這真是個「藝術即生活」的時代。 走入商場，你看見櫥窗裡賣的靚衫、靚 錶、靚手袋、閃令令引人注目，海報上 寫上一句話：Live is Art。去到餐廳，你 看到精緻可愛的 cupcake、咖啡、刀叉 桌椅。餐牌上寫道：The Art of Living。 藝術展銷會門票附送酒店晚餐優惠券， 鼓勵觀眾逛完畫展去食飯，只因為， 「藝術，源於生活」…… 今日，你再講，「藝術即生活」？大家 都一早知道啦。 問題是，當我們說「藝術即生活」，怎 樣「即」法？除了那些貼上藝術標籤的 商品，可以賣多幾倍價錢促進消費外， 藝術與生活，到底是甚麼關係？如果 「藝術即生活」，那為何那麼多活生生 的人說，藝術與他無關？又，如果「藝 術即生活」，那為甚麼，藝術愛好者總 是只識得藝術家的作品，而不知道，他 們是怎樣生活的？
This is the era of “Art is life”. In the windows of a shopping mall, you see fancy clothes, watches, hand bags, all looking sparkling next to slogans saying, “Life is Art”. In a restaurant, you find delicate cupcakes, coffee, cutleries laid out on a table with a menu which reads “The Art of Living”. You also get a complementary hotel-dining coupon attached to an art fair ticket, encouraging the audience to have a meal after visiting the fair, all simply because “Art comes from life”… And now, there is no way to say, “Art is life” without stating the obvious. The thing is: when we say “Art is life”, how does art ‘become’ life? Apart from products which get labelled as art to attract consumption and generate profit, what is the true relationship between art and life?
今次，在「藝術生活日誌」裡面，我們 有楊秀卓、黃振欽、梁以瑚（二胡婆 婆）、黎慧儀、劉學成及創藝同行（阮 美寶、翁志健），舉辦開放創作室，親 身體驗生活為本的創作；吳家俊、鍾惠 恩製作一個度身製作的「藝術組合 櫃」，歡迎大家睇吓又坐吓；最搞笑的 是 ， 程 展 緯 、 黃 宇 軒 、C&G藝 術 單 位 （張嘉莉、鄭怡敏），會充當接線生角 色，與大家作藝術對話。 我們也同時找來曾翠薇、何兆基、黃麗 貞、石家豪、劉掬色和林東鵬，透過影 像與文字，紀錄他們生活點滴。藝術， 我們談得不多，聊的卻是上班的道路、 收藏的舊物、買玩具的時間、逛街市的 喜悅……馮美華亦會在現場，與他們一 起講故仔。 這些，才是真正的「藝術即生活」吧！
文／藝術生活日誌編輯室
If “Art is life”, how come in the eyes of many, art has nothing to do with them? Also, if “Art is life”, how come while art-lovers know how to appreciate an artwork, but have little knowledge about the lives of artists? On the occasion of Live Art Daily, YEUNG Sau-churk Ricky, WONG Chun-yam Leo, Evelyna LIANG, LAI Wai-yi Monti, LAU Hok-shing Hanison, and artwalker (Meipo YUEN, YUNG Chi-kin) will teach “Hobby Classes” for the audience to experience their lively creation, while NG Ka-chun and CHUNG Wai-ian will present a specially designed Living Art Cabinet, welcoming the audience to take a look and have a rest. Also, amusingly CHING Chin-wai Luke, WONG Yu-hin Sampson and C&G Artpartment (Clara CHEUNG and CHENG Yee-man Gum) will receive phone-calls from the public and converse about art.
12.12.2015 (Sat)
上街去 On the road 游走於城市空間 Meandering through urban space
20.2.2016 (Sat)
返屋企 Back at home 家家都有藝術事 Dwelling in domesticity
12.3.2016 (Sat)
藝術生活 Live in Art 創作生活習慣 When art becomes habits
Meanwhile, we will also revisit the work of TSANG Chui-mei, HO Siu-kee, Fiona WONG, Wilson SHIEH, Gukzik LAU and LAM Tung-pang by documenting their lives through moving images and text. When you watch TV, read newspapers and join artists’ sharing at Live Art Daily, you will find that we haven’t covered much about art for art’s sake; some talked about their paths to go to work, others shared how they spent time collecting old objects and toys, or how much they enjoyed shopping at wet markets…May FUNG will also be there to host the sharing. And all these above, are what we call “Art is life”!
