尹 麗 娟
ANNIE WAN LAI KUEN
目 錄
CONTENT 04
關於賽馬會藝壇新勢力
ABOUT JOCKEY CLUB NEW ARTS POWER
08
香港賽馬會獻辭
MESSAGE FROM THE HONG KONG JOCKEY CLUB
06
主席前言
FOREWORD BY CHAIRMAN
10
簡介
INTRODUCTION
12
16
ABOUT ANNIE WAN LAI KUEN
22
28
38
48
54
60
72
關於尹麗娟
能量等同物質乘 想像力的平方 —— 尹氏經濟方程式
技藝、身體記憶與出脫
項目相片
PHOTOS OF THE PROJECT
唔該我要嗰件 PLEASE CAN I HAVE A [INSERT WORD]
ENERGY EQUALS MASS TIMES IMAGINATION SQUARED — WAN’SECONOMIC EQUATION
CRAFT, BODY MEMORY AND BREAKING BOUNDARIES
關於香港藝術發展局
ABOUT HONG KONG ARTS DEVELOPMENT COUNCIL
74
鳴謝 ACKNOWLEDGEMENT
目 錄
CONTENT 04
關於賽馬會藝壇新勢力
ABOUT JOCKEY CLUB NEW ARTS POWER
08
香港賽馬會獻辭
MESSAGE FROM THE HONG KONG JOCKEY CLUB
06
主席前言
FOREWORD BY CHAIRMAN
10
簡介
INTRODUCTION
12
16
ABOUT ANNIE WAN LAI KUEN
22
28
38
48
54
60
72
關於尹麗娟
能量等同物質乘 想像力的平方 —— 尹氏經濟方程式
技藝、身體記憶與出脫
項目相片
PHOTOS OF THE PROJECT
唔該我要嗰件 PLEASE CAN I HAVE A [INSERT WORD]
ENERGY EQUALS MASS TIMES IMAGINATION SQUARED — WAN’SECONOMIC EQUATION
CRAFT, BODY MEMORY AND BREAKING BOUNDARIES
關於香港藝術發展局
ABOUT HONG KONG ARTS DEVELOPMENT COUNCIL
74
鳴謝 ACKNOWLEDGEMENT
04
05
賽馬會藝壇新勢 力
JOCKEY CLUB NEW ARTS POWER
創意人才，成就香港 香港藝術發展局近年積極向海外推廣本地藝術， 將香港的出色藝術家帶到國際舞台，這些創意 人才經已成為國際藝壇一股新勢力，他們的作品 亦在享負盛名的海外藝術節和展演平台上綻放異 彩，成就有目共睹。 過去兩年，藝發局將香港的藝術家帶到韓國首爾 表演藝術博覽會、光州雙年展、 德國杜塞爾多 夫國際舞蹈博覽會、澳洲阿德萊德澳亞藝術節、 深圳當代戲劇雙年展、台北關渡藝術節等，讓海 外同業以至普羅觀眾有機會欣賞香港藝術最鮮活 的藝術精品。 得到香港賽馬會慈善信託基金的捐助，這些名揚 海外的節目將會載譽回歸，以饗香港觀眾。《賽 馬會藝壇新勢力》將呈獻共十九個節目，包括現 代舞、音樂和劇場演出，還有陶藝與媒體藝術 展覽。不同形式的創作，體現了本地培育的藝術 家，如何透過藝術表達自我和透視人生，其中的 香港角度與情懷與別不同，各有特色。有關的藝 術團體更在原有節目之上籌組逾一百三十多節不 同形式的社區和學校活動，與社福、學界及商界 合作，務求將優秀藝術作品送到社區不同的角落 和族群，讓藝術回饋生活，亦讓生活豐富藝術。 由本地優秀藝術家組成的國際藝壇新勢力，在完 成海外旅程之後回航我城，推進創作，照亮生 命。本地培育的創意人才，成就了我城活力充盈 的藝壇。
Our Talents, Our Pride
With a commitment to promote Hong Kong arts overseas, the Hong Kong Arts Development Council has been actively presenting outstanding local artists in the global arts scene. Works by these artistic talents shine through reputable overseas arts festivals and other showcase platforms, forming a new arts power on the international stage. In the past two years, HKADC has brought artists to the Performing Arts Market in Seoul (PAMS), Gwangju Biennale in Korea, internationale tanzmesse nrw (Tanzmesse) in Düsseldorf, Germany, OzAsia Festival in Adelaide, Australia, Shenzhen Theatre Biennial and Kuandu Arts Festival in Taipei. Overseas arts practitioners and general audiences abroad have the chance to enjoy the most lively and finest works of arts from Hong Kong. Funded by The Hong Kong Jockey Club Charities Trust, these works that have earned much acclaim abroad shall return to our hometown for Hong Kong people. JOCKEY CLUB New Arts Power shall present 19 programmes including modern dance, music and theatrical performances, as well as ceramics and media arts exhibitions. Through different art forms, our home-grown artists express themselves and interpret life with perspectives and sentiments that are uniquely Hong Kong. Apart from the original shows, the art groups are also putting together over 130 community and school programmes in collaboration with the social work, academic and commercial sectors, so as to bring high quality works of arts to people from all walks of life and in every corner of our city. Arts returns to our lives, and life enriches arts. A new arts power in the international arena made up of Hong Kong’s home-grown artistic talents now return after their fruitful overseas journeys, bringing pride back to their hometown. Having been inspired through their experiences abroad, these artists are ready to inspire more people with their works in further developed forms and contents.
04
05
賽馬會藝壇新勢 力
JOCKEY CLUB NEW ARTS POWER
創意人才，成就香港 香港藝術發展局近年積極向海外推廣本地藝術， 將香港的出色藝術家帶到國際舞台，這些創意 人才經已成為國際藝壇一股新勢力，他們的作品 亦在享負盛名的海外藝術節和展演平台上綻放異 彩，成就有目共睹。 過去兩年，藝發局將香港的藝術家帶到韓國首爾 表演藝術博覽會、光州雙年展、 德國杜塞爾多 夫國際舞蹈博覽會、澳洲阿德萊德澳亞藝術節、 深圳當代戲劇雙年展、台北關渡藝術節等，讓海 外同業以至普羅觀眾有機會欣賞香港藝術最鮮活 的藝術精品。 得到香港賽馬會慈善信託基金的捐助，這些名揚 海外的節目將會載譽回歸，以饗香港觀眾。《賽 馬會藝壇新勢力》將呈獻共十九個節目，包括現 代舞、音樂和劇場演出，還有陶藝與媒體藝術 展覽。不同形式的創作，體現了本地培育的藝術 家，如何透過藝術表達自我和透視人生，其中的 香港角度與情懷與別不同，各有特色。有關的藝 術團體更在原有節目之上籌組逾一百三十多節不 同形式的社區和學校活動，與社福、學界及商界 合作，務求將優秀藝術作品送到社區不同的角落 和族群，讓藝術回饋生活，亦讓生活豐富藝術。 由本地優秀藝術家組成的國際藝壇新勢力，在完 成海外旅程之後回航我城，推進創作，照亮生 命。本地培育的創意人才，成就了我城活力充盈 的藝壇。
Our Talents, Our Pride
With a commitment to promote Hong Kong arts overseas, the Hong Kong Arts Development Council has been actively presenting outstanding local artists in the global arts scene. Works by these artistic talents shine through reputable overseas arts festivals and other showcase platforms, forming a new arts power on the international stage. In the past two years, HKADC has brought artists to the Performing Arts Market in Seoul (PAMS), Gwangju Biennale in Korea, internationale tanzmesse nrw (Tanzmesse) in Düsseldorf, Germany, OzAsia Festival in Adelaide, Australia, Shenzhen Theatre Biennial and Kuandu Arts Festival in Taipei. Overseas arts practitioners and general audiences abroad have the chance to enjoy the most lively and finest works of arts from Hong Kong. Funded by The Hong Kong Jockey Club Charities Trust, these works that have earned much acclaim abroad shall return to our hometown for Hong Kong people. JOCKEY CLUB New Arts Power shall present 19 programmes including modern dance, music and theatrical performances, as well as ceramics and media arts exhibitions. Through different art forms, our home-grown artists express themselves and interpret life with perspectives and sentiments that are uniquely Hong Kong. Apart from the original shows, the art groups are also putting together over 130 community and school programmes in collaboration with the social work, academic and commercial sectors, so as to bring high quality works of arts to people from all walks of life and in every corner of our city. Arts returns to our lives, and life enriches arts. A new arts power in the international arena made up of Hong Kong’s home-grown artistic talents now return after their fruitful overseas journeys, bringing pride back to their hometown. Having been inspired through their experiences abroad, these artists are ready to inspire more people with their works in further developed forms and contents.
06
07
主席前言
FOREWORD BY CHAIRMAN
香港藝術發展蓬勃，近年尤其有長足進展。本地
Hong Kong has developed a vibrant arts scene that is gaining momentum particularly in the recent years. Our homegrown talents have created many inspiring and meritorious works of arts which embody a unique Hong Kong perspective and a strong passion that enlighten the mind and soul of many people.
培育的創意人才，創作出不少優秀藝術作品，結 合獨特的香港角度與情懷，喚起共鳴，啟迪人心。 藝發局肩負全方位發展香港藝術的重任，一直致 力培育藝術人才，讓他們更上層樓。其中工作包 括支持本地藝術家到海外參與國際藝術活動，一 方面能在海外彰顯香港的藝術人才與成就，另一 方面藝術家們亦能藉此拓闊視野，連繫國際同 業，激活創作。 近這兩年，藝發局安排本地藝術家參與多個享負 盛名的海外藝術節和博覽。不少藝術家是本地行 內中堅，正處於他們的黃金創作期。他們在外的 展示廣獲好評，享譽國際。他們不單成就香港藝 壇，更能揚威海外，我亦深感自豪。 這些本地藝術家躍登國際舞台成為一股新勢力， 而他們曾在海外贏得無數掌聲的作品能夠回歸香 港，以饗本地觀眾，端賴香港賽馬會慈善信託基 金的贊助，在此我謹代表藝發局向賽馬會致以崇 高謝意。在讓藝術家回饋香港市民和支持他們再 發展成功作品的共同願景下，賽馬會的贊助令本 局可以推行一系列的教育及社區活動，深入不同 社群，令社會各界也能享受藝術，參於藝術，令 廣大市民對本地藝術家引以為傲。期望藝術家亦 可從中汲取香港的養份，再踏前路創佳績。 我亦在此感謝所有參與藝術家，衷心祝賀他們藝 業有成，亦希望各位能積極參與《賽馬會藝壇新 勢力》的節目，欣賞香港藝術選萃，享受本地展 演精華，共建香港精神。 香港藝術發展局主席 王英偉博士 GBS 太平紳士
Shouldering the responsibility of the broad development of the arts in Hong Kong, HKADC spares no effort in supporting these artists to reach new heights. That includes facilitating artists to participate in overseas arts events, showcasing outstanding Hong Kong artists and their works and, at the same time, enabling them to broaden their horizon, connect with international peers and stimulate their creativity. In the last two years, HKADC has brought Hong Kong artists to reputable international arts festivals and arts fairs. Their displays have gained wide international acclaim. They not only contribute to the Hong Kong arts scene but have also brought much pride to Hong Kong as I personally embrace. I am very grateful to the Hong Kong Jockey Club Charities Trust that has made it possible for HKADC to present a large scale festival that showcases these artists and their works. They have formed a new arts power in the global arts scene. Sharing the vision of helping them to make their return showcases in Hong Kong and further develop their successful works, Jockey Club has given us the support to present an array of education and outreach activities to various communities so that people from all walks of life may enjoy the arts and participate in the arts. I also hope the artists will be nourished in the process and step forth with greater achievements in future. I would like to thank all participating artists of whom I am very proud. I sincerely congratulate every one of them and invite you to join us at JOCKEY CLUB New Arts Power to celebrate their achievements. Hope you will enjoy a collection of the best in a joint tribute to build the Hong Kong spirit. Dr. WONG Ying-wai, Wilfred GBS, JP Chairman Hong Kong Arts Development Council
06
07
主席前言
FOREWORD BY CHAIRMAN
香港藝術發展蓬勃，近年尤其有長足進展。本地
Hong Kong has developed a vibrant arts scene that is gaining momentum particularly in the recent years. Our homegrown talents have created many inspiring and meritorious works of arts which embody a unique Hong Kong perspective and a strong passion that enlighten the mind and soul of many people.
培育的創意人才，創作出不少優秀藝術作品，結 合獨特的香港角度與情懷，喚起共鳴，啟迪人心。 藝發局肩負全方位發展香港藝術的重任，一直致 力培育藝術人才，讓他們更上層樓。其中工作包 括支持本地藝術家到海外參與國際藝術活動，一 方面能在海外彰顯香港的藝術人才與成就，另一 方面藝術家們亦能藉此拓闊視野，連繫國際同 業，激活創作。 近這兩年，藝發局安排本地藝術家參與多個享負 盛名的海外藝術節和博覽。不少藝術家是本地行 內中堅，正處於他們的黃金創作期。他們在外的 展示廣獲好評，享譽國際。他們不單成就香港藝 壇，更能揚威海外，我亦深感自豪。 這些本地藝術家躍登國際舞台成為一股新勢力， 而他們曾在海外贏得無數掌聲的作品能夠回歸香 港，以饗本地觀眾，端賴香港賽馬會慈善信託基 金的贊助，在此我謹代表藝發局向賽馬會致以崇 高謝意。在讓藝術家回饋香港市民和支持他們再 發展成功作品的共同願景下，賽馬會的贊助令本 局可以推行一系列的教育及社區活動，深入不同 社群，令社會各界也能享受藝術，參於藝術，令 廣大市民對本地藝術家引以為傲。期望藝術家亦 可從中汲取香港的養份，再踏前路創佳績。 我亦在此感謝所有參與藝術家，衷心祝賀他們藝 業有成，亦希望各位能積極參與《賽馬會藝壇新 勢力》的節目，欣賞香港藝術選萃，享受本地展 演精華，共建香港精神。 香港藝術發展局主席 王英偉博士 GBS 太平紳士
Shouldering the responsibility of the broad development of the arts in Hong Kong, HKADC spares no effort in supporting these artists to reach new heights. That includes facilitating artists to participate in overseas arts events, showcasing outstanding Hong Kong artists and their works and, at the same time, enabling them to broaden their horizon, connect with international peers and stimulate their creativity. In the last two years, HKADC has brought Hong Kong artists to reputable international arts festivals and arts fairs. Their displays have gained wide international acclaim. They not only contribute to the Hong Kong arts scene but have also brought much pride to Hong Kong as I personally embrace. I am very grateful to the Hong Kong Jockey Club Charities Trust that has made it possible for HKADC to present a large scale festival that showcases these artists and their works. They have formed a new arts power in the global arts scene. Sharing the vision of helping them to make their return showcases in Hong Kong and further develop their successful works, Jockey Club has given us the support to present an array of education and outreach activities to various communities so that people from all walks of life may enjoy the arts and participate in the arts. I also hope the artists will be nourished in the process and step forth with greater achievements in future. I would like to thank all participating artists of whom I am very proud. I sincerely congratulate every one of them and invite you to join us at JOCKEY CLUB New Arts Power to celebrate their achievements. Hope you will enjoy a collection of the best in a joint tribute to build the Hong Kong spirit. Dr. WONG Ying-wai, Wilfred GBS, JP Chairman Hong Kong Arts Development Council
08
09
香港賽馬會 慈善及社區事務 執行總監獻辭
MESSAGE FROM EXECUTIVE DIRECTOR, CHARITIES AND COMMUNITY OF THE HONG KONG JOCKEY CLUB
香港賽馬會慈善信託基金十分榮幸撥捐約
The Hong Kong Jockey Club Charities Trust is privileged to support HKADC with funding of some HK$38 million to present JOCKEY CLUB New Arts Power – a festival that will share the excellent works and achievements of our home-grown artists with the Hong Kong community.
三千八百萬港元支持藝發局舉辦《賽馬會藝壇新 勢力》，讓公眾有機會欣賞本地優秀藝術家名揚 海外的藝術節目。 馬會一直支持藝術及文化活動，並鼓勵更多市民 參與。為期五個月的《賽馬會藝壇新勢力》，以 「創意人才，成就香港」為主題，當中包括一系 列多元化的藝術節目，如現代舞、音樂、劇場演 出、陶藝及媒體藝術展覽，以及逾一百六十個社 區和學校活動，我們期望這項藝壇盛事能惠及約 十二萬四千名學生和市民。 作為全球十大慈善捐助機構之一，馬會致力建設 更美好香港。而「藝術、文化及保育」正是我們 繼「青年」、「長者」和「體育」外，推動的其 中一個慈善策略範疇。馬會透過四大創新重點方 式，包括：提升業界專業水平及支持基建、拓展 觀眾群及促進藝術通達、以藝術應對社會問題， 及活化古蹟，為香港注入藝術文化活力，豐富市 民的生活，推動創意共融。 我們感謝藝發局為這一連串精彩的藝術節目付出 的心思，並謹此祝願《賽馬會藝壇新勢力》圓滿 成功。
香港賽馬會慈善及社區事務執行總監 張亮
The Trust has been a long-time supporter of arts and cultural events, and of promoting the arts to the general public. We hope that the five-month JOCKEY CLUB New Arts Power festival, taking the theme this year of “Our Talents, Our Pride”, will benefit some 124,000 students and other members of the public citywide. Its splendid array of programmes ranges from modern dance, music and theatrical performances to ceramics and media arts exhibitions, in addition to over 160 community and school programmes. As one of the world’s top ten charity donors, the Trust is committed to the betterment of Hong Kong. Arts, Culture and Heritage is one of our strategic focus areas, along with Youth, the Elderly and Sports. Our aim is to help build a culturally vibrant Hong Kong, enriching lives and promoting social inclusion through four innovative approaches: Capacity Building and Infrastructure, Audience Building and Accessibility, Arts as a Tool to Tackle Social Issues, and Heritage Revitalisation. I should like to express our heartfelt gratitude and appreciation to the HKADC for their hard work and effort, and wish the festival every success.
Mr Leong Cheung Executive Director, Charities and Community The Hong Kong Jockey Club
08
09
香港賽馬會 慈善及社區事務 執行總監獻辭
MESSAGE FROM EXECUTIVE DIRECTOR, CHARITIES AND COMMUNITY OF THE HONG KONG JOCKEY CLUB
香港賽馬會慈善信託基金十分榮幸撥捐約
The Hong Kong Jockey Club Charities Trust is privileged to support HKADC with funding of some HK$38 million to present JOCKEY CLUB New Arts Power – a festival that will share the excellent works and achievements of our home-grown artists with the Hong Kong community.
三千八百萬港元支持藝發局舉辦《賽馬會藝壇新 勢力》，讓公眾有機會欣賞本地優秀藝術家名揚 海外的藝術節目。 馬會一直支持藝術及文化活動，並鼓勵更多市民 參與。為期五個月的《賽馬會藝壇新勢力》，以 「創意人才，成就香港」為主題，當中包括一系 列多元化的藝術節目，如現代舞、音樂、劇場演 出、陶藝及媒體藝術展覽，以及逾一百六十個社 區和學校活動，我們期望這項藝壇盛事能惠及約 十二萬四千名學生和市民。 作為全球十大慈善捐助機構之一，馬會致力建設 更美好香港。而「藝術、文化及保育」正是我們 繼「青年」、「長者」和「體育」外，推動的其 中一個慈善策略範疇。馬會透過四大創新重點方 式，包括：提升業界專業水平及支持基建、拓展 觀眾群及促進藝術通達、以藝術應對社會問題， 及活化古蹟，為香港注入藝術文化活力，豐富市 民的生活，推動創意共融。 我們感謝藝發局為這一連串精彩的藝術節目付出 的心思，並謹此祝願《賽馬會藝壇新勢力》圓滿 成功。
香港賽馬會慈善及社區事務執行總監 張亮
The Trust has been a long-time supporter of arts and cultural events, and of promoting the arts to the general public. We hope that the five-month JOCKEY CLUB New Arts Power festival, taking the theme this year of “Our Talents, Our Pride”, will benefit some 124,000 students and other members of the public citywide. Its splendid array of programmes ranges from modern dance, music and theatrical performances to ceramics and media arts exhibitions, in addition to over 160 community and school programmes. As one of the world’s top ten charity donors, the Trust is committed to the betterment of Hong Kong. Arts, Culture and Heritage is one of our strategic focus areas, along with Youth, the Elderly and Sports. Our aim is to help build a culturally vibrant Hong Kong, enriching lives and promoting social inclusion through four innovative approaches: Capacity Building and Infrastructure, Audience Building and Accessibility, Arts as a Tool to Tackle Social Issues, and Heritage Revitalisation. I should like to express our heartfelt gratitude and appreciation to the HKADC for their hard work and effort, and wish the festival every success.
Mr Leong Cheung Executive Director, Charities and Community The Hong Kong Jockey Club
11
簡介
INTRODUCTION 「珍百貨」是尹麗娟最新的藝術項 目， 為 第 十 一 屆 韓 國 光 州 雙 年 展 「Every Day A Rainbow」的延伸之 作。在坪石邨小雜貨店的一隅展出 以陶瓷複製的生活雜貨；同時在上 環的畫廊空間以低廉價錢出售這批 「 藝 術 品 」。「 珍 」， 有 珍 貴 之 意，亦取其真與假之諧音，藝術珍
18.12.2017- 21.1.2018 11:00-19:00
九龍坪石邨平台 71 號舖昌興南貨 （彩虹港鐵站 A2 出口，麥當勞甜品站旁） Cheung Hing Grocery Store, Shop 71, Ping Shek Estate Podium, Kowloon (Exit A2, Choi Hung MTR Station, next to McDonald's Dessert Kiosk)
品與雜貨，真品與複製品，在貨架 上安然並存。藝術何價？對大眾來 說，藝術品是只可遠觀的奢侈品， 從博覽會和傳媒中我們不時看見藝 術品以天價出售，原作是否一定比 複製品更有價值？經複製技術產生 的作品，是否就如班雅明曾說，因 不再具有獨一性，而沒有「靈光」 （aura）的存在？我們需要食物來
23.12.2017- 28.1.2018 11:00-19:00
填補身體外，我們是否更需要藝術
G/F, 15A New Street, Sheung Wan, Hong Kong (Original site of Giant Year Gallery)
這些都是尹麗娟想通過這次展覽探
上環新街 15A 地下（巨年藝廊舊址）
開幕
OPENING
18.12.2017 17:00 -20:00
坪石邨多用途活動室（九龍坪石邨平台） Ping Shek Estate Multi-purpose Room (Ping Shek Estate Podium)
來滋養我們的生活？藝術家如何才 能創造盡可能接近大眾的作品？ 討的問題。
Zan Bakk Fo is the latest ceramics project of Annie Wan Lai Kuen, it is the extension of her work Every Day A Rainbow in the 11th Gwangju Biennale. In Cantonese, Zan means precious, it also sounds the same as authentic. Annie set up the exhibition display inside this grocery store in Ping Shek Estate, where real groceries are placed and sold side by side with the art replicas mass produced by ceramics; at the same time, these “art pieces” are sold at an extremely low price inside the proper gallery space in Sheung Wan. Does art come with a price? In the eyes of the general public, fine art pieces are topnotch luxury items which are only sold at a high price in auction or art fair. Is Walter Benjamin's criticism in “the aura of a work of art is devalued by mechanical reproduction?” always correct? We need food to keep our body working, do we also need art to nourish our lives and spirits? How should artists do to create works which are more engaging to the people and the community? These are what Annie like to explore through this exhibition.
