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藝 術 家 的 話

黃修平 電影導演

ifva 十年誌 《藝訊》2004 年 12 月

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QUOTE FROM ARTIST

創作應該是一件最自私 而又是最無私的事情。 創作也應該是很認真地去 做一件不太認真的事情。

Making art should be the most selfish yet at the same time the most selfless action. It should also be an unserious event that requires a lot of seriousness.

Adam Wong Film Director ifva 10 Year Retrospective ArtsLink, Dec 2004


FOREWORD

Contents

Foreword

專題故事 Feature Story

香港是其中一個舉行最多不同類型藝術節目的國際城市,由視

目錄

總幹事的話

覺藝術、公共藝術以至表演藝術俱備,本地和世界各地的藝術家 以各種形式合作,跨越文化界限。 香港藝術中心很高興能繼續為本地藝術界擔當多重角色,包

ifva 及香港短片新里程特輯̶̶我的獨立影像 ifva and Hong Kong Short Film New Action Express (NAE) Special – My Independent Moving Images

括推廣者、培育藝術家及文化交流的平台。我們的重點節目如 《收藏家當代藝術藏品展》、《ifva 獨立短片及影像媒體節》、 《香港國際聾人電影節》、《文化按摩師》及《開放日》以及旗下 的香港藝術學院將繼續在今季發放無盡的創意。

動向 Happenings

林淑儀

香港藝術中心總幹事

Hong Kong is one of the international cities that provide diverse art programmes, ranging from visual art,

沙粒中看世界 To see the world in a grain of sand

public art to performing art, featuring both local and international artists in various forms of collaboration Photo by Leo Yuen

幕後人語 Backstage

across different cultures. HKAC is delighted to continue to play its roles as a promoter of the local art scene, an incubator of artists, as well as being a platform for cultural exchange. Our signature programmes such as the Collectors’

見證更替 人留也留情̶̶董紹明 The enduring pillar – Catherine Tung

Contemporary Collaboration (CCC), ifva Festival, Hong Kong International Deaf Film Festival, Cultural Masseur and Open House, together with our education arm,

節目表 Event Calendar

HKAS, will continue to unleash infinite creativity in this season. Connie Lam Executive Director, Hong Kong Arts Centre

設計 Art Direction

Edited.hk

編輯・出版・發行

Editorial・Publishing・Distribution 香港藝術中心 Hong Kong Arts Centre 香港灣仔港灣道二號八樓

8/F, 2 Harbour Road, Wan Chai, Hong Kong 電話 Tel: 2582 0200 傳真 Fax: 2802 0798 網頁 Website: www.hkac.org.hk Facebook: Hong Kong Arts Centre

香港藝術中心

Hong Kong Arts Centre 名譽贊助人 Honorary Patron

中華人民共和國香港特別行政區行政長官 林鄭月娥女士,大紫荊勳賢,GBS The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM, GBS The Chief Executive Hong Kong Special Administrative Region People’s Republic of China 名譽主席 Honorary President 包陪麗女士 BBS

Ms. Cissy Pao Pui-lai, BBS 監督團主席 Chairman, Board of Governors 楊余夏卿女士

Mrs. Dominica Yang 總幹事 Executive Director 林淑儀女士

Ms. Connie Lam


專 題 故 事

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自主與尊重讓創作不再孤單 ̶

Mak Siu-fung: Autonomy and respect cure an artist’s loneliness

麥少峯

我的獨立影像 ̶̶

ifva and Hong Kong Short Film New Action Express (NAE) Special – My Independent Moving Images

及香港短片新里程特輯 ifva

港動漫畫及雕塑創作人麥少峯,近月忙於宣傳全新鬼故 漫畫合集《灰飛不滅》,日程表緊湊,可是當他接獲 ifva

團隊的訪問查詢,還是二話不說即時安排時間, 「對我來說 ifva 從來不只是比賽,更像『Perfect Match』的友好。」 跟麥少峯初會,感覺「人如其畫風」,說話簡而精、分析頗 理性、神色略肅穆,想不到,當他談及跟 ifva 多年相處,言調 突然變得感性又溫柔,「在香港做創作,猶如飄盪於大海,一直 游、一直游,很難看到哪裡是岸。」累嗎?「當然!偶爾還很孤 獨。」特別是他的作品,像曾獲選 ifva 動畫組金獎的《Back to

Base》(第 16 屆)和《Disposition》(第 20 屆)等,經常被 坊間冠上「另類」之名,似乎也將其創作處境推向邊緣,「我的 風格好另類?那是相對的觀感罷。客觀來說,比起迪士尼等兒童 向動畫,我的動畫自然不夠老幼咸宜;但主觀去看,相對丸尾末 廣《少女椿》等偏鋒極端之作,我的動畫不過有些殺人或輕量血

盛行,但自己卻不愛這類「榕樹頭式直白講故事」手法,更嚮往 電影感重、畫功精細的日本動漫,還有視效鮮明、畫風狂放的歐 美動漫,於是離開《小強漫畫集》的助理職務後,他將整副港元 身家兌換成日圓,前往當地當窮苦學生習藝,再回港做土炮動漫 作品。 「創作人的狀態會透過作品呈現。你興奮畫的東西會興奮, 你憤慨畫的東西也會憤慨。做作品必須先自我理解,絕不是由 世界定義了你是誰,才去接受自己是怎樣的人。」麥少峯說無 意追隨市場走向,「以前環境旺易賺錢,我尚且不跟主流,更何 況現在什麼題材都不賣座,何不更專注去做自己想做的事?」 他微笑。

使參加同一個比賽,假如你我他的目標不一樣,所經歷的 考驗、遇上的人事,以及獲取的感受,結果皆會不盡相同。

年份和界別的「ifva 過來人」:麥少峯、應亮、岑珈其和黃飛鵬, 將以迥異的角度與誠實的態度,分享他們於 ifva 獨一無二的個 人經驗,並由此拆解「我的獨立影像」是怎樣的一回事。

F E AT U R E S TO RY

H

縱然明知外界有此印象,可是麥少峯不曾打算遷就市場作

定的框架,發掘獨立自主新力量為宗旨。今期幾位來自不同參賽

Text: Cheung Ko Cheung Independent journalist / Freelance writer

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改變。早於 90 年代入行,他已想清楚任憑薄裝港漫與武打題材

