                 |
27/11 - 5/12/2010 (closed on thu 星期四休息)
1100 - 2000
Exhibition Hall, Hong Kong Film Archive
香港電影資料館展覽廳
Hong Kong Hacking Flashback
Six Hong Kong artists are invited and bring a spectrum of public space arts action/ projects to audience. Kwok Mang Ho, also known as Frog King, could be said as the pioneer of art/frog action in the public realm. 40 years of artistic endeavour first begins in a super 8mm footage, a friend’s record of his life at Yuen Long, then ends with a 7 minutes long flashing image sequence, an artist’s own visual diary/ history. Since its inception, Kacey Wong has been traveling with his personal skyscraper all over the world. Drift City (In Search of The Dragon, 2010) serves as a concluding chapter of his journey, also gives audience a tribute to this 10 years old personal skyscraper and the skyline of some un/known parts in Hong Kong. Leung Po-shan Anthony, of her ritualistic arts action, pays homage to the demolition of a ‘landmark’ in Hong Kong by reading and burning Xixi’s I-City (Wo Cheng). We all witness progress after ten years of handover in Hong Kong, Leung rather walked out her opinion, in a backward manner. After all, we all know action speaks louder than words. Tsang Tak-ping also works with book, but he rather reads a book in his own move and pace. What if we bring a bowl of plain rice and eat it on the street? Would that be a reality that we cannot bear? Ger Choi and Salad Ho engage the public in different takes. Ger Choi’s arts action is always context-driven. Only place and context give her a reason to create. A lock of hair, a thread connects her world to this city. The state of somatic response finally transgresses between skins and understanding, creator and audience. What if her body becomes our temple? Salad Ho, on the other hand, wants us to play upon the grid of our city. Perhaps it is all these kids game that brings public participation in recognition, that only art and play legitimize a happy notion of public art in the public space in Hong Kong.
Six Hong Kong artists are invited and bring a spectrum of public space arts action/ projects to audience. Kwok Mang Ho, also known as Frog King, could be said as the pioneer of art/frog action in the public realm. 40 years of artistic endeavour first begins in a super 8mm footage, a friend’s record of his life at Yuen Long, then ends with a 7 minutes long flashing image sequence, an artist’s own visual diary/ history. Since its inception, Kacey Wong has been traveling with his personal skyscraper all over the world. Drift City (In Search of The Dragon, 2010) serves as a concluding chapter of his journey, also gives audience a tribute to this 10 years old personal skyscraper and the skyline of some un/known parts in Hong Kong. Leung Po-shan Anthony, of her ritualistic arts action, pays homage to the demolition of a ‘landmark’ in Hong Kong by reading and burning Xixi’s I-City (Wo Cheng). We all witness progress after ten years of handover in Hong Kong, Leung rather walked out her opinion, in a backward manner. After all, we all know action speaks louder than words. Tsang Tak-ping also works with book, but he rather reads a book in his own move and pace. What if we bring a bowl of plain rice and eat it on the street? Would that be a reality that we cannot bear? Ger Choi and Salad Ho engage the public in different takes. Ger Choi’s arts action is always context-driven. Only place and context give her a reason to create. A lock of hair, a thread connects her world to this city. The state of somatic response finally transgresses between skins and understanding, creator and audience. What if her body becomes our temple? Salad Ho, on the other hand, wants us to play upon the grid of our city. Perhaps it is all these kids game that brings public participation in recognition, that only art and play legitimize a happy notion of public art in the public space in Hong Kong.
