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TIME/SPACE: BRIEF AS PHOTOS— DIALOGUE BETWEEN JOSEPH FUNG AND HIS CONTEMPORARIES 時/空:暫如照片— 馮漢紀與當代 攝影對話


TIME/SPACE: BRIEF AS PHOTOS P.1 Metal Butterfly, 2000 金屬蝴蝶,2000


TIME/SPACE: BRIEF AS PHOTOS

ARTIST 藝術家 JOSEPH FUNG HON KEE 馮漢紀 CURATOR 策展人 BLUES WONG KAI YU 黃啟裕

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RESPONDING ARTISTS 回應藝術家 GU ZENG 顧錚 ALFRED KO CHI KEUNG 高志強 LAU CHING PING 劉清平 LAU POK CHI 劉博智 LAU WAI 劉衛 LEONG KA TAI 梁家泰 MAN LIM CHUNG 文念中 WONG SUK KI 黃淑琪 WONG WO BIK 王禾璧 DUSTIN SHUM WAN YAT 岑允逸


TIME/SPACE: BRIEF AS PHOTOS

FOREWORD In the event of the 80 years old retrospective exhibition of my mentor Mr. Joseph Fung Hon Kee, I sincerely hope that I can quietly stand behind him and let myself be a student again. There were certainly significant moments in our lives that we missed to photograph.  One of those was my admission interview to the School of Design, HK Polytechnic,  where I met Mr. Fung for the first time and marked the beginning of my photographic journey. For this piece of writing, I went through my moments in life; moments that were forgotten, didn’t take heed of and let the decisive moments slipped away and what stayed in my heart and what was lost in photos? Thank you my mentor for putting together this exhibition: <Time/Space: Brief as Photos—Dialogue between Joseph Fung and his Contemporaries> as the finale of HK International Photo Festival 2018. This should be the moment I will not let slipping away.

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LAU CHING PING CHAIRMAN, HONG KONG INTERNATIONAL PHOTO FESTIVAL


在馮漢紀老師80歲個人回顧展覽面前,我最希望做的, 是靜靜的站在後面,回當一個學生的角色。 人生中許多重要的攝影時刻,很多時候都沒有拍攝下來。 我其中一個重要時刻,是理工學院設計系的入學面試, 是跟馮老師的第一次見面,也就是自己學習攝影的起點。

CHINA, MY CHINA FOREWORD

前言

因為這段文字,我重新點算生命中的攝影時刻, 那些忘記了、那些沒有好好拍下、 那些未能把握決定性的一刻! 那些凝留在心上、那些遺失在照片中? 感謝老師,讓「時/空: 暫如照片──馮漢紀與當代攝影對話」的展覽 成為2018年香港國際攝影節的壓軸節目。 無論如何,這次我不會錯過。 劉清平敬上 香港國際攝影節主席

P.2 FOREWORD


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PREFACE The Hong Kong Arts Centre (HKAC) and Joseph Fung have established quite a longstanding relationship dated back to 1989 when he held his photography exhibition in Pao Galleries. Starting from 1960s onwards, the first generation of Hong Kong contemporary artists, including Fung, are all in common: they are overseas students who are rebellious, avant garde and experimental. These artists brought back Hong Kong with their international vision and strive to make their own innovations; whilst they are mindful of making real changes in the Hong Kong art scene instead of playing anchorites. HKAC was born exactly out of these artists’ outcry and since then we have been walking side by side with them one generation after another. Fung’s works have always been about time, place and affection. He was born in the Mainland China, grew up in Hong Kong and Macau, studied in Taiwan and Chicago. He is the typical type of international Chinese artist running hither and thither within the Sinosphere; whilst his works express his deep passion for the place he calls home. Fung is a forerunner of Hong Kong contemporary arts and he made tremendous effort in both artistic creation and reform in art education in Hong Kong. He advocated in upgrading Photography to degree level in spite of the general perception within Hong Kong society that Photography is only for practical and commercial purposes. HKAC as Hong Kong’s first non-government multi-arts institution, has been diligently promoting the art form of photography. This exhibition serves as the retrospect of Fung’s artistic journey, while at the same time, with the responding works by 10 renowned visual artists of different generations, the exhibition is also a window through which our audience will get a glimpse of the 40 years of development of Hong Kong photography. Lastly, I would like to take this opportunity to celebrate our long term partnership and collaboration with Hong Kong International Photo Festival, and congratulate the curator Blues Wong Kai Yu, the protagonist Fung, as well as all participating artists for the successful exhibition. CONNIE LAM EXECUTIVE DIRECTOR, HONG KONG ARTS CENTRE


香港藝術中心與馮漢紀結緣於1989年的《馮漢紀近作展》,淵源頗深。

PREFACE

序言

自60年代以降,所謂「第一代的香港當代藝術家」似乎都有一些共通點:「番書 仔」、反叛、前衛、充滿實驗精神,馮漢紀便是其中一個。當時這些藝術家將他們 在他鄉看到的視野帶回香港,勇敢創新;不單單閉門造車,自鳴得意,一個個更挺 身而出,發出時代的呼聲,推動香港藝術圈的革命性發展。香港藝術中心誕生自這 時代的呼聲,也自這時代起默默與每一代的香港藝術家同行。 馮漢紀的攝影作品離不開時代、地方,以及人情。他出生於中國大陸,成長於香港 和澳門,在臺灣唸書,於芝加哥深造,正是一個擁有國際視野,同時奔走於兩岸四 地之間的華人藝術家;而他的作品始終都流露著他對視之為家的地方的關愛。作為 香港當代藝術的先驅,他除了積極在香港積極發表作品外,更不遺餘力地改革香港 的藝術教育。正當社會普遍認為攝影只屬於實用和商業範疇的時候,馮漢紀率先提 出攝影應該發展為大學本科課程。 香港藝術中心作為香港第一所非政府多元藝術機構,攝影藝術一直是我們大力推動 的一項藝術媒介。今次展覽,不單是馮漢紀藝術生涯的回顧;我們更有幸邀得十位 成名於不同年代的視覺藝術家用各種形式,回應馮漢紀的作品,當中的對話讓我們 能一窺香港過去40年攝影藝術的發展軌跡。 最後,謹在此感謝香港國際攝影節多年來的夥伴關係,並衷心祝賀策展人黃啟裕、 今次展覽的主角馮漢紀,以及一眾參展藝術家展出成功。 林淑儀 香港藝術中心總幹事

PREFACE


TIME/SPACE: BRIEF AS PHOTOS

TIME / SPACE: BRIEF AS PHOTOS DIALOGUE BETWEEN JOSEPH FUNG AND HIS CONTEMPORARIES 時 /空:暫如照片── 馮漢紀與當代攝影對話

BLUES WONG KAI YU 黃啟裕

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Introduction For nearly five decades, Joseph Fung has played multiple roles from photographer, educator, writer to curator in both Hong Kong and mainland China contemporary art world; as a key figure in the regional art photography field, his influence is versatile and immense. This retrospective exhibition, ‘Time / Space: Brief as Photos – Dialogue between Joseph Fung and his Contemporaries’ is a selected collection of his colossal works created between 1980 to the present. The presentation is divided under four major themes or categories in line with his chronological creative path: 1) China, My China, 2) Chicago Years, 3) Avant-Garde Vision and 4) Homecoming. This show is a compact survey on Fung’s prolific artistic practice, asserting

relevance with discourse of contemporary photography in light of social documentary, new documentary, conceptual photography, manipulated or para-photography, performative portraitures, digital imaging and photo-installation. This exhibition title is inspired by the late British art critic John Berger’s ‘And Our Faces, My Heart, Brief as Photos’ (2005)1. Berger divided his manuscript into two sections: time and place, he filled up the pages with collage-like prose and poetry, hinting the brevity of time and a sense of spatial distance between places, people or history. Berger’s stream of tenderness or slowness carries through Fung’s creative sentiment and delivered us abundant ‘secrets of narration’ (in Berger’s dictum) through his lens. Fung’s visuals can further

“Those who read or listen to our stories see everything as though through a lens. This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless. In our brief mortal lives, we are grinders of this lens.” - John Berger, ‘And Our Faces, My Heart, Brief as Photos’, 2005

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The United States MFA education empowered Fung to transcend photography in terms of crossing various genres and materiality from analog to the immaterial; his wide ranging and diverse oeuvre serve as an academic impetus and artistic influence to his professional teaching at Hong Kong Polytechnic University, Baptist University, SPACE, University of Hong Kong and Hong Kong Arts Centre, and curatorial practices in different parts of the world.

The economic evolution in China inaugurated since the 1980s resulted largescale urban transition and regeneration; the imbalanced strategic city and village construction projects fueled up the social and administrative conflicts between urban and rural sectors. Urban or suburban transformation also bears economic, social and environmental percussion; the progression of industrialization, core city developments and special economic zonings generate drastic humanistic and cultural changes. Chinese urbanization from the last century has shifted from politicsoriented expansion to economics-oriented expansion; the controversy between ‘Left’ and ‘Right’ and argument of tradition and modernity gives way to the ‘inarguable’ development or idea of ‘progress’ at the expense of mass scale environmental damage, demolition of traditional scenic spots, buildings and communities. Born in China with a strong attachment with motherland, Joseph Fung as a faithful believer of the social documentary discipline had photographed on different cities since the open door policy after 1978. Through his lens, Fung strived to observe and capture the fabrics of life and culture across the Luo-Hu border; these images are down to earth testimonials of the transforming urban or suburban dynamics in our mainland beyond the Nationalist’s collective aspirations. ‘Beijing: 31’ (1980) and ‘Silk Road’ (1981) are Fung’s earliest projection of his personal monochromatic China dream: the former provides a distant

BLUES WONG KAI YU

As the finale program of the 2018 Hong Kong International Photography Festival, ‘Time / Space: Brief as Photos – Dialogue between Joseph Fung and his Contemporaries’ echoes the flagship ‘Provoke’ exhibition with their explicit agenda of radical thoughts on photography in both regions since the 70’s of the past century. Their revolutionary curriculum from two different cultures acts as agency for critical enquiry into the progression of the photo-based art form. These counter currents and monumental achievements are unimaginable to previous generations, thus became significant anchorage points among the development of contemporary photography in East Asia.

China, My China Featured portfolios: ‘Beijing: 31’ (1980), ‘Silk Road’ (1981), ‘Shenzhen’ (1982), ‘Lian Nan, Guangdong’ (1983), ‘Qinghai’ (1983) and ‘Yunnan’ (1989)

CURATOR’S STATEMENT

be studied with associated artistic and sociocultural dimensions; ten prominent visual artists are invited to provide responding works with video interviews in parallel with his different stages of creativity. These artists are selected for their formalistic and thematic resemblances or abroad education opportunities similar with Fung’s background. This open dialogue between various generations of photographers will provide diverse views of the photo-based art form that reflects the perception and development of Hong Kong contemporary photography in the last fifty years.


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remark on the capital’s lukewarm pace of life at the dawn of coming radical social transformation while the latter delivers a closer depiction on the locals and their ordinary livings encountered in his journey. Spacious urban setting together with historical Chinese architectures in ‘Beijing: 31’ (1980) delineated the omni presence of the central authority; on the contrary, Fung focused upon the treasurable facial expressions and relaxed body gestures of common livelihood in ‘Silk Road’ (1981) series. There was a significant technological sophistication and thematic progression in the followed ‘Shenzhen’ (1982), ‘Lian Nan, Guangdong’ (1983), ‘Qinghai’ (1983) and ‘Yunnan’ (1989) series. Fung shifted to medium format camera instead of his previous 135mm equipment since 1982, the weight and operation of this new apparatus sacrificed the shooting speed enjoyed before but allows Fung to be more observant, which is advantageous to the development of the chosen theme into bodies of work. ‘Shenzhen’ (1982) depicted China’s first special economic zone in her earliest phase, a former village land under reconstruction and strategic centralized urbanization was recorded with Fung’s precise photographic eyes: veiled objects ready for installation, demolished tradition houses, increasing commercial activities and augmented pace in all walks of lives contributed to this historical ‘state of becoming’. The rural settings in ‘Lian Nan, Guangdong’, ‘Qinghai’ and ‘Yunnan’ series are a great contrast with the inner-city spatiality depicted in the special economic zone; Fung took the role of anthropologist and preserved the geographic environment and cultural treasures of suburban minorities with his humanistic visions.

Apart from confronted portraitures with their exclusive folk costumes, the symbolic elements focused in these documentations extended to religious totems, spiritualistic tombs as well as interior decorations amid the village houses. The British-American political geographer, John Agnew defined three successive meaning aspects for the word ‘place’: ‘location’, ‘locale’ and ‘sense of place’. Besides the physical orientation or defying name of any ‘location’, ‘locale’ is the material setting for social relations, which shapes certain place. The ‘sense of place’ reaches to a more abstract dimension, is the subjective and emotional attachment to a certain location. Unlike conventional tourist or journalistic photography, Fung’s social documentary defined China of the 1980s beyond the level of ‘location’, but includes detailed and wide ranging visual descriptions of community constitutions or the ‘locale’ instead. ‘China, My China’ do not merely record facades of common livings when the motherland was carrying out stages of socio-economic reforms, it also addressed the respectful regional civilizations and mirrored traces of decentralized mundane daily life that are considered insignificant, this humanistic flair in parallel with continuous artistic inquiry is the photographer’s exclusive ‘sense of place’ to China. Fung have affection for the imperfections and the fragilities of an evolving society, his expedition paid tribute to the ordinary and in brief anchors with humanist photography, which is a branch of documentary genre rooted in the socially concerned left wing ideology of France from the 1930s.


