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 2517 4620 F +852 2517 6850 info@para-site.org.hk
Wednesday to Sunday, 12 – 7 pm Closed on Monday, Tuesday and public holidays Extended opening hours at Para Site during Art Basel: Monday to Sunday, March 20–26, 2017, 10 am – 7 pm 星期三至日 , 中午 12 時至晚上 7 時 星期一、二與公共假期休息
巴塞爾藝術展期間 2017年 3月 20–26日
展覽時間延長至星期一至日上午10 時至晚上 7時
18.3 –––––––––––––––– 11.6.2017
22/F, Wing Wah Industrial Building
土 SOIL AND與石
STONES, 靈 SOULS 與 AND 歌 SONGS
土 SOIL AND與石
STONES, 靈 SOULS 與 AND 歌 SONGS 18 March – 11 June, 2017 2017 年 3 月18日 – 6 月11日
SOIL 土
AND 與
1 Introduction 展覽介紹
Rooftop 天台
22樓 /F
P
11 Sammy Baloji 12 Mariana Castillo Deball
22樓/F
13 Kawayan de Guia 14 Jimmie Durham 15 Josh Faught 16 Edgar Fernandez 17 Meschac Gaba 18 Gendun Chopel 更敦群培
18 樓/F
19 Simryn Gill 20 Sheela Gowda
22 He Xiangyu 何翔宇
23 Ho Siu-Kee 何兆基
24 James T. Hong 洪子健 25 Peter Kennedy + John Hughes
27 Li Ran 李然
18樓 /F
28 Prabhakar Pachpute
44 Pio Abad
29 Pratchaya Phinthong
45 Tarek Atoui
30 Motoyuki Shitamichi 下道基行
46 Simryn Gill & Ho Siu-Kee 何兆基
31 Valerie Snobeck
47 Taloi Havini
32 Tru’o’ng Công Tùng 張公孫
48 Ocean Leung 梁御東
#parasitehk
49 José Maceda
#soilandstones
33 Wang Gongxin 王功新 34 Haegue Yang 梁慧圭
50 Reetu Sattar
35 Trevor Yeung 楊沛鏗
51 Chulayarnnon Siriphol
36 Tuguldur Yondonjamts
52 Walter Smetak
38 Dominique Zinkpè
53 So Wai-Lam 蘇瑋琳
Rooftop 天台 58 Towards A Mystical Reality
邁向一個神秘現實
@parasite.hk
40 A Tale: The Land of Fish and Rice 54 The Phantom Modern
漁米之鄉記
ara Site is delighted to present Soil and Stones, Souls and Songs, a major traveling and transforming exhibition based on several intertwined lines of tension and narratives found today in the realities, artistic and cultural production, and contemporary thought in the Asian sphere and beyond. It is constructed on a spectrum of art practices, new commissions, case studies curated by Yongwoo Lee, Qu Chang, and Simon Soon, and experiments on forms and processes addressing, directly or symbolically, several broad categories of issues. These can all be traced to the seismic forces that have transformed the world over the past decades, with Asia being at the forefront of these changes. Presented together with KADIST, the exhibition is curated by Cosmin Costinas and Inti Guerrero and it was first presented in a different configuration at the Museum of Contemporary Art and Design in Manila. The unleashing of the forces of the global market in the region has modified the forms of production, labour, landscape and environments, as well as wider societal structures across the continent. The anxieties of the new world, and the often competing aspirations of these reshaped societies are in search of new forms of imagining the political, of new ideas meant to give sense and direction to the changing realities. Many of these ideas try to position themselves in opposition to liberal democracy—perceived as foreign—or even outside of the parameters of Western modernity, often creating complex and hybrid ideological projects. Sometimes continuing ideas from the anticolonial struggle and from the postcolonial nation building process, these ideological projects are nevertheless very current adaptations to the region’s rejuvenation and to what is seen as the crisis of the West. In this respect, there is a thread uniting as disparate ideas as the neo-Confucianist revival of the Communist Party in China to new ideas about what it means to be indigenous across the colonized world, from Melanesia to the Americas, passing through what appears to be a more conventional resurgence of nationalism in different countries. This latter phenomenon has catalysed revisionisms of historical issues and of various founding myths (of communities and of the world itself) in the face of historical and ecological threats, leading to a general horizon of anxiety. This fear extends however beyond Asia, finding a fertile ground in a world marked by a loss of certainties, by the anxiety of a shifting geopolitical order in the postcolonial and post-Cold War Era, and by the unease and violence often accompanying the transformation of traditional economic and cultural patterns.
21 Ion Grigorescu
26 Li Binyuan 厲檳源
石STONES
現代魅影
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How can an art exhibition convey this? How can forms, objects, and matter translate the contextual anxieties we are pointing out? How can the infinite complexities of the horizon over our continent be translated, not to mention the complexities defining the actual object and spectre named China, which appears at the centre of these issues? The exhibition attempts to address these through several interrelated threads, as well as through a number of separate case studies that compose a kaleidoscopic vision of our subject. It is also particularly attentive to aesthetic vocabularies and to how the search for an outside to Western modernity has been reflected in the references or the forms employed by artists of various generations and geographies. While many of the stories traced are occurring within Asia, the exhibition also tries to understand the transformations happening on our continent by tracing their echoes, resonances, and mirrored shadows outside its shores, near and far.
A body of works in the exhibition looks at the convulsions of societies affected by extractionist economies, often implemented by dominant multinational corporations, as a continuation of past colonial projects. In many of these contexts the deep transformation of landscapes as well as of communities, encounter and clash with traditional ideas on the use of and relation with the soil. Some contexts experience the dislocation of indigenous cultures more radically and violently than others, from the Aboriginal communities in Australia, discussed in Peter Kennedy and John Hughes’ historical film, to the complex consequences in the Pacific island of Bougainville, addressed by Taloi Havini. In the Philippines or India, reflected in the work of Edgar Fernandez and in the new commission by Prabhakar Pachpute, respectively, the struggles related to mining are entangled in broader social issues. The works of Simryn Gill connect the profound transformations of landscapes by mineral extraction, to the equally severe consequences of mass scale palm oil production. The deep anxiety felt in Mongolia towards the excavation of its territory (by China or its agents) is often gendered and sexualized, being associated with the fear that Mongolian women (metaphors of the sacred motherly soil) will be impregnated by Chinese men. Tuguldur Yondonjamts’s works playfully and ironically reveal the allegorical imagery behind the anxiety in both its historical and current manifestations in Mongolia. China itself experienced such a deep conflict between the understanding of soil as a fundamentally spiritual landscape and as a resource, at the beginning of its modern era, illustrated in the late Qing dynasty’s reluctance in building railroads, in order not to disturb the ancestral graves and the feng shui of its territory. Soil and agriculture, together with the issues of land rights and the complex rural-urban dynamics across Asia is present in the works of Li Binyuan, Tru’o’ng Công Tùng, alongside the aforementioned works by Simryn Gill. A Tale: The Land of Fish and Rice, the case study curated by Qu Chang, looks at the connections between soil and agriculture, history and territory, indigenous communities and spirituality, and the rapidly shifting identity of Hong Kong. The city is further discussed through the works of Ho Siu-Kee, So Wai Lam, and Ocean Leung, with a particular attention to its accelerated process of self-interrogation and radical political imagination in the post-Umbrella Revolution years, making it into one of the sites where anxiety for the future and competing attempts to address it are felt more acutely.
