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節目 Programmes P8

海潮《沙兵馬將》 Hoi Chiu Brothers of War


不加鎖舞踊館《手∣足∣聲》 #非關舞蹈系列演出 Unlock Dancing Plaza Hands.Footprint.Sound #danceless performance series


梁志和《家.不家》 Leung Chi Wo Home and Nonhome


鄭波《生命如此艱難,何必搞得這麼簡單?》 Zheng Bo Life is hard. Why do we make it so easy?


流動「沙」劇:《羅密歐與茱麗葉》 JCNAP Mobile Theatre: Romeo & Juliet


春暉粵藝工作坊:「文武老少功架展演」 Spring Glory Cantonese Opera Workshop: Cantonese Opera - Three Classic Excerpts


李偉能《回聲二:人為景觀》 Joseph Lee Unfolding Images: We Are Spectacle(s)


藝術行 Art Walk

藝談 Art Talk P1O

解放想像力 手指飛舞變出兵馬 Unleashing One's Imagination


非關舞蹈 在困難中找到自由 Danceless: Reaching Liberation Through Challenge


回歸我城 以視藝創作回應時代 .梁志和專訪 .鄭波專訪 Arts and the City .Artist Interview: Leung Chi Wo .Artist Interview: Zheng Bo

藝術節詳情 Information P2O

節目表 Programme Schedule


購票指南 Booking Information




4 4

The Hong Kong Jockey Club is honoured to support the Hong Kong Arts Development Council ("HKADC") in presenting the JOCKEY CLUB New Arts Power for the fourth consecutive year to promote the achievements of our homegrown artists and their internationally-acclaimed works for the enjoyment of the community. This fourth edition of JOCKEY CLUB New Arts Power features nine enchanting programmes, with diverse performances in the domains of dance, theatre, music, xiqu, visual and multimedia arts, as well as diversified education and community activities. This year, some programmes are being conducted online against the backdrop of the COVID-19 pandemic. The online platform has enabled more people to participate in these programmes and activities, and share the pleasure of arts. Since its launch, the JOCKEY CLUB New Arts Power has been immensely popular, with as many as 380,000 beneficiaries to date. It encourages arts creation, promotes arts education and enables arts accessibility for all, so as to further sustain the development of our city's arts ecology. The Hong Kong Jockey Club's purpose has always been for the betterment of our society. The Club's well-established integrated business model of racing and racecourse entertainment; responsible sports wagering and lottery; membership club; and charities contribution has enabled us to provide substantial tax and charity support, and deepen our engagement with the community. As one of the world's top ten charity donors, the Club is dedicated to enriching lives and promoting social inclusion through arts. We ardently support cultural and heritage conservation, and there is no better example of this than Tai Kwun – Centre for Heritage and Arts. The revitalisation project, led by the Club in partnership with the Hong Kong SAR Government, was awarded the highest honour in the 2019 UNESCO Asia-Pacific Awards for Cultural Heritage Conservation. Together with artists and practitioners, we shall continue to help build a culturally vibrant Hong Kong. I take this opportunity to express our heartfelt gratitude to the HKADC for its hard work and dedicated efforts, and hope members of the community will enjoy this arts extravaganza.


開拓多樣化演出模式 (Re)Discovery of 2020年初迄今,香港藝術界因疫情關係面 臨前所未有的挑戰。在各種未知和變動下, 「賽馬會藝壇新勢力」如常雲集一眾本地藝 術家,透過現場及網上等形式,自九月起繼 續為觀眾帶來創意、水準與本土色彩兼備的 藝文活動。而第二輪的精采節目亦將於十一 月至明年初陸續登場。 打頭陣的有跨領域的《沙兵馬將》,由本地著 名沙畫師海潮糅合現場演出、真人動作、舞蹈 及戲劇等形式演出,讓觀眾重拾童心童趣。舞 蹈演出《手∣足∣聲》繼續探索不加鎖舞踊館 「#非關舞蹈」的創作理念,打破演出者的身 份界限,集合三十位素人,以舞蹈連繫社區。 至於傳統藝術方面,粵劇大師阮兆輝將帶領春 暉粵藝工作坊,在「文武老少功架展演」中, 重新演繹三段精選折子戲,盡顯非凡功架!除 以上購票節目,藝術節每年的重點節目——流 動劇場亦將再度回歸。流動「沙」劇:《羅密 歐與茱麗葉》以沙畫配搭意大利歌劇巡迴各區 演出,讓觀眾近距離接觸和共享藝術。 在視覺藝術方面,梁志和的《家.不家》展覽 是其舊作的延伸版本,透過舊式電話亭和兩個 酒店房間,思考「家」在情感上的定義。鄭波 作品《生命如此艱難,何必搞得這麼簡單?》 取材本地生態,以香港蘭花種出英文字句,藉 此省思人類與其他物種平等共存的可能性。 香港藝壇菁英輩出,出色的作品其實近在咫 尺。此時此刻,正是重新認識他們的大好 機會。


讓本地藝術持續綻放 Outstanding Local Artists Since the start of 2020, the pandemic has brought unprecedented challenges to the arts industry in Hong Kong. Despite the uncertainties and changes, JOCKEY CLUB New Arts Power returns with its handpicked roster of local artists and programmes. From early September on, the Festival has reached out to audience via live and online platforms with well-received, creative and engaging arts experiences filled with local elements for all. A second instalment of exciting programmes will be launched from November until early 2021. The line-up of programmes kicks off with Brothers of War, a family show created by celebrated local sand painting artist Hoi Chiu. Merging live sand painting with animation, music, dance and theatre, the performance invites the audience to rekindle their childlike imagination. Unlock Dancing Plaza's #dancelss performance series taps into the notion of "everyone can dance" in Hands.Footprint.Sound. Professional dancers and thirty amateurs will be featured in the performances, expressing themselves and connecting with the community in the most original ways. Led by maestro Yuen Siu-fai, the Spring Glory Cantonese Opera Workshop presents three excerpts from the repertoire, showcasing the artistry of Cantonese opera. In addition to the ticketed programmes, the Mobile Theatre series is reprised as this year's Festival highlight. The pop-up performances of Romeo and Juliet feature a crossover of sand arts and Italian opera, which allows community audience to experience and share arts from a close distance. For visual arts, Leung Chi Wo revisits and extends themes from his previous works in Home and Nonhome. The concept of home as entity of emotional attachment is explored through the set-up of an old telephone booth and two hotel rooms. In his installation project Life is hard. Why do we make it so easy?, Zheng Bo questions the fair co-existence between human and other organisms with slogans using local species of orchids. With excellent local artists and outstanding productions well within reach, it is high time for audience members to rediscover our local artistic gems.



