Ava magazine 2014 e version s

va A

#3

MAGAZINE FOR VISUAL ARTS AND ARTISTS

Academy of Visual Arts

視覺藝術院

Explore Experience 經驗探索

目錄

Content

4 P. 4 — 7

Making Room for the Experience 為經驗騰出空間

P. 22 — 25

Making Room for Experience " anything goes " Kunstquartier 德國柏林《 anything goes》藝術展

Transit 2013 : Concentration,

P. 46 — 48

洞見

Do You See What I See

P. 49 — 50

Staff Bites

P. 51

Normal Daily Objects

視覺藝術院老師訪談

In Creation, I Encountered Myself

尋常的事物

Viewpoint 1-8

P. 52 — 55

Finding and Filling Gaps in

視點 1-8

Contemporary Art Research : Hans-Ulrich

P. 35

Urban Seabed

Obrist and the Agency

作品 Urban Seabed

of Unrealised Projects (AUP)

P. 36 — 39

MVA Graduation Show 2014

為當代藝術研究找缺口：小漢斯的

Refinement, Earnestness 專注、精煉、摰誠

Hello Justin

Insights

您看見我看見的嗎

BA (VA) Graduation Show 2014 Review

創作時，我遭逢自己

P. 34

現代美術國際交流展 2013 :

P. 16 — 19

BA (VA) 2014 Graduation Show

44

本科畢業展 2014 藝評

P. 32 — 33

Bethanien, Kreuzberg, Berlin P. 12 — 15

與觀眾互動

本科畢業展 2014

P. 26 — 31

為經驗創造空間

P. 8 — 11

20

Involving Audience

視覺藝術碩士課程 畢業展 2014

您好黃照達

P. 40 — 43

「未完成藝術作品」徵集計劃

P. 56 — 59

Tuna Prize Tuna Prize 獎項

A Stone's Throw : Sunny Wang 擲石．剎那：王鈴蓁

P. 60 — 63

From Typography to Typeface Design.

Or, Experiencing to be a Student Again. 從文字編排及設計到字體設計 : 重拾學習的體驗

64 P. 66 — 67

Growing Experience 經驗的增長

Experience Design :

84 P. 86 — 87

Concepts and Case Studies

between Latin Letters and Chinese Characters

Dérive — The First Lesson

拉丁字母與漢字二者之間 的文字編排及設計翻譯

P. 88 — 91

22°N — The Roundabout 22°N —— 於北緯 22度的迴旋處

P. 72 — 83

Hanzi Graphy – A Typographic Translation

of Experience Design 漂流 —— 體驗設計的第一課

P. 70 — 71

AVA Event List 視覺藝術院活動一覽

地點與空間

《 Hanzi Graphy》——

經驗設計：概念與研究個案

P. 68 — 69

Place and Space

P. 92 — 93

7+ Years of Glass Studio at AVA

94 P. 96 — 99

Through Our Eyes

At Sangwoodgoon We Sowed Seeds

108 P. 110 — 111

of Creativity…

Academy of Visual Arts 視覺藝術院課程理念

P. 100 — 103 "Through Our Eyes" Photography Education Programme " In-between" Photography Exhibition 「憧憬世界」攝影教育計劃 ——

Creating Rm 311

「漸漸」攝影展

P. 104 — 105 The Inhabitables 可以居

P. 106 — 107 From the Factories 我們來自工廈

前台背後

Programme Philosophy at

在生活館，我們播下創作的種子……

在視覺藝術院玻璃工作室的七個寒暑

齊手打造三壹壹

憧憬世界

Behind the Scene

P. 112 — 117 BA (Hons) in Visual Arts Programme Structure and Admission 視覺藝術 ( 榮譽 ) 文學士課程結構及入學

P. 117 — 120 Other Information of AVA 其他資料

Making Room for the Experience

為經驗騰出空間

6

7

Making Room for Experience

The philosophical area concerned with the study of human

Peter Benz, BA (Hons) in Visual Arts Programme Director

experience is called “phenomenology”. The ideas and theories on phenomenology were initially developed in Germany in early 20th century, possibly because in difference to English in

It is one of the major dilemmas of the notion of “experience”

German language – as also in French and a number of other

that the word as such in English language is slightly ambiguous,

languages – there are indeed two different words to describe

as it entails two fairly distinct meanings which are not that easy to untangle.

the two different meanings of the English “experience”:

“To have” is about ownership, about possessing something,

The problem with this second meaning is that the exact nature

Erlebnis (= the event-like experience) and Erfahrung (= the

holding on tightly, keeping it safe. In that sense “to have

of the “accumulated skillset” is impossible to define. Does

accumulative experience).

something” is passive, stable, introvert. “To make” in return is

One meaning of experience refers to “an experience”, i.e. a kind

an experienced teacher have more academic knowledge than a

of event one has lived through. For example, when we say

teacher fresh from university? Not necessarily. Does he

This introduction here isn’t the place to elaborate the various

shaping it, and while it doesn’t explicitly say so, “to make”

“the party last weekend was cool”, we essentially summarise a

have better, more up-to-date, or more successful pedagogic

concepts, approaches and lines of thoughts in phenomenology,

inherently implies also an active will to create, to be creative.

particular experience we went through, and our listeners will

methodologies available? Again: not necessarily. Have all

thus I’d only like to pick out one interesting detail in the use

There is no “making” without creativity.

usually be able to fill in the missing information from the pool

the years on the job made him a better person? Quite unlikely.

of German language that I believe is somewhat telling: the

of their own personal experiences. It works the same in “I tried out the new X-Box; it’s lame” or “our holiday in Bali

Whatever it is that makes someone “experienced” in a field, it

was so relaxing”.

avoids clear definition: it is by nature always ephemeral

about production, about constructing something, developing,

combination of the respective German experience nouns

I have to admit this is an idea I very much appreciate: not

with different verbs.

merely to have experience – there it is, and that’s it – but to be able to actively form my personal experience along the lines

and individual, it usually evades the possibility of being

In English language the noun “experience” is commonly used

I myself aspire. It puts me in control of my personality, my life,

All these examples have in common that the experience is

systematically analysed. Instead it is more of a fuzzy

with the verb “to have”: “to have an experience” or “to have

and ultimately allows me freedom.

fairly precisely defined in terms of its timely development: for

intuition that allows the experienced fisherman to “sense”

experience”. In these two phrases the two distinct meanings of

each of them at least we can tell when the experience started,

a change in the weather, the experienced football player

experience become somewhat apparent again, but – for my

Apparently this was seen similarly by French philosopher

when it ended and what happened in between; and — if asked

to “read” the match, and the experienced teacher to “know”

point here — it is more important to note that the verb is in both

Jean-Jacques Rousseau who wrote in his book Emile, or On

— we could probably qualitatively characterise our impressions

how to inspire the individual student.

cases the same. In difference to that in German Erlebnis comes

Education in 1762: “Instead of becoming passive by being

(“cool”, “lame”, “relaxing”). If we analysed those examples more

with “haben” (= to have) only, while Erfahrung can be combined

taught, or resentful by being punished, the child must learn

carefully we might even discover that they all have particular

Accordingly, “to be experienced” is commonly considered a

also with “machen” (= to make). “To have an experience” is

from experience, from seeing the natural consequences

structures in common, that there might be underlying rules

good thing; experience is a value, which is why experienced

thus opposed by “to make an experience”.

of his actions.”

and principles that allow us to indeed identify and categorise

professionals get higher salary than those new to the job. In the

these events as distinct experiences.

late 1990s economists from the Harvard Business School

“To have” or “to make”: what is the difference in that?

For Rousseau from this follows that a teacher has to anticipate

even suggested that experience might be the defining economic

where the student’s interests might lead and be prepared

The second meaning of experience is more tricky, and possibly

value of the 21st century, and proclaimed the beginning of a

to guide him or her in a healthy direction. From this also

best introduced by using the related adjective: when I claim

new “experience economy”.

follows that any educational programme is not about

“I’m an experienced teacher” I imply that I have taught for a

imposing set knowledge on the student, but rather to facilitate

long time, thus have developed a degree of routine in this

Since then the notion of experience has come a long way:

his or her inquires by making available appropriate

practice, have had many students, have seen many professional

today it is common practice in a variety of professional (design)

opportunities for experience.

problems on the way, and over time have collected the

fields to refer to some sort of “experience” as one practice

knowledge and skills to solve them adequately. This second

outcome. Lingo such as “experiential marketing” and “brand

The third edition of Ava Magazine as you’re holding it in

meaning of experience thus refers to a concept that might

experience” permeates the advertising business. Similarly

your hands right now provides a cross-sectional snapshot of

best be described as an ‘accumulated skillset’, in which the

“product experience,” “customer experience,” but also “travel

the opportunities for educational experiences offered by

accumulation however happens subconsciously, usually

experience,” “educational experience,” and other experiential

the Academy of Visual Arts, ranging from our course offerings

through multiple repetition over a lengthy period of time.

derivations are commonly accepted notions within almost any new product or service development. Experience Design is

to co- and extra-curricular activities to staff research to . Illustration by Chino NG .

student initiatives and beyond. I hope and believe this will

at the brink of becoming established as a new human-centred

allow you – our friendly reader – to get a lively impression

design discipline in its own right, and as a first Denmark

of what studying and working at the Academy of Visual

recently officially adopted the experience economy as a

Arts is all about.

government policy.

為經驗騰出空間

Making Room for the Experience

8

9

為經 驗 創 造 空 間 視覺藝術（榮譽）文學士課程總監 奔子墨

從盧梭的說法，老師需要考慮若跟隨學生的 定義「經驗」是兩難的事，這個詞在英文中

興趣去走，前路會是如何，以及須準備好帶

概念有點含糊，可以指兩個不一樣的意思，

領他們走向健康的方向。這個說法也闡明

也不容易疏理其中的關係。

了，任何教育課程都不應把限定的知識強加 到學生身上，而是根據他們的追求去製造適

經驗的其中一個意思可以指「一段經驗」，

「變得有經驗」相應就視作為是美好的事；

即是人曾經歷過的事件。例如我們說「上個

經驗也具價值，因此經驗教授的薪金比新入

周末的派對很精彩」，基本上我們在對一段

職的高。在 1990 年代末，哈佛商學院的經

特定的經驗作總結，然後聽者通常會以自己

濟學家甚至提出，經驗或許是二十一世紀界

「去擁有」是關於擁有權，包括擁有一些東

累積的經驗來填補缺少了的資訊。其他例子

定經濟價值的指標，並聲言新的「經驗經

西、緊握和保護着它。在這個意思下，「擁

包括「我試玩了新的 X - Box，不 好 玩」或是

濟」已開始。

有些東西」是被動的，具發展性和內斂的。

切的經驗機會。 「去擁有」或「去製造」 ：兩者的分別是甚麼？

「我們的峇里之旅很輕鬆愉快」。

相反，「去製造」關乎創造，包括建立一些 經驗的第二個意思較難定義，大概最好是以

由於經驗的概念已出現了很長時間，今天不

哲學中從事人類經驗研究的科目稱為「現象

東西、發展並讓它成形；雖然沒有明示出

這些例子都有一個共通點，就是在時間發展

相關的形容詞來介紹：我說「我是位經驗教

同的專業（設計）領域已把某些「經驗」視

學」，當中的概念及理論在 20 世紀初的德

來，「去製造」也暗示了積極創造的意願，

來說，經驗是頗能界定的：至少在每個例子

師」暗示我已教書多年，在工作上已發展了

作為一個人實習的成果。廣告業界滿是「經

國發展出來，大概是因為德文與英文，以及

變得有創意。沒有創意就沒有「製造」。

中，我們都可指出這些經驗的開始和結束時

某程度的習慣，教導過很多學生，一路以來

驗市場學」和「品牌經驗」的術語；「產品

法文和其他好幾個語言系統不同，在德文中

間，以及當中發生了的事情；如被問及感

遇過多種專業問題，長時間下我累積了足以

經驗」、「客戶經驗」同時亦包括「旅遊經

有兩不同的字來形容英文中「經驗」所指的

我承認這是自己非常認同的觀點：不僅是有

受 的話，也能描述我們的印象（「精彩」、

解決各種難題的知識及技巧。那麼，經驗的

驗」、「教育經驗」及其他的衍生經驗，同

兩個意思：「Erlebnis」指事件經歷中的經

經驗，就光只有經驗，但同時能根據本身渴

「不好玩」、「輕鬆愉快」）。如果我們深入

第二個意思是指一個概念，或是最好把它形

樣在任何新產品及服務開發的過程中成為廣

驗，「Erfahrung」則指累積的經驗。

求，積極建立個人經驗，讓我可以控制自己

分析這些例子，更會發現它們都有特定的結

容為一套「累積的技術工具」，即使那是不

泛認可的概念。以人為中心的設計學科「經

構，當中潛在的規則及準則，使我們能辨別

自覺中發生，並透過長時間不斷重複地累

驗設計」已差不多變成一門獨立的專業；丹

這篇介紹並不旨在闡釋現象學中各個概念、

並把事件歸類為不同的經驗。

積而來。

麥最近亦成為首個正式採取經驗經濟為政

處理方法和思路，因此我只會選其中一個

法國哲學家盧梭在 1762 年的著作《愛彌

影，包括我們的課程、課堂及課外活動、教

策的國家。

在德文運用中我認為能詳細解釋清楚的有

兒，或論教育》顯然有類似的觀點：「與其

職員的研究以至學生的創作計劃等。我希

第二個意思的問題，在於「累積的技術工

趣說明：兩個德文的經驗名詞與不同動詞

在 授 教 中 變 得 被 動 ， 或 從 被 罰 中 變 得 滿腔

望並相信雜誌能給你這位親愛的讀者一個

具」的真正本質是無從定義的。經驗教師的

的組合。

憤怒，孩子必須從經驗中學習，從自己的行

活靈活現的印象，得知視覺藝術院學習及

為中看到事情的自然結果。」(譯文)

工作的模樣。

的個性和生活，最終給予我自由。

學術知識是否比剛從大學畢業的學生豐富？ 不一定的。他是否有較好，較與時並進，或

在英文中，名詞「experience」(經驗)通常

是更有效率的教學方法？同樣是不一定的。

配以動詞「to have」(去擁有)，例如「擁有

在工作崗位上多年是否使他們變成個更好的

一 段 經 驗 」或「 有 經 驗 」。 在 這 兩 句 片 語

人？不太可能。

中，「經驗」兩個明顯不同意思再次突顯出

你手上的第三期《Ava》雜誌，展示了一些 視覺藝術院在提供教育經驗上的代表性剪

來，但我的論點是，請注意兩句片語都是用 不論使人在一個範疇上變得「有經驗」的是

同一個動詞。德文則不一樣，「Erlebnis」

甚麼東西，卻都是沒有清晰的定義：本質上

只能用「haben」 （去擁有） ，而「Erfahrung」

總是短暫及個人的，並且普遍來說也會避免

也可以配「machen」 （去製造） 。「擁有一段

讓它成為系統化分析的對象。其實這更像一

經驗」因而與「製造一段經驗」相對。

股模糊的直覺，讓經驗的漁夫「感覺」到天 氣的變化，經驗的足球員可以「看懂」球 賽，以及經驗的老師「知道」如何啟發個 別學生。

. Illustration by Chino NG .

Making Room for the Experience

“anything goes” Kunstquartier Bethanien, Kreuzberg, Berlin 27. 10. 2013 – 03. 11. 2013 Participating artists: Angela CHEUNG, Mark CHUNG, Carol CHUNG, HSU Wai Lun, LAM Hau Yi, Denise LEE, Dylis LEE, Ziggy LI, Hazel MA,

為經驗騰出空間

10

11

The workshop with AVA students proposed and developed the idea of an exhibition in Berlin, currently one of the most dynamic and important centres for contemporary art in Europe.

The venue for the exhibition was the iconic Kunstquartier Bethanien in the Kreuzberg cultural district. Bethanien is an

德國柏林 「 anything

goes 」

impressive 19th century building set in an open park in the

在工作坊中，視覺藝術院的學生一同構思和

heart of the city. Originally built as a hospital it was saved from

研發於柏林展覽的理念。柏林為歐州最富

possible destruction and redevelopment in the 1970s and

活力的當代藝術重鎮之一，展覽選址於當

converted into a cultural centre hosting arts organisations,

地文化藝術區克羅伊茨貝格的 Kunstquartier

藝術展

exhibition and theatre spaces and artist’s studios. Bethanien

Bethanien 藝術中心舉行。這棟 19 世紀的歷

TSANG Po Fan, Leo YUEN, WONG Yuen Ying, Tania WONG,

plays an important role in the cultural life of the Kreuzberg area

史大樓為巿內的標誌建築，座落露天公園，

WAN Sin Ying, Elvis YIP.

27. 10. 2013 – 03. 11. 2013

and the city of Berlin. It has played a major part in the artistic

位處全巿的核心地段，叫人注目。大樓原為

參展藝術家：

development of several generations of Berlin based artists and

醫院，及至 1970 年代獲政府重建，免過清拆

張曉恩、鍾正、鍾詠琪、許偉倫、林巧兒、

has a strong international programme.

的命運。當局把大樓轉化為文化中心，容納

李定思、李皓兒、李嘉輝、馬蒨薇、

各式藝術團體和藝術工作室，並為展覽和劇

曾寶芬、袁建暉、王琬瑩、黃芷櫻、

During the intensive workshop at AVA 15 students from the BA

場活動提供場地。Kunstquartier Bethanien

尹倩盈、葉建邦。

and MVA Programmes worked together with Martin and

藝術中心是克羅伊茨貝格區以至全巿文化生

Anne to formulate a curatorial concept and a strategy for the

活不可或缺的部分，在推動柏林多代的藝術

organisation and logistics of undertaking a substantial group

發展上擔當重要的角色。該中心亦舉辦不少

exhibition in a major venue within an important international

重大的國際藝術活動。

context. All aspects were discussed and planned in detail and 5 students were selected to travel to Berlin to install the exhibition and continue the development of the workshop.

來自視覺藝術院學士與碩士課程的 15 名學 生參與密集式工作坊，與 Martin 和 Anne 合 作制定I A M 是 次 策 展 的 概 念 和 策 略 ， 籌 劃

"anything goes" was an exhibition of works by students from

The logistics of transporting the work and installing complex

在一個主要場地舉行國際級大型聯展的後

the Academy of Visual Arts, HKBU held in Berlin in the autumn

multi media artworks within a limited time frame, a limited

勤安排。各人詳細討論及規劃所有範疇，

of 2013. The exhibition in the Project Space at Kunstquartier

budget and limited access to facilities created some complex

最後選出五名學生遠赴柏林籌備展覽，繼

Bethanien in Kreuzberg was the conclusion of an intensive

problems for the five students. Martin and Anne were

續發展工作坊擬定的規劃。

workshop proposed by AVA assistant professor Mariko Takagi

very supportive and encouraging during the setting up of the

and conducted by visiting artists Martin and Anne Müller in

exhibition and I also worked with them during the days

對於五名學生來說，在有限的時間及預算

Hong Kong at AVA earlier in the year.

leading up to the exhibition opening.

下，加上難以事先視察場地，要籌劃運送及

Martin and Anne are the founders of International Art

The exhibition space is classically beautiful but also challenging,

困難重重。在籌劃期間，Martin 與 Anne 全

it consists of 6 high ceiling rooms with a total floor area of 220

程支持及鼓勵學生，我亦於展覽開幕前的日

sq. metres. Inevitably the carefully considered plans formulated

子與他們合作籌備。

裝置複雜多媒體藝術作品的後勤細節，無疑 Moves (IAM), they set up IAM in 2009 with an aim to develop a network of international art schools and academies and

「anything goes」藝術展於 2013 年秋季在柏

enable art and design students to participate in multicultural

林舉行，展出香港浸會大學視覺藝術院學生

at the workshop in Hong Kong and over the intervening

exhibition in an international context.

的作品。是次展覽於克羅伊茨貝格區

months had to be modified on site. A considerable number of

是次展覽的場地由六個高天花的展覽室組

Kunstquar tier Bethanien 藝術中心 Project

the works had to be reconfigured in some way, as well as

成，總樓面面積 220 平方米，美不勝收，同

Space 登場，總結了本院於年初進行的密集

further developed, to become more site specific. The student

時充滿挑戰。學生必須因應場地，把他們於

式工作坊成果。舉辦工作坊的構想由助理教

team worked exceptionally hard throughout this time with

香港工作坊連月精心制定的規劃改動；不少

授高木毬子提出，並邀得訪問藝術家Martin

excellent co-ordination and a selfless and constructive attitude

展品亦要稍為重新配置，並加以發展，使之

與 Anne Müller 主持。

towards every aspect of what was required. Not only had they

更融合場地的環境，成為場域特定的藝術

the responsibility to install their own work but they also had to

品。學生團隊當時傾盡全力，並展示出色

Martin 與 Anne 為「國際藝術行動」(IAM) 創

take responsibility for all the work of the other participating

的統籌能力。他們負責裝設本身的作品

辦人，兩人於 2009 年成立這個團體，旨在

artists. It was particularly impressive to see the commitment and

外，亦要對其他參展者的裝置作品負責，

連結全球的藝術院校組成國際網絡，讓藝

energy that went into ensuring that all the work was installed

就此表現出無私和建設性的處事態度。學

術與設計學生有機會參與多文化的國際展

in the most appropriate and meaningful way.

生全心竭力，確保所有展品以最合適和有

覽活動。

意義的方式裝設展示，他們的決心和魄力 叫我留下深刻的印象。

Making Room for the Experience

為經驗騰出空間

12

13

The works exhibited showed to excellent effect the diverse range of approaches students at AVA have used to express their

in collaboration with the Institute of Foreign Relations in Berlin

ideas and their innovative use of materials and technical

and IAM, organised a cooking event titled “cooking international

processes. Considering that each of the areas in design and

stereotypes”. The event linked African and Hong Kong cultures.

craft as well as lens based media and studio arts were

The students prepared and cooked African food working from

represented in the exhibition the diverse works had a very

是次展品體現我們學生表達意念的多樣模

their memory of visiting an African restaurant in Hong Kong

strong sense of cohesion and curatorial intent.

式，創新的物料應用手法，以及對創作技術

during the IMA workshop. Working without any recipes or

的掌握。各式作品涵蓋設計、工藝、鏡頭媒

particular knowledge of African ingredients and spices a

The exhibition opening was very well attended and was a great

體與工作室藝術多個範疇，流露強烈的凝聚

large meal was prepared for an adventurous and enthusiastic

success. The Hong Kong Economic and Trade Office provided

力與策展意向。

multi-cultural group of participants.

food and drinks for the opening with a range of Hong Kong dishes that proved to be very popular with local visitors. At

The experience of being in Berlin and working under pressure

the opening there was a particular moment of effective theatre

to deliver a significant exhibition and engage with the local

provided by MVA student Denise Lee. She did a performance

community in a variety of ways was an exceptional opportunity

that surprised and captivated the audience and provided a very

for the five students representatives from AVA, Mark Cheung,

moving and poignant live artwork. She began by leading

Denise Lee, Po Fan Tsang, Hazel Ma and Elvis Yip. Their commit-

the audience from the gallery to the park outside and in the

ment and generosity of spirit impressed everyone; they

darkness she prepared some pigments by burning some

were excellent ambassadors for AVA and for the IAM initiative.

fallen leaves and cutting and burning some of her own hair.

Leading the audience back to the gallery she used the

The Academy is very grateful to Martin and Anne Müller for

burnt residue to make ink and then proceeded to make a large

their vision and professionalism in conducting the IAM’s

calligraphic work using her long hair as a brush.

workshop and for enabling our students to have the amazing

參展的學生更與柏林外交學院 ( Institute of Foreign Relations ) 和 IAM 合辦一個烹飪環節 「cooking international stereotypes」(炮製國

opportunity to present their work to new audiences in Berlin.

際典型)，進一步突出上述特色。這個環節

Support from the Berger Collection, Winter Stiftung, the HK

連結香港和非洲文化，學生沒有任何菜譜，

Economic and Trade Office, OSTRALE and Culture Net was

亦不太認識非洲食材和香料，僅憑着他們於

also greatly appreciated.

IAM 工 作 坊 期 間 到 香 港 一 間 非 洲 菜 館 的 記 憶，為來自不同文化和大膽的參加者炮製一 John Aiken

頓盛宴。

Director 這次鍾正、李定思、曾寶芬、馬蒨薇和葉建 展覽開幕酒會十分熱鬧，成績斐然。香港經

邦五名同學代表視覺藝術院參展，他們身處

濟貿易辦事處為酒會提供餐飲安排，帶來多

柏林的體會，在壓力下成就出色展覽的經

款香港特色食品，深受當地賓客歡迎。視覺

歷，以多種形式與投入當地社群的經驗，

藝術碩士學生李定思更帶來驚喜，在盛會中

確是難能可貴。他們竭誠努力的態度，寬

演繹一段攝人的劇場演出，即席呈獻一件動

宏坦蕩的精神，叫人印象難忘，可謂視覺

人淒美的藝術作品。她首先引領觀眾從藝廊

藝 術 院 出 色 的 宣 傳 大 使 ， 並 發 揚 了 IAM 的

走到門外公園，燃起落葉，又割下一些頭髮

積極精神。

This and several other events created a real sense that the

燃燒，在黑夜中添上煋煋色彩。接着引導觀

original concept for the Project was evolving and in a process

眾回到場內，以剛才的灰燼為墨，以頭上的

特此感激 Martin 與 Anne Müller 發揮遠見和

of continued development, this aspect was greatly

髮絲為筆，揮毫完成一幅大型的書法作品。

敬業精神主持 IAM 工作坊，讓學生透過如此

appreciated by visitors. The performance also gave added

難得的機會，在柏林向全新的觀眾演示作

value to an exhibition that already highlighted the Asian

開幕演出與其他環節充分體現整個項目的原

origins of the exhibited work and addressed issues of identity

創概念演化不息，不斷發展，令在場觀眾津

Stiftung、香港經濟貿易辦事處、OSTRALE 及

in relation to Hong Kong. However, the quality of the work

津樂道。展覽突顯作品的亞洲本源，回應香

Culture Net 支持是次活動。

exhibited successfully positioned the ‘local’ in a ‘global’ context.

港身份認同的議題，開幕演出令這份特色

To give even greater emphasis to this aspect the students,

倍加鮮明。展品的質素出眾，同時亦成功 在「國際」層面上定下「本土」的位置。

品。我亦衷心感謝 Berger Collection、Winter

莊藝勤 總監

為經驗騰出空間

Making Room for the Experience

Transit 2013: Concentration, Refinement, Earnestness

14

15

「你會切身感的到日本人對待工藝的認真態

現代美術國際交流展 :

度。日本人的工藝精神深深打動了我。他們

專注 、精

得我們欣賞。」

在工藝創作上專注、精煉和摯誠的態度，值

、 誠

- 文浩賢

From 12 to 22 December 2014, AVA-students

2014 年12 月12 至 22 日 ，

travelled to Nagoya, Japan to repay

香港浸會大學視覺藝術院學生到訪

crafting spirit was the most touching point to me:

們並非刻意向遊客賣弄這種態度，而是出於

a visit by students from Nagoya Zokei University,

日本名古屋，以答謝名古屋造形大學

their concentration, refinement, earnestness deserve our

本身對國家歷史的敬意。縱然日本天災頻

(Nagoya Zokei University)

appreciation.”

頻，這份態度足以令日本人堅強面對。」

who had been to Hong Kong earlier in 2013..

“You can feel how seriously the Japanese treat handicraft. Their

- MAN Ho Yin

「我見證了日本人致力保守傳統的心力。他

學生於 2013年訪問香港的心意。

- 吳森枝

“I can see how much efforts the Japanese out into preserving their traditions. It is not only for tourist but also out of respect “It was my first time to be in Japan. My first impression

for their history. Although they have to face lots of natural

陶藝工作坊。他們講授的基本原理及技巧與

disasters, they resist through their attitude.”

香港一樣，卻講求細節精確，從而需要更多

- NG Sum Chi

was the warm red light I saw on the way from the airport to the hotel.”

- CHOI Yi Ting

“ There were some gingko trees beside the street. Behind them

「我十分欣賞名古屋造形大學舉辦的印製及

步驟完成作品。這種步驟真的有助我們提 「這是我首次踏足日本的經驗。抵埗後從機

“I very appreciated the print-making and ceramics workshop

升作品質素，以新的方式研發作品。例如

場前往酒店，途中看到暖和的紅色燈光，成

(organised by NZU). The basic theory and techniques are the

運用傳統的日本紙藝，令作品線條更加鮮

same [as in Hong Kong], but they do it much more precisely

明俐落。」

為當地給我的首個印象。」

- 蔡伊婷

was the high wall of a Europe-style bank building. Those

and therefore more procedures are required. This kind of

gingko leafs were so gorgeous in the sunshine.”

procedure really helps to improve the quality of work and to

- NG Sum Chi

- 楊海美

develop it in new ways. For example, the use of traditional Japanese paper makes the lines so much more sharper and cleaner.”

- YANG Hoi Mei

“At NZU, they also built their own gama [= traditional Japanese kiln] for firing. It was my first time to see a brick gama for real.

It was so impressive.”

“For my favourite place visited, I will pick the very first chicken

「街道旁邊有一些銀杏樹，樹後是一棟充滿

「名古屋造形大學有自建的『gama』[ 傳統

歐陸風格建築的高牆。在陽光映照下，銀杏

日式窯] 燒製作品。我還是首次看到日式磚

葉份外悅目。」

- 吳森枝

wings restaurant we went to. Not because of the food there, but of the people and the experience. The table manners there

「若說我全程最喜愛的地方，非我們最初光

were so new to me. We took off our shoes and placed them in

顧那家手羽先 (雞翅膀) 店莫屬。這家店舖

lockers, we crossed our legs to sit on the floor. Everything

得我歡心，並非緣於店內的食物，而是在此

was so Japanese. These new experiences really made me

遇上的人事和體會。店舖的餐桌儀式對我來

so excited.”

說十分新鮮，入店後要脫鞋及將之放到儲物

- CHOI Yi Ting

- TANG Ming Sum

櫃內，並要盤膝而坐，每件事件都充滿日式 色彩。這樣嶄新的體驗令我十分振奮。」 - 蔡伊婷

窯的實體，十分難忘。」

- 鄧明心

為經驗騰出空間

Making Room for the Experience

16

17

“ When I received my ceramic piece back in Hong Kong, I was so delighted. The packaging and the finishing of the ceramics “ The art museum in Toyota not only makes very good use of the

were so prefect. NZU students treated our works so seriously and showed their responsibility and homage to us. It was really lovely and unforgettable.”

- MAN Ho Yin

「我在香港收到自己在日本創製的陶藝作品

outdoor environment, but also tries to merge the outdoor

時，十分高興。包裹的包裝以至作品的加工

scene with the museum interior. Their exhibition is one of

效果都完美無瑕。那兒的同學認真對待我們

the most excellent museum shows that I have seen in years.

“Although I have been to Tokyo once before, the experience of

的作品，展現他們的責任感和對於我們的敬

Every artwork in this exhibition could really be experienced.

these ten days [in Nagoya] was totally different. I “saw” much

意，令人叫好又難忘。」

- 文浩賢

They paid much attention to how visitors get involved.

more Japanese culture, and how the Japanese live in their own

- YANG Hoi Mei

way. They are so well organised and planned for everything, even the tiny details. I can see both enthusiasm and modesty in Japan.”

「豐田巿美術館不僅充分運用了戶外環境，

- LEUNG Chi Kwan

亦嘗試把戶外的景緻與館內的設計融合。館 “For me the best experience was the process of setting up my

方十分在意讓訪客投入展覽之中，那是我看

own work and helping others setting up theirs for our

過最出色的博物館節目。」

- 楊海美

exhibition [at Yada Gallery], as I was new to visual arts, and didn’t have any exhibition experience before.”

「我最喜歡的地方包括：名古屋一家餐廳的

- LEE Siu Hin

洗手間。那兒有一個洗滌盤，是水箱的部 “ We left our country and school in those ten days, but we

分，箇中放了玫瑰，雖然不明所以，但我喜

were still supporting each other. I realise that AVA is built by our mutual connection and trust.”

歡這種美感。」

- 李肇軒

- MAN Ho Yin

「最難忘是 [旅程最後一天] 到宮崎駿動畫人 “ There were a few days on which we spent some time with the

「我之前已到過東京，但這次 10 天的 [ 名古

Japanese students to walk around Kasugai and Osu, or even

屋 ] 旅程感受截然不同。我更深入『看到』

“ The thing I like the most: in the bathroom of a restaurant in

繽紛，更看到海洋的美景。那是我們在名古

an overnight party at their home. During these little trips we

日本文化，以及日本人如何以自身的方式生

Nagoya, they had roses in a sink that is part the toilet’s water

屋最後的一天，全天不用再為如何建造作

chatted a lot and we learnt more about Japanese way of life,

活。他們凡事有條有理，注重細節，讓我領

tank... I am not sure what was the intention for this, but I like

品、展覽或任何工作坊費心，全然與日本的

e.g. eating, clothing. Just like what we did in Hong Kong last

略到日本的熱誠與謙遜的態度。」

this kind of aesthetic.”

朋友享受時光，令當天特別難忘。」 - 譚淑瑜

- 梁芷君

物主題公園遊玩。當天風和日麗，滿山葉色

- LEE Siu Hin

March. We took them to Mong Kok for dinner and shopping.

It was a kind of cultural exchange.”