及影像媒體比賽)一直以來,就以爲香港影像創意産業,打破既

獨立文化記者 / 自由撰稿人

專 題 故 事

腥,可謂極之小兒科啊!」他理性地分辨差異。

然而,這絕非「壞」事,反而可迸發火花,因此 ifva(獨立短片

文:張高翔

F E AT U R E S TO RY

ong Kong comic artist and sculptor Mak Siu-fung has been busy promoting his new collection of ghost-themed comics, Ashes to Ashes Not, during the past few months. Amid his tight schedule, he was quick to agree to a time for an interview with the ifva team. “For me, the ifva was never only about the competition. It was like finding a ‘perfect match’ for a friend.” Mak exuded the same aura as his comics. Concise in speech, rational in thinking, and slightly stern in expression. Nonetheless, as he began to recount his history with the ifva, his voice softened with reminiscence: “Being an artist in Hong Kong is like floating in an ocean. You keep wading through the waves but struggle to catch sight of the shore.” Did you ever get tired? “Of course, and often lonely.” Even his Gold Award winners of the Animation Category, Back to Base (16th ifva) and Disposition (20th ifva), were often dubbed as “alternative” and cast to the fringe by the general audience. “Is my style really alternative? It’s all relative. Objectively, if you compare my animations with children-oriented Disney cartoons, then I agree that they’re not for all ages. But subjectively, I believe works like Hiroshi Harada’s Shojo Tsubaki are much more extreme. My works contain only mild gore and moderate violence and are definitely incomparable to Harada’s work,” Mak said. While Mak was fully aware of the general perception of his works, he had no intention to alter his style to suit the taste of the market. Even when he first set foot in the industry in the 90s, he was resolute to not bow to the popular trend of simple film adaptations of kung-fu-themed Hong Kong comics. Instead of stories overloaded with action, he preferred the cinematism and craftsmanship of Japanese anime, as well as the strong accentuation and the untamed style in Western animations. He eventually left his assistant position at “Siu-keung Comics Magazine”, exchanged all his assets into the Japanese Yen, and left for Japan as a lowly student. When he returned to Hong Kong, he set his mind on producing local anime. “You can always glimpse into the artist’s state of mind through their work. When you are drawing

C

andidates competing in an event often carry different personal goals. As a result, their experiences, people they meet, and their overall perceptions vary. However, this is not by all means negative. Differences can inspire – which is precisely an aim of the ifva (The Incubator for Film and Visual Media in Asia) to break the rules and to uncover new talent for the Hong Kong moving images industry. This issue features four alumni of the ifva, Mak Siufung, Ying Liang, Kaki Sham, and Wong Fei-pang, each having participated in a different year and category of the competition. Through their diverse vantage points yet brutal honesty, we get a glimpse of their unique experiences as well as what “My Independent Moving Images” is all about.

Back to Base


專 題 故 事

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參加比賽,不用顧忌誰看得明等基本問題,皆因評審懂得欣賞 和選擇,無論是我的作品,或其他參賽者的作品,都能得到尊 重,自然百花齊放;另外,我亦積極參與交流或講座,譬如有次 去 ifva 影像嘉年華,可跟熟悉動漫的同行江記(江康泉)和其 他漫畫迷對談,傾得到題又深入,好開心;或我不熟悉藝術行政 或管理,藝術中心的同事又會細心以『香港短片新里程』,協助 自己報名全球各地的動漫比賽或活動,協助將作品推廣到更適 合發展的領域,很窩心。」 麥少峯感觸,各方既可發揮想像,亦能有共識行事,是最美 滿的文化合作關係, 「ifva 給予我很大的強心針,實在感受到何 謂同行者的支援。以前游得無目的,現在游累了,起碼懂得到這 浮台,找朋友聊個天、問意見。聽罷大家的故事裡,我又知道不 只自己捱世界,根本人人都在努力中,於是不會那麼頹,亦更有 動力互撐、前行,沒那麼寂寞了。」

Mak also talked about his ideal mode of collaboration, where parties were allowed to be creative but had to agree on how to work together. “The ifva was a great affirmation to me and gave me ample peer support. I used to swim aimlessly in the ocean, but now I could at least come to this float when I’m tired. Chat to friends, ask for advice. When I listen to the experiences of others, I know I’m not alone in this toil but that we’re all working hard together. I become less discouraged and have the energy to support others in return or move forward. I’m less lonely now.”

獨立是別讓恐懼成為創意腳鐐 ̶

有 期 待 他 的 地 方,像 ifva 就 是 一 拍 即 合 的 單 位,「我 強 調 自 主,ifva 也如是,雙方理念吻合、沒有包袱,才能迸發火花。像

Ying Liang: Independence means not letting fear chain up your creativity

如某些港漫紅人般名利雙收,但正所謂有麝自然香,天下間總

something you are excited about, you get excited. If it’s something you are angry about, you get angry. You must examine yourself before you start, rather than simply giving in to how the world has defined you.” Mak restated his lack of intention to woo the market. “Even at the peak of the industry, when money came easily, I didn’t buy into the mainstream. Now that nothing sells anyway, what do I have to lose by doing what I like?” He said with a smile. A saying goes, “Show me your friends, and I’ll tell you who you are.” While Mak would probably never attain the fame and earnings of a celebrity comic artist, since he cared little for what the mainstream dictated, he found his niche and perfect match in the ifva. “I value autonomy and so does the ifva. Our matching ideals gave my inspirations space. When I participated in the competition, I did not have to worry whether the audience would understand my work, unlike working for the mainstream market. The jury was discerning and capable of appreciating and respecting the array of works, which then attracted an even wider stream of applicants. I was also active in joining seminars and other events, such as the Jockey Club ifva Everywhere, where I had an in-depth and pleasant conversation with Kongkee (Kong Khong-chang) and other comic fans. On the other hand, even though I’m not good with art administration, the staff at the HKAC were really kind to me. They helped me apply to different animation competitions and events around the world through the HONG KONG SHORT FILM: NEW ACTION EXPRESS. That was instrumental in launching my works through the right channels.”