本地騎劫回顧
六位香港藝術家為觀眾帶來一連串的公共空間藝術行動。郭孟浩，我們熟識的蛙王，香港第一代從事公共藝術的先鋒。第一部超八米厘錄像紀錄為蛙王四十年的藝術成就展開序幕。錄像由盧玉瑩拍攝，紀錄蛙王在元朗故居的生活點滴。同時，蛙王為觀眾帶來一段長約七分鐘的蛙閃影像排序，《蛙閃》同時亦是蛙王自己的視像日記及歷史。黃國才自2000年起開展其《游離都市》系列，大廈人足跡遍及世界各地，《 游離都市 》(2010)取景在香港龍圃花園。大廈人跑了十年世界，是時候要休息一下。梁寶山愛讀書，焚書的確是一個艱難的決定。在皇后碼頭跟友人讀西西的《我城》，把讀了的一頁燒成灰燼，跟我城說再見。十年回歸，香港市民打從心底裡明白是前進還是後退，梁寶山明白行動勝於空談，所以從維園打倒褪至中區總部。曾德平也愛讀書，不過他喜歡慢讀，一步一步的讀。你有否想拿一碗白飯走到街上扒？街上扒白飯會否過份露骨，把沉重的現實帶到我們努力創造的幻想世界？蔡芷筠跟何祖怡走到街上各施各法。蔡芷筠的藝術行動總跟場境有關，只有地和事才能叫她努力創作。一撮頭髮，一絲黑線，把她和世界跟觀眾連結起來。身體的反身性從皮膚穿越認知的層面，她的身體尤如我們的殿堂。何祖怡要我們跟城市玩遊戲，黃線、扶手杆皆可是兒時玩物。 或許我城還是長不大，只容許普羅大眾在時代廣場玩一場不痛不癢無傷大雅的遊戲。
六位香港藝術家為觀眾帶來一連串的公共空間藝術行動。郭孟浩，我們熟識的蛙王，香港第一代從事公共藝術的先鋒。第一部超八米厘錄像紀錄為蛙王四十年的藝術成就展開序幕。錄像由盧玉瑩拍攝，紀錄蛙王在元朗故居的生活點滴。同時，蛙王為觀眾帶來一段長約七分鐘的蛙閃影像排序，《蛙閃》同時亦是蛙王自己的視像日記及歷史。黃國才自2000年起開展其《游離都市》系列，大廈人足跡遍及世界各地，《 游離都市 》(2010)取景在香港龍圃花園。大廈人跑了十年世界，是時候要休息一下。梁寶山愛讀書，焚書的確是一個艱難的決定。在皇后碼頭跟友人讀西西的《我城》，把讀了的一頁燒成灰燼，跟我城說再見。十年回歸，香港市民打從心底裡明白是前進還是後退，梁寶山明白行動勝於空談，所以從維園打倒褪至中區總部。曾德平也愛讀書，不過他喜歡慢讀，一步一步的讀。你有否想拿一碗白飯走到街上扒？街上扒白飯會否過份露骨，把沉重的現實帶到我們努力創造的幻想世界？蔡芷筠跟何祖怡走到街上各施各法。蔡芷筠的藝術行動總跟場境有關，只有地和事才能叫她努力創作。一撮頭髮，一絲黑線，把她和世界跟觀眾連結起來。身體的反身性從皮膚穿越認知的層面，她的身體尤如我們的殿堂。何祖怡要我們跟城市玩遊戲，黃線、扶手杆皆可是兒時玩物。 或許我城還是長不大，只容許普羅大眾在時代廣場玩一場不痛不癢無傷大雅的遊戲。
Participating Artists:
參展藝術家
Kwok Mang Ho, Frog King 郭孟浩（蛙王） / Kacey Wong 黃國才 / Leung Po Shan Anthony 梁寶山 / Tsang Tak Ping 曾德平 / Choi Tsz Kwan, Ger 蔡芷筠 / Salad Ho 何祖怡
參展藝術家
Kwok Mang Ho, Frog King 郭孟浩（蛙王） / Kacey Wong 黃國才 / Leung Po Shan Anthony 梁寶山 / Tsang Tak Ping 曾德平 / Choi Tsz Kwan, Ger 蔡芷筠 / Salad Ho 何祖怡
Kwok Mang Ho, Frog King
郭孟浩（蛙王）
郭孟浩（蛙王）
Focusing on ideas of ‘Time as Art’, ‘Art as Play’, audience interaction/ participation and improvisation, Kwok has been working as a multimedia installation artist over four decades. His Great Wall Project (1979) was the beginning of his performances in China. Kwok was born in China in 1947, raised in Hong Kong, and spent 15 years in New York in education and art practice from 1980 to 1995. Kwok has produced performances, sculptures, paintings and installations in over 3000 art events all over the world since 1967. Kwok’s works have exhibited in Bangkok, Beijing, Berlin, Busan, Denmark, Hong Kong, London, Macau, New York, Paris, Seoul, Singapore and Tokyo. His works are collected by Hong Kong Museum of Art, Hong Kong Heritage Museum, National Museum of History (Taipei), Smithsonian Video Collection, Denver Art Museum, World Bank in United States and others. He has won several awards, including a Hong Kong Arts Development Council Emeritus Fellowship in 1998 and a Documentaries of Chinese Performance Art Award by Macau Museum of Art. Kwok started the ‘Frog King Kwok Museum’ project in 2001 at Cattle Depot Artist Village, Hong Kong.