Soil is the practical, symbolic and often sacred home of the nation, the repository of its history, as well as its most valued economic asset. The exhibition presents the soil in its multiple understandings, from that of a concrete (albeit spiritually invested) landscape, to its physical and no less sacred quality as an object, as well as to its conceptual form as a crucial element in defining a nation. The exhibition also introduces environmentalism as a growing determinant of cultural phenomena, while expanding the geographical implications of Asia, to its inner and outer peripheries in the Pacific, and beyond.
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The deep feelings of anxiety in the region are analysed through phenomena connected to the resurgence of nationalisms, with all their founding myths, insistence on ethnicity, territory, common stories, and souls, particularly manifested in the fractured social body of Asia with its anxieties of complex ethnic landscapes, oscillating between agonistic conviviality and the spectre of violent antagonisms. These ideological instrumentalisations of history and national narratives are being questioned throughout Asia by artists such as Chulayarnnon Siriphol looking at the deep divisions in Thailand in recent years and at how nationalist narratives play along this divide; Pio Abad dissecting the toxic legacy of the Marcos regime in the politics and culture of the Philippines in a work that has recently transformed in response to the undignified reburial of Ferdinand Marcos in the Heroes’ Cemetery in Manila; and by Motoyuki Shitamichi tracing the remains of toriis, sacred Shinto gates in various parts of Asia and the Pacific occupied by Japan in the Second World War, bringing thus in the discussion the relics of the last tragic attempt of a new Asian order with Japan as its hegemony. Li Ran’s piece alludes ironically to China’s new hegemonic position and the insecurities associated with the cultural manifestations of this position of power. The Phantom Modern, the case study curated by Yongwoo Lee, offers a broader context for the convulsions of modernity throughout Asia, navigating from history to spirituality and popular culture.
石STONES
Another segment in the exhibition looks at the works of Tarek Atoui, José Maceda, Reetu Sattar, and Walter Smetak, in which experimental music compositions use ethnographic instruments, or newly created ones, as in the case of Atoui, to bring together a nativist folkloric element as well as a neo-avant-garde method. The work of Mariana Castillo Deball, and of veteran artist and activist Jimmie Durham are striking commentaries about the ambiguities behind the narratives of indigenous cultures in today’s world. Josh Faught’s work alludes to a more contemporary process of building a community within a broader mainstream society, in the American post-AIDS queer community. Hybridity, cultural conflict, and layering pervade the works of Kawayan de Guia and Dominique Zinkpè. Ion Grigorescu’s works reveal his negotiations of the national, the individual, and the spiritual in the Romanian context, which alongside other parts of Europe sees its cultural legacy at least partially removed from hegemonic Western modernity. In a similar line of deep spirituality and blasphemous inquiry sits the rather unacknowledged drawing impressions of a trip to India by Gendun Chopel, a Tibetan modern artist, writer, and monk of the first half of the 20th century, who became fascinated with the tropical version of Buddhism in the South, while creatively and sometimes scandalously juggling between his religious beliefs and a desire towards modernity. Pratchaya Phinthong’s discreet piece is a poetic commentary on the distortions of scale and distance in the world, brought about by the great unsettling of the past decades. The works of artists such as Sammy Baloji, Meschac Gaba, Sheela Gowda, He Xiangyu, James T. Hong, Haegue Yang, Trevor Yeung, Valerie Snobeck, and Tru’o’ng Công Tùng mentioned before, explore, each in its own ways, the multiple cultural implications of objects and matter, of natural and cultural items, in the rapidly industrializing and urbanizing contexts in which they each work.
The works in the exhibition are not only meant to translate narratives, they are assembled to reveal the position of forms, matter, objects, and language in resonating these conflicts and world views. The identification of cultural specificity through visible formal codes remains a deep reflex in our contemporary world, and while artists in the show operate on different formal avenues, dissidence from a single canonical art history is a unifying thread of their artistic practice. The case study curated by Simon Soon, revisits the seminal 1974 exhibition by Malaysian artists Redza Piyadasa and Sulaiman Esa, Towards a Mystical Reality, a major moment in the history of conceptual art in Asia. Conceived as a manifesto exhibition, it explored the ideas on the art object of what the two artists regarded as the “Western” neo-avant-garde and how these related to conceptions of reality, matter, and objects in Asian philosophies and spiritual systems. The 1974 exhibition has been a relevant and influential example of local references being summoned for the production of modern cultural projects that see themselves as distinct from a Western model.