專 題 故 事

9

應亮

「物以類聚」論理或是真的。雖則麥少峯向來我行我素,難

F E AT U R E S TO RY

T

亡香港的內地導演應亮,帶自傳色彩的新作《自由行》剛 上映,再度引發評論和影迷關心他於中國從事獨立電影

的往事。作為當事人,應亮坦言心情難免唏噓,「喜歡影像藝術, 自然想朝此方面發展。奈何其時內地觀影文化不佳,半地下或地 下電影節欠奉、讀大學時,深感電影教育體系問題叢生(編按: 他曾就讀北京師範大學藝術系及重慶大學電影學院導演系), 畢業後等了很久終於能進工業當助理,又發現業內行事和思想 守舊……各方面難題,令自己陷於:該轉行還是忍不去的焦慮 中。」 前途渺茫之際,應亮留意中國獨立導演如賈樟柯等,跟遠 在香港一個名為「ifva」的比賽頗有來往, 「從網絡得知他的《小 山回家 》非香港人製作也能參加劇情組,出於好奇和衝動,就大 膽拒絕了內地的某些工作機會,跟當時女友(現在妻子)彭姍帶 著無聊時拍下的短片《回家看看》來港闖一闖。」他笑說,那時 根本連聯合參賽公開組的港人同伴也沒有,「但很想揭開 ifva 神秘面紗,就連上班賺錢的機會都不要,也得跑來親自解謎,很 不理性吧?」 不過做創作有時直覺更能引爆驚喜。雖然《回家看看》入 不了公開組,可是卻成功獲得第九屆 ifva「亞洲新力量組」影 評人大獎,帶領一直活於壓抑社會的他,走進一片開放的新天 地重新體驗「獨立」真義,「我看遍每一組別、每一部放映作品, 發現 ifva 個性獨立自主,目的清晰富創意,無論關注沙士、同志 生活影片,或談公共議題的作品,也得到尊重對待,而香港、成 人或青少年導演,對影像和交流亦表現重視。」 另外,應亮表示通過 ifva 認識不同單位,如熊貓國際電影 節及影意志等,讓他看到本地獨立電影工作者處事的清晰條理 和專業技術,知識上大受啟發之餘,也意外助其逃出孤獨窘境, 「以前我做事不太自在,比較學院化,擔憂工作和他人眼光等。 跟 ifva 相遇後,卻像碰到一位了解和接納你『不同之處』的老 朋友,萌生『相見恨晚』的感動,譬如像我一個莫名其妙的外來 導演,竟可得到很多關心,那份安心令我解開心結,明白凡事別 先論對錯,或過早判斷,包括面對體制或進入商業。最重要是經

Disposition

F E AT U R E S TO RY

歷過以後,你是否有自覺去反思和再做抉擇。」 當應亮走過此役,就重拾了動力,開展第一部長片《背鴨子 的男孩》,日後還參照 ifva 經驗,陸續於 2008 年後,嘗試在 內地跟朋友策劃獨立電影節,或來到香港演藝學院教書、於采風 辦紀錄片工作坊等,開懷地探索有興趣的時政和個體議題。緣此 前行,他還有心地勉勵各有憂思的創作人,無妨趁參賽 ifva 時, 將眼光看遠一點,「電影很特殊,總易讓人產生虛榮和利益的想 像,我有時參賽都免不了為賽果緊張。但走過這些年,回顧最大 收穫肯定不是獎項,而是當中建立的信心和友誼,它們才是活的 元素,推動我日後做出對的決定,也是活動最大的意義所在。

he exiled mainland director’s recent semiautobiographical work, A Family Tour, re-ignited discussions about his past as an independent filmmaker in Mainland China. Ying lamented: “I was interested in film art and hoped to make a career out of it. But the movement in the Mainland was really weak – there weren’t even underground or semiunderground film festivals. As a university student, I saw a lot of problems within the film education system (editor’s note: Ying was a student at the department of art at the Beijing Normal University and later a film directing student at the department of film at Chongqing University). After graduation, it took me a long time to find an assistant position, only to discover how rigid and old-fashioned the industry was All these setbacks made me feel anxious and trapped, and I considered whether to leave.” As Ying was faced with this crossroads, he noticed that Chinese independent directors, such as Jia Zhangke, often worked closely with a Hong Kong film competition named ifva. “I read on the internet that Jia’s Xiao Shan Going Home was in the Drama Category of the ifva, despite not having a single Hongkonger in the crew. Curiosity combined with a spur-of-the-moment decision, I passed up other opportunities in the Mainland and came to Hong Kong, armed with the short film I had made with my then-girlfriend (now wife) Peng Shan, The Missing House,” Ying recalled smilingly. He did not even stop to team up with any Hong Kong counterparts for the entry. “I really wanted to look under the hood of the ifva. I guess I was quite irrational – throwing away a job in the Mainland just so I could come to unveil this mystery for myself.” Nonetheless, just like artistic creation, a moment of intuition often leads to important breakthroughs. Although The Missing House did not enter into the Open Category, Ying won the Critics Award in the Asian New Force Category. The award was a watershed moment that transported him from a stifling environment to a new land of independence. “I watched all of the films from all the categories and came to really admire the ifva’s spirit of


專 題 故 事

Kaki Sham: The first step to freedom is the beginning of change

自由的第一步是改變的起點 ̶

The connection went beyond the competition. ifva introduced Ying to different people and organisations, such as InDPanda International Film Festival and Ying E Chi. Through Ying’s network here, he recognised the level of organisation and professionalism among local independent filmmakers. The exchanges not only imparted him with knowledge, but also brought him out of isolation. “In the past, I often felt constrained by what was correct according to the book and was at times worried about my work or how others viewed me. Coming to the ifva was like meeting an old friend who was both understanding and accepting of your differences. I only wish I had known this friend earlier! As a foreign director who simply rocked up, I received no less care from the others. That peace and comfort was an enlightenment. I realised not everything was black and white and I shouldn’t make premature decisions, such as when facing the establishment, or deciding to go commercial. The most important thing is to reflect on your experience and make better decisions in the future.” Energised from this first attempt, Ying made his debut feature, Taking Father Home, and tried his hand at organising an independent film festival in the Mainland in ifva-fashion with friends. He also taught at the HKAPA, hosted documentary workshops at Visible Record, and continued to explore political and other topical issues. His word of encouragement to all budding artists was to focus on the long-term when participating in the ifva. “The film industry is very interesting – it often conjures up images of vanity and excessive gains. Sometimes, I too get anxious about the results of film competitions. Over the years, I have come to understand that the biggest return is not the prize, but the trust and friendship, which was the incentive behind my life decisions and was the greatest meaning of the event.”

岑珈其

independence, as well as their clear goal and breadth of creativity. Whether it was a film about SARS, the gay community, or a current affairs topic, the ifva treated it with the same level of respect. I was also impressed by the eagerness for film art and exchange from both mature and teenage directors in Hong Kong.”

F E AT U R E S TO RY

10

11

2

018 was a fruitful year for Kaki Shum, basking in increasingly important roles and media attention. The 28-year-old had films coming out one after another – Men on the Dragon, Tracey, and Napping Kid. He was also the male lead, for the first time, in Distinction.

