Avamagazine2016 e version

HKBU Academy of Visual Arts

香港浸會大學視覺藝術院

Baptist University Road Campus : Communication & Visual Arts Building 5 Hereford Road, Kowloon Tong, Kowloon 浸會大學道校園 : 香港九龍九龍塘禧褔道 5 號 香港浸會大學傳理視藝大樓 T : 3411 8282 F : 3411 8296 va@hkbu.edu.hk http://ava.hkbu.edu.hk kaitak, Centre for Research and Development for Visual Arts : 51 Kwun Tong Road, Kowloon, Hong Kong 「啟德」視覺藝術研究與發展中心 : 香港九龍觀塘道51號 T : 3411 8255 F : 2325 1972 va_kaitak@project.hkbu.edu.hk http://kaitak.hkbu.edu.hk/

1

Traditional process represented in a contemporary context / 傳統過程以當代方式展示

Questioning the Answers? 質 疑 答 案？

Prof. John Aiken / Director 莊 藝 勤 教 授 / 總 監 The Academy of Visual Arts has celebrated its first 10 years and

A successful art school is in a constant state of development,

has now entered a new decade that enables the Academy to

embracing change as a positive dynamic. New ideas are

reflect on a distinct period of rapid growth and formulate

explored, the status quo is challenged and students are

strategies for the future. From an initial cohort of 40

encouraged to develop their own independent creative voice

undergraduate students, the Academy has developed in all

within a customised academic and professional framework.

aspects, now hosts nearly 400 students and includes not only undergraduates but also taught and research postgraduates.

In the visual arts, “answers” about what art is, and might be,

AVA positions itself within an international context and

exist in abundance, illustrated through diverse cultural

through developing excellent resources and a benchmarked

histories and innumerable examples of historic and

curriculum, the Academy is now very well placed to be

contemporary practice. Yet these “answers” are constantly

comparable to other leading specialist professional visual art

being reassessed, revised and questioned; individual

academies and colleges internationally. Local identity is also

practice is fluid and investigative – outcomes propose new

a characteristic and community engagement is hugely

questions rather than strive to provide answers or conform

important across all aspects of the Academy. Local is global

to pre-existing norms.

and global is local; we embrace the notion of local relevance 3

and global resonance.

Generating, developing and maintaining a vibrant studio and

providing a comprehensive platform for studio arts, craft and

research culture at the core of the Academy is a priority

design. Within a Liberal Arts university, AVA offers a

and it is this aspect that most accurately reflects the notion

professional degree in the visual arts where students can both

proposed in the title of this introduction. Research-driven

experience a wide range of subject disciplines and also

activity in the broadest sense questions existing answers and

develop their practice through subject specialism, enabling

solutions and proposes new approaches, perceptions and

them to enter the professional world of art and design

outcomes that in turn can be further developed and

with confidence.

questioned. AVA is a distinctive creative environment and proposes that “answers” need to and should be questioned.

The Academy approaches the study and practice of visual arts from a research-minded perspective. Teaching is informed by research and it is this aspect that enables creative discourse, drives innovative thinking and produces successful outcomes.

The capstone projects produced by graduating students at all levels reveal a rich and imaginative series of investigations that have generated original ideas and produced innovative artworks and strong theoretical positions.

視覺藝術院成立已經十年，現正踏

視覺藝術院正是在這種理念的引領下邁向

視覺藝術院放眼國際的學術環境，歷年來

進新一頁，讓學院反思過去十載的急速發

新的發展階段。視覺藝術院在香港地位獨

投放充裕的人力物力資源，並制定備受認

展之餘，也正好制定策略迎接未來。學院

特，為藝術、工藝及設計提供了全方位平

可的課程，如今已能與全球位居前列的專

從最初40個本科生開始，時至今日各方面

台。在倡導博雅教育的大學內，視覺藝術

業視覺藝術院校並駕齊驅。學院同時亦不

都 有 長 足 發 展 ， 目 前 學 生 人 數 接 近 400

院開辦的視覺藝術專業學位課程，能讓每

忘立足香港的身份，極度重視從各方面融

人，既有本科生，也有修課式及研究式研

一位學生既吸收到其他學科的廣泛知識，

入社區。全球即本地，本地即全球，我們

究生。

也可以通過主修科目親身實踐，最終成就

的方針是：既要懷抱香港本土，也要翱翔

他 們 滿 懷 自 信 地 走 向 藝 術 及 設 計 的 專 業

全球舞台。

成功的藝術學院必須恆常發展，欣然接受

天地。

改變。探求嶄新理念，挑戰既有現狀，同

學院的首要目標，是把建設、發展並維繫

時鼓勵學生在為其量身定制的學術環境及

學院從研究角度切入視覺藝術的學習及實

一個蓬勃的工作室及研究文化放在核心位

專業框架內，發掘自身的獨立創意。

踐工作。教學以研究知識為根基，正因如

置，這個目標亦準確反映了本篇文章標題

此，方能激發藝術創作話語，推動創意思

的涵義。廣義的研究為本活動質疑現有答

在 視 覺 藝 術 的 領 域 ， 關 於 甚 麼 是 藝 術 的

維，營造理想成果。不同程度的學生在其

案及方法，提出新的方向、概念及結果，

「答案」俯拾皆是，從各種的多元文化歷

畢業研究項目中，展示出豐富而饒富想像

繼而在發展過程中又再受到質疑。視覺藝

史以至無數的歷史及當代作品中都能找到

的探索，帶出原創的理念、新穎的作品、

術 院 是 一 個 獨 特 的 創 造 環 境 ， 認 同「 答

例子。然而這些「答案」不斷受到評價、

堅實的理論見地。

案」需要並也應該受到質疑。

修正甚至質疑，單一的作品移易多變，引 人探索，其目的是要帶出新的問題，而非 致力提供答案或者遵從已有規範。

質疑答案

stage of development. AVA is unique in Hong Kong in

Questioning the Answers

It is within this context that AVA moves forward into its next

01

Onsite Insights 在地洞察

P. 8 — 9

P. 22 — 25

P. 30 — 31

Age of Uncertainty, Age of the Artist /

A Wealth of Opportunities – Notes on My

Photobook Making Workshop by Volker

不確定的時代；藝術家的時代

Fellowship at AVA / 俯拾皆是的機會──

Heinze / Volker Heinze 攝影紙本製作

我的視覺藝術院研究訪問紀行

工作坊

A Letter to the Graduating Students /

P. 26 — 27

P. 32 — 34

給即將畢業的同學的一封信

Back to Hong Kong? /

Porous Borders, Commerce and Community

回到香港？

in Hong Kong /

P. 10 — 13

穿透的界線，香港的商業與社區

P. 14 — 17 Review HKBU MVA Graduation Show 2016 /

P. 28 — 29

評2016香港浸會大學視覺藝術碩士畢業展

Moving Forward with Questions: the Learning Journey of Photobooks Design by Sabine An

P. 18 — 21

Heuf / 懷著問題向前邁進：Sabine An

Edward Hopper Deposit / 封存霍普

Heuf 的「論紙本與攝影」設計工作坊

P. 38 — 39

P. 50 — 52

P. 61— 63

The Inheriting and Transition of Traditional

Blowing Glass in the Maldives /

Breaking Through while Embracing

Handicraft – Lion-head-making with Bamboo

去馬爾代夫吹玻璃？

Conventions in Chinese Calligraphy /

Strips / 傳統工藝的傳承和轉換

在中國書法中擁抱傳統兼求突破 P. 53 — 55

P. 40 — 41

50 . Shades of Grey / 五十度灰

Dear Reader / 親愛的讀者

P. 64 — 65 25 Minutes Older / 二十五分鐘後

P. 56 — 60 P. 42 — 43

Creative Livelihoods: A Longitudinal Survey

P. 66 — 67

The Bamboo Journey – a Study Trip to

of the Long-term Development of Career

“What Does Art Do?” /「 藝術能做甚麼？」

Jhushan Town of Nantou County /

Paths of Graduates from Creative

知竹之旅──台灣南投竹山鎮考察

Undergraduate Degree Programmes in Hong Kong /

P. 44 — 46

創意事業：香港創意學士學位課程畢業生

“Toy”《知覺玩物》

職涯規劃縱向調查

P. 47 — 49 Third Collaboration of AVA and IAM : From Here to There / 視覺藝術院與國際藝 術運動第三次合作 : 從此地到彼地

02

Practicing Practice 實習實踐

03

Finding the Questions 找尋疑問 5

P. 70 — 71

P. 78 — 79

P. 86 — 91

Q&A; A&Q /

About: Research /

Master programme of AVA /

問的答；答的問

關於：研究

視覺藝術院碩士課程

P. 72 — 73

P. 80 — 81

P. 92 — 97

In the Air / 永動的懸置

My Research Interests /

YCE Award: Stories of Young Creative

我的研究範疇概述

Entrepreneurs / 創新企劃獎: 獲獎品牌的故事

P. 74 — 75 Contested Encounters / 質疑的接觸

P. 82 — 85 Through Our Eyes Photography Education

P. 76 — 77

Programme – Practising Art Education /

Open Generation : Unwrapping Time /

憧憬世界攝影教育計劃 - 藝術教育的實踐

Open Generation : 打開時間的那層包裝紙

P. 102

P. 104 — 110

P. 115 — 123

10 Years /

AVA Event List /

BA (Hons) in Visual Arts

十年拾年

視覺藝術院活動一覽

Programme Structure / 視覺藝術(榮譽)文學士 課 程結構

P. 103

P. 112 — 113

The AVA 10th Anniversary Exhibition /

The Academy of Visual Arts /

視覺藝術院十週年展覽

視覺藝術院

04

Supporting Enquiry 支持質詢

P. 8 – 9 Age of Uncertainty, Age of the Artist / 不確定的時代；藝術家的時代 P. 10 – 13 A Letter to the Graduating Students / 給即將畢業的同學的一封信 P. 14 – 17 Review HKBU MVA Graduation Show 2016 / 評2016香港浸會大學視覺藝術碩士畢業展 P. 18 – 21 Edward Hopper Deposit / 封存霍普 P. 22 – 25 A Wealth of Opportunities – Notes on My Fellowship at AVA / 俯拾皆是的機會── 我的視覺藝術院研究訪問紀行 P. 26 – 27 Back to Hong Kong? / 回到香港？ P. 28 – 29 Moving Forward with Questions: the Learning Journey of Photobooks Design by Sabine An Heuf / 懷著問題向前進：Sabine An Heuf 的「論紙本與攝影」設計工作坊 P. 30 – 31 Photobook Making Workshop by Volker Heinze / Volker Heinze 攝影紙本製作工作坊 P. 32 – 34 Porous Borders, Commerce and Community in Hong Kong / 穿透的界線，香港的商業與社區

Onsite Insights 在地洞察

7

01

Age of Uncertainty, Age of the Artist 不 確 定 的時代；藝術家的時代

Peter Benz / BA (Hons) in Visual Arts Programme Director / Associate Professor 奔子墨 / 視覺藝術(榮 譽 ) 文 學 士 課 程 總 監 / 副 教 授

In preparation of a research project of mine – a survey on the

This implies that creative making constitutes a trial, and it is

creative livelihoods of visual artists from Hong Kong (see

indeed the challenge of uncertainty that gives creative work its

p.56–60 for more information on that project) – I have recently

human depth and its highest satisfactions.

been re-reading The Economics of Creativity by French sociologist Pierre-Michel Menger, who’s been investigating the

Yet, of course, I’d like to emphasise that engagement in

mechanics of careers in the visual arts for more than twenty

creativity is necessarily uncertain but by no means chaotic:

years. Even after all these years, however, his core finding is:

If an activity were completely unpredictable it could not be

“artistic labour markets are puzzling”.

organised or evaluated; and for that matter, it could also not be taught. The activity of creation wouldn’t be thus profoundly

For example, over the last couple of decades, employment

stimulating that graduates are prepared to sacrifice significant

numbers and unemployment rates in the visual arts both went

future income if it wasn’t possible for students to learn,

up in parallel with each other. On the one hand, “artists as an

gradually, through their acts of imagination, through their

occupational group are on average younger than the general

creative choices, to know and to discover themselves within

work force, are better educated, […] show higher rates of

their context.

self-employment, higher rates of unemployment […], and are more often multiple job holders. They earn less than workers in

Over the last two decades, globalisation together with the

their reference occupational category, […] and have larger

growth of the information age have brought along dramatic

income inequality and variability.” Yet on the other hand, the

changes at an apparently ever-increasing pace: things one

number of visual artists grows at a much faster pace than any

takes for granted today might be completely different

other sector, possibly not least because visual artists also

tomorrow. More fundamentally, it has been a conventional and

consistently report the highest levels of job satisfaction

convenient assumption that the answer follows the question; a

amongst their peers.

question is a problem, and as such inevitably and necessarily calls for a solution, aka the answer. Unfortunately, in recent

How does this all fit together? Menger suggests what he calls

times it has become an increasingly common observation that

“the principle of uncertainty” to be at the core of this

many answers don’t seem to work for very long. Every solution

observation. Work in the visual arts is determined by

will always immediately be challenged; every answer will be

uncertainty; creative work neither has a predictable course,

questioned, thus producing a sense of uncertainty as the world

nor a pre-defined or guaranteed outcome. It is perfectly

appears an increasingly complex, complicated and possibly

possible to work very hard towards a creative project, yet

even frightening place.

nonetheless in the end not to achieve an outcome adequate to the effort.

Interestingly, this development suddenly puts visual artists into a very beneficial position; what other subject areas still

While it would possibly be preferable for artistic creation to be

need to learn and adapt to has been the common experience

a kind of programmable activity, with clear specifications,

at the very heart of creative professions for centuries:

precise instructions, and well-defined rules of evaluation, the

uncertainty. And artists and designers have long since

result would then usually not be considered as “creative”.

developed strategies and methodologies to overcome the

Uncertainty is the default precondition for originality and

problems and issues that come along with this experience.

invention. “Creative activity has to deviate from tasks that are easily mastered and repetitive, that are not very exciting, to be

For example, professional long-term planning is becoming

sure, but which are also not very risky, because their results are

more and more difficult. The career one might be working in

foreseeable.” Creative work immanently has to be explorative,

this year might not even exist any more ten years later.

open-ended, risky, otherwise it couldn’t be creative.

And vice versa – the field one might be engaged with in two

Working creatively is constructed of challenges and inventions,

years’ time might not have even been thought up today. Think

but also of reliance on solutions that have already been tested;

of “mobile app design”: six years ago there weren’t even iPads;

thus creative results are characterised by their proportion,

today “app designers” have largely replaced web designers,

chosen deliberately or not, of proven elements and new

who were the cool new profession only 15 years ago.

experiments. The very prestige and seductive power of creative solutions are measured by the degree to which the

It appears variability is one of the most necessary professional

result and success are unpredictable.

traits in this context. But no one could possibly constantly put Instead of a threat, uncertainty is the key to beauty.

Onsite Insights

Therefore, visual artists have developed tested conventions, routines, rules of interaction, more or less stable procedures and creative strategies to be applied and appropriated in the production, dissemination, consumption, evaluation and

在地洞察

preservation of creative solutions.

我最近開始重讀法國社會學家孟格

風險不高。」創作必須探索、開放、冒

以實際例子說明：長遠職業規劃已變得

Menger）的《創意的經

險，否則再無創意可言，這意味着創作就

越來越困難，一個人今年從事的工作，

濟學》，為自己有關香港視覺藝術家創作

是嘗試，實實在在就是挑戰不確定，這樣

十年後可能不再存在，反之亦然。兩年

收入狀況的研究計劃（計劃詳情參見第56

的作品才有深度，才能讓我們得到最大的

後將有的一些工種，今天可能還未出

至60頁）做準備。孟格研究視覺藝術事業

滿足。

現。大家試想像「流動應用程式設計」

（Pierre-Michel

機制已經超過二十年，儘管投入了多年時

這個行業，六年前根本還沒有iPad，何

間，他的結論仍然是：「藝術勞動市場難

當然，我希望強調，創作固然充滿不確定

來這個行業？15年前網絡設計師還炙手

以捉摸。」

的特質，但絕不代表混亂。任何活動如果

可熱，但到了今天基本已被「應用程式

徹底不可預測，那就無從組織、評價，也

設計師」所取代。

舉例來說：過去幾十年來，視覺藝術行業

無從傳授。畢業生如果不能透過想像及藝

的就業人數和失業率都同步上升。一方面

術上的取捨而去逐步學習，去發現在各自

在這樣的環境下，變化似乎是職業特色

「作為一種職業，藝術家的平均年齡低於

語境中的自己，就不會有心理準備犧牲未

的其中一個必然因素，但是沒有人能夠

整體勞動力，教育程度較高，［……］自

來或可賺取的可觀收入，創作活動也不能

將人生的各個層面，隨時隨地置於疑問

僱比例較高，失業率較高，［……］同時

發人深省。

當中。因此，視覺藝術家發展出經過測

往往身兼多份工作。他們的收入低於其他

試的準則、習慣、規範、或多或少相對

參照組別，［……］收入差異及變化也較

過去二十年全球化與資訊時代演進，為本

穩定的程序及創作策略，繼而應用到創

大」；但另一方面，視覺藝術家的人數增

已不斷加快的生活節奏帶來了巨變：今天

意解決方法的創作、傳播、消費、評價

幅遠高於其他行業，這點也許和視覺藝術

我們視之為理所當然的事物，明天已可能

以及保存工作中。

行業的工作滿意度一直較高有關。

截然不同。更重要的是，傳統思維一直假 設凡有問題必有答案，問題需要解決，無

創意工作包含挑戰與發明，同時也依賴

這些現象代表了甚麼？孟格提出了他稱之

可避免地需要解決方法，也就是答案。不

行之有效的解決方法，因此創意成果的

為「不確定原則」的論述。不確定的特質

幸的是，近年來我們往往可以觀察到，很

特質是已知的元素與未知的新嘗試兩者

主宰了視覺藝術工作，創意工作既沒有可

多答案的時效非常有限，每個解決方法都

兼備，而兩者所佔的比重可能基於精心

以預見的軌跡，也沒有事先釐定或保證的

會立即受到挑戰，每個答案都會受到質

考慮，可能純粹出於偶然，繼而令成果

成果，藝術家完全有可能全力開展某項創

疑，於是引發一種不確定感，彷彿世界日

有所不同。創意解決方法的獨特地位及

作計劃，但最終事倍功半。

益複雜，甚至變得可怕。

引人之處，恰恰取決於成果與成功的不

或許有人希望，藝術創作能夠變成可控的

有趣的是，這個發展趨勢讓視覺藝術家身

活動，列出明確的要求、清晰的規則，以

處極為有利的位置。其他學術領域的人需

無從確定的特質不會令事物變得可怕，

及完善的評審準則，但經過這種制度所得

要學習並適應不確定的特質，偏偏這正是

反而是美的關鍵。

的成果一般已不會視為「創作」。不確定

千百年來藝術創作的核心體驗，藝術家、

的特質正正是創意與發明的前提。「創作

設計師早已掌握了方法與技巧，克服隨之

活動必須有別於其他工作。其他工作的本

而來的難題。

確定程度。

質就是可以輕易掌握並重複，穩定但並不 特別振奮人心，由於成果可以預見，因此

9

into question all essential aspects of one's activity all the time.

A Letter to the Graduating Students 給 即 將 畢業的同學 的一封信

Michelle Wong / Researcher of Asia Art Archive

黃湲婷 / 亞洲藝術文獻庫研究員

Dear students,

I have always had a soft spot, which borders on envy, for your pastel green Kai Tak campus – the demanding stone steps, the elegantly swaying banyan trees, the view of shanty houses on rooftops and residential housing estates around the campus buildings – a constant reminder that art, its pursuit and education, is situated inside a world that is made up of multiple realities and contradictions that we can barely fathom.

And so, it occurred to me that instead of writing about your show, I should write to you. I should write to you who showed, and you who helped make the show, and you who will one day make the graduation shows (and many other exhibitions beyond that) to come.

Apart from the exhibition, what also stayed with me this time visiting your campus were the questions and thoughts you shared with other practitioners you invited for a conversation on the last day of your graduation show. During the discussion we touched upon the challenges and difficulties of sustainably running spaces and programmes, as well as effectively and efficiently organising an exhibition space and the people showing in it. And I find myself pondering the similarities and differences between running a space, and making works for an exhibition.

One is a challenge that has the possibility of becoming and making space for long-term practice, while the other, also a challenge, is an opportunity for a one-time production that marks the high point of your undergraduate career. For some of you, this one-time production will also be one of your many first steps towards a long-term practice. It may take turns you do not anticipate, but it is a step nevertheless.

As art school ends, for some of you the art “world” begins. But the “art world” is one of the few circuits that thinks itself a world. And it is not very big. I hope you see beyond the appeal that is driven by commerce and circulation of the art object, and not be easily swayed by the commodification of work. Some of you may become commercially successful and be able to live off selling your work, but I hope in that success you remember and are able to tell the difference between one-time production and an accumulative, generative practice that makes sense of the world. Some of you may not be commercially successful, but I hope the lack of monetary validation does not deter you from believing that there is a way of maintaining a meaningful, sustainable artistic practice that enriches you as an individual and the lives of those around you. I hope you remember that monetary validation is only one of the ways to define success. As you repeatedly discover how the art world is full of contradictions, perhaps a bit like the surroundings of your campus, I hope you remember too that art-making itself is full of contradictions to begin with. Sometimes something holds and works without a reason but sometimes it simply does not. And the only way to find out is to have tried and attempted to make it.

11 Onsite Insights 在地洞察

The Lighthouse / Liu Tsz Ting / Oil on canvas 燈塔 / 廖紫婷 / 油畫布本

Reaching / Tang Ming Sum / Glass, wood 延伸 / 鄧明心 / 玻璃、木

Rice / Tom Chung Man / Sweat 米 / 譚頌汶 / 汗水 (Photo courtesy of HKBU Library 相片由香港浸會大學圖書館提供 )

As the contradictions of art-making enter your world beyond art school I hope you continue to uphold art as a way of seeing, knowing, communicating and sharing a larger world. A world that you have shaped and will continue to shape and inhabit through the objects/projects you make and do not make, the questions you ask and do not ask, the ways in which you live and refuse to live. Art does not always change the world. But at its best, it reminds us what it is to be human, for better or for worse. It shows us a contact zone in which we are our own agents for transformation.

And so as I walk under the swaying banyan trees of your pastel green campus (trying to focus so I do not fall off those demanding stone steps), I think I have arrived at what I hope you will take away as you embark on a new stage of your lives: that you develop the sensibility, capability and capacity to differentiate between a one-time production and a long-term practice; that you strive for the latter, and make space for it to emerge not only in yourself, but also in others.

Marco Polo in Italo Calvino’s Invisible Cities is one of my favourite storytellers. He wrote: “The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognise who and what, in the midst of inferno, are not inferno, then make them endure, give them space.”

With my best, Michelle July 2016

各位親愛的同學：

量提醒我們不論好壞，甚麼是人性。藝術

高的石級、輕擺婆裟的榕樹、站上屋頂便

界 」只 是 眾 多 自 以 為 包 涵 天 地 一 切 的 圈

向我們展示接觸的空間，我們就是改變自

能見到的小屋景致、校園建築周邊的屋邨

子，而且這個圈子並不大。我希望你們能

己的因子。

風景，這些環境時時刻刻都在提醒我們，

夠擺脫商業及銷量層面的局限，不要輕易

藝術、對藝術的追求與藝術教育，其實立

被商品化的風氣影響。你們當中有些人也

當我走在你們青蔥校園中婆裟的榕樹下（

足於一個多重現實並存而又充滿矛盾的世

許會名成利就，單靠出售作品就足以維

還要集中精神不要在石級上跌倒），我想

界之中，往往超乎我們想像。

生，但我依然希望你們在成功的同時，仍

我已經知道，應把甚麼寄託給你們，伴隨

能記得並分辨出，僅此一次的作品，與堆

你們展開人生的新階段：希望你們具備洞

正因為這樣，我想與其寫一些關於你們展

砌的、大眾化的、懂得掌握世界脈搏的作

察力，還有能力，可以分辨出僅此一次的

覽的東西，倒不如直接向你們分享我的一

品之間有甚麼不同。你們當中也有些人，

創作，與長期從事藝術有甚麼分別，而你

些想法，是你們展示了自己，是你們讓這

可能會在發掘商機的路途上碰壁，但我依

們能夠投身後者，接納後者，在自己以至

個展覽得以進行，是你們終有一日將躋身

然希望你們在匱乏之中，仍然堅信持續而

別人當中脫穎而出。

日後畢業展（以及未來的其他更多展覽）。

又有意義的藝術道路，能夠豐富你自己以

至身邊人群的生命。我希望你們會記得，

我最喜歡的說故事人，是卡爾維諾（Italo

除了這個展覽之外，讓我這次到訪校園記

金錢只是定義成功的其中一個指標。正如

C a l v i n o）《 看 不 見 的 城 市 》（I n v i s i b l e

憶猶新的，是你們在畢業展最後一天與受

你們一而再、再而三地發現，藝術世界充

Cities）中的馬可孛羅。他寫到：「人生的

邀藝術工作者之間分享的問題與想法；過

滿矛盾，一如你們校園周圍的景色，我希

烈焰並非未來將有之物，如若確有烈焰，

程中，我們討論過如何持續營運展場與課

望你們也能記得，藝術創作本身從一開始

其實是現在已有之物，我們每日置身烈焰

程，以及如何有效組織展覽場所及策展的

就充滿矛盾，有時某些事情會無緣無故的

之中，相聚一起又會燃起烈焰。要擺脫烈

種種挑戰和困難。我發現自己也在思考，

成 功 ， 有 時 結 果 相 反 ， 唯 一 的 方 法 就 是

焰之苦只有兩種方法。第一種很多人都能

營運展場和創作作品參展之間，有甚麼異

嘗試。

輕易辦到：接受烈焰，與烈焰合而為一，

同之處。前者的挑戰在於，可能需要打造

直到眼中再也不見烈焰；第二種危險之

一個長期運作的空間，後者的一項挑戰，

藝術創作的矛盾將隨你走向校園以外的世

餘，更需恆常警惕：在烈焰之中追尋、判

也是個機會，就是能讓你把握僅此一次的

界，我希望你在這個時候，仍能繼續相信

斷並非烈焰之人與物，然後使其延續，予

機會，借助作品標誌自己的學士生涯走向

藝術是觀察、了解大千世界，同時與人溝

其空間。」

頂峰。對你們其中一部分人來說，這次作

通及分享的途徑。這個世界由你塑造，而

品也是你們邁向長期創作的第一步，日後

且還會通過你所創造的或沒有創造的作

謹致

的道路也許有意料之外的轉折，但這次畢

品，你所提出的或沒有提出的問題，你所

黃湲婷

竟是你們的第一步。

選擇的或拒絕的生活繼續成型，並寄身在

2016年7月

Wherever they might be, they always remember that the past was a lie / Hon Hang Lam / Acrylic and oil on canvas 無論走到哪裡，都應該記住，過去都是假的 / 韓幸霖 / 塑膠彩、油彩繪本

Michelle Wong is Researcher at Asia Art Archive, and Assistant Curator of the 11th Gwangju Biennale, 2016. 黃湲婷是亞洲藝術文獻庫研究員，亦是2016年光州第11屆雙年展助理策展人。

在地洞察

這些當中。藝術並不一定改變世界，充其

是藝術「世界」的開始，不過這個「藝術世

Onsite Insights

藝術院的歲月結束，對你們部分人來說卻

13

你們能夠踏足青蔥的啟德校園，這 點一直讓我心懷羨慕甚至稍有妒忌──高

Review HKBU MVA Graduation Show 2016 評 2016香 港浸會大學視覺藝術碩士畢業展 Elaine W. Ng / Editor and Publisher of ArtAsiaPacific

伍 詠 瑜 / 《 亞 太 藝 術 》雜 誌 編 輯 兼 出 版 人

Artist’s contract: How artists see the importance of the contract and the details within / Crystal Li 藝術工作者合同: 藝術工作者應如何理解合同的重要性及其內裏細節 / 李淑賢

Most of the 2016 Hong Kong Baptist University Master of Visual

obliquely –and the city’s various local communities. After all,

Arts (HKBU MVA) graduates began their journey in 2014. It was

it’s a known adage that art, in all its incarnations, reflects the

an important, if not tumultuous, year for the city where tens of

times we live in. Some of the graduation projects on view

thousands – primarily students and activists – took to the

revealed young Hong Kongers’ desire to protect and

streets, participating in the Umbrella Movement. Fast forward

retain whatever unique qualities of the city survive, both

to 2016, when tensions, mainly between the haves and the

post-handover and as a direct result of globalisation.

have-nots, are playing out in all aspects of Hong Kong society, from city politics, with endless filibustering at the Legislative

Take, for example, Samuel Wun Sum Cheung’s two-channel

Council, to the boycotting of film award ceremonies by

video installation I’m nobody’s child on the ground floor of

Chinese media, and a French cosmetic giant cancelling

HKBU’s Kai Tak campus. It consists of both current and archival

a concert in Hong Kong featuring a local Cantopop star known

footage of Hong Kong, such as the Umbrella Movement and

for her sympathies for the pro-democracy movement. Since

old news footage from the 1960s and 1970s, against

the 2014 protests, many Hong Kongers have voiced the

a background of nostalgic Hong Kong pop songs from the

sentiment, ‘Where do we go from here?’

1950s and 1960s. The piece, while meaningful, felt uncannily familiar to works made by Hong Kong video artists such as

Perhaps then, it is fitting that the graduating class of 2016

Ellen Pau, Jamsen Law and Hung Keung around the time of the

chose as its visual marker – which helps define the curatorial

1996 handover.

concept of the overall Master’s exhibition – the comma (,). In the exhibition catalogue, the HKBU students explained their

On the second floor, where most of the exhibition took place,

idea behind this punctuation mark, stating the comma

was a peculiar display case entitled Die from natural causes by

signifies a pause and also indicates something in transition.

Nicky Wing Hung Lam. Imagine an Ikea pre-fab chicken pen,

The exhibition, which opened on 15 July, consisted of projects

with a single bare light bulb, four ventilation fans (two on each

by 32 MVA students with a focus in experience design, studio

side) and glass on the other two sides for one to peer in.

arts and extended media, or arts administration. Many works

Instead of live poultry, audiences faced a bed of local

engaged with Hong Kong’s past–both overtly and

vegetables, which wilted and rotted over the course of the

15 Onsite Insights

I’m nobody’s child / Samuel Cheung 我不是誰的孩子 / 張煥森

AoHu Community / The plan of creating an art museum shop Die from natural causes / Nicky Lam 死於自然 / 林永鴻

/ Ting Wang 鰲湖社區 / 美術館商店創建計劃

month-long exhibition. The work subtly refers to the local wet

Socially inspired projects that did not relate to Hong Kong

markets, where property developers have renovated hawker

politics could also be found. Experience design graduate Ting

stands – typically selling fresh produce, meats, and other food

Wang created a Do-It-Yourself (DIY) display of boxes of factory

staples much more cheaply than at the grocery chains – with

overruns, such as cosmetic brushes, buttons and porcelain

air conditioning and other “modern” facilities, but at a price.

tableware, which she called a “museum shop”. Here these items

These facilities traditionally served the residents of public

could be taken away, made into an art display and placed back

housing estates, but since the privatisation in 2005, the issue

into circulation. Wang’s aim was to revitalise a small village

has been a source of public resentment, with rents for these

community in Shenzhen affected by the slowdown of the

stalls skyrocketing and the people they originally catered to

Chinese economy as well as the appetite for cheap mass-pro-

now unable to afford to shop there.

duced items by turning it into a hub for creatives like herself.

Another politically engaged project was by arts administration

Environmental concerns were loosely addressed in Wing Ka

student Kristin Kam. Although not as visually engaging as Lam

Kwong’s elegantly minimalist work called Intertidal. Inspired by

or Cheung’s work, Kam created a didactic presentation

American land art of the 1960s and 1970s, Wing transplanted

consisting of photographs, videos and her written thesis How

seeds from mangrove trees in Taiwan to the shores of Hong

does Socially Engaged Art function in post-colonial Hong Kong?

Kong. The final presentation comprised a beautiful horizontal

A case study on preserving Sham Shui Po Fabric Market (Pang Jai)

display of photographs documenting the growth of the tree

to explore how artists have become involved in an attempt to

shoots and the movement of ocean tides, along with one of his

engage with society through art intervention, to spotlight

actual tree saplings. Over time, it will be interesting to revisit

another traditional working-class district that is at risk of

Kwong’s project to see if his trees survive and indeed track the

gentrification and extinction.

changes in tidal movements. It would also be wonderful to see

/ 王亭

在地洞察

The sad crepe / Fei Dua 不開心煎餅 / 段菲

more Hong Kong artists embarking on ambitious land art

world. It’s odd that this wasn’t overwhelmingly the case,

projects, considering how much green, untouched nature

considering that a student probably pursues this degree in

exists in the city, breaking the stereotype that its artists

order to work in the arts. It was also a strange requirement for

primarily create small, intimately scaled works due to the

students from the AA programme to participate in the MVA

expense of real estate and the lack of space.

show, and that they were allowed to simply put their bound thesis on a pedestal. What audience member wants to read a

Projects that were harder to classify (perhaps verging on

100+ page thesis at an exhibition? If the programme continues

relational aesthetics), but no less intriguing, included

to insist on AA students presenting their theses at the

experience design students Fei Duan’s The sad crepe and Eva

graduation exhibition, it would be more practical for both

Zhang’s Children from the Distant Planet. Out of the five senses,

students and audiences to have actual presentations on a par

taste is rarely addressed in the visual arts. But in Duan’s

with their fellow classmates from studio arts and experience

set-up –including a refrigerator holding what she calls the

design. Among the projects by AA students that did manage

tastes, or seasonings, of various emotions, to be packaged and

to shine were Sally Pui Ting Hui’s The Love-hate Relationship

taken home in a cardboard box (think chocolate or mooncake

between Establishing (sic) Galleries and Emerging Art Fairs, a

boxes) – encouraged visitors to pause, sit down and imagine

fascinating exploration of all the gallery costs (booth stand,

what particular emotions, such as success or envy, taste like.

renting pedestals, lights, chairs, etc.) and potential pitfalls

Nearby, but rooted in reality, was Zhang’s presentation of life

involved in participating in art fairs, where nothing–namely

with autism. Here she created a chair, a table piled with

sales–is guaranteed. Crystal Li’s thesis project Artist’s Contract:

wearable objects, and books that help one imagine what an

How artists see the importance of the contract and the details

autistic child might experience. For instance, the chair, which

within, presented examples of actual contracts on the walls

audiences are invited to sit on, is similar to a wedge from

and is a must-read for arts managers, gallery owners and

a wooden wheel that constantly rocks from left to right. One of

artists. It’s shocking to know how many artists blindly sign

the telltale sensations of autism is swaying, She also created

contracts without legal advice.

conical glasses which permit the wearer to see only the most

miniscule details, another symptom of the neurological

It is clear that some of the students in the HKBU MVA

disorder. In her clearly articulated statement, Zhang expressed

exhibition have thought seriously about how they want to

her interest in creating more empathy for autistic patients,

contribute to society, armed with their degree, in what is one

a condition that has grown at a striking rate worldwide since

the most challenging economic environments for recent

the 1980s.

graduates. For the students whose work addresses resilience

and offers solutions to some of society’s and the art world’s

Art-world focused projects were also on view, albeit only

pressing issues, the transition from academic to real life will

among arts administration (AA) students. Out of the ten AA

probably be somewhat easier.

graduates, only six related to the practical aspects of the art

Intertidal / Kwong Wing Ka 潮間帶 / 鄺永嘉

2016年香港浸會大學視覺藝術碩士

代價──傳統街市攤檔出售的新鮮蔬菜、

月餅的紙盒），藉此鼓勵大家停下腳步，

課程（MVA）的畢業生，絕大部分於2014

魚、肉及其他食材，都比連鎖商家的便

坐下來細想不同的情緒，比如成功、嫉妒

年開展他們的旅程。2014年是香港重要甚

宜，而且一直服務公共屋邨的街坊，但自

等會是甚麼滋味。不遠處則是張凡揭示自

至躁動的一年，成千上萬港人走上街頭參

從2005年街 市私有化 之後 ，攤檔 租金飛

閉症患者內心、洋溢入世關懷的作品。作

與「雨傘運動」，當中主要是學生及激進

漲，街坊再也負擔不起消費，民間亦因此

品包含一張椅子、放滿桌上的佩戴物、讓

分子。兩年瞬間過去，香港社會各個層

怨聲載道。

人體會自閉症經歷的書籍等，其中椅子供

面，尤其是「有勢者」與「無勢者」之間，

人試坐，不過椅子會像木輪的楔子般不停 患者會感覺搖擺；作品的另一個組件是一

內地媒體封殺；本港流行樂歌手因為支持

張煥森或林永鴻的展品，但卻以照片、影

副圓錐型眼鏡，戴上後只能看見最細微的

民主運動，結果被法國化妝品巨頭取消演

像、論文《社會參與藝術在後殖民香港社

細節，同樣寓意自閉症患者神經系統失

唱會。2014年的抗爭爆發以來，很多香港

會中如何發揮功能？》透過爭取保留深水

調。張凡在作品介紹中開宗明義說到，全

人都在自問：我們何去何從？

埗布料市場（棚仔）為例，探討藝術家如

球自閉症患病率從1980年代開始激增，希

何企圖通過藝術介入社會的參與，營造出

望外界對患者更加關愛、理解、包容。

也許正因如此，2016年的應屆畢業班才會

發人深省的效果，暴露了另一個勞動階層

以標點符號中的逗號為標誌，象徵整個碩

聚居的傳統社區正面臨貴族化，同時走向

躋身展覽的還有以藝術世界為焦點的展

士畢業展的策展概念。在展覽目錄中，學

消亡。

品，只是這些作品只限於藝術行政學生，

生解釋了選用逗號背後的構思，因為這個 符號既代表停頓，亦代表過渡。

而10名藝術行政學生中，只有6人從藝術 展覽也有受到社會啟發但卻不涉香港政治

世界的實踐層面着手，考慮到學生報讀這

的作品。體驗設計畢業生王亭創作了名為

個課程時，往往都希望從事藝術工作，比

展覽從7月15日開始，陳列32位碩士畢業

「美術館商店」的作品，一個個箱子裏放

例有點讓人意外。同樣地，藝術行政的學

生的創作，集中於體驗設計、工作室藝術

置着工廠冗餘的產品，比如化妝掃、鈕

生需要參加視覺藝術碩士畢業展，這點也

及延伸媒體或藝術行政。很多作品都直接

扣、陶瓷餐具等，物件可以任人取用，製

異乎尋常，他們只需交出自己訂裝好的論

或間接地觸及香港的過去，同時展示了不

成藝術展品後又再投入市場。作品旨在為

文放在安排好的位置參展，但又有誰願意

同的本地社區，畢竟任何形式的藝術，都

深圳的鰲湖小村重新注入生機，讓社區在

在展館翻閱厚墩墩超過100頁的論文？如

應反映我們身處的時代。其中一些畢業作

經歷中國經濟放緩、社會對大量生產的廉

果課程堅持這項安排，那麼藝術行政的學

品，披露了年輕港人在後回歸時期以及直

價商品需求減退後，改而成為她這類創作

生應該實際陳述自己的成果，與工作室藝

接面對全球化衝擊之後，如何立志保護、

人聚腳的創作集中地。

術、體驗設計的同學一視同仁，這樣對學

保存這個城市賴以生存的獨特要素。

生與觀展人士都更為可行。藝術行政學生

鄺永嘉的極簡主義作品《潮間帶》點出了

的作品中，脫穎而出的包括許沛婷的《發

以張煥森的雙頻影像裝置《我不是誰的孩

對環境的關注。他在1960及70年代美國

展中畫廊與新興當代藝術博覽會之間的愛

子》為例，作品陳列於香港浸會大學啟德

地景藝術啟發下，把台灣的紅樹林種子移

與恨》，當中有趣探討了畫廊的所有成本

校園一樓，包含了「雨傘運動」、1960及

植到香港海岸，最後展示的作品是他所種

（展位、租用位置、燈光、座椅等等），

70年代的新聞資料影片等香港現在與過去

的其中一顆幼樹，以及一組紀錄樹苗生長

以及藝術博覽會無法保證銷售成績，因此

的片段，然後背景襯以1950及60年代的

與海潮起落的平面攝影。假以時日，我們

參會存在各種潛在風險。李淑賢的《藝術

本港懷舊流行樂。作品固然別具意義，不

或者能重溫鄺永嘉的創作，看看紅樹林能

工作者合同：藝術工作者應如何理解合同

過亦與1997年回歸前後鮑藹倫、羅琛堡、

否存活，並紀錄潮汐有否變化。此外，我

的重要性及其內裏細節》則在牆上列舉出

洪強等影像藝術家的作品格外相似。

們也樂見更多香港藝術家大膽開展地景藝

實際合同的例子，是藝術管理人、畫廊東

術，畢竟香港還有很多未經人工改造的綠

主及藝術家不能錯過的必讀內容。我們實

絕大多數展品所在的二樓，陳列着林永鴻

地有待善用，去改變香港寸土尺金、藝術

在難以想像，竟有那麼多藝術家不經法律

的作品《自然死亡》。大家可以想像一個

家只能從小處着眼的刻板印象。

諮詢就貿然簽下合同。

個赤裸裸的燈泡，四把排氣扇每邊各放了

其他一些作品雖然難以歸類（也許接近關

部分參展的香港浸會大學視覺藝術碩士生

兩把，另外兩邊則架起玻璃讓人窺探。雞

係美學），但卻同樣吸引，其中包括體驗

明顯曾經深思熟慮，在如今這個近年來最

欄裏沒有家禽，只有一排本地蔬菜，準備

設計學生段菲的《不開心煎餅》，以及張

具挑戰的經濟環境中，如何運用自己的學

在為時一個月的展覽過程中枯萎、腐朽。

凡的《遠星球的孩子》。人類五感當中，

位貢獻社會。學生如果孜孜不倦，為社會

作品其實是本地傳統街巿的隱喻，房地產

視覺藝術向來極少涉及味覺，但段菲卻利

及藝術世界當前問題尋求答案，那麼他們

開 發 商 改 建 商 販 檔 攤 ， 加 裝 冷 氣 和 其 他

用冰箱收納代表不同情緒的味覺，而這些

從 學 校 過 渡 到 真 實 生 活 的 道 路 也 會 比 較

「 現 代 化 」設 施 ， 不 過 同 時 也 帶 來 了

味覺可以讓人打包拿走（裝進像朱古力或

平坦。

彷如宜家家居般預先製造的雞欄，點着一

在地洞察

左右搖擺，寓意自閉症一個重要特徵就是

學生甘詠然，其視覺衝擊的程度雖然不如

Onsite Insights

另一件觸及政治議題的作品來自藝術行政

立法會內拉布無日無之；電影頒獎典禮被

17

仍然處處瀰漫張力──這個城市的政壇，

Edward Hopper Deposit 封存霍普

Daniel Bozhkov / Artist in Residence 駐 院 藝 術 家

I arrived in Hong Kong in December 2015 for a residency at the

imagined my brother-in-law, the late Brigadier Alasdair

Academy of Visual Arts. I had never been to this part of the

Loudon, climbing with me the granite steps to my studio.

world before, but I always felt, somehow, that I was on my way

Alasdair took command of the 1st Battalion, The Black Watch

here. I was born in Bulgaria, and have been living and working

(Royal Scottish Highland Regiment) in 1995, and played a

in New York City since 1990.

prominent role in the return of Hong Kong to the Chinese in 1997, dealing with all aspects of the military withdrawal.