Contemporary social documentary photography has migrated to a more cultural expressive means; Fung furthered

Fung began to venture into experimental portraitures during his study, photographing people is a powerful vehicle to study the inner world of humans but simultaneously a means for the sitters to explore and

BLUES WONG KAI YU

Photography has changed our perception to the world but academic context also changes the way we see photography; apart from continental Europe, United States of America becomes a leader in photography education after the 1980s. The School of the Art Institute of Chicago (SAIC) photography graduate program offers a multifaceted approach to the lens medium, which includes both traditional, forms of image making and conceptually oriented practices. Joseph Fung studied his Master of Fine Art degree at the SAIC from 1985 to 1987, three years of intensive academic input opened up his vision to contemporary photography and the associate western art world. He had exposed to open dialogues about the production, exhibition, and function of photography as well as its expanded cultural production and reception. To him, SAIC’s MFA was a demanding interdisciplinary degree exceeding the studio boundaries; self-initiation, experimentation and theoretical insight were highly encouraged. Star photographer-teachers like Barbara Crane, Ken Josephson, Joyce Neimanas and famous art historians, Colin Websterback and James Hugginan taught Fung during his study; he also learnt a lot through visiting artists talks such as John Baldessari, Joel-Peter Witkins, Mary Ellen Mark, Aaron Siskind etc. and flipping through original prints at the institute’s archive.

his China dream to North America’s Sino-spheres and shoot the ‘China Town Series’ (1986-87) between Chicago, San Francisco, Los Angeles, Boston, New York , New York and Toronto as one of his MFA thesis assignment as one of his MFA assignments. The cultural symbols embedded in the China town environment are borrowed from Chinese myths and ancient folklores; like movie sets, these communities were re-constructed with odd juxtaposition of Chinese architectural or decoration symbols with the modern western ones. Chinatown according to Fung bears a two fold underpinnings: a craving manifestation for the ‘Diasporas’ to search their root and preserve their traditions despite of physical distance from motherland as well as a spectacle site for the tourist gaze or commercial events. Through his lens and color negatives, these realistic replicas created an ‘other space’ or a ‘parallel universe’ which are irredeemably different and inferior when contemplating their original socio-cultural heritage. This distorted or even hybrid symbolic representation depicted in Fung’s photographs connotes a contradictory identity gap incongruent with present China and North America. ‘China Town Series’ is an ongoing project have extended to include Myanmar, Mandalay, Penang and Malacca of Malaysia recently; Fung’s social documentary works reveal a perpetual curiosity in the global sense of ‘Chinese’ urban and rural space in light of social progress and shape shifted cultural identities.

CURATOR’S STATEMENT

Chicago Years Featured portfolios: ‘China Town Series’ (1986-87), ‘In a Cage’ (1986), ‘Teenager Punks @ Medusa Juice Bar’ (Chicago, 1986) and ‘Portraits’ (Chicago, 1986-87)


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reflect themselves. ‘In a Cage’ (1986) and ‘Teenager Punks @ Medusa Juice Bar’ (Chicago, 1986) were his early trials, which involve conceptual story telling narratives, and on site practice to coax his subjects and compel them to reveal themselves during shooting. The former combined sequential photographs with descriptive text, suggested an element of time in self-portraiture; the emotional charged and fashionably attired teenage punks epitomizes the propensity for a performance to become incarnated in his future works. We can see in ‘Portraits’ (Chicago, 1986-87) series, Fung inherited the iconic fashion photographer, Richard Avedon’s minimalist technique and caught the grace or glory of his sitters as well as celebrate the blessing talent of portrayed artists with simple lighting and plain background. Fung furthered his exploration on ‘identity’ and ‘gender’ with camera related behaviors and started his directorial mode in performative portraiture; he paired up different females as shooting partners and press the release cable in turns, from these pair images we can observe the differences among the female gaze with the male ones. The role switch between the ‘photographer’ and the ‘photographed subject’ in Fung’s staged ‘gender equations’ welcomed indecisiveness and openness, thus reflected the indeterminacy of ‘authorship’ in contemporary portraitures. The dissolution of invisible boundaries between both sexes through his private game revealed conflicting gender aspirations at the same time. The mysterious character of the female persona pushed Fung to create an impressive sandwiched portrait; this double exposed negative as an escalated realization, showed a deep intensified paradox of the second sex inside the photographer’s mind.

Avant-Garde Vision Featured portfolios: ‘Polaroid Manipulation’ (1984-88), ‘East-West Diptychs’ (1986-89/2013) and ‘Butterfly Dream Series’ (1998-2000/2018) As a precedent of painting at the beginning, the photographic medium cannot be explained without refer to other visual arts: Pictorialist, the pioneers of early photography imitated the graphical effect of drawn canvas into their landscape imageries. Modern photography on the contrary, has developed into an independent art form with aesthetical emphasis on recording and realistic functions; however, László Moholy-Nagy, a designer, painter, photographer from the European AvantGarde movement and teacher for Chicago’s ‘New Bauhaus School of Design’ since 1937, challenged this ‘assumed objectivity’. He promoted a new vision of optical culture and combined experimental photography with plastic art practices like printmaking, collage, drawings and book making; contemporary US photography under this avant-garde academic influence have uplifted to a more imaginative dimension and secured its prominent position as novel collaborator with the fine arts. Robert Heinecken, a U.S. Conceptual artist of the 1960s and 1970s, eliminated photographic formality and introduced Dada elements like randomness and text in his coined ‘Para-photography’. To him, a paraphotograph is not a ‘picture’ of something but an ‘object’ about something. Like Heinecken, Fung tried to explore the material aspects of the medium and distinguished between making a ‘photograph’ with taking a ‘picture’; in ‘Polaroid Manipulation’ (198488) he did scratches and drew directly on the developing instant film emulsions with


The digital revolution exploded in 1980s has immense effect on international journalism, screen media and lens culture; the power of digital make-up and synthetic computer programs in generating falsified, manipulated visual representations announced the death of photographic truth. Despite heavily criticized as technological fetishism; digital imaging and virtual simulation gained her ground in commercial sectors like advertising, computer gaming and movie business. The situation gradually changed when the internet became popular around the millennium, this led to public acceptance on the irreversible migration of tradition lens culture to the immaterial screen culture. With the advancement of mobile communications and Photoshop-like freeware after the birth of iphone in 2007, the paradoxical view on frenzy digital imageries withers along with increasing transmission speed and versatility of electronic personal gadget. As a university teacher, Fung recognized the transformative power of cameraless digital evolution and surpassing diversity of contemporary photography, he revitalized the ‘Photography and Design’ course at the Hong Kong Polytechnic University with updated digital imaging, 3D rendering and animation pedagogical contents; personally he shifted from the analog photography to digital or virtual apparatus, the pioneered settlement to screen culture marked the dawn of his post-photographic era. In ‘Butterfly Dream Series’ (1998-2000/2018), Fung contested the notion of photographic realism by using 3D rendered images of the

BLUES WONG KAI YU

‘East-West Diptychs’ (1986-89/2013) is a juxtaposition of color and monochrome photographs taken from North America in the mid-80s and Yunnan of China in the late 80s; it is an intellectual response to the displacement of culture in Mainland China and Chinatown. Such dislocation is revealed among the raw embrace of western culture in the remote, underdeveloped region of China such as Yunnan, and the naive appropriation of traditional Chinese symbols in Chinatown across North America. Through documentation on the shop displays in both regions, Fung aims to compare and contrast the chinoserie and the westernization symbols portrayed; the artist raises the question on representing the ‘images of modern China’ with these diptychs re-assembled decades later. He intended to provoke questions on authenticity and continuity of Chinese culture in an era characterized by intensive transborder flows under the spell of globalization. With an open attitude, Fung refuted the tacit anchorage of original image and extended

his narration from two different countries to one final combo; thus demonstrated an artistic breakthrough in adding conceptual elements while re-working on earlier social documentary portfolios.

CURATOR’S STATEMENT

pointed tools, adding illustrative gestures on abstract environments, still life and figurative representations. This artistic touch is anarchic attempt to disrupt the unbending classifications of purist photography; the final mono prints with exclusive painterly effects became photo objects and defied its intrinsic mechanical reproductive value. These types of manipulated instant imageries were a fashionable creative method for traditional artists turning to lens medium for inspirations during the heyday of Pop Art; Fung’s act of para-photographic intrusion with painterly approaches released the god inside the magic lamp, it bastardized the legitimacy of straightness in traditional photographic print and defined the versatility of his creative impulse.


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butterfly in various contexts: trapped, death and transformed into virtual landscapes, this portfolio is the first episode of his ‘Hong Kong Trilogy’ series and initiated by the socio-political commotions as well as identity crisis experienced after the return of sovereignty to mainland China in 1997. The ‘Bryce’ rendering software allows the photographer to create an illusive scenario from another time and space, immaterial images incorporating Chinese motifs generated electronic auras, mirrored the relentless ‘beautified’ misfortune of the human condition in post-colonial Hong Kong. Fung succeeded to engage mutable digital representations with social issues and expressive elements inspired by Chinese legend. He furthers the work eighteen years later and involved experimental photo printing on translucent material; the ensemble of these new semi-transparent ‘objects’ formed a multi-perspective sensorium, spectators are embodied with a heightened sense of 360-degree vision in the designated exhibition space. Homecoming Featured portfolios: ‘Mao Series’ (2000-) and ‘Hong Kong Sonata’ (2017-) The ‘Mao Series’ (2000-) and ‘Hong Kong Sonata’ (2017-) are the second and third episodes of the ‘Hong Kong Trilogy’ and focus major on China and Hong Kong exploration, a place of his birth and a place that he has been spending most of his time yet seldom contributes as his photographic subject under the British ruling era. ‘Homecoming’ reveals his complex identity and emotional ties with China and the marginalized post-colonial city, Hong Kong. In modern China history, there was a massive renounce of her culture and

political control of photography during the Cultural Revolution happened in the 1960s and 1970s, photographers were government employees during Chairman Mao’s regime and served as propaganda usages for the Communist Party. Two years after Mao’s death in 1978, the new spring of China photography was born with the rise of numerous independent art groups in different cities; the creative heat was escalated with dedicated support from the staff and students of the Zhejiang Art Academy. The image of the former chairman have shifted from a political icon to a public image as well as artistic subject since early 1980s; apart from the banality of life and the topographic investigations in his ‘China, My China’ section, Fung was exceptionally attracted by the omnipresence of Mao as coded signifier in both private and public sectors since the 2008 Beijing Olympics. The ‘Mao Series’ attempts to depict the specific social landscape constituted by the representation of the chairman’s epic in multiple forms: the unique role Mao played in China’s contemporary chronicle as a political figure, a sign of religious amulet and a fading symbol in mainland’s collective memory. This suite of white-framed photographs is displayed as serial and archival groupings, like forensic descriptions these image-based lexicons are authentic and significant visual testimonies to China. Fung weaves documentary photography with time, history and memory into a singular track; the ‘Mao Series’ extends his early China dream through continuous depiction of a political icon from the past century for nearly eighteen years. After three decades of capturing China’s transformation, Fung turned his camera back to Hong Kong; ‘Hong Kong Sonata’ is a collection of flâneur experience to his


BLUES WONG KAI YU

‘Hong Kong Trilogy’ in conclusion can be interpreted as our generation’s fateful prophecy: ‘Butterfly Dream Series’ (19982000/2018) diminished our historical myth to a fossil life; ‘Mao Series’ and ‘Hong Kong Sonata’ are subtle statements towards the crucial moments we are now living, the stillness in these non-sequential portfolios on the contrary imply an underlying invisible tension between Hong Kong and the swelling Communist authoritarian rule. Fung’s seeming ‘tenderness’ or ‘apolitical stance’ serves as a double-sided dark

mirror, the ‘silent details not shown’ leave us blanks to rethink the complex sociopolitical trajectories both dissimilar societies will go through in the possible future. In a nutshell, the four installments of solicited portfolios in this exhibition unboxed Fung’s paradigm shifts within diverse archetypes of contemporary photography, the brevity of his images at the end transform our habitual places into mindful space in passage of time.

CURATOR’S STATEMENT

beloved city twenty years after the return of sovereignty to the Communist rule. Hong Kong as China’s special administration region have experienced increasing sociopolitical interventions from the north; the incompetent local governmental rule since 1997 further displaces traditional folkways, living environment and disrupts inherited social orders that once characterized the ‘Pearl of the Orient’. Through aimless wandering and shooting, our passionate photographer rediscovered the city’s connection and disconnection with China and the transitory urban elements that changes every moment. ‘Hong Kong Sonata’ is built on a detached foundation and freed from previous photo conventions in which the decisive moment and expressive subjectivity are absent. Fung resisted all narrative temptations, deliberately explore for the banal among the realm of local lived cultures and confines himself to a zero state of deadpan and non-judgmental creative methodology. By means of insatiable appetite for every urban corners, these ‘quiet’ works are a journey of Fung’s own personal identity search as well as communal reminiscences of many Hong Kongers who have both distant and intimate relationship with China.