Live Art Daily Editorial Team
平易近人的藝術家分享 Down-to-earth sharings
與香港當代藝術家和公眾朋友 一起尋找生活中的創作起點
講故仔 Telling Tales
讀報紙
12.3.2016
煲電話
Artists: HO Siu-kee, Gukzik LAU
9121 0720
Telephone
主持：馮美華 | Moderator: May FUNG
接線生：黃宇軒 Operator：WONG Yu-hin, Sampson 語言：粵語 | Language: Cantonese
2:30 PM - 4:30 PM
Where art begins For artists and everyone 1:00 PM
藝術家：何兆基、劉掬色
撥個熱線電話，來個“藝術”對話 Hotline for artistic inquiry
藝術家分享生活細碎，捕捉生活感知與日常創意 Musings on the everyday
7.3 - 16.3.2016 | 2:00 PM - 10:00 PM 人地 Others, Elsewhere
Newspaper
藝術家：林東鵬、石家豪、黃麗貞、曾翠薇、何兆基、劉掬色
睇電視
Artists: LAM Tung-pang, Wilson SHIEH, Fiona WONG, TSANG Chui-mei, HO Siu-kee, Gukzik LAU
你想先聽好的還是壞的消息？藝術家黃宇軒每天為 大家搜羅世界各地的好壞消息，還有與此相關的藝 術事，連繫不同的人和地。
天南地北，真情對話 Heart-to-heart dialogues
Would you like to hear good or bad news first? Listen to good or bad news Sampson WONG collected from around the word, and how art is related to these stories about the life of others, elsewhere.
TV
梳士巴利花園藝術廣場
Art Square, Salisbury Garden
6:00 PM 傾心事
藝術生活
Private Conversations
Live in Art
藝術家：曾翠薇 | Artist: TSANG Chui-mei 2:00 PM - 6:00 PM 藝術家：劉掬色 | Artist: Guizik LAU
創作生活習慣 When art becomes habits
攤抖吓 Living Room
開放創作室，親身體驗生活為本的創作 Learn art beyond the studio
香港藝術館“無牆唱談”展覽加料節目 A Fringe Programme for “Wall-less Chit-ChaNt” Exhibition, Hong Kong Museum of Art
度身製作的“藝術組合櫃”，歡迎大家睇吓又坐吓 A made-to-order Living Art Cabinet
2:00 PM - 2:30 PM | 4:30 PM - 6:00 PM
興趣班 Hobby Classes
師傅：鍾惠恩、吳家俊 Makers: CHUNG Wai-ian, NG Ka-chun
流動藝術工作室：以人為本視藝課 Mobile Art Studio – a people-oriented visual arts lesson 藝術家：創藝同行 | Artists: artwalker 1:00 PM - 3:00 PM 陶盆上的花園 Garden in a Ceramic Pot 藝術家：劉學成 | Artist : LAU Hok-shing, Hanison 3:45 PM - 5:45 PM
鴨寮街上的路人
何兆基： 他和 他的寶物 文 / 陳穎棋
比約定時間早半小時，我站在堆滿人 與雜物的鴨寮街盡頭，忽然看到一位
品，更像工具、零件，隨時在鴨寮街
何兆基的每件寶物都流露著多多小小
何兆基相信，物件的宿命非人類所能
看他在路邊蹲著，仔細檢視鋪滿一地
的歲月痕跡，例如桌上的銅鐵小擺
控制。它們會以自己的方式在世界中
的貨物，看得入神。
設，隨著時間氧化而改變了它的顏色
存 在 。 如 他 最 喜 歡 的 一 件 舊 物─ 一
看罷，他向我走近。恍然才知他是我
和質感。這樣的變化紀錄了時間流逝
隻用毛筆寫上物主姓名，且註明「別
的訪問對象：何兆基。
的過程。看著他撫摸、把玩不同舊
人不得取去」的舊毛刷。物主恐怕已
物，心生好奇：為何他會對不屬於自
死去多時，只有毛刷猶存，如今就在
己時代的物品如此依戀？
何兆基手裡。
摩羅街閒逛，才赫然發現一個新世 界、一個舊物的世界，自此便被吸引 著，開始對收藏產生愛好。 1