Ever since I was a young teenager I have been fascinated by

Alasdair must have come many times to this building when it

ancient Chinese philosophy, painting and poetry. The words of

was still the British Royal Air Force Officers’ Mess.

Chuang Tzu (Zhuangzi), Li Po and Du Fu have always felt close and strangely familiar to me, despite layers of language

I wandered the streets with my new friend Parry Ling, tasting

differences and the pitfalls of translation. When my wife

the colours, the smells and the food flavours of Hong Kong,

Susanna started studying traditional Chinese medicine in New

enjoying stories told by an artist/poet with a keen sense of

York, I felt even more eager to come.

humour. “There are only two kinds of people” – the voice of Chuang Tzu (Zhuangzi) of Inner Chapters (and of my teenage

The mighty banyan tree in the AVA Kai Tak grounds seemed to

years in Bulgaria) was ringing in my ears – “people you should

like strangers. Every time I passed it by, I felt a sudden rustling

definitely talk to… and people you don’t have to talk to.” The

of leaves, and I loved discovering different folds in its trunk

deceptive simplicity of this statement hides an exciting and

when I walked around it. Traces of the British Royal Air Force

puzzling complexity. “…you don’t have to talk to”??? Because

were palpable in the Kai Tak building’s formal corridors – pale

it is not worth talking to such people? Or more likely, the

mint-green walls and rows of windows with heavy shutters. I

opposite, because you might be able to understand each other without words.

Painting and drawing are the most popular media among AVA graduates !

The nights at Kai Tak were particularly exciting. The apartment blocks across the road from my studio, built on the site of the old airport runway, ordered the airspace above the ground with their light verticals. It was winter, but luscious green plants almost completely covered the grounds.

I started working with students from Dr Yu Wai Luen’s painting

death in 1967. His famous House by the Railroad (1925), for example, is often thought to depict a forlorn remnant of an outmoded America, yet it also served as the model for the old New York Review of Books: “Something lifts the paintings beyond the representational registers of realism into the suggestive, quasi-mystical realm of meditation… Again and again, words like ‘loneliness’ or ‘alienation’ are used to describe the emotional character of his paintings.”

I worked on four paintings with Lam Tsz Ching, Kaiaroonsuth Chonticha, Wong Ho Ching and Cheng Tin Lok. Each one of us started a painting then switched places and worked on a painting started by someone else. This meant changing painting stations, brushes and palettes, and in the process learning quite a lot from each other’s way of painting. In the unusually cold nights of January, we painted for hours, and talked about Hopper, about painting and art in general and about life in Hong Kong and New York.

Edward Hopper’s paintings proved to be a great platform to meet other people. Their 20th-century American urban melancholy seemed quite at home in 21st-century Hong Kong, swept by acceleration and renewal. We were looking closely at the paintings, but not in the way we would have looked at them if they were inside a museum – in the studio they were living territories for encountering each other.

Once the paintings were almost finished, I invited two bagpipers from the Hong Kong St Andrew’s Bagpipe Band to participate in a ceremony of deposition. We, the people who had painted the Edward Hopper replicas, formally carried the paintings through the corridors, accompanied by the bagpipes. The interplay of the bagpipe chanter over the steady sound of the drones both elevated and slowed down the walk.

We went down the steps, crossed the bridge by the banyan tree, then curved back and reached the grounds near the main entrance. There, we deposited the paintings, vertically, into the large hole we had dug, and covered them completely with earth.

在地洞察

Bates house in Hitchcock’s Psycho. Mark Strand wrote in the

Onsite Insights

American realist painter who worked in New York until his

19

class on reproductions of several works by Edward Hopper, an

This project is a deposit. It is a deposit of ideas, of ways of interaction, and of physical objects. Its future can follow several parallel or opposing tracks. The site of deposition can remain undisturbed, the memory of the project fading away and turning into a rumour, just like the story about the small building at the Kai Tak ceramics workshop, where British officers were supposedly jailed during the Japanese occupation.

Edward Hopper never had anything to do with Hong Kong; now he does, in a way that a lot of Hong Kong history, imposed from outside, has also been driven by local people responding to strangers from far away. A few years down the line perhaps the Hong Kong Heritage Museum might be interested in sponsoring an excavation and restoration of the paintings. In the meantime, moisture, temperature, plant roots and worms will continue the work started by the painters.

I am grateful to the people I had the chance to work with on Edward Hopper Deposit: Tsoi Sum Yi, Kwan Long Hei, Hsu Wai Lun, Tam Hok Nang, Parry Ling, Lee Suet Ying, Chan Chun Lung, and Law Bo Kent Kevin helped continuously and generously with my project.

Most of all I want to thank Professor John Aiken for the invitation and for making me feel at home at AVA and in Hong Kong. I had many inspiring conversations with him, including timely feedback about my work. I participated in a rich exchange of ideas at bi-weekly meetings, where Prof. Aiken had invited resident faculty members and visiting artists to present their research. I hope that I was able to contribute to the AVA programme, and I gained a lot creatively from the connection with a place so remote from my usual surroundings in New York City, and now full of people I feel close to.

Daniel Bozhkov is a Bulgarian-born artist based in New York City. He employs a variety of media: from fresco to performance and video, and works with experts from different fields: genetic scientists, TV talk show hosts, traditional bakers, to activate the public space. He has exhibited at MoMA P.S.1 and Queens Museum in New York, Santa Monica Museum of Art in Los Angeles, Platform Garanti in Istanbul, and Ikon Gallery in Birmingham, UK. His work was included in international exhibitions such as the 9th Istanbul Biennale (Turkey, 2005), 1st Moscow Biennial of Contemporary Art (Russia, 2005), 6th Bienal do Mercosul (Porto Alegre, Brazil, 2007), Liverpool Biennial (UK, 2010). Daniel Bozhkov has taught as a Lecturer at Yale University School of Art and Columbia University Visual Arts Division, and a visiting artist at Rijksacademie van beeldende kunsten in Amsterdam, and Royal Institute of Art in Stockholm. He is currently an Associate Professor of Art at Hunter College in New York City.

2015年12月我來到香港，在視覺藝 術院擔任駐院藝術家。雖然我生於保加利

半空被點綴得井然有序。雖是冬天，但賞

風笛旋律管與和鼓交鳴，讓我們既提振了

心悅目的綠意仍然覆蓋了大地。

步伐，也放慢了腳步。我們走下樓梯，跨

亞，1990年後轉到紐約從事創作，從來沒

過榕樹下的小橋，再折回鄰近大門口的空

有踏足過這片土地，但基於某種原因，我

在余偉聯博士的繪畫課上，我開始和學生

地。在那裏，我們封存了畫作，把它們垂

一直覺得我終會來到這裏。

複 製 霍 普 （ Edward Hopper） 的 幾 件 作

直放進事先挖好的洞，然後用泥土完全封

品。霍普是美國的寫實主義畫家，1967年

上洞口。

名 作 《 鐵 道 旁 的 房 屋 》 （ House by the

整個計劃就是封存，封存了理念、互動的

意，但莊子、李白和杜甫的文章詩詞總讓

Railroad）描繪了美國荒涼都會的寂寥殘

方式、物件實體。計劃未來將沿着幾個平

我感到親切而又不可思議地熟悉。當我的

影，而這幅畫也被導演希治閣在電影《觸

行的或者相反的軌跡演變，也許封存的地

妻子Susanna在紐約開始學習中醫時，我

目驚心》（Psycho）中借用，成為劇中

點原封不動，計劃會隨着記憶淡去，最終

來這裏的心情更加殷切。

人物貝茨（Norman Bates）的房屋原

在別人口中相傳，猶如啟德陶器作坊的小

型 。 詩 人 斯 特 蘭 德 （ M a r k S t r a n d ） 在

樓內，流傳着的日據時代英軍被囚故事。

視覺藝術院啟德校園的大榕樹似乎很喜歡

《紐約書評》中寫到：「某些東西讓畫作

陌生人。每次我走過樹下，都會感覺到樹

昇華，超越了寫實主義的代表風格，進入

霍普和香港從來沒有絲毫關係，如今不一

葉突如其來一陣婆裟，我也喜歡圍着榕樹

了冥想沉思的準神秘領域……一次又一

樣了。很大部分的香港歷史也是如此，從

細看樹紋。啟德大樓的走廊內，牆壁是淡

次，『孤寂』、『異化』等詞彙被用來形

外而來，再由生長於斯的人為了應對異鄉

淡的薄荷綠色，一排排的窗戶伴着沉重的

容他的作品的情感特徵。」

來客而推動變革。再過幾年，香港文化博

百葉窗，英國皇家空軍的痕跡觸手可及。

物館也許有意資助這些畫作的挖掘修復工

我想像已故的大舅Alasdair Loudon 大校陪

我和林芷澄、吳瀞涓、黃皓珵和鄭天樂合

程，而在此之前，潮濕的地氣、升降的溫

着我，沿着花岡石樓梯一起走到我的工作

作畫了四幅畫。我們各自開始畫一幅畫，

度、蔓生的植物、蠕動的蟲豸將繼續我們

室。他1995年指揮黑衛士（皇家蘇格蘭高

然後彼此交換位置，繼續完成別人的作

的創作。

地團）第一營，1997年香港回歸中國時擔

品，交換的包括畫台、畫筆、調色板，過

當過重要職務，負責部隊撤離各方面事

程中大家也會深入了解每人的繪畫方式。

我在此感謝在霍普封存計劃中，我有幸和

務，應該無數次進出這座本是英國皇家空

在1月異常寒冷的冬夜，我們連續畫了幾

他們共事的人：蔡心怡、關朗曦、許維

軍軍官食堂的大樓。

個小時，並談論霍普以至藝術，以及香港

倫、譚學能、凌展騰、李雪盈、陳駿龍、

和紐約的生活。

羅步勤，他們一直慷慨幫助我完成計劃。

這座城市的顏色、味道和食物，玩味哲學

霍普的畫是結交其他朋友的良媒。這些作

我尤其要感謝莊藝勤教授邀請我來到香港

家兼詩人的幽默。來自莊子《內篇》篇章

品散發的20世紀美國都市憂鬱，似乎與經

和視覺藝術院，也感謝他讓我在這裏有賓

的聲音（還有我在保加利亞的童年）突然

歷21世紀急速變遷與更替的香港若合符

至如歸的感覺。他和我多次交流，也及時

在我耳中響起：「世上只有兩種人：你絕

節。我們仔細觀察這些作品，但並非以身

提點我的工作，讓我深受啟發，同時也曾

對要交流的，和你不需要交流的。」文字

處博物館的眼光，而是在工作室中，讓每

邀請我參加雙週會，聽取院系成員和其他

似乎簡單卻深藏玄機 ──「不需要交流」？

幅畫成為活生生的版圖，可以彼此交流。

駐院藝術家分享研究心得。香港和紐約相

我和新朋友凌展騰走訪香港的街道，體驗

是因為不值得交流，抑或更可能的是雙方 無需文字語言仍能心領神會？

隔萬里，然而這個地方現在有很多我感覺 一旦畫作接近完成，我從香港聖安德烈風

親近的人，經過這次體驗，我在創作方面

笛隊邀請了兩位風笛手，一起為作品舉行

又有所收穫，我希望自己有為視覺藝術院

啟德的夜晚尤其讓人振奮。我工作室對面

封存儀式。我們幾個臨摹霍普的人，在風

略盡綿力。

的住宅大樓就建在舊跑道上，直直聳立，

笛伴奏下規規矩矩地抬着畫作穿越走廊，

Daniel Bozhkov 生於保加利亞，居於紐約。他的創作橫跨壁畫、表演藝術和視像藝術等多個範疇，又與基因科學家、電視節目主持人、烘焙師等不同領域的專家合作，共同活 化公共空間。他的作品曾在紐約P.S.1當代藝術博物館及皇后區藝術博物館、洛杉磯聖莫尼卡藝術博物館、伊斯坦布爾平台當代藝術中心、伯明翰聖像畫廊展出，亦曾參加多 項國際展覽，包括第九屆伊斯坦布爾雙年展（土耳其，2005年）、第一屆莫斯科當代藝術雙年展（俄羅斯，2005年）、第六屆南方共同市場雙年展（巴西阿雷格里港，2007年）、 利物浦雙年展（英國，2010年）。Daniel Bozhkov 曾於耶魯大學藝術學院及哥倫比亞大學視覺藝術系擔任講師，亦曾於阿姆斯特丹的荷蘭皇家視覺藝術學院以及斯德哥爾摩的 瑞典皇家美術學院擔任駐院藝術家。他目前是紐約亨特學院藝術副教授。

在地洞察

歌着迷。儘管語言不同，翻譯也不盡如人

Onsite Insights

去世前一直留在紐約。外界往往認為他的 21

我從少年時代就對中國的哲學、繪畫、詩

A Wealth of Opportunities – Notes on My Fellowship at AVA 俯 拾 皆 是的機會─

我 的 視 覺 藝術 院研究訪問紀行 Claudia Terstrappen / University Fellow 訪 問 學 人

In September 2015 I began a five-month fellowship at the

I had never been to Hong Kong before and upon arriving I felt

Academy of Visual Arts, Hong Kong Baptist University. I was

quite overwhelmed by the density of the buildings, its pace

very warmly welcomed by everyone and I was provided with a

of life, and the crowded streets. What particularly caught my

generous flat in the New Territories, and an office and fabulous

attention was the design and organisation of high-rise

studio space in Kai Tak Campus.

buildings and their surfaces. I noticed a particular colour range used for walls, park benches, fences and concrete poles.

The research I had planned to undertake was to continue with

Apart from many brown tones, pale blues, greens and yellows,

and build on existing work into belief systems that I had

pinks seemed to dominate the palette. I had never seen so

carried out in other countries, including Mexico, Columbia,

many pink buildings! But there was something even more

Japan, Australia and Europe. This meant that during my stay I

astounding: the tall bamboo scaffolding and the workmen

would investigate beliefs, superstitions and rituals in the daily

climbing up and down as they constructed them. The

life of people living in Hong Kong. I had packed my digital

fabrics with which the scaffoldings were covered were a range

camera, a tripod and sound equipment in order to be able to

of colours – yellow, beige, blue and green – fascinating!

create a new body of photographic work and also produce moving images for a new video work. I also wanted to use this time away to experiment and learn something new: to work with ceramics.

23 Onsite Insights 在地洞察

Consequently on my daily journeys to explore the city and

For example, at the Ten Thousand Buddhas Temple in Sha Tin,

research temples, shrines and altars, I also used my camera to

I had seen Buddhas holding specific objects in their hands

document buildings and their bamboo facades. I started

and I particularly liked the large prayer beads in the hands of a

talking to workers and closely watched them connecting the

sleeping Buddha near the waterfall.

bamboo poles with black plastic bindings. I liked the sustainability of the material, its minimal weight and the ability

My first work was a reference to these prayer beads and

to make large engineered constructions with it. This became a

resulted in a large string of ceramic beads with 24 “pearls”, each

major influence on the work I was to produce in my studio

the size of a grapefruit. As working with clay is a slow process, I

during the second half of my stay.

divided up my time between modelling, photographing and filming. I also started to experiment with bamboo. With the

Being welcomed into the community at AVA I met great artists

great support of AVA staff I ordered a small truckload of

and got to know their individual areas of expertise. Here I was

scaffolding bamboo and several bunches of black plastic

able to do a ceramic class and learn different modelling

binding, which enabled me to construct the frame of a

techniques, as well as glazing and firing processes. This was an

bamboo house inside my studio. The work aimed to create a

amazing experience for me. I followed the class curriculum but

dialogue between a traditional and a modern house – a skin

was able to use the studio outside scheduled class times to

within a skin. I was also going to use this as my temporary

experiment and create sculptural works. These were inspired

“exhibition space” for the ceramic works. When the beads had

by the temples I had visited and in particular by religious

been fired, I hung all 15 kilos of them from the roof of the

objects that I had seen. I wanted to recreate these objects in

bamboo house. Other objects followed, but were displayed on

ceramics and exhibit them in isolation from their religious

the floor and sometimes combined with fabrics.

setting in order to test their reading.

When I took the bamboo house down I re-used the material to create a new work – a kind of “explosion” in the studio, starting from the middle with small sticks, growing larger and larger, expanding into all corners of the room – indeed the room

could not contain it, and I allowed the piece to explode out of

As an artist I have hugely benefited from the fellowship in

one of the windows. For me, this last work was my most

Hong Kong. In addition I very much enjoyed the teaching

successful as I felt it was my most resolved piece. It led to me

component and dialogue with my students – particularly their

being commissioned to undertake a large bamboo installation

enthusiasm, creativity and honesty in conversations, which I

in Museum DKM, Duisburg, Germany in 2018.

found very refreshing. It was also hugely inspiring and enjoyable to be part of a community at AVA. Many of my

Concluding the fellowship brought new and exciting

colleagues have become friends; they went out of their way to

possibilities for me: while I reached the goals in my original

show me and my husband around, invite us to their homes and

proposal, the fellowship inspired me to move my work towards

studios, take us to special places for lunch or dinner, and even

new areas and return to my foundations in sculpture and

invite us to travel with them to places in Hong Kong, Taiwan

installation. Being in a new environment demands flexibility

and mainland China. Their hospitality made us feel at home

and often brings a change of perspective, inviting you to

and gave us the opportunity to see the culture through their

experiment, and to both learn and fail. Back in my Melbourne

eyes. I am truly grateful to all of them and hope they will have

studio I am continuing with ceramic sculptures and have made

the opportunity to visit us in Australia!

considerable progress technically. The first new body of work is now ready to be fired.

I am also making plans for the large bamboo installation at Museum DKM in Duisburg. I am currently working out my ideas in model form, using a plan of the museum’s space to resolve the commissioned work before returning to Hong Kong to purchase and ship the material over to Germany.

www.claudiaterstappen.com

這段擔任訪問學人的日子為我帶來了嶄新

學視覺藝術院的五個月訪問之旅。我受到

了不少優秀的藝術家，也瞭解了他們各自

的、令人振奮的多個可能性，讓我達成最

學院每個人熱情歡迎，大家給我在新界提

的專長。在這裏，我參加了陶藝班，學習

初計劃的目標之餘，也激發我把作品帶向

供了舒適的住所，又在啟德校園找了極好

不同的塑模技巧，以及拋光、燒成的種種

新的領域，以及回到雕塑和裝置藝術的基

的辦公室和工作室給我。

工序，是個很不錯的經驗。我跟隨課程編

礎。人身處新的環境需要適應，往往也會

排上課，但同時也可以在課堂以外時間使

因而令觀點有所改變，並勇於去嘗試、學

我計劃在這裏從事的工作，就是延續我在

用工作室，嘗試創作雕塑作品。這些作品

習、犯錯。我回到墨爾本的工作室後，繼

墨西哥、哥倫比亞、日本、澳洲和歐洲等

的靈感來自我走訪過的廟宇，尤其是我見

續陶藝雕塑，技巧進步了不少。第一件新

地已經開展的信仰體系研究；換言之，我

到的宗教器物。我希望用陶藝重塑這些器

的作品已準備好燒製了。

在香港逗留期間，會調查香港人日常生活

物，然後在宗教環境以外獨立展示，從而

中的信仰、迷信和習俗儀式。我帶了數碼

測試會有怎樣的解讀效果。

我也開始規劃杜伊斯堡DKM博物館的竹子 作品。我現在正為我的理念定型，結合博

相機、三腳架、音響器材，以便創作一組 舉例來說，我在沙田萬佛寺看見佛像手持

物館的空間決定作品，然後會回到香港購

一些動態影像。我也希望利用這段時間作

不同的物件，尤其喜歡瀑布旁臥佛手中的

置物料運到德國。

新的嘗試：陶藝創作。

大型念珠。 身為藝術工作者，在香港的研究訪問生活

這是我第一次來到香港，剛一抵埗就感受

我第一件作品就是參考這些念珠，做成了

讓我收穫良多。我也非常喜歡授課以及與

到這個地方樓宇稠密、節奏急速、街道擁

每顆柚子大小、24顆相連的陶藝「珍珠」。

學生交流，他們談話間流露的熱情、創意

擠。我尤其注意到這裏的高樓大廈及其表

陶土創作的過程很慢，所以我把時間分配

和坦率讓我耳目一新。成為視覺藝術院的

面，設計和佈局都很獨特。我發現，這座

到塑形、攝影和錄影幾方面。我又嘗試運

一份子，也給了我很大啟發，我樂在其

城市的外牆、公園長凳、圍欄、水泥柱都

用竹子創作。在視覺藝術院員工幫助下，

中。很多同事現在已成為我的朋友，他們

有一套特定的色譜，除了大量的褐色、淺

我訂了一貨車竹子和幾綑黑色塑料束帶，

不厭其煩陪我和丈夫到處觀光，邀請我們

藍、綠色加黃色色調外，粉紅色似乎是主

在工作室內搭起了竹屋。這件作品是為了

去他們的家和工作室，帶我們去特別的地

調。我從來沒有見過這麼多的粉紅色建築

營造傳統房屋與現代房屋之間的對話–皮

方聚餐，甚至邀請我們和他們一起遊香

物！然而，還有一些更讓人驚訝的東西：

膚下的皮膚。竹屋也是我陶藝作品的臨時

港、台灣、大陸各地。這些朋友熱情好

竹棚和施工時爬上爬下的工人。覆蓋竹棚

「展示空間」。當念珠燒成後，整整15公

客，讓我們夫婦絲毫沒有在外的感覺，也

的物料五彩繽紛–黃色、米色、藍色、綠

斤重的念珠被我掛上在竹屋的屋頂。其他

讓我們有機會透過他們本地人的眼睛觀察

色，讓人嘆為觀止！

作品陸續加入，但只是放在地上，有時和

文化。我真誠感謝他們所有人，希望他們

布料結合在一起。

有機會來澳洲探望我們！

的廟宇、神龕和祭壇，又用我的相機記錄

當我拆掉竹屋時，我利用竹子重新創作

www.claudiaterstappen.com

建築物和竹棚的面貌。我開始與工人交

了 一 件新的作品–可以說是工作室的「爆

談，仔細觀察他們用黑色的塑料束帶綁起

炸」，由中央開始是細小的竹枝，然後越

竹竿。我喜歡竹子這種可以持續使用的物

來越大，一直向外圍延伸到房間的每個角

料，質地輕盈，又能用於大型的工程建

落，甚至房間也容納不下，穿出了其中一

築。這對我留港後半段時間在工作室創作

個窗戶。對我來說，這件最後的作品是最

的作品有很大影響。

成功的，最能展示我的決心。這件作品讓

接着我每天探索這座城市，尋訪不同種類

我2018年有機會到德國杜伊斯堡的DKM 博物館，創作大型竹子裝置藝術。

Claudia Terstappen studied German Literature and Philosophy at Heinrich Heine University and Sculpture with Architecture and Photography at the Art Academy in Düsseldorf, Germany. She has a distinguished international reputation in research and scholarship. Her resume includes more than 60 solo and 100 group exhibitions worldwide. Her work is held in both public and private collections in Germany, Japan, Spain, Australia and the United States. She joined AVA as University Fellow from September 2015 to January 2016.

Claudia Terstappen 曾在德國杜塞道夫大學研讀德國文學和哲學，並在杜塞道夫藝術學院修讀雕塑、建築和攝影。她的研究和學術成就在國際享負盛名，聯展超過100個，個 人展覽亦超過60個。她的作品在德國、日本、西班牙、澳洲以及美國各地被公共機構及私人收藏。在2015年9 月至2016年1月期間擔任視覺藝術院訪問學人。

在地洞察

新的攝影作品，同時為新的視頻作品錄製

Onsite Insights

融入視覺藝術院大家庭的過程中，我認識

25

2015年9月，我開始在香港浸會大

Back to Hong Kong? 回到 香 港？

Yuliya Sorokina / PhD candidate of T. Zhurgenov Kazakh National Academy of Arts, Kazakhstan Yuliya Sorokina / 哈薩克 斯 坦 國 立 藝 術 學 院 博 士 研 究 生

Arriving at the University, I was lucky to take part in the monthly meeting of researchers of the Academy of Visual Arts.

I was lucky to do it a second time at the end of my visit and even made a presentation of my own work. For me it was a new experience, as in our academy we do not have such an important forum. I appreciate the method of sharing current work with other colleagues and the opportunity to discuss whatever you find interesting. I was impressed by some of my colleagues’ reports and got a holistic picture of the research activity of the Academy.

It is obligatory for every PhD candidate in Kazakhstan to have two scientific internships abroad. After all, our country is a

Exhibitions, performances and festivals – all these events are

member of the Bologna Convention and has to be global.

very well advertised through a mass of leaflets, magazines and

I spent the first one in Germany, discovering European

brochures, which are easily available at the Academy’s special

universities, museums and galleries and this year decided to

information desks. AVA publishes a couple of its own journals

go to South East Asia – it is logical, isn’t it?

as well, which also blows my mind, in a way, as in my country publishing is a difficult issue, especially for educational

My adviser in South East Asia was my colleague –

institutions. But of course, it is always better to get advice from

internationally known curator Dr Charles Merewether. He has

experienced people. I got information regarding cultural

worked in the region for long time and can give good advice.

events from the supervisor of my internship Prof. John Aiken

He said: “Go to Hong Kong.” Sounds good – I will. Charles was

and it was not at all an official communication – we had an

so kind to recommend me to Prof. John Aiken – Director of the

intense conversation about the art scene in Hong Kong and

Academy of Visual Arts, HKBU, who was so kind to accept my

Kazakhstan, about the policies of art academies, about the city

proposal for internship. So, off I go to HKBU.

of Hong Kong, etc. I appreciate this informality a lot and again dream to find this style in Kazakhstan one day.

It’s amazing how hard is to get a student visa to Hong Kong; even all citizens of the Republic of Kazakhstan have a right

One of the most unusual experiences was a visit to Yim Tin Tsai

to go there without any visa for vacations up to 14 days.

village with a team of a few colleagues from AVA led by Prof.

But I was lucky to arrange my visa with the help of a brilliant

John Aiken. This is actually a museum under the sky – old

Administrative Officer – Heidi Chan. I have never ever worked

houses, a salt farm, a little exhibition of some utensils from

with such a tolerant, calm and methodical person. She

country life, local fast food, unique flora and fauna, the way to

struggled for my visa for one and half months and finally we

the island by boat – everything occupying your imagination

got it !

and making sense of a different identity.

I am sure that millions of travellers sing songs to the transport

A kind of culmination of my visit to Hong Kong was my short

infrastructure in Hong Kong – the buses, taxis and subway all

investigation of the Asia Art Archive – the largest resource of

work so very well. I love the Octopus card system and the

materials for contemporary art from South East Asia. I have had

ability to go to any part of Hong Kong fast, comfortably

a dream to come here for some years and finally here I am …

enough and at any time of the day (and night). I dream that in

shelves with catalogues, invitation cards, CVs by hundreds of

the future we will have something similar in Kazakhstan.

artists, an amazing online database and of course

the super-professional staff of librarians, researchers and art

It is definitely good for writing. Under my balcony the Sai Kung

managers. AAA is one of the internationally recognised

jungle bloomed and the birds were singing, in the distance the

examples of archiving contemporary art heritage. This

sea could be seen, and the whole atmosphere was favourable

institution was one of the main points of my investigation as

for scientific reflections. Every time I visit foreign lands, I ask

my doctoral thesis is connected to the preservation of

myself: “Would I like to come back here?” In this case, I am

contemporary art.

absolutely sure – yes !

27

My stay in Hong Kong fell over the Christmas holidays; this

Onsite Insights

meant I had enough time to work in a brilliant HKBU library and to write my thesis. I like this possibility and feeling of being situated outside of the usual bustle of domestic circumstances.

來到浸會大學後，我有幸能夠參與視覺藝

田、鄉村生活用具的小展覽、本地的快

術院每月舉行的研究員會議，更幸運的

餐、獨特的動植物、坐船登島，一切一切

洛尼亞公約》成員國，必須與國際接軌。

是，我可以在我訪港旅程的尾聲參加會

都 佔 據 了 你 的 想 像 力 ， 給 了 你 另 一 個

我第一次實習是在德國，到過歐洲的大

議，而且在會上介紹我的作品。這對我來

身份。

學、博物館、藝廊探索，今年則決定來東

說是個新的體驗，因為在我本來的大學並

南亞。這樣很順理成章，對不對？

沒有這麼重要的一種活動；我很欣賞這種

亞洲藝術文獻庫收集了為數最多的東南亞

交流方式，你可以和同事分享作品，同時

當代藝術品，我在文獻庫的短短一行，可

我 在 東 南 亞 的 導 師 是 我 的 同 事 – – 國 際

討論自己感興趣的任何事情。幾位同事的

以說是我香港行程的高潮。曾經有幾年時

知名的策展人麥懷德博士(Dr. Charles

報告給我留下很深的印象，也讓我了解到

間，我一直夢想踏足這個地方，現在終於

Merewether)。他在區內工作已經很長時

大學研究活動的全貌。

達成心願。一個接一個書架的目錄、邀請

間，有資格給我建議。他說：「去香港

卡、數以百計藝術家的履歷、浩瀚的網上

吧。」這個意見很不錯，於是我就去了香

展覽、表演、藝術節──種種活動都清楚

數據庫，當然還有超級專業的圖書館員、

港。麥懷德博士熱心地把我推薦給了香港

列在單張、雜誌和宣傳冊子裏，在學院特

研究員、藝術管理人。亞洲藝術文獻庫是

浸會大學視覺藝術院總監莊藝勤教授，莊

設的資訊處輕易可以拿到。視覺藝術院也

全球其中一個收藏當代藝術遺產的典範，

藝勤教授大方地接納了我的實習計劃。於

有出版幾份自己的刊物，這簡直讓我眼界

由於我的博士論文探討如何保存當代藝

是，我來到了香港浸會大學。

大開，從某方面來說，出版在我的國家向

術，這裏是我考察的重點。

來是個難題，尤其是教育機構。當然，更 雖然哈薩克公民一般可以免簽證來香港旅

好的渠道是向識途老馬打聽。我從實習導

我逗留香港期間，恰好遇上聖誕節假期，

遊14天，但是難以想像的是，原來申請香

師莊藝勤教授那裏得到了很多關於文化活

因此我有足夠的時間，留在浸會大學舒適

港的留學簽證會這麼困難。我很幸運，有

動 的 資 訊 ， 而 且 我 們 的 交 流 完 全 不 限 於

的圖書館裏撰寫我的論文。我喜歡這樣的

行政主任陳頴兒大力幫忙，我從來沒有見

工作，我們熱烈討論過香港和哈薩克的藝

機會，可以讓我暫時遠離香港節奏急速的

過這樣一個耐心、冷靜、辦事井井有條的

術氛圍，兩地藝術學院的政策，以及香港

生活，而且這樣的環境絕對有利於寫作。

人，她為我的簽證忙了整整一個半月，終

這座城市等等。我衷心喜歡這樣暢所欲言

在我住宿的陽台下，西貢的樹林鬱鬱蔥

於我們拿到了簽證！

的交流，也盼望有朝一日哈薩克同樣可以

蔥，雀鳥鳴唱，不遠處是大海，整個環境

如此。

最適合思考。我每次到訪外地的時候都會

我相信，香港的交通基建一定讓數以百萬

自問：「我要不要再來這裏？」對於香

計的遊客嘆為觀止，巴士、的士、地鐵都

我在香港其中一段最與別不同的經歷，是

有條不紊。我尤其喜歡八達通卡系統，能

在莊藝勤教授帶領下，和視覺藝術院幾個

讓我快捷、舒適地到任何地方，不管日夜

同事一起探訪鹽田梓（仔）村。那裏完全

都可以。我期望未來哈薩克也會有類似的

是 個 露 天 的 博 物 館 ── 古 舊 的 房 屋 、 鹽

港，答案絕對是 ──「要！」

東西。

Yuliya Sorokina, a PhD candidate at T. Zhurgenov Kazakh National Academy of Arts, Kazakhstan, had her six-week research attachment at AVA during November and December 2015. This article is based on entries from her diary.

Yuliya Sorokina是哈薩克國立藝術學院博士候選人，2015年11月至12月間，在香港學術交流六星期。本文摘自她的日記。

在地洞察

在哈薩克，每個博士候選人都要到 海外學術實習兩次，畢竟我們國家是《博

Moving Forward with Questions: Photobooks Design Workshop by Sabine An Heuf 懷 著 問 題向前邁進：Sabine An Heuf 的

「 論 紙 本 與攝影」設計工作坊

Wong On Kei, Kate / Workshop participant / BA Graduate of 2016 / Awardee of KL&K Award for Design and Graphic Art in BA Visual Arts Graduation Show 2016 黃安琪 / 工作坊參加者 / 2016年 視 覺 藝 術 學 士 畢 業 展「 靳 劉 高 設 計 獎 」得 主 / 2 0 1 6 年 本 科 畢 業 生

Moving From Being Blind to See / Typography on paper and canvas / Graduation work by Wong On Kei 看見不看見 / 文字設計布本 / 黃安琪畢業作品

The workshop conducted by Sabine An Heuf focuses on the design

Before the first lesson started, Sabine had already given us

of photobooks. It discusses the research question ‘What is

a piece of homework.

a photobook?’ and studies the different kinds of photobooks and their design. After investigation, analysis and the definition of

She asked us to select two photobooks for redesigning

criteria for the design, all participants choose one photobook (by

and explain why exactly these books should be redesigned.

photographers from Hong Kong, China or Taiwan) and redesign

Moreover, we needed to provide a description of the book and

it according to their own criteria in the workshop. The target

background information, including details of the

and conclusion of the workshop is the presentation of the newly

photographer, the visual language of the pictures, the type

redesigned photobook and corresponding documentation.

of the photobook (documentation, artist book, etc.), the book designer, physical description of the book (construction,

My reason for taking this course is that I love book design,

format, number of pages, dimensions of the book, etc.),

but I never had any lessons specifically about designing a

material (paper, cover, dust jacket, etc.) and processing

photobook. Additionally, it is an intensive course, with

(bookbinding, refinement, etc.).

only a few lessons, so it would challenge me to design a book more quickly.

When I was answering those questions, I realised they were

honours project, I would ask myself, “What is the main idea(s)

very good guidelines to help me understand what makes

and concern of the design?” and “Does my design strongly

a good photobook and how to “read” a book in terms of the

connect to the content?” After that, I could decide the criteria

relationship between the book design and content of

for designing. In addition, Sabine and my supervisor,

the book.

Dr Mariko Takagi, also reminded me that I should consider the question “What format is most suitable for the book?” and try

we chose or we made. We got 40–50 books in total;

pages. I changed my expected size (small size) to a big-size

most of them had good photography but were designed

book after trying different formats in my work. If I hadn’t asked

imperfectly. Everyone was very focused on the presentation

this question, I would probably have used the wrong format.

because we all introduced the book very clearly with useful

To me, a question is not just a question mark but also an arrow

information. It was an extremely good experience to have a

that can lead you to find the answer.

在地洞察

book-sharing time in the lesson, and I didn’t expect to get into the world of photobooks in such a short time.

In this course, I experienced the importance of asking the right questions, because this means you will be clearer about what you want and how to make it. For example, in my

「 論 紙 本 與 攝 影 」設 計 工 作 坊 重 點 探

她要求我們挑選兩冊攝影紙本，然後重新設

清楚了解知道紙本，知道它們的訊息。課堂

討 攝 影 紙 本 的 設 計 、 討 論「 甚 麼 是 攝 影 紙

計，並且解釋為甚麼這兩冊紙本需要重新設

上的紙本分享環節是難得的經驗，我沒有想

本」這個研究議題，並仔細分析各式攝影紙

計。此外，我們還要描述紙本，提供它的

到，自己這麼短的時間就順利進入了攝影紙

本及其設計。經過研究、分析，繼而歸納出

背景訊息，包括攝影師的詳情、圖片的視覺

本的世界。

攝影紙本的設計準則後，每位學員將需要根

語言，攝影紙本的種類（紀錄、藝術家紙本

據各自所定立的設計準則，選取一本由香

等）、紙本設計人、紙本的實體描述（規格、

課程當中，我學會了提問正確問題的重要

港、中國內地或台灣攝影師出版的攝影紙

格 式 、 頁 數 、 尺 寸 等 ）、 材 料（ 紙 質 、

性，這樣意味着你會清楚知道自己想要甚

本，進行重新設計及排版。學員們需要記錄

封 面 、 封 套 等 ）以 及 加 工 處 理（ 裝 幀 、

麼，以及怎樣達到目標。比如在我的畢業作

重新設計現有攝影紙本的過程，並於最後一

調整等）。

品裏，我會問自己「設計的主要理念和考慮 是甚麼？」，「我的設計和內容有緊密關係

節工作坊介紹重新設計的經過和完成品。

當我回答這些問題時，我發現這些都是很好

嗎？」，然後我可以決定設計的準則。除此

我之所以參加這個工作坊，原因是我喜歡紙

的指引，能夠幫助我明白甚麼是好的攝影紙

之外，Sabine和我的導師高木毬子博士又提

本設計，只是一直沒有上過任何專門介紹設

本，以及怎樣「閱讀」紙本，了解紙本設計

醒我，必須考慮「甚麼格式最適合這冊紙

計攝影紙本的課。另一個原因是，這個工作

與紙本內容之間的關係。

本？」，接着嘗試為單頁和雙頁做出至少三

坊的課程非常緊密，只有幾節課，能夠迫使 我快速學會設計紙本。

Onsite Insights

a minimum of three different formats for single and double 29

In the first lesson, we were happy to share the photobooks

種不同的格式。我本來預期作品會是小尺 第一節課上，我們欣然分享自己挑選或創作

寸，經過不同嘗試後，改成了大尺寸的紙

的紙本。我們一共有40到50冊紙本，大多

本。如果我沒有問過這條問題，我很可能會

第一節課開始之前，Sabine已經給了我們

數都是照片拍得很好，設計卻有所不足。匯

用錯格式。對我來說，問句的結尾不單是一

功課。

報的時候人人都很專心，因為我們都已經

個問號，更是一個箭頭符號，可以帶你找到 答案。

Sabine An Heuf is a Professor of Communication Design at the Department of Design at the University of Applied Sciences and Arts, Dortmund, with a focus on typography, design concepts and book design. She is the founder and director of the Buchlabor – Institute for Book Research at the University of Applied Sciences and Arts Dortmund, and co-founder of studio i.de together with Volker Heinze in Düsseldorf.

Sabine An Heuf是德國多特蒙德應用科學及美術大學（University of Applied Sciences and Arts Dortmund）設計系的傳訊設計教授，主要教授文字設計、設計概念和紙本設 計；她更於多特蒙德應用科學及美術大學創立Buchlabor紙本研究中心，並擔任中心主任。Sabine與 Volker Heinze於1989年在杜塞爾多夫創辦 i.de工作室。

Photobook Making Workshop

by Volker Heinze Volker Heinze 攝 影紙本製作工作坊 Li Hiu Wa / Workshop participant / Instructor of “Through Our Eyes” Photography Education Programme / BA Graduate of 2014 李 曉華 / 工作坊參加者 / 「 憧 憬 世 界 」攝 影 教 育 計 劃 導 師 / 2 0 1 4 年 本 科 畢 業 生

The 3-session workshop aims to stimulate Artist-Educators to

When I learnt photography, my focus was more on the image

rethink about and re-evaluate their existing photo collections that

and the act of taking pictures, rather than the printing

are mainly focused on personal relations or other specific topics.

medium. I had not considered presenting them in book form.

Through the process, it is expected that the Artist-Educators will

This whole process of book-making is not unlike the experi-

be able to structure the specified photos into a well-organized

ments we did back in high school: sorting the photographs,

photobook.

discerning the logic within, attempting different ordering

patterns, experimenting with combinations of papers and

Photo book? Photo album?

printers. For someone as forgetful and disorganised as myself, I

In Volker’s class, he taught us to consider the distinction

had to make detailed records to ensure each combination

between a “photo book” and a “photo album”. This has inspired

could be reproduced exactly.

in me a number of questions: does placing photographs in a book create a photo book? Volker also introduced to us books

About books

in their great diversity. The printing paper alone makes a

I am obsessed with the act of “turning the page”. This process

significant difference for the photographs; then there is the

provides a fitting transition between different photographs:

size, the layout of photographs, and a host of other factors. The

changes in space and time are made in the instant when a

possibilities are such that one seemingly simple photo book is

page is turned. Using the opportunity afforded by the

a result of many different considerations.

book-making process, I have joined together seemingly unrelated pictures into a coherent narrative.

By blowing up or cropping the pictures and creating abstract visual elements, they become transitions between different pages of photographs. The “turning-the-page” process acts like transitioning effects in a movie, with the abstract elements serving as a changeover between scenes, creating a journey of spatial transition.

Volker’s examples: books made from different paper Volker的例子：以不同紙質製成的書

Based in Düsseldorf, Volker Heinze is co-directing a research project titled “About books and photography” in University of Applied Sciences Dortmund. With his training and experience in communication design and photography, Volker has been active in the art field since the mid-80’s. In 1990s, he won the Charles Pratt Memorial Award, since then his works have been frequently exhibited in major galleries and museums in Germany, for example Museum Folkwang Essen and Gallery Torsten Obrist Essen.

Volker was appointed as the resident artist of Academy of Visual Arts from early March to the end of April 2016.