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簡介 近半個世紀的歲月裡,馮漢紀在香港與中 國大陸當代藝術界中擔當著眾多不同的角 色,從攝影師到教育家;從作家到策展 人。作為攝影界代表人物,他的影響力既 深遠而又廣泛。是次回顧展《時/空:暫 如照片──馮漢紀與當代攝影對話》精選 他從1980年至今的標誌性創作,並按他的 創作歷程而將作品分成四個類別呈現:1) 中國,我的中國、2)芝加哥歲月、3)前 衛視點、4)重歸故里。展覽深入察勘馮漢 紀豐富的創作成果,突顯其與一眾當代攝 影密不可分的關係,包括社會紀實攝影、 新紀實攝影、概念攝影、修飾(manipulated) 攝影或非典型攝影(para-photography)、表 演式肖像攝影(performative portraitures)、 數碼影像及攝影裝置藝術。 是次展覽名稱,靈感來自已故英國藝評家約 翰·伯格(John Berger)的著作《以及我們的 面孔、我的心、暫如照片》(And Our Faces, My Heart, Brief as Photos),20051。書中內 容分為「時」與「地」兩個部份,頁面上載 滿如拼貼般的散文與詩,暗示著光陰的短 暫,以及地方、人和歷史之間的距離感。 伯格婉約的文風,貫徹於馮漢紀的創作情感 中,通過鏡頭向我們盎然地呈現出伯格所謂 「敘事的秘密」。是次展覽,邀請了十位享 負盛名的視覺藝術家以影像方式,回應馮漢 紀不同時期的藝術階段,他們的作品和採訪 片段將會並置於相關時期,從而讓我們從藝 術與社會文化層面探討馮漢紀的創作。被邀 請參與是次展覽的藝術家們,皆與馮漢紀有 相類似的創作形式或主題,又或擁有相同的 留學背景。這場不同世代攝影師之間的公開 對話,將為攝影藝術提供多角度觀點,以反 映過去五十年香港當代攝影的觸覺與發展。

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美國藝術碩士課程的學習經驗,令馮漢紀的 創作超越傳統,他的攝影橫跨不同類型,對 不同媒介作多方嘗試,包括:膠卷、寶麗 來、數碼以至虛擬媒介。馮漢紀廣泛而多樣 性的探索,不但反映於他參與世界各地的策 展工作中,也成為他在學術上的原動力,造 就他在香港理工大學、浸會大學、港大專業 進修學院與香港藝術中心各院校的專業藝術 教育成就。 作為2018年香港國際攝影節的壓軸節目, 《時/空:暫如照片──馮漢紀與當代攝 影對談》與著名的《挑釁》(Provoke) 巡迴 展相互輝映,它們都明確地展示出港、日兩 地自上世紀七十年代以降攝影藝術的激進思 潮,表達出來自兩種不同文化的革命性內 容,並作為對攝影藝術形式作批判性探究的 仲介。這些非主流與標誌性的成就對於前幾 代人來說是難以想像,並足以成為東亞當代 攝影發展的重要里程碑。 中國,我的中國 作品包括:〈北京:卅一〉(1980)、〈絲 路〉(1981)、〈深圳〉(1982)、〈連南 瑤族自治縣〉(1983)、〈青海〉(1983) 和〈雲南〉(1989) 自上世紀80年代,中國的經濟發展促成大規 模城市轉型與重建。城市與鄉村之間失衡的 建設政策,加劇城鄉之間在社會與行政上的 沖突。都市與鄉郊的重建亦帶來經濟、社會 與環境上的衝擊。工業化、都市建設,以及 經濟特區的規劃為社會的人文與文化環境帶 來巨變。中國始於上世紀的都市化發展,已 從政治導向的擴張,轉為經濟型擴張,過去 「左與右」和「傳統或現代」的爭論早已讓 路給發展與進步的「硬道理」,並因此而嚴 重犧牲自然環境,以及對傳統景點、建築和 社區做成破壞。

「那些閱讀或聆聽我們故事的人,彷彿透過鏡頭去看一切。此鏡頭是敘事的秘密,它在每一個故事中重新磨礪,在

時間和永恆之間徘徊。在我們凡人短暫的生命裡,我們是這個鏡頭的研磨者。」- 約翰·伯格,《以及我們的面孔、 我的心、暫如照片》(And Our Faces, My Heart, Brief as Photos), 2005


英美政治地理學家約翰·阿格紐(John Agnew)為「地方」(place)定義出三個 連續的意義層面:「位置」(location)、

芝加哥歲月 作品包括:〈唐人街系列〉(1986-87)、 〈在籠中〉(1986)、〈少年龐克@Medusa Disco(芝加哥,1986)和〈肖像〉(芝加 哥,1986-87) 攝影改變我們對世界的看法,但學術環境亦 同樣影響我們如何看待攝影。除歐洲大陸 外,美國在80年代後期亦成為攝影教育的 先驅。芝加哥藝術學院(SAIC)的碩士攝 影課程以多重方向探究鏡像媒體,當中包括 傳統手法、不同形式的製圖,以及概念導 向創作。馮漢紀於1985至1987年間在芝加 哥藝術學院攻讀藝術碩士學位課程,三年間 的緊密學習,為他打開了當代攝影以及相關 西方藝術的視野。當時,他不單參與攝影製 作和展覽,更認識並探討攝影與各種文化系 統及受眾理論的關係和功能,引伸出各種對 話。對他來說,芝加哥藝術學院的藝術碩士 遠不止於在工作室內創作,而是一個高要求 的跨學科學位,它熱切鼓勵同學自我啟蒙、 進行實驗和從理論中得到啟發。明星攝影 師如Barbara Crane、Ken Josephson、Joyce Neimanas,以及著名藝術史學家Colin

BLUES WONG KAI YU

隨後的〈深圳〉(1982)、〈連南瑤族自治 縣〉(1983)、〈青海〉(1983)和〈雲 南〉(1989)系列中,可見到馮漢紀在技術 與主題上的明顯推進。1982年開始,馮漢紀 從135毫米菲林相機轉為使用中幅相機,新 器材的重量與操作方式雖然犧牲了以往享有 的拍攝速度,但同時令馮漢紀的攝影觸覺更 加敏銳,有利於之後他一系列作品的取材。 其中,〈深圳〉(1982)描繪中國首個經濟 特區的始創階段,在中央的都市化政策下, 這條村莊正經歷著大規模重建,並被馮漢紀 的鏡頭精準地記錄下來:帆布包裹準備安裝 的物料、被拆毀的傳統房屋、冒起的商業活 動,以及老百姓們蓬勃起來的生活,都引證 著這個「從無到有」的歷史時刻。而在〈連 南瑤族自治縣〉、〈青海〉和〈雲南〉系列 中的鄉郊環境,則與經濟特區裡的城市空間 形成鮮明對比,馮漢紀擔當起人類學家的角 色,以人文主義角度保存了鄉郊少數民族的 地理環境和文化瑰寶。除了人像照中明顯的 獨特民族服飾外,這些紀錄裡的象徵性元素 還包括宗教圖騰、靈性的墓穴,以及村屋裡 的室內裝飾。

「場所」(locale)和「地域感」(sense of place)。「位置」是指物理定位與名稱, 「場所」則是建構出該處社會關係的物質環 境,而「地域感」則屬更抽象層面,是對於 某地方的主觀和情感依附。有別於傳統旅遊 或新聞攝影,馮漢紀的社會紀實作品對80 年代中國的定義超越「位置」層次,當中包 含了對社區結構細緻而廣泛的視覺描述,亦 即是它的「場所」。「中國,我的中國」不 僅是在記錄祖國進行各階段社會經濟改革時 的眾生相,它更涉及地方上應被尊重的文 化——那些分散在各處,被認為微不足道的 日常生活痕跡。這種秉持人文主義觸覺的藝 術探索,正是攝影師馮漢紀對中國獨有的「 地域感」。這個不斷轉變的社會中的不完美 與脆弱深深觸動馮漢紀,他的攝影考察既是 向日常致敬,亦立足於人文攝影傳統——一 種植根於法國上世紀30年代左翼意識形態, 關注社會的紀實攝影類型。

CURATOR’S STATEMENT

馮漢紀生於中國,對祖國懷有強烈的歸屬 感,亦同時是社會紀實藝術的忠實信徒。自 1978年開放改革以來,他開始在中國不同城 市進行攝影記錄,努力不懈地通過鏡頭觀察 和捕捉羅湖對岸的生活與文化脈絡。這些 影像是對中國大陸城鄉急劇轉變的在地真實 寫照,超越當時「黨」宣導的集體印象。〈 北京:卅一〉(1980)和〈絲路〉(1981) 是馮漢紀中國夢最早期的黑白投射:前者遙 望在急劇社會變革前夕,首都內裡人民的淡 然生活;後者則近距離描繪在旅途上見到 的地方景況與當地人日常生活。〈北京:卅 一〉(1980)裡廣闊的都市空間與中國歷史 建築,勾畫出中央權威的無處不在,而相對 地,馮漢紀在〈絲路〉(1981)則專注捕捉 絲綢之路上眾生的珍貴表情與輕鬆姿態。


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Websterback和James Hugginan都曾經指導 他,而馮漢紀亦從多位訪問藝術家,如John Baldessari、Joel-Peter Witkins、Mary Ellen Mark、Aaron Siskind等人身上,及透過翻閱 學院館藏的真蹟,獲益良多。 當代社會紀實攝影的目的已轉為更直接地表 現出文化特質。馮漢紀把他的中國夢東渡至 北美華語文化圈,於芝加哥、舊金山、洛杉 磯、波士頓、紐約與多倫多拍攝了〈唐人街 系列〉(1986-87)並作為藝術碩士的畢業 作品。內嵌在唐人街的種種文化符號多借鑒 自中國神話與古代民間傳說,仿如電影佈 景一樣,這些社區透過把中國建築及符號和 現代西方元素以奇異的方式並列而被重新構 建。馮漢紀認為唐人街的本質正是如此的一 體兩面:儘管與祖國相隔萬里,「僑民」仍 然表現出他們尋根與保留傳統文化的渴望, 但這些表現同時又成為旅客凝視或商業活動 的奇觀空間。通過馮漢紀的鏡頭與彩色負 片,這些像真的複製品創造了一個「他者的 空間」或「平行宇宙」,當把它們與原來 真正的社會文化遺產放在一起看時,無可避 免地顯示出其異相與次等的狀況。馮漢紀作 品中所描繪的這種扭曲以至混雜的象徵性再 現,暗含著一種與當今中國與北美洲現況脫 節的身份差距矛盾。〈唐人街系列〉是一個 仍在進行的計劃,近期的拍攝已經擴展到緬 甸的仰光、曼德勒與馬來西亞的檳城和馬六 甲。馮漢紀的社會紀實作品探討在社會發展 與文化身分轉變下,「中華」印象在全球化 的城市和鄉郊空間中所呈現的意義。 馮漢紀在美國求學期間開始進行肖像拍攝的 實驗,人像照既是研究人類內心世界的有力 工具,但同時也是讓被拍攝者探索和反思自 己的手段。〈在籠中〉(1986)與〈少年龐 克@ Medusa Disco〉(芝加哥,1986)是他 的早期嘗試,他以概念敘事方式在拍攝現場 誘導被攝者,令他們在被拍攝時透露內心世 界。前者將一系列順序的照片結合描述性文 字,使人像照隱含著時間性;而少年龐克的 時髦打扮與當中散發的激情,則體現了馮漢 紀日後作品中的表演性傾向。在〈肖像〉(

芝加哥,1986-87)系列中,我們看到馮漢 紀繼承了著名時裝攝影師Richard Avedon的 極簡主義技巧,以此捕捉被攝者的優雅與自 豪,並以簡單的燈光與單色背景顯現出這些 被攝藝術家的天賦才華。之後,馮漢紀繼續 以「攝影行為」去探索「身份」與「性別」 的問題,並開始在他的表演式肖像照中擔起 導演的角色。他與不同的女性配搭起來,輪 流控制快門線為對方拍照。從這些成雙的照 片中,我們可以觀察到女性所凝視的與男性 所凝視的差異。馮漢紀以他設計的「性別 方程式」安排「攝影師」與「被攝者」身分 互轉,從而帶出猶豫與開放的感覺,反映出 當代肖像照中「作者」身分的不確定性。馮 漢紀通過他的遊戲,融化兩性之間的無形邊 界,並同時揭示出對性別期望引發的衝突。 女性形象的神秘特徵促使馮漢紀創作出令人 印象深刻的多重肖像照:這些雙重曝光的負 片更進一步體現出攝影師腦海中對第二性深 層而激烈的矛盾。 前衛視點 作品包括:〈修飾寶麗來〉(1984-88)、 〈東西對幅〉(1986-89/2013)和〈蝴蝶夢 系列〉(1998-2000/2018) 攝影媒介的出現,繼承自繪畫藝術,是故, 要探討攝影,就不能忽略其他視覺藝術形 式:畫意攝影主義者(Pictorialist)是早期攝 影的先驅,他們模仿畫布繪畫的效果並應用 在地貌攝影中;與之相反,現代攝影則發展 出強調現實記錄功用的美學,並以此成為獨 立的藝術形式。然而,自1937年起成為芝加 哥「新包豪斯設計學院」教師,身兼設計師 與畫家的歐洲先鋒派攝影師LászlóMoholyNagy,卻對這個「假定的客觀性」提出質 疑。他提倡一種光學文化的新角度,並將實 驗攝影與種種造型藝術創作結合,如版畫、 拼貼、繪畫和書籍製作。在這種前衛的學術 理念影響下,當代美國攝影被提升到一個更 具想像力的層次,並鞏固其作為藝術界別一 份子的新地位。 美國六、七十年代概念藝術家羅伯特·海 涅肯(Robert Heinecken)消除了攝影的


1980年代爆發的數碼化革命對國際新聞、屏 幕媒體與攝影文化產生了巨大影響。 基於數 碼修描與合成程式而產生的虛假、被操縱的 視覺再現,宣告了攝影真實性的死亡。儘管

