2017 | ESKYIU - The Industrial Forest

CONTENT 目錄 WORDS 文章 3

工 業

INDUSTRIAL FOREST 森 林

15

Kinds of Magic / Mimi Brown 一種奇妙 / 貝明湄 The Forest in Spring / Mimi Brown with Defne Ayas 春天森林 / Defne Ayas 和 貝明湄

51

A Love Song to a Parakeet by a Young Girl in Kerala / Claire Hsu 喀拉拉少女給鸚鵡的情歌 / 徐文玠

67

Accidental Nature / Marisa Yiu 偶發自然 / 姚嘉姍

TRANSFORMATION MANUFACTURED/NATURE GEOMETRY/MECHANISM GROWTH/DECAY CONTINUATION 轉變

101

The Impact of Nature / Eric Schuldenfrei 自然的衝擊 / 邵達輝

製造/自然

113

Industrial Forest in Dialogue / Lars Nittve 對話中的《工業森林》 / 李立偉

形狀/結構

121

Sway / Samson Young 搖擺不定 / 楊家輝

孕育/衰變

141

Rules of the Game / Doryun Chong 遊戲規則 / 鄭道鍊

延續 2

MIMI BROWN

KINDS OF MAGIC 一 種 奇 妙

When setting up Spring in 2011, I asked ESKYIU if they would consider creating a two-year installation on one of Spring's terraces. They accepted the commission with gusto, then chose the most bleak of the three possible locations: the rear terrace, which suffers from the full brunt of Hong Kong's ruinous weather and proximity to a smoke-smudged highway overpass.

ESKYIU came up with a few directions for the installation, but they soon narrowed their focus to the possibilities presented by the idea of an "industrial forest."

Sprouting from a platform of green grass, the forest would be an urban thicket of long, glimmering filaments that drew upon the history of Wong Chuk Hang's eponymous grove of yellow bamboo and on Aberdeen's identity as a fishing village.

Marisa, Eric and their team of students set to work researching and cultivating the sculpture.

There were a few unexpected setbacks along the way. When the ornery owner of the Remex Centre's external wall threatened to sue us if we so much as touched his crumbling 1978 edifice, we craftily resolved the dispute by making the sculpture hover off the wall by an inch. There was also

3

the mystery of the bamboo ninjas. We arrived one morning to find that anonymous miscreants had hacked our bamboo safety scaffolding down with machetes, chucking the pieces over the edge of the thirdfloor terrace and then making a surprisingly orderly pile of them on the street below.

Industrial Forest finally came to life after months of planning, construction, and meticulous arranging. The installation was comprised of a luminous grove of 346 yellow-orange aluminum poles, planted deep into an elevated green turf platform in a grid pattern that references the shape of the terrace boundary. The poles that lined a central corridor had thin wires running their lengths, causing them to flex like fishing rods, embracing you as you walked by. The grove was encircled by mirrored stainless steel walls, which conspired at times with the sun to make the installation blindingly bright. Later in the day, it interacted with the moonlight, streetlights and headlights of passing vehicles to make everything shimmer, and the strong geometry would collapse. People said that it recalled not only a grove of bamboo, with its jointed rods, but also a field of golden wheat, a tier of slender candles flickering in a chapel, or a crowd of skinny aspen saplings that had somehow turned saffron.

That was five years ago. Looking at the young sunlit forest bobbing and swaying so easily then, it was tough to imagine the storms, winds, rains, and typhoons that were to come – not to mention the dramatic impact of days spent exposed to the smoldering sun of 22°N. It was tough to imagine then the patina of corrosion from the pollution and the elements that would accrue, sandy to the touch like salt dried on buoys, bringing grit to the sea of metallic smoothness and thwarting some of the glow. And it was impossible to imagine that Industrial Forest would actually come to life at Spring.

Though in theory inanimate, the Forest is a living presence at Spring, not a built object; I would be omitting a crucial truth if I didn't tell you this. It actually beckons you. Dozens of times when I have randomly caught a glimpse of the Forest, I have felt compelled to stop whatever I was doing and walk over to hear what it had to say. People are drawn to befriend it, brush their bodies through it free-limbed, selfie with it, listen to it, ask about it and re-visit it. Insects and spiders have made their homes in it. And last year, in its magnum opus, the forest exploded overnight with an undergrowth 4

of giant orange mushrooms. (Yes, they were magic on more than one front.)

From its first day, Industrial Forest seemed to cope well with anything you threw at it. It rode out storms with its built-in drainage and flexible filaments, which also served as our weather alert system. Sitting at our desks in the office, we would hear a syncopated rhythm begin— clink… clack… clinkclack —as the forest forged sound from pre-rain gusts that stirred the filaments and made them knock into each other. We noted that the poles didn't flock together like birds; each pole seemed to have its own angle of swirl and response. Eventually, after a few years of hefty typhoons, some filaments needed to be replaced, and the plastic grass began to show scorch marks from the sun. Nevertheless, the Forest persisted and grew only more charming with maturity, showcasing its history plainly and garnering an ever-widening circle of friends and admirers.

Now, in season with Spring Workshop's planned hibernation that begins in 2018, the Forest is finally letting go. Its turfcovered wooden platform is giving way to rot and its filament holes are no longer able to hold the poles upright. Chunks 5

of the decrepit wall above contribute to the damage by tumbling down into the installation. Our public art installation— with over 10,000 views per day, thanks to the commuters on the Wong Chuk Hang Road flyover—will soon be no more.

The Forest was not intended to last forever as an object, as no objects at Spring have been. Our goal has been more about cultivating the right conditions for a lush, riotous, exuberant garden that fruits and blossoms, then morphs along with the seasons. The Forest leaves behind a pebbled trail of special encounters, and an inquiry about the relationship between artifice, industrialization, art, yourself and nature. In 2015, when HK Farm led a soil-based takeover of the larger Spring terrace that was characterized by bountiful organic planting, the Forest didn't feel threatened. It straightened itself right up like the Giving Tree, and offered itself as a conversation partner.

This is when things get especially interesting. Will there be another Industrial Forest ? ESKYIU wants you to make one.

They know there is nothing as powerful as rolling up your sleeves and getting elbow deep in the work, so they are providing you with instructions on how

to seed your own urban grove. May the forest you grow be full of mushrooms and magic.

貝明湄 Spring 工 作 室 於 2011 年 成 立 之 初， 我 問 ESKYIU 會否考慮於工作室的其中一個露台創

後離奇地在正下方的街道上堆疊得井井有條。

礫般的觸感，如經鹽醃後曬乾，令一片片平

這個謎至今仍然無解。

滑的金屬變得粗糙，光澤折損；也難以想像，

作一項為期兩年的裝置作品。他們欣然接受

《工業森林》在 Spring 工作室裡獲得了生命。

這個委託，從三個可行的位置中選擇了最簡

經過連月計劃、建造和一絲不苟的排列，

陋的後方露台，這位置受盡香港惡劣天氣衝

《工業森林》終於成形。這項裝置是一片由

雖 然 這 座 森 林 在 理 論 上 是 死 物， 但 它 在

擊，而且鄰近一條被煙塵熏黑的行車天橋。

346 枝橙黃色鋁桿組成的竹林，深植於升高

Spring 工作室卻是活生生的存在，而非單純

地台的綠色人造草皮上。杆子按照露台上劃

的建成物。若我沒提及以下這點，大家或許

ESKYIU 構思過好幾個方向，但很快就把

分的坐標方格整齊排列，中間留空形成一條

會省略了一個重要的事實：它其實會跟你打

焦點集中於呈現《工業森林》這個意念的可

走廊；附繫在鋁桿旁邊的幼絲，令鋁桿具備

招呼。不下數十次，當我眼角不經意一瞥森林，

能性。他們設想一根根幼長的橙黃鋁桿從綠

魚竿般的彈性，會彎身簇擁行經的訪客。露

就自覺不得不停下手頭上的工作，走過去聽

色的人工草皮地台上生長，組成一片閃著微

台牆身裝上不鏽鋼鏡，日照之下，裝置不時

聽它有何話說。這座森林招引訪客以它為友、

光的都市叢林，以呼應黃竹坑曾為黃竹林的

折射出眩目光芒。月光、街燈、天橋行車車

放開懷抱以輕輕觸碰它、跟它自拍合照、聆

歷史和香港仔的漁村背景。構思既定，姚嘉

頭燈的互動，也讓一切閃閃生輝，裝置工整

聽它的聲音、查問它、重訪它。昆蟲和蜘蛛

珊及邵達輝（Eric Schuldenfrei）和他們的學

的幾何形態因而瓦解。人們除了看見鋁桿分

更會以它為家。去年，它創出鉅作，在一夜

生著手搜集資料和栽培這件作品。

節如竹而想起竹林，也有人聯想到一片金黃

之間，快速生出遍地橙色的巨型蘑菇。（對，

麥田、教堂中一列列長蠟燭忽明忽暗的光，

這些各方面都非常奇妙。）

然而製作過程屢遭波折，例如利美中心業

和一叢不知何故染成橙紅的纖細的白楊樹苗。

主揚言只要我們稍為碰到其建於 1973 年、表

《工業森林》自完成第一天起，就隨遇而

面正在剝落的大廈外牆便會興訟，於是我們

那已是五年前的事，當時看著這座新的森

安；內置排水結構與彈性幼桿，令它從容地

便將作品移離牆身一吋，巧妙地化解糾紛；

林悠然搖曳於日光中，難以想像後來颱風雷

度過風暴，並成為我們的天氣警報系統。每

還有那個竹林忍者之謎：某天早上我們回到

暴不時肆虐，以至被北緯二十二度的炙燙陽

當下雨前陣陣狂風吹過，幼桿互相碰撞放出

工作室，發現不知名的破壞者砍毀了我們搭

光照射經年所造成的矚目變化；難以想像它

風聲。我們坐在辦公桌前，能聽見切分節奏：

建的防護竹棚，把斷枝自三樓露台扔下，然

受污染物與天然環境侵蝕後褪色，並帶來沙

傾 鈴 ──啷 啷 ──傾 鈴 啷 啷 …… 我 們 也 留 意 8

到，沒有彎曲的鋁桿會像鳥兒聚攏成群，每

間 關 係 的 探 索。2015 年， 當 HK Farm 進 駐

枝看來各有搖擺與回應的角度。經歷數年強

Spring 工作室另一個較大的露台，用真正的

勁的颱風後，有些幼桿最終還是需要更換，

泥土實踐成果豐碩的有機農作，《工業森林》

塑膠草皮亦開始出現烈日暴曬的灼痕。然而，

並無受威脅之感；它挺直抖擻，像童話書《The

《工業森林》一直堅忍著，歷過風霜只會令

Giving Tree》中的蘋果樹，奉獻自己，擔當

它更形迷人，它袒然呈現自己的歷史，朋友

對話的同伴。

與傾慕者成群，隨時日增長。 至此事情變得尤為有趣了。將來會有另一 如今，正當 Spring 工作室即將於 2018 年

片《 工 業 森 林》 出 現 嗎？ ESKYIU 希 望 大 家

按原定計劃暫別的時候，《工業森林》終於

也自行開墾一片。他們深明沒甚麼比捲起衣

得放手了。鋪上草皮的木製地台開始朽壞，

袖親力親為更有力量，所以他們會指導各位

插桿的孔再也不能讓鋁桿直立，日久失修的

在自己的都市園林中播下種子。祝大家的森

外牆跌落碎片，亦令裝置受損。我們這件公

林遍地蘑菇，滿室奇妙。

共藝術裝置──多得黃竹坑道天橋上來往的車 輛，觀賞人次每日逾萬──將不復存在。 我們從不期望《工業森林》恆久長存，正 如 Spring 工作室中其他所有物品一樣，同樣 不以長久為目的。我們的目標傾向營造合適 環境，令森林繁茂豐盛、繽紛怒放、活力充 沛，開花結果、並隨四時變化。《工業森林》 留下一條由奇遇鋪成的鵝卵石路，和一場關 於奇巧之計、工業化、藝術、人與大自然之 9

an open support structure and ecosystem which enables encounters

李 綺 敏 Christina Li

一開 個放 讓生 人態 事與 物支 自援 然結 交構 會 的

12

01/2017

12-13/10

15/02

Hong Kong New Music Ensemble begins one-year residency at Spring

23/08

28/02

Industrial Forest unveiling with Mimi Brown & 03/05 ESKYIU SCMP “Design duo foster debate on the built environment”

by Catherine Shaw

27/10

11/12-08/01

10/05

13/04

01/2016

Spring receives Prudential Eye Award for Best Asian Contemporary Art Organisation

Extremely hot weather, a record of 36.3 degrees

Giant hailstones batters Hong Kong

03/05-13/07

02/04

Wallpaper “Industrial Forest by ESKYIU, Hong Kong” by Catherine Shaw

08/08

09/2014

30/03

02/2015 22/09

Typhoon Usagi attacks the forest / T10

09/07

Typhoon Linfa strikes the forest / T10

27/09-07/12

14/04

Spring Workshop opens

2013 Mimi Brown & ESKYIU officially confirm highway terrace location; ESKYIU starts design, research and fabrication

2014

Artinfo “Very Real Fake Nature in the ‘Industrial Forest’ Installation” by Zoe Li

2015

05/03 01/11-15/12

Spider found perching in the forest

Typhoon Kalmaegi shatters glass onto the forest / T8

Pouring rain on the forest / black rainstorm warning signal 29/08

22/05

23/08

Tropical cyclone Hato blows the forest / T10

2018 Typhoon Merbok interacts with the forest / T8

Typhoon Nida hits the forest / T8 12/03-22/05

19/09-20/12

Downpour floods the forest / black rainstorm warning signal 26/05

10/12

Samson Young/ Sonic Surprise

2017

28/02-26/04

16/09

14/06

20/08-23/10

2016

29/04

01/06

15/10

Tropical storm Khanun pounds the forest / T8

Mushrooms sprouting from the turf

Dinner dialogues on “Artifice and Nature”

2012

11/03-01/04

Heavy shower on the forest / red rainstorm warning signal

A freezing cold surge, 3.1 degrees recorded 24/01

12/06

01/08

A tree sapling grows from the artificial turf 06/02

Steel wall comes loose and over 50% of filaments are horizontal, the forest is no longer safe to walk in

Spring Workshop closes

25/07

ESKYIU achieves eureka moment for final design of the 19/11 art installation ESKYIU process starts assembling on site

04/11

14/10

12/06

SPRING 19/05-18/08

WEATHER INDUSTRIAL FOREST

MIMI BROWN WITH DEFNE AYAS

THE FOREST IN SPRING 春 天 森 林

The curatorial godmother of Spring Workshop, Defne Ayas, director of the Witte de With Center for Contemporary Art in Rotterdam, has been in dialogue with Mimi Brown from the outset. She asked the following questions of Spring's founder.