這個一共三節專為「憧憬世界」攝影

況還有書的大小、相片的排列……等等，

關於書本

教育計劃藝術導師而設的工作坊，旨在引發

可能性實在太多。一本看似簡單的攝影

我很着迷「翻頁」這個動作。這過程很適

他們重新思考和理解他們現有的攝影作品。

書，在製作過程中原來有很多的考慮。

合用作相片之間的過渡：空間的轉換、時 間的變化，都在翻頁的瞬間完成。趁着這

通過此工作坊，藝術導師們將重新審視他們

次製書，我把過去拍攝的一些看似毫無關

悉心地將相片製作成攝影紙本。

容和拍攝行為，而呈現作品的時候亦未曾

係的相片整合起來。把這些相片放大或裁

考慮過以書作為載體。這次製書的過程，

剪至抽象的視覺元素後，便成為了翻頁時

相簿？攝影書？

很像以前中學科學課堂上所做的實驗，例

相片之間的過渡。這個翻頁過程有點像電

在Volker的工作坊裏，他讓我們思考

如要先把相片分類，又要留意當中的邏

影裏畫面之間的過場，而抽象元素則成為

Photo Book和Photo Album的分別。這令

輯，然後嘗試不同的排序，亦要試驗紙張

場景之間的轉折，從而建構了一個空間轉

我想到了一些問題：把相片放在書裏，就

和打印機的組合……我不得不硬着頭皮多

換的旅程。

成為Photo Book了嗎？Volker又介紹了不

做 記 錄 ， 以 免 忘 記 或 搞 亂 了 每 個 變 數 的

同的書。單以紙質來說，以不同厚薄質感

配合。

Onsite Insights

回想在學習攝影的時候，較多思量影像內

31

以人際關係或其他特定題材的攝影作品，並

在地洞察

的紙來呈現相片，已經很影響觀感，更何

1. The malfunctioning shutter has blocked part of the picture, with the

2. On the next page, we blacked out the entire page, allowing the

final result not unlike a fade-out effect

abstract colour block to serve as a transition between photographs

雖然相機快門壞掉並遮蓋了相片的畫面，卻有點像淡出的效果

於是在下一頁，整頁全黑，以抽象色塊作為相片的轉折點

3. Continue from the previous page, leaf texture appears.

4. One more turn of the page takes us here

以樹葉的質感承接上一頁

再下一頁，便轉到這個地方

Volker Heinze 現居於杜塞爾多夫，在多特蒙德應用科學大學 (University of Applied Sciences Dortmund) 負責題為「關於紙本和攝影」的研究項目。 Volker在學時修讀傳訊設 計，並有豐富的攝影工作經驗，自80年代中便活躍於藝術圈。 他更於1990年贏得查理斯 · 普瑞特獎 (Charles Pratt Memorial Award)，自此，他的作品常常於德國各大畫廊及 博物館展出，其中包括埃森福克望博物館和 Torsten Obrist 畫廊。2016年三月至四月底，Volker 獲任為香港浸會大學視覺藝術院的駐校藝術家。

Porous Borders, Commerce and Community in Hong Kong 穿 透 的 界線，香港的商業與社區

Andrew Hevia / Fulbright student researcher 富 布 賴 特 學 生 研 究 員

Nothing We Did Could Have Saved Hong Kong / Samson Young / Sponsored by BMW Art Journey, Art Basel Hong Kong

You arrive in Hong Kong on a Tuesday.

The increase in events and visibility fuelled an increase in artists and shifting perceptions of art within the city herself.

As a Fulbright student researcher, you are here to make a film,

Over the course of 15 years, Miami became an emerging

a documentary about the impact of a global art fair on local

creative capital.

artists. You've covered this topic once before back in the USA. In that case, the fair was Art Basel Miami Beach, the first ever

You made a film about all this, a documentary called Rising

satellite edition of one of the longest-running and most

Tide: A Story of Miami Artists, which is how, in a roundabout

prestigious contemporary art fairs in the world.

way, you have ended up here.

You grew up in Miami and witnessed first hand the growth

You spend your first week in a hostel Kowloon side. You eat

and development of the city’s burgeoning art ecosystem,

alone and can't read the menu. You attract stares and feel like

accelerated by the arrival of the fair and the attention that

an outsider. A week later, you find a small apartment Hong

came with it. WWThe catalytic effects of Art Basel Miami Beach

Kong side and get to work.

were clear and unmistakable – in less than a decade, 27

You visit art spaces like Spring Workshop, Para Site and

separate and distinct satellite fairs opened up during “Miami

Videotage. You scout galleries like Osage, Exit and Blindspot.

Art Week”, capitalising on the well-heeled foot traffic and

And you experience the artist-run spaces like Things That Can

international spotlight. New galleries opened, old galleries

Happen and 100ft Park.

renovated, non-profit spaces, private collections, public museums and artist studios grew in size, number and ambition.

You expect there to be two distinct worlds – the internationally

Within hours the story of the piece is written up in interna-

focused commercial art world and the community focused

tional newspapers and for a brief window before the work is

spaces catering primarily to the artists who live and work in

removed, a local art collective’s act of protest crosses oceans

Hong Kong. Very quickly, you find this to be true. For some in

and punctures the global consciousness… all without the

the local world, the borders are clear and the business of the

platform of the fair.

fair is seen as entirely beside the point. Art is art; commerce is commerce.

You wonder if these divisions between commercial and appreciate work or make it easier to dismiss?

You see Tracey Emin at her opening at White Cube and then

Later you return to your small apartment and continue editing.

again at the convention centre. She is surrounded by fans

在地洞察

and treated like a rock star. There are champagne flutes and black ties.

As you interview more artists and attend more openings outside the commercial spaces, you encounter a series of themes and ideas that take shape in your mind: universal suffrage, the Umbrella Movement, the Fishball Riots, the preservation of heritage sites, unaffordable housing and gentrification. Surely these topics are the domain of the community-focused artists, far from the luxury market of the fair, you decide.

Anxiety about Hong Kong’s future and the disruptions of recent history infuse and inform so much of the work,

So You Are Old by the Time You Reach the Island / Samson Young /

including Samson Young’s So You Are Old by the Time You

Sponsored by BMW Art Journey, Art Basel Hong Kong

Reach the Island, as evocative and transporting an experience as you will ever have. When you acknowledge that Samson’s piece was designed for the fair and supported by BMW, you recognise the divisions between worlds are more porous than you can easily categorise.

Artists and organisations travel back and forth between the worlds constantly, showing in non-profit spaces and commercial galleries in the exhibition hall simultaneously. Art Basel Hong Kong is an extraordinary opportunity for local artists to gain exposure, but it is hardly the only one.

It is late May and it is evening. You walk through Sun Yat Sen

Onsite Insights

This holds true… at first.

33

community art spaces are productive. Do they make it easier to

One Night Stairwell / Misael Soto / Curated by Enoch Cheung / in C& G Artpartment

Memorial Park in Sai Ying Pun and gaze at the ICC. Artists Sampson Wong and Jason Lam have revealed that embedded in a public art project called Our 60 Second Friendship Begins Now is a smaller work entitled Countdown Machine, which counts the seconds until 1 July 2047, and timed the announcement as an act of protest.

Andrew Hevia is an Emmy-winning documentary filmmaker from Miami, Florida, USA. He is a co-founder of the Borscht Film Festival and a 2015 Fulbright student researcher at AVA. He is also a graduate of the Florida State University Film School and Fordham University's Gabelli School of Business, where he received a Master in Media Entrepreneurship. Andrew is currently working on a feature-length documentary about Art Basel Hong Kong and its impact on the local art community.

你星期二抵達香港。 身為富布賴特學生研究員，你來這裏是為

第一個星期你住在九龍的一家小旅館，吃

了拍電影。一部關於全球藝術展對當地藝

飯時只有一個人，菜單上的文字莫名其

術家影響的電影。你在美國已經做過這個

妙，路人投來目光，你感覺就像一個局外

題目，當時是邁亞密灘的巴塞爾藝術展。

人。一星期後，你在港島找到了小小的居

巴塞爾藝術展是全世界其中一個歷史最悠

所，然後開始工作。

久、地位最崇高的當代藝展，那是該藝術 展首次在外地舉辦衛星藝術展。

你 走 訪 不 同 的 地 方 ， 比 如 Spring工 作 室、Para Site 藝術空間、Videotage；你窺

你在邁亞密長大，親身見證了這個城市蓬

探不同的藝廊，比如奧沙畫廊、安全口、

勃的藝術生態如何成長、發展，而巴塞爾

刺點畫廊；你也體驗不同的場地，比如咩

藝術展及其伴隨而來的關注，又如何加快

事藝術空間、百呎公園等等。

了這個進程。邁亞密灘巴塞爾藝術展催生 的 影 響 清 晰 而 無 庸 置 疑 –– 不 到 1 0 年

你期待會發現兩個截然不同的世界。一個

間，27個不同的衛星藝術展加入了「邁亞

是以國際為焦點的商業藝術世界，另一個

密藝術週」，希望借助藝術週窮貴極富的

是以社區為焦點、以生息於香港的藝術家

觀展人流以及國際知名度而有所收穫。新

為主的世界，很快你會發現，事實確是這

藝術家和藝術機構始終在兩個藝術世界之

的藝廊陸續開張，舊的藝廊煥然一新，非

樣。在社區藝術世界的一些人看來，兩個

間不停徘徊，同時出現在非牟利的場合和

牟利項目接踵而來，私人收藏、公立博物

世界界線分明，藝術展的商業元素完全無

展館的商業畫廊。香港巴塞爾藝術展是一

館、藝術工作室不論規模、數量還是對藝

關痛癢。藝術就是藝術，商業就是商業。

個能讓本地藝術家爭取曝光的非凡機會，

術的抱負，都更勝從前。

Pictured: Tracey Emin / in White Cube, Film Still courtesy of Andrew Hevia

但並不是唯一的機會。 這點是正確的……最初的確如此。

邁亞密頻繁的藝術活動和上升的知名度，

5月下旬的傍晚。你走在西營盤的中山紀

令巿內的藝術家人數越來越多，市民對藝

然 後 ， 你 會 看 見 T r a c e y E m i n 在 W h i t e

念公園，眺望環球貿易廣場。黃宇軒和林

術的認知也有所不同。十五年之間，邁亞

Cube 及 她 在 會 展 中 心 的 開 幕 禮 上 ， 身

志輝兩個藝術家告訴你，在《從現在開

密成為新崛起的創意之都。

邊 粉 絲 簇 擁恍如搖滾巨星，現場杯觥交

始，我們就是六十秒的朋友》這個公眾藝

錯，衣香鬢影。

術項目中，還包藏了一個規模較小、名為 《倒數機》的作品，顯示距離2047年7月

隨着你接觸越來越多的藝術家，參加越來

1日還有多少秒，作為抗爭的展現。

越多商業場合以外的活動，你會遇見一連 串在你思維中成型的主題和理念：普選

幾個小時內，國際報章就刊登了相關報

權、雨傘運動、魚蛋革命、古蹟保育、房

道，而在作品被撤前的短暫時間裏，一群

價飛升、士紳化。你會覺得，這些課題肯

本地藝術家的抗爭穿越了大洋，引起了全

定屬於以社區為焦點的藝術家，和巴塞爾

球注視。這些都是在藝術展平台以外取得

藝術展的奢華市場相隔很遠。

的成果。

對香港未來的焦慮以及近今歷史的擾動，

你會思考，商業和社區藝術世界之間存在

Rising Tide: A Story of Miami Artists / Feature Documentary produced and directed by Andrew Hevia

激發了大量的藝術創作，例如楊嘉輝的

的這些界線，到底對藝術有沒有幫助？這

這些變遷你都記錄下來，拍成的記錄片名

《 So You Are Old by the Time You Reach

些界線到底讓人更容易走近作品，還是更

為《漲潮：邁亞密藝術家的故事》(Rising

the Island 》，就極為發人深省。然而，當

容易排斥作品？

Tide: A Story of Miami Artists)。也就是

你發現楊嘉輝的作品是為巴塞爾藝術展而

這個原因，你來到了這裏。

設計，而且是由寶馬資助之後，你會明白

不久之後，你回到自己小小的家，繼續剪

兩個藝術世界之間的界線，其實並不如你

輯你的影片。

想像中那麼密不透風。

Andrew Hevia來自美國佛羅里達州邁亞密，曾攝製紀錄片獲得艾美獎，並協助創立Borscht電影節，2015年以富布賴特學生研究員身份來到視覺藝術院。他畢業於佛羅里達州 立大學電影學院，後在福坦莫大學加貝利商學院取得媒體企業碩士學位。Andrew目前正拍攝一輯長記錄片，探討香港巴塞爾藝術展及其對本地藝術社區的影響。

35 Class workshop of “Hong Kong Craft: Tradition and Transformation” 課堂「香港工藝: 傳統和轉化」工作坊

P. 38 – 39

The Inheriting and Transition of Traditional Handicraft – Lion-head-making with Bamboo Strips / 傳統工藝的傳承和轉換 P. 40 – 41

Dear Reader / 親愛的讀者 P. 42 – 43

The Bamboo Journey – a Study Trip to Jhushan Town of Nantou County / 知竹之旅──台灣南投竹山鎮考察 P. 44 – 46

“Toy” / 《知覺玩物》 P. 47 – 49

Third Collaboration of AVA and IAM: From Here to There / 視覺藝術院與國際藝術運動第三次合作 : 從此地到彼地 P. 50 – 52

Blowing Glass in the Maldives / 去馬爾代夫吹玻璃？ P. 53 – 55

50 . Shades of Grey / 五十度灰 P. 56 – 60

Creative Livelihoods: A Longitudinal Survey of the Long-term Development of Career Paths of Graduates from Creative Undergraduate Degree Programmes in Hong Kong / 創意事業： 香港創意學士學位課程畢業生職涯規劃縱向調查 P. 61 – 63

Breaking Through while Embracing Conventions in Chinese Calligraphy / 在中國書法中擁抱傳統兼求突破 P. 64 – 65

25 Minutes Older / 二十五分鐘後 P. 66 – 67

“What Does Art Do?” / 「 藝術能做甚麼？」

Practicing Practice 實習實踐

37

02

The Inheriting and Transition of Traditional Handicraft–Lion Head Making with Bamboo Strips 傳 統 工 藝的 傳承和轉換

Leung Mee Ping / Associate Professor

梁美萍 / 副教授

Student Tang Ming Sum’s light and shadow installation of bamboo strips / 學生鄧明心以紮作展現的光影裝置

Today there are only three to four handicraft masters in Hong

the materials and techniques needed for production. The

Kong who specialise in the traditional craft of making dancing

traditional bamboo sticks are replaced by wires to cast the

lionheads with bamboo strips, and two of those are already in

basic structure, sorack bars are not needed and thin bamboo

their 70s. The “youngest” among them is Master Hui, who

sticks will be removed once the shape of the lion head is

started learning such traditional handicraft techniques from

steady. Due to the fact that wires are used in the whole form,

the age of 13. As his family was involved in the lion dance

the technique of tying and reshaping the bamboo sticks is

performance business, Master Hui knows not only the

completely omitted throughout the process. Hence it is

handicraft skills but also the acting of the lion dance. Master

difficult to find a lion head craftsman who comprehends the

Hui believes that the making of a lion head is the hardest to

entire traditional process. Furthermore, in other traditional

master among all traditional Chinese handicrafts that use

handicraft fields, such as the burning of joss paper for

bamboo strips. The key to creating a lion head is to make the

ancestors, the use of bamboo sticks has been slowly replaced

best use of your hands, since practice makes perfect.

by wire during the production process.

The conventional lion dance celebration performance is still

Traditional handicraft has been slowly gaining attention

practised in places where Chinese people are active. In some

during the past few years in Hong Kong, so Master Hui was

parts of the West, lion heads from overseas can be seen along

invited to teach his expertise in several workshops. This was,

the streets in Chinatowns or in museums. The making of lion

however, the first time he had given a lecture on lion head

head parts in Foshan is very industrial as the specialisation and

craftsmanship in a university. He was surprised that the

division of labour increases the efficiency and decreases the

students were able to follow his instructions and absorb his

cost of the process. Therefore, Foshan’s lion head making, in

knowledge; students jotted down notes about what Master

particular, does not require the inheritance, transition and

Hui had always taught verbally into organised notes and

taught skills from handicraft masters. In Malaysia, a similar

diagrams, which he had never done before or expected. Five

economic method is implemented yet there is a difference in

groups of students successfully created smaller versions of lion

heads that illustrated different characteristics. They engaged in

Based on the style of the newly created lion head for each

a variety of tasks from recognising tools, processing materials,

group, each student carried on to create a work with the

fixing the basic structure, gluing papers, colouring, and

traditional handicraft skills learnt from the course; a costume

sticking fur to setting up mobile installations and suchlike.

was made for the dancing lion performance from a feminine

Among the new lion heads created by the students, there is,

perspective–a towering one-piece costume, backless shoes,

for example, the young and lively pink one with high energy,

baby-pacifier and drums, etc.

the red and blue striped Indian-style head and the black and structure and making techniques of a Guangzhou lion head,

making of traditional lanterns, with the cooperation of Leisure

with a modern touch.

and Cultural Services Department. Students are going to contribute to the community by displaying their works at the annual Lantern Festival in Victoria Park. Connection between

handicraft is the first ever regular university course that

people is important for inheriting intangible cultural heritage.

involves the study of intangible cultural heritage. There have

Nowadays knowledge can be widely transferred via the

been learning topics revolving around the crafting of flower

Internet, but wisdom can only be passed on from a direct

boards, embroidery, Piu Sik (floating colours) and shadow play.

exchange and interconnection between humans. A grateful

Students must transform the knowledge of handicraft into

humanistic quality is the DNA for passing on the essence of

their own thoughts and incorporate it into other subjects,

intangible heritage.

hence making their own multi-media creations.

香港現存獅頭紮作師傅僅三、四

上課時，許師傅一邊口述一邊動手示範，

新學期的傳統工藝是傳統花燈研究和轉

位，其中兩位已年過七十，而許嘉雄師傅

同學們都非常專注，能一步一步的臨摹各

換，課程將與康樂文化事務署合作，讓同

可算是當中的年輕「老師傅」。許師傅出

個基本步驟，而且即使許師傅沒有草圖、

學的創作成果於每年一度的維園大型花燈

身舞獅世家，十三歲學藝，既懂舞獅又會

也沒有口訣，同學們都能把整個製作過程

展覽中展出，同學的新構想和成果將可以

製 作 ， 十 分 難 得 ， 他 說 獅 頭 是 中 國 傳 統

記下並轉化成圖譜：由工具、物料處理、

回饋社區，成就非物質文化傳承最重要的

紮作工藝裏最為複雜的；獅頭紮作，圖訣

控制基本獅頭架，以至糊紙、上色、貼

一環──人與人的連繫。現今的知識可以

在 心 在 手 ， 全 憑 經 驗 ， 秘 訣 是 「 熟 能

毛、動態裝置等等，他們不僅按部就班完

經網絡轉移，但智慧的傳承是人與人的交

生巧」。

成了小型獅頭，而且五組同學的製成品更

流和感知，最終，值得我們感恩的人文素

各具特色：看來年輕活潑的粉紅獅、紅黑

質才是非物質文化可以延續的基因。

傳統舞獅慶典至今於華人社會中仍然保存

間色的印度獅、黑白配的功夫獅等等，每

下來，某些歐美的唐人街或華人中心會從

個均傳承了廣東獅頭的基本造型和技巧，

海外訂製獅頭，各地的博物館也會收藏獅

但面貌卻令人耳目一新。

頭紮作。佛山的獅頭和配件製作非常工業 化，工序因分工而簡化，成本容易受控，

「香港傳統工藝傳承和轉換」是香港首個

而工藝技巧也不需要師徒的傳承；馬來西

在大學裏恆常開設的傳統工藝研究課程，

亞大多亦以分工模式去製作獅頭，物料則

過往有花牌、刺繡、飄色、皮影等傳統工

用鐵絲代替竹枝紮作基本造型，因此根本

藝的製作學習，學生完成傳統基本製作技

不需要紮槓架──以數枝幼竹所做的支撐

巧和造型後，必須將知識轉換成個人的創

基座，用以固定造型，獅頭成型後幼竹會

作，加以轉化，或與其他學科融合，課程

被抽走──而只用鐵絲，當然更不需要用

最 終 的 成 果 常 常 呈 現 為 跨 媒 介 的 多 元

上竹篾糊綁竹枝和削枝的技巧了。換言

創作。

之，能由零開始「一條龍式」紮作獅頭的 傳統紮作師傅就非常罕見了。其實，現時

同學根據各自組別的獅頭造型，延伸個人

很多祭祖紮作也改用鐵絲，因此祭祀常用

創作，構想並以基本紮作技巧製作配合獅

的紮作品往往在燒化儀式後只剩下鐵架。

頭的作品；有同學為此製作一件舞獅的穿 戴組件，以女性角度演繹獅頭的配件：塔

傳統工藝近年漸漸在香港受到重視，許師

狀的連身裝置、飛魚鞋、奶咀造型和搖鼓

傅因而開始參與一些教授紙紮工藝的工作

等等。

坊，但在大學傳授獅頭紮作還是第一次。

The outcome of five groups doing lion-head-making using bamboo strips / 五組學生的小號獅頭紮作成果

實習實踐

The inheritance and transition of Hong Kong traditional

Practicing Practice

In the upcoming semester our course will take a look at the

39

white Kung Fu lion head. All inherited the fundamental

The final touch of set up / 最後佈展階段

Dear Reader

親 愛 的 讀者

Mariko Takagi / Assistant Professor

高木毬子 / 助理教授

“Reading is boring.” “Reading makes me tired.” “Reading is

We started with a blank sheet: 24 students, 12 weeks of time

difficult.” “I hate to read.” These were some of the most

and the booked gallery space towards the end of the semester.

disturbing answers to the question: “What does reading mean to you?"

The first four weeks were reserved for finding and testing ideas: “What can be counted as reading?” was the leading question.

In the academic year 2014/15, I worked on the topic “reading”

In weekly presentations my students shared their ideas of

with my book design class, cover to cover. The above-men-

reading an atmosphere, reading the weather, reading body

tioned answers were given to me during the introduction

language, doing speed reading, the reading of phonetics in

sessions. The surprise of receiving predominantly negative

different languages, etc. This led to an active exchange of

responses about “reading”, while students are highly motivated

knowledge and reading of texts was always part of it. This first

to design and to create books, left a strong impression.

phase of research, analysis and exploration of the idea of

Through a sharing with Ms Michaela Bodesheim, the librarian

reading was followed by a short phase in which we defined the

at Goethe Institute Hong Kong, I got to know that the opinion

framework for the project and decided on a working title of

of my students is not a rare case, but rather represents the

the exhibition. The title “Dear Reader, fill in the blank” was

feelings of a generation.

worded with the intention of involving the audience in the act of reading.

Asking students for reasons, most of them mentioned difficult studying, in which reading was the main tool to acquire

This was also the kick-off for the phase of creation and

knowledge. The fun or the freedom one can experience while

execution – the time when the feasibility of an idea is

reading was a strange concept to them. Understanding

challenged. Instead of topic-led working groups, students

reading as a unique and personal access to another person’s

selected their jobs for the last weeks by making their choice

mind – who lived in another time or culture, belonging to

among: project manager, PR (public relations), copy writer,

another gender and with a different life path – I wanted to

corporate designer, exhibition designer and artists (artwork

show my students how enjoyable reading is, and share this not

creation). Soon, the PR team started to advertise the idea

only with my students but with a wider audience.

of reading, inviting classmates to write short posts on their previous findings. The exhibition design team developed a

To explore and demonstrate the multifaceted nature of

strategy that was tailor-made for the venue – Koo Ming Kown

reading, the idea was to release it from the limitations

Exhibition Gallery, Communication and Visual Arts Building –

of a book. By opening up this topic, I decided to work with

with its two floors. The ground floor, as the entrance to

students on the concept for an exhibition about reading.

the exhibition, was designed to let the visitors imagine and think about reading. Captions consisting of five keywords

summarised the essence of each exhibit, while the

At the opening ceremony, Chung Wing Hin (alias Green Tea) quoted me by

artwork itself was placed on the second floor. A paper roll

saying, “Create a work that you will feel proud of even 10 years from now.” To me,

asking the visitors to fill the blank “Reading is …”, allowing

the intense work together with the group of students for this exhibition will for

interaction with the audience, and an installation of different

sure be a very good memory, even beyond the next 10 years.

kinds of books, were the only artefacts to welcome visitors and to prepare them for the second level.

41

On the second floor, artworks by the students, by invited

Practicing Practice

international artists/designers, AVA alumni and members of AVA teaching staff were presented. The exhibits represented a vast variety of media (from typography, book design, moving images, installation, photography, illustration, glass and jewellery) – all interpretations of the topic “reading”. This

實習實踐

variety truly demonstrated reading as a very personal act, enjoyable and clearly worth exploration.

Feedback session. Reviewing the art work in progress by Kate Wong. 回饋意見時段。評論學生黃安琪的作品期間。

「 閱 讀 很 沉 悶 。 」「 我 一 看 書 就 累。」「 閱讀很難。」「我討厭看書。」這

這個課題後，我決定和學生合辦一個有關

展覽設計小組也按照展覽場地傳理視藝大

閱讀的展覽。

樓顧明均展覽廳，度身定制出展覽方案，

些答覆全部來自同一條問題「你對閱讀有

展廳分為兩層，地下既是入口，也是讓訪

何感覺？」而且可能是這條問題最讓人困

我們從一張白紙開始：24個學生，12週的

客想像、思考閱讀的地方，現場會放置每

擾的答案。

時間，以及在學期尾聲已預訂好的一片展

件展品的圖片說明，用五組關鍵詞總結展

覽空間。

品，展品本身則陳列在二樓。迎接訪客走

2014 /15學年，我在書籍設計班「Cover

上 二 樓 的 ， 只 有 一 個 以 不 同 書 籍 所 做 的

to Cover 」中探討過「閱讀」這個主題，

最初的四個星期我們集中尋找並測試理

裝 置 和 一 紙 卷 軸 ， 卷 軸 上 寫 着「 閱 讀

在介紹設計班內容的環節時得到了以上這

念：「怎樣才算得上閱讀？」是最主要的

是 ……」，讓訪客填上空白，也引導他們

些答案。學生對設計、創作書籍興趣濃

問題。每星期的報告演示環節中，學生會

與展覽互動。

厚，但對「閱讀」卻一面倒地消極，這出

分享自己的各種閱讀經驗，例如解讀現場

乎我意料之外，也令我難以釋懷。後來我

氣氛、天氣、身體語言，以及快速閱讀或

二樓的展品包括學生自己的作品，也有國

和 香 港 歌 德 學 院 的 圖 書 館 館 長 Michaela

者讀出不同語言的語音等等。學生在互動

際藝術家／設計師、視覺藝術院舊生和學

Bodesheim女士交流，發現我學生的反應

過程中積極交流知識，也會交流怎樣解讀

院老師應邀提供的作品。展覽涵蓋多種媒

並不罕見，反而代表了這個世代的情緒。

必不可少的語境。第一階段完成對閱讀的

體（從排版設計、書籍設計、動態影像、

研究、分析、探索之後，接下來是歷時短

裝置藝術、攝影、插畫、玻璃以至珠寶），

當被問到為甚麼有這樣的想法時，大多數

暫的第二階段，我們定出了計劃的框架，

都詮釋了「閱讀」這個主題。展品多元而

學生提到學習有困難，偏偏閱讀正是獲取

也決定了展覽的名稱 ──「親愛的讀者，

且廣泛，證明閱讀的確是個人的行為，同

知識的主要渠道，他們無法想像，怎會有

填補空白」，用意就是讓受眾參與閱讀。

時饒富趣味，值得探索。

中，閱讀是獨特而又個人的紐帶，可以讓

創建及執行計劃的階段也由此展開，我們

在展覽的開幕禮上，鍾榮軒（綠茶）引用

我們了解另一個人的思維，而這個人可以

開始思考理念是否可行。學生放棄了以環

我的話說：「創作一件你十年後仍會自豪

是時代、文化、性別、人生歷程都與自己

繞主題分設小組的方式行事，改而從計劃

的作品。 」對我來說，和學生一起舉辦這

有所不同的，我希望向學生以至更多人證

管理、公關、撰稿、企業設計、展覽設

次展覽，絕對是我十年後仍會欣然回味的

計、美工（藝術創作）這些不同的分工當

樂事。

人在閱讀中得到快樂甚至自由。在我心目

明，閱讀是多麼快樂。

中，選出自己在最後幾個星期的角色。不 為了探索並證明閱讀具有多重面向的特

久後，公關小組開始宣傳閱讀的理念，邀

質，我決意讓閱讀跳出書本的局限，展開

請同學以之前的學習成果為題撰寫短文。

The Bamboo Journey – a Study Trip to Jhushan Town of Nantou County

知 竹 之 旅──台灣南投竹山鎮考察

Alexis Kam / 2016 BA Graduate

甘 珮 均 / 2016年 本 科 畢業 生

In April 2016, led by Dr Ho Siu-kee, over a dozen AVA students

It takes time and a trained eye to assess each stalk of bamboo

of the Contemporary Applications of Bamboo Craftsmanship

and to make full and apt use of its nature and character,

course went on a study trip to Jhushan Town of Nantou County

so that it becomes transformed into products serving a

in Taiwan to witness the local developments of the bamboo

diversity of functions.

industry, including bamboo grove planting, bamboo harvesting, bamboo processing, the preservation of bamboo

When we first came into contact with bamboo, many found it

craftsmanship, and even promotion and marketing. On this

a highly limiting material – what can these straight tubes be

trip, students gained a broad and comprehensive

used for? However, after classroom analysis of the structure of

understanding of this highly malleable creative material.

different bamboo products and their corresponding techniques of manufacture, adding to the practical, first-hand

Jhushan Town is a key location of Taiwan’s bamboo industry.

insight of the nature of bamboo afforded by this tour, such

Its natural environment is conducive to bamboo growth, and

“limitations” of bamboo now gradually become transformed

during the Japanese Occupation the Japanese quickly made

into different possibilities.

plans to exploit its potential through the founding of the Jhushan County Bamboo Work Education Centre by Japanese

This tour also gave us something to think about regarding the

bamboo craftsmen, aiming to train local talent. This marked

preservation of bamboo craftsmanship. Jhushan’s bamboo

the beginning of the bamboo industry of Jhushan Town.

industry has diminished from 100 family-style workshops to just over 50, an indication that the industry is on the decline, as

The study trip gave us the chance to visit different bamboo

bamboo groves are gradually replaced by more profitable tea

workshops and experience how, for the craftsmen, the

plantations. Bamboo products are also less durable and

preservation of the art would be a life-long commitment.

affordable than their plastic counterparts, and fewer young

The class also followed veteran craftsmen into the groves

people are willing to join the industry. While the outlook for

to harvest bamboo, and had the chance to learn about

the industry is uncertain, during our tour we witnessed many

the ecological attributes of this natural material and how the

old masters who remain steadfast in their commitment to

craftsmen can shape the material using their imaginations.

the preservation and development of the art, and it was a heartening sight.

Let's go for exchange ! 34% of AVA graduates have joined an international exchange programme!

the overall bamboo industry is continuing to diversify and

consideration to developing bamboo craftsmanship in Hong

seeking new avenues for survival. Jhushan’s bamboo industry

Kong or using bamboo as a creative medium. Sadly, without

is highly specialised, with factories dedicated to every task

suitable bamboo materials, tools and equipment, or any

from the classification of material at the source to the various

preservable craftsmanship to begin with, there is little room

dedicated production methods. As a material for buildings and

for development. However, this tour did make us rethink the

environmental design, bamboo remains in high demand and

path to bamboo craftsmanship. We have no relevant history or

peripheral products including bamboo charcoal and bamboo

tradition, but that does mean we have no need to follow

fibre are economically lucrative. The cultural and creative

traditional craftsmanship. We can combine bamboo with the

industry has also been providing another possible avenue of

material processes and medium techniques we have learnt

development in recent years, with one example being the very

from AVA, adapt it to our needs, and blaze our own path.

place we stayed at – the Ching Chu Bamboo Cultural Park,

With just a change of perspective, we may well find a new

an ecological reserve combining tourism, leisure and

direction of our very own.

實習實踐

promotion of bamboo culture, which draws numerous tourists looking to experience the local culture. In addition, young craftsman from all over Taiwan and product designers have come to Jhushan to explore the possibility of using bamboo as an environmentally friendly material or as a cultural symbol, and to find a new place for bamboo in contemporary life.

2016年4月，何兆基博士帶領修讀

剛開始接觸竹子時，不少同學都覺得它的

理，竹材作為建築與環境設計的物料仍有

「竹工藝的當代應用」學科的十多位視覺

限制很大──一條條畢直的圓管子究竟能

相當市場，其他週邊產品如竹炭、竹纖維

藝術院同學，到台灣南投竹山考察當地竹

變出怎樣的東西？但經過在香港上課時學

織物等亦有很大的經濟產值，文化創意產

產業的發展，包括植林、砍竹、加工處理

習分析不同竹器的結構及相應的製作技

業更是近年新開發的另一出路。就如我們

到竹工藝傳承，以至市場推廣，使同學對

法，再加上這次在「知竹之旅」實地了解

一團人入住的青竹文化園區，就是⼀個結

竹這一種可塑性極高的創作物料有更全面

竹子的特性並跟隨工匠嘗試着手製作，竹

合觀光休閒與推廣竹文化的生態保育單

的認識。

的「限制」亦漸漸變成不同的可能性。

位，過去幾年吸引到不少遊客到竹山來體 驗當地文化。此外，台灣各地的年青手作

竹山是台灣竹產業的重鎮，由於當地天然

不過，這次考察也令同學對竹工藝的承傳

人與產品設計師亦紛紛到竹山探索竹子作

環境十分適合竹子生長，在日治時期早被

有很大的感觸。竹山的竹產業由過往有數

為一種環保物料、作為一個文化載體，如

日 本 人 看 上 ， 更 有 計 劃 地 派 遣 日 本 竹 工

以百計的家庭式作坊工廠到現在只餘下五

何在當代生活中重覓它的位置。

匠 於 1 9 3 8 年 到 竹 山 成 立「 竹 材 工 藝 傳 習

十多間，可見這個產業正步向式微。竹林

所」，以培訓當地人才。竹山的竹產業傳

被經濟價值較高的茶園取代，竹產品亦敵

旅程之後，不少的同學都認真思索如何在

統由此開展。

不過塑料產品的價廉耐用，而願意投身於

香港發展竹工藝或以竹作為創作媒介。奈

竹產業的年輕人更是越來越少。雖然客觀

何香港既沒有合適的竹材，也沒有合適的

在今次的考察中，我們參觀了很多不同的

條件並不理想，但在我們考察期間，看到

工具和設備，更談不上有可傳承的技術，

竹藝工作室，深深體會到對匠人而言，手

很多「老師傅」仍醉心於竹藝的傳承發

要在這方面有所發展似乎是困難重重。不

藝的傳承是一生的志業。此外，同學更有

展，並沒有因此而泄氣，實在令人感動。

過，這次考察令我們重新思索竹藝之路。

機會隨資深工匠到竹林就地取材，了解這

我們沒有相關的歷史傳統，就不⼀定要依

種天然材質的生態特性及匠人如何以豐富

竹工藝的傳承遇到阻力，但整體竹產業仍

照傳統技術去做，以我們在視覺藝術院學

的想像善用物料。要肯花時間和心思細意

不斷轉型以另覓生機。竹山的竹產業分工

到的不同物料工序、媒介技巧與竹給合，

觀察每支竹材，才能物盡其用，將各具面

相當仔細，從生產源頭的竹材分類與加工

活學活用，亦未嘗不是一條可行的路。也

貌和個性的材料化成千姿百態的器物。

到各種專門的生產技術，均有不同工廠處

許，轉換角度，我們就可以找到屬於自己 的新方向。

The artwork created by the students who participated in the Traditional Bamboo Craft and its Possible Applications in Contemporary Art & Design course will be showcased in the "Living with Bamboo: Museum of Art is Here" exhibition and education programme : http://hk.art.museum/zh_TW/web/ma/program01.html 同學在「竹工藝的當代應用」一科中發展的作品，會在「竹都好有趣––藝術館在這裡」展覽及教育推廣計劃中展出，詳情如下：

http://hk.art.museum/zh_TW/web/ma/program01.html

Practicing Practice

Following the trip, many students are giving serious

43

Though the future is uncertain for the art of bamboo craft,

From the “Mothering-7th year” series / Ching Sze Yin, Cicy / brass 來自 : “母與子 之 七歲 ”系列 / 程詩賢 / 黃銅

“Toy”

《知 覺 玩 物》

Ching Sze Yin, Cicy / Lecturer

程 詩 賢 / 講師

“Toy” is an exhibition that has originated from the reflection on

exchange that invites us to be more of our individual selves

“play, toy, hand-made”, where over twenty artists from Hong

and participate in an activity of sense and emotion.

Kong and Taiwan reify with their hands their attitudes towards and hopes for life.

The artists shared their own thoughts in response to the following questions:

What appears to be an item for child’s play can actually be the trigger for a lively conversation among the creators, middle-

/ What is the most important toy in your memory? Why is it so?

aged or young, about how they used to play, and about

/ “A toy” is…?

whether we should make the toys ourselves.

/ Does it have any special meaning if you make the toy yourself?

Carrying the warmth that is in the hearts of their creators, the

It turns out that toys, however seemingly insignificant they are,

artworks also interact with the spectators and connect

have, over the years as we age, become vivid parts of our

everyone with objects, events and other people. It is an

memories.

Chen Yu-chun My most important toy is a Barbie doll I cherished very much, or rather the accessories of the Barbie. I came from a modest family. When I finally had my own Barbie and could play with my friends, I couldn't afford the accessories and clothes. So my mother started making me all sorts of things using her marvellous skills: bathing suits, gowns, hats, handbags, you name it. I was so proud and never felt any regret at not being 45

able to afford these shiny little things. They are my most

Practicing Practice

treasured memory. And perhaps because of that, doing it myself has always been my way of art creation.

A toy is like a good friend. “Play” should be the privilege for people of all ages, not only kids. Making a toy yourself

實習實踐

absolutely brings you a joy that money can’t buy.

Janny Huang Yokota A toy clock my father made with cardboard is the one that stands out in my memory. It taught me not only how to read a clock, but also the fun of handicraft. It holds my childhood memory about my father.

A toy can be a tool of enlightenment that helps you understand logic while communicating the message of reason and aesthetics. It also is a window or a door that takes you back to your childhood memory. The process of making a toy is like burying a secret. It’s a concept about value.

The Little Catcher / Chiang Mei-fang / Anodised aluminium, steel, ceramic, brass 小捕手/ 江枚芳 / 鋁，陽極氧化染色處理，鋼線，陶，黃銅

Wang An-chi The most important toy in my memory is a robot my mother

Chiang Mei-fang

made with soapboxes. Every joint was movable. I was

With toys lie the activities of our game play with others. I

fascinated by this design, though it was only a simple structure

remember that I loved to take a household item and imagined

of wires. Perhaps my love for moving objects originates from

it to be something different, like a tiara or a shield. Maybe a

the robot my mother made by herself.

sheet would be enough to let me take my imaginary flight.

Through an item we use in play, we bring ourselves a life from

A toy is a tool that passes on happiness, and a path that allows

a different world. How many people were truly boring in their

you to be your true self. By making a toy, you make your

childhood?

imaginary world come true with your own hands. It is a happy and fulfilling process.

Toys embody the game play that they lead us to. A toy takes us away from reality and makes us believe there are parallel

Wong Ying, Percy

universes. Making a toy allows you to know the world,

A hand-drawn fighter plane is the most important toy in my

deconstruct it, and rebuild it. Those are the steps we need to

memory. It was the very first toy I “made”.

take to enjoy the tool that connects reality and imagination.

An act of play is achieved through the projection of imagination into, and interaction with, the “vehicle”, and thus pleasure is gained. The toy serves as the vehicle and enables us to achieve the aforementioned objective. The process of making a toy is also the process of interacting with a toy.

陳郁君

王安琪

手作』思考出發的展覽。二十多位香港和

我最重要的玩具是一個我非常寶貝的芭比

我最重要的玩具是媽媽以香皂盒親手做的

台灣的藝術家，以雙手把內心對於生活的

娃娃，應該說是娃娃的配件。 小時候家境

機器人。每個關節都會動，雖然只是用鐵

態度和希望，一一的具體化。

並不優渥，好不容易擁有了生平第一個芭

絲做的簡單結構，就覺得會動的結構真的

《 知 覺 玩 物 》是 一 個 由『 玩 。 具 。

比娃娃可以和朋友一起玩，但也負擔不起

很有趣，或許現在這麼喜歡會動的結構，

玩具，看似是小孩子的把戲，但卻引起了

購買娃娃的其他配件或衣服，於是手巧的

就是從媽媽親手完成的機器人開始的。

一群中年和青年創作人喋喋不休，不只是

媽媽開始幫我的娃娃編織製作各式的衣

玩玩具更要自己親手創作。

服，從泳衣到晚禮服，帽子到包包樣樣俱

玩具是讓人傳遞快樂的工具，也是真實做

全，我因此感到非常驕傲，而不再覺得買

自 己 的 通 道 。 以 自 己 的 手 作 出 自 己 想 像

物化成器的作品，承載著創作者的餘溫和

不起那些亮晶晶的現成衣物有任何的遺

的 世 界 ， 是 一 個 讓 人 很 幸 福 也 很 滿 足 的

觀者互動交流。感性的餘溫和真誠的互動

憾，這是記憶裡最珍貴的玩具，也似乎因

過程。

連結起人和其他的人丶事丶物。交流中，

為如此，動手自己做的這件事一直影響到

不再只是各有各自的固有本質，而是融和

我後來追求創作的路。

黃瀅 我記憶中最重要的玩具是一架繪製的戰鬥

成了一種有情感的知覺活動。 玩具是我的好朋友，而且不只是孩提時代

機。因為那是我第一次「製作」玩具。

就以下問題，參展的藝術家各有獨自的體

的專利，不論什麼年紀都不該忘記「玩」

會和見解:

的這件事。親手做的玩具絕對帶來無窮金

人通過對「具」投入想像，與之互動，並

錢買不到的樂趣。

從中得到樂趣，是為「玩」。至於玩具，

／對你來說，記憶中最重要的玩具？為什

則是能讓人達到上述目的，作為「具」的

麼重要？

Janny Huang Yokota

存在。製作玩具的過程其實亦是玩「具」

／「玩具」是？

父親使用厚紙板親手做的玩具時鐘在我的

的過程。

／親手做的玩具有什麼特別的意義嗎？

記憶裏特別重要。它不只是為了教會我如

原來看似是微不足道的玩具，已經在成長

何看懂時鐘，也讓我理解到手工的樂趣。

江枚芳

它還附帶著父親與我的童年記憶。

玩具裡伴著與人遊戲的活動，記憶裡喜歡 拿著生活之中的用品，權充一個王冠或一

的時日裏，化整為零的融入我們的心靈 。 玩具可以是一種啟蒙的工具，幫助理解邏

個盾牌， 也許一條床單就能讓自己起飛，

輯與傳達感性的訊息與美感。也是打開童

因此藉由遊戲中使用的物品翻轉出另一個

年記憶門窗，經過手工的過程就如同埋藏

世界的生活，而又有幾個人的童年裡真的

了一種秘密，是一種價值的概念。

是一個無聊的人類。 玩具裡產生的遊戲，讓人脫離現實，相信 同屬於時空裡擁有不同平行世界正在運 行。親手做的玩具是享受銜接現實與幻想 裡 的 道 具 ， 需 要 先 理 解 世 界 然 後 拆 解 再 重建。

“Toy” / Koo Ming Kown Exhibition Gallery (G/F), Hong Kong Baptist University / 22–29 September 2016 《知覺玩物》/ 香港浸會大學顧明均展覽館 (地下) / 2016 年 9月22日至 9月29日

Third Collaboration of AVA and IAM : From Here to There

視 覺 藝術院與國際藝術運動第三次合作 :

從此地到彼地 47

蔡安怡、陳百堅、潘 美 義 、 詹 昫 嵐 、 林 穎 詩 / 藝 術 學 生 代 表

Practicing Practice

Annie Choi, Brandon Chan, Leona Poon, Liv Tsim, Sze Lam / Student representatives

實習實踐

After the cooperations of IAM (International Art Moves) with

Five out of the group of 17 participants travelled to Berlin to

AVA in 2012 and 2014, the artworks of 17 AVA students

install the exhibition. The real-life experience of creating an

studying bachelor’s and master’s programmes were

intercultural exhibition project in the context of a professional

showcased at Kunstquartier Bethanien in Berlin 9–17 January

exhibition space was challenging but enjoyable experience.