2

《翠絲》、 018 年,岑珈其參演的影視作品如《逆流大叔》、

《逆向誘拐》等接連上映,而於《非同凡響》中他還首度擔

任男主角。戲份開始吃重,名字漸受關注。對 28 歲的他來說,

稱得上「豐收年」吧? 「我開心又榮幸。畢竟曾覺得當演藝人是遙不可及的夢。」 岑珈其回憶學生時代,只懂返學、閒歇、打下波,談創意、論創 作?完全不懂。即使 16 歲時,他偶遇伯樂麥曦茵導演,獲發掘 參演《烈日當空》(2007 年),首嚐演戲樂趣,但未敢妄想全身 投入, 「年資和經驗淺,感覺迷惘。」完成《烈》後,他曾邊做跟車、 地盤、司機或保險等維生,邊跟同伴組成「Playtime」等試鏡和 演出機會,載浮載沉好幾年。 此期間,岑珈其雖然心情茫然,但行動卻保持積極。於麥曦 茵鼓勵下,他執起 DV 機嘗試當導演、拍短片,「我全無影像概 念和技巧,不過很想一試,就拿著阿曦借的器材和十盒錄影帶起 步。當時沒聽過 ifva,自然沒想到參賽。直到阿曦看過我拍日常 生活的毛片,就建議或可加上命題去報名。我擔心:『比賽?點 得呀!』幾經研究,發現 ifva 資格寬鬆,也無指定主題和內容 等,嗯,就放膽挑戰,構思出詢問 17、18 歲的同齡人對世界末 日的想法,為自己與同伴的少年迷思找答案。」過程中,他似懂 非懂地自學拍攝、剪輯,「由原先堅持己見,學會聆聽意見,將 長達一小時的毛片,精簡成約廿分鐘的紀錄短片《活在當下》。 沒想到作品最後竟得到第十四屆 ifva 青少年組金獎!」 作為初哥,岑珈其直言這次經歷寶貴,「無關獎金與名聲, 而是多得 ifva 給予自由,讓我拋開心理顧慮,勇敢地由零開始 建立想法、克服難關及完成作品。我看到個人轉變,體會創意的 美好,啟發如今當演員和導演以創作發聲的目標。」他亦難忘評 審、參賽者和工作人員的扶持,「獨自走演藝路很孤單,慶幸沿 途有大家照應。獲獎後,藝術中心把作品帶往本地和海外不同地 方放映,再通過『香港短片新里程』計劃,給我資助機票與住宿, 於 2016 年前往新加坡參與電影活動,跟當地影人與觀眾交流, 這機會難以獨力達成啊。」 岑珈其希望回饋知遇之恩,「今年跟黃飛鵬合作 ifva 宣

《回家看看》The Missing House

專 題 故 事

傳 片、身 體 力 行 出 席 活 動 或 講 座 等,都 是 可 做 的 事。這 不 只 幫 ifva,也是作為演員對工業的責任。我是過來人,深知推動年 輕人開始創作、給觀眾介紹影像文化,第一步往往最困難,所以 想盡一己綿力,走進社區、學校裡,以個人經驗帶動中小學生或 街坊觀眾,共享影像藝術的樂趣。」

“I feel very privileged. After all, I used to think that a career as an actor was an unattainable goal.” During his student days, Sham went through the typical motions of going to school, idling, and occasionally joining in the local basketball match. Creativity and the arts were completely unchartered territories. But at 16, he was discovered by his mentor Heiward Mak, who then drafted him into the production of High Noon (2007). This first dip in the water was however insufficient to convince Sham to take the plunge. “I was young, inexperienced, and confused.” Sham observed. After High Noon, he at one point subsisted on parallel careers of a truck driver’s assistant, a construction worker, and an insurance agent, while auditioning with Playtime, the group he formed with his friends. During this period, Sham, though faced with an uncertain future, remained active. With encouragements from Mak, he picked up a camcorder and tried being a director. “I had little concept of filming and technique, and so I was not thinking about competitions. Heiward, on the other hand, having seen clips I shot of daily life, suggested that I gave them a title and enter into a competition. I was worried and thought, ‘A competition? I’m not capable!’ But we still researched into it, and realised that the threshold for the ifva had been lowered. There was no set theme or style for competing clips. So I plucked up courage and took up the challenge. My idea was to interview peers who were 17 or 18 years old and find out about their thoughts on the end of the world. My hope to then find answers to our fears.” For the competition, Sham taught himself how to shoot and edit. “I was at first a stubborn person, but the process helped me to learn to listen to others’ opinions. In the end, I managed to turn one-hour worth of clips into a 20-minute documentary, Life Must Go On. I certainly did not expect to win the Gold Award of the Youth Category in the 14th ifva.”

F E AT U R E S TO RY

Sham underscored how precious this experience was to him. “It was less to do with the prize and the fame. The ifva freed me from my anxieties and enabled me to construct my own ideas, overcome difficulties, and complete the work. It helped me to become a different person and appreciate the beauty of creativity. It was also the impetus to my current path of being an actor and director and making my mark in the world.” He also valued the support of the jury, fellow candidates, and the staff. “The journey of being an artist can be very lonely. So I was thankful for the care bestowed upon me. After the ifva, HKAC took my work to different local and overseas screenings. With the help from HONG KONG SHORT FILM: NEW ACTION EXPRESS, the air ticket and accommodation were sponsored when I attended a film festival in Singapore in 2016. It was a great opportunity for me to interact with filmmakers and audience – something I couldn’t have done on my own.” In addition, Sham treasured Mak’s mentorship and hoped to pay it forward. “I shot this year’s ifva promotional video with Wong Fei-pang and attended their activities and seminars. This was not only to help the ifva, but my duty to the industry. My own experience tells me that the beginning is always the hardest, be it motivating young people or introducing film art to new audiences. My hope is to contribute my time and effort to extend the joy of film art to students or the grassroots audience, in their schools or communities, through sharing my story.”

《活在當下》Life Must Go On


專 題 故 事

12

F E AT U R E S TO RY

留點稜角詰問創作的本質 ̶

Wong Fei-pang: Retain your edge so you can dissect your own work

黃飛鵬

W

ong Fei-pang, director of Ten Years: Season of the End, was an old friend of the ifva. His works The Death Dog, Leave Them Dry and High, and The Tail Before were in the 17th, 21st, and 22nd ifva respectively. This year, Wong became the Artistic Director of the ifva and has been responsible for producing the promotional video and other events.