作為一名大學教師,馮漢紀意會到數碼相機 演進的變革力量與當代攝影的極多樣性。他 在香港理工大學重新開設「攝影與設計」課 程,並更新當中數碼影像、3D成像以及動畫 教學的內容。而他本人則從模擬攝影轉向數 碼與虛擬器材,開創屏幕文化的新領域並迎 來他在「後攝影時代」的曙光。在〈蝴蝶夢 系列〉(1998-2000 / 2018)中,馮漢紀把蝴 蝶的3D虛擬圖像放在不同的環境裡,以挑戰 攝影現實主義的概念。蝴蝶置於被困、死亡 的狀態,甚至轉化為虛擬景觀。這批作品是 他〈香港三部曲〉系列的第一部份,本系列 是由1997年主權回歸中國大陸後,香港的社 會政治動盪與身份危機引發。「Bryce」成像 軟件讓攝影師能夠從另一個時空創造出一個 虛幻場景,包含中國原素的非物質圖像散發 出電子靈光,反映出後殖民時期香港人被強 行「美化」的不幸狀態。馮漢紀成功地套用 多變的數碼呈現方式,表達社會議題,並與 啟發自中國傳說的表現元素聯繫起來。十八 年後他繼續完成這項創作,並試驗在半透明 材料上打印照片,以裝置藝術的形式展示。 這些新的半透明「物體」被組合成一個可從 多角度觀看作品的區域,這特定的展覽空間 旨在提升觀眾的視覺體驗。 重歸故里 作品包括:〈毛澤東系列〉(2000-)和〈香 港奏鳴曲〉(2017-) 〈毛澤東系列〉(2000-)和〈香港奏鳴曲〉 (2017-)是〈香港三部曲〉的第二和第三部 份。在這兩個系列,馮漢紀主力探索中國與 香港:一個是他出生的地方,而另一個地方

BLUES WONG KAI YU

〈東西對幅〉(1986-89 / 2013)系列把80年 代中從北美拍攝的彩色照片,與80年代後期 從中國雲南拍攝的黑白照並置。這是對中國 大陸和唐人街之間的文化錯置的知性回應。 這種錯位呈現於以下兩者之間:中國偏遠落 後地區如雲南對西方文化粗糙的擁抱;以及 北美唐人街對中國傳統符號的天真挪用。透 過記錄兩地的商店櫥窗,馮漢紀旨在比較和 對比兩者所呈現的「中國風」與西化符號。 馮漢紀以這些在好幾十年後才拼在一起的對 幅,去提出關於「現代中國形象」再現的問 題。在全球化下人口密集跨境往來的時代, 他特意挑起關於中國文化真實性與持續性的 問題。馮漢紀以開放的態度挑戰原始影像蘊 含的根基,並將對來自兩個國家的敘述延伸 成同一組合。以此,透過加入概念性元素, 重新創作他早期的社會紀實作品,從而達到 藝術上的突破。

被批評為只崇尚科技,但數碼成像和虛擬現 實在廣告、電腦遊戲和電影等商業領域取得 了成功。當互聯網在千禧年間開始流行後, 情況逐漸改變,公眾開始接受傳統攝影文化 被不可逆轉地遷移到非實物的屏幕文化上。 隨著2007年iPhone誕生,移動通信科技和仿 Photoshop的免費軟件發展迅速,加上個人電 子工具傳輸速度的提高與功能遞增,大眾對 目眩數碼圖像的矛盾觀點,亦逐漸消失。

CURATOR’S STATEMENT

形式性,並引入隨機和文字等達達主義元 素,被他稱之為「非典型攝影」(paraphotography)。對他而言,一幅非典型攝 影作品並非某些東西的「照片」,而是關於 某些東西的「物件」。如海涅肯般,馮漢紀 試圖探索媒體的本質,並分辨出「製作攝影 作品」與「拍照」兩種概念。在〈修飾寶麗 來〉(1984-88),他直接在顯影中的即影 即有照片上以尖銳的工具刮痕與畫畫,為抽 象、靜物和人像照像上增加描繪性的筆觸。 這種藝術加工是以反抗方式,試圖破壞純粹 主義攝影固封的分類壁壘。最終,佈滿獨特 繪圖效果的單一照片成為一件攝影物,以對 抗照片本質上的機械複製價值。在普普藝術 的全盛時期,這類即影即有修飾攝影曾是傳 統藝術家從鏡像媒體吸取靈感的流行創作方 法。而馮漢紀非典型攝影的破壞性手段,則 是利用繪畫方法把魔鏡內的精靈釋放出來。 將傳統攝影照片順理成章的直接性破壞殆 盡,並展示出他多樣化的創作能量。


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他雖然住了最久,但在英國統治時期卻鮮有 成為他的攝影題材。「重歸故里」揭示他與 中國和後殖民時代被邊緣化的香港,當中複 雜的身份與情感聯繫。 在近代中國歷史上,六、七十年代文化大 革命期間不單只出現對自身文化的大規模 唾棄,而且攝影亦受到政治全面控制,攝 影師都是由毛主席政權僱用,並為共產黨 宣傳服務。毛澤東去世兩年後,1978年的 中國迎來攝影新春,眾多獨立藝術團體在 不同城市出現,這一波創作熱潮更因浙江 美術學院的師生積極參與而進一步壯大。 自80年代初以來,毛前主席的形像已從政 治象徵轉變為公眾形像,並進一步成為藝 術題材。除了在「中國,我的中國」裡對 日常生活與不同地方的考察外,馮漢紀對 自2008年北京奧運會以來,毛澤東的形 像如何在私人和公共空間成為無處不在的 符碼化表徵而很感興趣。〈毛澤東系列〉 試圖描繪由多重形式的毛主席形象所組成 的獨特社會地貌:毛澤東作為當代中國政 治上獨一無二的角色、作為宗教護身符、 作為大陸逐漸褪色的集體記憶符號。這一 套以白框裝錶的照片以系列及分組的形式 呈現,有如法醫的描述般,這些由圖像所 組成的辭彙正是對中國真實和重要的視覺 證詞。馮漢紀以時間、歷史和記憶把他的 紀實攝影編成一條單一軌道,〈毛澤東系 列〉以近十八年的時間持續地描述這位上 世紀的政治象徵,從而延續了馮漢紀早期 的中國夢。 以三十年時間去捕捉中國的轉型後,馮漢紀 把鏡頭轉向香港。〈香港奏鳴曲〉是他心愛 的城市在回歸中國共產黨統治二十年後,於 香港都市漫遊(flâneur)的紀錄結集。香 港作為中國的特別行政區,經歷越來越多來 自北方的社會政治干預。本地政府自1997 年以來的無效管治,進一步破壞這裡的傳 統民俗文化、生活環境,干擾了曾被稱為「 東方之珠」之地的原有社會秩序。透過漫無 目的的閒蕩與拍攝,熱情洋溢的馮漢紀重新 發現這個城市與中國的聯繫和斷裂,以及都

市內瞬息萬變的各種元素。〈香港奏鳴曲〉 擺脫他以往的攝影慣例,摒棄決定性的瞬間 (decisive moment)與主觀性的表現,從而建 基於一個與傳統分離的基礎上。馮漢紀抗拒 了所有來自敘事的誘惑,專注探索在地生活 文化中的日常,並將自己局限於一種冷漠與 非批判性的創作方法。他孜孜不倦地考察每 個都市角落,這些「安靜」的作品既是馮漢 紀個人身份探索之旅,也是眾多與中國有著 遙遠而親密關係的香港人的集體回憶。 總括而言,〈香港三部曲〉可以被視作對我 們這一代人命運的預言:〈蝴蝶夢系列〉 (1998-2000 / 2018)把我們的歷史神話變 成活化石;而〈毛澤東系列〉和〈香港奏鳴 曲〉則是對我們當下身處的關鍵時刻隱晦地 表達立場,在那些不相連的靜態照片當中, 相對地潛藏著香港與影響力越來越大的共產 專政之間的無形緊張關係。馮漢紀看似「溫 和」或「無政治立場」的鏡頭正是一塊雙面 的黑鏡子。那些「沒顯示出的沉默細節」給 予我們留白的空間去重新思考,這兩個不同 的社會將來可能會經歷到的複雜政治道路。 簡而言之,是次展覽中包含不同照片系列的 四個部份,正是把馮漢紀在當代攝影的不同 類型中所經歷的範式轉移展現出來。最終, 他簡潔的影像將我們當下所居轉化成時間洪 流中一處令人深思之地。


MORE THAN JUST A REVERSAL

MORE THAN JUST A REVERSAL 不止於逆轉

YANG YEUNG 楊陽

1 A man is at the driver’s wheel in a car at rest. He is glancing out of the window. Carrying a smile with a tinge of anticipation, he is at ease without being self-conscious about it. In this serenity, the giant lion sculpture at the back appears small; its apathy is accentuated. This man was Fung’s driver on his trip to Lanzhou in 1981. This is no trivial fact - instead of positioning himself as a disinterested photographer encountering a random person on the street, the artist depicts the beginning of a relationship. He is not egoistically looking for his influence on the man, but is attending to the eternity of the affective encounter. This is an eternity that is not forced out of built monumentality (like Mao Zedong’s stylized self-celebratory images and figurations) but arises in a moment of serendipitous connection. In the series Beijing 1980, another face

YANG YEUNG

How does an artist decide it is time to make a self-portrait - how many times in a lifetime? what may hide, what may show? In Joseph Fung’s body of work in this exhibition, images that the artist makes of himself are not readily noticeable. But marginality is never a good reason for disregard. I find several images registering the artist’s particular approach to the selfportrait, that I would like to focus on. In these images, the artist is interested in how others perceive him. By this I do not mean the artist seeks to fashion himself with a public persona for others to receive, but that the images present an understanding of the self portrayed as an image of being situated among others, always already affected by how others receive him. The quality of this double receptivity - his receptivity for others, and his receptivity for others receiving him - offers a hinge for understanding his photographic moments.


TIME/SPACE: BRIEF AS PHOTOS P.21

jumps out of the frame. A boy in a heavily padded winter coat walks past the camera. With both hands in his pant pockets, he is caught in an adult gesture of confidence and pensive composure. His body is held up by the verticality of the street. His face is calm and radiates in the sunlight, making his presence majestic and appealing to the sense of touch. His slightly tilted head suggests that Fung, who is five feet ten inches tall, must have been bending or kneeling or lowering his camera so that he aligns the lens with where the boy’s gaze is directed. Fung makes the effort to be with him on his bodily level. In so doing, he equalizes the social space between him and the child, despite physical disparity. The action registers an instance where the artist is as interested in how the boy sees him as how he finds the boy. A man in the Shenzhen 1982 series also looks back at the artist, but in an anxious gaze. He is in the middle of a brisk momentum, his face and body slightly squeezed. This tightness suggests he is more alienated from his surroundings than the boy on the street. In the split second that he catches sight of the camera, his eyebrows twist and from there, a narrow and slanted glimpse extends. Is he interrupting the photographer’s attention directed to the house, or is the photographer interrupting the man’s journey? The ambiguity keeps the reciprocity of the gazes alive. These three images share a similarity: it is as much the persons as the photographer’s subjects as they are fellow human beings carrying an image of the photographer in their perception that the artist captures, which brings me to his Chicago portraits. I would like to focus on the set of three where a portrait of a woman is paired with a double

portrait with the photographer himself in them. 2 The circumstances, according to Fung, is that he was reflecting on the claim that the photographer who triggers the shutter is always in power, subjecting the photographed to a passive position. His intention to transfer this power to the photographed results in the set of double portraits. One image of the three shows the shutter in the hand of the sitter; another shows Fung and the sitter holding them together while Fung has his back to the camera; the last image does not make the shutter visible. The power Fung refers to could be interpreted an extension of masculinist desire regulated by compulsory heterosexuality. To question the photographer’s power is also to question masculinist power. Have these images done so? If, according to Judith Butler, “gender is the repeated stylization of the body, a set of repeated acts within a highly rigid regulatory frame that congeal over time to produce the appearance of substance, of a natural sort of being,” (Butler 1990: 33) and that to interrupt this process, gender needs to be rethought as performative (Butler 1990: 24-5), one reading of Fung’s portraits might be that they are incomplete. They reproduce masculinity and femininity as complementary in composition, hence reproducing received heterosexuality. For instance, in one image, the female sitter poses as if she were a nymph hiding behind and popping halfway from behind the male body - the central pillar of the photograph. In contrast to the fluidity of the female bodies, maleness presents itself as hard and angular. The subjectivity the artist intends to highlight in his female sitter is


The excess is also in compounding the sense of time. Letting his sitter make a portrait for herself and showing the result is different from letting her make it for herself with him as company and showing the process. The latter case includes how she looks at and looks for the photographer, who is involved in and co-inhabits the ‘now’ with the sitter rather than being an author who comes before the image in time. The photographer puts himself into the same temporal order of reality as the image. The multiple and overlapping lines of gazes looking for and scrutinizing each other - viewers included - creates a space of contention. A ‘work’ suggesting the artist’s intention effectively transforms into a ‘text’ affected by contingencies, contexts, and circumstances to be read. In what John Berger calls a “process of rendering observation self-conscious,” (2013: 25) the photographic moment that sets up a boundary between the worlds behind and in front of the camera is marked and opened up. For the artist, this is a process of unknowing and unlearning about a self that is perpetually displaced, misplaced, and delayed.

In an essay in memory of Roland Barthes, Italo Calvino recalls Barthes’ refusal to define a “photographic universal” (1997: 306). He says Barthes takes into consideration only those photographs “that I was sure existed for me.” I understand the ‘for me’ as not a claim Barthes makes about him bestowing meaning upon the photographs that are personally valuable to himself, but that the photographs matter when they confirm his sense of being in the moment, and that the being is also always already a becoming. To refuse the universal

YANG YEUNG

3

MORE THAN JUST A REVERSAL

intelligible only “through its appearance as gendered” (Butler 1990: 33). The process of resignification may have begun but is not yet transformative. To be fair, however, this incompleteness opens up more paths for interpretation than just the switching of subject/ object positions as points and counterpoints can exhaust; it shows the complexity of that which the artist produces and envisions. It is not difficult for any ordinary viewer to backtrack and imagine the photographer’s body and conscious self moving from behind the camera into its frame. In following his move along this line, the viewer participates in the artist’s production of an excess that demands a different thinking of the photographer’s self and his relation to his sitters. I propose that this excess comes in two forms. First, in presenting the double portraits of him with his sitter and the single portraits of his sitters in pairs, the artist shows the choices he makes: from singular vision directed to his sitter to a doubled vision directed to the sitter and himself. The photographer’s gaze is present on both sides of the camera, conventionally taken to be two worlds. The vision is doubled when one imagines moving along a continuous line joining the two worlds. This is also a line with which viewers keep the mental inference that the artist is still behind the camera while being in front of it at the same time. It is an invitation that viewers regard the worlds as one. The stubborn persistence of this line produces in viewers a sense of disorientation: is the artist looking back at us in defiance or nonchalance? There is no story or narrative to substantiate what is seen. The artist becomes doubly inaccessible: as a face within the frame, and as absent but present behind the camera.