- TANG Ming Sum

“ Toyota Municipal Museum of Art was the best place. I have

「我是視覺藝術領域的新人，沒有任何參展

“[On our last day we visited] the theme park of Miyazaki Hayao's

「旅程最後那天晚上，我們知道或再沒機會

的經驗。因此對我來說，這次旅程最難得的

cartoons. The weather was very nice and sunny. The leaves

與日本的朋友見面，大家哭了。第二天早

經驗，來自我為展覽 [ Yada Gallery 展覽] 建

coloured the mountains and we could see the sea. But what

上，他們在我們到機場以前來到酒店，送上

never been to a museum like that in Hong Kong; I believe the

立本身的作品，以至幫助他人製作參展作品

made the day so special was that it was our last full day in

一盒畫上我們頭像的朱古力，令我感動得再

museum itself is one of the artworks.”

的過程。」

Nagoya, no need to worry about the set up, the exhibition or

次哭了起來。」

- CHU Siu Mei

- 李肇軒

any workshops, just enjoy the time with my Japanese friends.” 「我們離開視藝院 10 天，但依舊互相扶持。

- TAM Shuk Yu

我覺得視覺藝術院是讓我們建立連繫和互信 的地方。」

- 文浩賢

“ We cried in that last night, because we knew it would be the last time we saw our Japanese friends. But the next day

「在旅程中，我們有幾天與當地學生共處，

morning they came to our hotel before we left for the airport.

跟隨他們遊覽春日井及大須商店街，更參加

They gave us a box of chocolates with our portraits drawn

他們的通宵派對，大家有說大笑，令我們更

onto it. I cried again that morning.”

了解日式生活，例如飲食和衣著等。這個情 景就如他們去年三月到訪香港，由我們帶着 他們到旺角吃晚飯和購物那樣，是一種文化 交流。」

- 鄧明心

「豐田巿美術館是好地方。我在香港不曾到 過這樣的博物館。場館本身已是一件藝術 作品。」

- 朱笑媚

- CHOI Yi Ting

- 蔡伊婷

Making Room for the Experience

為經驗騰出空間

18

19

Making Room for the Experience

為經驗騰出空間

20

21

Involving Audience 與觀眾互動 P. 22 — 25

BA (VA) 2014 Graduation Show 本科畢業展 2014

P. 26 — 31

BA (VA) Graduation Show 2014 Review

P. 32 — 33

In Creation, I Encountered Myself

本科畢業展 2014 藝評

創作時，我遭逢自己

P. 34

Viewpoint 1-8 視點 1-8

P. 35

Urban Seabed

P. 36 — 39

MVA Graduation Show 2014

作品 Urban Seabed

視覺藝術碩士課程 畢業展 2014 P. 40 — 43

Tuna Prize Tuna Prize 獎項

. Illustration by Chino NG .

與觀眾互動

Involving Audience

24

25

Not using a theme

無主題展覽

For the previous graduation exhibitions in AVA, there was

視藝院過往六屆的畢業展都有清晰的主題，

always a theme. We forwent the idea of using a theme. To us,

我們反而放棄了使用主題。對我們而言，沒

we were not able to find a theme that can summarise

有一個主題可以總括所有畢業作品；我們亦

all the exhibiting works. Nor did we find a statement that is

覺得沒有一個簡短的陳述可以代表所有畢業

adequate to generalise the sentiments of the graduating

生。從這兩個原因，我們覺得主題在這展覽

student this year. As such, we thought that a theme would be

顯得累贅。一個主題只會對整個畢業展附加

redundant. A theme will only be an inappropriate imposition,

不必要的意義，影響到觀眾對作品的閱讀。

an imposition that we assume will change how audiences perceive the works.

如果這個展覽是由畢業作品組成，要恰當地 總括和清晰描述整個展覽，這個展覽的主題

If the show comprises all graduating students of AVA this year,

就只應該是畢業作品，而展覽名稱就應該是

the theme of the show should be the works that the graduating

2014浸會大學視覺藝術院本科畢業展。

students have produced, and the name of the show should be titled as "HKBU AVA BA Graduation Exhibition 2014", which

空間運用

appropriately generalise the exhibits and concisely depicts what the show represents.

BA(VA)Graduation Show 2014

視覺藝術院

Mark Chung 2014 BA Graduate

本科畢業展

以啟德校園這前身為英國皇家空軍軍官俱樂 部作為展覽場地，對策展人是一個十分有趣

Using the space

2014

的經驗。雖然大部分同學的畢業作品都未必 用上建築物的文化特質，但我們在分配作

To organise an exhibition in the Kai Tak Campus, the former

品、安排場地和引導觀眾時，都盡量去顧及

鐘正

Royal Air Force (RAF) Officers’ Mess, is an exciting experience.

這些特質。

2014 本科畢業生

Although not all exhibits could utilise the physical or historical quality of the campus, the exhibition team tried to allocate the works and navigate the audiences in ways to

The works exhibited in the graduation show are the first

畢業展中的作品是每一個視藝畢業生對公

statement that graduating students will make to the general

眾的第一個自述。對大部分的學生來說，

public. To most students, this is the most important

畢業展是他們曾經或將會參與的展覽中最

show they had ever participated in.

重要的一個。

A graduation show, or at least the graduation show in AVA,

在有限和不正統的空間裏展示大量沒有被挑

is never a regular art exhibition, a large number of unselected

選過的「藝術家」的作品，一個畢業展（或

“artist” over-crowdedly showing in an unconventional

至少是視藝院的畢業展）從來都不是一個正

exhibition space. It is impossible for the organisers to choose

常的藝術展覽。作為安排畢業展的人，是無

the work or to have a proper exhibition space. Although it

權去決定展出這件作品而不展示那件作品，

seems that the organisers have little control over the show, the

更不可能擁有一個完善的展場。雖然策展人

CHAN Wing Sze / Jewellery / Transiency / 2014

organisers in fact manage the general experiences that the

表面上對整個展覽的影響不大，但實際上策

陳穎斯 / 首飾 / 無常 / 2014

show delivers to the audiences. We’d give a lot of thoughts into

展人卻控制了觀眾對整個展的體驗。因此，

the nature of the graduation exhibition. What is this show to

我們對整個展覽作出了很多根本的反思。這

the participants? What’s the artist intention? What’s the best

個展覽對參展同學有甚麼意義？參展同學有

SUM Wing Kiu / Sculpture / Yeast / 2014

for the students, both individually and collectively? Where

甚麼目的？在個人和集體的層面上，甚麼是

沈詠翹 / 雕塑 / 快樂酵母 / 2014

should we place these works? How to be “fair” to all exhibiting

對學生最好的？我們應該把這作品放在那

artists? Who are the audiences? What will the audiences

裏？怎樣可以對所有參展者最「公平」？誰

expect to see in a graduation exhibition? What else can we do

是參觀者？我們的參觀者期望甚麼？我們

to make a better, more comfortable experience visiting the

可以怎樣優化和使整個觀展經驗更舒適？

show, and so on?

等等…

employ these qualities.

與觀眾互動

Involving Audience

Physically, the spaces available for exhibition is mostly long,

在啟德校園中可作展覽使用的空間大部份都

narrow, with high ceilings and windows. Advised by Professor

長而窄，樓底和窗口都極高。經莊藝勤教授

John Aiken and Mr. Peter Benz, we decided to minimise the

和奔子墨先生的建議，我們決定減少興建假

temporary wall constructed to preserve the windows to allow

牆，從而盡量保留原本的建築，一方面使展

sufficient natural lighting into the spaces and emphasise

覽場地有自然光，另一方面，把殖民地的

uniqueness of the building with the colonial style windows and

建築風格融入展場。我們亦把一般在校園

doors. On top of that, we have removed almost everything

上課用的物品都藏起，使觀眾更容易進入

that does not belong to the original architecture (lockers, tables,

此建築原本的意境，令啟德校園更像一個

chairs, etc.) visible to the audiences, to contextualise the

展覽的場地。

26

27

audience into this historical architecture and to make the space more like an exhibition space but not a school.

以上只是我們籌委會工作的一小部分，我想 再次感謝所有曾幫助我們的人。在籌委會中

HUI Hoi Kiu / Chinese Painting on Tissues, Video /

These are only a fraction of what my team has contributed.

和我合作的同學，對你們的付出我無法答

Blue-and White Facial Tissues / 2014

I would like to once again express my gratitude to everyone who

謝。經過十個月的準備，我可以高興的代表

許開嬌 / 中國繪畫 , 錄像 / 手繪紙巾 / 2014

has given us advises. And for my team, there is no way to

籌委會說我們都對這個展覽十分自豪。希望

express how grateful I am for all their effort. After ten months

下屆的畢業展再進一步。

TSAI Nga Ning / Painting / There is Nothing but Stardust / 2014

of painstaking preparation, I am confident to say that the

WONG Hiu Fung / Drawing /

whole team is proud of the show and we hope the graduation

Solitary Universe / 2014

show next year will be a better exhibition.

黃曉楓 / 繪畫 / 本相 / 2014

蔡雅寧 / 油畫 / There is Nothing but Stardust / 2014

YU Wai Yan / Video Installation / The Two Moons / 2014 余煒恩 / 錄像裝置 / 兩個月亮 / 2014

CHIU Ching Man / Paper Clay / Still Life / 2014 趙靜雯 / 紙黏土/ 靜物 / 2014

YEUNG Hoi Ning / Chinese Ink and Pigment on AVA (BA) Graduation Exhibition

Rice Paper / Fairyland / 2014

k11 artist talk

楊凱寧 / 中國繪畫 / 人間仙蹤 / 2014

CHAN Yuen Ting / Moving Images / Conversationists / 2014 陳婉婷 / 移動影像 / 交談者 / 2014

LO Ying Ting / illustration / Those 60 Years / 2014 盧映婷 / 插畫 / 那六十年 / 2014

與觀眾互動

Involving Audience

28

29

司徒維音的《處方》是模仿診所的裝置藝 術，當中每件獨立的雕塑組件詮釋了各個與 身體有關的廣東俗語。有些俗語在其他文化 中也有類似的意思，例如英文和中文都會說 「無骨氣」，用來形容軟弱和不講原則的人。

BA(VA)Graduation Show 2014 Review

視覺藝術院

John Batten

John Batten

Art Critic

藝評人

本科畢業 展

司徒維音給「無骨氣」所開的處方，是以黃 銅管及皮革護帶製作的漂亮護革，讓你在

2014 藝評

軟弱痛苦時穿上。在類似的物件或「處 方」旁邊的是藝術家的名片（在畢業展中很 常見），印在木製的壓舌板上。這個設計非 SZETO Wai Yam / Jewellery / Prescription / 2014

常獨特，與醫療為主題的展品相互呼應。

司徒維音 / 首飾 / 處方 / 2014

The Hong Kong Baptist University’s Academy of Visual Arts

香港浸會大學視覺藝術院校舍前身為英國皇

(AVA) is housed in former military barracks previously occupied

家空軍軍官俱樂部，鄰近當時的香港啟德機

Szeto Wai Yam’s Prescription is an installation mimicking a

神，她把每個故事所寫的文字節奏詩化，

by British air force staff, at-the-time conveniently located near

場。這群低矮的殖民地建築樓底高，設有陽

doctor’s clinic whose individual sculptural components are

例如：「宇宙的影像/ 太美太深/ 但/ 另一方

Hong Kong Airport at Kai Tak. These low-rise colonial buildings

台和長廊，周遭是翠綠的草地，是教授藝術

interpretations of everyday Chinese idioms relating to the

是全然的空白」(The image of the universe /

have high ceilings, verandahs, long corridors, surrounded by

的完美設施。學生就在這處獨特、寬敞和具

body. Many of these idioms are similar across cultures, for

Is so beautiful and deep / However / The other

grassy grounds: perfect for arts teaching facilities. It is a unique,

歷史意義的地方學習，並舉辦視覺藝術院的

example the English and Chinese for ‘lacking backbone’ both

side is totally blank) 這份四格漫畫展示了一

spacious and historic venue for students to study in and to

年度本科畢業展。

describe a person that is weak or unprincipled. Szeto’s

對手拿外太空星球和繁星的畫，並以反轉

host the AVA’s annual graduation exhibitions.

熊彩秀的漫畫作品擁有強烈的人文主義精

‘prescription’ for attacks of ‘lacking backbone’ is a beautifully

畫作以示背面空白作結。熊彩秀的畫作線條

今年超過100 件學生作品在校園各處展出，

constructed brass tubing and leather brace to be worn if

簡單，雖然技巧上有局限性，但仍恰好地令

This year, more than one hundred students’ work was spread

但校園中央敞大的藝廊部分沒有用作展

you suffer from this debilitating affliction. Sitting beside similar

她的作品更加完整，相得益彰。隨時日過

throughout the AVA, but the large central gallery was not used

覽，這兒從前一直被視為展示畢業作品的

constructions or ‘prescriptions’ was the artist’s name-card

去，她當然需要發揮更複雜的技巧，但這不

as an exhibition venue. It has previously been perceived as

最理想位置。其實校園大大小小的課室及

(as usually seen at graduation exhibitions) uniquely printed

太重要，因她已擁有漫畫創作人必備的東

the best location for graduates to display their work – in fact,

戶外地方都是展覽的好地方。因此，今年

on a wooden tongue depressor, a nice touch in keeping

西：簡潔、簡單及故事性。

the AVA’s range of large and smaller rooms and some outdoor

的中央藝廊變成了只用作讓學生和來賓參

with this medical display.

spaces are all good for viewing. So, this year the central gallery

加開幕典禮及畢業晚宴的地方，而晚宴亦

was solely devoted to the opening ceremony and inaugural

展現了滿溢校園的友愛氣氛。舊生亦藉鄰

Hung Choi Sau’s comic drawings have great humanism and her

塗漆粗糙的倉庫架圍場內播放示範影片。在

graduation dinner for students and guests — the dinner is an

選TUNA PRIZES 得主參與了這次畢業展；這

words ring in poetic rhythm for each story, for example: “The

泥濘的草坪上放置了一些蘑菇狀的油彩混凝

example of the camaraderie on the AVA campus. Previous

個獎項由前視覺藝術院學生成立，旨在給

image of the universe / Is so beautiful and deep / However / The

土，把它安裝在大型的彈簧上。觀眾可以在

graduates are also involved in the graduation exhibition by

予應屆畢業生鼓勵。

other side is totally blank.” This four-panel sequence shows a

這些「彈彈」上跳彈（影片清楚解釋了技

pair of hands hold a drawing depicting the planets and stars in

巧），是個充滿傻勁及成功的互動裝置。

selecting the winners of the Tuna Prizes, originally initiated by former AVA students to give encouragement to new graduates.

吳翊君的《彈彈》是個好玩的裝置藝術，在

今年的視覺藝術院本科畢業展籌辦得宜，大

outer space, and ends with the drawing turned over to show

致來說藝術水平不俗。不難想像藝術學生大

the blank back of the paper. Hung uses simple line drawings,

This year’s AVA graduation exhibition was well organised and,

都以個人的生活經驗作為藝術作品的題材，

and although technically limited, they appropriately comple-

generally, of a good artistic standard. Art students, not

因此：家庭（尤其是媽媽！）、動物、朋

ment her current work. Over time, greater technical complexity

surprisingly, are generally inspired and use their own personal

友、個 人 恐 懼 等 主 題 最 為 普 遍 。 畢 業 展 是

will inevitably be tackled. This is a minor matter, she already

experiences as subjects for their artwork — so, families

課程要求的一部分，這樣或許帶來局限，

possesses what a cartoonist requires: succinctness, simplicity

(particularly mothers!), animals, friends and personal anxieties

但老師會根據技巧、概念、表達能力各方

and a story.

predominant. This could be limiting, but a graduation

面來評核學生的表現，所選取的題材幾乎

exhibition is part of the course requirements and the student

是次等考慮。

The Bouncy-Bounce by Ng Yik Kwan is a playful installation with

will be assessed on technical, conceptual and communication

a demonstration video nicely housed in a roughly painted

abilities — the chosen subject is almost secondary.

enclosure of warehouse shelving. Protruding from a muddy lawn are mushroom-like lumps of painted concrete sitting atop strong springs. The public can jump and bounce (the technique

NG Yik Kwan / Site Specific installation /

is well explained in the video) on these “bouncy-bounces” — it

The Bouncy-Bounce / 2014

is a silly and successful interactive installation.

吳翊君 / 裝置 / 彈彈 / 2014

Involving Audience

與觀眾互動

30

31

Topical is Cheung Nga Wun’s Protest City. Unfortunately, merely

It is a pity that Chan Shun Yi had not sought out and spoken to

depicting protesters in marches and demonstrators confronting

Wucius Wong (who still mentors at The Chinese University of

police does not make the work itself a successful banner

Hong Kong) to add a personal dimension, rather than entirely

of protest; despite the artist saying, “… My critical point of view

章雅媛的《七一上街圖》以熱門的話題為題

using secondary sources for the competent dissertation on

about demonstration culture is expressed in the drawing.”

材，只可惜畫作只描繪了示威者遊行及與警

Wong’s traditional Chinese ink painting. Yung Sum Yi, however,

However, the artist is a mere protest step away: offer your

方衝突的畫面，此舉並沒有使作品成為鮮明

does take an interactive approach in her study, Art helping

excellent graphic skills for a cause!

的抗爭旗幟。雖然她表示：「……我在畫作

with communication: A case study of children with autism, by

中表達了自己對示威文化的看法。」(譯文)，

observing a class of children with autism to study art as

Li Xiaohua’s Memory Still is a sensitive installation inspired by

但她只是抗爭的局外人：請用你出色的平面

a non-verbal communication tool. Both studies could be

his grandfather’s (lovingly) sewing of his clothes when he was a

設計技巧來做有意義的事！

expanded into more substantial essays or visual presentations.

an embedded video, pencil markings on the adjacent wall and

李曉華的《記憶靜止》是個感人的裝置藝

Michael Cheung’s opportunistic hiring of male models to pose

a converted pedal-operated sewing machine containing

術，靈感來自他年幼時祖父（深情地）替他

in his nude photographic portraits was bold, but the conceptual

self-cast and self-hammered sewing tools: thimble, needles,

縫補衣服的片段。房間一角是滑溜的水泥

idea of “each individual (model) deliberately facing back(wards)

展覽中不少作品都與珠寶首飾有關。吳綺琪

thread holders. Li’s intention is that “… the trace of the mended

牆，把影片嵌入牆中；在相連的牆上有鉛筆

invites the audience to mirror themselves” makes this project

在銅片上製作的人體特徵放在各人的寶麗萊

object is not only the symbol of care but also a memory

印記，以及一座改裝了的縫紉機，內有自製

a stronger art idea by passively including viewers ‘into’

照片旁邊，誘使觀者比較兩性之間的差別，

container. I want to conserve the memory by representing the

的縫紉工具，包括頂針、針和持線器。李曉

the photographs.

並能察覺到隱晦的性別疑惑。黃愛珊的針線

mended objects to metal, making it solid.”

華的意圖是「縫補物件的痕跡不僅是愛護的

和情書是簡單的美；陳穎斯的《無常》首飾

象徵，也盛載回憶。我把物件改裝成堅硬的

系列，以木牙籤和銀做材料，比一般的牙籤

金屬，以此代表珍存回憶。」

來得更堅實更時尚！

child. In a corner of a room was a wall of slipped concrete with

I liked the surrealist drawings on wood of Ting Sze Lok’s The Eleplant in the Room and the outlandish pinecones in Ling Ka Wai’s Chinese paintings. And, using the AVA’s baseball court’s

很可惜陳舜宜沒有找到王無邪（仍在香港中

lines Poon Ying Tung has successfully subverted the space into

文大學任教）對話來增強論文中藝術家自己

a three-dimensional geometric exercise. The raised lines rearing

的個人看法，這份做得不錯的畢業論文全部

themselves snake-like towards a perceived threat or as Poon

依靠二手資料來討論王無邪的傳統中國水墨

explains as a “spatial drawing” that is “apparently pointing at

畫。相反，翁心怡在她的論文《Art helping

specific features of the surrounding buildings and nature,

with communication: A case study of children

thus extending the ordinary view….”

with autism》(藝術幫助溝通：自閉症兒童 的個案分析)中採用了互動的研究方向，觀

LING Ka Wai / Chinese Painting / Beings / 2014 凌加慧 / 中國繪畫 / 眾生 / 2014

CHEUNG Michael / Photography / 'won't open my eyes

察一班自閉症兒童以學習藝術作為非語言的

on the dance floor / 2014

溝通工具。兩份研究皆能延伸成為更具份量

張經國 / 攝影 / 'won't open my eyes on the dance floor / 2014

的文章或視藝作品。

LI Xiaohua / installation / Memory Still / 2014

Art graduates around the world now embrace a variety of

張經國機會主義式地聘請男模特兒拍攝全祼

李曉華 / 裝置 / 記憶靜止 / 2014

media into their work – young artists are not bound to remain,

照是大膽的做法，但作品背後「每位模特兒

for example, just as painters, but will cross media boundaries

故意背向鏡頭，讓觀者可以觀照自身」的概

depending on the material requirements of their art. This is

念，使這份作業變成更強的藝術意念，以被

seen in the making of experimental movies; many artists

動的方式把觀者「放進」照片中。

我喜歡丁詩樂在木板上創作的超現實畫作 《房間裡的大象》，還有凌加慧的中國畫中那 稀奇古怪的松果。此外，潘映彤的作品起用

now include video-making as a component of their work

了校園籃球場的線條，成功把空間大幅轉變

because of the simplicity of using digital cameras and

全世界的藝術系畢業生現在都會把各種媒介

成三維的幾何練習。從原來地下線條冒上來

computer video programming.

放到作品中。年輕藝術家不再局限於只做畫

的線條像蛇遇上危險般的狀態，或如潘映彤

家，而是會根據藝術作品的材料需要進行跨

解釋為「空間畫作」，「線條明顯地在指向

媒介創作。例子有實驗電影製作，由於數碼

周遭建築物及自然環境中特定的地方，延伸

相機及電腦影像程式操作簡易，很多年輕藝

了慣常（對事物）的視點……」(譯文)

術家都會把影片作為作品的一部分。

Involving Audience

與觀眾互動

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33

Two covered heads with attached repelling magnets is seen in

The determination to work hard, often alone, to create another

Choi Nga Man’s Distance is the New Closeness. It is the sort of

world or space for an audience makes a creative artist.

odd and transfixing video seen nowadays in commercial gallery and public exhibitions. If projected from floor to ceiling it

蔡雅雯的作品《靜謐｜凝視》中有兩個蒙着

Postscript:

would be perfect for one of the world’s many biennials — this

頭、頭套上附有排斥磁鐵的人。這種奇怪又

An art review makes critical comment or explanation about an

artist will go far! Technically more challenging is Lai Ka Hang’s

令人摸不着頭腦的影片，皆可見於現今的商

Soliloquy Inside the Room, a projection and installation showing

業畫廊和公眾展覽中；如果把影片從地板投

CHOI Nga Man / Video 5" /

Morning Post and usually and purposely choose to write about

決心為觀眾創造另一個世界或空間，通常是

the façade of a vacant shop in Kowloon City. The shop is seen

射到天花板，便可成為世界眾多雙年展的理

Distance is the New Closeness/

exhibitions by young Hong Kong artists or significant exhibitions

孤寂的，這種決心成就了具創意的藝術家。

in different scenes and the physical installation includes blank

想作品之一。這位藝術家前途無限！黎加行

2014

in public spaces. I wish to ‘encourage’ young artists by

papers adhered to the wall, which flap in the ‘draught’ as

的《它：在城內此年有感》在技術上較有挑

蔡雅雯 / 錄像 5" /

acknowledging their creativity and work. An art review also

後記：

passing buses zoom past (imagined by a recording of street and

戰性。這個投影裝置藝術展示九龍城一所丟

靜謐｜凝視 / 2014

has an educative responsibility to the reading audience: I try

藝術評論是對藝術展覽作批判的意見或解

traffic sounds), actually the wind is provided by an installed

空了的店的門面。店以幾個不同的畫面展

to tell a reader something they did not know; I try to encourage

釋。我主要為《南華早報》撰寫評論，往往

fan and the projections include layers of real estate agents’

示，現場的裝置包括空白的紙張貼在牆上，

the reader to see an actual exhibition. I try to encourage looking!

有意地選擇香港年輕藝術家或在公眾地方舉

advertising signs found on all Hong Kong vacant buildings.

巴士經過時（街頭影片及交通錄音的影像）

The shop façade comes to life in this engaging video, and

紙張被「一股冷風」吹起，那股風其實由裝

I have never previously written a review of a student graduation

創意及作品來「鼓勵」年輕藝術家。藝評也

appears to tell its own story as it awaits its future: a new

置在場地的風扇引起；投影片段包括一層層

exhibition and normally wouldn’t. A graduation show is an

有教育讀者的責任：我嘗試告訴讀者不知道

在香港空置建築物隨處可見的地產廣告紙。

academic requirement and not an entirely free setting for an

的事，嘗試鼓勵讀者親身去看展覽，嘗試鼓

店面在這段生動的影片中變得有生命力，仿

artist. Ideally, I want to see creativity, done in an environment

勵觀賞！

tenant or demolition.

art exhibition. I predominantly write for the South China

行的大型展覽來評論，期望可以認同他們的

The challenge of living a fulfilling life is promoted in Lo Ying

如在等待命運時訴說着自己的故事：來一個

CHOI Yi Ting / installation /

of free choice. A graduating artist will soon step out into the

Ting’s Those 60 Years. She depicts, in a cartoonish way, sixty

新的租客或被拆卸。

Desert Island / 2014

world and make choices about the future and future careers.

我從未試過為學生畢業展寫評論，一般也不

蔡伊婷 / 裝置 / 無人島 / 2014

Some will be artists. And once on the public stage, comment

會這樣做。畢業展是課程的要求，並非藝術

and criticism of the produced art will follow.

家可完全自由發揮的地方，我認為最理想的

imagined situations that include: “Me with the Dragon Tattoo”; “The Nude Year started, buddy!”; “Be honest, I have wanted

盧映婷的《那六十年》提出 要 過 充 實 生 活

to hit you for a long time.” Similarly, Vinci To Sze Wai’s Seize the

的挑戰。她以卡通的方式來表達 60 個想像

Day uses stenciled signage to challenge the public to be

出 來 的 情 景 ， 包 括：「 我與龍紋身 」、「老

One of the AVA’s teachers, Jack Lee, wrote an article in Ming Pao

將畢業的藝術家很快便投身社會，為未來及

braver in their lives. Wan Sin Ying’s attempt to write passages

友，脫光光年開始了 ! 」、「老實說，我想打

in early July 2014 criticising the AVA course structure. There

職業作出選擇，有些人會成為藝術家；一旦

with simplified Chinese characters of which she is unfamiliar

你很久了」(譯)。類似的作品還有杜思慧的

was spirited discussion on the House News website about the

走到公眾層次，關於藝術作品的意見及評論

is a challenge to her own cultural upbringing that habitually

《抓緊每一天》(譯)，運用模板製作的標貼

article’s content and appropriateness of publishing during the

自然隨之而來。

uses traditional Chinese ideograms. It is a challenge of mind

來挑戰公眾要更勇敢的生活。尹倩盈嘗試用

graduation exhibition. In late July 2014, House News suddenly

over habit — a variation on how to navigate life and destiny.

她不熟悉的簡體字來書寫，挑戰她從小以繁

closed and the website and all its archived articles disappeared.

視覺藝術院助理教授李世莊在2014年7月初

體字書寫的習慣，這是思想對抗習慣的挑

The history of that discussion also disappeared. It is sobering

在《明報》發表了一篇文章，批評視覺藝術

戰，是如何自處及看待命運的一種方法。

and depressing that such enthusiastic debate, and its history,

院的課程結構，之後在《主場新聞》便出現

Chang Tsz Hin’s paintings of television personalities in caricature are a marathon of fine depiction: this presentation of 250

境地，是在自由選擇的環境下看到創意。快

has completely gone. It is a reminder that the physical object,

對該文章的內容及在畢業展期間發表的時間

pieces is exemplary. As is Wong Ho Yi’s blue-coloured sound

張梓軒的作品是精緻的漫畫化電視人物畫像

the sort that an artist makes, is culturally, socially, politically

性的激烈討論。在2014年7月下旬，《主場

and light installation Urban Seabed.

作馬拉松，展示了250 幅畫作，堪稱典範；

and historically important. The items that explain a culture are

新聞》突然結束營運，所有在網站上的封存

而 王 澔 兒 的 藍 色 聲 音 及 燈 光 裝 置《 U r b a n

its art, writing and music.

文章消失，該討論的歷史也隨之消失。看着

Choi Yi Ting’s bright installation has a cuteness that in the

Seabed 》亦有同樣的效果。

world of ‘serious art’ could be easily dismissed. But, seeing her Desert Island of fantastic animals and an imagined landscape

這樣一場激烈的辯論及其對話歷史就此完全 This is affirmed everyday as an AVA student works up the hill

消失，令人沮喪和傷感，這也提醒了我們藝

from Kwun Tong Road. Outside the AVA are Hong Kong’s only

術家做的實體物件在文化、社會、政治和歷

「嚴肅藝術」世界所接受。然而看到她《無人

two extant in situ pieces of graffiti by Tsang Tsou Choi, the King

史上都很重要。能夠詮釋一個文化的，正是

necessary conditions for being an artist. “I feel content to be

島》中的動物和想像出來的風景，以及閱讀

of Kowloon. He was not waiting for encouragement or money or

其藝術、寫作及音樂。

alone. I am sensitive of how I touch and feel things. I combine

她的創作意念後，便會了解成為藝術家一些

appreciation or an art review or a final student assessment. He

my experiences and imaginations together in order to create

必備的條件。「我獨處時感到滿足，我對接

just did it! Imagine Hong Kong’s recent history without the King

視覺藝術院的學生每天在觀塘道的山上努力

my own significant world. Painting and clay-pinching are my

觸及感受到的事很敏感，以自身的經驗和想

of Kowloon’s wild, delusional, imagined, disjointed calligraphy.

向上，這是不容置疑的。學院外是九龍皇帝

main creative mediums. My works build up an imaginary world

像融合來創造自己的獨特世界。繪畫及粘土

曾灶財在香港僅存兩件在原址的塗鴉。他沒

that invites people to walk into.”

塑型是我的創作媒介，我的作品建立了一個

有等待鼓勵、金錢、讚揚、藝評或學生年終

幻想世界，邀請其他人進入其中。」(譯文)

評核。他就是為了塗鴉！試想沒有九龍皇帝

and reading her reasons for undertaking it suggest some of the

蔡伊婷鮮明的裝置藝術作品可愛得或不被

的狂野、妄想、豐富的想像力、支離破碎的 書法，香港的近代史會是甚麼模樣。

與觀眾互動

Involving Audience

34

35

Within the room, each detail of the work was carefully considered to elicit an emotional response in the audience.

I super-impose the footage of the road over the photo

In creation, I encountered myself

time-lapse that recorded the changes to the store, hoping

Lai Ka Hang

I added a light bulb, an electric fan and a chair. There is only

2014 BA graduate

“one” to each item to emphasise the sense of melancholy. The

that it may re-create the sense of flowing time. I recorded environmental sounds of different amplitudes mixed with my own sounds of breathing, to give the store a sense of humanity.

fan blows air towards the white faxing paper which reflects the imagery, and provides a crucial hint to the site-specific work “Soliloquy inside the room” is a space-based installation attempting to re-create a site-specific piece. The audience is presented with the front view of a vacant store at 1 Nam Kok

創作時 ， 自己

in Kowloon City. The coarseness of the floor is a space attribute to give a deeper sense of the space. The lock and chain at the door alludes to the viewers’ entrance into this

Road of Kowloon City and the sentiments it elicited in me.

我遭

The first part of the work is site-specific: I made photocopies

黎加行

“In creation, I encountered myself” – this is the necessary

of the lease ads covering store window using fax paper,

2014 本科畢業生

attitude for creation. In creation you should never be numbed

which I then paste on top of the origins. Second, I took a picture every day to record how the work was affected by environmental

isolated space and their willingness to seek further knowledge.

by the sense of urgency, but must require time to condense 「我：在城內此年有感」是一件空間裝置，

one’s thoughts. At the opportune moment, your living will

changes. Over the night the colourful shop front became

嘗試將一件限定地區創作重新營建。觀者會

change the way you perceive your work, and opens up

black-and-white. The intention was that as fax paper copies

看到九龍城南角道一號一所空置店舖，以及

new horizons for ideas. If you can better connect yourself to

would fade with time, one day the store front would be

它給予我的感受。

your work, what you create will be more sincere and

在小房子裡，作品的每個細節都經過仔細考

representative of yourself.

慮，希望觸動觀者的情感。在影片中，我將

entirely white. I wished that the changes I made to the store would recapture the attention of the passers-by, and that

作品是幾個月內所拍到的連串景像。首先我

路況的真實影片重疊於記錄變化的相片中，

the black-and-white presentation would tease out a sense of

將空置店舖外牆玻璃貼滿的招租紙，重新以

令影片更能營造日子流逝的感覺。我錄了不

urban indifference.

熱能紙複製，再覆蓋於原本的招租紙之上。

同分貝的環境聲外加了我的呼吸聲，令店舖

然後我每天都會拍一張相片，記錄作品受環

有了人性化的感覺。佈置是根據我的觀察演

However, things went differently. New lease ads were put up.

