茖茺�襓幕茽
BORROWED SCENERY
newartspower ç–ĺŠƒĺ?ŠčŁ˝ä˝œ Curated and Produced by
錙港č—?čĄ“ç™źĺą•ĺą€ćœ‰ćŹŠĺ˘žć¸›ă€ ć›´ć?›ćź”ĺ‡şč€…ćˆ–ć›´ć”šĺˇ˛ĺ…Źĺ¸ƒçš„çŻ€ç›Žă€‚ĺŚ‚ćœ‰çˆč°ďźŒéŚ™ć¸Żč—?襓癟幕 幀äż?ç•™ćœ€çľ‚ćąşĺŽšćŹŠă€‚ Hong Kong Arts Development Council reserves the right to add, withdraw or substitute artists and / or vary advertised programmes. In case of dispute, the decision of HKADC is final.
牛 棚 č—? 襓 ć?‘ č™&#x; ĺ–Ž ä˝?
ć‰€ćœ‰ĺ?ƒĺą•č—?čĄ“ĺŽśčˆ‡čˆžč€…ă€ JCNAPĺœ˜éšŠă€ éŚ™ć¸Żč—?襓ä¸ĺżƒă€ č”ĄéŽ§ćŁ‹ă€ éťƒç†™ĺŠˇă€ ä˝•ĺ…†ĺ?—ă€ é™¸ćľŠć˜Ž All participating artists and dancers, JCNAP team, Hong Kong Arts Centre, Jenny Choi, South Ho, Joyce Wong, Andrew Luk ç‰šĺˆĽéł´čŹ? Special Thanks 傳媒䟙䟴 Meida Partner
錙港č—?čĄ“ç™źĺą•ĺą€ĺ…¨ĺŠ›ć”ŻćŒ č—?čĄ“čĄ¨é ”č‡Şç”ąďźŒćœŹč¨ˆĺŠƒĺ…§ĺŽšä¸?äťŁčĄ¨ćœŹĺą€ĺ?Šč´ŠĺŠŠĺ–Žä˝?çš„çŤ‹ĺ ´ă€‚ Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council and the Funder.
丝螌ćŠ&#x;構 Presented by
The third edition of JOCKEY CLUB New Arts Power present a variety of programmes that includes dance, theatre, music, visual arts exhibition, and school activities, as well as site specific events and community celebrations. Come join us at the festival, indulge yourself with the feast of arts, joy and extraordinary cityscape!
We are glad that we can present a brand new exhibition Borrowed Scenery and performance Flâneur to the audience in Hong Kong. The observation of the city and artistic practice of Hong Kong artists bring the unique cultural language of the city to the fore in response to the present situation. We hope this exhibition can unite cultural perception, artistic interpretation, globalised city and its systemic development through artist practice, to pursue a wider discussion into city development in the 21st century. Ocean Leung and Lai Lon Hin reconstruct snippets of their own distinctive visions in the physical space and linear time, respectively. Sarah Lai’s process of painting emphasises the visual features of the city’s inhabitants. Ko Sin Tung reconstruction of hygienic apparatus as a metaphor to the city. Kong Chun Hei rebuilds the space to demonstrate barriers created by the metropolis. C&G’s work exhibit their double identity. On one hand, On the Fire 2018 collaboration with other artists is their work in the community to express the injustice in the city. On the other hand, they are parents with two daughters and have a different way of understanding identity and long-term vision of Hong Kong. Vvzela Kook’’s series Confidential Record fictionalises the memory of Hong Kong; the world built in science fiction always show a certain facet of reality and has an uncanny resemblance to the current situation. Borrowed Scenery was originally a technique used in traditional garden design, where the scenery outside of the garden are framed by various architecture elements and introduced to the premise. In this exhibition, we utilise a colonial building over a hundred years old as a backdrop to showcase contemporary artwork by local artists, who each tell their own life story in unique ways. Facing the social stalemate at the moment and their shared interest in this city, artists create works to dissect their experience of the city, but bypassing existing sociological and political discourse. Through their own observation and research, their work is a microcosm that shows universal values of their city and liberates the civic rights within. The problem and pressure we face today in Hong Kong are the anxieties that the city felt in the nineties and now becoming a haunting nightmare. The artists use their unique vision to confront social events and in the process explore and examine art as a way of responding to social phenomena; their artistic practices transcend the bleak reality of the present. While striving for a change, their works are not bounded by the social movement itself. The artists participating in this exhibition grew up at a time when the metropolis has already formed. To those who were brought up in the city at the end of the 20th century, their lives and the city itself are inseparable. The conflict in the past few months has exposed to the public the myriad contradictions ordinarily hidden within the intricate structure of the city. The technocrats, most of whom are without belief to serve the public good, strengthen their power within the complicated local interests and relations. The government privatise public services a-la-neoliberalism mode and turn them into the private properties of the affluent, which in turn became various hegemonies. At the same time, the public is unable to check and balance government power through a comprehensive regulation system. The top officials stopped listening to the needs of the people and thus became autocratic. The discontent built up over a long period finally exploded into a volatile situation for the city and its systems. The relationship between power and exploitation between the coloniser and colonised as described by colonialism theory in the past, has been largely expanded into unequal opposition caused by power inequality among different social groups. This exhibition stems from the imagination of urban space through an artistic vision, and reflects on the will of architecture in the city development of Hong Kong, thereby providing an indirect critique on neocolonialism under the disguise of neoliberalism.
With the support of HKADC, Hong Kong artists have showcased their works in the internationale tanzmesse nrw in DĂźsseldorf, Germany, China International Youth Arts Festival, “Meet in Beijingâ€? Arts Festival, “Hong Kong Theatre Monthâ€? in 1862 Theatre and Emerging Curators Project in Power Station of Art in Shanghai, touring at Theatres in the Guangdong-Hong Kong-Macao Greater Bay Area, and Thailand Biennale. Overseas arts practitioners and general audiences abroad have the chance to enjoy the finest works of art that are proudly created in Hong Kong. Having been inspired through their touring experiences, these Hong Kong’s talents are ready to further develop and put on their best works in the upcoming JOCKEY CLUB New Arts Power. Life inspires art, and art enriches life. In order to foster the exchange of ideas in society, JOCKEY CLUB New Arts Power unites art groups and various organisations from the social welfare, academic and commercial sectors. Such collaboration brings about a wide range of free events, such as mobile stages that integrate with the community surroundings, creative workshops, guided tours, and open rehearsals. When art is no longer confined to the limits of conventional theatres and galleries, artists can reinterpret their works from a fresh perspective in relation to the urban environment. These interactions allow those who rarely take part in art activities to get a taste of artistic experience, and be able to relate to these artists who were born and raised in the same city.
ĺžˆćŚŽĺš¸ć–ź2019ĺš´çľ‚ďźŒčƒ˝ç‚şéŚ™ć¸Żč§€çœžĺ¸śäž†ĺ…¨ć–°ĺą•čŚ˝ă€Œĺ€&#x;景ă€?čˆ‡ĺťśäź¸čˆžčšˆčĄ¨ćź”ă€Œé€śčż¤ă€?。é€?é ŽćœŹĺœ°č—?襓厜ĺ°?ĺ&#x;Ž 市的觀ĺŻ&#x;čˆ‡č—?襓富č¸?ďźŒäťĽéŚ™ć¸Żç?¨ç‰šçš„ć–‡ĺŒ–čŞžč¨€ĺ›žć‡‰ĺ&#x;Žĺ¸‚ç?žćł 。幕茽ćœ&#x;čƒ˝äťĽč—?襓富č¸?ä¸˛é€Łć–‡ĺŒ–ć„&#x;ç&#x;Ľă€ č—?襓解 莀〠全ç?ƒĺŒ–ĺ&#x;Žĺ¸‚čˆ‡ćŠ&#x;ĺˆśç™źĺą•ç‰č°éĄŒďźŒĺ°?äşŒĺ? 一世紀ĺ&#x;Žĺ¸‚癟幕所é?˘ĺ°?çš„ĺ•?éĄŒĺą•é–‹č¨ŽčŤ–ă€‚
The Hong Kong Arts Development Council (HKADC) has been holding JOCKEY CLUB New Arts Power since 2017. The arts festival, taking place from September to January of the following year, focuses on presenting local artists who are flourishing and esteemed in the global arts scene. Through a series of arts events, the festival creates an artistic experience that is innovative, outstanding, and filled with uniquely local elements.
“Post-colonial does not mean the end of colonialism but the concealment and complication of colonisation,� Post-colonial Tongzhi Chou Wah-shan.
Over the past two years, 28 arts groups were involved in JOCKEY CLUB New Arts Power. Together they produced 48 live performances, a remarkable number of major exhibitions, over 300 sessions of community and school events, resulting in a remarkable outcome of up to 270,000 participants. After two years of dedicated effort in connecting local creative talents with the community, JOCKEY CLUB New Arts Power is becoming one of the most anticipated annual arts festivals in Hong Kong.
ć˘ ĺžĄć?ąčˆ‡čł´ćœ—é¨Ťĺˆ†ĺˆĽĺžžç‰Šç?†çŠşé–“čˆ‡ć™‚é–“çˇšć€§ĺ‡şç™źďźŒä˝ˆç˝Žčˆ‡é‡?羄片掾厝ç?žç¤şäť–們ĺ?„自ç?¨ç‰šçš„觀非靎ĺ?“ č?ŻĺˆŠç”¨çšŞç•Ťé Žç¨‹ĺźˇčŞżĺ&#x;Žĺ¸‚ä˝?ć°‘čşŤäť˝çš„čĄ¨ĺžľďź›éŤ˜ĺ€Šĺ˝¤äťĽčĄ›ç”&#x;ç›¸é—œç‰Šäťśç‚şčĄ¨ĺžľďźŒéŤ”ç?žĺ&#x;Žĺ¸‚çľ?構鄺鎎猧則 é€?é Žé‡?羄犺間䞆攞大ĺ&#x;Žĺ¸‚產ç”&#x;的隔閥。C & G çš„ä˝œĺ“ éĄŻç¤şäť–ĺ€‘çš„é›™é‡?čşŤäť˝ďźŒä¸€ć–šé?˘é•ˇćœ&#x;é€?é Žč—?襓富č¸? 桹兼礞ĺ?€ďźŒĺœ¨ă€Šç‡’數簿》ĺ?ŻčŚ‹ĺˆ°äť–們連çľ?ĺ…śäť–č—?čĄ“ĺŽśčˆ‡ĺœ¨ĺœ°ç’°ĺ˘ƒďźŒäťĽč¨´čŞŞĺ?„税ä¸?兏瞊一斚é?˘äť–們äš&#x;ć˜Żĺ…Š ĺĽłçš„çˆśćŻ?ďźŒĺą•ç?žĺ°?čşŤäť˝čˆ‡ĺ&#x;Žĺ¸‚镡é ćœŞäž†ç™źĺą•çš„çœ‹ćł•ă€‚ć›˛ćˇľćžˆçš„ă€ŠćŠ&#x;ĺŻ†éŒ„ă€‹ćƒłĺƒ?果犺的錙港ĺ&#x;Žĺ¸‚č¨˜ć†śďźŒç§‘ĺšť ĺ°?čŞŞć‰€ĺťşć§‹çš„ä¸–ç•Œĺž€ĺž€ĺ??ć˜ äş†ç?žĺŻŚçš„ć&#x;?ä¸€éƒ¨ĺˆ†ďźŒčˆ‡ç?žćł 彡彿既é ĺ?ˆčż‘。 ă€Œĺ€&#x;景ă€?ćœŹç‚şĺ‚łçľąĺœ’ćž—ćŠ€ĺˇ§ďźŒĺ€&#x;ç”¨çŠşé–“äťĽĺ¤–çš„ć™Żč‰˛ĺź•ĺ…ĽĺŽ¤ĺ…§ďźŒč€Œĺą•čŚ˝ĺ€&#x;用了一座癞嚴ćˇĺ?˛çš„ćŽ–ć°‘ĺœ°ĺťşçŻ‰ä˝œç‚ş čƒŒć™ŻďźŒäťĽćœŹĺœ°č—?襓厜的畜䝣č—?čĄ“ä˝œĺ“ ă€ ĺ?„č‡Şçš„é˘¨ć źč¨´čŞŞĺœ¨é€™ĺ€‹ĺœ°ć–šç”&#x;洝的故事。 é?˘ĺ°?ç•śäťŠç¤žćœƒĺ›°ĺ˘ƒďźŒč—?čĄ“ĺŽśé€šé Žĺ&#x;Žĺ¸‚這個兹ĺ?ŒčŠąéĄŒďźŒçšžé ŽćŠ˝čąĄçš„ç¤žćœƒĺ¸ćˆ–政沝ĺ¸čĄ“čŞžďźŒé€?é Žç´°ĺżƒč§€ĺŻ&#x;čˆ‡ç ” çŠśďźŒäťĽĺ‰ľä˝œç?†ć€§ć‹†č§Łäť–們é é ‡çš„ĺ&#x;Žĺ¸‚ç?žčąĄďźŒčŠŚĺœ–䝼垎觀ĺź?ä˝œĺ“ čĄ¨ç?žĺŽ?č§€ĺƒšĺ€źďźŒč§Łć”žĺ&#x;Žĺ¸‚兏民的揊力。錙港 ćŁĺœ¨é é ‡çš„ĺ?„ç¨ŽĺŁ“čżŤďźŒäš?ĺ? 嚴䝣常荇ĺ?Šĺ&#x;Žĺ¸‚ĺ?Żčƒ˝ĺ¸śäž†çš„ç„Ść…ŽďźŒĺˆ°äťŠĺ¤Šĺˇ˛ćˆ?為夢é˜ă€‚č—?襓厜䝼䝖們ç?¨ç‰šçš„çœźĺ…‰ ç›´čŚ–ć™‚äş‹ďźŒä¸Śĺœ¨é Žç¨‹ä¸ćŽ˘ç´˘čˆ‡ćŞ˘čŚ–äťĽč—?čĄ“ä˝œç‚şĺ??ć€?ĺ›žć‡‰éƒ˝ĺ¸‚ç?žčąĄçš„ć–šĺź?ďźŒĺœ¨ç•śäťŁĺš´ĺłťçš„ćƒ…ĺ‹˘ä¸‹äť?ç„śćœ‰ć•ˆďźŒĺœ¨ ćœ&#x;ćœ›ć”ščŽŠç?žćł ć™‚ďźŒĺ?ˆä¸?囿斟č—?čĄ“ĺœ¨ç¤žćœƒé ‹ĺ‹•ä¸ćœŞčƒ˝ĺźˇčŞżč—?襓性的狀態。
JOCKEY CLUB NEW ARTS POWER çŹŹä¸‰ĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ć–ź2019ĺš´9ćœˆč‡ł2020ĺš´1ćœˆĺ‘ˆç?ťĺ…ąäš?ĺ€‹çŻ€ç›ŽďźŒćśľč“‹čˆžčšˆă€ ćˆ˛ĺŠ‡ă€ é&#x;ł 樂ĺ?ŠčŚ–茺č—?čĄ“ďźŒä¸Ść–źä¸?ĺ?Œĺ ´ĺ&#x;&#x;ç–動礞ĺ?€ĺ?Šĺ¸ć Ąć´ťĺ‹•ďźŒčŞ é‚€ćœŹĺœ°č§€çœžĺ?ƒčˆ‡ĺ…śä¸ďźŒç›Ąćƒ…鍔銗č—?襓的盎 焜匙蜣。 č—?襓ćş?ć–źç”&#x;ć´ťďźŒäşŚčƒ˝čą?ĺŻŒç”&#x;洝。為了ĺ•&#x;癟礞ĺ?€äš‹é–“更多ĺ°?čŠąďźŒă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?推動č—?čĄ“ĺœ˜éšŠ čˆ‡ç¤žçŚ?〠ĺ¸ç•Œĺ?Šĺ•†ç•Œĺ?ˆä˝œďźŒčˆ‰čžŚä¸€çłťĺˆ—形ĺź?ĺ¤šĺ…ƒçš„ĺ…?č˛ťć´ťĺ‹•ďźŒĺŒ…ć‹Źčľ°ĺ‡şĺ‚łçľąčˆžĺ?°ă€ 桹兼礞ĺ?€çš„ćľ ĺ‹• čˆžĺ?°ă€ č—?čĄ“ĺŽśĺˆ†äşŤĺ°?荇〠剾ć„?ĺˇĽä˝œĺ?Šă€ ĺ°Žčłžĺœ˜ĺ?Šĺ…Źé–‹çśľćŽ’ç‰ă€‚ç•śč—?襓ä¸?ĺ†?幀é™?ć–źĺŠ‡ĺ ´ĺ’Œč—?čĄ“é¤¨ďźŒč—? čĄ“ĺŽśĺžžĺś„ć–°č§’ĺşŚćź”çššä˝œĺ“ ďźŒčž?兼礞ĺ?€çš„ĺœ¨ĺœ°é˘¨ć™Żďź›é Žĺž€éŽŽćœ‰ćŽĽč§¸č—?襓的ć—?çž¤ďźŒäşŚĺ?Żé€?é Žé€™äş›ć´ťĺ‹•čˆ‡ ĺœ&#x;ç”&#x;ĺœ&#x;镡的č—?čĄ“ĺŽśäş’ç›¸ĺ…ąéł´ă€‚ĺœ¨č—?ç™źĺą€çš„ć”ŻćŒ ä¸‹ďźŒéŚ™ć¸Żč—?襓厜ĺ?ƒĺŠ äş†ĺžˇĺœ‹ć?œĺĄžçˆžĺ¤šĺ¤Ťĺœ‹éš›čˆžčšˆĺ?ščŚ˝ ćœƒă€ ä¸ĺœ‹ĺœ‹éš›é?’ĺš´č—?čĄ“çŻ€ă€ ç›¸ç´„ĺŒ—äşŹč—?襓節〠1862時尚č—?襓ä¸ĺżƒéŚ™ć¸Żćˆ˛ĺŠ‡ćœˆă€ ç˛ľć¸Żćžłĺ¤§ç Łĺ?€ĺŠ‡é™˘ĺˇĄ 柔〠上澡畜䝣č—?襓ĺ?šç‰Šé¤¨ă€ ćł°ĺœ‹čŚ–čŚşč—?襓雙嚴幕〠é?’ĺš´ç–ĺą•äşşč¨ˆĺŠƒ 2018ç‰ďźŒĺ?‘ĺœ‹éš›ĺ?ŒćĽĺ?Šć™Žçž…觀 çœžĺą•ç¤şéŚ™ć¸Żĺź•äťĽç‚şĺ‚˛çš„č‡ŞĺŽśč—?čĄ“ä˝œĺ“ ďźŒé€™ć‰šč¸?čśłĺœ‹éš›č—?壇的č—?襓節盎將蟉č˝ć¸äž†ďźŒĺœ¨ćœŹĺš´ĺşŚă€Œčł˝éŚŹ ćœƒč—?壇新勢力ă€?é€?ä¸€äşŽç›¸ďźŒäťĽéĽ—ćœŹĺœ°č§€çœžă€‚
é Žĺž€ćŽ–ć°‘ä¸ťçžŠčŁĄć‰€ć??čż°ĺŽ—ä¸ťĺœ‹čˆ‡ćŽ–ć°‘ĺœ°äš‹é–“ćŹŠĺŠ›čˆ‡ĺ‰?ĺ‰Šçš„é—œäż‚ďźŒĺœ¨ç•śäťŠĺˇ˛äź¸ĺťśç‚şç¤žćœƒä¸Šĺ?„税揊力塎異所產 ç”&#x;çš„ä¸?ĺšłç‰ĺ°?çŤ‹ă€‚ć˜ŻćŹĄĺą•čŚ˝ĺžžĺ°?ĺ&#x;Žĺ¸‚çŠşé–“çš„ćƒłĺƒ?é–‹ĺ§‹ďźŒćœ&#x;čƒ˝é€?é Žč—?čĄ“čˆ‡ĺ‰ľä˝œďźŒćŠ˜ĺ°„é Žĺž€äşŒĺ? 嚴錙港ĺ&#x;Žĺ¸‚癟 ĺą•čƒŒĺžŒĺťşçŻ‰çš„ć„?ĺż—ďźŒé–“ćŽĽć‰šĺˆ¤ć–°č‡Şç”ąä¸ťçžŠĺŒ…čŁ?ä¸‹č˘ŤĺťśçşŒçš„ć–°ćŽ–ć°‘ć¨Ąĺź?。
錙港č—?čĄ“ç™źĺą•ĺą€ďźˆč—?癟幀自2017ĺš´éŚ–ćŹĄčˆ‰čžŚă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ďźŒć–źćŻ?ĺš´9ćœˆč‡łçżŒĺš´1ćœˆćœ&#x;é–“ďźŒ çľ?é›†ĺœ¨ćľˇĺ¤–č—?ĺŁ‡çśťć”žç•°ĺ˝Šçš„ćœŹĺœ°č—?čĄ“ĺŽśďźŒĺ‘ˆç?ťä¸€çłťĺˆ—č—?čĄ“ć´ťĺ‹•ďźŒç‚şç¤žćœƒĺ?„ç•Œĺ¸śäž†ĺ‰ľć„?ă€ ć°´ćş–čˆ‡ćœŹĺœ&#x; 色彊兟丌的č—?襓鍔銗。
ć˜ŻćŹĄĺ?ƒĺą•č—?čĄ“ĺŽśçš†ć˜Żç”&#x;ć–źç?žäťŁéƒ˝ĺ¸‚塲ćˆ?ĺ˝˘çš„ć™‚äťŁďźŒĺ°?出ç”&#x;丌ç”&#x;é•ˇĺœ¨äşŒĺ? ä¸–ç´€ćœŤĺ&#x;Žĺ¸‚çš„äşşäž†čŞŞďźŒç”&#x;ć´ťčˇ&#x;隨ĺ&#x;Ž ĺ¸‚č„ˆĺ‹•ć—Šĺˇ˛ĺŻ†ä¸?ĺ?Żĺˆ†ă€‚çś“é Žć•¸ĺ€‹ćœˆçš„ç¤žćœƒäş‹äťśďźŒćœŹäž†éšąć˛’ĺœ¨é€™ĺ€‹ĺ&#x;Žĺ¸‚細密çľ?構畜ä¸çš„荸多ç&#x;›ç›žďźŒĺŽŒĺ…¨č˘ŤćŠŤ éœ˛ĺœ¨ĺ…Źçœžé?˘ĺ‰?ďźšçźşäš?äżĄĺżľçš„ćŠ€čĄ“ĺŽ˜ĺƒšĺœ¨éž?é›œçš„ĺœ°ć–šé—œäż‚ä¸éž?ĺ›şĺ‹˘ĺŠ›ďźŒäťĽć–°č‡Şç”ąä¸ťçžŠçš„ç§ ćœ‰ĺŒ–ć¨Ąĺź?ĺ°‡ĺ…ŹçœžĺˆŠ 益莊ćˆ?ćŹŠč˛´çš„ç§ ç”˘ă€ čą˘é¤Šĺ?„ç¨Žéœ¸ćŹŠďźŒĺ?Œć™‚甹斟荸多ĺŽ&#x;ĺ› ďźŒĺ…Źçœžç„Ąćł•é€?é Žĺ Ľĺ…¨çš„ç›ŁĺŻ&#x;çłťçľąäťĽĺˆśčĄĄć”żĺşœćŹŠĺŠ›ďźŒ ä¸Šĺą¤ĺŽ˜ĺ“ĄćœŞčƒ˝č †č ˝ĺ¸‚ć°‘çš„č¨´ćą‚č€Œç?¨ć–ˇç?¨čĄŒďźŒé•ˇćœ&#x;é†žé‡€çš„ĺŁ“ĺŠ›ćœ€çľ‚ĺ°Žč‡´ĺ&#x;Žĺ¸‚čˆ‡éŤ”ĺˆśçš„ĺŠ‡çƒˆéœ‡ç›Şă€‚
é ŽĺŽťĺ…Šĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ĺ…ąćœ‰äşŒĺ? 免個č—?襓喎ä˝?ĺ?ƒčˆ‡ďźŒčŁ˝ä˝œĺ››ĺ? ĺ…Ťĺ ´ä¸?ĺ?ŒéĄžĺž‹ćź”出ĺ?Šĺ¤šĺ€‹é‡? éťžĺą•čŚ˝ďźŒä¸Śç–ĺŠƒčś…é Žä¸‰ç™žĺ€‹ç¤žĺ?€ĺ?Šć Ąĺœ’ć´ťĺ‹•ďźŒç¸˝ĺ?ƒčˆ‡äşşćŹĄéŤ˜é ”äşŒĺ? 七č?Źă€‚çś“é Žĺ…Šĺš´č€•č€˜ďźŒă€Œčł˝éŚŹćœƒ č—?壇新勢力ă€?çŠ?漾連çľ?礞ĺ?€ĺ?Šć”ŻćŒ č—?襓的ćŠ&#x;ć§‹ĺ’Œç¤žĺœ˜ďźŒç™źĺą•ćˆ?ç‚şćŻ?ĺš´çœžć‰€ćœ&#x;ĺž…çš„ćœŹĺœ°č—?襓節。
čł˝éŚŹćœƒč—?壇新勢力 ć˘ ĺžĄć?ą ç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Šçš„ćƒ…ć„&#x; ĺ¤šé ťéť‘ç™˝éŒ„ĺƒ?〠鋟 č’™ĺ¤ŞĺĽ‡ć˜Żĺ°‡ä¸?ĺ?Œç•Ťé?˘ĺ‰ŞćŽĽč‡łĺ–Žä¸€ć™‚é–“çˇšä¸ŠďźŒĺˆŠç”¨ç‰‡ 掾的羄ĺ?ˆčŹ›čż°ć•…äş‹çš„ć‰‹ćł•ă€‚ĺœ¨ă€Šç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Š çš„ćƒ…ć„&#x;》ä¸ďźŒč—?čĄ“ĺŽśĺťşć§‹ĺ‡şä˝œĺ“ çš„çŠşé–“ďźŒä¸€ć–šé?˘ ĺ›žć‡‰ç‰›ćŁšçš„ĺťşçŻ‰ĺŻŚéŤ”ďźŒä¸€ć–šé?˘ĺœ¨çŠşé–“ä¸ä˝ˆç˝Žäť–ć‹?ć”? 的錄ĺƒ?ç‰‡ćŽľďźŒé€?é Žé‡?çľ„čˆ‡ĺˆ†éš”äž†äş¤çš”ĺ‡şć•?事。č—?襓 ĺŽśĺˆŠç”¨é Žĺž€ć‹?ć”?ç´€éŒ„ç‰‡çš„çś“éŠ—ďźŒĺœ¨ä˝œĺ“ ä¸ĺ‘ˆç?žä¸ťč§€ čˆ‡ĺŽ˘č§€äş¤äş’čžŻč‰çš„役ĺƒ?ďźŒć??寍ç?žĺŻŚä¸ĺ˜ĺœ¨çš„一税濛 ć˜§ćƒ…ć„&#x;。
� � �    € ‚ ƒ € ‚ Montage is an editing technique where different footage are edited into a single timeline to tell the narrative through the composition of them coming together. In Encounters (Never Mind the Cloying Sentiments), the artist creates a space for the artwork that on the one hand, responds to the actual architecture of the Cattle Depot; on the other hand, different clips recorded by the artist are arranged in the space and a narrative is formed by their reconstruction and separation in space. The artist made use of his past experience of making documentaries to form dialectical images crossing the subjective and the objective; thus creating an obsured emotion that is rooted in reality.