Family Show 演出單位 Performed by

海潮 Hoi Chiu

Multimedia Family Show

以沙作畫,美得令人目瞪口呆的畫面,下 一秒都可能消失眼前。再精采的表演,到 結尾總得一抹而去,化成泡影。 曾於高雄、北京、廣州、佛山及廈門巡演 的《沙兵馬將》,再度回歸香港。著名沙 畫師海潮令人讚嘆的現場沙畫演出、動 畫、真人動作、舞蹈、戲劇等形式建構動 人故事,反思友情與和平的意義。 合家歡的演出,故事描寫醫院內兩個病 人,化身成少年阿寶和戰馬大膽,一人一 馬,過關斬將,與大小朋友一起穿梭於大 小戰場之中。衣錦還鄉之際,卻見故鄉物 是人非,才醒覺亂世之中,人與人之間的 陪伴最為寶貴。 小朋友、大朋友,一齊體驗以沙編寫的窩 心故事。


A grain of sand is a momentary pigment. The beauty of painting with sand lies in its impermanence. Presented by celebrated sand painting artist Hoi Chiu, Brothers of War is a tender story about companionship and friendship. Merging live sand painting with animation, music, dance and theatre, the performance has toured in Kaohsiung, Beijing, Guangzhou, Foshan and Xiamen before returning to Hong Kong. One day, two patients in a hospital turn into a young warrior and a war horse. The two embark on a journey into the great historic battlefields. When all these glories are built on sand, they slowly learn the value of belonging and companionship. A sand-toned tale promises to warm your hearts.

$2OO 27.11 (FRI) 2O:OO 28.11 (SAT) 15:OO 2O:OO 29.11 (SUN) 15:OO 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre

海潮 長期專注沙畫藝術,擅長以沙畫連結不同媒介, 透過戲偶、畫作及舞台等藝術創作,將沙畫推向 更高層次。近年積極推動沙畫藝術在流行文化、 音樂錄像、動畫、以至電視及電子媒體的應用。

Hoi Chiu Hoi Chiu, whose name means "tide" in Chinese, sees the world in a grain of sand. As a renowned sand painting artist, he explores the possibilities of sand through various media such as puppetry, drawings and performing arts. Active in promoting sand painting in popular culture, he keeps experimenting with music videos, animations, TV and social media.


「以前,我從來沒有想過可以用沙來創作。」— 海潮

解放想像力 手指飛舞變出兵馬 文:何兆彬


「以前,我從來沒有想過可以用沙來創作。」 從小愛繪畫,堪稱畫癡。 當年那個仍未用上藝名「海潮」的少年,有天在網上看到西方世界的沙畫表演, 大開眼界,「它開發了我的想像力。」 少年在家裡攤一張白紙,鋪上細沙,自學沙畫,常把客廳弄得亂七八糟。 就這樣跌跌撞撞,竟給他摸出了一條大道。 由替陳奕迅MV中表演沙畫,在商場表演,到創作自己的舞台表演, 創作出糅合多種元素的《沙兵馬將》,初演迄今,差不多十年。期間曾到多個城市表演, 今次應「賽馬會藝壇新勢力」邀請,終於回到香港,與十年前的表演,又有何分別? 10

逆向思考 自學沙畫


「接觸沙畫後,我才發現將畫筆丟開,將 自己的雙手變成了畫筆,就好像小朋友去 學畫畫。每一筆怎樣去用,都好精采,令 我好快樂。」

《沙兵馬將》的故事,講述兩個小朋友在 醫院裡面,感覺沉悶。沉悶使他們的想像 力,大大爆發。

他從小的夢想是當畫家。人的際遇,難如 預期,「畢業時,恰好遇上了戲劇人, 我參與了好些作品,不久也成了職業演 員。」有天,他思考怎樣能把繪畫融入作 品之中,「能否有非語言的想法?當初創 作,我會自製木偶、小丑,都是影像的東 西。後來在網上看到沙畫,我嘗試把它們 放在一起,發覺它又能現場表演,又突顯 到它視覺上的美麗,還可以讓觀眾看到我 的作畫過程,看到我的想像,這種表演形 式,是非常少見的。」 要自學沙畫,並不容易。在網上看完片 段,他自我逆向思考,想像沙畫是怎創 作的,「桌和沙準備好,我可以畫些甚 麼?在家裡練習,當初弄得到處是沙。我 發現要改良它,設立沙循環的系統,減少 浪費。」沙畫桌一直改良,今天的沙畫表 演,在一個寸來厚的光燈箱上表演,但十 多年來它已進化了好幾代,「我試過好多 不同的光管,初期的設計很重,表演的表 面,也由膠片變成了玻璃。畫不只要畫 得美,因為在台上表演,也需要訓練速 度,學習配合音樂,那是無止境的學習過 程啊。」


他們開始想像進入了古裝世界,二人變成 了一人一馬,相遇後互相幫忙,期間發生 不少爭拗,最後經歷一切後,一起面對, 海潮:「這是一齣合家歡的作品,我希望 能大家能見到陪伴、友情的重要性,也感 受到一起玩的感覺。」為何創作合家歡作 品?「一些小朋友在成長中可能會有好大 壓力,家長會為了他們的學業成績,也許 曾迫他們做違反孩子意願的事。在戲裡 面也一樣,那隻馬不斷要去打仗、去考 功名,但究竟,這些追求的重要性在那 裡?」海潮頓了一頓,說:「最重要其實 是陪伴。能做到一件事很好,但有時也會 弄巧反拙,令小朋友討厭它。如果我第一 天接觸沙畫,壓力太大,也許我會討厭 它。我是因為好喜歡它,慢慢去做,漸漸 得到自信,做沙畫才會感到快樂。」


他回想自己的成長過程,沒有今天的孩子 那麼多玩具,那怎麼辦?「我們就去找東 西玩,不像今天遊戲已準備好了。」他 說:「在創造力及想像力裡面,好像是人 在等待一個世界,讓人去參與。在我那 年代,根本沒有那個世界,於是我們得去 創造世界!也許用一張被鋪,就變成了沙 灘,用一個紙盒,就化成怪獸。」


戲裡的小孩,拿一個地拖,就化成了一隻 馬,「很多時候,我們看到一個東西只想 到它本身,但我們也可以,試試想像會想 到甚麼?」《沙兵馬將》的演出糅合了不 同元素,除了沙畫,也包括了功夫演出、 唱歌和跳舞,還有沙動畫。沙動畫的形 式,以定格動畫(Stop Motion)方式製 作,逐格拍攝,變成片段。



由首演算起,《沙兵馬將》誕生迄今快十 年了,「第一次海外演出,是獲邀到北京 兒童節演出。在當地的舞台佈景設計,古 裝一點,好像客棧一樣。然後我們去過高 雄,再返到香港,再到大灣區三個地方: 廣州、佛山、廈門演出。」經歷十載,再 次回到家鄉演出,海潮十分期待,「我重 看這演出時第一次畫的馬,真的好醜樣 啊!」這麼說來,足見了他在繪畫上一直 有所進步。