2016. This exhibition was the outcome of a process that began

We called the exhibition “from here to there” to express how

with the IAM workshop held during the summer of 2015.

we perceive the world, here, and create our own reflection,

The workshop was conducted by Anne and Martin Müller,

there. It’s not unidirectional, but changes diversely from one

founders of IAM, who taught us about the theoretical and

place to another.

practical aspects of curating and mounting an exhibition. In the workshop, we chose artworks to be exhibited from our

There were many different things to be done during the

own previous work. We thought about and discussed how to

preparation, and to avoid oversights, we set out a well-planned

display the work in the exhibition space, and to have a better

task list in advance in order to ensure we could finish on time.

understanding of the Berlin space we made a model. We also

With such a clear goal, we worked efficiently and finally met

planned the budget and created a schedule. It’s hard to believe

the tight deadline. For some tasks we had to work together

all these things can be achieved in five days.

whilst each of us was assigned to be responsible for a particular part of the preparation. This taught us to work within a group dynamic while also emphasising individual

responsibility. Despite our best planning, some unanticipated issues arose when we arrived in Berlin. Although we had made the scale model of the exhibition space and the artworks, the feeling was different when we were in the actual space and we felt that a revision of the plan was necessary, so we used the chance to redesign the display of the works. The difference in weather conditions between Hong Kong and Berlin led to unexpected changes in some of the artworks, but thankfully they could be reprinted. Through unexpected problems, we gained experience in handling the challenges.

In addition to the experience of the preparation process, the opening and the exhibition itself was a great platform for us to communicate with a variety of visitors. We shared ideas about artwork as well as culture. Some of the visitors told us that they found many fresh ideas in our exhibition. They were surprised about the diversity and the different media. In each room they discovered something new we hadn’t expected. Some of our works reflected local issues in Hong Kong that they were unaware of, thus they got to know more about Hong Kong.

What could satisfy us more than people enjoying our exhibition? When it came to the last minute before closing, there were still visitors inside the exhibition space and more trying to enter. None of us wanted to tell them we were closing and we were happy that we could allow them to enjoy the exhibition in their own time. In Berlin, visiting exhibitions is a common and family-friendly activity for the public. Unlike in Hong Kong, most of the visitors are willing to spend significant time participating in art events. The artistic milieu in Berlin is built by the citizens as well as by the government. The government provides opportunities to encourage people’s creativity, but it is the interest of the people themselves that make it a city rich in culture and arts. There are so many art galleries, so much international contemporary art, and even graffiti everywhere, and people from around the globe travel there to join in and see great art.

We hope our local creative industry can have more great opportunities for young artists to gain practical experiences, and more importantly, to provide spaces and room for people to share, to create, and to let good things happen in our society.

IAM provided a very valuable intercultural experience to each of us and we would like to thank all who helped and supported the exhibition.

20% of our graduates identify themselves as a visual artist when they have their first public show !

除了籌備過程期間吸收的經驗外，展覽開 幕以至展覽本身都給了我們很好的平台， 可以和形形色色的參觀人士溝通，彼此之 間既討論藝術，也談到文化。其中一些參 觀人士告訴我們，他們從我們的展覽發現 很多新理念，當中的多元特質和不同的媒 介讓他們感到驚訝，他們在每個展廳都會

題 ， 他 們 也 通 過 觀 看 展 覽 得 以 更 加 了 解 香港。 人們都喜歡我們的展覽，還有甚麼比這點 一分鐘，展場仍有人流連忘返，場外也有 人希望進場。我們都不忍心告訴他們展覽 快要結束，反而希望他們不受時間限制樂 在其中。在柏林，參觀展覽非常普遍，而 且是項一家大小一起參與的活動，大部份 繼2012、2014年IAM（International

籌備期間有很多不同的事情需要兼顧，為

參觀人士都願意花時間參加藝術活動，這

Art Moves）與視覺藝術院兩度合作後，視

了避免掛一漏萬，我們預先制定了工作事

一點尤其與香港的情況很不一樣。柏林的

覺藝術院17名學士及碩士生創作於2015年

項表，確保每件事項能夠按時完成。目標

藝術氛圍既靠市民支持，也有政府協助。

夏天由IAM舉辦的工作坊的作品，於2016年

清晰之後，我們的工作更見效率，最後能

政府會提供機會，鼓勵民間創意，但真正

1月 9日 至 17日 在 柏 林 的 Kunstquartier

在緊迫的時間內如期達成任務。其中一些

讓柏林充滿濃厚文化及藝術氣息的，始終

Bethanien展出。IAM創辦人Anne Müller與

籌備事項需要我們合力完成，一些則由我

是當地市民對藝術的興趣──這座城市有

Martin Müller教授教會了我們很多有關策

們每個人個別負責，這樣既能讓我們群策

那麼多的藝廊，那麼多的國際當代藝術，

展、舉辦展覽的理論及實際知識。工作坊

群力，同時不忘各自的責任。我們盡力把

塗鴉亦隨處可見，全球各地的人都會到柏

期間，我們各自從自己的舊作中選出參展

規劃做得盡善盡美，但當我們抵達柏林

林參與、體驗優秀的藝術。

作品，然後思考、討論怎樣在展覽空間展

時，還是有些我們無法預料的問題出現

示作品，更製作了柏林展場的模型，以便

了。我們雖然一早製作了柏林展場和展品

我們希望香港的創意產業可以為年輕藝術

更好地了解現場實況，也制定了預算與日

的模型，但我們踏足現場時卻發現環境截

家提供更多機會，讓他們吸收實踐經驗，

程。這些事情能在五天之內完成，實在是

然不同，必須修改原來方案，因此我們重

更重要的是提供空間，讓人們分享、創

難以置信。

新設計了作品的展示方式。香港與柏林氣

作，讓美好的事物在我們的社會萌芽。

候不同，亦令作品出現了一些意想不到的 17 名 同 學 中 有 五 人 到 了 柏 林 負 責 展 覽 佈

變化，幸好這些作品都可以重新打印。解

IAM為我們每個人都提供了非常珍貴的跨

置。我們親身體驗了怎樣在專業展覽空間

決這一連串問題後，我們對自己處理逆境

文化交流經驗，我們謹此銘謝每一位幫助

的環境下，創造跨文化的展覽計劃，過程

的能力更有信心。

並支持展覽的人。

既富挑戰，但也樂趣無窮。我們把展覽命 名為「從此地到彼地」，藉此表達我們在 此地對世界的認知，以及在彼地所作的反 思，這個旅程並非單向，而是可以轉換方 向的。

IAM (International Art Moves), founded and organised by Anne and Martin Müller, is a worldwide network of Art Academies and professional exhibition spaces which gives art students a real-life experience in being and working as an artist. The project gives young artists the opportunity of a real exhibition project, dealing with all levels of artistic and curatorial development, logistical and financial aspects, and also the range of intercultural communications. 國際藝術運動 (International Art Moves，簡稱IAM ) 由 Anne Müller 及 Martin Müller 創辦並組織，旨在聯繫全球的藝術家和專業展覽場所，讓藝術學生得以真實體驗藝術家在 生活及工作方面的點點滴滴。計劃希望給予年輕藝術家機會，了解實際的展覽項目，從而接觸背後的藝術及策展發展、後勤及財政安排、跨文化溝通等各個層面。

實習實踐

更讓我們滿足的呢？到了展覽閉幕的最後

Practicing Practice

展品反映了他們並不熟悉的香港本地議

49

發掘出超乎我們預料的觀感。我們的一些

Blowing Glass in the Maldives 去 馬 爾 代夫吹玻璃？

Wang Ling Jean, Sunny / Assistant Professor

王鈴蓁 / 助理教授

During the Chinese New Year in February 2016, I was invited to

there? Can one stand the heat of blowing glass given how hot

a glass studio on Soneva Fushi, a six-star resort island in the

the climate is?

Maldives, to be their artist-in-residence for two weeks. Touting itself as an environmentally friendly studio, the Soneva Glass

Master Lino brought his own team of glass blowers and tools

Studio creates glass works using locally recycled glass and also

to the Maldives, but I went there alone. I needed to develop

organises residential exchange programmes for overseas

a rapport with the two technicians at the studio and complete

artists. I had the honour of becoming the second artist to be

an exhibition in just two weeks. After each work is blown,

invited after the world’s most revered glass blowing master –

a lot of time had to be spent on the cold work, including

Lino Tagliapietra from Italy.

sandblasting and hand-sanding, which was why the coldworking equipment had to be comprehensive enough for my

Before setting off, I had an abundance of questions: How does

needs. Workshop director and curator Kevin gave me his word

recycled glass blow? How transparent is the glass (although

that he would hand-deliver a sandblaster from Thailand, just

most of my works have a dark base colour, some level of

that… you could imagine the size of a sandblaster that one

transparency is still necessary)? How is the working team

could hand-carry onto a plane!

The climate, the people, the studio, the equipment, the quality

flummoxed by the issue of how to “freely” dangle the glass

of the glass, the exhibition venue… all unknowns. Half worried

pieces in mid-air. As the island did not have a hardware shop,

and yet still the object of envy for many, I set off on a plane to

Kevin and I cycled round the island looking for solutions, and

blow glass at the island resort of the Maldives!

finally we found a discarded iron ladder and white branches for building roofs, and transformed them into a ceiling scaffold for 3 feet iron frame and covered it with plastic sheets, while

and arrived at Soneva Fushi at midnight. At the pier, Kevin was

Mattious retrieved over a dozen buckets of white sand – by

waiting to meet me, barefooted. “No Shoes No News” is the

cycling no less – from the beaches. The final presentation saw

motto of the Soneva resort!

glass pieces hanging freely over 28 black glass stones lying in 4 parallel lines on the white sand, offering visitors a gorgeous and tranquil experience in the midst of their vacation. Guests

only means of transport on the island) were ready for me.

all found it lovely and had nothing but praise for the work, and

Kevin told me to take a break the next day and familiarise

we were immensely relieved.

myself with the surroundings. I was, understandably, eager to go to the glass studio and did so right after breakfast. Kevin

Every day, those who came here on vacation finished their

and his two assistants Evan and Mattious were already there.

luxury breakfast and then went out to enjoy the sun, the

After some discussion, we decided to first try blowing small

beaches and a dive in the shallows. By contrast, I battled with

works to get used to the workshop and the glass, and see if the

1,150 °C molten glass every day in a nearby glass studio.

colour of the recycled glass matched our newly purchased

Nevertheless, though somewhat heated, it certainly was

glass colour rod. Fortunately, glass blowing technicians Evan

a joyful experience to be able to blow glass at this

and Mattious were professional and personable, and the

resort paradise!

recycled glass had rather decent clarity and transparency (it happened that they had purchased a recipe of melting recycled glass). Upon some adjustments and exchange, and considering the climate factor, we worked from 9 to 1, took a break from the heat of the early afternoon, then worked from 4 to 9. Hence the “schedule” for our busy two weeks was set.

The four of us worked non-stop for two weeks, engaged in a daily regimen of glass blowing and switching to cold work (polishing glass) whenever the furnace was empty and needed to be charged. The sandblaster – originally a matter of concern – was just large enough to accommodate my work. We hooked it up to what was considered the most powerful air compressor in the Maldives, and, while the compressor often grew alarmingly hot and required periodic cool-downs, luckily all the works that required sandblasting were completed without hiccup. Even Kevin took a break from his own work to help hand-sanding each piece using 600# sandpaper, to give them my favourite glass surface texture – not glittery and shiny but smooth and warm.

The exhibition venue presented another big, ultimate challenge. We had spent most of our time on blowing and cold-working glass, and had less than a day to set up the venue. The night before the exhibition opening, we were still

實習實踐

My spacious sea-view room as well as my personal bike (the

Practicing Practice

hanging the pieces. Kevin and Evan then welded another 2.2 x

inter-island terminal, I boarded the VIP boat sent by Soneva

51

After changing from the international terminal to the

2016年2月中國農曆年期間，我獲

天氣、人事、工作室、 設備、玻璃質素、

邀到馬爾代夫的 Soneva Fushi 六星級度假

展覽場地等等每一項都是未知數，但我還

島，擔任該處剛成立的玻璃工作室駐島藝

是帶着別人的艷羨目光，誠惶誠恐的坐上

術家兩週。Soneva Glass studio 提倡環

飛機到度假天堂馬爾代夫吹玻璃去！

保，會回收當地玻璃瓶燒熔來再創作，並 會邀請海外藝術家到當地創作交流。我很

國際線再轉國內離島線後，Soneva VIP

榮幸能繼全球吹玻璃第一把交椅、意大利

快船來接機，我半夜到達 Soneva Fushi，

藝術家 Lino Tagliapietra 之後，成為第二

Kevin光着腳丫子到碼頭接我，「No Shoes

位獲邀的藝術家。

No News」是Soneva度假標語！

啟程之前，我內心有許多疑問：回收玻璃

面海的大房間與我專用的腳踏車（島上唯

吹起來如何？ 透明度高嗎（雖然我的作品

一 交 通 工 具 ）， 早 已 準 備 好 ， K e v i n 說

大多是以黑色為底色，但作品對透明度還

明天先休息，先熟悉一下環境。 我當然急

是有所要求的）？那裏的工作團隊如何？

不 及 待 ， 一 覺 睡 醒 用 過 早 餐 後 便 直 衝 玻

在那麼炎熱的地方吹玻璃，人受得了嗎？

璃工作室，Kevin與兩位助手Evan與

整整兩週， 我們四個人馬不停蹄，天天吹

Lino 大師帶了他自己的吹玻璃團隊與工具

Mattious 已在工作室。我們一番討論後，

玻璃，玻璃用完進料時就冷作磨玻璃。原

前去馬爾代夫，我卻是單槍匹馬一人前

決定先試吹小件作品， 熟悉一下工作室與

本令我很擔心的噴砂機，勉強夠大可放進

往，需要在短時間內與工作室的兩位技師

玻璃，看看回收玻璃與剛買的玻璃顏色合

我的作品，接上號稱馬爾代夫馬力最強的

培養吹玻璃默契，並需要在兩週內完成一

不合。很幸運，吹玻璃技師Evan與

空壓機投入運作，雖然空壓機時常熱得發

個展覽！我的作品一般在完成後，需要花

Mattious 很專業、很和善，回收玻璃的透

燙，要不時關機降溫，但幸而有驚無險，

很多時間冷作研磨噴砂，因此工作室的冷

明度通透度也好（原來是買了一個回收玻

所有必須噴砂處理的作品都能順利完

作設備必須齊全。工作室負責人與策展人

璃專用玻璃熔融配方）。經過一番調整與

成。Kevin也放下手上忙碌的工作，幫忙

Kevin 答應會從泰國手提噴砂機到馬爾代

溝通， 加上天氣因素， 我們決定早上9點

用 600# 水砂紙仔細手磨每一件作品，以

夫，只是……能手提上飛機的噴砂機會有

吹到1點，中午太熱，故稍作休息，再由4

達到我喜歡的玻璃表面質感──非閃閃發

多大呢！

點吹至9點，就這樣我們展開兩週緊湊的

亮，而是蘊光溫潤！

「行程」。 最後的佈展是另一個高難度挑戰。我們大 部分時間都花在吹玻璃與磨玻璃上，只有 不 到 一 天 佈 展 。 展 覽 開 幕 前 一 晚 ， 如 何 「自如」地懸吊玻璃作品的問題仍然未能 解決。島上沒五金店，我與 Kevin 遂在島 上騎腳踏車四處遍尋方法，終於找來廢棄 的鐵樓梯與工人用來蓋屋頂的白樹枝，並 巧妙地轉變為懸吊玻璃的天花架。Kevin 與Evan另焊接一個2.2公尺與3公尺的鐵 框，鋪上膠布，Mattious 騎載貨腳踏車去 海 邊 取 來 十 幾 桶 白 砂 鋪 在 膠 布 上 ， 作 品「自如」地懸在空中，與陳列在白砂上 面的四行28顆黑玻璃詩石，漂漂亮亮、靜 謐 優 雅 地 迎 接 來 度 假 的 嘉 賓 ， 嘉 賓 們 都 很 喜 歡 ， 讚 賞 不 已 ， 我 們 也 暗 暗 地 鬆 了 口氣。 來度假的人， 吃完早餐便興高采烈地去享 受陽光海灘與浮潛，我卻是天天在海灘附 近的 玻璃 工作室 內奮戰1 15 0度的高溫玻 璃！不過，能在這個度假天堂吹玻璃，也 算是一件賞心樂/熱事呢！

53 Practicing Practice 實習實踐

Fig. 1: 50 shades of grey tone 圖1：五十度灰

50. Shades of Grey 五 十 度灰

Chung Wai Ching, Bryan / Assistant Professor

鍾 緯 正 / 助理 教 授

The book and the film

Initial experiments

Fifty Shades of Grey is a popular erotic fiction by the author

Making use of the fact that digital colour representation is a

E. L. James. There was a film adaptation in 2015. Grey is the last

combination of the three primary colours – red, green and

name of the main character, Christian Grey. In the story, he is a

blue – in the range of 256, the program displayed fifty steps of

young and wealthy entrepreneur. I imagine in his wardrobe

grey tone by assigning the same number to the three primary

there must be a lot of luxurious business suits. As well as navy

colours. The numbers will be 0, 5, 10, 15, 20, 25, 30, 35, 40, 46,

blue and charcoal black, grey is a common colour for a

51, 56, 61, 66, 71, 76, 81, 87, 92, 97, 102, 107, 112, 117, 122, 128,

business suit. Maybe, inside his wardrobe closet, there are fifty

133, 138, 143, 148, 153, 158, 163, 168, 174, 179, 184, 189, 194,

suit pieces that come in different shades of grey tone.

199, 204, 209, 215, 220, 225, 230, 235, 240, 245, and 250.

I named my artwork with an appropriation of the title of the

In addition to Processing, I use openFrameworks2 –

film. It had little relationship with the content of either the film

a programming framework based on the language C++, and

or the book. In the summer of 2015, I was preparing

also Pure Data3 – a graphical programming language, in my

examples for my coming book on image processing with the

creative works and teaching. Out of curiosity, I prepared two

programming language called Processing . The language

more versions made using openFrameworks and Pure Data

was an MIT Media Lab initiative created by Ben Fry and Casey

and posted the results on Facebook. Responses to the

Reas for artists and designers. One of the common exercises

Facebook posts were promising. Students and friends shared

was to generate a graphical pattern of different colours. I

the works and contributed by posting their own versions

recalled the title of the film and made the first fifty shades of

written in different programming languages. Here is the

grey tone pattern in Processing.

version I developed with Pure Data, a programming language

1

that I used in the Interactive Arts course at the Academy of Visual Arts.

Early White Exhibition In the summer of 2015, the curator Cally Yu invited me to participate in an exhibition on the generation gap that surfaced during and after the Umbrella Movement. Cally invited a group of local artists born in the 1960s to show their recent artworks around the theme of generation differences.

For the exhibition, I went back to my personal history of using computer-programming languages. My first encounter with programming languages was around thirty years ago when I studied computer science at the Chinese University of Hong Kong. Out of all the programming languages I had used in my studies and works, I selected six that were once popular and now largely obsolete. They were Basic, Fortran, Pascal, Lisp, Director Lingo and Flash ActionScript. The changing use of those languages reflected my personal career development from computer engineering to multimedia development and creative coding. At the same time, it pointed to the evershortening life cycle of software tools and the ever-increasing fear of being obsolete in these industries. In the exhibition,

Fig. 2: Pure Data implementation of 50 . Shades of Grey

I wrote in the six programming languages to generate the

圖2：Pure Data 的《五十度灰》

same graphical pattern of fifty shades of grey tone. The programming texts were framed and displayed in the

Japan Media Art Festival

exhibition venue as visual art objects. The graphical patterns

I submitted the artwork to the Japan Media Art Festival4 2015

were absent from the exhibition. The texts resembled the

competition. Among thousands of submissions from over

scores in musical notation. They were waiting to be executed

80 countries, 50 . Shades of Grey was awarded the Grand Prize

or performed by a computer to eventually generate the

of the Art Division and exhibited in the National Art Center,

potential graphical patterns. I include here a copy of the

Tokyo, in February 2016. The audiences were touched by the

program text written in Lisp, an old programming language

simplicity of the display and the nostalgic engagement of

that I learnt in artificial intelligence classes.

the poetic texts. As a digital media artist, this was the first time I had created my work without using any of the latest technology. It was also one of the few media artworks confronting its own history in the making.

Fig. 3 : Early White Exhibition, 1A Space 圖3：初白展覽，1A空間

初白展覽 2015年夏天，策展人俞若玫邀請我參加展 覽，表達雨傘運動期間以及運動之後所出 現的代溝。受邀的還有一群1960年代出生 的本土藝術家，展出了他們以世代差異為 主題的近作。為了這次展覽，我回想起自 己使用電腦程式的經歷。我第一次接觸程

需要用到的程式語言中，我選了6種一度 很普及、但現在已經基本被淘汰的語言， 分別是Basic、Fortran、Pascal、Lisp、 Director Lingo、Flash ActionScript。這些 向的變化，從電腦工程轉到了多媒體開發 和創意編程，同時也反映出軟件工具的生 命週期越來越短，行業內害怕被淘汰的恐 Fig. 4: Japan Media Art Festival Exhibition, National Art Center, Tokyo

懼越來越大。展覽中，我用6種程式語言

圖4：日本媒體藝術祭，東京國立新美術館

生成出同一套50度灰的圖像模式，程式文 字裱入框架後，以視覺藝術展品形式陳列

原著與電影

最初實驗

在展廳，圖像模式則沒有展出。這些程式

《五十度灰》(Fifty Shades of Grey) 是

數 碼 技 術 利 用 三 原 色 ── 紅 、 綠 、 藍

文字和音樂樂章相似，需要等待某台電腦

詹姆斯 (E. L. James) 所著的暢銷情慾小

的 不 同 組 合 顯 示 顏 色 ， 最 大 數 值 為

去執行、演示，最終展現出潛藏的圖像模

說，2015年改編成電影。故事主人翁叫格

256。Processing程式在三原色各自設定

式。以下是我用Lisp寫的程式文字，我當

雷 (Christian Grey) ，其姓氏就是小說名的

相同的數值，就能顯示出50種不同的灰

年在人工智能課程中所學的就是這種古舊

Grey，也指灰色的意思。他是一個年輕而

度。這些數值分別是：0、 5、 10、 15、

的程式語言。

富有的企業家，我想他的衣櫃裏一定有很

20、 25、 30、 35、 40、 46、 51、 56、

多高級的西裝，除了深藍和黑色之外，灰

61、 66、 71、 76、 81、 87、 92、 97、

日本媒體藝術祭

色也是職場服裝常見的顏色，也許他的衣

102、 107、 112、 117、 122、 128、

我向2015年日本媒體藝術祭 提交了這個

櫃裏真的有50套灰色深淺度不一的西裝。

133、 138、 143、 148、 153、 158、

作品。在來自超過80個國家成千上萬件作

4

163、 168、 174、 179、 184、 189、

品中，《五十度灰》獲得藝術組別大獎，

我的作品借用了電影的名字，但作品其實

194、 199、 204、 209、 215、 220、

並於2016年2月在東京的國立新美術館展

和電影或原著內容並沒有多少關係。2015

225、 230、 235、 240、 245、250。

出。作品簡單而又懷古如詩，觸動了很多 觀眾。身為數碼媒體藝術家，這是我第一

年夏天，我當時正收集實例準備出書，介 紹怎樣利用 Processing 程式語言處理影

我 創 作 、 教 學 時 除 了 運 用 Processing之

次沒有借助最新科技從事創作，也是少數

像。這套程式語言由麻省理工媒體實驗室

外 ， 也 使 用 以C + + 語 言 開 發 的

反觀自身歷史的媒介作品。

1

(MIT Media Lab)的研究員弗瑞(Ben Fry)

openFrameworks 以及圖像程式語言Pure

及瑞斯(Casey Reas)專門為藝術家和設計

Data 3。出於好奇，我用 openFrameworks

師開發，其中一個常見的用法，是利用不

和Pure Data 準備了另外兩個版本，並把

同顏色生成圖像模式。我想到電影的名

結果發表到 Facebook 上，所得的反應相

字，於是用Processing創作了第一套灰色

當不錯，學生和朋友把作品分享之餘，也

色調模式

貼出了自己利用不同程式語言所做的版

2

本。以下是我用 Pure Data 所做的版本。 這個程式語言我曾在視覺藝術院的互動藝 術課程中使用過。

1

http://processing.org

2

http://openframeworks.cc

3

http://puredata.info

4

http://festival.j-mediaarts.jp/

實習實踐

語言的應用轉變，既反映出我個人事業方

Practicing Practice

中文大學修讀計算機科學；在學習和工作

55

式語言是在大約30年前，當時我正在香港

Creative Livelihoods: A Longitudinal Survey of the Long-term Development of Career Paths of Graduates from Creative Undergraduate Degree Programmes in Hong Kong 創 意 事 業：香港創意學士學位課程畢業生

職 涯 規 劃 縱向 調査 Peter Benz / BA (Hons) in Visual Arts Programme Director / Associate Professor 奔 子墨 / 視覺藝術(榮 譽 ) 文 學 士 課 程 總 監 / 副 教 授

Since the early 2000s, the creative and cultural sectors in Hong

produced and what problems face those who produce it. From

Kong have found themselves at the centre of attention of

a social point of view, as a community we need to accord visual

socio-political and economic discussion, in both the public and

artists the respect they deserve as professionals advancing our

academic spheres; they have become a major issue in

cultural life. From a policy viewpoint, an understanding of the

governmental policy-making, and the bearers of much hope

conditions of professional creative practice is essential if

and many expectations. Nonetheless, little is actually known

effective measures for nurturing the growth of culture and

about the stakeholders at the core of this discussion, the

creativity in Hong Kong are to be developed. From an

individual creatives. What are the living conditions of visual

educational point of view, we have to know what awaits

artists working and living in Hong Kong? How do they go

creative graduates ‘out there’, so we can prepare them

about their work, how do they earn money, how do they live

accordingly.

their lives? In short: how do they ‘survive’?

A survey of individual practising visual artists, whereby At this point, there are no comprehensive, systematic data

statistically reliable information is gathered from a relevant

available on the economic livelihood of the creative popula-

sample of respondents, is the only workable means for

tion in Hong Kong. For example, the traditional employment

compiling an accurate and comprehensive picture of the living

surveys conducted, e.g. by universities, do not necessarily

and working conditions, and the career paths of professional

apply to the alternative modes of making a living prevalent in

creatives in Hong Kong today. And that’s essentially what the

the visual arts. Similarly, other common key indicators merely

Creative Livelihoods project is all about: Initially with financial

inadequately reflect the professional reality of the creative and

support from the Hong Kong Arts Development Council, and

cultural sectors.

more lately through the grant from a Hong Kong General Research Fund (GRF), it aims to produce a significant body of

This lack of comprehensive statistics is not merely a problem

statistical data about the economic circumstances of creatives

for policy-making and educational development in an area of

in Hong Kong, by means of a cross-sectional survey of

significant market potential, but may also obscure more

graduates from tertiary creative undergraduate programmes

problematic socio-political developments. For example, arts

since 2001.

programmes traditionally have a very high ratio of female students, yet the number of practising female creatives in

However, as is often the case with this kind of survey, it begins

Hong Kong appears particularly low. This may be a sign of

with the problem of defining the actual survey population:

structural/systemic gender discrimination, yet no hard

Which programmes offered by Hong Kong’s tertiary institu-

evidence of this is available.

tions should be included as producing “creatives”? Where can we find their graduates? And – most importantly – how can we

If, as a society, we are to comprehend how the arts contribute to our lives, it is important to understand how visual arts are

get in touch with them?

assistants, we began a meticulous search of libraries, archives,

cover every single creative artist, designer, craft practitioner,

personal collections, and websites, looking through exhibition

etc. As long as the selection is broad enough to include a

catalogues, artist CVs, professional records, etc. in search of

population that justifiably represents the majority of creative

whatever information we could find on potential graduates

practices, the resulting sample should be acceptable. Thus,

from participating programmes. As it turned out, Grad Show

taking reference from similar studies conducted in Australia,

catalogues were a particularly valuable source of information.

the UK and the USA, we finally decided for the purpose of this

It appears all visual arts programmes in Hong Kong produce

survey to define a “creative” as “a graduate from a tertiary

such catalogues annually, but equally not all of them seem to

undergraduate programme offered under the UGC’s Creative

have any institutional strategy for collecting and archiving

Arts panel”, and to then identify local past and present study

them. Thus we started a second parallel project: a collection of

programmes of which it can reasonably be expected that their

all Grad Show catalogues from all of Hong Kong’s creative

graduates would commonly at least attempt to pursue careers

programmes since 2001.

in their field of study: BA (Hons) in Fine Arts by CUHK;

determine that from 2001 to 2015 the selected six pro-

BA (Hons) in Design by PolyU;

grammes graduated 4,781 students – BAFA (CUHK): 377; BACM

BA (Hons) in Creative Media by CityU;

(CityU): 1,113; BDes (PolyU): 1,727; BAVA (HKBU): 643; BSSC

BA (Hons) in Visual Arts by HKBU;

DGC (HKBU): 343; BAFA (HKAS): 578. Of those graduates, we

BSSc (Hons) in Digital Graphic Communication by HKBU.

were able to identify 4,262 by name; for 3,432 graduates we were also able to find email addresses – though as it turned

For comparison, we also opted to include graduates from one

out, not all of them still worked.

self-funded programme: BA in Fine Arts by HKAS. Having reach this point, the following steps were much more time-consuming: for privacy reasons Hong Kong’s institutions cannot share their graduate data with us, thus we had to find other ways to produce as-complete-as-possible graduate lists from the selected programmes reaching back all the way to 2001, and then to find ways of contacting as many of those graduates as we could.

Fig. 1: Gender distribution of different creative programmes Male 27% / Female 73%

(N=599)

實習實踐

After several months of archival work, we were finally able to

Practicing Practice

With the help of several student helpers and research

doesn’t necessarily have the ambition to be “complete”, i.e. to

57

In many ways the first question is the easiest, as a survey

In parallel to establishing the survey population, we developed

- 65% of same group of respondents gave their employment

the survey questionnaire – 100 questions covering 10

sector as the creative industries, with the two main areas of

comprehensive thematic sections relating to the education,

employment being Design and Education, both at 23%. IT/

working life and of course economic situation of creative

Business Services followed in third place with 21%) and Fine

practitioners in Hong Kong:

Arts in fourth at 11%. In terms of employment fields, AVA alumni very closely match the profile for all graduates across all

Demographic Information

institutions.

Background and Early Academic Achievements Tertiary Education

- One of the most interesting questions for the survey

Career Path

concerned graduates’ incomes; 64% of AVA respondents

Engagement with Creative Visual Arts Practice

indicated that their annual income was above HKD 100,000,

Professional Practice Issues

with the highest proportion (20%) earning between HKD

Income

150,000 and HKD 199,999 a year. Considering that recent

Other Funding for Visual Artists

graduates were more likely to respond to the survey, this is

Working Time

broadly in line withgeneral salary levels for fresh

Professional Development

graduates in Hong Kong.

The first four sections of the questionnaire were considered

All the above findings are preliminary and a considerable

“essential” – any response would be considered complete only

amount of analysis remains to be done. More importantly,

if those questions were fully answered; sections 5 to 10 we

our findings then need to be put into context. In the end,

considered “supplementary” information that people could

however, we will finally have a better understanding

voluntarily contribute to give additional depth to our

of the professional situation of Hong Kong’s young creatives,

understanding of their respective situations.

enabling us to find ways to better support them.

In late April 2016 the survey finally went online and closed again after two months in late June 2016, by which time 599 graduates had completed the required part of the survey – BAFA (CUHK): 73; BACM (CityU): 103; BDes (PolyU): 74; BAVA (HKBU): 224; BSSC DGC (HKBU): 66; BAFA (HKAS): 59.

At the time of writing this article, we have only just begun with the analysis and interpretation of the data we have been able to collect, but the following three initial findings relating to the

64%

professional performance of AVA graduates may nonetheless be of interest for Ava Magazine readers: - On asking 224 AVA alumni from across all cohorts since 2008 about their current employment situation, 98 stated they were

> HKD $100,000

in fixed-term full-time employment, and 53 in permanent full-time employment; i.e. two thirds of our graduates are employed full-time. The questionnaire offered a host of further options to cover for the professional preoccupations of the remaining third, including the possibility of multiple responses, therefore it is difficult at this point to come to any clear conclusions. It may, however, be noted that only five respondents in total defined themselves as “unemployed and looking for work” – only about 2% of respondents per cent of

Fig. 2: Gross Annual Income of AVA Graduates

respondents were involuntarily out of a job.

Base: All respondents graduated in AVA, N= 224

Fig. 3: Industry Sector of AVA graduates (2008–) Base: All respondents graduated in AVA, N= 224

23%

Design

11%

Fine Art

Education

Cultural Heritage

Practicing Practice

8%

IT / Business Service

59

23%

21%

實習實踐

從2000年代初開始，創意及文化產

我們作為整個社會，如果希望了解藝術如

到有關課程的畢業生？最重要的是，如何

業不論在大眾輿論還是學術界，都逐漸成

何豐富人生，那就必須了解視覺藝術的創

聯繫這些畢業生？

為社會政治及經濟討論中熱切關注的議

作過程，以及創作人所面對的種種問題。

題，不但政府制定政策時會以此為考慮重

從社會角度而言，社會需要給予視覺藝術

從多個層面考慮而言，第一個問題是最容

點，外界亦對此寄予厚望。不過，各方對

家應有的尊重，重視他們促進我們文化生

易解決的，因為調查不一定需要追求「完

這些討論焦點所在的持分者──從事創意

活所付出的努力；從政策角度而言，有關

整」，換言之無需接觸每一位藝術家、設

行業的個體，卻知之甚少。在香港工作並

方面必須了解專業創作的實際運作狀況，

計師、在職創作人，只要挑選的範圍夠

生活的視覺藝術家的生活條件如何？他們

方能制定有效措施，協助香港的文化及創

廣，能夠有效代表創意行業的大多數，最

到底如何工作，收入多少，如何過活？簡

意茁壯成長；從教育角度而言，我們必須

終的調查樣本已經可以接受。有見及此，

而言之：他們如何「生存」？

明瞭畢業生走出「外面」後將面對甚麼，

我們借鑑澳洲、英國、美國的同類調查

才可培育學生為此做好準備。

後，決定把調查目標中的「創意人士」定

至今為止，香港就創意藝術人群的經濟狀

義為「大學資助委員會創意藝術小組下大

況尚未有全面、系統的調查數據。例如，

如要準確並全面掌握香港今天視覺藝術家

學學士課程的畢業生」，然後找出本地院

各間大學等機構進行的傳統就業調查，不

的生活及工作環境，及其藝術職涯，唯一

校過往及目前開辦的課程，而課程畢業生

一定適用於視覺藝術圈常見的另類職涯模

的方法就是從相關人群收集可靠的數據資

又應在合理預期下，至少普遍嘗試投身所

式，同樣，其他常見的重要指標，亦不足

料，向個別在職視覺藝術家進行訪問調

學行業：

以反映創意及文化產業這門專業的現實就

查 ， 「 香 港 創 意 營 生 計 劃 」(‘C r e a t i v e

業狀況。

Livelihoods’)正是為此而設。計劃最初由

香港中文大學藝術（榮譽）文學士課程

香港藝術發展局資助，其後得到香港優配

香港理工大學設計學（榮譽）文學士課程

由於缺乏全面數據，當局制定政策以及推

研究金撥款，計劃以2001年後的專上院校

香港城市大學創意媒體（榮譽）文學士課程

行相關教育時，不但無法充分發掘相關市

創意學科學士畢業生為對象，開展跨界別

香港浸會大學視覺藝術（榮譽）文學士課程

場的潛力，甚至會引發社會政治發展的問

調查，希望整理出重要的統計數據，藉此

香港浸會大學數碼圖像傳播（榮譽）

題。例如，藝術課程向來女生比例甚高，

了解香港創意人士的經濟狀況。

社會科學學士課程

少，當中也許涉及結構/系統性的性別歧視

同類調查往往在準確界定受訪對象方面遇

為便於比較，我們特別同時加入一個自資

問題，但一直沒有實質證據支持。

到問題，本計劃亦不例外：香港專上院校

課程的畢業生：

哪些課程應該納入「創意」之列？如何找

香港藝術學院藝術文學士課程

但似乎香港從事創意工作的女性數目卻極

完成這步後，下一步比較耗時。基於私隱

問 卷 中 的 最 初 四 個 部 分 屬 於「必 須 」類

－ 同一組別中的65%形容自己的所屬行業

保障原因，香港的院校都不能提供畢業生

別，有關問題必須附上完整答案，調查訪

為創意產業，當中設計與教育為兩大主要

資料，我們必須另找途徑，追溯有關課程

問 才 算 完 成 ； 第 五 至 第 十 部 分 屬 於「 補

就業行業，同為23%，資訊科技／商業服

自2001年起的畢業生，整理出盡可能完整

充 」資 料 ， 受 訪 人 可 按 自 己 意 願 提 供 資

務以21%位列第三，藝術以11%位列第

的名單，然後設法盡量聯絡。

料，加深我們對其狀況的了解。

四。從投身行業比例而言，視覺藝術院畢 業生的就業情況與各間院校所有學生非常

在學生助手及研究助理協助下，我們開始

2016年4月底，網上調查終於開始進行，

仔細搜索圖書館、檔案、個人收藏、網

並於兩個月後的2016年6月底截止，當時

站，同時翻閱展覽場刊、藝術家履歷、職

已有599名畢業生按照要求完成調查──

－ 問卷中其中一條大家最關心的問題與畢

業紀錄等，尋找任何可能有助我們找到相

藝 術 學 士（ 中 大 ）：7 3 人； 創 意 媒 體 學 士

業生收入有關，64%的視覺藝術院畢業生

關課程畢業生的資料，結果發現畢業展場

（城大）：103人；設計學學士（理大）：74

表示，年度收入高於港幣10萬元，年入介

刊是格外寶貴的資料來源。似乎香港所有

人；視覺藝術學士（浸大）：224人；數碼

乎港幣15萬至19,9999元的比例最高

視覺藝術課程每年都有出版類似場刊，只

圖 像 傳 播 學 士（ 浸 大 ）：6 6 人； 藝 術 學 士

（20%）。考慮到近年畢業的學生更願意

是並非所有課程都有既定策略，會將場刊

（藝院）：59人。

參與本調查，故此這個入息數字也相當符

收集存檔。故此，我們開展第二項並行計

合 香 港 畢 業 首 年 學 生 近 年 的 普 遍 薪 金

劃：收集香港所有創意課程自2001年起的

我們撰寫本文時，僅僅開始分析並解讀所

畢業展場刊。

得數據，但下列三項有關視覺藝術院畢業

經過幾個月的歸檔工作後，我們終於能夠

吻合。

水平。

生事業發展表現的初步結論，或能引起讀

以上發現均為初步所得，仍有大量分析工

者興趣：

作有待進行，而更重要的是，有關發現不

判定，2001至2015年間，納入範圍的六

能斷章取義，必須配合背後的大環境加以

個課程共有4,781名學生畢業──藝術學士

－ 自2008年起畢業的各屆視覺藝術院學

詮釋。不過，我們最終能透過這次調查對

（中大）：377人；創意媒體學士（城大）：

生中，224人被問到目前就業情況時，98

香港年輕創意人才的事業狀況有了更深入

1,113人；設計學學士（理大）：1,727人；

人表示擁有固定全職工作，53人擁有永久

了解，從而讓我們能夠設法為這些人才提

視覺藝術學士（浸大）：643人；數碼圖像

全職工作，換言之本校三分之二的畢業生

供更適切的支援。

傳播學士（浸大）：343人；藝術學士（藝

能夠全職工作。問卷也有向受訪者提供了

院）：578人。上述所有畢業生中，我們成

一系列跟進選項，讓其餘三分之一畢業生

功紀錄4,262人的姓名，並找到3,432人的

顯示自己的就業情況，當中回覆可能包括

電郵地址，當然最後發現，並非所有電郵

多個選項，因此現階段難有清晰結論，已

都有效。

知的是只有五個受訪人表示自己「未有受 聘並正尋找工作」，即只有2%的受訪者被

在建立調查人口數據庫之餘，我們亦擬定 了調查問卷，當中分為10個全面的主題部 分，共計100條問題，範圍包括課程教 育、工作生活，而香港在職創意人士的經 濟狀況當然必不可少。 人口統計資料 背景及早期學術成果 專上教育 職涯 視覺藝術創作上的參與專業創作的 相關問題 收入 視覺藝術家所得的其他撥款資助 工作時間 專業發展

動待業。

Breaking Through while Embracing Conventions in Chinese Calligraphy 在中國 書法中擁抱傳統兼求突破

Lau Chak Kwong, Daniel / Associate Professor

劉 澤 光 / 副教 授 61 Practicing Practice 實習實踐

Fig.2: Ink Dance at Historic Relics / Site-specific performance of Chinese calligraphy/ink on linen, Kai Tak Campus, HKBU, 2013 Fig.1: Isaiah 40:29 “He gives strength to the weary and increases the power of the weak.” Ink on paper, 2015

圖2:《古迹墨舞》/ 即景書法創作 / 水墨麻布本，

圖1:《以賽亞書 40:29》疲乏的，他賜能力；軟弱的，他加力量。水墨紙本， 2015

香港浸會大學啟德校園，2013

Rediscovery in History as Creation of Meaning for the Present Calligraphy has been appreciated as a self-expressive art form

nature of my studies in both schools2. According to Wan Qingli,

in China and the West. Through graceful integration of the

“Due to the prosperity of “evidential studies” (“textual studies”),

visual elements and the literary content of calligraphy, artists

the “Stele School” developed rapidly during Qing dynasty

can convey their ideas and express their sentiments in their

(1644–1912). Since then calligraphers have been categorised

unique brushstrokes.

into two main camps, belonging to either the Model-book School or Stele School. While the artists in the former school

The success of developing one’s personal calligraphic style is

learn from “model writings” reproduced from famous

usually established on the inevitable and irreplaceable practice

calligraphers’ hand-written calligraphic works, those in the

of studying a wide spectrum of famous works of the past. Sun

latter learn from the rubbings from ancient stele and

Guoting (孫過庭 648-703) – the major calligrapher and

cliff-carvings.3”Wan points out: “Daniel never exclusively

calligraphy theorist of the Tang dynasty (618–907), asserts:

adheres to any single style or school…absorbing the essence

“You must understand the use of dots and lines and make a

from various sources.”4

broad study of the historical developments of characters.” (必 能傍通點畫之情，博究始終之理)1 In view of the importance

Breaking Through

of learning from the past, I, as an art historian, have been

In recent years, I have been questioning the common

conducting scholarly researches in Chinese calligraphy while,

perception of calligraphy as a two-dimensional art form and

as a practising calligrapher, I have been studying a wide range

incorporating site-specific performance as an integral

of calligraphic works from both the Model-book and Stele

component in my calligraphic art. A perfect example is my

Schools while establishing my own calligraphic style in an

public performance of Chinese calligraphy entitled Ink Dance

eclectic manner (Figure 1). Professor Wan Qingli (萬青屴),

at Historic Relics (Figure 2; also watch the performance online:

a contemporary Chinese art historian, highlights the pluralistic

http://heritage.lib.hkbu.edu.hk/view.php?id=10786; and http://

heritage.lib.hkbu.edu.hk/view.php?id=10787 ). Taking a critical

As a Christian I transformed the performance as a vehicle of

view of conservation and revitalisation of Hong Kong’s

religious meditation. In my opinion, the two Bible verses are

heritage, the performance was conducted in 2013 in the Kai

lyrical expression of the ceaseless love of God – even if I try to

Tak campus of Hong Kong Baptist University, at the historic

escape from the presence of God by flying to the “far side of

building premises that were previously the Royal Air Force

the sea,” I can still experience his guiding hand. To accentuate

Officers’ Mess. In 2009 this HKBU project of revitalising the

the psalmist’s expression of the remoteness of the “far side of

historic relic as its Academy of Visual Arts (AVA) was named

the sea,” I purposefully selected Shek O Headland as the site for

an Honorable Mention in the UNESCO Asia-Pacific Heritage

the calligraphy performance because it is situated at the

Awards for Cultural Heritage Conservation. In this context,

southern tip of Hong Kong Island and Hong Kong is geograph-

the execution of a calligraphic couplet on a monumental scale

ically situated at the southern tip of China. From ancient times

is a vivid celebration of the significance of the revitalisation of

South China has been generally considered to be the most

cultural heritage in Hong Kong and its far-reaching

remote and barbaric region of China. Meanwhile, the bird's-eye

educational impact.5

view perspective of the videography and the fluidity of the movement of the drone are making artistic decisions to create

From the Royal Air Force, a historic relic was revitalised.

a metaphor for the hovering flight of the “wings of the dawn”.

