Minding the G(r)a(s)p by Para Site

Minding the G(r)a(s)p

擱角覺

C&G Artpartment C&G 藝術單位 Eastman Cheng

鄭淑宜

Chow Chun Fai

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周俊輝

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Jaffa Lam

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林嵐

Lau Hok Shing

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劉學成

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Lulu Ngie

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倪鷺露

Wong Wai Yin

黃慧妍

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The exhibition title ‘Minding the G(r)a(s)p’ is a triple entendre——gap, gasp, grasp. It is a way to draw attention to the distance between seeing and knowing in the exhibition viewing experience and it might be greater than the audience first realise. To explore the liminal space between intuitive and cognitive experience. The gasp is the surprise when the audience discovers new narratives or ideas when they are able to look beyond preconceived notions related to the artists on view in the exhibition. The audience is encouraged to consider their individual agency and make their interpretation freely as they encounter the stories of each artwork; they should not adhere to any official statement or follow a certain exhibition viewing routine. ‘Minding the G(r)a(s)p’ questions the active versus passive roles of audience, artist, and curator——and seeks to reconfigure the power dynamics between these participants. The exhibition is inspired by a recent work of Wong Wai Yin, Everyone’s sick, which consists of twenty recorded interviews of Hong Kong artists and art practitioners. Wong uses Spiritual Response Therapy (SRT) to elucidate the restricted beliefs

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and obstacles on life issues hidden deep in the interviewees’ subconscious. The interviewees were steered to talk more about their struggles that are often inexplicable, like challenges encountered in everyday life and art-making, as well as the conditions of the art industry. As a response to Wong’s alternative yet profound approach to understanding the inner world of artists, I attempted to forgo the conventional curatorial frameworks by initiating conversations with the seven artists and artist collectives without a predetermined curatorial thesis or subject matter. Through our conversations, I had glimpses into aspects of these artists' practices that are rarely seen or discussed, leading to further creative possibilities. Instead of asking the artists to respond to a curatorial objective, the exhibition encourages them to look beyond usual modes of collaboration with institutions. The artists depart from their individual artistic practice and venture into a reevaluation of their creative development. The exhibition aims to allow artistic freedom for the participating artists to realise the works or projects that could be in any form, which they most urgently want to create at this particular

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Celia Ho

Minding the G(r)a(s)p

Looking closely at the reflection of these multiple ‘mirrors’ (artworks) reveals the viewer’s invisible subconsciousness and sparks a deeper conversation within. The audience is invited to share observations and thoughts and create more vantage points by leaving a message to those who visit the exhibition afterwards. It is fine for visitors to not resonate or feel any connections with the artworks, as long as they can stay true and mindful to their inner voices and feelings throughout the journey, that can be perhaps a fruitful self-therapeutic discovery. Celia Ho

Going into the exhibition space through different paths, the audience will notice that the space has been partitioned into layers of corridors, each spaced at a comfortable distance. The layered design allows the visitors to spend quality time with each artwork individually, in order to grasp the significance and context behind each work and establish a personal link that might guide the visitors to their inner self. It is often said that an artwork is a mirror to an artist.

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Celia Ho

moment of uncertainty. The works included in the exhibition are imbued with personal significance for the artists. Some are previously unrealised proposals, others have never been widely exhibited. Yet still are experiments——improvisations in the here and now. The exhibition returns the focus to each artist's practice, particularly their own assessments of their creative needs, in order to reveal a side to these artists that is rarely seen, with refreshing perspectives to their established practice. Each artist approaches their respective work with candidness, the works could be seen as an unmediated reference to the conditions related to the art ecology, societies, and eras that allow emotional resonance among the audience.

擱角覺展覽題目「擱角覺」與「咯咯咯」（gok3）

我想透過策劃此群展所達到的。因此是次群展我

是我對觀眾的一個邀請，希望走進展覽空間的觀

香港藝術家展開對話，窺探藝術家平常不為人知

的敲門聲同音，是擱置、角色、覺察的縮寫。這眾先把對觀展的任何預設都擱置。無論觀眾對各

藝術家有多深入的認識或對其創作風格有多瞭如指掌，請暫時放下以往的認知，觀眾或許會發現嘗試從自身角度去詮釋及感受作品，不必仰賴作品解說作為出發點，或局限於約定俗成的觀展方

法；藉此叩問展覽中不同持份者的角色，嘗試探索觀眾、藝術家與策展人之間被動既主動的權力關係。

是次策展的方向受黃慧妍的近作《全部都有病》

啟發，此錄像作品中記錄了二十位香港藝術家及工作者的訪問。訪問過程中黃慧妍試圖以靈性反

應治療的方法顯現受訪者的潛意識，梳理當中被限制的信念與人生中的阻礙，引導受訪者談及在

生活、創作、甚至藝術生態中難以言明的掙扎。

以此另類交流揭示藝術創作者的內心世界同樣是 005

的創作面向，探問及釋放出更多創作的可能。在

無需有意識地回應策展主題下，邀請藝術家擱置慣常群展的合作模式，以自身出發、借此機會檢

視個人的創作進程，讓藝術家自由地去實驗及成就當下迫切想要展現的作品。實現的創作成果都是此刻對藝術家別具意義的作品，譬如過往未曾實現的一些計劃、未完成的試驗、未被廣泛認受的作品，甚至是當下有感而發的新作。當焦點回

歸到每位藝術家最純粹的創作意圖時，我們或許可更理解藝術家們對自身創作的反省和需求，看到藝術家較少見的另一面，以此開發新的角度去看待其過往的作品。藝術家們將最真切的情感投入，在不受展覽命題驅使下，我希望作品可更真

實地折射出當下的藝術生態、社會以至時代的面貌，並更能夠引起觀眾的共鳴。

走進展覽空間，沿着不同的路徑進入，觀眾會 006

何思穎

擱角覺

藝術家鮮為人知的另一面。展覽旨在讓觀眾可以

把一些既定的策展框架擱下，在無前設下與七組

發現空間被間隔成一層又一層的走廊。每一層的設計讓觀眾逐一遇見作品，層次之間保留足夠距離，讓觀眾可與每件作品好好相處，讓觀眾能靜觀作品，逐步潛入創作者的內心世界，以之觀照自己。常聽說作品是藝術家的一面鏡子，希望觀

眾自由地解讀作品的同時，亦可透過各藝術家們展開更深層對話。觀眾可以選擇把對展覽的觀察及領悟與其他人分享，於展場內留下訊息給後來

何思穎

擱角覺

的多面「鏡子」投射出自身的潛在意識，與自己

的觀眾創造更多理解作品的入口。若是你對作品沒有任何共鳴或反應也不要緊，只要你在觀展經驗中真誠地接受自身的內在感覺及覺察，或許已經是一趟「自療」的身心經歷。

何思穎

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C&G Artpartment Minding the G(r)a(s)p

C&G (Clara CHEUNG; Gum CHENG Yee Man) are two Hong Kong artists who founded the art space C&G Artpartment in Hong Kong in 2007. With a strong concern over the local art ecology, C&G uses their art to respond to social and cultural issues. Their essential goal is to fill up the cracks in the current art scene, and allow C&G Artpartment to become an art space for idea exchange. In the past fifteen years, C&G Artpartment has curated more than 100 exhibitions that included more than 120 local artists to respond to the social and cultural issues in Hong Kong. C&G has participated in various international art events, including the Singapore Biennale (2019) and Shanghai Biennale (2018). C&G Artpartment closed its physical space in Hong Kong in August 2021, and relocated to the United Kingdom in late 2021 to keep fighting for their artistic freedom and to encourage others to make art critically.

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Established in 2007 in Hong Kong. Lives and works in United Kingdom

Minding the G(r)a(s)p

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Critical thinking is definitely one of C&G’s creative core values. Art-making leads us to push the boundaries of the unimaginable. It allows us to transcend difficulties in the toughest of situations. As creators, if we do not question those who have come before us, challenge the status quo, strive to be groundbreaking, 013

Minding the G(r)a(s)p

and only stay in the existing comfort zone, we can’t imagine how we would deserve to be called creators. We think that the existence of C&G can influence someone or something to effect changes. Not that other professions cannot achieve the same, but for us, art-making is the direction and method we are most proficient with. The influence of art is slow and subtle but lasting. We think that art creation, from preparation, execution, to the completion of artwork, and its exhibition, naturally projects a certain reality. The stronger the work, the more authentic its impact. This power, which is accessible and easy to resonate with, has a most imperceptibly profound impact. This seems to be our driving force for making art. As we continue to make art, organise programs, and get more people involved in order to ignite a greater collective power, it has perhaps come to define our mission as artists, and also the reasons why C&G exist.

C & G Critique Contest uses the format of competition to deepen the different facets of art communication and exchange, and encourages more public participation through voting and prizes. Public participation is another characteristic of C&G’s work. You advocate exchanges between artists of different disciplines and the 014

C&G Artpartmen

In the fifteen years since C&G Artpartment’s founding, most projects take on a critical angle to explore the art ecosystem or social issues. For example, for curatorial projects or exhibitions, you would invite artists to make artwork in response to social propositions. The program you have designed for this exhibition, titled C & G Critique Contest, invites the public to submit critiques of C&G Artpartment, hoping they will point out problems with this collective and raise viewpoints unnoticed before, so as to review C&G’s past artistic effort. At the same time it is an experiment to see, under the society’s atmosphere now, whether someone still dares to criticise, and a sarcastic effort to point out that those who are criticised are not necessarily open to hearing and accepting criticism. Is critical thinking a creative core value of C&G? What does C&G think about the significance and value of art-making?

Sure, we can. In 2004, we did Wedding Engagement at the July 1st Protest. Although the general atmosphere of the public at the time was resentful, within the march, people were still hopeful. When the public saw us dressed in traditional wedding attire cheongsan and magua in the sweltering summer heat, they did not hesitate to congratulate and cheer for us. It was unforgettable. We hoped the performance would bring some joy to the society, by juxtaposing the most private narrative with that of the society’s. The artistic concept was pure, and the public’s reaction were genuine. After 2014, C&G organised a series of street art performances and documentary exhibitions titled Decongestants for West-Kowloonization. The aim was to bring art-making back to the streets, and return to our public space in the name of art. In March 2018, we presented Beat it from the said series, where we invited artists to put on guerilla performances, installations, and participatory public events in the Nullah Road Sitting-out Area in Prince Edward. If we were to follow the atmosphere and logic that were the norm

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in old Hong Kong, as art practitioners, we should have been happy to see the audience actively participating in every program in the entire project . Nevertheless, ever since the Umbrella Movement, Hong Kong has not been the same. In 2018, on the eve of the revolution, when we saw certain individuals enthusiastically showing support at every of our art programs, we were rather alarmed and worried, thinking that they may be an undercover national security officer. To realise true participatory art in public, we need a public space and social climate where people feel safe to connect with one another and build mutual trust. Hong Kong used to have such a space, where we could make art without worry. This space that belongs to us will return.

Quite a number of your past works employ a humorous and down-to-earth style, which differs from the 'high art' of the commercial art market. Are you worried that the audience or the art circle do not treat your work seriously? For C&G, what is the fun in art-making? What drives you to continue making art?

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C&G Artpartmen

Minding the G(r)a(s)p

public, in order to bring people closer. Could you share some memorable experiences you had with the public in your projects?

The fun part is one has yet to meet one’s best work, so one has to keep working to realise one’s best work. And when one keeps making art, one is greeted by many unexpected opportunities. It is a cycle that allows one to elevate oneself once one manages to activate it: keep creating, create the best work, meet opportunities, keep creating, create the best work, meet opportunity, and continue on and on. It is the ideal scenario where one works to live. (This cycle is different from the slow vicious cycle of falling into the trap of administrative work, working like a robot, stay017

Minding the G(r)a(s)p

ing in a comfort zone, being addicted to power, and losing sight of purpose.)

Most of your past projects took place on the streets, where the process of art-making is revealed to the public directly to facilitate communal art exchange. In contrast, the work in the current exhibition, titled Indoor Charcoal Drawing Of The REAL Hong Kong Contest, invites the audience to observe the urban scenery outside through the many holes on the wall. Why not instruct the viewers to go straight to the street, but instead to stay indoors and sketch through a hole? You have organised many workshops related to drawing from life. Does life drawing mean anything important to your artistic approach? First of all, as the Chinese saying goes, wind does not come from an empty cave without any reason. This work is tailor-made for Para Site. With indoor sketching, the audience is encouraged to stay in the exhibition space, boosting foot traffic. On the other hand, staying indoors lessens the need for frontline and administrative staff to leave their posts, and in turn reduces the stress caused by offsite work, minimises errors on the job, and increases efficiency. 018

C&G Artpartmen

We are never worried about that. C&G is precisely a special case, walking the fine line between high art and grassroots art. Although C&G’s physical creations cannot be sold on the commercial market as 'high art', C&G’s artistic concepts have still garnered the attention and praise of said market. We are invited by various art fairs to speaking engagements to discuss and share, we attend dinners hosted by local leading art institutions, we are invited to take part in multiple international biennials. The reach of C&G is very far and profound, and the recognition we receive has always been consistent. It is not a lucrative business, but it is enough for modest living. As long as one can work in the arts and make a living out of it a place to live, a car, no debt, and no loans, it seems people do treat one’s work with respect in general.

We consider sketching to be the most basic art form with the lowest technical requirements. In theory everyone can do it. So sketching is a good starting point for public participation. Our works are mostly paintings and drawings, and it makes a lot of sense for us to host sketching workshops. Some people would think that drawing from life is only for amateurs and leisure purposes. But with the right idea, combined with the right time, space, and people, it can become a rather spectacular art project.

What do you think has become different in the Hong Kong art world now versus fifteen years ago? Now that you reside overseas, what plans do you have for future projects?

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Fifteen years ago, C&G was founded in 2007. That was an indication of the openness of the society, where independent and unorthodox collectives like C&G could exist. Just as an art critic we have a lot of respect for, Lau Kin Wah, commented early on in an article that C&G is like a tiny stone in someone's shoes. Although it is small, it still causes a lot of discomfort to step on and people want to get rid of it as soon as possible. C&G has been a tiny stone for more than a decade now, and it seems C&G is still a tiny stone in someone’s shoe, but that someone’s leg is different. It is an iron leg without temperature, elasticity, sensation, or blood. We remember that in 2009 and 2014, C&G published C&G Artpartment 2007–2008 and Not as Trivial as You Think: Hong Kong Art Quiz, our two magnum opuses. We interviewed around twenty artists who have been active since then until now, and asked them to unpack a few art problems based on art history, in a forward-looking manner. Now when we look back on these problems, most of them are yet to be resolved after more than ten years. Some of these issues have even worsened over time. What else can we say? Even if we move to the North Pole, C&G will still exist, and we will continue on our art journey.

