NOTE FROM THE PUBLISHER OF THE HK FARMERS’ ALMANAC I wish to speak a word for Nature, for absolute Freedom and Wildness, as contrasted with a Freedom and Culture merely civil—to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. — Henry David Thoreau, “Walking” (1862) Some people ask me how I came to know HK Farm. In spring of 2014, I stepped into Wong Chuk Hang’s neighborhood café MUM, a vegetarian spot created by designer Pokit, and found Michael Leung there wearing an apron. I had heard of Michael and his work with agriculture and local honey, and had met his farming partner Glenn when he had visited Spring the prior week with his schoolmates. So I introduced myself. As Michael began to tell me stories that touched on local produce and guerrilla farmers and planter building and permaculture practices, his passion led me to remember that there are things that we are obliged to care about as humans. The argument that HK Farm makes for why we should care is that we are not solely members of civil society. We are, in Thoreau’s words, more fundamentally “part and parcel of Nature.” Urban life attenuates the force of our connection to this fact, and that is where HK Farm’s urban rooftop farming steps in. They are here to “speak a word for Nature” and to lead us gently back to a place where we can begin to reconcile our identities as members of society with being members of the earth. What is this green revolution we feel them leading us into? In her introductory essay, Almanac editor Elaine W. Ho illuminates what’s going on here by using Hannah Arendt’s observation that revolution can be seen as restoring a modality, in the way planets revolve until they arrive back close to—but relevantly not exactly—where they began. When we decide to engage with the “Freedom and Wildness” that Thoreau sees as intrinsic to us, we are actually returning to what we know to be a right and true part of being human. Glenn Eugen Ellingsen, Anthony Ko and Michael Leung of HK Farm came to our residency program not only as farmers, but also as thinkers who use their backgrounds in art, design and business to communicate their practice and philosophy in a compelling way. This accounts for why everyone ends up energized by the dialogue they lead you into. It is impossible for any of us not to be implicated by what they represent. Consider a few of their actions over the past year: they rescued generations-rich topsoil from a New Territories farm on their backs before it could get covered with concrete by developers. This soil filled hand-built planters on our terrace in Wong Chuk Hang, as well as on
rooftops in Yau Ma Tei and Mong Kok where they then sowed edible crops tended by the neighborhood. They created a station where you record yourself talking and singing to plants, messages that would then be played to the plants using audio players and futuristic little round speakers hanging from clear lucite posts inserted into the planters like tiny, colorful beehives. The farmers and the Spring team took turns tending the farm daily, rain or shine. They led school tours where children made their own seed bombs, and then they launched them into hidden corners and dirt patches for future sprouting in our urban neighborhood. They purchased aloe vera and other seedlings from a guerrilla farmer. They gifted saved seeds in hand-painted packets to farmers and green-thumbs all over the world, encouraging all of us to continue the seed exchange as a contemplative and meaningful practice. They turned the spotlight onto unknown farming talents and issues in agriculture by creating exquisitely photographed portraits of the worlds they encountered. From October 2014 to June 2015 during Hong Kong’s Umbrella Movement, they planted farms all over roads and roadsides. They hosted dozens of tours of the farm to share their work and visited other agriculturally-oriented projects like Bishan Commune (Anhui province) and Mirrored Gardens (Panyu district) to engage with different schools of thought. They bred worms and created compost boxes, championing permaculture as a way of life and living it themselves in ways that always surprised. These activities of HK Farm represent a challenge to us to reconsider our ideas about the food we eat, the land we inhabit, and what we view as our relationship—and even responsibility—toward each. None of us can claim complete ignorance of the food we eat or of the land we inhabit. So how can we not care? Thus begins the dialogue with HK Farm. To those who question what this has to do with an art space like Spring, I would ask how a space focused on “Freedom and Culture” could not wish to add our birthright of Wildness to the mix. We are creating dialogue using side doors, not necessarily the main entrance. This project harnesses aesthetics, permaculture, politics, documentation, land use, food awareness and good ol’ gardening to provoke questions about the way we relate to our surroundings. The various facets of this project have provided an endless fascination, not only surrounding the agricultural content, but also through the unique approach to visual and sonic representation of their land-based practices. Our public events— from the Autumn Harvest Workshop, to the Winter Discussion, to The HK FARMers’ Almanac you have before you—have been developed to keep these many different channels of engagement open and vibrant. I would like to thank the three people who have contributed their voices to the residency project: Ou Ning, who has extended to us his ideas and hospitality at Bishan Commune; Hu Fang, who contributed his text on the life work of George Chan to the Almanac and welcomed us to