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is also to ask, for Barthes, whether there cannot be a new science for every object, and to show that it is something possible to seek. Or, as an artist puts it in a different way, could there not be a unique book list for the understanding and articulation of each and every artwork? In penetrating into the social space his lens participates in making, Fung lays bare the lines of seeing he lives through, not unlike how anthropologist Tim Ingold says of how life is consisted in open-ended lines that offer relationships, histories and processes of thoughts along the way, rather than disjointed dots in time. (2016: 174) In touching the lines that bring incommensurable distances momentarily together, Fung burdens us to look closely into faces that have come along our life’s way, in which we may find our own - a powerful, responsible, and intimate endeavor, a reminder that looking away is no longer an option.

一位藝術家為何決定是時候替自己拍人像 照?一生中會興起這念頭多少次?而從中他 又會揭示或隱藏什麼?在馮漢紀是次展覽的 作品中,我們不易找到他為自己拍的照像, 但邊緣性的事卻不代表我們應當忽略它。我 發現其中有幾幅照片很能凸顯馮漢紀對自拍 照的獨特取向,並希望在此集中討論它們。 在這些照片中,馮漢紀關注別人如何去看待 他,我並非指這位藝術家要為自己塑造出一 種公眾形象,而是他從這些照片表達出—— 被置於他人之間的自拍照像,總是先被眾人 對他的看法所影響。一方面他在認受別人, 亦同時認受著其他人對他的認受,這種雙重 認受性,成為理解他攝影脈絡的契機。 1 一名男子在車裡的軚盤上休息。 他往窗外一 瞥,放輕鬆著,沒意識地掛著一絲正期待什 麼的微笑。在這片寧靜中,背後的巨型獅子 像顯得很細小,從而凸顯出它的冷漠感。他 是馮漢紀1981年蘭州之旅時的司機,這不只 是瑣細的背景資料:他沒有把自己當成在路 上隨意遇到某人,與此無關的攝影師。馮漢 紀正描繪一段關係的開始,他並非自我中心 地想在這男子身上找到自己的影響,而是關 注在這次相遇所建立的永恆感情連繫。這永 恆不是那種強建出來的紀念性質(如毛澤東 式的自我崇拜形象),而是因為機緣偶遇而 出現。 在北 京 1 9 8 0 年 的 系 列 中 , 有 另 一 張 臉 躍 然紙上。一位穿著厚重冬衣的男孩走過鏡 頭,捕捉到他雙手插在褲袋裡,某種既充 滿自信又憂鬱沉著的成人姿態。 他的身體 被街道的垂直構圖拉高,平靜的臉在陽光 下散發光芒,令他的存在顯得崇高,吸引 著人們的觸覺。男孩的頭微微前傾,意味 著5尺10寸高的馮漢紀一定是以彎腰或跪下 的姿勢,又或者移低他的相機,才可以令 鏡頭對準男孩凝視的方向。馮漢紀調整自 己的姿勢去令自己和男孩在身體上一致, 透過這行動,他排除身體上的差異而令自 己與男孩置於平等的社會空間。 這動作引


在深圳1982年的系列中,一位男士也回望向 藝術家,但他的凝視卻帶著緊張。他正在快 步移動中,微微地擠壓著臉部與身體。比起 上述街上的男孩,這緊張感暗示他不像男孩 那樣熟悉身處的環境。就在這瞬間,他發現 了相機,扭曲的眉毛下,延伸出狹窄和傾斜 的一瞥。 究竟是他打斷了原本看著房子的攝 影師,還是攝影師打斷了這男人的旅程? 正 是此模糊感令這相互凝視鮮活的保存下來。 這三幅照片有一共通點:藝術家捕捉到的既 是這些成為攝影師對象的人,而同時又透過 這些普通人的感受而帶出了攝影師的形象。 正是這一點把我引領到他在芝加哥的人像照 上。我將集中討論他的三套人像照,它們均 由一幅女士的人像照,與加入了攝影師本人 的雙重人像照配對在一起。 2

任何觀眾都不難聯想到馮漢紀在拍攝過程 中,他的身體與自我曾有意識地從相機背後 走進被攝的鏡頭之中。觀眾在腦海中沿著 這條線一起移動,與藝術家一同參與過剩 (excess)的生產,它要求觀眾從新思考攝 影師的自我,以及他與被攝者的關係。我認 為這過剩有兩種形式,首先,由於藝術家成 雙配對地展示被攝者的單人照,以及被攝者 與他一起的雙重人像照,藝術家從而透露出 他的選擇:從指向被攝者的單一視覺,轉變 為同時指向被攝者與他自己的雙重視覺。攝 影師的凝視,同時出現在一般被視為兩個世 界的攝影機前與後。當觀眾在腦海中沿著這 條連繫兩個世界的連續線移動時,也因而得 到雙重的視覺。這條線也令觀眾在心理上一 值知道,即使藝術家出現在鏡頭裡,但同時 仍然心在攝影機之後,它邀請觀眾把這兩個 世界視為一體。這條擺脫不了的線令觀眾產 生一種迷失感:究竟藝術家是以挑戰還是冷 漠的眼光回望我們?沒有任何故事或敘述去 引證我們所看到的,令藝術家變得加倍的抽 離:作為照片裡的一張臉,以及作為攝影機 後缺席的存在。 這過剩也同時編織出時間感。讓被攝者自拍 人像照,再把成果展示給她,與讓被攝者與 攝影師一同製作合照並展示出過程,兩者是 有所分別。後者包括她如何去看著與找尋攝 影師,而他現在也是參與者,和被攝者共享 著「此時」,而不是在拍攝前才存在的作

YANG YEUNG

根據馮漢紀的自述,這系列作品的意念是要 反思:有人認為按著快門的攝影師永遠是掌 權者,總是令被攝者身處被動的位置。馮漢 紀嘗試把自身權力轉移到被攝者身上,其結 果便是一系列的雙人人像照。在這三套照片 中,其中一幅照片裡的被攝者手持快門線、 另一幅則是馮漢紀背對著鏡頭,並與被攝者 一起拿著快門線、而在最後一幅,快門線沒 有在照片上出現。馮漢紀所指的權力,可被 詮釋為在既定異性戀下男權慾望的延伸。但 這些照片有沒有達成他的目的?如果按朱迪 斯·巴特勒(Judith Butler)的說法:「性 別是對身體不斷地予以風格/程式化,是在 一個高度刻板的管控框架裡不斷重複的一套 行為,它們隨著時間的流逝而固化,產生了 實在以及某種自然的存有的表象。(宋素鳳 譯)」(Butler 1990:33),若要打破這一 過程,就必須把性別重新看待為表演性的行 為(Butler 1990:24-5),對這系列人像照 而言,其中一種解讀是它或許未全面達到目 的。在構圖上,這些照片把男性特質和女性

特質以互補的方式再現,因而再製造出一般 異性戀的形象。例如在其中一幅照片中,男 性的身體構成畫面的中央支柱,而女被攝者 像精靈般躲藏在後,上半身從他的身軀之後 彈出來。與女性身體的流動性相反,男性被 呈現成硬朗與穩固。藝術家想強調的主體性 只能「從它性別化的表象」(Butler 1990:33 )來理解。再指意(resignification)的過程或 許已經展開,但未有根本性的變化。然而從 另一方面來說,比起純粹以轉換主體與客體 的對立位置所能窮盡(exhaust)的,本作品 的不完整性卻可以開闢出更多的詮釋可能, 它呈現出藝術家設想和創作的複雜性。

MORE THAN JUST A REVERSAL

證了藝術家覺得男孩如何看待他,與他如 何找到這男孩是同等重要。


TIME/SPACE: BRIEF AS PHOTOS P.25

者。攝影師將自己置於與影像一樣的現實時 序中。多重並重疊的凝視線正彼此審視與 搜尋著,創造出一個包括觀眾在內的爭持空 間。一件原本呈現出藝術家意圖的「作品」 ,有效轉化為被偶然性、脈絡和狀況影響著 其閱讀的「文本」。正如約翰·伯格(John Berger)稱之為的一個「令觀察產生自我意識 的過程」(2013:25),那個令攝影機前與 後形成分界線的拍攝時刻,被標記了並敞開 著。對藝術家來說,這是一個對永恆地被錯 置、放逐與延遲的自我,除去已知與所學的 過程。

或許從他們臉上也可以發現到自己——一場 有力、重要而親密的旅程,提醒著我們不可 能再迴避與漠視。

3 在一篇紀念羅蘭.巴特(Roland Barthes)的 文章中,伊塔洛.卡爾維諾(Italo Calvino) 想起巴特拒絕為「攝影普遍性」(1997:306 )下定義。他說巴特只考慮那些「我確信對 我來說是存在。」的照片。據我了解,巴 特的「對我」不是指他為那些具個人價值的 照片給予意義,而是指那些能確認他當下存 在感的照片,而且此存在也總是經已成為現 實。 對巴特來說,拒絕普遍性亦即是同時 提出,為什麼每件物件不可以都有屬於它的 新科學?並表明這是可以尋求的問題。又 或者,正如某藝術家用另一方式所表達:難 道不可以每一件藝術品都有它獨一無二的書 單,以供我們去理解和接觸它們? 在參透社會空間的同時,他的鏡頭也同時參 與建立,馮漢紀揭示出他視覺經歷的軌跡, 有如人類學家蒂姆·英戈德(Tim Ingold)所 說,生命是由沿途提供著關係、歷史和思維 過程的開放式線條所構成,而並非互不相干 的時間點。(2016:174)觸及這些把距離無 法估量的瞬間聯在一起的線條,馮漢紀驅使 我們仔細地去看生命中所遇到的不同臉孔,

References 參考資料 Berger, John. 2013. Understanding a Photograph. Ed. Geoff Dyer. New York: Aperture. Butler, Judith. 1990. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge. Calvino, Italo. 1997. The Literature Machine. London: Vintage. Ingold, Tim. 2016. Lines. A Brief History. Oxon & New York: Routledge.


在中西與新舊之間—— 看馮漢紀先生攝影

BAO KUN 鮑昆

exchange activities of photography among Hong Kong, Mainland and Taiwan and promoted the change in consciousness of photography among Chinese fellow photographers. At the same time, he actively provided information about international photography to friends in Mainland China during the peak of reform and opening up. It might be because China has been closed to the outside world for the last 30 years, there was scarcely any cultural information exposed to the people. As the multitude of photographers wanted to connect with international photography trend, every bit of foreign news was very valuable. The news could enhance their understanding of the medium of photography. Mr. Fung’s endeavor had played an active role in promoting the international status of the photographic culture in China.

Two different identities and experiences helped Mr. Fung see the cultural difference between Chinese photography and western photography. In the 1980s, he had organized

While he was learning as well as teaching, Mr. Fung had never forgot that he was a photographer, and has been actively practicing photography all through.

BAO KUN

Mr. Fung Hon Kee, Joseph is a famous artist photographer and educator in Hong Kong. This is a dual professional identity, among photographers of his age group, and was one them who went to study abroad and received a Master’s degree in fine art (MFA of The School of the Art Institute of Chicago). What is more interesting is, when he practiced photography in Hong Kong in his early years, his historical identity of photography belonged to the generation of salon photography in Hong Kong. He was the youngest in that generation. After he returned from Chicago, he continued teaching photography at the School of Design of Hong Kong Polytechnic University. As a result, his image consciousness in photography started to undergo a profound change and alienated from the cultural circle of photography in his early years.

BETWEEN CHINA AND WEST

BETWEEN CHINA AND WEST, OLD AND NEW THE PHOTOGRAPHY OF JOSEPH FUNG


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Recently, he sorted out his photographic works taken so far and prepared to hold an exhibition. I am fortunate enough to sneak preview his entire body of works. As his works have been sorted into different categories, one can see that his works are a reflection of his multiple identities and his experience between China and the West. In the works selected for exhibition, the earliest series was taken in 1980, just when Mainland China began her reform and opening up; he went to take photographs in Beijing. In this series, one can see his curiosity for Mainland China that had just embarked on its road to transformation. This curiosity originated from his social background from Hong Kong. It is because the difference in society and culture between the two places was the motivation that stimulated the viewer to think. The Beijing under his camera was leisurely, and seemed that time had stood still, and looked much like rural district. In the background of various fixed powers, the society was quietly changing. A great historical turnaround was forming in the centre of this country. Right after that, in 1981, Fung embarked on a trip to the Silk Road. In 1983, he had an extensive tour in the Western part of China. He took many images and made in-depth observation of the society and livelihood in these places. Today, these images are very valuable. It is because at that time, photographers in the Mainland China were still not used to photographing themselves with neutral eyes. Therefore, though public photography was lively, the intrinsic consciousness of photography did not follow, resulting an incomplete historical coverage. Fung’s way of seeing now serve as an important part of the photographic history of that period.