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C&G Artpartmen

Minding the G(r)a(s)p

Thirdly, when Para Site was founded, site-specific installations were its mainstay. We hope to go back to that origin and create a site-specific work here. Furthermore, to stay true to the ‘charcoal-burning’ in the title, staying indoors is a must. Sketching through a hole is a peculiar, out-of-the-box experience. Of course, C&G would love to experience together the ‘real Hong Kong’ that is truly difficult to see nowadays with the audience.

C&G Critique Contest 2022 Mixed media, public engagement Dimensions variable Commissioned by Para Site for this exhibition

Indoor Charcoal Drawing Of The REAL Hong Kong Contest Minding the G(r)a(s)p

Entrance 021

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C&G Artpartmen

2022 Mixed media, public engagement Dimensions variable Commissioned by Para Site for this exhibition

擱角覺

2007 年成立於香港，現生活工作於英國

C&G 藝術單位於 2007 年由兩位香港藝術家張嘉莉及鄭怡敏（阿金）成立。C&G 藝術單位集中關注本地的藝術生態，以其創作回應社會時事。其目標為致力填補本地藝術圈的罅隙，期望能成為一個推廣本地藝術交流的空間。過去十五年以來，C&G 藝術單位已策劃了 100 多個展覽，並與超過 120 位本地藝術家合作，共同回應香港的社會及文化議題。C&G 曾獲邀參與許多國際藝術活動，包括新加坡雙年展（2019 年）及上海雙年展（2018 年）。 C&G 藝術單位於 2021 年八月無奈結束香港的實體空間，並於 2021 年底遷至英國，為繼續捍衛藝術表達自由，並鼓勵更多人實踐具批判性的藝術。

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C&G 藝術單位

Minding the G(r)a(s)p

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成立至今十五年間所舉辦的項目多以富批判性

慢很慢很不明顯，但最終其影響力會是深遠的。我

劃展覽或活動時會邀請藝術家以藝術創作對社

的過程中，都自然散發出一種真實。越強的作品，

的角度出發探討藝術生態或社會議題，譬如策

會命題作出回應。是次展覽的活動《批評 C&G 大賽選舉》邀請公眾參與批評，期盼公眾可以

指出問題，收集一些未曾察覺的觀點，藉此檢視及回顧 C&G 過往的創作經歷。同時亦試驗在現

時社會氛圍下是否還會有人有膽量提出批評，而具批判性的思考是否作為 C&G 的創作核心？

其感染力越真實，就是這種難以唾手可得，又能與你產生共鳴的力量，往往會是最潛移默化、影響深

遠，這似乎就是我們創作藝術的動力。而不斷創作，不斷搞活動，不斷擴大其他人的參與度，務求集體

引爆更大的力量，似乎是我們作為藝術家的意義和使命，亦是 C&G 的存在價值。

C&G 對藝術創作的意義和價值有什麼想法？

是次活動《批評 C&G 大賽選舉》以比賽形式來深化藝術溝通與交流的不同面向，通過增加

批判性的思考絕對是 C&G 創作核心之一。藝術創

投票和獲獎機會來提升公眾參與度。公眾參與

作帶領我們去開拓一些不能想像的領域，讓我們在

是 C&G 的另一創作特色，主張與不同領域的藝

更艱辛的狀況中，都有能力超脫困境。作為創作者，

術家和公眾交流，拉近人與人之間的連結。可以

如果並非千方百計對前人質疑、進行挑戰、推陳出新，只貪戀或擁抱着現有的舒適圈，我們想像不到這怎麼配得上「創作」二字。

我們認為 C&G 的存在，可以對某人、事、物作出

分享在過去的項目中一些與公眾難忘的經歷嗎？

有。

2004 年， C&G 遊行訂婚，當時的社會氣氛雖然佈

影響，從而做出改變；而其他行業並非做不到同樣

滿怨氣，但是在遊行行列中，大家還是滿懷希望，

方向及方法。而透過藝術所做出來的影響，雖然很

毫不猶豫向我們這對陌生人恭賀、打氣，那一幕是

影響，只是對我們而言，藝術創作是最得心應手的 027

當大眾看見我們穿着裙褂在炎炎夏日參與遊行，都 028

C&G 藝術單位

擱角覺

且諷刺被批評者不一定都願意聆聽並接受批評。

們覺得藝術創作由籌備、進行，至作品完成、展示

難忘的。當時的行為是希望為社會冲喜，把最私人

的敘事與大眾的敘事並列、交錯，創作理念是純粹的，而公眾的回應也是直率的。

這個屬於我們的空間，必會重現。

2014 年後， C&G 策劃了一系列《西九化 ‧ 談 ‧ 實

不少過往創作以嬉笑怒罵、貼地的方法去呈現，

的街頭藝術行動和文獻展覽，旨在把藝術創作重新

擔心觀眾或藝術圈會不認真地對待你們的創

錄》（ Decongestants for West-Kowloonization）

帶回街頭，以藝術之名讓大家重新返回屬於我們的公共空間。 2018 年 3 月，進行了《西九化 ‧ 談 ‧

實錄》系列之《打鑊金》（ Beat it ），邀請了多位

藝術家在太子水渠道休憩空間四周，進行游擊式的

與商業市場上的「高級藝術」相差甚遠，會否

作？對於 C&G 來說，一直以來創作好玩之處是什麼？是什麼推動你們持續創作？

不會擔心。 C&G 的創作正正是一個特殊例子，遊

行為藝術、裝置藝術、公眾參與藝術項目。如果按

走於高級藝術與草根藝術之間。雖然 C&G 的實體

作者在看見有現場觀眾十分積極參與整個項目的每

但 C&G 的創作理念仍受以「高級藝術」自居的商

着從前香港的社會氣氛及正常邏輯去思考，藝術工一個活動，理應極為欣慰。不過，雨傘之後的香港，其實已不一樣，在大革命前夕的 2018 年，當我們看見有個別的現場觀眾非常熱烈地支持我們的每一

個藝術活動時，我們竟然擔憂和起戒心，心想：這是什麼國安臥底嗎？

要實現真正的公眾參與藝術，我們需要一個能夠讓大家安心與他人接觸、建立互信的社會環境、公共空間。

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創作未能於商業市場上以「高級藝術」姿態放售，

業市場垂青，例如獲不同藝術博覽會邀請到場進行討論及分享、間中出席本地藝術巨頭機構的飯局、

獲邀參與不同國際藝術雙年展等。所以 C&G 一路

以來的創作之接觸面都非常廣闊、非常深遠，得到共鳴的機率亦十分高。雖然確實不能賺很多錢，但都足夠生活。只要你從事藝術而又能生活，有車有樓、不賒不借，似乎一般人都會認真對待你的創作。

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C&G 藝術單位

擱角覺

香港曾經擁有這麼的一個空間，讓我們安心創作。

好玩之處在於你最好的作品還未出現，所以你需要

另一方面，室內寫生可避免前線及行政工作人員離

接到很多意想不到的機遇。即是只要能啟動到：不

以減低工作出錯機會，提高工作效率。第三方面，

不斷創作去創造最好的。而不斷創作的過程，就連

斷創作、創造最好、機遇、不斷創作、創造最好、機遇⋯⋯這個令自己不斷提升的循環，就是寓工作

於生活的理想境界。（這個循環並非指墮入行政、

機械式、戀棧安逸、戀棧權力、目標模糊⋯⋯的慢過往所舉辦的項目大多數會走到街頭現場把藝術創作的過程呈現，透過直接接觸群眾來推動

社區藝術交流。反觀是次展覽中的《室內燒炭

真香港寫生比賽》邀請觀眾從遍布展牆上的孔來觀察和描繪展場外的城市景觀，為什麼不直接指示觀眾走到街道上去創作，反而要留在室內透過牆上的孔來寫生呢？過往舉辦過不少與寫生有關的工作坊，寫生對於你們的創作實踐有什麼重要的意義嗎？

首先，空穴來風，未必無因。

Para Site 創辦之初，主要是作場域特定裝置藝術，

所以我們很希望可以與觀眾一起找回一點點初心，在 Para Site 創作一件為場域特定的作品。還有，為配合題目中「燒炭」二字，活動於室內進行似乎

是必須的；再者，希望透過穿孔來寫生，給觀眾一個比平常特別一點的體驗；當然 C&G 很想觀眾能

與我們共同感受現在確實不容易看到的「真香港」。我們認為，寫生是一項最原始、技術要求門檻最低

的藝術創作，理論上人人都能做到。所以，寫生是

邀請公眾參與藝術創作的一個理想切入點。而我們的主要創作都是繪畫、素描之類，因此順理成章、

因利乘便、順水推舟、吹我唔脹（無可奈何）之下，時常籌辦寫生活動。

有人會認為，寫生是業餘、休閒的產物，但只要有

合適理念，配合天時、地利、人和，也可以成為十分了不起的藝術計劃。

這個創作，基本上是為了 Para Site 而設。室內寫

生，是希望讓觀眾留在展場更長時間，增加人氣。 031

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C&G 藝術單位

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性自殺式循環 ) 。

開工作崗位，減低 Para Site 人員的外出工作壓力，

你們認為香港的藝術生態與十五年前相比有什麼相異之處？現居於海外的你們對未來有什麼創作方向和打算呢？

就算移居北極， C&G 都會繼續存在，繼續我們的藝術

旅程。

十五年前，即 2007 年，當年 C&G 成立，反映當時

似乎可能容納 C&G 這類獨立、比較離奇的空間存

在。正如早年，我們很尊重的藝評家劉建華曾寫文

章表示 C&G 猶如別人鞋內的一粒小沙石，雖然微之而後快。 C&G 就這樣做了十多年小沙石。時至今

日， C&G 似乎仍是別人鞋內的一粒小沙石，但別人

C&G 藝術單位

擱角覺

細，但踏着我們總讓人坐立不安、頂住頂住，要除的腿已不一樣，已是一條沒有溫度、沒有彈性、沒有感覺、沒有血性、硬繃繃的一條鐵腿。

記得 2009 年及 2014 年， C&G 分別出版了《 C&G

藝術單位 2007–2008 》及《「床下底」香港藝術常

識問答比賽》兩本鉅著，當中訪問了約二十位當時仍然活躍的前線藝術家，基於藝術歷史作借鑑，具

前瞻性地討論了數十個藝術問題。現在回看那些問題，其實極大部分至今都未得到完滿解決，問題經過十多年仍然存在，有些問題不但未有改善，反而惡化。還有甚麼話可說。

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《批評 C&G 大賽選舉》

2022 混合媒介、公眾參與創作尺寸可變受 Para Site 藝術空間委託為本次展覽製作

《室內燒炭真香港寫生比賽》 2022

擱角覺

入口 035

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C&G 藝術單位

混合媒介、公眾參與創作尺寸可變受 Para Site 藝術空間委託為本次展覽製作

Eastman Cheng Eastman Cheng has consistently been focusing on creating soft sculptures with a range of textures, colours, and stitches. She uses a range of sewing techniques to create interesting visual effects that add layers of meaning and express her viewpoints toward various social issues. She has exhibited extensively in Hong Kong, including ‘Contagious Cities: Far Away, Too Close’, Tai Kwun Contemporary (2019); ‘Scenery of Dialogue—Artist in Hospital’, 1a space (2018); and ‘#ArtTravellers Exhibition Series I: Decoding Exotic Lands’, Art Promotion Office (2017). Her solo projects have been presented at Hong Kong Institute of Creative Culture Lee Shau Kee School of Creativity (2016); Chinese Arts Centre, Manchester (2010); Queen Elizabeth Hospital, Hong Kong (2006); and Hong Kong Visual Arts Centre (2000). Cheng graduated with an MFA and a BA from the Chinese University of Hong Kong in 2009 and 2000 respectively.

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www.eastmancheng.com

Minding the G(r)a(s)p

b. 1977 in Hong Kong. Lives and works in Hong Kong

Minding the G(r)a(s)p

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The Last Message (1975) is both a comedy film and also the corresponding soundtrack album released by Sam Hui. The films are referenced mainly from It's a Mad, Mad, Mad World (1987) and The Private Eyes (1976). The fighting spirit of small-timers portrayed in these films is what I witnessed in the grassroots workers from my childhood. As Hong Kong prospered, people

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Minding the G(r)a(s)p

living in public housing could afford buying new cars and homes, and the younger generation no longer needed to suffer in poverty. The core value of Hong Kong diversified. However, in recent years everyone has become afraid of losing Hong Kong, so the Hong Kong spirit is once again in discussion, and yet all that comes to mind when I think of Hong Kong is that money is everything. I remember when I did my first artist residency in the United Kingdom, I had high expectations as afterall, it was my first time receiving this kind of courtesy reception. I felt that as an ordinary salaryman, to be able to go to the United Kingdom as a Hong Kong artist, I had to work harder to make it count. So I buried myself deep in the studio working every day. While there I met a mainland Chinese artist, who told me I should go outside, and teased me for being grassroots. I suddenly realised this grassroots, fighting spirit was deeply ingrained in me. Even though now I have loosened up more, the mindset to work and work and work still takes hold from time to time when I make art. I can no longer let go of the sense of manual labour. Sometimes it is enjoyable, other times painful. But I always desire to work with my hands for extended periods.

You once said every place has its own iconic graphic design. Images and patterns that relate 042

Eastman Cheng

This newly commissioned work is inspired by Hong Kong’s popular comedy films in the 70s and 80s, such as The Last Message (1975) and The Private Eyes (1976). The characters and stories of these films reflect their zeitgeist, when capitalism reigned supreme. The general public struggled to make ends meet, and generally equated wealth with success. Earning money and social climbing was society’s mainstream value. The artwork attempts to create a spectacle by printing a large number of HK$1000 dollar banknotes. The artwork marks the prevailing virtue of an era; what does it say about the Hong Kong spirit or its core value? What is your core value and that of your artwork? How do you think the identity of an artist drifts between genius and fool?

The thousand-dollar note reference being used in this work was issued in 1977, the year I was born. The ‘Golden Cow’1 is filled with British iconography including the British royal coat of arms and a golden lion on the reverse side. What struck me the most with the embroidered one-dollar coins were the Queen’s profile and the crowned lion. This British iconography could be found on the old thousand-dollar notes. We used to be proud of them. When they disappeared overnight I was hit with melancholy, as they symbolised the past for a generation of Hong Kong people. As for polka dots, they come from the British polka dot fabrics I saw during my residency in England. Why is it British? I cannot say for sure how, but it is different from the polka dots I have seen in Hong Kong. I find it interesting that such generic patterns can take on a lo-

043

cal flavour, which means I can make a polka dot cloth with Hong Kong attributes. This is the origin of the polka dots in my work. I tried adding eyes to the dots, turning them into a modified version of the Japanese flag and one-dollar coins, attempting to add emotional elements to them. Now that there is the opportunity, why not add polka dots to banknotes!