11
簡介
INTRODUCTION 「珍百貨」是尹麗娟最新的藝術項 目， 為 第 十 一 屆 韓 國 光 州 雙 年 展 「Every Day A Rainbow」的延伸之 作。在坪石邨小雜貨店的一隅展出 以陶瓷複製的生活雜貨；同時在上 環的畫廊空間以低廉價錢出售這批 「 藝 術 品 」。「 珍 」， 有 珍 貴 之 意，亦取其真與假之諧音，藝術珍
18.12.2017- 21.1.2018 11:00-19:00
九龍坪石邨平台 71 號舖昌興南貨 （彩虹港鐵站 A2 出口，麥當勞甜品站旁） Cheung Hing Grocery Store, Shop 71, Ping Shek Estate Podium, Kowloon (Exit A2, Choi Hung MTR Station, next to McDonald's Dessert Kiosk)
品與雜貨，真品與複製品，在貨架 上安然並存。藝術何價？對大眾來 說，藝術品是只可遠觀的奢侈品， 從博覽會和傳媒中我們不時看見藝 術品以天價出售，原作是否一定比 複製品更有價值？經複製技術產生 的作品，是否就如班雅明曾說，因 不再具有獨一性，而沒有「靈光」 （aura）的存在？我們需要食物來
23.12.2017- 28.1.2018 11:00-19:00
填補身體外，我們是否更需要藝術
G/F, 15A New Street, Sheung Wan, Hong Kong (Original site of Giant Year Gallery)
這些都是尹麗娟想通過這次展覽探
上環新街 15A 地下（巨年藝廊舊址）
開幕
OPENING
18.12.2017 17:00 -20:00
坪石邨多用途活動室（九龍坪石邨平台） Ping Shek Estate Multi-purpose Room (Ping Shek Estate Podium)
來滋養我們的生活？藝術家如何才 能創造盡可能接近大眾的作品？ 討的問題。
Zan Bakk Fo is the latest ceramics project of Annie Wan Lai Kuen, it is the extension of her work Every Day A Rainbow in the 11th Gwangju Biennale. In Cantonese, Zan means precious, it also sounds the same as authentic. Annie set up the exhibition display inside this grocery store in Ping Shek Estate, where real groceries are placed and sold side by side with the art replicas mass produced by ceramics; at the same time, these “art pieces” are sold at an extremely low price inside the proper gallery space in Sheung Wan. Does art come with a price? In the eyes of the general public, fine art pieces are topnotch luxury items which are only sold at a high price in auction or art fair. Is Walter Benjamin's criticism in “the aura of a work of art is devalued by mechanical reproduction?” always correct? We need food to keep our body working, do we also need art to nourish our lives and spirits? How should artists do to create works which are more engaging to the people and the community? These are what Annie like to explore through this exhibition.
12
13
尹麗娟
ANNIE WAN LAI KUEN
尹麗娟生於香港，現為香
B o r n i n H o n g Ko n g , A n n i e Wa n i s currently the Assistant Professor at the Academy of Visual Arts, Hong Kong B a p t i s t U n i v e r s i t y. A ft e r o b t a i n i n g her Diploma in Design and a Higher Certificate in Studio Ceramics from the Hong Kong Polytechnic University, and her Bachelor’s and Master’s degrees from the Fine Arts Department of the Chinese University of Hong Kong in 1996 and 1999, Annie Wan devoted herself to art making and to researching a conceptual approach to moulding.
港浸會大學視覺藝術院助 理教授，於 1996 及 1999 年在香港中文大學藝術系 取得學士及碩士學位。 尹麗娟曾多次參與本地及 海外展覽，並於 2000 年 獲「 亞 洲 文 化 協 會 獎 助 金 」、2003 年 獲 香 港 藝 術發展局頒發海外駐場獎 金 及 在「 香 港 藝 術 雙 年 展 」 中 獲 獎， 亦 先 後 於 2001 至 2004 年 間 在 美
國、日本及丹麥進行駐場 藝術創作，並於 2011 年 獲日本樂陶藝之森創作研 修館邀請作客席藝術家。 作品為私人收藏家及國際 藝術機構所收藏。 尹麗娟獲邀代表香港參與 2016 光州雙年展。
Wan has participated in various local and overseas exhibitions; she has been awarded the Asian Cultural Council Fe l l o w s h i p i n 2 0 0 0 , t h e O v e r s e a s Residency Grant by the Hong Kong Arts Development Council in 2003, and the Award Winner of the Hong Kong Art Biennial in 2003. She has been an artist-in-residence at institutions in the USA, Japan and Denmark from 2001 to 2004 and was invited as Guest Artist by Shigaraki C e r a m i c C u l t u r a l Pa r k i n J a p a n i n 2011. Her work is in the collections of individuals and institutions internationally, including the Hong Kong Heritage Museum, Hong Kong Museum of Art, the Burger Collection and the University of Salford Collection. In 2016, Wan was selected to represent Hong Kong in the 11th Gwangju Biennale.
12
13
尹麗娟
ANNIE WAN LAI KUEN
尹麗娟生於香港，現為香
B o r n i n H o n g Ko n g , A n n i e Wa n i s currently the Assistant Professor at the Academy of Visual Arts, Hong Kong B a p t i s t U n i v e r s i t y. A ft e r o b t a i n i n g her Diploma in Design and a Higher Certificate in Studio Ceramics from the Hong Kong Polytechnic University, and her Bachelor’s and Master’s degrees from the Fine Arts Department of the Chinese University of Hong Kong in 1996 and 1999, Annie Wan devoted herself to art making and to researching a conceptual approach to moulding.
港浸會大學視覺藝術院助 理教授，於 1996 及 1999 年在香港中文大學藝術系 取得學士及碩士學位。 尹麗娟曾多次參與本地及 海外展覽，並於 2000 年 獲「 亞 洲 文 化 協 會 獎 助 金 」、2003 年 獲 香 港 藝 術發展局頒發海外駐場獎 金 及 在「 香 港 藝 術 雙 年 展 」 中 獲 獎， 亦 先 後 於 2001 至 2004 年 間 在 美
國、日本及丹麥進行駐場 藝術創作，並於 2011 年 獲日本樂陶藝之森創作研 修館邀請作客席藝術家。 作品為私人收藏家及國際 藝術機構所收藏。 尹麗娟獲邀代表香港參與 2016 光州雙年展。
Wan has participated in various local and overseas exhibitions; she has been awarded the Asian Cultural Council Fe l l o w s h i p i n 2 0 0 0 , t h e O v e r s e a s Residency Grant by the Hong Kong Arts Development Council in 2003, and the Award Winner of the Hong Kong Art Biennial in 2003. She has been an artist-in-residence at institutions in the USA, Japan and Denmark from 2001 to 2004 and was invited as Guest Artist by Shigaraki C e r a m i c C u l t u r a l Pa r k i n J a p a n i n 2011. Her work is in the collections of individuals and institutions internationally, including the Hong Kong Heritage Museum, Hong Kong Museum of Art, the Burger Collection and the University of Salford Collection. In 2016, Wan was selected to represent Hong Kong in the 11th Gwangju Biennale.
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15
唔該我要嗰件
17
唔該我要嗰件
黃湲婷
當尹麗娟與我在 2016 年 4 月首次踏足
打開在其他情況下無從發現或難以辨識的觀點
光州時，我倆都對這次新工作只有朦
與角度。
朧而隱約的認知。工作的框架相當寬 泛——這件作品在理想的情況下應該
光州雙年展由光州市政府在 1995 年創立，希望
呼應光州雙年展場館附近的社區，而
借助當代藝術和兩年一度的藝術展紀念 1980 年
尹麗娟會與光州的陶瓷藝術家合作，
的「518 民主抗爭」。過去 20 年來，光州雙年
在當地完成自己的作品。
展已經成為亞洲其中一個最負盛名、資助豐沛 的當代藝術雙年展，以至於展覽作為大型當代
2016 年第 11 屆光州雙年展 （GB11）
藝術展的聲譽凌駕了紀念的初衷。這個情況令
的主題是「第八氣候：藝術何為？」。
雙年展陷入窘境，策展人、光州市民與參展藝
「第八氣候」是「想像」的代稱，這
術家之間往往各有不同甚至彼此矛盾的追求和
個概念最先由波斯神秘主義哲學家蘇
慾望。在如此環境下，創作能與社區呼應的嶄
瑞 瓦 爾 迪（Sohravardi, 1155-91） 提
新藝術品就成為一大挑戰，有時甚至會招致無
出，在古希臘地理學家確認的七個凡
可避免的失敗。參與的人應如何認同並融合多
間氣候以外，再添加處於自然及靈性
方持份者的不同要求，同時營造一個能讓各方
世界之間的「連繫世界」，而且這個
交集並明瞭彼此的環境？藝術創作可以如何調
世界充滿無限想像。「第八氣候」其
解在地社區及國際盛事之間的內在矛盾？
後由 20 世紀法國哲學家科爾賓（Henri Corbin, 1903-78）進一步闡述，他認
我們可以將尹麗娟的作品《澆水請慢行》 （2012）
為「第八氣候」既非天堂也非塵世，
視為巧妙的隱喻，從中體會她接觸光州的態度。
而是一個想像的，或對某些人來說虛
尹麗娟為《澆水請慢行》製作了多塊陶瓷薄片，
幻的事物磨合甚至衝擊並改變現實的
瓷片置於牛棚藝術村的地面，劃出的範圍面積
領域。這個充滿可能的境地與藝術頗
與當時即將拆卸的衙前圍村房屋相同。陶瓷薄
有相通之處——藝術往往連繫不同的
片包圍的中央是一盆植物盆栽，觀賞群眾的任
人物、理念和議題，並透過這種連繫
務是為植物澆水。我們因此陷入兩難：要為植 《澆水請慢行》 2012
唔該我要嗰件
17
唔該我要嗰件
黃湲婷
當尹麗娟與我在 2016 年 4 月首次踏足
打開在其他情況下無從發現或難以辨識的觀點
光州時，我倆都對這次新工作只有朦
與角度。
朧而隱約的認知。工作的框架相當寬 泛——這件作品在理想的情況下應該
光州雙年展由光州市政府在 1995 年創立，希望
呼應光州雙年展場館附近的社區，而
借助當代藝術和兩年一度的藝術展紀念 1980 年
尹麗娟會與光州的陶瓷藝術家合作，
的「518 民主抗爭」。過去 20 年來，光州雙年
在當地完成自己的作品。
展已經成為亞洲其中一個最負盛名、資助豐沛 的當代藝術雙年展，以至於展覽作為大型當代
2016 年第 11 屆光州雙年展 （GB11）
藝術展的聲譽凌駕了紀念的初衷。這個情況令
的主題是「第八氣候：藝術何為？」。
雙年展陷入窘境，策展人、光州市民與參展藝
「第八氣候」是「想像」的代稱，這
術家之間往往各有不同甚至彼此矛盾的追求和
個概念最先由波斯神秘主義哲學家蘇
慾望。在如此環境下，創作能與社區呼應的嶄
瑞 瓦 爾 迪（Sohravardi, 1155-91） 提
新藝術品就成為一大挑戰，有時甚至會招致無
出，在古希臘地理學家確認的七個凡
可避免的失敗。參與的人應如何認同並融合多
間氣候以外，再添加處於自然及靈性
方持份者的不同要求，同時營造一個能讓各方
世界之間的「連繫世界」，而且這個
交集並明瞭彼此的環境？藝術創作可以如何調
世界充滿無限想像。「第八氣候」其
解在地社區及國際盛事之間的內在矛盾？
後由 20 世紀法國哲學家科爾賓（Henri Corbin, 1903-78）進一步闡述，他認
我們可以將尹麗娟的作品《澆水請慢行》 （2012）
為「第八氣候」既非天堂也非塵世，
視為巧妙的隱喻，從中體會她接觸光州的態度。
而是一個想像的，或對某些人來說虛
尹麗娟為《澆水請慢行》製作了多塊陶瓷薄片，
幻的事物磨合甚至衝擊並改變現實的
瓷片置於牛棚藝術村的地面，劃出的範圍面積
領域。這個充滿可能的境地與藝術頗
與當時即將拆卸的衙前圍村房屋相同。陶瓷薄
有相通之處——藝術往往連繫不同的
片包圍的中央是一盆植物盆栽，觀賞群眾的任
人物、理念和議題，並透過這種連繫
務是為植物澆水。我們因此陷入兩難：要為植 《澆水請慢行》 2012
唔該我要嗰件
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19
物澆水就必須踩上並踏碎陶瓷薄片，裹足不前的話植物便注定枯死。我並
尹麗娟將《Every Day A Rainbow》進一步深化，
沒有親眼目睹這件作品，但根據尹麗娟憶述，觀賞群眾最初會陷入躊躇，
在作品中增添了第二種元素，把商店中日常所
但一旦開始前行為植物澆水（並踏破陶瓷薄片）後，他們的腳步隨即化為
見的物品重塑並燒成藍綠色的青瓷。原物購自
欣喜的舞蹈。我個人認為，這件作品營造了一個場景，讓我們不單要與自
雙 年 展 路 的 店 舖， 塑 成 石 膏 模
身行為所造成的破壞和解，還要體驗自己完全投入這種行為後所引發的美
後再由尹麗娟注入陶土或陶瓷泥
麗、崇高甚至瘋狂。
釉，乾透成型便移除模具，展現
唔該我要嗰件
出原物的精緻複製品。重塑的物 《澆水請慢行》與尹麗娟接觸光州任務的態度如出一轍，兩者同樣需要秉
件不論有否上光，都會被送往瓷
持極大的信念來開展項目，這正正是她初期感覺自己未能完美融入光州城
窯燒製。為了這批陶瓷製品，尹
市社區，接着自我懷疑、徘徊猶豫的寫照。尹麗娟對散落光州街上、色彩
麗娟及其多名助手與光州一名青
繽紛的消費品包裝感到着迷，將其視為渲染過度的陳腔濫調，以消費主義
瓷大師合作，其工作室正好位於
樂觀心態堆砌而成的當代城市生活。的而且確，南韓在 GB11 開幕後不久
城市邊緣的郊區。完成的陶瓷與
便陷入政治動盪，梨花女子大學的大型學生示威繼而揭露貪腐醜聞，隨後
原物極為相似。搜羅進入《Every
的連串事件更導致南韓首位女總統朴槿惠下台。事後回想，我非常好奇這
Day A Rainbow》 的 物 品， 會 轉
種對消費品固執而盲目的樂觀心態，能否被解讀粉飾太平的工具，將人們
化成顏色素雅有如松綠石的藍綠色。這些陶瓷
的視線從種種政治、社會文化壓力以及南韓數十年來始終面對的社會撕裂
製品然後會放置於雙年展館附近的不同店舖，
轉移。
店舖所在的大街就在展廳外，是周邊居民進出 的常用道路。
尹麗娟為第 11 屆光州雙年展創作的作品名為《Every Day A Rainbow》。 展品由兩部份組成，分別置於光州雙年展展館（GB Hall）出口以及雙年展
如果雙年展展館外的彩虹小屋能被視為我們對
路沿街不同店舖的多個地點。在展館外的部份包括一棟尹麗娟從網上買來
貪得無厭消費慾望的評論，雙年展路上的陶瓷
的二手小屋，這些小屋在光州隨處可見，往往用作修補鞋履的小店，小屋
製品則將我們的思緒引領到另一層面——對藝
然後根據尹麗娟的需要而改裝，例如以彩虹七色漆上門口的木製階梯以及
術價值的觀照。重塑的物件往往與原物相似莫
意思為 EVERY DAY A RAINBOW 的碩大韓文七色標語。小屋內是各式各樣
名，但卻缺少任何世間的色彩與質感，而且經
的消費食品，從一應俱全的糕點糖果到曲奇餅乾以至瓶裝飲品應有盡有。
過窯燒後體積會稍稍縮小。這些陶瓷製品放進
這些產品當然也按包裝顏色排列，在屋內形成一道色彩亮麗的彩虹 1。張
商店並與待售的商品比鄰，不禁讓我們想它們
揚的鮮明色彩，與快樂及樂觀符號的極簡呈現之間，無疑營造出一種諷
到底是否藝術品，如果是或不是，又該如何衡
刺。當然，並非每天都是美好充實的，過度消費看似能滿足我們的物慾，
量其價值。我們應否為它們定價，一如其他的
但往往更為我們帶來疏離。
日常商品？它們應否貼上售價標籤，還是作為 藝術品始終無價？
1
2006 年尹麗娟創作名為《彩虹》的作品，參與香港文化博物館「MEGartSTORE 商場時代 的藝術體驗」專題展覽。展覽旨在「審視博物館展覽和商業呈現之間的對話」，並「同時 為購物人群和觀賞人群提供另類的『消費』體驗，兼激發大眾對日常購物行為的新觀點」。 http://www.heritagemuseum.gov.hk/archive/eng/exhibitions/Past_Exhibitions_89.html， 於 2017 年 12 月 3 日瀏覽。
參觀人群開始在《澆水請慢行》的陶瓷薄片上 起舞所帶出的狂喜與某種瘋狂，同樣在《Every Day A Rainbow》展現，只是呈現方式有別於預
期。當《Every Day A Rainbow》在 2016 年 11 月
《Every Day A Rainbow》
2016
唔該我要嗰件
18
19
物澆水就必須踩上並踏碎陶瓷薄片，裹足不前的話植物便注定枯死。我並
尹麗娟將《Every Day A Rainbow》進一步深化，
沒有親眼目睹這件作品，但根據尹麗娟憶述，觀賞群眾最初會陷入躊躇，
在作品中增添了第二種元素，把商店中日常所
但一旦開始前行為植物澆水（並踏破陶瓷薄片）後，他們的腳步隨即化為
見的物品重塑並燒成藍綠色的青瓷。原物購自
欣喜的舞蹈。我個人認為，這件作品營造了一個場景，讓我們不單要與自
雙 年 展 路 的 店 舖， 塑 成 石 膏 模
身行為所造成的破壞和解，還要體驗自己完全投入這種行為後所引發的美
後再由尹麗娟注入陶土或陶瓷泥
麗、崇高甚至瘋狂。
釉，乾透成型便移除模具，展現
唔該我要嗰件
出原物的精緻複製品。重塑的物 《澆水請慢行》與尹麗娟接觸光州任務的態度如出一轍，兩者同樣需要秉
件不論有否上光，都會被送往瓷
持極大的信念來開展項目，這正正是她初期感覺自己未能完美融入光州城
窯燒製。為了這批陶瓷製品，尹
市社區，接着自我懷疑、徘徊猶豫的寫照。尹麗娟對散落光州街上、色彩
麗娟及其多名助手與光州一名青
繽紛的消費品包裝感到着迷，將其視為渲染過度的陳腔濫調，以消費主義
瓷大師合作，其工作室正好位於
樂觀心態堆砌而成的當代城市生活。的而且確，南韓在 GB11 開幕後不久
城市邊緣的郊區。完成的陶瓷與
便陷入政治動盪，梨花女子大學的大型學生示威繼而揭露貪腐醜聞，隨後
原物極為相似。搜羅進入《Every
的連串事件更導致南韓首位女總統朴槿惠下台。事後回想，我非常好奇這
Day A Rainbow》 的 物 品， 會 轉
種對消費品固執而盲目的樂觀心態，能否被解讀粉飾太平的工具，將人們
化成顏色素雅有如松綠石的藍綠色。這些陶瓷
的視線從種種政治、社會文化壓力以及南韓數十年來始終面對的社會撕裂
製品然後會放置於雙年展館附近的不同店舖，
轉移。
店舖所在的大街就在展廳外，是周邊居民進出 的常用道路。
尹麗娟為第 11 屆光州雙年展創作的作品名為《Every Day A Rainbow》。 展品由兩部份組成，分別置於光州雙年展展館（GB Hall）出口以及雙年展
如果雙年展展館外的彩虹小屋能被視為我們對
路沿街不同店舖的多個地點。在展館外的部份包括一棟尹麗娟從網上買來
貪得無厭消費慾望的評論，雙年展路上的陶瓷
的二手小屋，這些小屋在光州隨處可見，往往用作修補鞋履的小店，小屋
製品則將我們的思緒引領到另一層面——對藝
然後根據尹麗娟的需要而改裝，例如以彩虹七色漆上門口的木製階梯以及
術價值的觀照。重塑的物件往往與原物相似莫
意思為 EVERY DAY A RAINBOW 的碩大韓文七色標語。小屋內是各式各樣
名，但卻缺少任何世間的色彩與質感，而且經
的消費食品，從一應俱全的糕點糖果到曲奇餅乾以至瓶裝飲品應有盡有。
過窯燒後體積會稍稍縮小。這些陶瓷製品放進
這些產品當然也按包裝顏色排列，在屋內形成一道色彩亮麗的彩虹 1。張
商店並與待售的商品比鄰，不禁讓我們想它們
揚的鮮明色彩，與快樂及樂觀符號的極簡呈現之間，無疑營造出一種諷
到底是否藝術品，如果是或不是，又該如何衡
刺。當然，並非每天都是美好充實的，過度消費看似能滿足我們的物慾，
量其價值。我們應否為它們定價，一如其他的
但往往更為我們帶來疏離。
日常商品？它們應否貼上售價標籤，還是作為 藝術品始終無價？
1
2006 年尹麗娟創作名為《彩虹》的作品，參與香港文化博物館「MEGartSTORE 商場時代 的藝術體驗」專題展覽。展覽旨在「審視博物館展覽和商業呈現之間的對話」，並「同時 為購物人群和觀賞人群提供另類的『消費』體驗，兼激發大眾對日常購物行為的新觀點」。 http://www.heritagemuseum.gov.hk/archive/eng/exhibitions/Past_Exhibitions_89.html， 於 2017 年 12 月 3 日瀏覽。
參觀人群開始在《澆水請慢行》的陶瓷薄片上 起舞所帶出的狂喜與某種瘋狂，同樣在《Every Day A Rainbow》展現，只是呈現方式有別於預
期。當《Every Day A Rainbow》在 2016 年 11 月
《Every Day A Rainbow》
2016
唔該我要嗰件
20
21
拆除時，小屋內的消費品均免費分發予社區內的成員，相當數量的人群圍
術的物件（原因可以是因為售價，也可以
繞小屋聚集，儘管光州雙年展的員工有所準備，人群仍偶爾不敵自己的能
是因為地點）。
唔該我要嗰件
量，場面會陷入混亂。有時我們的物慾的確會戰勝理智，在這樣的時刻，構 成《Every Day A Rainbow》的消費品已經不再是藝術品，而是再次成為城市
「珍百貨」無疑帶領我們回到最初的問題
現代生活中不可分離的商品。
「藝術何為？」。在這個例子中，我希望 提出的建議是，藝術引領我們質問其自身
尹麗娟的實踐同時以循序漸進以及直覺為基礎。在特定項目產生迴響的
價值及其作為商品的地位；審視交易如何
理念能在未來的項目進一步發展，正如《Every Day A Rainbow》便源自她
構建；以及審視藝術品呈現及流通所可能
2006 年在香港文化博物館的作品《彩虹》。重塑日常用品的陶瓷製品也
創造的群體。這點有可能成為想像的事物
是尹麗娟實踐中不可或缺的一環。這些製品扮演了管道的角色，傳遞出她
與現實之間的碰撞，甚至改變現實的領域。
對物件之價值、圓滿及虛空，以及界定了我們生活方式與世界觀之事物的
到底這樣會否產生另一種出乎我們意料的
想法。透過把陶瓷製品置於真實的店舖，並讓店舖在光州雙年展期間如常
瘋狂，答案仍需拭目以待。「珍百貨」的
營業，《Every Day A Rainbow》可說開拓了與這些物件交流的新可能。假
實驗會如何持續，對我們的生活經歷又有
如我們一如對待真實生活中的原物般真的買賣這些物品，結果又會怎樣？
何影響，將視乎我們如何接觸坪石邨和上
假如有一間店舖執意如此又會如何？在光州創作《Every Day A Rainbow》
環兩間店舖並與之互動。我希望能在兩間
所涉及的實質距離，也賦予我們重要的距離和清晰環境，得以叩問這些問
店舖，或至少其中一間店舖見到你們。
題的意義。香港如有這樣的項目會有何意義？在香港這樣極為資本主義掛 帥的社會，我們能怎樣提出有關藝術價值的反思並達至成果？ 尹麗娟今年較早前在「油街實現」 項目的作品《收集月光》 （2017）中， 已經開始嘗試提問上述部份問題。 她與北角區的商店合作展出她的重 塑物件，當中包括一間食肆、一個 菜攤和一間書店。如在光州的商店 一樣，物件都是非賣品，合作商店 只展示而不售賣物件。坪石邨和上 環的「珍百貨」則把買賣的構思付 諸實驗，尹麗娟的物件會在截然不 《收集月光》 2017
同的脈絡下於兩間商店展示、出售。 坪石邨是香港其中一個經濟上最為
弱勢的地區，上環則以時尚咖啡店、古玩店和藝廊著稱。重塑的物件會 按其日常物品的價格出售，坪石邨和上環兩地的售價相同。大家可以預 料，到訪兩間店舖的人不論背景與目的都會非常不同。然而他們將支付 相同的價錢（假設他們決定購買任何東西） ，購買一件他們也許視之為藝
黃湲婷
黃湲婷是常駐香港的藝術研究員，2015-6 年間曾任南韓 第 11 屆光州雙年展（GB11）的助理策展人。第 11 屆光 州雙年展由 Maria Lind 擔任藝術總監，主題為「第八氣 候：藝術何為？」。除了寫作及策劃「Sightlines」（2016 持續至今）等項目外，黃湲婷同時探討城市美學、政治與 科技之間的關係，並且參與「Ambitious Alignments: New Histories of Southeast Asian Art」研究。研究計劃獲蓋蒂基 金會的 Connecting Art Histories Initiative 部門資助。黃湲婷 由 2012 年起擔任亞洲藝術文獻庫研究員至今。
唔該我要嗰件
20
21
拆除時，小屋內的消費品均免費分發予社區內的成員，相當數量的人群圍
術的物件（原因可以是因為售價，也可以
繞小屋聚集，儘管光州雙年展的員工有所準備，人群仍偶爾不敵自己的能
是因為地點）。
唔該我要嗰件
量，場面會陷入混亂。有時我們的物慾的確會戰勝理智，在這樣的時刻，構 成《Every Day A Rainbow》的消費品已經不再是藝術品，而是再次成為城市
「珍百貨」無疑帶領我們回到最初的問題
現代生活中不可分離的商品。
「藝術何為？」。在這個例子中，我希望 提出的建議是，藝術引領我們質問其自身
尹麗娟的實踐同時以循序漸進以及直覺為基礎。在特定項目產生迴響的
價值及其作為商品的地位；審視交易如何
理念能在未來的項目進一步發展，正如《Every Day A Rainbow》便源自她
構建；以及審視藝術品呈現及流通所可能
2006 年在香港文化博物館的作品《彩虹》。重塑日常用品的陶瓷製品也
創造的群體。這點有可能成為想像的事物
是尹麗娟實踐中不可或缺的一環。這些製品扮演了管道的角色，傳遞出她
與現實之間的碰撞，甚至改變現實的領域。
對物件之價值、圓滿及虛空，以及界定了我們生活方式與世界觀之事物的
到底這樣會否產生另一種出乎我們意料的
想法。透過把陶瓷製品置於真實的店舖，並讓店舖在光州雙年展期間如常
瘋狂，答案仍需拭目以待。「珍百貨」的
營業，《Every Day A Rainbow》可說開拓了與這些物件交流的新可能。假
實驗會如何持續，對我們的生活經歷又有
如我們一如對待真實生活中的原物般真的買賣這些物品，結果又會怎樣？
何影響，將視乎我們如何接觸坪石邨和上
假如有一間店舖執意如此又會如何？在光州創作《Every Day A Rainbow》
環兩間店舖並與之互動。我希望能在兩間
所涉及的實質距離，也賦予我們重要的距離和清晰環境，得以叩問這些問
店舖，或至少其中一間店舖見到你們。
題的意義。香港如有這樣的項目會有何意義？在香港這樣極為資本主義掛 帥的社會，我們能怎樣提出有關藝術價值的反思並達至成果？ 尹麗娟今年較早前在「油街實現」 項目的作品《收集月光》 （2017）中， 已經開始嘗試提問上述部份問題。 她與北角區的商店合作展出她的重 塑物件，當中包括一間食肆、一個 菜攤和一間書店。如在光州的商店 一樣，物件都是非賣品，合作商店 只展示而不售賣物件。坪石邨和上 環的「珍百貨」則把買賣的構思付 諸實驗，尹麗娟的物件會在截然不 《收集月光》 2017
同的脈絡下於兩間商店展示、出售。 坪石邨是香港其中一個經濟上最為
弱勢的地區，上環則以時尚咖啡店、古玩店和藝廊著稱。重塑的物件會 按其日常物品的價格出售，坪石邨和上環兩地的售價相同。大家可以預 料，到訪兩間店舖的人不論背景與目的都會非常不同。然而他們將支付 相同的價錢（假設他們決定購買任何東西） ，購買一件他們也許視之為藝
黃湲婷
黃湲婷是常駐香港的藝術研究員，2015-6 年間曾任南韓 第 11 屆光州雙年展（GB11）的助理策展人。第 11 屆光 州雙年展由 Maria Lind 擔任藝術總監，主題為「第八氣 候：藝術何為？」。除了寫作及策劃「Sightlines」（2016 持續至今）等項目外，黃湲婷同時探討城市美學、政治與 科技之間的關係，並且參與「Ambitious Alignments: New Histories of Southeast Asian Art」研究。研究計劃獲蓋蒂基 金會的 Connecting Art Histories Initiative 部門資助。黃湲婷 由 2012 年起擔任亞洲藝術文獻庫研究員至今。
Please can I have a [insert word]
23
Please can I have a [insert word]
MICHELLE WONG WUN TING
When Annie and I first set foot in Gwangju together in April 2016, we both had an inkling of what this new commission might be like. The commission framework was a broad one–the work should ideally engage the community around the Gwangju Biennale Hall area, and that Annie would spend time with ceramic artists in Gwangju to have the work produced locally. The eleventh edition of the Gwangju Biennale in 2016 (GB11) was titled “The Eighth Climate: What Does Art Do?”. “The Eighth Climate” is another name for the notion of “the imaginal,” which was first developed by Persian mystic and philosopher Sohravardi (1155-91). It is an “inter-world” between the natural and spiritual worlds, a zone of active imagination, in addition to the seven earthly climates identified by ancient Greek geographers. “The eighth climate” was further elaborated by the 20th century French philosopher Henri Corbin (1903-78), who saw it as neither heaven nor earth, but a zone where the imagined, the unreal for some, rubs against reality and actually impacts and changes reality. This zone of possibility is very much what art can open up — how it connects different people, ideas, and issues, and through that connection opens up a different perspective that may otherwise be invisible or illegible. The Gwangju Biennale was founded in 1995 by the Gwangju City Government as a living memorial that uses contemporary art and the art biennale event as a way to commemorate the 518 Democratic
Uprising in 1980. Over the past two decades, the Gwangju Biennale has become recognized as one of the most well renowned and well-funded contemporary art biennales in Asia, its reputation as a mega contemporary art event sometimes overshadowing its original intention as a memorial. This leaves the Biennale event in a rather fraught situation, as its organisers, Gwangju’s citizens, and the biennale participating artists often have different, or even conflicting desires. To create a new work within such a context that engages with the community is thus particularly challenging, if not heralding inevitable failure. How does one recognize and reconcile the different desires that exist in the many parties involved, and create a situation where they can meet and see one another? How can and will an artistic practice grapple with the inherently paradoxical situation between the local community and international event? Annie’s work Please Go Forward Slowly to Water the Plant (2012) can be seen as an apt metaphor for Annie’s attitude approaching the context and situation in Gwangju. For Please Go Forward Slowly to Water the Plant, Annie created sheets of thin ceramics. These ceramics sheets were laid down on the ground at Cattle Depot and marked an area that was the same size as the houses in the walled village of Nga Tsin Wai, which were due to be demolished. At the centre of the grid of ceramic sheets was a potted plant, and the audience was tasked to water it. We are here presented with a dilemma: in order to water the plant, we must walk on the ceramic sheets and therefore break them. But if we do not go forward, the plant would certainly die. I never saw this work in person. But from Annie’s recollection,
Please Go Forward Slowly to Water the Plant 2012
Please can I have a [insert word]
23
Please can I have a [insert word]
MICHELLE WONG WUN TING
When Annie and I first set foot in Gwangju together in April 2016, we both had an inkling of what this new commission might be like. The commission framework was a broad one–the work should ideally engage the community around the Gwangju Biennale Hall area, and that Annie would spend time with ceramic artists in Gwangju to have the work produced locally. The eleventh edition of the Gwangju Biennale in 2016 (GB11) was titled “The Eighth Climate: What Does Art Do?”. “The Eighth Climate” is another name for the notion of “the imaginal,” which was first developed by Persian mystic and philosopher Sohravardi (1155-91). It is an “inter-world” between the natural and spiritual worlds, a zone of active imagination, in addition to the seven earthly climates identified by ancient Greek geographers. “The eighth climate” was further elaborated by the 20th century French philosopher Henri Corbin (1903-78), who saw it as neither heaven nor earth, but a zone where the imagined, the unreal for some, rubs against reality and actually impacts and changes reality. This zone of possibility is very much what art can open up — how it connects different people, ideas, and issues, and through that connection opens up a different perspective that may otherwise be invisible or illegible. The Gwangju Biennale was founded in 1995 by the Gwangju City Government as a living memorial that uses contemporary art and the art biennale event as a way to commemorate the 518 Democratic
Uprising in 1980. Over the past two decades, the Gwangju Biennale has become recognized as one of the most well renowned and well-funded contemporary art biennales in Asia, its reputation as a mega contemporary art event sometimes overshadowing its original intention as a memorial. This leaves the Biennale event in a rather fraught situation, as its organisers, Gwangju’s citizens, and the biennale participating artists often have different, or even conflicting desires. To create a new work within such a context that engages with the community is thus particularly challenging, if not heralding inevitable failure. How does one recognize and reconcile the different desires that exist in the many parties involved, and create a situation where they can meet and see one another? How can and will an artistic practice grapple with the inherently paradoxical situation between the local community and international event? Annie’s work Please Go Forward Slowly to Water the Plant (2012) can be seen as an apt metaphor for Annie’s attitude approaching the context and situation in Gwangju. For Please Go Forward Slowly to Water the Plant, Annie created sheets of thin ceramics. These ceramics sheets were laid down on the ground at Cattle Depot and marked an area that was the same size as the houses in the walled village of Nga Tsin Wai, which were due to be demolished. At the centre of the grid of ceramic sheets was a potted plant, and the audience was tasked to water it. We are here presented with a dilemma: in order to water the plant, we must walk on the ceramic sheets and therefore break them. But if we do not go forward, the plant would certainly die. I never saw this work in person. But from Annie’s recollection,
