10/11/2019 (Sun 日)
14:00 – 16:30
Exhibition Hall, Low Block, Hong Kong City Hall
5 Edinburgh Place, Central
Conducted in English
Free admission on a first-come, first-served basis.
Alexis Malbert (aka Tapetronic) is a French artist, inventor, musician, performer, animator, researcher and publisher who works as a creator of new sound reproduction media. Often critical of our media society, he acts at the crossroads of genres, from music to visual arts, from hacking to pranks and jokes…
Since the 90s, he explores the history of sound to create many sound machineries and kinds of new media by recycling, transforming, assembling the mechanical, electronic and physical components of audio material. His curious musical performances reveal new instruments and new gestures. He gives another approach to information in the age of the Internet and all digital, even an alternative!
He is now very involved in the creation of young and all-public workshops, considering these workshops as creations in their own right. He often associates sound with his passions for cooking to spend an exciting time with the audience!
Alexis Malbert was born in Paris in 1976, he lives and works in Limoges, France and travels all over the world. He is today an active and passionate actor of sound and media arts.
Tomoko is a multidisciplinary artist trained in Kyoto and London. Her work reflects her nomadic nature, having lived and worked in five different countries, from the vast deserts of New Mexico, USA, to the cosmopolitan and chaotic city of London, UK, places where she has been exposed to various cultures and experienced different types of human connections, closeness and distance. These experiences led to her interest in modern society’s human intimacy and communication issues as a theme of her work. Since then, she has been exploring this theme through various mediums and established several collaborations with various experts. Her projects have been exhibited in museums and art galleries around the world, such as the V&A, London, the National Museum of Art, Osaka, and the Contemporary Art Museum, Kumamoto. She now lives in Kyoto and explores new work possibilities by walking around the city and the nature, finding the extraordinary in the ordinary.
Adelaide Lala Tam (Hong Kongese, based in the Netherlands) is a designer who dismantles industrial food production systems to gain a critical understanding of our modern relationship with food. Through designing food experiences, objects and stories, she communicates the complexities and nuances of this relationship in accessible ways that allow her audience to reconnect themselves to food ecosystems. Recently, her vending machine and video work ‘0.9 Grams of Brass’ won the Future Food Design Award 2018 for both the jury and audience categories, while the ‘Ultimate Milk Cow project’—a series of trophies representing categories in modern day milk production—featured among the Water School collection from Studio Makkink and Bey at Salone del Mobile Milan 2019.
譚君妍，成長於香港，現居荷蘭。她是一名設計師，旨於透過拆解工業食品生產系統以便對人們與食品的現代關係作品批判性理解。通過設計食品體驗、物件與故事，她以簡單的方式傳達這種關係的複雜性和細微差別，並使她的觀眾可以重新與食品生態系統接軌。近期她的自動售貨機裝置及錄像作品0.9 Grams of Brass曾於2018年未來食品（物）設計大奬(Future Food Desigh Award)的評審團及觀眾類別中榮獲大奬，同時她的另一作品Ultimate Milk Cow project – 一系列代表現代牛奶生產類別的奬杯，亦被Studio Makkink 以及Bey at Salone del Mobile Milan 2019作展出。
Arvid&Marie is a duo of artists, experience designers and technological adventurers always aiming to discover new ways to stretch our world. Together Arvid Jense (NL) and Marie Caye (FR) collaborate on their shared passion for art and technology.
Inspired by popular technological hoaxes and nonsensical techno-utopist sci-fi, just as much as deeply ingrained fears and critics of technological progress, the duo Arvid&Marie is looking at the emergence of artificial entities and the alternative futures they inspire. This line of research has lead them to express the perspectives of non-human actors in events and exhibitions across the world, for instance by creating a self-owning machine, making replicas of products as understood by recommendation algorithms or performing live the directives of chatbots. These pieces offer a different view on ethical tech discussions, but also experiment with marginal ideas: futures such as one where machines aim for self actualization via autonomy and fight for a legal status or were humans become employees of machines.
The Center for Genomic Gastronomy is an artist-led think tank launched in 2010 by Cathrine Kramer (Norway) and Zack Denfeld (US) that examines the biotechnologies and biodiversity of human food systems. Their mission is to map food controversies, prototype alternative culinary futures and imagine a more just, biodiverse & beautiful food system.
The Center presents its research on the organisms and environments manipulated by human food cultures in the form of public lectures, research publications, meals and exhibitions. They have conducted research in Europe, Asia, and North America, collaborating with scientists, chefs, hackers and farmers. The Center’s work has been published in WIRED, We Make Money Not Art, Science, Nature and Gastronomica and exhibited at the World Health Organization, Kew Gardens, Science Gallery Dublin and others.
卡特琳·克雷默(挪威)和Zack Denfeld (美國)於2010年成立了基因美食中心，組織以藝術家構思為主導，旨在硏究人類食品系統的生物技術以及生物多樣性。他們的使命是繪製食品爭議圖、為替代性的烹飪未來製作原型，並想像一個更加公正、生物多樣化和美麗的食物體系。
組織透過公開演講、硏究報告、餐桌經驗和展覽等各種不同的形式去介紹有關人類飲食文化所操控的生物與環境的硏究。他們在歐洲、亞洲和北美與科學家、廚師、黑客和農民合作進行硏究，作品曾刊登於WIRED、We Make Money Not Art、Art, Science, Nature & Gastronomica，並於世界衛生組織、倫敦皇家植物園、都柏林的科學藝廊等空間展出。