境影響帶來的變化。店舖在一夜之間由滿滿

變出來：我加入了一個燈膽、一台風扇，和

What I photographed was not only the fading colours of the

的彩色變成單調的黑白色。我原希望改變會

一張櫈。「一」這個數量，是為了增強孤獨

fax paper but new ads that finally covered up by work. I was

讓店鋪重新被路人注意，就黑白兩色帶出一

感；風扇吹向白色但反射出影像的熱能紙，

stuck as to how to proceed, and a sense of loss and helplessness

種被城市忽略的感覺。每天拍攝是希望熱能

交代了這件限定地區作品位處九龍城的重要

overwhelmed me. After a month’s time of alternating taking

紙褪色後，會有一幢白色牆出現在店舖外。

提示；地板的粗糙感，令觀者更能體會這個

my mind off the problem and pondering the solution, all of a

空間；門扣的鎖與鏈，寓意觀者進入這原本

sudden I realised that my state of mind coincided with that of

拍下記錄數天後，我發覺事情發展和預料的

被封閉的空間而又願意進一步去了解內裡發

the vacant store space. The negligence that my work suffered

不同；我所拍到的不是紙的顏色變化，而是

生的事。

was like what happened to this store; the sense of disregard,

新招紙不斷地增加，將我的「作品」淹沒。

was like the state of this store! It represented me, and I seemed

我想不到怎樣繼續完成作品，放鬆及反省了

「創作時，我遭逢自己」，這句話正是我們在

to represent it. I decided to present the internal dialogue of

差不多一個月，不斷在空虛、無奈和無助中

創作時需要擁有的態度：不要被趕急的時間

me and the store in my work. To put it romantically, my piece is

徘徊。我突然醒悟：我此刻的心情，不是正

所麻木，總需一點時間去沉澱，生活會改變

a small space co-created by me and the store. Here, the

與空置店舖有所連接嗎？我的作品被忽略

你對你的作品的感覺，從而增加思考的範

audience will notice a sense of collaboration between “us”.

就，一如店舖這幾年的遭遇，有著如此強烈

疇。提昇及連繫多一點自己與作品的關係，

的被忽略之感！我與店舖的關係就在我的製

創作出來的作品便愈真誠和更能代表自己。

作過程中多了一個互相了解的層次：它代表 了我，我亦像代表它。於是我決定在作品中 論述又是我又是店舖的內心感受。浪漫點 說，我與它共同製造了一個感性的空間；在 這裡，觀眾能感受到一種「我們」一起營建 的感受。

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Involving Audience

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37

Viewpoint 1 _ 8

Urban Seabed

POON Ying Tung

WONG Ho Yi

2014 BA graduate

2014 BA graduate

Before my work was even conceived, I had already picked a

I regard "Urban Seabed" reflects my interest and

corner of the campus and used it as a starting point for

exploration in conceptual art, sculptural object and space

my creation. It also served as the exhibition venue for my work,

in contemporary context.

and hence the work had to be connected to the place.

"Urban Seabed" is an installation that uses the abstraction of

Urban Seabed

潘映彤

the ordinary into oceanic projection which encompasses

王澔兒

2014 本科畢業生

mental space as subtleties, ambiguities and resonance. This

2014 本科畢業生

Such an approach gave me something to base on and was

視點

easier than creating something from the scratch.

1- 8

Compared to other locations on the campus, the basketball

work is inspired by my perceptive experience of noise in

court is inconspicuous yet boasts a unique geographical location

the city. Land and city can be viewed as opposites of sea and

and spatial configuration. Standing on the basketball court, I

在構思作品前，我選擇了用校園的一個角落

space. Merging field-recorded soundscape into my perception

became drawn to my surroundings — my eyes started to trace

為創作起點，亦鎖定它要成為作品的展覽場

of the sea, the body of art transcends traffic noise of a city

formless lines in the court, linking myself together with

地，要讓作品和它之間的關係成為主導。此

into marine scenario embraced by echoes of sea waves. It

objects of interest, drawing in my imagination a picture where

做法讓我感覺較踏實，比起要我天馬行空進

elevates viewer to a mental clarity of distance a meditative

ground markers became distinctively 3-dimensional.

行創作來得容易。

state where viewer’s perception of our city reorients.

《Urban Seabed》體現了我對當代的概念藝 術、雕塑物件及空間的興趣與探求。 《Urban Seabed》是一項裝置藝術作品，把平 常事情的抽象概念化為一個海洋的投影，演 繹一處微妙、模糊和共鳴的思想空間。創作

All decisions made during the creativity process were based

籃球場相比起校內其他地方，一點兒也不起

The creative process starts with thematic exploration of

的意念源自我對城巿聲音的知覺經驗，以海

on a general approach to “change but not affect” this environ-

眼，但它的地理位置和空間感卻十分獨特；

existentialism, then it progresses to a combined,

洋與空間相對土地與城。

ment. The cracks on the ground and the grass that sprouted

置身其中，周遭的景物更會把我攝住。眼睛

sorted and framed insights to which I constantly digest

after rain helped to decide the location and scale of my

開始在籃球場繪起無形的線，把我認為有趣

and reinvent through artistic practice and experiments

我把實地收錄的聲境(soundscape)與自己對

sculpture. As I shaped into reality the picture in my mind, I

的東西和自身連繫起來，同時不其然幻想當

throughout the project.

海洋的感覺合併，藝術本身則把城巿的聲

continued to maintain my observation of the court fresh

地面標記變成了立體的模樣。

and detailed. Every day I overturned the assumptions I made

音轉化為一處浪聲迴盪的海洋情景，把參 More specifically, my work explores the concept “Experiencing

觀者提升至一個清晰和高遠的思想境界，

the day before, just as the audience was called upon to

創作時的一切決定，都以「改變但不影響」

Being” using installation as its form; soundscape and light

一種讓他們能夠重整自己對城巿的感覺的

reconsider their perception of a site subject previously to

這環境為大前題。好像地面的裂痕或是雨天

as the guidance for viewer to engage to the work. Sound, in

沉思狀態。

clear and specific rules. In medium, iron — the same material

後突然長出來的小草，替我決定了雕塑的位

my view, is similar to physical stimuli that recall one’s

used for the basketball stand and the railings — was used, so

置和大小等等。一方面把腦海中的畫面實體

consciousness of his/her own being. Moreover, soundscape is

創作過程由主題探究存在主義開始，發展出

as to give a sense of familiarity in the court.

化，一方面不斷保留對球場的觀察力和新鮮

also a manifestation of city and human interactions.

一些融合、分類和有骨幹的見解，然後透

感；每天都需要推翻前一天的前設，正如觀

過一連串的藝術實踐與實驗，將之不斷消

The empty space between the sculptures formed countless

眾需要重新審視這個本來已有特定規則的地

Through sound and space, Urban Seabed suggests the

geometric shapes, expanding outward ad infinitum yet

域。媒介方面，選用跟籃球架和圍欄一樣的

sublimity of our mentality in an empirical sense, which is also

closely linked as a whole. The outdoors weather marked the

物料－ －鐵，但求放於球場中仍能感覺親切。

my artistic pursuit.

sculpture and the ground with specks of rust — evidence of

化及改造。

我的作品以裝置為形體，以聲境及燈光為指 引，帶領參觀者投身其中，探索「體會存

the existence and acquaintance of the two. Part of the

雕塑之間的虛位組成無數幾何圖形，無限延

在」的概念。我認為聲音就如一種實在的刺

sculpture was accidentally broken off by the visitors, and yet

伸卻又互相緊扣成一體。户外的天氣令雕塑

激，喚起人對本身的存在意識。聲境亦是一

it also presented a form of exchange between the work

表面和地面都留下了銹漬，彷如它們存活過

種城巿與人互動的表現。

and the visitor. It would be fantastic if one could bring such

和相識過的證據。甚至乎有觀眾在參與過

curiosity into the dull mundanities of life.

程中意外弄斷了雕塑的一部分，實際上也

《Urban Seabed》藉着聲音與空間，從經驗的

是作品和讀者的一種交流。假如能把這份

意義上顯示我們思想形態的崇高氣質，正是

好奇心帶到看似千篇一律的生活裡，就最

我的藝術追求。

好不過了。

與觀眾互動

Involving Audience

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39

This desire to go beyond our regular selves was in fact the

事實上，這個超越自我的渴望，才是凝聚這

central element that interconnects each work in the exhibition.

組作品、令它們互相連繫的重要元素。藝術

The artworks and dissertations are all hands extended, not

品和論文都是畢業生雙手的延伸。他們這雙

just to reach out to worlds of knowledge and the public, but

手不但要觸及知識和大眾的領域，而且以行

also to put action to an internal change, to say that we have

動促成了自身內在的轉化，令自己比以前變

evolved into something more than what we were before. The

得更豐盛。這種滲透展覽各個角落的熱切、

mixed scents of eagerness, boldness, and at times, shyness that

魄力、和若隱若現的羞怯，令人不禁聯想起

permeated the exhibition are reminiscent of adolescence

青春期的種種特質。也許這也是畢業展的根

— which is perhaps the domain of graduation shows by its

本。懷緬過去和憧憬未來，都是成長的印

very nature. A preoccupation with nostalgia comingled

記。而這個成長的旅程，往往都會給人一種

with ambitious visions of the future is as ever the hallmark

微妙的、苦樂參半的感覺。

of coming-of-age, which is prone to leave one with an oddly pleasurable but bittersweet feeling when encountered.

On Interconnections

論相連

YUEN Zi Chung Christina

鍾宛芝

2014 MVA graduate

2014 視覺藝術碩士畢業生

Translation by Ho Yan Yee

翻譯：何欣宜

Though titled “Interconnection”, as a body of work, the

香港浸會大學視覺藝術碩士課程 2014 年畢

interconnectedness of the 61 artists’ and scholars’ works

業展雖名為「相連」，展出多件作品，但六

showcased at the "2014 Hong Kong Baptist University Master

十一位參展藝術家與學者之間的連繫，卻似

of Visual Arts Graduation Exhibition" may not be apparent at

乎並不突出。參展畢業生當中，有的選擇探

first sight. Whilst some opted to explore grandiose ideas

討有關世界與自我的偉大意念。有的在極為

CHUA Johnwell (Studio Arts & Extended Media

about the self and the universe, others drew from intensely

個人、充其量只與少數人扯上關係的自身經

Concentration) / Aquarium / 2014

personal experiences that might only hold relevance for a

歷裏取材。又有部分人被複雜的意念深深吸

LEE Suet Ying (Studio Arts & Extended Media Concentration) /

few. Some gravitated towards highly complex ideas mired in

引，與理論和哲學糾纏。其他的則用生活細

Where are you? / 2014

theory and philosophy whereas others engaged with more

節描述生活常遇的事物。有別於其他以一個

李雪盈 (藝術創作與延伸媒體專修) / 你在哪裡? / 2014

quotidian details to portray issues in our daily lives. Unlike

媒介或大題目作主導的展覽，畢業展把焦點

other exhibitions where a particular medium is featured or

投放於展品之間的關係，而非展品本身的做

an overarching theme may be discerned or felt, an exhibition

法，一般都很難構建和拿捏眾多作品的精

centered on the things in between as opposed to the things

髓，以致最終令展覽的題旨變得難於理解或

in itself may be at times so difficult to construct or to grasp that

是可有可無。

蔡俊偉 (藝術創作與延伸媒體專修) / 金魚缸 / 2014

it becomes perceived as no thing at all. 在許多方面，這個畢業展都是這些創作者的 In many ways, the exhibition was a true reflection of its creators:

真實寫照。一群來自不同行業和界別的個

a mixed group of individuals from vastly different walks of

體，若非對視覺藝術同樣嚮往，和在其學術

life that would have never met if not for a shared interest in

層面同樣有熱切追求，亦大抵不會在香港浸

the visual arts and a desire to pursue it academically at HKBU.

會大學相遇。我們在彼此分割的生活裏，很

YIU Kwan Ho (Studio Arts & Extended Media

In our usual compartmentalised lives that rarely enable us to

少會跟和自己不太相近的人來往。這個畢業

Concentration) / This is not a rubber duck / 2014

mingle with those unlike us, there was something remarkable

展微妙的地方，還在於一眾工程師、律師、

姚君豪 (藝術創作與延伸媒體專修) /

about the gathering of engineers, lawyers, accountants,

這不是一隻膠鴨仔 / 2014

會計師、建築師、關員及行政人員，能在 HO Fu Kit (Experience Design Concentration) /

architects, customs officers, and administrators under the

「藝術」的大前題下，以在學的年青學者和

banner of art where alternate identities as student scholars

藝術家的另一身份在這麼一個場合聚首。

Smell your sound;listen your memory / 2014

and artists can be adopted instead. Underneath it all is an

底子裏他們都期盼展現和表達自我的超

何富傑 (體驗設計專修) / 回味 / 2014

unverbalised desire to exhibit and express something more

越，又或者透過學術的熔爐，鑄造一個全

than our regular selves, and perhaps through the crucible of

新的自己。

academia, to become a new self entirely.

Involving Audience

與觀眾互動

40

41

It is not hard to imagine a zeitgeist at work here: a compelling

在這裏也不難想像一種時代思潮正在蘊釀一

spirit of the times that ushered each of these individuals to

份驅使這群人同時到香港浸會大學修讀視覺

study visual arts at HKBU and to seek after new selves through

藝術，並從中尋找新的自己的時代精神。我

it. The anxious rustling of our city can be felt, seen, and

們不論在實質抑或虛擬的現實，都見到、聽

heard in our physical and virtual realities. These are times when

到和感受到這城市焦慮的呼喊。在經歷過新

dormancy is shrugged off in preference of meaningful

身份、新意念和新目標的掙扎後，是時候要

discomfort as we struggle after new identities, ideas, and

從沉默中覺醒，以一種別具意義的不安感，

pursuits that would give substance beyond the material. Perhaps

追求比物質更實在的東西。或許，當我們的

then, our city itself is in its adolescence, as it dares now to

城市能勇於改寫早已編訂好的劇本，去創造

go beyond the script and to challenge its authors in bold and

自己的天地時，就是這個城市的青春期。儘

creative ways. As awkward, uncomfortable, and difficult as

管過程有多不對勁、多不自在和多困難，青

it may be, adolescence is nevertheless deeply entwined with

春總是跟希望和潛能有着密不可分的關係。

NG Ka Ying (Studio Arts & Extended Media

notions of hope and potentiality — the future.

這希望和潛能就是我們的將來。

Concentration) / Smear & tell / 2014 吳嘉英 (藝術創作與延伸媒體專修) /

LAM Fan Shing (Studio Arts & Extended Media

Smear & tell / 2014

Concentration) / Tracy / 2014 林繁盛 (藝術創作與延伸媒體專修) / Tracy / 2014

CHAN Sum Yan (Studio Arts & Extended Media Concentration) /And so it goes / 2014 陳沁昕 (藝術創作與延伸媒體專修) /

And so it goes / 2014

LING Chin Tang (Studio Arts & Extended Media Concentration) /

SIN Wang Hon (Experience Design Concentration) /

After Work / 2014

The naive mind / 2014

WONG Lok Hin (Studio Arts & Extended Media

凌展騰 (藝術創作與延伸媒體專修) / 收糠 / 2014

冼宏瀚 (體驗設計專修) / 童心 / 2014

Concentration) /There's a time and a place

WONG Chun Yam (Studio Arts & Extended Media

(for everything) / 2014

Concentration) / Memory rebuild space / 2014

王樂軒 (藝術創作與延伸媒體專修) / There's a

黃振欽 (藝術創作與延伸媒體專修) /

time and a place (for everything) / 2014

記憶建構空間 / 2014

YIU Pak Tun (Studio Arts & Extended Media Concentration) / Assimilation / 2014 姚泊敦 (藝術創作與延伸媒體專修) / 同化 / 2014

LOW Shuk Kwan (Studio Arts & Extended Media Concentration) /

POON Tsz Mei (Experience Design Concentration) /

Status of mind / 2014

Fantastic fear on greensleeves / 2014

羅淑君 (藝術創作與延伸媒體專修) / 思緒 / 2014

香水巷紫 (體驗設計專修) / 奇幻的綠袖子 / 2014

GREENALL Liam Michael (Studio Arts & Extended Media Concentration) / N E F E L IB A T A / 2014 GREENALL Liam Michael (藝術創作與延伸媒體 專修) / N E F E L IB A T A / 2014

Involving Audience

與觀眾互動

42

43

獎 項 每 年 均 設 大 獎 及 特 別 表 揚 獎 ( Special mention)若干名，得獎者將獲得獎金、獎座 視覺藝術院舊生會

及證書，藉此表達對傑出畢業作品的欣 賞，並以實質支持鼓勵我們的「下一代」

英國「特納獎」(Turner Prize) 是一個由英國

積極創作。除了頒發獎項予出色畢業生

泰特美術館 (Tate Britain) 於 1984 年成立的

外，TUNA PRIZE 亦設有非常設獎項，對為視

Academy of Visual Arts

年度當代藝術獎項，頒予英國 50 歲以下年

Winners and Special Mention Prizes are also awarded every

Alumni Association (AVAAA)

青藝術家。曾 獲 獎 的 藝 術 家 均 是耳熟能

year. Certificate, trophy and cash award will be presented,

詳，如 Damien Hirst, Tracey Emin, Rachael

as ways to appreciate the excellence of the artwork and to

Whiteread, Gilbert & George 等等。

cheer on our “next generation”. Besides outstanding

The Turner Prize is a contemporary art award established by the Tate Gallery in 1984 for British visual artists under 50. Damien

覺藝術院作出貢獻的人頒發特別獎作肯定。 TUNA PRIZE 的誕生：感嘆號 !

graduates, the Tuna Prize committee may also present special

時間回到 2008 年。第一屆畢業展的頒獎禮

Hirst, Tracey Emin, Rachael Whiteread and Gilbert & George, to

TUNA PRIZE 的名稱靈感來自於「特納獎」

prize to a person/group who gains outstanding achievement

後，一群剛畢業的舊生立刻產生了一個疑

name a few, are famous winners of this award.

(Turner Prize)，獎項頒予浸大視覺藝術院應

in miscellaneous topics related to AVA.

問：為何一些我們都覺得很好的作品沒有得

屆畢業生，由視覺藝術院第一屆舊生發起並

獎？他們意識到，每一個獎項覆蓋不同的範

Inspired by the Turner Prize, the Tuna Prize celebrates the

於2009 年成立，每年評審由歷屆舊生擔

well-performed graduate of Academy of Visual Arts, HKBU every

任，目的是開放評審制度的平台，透過年輕

year. Whilst the prize was first set up by the alumni in 2009,

藝術家的評審眼光，前瞻本地藝術的最新趨

The idea of Tuna Prize came from the confusion of the very first

有作品所述說的事物，例如涉及潮流，或某

alumni from different years will help to judge and award works

向。因此，對於每屆新畢業生而言，TUNA

year graduates of AVA. After the graduation show award

一特定的意識型態。這促使他們組織一個由

in the graduation show each year. Thoughts about the latest

PRIZE 乃一項別具特殊意義的獎項 。 獎 項 期

presentation, a question came up to them: “Why are some good

剛畢業的年輕藝術家舊生頒發予同儕的獎

trend of local art can be seen through comments of the young

望能由每年的新一屆畢業生延續下去。

works overlooked? Why some outstanding artworks get no

項。並希望以年輕的角度，對出色的畢業作

artists’ jury panel. Therefore, Tuna Prize has a special meaning

recognition?” These graduates recognised the awards lacked the

品作予以肯定。

to every fresh graduate. We hope that the prize can continue in

sensitivity to trends and young generations’ thoughts.

the coming years.

The letdown of the prize and awards of first graduation show

The birth of Tuna — exclamation!

疇，但所有獎項加起來卻未能覆蓋所有範 疇，從而產生盲點。而評審亦未必能掌握所

induced them to establish a new award, which is presented and received by the peers, from a young artist’s perspective.

Involving Audience

與觀眾互動

44

45

2009 年 畢 業 展 ， 黃 家 榮 成 為 了 首 個 TUNA PRIZE 得主。2012 年，AVA 及CVA 的保安隊

Appendix: List of Winners

長吳麗儀女士則獲頒首個特別獎，以表揚其 對校園用心管理，照顧校園及同學需要。

2009 — Winner: Wayne Wong Ka Wing ; Special Mention: Reds Cheung King Wai,

TUNA PRIZE 除了頒發獎項外，每年皆會舉辦

Susie Law Wai Shan

研討會，為得獎者，評審，舊生，同學及公 眾提供深入討論的平台。參加了 TUNA PRIZE

2010 — Winner: Roger Ng Kai Ho ; Special Mention: Chan Kit

評審的舊生，則在觀賞作品及討論的過程 中，總結平生所學而一展所長。

2011 — Winner: Victor Wong Siu Chuen ; Special Mention: Sit Chun Ning

吳森枝 / 油畫 / 無止盡 / 2014

另外，TUNA PRIZE 亦舉辦了兩個展覽，以 示對得獎者的持續支持。2012 年於啟德校園

NG Sum Chi / Painting / Endless Isolation / 2014

2012 — Winner: Hsu Wai Lun ; Special Mention: Lam Shirley

畫廊的「迴游」展覽，展出了 TUNA PRIZE 成 立以來 7 位得獎者的近作；而今年，TUNA PRIZE 亦有幸於「油街實現」的「假如（在

2013 — Winner: vacant ; Special Mention: Yip Kin Bon Elvis, Lai Wai Shan Gloria

一起）」展覽，展出應屆 TUNA PRIZE 得主 In 2009, Wong Ka-wing was awarded the first Tuna Prize during

張梓軒及熊彩秀之得獎作品。經過 6 年努

the AVA Graduation Show. Ms Ng Lai Yee, the security officer

力，TUNA PRIZE 已成為每年畢業展最備受

of AVA and CVA campus was awarded a special prize in 2012,

期待的獎項之一，並逐漸引起外界的注意。

2014 — Winner: Chang Tsz Hin, Hung Choi Sau ; Special Mention: Chung Mark, Ng Sum Chi

for her outstanding achievement and diligence on day-to-day campus management.

「如果要為這罐吞拿魚加上一個期限，我希 望它和『藝術』一樣。」

Presenting a prize to the outstanding graduate is only a starting

HUNG Choi Sau / Comics / Beyond This / 2014

point. Tuna Prize also organised annual symposium for the

熊彩秀 / 漫畫 / Beyond This / 2014

awardees. Through the symposium, the awardees can exchange their ideas and experience with students, alumni and audience. 附錄： 歷屆得獎名單

To the alumni, joining Tuna Prize jury team is also a chance to share their art learning in order to convince other judges.

In-depth discussion between juries and awardees can also

2009 年得主：黃嘉榮；特別表揚：張景威、羅偉珊

create a platform to debate, to learn and to think.

CHANG Tsz Hin / Drawing / He/She is / 2014

Tuna Prize also strives to offer persistent support to their

2010 年得主：伍啟豪；特別表揚：陳杰

張梓軒 / 繪畫 / 他 / 她是? / 2014

winners. In 2012, “Tuna Migration” featured 7 awardees,

2011 年得主：黃紹全；特別表揚：薛晉寧

showing their latest art creations at the gallery of AVA. This year, following the graduation exhibition, Tuna Prize presented

2012 年得主：許維倫；特別表揚：林秋怡

the award-winning artworks of Chang Tsz Hin and Hung Choi Sau, in the “Can We Live (Together)” exhibition at Oil Street

2013 年得主：(從缺)；特別表揚：葉建邦、黎慧珊

Art Space. After 6 years of establishment, Tuna Prize becomes one of the most discussed topics during AVA graduation

2014 年得主：張梓軒、熊彩秀；特別表揚：鍾正、吳森枝

show, it also begins to arouse public attention.

“If we have to set an expiry date for this can of Tuna, I wish it will be of the same date as art exists.”

CHUNG Mark / Video Installation / Trans-Mortem Portrait of My Mother, Evelyn CHUNG - Jenewein / 2014 鍾正 / 錄像裝置 / Trans-Mortem Portrait of

My Mother, Evelyn CHUNG - Jenewein / 2014

Insights 洞見

P. 46 — 48

Do You See What I See 您看見我看見的嗎

P. 49 — 50

Staff Bites

P. 51

Normal Daily Objects

視覺藝術院老師訪談

尋常的事物

P. 52 — 55

Finding and Filling Gaps in Contemporary Art Research : Hans-Ulrich Obrist and the Agency of Unrealised Projects (AUP) 為當代藝術研究找缺口：小漢斯的 「未完成藝術作品」徵集計劃

P. 56 — 59

A Stone's Throw : Sunny Wang

P. 60 — 63

From typography to typeface design.

擲石．剎那：王鈴蓁

Or, experiencing to be a student again. 從文字編排及設計到字體設計 : 重拾學習的體驗

. Illustration by Chino NG .

洞見

Insights

49

48

everyone was still listening attentively but I, seated on the stage, had a difficult time maintaining my focus — two hours under the limelight had blinded my eyes; the sheer amount of

Do You See What I See

theories and comments given boggled my mind. Then came

YU Wai Luen Francis

and give a few words even though it looked like I was mumbling

Assistant Professor

the conclusion: luckily I was still able to hold my eyes opened to myself: “I enjoy looking at my paintings when they are set in

看見我看見的

the studio; I also enjoy looking at my paintings when they

余偉聯

are exhibited on site.” Standing in front of a painting, whatever

助理教授

world it is, I will always believe that if one enjoys seeing, he will see the happening of art.

6

1

A self-portrait by the Dutch painter Rembrandt van Rijn. The first

It was 23 years ago. But what happened then I still remember

at another end. I knew it would be a challenge while dealing

time I came across this painting was in 1991, at the National Gallery

with crystal clarity. That winter, I went with a friend on an

with two different attitudes of seeing, but unexpectedly just

of Art in Washington. The second time was in 1998 at the

excursion. We set off from Toronto and drove down to the East

two weeks into my classes I saw good progress in my creative

National Gallery in London. / 荷蘭畫家林布蘭 1659 年的晚年自畫像。

Coast of the United States. We visited museums and major

efforts. I had almost completed a 3-metre long abstract painting.

第一次邂逅這作品是 1991 年在華盛頓國立美術館，其後於 1998 年

galleries in the states we passed. It was a ten day trip of

No matter the result, I believed that I had to come up a name

在倫敦國立美術館再次觀賞。

wonderful experiences. The morning we arrived at our final

that matched this first painting I completed at school. I finally

stop was an extraordinary cold one, yet our spirits remained

borrowed from the lyrics of a Christmas carol: “Do you see

high. After breakfast, we toured the National Gallery of Art at

what I see”.

2

2

choice for a class chorus during music lessons in my secondary

Washington, a visit we had been looking forward to for some

studies at Toronto. / 來自聖誕歌 Do you hear what I hear。多倫多修讀

time. The collection was huge and impressive — hung on the

Facing the age-old question of how to see art, John Berger

walls, set on the floor, all classic works by the masters. I

has given a detailed account in his 1970s work Ways of Seeing.

slowed down my pace, sauntering among these works as if

It is a classic in art criticism, but when I first read it I only did so

detached from the world, and unwittingly came upon a

for an assignment, and flipped through only a few chapters

1

From the Christmas Carol "Do you hear what I hear". It was the usual

預科的音樂課堂上，每次全班合唱時候的必然選擇。

3

Different Chinese translated versions. 《觀看的方式》, translated by

late self-portrait by Rembrandt . It was a place where light

of the book. The second time I read it was over a decade later,

Wu Lijun and published by Rye Field Publications of Taiwan; 《觀看

intercutting the shadows, a place of silence, a moment of

when I furthered by studies at Hangzhou. That year when I

之道》 , translated by Dai Xintyue and published by Guangxi Normal

frozen gaze. I still remember the sense of loss I felt while

stayed at Hangzhou, I lived in the campus and immersed myself

University Publishing. / 不同的中文譯本。《觀看的方式》吳莉君譯，

beholding the face in the painting on a wall. That moment,

in daily reading sessions. I spent a lot of time re-reading

臺北麥田出版。《觀看之道》戴行鉞譯，廣西師範大學出版社。

I could see the happening of art.

passages from Berger’s Ways of Seeing, and compared different Chinese translations of the work.

3

In my many readings,

4

Refer to "Aesthetic and Human Freedom", doctoral thesis by Liu Xiaobo,

300 years ago, Rembrandt gazed upon himself before the canvas

however, I found myself unable to agree with some of the views

in his studio; that day, at the gallery, I gazed upon at his

and propositions of the book, particularly where Berger

Page 55. / 參看劉曉波博士論文《審美與人的自由》， 1989，

likeness in the painting. We occupy different time and space,

oversimplified paintings as images and discussed paintings in

曙光圖書公司，香港。第 55 頁。

yet we are equally moved by what we see. To see people,

terms of structures of social interest. This way of “seeing” is

objects, sceneries, and oneself; “seeing” is the calling of the

one I could not identify with. One night, before I turned in after

painter. I refer “seeing” not to encode visual stimuli for

a late-night reading session, I wrote at the edge of the page,

statistically quantifying and scientifically analysing; but to

“Is art appreciation no more than an attempt at literacy ? Is not

Mentioned here was the third round of thematic exhibitions titled

meditate and understand what’s before us with feeling.

the meaning of seeing to see the happening of art? Do you

“Melting Pot” /《繪畫大道中》是由一群香港畫家發起的計劃，至今已

actually see what I see?”

舉辦合共五次展覽。文中提及是第三輪專題展覽，命名"半鑊生，

published in 1989 by Twilight Books Company, Hong Kong.

5

Painting On and On is a project initiated by a group of Hong Kong artists. 5 exhibitions have already been held under this project.

4

This contemplation of “seeing” stayed with me even as I pursued

半鑊熟"。 https://www.facebook.com/PaintingOnAndOn

further studies in London many years later. That afternoon

Last April, I was invited to take part in a thematic exhibition

after completing enrollment procedures, I hurried back to my

entitled "Painting On and On" . Two of my paintings were put

studio to tidy things up and get an early start on my painting.

on display, and I also attended a forum before the opening.

“whatever world it is”, “I will always believe” are lyrics from the song

However, a host of doubts remained deep inside me. I was

That day, the lecture theatre was fully seated, and there was

“Believe” by the Taiwan band Sodagreen. I was listening to their music

questioning whether I should continue to represent matters

a lively discussion from the speakers and the audience

on YouTube as I completed this article. / 最後一段的其中句子，"來得及

simply based on direct observation, or I should try new attempts

about painting and related topics. At the end of the long forum,

撐開眼睛"，"無論甚麼世界"，"我會永遠相信"，節錄自台灣樂隊蘇打綠

5

6

In the last paragraph, such sentences “still able to hold my eyes opened”,

(Sodagreen) 的歌曲《相信》裡面的歌詞。電腦前開著 YouTube 邊看 邊聽邊寫。這一首歌曲陪伴我完成這一篇文字。

洞見

Insights

50

51

Staff Bites 視覺藝術院老師

What will you do if you are not a visual artist/art teacher? 如果你不是視覺藝術老師, 你會做什麼?

訪談

WONG Suk Ki 黃淑琪 When I was a child, I used to help at the

我自細在爸媽的雜貨店及餐廳工作，掌握

grocery store and restaurant owned by my

到做生意的基本條件。在中學時，曾帶領

parents. The experience equipped me with

十多位同學在情人節當天賣花，一班小姑

the basics of business. In secondary school,

娘賣花，結果賺了一餐豪華宴。又曾在大

I headed a group of over a dozen classmates

學時期的暑假做小販，賣手繪 T 恤，那時

and sold flowers on Valentine’s Day, and we

沒人會做這種衣服，所以賺錢賺到身旁的

ended up earning ourselves a sumptuous

小販眼紅，後來小販隊捉人，上法庭後，

已經是二十三年前的往事，點點滴滴，至今

對「看」的尋思，一直延續多年至英國留

書中某些觀點與角度，恕我始終不敢苟同，

feast. In university, I spent a summer as a

沒再賣。不做現在的崗位，大概會繼續想

依 然歷歷在目。那年的冬天， 寒 假 特 別 漫

學。那天午後，才剛辦理完入學手續，我已

尤其是他把繪畫過度簡化作為圖像來解讀，

hawker and sold hand painted tees, which no

想如何好玩地賺錢吧。

長，倒不想留在校園呆過，於是便與友人相

急不及待趕返畫室打掃一番，希望能盡快開

又 硬 要 把 繪 畫 拉 扯 至 社 會 結 構 的 利 害 關係

one thought of doing at that time. I made

約遠遊。我們二人從多倫多駕車南下美國東

展工作。事實上，我的心底裡藏著不少疑

去 討論，如此這樣去「看」，我確實不以為

a handsome profit and became the envy of

岸，沿途穿州過省，一路上參觀各地著名的

惑，對於多年來單憑透過眼睛觀察，以便描

然 。 那 晚 上 看 書 至 深 夜 ， 臨 睡 前 ， 在 頁邊

other hawkers. Later, the hawker control

美術館，還走訪當地畫廊，盡情來一趟藝術

繪事物和表達情感的習慣，是否應該及時放

空 白處，我給它寫上：「難道藝術欣賞充其

team came and I was taken to court, and that

4

之旅。十天行程，帶著愉快的心情踏上歸途

下，並且往另外一方的開端去嘗試。這無疑

量不過是一種看圖識字 ？ 觀看的意義，難

marked the end of my hawking. If I am

前最後一站，那天早上，天氣異常寒冷，我

是一項挑戰，畢竟需要面對兩種截然不同觀

道不是為了看見藝術的發生？難道您看不見

not engaged in my current line of work, I will

們依然興致不減，吃過早餐，隨即便走進期

看的態度。但料想不到，開課後不過兩週，

我看見的？」

probably be thinking about how to make

待已久的華盛頓國立美術館繼續參觀。館內

創作進度遠比想像中來得順利，正在嘗試的

a big buck.