— Cosmin Costinas and Inti Guerrero
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ara Site 隆重呈現大型巡迴展覽《土與石 , 靈與歌》。
對於一個國家而言 , 土壤是實質上和象徵性的代表 , 而且往往被視
化生產 , 以及當代思潮中連串錯綜的緊張關係和敘述線索 ; 以
現土壤的多重表徵 , 包括具體的地貌（遑論挹注的精神意涵）, 成為
本展起源於散見當今亞洲與其他區域的社會現實、藝術和文
為神聖的國土、歷史的蘊藏以及最有價值的經濟資產。本次展覽呈
藝術實踐和全新創作以及李龍宇、瞿暢與孫先勇所策劃的個
物件時所代表的材料性與神聖性 , 以及作為定義國家概念的關鍵元
案研究做為建構基礎的光譜 , 同時針對不同分類下重要議題
素。另外 , 環境主義作為日益升溫的文化現象也被納入展覽中 , 同時
的進程和形式進行直接或象徵性的實驗。這些全都可回溯過
將「亞洲」的地域概念擴展至泛太平洋區甚至更廣的地域範疇。
去數十年來改變全球局勢的巨大力量 , 而亞洲在面對這些變
展覽中的一系列作品呈現了萃取經濟（採礦業或原物料經濟）影響下的
革下首當其衝。本展與卡蒂斯特藝術基金會聯合呈獻 , 康喆明
社會震盪 , 這些由佔據主導力量的大型跨國公司所帶來的影響 , 亦是對
及 Inti Guerrero 共同策劃。該巡展首次呈現於馬尼拉藝術與 設計美術館（MCAD）。
過往殖民地項目的延續。在展覽的許多個案中 , 地貎和社區的深刻變革 ,
土壤的使用和關係往往與傳統觀念產生碰撞與衝突。其中一些案例呈現
了較為激烈與暴力的本土文化錯位 , Peter Kennedy 和 John Hughes 的歷史影片描述澳洲原住民社群 , 以及 Taloi Havini 在作品中對太
全球市場在亞洲地區所造成的影響不單改變了生產、勞動、地景和環
境的形態 , 亦為整個洲際帶來更廣泛的社會結構轉變。新世界催生的
焦慮 , 還有新型態社會中互相競爭的渴望 , 皆在尋索一個新的政治想 像 , 希望透過新觀念來為瞬息萬變的現實找到意義和方向。而這些觀
平洋布干維爾島複雜形勢的揭示 ; Edgar Fernandez 和 Prabhakar Pachpute 的委託新作中 , 分別反映了菲律賓和印度地區的採礦業抗爭
外的對立點上 , 以致時常創造了各樣複雜和混種的意識形態。這些意
化與大規模棕櫚油生產所帶來的嚴重後果。蒙古對土地挖掘（往往由中
微妙地對應著現時的亞洲復興或對立的西方危機。為此 , 各地湧現了
婦女（神聖土地母親的隱喻）可能被中國男性侵犯致孕的恐懼 ; Tuguldur
念嘗試將自身定位在被視為外來的自由民主制度 , 或西方現代性範疇
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以及延伸的社會議題 ; Simryn Gill 的作品連結了礦產開採下的地貎變
國及其代理人主導）的焦慮反射了對性與性別的想像 , 譬如他們對蒙古
識形態有時延續反殖民抗爭的理念 , 和後殖民主義的國家建設進程 ,
迥然不同的新理念並在同一脈絡下聯繫著彼此 : 不論是中國共產黨的
Yondonjamts 在作品中便揶揄了蒙古在歷史和現實層面的焦慮及其背 後的寓言式想像。與此同時 , 中國在邁向現代化之初 , 也因土壤作為具有 靈性的地貎和可利用資源的雙重價值產生了強烈的衝突 ; 清朝末年 , 中
新儒學復興 , 或本土性在殖民世界的新意義 , 從美拉尼西亞到美洲 , 在
不同的國家中流傳著看似更保守的民族主義復興；而後者在面對歷史
和生態的威脅下 , 催化了歷史議題以及來自社群及創世神話的修正主
國因不願打擾祖墳和影響風水而拒絕修建鐵路。厲檳源和張公孫的作品
後冷戰時期由於地緣政治軸心移動而引發的內在衝突 , 以及經常伴隨
延續了 Symrin Gill 的線索 , 探討亞洲各地的土地和農業問題 , 其中包 含土地權利以及複雜的農村與城市關係。瞿暢所策劃的個案研究《漁米
世界中找尋到了肥沃的土壤 , 發芽生長。
不斷變化的身份認同。何兆基、蘇瑋琳和梁御東的作品則進一步探討本
義，進而導致全面性的焦慮。這些恐懼延伸至亞洲以外 , 通過後殖民和
之鄉記》則連結起土壤和農業、歷史和領土、本土社群和精神性以及香港
著傳統經濟和文化模式轉型而來的不安與暴力 , 在逐漸失去確定性的
港議題 , 尤其是雨傘運動之後的自我盤審過程和激進的政治想像 , 使得
於此 , 一個藝術展覽該如何傳達這些意念 ? 形式和物質該如何詮釋我
香港對未來的焦慮以及爭相呈現這一迫切性的需求都越顯劇烈。
們上述所指涉的焦慮 ? 我們所處之地的無限複雜性該如何被轉譯 ? 特
別是當「中國」處於這些議題的中心時 , 欲定義其特定實體及光譜的複
在亞洲充滿裂痕的社會結構、複雜的民族景圖、激烈狂歡與暴力對
雜度更是難上加難。此次展覽嘗試透過相互交織的主題來疏理上述議
抗的搖擺中 , 透過民族主義以及各地起源神話的復興 , 對民族性/領
題 , 並與多項獨立個案研究一同拼湊出多樣交織的討論視角。展覽聚
土/集體故事/靈魂的堅決態度 , 一種深切的焦慮感得以充分展現。這
焦美學語彙的使用 , 以及在探索西方現代性外如何從不同世代和地區
些對歷史的意識形態化和國家敘事在亞洲受到各地藝術家的質疑 , Chulayarnnon Siriphol 的作品探討泰國近年如何因為民族主義崛 起造成的巨大分裂 ; Pio Abad 剖析了馬可斯政權對菲律賓政治和文 化的遺害 , 作品回應將馬可斯遺體在馬尼拉英雄公墓重新下葬的不恥 行為 ; 下道基行透過尋找第二次世界大戰中日本在亞洲和太平洋地區 所建立的鳥居遺跡 , 從而討論日本試圖建立亞洲新秩序並成為亞洲霸 主的悲劇性嘗試 ; 李然的作品則以諷刺方式呈現中國的新霸權地位 ,
藝術家的創作中產生對照及形式上的回應。儘管許多議題發生在亞洲 境內 , 本展也試圖藉由尋跡歷史的迴響和共嗚 , 從亦遠亦近的彼岸所 映照出的影子 , 繼而探究並理解洲際間的變化。
以及此權力的文化表現所揭露的不安全感。由李勇宇所策劃的個案研 究《現代魅影》則從歷史延伸至靈魂性與大眾文化 , 探討整個亞洲的 現代性抽搐。
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展覽中的作品不僅為了傳達敘事 , 同時也表達這些衝突和世界觀在 不同形式、物質、對象和語言下所產生的共鳴。透過可見的形式
代碼來定義文化特性仍然是我們對當代世界各種事件發生的條件
反射。雖然展覽中的藝術家各自在不同的途徑中創作 , 但他們的藝 術實踐亦呈現著相似的脈絡 , 即對單一正統藝術史的不同見解。
孫先勇策劃的個案研究回顧了馬來西亞藝術家 Redza Piyadasa
和 Suleiman Esa 在 1974 年的展覽《邁向一個神秘現實》, 該展是 亞洲觀念藝術史上的一個重要里程。作為一個宣言式的展覽 , 兩位
藝術家針對所謂「西方」新前衛主義的藝術物件進行探索 , 並與亞洲
哲學及精神體系的現實、物質及物件對象觀念進行連結。1974 年的
展覽作為一個極具對照性與影響力的案例 , 呈現了本土材料對現代 文化的參與 , 並生成區別於西方模式的產物。
展覽另外展出了 Tarek Atoui、José Maceda、Reetu Sataar 和 Walter Smetak的作品 , 他們以民族樂器 , 或自製而成的樂器譜寫實
22樓/F
驗音樂。Atoui 的作品結合了本土民俗元素與新前衛音樂 ; Mariana
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Castillo Deball 及資深藝術家／行動主義者 Jimmie Durham 則對當 今世界原住民文化論述背後的模糊性進行了強力的批評。Josh Faught 的作品隱晦當今主流社會中 , 美國同志團體如何在愛滋恐慌時期後以 更當代的方式構建社群。與此同時 , 混種性、文化衝突和分層貫穿了 Kawayan de Guia 和 Dominique Zinkpè 的作品。Ion Grigorescu 的作品則以羅馬尼亞為語境 , 揭示著藝術家對國家、個人和精神概念的 角力 , 這種由於西方現代性的霸權地位而被淹沒的地方文化遺產在羅馬 尼亞以外的其它歐洲地區也大量存在。
而伴隨此思路進入的是更敦群培筆下描繪鮮為人知的印度之旅 , 一條
更具精神性且褻神式反思的圖驥。更敦群培是 20世紀西藏的藝術家、
作家兼僧侶 , 他對南方熱帶地區的佛教十分著迷 , 其作品極富創造性 ,
卻也同時諷刺地反映出他時而忠於宗教信仰 , 時而渴求現代性啟發的 搖擺 ; Pratchaya Phinthong 的作品則是一份詩性的評註 , 對過去
十年來各種動蕩所帶來的世界變化、規模與距離的扭曲進行描繪與觀 看。而 Sammy Baloji、Meschac Gaba、Sheela Gowda、何翔宇、
洪子健、梁慧圭、楊沛鏗、Valerie Snobeck 和張公孫等藝術家的作品 則回應在其各自身處的急速工業化和城市化的環境中 , 探討對象和物
質、自然和文化物件的多重含義。
靈
康喆明 士日
與
歌
9
AND 與
SOIL 土
石STONES
Sammy Baloji
Sociétés secretes
秘密社會
2015
2015
八件疤痕紋身的銅板淺浮雕（製作 : 摩洛哥 Dinanderie/Zouak）、
Scarification on eight bas-relief copper plates (fabrication: Dinanderie/Zouak, Morocco),
一封手寫信箋（一位剛果私家偵探遞交給 Kivu 安全局助理局長的報告）及黑白照片
(“Work and progress”/”Union creates power”/Baudouin, The King of the Belgians),
銅板 : 每件 29.7 × 42 公分 ;
one hand-written letter (Report of a Congolese Detective to the Assistant Director
獎牌照片 : 33 × 28 公分 ;
of Security of Kivu) and one black-and-white photo
22 樓 /F
三幅黑白照片（圖中獎牌 :「工作與進步」、 「 聯盟產生力量」、 「 比利時國王 Baudouin」）、
three black-and-white photographs of medallions
信箋 : 16 × 20 公分 ;
Copper plates: 29.7 × 42 cm, each; medallion photographs: 33 × 28 cm, each;
照片 : 12 × 16 公分
