believe the exhibition left a lasting impact on visitors, both educationally and artistically. The “AVA Print Club” exhibition was documented and presented virtually at the “IMPACT11 International Printmaking Conference” from April 2021 to the end of 2023, so that our works will continue to reach an international audience. These projects showcased our passion for art making and demonstrated the great variety and possibilities of printmaking. We are looking forward to the next printmaking exchange in 2022!

「Booked: 大館當代美術館之香港藝術書展」結束後，我們在AVA畫

廊舉辦了「AVA Print Club展覽」。這個展覽旨在推廣版畫，透過運用

AVA內的版畫製作設施，匯集並交流版畫創作的藝術實踐與手法。在

主展覽場地，我們展示了15名教職員及校友的最新作品。而在畫廊

旁邊較小的房間內，則展出了藏書票、小誌，以及師生、校友和過往駐校藝術家的紙本作品。我們更把這個空間佈置成一個閱讀角，讓觀眾可以在那裏慢慢查看我們的藏品。為實踐展覽的願景，並讓觀眾更深入認識版畫的不同可能性，該展覽的宣傳品、海報和壁畫均以絲網印刷方式製作。

這次展覽的策劃工作為我們帶來了一次難忘的經歷，讓我們有機會與教職員和校友合作，了解他們對版畫的看法。但更重要的是，該展覽在教育和藝術層面上，都為觀眾帶來正面作用。

「AVA Print Club展覽」的所有作品均獲完整記錄，並會從本4月起

直至2023年底於「IMPACT 11國際版畫研討會」的網站上虛擬展出，

持續向國際觀眾展示和分享我們的作品。

此活動既展現了我們對藝術創作的熱情，也呈現了版畫藝術的多種變化和可能。

我們急不及待在2022年進行下一次版畫交流！

Printmaking at AVA AVA版畫工作室

After Tai Kwun “BOOKED”, we organised The “AVA Print Club” exhibition at the AVA gallery. This exhibition promoted printmaking by bringing together and contrasting artistic printmaking practices and approaches within the AVA. In the main space, recent creations by fifteen staff and alumni were presented. In the smaller room were ex-libris prints, zines and artist books by students, alumni, staff and previous artists in residence. The space was set up as a reading corner where visitors could take the time to view our collection. The promotional materials, poster and wall mural were also screen printed, to support the exhibition concept and enhance visitors’ awareness of the creative potential of printmaking.

Chan An Gee, Justin LARKIN Passing time, 2020 Hard ground etching, oil painting 300 × 500 cm (dimension variable)

Wong Ho Ching, Jeannie Left to right: Cave by the sea, 2021 Mokuhanga, hard ground etching 21.5 × 16.5 cm A.P. A rainy day, 2021 Mokuhanga, hard ground etching 44 × 34 cm A.P. Light house, 2021 Mokuhanga, hard ground etching 44 × 34 cm A.P.

Lau Hong Lam, Avery From left to right: Laurel wreath on Christmas night, 2020 Intaglio: Mezzotint and Chine-collé 6 × 7.5 cm A.P. Hope springs eternal, 2021 Intaglio: Mezzotint and Aquatint 30 × 44 cm Edition of 3 Apollo does discern infatuation from Dionysus, 2020 Intaglio: Mezzotint and Chine-collé 15 × 6 cm A.P.

AVA M AG A Z I N E # 1 0

Tom O’Dea Hide, 2021 UV treated Riso print on acrylic medium, oak, brass 51 × 50 × 39.5 cm (dimension variable)

Chan Ying Hong, Gloria From kiss to kiss, 2021 sterling silver, bass, bamboo, pearl, mono prints on cloth 70 × 50 cm (dimension variable)

Wong Hoi Kwan, Katelyn Sunset in the Chaos, 2021 Screen print, fabric, thread From left to right: 10 × 180 cm; 35 × 180 cm; 10 × 180 cm

Printmaking at AVA AVA版畫工作室

Chan Cheuk Yan, Glo I don’t love the world, 2021 Inkjet print on paper, mono print on paper, heart shaped sticker Left: 54 × 74.5 cm; Right: 13.5 × 25.5 cm (A.P.)

疫情期間的玻璃藝術教學

Sunny Wang Associate Professor

We did have a one-month window from late May to June that allowed final year students to work intensively to complete their Honours projects in casting and kiln forming at the glass studio. I also conducted three-hour intensive practice sessions on hotshop glass sculpture for level 2 students, with each session limited to only two students, in order to meet COVID safety measures. Students were happy to have hotshop experience and I was happy to see the students in person. In the second semester, glass courses were conducted using mix-mode teaching that focused on casting and kiln forming. Glass blowing was severely limited due to the nature of the technique and the pandemic. A few students completed an advanced glass blowing course and applied to do independent study in the hotshop. These students kept the furnaces burning in the studio, both literally and figuratively. In the third semester during the pandemic, glass courses were all taught in the glass studio once again, with safe social distancing and following legal requirements to wear a mask at all times. The pandemic was definitely a huge blow globally and is specifically challenging for running glass courses, especially glassblowing. Luckily there are other ways of approaching glassmaking that we were able to adopt and adapt creatively. As a result we exhibited “Glass Fever 璃譜”, a group exhibition of glass students’ work on display at HKBU Library in April, 2021.

自2020年2月新型冠狀病毒（COVID-19）疫情大流行以來，我們已經歷了三個學期，這段日子充滿挑戰，且尚未結束。疫情爆發後的首個學期，我們遭受巨大衝擊，所有課程都改以網上形式進行。在無法吹

製玻璃的這段日子，我們改為在網上課堂「吹水」。我們透過Zoom主

辦了一系列國際玻璃藝術家講座，邀請在當代玻璃藝術領域的頂尖

藝術家進行演講。我們還修改了一些課程的內容，轉為玻璃鑄造工序有關的蠟模雕刻，及高腳玻璃杯草圖設計等，讓學生可以在學校工作室以外的環境進行藝術實作練習。

在2020年5月下旬至6月間，我們很幸運有一個月的安全空檔，讓準

畢業生可以重返工作室鑄造和燒製玻璃，順利完成他們的畢業作品。除此之外，我們還按照新冠疫情的安全措施，為二年級學生舉辦了多節為時三小時的密集式熱玻璃雕塑練習，每節在熱玻璃工房由老師帶領兩位學生進行練習。學生們都很高興能在熱玻璃工房體驗玻璃

燒製的過程。儘管近三週密集的高溫熱玻璃教學活動讓我筋疲力竭，但我很高興實際見到各位同學，即使是隔着口罩望到他們的臉孔，也使我滿心歡喜。全靠這班學生，我們才能讓玻璃工作室中的窯爐繼續火熱地燃燒。

到了第二學期，所有玻璃課程均改以Zoom網及工作室實作混合教學模式進行，且以教授鑄造和窯燒玻璃為主。礙於疫情及其技術性質，吹製玻璃的課程受到極大限制，但我們仍有數位同學成功完成了高

級玻璃吹製課程，並申請在熱玻璃工房獨自進行專題研究。及至疫情期間的第三個學期，我們要求師生保持社交距離，並在任何時間佩帶口罩，所有玻璃課程終能重新在學校玻璃工作室實地進行。

無庸置疑這場疫情對全球造成了沉重打擊。在此大環境下，玻璃課程的運作亦面對着極大挑戰，當中又以玻璃吹製課程尤甚。幸運的是，

我們還能以其他方式製作玻璃，運用別具創意的方式，採納及改轉不同創作手法，我們的學生在2021年4月更於香港浸會大學區樹洪紀

念圖書館舉辦了一個名為「璃譜 Glass Fever」的展覽，展出16位學

生精彩的玻璃作品，散播火熱的藝術精神。

AV A M A G AZIN E - # 10

Since we first encountered the global pandemic in February 2020, three semesters have passed and this challenging period is still ongoing. The first semester was a big shock as all courses had to switch to online teaching. Instead of blowing glass we taught online “blowing water”, 吹水 in Cantonese. We hosted a series of international glass artists’ talks via Zoom that included some of the leading artists in this field. We also modified some typical course content to fit glass casting-related methods that could be used outside the studio setting, such as carving wax models and sketching glass goblet designs.

Ho Po Yi, Bowie 2021 Final Year Student

As an art student during these difficult times I encountered many changes and challenges. The pandemic started during year three, and the glassblowing class I had enrolled on moved to online teaching. The focus of the subject changed to glass casting and carving wax models, which is far easier to learn from home. At the same time, I also researched glass casting and kiln forming. In my final year we were allowed back on campus. I enrolled in glass casting and regained the glass polishing and cold working skills I had started to develop during the start of the glass studio course. Thus, I also discovered the material for my Honours project – glass frits, and as a result since the last semester I have independently studied the Pate de Verre moulding method of using glass frits. Coming through these two years of unstable learning experiences I did experience some confusion, but I have also used this time to learn how to better face adversity.

作為一名學生，我在這段艱難的日子確實經歷了很多變化衝擊。疫情在我三年級時開始爆發，當時，我報讀的玻璃吹製課程改為網上進

行，而其內容也改成玻璃鑄造和蠟模雕刻等較易在家學習的單元。幸好，我亦在這段時間，為日後對玻璃鑄造和窯燒玻璃的研究奠定基礎。

升讀四年級後，我們獲准返回校園上課。我報讀了玻璃鑄造課程，這使我能在玻璃工作室開放時重新掌握玻璃拋光和冷加工的技巧。我

亦因此找到玻璃粉作為畢業作品的材料，並在最後一個學期，獨自研習玻璃粉末鑄造法。在這兩年動蕩不安的學習過程中，我有時的確感到有些迷茫，但這些經歷也促使我學會如何更有效地面對逆境。

Glass Teaching During the Pandemic 疫情期間的玻璃藝術教學

疫情期間的玻璃藝術學習

處境知識--

Cedric Maridet Assistant Professor “Situated Knowledges – Art and Curating on the Move” is a parallel conference and workshop event by Shared Campus that took place 25–27 June 2021. This event has been organised by Prof. Dr. Dorothee Richter, Zurich University of the Arts (ZHdK, Zurich), Ronald Kolb (ZHdK, Zurich) and myself in partnership with Tai Kwun Contemporary in Hong Kong and Migros Museum für Gegenwartskunst in Zurich. The idea behind this event was to create the possibility for all researchers from the Shared Campus partners such as ZHDK, University of the Arts London (UAL, London) and beyond to interact, share and disseminate knowledge both physically and virtually. The theme of the conference, “situated knowledges”, is coined by Donna Haraway in her text “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” (1988), in which she develops the notion of embodied knowledge based on social, institutional or geographical contexts. Knowledge is therefore acquired through a “bodily production” as a dynamic process that takes into account the point of observation of the researcher. This notion served as a departure for discussions about the knowledges created by all the international participants, and how they resonate with each other for a possible common.

流動的藝術與策展方式 2021年6月25至27日，共享校園（Shared Campus）計劃舉辦了一

項名為「處境知識⸺流動的藝術與策展方式」的平行會議及工作

坊活動。此活動為本校與大館當代美術館和蘇黎世米格羅當代藝術博物館的合辦項目，並由Dorothee Richter教授（ZHdK）、Ronald

Kolb（ZHdK）和本人策劃，目的是為蘇黎世藝術大學（ZHdK）、倫敦

藝術大學（UAL）及其他共享校園合作夥伴的研究人員提供機會，透

過親身與虛擬的方式分享和傳播知識。是次會議主題「處境知識」

源自唐娜．哈拉維（Donna Haraway）於1988年發表的《處境知識》

（Situated Knowledges: The Science Question in Feminism

and the Privilege of Partial Perspective）。在此論文中，哈拉維詳

盡闡述了建基於社會、制度或地域背景的體驗知識概念，認為知識攝取是建基於「親身經歷」的動態過程，當中牽涉研究人員的觀點與角

度。是次會議運用此概念作為切入點，引發了世界各地的參加者討論

他們所建立的學問，還有如何就彼此之間潛在的共通之處產生共鳴。活動為期三日，各分為半晝的工作坊及公開演講，演講嘉賓包括

Jeanne van Heeswijk、Angela Dimitrakaki（愛丁堡大學）和許煜（香港城市大學創意媒體學院）等著名的研究型藝術家、策展人和哲學家。

視覺藝術院（AVA）的一眾研究人員均透過舉辦不同工作坊積極參與

The three-day event was divided into half-day workshops and half-day public talks by prominent research-based artists, curators and philosophers, such as Jeanne van Heeswijk, Angela Dimitrakaki (University of Edinburgh) and Yu Hui (School of Creative Media, City University of Hong Kong).

是次活動，其中，AVA研究人員方敏兒（香港浸會大學視覺藝術院研

Many researchers from AVA took active part by creating workshops. Two workshops were conducted by AVA staff researchers: Janet Fong (Research Assistant Professor, AVA, HKBU) led a workshop in the Hong Kong Museum of Art entitled “Integrated and Immersive approaches in curatorial practices: Highlighting the Hong Kong art history (1980s–1990s) in the realm of the contemporary era” with the participation of Hong Kong artists Choi Yan Chi, May Fung, and Hong Kong researcher Lo Yin Shan. Joining AVA from September 2021, Noit Banai (Associate Professor, AVA, HKBU) also created a workshop in collaboration with Berlin-based artist Dani Gal on “Situated Knowledges and Multidirectional Memory. ”

場關於「處境知識和多向記憶」的工作坊。

究助理教授）便邀請了本地藝術家蔡仞姿、馮美華和研究員盧燕珊作

為嘉賓，在香港藝術館舉行了一場題為「多元視野⸺八、九〇年代香

港藝術新象」的工作坊。而在2021年9月加入AVA的Noit Banai（香港浸會大學視覺藝術院副教授），更聯同柏林藝術家Dani Gal策劃了一

作為建立網絡、激發交流、攝取及傳播知識的新平台，是次會議專為各合作機構的研究式研究生而設，而AVA的研究式研究生更於大館

當代美術館、視覺藝術院，還有網絡空間策劃了多個原創且引人入勝的工作坊。自2019年9月以來，AVA每個學期都會在大館舉行研

究生研討會，而是次在此本地藝術機構舉辦的活動更是兩者之間合作無間的最佳證明。在本會議上，香港浸會大學哲學博士生Nadim

Abbas、李子蕊、Edward Sanderson、涂朗創作了一場為時三小時、

名為《FoMO FREE RADIO》的展演；而哲學博士生Ron Yakir、李曉

巧、李子蕊、Edward Sanderson和碩士研究生沈君怡亦為他們的圓

桌討論製作了一個360度全方位的視像體驗；另外，哲學博士生岑愷怡更與美籍藝術家Georgia Kennedy合作，策劃了一場透過各種紡織練習來反思情境知識的工作坊。

有關此計劃的更多詳情均已上載於共享校園計劃的網站（https:// shared-campus.com）。然而，更重要的是，各場公開演講以及工

作坊的內容將結集成特刊，並由國際期刊OnCurating（https://on-

curating.org）出版。此刊物將有效為AVA研究人員所建立的學問擴闊傳播層面，並反映他們層出不窮的研究手法、創意和活力，而以下的文章便是最強而有力的具體實證。

More details on the programme can be found on the Shared Campus website (https://shared-campus.com), but more importantly, all the contributions from the different public talks and workshops will be published as a special issue of the international journal OnCurating (https://on-curating.org). This publication will extend the dissemination of knowledge created by AVA’s researchers and reflect their diversity of approaches, creativity and dynamism. The following articles in the magazine will provide concrete examples of this statement.

Situated Knowledges 2021 Poster Designed by Ronald Kolb

Situated Knowledges – Art and Curating on the Move 處境知識⸺流動的藝術與策展方式

This conference targeted primarily research postgraduate (RPg) researchers from all the partner institutions as a platform to create new networks and possibilities of exchange, of knowledge acquisition and dissemination. AVA’s RPg researchers created original and engaging workshops that were held physically in Tai Kwun Contemporary and AVA as well as online. The presence of this event in this Hong Kong institution illustrates the solid partnership between AVA and Tai Kwun Contemporary, where RPg research seminars have been held monthly during academic semesters since September 2019. For this conference, Nadim Abbas (PhD researcher, HKBU), Rose Li (PhD researcher, HKBU), Edward Sanderson (PhD researcher, HKBU), Lang Tu (PhD researcher, HKBU) created a three-hour performance entitled FoMO FREE RADIO; Ron Yakir (PhD researcher, HKBU), Li Xiaoqiao (PhD researcher, HKBU), Rose Li (PhD researcher, HKBU), Shum Kwan Yi (MPhil researcher) and Edward Sanderson (PhD researcher, HKBU) created a 360-degree video experience of their round table discussion; Debe Sham (PhD researcher, HKBU) collaborated with American artist Georgia Kennedy to create a workshop reflecting on contextual knowledge based on various exercises with textile.

Scanning, 2021 Risograph print on paper, 63 × 80 cm

版畫是一門講究工序和依賴工具的藝術，在進行版畫創作時，藝術家需要進行若干項工序，將想法轉換，才能呈現想表達的概念，獲得所需的藝術效果。版畫藝術家在創作過程中長期受媒介的間接轉換的

思維訓練，可能會潛移默化地形成一種對媒介轉換的獨特思維模式。

Li Xiaoqiao PhD Research

: expansion of traditional printmaking to encompass new technologies through hybrid approach

藝術史學家和藝術評論家Folga-Januszewska(2016)指出版畫

作為一種思維現象，其思維模式是含蓄的，然而理解這種思維方式的策略，就是要回歸到關注版畫母版（Matrix）等相關概念的討論上。在傳統的手工版畫中，版畫母版（Matrix）是一種實物，可以是木板、蝕刻金屬板、平版印刷的石頭或絲網版畫的網板等。Folga-

Januszewska(2016, p.46)認為「如果我們把母版（Matrix）視為一

種技術實體，它也可以是一個電腦程式，一個演算法，甚至是遊戲的

秩序和規則。」這表明如果我們將版畫母版（Matrix）視為潛在事物發生的平臺，它將可以發揮形成功能。

Art historian and critic Folga-Januszewska (2016) describes how this printmaking way of thinking is implicit, and suggests that a strategy to understand this phenomenon is through discussion of matrixes. In traditional printmaking, a matrix is a physical object such as a woodblock, an etched metal plate, a lithographic stone, or a silkscreen. Folga-Januszewska (2016, p.46) believes that “if we consider the matrix as a technical entity, it could also be a computer program, an algorithm, or even a game order and rules.” In other words, a matrix is a platform for potentiality that serves a formative function.

Scanning, 2021, 3d digital model generation experiment

AVA Magazine #10

Printmaking is an art form that is meticulous in processes and relies heavily upon tools. In terms of creative process, printmaking requires artists to convert their ideas through several stages to achieve their desired artistic goals. Through such persistent exercises in the indirect conversion of thoughts, printmakers can develop a subtle and unique mindset in media conversion.

From Top to Bottom: Recurring Fragmentation Plan, 2021, Robotically-assisted drawing on handmade rice paper, 45 × 35 cm Recurring Fragmentation Plan, 2020, Negative image Laser Etching and relief print on canson 200g paper, 14.8 × 21 cm

My research deciphers and analyses digital print-matrixes via the dialogue between analogue and digital imprints. My key research approach is to turn digital images into visual data according to printmaking procedures. By comparing aspects of digital imaging processing such as storage, abstraction, decomposition, categorization, transmission, programming, decryption, and conversion, with those of traditional printmaking, such as image transfer, plate making, trial printing, retouching, and final printing, the research seeks to investigate the similarities the two at the conceptual level. Through such a practice-based approach, this project considers how the printmaking process can help us understand how information is captured, retained, lost, and transmitted in imaging functions. Recently, the search for better ways to integrate art and digital technology is one of the most discussed topics in the field of art. Printmaking should also engage with emerging digital technologies, such artificial intelligence, machine learning, algorithmic art, and other emerging creative methods. How printmaking can merge with digital technology is, undoubtedly, an essential proposition for printmaking practitioners to contemplate.

我的研究主要關注模擬印痕（analogue imprint）和數碼印痕

（digital imprint）之間的對話，對數碼印刷母版（digital print

matrix）進行分析和解讀。研究的關鍵方向是按照版畫創作模式將圖

像數據轉換為新的可視數據，透過在操作電腦軟體生成新的數碼視覺圖像的創作過程中，探索存儲、抽象化、分解、歸類、傳輸、編程、解

碼和轉換等程序是否與傳統版畫創作中圖像轉印、製版創作、試印、

修版、最終印版輸出等轉換行為存在着某些概念層面上的共性關係？此博士研究項目以實踐為本，探討版畫製作過程可以如何幫助我們理解圖像功能中資訊的捕捉、保留、丟失和傳輸。

如何更好地把藝術和數碼科技相互結合大概是最近常在藝術領域中討論的話題。在人工智能，機器學習或者演算法藝術等新興創作手段的影響下，作為文字及圖像印刷媒介的版畫應該如何接納新興數碼科技，並與這個時代融合也許是版畫創作者值得思考的重要命題。

Reference: Folga-Januszewska, D., 2016. Printmaking as a phenomenon of thinking. Celebrating Print Magazine, 2(1), p.44.

Reforming impression 重塑印象

Recurring Fragmentation Plan, 2020, Laser Etching and intaglio print on 300g paper, 29.7 × 42 cm

SOCIAL LANDSCAPE 山水畫的當代探索

Shum Kwan Yi, Sim M.Phil student

Traditional landscape painting, especially in literati art, was easily regarded as a vehicle to represent nature; however, its development through the ages was inextricably intertwined with politics and power. The notion of ‘ink play’ in literati painting, for example, was a political statement to deviate art practice from producing a picture to serve an imperial narrative. This leads my study to explore how landscape painting can be converted into an artistic means to respond to today’s society. 儘管我們生活在惶恐與不確定、表達自由被收窄的年代，我仍然相信山水藝術能以不同的方式來表達意見，反映社會和政治面貌。

傳統山水畫一向似是一門以描繪自然為主的藝術，但在歷史發展中，卻與政治、權力等有着莫大關係；尤其是文人山水，它擺脫為帝國論述而服務的創作目的，成為一種「墨戲」的表現，正正是一種政治表態。然而，當代山水應如何轉化，以回應現今社會？這是我的研究重點。

The Last of Its Kind, 2021 Ink, colour and silver leaf on paper 41.5 × 131.5 cm 《最後的信仰》, 2021

水墨、銀箔、設色紙本

# 1 0

OF LANDSCAPE PAINTING

M A G A Z I N E

THE CONTEMPORANEITY

Although we are living in an era of fear and uncertainty, and the suppression of free expression, I believe that landscape painting can make one’s view known through varied modes of expression, mirroring the social and political realities.

A V A

AN EXPLORATION OF

My landscape is about the interrelationship between social restriction and political surveillance. For example, in This is not a Practice, the pines drawn in grids, a common structure in the copying books for practising calligraphy in our tradition, can be seen as an allegory for those who lost their freedom. The distorted gestures of the trees imply limitation due to the default of the structural lines; yet the plants are still struggling to survive. Nevertheless, the empty space left represents people’s disappearance or their leaving.