turning points in the conflict this year is when the police entered the Prince Edward MTR station and attacked indiscriminately on August 31. At one of the station exits where C&G held their event, an altar was made for the victims of that incident. We might never know the truth of the incident, but nevertheless the ceremony itself became a venting outlet for the movement. When the voice of the people is not heard and the grudge is still held against the government, the only way we can solve the problem is perhaps seeking the help of a higher power. Shared language is the forming criterion of a community. Yet, since the beginning of colonial expansion, many indigenious languages of the colonies were replaced by the language of the coloniser due to their "inferiority" in civility. This process of clamping down on the independence of the indegenious culture and identity makes it easier for a tighter governance by the coloniser. Our Next Generation and Us shows the process of preparing Not as Trivial as You Think: Shanghai Art Quiz for last year’s Shanghai Biennale, where C&G learned to conduct their quiz in Mandarin by learning from their daughters. C&G themselves are the products of the British colonisation and their daughters are the products of the Hong Kong SAR. Through the differences in language skills between the two groups, it is easy to contrast the impact to the local culture in different times. 鄺鎎猧
ĺźľĺ˜‰čŽ‰ĺ?Šé„急ć•?(é˜żé‡‘)
連çľ?ćˆ?ç‚şéšœç¤™ ä¸?é?˝é‹źçŽĄă€ é??鉝鋅ĺ?ˆé‡‘玥掼䝜
燒數簿 ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? ƒ 盂č˜ă€ŒéŹźçŻ€ă€?ç‡’čĄŁć˜Żä¸€ĺ€‹ĺ‚łçľąçš„č?Żäşşçż’äż—ďźŒç”¨ć„?ć˜Ż 厉撍枉ćťçš„é?ˆé‚ă€‚ă€Šç‡’ć•¸ç°żă€‹ć˜ŻC&G典型礞ĺ?€č—?襓 č¨ˆĺŠƒďźŒĺœ¨ç›‚č˜çŻ€ç•śĺ¤Šé‚€čŤ‹č—?čĄ“ĺŽśĺ€‘čŁ˝ä˝œç´Žä˝œé “ĺ…ˇďźŒ ç„šç‡’ĺˆ°ă€Œé™°é–“ă€?䝼ĺ°?ç¤žćœƒçš„äş‹äťśä˝œĺ‡şćŠ•č¨´ă€ čŠ›ĺ’’ ç‰ďźŒäşşé–“çš„ä¸?兏瞊䚋事ä¸?čƒ˝č˘Ťć˜ć˜ŽďźŒč€Œéœ€ĺ°‹ćą‚蜅蜊 奾世的力é‡?厝嚳ĺ??ďźŒć˜Żĺ?¤äťŠä¸ĺ¤–éƒ˝ćœ‰çš„ç?žčąĄă€‚䝊嚴 抗çˆä¸çš„ĺ…śä¸ä¸€ĺ€‹č˝‰ć?ŠéťžďźŒć˜Ż8ćœˆ31ć—ĽčŚĺŻ&#x;ćŚčŁ?進 ĺ…Ľä¸Śĺ° éŽ–ĺœ°é?ľçŤ™ďźŒĺœ¨C&Gĺšłć™‚ć´ťĺ‹•ĺ ´ĺ&#x;&#x;ć— é‚Šçš„ĺœ°é?ľ 出ĺ?ŁďźŒé•ˇćœ&#x;ćœ‰äşşč¨ç˝ŽçĽĺŁ‡ĺź”忾。ç?žĺŻŚç„ĄčˇŻç”łč¨´çš„ĺ•? éĄŒäťĽĺ?Šç„ĄäťĽĺ??ç‹€çš„ć€¨ĺżżďźŒĺƒ…čƒ˝çĽˆćą‚çĽžć˜Žçš„é?žč‡Şç„śĺŠ› é‡?čƒ˝ĺ¤ č§Łćąşă€‚ ćˆ‘ĺ€‘ĺ’Œä¸‹ä¸€äťŁ ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? čŞžč¨€ć˜ŻäşşéĄžçž¤éŤ”ćˆ?ç‚şĺ…ąĺ?ŒéŤ”的漾é‡?čŚ ĺ°Žĺ› ďźŒč‡Şĺ¤§čˆŞ ćľˇć™‚äťŁč‡łäťŠčŤ¸ĺ¤šćŽ–ć°‘ĺŽ—ä¸ťďźŒĺ¸¸äťĽĺŽ&#x;ä˝?民語言低下為 ç?†ç”ąďźŒĺ ‚č€Œçš‡äš‹äťĽĺŽ—ä¸ťçš„čŞžč¨€ĺ?–č€ŒäťŁäš‹ďźŒćŠšćŽşĺŽ&#x;ä˝? ć°‘ć–‡ĺŒ–čˆ‡čşŤäť˝çš„ç?¨çŤ‹ć€§ďźŒäťĽé ”äžżĺˆŠçŽĄç?†äš‹ć•ˆă€‚ă€Šćˆ‘ ĺ€‘ĺ’Œä¸‹ä¸€äťŁă€‹ć˜ŻC&G為了準備上澡雙嚴幕的《上澡 床下底č—?襓常č˜ĺ•?ç”ćŻ”čł˝ă€‹ć™‚ďźŒć‰žäş†ĺĽłĺ…’ćŒ‡ĺ°Žäť–ĺ€‘ čŞŞć™Žé€ščŠąçš„ç´€éŒ„ĺ˝ąĺƒ?。C&Gć˜Żč‹ąćŽ–ć™‚ćœ&#x;çš„ç”˘ç‰ŠďźŒč€Œ äť–ĺ€‘çš„ĺĽłĺ…’ĺ‰‡ć˜ŻéŚ™ć¸Żç‰šĺ?€ć™‚äťŁçš„ç”˘ç‰ŠďźŒé€?é Žĺ…Šçľ„äşş čŞžč¨€ä¸Šçš„ĺˇŽç•°ďźŒčƒ˝čŚ‹ĺˆ°ä¸?ĺ?Œć™‚䝣政揊ĺ°?ćœŹĺœ°ć–‡ĺŒ–ĺ˝ą é&#x;żçš„痕补。
ĺą•čŚ˝ć‰€č™•çš„ç‰›ćŁšĺˇ˛çś“ć˜Żé Žç™žĺš´çš„ĺą ĺŽ°ĺ ´ďźŒĺ…śä¸çš„ä˝ˆ 幀嚞ćˇčŽŠé ˇďźŒç?žĺœ¨ćˆ‘ĺ€‘ć‰€čŚ‹ĺˆ°çš„ć˜Żĺ…ĺ? ĺš´äťŁćœŤć”šćˆ? ćŞ˘ç–Ťć‰€ĺžŒçš„č¨č¨ˆă€‚č—?čĄ“ĺŽśĺ¸Œćœ›é€šé Žčž¨ĺˆĽĺťşçŻ‰çľ?構的 ćœŹčłŞďźŒäťĽä¸?ĺ?Œçš„誇埾〠ćŞć›˛ć‰‹ćł•äž†ĺ‡¸éĄŻçŠşé–“ĺ˜ĺœ¨çš„ č?’čŹŹäš‹č™•ďźŒă€Šé€Łçľ?ćˆ?ç‚şéšœç¤™ă€‹éšąĺ–ťć‰€čŹ‚ĺœ˜çľ?ďźŒĺ…śĺŻŚ ć˜Żä¸€ç¨Žćśˆč€—ç¤žćœƒć‰ščŠ•çš„ć‰‹ćŽľďźŒä˝żĺ…śĺœ¨ç–畼性的拖坜 äš‹ä¸‹č‡Şç„śćśˆĺ˝Œĺ™Şé&#x;łă€‚çœźä¸‹äźźć˜Żč€Œé?žäš‹čŤ–ďźŒĺœ¨ĺ¤§ç’°ĺ˘ƒ 裥ĺ?ťç•°ĺ¸¸éĄŻĺž—ćŁç•śćœ‰ç?†ă€‚
 The Cattle Depot in which this exhibition is set is a structure over a hundred years old; its layout has experienced many changes. What we see today is the design change at the end of the 1960s after the building was converted into a animal quarantine facility. Kong’s practice identifies the nature of the architectural structure and then exaggerates and manipulates it to show the absurdity of the space. Unite as an Obstacle is a metaphor for the cry of so-called unity that is actually a way to nullify the criticism in society by letting the noise die out naturally through strategic delay. The misleading call is being accepted as rightful under these circumstances. éŤ˜ĺ€Šĺ˝¤
 „ ƒ Burning offering during the Hungry Ghost Festival is a Chinese tradition to appease the ghosts of those who died of unnatural causes. On Fire 2018 is C&G's typical community art project. During the Hungry Ghost Festival, C&G invites other artists to make paper offerings to offer to the underworld gods toto complain or curse on social affairs?. When injustice is not righted in the living world, justice is always sought through supernatural powers, which is common throughout human history. One of the
ĺŽˆčˇč€… ä¸‰é ťéŒ„ĺƒ?〠醍療ĺą?風
ă€ŒĺžŒćŽ–ć°‘ä¸Śä¸?ć˜Żć„?味掖民的羂çľ?ďźŒč€Œć˜ŻćŽ–ć°‘çš„éšąč”˝ĺŒ–ĺ’Œč¤‡é›œĺŒ–ă€‚ă€?——周č?Żĺąąă€ŠĺžŒćŽ–ć°‘ĺ?Œĺż—》 《ćŠ&#x;ĺŻ†éŒ„ă€‹ć˜Żč—?čĄ“ĺŽśä¸€ĺ€‹ćŒ çşŒĺ‰ľä˝œçš„ç§‘ĺšťč—?襓糝 ĺˆ—ďźŒä˝œĺ“ ĺťşć§‹ĺœ¨ä¸€ĺ€‹ä¸?äš…ĺ°‡äž†çš„ćœŞäž†ä¸–ç•ŒďźŒäşşĺˇĽ ć™şčƒ˝ĺˇ˛ç„śčś…čśŠäşşéĄžçš„ć™şć…§ďźŒĺžžç‚şäşşéĄžćœ?ĺ‹™č˝‰č€Œçľą ć˛ťäşşéĄžďźŒç‚şäş†éž?ĺ›şč‡Şĺˇąçš„ć”żćŹŠďźŒé€˛čĄŒă€Œçœ&#x;襀人ă€?çš„ ć‹˜ć?•čĄŒĺ‹•ďź›ĺ?Śä¸€ć–šé?˘ďźŒäşşéĄžč—?čşŤĺžžćœŞč˘Ťć‹†é™¤çš„éŚ™ć¸Ż äš?éž?寨ĺ&#x;Žä¸ďźŒ 䝼ĺ?„ç¨Žĺœ°ä¸‹çš„ć–šćł•ć„?ĺœ–ćŽ¨çżťäşşĺˇĽć™şčƒ˝ ć”żćŹŠă€‚ĺœ¨č—?čĄ“ĺŽśçš„ä¸–ç•Œä¸ďźŒäşşĺˇĽć™şčƒ˝ĺ&#x;Žĺ¸‚čˆ‡äš?éž?寨 ĺ&#x;ŽĺŠƒĺˆ†ä¸Šä¸‹ĺ…Šĺ€‹ä¸–ç•ŒďźŒĺ&#x;Žĺ¸‚幅民夹厝了自塹所坺獋 ĺ&#x;Žĺ¸‚çš„ćŽ§ĺˆśćŹŠďźŒćŽĄĺ?–ä¸?ĺ?Œć‰‹ćŽľäťĽĺĽŞĺ›žč‡ŞčşŤçš„ç”&#x;ĺ˜ćŹŠ ĺˆŠďźŒĺœ¨ĺˇąć–ščŚ–ç‚şč‡Şç”ąĺ‹‡ĺŁŤč€Œĺœ¨ć•ľć–šĺ‰‡č˘ŤčŚ–ç‚şć ?ć€–ĺˆ† ĺ?。斟ć¤ĺ?Œć™‚ďźŒä˝œĺ“ ä¸ćœŞč˘Ťć‹†é™¤çš„äš?éž?寨ĺ&#x;Žĺœ¨ćœŞäž† 柔莊ćˆ?äşşéĄžćœ€ĺžŒé˜˛çˇšçš„é‡?čŚ ĺ˜ĺœ¨ďźŒĺœ¨č™›ĺŻŚäš‹é–“é‡?çľ„ ć–°ĺ&#x;Žčˆ‡čˆŠĺ&#x;Žçš„é—œäż‚ďźŒć›¸ĺŻŤä¸€ĺ€‹é ŽĺŽťčˆ‡ćœŞäž†äş¤ćŽĽçš„ĺšł čĄŒä¸–ç•ŒďźŒä˝œĺ“ çłťĺˆ—äťĽç§‘ĺšťćžśçŠşçš„ć‰‹ćł•ďźŒé€?é Žć•¸ć“š čˆ‡ĺ˝ąĺƒ?ä¸?ĺ?Œĺą¤é?˘čŠŚĺœ–ĺ??ć€?ĺ?„ç¨Žĺˆ‡ĺŻŚçš„ć”żć˛ťčˆ‡é “ĺžˇ ĺ•?éĄŒďźŒäťĽĺ?Šĺ°?ĺ&#x;Žĺ¸‚瞎ĺ¸çš„éšąĺ–ťĺ’Œćƒłĺƒ?。
č—?čĄ“ĺŽśäťĽçšŞç•Ťé€™ĺ€‹ç˛žç´°é Žç¨‹ďźŒč šç„ŚäşşéĄžé›†éŤ”ç”&#x;ć´ťçš„ ç´°çŻ€ă€‚ä˝œĺ“ ă€ŠF26》〠《806》ć??čż°č—?襓厜留ć„?ĺˆ° çš„ĺœ¨äşşéĄžć‰‹ä¸Šć›¸ĺŻŤć•¸ĺ—的兊個役ĺƒ?ă€‚ä¸€ĺ€‹ć˜Żč¨˜č€…ć‹? ć”?ĺˆ°čŚĺŻ&#x;ĺœ¨čż‘ćœ&#x;ç¤şĺ¨ ć´ťĺ‹•č˘Ťć?•äşşĺŁŤć‰‹ä¸Šć¨™č¨˜çˇ¨č™&#x;ďź› ĺ?Śä¸€ĺ€‹ĺ‰‡ć˜Żĺœ¨é ¸čˆ‰ćœ&#x;é–“ďźŒćœ‰é ¸ć°‘ĺœ¨ć‰‹ä¸ŠĺŻŤä¸‹ć•¸ĺ—ďźŒ ćš—č¨˜ĺąŹć„?çš„ĺ€™é ¸äşşč™&#x;ç˘źă€‚ă€Œă€ŒBranding ă€?ĺœ¨ç?žäťŠç¤ž ćœƒĺ¸¸č˘Ťç?†č§Łç‚şĺ“ ç‰ŒĺťşçŤ‹čˆ‡čĄŒéŠˇďźŒä˝†čŠ˛ĺ—語ćş?ĺŻŚç‚şă€Œ 䝼熹é?ľçƒ™ĺ?°ć¨™ç¤şć‰€ćœ‰ćŹŠă€?ďźŒćˇĺ?˛ä¸Šé•ˇćœ&#x;č˘Ťç”¨ä˝œć¨™ç¤ş ç˝ŞçŠŻçš„ç”¨é€”ďźŒç„ĄčŤ–ć˜Żć¨™č¨˜ĺœ¨äşşéĄžčˆ‡ĺ‹•ç‰ŠčşŤéŤ”ďźŒćˆ–ć˜Ż 斟坺築上的套鴉ĺ?°č¨˜ďźˆgraffitiďź‰ďźŒçš†ç‚şĺŽŁç¤şä¸ťćŹŠçš„ 一税斚ĺź?ďźŒĺœ¨ćśˆč˛ťç¤žćœƒčˆ‡ĺžŒç?žäťŁĺ&#x;Žĺ¸‚ä¸çš„ćˆ‘ĺ€‘ďźŒĺŽ&#x; 䞆äť?ćœƒé€?é Žé€™ç¨Žćš—ĺ–ťĺ•†ĺ“ ĺŒ–čˆ‡ç‰ŠĺŒ–çš„é Žç¨‹ďźŒč€Œĺƒ?牊 äťśä¸€čˆŹč˘Ťć¸éĄžćˆ–ć“ ćœ‰ă€‚
ćŠ&#x;ĺŻ†éŒ„ďźščĄŒĺˆ‘ ĺ¤šé ťéŒ„ĺƒ?〠打ĺ?°
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The artist often takes a unique perspective in capturing detailed closeups of things, events, and places in daily life; some are frames of still images, while some are momentary moving images. The varying distance between the photographer and subject of concern and the frame of the camera can all aptly narrate a main idea; the artist makes use of the mobile phone he carries daily to observe the city and the convergent overlap between his gaze and technology is a normality that could not be more natural for contemporary people. Black Dream creates a looped video out of the precious fragments in daily chores and forms a new stream-of-consciousness-like narrative.
Ko Sin Tung’s creative process has always reflected on architectural elements in the urban landscape and exposed an inherent absurdity through processes of recreation. In Guardian, the artist recreates various types of barbed wires. On the surface these elements act as protective devices, but are in fact implements that impede on physical liberties; limiting freedom of movement. By recreating an automated manufacturing process by hand, as seen in the video, Ko is reflecting on Hong Kong’s lack of trust in the citizenry. The city builds barriers between different environments, and at the same time these vigorous structures are totally pointless and ludicrous.
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The artist focuses on the details of humanity’s communal living through the meticulous process of painting. F26 and 806 depicts two images from instances noticed by the artist where numbers are being written on human hands. One is the marking of a number on the hands of those arrested by the police in recent protest activities as photographed by journalists; another is voters in elections writing a number on their hands as a hidden signifier of their desired candidate. “Brandingâ€? is now often understood as the establishment and marketing of a brand; but its original definition means “the action of marking with a branding ironâ€?, and historically it has long been used for the marking of criminals. Whether markings on the bodies of humans or animals, or graffiti markings on architecture, they are all a way of declaring authority; even within a consumerist society and the postmodern city, we could still categorise and attribute ourselves like objects through a process that alludes to commodification and objectification. čł´ćœ—é¨Ť
éŤ˜ĺ€Šĺ˝¤çš„ĺ‰ľä˝œćŻ?ćŻ?ç’°çšžč‘—ĺ&#x;Žĺ¸‚ä¸çš„ĺťşçŻ‰ç‰šĺžľďźŒçś“é Ž ĺĽšć”šé€ é‡?ĺĄ‘çš„é Žç¨‹äž†éĄŻç?žĺ…śä¸çš„č?’čŹŹďźŒă€ŠĺŽˆčˇč€…》 ä¸ďźŒč—?čĄ“ĺŽśč‡ŞčĄŒčŁ˝ä˝œäż?襛的é?ľçľ˛çś˛ďźŒčĄ¨é?˘ä¸Šć˜Żäż?čˇ ĺŽ‰ĺ…¨çš„é “ĺ…ˇďźŒä˝†ĺœ¨ć›´ĺ¤šć™‚ĺ€™ć˜ŻçŽ?ĺˆśäşşčşŤč‡Şç”ąçš„ć‰‹ ćŽľă€ äťĽçŚ ć˘äťťć„?犿ć˘ä¸?ĺ?Œĺœ°ć–šă€‚é€?é ŽčŁ?ç˝Žčˆ‡ĺ˝ąç‰‡ä¸ é‡?č¤‡äťĽć‰‹ĺĄ‘é€ ç‰Šäťśçš„é Žç¨‹ďźŒć??醒觀者ĺ&#x;Žĺ¸‚ĺ°?ä˝?ć°‘çš„ ä¸?äżĄäťťďźŒč§€ĺŻ&#x;ç’°ĺ˘ƒä¸ç‰šć„?形契出䞆的ĺ?€éš”ďźŒĺ?Œć™‚ĺ?? 應嚴菚çľ?構ä¸çš„ĺž’ĺ‹žčˆ‡č?’菏。
靑夢 ĺžŞç’°éŒ„ĺƒ? č—?襓厜慣常䝼兜ç?¨ç‰šçš„çœźĺ…‰ďźŒć“ˇĺ?–ç”&#x;ć´ťć‰€čŚ‹äş‹ç‰Šĺ ´ ć™Żçš„ĺą€éƒ¨ç‰šĺŻŤďźŒćœ‰çš„ć˜Żĺ‡?çľ?çš„é?œć…‹ĺŽšé?ĄďźŒćœ‰çš„ć˜Ż 剎那的動態役ĺƒ?。ć”?役帍čˇ&#x;袍ć”?丝鍔的čˇ?é›˘ćˆ–é•ˇ ćˆ–ç&#x;ďźŒç›¸ćŠ&#x;çš„čŚ–ćĄ†éƒ˝ćœƒć °ĺˆ°ĺĽ˝č™•čŞŞĺ‡şé‡?éťžďźŒč—?襓厜 ä˝żç”¨ĺšłć™‚éš¨čşŤć”œĺ¸śçš„ć‰‹ć??雝芹觀ĺŻ&#x;ĺ&#x;Žĺ¸‚ďźŒç§‘ćŠ€čˆ‡ĺ‡? čŚ–äş¤äş’ĺą¤ç–ŠďźŒćˆ?ç‚şç?žäťŁäşşĺ†?自焜ä¸?é Žçš„ĺ¸¸ć…‹ă€‚ă€Šéť‘ 夢》將這些旼常瑣事的ĺ?‰ĺ…‰ç‰‡çž˝ä¸˛é€Łĺœ¨ćˆ?é‡?複垪環 錄ĺƒ?ďźŒçľ„ĺ?ˆćˆ?ć„?č˜ćľ čˆŹçš„ć–°ć•˜äş‹ă€‚
� € Confidential Record is the artist’s ongoing science fiction artwork series. The work anchors on a world in the not too distant future, where artificial intelligence has surpassed human intelligence and rule over, rather than service, humanity. To consolidate their regime, artificial intelligence initiate the arrest of “pure blood humans�. At the same time, humans hide away in the original Hong Kong Kowloon Walled City, as it would be if it was never demolished, and use various underground means to try to overthrow the artificial intelligence regime. In the world imagined by the artist, the world is separated between the overground city ruled by artificial intelligence and the underground Kowloon Walled City. The city’s inhabitants lost control over the city that they built and turn to various strategies to regain their right of survival; they are seen as freedom fighters among allies and terrorists among enemies. At the same time, the undemolished Kowloon Walled City becomes the last stronghold of human survival in the future. The reorganisation of the relationship between the new city and old city narrates the story of a parallel universe where the past connects with the future. This series of artworks makes use of science fiction to consider actual political and moral issues from different levels, as well as to metaphorize and imagine urban aesthetics through datasets and images conjured by the artist.
We are glad that we can present a brand new exhibition Borrowed Scenery and performance Flâneur to the audience in Hong Kong. The observation of the city and artistic practice of Hong Kong artists bring the unique cultural language of the city to the fore in response to the present situation. We hope this exhibition can unite cultural perception, artistic interpretation, globalised city and its systemic development through artist practice, to pursue a wider discussion into city development in the 21st century.
ć‰€ćœ‰ĺ?ƒĺą•č—?čĄ“ĺŽśčˆ‡čˆžč€…ă€ JCNAPĺœ˜éšŠă€ éŚ™ć¸Żč—?襓ä¸ĺżƒă€ č”ĄéŽ§ćŁ‹ă€ éťƒç†™ĺŠˇă€ ä˝•ĺ…†ĺ?—ă€ é™¸ćľŠć˜Ž All participating artists and dancers, JCNAP team, Hong Kong Arts Centre, Jenny Choi, South Ho, Joyce Wong, Andrew Luk
newartspower
The third edition of JOCKEY CLUB New Arts Power present a variety of programmes that includes dance, theatre, music, visual arts exhibition, and school activities, as well as site specific events and community celebrations. Come join us at the festival, indulge yourself with the feast of arts, joy and extraordinary cityscape! With the support of HKADC, Hong Kong artists have showcased their works in the internationale tanzmesse nrw in DĂźsseldorf, Germany, China International Youth Arts Festival, “Meet in Beijingâ€? Arts Festival, “Hong Kong Theatre Monthâ€? in 1862 Theatre and Emerging Curators Project in Power Station of Art in Shanghai, touring at Theatres in the Guangdong-Hong Kong-Macao Greater Bay Area, and Thailand Biennale. Overseas arts practitioners and general audiences abroad have the chance to enjoy the finest works of art that are proudly created in Hong Kong. Having been inspired through their touring experiences, these Hong Kong’s talents are ready to further develop and put on their best works in the upcoming JOCKEY CLUB New Arts Power.
The artists participating in this exhibition grew up at a time when the metropolis has already formed. To those who were brought up in the city at the end of the 20th century, their lives and the city itself are inseparable. The conflict in the past few months has exposed to the public the myriad contradictions ordinarily hidden within the intricate structure of the city. The technocrats, most of whom are without belief to serve the public good, strengthen their power within the complicated local interests and relations. The government privatise public services a-la-neoliberalism mode and turn them into the private properties of the affluent, which in turn became various hegemonies. At the same time, the public is unable to check and balance government power through a comprehensive regulation system. The top officials stopped listening to the needs of the people and thus became autocratic. The discontent built up over a long period finally exploded into a volatile situation for the city and its systems.
Life inspires art, and art enriches life. In order to foster the exchange of ideas in society, JOCKEY CLUB New Arts Power unites art groups and various organisations from the social welfare, academic and commercial sectors. Such collaboration brings about a wide range of free events, such as mobile stages that integrate with the community surroundings, creative workshops, guided tours, and open rehearsals. When art is no longer confined to the limits of conventional theatres and galleries, artists can reinterpret their works from a fresh perspective in relation to the urban environment. These interactions allow those who rarely take part in art activities to get a taste of artistic experience, and be able to relate to these artists who were born and raised in the same city.
The relationship between power and exploitation between the coloniser and colonised as described by colonialism theory in the past, has been largely expanded into unequal opposition caused by power inequality among different social groups. This exhibition stems from the imagination of urban space through an artistic vision, and reflects on the will of architecture in the city development of Hong Kong, thereby providing an indirect critique on neocolonialism under the disguise of neoliberalism.
Over the past two years, 28 arts groups were involved in JOCKEY CLUB New Arts Power. Together they produced 48 live performances, a remarkable number of major exhibitions, over 300 sessions of community and school events, resulting in a remarkable outcome of up to 270,000 participants. After two years of dedicated effort in connecting local creative talents with the community, JOCKEY CLUB New Arts Power is becoming one of the most anticipated annual arts festivals in Hong Kong.
“Post-colonial does not mean the end of colonialism but the concealment and complication of colonisation,â€? Post-colonial Tongzhi Chou Wah-shan. ĺžˆćŚŽĺš¸ć–ź2019ĺš´çľ‚ďźŒčƒ˝ç‚şéŚ™ć¸Żč§€çœžĺ¸śäž†ĺ…¨ć–°ĺą•čŚ˝ă€Œĺ€&#x;景ă€?čˆ‡ĺťśäź¸čˆžčšˆčĄ¨ćź”ă€Œé€śčż¤ă€?。é€?é ŽćœŹĺœ°č—?襓厜ĺ°?ĺ&#x;Ž 市的觀ĺŻ&#x;čˆ‡č—?襓富č¸?ďźŒäťĽéŚ™ć¸Żç?¨ç‰šçš„ć–‡ĺŒ–čŞžč¨€ĺ›žć‡‰ĺ&#x;Žĺ¸‚ç?žćł 。幕茽ćœ&#x;čƒ˝äťĽč—?襓富č¸?ä¸˛é€Łć–‡ĺŒ–ć„&#x;ç&#x;Ľă€ č—?襓解 莀〠全ç?ƒĺŒ–ĺ&#x;Žĺ¸‚čˆ‡ćŠ&#x;ĺˆśç™źĺą•ç‰č°éĄŒďźŒĺ°?äşŒĺ? 一世紀ĺ&#x;Žĺ¸‚癟幕所é?˘ĺ°?çš„ĺ•?éĄŒĺą•é–‹č¨ŽčŤ–ă€‚
The Hong Kong Arts Development Council (HKADC) has been holding JOCKEY CLUB New Arts Power since 2017. The arts festival, taking place from September to January of the following year, focuses on presenting local artists who are flourishing and esteemed in the global arts scene. Through a series of arts events, the festival creates an artistic experience that is innovative, outstanding, and filled with uniquely local elements.
ć˘ ĺžĄć?ąčˆ‡čł´ćœ—é¨Ťĺˆ†ĺˆĽĺžžç‰Šç?†çŠşé–“čˆ‡ć™‚é–“çˇšć€§ĺ‡şç™źďźŒä˝ˆç˝Žčˆ‡é‡?羄片掾厝ç?žç¤şäť–們ĺ?„自ç?¨ç‰šçš„觀非靎ĺ?“ č?ŻĺˆŠç”¨çšŞç•Ťé Žç¨‹ĺźˇčŞżĺ&#x;Žĺ¸‚ä˝?ć°‘čşŤäť˝çš„čĄ¨ĺžľďź›éŤ˜ĺ€Šĺ˝¤äťĽčĄ›ç”&#x;ç›¸é—œç‰Šäťśç‚şčĄ¨ĺžľďźŒéŤ”ç?žĺ&#x;Žĺ¸‚çľ?構鄺鎎猧則 é€?é Žé‡?羄犺間䞆攞大ĺ&#x;Žĺ¸‚產ç”&#x;的隔閥。C & G çš„ä˝œĺ“ éĄŻç¤şäť–ĺ€‘çš„é›™é‡?čşŤäť˝ďźŒä¸€ć–šé?˘é•ˇćœ&#x;é€?é Žč—?襓富č¸? 桹兼礞ĺ?€ďźŒĺœ¨ă€Šç‡’數簿》ĺ?ŻčŚ‹ĺˆ°äť–們連çľ?ĺ…śäť–č—?čĄ“ĺŽśčˆ‡ĺœ¨ĺœ°ç’°ĺ˘ƒďźŒäťĽč¨´čŞŞĺ?„税ä¸?兏瞊一斚é?˘äť–們äš&#x;ć˜Żĺ…Š ĺĽłçš„çˆśćŻ?ďźŒĺą•ç?žĺ°?čşŤäť˝čˆ‡ĺ&#x;Žĺ¸‚镡é ćœŞäž†ç™źĺą•çš„çœ‹ćł•ă€‚ć›˛ćˇľćžˆçš„ă€ŠćŠ&#x;ĺŻ†éŒ„ă€‹ćƒłĺƒ?果犺的錙港ĺ&#x;Žĺ¸‚č¨˜ć†śďźŒç§‘ĺšť ĺ°?čŞŞć‰€ĺťşć§‹çš„ä¸–ç•Œĺž€ĺž€ĺ??ć˜ äş†ç?žĺŻŚçš„ć&#x;?ä¸€éƒ¨ĺˆ†ďźŒčˆ‡ç?žćł 彡彿既é ĺ?ˆčż‘。
JOCKEY CLUB NEW ARTS POWER çŹŹä¸‰ĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ć–ź2019ĺš´9ćœˆč‡ł2020ĺš´1ćœˆĺ‘ˆç?ťĺ…ąäš?ĺ€‹çŻ€ç›ŽďźŒćśľč“‹čˆžčšˆă€ ćˆ˛ĺŠ‡ă€ é&#x;ł 樂ĺ?ŠčŚ–茺č—?čĄ“ďźŒä¸Ść–źä¸?ĺ?Œĺ ´ĺ&#x;&#x;ç–動礞ĺ?€ĺ?Šĺ¸ć Ąć´ťĺ‹•ďźŒčŞ é‚€ćœŹĺœ°č§€çœžĺ?ƒčˆ‡ĺ…śä¸ďźŒç›Ąćƒ…鍔銗č—?襓的盎 焜匙蜣。
ă€Œĺ€&#x;景ă€?ćœŹç‚şĺ‚łçľąĺœ’ćž—ćŠ€ĺˇ§ďźŒĺ€&#x;ç”¨çŠşé–“äťĽĺ¤–çš„ć™Żč‰˛ĺź•ĺ…ĽĺŽ¤ĺ…§ďźŒč€Œĺą•čŚ˝ĺ€&#x;用了一座癞嚴ćˇĺ?˛çš„ćŽ–ć°‘ĺœ°ĺťşçŻ‰ä˝œç‚ş čƒŒć™ŻďźŒäťĽćœŹĺœ°č—?襓厜的畜䝣č—?čĄ“ä˝œĺ“ ă€ ĺ?„č‡Şçš„é˘¨ć źč¨´čŞŞĺœ¨é€™ĺ€‹ĺœ°ć–šç”&#x;洝的故事。
č—?襓ćş?ć–źç”&#x;ć´ťďźŒäşŚčƒ˝čą?ĺŻŒç”&#x;洝。為了ĺ•&#x;癟礞ĺ?€äš‹é–“更多ĺ°?čŠąďźŒă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?推動č—?čĄ“ĺœ˜éšŠ čˆ‡ç¤žçŚ?〠ĺ¸ç•Œĺ?Šĺ•†ç•Œĺ?ˆä˝œďźŒčˆ‰čžŚä¸€çłťĺˆ—形ĺź?ĺ¤šĺ…ƒçš„ĺ…?č˛ťć´ťĺ‹•ďźŒĺŒ…ć‹Źčľ°ĺ‡şĺ‚łçľąčˆžĺ?°ă€ 桹兼礞ĺ?€çš„ćľ ĺ‹• čˆžĺ?°ă€ č—?čĄ“ĺŽśĺˆ†äşŤĺ°?荇〠剾ć„?ĺˇĽä˝œĺ?Šă€ ĺ°Žčłžĺœ˜ĺ?Šĺ…Źé–‹çśľćŽ’ç‰ă€‚ç•śč—?襓ä¸?ĺ†?幀é™?ć–źĺŠ‡ĺ ´ĺ’Œč—?čĄ“é¤¨ďźŒč—? čĄ“ĺŽśĺžžĺś„ć–°č§’ĺşŚćź”çššä˝œĺ“ ďźŒčž?兼礞ĺ?€çš„ĺœ¨ĺœ°é˘¨ć™Żďź›é Žĺž€éŽŽćœ‰ćŽĽč§¸č—?襓的ć—?çž¤ďźŒäşŚĺ?Żé€?é Žé€™äş›ć´ťĺ‹•čˆ‡ ĺœ&#x;ç”&#x;ĺœ&#x;镡的č—?čĄ“ĺŽśäş’ç›¸ĺ…ąéł´ă€‚ĺœ¨č—?ç™źĺą€çš„ć”ŻćŒ ä¸‹ďźŒéŚ™ć¸Żč—?襓厜ĺ?ƒĺŠ äş†ĺžˇĺœ‹ć?œĺĄžçˆžĺ¤šĺ¤Ťĺœ‹éš›čˆžčšˆĺ?ščŚ˝ ćœƒă€ ä¸ĺœ‹ĺœ‹éš›é?’ĺš´č—?čĄ“çŻ€ă€ ç›¸ç´„ĺŒ—äşŹč—?襓節〠1862時尚č—?襓ä¸ĺżƒéŚ™ć¸Żćˆ˛ĺŠ‡ćœˆă€ ç˛ľć¸Żćžłĺ¤§ç Łĺ?€ĺŠ‡é™˘ĺˇĄ 柔〠上澡畜䝣č—?襓ĺ?šç‰Šé¤¨ă€ ćł°ĺœ‹čŚ–čŚşč—?襓雙嚴幕〠é?’ĺš´ç–ĺą•äşşč¨ˆĺŠƒ 2018ç‰ďźŒĺ?‘ĺœ‹éš›ĺ?ŒćĽĺ?Šć™Žçž…觀 çœžĺą•ç¤şéŚ™ć¸Żĺź•äťĽç‚şĺ‚˛çš„č‡ŞĺŽśč—?čĄ“ä˝œĺ“ ďźŒé€™ć‰šč¸?čśłĺœ‹éš›č—?壇的č—?襓節盎將蟉č˝ć¸äž†ďźŒĺœ¨ćœŹĺš´ĺşŚă€Œčł˝éŚŹ ćœƒč—?壇新勢力ă€?é€?ä¸€äşŽç›¸ďźŒäťĽéĽ—ćœŹĺœ°č§€çœžă€‚
é?˘ĺ°?ç•śäťŠç¤žćœƒĺ›°ĺ˘ƒďźŒč—?čĄ“ĺŽśé€šé Žĺ&#x;Žĺ¸‚這個兹ĺ?ŒčŠąéĄŒďźŒçšžé ŽćŠ˝čąĄçš„ç¤žćœƒĺ¸ćˆ–政沝ĺ¸čĄ“čŞžďźŒé€?é Žç´°ĺżƒč§€ĺŻ&#x;čˆ‡ç ” çŠśďźŒäťĽĺ‰ľä˝œç?†ć€§ć‹†č§Łäť–們é é ‡çš„ĺ&#x;Žĺ¸‚ç?žčąĄďźŒčŠŚĺœ–䝼垎觀ĺź?ä˝œĺ“ čĄ¨ç?žĺŽ?č§€ĺƒšĺ€źďźŒč§Łć”žĺ&#x;Žĺ¸‚兏民的揊力。錙港 ćŁĺœ¨é é ‡çš„ĺ?„ç¨ŽĺŁ“čżŤďźŒäš?ĺ? 嚴䝣常荇ĺ?Šĺ&#x;Žĺ¸‚ĺ?Żčƒ˝ĺ¸śäž†çš„ç„Ść…ŽďźŒĺˆ°äťŠĺ¤Šĺˇ˛ćˆ?為夢é˜ă€‚č—?襓厜䝼䝖們ç?¨ç‰šçš„çœźĺ…‰ ç›´čŚ–ć™‚äş‹ďźŒä¸Śĺœ¨é Žç¨‹ä¸ćŽ˘ç´˘čˆ‡ćŞ˘čŚ–äťĽč—?čĄ“ä˝œç‚şĺ??ć€?ĺ›žć‡‰éƒ˝ĺ¸‚ç?žčąĄçš„ć–šĺź?ďźŒĺœ¨ç•śäťŁĺš´ĺłťçš„ćƒ…ĺ‹˘ä¸‹äť?ç„śćœ‰ć•ˆďźŒĺœ¨ ćœ&#x;ćœ›ć”ščŽŠç?žćł ć™‚ďźŒĺ?ˆä¸?囿斟č—?čĄ“ĺœ¨ç¤žćœƒé ‹ĺ‹•ä¸ćœŞčƒ˝ĺźˇčŞżč—?襓性的狀態。 ć˜ŻćŹĄĺ?ƒĺą•č—?čĄ“ĺŽśçš†ć˜Żç”&#x;ć–źç?žäťŁéƒ˝ĺ¸‚塲ćˆ?ĺ˝˘çš„ć™‚äťŁďźŒĺ°?出ç”&#x;丌ç”&#x;é•ˇĺœ¨äşŒĺ? ä¸–ç´€ćœŤĺ&#x;Žĺ¸‚çš„äşşäž†čŞŞďźŒç”&#x;ć´ťčˇ&#x;隨ĺ&#x;Ž ĺ¸‚č„ˆĺ‹•ć—Šĺˇ˛ĺŻ†ä¸?ĺ?Żĺˆ†ă€‚çś“é Žć•¸ĺ€‹ćœˆçš„ç¤žćœƒäş‹äťśďźŒćœŹäž†éšąć˛’ĺœ¨é€™ĺ€‹ĺ&#x;Žĺ¸‚細密çľ?構畜ä¸çš„荸多ç&#x;›ç›žďźŒĺŽŒĺ…¨č˘ŤćŠŤ éœ˛ĺœ¨ĺ…Źçœžé?˘ĺ‰?ďźšçźşäš?äżĄĺżľçš„ćŠ€čĄ“ĺŽ˜ĺƒšĺœ¨éž?é›œçš„ĺœ°ć–šé—œäż‚ä¸éž?ĺ›şĺ‹˘ĺŠ›ďźŒäťĽć–°č‡Şç”ąä¸ťçžŠçš„ç§ ćœ‰ĺŒ–ć¨Ąĺź?ĺ°‡ĺ…ŹçœžĺˆŠ 益莊ćˆ?ćŹŠč˛´çš„ç§ ç”˘ă€ čą˘é¤Šĺ?„ç¨Žéœ¸ćŹŠďźŒĺ?Œć™‚甹斟荸多ĺŽ&#x;ĺ› ďźŒĺ…Źçœžç„Ąćł•é€?é Žĺ Ľĺ…¨çš„ç›ŁĺŻ&#x;çłťçľąäťĽĺˆśčĄĄć”żĺşœćŹŠĺŠ›ďźŒ ä¸Šĺą¤ĺŽ˜ĺ“ĄćœŞčƒ˝č †č ˝ĺ¸‚ć°‘çš„č¨´ćą‚č€Œç?¨ć–ˇç?¨čĄŒďźŒé•ˇćœ&#x;é†žé‡€çš„ĺŁ“ĺŠ›ćœ€çľ‚ĺ°Žč‡´ĺ&#x;Žĺ¸‚čˆ‡éŤ”ĺˆśçš„ĺŠ‡çƒˆéœ‡ç›Şă€‚
é ŽĺŽťĺ…Šĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ĺ…ąćœ‰äşŒĺ? 免個č—?襓喎ä˝?ĺ?ƒčˆ‡ďźŒčŁ˝ä˝œĺ››ĺ? ĺ…Ťĺ ´ä¸?ĺ?ŒéĄžĺž‹ćź”出ĺ?Šĺ¤šĺ€‹é‡? éťžĺą•čŚ˝ďźŒä¸Śç–ĺŠƒčś…é Žä¸‰ç™žĺ€‹ç¤žĺ?€ĺ?Šć Ąĺœ’ć´ťĺ‹•ďźŒç¸˝ĺ?ƒčˆ‡äşşćŹĄéŤ˜é ”äşŒĺ? 七č?Źă€‚çś“é Žĺ…Šĺš´č€•č€˜ďźŒă€Œčł˝éŚŹćœƒ č—?壇新勢力ă€?çŠ?漾連çľ?礞ĺ?€ĺ?Šć”ŻćŒ č—?襓的ćŠ&#x;ć§‹ĺ’Œç¤žĺœ˜ďźŒç™źĺą•ćˆ?ç‚şćŻ?ĺš´çœžć‰€ćœ&#x;ĺž…çš„ćœŹĺœ°č—?襓節。 錙港č—?čĄ“ç™źĺą•ĺą€ďźˆč—?癟幀自2017ĺš´éŚ–ćŹĄčˆ‰čžŚă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ďźŒć–źćŻ?ĺš´9ćœˆč‡łçżŒĺš´1ćœˆćœ&#x;é–“ďźŒ çľ?é›†ĺœ¨ćľˇĺ¤–č—?ĺŁ‡çśťć”žç•°ĺ˝Šçš„ćœŹĺœ°č—?čĄ“ĺŽśďźŒĺ‘ˆç?ťä¸€çłťĺˆ—č—?čĄ“ć´ťĺ‹•ďźŒç‚şç¤žćœƒĺ?„ç•Œĺ¸śäž†ĺ‰ľć„?ă€ ć°´ćş–čˆ‡ćœŹĺœ&#x; 色彊兟丌的č—?襓鍔銗。
é Žĺž€ćŽ–ć°‘ä¸ťçžŠčŁĄć‰€ć??čż°ĺŽ—ä¸ťĺœ‹čˆ‡ćŽ–ć°‘ĺœ°äš‹é–“ćŹŠĺŠ›čˆ‡ĺ‰?ĺ‰Šçš„é—œäż‚ďźŒĺœ¨ç•śäťŠĺˇ˛äź¸ĺťśç‚şç¤žćœƒä¸Šĺ?„税揊力塎異所產 ç”&#x;çš„ä¸?ĺšłç‰ĺ°?çŤ‹ă€‚ć˜ŻćŹĄĺą•čŚ˝ĺžžĺ°?ĺ&#x;Žĺ¸‚çŠşé–“çš„ćƒłĺƒ?é–‹ĺ§‹ďźŒćœ&#x;čƒ˝é€?é Žč—?čĄ“čˆ‡ĺ‰ľä˝œďźŒćŠ˜ĺ°„é Žĺž€äşŒĺ? 嚴錙港ĺ&#x;Žĺ¸‚癟 ĺą•čƒŒĺžŒĺťşçŻ‰çš„ć„?ĺż—ďźŒé–“ćŽĽć‰šĺˆ¤ć–°č‡Şç”ąä¸ťçžŠĺŒ…čŁ?ä¸‹č˘ŤĺťśçşŒçš„ć–°ćŽ–ć°‘ć¨Ąĺź?。
čł˝éŚŹćœƒč—?壇新勢力 ç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Šçš„ćƒ…ć„&#x; ĺ¤šé ťéť‘ç™˝éŒ„ĺƒ?〠鋟 č’™ĺ¤ŞĺĽ‡ć˜Żĺ°‡ä¸?ĺ?Œç•Ťé?˘ĺ‰ŞćŽĽč‡łĺ–Žä¸€ć™‚é–“çˇšä¸ŠďźŒĺˆŠç”¨ç‰‡ 掾的羄ĺ?ˆčŹ›čż°ć•…äş‹çš„ć‰‹ćł•ă€‚ĺœ¨ă€Šç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Š çš„ćƒ…ć„&#x;》ä¸ďźŒč—?čĄ“ĺŽśĺťşć§‹ĺ‡şä˝œĺ“ çš„çŠşé–“ďźŒä¸€ć–šé?˘ ĺ›žć‡‰ç‰›ćŁšçš„ĺťşçŻ‰ĺŻŚéŤ”ďźŒä¸€ć–šé?˘ĺœ¨çŠşé–“ä¸ä˝ˆç˝Žäť–ć‹?ć”? 的錄ĺƒ?ç‰‡ćŽľďźŒé€?é Žé‡?çľ„čˆ‡ĺˆ†éš”äž†äş¤çš”ĺ‡şć•?事。č—?襓 ĺŽśĺˆŠç”¨é Žĺž€ć‹?ć”?ç´€éŒ„ç‰‡çš„çś“éŠ—ďźŒĺœ¨ä˝œĺ“ ä¸ĺ‘ˆç?žä¸ťč§€ čˆ‡ĺŽ˘č§€äş¤äş’čžŻč‰çš„役ĺƒ?ďźŒć??寍ç?žĺŻŚä¸ĺ˜ĺœ¨çš„一税濛 ć˜§ćƒ…ć„&#x;。
� � �    € ‚ ƒ € ‚ Montage is an editing technique where different footage are edited into a single timeline to tell the narrative through the composition of them coming together. In Encounters (Never Mind the Cloying Sentiments), the artist creates a space for the artwork that on the one hand, responds to the actual architecture of the Cattle Depot; on the other hand, different clips recorded by the artist are arranged in the space and a narrative is formed by their reconstruction and separation in space. The artist made use of his past experience of making documentaries to form dialectical images crossing the subjective and the objective; thus creating an obsured emotion that is rooted in reality.