Mirrored Gardens; and especially Elaine W. Ho, whose leadership of the Winter Discussion as well as editing of and artistry with the Almanac, have been gifts to all of us both at HK Farm and at Spring. When HK Farm began their one-year residency at Spring in the autumn of 2014, they had a vision, and we had a terrace upon which they could share it. Now after a year of watching the plants burst into life under so many caretakers, the leafy, rescued-soil planters will be moved one by one into a farm diaspora on rooftops and at schools all over the territory, carrying the HK Farm vision like dandelion seeds. We will miss their compelling presence at Spring, but the challenge they present is indelible and will remain with us here. They have made it impossible not to care. To Freedom and Culture—and now: Wildness! Mimi Brown Founder Spring Workshop Hong Kong August 21, 2015
《香港農民曆》出版者言 我願為大自然、為絕對的自由和野性代言，這跟自由和文化對照之下的僅僅的 文明——將人類視作為大自然的居民或重要的一部分，而非只是社會的一員。 — 亨利·戴維·梭羅，《 散步 》(1862) 偶爾會被問及一個問題：我是如何認識HK Farm的？2014年春天的某一日，我 踏進黄竹坑鄰近一間由Pokit經營的素食咖啡館MUM；當時梁志剛(Michael Leung)綁著圍裙正在廚房工作。在此之前我已聽過他的名字及有關他在農耕和 製作本地蜂蜜方面的工作。而且更於一星期前，與他其中一位HK Farm的合作 夥伴Glenn於Spring工作室(Spring Workshop)初次見面。我上前跟Michael 打招呼並開始聊起來，當他分享本地農作物、游撃農夫、植盆製作及永續栽培 等等話題的故事時，當中的熱誠令我猛然記起還有許多事情是作為人類的我們 需要去關注的。 HK Farm認為我們生而為人，並不只是文明社會的一份子；或者更直接地如詩 人哲學家梭羅所説: 「我們是屬於大自然的一部份。」 HK Farm城市天台農場 的出現正正是因為城市生活削弱了我們與大自然之間的連結。他們到來是「為 大自然說話」；並溫和地引領我們回到一個平衡的狀態，重新調和自己作為社 會成員與地球一份子的這兩個身份。 這場綠色革命將會引領我們到哪裡？《香港農民曆》主編何穎雅在序言中引用 漢娜鄂蘭的觀點：「革命可被視為是某種形態復原，就像行星公轉時返回起 點。」當我們決定實踐梭羅認為我們固有的「自由及野性」時，其實只是回到 作為人類應有的真正身份。 HK Farm的Glenn Eugen Ellingsen, 高志聰(Anthony Ko)及梁志剛(Michael Leung)不單以農夫的身份來參與我們的駐場計劃；亦以思想家的身份運用自身 在藝術、設計背景中的經驗；以引人入勝的手法來傳達他們對城市務農實踐的 訊息。這說明了為何每個人都被他們所引起的對話推動，而我們當中沒有任何 一人不受他們所象徵的事物影響。 先讓我們回顧過去一年HK Farm所做的幾件事。他們曾親身在新界農地拯救一 些差點被發展商的石屎所覆蓋的肥沃土壤。這些土壤現在已填滿了我們工作室 的戶外平台、油麻地和旺角天台農場的手造植盆；然後由街坊們負責把當中的 種子培植成可供食用的農作物。他們亦建造了一個《Talk to Your Plant》錄音 室讓大家錄下想跟植物說的話，或者為它們高歌一曲。錄音則由一個個設置在 泥土上方，圓球般的小型擴音器向植物播出，看起來活像一顆顆色彩繽紛的迷 你蜂巢。 HK F a r m 的成員與Spring工作室的團隊輪流每日風雨不改地照顧農場。一 年間，他們曾帶領學校導賞團的學童製作「種子炸彈」，並把它們投擲到黃竹 坑和其他社區的不同角落，讓小小的泥團與種子萌芽於未來的城市。他們從一 位游擊農夫手中購得蘆薈及其他種子；將剩下來的種子放進手工包裝之中，並 轉贈給全世界的農夫及務農同好，鼓勵大家持續進行種子交換這一個深具意義 的行為；他們亦把焦點放在農業議題及寂寂無名的本地農夫上，以拍下他們的
日常景象的照片，來把箇中故事介紹給大眾認識。在發生於去年九月至今年六 月的雨傘運動期間，HK Farm在佔領區的路邊設置多個耕種空間；他們除帶領 多個農場導賞團來分享工作心得外, 亦前往安徽省的碧山共同體 、廣州省的鏡 花園及其他不同學校取經和交流；他們於Spring工作室繁殖昆蟲並製作化肥箱, 倡導永續農業成為一種生活模式。 HK Farm所進行的一切是挑戰我們重新對現今所吃的食物、所居住的地方以至 我們怎樣看待互相的關係及責任等等的想法作出一個全新定位。沒有人能聲稱 對自己所住所吃的完全一無所知，那麼試問我們又怎可能不關心？正因如此， 大家才會展開與HK Farm的對話。 如果問這與一個藝術空間有何相關？我會反問：那麼自由及文化又怎會與藝 術空間亳無相干?我們正嘗試著利用一個另類渠道來展開對話。這個計劃以美 學、永續農業、政治、土地使用、對食物的意識及園藝務農等切入點，刺激大 家去思考我們怎樣與週遭環境構成關係等問題。這計劃的多個層面提供一個無 限的遐思；不單只圍繞務農方面的內容，而且經由HK Farm獨特的影音視像演 繹方式以及我們舉辨的公開活動——由《秋天收成工作坊》，《冬季硏討會》 以至你正在閱讀的《香港農民曆》，都以不但開放且充滿生氣的方式來讓大家 參與及進行交流。 我想在此感謝於這次駐場計劃中獻出他們寶貴聲音的三位好朋友：歐寧，不但 於我們到訪安徽省碧山時熱情款待，也積極跟我們分享他的想法；胡舫，為這 《香港農民曆》獻上關於George Chan的文章外，亦邀請我們造訪位於番禺 的鏡花園；何穎雅，她在《冬季硏討會》上發揮了卓越的領導才能，編彙《香 港農民曆》時更展現了敏銳的藝術觸覺，跟爽朗的她一起合作，對HK Farm及 Spring工作室來說都是一個莫大的福份。 當HK Farm在2014年秋天開始於Spring工作室進行為期一年的駐場時，他們都 抱著一個願景，而我們的戶外平台則正正可讓他們分享這個理念。一年後眼見 在眾人的關懷下，植物朋友們巳陸續開枝散葉，而所有植物及植盆將會各散東 西，分批轉贈給全港不同學校及天台農場；把HK Farm的理念像種子般散發出 去。我們會非常懷念他們在Spring工作室時令人眼前一亮的風景，但他們所提 出的挑戰是不能泯除的，而且會一直留在我們身邊。他們已令我們再沒理由不 關心了。 給自由與文化——還有野性！ 貝明湄 (Mimi Brown) 創辨人 Spring 工作室 香港 二零一五年八月二十一日
FARMING AIN’T EASY As we always joke, “farming ain’t easy,”—particularly urban farming in Hong Kong. It’s challenging, harvests are uncertain, and everyone has a farming story—good or bad, happy or sad. But it’s the stories that keep us moving ahead, teaching us to face challenges, and embrace opportunities. My farming story began long ago, before I was born. In 1908, my grandfather Ko Seoi Hung (高瑞熊) was born in Zhongshan (中山), Guangdong Province. He married my grandmother Choi Yu Kwan (蔡煜 群) in 1942, and in 1947, 1948, and 1951, my uncle Ko Gam Chi (高鑑墀), father Ko Gam Wing (高鑑榮), and auntie Ko Wun Lin (高浣蓮) were born. Life was extremely tough in the post-World War II period in China and many other countries. My grandfather took his wife and three young children to Hong Kong in search of a better life. He found work as a clerk in Central and lived in a tiny flat on Apliu Street (鴨寮街) in Sham Shui Po (深水埗). Life was still tough in Hong Kong, but in 1952, an opportunity to immigrate to Australia arose. Unfortunately, he had to leave his wife and young children in Hong Kong. He wouldn’t see them for another 15 years. Upon his arrival to Australia, he spent his savings on a small plot of farmland in Newcastle, about 160 kilometers north of Sydney. Farming mostly Chinese vegetables, he sold what he could at the local market and ate whatever was left. The majority of his income was sent back to Hong Kong, and by 1967 he was able to reunite his family in Australia (my uncle would immigrate to America for university, a story for another time). It was around that time that my grandfather hung up his farmer’s hat, moved to Sydney and began to don a chef’s hat. It was the beginning of a better life for all and a happy ending to his farming story. Fast forward to my birth in 1982 in suburban Sydney. Growing up there, I was oblivious to farming and its techniques for