Please Go Forward Slowly to Water the Plant 2012
24
25
she said audiences were first hesitant; and yet once they started going forward to water the plant (and stepping on and breaking the ceramic sheets), it turned almost into an ecstatic dance. What this work did, in my opinion, was it created a situation where we not only come to terms with the certain destruction resulting from our actions, but also to experience the beauty, sublime and perhaps even madness, that sometimes occur when we fully inhabit the process of our own actions.
food products—from all kinds of confectionaries, to cookies and biscuits, and bottled drinks. These products were also, of course, arranged by the colour of the packing to form a bright rainbow interior inside the cabin1. There is a certain irony in this unabashedly bright and simplistic presentation of the symbol of happiness and optimism. Of course, not every day is all rainbow and roses, and more often than not the excess of consumer goods alienates us as much as they seem to fulfill our material desires.
Please Go Forward to Water the Plant resonates with Annie’s attitude towards her Gwangju commission in the sense that a leap of faith was required to launch into the project. This was indeed what happened after some initial skepticism and hesitation about her imperfect intervention into the Gwangju city community. Annie became mesmerised by the colourful packing of consumer products that strew the streets of Gwangju, seeing it as a cliché gone overboard, a contemporary urban life sugarcoated with consumerist optimism. Indeed, South Korea plunged into political upheaval shortly after GB11 opened, where a corruption scandal exposed by massive student protests at the Ewha Women’s University led to a chain of events that brought down South Korea’s first female president, Park Geun-hye. In hindsight, I do wonder if this stubborn, blind optimism in consumer products could almost be read as a distraction from the various political and socio-cultural pressures, and at times, ruptures, that South Korea has been facing for decades.
Annie further complicates Every Day A Rainbow by including a second component in this work, in which quotidian objects found in shops were re-casted and fired into blue-green celadon. The original objects were first purchased from the shops on Biennale Road. They were then casted into plaster molds, into which Annie would pour a clay or porcelain slip. The cast was then let dry and set, and when ready, the cast would be removed to reveal a delicate replica of the original object. The re-casted object would then be sent to the kiln for firing, either with or without glazing. For this particular batch of ceramic objects, Annie and her assistants worked with a celadon master in Gwangju, whose studio is right outside of the city in the suburbs. The finished ceramic objects bear a remarkable resemblance to their originals. And in the case of objects casted for Every Day A Rainbow, they turned into an understated yet solid shade of turquoise blue and green. These ceramic objects were then placed in various shops along the main road outside GB Hall, which is a road often used by residents living around the exhibition hall.
Please can I have a [insert word]
Annie’s work for GB11, titled Every Day A Rainbow, consists of two parts at multiple sites: right by the exit of the Gwangju Biennale Exhibition Hall (GB Hall), and in multiple shops along Biennale Road. Part of the work outside of GB Hall includes a small cabin which Annie bought second-hand off the internet. These small cabins are seen all around Gwangju, often as shoe mending shops. The small cabin Every Day A Rainbow 2016 was then fixed up to suit Annie’s needs, such as wooden steps painted in rainbow colours at its entrance, as well as a huge Korean sign that says “EVERY DAY A RAINBOW”, also in rainbow colours. Inside the small cabin was different kinds of consumer
Please can I have a [insert word]
If the rainbow cabin outside of GB Hall can be read as a commentary on our insatiable consumerist desire, the ceramic objects on Biennale Road direct our thoughts towards another register – a contemplation of the value of art. The re-casted objects often look uncannily similar to their originals, only devoid of any world colours and textures, and slightly smaller as the firing process shrank it ever so slightly. The placement of these ceramic objects inside shops and next to merchandise makes us query whether they are art objects, and if they are/not, how they should be valued. Should they be priced as their everyday counterparts? Should they be labeled with prices at all, or are they priceless as art objects? 1
In 2006, Annie developed a work titled Rainbow in Hong Kong Heritage Museum, as part of the exhibition MEGartSTORE. This exhibition aimed at “examining the dialogue between museum exhibition and commercial presentation”, and “provide[d] an alternative ‘consumption’ experience for shoppers and spectators alike, while also serving as a catalyst for a new perspective on our everyday shopping behaviour.” http://www.heritagemuseum. gov.hk/archive/eng/exhibitions/Past_Exhibitions_89.html, accessed 3 December 2017.
24
25
she said audiences were first hesitant; and yet once they started going forward to water the plant (and stepping on and breaking the ceramic sheets), it turned almost into an ecstatic dance. What this work did, in my opinion, was it created a situation where we not only come to terms with the certain destruction resulting from our actions, but also to experience the beauty, sublime and perhaps even madness, that sometimes occur when we fully inhabit the process of our own actions.
food products—from all kinds of confectionaries, to cookies and biscuits, and bottled drinks. These products were also, of course, arranged by the colour of the packing to form a bright rainbow interior inside the cabin1. There is a certain irony in this unabashedly bright and simplistic presentation of the symbol of happiness and optimism. Of course, not every day is all rainbow and roses, and more often than not the excess of consumer goods alienates us as much as they seem to fulfill our material desires.
Please Go Forward to Water the Plant resonates with Annie’s attitude towards her Gwangju commission in the sense that a leap of faith was required to launch into the project. This was indeed what happened after some initial skepticism and hesitation about her imperfect intervention into the Gwangju city community. Annie became mesmerised by the colourful packing of consumer products that strew the streets of Gwangju, seeing it as a cliché gone overboard, a contemporary urban life sugarcoated with consumerist optimism. Indeed, South Korea plunged into political upheaval shortly after GB11 opened, where a corruption scandal exposed by massive student protests at the Ewha Women’s University led to a chain of events that brought down South Korea’s first female president, Park Geun-hye. In hindsight, I do wonder if this stubborn, blind optimism in consumer products could almost be read as a distraction from the various political and socio-cultural pressures, and at times, ruptures, that South Korea has been facing for decades.
Annie further complicates Every Day A Rainbow by including a second component in this work, in which quotidian objects found in shops were re-casted and fired into blue-green celadon. The original objects were first purchased from the shops on Biennale Road. They were then casted into plaster molds, into which Annie would pour a clay or porcelain slip. The cast was then let dry and set, and when ready, the cast would be removed to reveal a delicate replica of the original object. The re-casted object would then be sent to the kiln for firing, either with or without glazing. For this particular batch of ceramic objects, Annie and her assistants worked with a celadon master in Gwangju, whose studio is right outside of the city in the suburbs. The finished ceramic objects bear a remarkable resemblance to their originals. And in the case of objects casted for Every Day A Rainbow, they turned into an understated yet solid shade of turquoise blue and green. These ceramic objects were then placed in various shops along the main road outside GB Hall, which is a road often used by residents living around the exhibition hall.
Please can I have a [insert word]
Annie’s work for GB11, titled Every Day A Rainbow, consists of two parts at multiple sites: right by the exit of the Gwangju Biennale Exhibition Hall (GB Hall), and in multiple shops along Biennale Road. Part of the work outside of GB Hall includes a small cabin which Annie bought second-hand off the internet. These small cabins are seen all around Gwangju, often as shoe mending shops. The small cabin Every Day A Rainbow 2016 was then fixed up to suit Annie’s needs, such as wooden steps painted in rainbow colours at its entrance, as well as a huge Korean sign that says “EVERY DAY A RAINBOW”, also in rainbow colours. Inside the small cabin was different kinds of consumer
Please can I have a [insert word]
If the rainbow cabin outside of GB Hall can be read as a commentary on our insatiable consumerist desire, the ceramic objects on Biennale Road direct our thoughts towards another register – a contemplation of the value of art. The re-casted objects often look uncannily similar to their originals, only devoid of any world colours and textures, and slightly smaller as the firing process shrank it ever so slightly. The placement of these ceramic objects inside shops and next to merchandise makes us query whether they are art objects, and if they are/not, how they should be valued. Should they be priced as their everyday counterparts? Should they be labeled with prices at all, or are they priceless as art objects? 1
In 2006, Annie developed a work titled Rainbow in Hong Kong Heritage Museum, as part of the exhibition MEGartSTORE. This exhibition aimed at “examining the dialogue between museum exhibition and commercial presentation”, and “provide[d] an alternative ‘consumption’ experience for shoppers and spectators alike, while also serving as a catalyst for a new perspective on our everyday shopping behaviour.” http://www.heritagemuseum. gov.hk/archive/eng/exhibitions/Past_Exhibitions_89.html, accessed 3 December 2017.
26
27
The ecstasy and some sort of madness brought out when the crowd started dancing on the ceramic sheets in Please Go Forward to Water the Plant appeared in Every Day A Rainbow, and in a rather unexpected manner. When Every Day A Rainbow was de-installed at the end of November 2016, the consumer goods in the small cabin were distributed to members of the community for free. A sizeable crowd gathered around the cabin and in spite of the Gwangju Biennale staff’s preparation, the crowd was at times overcome with its own energy, creating chaotic situations. Sometimes, our material desire does take over reason. At the moment, the consumer goods that formed part of Every Day A Rainbow stopped being art objects, but became once again, products that form an inseparable part of our urban contemporary lives.
And like the shops in Gwangju, they were sites of display rather than transactions as the objects were not sold. Zan Baak Fo (2017) at Ping Shek Estate and Sheung Wan puts the idea of transaction to the test, as Annie’s objects would be put on display and for sale at two storefronts at these very disparate contexts. While Ping Shek Estate is one of the most underprivileged areas within Hong Kong, Sheung Wan is known for its hipster cafes, antique dealing shops, and art galleries. The re-casted objects will be sold at the price of their everyday life counterparts, and prices will be the same at both Ping Shek Estate and Sheung Wan. One could anticipate that the demography and intentions of those who frequent these two storefronts would be very different. And yet they would pay the same price (if they decide to purchase anything) for an object that they may or may not see as art (because of its price, and possibly because of where it was being sold).
Please can I have a [insert word]
Annie’s practice can be described as one that is anchored on both incremental steps and intuitive leaps. Ideas that resonated within a certain project may be further developed in future ones, much like how Every Day A Rainbow drew from Annie’s project at the Hong Kong Heritage Museum in 2006. The re-casted ceramic objects of everyday life have also been an integral part of Annie’s practice, where they function as conduits for her thinking on the value, fullness, and emptiness of objects and things that have so defined our lifestyles and worldviews. By placing the ceramic objects in actual shops where business goes on as usual during GB11, Every Day A Rainbow arguably opened up the possibility of an exchange for these objects. What if we were really to buy and sell these objects as if they were the real life counterparts? What if we were to have a shop dedicated to do just that? The physical distance of making Every Day A Rainbow in Gwangju also provided critical distance and clarity towards the meaning of asking such questions. What would it mean to have such a project in Hong Kong? What questions on the value of art can we raise productively in a hypercapitalist society like Hong Kong? Annie’s project at Oi! earlier this year Collecting Moonlight (2017) already started experimenting with some of the questions raised above when she collaborated with shops in the North Point neighbourhood to display some of her re-casted objects. The shops that displayed Annie’s objects included a restaurant, a vegetable stall and a bookstore. Collecting Moonlight 2017
Please can I have a [insert word]
Zan Baak Fo indeed brings us back to the initial question of “What does art do?” And in this case, I would propose that art guides us to question its own value and position as a commodity, to examine how its transactions are constructed, and the communities that its presentation and circulation may create. There is potential for this to be a zone of the imaginal, where the imagined and reality rubs against each other, and the latter may be changed as a result. Whether another form of madness may emerge to surprise us remains to be seen as well. How Zan Baak Fo may play out and act on our lived experiences will depend on how we approach and interact with the two storefronts at Ping Shek Estate and Sheung Wan, and I look forward to seeing you at either one of them, if not both.
MICHELLE WONG WUN TING
Michelle Wong Wun Ting is a researcher based in Hong Kong. In 2015-6 she was Assistant Curator for the eleventh edition of Gwangju Biennale (GB11), South Korea. GB11 was artistically directed by Maria Lind, and titled “The Eighth Climate: What Does Art Do?”. Apart from her writing and curatorial projects such as Sightlines (2016-ongoing), which explores the relationship between aesthetics, politics and technology in the city, Wong is also part of “Ambitious Alignments: New Histories of Southeast Asian Art,” a research program funded through the Getty Foundation’s Connecting Art Histories Initiative. Wong has been Researcher at Asia Art Archive since 2012.
26
27
The ecstasy and some sort of madness brought out when the crowd started dancing on the ceramic sheets in Please Go Forward to Water the Plant appeared in Every Day A Rainbow, and in a rather unexpected manner. When Every Day A Rainbow was de-installed at the end of November 2016, the consumer goods in the small cabin were distributed to members of the community for free. A sizeable crowd gathered around the cabin and in spite of the Gwangju Biennale staff’s preparation, the crowd was at times overcome with its own energy, creating chaotic situations. Sometimes, our material desire does take over reason. At the moment, the consumer goods that formed part of Every Day A Rainbow stopped being art objects, but became once again, products that form an inseparable part of our urban contemporary lives.
And like the shops in Gwangju, they were sites of display rather than transactions as the objects were not sold. Zan Baak Fo (2017) at Ping Shek Estate and Sheung Wan puts the idea of transaction to the test, as Annie’s objects would be put on display and for sale at two storefronts at these very disparate contexts. While Ping Shek Estate is one of the most underprivileged areas within Hong Kong, Sheung Wan is known for its hipster cafes, antique dealing shops, and art galleries. The re-casted objects will be sold at the price of their everyday life counterparts, and prices will be the same at both Ping Shek Estate and Sheung Wan. One could anticipate that the demography and intentions of those who frequent these two storefronts would be very different. And yet they would pay the same price (if they decide to purchase anything) for an object that they may or may not see as art (because of its price, and possibly because of where it was being sold).
Please can I have a [insert word]
Annie’s practice can be described as one that is anchored on both incremental steps and intuitive leaps. Ideas that resonated within a certain project may be further developed in future ones, much like how Every Day A Rainbow drew from Annie’s project at the Hong Kong Heritage Museum in 2006. The re-casted ceramic objects of everyday life have also been an integral part of Annie’s practice, where they function as conduits for her thinking on the value, fullness, and emptiness of objects and things that have so defined our lifestyles and worldviews. By placing the ceramic objects in actual shops where business goes on as usual during GB11, Every Day A Rainbow arguably opened up the possibility of an exchange for these objects. What if we were really to buy and sell these objects as if they were the real life counterparts? What if we were to have a shop dedicated to do just that? The physical distance of making Every Day A Rainbow in Gwangju also provided critical distance and clarity towards the meaning of asking such questions. What would it mean to have such a project in Hong Kong? What questions on the value of art can we raise productively in a hypercapitalist society like Hong Kong? Annie’s project at Oi! earlier this year Collecting Moonlight (2017) already started experimenting with some of the questions raised above when she collaborated with shops in the North Point neighbourhood to display some of her re-casted objects. The shops that displayed Annie’s objects included a restaurant, a vegetable stall and a bookstore. Collecting Moonlight 2017
Please can I have a [insert word]
Zan Baak Fo indeed brings us back to the initial question of “What does art do?” And in this case, I would propose that art guides us to question its own value and position as a commodity, to examine how its transactions are constructed, and the communities that its presentation and circulation may create. There is potential for this to be a zone of the imaginal, where the imagined and reality rubs against each other, and the latter may be changed as a result. Whether another form of madness may emerge to surprise us remains to be seen as well. How Zan Baak Fo may play out and act on our lived experiences will depend on how we approach and interact with the two storefronts at Ping Shek Estate and Sheung Wan, and I look forward to seeing you at either one of them, if not both.