5

典藏可謂琳瑯滿目，懸掛在牆上的、安放在

三米長抽象畫作經已接近完成。我心想，倒

去年四月間，應邀參與《 繪畫大道中》 其

地上的，無一不是藝術大師的經典名作。我

不管成果如何，作為校內完成的第一幅作

中一次專題展覽，除了展出兩幅新近作品，

放 慢腳步，來回穿梭於各個展 廳 ， 徘 徊 之

品，定要為它找一個匹配的名字，於是便

並出席展覽開幕前舉行的座談會。當天的演

中，來到林布蘭的晚年自畫像 面前。光影

挪用 一 首 聖 誕 歌 的 歌 詞 「 您 看 見 我 看 見 的

講廳內座無虛席，講者與觀眾對繪畫及相關

交錯的現場，悄然無聲，一瞬間視線停駐。

嗎」 ，給它命名。

1

2

還記得，當凝望著牆上的一張臉，我感到茫

課題的發言和討論都是相當踴躍。漫長的座 談會，臨近尾聲，各人依然聚精會神地細心

然不知所措，那一刻，我是確切地看見藝術

面對藝術與觀看相關的老問題，藝評家約

聆 聽 ， 唯 獨 坐 在 臺 上 的 我 ， 早 已 經 心 神恍

的發生。

翰．伯格在上世紀七十年代寫成的《觀看的

惚，只因被泛光燈照射兩個多小時後，眼睛

方式》，亦曾經作出深入探討。眾所周知，

矇 矓 了 ， 被 五 花 八 門 的 理 論 和 意 見 充 斥過

三百多年前，林布蘭站在畫架前觀看自己，

這是藝術評論書籍的一本經典著作，但最初

後，腦袋給掏空了。最後一個環節是進行結

那天，我站在美術館內，觀看他在畫中的模

接觸這本名著，我只為了應付校內作業而隨

語，還好，來得及撐開眼睛，縱然我的小結

樣。雖然身處不一樣的時空，但同樣地，我

意地查看部份章節，未曾用心翻閱。再次拿

更似在喃喃自語：「我喜歡看著自己的作品

們 被 眼 前所看見的情景感動著 。 看 人 、 看

起來認真細讀，是多年之後，留在杭州暫住

身處工作室畫架前的情景，也喜歡看著自己

物、看景、看自己，「看」是畫家的本份。

和進修的歲月。那一年回到校園生活，每

的作品處身現場展出時的情景。」站在一張

我所指的「看」，並不是調節眼球角度去辨

天靜心靠在書桌面前看書，對伯格這本名

繪 畫 作 品 面 前 ， 無 論 甚 麼 世 界 ， 我 會 永遠

析，或操控眼簾張合來對焦，所謂「看」，

著 不 時翻閱，也買來了不同的中文譯本相互

相 信 ， 只 要 喜 歡 看 ， 最 後 便 會 看 見 藝 術的

就是帶同感受，觀照眼前事物。

LAU Chak Kwong 劉澤光

3

參看 。可是，儘管反覆細嚼多少次，對於

6

發生 。

“ A Traveller ”

「旅行 —— 唔使搵食玩餐勁。」

洞見

Insights

52

KOON Wai Bong 管偉邦

53

Normal Daily Objects

尋常的事物

LEUNG Mee Ping

梁美萍

Assistant Professor

助理教授

Well... I reckon there is properly no major

我認為自己的生命沒有多大的轉變。我一

change in my life because I always consider

貫自視為藝術家多於一名藝術教師，卻不

myself as an artist rather than an art teacher.

意味着我不渴望教學。在我心目中，在大

I often find myself interested in normal daily objects as they

Bacon’s studio, such as small cards and even dust. I think that

It is, however, not implicative that teaching

學教授中國藝術並非單向的學習層面：我

provide me a path towards imagination where I can play, touch,

his studio is not just a studio, but a place where he lived.

is not desirable to me. Teaching Chinese

從這個平台向下一代傳授知識和經驗，亦

switch places and have fans. I always drag stuff that is rather

art in university, in my eyes, is something

藉此得到學生的回應，箇中往往滿是新鮮

random and banal back to my office, from tiny loose threads on

Collecting various small pieces of random things, I was

more than the one - way learning — on the

和奇幻的意念。在某程度上，他們是我教

blankets or huge hanging dragon phoenix decorations from

inspired to create different ideas. There are about ten to twenty

one hand it is a platform for me to pass

學與藝術創作靈感的一個泉源。因此我相

Chinese restaurants. As time passes by, these objects will give

notebooks and a box filled with papers, all resting in the

my knowledge and my experience to next

信，自己若非全職教師暨兼職藝術家，亦

you their special stories or certain connections. Hey! There's

corner of my studio. Therefore I was quite touched when I knew

generations; on the other I often find that

會是一名全職藝術家暨兼職教師。

where it is, the opening of another path! Whenever I go inside

Bacon's environment for magnificent creations.

the feedback from my students embraces

to tidy up stuff or play with objects that might contribute to my

thousands of the fresh and whimsical ideas.

future artworks, I always see them lying on the floor. I was sure,

I am not sure whether “explore” is the right word for my

They are rather resourceful to both of my

that these objects and ideas were once there and are still there.

experience in art. Although it is a widely used word in artist statement, I believe that the motive of my creation is more on

teaching and art making in a way. Thus, if I am not a full-time teacher cum a part-time

Last week, I went to visit Francis Bacon's “studio”. The studio was

artist, I think I will be a full-time artist cum a

rebuilt with the same construction pieces from England to

part-time art teacher one way or another.

Ireland and was ridiculously messy. The museum had actually

the extension of curiosity or the result on serious tediousness.

re-organised and listed every found object that existed in

LEUNG Mee Ping 梁美萍 我覺得她最適合在生意管理那方面工作，

I think she is perfect fit for the management

她不僅充滿藝術創意而且具市場觸覺，因

and business sector as she has great sense

為就算在家裡看電視她也會很興高釆烈地

of creativity not only in arts but marketing.

研究不同的廣告和銷售方式，提出相對的

She always suggests ways to improve

改善方法，以及有條理地說出一些令銷售

certain products and thinks of various ways

數字上升的辦法。

to modify the sale although they are just TV advertisements.

MoMo (梁美萍) 的女兒

By Momo (Leung Mee Ping) ’s daughter

我對尋常的事物很感興趣，那常常是我胡思

從英國搬返愛爾蘭的重組再現空間，異常雜

需要，間中會用這個大家都慣用的動詞；

亂想的入口，在裡面游盪、觸摸、換位和遊

亂。美術館把原來工作室的東西都詳細分類

然 而，我相信我的創作起點更多是好奇旳延

戲。更且還會把一些瑣碎而毫不起眼旳東西

列出清單，包括所有小紙片，還有塵埃。我

伸，或者是認真地無聊的結果而矣。

拖回工作室，小的如別人毛衣上的毛頭，收

想那裡不僅是他的工作室，那是他存活的地

集了一小堆；較大旳是酒樓旳掛牆舊龍鳳。

方。因為收集了不少瑣碎的東西，它們提供

久而久之，這些事物自己會給你一個故事或

了我許多的想法，有十幾個本子；還有滿滿

某個聯系。唏，它就在那裡，為你打開另一

一箱的紙片，混雜著其他東西靜靜的閑放在

個入口，我進去整理或把玩某些可能是「作

工作室的角落，所以對 Bacon 的創作環境甚

品」的東西。隔陣子，回頭一暼，它真的就

有感覺。我不大確定「探研」(explore) 這個

在那裡，確定的。上星期我去看了Francis

字眼對我創作的體驗是否合適，雖然很多時

Bacon 的「工作室」，那是他過逝後被拆件

候在配合藝家自述 (artist statement) 之類的

Insights

洞見

54

55

107 unrealized (and often unknown) art projects, to showcase

of unrealised projects are publicised and accessible. These

unrecognised talents whose art projects have never been

unrealised projects were usually prevented by censorship and

brought to fruition. Through publishing these unrealised projects

rejection, or by being forgotten, or simply by being impossible

are now known, and have become included in history and

to be actualized. Through the AUP, the projects were reborn.

Finding and Filling Gaps in Contemporary Art Research: Hans-Ulrich Obrist and the Agency of Unrealised Projects (AUP)

curation in contemporary art. Of course not every unrealised

Even though the display of information does not necessitate

project is selected and included. The duo made selections

the realisation of an idea, such effort is already a testimony of

based on experience, intelligence and potential. The beauty of

completion. From the curatorial and research perspectives, the

failure is now shown.

AUP exercises “excellent” research strategy by finding and filling gaps of artistic endeavour. The unknown and unheard-of

Twenty years later, Hans Ulrich Obrist and Guy Tortosa, together

project could be full of potential for inquiry and imagination.

with Julieta Aranda and Anton Vidokle formed the Agency

The AUP offers viewers a chance to know the unknown. The

of Unrealised Project (AUP). The AUP is hosted on the online

Agency of Unrealised Projects has no end — the open call will

LEE Wing Ki

contemporary art resource and information platform e-flux

continue until all unrealised projects are compiled!

Lecturer

(www.e-flux.com/aup/). After the success of Unbuilt Road, an international call for submissions was announced — requesting

From a research point of view, what is the significance of Hans

unrealised art projects and documenting the projects on the

Ulrich Obrist’s Agency of Unrealised Projects to the arts in the

Academic research is both a scholarly and serious play. The

virtual database. Hence the “exhibit” for the project is beyond

21st century?

formal quality of being “academic” in research sometimes drives

physical and spatial limitation. The pilot was made at Art Basel

students away from the benefits of knowledge building.

2011. At this moment, more than 2,000 entries of information

The Information Age offers convenience, efficiency and

I believe research should be thought-provoking and conducting

practice. To look back is another strategy to project into the

effectiveness to research. Accessibility and availability, however,

research should be an interesting and inspiring experience.

future, usually through reviewing the historical trajectory of an

put new researchers into knowledge dead end — it seems all

I would like to begin with a few questions that help uncover

artistic medium. From a technical dimension, artist and

feasible research topic have been done or are being done by

what research is in the creative arts.

arts practitioner explore new possibilities of material in

others. The trend of ‘research excellence’ also puts pressure on

execution. Research must take place through scientific venture,

the new researcher — how to research for excellence if

experiment, trail and error.

excellence is already done? What is research excellence? The

Who does contemporary art research?

Students who study visual arts, practicing artists as well as arts

notion of being "success" is problematic enough to inspire new

and cultural practitioners (for examples curators and art critics)

An artist is not a lone wolf. There is an art ecology, the environ-

thinking in research. In the age of excessive information and

research, in addition to their other creative and work activities,

ment in which artists live, connected by factors and agents that

wealth of research output, to find an "unexplored" research area

and they benefit from the process and outcomes of research.

make and break artistic endeavour. Who are the stakeholders

seems impossible, and unconstructive. Han Ulrich Obrist’s

in the art ecology? What is the power dynamic between the artist

project offers an insight to practicing artist and researcher — you

Why research contemporary art?

(producer) and the others (recipients)? These are examples

can swim against the tide and offer a better (and much more

Academic research is an imperative part of university education.

which help explain academic research in the arts, or “research for

interesting) perspective! In the currency of artistic research,

You are no longer told what knowledge is — you search for

excellence” in the arts. Some may wonder if everything has

failure and unrecognised artistic endeavour are rarely

and discover it, through systematic material and data collection,

been researched. What if I enjoy new venture? What else can

mentioned and studied. From a research perspective, attempts

interpretation, knowledge building and application.

I research successfully in the creative arts?

to find and fill gaps of existing research are significant in their own right. For artist and art practitioner, to investigate failure

What and how do artists research?

Of course, the goal of achieving success or excellence is

may allow you to reexamine the practice, launching into a new

Some may spend time strolling through art exhibition venues,

harmless. However these goals are not necessary for research to

world of possibility. To research for failure is not to ask you not

searching for engaging and inspiring artwork. An analytical

be useful. To research into, and learn from, previous failure, is

to do research well. It is a paradigm shift — an act of undoing

individual may start asking questions such as "Why do you find

equally if not more challenging and thought-provoking. How

value, tradition and convention, and building a new and better

this artwork and that artist interesting?" Doing research in

could we research for failure? How does this actually work?

regime of knowledge. Some of you may find it uneasy to

such way may not be “academic” enough; some analytical and

dig out others’ failures. What if you start working on your own

critical dimensions of research are missing by just looking

Hans Ulrich Obrist (b. 1968) is a curator who dares to make a

failure? Think about how many unrealised ideas that you have

at artwork. On a professional level, artists ask questions about

difference. Born in Zurich, Switzerland and now working

not yet realised in your artistic journey. Wake them up. Describe

the nature of an artistic medium, and its specificity

at the Serpentine Gallery in London, he utilises concepts of

them in words. Organise your thoughts. Perhaps a new

(i.e. medium specificity) and find ways to further the artistic

“unrealised” and “display” and challenge the very notion

possible artwork is not far away from realisation and success.

of “success” through research and curatorial projects. In the late 1990s, Hans Ulrich Obrist, with Guy Tortosa, published Unbuilt Road: 107 Unrealised Projects. This book project includes

洞見

Insights

56

57

為 當 代 藝 術 研 究 找 缺口: 小 漢 斯 的「 未 完 成 藝 術 作 品 」徵 集 計 劃 李泳麒 講師

要莘莘學子們（尤其是藝術學生）正正式式

瑞 士 策 展 人 小 漢 斯 (Hans-Ulrich Obrist) 就

去做學術研究有點煞風景。尤其是當大家都

「未完成」及「展示」兩個概念，大動文章，

只 在 顧 慮學術研究有多正確有多 準 確 的 時

誘發當代藝術文化研究的「缺口」。小漢斯

候，心思都不是花在建立知識之上。我個人

與 友 人 Guy Tortosa 自上世紀九十年代末開

的經驗告訴我，學術研究不能不學無術 ——

展了 "Unbuilt Roads: 107 Unrealized Projects "

學術研究既可以是嚴慎八股，也可以是極具

一 書(譯 名：《沒 有 築 的路：107 未完成的計

二十年後，小漢斯， Guy Tortosa 跟 Julieta

啟發性及有趣的經驗。說到這裡，研究其實

劃》)。書中展示了107 個尚未完成，或未被

Aranda 及 Anton Vidokle 一起共同合作，組

是 甚麼？在創意藝術中研究又 是 甚 麼 一 回

公開的藝術計劃。簡單一點而言，這本書造

成 Agency of Unrealized Project (AUP) (譯名

小漢斯他們這個項目對廿一世紀藝術文化 「研究」又有甚麼啟示？

事？下列幾組自問自答，希望讓大家好好理

藝術家又可以「研究」甚麼？籠統一點而言

就 107 個懷才不遇的藝術計劃，藉出版讓它

「未完成計劃機構」)，在網上藝術資訊及研

解創意藝術研究之現況。

就是看看人家的作品，找找自己喜歡的藝術

們有機會及空間發表，被看見，在策展及當

究平台 e-flux ( www.e-flux.com/aup/ )，公開

家，看看藝術展覽。有想法的你會開始問問

代 藝 術 歷 史 中 列 席 。 當 然 不 是 世 界 上 所有

召集國際間「未完成」的藝術計劃，並「記

題 ﹣為甚麼這位藝術家這樣作品叫你著迷？

「未完成」的藝術計劃也有機會被看見，策

錄」以及「展示」。自2011年巴塞爾藝術博

在多快好省的學術時代，許多研究題目都已

齋睇有點太齋，可以把批判思考帶到觀看當

展人藉著他們的經驗及睿智，挑選當中最好

覽會 ArtBasel 開展了首個公共展覽，迄今已

經被佔領。更多時候，研究的目的及對象都

中又更上一層樓。再專業一點而言，你或許

的 107，誠然是美事一樁。

收集二千多項「未完成計劃」的資料 —— 有

是要從成功的例子出發。失敗的，不遇的，

會對特定媒介發問問題，討論媒介本質，為

的是不獲審批，有的是被遺忘了，陰差陽錯

也就「唔好提喇」。在資訊過度發達與及豐

創作找出路；或是從探索媒介的歷史過去，

時不與我，有的是不可能發生 —— 當作是一

膄的研究成果滄海中，要找尚未探索的研究

投放未來，借古鑑今；或是從科研角度，為

次重生的機會罷！AUP 不可能幫助這些藝術

題目，難過登天。作為研究方向，如果我們

物料或素材提倡新的可能性。

家完成計劃，但至少讓他們有機會被看見。

能退後一步，在豐膄的國度找缺口，既有

在策展及研究方向上這蠻有意義。觀眾或許

趣，又有用，更有意義。這並非是賣弄小聰

誰會有心思空閒去做有關藝術「研究」？ 唸藝術的學生、藝術家與及藝術文化工作者 （比如是策展人及藝評家）除了創作及書寫

在當代藝術世界中，藝術家再不孤獨。從藝

看過許多「完成了」的藝術作品。作品跟計

明的概念技倆，從失敗中出發，或許讓我們

以 外，更多時間會花在發白日 夢 與 及 「 研

術生態的角度更能了解當代藝術的運作。除

劃不同，作品是實體，計劃是概念，觀眾可

看得更清楚藝術及媒介的可能性，也有擦邊

究」當中。研究的「過程」及「成果」都是

了藝術家之外，還有誰能決定藝術家與作品

以借那些片言隻字的描述，虛構未來的可能

之效。為失敗作研究並不是叫你不做，在當

啟發知識及學習的重要部份。

的成敗得失？誰攻誰守，是誰滋養誰。這些

性，至少讓觀眾及研究員認識未有機會看過

代研究層面上，我們可以藉此找到小眾，在

例子都是學院研究領域中最常出現的「卓越

的構想。AUP 計劃沒有完結的一天，只會在

研究版圖上找出隙縫，為不遇的人和事作補

研究」。與藝術打交道的人最怕重蹈人家覆

「全部計劃也全數徵集後」，才懂得收手，藝

充，也有平權之效。所謂卓越，也許是要建

為甚麼無端白事要做學術「研究」？ 「研究」是大學教育及學術場景中不能缺少

轍，而現在好像所有成功有作為的研究題目

的重要部份，要自覺自主地發掘知識，循著

都有人擔當了，那末我們還可以「研究」甚

章，有點在傷口灑鹽的意味，你或計會說不

有系統方法，搜集資料，增廣知識，並加以

麼「卓越」的二三事？

人道。若果是從自己的失敗中學習，你可以

應用。

高人膽大。

基於失敗之上。或許假借人家的失敗做文

嗎？在你的創作命途中，曾有幾多個難產 「卓越研究」成就無傷大雅。又容許在下膽

的想法，如今靜待你好好梳理，找出口，

粗粗講一句，卓越的研究又未必一定是有用

再出發？

的研究。從失敗中學習更具有前瞻的意味， 更具挑戰性，更有用。那麼研究失敗又是怎 樣的一回事？

洞見

Insights

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59

polished sculptures like the “3-self” sequence featuring a

corresponds to the tones of the poem; the 28 total glass

deliberately stacked arrangement of bubbles that correspond

pieces enact the stages of enlightenment experienced by the

abstractly to the character for “self, 自”. “Transported /

herdsman. Her interest in Buddhism and phenomenological

Unwrapped / Unbandaged Self,” from 2007, in which the pieces

or ontological questions makes her value the temporal aspect

are wrapped with white cloth, is especially compelling in its

of the artistic process, particularly the immediacy of hot blown

David Francis

surprising mode of presentation, incorporating mixed media.

glass. In her hands, glass becomes a stand-in for humanity and

Artist-Curator

Reviewing the recent glass exhibition “Breathing Through

for the dilemma of consciousness. In her own words, the

Transparence,” at the China Academy of Art in Hangzhou earlier

essence of living can be described as “the simultaneous process

A Stone’s Throw: Sunny Wang “Become what you are.” _ Pindar (Greek poet, 518 BC _ 438 BC)

this year, Shanghai Daily arts reporter Xu Wenwen admired

of being (existence) and becoming (continuity of being)”,

At the 2012 Glass Art Society Conference in Toledo, Ohio, Mark

she look beyond her immediate surroundings. Thus her artistic

Wang’s “Almost Self” sculpture, writing that its polish gave it the

which implies both a radical passivity (perhaps analogous to

Zirpel gave a long speech about conceptual approaches to

sensibility must come from a deep and private place, a poetic

appearance of “crystal” due to its “transparency and the

“doing nothing” in a Buddhist sense) as well as a more active

glass art. Zirpel, the Chihuly Endowed Chair of the new 3D4M

wellspring of fortitude that depends on paying close attention

light cast from the bottom.” (Shanghai Daily, January 20, 2014)

agency or free will. By taking the philosophical intent in the

art program at the University of Washington in Seattle (which,

to small things (such as growing flower beds), to dedication

as you might expect, includes a strong glass component), titled

and perseverance. Not only is she the first PhD in glass from

In addition to the “Self” series, Wang also focused on a group of

Wang brings the past into the present. Her artwork is much

his oration, “The Glass Isn’t the Thing” as a way of suggesting

Taiwan, but also the first to cross over the Strait of Taiwan

works exploring the form of a cell, investigating biological

more than what it appears to be initially: beneath the surface

that the material itself — while undeniably beautiful and

(previously referred to as the Black Ditch) to become the first

structures and conveying an ongoing interest in nature. A

beauty, vast depths of meaning wait to be teased out. In

mesmeriszing — not be allowed to overshadow the ideas or

person with a PhD in glass to teach in Hong Kong. That she

number of works titled “Inner Space Star” capture the look

Wang’s hot shop, the pool of molten glass in the glory hole is

content that the glass object conveys. In some ways, Zirpel

is a woman in a field dominated by men makes the achievement

of highly magnified seed-pods while the cells themselves are

no less than the raw substance of humanity waiting to be

was resuscitating Harvey Littleton’s famous offhand remark

all the more groundbreaking.

often reminiscent of vases or bowls. Recent exhibitions

formed and made; yet it is in the making — the active process

practice of Chinese calligraphy and applying it to glass making,

(“Confluence,” 2013, “Poetic Stones,” 2011-14, “Be/Coming,” 2011,

— rather than its aftermath, that the impact reaches its greatest

glass community seemed to forget that Littleton was speaking

Wang’s beginnings in commercial design and glass factory-

“Glass Circles,” 2011, “Suchness,” 2011) have incorporated an

potential. For that reason, the artist has moved increasingly

casually, in jest, although of course jokes always contain

work in Taiwan in the mid-1990s served her well early on. Her

installation component so that the work is no longer a series of

toward artworks that help us relive or reconstitute the energy

seeds of painful truths.) Many years later, as the studio glass

early experiments with ceramics also show that she felt a

static objects beneath a forest of vitrines on pedestals but

of the crucible. In a gallery or museum, it appears static at first

movement seeks to broaden its landscape beyond the purely

need to roll up her sleeves and get directly involved with the

an entire environment for contemplation, perhaps a result of

but becomes more and more active the more we realise what

craft-oriented lowlands of functional objects and toward the

process of art making, rather than keeping such exhausting

Wang’s PhD research in the aesthetics of Chinese gardens

Wang is conveying. Dr. Gerry King, writing in the current issue

frontier of contemporary art, it is also likely that “content is

toil at a distance. Meeting Australian glass artist Stephen

like the one she visited in Suzhou in 2008. In these immersive

of Craft Arts International (no. 92, 2014), explains this two-fold

cheap.” With the widespread popularity of Adriano Berengo’s

Procter at Tittot in the late 1990s, she decided to continue her

exhibitions, a word such as “freely” is repeatedly transcribed

condition as one in which we “are simultaneously complete

Glasstress exhibition series, for example, worldwide glass

education with a Masters at Australian National University’s

in transparent glass, mounted on a wall, suspended from the

individuals at any moment but also in a state of transforming

audiences have quickly become accustomed to a seemingly

Canberra School of Art (on scholarship no less), inspired by

ceiling with fishing line, enveloping the viewer in an experience.

to that which (we) will become.” It is through art that we are

endless array of broken plate-glass, glittering human skulls,

Procter to explore aspects of her cultural roots such as Chinese

With “Confluence” at Hong Kong Visual Arts Centre in November

perhaps able to accelerate or enhance our becoming, and as

silvered bubbles with spikes, video projections, and a host of

calligraphy, evoking the line of an ink brush by coldworking

2013, she displayed a variety of work in a collaborative

Wang follows the elusive muse deeper into the wilderness of

neo-Pop-art objects — all of which I personally find delightful

the surface of the vessels. Using the traditional form of the

exhibition with artist David Reekie, including flameworked

the creative process, I predict that it is in this direction she will

and fascinating.

characters (Kanji characters) instead of the simplified form

components on transparent hot blown bubbles (such as

travel. In a period where the fashion for content in glass has

adopted by Mao after 1949, Wang’s first few series (with dates

“Bubble Ladder”) alongside a poetic-diary (on transparent

dictated certain choices, Wang’s conceptual underpinnings are

It is in this context — of ideas and technique — that I find Sunny

ranging from 1999 — 2002) already bear a trace of conceptual

tracing paper) and ink-brush drawings. The cumulative effect

both hard-won and long-considered, the result of scholarly

Wang’s work achieving such a remarkable balance, demonstrat-

energy beneath their technical perfection. Perhaps technical

is of seeing “layers of moments in one moment,” as the artist

research and a practice that encompasses the experience

ing the best of both worlds. Wang has spent nearly 20 years

mastery must come first before greater experimentation can

describes it, or of “living in the present moment at the same

of life itself.

exploring glass in a pioneering career that has covered great

be explored in terms of ideas, as Wang’s subsequent shift toward

time (we are) step (ping) in the river of past and future.” For

distances, both metaphorically and literally. She’s displayed

a deeper testing of the limits of the Chinese character in glass

Wang, the present is glassy, full of the flux noticed by Heraclitus

work in numerous solo and group exhibitions around the world,

would take her into unexplored territory (not to mention a PhD

long ago, “like water, never fix(ed) in one point, but rather

with placement in public and private collections in Taiwan,

at University of South Australia under Gabriella Bisetto and Dr.

running in the river of time.” (Quotes from personal communi-

Hong Kong, Australia, Singapore, Italy, France, Japan and the

Linda Walker).

cation, July 30, 2014).

young artists gain recognition at important glass exhibitions.

By 2005 and 2006, Wang’s work shows further exploration of

“Poetic Stones,” in particular, encapsulates Wang’s conceptual

In less than a decade she has established the first hot shop-

the idea of the Chinese character in kiln-casting, almost as if

and technical mastery, with its origins in the Buddhist literary

equipped, academic glass programme in Hong Kong and seen

she were trying a variety of technical approaches to seek out

classic Ten Oxherding Pictures, specifically the eighth quatrain:

it grow successfully. And yet she wasn’t born into a glass

what she was after (more on what this elusive muse might be in

laid out on the gallery floor in four rows of seven stones each,

family, and grew up in rural surroundings on a farm, close to

the concluding paragraph). “Happiness,” 2007 (kiln-cast) and

the installation offers a ‘reading’ of the original text. The careful

nature, aspiring to be a gardener before her father insisted

“Cast Self,” 2007 are echoed by hot-blown and mold-melted,

positioning of the thin white line against the black background

from 1972 that “technique is cheap.” (For decades, the

United States. Generous with her students, she has helped

洞見

Insights

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61

擲 石 .刹那：王 鈴 蓁 「 成 為 真 正 的 你 。」‒

賓達爾 ( Pindar ，古希臘詩人 ，公元前

518 年 ‒ 公元前 438 年 )

David Francis 藝術家 . 策展人

在 2012 年於俄亥俄州托利多舉行的「玻璃

鈴蓁並非出身於玻璃世家，她生於農家，在

里。1990 年代末期，王鈴蓁於琉園遇見澳洲

藝術協會會議」上，Mark Zirpel發表演說，

鄉 郊 成 長 ， 與 自 然為 鄰 ， 小 時 志 在 成 為 園

玻璃藝術家 Stephen Procter，令她決意前往

娓娓談及玻璃藝術的概念演繹模式。他是西

藝家，父親卻堅持她要走出田莊，放眼世

澳 洲 國 立 大 學 坎 培 拉 藝 術 學 院 作 碩 士 研究

雅圖華盛頓大學全新「3D4M」藝術課程的

界。由此可知，她對藝術的感知能力必然發

(以獎學金得主身份深造)。Procter 教授啟發

奇 胡 利 講座教授，可想而知，玻 璃 是 該 課

自內心深處，一處依仗她注意細微末節 (例

她探索本身文化的根源，例如中國書法等，

程的一大環節。Zirpel 以「玻璃不是要旨」

如正在成長的花床)、竭誠投入的態度與毅

喚起她以冷作研磨的方式在器物表面營造毛

( The Glass Isn’t the Thing )為題，提出這種物

力而生的詩意泉源，一股堅韌不拔的精神。

筆線條。王鈴蓁初期的作品 (約為 1999 年至

料本身雖然美麗又迷人，卻不可以就此掩蓋

她是首名取得玻璃藝術博士學位的台灣人，

2002 年間) 並非以簡體漢字為本，而是選用

除了「自」系列外，王鈴蓁亦創作一系列作

化的玻璃就如人文的原料，有待塑形和製

玻璃作品傳達的觀念或內容。在某程度上，

亦是首名跨越台灣海峽 (以往人稱「黑水溝」)

繁體漢字，在完美的技術造工之下，早已隱

品探索細胞的形態，藉此剖析細胞的生物結

造；相對製作的結果，倒是製作的積極過程

他的說法反思了 Harvey Littleton 於 1972 年

在 香 港 執 教 的 玻 璃藝 術 博 士 。 王 鈴 蓁 投 入

含充沛的意念。之後她轉繼深入試驗以玻

構，表達她一貫對自然的興趣。「細胞系

更形發揮玻璃最大的潛能。因此，她的作品

隨興的名言:「技術是廉價的」( technique is

男性主導的玻璃創作領域發展，令她的藝術

璃演繹漢字的極限，引領她進入不曾探索

列」包括多件名為《內太空的星星》( Inner

趨向有助我們重溫或重構坩堝中的能量。在

cheap ) 。數十年來，這句話掀起莫大迴響，

成就更具突破性。

的範疇 (更不用說她師隨 Gabriella Bisetto 及

Space Star ) 的作品，捕捉籽莢在顯微鏡下的

藝廊或藝術館中，王博士的作品乍看靜止，

但玻璃同好似乎忘記 Littleton 只是戲言，(縱

Linda Walker 博士獲取澳洲南澳大學博士學

模樣，其形態往往叫人想到花瓶或碗的形

但隨着我們了解她想傳達的意義，眼前的展

然笑話裡往往帶有難堪的真實)。多年之後，

位的成就)。或許藝術家必先駕馭技術，才

狀。或許是她以中式庭園美學作為博士研

品會愈見靈動。Gerry King 博士在本期《 Craft

「玻璃藝術運動」致力把玻璃從技術導向的

可以藉着觀念在藝術上更深入探索和嘗試。

究的緣故( 就如她於 2008 年到訪蘇州那種

Arts International 》( 2014 年第 92 期 ) 中解釋這

今，這亦可能意味着「內容是廉價的」。以

及至 2005 年至 2006 年，王鈴蓁透過玻璃鑄

庭園 )，在近來的展覽中( 2013 年「合琉」 [ Confluence ]；2011 年至 2014 年「詩 . 石 」

Bubble Ladder / Blown and lamp-worked glass /

都是圓滿完整，同時不斷轉化未來自我模

Adriano Berengo 創立的「Glasstress」展覽為

造作品，進一步探究漢字的蘊涵，嘗試運用

[ Poetic Stones ]；2011年「隨緣琉轉」[ Glass

27 x 25 x 25 / 泡中梯 / 吹製，燈工

樣」。藝術正好讓我們有機會促進或加強本

例，箇中的展品飽受注目，各地觀眾隨即接

不同的技術找出自己緊隨的樣貌那樣 ( 本文

Be/Coming ]；2011年「玻璃圈」[ Glass Circles ]

受那些無數破碎的平板玻璃、閃亮的人類頭

結 尾 將 加 以 剖 析 這 個 令 人 難 以 捉 摸 的 靈感

和「如」[ Suchness ] )，她皆揉合裝置藝術的

顱或是帶有長釘的銀色泡沫等造型創作，還

繆斯可會是甚麼 )。作品《喜》( Happiness，

成分，令作品不再是一件件玻璃陳列櫥窗中

作品《詩 . 石》薈萃王鈴蓁 於意念與技術上

會是她藝術創作的路向。在玻璃創作內容盛

有一系列投影及新普普藝術的作品。這些精

2007 年 ) 及《鑄造自己》( Cast Self，2007 年 )

靜止的展品，而是一處讓人沉思的環境。展

的大師造詣，創作靈感源自佛學名作《十牛

行的式樣取決某些選擇的時代，王鈴蓁的意

彩的展品無疑令我賞心悅目。

回應了《 3 自》(3-self ) 等玻璃吹製和模塑熔

場以不同的模式演繹「自(在)」等漢字，將

圖頌》，並擷取當中第八首四行頌詩，化為

念基礎得來不易，亦經過深思熟慮，那是學

鑄的雕塑。《 3 自》序列作品以刻意堆疊的

之不斷書寫在透明玻璃上，裝裱牆上，或是

作品：在展廳地上把 28 顆玻璃石頭分四行

術研究與揉合生命本身經驗的成果。

在上述的當代玻璃藝術的反思中，在觀念與

氣泡形象，抽象地對應漢字「自」。2007 年

利用魚絲從天花垂下，讓參觀者身歷其中，

陳列，每 行七顆， 藉此裝置排列「 朗讀 」

技術上，王鈴蓁的作品難得二者兼備。她投

發表《包紮/運送/解開自己》( Transported /

渾然體會箇中意念。「合琉」展覽於 2013 年

原文。她謹慎地對應詩中平仄韻律，細意安

Unwrapped / Unbandaged Self )，採用白布裹

假香港視覺藝術中心舉行，展出王鈴蓁與藝

排每顆黑色玻璃石頭上展現白色細線的位

起作品，混合媒體的表達模式帶來驚奇，引

術家 David

Reekie 多件作品，包括她結合燈

置，以28顆玻璃石頭演繹牧人啟迪的階段。

創作低地，推進當代藝術的境界；但發展至

身採究玻璃接近 20 年，藝術事業無論直述 或隱喻而言，都邁開大步，走向四方，不斷

Poetic Stones / Blown / Varied sizes

推 前 創 新。她多次在世界各地舉 行 個 人 或

from 20*16*13 cm – 35*25*18 cm / 詩石 / 吹製

聯合展覽，其作品成為台灣、香港、澳洲、

種兩重的狀態，指出那是「在任何一刻我們

身轉化；王鈴蓁緊隨如此令人難以捉摸的靈 感繆斯，深入創意的曠野探索，我預期這亦

人 注 目 。 杭 州 中 國 美 術 學 院 於 本 年 初 舉辦

工組件與熱玻璃吹製氣泡而成的作品 (例如

她對佛教與一些現象或本體論的問題興趣盎

「 透器 . 透 氣 ── 中 國 當 代 玻 璃 藝 術 作品

「球中梯」[ Bubble Ladder ] )，在透明繪圖紙

然，令她看重藝術創作過程的片刻與瞬間，

展」，《上海日報》文化與藝術版記者徐雯

上展示的詩歌體日記，以及水墨畫作。王

尤其是熱吹製玻璃刻不容緩的特性。如她所

當代藝術中心 ( Center on Contemporary Art )

開和私人系列的珍藏。她亦全力扶持學生，

王鈴蓁於 1990 年代中期從商業設計課程畢

雯撰文回顧上述活動，點名讚賞王鈴蓁《近

鈴蓁形容她旨在讓參觀者領略「一刻的層

言，生命的本質就是「持續轉化的不二過

http://cocaseattle.org

幫 助 年 青的藝術家躋身重要的玻 璃 展 覽 活

業後在玻璃工廠工作，這些知識和經驗對她

乎自》( Almost Self ) 的雕塑作品，指出其「通

次」，或是「活在當下，同時涉足在過去與

程」，意味着根本被動的特質 ( 或是類似佛

玻璃博物館 ( Museum of Glass )

動，爭取認同。十年之間，她協助香港浸會

最初的藝術發展十分受用。她早期學習陶土

透的特色，光線從底部散射的效果」，配合

未來的河流」的感受。對她來說，當下是玲

家「無為」的意念) 與較積極的媒介或自由

www.museumofglass.org

大 學 成 立本地首個備有玻璃熱工 房 的 玻 璃

的經驗，亦可反映她自覺躬親參與藝術製作

光亮的表面，營造猶如水晶的外表。( 譯文，

瓏通透的，不斷變化的，正如古希臘哲學家

意志並存。王鈴蓁藉着中國書法表達哲學的

西北藝術博物館 ( Museum of Northwest Art )

藝 術 課 ，課程更隨年發展，成績 理 想。王

過程的需要，而非把如此勞累的事情拒諸千

英文原文摘自2014 年 1 月 20 日《上海日報》)

赫拉克里特斯 ( Heraclitus ) 所感，「就像流水

意義，把書法引入玻璃製作，同時把往昔帶

www.museumofnwart.org

那樣，不會止息於某點之上，而在時間的河

到當下。她作品的內容遠超外表：外表賞心

流中不斷移動。」( 原文引自 2014 年 7 月 30 日

悅目，箇中意義更是意含精深，等待他人逐

與筆者的對話內容 )

一分解。在王鈴蓁的玻璃工房內，熔爐中軟

新加坡、意大利、法國、日本與美國不少公

洞見

Insights

62

63

From Typography to Typeface Design.