turning points in the conflict this year is when the police entered the Prince Edward MTR station and attacked indiscriminately on August 31. At one of the station exits where C&G held their event, an altar was made for the victims of that incident. We might never know the truth of the incident, but nevertheless the ceremony itself became a venting outlet for the movement. When the voice of the people is not heard and the grudge is still held against the government, the only way we can solve the problem is perhaps seeking the help of a higher power. Shared language is the forming criterion of a community. Yet, since the beginning of colonial expansion, many indigenious languages of the colonies were replaced by the language of the coloniser due to their "inferiority" in civility. This process of clamping down on the independence of the indegenious culture and identity makes it easier for a tighter governance by the coloniser. Our Next Generation and Us shows the process of preparing Not as Trivial as You Think: Shanghai Art Quiz for last year’s Shanghai Biennale, where C&G learned to conduct their quiz in Mandarin by learning from their daughters. C&G themselves are the products of the British colonisation and their daughters are the products of the Hong Kong SAR. Through the differences in language skills between the two groups, it is easy to contrast the impact to the local culture in different times. 鄺鎎猧
ĺźľĺ˜‰čŽ‰ĺ?Šé„急ć•?(é˜żé‡‘) 燒數簿 ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? ƒ 盂č˜ă€ŒéŹźçŻ€ă€?ç‡’čĄŁć˜Żä¸€ĺ€‹ĺ‚łçľąçš„č?Żäşşçż’äż—ďźŒç”¨ć„?ć˜Ż 厉撍枉ćťçš„é?ˆé‚ă€‚ă€Šç‡’ć•¸ç°żă€‹ć˜ŻC&G典型礞ĺ?€č—?襓 č¨ˆĺŠƒďźŒĺœ¨ç›‚č˜çŻ€ç•śĺ¤Šé‚€čŤ‹č—?čĄ“ĺŽśĺ€‘čŁ˝ä˝œç´Žä˝œé “ĺ…ˇďźŒ ç„šç‡’ĺˆ°ă€Œé™°é–“ă€?䝼ĺ°?ç¤žćœƒçš„äş‹äťśä˝œĺ‡şćŠ•č¨´ă€ čŠ›ĺ’’ ç‰ďźŒäşşé–“çš„ä¸?兏瞊䚋事ä¸?čƒ˝č˘Ťć˜ć˜ŽďźŒč€Œéœ€ĺ°‹ćą‚蜅蜊 奾世的力é‡?厝嚳ĺ??ďźŒć˜Żĺ?¤äťŠä¸ĺ¤–éƒ˝ćœ‰çš„ç?žčąĄă€‚䝊嚴 抗çˆä¸çš„ĺ…śä¸ä¸€ĺ€‹č˝‰ć?ŠéťžďźŒć˜Ż8ćœˆ31ć—ĽčŚĺŻ&#x;ćŚčŁ?進 ĺ…Ľä¸Śĺ° éŽ–ĺœ°é?ľçŤ™ďźŒĺœ¨C&Gĺšłć™‚ć´ťĺ‹•ĺ ´ĺ&#x;&#x;ć— é‚Šçš„ĺœ°é?ľ 出ĺ?ŁďźŒé•ˇćœ&#x;ćœ‰äşşč¨ç˝ŽçĽĺŁ‡ĺź”忾。ç?žĺŻŚç„ĄčˇŻç”łč¨´çš„ĺ•? éĄŒäťĽĺ?Šç„ĄäťĽĺ??ç‹€çš„ć€¨ĺżżďźŒĺƒ…čƒ˝çĽˆćą‚çĽžć˜Žçš„é?žč‡Şç„śĺŠ› é‡?čƒ˝ĺ¤ č§Łćąşă€‚ ćˆ‘ĺ€‘ĺ’Œä¸‹ä¸€äťŁ ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? čŞžč¨€ć˜ŻäşşéĄžçž¤éŤ”ćˆ?ç‚şĺ…ąĺ?ŒéŤ”的漾é‡?čŚ ĺ°Žĺ› ďźŒč‡Şĺ¤§čˆŞ ćľˇć™‚äťŁč‡łäťŠčŤ¸ĺ¤šćŽ–ć°‘ĺŽ—ä¸ťďźŒĺ¸¸äťĽĺŽ&#x;ä˝?民語言低下為 ç?†ç”ąďźŒĺ ‚č€Œçš‡äš‹äťĽĺŽ—ä¸ťçš„čŞžč¨€ĺ?–č€ŒäťŁäš‹ďźŒćŠšćŽşĺŽ&#x;ä˝? ć°‘ć–‡ĺŒ–čˆ‡čşŤäť˝çš„ç?¨çŤ‹ć€§ďźŒäťĽé ”äžżĺˆŠçŽĄç?†äš‹ć•ˆă€‚ă€Šćˆ‘ ĺ€‘ĺ’Œä¸‹ä¸€äťŁă€‹ć˜ŻC&G為了準備上澡雙嚴幕的《上澡 床下底č—?襓常č˜ĺ•?ç”ćŻ”čł˝ă€‹ć™‚ďźŒć‰žäş†ĺĽłĺ…’ćŒ‡ĺ°Žäť–ĺ€‘ čŞŞć™Žé€ščŠąçš„ç´€éŒ„ĺ˝ąĺƒ?。C&Gć˜Żč‹ąćŽ–ć™‚ćœ&#x;çš„ç”˘ç‰ŠďźŒč€Œ äť–ĺ€‘çš„ĺĽłĺ…’ĺ‰‡ć˜ŻéŚ™ć¸Żç‰šĺ?€ć™‚äťŁçš„ç”˘ç‰ŠďźŒé€?é Žĺ…Šçľ„äşş čŞžč¨€ä¸Šçš„ĺˇŽç•°ďźŒčƒ˝čŚ‹ĺˆ°ä¸?ĺ?Œć™‚䝣政揊ĺ°?ćœŹĺœ°ć–‡ĺŒ–ĺ˝ą é&#x;żçš„痕补。
連çľ?ćˆ?ç‚şéšœç¤™ ä¸?é?˝é‹źçŽĄă€ é??鉝鋅ĺ?ˆé‡‘玥掼䝜 ĺą•čŚ˝ć‰€č™•çš„ç‰›ćŁšĺˇ˛çś“ć˜Żé Žç™žĺš´çš„ĺą ĺŽ°ĺ ´ďźŒĺ…śä¸çš„ä˝ˆ 幀嚞ćˇčŽŠé ˇďźŒç?žĺœ¨ćˆ‘ĺ€‘ć‰€čŚ‹ĺˆ°çš„ć˜Żĺ…ĺ? ĺš´äťŁćœŤć”šćˆ? ćŞ˘ç–Ťć‰€ĺžŒçš„č¨č¨ˆă€‚č—?čĄ“ĺŽśĺ¸Œćœ›é€šé Žčž¨ĺˆĽĺťşçŻ‰çľ?構的 ćœŹčłŞďźŒäťĽä¸?ĺ?Œçš„誇埾〠ćŞć›˛ć‰‹ćł•äž†ĺ‡¸éĄŻçŠşé–“ĺ˜ĺœ¨çš„ č?’čŹŹäš‹č™•ďźŒă€Šé€Łçľ?ćˆ?ç‚şéšœç¤™ă€‹éšąĺ–ťć‰€čŹ‚ĺœ˜çľ?ďźŒĺ…śĺŻŚ ć˜Żä¸€ç¨Žćśˆč€—ç¤žćœƒć‰ščŠ•çš„ć‰‹ćŽľďźŒä˝żĺ…śĺœ¨ç–畼性的拖坜 äš‹ä¸‹č‡Şç„śćśˆĺ˝Œĺ™Şé&#x;łă€‚çœźä¸‹äźźć˜Żč€Œé?žäš‹čŤ–ďźŒĺœ¨ĺ¤§ç’°ĺ˘ƒ 裥ĺ?ťç•°ĺ¸¸éĄŻĺž—ćŁç•śćœ‰ç?†ă€‚
 The Cattle Depot in which this exhibition is set is a structure over a hundred years old; its layout has experienced many changes. What we see today is the design change at the end of the 1960s after the building was converted into a animal quarantine facility. Kong’s practice identifies the nature of the architectural structure and then exaggerates and manipulates it to show the absurdity of the space. Unite as an Obstacle is a metaphor for the cry of so-called unity that is actually a way to nullify the criticism in society by letting the noise die out naturally through strategic delay. The misleading call is being accepted as rightful under these circumstances. éŤ˜ĺ€Šĺ˝¤
 „ ƒ Burning offering during the Hungry Ghost Festival is a Chinese tradition to appease the ghosts of those who died of unnatural causes. On Fire 2018 is C&G's typical community art project. During the Hungry Ghost Festival, C&G invites other artists to make paper offerings to offer to the underworld gods toto complain or curse on social affairs?. When injustice is not righted in the living world, justice is always sought through supernatural powers, which is common throughout human history. One of the
ĺŽˆčˇč€… ä¸‰é ťéŒ„ĺƒ?〠醍療ĺą?風 éŤ˜ĺ€Šĺ˝¤çš„ĺ‰ľä˝œćŻ?ćŻ?ç’°çšžč‘—ĺ&#x;Žĺ¸‚ä¸çš„ĺťşçŻ‰ç‰šĺžľďźŒçś“é Ž ĺĽšć”šé€ é‡?ĺĄ‘çš„é Žç¨‹äž†éĄŻç?žĺ…śä¸çš„č?’čŹŹďźŒă€ŠĺŽˆčˇč€…》 ä¸ďźŒč—?čĄ“ĺŽśč‡ŞčĄŒčŁ˝ä˝œäż?襛的é?ľçľ˛çś˛ďźŒčĄ¨é?˘ä¸Šć˜Żäż?čˇ ĺŽ‰ĺ…¨çš„é “ĺ…ˇďźŒä˝†ĺœ¨ć›´ĺ¤šć™‚ĺ€™ć˜ŻçŽ?ĺˆśäşşčşŤč‡Şç”ąçš„ć‰‹ ćŽľă€ äťĽçŚ ć˘äťťć„?犿ć˘ä¸?ĺ?Œĺœ°ć–šă€‚é€?é ŽčŁ?ç˝Žčˆ‡ĺ˝ąç‰‡ä¸ é‡?č¤‡äťĽć‰‹ĺĄ‘é€ ç‰Šäťśçš„é Žç¨‹ďźŒć??醒觀者ĺ&#x;Žĺ¸‚ĺ°?ä˝?ć°‘çš„ ä¸?äżĄäťťďźŒč§€ĺŻ&#x;ç’°ĺ˘ƒä¸ç‰šć„?形契出䞆的ĺ?€éš”ďźŒĺ?Œć™‚ĺ?? 應嚴菚çľ?構ä¸çš„ĺž’ĺ‹žčˆ‡č?’菏。
ă€ŒĺžŒćŽ–ć°‘ä¸Śä¸?ć˜Żć„?味掖民的羂çľ?ďźŒč€Œć˜ŻćŽ–ć°‘çš„éšąč”˝ĺŒ–ĺ’Œč¤‡é›œĺŒ–ă€‚ă€?——周č?Żĺąąă€ŠĺžŒćŽ–ć°‘ĺ?Œĺż—》
丝螌ćŠ&#x;構 Presented by
牛 棚 č—? 襓 ć?‘ č™&#x; ĺ–Ž ä˝?
Facing the social stalemate at the moment and their shared interest in this city, artists create works to dissect their experience of the city, but bypassing existing sociological and political discourse. Through their own observation and research, their work is a microcosm that shows universal values of their city and liberates the civic rights within. The problem and pressure we face today in Hong Kong are the anxieties that the city felt in the nineties and now becoming a haunting nightmare. The artists use their unique vision to confront social events and in the process explore and examine art as a way of responding to social phenomena; their artistic practices transcend the bleak reality of the present. While striving for a change, their works are not bounded by the social movement itself.
錙港č—?čĄ“ç™źĺą•ĺą€ćœ‰ćŹŠĺ˘žć¸›ă€ ć›´ć?›ćź”ĺ‡şč€…ćˆ–ć›´ć”šĺˇ˛ĺ…Źĺ¸ƒçš„çŻ€ç›Žă€‚ĺŚ‚ćœ‰çˆč°ďźŒéŚ™ć¸Żč—?襓癟幕 幀äż?ç•™ćœ€çľ‚ćąşĺŽšćŹŠă€‚ Hong Kong Arts Development Council reserves the right to add, withdraw or substitute artists and / or vary advertised programmes. In case of dispute, the decision of HKADC is final.
錙港č—?čĄ“ç™źĺą•ĺą€ĺ…¨ĺŠ›ć”ŻćŒ č—?čĄ“čĄ¨é ”č‡Şç”ąďźŒćœŹč¨ˆĺŠƒĺ…§ĺŽšä¸?äťŁčĄ¨ćœŹĺą€ĺ?Šč´ŠĺŠŠĺ–Žä˝?çš„çŤ‹ĺ ´ă€‚ Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council and the Funder.
BORROWED SCENERY
Borrowed Scenery was originally a technique used in traditional garden design, where the scenery outside of the garden are framed by various architecture elements and introduced to the premise. In this exhibition, we utilise a colonial building over a hundred years old as a backdrop to showcase contemporary artwork by local artists, who each tell their own life story in unique ways.
ç–ĺŠƒĺ?ŠčŁ˝ä˝œ Curated and Produced by
傳媒䟙䟴 Meida Partner
茖茺�襓幕茽
ç‰šĺˆĽéł´čŹ? Special Thanks
Ocean Leung and Lai Lon Hin reconstruct snippets of their own distinctive visions in the physical space and linear time, respectively. Sarah Lai’s process of painting emphasises the visual features of the city’s inhabitants. Ko Sin Tung reconstruction of hygienic apparatus as a metaphor to the city. Kong Chun Hei rebuilds the space to demonstrate barriers created by the metropolis. C&G’s work exhibit their double identity. On one hand, On the Fire 2018 collaboration with other artists is their work in the community to express the injustice in the city. On the other hand, they are parents with two daughters and have a different way of understanding identity and long-term vision of Hong Kong. Vvzela Kook’’s series Confidential Record fictionalises the memory of Hong Kong; the world built in science fiction always show a certain facet of reality and has an uncanny resemblance to the current situation.
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Ko Sin Tung’s creative process has always reflected on architectural elements in the urban landscape and exposed an inherent absurdity through processes of recreation. In Guardian, the artist recreates various types of barbed wires. On the surface these elements act as protective devices, but are in fact implements that impede on physical liberties; limiting freedom of movement. By recreating an automated manufacturing process by hand, as seen in the video, Ko is reflecting on Hong Kong’s lack of trust in the citizenry. The city builds barriers between different environments, and at the same time these vigorous structures are totally pointless and ludicrous.
The artist often takes a unique perspective in capturing detailed closeups of things, events, and places in daily life; some are frames of still images, while some are momentary moving images. The varying distance between the photographer and subject of concern and the frame of the camera can all aptly narrate a main idea; the artist makes use of the mobile phone he carries daily to observe the city and the convergent overlap between his gaze and technology is a normality that could not be more natural for contemporary people. Black Dream creates a looped video out of the precious fragments in daily chores and forms a new stream-of-consciousness-like narrative.
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The artist focuses on the details of humanity’s communal living through the meticulous process of painting. F26 and 806 depicts two images from instances noticed by the artist where numbers are being written on human hands. One is the marking of a number on the hands of those arrested by the police in recent protest activities as photographed by journalists; another is voters in elections writing a number on their hands as a hidden signifier of their desired candidate. “Brandingâ€? is now often understood as the establishment and marketing of a brand; but its original definition means “the action of marking with a branding ironâ€?, and historically it has long been used for the marking of criminals. Whether markings on the bodies of humans or animals, or graffiti markings on architecture, they are all a way of declaring authority; even within a consumerist society and the postmodern city, we could still categorise and attribute ourselves like objects through a process that alludes to commodification and objectification. čł´ćœ—é¨Ť 靑夢 ĺžŞç’°éŒ„ĺƒ? č—?襓厜慣常䝼兜ç?¨ç‰šçš„çœźĺ…‰ďźŒć“ˇĺ?–ç”&#x;ć´ťć‰€čŚ‹äş‹ç‰Šĺ ´ ć™Żçš„ĺą€éƒ¨ç‰šĺŻŤďźŒćœ‰çš„ć˜Żĺ‡?çľ?çš„é?œć…‹ĺŽšé?ĄďźŒćœ‰çš„ć˜Ż 剎那的動態役ĺƒ?。ć”?役帍čˇ&#x;袍ć”?丝鍔的čˇ?é›˘ćˆ–é•ˇ ćˆ–ç&#x;ďźŒç›¸ćŠ&#x;çš„čŚ–ćĄ†éƒ˝ćœƒć °ĺˆ°ĺĽ˝č™•čŞŞĺ‡şé‡?éťžďźŒč—?襓厜 ä˝żç”¨ĺšłć™‚éš¨čşŤć”œĺ¸śçš„ć‰‹ć??雝芹觀ĺŻ&#x;ĺ&#x;Žĺ¸‚ďźŒç§‘ćŠ€čˆ‡ĺ‡? čŚ–äş¤äş’ĺą¤ç–ŠďźŒćˆ?ç‚şç?žäťŁäşşĺ†?自焜ä¸?é Žçš„ĺ¸¸ć…‹ă€‚ă€Šéť‘ 夢》將這些旼常瑣事的ĺ?‰ĺ…‰ç‰‡çž˝ä¸˛é€Łĺœ¨ćˆ?é‡?複垪環 錄ĺƒ?ďźŒçľ„ĺ?ˆćˆ?ć„?č˜ćľ čˆŹçš„ć–°ć•˜äş‹ă€‚
� € Confidential Record is the artist’s ongoing science fiction artwork series. The work anchors on a world in the not too distant future, where artificial intelligence has surpassed human intelligence and rule over, rather than service, humanity. To consolidate their regime, artificial intelligence initiate the arrest of “pure blood humans�. At the same time, humans hide away in the original Hong Kong Kowloon Walled City, as it would be if it was never demolished, and use various underground means to try to overthrow the artificial intelligence regime. In the world imagined by the artist, the world is separated between the overground city ruled by artificial intelligence and the underground Kowloon Walled City. The city’s inhabitants lost control over the city that they built and turn to various strategies to regain their right of survival; they are seen as freedom fighters among allies and terrorists among enemies. At the same time, the undemolished Kowloon Walled City becomes the last stronghold of human survival in the future. The reorganisation of the relationship between the new city and old city narrates the story of a parallel universe where the past connects with the future. This series of artworks makes use of science fiction to consider actual political and moral issues from different levels, as well as to metaphorize and imagine urban aesthetics through datasets and images conjured by the artist.
We are glad that we can present a brand new exhibition Borrowed Scenery and performance Flâneur to the audience in Hong Kong. The observation of the city and artistic practice of Hong Kong artists bring the unique cultural language of the city to the fore in response to the present situation. We hope this exhibition can unite cultural perception, artistic interpretation, globalised city and its systemic development through artist practice, to pursue a wider discussion into city development in the 21st century.
ć‰€ćœ‰ĺ?ƒĺą•č—?čĄ“ĺŽśčˆ‡čˆžč€…ă€ JCNAPĺœ˜éšŠă€ éŚ™ć¸Żč—?襓ä¸ĺżƒă€ č”ĄéŽ§ćŁ‹ă€ éťƒç†™ĺŠˇă€ ä˝•ĺ…†ĺ?—ă€ é™¸ćľŠć˜Ž All participating artists and dancers, JCNAP team, Hong Kong Arts Centre, Jenny Choi, South Ho, Joyce Wong, Andrew Luk
newartspower
The third edition of JOCKEY CLUB New Arts Power present a variety of programmes that includes dance, theatre, music, visual arts exhibition, and school activities, as well as site specific events and community celebrations. Come join us at the festival, indulge yourself with the feast of arts, joy and extraordinary cityscape! With the support of HKADC, Hong Kong artists have showcased their works in the internationale tanzmesse nrw in DĂźsseldorf, Germany, China International Youth Arts Festival, “Meet in Beijingâ€? Arts Festival, “Hong Kong Theatre Monthâ€? in 1862 Theatre and Emerging Curators Project in Power Station of Art in Shanghai, touring at Theatres in the Guangdong-Hong Kong-Macao Greater Bay Area, and Thailand Biennale. Overseas arts practitioners and general audiences abroad have the chance to enjoy the finest works of art that are proudly created in Hong Kong. Having been inspired through their touring experiences, these Hong Kong’s talents are ready to further develop and put on their best works in the upcoming JOCKEY CLUB New Arts Power.
The artists participating in this exhibition grew up at a time when the metropolis has already formed. To those who were brought up in the city at the end of the 20th century, their lives and the city itself are inseparable. The conflict in the past few months has exposed to the public the myriad contradictions ordinarily hidden within the intricate structure of the city. The technocrats, most of whom are without belief to serve the public good, strengthen their power within the complicated local interests and relations. The government privatise public services a-la-neoliberalism mode and turn them into the private properties of the affluent, which in turn became various hegemonies. At the same time, the public is unable to check and balance government power through a comprehensive regulation system. The top officials stopped listening to the needs of the people and thus became autocratic. The discontent built up over a long period finally exploded into a volatile situation for the city and its systems.
Life inspires art, and art enriches life. In order to foster the exchange of ideas in society, JOCKEY CLUB New Arts Power unites art groups and various organisations from the social welfare, academic and commercial sectors. Such collaboration brings about a wide range of free events, such as mobile stages that integrate with the community surroundings, creative workshops, guided tours, and open rehearsals. When art is no longer confined to the limits of conventional theatres and galleries, artists can reinterpret their works from a fresh perspective in relation to the urban environment. These interactions allow those who rarely take part in art activities to get a taste of artistic experience, and be able to relate to these artists who were born and raised in the same city.
The relationship between power and exploitation between the coloniser and colonised as described by colonialism theory in the past, has been largely expanded into unequal opposition caused by power inequality among different social groups. This exhibition stems from the imagination of urban space through an artistic vision, and reflects on the will of architecture in the city development of Hong Kong, thereby providing an indirect critique on neocolonialism under the disguise of neoliberalism.
Over the past two years, 28 arts groups were involved in JOCKEY CLUB New Arts Power. Together they produced 48 live performances, a remarkable number of major exhibitions, over 300 sessions of community and school events, resulting in a remarkable outcome of up to 270,000 participants. After two years of dedicated effort in connecting local creative talents with the community, JOCKEY CLUB New Arts Power is becoming one of the most anticipated annual arts festivals in Hong Kong.
“Post-colonial does not mean the end of colonialism but the concealment and complication of colonisation,â€? Post-colonial Tongzhi Chou Wah-shan. ĺžˆćŚŽĺš¸ć–ź2019ĺš´çľ‚ďźŒčƒ˝ç‚şéŚ™ć¸Żč§€çœžĺ¸śäž†ĺ…¨ć–°ĺą•čŚ˝ă€Œĺ€&#x;景ă€?čˆ‡ĺťśäź¸čˆžčšˆčĄ¨ćź”ă€Œé€śčż¤ă€?。é€?é ŽćœŹĺœ°č—?襓厜ĺ°?ĺ&#x;Ž 市的觀ĺŻ&#x;čˆ‡č—?襓富č¸?ďźŒäťĽéŚ™ć¸Żç?¨ç‰šçš„ć–‡ĺŒ–čŞžč¨€ĺ›žć‡‰ĺ&#x;Žĺ¸‚ç?žćł 。幕茽ćœ&#x;čƒ˝äťĽč—?襓富č¸?ä¸˛é€Łć–‡ĺŒ–ć„&#x;ç&#x;Ľă€ č—?襓解 莀〠全ç?ƒĺŒ–ĺ&#x;Žĺ¸‚čˆ‡ćŠ&#x;ĺˆśç™źĺą•ç‰č°éĄŒďźŒĺ°?äşŒĺ? 一世紀ĺ&#x;Žĺ¸‚癟幕所é?˘ĺ°?çš„ĺ•?éĄŒĺą•é–‹č¨ŽčŤ–ă€‚
The Hong Kong Arts Development Council (HKADC) has been holding JOCKEY CLUB New Arts Power since 2017. The arts festival, taking place from September to January of the following year, focuses on presenting local artists who are flourishing and esteemed in the global arts scene. Through a series of arts events, the festival creates an artistic experience that is innovative, outstanding, and filled with uniquely local elements.