平常我們見他兩手一撒一撥,沙堆就成 了野馬。他一直追求一種類近水墨,淋 漓盡緻的繪畫風格,但即使畫了超過十 年,海潮還是謙厚地說:「雖然今天我好 像甚麼都能畫,但有很多東西,是我仍然 還沒有學懂的。沙畫不是一些遊戲。我不 會說『好悶呀,不玩了』,相反,它可用 不同方法去玩。我會問自己:能否畫到像 水彩,能否畫得像炭筆?又能否畫到好真 實?」經驗再豐富,還是有很多事情沒法 預計,偶然表演遇上天氣變化,空氣潮 濕,玻璃面沾上水份,粒粒細沙會變得像 泥。在戶外演出,燈箱上也曾出現不速之 客,例如飛蛾,要跟他在沙上同場表演。 急忙之中,都得想辦法解決。

藝術追求,無止無盡。海潮強調,繪畫跟 演繹畫面是不同的,「例如要畫一個天 空。我用手畫,還是用動作去帶領觀眾進 入劇情?這兩者是有分別的。」重演《沙 兵馬將》外,他在追求甚麼?「沙畫在技 巧上,我還有很多是在學習的。我也希望 把這些過程拍成沙動畫,保留下來,也參 與不同的影展。」 他在JCCAC的工作室,搬到現在的大單 位已有三年。遷入後,他將其中一半,預 留下來做沙動畫創作。之前創作的兩個沙 動畫,也入圍過國際影展,這是他下一個 目標。▲

對藝術追求永不停步,讓海潮不斷突破界限,將沙畫演出推到另一層次。 13


Dance 一舉手一投足,所發之聲,必有共鳴。 用日常為引,發掘身體舞動本能,回歸 本源。 不加鎖舞踊館近年來以「#非關舞蹈」為 重點研習方向,著重由身體出發,發掘身 體律動的可能性和享受當中帶來的樂趣, 致力向公眾推廣人人皆可舞動的理念。演 出讓三十位不同背景的素人與舞蹈藝術 家,拋開身份,跳出框框,以舞蹈連繫 社區。 是次「#非關舞蹈」三場演出中,首兩場 演出將安排參加者與舞團藝術家同台演 出。最後一場由舞團藝術家擔演,再續未 完之〈聲〉——〈聲♯〉。

演出單位 Performed by

Hands.Footprint.Sound #danceless Performance Series 14

$15O 19.12 (SAT) 2O:OO 2O.12 (SUN) 14:3O 17:OO 香港兆基創意書院 多媒體劇場 May it be a hand or a foot. The sound that it makes shall resonate. Finding inspiration in everyday life, we return to the basics to recall our dance instinct. Unlock Dancing Plaza has been exploring the possibilities and pleasures of the body rhythm based on the notion of #danceless. The company advocates that "everyone can dance". The showcase will invite both amateur and professional artists, regardless of their backgrounds, to express themselves and connect with the community. Among the three public shows of #danceless, the first two will be co-performed by workshop participants and company artist. The last performance, Sound♯ , will be performed by the Unlock artists.

Multi-media Theatre, HKICC Lee Shau Kee School of Creativity

不加鎖舞踊館 不加鎖舞踊館成立於2002年,藝術總監為王榮 祿,副藝術總監為李偉能(2020年加入)。舞團 致力追求破格創新、解放舞台束縛,並嘗試體現 和實踐於製作中。近年專注重新思考以個人為本 位的舞蹈。從身體獨特性去定義舞蹈,解放體制 化的舞蹈美學;尊重個體自由和選擇,提出每個 人都可以跳舞的想法。

Unlock Dancing Plaza Unlock Dancing Plaza is a promising contemporary dance company founded in 2002, with Ong Yong Lock as Artistic Director and Joseph Lee as Associate Artistic Director (since 2020). Unlock is committed to pursuing innovative breakthrough and theatrical liberation. These commitments are embodied and practiced through its productions. The company focuses on reflecting dance on the basis of the individual. Through defining dance with the uniqueness of the body and being freed from the institutionalised aesthetics of dance, Unlock Dancing Plaza deeply believes that "everyone can dance".


非關舞蹈 在困難中找到自由 文:丘思詠

© Elsie Chau

© Elsie Chau

「當她面紅卜卜的時候,她是自由了。」 不加鎖舞踊館藝術總監王榮祿 (祿) 憶述他在一個韓國藝術節中帶領一班太 太進行「#非關舞蹈」工作坊時,參與者表現最真實、釋放自由的一刻。 「開始的時候她們並不真實,因為不能放下自己的包袱。覺得身形要長、 手要靚,要elegant (高貴)。因此當要做一些『落地』的動作時,她們便顯 得有點尷尬。」 在工作坊中,除了跑跑跳跳,祿還要求她們拳擊一個在空中飄浮的普通膠 袋。一個看似非常容易的任務,祿卻限制她們下身的移動,在任何情況下 都不能讓膠袋掉落地上。 「她 (其中一位成員) 開始感到辛苦,旁邊的人便鼓勵她:『不要放棄 呀!』、『繼續呀,你還只有十秒!』。她便產生了一份激昂的情緒,這 種情緒便是最真實最迫切。」祿說:「當你面對困難時,要付出的力量, 只有你自己才知道。但當你看到、感受到旁人也和你一起努力時,你便會 握緊拳頭。」亦在此刻,參與者能面對最真實的自己,讓自己找到自由。


© Ayano So

開放舞台,讓大眾參與 近年來,為了讓「#非關舞蹈」這個概念 走進社區,「#非關舞蹈」公眾參與計劃 便順應而生。 最初是祿和兩位「#非關舞蹈」的藝術家 (立體紙藝及燈光設計神父;及文字/劇場 藝術家梵谷) 共同探索不同藝術形式如何 引發身體去動的實驗。其後,他把這個與 另類藝術家合作的試驗再推展開去,吸納 一些全無藝術及舞台經驗的大眾。祿說: 「參與者很多都沒有舞台經驗,而我正要 抓住他們這份raw (原始性)。我喜歡他們 這種完全沒有修飾的狀態。」 祿特別把「#非關舞蹈」的創作放於舞 台上,一方面讓參與者有機會在舞台上 演出,也滿足了他一直渴望和觀眾的互 動,更讓觀眾能直接「進入」他的作品去 「體」驗它們。此外,他更希望開放觀眾 對舞台/劇場的想像,「很希望開放劇場 只屬於專業人士這個觀念,讓劇場不只是 局限於精緻藝術。舞台或劇場是一個大眾 也可以參與、享用及交流的地方。」

「#非關舞蹈」的概念自2015年產生後, 已經發展出七個不同的作品,並獲多個國 家及地區(匈牙利、日本、韓國、新加 坡、馬來西亞、中國等地)邀請,與當地 的群眾共同創作,演出超過二十多場。參 與的朋友有六七十歲的長者、十來歲的青 年,也有家庭主婦及專業人士。 今次參與「賽馬會藝壇新勢力」是第一次 將計劃搬到香港舞台上的正式演出,參與 者層面更為廣泛,八個工作坊中分別與六 個本地機構合作,參加者包括修讀藝術治 療的學生及畢業生、社工,也有長者、少 數族裔人士、更生人士及服務他們的義 工、癌症患者及他們的家屬及照顧者。