Or, Experiencing to be a Student Again.

Mariko TAKAGI

When I describe to people outside the typographic community

Assistant Professor

why I wanted to learn typeface design and why it is a highly specialised field that needs specific training, I use the following comparison. As a typographer/book designer, I can compare

In June 2012 I submitted my doctoral thesis about Japanese

While I was researching for the doctoral thesis, I looked into the

myself with a choreographer. I use existing materials (typefaces

typography to the Braunschweig Academy of Arts in Germany.

area of typeface design for several times. In the thesis I have

or in my comparison a dancer) with certain characteristics and

After four years of intensive reading, thinking and writing, I

described historical circumstances and challenges based on the

qualities and arrange them according to my ideas. In learning

fell into a sort of limbo the very next day. It was term break at

complexity of the Japanese writing system that caused a delay

to design a typeface, I am learning how to dance. This is not an

the Academy of Visual Arts and I had to wait for the thesis

of the Japanese typographic era. I was curious to understand

easy exercise at all. Being used to well-designed and refined

defence until December. I had to come up with a new project

the perspective of the practice of what I discussed in theory.

typefaces (or to dancers who trained and perfected their body and movement over years, if not decades), the expectation

to keep myself busy.

towards my own results were very high, even while I was not yet able to visualise what was in my mind. Therefore especially the first month can best be described by "trial and error". It took a while to define the direction of the styles followed by an almost endless loop of refinements. Each time I moved on to

The study in Reading was good and important to me, not only

another style or weight, I needed to review and refine what

the practice-based study of typeface design. To be a student

I have done before. Once again I learned the journey is its

again was a great chance and a challenge at the same time. I

own reward.

valued very much to learn from different scholars of different generations, cultural as well as thematic backgrounds and to see their methods and materials of teaching. At the same time I have experienced firsthand what kinds of knowledge

From a workshop with Fiona Ross on Non-Latin

Titus Nemeth on the design of Arabic fonts.

transfer worked and how long I can keep listening carefully

scripts (here to see Telugu-Script).

Titus Nemeth 談及阿拉伯字體設計。

to an interesting lecture when the concentration simply

攝於 Fiona Ross 主持有關非拉丁字母的工作坊

decreased. The time at Reading was therefore also a chance

(可見泰盧固語字母表)。

to reflect my own habits of teaching.

I was especially impressed by Michael Twyman and James Mosley (both far beyond the age of retirement) who don’t get tired to share their still evolving knowledge and research.

The energetic and passionate workshop by Ewan Clayton, who

Still there was a second motivation. During an international

To cut a long story short, I looked for a place to study typeface

wrote The Golden Thread: the story of writing, the first

project with my students at AVA about the redesign of “the

design with a multi-lingual approach and found a programme

comprehensive history of writing of the Roman Alphabet. He

forty-five symbols of Phaistos”, I sensed a great interest of

at the University of Reading. A bit more than one year later,

enriched the teaching of theory in a brilliant way with

students in the practice of character or even type design.

with a special approval by the Academy of Visual Arts, I went

practices of writing exercises.

I needed some training myself to further develop the field

to Reading.

of my teaching in typeface design.

During the year I have learnt not only from internationally As I have been working and teaching in typography for more

recognised scholars, but also from international classmates and

than one decade, many people wondered why I wanted to

alumni who share my interest in type and culture.

study typeface design…

To return to be a student was a challenge but at the same time I learned and saw a lot. At the same time I got a lot of inspirations for new projects.

洞見

Insights

64

65

從文字編排及設計到字體設計: 重 拾 學習的 體 驗 高木毬子 助理教授

2012 年 6 月，我向德國布倫瑞克藝術學院 (Braunschweig Academy of Ar ts) 提交了有

Michael Twyman 與 James Mosley 老師的教

關日文編排及設計的博士論文。四年以來，

學叫我印象深刻。兩人已過榮休之年，卻從

我 一 直深入研讀、思索和撰寫研 究 這 個 題

不言休，一貫努力增進知識和研究，樂於分

目，提交論文翌日，我陷入了一種滯留的狀

享經驗與成果。Ewan Clayton 老師的工作坊

態。當時正值視覺藝術院學期結束，論文亦

充滿熱誠和活力。他筆下的《The Golden

待到 12 月才進行答辯程序，為免百無聊賴，

Typographic poster of the late 19th century. A session

Thread: the story of writing》全面闡述羅馬

我開始構思新計劃。

by Michael Twyman in October 2013.

字母書寫的歷史，前所未見。他教授理論時

來自 Michael Twyman 於 2013 年 10 月授課環節。

配合寫作練習，使課堂更加豐富生動。

我就論文題目研究時，多次涉足了字體設計

雷丁大學的課程令我得益不淺，是一次重要

的領域。在論文中，我以日文書寫系統的複

的經驗。這個課程以練習為本，令我增進不

雜性為本，描述了一些導致日文編排及設計

少字體設計的知識；回歸學生的身份，確是

時代延誤的情況與挑戰。我很想理解如何把

良機，亦是挑戰。我能夠從不同年代、文化

自己在理論上探討的看法實踐。此外，我之

與研究主題背景的學者身上學習，目睹他們

前 曾 與視覺藝術院的學生參與一 個 國 際 性

教學的方法與材料，實在難能可貴。在雷丁

2

學習的日子，我亦親身體會哪種知識轉移的

的 藝術計劃，重新設計了斐斯 托 斯 圓 盤 上 45 個符號。在過程中，我感到他們對字元的

我鑽研和教授文字編排及設計已十多年，當

方式可行，以及在講課有趣但我的注意力不

做法，以至字體設計的興趣濃厚，令我自覺

時決定研習字體設計，令不少人訝異。

支時，究竟自己能專注聽課多久。這些經驗

3

亦讓我有機會自省教學的習慣。

要接受一些培訓，提升自己教授這門學問的 能耐。這個念頭成為我研習字體設計的另一

每當我向文字編排及設計專科以外的人解說

股動力。

自己為何決定進修字體設計，為何那是一種 十分專門的學問，必須接受指定的訓練時，

1

長話短說，我開始物色一處以多語言模式研

我總運用這樣的對照。作為文字編排者或書

一年來我不僅從國際知名的學者身上增進知

究字體設計的地點，最終找到了英國雷丁大

刊設計師，我自喻為一個編舞家，起用各有

識，與來自各地同好字體與文化的同學交

學 (University of Reading) 一個課程。大約

特色和特質的現有材料(字體或比喻中的舞

流，亦增益不少。

一年多後，我獲得視覺藝術院特別批准休假

者)，因應自己的構想加以編排。學習字體

深造，入讀那個課程。

設計，猶如學習跳舞，殊不容易。我對設計

回歸學生的身份學習雖是挑戰，卻使我見

出色及精緻的字體(或是身段及舞姿久經訓

多識廣，並衍生不少新研究項目的靈感和

1-3) Michael Twyman during a lecture in March

練，臻至完美的舞者)習以為常，自然對本

意念。

2014 on teaching of human anatomy by (pop up)

身的成績寄望甚高，即使尚未能把腦內的概

books. The books are from the early 19th century.

念具體化，亦不會降低自我的要求。因此， 開學首個月可謂「屢敗屢試」，及至一段時

Michael Twyman 於 2014 年 3 月講課的題目為以

間後，我才可以界定各種風格的取向，接着

書籍 (立體圖書) 教授人體解剖。有關書籍源自 19

不息改進，力臻至美。每次轉至另一字體風

世紀。

格或重量時，我需要一再檢討已往作品，精 益求精。這次學習的體驗，讓我一再領會到 「旅程本身就是收穫」的道理。

Growing Experience 經驗的增長 P. 66 — 67

Experience Design : Concepts and Case Studies 經驗設計：概念與研究個案

P. 68 — 69

Dérive — The first lesson of Experience Design 漂流 —— 體驗設計的第一課

P. 70 — 71

22°N — The roundabout 22°N —— 於北緯 22度的迴旋處

P. 72 — 83

AVA Event List 視覺藝術院活動一覽

. Illustration by Sindy WAN .

Growing Experience

經驗的增長

68

Experience Design: Concepts and Case Studies Edited by Peter Benz Associate Professor

69

In result Experience Design: Concepts and Case Studies attempts to strike a balance between academic rigor and validity, professional applicability, and intellectual accessibility to accommodate its targeted readership of creative professionals and academics with backgrounds in disciplines like (user)

EXPERIENCE DESIGN CONCEPTS AND CASE STUDIES

experience design, interaction design, product design and/or architecture. I hope and expect that our joint efforts will provide insight and reason for further discussion after the book is finally published in November 2014.

Benz, Peter, ed. Experience Design: Concepts and Case Studies.

London: Bloomsbury Academic, 2014. ISBN: 9781472571090.

“Experience Design as a discipline is so new that its very definition is in flux”, wrote Nathan Shedroff in his introduction to Experience Design 1 in 2001. Despite the passage of more than a decade since then, remarkably little seems to have changed: Experience design as a discipline in its own right

經驗設計：

然而，現今世代已廣為接受「經驗」是經濟

常聽見人隨口說着，科際整合是學術的慣

價值的觀念，多個專業範疇(諸如設計)亦常

例。事實上鑒於種種原因，學術項目並非經 常可如願達到那種境地。本書得以結集來自

James Gilmore lament their similar observation: “Although the

概念與研究個案

稱某種「經驗」為慣常做法的結果。一些如 「經驗行銷」與「品牌經驗」的行業術語滲

2012 年初徵集及精選的文章，讓全球四大洲

book [Experience Economy, 1999] has since been published

奔子墨編纂

透廣告界，下至最常見的推廣溝通層次， 「經

建築、設計、美術、資訊科技、心理學及社

副教授

驗」亦無處不在，創作出如「Feel the Experi-

會科學等不同界別的人士就締造經驗各抒己

EDITED BY PETER BENZ

remains underdeveloped. In the foreword of the 2011 edition of their book The Experience Economy Joseph Pine and

in fifteen languages and purchased by more than three hundred

Thus another picture emerges: although “experience” is clearly

thousand people worldwide, the book’s thesis has not

a design issue, experience design remains “stuck” in playing a

ence」( [體會經驗]；美國代托納國際賽道、

見，成為學術與專業思想家的意見專集，實

sufficiently penetrated the minds of enough business leaders

poorly defined service role for other areas and, in this sense, is

Kazy Music 及其他機構選用標語)等冗贅的宣

在叫人欣慰。經驗設計擁有科際整合的本

(and policy makers) to give bloom to a truly new — and

merely one approach amongst a number of competing

Nathan Shedroff 在 2001 年發表的著作《經

傳口號。尚有「顧客經驗」、「產品經驗」、

質，書中的投稿人皆相信，把意見結集成書

desperately needed — economic order.”

concepts. The full potential of experience design as a distinct

驗設計 (Experience Design) 1》中寫道： 「經驗

「旅遊經驗」及「教育經驗」等經驗衍生用

creative discipline in its own right still needs to be articulated

設計是如此嶄新的領域，定義不斷在變。」

詞，幾乎已成為每種新產品或服務發展中為

and recognised academically and professionally.

(譯文) 只是10 多年後，這個領域似乎沒有多

人受落的觀念。

One would like to add that the same is true about the penetration of the design community with concepts, principles

的做法，正好讓我們充分探究這個範疇。 《Experience Design: Concepts and Case Studies》旨在兼顧學術嚴謹與有效性、專業適用

大的改變，經驗設計本身仍有待發展。Joseph

and methodologies for designing experience. One could

With this background in mind it was the intention of this book

Pine 與 James Gilmore 在合撰作品《經驗的經

由此可見，「經驗」顯然是設計的事情，「經

程度及方便讀者增進知識的程度，務求迎合

therefore be tempted to dismiss the entire notion of experience

to collect ‘over-the-shoulder-looks’ of the current state of

濟 (The Experience Economy)》2011 年版的 前

驗設計」卻「糾結」於其他範疇那種定義模

目標讀者(用家)，即經驗設計、互動設計、

design as a kind of “professional bubble” that didn’t stand the

discourse: What is ‘experience’? How can specific ‘experiences’

言中亦如是慨嘆：「雖然本書在1999年首版

擬的服務角色之上，變成與其他一些概念那

產品設計及/或建築等不同專長的創意專才

test of time, and simply forget about it.

be constructed purposefully, i.e. through which means can

後以15 種語言版本發表全球，購買書籍人數

樣，只是一種方法而已。經驗設計本身足以

與學者所求。我希望並預期本書於 2014 年

experiences be designed, regardless of their medial articulation?

超過 30 萬，書中的論點卻沒有充分打動商界

是個創意出眾的範疇，仍要在學術和專業的

11月出版後，這份合力結聚的成果能夠為讀

Nevertheless, the notion of “experience” as an economic value

What are possible methodologies and practices to be used?

領袖(及決策者)的想法，驅動他們展現簇新

層面上充分表達和認可箇中的潛力。

者帶來真知灼見，引發更深入的討論。

is well accepted today, and it is common practice in a

What are the influences, overlaps and relations of Experience

及世界急需的全新經濟秩序。」(譯文)

variety of professional (design) fields to refer to some sort

Design with other academic/professional disciplines? And so on.

of “experience” as one practice outcome. Lingo such as

在這個前提下，本書旨在蒐集不同界別人士 有人會說，設計社群滲進概念、原則和方法

現時對這個話語的看法：甚麼是「經驗」？

《Experience Design: Concepts and Case

“experiential marketing” and “brand experience” permeates the

While a lot of lip service is paid to interdisciplinarity as an

論來構思經驗時亦有同樣的情況，就此想駁

如何可刻意地建立具體的「經驗」，即我們

Studies》，Peter Benz (奔子墨) 編纂，

advertising business, down to the most common levels of

academic practice, as a matter of fact for many reasons it doesn’t

回「經驗設計是一種『專業泡沫』，經不起

如何撇開「經驗」中庸的表述，透過一些

倫敦： Bloomsbury Academic 出版，

promotional communication, producing such redundant

happen as often as would be desirable. With this experience in

時間考驗，就此作罷」的說法。

方式設計經驗？有甚麼方法及慣常的做法

2014 年。國際標準書號： 9781472571090.

slogans as “Feel the Experience” (the slogan of Daytona

mind I am very happy that the authors of Designing Experience

可用？經驗設計與其他學術/專業領域有何

International Speedway, Kazy Music and others). Similarly

— selected after an open call for abstracts in late 2012 – turned

關係，二者有哪些重疊的部分，經驗設計對

“product experience”, “customer experience”, but also

out to represent a selection of academic and professional

那些領域有甚麼影響？

“travel experience”, “educational experience” and other similar

thinkers from four continents with backgrounds as diverse as

experiential derivations are commonly accepted notions

architecture, design, fine art, IT, psychology and the social

within almost any new product or service development.

sciences, contributing their particular disciplinary views on the making of experiences. The contributors to this book believe that only through such practice experience design – an area that is inherently interdisciplinary — can be adequately studied.

經驗的增長

Growing Experience

70

71

And just like that, I am in a dérive… still drifting.

Dérive — The First Lesson of Experience Design

As Dr Ho Siu Kee said of art/design/administration students in "Pointing to the Moon", ”… graduates will find themselves in various roles within the arts ecology, but whatever their position, they will need to understand the nature of others’ work – this is integral. Ten years from now, I imagine the art scene in Hong

Fonny Lau

Kong will have achieved a stronger ecology and better

2013 MVA graduate

networking. In fact, they must collaborate sooner or later, but

漂流 ̶​̶ 體 驗 設 計 的 第 一 課

it is ‘sooner’ now.” (art plus, July 2013)

劉月寶

2013 視覺藝術碩士畢業生

Fonny Lau / Zen Mopping, Mixed Media / 2013 劉月寶 / 含羞草 N22 20 03 E114 10 56 / 含羞草，泥土，聚乙烯貼紙 / 2013

Fonny Lau / Zen Mopping / Mixed Media / 2013 劉月寶，禪·拖，混合媒體 / 2013

「在漂流的過程中，一個或多個人在一段時

展出 … 另一方面 … 共修科的作品獲某機構

“In a derive, one or more persons during a certain period drop

間裏放下他們平素一貫的行為模式、人脈、

邀請申請其基金 … 於是集合了志同道合的

their usual motives for movement and action, their relations,

工作關係等等，讓自己被周遭的事物所牽引

組員包括設計、行政及媒體的同學，考慮組

their work and leisure activities, and let themselves be drawn

Together with my classmates from the Media and Experience

……但是漂流除了放下之外，還要同時包括

成團體作出申請 … 好友强烈建議應成立正

by the attractions of the terrain and the encounters they find

Design (XD) divisions, I created the exhibition ‘intimate….

其必然的矛盾：知識在心理地理學上變數的

式的非牟利組織作長遠考慮，期間發覺與

there… But the dérive includes both this letting go and its

distant’ and installed Detour Black Box, a mobile work of art

控制與及其計算出來可能性。」

該機構的理念和價值觀有距離遂放棄申請 …

necessary contradiction: the domination of psycho-geographical

(a tram we converted into a pinhole camera, with the cityscape

variations by the knowledge and calculation of their possibilities.”

projected on the interior walls…) respectively. I transformed my

我們的組織獲邀參予一個海外設計展覽的策 居伊·德博，《漂流的理論》 1958 年

“Urban Intervention” course work and participated in Five, a

展工作 … 另獲一商業機構邀請提交藝術交 流平台建議書，卻遭遇不少困難 … 但是獲

Visual Arts Group Exhibition at the Jockey Club Creative Arts

記得二〇一一年深秋上「體驗設計」課，學

該機構贊助舉辦學童藝術體驗工作坊 … 組

Centre which was later the opening performance of ArtWalk

到的第一個用語就是 Dérive ——「漂流」。

員早前提交的一份建議書初步入圍 …

Hong Kong 2014 as well as an exhibition at a commercial

那時只覺奔子墨老師（Peter Benz）所設計

When I think of “Experience Design”, a university course I took

gallery… My master’s degree project was shown in a product

的「漂流」戶外活動十分有趣，我與同學結

in late autumn 2011, the very first concept I learned was

design exhibition in Shenzhen, China… On the other hand,…

伴在城市「漂」了一個下午，從實踐中學習

Dérive — drifting. The outdoor drifting activities designed by

a collective of like-minded members including Design,

和感受「流」的概念。如今回顧畢業後的這

正如去年何兆基博士在「指月的啟示」一文

our teacher Peter Benz were interesting: I still remember

Administration and Media classmates was invited to submit a

一年，彷彿就是如此這般漂流了一載。何以

中談及設計、行政及媒體的同學時指出：

vividly that in one particular afternoon I was drifting around

funding application by an institution after they have seen a

我有這個想法，且聽我細細道來。

the city, with my classmates, experiencing, learning, and

sound installation that we created as part of an inter-disciplinary

feeling what it really means.

course… Our group considered to register as a society in order to apply for funding, while another friend strongly

- Guy Debord, Theory of Dérive, 1958.

I realise I have been in a dérive ever since.

Detour Black Box / Camera Obscura Tram /

去年六月修畢碩士課程後原先的計劃是好好

成部分的工作。十年後，我能想像香港藝術

Kingsley Ng and MVA Experience Design Alumni /

休養生息，告別忙得不可開交的生活, 可是

圈擁有更完整的生態和脈絡，其實他們早晚

2013

要有合作互動，現在不過是提早發生。」

Detour 黑盒 / 流動針孔相機電車 /

recommended setting up a NGO instead, a more difficult task

其後發生了一連串不可預計的事情，讓我漂 流到一個未有預期而又充滿驚喜的軌跡：

When I completed my Master Programme and graduation show

our NGO we realised that we did not share the same principles

完成畢業展後，旋即投入與三位媒體班的同

last year, I intended to slow down and recuperate from my

with the institution, we decided to drop the initial funding

學籌備四人展《咫尺天涯》及創作多件展

hectic schedule, yet a series of unpredictable events happened

application after all… Our NGO was then invited to be a

品 … 與此同時與體驗設計班的同學一起參

and I found myself drifting into many surprising adventures…

curatorial team for an international design exhibition… A

予設計及裝置《Detour 黑盒》流動針孔相機

commercial organisation then invited us to submit proposals

電車 … 將我的城市介入習作轉化，作為了

for establishing an art exchange platform, but again we had

JCCAC 視藝聯展「五」的參展作品 … 該作

many difficulties though we secured their sponsorship to lead

品獲畫廊展出並作為開幕及 ArtWalk 的表演

an experiential art workshop for schoolchildren… Another

項目 … 我的畢業作品在深圳產品設計展覽

are now working on the detailed proposal….

「……畢業生將置身於藝術生態中不同的位 置，而擔任不同崗位的人，需要了解其他組

but a stronger entity in long term… And after we formed

funding proposal has made it through the first round and we

就這樣漂著… 流著…

《art plus》2013年7月

伍韶勁及體驗設計校友 / 2013

經驗的增長

Growing Experience

72

73

The ground floor of 22°N showcases designer-products,

the reason we set up the second floor. For the past few months,

including “Made in Eden”, “Doughnut Japan”, “Cupcake” and

we have already has Whiskey Tasting Workshops (featuring

our friends’ independent labels. There is a projection area

Whiskey Hong Kong Group), Sake Tasting workshop (featuring

and an industrial-style showroom at the back of the shop. And

Wine Spirit HK), and many other workshops here.

I indiscriminate ambushed to paint the wall by chalk at the night before opening.

Most importantly, the art gallery on the third floor is made for art and cultural exhibition use. As an art graduate, I tried to

We intended to leave the second floor for multi-purpose use.

provide opportunities to young artists and all visitors. It is a

Wine racks, cushions, dim lighting, antique coffee tables – that

casual art space for everyone, especially the residents of Sham

are what we have here. We tried our best to create a comfort

Shui Po no matter of their ages. Beside exhibitions, we did

zone on this floor. Don’t you remember that when you walked

mini-concerts, art-jamming, handcraft workshops, cultural

in Sham Shui Po during summer time (under the 40°C!) and

seminars, Tango workshop… and even fashion show here.

it’s so desperate to find no bar or coffee shop around? That is

Potentially, it is a real art space in the city with no pressure.

22°N — The Roundabou CHIU Yu Kan 2012 BA Graduate

22°N ̶​̶ 於 北緯 22 度的迴旋處

這是關於一個叫 22°N 的地方 (位於深水埗南

治一爐給觀眾的意念，雖然兩者截然不同，

架... 總之一個舒適的環境便已足夠 (當然還

昌街 88 號)的誕生故事，建議基於大量個人

但陳設於同一地方也未嘗不可，DOUGHNUT

有大量酒水)，相信很多人都經歷過在深水

情感與突如其來的想法。

那邊也有類似想法，便共同決定籌辦一家有

埗的炎夏搜羅布料至中暑狀態但區內並未有

Gallery 的小店，恰巧又收到電話得知深水埗

任何咖啡店供你稍作休息，這種陰影推動我

事源「藝術家」與「設計師」的身份一直令

有座 1930 年代的戰前唐樓放租，時、地、

們決意打造個舒適的 二樓，而在此環境下

我感到困惑 (尤其是當後者強調「功能主

人的各種巧妙因素令此事事在必行。

我們舉辦過 Whiskey Tasting Workshops (邀

趙汝勤

2012 本科畢業生

請到 WHISKEY HONG KONG 以及 Sake Tasting

義、解決問題、形式表現」而前者可以徹底 This is a story about how far we have come to establish

Suddenly, I have a flashback of how I kept switching between

放棄形式)，同一時間飾演以上兩個角色、

構思店名是我的首要任務，聯想到這是關於

workshop (邀請到 WINE SPIRIT HK)、多個工

22°N — a four-storey shop located in Sham Shui Po that

an artist and a designer in these years, it’s like getting in

徘徊於兩種思維之間令我感到吃力，雖然從

一群香港設計師與品牌主腦的香港故事，而

作坊及分享會。三樓可算是最空曠但最重要

comprises many personal thoughts.

and out of a roundabout. What if I haven’t met all these right

未有人強迫我界定這兩個身份，也未見得有

某程度上我們都繼承了上一代人的意志，並

的部份，作為視藝院的畢業生我明白到展覽

people? We therefore decided to create a hub for both artists

這樣執著的必要，但我純粹不喜歡困惑的感

剛好於地球上的一點偶遇...

忽然想到以香

場地對年輕藝術家的重要性，於是把握機會

I am always confused by my role as both a designer and artist

and designers. We need an art space more than a retail shop.

覺，硬是要從「藝術家」與「設計師」的身

港於地球上的緯度「22°N」來命名。接下來

利用三樓的空間打造一個 Art Gallery，而這

although no one has ever asked me to distinguish these

DNJP told me that they found a 1930s four-storey tenement

份中二選其一，於是以上偏激想法構成了現

便是實戰的部份，我找回一班曾共事過的平

是一個給所有人的藝術空間，因為不受任何

two roles seriously. Yet, I just don’t like to be confused. I feel

in Sham Shui Po, the “designer zone” for fabric and raw materials,

在的 22°N。

面設計師、室內設計師及多媒體攝製團隊

商業因素、市場壓力影響，任何類型的作品

that I should only be either one.

and this led to the birth of our store at 88 Nam Cheong Street,

去組成一支隊伍，致力爆發小宇宙。短短

都可在這裡展出，更希望把藝術帶給深水埗

故事始於我多年前修讀設計並以「設計師」

三個月後把這座 30 年代戰前唐樓改裝成我

區內居民，營造一個親民的藝術空間。在展

的身份工作了數年，為重獲心靈上的自由而

們的 22°N，所有 30 年代建築特色都被保

期空檔之間，這裡還舉辦過不同類型的音樂

Sham Shui Po eventually.

So the story began when I considered myself as a designer.

I studied Visual Communication and worked as a graphic

This is a story about Hong Kong designers, brand founders and

到浸大視覺藝術院修讀藝術，完全拋開設計

留，因為那些工字鐵、花紋磚、拱樑全部都

會、發佈會、手作坊、分享會及時裝匯演，

designer for a few years. Later, I joined AVA with a hope to enjoy

all the “right” people met. I named the store 22°N, after the

去做「藝術家」，一心希望以此身份存活下

是這香港故事的一部份，而且我對深水埗還

盡可以善用此空間為區內帶來一點色彩。

the freedom of creation as I felt that there was lots of restriction

latitude of Hong Kong as it represents the spirit of Hong Kong.

去... 然而，一件作品「 容器 」再一次改變

有一份獨特的情懷，大概是設計師從學習到

and pressure in design works. After two years study in AVA,

I gathered a group of interior designers, graphic designers

了我的路向，為我帶來不少機遇，讓我巧遇

工作階段都在這裡打滾太久的源故。

I defined myself as an artist when my work The Container was

and media production team, ready to get our hands dirty. We

皮具業界的谷氏並讓我擔任一個新品牌的設

done. The success of this work impressed lots of people in

tossed ourselves into a capricious sea of unknown. We

計師，於是我瞬間打回原形做「設計師」，

22°N 地面除有售自家品牌 MADE IN EDEN 及

different fields, including Joey who offered me the chance to

surfed hard, holding nothing back… Within only three months,

並構思了皮具品牌 MADE IN EDEN，幸運地

DOUGHNUT 外，更有一眾好友的獨立品牌

launch my designer label “Made in Eden” in 2012. I became a

this pre-war building was redesigned into a creative hub

品牌於短短一年間發展理想到可以計劃旗

(當中包括 AVA 人出品的 The Polska Traveller

designer again as I spent 90% of my time in design everyday.

called 22°N. We keep all the pre-war interior structure and

艦店的地步時，我剛好於 FASHION ACCESS

及 FungTaiTau)，店中間的投影裝置及室內結

A flagship store of “Made in Eden” was set up following its

classic elements such as arches, brick columns, i-bar and

2013 遇上品牌 DOUGHNUT 的兩位有為青年

構都是重點，我們把 22° 這角度化為實質結

great success in 2013. We met a brand “Doughnut Japan” (DNJP,

my favorite stereogram tiles after the renovation. The greatest

Rex 及 Steven，三言兩語之間便決定共同籌

構，而整個室內設計(桌子的形態、方向) 基

by two ambitious young men Rex and Steven) in Fashion

feature should be the original atrium, for goods lifting in

劃一家概念店，但單純的零售看來十分無

本上都建基於此角度，而牆上的粉筆畫是我

Access 2013, and we decided to run a shop together. But what’s

1930s Sham Shui Po. So the local Sham Shui Po “touch” is one

趣，而當時我正意識到自己從「設計到藝術

於開幕前一晚作出的深情行動。二樓是為製

the fun of this? There must be something more than retails.

of the essentials of 22°N.

再回到設計」的情況，像駕車時在迴旋處不

造「機遇」而設的，事關 22°N 的出現都是

停進進出出一樣...便萌生了把藝術及設計共

因為各種機遇，所以幾個咕臣、茶机、酒

經驗的增長

Growing Experience

74

75

18 Aug – 22 Aug 2014

Sculpture in a Digital Age 5-day Workshop by Lilah Fowler Digital technologies have revolutionised design and manufacturing. These making tools are increasingly being used by artists as a way to create works that are manually impossible, or were previously unconceivable, to build or even used as a combination with analogue processes. This workshop was an exploration of digital platforms and processes and their integration into contemporary art and

AVA Event List 視 覺 藝 術 院 活 動 一覽

object making.