於中大藝術系畢業後，何兆基曾留校 任助教，並成為雕塑家兼當時系主任 張義的徒弟。之後有一年做了張義的 全職助手，每天幫老師準備木雕，亦 經常跟隨老師游走於各舊書店、舊物 攤。到他留學美國攻讀碩士期間，週 末沒什麼好做，就會到跳蚤市場，一 逛就是兩、三個。 他沒特定要收藏某類型物品。「無論 是在雜架攤賣得較平的，或是在古董 店定價較貴的；只要你看得上眼的， 都是與你有種緣份。具體來說，它可 能曾與你過往經驗相關，所以你會覺 得那些物件吸引到你。」他從異地把 各式各樣的舊物帶回香港，存放在一 個個鐵箱裡，收藏品愈儲愈多。不過
他笑說：「我很喜歡拿著一件舊物， 去想像為何它的某處會崩破了？究竟
手上的寶貝
發生過甚麼事？因為每件舊物都經歷
我跟隨著何兆基在鴨寮街逛了一陣
過它本身的歷史，你可以想像到千百
子，他在小店買了隻小羊角。只見他
個與這件物件曾經發生過關係的人和
一直撫弄著羊角的結構，或許又生出
故事。當你拿著一它，不斷想像，亦
不少靈感。而我像小孩子不停追問：
可以開心一晚。」
「是真的嗎？真是羊角來的嗎？」
對何兆基來說，無論是一隻寫有某人
與何兆基聊天後，也引發我一段奇
姓名的毛刷、一部陳舊的手提幻燈片
想：也許這羊角會在某年某月某日，
機、又或是一艘鐵皮小船，只要靠想
再次偷溜到一間類似的二手店，等待
像，就可以把此刻存在的他與不同時
著被另一個人帶回家。而數十年後，
空的人和事連結起來：那件物件的主
我們可能會在一個像深水埗那樣的社
人，雖然曾經與它有過如此這般的故
區裡，重遇這隻曾經屬於何兆基的羊
事，如此珍惜過它；如今它卻來到何
角。又或者，它會變成某件作品的碎
兆基手上。舊物給何兆基說明，沒有
片或零件……或許，再深厚的缘份也
天長地久，唯獨曾經擁有。
會消逝，隨時間、地點、人物，不停
「一件物件，你收藏它；意思不過是
流轉。
物件在世的生命裡，其中一刻剛巧停 留在你手上。」他看著自己的早期作 品說：「作品雖然是我創造出來的， 但意義也一樣。當作品完成後，它亦 只會是一件物件。我亦只能擁有它在 世界流傳的其中一刻。」
近來何兆基沒再「入手」了，他笑言
那不如為藝術品想想，怎樣找個好歸
實已沒有空間再存放珍藏。近年
宿？是否應該力圖爭取作品成為藝術
買的，都是與大學研究計劃有關的竹
館收藏或私人藏品？對此何兆基卻又
製品。
處之泰然。「如果有一天我的工作室 火燭，消防員幫手清理後，可能就會
Inner Ear, Shooting Machine, Horizoner (details), 1991, mixed media, collection of the Hong Kong Museum of Art
二十多年來，掬色老師每天起床做的第
這樣教出來的香港人不懂自愛。以食物
Saint-Exupéry）的一句話:「一個人在
一件事，是飲一杯水。然後，她煮早
來說，「整個世界的食物提供以及生產
尋找上帝，就是在為眾人尋找上帝。」
劉掬色：
餐。她的早餐菜單像繪畫的調色盤。比
機制不是以愛護大家的角度出發，而是
所以掬色老師尋找生活舒服的辦法，也
如說，粉白的雞蛋、綠色的蔬菜汁、紫
在商言商為了賺錢。」商家既然想要的
不只為了自己的舒服，而是希望所有人
自愛， 就是對社會好
色的蕃薯牛奶麥皮。至於人工食品如香
是最大利益，又怎會看見你的健康？他
獲益。
腸、火腿、煙肉等，從來不在掬色老師
們看見的只有錢，難怪香港人活得「不
的餐單內。
好」。
文 / 何苑婷、楊天帥
對她而言，吃得好，就是「自愛」的
「You
表現。
老師說。 ●●●
在香港，像掬色老師那樣注重食得健康 的人不多。返工忙。早餐？哪有時間坐 定定食，寧願多睡一覺。午飯時間只有 一小時，太匆忙，餐廳飯堂人又多，湊
1
you
eat.」掬色
用心為病人治病，這就是他愛世界的方 式。」又如洗碗工。「如果他認真看待
三年前，她在 HAJI Gallery 舉辦的個人 展覽──《我們吃，其實我們在吃什麼 呢？》便是透過一系列創作，希望讓觀
自己的工作，每隻碗碟都會洗得像自己 使用一般乾淨，這就是他愛世界的方 式。受惠的，便是每一個人。」
眾重新發現我們在吃的是什麼，然後，
盡心盡力，去愛自己、愛世界，對掬色
學習自愛。
老師而言，是她作為一個今日的藝術工
港人對自己負責任。「甚麼是愛？愛就 是做好, 就是讓自己和人都舒服。愛自 己和愛他人，就是這樣的意思。」「正
作者對美的思考，和追求的擴展，有別 於昔日社會對藝術的定義。掬色老師認 為時代已經改變。現在我們談藝術，其 實定義可以很寬闊。
「這其實是對自己很不負責任的
如你愛你的親人和情人，你不會給他們
「只要你能夠用你的熱情，去思考社會
做法。」掬色老師。「你應該愛你
吃砒霜；又願意給他們做很多事，那你
的事怎樣可以做得好些，你就是藝術
自己。」
對你自己呢？為何不肯為自己着想，反
家。」她說。「所以藝術家也可以是各