letter: 16 × 20 cm; photograph: 12 × 16 cm
由藝術家及剛果 Zinsou 基金會提供
Courtesy of the artist and Zinsou Foundation
10
11
靈
與
歌
SOIL 土
Mariana Castillo Deball
Untitled
2014
2014
Laserchrome prints mounted on dibond
Laserchrome prints mounted on dibond
270 × 180 cm
270 × 180 cm
Courtesy of the artist and kurimanzutto, Mexico City
Courtesy of the artist and kurimanzutto, Mexico City
無題
無題
2014
2014
每幅 270 × 180 cm
每幅 270 × 180 cm
複合板激光打印
由藝術家及墨西哥城 kurimanzutto 藝廊提供
靈
石STONES
Kawayan de Guia
Plaga colonial de las Islas Pilipinas (Colonial Plague of the Philippine Islands)
22 樓 /F
Untitled
AND 與
2008 Assemblage, mixed media 148 × 211 × 8 cm Courtesy of the artist 菲律賓殖民地瘟疫
複合板激光打印
2008
拼貼、混合媒材
由藝術家及墨西哥城 kurimanzutto 藝廊提供
148 × 211 × 8 公分
由藝術家提供
與
歌
13
AND 與
SOIL 土
Jimmie Durham
石STONES
Josh Faught
22 樓 /F
Edward 2014 Hand woven gold lamé and hemp, hand dyed in shades of Daffodil, Cardinal Red, Raspberry, Indigo, and Tea Leaves to match the colour fashion forecast of 2014–2015, silk, bedazzled sea shell ash tray from Palm Springs, spilled mug (resin and clay), and Silkwood (VHS) on Cedar support 183 × 132 × 30.5 cm Courtesy of the artist
14
and KADIST, Paris and San Francisco The Isle of Man
Edward
2016
2014
以手工染成水仙、紅酒、覆盆子、靛藍和茶葉
Four-horn-sheep-skull, obsidian,
色調的手織黃金薄片和漢麻 , 以配合當時預
seashell, murano glass, leather,
測的 2014至 2015年潮流色彩、絲綢、百花海
olive wood, pine, poplar, rearview truck
貝殼灰盤、灑杯(樹脂和粘土)及《施活的遭遇》
mirror (metal, glass, plastic),
（電影錄影帶）和雪松支架
acrylic paint, silicon glue, white glue,
183 × 132 × 30.5 公分
epoxy glue, metal screws,
由藝術家及
mussel shell, acacia seed, pot
巴黎/舊金山卡蒂斯特藝術基金會提供
132 × 42 × 54 cm Courtesy of the artist and kurimanzutto, Mexico City 曼恩島
2016
四角羊的頭骨、黑曜石、貝殼、穆拉諾玻璃、 皮革、橄欖木、松木、楊樹、貨車倒後鏡 (金屬、玻璃、塑料)、丙烯酸漆、矽膠、
白膠漿、環氧樹脂膠、金屬螺絲、青口殼、 金合歡種子、盆
132 × 42 × 54 公分 由藝術家及
墨西哥城 kurimanzutto 藝廊提供
靈
與
歌
15
SOIL 土
Edgar Fernandez
AND 與
石STONES
Meschac Gaba
22 樓 /F
Hubert Maga (perruque MAVA—musée d’art de la vie active, wig MAVA—museum of art of active life) 2010–2011 Artificial braided hair, metal parts, and mannequin bust 60 × 50 × 23 cm Courtesy of the artist and KADIST, Paris and San Francisco Hubert Maga
( MAVA假髮——生命藝術博物館)
16
2010–2011
人造織髮、金屬部件 和半身人像
60 × 50 × 23 公分
由藝術家及
巴黎/舊金山卡蒂斯特 藝術基金會提供
Our Lands Are Marked For Destruction…And We With Them 1979 Print on paper 60 × 45 cm Gift of Catholic Bishops' Conference Episcopal Commission on Tribal Filipinos 我們的土地注定滅亡……我們也一起滅亡
1979
紙上印刷
60 × 45 公分
受贈於天主教主教團菲律賓原著居民委員會
靈
與
歌
17
AND 與
SOIL 土
Gendun Chopel
石STONES
Simryn Gill
更敦群培
22 樓 /F
18
Eyes and Storms 2012–2013 3 ilfochrome prints mounted on aluminum 125 × 125 cm, each Courtesy of Utopia Art, Sydney 眼睛和風暴
2012–2013
3張正片轉洗圖片 , 鋁板
每幅 125 × 125 cm 公分
由悉尼 Utopia Art 藝廊提供
Painting 14 and 15
Vegetation
Circa 1940
2016
Facsimiles on paper taken from Gendun Chopel:
2 black-and-white ilfochrome prints
Tibet's First Modern Artist, Serindia Publications (2003)
60 x 150 cm, each
第 14及 15號圖
Courtesy of Utopia Art, Sydney
約 1940年
植被
Serindia 出版社 (2003年 )
2016
紙上臨摹 , 摘自《更敦群培 : 西藏首位現代藝術家》,
2幅正片轉洗黑白相片 每幅 60 × 150 公分
由悉尼 Utopia Art 藝廊提供
靈
與
歌
19
AND 與
SOIL 土
Sheela Gowda
石STONES
Ion Grigorescu
22 樓 /F
20
Bine–Rău / Good–Evil
The Limping Man or
1977
1987–2016
The Man with the Walking Stick
8-mm film transferred to digital film;
Photo on canvas
1982–2016
black-and-white, silent
120 × 100 cm
Photo on canvas and metal structure
2:27 minutes
Courtesy of the artist and Andreiana
200 × 140 × 100 cm (structure) and
Courtesy of the artist and Andreiana
Mihail Gallery, Bucharest
140 × 52 cm (textile)
Mihail Gallery, Bucharest
善——惡
Courtesy of the artist and
1987–2016
拳擊
Breaths
2016
2002
Hair, rope, shells, metal
String, pigment, charcoal powder,
178 × 91 × 289.5 cm
gauze, table
Courtesy of the artist
366 × 55.5 × 72 cm
無題
Courtesy of Sunitha and Niall Emmart
2016
頭髮、繩索、貝殼、金屬
178 × 91 × 289.5 公分 由藝術家提供
Andreiana Mihail Gallery, Bucharest
1977
布面相片
跛行者或拄拐杖的人
2分 27秒
由藝術家及
布面相片、金屬結構
8毫米膠片轉數碼影像 ; 黑白、無聲 No Title
21
Boxing
由藝術家及
120 × 100 公分
布加勒斯特 Andreiana Mihail 藝廊提供
1982–2016
布加勒斯特 Andreiana Mihail 藝廊提供
200 × 140 × 100 公分 (支架) ; 140 × 52 公分（布面）
由藝術家及
布加勒斯特 Andreiana Mihail 藝廊提供
呼吸
These Two
2002
2016
絲線、顏料、木炭粉、紗布、桌子
Photo print and metal structure
366 × 55.5 × 72 公分
192 × 56 × 181 cm (structure) and 104 × 68 cm (textile)
由 Sunitha Emmart 及 Niall Emmart 提供
Courtesy of the artist and Andreiana Mihail Gallery, Bucharest 這兩人
2016
布面相片、金屬結構
192 × 56 × 181 公分 (支架) ; 104 × 68 公分（布面）
靈
與
由藝術家及布加勒斯特 Andreiana Mihail 藝廊提供
歌
AND 與
SOIL 土
He Xiangyu 何翔宇
石STONES
Ho Siu-Kee Making Brick
何兆基
2005 Brick (5.5 × 20 × 9.5 cm), black-and-white prints (80 × 66.7 cm, each) Courtesy of the artist 22 樓 /F
造磚記
2005
磚 (5.5 × 20 × 9.5 cm)、
黑白圖片 (每幅 80 × 66.7 公分 ) 由藝術家提供
Wisdom Tower (A Pretty Girl) 2013 Tooth, pure gold (99.99%), bronze, bamboo stick 7 × 2 × 2 cm Courtesy of the artist
22
23
and White Space, Beijing 智慧塔(漂亮女孩)
2013
牙齒、純金( 99.99%)、銅、竹籤
7 × 2 × 2 公分
由藝術家及北京空白空間提供
Walking on Two Balls 1995 Single-channel video projection 10:07 minutes Courtesy of the artist 雙球上步行
1995
單頻錄像投影
10分 7秒