16 Aug

Through Our Eyes Photography Education Programme –

– 14 Sept

“In-between” Photography Exhibition (Kai Tak Campus)

2014

“In-between” is a sequential unfolding of events in the past, present and future, presenting an unlimited possibilities through time. The exhibition brought together works of

17 Oct – 23 Nov 2014 Foth-

Art as Social Interaction – Hong Kong/Taiwan Exchange

distinguished artists and talented youngsters to explore the

(Koo Ming Kown Exhibition Gallery & 1a Space)

multitude of ways that photography can be used – as an art

Under the curatorship of Wu Mali, Chang Chin Wen and Leung

medium, a social document, an education tool, a therapeutic

Mee Ping, the exhibition showcases selected works by socially

process, a mirror to oneself as well as a window to the world.

engaged artists/groups in Hong Kong and Taiwan.

coming

12 – 21 Aug 2014

According to Them – AVA Alumni Exhibition (JCCAC) The common interest of the four graduates lies on observation and depiction of human being. Whenever the graduates

3 – 8 Oct

Everything Starts with a Question -

draw and paint, they imaged they have entered into a storage

2014

An Exhibition of AVA Young Artists

resembling library. Instead of borrowing books, they

(Koo Ming Kown Exhibition Gallery)

borrowed all kinds of weird but moving souls there. Through

Twelve emerging artists, freshly graduated from the AVA,

this exhibition, the graduates shared their stories

transform their perceptions of the world into different art

according to ‘them’ .

forms. The works are products of their curious minds who question the way we live, and how we really want to live.

8 Aug 2014

17 Sep 2014

5 Minutes Older – A Pop-up Exhibition (PMQ, Soho Hong Kong)

Artist Talk by Lilah Fowler

The exhibition displayed six groups of immersive art

The Resident Artist Ms Lilah Fowler talked about her art

installations by the students in an intensive course delivered

practices including sculptures, prints, drawings and

by Mr. Kingsley Ng.

installations, which attempted to level art, architecture and design as equally part of a web of social, philosophical and experiential constructs.

Growing Experience

July – Aug 9 2014

經驗的增長

76

77

The Shapes of Position Photography Exhibition (Koo Ming Kown Exhibition Gallery) The exhibition displayed the photographic artworks of 24 Associate of Arts in Visual Arts students. In a fast paced city like Hong Kong, people are prone to ignore their connection

4 – 28

AVA Master of Visual Arts Graduation Exhibition 2014 :

July

Interconnection

2014

(Kai Tak Campus)

with themselves, others and the society. During the studies,

“Interconnection” connoted the invisible correlations between

the students grasped the fleeting feeling of themselves in

men and their surroundings. At this critical end of studies

their surroundings. From one’s private room to the cityscape

and as well as a new beginning of the 61 postgraduates’ lifelong

and from a rooftop to deep under the ocean, the students'

creative pursuit, the graduates brought forth a wide-ranging

works presenting the search of their own position and the

showcase of artwork, installations, performance and

states of self.

investigative essays to explore the breadth of this interconnection in multiple layers: the active exchanges between man and self,

12 – 13 July 2014

All what remains is you: Interactive Performance

the unity between communities and the society, the balance

by Karem Ibrahim

between economic and social progression and current visions

In the performance, Karem Ibrahim investigated how

of the future.

accumulated knowledge and commodities formed our culture and personality. Through various interactive stages, Karem tried to unveil the hidden value of the visitors.

30 May – 22 June 2014

AVA BA Graduation Exhibition 2014 (Kai Tak Campus) The seventh graduation exhibition was opened on 30 May at the Kai Tak campus. This year, 102 students exhibited their

11 July – 31 Aug 2014

HKBU AVA Grad-Show 2014: Extension

honours project, showcasing their distinctive talents through a

(K11 Art Mall)

range of visual mediums, working under the specificity of

The exhibition was an extension of the AVA graduation

each individual’s major. These categories included Studio &

exhibition which was held at Kai Tak Campus in June. It

Media Arts, Visual Arts Studies, and Crafts & Design. During

showcased a selection of work by 23 graduating students at

the exhibition, activities included guided tours, a flea market, a

K11 Art Mall. The exhibition enabled the young artists to

movie night, talks, and a leather workshop, bookbinding

enhance communication with the general public, thereby

workshops and a ceramics workshop.

promoting art in new contexts. Two workshops on woodcraft and jewellery and an artist dialogue were also organized during the exhibition.

10 – 18 May 2014

12 June 2014

Coming Home – Art Container Project Documentation and Art Exhibition (Koo Ming Kown Exhibition Gallery)

Snakes & Ladders – From there to here and back, bridging the

A documentation and art exhibition of Art Container project

unbridgeable, and the art of the in-between – A presentation

was launched to record the last chapter of the Project. The

by Karem Ibrahim

documentation brought along a visionary discussion with

Karem shared in this presentation the inspirations of his

public about the meaning of the project and Hong Kong

creative practices, many of the ideas are stimulated by issues

art. The exhibition showcased new works from the core team

which are of great relevance to the Middle East, such as

members of the project in the context of contemporary

inclusion and exclusion, borders and crossings, authority and

Hong Kong.

bureaucracy, the dynamics of unequal power, arbitrariness and coercion, resistance to power, uneasiness, entrapment, tightness and comfort, availability of space, see-through walls and the world of the in-between.

19 May 2014

Object / Byproduct / Commodity – 100 Years Since Duchamp’s Readymade David Francis is an artist and curator. He is now a curator at Museum of Glass, Tacoma. The talk covered the evolution and implication of contemporary art from a small avant-garde sphere of influence into the dominant force in today's art marketplace. Why glass as a material is especially evocative of these cultural forces has been discussed as well.

Growing Experience

10 – 18 May 2014

經驗的增長

78

79

248 Days of School – Master of Visual Arts Students Group Exhibition (Koo Ming Kown Exhibition Gallery) With artworks created by studio and media artists, the literature designed by experience designers and the exhibition curated by art administrators, the result was a joint effort of emerging art practitioners of the next generation. The exhibition showed the

10 – 23 Apr 2014

The Frame (Gallery, Kai Tak Campus) Restraints keep wishes and desires under control and conceal

aspirations of artists with sensitivity to social issues, the new

impulses and thoughts that are unacceptable by society. Three

cultural currency and the 21st century art trend.

AVA alumni, Molly Lun, Onna Yeung and Josephine Lui examined individually the constraints coming from society, love

2 – 25 May 2014

Glass Art Exhibition : No Wonder Wandering

relationship, and one’s self. Attempt to make connection

(Au Shue Hung Memorial Library)

with the audiences, the artists tried to provoke reflection on

The exhibition showcased the glass pieces that 16 Visual Arts

the constraints in lives.

students liked to share – their tangible inspiration from 2013 – 14 HKBU Visual Arts Student Society Annual Exhibition

objects, shapes and beings they have encountered in their wanderings through life.

28 Mar

(Koo Ming Kown Exhibition Gallery)

– 4 Apr

This exhibition was organised by Visual Arts Student Society.

2014

Students and graduates exhibited their works in several themes

24 Apr

Rearview: Showcase of Photography and

and media, including painting, video, ceramic, glass art, jewellery

– 4 May

Moving Image Works by Students of AVA

design, fashion design and multi-media.

2014

(Koo Ming Kown Exhibition Gallery) The exhibition displayed 47 young photographers and Ulterior Connections Exhibition

moving image artists’ exploration through the lens and the magic of light.

26 Mar – 13 Apr

11 – 21 Apr 2014

Little Kids, Little Things

2014

(Watt Space, University of Newcastle, Australia) Ulterior Connections was a group Wearables Exhibition between University of Newcastle and AVA, HKBU. Students

(Koo Ming Kown Exhibition Gallery)

responded to the theme of Ulterior Connections, exploring

Brandon Chan, a local artist and 2012 AVA graduate, invited

connections to the body, people, places or technology.

fourteen primary school students to take part in a project. By

Students employed a variety of fibre and textile approaches in

facilitating a series of workshops, the kids were encouraged to

wearable media.

observe daily scenes and objects, enabling them to reflect Research Seminars by Prof. John Hilliard

upon their relationship with daily life and creativity. They imagined and created hundreds of little creatures and reinterpreted the stories of objects.

Mar 2014

(AVA119) Prof. John Hilliard held seminars for staff and research postgraduate students on staff projects and on the topic of materiality of photography in relation to its images, and of its figurative tradition in relation to its abstract possibilities.

John Hilliard/ 約翰 希利亞 Prof. John Hilliard was born in Lancaster, U.K. and studied sculpture at St. Martin’s School of Art, London. He has a strong exhibition record at major galleries and museums nationally and internationally. His works are collected by the Tate and were exhibited in Modern Art Oxford, Documenta in Kassel, etc. He has taught at many art schools and universities in Britain and Europe including visiting professor positions at the Rijksakademie, Amsterdam and the Stadelschule, Frankfurt. He was a Professor of Fine Art and Director of Graduate Studies at the Slade School of Fine Art, UCL until 2010. He is an Emeritus Professor of Fine Art at University College London. 約翰 . 希利亞生於英國蘭卡斯特，畢業於倫敦中央聖 馬丁藝術與設計學院 ( St. Martin’s School or Art )，他 的作品曾於英國以至國際上重要的畫廊、藝術館、 展覽展出，包括泰特現代藝術館( Tate Modern)、牛 津現代藝術館 ( Modern Art Oxford ) 及卡塞爾文獻展 ( Documenta ) 。 希 利 亞 曾 於 歐洲多間大學任客藉教 授，如阿姆斯特丹的皇家視覺藝術院 ( Rijksak ade mie ) 與法蘭克福的當代藝術學院( Stadelschule )；並 任倫敦大學學院 ( University College London) 斯萊德 藝術學院（ The Slade School of Fine Art) 的藝術系教 授及研究院總監至 2010 年。希利亞現為倫敦大學學 院斯萊德藝術學院的榮休教授。

Camera Recording its Own Condition (7 Apertures, 10 Speeds, 2 Mirrors) 1971 70 photographs on card on Perspex 210x183cm

He also hosted workshops for students and created works with them.

Public Lecture on Conceptual Photography by John Hilliard

“A Catalogue of Errors” 概念攝影專題講座：

Content / 內容 : Since the Sixties, artists producing work of a transient nature (perhaps made for a specific site, for a limited duration or from perishable materials) have made use of various recording instruments in order to document their practice and give it a form of continued existence. To this end, the camera has been widely and successfully deployed, but has also caused questions to be raised about photography as a reliable source of evidence - not just in connection with works of art, but in a broader context.

In addressing this issue, Prof. Hilliard has sought to conduct a critical interrogation of photography as a representational medium, but also to disclose and celebrate its specificity. Many of its perceived failings (blurred or unfocused images, for example) might equally be considered as unique assets. Indeed, through a catalogue of errors one may yet arrive at one’s correct destination.

「反覆錯誤」 自六十年代，藝術家開始利用不同的記錄工具去 紀錄他們瞬息即逝的作品 — 例如受限於物料耐 用性或場地特定的作品，期望以另一種形式延 續作品的存在。自此，相機被廣泛地運用在這 領域，但同時亦引發人們對於以相片記錄藝術 作品，以至對攝影本身的真確性提出疑問。 為了探究這問題，希利亞教授不斷以批判性的 反思和質疑，探索攝影這再現媒介( representational media )，同時揭示及表達其特質。很多 常被視作失敗的攝影作品，如朦朧或失焦的相 片，均具有其獨特性。經過反覆的錯誤，或許 能從中找到合適的路向。

Speaker / 主講 : Prof. John Hilliard / 約翰希利亞教授 Moderator / 主持 : Prof. John Aiken (Director, Academy of Visual Arts) 莊藝勤教授（視覺藝術院總監）

Date / 日期 : 18:00 – 19:30, Tuesday, 11 March 2014 2014 年 3 月 11 日，晚上 6 時至 7 時 30 分 Venue / 地點 : WLB104, Lam Woo International Conference Centre, Hong Kong Baptist University 香港浸會大學 林護國際會議中心 WLB104 室 Organizer / 主辦 : kaitak – Centre for Research and Development 「啟德」視覺藝術院研究與發展中心

Registration / 報名 : http://ava.hkbu.edu.hk Free admission, conducted in English

Academy of Visual Arts

視覺藝術院

免費入場，英語主講

Growing Experience

14 – 30 Mar 2014

經驗的增長

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Evolutionary Graphics : Computer Artworks by Visual Arts Students (Art Gallery, Au Shue Hung Memorial Library) From simple geometrical forms to complex imageries, this exhibition presented the computer artworks from Visual Arts students. The artworks in this exhibition were the first attempt for most of the students to use programming as the creative medium to experiment with computer graphics, rather than using off the shelf software packages available in the market.

2 Mar

11 Mar 2014

2014

Public lecture by Prof. John Hilliard – “A Catalogue of Errors”

Collaborated with Sangwoodgoon, the Through Our Eyes

UK, Prof. Hilliard’s photographic works have been influential representation of visual reality. In the public lecture, Prof.

Hilliard talked about his artistic exploration in this area.

programme held a one-day mini-festival of the captioned

Public Lecture on Conceptual Photography

by John Hilliard

workshop at the farm in Yuen Long to showcase the effort of

“A Catalogue of Errors” 概念攝影專題講座：

「反覆錯誤」

the participants.

1 Mar

4 – 23 Mar 2014

The Outer Edge of the Boundary

Agricultural Art & Photography Workshop Showcase ( Sangwoodgoon)

Acclaimed as one of the seminal conceptual artists in the in challenging the notion of photography as a truthful

TOE – “Planting and Living”

2014

TOE – Creative Arts Education Seminar for Visual Arts Teachers (Kai Tak Campus)

(Koo Ming Kown Exhibition Gallery)

Dr. Leung Mee Ping and Mr. Justin Wong co-hosted a seminar

The exhibition displayed the artworks of Joan Pomero, a French

on creative arts education for Visual Art teachers. Dr. Leung

artist, and Wang Tzu Yun, a Taiwanese artist. Although differed

talked about community-based art education approaches

in the form of artistic expression, a common language could be

and uses some of her community art projects as examples to

found in the oeuvre between them by using “body as the

share how students can be involved in creating works that

arcade of expression”. Body as a metaphor of the boundaries of

reflect everyday life experience and social issues. Mr. Wong

in- and exterior, with doors (seuil) opening on each side,

talked about how to use portfolio as a powerful tool for

become an arena of overlapping and diverging artistic forms

artistic creation and documentation.

and sensibilities for the two artists.

4 March 2014

Body . Material . Creativity Ms. Joan Pomero and Ms. Wang Tzu Yun created artworks from

25 Feb

Path – The 3rd Christian Students’ Art Exhibition

– 7 Mar

by HKBU Students & Alumni

2014

(Gallery, Kai Tak Campus)

their own cultural background and bodily experience. Their

Path is about different stories, thoughts and experiences

cooperation over the years has transformed the sensibility of

before, when and after meeting God. The exhibition presented

body and materiality into their creative medium. In the talk, the

different stories arching over three stages – “Lost”, “Be

artists introduced the visual signs, materiality and reference to

Found”, and “Be Built”. Each artwork served as the artist’s

the body in their creative medium.

testimonies of his/ her personal experiences in Christianity, and also as a blessing to all audiences, both Christians and non-Christians.

20 Feb 2014

2 girls 21 countries 24 months : A journey around the globe to explore all the glass secrets Two newly trained German glass makers, Ms. Louise Lang and Ms. Franca Tasch, set off on a two year long adventure to explore glass around the world from Denmark to the USA and all the way to China. They shared their experience during the journey and explored Hong Kong glass arts with students and guests.

Growing Experience

17 Feb,

Young Creative Entrepreneur (YCE) Awards –

24 Feb,

Training Workshops

18 Mar &

經驗的增長

82

83

Four workshops on various topics as how to start own creative

24 Mar

business in Hong Kong, background and purpose of the creative

2014

awards, sound business proposal and budget plan as well as the techniques in pitching a project proposal were held for the Visual Arts students and alumni.

14 – 24 Feb 2014

It - Between Objects (Koo Ming Kown Exhibition Gallery) This exhibition was created by alumni Ziggy Li Ka Fai and Sindy Wan Sin Ying. They did various experiments in different objects to explore the linkage between them, and reinterpret their intentional or unintentional relationship.

25 Jan 2014

Film screening VIDAS ENTRETEJIDAS “Woven Lives” Contemporary Textiles from Ancient Oaxacan Traditions The screening was started with a brief introduction by the

17 Jan – 14 Feb 2014

The Blind Carbon Copy (BCC) to Kowloon City (Gallery, Kai Tak Campus) With the conversion of the former airport into the cruise

textile artist Prof. Carolyn Kallenborn, University of Madison-

terminal now in place, Kowloon City has undergone a radical

Wisconsin. She works with fabric and metal to create concep-

transformation in respect of its social fabrics. Inspired by the

tual garments, sculptural pieces and wall works. Drawing upon

evolving cityscape of Kowloon City, this exhibition was about

the rich sights, sounds, sense of beauty of the people and

the untold secrets that the 5 artists discovered through a long

landscape of Oaxaca, Mexico, this film provided a fascinating in

period of observation when they rambled through the streets

depth look at the lives and work of contemporary Zapotec

and lanes of the district, such as the consistent and harmonic

weavers from six different villages in the ancient heartland of a

colour combinations, the notion of change from the airport to

vast country.

the cruise terminal, and the relationship between the building height and sound in the district.

18 Jan – 23 Feb 2014

Exhibition for Hong Kong Jockey Club Heritage x Arts x Design (H.A.D.) Walk Project (Tai Po Lam Tsuen Wishing Square) A group of AVA students from Experimental Illustration class

19 - 26 Jan 2013

Connected Aesthetics Ms. Mali Wu, Associate Professor at the Graduate Institute of Interdisciplinary Art of National Kaohsiung Normal University

participated in the project organised by Hulu Culture and eight

(國立高雄師範大學 跨領域藝術研究所) , discussed about the

pieces of work were exhibited at Tai Po Lam Tsuen Wishing

close relation of “Connective Aesthetics”, which was raised by

Square. This year the project theme was “Our Home, Our Roots”.

art critic Suzi Gablik, with participatory art, dialogical art,

Students who took part in the project conducted field trips in

community-based art and relational aesthetics, etc.

Tai Po and Fanling districts and created a series of artworks under the instruction of renowned local artists and experienced traditional handicrafts masters. Their attentively created

16 Jan 2014

2013 Wearables: Ulterior Connections A group exhibition by wearable art students exploring

artworks reflect the history, culture and neighbourhood bonds

connections to the body, people, places or technology. Selected

of Tai Po and Fanling.

works will travel to Australia for exhibition at Watt Space the Student Gallery of the University of Newcastle.

Growing Experience

1 – 8 Dec 2013

經驗的增長

84

85

Intimate….Distant (Koo Ming Kown Exhibition Gallery) Jay Lee observed the twists and turns of everyday family dynamics and took them out of context in her artworks made of sound and video. Krys Robertson painted family perspectives, exploring themes of motherhood and of being connected yet alone. Fonny Lau has a passion for Ikebana, the Japanese art of floral arrangement, and used plants as the medium for her installations that search for the line from her to others. Last but not least, Debe Sham remodeled found objects into new sculptural forms to allude to the intricacies of our relationships.

23 Nov 2013

ONE DAY (Gallery, Kai Tak Campus) Curated by 14 MVA students majoring in Art Administration, the exhibition ONE DAY showcased paper cutting,

13 – 22 Nov 2013

String Fundamentals (Light Box Gallery, Kai Tak Campus) The exhibition is an exploration of string, fibres and textiles

drawing, ink painting, photography, video, bubble sculpture

by artists who met during the 2013 Jewellers and Metal-

and dialogue-based participatory art.

smiths Group of Australia Biennial Conference ‘Participation and Exchange’. During the conference, the artists, taught by Tricia Flanagan, explored string fundamentals such as using

19 Nov 2013

A Timeline of Photographic Practices in Southeast Asia:

natural fibres and traditional spinning to create their very

From The Colonial to The Contemporary Era

own string. Since the conference each artist has gone their

(Koo Ming Kown Exhibition Gallery)

own way to practice, interpret and utilise these newfound

Zhuang Wubin, a curator and researcher focusing on the

skills within their own artistic endeavours.

photographic practices of Southeast Asia, gave a seminar on the captioned topic.

2 – 11 Nov 2013 15 – 23 Nov 2013

I am a Grade D Artist (Koo Ming Kown Exhibition Gallery) The artist, Wen Yau’s failure in the two decaying public exams:

In-Between Animals

Hong Kong Certificate of Education Examination (HKCEE) and

(G/F, Koo Ming Kown Exhibition Gallery)

Hong Kong Advanced Level Examination (HKALE) reveals the

“In-Between Animals” exhibited works from Tony Wong, Zoey

absurdness and malfunction of such exam system, especially in

Tsang and Matthew Kwan. The three artists explored the line

the Visual Arts subject. Making the decision to sit the exams

between them and animals. In the process of creating artworks

was the starting point of Wen Yau’s project. The whole process

that reflects not only their personal interests, but also their

from the preparation for the exams, exam-taking at the exam

interpretation of what’s “In-Between”.

centre, receiving the exam results, to the appeal for remarking, were all part of her art-making process. All the way through, the artist attempted to make an institutional critique by putting her artistic reputation at stake.

Place and Space 地點與空間 P. 86 — 87

Hanzi Graphy – A Typographic Translation between Latin Letters and Chinese Characters 《 Hanzi Graphy》—— 拉丁字母與漢字二者之間 的文字編排及設計翻譯

P. 88 — 91

7+ Years of Glass Studio at AVA 在視覺藝術院玻璃工作室的七個寒暑

P. 92 — 93

Creating Rm 311 齊手打造三壹壹

. Illustration by Sindy WAN .

Place and Space

Hanzi Graphy — A Typo graphic Translation between Latin Letters and Chinese Characters

地點與空間

88

89

《 Hanzi

Graphy 》̶​̶

拉丁字母與漢字二者之間

Mariko TAKAGI

的文字編排及設計翻譯

Assistant Professor

高木毬子 助理教授

Among Western typographers and graphic designers the knowledge about Asian script in general and particularly about Kanji/Hanzi is very little. Chinese characters are often described as complex, inaccessible and symbols of exoticism.

One main intention of the book Hanzi Graphy is to demystify

西方的文字編排設計師與平面設計師對於亞

the Chinese characters and create a general understanding

洲字母的整體認識，尤其對於漢字的了解甚

of them without requiring knowledge in Chinese language.

少。他們往往視漢字為複雜和難懂的文字，

Each text in the book is accompanied with graphics to visually

一套充滿異國情調的符號。

explain the theory. References to Latin letters not only support the understanding for a foreign reader of Chinese characters, but also help people with a focus in Chinese typography to understand Latin letters.The book addresses topics regarding the writing system in general, such as the six principles of Chinese characters and the differences between Chinese characters written in China, Hong Kong, Taiwan and Japan.

《Hanzi Graphy》成書的其中一大目的，旨在

The introduction of a typographic terminology which can be

消除讀者對漢字的迷思，創出一種普羅理解

applied on elements of Chinese characters as well as

的表達手法，讓人即使沒有中文知識，亦可

on elements of Latin letters is another contribution of

認識漢字。書中每個漢字皆配合圖示解說當

this publication.

中道理，輔以拉丁字母參考，幫助外國讀者 理解漢字，同時有助鑽研漢字編排與設計的

Using different methods, "Hanzi Graphy" analyses and explores

人士理解拉丁字母。本書環繞整個漢字書寫

how to bridge between Western (Alphabet based) and Chinese

系統，探究多個題目，例如「六書」及中、

perception of typography. Other chapters are dedicated to the

港、台、日四地書面漢字的分別。書中更引

anatomy of characters and to various typographic themes.

入一套於漢字與拉丁字母兩者元素通用的文 字編排及設計術語。

In my book, I didn’t want to give any precedence of the one script towards the other. As Latin letters and Chinese character

本書運用了各式方法，分析及探討如何連繫

are both based on defined agreements as a system to visualise

西式 ( 字母為本 ) 與中式文字編排及設計的觀

language, they are equal in their capability. But both have their

念；亦有章節專門解構漢字及剖析多種文字

unique characteristics and advantages and my intention was

編排及設計主題。

to feature the individuality of both scripts. 在這本著作中，我不在於判斷拉丁字母與漢 字孰優孰次。兩套字母一致公認為可顯現語 言的系統，能力不相伯仲。二者各有特色和 優點，本書旨在突顯各自獨特的個性。

Place and Space

地點與空間

90

91

Besides teaching and establishing the programme, we have put

Hong Kong as it was just founded. Glass art was also very

a Hong Kong dot on the world map of glass art by inviting

new to Hong Kong. The AVA glass studio was and is still the only

many international artists to give talks and demonstrations as

university level glass programme in Hong Kong, and HKBU is

7+ Years of Glass Studio at AVA

well as my own presentations in universities and conferences

the only university in China to have an operational glass blowing

in other countries. We have hosted many professional visitors,

hotshop. Each year during the HKBU Open Day, we have glass

including Dr. Kevin Petrie and Dr. David Reekie from the U.K.,

blowing demonstrations open to high school students as well

Dr. Gerry King and Andy Baldwin from Australia, David Thai

as to the public. It is always a highlight and an exciting event

Sunny WANG

from Canada, Zen Choi and Henrich Wang from Taiwan,

for the day. It is well received by young eyes, as a lot of new

Assistant Professor

Prof. Kira Kim and Prof. Sung-Won Park from Korea, Hiroshi

students are attracted to AVA after seeing the glass blowing

Yamano and Etsuko Nishi from Japan, Prof. Michael Rogers,

demonstration, and we have told repeatedly about this by

It was a rather charming and poetic beginning. I fondly

Robin Cass, Mark Hursty, and Dr. David Francis from the USA.

students during their admission interviews.

remember our first contemporary glass art class being taught

Each artist planted some inspiration seeds for the students

under the big flame tree outside the studio students seated

and staff. All the glass events are open to local artists and

To run a glass studio is never easy. We are very fortunate to

in a circle, the breeze, ruzzling the leaves. The electricity was not

graduates, which creates a convivial strengthening for the

have a fully function glass studio at AVA loyally supported by

yet connected. Soon the roof of the hotshop was built, the

glass community in Hong Kong. We do want to stay in touch

the HKBU. The past seven plus years, we have built a foundation.

furnace and glory hole arrived, and we had the first glass

with our graduates to help them to establish their networking

Now we are settling into the new studio at CVA. We hope to

blowing class in March 2007. Gradually the coldshop was

and at the same time encouraging the current students to

open our wings to fly to the world. As my beloved late master

equipped and various kilns were bought. The studio was first

pursue their future career in glass.

Stephen Procter said, “Education is where the students grow After we moved to CVA, we soon had a fundraising exhibition

established in October 2006 at Kai Tak Campus next to Choi Hung (Rainbow if literally translated) MTR station.

AVA students who choose the glass course are eager to learn

No Wonder Wandering in May 2014 sponsored by the

their feathers and build their wings to fly.”

and to express their ideas through their works and exhibitions.

HKBU library in support of glass students to participate in the

In the next five years, I anticipate more AVA graduates will

In August 2013, the Glass Studio relocated to the CVA Building.

We had our first student glass casting exhibition at AVA

International Hsinchu Glass Festival Exhibition and a cultural

pursue their dreams in the art of glass and bound into a

It was a big move for us as the equipment was both heavy

gallery in November 2006, then Bubbles in Feb 2009, In The

study trip in Taiwan in July 2014. This study tour included fifteen

different way of life. As Dr. David Francis entitles his planned

and delicate. The studio space at Kai Tak campus was mostly a

Name of Glass in May 2009, Emerging Voice in January 2010,

students’ works on exhibit with ten students helping to display

exhibition of the concept of contemporary Chinese glass;

semi-outdoor space, yet we were able to facilitate glass

Metamophosis in November 2009 at the Gallery Lam Woo

the exhibition as well as participating in the conference. Six

"Chinese glass: To Leap and Bound".

blowing, kiln forming and casting courses. Over the years, we

International Conference Centre, Out of Context in January

students undertook the cultural study trip to Taipei.

enjoyed the unique Kai Tak Campus with its trees reacting to

2011, Glass Kiln-forming Exhibition – Varies Degree in Feb 2011,

the breeze, birds singing and blossoming flowers marking the

Honey Moon in Feb 2012 and The Amazing Transformation

In July 2014, the glass studio arranged two students to do an

change of season. It was an uneasy decision to move to CVA.

from 0-1200°C in March 2013 at the HKBU main library.

internship at Tai Glass in Hsinchu, Taiwan, which is the first internship undertaken overseas by AVA. Internship is a valuable

After a year to set up at our new space on Level 3 of CVA, the

study opportunity for those who want to gain real working

studio is well appreciated though we do miss the green natural

experience in the field. Hsinchu is known as the glass city of

atmosphere of Kai Tak Campus. We enjoy the new no-mosquito

Taiwan, it is like the glass island of Murano outside Venice in

cold-shop which is indoor now, and a bigger hotshop into

Italy. Students gained a great experience and made personal

which we are able to fit three benches for blowing glass. The

connection which surely is beneficial to their future career.

gas system is well designed at CVA. Our teaching assistant

During the Hsinchu International Glass Festival some interna-

Johnson no longer needs to water and change the big gas

tional glass artists agreed to have AVA graduated glass

bottles during burning hours. We do have a blue sky view with

students to work in their studios as training in the future. Surely,

trees in the distance outside the hotshop, and a podium where

the door is open to students who wish to explore the world by

we cool down and cheer up in between the “hot moments”.

seeing more and working hard with a typical Hong Kong smile.

In 2006, the Academy of Visual Arts was still a new concept to

Place and Space

地點與空間

92

93

在視覺 藝 術 院 玻璃工 作 室 的 七 個寒 暑 王 鈴蓁 助理教授

還記得 2006 年 10 月，就在那鳳凰樹下，樹

都開放給香港藝術家與畢業學生參加，希望

葉婆娑、微風鳥叫，頗有詩意地…… 我們開

香港玻璃藝術圈日益健碩。同時我們也與畢

始視覺藝術院的第一堂玻璃課！不久電路接

業學生保持聯絡及幫忙他們建立玻璃藝術網

通 ，吹 玻 璃 工 房 屋 頂 搭 上了，設 備 陸 續 進

絡，開創藝術事業！

來，玻璃熔解爐、加熱爐一個一個就定位， 我們的第一堂吹玻璃課正式在 2007 年 3 月開

會選修玻璃課程的視覺藝術院學生，總是積

玻璃工作室搬到傳理視藝大樓後，2014 年 5

未來的 5 年，我希望有更多畢業學生實現他

吹。緊接著冷作研磨機器到了，可以打磨完

極投入，不畏辛苦與高溫汗流浹背，將熱紅

月，緊接著在浸會大學圖書館贊助下舉辦

們玻璃夢，走出一條不同的玻璃人生路，就

成吹製好的玻璃。就這樣我們在彩虹地鐵站

透明的玻璃膏，轉化成無窮創意為實體，並

「琉璃浪蕩玻璃 展」，協助學生籌集旅費，

如美國 Tocam a 玻璃博物館策展人 David

附近的啟德校園，麻雀雖小五臟俱全的玻璃

透過展覽分享與展現他們的學習成果。視覺

在同年 7 月到台灣參加新竹國際玻璃藝術節

Francis 博士對當代中國玻璃的策展概念：

工房，上課 6 年多！

藝術院學生第一次的玻璃展在 2006 年 11 月

展覽，及台北文化藝術之旅。此次一共15 位

視覺藝術院藝廊展出，往後幾乎每年都有學

學生作品參展，10 位學生到新竹協助佈展

「中國玻璃：彈跳飛躍」。

2013 年8 月，玻璃工作室搬到新蓋的傳理視

2014 經過一年進駐視藝大樓，我們喜歡新

生主動聯合同學舉辦玻璃展: 2009 年 2 月

與參加玻璃研討會，6 位學生參加台北文化

藝大樓第 3 層。搬玻璃工作室大不易，設備

的玻璃工作室，冷作工房有室內空間，設備

「Bubbles」，2009 年 5 月「以玻璃之名」，

藝術之旅。

重又震不得！在舊工作室，空間雖小，吹玻

不再受風吹雨打，磨玻璃不怕再被蚊子咬，

2010 年 1 月「銳聲」， 2009 年 11 月林護國

璃、鑄造與窯燒玻璃課程，設備一應俱全可

吹玻璃工作室可以多擺一張工作馬椅，可容

際會議中心展覽廳「變。態」， 2011年1月

今年 ( 2014 年 ) 7月，是玻璃工作室首次安排

應付，說實在我們很不捨得搬離開啟德校園

納多幾個學生。在新工作室，瓦斯系統經過

「非上下文」，2011 年 2 月窯燒玻璃藝術展

玻璃藝術工作實習，有 2 位學生到台灣新竹

玻璃工房，離開那有樹有花有風的日子！

設計，助教技師余思鳴，不用再十萬火急地

——「度不同」，2012 年 2 月「甜心」，2013

的泰玻璃工作室實習，這也是視覺藝術院學

2005 年視覺藝術院首年招生，玻璃藝術也

更換瓦斯桶，或向結冰的瓦斯桶加熱水。新

年3月浸會大學圖書館「玻璃藝術 : 0-1200°C

生首次國際校外實習經驗。玻璃工作室實習

不太為大眾所知。到現在浸大視覺藝術院仍

吹玻璃工房外平台外遠看也有藍天白雲與樹

奇妙變幻」。

經驗讓學生獲益良多，實際瞭解成立玻璃工

是香港唯一的大學有玻璃藝術課程，吹玻璃

相伴，戶外平台除了拉玻璃棒外，也讓我們

作室的甘與苦。新竹玻璃號稱為台灣的義大

工房更是中國大陸與香港獨一無二。每年大

有一個放風透氣，冷卻一下與再加溫的空

利慕拉諾，集最多玻璃工廠與藝術家工作

學開放日，吹玻璃表演總是最吸引學生與家

間，偶而興起也可來個戶外 BBQ！

室，學生能到此實習與參加家國際玻璃藝術

長目光，日後學生參加視覺藝術院面試時，

節，對他們未來投入玻璃藝術的創作有正面

很多學生談起因為看到吹玻璃的魅力，希望

過去的幾年，除了建立教學課程與系統，我

的幫助。相信機會是留給有心探索世界與積

就讀視覺藝術院。

們邀請世界各地的玻璃藝術家到校演講與示

極投入、辛苦還帶微笑的人！

範表演，與我自己受邀到其他大學與國家交

經營一個玻璃教學工作室絕不容易，但我們

流演講與參加年會，很高興香港也在世界

非常幸運得到大學的全力支持。過去 7 年

玻璃地圖圈上一點。我們曾邀請英國 Kevin

多，我們建立了教學基礎，也搬進傳理視

Petrie 博士和玻璃鑄造藝術家 David Reekie，

藝大樓新工作室，再來我們希望玻璃翅膀

澳 洲 的 Gerr y King 博 士 和 Andy Baldwin，

長結實一點，展翅飛向世界。就如我老師

加拿大的 David Thai，台灣的蔡逸人和王俠

Stephen Procter 說的「學校教育讓學生羽翼

軍，韓國的金奇羅和朴晟源教授，日本的山

豐滿，展翅飛翔」！

野宏和西悅子，美國的 M ichael Rogers 教 授、Robin Cass、Mark Hursty 和 David Francis 博士。每個藝術家播撒靈感的種子，讓學生 與老師受惠良多。我們所舉辦的玻璃活動，

Place and Space

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95

Creating Rm 311 CHING Sze Yin Cicy

齊手打造三壹壹

Lecturer

程詩賢 講師

Summer of 2013: We disassembled a complete jewellery workshop at the Kai Tak Campus. We categorised, packed and decided which were useful, which were necessary, and what will be taken.