most of my life. My closest connection to farming was through stories from my grandfather about how physically demanding farming was, most likely his way of emphasizing the need to study hard in order to get a “good” job. Apart from herb gardens and a few failed attempts at growing vegetables on my balcony, I was immature and found the effort not worth the reward. Farming ain’t easy, and I didn’t know the half of it. Eventually, all the studying landed me a “good” job, sending me “back” to Hong Kong in 2010. This is where I met the founders of HK Farm, on the roof of an industrial building in Ngau Tau Kok, and it is where, inspired by their methods and approach to farming, my farming education began. There is a sense of irony in what I am doing with HK Farm. After my grandfather worked so hard and sacrificed so that his family as well as
grandchildren could have a better life, his grandson, the black sheep of the family, has come back 50 years later to the place he left, engaging (albeit part time) in the profession (and I use that word lightly) he never wanted any of his descendants to have. If he were still alive today, he would likely laugh at our urban farming methods and meagre harvests, and question what photography and art have to do with farming! Why are we farming in an art space!? But I believe he would also understand and empathize with all the challenges that farmers, urban and otherwise, face in Hong Kong today. From a clear lack of government strategy and focus to limited frameworks of support for local farmers and shrinking availability of farmland, all odds seem stacked against Hong Kong farmers. With numerous cases of food safety scares and scandals, it seems logical that farmers should be given greater support. My grandfather would understand the importance of strong relationships between growers, farmers and the community in Hong Kong and would have loved to hear the stories that we all have to tell. Through urban farming and HK Farm, I have heard stories of unscrupulous property developers bullying farmers off their land with meager compensation or none at all. I have heard stories of farmers struggling to make ends meet
due to rising rents, shrinking margins and limited channels to sell their harvests. Time and time again I have heard stories of overzealous government bodies and their representatives clamping down on rooftop growing, citing variously the breach of building codes, fire hazards and illegal structures as reasons. I have also listened to uniformed rants about how farming is a “dead” industry, how food grown in Hong Kong is likely “unsafe” to eat and how farmers should just “give up.” All these stories paint a depressing picture of the state of farming and agriculture in Hong Kong.
務農談何容易?
But where there are challenges there is also inspiration, creativity, and a sense of community. I know well the story of a homeless farmer, farming in a hidden plot of land under a highway in a densely populated part of Hong Kong. His harvest yields are enough to make any urban farmer jealous. I have seen the start of a rooftop movement in Mong Kok, which against all odds is thriving and inspiring more and more individuals to join each week. We have also seen many NGOs adopting permaculture into their ecosystem. On an almost weekly basis, a colleague comes into my office, and we share photos of our farming progress, exchange seeds, and trade tips. Despite working for the same company, our interactions would be restricted to work reasons if not for the common ground of growing and farming. On my way to and from our Yau Ma Tei rooftop, there were many times I was randomly stopped by kai fong (neighbors), asking me about a seedling, a tool or harvest I was carrying and what I was doing. We traded stories about the area, about growing and farming, and sometimes I would give them my harvest from the day. Our residency at Spring Workshop has exposed me to a community and people with whom I wouldn’t have otherwise had the opportunity to connect. Recently, I wandered into a small and slightly hidden farming community in Wong Chuk Hang with the intent of buying materials to build a truss for our luffa seedlings, only to be engaged in a conversation about farming, given a tour of the small farms and sent on my way with the materials as well as some seeds free of charge.
我的務農故事早在我出生前已展開。祖父高瑞熊1908年出生於 廣東中山；1942年與祖母蔡煜群結緍。伯父高鑑墀、父親高鑑 榮、姑母高浣蓮分别於1947、1948及1951年出生。
These aren’t isolated incidents. Somehow, fellow farmers and growers, experienced and inexperienced, can find common ground, share their stories, and work together. If you look around our current rooftop at Spring everything has a story. Our planters and soil, our seeds and seedlings, the plants themselves and most of all our friends and farm mates. Farming ain’t easy, but I find it rewarding. And who doesn’t love a good story? Anthony Ko HK Farm August 2015
我們經常說笑「務農談何容易？」 – 尤其是在香港進行城市耕 種；面對著種種障礙及挑戰而且收成並不穩定。當中參與的每 個人都有一個故事；不論是好與壞，悲或喜；始終都是一股推 動我們全速向前邁進的原動力，教我們如何面對逆境的挑戰及 把握機會。