© Ayano So

共同創作,開放想像 參加者只需在正式演出前參與兩節各兩小 時的工作坊與祿共同創作,便可和舞團的 專業舞者在舞台上進行演出。 「我會在工作坊中把演出的elements (元素)拆解出來,讓參與感受及理解, 之後便進入編排部分。」祿解釋創作的 方法。 是次演出的其中一個作品《足》,以腳在 不同年份所創造的印記為主題,透過腳的 動作聯繫數字、位置作為基本元素。例 如,工作坊其中一個遊戲中,祿會邀請 參與者在地上的九宮格內用腳去「打電 話」:「如何從第一個號碼接去第二個、 第三個、第四個號碼?如何雙腳不離開一 個號碼卻要去下一個?如何跳過去、轉過 去?」祿會不斷提示參與者利用腳的方 式,甚至要他們實驗能否在躺下的情況用 腳移動身體,讓他們明白腳的可能性及想 像。眾人以創意的方式用腳舞動,再經過 祿的編排,成為一個屬於這一特定群組表 達關於年份及足印的作品。


© Ayano So

當問及這個公眾參與計劃的一些困難時,祿 坦誠地說:「真的很困難!」除了需要在極短 時間內和一班新認識及沒有舞台經驗的朋友 合作外,他感到最困難的地方是「如何令作 品簡單直接,同時直達一些哲思層面,如何 連結人最基本的需要或感受」。這也是他最 感興趣的課題。「因為有這件事我才會move (行動)。」 想必祿也像計劃中的成員一樣,在真實地面 對這些困難中,慢慢地找到自由。▲

線上線下 藝術全方位呈現

Arts Around You





Artist ArtistInterviews Interview

Virtual Performance



Bel Canto Singers When Mozart Meets Da Ponte


Hoi Chiu Brothers of War

La P en V 優之舞《不死的祭禮》 La P en V Innovative Dance Platform Au-delà du Temps

賽馬會藝壇新勢力 Youtube 頻道 JOCKEY CLUB JOCKEY CLUB New New Arts ArtsPower PowerYoutube YoutubeChannel Channel

更多精彩節目 More to come!



精彩節目陸續有來 There is always something for everyone.

11月 NOV

海潮《沙兵馬將》 Hoi Chiu Brothers of War


27.11 2O:OO 28.11 15:OO, 2O:OO 29.11 15:OO

合家歡 Family Show

12月 DEC

上環文娛中心劇院 Theatre, Sheung Wan Civic Centre

不加鎖舞踊館《手 | 足 | 聲》# 非關舞蹈系列演出 Unlock Dancing Plaza Hands.Footprint.Sound #danceless performance series 19.12 2O:OO 2O.12 14:3O, 17:OO

舞蹈 Dance

香港兆基創意書院多媒體劇場 Multi-media Theatre, HKICC Lee Shau Kee School of Creativity 春暉粵藝工作坊「文武老少功架展演」 Spring Glory Cantonese Opera Workshop Cantonese Opera - Three Classic Excerpts

1月 JAN


17.O1.2O21 2O:OO 18.O1.2O21 2O:OO 19.O1.2O21 2O:OO

戲曲 Xiqu


香港理工大學蔣震劇院 Chiang Chen Studio Theatre, The Hong Kong Polytechnic University

李偉能《回聲二:人為景觀》 Joseph Lee Unfolding Images: We Are Spectacle(s)




大館 F 倉展室 F Hall Studio, Tai Kwun 舞蹈 Dance



梁志和《家.不家》 Leung Chi Wo Home and Nonhome


2O.11 - 11.12 Eaton HK 視覺藝術 Visual Arts

鄭波 《生命如此艱難,何必搞得這麼簡單 ?》 Zheng Bo Life is hard. Why do we make it so easy?




16.1 - 14.3. 2O21

視覺藝術 Visual Arts

嘉道理農場暨植物園 Kadoorie Farm and Botanic Garden

流動「沙」劇:《羅密歐與茱麗葉》 JCNAP Mobile Theatre: Romeo & Juliet 2O21 年 1 月起 From Jan 2O21 香港各區 All around Hong Kong 「賽馬會藝壇新勢力」社區藝術展覽 JOCKEY CLUB New Arts Power ── "Arts in Community" Exhibition O4.O1 - 15.O1.2O21 香港文化中心 Hong Kong Cultural Centre 16.O1 - O4.O2.2O21 618 上海街 618 Shanghai Street 藝術行 Art Walk 即將公布 COMING SOON 21

回歸我城 以視藝創作回應時代 今屆「賽馬會藝壇新勢力」的兩個視覺 藝術節目都曾在2018年泰國喀比雙年展 展出。兩個項目將於11月至明年3月回 歸香港。梁志和《家.不家》的主題是 「家」:當一個不再用於與家聯繫的電話 亭,錯愕地出現在酒店這個「不家」之場 地,你怎定義「家」?往日熟悉的家還是 舊模樣嗎?鄭波關心物種滅絕、植物政治 等議題,《生命如此艱難,何必搞得這麼 簡單?》提出跟物種平等相處的想法。你 的生活方便了,可有想過其他物種的生 態?若未能跟其他物種平等同處,我們又 能否解決眼前危機?藝術家以創作回應時 代,作品與我城當下生活處境息息相關。 22

Arts and the City


相片由藝術家提供 Photo by courtesy of artists

《Life is hard. Why do we make it so easy?》(2018)

《孤寂遺跡》 Monuments for Solitude (2018)

《開屋》Open Home (2005)

Originally exhibited in Thailand Biennale Krabi 2018, two visual art projects will be showcased in Hong Kong from November to March 2021. In Home and Nonhome, multimedia artist Leung Chi Wo examines the vacillating notion of "home" in a non-home setting by installing an empty telephone booth in a hotel lobby, whereby a schema of misplacement – home in a non-home sphere – is explored. How do we define "home"? What if "home" becomes "non-home"? On the other hand, Zheng Bo’s Life is hard. Why do we make it so easy? examines the idea of co-existing with other species and respecting them as equals. We have made life easy for ourselves, but how about the lives of other living beings on Earth? Failure to maintain ecological balance and live with other species in a peaceful way could pose a serious problem, especially during these times of crisis. 23

視藝節目 Visual Arts


藝術家梁志和透過《家.不家》的創作,審視「家」 的非物質和不確定意義,反省和顛覆家作為居所的慣 性連繫。藝術家利用兩部分作品,將「不家」的場地 ── 酒店大堂及酒店房間,轉化成一個迴響意念與 議和的空間。 藝術家特意將以「家」命題的作品放置在「不家」的 場域展出,進一步探索「家」具備平靜心靈的作用, 是情感的依歸,而不只是容身之處。《家.不家》 就香港近月動盪環境提出詰問:當「家」變成「不 家」,當「不家」之境亦能為破碎的心靈提供護蔭, 將會怎樣?