而 會 讓 自 己 去 吃 砒 霜 ？ 」
行各業的人，他可以是農夫、攝影師、
「這個世界太擾攘了，所有事情把生活
老師、記者、作家、歌手……藝術可以
填得滿滿。我們看不到自己的需要，看
在每個人身上發展出來。」
顏色。在香港從事藝術教育多年，所以 人人都叫她掬色老師。她時常對學生 說，要懂得愛自己。跟朋友吃飯聊天， 她也說，要愛自己。連做創作，她亦往 往以「愛自己」為主題。
不到自己的想法。我們已經失去愛生命 那種真正的原動力。」她說。 「藝術可以幫助我們 Recover。」
罷了。」
但難道製造食物的商人不也是愛自己 嗎？難道為了自己的最大利益，犧牲社
打從學生時代開始，已經不斷被命令要
會，不也是「自愛」嗎？
樣，你就要怎樣。公開試要考這些，所 以你就要讀這些。畢業後，人人想搵份 好工，所以你要搵份好工。上班了，老
掬色老師說，不是。「如果你愛自己， 你就會愛這個世界；如果你愛這個世 界，就會更明白何謂自愛和愛人。」
闆要求你這樣做，所以你就要這樣做。
她解釋說，自愛固然是希望自己舒服，
2 《紅與書，綠海，紅雙喜》（局部），1991， 彩色影印移印版，香港藝術館藏品
「教育制度教我們在社會做一顆螺絲
但一個真正舒服的空間，譬如社會，
Red and Book, Green Sea, Red Couple (details), 1991, colour copy transfer prints, collection of the Hong Kong Museum of Art
釘，有教我們怎樣做一個好的自己。」
其實不可能是一個人的事。它需要大家
掬色老師說。
一起建設。因此掬色老師很喜歡《小 王子》作者聖艾修伯里（ Antoine
「說到底，我們為甚麼要搞藝術？」她 微笑道。「其實只不過是想活得好一點
因為社會從來不教人愛自己。香港人， 跟大隊。哪裡有甚麼自己？校規是怎
Gukzik LAU in her studio
what
晚飯時間早過，隨便填肚趕快回家罷。
是雙手合起來做一個捧起的動作，採集
劉掬色在她的工作室
are
掬色老師想香港人「自愛」。她希望香
掬色老師原名劉佩儀，筆名掬色，意思
2
掬色老師是這樣想的，比如說醫生。 「如果一個醫生真正愛他的工作，就會
合著吃算了。下班太晚，九點幾十點，
無啖好食，是大多數香港人的寫照。
1
上出現。誰叫我的作品都不像藝術
彬，有如一位奇人在深水埗出沒。遠
中學畢業後，他走到住所附近的上環
2 《內耳、發射器、水平儀》（局部），1991， 混合素材，香港藝術館藏品
眾難以觀察到的私密一面。
給你遇上，也是毫不出奇的。」
行的儲郵票、儲閃卡，亦全無興趣。
HO Siu-kee in Apliu Street
就有機會像其他舊物一樣，在雜架攤
收賣佬與何兆基，物件的宿命？
小時候從沒有收集癖好，對於當時流
何兆基在鴨寮街
何兆基對藝術以外的這份長情，是觀
子的先生。他架著幼框眼鏡，文質彬
逛著鴨寮街，神情愉快的何兆基說他
1
有收賣佬來執走我所有東西。而作品
身穿墨綠布衣、配搭相同顏色麻質褲
「收雜」的起源
2
二十年的收藏，二十年累積的創作。
de
HO Siu-kee: Someone in Apliu Street
Half an hour before our meeting time, I
there is no more storage space. What he
Then, how about finding a permanent
spotted a bespectacled gentleman at the
recently bought are mostly bamboo
home for the works? Shall one try to get
end of the congested Apliu Street, in a
objects related to his research at the
them collected by a museum or a
dark green shirt with matching slacks.
university.
private patron? Kee takes it easy. “If my
Hunching over a roadside stall, he was immersed in close inspection of its stock.
Original text in Chinese: Ki CHEN Translation: Stephanie CHEUNG
He has been collecting objects for 20 years. This commitment, outside of art,
After a while he rose up and walked