《十

年:冬蟬》導演黃飛鵬跟 ifva 淵源甚深。自 2001 年 起,他先後以《流浪犬》、 《寂靜無光的地方》和《蚪尾》

參加第 17、21 及 22 屆 ifva,來到今屆更肩負新任務̶̶擔任 美術指導,協力製作宣傳片及出席交流活動。真好奇,是什麼驅 使他如此投入? 「喜歡 ifva 夠機動性。」黃飛鵬說得直截了當。親身領教過 香港填鴨式教育,也從事過工業電影與獨立影像領域,他有感本 地不缺創意人材,「奈何社會氣氛傾向擁抱完美,常期望橫空降 世的天才,對技藝與想法稍為稚嫩、實驗性較重的作品,人們的 反應普遍冷漠或抗拒。」各種有形無形的規範,加上創作者各自 處境,均令他們承受了不同程度的壓力、挫敗以至創傷。 可幸的是,黃飛鵬 20 歲時已遇上 ifva,成長期即使多次 遭遇考驗,飄盪心神也較能有歸屬點,「以條件論,ifva 不像 鮮浪潮等短片比賽,會提供資金、資源讓你創作,獎金也不算豐 厚;它亦沒有導師制於賽前賽後作支援,你最多可於過程中結 識業界同好。但 ifva 於我心中地位依然緊要,因為它是包容性 極高的平台,容讓不被主流喜歡的東西,得以在其中蘊釀和發 生。經年參賽累積的經驗,逐漸助我體會探索『私影像』、別怕 當創意怪人的重要,也悟出『創作貴乎坦誠面對自我』的道理。」 尤其投身社會後,創作自主性更難求,黃飛鵬感觸,「工作 場域不存在太多『試』的空間,總是強調要生產最有效率的影 像。然而,回想第一次參加 ifva,雖則我不算專業,評審許鞍華 卻好心贈上『畀心機』幾粒字作鼓勵,真的好開心!這句話背後 反映 ifva 態度是接納一切的嘗試,那怕當刻未做得好甚至失 敗?不用怕,那就再來過,一直改進啊。」 今次炮製宣傳片,也讓他體會良多,「拍攝隊伍得 4 至 5 人,多巨型手作道具預備、外景又撞正暴雨……『好甘』!然而, 這部影片的概念恰好想傳遞一種原始感,構思時刻意剪輯不同 年輕影像工作者的『頹廢』心聲,就是想告訴大家就算創作狀態

“I like the ifva’s agility” was Wong’s explanation for his deep involvement. Having experienced both the local rote-learning style education system, as well as the mainstream and independent film industry, Wong argued that local creative talent was not actually lacking. “The problem is that society has been trained to look for perfection and born geniuses. They are apathetic to or sometimes reject greener talent or experimental works.” Written and unspoken rules together with unfavourable personal circumstances were common sources of stress, failure, and hurt cited by artists. Nevertheless, Wong counted himself fortunate for having come across the ifva when he was 20. As he grew in his art, the ifva also became his rock in times of failure. “The overall package at the ifva was not the same as competitions like Fresh Wave, which provided capital and resources for candidates. The prizes also were not as lucrative, and they lacked a mentorship scheme to support you throughout the process. So you mostly aim for meeting new peers from the competition. But the ifva still occupies an important place in my heart. It is a highly inclusive platform, taking in and nurturing works rejected by the mainstream. Over the years, it allowed me the space to explore “private life photography” and the courage to be slightly eccentric for the sake of art. Through all this, I arrived at the conclusion that honesty with oneself is the key to artistic creation.” Now that he is in the industry, Wong sometimes find it hard to fight for autonomy in his work. “Studios don’t give you a lot of chances for ‘trying’. Their mantra is to produce the most effective images. On the contrary, I remember that at my first ifva, I wasn’t considered a professional at all. One of the jurors, Ann Hui, sent me a kind note to tell me to ‘Keep going’. That brought a smile to my face. It also reflected the ifva’s attitude and acceptance of all

專 題 故 事

The production of the promotional video was not without trials. “The crew consisted only of four to five members. We had to handcraft a lot of oversized props, and were met by a downpour while shooting outdoors. It was tough! But the point of the video was precisely to reflect a sense of unrefinedness. The idea was taken from the various disillusionments I had heard from young moving images artists. So I wanted to tell them, even if you don’t feel on top of the world yet, or are at times suffering, we can learn to be ‘okay with not being okay’. You can embrace moments of darkness or sadness.” Wong continued, “I have witnessed the team spirit and harmony at the ifva and I am truly happy for them. But in reality, there will be times when you have to walk alone. So I just wanted to bring up another ifva spirit – retain your edge. During the process of artistic creation, there will be times of sadness or loneliness. You have to be brave to face yourself and ask yourself, for instance, if you choose to work on this topic or content, will they survive the test of time? If you are looking at some fringe issues, is your research thorough and accurate? You cannot overlook this. Artistic creation is a form of advocacy. It leaves a mark in the culture and affects people and the society. My advice for this year’s participants is that they should first think about what they are interested to shoot, and not worry about the audience or the jury. Be dedicated in what you want to do – this is the value of independent moving images.”

不在高峰,有時有煎熬存活的時光,可是我們 Ok to be not ok 黃飛鵬由此延伸分享, 「我見證 ifva 變得團結、氣氛融洽, 於是想藉由宣傳影片重提 ifva 另一精神̶̶『保持個人稜角』, 希望大家開心交流之餘,別輕視創作不開心或孤單的部分,要勇 敢面對內心,也要嚴格詰問自我,例如:我當下選題、內容,承 受得起時間洗禮嗎?特別涉獵城市的邊緣議題,所鑽研的資料、 學問是否夠深刻而準繩?這絕不能忽視。因為創作是一種話題 倡議,會於文化脈絡中烙下印記,會為別人和社會帶來影響的。 所以我期待今屆的參加者,可於創作前先想清楚『有咩想拍』, 而非顧慮觀眾和評審。認真做你想做的事,才是獨立影像的價 值。」

《十年:冬蟬》Ten Years: Season of the End

F E AT U R E S TO RY

levels of attempts. Was that not your best shot? No worries, you can do it again and do it better next time.”