梁志和 Leung Chi Wo 梁志和於 1991 年在意大利攝影 研究及檔案中心修讀攝影文化課 程,並於1997 年獲香港中文大學藝術碩士學位。現為香港城 市大學創意媒體學院副教授,亦是香港 Para Site 藝術空間創 辦成員。

In the project Home and Nonhome, Leung Chi Wo examines the immaterial and vacillating notion of "home" and proposes reflection on and counter-schema to the inertia material structure of residency. The artist transforms the non-home space, namely hotel rooms and lobby, into a space of reverberation and mediation. Home and Nonhome comprises two parts. Leung sets the project in a non-home sphere whereby schema of misplacement – home in a non-home sphere - is manoeuvred; it also suggests the notion of home is essentially emotional repercussions. Rather than a physical shelter, dwelling at home infers peaceful and settled emotional conditions. Home and Nonhome ignites rhetorical mediations on recent turbulence of Hong Kong: what if "home" becomes "non-home", and what if "non-home" calms the shattering souls?

Leung Chi Wo studied culture of photography at Centro di Ricerca e Archiviazione della Fotografia in Italy in 1991 and obtained a Master of Fine Arts from the Chinese University of Hong Kong in 1997. Leung is currently Associate Professor at the School of Creative Media of the City University of Hong Kong. He is also the co-founder of Para Site.

2O.11 - 11.12 Eaton HK

免費入場 Free Admission 第一部份裝置作品於酒店大堂公開展出,無須預約參觀。 第二部份裝置作品設於酒店房間內,須經網上預約報名參觀。 Part 1 Installation at hotel lobby: No registration is needed. Part 2 Hotel room installations: Limited admissions only. Online pre-registration is required.


家或家居,一直是藝術家梁志 和思考的主題。

The notion of "home" is a recurrent subject in Leung's artistic practice.

2007年,他創作了《開屋》(Open Home),借用 陌生人的住所設置30條聲音裝置,觀眾經過預約進 入單位參觀,裝置內容訪問了不同人談自己的居所。 「自2005到2008年,我都在創作此主題。」2018 年,他創作出《孤寂遺跡》參與泰國雙年展。在旅遊 區的海邊,佇立了一個沒有電話的電話亭。當電話亭 失去溝通功能,它會否改變了作用?「一個失去原有 意義的空間,你會思考自己跟世界,還有甚麼關係? 這麼僅有的私人空間,你會對自己說甚麼?」

Leung first created Open Home in 2007 after visiting a number of local residences to explore the living spaces of Hong Kong people and their intimate relationship with it. The project, which was viewed in a flat by appointment only, featured 30 monologues by different people talking about their homes. "I worked on this project from 2005 through 2008," says Leung.

今次「賽馬會藝壇新勢力」的藝術項目《家.不家》 選址在酒店舉辦,展覽共分兩部份:酒店大堂內那失 去功能的電話亭,和樓上設有不同裝置的兩個酒店 房間。 「你有多久沒有見過室內電話亭?」一個七十年代的 懷舊電話亭,出現在今天的酒店大堂 ── 亭內電話 位置換成了看似木頭的木化石,「觸碰下,你會發現 它有細微分別,石頭沒有溫度,石是涼的,木是暖 的,我想這像是個隱喻。你以為理所當然的理解,到 接觸時可能是兩回事。」 《家.不家》的第二部份設於兩間酒店房內,參觀者 須先在網上預約,方可在特定時段前往參觀。「房間 一播放着30人談家獨白的《開屋》,而新作則在另一 房間,它延續我新的想法。」他說:「第一間房是具 體的,第二間房是抽象的;第一間房是過去的,第二 間房是未來的;第一間房是整體的,第二間房是片段 的。」

香港是我家? 「2007年我創作《開屋》後,已考慮是不是要做三 步曲?我希望在示範單位裡做這個作品,那是完全虛 構的家。」這個想法,是凸顯既私人又公共的空間, 恰好酒店正符合這樣的環境:明明不是家,又提供了 大部份家的功能,「我們離開家時,酒店讓你過渡作 息。酒店服務常強調自己舒適得像回到家中,這很有 趣,根本不屬於你,又要把它想像成自己的地方。」 為了創作新作品,他跟五個16至17歲的年輕人聊到 「家」,「五個裡面,有四個準備離開香港,當然都 是去讀書。餘下一人因家裡沒有條件出國,他想在香 港攻讀實用的專業,讓他日後更容易離開。」談後梁 志和只感無奈。他問五人,家裡會想到有甚麼比較 重要,一個答案是BS卡(戰鬥遊戲)、一答米奇老 鼠、一答男朋友繪畫的人像。梁志和利用這三件小物 品,各創作了一件小作品,放置了在第二房間。另外 還就談天內容,創作了一個錄像,製造時空交錯的 並置。 「過去兩年,香港遇到好多外在環境或內在因素, 我們對這熟悉的地方突然變得陌生,對不同的人來 說,會怎審視這每日生活的空間,去思考自己身處之 處?」他特別提到,過去一年當港人面對身邊朋友開 始前往海外進修或移民,我們不禁會想,家是一個甚 麼概念?「這空間也超越自己張床的物理空間,也包 括了更大的城市,香港還是不是一個家?是否當有人 離開才感到這是他的家?」


More recently, the artist created another project called Monuments of Solitude in 2018. Commissioned by Thailand Biennale Krabi 2018, this project featured empty public phone booths that acted as a space for contemplation. What purpose do they serve when they're not even equipped with the actual telephones? "[It is] a space that has lost its original meaning. It makes you reflect on your relationship with the world. In this last remaining space with total privacy, what would you say to yourself?" Leung adds. To be held in a hotel by the end of this year, Home and Nonhome comprises two parts. In the hotel lobby, Leung recreates his previous work Monuments of Solitude (2018), where the old telephone booth signifies a bygone way of communication between home and sojourner. His other work, Open Home (2007), and a new set of installations will be situated in two separate hotel rooms. "When was the last time you saw an indoor telephone booth?" Leung asks. In a modern hotel lobby sits a vintage telephone booth from the 1970s, not equipped with any telephone, but rather a piece of petrified wood. "You can tell the subtle difference simply by touching, for the stone is cold and the wood is warm. To think of it as a metaphor, something we always take for granted may turn out to be completely different from what we expected once we get to experience it," the artist explains. Part two of the project takes place in a pair of hotel rooms and can be viewed by appointment at specific time slots only (with specific time bookings). Thirty monologues by different people talking about their homes will be played in one of the rooms, while the other features a new set of installations that further develop the artist's ideas. "The content from the first room is specific, presented as a whole and in the past, while those in the other room are abstract, fragmented, and about the future," he says.