提出「時間即藝術」、「遊戲即藝術」、「觀眾互動」及「即興活演」的觀點，四十多年來蛙王郭孟浩專注其藝術生命在多媒體裝置及行為藝術的領域。其《中國北京長城計劃》(1979)為蛙王首個在中國的行為藝術作品。蛙王在1947年出生於中國，在香港長大，於1980至1995年間遊藝紐約十五年。
從1967年開始，蛙王郭孟浩從事行為藝術、雕塑、繪畫及裝置等超過三千個藝術活動，蛙跡遍及世界各地，作品曾在曼谷、北京、柏林、釜山、 丹麥、香港、倫敦、澳門、紐約、巴黎、首爾、新加玻及東京展出。作品為香港藝術館、香港文化博物館、台北國立歷史博物館、美國史密森尼博物館、丹佛藝術博物館及美國世界銀行所收藏。他曾獲得多個藝術獎項，當中包括1998年由香港藝術發展局所頒發的視覺藝術成就獎以及獲邀出席在2005年由澳門藝術博物館所舉辦的「以身觀身 ─ 中國行為藝術文獻展」。「蛙王藝術館」計劃，由2001年起在香港牛棚藝術村開始進行。
從1967年開始，蛙王郭孟浩從事行為藝術、雕塑、繪畫及裝置等超過三千個藝術活動，蛙跡遍及世界各地，作品曾在曼谷、北京、柏林、釜山、 丹麥、香港、倫敦、澳門、紐約、巴黎、首爾、新加玻及東京展出。作品為香港藝術館、香港文化博物館、台北國立歷史博物館、美國史密森尼博物館、丹佛藝術博物館及美國世界銀行所收藏。他曾獲得多個藝術獎項，當中包括1998年由香港藝術發展局所頒發的視覺藝術成就獎以及獲邀出席在2005年由澳門藝術博物館所舉辦的「以身觀身 ─ 中國行為藝術文獻展」。「蛙王藝術館」計劃，由2001年起在香港牛棚藝術村開始進行。
Kacey Wong
黃國才
黃國才
Kacey Wong experimental art project investigates the poetics of space between human and their living environment. Kacey was born in Hong Kong in 1970. He was the winner of Best Artist Award in 2010, Rising Artist Award and Outstanding Arts Education Award given by the Hong Kong Arts Development Council in 2003. Kacey studied architecture in Cornell University, received his Master of Fine Arts Degree from Chelsea School of Art and Design and a Doctor of Fine Arts Degree from Royal Melbourne Institute of Technology. He is now an Assistant Professor at the Hong Kong Polytechnic University’s Environment and Interior Design Discipline. Kacey curated many art exhibitions exploring issues of space and city: Home (1999), Personal Skyscraper (2000), City Space (2001) & Drift City (2001, 2002) and exhibited both local and internationally. Kacey started his Drift City photo series since year 2000, dressing up as a skyscraper traveling from cities to cities in search for utopia. His mobile home tricycle project Wandering Homes was selected to be feature at the 2008 Venice Architectural Biennale in Italy and his floating house Paddling Home was the star feature in 2010’s Hong Kong & Shenzhen Bi-City Biennale of Urbanism \ Architecture Exhibition.