MICHELLE WONG WUN TING
Michelle Wong Wun Ting is a researcher based in Hong Kong. In 2015-6 she was Assistant Curator for the eleventh edition of Gwangju Biennale (GB11), South Korea. GB11 was artistically directed by Maria Lind, and titled “The Eighth Climate: What Does Art Do?”. Apart from her writing and curatorial projects such as Sightlines (2016-ongoing), which explores the relationship between aesthetics, politics and technology in the city, Wong is also part of “Ambitious Alignments: New Histories of Southeast Asian Art,” a research program funded through the Getty Foundation’s Connecting Art Histories Initiative. Wong has been Researcher at Asia Art Archive since 2012.
能量等同物質乘 想像力的平方 — 尹氏經濟方程式
29
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
丁穎茵
「它們被描述為具備奢華、豐盛和夢幻的元素，得以將購買者標籤為
確實，科技讓我們的生活變得便利又舒適，也讓我們擁有更多更精良更炫
『幸福和優越人士』，藉此保護他們免受理性化世界的壓力，不必承
目的物品。豐富的物質如何以光速的平方轉化成更充沛的生命能量？經濟 學家告訴我們物理學無法解釋生活需求與貪痴愛欲，唯有大把大把消費方
擔做人的必然義務。」 經濟學家高茲
能促進經濟繁榮，保障我們的生活。買更多的東西，屯積更多有用無用備 用甚至不知何所用的物品，再丟棄已用無所用不曾用的，然後渴求新的、 亮麗的、追上潮流的、突顯個性品味、帶來幸福優越感覺的……
E=MC² 這 是 一 道 驚 天 動 地 的 方 程 式。1905
如何測度物質需要？如何算得準生活美滿的指數？當代藝術家尹麗娟以倒 模複製的方式，混淆了真與假、有用與無用、廉宜與奢華的界限，促使我 們重新衡量物的價值。她的創作剝去了物的實質功能與金錢價值，將逛街
年，愛因斯坦提出質能等價理論，意
購物的經驗轉化為對日常消費、豐盛生活的疑問。藝術延伸了 E=MC² 的
謂任何物質只要找到釋放能量的方
想像，提出不同值的 C，重訂人與物的互動而釋放出知性思考的能量。
法，其所引動的力量就是本身體積乘
以 光 速 的 平 方 (299792458m/s ²)。 從 此，人類對於力量的理解不再局限於
觀摩式：C = Contemplating 傳說七色彩虹的盡頭藏着矮精靈的寶藏、也有
物質的大小。即使 1 克鈾也能因核裂
人說彩虹連結天與地，將諸神的旨意傳送到凡
變能而釋放出相當於燃燒 2.4 噸煤所
間，給人帶來美好生活的指示。2006 年，文化
產生的化學能。愛因斯坦的想像力穿
博物館籌辦的展覽 MEGartSTORE，尹麗娟就向
透了物質世界，萬物成了無窮盡的能
觀眾展現一座物質虹橋。這是生活用品所拼湊
量庫，等待着人類予以利用，跨越物
成的《彩虹》—— 紅的佻達、黃的大刺刺，配
理條件的限制。
上蔥蔥的青與瑩瑩的藍，就連陰晴不定的紫也 《彩虹》 2006
能量等同物質乘 想像力的平方 — 尹氏經濟方程式
29
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
丁穎茵
「它們被描述為具備奢華、豐盛和夢幻的元素，得以將購買者標籤為
確實，科技讓我們的生活變得便利又舒適，也讓我們擁有更多更精良更炫
『幸福和優越人士』，藉此保護他們免受理性化世界的壓力，不必承
目的物品。豐富的物質如何以光速的平方轉化成更充沛的生命能量？經濟 學家告訴我們物理學無法解釋生活需求與貪痴愛欲，唯有大把大把消費方
擔做人的必然義務。」 經濟學家高茲
能促進經濟繁榮，保障我們的生活。買更多的東西，屯積更多有用無用備 用甚至不知何所用的物品，再丟棄已用無所用不曾用的，然後渴求新的、 亮麗的、追上潮流的、突顯個性品味、帶來幸福優越感覺的……
E=MC² 這 是 一 道 驚 天 動 地 的 方 程 式。1905
如何測度物質需要？如何算得準生活美滿的指數？當代藝術家尹麗娟以倒 模複製的方式，混淆了真與假、有用與無用、廉宜與奢華的界限，促使我 們重新衡量物的價值。她的創作剝去了物的實質功能與金錢價值，將逛街
年，愛因斯坦提出質能等價理論，意
購物的經驗轉化為對日常消費、豐盛生活的疑問。藝術延伸了 E=MC² 的
謂任何物質只要找到釋放能量的方
想像，提出不同值的 C，重訂人與物的互動而釋放出知性思考的能量。
法，其所引動的力量就是本身體積乘
以 光 速 的 平 方 (299792458m/s ²)。 從 此，人類對於力量的理解不再局限於
觀摩式：C = Contemplating 傳說七色彩虹的盡頭藏着矮精靈的寶藏、也有
物質的大小。即使 1 克鈾也能因核裂
人說彩虹連結天與地，將諸神的旨意傳送到凡
變能而釋放出相當於燃燒 2.4 噸煤所
間，給人帶來美好生活的指示。2006 年，文化
產生的化學能。愛因斯坦的想像力穿
博物館籌辦的展覽 MEGartSTORE，尹麗娟就向
透了物質世界，萬物成了無窮盡的能
觀眾展現一座物質虹橋。這是生活用品所拼湊
量庫，等待着人類予以利用，跨越物
成的《彩虹》—— 紅的佻達、黃的大刺刺，配
理條件的限制。
上蔥蔥的青與瑩瑩的藍，就連陰晴不定的紫也 《彩虹》 2006
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
30
31
格外醒目。消費主義的彩虹肆意撩動觀眾的欲望與
常消費推銷毫無實際用途的複製品。商品 / 作品
幻想，直接了當的訓諭：別為難自己，幸福就在
的角色倒置引發連串疑問：這是什麼？因何而買？
手邊。拾起每一件「必需品」。顧名思義，展覽
價值何在？
「MEGartSTORE： 商 場 時 代 的 藝 術 體 驗 」 將 藝 術 帶到熟悉不過的生活場景，重構了藝術即日常的邏
耐人尋味的是，藝術家為求複製現實而在博物館展
輯。尹麗娟更戳破了藝術不沾俗塵的假象，直指作
覽採納商鋪的展示方式，City Super 卻深恐打擾顧
品也是待價而沽的消費品。事實上，她在博物館展
客的購物興致，而參考博物館的慣常做法以玻璃箱
出的東西分明是擺放於超級市場的商品，所差者僅
封存藝術。銷售生活品味的商鋪給商品與藝術品劃
僅在於價格標籤。相同的物品置於不同的場地，其
定界線，謝絕藝術的疑問，也將藝術對美、對品味
價值轉換的法則如何運作？
的想像拒之門外。這無疑成了商鋪品牌的絕妙反 諷，也引證了物質虹橋無力向消費者實現美好生活
《彩虹》推銷着生活無所缺的幸福幻象，觀眾卻只
的承諾。
能遵從眼看手勿動的博物館規矩，無從填補日用所 需。幸而，藝術家早已有所安排，彩虹的另一端即 座落於鄰近商場的 City Super —— 一家自詡為大型 生活專門店，又或更準確的說，價格訂得尤其高的
交遊式：C = Communicating 一千三百多年前，酒鬼詩人李白感嘆「今人不見古 時月，今月曾經照古人」。誰又想到月亮只是一顆 繞着地球轉的大石頭，光芒通通來自陽光的反射？ 它根本不曾發亮照人間？可是，舉頭望明月卻望不 見其表面的隕石坑，而皎皎月色着實讓古往今來的 人一同憶記、一同許願。眼看非為憑，又有什麼作 得準？ 尹麗娟認為月光既幻且真，月球反射的陽光正好映 照出世界的不同面相。她以油街實現為根據地，不 時在北角區內四處東逛逛西走走，一面與商戶聊聊
作品原本的設置
City'super 後來以玻璃箱封存作品
天，一面尋覓心頭好。幾番閒逛，她邀請了七家小
超級市場。商店內，一排又一排的貨架擠滿了五花
的商品一併陳列於貨架上。三兩支陶製樽裝飲料、
八門的食材、美酒及生活用品，每一件商品更紛紛
一疊陶製書、一雙陶製繡花拖鞋，還有幾尾陶製芋
以最繽紛耀眼的包裝，煽動起觀眾的購買欲。琳瑯
頭魚……假冒成平凡商品，分別散落於社區不同店
滿目之間，白靈靈的陶瓷藝術品赫然以日用品的面
鋪。藝術家將這系列名之為《收集月光》。它們算
目廁身其中，好讓觀眾享受購物，也參與一趟藝術
得上是受月光啟發的「藝術真品」，也可謂以假亂
體驗。不過，這趟藝術體驗探究的不是美學形式
真的「日常贗品」，又或繼承白瓷製作傳統的當代
的取捨，而是日常生活購買與否的抉擇。當商場
陶製品。如何定義真與假？拘泥於真實與虛幻之辨
店鋪向觀眾販售美好生活的品味，藝術又模擬日
會否讓人偏盲，無從接近真像？
店參與其藝術 / 商品計劃，把陶瓷製品與五花八門
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
30
31
格外醒目。消費主義的彩虹肆意撩動觀眾的欲望與
常消費推銷毫無實際用途的複製品。商品 / 作品
幻想，直接了當的訓諭：別為難自己，幸福就在
的角色倒置引發連串疑問：這是什麼？因何而買？
手邊。拾起每一件「必需品」。顧名思義，展覽
價值何在？
「MEGartSTORE： 商 場 時 代 的 藝 術 體 驗 」 將 藝 術 帶到熟悉不過的生活場景，重構了藝術即日常的邏
耐人尋味的是，藝術家為求複製現實而在博物館展
輯。尹麗娟更戳破了藝術不沾俗塵的假象，直指作
覽採納商鋪的展示方式，City Super 卻深恐打擾顧
品也是待價而沽的消費品。事實上，她在博物館展
客的購物興致，而參考博物館的慣常做法以玻璃箱
出的東西分明是擺放於超級市場的商品，所差者僅
封存藝術。銷售生活品味的商鋪給商品與藝術品劃
僅在於價格標籤。相同的物品置於不同的場地，其
定界線，謝絕藝術的疑問，也將藝術對美、對品味
價值轉換的法則如何運作？
的想像拒之門外。這無疑成了商鋪品牌的絕妙反 諷，也引證了物質虹橋無力向消費者實現美好生活
《彩虹》推銷着生活無所缺的幸福幻象，觀眾卻只
的承諾。
能遵從眼看手勿動的博物館規矩，無從填補日用所 需。幸而，藝術家早已有所安排，彩虹的另一端即 座落於鄰近商場的 City Super —— 一家自詡為大型 生活專門店，又或更準確的說，價格訂得尤其高的
交遊式：C = Communicating 一千三百多年前，酒鬼詩人李白感嘆「今人不見古 時月，今月曾經照古人」。誰又想到月亮只是一顆 繞着地球轉的大石頭，光芒通通來自陽光的反射？ 它根本不曾發亮照人間？可是，舉頭望明月卻望不 見其表面的隕石坑，而皎皎月色着實讓古往今來的 人一同憶記、一同許願。眼看非為憑，又有什麼作 得準？ 尹麗娟認為月光既幻且真，月球反射的陽光正好映 照出世界的不同面相。她以油街實現為根據地，不 時在北角區內四處東逛逛西走走，一面與商戶聊聊
作品原本的設置
City'super 後來以玻璃箱封存作品
天，一面尋覓心頭好。幾番閒逛，她邀請了七家小
超級市場。商店內，一排又一排的貨架擠滿了五花
的商品一併陳列於貨架上。三兩支陶製樽裝飲料、
八門的食材、美酒及生活用品，每一件商品更紛紛
一疊陶製書、一雙陶製繡花拖鞋，還有幾尾陶製芋
以最繽紛耀眼的包裝，煽動起觀眾的購買欲。琳瑯
頭魚……假冒成平凡商品，分別散落於社區不同店
滿目之間，白靈靈的陶瓷藝術品赫然以日用品的面
鋪。藝術家將這系列名之為《收集月光》。它們算
目廁身其中，好讓觀眾享受購物，也參與一趟藝術
得上是受月光啟發的「藝術真品」，也可謂以假亂
體驗。不過，這趟藝術體驗探究的不是美學形式
真的「日常贗品」，又或繼承白瓷製作傳統的當代
的取捨，而是日常生活購買與否的抉擇。當商場
陶製品。如何定義真與假？拘泥於真實與虛幻之辨
店鋪向觀眾販售美好生活的品味，藝術又模擬日
會否讓人偏盲，無從接近真像？
店參與其藝術 / 商品計劃，把陶瓷製品與五花八門
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
32
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
33
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
以藝術拯救社會。過去天邊月連結着時空相隔的天涯人，當下尹麗娟收集 的月光也連結着社區與藝術，邀請參與者創造藝術之於自身的價值。 共享式：C = Circulating
2016 年，光州雙年展向參展藝術家與觀眾拋下一道難題：「藝術可以做什 《收集月光》 2017
麼？」早於 1995 年首屆韓國光州雙年展揭幕時，市長已然期待藝術發光
有道是真作假時假亦真。油街實現的育嬰室內，尹
乎當代藝術家與策展人同臺搬演出一套又一套標奇立異的論述，政府、大
麗娟擺放着一列陶製奶樽，與觀眾交換孩子所用的
財團與民間團體落力推動娛人自娛的社區藝術，藝術市場又因應雙年展等
吃奶傢伙。而周記蔬菜批發的顧客更曾向檔主查
國際盛事而炒得火熱，市長未免抬舉了藝術，低估政治與金錢的魅惑。當
詢，那顆白得發亮的「沙田柚」是否新研發的品種。
代藝術可謂一套計算精密的生產機制 —— 從創作、論述、展演、行銷到
驟眼看來，尹氏陶製品就似月球出產的「進口貨」，
流播，體制各員共同製作烘動的奇觀、聳人聽聞的金錢價值、還有無數圖
模樣似曾相識，但白得瑩瑩潤潤，彷彿披上月之華
錄與評論所堆砌的美妙說辭。面對藝術體制的操弄，策展人的提問應解讀
光。這些「藝術品」闖入城市生活，卻只許觀看、
成：藝術如何理解其與社會的關係？如何抉擇？
發亮照出現實的黑暗，令全世界看到藝術家的想法，繼而改變現實。但觀
不許觸碰，當然也不許買賣，令人不禁疑惑：看到 什麼？那東西究竟是什麼？它為何陳列於此？尹麗
甫一踏入光州，尹麗娟即看到大街小巷抹上重重喧鬧的色彩，形形式式的
娟的創作擾亂了大眾慣常的生活經驗，連參與計劃
店鋪堆放着吃的喝的玩的用的東西。包裝紙、廣告牌、海報與宣傳單張上，
的店主也得擔當藝術大使，與顧客分享藝術緣何介
色彩張牙舞爪似的，時而嬌紅嫩紫混搭着瓜皮綠，時而朗朗天藍又惹毛了
入日常。與其說「藝術品」踏月而來只為分辨真實
豔橙與翠青。七色彩虹等不及未來的美好，立馬呼籲大眾盡情投入當代社
的多重面相，倒不如說，它們旨在跟觀眾打啞謎，
會的歡快與豐盛。物如何填補生活的不足？擁有與渴望又如何改變現況、
好觸發社區與藝術的對話。
甚至轉換成個人的幸福指數？
對於藝術愛好者而言，拿着地圖四出尋找一件又一
迎向當代消費社會，尹麗娟的作品《Every Day A Rainbow》模擬街邊流動
件月白色的藝術品，倒似一趟追月撈月之旅。
攤檔，按彩虹七色，將林林總總的日用品塞滿貨架。招牌用韓文寫上「天 天一彩虹」，樓梯貼上討喜的七色膠紙，店外搭建休憩平台、又架起太陽
「找到沒有？這家店該在附近吧？」
傘。攤檔設在主場館外，不論白天、夜晚一樣的燈火通明，公眾毋須購票
「你來找藝術家的作品吧！」 「它們美得很呢！走近一點，看仔細呵！」
從遊走、尋覓到閒聊，藝術串連起城市景觀、小店 鋪與不同社群。作品不再局限於物件本身，而蛻變 成社群互動的體驗。離開了展覽場地，藝術品反倒 開拓出更活躍更真誠的社交生活 —— 毋須為了參 與而強求人人參與，也不必打着政治正確的旗號， 《Every Day A Rainbow》 2016
32
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
33
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
以藝術拯救社會。過去天邊月連結着時空相隔的天涯人，當下尹麗娟收集 的月光也連結着社區與藝術，邀請參與者創造藝術之於自身的價值。 共享式：C = Circulating
2016 年，光州雙年展向參展藝術家與觀眾拋下一道難題：「藝術可以做什 《收集月光》 2017
麼？」早於 1995 年首屆韓國光州雙年展揭幕時，市長已然期待藝術發光
有道是真作假時假亦真。油街實現的育嬰室內，尹
乎當代藝術家與策展人同臺搬演出一套又一套標奇立異的論述，政府、大
麗娟擺放着一列陶製奶樽，與觀眾交換孩子所用的
財團與民間團體落力推動娛人自娛的社區藝術，藝術市場又因應雙年展等
吃奶傢伙。而周記蔬菜批發的顧客更曾向檔主查
國際盛事而炒得火熱，市長未免抬舉了藝術，低估政治與金錢的魅惑。當
詢，那顆白得發亮的「沙田柚」是否新研發的品種。
代藝術可謂一套計算精密的生產機制 —— 從創作、論述、展演、行銷到
驟眼看來，尹氏陶製品就似月球出產的「進口貨」，
流播，體制各員共同製作烘動的奇觀、聳人聽聞的金錢價值、還有無數圖
模樣似曾相識，但白得瑩瑩潤潤，彷彿披上月之華
錄與評論所堆砌的美妙說辭。面對藝術體制的操弄，策展人的提問應解讀
光。這些「藝術品」闖入城市生活，卻只許觀看、
成：藝術如何理解其與社會的關係？如何抉擇？
發亮照出現實的黑暗，令全世界看到藝術家的想法，繼而改變現實。但觀
不許觸碰，當然也不許買賣，令人不禁疑惑：看到 什麼？那東西究竟是什麼？它為何陳列於此？尹麗
甫一踏入光州，尹麗娟即看到大街小巷抹上重重喧鬧的色彩，形形式式的
娟的創作擾亂了大眾慣常的生活經驗，連參與計劃
店鋪堆放着吃的喝的玩的用的東西。包裝紙、廣告牌、海報與宣傳單張上，
的店主也得擔當藝術大使，與顧客分享藝術緣何介
色彩張牙舞爪似的，時而嬌紅嫩紫混搭着瓜皮綠，時而朗朗天藍又惹毛了
入日常。與其說「藝術品」踏月而來只為分辨真實
豔橙與翠青。七色彩虹等不及未來的美好，立馬呼籲大眾盡情投入當代社
的多重面相，倒不如說，它們旨在跟觀眾打啞謎，
會的歡快與豐盛。物如何填補生活的不足？擁有與渴望又如何改變現況、
好觸發社區與藝術的對話。
甚至轉換成個人的幸福指數？
對於藝術愛好者而言，拿着地圖四出尋找一件又一
迎向當代消費社會，尹麗娟的作品《Every Day A Rainbow》模擬街邊流動
件月白色的藝術品，倒似一趟追月撈月之旅。
攤檔，按彩虹七色，將林林總總的日用品塞滿貨架。招牌用韓文寫上「天 天一彩虹」，樓梯貼上討喜的七色膠紙，店外搭建休憩平台、又架起太陽
「找到沒有？這家店該在附近吧？」
傘。攤檔設在主場館外，不論白天、夜晚一樣的燈火通明，公眾毋須購票
「你來找藝術家的作品吧！」 「它們美得很呢！走近一點，看仔細呵！」
從遊走、尋覓到閒聊，藝術串連起城市景觀、小店 鋪與不同社群。作品不再局限於物件本身，而蛻變 成社群互動的體驗。離開了展覽場地，藝術品反倒 開拓出更活躍更真誠的社交生活 —— 毋須為了參 與而強求人人參與，也不必打着政治正確的旗號， 《Every Day A Rainbow》 2016
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
34
35
也可免費入內。可是，這家看似尋常的街邊小店卻無心營運，密密麻麻擠
無論是一只青瓷豬錢罌、又或是一盒超級市場
得毫無縫隙的貨品一概只作展示，店外遊人三數群或閒坐或談笑，大抵是
販售的餅乾，作品塑造了「偽」購物 /「真」藝
日不是購物天。即使大眾有意在附近逛街買東西，卻會發現雅淨的青瓷複
術的體驗，混淆了物的實用價值、金錢價值與
製品又加入日用品的行列。觀眾走入了熟悉不過的生活場景，卻發現平日
身份象徵價值，重新思考如何訂定物的價值。
伸手可得的商品，要麼不予販售、要麼變成青瓷「冒牌貨」。這是藝術家 的複製方程式：以藝術手法模仿購物場景及店鋪貨品，藉此擾亂日常購物
值得探究的是，藝術家製作的「冒牌貨」本是
的所作所為。當購物活動被「阻延」，觀眾想買的欲望也被迫「暫緩」，
商業畫廊、博覽會又或拍賣行出售的「真商品」。
只好再次檢視生活所需。究竟我們需要什麼？藝術又有什麼需要？
其金錢價值大多取決於藝術商人的行銷方式、 收藏家的品味與市場潮流。不過，尹麗娟這系
國際間，雙年展每每展演當紅藝術潮流，標舉叫好又叫賣的華麗作品，吸
列作品均以博物館等公營文化場域為據點。公
引藝術界專才與廣大愛好者齊齊參與地方慶典。本屆光州雙年展一方面主
營藝術空間旨在教育公眾、梳理藝術史研究，
張回到地方文化的脈絡，重新思考藝術的實踐與價值；另一邊廂主辦者邀
籌辦展覽以知識（亦即作品的文化與歷史價值）
請了藝人玄彬擔任宣傳大使，拉近當代藝術與社會的距離。其矛盾正顯示
為導引。在此市場交易機制無從運作，尹麗娟
雙年展的操作自有一套供求買賣的邏輯，背後暗藏着文化、政治與經濟的
的模擬購物體驗亦因而得以擾亂不同的價值系
角力。無庸置疑，藝術需要觀眾，需要策展人、評論者與藝術家的論述加
統，將物的實用與金錢價值轉化為物與社群的
持，更加需要政府的支援與大量資金的投放，方能宣示其獨一無二的觀看
互動。儘管博物館不談藝術品的金錢價值，任
價值。
何作品一經館方收藏，往往引起藝術市場的注 視而售價飆升。歸根究底，金錢價值發端於擁
確實，尹麗娟的創作需要公眾的參與。雙年展閉幕當日，藝術家宣佈「彩
有的欲望，擁有藝術品的欲望又為藝術史書寫、
虹共享」方案。有興趣人士可依據其衣服的顏色，換取七彩攤檔內相同顏
藝術家品牌又或投資策略等因素而大受挑動。
色的物品。一時間，大小朋友排列成七色彩虹陣，分享不同色彩的「藝術 品」。其後，當地一家推廣體育的非牟利團體將接收流動攤檔，用以存
反思藝術何價，尹麗娟乃於上環成立「珍百貨」
放運動用品。從搜購、改造、展示到送贈，藝術家既是原來日用品的消費
出售其監製的陶瓷日用品，並借用坪石村興南貨
者，也是藝術品的生產者，並且充當「經銷商」與大眾分享資源。其創作
號的部份貨架作陳列。有別於藝術市場的運作，
方式促成了物品與金錢價值脫鉤，將之轉化成聯繫社區、資源共享的藝術
這批藝術品的定價以超級市場、日用百貨店為
體驗，由此創造另類社會價值。尹麗娟從未着意打擊消費社會，也沒有提
判準。舉例來說，一件陶製罐頭食品的售價等
出代替金錢交易的機制。唯其尋常，七彩攤檔與青瓷複製品卻拉開了觀眾
同於雜貨店的同類食物罐頭。如何判定兩者售
與日常生活的距離，反思何謂渴望與擁有、豐盛與貧乏。千百年來，彩虹
價的準則？陶製罐頭食品與食物罐頭由誰生產、
寄托了人類對美好的期盼，《Every Day A Rainbow》無寧以分享訴說美好
其生產過程如何、又怎樣運往店鋪？ 「珍百貨」
的想像，鼓勵參與者發掘不同形式的美好、而非消費社會所宣傳的樣板。
以藝術打亂了日常購物的經驗，也同樣以日用 品的價格顛覆藝術市場的運作。金錢交易過後，
擠壓式：C = Consuming
一般商品滿足了消費者的實際需要，更予人生
從 MEGartSTORE 到光州的彩虹攤檔，尹麗娟的創作突顯出藝術與日常生
活美好的幸福感。但這些陶製品既無實際功能，
活的反差，打破慣常經驗的二元對立：生活是庸俗 / 藝術是典雅、生活是
其模樣又與日常用品一式一樣，如何滿足消費
瑣碎 / 藝術卻顯得博大精深、生活是毋庸多加思考 / 藝術則難以理解……
者的需要？對於收藏家而言，藝術品本應投射
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
34
35
也可免費入內。可是，這家看似尋常的街邊小店卻無心營運，密密麻麻擠
無論是一只青瓷豬錢罌、又或是一盒超級市場
得毫無縫隙的貨品一概只作展示，店外遊人三數群或閒坐或談笑，大抵是
販售的餅乾，作品塑造了「偽」購物 /「真」藝
日不是購物天。即使大眾有意在附近逛街買東西，卻會發現雅淨的青瓷複
術的體驗，混淆了物的實用價值、金錢價值與
製品又加入日用品的行列。觀眾走入了熟悉不過的生活場景，卻發現平日
身份象徵價值，重新思考如何訂定物的價值。
伸手可得的商品，要麼不予販售、要麼變成青瓷「冒牌貨」。這是藝術家 的複製方程式：以藝術手法模仿購物場景及店鋪貨品，藉此擾亂日常購物
值得探究的是，藝術家製作的「冒牌貨」本是
的所作所為。當購物活動被「阻延」，觀眾想買的欲望也被迫「暫緩」，
商業畫廊、博覽會又或拍賣行出售的「真商品」。
只好再次檢視生活所需。究竟我們需要什麼？藝術又有什麼需要？
其金錢價值大多取決於藝術商人的行銷方式、 收藏家的品味與市場潮流。不過，尹麗娟這系
國際間，雙年展每每展演當紅藝術潮流，標舉叫好又叫賣的華麗作品，吸
列作品均以博物館等公營文化場域為據點。公
引藝術界專才與廣大愛好者齊齊參與地方慶典。本屆光州雙年展一方面主
營藝術空間旨在教育公眾、梳理藝術史研究，
張回到地方文化的脈絡，重新思考藝術的實踐與價值；另一邊廂主辦者邀
籌辦展覽以知識（亦即作品的文化與歷史價值）
請了藝人玄彬擔任宣傳大使，拉近當代藝術與社會的距離。其矛盾正顯示
為導引。在此市場交易機制無從運作，尹麗娟
雙年展的操作自有一套供求買賣的邏輯，背後暗藏着文化、政治與經濟的
的模擬購物體驗亦因而得以擾亂不同的價值系
角力。無庸置疑，藝術需要觀眾，需要策展人、評論者與藝術家的論述加
統，將物的實用與金錢價值轉化為物與社群的
持，更加需要政府的支援與大量資金的投放，方能宣示其獨一無二的觀看
互動。儘管博物館不談藝術品的金錢價值，任
價值。
何作品一經館方收藏，往往引起藝術市場的注 視而售價飆升。歸根究底，金錢價值發端於擁
確實，尹麗娟的創作需要公眾的參與。雙年展閉幕當日，藝術家宣佈「彩
有的欲望，擁有藝術品的欲望又為藝術史書寫、
虹共享」方案。有興趣人士可依據其衣服的顏色，換取七彩攤檔內相同顏
藝術家品牌又或投資策略等因素而大受挑動。
色的物品。一時間，大小朋友排列成七色彩虹陣，分享不同色彩的「藝術 品」。其後，當地一家推廣體育的非牟利團體將接收流動攤檔，用以存
反思藝術何價，尹麗娟乃於上環成立「珍百貨」
放運動用品。從搜購、改造、展示到送贈，藝術家既是原來日用品的消費
出售其監製的陶瓷日用品，並借用坪石村興南貨
者，也是藝術品的生產者，並且充當「經銷商」與大眾分享資源。其創作
號的部份貨架作陳列。有別於藝術市場的運作，
方式促成了物品與金錢價值脫鉤，將之轉化成聯繫社區、資源共享的藝術
這批藝術品的定價以超級市場、日用百貨店為
體驗，由此創造另類社會價值。尹麗娟從未着意打擊消費社會，也沒有提
判準。舉例來說，一件陶製罐頭食品的售價等
出代替金錢交易的機制。唯其尋常，七彩攤檔與青瓷複製品卻拉開了觀眾
同於雜貨店的同類食物罐頭。如何判定兩者售
與日常生活的距離，反思何謂渴望與擁有、豐盛與貧乏。千百年來，彩虹
價的準則？陶製罐頭食品與食物罐頭由誰生產、
寄托了人類對美好的期盼，《Every Day A Rainbow》無寧以分享訴說美好
其生產過程如何、又怎樣運往店鋪？ 「珍百貨」
的想像，鼓勵參與者發掘不同形式的美好、而非消費社會所宣傳的樣板。
以藝術打亂了日常購物的經驗，也同樣以日用 品的價格顛覆藝術市場的運作。金錢交易過後，
擠壓式：C = Consuming
一般商品滿足了消費者的實際需要，更予人生
從 MEGartSTORE 到光州的彩虹攤檔，尹麗娟的創作突顯出藝術與日常生
活美好的幸福感。但這些陶製品既無實際功能，
活的反差，打破慣常經驗的二元對立：生活是庸俗 / 藝術是典雅、生活是
其模樣又與日常用品一式一樣，如何滿足消費
瑣碎 / 藝術卻顯得博大精深、生活是毋庸多加思考 / 藝術則難以理解……
者的需要？對於收藏家而言，藝術品本應投射
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
36
37
出擁有者的優越身份與卓越品味。但其售價低廉，也就無力承擔炫耀財富
的價值就在於否定現實、顛覆現實所見
與地位的要求，收藏價值何在？
所感，從而思考現實以外的其他方案。
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
一如非裔藝術家 Lubaina Himid 所說： 這些疑問正揭露了我們慣於以金錢作為衡量價值的單位。一雙上千元的球 鞋理所當然比一對只值幾十元的塑膠拖鞋更有價值，而一件拍賣行破天價 的藝術品較諸家中小孩所畫的圖畫更加意義深遠。「珍百貨」否定了不同 價值的運作邏輯：貨物的金錢價值與生產成本不相符，實用價值難以統合 物料、功能與感官欲望，而身份象徵價值更因貨品售價低、產量多而無法 突顯個性地位。小店內，消費社會的價值運作邏輯通通派不上用場。擁有
「我們以寫作或繪畫思考人生，揭露謊言。我希望借藝術創作重奪屬於 我們的權力、分享不同的技能、通力合作、改變世界……坦白說，這些努力 微不足道，其效力等同以甘菊茶與膠布療傷一樣，而這需要一輩子的 投入與思考。」
並不等同感官愉悅，且跟個人幸福無攸，也談不上什麼美好生活的幻想。 無論買與不買，觀眾必須從自己的生活經驗出發，衡量藝術品 / 日用品的
因此，我們應當懷着天真的希冀，尋求
價值。擺脫了慣常金錢與價值轉換的邏輯，「珍百貨」自行創造了意義與
改變的動力。
價值轉換的平台。因應人與物的互動，尹氏出品可轉化為複製日常的藝術 品、陶瓷藝術的商品，又或滿足擁有藝術品的慰藉，甚至挑戰藝術市場的 符號。換言之，「珍百貨」推銷的不是藝術品 / 商品，而是人與物共同創 造意義的藝術體驗。 日常消費大多追求一時歡快而淘空了物的價值。尹麗娟偏偏反其道而行， 以大平賣招徠觀眾，重建人與藝術的關係。究竟「珍百貨」能否促成人人 蜂擁的搶購潮、抑或大伙兒礙於顏面而不敢盡情消費？我們無法預計「珍 百貨」的銷情。唯一肯定的是，即使肆意消費，我們從未擠壓盡藝術、擠 壓淨盡物的意義。 能量 = 物 X [?] ² 這是玩物、戀物、拜物、無物不歡的年代，購物是需要、是娛樂，也是創 造自我的手段。擁抱當下的購物熱潮，尹麗娟顛覆了消費主義的運作邏 輯，倡議觀眾回到生活、回到人與物的連結。從觀賞到交換、分享到擁 有，其創作以藝術複製日常，引發更多討論、更深刻的思考、以及更有意 義的互動。物 —— 不再在乎其複製品、藝術品又或日用品的身份 —— 終 於自金錢、功能又或身份象徵的價值運作邏輯抽離，成為創造個人價值的 媒介。
丁穎茵 丁穎茵現為獨立研究員，多與大學及文化組織合作策劃展 覽項目，以創意形式發掘本土歷史的多元論述。畢業於香 港中文大學歷史系，後赴英修讀博物館學，在學期間曾於
愛因斯坦以物理方程式探索物質所釋放的能量，藝術家則以想像力轉化了
布里斯托巿立博物館、巴斯東亞藝術博物館等工作。她的
物的價值。其實，尹麗娟從未闡釋其經濟運轉法則如何豐富物的價值內
研究試圖從本地文化生態脈絡，瞭解文化藝術與社會大眾
涵，但其一系列的創作示範了人與物、人與人連結的無限可能。或許藝術
的關係。
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
36
37
出擁有者的優越身份與卓越品味。但其售價低廉，也就無力承擔炫耀財富
的價值就在於否定現實、顛覆現實所見
與地位的要求，收藏價值何在？