Between 1986 and 1987, when Fung was studying in the United States, his reflection was focused on Chinese and Western cultures. He found that many Chinese people living in North America lived in “Chinatowns” which had a strong touch of early colonialism. Through the shops with the colours and motif of old Chinese tradition in Chinatown, he saw that the migrated Chinese’s insistence on the culture of their homeland in a heterogeneous culture. He also saw how the Confucian culture that valued “trades” took roots in the other side of the ocean. These scenes are full of dreaminess under the camera of Fung, a bit melancholy too. Later, he paired these images with the images he took in the West part of China so as to find the cultural origin behind the surface from image and tried to explore how Chinese people use space and symbols. From the perspectives of these works, one can see that as a person from Hong Kong, how much care and affection he has about traditional Chinese culture. Another role played by Fung in the academic world as an Associate Professor and the Course Leader of Bachelor in Photography Programme in the School of Design of Hong Kong Polytechnic University. It is because of that; his understanding of photography is much richer than many other photographers in Hong Kong. His other series, such as “Polaroid Manipulations” and “Butterfly Dream” are his metaphysical reflection on image from vision and semiotics. Photography, though a modern medium of technology with fundamental nature to record, its mechanism of capturing image is much more complicated than painting. Fung, being a teacher of photography, must have knowledge in all related fields before he can satisfy the needs in teaching. When he faced the fiercely coming of digital


Fung has practice photography for decades; one can see part of the miniature of the history of the transition of “film photography” to “digital photography”, the two media technologies that changed the epistemology of human beings. We can also apprehend a life of one that takes photography seriously as the main medium. This person is Mr. Fung.

馮漢紀先生是香港著名的影像藝術家和攝影 教育家,這是一個雙重的職業身份。另外, 他還是在他相同年齡段的香港攝影人中,是 到國外留學並獲得藝術學碩士學位的人(芝 加哥藝術院學校藝術碩士銜MFA)。更為有 趣的是,由於早期他參加香港的攝影活動, 他的攝影歷史身份也可屬於傳統香港沙龍 攝影那一代,是那一代人中的年輕一輩。但 是,他從國外留學回來後,即在香港理工大 學設計系領銜教授攝影,讓他的攝影影像意 識開始有了深刻地轉變,也讓他與他早期經 歷的攝影文化圈子漸行漸遠。 兩個不同的身份和經歷,讓馮漢紀先生看到 中國攝影與國際攝影文化的差異距離,上個 世紀八十年代,他在香港舉辦過兩岸三地的 攝影交流活動,推動華人攝影意識的轉變。 同時,他還積極地向內地朋友們提供國際攝 影的資訊。當時的中國大陸正處於改革開放 的高潮期,可是由於近三十年的封閉,內地 的文化資訊極其貧乏,對於渴望和國際攝影 接軌的廣大攝影人來說,每一個域外的資訊 都是珍貴的,可以提升了他們對攝影這個媒 介的認知。馮漢紀先生的努力,為提升中國 攝影文化的國際性,起到了積極地促進作用。

在馮漢紀先生呈覽的攝影作品中,1980年是 最早的。他在中國大陸剛剛開始改革開放的 時刻,來到首都北京拍攝。在這些影像中, 可以清楚地看到他對開始走上轉型之路的大 陸的好奇。這種好奇源自他港人的社會背 景,因為兩個地區社會文化的差異恰恰是刺 激觀看者思考的動力。他鏡頭中的北京是閑 散的,時間似乎靜止,仿佛是一個巨大的鄉 村,各種古老固化的權力背景中,社會在悄 悄變化,一個宏大的歷史轉身正孕育在這個

BAO KUN

馮漢紀先生在學習與教學生涯中,從來都沒 有忘記他攝影家的身份,一直積極地進行攝 影實踐。近期,他將自己多年拍攝的作品重 新梳理,准備做一個展覽。我有幸先看到了 他這批作品。從這些整理成系列的作品中, 可以看到馮漢紀先生的攝影和作品恰好是他 游走在他多重身份和中西經歷之間的投影。

BETWEEN CHINA AND WEST

photography in the beginning of this century, he did not resist the coming of the digital age nor with an obsession for the age of films, like most people of his generation. On the contrary, he actively studied digital imaging and explored the relationship between the limits and freedom of traditional and digital photography.


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國家的中心之中。緊接著,馮漢紀在1981年 又開始了絲綢之路的觀看之旅,1983年又進 行了中國西部的大範圍旅行。他拍攝了大量 的影像,深入地對這些地區進行了風物與人 文的攝影考察。馮漢紀先生的這些影像,在 今天看來非常珍貴。因為當時的大陸攝影人 還不習慣以平實的眼光攝影自己,所以雖然 熱鬧起來的公眾攝影熱,並沒有改變固有的 攝影意識。其結果,一個偉大的歷史身影變 得殘缺不全了。而馮漢紀先生這個方向上的 攝影,屬於是這段歷史圖片庫中重要的補遺 部分。 1986年和1987年之間,馮漢紀先生在赴美進 修之間,將自己的眼光放在中西之間文化的 思考上。他看到在美國生活的華人社區,有 著強烈早期殖民主義色彩的“唐人街”。他 透過唐人街那些帶有古老中國傳統色彩的店 鋪,看到了移民過來的華人在異質文化社會 中對自己故鄉文化情懷的堅持,以及華人“ 重商”的儒家文化是如何在大洋彼岸落地生 根的。這些場景在馮漢紀先生的鏡頭中充滿 了夢幻感,而且略顯悲傷。之後,他又把這 些影像與在之前中國西部所拍攝的影像進 行“並置(diptych)”,以期從圖像學上尋 找表面背後的文化淵源,看華人在空間和符 號使用上的異同表現。從以上這些作品的視 角上看,可以看出馮漢紀先生作為一個港人 對大中國文化傳統念茲在茲的拳拳之心。 馮漢紀先生的另一個身份是學術性的教師身 份。他曾長期擔任香港理工大學設計系攝影 學士課程副教授兼課程主任。也因此,他對 攝影影像的理解比一般香港攝影人的意識要 豐富很多。他作品中的《修飾寶麗萊》和 《蝴蝶夢》等系列,就是他從視覺和符號學 角度對影像的形而上思考。攝影是一個現代 的技術性媒介,除開它最為本質的紀實性之 外,攝取視覺形成影像的機制比繪畫還要復 雜很多。作為攝影教師的馮漢紀先生必須對 相關的所有的領域涉獵,才能完成教學的需 要。對於本世紀初凶猛而來的數碼攝影,馮 漢紀也沒有像與他同齡的多數人那樣,以對 於膠片時代的痴迷來抵抗數碼時代的來臨。

他積極進行數碼成像的研究,探究數碼與“攝 影”之間限制與自由的關系。 從馮漢紀先生幾十年的實踐中,可以看到“攝 影”與“數碼”這兩個改變人類認知的媒介技 術,在香港發展的部分歷史縮影。我們更可以 感到,一個以攝影為器的人生,此人就是馮漢 紀。


CHINA, MY CHINA 中國,我的中國 GU ZENG 顧錚 ALFRED KO CHI KEUNG 高志強 LEONG KA TAI 梁家泰

TIME/SPACE: BRIEF AS PHOTOS

DIALOGUE BETWEEN JOSEPH FUNG AND HIS CONTEMPORARIES 馮漢紀與當代攝影對話

CHICAGO YEARS 芝加哥歲月 WONG SUK KI 黃淑琪 WONG WO BIK 王禾璧

LAU CHING PING 劉清平 MAN LIM CHUNG 文念中

HOMECOMING 重歸故里 LAU POK CHI 劉博智 LAU WAI 劉衛 DUSTIN SHUM WAN YAT 岑允逸

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AVANT-GARDE VISION 前衛視野


TIME/SPACE: BRIEF AS PHOTOS

ARTIST 藝術家 Established photographer and educator, retired Associate Professor & photography course leader in the School of Design, Hong Kong Polytechnic University. Now Adjunct Lecturer, HKU SPACE. Curator of the 2007 Guangzhou International Photo Biennial, judging panel of the Hong Kong Art Biennial. Advisor of Hong Kong Museum of Art, the Heritage Museum, Hong Kong Art Development Council & “Aperture” magazine, New York. Work exhibited in China, Hong Kong Taiwan, USA, Canada, Finland, Scotland, Denmark, Japan and collected by Guangdong Art Museum, Heritage Museum & international organizations.

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資深攝影藝術家及教育家,香港大學SPACE客座講師,香港攝影 文化協會顧問。前香港理工大學設計學院副教授兼攝影系主任。曾 任2007廣州國際攝影雙年展策展人、香港當代藝術雙年展評委,亦 為香港美術博物館、香港文化博物館、香港藝術發展局及美國《光 圈》雜誌顧問。作品在中國及香港以外,曾於美國各州、加拿大、 芬蘭、蘇格蘭、丹麥、日本及荷蘭等地展出,亦獲香港文化博物 館、中國廣東美術館及海外國際機構所收藏。


BLUES WONG KAI YU 黃啟裕 Blues Wong contributes extensively as photography critic and independent curator. Wong’s literature was selected for Daido Moriyama’s ‘Reflection and Refraction’ exhibition catalogue (Asia One Books, 2012); he is also a contributor for the Hong Kong section of Martin Parr and WassinkLundgren’s ‘The Chinese Photobook: From the 1900s to the Present’ (Aperture, 2015). Wong have co-curated ‘Hong Kong Photography Series 2: City Flâneur - Social Documentary Photography’ (Hong Kong Heritage Museum, 2010), ‘Rediscovering Photography in Hong Kong’ (China Pingyao International Photography Festival, 2011), ‘Twin Peaks: Contemporary Hong Kong Photography’ (Hong Kong International Photography Festival 2014), ‘2014 Hong Kong and Macao Visual Arts Biennial’ (Hong Kong International Photography Festival 2014 and Ministry of Culture, Beijing) and ‘1000 Families Photography Exhibition’ (Hong Kong International Photography Festival 2016). Wong is one of the founding members of the Hong Kong Photographic Culture Association and museum expert advisor (Hong Kong photography) for the Leisure and Cultural Services Department.

黃啟裕從事攝影藝評及獨立策展工作。評論入選《反射與折射:森 山大道寫真展》場刋(Asia One Books,2012),他亦參與Martin Parr 和 Wassink Lundgren 編著《中國攝影書集》(Aperture,2012)的 香港部分。展覽策劃包括「香港攝影系列展覽二:城市漫遊者—社 會紀實攝影」(香港文化博物館,2010)、「再發現香港攝影」(中國 平遙國際攝影節,2011)、「屾︰當代香港攝影」(2014香港國際攝影 節)、「2014港澳視覺藝術雙年展」(2014香港國際攝影節、國家文化 部) 及「千戶攝影展」 (2016香港國際攝影節)。黃啟裕是香港攝影文 化協會創辦成員之一;現任香港特別行政區康樂及文化事務署博物 館專家顧問(香港攝影)。黃啟裕曾於香港、台灣、加拿大、法國 及德國舉辦攝影及版畫展覽;首本攝影編集《萬籟有光》於2007年 出版。黃啟裕的寶麗來作品被西九文化區 M+博物館收藏。

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Wong have participated in numerous group photography and printmaking exhibitions in Hong Kong, Taiwan, Canada, France and Germany; his first photo monograph “Mandala AfterDark” was published in fall, 2007. Wong’s Polaroids are acquired by the M+ Museum, Hong Kong West Kowloon Cultural District.

CHINA, MY CHINA

CURATOR 策展人


1 Shen Zhen, 1982 深圳,1982 2 Beijing, 1980 北京街頭,1980 3 Shen Zhen, 1982 深圳,1982

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CHINA, MY CHINA 中國,我的中國

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GU ZENG 顧錚

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RESPONDING ARTIST 回應藝術家

1

2

1 Sketch of Shanghai 2, 1982 上海速寫2,1982 2 Under the roof , 1987 上海屋檐下,1987


Research Fields: History of Chinese Photography, Contemporary Photography,20th Century Avant-garde Art.

Chinese

CHINA, MY CHINA

Born in 1959 in Shanghai, Ph.D.(Osaka Prefecture University, Japan,1998), Professor of the School of Journalism, Fudan University, Vice-director of the Research Center for Visual Culture, Fudan University. Photographer, Photo and Art Critic, Curator. Lives and works in Shanghai,China.

1959年生於中國上海。1998年獲取日本大阪府立大學人類文化研究科比較文 化研究專業博士學位。復旦大學新聞學院教授,復旦大學新聞學院視覺文 化研究中心副主任。攝影師,攝影及藝術評論家,策展人。於上海生活及工 作。專事中國攝影歷史,中國當代攝影以發二十世紀前衛藝術。顧氏現於中 國上海生活及工作。 研究範圍: 中國攝影史,中國當代攝影,二十世紀前衛藝術。

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RESPONDING ARTIST 回應藝術家

ALFRED KO CHI KEUNG 高志強

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1 Farmer’s hand , 1990-92 農夫的手,1990-92

2

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2 Boy with a Gun, 1990-92 執槍的小孩,1990-92 3 Cashier, 1990-92 收銀員,1990-92


In the late 1970s, Ko founded the FOTOCINE School of Photography and the Photo Centre as a nurturing ground for professional photographers in Hong Kong. Ko was named ‘Photographer of the Year’ by the Hong Kong Artists’ Guild in 1992, and his photo album Palace Museum – The Forbidden City won the ‘Champion Book of the Year’ and ‘Best Produced English Book’ awards from the Hong Kong Urban Council in 1982 and 1984 respectively.

CHINA, MY CHINA

Ko was born in Hong Kong and studied photography at the Banff School of Fine Arts in Canada. He returned to Hong Kong in 1977 . Since that year he has also taught part-time at the Hong Kong Polytechnic University’s Design/Photography Department, the Extracurricular Department of Chinese University, the H.K. Arts Centre, the First Institute and the Chingying Design School.

His solo exhibitions include ‘Monologue’ (1986) ‘Hong Kong, China’ (1993), ‘The Blues’ (1997), ‘Nocturne’ (2008) , ‘Agoraphobia’ (2012) & ‘Apart’ (2015). His works have been collected by the Hong Kong Heritage Museum and private collectors. Ko is a founding member, former Chairman and current Honorable member of the Hong Kong Institute of Professional Photographers. He is Chairman of the Hong Kong International Photo Festival 2013 to 2017.

