香港藝術發展局主辦 HONG KONG ARTS DEVELOPMENT COUNCIL PRESENTS
賽馬會藝壇新勢力 JOCKEY CLUB NEW ARTS POWER
afterthedeluge.com
06-31.01.2018
大坑東蓄洪池 Tai Hang Tung Stormwater Storage Tank 九龍深水埗大坑東遊樂場 Tai Hang Tung Recreation Playground, Sham Shui Po, Kowloon
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賽馬會藝壇新勢力
JOCKEY CLUB NEW ARTS POWER 香港藝術發展局 ( 藝發局 ) 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、釜山國際舞蹈博 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一百六十多節 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。
With a commitment to promote Hong Kong arts overseas, the Hong Kong Arts Development Council (HKADC) 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), the Busan International Dance Market (BIDAM), 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 160 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.
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FOREWORD BY CHAIRMAN
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，參與藝術，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
Hong Kong has developed a vibrant arts scene that is gaining momentum particularly in the recent years. Our home-grown 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. 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, the Trust 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
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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 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 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 homegrown artists with the Hong Kong community. 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 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
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屏息靜觀 平常看不見的起伏 see the Tai Hang Tung Stormwater Storage Tank in a new light
大坑東蓄洪池是這個作品的主角 藝術家和團隊刻意採用輕淡手法 請觀眾以自己的感官 構想一滴水流過城市的歷程 to keep the limelight on this significant site the artist and his team opt for light touches please flow through the journey with your senses open—like a drop of rain
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讓所有觀眾好好體驗作品 - 請注意 to ensure that everybody can fully enjoy the work - please note
12+
只適合 12 歲以上人士參觀 全程均需步行 ⁄ 站立 請跟隨嚮導，切勿超越觀賞範圍 for aged 12 or above only we will walk / stand all the way follow your guides, do not go beyond viewing zone
請勿使用閃光燈、發光設備或三腳架 請勿拍攝錄像 穿著高跟鞋者不得進場 no flash, light emitting devices or tripods no video recordings no highheels
患有慢性呼吸道疾病及幽閉恐懼症之人士 皆不宜參加是次體驗 如懷孕、患有慢性疾病如心臟病及高血壓 年滿 65 歲或以上之人士 請自行根據身體情況判斷是否適合參加 not recommended for those with chronic respiratory diseases and/or claustrophobia people who are pregnant, have chronic conditions such as cardiovascular disease and/or high blood pressure, or aged 65 or above, are advised to consider whether they are fit to join the tour
蓄洪池內燈光幽暗，有一定氣味 如旅程期間感到不適 請即時通知工作人員 the tank is dimly lit and there may be odour if you feel unwell during the tour please tell our staff immediately
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1954 年 7 月，火災後的大坑東。圖片鳴謝：政府檔案處歷史檔案館 July 1954, Tai Hang Tung after the fire. Photo credit: Public Records Office, Government Records Service
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街坊回溯 22-27.12.2017 recollections from the neighbourhood
在荔枝角道、太子道，水都很深， 連車都不能運作，是到膝蓋那麼深。 * 彌敦道尾，那裡都有浸。 以及南昌街，即廁所那邊的坑渠， 一路都塞滿了，要涉水過馬路。 * 在太子道，即是太子地鐵站門口， 多水到我根本走不動。 * 水很滿，有時來到腰， 就算穿水靴也沒用。 * 暴雨就會水浸，一時深一時淺， 水退得慢 ...... 連很遠的垃圾也會沖下來。
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受訪者 interviewees 利來車行 新山卡啦花店 孔伯 Uncle Hung 潘女士 Ms Poon 王瑩瑩 Wong Ying-ying 譚直培 Tam Chick Pui 余先生 Mr Yu
On Lai Chi Kok Road, Prince Edward Road, the water was very deep. Even cars couldn’t operate. The floodwater reached the knees. * It flooded even at the end of Nathan Road. On Nan Cheong Street, at the sewer near the toilet, It flooded all the way. We had to wade across the road. * At the MTR exit by Prince Edward Road There was so much water that I couldn’t walk. * It was full of water, all the way up to the waist. Rain boots didn’t help. * It flooded whenever there was a rainstorm. Sometimes deep, sometimes shallow. The water drained away slowly... Rubbish from far away would drift here.