Defne Ayas: Tell me with space and music, these led to the birth and Industrial Forest. It were after!

about your fascination dear Mimi, and how of Spring Workshop wasn't only art you

Mimi Brown: The workshop was conceived as fertile ground, like a hothouse where things and efforts and ideas could grow. First, I hunted for space on the farms of the New Territories, but these attempts at finding a natural setting were thwarted by the twisted realities of Hong Kong land use. Then one day I happened upon this vast light-drenched industrial warehouse floor, and wham! Only nature was missing, but ESKYIU and HK Farm solved that.1 It would seem more logical for Spring to be about music, since that is my training and most enduring love. Actually, Spring has been about music since I first sketched it out, but maybe only through my eyes: the whole enterprise is a massive jazz orchestration. But Spring's more explicit art focus was meant as a love letter to art people, namely my Spring

advisors for whom the whole project was envisioned: Claire, Alex, Yana, Tobias and you!

It was an experiment in running toward what I loved, fanning the sparks thrown off along the way, and entangling myself in the vines of hard work and process beside you.

From there, the question became: what sort of botanical experiments could be pulled off in a greenhouse with such people? Such space? Such light? And as the years passed, a multitude of things grew besides art. The space came to feel to me like an experience bookstore, where you could browse, serendipitously encounter things and characters, and get lost before eventually exiting the front door slightly shifted, in however small a way.

Spring was also a way for me to collect.

Instead of gathering artworks which bring with them a one-two punch of the duty of custodianship and an obligation not to relegate them to a dark life in cold storage, I could collect the unphysical: generative process with the creators and beloved inhouse team, uncommon engagements with visitors, and extensions of support to those involved. When you string these intangible treasures together, you can feel the weight of Spring's collection as an energetic footprint.

The physical artworks themselves go freely onward.

DA: You created a campfire for many "thinkers and feelers" to come around, those who truly care about this world we live in.

Even bugs and mushroom residents—actively participating in the global neural network— joined your song-making. What would you say were the most rewarding gifts and offerings you received from them?

MB: A campfire is the ideal analogy, especially for spark-fanners like us.

At a campfire, you offer stories, share food, feel your heated front and dark back, watch the tongues of flame, and listen to others while dreaming yourself. When the flame finally dies down, you have the choice to reignite it or to refresh yourself with sleep until morning, and start again. I hope Spring is this sort of relaxed, open and sacred gathering space. The bugs, mushrooms, birds and bunnies who join us make it seem so.2 The most rewarding gifts and offerings have been the residents' and audiences' vulnerability and trust, and their willingness to grant access to more intimate points of view.

Humans sharing nakedly is what can move the needle of our collective consciousness, especially in these warped times. One of my favorite models used by physicists to describe parallel universes depicts layered worlds where every possible story happens. To reveal these 16

worlds, we need to make ourselves vulnerable.

Another gift has been the formation of a community where we can throw out the rules of what an artspace is supposed to do or speak of, and make instead our own campfire society where we can both revel in the heat and rage against the dying of the light, but together.

DA: Play, collaboration and dedication to the search for magic and meaning were the modus operandi at Spring. Where do you think that desire to host, enable, stage, question and cross-fertilise comes from?

MB: Aren't many of us waiting for this whole structure called "normal life" to finally shake apart and reveal the real deal? Playing and collaborating seem to be a way to keep company with each other while we continue the process of tearing down the walls of illusion. It's a declaration against the status quo.

DA: And perhaps trust is the currency we should highlight, no? You worked with many people you trusted, including artists, musicians, architects, designers, writers and curators. At times you knew exactly what you or they wanted and how you or they wanted things to manifest, but you were also aware that you might not control any aspect of creative 17

processes at all. In retrospect, how was magic orchestrated at Spring?

MB: The finished work that ultimately manifests at Spring isn't the main point from my perspective (although it may be for our residents, understandably). I hope our magic is in providing the campfire you mention above, and a refuge where artists and audiences can breathe a different air and be upheld by a team of good people. Just as much, I hope our magic is in offering a safe place to experiment in public, not as a way of being hip, but to see if something actually works.

My personal version of the experiment was always about three things: artistic process, audience experience and the very notion of hybrid creation like Spring. I have enduring faith in these experiments, and experiments in general, as derailers of hyper-perfectionism and defangers of criticism. You just find a heartfelt direction and do the work. What will result is unknown, but who cares? Your days are spent alive in the flow of belief.

DA: Embracing the unknown is equally underrated, I agree, and you boldly embraced it. Not many spaces can afford the fluidity and openness that Spring showed. Tell me more about your hospitality and generosity. How do you feel about it now, and in retrospect?

MB: The first thing that comes to mind here is how much I love Spring when it's empty. Some of my happiest times have been spent the day before an event, shifting furniture around, anticipating the way people might flow, thinking through whether the acoustics would be too live for a group session, imagining the way sunlight might smear through the oldfashioned windows to brighten a given corner.

It's like lovingly preparing a guest bedroom for a friend who is coming to stay.

And then when people arrive the next day for the event, I stand there and marvel as things unfold, noting with interest what I anticipated or didn't, without chagrin. It feels like I have laid a stage and now the actors are upon it. It doesn't feel like active hospitality, but more like an unfolding of an improvisation on a foundation, like building a model ship and then testing whether it is seaworthy.

HK Farm (Glenn Eugen Ellingsen, Anthony Ko and Michael Leung) conducted a one-year green guerrilla takeover of Spring's largest terrace from 2014-15, transforming it into an urban farm.

1

Artist Adrian Wong and designer Samantha Reid were neighbours, and often brought their pet rabbits to frolic on Spring's astroturf lawn.

2

18

DEFNE AYAS 和 貝明湄 （荷蘭鹿特丹 Witte de With 當代藝術中心總

全盤計劃的Spring 工作室顧問團隊──Claire（徐

DA： 你開設了一個營火會，招來許多「思

在我的角度而言並非重點（雖然對我們的駐留

Spring 工作室空無一物的模樣。有些令我深感

監 Defne Ayas，是 Spring 工作室的策展教母。她

文玠）、 Alex（Alexandra A. Seno）、 Yana（Yana

想家」和「感覺家」──那些真正關心我們現

可以拋卻規限，不拘於一個藝術空間該做甚麼、

藝術家而言確實如是）。我希望我們的魔術在

快樂的時光，是在活動舉行前一天所經歷的；

與工作室創辦人 Mimi Brown 由項目之始就一直對

Peel）、Tobias（Tobias Berger），還有你！

正所棲身的世界的人。連昆蟲和蘑菇這些活躍

談甚麼，我們生起自己的營火，一同在熾熱中

於舉辦你剛才提到的營火會，還有開闢一個避

挪移傢俬、預想觀眾的人流走向、考慮一場合

話，並提出過以下的問題，現整理如下。）

這是一場實驗，我嘗試藉此奔向我所熱愛的事，一

於全球神經網絡的成員，都來與你共鳴共奏。

狂歡作樂，同時控訴光明的漸滅。

難所，由一隊出色的工作人員主持，好讓藝術

奏中的音響效果會否喧賓奪主、想像陽光如何

路上推波助瀾，與你並肩，全情投入辛勤和進展中。

你從他們身上獲得最有滿足感的禮物是甚麼？

家和觀眾得到別於日常的體驗，還有提供一個

穿過舊式窗戶照亮某個角落。這像是在用心佈

可靠的地方可公開地做實驗 ; 不是為了看起來

置一間客房，準備接待一位即將度宿的朋友。

Defne Ayas（DA）：Mimi，來說說你對空

DA： 遊戲、協作和致力追尋奇妙與意義，

間與音樂的著迷是如何造就 Spring 工作室和《工

接下來的問題就是：溫室裡有這些人、這

MB：營火會正是個完美類比，尤其對我們這

業森林》的誕生。你所追求的，不止是藝術呢！

片空間、這種光線，能進行怎樣的實驗？隨年

些推波助瀾的人而言。營火會中，你可獻出自己

是 Spring 工作室的運作模式。你認為那種主持、

時尚，而是為求知道一些事是否可行。

促成、籌備、詰問和跨界孕育的欲望源自何處？

然後翌日人們來參與活動時，我站在一旁

月過去，藝術以外，還生長出各式各樣的東西。

的故事、分享食物、感覺胸前熱暖、背後黑暗；

我對這場實驗的願景，向來關於三件事：

觀察事態發展，興味盎然地留意是否跟我預想

Mimi Brown（MB）：我將工作室構想成一

現在看來 , 這片空間就像一間販賣經驗的書店，

凝望火舌，或一邊聽別人說話一邊自己出神。當

MB：我們不是都在等待這個所謂「正常生

藝術歷程、觀眾體驗，和像 Spring 工作室般的

一樣，如果沒有，我也不感懊惱。就像我佈置

片肥沃的土地，像一所溫室，令物件、心思和意念

你可以來打「書」釘、與不同事物和人物相逢

火焰熄滅，你可選擇重新點燃它，又或選擇睡一

活」的體系終告分崩離析，然後顯露出真象嗎？

混合創作意念。我一直相信這些實驗，和實驗

了這個舞台，現在輪到演員上台演出。這不似

在其中得以成長。最初尋覓地方時我曾於新界找農

巧遇、迷路，最後由正門離開時，自身或略有

覺待翌晨精神抖擻，重新開始。我希望 Spring 是

遊戲和協作，或是我們在加快拆毀這些錯覺之

本身，能擺脫過份苛求完美的傾向，亦能消除

主動的款待，反而比較像在一個由我建立的基

地， 不過每次都被香港土地應用的扭曲現實所阻撓；

改變──哪怕只是一點點。

這樣輕鬆、開放又莊重的聚腳地；那些一同加入

牆時，互相作伴的方式，一個對抗虛妄的宣言。

批評的尖刻。你必須認定一個由衷相信的方向，

礎上，展開一場即興創作；像建造一艘模型船，

然後著手工作。結果是怎樣乃未知之數，但誰

然後測試它能否經得起風浪。

的昆蟲、蘑菇、雀鳥和兔子 2，令這兒看來更是如此。

然後有天我望著這層空間寬敞、光線充足的工業 貨倉，心想就是這裡了！雖然它當初只差「自然」 1

這個元素，但後來多得 ESKYIU 和 HK Farm 。

19

另一份禮物就是社群的形成，我們在其中

同時，Spring 工作室亦成為我收集東西的一個 途徑，所指的並非藝術品──那隨之而來看管藏

DA： 還有，或許信任是我們應該強調的價 最有滿足感的禮物或獻禮，是駐留者和觀

在乎？這些日子你一直充實地活在信念當中。

值，不是嗎？你與許多你信任的人合作，包括

1

城 市 農 夫 與 藝 術 家 組 合 HK Farm(Glenn Eugen

品的義務，和避免它們被發配到黑暗又冰冷的存

眾不諱展現自己的脆弱，他們的信任，還有容

藝術家、音樂家、建築師、設計師、作家與策

DA： 我同意擁抱未知同樣是一件被低估的

Ellingsen、高志聰和梁志剛 ) 在 2014 至 2015 年於

若然 Spring 是一個關於音樂的工作室，似乎

庫的責任；而是收集非實體的東西：與一眾創作

許別人探索自己更私密觀點的意願。人們坦誠

展人。很多時你確切知道你或對方想事情如何

事。你勇於擁抱未知，沒有多少場地可以像

Spring 工作室最大的露台進行了為期一年的綠化游

會更加合理，因為那是我的本業，亦是我一直的愛

人和我欣賞的工作室成員一起創造的過程、跟訪

交流，特別在這種反常時勢，足以為集體意識

呈現，但是你亦知道你或許控制不了創作過程

Spring 工作室那樣做到這種程度的流動和開放。

擊式駐留計劃，將露台改造成一個座都市農場。

好。其實在我最初的計劃裡，確是關於音樂，或許

客非比尋常的接觸，還有為一眾參與者提供支援。

帶來明顯改變。我非常欣賞物理學家用來描述

中的任何事。現在回想，Spring 工作室的奇妙

再告訴我一些你的款待和慷慨；你現在與當時

只有我如是觀之──這整個計劃就像一場盛大的

當你串連起這些無形的瑰寶，就會感及到 Spring

平行世界的其中一個模型：在多重的世界，每

魔術，是怎樣鋪排出來的？

有甚麼感想？

爵士樂演奏會。然而，Spring 工作室最後以藝術

工作室真正的收藏品的份量，是在於一種精力充

件可能發生的事都會發生；表露脆弱這份禮物，

為重點，原意是想為藝術人寫一封情書，給預想出

沛的印記。而藝術品本身，則可自由地邁步向前。

揭示出更多這些一重重的可能。

2

藝術家王浩然和設計師 Samantha Reid 曾是我們

的鄰居，他們經常帶寵物兔子來 Spring 工作室的人

MB：在 Spring 工作室最終呈現的完成品，

MB：當下第一件想到的事，是我多麼喜愛

工草皮上嬉戲。 20

200

0

20

0 0 2

aberdeen bay

1

00

0 0 1

1845

aberdeen

police sta.

paper works

20

0

10

brick hill

1913

aberdeen pol. sta.

1957

石排灣邨

shek pai wan estate

運動場

sports ground

警察局

police station

黃竹坑邨

wong chuk hang estate

深灣

sham wan

1975

石排灣邨

shek pai wan estate

INDUSTRIAL FOREST

站

港鐵車

on

ati t s r mt

香港警察學院

hong kong police college

聖神修院小教堂

holy spirit seminary chapel

港鐵鐵路維修車廠

mtr depot

涌尾

staunton creek

包玉剛游泳池

pao yue kong swimming pool

鴨脷洲公園

ap lei chau park

新加坡國際學校

singapore int.