Social landscape: An Exploration for Contemporaneity of Landscape Painting 社會山水：山水畫的當代探索

Moreover, I consider Orwell’s Newspeak a platform to rethink the meaning of copying in Chinese painting. Through repetitively copying the same motifs, as we do for practising calligraphy, I reduce the images to extremely brief depictions, conveying the idea that our expression would be unconsciously suppressed when our words are restricted and ways of expression are blocked by today’s relentless brainwashing. Based on such imaginations and interpretations of totalitarianism, I intend to blur the boundaries of contemporary Chinese landscape painting. 我的創作常關注社會限制和政權監察之間的關係。在《這不是練習》

中，那些在九宮格內成長的松樹其實是人民在自由限制下的演繹，由於生長形態被預設的格子所限，故呈現出一種型態扭曲但亦奮力生

存的狀態；而那些留下的空格，其實是那些被消失或離去的人。在《新語》中，我嘗試反思山水畫中臨摹的概念，透過如書法抄寫練習的刻板訓練，不斷臨摹那些山水符號，並將當中的描繪減至最少，藉此表

達出當我們的詞彙不斷減少，文法不斷簡化，思想和表達方式也不自覺地在此等「洗腦」過程中被縮窄。我透過不同系列的作品，想像和詮釋極權政權，藉此擴大當代山水畫的可能性。

Newspeak, 2021 Ink and colour on paper 37 × 75 cm each *still in progress 《新語》, 2021

水墨設色紙本

This is not a practice, 2021 Ink and colour on paper Set of 2 136.5 × 69 cm 《這不是練習》, 2021 水墨設色紙本

Nadim Abbas PhD Researcher

The aesthetic cultivation of miniatures is a practice that spans many centuries and a multiplicity of cultures. My research explores the relationship between historical traditions of the miniature and globalised processes of miniaturisation manifested in contemporary digital information technologies. The miniature is often viewed as a microcosm – that is, a reduction of the cosmological to proportions fit for aesthetic contemplation. Yet over the past century, modern technological and scientific advancements have fostered unprecedented transformations in our understanding of the cosmos.

This opens up the possibility of an inversion of the cosmological imaginary, where the infinite expanses of the universe are fathomed not just on a massive, planetary scale, but also in the fuzzy uncertainties of minute quantum states. The task of the miniaturist then is potentially expanded to encompass both reduction (of mountains, planets, etc.) and enlargement (of microbes, subatomic particles, etc.). Or to be more precise, it is not so much a question of reduction or enlargement, but rather a fundamental incommensurability of scalar relationships. Needless to say, such considerations have introduced myriad ways to approach studio-based artistic practice. I have taken this opportunity to reassess past works through fresh understandings, guiding the development of a new body of work with open-ended outcomes. Here the objective is not for the artwork to illustrate the theoretical, but to operate as a parallel process of thinking through form and material.

AVA M AG A Z I N E # 1 0

Towards a Theory of the Miniature in an Age of Technological Miniaturisation

科技微型化時代的袖珍物品理論袖珍作品的審美眼光培養過程已橫越多個世紀與文化，而這項研究旨在探討袖珍作品的歷史傳統，以及微型化在當代資訊科技下所展現的全球化進程。

學的長足發展，促使我們對宇宙的理解出現了前所未有的轉變，擴闊了我們的想像空間，顛覆了我們對宇宙的幻想，讓我們明白到，在無

盡廣闊的宇宙中，不僅要理解如行星般巨大的東西，還要揣摩如量子狀態般渺小的模糊不清因素。

這樣一來，袖珍藝術家的工作範疇便可能需要不斷擴大，一方面要把高山、行星等龐然巨物化作袖珍物，另一方面又要將微生物、亞原子

粒子等渺乎其微的分子放大描繪。更準確地說，這牽涉的或許已不是

放大或縮小的問題，而是純量關係無法用同一標準計算的根本問題。無可否認，這種考量提出了無數種實踐工作室藝術的方法。藉着是次研究所帶來的全新理解，我重新評估了自己過去的作品，繼而發展出一組全新的開放式作品。是次研究的目標並非以藝術作品來說明理論，而是透過物料與形式來實踐平行思考的過程。

From Bonsai to A.I. 從盆景到人工智能

袖珍作品經常被視為一個微型宇宙（microcosm），意即將宇宙理論

縮小到適合美學沉思的尺度。然而，在過去一個世紀，現代科技與科

Image courtesy of the artists and the Hong Kong Arts Development Council

春霧茫茫的時候，沉浸式展覽《待渡》在北角（東）碼頭揭幕：文學與場域和真人真事互相呼應，陶瓷扣連媒體裝置，海風觸動聲音與光影，

偶然的聲響令聲境層出不窮，展場間中成為偶發演出的場景，來訪的人可以觀賞，也可以投入內容……展覽中的作品是數十位跨界別藝術工作者的協作成果，當中不少是AVA的老師、畢業生和同學。透過

訪問擔任不同崗位的成員，本文將從不同「局內人」的角度窺探這個環環相扣的項目。

AVA M AGA ZINE #10

In the midst of spring mist, “before a passage” was unfolded at the North Point (East) Ferry Pier. In this immersive exhibition, literature, the venue, and genuine experiences resonated with one another. Ceramics pieces intermingled with multimedia installations while the sea breeze stirred up shadows and sounds. Adventitious sounds variegated the soundscape, which intermittently turned the site into a venue of impromptu performances. Not only could the visitors deliberate over the exhibits, but they could also insert their own thoughts. The exhibition showcased the collaborative efforts of dozens of interdisciplinary art practitioners, including various teachers, graduates, and current students of the Academy of Visual Arts. Through the interviews with several of them, this article probes into the intricate aspects of this exhibition from various insiders’ perspectives.

Ng Siu King, Kingsley Associate Professor

Why was the North Point (East) Ferry Pier selected for this art project?

這個項目為甚麼會選址在北角（東）碼頭？這個項目是藝發局「賽馬會藝壇新勢力」（NAP）的項目，除了不同媒介的演出，他們每年都有一個「藝術行」，例如先前在中環的街道、南豐紗廠等舉行的活動，以跨界別的藝術進入城市。。

今屆他們邀請了我和策劃人張慧婷（Stephanie）牽頭，我們再邀請尹麗娟（Annie）、作曲家林丰和編舞黃靜婷（Chloe）合作。過去兩年，大家都有很多不同的感受，當我們思考用甚麼地方去回應現在的心境

時，便發現碼頭似乎是個合適的地點：它是過渡之間，等待之處；在不同的時間和天氣，多樣的心境變化都可以在碼頭發生。

before a passage

For this incarnation, NAP invited curator Stephanie Cheung and me to direct the event. We then invited ceramics artist Annie Wan, composer Fung Lam, and choreographer Chloe Wong for collaboration. Everyone has had countless thoughts and feelings over the last two years. When we began to mull over the most suitable location to express our state of mind, the ferry pier naturally came to our minds. As a place for transit and waiting, all kinds of moods can be evoked in a ferry pier at different times and weather.

待渡

Commissioned by the Hong Kong Jockey Club, the “New Art Power” (NAP) programme features not only a variety of exhibitions and performances of different media but also an “Art Walk” programme every year, aiming to bring the art of different disciplines into the city. Some examples include the Art Walk series that took place around Central and at The Mills previously.

With Leung Ping Kwan’s poem At the North Point Car Ferry appropriated in your work, what role does literature play in your creation? Once we had decided to put on the exhibition at the ferry pier, I called Leung Ping Kwan’s poem to mind. At the North Point Car Ferry is a classic in Hong Kong Literature, of which the last two words literally means “before a passage”. Although the scene depicted in the poem is of little resemblance to the one we see today, the implications of the poem remain profound today. The North Point (East) Ferry Pier is adjacent to the North Point Car Ferry Pier. We are honoured to have the consent of Leung’s wife in projecting the stanzas along the windows overlooking the Car Ferry Pier, which gives the public a chance to re-read this classic poem at the very site it depicts. Besides, Stephanie also composed the exhibition introduction in a poetic way to resonate with Leung’s poem. Whereas the project manager Nicky Leung interviewed 12 Hong Kong people from different backgrounds and printed their passage stories on the opposite side of the windows to echo with the ones today.

作品引用了也斯《北角汽車渡海碼頭》一詩，文學在這個作品中有怎樣的角色？

決定在碼頭做這個作品後，我想起也斯先生的《北角汽車渡海碼頭》。這首詩是經典的香港文學，而當中最後的兩個字，就是「待渡」。詩中描述的情景與現在不盡相同，但在今天讀起來，也有一番深意。剛好典作品。

除了也斯的作品，Stephanie也用了寫詩的方法，撰寫展覽的序言。同時，項目經理梁棨豪（Nicky）也訪問了十二位人物，將不同背境的

香港人的待渡故事，印在另一邊的窗戶上，讓今天和過去的待渡互相呼應。

AVA M AGA ZINE #10

北角（東）碼頭毗鄰北角汽車渡海碼頭，我們很榮幸獲得也斯太太同

意，把詩句投影在看著汽車渡海碼頭的窗沿，讓觀眾在地重讀這首經

How does your creation for this exhibition respond to the title “Before a Passage”? Most of my artistic creations are built upon the art medium. However, the notion of “before a passage” appears to be more ambiguous and intangible; it feels like waiting for something imperceptible to the touch. I deliberated over the ways to minimise the materiality of ceramics when I was conceiving the work. Eventually, I chose to create equivocal sounds through the clashes of ceramics pieces. The work does not refer to any events in particular. Instead, it is an abstraction of the notion of “before a passage” that expresses all sorts of feelings, such as people’s choice of leaving or staying. Through the overall ambience created by the lighting, music, and dance, the work serves to evoke the viewers’ emotions. In what ways did the participated artists collaborate in the exhibition? All of the artworks were derived gradually through innumerable discussions. We would share our progress and creative ideas and explore the possibilities of interaction amongst the works together. Besides, we would also exchange views on how to cooperate. This seemed to be my first co-creation with other artists. Therefore, I was constantly pondering over the best approach. Since my work is relatively substantial compared to the projection of Kingsley, the music of Lam, and the dance of Chloe, I could not stop thinking about how to mingle my physical work with their more abstract works. For that reason, communication is pivotal in the process.

我平時創作都以媒體為主，但待渡的感覺是比較空和虛，像在等一些東西，沒有實在的物質。構思時，我想像如何將物質變虛，所以就用陶瓷的撞擊，製造虛無的聲音。作品沒有指向甚麼具體事件，反而把待渡的意思從實在的東西抽離來表達大眾的感受，例如人們的去或留

等等，並透過光、音樂、舞蹈去營造整個氣氛，帶動觀眾憶起各種等待的心情。

多位藝術家是怎樣一起共同創作的？作品的元素是透過討論慢慢衍生出來的。我們分享各自的作品，了解大家的創作思維，研究作品互動的可能性，也會彼此討論如何合作。這次好像是我第一次與其他藝術家共同創作，所以都在摸索如何是好。由於我的作品是比較物質性，但其他藝術家的創作，例如

Kingsley的光影、林丰的音樂、黃靜婷的舞蹈，都是非物質性的，我一直在想如何將實體作品和比較虛的創作融合，所以與他們的溝通是重要的創作過程。

待渡

今次的創作如何回應「待渡」二字？

before a passage

Wan Lai Kuen, Annie Ceramics Artist, Associate Professor

Ting Lap Tak @ studio MARY Installation Coordinator, 2017 BA Graduate

What were the production challenges of this exhibition? We had only three or four days notice before moving the massive installation to the exhibition venue. At that time, all materials were far from ready, let alone the arrangement of the workforce. It felt like everything came into chaos all of a sudden. Fortunately, the floor management team stepped in to help, and everything ran smoothly afterwards. The core components of the installation are those thousand pieces of ceramics. Because of their fragile nature and time concerns, we prefabricated the installation before shipping it to the venue. Besides, as we packaged it meticulously, the installation was virtually intact when it arrived at the venue, with less than ten ceramics pieces damaged. The ferry pier is a semi-outdoor venue. What were the difficulties in setting up the exhibition?

We only had ten days to set up the exhibition. Apart from installing the installation, we also had to lay the wires, set up the lighting, rehearse, and mark the positions; the preparation time was extremely tight. Luckily, an army of AVA alumni lent a helping hand. Initially, we laid most sandbags over the gauze on the right side of the venue. But the wind direction changed one day during the exhibition, blowing up all the curtains on the left. That happened merely two hours before the opening time. Therefore, we had to relocate a significant quantity of sandbags swiftly. Incidents like this require immediate responses. Therefore, stationing at the venue gave us the advantage to ensure the smooth running of the exhibition by making prompt decisions.

製作這個項目有甚麼挑戰？我們在展覽三、四天前才獲通知，需要提早將大型裝置運到展覽場

地，那時材料還未準備好，人手也要重新安排，突然間好像所有事情都變得非常混亂，還好場地同事找到幫手，使一切回復順暢。

作品主要的組件是近千塊陶瓷，由於物料相對脆弱，加上我們想盡量節省佈展時間，所以在AVA時已經組裝好整個裝置。因為事前包裝穩

妥，所以到達場地時，破損率就比較低，能夠保持在十隻內。碼頭是半露天場地，在佈展時有甚麼困難？

佈展頭兩天都挺順利的，但到了第三天，天氣開始不穩定。大風令陶瓷互撞，破損之餘，現場的嘈吵聲音蓋過了原本設計的聲境。我們立刻思考補救方法，嘗試用不同物料來鞏固作品，令它們不會飛來飛

去。我們嘗試用厚布擋風，但這樣會令它連同沙包一同吹起。最後我

們的解決方法是在窗戶加添一層黑紗。我們只有十天佈展時間，除硬件裝置之外，工作還包括鋪線、燈光、試位、綵排等，時間非常緊迫，慶幸最後找到很多舊生幫忙。

我們本來主要把沙包放在當風的右邊，但展覽期間有一天突然轉風向，令左邊的布幕全被吹起。當時距離開放時間只剩兩小時，我們必

須迅速重置大量沙包。這些突發事件都需要臨場應變，所以在展覽現場跟進的好處就是可以很快速地下決定，令展覽更順暢。

AVA M AGA ZINE #10

The setup went smoothly in the first two days. But on the third day, the weather turned wild. The strong wind blasted the ceramics pieces into one another. A lot of them were smashed, and the piercing noise also drowned out the designed soundscape of the exhibition. We had to think of remedies immediately. We attempted to fasten the ceramics pieces with various materials to prevent them from flying around. Then, we tried to block the wind with thick curtains. But the effort went in vain as the strong wind simply blew them away together with the sandbags. At last, our solution was to put black gauze over the windows.

待渡 There is a cat named Captain in the ferry pier. And there are six circular platforms paved with gravel alongside the installation. Before the opening, we joked about whether Captain would pee on these platforms. Much to our surprise, Captain really peed on them every day. That’s why we had to check and roll around the gravel on the platforms every day. The pier staff did ask us whether they should lock up Captain at night. But we felt that the pier is Captain’s home; we are just passers-by who rented the place for an exhibition. We ought not to treat it that way. Besides, Captain is very cute; we like to play with it very much. 有遇到趣事嗎？碼頭有一隻貓叫船長。我們的裝置中，有六個由碎石鋪成的大圓圈。開幕前，我們笑說：如果貓船長在上面上廁所怎麼辦？誰知牠真的每

天都上來方便。所以我們每天一到碼頭，便要檢查碎石有沒有變深色了，要每天掃一下。碼頭的同事其實有問過我們，要不要晚上把貓船

長關起來，但我們都覺得碼頭是牠的家，我們只是借場地來做展覽的過客，沒有必要這樣對牠。而且牠很可愛，我們也喜歡和牠玩。

before a passage

Were there any anecdotes during the exhibition?

Ways of Seeing Hong Kong

Art in the 80s and 90s

AVA M a g a z i n e # 1 0

New Horizons: New Horizons: Chan Yuk Keung, Vertical Rye Field, 2021 (A recreation of 1996 original), Mixed media

After two years of research, this art and archival exhibition is being held at the Hong Kong Museum of Art until April 2022. It highlights the art history, practices and curating methodologies through integrated approaches linking past with contemporary practices. The era of the 1980s and 1990s is considered a turning point in the development of Hong Kong art. In bringing this era into the spotlight, the project does not attempt to present a historical narrative; instead, it seeks to examine the alternative horizons of the decades as the vantage points of micro- and macrohistory. This timeframe could be the starting point attracting fresh ideas, thus strengthening Hong Kong art’s future development. As the focal point of the project, the research exhibition “New Horizons: Ways of Seeing Hong Kong Art in the 80s and 90s” features the works of seven artists and collectives, along with recreations of art spaces and settings from the past. Participating artists include Chan Yuk Keung, Choi Yan Chi, May Fung, Ellen Pau, Joseph Fung, the founding members and early collaborators of Para Site (Tsang Tak Ping, Leung Chi Wo, Sara Wong, Patrick Lee, Man Ching Ying, Phoebe, Leung Mee Ping and Leung Po Shan, Anthony) and the co-founders of NuNaHeDuo (Lee Ka Sing, Holly Lee, Patrick Lee, Lau Ching Ping and Wong Kai Yu, Blues). It is a reflection on the creation of the new aesthetics, new methodology, and new imagescape that emerged in Hong Kong art in the 1980s and 1990s. This exhibition also discusses the idea of alternative horizons as a starting point in combing through the development of Hong Kong contemporary art during those two decades. Exploring the links between personal experiences, organisations and events and developing a local culture that embodied profound subjective sensibilities laid the foundation for this research exhibition. Audience engagement in this exhibition is also essential, along with re-creations of art spaces and settings from the past. At the same time, they engage with the artworks and archival materials within the unique museum space of the Hong Kong and Victoria Harbour view. Viewers find themselves connecting the past with the present. Ultimately, this creates the blurring of temporal boundaries. Importantly, it takes viewers on a cultural and historical journey. Viewers also embody interpretation tools in the encounter with contemporary art forms with unique spatial engagement and plenty of archival images and materials for accessing knowledge in an immersive manner. The exhibition also opens up a multi-dimensional and imaginative space, where the viewers are immersed in interactive experiences and associations.

Coffee Shop, 2019—2021 (A recreation of 1996 original)

經過兩年研究，這個連繫過去與當代藝術，同時聚焦於藝術史、藝術實踐和策展方法的藝術及文獻展覽最近在香港藝術館開幕，展期至 2022年4月。

上世紀八十與九十年代常被視為香港藝術發展的轉捩點。大概在這段時間，各種嶄新意念開始湧現，大大加強了香港藝術的未來發展。該項

目正正聚焦這個時代。不過，它並未試圖以歷史敘事手法來將之呈現，反從微觀及宏觀歷史角度，審視各種新藝術創作形式的興起。

作為該項目的重點活動，「多元視野⸺八、九〇年代香港藝術新象」

研究展結集了七組藝術家和創作團體的作品，並重塑了那個年代的藝術空間及環境，對八、九十年代湧現的香港藝術新美學、新手法和新意象作出反思。參展的藝術家包括陳育強、蔡仞姿、馮美華、鮑藹倫、馮漢紀、Para/Site創始成員及早期合作夥伴曾德平、梁志和、黃志恆、李志

芳、文晶瑩、梁美萍和梁寶山，以及《女那禾多》的創團成員李家昇、李志芳、黃楚喬、劉清平和黃啟裕。

該展覽同時亦以各種新藝術創作形式作為切入點，並以探索個人

經歷、組織與事件之間的聯繫，以及發展能深刻體現主觀感受的在地文化作為基礎，討論並梳理香港當代藝術在這二十年的發展歷程。除

卻重塑過往藝術空間及環境，觀眾參與對本展覽而言同樣不可或缺。畢竟，是次展覽模糊了時間的邊界；當觀眾置身維港沿岸的香港藝術館，並在此獨特空間觀賞這些藝術作品與文獻資料時，他們將感受到自己正把過去與現在聯繫起來。但重要的是，該展覽還開闢了一個多維度想像空間，帶領觀眾踏上一次文化與歷史之旅，讓他們沉浸在互動體驗之中並進行聯想。在這個獨特空間，觀眾能置身大量文獻圖片和資料當中，並與各種當代藝術形式相遇，同時透過沉浸方式理解知識，化身成香港當代藝術的詮釋者。

Presented by Leisure and Cultural Services Department, Hong Kong Museum of Art. Supported by Academy of Visual Arts, Hong Kong Baptist University, 1a space, Moving Art Museum, Para Site and Videotage 是次展覽由康樂及文化事務署香港藝術館主辦，香港浸會大學視覺藝術院、1a space、移動博物館、Para Site及錄映太奇協辦。

New Horizons: Ways of Seeing Hong Kong Art in the 80s and 90s 多元視野⸺八、九〇年代香港藝術新象

Fong Man Yee, Janet Research Assistant Professor

Tom O’Dea Slope Maintenance, 2019 Cast bronze painting Size variable

Koon Wai Bong Solitude with Dignity, 2020 Ink on silk 72 × 130 cm

Wong Chiu Tat, Justin Systematic Landscape #1, 2, & 3, 2020 Digital print, pencil on paper (1080 × 585 mm) × 3

管偉邦

黃照達

孑然獨立, 2020

系統山水 #1, #2, #3, 2020

The first phase exhibition of the interdisciplinary art practice and research project “Drawing as the Core” was held in September 2020 at Koo Ming Kown Exhibition Gallery at the Academy of Visual Arts. The show brought together 21 artists, each a leader in their own field, and most of whom are senior academics from various tertiary institutions. Among them were several teachers from the Academy of Visual Arts including Koon Wai Bong, Justin Wong, Tom O’Dea, Chan An Gee and the director of the academy Louis Nixon. The exhibition reiterated the unique nature of drawing, and demonstrated the possibility of using drawing as an interdisciplinary arts practice by presenting a series of issues relating to artistic mediums and practices worthy of further exploration: What is drawing? What is the relationship between drawing and painting? How does drawing interact with other art genres? And how does drawing, a medium that has been given new meanings in contemporary art, complement dialogues with Chinese ink art?

Louis Nixon 黎藝深 Fossilised Log 2, 2020 Acrylic on canvas 120 × 150 cm

I am very grateful to the participating artists who enthusiastically responded to the exhibition by creating brand new works in their familiar mediums, and for re-examining their intimate relationship with drawing. I feel an immense gratitude to them for taking the time to attend our interviews, where they shared their insights into drawing and provided references and remarks for future thematic exhibitions and symposiums on drawing that are in the pipeline. 自2020年起，一系列以素描為主軸的跨學科藝術實踐與研究計劃於

香港浸會大學視覺藝術院展開，而首階段策劃的主題展《素描為本》更於同年9月在顧明均展覽廳舉行。應邀參展者共二十一人，每位既

是獨當一面的藝術家，也是多所大專院校任教的資深老師，當中來自浸大視覺藝術院的包括管偉邦、黄照達、湯歐德、陳安之老師，以及院長黎藝深。

竟是甚麼？素描與繪畫有甚麼關係？素描跟其他不同藝術範疇又怎

在家揉麵糰的老鼠, 2020

樣交往？此外，素描在當代藝術中被重新理解後，如何跟中國水墨相

陳安之

Chan An Gee A rat rolling a dough at home, 2020 Mono screenprint 183 × 155 cm

展覽提出好些與藝術媒介和創作有關的問題，值得深入探討。素描究輔對話？

這個展覽旨在重申素描本身的特性，以及引證素描作為跨學科藝術

實踐的可能性。非常感謝參展藝術家對是次展覽主題的積極回應，各人以自身熟悉的媒材創作出全新作品，從而檢視與素描之間的相互關係，更百忙中抽空接受專訪，分享對素描的眾多獨到見解，為一系

列正在籌備的素描展覽與研討會，所要探討的主題予以參詳和註腳。

Interdisciplinary Art Practice and Research using Drawing as the Core 以素描為主軸的跨學科藝術實踐與研究

Yu Wai Luen, Francis Associate Professor

Artwork URL: Nadim Abbas www.facebook.com/ PhDFearlessandDear Researcher

When I first worked on the funding proposal in 2018, I felt that Hong Kong was in a weird state. Here and there, there was fear, and the general atmosphere was confusing and directionless. With my experience of panic disorder and learning Buddhist Dharma, I had very deep insight regarding fear and fearlessness. Hence, I was very interested in others’ experiences of the notion of fear, particularly that of young parents. 當我在2018年撰寫這部作品的計劃書時，只覺得香港有一種很奇怪

的氣氛，大家都開始要面對恐懼，但卻像是迷迷糊糊的，沒有方向。因為自己有驚恐症經驗，加上學習佛法，我對恐懼與無懼有深刻的體會，所以很想了解他人的故事，特別是年輕父母的想法。

ava magazine

Mak Hoi Shan, Anson Associate Professor

# 10

We started to work on the film in September 2019, when the anti-extradition bill movement had been going for a few months. Hong Kong has entered into a highly unusual state. Changes and transformation can be crazy, fast and drastic, painful and harsh. Yet, these changes lead us to a clear mind and compassion.