所感，從而思考現實以外的其他方案。
能量等同物質乘想像力的平方 —— 尹氏經濟方程式
一如非裔藝術家 Lubaina Himid 所說： 這些疑問正揭露了我們慣於以金錢作為衡量價值的單位。一雙上千元的球 鞋理所當然比一對只值幾十元的塑膠拖鞋更有價值，而一件拍賣行破天價 的藝術品較諸家中小孩所畫的圖畫更加意義深遠。「珍百貨」否定了不同 價值的運作邏輯：貨物的金錢價值與生產成本不相符，實用價值難以統合 物料、功能與感官欲望，而身份象徵價值更因貨品售價低、產量多而無法 突顯個性地位。小店內，消費社會的價值運作邏輯通通派不上用場。擁有
「我們以寫作或繪畫思考人生，揭露謊言。我希望借藝術創作重奪屬於 我們的權力、分享不同的技能、通力合作、改變世界……坦白說，這些努力 微不足道，其效力等同以甘菊茶與膠布療傷一樣，而這需要一輩子的 投入與思考。」
並不等同感官愉悅，且跟個人幸福無攸，也談不上什麼美好生活的幻想。 無論買與不買，觀眾必須從自己的生活經驗出發，衡量藝術品 / 日用品的
因此，我們應當懷着天真的希冀，尋求
價值。擺脫了慣常金錢與價值轉換的邏輯，「珍百貨」自行創造了意義與
改變的動力。
價值轉換的平台。因應人與物的互動，尹氏出品可轉化為複製日常的藝術 品、陶瓷藝術的商品，又或滿足擁有藝術品的慰藉，甚至挑戰藝術市場的 符號。換言之，「珍百貨」推銷的不是藝術品 / 商品，而是人與物共同創 造意義的藝術體驗。 日常消費大多追求一時歡快而淘空了物的價值。尹麗娟偏偏反其道而行， 以大平賣招徠觀眾，重建人與藝術的關係。究竟「珍百貨」能否促成人人 蜂擁的搶購潮、抑或大伙兒礙於顏面而不敢盡情消費？我們無法預計「珍 百貨」的銷情。唯一肯定的是，即使肆意消費，我們從未擠壓盡藝術、擠 壓淨盡物的意義。 能量 = 物 X [?] ² 這是玩物、戀物、拜物、無物不歡的年代，購物是需要、是娛樂，也是創 造自我的手段。擁抱當下的購物熱潮，尹麗娟顛覆了消費主義的運作邏 輯，倡議觀眾回到生活、回到人與物的連結。從觀賞到交換、分享到擁 有，其創作以藝術複製日常，引發更多討論、更深刻的思考、以及更有意 義的互動。物 —— 不再在乎其複製品、藝術品又或日用品的身份 —— 終 於自金錢、功能又或身份象徵的價值運作邏輯抽離，成為創造個人價值的 媒介。
丁穎茵 丁穎茵現為獨立研究員，多與大學及文化組織合作策劃展 覽項目，以創意形式發掘本土歷史的多元論述。畢業於香 港中文大學歷史系，後赴英修讀博物館學，在學期間曾於
愛因斯坦以物理方程式探索物質所釋放的能量，藝術家則以想像力轉化了
布里斯托巿立博物館、巴斯東亞藝術博物館等工作。她的
物的價值。其實，尹麗娟從未闡釋其經濟運轉法則如何豐富物的價值內
研究試圖從本地文化生態脈絡，瞭解文化藝術與社會大眾
涵，但其一系列的創作示範了人與物、人與人連結的無限可能。或許藝術
的關係。
Energy equals mass times imagination squared — Wan’s economic equation 38
39
Energy equals mass times imagination squared — Wan’s economic equation
VIVIAN TING WING YAN
“They are always presented as containing an element of luxury, or superfluity, of fantasy which bydesignating the purchaser as a ‘happy and privileged person’, protects him or her form the pressures of the rationalised universe and the obligation to conduct themselves in a functional manner.” André Gorz
E=MC²
This is a ground-breaking formula. In 1905, Einstein proposed the theory of mass–energy equivalence, meaning that any matter, when converted to energy through any means, would generate energy equal to its mass times the square of the speed of light (299792458m/s ²). Ever since then, our understanding of energy is no longer confined to the size of the matter. Even 1 gram of uranium can generate energy, through nuclear fission, equal to the burning of 2.4 tonnes of coal. Einstein’s imagination pierced through the world of matter, transcending previous physical limitations and converting all mater into an unlimited source of energy awaiting our exploitation.
Indeed, science has made our lives convenient and comfortable, allowing us to own things that are better and flashier. How can material abundance convert into the energy of living through the formula–the square of the speed of light? Economists tell us that physics cannot explain the needs of life and our wants and desires. Only consumption in unprecedented scales can promote economic prosperity and secure our standards of living. Buy more, accumulate items that are unnecessary, not immediately needed, or simply useless, discard similar items previously acquired, and pursue more new, flashy, trendy items of personal character, and which brings us happiness, privileges and a sense of success… How do we measure our need for objects? How to calculate an index for happy living? Contemporary artist Annie Wan blurred the boundaries between the genuine and the counterfeit, the useful and the useless, the cheap and the luxurious, urging us to re-evaluate the value of object. Her work strips objects of their utility and monetary value, turning the experience of shopping into a question of daily consumption and “rewarding” living. Just as art expands the imagination for E=MC², she also proposes different-valued “C”s, redefining the energies of logical thought generated through human/object interaction. C = Contemplating Some legends have it that at the end of the rainbow hides the gnome’s treasure. Some say that rainbows connect heaven to earth, delivering god’s will to earth, enlightening people on better living. In 2006, in the exhibition MEGartSTORE organised by the Hong Kong Heritage Museum, Annie showcased a rainbow built from brightly coloured daily goods – aptly-titled Rainbow. The rainbow of consumerism stirred the desires and imaginations of the viewer, calling upon us
Rainbow 2006
Energy equals mass times imagination squared — Wan’s economic equation 38
39
Energy equals mass times imagination squared — Wan’s economic equation
VIVIAN TING WING YAN
“They are always presented as containing an element of luxury, or superfluity, of fantasy which bydesignating the purchaser as a ‘happy and privileged person’, protects him or her form the pressures of the rationalised universe and the obligation to conduct themselves in a functional manner.” André Gorz
E=MC²
This is a ground-breaking formula. In 1905, Einstein proposed the theory of mass–energy equivalence, meaning that any matter, when converted to energy through any means, would generate energy equal to its mass times the square of the speed of light (299792458m/s ²). Ever since then, our understanding of energy is no longer confined to the size of the matter. Even 1 gram of uranium can generate energy, through nuclear fission, equal to the burning of 2.4 tonnes of coal. Einstein’s imagination pierced through the world of matter, transcending previous physical limitations and converting all mater into an unlimited source of energy awaiting our exploitation.
Indeed, science has made our lives convenient and comfortable, allowing us to own things that are better and flashier. How can material abundance convert into the energy of living through the formula–the square of the speed of light? Economists tell us that physics cannot explain the needs of life and our wants and desires. Only consumption in unprecedented scales can promote economic prosperity and secure our standards of living. Buy more, accumulate items that are unnecessary, not immediately needed, or simply useless, discard similar items previously acquired, and pursue more new, flashy, trendy items of personal character, and which brings us happiness, privileges and a sense of success… How do we measure our need for objects? How to calculate an index for happy living? Contemporary artist Annie Wan blurred the boundaries between the genuine and the counterfeit, the useful and the useless, the cheap and the luxurious, urging us to re-evaluate the value of object. Her work strips objects of their utility and monetary value, turning the experience of shopping into a question of daily consumption and “rewarding” living. Just as art expands the imagination for E=MC², she also proposes different-valued “C”s, redefining the energies of logical thought generated through human/object interaction. C = Contemplating Some legends have it that at the end of the rainbow hides the gnome’s treasure. Some say that rainbows connect heaven to earth, delivering god’s will to earth, enlightening people on better living. In 2006, in the exhibition MEGartSTORE organised by the Hong Kong Heritage Museum, Annie showcased a rainbow built from brightly coloured daily goods – aptly-titled Rainbow. The rainbow of consumerism stirred the desires and imaginations of the viewer, calling upon us
Rainbow 2006
Energy equals mass times imagination squared — Wan’s economic equation
40
41
to treat ourselves well. Happiness is within reach – just a “necessity” away. MEGartSTORE brought art into every day scenes, restructured the logic of art equals life. In so doing, Annie pierced through the illusion of the “pristine” art, pointing out that a work is a consumption good awaiting the right price and buyer. The objects she exhibited in the museum are indeed merchandise placed at the supermarket, and the only thing missing is the price tag. How do placing similar objects at different venues affect the formula of value conversion?
brand, a testimony that the rainbow of objects cannot deliver on its promise of fine living.
Even as Rainbow touts the illusion of abundant living, the audience can only follow the established museum rule of “no touching”, and has no means of replenishing their daily needs. Fortunately, another end of the rainbow ends at City Super, within the neighbouring shopping mall. Here, rank upon rank of shelves burst with food, wine and lifestyle goods of all kinds, all packaged in the most alluring manner to draw the shopper’s attention. The gleaming white porcelain, located in midst of real merchandise, masquerade as daily goods, giving the audience an experience of art even as they shop. Such an experience is not about a preference of aesthetics, but rather the choice of “to buy or not to buy”. Even as the shops offered the audience a taste of fine living, art peddles replicas of daily consumption goods that were, in fact, useless. The role inversion of merchandise/work raises a series of questions: what is this? Why do we buy? What is its value?
Original setting of the art pieces
Later, City'super enclosed the art pieces in glass boxes
Intriguingly, as the artist seeks to reproduce reality through displaying art as real-life merchandise in the museum, City Super enclosed art pieces in glass boxes as per the usual, fearing they would disrupt the shopper’s routine. A shop that peddles taste of life draws a clear line between art and merchandise, rejecting art’s queries and imaginations about aesthetics and taste. This inadvertently constituted the perfect irony about the shop’s
Energy equals mass times imagination squared — Wan’s economic equation
C = Communicating 1300 years ago, the wino poet Li Bai lamented, “Today's people have not seen the ancient moon, but today's moon has shone on the ancient people”. Who has thought that the moon is just a giant rock circling the earth, that its light is reflected from the sun, and that it never really shone upon the earth. However, as we turn our gaze to the moon, we are unable to see its craterridden surface, and its bright and pure visage has borne the remembrance and wishes of countless people since the ancient times. If our eyes do not reflect reality, what counts? Annie believes the moonlight is both real and unreal, and the sunlight reflected from the moon illuminates different facets of the world. Taking Oi! as her base of operations, she travelled the North Point district, talking to merchants and seeking out her heart’s desire. She ended up inviting seven shops to join in her art/merchandise programme, placing porcelain alongside with merchandise on the shelves. A couple porcelain bottled drinks, one stack of porcelain books, a pair of porcelain embroidered sandals, a couple porcelain taro fish… they masquerade as ordinary merchandise, scattered through shops in the community. The artist called this series Collecting Moonlight, as they are “authentic art pieces”– otherwise “daily counterfeits” or contemporary porcelain pursuing the white china tradition–inspired by the moon. How does one define real or fake? Will obsessing over the differentiation blind one, making it impossible to identify the real? Just as the real and fake are sometimes indistinguishable, in Oi!’s nursery Annie placed a series of porcelain milk bottles, tempting the audience to exchange it with milk bottles for feeding their children. A customer of Chow’s Vegetable Wholesaler even asked the owner if the gleaming white “pomelo” was a newly developed fruit. To the naked e y e , A n n i e ’s p o rc e l a i n a re l i ke i m p o rt e d g o o d s f ro m the moon, looking familiar yet perfectly, smoothly white, seemingly imbued with
Collecting Moonlight 2017
Energy equals mass times imagination squared — Wan’s economic equation
40
41
to treat ourselves well. Happiness is within reach – just a “necessity” away. MEGartSTORE brought art into every day scenes, restructured the logic of art equals life. In so doing, Annie pierced through the illusion of the “pristine” art, pointing out that a work is a consumption good awaiting the right price and buyer. The objects she exhibited in the museum are indeed merchandise placed at the supermarket, and the only thing missing is the price tag. How do placing similar objects at different venues affect the formula of value conversion?
brand, a testimony that the rainbow of objects cannot deliver on its promise of fine living.
Even as Rainbow touts the illusion of abundant living, the audience can only follow the established museum rule of “no touching”, and has no means of replenishing their daily needs. Fortunately, another end of the rainbow ends at City Super, within the neighbouring shopping mall. Here, rank upon rank of shelves burst with food, wine and lifestyle goods of all kinds, all packaged in the most alluring manner to draw the shopper’s attention. The gleaming white porcelain, located in midst of real merchandise, masquerade as daily goods, giving the audience an experience of art even as they shop. Such an experience is not about a preference of aesthetics, but rather the choice of “to buy or not to buy”. Even as the shops offered the audience a taste of fine living, art peddles replicas of daily consumption goods that were, in fact, useless. The role inversion of merchandise/work raises a series of questions: what is this? Why do we buy? What is its value?