2017

TRANSFORMATION 轉 型

the quick flash of orange acted as the reassuring signifier that Spring Workshop was still present

Tobias Berger

閃向仍 爍人舊 的告存 橙示在 竹 S 像 P 燈 R 光 I 信N 號G 般工 作 室

36

Magnus Renfrew

任 天 晉

a physical-mental-temporal space for contemplation 一暫 個存 在的 物沉 理思 與空 心間 智 上

39

boychild 43

the between… spring, spent, sprung… time-fused, tectonic passings, industrial and geological together, unfolding in the manifold season of Spring's delight 兩春時構工在 者季間造業春 、融 轉 與 天 之 間施和移地之 予 理泉 、  一的 發 起豐 芽 盛 季 節 裡 舒 懷

MANUFACTURED 製 造 自 然

NATURE

BOTANICAL Distinguished botanist S.Y. Hu and watercolorist B. M. Walden documented common species found in Hong Kong in the 1977 book Wildflowers of Hong Kong Around the Year. Some of the plants featured in the book are now extinct. How do we keep and trace our indigenous history while still making room for the new? Hu collected thirty thousand botanical samples before she passed away in 2012 at the age of 102. The Shiuying species of bamboo was named after her.

植物 著 名 植 物 學 家 胡 秀 英 和 水 彩 畫 家 Beryl M. Walden 在 1977 年 著 作 的《Wildflowers of Hong Kong Around the Year》（香港四季花 畫譜）—中記錄和繪畫了香港常見的野生花卉品 種。書中所載的植物，部分已經絕種。我們如何 保存和追溯本土歷史，同時為新故事預留空間？ 胡氏於 2012 年逝世，享年 102 歲，生前蒐集三 萬植物標本。香港獨有的「秀英竹」，乃以胡氏 命名。 49

50

CLAIRE HSU

A LOVE SONG TO A PARAKEET BY A YOUNG GIRL IN KERALA 喀鸚 拉鵡 拉的 少情 女歌 給

As analogies go, the forest and its diverse inhabitants couldn't be more apt when thinking of the role that Spring Workshop has played within the arts ecology since opening its doors five years ago. When asked to contribute to this publication, I was immediately reminded of a passionate conversation about trees I had with artist Walid Raad. He recommended a radio programme about the Wood Wide Web, a term coined by scientists to describe the ways in which trees communicate and support one another through a network of underground roots, fungi and organisms.

Researchers were astounded to learn of the extent to which trees work together as a community and in cooperation, not merely in competition. Stronger trees send nourishment to weaker trees and share their resources with species other than their own.

In Ayurveda, one of the oldest holistic medicinal systems in the world, life on earth is governed by our environment, and within that, the changing seasons. We are one with and part of this system. To maintain a balance, it is essential we learn how to decipher these ever changing forces.

In setting out as a five year initiative to address the current needs in the ecology, while at the same time predicting

future developments, Spring Workshop's contribution to Hong Kong was well-timed and aligned with these larger forces. While there are obvious benefactors to Spring Workshop's generosity, like Asia Art Archive, those that have benefited come from far and wide at a crucial time for Hong Kong's art development and the overall development of a city and its people. During taxing times, Spring Workshop has offered a familial and inviting space to come together to explore both the poetics and politics of what it means to live today. Looking back at the impressive list of artists and organizations that have worked with Spring Workshop, it becomes clear that few stones have been left unturned. From music to farming to gender to motherhood, all have opened up new questions to systems as we know them.

be known many years on. However, like music, while not physically tangible, there are songs that remain with you throughout your lifetime – songs that have shaped your appreciation of the world(s) around us.

Love songs that keep coming back.

The title given to this short text is the name of a song from the play Nammalonnu (We Are One) recorded by Sumangala Damodaran. It is remarkable as an example of a grammar for the new cultural expression of the music of the people in 1940s India. Sumangala Damodaran, along with Pritam Ghosal, Mark Aranha, Neelambari Bhattacharya, Billy from "mininoise," Simon Hui and Mimi Brown, performed a concert of songs of protest at Spring Workshop as part of Asia Art Archive's Mapping Asia project in 2014.

Every nine years, the cork tree is stripped of its bark with nothing more than an axe and two hands. Stripped of its outer layer, the tree reveals a deep rustlike patina, transforming the color of the entire forest. The cork is weighed, then sold on to be processed and to inhabit another form while the bark begins to grow again. Unlike the cork tree, output in the arts is not always so easily quantified, and what traces actually remain may only really 52

徐文玠 就比喻而言，以森林和棲居其中的多樣物

的如亞洲藝術文獻庫，也有來自五湖四海的

本 文 題 目 取 自 話 劇《Nammalonnu (We Are

種，來形容 Spring 工作室自五年前成立至今

人，於當下香港藝術發展，以至整體城市進

One)》 其 中 一 首 歌 曲 的 名 稱， 歌 曲 由 Sumangala

在藝術生態圈中所扮演的角色再貼切不過。

程的關鍵時刻中受惠。在舉步為艱的日子裡，

Damodaran 錄存，意義深遠之處在於它是 1940 年

當我獲邀為本書撰文時，馬上想起我跟藝術

Spring 工作室提供一個親切而吸引的空間予

代印度人民音樂中，一個全新文化表達形式的例子。

家 Walid Raad 一場關於樹木的熱烈討論，對

人聚首，一起探索今天生活的詩意與政治。

Sumangala Damodaran 與 Pritam Ghosal、Mark

話 中 他 介 紹 過 一 個 關 於「 樹 聯 網」（Wood

回顧曾與 Spring 工作室合作的一系列藝術家

Aranha、Neelambari Bhattacharya、「迷你噪音」

Wide Web） 的 電 台 節 目。「 樹 聯 網」 這 名

與機構，那叫人佩服的項目清單上鮮有未被

的孔繁強、許裕成和 Mimi Brown 曾於 Spring 工作

詞由科學家提出，用來描述樹木透過一個由

觸及的範疇；由音樂、農務到性別與母親身

室演出一場《抗爭之歌：音樂劇》，此劇為亞洲藝

地底樹根、真菌和生物組成的網絡，作不同

份探討，無不向我們所認識的體系提出新的

術文獻庫 2014 年舉辦《拼湊亞洲》計劃的其中一

方式的溝通和互助。研究員驚訝地發現樹木

問題。

個環節。

之間除了競爭，還會以社群的形式互相合作； 較強的樹會把養份輸送給較弱的樹，亦會把 資源與別的品種分享。

每隔九年，軟木樹的皮只需一雙手和一把 斧頭就可被剝下。外皮被剝去後，樹幹露出 深如鐵鏽的光澤，改變整片森林的顏色。軟

從世上最古老的整全醫療系統之一──印

53

木秤重後便會賣出加工，然後轉化成另一種

度阿育吠陀的角度來看，地上眾生受環境支

形態。與此同時，樹皮又開始再度生長。然而，

配，四季從中流變。我們與這個系統共存，

藝術的生產有別於軟木樹工業，並不每每能

亦是它的一部份。若要達到平衡，我們必須

夠以數字衡量，也只有在多年後方知甚麼印

學會洞悉這些不斷更替的力量。Spring 工作

記被留存下來。相對地，藝術的生產比較像

室由一個五年計劃開始，回應當時藝術界生

音樂。雖然音樂無以名狀，但總有些歌曲會

態圈的需求，並預視其未來發展。工作室對

伴隨你一生，長久的在腦海縈繞不散。正是

香港的貢獻，既對準了時機，亦順應了環境

那些音樂，塑造出你欣賞、理解世界與人間

大 勢。Spring 工 作 室 的 慷 慨 分 享， 直 接 受 益

的方式。

culture is the invisible breeze we breathe in everyday

張 嘉 莉 Clara Cheung

我名 們為 每文 天化 呼的 吸無 著形 清 風

56

Douglas Young

楊 志 超

61

a dialogue between artist and patron, each complimentary to one another and equal in substance 一互 場相 藝迎 術合 家而 與份 贊量 助對 人等 的 對 話

MARISA YIU

ACCIDENTAL NATURE 偶 發 自 然

One of the greatest debates in the history of psychology has been nature versus nurture.

To what extent are we shaped by our environment and life experiences, and how much is inherent to our genetic formation?

What gives us our individual capacity to grow, change, adapt or innovate? What influences us intellectually or spiritually during our personal or professional capacities? How can openness and opportunities be provided to allow exploration? Can this be applied to neighborhoods, or even city or regional scale?

Industrial Forest was a controlled experiment, and yet it unravelled at crucial moments, evolving into something we could never have predicted. It was disrupted by violent acts of nature and restrictive regulatory frameworks. It started with a tabula rasa—"Do something on your own terms," urged Mimi Brown—which gave the challenge to set ourselves on a path of discovery and rediscovery. Through this five-year-long journey, the Forest tested the limits of the temporariness of Hong Kong's culture and urban fabric.

I've always wanted to treat Hong Kong like a person, invite her to lie on a couch and perform a psychological test. I want to understand how, why and where Hong Kong is today, and how new forces can shape the city in diverse and positive ways. Perhaps Hong Kong would reveal the limits of her genetic predispositions.

In a way, Industrial Forest was a kind of psychological experiment, probing the extent to which a city and its inhabitants are shaped by life experiences and the environment. It raised questions about nature, community and identity. Can an installation test how are we shaped by our environment? What are the moments that shock us, wake us up and make us see something with clarity?

The Forest is situated in an area called Wong Chuk Hang that is part of the larger Aberdeen area (known in Cantonese as "Little Hong Kong"), a place that has undergone its own fascinating transformation from bamboo grove to industrial area. On the Aberdeen waterfront, fishing and boat communities once thrived, and active fishing boats and Tanka sampans are still present, though in much smaller numbers today.

This area represents the dynamic spirit of Hong Kong, with an identity shaped by an environment both natural and manmade.

Industrial development flourished in the 1960s and 70s, leading to the opening of the Aberdeen Tunnel in 1982. Ironically, that marked the beginning of a long decline as manufacturing moved to China, leaving

a mix of light industry, storage facilities and empty spaces. Today, we are in the midst of another transformation, as many of these former industrial units become design studios, art spaces and coworking facilities. ESKYIU set up its studio here in 2009. Since then, the opening of a new MTR line has increased the pace of change.

We debated every aspect of the installation; even its name is the product of debates and discussions. How do we create a piece for our community, for different people, demographics, viewers and observers? What meaning can we distill from the site, and how do we translate its heritage, its history of loss and gain, into a dynamic living piece? Using natural bamboo felt too easy—we wanted to raise more complex questions about the role of nature in the city—so we ruled that out early on. We also wanted it to have a subtle presence along the adjacent highway flyover. We applied studies on an optimum grid of bamboo density and studied the elegant sounds of bamboo shoots clacking rhythmically against one another in the wind.

Some of the aluminum bamboo filaments were adapted with thin fishing tension wires to nod to the representation of the past fishing history and use of fishing poles by the boatmen and women.

68

Wong Chuk Hang evolved along with the installation. The elevated, entirely automated South Island Line opened in December 2016, and buildings have been torn down, high-rises have risen in their place, and the nearby Tai Wong Ye temple was overshadowed by the MTR line and a new network of overhead walkways.

Industrial Forest reacted to all of this, bearing the marks of these changes, but it also questioned the urbanization processes, by being both a sanctuary and physical representation of urban evolution.

Amidst the drama of buildings coming up and down, the Forest was a registration of the struggle of Hong Kong identity and neighborhood transformation, as well as a playful respite from all of the changes. It welcomed school children to interact with its artificial stalks, to reflect on the mirroring geometries – how many filaments do you see? People driving by on the flyover wondered what these filaments represented as they swayed in the wind, a surprising sight in a sea of concrete industrial buildings.

These interactions, whether active or passive, were a way for us to understand more about human nature, the artificial and the accidental. Visitors and residents at Spring Workshop, from human to insects, 69

allowed us to reflect upon the nature and formation of communities. Whilst our installation respects the heritage of the site, it also allowed us to slow down a moment of time over a period of five years to confront nature—through natural processes and controlled experiments—to gain a deeper understanding of the complexities of nature versus nurture.

