See you there tonight|今晚見

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See you there tonight | 今晚⾒

20 June 2024 | 2024年6⽉20⽇

7–9pm | 晚上7-9時

Welcome & introduction (in English)|歡迎及介

Billy Tang & Jessie Kwok | 曾明俊、郭芷凝

Recorded poetry reading (in English & Mandarin)|

Nicholas Wong with Chen Poyu | ⿈裕邦、陳柏煜

From Gen X Odes|《Gen X Odes》節錄

Storytelling (in Cantonese & English) |說書

Jaime Chu

Camera Eats First: Before All This |《

Intermission|中場休息

Yehu improvisation

Longman Luk| 陸朗⽂

Poetry reading (in Cantonese)

Wong Sin|汪倩

Tree of Desires|《

Artist sharing (in English)

Trevor Yeung with Billy Tang & Jessie Kwok

Soundscapes created by Longman Luk will be played at intervals during the event 陸

Poetry recordings | 詩歌錄⾳

From Gen X Odes

The park had its own KPIs.

Parrots were taught to video call each other to become less lonely. Elderly swallowed rocks by the pond, their foreguts happy to go on. A lazy flower’s epiphany: my bloom was community-driven.

How much of a bee’s buzzing was a quotation of its kind?

And how could the hornworts tell?

Moving was the word the wind looked for.

Some men made this park famous for its moaning. Among the red bottlebrushes, to be exact. Stars of unbelted flames. The hands curled away with what they had scathed.

《Gen X Odes》節錄

公園有⾃⼰的KPI。

鸚鵡被訓練互打視訊電話

排解寂寞。長輩在湖邊

吞吃⽯頭,他們的腸胃樂於

繼續運作。 朵懶花的頓悟:

社群驅動了我的綻放

多少蜜蜂的嗡鳴

是對其同類的引⽤?

⽽⾓苔⼜怎能分辨?

動是風四處尋覓的那個字

有些男⼈讓這公園因呻吟

⽽聞名。確切來說

紅瓶刷⼦樹那邊。解開⽪帶,濺出火星

扭曲的⼿背負它們造成的傷害離開 ⿈裕邦;中譯:陳柏煜、⿈裕邦

Jaime Chu

Storytelling | 說書

《相機食先之在此之前》

Camera Eats First: Before All This

⼆零⼆四年六⽉

June 2024

六⽉係記得嘅⽇⼦。

June is for remembering

⼆零⼆零年六⽉五號,我坐上 班由

On 5 June 2020, I got on a plane from Hong Kong to Shanghai.

我已經開始唔記得應該要記得 D 咩。

I am starting to have trouble remembering what I should or shouldn’t be forgetting.

係返嚟,定係返去?

Was I coming, or going?

故事應該喺邊度開始?

Where should the story begin?

幾時開始?

When did the story begin?

你問我,點解要返嚟?

You asked, why did you come back?

我記得有 棵樹。

I remember there was a tree

可能因爲從遠睇,你都好似 棵樹。

Maybe that’s because from afar, you also look like a tree.

棵⽟樹臨風嘅樹。

A handsome tree, a tree with conviction

我⾏近 D 先發現,點解棵樹會郁嘅?

It was only as I got closer that I started to notice, why is the tree moving?

⽽且越郁越埋。

And it was moving closer and closer.

哩幾年我對眼唔係幾睇到遠嘢。

My eyes have been getting worse these few years and I haven’t been able to see very far

⾏⾏下,你忽然閒指住天空,「點解架⾶機⾶得咁低嘅?」

As we were walking, all of a sudden, you pointed at the sky and asked, “Why is the plane flying so low?”

你可摸耳唔好再講 D 我睇唔到嘅嘢?

Can you stop talking about things that I could not see?

唔知道由幾時開始,每樣嘢都成爲 個隱喻。

Somehow everything has become a metaphor.

我地繼續向前⾏。

We continued to walk.

間中 齊食飯。

Sometimes we would eat together.

你攞起⼿機果下,我⼜跟住攞起⼿機。

When you took out your phone, I also took out my phone.

我從來都冇問過你,究竟影嚟做乜。

I have never asked what are the photos for

你記得嘅,我都想記得。

I want to remember what you will remember.