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有時出門還未下雨，一出門才下雨。 我們多數早上去游水，很早就去， 游完回來水浸便要涉水行。 * 送學生、小朋友上學， 有時送了也沒課上， 裙又濕、褲又濕、襪又濕。 * 試過有一次，好大水， 我就叫他們：「你站在這裡 ! 先不要過。」 我一踏下去，那些水流急促到我腳都離地， 我就説：「不要去了，調轉頭回家算了。」 * 只要下大雨就水浸。 南昌街的店舖只要到雨天，便要拿一塊板閘着門口， 找些蠟漿住，防止水衝入來，不然浸到貨物。 * 上了尾閘也防止不了， 所以一水浸，損失就會很嚴重， 看誰不好運，又沒買保險。 只能曬乾貨物再用，沒辦法。
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Sometimes, the rain didn’t start when I left home. We usually went for a swim early in the morning. After the swim, I had to wade back home. * Sometimes, when I sent the kids to school, classes were suspended even if we made it there. The skirts, shorts, socks… Everything was soaked. * Once there was so much water I told them, “Stay there! Don’t cross the road.” I stepped forward, the current was so rapid that I was almost lifted off the ground. Then I said, “Don’t go. Let’s go back home.” * It flooded whenever it rained heavily. The shops at Nam Cheong Street had to block their door with a piece of wood. They waxed it to block off the water. Otherwise the goods would be drenched. * The water block didn’t work. Whenever it flooded, there would be a bad loss. It’s bad luck. There’s no insurance. We could only dry the foods in the sun afterwards.
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以前有條坑好大的，很寬的。 至到以前一間叫「東洛戲院」，直至那裡都是明渠。 * 我們叫它「臭坑渠」。現在條渠道沒有名字了， 現在叫做花墟道 ...... 還是花墟徑？ 總之你在家就不能長坐的，關窗開冷氣也會嗅到異味， 臭到死，很臭很臭，街知巷聞的。 * 明渠大概 ...... 我猜有這張長櫈寬，不只啊，再寬點。 兩邊有種樹，下面有水，有塘虱魚的，捉過這麼大條。 一捉上來我們就圍着看，後來就放走它， 這麼髒不能吃的嘛！ 很臭的那條渠。水都是黑色的。 * 當年很多人丟胎盤進大坑 ...... 以前很落後，有時生了不想要就丟掉， 用塊布、破衣服包住丟掉。 以前大坑很多的，每天早上行過都見。 * 現在種了花蓋住了。 這條渠很長歷史了，一路通去出面， 通去聯合廣埸，你知道哪裡嗎？
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The nullah was very big, very wide. Once there was a “Tung Lok Cinema”. The nullah ran all the way there. * We called it the “stinky sewer”. Now the reclaimed sewer doesn’t have a name anymore. The place is now called Flower Market Road… or Flower Market Path? In any case you couldn’t sit there for long. You smell the stench even in an air-conditioned room. The stench was repulsive. Everybody knew. * The nullah was roughly… as wide as this bench? Oh more, even wider. There were trees on both sides. There were catfish in the water. Once someone caught a big one. We gathered to look at it, and released it afterwards. It was so dirty and not edible! The nullah smelled horrible. The water was black. * Many people threw newborns into the nullah… Back then, it was very backward. Sometimes, when people didn’t want their babies, they wrapped them in torn clothes and threw them away. There were lots of them in the nullah. I saw it every morning. * Now it is covered by planters. This nullah had a long history. It ran all the way to Allied Plaza. Do you know where it is?