姚嘉姍 心理學史上數一數二的大辯論，是先天與

過已在關鍵時刻散解，演化成一種我們無法

藝術空間和共用工作設施。ESKYIU 於 2009

鐵行車線和新建的行人天橋網絡的陰影蓋過。

後天之爭。周遭環境和人生經驗會影響我們

預料的東西，過程中它一度遭受大自然暴烈

年在此成立工作室，然後新的地下鐵行車 綫

《工業森林》對這一切悉數回應，承受這些

至甚麼程度？有多少特點是基因構造使然？

的 力 量， 和 各 種 監 管 規 範 的 破 壞。 最 初 它

通車，加快了改變的步伐。

轉變同時，藉著擔任一座庇護所和都市演化

而我們每個人獨有的成長、改變、適應力和

像 白 紙 一 張。「 按 你 們 的 意 願 去 做 吧。」

創造力又來自何處？於個人和專業的崗位上，

── Mimi 如此要求，這個挑戰驅使我們踏上

我們就裝置的每個層面都詳細辯論過，其

是甚麼在理智上和精神上影響著我們？我們

發現與重新發現之途。經過這趟長達五年的

命名亦是討論和斟酌的結果。我們如何為自

在建築物被拆卸和矗立的劇變間，《工業

應如何提供開放的空間和機會去容許探索？

旅程，《工業森林》測試出香港文化和都會

己所屬的社區、當中不同階層和背景的人、

森林》記錄了香港身份和鄰里蛻變的掙扎，

這些思考又能否應用於鄰里、城市以至地區

構造的暫時性所帶來的各種限制。

不同的觀賞者，及觀察者創造一項作品？我

亦作為所有轉變之間的一節幽默稍息。它歡

規模嗎？

們能從這個地點領略出甚麼意義？如何把這

迎學童來跟人工竹桿互動，思考鏡子映照出

《工業森林》座落黃竹坑區，該區是香港

兒的傳統及興衰得失，化成一件生動的作品？

的幾何形態──你看到多少枝幼桿？在天橋

我一直想把香港視為一個人來看待，邀請

仔的一部份，本身同樣經歷引人入勝的蛻變，

使用天然竹桿實在過於直接──我們想就大

駛經的人，看見這片在石屎工業大廈叢中的

她躺在梳化上，進行一個心理測試。我想知

由竹林變成工業區。在香港仔海傍，漁戶與

自然在這個城市的角色，提出更多複雜的問

驚喜風景，會否也好奇這些在風中搖曳的幼

道香港今天身在何方，探問她怎樣和為何來

艇家社區一度興旺，時至今日仍然可見活躍

題，所以很早就排除了用真竹作為創作物料。

桿代表甚麼？

到此地，還有新興的力量如何以多元積極的

的捕魚艇和蜑家舢舨，只是數目驟減。對我

我們亦想人們從附近行車天橋經過時，獲得

方式塑造她，或許「香港」會跟我們透露她

們來說，這區代表著香港生氣勃勃的精神，

一種含蓄的印象。我們研究出最適合的竹桿

這些互動交流，不論主動或被動，都是我

的先天限制。《工業森林》可說是一種心理

天然與人工混合的環境塑造出她獨特的身份。

佈置的密度、亦考察竹筍在風中互碰時所發

們更深入理解人性、人為和偶然的方式。到

出的優雅聲音。有些鋁竹桿附上彈性魚絲，

訪和駐留 Spring 工作室的，不論是人類還是

讓搖晃的姿態呼應昔日漁業歷史和艇戶男女

昆蟲，都令我們得以反思社群的本質與組成。

所用的魚竿。

我們的裝置重視周邊環境的傳統，同時它亦

實驗，探問城市和居民受生活經歷和環境所 影響的程度，它提出有關自然、社區和身份

工 業 發 展 於 1960 至 70 年 代 蓬 勃 起 來，

的問題。一件裝置作品能夠用來測試我們怎

促成香港仔隧道於 1982 年通車。不無諷刺的

樣受環境影響嗎？又有哪些時刻震撼我們、

是，這標誌著本地工業漸趨式微，生產工序

喚醒我們，令我們能澄明地看待事物？

北移中國，留下輕工業、儲存倉和空置的地方。

《 工 業 森 林》 曾 是 一 項 受 控 的 實 驗， 不 71

的實體象徵，詰問都市化過程。

容許我們在五年間放慢時間，透過天然過程 黃竹坑伴隨著裝置一同蛻變。2016 年 12

今日，我們正身處另一場蛻變之中，許多前

月，架空的全自動南港島通車，建築物被拆卸，

身是工業生產的單位，逐漸變成設計師樓、

高樓大廈取而代之；附近的大王爺廟也被港

和受控實驗，與大自然打個照面，更深入地 理解人工和自然之間牽涉的複雜性。 72

FIRECRACKER These dense clusters of orange tubular plants appear in Hong Kong mostly in the winter when the vines creep up walls and fences. Their growing season lasts around six weeks. Gardener and medical doctor Dr. Arthur van Lagenberg writes in his 1983 book, Urban Gardening for Hong Kong, that the plant "derives its name from the fact that the unopened flowers, when stamped underfoot, give off popping sounds, much like a firecracker."

炮仗花 炮 仗 花 外 型 呈 橙 色 管 狀， 密 集 成 簇， 在 香 港 常 見 於 冬 季， 其 蔓 藤 會 攀 上 牆 壁 和 籬 笆， 生 長 期 約 為 六 週。 園 藝 師 兼 醫 生 梁 雅 達（Arthur van Lagenberg） 在 其 1983 年 著 作《Urban Gardening for Hong Kong》（香港都市園藝） 中描述炮仗花「得名自未開之花，被腳一跺，即 作噼 啪響，恰似炮仗」。 73

GEOMETRY 形 狀 結 構

MECHANISM

the forest is an artificial platform, but it exists 這雖卻 座由實 森人地 林為而 築存 構

梁 志 剛 Michael Leung 88

GROWTH 孕 育衰 變

DECAY

INVASION OF NATURE One of many unexpected insect visitors who sought refuge in the faux forest, this mutant bug alighted on the installation's boundary, exhibiting a pattern remarkably resonant with the Forest.

A tenacious spider also built a web between the metal stalks.

入侵者 在這片仿造森林裡眾多出人意表的昆蟲訪客當 中，這隻異形般的蟲一度降落在裝置邊緣，其花 紋圖案與《工業森林》極之相襯。 96

GROWTH OF NEW LIFE A seed of unknown origin implanted itself into rotting plywood and bacterial mould, and sprang forth in a straight branch, mimicking the filaments.

The tenacious bough claimed territory on the periphery of the installation where it could blend in - a seeming attempt at inconspicuousness.

新生 一顆來歷不明的種子，在腐朽層板和細菌群中發 芽植根，長出筆直枝幹，模仿幼竹桿。堅韌的主 幹佔據了裝置邊緣的領土，悄然融入環境，讓人 不以為意。 97

SPROUTING In the wake of torrential rains, an extensive network of fungus erupted onto the scene in a whimsical orange spectrum tuned to the filaments.

This ardent mushroom undergrowth, which was hallucinogenic according to the Forest's gardener, withered and then vanished within days.

萌芽 每逢滂沱大雨後，一大片真菌群落迸發出遍地怪 誕的橙色，與鋁桿相映成趣。據園丁說，這一叢 熱鬧的蘑菇具有迷幻藥力。它們來去匆匆，數日 間便會枯萎，然後消失於無形。 100

ERIC SCHULDENFREI

THE IMPACT OF NATURE 自 然 的 衝 擊

William Turner was going insane. Choosing to paint in the rain rather than repair his studio roof, he allowed storms to distort his work, with masterpieces left exposed to be potentially destroyed by the weather.1 Furthering this, the pigments in his paintings are highly unstable, subject to fade over time, with pigments such as carmine ageing at different rates than those in the rest of the painting. Designed to look divine when freshly painted by capturing the atmospheric qualities of the sky and essence of the landscape being depicted, Turner could be accused of being irresponsible by not acknowledging the requirement to produce works of art that offer greater longevity.

After all, the technical knowledge of avoiding unstable pigments such as carmine were well known in his day. Conceivably, it was not a question of science but of art: a calculated subservience to nature, time, and entropy.

Hong Kong is a city of constant rebirth.

There is a lack of evidence of decay because the city is continuously being rebuilt. If there are signs of aging, it is an indicator of what will soon be replaced. It takes something close to a purposeful effort to create work that demonstrates the effects of time.

Designed to withstand extreme outdoor conditions, the stainless-steel mirror of

Industrial Forest has hardly shown signs of aging over the five years of the project, providing a datum by which the rest of the project's transformation can be read.

Conscious decisions allow the installation's other elements to acknowledge the passing of time. That is true not only in the artificial grass that already showed signs of weathering as it was being laid new, but in the way the sun inscribed itself in the grass after five years of exposure. The grass was compressed under the pressure of footsteps, demarcating areas where visitors frequently walked. Traces on the surface of the grass produced an intricate drawing made by nature over time.

the original vibrant character of Industrial Forest by replacing filaments as they aged?

Changing a small percentage of the most eroded filaments allowed the ones that were replaced to read off the originals, slowing the transformation. Traces on the surface of the filaments produced an intricate drawing of pollution made by industry over time.

In each project there are the idealized conditions depicted within the concepts, the drawings, and documentation of the work – and the actual conditions, which weather, fade, decay and even possibly disappear.

Hill, Jonathan. Weather Architecture. Abingdon, Oxon; New York, Routledge, 2012.

1

Filaments eroded by pollution registered the changes in atmospheric conditions, serving as a kind of ice core sample taken from the sky. Pollution altered the work, whether it arrived from afar, from coal burned in China, or from the extreme proximity of trucks on the elevated highway a few meters away. The corroded filaments that comprise Industrial Forest provide evidence of the work our lungs do every day in Hong Kong to purify the nearly unbreathable air. A question addressed within this project was how to handle the fading filaments and those damaged by extreme weather: allow for the inevitable decay or maintain 102

邵達輝 威 廉 端 納（William Turner） 跡 近 瘋 狂。

有老化之象，因此可視森林的其餘部份來理

他選擇在雨中作畫，也不修補畫室天花頂，

解蛻變的基準。設計構思容許裝置的其他元

任由雷雨扭曲畫作的面貌，把一幅幅鉅作置

素呈現時間的流逝，這不單見於人工草皮新

每個項目成品都有由概念、草圖和文件紀

於被風雨毀壞的危險 ；更甚者，他所用的油

鋪時已出現的風化痕跡，還有經過五年來的

錄描述的理想狀態，亦有各種實際情況，如

畫顏料性質極不穩定，例如胭脂紅等顏料的

曝曬後，陽光在上面留下的刻痕。草皮久經

遭受風化、褪色、腐爛，甚至可能消失。

老化速度有別於畫上其他色彩，勢將隨時間

踐踏受壓後，也標示出訪客經常走動的範圍。

褪色變異；剛成畫時，作品本應呈現一股超

草皮表面的痕跡，是大自然用時間繪成一幅

凡氣象，捕捉所描繪景貌的神髓。故此，你

錯綜複雜的畫作。

1

大可責難端納無視繪畫的保養條件，對藝術 作品的持久存續不負責任。畢竟避用諸如胭

被污染侵蝕的幼桿，則記錄了空氣的狀況，

脂紅等不穩定顏料，是當時廣為人知的技術

就像從極地冰層核心中收集樣本一樣，這裡

知識。可想而知，這與科學水平無關，而是

收集大氣中的樣本。污染物改變了這件裝置

藝術取態的問題：面對大自然、時間與混沌，

的面貌──不論那是來自中國內地的燒煤污

一種經過計算的刻意順從。

染物，抑或近在數米外行車天橋上的貨車廢 氣；經腐蝕後的《工業森林》幼桿是我們肺

香港是一座不斷重生的城市。這裡缺乏衰

部辛勞工作的物證──每天忙於淨化香港城

落的痕跡，因為重建持續不停，假如某處出

市近乎不宜呼吸的空氣。這項目的其中一個

現老化跡象，意味這地方即將被取締。在這

問題是，如何處理褪色和被惡劣環境氣候破

兒幾乎要特意創造出一些東西，方能證明時

壞的幼桿──任它們無可避免地腐爛，抑或

間流逝的效果。

換走變舊的幼桿以保留《工業森林》原有的 鮮明色彩？更換少數被侵蝕嚴重的幼桿，參

103

《工業森林》的不鏽鋼鏡，設計以承受室

照原有幼桿位置換上新桿，以延緩作品的蛻

外惡劣環境為概念。項目歷時五年，鏡面鮮

變 ? 幼桿表面的痕跡，是工業以時間繪成的

一幅錯綜複雜的畫作。

Hill, Jonathan. Weather Architecture. Abingdon, Oxon; New York, Routledge, 2012.

1

DESTRUCTION Every few months brought new types of destruction to the Forest. Non-natural destruction was caused by falling building debris like bricks that bent and crushed the elements; uninvited intruders who stomped on the poles with boots, breaking them at the base; and bamboo ninjas who stole onto the terrace in the night to chop down the installation scaffolding for no discernible reason (see page 57).

But true to nature, the Forest gracefully rode out wind and rain storms that swirled and smashed the filaments, and managed to emerge more layered and beautiful after each.

毀壞 每隔數月，《工業森林》就會遭受各種新奇形式 的毀壞。人為的毀壞源自：大廈外牆剝落的碎塊 砸毀或折曲裝置的部份；不速之客用靴跺踏桿 子，令幼桿從底部折斷；還有竹林忍者夜間潛入 露台，無故斬斷裝置的棚架（見第 57 頁）。 然而《工業森林》貫徹本色，優雅地迎抗風雨雷 暴的搖撼與打擊，並一次又一次展現出更勝從前 的層次感和美態。 105

DEGRADATION Sunlight, pollution and humidity took their toll on the bamboo-like rods. In an echo of a forest's blend of old and new growth, they were replaced one by one only at the end of their useful lives. The pits of corrosion on the filaments' exterior serve as a reminder of the distress our lungs suffer in Hong Kong on a daily basis.

衰落 陽光、污染和濕度在竹枝般的桿子上發揮它們 的影響力。為呼應一座森林新舊兼容的成長， 幼桿耗損到最後才逐條更換。桿子表面被侵蝕 造成的凹痕，提醒身處香港的我們肺部每天所 承受的負擔。 108

a safe space for unsafe ideas 各 種 危 險 意 念 的 安 身 之 所 Yana Peel 112

LARS NITTVE

INDUSTRIAL FOREST IN DIALOGUE 《

對 話工 中業 的森 林

The following is adapted from a conversation between Lars Nittve, Marisa Yiu, and Eric Schuldenfrei on August 17, 2017. The text has been condensed and edited for clarity.

I saw Industrial Forest at least once a day because I was driving on the flyover past it every morning. I had several traffic incidents because I was looking at the forest. It was this mysterious, attractive, alluring thing that was slightly vibrating out of the corner of your left eye as you drove past.

》

I always found the grass interesting, especially where it sat in that ultra-urban and gritty area. It looked like grass that was alive but at the same time quite battered. It was suffering a little bit.

Otherwise, the times I'd been there, the more art-oriented the people who moved around it were, the more careful they were, and the less art-oriented moved more freely and without as much respect for the symmetry and geometry of the piece.

I've always thought of it in relation to Walter De Maria's The Lightning Field . It's a sort of compact version that is about order and disorder. If you place yourself in a certain position it feels very orderly –

there are rows of poles coming towards you. And if you take just a step to the side, it looks like chaos. You have the shift of being in a crystallized space and then being in a chaotic space within just a fraction of a second. That's almost a bodily experience. It goes beyond your head.

I've always thought that Hong Kong is one of the most visual cities in the world.

It's so much about visuality. Not only about Victoria Harbour and the skyline and the green mountains, but also because there are so many small individual solutions to things inside the tighter cityscape. When you sit in a queue on a flyover somewhere and look in between the buildings, you see lots of strange things that people have done to improve something or find a solution to something. Hong Kong is full of strange things to look at and Industrial Forest is yet another one of them. You look at it and think, "What on earth can that do?"