To nurture modern talents at the Academy of Visual Arts,

Hong Kong Baptist University

皇家空軍活化古蹟 浸大視藝薰陶今才 The two lines above were rendered in bold and forceful brushstrokes. As a huge couplet hung on the historic building, the work offers a pioneering fusion of the Colonial Neoclassical style of architecture and the traditional Chinese aesthetics of honesty and austerity in calligraphy.6 On the other hand, the process of the performance is equally significant because during the calligraphy performance both the calligraphercum-performer and the responsive audience actively

Fig.3: Wings of the Dawn / Site-specific performance of Chinese

interacted with each other on issues such as cultural heritage

calligraphy / ink on canvas, Shek O Headland, Hong Kong, 2016

conservation, history and calligraphy. Hence, everyone was

圖 3 : 《 展 開 清 晨 的 翅 膀 》 / 即 景 書 法 創 作 / 水 墨 帆 布 本 ， 香 港 石 澳

experiencing the historic building through their presence at

海角，2016

the historic site, making or observing the process of making of the calligraphic couplet, and exchanging thoughts and ideas about the site and calligraphy.

Natural elements such as the dawn, the wind, sea waves and rocks are integral components of the calligraphy performance

My other site-specific performance of Chinese calligraphy

as they reveal not only the context of the Bible verses but also

entitled Wings of the Dawn (2016) epitomises my new

the calligrapher’s quest for the union between himself, his

approach of integration of calligraphy performance, aerial

calligraphy and nature, which is one of God’s beautiful

drone videography and photography (Figures 3; watch

creations. It is clearly shown in the video that manipulating a

the performance online: https://www.youtube.com/

brush with varied movement and rhythm on rugged rock

watch?v=VHmIoBBB-cg ). The performance was recorded on

surfaces is extremely challenging yet full of surprises. Tinged

video and highlighted in my solo exhibition“Breakthrough– Ex-

with a rustic aura, the austere and spontaneous brushstrokes

hibition of Calligraphy and Seal Engraving by Dr Daniel Chak

vividly record not only the natural texture of the rock surface

Kwong Lau”, held at the University of Macau in February, 2016,

but also the calligrapher’s effort to balance his body move-

when I was invited as the first Artist-in-Residence of Cheng Yu

ment while wielding the big brush on a rocky coast. In a

Tung College, The University of Macau.7 The literary content of

nutshell, the calligraphy performance offers a new approach to

the calligraphy performance is taken from the Bible: “If I rise on

integrating Chinese calligraphy with site-specific performance

the wings of the dawn, if I settle on the far side of the sea, even

art and aerial drone videography and photography, unfolding

there your hand will guide me.” (Psalm 139: 9–10).

the performer’s spiritual journey.

重新發現歷史，再創時代意義 書法向來在中國及西方均被推崇為

分，其中一個很好的例子就是我的「古跡

劉澤光書法篆刻展」，當時我有幸獲邀為

自我表現的一種藝術形式。藝術家可以透

墨 舞 」書 法 公 開 表 演（ 圖 2 ；網 上 瀏 覽：

澳 門 大 學 鄭 裕 彤 書 院 首 位 駐 院 藝 術 家 。7

過書法視覺元素及文學內涵的優雅結合，

http://heritage.lib.hkbu.edu.hk/view.php?id=10786

那次書法表演的靈感來自《聖經》：「我若

利 用 獨 特 的 筆 觸 ， 傳 達 自 己 的 理 念 與

及 http://heritage.lib.hkbu.edu.hk/view.

展開清晨的翅膀，飛到海極居住，就是在

情感。

php?id=10787）。表演從批判觀點審視香港

那 裏 ， 你 的 手 必 引 導 我 」（ 詩 篇 1 3 9 ：

須借鑑過往名家，飽覽他們的名作。唐代

國皇家空軍軍官俱樂部的歷史建築。2009

上帝無盡大愛的抒情表現，即使我試圖躲

（618-907）書法家兼書法理論大師孫過

年浸會大學活化這棟大樓，將其改建為視

避上帝，「飛到海極居住」，我仍能感受到

庭（648-703）曾說：「必能傍通點畫之

覺藝術院時，曾得到聯合國教科文組織亞

祂的引領之手。為了凸顯詩篇中「海極」

情，博究始終之理。」 筆者既然從事藝術

太區文化遺產保護獎的榮譽獎。正是在這

的偏僻遙遠，我刻意選擇了石澳海角作為

史研究，當然明白學習前人的重要，因此

樣的背景下，書寫而成的巨型對聯彰顯了

書法表演的場地，因為自古以來，華南都

一直從學術角度研究中國書法，此外亦有

香港活化文化遺產的重要意義，以及活化

一直被視為蠻夷之地，香港又是中國南部

習書法，同時參考碑學、帖學兩大流派，

對教育的深遠影響。 5

之端，而石澳山仔又處於港島南端。至於

1

希望兼收並蓄，自成一格。（圖1）。當代

空中攝影的鳥瞰角度與無人飛機的流暢飛

著名中國藝術史學者萬青屴教授曾强調筆

皇家空軍活化古蹟

者於兩大書法學派中的多元化研究。 據

浸大視藝薰陶今才

2

萬青屴研究，「清代（1644-1912）因考

行，則寓意「清晨的翅膀」。 晨曦、清風、海濤、岩石，這些自然界的

據學和金石學的興盛而帶動了『碑學』書

這副對聯筆觸雄渾有勁，張掛在具有深厚

元素是這個書法表演不可或缺的組成部

法的發展。自此以後，書法家多被分為『

歷史的大樓外，揉合了新古典殖民地建築

分，不單構成了《聖經》章節的語境，也

帖學派』或『碑學派』。前者學習書法的蹊

風格與書法所包涵的坦率、質樸美學，可

體現了書法家追求自己、書法及大自然之

6

徑是臨摹『法帖』或『刻帖』（『刻帖』指

說是開創之作。 表演過程同樣意義重

間的和諧一體，而這種種都是上帝的創

的是把皇室或士大夫收藏的名家墨.刻在石

大，因為書法家兼表演家與觀眾之間，在

造。視頻中清晰可見，要在岩石上騰挪運

版或木板後，再施以拓印技術所得的『刻

文化遺產保育、歷史與書法等課題上有了

動其實相當困難，但也充滿意外之喜，在

帖拓片』，既可供收藏，亦是臨摹範本)；

積極互動，每個人都身處歷史場域，書寫

渾然天成的環境中，質樸而自然的筆觸忠

後者則學習刻在古代石碑上的書法和摩崖

或觀賞對聯的書寫過程，彼此交流對場域

實紀錄了岩石表面的質感，也紀錄了書法

石 刻 之『 原 拓 本 』。 」 3 萬 氏 繼 而 指 出 ：

及書法的理念，從而體驗這座歷史建築。

家努力在岩岸平衡揮毫的過程。簡而言

「澤光…從不囿於某家某派。他多元化的 書 法 風 格 建 基 於 泛 覽 古 今 名 跡 ， 博 採

之，這次書法表演另闢新徑，融合了中國 我另一場中國書法場域特定表演名為「展

書法、場域特定表演及空中攝影，也展露

眾長。」

開清晨的翅膀」（2016年），充分實踐了

了表演者本身的靈修歷程。

突破

錄 像 藝 術 的 新 嘗 試（ 圖 3 ；網 上 瀏 覽

近年來，我開始質疑把書法視為二維藝術

https://www.youtube.com/watch?v=VHmIoBBB-

的常見認知，進而在自己的書法藝術中引

cg） 。表演過程拍成視頻後，收錄入我2016

入場域特定表演，並以此作為重要組成部

年2月在澳門大學舉行的個人展「突破──

4

我 結 合 書 法 表 演 與 空 中（ 航 拍 ）攝 影 和

1

Sun Guoting, Two Chinese Treaties on Calligraphy, introduced, translated, and annotated by Chang Chùng-ho and Hans H. Frankel (New Haven: Yale University Press, 1995),

14 / 孫過庭《書譜》。 2

Wan Qingli, “The Inter-Referencing of Elegance and Vulgarity–From Elitism to Contemporary Popular Culture: Daniel Chak-kwong Lau’s New Exploration into Calligraphy

and Seal Engraving,” in Harmony: Synergy between Tradition and the Contemporary, monograph and exhibition catalogue by Daniel Chak-kwong Lau with contributions by Wan Qingli and Peter Y. K. Lam (林業強) et al. (Hong Kong: Academy of Visual Arts of Hong Kong Baptist University and Asia One Books), 217 and 220.

3

Ibid. / 同上。 4 Ibid. / 同上。

5

Chak-kwong Daniel LAU. ""Ink Dance at Historic Relics, Part 1: Eight-character-line Couplet in Big Characters". HKBU Heritage. HKBU Library, 2013. Web. 12 Jul. 2016.

<http://heritage.lib.hkbu.edu.hk/view.php?id=10786>.

6

Ibid. / 同上。

7

See https://cytc.rc.umac.mo/dr-daniel-chak-kwong-lau-artist-in-residence-of-cheng-yu-tung-college-courtyard-calligraphy/ . During my residence at The University of

Macau, I gave a lecture entitled “Stele School and Model-book School: Heritage and Innovation of Chinese Calligraphy,” and conducted a calligraphy performance, calligraphy workshops and my solo exhibition featuring my 50 latest works. / 参閱https://cytc.rc.umac.mo/dr-daniel-chak-kwong-lau-artist-in-residence-of-cheng-yu-tungcollege-courtyard-calligraphy/ 。我留駐澳門大學期間，曾舉行「碑學與帖學──中國書法的承傳與創新」講座，舉辦書法表演，開辦工作坊，並在個人展覽中展出了50 幅近作。

實習實踐

宗教沉思的載體，我認為這兩節話語正是

Practicing Practice

9-10）。身為基督徒，我希望將表演變成

會大學啟德校園舉行，地點就在前身是英

63

的文化保育及活化活動，2013年在香港浸 書法家如要成功塑造自己的書寫風格，必

25 Minutes Older 二 十 五 分 鐘後

Ng Siu King, Kingsley / Assistant Professor

伍 韶 勁 / 助 理教 授

25 Minutes Older invites the audience to board a tram,

consciousness and projection of its time are echoed in other

a moving time capsule that does not get old in the fast-paced

aspects of the present work. We are grateful for Mr Lau’s

city. Like travellers in time, passengers on board see scenery

consent, and hope to pay tribute to the classic through this

passing by – not through the windows, but in an enclosed

cross-disciplinary encounter.

compartment, turned into a camera obscura with an aperture on its side.

The title of the work made reference to Ten Minutes Older, a 1978 film directed by Latvian filmmaker Herz Frank. It

Across time and cultures, the concept of a camera obscura has

captures the expressions of young children when they go

been explored by philosophers, astronomers, scientists and

through an emotional journey, watching a 10-minute film

artists, and forms the basis of modern photography. The basic

invisible to Frank’s audience. The film later inspired an

principle is that as light enters an enclosed environment

eponymous homage by British producer Nicolas McClintock.

through a small hole, an inverted image from the outside is

Released in 2002, the film is a compilation of short films by

cast onto the struck surface. Unlike recordable cameras,

15 celebrated filmmakers, all contemplating what time means

a camera obscura does not capture a single image. It is a

in 10 minutes of film.

transitory optical space, where fleeting projections of the present pass through as objective phenomena.

On another level, the work also hopes to revisit ideas of site-specific art, an art movement in the 1970s, as a reaction

Running in parallel to the moving images is a textual narrative,

to the disconnect between art in galleries and the world

made up of literary fragments generously shared by renowned

outside. Over the years, artists interested in this strand of

Hong Kong writer Liu Yichang. The text is taken from his

practice have probed the multiple meanings of sites –

novella Tete-beche, whose chiasmatic structure, stream of

as physical, historical, social and psychological localities, whose geographies map our meandering in contexts.

Installation arts ranks as the 5th most popular area of creative practice among AVA graduates!

65 Practicing Practice 實習實踐

電車有如移動的時間囊，並不隨着

伴隨這些移動光影的還有文字敘述，這要

從另一個層面來說，《二十五分鐘後》也

這座節奏急速的城市而變老。《二十五分

多謝香港著名作家劉以鬯慷慨分享他的文

希望重新探討場域特定藝術的理念。這個

鐘後》邀請觀眾登上電車，和時間裏的過

學片段。文字敘述摘自他的短篇小說《對

理念出現在1970 年代，為回應藝廊中的

客一樣，一起欣賞沿路風景──不是望出

倒》。小說的結構、意識流以及對年代的

藝術與外界脫節而生。歷年來，有志於這

車窗，而是在封閉的車廂兩邊開小孔，把

投射，與《二十五分鐘後》的其他元素互

方面的藝術家，從實物、歷史、社會、心

電車變成暗箱。

相交織。我們非常榮幸能夠引用劉先生的

理等多個角度探索過場域的不同意義，而

作品，希望藉這次跨媒體的對話向《對

這些藝術地貌也標示了我們在不同脈絡中

倒》這部經典小說致敬。

的藝術探求。

不同時代、不同文化的哲學家、天文學 家、科學家以至藝術家，都探索過暗箱的 概念，這種手法亦成為現代攝影的基礎。

作 品 名 字 的 靈 感 來 自 拉 脫 維 亞 導 演

背後的基本原則是，當光線穿過小孔進入

Herz Frank 1978年執導的電影《十分鐘

封閉的環境後，外界的影像會顛倒出現在

後》 （Ten Minutes Older）。那部電影捕捉

投 射 面 上 。 與 可 以 錄 影 的 相 機 不 同 ， 暗

了幾個孩子觀看一部十分鐘的電影期間，

箱並不捕捉單一影像，它是一個短暫的光

所經歷的情感歷程。其後英國製片人

影 空 間 ， 投 射 出 當 下 的 瞬 間 ， 形 成 客 體

Nicolas McClintock 受到啟發，2002 年

現象。

拍攝了同名電影，邀請15位知名導演各用 十分鐘敘述時間的意義。

25 Minutes Older ran from 21 May 21 to 2 June, as part of “The 5th Large-Scale Public Media Art Exhibition: Human Vibrations”, presented by the Hong Kong Arts Development Council. This article is derived from the exhibition's text. 《25分鐘後》放映日期由2016年5月21日至6月2日，是香港藝術發展局「第五屆大型公共媒體藝術展：感頻共振」的其中一部作品。本文取材自展覽介紹。

“What Does Art Do?” ｢ 藝 術 能 做甚麼？｣

Wan Lai Kuen, Annie / Assistant Professor

尹麗娟 / 助理教授

The theme of the coming 11th edition of Gwangju Biennale,

The first time I was asked to seriously present what I believed

which will be held from 2 September to 6 November 2016 in

about art was the time I studied Fine Art in the Chinese

Korea, is “The Eighth Climate (What Does Art Do?)”. The “eighth

University of Hong Kong. Being steeped in the academic

climate” refers to a state that we might reach through our

atmosphere, I enjoyed being delighted by the enchantment of

imaginative capacity. As one of the participating artists, I have

making art. I believed art was a language that artists learnt and

been re-thinking this question “What Does Art Do?” over and

used to express ideas and concepts, but over time, it would

over again since the day I was invited, though I have been an

develop into a more and more complicated and difficult

art practitioner for quite some years. It seems to me this

language that ordinary people could not understand.

question in the theme creates more questions.

Recently I was asked where I stood in terms of thinking about art’s ability to be truly powerful in changing social/political/

Though I cannot remember when I first drew, I can never forget

ecological conditions, in the panel discussion entitled “What

the fascination of the magical power of art: I just used a pencil

Does Art Do? Mediating the Gwangju Biennale 2016”. I was

to draw a circle – I saw the moon. I drew further lines radiating

reluctant to answer this question as it implied some power

from the circle, and then it became the sun! When I was a kid,

struggles between art, society, politics and ecology. I worry

I enjoyed the Chinese folk tale “Ma Liang and the Magical Paint

that when art becomes a tool to change something, there will

Brush”《神筆馬良》, in which Ma Liang made everything he

be no more art. As such, I prefer to say: when art occurs, both

drew come to life. I was very into his adventures after he

art and the world will change mutually.

gained this magical ability. I then drew more than I talked in my childhood and my mother said, “This daughter will be an

The Gwangju Biennale, Asia's first contemporary art biennale

artist!” These words carved themselves into my mind for years...

presenting a global perspective on contemporary art, was

For some reason, I did not study Fine Art after secondary

founded in 1995 in the city of Gwangju in South Korea with a

school education, but became a Design student, believing art

political background in memory of the spirit of the civil

could beautify our lives and the visual aesthetic was most

uprising following the repression of the Gwangju Democratiza-

significant in bringing pleasure to daily life. But still there was

tion Movement in 1980. Nowadays, it is easier to talk about

a kind of “unbearable lightness” in my youth. At that time I was

how art is supported than art itself. The 11th edition of the

a textile designer.

Gwangju Biennale asks, “What is the essence of art in this age?”

It will direct its attention to artworks and projects; how they

cabin. The way of working this time is a new experience for me

meet the public in different contexts throughout society and

as it involves many people and I am working both from Hong

how these meetings can be meaningful.

Kong and South Korea over a few months: celadon ceramics will be made at a celadon master’s studio near Gwangju and

As I represent and am funded by the Hong Kong Arts Develop-

intensive shopping has to be done in Korea for building the

ment Council, I will make my biggest and most complicated

content of the cabin.

work ever for this Gwangju Biennale. My work tries to extend connects some small shops along a busy road extending from

ing my idea successfully, I still want to leave some space for the

the square of the Gwangju Biennale Hall with a cabin located

magical power of art to happen. This is why I have taken up a

right outside this complex. Different types of celadon objects

residency in Gwangju to create some beautiful moments by

moulded from ready-made commodities will be put in

bringing art and artists together through cooperation, and also

different shops, while consumer products will be displayed

sharing this with neighbours and the public.

and arranged in an order related to colour and form in the

Practicing Practice

Though good planning and organising are significant for realis67

the boundaries of artwork as well as those of the biennale. It

實習實踐

第十一屆光州雙年展將在2016年9 月2日至11月6日在韓國舉行，今年的主題 是 「 第 八 氣 候 （ 藝 術 能 做 甚 麼 ？ ）」。 「第八氣候 」指的是我們在創作時所能達 到的一種境界。雖然我從事藝術已經多 年，但身為參展藝術家，我自獲邀以來就 一直在思考「藝術能做甚麼？」。似乎這 個主題引伸出更多問題。 我已經不記得自己甚麼時候開始繪畫，但 我從沒有忘記藝術的魔力對我有多麼吸 引。我用鉛筆畫一個圓圈，就看見了月 亮，我在圓圈之外再畫幾條線，它就變成

最近在一個題為「藝術能做甚麼？討論

我身為香港代表，因受藝術發展局資助，

了 太 陽 ！ 當 我 還 是 孩 子 時 ， 我 非 常 喜 歡

2016年 光州 雙年展」 的論 壇上， 有人問

所以我可以做到自己規模最大、最複雜的

《神筆馬良》的故事，馬良畫的每一件東

我，對於藝術是否有足夠力量去改變社會/

作品參加光州雙年展，希望透過作品，拓

西都會變成真，他獲得這種神奇力量後的

政治/生態環境的看法。我不希望我的答案

展藝術作品以至雙年展的疆域。作品會沿

經歷，更是讓我着迷。於是童年的我畫畫

會讓人誤會，以為藝術、社會、政治和生

着一條從光州雙年展大堂廣場延伸出去的

比說話還多，我媽媽說「這個女兒將來會

態之間有某種角力，我擔心一旦藝術成為

繁忙道路，連結起路旁的一些小店，整個

是畫家！」這些話多年以來深深烙在我的

改變某種東西的工具後，就不再是藝術，

結構的外面會有一間小屋。各小店裏會陳

腦海中……不過基於某種原因，我中學畢

所以我的答案是：當藝術出現時，藝術和

列不同按照各種商品模製而成的青瓷物

業後沒有修讀藝術，反而學了設計，因為

世界都會互相改變。

件，小屋裏會有不同日常消費品，按照顏

我相信設計可以美化生活，視覺之美可以

色和形狀排列安放。這是我第一次採用這

為日常生活增添愉悅。然而，我的青年時

光州雙年展是亞洲第一個展示全球當代藝

樣的合作方式，中間涉及很多人，我在香

代仍有「不能承受之輕」。當時我是個紡

術的雙年展，為了紀念1980年政府鎮壓光

港和韓國兩邊籌備已經好幾個月了，青瓷

織設計師。

州民主運動後引發的公民抗爭精神，1995

會在光州附近一家大師作坊製作，放在小

年在韓國光州開始舉辦。如今，討論怎樣

屋的物件則會在韓國四出採購。

我第一次需要認真表達對藝術的觀點，是

支持藝術比討論藝術本身更容易一些，而

在香港中文大學修讀藝術的時候。浸淫在

第 十 一 屆 光 州 雙 年 展 提 出 的 問 題 恰 恰 是

要順利實現我的創作理念，固然需要周全

學術環境之中，加上藝術創作所得的喜

「在這個時代，甚麼才是藝術的精髓？」，

的規劃和組織，但我仍希望留一些空間，

悅，讓我非常難忘。我相信藝術是語言，

把焦點轉移到藝術作品和藝術項目上，以

讓藝術發揮它的魔力，於是我在光州作駐

藝術家學會之後可以用來表達不同的理念

及藝術怎樣在不同的社會語境中接觸公

留創作，以藝術把一同合作的藝術工作者

和概念，只是隨着時間，這種語言變得越

眾，這些接觸怎樣才有意義。

連結起來，也把這些美好經驗與街坊、公

來越複雜、深奧，以至常人難以理解。

Gwangju Biennale 光州雙年展: http://www.gwangjubiennale.org/

眾分享。

P. 70 – 71

Q&A; A&Q / 問的答；答的問 P. 72 – 73

In the Air / 永動的懸置 P. 74 – 75

Contested Encounters / 質疑的接觸 P. 76 – 77

Open Generation : Unwrapping Time / Open Generation : 打開時間的那層包裝紙 P. 78 – 79

About: Research / 關於：研究 P. 80 – 81

My Research Interests / 我的研究範疇概述 P. 82 – 85

Through Our Eyes Photography Education Programme – Practising Art Education / 憧憬世界攝影教育計劃 - 藝術教育的實踐 P. 86 – 91

Master programme of AVA / 視覺藝術院碩士課程 P. 92 – 97

YCE Award: Stories of Young Creative Entrepreneurs / 創新企劃獎: 獲獎品牌的故事

Finding the Questions 找尋疑問

69

03

Painting like an Artist – Plein Air / 2013–2015 / painting and intervention, Hong Kong / 像藝術家一樣畫畫––有排 (牌 )寫生 / 2013-2015

Q&A; A&Q

問 的 答；答的問

wen yau / PhD candidate

魂游 / 博士研究生

A :

What is Art?

A : Oh, that’s such a profound question. I’m the one asking a question,

Q:

Does Art have to be anything?

Q : why am I being asked?

A :

If Art isn’t anything at all, then why do you do it?

Q:

Or, it makes it all the more worthwhile because it isn't anything,

A : Life is: to do something that isn’t anything, or could be anything?

doesn't it?

Q : Maybe. Maybe not. You have your answer one way or the other,

Is it profound? But you are living anyway, aren’t you?

don’t you?

A :

You haven’t answered me. Then why do you do it?

Q:

Can I do something that isn’t anything, or could be anything?

A : Why do I ask “what” is “what”? It is exactly because I don’t have the

A :

What exactly is it then?

Q : If we all knew the answer, and followed the idea, wouldn’t it be

Q:

Why do you need to know?

A :

We need to know so we can follow the idea without making

A : Then who has the answer?

a mistake?

Q : Perhaps we all are looking for one?

answer...

Q:

boring and meaningless?

So, Art means everybody doing similar things?

A : So the question is how to find an answer?

A :

Not really. Making reference to one another at some points. But

Q : Are you assuming there is one?

we can still do it in our own ways, can’t we?

Q:

A : Q:

Actually you already have the answer. Why do you have to

A : Or more than one?

ask me?

Q : Does a question always have an answer?

No I don’t. If I don’t know what it is, then how am I supposed to

A : Without an answer, do we need a question?

do it?

Q : Without a question, do we need an answer?

What is life then?

71

Q : 其實藝術必然「是」甚麼的嗎？

A : 哦。人生是：做一些甚麼都不是，又或者甚麼都可 能是的東西？ Q : 或許是，或許不是。反正你有自己的答案吧？

A : 如果藝術甚麼都不是，那麼你做甚麼藝術呢？ Q : 或者，因為它甚麼不是，才更有值得做吧？

A : 當我問：「甚麼」是「甚麼」？正是因為我不知道⋯⋯ Q : 如果早就知道了答案，我們都可跟著做，會不會很

A : 你還沒答我，那麼你做甚麼藝術呢？

無聊沒意思呢？

Q : 可不可以，做一些甚麼都不是，又或者甚麼都可能 是的東西？

A : 但誰又會知道答案呢？ Q : 或許我們都在尋找答案？

A : 那，即是做甚麼？ Q : 為甚麼，你要知道，那，是甚麼？

A : 所以問題是如何找答案？ Q : 你假設有一個答案？

A : 知道是怎樣，就可以朝著做，不會做錯了吧？ Q : 所以說，藝術是，大家做著差不多的事？

A : 或許多於一個？ Q : 問題一定有答案的嗎？

A : 也不是，參考一下罷了。然後也可以各自發揮一下？ Q : 其實你早有答案了，還問我幹嗎？

A : 沒有答案的話，我們還要問題嗎？ Q : 沒有問題的話，我們還要答案嗎？

A : 不。就是不知道是怎樣，又如何發揮？ Q : 那麼，人生是甚麼呢？ A : 噢，這麼深奧的問題。明明是我先問你，為甚麼你 倒過頭來反問我呢？ Q : 很深奧嗎？但你還不是一樣存活著？

wen yau as a cross-media artist, researcher, curator and writer, concentrating recently on performance/live art and social practice. Her works often grapple with cultural difference and intimacy in public space. She has been awarded the Fulbright Scholarship in 2015 to visit the Northwestern University, USA and is currently a PhD candidate at AVA, completing her thesis on performative practices in postcolonial Hong Kong art and activism. 魂游是跨媒介藝術家、研究、策劃及評論人，近年專注於即場/行為藝術及社會性實踐的創作及研究。作品大部分為就地創作，愛在文化差異及公共與親暱之間進行微軟游擊。 現為香港浸會大學視覺藝術院博士研究生，論文研究回歸後香港社會運動與展演性實踐，2015獲頒富布萊特（香港）青年學人計劃研究獎學金赴美國西北大學作訪問學人。

找尋疑問

在地洞察

A : 藝術是甚麼呢？

Finding the Questions

Onsite Insights

Alors c’est quoi l’art performance? (What is performance art?) / 2013 / intervention, Sète, France

Margins of the Vision-Bite / Jiang Hai / 2007 / Oil on canvas

In the Air

永 動 的 懸置

Wang Dong / PhD candidate

王東 / 博士研究生

Since antiquity, the birth of the universe and operating

and exchange. Many things in the universe have their own life

principle of the world have compelled the minds of Eastern

and attributes. In fact, cutting-edge science offers convincing

and Western scholars alike and been the subject of their

evidence that the quantum field holds us all together in its

research and discussions. This is because the question matters

invisible web and that an information transfer constantly

to the progress of humankind’s self-exploration and also offers

operates between living things. The three artists participating

us a point of reference to recognise and analyse others in the

in this exhibition are based in the US, Asia and Europe. They

universe. It is quite affirmed that the curiosity and exploration

don’t know each other and were previously unaware of each

of survival and the self are surely ingrained in the human

other’s artistic creations. But when seeing their works side by

instinct. Darwin’s The Origin of Species has already provided us

side, viewers are struck by the fact that in their works of art

with a scientific and objective explanation of the origin of the

they all share tangled and twisted human bodies as the basic

human being and its evolution process. Numerous physicists

elements, eerily similar both in shape and essence. In the

and scientists also presented us the existence of the matter-

process of the contemporary art exhibition curation, there will

oriented universe and circular transmission of energy. We keep

be a linear analysis, comparisons and comments about the

seeking the origin of all kinds of questions in this rational-

works’ style, medium, concept and other aspects. However, in

thought-oriented universe and getting the rational answer

this article, I am aiming for an in-depth exploration of the inter-

each time. It seems that we all have accepted the proven

connection between similar artistic creations emerging

answer without any doubts and place it as self-evident truth.

independently in different locales across time and space, and

There are few to question and re-examine the authenticity and

would like to compare the works by three artists residing on

new possibilities of the proven answer. Nevertheless, many

distant continents to ponder the possibility of a new way of

esoteric, mysterious, or inconceivable matters and events still

looking at the universe in which we live and ourselves in order

remain unexplained.

to trigger the attention and analysis of ourselves and our real situation. Using the human figure as their main vehicle of

The title In the Air refers to “in the process of transmission” and

expression, the three artists in far-flung geographic locations

“up in the air”. It seems to indicate the existence of an

draw on their local culture or multiple cultural resources and

amorphous energy field and a potential energy transmission

individual life stories to create their imagery. Their artistic

creations not only compose the visual presentation of their

Max-Jakobsen’s is translucent and bizarre, thus offering new

personal memories and daily experience, but also construct

interpretations of the traditional artistic theme of the figure.

the transmission and conversion of energy in a different

I believe the comparison study of those three artists’ works will

location and space.

offer contemporary art creation and exchange a new visual sample and reference within the globalised context. Mean-

same unconscious source seems to demonstrate that all

I truly believe that we need to re-examine the self-evident

matter in the universe exists in a web of connection and

answer using curatorial practices in contemporary art and

constant influence. This unity among all living things is, in fact,

open another door for future research. The answer maybe has

the very subject at hand in all three oeuvres, expressed

already been there or in the air, but the practices of the pursuit

through entangled and overlapping bodies floating in space.

of the truth will never stop!

The artists’ various cultural and societal backgrounds are reflected in their individual styles: Sol Kjøk’s work is delicate

找尋疑問

and ethereal, Jiang Hai’s is critical and wicked, while Peter

Air」，意為「傳播中」與

可能，從而引發對自身與自我現實處境的

古以來就一直深受東西方的學者關注、研

「懸而未決」，似乎預示着一種無形能量

關注與分析。同樣是以身體為創作元素，

究與討論，因為這個問題關乎人類自我探

場的存在與潛在的能量轉移與置換。世界

三位藝術家卻在以自身母文化或多重文化

索的進程，同時也會為人類了解、認知與

的萬事萬物都有其自身的生命與屬性，諸

的資源與個體生命經驗進行藝術創作。他

分析宇宙間其他的事物提供參考。對於自

多的認知面向還都處於一種有待探索、考

們的創作不僅構成其個人記憶與體驗的視

我生存處境與自身的好奇與探索，可以說

察與證實的階段，即是不確定的。事實

覺呈現，也構成了異域、異空的能量傳遞

是人類與生俱來的本能與不可置否的事

上，前沿的科學也已經明確證實了「量子

與轉化，即不同時空下的同類藝術創作的

實。達爾文的「進化論」從一種科學、客

場」用一張無形的網路將我們每一個人都

「多元化」。

觀的角度為我們闡述了人類的起源與進化

聯繫在了一起，而且處於網路中的每一種

的歷程；世界上不少物理學家、科學家也

生物都在不斷傳送與承載着資訊。來自美

此外，三位藝術家跨越時空的藝術對話向

從其他不同的領域與角度為我們呈現了以

國、亞洲與歐洲的三位參展藝術家，他們

我們展示出了同一創作媒材與元素在不同

「物質」為基礎的世界，而且證明了「能

互不認識也從未交流過自己的藝術創作，

文化與社會語境中的不同發展。Sol Kjøk

量」是周而復始地在運轉的。在理性思維

但如果各位仔細觀察他們的個人創作，我

的細膩與飄逸、江海的批判與戲

主導的物理世界中，我們不斷在追索種種

們會發現他們的創作從視覺語言本身而言

謔、Peter Max-Jakobsen的剔透與詭異

問 題 的 源 頭 ， 也 一 次 一 次 的 獲 得 理 性 的

雖各具特點與風格，竟也有「神形兼似」

均從不同的層面對身體這一傳統的創作元

關於宇宙的緣起和世界的構成，自

題目「In

Finding the Questions

while, let’s question those proved answers rooted in our minds.

73

The fact that three artists across time and space draw from the

the

「 答 案 」。 似 乎 對 於 已 被 證 實 的 答 案 ，

之處，即都以纏繞與扭曲的人體為創作元

素進行了新的詮釋與演繹。三人的繪畫作

我 們 每 個 人 都 會 欣 然 接 受 並 稱 之 為「 公

素。在當代藝術展覽策劃中，常有針對創

品如將來能夠共同展出，必然既有「渾然

理 」， 即 約 定 俗 成 的 或 彼 此 有 共 識 的 答

作風格、創作媒介、創作主題等各方面的

天成」之感，又有「三足鼎立」之勢。我相

案。很少有人會去質疑與重新考證這些答

單向度分析、類比與評介，但卻往往會避

信比較研究這三位藝術家的創作，能為全

案的真偽與新的可能。我們高舉理性與科

免對作品作多維度的橫向對比。將三位素

球化語境中當代藝術創作與交流提供一種

技的大旗在生活的海洋之中揚帆起航時，

未謀面的藝術家的創作置於一種特殊的展

新 的 視 覺 樣 本 與 參 考 ， 同 時 也 讓 我 們

誰不知卻只是憑藉現存科技在世界探索的

示語境與情形之下，正視他們的創作殊途

再次質疑那些植根於我們思想深處的「答

萬里長征踏出僅僅第一步而已。宇宙間還

同歸的現象，正是對異域、異時與異空中

案」。在當代藝術策展中，我認為我們同

有很多靈異、神秘，又或是令人匪夷所思

同類藝術創作之間的相關性所作的一種探

樣需要以策展來不斷重新檢驗既定的事

的事物、事件存在，而這些事情並非是現

索與嘗試。我試圖通過並置討論這三位來

實，並由此為未來的研究開啟一扇新的大

存答案所能解釋到的。

自不同國家的藝術家所創作的方式，提示

門。答案或已存在，或仍懸而未決，但真

出一種觀看世界與自我存在的全新視角與

理的探索卻是永無休止的！

Wang Dong (PRC), living and working in Hong Kong and Shenzhen, is a curator and PhD candidate in Visual Arts at Hong Kong Baptist University. He is dedicated to the curation, criticism and research of Chinese contemporary art in China and overseas, as well as culture management. 王東是策展人，現生活和工作於香港及深圳，亦為香港浸會大學視覺藝術學院博物館學與策展方向博士研究生，致力於國內外當代藝術展覽策劃、藝評、研究與文化管理。

Contested Encounters 質 疑 的 接觸

Craig Cooper / PhD candidate 博 士 生

Occupy Central / Craig Cooper / 2016 / 32 of 46 Photographs (220 x 330 cm)

In order to question the answer, there is a question needed to

The exhibition presents political upheaval, though I avoid, in

provide the initial answer – and here begins the cycle. Answers

a city of seven million, any portrayal of community, of group,

should never be the end game. Answers are positions and

or social encounter. The only people that appear in the

positions should be debated, challenged and contested. Every

installation are a sleeping drunk, and the intimate and

architecture, sign and body is an answer to the question of

amorous gazing of a woman. The question is still open; which

another. The exhibition “Urban Exotic Dilemma” at Treignac

body will manifest?

Projet (21 May–19 June) is a selection of new and older key pieces of work that set the stage for my ongoing project

The work in the exhibition proposes to reject any model where

Itinerant Vistas. The exhibition is a breaking of the linear

stable and material bodies move through an endless and

perception of the Q&A relationship and proposes to replace it

empty space, for one where there is a ‘taking place’ of

with a circular one, or perhaps, rather, with one of a system. It

accelerated and contested encounters marked by technology

proposes to do this from within a personal and shared

and the logic of financialisation. From all this emerges a

encounter with cities and their positions on various global and

political body, or rather a clearing for this body to emerge is

historical frontiers through the interrelationship between

indicated and interrogated.

architectures, bodies, and their inscription on the experience of place. In my study of the changing architecture and

Itinerant Vistas is a part of a project that will work through a

experience of Hong Kong, the outcome is not one that looks at

trans-institutional platform tying together artists, archives,

symptoms and causes, but a study of interrelated forces,

off-spaces and institutions, including WING Platform for

political and material conditions, emerging effects and

Performance, Treignac Projet, Madame Wang journal and

random singularities.

Academy of Visual Arts, HKBU.

提出問題質疑答案，前提是要有問 題引出答案，循環於是開始。答案不應是 最終目標。答案是立場，而立場應該經過 辯論、挑戰、質疑。每一件建築、標誌、 形體都是另一條問題的答案。「特雷亞尼 克計劃」（Treignac Projet，5月21日至6 月19日）的「城市刺探」（Urban Exotic 75

Dilemma）展覽展示了一些新的及較早的

Finding the Questions

作品，為我持續進行的「跨域遠眺」計劃 （Itinerant Vistas）奠下了基礎。展覽脫 離問答關係的線性觀點，並以循環觀點， 或者說是系統的觀點取而代之，提出透過 建築、形體及其對地點經驗的銘刻之間的 相互關係，讓個人及群體接觸城市及其在

找尋疑問

不同的全球與歷史前沿的立場。我研究香 港正在變遷的建築及經驗，得出的結果不 是為了審視徵狀和探討原因，而是為了研 究相互關係的力量、政治及物質條件、衍

Spatial Territory / Craig Cooper / 2012 / Video (5 min. 12 sec. )

生的效應以及偶發的特點。

儘管我嘗試避免，但展覽仍然呈現了在這 個700萬人口的城市，對任何社區、群體 或社會接觸的描繪都可見的政治動盪。裝 置內出現的人物，僅有一個沉睡的酒鬼和 親密而又含情注視的女性目光。問題仍然 沒有既定答案；哪一件形體將有所明示？ 展覽的作品提出，要排斥任何以穩定物質 形體穿越無盡空洞空間為概念的模式，改 而接納以科技及金融化邏輯為主導的模 式，當中「正在發生」的接觸越見頻密卻 又備受質疑。由此，一個政治形體誕生 了，又或者說是，一切阻礙這個政治形體 出現的障礙已徹底審視並清除妥當。 「跨域遠眺」計劃屬另一藝術項目的其中 一環，該項目將透過跨組織平台連繫不同 的藝術家、文獻庫、獨立藝術空間及機 Untitled / Craig Cooper / 2016 / Light Box (170 x 100 x 15 cm)

構，包括永天台、「特雷亞尼克計劃」、 《Madame Wang》雜誌、香港浸會大學 視覺藝術院。

Craig Cooper is an artist and curator from the UK. He is currently a PhD visual arts candidate at AVA, living and working in Hong Kong.