Is Hong Kong still your home? "Back in 2007, I considered the Open Home presentation would be only the first episode and I would like to see it installed in a show flat (a model home) as part two, and a hotel room (home-in-transit) as part three to complete the trilogy," Leung explains. Partly private and partly public, a hotel offers the perfect setting for his new installation. It is by no means close to a real home, and yet it provides almost all of the functionalities common in any normal household. "As a place where travellers or people in-transit can have a good night's sleep, hotels often attract guests with a commitment to provide 'home comforts'. It's interesting to imagine a foreign place that doesn't belong to you as your home," he says. As part of the creative process, Leung talked to five young people in Hong Kong aged around 16 and 17 and made recordings of their monologues about the notion of "home". "Four out of five were preparing to leave the city to pursue further studies. Even the remaining one, who wasn't fortunate enough to afford to study abroad, was planning to major in a practical subject that could in turn help him secure an opportunity to move overseas," Leung says with frustration. When asked to think of something at home

《孤寂遺跡》Monuments for Solitude (2018)

《開屋》Open Home (2007) that's important to them, they gave a variety of answers that included 'Battle Spirits' (a collectible card game), Mickey Mouse, and a portrait painted by a boyfriend. Leung created a small artwork from each of these objects, and displayed them in the second hotel room. In addition, he made a video based on their conversations, creating a juxtaposition of time and space.

《開屋》Open Home (2007) "home". "Rather than just a physical shelter, the idea of 'home' can also be extended to include the city we live in. Do we still consider Hong Kong our home?"

"In the last two years, impacted by both external and internal factors, Hong Kong has been experiencing severe social turbulence. The once familiar city is now barely recognisable. The project aims to explore the living spaces of Hong Kong people and their intimate relationship with it," the artist says. On top of that, the fact that more people are considering studying abroad or even leaving the city for good also prompts us to reflect on the notion of


此作品是2018年泰國喀比雙年展同名作品《生命如 此艱難,何必搞得這麼簡單?》的延續,靈感來自 泰北農民Jon Jandai名為「Life is easy. Why do we make it so hard?」的TED Talk演講。鄭氏當時得 悉泰國保育團體刻意繁殖蘭花,來填補森林被偷去的 花卉,因而受到啟發並開始以蘭花製作成字母的裝置 作品。 是次創作將於嘉道理農場暨植物園的「葛先生花園」 展出。鄭氏透過與該園蘭花專家共同研究,從本地超 過130種蘭花中挑選合適的品種,培植出「會生長的 字母標語」裝置作品。另外,場內「藝舍」亦會展出 鄭氏近年的植物素描手稿。

鄭波 Zheng Bo 生於北京,在香港大嶼山居住。 於美國羅徹斯特大學取得視覺文 化研究博士學位,現於香港城市 大學創意媒體學院任教。 鄭氏以藝術家、研究者、教師等多重身份從事創作,長期專 注社會性和生態性藝術實踐。他從邊緣人群和邊緣植物的視 角探查歷史、想像未來,創作充滿野草的花園、富生命力的 口號及以「生態酷兒」為題的影像。近年合作的機構包括日 本京都市立藝術大學美術館、德國柏林馬丁.格羅皮烏斯美 術館(Martin-Gropius-Bau)、歐洲宣言展、台北雙年展及上海 雙年展等。

Zheng's original work was first presented at Thailand Biennale Krabi 2018. Upon learning the local Orchid Grower Community Enterprise has been cultivating orchids and putting them back into nature to replace those stolen ones, Zheng was inspired to create botanical slogans by growing native orchid species of Thailand. This evolving exhibition in Hong Kong will take place at Kadoorie Farm and Botanic Garden Hong Kong. Here the artist works with the resident botanist, growing the installation from a selection of over 130 local orchid species. Zheng's botanical sketch collection will also be on display at the Art House inside the Kadoori Farm.

Beijing-born artist Zheng Bo is now a resident on Lantau Island, Hong Kong. He received his PhD in Visual and Cultural Studies from the University of Rochester. He is currently teaching at the School of Creative Media, City University of Hong Kong. Zheng find his inspirations from his multi-role as an art maker, a researcher and a teacher. His art is a long social and ecological engagement. Committed to multispecies vibrancy, he revisits the past and envisages the future through the eyes of the marginalised communities and plants. He creates weedy gardens, living slogans, and eco-queer films. Zheng has collaborated with a number of museums and art spaces in Asia and Europe, most recently Kunsthalle Lissabon in Lisbon, Art Gallery @Kyoto City University of Arts and Martin Gropius Bau in Berlin. His works are included in the collection of Hammer Museum and Hong Kong Museum of Art and his previous works are featured in Manifesta, the Taipei Biennial and the Shanghai Biennale.

16.1 - 14.3.2O21 嘉道理農場暨植物園 葛先生花園及藝舍 Kadoorie Farm and Botanic Garden Walter Kerr Gardens and Art House 參觀人士須持有效門票入場,收費詳情請參閱該園網頁。 成功登記講座及導賞活動人士可豁免入園費用,活動詳情容後 公布。 Valid KFBG admission ticket is required. Please visit KFBG website for detailed admission fees. Admission fees shall be waived for registered participants of JCNAP guided tour and workshops. Details to be announced soon.


視藝節目 Visual Arts


《Life is hard. Why do we make it so easy?》(2018)

鄭波居於大嶼山,常與植物 為友,邊緣物種在他眼中彷 彿特別珍貴。 他利用植物創作生態藝術(Ecological Art)已有好 幾年。雖然做過不少社會政治相關題材,對人已甚了 解,但在植物面前,他總覺得自己特別無知。 「科學家理解植物,只把它們當作是生物生態。」鄭 波補充說:「從前我只理解人的歷史,但植物在歷史 上的角色也很有趣,例如鴉片戰爭,這場仗源自英國 要來中國購買茶葉,而鴉片和茶葉都是植物產品。這 幾百年來,好多歷史都跟植物有關。我們以往只看到 人,沒有看到植物。」 他談植物,會說植物的決定。植物能有決定?「我跟 嘉道理蘭花專家Stephan Gale聊天,他告訴我因為蘭 花的種子太小,本身沒有足夠能量去發芽,一定要落 地後跟真菌一起,在對方身上得到能量才能發芽。」 兩者的依附關係,可能已演化了幾百萬年,變成了一 種跨物種的合作,「人類只談跟人合作,從不談到跟 物種合作,總將自己放在高高的位置上,但我會說人 跟其他物種是平等的。」 2013年,鄭波由北京遷往杭州,再到香港。愛好遠 足的鄭波發現南方潮濕炎熱,萬物生長繁茂,每天在 山頭繪畫後山植物的習慣,更使他對自然觀察入微, 「北京的生物多樣性不比香港,香港的郊野公園有好 多物種和植物啊!」鄭波的生態創作也總喜歡運用 當地的獨有品種。他的作品中帶有環保訊息,想法 更超越了環保範圍,「好多人關心氣候變化,但我 讀了《第六次大滅絕:不自然的歷史 》(The Sixth Extinction: An Unnatural History)及 IPCC(政府間 氣候變化專門委員會)等機構的好多資料,我更關心 第六次物種滅絕。」


《Life is hard. Why do we make it so easy?》(2018)