比尋常的狀態，轉變來得驚人，又快又猛、又痛又難，卻令人清醒，滿心慈悲。由拍攝到後製階段，再到2020年在釜山國際電影節首映後

於香港戲院上映，都一步一驚心，每刻都無法想像香港竟變成如此模樣。事情好像只能一刻一刻地展現，就像我們都只能一刻一刻的活

著，完全沒法掌握明天。雖然如此，關於恐懼與無懼，重點從來都不在外境，最重要的焦點，是我們內在的力量。自己的內在力量。

Fear(less) and Dear 誠惶(不)誠恐，親愛的

From the first day of shooting, to editing/sound design, then to the last stage of showing the film in local cinemas in public after the world premiere in Busan International Film Festival – each step was not easy. At any point along the process, we could never have imagined the huge, awful changes Hong Kong had undergone. Things have become so momentary. It is almost like we can only live moment by moment and can never grasp the future. However, regarding the notion of fear(lessness), the emphasis is never on the outside circumstance but on inner strength: our very own inner strength!

在2019年9月開始拍攝這部作品時，反送中運動剛開始，香港進入非

We are deeply grateful to the genuine sharing by the subjects: Clara Cheung (artist and District Councillor), Justin Wong (comic artist), and Cheung Yuen Man (writer). As parents, and artists, it is incredibly difficult in Hong Kong nowadays. Their artworks also powerfully demonstrate how art responds to political and social unrest, as well as innermost feelings – indeed, like the film itself – reflexively. Wishing you all safe!

非常感謝受訪者張嘉莉（藝術家和區議員）、黃照達（漫畫家）和張婉雯

（作家）的真誠分享。作為父母、藝術家，今時今日在香港實在極度困難。他們的藝術作品非常有力地展現了藝術怎樣回應政治動盪和人心最內在的感受。正如，這部電影本身。願各人平安。

Shin Gyung Jin Assistant Professor I am a multimedia artist living in Hong Kong and Seoul. I received an MFA from Columbia University in 2010 and a BFA from Seoul National University. My creative projects have been exhibited and screened at a worldwide biennale, a conference and at media art festivals as well as in museums. As a recipient of the Hong Kong PhD Fellowship Scheme (HKPFS), I am currently completing my doctorate at the City University of Hong Kong School of Creative Media. I am joining the Academy of Visual Arts as Assistant Professor in Creative Robotics from September 2021. As an artist with a background in sculpture and new media for 15 years, I have incorporated a wide range of digital media into artworks in contexts including physical computing, programming, 3D printing, and performance video with a machine. In my recent projects, I have connected machinemaking and new technologies with the language of art to highlight philosophical and ontological issues relating to technology and provide these issues with historical and societal context. 我是活躍於香港和首爾兩地的多媒體藝術家。畢業於首爾大學，取得藝術學士學位，隨後在2010年於哥倫比亞大學考獲藝術碩士學位。我的創作項目曾於國際雙年展、學術會議、媒體藝術節，還有博物館中展出和放映。目前，我獲香港博士研究生獎學金計劃（HKPFS）資

助，於香港城市大學創意媒體學院修讀哲學博士課程。我將於2021 年9月加入視覺藝術院，擔任創意機械人學（Creative Robotics）助

理教授。

作為一位擁有15年雕塑及新媒體創作經驗的藝術家，我善於將物理

計算、程式編碼、3D打印和機器展演影片等數碼媒介融入藝術作品。

在最近的項目中，我將機器製造和嶄新科技與藝術語言連繫起來，從而突顯與科技相關的哲學及本體論問題，並為這些問題提供歷史和社會脈絡。

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New NewFaces FacesininAVA AVAI 視覺藝術院生力軍 I

Solo exhibition “Smiley Suicide” at Night Gallery, Los Angeles, US, 2015

Horizon in Reverse, robotic installation, 2013

As a researcher, my overarching aim is to connect the theory and history of art with contemporary philosophical issues relating to technology from the perspective of Critical Theory. My current research interests include postdigital discourse, new materialism, digital labour and the author discourse emerging with the advent of new technological innovations. My next major research project at AVA will explore the distribution of authorial and creative power with respect to nonhuman agency, including the agency exercised by smart machines – in particular, robots – and AI. I am also planning to conduct practice-based research on creative robotics and generative art production. As an art educator, I have delivered lectures introducing students to various ways of presenting digitally mediated materials in three dimensions. At AVA, I am expecting to teach fundamental physical computing courses and interdisciplinary courses that explore diverse spatiotemporal digital materials.

身為一位研究員，我的主要目標是從批判理論的角度將藝術史和藝術理論，以及與科技相關的當代哲學問題連繫起來。我目前的研究

範疇包括後數碼時代論述、新唯物主義、數碼勞工，以及伴隨新科技發展而出現的作者論述。我在視覺藝術院的首項主要研究項目將

探索在機械人、人工智能和智能設備等非人類代理下（nonhuman

agency），作者的位置，以及其創作能力將如何分布。此外，我還計劃對創意機械人和生成藝術的製作過程進行實踐為本研究。

作為一名藝術教育者，我曾舉辦過許多講座，向學生介紹在三維空間呈現數碼媒材的各種方式。加入視覺藝術院後，我將教授基礎物理計算課程，還有探索各種時空數碼材料的跨學科課程。

Noit Banai Associate Professor

In my book on Yves Klein (London: Reaktion, 2014), I analysed the artist’s performative exploitation of the porous channels between art and life to formulate new models of artistic identity and address the problematics of post-war national reconstruction, constitution of the supra-national model of “Europe” and decolonisation. I am currently completing a book titled Between Nation State and Border State: Modernism from Universal to Global Subject, which examines particular artistic strategies and structures that have complicated the universal model of the European public sphere from 1938 to the present. My publications have appeared in journals such as Third Text, Public Culture, Performance Art Journal, and Stedelijk Studies, as well as in catalogues published by the Americas Society, Bergen Kunsthall, Bronx Museum of the Arts, Centre Georges Pompidou, Documenta, Museum Moderner Kunst Stiftung Ludwig Wien, Musée d’art moderne de la ville de Paris, and Singapore Art Museum. I have served as assistant editor for the journal RES: Anthropology and Aesthetics and am a regular contributor to Artforum International and other art publications.

作為一名藝術史學者、藝評人和策展人，我專注以跨文化與跨學科的角度研究現代及當代藝術實踐。我曾在不同國家和機構任教，並負責制定挑戰傳統地域限制和學科界線的研究計劃，而我的生活也與研

究範疇息息相關。透過探索各種現代和當代形式之間的連貫與割裂，還有它們遺留的殘餘物、結構和記憶，我常常叩問：我們如何才能將現今的另類歷史和系譜推向重要位置，為未來締造其他可能？

在我就Yves Klein（倫敦：Reaktion，2014 年）而撰寫的書籍中，我

分析了藝術家如何透過藝術展演來充分利用藝術與生活之間的孔

道，藉以建立新的藝術身份，並解決戰後國家重建、「歐洲」超國家模

型的憲法和去殖民化等問題。目前，我正在撰寫一本名為《Between Nation State and Border State: Modernism from Universal to

Global Subject》［國家與邊界之間：從普世到全球主題的現代主義］

的新書，探討從1938年至今令歐洲公共領域的普遍模式變得複雜的個別藝術策略和組織。

我發表的論文曾刊登於《Third Text》、《Public Culture》、

《Performance Art Journal》和《Stedelijk Studies》等期刊，還有

美洲協會（Americas Society）、卑爾根美術館（Bergen Kunsthall）、紐約布朗士美術館（Bronx Museum of the Arts）、龐比度國家

藝術和文化中心、卡塞爾文獻展、維也納路德維希現代藝術博物館

（Museum Moderner Kunst Stiftung Ludwig Wien）、巴黎現代藝

術博物館（Musée d’art moderne de la ville de Paris）和新加坡國家美術館所出版的目錄中。此外，我亦曾擔任《RES: Anthropology

and Aesthetics》期刊的助理編輯，同時也是《藝術論壇》（Artforum

International）和其他藝術雜誌的撰稿人。

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I am an art historian, critic and curator who specialises in modern and contemporary artistic practices in transcultural and transdisciplinary perspectives. My life and research resonate with each other as I’ve taught in diverse national and institutional contexts while developing a research agenda that challenges traditional geographical limitations and disciplinary boundaries. By exploring the continuities and ruptures between various forms of modernity and contemporaneity and the residues, textures and memories they have left behind, I ask: How might we bring to the fore alternative histories and genealogies of the present that could create the conditions of possibility for other futures?

New Faces in AVA II 視覺藝術院生力軍 II Before joining Hong Kong Baptist University, I served as Professor of Contemporary Art at the University of Vienna, and Lecturer in Modern and Contemporary Art at Tufts University/ School of the Museum of Fine Arts, Boston; I also held visiting positions at NYU Shanghai, Lesley University, Singidunum University, and the University of Applied Arts in Vienna. I’ve conducted international seminars at the European Forum Alpbach, Austria; Academy of Fine Arts and Design, Bratislava, Slovakia; and the Maumaus School, Lisbon, Portugal. I’ve also had the honour to lecture internationally at many universities and cultural institutions in Albania, Armenia, Belgium, China, France, Ireland, Israel, the Netherlands, Poland, the USA and the UK.

加入香港浸會大學之前，我曾任職維也納大學當代藝術教授、波士

頓塔夫茨大學美術館學校（Contemporary Art at Tufts University / School of the Museum of Fine Arts）現代及當代現藝術講師；

此外，我亦曾於上海紐約大學、萊斯利大學、貝爾格萊德辛吉度努姆大學（Singidunum University）和維也納應用藝術大學擔任訪問學

人。我曾在奧地利歐洲論壇（European Forum Alpbach）、斯洛伐克布拉迪斯拉發的美術與設計學院（Academy of Fine Arts and

Design）和葡萄牙里斯本的Maumaus學院舉辦國際研討會，還有幸

於阿爾巴尼亞、亞美尼亞、比利時、中國、法國、愛爾蘭、以色列、荷蘭、波蘭、美國和英國等地的多間大學和文化機構舉行專題演講。

Manuela Catania Lecturer II I’ve always been in love with the world of fashion and jewellery. My father was an Italian goldsmith-gemologist and he passed on to me the art of making by hand, the balance of colour in precious stones and the elegance of shape of gold and silver. In 2007 the dream of dedicating myself to fashion and jewellery became a reality. I was completing my studies in architecture in Palermo and before graduating, I participated in a competition, winning the scholarship for the Master in Accessories and Jewellery Design at Domus Academy in Milan. This started the journey that brought me here. I studied Fashion Design and the Fashion System at the European Design Institute, and created a collection of jewels in Murano glass and recycled material showcased at Fuorisalone during Milan Design Week. My passion for design and multiculturalism led me to work in the academic field in Brazil, United Arab Emirates, Malaysia, China mainland , Indonesia, India and Hong Kong. Fascinated by the reuse of old clothes and plastic bags, in 2017 I developed a sustainable design project in Bali called VISIONUPIA based on the reuse of fabrics and waste materials, where I blend sustainability and Italian craftsmanship. 我一直醉心於時裝與珠寶世界。我的父親是位意大利金匠兼寶石學家，他將手工製作藝術、寶石色調平衡，還有黃金和白銀的優雅形狀

等知識傳授給我。2007年，我實現了投身時裝與珠寶行業的夢想。當

時，我正於巴勒莫攻讀建築學學位，畢業前，我參加了一項比賽，並贏得奬學金前往米蘭多莫斯設計學院（Domus Academy）攻讀飾物及

珠寶設計碩士（Master in Accessories and Jewellery Design）。然

後，命運便將我牽引至現在的位置。

我在歐洲設計學院（European Design Institute）修讀時裝設計與時裝系統，透過運用穆拉諾玻璃和回收物料，我製作了一系列珠寶，並

的熱情驅使我去到巴西、阿拉伯聯合酋長國、馬來西亞、中國內地、印尼、印度和香港等地從事學術工作。此外，我亦對重用舊衣物和塑膠

袋感到非常著迷。我於2017年結合可持續發展概念和意大利工藝，

透過重用紡織品和廢料，在峇里島創作了一個名為《VISIONPUIA》的永續設計系列。

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在米蘭設計週期間於Fuorisalone展出。後來，我對設計和多元文化

In 2020 I taught the Sustainable Fashion Design Workshop online in collaboration with the Art programme at The Hong Kong University of Science and Technology (HKUST) and now this sustainable project is the soul of the Hong Kong Pavilion for Countless Cities Biennial, where I am the curator of the Pavilion “The Five Senses of The Future” at Farm Cultural Park, Italy. At the Academy of Visual Arts I will teach Jewellery Design. I’m so grateful for this opportunity at AVA and I will share my visions and sustainable dreams with students, inspiring them to feel the soul of the material and to be connected with Mother Earth.

Necklace made by jute end old bed linen inspired by wind and light.

2020年，我與香港科技大學藝術課程合作，在網上教授永續時

New New Faces Faces in AVA in AVA III 視覺藝術院生力軍 III

裝工作坊，而此項目現在更於意大利Farm Cultural Park舉行的

Countless Cities Biennial展出，成為香港館主題展覽「Five Senses of The Future」，而我也成為了此館的策展人。

我在加入視覺藝術院後將教授首飾設計課程。非常感謝AVA給予我

這個機會，讓我能與學生分享自身願景以及對可持續發展的理想，並鼓勵他們感受物料的靈魂，與世界建立連繫。

Ring in Murano Glass and recycled stones, and pendant in Murano Glass and recycled stones

Manuela during the work in progress inside the Hong Kong Pavilion for Countless Cities Biennial 2021 in Italy.

Elaine W. Ng Assistant Professor

After completing my postgraduate work researching the history of video art, I managed Videotage between 2000 and 2002, one of the first nonprofit organisations dedicated to film, video and new media in the Asia region. During that period, my mentor Tsong-zung Chang was invited to curate Hong Kong’s first pavilion at the Venice Biennale in 2001, and he invited me to serve as curatorial assistant on the project. There, I continued to work closely with Ellen Pau, along with Ho Siu Kee, Leung Chi Wo and Sara Wong on their presentation for this significant event. In 2004 I joined ArtAsiaPacific (AAP), a journal that I had read avidly since the 1990s. Within two years, I became chief editor and publisher, and expanded AAP from a quarterly academic journal to a bimonthly broad-interest periodical, launched its annual Almanac (2006), which examines the art scenes in 53 countries and territories in the region, and began publishing books, monographs, and anthologies on contemporary art under the AAP rubric. Additionally, I have curated exhibitions for Microwave International New Media Festival, Para Site and the Taipei Museum of Contemporary Art. I have also served on many juries including the UNESCO Digital Pluralism Award, Prix Ars Electronica, Art Basel Discoveries, the Dhaka Art Summit Award, and the Purita Kalaw-Ledesma Prize for Art Criticism with Ateneo de Manila University. I sit on the board of directors of Asia Art Archive in America, the academic advisory board of Asia Art Archive, the East Asia Advisory Board of the the New Hall Art Collection at Cambridge University, and the advisory board of Alserkal Avenue in Dubai.

自90年代中期於漢雅軒畫廊展開職業生涯，我已從事有關香港當代藝術的工作逾25年。漢雅軒是其中一間最早推廣中國內地、香港和

台灣當代藝術的畫廊。在那裏，我與徐冰、宋冬、邱志杰，以及鮑藹倫、嶋田美子和Judy Chicago等創意非凡的女性藝術家緊密合作。在此之前，我專注於從事意大利文藝復興藝術和印度阿旃陀石窟的研究

工作。儘管創作這些壁畫的藝術家早已不在人間，但我仍深被其藝術所感動。故此，我深信與在世的藝術家合作一定是種令人震奮的體驗，於是便決定繼續在藝術界發展。

完成關於影像藝術歷史的碩士研究後，我在2000至2002年間於本

地其中一間專門研究亞洲電影、影像和新媒體藝術的非牟利組織

Videotage擔任管理工作。在此期間，我的良師益友張頌仁獲邀為香

港在2001年威尼斯雙年展上策劃首個展館。當時，他邀請我出任該

項目的策展助理，讓我繼續與鮑藹倫，以及何兆基、梁志和、黃志恆緊密合作，協助他們在這場重要展覽中展出作品。

2004年，我加入了ArtAsiaPaciﬁc（下簡稱為AAP）⸺我自90代年起便一直熱衷閱讀這本期刊。加入AAP後不足兩年，我便成為該組

織的主編和出版人，更將這本學術季刊發展成涵蓋廣泛題材的雙月

刊，而且又推出了Almanac年鑑（2006），仔細審視53個國家和地區

的藝術，並開始出版AAP旗下各種有關當代藝術的書籍、專題作品和文選等。

此外，我更曾為微波國際新媒體節、Para Site、台北當代藝術館策劃

展覽，並且擔任UNESCO Digital Pluralism Award、電子藝術大獎、巴塞爾藝術展「藝術探新」、達卡藝術高峰會和馬尼拉雅典耀大學舉辦的Purita Kalaw-Ledesma Prizes藝評獎擔任評審。我亦曾擔任

美國亞洲藝術文獻庫（Asia Art Archive in America）的董事會成

員，現為亞洲藝術文獻庫學術顧問委員、英國劍橋大學New Hall Art

Collection東亞顧問委員和社拜阿薩卡藝術區（Alserkal Avenue）顧問委員。

AVA Mag azine #1 0 AVA Magazine #10

For over 25 years, I have worked in the field of contemporary art in Hong Kong. I began my career in the mid-1990s at Hanart TZ Gallery, an early advocate of contemporary art from China mainland, Hong Kong, and Taiwan. It was there that I worked closely with many conceptual artists, including Xu Bing, Song Dong and Qiu Zhijie, as well as innovative female artists such as Ellen Pau, Yoshiko Shimada and Judy Chicago. Previous to this, my main focus of study was Italian Renaissance art and the Buddhist caves of Ajanta in India. The artists who created the frescos that I found so moving were long dead, so it was an incredibly thrilling experience to interact with living artists, and an experience I was determined to continue.

As a writer, my main areas of interest include contemporary art, particularly in Asia and the non-Western world, issues of education, philanthropy, and the role of art in the community. I actively support greater gender diversity within the field and the visibility of experimental practices, particularly video and performance art. My publications and research have garnered numerous invitations to speak and moderate panels on these subjects throughout Asia, Europe, and the US. In the field of teaching, I have been a part-time lecturer at the Academy of Visual Arts, Hong Kong Baptist University since 2017. I was initially invited to lecture on modern and contemporary Asian art history and research methodologies for the visual arts, but now also teach feminist art history and art criticism. I have also been a guest speaker at academic institutions including the School of the Art Institute of Chicago, Seoul National University, Sotheby’s Institute and Christie’s Education. However, it is teaching at AVA that has been unexpectedly rewarding. I am always curious to hear the students’ observations and insights into the material I teach, and I am always amazed at how the theory courses have the ability to influence their final projects and overall art practice.

作為一名作家，我對當代藝術，特別是亞洲與非西方世界藝術，教育、慈善事業，以及藝術在社區中的作用等議題最感興趣。在這些領域

中，我積極鼓勵更廣泛的性別多樣性，並致力推廣實驗創作，特別是影像和行為藝術。憑藉我的出版和研究，我曾多次獲邀於亞洲、歐洲和美國等地發表演講和主持專題討論。

在教學層面，我自2017年起便一直在香港浸會大學視覺藝術院

(AVA)擔任兼職講師。在此之前，亦曾獲本院邀請講授現代及當代亞

洲藝術史和視覺藝術的研究方法，但現在，我還教授女性主義藝術史和藝術評論。我亦曾在芝加哥藝術學院、首爾大學、蘇富比藝術學院

和佳士得美術學院擔任演講嘉賓。然而，在AVA教學卻為我帶來出乎意料的豐富收穫。我總是很想聽到學生對教學內容的意見和獨特見解，對理論課程為學生的畢業項目和整體藝術實踐帶來的深遠影響感到喜出望外！

New Faces in AVA IV 視覺藝術院生力軍 IV

Qin Lai-yin, Anna Assistant Professor

“I begin with an idea, and then it becomes something else.” – Pablo Picasso I took Picasso’s underlying message on the process of creativity with me when I began my design path 15 years ago. Topping up with the practical, technical and theoretical sector skillsets from Central Saint Martins, I enjoyed the serendipity from design projects, be it for consultancy, manufacturing, enterprise, or third sector. I have also worked with various teams in Europe, China mainland and Hong Kong in the past 10 years. My early work belongs to the medical field, where I applied human-centred design to hospital equipment, medicine processors and portable/domestic healthcare devices.

作為德國出生的中國人，我在中西文化交雜的多元環境下成長。我熱衷於解決問題以及探索不同文化視角，喜歡以跨學科方式進行研究，經常模糊了藝術、設計與科學之間的疆界。「我從一個想法出發，然後演變出另一個想法。」

－巴布羅．畢加索

我在15年前開始從事設計工作，當時便帶着畢加索這一席話踏上創

作之旅。除此之外，我在中央聖馬丁藝術與設計學院所獲得的實踐機會、技術訓練和理論知識，亦使我不論在顧問、產業，抑或志願組織的項目中，均非常享受設計成果所帶來的意外收穫。在過去10年間，我更曾與歐洲、中國內地和香港的多個團隊合作。

我早期的項目涉及醫療領域，透過以人為本原則，設計了各式各樣的醫學設備、藥物處理器和便攜／家用醫療裝置。這些項目驅使了我進一步追求生物醫學工程範疇的知識。透過結合設計與工程學，我進一步確立了各項創新項目的願景，當中包括為太空人設計著陸椅、為復康人士製作外骨骼和智能鞋墊、為大眾建構智能家居，還有為金融科

AVA Mag azine #1 0 AVA Magazine #10

As a German-born Chinese, I was brought up in a multicultural environment between East and West. I am passionate about cultural insights and problem-solving, blurring the lines between arts, design and science.