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1997 年 6 月，旺角水浸。圖片鳴謝：渠務署 June 1997, flooding in Mong Kok. Photo credit: Drainage Services Department
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有關 大禹之後 about after the deluge
第一次走進大坑東蓄洪池，彎彎的通道，已經教人震懾不已。在這個體積大 如四十個奧運標準游泳池的地下蓄洪池內做作品，可以說是天荒夜談。很榮 幸獲得渠務署和香港藝術發展局鼎力支持，有機會實踐這項史無前例的場域 特定創作。 準備項目期間，在會議室看到一面致送給渠務署的錦旗，上面寫着「功如大 禹」：盡忠職守的大禹，在崗位耗了十三個寒暑，期間三過家門而不入；幾經 努力，終於以嶄新的疏導方法，成功治理洪水，保障中土的安定繁榮。 很多文化也有跟洪水有關的神話─大水淹沒大地，水退過後，煥然一新。大 坑東地下蓄洪池的故事和大禹治水的典故有很多相同之處，也跟眾多洪水神話 相像；一座基建，標誌着一個年代。 蓄洪計劃的背景是城市化帶來的種種：雨水滲不進石屎化的土地，變成路上橫 流；不斷增長的城市密度、氣候變化，都增加了排洪的壓力。曾經，雨季中的 旺角，水浸得像一片海洋。好比大禹，蓄洪計劃以創新思維，讓被困城中的水， 流到自由的海。 《大禹之後》將這個默默地守護著城市的場域，轉化成靜思默想的空間，請觀 眾沿著水的步伐，走一圈見證着香港城市發展的道路，然後深入地下，屏息靜 觀平常看不見的起伏。
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The Tai Hang Tung Stormwater Storage Tank is breathtaking. We were mesmerized, descending there along the dimly lit, tunnel-like passage. To make art in this underground facility, with a volume equal to 40 Olympic swimming pools, is literally a pipe dream. Thanks to the exceptional support from the Drainage Services Department (DSD) and the Hong Kong Arts Development Council, unprecedentedly, we managed to present this immersive site-specific installation in the monumental space. In one of our preparatory meetings, we saw in DSD office a complementary pennant, crediting the civil servants for their "Yu-like contributions." The story of Yu the Great is a well-known myth from ancient China: assigned with the task of flood control, the unflaggingly devoted statesman was away from home for thirteen years; he passed by his family's doorstep three times, but never set foot inside. After years of hard work, he finally devised an ingenious system to effectively channel floodwater. His achievement was crucial to prosperity in the Chinese heartland. The deluge is a common mythological theme across cultures: everything on land is submerged in a huge flood; when the water recedes, a new world begins afresh. In many ways, the story of the Tai Hang Tung Stormwater Storage Tank is reminiscent of the legend of Yu and these flooding myths. Emblematic of our time, its context is the aftermath of urbanization: rainwater, unable to penetrate the paved ground, floods urban road; surface water discharge is accelerated by growing density and climate change. Once upon a time, Mong Kok was flooded like an ocean in the rain seasons. In a logic similar to that of Yu, the tank gives way to water trapped in the city, and lets it finds its course to the sea. After the Deluge transforms this urban stronghold into a space for contemplation. Following the cyclical footsteps of a drop of water, we invite the audience to retrace a path of urban development, and probe into what is often unseen.