黃國才的實驗性作品探討人與其生活空間的意義。黃氏於2010年獲香港藝術發展局授予年度藝術家獎，2003年香港藝術新進獎及優秀藝術教育獎項。美國康奈爾大學建築系學士，英國卻爾西大學雕塑碩士，澳洲皇家墨爾本理工大學藝術博士。現為香港理工大學環境及室內設計系之助理教授。自2000 年開始其《遊離都市》攝影系列，穿著摩天大樓衣服扮演大厦角色於世界各地尋找烏托邦。其設計的一人居所三輪車屋《流浪家居》於2008年獲選代表香港參加意大利威尼斯建築雙年展。2010年更於香港深圳城市 \ 建築雙城雙年展中駕駛他的《漂流家室》號小型船屋在香港維多利亞港上漂浮。
Leung Po-shan Anthony
梁寶山
梁寶山
Leung graduated from the Chinese University of Hong Kong in 1996, majoring in Fine Arts and pursued a M. Phil degree at the same department in 2000. She returned from the UK after studying at the University of Leeds on a HK Arts Development Council Scholarship in 2001/02. Playing with images, texts and body in theater, performance and installation, she has been involved in many major exhibitions locally and overseas. She also teaches, writes, researches and has established her own ‘one-wo/ man band’ company 70+art/words (www.70.com.hk).
She involved in the experimental theater group ‘20 beans + box’ (http://www.20beans.com) in early years. Since 1997 she has concentrated on her own artistic development, major works include, Love the Fucking Country (1997, Hong Kong Cultural Festival, Munich/ 2000, Jazz Club, Macau), The Sun Never Goes Down on the British Empire (1999, Perth, Australia) The Devotion I (also known as the Flower Inscription) (2001, Para/site art space; Gwanju Biennial 2002), Empty Jacket (9 +/-) (adaptation of Jean Genet Balcony, collaboration with Steve Pang, 2001 Hong Kong Arts Center and The Old Ladies House, Macau), and transformation double (20 beans + a box production (inspired by Double Body and Metamorphosis/ 2003 Hong Kong Arts Center), On-on-One Solo Installation + Performance (2002/03, On&On Theater Workshop / Girl Plays Women Art Festival), Spiderwoman (2004, Cruel/ Loving Bodies, Dolun Modern art Museum, Shanghai; Space 798 Beijing and 2006 Hong Kong Arts Center). Latest project “Shadow-in-time” is a meditative series, duration performance and installation in various sites, from embodiment to disembodiment. She was the “Breathe” resident-artist at the Chinese Art Centre 2007 and participated in the “Vital: Chinese live art festival”.
She involved in the experimental theater group ‘20 beans + box’ (http://www.20beans.com) in early years. Since 1997 she has concentrated on her own artistic development, major works include, Love the Fucking Country (1997, Hong Kong Cultural Festival, Munich/ 2000, Jazz Club, Macau), The Sun Never Goes Down on the British Empire (1999, Perth, Australia) The Devotion I (also known as the Flower Inscription) (2001, Para/site art space; Gwanju Biennial 2002), Empty Jacket (9 +/-) (adaptation of Jean Genet Balcony, collaboration with Steve Pang, 2001 Hong Kong Arts Center and The Old Ladies House, Macau), and transformation double (20 beans + a box production (inspired by Double Body and Metamorphosis/ 2003 Hong Kong Arts Center), On-on-One Solo Installation + Performance (2002/03, On&On Theater Workshop / Girl Plays Women Art Festival), Spiderwoman (2004, Cruel/ Loving Bodies, Dolun Modern art Museum, Shanghai; Space 798 Beijing and 2006 Hong Kong Arts Center). Latest project “Shadow-in-time” is a meditative series, duration performance and installation in various sites, from embodiment to disembodiment. She was the “Breathe” resident-artist at the Chinese Art Centre 2007 and participated in the “Vital: Chinese live art festival”.