As it evolved, Industrial Forest seemed to be more and more congenial with Spring Workshop. One of the great strengths of Spring was that it developed into this place without borders, where there was a flow between genres, categories,

approaches between performative things and exhibitions and discussions. It was really an open platform. That reflected the particular cultural situation we have in Hong Kong specifically and Asia in general to some extent. That's the basis of how M+ thinks and works, which is the fluidity between genres, where the same practitioner can easily shift roles in the same day without it being an issue.

Spring reflected that in an amazing way by having an open flow between things.

And then if you move to Industrial Forest , it's a piece that sits between genres.

You can define it as an artwork but it can be seen as an element of architecture or design. It's sort of performative but it also has an exhibition aspect as a single work that you look at. It has that fluidity built into it, which reflects Spring, and which in turn reflects Hong Kong. That really makes the whole package amazing.

It's quite hard to pre-define where a work like Industrial Forest could end up.

I think it could end up in a number of different contexts and it could actually play a number of different roles. If it moved to and became part of M+, exactly what role it should play is really hard to define. How do you reflect its absence 114

of categories without ending up in chaos for the collection? I think all solutions should be temporary in a way. There isn't a defined, finite interpretation of this work and where it belongs.

Of course, it can be recontextualized, but this means its cluster of meanings will shift. If it sits in a place with different vegetation, the bamboo-like materiality of these non-bamboo sticks would be read differently. Let's say we had them in my little Swedish village here where I have my office – it would feel even more industrial and it would at the same time be seen as much more exotic, the colors, the associations to different types of vegetation, the kind of forest.

If you think about Daniel Buren and his stripes, they do different things and act in different ways depending on where they are placed, how they are placed and on what material. This forest would play in the same way if it was brought back to life somewhere else. You could see it as a catalyst that takes on different meanings in an everlasting and ongoing game.

That also brings us to M+ again. You could choose to think of Industrial Forest ' s conceptual background, which is anchored 115

in a certain political period, a certain physical place, and you could go beyond that with documentation material. You could choose to recreate it or not, but that recreation would then be anchored in the conceptual process and the description of that. Or you could strip it bare and just show it as an new work, where it goes in some other direction and you let it loose.

李立偉 下文節選自李立偉（Lars Nittve）、姚嘉珊和邵達

的竹桿向你漸次湧來；向側邊稍移一步，眼

類型之間流動，藝術家可以在一日內轉換成

現含的一組意義會被轉移。如果把它放在不

輝（Eric Schuldenfrei） 於 2017 年 8 月 17 日 的 一

前就一片混亂；頃刻間，你由一個結晶體般

其他角色而不成問題。Spring 工作室以物件

同植被上，那些仿竹物料就會被人以不同的

場 Skype 對話；為清晰見，內容經整理編輯，以李

工整的空間，陷入雜亂無章之境。那是一種

之間的開放流動，出色地表現出這一點。

方式解讀。假設把它放在我辦公室所在的瑞

立偉的角度書寫。

身體經驗，超越頭腦思考。

典小村，它予人的感覺會更工業化，同時看 當你走進《工業森林》，會察覺它是介乎

我一直認為香港是世上其中一個視覺元素

不同類型之間的作品。你可以定義它為一件

每天早上我駕車上天橋時都會經過。我曾遇

最為豐富的城市。這兒處處著重視覺，不單

藝術品，亦能把它視作建築或設計項目；它

過幾場交通事故，全因我在路上看《工業森

因為這兒的維多利亞港、大廈天際線和蒼翠

帶有表演性質，然而作為一件任人觀看的作

想 想 法 國 概 念 藝 術 家 Daniel Buren 的 間

林》。它是一件神秘、吸引和誘人之物，每

群山，亦因為在擁擠的都市環境中有許許多

品，它也具備展覽的面向。它與生俱來的流

條。間條因應擺放位置、方式和載體的轉變，

次駛經，它都在你左眼眼角輕輕顫動。

多小型、個別的生活應對策略。在行車天橋

動性質，反映出 Spring 工作室的特點，亦同

而產生截然不同的意義與效果。《工業森林》

上塞車時，你可以在大廈與大廈之間看見許

時契合香港的特色。這確實令整件事變得更

如果在另一個地方再展生命力，亦會出現同

我總覺得那片草皮很有趣，尤其它位於極

多奇怪東西，都是人們為了改善情況或解決

為精彩。

樣情況。你可以視之為一帖催化劑，在一場

度都市化、沙塵滾滾的地區。草皮看來活生

某些問題而造出來的。香港到處都有奇怪東

生，但同時形貌落魄，像吃過一點苦。此外，

西可以看，而《工業森林》是其中之一。你

像《工業森林》這樣的一件作品，我們難

以我到訪時所見，走進作品的人當中，愈以

看著它時會問：「那東西到底有甚麼作用？」

以預料其最終歸宿。我想，它會在多個不同

的意義。 這又帶我們回到 M+ 收藏的思考上。你可

M+ 成為博物館的一部份，它要扮演什麼角色，

以選擇視《工業森林》為一個概念背景，與

室愈趨同質。Spring 工作室一大優秀之處在

亦不容易下定論。你如何思考其無法歸類的

某個政治時代、某個特定地點掛勾；亦可以

我 思 考 它 時， 總 是 聯 想 起 Walter De

於不為作品劃定彊界，讓它們輕易地融入這

性質同時，卻不致於造成收藏混亂？我想，

用文獻材料去超越那一點。你可以選擇重現

Maria 的 地 景 藝 術 作 品《The Lightning

片空間，流動於各式展覽與討論之間，不拘

所有方案某程度上都是短暫的。這件作品沒

與否，重現的話就離不開概念轉化的過程及

Field》；它是《The Lightning Field》的濃縮

於風格、種類和範疇。這也反映了香港獨特

有一個明確、終定的詮釋和歸屬之處。

相關描述；要不然，乾脆視它為一件新作品，

版，表達秩序和混亂：如果你站在一個特定

的文化處境，同時呼應著亞洲地區普遍的文

位置看，便會覺得作品有條不紊，有一排排

化狀況。那正是 M+ 思考與運作的基礎；在

不那麼著重作品的對稱與幾何形態。

《工業森林》隨時間演變，與 Spring 工作

的關聯、所屬森林種類亦如是。

永無止境、一直進行的遊戲中，承載著不同

背景中落腳，扮演多個不同角色。如果移到

藝術為念的就愈小心翼翼；相反的就愈自在，

117

來會更具異國之感，就其顏色、跟不同植物

我每天最少看見《工業森林》一次，因為

放手任由它向其他方向發展。 當然，你可以重賦它別的背景，但這意味 118

real forests can be foreboding — they have to burn in order to be regenerated

凌 藝 廉 William Lane

真都它 正擁們 的有必 森命須 林運經 般受 的火 預焰 感燒 灼 才 得 以 再 生

120

SAMSON YOUNG

SWAY 搖 擺 不 定

Samson Young: What was the first thing that came to mind when you were asked to derive a text for this very specific thing in a set of very specific circumstances?

SY: Well, it depends on what you mean by the thing. I wouldn't go so far as to describe myself as a formalist, though I do enjoy a good close reading, the sort of analysis that breaks a sweat.

I observe as they bounce back. Resilient things they are. What lessons do swaying metallic bamboo poles teach me? Does the thing instruct us to be principled, stubborn, or unyielding?

Samson Young: That it sways with the wind – which I think is possibly a cliche, though that's really how I remembered it.

But memories can be deceptive. Maybe it didn't sway with the wind, maybe it did.

But I never saw it and I just assumed that it did so. Maybe my assumption is a romantic notion, a preset of the mind, an effigy of the real thing. I can also cause it to sway of course by pushing it, and I did push it around, that I do remember.

But is a swaying that is independent of my intervention more honest, truthful, purposeful and good?

SY: Stop deflecting my questions with fancy quasi-philosophical footworks.

SY: Here we go again. I've had enough of your stuff theory.

SY: Yes, but if I am having fun deflecting your questions tell me why I should stop.

What do you want from me?

SY: But it's important, no? What are the formalistic tendencies of cynicism in the thing? Am I mindful of the exploitative tendencies of the material that constitutes the thing?

SY: We are talking about a thing, and the way the thing acts upon the world. Why do you invoke categories and judgements of a different order?

SY: People start invoking notions such as honesty and integrity when they run of out things to say about the thing itself.

SY: What is the thing itself?

SY: I want you to stop dancing around the thing and start engaging it. Let us for a moment focus on your physical relationship with the thing. How do/would you interact with the thing?

SY: I probably shouldn't push the thing so hard that it caned me or somebody else in the face – that's just abusive, and being abusive is never good, and I'd learnt the hard way, but that's really the only rule.

SY: Okay, we are getting somewhere.

Go on. More?

SY: I brush my fingertips across the line that the thing forms. Cold, hard, glossy surfaces. I push a few against their will and

SY: I am not saying these are not important things to think about. I just don't know how they are relevant to our discussion of the thing in question.

SY: Well, form is how something is put together, relationship among its parts.

So if the thing is the sum of its materials and their effects upon the world, then in the act of engagement I became one with the thing, and by extension, its form. But we are talking about a specific kind of relationship – the pushing, the swaying and the caning. It's not like I am falling in love with the thing, so I guess it makes little sense to speak of a loving or abusive relationship with the thing, no?

122

Let me close with a moral. Many years ago at a summer music camp, Bang on a Can guitarist Mark Stewart told the students there that are only two reasons for doing things: lots of love or lots of money. Sometimes it's a bit of both. But that's really the only rule.

123

楊家輝 楊嘉輝：當你在極其特定的情況中，獲邀為

楊：這個嘛，這視乎你指的「物件」是甚麼。

屬竹桿教曉我甚麼？那物件指導我們要有原

這件極其特定的物件提供一篇文字時，你第

我不會形容自己為形式主義者，雖然我的確

則、固執、不屈嗎？

一件想到的事是甚麼？

享受精研細讀，那種耗用心神的批判分析。

Stewart 告訴學生，人做事只有兩個理由：一

楊：又來了。我受夠你那些劣等理論。 楊嘉輝：就是它隨風搖曳──我想這或許是

楊：別再用花巧的偽哲學把戲曲解我的問題。

陳腔濫調，但我確記如此記得。不過記憶也

讓我用一個教訓來總結吧。多年前在一個 音 樂 夏 令 營，Bang on a Can 結 他 手 Mark 是大量的愛，或是大量的錢；有時兩者兼之； 而那確是唯一的金科玉律。

楊：但這是重要的，不是嗎？那物件反映的

可以是靠不住的。也許它並無隨風搖曳，或

楊：好，但如果我享受曲解你的問題，你告

犬儒形式傾向是甚麼？我注意到構成物件的

也許有。我未親眼見過，只是假設它有。或

訴我為何我應該停止？你想我怎樣？

材料那種剝削傾向嗎？

實物的虛擬。我當然亦可以故意推它，讓它

楊：我想你停止迴避那物件，並開始與它交

楊：我不是說這些並非要思考的重要事情。

搖晃。而我的確有推它，這點我清楚記得。

會。現在且集中談談你與那物件的實質關係。

我只是不知道這些事情跟我們討論這物件有

不過，一種無我干涉的搖曳，難道就更加坦率、

你是／會如何與那物件互動？

何關係。

楊：我也許不應太大力推它，免得它鞭中自

楊：這個嘛，形式是東西形成的方式，和其

楊：我們在談論的是一件物件和這物件影響

己或別人的臉。如果鞭中了任何人，那就是

組成部份之間的關係。所以如果物件是其物

世界的方式。為何你提起另一層次的範疇與

濫用了，濫用從來並非好事，那我是吃過的

料及諸等物料對世界影響之總和，那麼我藉

判斷？

苦所學來的，不過那真是唯一的準則。

著與物件交會，就是與物件合而為一，推而

許我的假設是個浪漫想法、是先入為主、是

更真誠、更有意義、更善嗎？

廣之，我就與其物料合而為一。不過我們在 楊：人們對物件本身再無甚可說時，就會開

楊：好，我們總算有頭緒了。繼續 ──說多點？

始提出諸如坦率、正直的概念。

楊：何謂物件本身？

談論的是一種特定的關係──那些推動、搖 曳、鞭打。我又不是與那物件共墮愛河，那

楊：我用手指掃過那物件形成的線條，冷、硬、

麼要說及我與物件之間一種愛或虐待的關係，

反光的表面。我強行推過幾條，觀察它們反

我猜沒甚意思，不是嗎？

彈的情況。的確是有韌力的東西。搖曳的金 125

126

Spring opens into another world... a concrete and marble cocoon echoing with laughter and warmth, filled with delicious meals and deep conversations, trust and intimacy. Spring changes my life, every day, in memory and in its promise of possibility.

曾 吳 Wu Tsang

春水溫親 S 在從對 天泥暖密 P 我記我 開與場與 R 每憶承 展大所信 I 天中諾 出理裡任 N 的迴一 另石不 G 生盪切 一築缺 工活 可 片成美 作中 能 天的食 室顯 性 地繭或 帶現 居詳 來 洋談 的 溢 改 笑 變 語

128

Wong Wai Yin

黃 慧 妍

129

it reminds me that we are probably dreaming the same dream 這我 提們 醒所 了作 我的 大 概 是 同 一 個 夢

延 續

CONTINUATION

projects of love, projects of trust and solidarity that allow us to break through the volatile times ahead of us

Defne Ayas

這讓幻 些我變 關們的 於在時 愛未代 、來 信都 任能 與克 團服 結路 的上 計 劃

134

Framework for Making an Industrial Forest

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5.

6.

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8.

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10.

11.

12.

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14.

15.

16.

17.

18.

19.

20.