ć˘ ĺžĄć?ąčˆ‡čł´ćœ—é¨Ťĺˆ†ĺˆĽĺžžç‰Šç?†çŠşé–“čˆ‡ć™‚é–“çˇšć€§ĺ‡şç™źďźŒä˝ˆç˝Žčˆ‡é‡?羄片掾厝ç?žç¤şäť–們ĺ?„自ç?¨ç‰šçš„觀非靎ĺ?“ č?ŻĺˆŠç”¨çšŞç•Ťé Žç¨‹ĺźˇčŞżĺ&#x;Žĺ¸‚ä˝?ć°‘čşŤäť˝çš„čĄ¨ĺžľďź›éŤ˜ĺ€Šĺ˝¤äťĽčĄ›ç”&#x;ç›¸é—œç‰Šäťśç‚şčĄ¨ĺžľďźŒéŤ”ç?žĺ&#x;Žĺ¸‚çľ?構鄺鎎猧則 é€?é Žé‡?羄犺間䞆攞大ĺ&#x;Žĺ¸‚產ç”&#x;的隔閥。C & G çš„ä˝œĺ“ éĄŻç¤şäť–ĺ€‘çš„é›™é‡?čşŤäť˝ďźŒä¸€ć–šé?˘é•ˇćœ&#x;é€?é Žč—?襓富č¸? 桹兼礞ĺ?€ďźŒĺœ¨ă€Šç‡’數簿》ĺ?ŻčŚ‹ĺˆ°äť–們連çľ?ĺ…śäť–č—?čĄ“ĺŽśčˆ‡ĺœ¨ĺœ°ç’°ĺ˘ƒďźŒäťĽč¨´čŞŞĺ?„税ä¸?兏瞊一斚é?˘äť–們äš&#x;ć˜Żĺ…Š ĺĽłçš„çˆśćŻ?ďźŒĺą•ç?žĺ°?čşŤäť˝čˆ‡ĺ&#x;Žĺ¸‚镡é ćœŞäž†ç™źĺą•çš„çœ‹ćł•ă€‚ć›˛ćˇľćžˆçš„ă€ŠćŠ&#x;ĺŻ†éŒ„ă€‹ćƒłĺƒ?果犺的錙港ĺ&#x;Žĺ¸‚č¨˜ć†śďźŒç§‘ĺšť ĺ°?čŞŞć‰€ĺťşć§‹çš„ä¸–ç•Œĺž€ĺž€ĺ??ć˜ äş†ç?žĺŻŚçš„ć&#x;?ä¸€éƒ¨ĺˆ†ďźŒčˆ‡ç?žćł 彡彿既é ĺ?ˆčż‘。
JOCKEY CLUB NEW ARTS POWER çŹŹä¸‰ĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ć–ź2019ĺš´9ćœˆč‡ł2020ĺš´1ćœˆĺ‘ˆç?ťĺ…ąäš?ĺ€‹çŻ€ç›ŽďźŒćśľč“‹čˆžčšˆă€ ćˆ˛ĺŠ‡ă€ é&#x;ł 樂ĺ?ŠčŚ–茺č—?čĄ“ďźŒä¸Ść–źä¸?ĺ?Œĺ ´ĺ&#x;&#x;ç–動礞ĺ?€ĺ?Šĺ¸ć Ąć´ťĺ‹•ďźŒčŞ é‚€ćœŹĺœ°č§€çœžĺ?ƒčˆ‡ĺ…śä¸ďźŒç›Ąćƒ…鍔銗č—?襓的盎 焜匙蜣。
ă€Œĺ€&#x;景ă€?ćœŹç‚şĺ‚łçľąĺœ’ćž—ćŠ€ĺˇ§ďźŒĺ€&#x;ç”¨çŠşé–“äťĽĺ¤–çš„ć™Żč‰˛ĺź•ĺ…ĽĺŽ¤ĺ…§ďźŒč€Œĺą•čŚ˝ĺ€&#x;用了一座癞嚴ćˇĺ?˛çš„ćŽ–ć°‘ĺœ°ĺťşçŻ‰ä˝œç‚ş čƒŒć™ŻďźŒäťĽćœŹĺœ°č—?襓厜的畜䝣č—?čĄ“ä˝œĺ“ ă€ ĺ?„č‡Şçš„é˘¨ć źč¨´čŞŞĺœ¨é€™ĺ€‹ĺœ°ć–šç”&#x;洝的故事。
č—?襓ćş?ć–źç”&#x;ć´ťďźŒäşŚčƒ˝čą?ĺŻŒç”&#x;洝。為了ĺ•&#x;癟礞ĺ?€äš‹é–“更多ĺ°?čŠąďźŒă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?推動č—?čĄ“ĺœ˜éšŠ čˆ‡ç¤žçŚ?〠ĺ¸ç•Œĺ?Šĺ•†ç•Œĺ?ˆä˝œďźŒčˆ‰čžŚä¸€çłťĺˆ—形ĺź?ĺ¤šĺ…ƒçš„ĺ…?č˛ťć´ťĺ‹•ďźŒĺŒ…ć‹Źčľ°ĺ‡şĺ‚łçľąčˆžĺ?°ă€ 桹兼礞ĺ?€çš„ćľ ĺ‹• čˆžĺ?°ă€ č—?čĄ“ĺŽśĺˆ†äşŤĺ°?荇〠剾ć„?ĺˇĽä˝œĺ?Šă€ ĺ°Žčłžĺœ˜ĺ?Šĺ…Źé–‹çśľćŽ’ç‰ă€‚ç•śč—?襓ä¸?ĺ†?幀é™?ć–źĺŠ‡ĺ ´ĺ’Œč—?čĄ“é¤¨ďźŒč—? čĄ“ĺŽśĺžžĺś„ć–°č§’ĺşŚćź”çššä˝œĺ“ ďźŒčž?兼礞ĺ?€çš„ĺœ¨ĺœ°é˘¨ć™Żďź›é Žĺž€éŽŽćœ‰ćŽĽč§¸č—?襓的ć—?çž¤ďźŒäşŚĺ?Żé€?é Žé€™äş›ć´ťĺ‹•čˆ‡ ĺœ&#x;ç”&#x;ĺœ&#x;镡的č—?čĄ“ĺŽśäş’ç›¸ĺ…ąéł´ă€‚ĺœ¨č—?ç™źĺą€çš„ć”ŻćŒ ä¸‹ďźŒéŚ™ć¸Żč—?襓厜ĺ?ƒĺŠ äş†ĺžˇĺœ‹ć?œĺĄžçˆžĺ¤šĺ¤Ťĺœ‹éš›čˆžčšˆĺ?ščŚ˝ ćœƒă€ ä¸ĺœ‹ĺœ‹éš›é?’ĺš´č—?čĄ“çŻ€ă€ ç›¸ç´„ĺŒ—äşŹč—?襓節〠1862時尚č—?襓ä¸ĺżƒéŚ™ć¸Żćˆ˛ĺŠ‡ćœˆă€ ç˛ľć¸Żćžłĺ¤§ç Łĺ?€ĺŠ‡é™˘ĺˇĄ 柔〠上澡畜䝣č—?襓ĺ?šç‰Šé¤¨ă€ ćł°ĺœ‹čŚ–čŚşč—?襓雙嚴幕〠é?’ĺš´ç–ĺą•äşşč¨ˆĺŠƒ 2018ç‰ďźŒĺ?‘ĺœ‹éš›ĺ?ŒćĽĺ?Šć™Žçž…觀 çœžĺą•ç¤şéŚ™ć¸Żĺź•äťĽç‚şĺ‚˛çš„č‡ŞĺŽśč—?čĄ“ä˝œĺ“ ďźŒé€™ć‰šč¸?čśłĺœ‹éš›č—?壇的č—?襓節盎將蟉č˝ć¸äž†ďźŒĺœ¨ćœŹĺš´ĺşŚă€Œčł˝éŚŹ ćœƒč—?壇新勢力ă€?é€?ä¸€äşŽç›¸ďźŒäťĽéĽ—ćœŹĺœ°č§€çœžă€‚
é?˘ĺ°?ç•śäťŠç¤žćœƒĺ›°ĺ˘ƒďźŒč—?čĄ“ĺŽśé€šé Žĺ&#x;Žĺ¸‚這個兹ĺ?ŒčŠąéĄŒďźŒçšžé ŽćŠ˝čąĄçš„ç¤žćœƒĺ¸ćˆ–政沝ĺ¸čĄ“čŞžďźŒé€?é Žç´°ĺżƒč§€ĺŻ&#x;čˆ‡ç ” çŠśďźŒäťĽĺ‰ľä˝œç?†ć€§ć‹†č§Łäť–們é é ‡çš„ĺ&#x;Žĺ¸‚ç?žčąĄďźŒčŠŚĺœ–䝼垎觀ĺź?ä˝œĺ“ čĄ¨ç?žĺŽ?č§€ĺƒšĺ€źďźŒč§Łć”žĺ&#x;Žĺ¸‚兏民的揊力。錙港 ćŁĺœ¨é é ‡çš„ĺ?„ç¨ŽĺŁ“čżŤďźŒäš?ĺ? 嚴䝣常荇ĺ?Šĺ&#x;Žĺ¸‚ĺ?Żčƒ˝ĺ¸śäž†çš„ç„Ść…ŽďźŒĺˆ°äťŠĺ¤Šĺˇ˛ćˆ?為夢é˜ă€‚č—?襓厜䝼䝖們ç?¨ç‰šçš„çœźĺ…‰ ç›´čŚ–ć™‚äş‹ďźŒä¸Śĺœ¨é Žç¨‹ä¸ćŽ˘ç´˘čˆ‡ćŞ˘čŚ–äťĽč—?čĄ“ä˝œç‚şĺ??ć€?ĺ›žć‡‰éƒ˝ĺ¸‚ç?žčąĄçš„ć–šĺź?ďźŒĺœ¨ç•śäťŁĺš´ĺłťçš„ćƒ…ĺ‹˘ä¸‹äť?ç„śćœ‰ć•ˆďźŒĺœ¨ ćœ&#x;ćœ›ć”ščŽŠç?žćł ć™‚ďźŒĺ?ˆä¸?囿斟č—?čĄ“ĺœ¨ç¤žćœƒé ‹ĺ‹•ä¸ćœŞčƒ˝ĺźˇčŞżč—?襓性的狀態。 ć˜ŻćŹĄĺ?ƒĺą•č—?čĄ“ĺŽśçš†ć˜Żç”&#x;ć–źç?žäťŁéƒ˝ĺ¸‚塲ćˆ?ĺ˝˘çš„ć™‚äťŁďźŒĺ°?出ç”&#x;丌ç”&#x;é•ˇĺœ¨äşŒĺ? ä¸–ç´€ćœŤĺ&#x;Žĺ¸‚çš„äşşäž†čŞŞďźŒç”&#x;ć´ťčˇ&#x;隨ĺ&#x;Ž ĺ¸‚č„ˆĺ‹•ć—Šĺˇ˛ĺŻ†ä¸?ĺ?Żĺˆ†ă€‚çś“é Žć•¸ĺ€‹ćœˆçš„ç¤žćœƒäş‹äťśďźŒćœŹäž†éšąć˛’ĺœ¨é€™ĺ€‹ĺ&#x;Žĺ¸‚細密çľ?構畜ä¸çš„荸多ç&#x;›ç›žďźŒĺŽŒĺ…¨č˘ŤćŠŤ éœ˛ĺœ¨ĺ…Źçœžé?˘ĺ‰?ďźšçźşäš?äżĄĺżľçš„ćŠ€čĄ“ĺŽ˜ĺƒšĺœ¨éž?é›œçš„ĺœ°ć–šé—œäż‚ä¸éž?ĺ›şĺ‹˘ĺŠ›ďźŒäťĽć–°č‡Şç”ąä¸ťçžŠçš„ç§ ćœ‰ĺŒ–ć¨Ąĺź?ĺ°‡ĺ…ŹçœžĺˆŠ 益莊ćˆ?ćŹŠč˛´çš„ç§ ç”˘ă€ čą˘é¤Šĺ?„ç¨Žéœ¸ćŹŠďźŒĺ?Œć™‚甹斟荸多ĺŽ&#x;ĺ› ďźŒĺ…Źçœžç„Ąćł•é€?é Žĺ Ľĺ…¨çš„ç›ŁĺŻ&#x;çłťçľąäťĽĺˆśčĄĄć”żĺşœćŹŠĺŠ›ďźŒ ä¸Šĺą¤ĺŽ˜ĺ“ĄćœŞčƒ˝č †č ˝ĺ¸‚ć°‘çš„č¨´ćą‚č€Œç?¨ć–ˇç?¨čĄŒďźŒé•ˇćœ&#x;é†žé‡€çš„ĺŁ“ĺŠ›ćœ€çľ‚ĺ°Žč‡´ĺ&#x;Žĺ¸‚čˆ‡éŤ”ĺˆśçš„ĺŠ‡çƒˆéœ‡ç›Şă€‚
é ŽĺŽťĺ…Šĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ĺ…ąćœ‰äşŒĺ? 免個č—?襓喎ä˝?ĺ?ƒčˆ‡ďźŒčŁ˝ä˝œĺ››ĺ? ĺ…Ťĺ ´ä¸?ĺ?ŒéĄžĺž‹ćź”出ĺ?Šĺ¤šĺ€‹é‡? éťžĺą•čŚ˝ďźŒä¸Śç–ĺŠƒčś…é Žä¸‰ç™žĺ€‹ç¤žĺ?€ĺ?Šć Ąĺœ’ć´ťĺ‹•ďźŒç¸˝ĺ?ƒčˆ‡äşşćŹĄéŤ˜é ”äşŒĺ? 七č?Źă€‚çś“é Žĺ…Šĺš´č€•č€˜ďźŒă€Œčł˝éŚŹćœƒ č—?壇新勢力ă€?çŠ?漾連çľ?礞ĺ?€ĺ?Šć”ŻćŒ č—?襓的ćŠ&#x;ć§‹ĺ’Œç¤žĺœ˜ďźŒç™źĺą•ćˆ?ç‚şćŻ?ĺš´çœžć‰€ćœ&#x;ĺž…çš„ćœŹĺœ°č—?襓節。 錙港č—?čĄ“ç™źĺą•ĺą€ďźˆč—?癟幀自2017ĺš´éŚ–ćŹĄčˆ‰čžŚă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ďźŒć–źćŻ?ĺš´9ćœˆč‡łçżŒĺš´1ćœˆćœ&#x;é–“ďźŒ çľ?é›†ĺœ¨ćľˇĺ¤–č—?ĺŁ‡çśťć”žç•°ĺ˝Šçš„ćœŹĺœ°č—?čĄ“ĺŽśďźŒĺ‘ˆç?ťä¸€çłťĺˆ—č—?čĄ“ć´ťĺ‹•ďźŒç‚şç¤žćœƒĺ?„ç•Œĺ¸śäž†ĺ‰ľć„?ă€ ć°´ćş–čˆ‡ćœŹĺœ&#x; 色彊兟丌的č—?襓鍔銗。
é Žĺž€ćŽ–ć°‘ä¸ťçžŠčŁĄć‰€ć??čż°ĺŽ—ä¸ťĺœ‹čˆ‡ćŽ–ć°‘ĺœ°äš‹é–“ćŹŠĺŠ›čˆ‡ĺ‰?ĺ‰Šçš„é—œäż‚ďźŒĺœ¨ç•śäťŠĺˇ˛äź¸ĺťśç‚şç¤žćœƒä¸Šĺ?„税揊力塎異所產 ç”&#x;çš„ä¸?ĺšłç‰ĺ°?çŤ‹ă€‚ć˜ŻćŹĄĺą•čŚ˝ĺžžĺ°?ĺ&#x;Žĺ¸‚çŠşé–“çš„ćƒłĺƒ?é–‹ĺ§‹ďźŒćœ&#x;čƒ˝é€?é Žč—?čĄ“čˆ‡ĺ‰ľä˝œďźŒćŠ˜ĺ°„é Žĺž€äşŒĺ? 嚴錙港ĺ&#x;Žĺ¸‚癟 ĺą•čƒŒĺžŒĺťşçŻ‰çš„ć„?ĺż—ďźŒé–“ćŽĽć‰šĺˆ¤ć–°č‡Şç”ąä¸ťçžŠĺŒ…čŁ?ä¸‹č˘ŤĺťśçşŒçš„ć–°ćŽ–ć°‘ć¨Ąĺź?。
čł˝éŚŹćœƒč—?壇新勢力 ç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Šçš„ćƒ…ć„&#x; ĺ¤šé ťéť‘ç™˝éŒ„ĺƒ?〠鋟 č’™ĺ¤ŞĺĽ‡ć˜Żĺ°‡ä¸?ĺ?Œç•Ťé?˘ĺ‰ŞćŽĽč‡łĺ–Žä¸€ć™‚é–“çˇšä¸ŠďźŒĺˆŠç”¨ç‰‡ 掾的羄ĺ?ˆčŹ›čż°ć•…äş‹çš„ć‰‹ćł•ă€‚ĺœ¨ă€Šç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Š çš„ćƒ…ć„&#x;》ä¸ďźŒč—?čĄ“ĺŽśĺťşć§‹ĺ‡şä˝œĺ“ çš„çŠşé–“ďźŒä¸€ć–šé?˘ ĺ›žć‡‰ç‰›ćŁšçš„ĺťşçŻ‰ĺŻŚéŤ”ďźŒä¸€ć–šé?˘ĺœ¨çŠşé–“ä¸ä˝ˆç˝Žäť–ć‹?ć”? 的錄ĺƒ?ç‰‡ćŽľďźŒé€?é Žé‡?çľ„čˆ‡ĺˆ†éš”äž†äş¤çš”ĺ‡şć•?事。č—?襓 ĺŽśĺˆŠç”¨é Žĺž€ć‹?ć”?ç´€éŒ„ç‰‡çš„çś“éŠ—ďźŒĺœ¨ä˝œĺ“ ä¸ĺ‘ˆç?žä¸ťč§€ čˆ‡ĺŽ˘č§€äş¤äş’čžŻč‰çš„役ĺƒ?ďźŒć??寍ç?žĺŻŚä¸ĺ˜ĺœ¨çš„一税濛 ć˜§ćƒ…ć„&#x;。
� � �    € ‚ ƒ € ‚ Montage is an editing technique where different footage are edited into a single timeline to tell the narrative through the composition of them coming together. In Encounters (Never Mind the Cloying Sentiments), the artist creates a space for the artwork that on the one hand, responds to the actual architecture of the Cattle Depot; on the other hand, different clips recorded by the artist are arranged in the space and a narrative is formed by their reconstruction and separation in space. The artist made use of his past experience of making documentaries to form dialectical images crossing the subjective and the objective; thus creating an obsured emotion that is rooted in reality.
turning points in the conflict this year is when the police entered the Prince Edward MTR station and attacked indiscriminately on August 31. At one of the station exits where C&G held their event, an altar was made for the victims of that incident. We might never know the truth of the incident, but nevertheless the ceremony itself became a venting outlet for the movement. When the voice of the people is not heard and the grudge is still held against the government, the only way we can solve the problem is perhaps seeking the help of a higher power. Shared language is the forming criterion of a community. Yet, since the beginning of colonial expansion, many indigenious languages of the colonies were replaced by the language of the coloniser due to their "inferiority" in civility. This process of clamping down on the independence of the indegenious culture and identity makes it easier for a tighter governance by the coloniser. Our Next Generation and Us shows the process of preparing Not as Trivial as You Think: Shanghai Art Quiz for last year’s Shanghai Biennale, where C&G learned to conduct their quiz in Mandarin by learning from their daughters. C&G themselves are the products of the British colonisation and their daughters are the products of the Hong Kong SAR. Through the differences in language skills between the two groups, it is easy to contrast the impact to the local culture in different times. 鄺鎎猧
ĺźľĺ˜‰čŽ‰ĺ?Šé„急ć•?(é˜żé‡‘) 燒數簿 ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? ƒ 盂č˜ă€ŒéŹźçŻ€ă€?ç‡’čĄŁć˜Żä¸€ĺ€‹ĺ‚łçľąçš„č?Żäşşçż’äż—ďźŒç”¨ć„?ć˜Ż 厉撍枉ćťçš„é?ˆé‚ă€‚ă€Šç‡’ć•¸ç°żă€‹ć˜ŻC&G典型礞ĺ?€č—?襓 č¨ˆĺŠƒďźŒĺœ¨ç›‚č˜çŻ€ç•śĺ¤Šé‚€čŤ‹č—?čĄ“ĺŽśĺ€‘čŁ˝ä˝œç´Žä˝œé “ĺ…ˇďźŒ ç„šç‡’ĺˆ°ă€Œé™°é–“ă€?䝼ĺ°?ç¤žćœƒçš„äş‹äťśä˝œĺ‡şćŠ•č¨´ă€ čŠ›ĺ’’ ç‰ďźŒäşşé–“çš„ä¸?兏瞊䚋事ä¸?čƒ˝č˘Ťć˜ć˜ŽďźŒč€Œéœ€ĺ°‹ćą‚蜅蜊 奾世的力é‡?厝嚳ĺ??ďźŒć˜Żĺ?¤äťŠä¸ĺ¤–éƒ˝ćœ‰çš„ç?žčąĄă€‚䝊嚴 抗çˆä¸çš„ĺ…śä¸ä¸€ĺ€‹č˝‰ć?ŠéťžďźŒć˜Ż8ćœˆ31ć—ĽčŚĺŻ&#x;ćŚčŁ?進 ĺ…Ľä¸Śĺ° éŽ–ĺœ°é?ľçŤ™ďźŒĺœ¨C&Gĺšłć™‚ć´ťĺ‹•ĺ ´ĺ&#x;&#x;ć— é‚Šçš„ĺœ°é?ľ 出ĺ?ŁďźŒé•ˇćœ&#x;ćœ‰äşşč¨ç˝ŽçĽĺŁ‡ĺź”忾。ç?žĺŻŚç„ĄčˇŻç”łč¨´çš„ĺ•? éĄŒäťĽĺ?Šç„ĄäťĽĺ??ç‹€çš„ć€¨ĺżżďźŒĺƒ…čƒ˝çĽˆćą‚çĽžć˜Žçš„é?žč‡Şç„śĺŠ› é‡?čƒ˝ĺ¤ č§Łćąşă€‚ ćˆ‘ĺ€‘ĺ’Œä¸‹ä¸€äťŁ ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? čŞžč¨€ć˜ŻäşşéĄžçž¤éŤ”ćˆ?ç‚şĺ…ąĺ?ŒéŤ”的漾é‡?čŚ ĺ°Žĺ› ďźŒč‡Şĺ¤§čˆŞ ćľˇć™‚äťŁč‡łäťŠčŤ¸ĺ¤šćŽ–ć°‘ĺŽ—ä¸ťďźŒĺ¸¸äťĽĺŽ&#x;ä˝?民語言低下為 ç?†ç”ąďźŒĺ ‚č€Œçš‡äš‹äťĽĺŽ—ä¸ťçš„čŞžč¨€ĺ?–č€ŒäťŁäš‹ďźŒćŠšćŽşĺŽ&#x;ä˝? ć°‘ć–‡ĺŒ–čˆ‡čşŤäť˝çš„ç?¨çŤ‹ć€§ďźŒäťĽé ”äžżĺˆŠçŽĄç?†äš‹ć•ˆă€‚ă€Šćˆ‘ ĺ€‘ĺ’Œä¸‹ä¸€äťŁă€‹ć˜ŻC&G為了準備上澡雙嚴幕的《上澡 床下底č—?襓常č˜ĺ•?ç”ćŻ”čł˝ă€‹ć™‚ďźŒć‰žäş†ĺĽłĺ…’ćŒ‡ĺ°Žäť–ĺ€‘ čŞŞć™Žé€ščŠąçš„ç´€éŒ„ĺ˝ąĺƒ?。C&Gć˜Żč‹ąćŽ–ć™‚ćœ&#x;çš„ç”˘ç‰ŠďźŒč€Œ äť–ĺ€‘çš„ĺĽłĺ…’ĺ‰‡ć˜ŻéŚ™ć¸Żç‰šĺ?€ć™‚äťŁçš„ç”˘ç‰ŠďźŒé€?é Žĺ…Šçľ„äşş čŞžč¨€ä¸Šçš„ĺˇŽç•°ďźŒčƒ˝čŚ‹ĺˆ°ä¸?ĺ?Œć™‚䝣政揊ĺ°?ćœŹĺœ°ć–‡ĺŒ–ĺ˝ą é&#x;żçš„痕补。
連çľ?ćˆ?ç‚şéšœç¤™ ä¸?é?˝é‹źçŽĄă€ é??鉝鋅ĺ?ˆé‡‘玥掼䝜 ĺą•čŚ˝ć‰€č™•çš„ç‰›ćŁšĺˇ˛çś“ć˜Żé Žç™žĺš´çš„ĺą ĺŽ°ĺ ´ďźŒĺ…śä¸çš„ä˝ˆ 幀嚞ćˇčŽŠé ˇďźŒç?žĺœ¨ćˆ‘ĺ€‘ć‰€čŚ‹ĺˆ°çš„ć˜Żĺ…ĺ? ĺš´äťŁćœŤć”šćˆ? ćŞ˘ç–Ťć‰€ĺžŒçš„č¨č¨ˆă€‚č—?čĄ“ĺŽśĺ¸Œćœ›é€šé Žčž¨ĺˆĽĺťşçŻ‰çľ?構的 ćœŹčłŞďźŒäťĽä¸?ĺ?Œçš„誇埾〠ćŞć›˛ć‰‹ćł•äž†ĺ‡¸éĄŻçŠşé–“ĺ˜ĺœ¨çš„ č?’čŹŹäš‹č™•ďźŒă€Šé€Łçľ?ćˆ?ç‚şéšœç¤™ă€‹éšąĺ–ťć‰€čŹ‚ĺœ˜çľ?ďźŒĺ…śĺŻŚ ć˜Żä¸€ç¨Žćśˆč€—ç¤žćœƒć‰ščŠ•çš„ć‰‹ćŽľďźŒä˝żĺ…śĺœ¨ç–畼性的拖坜 äš‹ä¸‹č‡Şç„śćśˆĺ˝Œĺ™Şé&#x;łă€‚çœźä¸‹äźźć˜Żč€Œé?žäš‹čŤ–ďźŒĺœ¨ĺ¤§ç’°ĺ˘ƒ 裥ĺ?ťç•°ĺ¸¸éĄŻĺž—ćŁç•śćœ‰ç?†ă€‚
 The Cattle Depot in which this exhibition is set is a structure over a hundred years old; its layout has experienced many changes. What we see today is the design change at the end of the 1960s after the building was converted into a animal quarantine facility. Kong’s practice identifies the nature of the architectural structure and then exaggerates and manipulates it to show the absurdity of the space. Unite as an Obstacle is a metaphor for the cry of so-called unity that is actually a way to nullify the criticism in society by letting the noise die out naturally through strategic delay. The misleading call is being accepted as rightful under these circumstances. éŤ˜ĺ€Šĺ˝¤
 „ ƒ Burning offering during the Hungry Ghost Festival is a Chinese tradition to appease the ghosts of those who died of unnatural causes. On Fire 2018 is C&G's typical community art project. During the Hungry Ghost Festival, C&G invites other artists to make paper offerings to offer to the underworld gods toto complain or curse on social affairs?. When injustice is not righted in the living world, justice is always sought through supernatural powers, which is common throughout human history. One of the
ĺŽˆčˇč€… ä¸‰é ťéŒ„ĺƒ?〠醍療ĺą?風 éŤ˜ĺ€Šĺ˝¤çš„ĺ‰ľä˝œćŻ?ćŻ?ç’°çšžč‘—ĺ&#x;Žĺ¸‚ä¸çš„ĺťşçŻ‰ç‰šĺžľďźŒçś“é Ž ĺĽšć”šé€ é‡?ĺĄ‘çš„é Žç¨‹äž†éĄŻç?žĺ…śä¸çš„č?’čŹŹďźŒă€ŠĺŽˆčˇč€…》 ä¸ďźŒč—?čĄ“ĺŽśč‡ŞčĄŒčŁ˝ä˝œäż?襛的é?ľçľ˛çś˛ďźŒčĄ¨é?˘ä¸Šć˜Żäż?čˇ ĺŽ‰ĺ…¨çš„é “ĺ…ˇďźŒä˝†ĺœ¨ć›´ĺ¤šć™‚ĺ€™ć˜ŻçŽ?ĺˆśäşşčşŤč‡Şç”ąçš„ć‰‹ ćŽľă€ äťĽçŚ ć˘äťťć„?犿ć˘ä¸?ĺ?Œĺœ°ć–šă€‚é€?é ŽčŁ?ç˝Žčˆ‡ĺ˝ąç‰‡ä¸ é‡?č¤‡äťĽć‰‹ĺĄ‘é€ ç‰Šäťśçš„é Žç¨‹ďźŒć??醒觀者ĺ&#x;Žĺ¸‚ĺ°?ä˝?ć°‘çš„ ä¸?äżĄäťťďźŒč§€ĺŻ&#x;ç’°ĺ˘ƒä¸ç‰šć„?形契出䞆的ĺ?€éš”ďźŒĺ?Œć™‚ĺ?? 應嚴菚çľ?構ä¸çš„ĺž’ĺ‹žčˆ‡č?’菏。
ă€ŒĺžŒćŽ–ć°‘ä¸Śä¸?ć˜Żć„?味掖民的羂çľ?ďźŒč€Œć˜ŻćŽ–ć°‘çš„éšąč”˝ĺŒ–ĺ’Œč¤‡é›œĺŒ–ă€‚ă€?——周č?Żĺąąă€ŠĺžŒćŽ–ć°‘ĺ?Œĺż—》
丝螌ćŠ&#x;構 Presented by
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Facing the social stalemate at the moment and their shared interest in this city, artists create works to dissect their experience of the city, but bypassing existing sociological and political discourse. Through their own observation and research, their work is a microcosm that shows universal values of their city and liberates the civic rights within. The problem and pressure we face today in Hong Kong are the anxieties that the city felt in the nineties and now becoming a haunting nightmare. The artists use their unique vision to confront social events and in the process explore and examine art as a way of responding to social phenomena; their artistic practices transcend the bleak reality of the present. While striving for a change, their works are not bounded by the social movement itself.
錙港č—?čĄ“ç™źĺą•ĺą€ćœ‰ćŹŠĺ˘žć¸›ă€ ć›´ć?›ćź”ĺ‡şč€…ćˆ–ć›´ć”šĺˇ˛ĺ…Źĺ¸ƒçš„çŻ€ç›Žă€‚ĺŚ‚ćœ‰çˆč°ďźŒéŚ™ć¸Żč—?襓癟幕 幀äż?ç•™ćœ€çľ‚ćąşĺŽšćŹŠă€‚ Hong Kong Arts Development Council reserves the right to add, withdraw or substitute artists and / or vary advertised programmes. In case of dispute, the decision of HKADC is final.
錙港č—?čĄ“ç™źĺą•ĺą€ĺ…¨ĺŠ›ć”ŻćŒ č—?čĄ“čĄ¨é ”č‡Şç”ąďźŒćœŹč¨ˆĺŠƒĺ…§ĺŽšä¸?äťŁčĄ¨ćœŹĺą€ĺ?Šč´ŠĺŠŠĺ–Žä˝?çš„çŤ‹ĺ ´ă€‚ Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council and the Funder.
BORROWED SCENERY
Borrowed Scenery was originally a technique used in traditional garden design, where the scenery outside of the garden are framed by various architecture elements and introduced to the premise. In this exhibition, we utilise a colonial building over a hundred years old as a backdrop to showcase contemporary artwork by local artists, who each tell their own life story in unique ways.
ç–ĺŠƒĺ?ŠčŁ˝ä˝œ Curated and Produced by
傳媒䟙䟴 Meida Partner
茖茺�襓幕茽
ç‰šĺˆĽéł´čŹ? Special Thanks
Ocean Leung and Lai Lon Hin reconstruct snippets of their own distinctive visions in the physical space and linear time, respectively. Sarah Lai’s process of painting emphasises the visual features of the city’s inhabitants. Ko Sin Tung reconstruction of hygienic apparatus as a metaphor to the city. Kong Chun Hei rebuilds the space to demonstrate barriers created by the metropolis. C&G’s work exhibit their double identity. On one hand, On the Fire 2018 collaboration with other artists is their work in the community to express the injustice in the city. On the other hand, they are parents with two daughters and have a different way of understanding identity and long-term vision of Hong Kong. Vvzela Kook’’s series Confidential Record fictionalises the memory of Hong Kong; the world built in science fiction always show a certain facet of reality and has an uncanny resemblance to the current situation.
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Ko Sin Tung’s creative process has always reflected on architectural elements in the urban landscape and exposed an inherent absurdity through processes of recreation. In Guardian, the artist recreates various types of barbed wires. On the surface these elements act as protective devices, but are in fact implements that impede on physical liberties; limiting freedom of movement. By recreating an automated manufacturing process by hand, as seen in the video, Ko is reflecting on Hong Kong’s lack of trust in the citizenry. The city builds barriers between different environments, and at the same time these vigorous structures are totally pointless and ludicrous.
The artist often takes a unique perspective in capturing detailed closeups of things, events, and places in daily life; some are frames of still images, while some are momentary moving images. The varying distance between the photographer and subject of concern and the frame of the camera can all aptly narrate a main idea; the artist makes use of the mobile phone he carries daily to observe the city and the convergent overlap between his gaze and technology is a normality that could not be more natural for contemporary people. Black Dream creates a looped video out of the precious fragments in daily chores and forms a new stream-of-consciousness-like narrative.
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č—?čĄ“ĺŽśäťĽçšŞç•Ťé€™ĺ€‹ç˛žç´°é Žç¨‹ďźŒč šç„ŚäşşéĄžé›†éŤ”ç”&#x;ć´ťçš„ ç´°çŻ€ă€‚ä˝œĺ“ ă€ŠF26》〠《806》ć??čż°č—?襓厜留ć„?ĺˆ° çš„ĺœ¨äşşéĄžć‰‹ä¸Šć›¸ĺŻŤć•¸ĺ—的兊個役ĺƒ?ă€‚ä¸€ĺ€‹ć˜Żč¨˜č€…ć‹? ć”?ĺˆ°čŚĺŻ&#x;ĺœ¨čż‘ćœ&#x;ç¤şĺ¨ ć´ťĺ‹•č˘Ťć?•äşşĺŁŤć‰‹ä¸Šć¨™č¨˜çˇ¨č™&#x;ďź› ĺ?Śä¸€ĺ€‹ĺ‰‡ć˜Żĺœ¨é ¸čˆ‰ćœ&#x;é–“ďźŒćœ‰é ¸ć°‘ĺœ¨ć‰‹ä¸ŠĺŻŤä¸‹ć•¸ĺ—ďźŒ ćš—č¨˜ĺąŹć„?çš„ĺ€™é ¸äşşč™&#x;ç˘źă€‚ă€Œă€ŒBranding ă€?ĺœ¨ç?žäťŠç¤ž ćœƒĺ¸¸č˘Ťç?†č§Łç‚şĺ“ ç‰ŒĺťşçŤ‹čˆ‡čĄŒéŠˇďźŒä˝†čŠ˛ĺ—語ćş?ĺŻŚç‚şă€Œ 䝼熹é?ľçƒ™ĺ?°ć¨™ç¤şć‰€ćœ‰ćŹŠă€?ďźŒćˇĺ?˛ä¸Šé•ˇćœ&#x;č˘Ťç”¨ä˝œć¨™ç¤ş ç˝ŞçŠŻçš„ç”¨é€”ďźŒç„ĄčŤ–ć˜Żć¨™č¨˜ĺœ¨äşşéĄžčˆ‡ĺ‹•ç‰ŠčşŤéŤ”ďźŒćˆ–ć˜Ż 斟坺築上的套鴉ĺ?°č¨˜ďźˆgraffitiďź‰ďźŒçš†ç‚şĺŽŁç¤şä¸ťćŹŠçš„ 一税斚ĺź?ďźŒĺœ¨ćśˆč˛ťç¤žćœƒčˆ‡ĺžŒç?žäťŁĺ&#x;Žĺ¸‚ä¸çš„ćˆ‘ĺ€‘ďźŒĺŽ&#x; 䞆äť?ćœƒé€?é Žé€™ç¨Žćš—ĺ–ťĺ•†ĺ“ ĺŒ–čˆ‡ç‰ŠĺŒ–çš„é Žç¨‹ďźŒč€Œĺƒ?牊 äťśä¸€čˆŹč˘Ťć¸éĄžćˆ–ć“ ćœ‰ă€‚
《ćŠ&#x;ĺŻ†éŒ„ă€‹ć˜Żč—?čĄ“ĺŽśä¸€ĺ€‹ćŒ çşŒĺ‰ľä˝œçš„ç§‘ĺšťč—?襓糝 ĺˆ—ďźŒä˝œĺ“ ĺťşć§‹ĺœ¨ä¸€ĺ€‹ä¸?äš…ĺ°‡äž†çš„ćœŞäž†ä¸–ç•ŒďźŒäşşĺˇĽ ć™şčƒ˝ĺˇ˛ç„śčś…čśŠäşşéĄžçš„ć™şć…§ďźŒĺžžç‚şäşşéĄžćœ?ĺ‹™č˝‰č€Œçľą ć˛ťäşşéĄžďźŒç‚şäş†éž?ĺ›şč‡Şĺˇąçš„ć”żćŹŠďźŒé€˛čĄŒă€Œçœ&#x;襀人ă€?çš„ ć‹˜ć?•čĄŒĺ‹•ďź›ĺ?Śä¸€ć–šé?˘ďźŒäşşéĄžč—?čşŤĺžžćœŞč˘Ťć‹†é™¤çš„éŚ™ć¸Ż äš?éž?寨ĺ&#x;Žä¸ďźŒ 䝼ĺ?„ç¨Žĺœ°ä¸‹çš„ć–šćł•ć„?ĺœ–ćŽ¨çżťäşşĺˇĽć™şčƒ˝ ć”żćŹŠă€‚ĺœ¨č—?čĄ“ĺŽśçš„ä¸–ç•Œä¸ďźŒäşşĺˇĽć™şčƒ˝ĺ&#x;Žĺ¸‚čˆ‡äš?éž?寨 ĺ&#x;ŽĺŠƒĺˆ†ä¸Šä¸‹ĺ…Šĺ€‹ä¸–ç•ŒďźŒĺ&#x;Žĺ¸‚幅民夹厝了自塹所坺獋 ĺ&#x;Žĺ¸‚çš„ćŽ§ĺˆśćŹŠďźŒćŽĄĺ?–ä¸?ĺ?Œć‰‹ćŽľäťĽĺĽŞĺ›žč‡ŞčşŤçš„ç”&#x;ĺ˜ćŹŠ ĺˆŠďźŒĺœ¨ĺˇąć–ščŚ–ç‚şč‡Şç”ąĺ‹‡ĺŁŤč€Œĺœ¨ć•ľć–šĺ‰‡č˘ŤčŚ–ç‚şć ?ć€–ĺˆ† ĺ?。斟ć¤ĺ?Œć™‚ďźŒä˝œĺ“ ä¸ćœŞč˘Ťć‹†é™¤çš„äš?éž?寨ĺ&#x;Žĺœ¨ćœŞäž† 柔莊ćˆ?äşşéĄžćœ€ĺžŒé˜˛çˇšçš„é‡?čŚ ĺ˜ĺœ¨ďźŒĺœ¨č™›ĺŻŚäš‹é–“é‡?çľ„ ć–°ĺ&#x;Žčˆ‡čˆŠĺ&#x;Žçš„é—œäż‚ďźŒć›¸ĺŻŤä¸€ĺ€‹é ŽĺŽťčˆ‡ćœŞäž†äş¤ćŽĽçš„ĺšł čĄŒä¸–ç•ŒďźŒä˝œĺ“ çłťĺˆ—äťĽç§‘ĺšťćžśçŠşçš„ć‰‹ćł•ďźŒé€?é Žć•¸ć“š čˆ‡ĺ˝ąĺƒ?ä¸?ĺ?Œĺą¤é?˘čŠŚĺœ–ĺ??ć€?ĺ?„ç¨Žĺˆ‡ĺŻŚçš„ć”żć˛ťčˆ‡é “ĺžˇ ĺ•?éĄŒďźŒäťĽĺ?Šĺ°?ĺ&#x;Žĺ¸‚瞎ĺ¸çš„éšąĺ–ťĺ’Œćƒłĺƒ?。
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The artist focuses on the details of humanity’s communal living through the meticulous process of painting. F26 and 806 depicts two images from instances noticed by the artist where numbers are being written on human hands. One is the marking of a number on the hands of those arrested by the police in recent protest activities as photographed by journalists; another is voters in elections writing a number on their hands as a hidden signifier of their desired candidate. “Brandingâ€? is now often understood as the establishment and marketing of a brand; but its original definition means “the action of marking with a branding ironâ€?, and historically it has long been used for the marking of criminals. Whether markings on the bodies of humans or animals, or graffiti markings on architecture, they are all a way of declaring authority; even within a consumerist society and the postmodern city, we could still categorise and attribute ourselves like objects through a process that alludes to commodification and objectification. čł´ćœ—é¨Ť 靑夢 ĺžŞç’°éŒ„ĺƒ? č—?襓厜慣常䝼兜ç?¨ç‰šçš„çœźĺ…‰ďźŒć“ˇĺ?–ç”&#x;ć´ťć‰€čŚ‹äş‹ç‰Šĺ ´ ć™Żçš„ĺą€éƒ¨ç‰šĺŻŤďźŒćœ‰çš„ć˜Żĺ‡?çľ?çš„é?œć…‹ĺŽšé?ĄďźŒćœ‰çš„ć˜Ż 剎那的動態役ĺƒ?。ć”?役帍čˇ&#x;袍ć”?丝鍔的čˇ?é›˘ćˆ–é•ˇ ćˆ–ç&#x;ďźŒç›¸ćŠ&#x;çš„čŚ–ćĄ†éƒ˝ćœƒć °ĺˆ°ĺĽ˝č™•čŞŞĺ‡şé‡?éťžďźŒč—?襓厜 ä˝żç”¨ĺšłć™‚éš¨čşŤć”œĺ¸śçš„ć‰‹ć??雝芹觀ĺŻ&#x;ĺ&#x;Žĺ¸‚ďźŒç§‘ćŠ€čˆ‡ĺ‡? čŚ–äş¤äş’ĺą¤ç–ŠďźŒćˆ?ç‚şç?žäťŁäşşĺ†?自焜ä¸?é Žçš„ĺ¸¸ć…‹ă€‚ă€Šéť‘ 夢》將這些旼常瑣事的ĺ?‰ĺ…‰ç‰‡çž˝ä¸˛é€Łĺœ¨ćˆ?é‡?複垪環 錄ĺƒ?ďźŒçľ„ĺ?ˆćˆ?ć„?č˜ćľ čˆŹçš„ć–°ć•˜äş‹ă€‚
� € Confidential Record is the artist’s ongoing science fiction artwork series. The work anchors on a world in the not too distant future, where artificial intelligence has surpassed human intelligence and rule over, rather than service, humanity. To consolidate their regime, artificial intelligence initiate the arrest of “pure blood humans�. At the same time, humans hide away in the original Hong Kong Kowloon Walled City, as it would be if it was never demolished, and use various underground means to try to overthrow the artificial intelligence regime. In the world imagined by the artist, the world is separated between the overground city ruled by artificial intelligence and the underground Kowloon Walled City. The city’s inhabitants lost control over the city that they built and turn to various strategies to regain their right of survival; they are seen as freedom fighters among allies and terrorists among enemies. At the same time, the undemolished Kowloon Walled City becomes the last stronghold of human survival in the future. The reorganisation of the relationship between the new city and old city narrates the story of a parallel universe where the past connects with the future. This series of artworks makes use of science fiction to consider actual political and moral issues from different levels, as well as to metaphorize and imagine urban aesthetics through datasets and images conjured by the artist.