These projects led me to pursue knowledge in the biomedical engineering field. Combining design and engineering, I further define my visions in various innovation projects such as the astronauts’ landing chair, an exoskeleton and smart insoles for rehabilitation, intelligent homes, and UX for fintech start-ups. I experienced entrepreneurship with two of my classmates in 2014–16 by being the runners-up in the Hong Kong and National Challenge Cups; with the support from HKSTP’s incubation programmes, we were able to bring some of the patented prototypes to market. In today’s world, people are experiencing faster transformations in social, economic, cultural, environmental and lifestyle contexts. At the same time, new problems are constantly encountered that widen the gap between the creators and the users. Design knowledge is a powerful research tool that can systematically improve and shape the future with social, cultural, environmental and economic sustainability. Having the honour to join AVA, I wish to share my experiences and explore new opportunities with the influencers and the next generation of creatives. Astronaut’s Landing Chair, Astronaut Centre of China, Beijing, Apr 2013

Orthopaedic Surgical Robotic Arm, Prince of Wales Hospital & CUHK, Hong Kong, Dec 2011

技初創公司締造用戶體驗。在三番贏得「挑戰盃」全國賽及香港區選

拔賽名次後，我更與兩位同學在2014至2016年間踏上創業之途。有

賴香港科技園創業培育計劃的支持，我們成功將部分專利原型產品推出市場。

在現今世界，人類正經歷社會、經濟、文化、環境與生活方式等多方面的急速變革。與此同時，不斷湧現的新問題亦持續加深創作者與用戶之間的隔閡。設計知識是一種強大的研究工具，能有系統地改善未

來，並建立可持續的社會、文化、環境與經濟。我非常慶幸能加入AVA 這個大家庭，希望藉此能與不同持份者與饒富創意的新一代分享經驗，並一同探索新機遇。

New New Faces Faces in in AVA AVA V 視覺藝術院生力軍 V

視覺藝術院創意機械人實驗室

The Robots are Coming …

機械人時代來臨了… …

Prof. Louis Nixon Director, Academy of Visual Arts Ekkehard Altenburger Assistant Professor

The AVA’s Creative Robotics Lab was born out of the clear demand to address the way in which automation is continuing to radically change the way the world looks and works. It is vital that artists and designers work with new tools and processes to expand creative practice and innovate new forms and applications for robotics and physical computing for the future. The Creative Robotics Lab at AVA is a workspace where students and staff with common interests in robotics, computers, machining, technology, science, and digital or electronic art can meet, socialise, collaborate, learn and experiment with new tools and software. The Lab is for teaching and research and encourages collaboration between all courses and skill sets. The goal of the space is to merge digital and physical media, and to provide a space for students to prototype and learn about robotics and electronics, as well as physical and parametric computing. The facility offers a variety of courses and inductions into the uses and applications of robotic arms for additive and subtractive fabrication, performance and filming. In addition, the lab uses Arduinos – microcontrollers used to read sensors that detect the world around us and respond in a variety of ways – as well as a selection of other microcontroller boards, 3D printing, electronic components, sensors, work spaces, computers, soldering stations, tools for prototyping and hackable broken electronics. We look forward to seeing you there!

不論是現在還是將來，自動化技術不斷徹底改變世界的面貌與運作

方式，為應付對此技術的明確需求，視覺藝術院（AVA）的創意機械人

實驗室便應運而生。對藝術家和設計師而言，使用新工具和程序來擴闊創意實踐方式，並為未來的機械人和物理計算建立新形式和應用方法尤關重要。

AVA的Creative Robotics Lab［創意機械人實驗室］則為對機械人、電腦技術、機械、科技、科學、數碼或電子藝術感興趣的師生提供工

作空間，讓他們可以在這裏會面、交流、合作、學習，並試驗新工具和軟件。

該實驗室將滿足教學和研究用途，並鼓勵各個課程以及擁有不同技

能的師生相互合作。此空間以結合數碼與物理媒體為目標，為學生提供開發原型作品，以及學習機械人、電子、物理和參數運算等相關知

識的場所。這所全新的教學設施將提供各種課程和指導，教導師生操作和運用機械臂來進行加法和減法製造，還有將之用於拍攝和表演用途。此外，實驗室還備有Arduino（一種可用於讀取感應器資料並

透過多種方式作出反應的微型控制器）、一系列其他款式的微型控制器電路板、3D打印機、電子元件、感應器、工作空間、電腦、焊接工作

台、原型制作工具和可編程的重用電子零件。我們急不及待在那裏見到大家！

AVA Creative Robotics Lab 視覺藝術院創意機械人實驗室

Robotic milling machines

新疆界：共享校園計劃 Peter Benz Associate Professor

As early as 2014, the Academy of Visual Arts has been engaged with a group of international partners in setting up the Shared Campus group that was formally launched in December 2019 in Zurich, Switzerland. Since then AVA and also the Faculty of Arts – especially their Music and Creative Writing departments – have represented HKBU as a full founding partner of the Shared Campus group, together with City University Hong Kong, Kyoto Seika University, Lasalle College of the Arts, Taipei National University of the Arts, the University of the Arts London, and Zurich University of the Arts. Shared Campus is anticipated as a complex academic ecosystem in which students and staff may eventually freely move between institutions, participating in and contributing to a broad variety of research and teaching & learning activities loosely organised into five themes: Critical Ecologies (CEC), Cultures – Histories, Futures (CHF), Pop Cultures (POP), Social Transformation (SOCIAL), and Tools (TOOLS). Currently 13 academic staff from AVA and ARTS actively contribute to these theme groups. Shared Campus originally intended to use the first two years after its formal inception to establish and pilot a broad range of research and T&L activities, but then – like the rest of the world – the plans of Shared Campus came to a grinding halt when Covid-19 struck in early 2020.

早於2014年，視覺藝術院（AVA）便聯同多間國際院校成立了共享校園計劃小組，並於2019年12月在瑞士蘇黎世正式啟動計劃。自此以

後，AVA和文學院的音樂系以及人文及創作系便成為香港浸會大學的代表，連同香港城市大學、京都精華大學、拉薩爾藝術學院、國立

臺北藝術大學、倫敦藝術大學和蘇黎世藝術大學一同擔任計劃的創始成員。

此計劃預期會發展成一個複合學術生態系統，讓參與的教職員和

學生可以自由參與合作院校的各式研究，並就「生態批評」（Critical Ecologies，「CEC」）、「文化歷史與未來」（Culture - Histories,

Futures，「CHF」）、「流行文化」（POP Cultures，「POP」）、「社會轉型」

（Social Transformation，「SOCIAL」）和「工具」（「TOOLS」）五個主

題範疇的學習活動作出貢獻。目前，AVA與文學院共有13位教職員正積極參與上述範疇，為相關研究出一分力。

共享校園計劃最初的目標是在成立後的首兩年內，設立一系列研究項目和教與學活動，並進行先導實驗。不過，隨後新型冠狀病毒

（COVID-19）疫情於2020年初爆發，計劃便如世界各地的活動般陷入停擺狀態。

然而，這項前所未有的挑戰正好體現了與志同道合的機構建立緊密

且完善的合作關係有何好處。有別於許多其他國際活動和項目，在共享校園計劃受到疫情的短暫衝擊後，小組很快便作出事後評估，迅速制定應變措施，在不足兩個月內重新安排本年度的項目。因此，在疫

情肆虐的2020年仲夏，共享校園計劃的合作夥伴仍能繼續進行原有的其中兩個暑期課程，並首次完全透過網上形式授課。

While not conceptualised for online delivery from the start, the summer schools of 2020 were received enthusiastically by students and staff alike, and indeed revealed the possibilities and potentials of the digital formats in terms of accessibility, (environmental) sustainability, alternative academic and creative practices, etc. If nothing else, those summer schools were proof-of-concept even to the most sceptical that international online programmes not only work, but offer entirely new, previously unrealised opportunities.

雖然原本的計劃並沒有考慮網上教學，但2020年度的共享校園計劃

暑期課程卻受到學生與和教職員的熱烈歡迎。而這亦揭示了數碼教學形式的可達度和（生態）可持續性，還有成為學術和創作實踐的另

類平台的可能性和潛力。撇除其他因素，這兩個暑期課程實在是消除各式網上教學疑慮的最有力證據，證明網上課程不僅行之有效，還提供嶄新機會，實現從前不可能的事情。

憑藉這兩個暑期課程的經驗，同時考慮到眼前的嚴峻疫情，隨後的所有共享校園活動均重新編排於網上進行。儘管2020/21學年受到外

部環境的重大影響，共享校園計劃的合作院校仍成功合辦了五個計算學分的完整暑期課程（於2021年夏季開課）、三場學術會議、四個

網上專題研討會系列，並推出了兩本全新的學術期刊。雖然這些活動通常都只由一或兩間合作院校負責或聯辦，但所有合作夥伴均有派

出師生參與並作出貢獻。由此可見，共享校園計劃提供的多元化活動和機會不僅促進了學術合作和交流，更讓來自不同背景的人，可以在這段受社交距離限制的時間，與意想不到的新朋友建立連繫。

With this experience in mind and with the prospect of the volatile Covid situation ahead, all following Shared Campus activities were subsequently reconsidered for online delivery. Despite the enormously difficult external setting for the academic year 2020/21, Shared Campus managed to collaboratively produce five full-scale credit-bearing summer schools (held in summer 2021), three academic conferences, four series of thematic research webinars, and launched two new academic journals. While each of these activities were commonly owned and (co)hosted by one or two distinct Shared Campus partners, all of them saw participation and contribution from all of the partners, thus offering a broad range of activities and opportunities not only for academic collaboration and exchange, but also for new, varied and unexpected personal encounters in a time of social distancing.

Improvise Symposium 2021 Poster designed by Two

New Frontiers: Shared Campus Activities 2020/21 新疆界：共享校園計劃2020/21

However, in this unprecedented, challenging situation, the benefits of collaborating in a close-knit, well-established partnership of likeminded institutions became quickly apparent. Unlike many other international initiatives and programmes, after a short shock moment and subsequent evaluation of options, Shared Campus partners managed to adapt ad hoc to the situation, and to reorganise its planning for the year within a lead time of less than two months. Thus, amid the Covid summer of 2020 the Shared Campus partners were able to go forward with two of the originally prepared international summer schools, for the first time entirely online.

Streets Summer Schools 2021 Call Poster designed by Two

KOKO in Dialogue

Conversations with Ten Thousand Things Collage by Nuria

Socially Engaged Arts Happening 3 2021 Credits: Lai Tong; “Ruthless government forces us to move and destroys our homes. Cruel! Cruel!” 政府無良強逼遷拆! 慘!慘!

DEL2020

Summer Schools Arts & Crafts Matters in a Digital Society (SOCIAL; 21 June–9 July 2021) Hacking Global Pop Icons*+ (POP; 5–23 July 2021) Art of the Gap (CHF; 5–19 July 2021) Streets* (SOCIAL; 9–27 August 2021) Teleprovisation: Let’s do it! (TOOLS; 11–21 August 2021)

Arts & Crafts Matters in a Digital Society［數碼社會中的藝術與手工藝問題］（SOCIAL，2021年6月21日至7月9日）

Hacking Global Pop Icons*+［解構全球流行標誌］（POP，2021年 7月5至23日）

Art of the Gap［差異的藝術］（CHF，2021年7月5至19日） Streets*［街道］（SOCIAL，2021年8月9至27日）

Teleprovisation: Let’s do it!［遙距創作速成班］（TOOLS，2021年8

Course Teaching Teaching Exchange (CEC; autumn 2020)

月11至21日）

Webinars Conversations with Ten Thousand Things (CEC; 5 events, autumn 2020, ongoing) Self-Imaging: Identity, Disruption, Transformation (POP; 12 events, autumn 2020) Happenings* (SOCIAL; 3 events, spring 2021, ongoing) KOKO-in-Dialogue* (TOOLS; 5 events, spring 2021, ongoing) Publications KOKO – The Next Generation Journal* (TOOLS; koko-journal. org) Pop Culture Journal

教學課程

教學交流（CEC，2020年秋季）網上會議／座談會

Digitally Engaged Learning 2020*［透過數碼形式學習2020］

（TOOLS，2021年9月25至26日）

Improvise! 2021+［即興創作！2021］（CHF，2021年3月27至29日） Situated Knowledges*［處境知識］（CHF，2021年6月25至27日）

網上研討會

Conversations with Ten Thousand Things［與一萬樣事情對話］

（CEC，五項活動，2020年秋季，尚在進行中）

Self-Imaging: Identity, Disruption, Transformation［自我形象：身

份、瓦解、轉變］（POP，12項活動，2020年秋季）

Happenings*［現在進行中］（SOCIAL，三項活動，2021年春季，尚在

進行中）

KOKO-in-Dialogue*［與KOKO對話］（TOOLS，五項活動，2021年春季，尚在進行中）出版

KOKO – The Next Generation Journal* (TOOLS，koko-journal. org)

Pop Culture Journal * 2020/21學年由AVA主辦／共同主辦的活動

+ 2020/21 學年由浸會大學文學院主辦／共同主辦的活動

Summer School - Hacking Global Pop Cultures 2021 Poster design by students

New Frontiers: Shared Campus Activities 2020/21 新疆界：共享校園計劃2020/21

Online Conferences/Symposia Digitally Engaged Learning 2020* (TOOLS; 25–26 September 2021) Improvise! 2021+ (CHF; 27–29 March 2021) Situated Knowledges* (CHF; 25–27 June 2021)

* Activities hosted/co-hosted by AVA in 2020/21 + Activities hosted/co-hosted by ARTS in 2020/21

暑期課程

AVA M AG A Z I N E # 1 0

垃圾?抑或

未被善用的資源?

Esther Kwok Senior Research Assistant

For centuries, jewellery makers and goldsmiths have worked sustainably and created circular economies by melting and reshaping precious metal objects and dismounting and reframing valuable gemstones. This longstanding practice of recycling has also informed recent practices by which jewellery designers have creatively reused waste materials alongside pearls and silver to turn “trash into treasure.” Led by Dr Anna Grasskamp and Dr Ching Sze Yin, with the assistance of Chong Yan Xuan, Kimberly, Hoi Kan Kong, Thomas, Kwok Pui Yi, Esther, and Tam Tak Hei, Alpha, this research project perceives craftsmanship as a way of thinking by mapping and investigating the pioneering roles of jewellery designers’ sustainable practices. Several articles about the research project have been published on an online platform titled “Things That Talk”, and one of the outcome exhibitions has been digitalised into an online virtual guided tour by “Freewalkin” providing the public with a distinctive viewing experience. ReSource / ReSearch: Recycling as Creative Practice. A Research Exhibition Although prior studies have focused on creative strategies of reuse in contemporary art and design, they have remained Western-centric. No study has examined the practice in Hong Kong—one of the world’s top waste-producing and waste-receiving area. Adopting “waste” as the primary creative material, the Research Exhibition “ReSource / ReSearch: Recycling as Creative Practice” showcased how local artists and jewellery designers redefined “garbage” and “gems” through creative concepts and craftsmanship. The intent was to inspire people to rethink the destiny of their everyday “waste”.

「升級再造香港：珠三角珠寶設計中循環物質文化的循環經濟」研究項目回顧

幾個世紀以來，珠寶創作者和金匠透過熔化和重塑貴金屬、拆卸及重新鑲嵌貴重寶石，持續地努力實踐循環經濟。這種長期的回收實踐也啟發了近代藝術家和設計師，進行「把廢物變成寶物」的創新實踐。

是次由Anna Grasskamp博士和程詩賢博士共同帶領、由張嫣玹、江凱勤、郭佩兒及譚德熙協助的研究項目，將工藝視作一種思維方式，探索首飾創作在可持續實踐中的先鋒作用。該研究項目的多篇文章

已刊登於「Things That Talk」網上平台，而其中一個成果展覽更獲「

時刻導賞員」（Freewalkin）支持，製作成網上虛擬實景導賞，為大眾提供不一樣的觀賞體驗。

「舊原料新創作實踐．研究展覽」過往曾有不少探討當代藝術及設計中物料重用議題的創意實踐研究項目。然而，香港作為世上其中一個產生和接收最多廢物的國際城

市，迄今為止仍未有人就本地的物料重用手法進行研究。「舊原料新創作實踐．研究展覽」以一般被視為「垃圾」的原料為主軸，展示了香

港藝術家及首飾創作者如何透過創意概念及工藝技術，重新定義「垃圾」與「珍寶」，讓人們重新思考日常生活中的「垃圾」是否只有被棄置的命運。

有別於一般展示「藝術成品」的展覽，該展覽刻意呈現用於製作藝術品的原材料。例如陳百堅在《面具》中所使用的香港常見假檳榔樹

葉、陳穎斯的《The Escaper》中的「魚仔豉油」，還有張葶的《Wasted

Beauty》中的即棄隱形眼鏡盒，都是在香港日常生活中俯拾即是而又

容易被遺忘的物品。這種理所當然的存在，驅使人們輕視這些物品，

而這也是其中一個「垃圾」出現的原因。這個以「垃圾」為主角的展覽，僅以照片展示「藝術成品」，藉此為觀眾提供一個較廣闊的想像空間，重新思考這些物品的價值。

Unlike regular exhibitions which display completed artworks, this research exhibition deliberately presented the materials for making art. For example, the Alexandra king palm leaves commonly found on the streets of Hong Kong in Brandon Chan’s The Masks, the fish-shaped soy sauce containers in Chan Wing Sze, Cissy’s The Escaper, and the disposable contact lens cases in Chang Ting, Tiffany’s Wasted Beauty. All these materials are easy to find in Hong Kong, though most often they fade into oblivion. These ordinary objects are most often taken for granted and people tend to belittle them, giving rise to a waste disposal problem. Putting “waste” under the spotlight, this exhibition provided a vast open space for audiences to imagine and reconsider the value of these objects by displaying only the images of the completed artworks. Chan Po Fung 陳寶鋒 I would still found you

Waste or Underutilised Resources? 垃圾？抑或未被善用的資源？

Upcycling Hong Kong: The Circular Economy of Recycling Material Culture in Pearl River Delta Jewellery Design

RePlace/ RePlay: Upcycling in Hong Kong Art and Jewellery

「再玩／置好」香港升級再造首飾和藝術展覽

Constituting the second part of the research exhibition, the artworks created with upcycling the wasted materials were showcased at the Goethe-Institute in Hong Kong. Ring by Chang Ya Ting, Belinda/Evelyn Kwok is a paradigm of reshaping precious metals and reframing gemstones. By imbuing old-fashioned jewellery with contemporary design, the art piece extended the wearability of the jewellery, putting its inheritance value into effect. In I would still found you, Chan Po Fung reconsiders traditional notions of adversities and “completeness” by reconstructing a broken jade bracelet into a unique piece of jewellery.

作為研究成果展覽的第二部份，「再玩／置好」香港升級再造首飾和

By attempting to search for new characteristics beyond the original purposes of these objects, these artists not only upcycled the function of jewellery but the very concept of jewellery. Their craftsmanship and creative practices imbued the objects with multiple new functions and ways of viewing them. For Made in Hong Kong, Ching Sze Yin, Cicy, augmented the plastic covers of local take-out boxes with the glass from old screens and broken gemstones. Detached from their initial functions, these supposedly useless objects became reconstructed into the essential parts of brooches, each recounting its own little story of Hong Kong. In the Living series, Chung Ka Pang, Adrian, turned waste collected from the redevelopment area in Kwun Tong into brooches. Although the dilapidated buildings in the area can no longer keep up with urban development, the rubble that came from them remains a core part of many people’s memory.

與破碎寶石加入香港製造的外賣膠蓋，這些看似喪失原有功能的「無

In addition to the upcycled jewellery, the exhibition also featured several wearable art pieces and small-scale sculptures that presented different interpretations of upcycling by local artists. For instance, “Garbage Homemade” employed simple tools to transform packaging such as sandwich boxes and detergent bottles into hairpins, protective eye shields, and face masks, advocating the idea of utilising the various public resources that surround us. Tsang Tak Ping took advantage of food waste and transparent garlic skins to make a flower-shaped Garlic Light. These projects prove that discarded materials are not necessarily garbage but actually underutilised resources.

藝術展覽於香港歌德學院展出了原材料「升級再造」後的面貌。透過重塑貴金屬和重新鑲嵌寶石，張雅婷／郭漪霆的《戒指》將當代設計

融入過時的首飾，這不但擴展了該首飾被配戴的可能性，亦貫徹了首飾原有的傳承意義。而陳寶鋒的《I would still found you》則摒棄將

斷裂玉鐲視為不祥的舊有觀念，重新定義甚麼是「完整」，把一對斷裂的玉鐲結合成一件獨一無二的藝術品。

除了功能上或概念上的「升級再造」，藝術家亦透過創意及工藝過程，嘗試尋找物品原有作用外的其他特質，為它們賦予新功能，同時帶出更多重的觀賞角度。程詩賢的《Made in Hong Kong》將舊屏風玻璃

用」之物，頓時化成胸針中不可或缺的部件，細訴着有關香港的一點一滴；鍾家鵬的《Living》系列則把觀塘重建區中的廢木瓦礫鑲嵌成

胸針，或許頹垣敗瓦已不足以支撐城市的發展，但細沙碎石仍然是記憶的樑柱。

除了展示經升級再造的首飾作品，該展覽亦展出了部份可穿戴藝術及小型雕塑作品，呈現出香港藝術家對升級再造的不同理解。「垃圾手作」（Garbage Handmade）活用了外賣三明治盒、洗潔精樽等常

見產品包裝，以簡單工具輔助製作成髮夾、防護眼罩與面罩等，邀請大眾善用身邊的「資源」；曾德平的《蒜頭燈》則挑選了原本被視為廚

餘的蒜頭衣，利用其透光特性，製作出如花般的蒜頭燈。由此可見，世上沒有必然的垃圾，只有未被善用的資源。

在「時刻導賞員」的協助下，大家仍可於其網站以虛擬實境形式重溫

「再玩／置好」香港升級再造首飾和藝術展覽，並閱讀資深藝評人的評賞。

Ching Sze Yin, Cicy 程詩賢 Made in Hong Kong

AVA M AG A Z I N E # 1 0

Thanks to the support of “Free Walk In”, the public can revisit the exhibition “RePlace/ RePlay: Upcycling in Hong Kong Art and Jewellery” virtually at its website, where they will also be able to read comments by several senior art critics.

Waste or Underutilised Resources? 垃圾？抑或未被善用的資源？

Chung Ka Pang, Adrian 鍾家鵬 Living Brooch Series

Chan Po Fung 陳寶鋒

I would still found you

Chan Wing Sze, Cicy 陳穎斯 In The Escaper Uses fish-shaped soy sauce containers as her primary material. 以「魚仔豉油」作為《The Escaper》的主要材料

AVA M AG A Z I N E # 1 0

Things That Talk The stories concealed in jewellery are often overshadowed by their decorative or ornamental functions. Things That Talk, an online platform established by Leiden University in the Netherlands, has adopted a humanistic perspective in leading the public to read into and analyse the various aspects of a single object. Within the platform there is now the “Upcycling Hong Kong Zone”, featuring several research articles about material cultures written by Dr Anna Grasskamp, which provide more in-depth reviews of several of the works presented in the aforementioned exhibitions. Jewellery and the plasticity of garbage are the foundations of this research project, which aims to provoke the public to rethinking their use of the resources around them, and to broaden the definition of “garbage” and “gems”. Waste remains a problem that is by no means solvable overnight. However, through imagination and creativity we may cultivate a better sense of fully utilising these wasted resources. Postscript: In July of the same year, we invited 17 artists and jewellery designers to participate again in an extended exhibition titled “Upcycling Hong Kong: Creative Practices of Reuse in Hong Kong” at Loupe HK in PMQ, presenting more thoughts related to upcycling and reuse in jewellery making practice.