蘭花種成句子 作品《生命如此艱難,何必搞得這麼簡單?》(Life is So Hard, Why Do We Make It So Easy ?)的標題演變自泰國TED TALK講者Jon Jandai的著名講座, Jon年幼時由農村到城市,由農民變打工,營營役役後再回到東北部過簡單生活, 創立教育有機種植的Pun Pun Centre,他的講題為「Life is Easy, Why Do We Make It So Hard?」(生命如此容易,何必搞得這麼艱難?),鄭波把句子反轉, 強調萬物生命皆可貴,人類因為了一己之利,或求方便,破壞環境,令其他物種 的生存變得艱難。Jon提倡的只是改變個人的行為,依然太微小。只有學會與其他 物種平等相處,共同面對危機,方能改變人類及其他物種的悲劇。 「香港重視方便但代價很大。例如口渴就買瓶裝水,結果膠瓶以堆填區為終點 站,要100年才分解。我們追求簡單方便其實很片面,若果仔細去看生命,一個 細菌裡面其實也有5,000個基因。做細菌可不簡單,它有很多決定,要經歷幾億年 才演化出來,所以我們對生命要尊重。」 2018年,鄭波參與泰國雙年展時,在泰國蘭花專家的幫助下,找來當地的蘭花, 種成英文字句,掛在森林裡,「當地常有人到森林偷走蘭花,保育團體就會繁殖 蘭花再放回去。當我知道這事,就把繁殖/放回和物種平等這兩件事連結起來。」 這次展出,他在致力保育香港蘭花的嘉道理農場協助下,把作品換上香港蘭花, 種成字母,懸掛在農場裡。 「把字母掛在空中,遊人要抬頭看,才可以把句子重組出來。我希望用輕鬆的手 法把議題帶出。」 看着危機發生,鄭波對未來可是樂觀?「對於人類獨自能否解決問題,我並不樂 觀。但若我們能跟其他物種合作,從時代去看整個地球,那我一定樂觀,因為地 球45億年,整個生態已演化了好多年。」

Currently residing on the beautiful island of Lantau, Zheng Bo has been working closely with a variety of plants, creating some amazing ecological artworks over the years. He also has a particular interest in EDGE (Evolutionarily Distinct and Globally Endangered) species. Thanks to his work, which is related to a range of social and political topics, he has a good understanding of people in general but says he always feels ignorant when it comes to the complex world of plants. "Scientists study plants only from a biological and ecological perspective," Zheng says. "But it is interesting to learn the roles different plants have played throughout the history of mankind. Take the Opium War as an example. The conflict first started when the British came to China to buy tea, and both opium and tea are plant-based products. For hundreds of years, many important events in history were related to plants, but we only focused on human activities instead," the artist adds. Zheng often talks about the decisions plants make, but how is that possible? "In a recent conversation with Dr. Stephan Gale at Kadoorie Farm and Botanic Garden (KFBG), I have learned that the seeds of orchids are so small they need energy provided by fungi to germinate," he says. "This kind of crossspecies relationship between orchids and fungi was probably formed several million years ago through evolution. We often talk about cooperating with our own kind, but we never mention anything about how dependent our life is on other living beings. While most people consider themselves superior to other species, I strongly believe we are all equal," he adds. In 2013, Zheng moved from Beijing via Hangzhou to Hong Kong. With a strong passion for hiking, Zheng was impressed by the abundance of lush green vegetation in Southern China. His sketching sessions in the mountains have made him more observant and more able to appreciate nature. One of the signature features of his ecological creation is the use of species unique to the local environment. "Hong Kong definitely beats Beijing when it comes to biodiversity. There are so many species and varieties of plants in the country parks here!" Zheng's work often comes with a message related to eco-friendly practices. "Many people are concerned about climate change, but I have read The Sixth Extinction: An Unnatural History and a lot of information from different organisations, including the Intergovernmental Panel on Climate Change (IPCC), and I can tell you I am more concerned about the sixth extinction," the artist says.

our lives easy at the expense of other organisms and living beings in nature, making life extremely difficult for them. What Jandai advocates can merely change personal behaviours. Only by learning to live with other species in harmony and face crises together can we truly prevent the tragedies that are coming our way. "Convenience is a fundamental aspect of our culture, but the price we pay is way too high. For example, many people like to buy bottled water when thirsty, and the bulk of these plastic bottles (each of which takes 100 years to decompose) always ends up in landfills. Part of the problem is that we want to make our lives easy. Let's look at life in a more basic and general sense. There are actually 5,000 genes in one single bacterium, and it took hundreds of millions of years for it to evolve to become what it is today. That's a lot of decisions to be made. I really hope my work can inspire people to have a newfound respect for all life on Earth, both large and small," the artist explains. Zheng's original work was first presented at Thailand Biennale Krabi 2018. Upon learning that the local Orchid Grower Community Enterprise had been cultivating orchids and putting them back into nature to replace stolen ones, Zheng was inspired to create botanical slogans by growing orchid species native to Thailand with the help of local experts. Here, the artist works with the resident botanist at KFBG, replacing the flowers used in the original installation with local orchid species. "As the letters will be displayed in mid-air, the audience will have to look up to reconstruct the whole slogan. I hope by discovering this text, made of living plants, viewers will think about the message I'm trying to get across," he adds. In the face of crises, Zheng is not particularly optimistic about the approach humans are taking to solve the world's problems. "I don't think we can sort this out unless we agree to work with other living beings and treat them as equals. After all, the Earth and the entire ecosystem have been constantly evolving for 4.5 billion years." â–˛

Words made from orchids Zheng Bo's exhibition, titled Life is hard. Why do we make it so easy?, is inspired by the thought-provoking TED Talk, "Life is easy. Why do we make it so hard?" by Jon Jandai, a farmer and activist for sustainable living from northeastern Thailand. Jandai described his personal journey returning from Bangkok to the countryside, to a farming life, and founded the Pun Pun Center for Self-Reliance. His point is that life can be simple. Why do people move to big cities to toil as migrant workers when they can stay in their villages and work on the land? Zheng creates his project based on Jandai's talk but emphasises that all forms of life are created equal and all are precious. He believes that life on earth is supposed to be both easy and hard, but, as human beings, we often make

《Life is hard. Why do we make it so easy?》(2018)



Mobile Theatre

沙畫 X 歌劇 X 莎士比亞經典 巡迴多區演出 本地著名沙畫師海潮將夥拍美聲匯音樂總 監柯大衛,以沙畫配合歌劇演唱,炮製另 類「沙 / 莎」劇。一點一畫,揮揮沙,將 羅密歐與茱麗葉經典愛情活現眼前;一唱 一和,唱唱歌,歌劇名曲唱至街頭巷尾。

2021年1月起,流動「沙」劇:《羅密歐 與茱麗葉》遊走全港各區,穿梭多個商場 及户外場域,以地道景色作天然舞台。沙 畫師透過光影,即席以細沙勾劃動人場 景;男女高音現場獻唱綿綿情話,中間穿 插說書人即場解畫。唔怕歌劇睇唔明,流 動「沙」劇保證有驚喜。

流動劇場返嚟喇!2O21年1月起遊走全港各區!詳情快將公布,密切留意。 32

Live sand painting and opera on-the-go Local sand painting artist Hoi Chiu teams up with Bel Canto Singers' Music Director David Quah in an imaginative presentation of Shakespeare's Romeo and Juliet. Through impressive operatic singing and magical sand art, the star-crossed lovers are brought to life before the community audience. Starting from January 2021, JCNAP Mobile Theatre: Romeo & Juliet will be on location in Hong Kong. Staged against the backdrop of various venues including malls and outdoor spaces, the timeless romantic classic unfolds to live sand painting and singers in the titular roles with curation in Cantonese.