We are glad that we can present a brand new exhibition Borrowed Scenery and performance Flâneur to the audience in Hong Kong. The observation of the city and artistic practice of Hong Kong artists bring the unique cultural language of the city to the fore in response to the present situation. We hope this exhibition can unite cultural perception, artistic interpretation, globalised city and its systemic development through artist practice, to pursue a wider discussion into city development in the 21st century.
ć‰€ćœ‰ĺ?ƒĺą•č—?čĄ“ĺŽśčˆ‡čˆžč€…ă€ JCNAPĺœ˜éšŠă€ éŚ™ć¸Żč—?襓ä¸ĺżƒă€ č”ĄéŽ§ćŁ‹ă€ éťƒç†™ĺŠˇă€ ä˝•ĺ…†ĺ?—ă€ é™¸ćľŠć˜Ž All participating artists and dancers, JCNAP team, Hong Kong Arts Centre, Jenny Choi, South Ho, Joyce Wong, Andrew Luk
newartspower
The third edition of JOCKEY CLUB New Arts Power present a variety of programmes that includes dance, theatre, music, visual arts exhibition, and school activities, as well as site specific events and community celebrations. Come join us at the festival, indulge yourself with the feast of arts, joy and extraordinary cityscape! With the support of HKADC, Hong Kong artists have showcased their works in the internationale tanzmesse nrw in DĂźsseldorf, Germany, China International Youth Arts Festival, “Meet in Beijingâ€? Arts Festival, “Hong Kong Theatre Monthâ€? in 1862 Theatre and Emerging Curators Project in Power Station of Art in Shanghai, touring at Theatres in the Guangdong-Hong Kong-Macao Greater Bay Area, and Thailand Biennale. Overseas arts practitioners and general audiences abroad have the chance to enjoy the finest works of art that are proudly created in Hong Kong. Having been inspired through their touring experiences, these Hong Kong’s talents are ready to further develop and put on their best works in the upcoming JOCKEY CLUB New Arts Power.
The artists participating in this exhibition grew up at a time when the metropolis has already formed. To those who were brought up in the city at the end of the 20th century, their lives and the city itself are inseparable. The conflict in the past few months has exposed to the public the myriad contradictions ordinarily hidden within the intricate structure of the city. The technocrats, most of whom are without belief to serve the public good, strengthen their power within the complicated local interests and relations. The government privatise public services a-la-neoliberalism mode and turn them into the private properties of the affluent, which in turn became various hegemonies. At the same time, the public is unable to check and balance government power through a comprehensive regulation system. The top officials stopped listening to the needs of the people and thus became autocratic. The discontent built up over a long period finally exploded into a volatile situation for the city and its systems.
Life inspires art, and art enriches life. In order to foster the exchange of ideas in society, JOCKEY CLUB New Arts Power unites art groups and various organisations from the social welfare, academic and commercial sectors. Such collaboration brings about a wide range of free events, such as mobile stages that integrate with the community surroundings, creative workshops, guided tours, and open rehearsals. When art is no longer confined to the limits of conventional theatres and galleries, artists can reinterpret their works from a fresh perspective in relation to the urban environment. These interactions allow those who rarely take part in art activities to get a taste of artistic experience, and be able to relate to these artists who were born and raised in the same city.
The relationship between power and exploitation between the coloniser and colonised as described by colonialism theory in the past, has been largely expanded into unequal opposition caused by power inequality among different social groups. This exhibition stems from the imagination of urban space through an artistic vision, and reflects on the will of architecture in the city development of Hong Kong, thereby providing an indirect critique on neocolonialism under the disguise of neoliberalism.
Over the past two years, 28 arts groups were involved in JOCKEY CLUB New Arts Power. Together they produced 48 live performances, a remarkable number of major exhibitions, over 300 sessions of community and school events, resulting in a remarkable outcome of up to 270,000 participants. After two years of dedicated effort in connecting local creative talents with the community, JOCKEY CLUB New Arts Power is becoming one of the most anticipated annual arts festivals in Hong Kong.
“Post-colonial does not mean the end of colonialism but the concealment and complication of colonisation,â€? Post-colonial Tongzhi Chou Wah-shan. ĺžˆćŚŽĺš¸ć–ź2019ĺš´çľ‚ďźŒčƒ˝ç‚şéŚ™ć¸Żč§€çœžĺ¸śäž†ĺ…¨ć–°ĺą•čŚ˝ă€Œĺ€&#x;景ă€?čˆ‡ĺťśäź¸čˆžčšˆčĄ¨ćź”ă€Œé€śčż¤ă€?。é€?é ŽćœŹĺœ°č—?襓厜ĺ°?ĺ&#x;Ž 市的觀ĺŻ&#x;čˆ‡č—?襓富č¸?ďźŒäťĽéŚ™ć¸Żç?¨ç‰šçš„ć–‡ĺŒ–čŞžč¨€ĺ›žć‡‰ĺ&#x;Žĺ¸‚ç?žćł 。幕茽ćœ&#x;čƒ˝äťĽč—?襓富č¸?ä¸˛é€Łć–‡ĺŒ–ć„&#x;ç&#x;Ľă€ č—?襓解 莀〠全ç?ƒĺŒ–ĺ&#x;Žĺ¸‚čˆ‡ćŠ&#x;ĺˆśç™źĺą•ç‰č°éĄŒďźŒĺ°?äşŒĺ? 一世紀ĺ&#x;Žĺ¸‚癟幕所é?˘ĺ°?çš„ĺ•?éĄŒĺą•é–‹č¨ŽčŤ–ă€‚
The Hong Kong Arts Development Council (HKADC) has been holding JOCKEY CLUB New Arts Power since 2017. The arts festival, taking place from September to January of the following year, focuses on presenting local artists who are flourishing and esteemed in the global arts scene. Through a series of arts events, the festival creates an artistic experience that is innovative, outstanding, and filled with uniquely local elements.
ć˘ ĺžĄć?ąčˆ‡čł´ćœ—é¨Ťĺˆ†ĺˆĽĺžžç‰Šç?†çŠşé–“čˆ‡ć™‚é–“çˇšć€§ĺ‡şç™źďźŒä˝ˆç˝Žčˆ‡é‡?羄片掾厝ç?žç¤şäť–們ĺ?„自ç?¨ç‰šçš„觀非靎ĺ?“ č?ŻĺˆŠç”¨çšŞç•Ťé Žç¨‹ĺźˇčŞżĺ&#x;Žĺ¸‚ä˝?ć°‘čşŤäť˝çš„čĄ¨ĺžľďź›éŤ˜ĺ€Šĺ˝¤äťĽčĄ›ç”&#x;ç›¸é—œç‰Šäťśç‚şčĄ¨ĺžľďźŒéŤ”ç?žĺ&#x;Žĺ¸‚çľ?構鄺鎎猧則 é€?é Žé‡?羄犺間䞆攞大ĺ&#x;Žĺ¸‚產ç”&#x;的隔閥。C & G çš„ä˝œĺ“ éĄŻç¤şäť–ĺ€‘çš„é›™é‡?čşŤäť˝ďźŒä¸€ć–šé?˘é•ˇćœ&#x;é€?é Žč—?襓富č¸? 桹兼礞ĺ?€ďźŒĺœ¨ă€Šç‡’數簿》ĺ?ŻčŚ‹ĺˆ°äť–們連çľ?ĺ…śäť–č—?čĄ“ĺŽśčˆ‡ĺœ¨ĺœ°ç’°ĺ˘ƒďźŒäťĽč¨´čŞŞĺ?„税ä¸?兏瞊一斚é?˘äť–們äš&#x;ć˜Żĺ…Š ĺĽłçš„çˆśćŻ?ďźŒĺą•ç?žĺ°?čşŤäť˝čˆ‡ĺ&#x;Žĺ¸‚镡é ćœŞäž†ç™źĺą•çš„çœ‹ćł•ă€‚ć›˛ćˇľćžˆçš„ă€ŠćŠ&#x;ĺŻ†éŒ„ă€‹ćƒłĺƒ?果犺的錙港ĺ&#x;Žĺ¸‚č¨˜ć†śďźŒç§‘ĺšť ĺ°?čŞŞć‰€ĺťşć§‹çš„ä¸–ç•Œĺž€ĺž€ĺ??ć˜ äş†ç?žĺŻŚçš„ć&#x;?ä¸€éƒ¨ĺˆ†ďźŒčˆ‡ç?žćł 彡彿既é ĺ?ˆčż‘。
JOCKEY CLUB NEW ARTS POWER çŹŹä¸‰ĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ć–ź2019ĺš´9ćœˆč‡ł2020ĺš´1ćœˆĺ‘ˆç?ťĺ…ąäš?ĺ€‹çŻ€ç›ŽďźŒćśľč“‹čˆžčšˆă€ ćˆ˛ĺŠ‡ă€ é&#x;ł 樂ĺ?ŠčŚ–茺č—?čĄ“ďźŒä¸Ść–źä¸?ĺ?Œĺ ´ĺ&#x;&#x;ç–動礞ĺ?€ĺ?Šĺ¸ć Ąć´ťĺ‹•ďźŒčŞ é‚€ćœŹĺœ°č§€çœžĺ?ƒčˆ‡ĺ…śä¸ďźŒç›Ąćƒ…鍔銗č—?襓的盎 焜匙蜣。
ă€Œĺ€&#x;景ă€?ćœŹç‚şĺ‚łçľąĺœ’ćž—ćŠ€ĺˇ§ďźŒĺ€&#x;ç”¨çŠşé–“äťĽĺ¤–çš„ć™Żč‰˛ĺź•ĺ…ĽĺŽ¤ĺ…§ďźŒč€Œĺą•čŚ˝ĺ€&#x;用了一座癞嚴ćˇĺ?˛çš„ćŽ–ć°‘ĺœ°ĺťşçŻ‰ä˝œç‚ş čƒŒć™ŻďźŒäťĽćœŹĺœ°č—?襓厜的畜䝣č—?čĄ“ä˝œĺ“ ă€ ĺ?„č‡Şçš„é˘¨ć źč¨´čŞŞĺœ¨é€™ĺ€‹ĺœ°ć–šç”&#x;洝的故事。
č—?襓ćş?ć–źç”&#x;ć´ťďźŒäşŚčƒ˝čą?ĺŻŒç”&#x;洝。為了ĺ•&#x;癟礞ĺ?€äš‹é–“更多ĺ°?čŠąďźŒă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?推動č—?čĄ“ĺœ˜éšŠ čˆ‡ç¤žçŚ?〠ĺ¸ç•Œĺ?Šĺ•†ç•Œĺ?ˆä˝œďźŒčˆ‰čžŚä¸€çłťĺˆ—形ĺź?ĺ¤šĺ…ƒçš„ĺ…?č˛ťć´ťĺ‹•ďźŒĺŒ…ć‹Źčľ°ĺ‡şĺ‚łçľąčˆžĺ?°ă€ 桹兼礞ĺ?€çš„ćľ ĺ‹• čˆžĺ?°ă€ č—?čĄ“ĺŽśĺˆ†äşŤĺ°?荇〠剾ć„?ĺˇĽä˝œĺ?Šă€ ĺ°Žčłžĺœ˜ĺ?Šĺ…Źé–‹çśľćŽ’ç‰ă€‚ç•śč—?襓ä¸?ĺ†?幀é™?ć–źĺŠ‡ĺ ´ĺ’Œč—?čĄ“é¤¨ďźŒč—? čĄ“ĺŽśĺžžĺś„ć–°č§’ĺşŚćź”çššä˝œĺ“ ďźŒčž?兼礞ĺ?€çš„ĺœ¨ĺœ°é˘¨ć™Żďź›é Žĺž€éŽŽćœ‰ćŽĽč§¸č—?襓的ć—?çž¤ďźŒäşŚĺ?Żé€?é Žé€™äş›ć´ťĺ‹•čˆ‡ ĺœ&#x;ç”&#x;ĺœ&#x;镡的č—?čĄ“ĺŽśäş’ç›¸ĺ…ąéł´ă€‚ĺœ¨č—?ç™źĺą€çš„ć”ŻćŒ ä¸‹ďźŒéŚ™ć¸Żč—?襓厜ĺ?ƒĺŠ äş†ĺžˇĺœ‹ć?œĺĄžçˆžĺ¤šĺ¤Ťĺœ‹éš›čˆžčšˆĺ?ščŚ˝ ćœƒă€ ä¸ĺœ‹ĺœ‹éš›é?’ĺš´č—?čĄ“çŻ€ă€ ç›¸ç´„ĺŒ—äşŹč—?襓節〠1862時尚č—?襓ä¸ĺżƒéŚ™ć¸Żćˆ˛ĺŠ‡ćœˆă€ ç˛ľć¸Żćžłĺ¤§ç Łĺ?€ĺŠ‡é™˘ĺˇĄ 柔〠上澡畜䝣č—?襓ĺ?šç‰Šé¤¨ă€ ćł°ĺœ‹čŚ–čŚşč—?襓雙嚴幕〠é?’ĺš´ç–ĺą•äşşč¨ˆĺŠƒ 2018ç‰ďźŒĺ?‘ĺœ‹éš›ĺ?ŒćĽĺ?Šć™Žçž…觀 çœžĺą•ç¤şéŚ™ć¸Żĺź•äťĽç‚şĺ‚˛çš„č‡ŞĺŽśč—?čĄ“ä˝œĺ“ ďźŒé€™ć‰šč¸?čśłĺœ‹éš›č—?壇的č—?襓節盎將蟉č˝ć¸äž†ďźŒĺœ¨ćœŹĺš´ĺşŚă€Œčł˝éŚŹ ćœƒč—?壇新勢力ă€?é€?ä¸€äşŽç›¸ďźŒäťĽéĽ—ćœŹĺœ°č§€çœžă€‚
é?˘ĺ°?ç•śäťŠç¤žćœƒĺ›°ĺ˘ƒďźŒč—?čĄ“ĺŽśé€šé Žĺ&#x;Žĺ¸‚這個兹ĺ?ŒčŠąéĄŒďźŒçšžé ŽćŠ˝čąĄçš„ç¤žćœƒĺ¸ćˆ–政沝ĺ¸čĄ“čŞžďźŒé€?é Žç´°ĺżƒč§€ĺŻ&#x;čˆ‡ç ” çŠśďźŒäťĽĺ‰ľä˝œç?†ć€§ć‹†č§Łäť–們é é ‡çš„ĺ&#x;Žĺ¸‚ç?žčąĄďźŒčŠŚĺœ–䝼垎觀ĺź?ä˝œĺ“ čĄ¨ç?žĺŽ?č§€ĺƒšĺ€źďźŒč§Łć”žĺ&#x;Žĺ¸‚兏民的揊力。錙港 ćŁĺœ¨é é ‡çš„ĺ?„ç¨ŽĺŁ“čżŤďźŒäš?ĺ? 嚴䝣常荇ĺ?Šĺ&#x;Žĺ¸‚ĺ?Żčƒ˝ĺ¸śäž†çš„ç„Ść…ŽďźŒĺˆ°äťŠĺ¤Šĺˇ˛ćˆ?為夢é˜ă€‚č—?襓厜䝼䝖們ç?¨ç‰šçš„çœźĺ…‰ ç›´čŚ–ć™‚äş‹ďźŒä¸Śĺœ¨é Žç¨‹ä¸ćŽ˘ç´˘čˆ‡ćŞ˘čŚ–äťĽč—?čĄ“ä˝œç‚şĺ??ć€?ĺ›žć‡‰éƒ˝ĺ¸‚ç?žčąĄçš„ć–šĺź?ďźŒĺœ¨ç•śäťŁĺš´ĺłťçš„ćƒ…ĺ‹˘ä¸‹äť?ç„śćœ‰ć•ˆďźŒĺœ¨ ćœ&#x;ćœ›ć”ščŽŠç?žćł ć™‚ďźŒĺ?ˆä¸?囿斟č—?čĄ“ĺœ¨ç¤žćœƒé ‹ĺ‹•ä¸ćœŞčƒ˝ĺźˇčŞżč—?襓性的狀態。 ć˜ŻćŹĄĺ?ƒĺą•č—?čĄ“ĺŽśçš†ć˜Żç”&#x;ć–źç?žäťŁéƒ˝ĺ¸‚塲ćˆ?ĺ˝˘çš„ć™‚äťŁďźŒĺ°?出ç”&#x;丌ç”&#x;é•ˇĺœ¨äşŒĺ? ä¸–ç´€ćœŤĺ&#x;Žĺ¸‚çš„äşşäž†čŞŞďźŒç”&#x;ć´ťčˇ&#x;隨ĺ&#x;Ž ĺ¸‚č„ˆĺ‹•ć—Šĺˇ˛ĺŻ†ä¸?ĺ?Żĺˆ†ă€‚çś“é Žć•¸ĺ€‹ćœˆçš„ç¤žćœƒäş‹äťśďźŒćœŹäž†éšąć˛’ĺœ¨é€™ĺ€‹ĺ&#x;Žĺ¸‚細密çľ?構畜ä¸çš„荸多ç&#x;›ç›žďźŒĺŽŒĺ…¨č˘ŤćŠŤ éœ˛ĺœ¨ĺ…Źçœžé?˘ĺ‰?ďźšçźşäš?äżĄĺżľçš„ćŠ€čĄ“ĺŽ˜ĺƒšĺœ¨éž?é›œçš„ĺœ°ć–šé—œäż‚ä¸éž?ĺ›şĺ‹˘ĺŠ›ďźŒäťĽć–°č‡Şç”ąä¸ťçžŠçš„ç§ ćœ‰ĺŒ–ć¨Ąĺź?ĺ°‡ĺ…ŹçœžĺˆŠ 益莊ćˆ?ćŹŠč˛´çš„ç§ ç”˘ă€ čą˘é¤Šĺ?„ç¨Žéœ¸ćŹŠďźŒĺ?Œć™‚甹斟荸多ĺŽ&#x;ĺ› ďźŒĺ…Źçœžç„Ąćł•é€?é Žĺ Ľĺ…¨çš„ç›ŁĺŻ&#x;çłťçľąäťĽĺˆśčĄĄć”żĺşœćŹŠĺŠ›ďźŒ ä¸Šĺą¤ĺŽ˜ĺ“ĄćœŞčƒ˝č †č ˝ĺ¸‚ć°‘çš„č¨´ćą‚č€Œç?¨ć–ˇç?¨čĄŒďźŒé•ˇćœ&#x;é†žé‡€çš„ĺŁ“ĺŠ›ćœ€çľ‚ĺ°Žč‡´ĺ&#x;Žĺ¸‚čˆ‡éŤ”ĺˆśçš„ĺŠ‡çƒˆéœ‡ç›Şă€‚
é ŽĺŽťĺ…Šĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ĺ…ąćœ‰äşŒĺ? 免個č—?襓喎ä˝?ĺ?ƒčˆ‡ďźŒčŁ˝ä˝œĺ››ĺ? ĺ…Ťĺ ´ä¸?ĺ?ŒéĄžĺž‹ćź”出ĺ?Šĺ¤šĺ€‹é‡? éťžĺą•čŚ˝ďźŒä¸Śç–ĺŠƒčś…é Žä¸‰ç™žĺ€‹ç¤žĺ?€ĺ?Šć Ąĺœ’ć´ťĺ‹•ďźŒç¸˝ĺ?ƒčˆ‡äşşćŹĄéŤ˜é ”äşŒĺ? 七č?Źă€‚çś“é Žĺ…Šĺš´č€•č€˜ďźŒă€Œčł˝éŚŹćœƒ č—?壇新勢力ă€?çŠ?漾連çľ?礞ĺ?€ĺ?Šć”ŻćŒ č—?襓的ćŠ&#x;ć§‹ĺ’Œç¤žĺœ˜ďźŒç™źĺą•ćˆ?ç‚şćŻ?ĺš´çœžć‰€ćœ&#x;ĺž…çš„ćœŹĺœ°č—?襓節。 錙港č—?čĄ“ç™źĺą•ĺą€ďźˆč—?癟幀自2017ĺš´éŚ–ćŹĄčˆ‰čžŚă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ďźŒć–źćŻ?ĺš´9ćœˆč‡łçżŒĺš´1ćœˆćœ&#x;é–“ďźŒ çľ?é›†ĺœ¨ćľˇĺ¤–č—?ĺŁ‡çśťć”žç•°ĺ˝Šçš„ćœŹĺœ°č—?čĄ“ĺŽśďźŒĺ‘ˆç?ťä¸€çłťĺˆ—č—?čĄ“ć´ťĺ‹•ďźŒç‚şç¤žćœƒĺ?„ç•Œĺ¸śäž†ĺ‰ľć„?ă€ ć°´ćş–čˆ‡ćœŹĺœ&#x; 色彊兟丌的č—?襓鍔銗。
é Žĺž€ćŽ–ć°‘ä¸ťçžŠčŁĄć‰€ć??čż°ĺŽ—ä¸ťĺœ‹čˆ‡ćŽ–ć°‘ĺœ°äš‹é–“ćŹŠĺŠ›čˆ‡ĺ‰?ĺ‰Šçš„é—œäż‚ďźŒĺœ¨ç•śäťŠĺˇ˛äź¸ĺťśç‚şç¤žćœƒä¸Šĺ?„税揊力塎異所產 ç”&#x;çš„ä¸?ĺšłç‰ĺ°?çŤ‹ă€‚ć˜ŻćŹĄĺą•čŚ˝ĺžžĺ°?ĺ&#x;Žĺ¸‚çŠşé–“çš„ćƒłĺƒ?é–‹ĺ§‹ďźŒćœ&#x;čƒ˝é€?é Žč—?čĄ“čˆ‡ĺ‰ľä˝œďźŒćŠ˜ĺ°„é Žĺž€äşŒĺ? 嚴錙港ĺ&#x;Žĺ¸‚癟 ĺą•čƒŒĺžŒĺťşçŻ‰çš„ć„?ĺż—ďźŒé–“ćŽĽć‰šĺˆ¤ć–°č‡Şç”ąä¸ťçžŠĺŒ…čŁ?ä¸‹č˘ŤĺťśçşŒçš„ć–°ćŽ–ć°‘ć¨Ąĺź?。
čł˝éŚŹćœƒč—?壇新勢力 ç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Šçš„ćƒ…ć„&#x; ĺ¤šé ťéť‘ç™˝éŒ„ĺƒ?〠鋟 č’™ĺ¤ŞĺĽ‡ć˜Żĺ°‡ä¸?ĺ?Œç•Ťé?˘ĺ‰ŞćŽĽč‡łĺ–Žä¸€ć™‚é–“çˇšä¸ŠďźŒĺˆŠç”¨ç‰‡ 掾的羄ĺ?ˆčŹ›čż°ć•…äş‹çš„ć‰‹ćł•ă€‚ĺœ¨ă€Šç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Š çš„ćƒ…ć„&#x;》ä¸ďźŒč—?čĄ“ĺŽśĺťşć§‹ĺ‡şä˝œĺ“ çš„çŠşé–“ďźŒä¸€ć–šé?˘ ĺ›žć‡‰ç‰›ćŁšçš„ĺťşçŻ‰ĺŻŚéŤ”ďźŒä¸€ć–šé?˘ĺœ¨çŠşé–“ä¸ä˝ˆç˝Žäť–ć‹?ć”? 的錄ĺƒ?ç‰‡ćŽľďźŒé€?é Žé‡?çľ„čˆ‡ĺˆ†éš”äž†äş¤çš”ĺ‡şć•?事。č—?襓 ĺŽśĺˆŠç”¨é Žĺž€ć‹?ć”?ç´€éŒ„ç‰‡çš„çś“éŠ—ďźŒĺœ¨ä˝œĺ“ ä¸ĺ‘ˆç?žä¸ťč§€ čˆ‡ĺŽ˘č§€äş¤äş’čžŻč‰çš„役ĺƒ?ďźŒć??寍ç?žĺŻŚä¸ĺ˜ĺœ¨çš„一税濛 ć˜§ćƒ…ć„&#x;。
� � �    € ‚ ƒ € ‚ Montage is an editing technique where different footage are edited into a single timeline to tell the narrative through the composition of them coming together. In Encounters (Never Mind the Cloying Sentiments), the artist creates a space for the artwork that on the one hand, responds to the actual architecture of the Cattle Depot; on the other hand, different clips recorded by the artist are arranged in the space and a narrative is formed by their reconstruction and separation in space. The artist made use of his past experience of making documentaries to form dialectical images crossing the subjective and the objective; thus creating an obsured emotion that is rooted in reality.
turning points in the conflict this year is when the police entered the Prince Edward MTR station and attacked indiscriminately on August 31. At one of the station exits where C&G held their event, an altar was made for the victims of that incident. We might never know the truth of the incident, but nevertheless the ceremony itself became a venting outlet for the movement. When the voice of the people is not heard and the grudge is still held against the government, the only way we can solve the problem is perhaps seeking the help of a higher power. Shared language is the forming criterion of a community. Yet, since the beginning of colonial expansion, many indigenious languages of the colonies were replaced by the language of the coloniser due to their "inferiority" in civility. This process of clamping down on the independence of the indegenious culture and identity makes it easier for a tighter governance by the coloniser. Our Next Generation and Us shows the process of preparing Not as Trivial as You Think: Shanghai Art Quiz for last year’s Shanghai Biennale, where C&G learned to conduct their quiz in Mandarin by learning from their daughters. C&G themselves are the products of the British colonisation and their daughters are the products of the Hong Kong SAR. Through the differences in language skills between the two groups, it is easy to contrast the impact to the local culture in different times. 鄺鎎猧
ĺźľĺ˜‰čŽ‰ĺ?Šé„急ć•?(é˜żé‡‘) 燒數簿 ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? ƒ 盂č˜ă€ŒéŹźçŻ€ă€?ç‡’čĄŁć˜Żä¸€ĺ€‹ĺ‚łçľąçš„č?Żäşşçż’äż—ďźŒç”¨ć„?ć˜Ż 厉撍枉ćťçš„é?ˆé‚ă€‚ă€Šç‡’ć•¸ç°żă€‹ć˜ŻC&G典型礞ĺ?€č—?襓 č¨ˆĺŠƒďźŒĺœ¨ç›‚č˜çŻ€ç•śĺ¤Šé‚€čŤ‹č—?čĄ“ĺŽśĺ€‘čŁ˝ä˝œç´Žä˝œé “ĺ…ˇďźŒ ç„šç‡’ĺˆ°ă€Œé™°é–“ă€?䝼ĺ°?ç¤žćœƒçš„äş‹äťśä˝œĺ‡şćŠ•č¨´ă€ čŠ›ĺ’’ ç‰ďźŒäşşé–“çš„ä¸?兏瞊䚋事ä¸?čƒ˝č˘Ťć˜ć˜ŽďźŒč€Œéœ€ĺ°‹ćą‚蜅蜊 奾世的力é‡?厝嚳ĺ??ďźŒć˜Żĺ?¤äťŠä¸ĺ¤–éƒ˝ćœ‰çš„ç?žčąĄă€‚䝊嚴 抗çˆä¸çš„ĺ…śä¸ä¸€ĺ€‹č˝‰ć?ŠéťžďźŒć˜Ż8ćœˆ31ć—ĽčŚĺŻ&#x;ćŚčŁ?進 ĺ…Ľä¸Śĺ° éŽ–ĺœ°é?ľçŤ™ďźŒĺœ¨C&Gĺšłć™‚ć´ťĺ‹•ĺ ´ĺ&#x;&#x;ć— é‚Šçš„ĺœ°é?ľ 出ĺ?ŁďźŒé•ˇćœ&#x;ćœ‰äşşč¨ç˝ŽçĽĺŁ‡ĺź”忾。ç?žĺŻŚç„ĄčˇŻç”łč¨´çš„ĺ•? éĄŒäťĽĺ?Šç„ĄäťĽĺ??ç‹€çš„ć€¨ĺżżďźŒĺƒ…čƒ˝çĽˆćą‚çĽžć˜Žçš„é?žč‡Şç„śĺŠ› é‡?čƒ˝ĺ¤ č§Łćąşă€‚ ćˆ‘ĺ€‘ĺ’Œä¸‹ä¸€äťŁ ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? čŞžč¨€ć˜ŻäşşéĄžçž¤éŤ”ćˆ?ç‚şĺ…ąĺ?ŒéŤ”的漾é‡?čŚ ĺ°Žĺ› ďźŒč‡Şĺ¤§čˆŞ ćľˇć™‚äťŁč‡łäťŠčŤ¸ĺ¤šćŽ–ć°‘ĺŽ—ä¸ťďźŒĺ¸¸äťĽĺŽ&#x;ä˝?民語言低下為 ç?†ç”ąďźŒĺ ‚č€Œçš‡äš‹äťĽĺŽ—ä¸ťçš„čŞžč¨€ĺ?–č€ŒäťŁäš‹ďźŒćŠšćŽşĺŽ&#x;ä˝? ć°‘ć–‡ĺŒ–čˆ‡čşŤäť˝çš„ç?¨çŤ‹ć€§ďźŒäťĽé ”äžżĺˆŠçŽĄç?†äš‹ć•ˆă€‚ă€Šćˆ‘ ĺ€‘ĺ’Œä¸‹ä¸€äťŁă€‹ć˜ŻC&G為了準備上澡雙嚴幕的《上澡 床下底č—?襓常č˜ĺ•?ç”ćŻ”čł˝ă€‹ć™‚ďźŒć‰žäş†ĺĽłĺ…’ćŒ‡ĺ°Žäť–ĺ€‘ čŞŞć™Žé€ščŠąçš„ç´€éŒ„ĺ˝ąĺƒ?。C&Gć˜Żč‹ąćŽ–ć™‚ćœ&#x;çš„ç”˘ç‰ŠďźŒč€Œ äť–ĺ€‘çš„ĺĽłĺ…’ĺ‰‡ć˜ŻéŚ™ć¸Żç‰šĺ?€ć™‚äťŁçš„ç”˘ç‰ŠďźŒé€?é Žĺ…Šçľ„äşş čŞžč¨€ä¸Šçš„ĺˇŽç•°ďźŒčƒ˝čŚ‹ĺˆ°ä¸?ĺ?Œć™‚䝣政揊ĺ°?ćœŹĺœ°ć–‡ĺŒ–ĺ˝ą é&#x;żçš„痕补。
連çľ?ćˆ?ç‚şéšœç¤™ ä¸?é?˝é‹źçŽĄă€ é??鉝鋅ĺ?ˆé‡‘玥掼䝜 ĺą•čŚ˝ć‰€č™•çš„ç‰›ćŁšĺˇ˛çś“ć˜Żé Žç™žĺš´çš„ĺą ĺŽ°ĺ ´ďźŒĺ…śä¸çš„ä˝ˆ 幀嚞ćˇčŽŠé ˇďźŒç?žĺœ¨ćˆ‘ĺ€‘ć‰€čŚ‹ĺˆ°çš„ć˜Żĺ…ĺ? ĺš´äťŁćœŤć”šćˆ? ćŞ˘ç–Ťć‰€ĺžŒçš„č¨č¨ˆă€‚č—?čĄ“ĺŽśĺ¸Œćœ›é€šé Žčž¨ĺˆĽĺťşçŻ‰çľ?構的 ćœŹčłŞďźŒäťĽä¸?ĺ?Œçš„誇埾〠ćŞć›˛ć‰‹ćł•äž†ĺ‡¸éĄŻçŠşé–“ĺ˜ĺœ¨çš„ č?’čŹŹäš‹č™•ďźŒă€Šé€Łçľ?ćˆ?ç‚şéšœç¤™ă€‹éšąĺ–ťć‰€čŹ‚ĺœ˜çľ?ďźŒĺ…śĺŻŚ ć˜Żä¸€ç¨Žćśˆč€—ç¤žćœƒć‰ščŠ•çš„ć‰‹ćŽľďźŒä˝żĺ…śĺœ¨ç–畼性的拖坜 äš‹ä¸‹č‡Şç„śćśˆĺ˝Œĺ™Şé&#x;łă€‚çœźä¸‹äźźć˜Żč€Œé?žäš‹čŤ–ďźŒĺœ¨ĺ¤§ç’°ĺ˘ƒ 裥ĺ?ťç•°ĺ¸¸éĄŻĺž—ćŁç•śćœ‰ç?†ă€‚
 The Cattle Depot in which this exhibition is set is a structure over a hundred years old; its layout has experienced many changes. What we see today is the design change at the end of the 1960s after the building was converted into a animal quarantine facility. Kong’s practice identifies the nature of the architectural structure and then exaggerates and manipulates it to show the absurdity of the space. Unite as an Obstacle is a metaphor for the cry of so-called unity that is actually a way to nullify the criticism in society by letting the noise die out naturally through strategic delay. The misleading call is being accepted as rightful under these circumstances. éŤ˜ĺ€Šĺ˝¤
 „ ƒ Burning offering during the Hungry Ghost Festival is a Chinese tradition to appease the ghosts of those who died of unnatural causes. On Fire 2018 is C&G's typical community art project. During the Hungry Ghost Festival, C&G invites other artists to make paper offerings to offer to the underworld gods toto complain or curse on social affairs?. When injustice is not righted in the living world, justice is always sought through supernatural powers, which is common throughout human history. One of the
ĺŽˆčˇč€… ä¸‰é ťéŒ„ĺƒ?〠醍療ĺą?風 éŤ˜ĺ€Šĺ˝¤çš„ĺ‰ľä˝œćŻ?ćŻ?ç’°çšžč‘—ĺ&#x;Žĺ¸‚ä¸çš„ĺťşçŻ‰ç‰šĺžľďźŒçś“é Ž ĺĽšć”šé€ é‡?ĺĄ‘çš„é Žç¨‹äž†éĄŻç?žĺ…śä¸çš„č?’čŹŹďźŒă€ŠĺŽˆčˇč€…》 ä¸ďźŒč—?čĄ“ĺŽśč‡ŞčĄŒčŁ˝ä˝œäż?襛的é?ľçľ˛çś˛ďźŒčĄ¨é?˘ä¸Šć˜Żäż?čˇ ĺŽ‰ĺ…¨çš„é “ĺ…ˇďźŒä˝†ĺœ¨ć›´ĺ¤šć™‚ĺ€™ć˜ŻçŽ?ĺˆśäşşčşŤč‡Şç”ąçš„ć‰‹ ćŽľă€ äťĽçŚ ć˘äťťć„?犿ć˘ä¸?ĺ?Œĺœ°ć–šă€‚é€?é ŽčŁ?ç˝Žčˆ‡ĺ˝ąç‰‡ä¸ é‡?č¤‡äťĽć‰‹ĺĄ‘é€ ç‰Šäťśçš„é Žç¨‹ďźŒć??醒觀者ĺ&#x;Žĺ¸‚ĺ°?ä˝?ć°‘çš„ ä¸?äżĄäťťďźŒč§€ĺŻ&#x;ç’°ĺ˘ƒä¸ç‰šć„?形契出䞆的ĺ?€éš”ďźŒĺ?Œć™‚ĺ?? 應嚴菚çľ?構ä¸çš„ĺž’ĺ‹žčˆ‡č?’菏。
ă€ŒĺžŒćŽ–ć°‘ä¸Śä¸?ć˜Żć„?味掖民的羂çľ?ďźŒč€Œć˜ŻćŽ–ć°‘çš„éšąč”˝ĺŒ–ĺ’Œč¤‡é›œĺŒ–ă€‚ă€?——周č?Żĺąąă€ŠĺžŒćŽ–ć°‘ĺ?Œĺż—》
丝螌ćŠ&#x;構 Presented by
牛 棚 č—? 襓 ć?‘ č™&#x; ĺ–Ž ä˝?