的,不妨擁抱灰暗和難過的自己。」 打從心底高興。只是偶爾又想,現實裡做創作畢竟總有獨行時,

13

《寂靜無光的地方》Leave Them Dry and High

罷麥少峰、應亮、岑珈其和黃飛鵬的真心分享,多少體會 到「創作」實在是一門頗耗心力的學問。不過那怕過程再

艱苦、再孤單,只要你肯誠實地面對個人的長處與不足,也勇敢 地就有關情況加以鑽研或改進,通過這條漫長的創意作戰之路 後,總會更加了解自己是怎樣的一個人,無論未來是否繼續留守 於影像工業,至少也能將經驗帶回現實生活中,活得更有力量、 更有自覺。 第二十四屆 ifva 獨立短片及影像媒體節將於 3 月 6 日 至 17 日舉行,除了比賽入圍作品放映後,節期另有更多精彩節 目,包括戶外放映、大師班、少數族裔創意作品放映等等,詳情 留意 ifva Facebook/IG/ 網頁公佈! 「香港短片新里程」(NAE) 是一個由香港特別行政區政府 「創意香港」贊助的計劃。NAE 以資助形式協助本地優秀短片 及動畫短片製作人參與國際短片展及比賽,為香港創作人才提 供更多前往海外參與影展及交流的機會,以擴闊其經驗與視野。 計劃詳情請瀏覽︰ www.naehk.com

O

ne of the conclusions that can be drawn from these candid sharings of Mak, Ying, Sham, and Wong is perhaps the arduousness of working as an artist. But for those who can confront their own strengths and weaknesses and are unafraid to strive for improvement, they will survive the gruelling and lonely process. Afterwards, they will emerge with a better understanding of themselves and the ability to inject that energy and self-awareness into the moving images industry and daily life. The 24th ifva Festival will be held from 6 to 17 March. Screenings of shortlisted works will be followed by other events, such as outdoor screenings, masterclasses, and works by ethnic minorities. Follow the updates on the ifva Facebook/ IG/website. "HONG KONG SHORT FILM: NEW ACTION EXPRESS" (NAE) is a scheme sponsored by Create Hong Kong (CreateHK) of the Government of the Hong Kong Special Administrative Region. NAE provides subsidies for Hong Kong short film and animation filmmakers to participate in international film festivals and competitions, aiming at broadening the horizons of local creative talent and helping them gain exposure abroad. For further details, please visit: www.naehk.com.


動 向

14

HAPPENINGS

置《沙粒中看世界》由國際演藝創意科技節聯同香港藝術

中心選出,於 11 月 6 日成功舉辦開幕儀式,活動期間在比利時 列日劇院展出。王志勇、香港藝術中心總幹事林淑儀、蘇黎世藝 術大學藝術家駐實驗室計劃主管 Iréne Hediger 亦於 11 月 7 日舉行的「香港與國際演藝創意科技節」座談會就展品與藝術、 科學和技術之間的關係致辭,進行討論交流。

T

he 20-metre by five-metre light installation, “To see the world in a grain of sand”, created by Hong Kong artist Wong Chi-yung was selected by the IMPACT Festival, which the Hong Kong Arts Centre (HKAC) co-presented, and was displayed at the festival’s opening ceremony on 6 November. The work is now being exhibited at the Theatre of Liège in Belgium. The IMPACT festival also featured a “Hong Kong meets IMPACT” talk on 7 November, during which Wong, Connie Lam, the Executive Director of the HKAC, and Iréne Hediger, the head of the Artistsin-Labs programme from the Zurich University of the Arts, spoke about the project and the relationship between arts, sciences, and technology.

Time/Space: Brief as Photos̶Dialogue between Joseph Fung and his Contemporaries

港藝術家王志勇面積達 20 米乘 5 米的大型燈光藝術裝

時 / 空: 暫如照片 馮 ̶漢紀與當代攝影對談

To see the World in a Grain of Sand

沙粒中看世界

動 向

15

香港藝術中心與香港國際攝影節合辦的《時/空: 暫如 照片̶馮漢紀與當代攝影對談》已於 12 月 4 日至 12 月

19 日在香港藝術中心包氏畫廊圓滿舉行。馮漢紀先生跨越四十 年不同時空的創作,以及十多位回應藝術家的對談及作品,精彩 地譜出了香港當代攝影的發展。展覽期間舉行了兩場講座及多 場導賞。

HAPPENINGS

C

o-presented by the Hong Kong Arts Centre and the Hong Kong International Photo Festival, “Time/Space: Brief as Photos̶Dialogue between Joseph Fung and his Contemporaries” featured the artist’s two hundred selected works created during the last four decades. Together with the responding artists’ works and interviews, the exhibition provided a sketch of Hong Kong’s photography development. Thematic seminars and guided tours were also arranged.

容傳統與創新,製作技藝精湛並展現香港獨特風格。展覽

為東京「香港周」活動之一,呈現 10 位香港時裝設計師的當代 長衫設計,現場亦安排黃惠霞、郭翠華、林春菊三位設計師的講 座與工作坊,推廣長衫傳統工藝與香港文化。

H

ong Kong’s cheongsam is an intangible cultural heritage that integrates the essence of Eastern and Western design and maintains both tradition and innovation. A unique Hong Kong style is presented through excellent craftsmanship. This showcase was one of the activities of the Hong Kong Week in Tokyo, in which 10 Hong Kong fashion designers highlighted the modern cheongsam design. There were talks and workshops hosted by Amy Wong, Renee Kwok, and Janko Lam to promote the traditional craft of cheongsam and the Hong Kong culture.

開 音樂會 x 放音樂︾ Indie Showcase

港長衫為非物質文化遺產項目,融合東西方設計特色,兼

"2018 Café de Coral Music Station x Open Music Series” Indie Showcase

︽ 2018 大家樂壇

The Chic of Hybridity: A Collection of Contemporary Cheongsam

混搭之時尚:當代長衫珍藏

《2

018 大家樂壇 x 開放音樂》Indie Showcase 音樂會 於 12 月 12 日圓滿舉行!

4 個由評審選出的音樂單位,包括 Clave、木子與島嶼樂

隊、Telvanni 26 及 edges and corners 在壽臣劇院的舞台 上演繹自家原創音樂,同場加映本地獨立樂隊 GDJYB 雞蛋蒸 肉餅及兩位評審 Mike Orange 及 Teriver Cheung 與唱作人

Vincy Chan 的特別演出。 經過四位專業評審點評及現場觀眾投票後,樂隊 Clave 成 為最終被揀選的音樂單位,他們將參與一連 6 堂由大師設計的 音樂工作坊,接受度身訂做的專業音樂訓練,並於今年出遊亞 洲,與海外專業音樂人交流。

The “2018 Café de Coral Music Station x Open Music Series” Indie Showcase was successfully held on 12 December 2018. Four chosen music units including Clave, Mukzi & THE ISLAND, Telvanni 26, and edges & corners performed their original music on the stage of the Shouson Theatre. Two of our panellists, Mike Orange and Teriver Cheung, also performed with singer-songwriter Vincy Chan. They were followed by the guest performer GDJYB. Clave was chosen as the winning team by a panel of professional judges and the votes of the live audience. Clave will be entitled to a series of music workshops and an Asia exchange tour to meet with overseas professional musicians.