Original setting of the art pieces
Later, City'super enclosed the art pieces in glass boxes
Intriguingly, as the artist seeks to reproduce reality through displaying art as real-life merchandise in the museum, City Super enclosed art pieces in glass boxes as per the usual, fearing they would disrupt the shopper’s routine. A shop that peddles taste of life draws a clear line between art and merchandise, rejecting art’s queries and imaginations about aesthetics and taste. This inadvertently constituted the perfect irony about the shop’s
Energy equals mass times imagination squared — Wan’s economic equation
C = Communicating 1300 years ago, the wino poet Li Bai lamented, “Today's people have not seen the ancient moon, but today's moon has shone on the ancient people”. Who has thought that the moon is just a giant rock circling the earth, that its light is reflected from the sun, and that it never really shone upon the earth. However, as we turn our gaze to the moon, we are unable to see its craterridden surface, and its bright and pure visage has borne the remembrance and wishes of countless people since the ancient times. If our eyes do not reflect reality, what counts? Annie believes the moonlight is both real and unreal, and the sunlight reflected from the moon illuminates different facets of the world. Taking Oi! as her base of operations, she travelled the North Point district, talking to merchants and seeking out her heart’s desire. She ended up inviting seven shops to join in her art/merchandise programme, placing porcelain alongside with merchandise on the shelves. A couple porcelain bottled drinks, one stack of porcelain books, a pair of porcelain embroidered sandals, a couple porcelain taro fish… they masquerade as ordinary merchandise, scattered through shops in the community. The artist called this series Collecting Moonlight, as they are “authentic art pieces”– otherwise “daily counterfeits” or contemporary porcelain pursuing the white china tradition–inspired by the moon. How does one define real or fake? Will obsessing over the differentiation blind one, making it impossible to identify the real? Just as the real and fake are sometimes indistinguishable, in Oi!’s nursery Annie placed a series of porcelain milk bottles, tempting the audience to exchange it with milk bottles for feeding their children. A customer of Chow’s Vegetable Wholesaler even asked the owner if the gleaming white “pomelo” was a newly developed fruit. To the naked e y e , A n n i e ’s p o rc e l a i n a re l i ke i m p o rt e d g o o d s f ro m the moon, looking familiar yet perfectly, smoothly white, seemingly imbued with
Collecting Moonlight 2017
Energy equals mass times imagination squared — Wan’s economic equation
42
moonlight. As these “art pieces” intrude into city life, only viewing is allowed but not touch or purchase. One cannot help but wonder: what are we seeing? What is that object? Why is it displayed here? Annie’s work disrupted our experience of daily life, such that even the shop owners who joined the programme became art ambassadors, sharing with their customers how art intervened in life. Rather than saying such moon-originated “art” was intended to reflect the facets of reality, they were in reality playing a game of enigma with the audience, as an agent prompting dialogue between art and community. For art lovers, searching for gleaming white art pieces, map in hand, is not unlike a journey to catch the moon. “Have you found it? This shop should be nearby?” “Go find the work of this artist!” “They look gorgeous! Take a closer look!” From wandering, seeking to dialogue, art connects cityscapes, small shops and different communities. Art works are no longer confined to the object themselves, but have evolved as an experience of community interaction. Having left the exhibition venue behind, works of art have carved out more authentic and more dynamic social lives – without the need to seek universal participation or to save the society under certain political correct banner. Once, the moon in the sky connected people from different eras; today, Annie’s moonlight collection connects community and art, inviting the participants to create a value of art of their very own. C = Circulating In 2016, Gwangju Biennial proposed a question to the participating artists and audience: What does art do? As early as 1995, at the debut of the first Gwangju Biennial, the city’s mayor
43
Energy equals mass times imagination squared — Wan’s economic equation
had looked forward to art illuminating the darkness of the real world, showing the world how artists think – in so doing changing the world. Nevertheless, with contemporary artists and curators putting forward fantastical narratives; governments, conglomerates and NGOs pushing for entertainment-based community art; and the art market rapidly heating up with international events the likes of art biennials; it would seem that the mayor has overestimated the significance of art against the allure of politics and money. Contemporary art is an intricately designed mechanism of production – from creation, narration, exhibition, sales to circulation, all participants collaborating toward creating awe-inspiring spectacles, astronomical monetary values, and elaborate rhetoric built from countless catalogues and commentary. Faced with the manipulation of the art system, the curator’s question should thus be interpreted: How does art understand its relations with the society? How should one choose? As she set foot in Gwangju, Annie was confronted with loud colours on every road and street corner, consumables piled in shops of all shapes and sizes. On wrappers, advertising boards, posters and leaflets, all colours of the rainbow threaten to ensnare one into their crutches, promising the pleasures and riches of the modern society. How does objects address the deficiencies of life? How does ownership and desire help to change the status quo – even convert into a personal index of happiness? As we move towards a consumer-based society, Annie’s work Every Day A Rainbow emulated a mobile street stall, the shelves of which were packaged with everyday merchandise making up the colour of the rainbow. The stall’s sign declared “Every Day A Rainbow”, with stickers of colours of the rainbow adorning its stairs. A leisurely terrace was set up outside of the shop, complete with beach umbrellas. The stall was placed outside the main pavilion, brightly lit no matter during the day or at night. Admission was free
Every Day A Rainbow 2016
Energy equals mass times imagination squared — Wan’s economic equation
42
moonlight. As these “art pieces” intrude into city life, only viewing is allowed but not touch or purchase. One cannot help but wonder: what are we seeing? What is that object? Why is it displayed here? Annie’s work disrupted our experience of daily life, such that even the shop owners who joined the programme became art ambassadors, sharing with their customers how art intervened in life. Rather than saying such moon-originated “art” was intended to reflect the facets of reality, they were in reality playing a game of enigma with the audience, as an agent prompting dialogue between art and community. For art lovers, searching for gleaming white art pieces, map in hand, is not unlike a journey to catch the moon. “Have you found it? This shop should be nearby?” “Go find the work of this artist!” “They look gorgeous! Take a closer look!” From wandering, seeking to dialogue, art connects cityscapes, small shops and different communities. Art works are no longer confined to the object themselves, but have evolved as an experience of community interaction. Having left the exhibition venue behind, works of art have carved out more authentic and more dynamic social lives – without the need to seek universal participation or to save the society under certain political correct banner. Once, the moon in the sky connected people from different eras; today, Annie’s moonlight collection connects community and art, inviting the participants to create a value of art of their very own. C = Circulating In 2016, Gwangju Biennial proposed a question to the participating artists and audience: What does art do? As early as 1995, at the debut of the first Gwangju Biennial, the city’s mayor
43
Energy equals mass times imagination squared — Wan’s economic equation
had looked forward to art illuminating the darkness of the real world, showing the world how artists think – in so doing changing the world. Nevertheless, with contemporary artists and curators putting forward fantastical narratives; governments, conglomerates and NGOs pushing for entertainment-based community art; and the art market rapidly heating up with international events the likes of art biennials; it would seem that the mayor has overestimated the significance of art against the allure of politics and money. Contemporary art is an intricately designed mechanism of production – from creation, narration, exhibition, sales to circulation, all participants collaborating toward creating awe-inspiring spectacles, astronomical monetary values, and elaborate rhetoric built from countless catalogues and commentary. Faced with the manipulation of the art system, the curator’s question should thus be interpreted: How does art understand its relations with the society? How should one choose? As she set foot in Gwangju, Annie was confronted with loud colours on every road and street corner, consumables piled in shops of all shapes and sizes. On wrappers, advertising boards, posters and leaflets, all colours of the rainbow threaten to ensnare one into their crutches, promising the pleasures and riches of the modern society. How does objects address the deficiencies of life? How does ownership and desire help to change the status quo – even convert into a personal index of happiness? As we move towards a consumer-based society, Annie’s work Every Day A Rainbow emulated a mobile street stall, the shelves of which were packaged with everyday merchandise making up the colour of the rainbow. The stall’s sign declared “Every Day A Rainbow”, with stickers of colours of the rainbow adorning its stairs. A leisurely terrace was set up outside of the shop, complete with beach umbrellas. The stall was placed outside the main pavilion, brightly lit no matter during the day or at night. Admission was free
Every Day A Rainbow 2016
Energy equals mass times imagination squared — Wan’s economic equation
44
45
for all. Contrary to its pedestrian looks, this stall was entirely uninterested in making a sale – every one of the tightly packed merchandise were for display only, and visitors outside only sat and talked in relaxed groups, perhaps out of the reason that it was not a day for shopping? Anyhow, even if they wish to go on a shopping spree, they would find that pristine porcelain are mixed in with every day goods. As they enter a familiar setting, merchandise that were previously accessible were now either notfor-sale, or switched with porcelain “counterfeits”. This was the formula of artistic reproduction: using art to emulate the setting for purchase and shop’s goods, in so doing disrupting the process of daily consumption. When the act of consumption is “interrupted”, the audience’s desire to buy becomes postponed, forcing them to review their real needs. What do we need? What does art need?
perfection, encourages the participants to uncover beauty in all its forms – not just the archetypes presented by the consumerist society.
Internationally, the Biennial is the place where the latest trends in art are showcased, where glamorous, highly popular works are sold at the highest prices, and where industry experts and art lovers come from wide and far to celebrate. On one hand this year’s Gwangju Biennial advocates a return to the local cultural context, a rethink of the practice and value of art; on another hand the organizer has invited the actor Bin Hyeon to be the Biennial’s ambassador, intending to close the distance between contemporary art and the society. The paradoxical move was illustrative of the logic of supply-and-demand underlying the operations of the Biennial, speaking to the power struggles in culture, politics and economics. Undoubtedly, art needs an audience; it needs the supporting narrative of curators, commentators and artists; and most of all, it needs government support and injection of capital, enabling it to realise its unique viewing value. Indeed, Annie’s creative work requires public participation. On the day of the Biennial’s closing, the artist announced the “share the rainbow” initiative. Interested individuals may redeem one object in the stall that matched the colour of their clothing. Meanwhile, a local not-for-profit organisation aimed at sports promotion will take over the mobile stall, using it to store sports utilities. From purchasing, repurposing, exhibiting to gifting, the artist is at once a consumer of original daily goods and a producer of art work, sharing resources with the public as a “dealer”. Its form of creation ushered in the delinking of objects and monetary value, converting them into an artistic experience of community linkage and resource sharing, hence creating alternative social value. Annie has never intended her work to be a criticism of the consumerist society, and did not propose a replacement mechanism for monetary exchange. Every Day A Rainbow shares imaginary
Energy equals mass times imagination squared — Wan’s economic equation
C = Consuming From MEGartSTORE to Gwangju’s stall of rainbows, Annie’s work highlights the contrast between art and daily living, breaks down binary oppositions in daily experience: life is vulgar/art is elegant; life is mundane/art is profound; life requires little thought/art is indecipherable… whether it be a porcelain piggy bank, or a tin of supermarket biscuit, the work delivers an experience of “fake” shopping/”real” art, intermixes the utility value of objects, monetary value and symbol of status, and rethinks how objects are to be valued. What is worth exploring is that the “counterfeits” artists create are actually “real merchandise” to be sold at commercial galleries, expos or auction houses. Their monetary values are determined by the sales strategy of the art merchants, the preference of the collectors and the market trends. By comparison, this series of work by Annie are based in public cultural spaces, like museums. Public artistic space aims at educating the public, researching into art history, organising exhibitions with the aim to guide (through the cultural and historical value of the work). In such a space the principles of transaction are no longer functional, and thus Annie’s emulated shopping experience are capable of disrupting different value systems, transforming the practical and monetary value of objects into the interaction of objects and the community. Even though museums do not explicitly talk about monetary value, any work is collected by a museum will grow exponentially in value. At the end, monetary value comes from a desire to possess, and such desire are driven by factors such as the writing of art history, the artist’s brand identity or investment strategy. To reflect on the value of art, Annie sells porcelain pieces made under her supervision at Zan Baak Fo, a store she set up at Sheung Wan. She uses the shelves of Hing Nam grocery store at Ping Shek Estate to display her goods. Departing from the usual practices of an art market, this batch of art work is priced similarly with an actual supermarket or grocery store. For example, a porcelain can costs exactly the same real canned food available at the stores. How does one judge the pricing rationale? Who manufactures the porcelain cans and the food cans, what are the production processes, and how are they transported to the shop? Zan Baak Fo disrupts the experience of daily shopping, and using a unique pricing strategy, similarly subverts the operations of an art market. As money exchanges hands, ordinary merchandise satisfies the real needs of shoppers, giving one the sense
Energy equals mass times imagination squared — Wan’s economic equation
44
45
for all. Contrary to its pedestrian looks, this stall was entirely uninterested in making a sale – every one of the tightly packed merchandise were for display only, and visitors outside only sat and talked in relaxed groups, perhaps out of the reason that it was not a day for shopping? Anyhow, even if they wish to go on a shopping spree, they would find that pristine porcelain are mixed in with every day goods. As they enter a familiar setting, merchandise that were previously accessible were now either notfor-sale, or switched with porcelain “counterfeits”. This was the formula of artistic reproduction: using art to emulate the setting for purchase and shop’s goods, in so doing disrupting the process of daily consumption. When the act of consumption is “interrupted”, the audience’s desire to buy becomes postponed, forcing them to review their real needs. What do we need? What does art need?
perfection, encourages the participants to uncover beauty in all its forms – not just the archetypes presented by the consumerist society.
Internationally, the Biennial is the place where the latest trends in art are showcased, where glamorous, highly popular works are sold at the highest prices, and where industry experts and art lovers come from wide and far to celebrate. On one hand this year’s Gwangju Biennial advocates a return to the local cultural context, a rethink of the practice and value of art; on another hand the organizer has invited the actor Bin Hyeon to be the Biennial’s ambassador, intending to close the distance between contemporary art and the society. The paradoxical move was illustrative of the logic of supply-and-demand underlying the operations of the Biennial, speaking to the power struggles in culture, politics and economics. Undoubtedly, art needs an audience; it needs the supporting narrative of curators, commentators and artists; and most of all, it needs government support and injection of capital, enabling it to realise its unique viewing value. Indeed, Annie’s creative work requires public participation. On the day of the Biennial’s closing, the artist announced the “share the rainbow” initiative. Interested individuals may redeem one object in the stall that matched the colour of their clothing. Meanwhile, a local not-for-profit organisation aimed at sports promotion will take over the mobile stall, using it to store sports utilities. From purchasing, repurposing, exhibiting to gifting, the artist is at once a consumer of original daily goods and a producer of art work, sharing resources with the public as a “dealer”. Its form of creation ushered in the delinking of objects and monetary value, converting them into an artistic experience of community linkage and resource sharing, hence creating alternative social value. Annie has never intended her work to be a criticism of the consumerist society, and did not propose a replacement mechanism for monetary exchange. Every Day A Rainbow shares imaginary
Energy equals mass times imagination squared — Wan’s economic equation
C = Consuming From MEGartSTORE to Gwangju’s stall of rainbows, Annie’s work highlights the contrast between art and daily living, breaks down binary oppositions in daily experience: life is vulgar/art is elegant; life is mundane/art is profound; life requires little thought/art is indecipherable… whether it be a porcelain piggy bank, or a tin of supermarket biscuit, the work delivers an experience of “fake” shopping/”real” art, intermixes the utility value of objects, monetary value and symbol of status, and rethinks how objects are to be valued. What is worth exploring is that the “counterfeits” artists create are actually “real merchandise” to be sold at commercial galleries, expos or auction houses. Their monetary values are determined by the sales strategy of the art merchants, the preference of the collectors and the market trends. By comparison, this series of work by Annie are based in public cultural spaces, like museums. Public artistic space aims at educating the public, researching into art history, organising exhibitions with the aim to guide (through the cultural and historical value of the work). In such a space the principles of transaction are no longer functional, and thus Annie’s emulated shopping experience are capable of disrupting different value systems, transforming the practical and monetary value of objects into the interaction of objects and the community. Even though museums do not explicitly talk about monetary value, any work is collected by a museum will grow exponentially in value. At the end, monetary value comes from a desire to possess, and such desire are driven by factors such as the writing of art history, the artist’s brand identity or investment strategy. To reflect on the value of art, Annie sells porcelain pieces made under her supervision at Zan Baak Fo, a store she set up at Sheung Wan. She uses the shelves of Hing Nam grocery store at Ping Shek Estate to display her goods. Departing from the usual practices of an art market, this batch of art work is priced similarly with an actual supermarket or grocery store. For example, a porcelain can costs exactly the same real canned food available at the stores. How does one judge the pricing rationale? Who manufactures the porcelain cans and the food cans, what are the production processes, and how are they transported to the shop? Zan Baak Fo disrupts the experience of daily shopping, and using a unique pricing strategy, similarly subverts the operations of an art market. As money exchanges hands, ordinary merchandise satisfies the real needs of shoppers, giving one the sense
Energy equals mass times imagination squared — Wan’s economic equation
46
47
Energy equals mass times imagination squared — Wan’s economic equation
of a fulfilment; yet these porcelain goods have no actual function and are shaped exactly like their daily, utilitarian counterpart. How can the needs of consumption be satisfied? For collectors, art should reflect the owner’s social status and fine taste. When art is priced as cheaply as this, and cannot deliver the purpose of showing off wealth and status, what is the purpose of collecting such art?
copied daily living through art, sparking of discussions and in-depth thinking, as well as meaningful exchange. Objects are no longer about identities of being copies, art or daily goods, but have departed from the value logics of money, function or symbol of status, becoming the medium of creating individual value.
These queries point to the fact that we are used to measuring value through money. A pair of knickers, valued at over a thousand, is certainly more valuable than a cheap pair of sandals; an artwork auctioned at a recordbreaking price is certainly more profound than a child’s home painting. Zan Baak Fo negates the logic of value differentiation: the monetary value of goods does not match the production value; and the utility value are unable to unify material, function and sensory desire; status value is incapable of standing out as the goods are cheap and abundant. Inside that small shop, the logics of the consumerist society have become dysfunctional. Possession does not equate sensory satisfaction, are unrelated to personal happiness, and do not contribute to the dreams of quality living. To buy or not to buy – the audience must measure the value of art work/daily goods according to their personal experience. Freed from the daily logic of monetary and value exchange, Zan Baak Fo creates a standalone platform of meaning and value exchange. As people and objects interact, Annie’s goods can be copies of daily goods, porcelain art merchandise, placebo for art possession, or a symbol to challenge the art market. In other words, Zan Baak Fo peddles not art work/merchandise, but an experience of art where people and objects create meaning hand-in-hand.
Just as Einstein explores the energy released by objects through physical equations, artists transform the value of objects through imagination. In fact, despite Annie has never explained how her formula of economic conversion enriches the intrinsic value of objects, her series of works has demonstrated the infinite possibilities of connection between people and objects and among different individuals. Perhaps the value of art is in the denial of reality, the subversion of what we see and feel, and in so doing contemplate solutions outside of reality. Just as African artist Lubaina Himid has said,
Daily consumption tends to strip objects of its value in exchange for a moment of pleasure. Annie takes a different route by attracting an audience through a fire sale, seeking to re-establish the relations between person and art. Can Zan Baak Fo bring about a mad scramble for art, or will consumption be deterred for fear of losing face? We have no way of estimating the sales performance of Zan Baak Fo; the only thing we can be sure of is even as we spend without restraint, we would never be able to squeeze every drop of meaning from art. Energy = Object X [?] ² This is an era of object obsession, fetish, worship; shopping is a necessity, an entertainment, a way to create oneself. Embracing the shopping spree of today, Annie subverted the operating logic of consumerism, persuading the audience to return to life and return to the connection between people and object. From appreciation to exchange, sharing to possession, her creations
“We will expose the lies by writing or painting about life. I want to show that we take power, share skills, work together, change the world… frankly it seems it was as effective as camomile tea and elastoplast where the answer was a lifetime of care and commitment.” This is the reason why we should seek a momentum for change with the purest of wishes.
VIVIAN TING WING YAN
As an independent researcher, Vivian Ting Wing Yan works with universities and art organizations to develop curatorial projects that encourage multiple narratives of local history, articulated through creative means. Graduated from The Chinese University of Hong Kong, she did Museum Studies at the University of Leicester and gained curatorial experiences at the Museum of East Asian Art in Bath and the Bristol City Museum and Art Gallery. Her research focuses on how arts and culture would be relevant to wider public in the context of local cultural ecology.
Energy equals mass times imagination squared — Wan’s economic equation
46
47
Energy equals mass times imagination squared — Wan’s economic equation
of a fulfilment; yet these porcelain goods have no actual function and are shaped exactly like their daily, utilitarian counterpart. How can the needs of consumption be satisfied? For collectors, art should reflect the owner’s social status and fine taste. When art is priced as cheaply as this, and cannot deliver the purpose of showing off wealth and status, what is the purpose of collecting such art?
copied daily living through art, sparking of discussions and in-depth thinking, as well as meaningful exchange. Objects are no longer about identities of being copies, art or daily goods, but have departed from the value logics of money, function or symbol of status, becoming the medium of creating individual value.
These queries point to the fact that we are used to measuring value through money. A pair of knickers, valued at over a thousand, is certainly more valuable than a cheap pair of sandals; an artwork auctioned at a recordbreaking price is certainly more profound than a child’s home painting. Zan Baak Fo negates the logic of value differentiation: the monetary value of goods does not match the production value; and the utility value are unable to unify material, function and sensory desire; status value is incapable of standing out as the goods are cheap and abundant. Inside that small shop, the logics of the consumerist society have become dysfunctional. Possession does not equate sensory satisfaction, are unrelated to personal happiness, and do not contribute to the dreams of quality living. To buy or not to buy – the audience must measure the value of art work/daily goods according to their personal experience. Freed from the daily logic of monetary and value exchange, Zan Baak Fo creates a standalone platform of meaning and value exchange. As people and objects interact, Annie’s goods can be copies of daily goods, porcelain art merchandise, placebo for art possession, or a symbol to challenge the art market. In other words, Zan Baak Fo peddles not art work/merchandise, but an experience of art where people and objects create meaning hand-in-hand.
Just as Einstein explores the energy released by objects through physical equations, artists transform the value of objects through imagination. In fact, despite Annie has never explained how her formula of economic conversion enriches the intrinsic value of objects, her series of works has demonstrated the infinite possibilities of connection between people and objects and among different individuals. Perhaps the value of art is in the denial of reality, the subversion of what we see and feel, and in so doing contemplate solutions outside of reality. Just as African artist Lubaina Himid has said,
Daily consumption tends to strip objects of its value in exchange for a moment of pleasure. Annie takes a different route by attracting an audience through a fire sale, seeking to re-establish the relations between person and art. Can Zan Baak Fo bring about a mad scramble for art, or will consumption be deterred for fear of losing face? We have no way of estimating the sales performance of Zan Baak Fo; the only thing we can be sure of is even as we spend without restraint, we would never be able to squeeze every drop of meaning from art. Energy = Object X [?] ² This is an era of object obsession, fetish, worship; shopping is a necessity, an entertainment, a way to create oneself. Embracing the shopping spree of today, Annie subverted the operating logic of consumerism, persuading the audience to return to life and return to the connection between people and object. From appreciation to exchange, sharing to possession, her creations
“We will expose the lies by writing or painting about life. I want to show that we take power, share skills, work together, change the world… frankly it seems it was as effective as camomile tea and elastoplast where the answer was a lifetime of care and commitment.” This is the reason why we should seek a momentum for change with the purest of wishes.
VIVIAN TING WING YAN
As an independent researcher, Vivian Ting Wing Yan works with universities and art organizations to develop curatorial projects that encourage multiple narratives of local history, articulated through creative means. Graduated from The Chinese University of Hong Kong, she did Museum Studies at the University of Leicester and gained curatorial experiences at the Museum of East Asian Art in Bath and the Bristol City Museum and Art Gallery. Her research focuses on how arts and culture would be relevant to wider public in the context of local cultural ecology.