由藝術家提供
靈
與
歌
SOIL 土
James T. Hong
AND 與
石STONES
Peter Kennedy + John Hughes
洪子健
Taiwan WMD – Uranium 2012 Approximately 30 grams of unenriched uranium ore in covered glass specimen jar 7 × 4.5 × 4.5 cm Courtesy of the artist and KADIST, Paris and San Francisco 22 樓 /F
台灣大規模毁滅性武器——鈾
2012
約 30克未提煉鈾礦石 , 放置於有蓋玻璃樣品瓶內
7 × 4.5 × 4.5 公分
由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供
On Sacred Land 1983–84 Video, colour/sound 13:55 minutes Courtesy of the artists 聖地上
24
25
1983–84
錄像、彩色/有聲
13分 55秒
由藝術家提供
靈
與
歌
SOIL 土
Li Binyuan
AND 與
厲檳源
石STONES
Li Ran 李然
22 樓 /F
Freedom Farming 2014
Beyond Geography
Single-channel video (4:30 minutes),
2012
certificates (21 × 29.7 cm, each)
Video installation, HD video, sound, colour
Courtesy of the artist and
Dimensions variable, 23:09 minutes
KADIST, Paris and San Francisco
26
Courtesy of the artist and KADIST, Paris and San Francisco
自由耕種
地理之外
2014
單頻道錄像 (4分 30秒 )、
2012
錄像裝置、高清錄像、有聲、色彩
證書 (每張 21 × 29.7 公分 )
尺寸不一 ; 23分 09秒
由藝術家及
由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供
巴黎/舊金山卡蒂斯特藝術基金會提供
靈
與
歌
27
SOIL 土
Prabhakar Pachpute
AND 與
石STONES
Pratchaya Phinthong
22 樓 /F
sketch / 草圖
28
29
If I Dig A Very Deep Hole 2007 Photo negative between two plexiglas plates, neon 11.8 × 5.8 cm Courtesy of the artist and KADIST, Paris and San Francisco 若我挖掘一個很深的洞
2007
兩塊玻璃板之間的菲林、霓虹燈
11.8 × 5.8 公分 Broken Varaha II 2017 Charcoal, dry pastels, acrylic paint, and terracotta sculptures Dimensions variable Courtesy of the artist
靈
由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供
破碎的 Varaha II
2017
木炭、乾粉、丙烯酸漆和陶瓦雕塑 尺寸不一
由藝術家提供
與
歌
AND 與
SOIL 土
Motoyuki Shitamichi 下道基行
石STONES
Valerie Snobeck
Torii Series 2006–2012 C-print 22 樓 /F
50.8 × 61 cm, each Courtesy of the artist and KADIST, Paris and San Francisco 鳥居系列
2006–2012
每幅 50.8 × 61 公分
由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供
30
Changchun, China 中國長春
Saipan, USA 美國塞班島
Sakhalinskaja, Russia 俄羅斯 Sakhalinskaja
Sakhalinskaja, Russia 俄羅斯 Sakhalinskaja
Taichung, Taiwan
台灣台中
Reservoirs with Stains, Dust and Burns (Arches and Bowed) 2015 Two mold blown and hot sculpted glass objects 35.6 × 17 × 17.8 cm and 27.9 × 15.2 × 37.1 cm Courtesy of the artist and Simon Lee Gallery, London and Hong Kong 有汙漬、灰塵和燒傷的儲液罐（拱門和拉弓）
2015
兩塊吹製熱塑玻璃
35.6 × 17 × 17.8 公分及 27.9 × 15.2 × 37.1 公分 由藝術家及倫敦 /香港 Simon Lee 藝廊提供
靈
與
歌
SOIL 土
Truo ng Công Tùng J
AND 與
J
張公孫
石STONES
Wang Gongxin
王功新
22 樓 /F
We The …SoilSoulSoidierySuicidesSociety… 2015– (on-going) Installation: soil, termite nest, photograph, folded military jacket Dimensions variable Courtesy of the artist 我們 …土地靈魂士兵自殺社團 …
2015至今
裝置 : 土石、白蟻窩、相片、折疊的軍隊制服 尺寸不一
由藝術家提供
32
33
The Sky of Brooklyn: Digging a Hole in Beijing 1995 C-prints, video (2:57 minutes) 107.8 × 80 cm, each Courtesy of the artist 布魯克林的天空──在北京打井
1995
彩色照片及錄像（2分 57秒） 每幅 107.8 × 80 公分
由藝術家提供
靈
與
歌
SOIL 土
Haegue Yang
AND 與
石STONES
Trevor Yeung
梁慧圭
楊沛鏗
2017
2017
Mangrove driftwood, marble,
Artificial straw, plastic twine, steel stand, powder coating
mirror, gold, red string
90 × 120 × 115 cm
50 × 50 × 60 cm
Courtesy of the artist
Courtesy of the artist
中間類型 – 雙重蛋形漩渦的居家性
借回來的安慰（明月光）
2017
2017
人工稻草、塑料繩、不鏽鋼架、噴粉
紅樹漂浮木、大理石、鏡、金、紅繩
90 × 120 × 115 公分
34
50 × 50 × 60 公分
由藝術家提供
靈
22 樓 /F
The Borrowed Relief (Moon of Home) The Intermediate – Domestics of Double Eggy Swirls
由藝術家提供
與
35
歌
SOIL 土
Tuguldur Yondonjamts
AND 與
石STONES
The Secret Mountain of Falcons
Copper Mining Sites of Mongolia
2010
2012
2013
Drawing on paper, 18 ink pens, fluorescent orange acrylic
Two drawing books
Etching on copper plate
150 × 554 cm
61 × 79 cm (page)
28 × 41 cm
Courtesy of Francis J. Greenburger Collection, New York
Courtesy of Mergen Collection,
Courtesy of the artist
魚翅湯及黑檸檬
Ulaanbaatar
蒙古銅礦場
獵鷹的秘山
2010
紙上繪畫、1 8枝墨水筆、熒光橙色丙烯顏料
150 × 554 公分
由紐約 Francis J. Greenburger 提供
2013
2012
銅板蝕刻
61 × 79 公分 (頁)
由藝術家提供
兩本畫簿
由烏蘭巴托 Mergen Collection 提供
22 樓 /F
Fin Soup & Black Lemon
28 × 41 公分
37
An Antipode Drawing of Chile 2013 Drawing on paper, charcoal, jarosite, dragon’s blood 91 × 196 cm Courtesy of Mergen Collection, Ulaanbaatar 對影點繪圖 : 智利
2013
紙上繪畫、木炭、黃鉀鐵礬、龍血
91 × 196 公分
由烏蘭巴托 Mergen Collection 提供
Antipode Suit #2
Antipodal Alphabet Chess
Fossil Research Drawings at the AMNH
2013
2013
2013
Screen print on fabric
Screen print on wood
Drawing on paper, fax roll paper
Dimensions variable
112 × 112 × 6 cm
20 × 28 cm
Courtesy of the artist
Courtesy of the artist
Courtesy of Mergen Collection,
對影點西裝 #2
對影點字母棋
Ulaanbaatar
2013
2013
尺寸不一
112 × 112 × 6 公分
布上絲網印刷 由藝術家提供
靈
與
木材上絲網印刷 由藝術家提供
美國自然博物館中的化石研究繪畫
2013
紙上繪畫、傳真紙捲
20 × 28 公分
由烏蘭巴托 Mergen Collection 提供
歌
AND 與
SOIL 土
石STONES
Dominique Zinkpè
22 樓 /F
Cosmos animiste (Animist cosmos) 2012 Pigments, oil stick, acrylic and collage on canvas 150 x 150 cm Courtesy of the artist and KADIST, Paris and San Francisco 宇宙之靈
2012
顏料、油棒、丙烯酸和布面拼貼
150 x 150 公分
由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供
38
39
靈
與
歌
AND 與
SOIL 土
石STONES
Curated by Qu Chang
C
A Tale: The Land of Fish and Rice 漁米之鄉記
策展人 : 瞿暢 HK Farm 與參與者 Lo Lai Lai 勞麗麗