Craig Cooper是來自英國的藝術家和策展人，目前在視覺藝術院攻讀博士，並在香港工作生活。

Open Generation : Unwrapping Time Open Generation : 打 開時間的那層包裝紙 Hana Kwai / 2016 MVA Graduate (Experience Design) / Participant of The 2nd Hong Kong - Shenzhen Design Biennale 桂 詩雋 / 2016 年視覺藝 術 碩 士 畢 業 生（ 體 驗 設 計 專 修 ）/ 第 二 屆 深 港 設 計 雙 年 展 參 加 者 “Open” is the theme of this year’s Shenzhen–Hong Kong

Originally intended for the purposes of sales and profit

Design Biennale. There seemed limitless possibilities awaiting

exchange, automatic vending machines are now used as a

such an opening – the gesture of unwrapping by hand, a

conduit to “open up” the border between sales and art,

certain form of opening up, or an embracing of experiences

presenting other free-flowing possibilities within, such that

heretofore unknown can bring others, through Open, into

these machines become the carrier of the memory of snacks

another, less familiar, world. The creators, all born in the 1980s

from the 1980s. The concepts of “enclosed”, “opening up”

and seeking a shared experience of growing up in Shenzhen

and “experience” are embodied not just in the evolvement of

and Hong Kong, attempt to “open up” the audience to the era

“snacks” but presented as a shared experience of historical

through the memory of taste inherent in snacks.

changes between Shenzhen and Hong Kong.

The biennale project uses automatic vending machines as a

The team designated for opening up this shared experience is

medium as they are metaphors independent of different cities,

comprised of members from two different MVA campuses in

a localised symbol with close ties to the community. Those

Hong Kong and Shenzhen: Candy Wong, experienced in

living near the vending machines indirectly determine the

post-production of TV commercials and films; Kelvin Fong,

contents of the machine, and by travelling between different

former animator and multimedia specialist, now IT (multime-

cities, one gains an insight into the differences between the

dia) educator; Alex Sin, who has seven years’ experience in

cities’ inner cores.

producing videos and TV animations; and Hana Kwai, who has

worked as a boom operator for movies, been an indie movie festival executive and an editor for eight years, and who now focuses on the experience art domain.

With team members coming from different backgrounds and childhoods, each exchange entails a kind of deviation and an “opening up” of certain unknowns, yet it is precisely out of such deviations that different, individually based perspectives 77

become opened up. In our own way, we are becoming more

Finding the Questions

open because of these experiences, and it is intriguing to experience such a change happening between oneself and others.

Here, we use our taste to explore objects we grow up with, things that are ordinary; yet the agency of such daily objects becomes opened up from the act of ingestion, approaching

找尋疑問

an epiphany in between moments – opening up to the transformation from one side to another. As the daily utility value of the food items fades, they regain their childhood state, allowing a rediscovery of the accompanying joy and freedom.

As one examines in detail the multitude of taste experiences, as in the similarity in taste between instant noodle snacks in Hong Kong and Shenzhen, a kind of intimacy becomes evident.

「Open」是今年深港設計雙年展的

可能性，以自動販賣機承載80年代的零食

「open」，在自己和他者之間體驗這個變

主題，似乎有無數的可能性在等待這樣的

記憶。「封閉」、「打開」、「經驗」不僅僅

化，也別有趣味。

一種打開。用雙手把包裝打開的動作、某

體現於「零食」的變化，更呈現在整個歷

一種開放的方式、或是沒有經歷過的經

史變遷中深、港兩地之間的共通經驗。

我們在這裏用味覺所探索的成長之物，其 實 都 是 一 些 很 尋 常 的 東 西 ， 但 這 些 日 常

驗，都可以藉由Open，帶入到另一個不 太熟知的世界。對於創作者全都是生於80

嘗試去開啟這個共通經驗的團隊分別來自

之 物 的 會 藉 由 食 用 而 開 啟 ， 也 會 趨 近 於

年代的我們，在找尋一種深圳和香港成長

深、港兩地的MVA校區：Candy Wong，

某 一 刻 和 某 一 刻 之 間 的 「 覺 知 」，正 是

共通經驗的時候，嘗試通過零食所承載的

從事多年電視廣告及電影的後期製

「open」從一面至另一面的轉化。這些食

味覺經驗開啟那個年代。

作；Kelvin Fong，做過動畫師及參與多

物在褪去日常功能性的同時，更替成為童

媒 體 製 作 ， 現 在 是 一 名 資 訊 科 技（ 多 媒

年 的 形 態 ， 美 好 自 如 ！ 在 多 重 味 覺 經 驗

雙年展以自動販賣機為媒介，全因自動販

體）的教育工作者；Alex Sin，有過7年的

當 中 仔 細 分 辨 每 一 種 的 不 一 樣 ， 香 港 的

賣機似是個獨立於各個城市間的隱喻，一

影視動畫製作經驗；Hana Kwai，做過電

「媽咪面」和深圳的「咪咪」，味道好像差

個確實在地的象徵，而且和社區的關係特

影收音，獨立影展執行，8年編輯，現在

不多，就是這樣的一種親近。

別密切。在販賣機附近生活的人間接決定

專注體驗藝術領域。

機內的物品內容，而在不同城市間穿梭， 你也能透過販賣機看到不同的內核。

團 隊 組 員 各 自 不 同 的 成 長 背 景 ， 使 每 一 次 的 溝 通 都 呈 現 一 種 偏 離 和 對 某 種 未 知

本是為了販賣、換取利益的自動販賣機，

的「打開」，而正是這樣的一種偏離，開

我 們 就 從 這 裏「 打 開 」販 賣 與 藝 術 的 邊

啟 了 基 於 個 體 的 多 種 不 同 視 角 。 某 程

界，呈現另一種游離於販賣與藝術之間的

度上，我們都在為這樣的經驗變得更加

About : Research

Fig. A 圖A

關 於：研究

Jia Zhen / Research Assistant Professor

賈甄 / 研究助理教授

In general, my research is about the history of Chinese art. To

their practice after marriage. Therefore, it is important to analyse

be more specific, it is about the significance of women as

the articles and artworks published in journals and newspapers

practitioners, subject matter and consumers in the area of

in the early 20th century. When I collect materials for other

visual arts in China from a feminist viewpoint. My project and

research topics, these articles and images are also recorded.

my writing mainly focus on images of women in popular

From the evaluation and comments of women artists living in

culture in the early 20th century.

the early 20th century, I can discuss their accomplishments and limitations, and the factors that influenced their practice.

Since the mid-19th century, the cultural exchange between China and Euramerican countries has expanded much more

Feminist art theory focuses on the interpretation of artworks

quickly and deeply. In the area of visual arts, many Chinese

and other visual sources with the intention of revealing the

artists believed foreign learning, especially drawing from life

gender hierarchy and the subjectivity of women in the

and Realism, was the key to reviving Chinese painting. Not

circulation of images. To put it simply, it questions “normal” and

surprisingly, male artists dominated the discourse, which leads

mainstream images, finds the questionable details and extracts

me to question the contribution and significance of women

the hidden meanings, and provides possible explanations of

artists and art students. Unlike the famous male artists, whose

such phenomena in the social and cultural context. One of the

art careers usually lasted a long time, women artists might stop

most classical interpretation methods is the gazing mechanism.

Male classmates are scarce in my academy! Only 20% are boys!

初期報章及其他出版物中的文章和藝術作

概念，而這個現象普遍存在於不同時空的

史，具體一點地說，是從女權角度出發，

品，就變得格外重要，當我為其他研究課

視覺藝術，當中包括中國。在一幅中國畫

審視視覺藝術範疇中女性作為藝術家、藝

題搜集材料時，也把這些文章收錄下來。

家 的 作 品 中 (圖A)，女兵規規矩矩地站着

術客體及消費者的重要性。我的研究項目

從20世紀初女性藝術家的評估及評論入

等候練武，前面是一個父權角色(也是一

和文章聚焦在20世紀初期普羅文化中女性

手，我就能討論她們的成就和局限，以及

個將軍)以及女兵的男性同袍。女兵同時

的形象。

她們創作時所受的影響。

受到畫內和畫外男性的凝視，沒有回望。

的文化交流急速擴展，也更加深化。在視

輕男性充分機會去觀賞她們的肉體。畫中

覺藝術的領域，很多中國藝術家相信西學

女兵的小腳清晰可見––這點本身就是封

是重振國畫的關鍵，其中取材自生活和現

建中國晚期的女性性徵，她們在隊伍裏的

實主義的作品尤其受到重視。一如想像，

真正作用很可能是情慾凝視的客體。從其

男性藝術家主導了當時的話語權，我因此

他角度來看，女性在社會中的角色也是固

開始思考，女性藝術家和藝術學生有過什

定的：她們是忠於朝廷的士兵，是服膺於

麼貢獻，發揮過什麼作用？與藝術生涯往

父權的女兒，是滿足男性遐想的最佳客

往較長的男性藝術家不同，女性藝術家可

體。為了進一步利用視覺材料分析中國的

能在婚後就停止創作，因此，分析20世紀

女權藝術理論的焦點，集中於解讀藝術作

性別等級制度，我在研究女兵形象的項目

品及其他視覺來源，從而披露形象流通過

中，盡可能收集封建中國晚期的作品。簡

程中的性別等級制度與女性主體性。簡單

而言之，以視覺材料作為研究女性主體性

地說，這個焦點旨在質疑「正常」的、主

的過程有如進行探險，沒有充足的準備，

流的形象，找出有問題的細節，抽取隱藏

探險者將敗興而歸。每當展開一個研究課

的意義，並且按照當時的社會和文化脈

題，我都需要收集大量資料，並且對相關

絡，為這些現象提供可能的解釋。其中一

研究領域例如歷史、文學都有所瞭解。對

個最為經典的解讀方法就是凝視機制。莫

情慾凝視的分析對某些材料相當有效，但

薇 (Laura Mulvey)在她的文章《視覺快感

研究方法的選擇須因應不同的題目和材

與 敍 事 電 影 》 ( V isual Pleasure A nd

料，作出變化。

Narrative Cinema)中率先提出情慾凝視的

The concept of erotic gazing was first mentioned by Laura

viewpoints, women’s roles in the society are fixed: they are

Mulvey in her paper “Visual pleasure and narrative cinema”.

loyal soldiers of the empire, obedient daughters of the father

However, the phenomenon widely existed in visual culture in

figure, and perfect subjects for the fantasies of men. To further

different places and periods of time, including China. In an

analyse the gender hierarchy in China through visual materials,

illustration (Fig. A) drawn by a Chinese artisan, the women

my research project on the images of women soldiers tries to

soldiers are standing obediently in front of a father figure (also

collect as many visual materials from late imperial China as

a general) and their male colleagues, waiting for their turn in

possible. In brief, studying women’s agency through visual

the martial training. In the picture, the women soldiers are

materials is like an adventure; an adventurer could be quite

observed by men from both inside and outside the illustrations

frustrated without a good preparation. In every research

without looking back. Compared to the looser daily dress of

project, I need to collect a lot of materials, and examine many

civilian women, the tight uniform of the women soldiers and

other areas, such as history and literature. The gazing

their actions gave the audience the perfect opportunity to

mechanism is useful, but the choice of research methods

appreciate the bodies of young women. With the clear

always changes according to the topic and material.

depiction of their tiny feet – a symbol of female sexuality in late imperial China – the true function of these figures was probably as subjects for erotic gazing. From different

找尋疑問

兵的制服緊貼身體，舉手投足之間給了年

Finding the Questions

與平民女性比較寬鬆的衣服相比，這些女 自19世紀中葉開始，中國與歐美國家之間

79

概括地說，我研究的是中國藝術

My Research Interests 我 的 研 究範疇概述

Dr. James W. Ellis / Research Assistant Professor

James W. Ellis 博 士 / 研 究 助 理 教 授

The second article, “Reginald Marsh’s Naked City: Imagining New York City in a State of Déshabillé” takes a fresh and unorthodox look at Marsh’s fairly well-known images of Coney Island beachgoers and burlesque performances. I delved deeply into Marsh’s psyche and biography to creatively reposition the works within the artist’s overall oeuvre and broader currents in American society. I hope these two articles make significant contributions to art historical discourses and stimulate further inquiry.

In addition to these pursuits, I have also turned my eye to the local gallery scene and published several exhibition reviews during the past year. I am particularly keen on artists with international reputations who seek to address Hong Kong’s Coney Island Beach / Reginald Marsh / etching 《康尼島沙灘》/ 馬什 / 蝕刻

uniquely vibrant, but ever evolving, position on the world’s art stage. It is fun to ponder how imaginative individuals from dissimilar backgrounds respond to the city’s distinctive

I am a Research Assistant Professor teaching art history and art

audiences and urban culture.

theory courses in the Academy of Visual Arts. I was raised and educated in the United States and earned my doctorate

Currently, I am at work on an HKBU Faculty Research Grant

degree in Art History from Case Western Reserve University.

funded multidisciplinary study focusing on two 20th century artists, Andrew Chinn and Fay Chong. They shared family roots

Although recently I have begun exploring new research areas,

in Guangdong, China, but made significant contributions to

my primary interest has been the Western realist tradition.

the U.S. artistic movement known as the Northwest School of

Specifically, I have specialized in early twentieth century

West Coast Regionalism, developing unique watercolor and

‘American Scene’ painters, printmakers and photographers,

printmaking styles, blending traditional Chinese ink painting

striving to see how artists attended to an exhilarating era of

and calligraphy with distinctly American rural subject matter.

social and aesthetic upheaval. During the past academic year,

Chinn and Chong were also art educators and they had an

I published two articles in this general vein.

enormous impact on Morris Graves and other young painters who would later join the Abstract Expressionist movement.

The first article features the verbose, yet apt, title "‘On the

Thus, Andrew Chinn and Fay Chong were major contributors to

merry-go-round of life at last I've grabbed the brass ring.’

the two most important native movements in American art

Walter Broe’s Improbable Journey from Bowery Bum to Darling

between 1900 and 1950 (Regionalism and Abstract Expression-

of New York’s Art World”. Utilizing various art historical

ism). My project will put Chinn and Chong into their rightful

methodologies, including socio-biographical contextualizing

places in 20th century visual culture, and, in so doing, revise

and light psychoanalytical inquiry, the article tells the story of

Asian, Asian-American and modern American art histories.

how a group of prominent New York City social realists, including Reginald Marsh and Raphael Soyer, basically

I have also begun a book-length visual culture project,

adopted an elderly homeless man during the 1930s and

exploring the significance of vintage tourism advertisements

remade him into a prominent artistic model and muse.

and illustrations advocating travel to Hong Kong from 1920 to

1970. The project will situate the visual/textual objects within

structures and social practices that were important to past

a proper art historical framework, by positioning this

generations. Finally, I will ponder how Hong Kong has

sub-genre within modern art generally, and bring attention to

previously been conceived and presented to the outside world

little-known artists who created popular, progressive imagery.

and, will briefly consider its current self-identity as expressed in

Iconographic, semiotic and postcolonial methodologies will be

Brand Hong Kong’s “Asia’s World City” campaign.

employed to consider how tourism advertisements used the art literature, and examine unexplored topics that are vital

social and political messages about the city and its varied

to local and international visual cultures.

inhabitants. The project will also emphasize the value of heritage preservation, by analyzing ways Hong Kong tourism imagery documents lost or disappearing local places,

作品。這兩篇文章對推動藝術史話語以及

默默無聞的藝術家。計劃將用到圖像研

延伸進一步探索，不無重大意義。

究、符號學、後殖民研究等方法，了解旅

院研究助理教授，負責藝術史和藝術理論

遊廣告如何使用特定的象徵及訊息，傳遞 在這些研究之外，我也有留意本土藝廊，

蓄意包含香港及其多元化居民的種種社

過去一年刊登了多篇藝展評論。他特別留

會、政治訊息，藉此吸引西方遊客到訪殖

我近期開展了新的研究課題，不過主要的

意對香港蓬勃創意在世界藝壇獨特地位有

民時代的香港。計劃又會強調文化保育的

研究範疇還是西方寫實主義傳統，專注於

所涉獵的國際知名藝術家，畢竟這些藝術

意義，分析香港旅遊業如何利用影像，記

20世紀初期美國情景畫家、版畫家及攝影

家背景迴異，他們如何看待本港特有的藝

錄對過去數個世代舉足輕重但如今卻已消

家的作品，探討當時的藝術家如何在社會

術 受 眾 和 都 市 文 化 ， 是 一 個 發 人 深 省 的

失或正在消失的本土地貌、建築及社會習

及審美價值出現巨變的環境下，創作新的

課題。

俗。最後，我會思考外界如何解讀香港，

學科。

作品。在過去一個學年，Ellis博士在這方 面發表了兩篇文章。

如何展示香港，同時探討香港推廣「亞洲 目前我正從事香港浸會大學學院研究撥款

國際都會」品牌時的現有自我身份。

資 助 的 一 項 跨 學 科 研 究 ， 探 討 An d re w 第一篇文章題為〈「在如迴旋木馬的人生

Chinn與Fay Chong這兩位20世紀藝術家的

在研究及撰文之餘，我亦會接觸藝術文

中我終於抓住了黃銅扶手」──布洛從潦

創作。兩人的家族史都可追溯到中國廣

學，同時關注對本地與國際視覺文化有重

倒困頓到名揚紐約藝壇的奇幻之旅〉（‘On

東，而且二人也同樣對美國藝術運動中的

要意義但卻未曾有人觸及的課題。

the merry-go-round of life at last I've grabbed

西岸地方主義西北學派有重大貢獻，把傳

the brass ring.’ Walter Broe’s Improbable Jour-

統國畫及書法與美國的農村風貌結合，發

ney from Bowery Bum to Darling of New York’s

展出獨特的水彩和版畫風格。他們二人也

Ar t World）， 標 題 雖 然 稍 長 ， 卻 不 失 貼

同時參與藝術教育，對格雷夫斯（Morris

切。文章借用了社會學傳記式脈絡分析及

Graves）等後來加入抽象表現運動的年輕

淺度心理學分析理論等多種藝術史研究

畫家有莫大影響，所以說，Andrew Chinn

法，描繪了馬什（Reginald Marsh）、索耶

與Fay Chong在美國1900至1950年兩次最重

爾（Raphael Soyer）等多位紐約知名寫實

要的本土藝術浪潮（地方主義及抽象表現

主義藝術家，怎樣把1930年代一個老年流

主義）中，扮演了關鍵角色。我的研究，

浪漢塑造成重要的藝術原型及靈感來源。

將給予二人在20世紀視覺藝術史上實至名 歸的恰當地位，並且重寫亞洲、亞美及現

第二篇文章題為〈馬什的赤裸紐約：想像

代美國藝術史。

脫掉衣服的紐約〉（Reginald Marsh’s Naked City: Imagining New York City in a State of

我又就一項視覺文化計劃長篇撰文，研究

Déshabillé）。文章以嶄新的視點，解讀馬

香港1920至1970年間復古旅遊廣告及宣傳

什頗為人知的、刻劃康尼島上弄潮兒和雜

品的重要性。計劃會將這個藝術次類型納

技表演的影像。我深入分析馬什的心理和

入現代藝術，從而把視覺 / 文字作品置於

生平，在藝術家整體創作生涯及美國社會

應屬的藝術史框架之中，讓外界接觸這些

大 潮 的 環 境 下 ， 別 出 心 裁 地 重 塑 了 他 的

普及而又前衛的影像之餘，也能認識背後

Vintage Tourism Poster / Dong Kingman 復古旅遊海報 / 曾景文

找尋疑問

我在美國接受教育，並在凱斯西儲 大學取得藝術史博士學位。現任視覺藝術

Finding the Questions

In all of my research and writing projects, I aim to fill voids in

colonial-era Hong Kong, by conveying intentionally loaded

81

specific symbols and messages to entice Western visitors to

Through Our Eyes Photography Education Programme – Practising Art Education

憧 憬 世 界攝影教育計劃––藝術教育的實踐

Becky Wong / Project Assistant, kaitak Centre for Research and Development in Visual Arts 黃 昭怡 / 啟德視覺藝術 究 與 發 展 中 心 項 目 助 理

The student’s photo book works comprise a diversity of themes – even the books themselves adopt highly creative designs. 學生作品題材多元，書本造型展現創意

Our perspectives of the world are often framed by existing

develop their interest in photography. This is why we have

visual images. With Through Our Eyes Photography Education

organised advanced photography courses and established

Programme (TOE), we encourage people to observe and

an alumni system to bring together youths who wish to

experience things around us in new ways. By organising

continue to explore photographic art, giving them a chance to

photographic art workshops for secondary students, we hope

realise their aspirations and, upon accumulating sufficient

to encourage them to learn about and express themselves

experience, become artist educators or teaching assistants of

through photographic art, connect with things around them,

TOE. Other than that, TOE also implements various community

and explore possibilities of visual art creation. Upon the

involvement projects which, through collaborations with

completion of the course, we offer students different platforms

experts and organisations, studies designated communities in

to exhibit their works. We also provide a range of supportive

order to customise art projects suitable for them.

measures such that students will be able to continue to

Good morning students ! 23% of graduates are working in education sector !

When photography is no longer just digital algorithms a favourite of hers–as the subject of photographs, and with

spirit of education–rather than pursuing standard answers, we

Doreen’s help Lam realised that she had harboured a hidden

seek to create a shared space for every artist educator and

fear for fluffy toys. Lam further explored how such fears shared

student to actualise their vision. This year’s theme is image and

a similarity with her unease around her peers, “Upon the

printed matters, a topic that our artist educator Lai Lon Hin

completion of the course, I felt as if I’ve gone through

believes is apt for the youths, “Today’s youths live in a digital

counselling.” The creative process allowed her to see herself

age, where everything comes cheap and you can easily create,

and understand herself in a new light, helping her to express

copy, and delete the images you create. Without physical

and relief.

medium to contain the imagery, every happenings in life Photo Matters: Book and Print Festival 2016

contemplation, there is no focus to retrospect and reflect.

The fruits of hard work of the artist educators and students

With TOE, we encourage students to think of the ways of

were successfully exhibited in the annual exhibition titled

representation and transform images into prints by their own

“Photo Matters: Book and Print Festival 2016”. Besides

hand. By the process of editing and photo arrangement,

exhibiting over 100 works from students and artist-educators

students inspect and digest the images they took. Hence,

of TOE, five artists and independent publishers including

they could take a clearer view of where their eyes and concerns

Jiazazhi Press (China), Voices of Photography (Taiwan),

lie through the act of organising photographs.

BooksActually (Singapore), Fujii Yoshikatsu (Japanese), Book B (Hong Kong) have also presented a series of photo books,

Realising this idealistic vision was anything but easy. Certain

helping to enrich public imaginations about photography.

students were reluctant to participate in class. Leung Yiu Hong,

We also organised a series of talks to explore the possibilities of

our Artist Educator, took the initiative to communicate with

Photo Books on multiple levels. Workshops were also held to

these individuals to arouse their interest, for example flipped

experiment with different manners and possibilities of

through mobile phone pictures with them, learnt about their

producing imagery and to reintroduce to the public the

life and interests, and suggested that they converted these

texture and warmth of photographs.

snapshots into prints, “After one photography appreciation class, one student who was not interested to engage in class received praises from other artist educators because of her works. She has never expected others to find her works interesting or to have an emotional connection to them.”

The role of an artist educator is to apply one’s experience and expertise in art to help students unfold their inherent nature and appreciate that everything they have can be a source of creativity, in doing so recognizing their own value.

All artist educators wish to help students create works with personal character. Nevertheless, shaped by a learning model based on drilling and examinations, some students are accustomed to satisfying others’ expectations and yet know little about themselves, causing a lack of confidence and a reluctance to express themselves. It thus became a challenge for the educators to achieve mutual communication, learn about their ideas and help incorporate them in their work.

Artist Educator Doreen Chan hence chose to return to the basics – through calling upon what students felt about daily life. She taught students to explore their surroundings through five senses, encouraged them to identify a preferred approach

Work of student Ng Man Hei / 學生吳汶熺作品

找尋疑問

becomes ungrounded.” Without pause, observation,

Finding the Questions

to learning. Her student, Lam Yuk Ki used fluffy toys–

took the opportunity of the annual exhibition to rethink the

83

Even though we have well-defined objectives, every year we

For our artist educators, the exhibition of students’ works–a

understanding from others; others invited the reader to draw

highlight of the festival–was the moment for our students to

on the work, hoping for interaction. A certain student asked, “Is

prove themselves. “We definitely could expect more from our

there someone I need to address?” For him, creation was

student’s capabilities and imagination. ” Secondary school

self-serving and self-entertaining. The exhibition presented a

teachers participating in the programme found the complete-

platform for gathering a multitude of voices, a chance for

ness of the creative process made students realise an artwork

students to be heard.

requires consideration of a host of factors in detail. It also provided them immense satisfaction upon completion. For the

What we hope to see through our eyes

public, the exhibition showed the many facets of lives of

“To educate is to guide students on an inner journey toward

modern youths, giving them a glimpse of the predicaments

more truthful ways of seeing and being in the world.” With the

today’s students face, for example study stress. Seeing the

annual exhibition, we attempt to gather the fleeting moments

messages of confinement and repression in many of the works,

from the lives of a generation of youths, hoping that this would

some reflected on the values touted by the modern society,

afford us an opportunity to learn what today’s students need,

which creates fragile individuals lacking in spiritual pursuit;

to reflect on what experiences we should provide, such that

others, witnessing students dallying in deserted, desolate

students can grasp the necessary knowledge and refine it into

environments, reflected on the distanced personal relations of

wisdom. In its essence, education is about allowing students to

the modern generation. On the other hand, how did the

develop a set of values with which they can establish

“disadvantaged” –the students themselves–view the exhibi-

themselves as capable, independent individuals. TOE is not

tion? “I don’t like to express myself, and this is as far as

conceived as a means to revolutionise local art education, but

I can go. I hope that others can understand me, but I loath to

simply to impart in students some measure of happiness,

reveal my inner thoughts; this is why I hope that the audience

satisfaction and self-confidence–this is all we set out to do.

can grasp my underlying message hidden in the pictures and text.” Some rarely expressed themselves, yet longed for

(Starting from the second on the left) Photographer Fujii Yoshikatsu; Yan You, founder of Jiazazhi; and Lee Wei I, Editor-in-Chief, Voices of Photography are providing critique comments and suggestions for student’s works. （左二起）攝影師藤井良雄、《假雜誌》創辦人言由及《攝影之聲》主編李威儀評析學生的作品，並提出修改建議。

能性，同時舉辦工作坊，試驗不同產生影 像的方法和紙本的可能性，讓公眾重新感 受相片的質感和温度。 學生作品展屬於藝術節的重點環節，對於 我們的導師而言，這是證明學生能力的時 想 像 力 。 」對 於 參 與 計 劃 的 中 學 老 師 而

會 建 議 他 們 運 用 手 機 的 照 片 製 成 成 品 ，

言，完整的創作過程讓學生體會創作不簡

計劃希望鼓勵人們以新的視角觀察和體會

「經歷過一節作品評賞後，因為得到其他

單，需要認真考慮很多細節，完成後亦很

身邊的事物。我們策劃以中學生為對象的

藝術家導師的稱讚，一位原本不怎麼投入

有成功感。對於公眾而言，展覽呈現時下

攝影藝術工作坊，鼓勵他們透過攝影藝術

的同學告訴我，她料不到其他人會認為她

年青人生活的種種面貌，能夠了解今日學

認識自己，表達自我，建立自身與四周的

的作品有趣，亦沒有想過大家會對自己的

生面對的處境，例如學業壓力。有人看見

聯繫，並了解視覺藝術創作的可能。課程

作品有感覺。」藝術家導師的角色，就是

當中很多作品都有牢籠、壓抑的訊息，反

完結後，學生作品有機會以不同的形式展

要以個人的藝術造詣和經驗，引領學生發

思現今社會吹捧的價值觀，讓生活在其中

出。另一方面，我們嘗試提供完整的配

掘自己的本質，欣賞自己身上的一切都能

的人忽略精神層面的追求而變得脆弱；又

套，讓學生持續發展攝影這一項興趣，因

成為創作來源，認同自己的價值。

有人看見學生常在寂靜、沒有人的環境徘

此開辦了攝影進階班，並設立舊生會制，

徊，反思新一代與人相處的疏離。旁人眼

聚集有志持續探索攝影藝術的年輕人，共

希望協助學生創作具個人風格的作品，是

中的學生處於弱勢，學生自己又如何看待

同實踐志向，累積足夠的經驗後，他們更

所有導師的期望，但在今日的教育制度

這一場展覽？「我本身不喜歡表達自己，

可成為本計劃的導師或教學助理。除此之

下，着重考試操練的模式令部分學生慣於

今次已是我的極限。我希望別人了解自

外，「憧憬世界」有不同主題的社區實踐

滿足他人的要求而不了解自己，沒有自信

己，但自己又討厭坦白心底想法，所以希

計劃，透過與不同專才及團體合作，對特

且羞於表達自己。作為教育計劃的導師，

望參觀者可以從圖和文字思考我暗藏的意

定社群開展研究，為他們度身訂造合適的

如何與學生達至雙向溝通，了解他們的意

思。」有人平日鮮有表達自己，但同樣渴

藝術計劃。

念並協助他們在作品實踐？導師陳泳因選

望他人的理解；有人邀請讀者在作品上塗

擇還原基本步，首先從喚起學生對日常生

鴉，渴望與人互動，亦有學生問：「我要

當攝影不只是數碼公式運算

活的感覺開始，她以五感教導學生感受環

向誰表達？」創作對他而言是自賞自娛的

雖然計劃理念清晰，但我們每一年都會藉

境，讓他們尋找自己有興趣的學習角度，

事，表達與否並非要旨。展覽是聚集多元

年度展覽的契機，反思教育的精神，不刻

她的學生林鈺琪就以自己最愛的毛公仔為

聲 音 的 平 台 ， 讓 學 生 說 說 話 ， 不 讓 他 人

意追求統一的答案，而是嘗試創造空間讓

拍攝主題，在她的協助下，林同學從自己

壟斷。

每位藝術家導師與學生一起實踐意念。本

的照片看到自己對毛公仔有一種隱約的恐

年度，我們以影像與紙本為展覽主題，導

懼，並進一步了解這種情緒與她和同儕相

我們到底憧憬甚麼

師之一賴朗騫認為主題十分切合年青人的

處的不安有相似之處，她形容：「課程完

「To educate is to guide students on an

需要：「今日的青少年活在數碼年代，一

結後，有一種完成心理輔導的感覺。」透

inner journey toward more truthful ways

切事情都變得廉價，記錄自己的影像能夠

過創作，她重新觀看自己，了解自己，繼

of seeing and being in the world.」透過

輕易做到，繼而複製，就連刪除也不廢吹

而抒發、釋放。

年度展覽，我們嘗試積累一個時代的年輕

灰之力。影像沒有實體盛載，事情像沒有

人的點滴，希望藉此機會逐步明白今日的

落腳之地。」沒法駐足、觀看、沉澱，回

翻閱相像：攝影紙本藝術節 2016

學生需要甚麼，反思我們應該提供甚麼經

望自省之時，也失卻焦點。透過計劃，我

經過導師和學生的努力，成果順利在年度

驗，令學生能夠從中吸收知識，繼而發酵

們嘗試鼓勵學生親自處理作品的呈現，把

展覽展出。展覽題為「翻閱相像：攝影紙

成為智慧。說到底，教育就是讓學生發展

影像製作成紙本，在編排相片的過程中，

本藝術節 2016」，除了展出過百件「憧憬

自 己 一 套 立 身 處 世 的 價 值 觀 。「 憧 憬 世

他們檢視並消化自己拍攝的影像，更清楚

世 界 」學 生 及 藝 術 家 導 師 的 作 品 ， 更

界」不奢望會為本地藝術教育帶來翻天覆

地看見自己在看甚麼、關注甚麼。

邀 請 了 五 個 藝 術 家 及 獨 立 出 版 單 位 ，

地的改革，我們僅希望學生能夠從課程得

包 括 假 雜 誌（ 中 國 ）、 攝 影 之 聲（ 台

到一點快樂、滿足感和自信，便已足矣。

理念十分理想，但實踐過程十分艱巨。部

灣）、BooksActually（新加坡）、藤井良雄

份同學在課堂上不特別投入，我們的導師

（日本）、Book B（香港），帶來一系列攝

梁耀康為了提高他們的學習興趣，會主動

影書，拉闊大眾對攝影的想像，我們更舉

與他們個別溝通，譬如會和他們一起翻看

行多個講座，探討攝影書刊不同層面的可

找尋疑問

手機照片，了解他們的生活以及興趣，亦

Finding the Questions

我們對世界的認知，往往被既有的 影像設下了框框。「憧憬世界」攝影教育

85

刻。「原來我們絕對可以高估學生能力和

Master programme of AVA 視 覺 藝 術院碩士課程

Chung Wai Ching, Bryan / MA in Visual Arts Programme Director / Assistant Professor 鍾緯正 / 視覺藝術文 學 碩 士 課 程 總 監 / 助 理 教 授

‘Each one of us, two years ago, dropped a pebble in the water.

Growing up, my interests have always been mixed. From philosophy

Now, we go back to our original mundane livelihood. And yet we

to history to visual art, to social justice, film, dance, and music, I was

know, deep in the bottom of the pond, there are the pebbles.’

interested and involved in all of these things at some point, and entertained the idea of wanting to go further in all of them,

This short piece of text was written in the summer of 2013 for

somehow. Because of this mixed background of mine, the

the graduation exhibition catalogue of the first Master of Visual

interdisciplinary approach of the MVA programme was naturally

Arts (MVA) students in the Academy of Visual Arts. In the four

appealing to me. The programme was extremely helpful in exposing

consecutive years, we witnessed four groups of energetic and

me to a wide range of topics and facets of the visual arts that went

professional graduates leaving the Academy and devoting

beyond my professional engagements. By approaching it from a

themselves to the creative industries. To cope with the rapid

more theoretical level, I soon gained a richer and more in-depth

changes of the local creative landscape and the quest for

picture of both the work that I was doing and what I was interested

internalisation, in 2016, the Academy rebranded the existing

in pursuing for the future.

programme into the new Master of Arts in Visual Arts (MA) programme with both full-time and part-time study modes.

I found myself repeatedly drawn to theories and topics involving the

The concentrations are further streamlined to include both

issue of gender over the course of the MVA programme. My previous

Craft & Design and Studio & Media Arts in order to better

master’s thesis at the University of Edinburgh was in fact influenced

address market demands and at the same time strengthen

by ideas from the gender archaeology subfield, and I soon began to

the competitive edge by aligning with the expertise of

connect the dots of my personal experiences with my academic

the faculties.

inclinations and my work experience, which was how I formulated my topic for my MVA thesis. I was led to explore gender relations and

Our three Master graduates – Christina Chung, Fonny Lau

their expression in and through Chinese contemporary art, which

and Michelle Fung are going to tell their splendid

I believe is a way to push forward a meaningful dialogue about

journey here……

feminism in this region.

Christina Chung: Not a path, but an open door

The space and time that was given to me through the process of

The Master of Visual Art (MVA) in Art and Culture degree that

writing this thesis allowed me to sink deeply into the subject, and it

I completed in 2014 led me to an open door.

confirmed for me that this is an area of research that I am truly passionate about. When I finished writing my thesis, I felt a distinct

In 2012, I entered into the programme with little clarity about

sense that a door had opened for me, and that I could discover so

what specifically I was interested in, both in terms of a subject

much more if only I could walk through it, but instead I stopped just

of research and of the direction I wanted to go in life. All I knew

shy of it because by then, I had fulfilled my degree requirements.

was that I wanted the opportunity to formally learn about the arts and explore my interests. It was through chance that

In the year after my graduation from the MVA programme,

I began working in the arts in 2009, after I graduated from the

it became more and more apparent that the open door was meant

University of Edinburgh with a degree in archaeology.

for me, and that it was going to lead me to the future that I was

Although I loved studying archaeology, the work options were

searching for. I am happy to say that I am going to be taking my next

limited in Hong Kong, and I wanted to be in a livelier field that

steps ‘through that door’ and into a PhD programme in Feminist

offered me more direct interaction with people. The arts gave

Studies at the University of Washington, where I will be able to

me all that and more, and my work exposed me to a wide

continue my research on gender and Chinese contemporary art.

variety of art forms and artists, but I was unsure of what

Who knows where that door will lead next…?

specific role I wanted to play in this diverse art ‘ecosystem’.

「當初，各人手中的鵝卵石投進池 塘。兩年後，大家各自經營，然而心中縈 繞，池塘底下，依舊聚著一眾的鵝卵石。」

2013年暑假，我在第一屆視覺藝術碩士畢 業展場刊上，寫下了這幾行短短的文字。 其後四年來，我們目睹四屆精力充沛、專 87

業優秀的畢業生走出視覺藝術院，投身不

Finding the Questions

同的創意產業。本地創意環境急速變遷， 國際化亦是大勢所趨，有見及此，視覺藝 術院在2016年將已有課程重組為視覺藝術 文學碩士課程，並提供全日制與兼讀制， 更精簡內容，同時包括工藝與設計及藝術 與媒體創作兩個主修，回應市場需求之

找尋疑問

餘，亦能借助教員的專長加強競爭力。 以下是三位碩士校友──鍾宛芝、劉月寶 及馮捲雪在畢業後的精彩旅程。 ‘David Lynch's iconic television character, Laura Palmer rendered in cyanotype for a lens-based media workshop.’ 「著名導演大衛 ·連治所創的經典電視角色Laura Palmer的肖像在鏡頭媒體工作坊使用氰版藍曬法呈現。」

鍾宛芝: 非只路途，乃為敞開之門戶 我在2014年完成的視覺藝術與文化碩士學

從更為着重理論的角度切入，我很快對自

夠告訴大家，我將「跨過這扇門」走出下

位課程，引領我走向了一扇敞開的門戶。

己的工作以及未來方向都有了豐富而深入

一步，攻讀華盛頓大學的女性主義研究博

的了解。

士課程，在那裏我可以繼續研究性別與中

2012年我入讀課程時，並不清楚自己在研

國的當代藝術。誰知道那扇門又會通往甚

究課題及人生方向的具體興趣範疇，我只

修讀視覺藝術碩士課程的過程中，有關性

知道自己追求一個機會，可以正正式式學

別的課題及理論不止一次吸引了我，而我

習藝術，探索我的興趣所在。2009年我從

在愛丁堡大學的碩士論文其實亦深受考古

愛丁堡大學得到考古學學位後，機緣巧合

學性別研究的概念影響。我很快把自己的

開始了藝術工作，雖然我熱愛考古，但香

個人經驗與學術和工作經驗連結起來，定

港的工作選擇相當有限，而我希望加入生

下了視覺藝術碩士論文的主題，探索中國

機勃勃的行業，可以直接與人打交道。藝

當代藝術中的性別關係及其表現手法，我

術賦予我的遠不止這些，透過工作我接觸

相信，這個課題能夠推動區內展開有意義

到各種藝術形式與藝術人群，但我不知道

的女性主義對話。

麼地方去……？

自己希望在這樣一個多元化的藝術「生態 圈」扮演個甚麼角色。

撰寫論文期間的空間與時間，讓我能夠深 切進入這個議題，也讓我肯定到自己的確

從小到大，我的興趣一向比較多元，從哲

對這方面的研究滿腔熱情。論文寫成時，

學到歷史再到視覺藝術，從社會公義、電

我清楚感覺到有一扇門已經為我打開，我

影、舞蹈到音樂，在過去的日子，我在不

只要穿過這扇門，就能發現更多更多的東

同階段都曾對以上種種很有興趣並有所接

西，但我卻因為已經完成了學位要求，就

觸，也想過投身所有這些行業。正因為我

在門外止步。

興趣廣泛，視覺藝術院碩士課程的跨領域

Self-portrait taken as part the lens-based media

特色自然吸引了我。課程讓我獲益良多，

我從視覺藝術碩士課程畢業後的一年裏，

workshops of the MVA programme

能夠接觸視覺藝術的不同課題與層面，而

這扇門對我的意義變得越來越清晰，它將

視覺藝術碩士課程裏鏡頭媒體工作坊的自拍照

這些都是我無法從工作能觸及到的；課程

帶我走向我一直尋找的未來。我很高興能

Fonny Lau: Is who I was yesterday who I will be tomorrow?

Time: A rainy day in the spring of 2011

Time: A sunny summer day in 2016

Scene: At the studio, bored, staring at the computer screen

Scene: Under the Bodhi tree, at the historic heritage Stone Houses

after lunch

Last year, we received sponsorship from The Robert H. N. Ho

I happened to come across an email about the application

Family Foundation under the Arts: Transforming Hong Kong

opening for the MVA programme at the Academy of Visual

project to conduct a cross-disciplinary art education

Arts, which drew me to read on. I found the concept of

programme gathering historians, art instructors and secondary

cross-disciplinary learning rather intriguing, and was curious

school teachers, for an audience of over 80 students from three

whether such an experiential programme would actually work.

secondary schools. It was an attempt to incorporate local

A few months later… I was accepted into the Experience

history into artistic creation. Today, we witnessed the fruits of

Design Concentration of the MVA programme, and graduated

our work realised in an exhibition of works. Even as the

in 2013.

temperature rose to 35 °C, the spirits remained high, with three visual arts teachers leading the students in animated

Time: New Year’s Eve celebrations, 2013

discussions and passionate sharing of what they had learned

Scene: Old classmates chatting around a hot pot

over the past six months. Particularly memorable were the

Today we receive official confirmation that our application for

historic treasure-hunting games we designed, which allowed

forming the not-for-profit organisation We-search was

participants to learn about the history of Kowloon City in

approved. The substantial dark-green paper box contains

a relaxed yet fun manner, leaving them fond memories of

various documents as well as the organisational chop. Looking

a joyful experience.

at the gold-stamped characters that spelt out the name of our organisation on the box, it was still rather unreal to us. Present

Time: A cool and breezy dusk of 2011

here were group members of the cross-disciplinary project

Scene: Crowded HKBU canteen before night-time classes

back in the days of our MVA studies, and though we came from

I bumped into my teacher and had dinner with him. It was just

different backgrounds and professions including art

the beginning of term, and I was asking him if he found the

administration, art creation and design, we share the same

Master degree programme useful. I cited what we did the

humble ideals – to pursue creativity through knowledge.