動 向

16

HAPPENINGS

幕 後 人 語

C ̶ 董紹明 A ̶ 當初是什麼原因驅使你到藝術中心工作呢?

C ̶我於 1988 年加入藝術中心, 數數都有三十年吧。中學畢業後, 我跟舊同學一起做劇團, 認識到一群班志同道合的朋友, 漸漸開始

生馮正權、丘卓妮、李佩羲及黃敏靖,近日參與旅遊事務

署呈獻,香港設計中心主辦的「#ddHK 設計 # 香港地」社區 藝術計劃,將多個灣仔文化地標包括香港藝術中心、修頓遊樂 場、石水渠街街口 ( 藍屋附近 ) 及利東街透過路面繪畫增添個 性!

*藝術文學士由香港藝術學院與澳洲皇家墨爾本理工大學 合辦

F

*Bachelor of Arts (Fine Art) programme is co-presented by Hong Kong Art School and RMIT University

對劇場產生興趣。1982 年, 我們已到過中心的麥高利小劇場做演 出。後來,得悉藝術中心請全職工作人員,我既為謀生,也因著興 趣來應徵工作, 一直至今。

A ̶ 劇場技術部技術經理的工作是如何?

C ̶ 主要處理行政工作,如編排工作人手、安排租場、跟合作藝 團及同事開會;有時要處理場地維修或提升設施的工作等。而劇 場技術部首要考慮的,是如何確保不論是藝團、觀眾或同事等都 能安全使用場地。

A ̶ 有否遇過一些演出對劇場技術的要求特別有挑戰性?

C ̶ 當演出有安全穩憂和觸及法律的界線的時候,平衡創作自由 和安全是一個很大的困難。記得在九十年代初,我替 「香港藝術 節」做技術支援工作, 當時要管理場地, 也協助外國藝術團體的演 出。這雙重身份帶來矛盾,我要不斷思考以甚麼身份和方式來解 決難題。

HKAC Bee

A ̶ 你最喜愛這幢建築物的哪個地方 ? 為什麼 ?

C ̶ 麥高利小劇場。以前有不少業餘或學生劇團會租用,但他們 對劇場運作未必十分熟悉, 我們能協助他們, 彼此互相尊重, 大家 合作很開心。

A ̶ 對藝術中心的人和事有什麼感受?

C ̶ 雖然眼見不少同事的變換流轉,但我覺得同事之間的合作和 相處都好好。可能是這座建築物本身設計和空間佈局,令人感覺 自由;而上司與下屬能建立較親密的關係。對我來說, 職銜只是一 個名稱而已, 我跟所有同事平等, 並希望這樣關係可以維持下去。

H

KAC Bee 以藝術中心作為基地,積極推動會員參與最 新的藝術活動。HKAC Bee 在香港國際攝影節期間參

與和支持於 12 月 3 日舉行的《時/空:暫如照片̶馮漢紀與 當代攝影對談》開幕式,亦於 1 月 10 日的《柏林圍牆倒下三十 年──東德 DEFA 電影經典重溫》開幕晚上舉行了茶聚 ; 在

1 月 14 日 於 Bee Space 與 Women in the Arts 聚 會,推 介了日本藝術家木村 舜 (Shun Kimura),隨後赴 Assaggio

Trattoria Italiana 午膳。

W

ith the HKAC as our beehive, the HKAC Bee has been actively engaging its members with the latest art happenings. During the Hong Kong International Photo Festival, the Bee participated and supported the grand opening of Time/Space: Brief as Photos - Dialogue between Joseph Fung and his Contemporaries on 3 December. To celebrate the nostalgic screening of 30 Years Fall of the Berlin Wall - DEFA Classics Revisited, the HKAC Bee hosted a Bee drinks gathering on the opening night, 10 January. The HKAC Bee was delighted to offer a platform for the Women in the Arts group at the HKAC Bee Space on 14 January, highlighting the Japanese artist Shun Kimura followed by a lunch at Assaggio Trattoria Italiana.

Catherine Tung

our fresh graduates of our Bachelor of Arts (Fine Art) programme*, Loiix Fung, Yao Cheuk Ni, Antonie Li, and Maggie Wong, participated in the “Design District Hong Kong” (#ddHK) presented by the Tourism Commission and organised by the Hong Kong Design Centre. Through their unique pavement painting works, the four artists added aesthetic flavours to the cultural sites of Wan Chai, including the Hong Kong Arts Centre, Southorn Playground, Stone Nullah Lane (near Blue House), and Lee Tung Avenue.

董紹明 ̶̶

港藝術學院四位 2018 年藝術文學士*主修繪畫的畢業

︱ The enduring pillar

A ̶ Artslink

見證更替 人留也留情

為劇場技術部技術經理的董紹明(Cat 姐)與大家從工

作回顧在中心的點滴。

香港地 #

Design District Hong Kong (#ddHK)

設計 #ddHK

期「幕後人語」很高興邀得香港藝術中心的老臣子──現

17

B A C K S TA G E

A

rtsLink was privileged to speak to one of HKAC’s most longstanding staff, Technical Manager Catherine Tung, who shared with us her days and her joys at HKAC.

A ̶ Artslink

C ̶ Catherine Tung A ̶What brought you to HKAC?

C ̶I joined HKAC 30 years ago in 1988. Upon graduating secondary school, I met a group of friends who got me interested in drama. We did a performance in the McAulay Studio in 1982 and later I found out that HKAC was hiring full-time staff. I came for an interview, half hoping to make a living and half hoping to extend my interest in theatre. And I have stayed since then. A ̶ What does a Technical Manager do?

C ̶ I manage a lot of administrative work, such as the staff rota, rental schedule, meetings with art groups and colleagues, and at times venue renovation or upgrade. The priority of the department is always the safety of all parties involved - artists, the audience and staff, when accessing the venue. A ̶Do you remember any performances that were challenging for theatre technical support?