Facing the social stalemate at the moment and their shared interest in this city, artists create works to dissect their experience of the city, but bypassing existing sociological and political discourse. Through their own observation and research, their work is a microcosm that shows universal values of their city and liberates the civic rights within. The problem and pressure we face today in Hong Kong are the anxieties that the city felt in the nineties and now becoming a haunting nightmare. The artists use their unique vision to confront social events and in the process explore and examine art as a way of responding to social phenomena; their artistic practices transcend the bleak reality of the present. While striving for a change, their works are not bounded by the social movement itself.
錙港č—?čĄ“ç™źĺą•ĺą€ćœ‰ćŹŠĺ˘žć¸›ă€ ć›´ć?›ćź”ĺ‡şč€…ćˆ–ć›´ć”šĺˇ˛ĺ…Źĺ¸ƒçš„çŻ€ç›Žă€‚ĺŚ‚ćœ‰çˆč°ďźŒéŚ™ć¸Żč—?襓癟幕 幀äż?ç•™ćœ€çľ‚ćąşĺŽšćŹŠă€‚ Hong Kong Arts Development Council reserves the right to add, withdraw or substitute artists and / or vary advertised programmes. In case of dispute, the decision of HKADC is final.
錙港č—?čĄ“ç™źĺą•ĺą€ĺ…¨ĺŠ›ć”ŻćŒ č—?čĄ“čĄ¨é ”č‡Şç”ąďźŒćœŹč¨ˆĺŠƒĺ…§ĺŽšä¸?äťŁčĄ¨ćœŹĺą€ĺ?Šč´ŠĺŠŠĺ–Žä˝?çš„çŤ‹ĺ ´ă€‚ Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council and the Funder.
BORROWED SCENERY
Borrowed Scenery was originally a technique used in traditional garden design, where the scenery outside of the garden are framed by various architecture elements and introduced to the premise. In this exhibition, we utilise a colonial building over a hundred years old as a backdrop to showcase contemporary artwork by local artists, who each tell their own life story in unique ways.
ç–ĺŠƒĺ?ŠčŁ˝ä˝œ Curated and Produced by
傳媒䟙䟴 Meida Partner
茖茺�襓幕茽
ç‰šĺˆĽéł´čŹ? Special Thanks
Ocean Leung and Lai Lon Hin reconstruct snippets of their own distinctive visions in the physical space and linear time, respectively. Sarah Lai’s process of painting emphasises the visual features of the city’s inhabitants. Ko Sin Tung reconstruction of hygienic apparatus as a metaphor to the city. Kong Chun Hei rebuilds the space to demonstrate barriers created by the metropolis. C&G’s work exhibit their double identity. On one hand, On the Fire 2018 collaboration with other artists is their work in the community to express the injustice in the city. On the other hand, they are parents with two daughters and have a different way of understanding identity and long-term vision of Hong Kong. Vvzela Kook’’s series Confidential Record fictionalises the memory of Hong Kong; the world built in science fiction always show a certain facet of reality and has an uncanny resemblance to the current situation.
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Ko Sin Tung’s creative process has always reflected on architectural elements in the urban landscape and exposed an inherent absurdity through processes of recreation. In Guardian, the artist recreates various types of barbed wires. On the surface these elements act as protective devices, but are in fact implements that impede on physical liberties; limiting freedom of movement. By recreating an automated manufacturing process by hand, as seen in the video, Ko is reflecting on Hong Kong’s lack of trust in the citizenry. The city builds barriers between different environments, and at the same time these vigorous structures are totally pointless and ludicrous.
The artist often takes a unique perspective in capturing detailed closeups of things, events, and places in daily life; some are frames of still images, while some are momentary moving images. The varying distance between the photographer and subject of concern and the frame of the camera can all aptly narrate a main idea; the artist makes use of the mobile phone he carries daily to observe the city and the convergent overlap between his gaze and technology is a normality that could not be more natural for contemporary people. Black Dream creates a looped video out of the precious fragments in daily chores and forms a new stream-of-consciousness-like narrative.
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The artist focuses on the details of humanity’s communal living through the meticulous process of painting. F26 and 806 depicts two images from instances noticed by the artist where numbers are being written on human hands. One is the marking of a number on the hands of those arrested by the police in recent protest activities as photographed by journalists; another is voters in elections writing a number on their hands as a hidden signifier of their desired candidate. “Brandingâ€? is now often understood as the establishment and marketing of a brand; but its original definition means “the action of marking with a branding ironâ€?, and historically it has long been used for the marking of criminals. Whether markings on the bodies of humans or animals, or graffiti markings on architecture, they are all a way of declaring authority; even within a consumerist society and the postmodern city, we could still categorise and attribute ourselves like objects through a process that alludes to commodification and objectification. čł´ćœ—é¨Ť 靑夢 ĺžŞç’°éŒ„ĺƒ? č—?襓厜慣常䝼兜ç?¨ç‰šçš„çœźĺ…‰ďźŒć“ˇĺ?–ç”&#x;ć´ťć‰€čŚ‹äş‹ç‰Šĺ ´ ć™Żçš„ĺą€éƒ¨ç‰šĺŻŤďźŒćœ‰çš„ć˜Żĺ‡?çľ?çš„é?œć…‹ĺŽšé?ĄďźŒćœ‰çš„ć˜Ż 剎那的動態役ĺƒ?。ć”?役帍čˇ&#x;袍ć”?丝鍔的čˇ?é›˘ćˆ–é•ˇ ćˆ–ç&#x;ďźŒç›¸ćŠ&#x;çš„čŚ–ćĄ†éƒ˝ćœƒć °ĺˆ°ĺĽ˝č™•čŞŞĺ‡şé‡?éťžďźŒč—?襓厜 ä˝żç”¨ĺšłć™‚éš¨čşŤć”œĺ¸śçš„ć‰‹ć??雝芹觀ĺŻ&#x;ĺ&#x;Žĺ¸‚ďźŒç§‘ćŠ€čˆ‡ĺ‡? čŚ–äş¤äş’ĺą¤ç–ŠďźŒćˆ?ç‚şç?žäťŁäşşĺ†?自焜ä¸?é Žçš„ĺ¸¸ć…‹ă€‚ă€Šéť‘ 夢》將這些旼常瑣事的ĺ?‰ĺ…‰ç‰‡çž˝ä¸˛é€Łĺœ¨ćˆ?é‡?複垪環 錄ĺƒ?ďźŒçľ„ĺ?ˆćˆ?ć„?č˜ćľ čˆŹçš„ć–°ć•˜äş‹ă€‚
� € Confidential Record is the artist’s ongoing science fiction artwork series. The work anchors on a world in the not too distant future, where artificial intelligence has surpassed human intelligence and rule over, rather than service, humanity. To consolidate their regime, artificial intelligence initiate the arrest of “pure blood humans�. At the same time, humans hide away in the original Hong Kong Kowloon Walled City, as it would be if it was never demolished, and use various underground means to try to overthrow the artificial intelligence regime. In the world imagined by the artist, the world is separated between the overground city ruled by artificial intelligence and the underground Kowloon Walled City. The city’s inhabitants lost control over the city that they built and turn to various strategies to regain their right of survival; they are seen as freedom fighters among allies and terrorists among enemies. At the same time, the undemolished Kowloon Walled City becomes the last stronghold of human survival in the future. The reorganisation of the relationship between the new city and old city narrates the story of a parallel universe where the past connects with the future. This series of artworks makes use of science fiction to consider actual political and moral issues from different levels, as well as to metaphorize and imagine urban aesthetics through datasets and images conjured by the artist.
茖茺�襓幕茽
BORROWED SCENERY
newartspower ç–ĺŠƒĺ?ŠčŁ˝ä˝œ Curated and Produced by
錙港č—?čĄ“ç™źĺą•ĺą€ćœ‰ćŹŠĺ˘žć¸›ă€ ć›´ć?›ćź”ĺ‡şč€…ćˆ–ć›´ć”šĺˇ˛ĺ…Źĺ¸ƒçš„çŻ€ç›Žă€‚ĺŚ‚ćœ‰çˆč°ďźŒéŚ™ć¸Żč—?襓癟幕 幀äż?ç•™ćœ€çľ‚ćąşĺŽšćŹŠă€‚ Hong Kong Arts Development Council reserves the right to add, withdraw or substitute artists and / or vary advertised programmes. In case of dispute, the decision of HKADC is final.
牛 棚 č—? 襓 ć?‘ č™&#x; ĺ–Ž ä˝?
ć‰€ćœ‰ĺ?ƒĺą•č—?čĄ“ĺŽśčˆ‡čˆžč€…ă€ JCNAPĺœ˜éšŠă€ éŚ™ć¸Żč—?襓ä¸ĺżƒă€ č”ĄéŽ§ćŁ‹ă€ éťƒç†™ĺŠˇă€ ä˝•ĺ…†ĺ?—ă€ é™¸ćľŠć˜Ž All participating artists and dancers, JCNAP team, Hong Kong Arts Centre, Jenny Choi, South Ho, Joyce Wong, Andrew Luk ç‰šĺˆĽéł´čŹ? Special Thanks 傳媒䟙䟴 Meida Partner
錙港č—?čĄ“ç™źĺą•ĺą€ĺ…¨ĺŠ›ć”ŻćŒ č—?čĄ“čĄ¨é ”č‡Şç”ąďźŒćœŹč¨ˆĺŠƒĺ…§ĺŽšä¸?äťŁčĄ¨ćœŹĺą€ĺ?Šč´ŠĺŠŠĺ–Žä˝?çš„çŤ‹ĺ ´ă€‚ Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council and the Funder.
丝螌ćŠ&#x;構 Presented by
The third edition of JOCKEY CLUB New Arts Power present a variety of programmes that includes dance, theatre, music, visual arts exhibition, and school activities, as well as site specific events and community celebrations. Come join us at the festival, indulge yourself with the feast of arts, joy and extraordinary cityscape!
We are glad that we can present a brand new exhibition Borrowed Scenery and performance Flâneur to the audience in Hong Kong. The observation of the city and artistic practice of Hong Kong artists bring the unique cultural language of the city to the fore in response to the present situation. We hope this exhibition can unite cultural perception, artistic interpretation, globalised city and its systemic development through artist practice, to pursue a wider discussion into city development in the 21st century. Ocean Leung and Lai Lon Hin reconstruct snippets of their own distinctive visions in the physical space and linear time, respectively. Sarah Lai’s process of painting emphasises the visual features of the city’s inhabitants. Ko Sin Tung reconstruction of hygienic apparatus as a metaphor to the city. Kong Chun Hei rebuilds the space to demonstrate barriers created by the metropolis. C&G’s work exhibit their double identity. On one hand, On the Fire 2018 collaboration with other artists is their work in the community to express the injustice in the city. On the other hand, they are parents with two daughters and have a different way of understanding identity and long-term vision of Hong Kong. Vvzela Kook’’s series Confidential Record fictionalises the memory of Hong Kong; the world built in science fiction always show a certain facet of reality and has an uncanny resemblance to the current situation. Borrowed Scenery was originally a technique used in traditional garden design, where the scenery outside of the garden are framed by various architecture elements and introduced to the premise. In this exhibition, we utilise a colonial building over a hundred years old as a backdrop to showcase contemporary artwork by local artists, who each tell their own life story in unique ways. Facing the social stalemate at the moment and their shared interest in this city, artists create works to dissect their experience of the city, but bypassing existing sociological and political discourse. Through their own observation and research, their work is a microcosm that shows universal values of their city and liberates the civic rights within. The problem and pressure we face today in Hong Kong are the anxieties that the city felt in the nineties and now becoming a haunting nightmare. The artists use their unique vision to confront social events and in the process explore and examine art as a way of responding to social phenomena; their artistic practices transcend the bleak reality of the present. While striving for a change, their works are not bounded by the social movement itself. The artists participating in this exhibition grew up at a time when the metropolis has already formed. To those who were brought up in the city at the end of the 20th century, their lives and the city itself are inseparable. The conflict in the past few months has exposed to the public the myriad contradictions ordinarily hidden within the intricate structure of the city. The technocrats, most of whom are without belief to serve the public good, strengthen their power within the complicated local interests and relations. The government privatise public services a-la-neoliberalism mode and turn them into the private properties of the affluent, which in turn became various hegemonies. At the same time, the public is unable to check and balance government power through a comprehensive regulation system. The top officials stopped listening to the needs of the people and thus became autocratic. The discontent built up over a long period finally exploded into a volatile situation for the city and its systems. The relationship between power and exploitation between the coloniser and colonised as described by colonialism theory in the past, has been largely expanded into unequal opposition caused by power inequality among different social groups. This exhibition stems from the imagination of urban space through an artistic vision, and reflects on the will of architecture in the city development of Hong Kong, thereby providing an indirect critique on neocolonialism under the disguise of neoliberalism.
With the support of HKADC, Hong Kong artists have showcased their works in the internationale tanzmesse nrw in DĂźsseldorf, Germany, China International Youth Arts Festival, “Meet in Beijingâ€? Arts Festival, “Hong Kong Theatre Monthâ€? in 1862 Theatre and Emerging Curators Project in Power Station of Art in Shanghai, touring at Theatres in the Guangdong-Hong Kong-Macao Greater Bay Area, and Thailand Biennale. Overseas arts practitioners and general audiences abroad have the chance to enjoy the finest works of art that are proudly created in Hong Kong. Having been inspired through their touring experiences, these Hong Kong’s talents are ready to further develop and put on their best works in the upcoming JOCKEY CLUB New Arts Power. Life inspires art, and art enriches life. In order to foster the exchange of ideas in society, JOCKEY CLUB New Arts Power unites art groups and various organisations from the social welfare, academic and commercial sectors. Such collaboration brings about a wide range of free events, such as mobile stages that integrate with the community surroundings, creative workshops, guided tours, and open rehearsals. When art is no longer confined to the limits of conventional theatres and galleries, artists can reinterpret their works from a fresh perspective in relation to the urban environment. These interactions allow those who rarely take part in art activities to get a taste of artistic experience, and be able to relate to these artists who were born and raised in the same city.
ĺžˆćŚŽĺš¸ć–ź2019ĺš´çľ‚ďźŒčƒ˝ç‚şéŚ™ć¸Żč§€çœžĺ¸śäž†ĺ…¨ć–°ĺą•čŚ˝ă€Œĺ€&#x;景ă€?čˆ‡ĺťśäź¸čˆžčšˆčĄ¨ćź”ă€Œé€śčż¤ă€?。é€?é ŽćœŹĺœ°č—?襓厜ĺ°?ĺ&#x;Ž 市的觀ĺŻ&#x;čˆ‡č—?襓富č¸?ďźŒäťĽéŚ™ć¸Żç?¨ç‰šçš„ć–‡ĺŒ–čŞžč¨€ĺ›žć‡‰ĺ&#x;Žĺ¸‚ç?žćł 。幕茽ćœ&#x;čƒ˝äťĽč—?襓富č¸?ä¸˛é€Łć–‡ĺŒ–ć„&#x;ç&#x;Ľă€ č—?襓解 莀〠全ç?ƒĺŒ–ĺ&#x;Žĺ¸‚čˆ‡ćŠ&#x;ĺˆśç™źĺą•ç‰č°éĄŒďźŒĺ°?äşŒĺ? 一世紀ĺ&#x;Žĺ¸‚癟幕所é?˘ĺ°?çš„ĺ•?éĄŒĺą•é–‹č¨ŽčŤ–ă€‚
The Hong Kong Arts Development Council (HKADC) has been holding JOCKEY CLUB New Arts Power since 2017. The arts festival, taking place from September to January of the following year, focuses on presenting local artists who are flourishing and esteemed in the global arts scene. Through a series of arts events, the festival creates an artistic experience that is innovative, outstanding, and filled with uniquely local elements.
“Post-colonial does not mean the end of colonialism but the concealment and complication of colonisation,� Post-colonial Tongzhi Chou Wah-shan.
Over the past two years, 28 arts groups were involved in JOCKEY CLUB New Arts Power. Together they produced 48 live performances, a remarkable number of major exhibitions, over 300 sessions of community and school events, resulting in a remarkable outcome of up to 270,000 participants. After two years of dedicated effort in connecting local creative talents with the community, JOCKEY CLUB New Arts Power is becoming one of the most anticipated annual arts festivals in Hong Kong.
ć˘ ĺžĄć?ąčˆ‡čł´ćœ—é¨Ťĺˆ†ĺˆĽĺžžç‰Šç?†çŠşé–“čˆ‡ć™‚é–“çˇšć€§ĺ‡şç™źďźŒä˝ˆç˝Žčˆ‡é‡?羄片掾厝ç?žç¤şäť–們ĺ?„自ç?¨ç‰šçš„觀非靎ĺ?“ č?ŻĺˆŠç”¨çšŞç•Ťé Žç¨‹ĺźˇčŞżĺ&#x;Žĺ¸‚ä˝?ć°‘čşŤäť˝çš„čĄ¨ĺžľďź›éŤ˜ĺ€Šĺ˝¤äťĽčĄ›ç”&#x;ç›¸é—œç‰Šäťśç‚şčĄ¨ĺžľďźŒéŤ”ç?žĺ&#x;Žĺ¸‚çľ?構鄺鎎猧則 é€?é Žé‡?羄犺間䞆攞大ĺ&#x;Žĺ¸‚產ç”&#x;的隔閥。C & G çš„ä˝œĺ“ éĄŻç¤şäť–ĺ€‘çš„é›™é‡?čşŤäť˝ďźŒä¸€ć–šé?˘é•ˇćœ&#x;é€?é Žč—?襓富č¸? 桹兼礞ĺ?€ďźŒĺœ¨ă€Šç‡’數簿》ĺ?ŻčŚ‹ĺˆ°äť–們連çľ?ĺ…śäť–č—?čĄ“ĺŽśčˆ‡ĺœ¨ĺœ°ç’°ĺ˘ƒďźŒäťĽč¨´čŞŞĺ?„税ä¸?兏瞊一斚é?˘äť–們äš&#x;ć˜Żĺ…Š ĺĽłçš„çˆśćŻ?ďźŒĺą•ç?žĺ°?čşŤäť˝čˆ‡ĺ&#x;Žĺ¸‚镡é ćœŞäž†ç™źĺą•çš„çœ‹ćł•ă€‚ć›˛ćˇľćžˆçš„ă€ŠćŠ&#x;ĺŻ†éŒ„ă€‹ćƒłĺƒ?果犺的錙港ĺ&#x;Žĺ¸‚č¨˜ć†śďźŒç§‘ĺšť ĺ°?čŞŞć‰€ĺťşć§‹çš„ä¸–ç•Œĺž€ĺž€ĺ??ć˜ äş†ç?žĺŻŚçš„ć&#x;?ä¸€éƒ¨ĺˆ†ďźŒčˆ‡ç?žćł 彡彿既é ĺ?ˆčż‘。 ă€Œĺ€&#x;景ă€?ćœŹç‚şĺ‚łçľąĺœ’ćž—ćŠ€ĺˇ§ďźŒĺ€&#x;ç”¨çŠşé–“äťĽĺ¤–çš„ć™Żč‰˛ĺź•ĺ…ĽĺŽ¤ĺ…§ďźŒč€Œĺą•čŚ˝ĺ€&#x;用了一座癞嚴ćˇĺ?˛çš„ćŽ–ć°‘ĺœ°ĺťşçŻ‰ä˝œç‚ş čƒŒć™ŻďźŒäťĽćœŹĺœ°č—?襓厜的畜䝣č—?čĄ“ä˝œĺ“ ă€ ĺ?„č‡Şçš„é˘¨ć źč¨´čŞŞĺœ¨é€™ĺ€‹ĺœ°ć–šç”&#x;洝的故事。 é?˘ĺ°?ç•śäťŠç¤žćœƒĺ›°ĺ˘ƒďźŒč—?čĄ“ĺŽśé€šé Žĺ&#x;Žĺ¸‚這個兹ĺ?ŒčŠąéĄŒďźŒçšžé ŽćŠ˝čąĄçš„ç¤žćœƒĺ¸ćˆ–政沝ĺ¸čĄ“čŞžďźŒé€?é Žç´°ĺżƒč§€ĺŻ&#x;čˆ‡ç ” çŠśďźŒäťĽĺ‰ľä˝œç?†ć€§ć‹†č§Łäť–們é é ‡çš„ĺ&#x;Žĺ¸‚ç?žčąĄďźŒčŠŚĺœ–䝼垎觀ĺź?ä˝œĺ“ čĄ¨ç?žĺŽ?č§€ĺƒšĺ€źďźŒč§Łć”žĺ&#x;Žĺ¸‚兏民的揊力。錙港 ćŁĺœ¨é é ‡çš„ĺ?„ç¨ŽĺŁ“čżŤďźŒäš?ĺ? 嚴䝣常荇ĺ?Šĺ&#x;Žĺ¸‚ĺ?Żčƒ˝ĺ¸śäž†çš„ç„Ść…ŽďźŒĺˆ°äťŠĺ¤Šĺˇ˛ćˆ?為夢é˜ă€‚č—?襓厜䝼䝖們ç?¨ç‰šçš„çœźĺ…‰ ç›´čŚ–ć™‚äş‹ďźŒä¸Śĺœ¨é Žç¨‹ä¸ćŽ˘ç´˘čˆ‡ćŞ˘čŚ–äťĽč—?čĄ“ä˝œç‚şĺ??ć€?ĺ›žć‡‰éƒ˝ĺ¸‚ç?žčąĄçš„ć–šĺź?ďźŒĺœ¨ç•śäťŁĺš´ĺłťçš„ćƒ…ĺ‹˘ä¸‹äť?ç„śćœ‰ć•ˆďźŒĺœ¨ ćœ&#x;ćœ›ć”ščŽŠç?žćł ć™‚ďźŒĺ?ˆä¸?囿斟č—?čĄ“ĺœ¨ç¤žćœƒé ‹ĺ‹•ä¸ćœŞčƒ˝ĺźˇčŞżč—?襓性的狀態。
JOCKEY CLUB NEW ARTS POWER çŹŹä¸‰ĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ć–ź2019ĺš´9ćœˆč‡ł2020ĺš´1ćœˆĺ‘ˆç?ťĺ…ąäš?ĺ€‹çŻ€ç›ŽďźŒćśľč“‹čˆžčšˆă€ ćˆ˛ĺŠ‡ă€ é&#x;ł 樂ĺ?ŠčŚ–茺č—?čĄ“ďźŒä¸Ść–źä¸?ĺ?Œĺ ´ĺ&#x;&#x;ç–動礞ĺ?€ĺ?Šĺ¸ć Ąć´ťĺ‹•ďźŒčŞ é‚€ćœŹĺœ°č§€çœžĺ?ƒčˆ‡ĺ…śä¸ďźŒç›Ąćƒ…鍔銗č—?襓的盎 焜匙蜣。 č—?襓ćş?ć–źç”&#x;ć´ťďźŒäşŚčƒ˝čą?ĺŻŒç”&#x;洝。為了ĺ•&#x;癟礞ĺ?€äš‹é–“更多ĺ°?čŠąďźŒă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?推動č—?čĄ“ĺœ˜éšŠ čˆ‡ç¤žçŚ?〠ĺ¸ç•Œĺ?Šĺ•†ç•Œĺ?ˆä˝œďźŒčˆ‰čžŚä¸€çłťĺˆ—形ĺź?ĺ¤šĺ…ƒçš„ĺ…?č˛ťć´ťĺ‹•ďźŒĺŒ…ć‹Źčľ°ĺ‡şĺ‚łçľąčˆžĺ?°ă€ 桹兼礞ĺ?€çš„ćľ ĺ‹• čˆžĺ?°ă€ č—?čĄ“ĺŽśĺˆ†äşŤĺ°?荇〠剾ć„?ĺˇĽä˝œĺ?Šă€ ĺ°Žčłžĺœ˜ĺ?Šĺ…Źé–‹çśľćŽ’ç‰ă€‚ç•śč—?襓ä¸?ĺ†?幀é™?ć–źĺŠ‡ĺ ´ĺ’Œč—?čĄ“é¤¨ďźŒč—? čĄ“ĺŽśĺžžĺś„ć–°č§’ĺşŚćź”çššä˝œĺ“ ďźŒčž?兼礞ĺ?€çš„ĺœ¨ĺœ°é˘¨ć™Żďź›é Žĺž€éŽŽćœ‰ćŽĽč§¸č—?襓的ć—?çž¤ďźŒäşŚĺ?Żé€?é Žé€™äş›ć´ťĺ‹•čˆ‡ ĺœ&#x;ç”&#x;ĺœ&#x;镡的č—?čĄ“ĺŽśäş’ç›¸ĺ…ąéł´ă€‚ĺœ¨č—?ç™źĺą€çš„ć”ŻćŒ ä¸‹ďźŒéŚ™ć¸Żč—?襓厜ĺ?ƒĺŠ äş†ĺžˇĺœ‹ć?œĺĄžçˆžĺ¤šĺ¤Ťĺœ‹éš›čˆžčšˆĺ?ščŚ˝ ćœƒă€ ä¸ĺœ‹ĺœ‹éš›é?’ĺš´č—?čĄ“çŻ€ă€ ç›¸ç´„ĺŒ—äşŹč—?襓節〠1862時尚č—?襓ä¸ĺżƒéŚ™ć¸Żćˆ˛ĺŠ‡ćœˆă€ ç˛ľć¸Żćžłĺ¤§ç Łĺ?€ĺŠ‡é™˘ĺˇĄ 柔〠上澡畜䝣č—?襓ĺ?šç‰Šé¤¨ă€ ćł°ĺœ‹čŚ–čŚşč—?襓雙嚴幕〠é?’ĺš´ç–ĺą•äşşč¨ˆĺŠƒ 2018ç‰ďźŒĺ?‘ĺœ‹éš›ĺ?ŒćĽĺ?Šć™Žçž…觀 çœžĺą•ç¤şéŚ™ć¸Żĺź•äťĽç‚şĺ‚˛çš„č‡ŞĺŽśč—?čĄ“ä˝œĺ“ ďźŒé€™ć‰šč¸?čśłĺœ‹éš›č—?壇的č—?襓節盎將蟉č˝ć¸äž†ďźŒĺœ¨ćœŹĺš´ĺşŚă€Œčł˝éŚŹ ćœƒč—?壇新勢力ă€?é€?ä¸€äşŽç›¸ďźŒäťĽéĽ—ćœŹĺœ°č§€çœžă€‚
é Žĺž€ćŽ–ć°‘ä¸ťçžŠčŁĄć‰€ć??čż°ĺŽ—ä¸ťĺœ‹čˆ‡ćŽ–ć°‘ĺœ°äš‹é–“ćŹŠĺŠ›čˆ‡ĺ‰?ĺ‰Šçš„é—œäż‚ďźŒĺœ¨ç•śäťŠĺˇ˛äź¸ĺťśç‚şç¤žćœƒä¸Šĺ?„税揊力塎異所產 ç”&#x;çš„ä¸?ĺšłç‰ĺ°?çŤ‹ă€‚ć˜ŻćŹĄĺą•čŚ˝ĺžžĺ°?ĺ&#x;Žĺ¸‚çŠşé–“çš„ćƒłĺƒ?é–‹ĺ§‹ďźŒćœ&#x;čƒ˝é€?é Žč—?čĄ“čˆ‡ĺ‰ľä˝œďźŒćŠ˜ĺ°„é Žĺž€äşŒĺ? 嚴錙港ĺ&#x;Žĺ¸‚癟 ĺą•čƒŒĺžŒĺťşçŻ‰çš„ć„?ĺż—ďźŒé–“ćŽĽć‰šĺˆ¤ć–°č‡Şç”ąä¸ťçžŠĺŒ…čŁ?ä¸‹č˘ŤĺťśçşŒçš„ć–°ćŽ–ć°‘ć¨Ąĺź?。
錙港č—?čĄ“ç™źĺą•ĺą€ďźˆč—?癟幀自2017ĺš´éŚ–ćŹĄčˆ‰čžŚă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ďźŒć–źćŻ?ĺš´9ćœˆč‡łçżŒĺš´1ćœˆćœ&#x;é–“ďźŒ çľ?é›†ĺœ¨ćľˇĺ¤–č—?ĺŁ‡çśťć”žç•°ĺ˝Šçš„ćœŹĺœ°č—?čĄ“ĺŽśďźŒĺ‘ˆç?ťä¸€çłťĺˆ—č—?čĄ“ć´ťĺ‹•ďźŒç‚şç¤žćœƒĺ?„ç•Œĺ¸śäž†ĺ‰ľć„?ă€ ć°´ćş–čˆ‡ćœŹĺœ&#x; 色彊兟丌的č—?襓鍔銗。
ć˜ŻćŹĄĺ?ƒĺą•č—?čĄ“ĺŽśçš†ć˜Żç”&#x;ć–źç?žäťŁéƒ˝ĺ¸‚塲ćˆ?ĺ˝˘çš„ć™‚äťŁďźŒĺ°?出ç”&#x;丌ç”&#x;é•ˇĺœ¨äşŒĺ? ä¸–ç´€ćœŤĺ&#x;Žĺ¸‚çš„äşşäž†čŞŞďźŒç”&#x;ć´ťčˇ&#x;隨ĺ&#x;Ž ĺ¸‚č„ˆĺ‹•ć—Šĺˇ˛ĺŻ†ä¸?ĺ?Żĺˆ†ă€‚çś“é Žć•¸ĺ€‹ćœˆçš„ç¤žćœƒäş‹äťśďźŒćœŹäž†éšąć˛’ĺœ¨é€™ĺ€‹ĺ&#x;Žĺ¸‚細密çľ?構畜ä¸çš„荸多ç&#x;›ç›žďźŒĺŽŒĺ…¨č˘ŤćŠŤ éœ˛ĺœ¨ĺ…Źçœžé?˘ĺ‰?ďźšçźşäš?äżĄĺżľçš„ćŠ€čĄ“ĺŽ˜ĺƒšĺœ¨éž?é›œçš„ĺœ°ć–šé—œäż‚ä¸éž?ĺ›şĺ‹˘ĺŠ›ďźŒäťĽć–°č‡Şç”ąä¸ťçžŠçš„ç§ ćœ‰ĺŒ–ć¨Ąĺź?ĺ°‡ĺ…ŹçœžĺˆŠ 益莊ćˆ?ćŹŠč˛´çš„ç§ ç”˘ă€ čą˘é¤Šĺ?„ç¨Žéœ¸ćŹŠďźŒĺ?Œć™‚甹斟荸多ĺŽ&#x;ĺ› ďźŒĺ…Źçœžç„Ąćł•é€?é Žĺ Ľĺ…¨çš„ç›ŁĺŻ&#x;çłťçľąäťĽĺˆśčĄĄć”żĺşœćŹŠĺŠ›ďźŒ ä¸Šĺą¤ĺŽ˜ĺ“ĄćœŞčƒ˝č †č ˝ĺ¸‚ć°‘çš„č¨´ćą‚č€Œç?¨ć–ˇç?¨čĄŒďźŒé•ˇćœ&#x;é†žé‡€çš„ĺŁ“ĺŠ›ćœ€çľ‚ĺ°Žč‡´ĺ&#x;Žĺ¸‚čˆ‡éŤ”ĺˆśçš„ĺŠ‡çƒˆéœ‡ç›Şă€‚
é ŽĺŽťĺ…Šĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ĺ…ąćœ‰äşŒĺ? 免個č—?襓喎ä˝?ĺ?ƒčˆ‡ďźŒčŁ˝ä˝œĺ››ĺ? ĺ…Ťĺ ´ä¸?ĺ?ŒéĄžĺž‹ćź”出ĺ?Šĺ¤šĺ€‹é‡? éťžĺą•čŚ˝ďźŒä¸Śç–ĺŠƒčś…é Žä¸‰ç™žĺ€‹ç¤žĺ?€ĺ?Šć Ąĺœ’ć´ťĺ‹•ďźŒç¸˝ĺ?ƒčˆ‡äşşćŹĄéŤ˜é ”äşŒĺ? 七č?Źă€‚çś“é Žĺ…Šĺš´č€•č€˜ďźŒă€Œčł˝éŚŹćœƒ č—?壇新勢力ă€?çŠ?漾連çľ?礞ĺ?€ĺ?Šć”ŻćŒ č—?襓的ćŠ&#x;ć§‹ĺ’Œç¤žĺœ˜ďźŒç™źĺą•ćˆ?ç‚şćŻ?ĺš´çœžć‰€ćœ&#x;ĺž…çš„ćœŹĺœ°č—?襓節。
čł˝éŚŹćœƒč—?壇新勢力 ć˘ ĺžĄć?ą ç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Šçš„ćƒ…ć„&#x; ĺ¤šé ťéť‘ç™˝éŒ„ĺƒ?〠鋟 č’™ĺ¤ŞĺĽ‡ć˜Żĺ°‡ä¸?ĺ?Œç•Ťé?˘ĺ‰ŞćŽĽč‡łĺ–Žä¸€ć™‚é–“çˇšä¸ŠďźŒĺˆŠç”¨ç‰‡ 掾的羄ĺ?ˆčŹ›čż°ć•…äş‹çš„ć‰‹ćł•ă€‚ĺœ¨ă€Šç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Š çš„ćƒ…ć„&#x;》ä¸ďźŒč—?čĄ“ĺŽśĺťşć§‹ĺ‡şä˝œĺ“ çš„çŠşé–“ďźŒä¸€ć–šé?˘ ĺ›žć‡‰ç‰›ćŁšçš„ĺťşçŻ‰ĺŻŚéŤ”ďźŒä¸€ć–šé?˘ĺœ¨çŠşé–“ä¸ä˝ˆç˝Žäť–ć‹?ć”? 的錄ĺƒ?ç‰‡ćŽľďźŒé€?é Žé‡?çľ„čˆ‡ĺˆ†éš”äž†äş¤çš”ĺ‡şć•?事。č—?襓 ĺŽśĺˆŠç”¨é Žĺž€ć‹?ć”?ç´€éŒ„ç‰‡çš„çś“éŠ—ďźŒĺœ¨ä˝œĺ“ ä¸ĺ‘ˆç?žä¸ťč§€ čˆ‡ĺŽ˘č§€äş¤äş’čžŻč‰çš„役ĺƒ?ďźŒć??寍ç?žĺŻŚä¸ĺ˜ĺœ¨çš„一税濛 ć˜§ćƒ…ć„&#x;。
� � �    € ‚ ƒ € ‚ Montage is an editing technique where different footage are edited into a single timeline to tell the narrative through the composition of them coming together. In Encounters (Never Mind the Cloying Sentiments), the artist creates a space for the artwork that on the one hand, responds to the actual architecture of the Cattle Depot; on the other hand, different clips recorded by the artist are arranged in the space and a narrative is formed by their reconstruction and separation in space. The artist made use of his past experience of making documentaries to form dialectical images crossing the subjective and the objective; thus creating an obsured emotion that is rooted in reality.