Saturday before – where he used geocaching as an exercise in

The name “We-search” comes from “searching”, i.e. the

our phenomenology class, followed by textual creation as

incessant pursuit of all things since time immemorial.

an attempt to understand the concept of “scenography”.

That afternoon, we left the classroom behind, went into the hills, ran into wild dogs, found the shed skin of a snake, scrambled for treasures from a nest of ants. It was certainly a fun and active way to learn, but was it really necessary to make such a big fuss? My teacher told me of his experience: when he first graduated, he did not find much value in these activities, but he gradually came to realise that everything he learned would pay off later in life, like seeds buried for years budding, 89

blossoming, and bearing fruit.

Finding the Questions

Is who I was yesterday who I will be tomorrow?

John Locke defines a person as a combination of memories and personality. He believes that if we retain the same memories and personality as we did yesterday, then “who I was” and “who I will be” are the same person. In this vein, who

找尋疑問

I was before I studied the MVA programme and who I am now, three years after graduation, I reckon they should be one and the same? For no other reason than I would carry with me what I learned and experienced in those two years, and forge ahead toward the future “me”.

劉月寶: 昨日的我還是明日的我嗎？ 時間：2011年的一個黃梅雨天

時間：2016年藍天白雲的仲夏

我們走出課室在山頭奔走，遇到了野狗，

場景：午飯後在工作室百無聊賴地盯着電

場景：歷史建築石屋家園的菩提樹蔭下

找到一條蛇皮，更要從蟻窩中「奪寶」。

腦螢幕的我

去年我們獲得何鴻毅家族基金會「藝術 ·

雖然這種活動教學方式蠻有趣，但是真的

偶爾看到有關視覺藝術院碩士課程的招生

改寫香港」資助計劃的贊助，集合了歷史

有必要如此大費周章嗎？老師以自身的經

電郵，吸引了我細細閱讀，覺得這個跨學

學家、藝術導師和中學老師，進行了一個

驗為例，說他在畢業之初，真的覺得好像

科學習的概念相當有趣，心中暗忖如此實

以3間中學80多位學生為對象的跨學科藝

沒有什麼用處，但後來慢慢發覺，一路走

驗性的課程究竟可行嗎？數月後……我報

術教育項目，嘗試將本土歷史融會於藝術

來所學所得，會一點一滴在生活中受用，

讀了「體驗設計」專修領域，並於2013年

創作中，今天正是我們這個項目的成果

就好像多年前埋下的種子，漸漸地發芽、

畢業。

展。攝氏35度的高溫，也不及老師和同學

開花、結果。

們的熱情，3位視藝老師帶領同學們興高 時間：2013年酒酣耳熱的除夕夜

釆烈地討論着、分享這大半年來學習的點

昨日的我還是明日的我嗎？

場景：圍着火鍋侃侃而談的舊日同窗

點滴滴。 大家在津津樂道的是我們設計

約翰˙洛克以記憶和人格去判定一個人，

今天剛剛收到通知，我們早前申請成立的

的歷史尋寶遊戲，以輕鬆卻有趣的方法學

他認為如果我們帶着與昨日相同的記憶和

非牟利機構「研究進行式」We-search終

習九龍城歷史，給大家留下深刻的印象和

人格，那麼昨日的我和明日的我便是同一

於正式獲批。那厚實的墨綠色文件箱內付

愉快的經驗。

個人。如此想來，那麼就讀碩士課程之前 的我和畢業後3年的我，我想應該是同一

有印章和各式文件，大家看着箱上醒目的 燙金字樣，雖然明明是刻着我們機構的名

時間：2011年一個金風送爽的黃昏

個人吧，因為我會帶着那兩年學習的種種

字，但是這一切的感覺卻一點也不真實。

場景：晚課前擁擠的浸大飯堂

記憶和體驗邁向明日的我呢。

座上的正是當日一起做跨界別小組習作的

剛巧碰上老師，便和他一起晚餐。那時剛

組員，我們雖然分別來自藝術行政、藝術

開學不久，我問他覺得碩士課程有用嗎？

創作和設計等不同的背景和專業， 大家卻

我說的正是剛過了的週六，他以野外定向

懷着共同的理念，就是一切創造力源於對

尋寶遊戲“Geocaching”作為「現象學」

知識的謙卑追求。We-search這個名字來

課程的習作，然後要我們以尋寶的經歷，

自「searching」，正是自古以來人們對世

通 過 文 本 創 作 嘗 試 了 解「 舞 台 美

事萬物的不斷追尋。

學」”Scenography”這個慨念。那個下午

Michelle Fung: The merit of MVA lies in its difficulty I contemplated studying for a MFA multiple times over some

Art Omi is easily the world's most luxurious residency, with a

years before I applied to the Academy of Visual Arts. This time,

private pool, catered meals and assistants running errands for

I knew exactly what I wanted.

the artists. What is invaluable, however, is the companionship of 29 other artists of exceptional calibre from a mere 27

As the years passed, I felt increasingly inadequate. The worst

countries! Founder Francis Greenburger jokes that it is more

thing was that I felt inadequate but I didn't know how to

difficult to get into Art Omi than into Harvard, except it may

change that. I saw many interesting calls for community

not be a joke. This year over 1,300 artists applied. Thirty got in.

projects, public art projects and grant applications that I just

I can never look at my works in the same way after established

knew I had no chance at getting. There was one particular call

artist Charley Friedman exclaimed in my studio, “You would be

for turning driftwood into public art. I didn't even care whether

crazy not to finish this work!” And did I mention he was

or not I would be accepted. I just wanted to be able to apply.

referring to the graduation project I started at AVA? Where else can I have access to dozens of critics and curators? And all this

The first year of the MVA was tough, like, really tough. It is one

happens on an idyllic campus where deer and chipmunks

thing to learn something new, and another to unlearn and

roam during the day, and fireflies and the stars light up the

then learn something new. My partner now recalls lovingly the

night. I wonder why the competition is fierce.

countless times I came home crying, swearing I would never make art again. He patiently listened and nodded, knowing

After my postgraduate study, I am no longer content to make

I would never give up making art. He was right. Without

objects for mere consumption. I seek meaning before money,

a word, I went back to my studio the next day.

and quality before quantity. I am turning out works at the pace of a meticulous spider, methodological and thoughtful. I spend

So it has been two years. Now I know that I do not want to

much of my time reading and thinking.

apply to that driftwood call, but I also have the confidence to apply for dream residencies I never dared to before. For

Thank you, AVA. I could not have ever become the artist I am

months, I was restless, very restless, because I only had one

today without you. As my partner says, this has been the best

residency lined up, as exciting as an Alaskan touring residency

postgraduate degree I could ever hope for.

seemed. It was some months before I was eventually accepted into two more – Art Omi and 18th Street Art Center. The former offered me a fellowship, and the latter an exhibition.

After-dinner dialogue on avant-garde art with Critics-in-Residence Branko Franceschi and Critic Emeritus Robert Morgan. / 與駐院藝評人Branko Franceschi、榮譽退休藝評人Robert Morgan晚餐後交流，討論前衛藝術。

91

Continuation of Plastic, plastic, every where! in the studio at Art Omi,

2015年視覺藝術院碩士畢業展作品《亡茫膠海》

NY, USA. / 在美國紐約歐米藝術中心繼續完成《亡茫膠海》

Finding the Questions

Graduation work Plastic, plastic every where! at MVA Grad Show, AVA, 2015. 亡茫膠海 /

找尋疑問

Typical pool party with other artists at Art Omi, NY, USA. / 與其他藝術家在美國紐約歐米藝術中心的池邊派對。

馮捲雪: 藝術碩士的優點在於其難度 好幾年前，在報讀視覺藝術院之前，我曾

這樣就兩年了。現在我知道我不想申請那

（Charley Friedman）走進我的工作室驚

多次考慮修讀藝術碩士，而這一次，我很

個改造浮木的計劃，但卻有信心申請以前

嘆：「你是瘋了，才不會完成這件作品！」

清楚知道自己想要甚麼。

從不敢奢想的藝術駐村計劃。幾個月以來

而這件正是我在視覺學院的畢業作品！我

我坐立不安，駐村邀請我只收到一個，雖

想，這天之後，我再也無法用同樣的眼光

曾經有一段時間，我覺得自己有所不足，

然在阿拉斯加巡迴駐村很好玩，可是，一

去看待我的作品。還不止，這裏我們還能

最難過的是知道不足之餘，又不知道怎樣

個總是有點不夠吧。不久，我終於鬆了一

和幾十位資深的藝評人、策展人與藝術家

改變這個狀況。我碰上了許多有趣的社

口氣，歐米國際藝術中心（Art Omi）與第

交流。而歐米的環境實在令人嚮往，幾百

區、公眾藝術或者撥款資助項目，然而我

18街藝術中心（18th Street Art Center）

畝的駐區白天總碰到野鹿和花栗鼠，夜空

知道自己根本不可能得到這些機會。其中

均給我發邀請信，前者送我獎學金，後者

有星星和螢火蟲點綴，實在不難明白為何

有一項把浮木改造成公眾藝術品的計劃，

邀我參展。

申請競爭如此激烈。

歐米駐村計劃大概是全世界最奢華的藝術

完成研究生課程後，我不再滿足於創作供

駐村吧！私人游泳池、專業到會膳食、還

人消費的藝術品，藝術的意義高於金錢的

修讀碩士的第一年很辛苦，是非常非常的

有助理幫忙處理瑣事。不過，最值得珍惜

回報，質量高於數量。現在我工作的速度

辛苦。學習新事物固然不易，更難的是，

的 ， 還 是 可 以 與 2 9 位 來 自 2 7 個 國 家 的

有如一絲不苟的蜘蛛，井井有條，深思熟

要把自己既有的意識形態摒棄，再學習新

傑出藝術家朝夕相處。創辦人格林伯格

慮，大部份時間都用在閱讀和思考上。

我雀躍欲試，能否被接納是次要，只要有 資格去申請就好了。

事物。我的伴侶到現在還掛在嘴邊，說我

（Francis Greenburger）開玩笑說，歐米

多次哭着回家，發誓永遠不再接觸藝術。

比哈佛大學還難進。只是，我不確定這是

謝謝你，視覺藝術院，沒有你我不可能成

他耐心地聽我訴苦，在旁點著頭，深知我

一個玩笑還是事實，今年有1,3 0 0名世界

為今天的藝術家。正如我伴侶所說，這是

根本不會放棄。果然，第二個早上我總會

各地的藝術家申請，只有30人獲選。在歐

我所能希冀的、最好的研究生學位。

一言不發直接前往工作室。

米駐村的第一個星期，成名藝術家佛里曼

Christina Chung 鍾宛芝 / 2014 MVA Graduate (Art and Culture) 2014年視覺藝術碩士畢業生 (藝術與文化專修) ; Fonny Lau 劉月寶 / 2013 MVA Graduate (Experience Design) 2013年視覺藝術碩士畢業生（體驗設計專修）; Michelle Kuen Suet FUNG 馮捲雪 / 2015 MVA Graduate (Studio and Media Arts) 2015 年視覺藝術碩士畢業生（藝術 與媒體創作專修）

YCE Award: Stories of Young Creative Entrepreneurs 創 新 企 劃獎:

獲 獎 品 牌 的故事 Saturn Wood Workshop 石 盾 小 木 工 ; Lai Chan Kee 泥塵記; Playback Concept The Young Creative Entrepreneur (YCE) is a business start-up programme established in 2014. Funded by Mr Brandon T.C. Liu, JP and organised by kaitak – Centre for Research and Development in Visual Arts, the YCE runs under the professional development and training arm of the Young Artist Agency. It comprises entrepreneurship training, business plan competition, networking events and seed funding schemes, and aims to encourage final-year students and recent graduates of the Academy of Visual Arts who have a high entrepreneurial spirit and desire to take on challenges to develop their innovative ideas in the visual arts and creative industries into executable plans

Tools for making spoons / 製作湯匙的工具

and self-sustainable projects. Below are the stories of three established brands…

Saturn Wood Workshop The Saturn Wood Workshop was born in 2013 and is dedicated

From studying how others work, to diligent practice and

to providing various woodwork courses and custom-order

self-discovery, to custom-making tools for ourselves –

services for our customers. We have also now begun to add

every stage of the process helps us learn more about ourselves

metalwork elements to our repertoire. The two of us hope that

and the matter at hand. It takes time to learn about the

everyone can enjoy the process of creating things themselves,

materials we have access to, just as it takes time to build up a

appreciate the uniqueness in each handmade item, and learn

brand. This is why we have chosen to run this workshop even

to treasure everything they have. We also want to make

before we graduate, so that we can have more time build up

woodworking more approachable for the masses, such that

the trust of our customers. After all, it is no easy task to have

the uninitiated would not be scared away by the technical

the public accept two girls practising and teaching woodwork!

demands of the craft.

Mass production has certainly brought us a great many In the beginning, we were looking to build a cajon drum

benefits. Nevertheless, we have now learnt to rethink our

ourselves. The reasons were simple: the cajon drums sold on

needs and those of others; we are no longer satisfied with

the market were mostly imported and costly, with limited

having everything designed for us. We enjoy exchanging and

choices of style. We looked on the web to find out how cajon

communicating with clients, especially on custom-made

drums were made overseas, then successfully made drums we

items for a specified space. For example, by creating an attic in

liked and created our own brand. Later, to make better use of

a factory unit, we can fully utilise every inch while keeping a

our workshop and existing machinery, we began offering a

unique character by completely subverting the purpose and

custom-making service for other wood products – with cajon

sense of space within.

drums as one of our flagship products.

93 Finding the Questions

An attic we made for a customer / 客人訂製的閣樓

找尋疑問

Wood products made by Saturn Wood Workshop / 木製品

創新企劃獎（YCE Award）成立2014年，

起初，我們想自製一個木箱鼓。原因很簡

大量生產無疑為人們帶來了許多益處。然

由劉鐵成太平紳士贊助，並由啟德研 究與發

單：香港市面上出售的木箱鼓大多是進口

而，現在的我們會重新思量別人和自己的

展中心「藝苗計劃」籌辦，旨在透過專業發展

商品，款式選擇較少，價錢亦相對昂貴。

需要，不再安於一切都是被設計的。我們

訓練，鼓 勵畢業生以創意開創事業。創新 企

在網上參考了外國人自製木箱鼓的各樣方

享受與客人交流、商討，尤其是為特定空

劃獎的活動包括創業計劃書編寫比賽、各類

法，我們成功製作了喜歡的鼓，也開創了

間設計的用品。比如是在工廠單位建一個

交流聚會及資助計劃，務求推動有志創業的

自家品牌。後來，為了充分利用已有的工

小閣樓，能充分利用每個角落而又不失個

視覺藝術院準畢業生及畢業校友，將他們創

作室及機器等資源，我們開始提供其他木

人特色，整個地方的空間感和空間運用都

新意念，籌劃成一個可實踐、具發展潛力的創

製品的訂製服務及工作坊，而木箱鼓則演

徹底改變過來了。

業 計 劃。以下是 三個 獲 獎 品 牌 成 功 創 立 的

變成我們其中一件主打產品。

故事……

從研究別人的做法、到不斷練習、尋找屬 石盾小木工

於自己的方式，再為自己自製工具，整個

石盾小木工成立於2013年，專注為客人提

過程都有助我們了解事物和自身。要了解

供各類木工班和訂造服務，現時亦開始在

手上的物料是需時的，同樣地，品牌的建

作品中加入金工元素。我倆希望大家能享

立也絕非一朝一夕。因此，我們選擇了在

受親力親為的過程，深深明白每件手造物

畢業前開始運作這間工作室，好讓客人的

的獨特性，並懂得珍惜擁有的一切。我們

信任得以累積。畢竟，要大眾接受兩個女

也想以一個較親民的方式去讓人一嚐木

生做木工、教授木工，不是容易呢！

工，使學員無需因擔心學習木藝的門檻過 高而卻步。

．Founder of Saturn Wood Workshop: Chan Hiu Tung, BA Graduate of 2015 | Poon Ying Tung, BA Graduate of 2014 ．石盾小木工創辦者: 陳曉彤, 2015年本科畢業生 | 潘映彤, 2014年本科畢業生 ．Facebook: saturnwoodworkshop

Appreciation of ceramics calms the mind / 欣賞陶瓷讓內心變得安靜

Lai Chan Kee Interests always come first for us students of the visual arts.

It was not until last year that we came up with the outlandish idea of taking part in the Young Creative Entrepreneur Awards.

Ever since high school, our families and friends have been

We wrote proposals for a start-up enterprise, pouring into

asking us questions in the vein of “How do you make a living

them ideas that had been gathering dust in our heads, ideas

studying this subject?” In university, we could finally focus on

that included promotion of ceramic art, continuation of our

the creative medium of our choice. Chance was what brought

creative work, and advancement of community welfare. It had

us three together and, sharing a free and easy attitude and a

been a difficult start, but by combing through the jumble of

fearlessness of muck and dirt (of course, it turned out later that

ideas, we finally came up with something.

ceramic art is the cleanest of all art forms – crafting ceramics requires a focus that is soul-cleansing), we began our studies

As it happened, luck was with us, and we won. We had the

in ceramics.

capital to buy the equipment and now we three spend what little time we have outside of work to build this enterprise of

Perhaps, beyond a love for ceramics, another thing that has

ours. We called it Lai Chan Kee – a name bearing the meanings

driven us forward is a great teacher – Ms Annie Wan.

of “insignificant”, “fragmented”, smithereens that drift along in life – as in dust, the very component of utensils,

I remembered when we were about to graduate, we were

the containers for our lives’ bits and pieces.

joking about how we could continue our creative work and how even artists would need a sustainable income, and that

Lai Chan Kee was founded because…

many of our predecessors would stray from the creative path

The three of us are bounded to clay – we love the feel of clay

because of a lack of equipment, expensive rents, and the

on our hands and are enamoured with the colour and texture

demands of a full-time job. Once, we fantasised about taking

of glaze. We hope to use ceramics to liven up the city, to get

up work as suppliers of raw ceramic materials and tools, or as

people to slow down, look at the small things around them,

teachers of ceramic interest classes, but because of the need to

appreciate and interact with ceramics – even if it is something

make a living and to provide for our families, we had to work

as simple as a bowl or container.

– and let ideas remain ideas.

Personal dedication is the most important support factor for AVA graduates.

On the other hand, we each have our own mind and want

Plans in mind – project-based experiments

to create works following our own choice of themes, using

In second-hand shops one often finds abandoned utensils in

ceramics as a medium. Ceramic art has deep roots in history

abundance, and I call these places “museums of folk items”.

and we hope that Lai Chan Kee can help us and our students

They contain traces of our lives, our history and culture, and

broaden our horizons, experience the unique culture of

I find the picture they make incredibly beautiful – stack upon

different places, and exchange with others ideas in

stack of craftsmanship just sitting there, waiting for those who

ceramic making.

appreciate their beauty. And so every now and then we walk

our hands.

For us, ceramics are just within reach – certainly not something so posh as to be untouchable. However, if we want to make them more a part of everyday life, there are details to take care treadles from discarded parts, so that they can be used in community settings and flea markets.

This is an era where people are becoming increasingly conscious of the need to resist the monopolising forces of conglomerates. We also hope to play our part by working with different small shops or independent entities, and perhaps the sparks from such collaborations will create something more meaningful. Ceramic-making should take a diversity of forms.

There is no need to compete; it is far more important to appreciate beauty in all its forms.

Three of us, working together as one Amy: If it weren’t for them, I wouldn’t have made it this far. It is not easy to find like-minded friends who will hold on to their ideals despite life’s difficulties. I’m thankful to have met these bosom friends at school, who have continued to support my vision even as I engage in teaching practice.

Gloria: When faced by multiple deterrents, we think about us at the very beginning, the untainted passion we share. We hope that even after a decade, two decades, we three would still be together, doing what we love.

Ma On Yee: After learning ceramic arts, I came to notice the ceramic products we came across in our daily lives, and have developed a passion for the beauty of ceramics. I was lucky to have met those who are share my love for ceramic-making even after graduation, and to be invited to continue my Hand-moulded white ceramic vase

creative endeavours in a space we forged together. I hope

拉坯白瓷花瓶

the three of us can develop a ceramic language unique to Lai Chan Kee!

找尋疑問

of – one example is our plan to make tools and foot-operated

Finding the Questions

plans to collect them and give them new life through

95

from store to store, looking for what catches our eye, with

Lack of financial return from creative career is the most pressing career obstacles.

泥塵記 就讀視覺藝術的我們，把興趣放在首位。 儘管高中時的我們總會被家人或親朋好友 質 疑「 讀 呢 D科 點 搵 食 啊 ？ 」， 考 入 大 學 後，我們終於可以專注於喜歡的創作媒 介，而剛好緣分把我們拉在一起，大家的 性格都不拘小節、不怕髒（後來發現造陶 瓷才是最潔淨的，專心一致時就連心靈都 被洗滌乾淨），就這樣，我們就開始一直 修讀有關陶瓷的課。 或許，除了喜歡陶瓷這個原因外，推動我 們再踏前一步的，是我們有幸遇到良師 ──尹麗娟老師。 Falling in love with the feel of clay on our hands / 喜歡雙手和泥的觸碰

猶記得我們快將畢業的時候，言談間說笑

成立「泥塵記」為了⋯⋯

般提及將來怎樣延續創作，做藝術總需要

我們仨與泥結緣，喜歡手與陶泥的觸感，

這個年代，反大財團、反壟斷的意識掘

收入去維持，而且很多師兄師姐都會礙於

被釉的顏色質感吸引，希望為刻板的都市

起，我們也希望可以與不同的小店或小單

缺乏器材、租金昂貴、時間都已投放在全

作點綴。其中一個想法，是希望讓更多人

位合作和交流，或許這些碰撞的火花會成

職工作上等等原因，與創作越走越遠。曾

接觸和欣賞陶瓷，放慢腳步留意身邊的小

就到更多有意義的事。造陶也應該是百花

經，我們天馬行空地想過：當陶瓷原材料

事 物 ， 那 怕 只 是 身 邊 常 用 的 一 個 食 具 或

齊放的，不需要比較太多，反而更重要的

及工具的供應商、當陶藝興趣班導師。種

盛器。

是欣賞各種美。

活所需，分擔家中生活開支，我們始終還

另一方面，我們有自己的想法，希望做自

我們仨合作有感

是要工作。

己的作品，以喜歡的題材用陶瓷這個媒介

陳雅雯：如果沒有她們，我走不下去。在

種念頭在心裏沉澱了年多，但為了應付生

做創作。陶瓷歷史源遠流長，我們希望泥

艱難的生活中還要堅持所想，要找到有共

直到去年，我們忽發奇想，參加了「創新

塵記這個地方，可以帶領自己和學員去擴

同想法的人不易。謝謝在學時已遇上同路

企 劃 獎 」（ Young Creative Entrepreneur

闊眼界，體驗不同地方的文化特色，交流

人 ， 支 持 我 在 實 踐 教 學 的 同 時 實 現 心 中

Awards）。 我們撰寫初創企業計劃書，寫

造陶心得。

所想。

想像以最夢寐以求的方式去推廣陶藝、延

腦海中的計劃 Project Based 實驗

黎慧珊：當許多令人卻步的事情出現，便

續創作，並關心社區。萬事起頭難，我們

夜冷店中常常有很多被遺棄的二手器皿，

想想最初的傻勁和最初的大家。希望十

經 過 一 翻 整 理 ， 混 沌 的 思 緒 漸 漸 有 點

我家附近有各種形形色色的夜冷店，我視

年、二十年後仍和兩位一起做喜歡的事。

眉目。

之為「民間器物博物館」，當中正正保存

下一項又一項沉積在我們腦海裏的計劃，

着歷史的痕跡和生活的文化，那個畫面很

馬安兒：學習陶藝創作後，留意到日常生

在幸運之神眷顧下，我們勝出了，也解決

美很美，一疊疊充滿工藝美的器物，靜待

活皆經常接觸到陶瓷製品，對陶藝之美的

了購置器材的資金問題，現在我們三人用

着欣賞它們的人。我們常常游走於這些店

熱衷由心而生。猶幸能於畢業後再遇上同

擠出來的工餘時間慢慢地建立點滴中。泥

中，尋找喜歡的，也計劃把他們收集，動

樣熱愛製陶的人，能獲邀一起營造一個空

塵記──意為「微小」、「零碎」，可在生

動手讓其價值再受重視。

間去繼續創作，實在難能可貴！希望我們 仨 能 一 起 發 展 出 泥 塵 記 獨 有 的 陶 藝

活到處飛揚，「塵」另一字意為「小土」， 泥 土 正 正 可 以 成 就 器 皿 ， 盛 載 生 活 的

陶藝在於我們來說，不能過份「離地」，

點滴。

它絕對不是一種高尚到遙不可及的玩意，

語言。

要讓它更着地，就得從每個細節着手，我 們會用棄置的物件製作自家工具，並計劃 做腳動拉柸機使之能夠流動於社區和小市 集之中。

．Founder of Lai Chan Kee: Lai Wai Shan, Gloria, BA Graduate of 2013 | Chan Nga Man, Amy, BA Graduate of 2014 | Ma On Yee, BA Graduate of 2014 ．泥塵記創辦者: 黎慧珊, 2013年本科畢業生 | 陳雅雯, 2014年本科畢業生 | 馬安兒, 2014年本科畢業生 ．Facebook: laichankee ．Instagram: laichankee

Playback Concept a gallery, experienced life as a handicraftsman, and dreamt of

something that I believe is right – not just for monetary gain or

being an artist full-time. Like a lot of my peers who graduate

personal fame. Sometimes I see news headlines like “Post-80s

with a degree in art, I spent a lot of time exploring different

entrepreneur earns six figures monthly” and such labels

paths and the opportunities and limitations each afford.

disgust me, yet I also question whether other possibilities for

I long for a path that I can identify with, one that offers

business exist beyond the utilitarian approach – for example,

responsibilities I am willing to bear. Nevertheless, real life

community value and a concern for ethnic minorities.

often requires you to be someone different, and to meet the

This is why I try my best to work with local artisans in the

expectations of different people.

production process, and also develop art projects that serve different communities.

I have been running stalls in different bazaars for a year, and I have been asking myself these questions: do handicraft

Now people address me differently at different occasions:

bazaars challenge the mainstream economy? If not, shall we

entrepreneur, art worker, designer – but whatever I am called

then completely negate the instrumental and intrinsic value of

matters not; it is after all, an epithet.

找尋疑問

such bazaars? Whom does handicraft serve? I also ask myself whether I still enjoy joining these different bazaars. Before I found my answer, I realised that such markets had mushroomed like convenience stores, so one year after graduation I ended my stint as a handicraftsman and founded Playback Concept. With my own brand, I can spend more time refining my products, which in turn affords me more opportunities.

I managed to find a balance between unleashing my creativity and finding a means of living.

Founding my own company entails a tremendous volume of administrative work and there is the stress from paying the rent and my employees’ salaries, but in return I gain an Sharing at Tedx (Mar 2016) Tedx 分享 (2016年3月)

Playback Concept 我 讀 過 設 計 ， 到 過 畫 廊 做 散 工 ， 體 驗 過

找到答案之前，發現市集的數目已經多得

等等。因此，我在產品生產過程中盡可能

做手作人，幻想過做全職藝術家，跟很多

像便利店一樣，於是畢業一年後我便結束

與本地的工藝師傅合作，又會開發為不同

藝術系畢業的同學一樣，我花了很長的一

手作人的路，成立了Playback Concept，

群體服務的計劃，進行社區藝術創作。

段 時 間 探 索 ， 觸 摸 到 不 同 路 向 的 機 遇 及

營 運 自 己 的 品 牌 ， 花 更 多 時 間 提 升 產 品

界限。

質量，反而得到更多機會，在收入與創作

現在我出席不同場合會有不同的稱呼：創

間取得了平衡。

業家、藝術工作者、設計師，但其實也沒 什麼所謂，說到底只是稱呼一個。

希望選擇一條自己認同及願意承擔的路， 但現實生活中的不同身份就讓你必須背負

成立公司雖然要處理海量的行政工作，應

別人對你的不同期望。

付交租、出糧的壓力，但亦換來更大的創 作自由度。做自己覺得對的事，不一定只

在擺市集的那一年裏，我反覆問了自己幾

計較名利上的得益。有時在媒體上看見別

個問題：手作市集是否真的在挑戰主流經

人的報導「八十後青年創業一年 月入六

濟？是否應該完全否定市場的工具價值及

位數」，對這種標籤除了反感外，還會質

內在價值？工藝應該為什麼人服務？我還

疑商業運作在功利主義以外會否有其他可

撫心自問自己是否享受到處擺市集。在我

能性，例如社群價值、對少數族群的關懷

．Founder of Playback Concept: Chan Po Fung, BA Graduate of 2012 / Playback Concept 創辦者: 陳寶鋒, 2012年本科畢業生 ．Website: www.playbackconcept.com ．Facebook: playbackconcept

Finding the Questions

abundance of creative freedom, as well the chance to do

97

I was a student of design and art. I have worked part-time at

99

P. 102

10 Years / 十年拾年 P. 103

The AVA 10th Anniversary Exhibition / 視覺藝術院十週年展覽 P. 104 – 110

AVA Event List / 視覺藝術院活動一覽 P. 112 – 113

The Academy of Visual Arts / 視覺藝術院 P. 115 – 123

BA (Hons) in Visual Arts Programme Structure / 視覺藝術(榮譽)文學士 課 程結構

Supporting Enquiry 支持質詢

101

04

10 Years

十年拾年

點滴 「駑馬十駕，功在不舍」。坦白說，

VASTRAL / The 11th Cabinet of Visual Arts Student Society 2016–17

視覺藝術院從沒贏在起跑線上。不過，僅

2016–17 年第十一屆視藝 學 生 會 VASTRAL

僅十個年頭，由最初只有四十餘個學生， 到現時每年約百個畢業生，由最初不被看 好，到今日薄有名氣。每一位師生努力不 懈，十年點滴，有目共睹。 凝聚 對 於 視 覺 藝 術 院 出 身 的 人 ， 視 覺 藝 術 院 不單只是一個學院。四年大學生涯，我們 為前途擔心過，也在學習上盡興過。視覺 藝術院對於不少學生來說，更是一個回憶 之源。 展望 今年，視覺藝術院已宣佈踏進課程改革的 新里程，進一步將我院課程推向專業化， 包括增加視覺藝術課程的比例。作為一個 學生組織，很高興這十年來能參與其中， 把不少同學的聲音帶到學科管理層。 十年人事已幾番新，但視覺藝術院的精神 卻長久不變。

10 years of history and achievement

10 years onwards

The history of the Academy of Visual Arts has long been

This year, AVA has announced it will take a further big step: to

recognised and gained its reputation. It is our pleasure to be

transform its BA (Hons) in Visual Arts from a liberal-arts to a

part of the AVA family and to celebrate her 10th anniversary

professional programme. This includes an increasing focus on

this year. Though we didn’t individually witness the birth and

studio practice, on creativity and active making. We’re excited

growth of AVA in its entirety, recalling the remarkable

about this development as more exposure to the professional

achievements of AVA graduates, we believe that AVA still

culture of the visual arts will help coming generations of

sparks our inspiration and encourages us to become even

students to be even better prepared for their future in the

more enthusiastic and passionate about working in and living

creative field.

with the visual arts.

Despite the changes, AVA will forever have a special place in 10 years gone AVA has continuously been improving and upgrading its programme to keep up with the ever shifting shape of the contemporary creative and cultural sectors. However, AVA not only enables students for their professional future, she is also a home to her students, providing them with memories and a sense of belonging, thus permanently occupying a corner in their hearts.

our hearts, never to be forgotten.

Hurray! Happy graduation to 644 AVA alumni in the past ten years!

The AVA 10th Anniversary Exhibition 視 覺 藝術院十週年展

Sabrina Kam / Curator of AVA 10th Anniversary Exhibition

甘吉 / 視覺藝術院十週年展覽策展人 of art in Hong Kong? Let’s take a look at these questions

embrace multi-disciplinary practice, describing how

through the AVA 10th Anniversary Exhibition.

but rather in relation to the logical operations on a set of

Recent artworks of AVA alumni will be selected for this

cultural terms.

exhibition based on the work’s capacity to connect ideas, problems, demands and solutions that are becoming as universal as the exploitation of raw materials, migration,

concerned with the properties of a specific medium itself,

building and transformation of landscape. We are living in

instead selecting the medium for its compatibility with their

political spaces, and art has a horizontal communicative

particular thesis or proposition. Art can be made of anything

capacity for creative processes and citizen organization.

firmly established; artists today often work in a range of media

AVA has great conditions to nurture talents to make the best

simultaneously. Today, new types of institutions like the

use of creativity and thus develop an individual professional

Academy of Visual Arts (AVA) are formed to accomplish the

way of working that can mobilise in any aspect of our society.

importance of the interdisciplinary study of art and raise the

Whether they have a small or big impact, creators are always

awareness that all creative disciplines are equally valuable

gears to the world’s clock.

outlets for ideas. Being the first university academy of its kind in Hong Kong, AVA takes a holistic approach to visual arts.

The exhibition can be a place where we learn from various

I recall my great enthusiasm and eagerness when I decided to

kinds of artistic creation to understand possible outcomes and

enrol in the course at AVA back in 2006.

what is next for AVA. All together, it presents an inspired vision of what we don’t know yet, but what we are seeking to learn

Ten years have passed; what kind of energy do AVA graduates

and discover. The values of this exhibition are timeless because

deliver in our society? How do innovations change the future

the future is already present in it.

1978年，Rosalind Krauss 拓闊了

本港首個大學成立的同類學院，視覺藝術

的空間，而藝術具有與創意過程及公民組

批判話語的空間，將跨學科藝術實踐包含

院以全面整體的角度看待視覺藝術。我仍

織的平行溝通能力。視覺藝術院得天獨

在內，她形容釐定藝術的原則，不應是其

然記得，2006年我決定報讀視覺藝術院時

厚，能夠培育人才盡展創意，繼而為自己

與個別媒介的關係，而是其與一系列文化

多麼激動熱忱。

開創事業前路，從各個方面驅動社會。這

變數的合理運作的關係。

些人才對社會的影響或大或小，但具有創 十年已經過去，視覺藝術院的畢業生為社

意的人始終是推動世界向前的齒輪。

現代主義分崩離析後，藝術家不再如以往

會注入了甚麼樣的能量？創新可以怎樣改

般重視特定媒介本身的特性，轉而考慮媒

變香港的藝術前景？讓我們透過視覺藝術

這次展覽可以讓我們了解形形色色的藝術

介與其命題或理念是否吻合，任何已經確

院第十屆週年展覽，共同探討這些問題。

創作，理解不同的可能，窺見視覺藝術院

立的東西均可用於創作藝術，今天的藝術

的未來。所有展品集合一起，亦呈現了一

家亦往往同時使用廣泛的不同媒介。時至

這次展覽挑選視覺藝術院舊生的近作時，

個我們尚未預知，但正在追求發掘的視

今日，與視覺藝術院相類似的院校紛紛成

除了考慮作品所利用的原材料以及遷移、

域。這次展覽的價值超越時間，因為未來

立，冀望達至從跨學科角度學習藝術的重

建構、改造景觀的效果等一般因素外，作

已展示其中。

要目標外，同時提升各界認知，強調所有

品能否把概念、問題、需求及解決方法串

創意學科都是表達理念的寶貴途徑。身為

連起來，也是篩選的準則。我們活在政治

Sabrina Kam / AVA 2009 BA graduate, an international art gallery manager and an independent curator and researcher who works with contemporary issues and believes in the importance of communicating art to a non-specialist audience. 甘吉 / 視覺藝術院2009年本科畢業生，目前擔任國際藝廊管理人，亦是當代藝術獨立策展人及研究員，深信予非特定受眾傳達藝術具有重要意義。

支持質詢

After the breakdown of Modernism, artists became less

Supporting Enquiry

artistic practice is not defined in relation to a given medium,

103

In 1978, Rosalind Krauss expanded critical discourse to

AVA Event List

視覺 藝 術院活動一覽

5–20 Sep 2015 “Memory Landscape: HK & LA Photo Story Exhibition” 8–20 Oct 2015 “That guy” Exhibition

13 Oct 2015

(Koo Ming Kown Exhibition Gallery)

Guest Talk: “From the Artist-in-Residency on a

This exhibition celebrated lesser-known but

One-hundred-people island”

equally talented artists. “That guy” represented 18 graduates from AVA and their paths as artists, different from those (Kai Tak Campus)

“successful” graduates known by everyone.

This exhibition showcased the outcomes of

The works shown in this exhibition reflected

collaboration between the Through Our Eyes

what they had gone through and how their

(TOE) Photography Education Programme

experiences shaped their creativity in

and the Community Arts Partnership (CAP) of

recent years.

In September, artist Brandon Chan finished

the California Institute of the Arts (CalArts). It

an Artist-in-Residency project in Dong Ju

attempted to put together “memory” and

Island, Taiwan, the first art residency project

“landscape” using images. Through the

in his artistic life. In 22 days of residency, he

lexicon of photography, the exhibition aimed

finished several art projects and site-specific

to read how the photographer and the

art creations. His residency reflected upon

subjects constructed themselves and what

the relationship between arts and daily life,

their psychological states were. The

and what material culture means to the artist.

happenings on the timeline complemented the photograph creation, connecting the past and the future.

11 Oct 2015, 20 Nov–15 Dec 2015 Book launch, exhibition and talk – A Living

17 Sep–4 Oct 2015

Space: The Homes of Pak Sha O

“Curate No More: Gum’s Art Project (2013–

(Book Launch: Pak Sha O Village and Pak Sha O

2015) – 2D Version” Exhibition

Ha Yeung ; Exhibition: Foo Tak Building, Lawnmap, Makee, Hong Kong Literature House) Following the book launch of A Living Space: The Homes of Pak Sha O, kaitak, Centre for Research and Development in Visual Arts collaborated with different art and culture units located inside Foo Tak Building to host an exhibition and talks for this publication.

(Koo Ming Kown Exhibition Gallery)

This exhibition was an extension of the

Held by C&G Artpartment, this exhibition

books, which began by unfolding the stories

engaged discussion on the development of

comprised and hidden in paintings and

curatorship in Hong Kong. It aimed to explore

mundane objects of the past.

a new interpretation of curatorship by discovering various exhibition spaces in Hong Kong so as to break through the limitations of a single exhibition site. The curators also wanted to encourage more artists to curate through this exhibition.

23 Oct 2015

3 Nov 2015

Lecture: Characters and their pictorial

Lecture: Thus spoke AVA sculpture

interpretations: Hanzi/Kanji typography

demonstrator – consumption in the arts 30 Oct 2015–8 Apr 2016

This seminar not only illustrated Parry Ling’s

not merely picture the existing world, but

Urban Guru talks

related projects of art consumption, but also

form complex and effective writing systems,

+ Series II: Wong Ching Fat – The Master of

shared his Yale–China HKETO Arts Fellows’

each with their unique advantages. In each

Exhibition Deployment

research experience in Yale University and in various cities of the USA. Through studying

meaning, phonetics and form. The interaction

global food system research, he tried to

between these becomes especially visible in

interpret the potential art collaboration with

typographic designs. In this presentation,

other professions and the change of aesthetic

Dr. Mariko Takagi analysed the balancing act

view.

between these three layers by showing

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typographic works from Japan and Hong Kong.

We often say success equals eight parts intuition and experience and two parts theory. It is especially true when it comes to art making; a practical execution plan is as important as having an outstanding concept.

At this talk, Master Wong Ching Fat shared his experience of being the supporting role

14 Nov 2015

behind creators and brought along some

“Nullah No La” Art Day Out

important projects to show his co-work with

(Nullah Road sitting-out area)

24 Oct–8 Nov 2015

creators in order to become an exhibition

MVA’s Art Curatorship class, under the

“A Room with A View – Her-Hong-Kong

design expert.

supervision of C&G Artpartment’s Clara

stories through the lens of six female artists”

Cheung, launched an “art day out” to

Exhibition

+ Series III: The Youngest Master in Crafting

generate public enthusiasm about the

(Koo Ming Kown Exhibition Gallery)

Lion-Head Masks

worthwhile use of public spaces. On 14

Due to various historical and social factors,

Hui Ka Hung, the youngest master of the

November 2015, Saturday, they invited the

the photography field is still dominated by

lion-head crafting technique, gave us an

public to help use the Nullah Road sitting-out

men. In showing the photographic works of

insightful tour of this industry. Master Hui

area as an alternative art space, together with

six female artists – Lam Wai Kit, Lau Wai, Law

shared his learning process, features of his

seven featured artists who worked on

Yuk Mui, Yvonne Lo, Wong Wo Bik and Joe Yiu

craftsmanship and various aspects of the

different media from traditional drawing and

Miu Lai – this exhibition aspired to give

industry with the audience. This talk was

painting to sculpture, sound, and perfor-

prominence to the subjectivity of Hong Kong

moderated by Dr. Leung Mee Ping, Assistant

mance. Their main goal was to effectively use

female artists and, accordingly, look for Hong

Professor.

art as a means of transforming an ordinary

Kong’s historical identity through the lens of its female photographers.

public venue into a place that promoted + Series IV: Ambrose Lee – The Heart-Healing

harmony and sociability, despite the

Toy Doctor

changing times.

Antique pieces have a very special aura, because of the history and emotions embodied; each piece of an old toy tells its own story. Ambrose Lee started to mend the old broken toys when he was running a small toy store. He shared with the audience the process of developing his skills, and some touching stories he had encountered throughout the history of being a Toy Doctor.