Now cryptocurrency is in vogue and online platforms have become the more dominant consumption method. Physical currency in circulation might become obsolete in the near future. Interestingly, paper banknotes are essentially just pieces of paper. A thousand-dollar note is worth more than that of a piece of paper, and an artwork is worth more than its materials and its cost. I have heard that textile-based artwork is a harder sell on the commercial art market, especially since textiles deteriorate more quickly than many other mediums, and there has long been little demand for textile-based works. Nevertheless, you have insisted on using fabric as your main medium. What is it about fabric that attracts you? Is there something to do with your personal growth?

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Eastman Cheng

Minding the G(r)a(s)p

to Hong Kong are often seen in your work, such as the one-dollar coin circulating around 1997 in your embroidery. This time you are referencing the thousand-dollar note; is there any iconic images that represent Hong Kong on the thousand-dollar note? You have always been fond of polka dots (which are added to the thousand-dollar note in the work). Is there any symbolic significance?

Your past works used different embroidery, sewing, or folding techniques to test the limit of a fabric’s plasticity, in an attempt to manipulate the two-dimensional fabric into a three-dimensional structure. This time, you have hid the embroidery techniques, tracing the contour of a thousand-dollar note with embroidery, and using silkscreen printing with the digitised version 045

Minding the G(r)a(s)p

to make counterfeit banknotes. How did you come up with this process? Is it related to you revisiting the practice of painting? In printmaking class when I was at university, Professor Tai Fu Chung said that banknotes are a form of print. When an artist etches on a copper plate, it is already an artwork. I looked closely at the lines on a banknote, and I am impressed by its finesse. But at the same time I could find a lot of asymmetry, afterall the original was hand-drawn by an artist. The text is also done by hand, which differs a lot from computer fonts. It has a tactile feel to it and it intrigued me. For me, the thread is my paintbrush. A painter paints a line with each brush stroke. I can only use the thread to stitch out lines one by one. Stitching appears more clumsy in effect compared to that of the original banknote. When I finished the ‘fabric’ plate, I imitated banknotes printing and printed out the work in mass quantities. I did not deliberately hide the effect of the embroidery, but tried my best to expose the ‘threads’ while creating the plate. Interestingly, I feel that copying someone else’s craft is a craft in itself. When I was making the prints, I asked Cho Wing Ki, who specialises in printmaking for help. We were exploring methods of silkscreen printing, but printing itself really is another

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Eastman Cheng

The art market was alien to me in the early years of my career. I have always treated art creation as a hobby, and all I wanted was to find whatever material that was convenient. Fabric was convenient to me because growing up, my mother worked as a seamstress at home to earn extra income, and from time to time I would help with cutting excess threads and turning the garment right side out. Fabric is something that I am familiar with, and its manufacturing process is not complex. It is easy to purchase and inexpensive, colourful, and its patterns are attractive. In a studio with limited space and equipment, I can use whatever fabrics I like with no restrictions, and be free in my creations. Hong Kong’s art market has seen a nice boom in activities in recent years, and art-making has become affiliated with the market. But I am too used to fabric to change. The ‘market’ to me is another professional challenge.

specialized work. My counterfeit banknotes are now an artwork.

As thousand-dollar notes are nicknamed in Hong Kong. Due to its gold-colored theme, this note was nicknamed ‘Golden Cow’ by the locals, derived from the term ‘Big Cow’ which is named after the five hundred-dollar note issued in 1909 as a cow appear on the front of the note.

Colour is an important element in my work. Maybe it is due to me spending a lot of time with colourful fabrics, I unconsciously think in terms of the colours of fabrics. I never look at colour from the audience’s perspective, because every time I think about the artwork, the colour is already there. They would pop out and tell me how to pair them with each other. But this time I am quite restrained in my use of colours. The ‘Golden Cow’ should at least keep its golden tone. Maybe the audience can tell me what do they think after they have seen my work.

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Eastman Cheng

Minding the G(r)a(s)p

The texture, colour, and pattern in your work over the years have made your work look picturesque. This work also uses quite a few bright colours. What experience do you want to bring to the audience?

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NMNT Vault 2022 Installation with silk screen printing on canvas, luminous light, and counterfeit banknote workshop Dimensions variable

Eastman Cheung

Minding the G(r)a(s)p

Commissioned by Para Site for this exhibition

Entrance 049

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鄭淑宜擱角覺

鄭淑宜一直專注以縫繡的手藝創作軟雕塑。通過各種不同的縫紉技巧，創作出有趣的視覺效果，為其作品增添更深層的意義，以表達藝術家對不同社會問題的看法。她曾參與多個本地展覽，包括大館當代美術館的「疫症都市：既遠亦近」 (2019 年）；1a Space 的「對話風景 —— 駐院札記」（2018 年）；藝術推廣辦事處的「# 藝術旅人展覽系列一：異國符號」（2017 年）。她也曾在香港兆基書院（2016 年）、曼徹斯特華人藝術中心（2010 年）、香港伊利沙伯醫院（2006 年）、香港視覺藝術中心（2000 年）等場館舉行個展。鄭淑宜 2000 年畢業於香港中文大學藝術系，並於 2009 年取得該校藝術碩士學位。

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www.eastmancheng.com

1977 年生於香港，現生活工作於香港

Minding the G(r)a(s)p

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是次委約新作的靈感來自七、八十年代香港電

接受這種禮遇，對本來是打工仔的我能以香港藝

兩》等，電影人物情節帶出當時社會賺錢至上

傾注很多的期望，所以每日埋首在工作室開工。

影盛行的喜劇片如《天才與白痴》、《半斤八的時代風格。普羅大眾為生活拼搏，普遍認同有錢就代表成功的觀念，以賺錢、發達為社會主流價值。作品嘗試透過印製大量千元鈔票來創造出一種奇觀，營造出金庫的情景來把物質追求的金錢慾望顯現於觀眾眼前。這件作品標心價值有什麼看法？個人與創作的核心價值是

什麼？你覺得藝術家的身份怎樣在「天才與白痴」之間遊走？

《天才與白痴》除了是喜劇片之外也是許冠傑的

歌曲，主要參考是來自《富貴逼人》、《半斤八両》等電影內容中提到的小人物拼搏精神，是我從小就看到的香港草根階層打工仔心態。直至香港開

始富裕起來，公屋仔都已可以買樓買車，新一代也不用捱窮，香港的核心價值多樣化起來。但近

遇到一位內地藝術家，叫我多出外走走，笑我很草根。我突然發現這種草根的拼搏精神已經植根

在我心中。就算現在已放開了不少，但不斷做做做的心態都時常出現在作品的處理手法上。我已經離不開用手日做夜做的感覺，有時享受有時痛苦，但總是常有親手長時間製作的慾望。

你曾說過每一個地方都有其具標誌性的圖案設計，構思作品時往往想把和香港有關的圖案做

出來，過往作品曾經繡了 97 前後的壹圓硬幣，這次的千元鈔票上有什麼標誌性的、代表香港

的圖案？畢業後你曾經做過三年產品設計師，

你有想過要設計一個什麼樣的圖案來代表香港嗎？你一直都鍾情於波點的圖案（千元鈔票亦加上了），有什麼重要的象徵意義嗎？

年大家怕失去香港，又開始討論香港精神，而我

其實這次複製的一千元紙幣是我出生那年 1977 年

我記得第一次去英國駐留的時候，畢竟是第一次

室標誌和一隻大金獅在背面。之前繡的壹元硬幣

就只想到這個對我影響至深的「錢錢錢」香港。

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所發行的，富有英國色彩的「金牛」，有英國皇 1

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鄭淑宜

擱角覺

誌着一個時代的主流價值，是對香港精神與核

術家的身份前往英國，我覺得要加倍努力。因為

最吸引我的是英女皇頭像和戴皇冠的獅子，這種

堅持專注於用布料作為你的主要媒介，布料有

是我們曾引以為傲的東西。當年突然間消失了我

人成長經歷有關嗎？

富有英國色彩的圖像在以前的「金牛」也能找到，也很傷感，這些都是代表過去那一代香港人的象徵吧！

藝術市場對早年創作的我是比較陌生的，一向把

波點布，為甚麼是英式呢？我也說不清，總之就

的原因是成長的時候媽媽會在家裏車衣幫補家計，

至於波點圖案，沿於在英國駐留期間看到英式的

跟香港看見的波點布圖案很不一樣，發現原來這種普遍的圖案也可以有當地的特色，那麼我也可以製作擁有香港特色的波點布，這就是波點創作

的原點。我試過波點上加眼睛、把它化作太陽旗和變成壹元硬幣，嘗試在波點上加入情感的東西，借此機會當然也做一做波點圖案的鈔票吧！

當下電子虛擬貨幣盛行，消費模式趨向網上平台，市面流通的實體貨幣在不久的將來可能會

創作當是興趣的我只想找一樣順手的物料。順手

有時我會幫忙剪線頭、反布等。布對我來說是經常接觸的東西，製作過程也不複雜，布十分容易購買也便宜，色彩豐富，而且圖案也很吸引我。在空間和設備均有所限制的工作室內，我可以隨

心所欲使用喜歡的布料，享有創作的自由。香港

近年藝術市場風生水起，創作跟市場掛勾了，但習慣了用布創作的我已經改不掉習慣，「市場」對我來說是另一種職業上的挑戰。

被淘汰。當中有趣的是紙幣的本質只是一張

過往的創作以不同刺繡、縫合或摺合的方法去

件藝術作品的價值也遠比製作原料及成本高。

立體結構的呈現。是次創作卻把刺繡的手法隱

紙，一張千元鈔票的價值比一張紙更高，而一聽說以布料製成的作品於商業買賣市場都不甚歡迎，尤其是因為布料的保鮮期比其他媒介更

短，所以長年無價無市。縱然如此，你一直都 057

挑戰布料的可塑性，追求把布料由平面轉化到藏起來，把千元鈔票的輪廓繡出來後數碼化用

以製作絲印，以絲網印刷方法製成偽鈔。當中創作過程是怎麼樣決定？與最近重拾了繪畫的 058

鄭淑宜

擱角覺

什麼魔力一直吸引着你嗎？當中的情意結跟個

我的作品中顏色是很重要的元素，可能習慣在色

創作有關聯嗎？

讀大學的時候上版畫課時，鍾大富教授說鈔票也

是版畫的一種，由藝術家在銅版上雕刻，已經是藝術品了。認真看鈔票內的線條，相當佩服它的精細程度，但同時又找到很多不對稱的地方，畢竟當年的原稿是由藝術家畫出來，字體是手繪的，

與電腦字很不同，很有手感，這些都很吸引。對

彩繽紛的布裏鑽，所以不自覺以布的色彩思考。我從來不從觀眾的角度考慮顏色，因為每次思考想做的作品時顏色便自動浮現了，它們自己走出

來教我如何配搭，不過今次展覽的用色有點克制，

「金牛」似乎應有「金牛」的氣質，觀眾看完不妨告訴我你的感覺。

線，我唯有用線一條一條繡出來，繡出來效果比原鈔笨拙。完成了「布」版之後，就模仿印鈔的

鄭淑宜

擱角覺

我來說，「線」就是自己的畫筆，畫家一筆筆畫過程把作品大量印刷出來。不是刻意隱藏刺繡的

效果，反而在製稿的過程儘量把「線」的感覺顯露。有趣的是，過程中感受到複製別人的手藝也是一門手藝，而印刷的時候我找了一位對版畫有

研究的師妹（曹詠琪，也是一位藝術家）幫忙，期間大家都在摸索絲網印刷的方法，印刷本身又是另一個專業。我這些偽鈔也是藝術品了。

長久以來作品的紋理、顏色和圖案呈現出色彩繽紛的視覺效果，這次創作亦用上不少鮮艷的顏色，想帶給觀眾一個什麼的體驗？ 059

註：香港人對千元鈔票的暱稱；以金黃色為主調印刷，因於 1909 年舊版五百元鈔票上印有水牛，被暱稱為「大牛」，千元鈔票故沿用牛名並冠以「金」作區別。 1

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《天痴金庫》 2022

裝置藝術、絲網印刷布本、發光二極管燈、偽鈔工場尺寸可變

鄭淑宜

擱角覺

受 Para Site 藝術空間委託為本次展覽製作

入口 061

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Chow Chun Fai Minding the G(r)a(s)p

Known for his series of work Hong Kong Taxi, Hong Kong Street, and Painting on Movies, Chow Chun Fai depicts Hong Kong city landscape and scenes from classic Hong Kong movies in order to reveal from different perspectives the struggles, anxieties, and questions on localness and identity experienced by the city after the handover. His work has been exhibited extensively in Hong Kong and internationally, including at the Het Noordbrabants Museum, ‘s-Hertogenbosch (2018); Kunstmuseum Bern (2016); Venice Biennale (2015); Hong Kong Heritage Museum (2015); Liverpool Biennial (2012); and Museum of Contemporary Art, Shanghai (2007). Fai was awarded the Grand Prize at the Hong Kong Arts Centre 30th Anniversary (2008), and the Sovereign Asian Art Prize (2006). Fai graduated with an MFA and a BA from the Chinese University of Hong Kong.

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www.chowchunfai.com

b. 1980 in Hong Kong. Lives and works in Hong Kong

Minding the G(r)a(s)p

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Minding the G(r)a(s)p

To make this work, I had to chew through eighteen years’ worth of photos. Digital photos can at least be sorted by date. Film photos are difficult to deal with. But I am pleasantly surprised to rediscover the film photos I had taken when I was a taxi driver: the streets filled with red cars during shift change time, the neon signs glowing on Nathan Road at night on the processed films. I turned a roll of film I first took on Argyle Street into a painting. Now looking at the photos closely, I remembered the street was closed off by firefighters as someone was attempting to jump off a building. Looking at all the photos, I see some of my subjects glaring at me, and in sensitive times I had 067

even gotten sworn at.