turning points in the conflict this year is when the police entered the Prince Edward MTR station and attacked indiscriminately on August 31. At one of the station exits where C&G held their event, an altar was made for the victims of that incident. We might never know the truth of the incident, but nevertheless the ceremony itself became a venting outlet for the movement. When the voice of the people is not heard and the grudge is still held against the government, the only way we can solve the problem is perhaps seeking the help of a higher power. Shared language is the forming criterion of a community. Yet, since the beginning of colonial expansion, many indigenious languages of the colonies were replaced by the language of the coloniser due to their "inferiority" in civility. This process of clamping down on the independence of the indegenious culture and identity makes it easier for a tighter governance by the coloniser. Our Next Generation and Us shows the process of preparing Not as Trivial as You Think: Shanghai Art Quiz for last year’s Shanghai Biennale, where C&G learned to conduct their quiz in Mandarin by learning from their daughters. C&G themselves are the products of the British colonisation and their daughters are the products of the Hong Kong SAR. Through the differences in language skills between the two groups, it is easy to contrast the impact to the local culture in different times. 鄺鎎猧
ĺźľĺ˜‰čŽ‰ĺ?Šé„急ć•?(é˜żé‡‘)
連çľ?ćˆ?ç‚şéšœç¤™ ä¸?é?˝é‹źçŽĄă€ é??鉝鋅ĺ?ˆé‡‘玥掼䝜
燒數簿 ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? ƒ 盂č˜ă€ŒéŹźçŻ€ă€?ç‡’čĄŁć˜Żä¸€ĺ€‹ĺ‚łçľąçš„č?Żäşşçż’äż—ďźŒç”¨ć„?ć˜Ż 厉撍枉ćťçš„é?ˆé‚ă€‚ă€Šç‡’ć•¸ç°żă€‹ć˜ŻC&G典型礞ĺ?€č—?襓 č¨ˆĺŠƒďźŒĺœ¨ç›‚č˜çŻ€ç•śĺ¤Šé‚€čŤ‹č—?čĄ“ĺŽśĺ€‘čŁ˝ä˝œç´Žä˝œé “ĺ…ˇďźŒ ç„šç‡’ĺˆ°ă€Œé™°é–“ă€?䝼ĺ°?ç¤žćœƒçš„äş‹äťśä˝œĺ‡şćŠ•č¨´ă€ čŠ›ĺ’’ ç‰ďźŒäşşé–“çš„ä¸?兏瞊䚋事ä¸?čƒ˝č˘Ťć˜ć˜ŽďźŒč€Œéœ€ĺ°‹ćą‚蜅蜊 奾世的力é‡?厝嚳ĺ??ďźŒć˜Żĺ?¤äťŠä¸ĺ¤–éƒ˝ćœ‰çš„ç?žčąĄă€‚䝊嚴 抗çˆä¸çš„ĺ…śä¸ä¸€ĺ€‹č˝‰ć?ŠéťžďźŒć˜Ż8ćœˆ31ć—ĽčŚĺŻ&#x;ćŚčŁ?進 ĺ…Ľä¸Śĺ° éŽ–ĺœ°é?ľçŤ™ďźŒĺœ¨C&Gĺšłć™‚ć´ťĺ‹•ĺ ´ĺ&#x;&#x;ć— é‚Šçš„ĺœ°é?ľ 出ĺ?ŁďźŒé•ˇćœ&#x;ćœ‰äşşč¨ç˝ŽçĽĺŁ‡ĺź”忾。ç?žĺŻŚç„ĄčˇŻç”łč¨´çš„ĺ•? éĄŒäťĽĺ?Šç„ĄäťĽĺ??ç‹€çš„ć€¨ĺżżďźŒĺƒ…čƒ˝çĽˆćą‚çĽžć˜Žçš„é?žč‡Şç„śĺŠ› é‡?čƒ˝ĺ¤ č§Łćąşă€‚ ćˆ‘ĺ€‘ĺ’Œä¸‹ä¸€äťŁ ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? čŞžč¨€ć˜ŻäşşéĄžçž¤éŤ”ćˆ?ç‚şĺ…ąĺ?ŒéŤ”的漾é‡?čŚ ĺ°Žĺ› ďźŒč‡Şĺ¤§čˆŞ ćľˇć™‚äťŁč‡łäťŠčŤ¸ĺ¤šćŽ–ć°‘ĺŽ—ä¸ťďźŒĺ¸¸äťĽĺŽ&#x;ä˝?民語言低下為 ç?†ç”ąďźŒĺ ‚č€Œçš‡äš‹äťĽĺŽ—ä¸ťçš„čŞžč¨€ĺ?–č€ŒäťŁäš‹ďźŒćŠšćŽşĺŽ&#x;ä˝? ć°‘ć–‡ĺŒ–čˆ‡čşŤäť˝çš„ç?¨çŤ‹ć€§ďźŒäťĽé ”äžżĺˆŠçŽĄç?†äš‹ć•ˆă€‚ă€Šćˆ‘ ĺ€‘ĺ’Œä¸‹ä¸€äťŁă€‹ć˜ŻC&G為了準備上澡雙嚴幕的《上澡 床下底č—?襓常č˜ĺ•?ç”ćŻ”čł˝ă€‹ć™‚ďźŒć‰žäş†ĺĽłĺ…’ćŒ‡ĺ°Žäť–ĺ€‘ čŞŞć™Žé€ščŠąçš„ç´€éŒ„ĺ˝ąĺƒ?。C&Gć˜Żč‹ąćŽ–ć™‚ćœ&#x;çš„ç”˘ç‰ŠďźŒč€Œ äť–ĺ€‘çš„ĺĽłĺ…’ĺ‰‡ć˜ŻéŚ™ć¸Żç‰šĺ?€ć™‚äťŁçš„ç”˘ç‰ŠďźŒé€?é Žĺ…Šçľ„äşş čŞžč¨€ä¸Šçš„ĺˇŽç•°ďźŒčƒ˝čŚ‹ĺˆ°ä¸?ĺ?Œć™‚䝣政揊ĺ°?ćœŹĺœ°ć–‡ĺŒ–ĺ˝ą é&#x;żçš„痕补。
ĺą•čŚ˝ć‰€č™•çš„ç‰›ćŁšĺˇ˛çś“ć˜Żé Žç™žĺš´çš„ĺą ĺŽ°ĺ ´ďźŒĺ…śä¸çš„ä˝ˆ 幀嚞ćˇčŽŠé ˇďźŒç?žĺœ¨ćˆ‘ĺ€‘ć‰€čŚ‹ĺˆ°çš„ć˜Żĺ…ĺ? ĺš´äťŁćœŤć”šćˆ? ćŞ˘ç–Ťć‰€ĺžŒçš„č¨č¨ˆă€‚č—?čĄ“ĺŽśĺ¸Œćœ›é€šé Žčž¨ĺˆĽĺťşçŻ‰çľ?構的 ćœŹčłŞďźŒäťĽä¸?ĺ?Œçš„誇埾〠ćŞć›˛ć‰‹ćł•äž†ĺ‡¸éĄŻçŠşé–“ĺ˜ĺœ¨çš„ č?’čŹŹäš‹č™•ďźŒă€Šé€Łçľ?ćˆ?ç‚şéšœç¤™ă€‹éšąĺ–ťć‰€čŹ‚ĺœ˜çľ?ďźŒĺ…śĺŻŚ ć˜Żä¸€ç¨Žćśˆč€—ç¤žćœƒć‰ščŠ•çš„ć‰‹ćŽľďźŒä˝żĺ…śĺœ¨ç–畼性的拖坜 äš‹ä¸‹č‡Şç„śćśˆĺ˝Œĺ™Şé&#x;łă€‚çœźä¸‹äźźć˜Żč€Œé?žäš‹čŤ–ďźŒĺœ¨ĺ¤§ç’°ĺ˘ƒ 裥ĺ?ťç•°ĺ¸¸éĄŻĺž—ćŁç•śćœ‰ç?†ă€‚
 The Cattle Depot in which this exhibition is set is a structure over a hundred years old; its layout has experienced many changes. What we see today is the design change at the end of the 1960s after the building was converted into a animal quarantine facility. Kong’s practice identifies the nature of the architectural structure and then exaggerates and manipulates it to show the absurdity of the space. Unite as an Obstacle is a metaphor for the cry of so-called unity that is actually a way to nullify the criticism in society by letting the noise die out naturally through strategic delay. The misleading call is being accepted as rightful under these circumstances. éŤ˜ĺ€Šĺ˝¤
 „ ƒ Burning offering during the Hungry Ghost Festival is a Chinese tradition to appease the ghosts of those who died of unnatural causes. On Fire 2018 is C&G's typical community art project. During the Hungry Ghost Festival, C&G invites other artists to make paper offerings to offer to the underworld gods toto complain or curse on social affairs?. When injustice is not righted in the living world, justice is always sought through supernatural powers, which is common throughout human history. One of the
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ă€ŒĺžŒćŽ–ć°‘ä¸Śä¸?ć˜Żć„?味掖民的羂çľ?ďźŒč€Œć˜ŻćŽ–ć°‘çš„éšąč”˝ĺŒ–ĺ’Œč¤‡é›œĺŒ–ă€‚ă€?——周č?Żĺąąă€ŠĺžŒćŽ–ć°‘ĺ?Œĺż—》 《ćŠ&#x;ĺŻ†éŒ„ă€‹ć˜Żč—?čĄ“ĺŽśä¸€ĺ€‹ćŒ çşŒĺ‰ľä˝œçš„ç§‘ĺšťč—?襓糝 ĺˆ—ďźŒä˝œĺ“ ĺťşć§‹ĺœ¨ä¸€ĺ€‹ä¸?äš…ĺ°‡äž†çš„ćœŞäž†ä¸–ç•ŒďźŒäşşĺˇĽ ć™şčƒ˝ĺˇ˛ç„śčś…čśŠäşşéĄžçš„ć™şć…§ďźŒĺžžç‚şäşşéĄžćœ?ĺ‹™č˝‰č€Œçľą ć˛ťäşşéĄžďźŒç‚şäş†éž?ĺ›şč‡Şĺˇąçš„ć”żćŹŠďźŒé€˛čĄŒă€Œçœ&#x;襀人ă€?çš„ ć‹˜ć?•čĄŒĺ‹•ďź›ĺ?Śä¸€ć–šé?˘ďźŒäşşéĄžč—?čşŤĺžžćœŞč˘Ťć‹†é™¤çš„éŚ™ć¸Ż äš?éž?寨ĺ&#x;Žä¸ďźŒ 䝼ĺ?„ç¨Žĺœ°ä¸‹çš„ć–šćł•ć„?ĺœ–ćŽ¨çżťäşşĺˇĽć™şčƒ˝ ć”żćŹŠă€‚ĺœ¨č—?čĄ“ĺŽśçš„ä¸–ç•Œä¸ďźŒäşşĺˇĽć™şčƒ˝ĺ&#x;Žĺ¸‚čˆ‡äš?éž?寨 ĺ&#x;ŽĺŠƒĺˆ†ä¸Šä¸‹ĺ…Šĺ€‹ä¸–ç•ŒďźŒĺ&#x;Žĺ¸‚幅民夹厝了自塹所坺獋 ĺ&#x;Žĺ¸‚çš„ćŽ§ĺˆśćŹŠďźŒćŽĄĺ?–ä¸?ĺ?Œć‰‹ćŽľäťĽĺĽŞĺ›žč‡ŞčşŤçš„ç”&#x;ĺ˜ćŹŠ ĺˆŠďźŒĺœ¨ĺˇąć–ščŚ–ç‚şč‡Şç”ąĺ‹‡ĺŁŤč€Œĺœ¨ć•ľć–šĺ‰‡č˘ŤčŚ–ç‚şć ?ć€–ĺˆ† ĺ?。斟ć¤ĺ?Œć™‚ďźŒä˝œĺ“ ä¸ćœŞč˘Ťć‹†é™¤çš„äš?éž?寨ĺ&#x;Žĺœ¨ćœŞäž† 柔莊ćˆ?äşşéĄžćœ€ĺžŒé˜˛çˇšçš„é‡?čŚ ĺ˜ĺœ¨ďźŒĺœ¨č™›ĺŻŚäš‹é–“é‡?çľ„ ć–°ĺ&#x;Žčˆ‡čˆŠĺ&#x;Žçš„é—œäż‚ďźŒć›¸ĺŻŤä¸€ĺ€‹é ŽĺŽťčˆ‡ćœŞäž†äş¤ćŽĽçš„ĺšł čĄŒä¸–ç•ŒďźŒä˝œĺ“ çłťĺˆ—äťĽç§‘ĺšťćžśçŠşçš„ć‰‹ćł•ďźŒé€?é Žć•¸ć“š čˆ‡ĺ˝ąĺƒ?ä¸?ĺ?Œĺą¤é?˘čŠŚĺœ–ĺ??ć€?ĺ?„ç¨Žĺˆ‡ĺŻŚçš„ć”żć˛ťčˆ‡é “ĺžˇ ĺ•?éĄŒďźŒäťĽĺ?Šĺ°?ĺ&#x;Žĺ¸‚瞎ĺ¸çš„éšąĺ–ťĺ’Œćƒłĺƒ?。
č—?čĄ“ĺŽśäťĽçšŞç•Ťé€™ĺ€‹ç˛žç´°é Žç¨‹ďźŒč šç„ŚäşşéĄžé›†éŤ”ç”&#x;ć´ťçš„ ç´°çŻ€ă€‚ä˝œĺ“ ă€ŠF26》〠《806》ć??čż°č—?襓厜留ć„?ĺˆ° çš„ĺœ¨äşşéĄžć‰‹ä¸Šć›¸ĺŻŤć•¸ĺ—的兊個役ĺƒ?ă€‚ä¸€ĺ€‹ć˜Żč¨˜č€…ć‹? ć”?ĺˆ°čŚĺŻ&#x;ĺœ¨čż‘ćœ&#x;ç¤şĺ¨ ć´ťĺ‹•č˘Ťć?•äşşĺŁŤć‰‹ä¸Šć¨™č¨˜çˇ¨č™&#x;ďź› ĺ?Śä¸€ĺ€‹ĺ‰‡ć˜Żĺœ¨é ¸čˆ‰ćœ&#x;é–“ďźŒćœ‰é ¸ć°‘ĺœ¨ć‰‹ä¸ŠĺŻŤä¸‹ć•¸ĺ—ďźŒ ćš—č¨˜ĺąŹć„?çš„ĺ€™é ¸äşşč™&#x;ç˘źă€‚ă€Œă€ŒBranding ă€?ĺœ¨ç?žäťŠç¤ž ćœƒĺ¸¸č˘Ťç?†č§Łç‚şĺ“ ç‰ŒĺťşçŤ‹čˆ‡čĄŒéŠˇďźŒä˝†čŠ˛ĺ—語ćş?ĺŻŚç‚şă€Œ 䝼熹é?ľçƒ™ĺ?°ć¨™ç¤şć‰€ćœ‰ćŹŠă€?ďźŒćˇĺ?˛ä¸Šé•ˇćœ&#x;č˘Ťç”¨ä˝œć¨™ç¤ş ç˝ŞçŠŻçš„ç”¨é€”ďźŒç„ĄčŤ–ć˜Żć¨™č¨˜ĺœ¨äşşéĄžčˆ‡ĺ‹•ç‰ŠčşŤéŤ”ďźŒćˆ–ć˜Ż 斟坺築上的套鴉ĺ?°č¨˜ďźˆgraffitiďź‰ďźŒçš†ç‚şĺŽŁç¤şä¸ťćŹŠçš„ 一税斚ĺź?ďźŒĺœ¨ćśˆč˛ťç¤žćœƒčˆ‡ĺžŒç?žäťŁĺ&#x;Žĺ¸‚ä¸çš„ćˆ‘ĺ€‘ďźŒĺŽ&#x; 䞆äť?ćœƒé€?é Žé€™ç¨Žćš—ĺ–ťĺ•†ĺ“ ĺŒ–čˆ‡ç‰ŠĺŒ–çš„é Žç¨‹ďźŒč€Œĺƒ?牊 äťśä¸€čˆŹč˘Ťć¸éĄžćˆ–ć“ ćœ‰ă€‚
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The artist often takes a unique perspective in capturing detailed closeups of things, events, and places in daily life; some are frames of still images, while some are momentary moving images. The varying distance between the photographer and subject of concern and the frame of the camera can all aptly narrate a main idea; the artist makes use of the mobile phone he carries daily to observe the city and the convergent overlap between his gaze and technology is a normality that could not be more natural for contemporary people. Black Dream creates a looped video out of the precious fragments in daily chores and forms a new stream-of-consciousness-like narrative.
Ko Sin Tung’s creative process has always reflected on architectural elements in the urban landscape and exposed an inherent absurdity through processes of recreation. In Guardian, the artist recreates various types of barbed wires. On the surface these elements act as protective devices, but are in fact implements that impede on physical liberties; limiting freedom of movement. By recreating an automated manufacturing process by hand, as seen in the video, Ko is reflecting on Hong Kong’s lack of trust in the citizenry. The city builds barriers between different environments, and at the same time these vigorous structures are totally pointless and ludicrous.
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The artist focuses on the details of humanity’s communal living through the meticulous process of painting. F26 and 806 depicts two images from instances noticed by the artist where numbers are being written on human hands. One is the marking of a number on the hands of those arrested by the police in recent protest activities as photographed by journalists; another is voters in elections writing a number on their hands as a hidden signifier of their desired candidate. “Brandingâ€? is now often understood as the establishment and marketing of a brand; but its original definition means “the action of marking with a branding ironâ€?, and historically it has long been used for the marking of criminals. Whether markings on the bodies of humans or animals, or graffiti markings on architecture, they are all a way of declaring authority; even within a consumerist society and the postmodern city, we could still categorise and attribute ourselves like objects through a process that alludes to commodification and objectification. čł´ćœ—é¨Ť
éŤ˜ĺ€Šĺ˝¤çš„ĺ‰ľä˝œćŻ?ćŻ?ç’°çšžč‘—ĺ&#x;Žĺ¸‚ä¸çš„ĺťşçŻ‰ç‰šĺžľďźŒçś“é Ž ĺĽšć”šé€ é‡?ĺĄ‘çš„é Žç¨‹äž†éĄŻç?žĺ…śä¸çš„č?’čŹŹďźŒă€ŠĺŽˆčˇč€…》 ä¸ďźŒč—?čĄ“ĺŽśč‡ŞčĄŒčŁ˝ä˝œäż?襛的é?ľçľ˛çś˛ďźŒčĄ¨é?˘ä¸Šć˜Żäż?čˇ ĺŽ‰ĺ…¨çš„é “ĺ…ˇďźŒä˝†ĺœ¨ć›´ĺ¤šć™‚ĺ€™ć˜ŻçŽ?ĺˆśäşşčşŤč‡Şç”ąçš„ć‰‹ ćŽľă€ äťĽçŚ ć˘äťťć„?犿ć˘ä¸?ĺ?Œĺœ°ć–šă€‚é€?é ŽčŁ?ç˝Žčˆ‡ĺ˝ąç‰‡ä¸ é‡?č¤‡äťĽć‰‹ĺĄ‘é€ ç‰Šäťśçš„é Žç¨‹ďźŒć??醒觀者ĺ&#x;Žĺ¸‚ĺ°?ä˝?ć°‘çš„ ä¸?äżĄäťťďźŒč§€ĺŻ&#x;ç’°ĺ˘ƒä¸ç‰šć„?形契出䞆的ĺ?€éš”ďźŒĺ?Œć™‚ĺ?? 應嚴菚çľ?構ä¸çš„ĺž’ĺ‹žčˆ‡č?’菏。
靑夢 ĺžŞç’°éŒ„ĺƒ? č—?襓厜慣常䝼兜ç?¨ç‰šçš„çœźĺ…‰ďźŒć“ˇĺ?–ç”&#x;ć´ťć‰€čŚ‹äş‹ç‰Šĺ ´ ć™Żçš„ĺą€éƒ¨ç‰šĺŻŤďźŒćœ‰çš„ć˜Żĺ‡?çľ?çš„é?œć…‹ĺŽšé?ĄďźŒćœ‰çš„ć˜Ż 剎那的動態役ĺƒ?。ć”?役帍čˇ&#x;袍ć”?丝鍔的čˇ?é›˘ćˆ–é•ˇ ćˆ–ç&#x;ďźŒç›¸ćŠ&#x;çš„čŚ–ćĄ†éƒ˝ćœƒć °ĺˆ°ĺĽ˝č™•čŞŞĺ‡şé‡?éťžďźŒč—?襓厜 ä˝żç”¨ĺšłć™‚éš¨čşŤć”œĺ¸śçš„ć‰‹ć??雝芹觀ĺŻ&#x;ĺ&#x;Žĺ¸‚ďźŒç§‘ćŠ€čˆ‡ĺ‡? čŚ–äş¤äş’ĺą¤ç–ŠďźŒćˆ?ç‚şç?žäťŁäşşĺ†?自焜ä¸?é Žçš„ĺ¸¸ć…‹ă€‚ă€Šéť‘ 夢》將這些旼常瑣事的ĺ?‰ĺ…‰ç‰‡çž˝ä¸˛é€Łĺœ¨ćˆ?é‡?複垪環 錄ĺƒ?ďźŒçľ„ĺ?ˆćˆ?ć„?č˜ćľ čˆŹçš„ć–°ć•˜äş‹ă€‚
� € Confidential Record is the artist’s ongoing science fiction artwork series. The work anchors on a world in the not too distant future, where artificial intelligence has surpassed human intelligence and rule over, rather than service, humanity. To consolidate their regime, artificial intelligence initiate the arrest of “pure blood humans�. At the same time, humans hide away in the original Hong Kong Kowloon Walled City, as it would be if it was never demolished, and use various underground means to try to overthrow the artificial intelligence regime. In the world imagined by the artist, the world is separated between the overground city ruled by artificial intelligence and the underground Kowloon Walled City. The city’s inhabitants lost control over the city that they built and turn to various strategies to regain their right of survival; they are seen as freedom fighters among allies and terrorists among enemies. At the same time, the undemolished Kowloon Walled City becomes the last stronghold of human survival in the future. The reorganisation of the relationship between the new city and old city narrates the story of a parallel universe where the past connects with the future. This series of artworks makes use of science fiction to consider actual political and moral issues from different levels, as well as to metaphorize and imagine urban aesthetics through datasets and images conjured by the artist.
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BORROWED SCENERY
newartspower ç–ĺŠƒĺ?ŠčŁ˝ä˝œ Curated and Produced by
錙港č—?čĄ“ç™źĺą•ĺą€ćœ‰ćŹŠĺ˘žć¸›ă€ ć›´ć?›ćź”ĺ‡şč€…ćˆ–ć›´ć”šĺˇ˛ĺ…Źĺ¸ƒçš„çŻ€ç›Žă€‚ĺŚ‚ćœ‰çˆč°ďźŒéŚ™ć¸Żč—?襓癟幕 幀äż?ç•™ćœ€çľ‚ćąşĺŽšćŹŠă€‚ Hong Kong Arts Development Council reserves the right to add, withdraw or substitute artists and / or vary advertised programmes. In case of dispute, the decision of HKADC is final.
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ć‰€ćœ‰ĺ?ƒĺą•č—?čĄ“ĺŽśčˆ‡čˆžč€…ă€ JCNAPĺœ˜éšŠă€ éŚ™ć¸Żč—?襓ä¸ĺżƒă€ č”ĄéŽ§ćŁ‹ă€ éťƒç†™ĺŠˇă€ ä˝•ĺ…†ĺ?—ă€ é™¸ćľŠć˜Ž All participating artists and dancers, JCNAP team, Hong Kong Arts Centre, Jenny Choi, South Ho, Joyce Wong, Andrew Luk ç‰šĺˆĽéł´čŹ? Special Thanks 傳媒䟙䟴 Meida Partner
錙港č—?čĄ“ç™źĺą•ĺą€ĺ…¨ĺŠ›ć”ŻćŒ č—?čĄ“čĄ¨é ”č‡Şç”ąďźŒćœŹč¨ˆĺŠƒĺ…§ĺŽšä¸?äťŁčĄ¨ćœŹĺą€ĺ?Šč´ŠĺŠŠĺ–Žä˝?çš„çŤ‹ĺ ´ă€‚ Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council and the Funder.
丝螌ćŠ&#x;構 Presented by
The third edition of JOCKEY CLUB New Arts Power present a variety of programmes that includes dance, theatre, music, visual arts exhibition, and school activities, as well as site specific events and community celebrations. Come join us at the festival, indulge yourself with the feast of arts, joy and extraordinary cityscape!
We are glad that we can present a brand new exhibition Borrowed Scenery and performance Flâneur to the audience in Hong Kong. The observation of the city and artistic practice of Hong Kong artists bring the unique cultural language of the city to the fore in response to the present situation. We hope this exhibition can unite cultural perception, artistic interpretation, globalised city and its systemic development through artist practice, to pursue a wider discussion into city development in the 21st century. Ocean Leung and Lai Lon Hin reconstruct snippets of their own distinctive visions in the physical space and linear time, respectively. Sarah Lai’s process of painting emphasises the visual features of the city’s inhabitants. Ko Sin Tung reconstruction of hygienic apparatus as a metaphor to the city. Kong Chun Hei rebuilds the space to demonstrate barriers created by the metropolis. C&G’s work exhibit their double identity. On one hand, On the Fire 2018 collaboration with other artists is their work in the community to express the injustice in the city. On the other hand, they are parents with two daughters and have a different way of understanding identity and long-term vision of Hong Kong. Vvzela Kook’’s series Confidential Record fictionalises the memory of Hong Kong; the world built in science fiction always show a certain facet of reality and has an uncanny resemblance to the current situation. Borrowed Scenery was originally a technique used in traditional garden design, where the scenery outside of the garden are framed by various architecture elements and introduced to the premise. In this exhibition, we utilise a colonial building over a hundred years old as a backdrop to showcase contemporary artwork by local artists, who each tell their own life story in unique ways. Facing the social stalemate at the moment and their shared interest in this city, artists create works to dissect their experience of the city, but bypassing existing sociological and political discourse. Through their own observation and research, their work is a microcosm that shows universal values of their city and liberates the civic rights within. The problem and pressure we face today in Hong Kong are the anxieties that the city felt in the nineties and now becoming a haunting nightmare. The artists use their unique vision to confront social events and in the process explore and examine art as a way of responding to social phenomena; their artistic practices transcend the bleak reality of the present. While striving for a change, their works are not bounded by the social movement itself. The artists participating in this exhibition grew up at a time when the metropolis has already formed. To those who were brought up in the city at the end of the 20th century, their lives and the city itself are inseparable. The conflict in the past few months has exposed to the public the myriad contradictions ordinarily hidden within the intricate structure of the city. The technocrats, most of whom are without belief to serve the public good, strengthen their power within the complicated local interests and relations. The government privatise public services a-la-neoliberalism mode and turn them into the private properties of the affluent, which in turn became various hegemonies. At the same time, the public is unable to check and balance government power through a comprehensive regulation system. The top officials stopped listening to the needs of the people and thus became autocratic. The discontent built up over a long period finally exploded into a volatile situation for the city and its systems. The relationship between power and exploitation between the coloniser and colonised as described by colonialism theory in the past, has been largely expanded into unequal opposition caused by power inequality among different social groups. This exhibition stems from the imagination of urban space through an artistic vision, and reflects on the will of architecture in the city development of Hong Kong, thereby providing an indirect critique on neocolonialism under the disguise of neoliberalism.
With the support of HKADC, Hong Kong artists have showcased their works in the internationale tanzmesse nrw in DĂźsseldorf, Germany, China International Youth Arts Festival, “Meet in Beijingâ€? Arts Festival, “Hong Kong Theatre Monthâ€? in 1862 Theatre and Emerging Curators Project in Power Station of Art in Shanghai, touring at Theatres in the Guangdong-Hong Kong-Macao Greater Bay Area, and Thailand Biennale. Overseas arts practitioners and general audiences abroad have the chance to enjoy the finest works of art that are proudly created in Hong Kong. Having been inspired through their touring experiences, these Hong Kong’s talents are ready to further develop and put on their best works in the upcoming JOCKEY CLUB New Arts Power. Life inspires art, and art enriches life. In order to foster the exchange of ideas in society, JOCKEY CLUB New Arts Power unites art groups and various organisations from the social welfare, academic and commercial sectors. Such collaboration brings about a wide range of free events, such as mobile stages that integrate with the community surroundings, creative workshops, guided tours, and open rehearsals. When art is no longer confined to the limits of conventional theatres and galleries, artists can reinterpret their works from a fresh perspective in relation to the urban environment. These interactions allow those who rarely take part in art activities to get a taste of artistic experience, and be able to relate to these artists who were born and raised in the same city.
ĺžˆćŚŽĺš¸ć–ź2019ĺš´çľ‚ďźŒčƒ˝ç‚şéŚ™ć¸Żč§€çœžĺ¸śäž†ĺ…¨ć–°ĺą•čŚ˝ă€Œĺ€&#x;景ă€?čˆ‡ĺťśäź¸čˆžčšˆčĄ¨ćź”ă€Œé€śčż¤ă€?。é€?é ŽćœŹĺœ°č—?襓厜ĺ°?ĺ&#x;Ž 市的觀ĺŻ&#x;čˆ‡č—?襓富č¸?ďźŒäťĽéŚ™ć¸Żç?¨ç‰šçš„ć–‡ĺŒ–čŞžč¨€ĺ›žć‡‰ĺ&#x;Žĺ¸‚ç?žćł 。幕茽ćœ&#x;čƒ˝äťĽč—?襓富č¸?ä¸˛é€Łć–‡ĺŒ–ć„&#x;ç&#x;Ľă€ č—?襓解 莀〠全ç?ƒĺŒ–ĺ&#x;Žĺ¸‚čˆ‡ćŠ&#x;ĺˆśç™źĺą•ç‰č°éĄŒďźŒĺ°?äşŒĺ? 一世紀ĺ&#x;Žĺ¸‚癟幕所é?˘ĺ°?çš„ĺ•?éĄŒĺą•é–‹č¨ŽčŤ–ă€‚
The Hong Kong Arts Development Council (HKADC) has been holding JOCKEY CLUB New Arts Power since 2017. The arts festival, taking place from September to January of the following year, focuses on presenting local artists who are flourishing and esteemed in the global arts scene. Through a series of arts events, the festival creates an artistic experience that is innovative, outstanding, and filled with uniquely local elements.
“Post-colonial does not mean the end of colonialism but the concealment and complication of colonisation,� Post-colonial Tongzhi Chou Wah-shan.
Over the past two years, 28 arts groups were involved in JOCKEY CLUB New Arts Power. Together they produced 48 live performances, a remarkable number of major exhibitions, over 300 sessions of community and school events, resulting in a remarkable outcome of up to 270,000 participants. After two years of dedicated effort in connecting local creative talents with the community, JOCKEY CLUB New Arts Power is becoming one of the most anticipated annual arts festivals in Hong Kong.