Supporting Enquiry

Hanzi/Kanji three layers are joined together:

105

Chinese Hanzi and Sino-Japanese Kanji do

14–22 Nov 2015

14–28 Dec 2015

“Un/Cover” Exhibition

“Torsosexual” Exhibition 2 Dec 2015 Lecture: From Observation to Interpretation Publishing is one of the formats to conclude study and understanding. As image and text narration, the book has a lot of possibility for fun and constructing meaning. It is also the

(Koo Ming Kown Exhibition Gallery)

most interesting physical art form to show

(Koo Ming Kown Exhibition Gallery G/F)

This exhibition featured 17 artists from the

the public and one which is kept and

This was an exhibition about the physical

MVA programme. The word “Un/Cover” was

archived. In this seminar, the speaker Wong

body, gender variation and individual human

invented in late 2014 by participating MVA

Suk Ki, Lecturer of AVA introduced her two

identity, and the fact that a contrast of

students and alumni of this exhibition.

publication projects KLACK and A Living

personal experiences and comprehension

Triggered by the discords observed both

Space: The Homes of Pak Sha O.

precludes the consistent judgment of right or

locally and internationally in the past year,

wrong. From this philosophical standpoint,

the team saw the concept of uncovering in a

the artists extended this concern to the

new light: not just one moment of surprise,

“invisible by-products” generated by the

but an emotional process of noticing and

sexual perceptions of the public. With

internalising what was covered, expressing

reference to the level of publicity and

and augmenting sensations through the act

acceptability of the audience’s perceptual

of uncovering, and resolving and moving on

experiences of the artworks, the audience’s

in the stage of recovery.

own gender standard could be reconsidered, 13 Dec 2015–21 Jan 2016

as well as how the audience positioned

24 Nov 2015

Wood-firing Ceramics Workshop II

themselves within the variations among

Public lecture: After Life

In this workshop, students learned a brief

labelled parties.

history and were taught about the structure of the wood-fired kiln, as well as a controlled

18–20 Dec 2015

and scientific approach. Through miniature

“The Voices of Ink” Exhibition

air-flow experiments, students learned how

and workshops by AVA

the array of ceramics pieces as well as the form and direction of pieces’ placement affect the firing. In the second part, students were Over the past 20 years, Claudia Terstappen

exposed to specific forming techniques and

has concentrated on knowledge systems and

the use of “red art clay” to maximise the

how knowledge is communicated in different

wood-firing effect. The two firing sessions

times, countries and cultures. Between 2010

provided first-hand experience in wood-

and 2014 she focused on death rituals,

stoking as well as the practice of temperature

(Ink Asia, Hong Kong Convention

including those that involved live animals. In

control and documentation. At the very end

and Exhibition Centre)

additional to traditional bullfights in Spain,

of the workshop, students learned how to

Invited by the organiser, AVA organised a

she also looked at animals that were

wash and dry the residue in order to produce

series of workshops and demonstrations to

sacrificed for science, and animals killed as a

“ash glaze”.

explore the possibilities of ink through

result of our daily work rituals. In this talk, she

amalgamating the medium with video art

shared how her works offered different

and daily objects like the facial tissue paper.

temporalities and suggested alternative ways

This was accompanied by an exhibition

of experiencing time, culture and place.

featuring artworks by our alumni and current students, all of whom worked with ink or ink-related video art and installations.

21 Nov, 18–30 Dec 2015

20 Jan–1 Feb 2016

“Social Manufacture: Made in To Kwa Wan”

“About Turn”: VASS Annual Exhibition

Exhibition and talk

8–17 Jan 2016

2015–2016

(AVA Gallery, Kai Tak Campus)

“From Here to There” Exhibition

(Koo Ming Kown Exhibition Gallery)

project co-presented by To Kwa Wan Stories

19 students and alumni to exhibit their works

of House, St James Settlement and kaitak,

related to the theme “Initiative”. “Initiative” is

Centre for Research and Development, with

an introductory act, a process to achieve

four participating artists who had been

something. In this exhibition, students and

working inside To Kwa Wan with a group of

alumni worked in groups or individually and

residents, collecting unwanted materials and

rewound their initiative.

re-making them into useful products. The four artists were also invited to share the process of product research and develop-

Supporting Enquiry

VASS, Visual Arts Student Society, gathered

107

This was an exhibition about the upcycling

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ment and the experience of working with the community.

(Kunstquartier Bethanien, Berlin, Germany) This exhibition was held in Berlin, Germany,

23 Jan–1 Feb 2016

and showcased 17 student artworks. In June

“Ngaan” Exhibition

2015, the founders of International Art Moves

“Ngaan” is the Cantonese pronunciation of

(IAM) Anne and Martin Müller conducted a

“colours”. In this exhibition, six AVA students

week-long intensive workshop, and five

and alumni used colour as the language to

22–30 Dec 2015

students were selected as representatives to

express the likeness and unlikeness between

“Myth” Exhibition

travel to Berlin and curate an exhibition with

them. They respectively showed their

(Koo Ming Kown Exhibition Gallery)

IAM, presenting the artworks to a global

interpretation of colours through paintings,

This exhibition was about curiosity,

audience in Kunstquartier Bethanien,

drawings and illustration. Through the

myth-creation, belief and the search for

a former historic diaconal hospital building

natural expression of colours in the works,

knowledge. Often switching position

complex.

they sought their connections from the

between message receiver and transmitter,

chaos, and the interrelationships of being

people try to create an independent view on

19 Jan 2016

established subjects by immersing them-

Public lecture: Negative Hallucinations

selves into the range of willing suspensions of disbelief and repeat questioning.

To showcase this with various examples, 12 visual arts students and graduates exemplified research, imagination and judgment by means of experimental media.

Daniel Bozhkov is a Bulgarian-born artist based in New York City, who employs a variety of media from fresco to performance and video, and works with experts from different fields – genetic scientists, TV talk-show hosts, traditional bakers – to activate the public space. In this public lecture he talked to the audience about his work and research directions.

inspired and perhaps being inspiring.

28 Jan 2016–18 Apr 2016

14 Feb–20 Mar 2016

New Vision art talks

On Books and Photography - intensive

+ Series I: Bringing Art into the Community

workshop on photobooks by Sabine An Heuf

(AVA Gallery, Kai Tak Campus)

31 Jan 2016

This workshop focused on the design of

This was the newly launched talk series

Public lecture by Fram Kitagawa, Artistic

photobooks. Participants discussed the

organised by kaitak, in which young talents

Director of Setouchi Triennale 2016

question “what is a photobook?” and studied

with different visions and positions inside the

the different kinds of photobooks and their

industry were invited to share their journey

design. After investigating, analysing and

and experience in the specific area with those

defining criteria for the design, all partici-

who were interested in taking part, or already

pants chose one photobook (by photogra-

working in related fields. In the first talk, Mr

phers from Hong Kong, China or Taiwan) to

Ng Ka Fai, one of the curating staff of Oi!, was

redesign according to their own criteria in the

invited to share with us the vision of

workshop. The target and conclusion of the

governmental art organizations, the role of a

workshop was the presentation of the newly

curator for non-commercial art shows, and

redesigned photobook and corresponding

the effectiveness of extensive educational

Setouchi Triennale is a contemporary art

activities.

festival held every three years on a dozen

documentation.

islands in the Seto Inland Sea. Setouchi Triennale aims to bring about artworks that spark new discoveries in the history, culture and daily life of the islands. In this lecture, Fram Kitagawa talked about the artistic concept and highlights of Setouchi Triennale and introduced the theme of Setouchi Triennale for this year – “Restoration of + Series II: Balancing Art and Business

the Sea”.

26 Feb 2016 Lecture: Nature & Landscape - Ink Painting in

Galleries and commercial art organisations are popular choices in career development

11–20 Feb 2016

the 21st Century

for a lot of art- and culture-related students

“Redo” Exhibition

The lecture presented the landscape

after graduation. Specific knowledge and skill

paintings by Assistant Professor, Dr. Koon Wai

sets are required for various positions inside

Bong, who is always curious about the

the industry. In the second talk, Sabrina Kam,

possibilities of ink art in terms of both the

graduate of Academy of Visual Arts, focused

medium and the aesthetic. Ranging from

on sharing her experience and discussed

painting to wearable, sound art and

keeping a good balance between aesthetic

installation, the artworks became examples

judgement and business development.

to show how the artist explored the perceptions of nature and landscape, as well (Koo Ming Kown Exhibition Gallery)

as the alienation between nature and man in

After graduation, young people finally have

the present time.

an opportunity to advance themselves in their career and profession. However they always wonder how to customise their lives and studies after graduation, and how to accommodate the knowledge they have acquired into their lives. This exhibition aimed to use their “post-baccalaureate” experience to re-do their assignment in college, so as to demonstrate their new ideas, views or techniques through the same assignment.

28 Feb–9 Mar 2016

15 April 2016

“OOOOO” Exhibition

Lecture: Gender, Ethnicity, Gazing -- the 16–26 Mar 2016

images of Siamese women warriors in the

“Life. Enjoyment. Roam” Exhibition

Dianshizhai Pictorial

(Koo Ming Kown Exhibition Gallery) The pronunciation of the exhibition title in Cantonese, Wut Lok Yau (活絡油), is the same 109

as Relief Medicated Balm, which is a natural recovery function. Covering Chinese calligraphy, seal engraving, Gongbi and mixed media, through a combination of tradi-

No one has ever seen a perfect circle, yet

tional Chinese art and socio-cultural

everyone knows what a circle and a straight

elements, nine young artists from the

This talk by Dr. Jia Zhen looked into two

line are. Painting is similar to drawing a circle.

Academy of Visual Arts regarded Chinese art

illustrations featuring women warriors in

Painters can be connected to this perfection

as medicated oil and used it to express their

Siam – a former vassal state of the Qing

through painting, which is always “in process”.

happiness, sadness, thoughts and pains in

Empire. This talk compared the illustration of

In this exhibition, five painters showed their

this exhibition.

Chinese women warriors and Siamese

failed circles. They wandered with different

officials (male). The “unnatural” elements

content and direction, but ultimately, they

were emphasised, which showed the cultural

focused on the impossible “circularity”

imagination of another country, the position

through the failed circles.

of women warriors in the patriarchal society, and the gazing with erotic indications.

5–22 Mar 2016 15–24 Apr 2016

“Wear Next” Exhibition

“#CC: Carbon Copy: a collaboration about construction and deconstruction between Sabine an Huef and Volker Heinze” Exhibition 1–15 Apr 2016 “Jump into another hole” Exhibition (Koo Ming Kown Exhibition Gallery) This exhibition presented how artists continually create and synchronously turn this into creative craft products. A group of artists focused on their creative ideas and chose to put them into the craft circle – a (Gallery, Kai Tak Campus)

comparatively approachable space for the

(Gallery, Kai Tak Campus)

Technology is increasingly infiltrating all

audience as well as an accessible way for the

In the Chinese perception of art, design and

aspects of our lives and the rapid uptake of

young artists to present their creations, and

other creative fields, concepts such as

devices that live near, on or in our bodies is

at the same time protecting the value of

comments, imitations and copies are not only

facilitating radical new ways of working,

Hong Kong craft.

in fixed positions, but are more the concrete

relating and socialising. This distribution of

ingredients of cultural identity. The European

technology into the very fabric of our

culture of an “original” found in Asian cultures

everyday life creates new possibilities, but

is neither equivalent nor considerable. In this

also raises questions regarding our future

exhibition, artists Sabine an Huef and Volker

relationship with data and the quantified self.

Heinze aimed to adapt this Asian position

The works exhibited in “Wear Next” provided

into their work and respond with their

a snapshot of the broad spectrum of

European thoughts and imaginations.

wearables in design and in development internationally.

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(Koo Ming Kown Exhibition Gallery)

Supporting Enquiry

pain-relief medicine that enhances the body’s

22 Apr–8 May 2016

13 Jul–5 Aug, 2016

“Dear Reader” Exhibition

“Fathom” : Associate of Arts (Visual Arts) Degree Exhibition 28 May–19 Jun, 2016 BA (Visual Arts) Grad Show 2016 (Kai Tak Campus) The BA (Visual Arts) Graduation Show 2016 displayed the “malleability” of the 92 graduates. The crossover of graduates from two cohorts resulted in a greater range of creative ideas that explored the possibilities

(Koo Ming Kown Exhibition Gallery)

of mixed media. The exhibition embodied

This exhibition featured reading and was held

works in various media, letting the audience

(Koo Ming Kown Exhibition Gallery)

by current AVA students. The exhibition

experience a wide range of art forms to gain

This exhibition recorded the process of

explored the possibilities of reading and

knowledge and deepen their interest in

fathoming. The first thought always occurs in

showed it in a brand-new perspective

the arts.

repeated pondering before complete

through art and text. It explored questions

apperception. Fathom is ‘噒’ in Cantonese; it

about the role of the reader through

means the process before swallowing, tasting

artworks, literature and a unique

something carefully when eating. Every

exhibition experience.

profound matter comes out in life, revolves in the mind then starts up creations. Seventeen

14–29 May 2016

students jointly held this exhibition, which

“Photo Matters: Book and Print Festival 2016”

included photography and sculpture works.

15 July–5 Aug, 2016 Master of Visual Arts Graduation Exhibition 6 Jun–4 Jul 2016 Young Creative Entrepreneur Award 2016 workshops In four workshops, the business models of a few successful creative entrepreneurs were discussed and the speakers revealed the secrets of how they co-opted creativity to develop business ideas, as well as strategies to tackle obstacles. Intellectual Property Rights and essential elements in the business

(Kai Tak Campus)

plan were covered, as well as some tips

The MVA Graduation exhibition 2016 was

learned from previous YCE projects.

themed “，” , symbolising a short pause and

(Koo Ming Kown Exhibition Gallery)

a phrase in the art study journey followed by

The Through Our Eyes (TOE) Photography

all sorts of possibilities and uncertainties

Education Programme held an exhibition– in

ahead. It showcased 32 sets of artwork with

different forms and styles–to showcase

a high diversity of media including painting,

students’ work as the programme came to its

photography, video, installation and art

end. The works displayed were the result of

administration projects from 32 graduates.

students’ exploration and reconfiguration of

Each work took a different approach to

books, magazines and other forms of paper.

investigating contemporary art in

Using paper as the unchanging medium, they

Hong Kong.

tried to embody different styles, different sentiments and different stories through the connecting images.

111 Things About Cacti / Ma Wai Ting / Video installation 仙人掌二三事 / 馬蔚婷 / 影像裝置

The Academy of Visual Arts 視 覺 藝 術院

The Academy of Visual Arts (AVA) was founded in 2005 as an independent division of Hong Kong Baptist University, dedicated to educating students in the practice-based professional skills and academic knowledge of the visual arts.

AVA is committed to individual experience and creativity throughout our innovative undergraduate programme structure.

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, the visual arts scene of the city and the region through numerous activities, exhibitions, lectures, workshops and consultancies. 香港浸會大學視覺藝術院於 2005 年 成立，致力培育學生掌握視覺藝術的專業 技巧與學術知識，透過創新的課程探索個 人特質、發揮創意。 本院致力成為視覺藝術創作與研究的樞 紐，並著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 促進與本地社區及藝術文化界的交流。 Today AVA has about 366 undergraduate students, taught by 24 full-time staff

本年度視覺藝術院本科課程由二十多位全

through a choice of 69 different courses. We have about 18 postgraduate

職教學人員任教，提供多達六十九個不同

students in the master's and doctoral programmes, and jointly offer an

科目的選擇，現有約三百六十六名本科生

Associate of Arts (Visual Arts) programme with HKBU’s College for International

和約十八名碩士及博士生。此外，本院亦

Education (CIE). AVA operates two campuses: Kai Tak Campus in Choi Hung, and

與浸大國際學院合辦文學副學士(視覺藝

the Communication and Visual Arts Building in Kowloon Tong, both with fully

術)課程。視覺藝術院的教學設施分佈於

equipped workshops and studios for visual arts disciplines as varied as Chinese

啟德校園和九龍塘大學本部的傳理視藝大

arts, painting, sculpture, photography, media arts, ceramics, glass, printmaking,

樓，有多個設備齊全的藝術工作室，可供

graphic design and illustration, installation, wearables, jewellery design, and

從事中國書畫、油畫、雕塑、攝影、媒體

many more.

藝術、陶瓷、玻璃、版畫、平面設計、裝 置、穿戴及首飾設計等創作。

Programme philosophy and vision Developments in the last century have introduced new processes and situations to visual arts, resulting in an expanded notion of artistic practice beyond the traditional concepts of art and/or design. Art is no longer based upon strictly distinguished disciplines or particular media, but is conceived as a hybrid of many. Accordingly, the BA (Hons) in Visual Arts programme operates in the interdisciplinary area of artistic practice, where all creative disciplines are 113

considered as equally valuable outlets for creative ideas and concepts.

Supporting Enquiry

Founded upon these premises, the BA (Hons) in Visual Arts programme at the Academy of Visual Arts is a professional degree that focuses on intensive, practice-led work in the visual arts supported by a programme in General Education. It emphasises creativity, versatility, and intelligent articulation, thus enabling its graduates to enter professional, studio-based careers in such fields

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as studio arts, design, and/or craft after earning the degree. Our BA students have the opportunity to develop technical competencies, informed aesthetic faculties 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.

課程理念及願景 過去一個世紀，視覺藝術領域取得長足發

Teaching in a studio environment is founded on a belief that art and design

展，新進程展現了煥然一新的景象，並在

practice is fundamentally a social phenomenon, and that the staff and students

傳統的藝術或設計概念以外，開拓了新的

can participate in social interaction and discussion through visual arts. The

藝術實踐空間。藝術不再局限於涇渭分明

Academy of Visual Arts believes that the finest artistic works are created only by

的學科或者特定的媒介，而是集各方之大

well-rounded artist-personalities who are willing and able to live up to the

成。有見及此，視覺藝術文學士（榮譽）

responsibilities and expectations of their chosen profession. The staff of the

課程亦以學科間的藝術實踐為框架，認同

Academy of Visual Arts therefore puts great emphasis on a holistic teaching

所有創意學科各具價值，均能抒發創意及

approach, aiming to enrich the personalities of the students through a wide

理念。

range of experiences. In effect, the Academy of Visual Arts provides a quality education at the tertiary level that equips its graduates for a professional career

基於上述前提，視覺藝術院的視覺藝術文

in cultural and creative industries both in Hong Kong, and beyond.

學士（榮譽）課程作為專業學位，着重大 量視覺藝術上的實踐之外，亦輔以通識教 育課程，強調創意、靈活以及智慧的表 達，協助畢業生取得學位後，能夠投身藝 術、設計及工藝等各項專業領域。學生在 課程中可以鍛鍊技巧、培養深思熟慮的審 美能力之餘，亦能了解當代藝術品創造過 程背後的脈絡，以及藝術創作恆常變化的 文化氛圍。 在藝術工作室中授課的理念，建基於藝術 與設計的本質是社會現象，而師生可以透 過視覺藝術參與社會互動及討論。視覺藝 術院深信，只有個人能力均衡發展，並有 志、有力實現事業目標及責任的藝術通 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，以成功培育畢業生在香港以至全球 各地的文化創意產業之中實現理想為己任。

Hearts (detail) / Lai Ho / Ceramics installation 心 / 黎皓 / 陶瓷裝置

BA (Hons) in Visual Arts Programme Structure

視 覺 藝術(榮譽)文學士課程結構 115

Concentrations, divisions and clusters

Supporting Enquiry

The BA (Hons) in Visual Arts programme (four years) is offered in two concentrations that are differentiated as >> Bachelor of Arts (Honours) in Visual Arts (Studio & Media Art) >> Bachelor of Arts (Honours) in Visual Arts (Craft & Design)

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主修範疇、專業部門與學科群組 四年制課程將提供兩個專業部門歸類 分配： >> 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。 Studio & Media Arts concentration

工藝及設計主修

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

工藝與設計作品都以本身的實體造型為本

endeavours in the realms of contemporary studio arts, with the aim of

去表達創作的原意，不論是手工製品或大

generating meaning through aesthetic and/or intellectual concepts and moving

量生產的商品，均以其物質性為依歸，因

beyond a merely functional approach.

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

Craft & Design concentration

作者的重要考慮。

Craft and design both have the physical result of the work at the centre of their disciplines. Be it a hand-made artefact or a mass-produced industry product,

學科群組

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

本院的課程編排為多個學科群組，每一群

functionality, usability and sustainability, and also consideration of production

組由第3級別的3至5個科目組成。學生必

processes, market demand and/or general benefits all play an increasingly

須完成同一學科群組內最少 2 門科目。每

important role for the visual artist.

位學生須最少要完成 3 個學科群組。

Clusters AVA’s BA courses are collected into clusters of learning; each cluster consists of a total of three to five courses at level 3. Students have to take at least two courses from one cluster to complete it. Every student is required to complete a minimum of three clusters.

Nothing’s Individual (detail) / Tsim Hui Laam / Light panel, bread with mold, wood 整體 / 詹昫嵐 / 光面板、麵包、黴、木

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

學 生 修 畢 第 1 級 別 科 目 後 ， 便 可 選 修

all courses on offer at level 2 (courses starting with the number 2xxx). By

第 2 級別內的科目（即科目編號以2 字為首

choosing your level 2 courses, you will gradually build up your skill sets that will

的科目）。學生選修個別第 2 級別的科目

then enable you to continue your studies in related level 3 courses (and

後，便擁有一定的技能修讀第 3 級別的科

clusters), thus developing a clear focus for your studies.

目，發展自己的主修路向。當完成同一主 修範疇中的兩個學科群組後，便視作完成

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

學科群組的引入，旨在協助學生加強主修

in their areas of choice. The clusters also essentially indicate academic

範疇專業知識的發展和深度。每個群組科

commonalities between different visual arts areas; the cluster requirement

目的編排反映兩個視覺藝術範疇在學術上

directs students to explore these common grounds. In this sense the clusters

的共通之處，並引導學生從學習中探索出

are one way in which the Academy articulates its ideal of interdisciplinary

來，貫徹本院課程的跨領域教育理念。

direction in the curriculum. 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

Major Required Courses

課程。通識教育旨在鞏固學生在不同學術

Cluster Elective Courses

範 疇 的 學 習 基 礎 ， 而 不 局 限 於 個 別 專 業 知識。

Non-Cluster Elective Courses (to be taken as Free Electives) 通識教育如何與視覺藝術主修範疇科目互

General Education

相配合? 通識教育科目的內容全面，教授學生共通

General Education

的技巧、知識、學術探究方法和寬廣的概

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

念。學生宜於低年級時先修讀通識教育科

HKBU. The intention of GE is to provide students with a solid foundation in a

目，再於高年級時集中修讀主修科目。因

variety of academic subjects beyond the limitations of individual disciplines.

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

How does GE combine with the VA major?

選的通識教育科目則會按年遞減。

As the term General Education implies, the content of GE courses is intentionally comprehensive, accommodating students from all kinds of backgrounds and

學生能從通識教育中學到甚麼？

providing them with common skills and knowledge, as well as academic

通識教育是學生探索其他學科的良機。我

methodologies across broad concepts. Accordingly, students take their GE

們預期學生能掌握自己的主修課程之餘，

courses in the first half of their studies, and focus on their major in the second

也同時具備其他學科的知識，達致全人教

half. For this reason, the proportion of Visual Arts courses in the study plan for

育的目標。通識教育提供自我增值的機

the BA (Hons) in Visual Arts programme gradually increases and ultimately

會、激發創意。

replaces the GE portion. 此外，浸大為四年制的學生提供副修的選 What academic opportunities does GE offer?

擇，只需修讀其他學系15個學分的科目，

GE is an opportunity to explore other areas of academic life. We expect our

便符合副修的規定。學生若了解自己未來

students to excel in their major, but in the spirit of Whole Person Education we

的發展路向，副修有多個不同學科可供選

also expect them to have a substantial understanding in other subject areas. GE

擇，惟應小心選配主修及副修科目，以助

offers plenty of opportunities for self-enhancement, self-cultivation and creative

將來就業或申請實習。有關副修的資料可

stimulation.

向相關學系查詢。

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

支持質詢

Bachelor of Arts (Hons) in Visual Arts

Supporting Enquiry

一個主修範疇。

117

A concentration is achieved by completing 2 clusters offered by same division.

Bachelor Of Arts (Hons) In Visual Arts / 4-year Programme Structure / 128 Units Year 2

Year 1

Year 3

Year 4

Cluster Elective Courses

Major Required Courses

Visual Arts Major / Year 1-4 / 60 Units Major Required Courses

Major Required Courses Cluster Elective Courses

Cluster Elective Courses

General Education / Year 1-2 / 38 Units

Non-Cluster Elective Courses (to be taken as Free Electives) / Year 2-4 / 30 Units

B.A. (Hons) in Visual Arts Major Course List 視 覺 藝 術(榮譽)文學士課程結構

Major Required Courses 1005

Visual Arts Practice I

2305

Art in the 20th Century I

1006

Visual Arts Practice II

2306

Art in the 20th Century II

1305

Arts and its Histories I

4015

Research and Practice in Visual Arts

1306

Arts and its Histories II

4055

Honours Project

Cluster Elective Courses Drawing & Painting

Graphic Arts

3115

Drawing: Inquiry and Experimentation

3216

Cover to Cover

3116

Painting: Expression and Exploration

3217

Illustrated Narratives

3105

Further Studies in Studio &

3225

Hybrid Printmaking

Media Arts (Drawing & Painting)

3205

Further Studies in Craft & Design (Graphic Arts)

3315

Concepts in Contemporary Arts*

3317

The Realities of Visual Culture*

3326

Hong Kong Arts*

3337

The Anthropology of Art*

Chinese Arts

Glass & Ceramics

3125

Convention and Innovation in Chinese Painting

3235

3126

Chinese Seal Engraving: The Expressive Identity

3106

Further Studies in Studio & Media Arts

The Art of Glass Casting 3236

(Chinese Arts) 3325 3326

From Zero Space to Infinite Dimension: From Object to Installation: The Art of Glass Kiln-Forming

Chinese Literati Art: Identity, Transformation

3237

Creative Ceramics: Concept and Process

and Challenge*

3207

Further Studies in Craft & Design

Hong Kong Arts*

(Glass & Ceramics) 3376

Art, Culture and Criticism*

3327

HK Craft: Tradition and Transformation*

Cluster Elective Courses Media Arts

Object Design Independent Music Video

3246

Studio Jewellery

3136

Experiments in Moving Image

3256

Furniture Design (M)

3137

Narrative Photography

3257

Product Design (S)

3157

Human Machine Interface

3365

Further Studies in Craft & Design (Object Design)

3107

Further Studies in Studio & Media Arts

3376

Art, Culture and Criticism*

(Media Arts)

3327

HK Craft: Tradition and Transformation*

Concepts in Contemporary Arts*

3316

Critical Studies in Lens-based Media*

Sculpture

Experience Design 3255

Exhibition Design (L)

3366

Further Studies in Craft & Design

Sculpture: Form and Applications

3147

Public Art

3367

Exhibition and Art Markets*

3155

Bodily Perception in Artistic Practice

3317

The Realities of Visual Culture*

3195

Further Studies in Studio &

(Experience Design)

Media Arts (Sculpture) 3315

Concepts in Contemporary Arts*

3375

Arts of Asia*

*Offered by VAS Division

Non-Cluster Elective Courses (to be taken as Free Electives) Studio and Media Arts (SMA) Concentration

Craft and Design (CD) Concentration

2115

Drawing: Visual Thinking and Observation

2215

Typography

2116

Painting: Image and Interpretation

2217

Illustration

2125

Visual Literacy in Chinese Painting

2226

Design for Hypermedia

2126

Chinese Word as Image:

2227

Printmaking

Foundational Studies in Chinese Calligraphy

2235

From Liquid to Solid: The Art of Glass Blowing

and Seal Engraving 2236

2135

Looking Through the Lens

2136

Sound: the Basics

2145

Sculpture: Materials & Processes

2245

Wearables: Materials and Processes

2147

Installation Art

2246

Small Metal Jewellery

2155

Bodyscape

2255

Design Thinking

2156

Interactive Art

2257

Prototyping

3005–3007

Visual Arts Internship

Ceramic Art: From Pinched Pot to Sculptural Form

支持質詢

3145

Supporting Enquiry

3315

119

3135

Admission

入學申請

We welcome students from any educational background, including mainland,

本院接受不同教育背景的學生提交申請，

overseas and mature students alike.

包括來自內地、海外及年長的學生。

Students educated in Hong Kong applying for admission to the BA (Hons) in

本地學生如欲以香港中學文憑考試成績申

Visual Arts Programme on the strength of Hong Kong Diploma of Secondary

請，應通過大學聯合招生辦法 ( JUPAS) 入

Education (HKDSE) should apply through the Joint University Programmes

學。過往的收生成績參考，可見於大學教

Admission System (JUPAS). Admissions scores reference of previous JUPAS

務處網頁。

entrants can be found on the webpage of the University’s Academic Registry. 中國內地學生可以當年度的普通高等學校 China Mainland students who are sitting for the current year of Joint Entrance

聯合招生考試成績申請入學，計劃詳情請

Examination (JEE) fall into a specific admission scheme of the University, and

向教務處查詢。本地、內地及海外學生如

should refer to the University’s Academic Registry for scheme details.

以上述以外的其他資格申請，如國際文憑 試(IB)，或英國普通教育文憑考試 (GCE)，

Local and overseas students seeking admission on the strength of other

需通過大學非聯招途徑入學。

qualifications, e.g. IB or GCE, including mainland students other than the above-mentioned, should apply for direct admission to the University (generally

大學認可的副學士、高級文憑或文憑課程

known as non-JUPAS). Final year students/holders of sub-degree including

的準畢業生或畢業生、大學學位持有人或

higher diploma or associate degree, degree holders and transfer students can

其 他 大 學 轉 學 生 ， 可 申 請 入 讀 課 程 高

apply for admission to senior year, i.e. Year 2 or Year 3, of the programme.

年級。

Applicants should satisfy both the University’s General University Admission

不論透過何種途徑申請入學，申請人都必

Requirements as well as the Programme Admission Requirements.

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 的 申 請 人 需 具 備 以 下 資格： 1) 2 科香港中學文憑考試語文科目第3級 2) 3 科香港中學文憑考試科目第2級,包括 數學及通識教育 至於非大學聯招辦法，申請人需具備其他

General University Admission Requirements

認可資格，例如：大學認可的副學士、高

In general, applicants have to possess qualifications equivalent to secondary

級文憑或文憑課程、國際文憑試(IB)，

school completion deemed appropriate for university admission.

或 6 科英國普通教育文憑考試(普通程度)、 英國普通中學教育文憑考試、英國國際普

For JUPAS applicants, this is interpreted as:

通中學教育文憑考試及 2 科高級程度會考

a) Level 3 in two HKDSE language subjects

合格。申請人將獲個別考慮。

b) Level 2 in three HKDSE subjects including Mathematics and Liberal Studies 有關大學基本入學要求的詳細資料，請參 For non-JUPAS applicants, this refers to any acceptable alternative qualification

閱本校網頁：

such as an Associate Degree or Higher Diploma/Diploma of a higher education

www.hkbu.edu.hk

institution recognised by the University, an International Baccalaureate Diploma, or passes in 6 GCEOL/GCSE/IGCSE Exam and 2 AL subjects. Applicants will be considered on an individual basis.

For details of the General University Admission Requirements, please refer to the University website at : www.hkbu.edu.hk.

課程入學要求 本院的視覺藝術（榮譽）文學士課程沒有 特定的入學要求，但視藝訓練及往後的就 業情況往往要求良好的學術表現，甚至某 程度的才華。相關的才能包括不同的技術, 如：手、眼和腦的協調、對空間有敏銳的 觸覺，尤其要具有豐富的想像力、靈活的 思維及對視覺藝術的投入。 121 Supporting Enquiry 支持質詢

Programme Requirements 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 good academic skills, but also a certain degree of talent. Such talent includes various kinds of skills, for example, a good visual sense, good coordination of brain and hand, spatial awareness and especially a rich imagination, intellectual flexibility, and personal dedication.

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

入學評核測試

programme we request all applicants to participate in AVA’s Admission Exercise,

為進一步評估申請人的創作才能，所有報

which is designed to provide applicants with opportunities to show potential

讀視覺藝術（榮譽）文學士課程的申請人

for the field of the Visual Arts.

均需要参加入學評核測試，藉此展示個人 在視覺藝術上的潛能。

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

入學評核測試包括以下三個部份：

>> A practical exercise;

>> 檢閱個人作品集

>> An interview.

>> 藝術創意測試 >> 面試

All parts of the Admission Exercise will be evaluated on the following criteria :

入學評核測試的評審準則如下：

>> Creativity and breadth of ideas;

>> 創意和豐富的構想力；

>> Capability to develop and realise complex creative solutions;

>> 發展並實現複雜而具創意的解難能力；

>> Ability to present personal artistic ideas; and

>> 表達個人藝術意念的能力；及

>> Personal dedication and commitment for the subject area.

>> 個人對藝術專業的投入與熱誠。

OTHER INFORMATION OF AVA

其他資料

Exchanges at AVA

交換生計劃

AVA currently offers international exchange programmes with sister institutions

視覺藝術院安排學生到澳洲、德國、意大

in Australia, Germany, Italy, Japan, UK and USA. AVA students can also benefit

利、日本、英國，及美國等地的聯繫大學

from HKBU’s extensive exchange in Asia, North America, Australasia and Europe.

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、

Internships

澳大拉西亞及歐洲等地。

We recommend all of our students of the BA (Hons) in Visual Arts programme to undertake an internship during their time of study. An internship links

實習計劃

classroom theory to professional practice, and provides the student with

本院鼓勵學生參與跟主修科目有關的實習

learning experiences beyond the academic programme. Such experiences are

計劃，把課堂所獲取的知識學以致用。實

invaluable for the students professional and personal development giving them

習對學生的專業和個人發展相當重要，可

the opportunity to experience the wider arts arenas.

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。為

Internships are offered as independent study courses that will usually be taken

配合學生的學習計劃，實習一般安排在暑

during term break.

期進行。

Professional and career prospects

畢業生出路

In the graduate survey of 2015, conducted six months after graduation, among

於2015年，本院在學生畢業後六個月進行

the 99 graduates, 80 % had secured fulltime equivalent jobs, 7% were

了一項調查，在九十九名受訪者當中，百

self-employed while 2% pursued further studies. Among the graduates who

分之八十的畢業生成功尋找到全職工作，

found full-time jobs, 56% entered the commerce/industry sector, followed by

百分之七選擇創業，而百分之二的畢業生

education (35%) and community/social services/government (9%). More than

則繼續升學。至於就業的工作類別，百分

50% of the graduates were employed in art teaching or design related industry.

之五十六的畢業生從事工商業界，百分之

The average monthly first salary for graduates was around HK$13,245.

三十五為教育界，百分之九則從事政府、 社區或社會福利工作。超過百分之五十的

AVA’s contributions to the community ?

畢 業 生 受 聘 於藝術教育或設計相關的機

The Academy of Visual Arts established kaitak, Centre for Research and

構，平均月薪約港幣13,245元。

Development in Visual Arts at the Kai Tak Campus (the historical Royal Air Force Officers’ Mess). kaitak conducts academic researches and community projects

視覺藝術院如何貢獻社會?

for the development of visual arts in and around Hong Kong through its three

視覺藝術院於歷史建築啟德校園（前英國

branches: Research Hub, the VArtCommunity and the Young Artist Agency.

皇家空軍俱樂部）成立「啟德」視覺藝術研 究與發展中心，轄下的「藝研中心」、「視 藝社區起動」及「藝苗計劃」三個部份藉舉 辦不同類型的學術研究及社區活動，推動 本地以及鄰近地區的視覺藝術發展。 「 視 藝 社 區 起 動 」舉 辦 多 項 社 區 藝 術 活 動，藉著與非政府組織及慈善機構合作， 提昇普羅大眾和藝術家的互動關係，並且 在藝術創作的過程中引發大眾對文化藝術 的興趣與潛能。當中核心計劃是由何鴻毅 家族基金贊助的「憧憬世界」攝影教育計

In collaboration with NGOs or charity organizations, the VArtCommunity aims at

劃，計劃舉辦各式各樣的短期課程、工作

initiating the interaction between artists and the general public through the

坊、及展覽，鼓勵青少年透過鏡頭去觀察

process of art making, thereby arousing people’s interest and potential in visual

和探索自身的社區，以影像來表達其對自

arts. Among various community projects, the ‘Through Our Eyes’ Programme

我身分、家庭及社會等不同課題的看法。

(TOE) funded by Robert H. N. Ho Family Foundation is its core project which runs different short courses, workshops, visits and exhibitions for teenagers to observe and explore the community through lens-based media.

The Associate of Arts (Visual Arts) at HKBU

浸會大學文學副學士(視覺藝術)課程

The Associate of Arts (Visual Arts) programme is jointly offered by the ­Academy

文學副學士(視覺藝術)課程由本院與國際

of Visual Arts and the College of International Education (CIE), and is an

學院合辦，此基礎課程幫助學生準備將來

entry-level degree to prepare students for further studies in the Visual Arts,

的 升 學 ， 如 視 覺 藝 術（ 榮 譽 ）文 學 士 課

like e.g. in the BA (Hons) in Visual Arts offered by AVA. It provides students

程。副學士課程旨在提供不同的基礎藝術

with basic training in various studio arts, with emphasis on relevant skills and

訓練，尤其著重教授相關的技巧和知識，

knowledge acquisition, and generally encourages the individual academic

促進學生的個人成長及學術發展。

and personal development. 繼續報讀浸大或其他院校開辦的視覺藝

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

術、純藝術、設計、創意媒體或藝術教育

­degree programmes in areas of visual arts, fine arts, design, creative media

等學士課程。畢業生亦可選擇直接投身創

and/or art education at HKBU or other universities and institutions, or they may

意工業及與藝術相關的行業。

choose to pursue creative careers and work in visual art-related fields. 視覺藝術文學碩士課程 的實踐型的修課研究生課程，其國際視野 體現在課程內容、學員背景、師資以及同 其他海外院校進行課程內外的交流合作。 學生可選擇修讀藝術及媒體創作或工藝及 設計其中一個專修領域。這兩個專修領域 涵蓋了寬廣的創作領域：從純藝術到應用 藝術；從個人表達到社會文化應用，以滿 足本地與國際創意人才的需求。（本課程 修訂發展自視覺藝術院2007年至2016年 提供的視覺藝術碩士課程。）

The MA 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, course contents as well as curricular and extra-curricular collaborations with other international institutions. Students can choose from two concentrations namely Studio & Media Arts and Craft & Design. These two concentrations cover a wide range of creative practices from fine arts to applied arts; from individual expressions to socio-cultural applications to fulfill the needs of local and international creative talents. (This programme was developed from the Master of Visual Arts programme which the Academy offered during 2007-2016.)

支持質詢

視覺藝術文學碩士是一個跨文化、國際化

Supporting Enquiry

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

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副學士修讀期為兩年，學生在畢業後，可

Aground (detail) / Lee Wing Yee / Mixed media installation 擱淺 / 李穎儀 / 混合媒介裝置

Thanks for reading ! (AVA graduates statistics are extracted from "Creative Livelihood" Project by Mr. Peter Benz , N=224)

AVA Faculty Staff 視覺藝術院教學人員 Prof. John AIKEN / 莊藝勤

Associate Professor /

Mr. Peter BENZ / 奔子墨

副教授

Dr. LAU Chak Kwong, Daniel / 劉澤光

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Director / 總監

Dr. LEUNG Mee Ping / 梁美萍 Dr. MAK Hoi Shan, Anson / 麥海珊

Assistant Professor / 助理教授

Dr. CHUNG Wai Ching, Bryan / 鍾緯正 Dr. John JOHNSTON / 張思同 Dr. KOON Wai Bong / 管偉邦 Mr. NG Siu King, Kingsley / 伍韶勁 Ms. WAN Lai Kuen, Annie / 尹麗娟 Dr. WANG Ling Jean, Sunny / 王鈴蓁 Dr. Emma WATTS / 屈艾瑪 Mr. WONG Chiu Tat, Justin / 黃照達 Dr. YU Wai Luen, Francis / 余偉聯

Lecturer /

Ms. CHAN An Gee / 陳安之

講師

Dr. CHING Sze Yin, Cicy / 程詩賢 Mr. Andrea INGRASSIA Mr. LEE Wing Ki, Kalen / 李泳麒 Mr. Tom O’DEA Ms. WONG Suk Ki / 黃淑琪

Research Assistant Professor /

Dr. Anna GRASSKAMP

助理研究教授

Dr. James ELLIS Dr. JIA Zhen / 賈甄 Dr. NG Sau Wah / 吳秀華

Ava #5 EDITORIAL AND PRODUCTION TEAM Ava #5 編輯及製作小組 Project Co-ordination / 項目統籌

Mr. Tom O’DEA

Art Advisor / 藝術顧問

Mr. Justin WONG / 黃照達

English Editor / 英文編輯

Ms. Theresa MILLAR

Translation and Chinese Editor /

Centre for Translation, HKBU /

翻譯及中文編輯

香港浸會大學翻譯學研究中心

English Proofreading / 英文校對

Dr. James ELLIS

Chinese Proofreading / 中文校對

Dr. JIA Zhen / 賈甄

Design / 設計

Ms. Axel CHOW / 周芷潼

Illustration / 插畫

Ms. Hazel WONG / 黃美諺

Exchange Collaborations International:

Avg. on-campus co-curricular activities per yr.

8 institutions in Germany, Italy, Japan, UK, USA & Australia Local:

20â&#x20AC;&#x201C;25 Exhibitions 15â&#x20AC;&#x201C;20 Art Seminars /Demos

CUHK & CityU

Full-Time Teaching Staff:

54% Male : 46% Female

Nationality:

Germany, HK, Italy, Ireland,

Data as of 1 Sept 2016 for the past academic year.

20 students currently on exchange

Visual Art Courses (Undergraduate Programme)

Studio and Media Arts Craft and Design Visual Arts Studies Interdisciplinary courses

Mainland China, Taiwan, UK, USA Qualification:

58% PhD/DFA; 13% MFA;

Teacher : Student 1:15.25

21% MA/MVA/MPhil; 8% Others

Exhibition Opportunities:

Student Populations:

82.2% Female : 17.8% Male (Undergraduate)

2 on-campus Exhibition Galleries

BA

MA

AD

PhD

366

15

66

3

Financial support Curatorial Advice

2.87 Avg. Exit GPA (Undergraduate)

$ 13,245

Undergraduate Students:

Theory course:

85.7% by Jupas admission

(2015)

9.5% by Non-Jupas admission 4.8% by others

Total Graduates:

714+255+207

Senior year entrants:

42.1% AD holders 57.9% HD/Degree holders

Practical course:

17 students

First year entrants:

Avg. 1st Income

BA+MVA+AD

Avg. Class Size:

30 students