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From the South of Nam Shan Via Tai Hang Tung East To Prince Edward Road West A boundless river on Boundary Street
To no avail, thirteen policemen Strive to haul the stranded On the fast lane, a young mother Crosses an ocean with her half-asleep child A murky lesson For her white school socks
Buildings soar like oil prices The narrowing alleys lose sight of Lion Rock No entry to the soil In a dust storm, the harbour recedes It vanishes in a miasma, hovering over the setting sun
Thirteen summers drain away A mottled bed remains In the sludge
He passes by his family’s doorsteps For the third time The stream murmurs
At the bend of the weir It takes a leap
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有關 大坑東蓄洪池 about Tai Hang Tung Stormwater Storage Tank
自 1980 年代，市區急速發展，舊區的雨水排放系統不勝負苛。每逢大雨，雨 水沿獅子山湧到旺角。彌敦道、界限街，在 1990 年代多次淹成汪洋澤國。 要處理城市化帶來的排洪壓力，可以加闊地下渠道。可是，在全港最密集的商 住區，這樣的工程估計要花上十年，期間既要封路，也可能要停水停電，對市 民會做成很大滋擾。渠務署於是採用了創新的方法，興建了大坑東蓄洪池。 大雨時，這個樓高 7.5 米，體積大如四十個奧運標準游泳池的蓄洪池，會將上 游過量雨水暫存，紓緩排洪的樽頸問題。自 2004 年落成後，大坑東蓄洪池使 用了 160 多次，蓄水量總達 214 萬立方米。蓄洪設施配以窩打老道至啟德明 渠的雨水轉運隧道，就算發生五十年一遇的極端暴雨，市民也不會受到影響。 * 《大禹之後》得到渠務署鼎力支持。渠務署的同事都有一種很特別的感覺─ 他們的能量好像水。走在蓄洪池，在暗光和難以形容的氣息當中，想像他們平 日的默默耕耘、聽到他們說到在溢流堰遇到的種種⋯⋯「功如大禹」的意思， 其實是甚麼呢？ 這班數字說得精準的工程師說過兩句意味深遠的話。一句大概是：水浸其實是 受困的水尋找自由。第二句是，當問到如果要想像自己是一滴水，助理署長 （操作維修）簡炎輝先生的回應：「在溢流堰溢出的一刻應該最快樂，因為終 於可以投奔自由的大海。」跟大禹一樣，說他們「治水」，不如說，他們「懂 得水」。 反思這個地下空間涉及到的宏觀問題的同時，《大禹之後》也向這班無名英雄 致敬。
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Since the 1980s, accelerated urbanization has strained the rainwater drainage system of the old urban centre. Rainwater rushed all the way from Lion Rock to Mong Kok. During extremely heavy rains, in the 1990s, deluges repeatedly hit Nathan Road and Boundary Street. These busy roads were flooded like an ocean. Enlarging underground pipes could be a way to relieve the pressure of urban floods. However, in the densest residential-and-commercial area in town, such a project would have to take over ten years. Construction would require blocking the roads and suspension of water and electricity supplies. Citizens would be significantly inconvenienced. The Drainage Services Department thus opted for an innovative solution and built the Tai Hang Tung Stormwater Storage Tank within four years. During heavy rain, the storage tank (with a height of 7.5 meters and a volume equal to 40 Olympic swimming pools) temporarily stores excessive rainwater from the upper course and alleviates the bottleneck situation. After its inauguration, the tank has been used for about 160 times and processed a total volume of 2,140,000 cu meters. Supplemented with the drainage tunnel from Waterloo Road to Kai Tak Nullah, the Storage Scheme can safeguard citizens from flooding, even when the most severe rainstorm happens once every fifty years. * After the Deluge is made possible with great support from the Drainage Services Department. There is something very special about staff members. They feel like water. Remembering what they have encountered in this dimly lit, inevitably pungent tank— what exactly are “Yu-like achievements”? The engineers are very precise with numbers. They also made two resounding remarks. The first one is something like “a flood is trapped water’s quest for freedom”. The other is a response to the question: how would you imagine yourself as a drop of water? “I will be thrilled to fall off from the overflow weir,” said Mr Kan Yim-fai, Fedrick, Assistant Director/Operations and Maintenance, “There I can head freely to the ocean.” Like Yu the Great, perhaps they do not really “control” water. They understand it. While reflecting on macroscopic issues related to this underground space, After the Deluge also pays tribute to these silent heroes.