不停咁有⼈嚟,不停咁有⼈走。

People keep coming and going.

如果每個⼈都有 個特長,我希望我嘅特長係坐。

If everybody has a talent, I hope mine is sitting down.

我地喺度坐左好耐。

We sat for a long time

話說我細個有段時間喺新界住過。

I lived in the New Territories as a child.

話說我媽咪以前養過 隻兔。

My mom used to have a pet rabbit.

話説你要搬屋。

You are moving soon

話說明⽇⼤致多雲,間中有驟雨及幾

南風。

If tomorrow was cloudy with occasional showers and squally thunderstorms; moderate easterly winds.

話説我送過 把遮畀你。

I once gave you an umbrella.

話說⼼誠則靈。

Be careful what you wish for.

街道 旁嘅老樹根好似地球表⾯靜脈曲張。

The old tree roots on the side of the street look like the swollen veins of the earth.

我雖然住喺 個島上,但其實我冇咩關於⼤⾃然嘅知識。

Although I live on an island, I actually don’t have much knowledge about nature.

我唔係好識分路邊咩樹係咩樹,街市咩⿂係咩⿂。

I can’t tell the different species of trees apart, or recognise the difference between the fish at the market.

但係我知道咩⿂好食同唔好食。

But I can tell what good fish tastes like.

我好努⼒咁整返記憶裏⾯最好食嘅味道。

I am trying really hard to make it the way I remember it tasted best

如果整唔返嘅話,可能係我記錯。

If I can’t make it the same way again, maybe it means I didn’t remember it correctly.

唔同唔代表失敗。

Just because something is different doesn’t mean that it is a failure.

終於,侍應埋嚟要我地埋單交檯。

Finally, the server came over and asked us to settle the bill so that they could prepare the table for the next guests

歇息嘅地⽅本來就係暫時,坐得耐⼜冇錢畀⼈賺。

A place to rest was temporary to begin with. We have been sitting here for too long and we have stopped generating profit a while ago.

本來應該返屋企。

We should’ve gone home.

本來應該有屋企返。

There should’ve been a place to go home to.

在此之前,我似乎冇咩其它故事了。

I don’t seem to have many other stories before this

果⽇我坐喺你對⾯。

That day, I sat across from you

每個故事都會被起碼兩種⽅式記住。

Every story will be remembered in at least two ways.