is telling of a private side of the artist,
towards me. Then I realized he was my
rarely seen by the audience.
junk store. After all, my works do not look like art. They are more like tools and spare parts. It won’t be surprising to
Kee
Each treasure of Kee’s embodies the
find them in Apliu Street.”
contentedly says that he was not into
vestige of time. For instance, the bronze
Kee believes that the fate of objects is
collecting when he was young. While
ornament on his desk is oxidated; time
not controlled by people. They exist in
his peers collected stamps, flash cards…
has transformed its colour and texture;
the world in their own ways. For
none of these interested him. After
its process records the passage of time.
example, one of his favourite old objects
graduating from secondary school, he
Looking at him fondling these objects, I
is a brush marked with its owner’s
started spending time in Cat Street,
am curious: why is he so obsessed with
name and the statement “not to be
which is near his home in Sheung Wan.
something that belongs to another
taken
There he discovered a new world – a
time?
passed away a long time ago, but the
He says with a smile, “I like holding an
brush is still here, now in Kee’s hands.
along
Apliu
Street,
world of old stuff that has fascinated him
ever
since.
He
then
became
addicted to collecting. After graduating from the Fine Arts
old object has its own history. You can
Department of The Chinese University
imagine thousands of its encounters –
of Hong Kong, Kee stayed in the
people who were related to it, and the
department as a teaching assistant and
stories of them. Once you hold it in
apprenticed to sculptor CHEUNG Yee,
your hands and keep imagining, you can
who then became the head of the
be thrilled for the whole night.”
full-time assistant
to
CHEUNG for
another year, helping him with wood preparation, and frequenting second -hand stores together. When he was doing his Master’s in the United States, flea
markets
were
his
favourite
weekend past-time. He would visit two or three markets in a row.