技藝、 身體記憶與 出脫 48
49
陳育強
技藝、身體記憶與出脫
次而成為精神知識的投射對象。陶藝作為一種藝術門類，在當代藝術重 視觀念的操作下，陶藝家也往往備受壓力，也有部份陶藝家希望擺脫工藝 之名以進入當代藝術，從而被重新認識。這種轉變一方面是藝術內部歷史 發展使然，以「無用」高於「可用」，陶藝的發展史一直沒有脫離過用器 這範圍，藝術與功用之從屬甚或衝突的關係一直被陶藝的傳統維持著。然 而，當代陶藝的實踐在純藝術領域的表達上往往有其獨特的進路和個性， 尹麗娟便是一個獨特的例子，藉着她的作品我們可以觀察到以陶瓷等為起
我始終相信不同藝術媒介的特性每每能發掘和深化
點的藝術家如何在當代藝術的多元表現和議題中發掘可能性，或倒過來
藝術家知覺能力的不同敏感度，鍛鍊身體透過重複
看，當代藝術如何因陶藝得到不同面向的擴充。
練習所產生的記憶和反應，就像活靶射擊一樣，射 手通過不斷訓練令眼與手得到某種整合，使他們能
還原與伸延
在瞬間把目標擊中，進而變成一種內化了的神經反
我接觸尹麗娟作品大致始於她在中文大學藝術系的學習時期，由於她在此
射。如果這種能力轉移到非活靶射擊場合，也會變
前的陶藝訓鍊已有一定的根基，當踫上了沒有專業分科的學制，一方面讓
成某種對事物的反應丶取態甚至進而影響個性及氣
她暫時離開陶藝的思考與操作，另一方面亦讓她吸收其他藝術門類的衝
質。我想，這就是藝術技巧練習對人個性的影響，
擊。其時的作品大抵上以混合媒介的表達或以視陶藝為雕塑的表現為主；
書法練習如是，鋼琴練習如是，陶藝練習也必如
直至研究院的學習階段，她才正式專注於以陶藝作為當代藝術表達的研
是。尹麗娟作為以造陶入手的藝術家，她的氣質丶
究。當時她的興趣主要集中於解構陶藝的基本工藝和製作過程，她回歸到
感受特性和身體習慣往往都離不開陶塑訓練為她所
學陶的最基本經驗，並把它概念化，例如重新逐一審視手和泥的原始關係，
開啟的知覺能力，久而久之，她渾身都散發着一種
盡量去除裝飾性，實驗正負空間互換，還原容器及雕塑語言造型關係等。
質樸丶柔靱、沖和丶恆定的性格。 後來的發展，她更回到燒製陶件的過程，透 二十世紀以後，藝術的趨勢重想法而漸輕工藝，藝
過模製重複燒製同一物件，呈現了陶件經過
術和知識掛鉤逐漸把工藝視為缺乏創造力的重複勞
火窰高溫處理後的微縮狀態，有趣的是，她
動，一如中國明代文人畫的興起，知識份子作為藝
利用燒製及模製過程的限制發展了一套觀察
術家的身份往往受到較大的尊重，被視為高於以畫
方法，視不理想的狀況為機遇，並在當中尋
藝為職業的專業畫家地位，以精密細緻工藝為尚的
求一種詩性的邏輯，其中把雙手模製，再透
工筆畫曾被視為畫匠所為，難以超越物質技術的層
過重複微縮變或湯匙便是一例。 《手變匙羹的示範》 2003
技藝、 身體記憶與 出脫 48
49
陳育強
技藝、身體記憶與出脫
次而成為精神知識的投射對象。陶藝作為一種藝術門類，在當代藝術重 視觀念的操作下，陶藝家也往往備受壓力，也有部份陶藝家希望擺脫工藝 之名以進入當代藝術，從而被重新認識。這種轉變一方面是藝術內部歷史 發展使然，以「無用」高於「可用」，陶藝的發展史一直沒有脫離過用器 這範圍，藝術與功用之從屬甚或衝突的關係一直被陶藝的傳統維持著。然 而，當代陶藝的實踐在純藝術領域的表達上往往有其獨特的進路和個性， 尹麗娟便是一個獨特的例子，藉着她的作品我們可以觀察到以陶瓷等為起
我始終相信不同藝術媒介的特性每每能發掘和深化
點的藝術家如何在當代藝術的多元表現和議題中發掘可能性，或倒過來
藝術家知覺能力的不同敏感度，鍛鍊身體透過重複
看，當代藝術如何因陶藝得到不同面向的擴充。
練習所產生的記憶和反應，就像活靶射擊一樣，射 手通過不斷訓練令眼與手得到某種整合，使他們能
還原與伸延
在瞬間把目標擊中，進而變成一種內化了的神經反
我接觸尹麗娟作品大致始於她在中文大學藝術系的學習時期，由於她在此
射。如果這種能力轉移到非活靶射擊場合，也會變
前的陶藝訓鍊已有一定的根基，當踫上了沒有專業分科的學制，一方面讓
成某種對事物的反應丶取態甚至進而影響個性及氣
她暫時離開陶藝的思考與操作，另一方面亦讓她吸收其他藝術門類的衝
質。我想，這就是藝術技巧練習對人個性的影響，
擊。其時的作品大抵上以混合媒介的表達或以視陶藝為雕塑的表現為主；
書法練習如是，鋼琴練習如是，陶藝練習也必如
直至研究院的學習階段，她才正式專注於以陶藝作為當代藝術表達的研
是。尹麗娟作為以造陶入手的藝術家，她的氣質丶
究。當時她的興趣主要集中於解構陶藝的基本工藝和製作過程，她回歸到
感受特性和身體習慣往往都離不開陶塑訓練為她所
學陶的最基本經驗，並把它概念化，例如重新逐一審視手和泥的原始關係，
開啟的知覺能力，久而久之，她渾身都散發着一種
盡量去除裝飾性，實驗正負空間互換，還原容器及雕塑語言造型關係等。
質樸丶柔靱、沖和丶恆定的性格。 後來的發展，她更回到燒製陶件的過程，透 二十世紀以後，藝術的趨勢重想法而漸輕工藝，藝
過模製重複燒製同一物件，呈現了陶件經過
術和知識掛鉤逐漸把工藝視為缺乏創造力的重複勞
火窰高溫處理後的微縮狀態，有趣的是，她
動，一如中國明代文人畫的興起，知識份子作為藝
利用燒製及模製過程的限制發展了一套觀察
術家的身份往往受到較大的尊重，被視為高於以畫
方法，視不理想的狀況為機遇，並在當中尋
藝為職業的專業畫家地位，以精密細緻工藝為尚的
求一種詩性的邏輯，其中把雙手模製，再透
工筆畫曾被視為畫匠所為，難以超越物質技術的層
過重複微縮變或湯匙便是一例。 《手變匙羹的示範》 2003
技藝、身體記憶與出脫
50
51
尹麗娟注重意念的邏輯性，這種思維方式大致上貫徹她所有作品，即使她
書殼的條碼卻暗示着一種重量、一種不安、
在意念上的推進傾向較為緩慢，但也不時有意無意間在抽象與具像的表達
一些躁動。在尹麗娟看來，在這種真的營銷
之間擺盪，不斷反覆咀嚼，這亦有利她深化主題，同時容納足夠的想象空
空間展示作品的經驗豐富了藝術品的解讀方
間。尹麗娟對陶瓷的肌理質地有着傳統陶人的觸覺，同時也對日常物件有
式，展示埸地和作品互相界定補充，產生了
不可解的情結，這使她的作品充盈着不經意的情緒和故事，而夾在材質和
更複雜的內容，也為作品和藝術家帶來新的
日常物件之間的調解中介便是模製技巧。她一方面避開陶藝中常使用的亮
挑戰，令她更積極地審視作品和觀眾相遇的
麗釉藥顏色，使陶瓷原始材質能充份顯示自己；另一方面模壓技術又把故
方式，也提出了一些問題。
技藝、身體記憶與出脫
事形像化地成為陶體的皮肉，皮肉包着空蕩的曾經和存在，皮肉的素淨也抑 制着情感，其作品就是如此擅於製造某種情緒上的距離感⋯⋯
書的形式在不同的場合逐漸伸延到其他的形 式，但總體來說並沒有離開書的主題。2005
與其說尹麗娟不斷擴展陶藝的可能性，不如說她利用陶藝的傳統作為一個
年 在 灣 仔 名 為 Re-Wanchai 的 一 個 展 覽， 尹
座標，把觸覺輻射到生活的周圍，透過陶藝技巧屬性，創造了一種靈活的
麗娟在灣仔找到不同的舊招牌，在當中選擇
方法來對應着外部世界，作直接或間接的回應。她的作品時而是泥的原始
了不同的文字，用翻模的方法複製及拼揍成
狀態，時而是暴露着燒製過程中水與火的痕跡，時而是他物的替身或事情
一首詩，這作品一方面指向了她關注的書的
的隱喻……雖然這許多多樣化的創作大致都被統一在一種近乎素描的風格
內容：文字，也指向了公共性，把公共空間
中，但仍掩不住她對週遭事物的好奇及感情。
的材料轉化為作品的內容。尹麗娟作為一個 作者，她的取態是隱退的，她擷取、模製、
曾經的書
編輯，然後讓時機啟動作品的光華，她似乎
可能是她喜歡閱讀的關係，尹麗娟對書的形態和意涵一直有很深的感
頗享受製作過程中的未知，把作者的身份讓
受，這亦是她的陶藝能從陶皿進化到關注世界的容器。書既是物件，也
給機緣。這種取向，也可證諸於她牛棚空地
是知識文字的載體，是通往他人思想和世界事物的通道，當知識以書籍
上的「書頁」，她在「滴溚滴」的展覽中用
的形式來儲存，也意味着把歷史凝固，把沉澱了的時間化為頁片，逐漸
不同泥漿塗了約一米乘一米薄薄的、未經燒
厚積成書……尹麗娟以書為主題的作品往往帶有
製的瓷頁，想象着瓷土依附着地磚，隨着日
這種緩慢沉澱的氣質，表面素淨無華，所指涉的
照乾涸、破裂，彷如磚地上要褪去的皮膚，
內容範圍卻可以相當寬廣。
最後被觀眾不經意地踩踏。此時尹麗娟對陶 瓷的思考已不着重成品的可觀性，她仍是沿
即使尹麗娟對書的關注早期還是以形式為主，但
着一貫的思考方式，不斷把陶瓷的過程還原
較重要的系列作品還是始自北京 Kubrick 那次展
再還原，拆解再拆解，此刻陶瓷的原材料已
覽。展示的地點雖是書店，但展出的竟是一本本
變成成品，一再把陶泥初生的質地赤祼地呈
打不開的模制書籍，一本本可在其他地方展出但
示。這作品後來在開幕時的一場大雨中消散
在中國被禁的書 , 而書籍的身份，只能被印在其
無 形， 觀 眾 來 不 及 和 作 品「 互 動 」， 大 自
上的國際書號編碼所識別。對讀者來說，一本打不開的書還算不算是書，
然已用水把泥土還給大地。我見證着的那一
沒經翻譯的編碼即使印在「書面」上，也只能成為有身份沒名字的存在。
刻，看著泥胎隨著帶點重量的雨水的沖刷，
就是這樣，這些瓷書默默地、安靜地，或倚或躺地安頓在其他書旁，在鋪
帶顏色的粉末隨着凹凸不平的地台或聚或
天蓋地的資訊容器之海中製造了一些空白，一些停頓；然而這些看似空洞
散，無比的漂亮。
《脆弱書》 2011
《如果下雨》 2013
技藝、身體記憶與出脫
50
51
尹麗娟注重意念的邏輯性，這種思維方式大致上貫徹她所有作品，即使她
書殼的條碼卻暗示着一種重量、一種不安、
在意念上的推進傾向較為緩慢，但也不時有意無意間在抽象與具像的表達
一些躁動。在尹麗娟看來，在這種真的營銷
之間擺盪，不斷反覆咀嚼，這亦有利她深化主題，同時容納足夠的想象空
空間展示作品的經驗豐富了藝術品的解讀方
間。尹麗娟對陶瓷的肌理質地有着傳統陶人的觸覺，同時也對日常物件有
式，展示埸地和作品互相界定補充，產生了
不可解的情結，這使她的作品充盈着不經意的情緒和故事，而夾在材質和
更複雜的內容，也為作品和藝術家帶來新的
日常物件之間的調解中介便是模製技巧。她一方面避開陶藝中常使用的亮
挑戰，令她更積極地審視作品和觀眾相遇的
麗釉藥顏色，使陶瓷原始材質能充份顯示自己；另一方面模壓技術又把故
方式，也提出了一些問題。
技藝、身體記憶與出脫
事形像化地成為陶體的皮肉，皮肉包着空蕩的曾經和存在，皮肉的素淨也抑 制着情感，其作品就是如此擅於製造某種情緒上的距離感⋯⋯
書的形式在不同的場合逐漸伸延到其他的形 式，但總體來說並沒有離開書的主題。2005
與其說尹麗娟不斷擴展陶藝的可能性，不如說她利用陶藝的傳統作為一個
年 在 灣 仔 名 為 Re-Wanchai 的 一 個 展 覽， 尹
座標，把觸覺輻射到生活的周圍，透過陶藝技巧屬性，創造了一種靈活的
麗娟在灣仔找到不同的舊招牌，在當中選擇
方法來對應着外部世界，作直接或間接的回應。她的作品時而是泥的原始
了不同的文字，用翻模的方法複製及拼揍成
狀態，時而是暴露着燒製過程中水與火的痕跡，時而是他物的替身或事情
一首詩，這作品一方面指向了她關注的書的
的隱喻……雖然這許多多樣化的創作大致都被統一在一種近乎素描的風格
內容：文字，也指向了公共性，把公共空間
中，但仍掩不住她對週遭事物的好奇及感情。
的材料轉化為作品的內容。尹麗娟作為一個 作者，她的取態是隱退的，她擷取、模製、
曾經的書
編輯，然後讓時機啟動作品的光華，她似乎
可能是她喜歡閱讀的關係，尹麗娟對書的形態和意涵一直有很深的感
頗享受製作過程中的未知，把作者的身份讓
受，這亦是她的陶藝能從陶皿進化到關注世界的容器。書既是物件，也
給機緣。這種取向，也可證諸於她牛棚空地
是知識文字的載體，是通往他人思想和世界事物的通道，當知識以書籍
上的「書頁」，她在「滴溚滴」的展覽中用
的形式來儲存，也意味着把歷史凝固，把沉澱了的時間化為頁片，逐漸
不同泥漿塗了約一米乘一米薄薄的、未經燒
厚積成書……尹麗娟以書為主題的作品往往帶有
製的瓷頁，想象着瓷土依附着地磚，隨着日
這種緩慢沉澱的氣質，表面素淨無華，所指涉的
照乾涸、破裂，彷如磚地上要褪去的皮膚，
內容範圍卻可以相當寬廣。
最後被觀眾不經意地踩踏。此時尹麗娟對陶 瓷的思考已不着重成品的可觀性，她仍是沿
即使尹麗娟對書的關注早期還是以形式為主，但
着一貫的思考方式，不斷把陶瓷的過程還原
較重要的系列作品還是始自北京 Kubrick 那次展
再還原，拆解再拆解，此刻陶瓷的原材料已
覽。展示的地點雖是書店，但展出的竟是一本本
變成成品，一再把陶泥初生的質地赤祼地呈
打不開的模制書籍，一本本可在其他地方展出但
示。這作品後來在開幕時的一場大雨中消散
在中國被禁的書 , 而書籍的身份，只能被印在其
無 形， 觀 眾 來 不 及 和 作 品「 互 動 」， 大 自
上的國際書號編碼所識別。對讀者來說，一本打不開的書還算不算是書，
然已用水把泥土還給大地。我見證着的那一
沒經翻譯的編碼即使印在「書面」上，也只能成為有身份沒名字的存在。
刻，看著泥胎隨著帶點重量的雨水的沖刷，
就是這樣，這些瓷書默默地、安靜地，或倚或躺地安頓在其他書旁，在鋪
帶顏色的粉末隨着凹凸不平的地台或聚或
天蓋地的資訊容器之海中製造了一些空白，一些停頓；然而這些看似空洞
散，無比的漂亮。
《脆弱書》 2011
《如果下雨》 2013
52
53
藝術的計劃很多時是為意外而準備的，稍後，意外更成為了尹麗娟的藝術
術上的稀有性並未強化對該物件本來應有的慾望，反而使應用的期望落
技巧。
空，形成一種空洞的存在──存在的其他貨品不斷和不存功用的物件互
技藝、身體記憶與出脫
技藝、身體記憶與出脫
涉，沒有功用的存在物彰顯了一種純粹的存在，比藝術品展示於展覽空間 由書的「殼」拆解到書頁和文字的獨立存在，尹麗娟又回到翻書頁的閱讀
更純粹，更冷酷。
經驗，她把一本本的雜誌塗上泥漿，每翻一頁便塗上一層，目光和內容的 接觸隨着手部的動作契合無間，眼是認知和理解，泥漿的覆蓋是隱藏，也
這作品的意念不斷伸延，成就了尹麗娟最新的市場版本，她索性租了一個
是遺忘；知與忘之間是一頁的時間，然後是火，火吞噬了訊息，燒結的泥
舖位，一概把日常物件如蔬果丶飲品丶罐頭用模製的方法大量生產，然後
胎成就了「曾經」的證據。尹麗娟的書不只是某本書，是她逐頁翻過的書，
以該物品的原來價錢出售，她一方面顛覆了藝術品和空間主客的觀賞經
成品是關於翻書的動作，被翻的書遺下了表情，見證了「曾經」。
驗，另一方面作品又和真實物件的價值掛鉤，市場和藝術品的涵意被重新 界定。
藝術雜貨 以陶藝作為藝術媒介，尹麗娟始終都不傾向顯露技術和手作的痕跡。但相
對尹麗娟來說，陶瓷作為藝術媒介的位置在整體作品的構成中有時處於中
對於對工藝投入的關注，她反而對生活現成物及其在市場流通的機制更感
心位置，有時被邊沿化到可有可無，她並未像一般陶藝家般在陶藝的傳統
興趣，並思考這些和藝術市場運
中爭取工藝的成熟與難度，從泥粉的成形到燒結，從模製到現成物，從生
作的各種現象，當中牽涉到藝術
活市場到藝術市場，她每一環節都逐一嚴肅反省，並以其階段性屬性造成
品、藝術家、中介人、買賣的場
作品，現時所觸及的範圍已非其所屬媒介所涵蓋；對她來說，陶瓷是目的，
合及活動。她在韓國光州雙年展
也是工具，但她的物料的技術介入幾乎都是點到即止，十分克制，但在當
的作品更索性不用陶瓷作藝術媒
代藝術的語境中所涉範圍遠遠超出工藝的想象，尹麗娟作為以陶藝表達的
介，只用現成日常食品依包裝大
當代藝術家，她的進路在香港可謂只此一家。
小顏色整合排列，形成一絕對視 覺性的店面，此時物件的大小及 接縫拼砌方法佔據了觀眾大部份 的注意，當我們浸沉於顏色和形 《Every Day A Rainbow》 2016
狀衝擊的同時，又喚起物件自身 的日常功用和味覺經驗，在日常
和藝術經驗爭持中間，尹麗娟創了投入的錯亂感或智性的距離感，待塵埃 落定後，她又把「展品」分發給觀眾，把原屬生活的還給生活，用「禮物」
陳育強
取代了貨品，用饋贈消解了市場。
陳育強畢業於香港中文大學藝術系，後於克蘭 布魯克藝術學院獲得藝術創作碩士。曾參與逾
在此之前尹麗娟其實也嘗試在超市的貨架上混雜以模製日用品的陶瓷作品
百個展覽，包括第 51 屆威尼斯雙年展、第二
來銷售，希望能在畫廊、博物館這類正式展示藝術品的場合之外另覓新
屆亞太當代藝術三年展等。陳氏曾擔任《香港
機，修補藝術與生活間的距離，創造市民大眾和藝術作品接觸的機會。以
視覺藝術年鑑》 主編多年，並於香港中文大學
藝術家的角度來說，市場是投射日常慾望的場所，而物質的價值往往和稀
藝術系任教逾 25 年。現為 Para Site 藝術空間
有性有關，尹麗娟一方面用陶瓷仿製了日常用品，以無用取代有用，當中
及香港美感教育機構董事局成員，以及為亞洲
「稀有性」和「功用」的對峙變成一種矛盾，在一般的銷售場所來說，藝
藝術文獻庫和雅禮協會擔任顧問。
52
53
藝術的計劃很多時是為意外而準備的，稍後，意外更成為了尹麗娟的藝術
術上的稀有性並未強化對該物件本來應有的慾望，反而使應用的期望落
技巧。
空，形成一種空洞的存在──存在的其他貨品不斷和不存功用的物件互
技藝、身體記憶與出脫
技藝、身體記憶與出脫
涉，沒有功用的存在物彰顯了一種純粹的存在，比藝術品展示於展覽空間 由書的「殼」拆解到書頁和文字的獨立存在，尹麗娟又回到翻書頁的閱讀
更純粹，更冷酷。
經驗，她把一本本的雜誌塗上泥漿，每翻一頁便塗上一層，目光和內容的 接觸隨着手部的動作契合無間，眼是認知和理解，泥漿的覆蓋是隱藏，也
這作品的意念不斷伸延，成就了尹麗娟最新的市場版本，她索性租了一個
是遺忘；知與忘之間是一頁的時間，然後是火，火吞噬了訊息，燒結的泥
舖位，一概把日常物件如蔬果丶飲品丶罐頭用模製的方法大量生產，然後
胎成就了「曾經」的證據。尹麗娟的書不只是某本書，是她逐頁翻過的書，
以該物品的原來價錢出售，她一方面顛覆了藝術品和空間主客的觀賞經
成品是關於翻書的動作，被翻的書遺下了表情，見證了「曾經」。
驗，另一方面作品又和真實物件的價值掛鉤，市場和藝術品的涵意被重新 界定。
藝術雜貨 以陶藝作為藝術媒介，尹麗娟始終都不傾向顯露技術和手作的痕跡。但相
對尹麗娟來說，陶瓷作為藝術媒介的位置在整體作品的構成中有時處於中
對於對工藝投入的關注，她反而對生活現成物及其在市場流通的機制更感
心位置，有時被邊沿化到可有可無，她並未像一般陶藝家般在陶藝的傳統
興趣，並思考這些和藝術市場運
中爭取工藝的成熟與難度，從泥粉的成形到燒結，從模製到現成物，從生
作的各種現象，當中牽涉到藝術
活市場到藝術市場，她每一環節都逐一嚴肅反省，並以其階段性屬性造成
品、藝術家、中介人、買賣的場
作品，現時所觸及的範圍已非其所屬媒介所涵蓋；對她來說，陶瓷是目的，
合及活動。她在韓國光州雙年展
也是工具，但她的物料的技術介入幾乎都是點到即止，十分克制，但在當
的作品更索性不用陶瓷作藝術媒
代藝術的語境中所涉範圍遠遠超出工藝的想象，尹麗娟作為以陶藝表達的
介，只用現成日常食品依包裝大
當代藝術家，她的進路在香港可謂只此一家。
小顏色整合排列，形成一絕對視 覺性的店面，此時物件的大小及 接縫拼砌方法佔據了觀眾大部份 的注意，當我們浸沉於顏色和形 《Every Day A Rainbow》 2016
狀衝擊的同時，又喚起物件自身 的日常功用和味覺經驗，在日常
和藝術經驗爭持中間，尹麗娟創了投入的錯亂感或智性的距離感，待塵埃 落定後，她又把「展品」分發給觀眾，把原屬生活的還給生活，用「禮物」
陳育強
取代了貨品，用饋贈消解了市場。
陳育強畢業於香港中文大學藝術系，後於克蘭 布魯克藝術學院獲得藝術創作碩士。曾參與逾
在此之前尹麗娟其實也嘗試在超市的貨架上混雜以模製日用品的陶瓷作品
百個展覽，包括第 51 屆威尼斯雙年展、第二
來銷售，希望能在畫廊、博物館這類正式展示藝術品的場合之外另覓新
屆亞太當代藝術三年展等。陳氏曾擔任《香港
機，修補藝術與生活間的距離，創造市民大眾和藝術作品接觸的機會。以
視覺藝術年鑑》 主編多年，並於香港中文大學
藝術家的角度來說，市場是投射日常慾望的場所，而物質的價值往往和稀
藝術系任教逾 25 年。現為 Para Site 藝術空間
有性有關，尹麗娟一方面用陶瓷仿製了日常用品，以無用取代有用，當中
及香港美感教育機構董事局成員，以及為亞洲
「稀有性」和「功用」的對峙變成一種矛盾，在一般的銷售場所來說，藝
藝術文獻庫和雅禮協會擔任顧問。
Craft, body memory and breaking boundaries KURT CHAN YUK KEUNG
I have believed that the characteristics of different art medium can often uncover and deepen the different sensitivities of an artist’s sensory capabilities, training the body to generate memories and reactions through repetitive exercise – much like in target shooting where the shooter will perfect hand-eye coordination through continuous training, developing a form of internalised nervous reaction. If this capabilities are applied outside of target shooting, it will become a kind of reactive response, an attitude, even influence character and temperament. This is what I consider the impact of artistic training on one’s character, and applies to calligraphy, piano or pottery. Annie Wan began her artistic career from ceramic making, and her temperament, sensitivities and body have been shaped by pottery training, which opened for her a unique form of sensibility. Over time, she has come to embody the characters of earthiness, resilience, tranquillity, and perseverance. Since the 20th century, the trends of art has shifted its focus on concept instead of craft. With art becoming increasingly inseparable with knowledge, craftsmanship is seen as repetitive labour with little room for creativity. This is not unlike the rise of “literati paintings” during China’s Ming Dynasty, where learned individuals were more likely to be respected as artists. Transcending the mere status of professional painters, whose delicate stroke work were once prized, these literati painters became embodiment of spiritual knowledge beyond the realm of mere material technique. The contemporary focus on artistic concept has placed equal stress on ceramic artists, with some hoping to ditch craftsmanship in favour of the contemporary art genre, thus regaining their fame. Such change is attributable partly to internal history of art, with a favouring of impracticality
55
Craft, body memory and breaking boundaries
over utility. Nevertheless, utensil art has always been integral in the historic development pottery, with its tradition tying together the subordinating – even conflicting – relations between art and function. Nevertheless, the practice of contemporary ceramic art is unique in its character and the path it takes in terms of pure artistic expression. A unique example is fine in Annie’s work, where we can observe how artists starting with ceramics can uncover possibilities in the diversified facets and agendas of contemporary art – or conversely speaking, how contemporary art realises multifaceted development because of ceramics. Regression and extension I have come into contact with Annie’s work during her studies at the Department of Art at the Chinese University of Hong Kong. As foundations from her previous ceramic training clash with an academic structure with no specialisation, she was able to depart from ceramic thinking and mode of operation, while fully absorbing the impact from other artistic fields. Her work at the time was mostly based on mix-media expressions and ceramic sculpture. It was not until her graduate school years that she formally focused on research of ceramics as a form of contemporary art expression. Her interest at the time was mostly focussed on deconstructing the fundamental craftsmanship and creative processes of ceramic art. She returned to the most fundamental experiences of ceramic learning, conceptualise such experiences for example reviewing the rudimentary relations between hand and clay, removing any embellishment, experimenting with interchanging positive and negative space, restoring the relationship between container and sculptural and formative language, and etc. Later, she returned to the process of ceramic firing, using moulds to repeatedly fire the same object, exploring the phenomenon of the microshrinking of ceramics in the kiln. Interestingly, she applied the limitations of the processes of firing and moulding to develop a methodology of observation, seeing the non-ideal situations as an opportunity, search for a poetry logic – one example is her creation of a mould of the hand, then repeating shrinking-moulding process to turn the original into a spoon.