Wong Sin | 汪倩

Poetry reading | 詩歌朗讀

《欲望之樹》

歷史的慾望跟現代的慾望重疊

牽連、糾纏、扭曲

無⽌盡的翠綠枝葉纏繞住

被相擁的兩對胴體甚⾄更多

愛⼈跟陌⽣者咬碎同 塊

苦澀的枯葉

嘴嚼相同的愉悅相異的渴望

⽬光跟⽉光正相擁打轉

無⽌境的樹枝鑽探進

各種尺⼨柔軟的孔洞

合適與不合適隨時能夠被推翻

如同幼嫩的芽⽀撐不起過繁重的期盼

填充得剛好甚⾄疼痛地撐開

重覆以及激烈的擺動勾引起你憐憫的眼神牠忘我⽽⼜快速的徘徊你的呼喊

慾望跑往更遙遠更遙遠之地

你躺下

脊⾻跟粗壯樹幹形成平⾏線

正如入睡和夢境差天共地

你寧願選擇無知擁有最簡單的慾求

樹的紋理如攪動的內臟形態如⽣殖器⽣⽣不息

長條形粉紅⾊⼤腸跟枝幹相比你喜歡哪 種

有⼈因享樂主義進吃過多⽽引發腸部爆裂 啊

使⽤⾃⼰不熟悉的語⾔唸起你的名字總是性感

咽喉正在震動

微細⽔珠佈滿牠亮澤雛⾝

請別在這刻因過度的⾼潮死去

請別在這刻因過度的寄託倒塌

儘管樹⽊聽不懂⼈類的語⾔

儘管⼈類連⼈類的語⾔也未必明⽩

眼球正在震動

視覺疲勞、百花撩亂

願望正在腐爛

我要將你的⼼臟挖出來仔細打量

那麼便不⽤聆聽那真實⼜虛假的

謊⾔

作為 顆樹,空虛僵硬的軀殼化作

冷漠的承載體

無法去弄清温暖跟愛慾它們的形狀和質感

樹脈般的微絲⾎管深入泥濘濕潤

泉⽔由寧靜的汗 滴 滴地組成

飄浮於⾻骼之間

飄浮於⽬光之內

林⽊突然倒下時四周只有 下碰撞的巨響

清脆利落中蘊含着

無法⾔説的沉鬱

霧裏看花

花如⾁體

精美絕倫

只要再沒有群眾去提及

過去已成為歷史,沒有記載的歷史

無從稽考。

沒有家鄉。

只要你將我忘記,過去也會 拼消失

難以尋覓的根,不存在之源頭

你隱匿於隱形的空氣間

懸吊的⼈浮於半空中

他張開翅膀將暴風擋住

風不能通過他的⾝體

他的眼睛亮著光,那是太陽所有的光芒。

赤裸的⼈兒奔跑在森林

遙遠的欲望牽引住腳趾間的泥濘

⽉光跟⽬光持續重曝

顯影於胸⾻上

於每 棵樹上

⾃由被成為疤痕鮮紅

樹⽊不斷⽣長

到⼈們⼼裡去

汪倩

Tree of Desires

The desires of history overlap with modern desires

Interconnect, entangle, contort

The endless verdant branches envelop

The pair of bare bodies in embrace and beyond

Lovers and strangers gnaw on one

Bitter dead leaf

Chewing the same pleasure, different yearnings

Gazes and moonlight intertwine and twirl

Countless branches burrow into

Soft orifices of various dimensions

Like tender buds unable to support the heavy expectations,

Filled just right, even painfully stretched open

Like a young bud unable to bear overzealous expectations

Repetitive and violent swaying invokes your pitying gaze; its entranced, rapid pace; your cries

Desires run ever farther away

You lie down

Your spine parallel to the robust tree trunk

Like the difference between being asleep and dreaming

You’d rather choose ignorance and harbour the most primal needs

The patterns of the tree resemble churning internal organs, and genitals, full of life

Which do you prefer: Winding pink large intestines or the branches of the tree?

Some people overindulge and burst their intestines

Ah

It’s always sexy calling your name in a foreign language

Throat vibrating

Fine droplets cover its lustrous body

Don’t die at this moment of orgasmic excess

Don’t collapse at this moment of too much expectation

Even though trees cannot understand human language

Even humans sometimes cannot understand human language

Eyeballs are trembling

Vision blurring from fatigue

Desires are rotting

I’m going to carve out your heart and examine it closely

So I don’t have to listen to those true yet false lies

As a tree, its hollow rigid husk becomes

An invulnerable vessel

Incapable of recognising the form and texture of warmth and lust

Treelike capillaries burrow deep into the moist earth

Silent sweat forms a spring, drop by drop

Suspended amidst bones

Suspended within gazes

When the woods suddenly fall down, there is only a clanging boom

Containing unspeakable melancholy within its crisp finality

Looking at flowers in the mist

The flowers are like bodies

Exquisite

As long as one doesn’t mention it

It’s all in the past, as unrecorded history

Untraceable

Homeless

As long as you forget about me, the past will also vanish

Uprooted and sourceless

You hide within the invisible air,

The suspended human floats in mid-air

He spreads his wings to shield the storm

The wind cannot pass his body

His eyes are aglow, like all the light of the sun

For the ones streaking through the forest

Distant desires cling to the mud between their toes

Moonlight and gazes in prolonged double exposure

Project onto the sternum

On every tree

Freedom got blood-red, like a scar

Trees grow

Into hearts

| 簡介

CHEN POYU | 陳柏煜

Born in 1993, Chen Poyu has won numerous literary prizes in Taiwan, including the Lin Rong San Literary Award and China Times Literary Award He is the author of The Art of Rivalry (poems), The Scientist (essays), Bubbles Maker (essays), and mini me (poems). His Chinese translation of Robert Hass’s Summer Snow was published in 2022. He currently lives in Taipei. 陳柏煜,台北⼈,政⼤英⽂系畢