Summer of 2013: At Room 311 of the CVA Building, we unboxed what were useful and were brought over from the Kai Tak Campus. From fragments left from Kai Tak, we reestablished the space. Once all the tools and bits and pieces were introduced to their rightful places, the once empty room

工作室要以人為本，必須配合工種和使用

looked respectably like a working space.

者。因此在規劃工作區域時，要重點考慮如

二零一三年九月，視覺藝術院的首飾科正式

何令工作流程暢順、安全與舒適兼備。金工

在這全新的空間上課。畢竟工作的地方是要

首飾由意念到成品，工序繁複，先後有序。

實際使用，才可體驗流程是否暢順、安全和

A workshop should be for people, and therefore needs to work for its users. When contriving layout of the new space, thoughts

由裁切大件物料、輾片、抽線，到鋸切細

舒適。因此在開課後三壹壹也作了許些改

were given to overall flow of related steps, safety and comfort

After a whole summer preparation, Room311 opened its doors

節、鑽孔、鏤空，更要接合、敲打成形，還

動，例如使用率高的吹乾作品用氣壓槍，本

of its users. From ideas to finish, jewellery pieces go through

to people’s interaction and participation.

少不了挫修、磨光等等。

來因製作流程的暢順而安放於近中央的位

a non-trivial number of steps. Cutting of raw materials, rolling,

置，後因考慮到實際使用時會產生大量噪音

and drawing of wire, to cutting fine-details, drilling,

September 2013: This new space inaugurated and welcomed

上課時有二十人同時使用這一個空間，因此

而搬進了工作室內的小房間以降低噪音。又

sawing, even cold-joining, final shaping, filing and polishing…

students of AVA’s jewellery courses. Once people started to use

要細心考慮，如機械操作時四周需要的安全

例如小工具的存放也因適應用者們的習慣和

the space, numerous changes were effected to make it more

空間，焊接用火源的隔熱設備，通風、光

流程，而再三改動。在使用者、工種和空

As more than twenty people share the space of Room 311 in

efficient, comfortable, and safer. For example, the compressed

二零一三年夏，在啟德校園，把一個完整的

線、水源的最理想位置，安全裝備如急救

間的交流契合下，和諧漸現。屬於這特定

classes, there are many details that need careful consideration.

air nozzle was originally placed in the middle due to its

工作室，分類入箱。有用的、無用的、帶得

箱、滅火器、護目鏡等等的細節。

地方的秩序，漸漸形成。從「物」所佔有

For example, are there adequate spaces surrounding the more

frequent usage. It was eventually moved to the inner room

走的、帶不走的...

powerful machinery? Is the heat isolation for the torches

because of its disturbing noise. The placement of small

appropriate? Are ventilation, overall lighting and running water

tools were fine-tuned numerous times to suit habits and

二零一三年夏，在傳理視藝大樓的三壹壹

suitable? How about safety equipment like first-aid kit, fire

workflow of the students. Through interaction between

室，把有用、又帶來了的物件，一一拆箱、

extinguisher, eye protection?

users, space and workmanship, harmony began to emerge, so

安頓。把從啟德校園拆下來的多年感情，從

did an order particular to this room. Jewellery pieces are

零星碎片，聯繫重組。這本來空空蕩蕩的空

二零一四年夏，首飾工作室搬入傳理視藝大

small, but it can take substantial time and energy to create one.

間，在放置了各種各樣的小形金屬工藝製作

樓一年了，新的環境己成熟悉，多了一份親

Enthusiasm of the students, and their quest for excellence

工具後，開始變得有點像個首飾工作室了。

切感，它更成了愛好首飾創作同學們的課餘

made Room 311 a busy place.

的實際空間來說，首飾實在小，但花在製 經過一個暑期的準備，三壹壹在靜靜等待著

作上的時間可是不少。同學們創作的熱情，

和人們互動、交流。

一絲不苟的態度，不止於課堂，令三壹壹 常常也非常熱鬧。

落腳地。一歲大的三壹壹年青，更是充滿無 限可能的空間。在這裏同學們以熱情加耐心

Summer of 2014: It has been a year since the Jewellery

把他們手中的物料轉化、以心血打造出一件

Workshop moved to CVA. What was “new” is now familiar,

又一件令人感動的作品，同時也齊手打造出

and has become a place to hang out for students who love

一個屬於視覺藝術院的首飾工作室。

jewellery-making. The one-year-old Room 311 is full of possibilities. Through passion and persistence, users transform raw materials into powerful jewellery pieces. Little do they know that they have also been forging a Jewellery Workshop that CVA students can call their own.

Through Our Eyes 憧憬世界 P. 96 — 99

At Sangwoodgoon We Sowed Seeds of Creativity… 在生活館，我們播下創作的種子……

P. 100 — 103 "Through Our Eyes" Photography Education Programme "In-between" Photography Exhibition 「憧憬世界」攝影教育計劃 —— 「漸漸」攝影展

P. 104 — 105 The Inhabitables 可以居

P. 106 — 107 From the Factories 我們來自工廈

. Illustration by Sindy WAN .

Through Our Eyes

憧憬世界

98

99

Hence, what we knew about the boundaries between “useful” and “useless”, “edible” and “inedible”, were completely broken in the field.

We started looking for various “weeds” in the field, took their pictures, compared them to encyclopaedias of botany, and

At Sangwoodgoon We Sowed Seeds of Creativity ...

used the data to compile a Booklet of Wild Herbs. We recorded

Sandy WAN

cylindrica, Bidens alba and Polygonum lapathifolium. Commonly

Workshop participant

considered to be “useless”, these herbs have names and

the appearances and functions of such wild herbs as Imperata

medicinal uses: Imperata cylindrica can be used to treat evil heat and headaches, and its flowers have calming properties;

Every time the participants went to the farmland, they would spend 15

Bidens alba can be used to treat gastronomic complaints and

minutes to observe and record the same location. They understand more

snake bites; Polygonum lapathifolium has similar properties.

about the subtle change of nature through photography.

How, then, did we come by the concept of “usefulness” and

每次進入農田，學員都會花上 15 分鐘去觀察及記錄田中同一個位

“uselessness”? Meanwhile, we used the method of Cyanotype

置，以攝影概念出發，了解大自然微妙的變化。

"kaitak", Centre for Research and Development in Visual Arts

Before sowing the seeds for the corn, we have to weed the plot

to capture the appearance of these “weeds” using sunlight.

formed a new partnership with Sangwoodgoon this year to

of land. We used our hands to feel for the roots buried in the

Through art, we gazed upon objects and forms we neglected.

organise a 6-month "Planting and Living" Agricultural Art &

soil, and uproot the weeds in the opposite direction of growth.

It was a unique experience.

Photography Workshop, as part of this year’s Through Our Eyes

Because we were bent over, we came closer with the plants

Photography Education Programme. Since last October, over a

and looked at the world from their perspective. Chow Sze Chung,

And in the wake of the baby corn and its leaves that turned

to observe the activities of the living organisms, and to

dozen university students and fresh graduates have been

the farmer at Sangwoodgoon, said that we should conduct

out to be “edible”, we conducted an experiment named To Eat

overcome our fear of insects. When it comes to farming or

coming to Sangwoodgoon in Yuen Long to learn farming and

sustainable farm without the use of pesticides and herbicides.

or Not to Eat. In Omnivore's Dilemma by Michael Pollan, the

creativity, both require breaking through existing frames

photography. It was less of a farming experience than a close

We also need not clear away all the weeds, and leave room

author wrote, “Like the hunter-gatherer picking a novel mush-

and embark on self-discovery. Farm is not only about a study

encounter with the nature, an escape from the cold and hard

for other plants to grow beside our crops. Those plants, what

room off the forest floor and consulting his sense memory to

of “food”, and photography is not just about cameras.

offices, malls and cities. Such an encounter may not be all

we used to call weeds, were often considered “useless”.

determine its edibility, we pick up the package in the super-

Performing Cyanotype with a traditional light-sensitive material

market and, no longer so confident of our senses, scrutinise

is more fitting with the natural state of the fields and the experience of labour by hand.

enjoyment: the outdoors comprised not only green pastures but

infrared photography, and stored manure in transparent boxes

also fire ants and all manners of creepy-crawlies. The fresh air

We learned that good corn must grow “alone” – meaning that

the label, scratching our heads over the meaning of phrases…”

may be mingled with the heady aroma of food waste. But why

any growing on the side has to be removed. There was once

We used to distinguish between the poisonous and the safe

are such real experiences so important to creativity. How are

when Chow gave us a freshly removed side-growing baby corn

through our cognitive faculties, memory, or through the im-

farming and creativity related?

to taste together with the wrapping leaves. The sweet,

mediate taste or lingering effects; yet today, are such instincts

refreshing taste was unforgettable, and the fact that we were

necessary in an age of so-called food safety and hygiene?

For six months, we progressed from a complete ignorance of

eating what we used to consider “inedible” opened up a

farming to engaging in creative work in the field. The most

whole world of possibilities…

Beyond these activities, we also wrote poems, conducted

On the day of exhibition, we picked dozens of plants and herbs

important thing we learnt was: labour was crucial to creativity.

from the fields, placed them on the table, and invited visitors

Only through labour can one really give their effort, to establish

to sit down and taste three of them. We encouraged participants

a relationship between one’s body and the outside environment,

to touch, smell, look at or even chew on the raw corn, corn

and to understand one’s position in relation to the world.

stalk, leaves, vegetable flowers and seeds before them, and we

Before farming, we have to process the manure. We opened

recorded the entire process on video. Later, we chopped up

packages filled with food waste, including tangerine peels,

all the ingredients and mixed them with balsamic vinegar, olive

egg shell, vegetable scraps, and beetroot leaves. What used to

oil and crackers, which immediately became a popular snack.

be disagreeable smells and a “lack of hygiene” were fertilisers favoured by the soil. Stacked between layers of soy lees and cardboard, they gradually turned into a living, moving pile of manure; countless bacteria, microbes, insects helped decompose the waste. We witnessed with our own eyes

Through the process of recording their own diets, the participants

dozens of crawling cockroaches.

discovered the ingredients and sources of the food.

In the past 5 months, the participants went to the farmland in New Territories to acquire knowledge about farming and food production. 學員在過去五個月，每週跑到新界農場學習耕種及食物生產知識。

學員記錄自己的飲食，以了解食物的成份和來源。

Through Our Eyes

在生活 館 ，

憧憬世界

100

101

我們播下粟米的種子前，先來為那一咧田除

於是，以往我們對於「有用」、「無用」、

除了這些，我們還寫詩、做紅外線攝影、以

草。我們觸摸土地，輕輕搖動那莖幹去感受

「食得」、「唔食得」的定義，在田裡徹底

透明盒子存放堆肥以觀察生物的活動，同時

我們播 下 創 作 的

埋在土裡的根，並順著方向把它連根拔起。 因為蹲下身子，我們與小植物的距離拉近

實都是不斷突破原有的框框，呈現那個自我

種子… …

了，也用它們的角度去看世界。農夫周思中

發現的過程，原來耕田不一定要研究「食

說，我們做可持續耕作 (Sustainable Farm -

物」，攝影也不一定用相機，用傳統的感光

溫 善婷

ing)，當然不使用農藥和除草劑，但雜草其

物料作藍印，反而更適合田野的自然風貌，

工 作坊參加者

實也不必完全清走，留點空間，讓農作物以

學習過程中，我們得知要種出好的粟米，必

外的植物生長生長。那些植物，我們總是

須「一枝獨秀」，同一棵長出的小側枝就要

統稱之為「雜草」，一向的代名詞為「無用

被摘走。一次，周思中讓我們品嘗新鮮摘來

之物」。

的小側枝粟米荀，而且把包著荀的青綠葉子

被打破了。

突破自己對昆蟲的恐懼。由耕作到創作，其

以及那親手勞動的經驗。

一併吃下，難忘的除了那青甜爽脆的味道， 還有吃下一直以來「唔食得」的，頓時覺得 世界有無限可能性……

於是，展示日當天，我們從田裡採摘十多種

「啟德」視覺藝術研究與發展中心今年首次

植物和野草，陳列在桌上並邀請參加者坐下

與生活館合作，舉辦了一個為期六個月的耕

來，選出三種並試食。面對著眼前的生粟

種及攝影工作坊。該工作坊是本年度「憧憬

米、粟米莖、綠葉、菜花、種子等等，我們

世界」攝影教育計劃的其中一項社區藝術活

著參加者試試觸摸、用鼻嗅、用眼睛分辨其

動。自去年十月，我們十多位大學生及剛畢

我們在田裡開始尋找各種「野草」，拍照紀

顏色、甚至放在嘴裡嚐，整個過程和他們的

業的年青人到元朗八鄉的生活館學習耕作和

錄，翻查多本植物大全，來編寫一份《野草

表情都以錄像記下了。其後，我們把眼前的

攝影。與其說來耕田，不如說只為走出平日

小鑑》，如同小型的《本草綱目》，記下白

材料切碎，拌以黑醋、橄欖油和餅乾，頓成

的冰冷辦公室、商場、城市，來跟大自然親

茅、白花鬼針草、綿毛酸模葉蓼的外型和功

受大家歡迎的美食。

密地接觸。那個接觸，卻不一定好受：田園

效，原來平日被視為「無用」的野草，都有

風光，不一定只是青青草原，還可以有紅火

名有姓，有非常高的藥用價值 ── 白茅清

蟻和各種小生物；空氣除了清新，也可以迎

Corn was the first topic that the participants

熱、治頭痛，漂亮的白茅花也有鎮定作用；

面撲來的廚餘濃烈酸味……但為何對創作而

have researched. Through farming, observation and

白花鬼針草可治上吐下瀉又治蛇咬；綿毛酸

言，這些真實經驗如此重要？耕種和創作有

discussion, they had a lot of reflections on the

模葉蓼也有類似功效。我們平日的思考「有

著怎樣的關係？

relationship between food and modern living.

用」和「無用」的角度，是怎樣得來的呢？

粟米是最開初研究既課題，通過耕種、觀察

同時，我們又用藍印的方式，把「雜草」以

這六個月裡，我們由完全不懂耕作，到在田

及討論，各學員不斷反思食物與現代生活既

陽光捕捉下來。透過藝術的方式，來凝視一

中創作，一個深切體會是：勞動是創作的必

種種關係。

些平日忽略的事物和形態，又是一種特別 的經驗。

要。只有透過勞動，你才能真切地付出，以 自己的身體與外在環境產生關係，並了解自

而吃過那「原來食得」的粟米荀和葉，我

己在當中的位置。我們耕作前，先來處理堆 肥。拉開形形式式裝著廚餘的膠袋，橙皮和

In the work To Eat or Not to Eat, visitors were invited

們做了一個名為《食得唔食得》的實驗。

檸檬皮、雞蛋殼、剩菜、紅菜頭葉等等，那

to taste dozens of plants and herbs collected from

Michael Pollan 的著作《雜食者的兩難》，當

些平日避之則吉的味道和「不衛生」，今天

the fields. The entire process and their reaction were

中寫到：「當採獵時代的人在樹林裡採到一

我們知道是土地最愛的肥料；一層層疊上紙

recorded by video.

朵新奇菇蕈時，他是靠自己的感官記憶來判

皮、豆腐渣等乾料，慢慢就成為一個會「活

參加者被獲邀試食從田裡採摘得來的十多種

斷可不可以吃，同樣地，我們也在超級市場

動」和「生長」的堆肥，裡面萬千的細菌、

植物和野草，並以錄像記錄當中的過程和參

中拿起一包食物，但卻對自己的感官失去信

微生物、昆蟲在幫忙分解，我們親眼目睹幾

加者的反應。

心，反而仔細閱讀標籤……」從前人類會靠 認知能力、記憶力、或是即時的味蕾、過後

十隻甴曱爬行。

的反應，來分辨甚麼是有毒，甚麼是安全。 今天，我們處於所謂食物安全、消滅細菌的 The participants categorised various “weeds” in the field to compile a Booklet of Wild Herbs.

學員為各種「野草」分類和描述，以編寫 《野草小鑑》。

年代，還需要這些天生的本能嗎？

Through Our Eyes

憧憬世界

102

103

Next, you have captured time in the space and time you live

然後，你在身處的空間和各種人和事的狀態

in, with all sorts of people and events surrounding you. Just

中捕捉到時間，但剛定神，時間又 稍縱即

when you put yourself together, time has already changed

逝，人、事和物即變了模樣。可是，因為你

and so have people, things and events. Yet, because of your

的留心，甚至專注，你能看得到和感覺到這

patience and concentration, you can experience and see the

片刻時空的漸漸變動。

gradual changes from this time in this space. 在個人的心理變化，與環境和時間的變化之

“ Through Our Eyes” Photography Education Programme “In-between” Photography Exhibition

In between personal mental changes and the changes of

間，照相機成為讓兩者相遇的工具，拍下的

the environment in time, cameras have become a device

照片成為這各種元素交會的憑證。詞彙中的

for the two to meet; photographs become the crossover

「漸」字，遇上另外一個「漸」字，強調了

and interaction between different elements. The concept of

流動、變遷、遞進或消逝，像開引號與關引

WONG Suk Ki

“In-between” stresses on flow, shift, progression and disappear-

號，括出了一個有時間和空間維度的範圍，

"Through Our Eyes" Photography Education Programme Director

「憧憬世界」攝影教育計劃 ̶​̶

ance, like the open quotation mark, putting into brackets a

供人在這範圍內訴說憶思。「漸漸」這個概

contained time and space dimension, allowing people to

念，正與攝影的本質不謀而合，觸發了這次

「漸漸 」攝影展

express their memories and emotions. “In-between” becomes

攝影教育計劃的主題方向。

inevitably linked to the fundamentals of photography,

黃淑琪 “This is really the secret rationale of nature, the intricate design

inducing the theme and direction of this photography

「憧憬世界」攝影教育計劃總監

education programme.

of God! Yinyang shifts into each other like spring and autumn replaces each other, even the rise and fall of each life species abide to this rule. In between seasons things would change gradually:

「這真是大自然的神秘的原則，造物主的微

spring gradually matures into mellow summer, as autumn gradually

妙的工夫！陰陽潛移，春秋代序，以及物類

falls into lonely winter. We may already have gone through a few

的衰榮生殺，無不暗合於這法則。由萌芽的

decades, but when we crowd to the heater at a night of a winter, it

春『漸漸』變成綠蔭的夏，由凋零的秋『漸

is hard to imagine the enjoyment of cool breezes and ice popsicles

漸』變成枯寂的冬。我們雖已經歷數十寒

to fight off summer heat. As winter passes by one day after another,

暑，但在圍爐擁衾的冬夜仍是難於想象飲冰

one moment after another, one minute and one second after

揮扇的夏日的心情；反之亦然。然而由冬一

another until we hit summer, the cycle continues without us

天一天地、一時一時地、一分一分地、一秒

Work by Chan Yan Yan

noticing it.”

一秒地移向夏，由夏一天一天地、一時一時

黃卓賢作品

“Gradual”(Jian), Feng Zikai

地、一分一分地、一秒一秒地移向冬，其間 實在沒有顯著的痕跡可尋。」

Work by Joanne Kwong

鄺嘉惠作品

What is the time now? 豐子愷散文《漸》

You set your foot on the ground, looking both ways while walking along the streets, finding out familiar numbers from

「現在是幾點？」

the watch on your wrist or the phone on your palm. You look up or turn around, looking out of the window and observing

你駐足，或邊走邊看，腕上的手錶、掌中的

the opacity of light. The grey walls may now be painted in a

手機，尋找那些數字；你抬頭，或轉身，望

glaring off-white colour, or a calming khaki palette, or rather a

望窗口，外面的光有多明，有多暗？灰色的

deep blue hue. People that pass by are well-dressed, stressed

牆，現在是刺眼的灰白色，是微暖的啡黃

office workers, housewives with bags of fresh vegetables and

色，還是沉沉的深藍？身邊擦過的，是穿著

Work by Wong Yu

meat, elders sitting in parks and yawning, high school

整齊、臉帶焦急的上班族，是手挽著新鮮的

黃御作品

goers gossiping about other students and teachers, and adults

菜和肉的婦人，是閒坐在公園、打著呵欠的

pondering and wearing tired faces.

老人，是三五成群，正談論著學校、老師和

Work by Chow Lap Chun

同學的中學生，還是無力抬頭，臉帶倦意，

周立進作品

若有所思的成年人？

Through Our Eyes

憧憬世界

104

105

Teenagers grow subtly and the society evolves every second.

年青人在不知覺間成長，社會在每分每秒不

Time propels everything forward. Arts education, artist -

斷變遷，時間也在持續不斷地進行。藝術教

educators meet with teenagers as they anticipate us changing

育、攝影導師與年青人之間的相遇，正是期

with everything, going with the flow, and from change we

望觸動他們在流動變化的現實之中，學會駐

understand how to observe, to live the moment, and rediscover

足觀察，從而回歸生活的當下，在「漸漸」

ourselves “In Between”.

中重新發現自己。

About Through Our Eyes 關於「憧憬世界」 "Through Our Eyes" Photography Education Programme has entered its 9th edition. This year, the operation of the

「憧憬世界」攝影教育計劃踏入第九年，自

Workshop for Special Needs Students

Kwun Tong Community-based Photography Workshop

programme has been handed over from The Robert H. N. Ho

去年九月起由香港浸會大學視覺藝術院「啟

特殊需要學生工作坊

觀塘社區攝影工作坊

Family Foundation to kaitak, Centre for Research and

德」研究與發展中心從何鴻毅家族基金接棒

Development under Academy of Visual Arts of Hong Kong

籌辦，旨在鼓勵青少年透過鏡頭觀照和認識

Baptist University. The programme aims at inspiring young

自己的內心世界和潛能。是次年度展覽以

Artist educators of the Programme become tour guides for

計劃中的攝影導師，以他們不同的攝影和藝

people to discover their inner selves and their connection with

students, guiding them with their experience in photography

術創作經驗，為學生作嚮導，利用照相機在

the outside world through lens-based media. The "In-between

and other artistic pursuits. They make use of the changes that

瞬息萬變的現實中，照現生活的輪廓。這場

Photography Exhibition" is the first annual exhibition organised

happen in an instance in reality of the camera, to document the

為時數月的經歷，最終目標不一定是為拍攝

solely under the auspices of AVA.

contours of life. This weeks-long period for experience is not

悅目而富有美學的相片，但相片必然呈現

aimed at taking beautiful and aesthetically pleasing photos at

的，是學生如何因為攝影而開始觀照自己和

For more details, please visit the exhibition website:

the end of the process, but photos that portray a fresh

觀照世界。

www.toe.org.hk.

「漸漸」為主題，是計劃交予視覺藝術院後 首次獨立策劃。

詳情請瀏覽展覽網頁：www.toe.org.hk

perspective of oneself and one’s world through photography. 計劃選取了

德位處的東九龍區作為主要活

The programme chooses the Kowloon East district where Kai

動範圍，大部份參與的學生也在同區居住和

Tak Campus is located. Most participating students live or go

上學，攝影的觀察和紀實性質也觸發導師在

to school in that same district. The district is experiencing huge

課程設計上，加入社區拍攝的活動。導師帶

transformation at the moment. Therefore, the observation of

領學生審視變遷當中的人、事和物，在遷拆

reality that lies in photography is what inspired Artist Educators

的現場，身住同區的他們見證成長的回憶正

in designing the course, by including local photo-taking tours.

在消失，感受至深，教他們反思重建的美名

They lead students to reexamine the people, events, and things

之下，頹桓敗瓦之中有多少是彌足珍貴的共

within the district. During demolition, people who live near it

同回憶。落區拍攝的經歷，不只是為生活存

“Transience” by Chris Wong

lose their childhood memories piece by piece, inducing deep

證，更是為了讓學生更真實地接觸生活，感

王宗美作品《 Transience 》

notions. This inspires them to contemplate that beyond the

應身處的方寸土地。

glorified name of redevelopment, the decayed debris contains

“One Big Cloud, Ah-Ha” by Vik Lai and Ho Man Kei

valuable collective memories of its people. The experience

何敏基及賴泳晨作品《 One Big 霞》

of photographing the district is not only to collect evidences of daily lives, but also to open students to the real world, as they experience every inch of land that they come across.

“Lightness of Being” by Thomas Lin

練錦順作品《生之輕》 “Water……Now” by John Fung

馮建中作品《水禪》

Through Our Eyes

憧憬世界

106

107

The Inhabitables WONG Suk Ki

可以居

Lecturer

黃淑琪 講師 About eight years ago, a friend told me of an ideal living location in Hong Kong, that is surrounded by mountains, water, flowers, traditional brick houses, and boasted tranquility and

為了要從高處看白沙澳下洋，我們在白沙澳

cheap rents. This friend instructed me to get off at the youth

retrieved mud and sand to build their houses, and discovered

青年旅舍住了數天，與沒有行山經驗的年輕

hostel at Hoi Ha, and take a 10-minute walk down the path

two films made in Pak Sha O Village. It was a highly intriguing

同伴，在微雨下行著狹窄的山徑，加深了解

through the bushes. And so I arrived at the village, made up

and memorable experience.

了各人個性；我們在翁仕朝的祖屋裡，得到

with rows of Chinese style brick-and-mortar houses, mostly

後人的准許，翻看及複印舊照，並清潔相框

adorned with beautiful gable-roofs. One of more notable

Finally, we used text, images and book designs to capture

子，讓相片整肅呈現後人眼前；觀察前人在

among these was the one at the village gate, constructed with

and interpret the events that transpired in a place over a course

村附近取沙泥建屋的痕跡，以及發現兩套在

grey bricks and featured a courtyard and an ancestral hall. The

of a century. We invited artists and writers of Hong Kong

白沙澳村拍攝的電影等，過程中有趣及難忘

interior décor surprised me: European style furnishings with a

including Christal Lau, Ng Sai Kit and Ho Man Kei to find creative

的事還真的很多。

beautiful garden. I was quite amazed at the sense of displace-

inspiration at the location. There will be five phases to “The

ment of space and culture such an arrangement created.

Inhabitables” project, with one publication to be produced each

最終，將一個地方近一百年的面貌，以編

year starting from 2014; the first publication will be published

輯、文字、影像及書本設計來敍事及詮釋。

Last year I revisited the place – the Pak Sha O Village – and

in October this year.

大概八年前，友人告訴我在香港找到一個理

我們也找來香港藝術家及作家，在那地點找

began our work for the first issue of “The Inhabitables”

想居住的地方，那裡有山、有水、有花，有

尋創作元素，包括劉芷韻、李智海、吳世傑

publication. By approaching a space with an open mind, and

古老石屋、寧靜的環境及便宜的租金。友人

及何敏基等等。「可以居」將製作五期，從

understanding the life, environment, ecology and history

指示，在海下前的青年旅舍下車，走進叢林

二零一四年開始，每年一期，第一期將於本

of a place through walks, photo and article collections, archives,

步行大概十分鐘便會看見。走進村子，是一

年十月出版。

interviews, discussions and creation, we created a collage

排排中國式的石房子，大部份都有漂亮的人

of events and people of the past and life in the present. Through

形屋頂。其中一間，即城樓的位置，是用清

this exercise, ultimately we hope to answer this question:

涼的青磚建成，有天井及祠堂。走近房子，

“What kind of place and abode may qualify as ‘Inhabitable’”?

看到室內的裝潢，我以為人在歐洲，西方家 庭的設置，美麗的花園，我驚訝於這個地方

To gain a bird’s eye view of Ha Yeung Village of Pak Sha O, we

空間及文化的錯置。

stayed for a few days at the Pak Sha O Youth Hostel, during which we trekked through narrow mud paths in the raw with

去年重臨此地 —— 白沙澳村，開始了第一期

young, inexperienced fellow trekkers. We learned a lot more

「可以居」，以開放的態度進入一個空間，

about each other. At the ancestral home of the esteemed Yung

以步行觀察、搜集相片、搜集文章及資料檔

Sze Chiu, we obtained the approval of the Yung family to go

案、訪問、討論及創作來了解一個地方的生

through and make digital copies of old photos, and cleaned the

活環境，從自然生態到歷史故事，從而拼貼

frames so that the Yung family members may better appreciate

舊地舊人往事與現今生活的脈絡。最終希望

them. We noted the places where the village ancestors

能透過整個過程來解答心中的疑問：「究竟 一個什麼樣的地方及居所，才稱得上是『可 以』停留安居之處？」。

Through Our Eyes

憧憬世界

108

109

From the Factories MAK Hoi Shan Anson

我們來自工廈

Assistant Professor

麥海珊 助理教授 I have been contemplating how to document or represent the plight of the Kwun Tong industrial district. We have pondered our subject matter, choosing artists, designers and cultural

一直想著，可以怎樣紀錄 / 再現觀塘工業區

workers as our interviewees to sketch the contour of the diverse

的處境？後來，我們選擇以藝術 / 設計 / 文

and rich landscape of the lives and community within the

化工作者為走訪對象，希望至少為多元豐富

massive and sprawling Kwun Tong industrial district. Although

的工廈風景勾畫輪廓。我們確確實實的看

we can only capture fragments, we have come to understand

到，工廈並不是閒置空著，反而，各式各樣

that factory buildings are not vacant and the district is far from

非常有活力的文化 / 經濟 / 日常活動天天在

a waste of land. On the contrary, all kinds of everyday-life

進行中。

cultural and economic activities are vigorously moving on. 進行中，是現在式。日常，是民生最重要 Moving on is what happening. Activities of everyday living

的。我們的日常生活精彩，我們的文化就

constitute people's livelihoods. The splendidness of our

精彩 ; 我們的日常生活單一沒生趣，我們的

everyday-life is the splendidness of our culture. If our everyday

文化就悶如死水。香港不能窮得只有錢。

life is uniform and uninteresting, then our culture will be as dull as ditchwater. Money should not be the only value left in

In the reflections written by students from the photography

這個相片和評論文集包括三部分 : 一，與 4

Hong Kong. We should not be so poor as to only possess

workshop, many have mentioned aspirations for the

位攝影師合作，拍攝 24 個藝術家 / 設計師 /

讀到攝影工作坊同學寫的回應文字，好一些

money in our pockets.

future – hopes of owning a studio, of becoming an artist, and

文化工作者單位。二，與兩間中學合作，讓

都會談到將來 ——希望自己也可以擁有那麼

so on. One of the students also mentioned about dreams.

同學落區直接經驗觀塘工業區的社區風景、

樣的工作室，希望與有共同喜好的同伴一起

This book includes photo collection and writings. The first part

Upon my initial reading of the piece, for a moment, I was shocked

工廈街頭、街坊生活、工作理想、客人友

創作，希望……還有一個同學，提到夢想。

is a collection of photos from four collaborative photographers.

to silence. Yes, how about the adults’? What are their dreams?