Beginning with a vision of the ethnic composition of early Hong Kong, the “tale” takes the current perspective of nostalgia, and uses the fishing and farming traditions of the Tanka/Hokkien and Hakka/Cantonese people, respectively, as the doorway, through which it juxtaposes the production, folkways, worship, and legends closely related to agricultural societies in early cultural fabrics, into a theatrical and imaginary scene of an evocation ritual that summons the past. Meanwhile, the recounting of the history of local farming and fishing production correlates with the “new farming” culture concurrent with modern Hong Kong's land movements, and utilises the concepts of time, cultivation, and production in the act of farming to beckon an imagined future.
Map Office Tang Kwok Hin 鄧國騫 Wen 文
Trevor Yeung 楊沛鏗
40
Image of Ah Kwan Showing the Road 1868 Designed by
Combining a narrative of local consciousness with multiple origins, the ever-morphing urban culture created by the convergence of multiple groups, and the local history as a collage of multiple fragments from history, A Tale: The Land of Fish and Rice tries to build a small multiplex, with a theatrical and mystical background setting, that fosters reading, thinking, and dialogue.
Messrs. Thomson & Son of Wapping 阿群帶路圖
1868
由 Messrs. Thomson & Son of Wapping 設計
《漁米之鄉記》是一個由真實與想像片段組成的虛構空間 , 它選擇性地截取「水」 與「土」作為一場儀式的「神聖元素」, 基於本土歷史與傳說、信仰與政治 , 透過一
Lo Lai Lai
種戲劇性的張力對香港作為「共同體」的不同想像連接成一個多棱 , 同時流動的
Weather Girl—Halo Daisy
歷史及群體敘述。
2016 Video, Cantonese voiceover
以對香港早期民族構成的想像為起始 , 本「傳記」將蜑家/福佬人的水生文化與客
with English subtitles
家/廣府人的農耕傳統作為入口 , 透過當下普遍盛行的「懷舊」視角 , 將這些早期
6:32 minutes
文化脈絡中與農業社會緊密關聯的生產、習俗、信仰與傳說並置 , 生成一個召喚
勞麗麗
歷史同時又深具表演和想像意涵的招靈場 ; 同時 , 本土的農漁業生產歷史亦銜接
天氣女郎—— Halo Daisy
當下與土地運動並行的「新農耕」文化 , 借耕種行為的時間性與培育/生產意義 ,
2016
使這個儀式現場同時成為對想像之未來的召喚。
錄像 , 粵語旁白 (英語字幕)
6分 32秒
結合多條線索構成的本土意識敘述、多個群體的不斷融合所組成的流變的城市 文化、多種歷史片段拼貼而成的本土歷史 《 , 漁米之鄉記》試圖搭建一個以戲劇
性、神秘主義為佈景 , 同時具備閱讀、思考和討論等功能的複合性空間。
靈
與
歌
22 樓 /F
HK Farm and contributors
omprising both factual and fictitious sections, this case study is based on Hong Kong’s indigenous history and legends, religions and politics. It employs “water” and “soil” as traditionally sacred elements, to weave different strands of imaginations of Hong Kong, into a multi-faceted and ever-shifting historical and collective narrative with dramatic tension.
41
SOIL 土
AND 與
石STONES
18樓/F
42
靈
與
歌
43
AND 與
SOIL 土
Pio Abad
Tarek Atoui
Untitled 1986
Video documentation of the alteration of Pio Abad’s paintings
The Reverse Collection is performed by
From the project 1986–2012
The action was undertaken at the Museum of Contemporary Art and Design
Shane Aspegren, Tarek Atoui,
Reproduction of photograph from
(MCAD), Manila on Monday, 21 November, 2016
Malacañang Palace, Manila,
11:39 minutes
25 February 1986 42 × 28 cm Courtesy of the artist 無題 1986
and Takuro Mizuta Lippit 《反向系列》由 Shane Aspegren、Tarek Atoui 與 Takuro Mizuta Lippit 共同演出
錄像資料 : Pio Abad 畫作的改動行為
該行為於 2016年 11月 21日（星期一）, 在馬尼拉當代藝術與設計美術館內進行
The Reverse Collection 2014–2016 Ceramics, stones, wooden violin, videos, and sound Dimensions variable Courtesy of the artist, Galerie Chantal Crousel (Paris),
11分 39秒
kurimanzutto (Mexico City) and Vitamin Creative Space (Guangzhou, Beijing)
來自 1986–2012年之項目
反向系列
馬尼拉馬拉坎南宮相片複製品 ,
44
石STONES
馬尼拉 , 1986年 2月 25日
2014–2016
42 × 28 公分
陶瓷、石器、木質小提琴、視頻及聲音
由藝術家提供
尺寸不一
45
由藝術家、巴黎 Chantal Crousel 藝廊、 墨西哥城 kurimanzutto 藝廊
和廣州 /北京維他命藝術空間提供
18 樓 /F
Ferdinand as Meekamui Pontoku Malakas (The Strong One) Imelda as Maganda (The Beautiful One) 2015 Digital print on canvas in gilt faux bamboo frame (painted over with black paint in a subsequent alteration of the work) 190 × 127 × 4 cm, each Courtesy of the artist 強者費迪南德 美人伊梅爾達
2015
人造竹邊框 , 帆布數碼打印
（於隨後的行為中被塗黑） 每幅 190 × 127 × 4 公分
靈
由藝術家提供
與
歌
AND 與
SOIL 土
Simryn Gill
石STONES
Taloi Havini Beroana (shell money)
Skin
皮
2016
貝幣
Stoneware, earthenware, clear glaze,
2016
1994/2017
1994/2017
steel wire installation
Dry mango sculpture Dimensions variable Courtesy of the artist and Art Gallery of South Australia, Adelaide
乾芒果雕塑
Site-specific installation
尺寸不一
Dimensions variable
由藝術家及阿德萊德
Courtesy of the artist and
的南澳洲美術館提供
Andrew Baker Art Dealer, Brisbane
石器、陶器、清釉、鋼絲裝置 場域指定裝置 尺寸不一
由藝術家及布里斯班
Andrew Baker Art Dealer 提供
Vegetation 2016 2 black-and-white ilfochrome prints 40 × 40 cm, each Courtesy of Utopia Art, Sydney
46
植被
47
2016
2幅正片轉洗黑白相片 每幅 40 × 40 公分
由悉尼 Utopia Art 藝廊提供
18 樓 /F
Ho Siu-Kee 何兆基
Sandcone 2015 Performance-sculpture 100 × 100 × 100 cm Courtesy of the artist 立砂
2015
表演–雕塑
100 × 100 × 100 公分 由藝術家提供
靈
與
歌
AND 與
SOIL 土
Ocean Leung
石STONES
José Maceda
梁御東
48
49
Ugnayan 1974 Documentation of massive outdoor collective performance involving 12 radio stations. Excerpt from José Maceda - Kuwadro Documentary Series On National Artists, 2002. Directed by Malou Jacob,
18 樓 /F
Cultural Center of the Philippines, 40 seconds Untitled
Photographs from Express Week, January 17, 1974
2015
Government letter from public officer recruiting participants for Ugnayan.