“It might be something cheap from a junk store, or an expensive antique. Whatever catches your attention is a destined encounter. Perhaps it is related to your past experience, so you are attracted.” He brings home all kinds of old objects from other countries, and
HO Siu-kee in Apliu Street
keeps them in metal cases. His collection 2 《三眼》（局部），1996，混合素材，香港藝 術館藏品
has grown over time, but he has stopped his “acquisition” lately because
The Third Eye (details), 1996, mixed media, collection of the Hong Kong Museum of Art
Gukzik LAU:
cherished them dearly. Today, these objects are in Kee’s collection, and they ownership is momentary.
waiting for its next owner. Decades later, this horn, once belonged to Kee, might appear again in a community like Sham Shui Po. Or it might become fragments of an artwork, or a spare part … Even the strongest ties might be gone one day, in the constant flow of time,
“When an object is in your collection, it
places, people, and things.
is only by chance that, in its lifetime, it stays in your custody for a while,” he says, looking at his earlier
works,
“although the works were created by me, it is the same. When it is completed, it is just another object. I own it only for a moment; it continues to exist in the flow of time.”
yourself and others.” Her reasoning is that if you love
motivated by business interests.” When
Saint-Exupéry: when a person looks for
To her, eating well is an expression of
businesses are all hungry for profits,
God, he does this for everyone. So she
“loving yourself.”
who cares about your health? All they
strives to live in a comfortable way, not
see is money.
just for herself, but for the benefits of
case
of
food,
“The
“You are what you eat,” says Gukzik. No wonder Hong Kongers “do not live well.”
food. Breakfast? Most would rather
Three
sleep for a longer while than sitting
exhibition at HAJI Gallery – “We Eat,
down for a proper meal. The eateries
What Exactly Are We Eating?” Through
are always full during the one-hour
a series of creative works, she hopes the
lunch break; grabbing a bite is all you
audience can rediscover what we eat,
can do in the rush. Work finishes past
and then, learn to love themselves.
years ago, she had a solo
you
she
want
to
quoted
create
Antoine
a
de
everyone.” When someone loves himself, he would try to be good. If everyone tries to be good, the world will head towards perfection. This is what Gukzik believes. For example, “if a doctor really loves his work, he does not treat his patients only for money. He treats them with his heart. This is how he loves the world…
Gukzik wishes people a better life. So
If a dishwasher loves himself, he takes
she urges them to love themselves. She
his job seriously. He makes sure that
A majority of Hong Kongers have a
hopes people will take responsibility for
every dish is as clean as his own.
lousy diet.
themselves. “What is love? Love is
Everyone benefits.”
giving yourself and others comfort. This is what it means by loving yourself and loving others.” “Like when you love your
Originally called LAU Pui-yee, the artist
loved ones, you are willing to do
has chosen “Gukzik”, meaning “collecting
everything for them. You won’t feed
colours”, as her pen name. She has been
them poison. What are you doing to
teaching
so
yourself then? Why don’t you think for
“Gukzik laoshi
yourself? Why do you feed yourself
art
everyone
for
calls
many her
years,
“you should love yourself.” She says the same thing when she dines and chats with friends. When she makes art, “love yourself” is also a theme.
poison?” “The world is too busy. Our lives are all filled up. We don’t see what we need. We don’t see what we think. We have lost the love of life — that real drive,”
Our society never encourages people to love themselves. Ever since our school
She says.
As an art practitioner, Gukzik realizes her thoughts about and pursuit of beauty through striving to love herself and love the world. This is different from how society defined art in the past. Gukzik thinks that time has change. Art has taken on a wider relevance. “If you can passionately think about society, and how things can be better, you are an artist,” she says. “Artists come from all
walks of life – farmers,
photographers, writers,
teachers,
singers…
Art
journalists, can
be
“Art helps us recover.”
demonstrated by everyone.”