You choose to divide the panoramic photos into squares of details and combine them into a photographic installation. Images taken from five focal points of each set of streets are reproduced and repeatedly shown together, leading the audience to engage from certain vantage points and eliciting personal imagination. Busy streets reflect the cadence of social transformation. The vantage points selected, such as shops, store signs, traffic lights, and street signs, are all vessels for numerous sceneries that have disappeared. They evoke the passage of time and personal emotional connection from the viewers. Looking back to these street scenes, which one left the deepest impression on you, and which made you most wistful? Initially photography was a study for my paintings. Then without any particular purpose, I returned to the same locations and continued photographing. Unintentionally I have documented the events in Hong Kong over the past eighteen years. Sai Yeung Choi Street was once a pedestrian zone where political figures (including myself) used to set up street counters 068

Chow Chun Fai

The newly commissioned work consists of a series of panoramas from 2004 of Mong Kok streets taken by mobile phone. This casual habit of photography has served as a witness to your continuous observation of urban street scenery that was initiated along with your painting series Hong Kong Street. For the present work, your creative process involves going through all the panoramas taken throughout the past eighteen years and revisiting different points in time, which reveals the transformation in all walks of life, economy, and welfare over time. Did this journey in time evoke any personal memories?

Your early paintings usually spare the street details. In contrast, your Painting on Movies series enlarges a frozen frame from a movie. The focal points of the two approaches are very different. This time your approach is yet again different from your past Photo Installation series (using photo collage to recreate famous paintings). What do you think makes your approach this time different from your past approaches? You once said that you want to explore the possibility of format, by escaping a material-oriented style and present an unexpected absence of meaning. Could you share your thoughts on that?

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For me, a leap in form is the best way to motivate myself to make art. Recently due to political pressure and the pandemic, many artists feel an urge to speak out. There seems to be a lot to express, but it is difficult not to let the content overshadow the artistic essence of the work. I think this is why besides expression there still needs to be an exploration of form. When I am making this installation, my mindset is similar to when I paint: to balance the composition as a whole, take care of each detail, and consider how every symbol tells a story.

Your past works express personal emotions in a subtle manner. Your more recent works have a closer relationship with emotions. How does this direction relate to your current artistic core value? When I was sorting out the photos, I kept having flashbacks that stirred up personal emotions; I would encounter the deceased once again, or see children who had left this city. Honestly I am not good at expressing these moments, and perhaps I do not think the audience would be interested in me telling them. The work now describes a scenery many people are familiar with, but I still think those personal emotions 070

Chow Chun Fai

Minding the G(r)a(s)p

here. Now everyone’s doing different things in different places. Some streets were occupied and covered in wood planks and trash. Some street signs and traffic lights were vandalised with graffiti or slogans, but soon restored to serenity. Some buildings were once enveloped by advertisements, which were later taken down and replaced by a new television screen. Rent hikes turned a second-floor bookshop into a thirdfloor bookshop. A shopping centre that thrived with mobile phone vendors is now largely deserted.

Nelson Street and Argyle Street are streets that Hong Kong people are familiar with, and are often used in daily commute. In comparison to the busy streets in Causeway Bay and Tsim Sha Tsui, what are the minute differences in terms of their deeper significance or atmosphere?

Chow Chun Fai

Minding the G(r)a(s)p

are mixed within. At least I feel strongly that I am personally involved in it. In the grand scheme of things, a work is touching because it is true, and the expression of the truth will more or less be mixed with personal emotions.

Mong Kok feels more dangerous than Causeway Bay; Causeway Bay is safer and more upscale. Sometimes when I stay in the studio for too long, I want to connect to the humble liveliness of the city. Going to Mong Kok for this purpose is more direct and grassroots. Both Mong Kok and Causeway Bay have bookshops upstairs. But only Mong Kok has pornography shops upstairs.

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Sai Yeung Choi Street/ Nelson Street (since 2004) 2022 Photo Installation H. 89 x W. 420 cm Commissioned by Para Site for this exhibition

Sai Yeung Choi Street/ Argyle Street (since 2004) Photo Installation H. 119 x W. 546 cm Commissioned by Para Site for this exhibition

Entrance 073

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Chow Chun Fai

Minding the G(r)a(s)p

2022

周俊輝擱角覺

為人所熟知的《香港的士》、《香港街道》和《電影繪畫》系列的寫實作品中，他描繪出香港城市景觀和電影片段截圖，多角度地表達了香港本土文化以及港人回歸後對身份認同的焦慮。作品於香港及世界各地的不同聯展中受邀展出，包括斯海爾托亨博斯的北布拉班特博物館（2018 年）；伯爾尼美術館（2016 年）；威尼斯雙年展（2015 年）；香港文化博物館（2015 年）；利物浦雙年展（2012 年）和上海當代藝術館（2007 年）。曾獲獎項包括「香港藝術中心三十週年大獎」(2008 年 )、「Sovereign 亞洲藝術獎」(2006 年 ) 等。周俊輝畢業於香港中文大學藝術系，後亦取得該校藝術碩士學位。

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www.chowchunfai.com

1980 年生於香港，現生活工作於香港

是次委約新作中展示的照片是由 2004 年開始

作品呈現的方法選擇了把全景相片切割成一格

記錄，而這不經意的拍攝習慣見證了你開始創

上的五個焦點所拍下的場景一併重複地再現於

每次經過旺角街道時以手機的全景模式拍攝的作《香港街道》系列的油畫作品後對城市街道景觀多年來的持續觀察。創作過程把十八多年存積起來的全景相片翻閲出來，重新觀看過去不同時間點的一趟時間旅行，當中反映了不同

行業、經濟、民生的時代變遷。這趟時間旅行

為了做這件作品，我硬着頭皮處理了十八年的照

眼前，帶領觀眾投入某些視點當中尋找並引發

個人聯想。車水馬龍、人來人往的街道反映出社會變遷的節奏，當中選出的視點如店舖、廣

告牌、街道招牌、交通燈、街道標記等承載着無數已不復在的場景。當中喚起觀眾對時間流逝的反應和個人情感連結，回看昔日的街道場景當中令你最深刻和感歎的是哪一個場景？

片。數碼照片還算有系統地依日期分檔，困難的

最初拍攝是為畫畫打草稿，後來沒有目的地回到

但亦驚喜地發現很久以前我還有開的士時拍下的

來發生在香港的事情。曾是行人專用區的西洋菜

是那些還沒有數碼相機年代的菲林 ( 膠卷 ) 照片。

菲林照片，交更時間堆滿紅色車的馬路、底片沖曬下的彌敦道還有很多霓虹招牌的夜間顏色。最初拍攝亞皆老街的一段底片後來有畫成一張畫，今日細看照片才回憶起當日亞皆老街封路，因為有人企圖跳樓而有消防員到場。細看照片又會發現有些被拍攝者會對我側目，在敏感時期更會被人問候娘親（被人以粗言穢語侮辱）。

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同一個地點繼續拍攝，卻無意之中記錄了十八年

街，有不同政治人物擺過街站（包括我自己）現在各人有不同的遭遇。有些路面曾經被佔據堆滿

卡板雜物、有些路牌交通燈被塗鴉或貼上標語、轉眼又好像恢復平靜。有些樓宇曾被廣告牌包裹、

後來有被拆開來、又再裝上一個新的電視屏幕。加租令二樓書店變成三樓書店，曾經炒賣手機成行成市的商場如今門可羅雀。

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周俊輝

擱角覺

有特別帶出哪些個人回憶嗎？

格的細節以組合成攝影裝置，而且把每組街道

早年不同系列的繪畫作品都不會把街道細節畫

整理照片的時候，勾起個人情緒的影像不停出現，

放大在觀眾眼前，兩種手法的內容關注點很不

實說我不懂表達這些、又或者我覺得觀眾沒有興

得太清楚，到電影系列中把銀幕上的定格畫面

同。這次與過往的的攝影裝置（以照片拼合方法把經典名畫重新呈現）在處理上也不一樣，對比以往的創作演繹方式，你覺得這次有什麼分別嗎？你曾說過想嘗試探索作品形態的可能

性，走出物質導向的形式，把虛空出其不意地

對我而言，形式上的跳動是推動自己創作的一個

最好方法。比如這幾年因政治壓力和疫情原因，使很多藝術家迫切要說話，好像有很多內容要表

達，但如何不令內容掩蓋了作品的藝術本質，我

趣聽我說這些。現在作品描述的是很多人熟悉的風景，然而我相信那些所謂私人情緒仍然夾雜其

中，起碼我自己置身其中的感覺很強。在宏觀來說，作品能夠打動人是因為真實，而真實的表達多多少少夾雜一些個人情感。

奶路臣街和亞皆老街是兩條港人為之熟悉、經

常用於通勤的路線，相比起位於銅鑼灣和尖沙咀鬧市的繁忙街道，在深層意義或意象方面又有什麼細微差別？

想就是在表達之餘仍需要有形式的探討。做這個

旺角比銅鑼灣多一份危險感，銅鑼灣高檔一點安

顧及整體的畫面、同時處理一下每個局部，每個

城市的地氣，到旺角走一走會比較直接和草根。

裝置的時候，我的心態亦有點像在繪畫時的狀態，符號如何講故事。

過往作品都以隱晦的方式表達出個人情感，近

全一點。有時閉關在工作室太久，想接一接這個旺角和銅鑼灣的二樓都有書店，但只有旺角的四樓有四仔（色情片售賣店）。

年作品中在處理情緒的關係上愈趨緊密，這方向與你當下的創作核心有什麼關係？ 081

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周俊輝

擱角覺

呈現，可以分享當中的想法嗎？

重遇已逝的人、望見離開了這個城市的孩子。老

《西洋菜街 / 奶路臣街（從 2004 起）》 2022

攝影裝置

高 89 x 寬 420 厘米

受 Para Site 藝術空間委託為本次展覽製作

《西洋菜街 / 亞皆老街（從 2004 起）》 2022

攝影裝置

高 119 x 寬 546 厘米擱角覺

入口 083

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周俊輝

受 Para Site 藝術空間委託為本次展覽製作

Jaffa Lam b. 1981 in Hong Kong. Lives and works in Hong Kong Minding the G(r)a(s)p

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www.jaffalam.com

Jaffa Lam is a sculptor specialising in large-scale site-specific works of mixed-media sculptures and installations, which are primarily made with recycled materials. She is interested in non-verbal conversations and dialogues exploring issues related to local history, culture, and current affairs. Through her work she contemplates themes such as public art, loss, and revival of traditional craftsmanship. Her work has been extensively exhibited in Hong Kong and overseas, including Women Artists International Biennial of Macau (2020); Lyon Lumières (2018); Wuzhen International Contemporary Art Exhibition (2016); AroS Aarhus Art Museum (2015); Lehmbruck Museum (2015); Museum of Contemporary Art Taipei (2015); and the Fukutake House Project of the Setouchi Triennale (2013). She was one of the awardees of the Hong Kong Secretary for Home Affairs Commendation Scheme in 2017. Lam graduated with a BFA, an MFA and a Postgraduate Diploma in education from the Chinese University of Hong Kong.

Minding the G(r)a(s)p

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Minding the G(r)a(s)p

I studied Chinese painting and calligraphy in secondary school and in university. I pivoted to western art in my third year of university (1996). This drastic change in direction led to my hesitation with Chinese traditions, which I got over only in recent years. I did use red in my earlier works (circa 1996 until 2000). I was influenced by my mentor Cheung Yee by osmosis over the years I was studying under him, as he often used black and red in his work. Simply put, those are the two most prevalent and predominant colours in Chinese tradition. In a small solo exhibition of mine in 2000, I suddenly realised that my work shared so 089

much resemblance with that of my mentor’s, so I have stopped using those two colours for many years since then. It is a form of rebellion I guess. Especially red, it is the most commonly seen colour in Chinese traditions, and it also represents the very tradition I want to rebel against the most. Tradition is by definition overpowering, a sort of yang (masculine or patriarchal). The fiery brilliance and high saturation of red make people breathless and restless. Although the umbrella fabric used this time is red, it is not a red that is manufactured purely through industrial means. It is a red that has been rain-washed and seen extensive usage over a long time. The different hues of red has me (or viewers) convinced. It is not tainted by my (or human) involvement, and is entirely made by nature. I (as a human) am simply a glue that binds these hues of red together.

Your past work made use of mainly recycled materials, such as wood planks, umbrella fabric, old furniture, etc. You spent a lot of time on processing and transforming them into artwork with manual labour. You said that you have hoped to give a second life to the materials, and to weave a narrative around the dichotomy of usefulness and uselessness. You do not specially modify the materials on a surface level or 090

Jaffa Lam

You have collected and kept the umbrella fabric in this work since before 2014, but all this while you had yet to form a concrete idea for the work. When you spoke about your previous work using umbrella fabric, you used the colours blue or white to represent the sea and the sky in an urban landscape, and that you rarely used the colour red. Your hesitation in using red resulted from what you associate with the colour, that red is overbearing, aggressive, hyperactive, masculine, etc. Does your intuition regarding the colour red have any connection to your experience, including from your childhood memory and mentorship?

What I have always been doing is starting from myself, to think and imagine how people react to their surroundings. Similar to the butterfly effect, it is impossible to know what effect our action will have on other people, but we can be sure that there must exist the slightest bearing somehow. I am curious about myself because usually I cannot and do not want to face my own mess; I am curious about other people because I cannot become another person. My artwork thus forms the connection between these bearings. My work this time is very much different from those before. I am not participating in an artist residency abroad, but essentially I am. Because this time I am

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residing in an encircled, closed-off Hong Kong, in the context of the present state of Hong Kong. As I am shut in, I am more focused, same as how focused I was when I left Hong Kong for a fixed location. The only difference is I do not need to hop over to a new place and see with fresh eyes as an outsider to find curious things. Now I am looking at the same things, only with a more enduring and more focused gaze.

Viewers tend to learn about the characteristics and creative approach of each artist through their work. In your umbrella fabric series I can see your attention to detail and adaptability in handling issues, which are similar to the toughness of the material. You once said that, through the many hats you put on (as a sculptor, educator, founder of Jaffa Lam Collective, columnist, etc.), you have advocated connecting people and communities through art. It seems you take on many responsibilities. In your continuous pursuit of art, you have shown little doubt. What drives you in your art-making? To you, what is the meaning and value of art? Yes, I did take on many roles, including as an unpaid host for a radio programme on art for close to six 092

Jaffa Lam

Minding the G(r)a(s)p

promote eco-friendliness, but reflect upon the spiritual value of the non-material, which is of more importance to you. When creating a work, you construct multiple layers of meanings and metaphors, in hopes of giving the audience different entry points to observe and respond to the present state. The umbrella fabric series explored issues of micro-economics, labour, and identity, etc. This new work deals with the idea of drifting. Does it have anything to do with your constant participation in residency programs abroad or your present state?