二戰後各國的生活都非常艱苦，中國也不例外。祖父帶同妻子 及兒子們前往香港尋求更好的生活。他在中環從事文員工作但 家住深水埗鴨寮街。在港生活雖仍然艱苦，但1952年出現一個 能移居澳洲的機遇；不過這令他必須與妻兒分隔兩地達15年之久。 抵達澳洲後，他用積蓄在悉尼以北160公里的紐卡素購買一塊 農地耕種中國蔬菜；收成在附近市集出售，並吃掉其餘賣剰的 蔬菜。他把大部份收入寄回香港；後來在1967年，與家人在澳 洲團聚。（我的伯父其後移居美國升學，但這有機會再談）大 概在這時候祖父移居悉尼並當起廚子，這是一個美好新生活的 開始，同時也為他的務農生涯劃上一個完美句號。 説回我1982年在悉尼出生後的生活。除了聽祖父常説耕種是一 種何等辛苦的工作之外, 我對耕種根本一無所知。而這大概是一 個提醒我要好好讀書才能有好日子過的忠言。當時對務農的難 度毫無頭緒的我，曾在騎樓上嘗試種菜，但都以失敗告終。於 是我曾一度斷定從事耕作必然是吃力不討好的。 經過一番苦讀，結果我找到了一份所謂的「好工」，這工作 亦成為我回到香港的契機。某日在牛頭角工廈天台上結識HK Farm的創辦人；受他們的務農方式及態度所啟發，我的務農教 育由此正式展開。 參與HK Farm真的有點諷刺。我的祖父半生勞碌為求家人生活 可以好過一點，而我這個「衰仔」卻老遠跑回五十年前他離 開的地方，更從事他絕不希望後人再續的故業。如果祖父仍在 世，他絕對會譏笑我們的城市農耕及微薄的收成；並且質疑務 農與攝影藝術有何關係，為何要在一個藝術空間裡耕作？但我 相信他也會明白及領會現今香港農夫所面對的挑戰。由於政府 乏善足陳的政策、極有限的本地農民支援架構及持續減少的農 地等等因素使本港農夫的處境甚虞。隨着不斷發生食物安全的 恐慌及醜聞；本地農夫理應得到更大的支持。我的祖父定會明 白香港農夫及社區間的關係是何等重要，而且願意洗耳聆聽當 中的故事。
通過參與城市耕作及加入HK Far m,我不時聽到無良地產商以賤價或毫無賠償下把農 民迫走的故事。我亦聞說農夫因為租金增加、收入及銷售渠道減少，生活因而捉襟見 肘。還有那些過份「熱心」的政府部門及其爪牙動輒以各種條例，如《消防安全條 例》、《建築物條例》為理由打壓天台農業；不少輿論亦斷定農耕是一個「已死」行 業，聲稱在香港種植的食物多數安全成疑，並「勸喻」農夫不如放棄務農。這許多的 故事描繪出香港本地農業環境的悲觀與苦況。 然而，在困難重重的境地當中，往往能發現更多的創意、啓發以及對於社區的歸屬感。 暫且不要氣餒，我見証了不少振奮人心的故事。例如一位游擊農夫在一個人口稠密的 地區裡的天橋底下耕種，他的收成足夠使任何城市農夫既羨且妒。我亦眼見一個旺角 天台務農運動在種種不利條件下居然能蓬勃發展起來，並且每星期不斷有新朋友加 入。同時，不少NGO組織亦把永續栽培引入生態系统中。在我任職的公司中有一位 同事幾乎每星期都會與我分享務農心得﹑作物生長情況及各類種子。如果沒有務農 這個共同嗜好，我們的交往只會局限於工作上。於往返油麻地的天台農場時經常也 被好奇的街坊問及我手中所持的工具、收成的作物或種子，以及在天台上正在做什 麽。Spring工作室的駐場計劃把我與一個從未想像會接觸的社區連接起來。最近途經 一個位於黄竹坑的細小農耕社區購買物料來為絲瓜種子製作捆綁架，自然而然與負責 人談起耕作的話題，最後不但被帶領參觀農場，購得物料之餘更獲贈些小種子。 這些並非個别事例，不論資歷的深淺，務農的同好總能找到一個共同空間分享故事及 協作的機會。看看我們在Spring工作室的天台農埸；由泥土、種子、植盆、植物以至 最珍貴的：各方好友及務農同好；每一件東西，每一個人都有一個故事。務農的確亳 不容易，但我仍覺得這些辛勞都是值得的。 高志聰 (Anthony Ko) HK Farm 二零一五年八月
HONG KONG’S FARMERS It was a warm autumn evening on the Spring Workshop terrace. Five dinner tables were set to welcome a group of educators, artists, activists and Taiwanese students who were in Hong Kong for a twoday workshop.1 Anthony, Glenn and I spent some time catching up and working with the plants before the guests arrived. We (Spring and HK Farm) shared our table with Oscar Ho, Ou Ning and Pak Chai. It was the 56th day of the Umbrella Movement, and my interactions with the three at that point existed in a future teachers rally at the Admiralty occupy site, via exchanges on Instagram and in various community spaces in Hong Kong respectively.2 Before we started dinner, Mimi gave a short introduction to Spring to all the guests. She introduced HK Farm then passed the microphone to me. I explained our project and spoke about some of the people that we have been working with—some of whom I will elaborate upon in this text. After the meal, we smoked together on the narrow part of the terrace, continuing our discussions. I asked Ou Ning if he had visited the occupy site yet, and he replied that he had not. Familiar with the site and some of the people staying there, I asked him if he wanted to go with me and also see the Admiralty farm (later named “Farms for Democracy”4) the following day. We added each other on WeChat5 and made plans to meet at Admiralty Station the next day. The guests’ coach arrived; we walked them around the corner and waved goodbye. At the farming area of the Admiralty occupy site the next day, Ou Ning and I stopped to observe the farm. As he chain-smoked three cigarettes, we discussed methods for art activism and effective ways of engaging a wider demographic, discussing examples such as the Bishan Moleskine project.6 After his first visit to Spring, he said that the art space was a good platform to communicate the complex sociopolitical issues explored in HK Farm’s work. Now in the last few days of our residency, I would like to take some time to reflect on this platform in relation to some people that we collaborated with during our period at Spring between August 2014 to 2015.
MR. & MRS. CHAN Mr. and Mrs. Chan are a farming couple living in Yuen Long. They have a fruit tree farm and nursery called, Fragrant Field Garden (田香花園 Tin Heung Fa Yuen). I first met Mr. Chan at the two-day AntiNorth East New Territories Development Plan rally on May 1st and 2nd, 2014, in Civic Square, Admiralty.7 Mr. Chan had previously helped set up the Very MK rooftop farm, and some photographs of that day were uploaded onto Facebook.8 I remembered what he looked like and introduced myself to him at the rally. A tall, smiley and talkative man who likes to smoke, Mr. Chan invited me to visit his farm and nursery. Later, I learned that Mr. and Mrs. Chan were experiencing some land eviction issues; the government suspiciously donated their farmland to Henderson Land Development Company Limited. With every visit I learned more about the situation, and on a couple of occasions, I tried to actively support their cause via documentation or translation (some of the developer’s letters were only in English), and also by updating other activists who supported Mr. and Mrs. Chan. Although the North East New Territories Development Plan does not directly affect their farm, they are farmers also affected by the government and developer collusion that is dictating how rural areas in Hong Kong are changing.9 Living in the city, we may find ourselves purchasing relatively expensive organic vegetables in supermarkets (often unnecessarily imported from other countries); we may find ourselves growing some herbs in the kitchen window or even growing vegetables on our balcony or rooftop; we may even visit a farm in the New Territories for bread or soap-making workshops. As city dwellers, how can we support these precarious farmers and the farmland remaining in our city? The two mango, two lemon, two mandarin and three star fruit trees on the Spring terrace have been purchased from Mr. and Mrs. Chan. After moving to Spring, the two mango trees produced 12 mangoes, some of which will be given to Mango King.