物件會說話首飾作品所蘊含的故事常被其裝飾或觀賞功能蓋過。由荷蘭Leiden

University設立的Things That Talk網上平台則務求以人文學角度

來引領大眾閱讀及分析單一物件的不同面向。由Anna Grasskamp

博士主理的「Upcycling Hong Kong Zone」現已發布至該平台上，當

中收錄多篇以物質文化為題的研究文章，為上述展覽中的部份作品提供更多層次的閱讀。

綜觀整個研究項目以首飾作為切入點，透過展覽及文字寫作呈現「垃圾」的可塑性，期望讓大眾重新思考對身邊資源的運用，讓「垃圾」及

「寶物」擁有更廣闊的定義。因類廢物所產生的環境問題並非一朝一夕就可解決，但透過想像力與創意，或者我們可以更能善用資源。後記: 同年七月，我們再次邀請了十七個首飾創作單位，於Loupe HK@元

創方舉行延伸展覽「Upcycling Hong Kong: Creative Practices of

Reuse in Hong Kong」，展出更多針對相關議題的作品，探索首飾實

踐的可能性。

Waste or Underutilised Resources? 垃圾？抑或未被善用的資源？

Works by Garbage Homemade

Ho Lai 2016 BA Graduate Return, 2019 Porcelain, Glaze

黎晧，香港陶藝家，現居倫敦，其作品以探索陶瓷的當代性及實驗材料為主。

2016年於香港浸會大學視覺藝術院取得學士學位，隨後於 2019年在英國皇家藝術學院取得陶瓷及玻璃碩士學位，並獲頒發英國商會會堂獎學金。

Magazine

Aggregates Series, 2019 Porcelain, Glaze

AVA

Having been awarded the Grocer’s Hall Scholarship, she graduated from the Royal College of Art with an MA in Ceramics & Glass in 2019. Prior to moving to London, she graduated from AVA in 2016 having attained a BA in Visual Arts.

Ho Lai is a ceramic artist from Hong Kong, currently based in London. Her work explores the contemporary nature of ceramics, experimenting with the materials and processes involved in its creation.

My time at the AVA was one of the most romantic times I have had in my life. Staying up late in the studio, just focusing on art making and trying out different art media. It was all so exciting; I was like a child in a candy shop. Then I graduated and realised what a luxury it had been once I was juggling working and art making. “Is this it? What else is there besides all I have learnt?” I was yearning to know more about ceramics, yet I was doubtful at the same time whether I had that talent and instinct to continue my artistic journey. On the point of giving up, I thought I might give it another chance by pursuing an MA degree in Ceramics & Glass at the Royal College of Art (RCA) in London. Having been awarded the Grocer’s Hall Scholarship that made this chance possible, the two years at the RCA proved to be an eye-opening and unforgettable experience. I was surrounded by students and tutors from different cultural backgrounds and I learned so much from them, whether it was the way they approached the material or their demeanour as an art student or professional artist. I was once again fascinated by the materiality of ceramics, and there were times when I would spend days in the glaze lab mixing glazes and experimenting with materials. Other than making functional wares I was encouraged to explore the materiality and contemporaneity of clay and glazes, and this lead to developing my own material and aesthetic understanding of my work. This year I am absolutely delighted to have been selected and commissioned by the British Ceramics Biennial to create a series for the “AWARD” headline exhibition. Being away from my home city, the constant feeling of nostalgia has provoked many questions and reflections on my identity and nationality, so I am hoping that this new series of works to be shown in September can be an outlet for this. The pandemic has surely been a challenging time for us all, as access to our studio spaces and even the way we create art is no longer the same as before. Last year, because of the national lockdown, I was unable to go to my studio for four months and felt anxious and guilty as I was not able to make art in the way I used to. I took time to settle my thoughts and reflect on my artistic practice. Perhaps, I thought, there is more than what we are used to, and there is more we can do than we think. Perhaps it is just a matter of way and method. I now look at times like this as an opportunity for us to step out of our comfort zone and try out new things. “There is no reason to give up what you like to do,” Dr. Ho Siu Kee once said to me when I was hesitant about what art could be done in such challenging and special periods of time. This has now become my motto, and I believe those who enjoy art making can share in this belief as well.

在視覺藝術院的四年大概是我這生最浪漫的日子，當時的我就像到訪糖果店的小孩子般興奮，經常在工作室逗留至夜深，專注於藝術

創作，着迷於嘗試不同藝術媒介。只是直到畢業時，當我要在全職工

作和創作之間躊躇，我才發現以往一切都是一種奢侈。「就這樣了嗎？除了我已學到的，（我的能力／發展）就真的僅此而已嗎？」我在一方

面很渴望更加深入地認識陶瓷這種物料，另一方面卻質疑自己的天賦和直覺，不肯定自己能否在創作路上繼續走下去?

即將放棄，我最終還是決定再給自己一次機會。我獲頒發英國商會會堂獎學金(The Grocer’s Hall Scholarship)，隨後報讀了英國皇家

藝術學院（RCA）的陶瓷與玻璃碩士課程。在RCA的兩年磨練，為我帶

來大開眼界難忘體驗。當時，我的同學和老師均來自五湖四海，有着

不同的文化背景。各人對處理物料的方法，甚至對作為藝術學生或藝術家的處事態度也截然不同。在那裏，開放交流的學習氣氛令我獲益良多，我再一次被陶瓷的物質性吸引，有好些日子我會專注在釉房裏研究釉藥，利用其他陶瓷物料作實驗。除了製作器物以外，我更加着迷於探討陶泥和釉藥的物質性和當代性，並以此建立出對物料的理解和作品風格。

今年，我很榮幸入選英國陶瓷雙年展，並獲委約創作一系列新作品。

自出國以來，由於離開自己成長的地方，身處異地的鄉愁令我更深刻地反思自己的身份以及國籍問題，我希望透過這系列的作品去抒發這兩年來所沉澱的思緒。

疫情難免會對藝術創作者們帶來種種挑戰，不論是慣常可以使用到

的工作室設備，乃至我們創作的方式或許已跟以前截然不同。去年英國封城期間，我有超過四個月的時間未能到工作室如常地創作。當時也難免對未能造出新作品而感到焦慮和愧疚。

既來之則安之，整理好思緒後，我重新審視和沉澱自己的藝術創作。或許，除了我們習以為常的方式之外，還有其他可能性。而我們能做的，或許也比我們所想的更加多，改變的只是方法和方式而已。我現

在視這段特別的日子為一個機會去踏出舒適區，並作出新嘗試。我也

曾懷疑，當今之世，藝術的作用將如何體現？可幸，我仍記得何兆基博士的鼓勵：「做自己喜歡的事就沒有放棄的理由。」我相信每位在當下仍然享受創作的都會認同這句格言。

Mellow, 2020 Porcelain

The Journey in Ceramics 旅陶

AVA Magazine #10

AVA was pleased to collaborate with The Murray Hotel in staging the Pink and White Shower Art Bazaar in May 2021. Curated by nomad nomad, one of the founders of which is an AVA graduate, the art bazaar is themed around a Pink and White Shower tree (Cassia javanica var. indochinensis), one of only two of its species in Hong Kong, and a registered Old and Valuable Tree (O.V.T.). The tree is situated in The Murray and usually blossoms around April and May. This two-day event was an “art entrepreneurship” testing ground for both alumni and students. Here is a glimpse of the event through the participating artists and curator: 視覺藝術院（AVA）很榮幸能與香港美利酒店合作，於2021年5月舉行「節果決明花見藝術市集」。策劃該活動的nomad nomad創辦人為本院

畢業生，她以全港僅存的兩棵節果決明樹（學名為Cassia javanica var Indochinensis）為主題。此品種的樹木常於四、五月盛開，並已列入本

港的古樹名木冊，而其中一棵則位於香港美利酒店的露天空間。

在這個為期兩日的活動中，本院的學生和校友把會場轉化為「藝術創業」的實驗場地。讓我們透過活動策劃人和參與藝術家的介紹，一睹是次

Lai Ka Hang 2014 BA Graduate Rediscovering the Beauty and Purpose of Art Bazaars Established in 2014, nomad nomad is an experimental art & cultural studio that has organised various cultural activities including art bazaars, exhibitions, workshops and project consultations, etc. As the name implies, nomad nomad aspires to explore novel spaces for artistic practice and discover alternative ways of living through a nomadic approach. The opportunity to organise the “Pink and White Shower Art Bazaar” gave nomad nomad the perfect chance to ponder over what kinds of bazaar Hong Kong needs. Bazaars and art and craft markets have become increasingly popular in Hong Kong in recent years, however their quality varies. Being graduates of the AVA, the two founders of nomad nomad always wanted to bring more artistic touches to these bazaars, despite the organizational challenges and compromises this involves. Nevertheless, the synergy between stakeholders in the current event allowed us to bring this experimental art bazaar to closer to perfection in terms of aesthetics, the selection of artists, and venue setting. It is always a pleasure and honour to have visual arts graduates from HKBU participating in nomad nomad bazaars, and their participation is an affirmation that the event is a valuable platform for promoting their work. This time, we are particularly touched to work exclusively with HKBU visual arts graduates. We are grateful for their trust and feel their passion for pursuing their beloved art forms after graduation. We hope that our bazaars will continue to serve as an exchange platform that connects people and letting them shine.

尋回策劃市集的美好與初衷由2014成立至今，nomad nomad文化藝術實驗工作室策劃過不同

的文藝活動，包括主軸的市集籌辦、另有展覽、工作坊、項目咨詢等等工作。取名為nomad nomad有遊牧之意，希望尋找空間實踐藝術的可能，探索不同生活方式。

是次獲邀策劃「節果決明花見藝術市集」，為nomad nomad 帶來

一個良好契機，思考香港需要甚麼模樣的市集。這幾年間，香港的市集活動成為了大眾的潮流指標，然而質素往往參差不齊。nomad

nomad 的兩位創辦人於AVA畢業，一直想為市集增添多點藝文氣

息。過往舉辦市集時，在實際營運上面對很多挑戰與掙扎，但今次在各單位完善配合下，這場實驗性的藝術市集在美感、檔攤篩選、場地運用上都盡善盡美。

在過往策劃的市集中看到浸大視覺藝術院畢業生參與，總會感到欣

慰又高興，因這是他們對nomad nomad的肯定，相信這是一個宣傳作品的好平台。而今次，當所有單位都是浸大視覺藝術院畢業生，更

多了一份感動，感激他們信任同時，更充分感受到大家畢業後繼續堅持自己喜愛的藝術。

在此盼望 nomad nomad 市集能繼續成為美好的交流平台，將不同

個體連結起來，不斷地綻放。

Pink and White Shower Art Bazaar 節果決明花見藝術市集

活動的盛況吧！

Chan Nga Man, Amie Lai Wai Shan, Gloria Ma On Yee BA Graduate (2014, 2013, 2014) Token 2021 Token was inspired by an old Pink and White Shower Tree that blossomed earlier this year. The blossom, a symbol of life, was a reminder for us of look forward to the future.

In the Art Bazaar, these coins were circulated through change. The public could exchange the porcelain coins with onedollar, two-dollar, or five-dollar coins; some said they seemed to be exchanging hopes. We wish all the Token collectors, no matter where they are, will remember their experiences in this place, and stay hopeful that we will reunite under the old tree one day. This creation enabled us to re-recognise something omnipresent in our everyday lives – local coins. We find that they are particularly special when they still look the same as we have always known.

花開是活着的證明，彷彿也提醒我們要期盼將來。《信物》靈感來自古樹節果決明。我們以香港硬幣為藍本，發行了

300枚限量陶瓷硬幣，紀念在2021年盛放的節果決明。我們以白瓷

壓模，陶幣的一面為花樹的圖案，另一面則保留了港幣的特徵，隨着

重複壓印使模具磨蝕，部分陶幣上的圖案亦漸變糢糊，象徵着一些東西正在消逝。

在市集中，我們以「找換」手法使陶幣「流通」，公眾可以面值一元、二元及五元的港幣找換陶幣。有人說：這好像換來了一個希望。願收藏陶幣的人無論身在何地也得緊記在此地的經歷，並相信會在大樹陰下重聚。

這次創作讓我們重新認識近乎能慣性辨認出來的一件日常物件⸺ 港幣。記在一元未變輕，五元還未起角的年代似乎別有意義。 Facebook Page : 泥塵記 Lai Chan Kee

Instagram: laichankee

AVA Magazine #10

Based on Hong Kong coins, we have issued 300 editions of Token to commemorate the Pink and White Shower blossom of 2021. On one side of each coin is a Pink and White Shower tree motif, however on the other side, the features of the local coins have either been retained or effaced. Through repeated castings the coin casting mold wore little by little, gradually causing the imprinted motif to blur and symbolise a fading away.

Liv Tsim 2016 BA Graduate Botanic Guided Tour

After Western botanists first encountered Hong Kong’s natural habitat in the early 19th century, they began to import a plethora of exotic seeds and seedlings to this subtropical city. These transplanted “green citizens” with foreign genes have since taken root in the city, living in symbiosis with an urban environment and witnessing the transformation of the cityscape. In the Murray Hotel, there is the Scarlet Glorybower from Malaysia, the Pepper Tree from Japan, and Aphrodita

Moth Orchid from Taiwan, each with their own story to tell. For instance, Scarlet Glorybowers were attached to dragon boats in ancient times to dispel ill fortunate by virtue of their cruciform shape. The Pepper Tree is a cherished herb in Japan for its pain-relieving effects, and the Aphrodita Moth Orchid is often referred to as the “Taiwanese Grandma” due to their similar pronunciation. Asides from informing participants about the appearances and characteristics of these plants, the “Botanic Guided Tour” also aspires to stimulate people’s curiosity about local plants, and inspire them to learn more about the unique natural habitat in Hong Kong after leaving the hotel. Since Hong Kong became a trading port its landscape has undergone dramatic changes. But the ever-present nature and the plants from abroad has nevertheless remained and flourished in different corners of the city. These seasonal sceneries are genuinely worth discovering and cherishing.

植物探訪團在節果決明花見藝術市集中，我擔任了「植物探訪團」的首席導賞

員，透過手機通訊程式Telegram Chatgroup遙距語音導航一眾公眾

朋友，與他們一起尋找美利酒店中滿載故事的異國植物。參加者在開始前收到特定指示，於不同地點以語音與其他團友隔空連結，並在獲得有關異國植物的描述與指引的同時開展尋覓之旅。

早在19世紀初，當西洋植物學家與本地大自然邂逅後，便一直為這片亞熱帶地方帶來林林總總的異國種子和幼苗。這些被移植的「綠色市民」從此帶着外域的基因在本港落地生根，與城市空間共生，

靜觀都市的變遷。在美利酒店中，來自馬來西亞的龍船花（Scarlet

Glorybower）因十字花形而在古時被插在龍船上為人民消災解難；

來自日本的胡椒木（Pepper Tree）原來是當地用作鎮痛的寶貝草藥；還不少得台灣蝴蝶蘭（Aphrodita Moth Orchid）因發音相近而被戲

稱為「台灣阿嬤」。

「植物探訪團」除了讓參加者了解植物的外形特徵外，還很希望藉

互動經驗激發大家對本地植物的好奇心，在踏出酒店後也不忘認識

更多本地獨有的自然生態。這片土地自開埠以來已物轉星移，但其一直生長的自然環境與背後日積月累的故事仍藏身於城市不同角落，這些當下限定的風景實在非常值得大家發掘和珍惜。

Pink and White Shower Art Bazaar 節果決明花見藝術市集

The “Botanic Crew” will take you, with your mobile phone as a compass, on a walk through the geometric maze of the Murray Hotel, amongst the seasonal backdrops of plants from foreign countries full of stories.

Drawing as the Core This exhibition brought together 21 artists connected through notions of drawing, and examined drawing’s relationship to other media to reaffirm the crucial role it plays in the creative process. To understand the artists and the stories behind their artworks more comprehensively, the exhibition included videotapes of 21 interviews: 21 stories from 21 artists, which featured their insights on drawing as well as their attitude towards art and life. 15 Sep–6 Oct 2020 Koo Ming Kown Exhibition Gallery, HKBU

Sound Space as a Generator of Reactive Locations and its Relationship to Environment by Lukas Kuehne

7 Oct 2020 Zoom

What moves us to define and measure space? It is an instinct that goes hand in hand with the impulse to reflect and develop questions. Sculpture shares the same concerns as the analysis of sound and its direct bearing to space. The values of democracy manifesting in immediate proximity under certain anarchic circumstances create concepts that define the terrain of public space.

This show attempted to explore beyond the existing function of bookplates and use them to unite people in an era where it’s impossible for the private realm to be detached from community, society and politics. The show was divided into three parts: (1) Inspiration and Ingenuity; (2) Peregrination in Bookplates; and (3) Spirits of the Time.

15 Oct–11 Nov 2020 Providence University Art Centre, Taiwan

AVA Magazine #10

United in Bookplates

AVA Studio Jewellery – Jewellery Works from AVA, HKBU

24 Oct–25 Nov 2020 Loupe, PMQ

This exhibition showcased works from seven recent graduates who use jewellery as their creative medium. They started their exploration from the traditional values of jewellery and journeyed through issues dear to their heart. These jewellery pieces were the manifestation of their thought processes and each piece is unique and tells a different story, but all are linked through the medium of jewellery. Through this exhibition, the audience could glimpse the vast range of possibilities of contemporary jewellery.

29 Oct–28 Nov 2020 AVA Gallery, Kai Tak Campus, HKBU

This exhibition provided insights into the research practices of the MPhil and PhD students at AVA. What is research? For the students at AVA, research means connecting with a subject in order to understand it, communicate it, and propagate it such that it might live on in form and meaning, pushing past the limits of the subject and researcher alike. Beyond the subject matter, each participant in this exhibition brought unique direction and insight to the practice of research itself. The displays did not make up a fixed archive of objects or of “results”, but were works in progress, bridging the gap between ideas, events, and their record, presenting an opportunity to look into the researchers’ processes of exploring their chosen direction.

Boundless by Song Dong

30 Oct 2020 Zoom

In celebration of the conferment of Song Dong’s (宋冬) Honorary University Fellowship by HKBU, AVA hosted a webinar-lecture by Song Dong on the notion of “boundless” and “bai zuo” (白做), which are two fundamentally different yet intertwined concepts. In Chinese the word “bai” (白) in “bai zuo” (白做) has multiple meanings, one of which is to do something in vain, while it also means doing something for nothing. Even though it is a word that is difficult to define, its non-utilitarian nature sparked Song Dong’s interest and gave him creative impetus. “Boundless” is a concept that leads to a better understanding of the different dimensions of a situation and is always the starting point of Song’s thinking.

Event List SEP2020–AUG2021

AVA RPG 2020 – Groundwork

AVA CCL Talk Series 2020–21 – “Visual arts creation? Do you? Do it? What to do?” Visual language is a creative method of communication and a tool for narration; the creative content or form of visual language gives rise to visual culture. AVA’s interconnected series of talks allows a diverse range of local visual culture talents to communicate their creative experiences and achievements. Creation can be very down to earth. 13 Nov 2020 Zoom

Ngai Wing Lam is a studio artist and colourist specialist, who maintains around a hundred wax figures daily, updating their hair and even props. How to balance restoration, maintenance and restyling?

Fundraising Project “The Kindness of Strangers” AVA partnered with Brunswick & Merchant Cantos for the fundraising project for ImpactHK in 2020. Artworks from local creatives, including alumni and students at the AVA, were gathered, curated and promoted on the social media of the Brunswick Group, before being auctioned online to raise funds for the homeless in Hong Kong. 30 Nov–11 Dec 2020 Online

AVA CCL Talk Series 2020–21 – Journey to Experimental Comics – Lai Tat Tat Wing, “Visual Arts Creation? Do You? Do It? What to Do?”

AVA Magazine #10

4 Dec 2020 Zoom

Comic books are highly different from other art forms. The reading rhythm, speed and where to stop and start reading depends upon the reader. So how do comic artists make use of all these characteristics to create comic books and to understand experimental comic books? Lai Tat Tat Wing is an independent Hong Kong comic artist who has published comic books since 1995. In this talk, he discussed his personal creative experiences and achievements with the audience.

Music Performance by Musicians Sin: Ned, KWC, and Anthony Yeung A five-hour long durational performance by musicians Sin:Ned, KWC, and Anthony Yeung, took place in the WWII air-raid shelter on the grounds of the HKBU AVA Kai Tak Campus. Due to Covid-19 restrictions this event was live-streamed on Facebook Live.

9 Jan 2021 Kai Tak Campus, HKBU

15–21 Jan 2021 CVA402, HKBU

AVA CCL Talk Series 2020–21 – From a Signboard Maker to a Creative Practitioner, “Visual Arts Creation? What? How? Why?”

22 Jan 2021 Zoom

The speaker Lee Kin Ming shared with us how he inherited his father’s career making signboards after his graduation from the University. In 2016, he launched the “Lee Hon’s street calligraphy conservation project” in order to preserve the culture of handwritten signboard characters. In this talk he shared his previous projects as well as his journey from signboard maker to creative practitioner.

Letting Go. Carry On: A Capacity Building Initiative

23 Jan–23 Feb 2021; June–July 2021 Koo Ming Kwon Exhibition Gallery, HKBU

As the first part of this joint initiative, “Letting Go” focused on the introspection of resilience and the associated exhibition took place in January 2021. It comprised 16 sets of works by 9 local emerging artists. These 9 artists were commissioned to create works that examine, reflect, and inspire a sense of resilience, the willingness to adapt, and motivation to overcome obstacles and deal with ambiguity, uncertainty and rejection.

Event List SEP2020–AUG2021

A glass art exhibition organised by four final-year students studying Independent Study in Glass Art in semester 1.

On Lightscapes: Exploring the Cultural Aesthetics, and Narrativities of Contemporary Light and Colour in Hong Kong” – A PhD Statement Show by Cornelia Erdmann This research sought to investigate how light is more than a physical matter or circumstance, but also an aesthetic perception and a cultural experience that frames allusions of site and context, integrating them in an atmospheric narration. 3–10 Feb 2021 AVA Gallery, Kai Tak Campus, HKBU

Cinethesize

17–27 Feb 2021 AVA Gallery, Kai Tak Campus, HKBU

In this year’s 3377 course, teachers and students stimulated and inspired each other throughout the classes, with comments between teachers and students, discussions about art and life, and supportive classmates helping each other out through the nights. There were four months of experimenting, failing and trying, doubting and starting to believe again, until they found their own unique style of presentation and visual language, everything turned out “like a movie”. The exhibition presented not only the results of students’ hard work, but acted as a fitting conclusion for both teachers and students on the 3377 course.

BOOKED: 2021 Art Book Pop-Ups BOOKED: 2021, Tai Kwun Contemporary’s third annual celebration of art and publishing, features over 80 local and non-local participants—including artists, publishers, organisations, booksellers and more—presenting artistmade and artist-centred books, including zines, photo books, monographs, and critical or experimental writing, alongside associated publications and ephemera.

25 - 28 Feb 2021 Tai Kwun

Chronotopologies add the spatial dimension to the timescale in historiography by acknowledging the epistemic and heuristic potential of maps and their visual power to synchronise elements.