ć˘ ĺžĄć?ąčˆ‡čł´ćœ—é¨Ťĺˆ†ĺˆĽĺžžç‰Šç?†çŠşé–“čˆ‡ć™‚é–“çˇšć€§ĺ‡şç™źďźŒä˝ˆç˝Žčˆ‡é‡?羄片掾厝ç?žç¤şäť–們ĺ?„自ç?¨ç‰šçš„觀非靎ĺ?“ č?ŻĺˆŠç”¨çšŞç•Ťé Žç¨‹ĺźˇčŞżĺ&#x;Žĺ¸‚ä˝?ć°‘čşŤäť˝çš„čĄ¨ĺžľďź›éŤ˜ĺ€Šĺ˝¤äťĽčĄ›ç”&#x;ç›¸é—œç‰Šäťśç‚şčĄ¨ĺžľďźŒéŤ”ç?žĺ&#x;Žĺ¸‚çľ?構鄺鎎猧則 é€?é Žé‡?羄犺間䞆攞大ĺ&#x;Žĺ¸‚產ç”&#x;的隔閥。C & G çš„ä˝œĺ“ éĄŻç¤şäť–ĺ€‘çš„é›™é‡?čşŤäť˝ďźŒä¸€ć–šé?˘é•ˇćœ&#x;é€?é Žč—?襓富č¸? 桹兼礞ĺ?€ďźŒĺœ¨ă€Šç‡’數簿》ĺ?ŻčŚ‹ĺˆ°äť–們連çľ?ĺ…śäť–č—?čĄ“ĺŽśčˆ‡ĺœ¨ĺœ°ç’°ĺ˘ƒďźŒäťĽč¨´čŞŞĺ?„税ä¸?兏瞊一斚é?˘äť–們äš&#x;ć˜Żĺ…Š ĺĽłçš„çˆśćŻ?ďźŒĺą•ç?žĺ°?čşŤäť˝čˆ‡ĺ&#x;Žĺ¸‚镡é ćœŞäž†ç™źĺą•çš„çœ‹ćł•ă€‚ć›˛ćˇľćžˆçš„ă€ŠćŠ&#x;ĺŻ†éŒ„ă€‹ćƒłĺƒ?果犺的錙港ĺ&#x;Žĺ¸‚č¨˜ć†śďźŒç§‘ĺšť ĺ°?čŞŞć‰€ĺťşć§‹çš„ä¸–ç•Œĺž€ĺž€ĺ??ć˜ äş†ç?žĺŻŚçš„ć&#x;?ä¸€éƒ¨ĺˆ†ďźŒčˆ‡ç?žćł 彡彿既é ĺ?ˆčż‘。 ă€Œĺ€&#x;景ă€?ćœŹç‚şĺ‚łçľąĺœ’ćž—ćŠ€ĺˇ§ďźŒĺ€&#x;ç”¨çŠşé–“äťĽĺ¤–çš„ć™Żč‰˛ĺź•ĺ…ĽĺŽ¤ĺ…§ďźŒč€Œĺą•čŚ˝ĺ€&#x;用了一座癞嚴ćˇĺ?˛çš„ćŽ–ć°‘ĺœ°ĺťşçŻ‰ä˝œç‚ş čƒŒć™ŻďźŒäťĽćœŹĺœ°č—?襓厜的畜䝣č—?čĄ“ä˝œĺ“ ă€ ĺ?„č‡Şçš„é˘¨ć źč¨´čŞŞĺœ¨é€™ĺ€‹ĺœ°ć–šç”&#x;洝的故事。 é?˘ĺ°?ç•śäťŠç¤žćœƒĺ›°ĺ˘ƒďźŒč—?čĄ“ĺŽśé€šé Žĺ&#x;Žĺ¸‚這個兹ĺ?ŒčŠąéĄŒďźŒçšžé ŽćŠ˝čąĄçš„ç¤žćœƒĺ¸ćˆ–政沝ĺ¸čĄ“čŞžďźŒé€?é Žç´°ĺżƒč§€ĺŻ&#x;čˆ‡ç ” çŠśďźŒäťĽĺ‰ľä˝œç?†ć€§ć‹†č§Łäť–們é é ‡çš„ĺ&#x;Žĺ¸‚ç?žčąĄďźŒčŠŚĺœ–䝼垎觀ĺź?ä˝œĺ“ čĄ¨ç?žĺŽ?č§€ĺƒšĺ€źďźŒč§Łć”žĺ&#x;Žĺ¸‚兏民的揊力。錙港 ćŁĺœ¨é é ‡çš„ĺ?„ç¨ŽĺŁ“čżŤďźŒäš?ĺ? 嚴䝣常荇ĺ?Šĺ&#x;Žĺ¸‚ĺ?Żčƒ˝ĺ¸śäž†çš„ç„Ść…ŽďźŒĺˆ°äťŠĺ¤Šĺˇ˛ćˆ?為夢é˜ă€‚č—?襓厜䝼䝖們ç?¨ç‰šçš„çœźĺ…‰ ç›´čŚ–ć™‚äş‹ďźŒä¸Śĺœ¨é Žç¨‹ä¸ćŽ˘ç´˘čˆ‡ćŞ˘čŚ–äťĽč—?čĄ“ä˝œç‚şĺ??ć€?ĺ›žć‡‰éƒ˝ĺ¸‚ç?žčąĄçš„ć–šĺź?ďźŒĺœ¨ç•śäťŁĺš´ĺłťçš„ćƒ…ĺ‹˘ä¸‹äť?ç„śćœ‰ć•ˆďźŒĺœ¨ ćœ&#x;ćœ›ć”ščŽŠç?žćł ć™‚ďźŒĺ?ˆä¸?囿斟č—?čĄ“ĺœ¨ç¤žćœƒé ‹ĺ‹•ä¸ćœŞčƒ˝ĺźˇčŞżč—?襓性的狀態。
JOCKEY CLUB NEW ARTS POWER çŹŹä¸‰ĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ć–ź2019ĺš´9ćœˆč‡ł2020ĺš´1ćœˆĺ‘ˆç?ťĺ…ąäš?ĺ€‹çŻ€ç›ŽďźŒćśľč“‹čˆžčšˆă€ ćˆ˛ĺŠ‡ă€ é&#x;ł 樂ĺ?ŠčŚ–茺č—?čĄ“ďźŒä¸Ść–źä¸?ĺ?Œĺ ´ĺ&#x;&#x;ç–動礞ĺ?€ĺ?Šĺ¸ć Ąć´ťĺ‹•ďźŒčŞ é‚€ćœŹĺœ°č§€çœžĺ?ƒčˆ‡ĺ…śä¸ďźŒç›Ąćƒ…鍔銗č—?襓的盎 焜匙蜣。 č—?襓ćş?ć–źç”&#x;ć´ťďźŒäşŚčƒ˝čą?ĺŻŒç”&#x;洝。為了ĺ•&#x;癟礞ĺ?€äš‹é–“更多ĺ°?čŠąďźŒă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?推動č—?čĄ“ĺœ˜éšŠ čˆ‡ç¤žçŚ?〠ĺ¸ç•Œĺ?Šĺ•†ç•Œĺ?ˆä˝œďźŒčˆ‰čžŚä¸€çłťĺˆ—形ĺź?ĺ¤šĺ…ƒçš„ĺ…?č˛ťć´ťĺ‹•ďźŒĺŒ…ć‹Źčľ°ĺ‡şĺ‚łçľąčˆžĺ?°ă€ 桹兼礞ĺ?€çš„ćľ ĺ‹• čˆžĺ?°ă€ č—?čĄ“ĺŽśĺˆ†äşŤĺ°?荇〠剾ć„?ĺˇĽä˝œĺ?Šă€ ĺ°Žčłžĺœ˜ĺ?Šĺ…Źé–‹çśľćŽ’ç‰ă€‚ç•śč—?襓ä¸?ĺ†?幀é™?ć–źĺŠ‡ĺ ´ĺ’Œč—?čĄ“é¤¨ďźŒč—? čĄ“ĺŽśĺžžĺś„ć–°č§’ĺşŚćź”çššä˝œĺ“ ďźŒčž?兼礞ĺ?€çš„ĺœ¨ĺœ°é˘¨ć™Żďź›é Žĺž€éŽŽćœ‰ćŽĽč§¸č—?襓的ć—?çž¤ďźŒäşŚĺ?Żé€?é Žé€™äş›ć´ťĺ‹•čˆ‡ ĺœ&#x;ç”&#x;ĺœ&#x;镡的č—?čĄ“ĺŽśäş’ç›¸ĺ…ąéł´ă€‚ĺœ¨č—?ç™źĺą€çš„ć”ŻćŒ ä¸‹ďźŒéŚ™ć¸Żč—?襓厜ĺ?ƒĺŠ äş†ĺžˇĺœ‹ć?œĺĄžçˆžĺ¤šĺ¤Ťĺœ‹éš›čˆžčšˆĺ?ščŚ˝ ćœƒă€ ä¸ĺœ‹ĺœ‹éš›é?’ĺš´č—?čĄ“çŻ€ă€ ç›¸ç´„ĺŒ—äşŹč—?襓節〠1862時尚č—?襓ä¸ĺżƒéŚ™ć¸Żćˆ˛ĺŠ‡ćœˆă€ ç˛ľć¸Żćžłĺ¤§ç Łĺ?€ĺŠ‡é™˘ĺˇĄ 柔〠上澡畜䝣č—?襓ĺ?šç‰Šé¤¨ă€ ćł°ĺœ‹čŚ–čŚşč—?襓雙嚴幕〠é?’ĺš´ç–ĺą•äşşč¨ˆĺŠƒ 2018ç‰ďźŒĺ?‘ĺœ‹éš›ĺ?ŒćĽĺ?Šć™Žçž…觀 çœžĺą•ç¤şéŚ™ć¸Żĺź•äťĽç‚şĺ‚˛çš„č‡ŞĺŽśč—?čĄ“ä˝œĺ“ ďźŒé€™ć‰šč¸?čśłĺœ‹éš›č—?壇的č—?襓節盎將蟉č˝ć¸äž†ďźŒĺœ¨ćœŹĺš´ĺşŚă€Œčł˝éŚŹ ćœƒč—?壇新勢力ă€?é€?ä¸€äşŽç›¸ďźŒäťĽéĽ—ćœŹĺœ°č§€çœžă€‚
é Žĺž€ćŽ–ć°‘ä¸ťçžŠčŁĄć‰€ć??čż°ĺŽ—ä¸ťĺœ‹čˆ‡ćŽ–ć°‘ĺœ°äš‹é–“ćŹŠĺŠ›čˆ‡ĺ‰?ĺ‰Šçš„é—œäż‚ďźŒĺœ¨ç•śäťŠĺˇ˛äź¸ĺťśç‚şç¤žćœƒä¸Šĺ?„税揊力塎異所產 ç”&#x;çš„ä¸?ĺšłç‰ĺ°?çŤ‹ă€‚ć˜ŻćŹĄĺą•čŚ˝ĺžžĺ°?ĺ&#x;Žĺ¸‚çŠşé–“çš„ćƒłĺƒ?é–‹ĺ§‹ďźŒćœ&#x;čƒ˝é€?é Žč—?čĄ“čˆ‡ĺ‰ľä˝œďźŒćŠ˜ĺ°„é Žĺž€äşŒĺ? 嚴錙港ĺ&#x;Žĺ¸‚癟 ĺą•čƒŒĺžŒĺťşçŻ‰çš„ć„?ĺż—ďźŒé–“ćŽĽć‰šĺˆ¤ć–°č‡Şç”ąä¸ťçžŠĺŒ…čŁ?ä¸‹č˘ŤĺťśçşŒçš„ć–°ćŽ–ć°‘ć¨Ąĺź?。
錙港č—?čĄ“ç™źĺą•ĺą€ďźˆč—?癟幀自2017ĺš´éŚ–ćŹĄčˆ‰čžŚă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ďźŒć–źćŻ?ĺš´9ćœˆč‡łçżŒĺš´1ćœˆćœ&#x;é–“ďźŒ çľ?é›†ĺœ¨ćľˇĺ¤–č—?ĺŁ‡çśťć”žç•°ĺ˝Šçš„ćœŹĺœ°č—?čĄ“ĺŽśďźŒĺ‘ˆç?ťä¸€çłťĺˆ—č—?čĄ“ć´ťĺ‹•ďźŒç‚şç¤žćœƒĺ?„ç•Œĺ¸śäž†ĺ‰ľć„?ă€ ć°´ćş–čˆ‡ćœŹĺœ&#x; 色彊兟丌的č—?襓鍔銗。
ć˜ŻćŹĄĺ?ƒĺą•č—?čĄ“ĺŽśçš†ć˜Żç”&#x;ć–źç?žäťŁéƒ˝ĺ¸‚塲ćˆ?ĺ˝˘çš„ć™‚äťŁďźŒĺ°?出ç”&#x;丌ç”&#x;é•ˇĺœ¨äşŒĺ? ä¸–ç´€ćœŤĺ&#x;Žĺ¸‚çš„äşşäž†čŞŞďźŒç”&#x;ć´ťčˇ&#x;隨ĺ&#x;Ž ĺ¸‚č„ˆĺ‹•ć—Šĺˇ˛ĺŻ†ä¸?ĺ?Żĺˆ†ă€‚çś“é Žć•¸ĺ€‹ćœˆçš„ç¤žćœƒäş‹äťśďźŒćœŹäž†éšąć˛’ĺœ¨é€™ĺ€‹ĺ&#x;Žĺ¸‚細密çľ?構畜ä¸çš„荸多ç&#x;›ç›žďźŒĺŽŒĺ…¨č˘ŤćŠŤ éœ˛ĺœ¨ĺ…Źçœžé?˘ĺ‰?ďźšçźşäš?äżĄĺżľçš„ćŠ€čĄ“ĺŽ˜ĺƒšĺœ¨éž?é›œçš„ĺœ°ć–šé—œäż‚ä¸éž?ĺ›şĺ‹˘ĺŠ›ďźŒäťĽć–°č‡Şç”ąä¸ťçžŠçš„ç§ ćœ‰ĺŒ–ć¨Ąĺź?ĺ°‡ĺ…ŹçœžĺˆŠ 益莊ćˆ?ćŹŠč˛´çš„ç§ ç”˘ă€ čą˘é¤Šĺ?„ç¨Žéœ¸ćŹŠďźŒĺ?Œć™‚甹斟荸多ĺŽ&#x;ĺ› ďźŒĺ…Źçœžç„Ąćł•é€?é Žĺ Ľĺ…¨çš„ç›ŁĺŻ&#x;çłťçľąäťĽĺˆśčĄĄć”żĺşœćŹŠĺŠ›ďźŒ ä¸Šĺą¤ĺŽ˜ĺ“ĄćœŞčƒ˝č †č ˝ĺ¸‚ć°‘çš„č¨´ćą‚č€Œç?¨ć–ˇç?¨čĄŒďźŒé•ˇćœ&#x;é†žé‡€çš„ĺŁ“ĺŠ›ćœ€çľ‚ĺ°Žč‡´ĺ&#x;Žĺ¸‚čˆ‡éŤ”ĺˆśçš„ĺŠ‡çƒˆéœ‡ç›Şă€‚
é ŽĺŽťĺ…Šĺą†ă€Œčł˝éŚŹćœƒč—?壇新勢力ă€?ĺ…ąćœ‰äşŒĺ? 免個č—?襓喎ä˝?ĺ?ƒčˆ‡ďźŒčŁ˝ä˝œĺ››ĺ? ĺ…Ťĺ ´ä¸?ĺ?ŒéĄžĺž‹ćź”出ĺ?Šĺ¤šĺ€‹é‡? éťžĺą•čŚ˝ďźŒä¸Śç–ĺŠƒčś…é Žä¸‰ç™žĺ€‹ç¤žĺ?€ĺ?Šć Ąĺœ’ć´ťĺ‹•ďźŒç¸˝ĺ?ƒčˆ‡äşşćŹĄéŤ˜é ”äşŒĺ? 七č?Źă€‚çś“é Žĺ…Šĺš´č€•č€˜ďźŒă€Œčł˝éŚŹćœƒ č—?壇新勢力ă€?çŠ?漾連çľ?礞ĺ?€ĺ?Šć”ŻćŒ č—?襓的ćŠ&#x;ć§‹ĺ’Œç¤žĺœ˜ďźŒç™źĺą•ćˆ?ç‚şćŻ?ĺš´çœžć‰€ćœ&#x;ĺž…çš„ćœŹĺœ°č—?襓節。
čł˝éŚŹćœƒč—?壇新勢力 ć˘ ĺžĄć?ą ç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Šçš„ćƒ…ć„&#x; ĺ¤šé ťéť‘ç™˝éŒ„ĺƒ?〠鋟 č’™ĺ¤ŞĺĽ‡ć˜Żĺ°‡ä¸?ĺ?Œç•Ťé?˘ĺ‰ŞćŽĽč‡łĺ–Žä¸€ć™‚é–“çˇšä¸ŠďźŒĺˆŠç”¨ç‰‡ 掾的羄ĺ?ˆčŹ›čż°ć•…äş‹çš„ć‰‹ćł•ă€‚ĺœ¨ă€Šç›¸é ‡ďźˆĺˆĽäť‹ć„?é Žč†Š çš„ćƒ…ć„&#x;》ä¸ďźŒč—?čĄ“ĺŽśĺťşć§‹ĺ‡şä˝œĺ“ çš„çŠşé–“ďźŒä¸€ć–šé?˘ ĺ›žć‡‰ç‰›ćŁšçš„ĺťşçŻ‰ĺŻŚéŤ”ďźŒä¸€ć–šé?˘ĺœ¨çŠşé–“ä¸ä˝ˆç˝Žäť–ć‹?ć”? 的錄ĺƒ?ç‰‡ćŽľďźŒé€?é Žé‡?çľ„čˆ‡ĺˆ†éš”äž†äş¤çš”ĺ‡şć•?事。č—?襓 ĺŽśĺˆŠç”¨é Žĺž€ć‹?ć”?ç´€éŒ„ç‰‡çš„çś“éŠ—ďźŒĺœ¨ä˝œĺ“ ä¸ĺ‘ˆç?žä¸ťč§€ čˆ‡ĺŽ˘č§€äş¤äş’čžŻč‰çš„役ĺƒ?ďźŒć??寍ç?žĺŻŚä¸ĺ˜ĺœ¨çš„一税濛 ć˜§ćƒ…ć„&#x;。
� � �    € ‚ ƒ € ‚ Montage is an editing technique where different footage are edited into a single timeline to tell the narrative through the composition of them coming together. In Encounters (Never Mind the Cloying Sentiments), the artist creates a space for the artwork that on the one hand, responds to the actual architecture of the Cattle Depot; on the other hand, different clips recorded by the artist are arranged in the space and a narrative is formed by their reconstruction and separation in space. The artist made use of his past experience of making documentaries to form dialectical images crossing the subjective and the objective; thus creating an obsured emotion that is rooted in reality.
turning points in the conflict this year is when the police entered the Prince Edward MTR station and attacked indiscriminately on August 31. At one of the station exits where C&G held their event, an altar was made for the victims of that incident. We might never know the truth of the incident, but nevertheless the ceremony itself became a venting outlet for the movement. When the voice of the people is not heard and the grudge is still held against the government, the only way we can solve the problem is perhaps seeking the help of a higher power. Shared language is the forming criterion of a community. Yet, since the beginning of colonial expansion, many indigenious languages of the colonies were replaced by the language of the coloniser due to their "inferiority" in civility. This process of clamping down on the independence of the indegenious culture and identity makes it easier for a tighter governance by the coloniser. Our Next Generation and Us shows the process of preparing Not as Trivial as You Think: Shanghai Art Quiz for last year’s Shanghai Biennale, where C&G learned to conduct their quiz in Mandarin by learning from their daughters. C&G themselves are the products of the British colonisation and their daughters are the products of the Hong Kong SAR. Through the differences in language skills between the two groups, it is easy to contrast the impact to the local culture in different times. 鄺鎎猧
ĺźľĺ˜‰čŽ‰ĺ?Šé„急ć•?(é˜żé‡‘)
連çľ?ćˆ?ç‚şéšœç¤™ ä¸?é?˝é‹źçŽĄă€ é??鉝鋅ĺ?ˆé‡‘玥掼䝜
燒數簿 ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? ƒ 盂č˜ă€ŒéŹźçŻ€ă€?ç‡’čĄŁć˜Żä¸€ĺ€‹ĺ‚łçľąçš„č?Żäşşçż’äż—ďźŒç”¨ć„?ć˜Ż 厉撍枉ćťçš„é?ˆé‚ă€‚ă€Šç‡’ć•¸ç°żă€‹ć˜ŻC&G典型礞ĺ?€č—?襓 č¨ˆĺŠƒďźŒĺœ¨ç›‚č˜çŻ€ç•śĺ¤Šé‚€čŤ‹č—?čĄ“ĺŽśĺ€‘čŁ˝ä˝œç´Žä˝œé “ĺ…ˇďźŒ ç„šç‡’ĺˆ°ă€Œé™°é–“ă€?䝼ĺ°?ç¤žćœƒçš„äş‹äťśä˝œĺ‡şćŠ•č¨´ă€ čŠ›ĺ’’ ç‰ďźŒäşşé–“çš„ä¸?兏瞊䚋事ä¸?čƒ˝č˘Ťć˜ć˜ŽďźŒč€Œéœ€ĺ°‹ćą‚蜅蜊 奾世的力é‡?厝嚳ĺ??ďźŒć˜Żĺ?¤äťŠä¸ĺ¤–éƒ˝ćœ‰çš„ç?žčąĄă€‚䝊嚴 抗çˆä¸çš„ĺ…śä¸ä¸€ĺ€‹č˝‰ć?ŠéťžďźŒć˜Ż8ćœˆ31ć—ĽčŚĺŻ&#x;ćŚčŁ?進 ĺ…Ľä¸Śĺ° éŽ–ĺœ°é?ľçŤ™ďźŒĺœ¨C&Gĺšłć™‚ć´ťĺ‹•ĺ ´ĺ&#x;&#x;ć— é‚Šçš„ĺœ°é?ľ 出ĺ?ŁďźŒé•ˇćœ&#x;ćœ‰äşşč¨ç˝ŽçĽĺŁ‡ĺź”忾。ç?žĺŻŚç„ĄčˇŻç”łč¨´çš„ĺ•? éĄŒäťĽĺ?Šç„ĄäťĽĺ??ç‹€çš„ć€¨ĺżżďźŒĺƒ…čƒ˝çĽˆćą‚çĽžć˜Žçš„é?žč‡Şç„śĺŠ› é‡?čƒ˝ĺ¤ č§Łćąşă€‚ ćˆ‘ĺ€‘ĺ’Œä¸‹ä¸€äťŁ ćœ‰č ˛ĺ–Žé ťéŒ„ĺƒ? čŞžč¨€ć˜ŻäşşéĄžçž¤éŤ”ćˆ?ç‚şĺ…ąĺ?ŒéŤ”的漾é‡?čŚ ĺ°Žĺ› ďźŒč‡Şĺ¤§čˆŞ ćľˇć™‚äťŁč‡łäťŠčŤ¸ĺ¤šćŽ–ć°‘ĺŽ—ä¸ťďźŒĺ¸¸äťĽĺŽ&#x;ä˝?民語言低下為 ç?†ç”ąďźŒĺ ‚č€Œçš‡äš‹äťĽĺŽ—ä¸ťçš„čŞžč¨€ĺ?–č€ŒäťŁäš‹ďźŒćŠšćŽşĺŽ&#x;ä˝? ć°‘ć–‡ĺŒ–čˆ‡čşŤäť˝çš„ç?¨çŤ‹ć€§ďźŒäťĽé ”äžżĺˆŠçŽĄç?†äš‹ć•ˆă€‚ă€Šćˆ‘ ĺ€‘ĺ’Œä¸‹ä¸€äťŁă€‹ć˜ŻC&G為了準備上澡雙嚴幕的《上澡 床下底č—?襓常č˜ĺ•?ç”ćŻ”čł˝ă€‹ć™‚ďźŒć‰žäş†ĺĽłĺ…’ćŒ‡ĺ°Žäť–ĺ€‘ čŞŞć™Žé€ščŠąçš„ç´€éŒ„ĺ˝ąĺƒ?。C&Gć˜Żč‹ąćŽ–ć™‚ćœ&#x;çš„ç”˘ç‰ŠďźŒč€Œ äť–ĺ€‘çš„ĺĽłĺ…’ĺ‰‡ć˜ŻéŚ™ć¸Żç‰šĺ?€ć™‚äťŁçš„ç”˘ç‰ŠďźŒé€?é Žĺ…Šçľ„äşş čŞžč¨€ä¸Šçš„ĺˇŽç•°ďźŒčƒ˝čŚ‹ĺˆ°ä¸?ĺ?Œć™‚䝣政揊ĺ°?ćœŹĺœ°ć–‡ĺŒ–ĺ˝ą é&#x;żçš„痕补。
ĺą•čŚ˝ć‰€č™•çš„ç‰›ćŁšĺˇ˛çś“ć˜Żé Žç™žĺš´çš„ĺą ĺŽ°ĺ ´ďźŒĺ…śä¸çš„ä˝ˆ 幀嚞ćˇčŽŠé ˇďźŒç?žĺœ¨ćˆ‘ĺ€‘ć‰€čŚ‹ĺˆ°çš„ć˜Żĺ…ĺ? ĺš´äťŁćœŤć”šćˆ? ćŞ˘ç–Ťć‰€ĺžŒçš„č¨č¨ˆă€‚č—?čĄ“ĺŽśĺ¸Œćœ›é€šé Žčž¨ĺˆĽĺťşçŻ‰çľ?構的 ćœŹčłŞďźŒäťĽä¸?ĺ?Œçš„誇埾〠ćŞć›˛ć‰‹ćł•äž†ĺ‡¸éĄŻçŠşé–“ĺ˜ĺœ¨çš„ č?’čŹŹäš‹č™•ďźŒă€Šé€Łçľ?ćˆ?ç‚şéšœç¤™ă€‹éšąĺ–ťć‰€čŹ‚ĺœ˜çľ?ďźŒĺ…śĺŻŚ ć˜Żä¸€ç¨Žćśˆč€—ç¤žćœƒć‰ščŠ•çš„ć‰‹ćŽľďźŒä˝żĺ…śĺœ¨ç–畼性的拖坜 äš‹ä¸‹č‡Şç„śćśˆĺ˝Œĺ™Şé&#x;łă€‚çœźä¸‹äźźć˜Żč€Œé?žäš‹čŤ–ďźŒĺœ¨ĺ¤§ç’°ĺ˘ƒ 裥ĺ?ťç•°ĺ¸¸éĄŻĺž—ćŁç•śćœ‰ç?†ă€‚
 The Cattle Depot in which this exhibition is set is a structure over a hundred years old; its layout has experienced many changes. What we see today is the design change at the end of the 1960s after the building was converted into a animal quarantine facility. Kong’s practice identifies the nature of the architectural structure and then exaggerates and manipulates it to show the absurdity of the space. Unite as an Obstacle is a metaphor for the cry of so-called unity that is actually a way to nullify the criticism in society by letting the noise die out naturally through strategic delay. The misleading call is being accepted as rightful under these circumstances. éŤ˜ĺ€Šĺ˝¤
 „ ƒ Burning offering during the Hungry Ghost Festival is a Chinese tradition to appease the ghosts of those who died of unnatural causes. On Fire 2018 is C&G's typical community art project. During the Hungry Ghost Festival, C&G invites other artists to make paper offerings to offer to the underworld gods toto complain or curse on social affairs?. When injustice is not righted in the living world, justice is always sought through supernatural powers, which is common throughout human history. One of the
ĺŽˆčˇč€… ä¸‰é ťéŒ„ĺƒ?〠醍療ĺą?風
ă€ŒĺžŒćŽ–ć°‘ä¸Śä¸?ć˜Żć„?味掖民的羂çľ?ďźŒč€Œć˜ŻćŽ–ć°‘çš„éšąč”˝ĺŒ–ĺ’Œč¤‡é›œĺŒ–ă€‚ă€?——周č?Żĺąąă€ŠĺžŒćŽ–ć°‘ĺ?Œĺż—》 《ćŠ&#x;ĺŻ†éŒ„ă€‹ć˜Żč—?čĄ“ĺŽśä¸€ĺ€‹ćŒ çşŒĺ‰ľä˝œçš„ç§‘ĺšťč—?襓糝 ĺˆ—ďźŒä˝œĺ“ ĺťşć§‹ĺœ¨ä¸€ĺ€‹ä¸?äš…ĺ°‡äž†çš„ćœŞäž†ä¸–ç•ŒďźŒäşşĺˇĽ ć™şčƒ˝ĺˇ˛ç„śčś…čśŠäşşéĄžçš„ć™şć…§ďźŒĺžžç‚şäşşéĄžćœ?ĺ‹™č˝‰č€Œçľą ć˛ťäşşéĄžďźŒç‚şäş†éž?ĺ›şč‡Şĺˇąçš„ć”żćŹŠďźŒé€˛čĄŒă€Œçœ&#x;襀人ă€?çš„ ć‹˜ć?•čĄŒĺ‹•ďź›ĺ?Śä¸€ć–šé?˘ďźŒäşşéĄžč—?čşŤĺžžćœŞč˘Ťć‹†é™¤çš„éŚ™ć¸Ż äš?éž?寨ĺ&#x;Žä¸ďźŒ 䝼ĺ?„ç¨Žĺœ°ä¸‹çš„ć–šćł•ć„?ĺœ–ćŽ¨çżťäşşĺˇĽć™şčƒ˝ ć”żćŹŠă€‚ĺœ¨č—?čĄ“ĺŽśçš„ä¸–ç•Œä¸ďźŒäşşĺˇĽć™şčƒ˝ĺ&#x;Žĺ¸‚čˆ‡äš?éž?寨 ĺ&#x;ŽĺŠƒĺˆ†ä¸Šä¸‹ĺ…Šĺ€‹ä¸–ç•ŒďźŒĺ&#x;Žĺ¸‚幅民夹厝了自塹所坺獋 ĺ&#x;Žĺ¸‚çš„ćŽ§ĺˆśćŹŠďźŒćŽĄĺ?–ä¸?ĺ?Œć‰‹ćŽľäťĽĺĽŞĺ›žč‡ŞčşŤçš„ç”&#x;ĺ˜ćŹŠ ĺˆŠďźŒĺœ¨ĺˇąć–ščŚ–ç‚şč‡Şç”ąĺ‹‡ĺŁŤč€Œĺœ¨ć•ľć–šĺ‰‡č˘ŤčŚ–ç‚şć ?ć€–ĺˆ† ĺ?。斟ć¤ĺ?Œć™‚ďźŒä˝œĺ“ ä¸ćœŞč˘Ťć‹†é™¤çš„äš?éž?寨ĺ&#x;Žĺœ¨ćœŞäž† 柔莊ćˆ?äşşéĄžćœ€ĺžŒé˜˛çˇšçš„é‡?čŚ ĺ˜ĺœ¨ďźŒĺœ¨č™›ĺŻŚäš‹é–“é‡?çľ„ ć–°ĺ&#x;Žčˆ‡čˆŠĺ&#x;Žçš„é—œäż‚ďźŒć›¸ĺŻŤä¸€ĺ€‹é ŽĺŽťčˆ‡ćœŞäž†äş¤ćŽĽçš„ĺšł čĄŒä¸–ç•ŒďźŒä˝œĺ“ çłťĺˆ—äťĽç§‘ĺšťćžśçŠşçš„ć‰‹ćł•ďźŒé€?é Žć•¸ć“š čˆ‡ĺ˝ąĺƒ?ä¸?ĺ?Œĺą¤é?˘čŠŚĺœ–ĺ??ć€?ĺ?„ç¨Žĺˆ‡ĺŻŚçš„ć”żć˛ťčˆ‡é “ĺžˇ ĺ•?éĄŒďźŒäťĽĺ?Šĺ°?ĺ&#x;Žĺ¸‚瞎ĺ¸çš„éšąĺ–ťĺ’Œćƒłĺƒ?。
č—?čĄ“ĺŽśäťĽçšŞç•Ťé€™ĺ€‹ç˛žç´°é Žç¨‹ďźŒč šç„ŚäşşéĄžé›†éŤ”ç”&#x;ć´ťçš„ ç´°çŻ€ă€‚ä˝œĺ“ ă€ŠF26》〠《806》ć??čż°č—?襓厜留ć„?ĺˆ° çš„ĺœ¨äşşéĄžć‰‹ä¸Šć›¸ĺŻŤć•¸ĺ—的兊個役ĺƒ?ă€‚ä¸€ĺ€‹ć˜Żč¨˜č€…ć‹? ć”?ĺˆ°čŚĺŻ&#x;ĺœ¨čż‘ćœ&#x;ç¤şĺ¨ ć´ťĺ‹•č˘Ťć?•äşşĺŁŤć‰‹ä¸Šć¨™č¨˜çˇ¨č™&#x;ďź› ĺ?Śä¸€ĺ€‹ĺ‰‡ć˜Żĺœ¨é ¸čˆ‰ćœ&#x;é–“ďźŒćœ‰é ¸ć°‘ĺœ¨ć‰‹ä¸ŠĺŻŤä¸‹ć•¸ĺ—ďźŒ ćš—č¨˜ĺąŹć„?çš„ĺ€™é ¸äşşč™&#x;ç˘źă€‚ă€Œă€ŒBranding ă€?ĺœ¨ç?žäťŠç¤ž ćœƒĺ¸¸č˘Ťç?†č§Łç‚şĺ“ ç‰ŒĺťşçŤ‹čˆ‡čĄŒéŠˇďźŒä˝†čŠ˛ĺ—語ćş?ĺŻŚç‚şă€Œ 䝼熹é?ľçƒ™ĺ?°ć¨™ç¤şć‰€ćœ‰ćŹŠă€?ďźŒćˇĺ?˛ä¸Šé•ˇćœ&#x;č˘Ťç”¨ä˝œć¨™ç¤ş ç˝ŞçŠŻçš„ç”¨é€”ďźŒç„ĄčŤ–ć˜Żć¨™č¨˜ĺœ¨äşşéĄžčˆ‡ĺ‹•ç‰ŠčşŤéŤ”ďźŒćˆ–ć˜Ż 斟坺築上的套鴉ĺ?°č¨˜ďźˆgraffitiďź‰ďźŒçš†ç‚şĺŽŁç¤şä¸ťćŹŠçš„ 一税斚ĺź?ďźŒĺœ¨ćśˆč˛ťç¤žćœƒčˆ‡ĺžŒç?žäťŁĺ&#x;Žĺ¸‚ä¸çš„ćˆ‘ĺ€‘ďźŒĺŽ&#x; 䞆äť?ćœƒé€?é Žé€™ç¨Žćš—ĺ–ťĺ•†ĺ“ ĺŒ–čˆ‡ç‰ŠĺŒ–çš„é Žç¨‹ďźŒč€Œĺƒ?牊 äťśä¸€čˆŹč˘Ťć¸éĄžćˆ–ć“ ćœ‰ă€‚
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The artist often takes a unique perspective in capturing detailed closeups of things, events, and places in daily life; some are frames of still images, while some are momentary moving images. The varying distance between the photographer and subject of concern and the frame of the camera can all aptly narrate a main idea; the artist makes use of the mobile phone he carries daily to observe the city and the convergent overlap between his gaze and technology is a normality that could not be more natural for contemporary people. Black Dream creates a looped video out of the precious fragments in daily chores and forms a new stream-of-consciousness-like narrative.
Ko Sin Tung’s creative process has always reflected on architectural elements in the urban landscape and exposed an inherent absurdity through processes of recreation. In Guardian, the artist recreates various types of barbed wires. On the surface these elements act as protective devices, but are in fact implements that impede on physical liberties; limiting freedom of movement. By recreating an automated manufacturing process by hand, as seen in the video, Ko is reflecting on Hong Kong’s lack of trust in the citizenry. The city builds barriers between different environments, and at the same time these vigorous structures are totally pointless and ludicrous.
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The artist focuses on the details of humanity’s communal living through the meticulous process of painting. F26 and 806 depicts two images from instances noticed by the artist where numbers are being written on human hands. One is the marking of a number on the hands of those arrested by the police in recent protest activities as photographed by journalists; another is voters in elections writing a number on their hands as a hidden signifier of their desired candidate. “Brandingâ€? is now often understood as the establishment and marketing of a brand; but its original definition means “the action of marking with a branding ironâ€?, and historically it has long been used for the marking of criminals. Whether markings on the bodies of humans or animals, or graffiti markings on architecture, they are all a way of declaring authority; even within a consumerist society and the postmodern city, we could still categorise and attribute ourselves like objects through a process that alludes to commodification and objectification. čł´ćœ—é¨Ť
éŤ˜ĺ€Šĺ˝¤çš„ĺ‰ľä˝œćŻ?ćŻ?ç’°çšžč‘—ĺ&#x;Žĺ¸‚ä¸çš„ĺťşçŻ‰ç‰šĺžľďźŒçś“é Ž ĺĽšć”šé€ é‡?ĺĄ‘çš„é Žç¨‹äž†éĄŻç?žĺ…śä¸çš„č?’čŹŹďźŒă€ŠĺŽˆčˇč€…》 ä¸ďźŒč—?čĄ“ĺŽśč‡ŞčĄŒčŁ˝ä˝œäż?襛的é?ľçľ˛çś˛ďźŒčĄ¨é?˘ä¸Šć˜Żäż?čˇ ĺŽ‰ĺ…¨çš„é “ĺ…ˇďźŒä˝†ĺœ¨ć›´ĺ¤šć™‚ĺ€™ć˜ŻçŽ?ĺˆśäşşčşŤč‡Şç”ąçš„ć‰‹ ćŽľă€ äťĽçŚ ć˘äťťć„?犿ć˘ä¸?ĺ?Œĺœ°ć–šă€‚é€?é ŽčŁ?ç˝Žčˆ‡ĺ˝ąç‰‡ä¸ é‡?č¤‡äťĽć‰‹ĺĄ‘é€ ç‰Šäťśçš„é Žç¨‹ďźŒć??醒觀者ĺ&#x;Žĺ¸‚ĺ°?ä˝?ć°‘çš„ ä¸?äżĄäťťďźŒč§€ĺŻ&#x;ç’°ĺ˘ƒä¸ç‰šć„?形契出䞆的ĺ?€éš”ďźŒĺ?Œć™‚ĺ?? 應嚴菚çľ?構ä¸çš„ĺž’ĺ‹žčˆ‡č?’菏。
靑夢 ĺžŞç’°éŒ„ĺƒ? č—?襓厜慣常䝼兜ç?¨ç‰šçš„çœźĺ…‰ďźŒć“ˇĺ?–ç”&#x;ć´ťć‰€čŚ‹äş‹ç‰Šĺ ´ ć™Żçš„ĺą€éƒ¨ç‰šĺŻŤďźŒćœ‰çš„ć˜Żĺ‡?çľ?çš„é?œć…‹ĺŽšé?ĄďźŒćœ‰çš„ć˜Ż 剎那的動態役ĺƒ?。ć”?役帍čˇ&#x;袍ć”?丝鍔的čˇ?é›˘ćˆ–é•ˇ ćˆ–ç&#x;ďźŒç›¸ćŠ&#x;çš„čŚ–ćĄ†éƒ˝ćœƒć °ĺˆ°ĺĽ˝č™•čŞŞĺ‡şé‡?éťžďźŒč—?襓厜 ä˝żç”¨ĺšłć™‚éš¨čşŤć”œĺ¸śçš„ć‰‹ć??雝芹觀ĺŻ&#x;ĺ&#x;Žĺ¸‚ďźŒç§‘ćŠ€čˆ‡ĺ‡? čŚ–äş¤äş’ĺą¤ç–ŠďźŒćˆ?ç‚şç?žäťŁäşşĺ†?自焜ä¸?é Žçš„ĺ¸¸ć…‹ă€‚ă€Šéť‘ 夢》將這些旼常瑣事的ĺ?‰ĺ…‰ç‰‡çž˝ä¸˛é€Łĺœ¨ćˆ?é‡?複垪環 錄ĺƒ?ďźŒçľ„ĺ?ˆćˆ?ć„?č˜ćľ čˆŹçš„ć–°ć•˜äş‹ă€‚
� € Confidential Record is the artist’s ongoing science fiction artwork series. The work anchors on a world in the not too distant future, where artificial intelligence has surpassed human intelligence and rule over, rather than service, humanity. To consolidate their regime, artificial intelligence initiate the arrest of “pure blood humans�. At the same time, humans hide away in the original Hong Kong Kowloon Walled City, as it would be if it was never demolished, and use various underground means to try to overthrow the artificial intelligence regime. In the world imagined by the artist, the world is separated between the overground city ruled by artificial intelligence and the underground Kowloon Walled City. The city’s inhabitants lost control over the city that they built and turn to various strategies to regain their right of survival; they are seen as freedom fighters among allies and terrorists among enemies. At the same time, the undemolished Kowloon Walled City becomes the last stronghold of human survival in the future. The reorganisation of the relationship between the new city and old city narrates the story of a parallel universe where the past connects with the future. This series of artworks makes use of science fiction to consider actual political and moral issues from different levels, as well as to metaphorize and imagine urban aesthetics through datasets and images conjured by the artist.