MANGO KING Mango King is a guerrilla farmer that I met during the “Art/Activist in Residence 2013” project at Woofer Ten, a community art space in Yau Ma Tei.10 11 He is without a home in the traditional sense of having stable accommodation, and lives on his farm, an unused plot of government land in Kowloon. To sustain himself, he grows his own produce and collects metal waste that he sells to local recycling shops. I first met him on a Monday morning, the 9th of September, 2013. Since then, I have visited him, sometimes with friends, over 60 times.12 For over one year, Mango King and I have participated in a gift economy; I would often give him our HK Farm seeds and buy him fruit (usually mangoes, his favourite fruit) from Kai jie and Wing gor, two market stall vendors who have often support our community farming projects in Yau Ma Tei and Mong Kok.13 In kind exchange, Mango King has shared with me his harvests and farming knowledge of wild plants and medicinal herbs. His harvests, often filling a couple of plastic bags, are often shared with So Boring cafe, a nearby mechanics shop, street market sellers on Canton Road and neighbours outside Woofer Ten.14 15 Mango King’s gifts have extended to sharing vegetable and fruit tree seedlings, which were also distributed among the community. His generosity benefits a long list of people, some of whom have visited and shared their seeds, seedlings and harvests with Mango King in return. I have even acted as messenger on occasion when foreign visitors posted seeds to him. One year after meeting Mango King, our one-year residency at Spring Workshop started. Over 30 self-made planters were filled with “rescued soil” from Lai mui’s farm in the North East New Territories.16 Due to our irregular schedules, we knew it would be difficult to sow seeds at Spring and care for them daily. For each month of our residency we allocated a budget for the maintenance and daily attention of the farm; this included keeping all planters arable. We decided to involve Mango King with our farm and purchase seedlings from him for HK$10 each. As always, we continued supplying him with seeds for free. Initially I felt uncertain about introducing this economic transaction between myself and Mango King. Money and capital often shift the nature of relationships, creating (unnecessary) hierarchy and expectation (supply and demand). Even economic exchanges that seem ethical and egalitarian can cultivate unpredictable and unhealthy outcomes.17
However, comparing Mango King with farmers in the New Territories (both indigenous and non-indigenous) who sell produce, seedlings and other edible products to sustain their farms and organisations, it would be unfair to constrain Mango King purely to a gift economy, to prevent him from being commercially sustainable (via compensation for his time and effort) and to limit him from commodities that do require monetary transactions (he likes to read comics). Mango King is a professional farmer who lives off the land. The following seedlings and quantities have been purchased from Mango King with our maintenance budget: • • • • • • •
15 Italian basil 2 purple basil 12 tomato 8 salad (mesclun and endive) 10 Malabar spinach 9 aloe vera 8 mint (pepper and lemon balm)
The produce above is freely shared with all visitors to Spring. Our Autumn Harvest Workshop event on November 23, 2014, welcomed 115 visitors, some of whom participated in a pesto-making workshop led by Anthony.18 The pesto was made using Italian basil harvested from plants sown by Mango King. Mr. and Mrs. Chan and Mango King and many other farmers contributed to our one-year residency in meaningful and valuable ways. Despite being located far away from their farms, we feel that their mutual support added an alternative perspective and necessary depth to our project. Over the year, when watering the plants and trees whose roots were born on their respective farms, it was almost as if the plants talked back to us, leading us towards a farming practice that goes beyond the typical local and organic produce snapped with happy photographs for social media. The narratives instilled in the plants and soil have fine-tuned our sensibilities and commitments towards community agriculture, prompting us to connect to farmers, security gardeners, guerrilla farmers and neglected arable spaces in the Wong Chuk Hang neighbourhood. In the same way that the stories that we’ve gathered in the past year have for us, we hope that our three HK Farm stories along with the other contents in the Almanac will add depth and an acute perspective to your relationships with food, agriculture and daily life. Michael Leung HK Farm August 2015
“For the Sake of the People: Forum and Workshop on Community Arts, Trans-regional Dialogue on Community Arts,” The Chinese University of Hong Kong, 22-23 November 2014, www.cuhk.edu.hk/crs/communityarts/index.html . 1
“大專界1205大遊行” started at the High Court at 2pm and finished at the Legislative Council in Admiralty, 5 December 2014. 2
See a comprehensive listing of community spaces in Hong Kong in this volume’s “Hong Kong Directory of Sustainable Initiatives,” or visit: http://goo.gl/IiTFcy . 3
For more information about Farms for Democracy, please visit: www.facebook.com/FarmsforDemocracy . 4
WeChat (微信) is a mobile messaging application released in January 2011. It is the most common messaging application used in China. 5
Ou Ning was invited by the French notebook brand Moleskine to create a limited edition version of their well-known blank books. For more information, see: www.alternativearchive.com/ouning/article asp?id=947 . 6