9 Mar 2021 Zoom

AVA Magazine #10

KOKO in Dialogue: Text–Image Parergon – “Chronotopologies”

AVA Print Club The exhibition invited AVA staff and alumni to share their artistic practice and approach relating to or using printmaking, demonstrating the varieties and possibilities of printmaking.

10 Mar–10 Apr 2021 AVA Gallery, Kai Tak Campus, HKBU

12 Mar 2021 Zoom

Comic artists Zunzi and Emu are two of the most prominent figures in the history of Hong Kong political cartoons. From the continued discussions since the 80s of the hand-over of Hong Kong, to the social movements in recent years, their works have played a significant role in shaping public opinion. After 30 years’ participation in the field, they decided to re-examine the early development of Hong Kong comics by archiving a large number of images collected from old newspapers. This talk shared their experience and observations in the research process and their views on the future development of the art form.

[___]

14 Mar 2021 Facebook Live

For this event, “[ _ _ _ ]”, the network music ensemble formed by the artists Li Song, Jia Liu, and Shuoxin Tan, all originally from Mainland China, presented a collaborative algorithmic music performance from their current locations in the UK and Germany. They each live-code their algorithms connected through a communication mechanism they have created, the algorithms being live-interpreted into sound in the bunker space at Kai Tak Campus, from where this live-stream was broadcast.

Event List SEP2020–AUG2021

Hong Kong Political Cartoon Talk Series – “The Story of Hong Kong Political Cartoons: a Dialogue with Zunzi and Emu”

Hong Kong Political Cartoon Talk Series – “Begin with THAT Movement: The Laughter and Tears of Online Political Cartoons”

19 Mar 2021 Zoom

The Anti-National Education Movement in 2012 opened the door of political participation for the younger generation. At the same time, it also inspired a group of artists to use comics to respond to society. These artists use the internet and social media as the platform to develop their own language for comics. Over the years, Cuson Lo, Ah To, Kit Man and Baak Shui have established a huge fanbase among young people and their works have played a prominent role in shaping their political views. This talk shared their views on the development of online political cartoons over the past ten years and the impact their works have brought to various social movements and events.

Hong Kong Political Cartoon Talk Series – “Politics / Comics / Storytelling” Hong Kong political comics have undergone big changes in the past ten years, and the framework of traditional political cartoons has been revolutionised, from visual language, expression and theme to publication channel. From four-panel comics, illustrations, printmaking and painting to digital images, these different art form each generate a different political 26 Mar 2021 Zoom

energy. In this talk, Lau Kwong Shing, Au Wah Yan and 鹿鳴

shared their experiences of using various visual languages to tell the same story of Hong Kong.

Milan–Hong Kong Design: New Forms and Functions in Parallel with Italian Iconic Works 9 AVA students, under the guidance of 3 alumni mentors, created three sets of ceramic artworks in response to the complexity of the current pandemic situation. They explored new ways of living with more meaning and passion, through objects that can inject joy and resilience in a time of contagious fear and anxiety.

AVA Magazine #10

26 Mar–4 Apr 2021 Pao Galleries, Hong Kong Art Centre

Glass Fever Despite the ongoing Covid situation, it was such a blessing for the AVA glass art students to have the opportunity to passionately engage in the creative process with glass and exhibit the results.

30 Mar–23 Apr 2021 Level 3, Au Shue Hung Memorial Library, HKBU

In this sharing session, scale modeller Adam Hung told his story of turning his model-making hobby into a career, and the difficulties he encountered. As a full-time creator, he shared his experience in facing different challenges in the era of uncertainty. 9 Apr 2021 Zoom

KOKO in Dialogue: Text–Image Parergon – “Portraits of Thought” In “Portraits of Thought” British artist Michael Whittle introduced some of his recent projects based upon contemporary scientific research and diagrammatic modes of representation. He also discussed the influence that the philosophy of science and Japanese culture have had upon both his practice and research, and his attempt to develop a diagram-based “poetics of science”. 13 Apr 2021 Zoom

AVA CCL Talk Series 2020–21 – Inheriting Canton Porcelain, “Visual Arts Creation? What? How? Why?”

23 Apr 2021 Zoom

Canton porcelain is one of the oldest types of cultural heritage in Hong Kong. Lam Duen Shan Ming briefly introduced the history of Canton porcelain and explained the production process, demonstrating the influence of western art on oriental crafts by showing different antique artworks. The narrative function of porcelain was a valuable mode of visual communication in the past. Following on from this, the speaker showed his latest artwork concept, from idea to final product.

Event List SEP2020–AUG2021

AVA CCL Talk Series 2020–21 – Creating in Chaos – Turning my Hobby into a Career, “Visual Arts Creation? What? How? Why?”

ReSource / ReSearch: Recycling as Creative Practice. A Research Exhibition Documenting creative engagement with such materials, this exhibition showed examples of artistic research into upcycling and recycling strategies in Hong Kong art and jewellery design. Subverting concepts of what is waste and what is valuable, the research offered insights into the development of aesthetically appealing solutions to Hong Kong’s rubbish problem. 3–15 May 2021 Koo Ming Kwon Exhibition Gallery, HKBU

KOKO in Dialogue: Text–Image Parergon – We Are Publication, “The September Garden: Plots” Jenna Collins is an artist from the UK working with the moving image, sound and text. She is a founding member of We Are Publication, a collaborative exploration of speculative publishing established in 2014.

11 May 2021 Zoom

Artisanship and the Pearl River: Ecology, Creative Practices and Global Networks It is a workshop organised by Anna Grasskamp (Academy of Visual Arts, Hong Kong Baptist University) and Joseﬁne Baark (University of Warwick).

12–13 May 2021 Zoom

“RePlace / RePlay” challenged the mainstream understanding of Hong Kong jewellery as predominantly commercial and market orientated. Going beyond conventional ideas on materiality and value, the exhibition presented insights into a vibrant scene of ecologically aware creative practitioners from different generations and cultural backgrounds engaged with the upcycling of Hong Kong material culture. 14–30 May 2021 Goethe-Institut Hong Kong, Hong Kong Arts Centre

AVA Magazine #10

RePlace / RePlay: UpCycling in Hong Kong Art and Jewellery

Pink and White Shower Art Bazaar

18–19 May 2021 The Murray, Hong Kong

AVA worked in collaboration with the Murray to host a two-day arts and crafts market. The two parties share a mutual passion for protecting heritage and nature through art experiences. The event was also their joint effort to nurture art entrepreneurship via business activities. With support from experimental arts and culture studio nomad nomad, the event brought forth an engaging and meditative experience. Staged in the open space under The Murray’s O.V.T and extending all the way to The Arches, the art bazaar brought together alumni of AVA to showcase art projects.

25–31 May 2021 Koo Ming Kown Exhibition Gallery, HKBU

The exhibition title “Yesterday Girl” was the title of Wong Ka Ying’s fourth work in the project. Derived from an 80s Canto Pop Song, the name “Yesterday Girl” connotes the obsolescence of antiquated notions of gender, identity and faciality, replaced – as the artist demonstrates in the exhibition – with the making of self-portraits through digital editing techniques. The fourth work in the project, “Yesterday Girl”, was launched online, allowing visitors to see numerous photographic self-portraits of the artist generated by machine learning using a generative adversarial network.

KOKO in Dialogue: Text–Image Parergon – “Diagrammarians” For this webinar Leila Peacock discussed some of her recent works in the context of essayism as a methodology. Taking as a departure point her visual essay in “KOKO Text-Image Parergon”, she examined her enduring fascination with the essay as form and how this essayistic thinking manifests in her drawing installations. 8 Jun 2021 Zoom

HKBU AVA BA Graduation Show 2021

12–27 Jun 2021 Kai Tak Campus, HKBU

The Academy of Visual Arts of Hong Kong Baptist University presented the BA graduation exhibition of 2021 – “the distance between our graduates and art”. To get closer to art, students distance themselves from their reality, letting go of preconceived ideas and past notions. The exhibition presented a range of distinctive artistic language, reflecting the makers’ mentality in the moment of creation and demonstrated their own uniquely felt distance. Further, the show encouraged the audience to contemplate their own experience and reflections on distance and space, and revel in the space between theirs and others’ worlds, near, far and in between.

Event List SEP2020–AUG2021

Wong Ka Ying’s Research Project – “Yesterday Girl”

Shared Campus – Situated Knowledges Conference A parallel conference and workshop event of Shared Campus at Tai Kwun Contemporary, Hong Kong and Migros Museum für Gegenwartskunst, Zurich. Led by Prof. Dr. Dorothee Richter (ZHdK), Dr. Cedric Maridet (HKBU). Organisation: Ronald Kolb (ZHdK) 25–27 Jun 2021 Koo Ming Kwon Exhibition Gallery

UpCycling Hong Kong: Creative Practices of Reuse in Contemporary Jewellery Hong Kong jewellery artists transform traditional elements of local material culture into new and unconventional jewellery pieces. Exhibiting materials of the past and the present, the exhibition presented insights into a vibrant scene of ecologically aware creative practitioners from different generations and cultural backgrounds engaged with the transformation and upcycling of Hong Kong material culture. 1–21 Jul 2021 Loupe, PMQ

Shared Campus Summer Schools 2021: “Pop Cultures (Hacking Global Pop Icons)” This practice-based Summer School offered students a unique opportunity to experience new creative ﬁelds in transcultural collaborations and to learn about cultural concepts in global contexts, the global mainstream and transcultural adaptation. Focusing on a chosen icon, the different projects interconnected and inﬂuenced each other. 5–23 Jul 2021 Online

17–31 Jul 2021 Kai Tak Campus, HKBU

This year, 19 artists from the MA in Visual Arts programme presented new works in their Graduation Show – “On the Grid”. The artists were largely inspired by their own daily life, and especially their unique experiences under the pandemic during this academic year. Their vague initial ideas gradually took tangible form, constantly colliding with new concepts in a process of continuous self-reflection, exploration, experiment, comparison and resolution of life.comparison and resolution of life.

AVA Magazine #10

HKBU MAVA Graduation Show 2021 – “On the Grid”

HKBU AD Graduation Show 2021 – “Counterbalance” This year, the theme of the graduation show was “Counterbalance”. 36 students of the Associate of Arts (Visual Arts) programme exhibited their photography and sculpture works throughout the previous semesters in order to communicate with the outside world.

27 Jul–7 Aug 2021 Koo Ming Kown Exhibition Gallery, HKBU

“Streets” explored how decolonisation affects public spheres and how social movements are played out locally. In collaboration with artists, activists and researchers from indigenous populations, students from Europe and Asia challenged assumptions about ownership, identity and belonging through physical interaction in public space and through activities connecting them with local environments. 9–27 Aug 2021 Koo Ming Kown Exhibition Gallery, HKBU

Shared Campus Transcultural Collaboration Transcultural Collaboration is a unique, international, semester long MA programme in art and design, and a cooperation between Shared Campus partner institutions in Asia and Europe.

23 Aug–3 Dec 2021 Athens

25 participants from all art and design disciplines had the chance to explore Athens and collaborate experimentally with open outcomes.

Event List SEP2020–AUG2021

Shared Campus Summer Schools 2021: “Social Transformation (Streets)”

The Academy of Visual Arts 視覺藝術院

The Academy of Visual Arts The Academy of Visual Arts (AVA) was founded in 2005 as an independent division of Hong Kong Baptist University, (HKBU), dedicated to educating students in the practice-based professional skills and academic knowledge of the visual arts. Our purpose and spirit are reflected in our commitment to individual experience and creativity throughout our innovative programmes and activities. As an active research hub and community service provider, the Academy is run through a simple, organic administrative structure, capable of flexibly adjusting to new trends and integrating the latest developments. AVA is strongly interlinked with other departments of HKBU and its sister institutions in Hong Kong through an extensive system of professional networks, academic collaborations and institutional agreements. We also proactively foster relations with the general community of Hong Kong and the creative and cultural sectors of the city and the region through numerous activities, exhibitions, lectures, workshops and consultancies. Today, AVA has about 400 undergraduate students, taught by about 30 full-time and more than 20 part-time staff through a choice of over 100 different courses. We have about 30 postgraduate students in master’s and doctoral programmes, and jointly offer an Associate of Arts (Visual Arts) programme with the University’s College of International Education. Together, this makes AVA an inspiring community of practitioners and academics dedicated to the progress of creative practices and thought. AVA operates two campuses: Kai Tak Campus in Kwun Tong, and the Lee Shau Kee Communication and Visual Arts Building in Kowloon Tong, both with fully equipped workshops and studios for visual arts disciplines as varied as painting & drawing, Chinese arts, media arts, sculpture, graphic arts, glass & ceramics, printmaking, jewellery design, object design, experience design, and many more.

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，並透過創新的課程和活動探索個人特質、發揮創意。

學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，加強學術合作和院校協定。我們

亦不時舉辦展覽、講座、工作坊，並提供顧問服務，以促進與本地社區以至區內藝術文化界的交流。

本年度視覺藝術院本科課程由約三十位全職及廿多名兼職教學人員任教，提供超過一百個不同科目的選擇，並合共約四百名本科生和約三十名碩士及博士生。視覺藝術院人才濟濟，院內藝術工作者及學者形成一個意念澎湃的群體，共同推動推動創意發展。

此外，本院亦與浸大國際學院合辦文學副學士(視覺藝術)課程。視覺

藝術院的教學設施分佈於啟德校園和九龍塘大學本部的傳理視藝大樓，有多個設備齊全的藝術工作室，可供從事繪畫、中國書畫、媒體藝術、雕塑、平面藝術、陶瓷、玻璃、版畫、首飾設計、物品設計、體驗設計等創作。

About Our Programmes Social, political, and economic stakeholders as well as the general public all over the world increasingly recognise creative production and culture as essential to our societies’ functioning and to quality of life. The visual arts and their protagonists – artists, designers and creative practitioners – often challenge our values and attitudes, thus adding to the understanding and appreciation of our own and other cultures, influencing political, cultural and social change and driving economic development. Knowledge and creativity are key concerns for the progress of humankind, and visual artists are essential agents in advancing these concepts into and beyond the 21st century. In this context, our visual arts programmes operate in the interdisciplinary area of creative practice that lies across and between media. Developments within the visual arts – starting with the Bauhaus movement in the 1920s, and with a new technology-inspired impetus in the latter quarter of the 20th century – have introduced new processes and situations, which have resulted in an expanded notion of creative practice beyond the traditional concepts of art and/or design, no longer based upon strictly distinguished disciplines or particular media, but rather a hybrid of many. At the Academy of Visual Arts students are not limited to examining a series of media and potentially specialising in one of them, but are encouraged to investigate the idiosyncrasies of their own ideas. It is our belief that the most interesting new work is a product of crossing boundaries between disciplines, conjoining with media outside of established methodologies and canons. The Academy of Visual Arts offers BA, MA and PhD programmes focuse on intensive practice-led work supported by critical and historical research and study. At AVA, our programmes emphasise creativity, versatility and intelligent articulation, enabling our graduates to enter professional, studio-based careers fields. At AVA, our students have the opportunity to develop technical competencies, informed aesthetic judgement and an understanding of the context in which contemporary work is created, rooted in the ever-shifting cultural climate of creative production in the studio.

Studio teaching is conducted through a combination of individual and group tutorials and is founded on the belief that creative practice is fundamentally a social phenomenon. To be able to participate in such social interaction, the Academy of Visual Arts believes that creative work of high quality can only be achieved by well-rounded, balanced artist-personalities who are willing and able to live up to the responsibilities and expectations of their chosen profession. The staff of the Academy of Visual Arts therefore puts great emphasis on a holistic approach in its teaching, aiming to nurture the personalities of students through a wide range of experiences. In effect, the Academy of Visual Arts provides academic education at tertiary level that enables its graduates to realise their professional aspirations within the creative and cultural sectors of Hong Kong and beyond.

我們的課程全球的社會、政治、經濟持份者及大眾正日益認識到，創意產業和文化是維持社會運作並及提升生活質素的關鍵。視覺藝術教育工作

者⸺不論是藝術家、設計師還是創意從業者，不時挑戰社會的價值

觀和態度，從而讓我們對自身及外來文化有更深的認識與體會，這點既推動了政治、文化、社會的變革，同時也促進了經濟發展。知識與創意是人類進步的重要因素，視覺藝術家正是將這些思維帶進21世紀以至未來的重要媒介。

基於上述前提，我們的視覺藝術課程以跨學科領域的創意實踐為立足點，既游走於各個媒體之間，也結合多個媒體進行跨媒體實踐。視

覺藝術的發展源於1920年代的包浩斯運動，隨後伴以20世紀下半葉

的科技推動，社會出現新的發展，從而令創意實踐的範疇不再局限於傳統的藝術和設計，也不再按照媒體而嚴格區分藝術，視覺藝術成為多種元素共冶一爐的混合體。

同樣地，視覺藝術院也會鼓勵學生探究個人意念的特質，而不會把他們的眼界局限於某幾種媒體，然後選擇其中一種作為專修。我們深信，跨越學科疆界並結合非傳統方法及律規的作品，會最為有趣。

視覺藝術院提供學士、碩士和博士學位課程，着重大量視覺藝術上的實踐之外，亦在跨學科的基礎上輔以批判及歷史研習。視覺藝術院的課程強調創意、靈活及智慧的表達，讓學生畢業後能投身不同藝術工作室的專業工作。學院課程協助學生發展專業技能和審美能力，並理解當代藝術作品誕生背後的種種條件。

藝術創作的本質是個社會現象；因此藝術教學結合單獨及集體導修，師生可以藉藝術參與社會互動及討論。學院認為只有個人能力均衡發展，並有志、有力實現事業目標及使命的藝術通才，方能塑造高品

質的藝術創作，因此視覺藝術院格外強調全人教育，讓學生從廣泛的經驗中孕育品性。視覺藝術院開辦的課程，已成功培育了一群畢業生在香港以至全球各地的文化創意界實現理想。

AVA Information 視覺藝術院資訊

BA (Hons) in Visual Arts

Programme Structure The BA (Hons) in Visual Arts programme is offered in two concentrations that are differentiated as Studio & Media Arts Craft & Design Studio & Media Arts Concentration A concentration in Studio & Media Arts allows the student to focus their endeavours in traditional studio arts and/ or contemporary media arts, aiming to generate meaning through aesthetic and/or intellectual concepts beyond a merely functional approach. It indicates the student’s ability to professionally work in areas related to the fine arts – e.g. as a practising artist, to teach related areas, or to take on administrative positions in the sector. Craft & Design Concentration Craft and design both have the physical work result at the centre of their disciplines. Be it a hand-made artefact or a mass-produced industry product, the essence of the result is in its physicality. Because of this, concepts of functionality, usability, sustainability, and also consideration of production processes, market demand and/or general benefits, play an increasingly important role for the visual artist. Completion of this concentration indicates the student’s ability to work as a professional designer or artisan, to teach in this area, and/or to take on administrative positions related to the area. In general, the BA (Hons) in Visual Arts programme requires all its students during their first year at the Academy to attend four Required Courses (1000 level) that provide them with a comprehensive introduction to the practice and history of the visual arts. Students are required to take another two theory courses (2000 level) in their second year, as well as choose a selection of Elective Courses (2000 level) based on their personal interests to expand their practical knowledge and skills base. In their third and fourth years, students are expected to develop more depth in three studio areas of their choice by selecting one Studio Course (3000 level) per term, for which the 2000-level courses they have taken before are prerequisite. Their studies peak in Year 4, when students demonstrate their achievement of the University’s Graduate Attributes in the Studio Honours Project (4000 level), which is supplemented by an interdisciplinary practice course and a professional practice course (both 4000 level) for added exit velocity.

視覺藝術(榮譽)文學士

課程結構視覺藝術(榮譽)文學士課程提供兩大主修領域： > 藝術及媒體創作 > 工藝及設計

藝術及媒體創作主修

此主修範疇讓學生集中學習當代藝術創作，通過美學和觀念探索擴

展作品涵義，超越作品的功能限制。它讓學生發展純藝術相關領域的專業工作能力 – 如藝術家所應具備的教育知識，或從事相關行政工

作的能力。

工藝及設計主修

工藝與設計作品都以本身的實體造型為本去表達創作的原意，不論

是手工製品或大量生產的商品，均以其物質性為依歸，因此作品的功能、實用性、可持續性、製作過程、市場需求和一般效益，都是視藝工作者的重要考慮。修畢此主修領或後，學生將具備擔任專業設計師

或技術員的能力，可以教授相關領或的知識，或從事相關行政工作。總括而言，視覺藝術(榮譽)文學士課程要求所有學生在入讀第一學年

修讀四個必修課程)，讓學生擁有視覺藝術歷史和實踐的基本知識。

學生於第二年須修讀兩科理論課程，以及根據個人興趣選修科目，擴闊實踐的知識和加強技巧根柢。在第三和第四學年，學生可根據已修讀的課程，選修三個獨立藝術創作科目。四年級將會是最關鍵的學

年，學生須完成跨領域訓練學科和專業訓練學科，並於藝術創作畢

業項目展示四年的學習成果。

General Education General Education (GE) is a compulsory academic programme for all students of HKBU. The intention of GE is to provide students with a foundation in a variety of academic subjects beyond the confines of individual disciplines. How does GE combine with the VA major? As the term General Education implies, the content of GE courses is intentionally comprehensive, accommodating students from all kinds of backgrounds and providing them with common skills and knowledge as well as academic methodologies across broad concepts. Accordingly, students take their GE courses in the first half of their studies and focus on their major in the second half. For this reason, the proportion of Visual Arts courses in the study plan for the BA (Hons) in Visual Arts programme gradually increases and ultimately replaces the GE portion.

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。通識教育旨在鞏固學生在不同學術範疇的學習基礎，而不局限於個別專業知識。通識教育如何與視覺藝術主修範疇科目互相配合?

通識教育科目的內容全面，教授學生共通的技巧、知識、學術探究方

法和寬廣的概念。學生宜於低年級時先修讀通識教育科目，再於高年級時集中修讀主修科目。因此，學生修讀由視覺藝術（榮譽）文學士

課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。

學生能從通識教育中學到甚麼？

通識教育是學生探索其他學科的良機。我們預期學生能掌握自己的

主修課程之餘，也同時鼓勵他們具備其他學科的知識，達致全人教育的目標。通識教育提供自我增值的機會、激發創意。

What academic opportunities does GE offer? GE is an opportunity to explore other areas of academic life. We expect our students to excel in their major, but in the spirit of Whole Person Education we also encourage them to have a substantial understanding in other subject areas. GE offers plenty of opportunities for self-enhancement, self-cultivation, and creative stimulation.

