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藝術家簡介 Artist Biography 陳偉江1976年出生於香港。1988-89年就讀香港九龍新法書院初中一年級，同年輟學。2010年開始發表個 人作品，至今自資出版15本攝影集及舉辦7個個人展覽。2016年東京Zen Foto Gallery為其出版攝影集《油 麻地》及舉辦同名個人展覽。本年4月將於澳門展出作品「愛的日常 春風秋雨又三年」。 Chan Wai Kwong was born in Hong Kong in 1976. He left school at an early age and began to publish his works in 2010. To date Chan has self-published fifteen photography books. In 2016, Zen Foto Gallery (Tokyo) published “Yaumetei” and curated a solo exhibition for Chan under the same title. He had seven other solo exhibitions and the upcoming one will be held in Macau titled “Weathers of Love”.
陳偉江給我一本厚疊疊的長形書，這本份量十足，有650版1300張相片的 《愛的日常 春風秋雨又三年》是陳偉江出版的第17本攝影集，其中15本 為自資出的少量手作仔。因為這本書很厚重，他要自己做一個硬咭盒裝 載，「我只是影相為何又要做這些麻煩的手作。」對於拍照以外的事他不 愛講不愛做，我和他認識一年，都是用比較簡短說重點的方式交談。有一 次我問他攝影以後人生有什麼改變？「比以前還差，以前沒錢500元可以 用好幾天，現在每天都用菲林拍照，用的錢比以前多了很多，如果不能生 活說什麼也沒用！」雖然他這樣說，但原來他已經從事全職攝影差不多兩 年了，而且是完全沒有受聘的攝影工作，每天都在拍自己想拍的照片。 今次在牛房二樓展出的相片有三百多張，以密集形式展出，是一個強大的 視覺衝擊，大部份相是在今年一月出版的《愛的日常 春風秋雨又三年》 攝影集的相片，也有最近拍攝的。這次展覽可說是他人生的一個小總結， 很私密很自我的表現，既真情又色情，而真情中又帶有陳偉江自身身體的 情慾演繹，包括展示一身精剛身段及以性器來表現男權主義，可另一方面 他對女性胴體和易服有一種性別好奇心，男女性之間沒有絕對的男及女之 分，只是一個比例上的問題。或者很多相片最初看時有點嘔心，因為我們 習慣很多事情不去面對，例如大家認定糞便是嘔心的東西，所以從來都不 會去看，可是我們每天大約排便一次。 怎樣去介定作品的價值？我覺得是全身的投入，而且陳偉江是把最深層都 挖出來的那種，感覺一到就不斷的拍，但又不是亂拍，看他有條理的出版 自己的攝影集及展覽，而且每次都會作出一些改變，在相片的排位及展出 的舖排上，他都能很快整理出來。對於自己的態度很明確，也並不是想象 中的孤僻及難相處，他愛他的家人及女朋友常常成為他的拍攝對象，很喜 歡與兩個侄仔玩樂。也許他覺得自己與他們更接近，幾歲大的小孩純真、 直接，已經明白很多道理。可是社會把很多事情都複雜化及扭曲，如果長 大以後，還很單純的做事情，是要承受大部份人的異樣眼光，在他相片之 中不難發現對這個社會的不滿及諷刺。「我有很多相片想展出，也不知何 時會死，趁現在可以做想去完成。」他就是憑著簡單的信念去做著想做的 事情，然而這條路從來都不易行，但人生無論走那一條路都是要去面對才 能繼續走下去。 施援程 策展人
Chan Wai Kwong gave me a very thick book in rectangular shape. It’s actually a bulky album of 650 pages entitled Weathers of Love, a collection of 1,300 photos. This is his 17th album ever published. Of all the 17 editions, 15 were self-funded, hand-made albums with a small number of copies. The new album is so heavy that he has to make a box to hold it. “I only know to take photos, why must I do this troublesome handcraft work?” He’s such a man that he never likes to talk or do things other than photographing. Having known him for a year, I always have to chat with him in a succinct way, by only speaking the essential. Once I asked how his life changed after he became a photographer. “Worse than when I was not. Before, HKD$500 can sustain me for a couple of days. Now, everyday I take photo with film and I spend much, much more. If I can’t earn a living, everything is meaningless!” he grumbled. Regardless, he has been a full-time photographer for nearly two years, absolutely without any monetary returns, but everyday he is taking photos at his own will. This exhibition at Ox Warehosue features, in an intensive manner, more than 300 photos by Chan Wai Kwong, creating a strong visual impact. Most are from the latest album Weathers of Love published in January 2016; some are his recent works. It is a summary of his life, and an intimate self-revelation that is both true and erotic, as he interprets his sensuality, showing his own lean body and sex organs to convey the idea of patriarchy. On the other hand, he shows his curiosity towards female body and transvestism. In his eyes, there is no absolute gender distinction between men and women, for regardless of the gender of the physical body, each soul has a certain percentage of male energy and female energy — just in different proportion. Many photos, at the first few glances, look a little disgusting. That is because we get used to avoiding confrontation of a lot of things in daily life. For example, we take crap as disgusting, and we never want to see it, although we do poop everyday. How to judge the value of Chan Wai Kwong works? I think it lies in his full dedication, and the truest inner exploration and revelation. He would keep shooting, nonstop, once surrendering to his creative impulse. That being said, he never took photo radomly or aimlessly. And I can see how he published his photography collections and presented exhibitions in an orderly manner, with some changes and freshness each time. Moreover, in terms of photo display order and exhibition setup, he always can quickly sort them out. He has a clear stance, is not as withdrawn and difficult to get along as I imagine. He loves his family; his girlfriend often becomes his photography subject and he likes playing with his two small nephews. Maybe Chan feels closer to them — children of several years old, innocent and straight forward, have learned some truths about life. But in modern society, many things tend to be complicated and distorted. If a grown-up still do things in a very simple way, he has to bear people’s contempt. In his photos, one may easily find the artist’s discontent and irony toward society. “I have a wealth of photos that I want to exhibit, and as I do not know when I will die, I must make good use of the present to fulfill my desire.” With this simple faith, Chan Wai Kwong does what he wants. But it can be a difficult path. Well, no matter which path one chooses to take in the walk of life, one must embrace challenges in order to carry on. Cora Si Wun Cheng Curator