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大坑東蓄洪池。圖片鳴謝：渠務署 Tai Hang Tung Stormwater Storage Tank. Photo credit: Drainage Services Department
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創作團隊及工作人員
creative team and crew 藝術家 Artist 伍韶勁 Kingsley Ng
跨媒體藝術家，多從事場域特定的創作，以光影、聲音 等非物質媒介，讓觀眾注意都每每被忽略的事物 。他也 是香港浸會大學視覺藝術院的助理教授。 Interdisciplinary artist specialising on site- and context-specific works. He uses intangible media, such as light and sound, to cast light on what is usually overlooked. He is Assistant Professor at the Academy of Visual Arts, Hong Kong Baptist University. www.kingsleyng.com
策劃／文字 Curator/writer 張慧婷 Stephanie Cheung
從事白牆以外的藝術，策劃工作以在公共空間及社區、 過程主導的項目為主。亦寫文章、小說和詩。 Specialises on art outside the white cube. Curates process-based projects in public space and communities. Also writes essays, fiction and poetry.
作曲家 Composer 李一葦 Angus Lee
作曲家及演奏家。畢業於香港演藝學院及英國皇家音樂 學院，師隨細川俊夫、Mark Andre 等。與伍韶勁合作的 作品包括在澳門的《Aeolian Scriptures》及在冰島語雷克 雅維克的《midnight | sun》。 By training a composer-performer, Angus Lee has studied composition under Toshio Hosokawa, Mark Andre, Simone Movio and Nicolas Tzortzis. His previously collaborations with Kingsley Ng include "Aeolian Scriptures" in Macau and "midnight | sun" in Reykjavik, Iceland.
聲音工程 Sound Engineer 楊我華 Anthony Yeung
畢業於香港演藝學院。劇場音響設計師、聲音工程師及 聲音藝術愛好者。2003 年獲香港戲劇節最佳音響設計， 2017 年獲第 19 屆香港舞蹈年獎傑出音響設計。 Graduated from the Hong Kong Academy for Performing Arts. He is a theatre sound designer, a studio sound engineer and a sound art enthusiasm. He received the Best Sound Design in the 12th Hong Kong Drama Award in 2003, and the Outstanding Sound Design in the 19th Hong Kong Dance Awards 2017.
燈光設計 Lighting Designer 李智偉 Lee Chi Wai
曾於城市當代舞蹈團工作。於 2007 年與友人成立香港舞 台設計公司，致力連繫表演藝術和後台技術。 Worked at City Contemporary Dance Company. He founded Hong Kong Theatre Design Company with friends in 2007.
網頁設計 Website Designer 卓穎嵐 Cheuk Wing Nam
同時從事聲音雕塑、新媒體藝術創作和程式設計的本地 跨媒體藝術家。 An interdisciplinary artist devoted to developing art with new concepts of mixing sounds and other media with modern computer technology.
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場地監督 Floor Manager 徐偉康 Tsui Wai Hong
畢業於香港城市大學日本應用研究副學士學位課程，以及 香港演藝學院藝術項目及舞台管理系學士學位課程。以劇 場自由工作者身份活躍於各種幕後工作及幕前演出。 Graduated with an Associate Degree in Applied Japanese from The City University of Hong Kong, a Bachelor of Fine Arts Degree in Theatre and Entertainment Arts (Event and Stage Management) from The Hong Kong Academy for Performing Arts. He is now a freelance theatre practitioner, working as a stage manager as well as a performer in various productions.
導賞團統籌 Guided Tours Coordinator 王茵茵 Wong Yan Yan
多年來參與策劃公共藝術活動。個人喜愛玻璃藝術創作。
研究助理 Research Assistant 王濰 Wong Wai, Mandy
2017 年畢業於香港浸會大學視覺藝術院。受到參與式創 作影響，她喜愛不受媒介限制，作品以自身處境出發， 由概念而起。
Organises public art activities. Enjoys making glass art.
Graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2017. Inspired by participatory art, she works beyond the confines of media and takes current situations and concepts as her point of departure.
製作助理 Production Assistants 丁立德 Zachery Ting Lap Tak
2017 年畢業於香港浸會大學視覺藝術院。創作多以自身 感知與生活經驗出發。專注於概念性、實驗性、以及物 料為本的作品，常用的媒介包括雕塑、裝置及攝影。 Graduated from the Academy of Visual Arts, Hong Kong Baptist University in 2017. His creative process usually begins with explorations of his own senses and experiences in life. He focuses on conceptual, experimental, material-based works, and employs different media such as sculpture, installation and photography.
曾明輝 Kazaf Tsang
剛畢業於香港浸會大學視覺藝術院。創作以概念性的裝 置、雕塑及混合媒體，探討存在以及關係中的情感。 A fresh graduate from the Academy of Visual Arts, Hong Kong Baptist University. He explores the notion of existence and emotions in relationships through a conceptual approach to Installation, sculpture and mixed media.
張穎欣 Cheung Wing Yan, Rivian
畢業於澳洲皇家墨爾本理工大學雕塑系。積極參與各式 藝術項目，擔任藝術家助手，學習不同的藝術語言。 Graduated from the Royal Melbourne Institute of Technology (major in sculpture). Through taking part in various art projects as an artist assistant, she keeps exposing herself to a range of artistic languages.
設備及技術支援
金舞台技術有限公司
Technical Management and Support
Stage Tech Limited
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香港藝術發展局工作小組 HKADC Project Team 行政總裁 Chief Executive 周蕙心 Winsome Chow 企業發展高級經理 Corporate Development Senior Manager 梁詠詩 Lorenex Leung 企業發展項目經理 Corporate Development Programme Manager 吳詠彤 Wendy Ng 邱德雯 Sasha Yau 企業發展項目主任 Corporate Development Programme Officer 賴凱婷 Lai Hoi Ting 羅錦浩 Richard Law 吳詠芯 Chesna Ng 企業發展項目助理 Corporate Development Programme Assistant 陳嘉敏 Karen Chan 趙燕雯 Dabie Chiu 梁爾倩 Attie Leung 編輯 Editor Cultural Connections 公關 Public Relations Sinclair Communications 社交媒體 Social Media 五斗米 Rice 5
鳴謝 Acknowledgements 浸會大學視覺藝術院 HKBU Academy of Visual Arts 創不同協作 Make A Difference Institute 香港創樂團 Hong Kong New Music Ensemble 政府檔案處歷史檔案館 Public Records Service, Government Records Service 香港電台 Radio and Television Hong Kong
《大禹之後》展覽場刊 After the Deluge – Exhibition Booklet 排版 Layout 鍾惠恩 Chung Wai Ian 出版 Published by 香港藝術發展局 Hong Kong Arts Development Council 本書刊以環保紙及大豆油墨印刷 Printed on recycle paper with soil ink
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香港藝術發展局 Hong Kong Arts Development Council 香港藝術發展局（藝發局）於 1995 年成立，是政府指定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 Established in 1995, the Hong Kong Arts Development Council (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. 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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香港藝術發展局主辦 HONG KONG ARTS DEVELOPMENT COUNCIL PRESENTS
賽馬會藝壇新勢力 JOCKEY CLUB NEW ARTS POWER
afterthedeluge.com
06-31.01.2018
大坑東蓄洪池 Tai Hang Tung Stormwater Storage Tank 九龍深水埗大坑東遊樂場 Tai Hang Tung Recreation Playground, Sham Shui Po, Kowloon
after the deluge 主辦機構 Presented by
捐助機構 Funded by
節目伙伴 Programme Partner
伍韶勁 作品 a work by kingsley ng