Minding the G(r)a(s)p

Art and art-making are two different things. The former changes thoughts and perspectives on a superficial level. The latter, due to its processes, corrects or confirms the former’s idea, which leads to new independent thinking. In the past ten years, I feel that it was art-making that saved me. It has allowed me to view everything in multiple perspectives, and life has become interesting. Our generation no longer concerns ourselves with how to make a living, but to think about what life is and how to live an interesting life; we dare not to say to have a meaningful one. I am lazy by nature, but through art-making I have been able to enrich my knowledge in different fields; I am not 093

good with social interactions and terrified of them, but art-making has presented me an entry point to connect with different people. I do not have a way with words, but contemporary art forces me to elucidate my ideas and articulate them. As an educator, not only do I need to communicate clearly, but also to present the connection between ideas as well. Simply put, art-making is the only pillar I can grasp and lean on. Perhaps it is similar to a religion. I am among the lucky ones who can create something out of my wildest imagination and still have the opportunity to share and exchange it with other people. This is another kind of reward. So the work becomes a medium to communicate with other people, and the scope of this medium dictates the depth of the communication. Recently, I also view art education as a medium of communication. Planning a lesson is not dissimilar to planning a performance. Most of the content is predetermined, but when students react differently, I need to adjust on the fly, and modify subsequent lessons accordingly, not just repeating mechnically. This is adding to the challenge and fun of life. I consider it a form of art-making as well. Humans are social animals. For me who is both petrified by and desire human interaction, art is an important medium and my sanctuary. I am lucky to have had the opportunity to study the 094

Jaffa Lam

years. But I never felt that it was a responsibility. I also did not set out to advocate community engagement. Circumstances allowed it so I did it, and I am fine with leaving behind a role at any time. I would miss it but I never regretted it. I am a straightforward person. Hong Kong’s education system and professional market have made it clear to me that Hong Kong artists can never be world-famous or achieve both prestige and wealth. So I have given up on renown and material gain, and just make art without any notion of greed. Life is a straight line. Destiny has me working as an artist, and I only know how to make art, so I walk straight ahead. A simple motivation without much delusion is what keeps one going .

Everyone has an unknown happiness in their mind that supports their will to go on. Art-making perhaps is that happiness to me.

Recently, the pace of art-making has slowed down due to the pandemic. You shared that though you were not able to find new inspiration through residencies abroad, you were able to participate in more local group exhibitions, and you have had more opportunities to exhibit old 095

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works and create new works in response to the present time. Re-presenting old works involves weighing on whether their conceptual narrative has remained relevant to the present society. And re-creating old works comes with its own set of challenges. Over the past few months of correspondence, I noticed that, interestingly, you tend to associate works that were shown in different group exhibitions together. Can you elaborate your thoughts behind that? When I make art away from Hong Kong, I maintain an attitude as a Hongkonger intervening in the local culture of a foriegn country. I often begin with reflecting on Hong Kong, and set these reflections into motion that just happen upon a different locale for their presentation. Every time when I return to Hong Kong, I have heaps of unfinished ideas and regrets, but I am in turn caught between the hectic daily work and the infrequent invitations to exhibit in Hong Kong, which prevents me from continuing to pursue these ideas. Over the last one or two years, and only because of the pandemic, local institutions and galleries get in touch with me, and this allows me to reconnect these ideas from before with the society now. For example, a work I made in 2015 for the Hong-gah Museum in

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Jaffa Lam

language of art. The complexity it can express is similar to that of a human’s inner world. When we are faced with what is happening in society, the tiny changes in our emotions can be as nimble as a ripple, as turbulent as a storm, or even indescribable. And art can somehow combine different mediums to express them. And akin to philosophy or religion, these metaphysical spirits permeate through people of different backgrounds, who ingest and digest to produce innumerable combinations and results. With time, this language transforms, renews, circulates, and renews again. Life is finite, but the growth of art is infinite. To me, to play a role in this cyclical process is a trying challenge not just to my body and my brain, but on a psychological level, it flushes out the veins and arteries throughout my life.

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work, I ruminated on the intersection between an artist and a housewife: is it possible for ‘her’ to choose between her jobs? Working at a family scale, the work was not big but became more detailed, and it took longer. The more time I spent with the materials and the work in my hands, the clearer my thoughts became. As the production timeline for each work stretches, there are more social events taking place daily, which impacts my thinking. When I was working on the first piece, I had realised that I was only touching on the tip of the iceberg, and that it was incomplete. Then it dawned on me that related ideas could be presented in another exhibition. That was how it became a series of works, and It is different from the large-scale works before, which included managing not only the plans for the sewing of fabrics, but the relationships with collaborators, the collection of materials, and the production in other mediums. Spending a lot of time on one project, it is impossible to get distracted, it feels like a form of corporate management. Whereas the production at a personal studio is only about the materials, which is much simpler, and the personal emotion I pour into it is much more delicate.

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Jaffa Lam

Taiwan was about the greenery outside the windows. What was on my mind was actually the various activities of the land protection movement in Hong Kong at that time, and many artists engaged themselves in rural life. Nevertheless, I, who had beautiful memories of rural China, did not actively participate in the movement and stayed on the sidelines observing. Just like in the work, the viewer looks through the security peephole on the door from inside the room, to see the speck of green far beyond the window. Even though this work was completed in Taiwan, it has always lingered in my mind like a thorn, because the real reason behind the work cannot be mentioned in the artist statement. This still makes me feel uneasy, and I have always thought more could be done with the work. Coincidentally I was invited to participate in an exhibition about women. In the work I sought to portray the object of voyeurism as inner violence and indebtedness. But the creative process is an everchanging one. Due to the pandemic, I had to process every piece of fabric and patchwork myself. What I have commissioned the women’s associations to do became my work. I used a household sewing machine and took on the role of a ‘housewife’. Of course, my other brain was still wide awake; one moment I was making art, and with a blink of an eye I would be teaching or attending a meeting. While making this

I am most interested in the rise and fall in history, be it official history or unofficial records, and the roles different characters, architectures, and objects played in the torrent of history. So aside from location, my work has a closer relationship with the object, its maker, and its owner. My studio is home to a collection of various objects I bought on a whim when I was young. Incidentally, in my possession are some materials and objects related to a few deceased artists. What is important lies not in the quality of the objects itself, but the trust bestowed by their owners. The origin of the objects cannot be described by mere words. I think as long as I am still alive, I am able to tell the original owners through these objects, that over the years, the objects have accompanied me in experiencing the multitude of changes to me and the world as witnesses to history. Of course, it also presents an opportunity for me to share these objects that appeared in the time and space unique to Hong Kong with others. Initially there is no urgency, but with how society changes unpredictably now, no one knows what the 099

future holds. Moreover, there are quite many objects, which takes time to sort through and can’t be rushed. Due to my childhood interest in Chinese history, I am also an avid reader of folk stories and classical novels, including Dreams of Red Chamber, Journey to the West, Romance of the Three Kingdoms, Water Margin, and operas from the Yuan and Ming dynasties, etc. These literary works expound on views of society and contemporary issues. The characters based on real historical figures and enriched by vivid imagination always linger in my mind and lead me to wonder how much of it was factual. History always repeats itself. To borrow from ancient classics is something I have wanted to do. I have borrowed a section of Wandering in the Garden, Waking from a Dream from the Peony Pavilion to illustrate the subtle relationship between narcissism and the love for others. There must still be many more possibilities.

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Jaffa Lam

Minding the G(r)a(s)p

You have always presented the majority of your work as site-specific, or developed your work specific to a project. Are there any motifs that you still feel an urge to realise but have not managed to accomplish?

A piece of RED_Let’s fly 2022 Recycled umbrella fabric from 2014 H. 240 x W. 160 cm

Jaffa Lam

Minding the G(r)a(s)p

Commissioned by Para Site for this exhibition

Entrance 101

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林嵐擱角覺

雕塑家林嵐的創作多以運用閒置物料製成大型跨媒介、場地特定雕塑裝置。她以非述事、對話形式的裝置，探討本地歴史、文化與社會時事，反思公共藝術、傳統工藝的失傳和復興等議題。她多次獲邀參加本地及國際展覽，包括國際女藝術澳門雙年展（2020 年）；里昂燈光節（2018 年）；烏鎮國際當代藝術邀請展（2016）；丹麥奧爾胡斯現代藝術博物館（2015 年）；勒姆布魯克博物館（2015 年）；台北當代藝術館（2015 年）；和日本瀨戶內海國際藝術祭（2013 年）。 2017 年獲香港民政事務局頒發嘉許奬。林嵐畢業於香港中文大學藝術系，並獲藝術碩士學位及教育學院文憑。

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www.jaffalam.com

1973 年生於中國福州，現生活工作於香港

Minding the G(r)a(s)p

106 105

是次新作中所用的傘布是自 2014 年前已收集、

急促、燥動不安。這次用的傘布，雖稱為紅色，

怎麼樣的作品。你談及過在過往的傘布作品

人氣沾染、歲月洗禮後呈現出來的不同紅色，使

存積下來，而一直以來都未有構思要做成一件

當中通常是以藍色或白色等呈現海和天空等城市景觀，作品鮮有使用紅色，一直讓你卻步的原因當中亦包括你對色彩的一些想法（紅色是

我（人）心服，不經我（人）手調色，自然產生—— 我（人）成為紅色組合的粘合劑。

霸道、凶猛、能量過盛、男性化等）。紅色對

過往創作上使用的物料主要是回收得來、被廢

憶、師承）有什麼關聯嗎？

的過程花上不少的手工、心血時間去處理以及

你來說的一些直觀感覺與過往的經歷（童年回

我在中學和大學時學習中國書畫，大學三年級

（1996 年）後轉向西方創作。這個大改變使我

後來對中國傳統有所顧忌，近年才能參悟釋懷。曾於早年作品（約 1996 至 2000 年）中有過紅

色，當年一直不知不覺間受師父張義的影響，他的作品中經常用黑和紅兩個顏色。兩種都是中國

傳統中最極端霸氣和霸道的顏色，不在此贅說。在 2000 年的小個展上，驚覺自己有太重師父的

影子，所以自始多年不再用此二色，算是一種反

棄的材料，如箱板木、傘布、舊家具等。創作轉化成為作品。你提及過創作出來的作品希望

能把物料重生，帶出有用、無用的論述。當中不單是表面上物料改造、環保等的狹義，更重要的是反思非物質的精神價值。創作時你會為作品建構多重意思和隱喻，希望觀眾可有不同切入點去觀看及回應當下狀態。傘布系列過去

探討了微觀經濟、勞動、身份等問題，而是次新作中的飄流，與你過往一直經常到外地駐留或與當下的狀態有什麼連結？

叛吧。尤其是紅色，來自中國傳統最常見的顏色，

我一直在做的都是以自身出發，思考和想像人對

陽性；而且那種火焰式的奪目和高彩度使人呼吸

不可能知道你在做的事對其他人有何影響，但一

亦是我最想反叛的傳統，傳統本身就是一種霸氣、

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周遭事物、事情的反應。就像蝴蝶效應一樣，你

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林嵐

擱角覺

但是那不是純工業產生的紅色，而是經雨水刷洗、

定存在着藕斷絲連的關係。我好奇着自己，因為

是的，還包括做了近六年的無償電台藝術節目主

因為我無法成為那個人。創作出來的作品就是這

意去推動和社區的連結，只是機遇來了就做，何

平常無法也不想面對自己的糟糕；好奇着別人，些關係的串連。

我這次創作和之前很不一樣，不在外地駐留，但也可以說是一樣，因為這次「駐」的「地」是「被

圍禁、關閉的香港」，情境是「此刻的香港狀態」。也因為被圍禁，所以更專心，和以前離開香港才不用跳入一個新鮮的地方，用異地的新鮮眼光去

找好奇的事。現在是：看着同樣的事，只是花時間凝視得更長，更專注一點。

觀眾往往都是透過作品去瞭解藝術家的性格特質和創作狀態，從傘布系列的作品我看到了你對

創作細節的執着、處理問題時的靈活變通，與傘布的韌性很相近。你曾說過透過多重身份（雕塑家、教育工作者、林嵐合作社、專欄作者等）

一直推動用藝術與人、與社區連結，感覺你把很多責任都扛在肩上。對藝術的持續追求好像從沒有懷疑過什麼，是什麼一直推動你的創作呢？對你來說藝術的意義和價值是什麼？ 109

時結束某一個身份都可以，雖有不捨但不會牽掛

後悔。我只是一個簡單的人，而且香港的教育和職場早已讓我明白，香港藝術家不可能在世界馳

名，也不可能成為名利雙收的藝術家，所以我早就放下功利，也沒有貪念地去做藝術。人生是直線的，既然上天分配我從事藝術，也只懂得做藝術創作，那向前走就是了。理由簡單，沒有太多妄想，才會一直走下來。