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高志強於香港出生,於加拿大Banff藝術學院學習攝影。回港一直為自由攝影 人,同時亦開始分別任教於理工大學設計攝影系,香港藝術中心,中文大學 校外進修部,大一及正形設計學院 ; 七十年代末,與友人等創立影藝攝影學 校及攝影中心(Photo Center),致力推動攝影教育。高氏曾獲多個攝影獎項 包括 1992 年香港 藝術家聯盟頒發的「攝影家年獎」,其攝影集 [ 故宮 – 紫 禁城宮殿 ] 分別於 1982 年及 1984 年獲當時的香港市政局頒發「最佳書籍年 獎」及「最佳英文書籍獎」。高氏曾舉辦和參與多個本地及國際性的聯展 及個展,本地個展包括「中港印象」1993, 及「藍調」1997, [夜祭] 2008 及 [懼曠] 2012,作品為香港文化博物館及私人機構收藏,高氏為香港專業 攝師公會創會會員,曾任兩屆主席,現為該會榮譽會員。並由2013-17年擔任 香港國際攝影節主席。


TIME/SPACE: BRIEF AS PHOTOS

RESPONDING ARTIST 回應藝術家

LEONG KA TAI 梁家泰

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1 The Great Wall, 1990 長城,1990 2

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2 Red Scarf , 1984 紅領巾,1980 3 Backstage, 1989 後台,1989


Returning to Hong Kong in 1976, he set up his studio and subsequently combined photography with extensive travel, especially in China. Since then his photographs have been exhibited in America, Europe, and New Zealand. They have been published in numerous magazines, notably National Geographic and GEO. He has won local and international awards. He has published 11 photo books of his personal work, and 10 more in collaboration with other photographers.

CHINA, MY CHINA

Leong Ka Tai has been a professional photographer for over 30 years. Born in Hong Kong, he studied engineering at university in the USA and later worked in England. It was during a sojourn in Paris in the early 1970s that he discovered the artistic capabilities of the camera.

He is a founding member and the chairman of the Hong Kong Institute of Professional Photographers (1992-4), and a founding member and chairman of the Hong Kong Photographic Culture Association, organizing the Hong Kong Photo Festival 2010 and Hong Kong International Photo Festival 2012.

梁家泰從事專業攝影師工作超過三十年。他生在香港,於美國大學修讀 工程,後到英國工作;七十年代初旅居巴黎期間,他發現了攝影機的藝 術潛能。 一九七六年,梁家泰回港並建立自己的攝影室。他以攝影融入旅程,遊歷 甚 廣,尤其是中國各地。作品在兩岸三地,歐美,澳紐都有展覽,也刊登 於國際知名雜誌,如《國家地理雜誌》、《GEO》等。他曾榮獲多個本地 及國際獎項 。至今已出版十一本個人攝影集及十本集體創作。

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他是香港專業攝影師公會創會會員及主席(1992-4),及香港攝影文化協會創 會會員及主席,安排2010年香港攝影節及2012年香港國際攝影節。


1 Teenager Punks at Medusa Disco, 1985 少年龐克@ Medusa 的士高,1985 2 In a Cage, 1986 在籠內,1986 3 William Opdyke, 1985 威廉.奧普戴克,1985

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CHICAGO YEARS 芝加哥歲月

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CHICAGO YEARS 1

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1

WONG SUK KI 黃淑琪

1 Untitled, 2006 無題,2006 2 Untitled, 2005 無題,2005

3

3 Untitled, 2006 無題,2006


CHICAGO YEARS

Dedicated to manifest the exploratory journey on family, the place of birth, and various kinds of emotions through creative practices, as well as publishing and cultural creative events curation and organization. Ki established an independent publishing group “29s” (2003 – 2007). Her published works include her own photographic catalogue Collector (2006); pocket size book series Animal Walk (2007); an international distributed photography and culture magazine called KLACK (2009 – 2012) and A Living Space (2013). She is formerly a lecturer at the Academy of Visual Arts of Hong Kong Baptist University, and the program director of through Our Eyes (TOE) Photography Education Programme.

以創作來彰顯對家庭、出生地方及情感的探索,致力出版及策劃文化創作 活動。成立「廿九几」出版團體(2003﹣2007),出版作品包括個人影集 《蒐》(2006)、《動物彳亍》(2007)、《咔》攝影文化誌 (2009-2012) 及《可 以居》(2013)。曾為香港浸會大學視覺藝術院講師(2008﹣2018)及「 憧憬世界」攝影教育計劃總監(2013﹣2018)。

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RESPONDING ARTIST 回應藝術家

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WONG WO BIK 王禾璧

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1-3 Untitled, Selection from MINDSCAPE series, 1977 無題 , 摘自〈思域〉系列 ,1977


Wong was awarded the Hong Kong Women Excellence in the Six Arts from Hong Kong Federation of Women in 2013 and the Certificate of Commendation from the Secretary of Home Affairs, Hong Kong for the promotion of art in 2010. Wong is one of the founding members of Hong Kong Photo Festival (Hong Kong Photographic Culture Association), and she has been the Museum Honorary Advisor for the Leisure and Cultural Services Department since 1996. She is also the fellowship recipients of Asian Cultural Council (ACC) and Institute of International Education (IIE) in 1994 and 1995 respectively for the research of arts organization and arts education for a total of 4 months.

CHICAGO YEARS

Hong Kong artist Wong Wo Bik received her BFA and MFA degree in fine arts and photography respectively in 1977 and 1979 in U.S.A. She has had a long and active career as a photographer, media artist, curator, art administrator and art educator. Her instant photographic book, “Color & Consent”, was published by Polaroid Corporation USA/HK in 1983. Her second book, “Hong Kong/China Photographers (four) – Wong Wo Bik, was published by AsiaOne Publishing in 2009.

Her photographic works constantly reveal cultural and artistic issues including city architecture and daily livelihood, conflict and balance, fabrication and reality. Recently, she created video works with still photographs, music and narration to transcend altered reality. Since 1977, she has participated in more than 15 solo and 100 group exhibitions. Her works are collected by Hong Kong Heritage Museum, HK M+, Guangdong Museum of Art, Guangzhou, China, The Archive of Modern Conflict, London, U.K. and private collectors both in Hong Kong and U.S.A.

王氏於2013年獲香港婦協頒「香港六藝卓越女性」獎及2010年獲民政事務局 頒「嘉許狀」表揚藝術文化貢獻,2012年為香港國際攝影節創會會員,自 1996年開始為香港康樂及文化事務署博物館專家顧問。她分別於1993年及 1995年獲亞洲文化協會(ACC)及國際教育協會(IIE)獎助前往美國合共4個月的 藝團及藝術行政的研究。 王氏大部份作品展現城市建築與民生、衝突與平衡、建構與真實等議題。近 年創作了以攝影影像、音樂及敘文的錄像作品。自1977年開始,她參與了超 過15個個展及100個聯展。她的作品為香港文化博物館、香港M+藝術館、中 國廣東美術館、英國倫敦現代衝突資料庫、本地及美國私人收藏家收藏。

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香港藝術家王禾璧獲美國藝術學院分別於1977及1979頒純藝術學士及碩士學 位。她在攝影及媒體藝術、策展、藝術行政及藝術教育方面具有漫長而積極 的職業生涯。個人作品集包括「色與尚」(寶麗萊遠東有限公司出版-1983)及 「香港/中國攝影家系列#4 -王禾璧,香港宏亞出版有限公司出版, 2009」。


1 East West Diptych, 1986-89/2013 東西對幅,1986-89/2013 2 Butterfly Fossil, 1999 蝴蝶化石,1999 3 Airbrush Room Series, 1988 噴筆房系列,1988

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AVANT-GARDE VISION 前衛視野

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AVANT-GARDE VISION 1

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RESPONDING ARTISTS

RESPONDING ARTIST 回應藝術家

GU ZENG

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LAU CHING PING 劉清平

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1 NûNāHéDuō (Dislocation) Volume Four, Number Four. Published on March 15 1995. “on Censorship” issue. 娜移第四卷第四期。1995年4月15日隨 「攝影畫報」發行。“On Censorship” 專號。 2 NûNāHéDuō (Dislocation) Volume Four, Number Five. Published on May 15 1995. This issue features works by Warren Leung and Alfred Ko. 娜移第四卷第五期。1995年5月15日隨「攝影畫 報」發行。本期發表梁志和、高志強作品。

3

2 NûNāHéDuō (Dislocation) Volume Four, Number Six. Published on June 15 1995. This issue features works by Kith Tsang and Holly Lee. 娜移第四卷第六期。1995年6月15日隨「攝影畫 報」發行。本期發表曾德平、黃楚喬作品。


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生活於香港,從事攝影、設計、教育和創作。 曾於香港理工太古設計學院學習設計和攝影。 現為香港國際攝影節主席 (2018-) 。 曾任《娜移》攝影藝術雜誌編委成員;香港中文大學、香港大學專業進修學 院、香港藝術學院、光影作坊、香港文化博物館、M+博物館兼任講師。 曾參與展覽包括:「香港:人與環境」(1984)、香港「城市變奏:香港藝術 家西方媒介近作展」(1992)、「當代香港藝術雙年展」(1992)、「中、港、 台當代攝影展」(1994)、「香港論」(1998)、「香港觀記」(2005)、香港文 化博物館「城市漫遊者」(2010)、「I Think It Rains: Burger Collection’s Quadrilogy 2」(2013);連州國際攝影年展(2006)、平遙國際攝影節 (2011 & 2014)、韓國首爾Total Museum of Contemporary Art「相對性都市」(2013)。 為WYNG Masters Award 特別委約攝影獎(空氣計劃)得主 (2013-2014)。 2017出版《薄如空氣》攝影集。 作品為廣東美術館、香港文化博物館、Google Art Project藝術計畫及私人 收藏。

AVANT-GARDE VISION

Live in Hong Kong, makes creative work on photography, design and education. Lau studied design and photography in the Swire School of Design of HK Polytechnic (now HK Polytechnic University). He is the current chairman of HK International Photo Festival (2018-). He had been co-editor of photo art magazine ‘Dislocation’, part-time lecturer of the CUHK, HKU Space, HK Art School, Lumenvisum, HK Heritage Museum and M+ Museum. His works was exhibited in “Hong Kong: Man and Environment” (1984), “City Vibrance : Recent Works in Western Media by Hong Kong Artists” (1992), “Contemporary Hong Kong Art Biennial” (1992), “Contemporary Photography from Mainland China, Hong Kong and Taiwan” (1994), “On Hong Kong” (1998), “Hong Kong Four Cast” (2005) ,’City Flâneur: Social Documentary Photography’ (2010) at HK Heritage Museum, ‘I Think It Rains: Burger Collection’s Quadrilogy 2’ (2013) , “Lianzhou Int’l Photo Festival” (2006), Pingyao Int’l Photo Festival (2011 & 2014), ‘Relativity in City’ (2013) at the Total Museum of Contemporary Art in Seoul. WYNG Master Award AIR Project Winner (2013-2014). “Thin as air” Photo art book published (2017). His works are collected in various institutions, including the Guangdong Museum of Art, the Hong Kong Heritage Museum, Google art project and private collectors.


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RESPONDING ARTIST 回應藝術家

Installation sketch, 2018 裝置草圖, 2018

MAN LIM CHUNG 文念中


AVANT-GARDE VISION

After graduated from Hong Kong Polytechnic University School of Design in 1991, Man joined the film industry and worked with Tong Au Ding Ping and William Chang Suk Ping on film art design. He had been nominated by Hong Kong Film Award and Taiwan Golden Horse Awards as “Best Art Direction” and “Best Costume Design” for many times. Main works include: Jeffrey Lau Chun-Wai and Alan Mak Siu-fai “Confession of Pain” and “Overheard I, II & III”, Yeung Fan’s Colour Blossoms, Ann Hui On Wah’s “July Rhapsody”, “the Golden Era”, “Our Time will Come”, Feng Xiao Gang’s “If You are the One I & II”, Xu Zheng’s “Lost in Hong Kong”, Sylvia Chang Ai Jia’s “Tempting Heart”, “20,30,40”, “Love Education”, etc. Apart from local filmmaking activities, Man also involves in an array of creative practices in Mainland China and Taiwan, including album cover design, concert styling, commercial ads art direction and interior design.

1991年畢業於香港理工大學設計系後加入電影工作,其後跟隨區丁平、張 叔平等參與多部電影之美術設計。多次獲得香港電影金像獎及台灣金馬獎 最佳美術指導及最佳造型設計的提名。主要作品包括:劉偉強和麥兆輝執 導的《傷城》和《竊聽風雲I, II&III》、楊凡的《桃色》、許鞍華的《男人 四十》《黃金時代》《明月幾時有》、馮小剛的《非誠勿擾I&II》,徐崢 的《港囧》、張艾嘉的《心動》《20,30,40》《相親相愛》等。除了參與本 港的電影外,還負責不少中國大陸和台灣的多元化創作,作品包括唱片專 輯封面,演唱會造型、廣告美術及室外設計。 2000年憑《心動》獲得香港電影金像獎最佳美術指導 2013年憑《聽風者》獲得亞洲電影大獎最佳造型設計 2015年 憑借《黃金時代》獲得香港電影金像獎最佳服裝造型設計 2018年憑《明月幾時有》獲得香港電影金像獎最佳美術指導

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HOMECOMING 重歸故里 1 Untitled, 2017 無題,2017 2 Untitled, 2017 無題,2017 3 Untitled, 2017 無題,2017


HOMECOMINGARTISTS RESPONDING 1

3

LAU POK CHI P.54 2


TIME/SPACE: BRIEF AS PHOTOS

RESPONDING ARTIST 回應藝術家

LAU POK CHI 劉博智

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Two Face Mao, Shanghai , 2007 兩面毛, 上海,2007

Pok Chi Lau was born in 1950 in a lower middle class area of Mongkok in Hong Kong. He emigrated to Canada in 1969 after secondary school where his interest in social documentary photography began. He gained his Bachelor’s Degree of Professional Art from Brooks Institute in 1975, and earned his Master’s degree from California Institute of the Arts in 1977. In the same year, Lau started to teach social documentary photography at the University of Kansas. Now a Professor Emeritus of PhotoMedia at the University of Kansas, he lives in Lawrence, Kansas, USA. Since 1968 Lau’s work focused on the topic of Chinese Diaspora outside and inside China covering large geographic spans in Asia, North and Central Americas. From 2009, he made multiple trips to SE Asia and Cuba where he devoted efforts to raise funds to bring 2 Cuban Chinese performers to China and conducted extensive research on 19th century Chinese indentured workers to Cuba.