But then, aren’t food merchants also
“After all, why are we making art?” She
oneself? You have to observe the school
motivated
says with a smile, “we just want to live
rules. You have to study for public
maximization of profit, even at the
exams. After graduation, everyone looks
expense of social good, also a form of
for a good job, so you have to follow
“self-love”?
days, we have been instructed to follow the
crowd.
Where
does
one
find
2 《紅與書，綠海，紅雙喜》（局部），1991， 彩色影印移印版，香港藝術館藏品
suit. When you work, you have to
Red and Book, Green Sea, Red Couple (details), 1991, colour copy transfer prints, collection of the Hong Kong Museum of Art
satisfy your boss. “We are moulded into the society’s nuts and bolts by the
報紙設計 Newspaper Design 鍾惠恩 CHUNG Wai-ian
鳴謝 Acknowledgement
by
“self-love”?
Isn’t
the
better lives.”
Gukzik says no. “If you love yourself, you love the world; if you love the world, you see what it means by loving
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About MaDi (Make A Difference Institute)
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Make A Difference Institute (MaDi) is a Hong Kong-based non-profit, non-government and community-initated cultural organization. It steers MaD (Make a Difference), a collaborative platform for creative responses to our time's challenges and positive change in Asia. Dedicated to nurturing a creative civil society, MaD advocates empathetic and ethical practice, and promotes sustainability and inclusivity.
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way to another second-hand store,
way
(teacher)”. She always tells her students,
楊天帥及《立場新聞》藝評班 YEUNG Tin-shui and The Stand News art criticism class
stories of their owners, who once
someday, this goat horn might find its
driven by care for the people. It’s all
“you should love yourself.”
研究團隊 Research Team
or a little tin boat. Those objects hold
After chatting with Kee, I muse on this:
to be created by everyone. I like the
“This is very irresponsible,” says Gukzik,
《立場新聞》The Stand News
asking like a curious kid, “Is it real? Is it
mechanism in the whole world is not
9PM. Dinner time is over. One just
Stephanie CHEUNG Helen FAN YIP Kai-chun TSIM Hui-laam, Liv CHAN Yi-kwan, Sardonna
while touching its structure. I kept
society – is not a personal matter; it has
wants to go home after a quick feed.
張慧婷 樊樂怡 葉啟俊 詹昫嵐 陳怡君
from a small shop. He seemed inspired
supply
conscious as Gukzik when it comes to
藝術家短片拍攝及製作 Artist Video Production
for a while. He bought a little goat horn
the
In Hong Kong, few are as health
加料節目策劃小隊 Fringe Programme Curatorial Team
I strolled along Apliu Street with Kee
comfortable space. This space – say a
●●●
Gukzik LAU
The Treasure on Hand
quite know how to love themselves. In
of her recipe.
劉掬色
probably
yourself,
Translation: Stephanie CHEUNG
1
owner
Trained this way, Hong Kongers do not
sausages, ham and bacon, is never part
2
name, an aged hand-held slide projector,
taught to be a good self.”
in oatmeal… Processed food, such as
1
– might it be a brush with someone’s
starting her day with a glass of water.
white, green juice, purple sweet potato
Original text in Chinese: Noel HO, G YEUNG
people and things across time and space
education system,” says Gukzik, “but not
platter is like a painter’s palette: egg
To Love Yourself Is Good for the Society
To Kee, imagination connects him to
For over 20 years, Gukzik LAU has been Then she makes breakfast. Her morning
The
a real goat horn?”
remind Kee of transience: nothing lasts;
His collection sources from everywhere.
away”.
old object and imagining why part of it is broken. What has happened? Every
department. Then Kee worked as a
何兆基在鴨寮街
away all of my possessions. My works
HO Siu-kee, and the fate of objects?
Strolling
1
rag-and-bone man might come and take
The rag-and-bone man and The Beginning of Collecting
2
firemen are done with clearing, a
might end up, like other old stuff, in a
interviewee: HO Siu-kee.
1
studio caught fire one day, when the
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