藝術和藝術創作是兩回事。前者是影響思想看法

在淺層。後者因為有了過程，較正或證實了前者的想法，才會產生獨立的思考新方向。最近十年，感覺是藝術創作拯救了我，讓我對每件事情的看

法都有了幾個角度的思考，人生變得有趣。我們這一代已不是考慮解决温飽的問題，而是在思考

何謂人生，如何活得有意思，不敢說是有意義。我本是個懶人，但是透過創作可以去增廣不同領

域的學識；我不擅也害怕與人相處，但是創作卻

讓我找到和不同人相處的切入點，我本不擅言，當代藝術卻要逼着我要理清思緒，講清楚；要教 110

林嵐

擱角覺

能專心在固定的地點創作一樣。唯一不同的是，

持人。不過我從沒覺得是一種責任，我也不是刻

書，更要清清楚楚，環環相扣。講得簡單一些，

再透過不同背景的人們自我接收、消化而產生千

的支柱，或許就是類似宗教的意思吧。我是幸運

化、更新、循環、再更新。人的一生有限，藝術

藝術創作是我在這個世界上唯一能抓住和靠得住的一群，把胡思亂想、天馬行空的事做了出來，還有機會和別人分享交流，這又變成另一種得着

了。所以作品做出來後就成為和別人溝通的媒介，

這個媒介的深淺寬窄也决定了你和其他人溝通的程度。而近年來，我也視藝術教育是另一種的溝

的生長卻無限。對個人來說，有機會參與其中的一個環節，不只是體力、腦力的辛苦挑戰，而是在精神層面，疏通着成長路上的經絡。

每人心中都有不知名的快樂支撐着「我」活下去，藝術創作對我來說，也許就是這種快樂。

先安排大概內容，但因為學生的反應不一，我也要

藝術家們近年的創作節奏因為疫情的關係受到

是另一種的生活挑戰和趣味，算是另一種創作。

起新的創作念頭，反而在港參與的群展多了，

臨時調整，接着的課也會改動，不再刻版地重覆，

人類是群居的生物，對於我這個害怕又渴望與其

他人相處的物種，藝術的確是一個重要的媒介，我的安心之所。

有機會學習藝術這種語言是一件幸運的事，它能表達的複雜度和人類內心很相似。當我們面對社

會周遭的事，內心細微的變化，也許輕如漣漪，

也許翻滾似風暴，或是無法用隻字片語去形容，藝術就能結合了不同媒介將之表達出來。而且能

將類似哲學或宗教，這些形而上的精神滲透出來， 111

不少影響，你曾說過雖然未能到海外駐留激發

也多了機會把舊作重新展示和創作新作回應當

下。重新展示舊作，當中的考慮牽涉到作品的論述是否能與當下社會仍保持關聯，而舊作新

造也有不少挑戰。過去數月交流時，發現有趣的是你更會把不同群展中展示的作品串連在一起，可以分享多些你當中的想法嗎？

我在外地創作時，是以一個生活在香港的人介入到外國當地文化的心態去創作，往往帶着對香港 112

林嵐

擱角覺

通媒介，教課的安排和我做一場表演差不多，事

萬種不同的組合結果。這種語言亦隨着時間而變

的思考而起，碰撞到另一個地域展示而已。每次

色「家庭主婦」。當然另一邊腦袋也很清醒，一

港後，又要回歸忙碌的日常工作，再加上在香港

件作品中，站在藝術家和家庭主婦之間的模糊點

回來都有一大堆未完的思考和遺憾，但是回到香受邀不多，無法延續。

這一、二年間因疫情，本地展覽才找上我，我才能把之前所想的和當下的社會再次連線。例如當

年（2015 年）為台灣鳳甲美術館做的一件作品是

關於窗外的綠，其實在想香港當時各式各樣的土曾在內地農村有過美好回憶的我，卻沒有很積極

地參與，我一直保持觀望，就像作品中在室內透過那防盜門鏡，遙遠地看着窗外遠方的一點綠。這件作品雖在台灣已完成，但總有根刺還在心中，因為真正背後的原因無法在作品介紹中提及。這使我的心仍有不安，總覺得這件作品還有些可以再做的。

剛好碰上一個有關女人的展覽，這次我把觀眾的視覺拉近來窺看更內在的暴力和虧欠。但創作過

程總在變。因為疫情，所有的布料拼布都要自己改，本來委約婦女會們的事，變成我的事。我用的是真正的家庭式縫紉機，自己也代入了那個角 113

去想像，「她」真的有選擇可以轉工嗎？家庭式的製作，作品不大，做工細微了，做得更久了，透過手對材料和作品反應的時間多了，想的事也

更通透了點。由於每件作品的製作時間長了，每天社會上發生的種種事件不斷更新，也衝擊着我

的思考。當做着第一件作品時，已發覺自己只是在講事情的冰山一角，不夠完整。接着會想到相關的看法可以透過另一個展覽表達，這樣就形成

了連串的作品。和以前做大規模的作品不一樣，以前不只是管理布料縫製的方案，還要管理與合

作者的關係，材料的收集，其他媒體的製作，長

時間在同一個計劃中，無法分心，感覺是一種企業式的管理。個人的工作室製作只是對着物料，簡單得多，個人感情的投入也細緻得多。

一直以來大部分的創作都會配合特定場地或展

場而作，或因項目而生，有否一些創作念頭是至今你都覺得有急切性的想去實現而還沒有完成呢？

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林嵐

擱角覺

地保護運動，不少的藝術家投入鄉郊生活。但是，

邊做作品，轉身已要上課開會。就這樣，我在這

我最有興趣的是看歷史興衰、正史、野史，不同

很想做的創作。之前借用過「遊園驚夢」中的一

所以除了場域，我的創作和物件、製作者、物主

很多可以做的。

的人物、建築、物件在歷史洪流中扮演的角色。的關係比較大，工作室收藏了不少年輕時因衝動

段，來講自戀和他戀之間的微妙關係。應該還有

而購買的物件，也因機緣巧合，收藏了幾位已仙遊藝術家的相關材料和物件。重點不在物件好壞，

而是物主的信任，物件的由來，單靠語言無法述說。我想在有生之年，有機會透過這些物件創作變化，物件陪我親歷了這些變故，歷史見證。當

然也是藉此和其他人分享這些在香港時空中出現

林嵐

擱角覺

告知原物主，這些年來，林林總總，世界與我的

的物件。本非急切，但是現在社會變化莫測，誰

也不知道將來如何。而且東西不少，需要時間整理。急不來。

我也因為從小對中國歷史的喜愛，也愛看民間故

事，章回小說，如《紅樓夢》、《西遊記》、《三

國演義》、《水滸傳》，元明戲曲等等。這些小說戲曲藉詞來表達對社會和時弊的看法，其中基於歷史的真實人物再加上豐富的想像，總是縈繞

在我腦海中，不知是真史還是野史。歷史總是在重蹈覆轍，借用不同的古代經典來做作品亦是我 115

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《一片紅＿飄洋》 2022

2014 年回收的傘布

高 240 x 寬 160 厘米

林嵐

擱角覺

受 Para Site 藝術空間委託為本次展覽製作

入口 117

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Lau Hok Shing Minding the G(r)a(s)p

Lau Hok Shing focuses on sculpture and installation in his practice. Passionate about classical Chinese culture and literature, Lau is an avid collector of antique objects and books, which he incorporates into his artistic practice in various ways. His work opens up a new pathway for appreciation of classical culture and creates a conceptual thread that unites the traditional and the contemporary. His work has been exhibited extensively in Hong Kong and internationally, including exhibitions at the Taehwa River Eco Art Festival, Ulsan (2013); TEDA Contemporary Art Museum, Tianjin (2011); and Hong Kong Art Centre (2006). He was awarded the Hong Kong Arts Development Awards 2016 - Award for Young Artist (Visual Arts) in 2016. Lau graduated with an MFA and a BA from the RMIT University in 2007 and 2005 respectively.

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www.lauhokshing.com

b. 1979 in Hong Kong. Lives and works in Hong Kong

Minding the G(r)a(s)p

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The previous work was created in Tianjin, which the Hong Kong audience was not able to experience on site. I have always hoped over the years to re-present the work in Hong Kong and share it with the local audience. This time the work is bigger in scale, requires more materials and a comparable amount of time, and with an additional lighting fixture. I invited lighting designer Lee Wai Sum Vanessa to create a rotat ing mechanical lighting fixture that creates a shimmering effect on the granulated sugar. The light also brings about a play of light and shadow that evokes the journey of the sun and the moon, mimicking the passage of time. Over time my state of mind has become completely different. Afterall the work was previously done more than ten years ago. My desire for 123

art is still there, but the object of desire has changed. It is not solely focused on the work itself, but on the mind and the spirit as well.

You once said choosing to go down the path of artistic creation is lonely. You are desperate for the audience to understand the perspective of the work and its author, but in reality no one can truly, completely understand your creation. And for the bulk of the time spent on the creative process, you are on your own facing challenges and supporting yourself. At the time you wished to create some work to express the sense of solitude; do you wish to connect with the audience on their experience of solitude, too? Besides using creative means to alleviate the loneliness in art creation, what else do you do? I think most people have experienced loneliness, and everyone has their own way of facing it. To me, solitude is a time I spend with myself. I can be undisturbed by the outside world, can enjoy and reflect in earnest. When I am alone, besides making art, I would choose to read, tidy up, appreciate my collection of antiques, meditate, look at the sky and the ocean, daydream… 124

Lau Hok Shing

Minding the G(r)a(s)p

In this exhibition, there is a mixed media work from your solo exhibition in Tianjin, ‘Bittersweet’ (2011). The theme of that solo exhibition centered around your own desire at different stages of life, and you positioned the works as a projection of childhood memories and desires. Why do you want to recreate the work now? What challenges did you face in the process of re-creation, how does it relate to the present, and how does the process differ from more than ten years ago?

Minding the G(r)a(s)p

I have had a fondness for old things since childhood. I have always frequented ‘yelling shops’ (local secondhand shops), vintage shops, street vendors, and bazaars. To me, old objects, big and small, are fragments of history. I find joy in seeking out items that resonate with me and piecing them together. It is quite similar to artistic creation: to find inspiration from a sea of thoughts, to organise and rearrange them, and through creative processes, to present them in a work. My work has always been inspired by old objects in terms of material, form, texture, colour, function, cultural context, etc. From time to time, I place my creation alongside with my collection in my work, and 125

it takes close examination to tell the old from the new. Other times, they are entirely new creations with an inner spirit drawn from older objects. I want my work to transcend various times and spaces, carry different cultures and histories, and take the audience on a journey through time. My most treasured items in my collection are two oranges. They were given to me by my grandmas before they passed away. I put them in the refrigerator when they were still fresh, and they became dry and shriveled over time. Whenever I miss her I would look at them, as if to say to myself she has always been here. I can’t bring myself to throw them away, and have looked after them to this moment. I still remember the smile on her when she gave me the oranges, with caring and loving. I know she will always keep me in her heart, and so will I… They are the most precious in my collection.

You have a special fondness for using recycled wood planks in your wood carving works. Over the years you have attempted to use other materials but you seem to favor wood. Often you opt to keep the natural colour of the wood without much treatment. Is there a reason for this? Are there other mediums you would like to experiment with? 126

Lau Hok Shing

It is widely known that you are an avid collector of antiques and own a sizeable collection. Your past wood sculptures have been imbued with elements of traditional Chinese painting and calligraphy, using contemporary techniques to reinvent Chinese landscape painting and scholars’ rocks, and your recent work fuses wood carving with antiques. Can you share your experience in collecting antiques and its relation to your creative practice? Is there any item in your collection that is connected to your work in this exhibition? Could you introduce your most treasured item in your collection?

In addition to collecting antiques, you also like to collect oral history from local residents. The neighbourhood stories you have collected over the years have facilitated artworks and guided tours that connect with the community. When did your interest in oral history begin? Do these communal treasures have any relation to your art? Which historical event in Hong Kong left the most profound mark on you?

oral history and stories in the community. The ways of the world and the emotional connections within a community are most fascinating to me, and they make very good ingredients for art. Many of my works are inspired by them, such as the installation ‘Hok-shing Grocery—A Century-old Shop (Used Goods Collection and Exchange Project)’ and guided tour ‘Roaming Storytelling Bamboo Theatre’. The historical event that left the most profound mark on me is of course the handover 25 years ago. It changed the fate of Hong Kong and the lives of many Hongkongers. Being a part of the moment was a profound experience for me.

Since my childhood I have lived in the Western district. It is an old district. Every event and everyone here are filled with a sense of history. Slowly I went from being curious to actually going out to collect and archive the 127

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I have experimented with many different materials, including metal, fabric, paper, and plastic, but I still prefer wood, because it gives me a sense of liveliness. It comes with character but is gentle. No two pieces of wood are ever the same; each has its unique character. Every time I make something new it is a fresh exploration. The original colour of wood is natural, simple, elegant, and entirely genuine. I find it beautiful even without paint. Sometimes I add a bit of colour (such as azure, canary yellow, vermillion, etc.) to accentuate the beauty of the hue of natural wood.

Pond of Desire - Sugar and Light 2022 Granulated sugar, white sugar cubes H. 40 x D. 240 cm Courtesy of the artist Commissioned by Para Site for this exhibition Lighting Design Lee Wai Sum Vanessa

Lau Hok Shing

Minding the G(r)a(s)p

Artist Assistants Chan Ching Man Ling Chung Wan Kevin

Entrance 129

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劉學成擱角覺

劉學成以雕塑和裝置為主要創作媒介。他醉心於中國古典文化和文學，熱愛收集有關的器物與書藉，並以不同的形式將之融合於藝術創作中。藉以開闢理解和欣賞中國古典文化的新角度，在作品概念上串連古今。作品於香港及世界各地受邀展出，包括於蔚山太和江環保藝術節（2013 年）；天津泰達當代藝術博物館（2011 年）；和香港藝術中心（2006 年）等場館參與聯展或個展。2016 年獲頒香港藝術發展獎——藝術新秀奬（視覺藝術）。劉學成 2005 年畢業於澳洲皇家墨爾本理工大學藝術系及於 2007 年取得該校的碩士學位。

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www.lauhokshing.com

1979 生於香港，現生活工作於香港

Minding the G(r)a(s)p

134 133

是次展出的作品是多年前於天津的個展「求不

你曾說過覺得選擇從事藝術創作的道路是孤獨

品，當時個展的主題圍繞你自身不同階段的慾

實上無人能真正百分百完全地清楚明白自己的

得」（2011 年）其中一件混合媒介的裝置作望出發，以作品投射出兒時回憶與慾望。這次想把作品重現的原因是什麼？當中舊作新造的過程中有什麼挑戰、與當下有什麼連結以及與十多年前創作時的狀態有什麼差別嗎？

一睹真貌。多年來一直希望可以在香港把作品重

創作，而且創作的過程往往大部分時間也只有自己一個獨自面對和支撐。當下想透過創作做出一些作品來表達孤寂的感覺，你是希望同時連結觀眾去面對自身孤獨的經歷嗎？除了透過創作去排解創作的孤獨感，你還會做什麼來面對？

現，與本地觀眾分享。是次新作的體積比之前大，

我想大部份人都經歷過孤獨的時候，而每個人亦

更增加了燈光裝置部份。邀請了燈光設計師李蔚

時刻，靜靜地不被外界騷擾，可真誠地去享受去

所用的材料亦比較多，花費的時間亦相應地長，心參與其中，創作了一個能轉動的機械燈光裝置；

營造出砂糖自行閃耀的效果，亦帶出日昇月移，時間不斷流逝的光影變化。經過年月增長，心境上截然不同，畢竟上次創作這件作品已是十多年

有自我面對孤獨的方法，孤獨其實是一個自處的反思。

我孤獨時除了投入創作，還會選擇看書、打理、賞玩收藏、打坐、望天看海、發白日夢⋯⋯

前了。自身對藝術上的慾望仍在，但慾望的對象

眾所週知你熱愛收藏古董文物，收藏的器物多

靈和精神上。

品融入傳統中國書畫的元素，尤其是山水、供

已有所改變，不只在作品的本質上，而多了在心

不勝數。從你過往的木雕作品中可見有不少作石等風格以當代手法呈現，近年創作亦有不少結合了木雕與古物。能分享一下收藏的經驗與

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劉學成

擱角覺

之前的作品是在天津創作，香港的觀眾未能親身

的，好想觀眾能明白作品與作者的觀點，但事

你自身創作的關係嗎？藏品當中有哪一件與是

你偏愛用回收的木板來創作你的木雕作品，歷

而重之的藏品嗎？

情於木這種物料。很多時候亦保留木的原色，

次展覽作品有所關聯呢？可以介紹一件你最珍

我從小喜愛舊物，總愛逛夜冷舖、古物店、地攤和市集，自覺大大小小的舊物都是一塊塊的歷史

沒有多作色彩上的處理。當中有什麼原因嗎？最近你有想試驗的其他媒介嗎？

碎片，在當中尋找有共鳴的心頭好，然後一一拼

我嘗試過很多不同的物料，如金屬、布料、紙料、

思緒中尋找適合的創作源頭，加以重組及整理，

力的感覺，很有性格又很溫婉，每塊木材從不相

合，從中找出趣味。創作亦有點類似，在浩瀚的

經過創造過程，將作品呈現出來。我的創作一直

受舊物所啟發，在材質、造形、質感、色彩、用途、文化語境上等等，時而作品會與收藏並置，

要細心觀察才可分出新舊，時而為全新創作，但內裏的精神是從舊物而來。期望作品能超越不同

地域和時空，承載不同的歷史與文化，帶領觀者

塑膠 ⋯⋯ 還是鍾情於木，因為它給我一種有生命同，擁有獨特的個性，每次創作都是新鮮的探索過程。木材的原有顏色自然素雅、渾然天成，不施色彩已覺很美。有時我會在作品裏加上一點色