製作單位 Presented by

海潮 Hoi Chiu

Behold! JCNAP Mobile Theatre performances are back! Pop up performances will be toured in every corner of the community from January 2O21. Stay tuned. 33

戲曲 Xiqu

$2OO 17.O1.2O21 2O:OO 18.O1.2O21 2O:OO 19.O1.2O21 2O:OO 34

香港理工大學蔣震劇院 Chiang Chen Studio Theatre, The Hong Kong Polytechnic University

演出單位 Performed by

藝術總監 Art Director

阮兆輝 Yuen Siu-fai

粵劇博大精深,不論文武老少,一舉手一 投足,盡顯功力所在。香港粵劇殿堂級人 馬阮兆輝被譽為「萬能泰斗」,這次演 出,由他創立的春暉粵藝工作坊將會精選 三部經典折子戲,重新演繹。 三齣劇目各有看頭。《十五貫》之〈訪 鼠〉講述況鍾運用機智假扮測字先生,獲 得婁阿鼠信任,並將此殺人犯繩之以法, 當中丑生和老生鬥戲絕對不容錯過;《獅 吼記》之〈跪池〉源自明代傳奇,講述 黃州第一才女柳玉娥得悉丈夫花間訪艷, 怒罰對方,是齣喜劇。小夫妻耍花槍,由 阮兆輝與陳咏儀演出,形神俱備。《鐵馬 銀婚》之〈攻城〉故事講述北漢大將張定 邊,拆破明朝大將華雲龍前往北漢騙婚陰 謀,銀屏公主父親被殺後,才發現朝夕相 對的夫婿華雲龍是假扮的,故事情節緊 湊,盡顯武生、武旦功藝。 三齣戲行當不同,既有詼諧,也有兒女情 長,更有功夫武打戲,百花齊放,展示粵 劇不同功架,同樣精采! 粵語演出,設有中文字幕 In Cantonese, with Chinese surtitle.




鏡頭前後,劇場上下,眾人凝視,互為奇 觀。科技改變了人像攝影及傳播,也因而 改變了人的身體習慣和觀看角度,舞蹈被 重新定義。《回聲二:人為景觀》來回往 返現場與個人經驗之間,餘音迴盪。 李偉能作品《回聲摺疊》重演多次,好評 不絕。《回聲二:人為景觀》延續其對身 體語言的叩問,從人像攝影的概念出發, 聯同表演者探索解讀多個身體所呈現的姿 態,實驗各種看與被看的關係。

Photography:Steve Li@Junes

聯合主辦 Co-presented by

大館F倉展室 F Hall Studio, Tai Kwun 36

Technology has not only subverted the art of portrait photography and its transmission, it has altered people's way of seeing and the habitual manner of body movement. As we take up the focus of other people's camera lenses, we are also searching for the target of our next portrait. Each of us has become a spectacle in the eyes of one another.

Choreographer Joseph Lee explores the above phenomenon in his latest offering Unfolding Images: We Are Spectacle(s). Echoing his acclaimed solo contemporary dance piece Folding Echoes, this time, rather than embarking on a one-man journey, Lee teams up with five performers to explore and examine the various body gestures as a form of experiment. Drawing references from the concept of portrait photography as a starting point, Lee and his performers probe into the delicate relations between a performer and a spectator, and the peculiar desire to see and be seen.

更多詳情即將公布,請留意節目網頁。 Details will be announced soon. Stay tuned to JCNAP's website.



Grand Finale


ART WALK 每一屆「賽馬會藝壇新勢力」的壓軸節目 都會精挑本地特色場域,並邀請跨界別藝 術家參與策劃及創作,帶領參加者一同遊 走本地城市空間及周邊社區,以不一樣的 眼光重新體驗我城風光!

Every edition of JOCKEY CLUB New Arts Power ends with a finale taking place in some unique places in Hong Kong with cross-disciplinary artists invited in the planning and artmaking process. As participants thread through the city and their surrounding neighbourhoods with the artists, the finale is set to draw you into the very fabric of the city from new perspectives!

跨媒體藝術:文學 x 舞蹈 x 音樂 x 裝置 Multidisciplinary Arts: Literary x Dance x Music x Installations

詳情容後公布 Details to be announced soon 38


「賽馬會藝壇新勢力」售票節目透過以下票務平台公開發售。 Tickets are available at the following ticketing systems.

海潮《沙兵馬將》、不加鎖舞踊館《手∣足∣聲》 #非關舞蹈系列演出 Hoi Chiu Brothers of War, Unlock Dancing Plaza Hands.Footprint.Sound #danceless performance series 網上購票:www.popticket.hk Internet Booking : www.popticket.hk/en

售票處開放時間及地點詳情 Counter Booking: Opening hours and address of URBTIX outlets : www.lcsd.gov.hk/tc/ticket/counter.html 城市售票網票務查詢 Telephone Enquiries : 3761 6661(每天上午 10 時至晚上 8 時 / 10am – 8pm daily) 網上購票 Internet Booking : www.urbtix.hk 信用卡電話購票 Telephone Credit Card Booking : 2111 5999(每天上午 10 時至晚上 8 時 / 10am – 8pm daily) 流動購票應用程式 Mobile Ticketing App : My URBTIX (Android and 及 iPhone 版本 versions / Android and iPhone versions)

春暉粵藝工作坊「文武老少功架展演」 Spring Glory Cantonese Opera Workshop Cantonese Opera - Three Classic Excerpts 網上購票 Internet Booking : www.art-mate.net

優惠門票 Ticket Discount : 半價優惠:6o 歲或以上高齡人士、殘疾人士及其看護人、全日制學生及綜合社會保障援助受惠人士 撲飛尊享優惠:八折套票優惠 - 每次購買任何兩張或以上「賽馬會藝壇新勢力門票」節目的正價門票 城市售票網尊享優惠:四折優惠 - 第十二屆「校園藝術大使」 50% off : Senior citizens aged 60 or above, person with disabilities and the minder, full-time students and Comprehensive Social Security Assistance recipients Available on POPTICKET only : 20% off Package Discount - Each purchase of standard tickets for any two or more performances Available on URBTIX only : 60% off - The 12th "Arts Ambassadors-in-School Scheme" (AAiSS)

更多優惠詳情、條款細則及惡劣天氣安排請參閱「賽馬會藝壇新勢力」官方網站 More discounts, booking terms and adverse weather notice, please refer to JOCKEY CLUB New Arts Power's official website for details.



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參與團體 Participating Group



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