7
Support New Territories Farmers! Please visit: https://goo.gl/cCWEZO .
Very MK is an urban rooftop farm located in Mong Kok, Kowloon. Please visit: https://goo.gl/vvdlKg, and see also the Very MK zine within this volume of The HK FARMers’ Almanac. 8
Chau Hofan and Im Janice, What’s the fuss about the North East New Territories Development Plan? (June 28, 2014), http://goo.gl/REzXQd . 9
See also the dedicated text I wrote about Mango King in July 2014: https://goo.gl/P5JonW . 10
11
www.facebook.com/wooferten
12
Mango King Diary – https://goo.gl/6v3MLH
Kai jie and Wing gor are two market stall vendors in Yau Ma Tei. Well known in the community, we call “Kai jie,” or “Street Sister”, and “Wing gor”, for “Brother Wing.” An illustration of Kai jie’s stall can be viewed here: http://goo.gl/ATi1lC . 13
See potatoes donated by Mango King to our “Community Farming Project”: https://goo.gl/qVhwmW . 14
So Boring is a cooperative cafe in Yau Ma Tei. For more information, see their Facebook page: https://goo.gl/gR8snh . 15
“Rescued soil” was so termed by Mimi Brown from Spring Workshop after our excursions to the North East New Territories farm. 16
ESKOW, Richard and Salon, ECONOMY The Sharing Economy Is a Lie: Uber, Ayn Rand and the Truth about Tech and Libertarians, 1 February 2015, http://goo.gl/f41Uyt . 17
For more information on the Autumn Harvest Workshop, please see the Facebook event page: https://goo.gl/avQYeI . 18
香港農夫 當天是—個和暖的秋夜，Spring工作室的戶外平台擺放了五張 餐桌，預備歡迎一班前來參加為期兩天的《我為人人：社群藝 術論壇及工作坊》的教育家﹑藝術創作者﹑社運人士及臺灣學 生。Anthony，Glenn和我在客人到達前打理平台上的植物及 閒談近況。 我們（Spring工作室的團隊及HK Farm成員) 與何慶基, 歐寧和 謝柏齊同枱而坐。當日是雨傘運動的第56天、我與這三位朋友 的相交分別始於其後金鐘佔領區的「大專界1205大遊行」上﹑ 於Instagram互相的關注及不同的社區空間中。 晩餐開始前,Mimi先向各賓客致辭，介紹Spring工作室；隨後把 咪高峰交給HK Farm。我講解這次的駐場計劃並提及與我們共 同協作的一些朋友——數位農夫稍後會在本文中有詳細介紹。 用餐後我們在平台的一角繼續討論席上的話題，我問歐寧到訪 佔領區了沒有，他回答還未。我對佔領區及當中部分佔領者頗 為熟悉，於是問他翌日可有興趣跟我一同前往金鐘農場參觀（ 農場後改名為民主耕地）。我們在微信上交換了聯絡資料，並 相約在金鐘地鐵站見面。客人的旅遊巴士不久後到達，我們便 一起步行至街角並互相道別。 歐寧與我短暫停留在金鐘佔領區的其中一個農場旁邊，在他連 抽三枝煙時，我們談及藝術實踐主義的手法及與更大的社會層 面交流互動的有效途徑——討論的例子包括他受法國筆記本品 牌Moleskine邀請合作的一個計劃，創作一本限量印刷的「碧 山筆記」。前一晚首次到訪Spring工作室後，歐寧認為Spring 工作室是個很好的平台讓HK Farm所探討的複雜社會政治議題 得以跟大眾連繫及溝通。在最後數天的駐場期間，我想用一些 時間來為跟這個平台過去一年曾共同協作的各方友好的關係脈 絡作出一次回顧。
陳生及陳太 陳生及陳太是一對居住元朗的務農夫婦，他們擁有一個名叫田 香花園的果樹農場及苗圃。我第一次遇上陳生是在2014年5月1 日至2日於金鐘舉行的反新界東北發展遊行上。 陳生在更早前曾協助設置Very MK天台農場，當日所拍攝的部 分相片被上載至臉書。我認得他的樣子，所以在遊行時上前與 他打招呼。陳生是一位愛吸煙但笑容滿面且健談的人，交談後 他更邀請我到訪他的農場。 及後我得知陳生及陳太受土地迫遷問題所困擾。政府在很可疑
的情況下把他們的農地捐贈予恒基兆業地產有限公司。每次的 造訪都讓我對整件事情有更深入的瞭解。而有數次更為他們翻 譯法律文件，並向其他支持陳家的社運人士更新狀況，以支援 他們的行動。
當初我曾猶豫應否在我和芒果王之間加入這種經濟上的交易， 因為大家的關係很容易隨金錢的介入而改變，並産生沒必要的 層次階級之分及供求期望。就算合符道德及公平標準的經濟交 易亦有機會産生意料之外的不良後果。
雖然新界東北發展沒有直接影響他們的農場，但作為農夫，他 們仍然受官商勾結下的郊區管理方式所影響。我們居住在城市 中，或會在超市中購買相對較貴的有機蔬菜（通常都無必要 地由外地進口）；在廚房窗台或騎樓天台上種植蔬菜；甚至在 新界某農場工作坊中學習怎樣製作肥皂或麵包。作為一個城市 人，我們怎樣去支持這些被不明朗因素制肘的農夫及僅存的農 地呢？
但是，如果與在新界靠種菜維持生計的原住及非原住農夫相 比，把芒果王局限於禮物經濟層面上，而阻止他生活經濟上的 可持續性 (例如以酬勞來補償他的時間及勞力)，並削弱他的消 費能力（他喜歡閱讀漫畫），那絕對是不公平的。芒果王可是 一位住在農地上的專業農夫！
在Spring工作室戶外平台上所種的各兩株的芒果、檸檬、橘及 三棵楊桃樹，全是在幼苗時期在陳家裡購入的。其中兩株芒果 樹在搬來Spring工作室後已出產了12個芒果——有些我們更會 轉贈給芒果王。
• • • • • • •
芒果王 我與芒果王是在油麻地藝術空間活化廳舉行的「藝術／行動者 駐場計劃2013」上認識的。他現居於九龍一處空置政府用地上 自設的農場中；但他在傳統定義上算是無家可歸，只因他居無 定所。芒果王靠自己種植蔬果及收集可再用廢鐡，並售予回收 商來維持生計。自從認識芒果王後，我已先後造訪他六十餘次 有多。 長達一年的時間，我與芒果王進行一種禮物經濟的交流模式 ——我會把H K F a r m 的種子及由兩個支持油麻地及旺角社區 農場的果販——佳姐及榮哥店中買生果送他（多數是芒果王最 愛的芒果），而他則很慷慨地回贈我他部份的收成，並與我分 享在種植蔬果、香草方面的知識。他贈我的蔬果經常裝滿兩大 袋，我不時把這些蔬果與「蘇波榮」(油麻地的合作社小食店) 、附近一所車房及活化廳以外的社區分享。 不單是收成，芒果王更與我分享蔬菜及果樹種子，並且分發至 社區中。不少人受惠於他的慷慨餽贈，而他們亦與他分享自己 的收成及種子。我有時亦為外地訪客充當中間人把他們的種子 贈予芒果王。 認識芒果王一年後，我們在Spring工作室為期一年的駐場計劃 也正式開始。從黎妹於新界東北的農場中「拯救」回來的土壤 ，填滿了工作室裡超過三十個自製植盆。我們心知平日的時間 根本難以每日前來Spring工作室照料植物，所以每個月我們都 會調動預算資金來保養這個農場，包括確保植物健康成長。所 以，我們決定與芒果王合作，並以每株十元的價錢購買幼苗； 當然所需的種子由我們免費提供。
以下是於我們的預算中在芒果王購入的幼苗種類及數量： 15意大利羅勒 2紫羅勒 12番茄 8沙律（菊苣及綜合生菜葉） 10木耳菜 9蘆薈 8薄荷（檸檬薄荷及胡椒薄荷）
以上的農作物都在Spring工作室免費與訪客一起分享。 115名訪客出席我們在2014年11月23日舉行的《秋天收成工作 坊》，當中有些參加由HK Farm另一成員Anthony所主持的甜 羅勒醬製作班，原材料也是來自芒果王所種植的意大利羅勒。 陳氏夫婦、芒果王以至其他務農同好對我們在Spring工作室的 一年駐場期間作出了極寶貴及有意義的貢獻。雖然我們與他們 的農場距離甚遠，但他們的共同支持為我們的計劃提供了一種 另類觀感及所需要的深度。過去一年每當為來自各地農場的植 物澆水時，不其然覺得植物們像在跟我們説話；而這種感受亦 引領我們去進行一種務農實踐模式，這不只是典型過份吹捧本 地有機務農正面形象的風氣。由植物及土壤中所帶出的訊息已 把我們對社區農業的觸覺及承諾重新調校及定位，從而促使我 們與在黃竹坑社區中已被遺忘的可種植空間，及區內各層面的 務農者連結起來。 就如過去一年所搜羅的故事對H K F a r m 各人所帶來的影響一 樣；我們亦希望這三篇HK Farm的故事及《香港農民曆》的其 他具啓發性的內容不但會加深你與食品、農作物及日常生活之 間的關係，而且會為這些關係提供一個更敏鋭的觀點。 梁志剛 (Michael Leung) HK Farm 二零一五年八月
TALK TO YOUR PLANT My great-grandfather Carl Plataou Ellingsen traveled to South Asia frequently while searching for tea and spices for his Norwegian company, Hindu. He experienced different cultures, and everything he saw about the vegetables, fruit and plants there was new to him. There were no “tropical” yields in Norway, not to mention something such as a banana. Plants, fruits and vegetables that did not grow in Norway were deemed completely “foreign” and “strange.” The first time my grandmother ate a banana brought home by her father, she took a bite of it with the peel still on it. Who could blame her? Carl was very fond of nature and the ocean. He had many different flowers and fruit trees in his garden. The garden was one of the main places he spent time with his daughter Bente. It’s also the place where Carl taught Bente to talk to plants. Carl and Bente used to carefully hold the nearly ripened apples and talk to the trees. I grew up with my grandparents in nature right next to the ocean, much like my grandmother did with her parents. I spent my days outside in the garden with my grandmother, learning about all the different plants and animals. Soon enough, I, too, spoke to all of the plants, with or without my grandmother.