Bamboo-like filaments at least 4 meters in height (aluminum) The idea of grass (real or artificial) Grid of filaments with a minimum spacing of 100mm and a maximum spacing of 800mm Inclusion of cultural/government/official policy of the site (city) as a critical part of design Urban setting undergoing transformation with a preference for a post-industrial site Site skewed in planometric terms with a reflective boundary surface Area of intervention no larger than 1,000 square feet Social condenser function with events of diverse natures Not-for-profit organization as host/curatorial partner Documentation every 3 months and during extreme conditions (nature or constructed) Installation duration of at least 9 months Hospitality toward unexpected natural visitors (plant or animal) Openness and flexibility to audiences without discrimination (public access) Lifespan to include all 4 seasons and a minimum humidity of 89% Generation of a musical score Mapping of the heritage and transformation of the neighborhood Charting of the weather Maintenance by an attentive and dedicated artisan Firefly lights at evening events Freedom to create in dialogue with — or to dispense with — the above guidelines as you wish

c

d

a

b

First issue November 2012 This version November 2017 (General revision and extension) 137

138

《 工業森林 》製作方案

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

像竹的幼桿，高度最少四米（鋁質） 草地的概念（自然或人工） 幼桿按格柵分佈，每格間距最少100毫米，最多800毫米 將場地（所在城市）的文化、政府或法定政策納入設計的關鍵部份 蛻變中的都市環境，優先選擇後工業時代的場地 非笛卡兒式平面場地（平面測量術語，指呈斜角），邊界附反射表面 場地面積不超過1000平方呎 具社交聚眾功能，以舉辦不同性質的活動 由非牟利組織擔當主辦人或策展伙伴 每三個月及遇上極端情況時（大自然或人為干預）作紀錄存案 裝置過程歷時最少九個月 招呼意料之外的自然界訪客（動物或植物） 開放予公眾自由參觀，不作區別對待 作品的生命週期能經歷四季和最少89%濕度 製作一首配樂 繪圖標示鄰里傳統與蛻變 製作天氣圖 由一位專注投入的藝匠打理照料 螢火蟲為晚間活動點起微光 自由選擇參考或棄用上述指引

初版 2012年11月 此版本 2017年11月（一般修訂和擴展） 139

MARINE BOARD

STAINLESS STEEL MIRROR GMS FRAME GMS FRAME MARINE BOARD ALUMINUM POLE

50X25 GMS BOTTOM FRAME

EXTERNAL WALL

50X25 GMS FRAME 18 THK MARINE BOARDS 12 THK MARINE BOARDS

EXTERNAL WALL

ARTIFICIAL TURF

TUBE

140

DORYUN CHONG

RULES OF THE GAME 遊 戲 規 則

Artists can make whatever they wish and call it art. Viewers may not necessarily think that it is good or meaningful, but they cannot fundamentally challenge whether an artwork, when designated as such by the artist, is art or not. The inviolability of the work of art is an idea no amount of public skepticism or academic theorization has managed to undermine. And the semantic redundancy and tautology that is "art for art's sake" continues to be subscribed to not only by the public, but also by professionals and institutions, if in varying degrees of conviction and enthusiasm.

The notions of permanence and universality are inherent components of this credo. For more than half a century, however, these notions have been questioned by artists themselves.

In their minds and hands, works of art have been "dematerialized," which means that art has moved into the realm of pure ideas or can be reiterated and rereified endlessly. Often in parallel, artists' "institutional critiques" have tripped up the essential business of museums, even calling into question their raison d'être.

When it comes to artmaking in the twenty-first century, one might go as far as to claim that context is king.

Architects are used to their designs going unbuilt. They may work on a project for a long time, pouring their hearts and souls into it, but a whole host of factors— from financial conditions, political landscape, the client's opinions and caprices—could put an end to it at any point. Unlike a work of art, architecture cannot simply exist by declaring itself to be architecture. But an architect's idea and design can perhaps be of purer ownership, especially when a final physical manifestation is not realized, or when it has been realized but no longer exists.

While architecture is generally assumed to be permanent because of its usual material robustness and large scale when compared to works of other art forms, its permanence is in most instances a fantasy.

Architecture may in fact be universal. For humans, no matter where they are, build roofs over their heads. But perhaps more than in any other forms of human creations, material availabilities and environmental conditions determine the specific forms of architecture in a given place. Architecture in that sense is an art of radical contingency.

not the others, but it is still useful to think through those categories. We may be operating in a post-medium world, but definitions still matter, practices are still informed and structured by legacies, and institutions still establish and follow rules.

Speaking of rules: the makers of Industrial Forest have now crystallized their creation to a set of rules, and by doing so, they have formally declared its contextual and temporary nature. The set of rules is alternately and simultaneously specific and general, open and prescriptive. It may very well preclude certain desires to reiterate the work at certain moments in the future and in certain parts of the world. That is not a bad thing. It may actually be the point of the work, as it was the product of an emergent context with particular urgencies – never exactly reproducible but open to interpretations.

Is Industrial Forest a work of art or architecture? Sculpture? Installation? It is not critical to insist that it is one but 142

鄭道鍊 藝術家可以隨心創造任何東西，然後稱之

築物有別於藝術品，不能單憑自行宣稱為建

說到規則，《工業森林》的製作者已將其

為藝術品。觀者會判斷藝術品之優劣或意義，

築物便得以存在。唯有建築師的設計意念才

作品確切地歸納成一套規則，由此正式宣佈

可是他們難以從基本上質疑一件藝術家指稱

可能有較為純粹的擁有權，尤其當構思終究

作品的脈絡及臨時性質。這一套規則既明確

為藝術品的東西，究竟是否藝術品。藝術品

沒有實現，或一度建成但已不復存在。

又籠統、看似開放卻尚有規範，巧妙地預示

之神聖不可侵犯，是多少公眾質疑或學術主

了在將來某時某地重現作品的意欲。那並不

張都難以動搖的觀念。如冗言一般的「為藝

建築物一般被認定為永久存在，因為建築

是壞事，反而體現了作品的意義，因為它是

術而藝術」，繼續得到公眾，甚至業界和體

物料通常比其他形式的藝術品堅固，規模亦

指定脈絡之中帶著獨特迫切性的產物，絕不

制接受，分別僅是信服和投入的程度而已。

普遍較大，然而這種假設在大部份時候不過

能全盤複製，但容許自由詮釋。

是種幻想。事實上，建築物普遍而常見，不 永久和普遍這些觀念，是上述信條的組成

論是身處何地的人，都會築起片瓦遮頭。一

部份。不過逾半世紀以來，這些想法一直被

個地方的特定建築形態，或許比人類任何其

藝術家自己質疑。在藝術家的思想和行動中，

他創作形式更深受物料供應和環境條件所影

藝術品被「去除實質」，意即藝術品被移到

響。在這意義上，建築其實是一種徹底偶然

一個純粹意念的領域，或是可以無止境地重

的藝術。

複申述或重新具體化。與此同時，藝術家的 「體制批判」與博物館本質上的工作有所抵觸，

《工業森林》是一件藝術品，還是建築？

甚至質疑其存在理由。說到 21 世紀的藝術創

雕塑？裝置？雖然並無必要堅稱它是其中之

作，你甚至可斷言脈絡至關重要。

一而非其他，不過這些分類作為思考工具而 言仍有其用。我們或許活在一個後媒材時代，

建築師習慣了其設計最終不被實現。他們

可是定義依然攸關重要，行為實踐仍然由傳

可能長時期為一個項目盡傾心力，但過程中

統指導與支撐，建制還是會建立和遵循規則。

種種因素，諸如經濟環境、政治格局、客戶 的意見與善變等，隨時都能讓項目中止。建 143

2047

the hidden rule in the jungle is that there are no rules; all rules are fictional which hinder our flexibility and freedom

黃 國 才 Kacey Wong

叢是一不自 林當切過由 隱中規是與 藏沒範我韌 的有子們性 法任虛展的 則何烏現障 法有 礙 則

146

附 錄

POSTSCRIPT

關於工業森林

ABOUT INDUSTRIAL FOREST

Spring Workshop resides in Wong Chuk Hang, the quintessential post-industrial Hong Kong landscape. Over the past decade, it has rapidly transformed into a community of creative inhabitants occupying former factory spaces. Industrial Forest acknowledges the origin of Wong Chuk Hang's heritage by translating the yellow bamboo that used to grow there into a new landscape of incredibly thin metallic bamboo poles. Each filament is removable, giving it the potential to carve out a void from within a densely forested landscape.

Over a series of years, the installation was altered to accept significant crowds or arranged to restrict access to the site.

149

there is none. The grass on the ground is completely artificial, but it is meticulously crafted to show the imperfections of real grass, including yellowing, patchiness and deterioration. The grass was originally created to reflect the result of a longterm drought brought about by global warming. Our grass is no longer green and so neither is our fake grass; the synthetic nature mirrors the conditions of our natural environment oscillating between artifice and nature.

As an urban forest, it is configured to obscure the industrial buildings surrounding it in order to carefully frame the sky above. Located on the terrace of Spring Workshop, it aligns itself with the traffic on the neighboring elevated highway. Viewing the installation from the highway has a hypnotic effect, as the forest appears to simultaneously blend into and be displaced by the industrial landscape surrounding it.

But the manufactured grass is too perfectly imperfect, never muddied or soiled, never allowing variations with the seasons or reacting to local conditions. It is too consistent to be real. Unlike the synthetic grass, our forest reacts to its environment.

The weight of a single spectator causes the poles to bend slightly, reacting directly to the presence of the visitor. They are so slender, they blow in the wind, providing an indication of the local wind velocity and trajectory. The bases of many of the poles illuminate during certain evenings, creating a field condition that mimics fireflies.

A mirrored surface lines the walls of the terrace, creating a false replication of the field of geometric poles, which provides the illusion of depth and substance where

Industrial Forest invites interpretation and recurrent transformation. Within the installation, multiple experimental inquiries are created in reaction to seasonal changes.

Experimental sound components are added to enhance the acoustic environment within the artificial bamboo forest, building new dialogues to examine the complexity of artifice and nature.

Spring 工作室座落於黃竹坑，一處典型後

暖化造成的旱災後果在此顯現。經過數年時

工業期的香港風景。過去十年以來，創作人

間，我們的真草或假草也都不再翠綠。這組

開始進駐這裡的工業空間，將此地迅速轉化

人工合成的自然裝置對應著我們的原生環境

成創意社區。為了向黃竹坑的歷史致敬，工

在人為建設與大自然的影響下持續搖擺的狀

業森林以極為纖細的金屬桿排列出一座新的

態。

竹林。每一根幼枝都能隨時拆卸，讓它在人 工的高樓密林中帶著還原一片空白的潛能。

從另一角度看，人工草皮的瑕疵在於太過

在這些年來，這裝置作品已經會靈活地因應

完美，從不受泥濘玷污，對季節更替及地方

特定情況而迎接群眾訪客，或拒絕遊人參觀。

氣候的轉變渾然不覺，恆常固定讓它缺乏實 感。與之相對的是，我們的森林會敏感地回

作為一座城市中的樹林，它的設置應該盡

應環境。一位訪客用手輕壓桿子，那股力度

量避開周邊的工業大廈，好讓作品本身能夠

即時展現在其彎曲程度上。風起時，纖細桿

按需要劃定天際的形狀。裝置位處 Spring 工

子的動態顯示出區內空氣流動的速度與方向。

作室的戶外平台面向附近高架公路，從公路

某些夜裡，植滿桿子的基座會亮起微光，如

上觀看會產生迷人的效果，森林像是既融入

同野地裡的點點螢火蟲。

在整個工業景觀當中，同時又隔絕於四周的 環境。

工業森林歡迎更多角度的詮釋及週期性的 轉化，數項關於季節更迭的實驗性調查正在

戶外平台的牆身裝嵌了鏡面，互相映射下

這裝置裡進行。最近我們亦加入了一些具試

營造出複數桿子以及不存在的空間深度視錯

驗意味的聲音元素，讓裝置中的聲境更豐富，

覺。地面上的綠意全為人工草皮，然而精細

也藉此為人工與自然的複雜性等相關議題開

的造工卻反襯出真草不完美的形態，如枯黃、

啟新的對話。

殘破和衰敗。鋪設草皮的原意是為了讓全球 150

ABOUT ESKYIU

ESKYIU is a multi-disciplinary architecture studio that explores how architecture intersects with transformative cultural landscapes, media, experimental fabrication systems, educational tools, community participation and social sustainability.

Eric Schuldenfrei and Marisa Yiu founded the studio in New York in 2005, before establishing the Hong Kong studio in 2007.

Their architectural practice operates in an open and collaborative environment at various scales, from products and objects to interior environments and urban propositions.

Working within various disciplines in a rigorous and sensitive manner, ESKYIU aspires to create novel and exciting social experiences that embrace the public realm and empower positive interactions amongst communities.

The practice takes a modest approach to its work. It seeks to design a possible future that responds to everyday needs while also referencing the past by creating a design practice that actively integrates culture, art, community and technology. Its curiosity lies in how the built environment and constructs of labor shape social relationships by forming connections between civic engagement, social values and sustainable design.

151

ABOUT SPRING WORKSHOP

ESKYIU's projects include filmic research of unique architectural spaces, media narratives, interactive public installations, manufacturing models, curatorial projects, interiors and architectural design. It has been awarded the prestigious Architectural League Prize, Design Vanguard, and multiple Design for Asia awards. Active internationally, Yiu and Schuldenfrei cocurated the 2009 HK & SZ Bi-City Biennale of Urbanism/Architecture at the West Kowloon waterfront site; exhibited at the Venice Biennale; and lectured internationally at Harvard University's AsiaGSD conference, Princeton University School of Architecture, the Architectural Association in London, TEDx platforms, V&A museum, and Asia Society to universities worldwide from Nanjing and Helsinki, to Cambridge and London.

By exploring media that is capable of constant change such as interactive environments, real-time software, and responsive materials, ESKYIU's work responds to the local community by positioning the neighborhood as a laboratory to examine the dynamic functions of both renewal and preservation.

Situated in an industrial warehouse in Wong Chuk Hang from 2011 to 2017, Spring Workshop was a five-year cultural initiative founded by Mimi Brown with the goal to bring people together to experiment with the way we relate to art.