彩（如天藍、鵝黃或硃砂紅等）去反襯出木材原色的美。

一同神遊古今。我最珍而重之的藏品是兩個橙，

除了收藏古物，你也喜歡四處去收集民間故

不知不覺間成為枯黃風乾的狀態，每當想念她時

亦促成與社區連結的藝術或導賞，對口述歷史

兩個嫲嫲最後給我的橙⋯⋯從新鮮時放在冰箱中，都會去看看，仿佛跟自己說她一直都在，怎樣也捨不得丟掉，一直用心地保留至今。還記得她把橙送給我時的笑顏，是關心，是愛，我知她會永

遠把我記在心頭，我亦如是 ⋯⋯ 這是我一生中最寶貴的藏品。

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事，從街坊口中尋寶。多年來收藏的社區故事這方面的興趣是由什麼時候開始呢？這些收集回來的社區寶藏對你的創作有什麼關連嗎？至今最令你深刻的一件香港歷史事件是？

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劉學成

擱角覺

年來曾對其他物料作嘗試，但好像你還是較鍾

從小我就住在香港西區，是一個古舊的老區，周圍的人與事都充滿歷史感，慢慢從好奇到實質行動地去收集和整理區內故事和口述歷史。當中的人情世態和對社區的情感連結最是吸引，是很好

的創作素材。有很多作品都是從中啟發而來，例如《百年老店之學成號雜貨 : 舊物交換與收集行

動》和《遊離朗蕩四圍走盂蘭神功講故戲棚》等。

最令我深刻的一件香港歷史事件當然是廿五年前香港人的人生，活在當刻，感受至深。

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劉學成

擱角覺

的主權交替，他改變了香港的命途，亦改變很多

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《池糖 — 微光》 2022

白砂糖，方糖

高 40 x 直徑 240 厘米由藝術家提供

受 Para Site 藝術空間委託為本次展覽製作燈光設計李蔚心

擱角覺

劉學成

助理陳正文凌中雲

入口 141

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Lulu Ngie Lulu Ngie delights in studying the human psyche as expressed through a person's body language: how a person stands, sits, lies, and moves, however subtly, reveals what they think and feel. When experiencing uncomfortable emotions such as acute embarrassment, anxiety, or fear, humans often try to protect themselves by seeking distractions or rationalising their feelings. These and other coping mechanisms are almost instinctive. Just as the physical body can heal itself after suffering an injury, the mind, too, has the ability to recover its equanimity after a trauma. The desire to protect humans themselves is strong in all living beings who seek self-preservation. Through her work, mostly ink on paper, Ngie shares her fascination in this often unnoticed but powerful part of our mental world. Selected solo projects included ‘Relax Until Distraction Comes’ (2019), and ‘Day After Day After Day’ (2013). Ngie graduated from the Hong Kong Art School and majored in painting.

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b. 1972 in Fujian. Lives and works in Hong Kong

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When I rewatched the videos from different periods, I recalled having similar thoughts as I was filming, but the objects being filmed seemed to have no connection with one another. So I had the idea to collage them together, like broken memory fragments, so as to release the emotions adhering to these memories.

I recall you saying that the process of painting is much like a journey. When a line is being drawn, sometimes you are led by the line, and sometimes it is your spontaneity and intuition leading the line. The composition of the videos tend to be minimalist, which is quite similar to your paintings. Do you think there is any difference or similarity between creating a video and a painting? Usually when I come across an interesting scene I film it with my phone. It is like a composition exercise to 147

train my eyes. If we use painting as a metaphor, a randomly recorded footage is similar to a quick sketch or outdoor drawing from life. Painting and video are indeed very different in terms of technique and creative process. I have yet to explore much of the latter, but my creative process for both mediums involves thinking about what can be eliminated, and how to use simple and straightforward visual effects to represent the content.

Human figures are often seen in the majority of your past works, and many of the figures are your self-portraits. Through the brushstrokes, lines, and colours, you express your mood and emotions, while this process is entirely under your control. In comparison, for you, video acts as your observation and it captures the fleeting present. Linking the emotions carried by the videos to yourself, as if to open yourself up to the world. Do you aim to connect the viewers to have a shared telepathy? Yes, the figures in my paintings are often a study of my inner self. It is also a form of opening my heart to the outer world and a good outlet for emotions. When I study the spiritual realm of humans, I realise 148

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How does it feel to try and use video footage from daily life as an art medium for the first time? You said that when you recorded the videos on your mobile phone, you did not think of using them to make art. When did the idea of arranging them into an artwork come about?

Your work Say hello to the blisters on the wall uses objects to project traumatic experiences that are hidden in everyone’s heart. If these are not dealt with, one day they will come bursting forth in a state of imbalance. It reminds the audience that everyone has a mechanism for self-protection and self-repair. Do you wish to let the audience listen to their inner emotions and examine their own state through the work? How does this emotional healing and your daily Zen practice influence your art and your life, especially in today’s environment? You are right. And besides this, I also hope that this work, with the help of the leaking wall, brings out a sense of companionship, to accompany the broken heart that has been hidden underneath the surface. In addition to inward observation, another natural way 149

to heal is through the tactile sense. What the skin feels gives one a sense of security. Touching the blisters on the wall, greeting them, and letting them know they are being cared for would provide them something to lean on and trust, which leads to a sense of security and aid recovery. To me, Zen practice is very helpful in dealing with emotional problems. Through keeping track of changes of the mind, I learn to take a step back instead of drowning in it when emotion strikes. I am less prone to mood swings, losing the ability to make good judgement, and having unnecessary reactions. For example, when I experience a bout of anger or self-blame, I only need to know that it is simply emotion. To be sympathetic to my own feelings allows my mind, my sense of self, and my emotions to become healthier. These experiences can become subjects and inspirations for paintings. Furthermore, it is important to learn and understand balance. If I am too tense the lines become rigid, and if I am too loose I draw them incorrectly. To produce satisfactory works, I need to stay both focused and relaxed.

In a recent group exhibition at the Hong Kong Art School, you have begun using mediums 150

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Minding the G(r)a(s)p

this formless inner world is as mysterious as the universe. There are still many unknown and interesting subjects that I can explore further in my work. I experiment with other mediums because I do not want to limit myself from other possibilities. Of course I would like my work to resonate with more people. This is my greatest satisfaction.

this area first in order to create an artwork with more impact. This will be a long-term endeavour.

For the found objects used in the work Eaten, I was initially attracted to the physical phenomenon they create, so I collected these creations of nature. While organising them I noticed a commonality among them, which happened to coincide with my mood at the moment. Perhaps it was a case of my mood affecting what I see that led me to the idea of combining them into a work. This experience reminded me to keep a curious mind and to take note of the quotidian things that touch my heart and keep track of them—— even during difficult stretches in life I should find joy and motivation——and one day I can make them into art and pass along the message.

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Minding the G(r)a(s)p

other than painting. You used found objects juxtaposed with paintings to create an installation. What do you think about your experiments with new mediums? Is there any medium or direction you would like to explore in the future?

For my next work I have been thinking about making a piece about water buffalos, because I once worked as a volunteer to care for water buffalos for a period of time. This activity is rather controversial in terms of animal preservation and ecology. I would like to become more knowledgeable and experienced in

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Going out 2022 5-channel videos 5 minutes Commissioned by Para Site for this exhibition

Say hello to the blisters on the wall 2022 Minding the G(r)a(s)p

Video, peeling paint 49 seconds

Entrance 153

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Lulu Ngie

Commissioned by Para Site for this exhibition

倪鷺露 1972 年生於中國福建，現生活工作於香港

擱角覺

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www.lulungie.com

作品多以簡單筆墨描繪人物的姿態動作來反映心理和精神層面。當面對不安的情緒，如尷尬、焦慮或恐懼時人們會在有意無意間作出一些心理調節來免於受打擊，像是試圖用一笑置之來處理，這與其他的應對方法都是自我保護的一種反應。而人們除了細胞和組織受損後能再生和自我修復外，在心靈上的打擊和創傷同樣有自我修復的本能，亦是自我保護的防禦機制之一。所有生物都會發揮自我保護這種本能來延長自生存活的時間，藝術家希望藉筆墨滲透出在生存慾望底下這些微細而不自覺的心理調節及行為的趣味。個展包括「放鬆，直至分心為止」（2019 年）和「明日復明日」（2013 年）等。倪鷺露 2006 年畢業於香港藝術學院（主修繪畫）。

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第一次嘗試用日常生活中拍下的錄像片段作為創作媒介感覺如何？你說過用手提電話拍下錄像時沒有想要用來做作品，什麼時候萌生念頭要把這些錄像片段整理並成為作品？

重看不同時段的錄像，回想起當時有着類似的思

緒，而被攝物卻看似毫無關係，於是萌生起把他們扣連在一起的念頭，像是不連續的記憶碎片，我記得你曾説過繪畫的過程像一趟旅行，線條在畫面上落筆時有時候好像是被線條帶領着，

性的視覺效果去表達內容。

你過往大部分的繪畫作品中都有人物的蹤影，

而畫中人很多時候是你的自畫像。透過畫面上

的筆觸、線條、顏色來抒發出自身的情緒和個人情感，而繪畫過程都全在你掌控之中。相比

之下，錄像是你的觀察、捕捉了當下的瞬間，而你把錄像中承載的情感與自身連繫在一起。

當中好像讓自己的情感更奔放，是想要把大家連結起來形成一種共同的感應嗎？

有時候是你的率性、直覺帶領着線條。錄像中

是的，我繪畫的人物大多是自己的內在觀察，也

表達的感覺挺相似，你覺得錄像與繪畫的創作

很好的出口。觀察人類的精神層面，這些無形的

所呈現的畫面偏向較簡約與過往的繪畫作品所過程有甚麼相近或不同？

平常遇見有趣的畫面也會拿起手機拍下來，就像是訓練眼睛的構圖練習，隨機拍攝的錄像用繪畫

來比喻的話有點像速寫或是戶外寫生，繪畫與錄像在技巧上及創作過程上確有很大分別，而後者

算是一種對外敞開內心的表達，是抒發情感一個

內在部份，像宇宙一樣神秘，還有很多我未知也

感興趣的東西是可以繼續深入探索而成為題材的，而用其他媒介的嘗試就是不想侷限其他的可能性，當然也希望透過作品能得到更多人的迴響，這是最大的滿足感。

對我來說是另一門大學問，但在兩者創作過程中 159

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倪鷺露

擱角覺

讓附隨在這些記憶的情感得以抒發。

我都是在想那些東西可以不需要，如何用簡單率

作品《跟牆壁的水泡問好》以物投射出潛藏於

自我及情緒等健康起來。而這些種種經驗也可以

天會傾瀉、失衡的狀態。同時藉此提醒觀者每

為太緊繃線條就太硬，太鬆又會畫錯，要集中要

每人內心的傷痛經驗，若沒有處理情緒終有一個人都擁有自我保護與修復的機制，你希望透過作品讓觀眾聆聽內在的情緒、檢視每個人自

自如才會畫出滿意作品。

身的狀態嗎？這種情緒療癒與你日常生活習慣

最近在香港藝術學院舉辦的一個群展中你開始

其是在當下的環境？

物與畫作並列成裝置作品。你對運用這些新媒

中的禪修於你的創作和人生起了甚麼變化，尤

你說得對。而除此之外，這作品也希望借助漏水的牆身帶出一種陪伴的感覺，陪伴那一直潛藏着

運用繪畫以外的其他媒介，在作品中你用現成介的實驗有甚麼想法？接下來有其他想探索的媒介或方向嗎？

支離破碎的心。我們除了向內觀察、檢視自身狀

作品《被吃掉的》運用的現成物，起初只是因為

肌膚感覺獲得安全感。透過觸碰牆上的水泡並跟

的創作收藏起來。在整理物件時無意中發現他們

態，平息傷痛另一自然方法就是透過觸感，藉由它問好、讓它知道被關懷，得到依附和信任從而找到安全感更能有效復原。

對我來說禪修確實對處理情緒問題非常有幫助，透過練習覺察內心的變化，當情緒來襲時懂得站遠一點去看而不是沉溺在內，不會那麼容易被情

緒拉扯而失去判斷能力作出不必要的反應，例如：

憤怒、責怪自己等，只需要知道那是情緒就可以，

對自己的感受真正的仁慈，這些學習讓我的心、 161

被他們產生的物理現象吸引，於是把這些大自然

的共通點，而正好這個內容和當刻的心情吻合，或者是怎樣的心情就看到什麼吧，於是生起將他

們合併成作品的想法。有了這次經驗提醒了我，應該保持好奇心，留意日常生活中觸動到內心的

事物，將其記錄下來。即使是在艱難苦澀的生活中也要找一點樂趣作為動力，到某天亦可透過它們創作傳遞訊息。

接下來也有構思過做一件與牛有關的作品，因為 162

倪鷺露

擱角覺

是繪畫題材和靈感，還有是學懂平衡的重要。因

曾經做牛義工持續了一段時間的經驗，而這個活動卻在動保和生態上存在了一些爭議性，我會想在這方面增加多些知識和體驗作為依據再創作，

倪鷺露

擱角覺

會更有感染力，所以會是漫長的事情。

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《出門》 2022

五頻錄像 5 分鐘

受 Para Site 藝術空間委託為本次展覽製作

《跟牆壁的水泡問好》 2022

錄像及剝落的油漆 49 秒擱角覺

入口 165

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倪鷺露

受 Para Site 藝術空間委託為本次展覽製作

Wong Wai Yin Wong Wai Yin experiments with a variety of mediums, such as painting, sculpture, collage, installations, and photography. Her work is often autobiographical, exploring episodic memory and intervention with art history. She has exhibited her works extensively in Hong Kong, including solo exhibitions at Oi! (2017); and Spring Workshop (2016). She has also participated in international exhibitions including at Collectors House, Heerlen (2011); Taipei Fine Arts Museum (2010); International Studio & Curatorial Program Open Studio, New York (2009); and Museum of Contemporary Art Shanghai (2007). Wong Wai Yin received her BFA from the Chinese University of Hong Kong in 2004 and her MA from the University of Leeds, United Kingdom in 2005. She is currently a PhD Candidate in art history at the Chinese University of Hong Kong.