畢業於香港中文大學藝術系，1996年獲藝術學士，2000年獲哲學碩士學位。2001年獲香港藝術發展局獎學金前往英國利茲大學修讀藝術史碩士。 從事教學、研究、出版及策劃工作。
梁氏為早期劇場創作集體「廿豆．盒子畫」成員。其後繼續在視覺藝術與文字創作、裝置與表演之間踩界，近年主要作品包括：《+ / - 9》(又名《空夾克 》)、《陽台》(2001 香港藝術中心 / 澳門婆仔屋)、《好門能愛國》(1997 德國 / 2000 澳門 ) 、《玫瑰密碼 》( 2001 香港 / 2002 光洲雙年展)、《梁寶山單打裝置 + 表演系列 》(2003/牛棚藝術村前進進戲劇工作坊)、〈雙身．蛻〉(2003/ 廿豆．盒子畫)、《蜘蛛精》(2004/「酷/愛身體」上海多倫現代美術館；北京798)。梁氏為英國曼徹斯特華人藝術中心2006年「Breathe」駐場計劃之藝術家，並參與「Vital: Chinese Live Art Festival」。
Tsang Tak-ping
曾德平
曾德平
Tsang Tak-ping was born in Hong Kong. He works in creative realms such as design, public art, installation, performance, photography, publication and art & design criticism. Tsang is currently an Associate Professor in the School of Design, Hong Kong Polytechnic University. Tsang exhibits widely in Asia, Europe and North America including Gwangju Biennale (Korea), Venice Biennale (Italy), Hamburg (Germany), New York (USA), Beijing (China), Tokyo (Japan) and Shanghai (China).
He is the co-founder of Para/Site Art Space, an alternative space for the promotion of Hong Kong contemporary art by exhibition, publication, research and public forum since 1996. Since the Star Ferry Art Action in 2006, Tsang and a group of young artists established We Are Society (WAS) and use creative means to concern cultural conservation and lives in public space. In 2008, he founded Mindful Design lab to promote mindful ways of living and mindful creativity by means of creative education, art and design.
曾德平生於香港。從事設計、裝置、表演、攝影、出版、藝術和設計評論。現職香港理工大學設計學院副教授。曾參與亞洲、歐洲和北美洲的國際性展覽，包括光洲雙年展(韓國)、威尼斯雙年展(意大利)、漢堡(德國)、紐約(美國)、東京(日本)和上海(中國)。
曾氏為Para/Site藝術空間的創辦人之一，自1996年，透過展覽、出版、研究和公開研討會推動香港當代藝術。自2006年天星碼頭及鐘樓藝術行動，與年青藝術家創立 We Are Society (WAS) 公共藝術組織，推動文化保育和公共空間生活中的創意發揮。於2008年創立正念設計研究實驗室，以創意教育、藝術和設計，推廣正念生活和心性創意發展。
Choi Tsz-kwan, Ger
蔡芷筠
蔡芷筠
Choi Tsz Kwan, Ger is a performance artist, designer, educator and social activist in Hong Kong. She was one of the initiators of ‘Art Action to Conserve the Clock Tower’ with a series of art actions to draw public attention on the removal of the Star Ferry clock tower which was the heart of the city and Hong Kong history in 2006. In the same year, she founded the performance art group We Are Society (was) to deliver messages of happiness, freedom and public life to local communities. During the 20th anniversary of the 1989 June-4th massacre, she co-founded ‘P-at- riot : June-Fourth Festival for Post-80s Generation’ to reiterate the spirit of questioning and rebellion to young people by means of visual art, movie, reading and music. In 2009, she joined the ‘Post-80s Youth anti XRL’ to protest against the government’s decision on a HK$66.9 million railway project. She was responsible for the propaganda design and action planning in the group. Since 2008, she had been working as a secondary school teacher responsible for curriculum design and teaching of a group of students who decided not to take the public examinations. She becomes a freelancer recently.