Programme information in P.86-89 should refer to the University Student Handbook for the finalised version. 86-89頁所列課程內容，以大學學生手冊 (University Student Handbook) 為準。

Bachelor of Arts (Hons) in Visual Arts 視覺藝術(榮譽)文學士

Programme Structure

Major Required Courses VART 1005 VART 1006 VART 1305 VART 1306 VART 2305 VART 2306 VART 2337 VART 4035 VART 4036 VART 4056

33 Units

Visual Arts Practice I Visual Arts Practice II Arts and Its Histories I Arts and Its Histories II Art in the 20th Century I Art in the 20th Century II Visual Arts Work Experience Interdisciplinary Practice for Visual Artists Professional Practice for Visual Artists Studio Honours Project

Major Elective Courses

51 Units

Craft and Design (CD) Concentration VART 2486 VART 2487 VART 2495 VART 2496 VART 2497 VART 2505 VART 2506 VART 2507 VART 2515 VART 2516 VART 2517 VART 2525 VART 2526 VART 2527 VART 2535 VART 2536 VART 2537 VART 2545 VART 2546 VART 2547 VART 2555 VART 2556 VART 2557 VART 2565 VART 2566 VART 2567 VART 2575 VART 2576 VART 2577 VART 2585 VART 2586 VART 2587

Woodworking Metalworking Digital Tools: Graphics Software Digital Tools: Desktop Publishing Basic Illustration Experimental Illustration Typography Type Design Graphic Design Editorial Design Screen Printing Basics Advanced Screen Printing Relief Printing Intaglio Printing: Etching Glass Blowing: Vessels Glass Blowing: Basics Glass Kiln-Forming Glass Casting Ceramics: Hand-building Techniques Ceramics: Alternative Techniques Ceramics: Wheel-throwing Techniques Ceramics: Surface Treatments Small Metal Jewellery: Cold Small Metal Jewellery: Hot Wearables: Pattern Making Wearables: Dyeing and Decorating Digital Tools: 3D software Fundamentals Digital Tools: Prototyping HK Crafts: Traditional Techniques HK Crafts: Space-Saving Objects Space and Site Spcae and Display

Graphic Arts VART 3395 VART 4087 VART 4095

Studio: Graphic Arts Further Studies in Craft & Design (Graphic Arts) Further Studies in Craft & Design (Printmaking)

Glass & Ceramics VART 3396 VART 3427 VART 4096 VART 4107

Studio: Glass Studio: Ceramics Further Studies in Craft & Design (Ceramics) Further Studies in Craft & Design (Glass)

Object Design VART 3397 VART 4097 VART 4105

Studio: Object Design Further Studies in Craft & Design (Wearables) Further Studies in Craft & Design (Object Design)

Experience Design VART 3405 VART 4106

Studio: Experience Design Further Studies in Craft & Design (Experience Design)

Studio & Media Arts (SMA) Concentration

VART 2426 VART 2427 VART 2435 VART 2436 VART 2437 VART 2445 VART 2446 VART 2447 VART 2455 VART 2456 VART 2457 VART 2465 VART 2466 VART 2467 VART 2475 VART 2476 VART 2477 VART 2485 VART 2596 VART 2597 VART 2605 VART 2606 VART 2607 VART 2615 VART 2616 VART 2617 VART 2625 VART 2626 VART 2627

Drawing: Mark Making & Collage Drawing: On Location Life Drawing Painting: Materials and Techniques Painting: Approaches to Observation Chinese Calligraphy: Seal and Clerical Scripts Chinese Calligraphy: Standard and Semi-cursive Scripts Chinese Seal Engraving: Seals with Chinese Characters Chinese Seal Engraving: Pictorial Seals and New Materials Chinese Painting: Gongbi Chinese Painting: Experimental Chinese Painting: Xieyi Chinese Painting: Landscape Analogue Photography Digital Photography Video Basics Video Camera Work and Lighting Sound Basics Video Editing Media Arts: Multimedia Authoring Media Arts: Physical Media Additive Sculpture: Clay and Plaster Additive Sculpture: Bronze Casting Subtractive Sculpture: Wood Subtractive Sculpture: Stone Observational Drawing Digital Tools: Hypermedia Design Digital Tools: Web Design with Content Management System (CMS) Sculpture: 3D Technology for Sculpture Fibreglass Sculpture Photographic Lighting Alternative Photographic Processes Foundations of Abstract Painting Contemporary Abstract Painting Video Compositing and Effects Sound Editing

Free Elective Courses

VART 3377 VART 4065 VART 4066

Studio: Drawing & Painting Further Studies in Studio & Media Arts (Drawing) Further Studies in Studio & Media Arts (Painting)

Chinese Arts VART 3385 VART 4067

Studio: Chinese Arts Further Studies in Studio & Media Arts (Chinese Arts)

Media Arts VART 3386 VART 3436 VART 4075 VART 4076

Studio: Audio-Visual Practices in Media Arts Studio: Spatial Practices in Media Arts Further Studies in Studio & Media Arts (Media Arts) Further Studies in Studio & Media Arts (Lens-based Media)

Sculpture VART 3387 VART 3435 VART 4077 VART 4085 VART 4086

Studio: Sculpture Studio: Spatial Practice Further Studies in Studio & Media Arts (Sculpture) Further Studies in Studio & Media Arts (Performance Studies) Further Studies in Studio & Media Arts (Installation Art)

Visual Arts Studies VART 4115

Special Topics in Visual Arts Studies

13 Units

University Core Requirement University English University Chinese Healthy Lifestyle The Art of Persuasion

Drawing & Painting

13 Units

GE Requirement

18 Units

Level 1 Foundational Courses Level 2 Interdisciplinary Thematic Courses Level 3 GE Capstone Please refer to the below link for details: https://ge.hkbu.edu.hk/en/ge_programme_courses/ programme_structure/

Bachelor of Arts (Hons) in Visual Arts 視覺藝術(榮譽)文學士

VART 2405 VART 2406 VART 2407 VART 2415 VART 2416 VART 2417 VART 2425

Undergraduate Programme: Admission

本科課程入學要求

How to apply The Academy of Visual Arts welcomes students from any educational background into our BA (Hons) in Visual Arts programme, including mainland, overseas and mature students alike. Students educated in Hong Kong applying for admission to the BA (Hons) in Visual Arts programme on the strength of the Hong Kong Diploma of Secondary Education (HKDSE) should apply through the Joint University Programmes Admission System (JUPAS). References of admissions scores of previous JUPAS entrants can be found on the webpage of the University’s Academic Registry. Students from the Chinese mainland sitting for the current year of the Joint Entrance Examination (JEE) fall into a specific admission scheme for the University and should refer to the University’s Academic Registry for details. Local and overseas students seeking admission on the strength of other qualifications, e.g. IB or GCE, including mainland students other than the above-mentioned, should apply for direct admission to the University (generally known as non-JUPAS). Final-year students/holders of sub-degrees including higher diploma or associate degree, degree holders and transfer students may apply for admission to an advanced year of the programme, e.g. Year 2 or Year 3. Applicants need to satisfy both the University’s General University Admission Requirements as well as the Programme Admission Requirements. General University Admission Requirements In general, applicants must possess qualifications equivalent to secondary school completion deemed appropriate for university admission. For JUPAS applicants, this is interpreted as: i) Level 3 or above in both Chinese Language and English Language; and ii) Level 2 or above in Mathematics compulsory part, Liberal Studies; and iii) Level 3 or above in two elective subjects. For non-JUPAS applicants, this refers to any acceptable alternative qualification such as an Associate Degree or Higher Diploma/Diploma from a higher education institution recognised by the University, an International Baccalaureate Diploma, SAT, or GCE Advanced Level (AL)/ International Advanced Level (IAL). Non-JUPAS applicants will be considered on an individual basis. For details of the General University Admission Requirements, please refer to the University website:

入學申請視覺藝術院的視覺藝術文學士（榮譽）課程接受不同教育背景的學生申請報讀，包括來自內地、海外及年長的學生。

本地學生如欲以香港中學文憑考試成績申請，應通過大學聯合招生

辦法 (JUPAS) 入學。過往的收生成績參考，可見於大學教務處網頁。中國內地學生可以當年度的普通高等學校聯合招生考試成績申請入學，計劃詳情請向教務處查詢。

本地及海外學生如以上述以外的其他資格提交入學申請，如國際文

憑試 (IB)，或英國普通教育文憑考試 (GCE)，需通過大學非聯招途徑入學。大學認可的副學士、高級文憑或文憑課程的準畢業生或畢業生、大學學位持有人或其他大學轉學生，可申請入讀課程高年級。

不論透過何種途徑申請入學，申請人都必須符合大學及課程入學的基本要求。

大學基本入學要求一般而言，申請人必須完成中學課程，並具備申請入讀大學的成績要求。

透過大學聯招辦法入學的申請人須具備以下資格：

1) 香港中學文憑考試中國語文科及英國語文科第3級

2) 香港中學文憑考試數學科必修部分及通識教育科第 2 級 3) 2 科香港中學文憑考試科目第 3 級

至於非大學聯招辦法，申請人須具備其他認可資格，例如：大學認可

的副學士、高級文憑或文憑課程、國際文憑試 (IB)，SAT, GCE(AL) 或 IAL 等。非聯招申請人將獲個別考慮。 Remarks a) Subject score equivalence: 5**=7, 5*=6, 5=5, 4=4, 3=3, 2=2, 1=1. b) Best five subjects must include English Language. c) Awardees will only be awarded under one of the three criteria – whichever gives the highest award amount. d) Counting total scores in maximum of two combined HKDSE sittings. 備註甲）科目評級等值分數：5**=7, 5*=6, 5=5, 4=4, 3=3, 2=2, 1=1 乙）最佳五科必須包括英國語文。

丙）獲奬者只會獲頒發上述三項奬學金的其中一項，並以最高奬勵金額一項者為準。

丁）總分最多可按照兩次香港中學文憑試成績計算。

課程入學要求

AVA does not define specific academic requirements for admission to the BA (Hons) in Visual Arts programme. However, the study of and subsequently a professional career in the visual arts requires not only good academic skills but also a certain degree of talent, including, for example, a good visual sense, good brain–hand coordination, spatial awareness, and especially a rich imagination, intellectual flexibility and personal dedication. It is the purpose of the programme’s Admission Exercise to determine these skills.

本院的視覺藝術（榮譽）文學士課程沒有特定的入學要求，但視藝訓

Admission Exercise

課程的申請人均需要参加測試，藉此展示個人從事視覺藝術工作的

To assess their creative talent, we require all applicants to participate in an exercise designed to provide them with opportunities to showcase their potential for working in the visual arts. The Admission Exercise comprises three parts: > A portfolio review; > A practical exercise; > An interview.

練及往後的就業情況往往要求良好的學術表現，甚至某程度的才華，包括良好的視覺感、精準的手腦協調能力、敏銳的空間觸覺，以及豐

富的想像力、靈活的思維及對視覺藝術的投入。課程的入學評核測試正是為判斷申請人是否具備相關能力而設。入學評核測試為進一步評估申請人的創作才能，所有報讀視覺藝術（榮譽）文學士潛能。

入學評核測試包括以下三個部份： > 檢閱個人作品集 > 藝術創意測試 > 面試

入學評核測試的評審準則如下： > 創意和豐富的構想力（創意）；

> 發展並實現複雜而具創意的解難方法（解難能力）；

All parts of the Admission Exercise are evaluated for the following criteria: > Creativity and breadth of ideas (“Creativity”); > Capability to develop and realise complex creative solutions (“Problem Solving”); > Ability to present personal artistic ideas (“Communication”); and > Personal dedication and commitment to the subject area (“Attitude”).

入學計分辦法

Composition of Admission Score

入學獎學金

The total admission score is composed of a) 50% programme admission score through the admission exercise mentioned above, and b) 50% academic score. For JUPAS applicants, the academic score is the total score of the best five DSE subject scores, including English. Admission Scholarship a) For local students through the JUPAS scheme Admitted HKDSE candidates (2022/23 entry) who meet the following criteria will be awarded: > Full four-year scholarship ($168,400) for those with 28 or above total scores in the best five subjects; or > $30,000 scholarship for those with 26–27 total scores in the best five subjects; or > $2,000 and $1,000 for each 5** and 5* subject score respectively for the best five subjects. b) For Senior Year Entrants The Academy will select and award $10,000 to outstanding senior year entrants; no quota is set. c) For mainland/overseas students The Academy will select and award a lump sum of $10,00040,000 to outstanding mainland and overseas students admitted to AVA; no quota is set.

> 表達個人藝術意念的能力（表達能力）；及 > 個人對藝術專業的投入與熱誠（態度）。

入學總分為50%學院入學評核成績及50%學術成績。經大學聯招報考者，其學術成績為中學文憑試最佳5科（包括英文科）分數總和。

1) 循大學聯招取錄入讀2022/23年度的本地學生：

> 於最佳五科考獲28分或以上，奬學金為四年全額學費，共168,400港元；或

> 於最佳五科考獲26至27分，奬學金為30,000港元；或

> 於最佳五科中，每個考獲5**或5*級之科目的奬學金分別為

2,000港元或1,000港元。

2) 高年級入學的本地學生：

學院會獎勵以優秀成績入讀的高年級本地生10,000港元；不設名額限制。

3) 內地或海外學生：

學院會獎勵以優秀成績入讀的內地或海外生10,000-40,000港元；不設名額限制。

For details of the General University Admission Requirements, please refer to the University website: admissions.hkbu.edu.hk. 有關大學基本入學要求的詳細資料，請參閱本校網頁： admissions.hkbu.edu.hk

Bachelor of Arts (Hons) in Visual Arts 視覺藝術(榮譽)文學士

General University Admission Requirements

Other Information

Exchanges at AVA AVA currently offers international exchange programmes with sister institutions in Australia, Canada, Germany, Iceland, Italy, South Korea, Japan, Sweden, Switzerland, the UK and the USA. AVA students can also benefit from HKBU’s extensive network connections in Asia, North America, Australasia and Europe. Work Experience We require all students of the BA (Hons) in Visual Arts programme to undertake a self-organised non-credit-bearing work experience (internship, work placement, or similar) during their time of study. The work experience links classroom theory to professional practice and provides the student with learning experiences beyond the academic programme. Such experiences are invaluable for the students’ professional and personal development, giving them the opportunity to experience the wider arenas of the creative and cultural sectors. Career Prospects According to the graduate survey of 2020, conducted six months after graduation, of 104 graduates 56% had secured full-time equivalent jobs, 9% were working part-time and 12% were self-employed, while 8% pursued further studies. Among the graduates with full-time jobs, 46% entered the commerce/ industry sector, followed by education (37%), and community/ social services (11%). More than 38% of the graduates were engaged in art and design as part of their job duties such as artists, designer, art administrator, visual art teacher and technician. The average monthly starting salary for graduates was around HK$14,856. Associate of Arts (Visual Arts) The Associate of Arts (Visual Arts) programme is jointly offered by the Academy of Visual Arts and the College of International Education (CIE) as an entry-level sub-degree to prepare students for further studies in the visual arts, such as the BA (Hons) in Visual Arts offered by AVA. It provides students with basic education in various visual arts, emphasising relevant skills and knowledge acquisition, and generally encourages individual academic and personal development. The Associate Degree programme normally requires two years of study. After completion of the AD programme, graduates are most likely to apply for admission into full undergraduate degree programmes in areas like visual arts, fine arts, design, creative media, and/or art education as offered by HKBU and/ or other universities and institutions; alternatively, they may choose to pursue creative careers in visual arts-related fields.

其他資料交換生計劃視覺藝術院安排學生到澳洲、加拿大、德國、冰島、意大利、南韓、日

本、瑞典、瑞士、英國，及美國等地的聯繫大學進行國際交流。學生亦可參與由浸會大學舉辦的交換生計劃，到訪亞洲、北美洲、澳大拉西亞及歐洲各地的其他院校。工作體驗本院要求所有修讀視覺藝術(榮譽)文學士課程的學生在修讀期內參

與自發、不含學分的工作體驗 (如工作實習計劃)，把課堂所獲取的知

識學以致用。工作體驗對學生的專業和個人發展相當重要，可提供一個課堂以外寶貴的學習經驗，有助學生建立和釐清自己未來的工作路向，體驗創意與文化界的廣闊空間。畢業前景 2020年，大學在學生畢業後六個月進行了一項調查，在104名受訪者當中，百分之五十六的本院本科畢業生成功尋找到全職工作，百分之九選擇兼職工作、百分之十二選擇創業，而百分之八的畢業生則繼續升學。在全職就業的工作類別而言，百分之四十六的畢業生投身工商業界，百分之三十七為教育界，百分之十一則從事社區或社會福利工作。超過百分之三十八的畢業生的職責與藝術或設計相關，包括藝術家、設計師、藝術行政人員、視覺藝術老師及技術員，平均月薪約港幣

14,856元。

文學副學士(視覺藝術)課程文學副學士(視覺藝術)課程由本院與國際學院合辦，此基礎副學士課

程幫助學生準備將來繼續升學，如申請入讀本院的視覺藝術（榮譽）

文學士課程。此副學士課程旨在提供不同的基礎藝術教育，尤其着重教授相關的技巧和知識，促進學生的個人成長及學術發展。

副學士修讀期為兩年，學生在畢業後，可報讀浸大或其他院校開辦的視覺藝術、純藝術、設計、創意媒體或藝術教育等學士課程，亦可選擇直接投身視覺藝術相關行業的創意工作。

Master of Arts in Visual Arts 視覺藝術文學碩士課程

The programme aims to nurture creative talents with contemporary research methodologies and in-depth professional knowledge and skills, as well as cross-cultural and interdisciplinary awareness in diverse visual arts practices: > to locate students’ creative and academic practices in global and local socio-cultural contexts; > to enable students to develop their own creative profiles according to their research interests in a specific visual arts discipline (their declared concentration); and > to meet the growing demand for professional practitioners in the cultural and creative sectors in Hong Kong and beyond.

視覺藝術文學碩士是一個跨文化、國際化的實踐型修課式研究生課程，其國際視野體現在課程內容、學生、師資以及與海外院校進行課程內外的交流合作。課程設有兩大主修領域──藝術及媒體創作與工藝及設計，涵蓋了寬廣的創作領域，從美術到應用藝術，從個人表達到社會文化應用，切合本地與國際創意人才的需求。

（本課程修訂自視覺藝術院於2007年至2016年期間開辦的視覺藝術碩士課程。）

課程目標為培育創意人才，使其熟悉當代研究方法，精通專業知識

及技能，並能在多元化視覺藝術工作室實踐中，具備跨文化、跨學科認知。

> 將學生的藝術和學術實踐，置於全球及本地社會文化語境中。

> 輔助學生因應自己在特定視覺藝術學科（其選定的主修領域）中的研究志趣，建立自己的創意成果

> 滿足香港以至全球文化及創意產業，對專業從業人員日益增長的

需求。

Master of Arts in Visual Arts 視覺藝術文學碩士

The Master of Arts in Visual Arts (MA in Visual Arts) is a practice-based taught post-graduate programme with international impact and cross-cultural scope in terms of student origins, staffing and course content as well as curricular and extra-curricular collaborations with other international institutions. Students can choose from the two concentrations, Studio & Media Arts and Craft & Design, which cover a wide range of creative practices from fine arts to applied arts and from individual expressions to socio-cultural applications, to fulfil the needs of local and international creative talents. (This programme was developed from the Master of Visual Arts programme offered by the Academy from 2007 to 2016.)

Master of Arts in Visual Arts

視覺藝術文學碩士課程

The programme is offered in two concentrations:

視覺藝術文學碩士課程的專修領域分為兩類：

Studio & Media Arts

藝術及媒體創作

Studio & Media Arts covers a wide range of art forms and artistic practices from traditional to contemporary, tactile to virtual. The connection between media and the content of artistic practice as well as its relations with social and cultural contexts is the fundamental question that students need to explore in the programme. The well-equipped studio facilities in AVA enable students to advance their artistic practice at a professional level through self-initiated investigation in various studio and media disciplines, including but not limited to painting, photography, sculpture, Chinese painting and calligraphy, video, multimedia and sound art. The Studio & Media Arts concentration provides an interactive and integrative environment for individual student artists to critically review and extend their own artistic practice with comprehensive theoretical knowledge and consistent studio exploration. Craft & Design Craft & Design both have the physical work-result at the centre of their disciplines. Be it a hand-made artefact or a massproduced industrial product, the essence of the result is in its physicality and objecthood. Parallel to the current development of material culture studies, concepts of functionality and usability, as well as the interpretation of material processes and how objects shape our cultural life, play an increasingly important role to artisans and designers. AVA provides both traditional studio facilities and contemporary prototyping equipment to enable students to advance their creative practice at a professional level through self-initiated projects in various craft and design disciplines such as glass art, ceramics, studio jewellery, graphic books, product design and environmental design. The Craft & Design concentration provides unique theoretical and practical setups to facilitate student artisans and designers to critically engage in creative investigation through an intimate studio environment and/or strong connection with industry partners.

「藝術及媒體創作」專修領域涵蓋內容廣泛，涉獵傳統至當代、具體

至虛擬的藝術形式和實踐。媒體與藝術實踐內容之間的聯繫，以及相關的社會文化脈絡是修讀本課程的學生需要探索的根本議題。AVA

設備完善的藝術工作室讓學生可以自主研究繪畫、攝影、雕塑、中國書畫、錄像、多媒體和聲音藝術等不同的藝術及媒體範疇，使他們能將創作實踐提升至專業水平。「藝術及媒體創作」專修領域為個別學

生藝術家提供綜合、互動的環境，讓他們通過全面的理論知識和堅實的工作室實踐探索，以批判性的角度審視和擴展藝術實踐。工藝及設計「工藝及設計」專修領域以具體的創作成果為核心，不論是手工製作

還是大規模生產的工業產品，其本質均在於物理特性和物體情境。與當前的物質文化研究發展並行，功能及可用性的概念、物料處理工序的詮釋，以及物件如何塑造我們的文化生活，這一切對工匠和設計師而言越趨重要。AVA兼備完善的傳統工作室設施和現代化原型設計

器材，讓學生可以自主開展玻璃藝術、陶瓷、藝術首飾、圖像紙本、產品設計和環境設計等各式工藝及設計項目，使他們能將創作實踐提升至專業水平。「工藝及設計」專修領域為學生工匠和設計師提供獨特的理論和實踐元素，讓他們可以在氣氛融洽的工作室環境和／或與行業合作夥伴的緊密聯繫下，以批判性的角度進行創作研究。

The MA in Visual Arts programme offers an exchange programme and double degree scheme with the Zurich University of the Arts (ZHdK). The Transcultural Collaboration is a semester-long exchange, in which students in their first semester will study in Hong Kong, Zurich and one other city together with a group of international postgraduate students from different institutions. The Zurich–Hong Kong Double Degree Scheme in “Transdisciplinary Creative Practice” offers students the opportunity to continue their studies in Zurich after successful completion of their studies at AVA. After one more year at ZHdK, students may then receive the second degree – the MA in Transdisciplinary Studies. Interested students need to apply and complete a competitive selection process to enrol in these programmes. Admission Requirements Applicants should possess a bachelor’s degree from a recognised university or comparable institution, or an equivalent qualification. Applicants are expected to be able to communicate in English at an advanced level, meeting one or more of the following qualifications: (a) A bachelor’s degree or equivalent qualification earned from an English-medium institution; or (b) A band score of 6.5 or above in IELTS (Academic); or (c) TOEFL scores of 550 (paper-based), 79 (internet-based); or (d) CET-6 (College English Testband 6) score of 450. Applicants should have relevant experience in the respective studio practice. Applicants are required to submit a portfolio and a study proposal for the SMA/CD Studio Project, as well as to declare their intended concentration (Studio & Media Arts or Craft & Design) during application. An individual onsite or online interview may be arranged for applicants to assess their background knowledge, experience and commitment, as well as their suitability for the programme.