Through an international cross-disciplinary program of artist and curatorial residencies, exhibitions, music, film and talks, Spring served as a platform and laboratory for exchange between artists, organizations and audiences both in Hong Kong and elsewhere in the world, partnering with institutions such as Asia Art Archive, Hong Kong New Music Ensemble, M+/Design Trust, Para Site, and Witte de With Center for Contemporary Art (Rotterdam). Spring welcomed over 21,000 audience members to its 200 programs and events that featured nearly 350 artists, residents and collaborators. Spring Workshop received the 2016 Prudential Eye Award for Best Asian Contemporary Art Organization. In January 2018, Spring Workshop enters a quiet period of reflection and transformation.

關於 ESKYIU

關於 SPRING 工作室

ESKYIU 是一間跨領域的建築事務所，專

ESKYIU 的工作包括：研究電影中的獨特

Spring 工作室是由貝明湄發起的一場為期

門探索建築如何與各類範疇，如流變的文化

建築空間、媒體論述、公共互動裝置、生產

五 年 的 文 化 計 劃， 其 實 體 空 間 在 2011 年 至

景觀、媒體、實驗性製作系統、教學工具﹑

模型、策劃展覽、室內及建築設計。他們曾

2017 年期間設於黃竹坑的前工業倉庫。計劃

社區參與及社會可持續性互相交集。

獲 得 著 名 的 Architectural League Prize、

旨在凝聚人們一起試驗與藝術連繫的可能性。

Design Vanguard 及 數 項 DFA「 亞 洲 最 具 影

Spring 作為一個服務香港及世界各地藝術家、

2005 年，邵達輝和姚嘉姍在紐約創立了

響力設計獎」。姚氏及邵氏亦活躍於國際上

文化機構與觀眾的交流和實驗場所，數年間

他們的建築事務所，及後於 2007 年設立香港

的大型項目，他們共同策劃了在西九龍海濱

與 亞 洲 藝 術 文 獻 庫、 香 港 創 樂 團、M+ 視 覺

辦公室。他們在開放的環境中共同創作，參

長 廊 舉 辦 的 2009 年《 香 港． 深 圳 城 市 ＼ 建

文化博物館、信言設計大使、Para Site 藝術

與製作的項目規模不一，從產品設計到室內

築雙城雙年展》，及參展威尼斯雙年展；二

空間及 Witte de With 當代藝術中心 ( 鹿特

設計，以至城市規劃都有所涉獵。ESKYIU 以

人亦在國際間作多次演說，例如哈佛大學的

丹 ) 等夥伴機構，合作策劃了眾多藝術家和

嚴謹而細膩的風格遊走於各個範疇，期望創

AsiaGSD 會議、普林斯頓大學建築學院、倫

策展人駐留計劃、展覽、音樂、電影及講座

造出新穎而活潑的群體互動經驗，帶動社區

敦 建 築 協 會、TEDx 平 台、V&A 博 物 館、 亞

等 跨 領 域 國 際 活 動。 這 些 年 來，Spring 舉 辦

之間形形式式的正向交流。

洲協會及世界各地的大學（從南京與赫爾辛

了 200 項公共活動，與大約 350 名駐場藝術

基，到劍橋與倫敦）都有他們講學的足跡。

家和伙伴合作，並接待超過 21,000 名觀眾。

他們的作品帶謙遜的取向，仔細探尋一個

Spring 工作室榮獲 2016 年英國保誠當代藝術

可及的理想未來，以參考過去經驗為設計實

ESKYIU 持續探索可變的創作媒介如互動

獎「最佳亞洲當代藝術機構」獎項。自 2018

踐，積極地融合文化、藝術、社區與科技，

環境、實時軟件及反饋物料，其作品以回應

年起，Spring 工作室將進入反思與蛻變的停

回應當下日常生活所需。引起他們好奇的是

本地社區需要為前提，將鄰里空間視為實驗

息期。

建築環境與勞動結構如何連繫公民參與、社

場域，勘查重建與保育的活性功能。

會價值及可持續設計，並塑造出不同的社會 關係。

152

CONTRIBUTORS

Defne Ayas is a curator, producer, and publisher in the field of contemporary visual art and its institutions. As the director of the Witte de With Center for Contemporary Art, she dedicated her programmes to the question of crisis, be it aesthetic, geographic, economic, communal or spiritual, and to how members of the art world can be active co-creators of politics and institutions. In addition, Ayas has acted as a curator at large for Spring Workshop and PERFORMA, New York's biennial of visual art performance.

Mimi Brown is the creator of Spring Workshop, a five-year non-profit arts initiative that experiments with the way artists and audiences relate to art. Brown is a board member of Asia Art Archive, the Hong Kong New Music Ensemble, Cate School and the Signet Society, and also extends space and support to Para Site Art Space, M+/WKCDA, Design Trust, and Witte de With Center for Contemporary Art in Rotterdam. Brown holds an AB from Harvard University in music composition and comparative religion and an MBA from Stanford University.

Doryun Chong is the deputy director and inaugural chief curator of M+, which 153

will open its Herzog and de Meurondesigned building in the West Kowloon Cultural District in 2019. He oversees all curatorial activities and programmes at the museum, including acquisitions, exhibitions, learning and public programmes, and digital initiatives encompassing the three main disciplinary areas of design and architecture, moving image, and visual art. The most recent exhibitions Chong co-curated include Mobile M+: Live Art and Tsang Kin-Wah: The Infinite Nothing , Hong Kong's participation in the 2015 Venice Biennale.

Claire Hsu is co-founder and executive director of Asia Art Archive (AAA), an independent non-profit organisation initiated in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region to enrich our understanding of the world.

AAA has collated one of the most valuable collections of material on contemporary art in the region, open to the public free of charge and increasingly accessible from its website. More than a static repository waiting to be discovered, AAA instigates critical thinking and dialogue for a range of audiences via public, research, residency, and educational programmes.

Dr Lars Nittve, academic, writer and curator, was the founding executive director of Hong Kong's M+ museum of visual culture.

He has years of experience in curating and leading museums, beginning at the Moderna Museet in Stockholm, Sweden, where he served as chief curator in the mid 1980s, and later at the Rooseum Center for Contemporary Art in MalmĂś, where he served as founding director. He also served as director of the Louisiana Museum of Modern Art in HumlebĂŚk, Denmark, the founding director of Tate Modern in London, and the director of Moderna Museet. Dr Nittve is now CEO and Chairman of Nittve Information Ltd in Sweden.

Eric Schuldenfrei is an associate dean in the Faculty of Architecture at the University of Hong Kong. Receiving his PhD from the University of Cambridge, he has taught at Princeton, Columbia and the Architectural Association. His most recent book, The Films of Charles and Ray Eames: A Universal Sense of Expectation, focuses on architecture, politics, cinema and education.

Schuldenfrei served as the Curator of Exhibition, Education, Film, and Media for the 2009 Hong Kong & Shenzhen Bi-City Biennale of Urbanism\Architecture and has presented work at DLD in Moscow, at

the V&A museum, University of Cambridge, and the Royal College of Art in London.

Schuldenfrei founded ESKYIU together with Marisa Yiu.

Artist and composer Samson Young's diverse practice draws from the avantgarde compositional traditions of aleatoric music, musique concrete and graphic notation. Behind each project is an extensive process of research involving a mapping of the process through a series of "sound sketches" and audio recordings. His drawing, radio broadcasting, performance and composition touch upon the recurring topics of conflict, war and political frontiers.

Young was the inaugural winner of the BMW Art Journey Award and in 2017 he represented Hong Kong at the Venice Biennale.

Eric Schuldenfrei, she received Architectural Record's 2014 Design Vanguard recognition, Design for Asia awards for the Ephemera and Movement Culture installations. They also edited the 2011 book Instant Culture: Architecture and Urbanism as a Collective Process. Yiu is also co-founder of DESIGN TRUST, a not-for-profit platform that supports creative research related to Hong Kong and the Greater Pearl River Delta Region.

Marisa Yiu is an architect and founding partner of ESKYIU, a multi- disciplinary architecture and research design studio actively integrating culture, community, art and technology based in Hong Kong.

She was the chief curator of the 2009 Hong Kong & Shenzhen Bi-City Biennale of Urbanism\Architecture and curated the 2013 POP-UP Studio-X Shenzhen. Along with 154

作者

Defne Ayas 於當代視覺藝術界擔任策展、製

鄭 道 鍊 (Doryun Chong) 為 M+ 視 覺 文 化 博

李立偉博士（Dr Lars Nittve）為學者、作者

物館、劍橋大學及倫敦皇家藝術學院展示作

姚氏與合伙人邵達輝（ Eric Schuldenfrei ）

作與出版工作。身為 Witte de With 當代藝

物館副總監及首任總策展人。博物館大樓由

兼策展人，曾任西九文化區 M+ 視覺文化博

品。 邵 達 輝 與 姚 嘉 珊 共 同 創 立 建 築 事 務 所

一同憑裝置作品《Ephemera》及《Movement

術中心總監的 Ayas，致力透過中心的藝術計

Herzog & de Meuron 設計，將於 2019 年啟

物館首任行政總監。多年來累積了豐富的展

ESKYIU。

Culture》 獲 頒《Architectural Record》 、

劃探討危機這個議題──包括審美、地理、

用。鄭氏監督博物館各項策展活動及計劃，

覽 策 劃 及 博 物 館 領 導 經 驗， 由 1980 年 代 於

經濟、社群或靈性等危機，並思索藝術世界

包括購藏、展覽、學習和公眾計劃，與及環

瑞典斯德哥爾摩當代美術館擔任總策展人開

中人如何能積極參與政治和體制的產生。此

繞設計及建築、流動影像和視覺藝術三大界

始， 後 於 瑞 典 Malmö 市 Rooseum 當 代 藝 術

楊嘉輝為藝術家兼作曲家，其多元藝術實踐

編 於 2011 年 出 版 之《INSTANT CULTURE:

外，Ayas 亦擔任 Spring 工作室及紐約的視覺

別的網上活動。鄭道鍊近期參與策展的項目

中 心 擔 任 創 館 總 監， 亦 曾 任 丹 麥 Humlebæk

靈感源自機率音樂、具象音樂及圖像記譜學

Architecture and Urbanism as a Collective

藝術表演雙年展 PERFORMA 總策展人。

包括《M+ 進行：藝活》及 2015 年第 56 屆

市路易斯安那現代美術館館長、倫敦泰特現

（graphical notation）等前衛音樂作曲傳統。

Process》一書。姚嘉珊亦為非牟利組織「信

威尼斯視藝雙年展的香港參展展覽《曾建華

代 美 術 館（Tate Modern） 首 任 館 長 及 斯 德

楊氏每個藝術項目均經過詳細資料搜集，並

言設計大使」聯合創辦人，組織推動及資助

──無盡虛無》。

哥爾摩當代美術館館長。李立偉博士現為瑞

利用「聲音畫」、錄音等方式記錄當中過程。

有關香港及珠江三角洲地區之創意研究。

典 Nittve Information Ltd. 行政總裁暨主席。

其繪畫、電台廣播、展演及作曲經常涉獵衝

貝明湄 (Mimi Brown) 是 Spring 工作室的創辦 人。Spring 工作室是一個為期五年的非牟利

155

2014 年「 設 計 先 鋒」（Design Vanguard） 殊榮及「亞洲最具影響力設計獎」，二人亦合

突、戰爭、政治疆界等議題。楊氏為 2015 年

藝術計劃，旨在實驗藝術家和觀眾與藝術連

徐文玠 (Claire Hsu) 為亞洲藝術文獻庫聯合創

繫的方式，亦為 Para Site 藝術空間、M+ 視

辦人及行政總監。文獻庫成立於 2000 年，為

邵 達 輝（Eric Schuldenfrei） 現 任 香 港 大 學

香 港 巴 塞 爾 藝 術 展 首 屆 BMW Art Journey Award 得主，於 2017 年擔任第 57 屆威尼斯

覺文化博物館及西九文化區、信言設計大使

獨立運營的非牟利機構，旨在回應亞洲當代

建築學院副院長，於劍橋大學取得博士學位

視藝雙年展之香港參展代表。

和鹿特丹 Witte de With 當代藝術中心提供

藝術史各方面進展亟待記錄和開放查閱的要

後曾於普林斯頓大學、哥倫比亞大學及倫敦

空間與支援。Mimi Brown 兼任亞洲藝術文獻

務，從而加深大眾對世界的認識。文獻庫整

建 築 協 會 學 院 任 教； 最 近 著 作《The Films

庫、 香 港 創 樂 團、 加 州 Cate School 和 哈 佛

理出區內數一數二的珍貴當代藝術資料收藏，

of Charles and Ray Eames: A Universal

姚 嘉 姍 為 建 築 師 及 ESKYIU 合 伙 創 辦 人。

大學 the Signet Society 董事會成員，於哈

免費的開放予公眾於文獻庫及互聯網上查閱。

Sense of Expectation》 以 建 築、 政 治、 電

ESKYIU 是以香港為基地的跨界建築及研究設

佛大學取得音樂作曲及比較宗教文學士學位，

文獻庫不只是一個有待發掘的靜態資料庫，

影及教育為內容焦點。邵達輝於 2009 年《香

計事務所，積極推動文化、社區、藝術和科

並於史丹福大學取得工商管理碩士學位。

更主動籌劃公眾項目、研究、駐場和教育項目，

港．深圳城市＼建築雙城雙年展》擔任展覽、

技融合。姚嘉珊曾任 2009 年《香港．深圳城

鼓勵不同層面的受眾作批判思考與對話。

教育、電影及媒體策展人，並曾於數碼生活

市＼建築雙城雙年展》總策展人，於 2013 年

設計大會（莫斯科）、維多利亞與艾伯特博

於 策 劃《POP-UP Studio-X Shenzhen》。 156

ACKNOWLEDGEMENTS 鳴謝

我們在此衷心感謝所有參予這出版創作的人，特別是各位作者，包括 Defne Ayas、鄭道鍊、徐文玠、李立偉、楊嘉輝，與及整個Spring工作 室團隊，尤其是一直悉心打理《工業森林》的AJ Vicente。

More than anything, Spring has been about people, not only the artists and audiences, but also the folks behind the scenes conducting deft feats of love and magic to make the place tick:

對 Spring 工作室而言，人作為核心，遠比其他任何事情重要。不只是藝 術家與觀眾，還有賴眾多幕後人員付出的心血，工作室才可運作至今。 Spring 工作室團隊包括：

Mimi Brown (2011-17) Phoebe Chan (2016-17) Jessica Kong (2015-17) AJ Vicente (2013-17) Athena Wu (2012-15)

貝明湄 陳善雯 江卓姿 AJ Vicente 胡沐雲

Mandy Chan (2013-17) Emily Cheung (2013-16) Christina Li (2015-17) Sean Wong (2013-17)

(2011-17) (2016-17) (2015-17) (2013-17) (2012-15)

陳希雯 (2013-17) 張慧儀 (2013-16) 李綺敏 (2015-17) 黃翊豐 (2013-17)

Spring Workshop is a five-year cultural initiative that brings people together to experiment with the way we relate to art.