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www.wwy.hk

Minding the G(r)a(s)p

b. 1981 in Hong Kong. Lives and works in Hong Kong

Minding the G(r)a(s)p

170 169

Minding the G(r)a(s)p

I think all of their questions are what all art practitioners have experienced. If there is an ‘illness’, it probably is ‘excessive self-reflection’.

I might do it again but I am not sure when. I think as I continue working, I would keep discovering my own shortcomings, and then attempt to coexist and cohabit with them.

Success is not something on my mind anymore. As for resistance, it takes a lot to simply stay sane every day. It will probably precipitate into a form of energy that will be reflected in future works. But as of now it is quite uncomfortable.

In the work, some interviewees shared their personal thoughts, and raised questions around

After many years of making art, many of your works deal with issues of the creative process or

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art-making and the ecosystem and atmosphere of the art industry. Do you find any of them particularly meaningful, or did they lead you to reflect upon art as a profession? Do they remind you of your own ‘illness’ or ‘condition’ that you have wanted to comb through for a long time?

Have you overcome the subconscious fear and avoidance of professional success you experienced in 2016? Or is it completely different now? What is the biggest obstacle or resistance for you in your creative process now?

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Wong Wai Yin

I remember you once said you did not like to rehash old work. In your 2016 solo exhibition, you presented Everyone’s sick as clips of interviews with three artists and art practitioners. Now it has increased to twenty interviewees. Although the concept and presentation of the work seem to repeat itself, its content covers many facets of the interviewees and the many hidden problems in the art world. Do you plan to conduct more of these interviews? Have you considered inviting artists and art practitioners outside of Hong Kong to participate? These interviews allowed the interviewees to deconstruct and recognize their own ‘illnesses’, and it is these ‘illnesses’ that allowed the artists to create ceaselessly. Do you think art-making is an effective form of self-therapy that would eventually lead to salvation?

the ecology of the art industry, as well as personal fear and struggle. Right now, what is most essential to your creative process? What do you want to express the most?

Could you elaborate on how these challenges in art have changed? What is at the core of your creative process? At the core of my practice is to express the difficulties in the creative process through my work. But there are many such difficulties, and it is different in every work. Some are about being trapped in an identity, others are about the inauthenticity and impossibility of art history, and still others are about the mechanism of art/exhibition.

I dreamed that I went to my mid-career retrospective. It was spectacular, and someone wrote an impressive essay in the catalogue. The work was eventually cut into small pieces that were put into mini pyramids, which was offered as a complimentary gift to the audience alongside the catalogue.

You once said that you don’t believe artists need personal styles. Every time I correspond with you, I feel you carry with you a special aura. It 173

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Wong Wai Yin

Minding the G(r)a(s)p

The bottlenecks in an artistic career. However, there are too many bottlenecks, so it may seem as though there has been change, but at the core, from what I see, it did not change that much.

seems the creative process is at once a free and certain process for you. The Ten Seconds That Determine Whether A Gets Made Into A Work describes the thinking process when you make art. Has your ten-second thinking process changed? Especially the seventh second, when you focus on whether the work has something that can make the audience laugh: ‘Being able to laugh out loud is important. To laugh in this unbearably crazy world means that you are making it through, and also that you can lead the world to make it through.’ Is there any unfinished or unrealised creative ideas you can share with us?

Everyone’s sick 2021 Video (colour) 342 minutes Dialogue in Cantonese with English and Chinese subtitles

Wong Wai Yin

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Courtesy of the artist

Entrance 175

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黃慧妍 1981 年生於香港，現生活工作於香港擱角覺

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www.wwy.hk

黃慧妍的創作涵蓋繪畫、雕塑、拼貼、裝置和攝影等，作品以關於自身經驗、個人記憶片斷以及對藝術史的詮釋為切入點。她曾參與多個本地展覽，近年個展包括油街實現（2017 年）；和 Spring Workshop（2016 年）。其作品於世界各地的不同聯展中受邀展出，包括海爾倫 Collectors House（2011 年）；臺北市立美術館（2010 年）；紐約國際工作室與策展計劃（2009 年）；和上海當代藝術館（2007 年）。黃慧妍 2004 年畢業於香港中文大學藝術系，翌年於英國列斯大學修畢藝術碩士課程，現正就讀於香港中文大學藝術系博士課程。

Minding the G(r)a(s)p

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記得你曾經說過不喜歡作品重複（炒冷飯），

我覺得他們全部提到的問題都是所有從事藝術的

藝術家或藝術工作者的訪問片段，如今增加至

分自省」吧。

《全部都有病》於 2016 年個展中包括了三位

二十位。縱然作品概念和表現手法上好像重複了，當中所表達的內容廣泛包涵了受訪者的諸

你現時衝破了當年（2016 年）潛意識裏害怕

你有打算繼續進行這些訪問嗎？有否想過邀請

了？你覺得當下創作的最大障礙或阻力是什

多面貌以及藝術圈中的更多情況和潛藏問題。香港以外的藝術家或藝術工作者？這些訪談構

成了各受訪者對自身的「病」的解構與認知，

這些「病」促使藝術家們持續地創作。你覺得創作是否能有效自療，最終達至自我救贖？

有可能會再做但不知道是何時，我覺得持續創作只能不斷發現自身的缺陷然後嘗試共存共生。

作品當中受訪者提及過的一些個人思緒、創作或藝術生態與氛圍等不同問題，有個別病例對

你來說有特別的意義或反思出以藝術為業的一些其他想法嗎？有聯想到自身的「病」或一直以來想要梳理的「病情」嗎？

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和避免事業上的成功了嗎？還是情況完全不同麼？

沒有把成功放在心上了，當下阻力的話，應該是日常已經花很多力氣維持住不發瘋的狀態，應該是會沉澱成一種力量在以後的創作中反映出來，但現時非常的不舒適。

你多年以來的藝術創作，當中有不少作品都在論述藝術創作或藝術生態等問題，亦有一些談及個人恐懼和掙扎。此刻你在創作當中最核心的或最想要表達的是什麼？

藝術中的困境，但因太多困境所以看上去好像有轉變，但核心我自己看來不那麼轉變過。

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黃慧妍

擱角覺

人所經歷過的，如果真的是有病的話，應該是「過

可以舉例說明一下藝術中的困境怎樣轉變了？創作的核心是什麼？

核心是用作品講藝術創作的困境，但困境有好多，

每件作品都不同，有些是受限於身份的困境，有些是藝術史的不真實與不可能，有些是藝術與展覽機制等。

每次與你交流都給我一種自帶氣場的特質或感覺。創作對你來說似乎是一件又自由又確定的

黃慧妍

擱角覺

你説過不相信藝術家需要有個人風格，我覺得

過程，《決定 A 可以做成作品前的十秒》中描

述了你創作時的思考過程，這十秒的思考過程

有變嗎？特別是第七秒着重作品裏有令觀眾可

以笑出來的地方：「笑得出來是很重要的，在這個如斯難堪瘋狂的世界笑得出來，代表你能

捱過來，也能帶動世界捱過來。」有未完成或還沒有實現的一些創作念頭可以分享嗎？

我發夢去了自己事業中期回顧展，覺得很厲害，書裡有人寫了很深刻的文章，作品最後全部切成碎片裝進小小的金字塔，隨書送給觀眾。 183

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《全部都有病》 2021

錄像（彩色） 342 分鐘

粵語對白；中英文字幕

黃慧妍

擱角覺

由藝術家提供

入口 185

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Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.

Minding the G(r)a(s)p 擱角覺

Para Site 藝術空間為香港首屈一指的當代藝術中心，亦是亞洲歷史最悠久、最活躍的獨立藝術機構之一。成立宗旨在透過展覽、出版刊物及教育項目等活動，促進在地與國際間的對話，希冀打造一個對當代藝術、社會現象提出批判性論述及理解的平台。

Project Manager/Assistant Curator 項目經理 / 助理策展人

Curator 策展人

Celia Ho 何思穎 Cusson Cheng 鄭家醇 Visual Design 平面設計

MAJO

Spatial Design 空間設計

Human Architects

14 May –14 August 2022

Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region. The Government of the Hong Kong Special Administrative Region provides funding support to the exhibition only, but does not otherwise take part in it. Any opinions, findings, conclusions or recommendations expressed in the materials/activities (or by members of the Para Site’s team) are those of the organisers of the exhibition only and do not reflect the views of the Government of the Hong Kong Special Administrative Region. Para Site 藝術空間獲香港特別行政區政府「藝術發展配對資助計劃」的資助。香港特別行政區政府僅為該展覽提供撥款資助 , 並無參與其中。在刊物 / 活動內（或 Para Site 成員）表達的任何意見、研究成果、結論或建議，純屬該展覽的推行機構的觀點，並不代表香港特別行政區政府的觀點。

Alongside artist fees to all participating artists, Para Site is offering medical and dental insurance coverage for Hong Kong artists in the exhibition. 除了參展藝術家薪酬， Para Site 藝術空間為參展的香港藝

術家提供醫療和牙科保險。

Artist fees are generously made possible by the following individuals 藝術家薪酬由以下人士慷慨贊助：

Cherry Chan Paola Sinisterra

Aaron d’Aquino Chan Ching Man Glo Chan Chan Ho Kan David Chan Man Chun Sirius Chan Siriwan Chan Tammy Chan Cho Wing Ki Yanni Ho Jackson Kwong Maisy Lai Aaron Lam Carmen Lau Kenna Lau Lee Wai Sum Vanessa Wesley Lee Leung Kwong Yiu Louise Leung Li Hiuwa

特別鳴謝各位藝術家，以及杜卓璣陳正文陳卓甄陳浩勤陳文俊陳詠詩陳穎琳陳卓韻曹穎褀何茵妮鄺俊軒賴敏琦林國鑫劉嘉汶劉曉澄李蔚心李司朗灰熊梁鳳儀李曉華

凌中雲彭倩幗瞿暢鄧芷茵鄧咏珊謝銘思黃子恩楊添葉嘉敏余榮基

PARA SITE TEAM

PARA SITE 團隊

Executive Director/ Curator

執行總監 / 策展人

Billy Tang Deputy Director

Kelly Ma Curator

Celia Ho Project Manager/Assistant Curator

Cusson Cheng Project Manager/Assistant Curator

Kobe Ko Project Manager/Assistant Curator

Ellie Tse Communications Manager

Jason Chen Development Manager

Jacqueline Leung Gallery Manager

Kelly Tang Gallery Coordinator

Shirley Au

曾明俊

副總監

馬元中

策展人

何思穎

項目經理 / 助理策展人

鄭家醇

項目經理 / 助理策展人

高穎琳

項目經理 / 助理策展人

謝意

傳訊經理

陳子岳

發展經理

梁婉揚

畫廊經理

鄧曉妍

畫廊助理

歐尚卿

Minding the G(r)a(s)p

Special thanks to all the artists, as well as

Ling Chung Wan Kevin Beatrix Pang Qu Chang Birde Tang Hannah Tang Macy Tse Clara Wong Yang Tian Rannie Yip Rik Yu

PARA SITE BOARD Chair

Alan Lau Ka Ming Vice Chair

Mimi Chun Mei-Lor Treasurer

Bonnie Chan Woo Tak Chi Secretary

Nick Adamus Shane Akeroyd Antony Dapiran Alan Y Lo Young Kar Fai Samson GLOBAL COUNCIL 環球協會

Shane Akeroyd Mimi Brown & Alp Ercil Jehan Chu Samantha & Jamie Goodman Benedicta M Badia Nordenstahl Vanessa Ying Xu Virginia Yee Ethan Yip FOUNDING FRIENDS 始創好友

AllRightsReserved and DDT Store Burger Collection, Hong Kong Stephen Cheng CMBB Cultural Organization David Zwirner Gallery A. Gaw

主席

劉家明

副主席

秦美娜

會計

胡陳德姿

秘書

黃志恒

Nick Adamus

安定山戴安通羅揚傑楊嘉輝

Mimi & Chris Gradel Inna Rodchenko-Highfield & Tucker Highfield IEs Collection Alan Lau Wendy Lee James Lie Edouard & Lorraine Malingue Schoeni Projects SUNPRIDE FOUNDATION FRIENDS 好友

Nick & Cordula Adamus-Voegtle Christine & James Boyle Rachel Catanach & David Boyce Lawrence Chu Jane DeBevoise Yan Du Jacobo Garcia Gil Clarisse & Sean Garman Kwai Fung Foundation Alan Lo Kai-Yin Lo Ingrid Lok & Tim Li Kenneth K Loo Elaine W. Ng Justin Ng Arjuna Rajasingham Stefan Rihs Fabio Rossi Angelle Siyang-Le Bonnie & Darrin Woo Kelly Yip Dayea Yeon

Minding the G(r)a(s)p

Sara Wong Chi Hang

PARA SITE 董事局

www.para-site.art 22/F, Wing Wah Industrial Building 677 King’s Road Quarry Bay Hong Kong 香港鰂魚涌英皇道 677 號榮華工業大廈 22 樓

t. +852 25174620 e. info@para-site.art Wednesday to Sunday, 12:00 – 19:00 hrs Closed on Monday, Tuesday, and Public Holidays 星期三至星期日下午 12 時至晚上 7 時星期一，星期二與公共假期休息

Facebook/Instagram: @parasite.hk Wechat: @parasitehongkong

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C&G Artpartment C&G 藝術單位 Eastman Cheng 鄭淑宜 Chow Chun Fai 周俊輝 Minding the G(r)a(s)p

Jaffa Lam 林嵐 Lau Hok Shing 劉學成 Lulu Ngie 倪鷺露 Wong Wai Yin 黃慧妍 curated by 策展人

Celia Ho 何思穎 201