交流計劃視覺藝術文學碩士課程與瑞士蘇黎世藝術大學（ZHdK）合辦交流計

劃和雙學位課程。「跨文化合作」（The Transcultural Collaboration）計劃是為期一個學期的交流項目，期間學生將與來自不同院校的國際碩士生於香港、蘇黎世和額外一個城市交流學習。而「跨學科創意

實踐」（Transdisciplinary Creative Practice）蘇黎世－香港雙學位課程則為學生提供機會，讓他們在AVA完成課程後可以在蘇黎世繼續深造。當學生在ZHdK完成額外一年的課程後，將可獲得第二學

位⸺跨學科研究碩士學位。上述課程競爭激烈，有興趣的學生必須申請並通過嚴格選拔才能入讀有關課程。入學要求申請人應持有認可大學或同等機構所頒發的學士學位或同等學歷資格。

申請人應具備專業水平的英語能力，並且持有以下至少一項資格：（甲）具備認可大學或同等級的教育機構(以英語授課)所頒發的學士學位；或

（乙）IELTS學術模式考試得分為6.5分或以上；或

（丙）TOEFL iBT網上考試得分為79分或以上；或

（丁）全國大學英語六級考試(CET-6)得分為450分或以上。申請人應具有相應的工作室實踐經驗。

申請人必須提交作品集和藝術及媒體創作／工藝及設計項目研究計劃，以及在申請中列明打算選修的主修領域（即藝術及媒體創作或工藝及設計）

獲邀之申請人將獲安排現場面試或網上面試，從而評估其背景知識、經驗和投入程度，以及是否適合修讀該課程。

Master of Arts in Visual Arts 視覺藝術文學碩士

Exchange Programme

Research

The Centre for Research and Development in Visual Arts was established by the Academy of Visual Arts (AVA), Hong Kong Baptist University, in 2013 to enhance visual arts development in Hong Kong and neighbouring regions. The Centre is housed in the former Royal Air Force Officers’ Mess – a Grade I listed historic building located on a serene hilltop overlooking the old Kai Tak Airfield. The Centre has been offering a vibrant programme of artistsin-residence, exhibitions, workshops, artist talks, guided tours and screenings, as well as a variety of publications and online resources. Research is critical to AVA’s distinctiveness, success and sustainability and is central to the quality of teaching and learning. At AVA, research may take the form of creative, studio-based practice that addressees specific research questions or may result in more traditional text-based research outcomes. Research at AVA is organised through three interweaving strands of practice-based and theoretical inquiry in the following thematic groupings: 1. Public Art and Socially Engaged Practice is a primary research area with a focus on social context and the dissemination of practice-based research in a wide range of formats, spatial types and locations to develop new approaches and increase reach and impact. 2. Media Art and New Technologies focuses on new and emergent forms of creative media practice utilising lens-based media, computer software, augmented and virtual reality, artificial intelligence and robotics technologies. 3. Visual Arts Studies provides a platform for the development of research in the fields of Asian ceramics, glass art, ink art and calligraphy and particularly their interpretation in contemporary and transnational theoretical contexts. These three research strands enable AVA to interrogate key issues within a range of art and design practices.

研究

香港浸會大學視覺藝術院於2013年成立視覺藝術研究與發展中心，旨在加強香港及鄰近地區的視覺藝術發展。中心坐落於俯瞰舊啟德機場的寧靜山丘上，原址為前英國皇家空軍軍官俱樂部，屬一級歷史建築。

研究中心積極舉辦藝術家駐校計劃、展覽、藝術家分享會、放映會和導賞等活動，並出版不同類型的刊物、提供網上資源。

研究對視覺藝術院的獨特性、成功和可持續發展尤關重要，也對視覺藝術的教與學起關鍵作用。視覺藝術院（AVA）的研究多以創作、工作

室實踐的形式進行，既可以回應特定研究議題，亦可以衍出較貼近傳統的文本研究成果。AVA的研究均始於下列結合實踐為本與理論探索的主題：

（一）「公共藝術和社會參與實踐」屬首要研究領域，重點關注社會脈絡，通過各種形式、空間類型和場地傳播實踐為本的研究，從而建立新門徑，擴闊影響的範圍與深度。

（二）「媒體藝術和新科技」著眼於新興的創意媒體實踐形式，例如：鏡頭媒體、電腦軟件、擴增及虛擬實境、人工智能和機器人技術。

（三）「視覺藝術研究」為亞洲陶瓷藝術、玻璃藝術、水墨藝術及書法

的研究發展提供平台，尤其關注在當代和跨國理論背景下，對上述藝術媒體的闡釋。

上述三大研究範疇使AVA能夠探究、思索、叩問藝術和設計實踐中的

一系列關鍵問題。

AVA pursues a broad and diverse research agenda with special focus on public art, socially engaged art, art and technology and the analysis of objects in a transnational context. The impact of these focal areas transcends the academic community and brings engagement with the visual arts and underlying concepts to local, regional and international audiences. Significant impact is particularly evident with public art projects that take the experience of visual art beyond museum and gallery walls. Examples include various large-scale site-specific projects by Mr. Ng Siu King Kingsley. Kingsley has established himself as a leading artist in performative, site-specific works of art including ARIA which was a multidisciplinary research project premiered at the Forsgate Conservatory in Hong Kong Park in November 2020. The production features vocal performances, dance and light installations that explore air and the impact of environmental pollution. The production is part of a series of artworks featured in the “ReNew Vision” platform, which was organised by the Leisure and Cultural Services Department to showcase a selection of innovative, cutting-edge cross-disciplinary collaborations. Ng’s work Twenty-Five Minutes Older which was installed on two Hong Kong trams was subsequently presented in Milan Design Week 2017 and Art Basel Hong Kong 2017. This work garnered international attention from publications such as The New York Times, Art in America and ArtAsiaPacific. After the Deluge, also by Ng, was installed in 2018, and was extraordinarily popular and impactful in Hong Kong. The work was located in the Tai Hang Tung Stormwater Storage Tank, which is normally off limits to visitors. Over 10,000 people visited the art installation, many of whom were new audience members for contemporary art.

AVA進行的研究議題不僅種類繁多，而且內容廣泛，特別關注公共藝

術、社會參與藝術、藝術與科技和跨國背景下的物像分析。上述的重

點研究領域將視覺藝術及其基本概念傳達予本地、內地和海外觀眾，其影響超越學術層面。

將視覺藝術體驗帶到博物館和白盒子外的公共藝術項目，尤其能夠

帶來顯著的影響。伍韶勁的創作涉及場地特定藝術，由他擔任藝術總監之一的作品《空氣頌》是一個跨學科研究項目，以音樂、舞蹈、光影

裝置編織而成，透過藝術創作探討空氣和地球污染問題。《空氣頌》是網上演藝平台「更新視野」的作品之一。「更新視野」由康樂及文化事

務署主辦，展示創新及前瞻性的跨界合作。另一個例子為由他創作並設於兩部香港電車上的裝置作品《25分鐘之後》，此作品先後在米蘭

設計週2017（Milan Design Week 2017）和香港巴塞爾藝術展2017

中展出，更獲得《紐約時報》（New York Times）、《Art in America》和《ArtAsiaPaciﬁc》等國際刊物的關注。此外，同為伍韶勁先生所創作的《大禹之後》，於2018年在香港廣備受注目為流傳，影響同樣深

遠。這件裝置藝術作品設於訪客平日無法進入的大坑東蓄洪池內，吸引了逾10,000人欣賞，其中許多參觀人士更是從未接解過當代藝術

的新觀眾。

Research 研究

Research

Prof. Leung Mee Ping has developed a number of successful public art projects including the PlayDepot initiatives, which foster play as educational experience, informal creative engagement and as a means of community building. Leung’s PlayDepot projects include experiential, public art/play activities held at the Bangmod Canal community in Bangkok, Thailand in December 2018 and the two-month creative play activities held at the Cattle Depot at To Kwa Wan, Hong Kong in 2018. These public art projects are examples of many such initiatives by faculty at AVA that engage expanded audiences and often address issues of social importance. Numerous AVA faculty members have received special recognition for their outstanding work, including: Ms. WAN Lai Kuen Annie – Hong Kong Arts Development Council (HKADC) Artist of the Year 2019; Mr. Lee Wing Ki Kalen – WMA Masters Award 2016–17; Dr. Chung Wai Ching Bryan – HKADC Artist of the Year (Media Arts) 2016 and Grand Prize Award, Art Division at the 19th Japan Media Arts Festival 2015; Prof. Leung Mee Ping – HKADC Artist of the Year 2015, and Mr. Ng Siu King Kingsley – HKADC Best Artist Award (Media Arts) 2014. Faculty research has also been generously supported by the UGC/RGC, Asia Cultural Council, Hong Kong Arts Development Council, Home Affairs Bureau and Home Affairs Department, Pure Art Foundation, Hong Kong Jockey Club and the Robert H.N. Ho Foundation. Faculty members have participated in numerous prestigious international biennales, art festivals and exhibitions including the first Helsinki Biennale 2021; the first Bangkok Art Biennale 2018; 5th Guangzhou Art Triennial; Art Taipei; Triennale Di Milano; KochiMuziris Biennale, India; Asia Triennial Manchester; 11th Gwangju Biennale, South Korea; Echigotsumari Art Triennale, Japan; 19th Japan Media Arts Festival; and Hong Kong Contemporary Film Festival. International solo exhibitions were held at Asia Art Centre in Beijing and Taipei; Gallery of Civic and Municipal Affairs Bureau, Macau; Sala Brazil, Embassy of Brazil, London; Songshan Cultural and Creative Park, Taipei, and international group exhibitions at Art Taipei; Art Basel Hong Kong; Langen Foundation, Germany; and Yada Gallery, Japan.

研究

梁美萍博士亦創作過很多成功的公共藝術項目，其「土炮遊樂場」

（PlayDepot）將「玩」化成教育體驗、通俗創作參與和建構社區的

方法。該項目於2018年在香港土瓜灣牛棚藝術村舉辦了為期兩個月的創意遊玩活動，更於同年12月在泰國曼谷Bangmod Canal

Community舉辦了體驗式公共藝術及遊玩活動。上述數個公共藝術

項目皆是AVA教職員所舉辦的同類型項目中的一些例子，這些項目不但吸引大量觀眾，而且往往能回應不同的重要社會問題。

AVA的研究項目獲大學教育資助委員會或研究資助局、亞洲文

化協會、香港藝術發展局、民政事務局、民政事務總署、Pure Art

Foundation、香港賽馬會和何鴻毅家族基金等機構慷慨資助。

此外，數位AVA教職員也因其出色的藝術成就而獲得特別表彰，其

中包括：

尹麗娟女士⸺香港藝術發展局2019年藝術家年奬；李泳麒先生⸺2016-17年WMA大師攝影獎；

鍾緯正博士⸺香港藝術發展局2016年藝術家年奬（媒體藝術）及 2015年第19屆日本媒體藝術祭藝術大獎；

梁美萍博士⸺香港藝術發展局2015年藝術家年奬；

伍韶勁先生⸺香港藝術發展局2014年年度最佳藝術家獎（

媒體藝術）。

AVA的教職員曾參與的著名國際雙年展、藝術節和展覽多不勝數，

其中包括2021年第一屆赫爾辛基雙年展、2018年第一屆曼谷藝

術雙年展、第五屆廣州三年展、台北國際藝術博覽會、米蘭三年展

（Triennale Di Milano）、印度KochiMuziris雙年展、曼徹斯特亞洲藝術三年展、南韓第11屆光州雙年展、日本越後妻有大地藝術祭、

第19屆日本媒體藝術祭和香港現代電影節。他們亦曾於北京和台

北的亞洲藝術中心、澳門民政總署畫廊、巴西駐倫敦大使館的Sala

Brazil、台北松山文創園區、台北國際藝術博覽會、香港巴塞爾藝術

展、蘭根基金會美術館（Langen Foundation）和日本Yada Gallery 等國際展覽場地中舉辦個人展覽。

Research Postgraduate Degrees

Our research postgraduate programme is based on identifying, understanding and developing creative practice as a specialised field of knowledge production. It is particularly focused on practice-led research strategies and methodologies in the visual arts with the intention of supporting the development of the individual creative arts practitioners’ works and research. The programme is studio-based, enabling the production of new bodies of work within a structure of tutorials, seminars, and lectures that requires research candidates to evaluate and reflect on a range of conceptual, philosophical, material and theoretical frameworks, and demonstrate their understanding of contemporary critical thinking and visual art practice.

研究式研究生課程

研究式研究生課程以分析、研究及創作實踐為基礎，透過實踐為本的研究和理論探討視覺藝術，深化學生個人創作的發展與研究。創作為本的研究式課程要求學生參與課堂討論、出席專題講座及研討會，透過深入探討及反思不同概念、哲學觀點及理論，加強學生對視覺藝術的批判性思考能力及實踐。

本學院的研究專長包括人體美學及行為藝術、中國藝術(實踐及理論)、當代及現代藝術、設計、香港藝術文化、互動媒體、物質文化、博物館及策展研究、公共及社區藝術，以及視覺文化研究等。

Research 研究

Current areas of research expertise include but are not limited to: Body Aesthetics and Performance Art, Chinese Arts (practical and theoretical), Contemporary and Modern Art, Design, Hong Kong Art and Culture, Interactive Media, Timebased Media, Material Culture, Museum and

Research Postgraduate Degrees

Doctor of Philosophy (PhD) (Four-year full-time) The degree of PhD is obtained by research. A PhD thesis must contain a substantial original contribution to knowledge or understanding, and it is a piece of work that requires a capable, well-qualified and diligent student. The degree is awarded to students who have demonstrated: a) the creation and interpretation of new knowledge, through original research or other advanced scholarship, of a quality to satisfy peer review, extend the forefront of the discipline, and merit publication; b) a systematic acquisition and understanding of a substantial body of knowledge which is at the forefront of an academic discipline or area of professional practice; c) the general ability to conceptualise, design and implement a project for the generation of new knowledge, applications or understanding at the forefront of the discipline, and to adjust the project design in the light of unforeseen problems; d) a detailed understanding of applicable techniques for research and advanced academic enquiry. Typically, holders of the qualification will be able to: a) make informed judgements on complex issues in specialist fields, often in the absence of complete data, and be able to communicate their ideas and conclusions effectively to specialist and non-specialist audiences; b) continue to undertake pure and/or applied research and development at an advanced level, contributing substantially to the development of new techniques, ideas or approaches; c) demonstrate the qualities and transferable skills necessary for employment requiring the exercise of personal responsibility and largely autonomous initiative in complex and unpredictable situations, in professional or equivalent environments.

研究式研究生課程

哲學博士

(四年全日制) 視覺藝術院的哲學博士課程以識別、理解和發展藝術實踐為基礎，

尤其著重視覺藝術的實踐導向研究策略和方法論，鼓勵同學發展其創作和研究。此課程重視工作室實踐，透過導修課、研討會和專題講座等，鼓勵學生進行創作，同時分析和思考不同概念和理論，展現對當代批判思維和視覺藝術實踐的理解。

哲學博士課程以研究主導，學生必須就其研究項目發表博士論文，並達到下列要求：

一）能通過研究並對有關領域有嶄新見解，達到同行評審的標準認可並出版論文；

二）能充份理解其研究範疇或領域的學術知識；

三）能建立、應用及理解有關研究的專業知識，並提出疑問；四）能深入探究研究方法和學術知識。哲學博士生一般能夠：

一）在缺乏完整數據的情況下，對專業領域中的疑問作出分析判斷，並能夠向專業或非專業受眾傳達其想法和結論；

二）以專業角度開展基礎或應用研究，並為新技術、思維和研究方法的發展作出重大貢獻；

三）具專業領域所須的優秀個人能力。

Master of Philosophy (MPhil) (Two-year full-time, theory-based or practice-led) The MPhil is a degree obtained by research. An MPhil thesis must display a good general knowledge of the field of study; a comprehensive knowledge of some part or aspect of the field of study; and a recognisable original contribution to knowledge or understanding. The degree is awarded to students who have demonstrated: a) a systematic understanding of knowledge, and a critical awareness of current problems and/or new insights, much of which is at, or informed by, the forefront of their academic discipline, field of study, or area of professional practice; b) a comprehensive understanding of techniques available to their own research or advanced scholarship; c) originality in the application of knowledge, together with a practical understanding of how established techniques of research and enquiry are used to create and interpret knowledge in the discipline; Typically, the student should possess a conceptual understanding that enables them: a) to evaluate critically current research and advanced scholarship in the discipline; and b) to evaluate methodologies and develop critiques of them and, where appropriate, to propose new hypotheses; c) to conceptualise, design and implement a project for the generation of knowledge, applications or understanding of the discipline. Typically, holders of the qualification will be able to: a) deal with complex issues both systematically and creatively, make sound judgements in the absence of complete data, and communicate their conclusions clearly to specialist and nonspecialist audiences; b) demonstrate self-direction and originality in tackling and solving problems, and act autonomously in planning and implementing tasks at a professional or equivalent level; c) continue to advance their knowledge and understanding, and to develop new skills to a high level; d) demonstrate the qualities and transferable skills necessary for employment requiring the exercise of initiative and personal responsibility, decision-making in complex and unpredictable situations, and the independent learning ability required for continuing professional development.

研究式研究生課程

哲學碩士

(兩年全日制, 理論為本或實踐導向課程) 哲學碩士課程以研究主導，學生必須就其研究項目發表碩士論文，並達到下列要求：

一）能理解其研究範疇或領域的學術知識；二）能應用研究方法及作出分析；三）能對研究領域提出薪新見解；

四）能建立相關研究領域和學問的批判思考能力；五）能評估及評論其研究方法；

六）能建立、應用及理解有關研究的的專業知識，並提出疑問。哲學碩士生一般能夠：

一）在缺乏完整數據的情況下，對專業領域中的疑問作出分析判斷，並能夠向專業或非專業受眾傳達其想法和結論；

二）以創新的方法應對並解決問題，並以專業知識進行實踐；三）對研究領域的知識學問有專業的理解；四）具持續專業發展所需的獨立學習能力。

Research 研究

Research Postgraduate Degrees

So ut hK or ea

Italy

ng Ko ng Ho

Canada Germany Iceland Italy Japan South Korea Sweden Switzerland UK USA

Ireland

FULL-TIME TEACHING STAFF Total Number: 30

INTERNATIONAL EXCHANGE 13 Institutions in

Ge rm an y

an iw Ta

France

Australia

LOCAL EXCHANGE CUHK CityU

USA

51% PhD/DFA

49% MFA/MA/MPhill/Others

UNDERGRADUATE STUDENTS

100

Total

1st Year Entrants

Senior Year Entrants

0 83.4% Female

16.6% Male

84.6% Admitted by JUPAS

15.4% Admitted outside JUPAS

STUDENT POPULATION

60% AD holders

36.4% HD holders

3.6% Other Qualifications

UNDERGRADUATE PROGRAMME

404 BA students 19 MA students 92 Associate Degree students 3 MPhil student 8 PhD students

TOTAL GRADUATES 1286 BA graduates 340 MVA/MA graduates 384 Associate Degree graduates 6 RPG graduates

TEACHER/STUDENT RATIO

50 Crafts and Design Courses

Studio and Media Arts Courses

Visual Arts Studies Courses

6 Interdisciplinary Courses

AVERAGE CLASS SIZE

EXHIBITION OPPORTUNITIES

30 for theory courses 17 for practical courses

Two on-campus exhibition galleries Financial support & curatorial advice

1:13.46

*Data as of 1 Sep 2021

AVERAGE ON-CAMPUS CO-CURRICULAR ACTIVITIES 2020/21

AVERAGE FIRST INCOME (IN 2019)

35-40 exhibitions 40-45 art seminars/demos

HK$14,856

AVA Faculty Staff

視覺藝術院教學人員

Director Prof. Louis NIXON

總監黎藝深

Chair Professor Prof. Jeffrey SHAW

講座教授邵志飛

Professor Prof. LEUNG Mee Ping

教授梁美萍

Associate Professor Dr. Noit BANAI Mr. Peter BENZ Dr. CHUNG Wai Ching, Bryan Dr. KOON Wai Bong Dr. LAU Chak Kwong, Daniel Dr. MAK Hoi Shan, Anson Mr. NG Siu King, Kingsley Ms. WAN Lai Kuen, Annie Dr. WANG Ling Jean, Sunny Dr. YU Wai Luen, Francis

副教授 Dr. Noit BANAI 奔子墨鍾緯正管偉邦劉澤光麥海珊伍韶勁尹麗娟王鈴蓁余偉聯

Assistant Professor Mr. Ekkehard ALTENBURGER Dr. Anna GRASSKAMP Mr. LEE Wing Ki, Kalen Dr. Angelo LO CONTE Dr. Cedric MARIDET Dr. Peter NELSON Ms. Elaine NG Mr. Tom O’DEA Ms. QIN Lai Yin, Anna Mr. Daniel SHANKEN Ms. SHIN Gyung Jin Mr. WONG Chiu Tat, Justin

103

助理教授

Mr. Ekkehard ALTENBURGER Dr. Anna GRASSKAMP 李泳麒 Dr. Angelo LO CONTE Dr. Cedric MARIDET Dr. Peter NELSON 伍穎瑜 Mr. Tom O’DEA 秦萊茵 Mr. Daniel SHANKEN Ms. SHIN Gyung Jin 黃照達

Lecturer Ms. CHAN An Gee Ms. SEO Heesun Ms. Manuela CATANIA

講師陳安之徐僖鮮 Ms. Manuela CATANIA

Research Assistant Professor Ms. FONG Man Yee, Janet Dr. Evelyn KWOK Dr. Michael WHITTLE

研究助理教授方敏兒郭漪霆 Dr. Michael WHITTLE

Ava Magazine#10 EDITORIAL AND PRODUCTION TEAM

Ava Magazine#10 編輯及製作小組

Project Director: Mr. Tom O’DEA Art Director: Ms. SEO Heesun Coordinators: Ms. Lilian CHAN, Ms. Cherry KWAN, Ms. Chanel Chan English Editor: Dr. Tess MILLAR Translator: Thin Air Language Consultancy Company Chinese Editing: Thin Air Language Consultancy Company English Proofreading: Dr. Michael WHITTLE Chinese Proofreading: Dr. Francis YU Designer: Ms. Gloria CHAN Assistant Designer: Ms. Kris FUNG

項目總監: Mr. Tom O’DEA 藝術總監: 徐僖鮮統籌: 陳昭琪、關卓恩、陳寶源英文編輯: Dr. Tess MILLAR 翻譯: Thin Air Language Consultancy Company 中文編輯: Thin Air Language Consultancy Company 英文校對: Dr. Michael WHITTLE 中文校對: 余偉聯設計: 陳盈匡、馮葦殷

AVA Facts & Figures 學院小統計

香港浸會大學視覺藝術院

HKBU Academy of Visual Arts Baptist University Road Campus, Kowloon Tong Lee Shau Kee Communication & Visual Arts Building 5 Hereford Road, Kowloon Tong Kowloon Hong Kong Kai Tak Campus, Kwun Tong 51 Kwun Tong Road Kowloon Hong Kong

Artwork Cover: Boiling Water, 2021 Bih Yeuk Nam, Evelyn 滾水, 2021 畢若嵐

Inner Cover Artwork (Back): Leung Hiu Ying 梁曉盈

觀塘啟德校園香港九龍塘觀塘道51號電話：3411 8282 傳真：3411 8296 va@hkbu.edu.hk http://ava.hkbu.edu.hk

T: 3411 8282 F: 3411 8296 va@hkbu.edu.hk http://ava.hkbu.edu.hk

Inner Cover Artwork (Front): Yeung Long Yi 楊朗怡

九龍塘浸會大學道校園香港九龍九龍塘禧福道5號李兆基傳理視藝樓

G IS .