HOMECOMING

Pok Chi Lau’s solo and group exhibitions : Simultaneous Edios, (Guangdong Museum of Art Triennial 2018), Floating Genes: Immigrant Stories of Cuba (R Space, Vancouver, B.C. Canada, 2017), Askien-Skeleton of Guangzhou Images, Jimei Arles 2016 (Xiamen, China, 2016), One Heart, (Dishman Museum of Art, Texas, USA, 2014), Flow China (Guangdong Museum of Art, Guangzhou, 2008), Deep in Chinatown, (Les Recontres d’Arles, France, 1999). Points of Entry - A Nation of Strangers ( High Museum, Jimmy Carter Presidential Art Museum, Eastman Kodak Museum of Photography, New York Jewish Museum and Immigrating Museum, Ansel Adams Center for Photography, 1995-98, Pleasures and Terrors of Domestic Comfort, The Museum of Modern Art, L A County Museum of Art. Books published: Dreams of Golden Mountain, Flow China, and Dream Seekers in the Golden Mountain, Details of Southern Homes, Red Wall. Collections: The Houston Museum of Art, Center for Photography San Diego, Center for Creative Photography, Tuscon, Arizona, The Guangdong Museum of Art, Shatin Museum of Heritage Culture, Hong Kong.

1950年生於香港旺角中下層階級,中學成績欠佳。香港沒活路,1969年赴加 拿大讀書,1975年取得美國布魯克斯攝影學院職業學士學位,1977年獲美國 加州藝術學院碩士學位,開始以海外僑民生活及其下一代之繁衍為主題,後 以中國後文革丶改革開放及人民流散等為題材, 歷時五十年,主要地域在北 美,中美,中國大陸,東南亞和古巴。1977年起在美國堪薩斯大學講授紀實 媒體攝影學,現為該校榮休教授,居於美國堪薩斯省。

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主要個展及群展包括:”復相-疊影”廣東美術館三年展(2018);“漂浮的 基因:劉博智鏡頭中的移民故事”(融空間,溫哥華,2017);“問渠 —— 50年廣州城市影像脈絡”;集美·阿爾勒國際攝影季(廈門,2016);”一 心”德州廸士民美術館(2014); “流動·中國:劉博智攝影展”(廣東美 術館,廣州,2008);“只有皮膚那麼厚:在改變中的美國視野”(紐約國 際攝影中心、西雅圖藝術博物館,美國,2003-2005);“唐人街的深處”阿 爾勒國際攝影節(法國,1999)。”入點 -- 一個國家的陌生人”(亞蘭達總 統美術館,邁阿密藝術中心,紐約猶太博物館、移民博物館,依士邁攝影博 物館,三藩市亞當斯攝影中心,1995-98);“家居的快樂和恐怖”(洛杉機 郡美術館,紐約現代美術館,1991-93)。攝影集:《再夢金山》、《流動中 國》、《金山尋夢》、《紅牆》、《南國細節》。收藏於:廣東美術館, 美 國聖西牙歌攝影中心,阿力桑那攝影創意中心,侯斯頓美術館,巴黎國立圖 書館,香港沙田文化博物館。


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RESPONDING ARTIST 回應藝術家

2

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1

LAU WAI 劉衛

1 1968 Beijing # Sisters, Selection from Album series, 2014 1968 北京 #姐妹,摘自〈相冊〉 系列,2014 2 1968 Beijing # Badges, Selection from Album series, 2014 1968 北京 #襟章,摘自〈相冊〉 系列,2014 3

3 1979 HongKong # Company Dinner, Selection from Album series, 2014 1979 香港 #公司聚餐,摘自〈相 冊〉系列,2014


HOMECOMING

Lau Wai currently lives between Hong Kong and New York. Her works primarily explore the relationship between narratives in history and personal memories, as well as how collective and individual consciousness, gender and cultural representations are formed. She draws inspiration from personal and historical materials, as well as popular cultures. She graduated from Goldsmiths, University of London with a bachelor’s degree in Fine Art, currently studying in Visual Arts MFA program at Columbia University. Her works were exhibited at Para Site, Art Basel Hong Kong 2017 (Hong Kong, China, 2017); OCAT Shenzhen (Shenzhen, China, 2016, 2018) ; OCAT Shanghai (Shanghai, China, 2017); Brandts Museum (Odense, Denmark, 2016); Les Photaumnales 2016 (Beauvais, France, 2016); Institute of Contemporary Arts, Singapore (Singapore, 2016); Para Site (Hong Kong, China, 2015); Three Shadows Photography Art Centre (Beijing, China, 2015); Echigo Tsumari Art Triennale (Echigo Tsumari, Japan, 2015) etc. Her works are collected by The Museum of Fine Arts, Houston (U.S.A.), The Warden’s Collection, Goldsmiths, University of London (U.K.) and private collectors.

劉衛現生活於香港及紐約。她的作品主要關注歷史上的敘事與個人記憶之間 的關係,以及集體與個人意識,性別與文化表徵如何形成。她從個人和歷史 材料以及流行文化中獲得啟發。她畢業於倫敦大學金匠學院,獲純藝術學士 學位 ,現於美國哥倫比亞大學 視覺藝術碩士學位課程就讀。

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作品展出於ParaSite藝術空間,2017巴塞爾藝術展香港展會(中國香港,2017 )、OCAT當代藝術中心深圳館(中國深圳,2016,2018)、OCAT當代藝 術中心上海館(中國上海,2017)、Brandts博物館(丹麥歐登塞,2016); Les Photaumnales 2016(法國博韋,2016)、當代藝術中心(新加坡,2016 )、Para Site 藝術空間(中國香港,2015)、三影堂攝影藝術中心(中國北 京,2015)、大地藝術祭(日本新潟縣,2015)等。她的作品被美國休斯頓 美術博物館、The Warden’s Collection 倫敦大學金匠學院以及私人收藏。


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RESPONDING ARTIST 回應藝術家

2

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DUSTIN SHUM WAN YAT 岑允逸

3

1 Shenzhen, Selection from Themeless Parks Series, 2/2006 深圳,摘自〈係.唔係樂園〉 系列, 2/2006 2 Bolou, Selection from Themeless Parks Series, 2/2006 博羅,摘自〈係.唔係樂園〉 系列, 2/2006 3 Baoan, Selection from Themeless Parks Series, 2/2006 寶安,摘自〈係.唔係樂園〉 系列, 2/2006


HOMECOMING

Dustin Shum was born and currently lives in Hong Kong. He graduated from the Hong Kong Polytechnic University in 1994 with a Bachelor of Arts (Honours) Degree in Photographic Design. A photojournalist for more than ten years, he now works as a freelance photographer. Shum has received many awards for outstanding documentary photography over the years, including those by the Newspaper Society of Hong Kong, the Hong Kong Press Photographers Association, World Association of Newspapers and Publishers, and Amnesty International. In his work, Shum focuses on the relationship between individuals and urban spaces, the living conditions of local disadvantaged groups, and the transformation of Chinese cities and towns in rapidly developing economy. His works have been exhibited in solo and group shows locally and internationally, and have been collected by the San Francisco Museum of Modern Art, the Hong Kong Heritage Museum, and private collectors. In Jan 2013 he co-founded The Salt Yard, an independent, artistrun exhibition space dedicated to photography, where he curated a number of exhibitions by overseas and local photographers.

岑允逸出生及現居於香港,1994年獲香港理工大學攝影設計(榮譽)學士,曾任 攝影記者超過十年,現為自由攝影師。曾獲多項紀實攝影獎,包括由香港報 業公會、香港攝影記者協會、亞洲傳媒大獎及國際特赦組織等機構舉辦的新 聞業界獎項。

除個人創作外,他於2013年初創辦攝影展覽空間「The Salt Yard」(www. thesaltyard.hk),參與策展多個海外及本地攝影師的作品展覽。 岑亦經常以筆名「Fotopiggie」或個人名義發表有關攝影論述的文章,詳見 「攝影豬影像隨筆」:http://fotopiggie.blogspot.com

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岑允逸多年來的創作主要探討個人與都市生活空間的關係,本地弱勢社群的 生存狀態,以及當代中國在經濟急遽發展下的城鎮面貌。他曾舉辦多個個人 的主題展覽,及參與過眾多本地及國際的攝影節及聯展,作品為美國三藩市 現代美術館、香港文化博物館及私人收藏。


TIME/SPACE: BRIEF AS PHOTOS

THANK YOU FOR YOUR SUPPORT! 感謝你的支持!

ORGANIZER 主辦

GRANT 資助 Hong Kong Photographic Culture Association Limited is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region

香港攝影文化協會有限公司獲香港特別行政區政府 「藝術發展配對資助計劃」的資助

CO-PRESENTER 合辦

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SPONSOR 贊助

OUTPUT SUPPORT 輸出支持

CATALOGUE PRINTING SUPPORT 場刊印刷支持

VIDEO SHOOTING VENUE SPONSOR 拍攝場地贊助


CHINESE TRANSLATION 中文翻譯 NAOMI CHIU 趙紀瑩 CHAN WING CHOI 陳永財 CAROL CHOW 周佩霞 ENGLISH TRANSLATION 英文翻譯 HO YUE JIN 何禹旃 EXHIBITION DESIGN 展覽設計 STUDIO WMW EXHIBITION VENUE SET UP 展覽場地裝置 RED DESIGN COMPANY 紅設計制作公司 B/W PHOTOGRAPHY DARKROOM SUPPORT 黑白相片黑房沖晒支持 STANLEY CHUNG 鍾易理

PROMOTION VIDEO DIRECTION, CINEMATOGRAPHY AND EDITING 宣傳錄像導演、攝影及剪接 MICHAEL TANG 鄧梓健 SOUND DESIGNER 聲音設計 AMY CHAN 陳芷君

TIME/SPACE: BRIEF AS PHOTOS

TIME/SPACE: BRIEF AS PHOTOS PROJECT TEAM 時/空: 暫如照片工作人員

ARTIST DIALOGUE VIDEO PRODUCTION TEAM 藝術家對談錄像工作人員 DANIEL CHAN 陳爾德 CAROL CHENG 鄭珈洛 ELVIS CHUNG 鍾子建 AGNES LAM 林詠恩 TOMMY LAW 羅展翃 VINCENT MAK 麥兆豐 KELVIN SIU 蕭頌衡 ANSON WONG 黃揚 CANDY WONG 黃芷清 PRODUCTION MANAGER 製作經理 CAROL CHOW 周佩霞

PROMOTION MATERIAL AND CATALOGUE GRAPHIC DESIGN 宣傳品及場刊平面設計 IRENE SIU OI YI 蕭靄兒

Hong Kong International Photo Festival is a signature project of Hong Kong Photographic Culture Association Limited. The content of these activities does not reflect the views of the government of the Hong Kong Special Administrative Region. 香港國際攝影節為香港攝影文化協會有限公司的重點項目。活動內容並不反映香港特別行政區政府的意見。

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CATALOGUE PRINTING SUPPORT 場刊印刷支持 AMBER CONCEPT LIMITED


TIME/SPACE: BRIEF AS PHOTOS

PUBLIC PROGRAMMES 公眾活動

12.4 7:00-8:30pm

DIALOGUE BETWEEN CONTEMPORARY PHOTOGRAPHY OF HONG KONG AND MAINLAND CHINA 香港與中國內地當代攝影對話

12.16 3:00-4:30pm

DIALOGUE BETWEEN JOSEPH FUNG AND HIS CONTEMPORARIES 香港與中國內地當代攝影對話

VENUE 地點 PAO GALLERIES, HONG KONG ARTS CENTRE 香港藝術中心包氏畫廊 SPEAKERS 主講 BAO KUN 鮑昆 JOSEPH FUNG HON KEE 馮漢紀 LAU POK CHI 劉博智 LANGUAGE 語言 IN CANTONESE AND MANDARIN 粵語及國語

VENUE 地點 PAO GALLERIES, HONG KONG ARTS CENTRE 香港藝術中心包氏畫廊 SPEAKERS 主講 JOSEPH FUNG HON KEE 馮漢紀 EDWIN LAI KIN KEUNG 黎健強 BLUES WONG KAI YU 黃啟裕

PUBLIC PROGRAMMES

LANGUAGE 語言 CANTONESE 粵語

12.8, 12.9, 12.15, 12.16

TIME/SPACE: PUBLIC GUIDED TOURS 時/空:公眾導賞團

VENUE 地點 PAO GALLERIES, HONG KONG ARTS CENTRE 香港藝術中心包氏畫廊 TIME 時間 3:00 • 4:00pm (approx. 30 minutes for each section 每節約30分鐘) LANGUAGE 語言 CANTONESE 粵語

Time/Space: Brief as Photos Exhibition Catalogue  

With his forward-looking vision of photographic art, Joseph Fung Hon Kee has been a key figure in the contemporary art world of Hong Kong an...

Time/Space: Brief as Photos Exhibition Catalogue  

With his forward-looking vision of photographic art, Joseph Fung Hon Kee has been a key figure in the contemporary art world of Hong Kong an...

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