Found object
Courtesy of Ethnomusicology,
94 × 87 cm
University of the Philippines, Manila.
Courtesy of the artist 無題
Ugnayan
2015
由 12個廣播電台共同參與的大型戶外
1974
拾得物
集體表演《Ugnayan》的文獻資料
94 × 87 公分
《José Maceda﹣國家藝術家系列紀錄片「畫框」》, 2002,
由藝術家提供
導演 : Malou Jacob, 菲律賓文化中心 , 40秒 照片摘自《壹周快報》, 1974年 11月 17日
招募 Ugnayan 表演參與者的政府公開信 由馬尼拉菲律賓大學民族音樂學院提供
靈
與
歌
SOIL 土
Reetu Sattar
AND 與
石STONES
Chulayarnnon Siriphol
Myth of Modernity 2014 Single-channel HD digital video, sound, colour 16 minutes Courtesy of the artist 現代性神話
2014
單頻道高清數碼錄像、有聲、彩色
16 分鐘
由藝術家提供
50
51
18 樓 /F
Lost Tune
Myth of Modernity
2016
2014 8 LED bulbs, aluminum
Performance documentation
100 × 100 × 100 cm
2-channel video, HD, 55 minutes Outdoor performance with 65 musicians,
Courtesy of the artist
65 vintage harmonium instruments
現代性神話
Courtesy of the artist
2014
失落的曲調
8個 LED燈炮、鋁
100 × 100 × 100 公分
2015
由藝術家提供
表演記錄
雙頻錄像 , 高清 , 55分鐘
由 65位音樂家及 65件老式風琴樂器組成的戶外表演 由藝術家提供
靈
與
歌
AND 與
SOIL 土
Walter Smetak
石STONES
So Wai-Lam 蘇瑋琳
52
53
Civilisation and the Ghost in Tubes
(text by Lo)
of Future (text by Charles Lai)
(text by Felicity)
2015 (2017 reproduction)
2015 (2017 reproduction)
2015 (2017 reproduction)
Illustrations for City Magazine (HK)
Illustrations for City Magazine (HK)
Illustrations for City Magazine (HK)
Issue 469 Culture Pages: Invisible
Issue 469 Culture Pages: Invisible
Issue 469 Culture Pages: Invisible
Underground City
Underground City
Underground City
Ball pen on paper
Ball pen and correction pen on paper
Ball pen and correction pen on paper
42 × 29.7 cm
42 × 29.7 cm
42 × 29.7 cm
Courtesy of the artist
Courtesy of the artist
Courtesy of the artist
從地底至架空的鐵路
地底城市 : 古老的未來幻想
管道中的文明和鬼魂
2015 (2017 複製 )
2015 (2017 複製 )
(文字 : 盧燕珊)
Ernst Widmer conducting a concert of Walter Smetak's pindorama instrument, Federal University of Bahia, 1969 Photographic vinyl wall print Photographer: Anonymous Audio tracks from the album Smetak, 1974 Produced by Caetano Veloso and Gilberto Gil Courtesy of Barbara Smetak
靈
《號外》(香港雜誌)第 469期文化專頁 :
Ernst Widmer 於 1969年在巴伊亞聯邦大學指揮
隱形地底城市
Walter Smetak pindorama 樂器的演奏會
以原子筆在紙張上寫/畫的作品
攝影牆紙印刷
42 × 29.7 公分
拍攝 : 不詳
由藝術家提供
音頻來自專輯《 Smetak》, 1974
(文字 : 黎雋維)
《號外》(香港雜誌)第 469期文化專頁 : 隱形地底城市
以原子筆及塗改液在紙張上寫/畫的作品
42 × 29.7 公分 由藝術家提供
18 樓 /F
From Underground to Overhead Metro Underground City: The Old Fantasy
(文字 : 方太初)
2015 (2017 複製 )
《號外》(香港雜誌)第 469期文化專頁 : 隱形地底城市
以原子筆及塗改液在紙張上寫/畫的作品
42 × 29.7 公分 由藝術家提供
由 Caetano Veloso 及 Gilberto Gil 製作 由 Barbara Smetak 提供
與
歌
AND 與
SOIL 土
石STONES
Curated by Yongwoo Lee
A
The Phantom Modern 現代魅影
sia is a constellation of geographically and socio-culturally diverse communities that has long been considered as the antipode of the West with its ambiguous identity defined by the abstract territoriality and the consequences of imperialism and colonialism. As a cultural sketch of Asian modernities, this case study raises questions on the making of specific Asian vernacularism/locality, animality/humanity, the connections and differences that encompass the heterogeneous historicities of the region, the politics of cultural representation in the discursive structure of forming Asia, and the ways to imagining and embracing the imaginary community of Asia beyond the embedded Orientalism.
策展人 : 李龍宇
Jae Oon Rho
Jane Jin Kaisen Kyung-man Kim SoYoung Kim/ Kim Jeong
54 Cover of magazine ‘Youth’
亞洲作為一個匯集多面地理及社會文化性不
(Chu’ng-ch’un)
相 同 的 社 群 ,長 期 以 來 被 視 為 是 西 方 的 對 立
1910
面 ;不論是其抽象領土或帝國主義和殖民主義
Korean modern intellectual Choi Nam
遺留下的各種影響 ,皆造成其模糊身份定義的
Son’s geographical project of mapping
18 樓 /F
複雜。作為亞洲現代性的文化草圖 , 本案例研
Korea as the representation of a tiger
究旨在對這些議題提出提問 , 包括亞洲具體的
as a way of symbolizing the country
鄉土性/地方性、動物性/人性、涵蓋該地區異
and producing a national territoriality.