Spring 工作室是一場為期五年的文化計劃 , 旨在凝聚人們一起試驗與藝術連 繫的可能性。

Location: Highway terrace of Spring Workshop in Wong Chuk Hang, Hong Kong.

地點: Spring工作室的後方露台，黃竹坑，香港

Industrial Forest Design: Lead Designers: Eric Schuldenfrei and Marisa Yiu Project Team: Maggie Hua, Enid Xuezhu Tian, Aaron Kuan, Wilton Ip

《工業森林》設計: 首席設計師: 邵達輝、姚嘉姍 項目團隊: 華千茹、田雪竹、關冠雄、葉泓軒

Industrial Forest film: Film created by Eric Schuldenfrei, Marisa Yiu and Richard Andersen

《工業森林》短片: 短片由邵達輝、姚嘉姍及Richard Andersen製作

Industrial Forest photographs: Photographs are by ESKYIU, with the exceptions of: Pages 49-50 from Wild Flowers of Hong Kong Around the Year , January 1, 1977 by B. M. Walden and S. Y. Hu Pages 73-74 by Juemi Pages 72, 105, 106 by Spring Workshop

《工業森林》圖片: 圖片由ESKYIU拍攝，除以下圖片: 《Wild Flowers of Hong Kong Around the Year》, 1977年1月1日, B. M. Walden與胡秀英, 49-50頁 Juemi, 73-74頁 Spring工作室, 72, 105, 106頁

an example of what is completely necessary in the world of cultural production 這展必 是示備 一了的 個世元 例界素 子文 化 創 造 中

張 奕 滿 Heman Chong

157

We'd like to offer sincere thanks to all involved, especially our contributors: Defne Ayas, Doryun Chong, Claire Hsu, Lars Nittve, Samson Young, as well as the entire team at Spring, especially the Forest's conscientious gardener AJ Vicente.

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PARTICIPANTS, GUESTS, AND RESIDENTS AT SPRING WORKSHOP 項目參與者及駐場藝術家/策展人 A Constructed World Nadim Abbas 唐納天 Sabih Ahmed Agent Nurul Aini Brenda Rodriguez Alegre AMA 萱寧 Ruby Onyinyechi Amanze Lee Ambrozy Victoria Amedume Ang Song Ming 洪松明 Ivan Argote Janine Armin Á ki Á sgeirsson Shane Aspegren Defne Ayas Dila Martina Ayulia Rosa Barba Alvaro Barrios John Batten 約翰百德 Natasha Becker Erik Benjamins Tobias Berger Bishan Commune 碧山計劃 Claire Bishop Patsey Bodkin Milena Bonilla Kasper Bosmans boychild Lorenza Brancadoro Roger Buergel Clare Butcher C & G Artpartment 159

Cao Shuying 曹疏影 Maurice Carlin Carlos M í nguez Carrasco Kirsty Carter Brian Castriota Asl ı Ç avu ş o ğ lu Annebell Chan 陳安瑤 Kit Chan 陳傑 Suze Chan 陳凌欣 Taylor Chan 陳梓沖 Holok Chen 陳可樂 Enoch Cheng 鄭得恩 Clara Cheung 張嘉莉 Dorothy Cheung 張紫茵 Cheung Tsz Hin 張子軒 Chiu Tan Ching 邱丹青 Selena Choi 蔡芷穎 Doryun Chong 鄭道鍊 Heman Chong 張奕滿 Chong Kee Yong Evelyn Char 查映嵐 Olivia Chow 周宛昀 Chow Yiu Fai 周耀輝 Susanna Chung 鍾玉文 Tiffany Chung Tyler Coburn Cosmin Costinas Ivet Curlin Fayen d'Evie Iftikhar Dadi Sandhya Daemgen Mark Daly

Sumangala Damodaran Moyra Davey Jennifer Davis Jane DeBevoise 杜柏貞 Ana Devic Christopher DeWolf Aye Dila Patrizio di Massimo Glenn Eugen Ellingsen Elmgreen & Dragset Cevdet Erek K ö ken Ergun Özge Ersoy L é uli Eshraghi ESKYIU Jes Fan Fan Popo 范坡坡 Farms for Democracy 民主耕地 Chris Fitzpatrick Patrick Flores Eva Franch Michael Friedman Daniel Gabrielli Amira Gad Verina Gfader Simryn Gill Moosje Goosen Sarah Lehrer-Graiwer Georgia Gardner Gray Joseph Grima Krist Gruijthuijsen Inti Guerrero

Agung Gunawan Sigur ð ur Gu ð j ó nsson Hitman Gurung Lawrence Abu Hamdan Nav Haq Patrick Gunawan Hartono Toru Hayashi 林亨 Sharon Hayes Rosemary Heather Malak Helmy Calla Henkel Betti-Sue Hertz HK Farm Elaine W. Ho 何穎雅 Kiki Ho 何梓埼 Ho Rui An 何銳安 Ho Sin Tung 何倩彤 Ho Tzu Nyen 何子彥 Son Hoang Karl Holmqvist James T. Hong 洪子健 Claire Hsu 徐文玠 Hu Fang 胡昉 Huang Xiaopeng 黃小鵬 Andrew Hugill Angel Hui Hoi Kiu 許開嬌 Simon Hui 許裕成 Steve Hui 許敖山 Uncle Hung 雄仔叔叔 Clifford Irving Bruno Isakovic Jerrel Jackson

Katrien Jacobs Mia Jankowicz Travis Jeppesen Eisa Jocson Mark Dean Johnson Nathalie Johnston Amelia Jones Rashida Jones Tobe Kan Kiu Sin 簡喬倩 Mayching Kao 高美慶 Ruba Katrib Joe Kay Joan Kee Daniel Keller William Kentridge Kevin Killian Euna Kim 金思蛾 Anthony Ko 高志聰 Job Koelewijn Joyce Koh Jessica Kong 江卓姿 Koyo Kouoh Maya Kramer Alana Kushnir Lenny Kwok 郭達年 Samantha Kwok 郭清夷 Charles Kwong 鄺展維 Kevin Kwong Lars Kynde Brandon Labelle Sarah Lai 黎卓華 Mo Lai Yan Chi 賴恩慈

Lam Lai 林儷 Lam Tung Pang 林東鵬 William Lane James Langdon Pablo Larios Quinn Latimer Latitudes Vincenzo Latronico Doretta Lau 劉淑莊 Venus Lau 劉秀儀 Heidi Law 羅鎧欣 Vanissa Law 羅穎綸 Angus Lee 李一葦 Lee Chi Leung 李智良 Lee Kai Chung 李繼忠 Lee Kit 李傑 Michael Lee 李鴻輝 Lee Su Ying Lee Weng Choy 李永財 Xavier LeRoy Leung Chi Shing 梁志承 Leung Chi Wo 梁志和 GayBird Leung 梁基爵 Michael Leung 梁志剛 Leung Tak Wing 梁德穎 Candy Li 李素潔 Christina Li 李綺敏 Gladys Li 李志喜 Pi Li 皮力 Li Yifan 李一凡 Charles Lim 林育榮 Qinyi Lim 林沁怡 160

William Lim 林偉而 Ming Lin 凌明 Ling Fan 范凌 Ling Pui Sze 凌佩詩 Lio Kuokman 廖國敏 Keith Lipson Natalie Lo Lai Lai 勞麗麗 Loo Sze Wang 盧思泓 Vanessa Ma Mak Ying Tung 麥影彤 Raimundas Mala š auskas MAP Office Pedro Neves Marques Eli Marshall Patrizio Di Massimo Rajesh Mehta Ari Benjamin Meyers Modern Academy 現代學院 Marge Monko Tom Morgan Saori Nakasawa 中澤沙央里 Deimantas Narkevi č ius Hammad Nasar Molla Nasreddin Manuel Nawri Devora Neumark Carmen Ng Hong Duc Nguyen Que Nguyen Jason Nogoy Vincent Normand Clara Novakova 161

Ahmet Ö ğü t Ou Ning 歐寧 Thomas Orbon Rosemary Orr Sean O'Toole Jo ã o Vasco Paiva Pak Sheung Chuen 白雙全 Christodoulos Panayiotou Parallel Lab Julie Peeters Manuel Sebastian Pelmus Lokz Phoenix Max Pitegoff Ella Plevin Gaile Pranckunaite Qiu Zhijie 邱志傑 Xiaoshi Vivian Vivian Qin 覃小詩 Walid Raad Sheelasha Rajbhandari Farid Rakun Nora Razian Alice Rensy Jewyo Rhii Augie Robles Marsha Roddy Roee Rosen Emily Roysdon Miljohn Ruperto Ruangrupa Sabina Sabolovic Samuel Saelemakers Renata Salecl

Sangwoodgoon 生活館 Jo ã o dos Santos Eric Schuldenfrei 邵達輝 Joshua Serafin Claire Shea Mariana Silva Chai Siris Siu King Chung 蕭競聰 Slavs and Tatars Song Ta 宋拓 Polly Staple Alec Steadman Mladen Stilinović Melati Suryodarmo Miguel Syjuco George Szirtes Toshie Takeuchi 竹內壽惠 Laine Tam 譚亦 俽 Erika Tan Pelin Tan Zelia Tan Koki Tanaka 田中功起 David Teh Martijn Tellinga Andr é Teod ó sio Emma Thomas Tom Chung Man 譚頌汶 Carol Tong Thi Xuan Jalal Toufic Arlette Quynh-Anh Tran Carol Tsang Yi Man 曾綺文 Mary Maggic Tsang 曾 瀞 瑩

Thomas Tsang 曾慶豪 Wu Tsang 曾吳 Tse Chun Sing 謝俊昇 Howie Tsui 徐浩恩 Florin Tudor Ken Ueno 上野掯 Folkert Uhde Luisa Ungar Oscar van den Boogaard Mona Vatamanu Vinod Velayudhan Very MK Jan Vorisek Raul Walch Chelsea Wan Pak On 溫柏安 Wang Hong-Kai 王虹凱 Wang Ping-Hsiang 王品翔 Taocheng Wang 王韜程 Haitham Wardany Apichatpong Weerasethakul Xiaoyu Weng 翁笑雨 Philip Wiegard Adrian Wong 王浩然 Alice Wong 黃嘉淇 Chantal Wong 黃子欣 Chloe Wong 黃靜婷 Kacey Wong 黃國才 Magdalen Wong 黃頌恩 Michelle Wong 黃湲婷 Ming Wong 黃漢明 Morgan Wong 黃榮法 Sara Wong 黃志恆

Sonia Wong 黃鈺螢 Wong Wai Yin 黃慧妍 Wucius Wong 王無邪 Ann Woo Brian Kuan Wood Sincere Wu Sarah Xiao Zan Yamashita 山下殘 Yang Fudong 楊福東 Haegue Yang 梁慧圭 Yang Hao 楊浩 Jun Yang 楊俊 Yao Chen 姚晨 Pauline Yao 姚嘉善 Karina Yau 尤美盈 Yaumatei Gardener 油 蔴 地花王 Yeo Wei Wei 楊薇薇 Yeung Hachi 楊夏至 Trevor Yeung 楊沛鏗 Linda Yim 嚴翠珠 Yim Sui Fong 嚴瑞芳 Marisa Yiu 姚嘉姍 Mike Yip 葉志聰 SheenRu Yong Douglas Young 楊志超 Samson Young 楊嘉輝 Yu Honglei 尉洪磊 Yuk King Tan 陳玉瓊 Anthony Yung 翁子健 Arnisa Zeqo Kunfang Zhao 趙坤方 Zheng Guogu 鄭國谷

Zhu Mu 朱牧 Zhuang Wubin 莊吳斌 Tirade Zolghadr Amir Nizar Zuabi Mislav Ž ugaj

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INDUSTRIAL FOREST 工業森林

Industrial Forest is a book that documents the creation, five-year lifespan from 2012-2017, and potential future of Industrial Forest, an art installation commissioned by Spring Workshop and created by Eric Schuldenfrei and Marisa Yiu of ESKYIU. 《工業森林》是一本記錄了作品2012至2017五年生命的書，也蘊藏了 它未來的潛力。《工業森林》是Spring工作室委託ESKYIU的邵達輝及姚 嘉姍創作的裝置藝術品。 Editors 編輯: Eric Schuldenfrei 邵達輝、Marisa Yiu 姚嘉姍 Editorial Consultant 編輯顧問: Christopher DeWolf Editorial Assistant 編輯助理: Mandy Chan 陳希雯 Translators 翻譯: Erica Leung 梁煥茵、Sean Wong 黃翊豐 Copy Editor 校對: Mimi Brown 貝明湄、Mandy Chan 陳希雯、Sean Wong 黃翊豐 Design 設計: ESKYIU Design Assistant 設計助理: Verdi Tsui 徐穎怡 Special thanks to Chen Lok Yan 特別鳴謝 陳樂人

Printer 印刷: Jansun Printing, Wong Chuk Hang, Hong Kong 進昇印刷有限公司，黃竹坑，香港 First Edition / 500 copies November 2017 第一版 / 500冊 2017年11月 ISBN: 978-988-12600-5-5 © 2017 ESKYIU

Publisher 出版: Mimi Brown Spring Workshop 3/F Remex Centre 42 Wong Chuk Hang Road Hong Kong 貝明湄 Spring工作室 香港香港仔黃竹坑道42號利美中心3樓 www.springworkshop.org