Twenty-three years later, my grandmother is still talking to plants, and I am in Hong Kong, participating in an art residency at Spring Workshop with HK Farm. Inspired by my grandmother, we created the “Talk to Your Plant” recording booth, where visitors at Spring can leave audio messages for the plants. All the recordings are played on small speakers for the plants at Spring Workshop, allowing visitors and audiences to take part in the project—and maybe even bring a few of the nurturing Norwegian whispers to our tropical plants. Even though I can only understand a couple of the languages recorded, they all share the same positive vibrational frequencies. 我的曾祖父Carl Plataou Ellingsen經常為他的挪威公司Hindu前往 南亞地區採購茶葉及香料。旅程中常接觸不同文化，而所見的當地蔬 果植物對他來説更是既新鮮又陌生。莫說是香蕉，挪威本身從沒有所 謂熱帶蔬果的出產。在挪威本土以外生長的蔬果植物全都被視為「外 來」及「奇怪」的。祖母初次品嚐曾祖父帶回來的香蕉時，連蕉皮也 沒剝去便把香蕉咬了一口。這又有誰能怪她？ Carl非常喜歡大自然及海洋。他的花園裡生長了很多種類的花及果 樹；這不但是其中一個他與女兒Bente消磨時光的主要地方；Carl也是 在這裡教導Bente如何跟植物說話。他們兩父女經常小心翼翼地抱著將 近成熟的蘋果跟樹木們說話。 我在近海岸的大自然環境中與祖父母生活長大，就像祖母與她的父母 一樣，我與祖母整天會在花園中學習所有關於動植物的知識。久而久 之不論祖母是否在旁我亦會不其然的跟植物說話。 經過二十三年光景，祖母依然如故的跟植物說話；而我則身在香港與 HK Farm一起參與在Spring工作室的駐場藝術計劃。 受我的祖母所啓發，我們製作了—個《Talk to Your Plant》錄音 室。Spring工作室的來訪者可錄下個人的口訊給植物。所有錄音則由 小型擴音器播放給植物聽；目的是讓來訪者及聽眾參與這練習——或 是帶給我們的熱帶植物朋友一點來自挪威滋養的綿綿耳語。 雖然我只能聽得懂錄音中的其中一些語言，但它們都分享著同一種正 面的頻率。 肥豹 (Glenn Eugen Ellingsen) HK Farm 二零一五年八月
HK FARM HK Farm is an organisation of Hong Kong farmers, artists and designers founded in April 2012. Working in the city, they collaborate with communities and organisations to highlight the importance of urban agriculture and locally produced organic food. Their approach to experimental farming includes workshops, extensive documentation, time-lapse photography, sound recording and projection, food sculpture and an edible harvest. 成立於2012年4月，HK Farm是一個由本地農夫、藝術創作者及設計師 所組成的團體。 他們與不同社區及團體合作，在都市環境下共同推廣城市農耕及本地 出産有機食品的重要性。 其實驗性農耕項目以多種形式進行，包括大規模文獻編集、聲音紀 錄、影像投射、縮時攝影、食物雕塑及可供食用的蔬果收成等等。
GLENN EUGEN ELLINGSEN Glenn Eugen Ellingsen moved to Hong Kong in 2010 after having resided in Norway, Spain and Italy. He received his Bachelor of Arts in Digital Photography at the City University of Hong Kong and has built an established professional network through his work in art, design and photography. As a member of HK Farm, Glenn’s work has been presented at the Venice Biennale, The Museum of Modern Art (MoMA), Art Basel Hong Kong and Joyce Shanghai and Hong Kong. He has co-founded multiple awareness-raising projects focused on sustainability issues and has more recently dedicated his expertise, knowledge and creative edge to Hong Kong-based design team Parasol Solutions. Glenn先後在挪威、西班牙及意大利居住。2010年移居香港後在香港 城市大學取得數碼攝影學士學位；並從美術、設計及攝影工作中建立 一個完善的專材網絡。Glenn代表HK Farm參加在威尼斯藝術雙年展 (Venice Biennale)、紐約現代藝術博物館(The Museum of Modern Art)、香港巴塞爾藝術展(Art Basel Hong Kong)等地所舉行的展覧、 並且在Joyce上海及香港分店展出個人作品。他亦與其他人共同創立 多個喚起公眾關注的可持續發展計劃。近期則把專長、學識及創作觸 覺投放在本港設計團隊Parasol Solutions之中。
梁志剛 MICHAEL LEUNG Michael Leung is a designer, beekeeper and urban farmer. He was born in London and moved to Hong Kong in 2009 to complete a Masters in Design. His work ranges from conceptual objects for the dead to urban agriculture projects such as HK Honey, HK Farm and HK Salt. Michael is a visiting tutor at The Hong Kong Polytechnic University and Baptist University, where he teaches the BA (Hons) Product Design course and Interdisciplinary Art (Master of Visual Arts), respectively. Inspired by his current projects and previous experiences, Michael is now working on his first collection of fictional stories. 出生於倫敦的梁志剛除了是一名設計師、也是一位養蜂人及都市農夫。2009 年移居香港後取得設計學碩士學位。其工作項目範圍包括為先人製作紙紮 品，以及推行多個城市種植計劃例如HK Honey、HK Farm及HK Salt。 梁現時分別擔任香港理工大學產品設計學士課程（榮譽）及浸會大學跨界別 藝術（視覺藝術碩士）課程的客席講師。 梁受其過往經歷及進行中的項目所啟發，最近正在創作他的首個小說系列。