種 歷 史 的 聯 繫 和 差 異、探 討 亞 洲 語 境 結 構 形
《青春》雜誌 1910年的封面
成下的政治及文化表現, 最終跳出內嵌我們
1910
之中的東方主義思考, 想像和擁抱一個虛構
韓國知識分子 Choi Nam Son 的地理項目 ,
的亞洲社群的方式。
試圖將老虎繪製為國家的象徵 , 同時研究民族屬地的產生。
The first Orangutan at the Taipei Zoo, 1939 Consul Warner photographed the first Orangutan at the Taipei Zoo in 1939 as a gift of imperial-colonial congeniality between Japan and Taiwan Courtesy of Gerald & Rella Warner Taiwan Negative Collection 1939年在臺北市立動物園的首隻紅毛猩
1939年 , Warner 領事拍攝了臺北市立 動物園的第一隻紅毛猩猩作為象徵 台日帝國殖民關係的禮物
圖片由 Gerald & Rella Warner
靈
55
與
Taiwan Negative Collection 提供
歌
SOIL 土
AND 與
石STONES
Rooftop 天台
56 Please access through the office 請經辦公室抵達
靈
與
歌
57
AND 與
SOIL 土
石STONES
Curated by Simon Soon
邁向一個神秘現實
策展人 : 孫先勇
Sulaiman Esa
In 1974, at the Sudut Penulis (Writer’s Corner) of Dewan Bahasa dan Pustaka (Malaysia’s National Language Institution) in Kuala Lumpur, Redza Piyadasa and Sulaiman Esa presented a body of found objects and spoke of their desire to “directly confront nature” by arguing that these works embody “a mystical concept of time and event.” Styling themselves as “Mystical Conceptualists,” they argued for a different paradigm through which we can qualify the real— as worldly yet spiritual, as local yet cosmic, all the same. The event has entered into the annals of Malaysian art history, re-staged at the National Visual Art Gallery of Malaysia in 2010 and re-invented through a new body of work by Sulaiman Esa for the National Gallery of Singapore in 2015.
Redza Piyadasa
Installation view in Soil and Stones, Souls and Songs at Museum of Contemporary Art and Design (MCAD), Manila.
《土與石 , 靈與歌》於馬尼拉藝術與設計美術館 (MCAD)現場圖
58
his case study is a revised replica of Towards a Mystical Reality, the mythic 1974 installation/exhibition by Malaysian artists Redza Piyadasa and Sulaiman Esa, who directly, or through their estates, have widely contributed to this never before seen re-enactment outside of Malaysia.
On the opening night in 1974, gripped by a desire to demonstrate feverish spontaneity and irrationality exemplified in the archetype of the irascible Zen monastic abbot, poet Salleh Ben Joned peed on Piyadasa and Sulaiman’s 10,000-word manifesto, justifying his act as his “contribution” to the work. cknowledgement: Lynn Piyadasa, Zaireen Redza, Edzrin Mohd Redza, A Sulaiman Esa, and Khatijah Sanusi 本研究個案是針對 1974 年由馬來西亞藝術家 Redza Piyadasa 與 Sulaiman Esa 共同
合作的裝置/展覽《邁向一個神秘現實》的一次複製重現 , 兩位藝術家對此展覽在馬來西亞 境外的重現給予了極大的貢獻。
1974年 , 在位於吉隆坡的馬來西亞國家語言機構內的寫作閣 , Redza Piyadasa 和 Sulaiman Esa 展示了一些拾得物 , 強調這些物品體現了「一個神秘的時間和事件的概 念」, 從而提出了他們「直面自然」的渴望。他們自稱為「神秘概念主義者」, 提出一個新的且 可定義真實的範式 : 這個真實既屬世又屬靈、既具有本土性亦具有舉世性。此項目已被寫 入馬來西亞藝術史 , 並於 2010年在馬來西亞國家視覺藝術畫廊重新登上舞台。Sulaiman Esa 在 2015年為新加坡國家美術館製作的新作品中重現了此次展覽。
1974年開幕當夜 , 為了展示激烈的自發性和易怒禪宗修道者所呈現的非理性 , 詩人 Salleh Ben Joned 對著 Piyadasa 和 Sulaiman 的 10,000 字宣言撒尿 , 並將此舉視為對作品的
「貢獻」。
特別感謝 : Lynn Piyadasa、Zaireen Redza、Edzrin Mohd Redza、Sulaiman Esa 及
Khatijah Sanusi
靈
Rooftop 天台
T
Towards A Mystical Reality
與
歌
59
Para Site
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 and discursive projects aimed at forging a critical understanding of
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
立藝術中心之一。成立宗旨在透過展覽、出版 刊物等活動 , 開展並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。
local and international phenomena in
leading corporate sponsors
PHILLIPS
art and society.
team
Cosmin Costinas 康喆明
Frances Wu Giarratano 吴天如
Executive Director / Curator Deputy Director
founding friends
Shane Akeroyd
friends
Nick and Cordula Adamus-Voegtle
Mimi Brown and Alp Ercil
Christine and James Boyle
Curator of Education and Public Programmes
Burger Collection, Hong Kong
Doryun Chong
Associate Curator
Kevin and Reina Chau
Lawrence Chu
Assistant Curator
Stephen Cheng
Andrew L. Cohen
Fanny Chan 陳趣源
Project Coordinator / Curatorial Assistant
Mimi and Chris Gradel
Patricia Crockett, Sprüth Magers
Apoorva Rajagopal
Development and Communications Coordinator
Inna and Tucker Highfield
Jane DeBevoise
K11 Art Foundation
Faux
Wendy Lee
Amandine and Edouard Hervey
Edouard and Lorraine Malingue
William Lim, CL3
marc & chantal design
Elaine W. Ng and Fabio Rossi
Mina Park
Jay Parmanand and Diana d'Arenberg
Yana and Stephen Peel
Esther Schipper
Stefan Rihs
Virginia and Daniel Weinberg
SUNPRIDE FOUNDATION
Bonnie & Darrin Woo
Freya Chou 周安曼
Qu Chang 瞿 暢 Olivia Chow 周宛昀
board
THE OUTNET.COM
Alan Lau Ka Ming 劉家明
Jehan Pei Chung Chu 朱沛宗
Mimi Chun Mei-Lor 秦美娜
Bonnie Chan Woo Tak Chi 胡陳德姿
Sara Wong Chi Hang 黃志恆
Kurt Chan Yuk Keung 陳育強
Alan Y Lo 羅揚傑 Mina Park Yana Peel
Chair Co-Vice Chair Co-Vice Chair Treasurer Secretary
Honus Tandijono Sarina Tang Currents Art and Music Susanne and Gregor Theisen Virginia Yee
Curators
Cosmin Costinas 康喆明
Case studies curators
Yongwoo Lee 李龍宇
Qu Chang 瞿 暢
策展人
個案研究策展人
Inti Guerrero 士日
Simon Soon 孫先勇
Project manager 項目經理
Para Site exhibition production coordinators
Para Site 展覽執行統籌
Graphic design
Marie Martraire
Fanny Chan 陳趣源
Qu Chang 瞿 暢
設計
Yang Jian 楊 堅
Co-produced with
Supported by
Para Site would like to extend our deep gratitude to the artists and contributors of the exhibition as well as to the following who provided crucial support and research to the project:
Para Site 藝術空間僅在此向本展覽所有參展藝術家與貢獻者 , 以及下列重要支持者致以最深謝意 :
Galerie Chantal Crousel, Paris
Simon Lee Gallery, London and Hong Kong
Joselina Cruz
kurimanzutto, Mexico City
Galerie Imane Farès, Paris
MORES 習俗館
Christopher Green
Museum of Contemporary Art and Design, Manila
Ayrson Heráclito
Vitamin Creative Space 維他命藝術空間
Huang Shan 黃山
George Wan 溫佐治
ICONIC GLOBAL LIMITED
Vincent Worms
Anthony Ko
Fondation Zinsou, Cotonou Media partner: My Art Guide
The content of this activity does not reflect the views of the Government of the Hong Kong Special Administrative Region. 活動內容並不反映香港特別行政區政府的意見。