To Demonstrate the Evolution of Spoon from Hand 2003
Craft, body memory and breaking boundaries KURT CHAN YUK KEUNG
I have believed that the characteristics of different art medium can often uncover and deepen the different sensitivities of an artist’s sensory capabilities, training the body to generate memories and reactions through repetitive exercise – much like in target shooting where the shooter will perfect hand-eye coordination through continuous training, developing a form of internalised nervous reaction. If this capabilities are applied outside of target shooting, it will become a kind of reactive response, an attitude, even influence character and temperament. This is what I consider the impact of artistic training on one’s character, and applies to calligraphy, piano or pottery. Annie Wan began her artistic career from ceramic making, and her temperament, sensitivities and body have been shaped by pottery training, which opened for her a unique form of sensibility. Over time, she has come to embody the characters of earthiness, resilience, tranquillity, and perseverance. Since the 20th century, the trends of art has shifted its focus on concept instead of craft. With art becoming increasingly inseparable with knowledge, craftsmanship is seen as repetitive labour with little room for creativity. This is not unlike the rise of “literati paintings” during China’s Ming Dynasty, where learned individuals were more likely to be respected as artists. Transcending the mere status of professional painters, whose delicate stroke work were once prized, these literati painters became embodiment of spiritual knowledge beyond the realm of mere material technique. The contemporary focus on artistic concept has placed equal stress on ceramic artists, with some hoping to ditch craftsmanship in favour of the contemporary art genre, thus regaining their fame. Such change is attributable partly to internal history of art, with a favouring of impracticality
55
Craft, body memory and breaking boundaries
over utility. Nevertheless, utensil art has always been integral in the historic development pottery, with its tradition tying together the subordinating – even conflicting – relations between art and function. Nevertheless, the practice of contemporary ceramic art is unique in its character and the path it takes in terms of pure artistic expression. A unique example is fine in Annie’s work, where we can observe how artists starting with ceramics can uncover possibilities in the diversified facets and agendas of contemporary art – or conversely speaking, how contemporary art realises multifaceted development because of ceramics. Regression and extension I have come into contact with Annie’s work during her studies at the Department of Art at the Chinese University of Hong Kong. As foundations from her previous ceramic training clash with an academic structure with no specialisation, she was able to depart from ceramic thinking and mode of operation, while fully absorbing the impact from other artistic fields. Her work at the time was mostly based on mix-media expressions and ceramic sculpture. It was not until her graduate school years that she formally focused on research of ceramics as a form of contemporary art expression. Her interest at the time was mostly focussed on deconstructing the fundamental craftsmanship and creative processes of ceramic art. She returned to the most fundamental experiences of ceramic learning, conceptualise such experiences for example reviewing the rudimentary relations between hand and clay, removing any embellishment, experimenting with interchanging positive and negative space, restoring the relationship between container and sculptural and formative language, and etc. Later, she returned to the process of ceramic firing, using moulds to repeatedly fire the same object, exploring the phenomenon of the microshrinking of ceramics in the kiln. Interestingly, she applied the limitations of the processes of firing and moulding to develop a methodology of observation, seeing the non-ideal situations as an opportunity, search for a poetry logic – one example is her creation of a mould of the hand, then repeating shrinking-moulding process to turn the original into a spoon.
To Demonstrate the Evolution of Spoon from Hand 2003
56
57
Annie emphasizes on the logic of ideas. This model of thought is largely consistent in all of her works. Even as she takes her time in advancing her concepts, unconsciously alternating between abstract and tangible presentations, it enables her to explore in themes in great depth while allowing sufficient spaces of imagination. Annie possesses a traditional sensitivity toward the texture of ceramics, and has an obsession for daily objects, which fills her work with emotions and stories. The modulating medium between material and daily objects is the technique of moulding. On one hand she avoids the bright glazes comment used in pottery, allowing raw porcelain to express itself; on another hand her moulding technique converts the story into the substance of the ceramic work, which contains in its emptiness a vacancy of history and existence. The pristine ceramic body is a repression of emotion in itself, and as such these works are skilled in creating a certain distance in emotions…
books, and the untranslated ISBN codes, even when printed on the “cover”, referred only to an identity but not a name. As such these porcelain books were stood or placed quietly side by side with other paper books, creating emptiness and pause in this sea of information. The ISBN codes on these seemingly empty husks hint at a sense of weight, uneasy, and unrest. For Annie, this experience of exhibiting works in a real retail setting enriches the interpretation for the work, leads to a complementary defining relationship between venue and work, creating more complex content and bringing new challenges to the work and artist. This prompted her to look deeper into the encounter between the works and the audience, proposing questions.
Rather than saying Annie continues to expand the possibilities of ceramic art, one should say she takes the ceramic tradition as a coordinate, radiating her feelers to the enviros of life. Through the characteristics of ceramic art, she has created a flexible way of responding to external world, both directly and indirectly. Her work is at times the raw state of clay, at times exposes the traces of fire and water within the firing process, at times allusions to other objects and events… Despite her diverse creations are done in an almost sketching style, they exude her curiosity and emotions for the surroundings.
The presentation of the book theme later changed forms in other events, but the theme itself remained. In 2005 at an exhibition titled Re-Wanchai (held in Wanchai), Annie obtained various old shop signs and applied the moulding technique to create and present a poem using characters on the signs. This work points to the substance of books: texts, and also to the idea of publicness, transforming public material into the substance of works. As an author, Annie’s attitude was an non-forceful one, she extracts, moulds, edits, allowing opportune moment to activate the aura of the work. She seemed to enjoy the unknown in the process of creation, ceding authorship to chance. This tendency is evident in the “book pages” exhibit in the outdoor space at Cattle Depot. In I think It Rains, she used different clay to paint un-fired ceramic pages 1m x 1m in area, visualising the clay to become adhered to the floor tiles, drying, crackling under the sun, seemingly a layer of skin to be shed, and finally stepped on by the audience. Here, Annie’s concern for ceramics is no longer the visual appeal, but followed her usual vein of thought If it Rains 2013 to continuously regress the processes of ceramic making, breaking down every part, making the raw material of ceramics into the final product, showing the raw, unadulterated form of clay. This work later dissolves in a shower, returning earth to earth before the audience even had the chance to interact with it. I witnessed that moment when the
Craft, body memory and breaking boundaries
The book that was Perhaps because she likes reading, Annie has always felt deeply about the form and significance of books. These provide the avenue through which she elevates ceramic art from mere utensils to a concern for the world. Books are both objects and carriers of knowledge, pathways to other’s thoughts and the world. When knowledge is stored in the form of books, history is frozen and time is condensed into pages, then compiled into books… Annie’s book-themed works carry a sense of accumulation, pristine on the surface, yet the content of reference is vast and boundless.
Fragile Book 2011
Even as Annie’s concern for books in the early years were rather formal, the more important series of works began with the exhibition at Kubrick of Beijing. The venue of exhibition was in a book store, and the exhibits are volumes of moulded porcelain books. These ceramic books were banned titles in China, only identifiable by their ISBN code. Readers may wonder if books that could not be flipped could still count as
Craft, body memory and breaking boundaries
56
57
Annie emphasizes on the logic of ideas. This model of thought is largely consistent in all of her works. Even as she takes her time in advancing her concepts, unconsciously alternating between abstract and tangible presentations, it enables her to explore in themes in great depth while allowing sufficient spaces of imagination. Annie possesses a traditional sensitivity toward the texture of ceramics, and has an obsession for daily objects, which fills her work with emotions and stories. The modulating medium between material and daily objects is the technique of moulding. On one hand she avoids the bright glazes comment used in pottery, allowing raw porcelain to express itself; on another hand her moulding technique converts the story into the substance of the ceramic work, which contains in its emptiness a vacancy of history and existence. The pristine ceramic body is a repression of emotion in itself, and as such these works are skilled in creating a certain distance in emotions…
books, and the untranslated ISBN codes, even when printed on the “cover”, referred only to an identity but not a name. As such these porcelain books were stood or placed quietly side by side with other paper books, creating emptiness and pause in this sea of information. The ISBN codes on these seemingly empty husks hint at a sense of weight, uneasy, and unrest. For Annie, this experience of exhibiting works in a real retail setting enriches the interpretation for the work, leads to a complementary defining relationship between venue and work, creating more complex content and bringing new challenges to the work and artist. This prompted her to look deeper into the encounter between the works and the audience, proposing questions.
Rather than saying Annie continues to expand the possibilities of ceramic art, one should say she takes the ceramic tradition as a coordinate, radiating her feelers to the enviros of life. Through the characteristics of ceramic art, she has created a flexible way of responding to external world, both directly and indirectly. Her work is at times the raw state of clay, at times exposes the traces of fire and water within the firing process, at times allusions to other objects and events… Despite her diverse creations are done in an almost sketching style, they exude her curiosity and emotions for the surroundings.
The presentation of the book theme later changed forms in other events, but the theme itself remained. In 2005 at an exhibition titled Re-Wanchai (held in Wanchai), Annie obtained various old shop signs and applied the moulding technique to create and present a poem using characters on the signs. This work points to the substance of books: texts, and also to the idea of publicness, transforming public material into the substance of works. As an author, Annie’s attitude was an non-forceful one, she extracts, moulds, edits, allowing opportune moment to activate the aura of the work. She seemed to enjoy the unknown in the process of creation, ceding authorship to chance. This tendency is evident in the “book pages” exhibit in the outdoor space at Cattle Depot. In I think It Rains, she used different clay to paint un-fired ceramic pages 1m x 1m in area, visualising the clay to become adhered to the floor tiles, drying, crackling under the sun, seemingly a layer of skin to be shed, and finally stepped on by the audience. Here, Annie’s concern for ceramics is no longer the visual appeal, but followed her usual vein of thought If it Rains 2013 to continuously regress the processes of ceramic making, breaking down every part, making the raw material of ceramics into the final product, showing the raw, unadulterated form of clay. This work later dissolves in a shower, returning earth to earth before the audience even had the chance to interact with it. I witnessed that moment when the
Craft, body memory and breaking boundaries
The book that was Perhaps because she likes reading, Annie has always felt deeply about the form and significance of books. These provide the avenue through which she elevates ceramic art from mere utensils to a concern for the world. Books are both objects and carriers of knowledge, pathways to other’s thoughts and the world. When knowledge is stored in the form of books, history is frozen and time is condensed into pages, then compiled into books… Annie’s book-themed works carry a sense of accumulation, pristine on the surface, yet the content of reference is vast and boundless.
Fragile Book 2011
Even as Annie’s concern for books in the early years were rather formal, the more important series of works began with the exhibition at Kubrick of Beijing. The venue of exhibition was in a book store, and the exhibits are volumes of moulded porcelain books. These ceramic books were banned titles in China, only identifiable by their ISBN code. Readers may wonder if books that could not be flipped could still count as
Craft, body memory and breaking boundaries
58
59
clay is washed away under the downpour, a truly beautiful sight as coloured powder gathered and dispersed along the uneven floor tiles.
Before this, Annie has attempted to place porcelain moulds of daily items on the shelves of supermarkets, hoping to create new opportunities outside of galleries and museums to mend the distance between art and living, creating opportunities for the public to contact art. From the perspective of artists, the market is where our desire are projected, and material value is often related to rarity. Annie on one hand uses ceramics to masquerade as daily goods, replacing the impractical with the practical, where the tension between “rarity” and “function” become a paradox. As expectations of utility turn out unfulfilled, a non-existence is created where existing goods and non-useful objects interfere with one another and non-functional objects highlight a pure existence. This form of presentation is purer than an exhibition space dedicated to art, and more coldhearted.
Craft, body memory and breaking boundaries
The planning of art is well prepared for accidents to happen; and accidents later became Annie’s artistic technique. From the husks of books to deconstructing the independent existence of pages and texts, Annie returns again to the experience of flipping through books. She paints clay on each page of different magazines as she flips through them, the interaction of her gaze and content perfectly matches perfectly the motions of her hand – the eye recognizes and comprehends, the clay covers and conceals, thus forgets; knowing and forget happens within the time of one page, followed by fire. Fire engulfs the message, fired clay become the evidence of “what has been”. Annie’s books are not just any book, but books that she flipped through page by page. The work is about the motion of flipping, and the flipped motions are left with expressions, testifying to “what has been”. Art grocery Using ceramics as an artistic medium, Annie remains rather reserved in showcasing her skill and hand craftsmanship. Rather than a concern about investing in craftsmanship, she is more interested in the ready-made objects in life and their mechanism of circulation in the market, which she contemplates in conjunction with the phenomenon of the art market operation – involving art work, artists, agents, and venues and events of transaction. At the Gwangju Biennial, she gave up on the ceramic art medium, but only used readymade food items from real life, arranging them by colour and size, creating a storefront that is all about visual appeal. As the size and collage of the objects occupy the bulk Every Day A Rainbow 2016 of the audience’s attention, and as we become immersed with the impact of colours and shapes, we are reminded of the daily functions and tastes of the objects. As the daily and artistic experience struggle to come to the fore, Annie injects a confusion of immersion or a departure of rationality. After everything settles, she distributes the “exhibits” among the audience, returning what belonged to life into life, replacing merchandise with “gifts”, dissolving the market through the act of gifting.
Craft, body memory and breaking boundaries
As the idea continues to extend, Annie produces the latest marketable version of her work. She has rented a shop space, mass producing daily moulded objects the likes of fruits, drinks and cans, selling them at the price of the original merchandise. On one hand she has subverted the priorities of the viewing experience of art and space, on another her works are priced hooked with real objects, leading to a redefining of the meaning of market and art work. For Annie, ceramics as an art medium sometimes occupy the centre of the constitution of an overall work, sometimes marginalised. Unlike ordinary ceramic artists, she has not pursued maturity and complexity in craftsmanship within the ceramic tradition; rather she reviews each stage of the process from the formation to firing of clay powder, from moulding to readymade, from the market of living goods to the market of art. She applies the properties of different stages to create works, and the scope of these works has expanded beyond the medium itself. For her, ceramics is both an aim and a tool, yet the technical intervention for material is only barely touched upon, highly restrained. Yet the scope involved within the contemporary art context has far exceeded the imaginations of craftsmanship. As a contemporary artist engaged in ceramic expression, Annie’s path is truly unique among her peers in Hong Kong. KURT CHAN YUK KEUNG
Kurt Chan Yuk Keung obtained his BA from the Department of Fine Arts, The Chinese
University of Hong Kong, and his MFA from Cranbrook Academy of Art. He has participated in over 100 exhibitions, including the 51st Venice Biennale and the 2nd Asia Pacific Triennial. Chan was the chief editor for Hong Kong Visual Arts Yearbook for several years, and taught at The Chinese University of Hong Kong for over 25 years. He is now a board member of Para Site Art Space and the Hong Kong Institute of Aesthetic Education, and an advisor of Asia Art Archive and the Yale-China Association.
58
59
clay is washed away under the downpour, a truly beautiful sight as coloured powder gathered and dispersed along the uneven floor tiles.
Before this, Annie has attempted to place porcelain moulds of daily items on the shelves of supermarkets, hoping to create new opportunities outside of galleries and museums to mend the distance between art and living, creating opportunities for the public to contact art. From the perspective of artists, the market is where our desire are projected, and material value is often related to rarity. Annie on one hand uses ceramics to masquerade as daily goods, replacing the impractical with the practical, where the tension between “rarity” and “function” become a paradox. As expectations of utility turn out unfulfilled, a non-existence is created where existing goods and non-useful objects interfere with one another and non-functional objects highlight a pure existence. This form of presentation is purer than an exhibition space dedicated to art, and more coldhearted.
Craft, body memory and breaking boundaries
The planning of art is well prepared for accidents to happen; and accidents later became Annie’s artistic technique. From the husks of books to deconstructing the independent existence of pages and texts, Annie returns again to the experience of flipping through books. She paints clay on each page of different magazines as she flips through them, the interaction of her gaze and content perfectly matches perfectly the motions of her hand – the eye recognizes and comprehends, the clay covers and conceals, thus forgets; knowing and forget happens within the time of one page, followed by fire. Fire engulfs the message, fired clay become the evidence of “what has been”. Annie’s books are not just any book, but books that she flipped through page by page. The work is about the motion of flipping, and the flipped motions are left with expressions, testifying to “what has been”. Art grocery Using ceramics as an artistic medium, Annie remains rather reserved in showcasing her skill and hand craftsmanship. Rather than a concern about investing in craftsmanship, she is more interested in the ready-made objects in life and their mechanism of circulation in the market, which she contemplates in conjunction with the phenomenon of the art market operation – involving art work, artists, agents, and venues and events of transaction. At the Gwangju Biennial, she gave up on the ceramic art medium, but only used readymade food items from real life, arranging them by colour and size, creating a storefront that is all about visual appeal. As the size and collage of the objects occupy the bulk Every Day A Rainbow 2016 of the audience’s attention, and as we become immersed with the impact of colours and shapes, we are reminded of the daily functions and tastes of the objects. As the daily and artistic experience struggle to come to the fore, Annie injects a confusion of immersion or a departure of rationality. After everything settles, she distributes the “exhibits” among the audience, returning what belonged to life into life, replacing merchandise with “gifts”, dissolving the market through the act of gifting.
Craft, body memory and breaking boundaries
As the idea continues to extend, Annie produces the latest marketable version of her work. She has rented a shop space, mass producing daily moulded objects the likes of fruits, drinks and cans, selling them at the price of the original merchandise. On one hand she has subverted the priorities of the viewing experience of art and space, on another her works are priced hooked with real objects, leading to a redefining of the meaning of market and art work. For Annie, ceramics as an art medium sometimes occupy the centre of the constitution of an overall work, sometimes marginalised. Unlike ordinary ceramic artists, she has not pursued maturity and complexity in craftsmanship within the ceramic tradition; rather she reviews each stage of the process from the formation to firing of clay powder, from moulding to readymade, from the market of living goods to the market of art. She applies the properties of different stages to create works, and the scope of these works has expanded beyond the medium itself. For her, ceramics is both an aim and a tool, yet the technical intervention for material is only barely touched upon, highly restrained. Yet the scope involved within the contemporary art context has far exceeded the imaginations of craftsmanship. As a contemporary artist engaged in ceramic expression, Annie’s path is truly unique among her peers in Hong Kong. KURT CHAN YUK KEUNG
Kurt Chan Yuk Keung obtained his BA from the Department of Fine Arts, The Chinese
University of Hong Kong, and his MFA from Cranbrook Academy of Art. He has participated in over 100 exhibitions, including the 51st Venice Biennale and the 2nd Asia Pacific Triennial. Chan was the chief editor for Hong Kong Visual Arts Yearbook for several years, and taught at The Chinese University of Hong Kong for over 25 years. He is now a board member of Para Site Art Space and the Hong Kong Institute of Aesthetic Education, and an advisor of Asia Art Archive and the Yale-China Association.
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香港 藝術發展局
HONG KONG ARTS DEVELOPMENT COUNCIL
藝發局於 1995 年成立，是政府指定
Established in 1995, HKADC is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning.
全方位發展香港藝術的法定機構。藝 發局的角色包括資助、政策及策劃、 倡議、推廣及發展、策劃活動等。 藝發局的使命為策劃、推廣及支持包 括文學、表演、視覺藝術、電影及媒 體藝術之發展，促進和改善藝術的參 與和教育、鼓勵藝術評論、提升藝術 行政之水平及加強政策研究工作，務 求藉藝術發展提高社會的生活質素。 為可達至推動藝團發展、提升藝術水 平、開拓藝術家的發展空間之三大目 標，本屆將採取以下的發展策略： - 扶植具潛質的藝術家 / 藝團， 培育卓越發展 - 推動藝術行政，提升藝團的管理 能力 - 關注藝術環境，提出政策建議 - 擴闊參與群眾，開拓藝術空間 - 締結策略伙伴，凝聚藝術資源
The mission of HKADC is to plan, promote and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration and strengthening the work on policy research. To achieve the three major goals of fostering the development of arts groups, raising the level of artistic standards and exploring development opportunities for artists, the following development strategies will be formulated: - Supporting promising artists and arts groups for artistic pursuits - Promoting arts administration to improve the management of arts groups - Focusing on the arts environment and proposing policy recommendations - Enhancing public participation and exploring arts space - Fostering strategic partnerships and bringing arts resources together
72
73
香港 藝術發展局
HONG KONG ARTS DEVELOPMENT COUNCIL
藝發局於 1995 年成立，是政府指定
Established in 1995, HKADC is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning.
全方位發展香港藝術的法定機構。藝 發局的角色包括資助、政策及策劃、 倡議、推廣及發展、策劃活動等。 藝發局的使命為策劃、推廣及支持包 括文學、表演、視覺藝術、電影及媒 體藝術之發展，促進和改善藝術的參 與和教育、鼓勵藝術評論、提升藝術 行政之水平及加強政策研究工作，務 求藉藝術發展提高社會的生活質素。 為可達至推動藝團發展、提升藝術水 平、開拓藝術家的發展空間之三大目 標，本屆將採取以下的發展策略： - 扶植具潛質的藝術家 / 藝團， 培育卓越發展 - 推動藝術行政，提升藝團的管理 能力 - 關注藝術環境，提出政策建議 - 擴闊參與群眾，開拓藝術空間 - 締結策略伙伴，凝聚藝術資源
The mission of HKADC is to plan, promote and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration and strengthening the work on policy research. To achieve the three major goals of fostering the development of arts groups, raising the level of artistic standards and exploring development opportunities for artists, the following development strategies will be formulated: - Supporting promising artists and arts groups for artistic pursuits - Promoting arts administration to improve the management of arts groups - Focusing on the arts environment and proposing policy recommendations - Enhancing public participation and exploring arts space - Fostering strategic partnerships and bringing arts resources together
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鳴謝
ACKNOWLEDGEMENT 巨年藝廊 Giant Year Gallery
主辦機構 Presented by
捐助機構 Funded by
昌興南貨 Cheung Hing Grocery Store
香港青年協會賽馬會坪石青年空間 HKYGF Ping Shek Centre
節目伙伴 Programme partner
WWW.NEWARTSPOWER.HK
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75
鳴謝
ACKNOWLEDGEMENT 巨年藝廊 Giant Year Gallery
主辦機構 Presented by
捐助機構 Funded by
昌興南貨 Cheung Hing Grocery Store
香港青年協會賽馬會坪石青年空間 HKYGF Ping Shek Centre
節目伙伴 Programme partner
WWW.NEWARTSPOWER.HK
承印 Printing 山色制作 Sense Production Limited 國際標準書號
ISBN: 978-988-19665-7-5
設計 Design 馬蒨薇 Ma Sin Mei 攝影 Photography 張百銘 Cpak Ming 張志偉 Cheung Chi Wai 蔡心怡 Stella Tsoi 出版 Publishing 香港浸會大學視覺藝術院「啟德」研究及發展中心
Kaitak Centre for Research and Development, Academy of Visual Arts, Hong Kong Baptist University
© 2017 啟德 Kaitak
本書文章及圖片皆屬作者版權所有，本書任何部份 案經版權持有人許可，不得作任何形式之翻印、 轉載或翻譯。
All rights reserved. No parts of this publication may be reproduced, or transmitted in any form or by any means, electronic, mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the copyright holder(s).
本刊物內之意見乃作者個人觀點，作者將文責自負， 該意見不一定代表香港浸會大學立場。 Opinions expressed in this publication are those of the author(s), who shall assume sole responsibility, and do not necessarily represent the stance of Hong Kong Baptist University.