高志聰 ANTHONY KO Anthony was first exposed to urban farming in Hong Kong at the HK Honey urban beekeeping workshop in 2012. Soon after, he began to get his hands dirty on the same Ngau Tau Kok rooftop with HK Farm. His involvement has been a platform for personal growth as well as an ongoing education. His exposure to the various farmers and farming groups consistently provides fuel for his love/hate (mostly love) relationship with Hong Kong. He is still amazed at the process from which a tiny seed can turn into something that can be harvested and eaten. In his spare time, Anthony runs strategic projects for a large Hong Kong company and aspires to be a boxing champion. Anthony初次接觸城市耕種是在2012年三月舉行的HK Honey牛頭角天台城 市養蜂工作坊上；自此以後便與HK Farm共同在這天台上耕種。參與耕種對 Anthony來說不單是個人的成長體驗，更是一個自我教育的良機。不斷接觸 農夫及務農團體加深他對香港的愛恨情懷（愛其實佔了大部份）；而且依然 驚嘆一粒細小種子能成長至開花結果並食用的整個過程。 Anthony的正職是為本港某大機構執行策劃方面的工作； 閒餘時間則立志成 為一位拳擊冠軍。
ONE YEAR
HK FARM JOURNAL
HK FARM手記
In September 2014, HK Farm conducted a green takeover of Spring Workshop’s main terrace to kick off a year-long residency. Their extended program included multiple public access points to experimental, communitybased urban farming, such as an Autumn Harvest Workshop, planter-building lessons, seed-bombing with student groups, documentation of both the farm and HK’s farming protagonists, a Talk to Your Plant and selfie booth, a winter discussion and finally The HK FARMers’ Almanac (2014 - 2015) created during an intensive three-day embodied knowledge book sprint.
Photographs by Glenn Eugen Ellingsen, Michael Leung & Spring Workshop
攝影Glenn Eugen Elingsen, 梁志剛及Spring工作室
Design by Michael Leung
設計梁志剛
Set in Century Gothic, Gotham Bold & Heiti SC Printed on Impression Recycled Paper Base Off-white 104gsm & 216gsm By Andrew at Service Printing Co., Ltd., Wong Chuk Hang
字體Century Gothic, Gotham Bold及黑體SC 用紙Impression Recycled Paper Base Off-white 104gsm及216gsm 印刷Andrew Cheung 服務印刷有限公司 (黃竹坑)
Published by Mimi Brown, Spring Workshop, Wong Chuk Hang
出版貝明湄 Spring工作室 (黃竹坑)
ISBN: 978-988-12600-3-1
ISBN: 978-988-12600-3-1
Licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.1 International License by Spring Workshop, HK Farm and all individual authors, photographers and artists.
本著作採用 「姓名標示-非商業性-相同方式 分享4.0國際」 授權條款開放分享
www.hkfarm.org www.springworkshop.org #springworkshop_hkfarm
www.hkfarm.org www.springworkshop.org #springworkshop_hkfarm
Thank you Spring Workshop for an epic year. And thank you ewh!
在此感謝Spring工作室與我們共 度這精采的一年。 還有何子，謝謝你！
一年 在2014年9月，H K F a r m 帶著一群綠色的植物進駐Spring工作室的戶外平台，開始 為期一年的駐場計劃。這個計劃以實驗性的社區耕作與居於城市的公眾作出對話，曾 舉辦的活動包括《秋天收成工作坊》﹑植盆製作課﹑與小學生一起到城市角落投擲「 種子炸彈」﹑長時間記錄農作物的生長﹑尋訪香港農夫並用影像紀錄他們的生活﹑製 作出供大眾跟植物說話與合照的小房間﹑《冬季研討會》，以及最終在日以繼夜的三 天裡與各個本地城市務農團體共同協作編纂了《香港農民曆》(2014 - 2015)。
ABOUT SPRING WORKSHOP Spring Workshop is a cultural initiative that brings people together to experiment with the way we relate to art. Committed to an international cross-disciplinary program of artist and curatorial residencies, exhibitions, music, film and talks, Spring serves as a platform and laboratory for exchange between the vibrant artists, organizations and audiences that define Hong Kong’s rich cultural landscape and the emerging and established artists, organizations and audiences around the world that seek to engage in far-reaching dialogue. Since opening its space in Wong Chuk Hang in 2011, Spring has welcomed over 8,000 audience members to its 184 programs and events featuring 160 artists, residents and collaborators.
關於SPRING工作室 Spring工作室是一個非牟利的藝術文化空間，匯聚各方人才，以我們各自與藝術相連 的方式作創新嘗試。Spring致力於策劃藝術家和策展人駐留計畫、展覽、音樂、電影 及講座等跨領域國際藝術項目和計劃。Spring工作室矢志開拓香港豐富文化風景，與 世界各地的藝術伙伴緊扣聯繫並尋求深入對話，成為匯聚一眾活躍藝術家和文化機構 的創意平台，打造出一個此地與彼岸之間的交流和實驗場所。自2011年於香港黃竹 坑開幕以來，Spring已經舉辦超過200場公共活動，與多於200名駐場藝術家和伙伴 合作，並接待了8000名觀眾。
The HK FARMers’ Almanac is produced as a limited-edition volume-in-a-planter, to be shared among fellow agriculturists and other nurturing souls. Digital versions of all content as well as documentation from its publisher Spring Workshop will be downloadable from www.springworkshop.org/the-hk-farmers-almanac .
木製植盆版的《香港農民曆》為限量製作，在農耕同好及HK FARMers之間分享傳閱， 而所有內容的電子版本以及工作坊的紀錄可於其出版人Spring工作室的網頁免費下載。 www.springworkshop.org/the-hk-farmers-almanac .