蔡芷筠，多功能社會參與者(行為藝術、設計、教育、社會運動) ，一直以不同身份宣說同一個主題：希望人人活得更好。2006年發起「保育天星鐘樓藝術行動」，以一連串在地行為藝術喚起大眾對保育議題和城市發現的關注。同年成立行為藝術組織We Are Society (WAS) ，深入不同社區(例如天水圍) ，讓人反思公共空間、自由、快樂等議題。2008年六四學運二十周年發起「P-at-Riot : 80後六四文化祭」，透過藝術、電影、閱讀和音樂入手，讓八九六四的精神和勇氣能夠以不同面貌傳承到更多的80後心中。2009 年加入反高鐵運動，成為「80後反高鐵青年」主力之一，負責宣傳設計，希望在過程中提升社運美學，讓一般市民也更能關注政治和城市發展。以上項目沒有帶來收入，所以過去正職在中學工作，教一班決定不考會考的中學生更有勇氣地面對將來。最近是一名自由工作者。
Salad Ho
何祖怡
何祖怡
Salad Ho was born in Hong Kong. She obtained a Higher Diploma in Visual Communication from the Hong Kong Institute of Vocational Education in 2007. After that, she pursued a BA in Visual Arts at the Hong Kong Baptist University. Her works have been exhibited in ‘SOLOS’, the Visual Arts Graduation Exhibition of Academy of Visual Arts, HKBU (June 2010) and ‘9+2’ new young artists exhibition, organised by K11 Shopping Museum of Art (July 2010).
During the past few years, Ho participated in many academic exchange programmes and traveled to places such as Beijing, Qingyuan, Taiwan, Japan, Korea, Canada, United Kingdom, Italy and Paris. Ho lives to travel and see, explore and observe. Life experience is an invaluable assess that nurtures creativity. In her work, she explores the relationship between people and people, people and space.
何祖怡出生於香港，於2007年，取得香港專業教育學院視覺傳藝高級文憑。2010年獲得於香港浸會大學視覺藝術院文學士榮譽學位。曾參與香港浸會大學視覺藝術院舉辦之《SOLOS》畢業展(2010年6月)、K11購物藝術館舉辦之《「玖+意」新生年青藝術家作品展》(2010年7月)。
在學期間，何氏積極參與本地與海外之學術交流，曾遊歷北京、清遠、台灣、日本、韓國、加拿大、英國、意大利、巴黎。喜歡四處遊歷，四處出訪、探索、觀察，認為創作源於生活。人生閱歷和自身經驗是一大本錢、無價之寶。作品多是探索人與人、人與空間之關係。
| Artist 藝術家 |
 |
Work 參展作品 |
||
| Kwok Mang Ho, Frog King 郭孟浩（蛙王） |
A Record by a Friend A Record of an Artist (1975) 《一個朋友的紀錄 一個藝術家的紀錄》(1975) |
|
Flashing Frog (2010) 《蛙閃》(2010) |
|
| Kacey Wong 黃國才 |
Drift City (In Search of the Dragon, H.K.)(2010) 《游離都市》(2010) |
Drift City (Central, H.K.) (2003) 《游離都市》(2003) |
||
| Leung Po Shan. Anthony 梁寶山 |
Public Act of Private Hearing “Book Burning” at the Queen’s Pier 22 & 25 April 2007 (2007) 《「焚書」之皇后碼頭》 2007年4月22及25日 (2007) |
‘Walking Backwards’ in ‘Ten Years after the Handover’ Series (2007) 《「十年回歸前後話」之行 「行路打倒褪」》(2007) |
||
| Tsang Tak Ping 曾德平 |
This is Public Space. Actions at Times Square (2008) 《此乃公共空間. 時代廣場》 (2008) |
Awakening: Let me eat a bowl of three sins (Greed, Anger, Ignorance) (2008, 2009) 《讓我覺醒來吃掉一碗貪嗔痴》 (2008,2009) |
||
| Choi Tsz Kwan, Ger 蔡芷筠 |
Star Ferry Arts Action (2006)
《天星藝術行動》 (2006) |
A Living Dark Hole (2009) 《生存黑洞》(2009) |
||
| Salad Ho 何祖怡 |
Let’s Play (2010)
《來玩吧!》(2010) |
|||