JAIME CHU

Jaime Chu is an occasional critic and former art worker from Hong Kong. Working in book publishing and contemporary art between Hong Kong, Beijing, and New York, she was a contributing editor for Spike Art Magazine and her writing has appeared in The Nation and The Baffler, among other experimental publishing projects.

jaimebot.github.io

LONGMAN

LUK | 陸朗⽂

Longman Luk is an erhuist and sound artist who has been fascinated by both the generative potential of computer music and the wonder of natural soundscapes, which unlock a broad range of materials and their interplaying possibilities for him Seeking to extend the sonic experience with technology, his current practice includes ambisonics/spatial sound design, audiovisual performance, VR/sound installation, oscilloscope animation, and more

NICHOLAS WONG|⿈裕邦

Nicholas Wong (poet, translator, visual artist; Hong Kong) is the author of Crevasse (Kaya Press), winner of the Lambda Literary Awards in Gay Poetry, and Besiege Me (Noemi Press),

also a finalist in the same category. He was the winner of Australian Book Review’s Peter Porter Poetry Prize in 2018. Wong has also contributed writings to projects organised by the Manchester International Festival, and the Solomon R Guggenheim Museum in New York City.

⿈裕邦為香港詩⼈、翻譯兼視覺藝術家。他曾出版《Crevasse》(2015年Kaya Press出版)以及 《Besiege Me》(2021年Noemi Press出版)。前者獲得Lambda Literary Award for Gay Poetry 獎,⽽

獲Australian Book Review頒發的Peter Porter Poetry Prize。他曾為曼徹斯特國際藝術節以及紐約古根漢美術館展覽的項⽬撰⽂。

WONG

SIN|汪倩

Wong Sin is an artist based in Hong Kong specialising in poetry, performance, and painting Her creative pursuits seek to delve into the depths of human consciousness through abstract and organic forms She explores how to integrate poetry, performance, and substance to present the human spiritual state in order to reflect on the conflicts and breakthroughs arising from the limitations of the human body. Drawing nourishment from literature and philosophy, she contemplates the intricate relationship between the world and its inhabitants.

汪倩,香港⽣活。她的創作涉及詩、⾏為

TREVOR YEUNG|楊沛鏗

Trevor Yeung (b. 1988 in Guangdong; lives and works in Hong Kong) uses botanic ecology, horticulture, and aquarium systems as metaphors for emancipation from the expectations inherent in human relationships. Yeung draws inspiration from intimate and personal experiences, culminating in works that range from image-based works to large-scale installations. Yeung had his first institutional solo exhibition in the United Kingdom, ‘Soft ground’, at Gasworks, London, in 2023 He was nominated for the Sigg Prize 2023 In 2024, Yeung will represent Hong Kong at the 60th Venice Biennale. Previously, he has participated in Singapore Biennale (2022); Kathmandu Triennale (2022); Lyon Biennale (2019); the 4th Dhaka Art Summit (2018); and the 10th Shanghai Biennale (2014). Yeung has also exhibited at M+, Hong Kong (2023); Blank Canvas, Penang (2023); Musée d’Art Moderne de Paris (2022); Tai Kwun Contemporary, Hong Kong (2022); Jameel Arts Centre, Dubai (2022); Para Site, Hong Kong (2020, 2018, 2017, 2015, 2014); Museum of Modern Art, Warsaw (2018); and OCAT, Shenzhen (2016).

希克獎的入圍藝術家之 。2024年,楊⽒將代表香港參加第60屆威尼斯雙年展。他曾參與新加坡 雙年展(2022年)、加德滿都三年展(2022年)、⾥昂雙年展(2019年)、第四屆達卡藝術峰會 (2018年)以及第⼗屆上海雙年展(2014年)。他亦曾於香港M+(2023年)、檳城Blank

Canvas(2023年)、巴黎現代藝術博物館(2022年)、香港⼤館(2022年)、杜拜Jameel Arts

Centre(2022年)、香港Para Site藝術空間(2020、2018、2017、2015、2014年)、華沙現代

藝術博物館(2018年)以及深圳OCT當代藝術中⼼(2016年)參與展覽。

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