人、談哭與笑、日常精彩。三，袁小仙（研

那刻，我呆了一呆，是呢，那我們成年人的

究助理）、黃津珏和我撰寫關於觀塘工業區

夢想呢？

The photographs show twenty-four studios and workshop spaces of artists, designers and cultural workers. The second

In recent years, the city landscape has continued to reinforce a

part offers a compilation of photographs taken by students

single narrative – the newly built stands to represent our future

近年香港的城市風景時常演繹一種故事 ——

from two secondary schools during their visits to the Kwun

vision, the old should be sacrificed. The starting point of

新的是未來願景，舊的必須犧牲。他們口中

Tong industrial district. Students in the field observed and

"revitalisation," when put into policy, is not based on people's

的「活化」並不是從實際有什麼人在這個地

connected directly with the place to uncover the splendid hiding

existing community life. Developers plan to tear down

區做著什麼(實在當下 的文化 / 經濟狀態)去

in the plain view of everyday life: cultural and community

buildings and replace them with new ones. The neighbourhood

再發展，而只是拆掉樓房，重新起過，而街

landscapes, factory buildings streetscapes, local residents’ daily

disintegrates and disperses; the distinctive character of the

坊，就不得不散落四方，社區特色，也隨之

lives, their work, dreams, friends, guests, tears and laughter.

community vanishes into history. Is this really the new vision

而去。這就是新的願景嗎？若新的不是建基

The third part includes articles as critical comments to the history

that we want? If the new is not built upon the old and the

在「舊的」已存在的歷史之上，那又何來承

and re-development of Kwun Tong industrial district, written

historical, how can we inherit from the past and accomplish

先

by Cynthia Yuen, Ahkok Wong and myself.

genuine sustainable development? Perhaps this publication

就是提供點點資料給我們去思索答案。

的歷史發展和現況的評論文章。

後的真正持續發展呢？也許，這個出版

can provide us with a bit more information for those who want to pursue an answer.

本書八月出版，免費派發，請留意啟德視覺 藝術院研究與發展中心的活動網頁 :

This book is available in August 2014 and is free to the public.

Please note information from kaitak Centre for Research and Development in Visual Arts, Academy of Visual Arts. https://www.facebook.com/kaitak

https://www.facebook.com/kaitak

Behind the Scene 前台背後 P. 110 — 111 Programme Philosophy at Academy of Visual Arts 視覺藝術院課程理念

P. 112 — 117 BA (Hons) in Visual Arts Programme Structure and Admission 視覺藝術 ( 榮譽 ) 文學士課程結構及入學

P. 117 — 120 Other Information of AVA 其他資料

. Illustration by Sindy WAN .

Behind the Scene

前台背後

The Academy of Visual Arts

112

113

視覺藝術院 香港浸會大學視覺藝術院於 2005 年成立，

課程理念及願景

致力培育學生掌握視覺藝術的專業技巧與學

視覺藝術院認為不同的創作專業，皆能體現

術知識，透過創新的課程探索個人特質、發

共通的創作意念、想法和原則。我們依據浸

揮創意。

會大學推動全人教育的精神，提供全面的教 育，啟發學生的創作潛力及思維，鼓勵他們

本院致力成為視覺藝術創作與研究的樞紐，

按自己的興趣和才能建立個人風格，以投身

並著意將相關的經驗和成果回饋社會。精簡

不同的文化藝術工作。

的行政架構，令我們能夠靈活地作出轉變， 以迎合社會發展及視覺藝術的最新趨勢。我

我們著重培育學生的創意思維、展示嶄新意

們與浸會大學其他學系及本地相關機構保持

念、理解視覺藝術背後的理念等能力，並要

緊密聯繫，建立專業網絡，加強學術合作和

充分掌握文化藝術史與理論的知識。

院校協定。我們亦不時舉辦展覽、講座、工 The Academy of Visual Arts (AVA) was founded in 2005 as

Programme Philosophy and Vision

作坊，並提供顧問服務，以促進與本地社區

本院非常重視跨領域的學習模式，揉合不同

an independent division of Hong Kong Baptist University,

At the Academy of Visual Arts, we believe that there are ideas,

及藝術文化界的交流。

的視覺藝術形式、媒介、意念和方法，突破

dedicated solely and entirely to educate students in the

concepts and principles common to all creative disciplines. We

practice-based professional skills and academic knowledge

provide a comprehensive education in the spirit of HKBU’s

本年度視覺藝術院本科課程由二十多位全職

創作手法。現今，藝術已不再局限於單一學

of the visual arts. AVA is committed to individual

Whole Person Education that focuses on the development of

教學人員任教，提供多達六十個不同科目的

科或媒介，而是充滿混雜多元的可能性。因

experience and creativity throughout our innovative

the creative and intellectual potential of our students,

選擇，現有約三百四十名本科生和約六十名

此，本院提供的視覺藝術（榮譽）文學士課

undergraduate programme structure.

encouraging them to build their own personal profile based

碩士生。此外，本院亦與浸大國際學院合辦

程，主張跨學科的藝術實踐，認為所有創作 方式均有助啟發意念。

傳統的藝術與設計概念，發展更廣泛的藝術

on their specific interests and abilities, thus ultimately

文學副學士(視覺藝術)課程。視覺藝術院的

As an active research hub and community service provider,

enabling them to aspire towards careers throughout the whole

教學設施分佈於啟德校園和九龍塘大學本部

the Academy is run through a simple, organic administrative

spectrum of the creative and cultural sector.

的傳理視藝大樓，有多個設備齊全的藝術工

structure, capable of flexibly adjusting to new trends

作室，包括：中國書畫、雕塑、攝影、媒體

and integrating the latest developments. AVA is strongly

At AVA, we choose to focus on your abilities to think creatively,

藝術、陶瓷、玻璃、版畫、平面設計、裝

interlinked with other departments of HKBU and its sister

to develop ideas, to understand the principles that stand behind

置、穿戴及首飾設計等。

institutions in Hong Kong through an extensive system

the visual arts, and on a solid foundation in the history and

of professional networks, academic collaborations,

theory of art and culture.

and institutional agreements. We also pro-actively foster relations with the general community of Hong Kong, the

The subjects at the academy reflect the commitment to the

visual arts scene of the city and the region through numerous

ideal of interdisciplinary study, the philosophy of bringing

activities, exhibitions, lectures, workshops and consultancies.

together the various formats, media, approaches, concepts, and methodologies of the visual arts.

Today AVA has about 340 students, taught by 23 full-time staff through a choice of 60 different courses. We have about 60

Developments within the visual arts through the last century

post-graduate students in the Master of Visual Arts programme,

have introduced new processes and situations, which have

and jointly offer an Associate of Arts (Visual Arts) programme

resulted in an expanded notion of artistic practice beyond the

with HKBU’s College for International Education (CIE). AVA

traditional concepts of art and/or design. Art is no longer

operates two campuses: Kai Tak Campus in Choi Hung, and the

based upon strictly distinguished disciplines or particular media,

Communication and Visual Arts Building in Kowloon Tong,

but are rather a hybrid of many.Accordingly, the BA (Hons) in

both with fully equipped workshops and studios for visual arts

Visual Arts programme operates in the inter-disciplinary area

disciplines as varied as Chinese Painting, Sculpture, Photogra-

of artistic practice, which considers all creative disciplines

phy, Media Arts, Ceramics, Glass, Print-Making, Graphic Design

as equally valuable outlets for creative ideas and concepts.

& Illustration, Installation, Wearables, Jewellery Design, and many more.

Behind the Scene

前台背後

BA(Hons) in Visual Arts Programme Structure

視 覺 藝 術 (榮 譽 )文 學 士

114

課程結構

115

The introduction of the clusters will help students to develop depth and

通識教育是什麼?

specialism in their areas of choice. The clusters essentially indicate academic

所有香港浸會大學學生必須修讀通識教育課程，共 68 個學

commonalities between two visual arts-areas; the cluster requirement directs

分。通識教育旨在鞏固學生在不同學術範疇的學習基礎，而

students to explore these common grounds. In this sense the clusters are one

不局限於個別專業知識。

Concentrations, Divisions and Clusters

專修範疇、專業部門與學科群組

way in which the Academy articulates its ideal of interdisciplinary direction

The four-year curriculum introduces subject concentrations, which are based on

四年制課程引入了「主修範疇」的設計，相關科目根據以下

in the curriculum.

AVA’s three divisions:

三個專業部門分配：

> Studio & Media Arts (SMA)

> 工作室與媒體藝術

What is General Education ?

學術探究方法和寬廣的概念。學生宜於低年級時先修讀通

> Craft & Design (CD)

> 工藝與設計

General Education (GE) is a compulsory academic programme for all students

識教育科目，再於高年級時集中修讀主修科目。因此，視

> Visual Arts Studies (VAS)

> 視覺藝術研究

of HKBU in which students need to take 68 credit-units. The intention of GE is to

覺藝術（榮譽）文學士課程的科目是逐年增加，期後漸漸

provide students with a solid foundation in a variety of academic subjects

取代所以選修通識教育科目的比例。

通識教育如何與視覺藝術主修科互相配合? 通識教育科目的內容全面，教授學生共通的技巧、知識、

Studio & Media Arts Concentration

藝術及媒體創作專修

A concentration in Studio & Media Arts allows the student to focus his/her

此專修範疇讓學生集中學習傳統藝術媒介及當代數碼媒

endeavours in traditional studio arts and/or contemporary media arts, aiming to

體藝術，通過美學和觀念探索擴展作品涵義，超越作品

How does GE combine with the VA major ?

通識教育是學生探索其他學科的大好良機。我們預期學生能

generate meaning through aesthetic and/or intellectual concepts, beyond a

的功能限制。

As the term General Education implies the content of GE-courses is intentionally

掌握自己的主修課程之餘，亦具備其他學科的知識，達致全

merely functional approach.

beyond the limitations of individual disciplines. 學生能從通識教育中學到甚麼？

comprehensive, accommodating students from all kinds of backgrounds,

人教育的理想。通識教育提供自我增值的機會、激發創意，

工藝及設計專修

providing them with common skills and knowledge, as well as academic

因此我們建議學生於其他學系修讀至少 6 個學分的高級課程

Craft & Design Concentration

工藝與設計作品都以其實體造形為中心表達，不論是手工製

methodologies across broad concepts. Accordingly students take their

(等同第 3、4 級別的科目)。

Craft and design both have the physical work-result at the centre of their

品或大量生產的商品，均以其物質性為依歸，因此作品的功

GE-courses in the first half of their studies, and focus on their major in the

disciplines. Be it a hand-made artefact or a mass-produced industry product,

能、實用性、可持續性、製作過程、市場需求和一般效益，

second half of their studies. For this reason the proportion of Visual

此外，浸大為四年制的同學提供副修的選擇，只需完成 15

the essence of the result is in its physicality. Because of this, concepts of

都是視藝工作者的重要考慮。

Arts-courses in the BA (Hons) in Visual Arts-programme study plan gradually

個學分的副修科目。學生若了解自己未來的發展路向，副修

grows and ultimately replaces all GE-portion.

可提供不少有趣的選擇。學生應小心選配主修及副修科目，

functionality, usability, sustainability, and also consideration of production processes, market-demand and/or general benefits play an increasingly

視覺藝術研究專修

important role for the visual artist.

此範疇教導學生各種藝術史與理論的研習方法，從視覺文

What academic opportunities does GE offer ?

以助將來的就業或實習申請。有關副修的資料可向相關學系

化、物質文化、中西藝術史方面，探討不同議題，如：公共

GE is a wonderful opportunity to explore other areas of academic life. We expect

Visual Arts Studies Concentration

經驗、視覺文化教育和創意策略等，以加強學生的創意和批

our students to excel in their major, but in the spirit of Whole Person Education

A concentration in Visual Arts Studies offers the student a range of theoretical

評性思考，培訓多種可轉移的能力。

we also expect them to have a substantial standing in other subject areas. GE

and historical approaches. Introducing material and visual culture, in addition to

offers plenty of opportunities for self- enhancement, self-cultivation and

art history and in depth examinations of Western and Chinese art exploring

學科群組

creative stimulation. To emphasise our appreciation of GE we therefore suggest

notions such as public experience, education in visual culture and creative

本院的課程歸納於幾個學科群組，每一群組由 5 至 6 個第 2

our VA-students to take min. 6 credit units in upper-level courses (=levels 3

strategies, strengthening creativity and developing the student’s critical

及第 3 級別科目組成。學生必須在某一群組內完成 3 門科

and 4) from other HKBU programmes.

thinking to providing an extensive range of transferable skills beyond the

目，而在完成一個學科群組後，才能夠修讀第 4 級別科目，

degree programme.

每位學生皆最少要完成 3 個學科群組。

Clusters

學生修畢第 1 級別科目後，便可選修所有於第 2 級別內的科

know what career you intend to pursue. In such case a carefully selected minor

AVA’s BA-courses are collected into clusters of learning - each cluster consists of

目(即 2 字頭的科目編號)。當在同一主修範疇中，選修某些

in combination with your major concentration can be an important advantage

a total of four to six courses of levels 2 and 3. Students have to take three courses

第 2 級別的科目後，學生便可選讀一系列第 3 級別的科目

when applying for jobs or internships. Information on the possibilities of specific

from one cluster to complete it. At least one completed cluster is needed

(及學科群組)，發展自己的主修路向。當完成同一專業部

minors can be obtained from the offering department of HKBU.

to move forward to level 4-courses. Every student is required to complete

門中的兩個學科群組後(即 21 個學分)，學生便會完成一個

minimum three clusters.

主修範疇。

After completing courses at level 1, students have the full range of choices from

學科群組的引入旨在協助學生發展他們選擇的範疇的專業性

all courses on offer at level 2 (courses starting with 2xxx). By choosing 2xxx

和深度。群組的內容反映兩個視覺藝術主修範疇在學術上的

courses from the same concentrations, you will build a selection of level 3-courses

共通點；群組的要求是要引導學生探索當中的共通之處，這

(and clusters) available to yourself, developing a clear focus for your studies.

正好表明本院課程的跨領域教育理念。

HKBU’s GE-programme offers the opportunity to complete a minor with only 15 dedicated credit-units. Minors can be very interesting options if you already

A concentration is achieved through completing 2 clusters from same division ( = 21 credit-units ).

查詢。

前台背後

Behind the Scene

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BA (Hons) in Visual Arts Major Course List FOUNDATION COURSES

INTEGRATED PRACTICE AND RESEARCH COURSES

CRAFT & DESIGN GRAPHIC BOOK

SCULPTURE

BODY AS INTERFACE

2216

GRAPHIC STORYTELLING

3205

SPECIAL TOPICS IN CRAFT AND DESIGN (GRAPHIC BOOK)

3215

PICTURE BOOK

3216

COVER TO COVER

2225

EXPERIMENTAL ILLUSTRATION

1006

VISUAL ARTS PRACTICE II

1305

ARTS AND ITS HISTORIES I

1306

ARTS AND ITS HISTORIES II

2226

DESIGN FOR HYPERMEDIA

VISUAL ARTS INTERNSHIP

3206

SPECIAL TOPICS IN CRAFT AND DESIGN

3005 _ 7 4015

RESERACH AND PRACTICE IN VISUAL ARTS

4055

HONOURS PROJECT

EXPERIMENTAL IMAGING

(EXPERIMENTAL IMAGING)

GLASS & CERAMICS

3225

HYBRID PRINTMAKING

3227

EVOLUTIONARY GRAPHICS

2235

FROM LIQUID TO SOLID : THE ART OF GLASS BLOWING

2115

DRAWING: VISUAL THINKING AND OBSERVATION

2236

CERAMIC ART : FROM PINCHED POT TO SCULPTURAL FORM

2116

PAINTING: IMAGE AND INTERPRETATION

3207

SPECIAL TOPICS IN CRAFT AND DESIGN

3105

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS

3115

DRAWING: INQUIRY AND EXPERIMENTATION

3116

PAINTING: EXPRESSION AND EXPLORATION

3117

LIFE DRAWING

2125

VISUAL LITERACY IN CHINESE PAINTING

2126

CHINESE WORD AS IMAGE: FOUNDATIONAL STUDIES IN

3106

LENS-BASED MEDIA

TYPOGRAPHY

VISUAL ARTS PRACTICE I

(GLASS AND CERAMICS )

3235

(DRAWING AND PAINTING)

CHINESE ARTS

2215

1005

STUDIO & MEDIA ART DRAWING & PAINTING

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FROM ZERO SPACE TO INFINITE DIMENSION : THE ART OF GLASS CASTING

3236

FROM OBJECT TO INSTALLATION : THE ART OF GLASS KILN-FORMING

3237

CREATIVE CERAMICS: CONCEPT AND PROCESS

2245

WEARABLES

CHINESE CALLIGRAPHY AND SEAL ENGRAVING

2246

SMALL METAL JEWELLERY

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS

3245

SECOND SKIN

WEARABLES

(CHINESE ART)

3246

STUDIO JEWELLERY

3125

CONVENTION AND INNOVATION IN CHINESE PAINTING

3295

SPECIAL TOPICS IN CRAFT AND DESIGN (WEARABLES)

3126

CHINESE SEAL ENGRAVING: THE EXPRESSIVE IDENTITY

2255

SPACE & SITE

2135

LOOKING THROUGH THE LENS

2256

PRODUCT DESIGN

2136

SOUND: THE BASICS

3255

EXHIBITS & DISPLAYS

3107

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS

3256

SUSTAINABLE DESIGN

(LENS-BASED MEDIA AND SOUND)

3257

3D PROTOTYPING

3135

INDENPENDENT MUSIC VIDEO

3296

SPECIAL TOPICS IN CRAFT AND DESIGN

3136

EXPERIMENTS IN MOVING IMAGE

3137

NARRATIVE PHOTOGRAPHY

2145

SCULPTURE: MATERIALS & PROCESSES

VISUAL ARTS STUDIES

2147

INSTALLATION ART

ART HISTORY & THEORY

3145

SCULPTURE: FORM AND APPLICATIONS

3147

PUBLIC ART

3345

CONCEPTS IN CONTEMPORARY ARTS

3195

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS (SCULPTURE)

3346

CRITICAL STUDIES IN LENS-BASED MEDIA

2155

BODYSCAPE

3347

CONTEMPORARY VISION IN CHINESE ART PRACTICE

2156

INTERACTIVE ART

3307

SPECIAL TOPICS IN VISUAL ARTS STUDIES

3155

BODILY PERCEPTION IN ARTISTIC PRACTICE

3157

HUMAN MACHINE INTERFACE

3355

MATERIAL CULTURE & COLLECTIONS

3196

SPECIAL TOPICS IN STUDIO AND MEDIA ARTS

3356

HK CRAFT: TRADITION AND TRANSFORMATION

(BODY AS INTERFACE)

3357

THE ANTHROPOLOGY OF ART

OBJECTS & ENVIRONMENT

(OBJECT AND ENVIRONMENT )

3305

SPECIAL TOPICS IN VISUAL ARTS STUDIES (ART HISTORY & THEORY)

VISUAL & MATERIAL CULTURE

(VISUAL & MATERIAL CULTURE)

Behind the Scene

前台背後

Admission

入學申請

Admission Exercise

入學評核測試

We welcome students from any educational background, including mainland,

本院接受不同教育背景的學生提交申請，包括來自內地、海

To assess the creative talent of an applicant for the BA (Hons) in Visual Arts

為進一步評估申請人的創作才能，所有報讀視覺藝術（榮

overseas and mature students alike.

外及年長的學生。

programme we request all applicants to participate in AVA’s Admission Exercise,

譽）文學士課程的申請人均需要参加入學評核測試，藉此展

which is designed to provide applicants with opportunities to show potential

示個人在視覺藝術上的潛能。

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Students educated in Hong Kong applying for admission to the BA (Hons) in

本地學生如欲以香港中學文憑考試成績申請，應通過大學聯

Visual Arts Programme on the strength of Hong Kong Diploma of Secondary

合招生辦法 (JUPAS) 入學。過往的收生成績參考，可見於

Education (HKDSE) should apply through the Joint University Programmes

大學教務處網頁。

Admission System (JUPAS). Admissions scores reference of previous JUPAS entrants can be found on the webpage of the University’s Academic Registry.

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for the field of the Visual Arts. 入學評核測試包括以下三個部份： The Admission Exercise is comprised of three parts:

> 檢閱個人作品集

> A portfolio review;

> 藝術創意測試

中國內地學生可以當年度的普通高等學校聯合招生考試成績

> A practical exercise;

> 面試

申請入學，計劃詳情請向教務處查詢。本地、內地及海外學

> An interview. 入學評核測試的評審準則如下：

China Mainland students who are sitting for the current year of Joint Entrance

生如以上述以外的其他資格申請，如國際文憑試 (IB)，或英

Examination (JEE) fall into a specific admission scheme of the University, and

國普通教育文憑考試 (GCE)，需通過大學非聯招途徑入學。

All parts of the Admission Exercise will be evaluated

> 創意和豐富的構想力；

should refer to the University’s Academic Registry for scheme details.

大學認可的副學士、高級文憑或文憑課程的準畢業生或畢

on the following criteria :

> 發展並實現複雜而具創意的解難能力；

業生、大學學位持有人或其他大學轉學生，可申請入請課

> Creativity and breadth of ideas;

> 表達個人藝術意念的能力；及

程高年級。

> Capability to develop and realise complex creative solutions;

> 個人對藝術專業的投入與熱誠。

Local and overseas students seeking admission on the strength of other qualifications, e.g. IB or GCE, including mainland students other than the

> Ability to present personal artistic ideas; and

above-mentioned, should apply for direct admission to the University (generally

不論透過何種途徑申請入學，申請人都必須符合大學及課程

known as non-JUPAS). Final year students/holders of sub-degree including

入學的基本要求。

> Personal dedication and commitment for the subject area.

higher diploma or associate degree, degree holders and transfer students can 大學基本入學要求

Other Information of AVA

其他資料

透過大學聯招辦法的申請人需具備以下資格：

Exchanges at AVA

交換生計劃

General University Admission Requirements

1) 2 科香港中學文憑考試語文科目第 3 級

AVA currently offers international exchange programmes with sister institutions in

視覺藝術院安排學生到澳洲德國、意大利、日本、英國，以

In general, applicants have to possess qualifications equivalent to secondary

2) 3 科香港中學文憑考試科目第 2 級, 包括數學及通識教育

Australia, Germany, Italy, Japan, UK and USA are in preparation. AVA students can

至美國等地的聯繫大學進行國際交流。學生亦可參與由浸會

also benefit from HKBU’s extensive exchange in Asia and Europe.

大學舉辦的交換生計劃，到訪亞洲及歐洲等地。

apply for admission to senior year, i.e. Year 2 or Year 3, of the programme.

一般而言，申請人必須完成中學課程，並具備申請入讀大學 Applicants should satisfy both the University’s General University Admission

的成績要求。

Requirements as well as the Programme Admission Requirements.

school completion deemed appropriate for university admission. 至於非大學聯招辦法，申請人需具備其他認可資格，例如： For JUPAS applicants, this is interpreted as:

大學認可的副學士、高級文憑或文憑課程、國際文憑試

Internships

實習計劃

a) Level 3 in two HKDSE language subjects

(IB)，或 6 科英國普通教育文憑考試(普通程度)、英國普通

We recommend all of our students of the BA (Hons) in Visual Arts programme to

本院鼓勵學生參與跟主修科目有關的實習計劃，把課堂所獲

b) Level 2 in three HKDSE subjects including Mathematics and Liberal Studies

中學教育文憑考試、英國國際普通中學教育文憑考試及 2 科

undertake an internship during their time of study. An internship links classroom

取的知識學以致用。實習對學生的專業和個人發展相當重

高級程度會考合格。申請人將獲個別考慮。

theory to professional practice, and provides the student with learning experi-

要，可提供一個課堂以外寶貴的學習經驗，有助學生建立和

ences beyond the academic programme. Such experiences are invaluable for the

釐清自己未來的工作路向。為配合學生的學習計劃，實習一 般安排在暑期進行。

For non-JUPAS applicants, this refers to any acceptable alternative qualification such as an Associate Degree or Higher Diploma/Diploma of a higher education

有關大學基本入學要求的詳細資料，請參閱本校網頁：

students professional and personal development giving them the opportunity to

institution recognised by the University, an International Baccalaureate Diploma,

www.hkbu.edu.hk

experience the wider arts arenas.

課程入學要求

Internships are offered as independent study courses that will usually be taken

於 2013 年，本院在學生畢業後六個月進行了一項調查，在

本院的視覺藝術（榮譽）文學士課程沒有特定的入學要求，

during term-break.

七十二名受訪人當中，百分之六十七的畢業生成功尋找到

畢業生出路

or passes in 6 GCEOL/GCSE/IGCSE Exam and 2 AL subjects. Applicants will be considered on an individual basis.

For details of the General University Admission Requirements, please refer to

但視藝訓練及往後的就業情況往往要求良好的學術表現，甚

the University website at : www.hkbu.edu.hk.

至某程度的才華。相關的才能包括不同的技術, 如：手、眼

Professional and career prospects

的工作類別，百分之六十五的畢業生從事工商業界，百分之

和腦的協調、對空間有敏銳的觸覺，尤其要具有豐富的想像

In the graduate survey of 2013, conducted six months after graduation, among

二十為教育界，百分之九則從事社會福利工作。超過百分

力、靈活的思維及對視覺藝術的投入。

the 72 graduates, 67 % had secured fulltime equivalent jobs, while 4% pursued

之五十的畢業生受聘於藝術教育或設計相關的機構，平均月

AVA does not define specific academic requirements for admission to the BA

further studies. Among the graduates who found full-time jobs, 65% entered the

薪約港幣11,560 元。

(Hons) in Visual Arts programme. However, the study of and subsequently

commerce/industry sector, followed by education (20%) and community/social

a professional career in the Visual Arts require good academic skills, but also

services (9%). More than 50% of the graduates were employed in art teaching

a certain degree of talent. Such talent includes various kinds of skills, for

or design related industry. The average monthly first salary for graduates was

example, a good visual sense, good coordination of brain and hand, spatial

around HK$11,560.

Programme Requirements

awareness and especially a rich imagination, intellectual flexibility, and personal dedication.

全職工作，而百分之四的畢業生則選擇繼續升學。至於就業

Behind the Scene

前台背後

AVA’s contributions to the community ?

視覺藝術院如何貢獻社會?

Full-time Teaching Staff

全職教學人員

The Academy of Visual Arts established kaitak, Centre for Research and

視覺藝術院於歷史建築

23: 57% M; 43% F

23 人：57% 男性；43% 女性

Development in Visual Arts at the Kai Tak Campus (the historical Royal Air Force

成立「啟德」視覺藝術研究與發展中心，轄下的「藝研中

Officers’ Mess). kaitak conducts academic researches and community projects

心」、「視藝社區起動」及「藝苗計劃」三個部份藉舉辦不同

Nationalities:

國籍：愛爾蘭、澳洲、德國、香港、日本、台灣、

for the development of visual arts in and around Hong Kong through its three

類型的學術研究及社區活動，推動本地以及鄰近地區的視覺

Australia, Germany, Hong Kong, Ireland, Japan, Italy, Taiwan & UK

branches: Research Hub, the VArtCommunity and the Young Artist Agency.

藝術發展。

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德校園（前英國皇家空軍俱樂部）

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Qualifications:

意大利及英國

資歷：57% 持哲學或藝術博士學位；

57% PhD/DFA;

26% 持純藝術碩士學位；

initiating the interaction between artists and the general public through the

組織及慈善機構合作，提昇普羅大眾和藝術家的互動關係，

26% MFA;

17% 持其他相關碩士學位

process of art making, thereby arousing people’s interest and potential in visual

並且在藝術創作的過程中引發對文化藝術的興趣與潛能。當

17% MA /MVA/MPhil

arts. Among various community projects, the ‘Through Our Eyes’ Programme

中核心計劃是由何鴻毅家族基金贊助的「憧憬世界」攝影教

(TOE) funded by Robert H. N. Ho Family Foundation is its core project which runs

育計劃，計劃舉辦各式各樣的短期課程、工作坊、探訪及展

Student Population

different short courses, workshops, visits and exhibitions for teenagers to

覽，鼓勵青少年透過鏡頭去觀察和探索自身的社區，以影像

Students:

observe and explore the community through lens-based media.

來表達其對自我身分、家庭及社會等不同課題的看法。

340 BA students;

In collaboration with NGOs or charity organizations, the VArtCommunity aims at

「視藝社區起動」舉辦多項社區藝術活動，藉著與非政府

M F

23 Teaching Staff

63 MVA students; The Associate of Arts (Visual Arts) at HKBU

浸會大學文學副學士(視覺藝術)課程

30 Associate Degree students;

The Associate of Arts (Visual Arts) programme is jointly offered by the Academy

文學副學士(視覺藝術)課程由本院與國際學院合辦，此基礎

2 MPhil student;

of Visual Arts and the College of International Education (CIE), and is an

課程幫助學生準備將來的升學，如視覺藝術（榮譽）文學

3 PhD student

Phd/DFA

entry-level degree to prepare students for further studies in the Visual Arts,

士課程。副學士課程旨在提供不同的基礎藝術訓練，尤其

like e.g. in the BA (Hons) in Visual Arts offered by AVA. It provides students

著重教授相關的技巧和知識，促進學生的個人成長及學術

Undergraduate Students:

MFA

with basic training in various studio arts, with emphasis on relevant skills and

發展。

> 21% M ; 79% F > 1st year entrants: 71% admitted by JUPAS; 25% by non-JUPAS; 4% by others

knowledge acquisition, and generally encourages the individual academic and personal development.

副學士修讀期為兩年，學生在畢業後，可繼續報讀浸大或

> Senior year entrants: 54% AD holders; 46% HD or Degree holders

其他院校開辦的視覺藝術、純藝術、設計、創意媒體或藝 The Associate Degree-programme requires normally two years of study.

術教育等學士課程。畢業生亦可選擇直接投身創意工業及

AD-graduates are most likely to apply for admission into full undergraduate

與藝術相關的行業。

> 29 students currently on exchange Total Graduates: 530 BA graduates; 176 MVA graduates;

degree programmes in areas of visual arts, fine arts, design, creative media

MA/MVA/ MPhil

本院學生人數

and/or art education at HKBU or other universities and institutions, or they may

視覺藝術碩士課程

choose to pursue creative careers and work in visual art-related fields.

視覺藝術碩士課程貫徹視覺藝術院的跨領域學習特色，涵

340 名本科生；

蓋藝術文化生態的不同範疇，由創作、理論與藝術評析，

63 名碩士生；

The MVA

到藝術行政及社會實踐。五個主修領域包括：

The Master of Visual Arts (MVA) programme is in-line with the interdisciplinary

> 體驗設計

approach that AVA adopted as its distinctive characteristic. The five MVA-

> 藝術創作與延伸媒體

concentrations intentionally cover a wide range of aspects within the arts and

> 藝術與文化

culture ecology from creative practice to theory and criticism, art administration

> 藝術行政

and social application. The five concentrations are Experience Design, Studio Arts

> 藝術實踐與文化行動

& Extended Media, Art & Culture, Art Administration, Utopics.

161 Associate Degree graduates

M F

術領域的專門知識與媒介技巧，並以跨國界、跨學科的多

in-depth professional knowledge and skills as well as cross-cultural and

元視野回應社會文化議題。透過「共修科」與「專修科」

interdisciplinary awareness in diverse visual arts disciplines. Through Shared

的配合，共融與深化並行不悖，能同時兼顧當代視覺藝術

Courses and Specialized Courses built into the integrated programme structure

研習的闊度與深度，帶領學生按自己的研究興趣，深化個

the MVA achieves a good balance between cross-discipline synergy and

人藝術或學術的發展。

456 Students

2 名哲學碩士生；

本科生： > 21% 男性 ; 79% 女性 BA

> 一年級新生: 71% 經聯招入學；25% 經非聯招入學；

MVA

> 高年級新生: 54% 持副學士資格；46% 持高級文憑資格

4% 其他 > 29 名學生正於外地進行交流 Associate Degree PhD

professional development, and guides students to further develop their personal artistic / academic profile according to their research interests.

30 名副學士生； 3 名哲學博士生

本院的碩士課程以當代研究方法為基礎，探究相關視覺藝 The MVA is to nurture creative talents with contemporary research methodologies,

學生人數：

MPhil

畢業生總人數：530 名本科生；176 名碩士生； 161 名副學士生

Behind the Scene

前台背後

Undergraduate Programme

本科課程

Visual arts courses:

視覺藝術科目:

> 30 in Studio And Media Arts

> 30 門工作室及媒體藝術科

> 25 in Craft And Design

> 25 門工藝及設計科

> 11 in Visual Arts Studies

> 11 門視覺藝術研究科

> 5 interdisciplinary courses

> 5 門跨學科

Teacher/student ratio: 1:15

師生比例：1:15

Average class-size:

平均課堂人數：

30 for theory courses;

理論科目 - 30 人；

17 for practice courses

實踐科目 - 17 人

Average exit-GPA: 2.87

平均畢業成績：GPA 2.87

Average first income (in 2012): HK$11,560

平均首份工作月薪 (2012)：港幣 11,560 元

Exchange Collaborations

交換生計劃

Local: CUHK and CityU

本地： 香港中文大學、香港城市大學 海外： 7 間大學分別位於德國、意大利、日本、

International: 7 institutions in Germany, Italy, Japan, UK,

英國、美國及澳洲

USA and Australia 展覽機會 Exhibition Opportunities

> 3 個校內展覽場地

> Three on campus exhibition galleries

> 備有學院經費資助及策展咨詢服務

> Financial support & curatorial advice 平均每年校內活動 Average On-campus Co-curricular Activities Per Year > 15 _ 20 exhibitions

> 15 至 20 次展覽 > 10 至 15 次藝術講座或示範

> 10 _ 15 art seminars / demos * 資料截至 2014 年 9 月 2 日或以前學年為準。 * Data as of 2 Sept 2014 or for the past academic year.

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