C ̶Whenever a performance elicits safety or legal concerns, it is a challenge to balance the freedom of artmaking and practical needs. In the early 90s, I was in technical support for the Hong Kong Arts Festival. That meant I was in charge of both the venue and supporting the performances of art groups visiting Hong Kong. The two roles often clashed with each other and I had to think hard about how to position myself and how to find the best solutions. A ̶What’s your favourite place in the HKAC building and why? C ̶McAulay Studio. It used to be a popular venue

for hire for amateur or student drama groups. They were often unfamiliar with the operation of a theatre, so assisting them gave me a lot of satisfaction. The mutual respect we had for each other also made those collaborations very enjoyable. A ̶What are your thoughts on HKAC? C ̶While I have seen many colleagues come and

go, the harmony in this workplace has not changed. Perhaps it is the building itself. The design and layout gives people a sense of freedom, allowing managers and staff to have a closer relationship. For me, my job title is merely a label. I see my colleagues as my equals and I hope our relationship stays that way.

Photo by Leo Yuen


重 點 節目

18

M O N T H LY H I G H L I G H T

�目�

Event Calendar

三月

5th Collectors’ Contemporary Collaboration on Chinese Private Collection

本系列旨在透過對公眾展示私人收藏,展現當代藝術收藏的多元性與藝術 環境發展,並期許增進藝術愛好者之間的對話。第五屆展覽將聚焦中國活躍

MARCH

Monthly Highlight

重點節目

第五屆收藏家當代藝術藏品展 - 中國私人收藏

且豐富的民間收藏,以藝術收藏品與文獻為基礎,一窺中國當代藝術發展縮 影、收藏與藝術創作軌跡。

This exhibition series creates a platform for public viewing of private contemporary art collections, presents the multiple perspectives of contemporary art collecting and the development of the art scenes in different regions, and encourages dialogues among art lovers. The fifth edition will focus on private collections in China. Through the distinctive characteristics of selected collectors and their collections –

artworks and archives – audiences can explore the active and diverse art collections in China.

香港藝術中心開放曰 2019 + Late Night Series – Art X

"CINEMA 2.0: Acrylic Dreams" Media Arts Exhibition 包氏畫廊 Pao Galleries

⾹���團 :《驕�》HKRep: Pride

16 - 17, 19 - 24, 26 - 31 M ar

生活等待相遇,藝術開啟對話。香港藝術中心開放日 2019 及「Late Night

香港文化中心露天廣場

回 • 迴 Ida y Vuelta

1 - 2 Mar

麥高利小劇場 McAulay Studio

四月

《聲形》Sound

be led by movie screening, music show, chats and go into the hidden side of human nature, so to re-examine the intimacy and your inner self.new and unique cross-disciplinary art programmes for visitors to explore till after mid-night!

Forms 2019

《聲形》多聲道聲音藝術節將再臨香港藝術中心!今年 (19/4-24/4)的藝

APRIL

劇場、舞蹈及視聽媒體等不同領域且各有特色的藝術家,於一連六晚的音樂

《逆流大叔》- 特別放映 Men on The

Dragon - Special screening

古天樂電影院 Louis Koo Cinema

RUMOURS - the British edition 20 - 23 Mar

香港藝術學院本部 Hong Kong Art

麥高利小劇場 McAulay Studio

香港藝術節 - 世界音樂週末營

李穎姍、姚少龍、余橞林。由香港藝術中心及現在音樂合辦。

Key international artists include: Adam Basanta (Montreal, Canada), Alexandra Spence (Sydney, Australia), and Nancy Tam (Vancouver, Canada). Key local artists include: VVzela Kook, Fiona Lee, Alex Yiu, and Karen Yu. Co-presented by the Hong Kong Arts Centre and Contemporary Musiking Hong Kong.

Hong Kong Arts Festival - World Music Weekend - Criatures / Belda & Sanjosex 2 - 3 Mar 壽臣劇院 Shouson Theatre

Hong Kong Arts Festival - World Music Weekend - Jorge Da Rocha

五月

第九屆香港國際聾人電影節

3 Mar

The 9th Hong Kong International Deaf Film Festival

壽臣劇院 Shouson Theatre

培育小演奏家音樂會

Learning

MAY

語言總有侷限,身體卻往往可以呈現出有力且活生生的表達,聾人電影在過

Ruby's Piano Students Recital 35

去九年持續帶動著香港的觀影經驗和電影美學。此節目由香港聾人協進會、

3 Mar

香港藝術中心與亞洲民眾戲劇節協會合辦,即將於 5 月 3 日至 5 日在香港

古天樂電影院 Louis Koo Cinema

藝術中心舉辦。

Theatre Festival Society and will be held from 3 to 5 May at the Hong Kong Arts Centre.

30 Mar

文化按摩師 -「創意集氣大賞」之跨界無限 大獎」展現 - 驚濤 vs. 駭浪

Cultural Masseur - "Collective Creativity Awards" - The Interdisciplinary Award Showcase - Billows vs. Waves

《聲形》Sound Forms 2019

19 - 24 Apr 麥高利小劇場 McAulay Studio

香港好電影 -《雙城故事》

Great Hong Kong Movies –

Alan and Eric: Between Hello and Goodbye 25 Apr 古天樂電影院 Louis Koo Cinema

30 Mar

高先精選 - 四月 Golden Scene Selection - April

三樓賽馬會藝廊 3/F Jockey Club

26 - 28 Apr

Atrium

古天樂電影院 Louis Koo Cinema

文化按摩師 -「創意集氣大賞」之持續發展 大獎」展現 - 露過露兩手

自主特區 - 原創動畫短片放映

Cultural Masseur - "Collective Creativity Awards" - The Sustainability Award Showcase Show Hand Show 香港藝術中心正門 Hong Kong Arts

Centre Main Entrance

文化按摩師:收收埋埋公開「曬」

Cultural Masseur: Collector's Hub

Independently Yours - Original Animation Short Films Showcases

28 Apr 古天樂電影院 Louis Koo Cinema

夜貓音樂屋

30 - 31 Mar

22 Mar - 31 May

香港藝術中心正門 Hong Kong Arts

視線 ‚ 之間 Sightlines

23 Mar - 19 Apr

實驗畫廊 Experimental Gallery

������當代���品�

The 5th Collectors’ Contemporary Collaboration (CCC) 包氏畫廊 Pao Galleries

Centre Main Entrance

29 - 31 Mar 香港會議展覽中心一樓大堂 P3 攤位 Booth P3, Level 1 Concourse, HKCEC

波��:�����界 - ������當 代���品��別��

四月 April

Centre Main Entrance

五月 May 第九屆香港國際聾人電影節

The 9th Hong Kong International Deaf Film Festival 3 - 5 May

藝術高級文憑及藝術文學士課程講座

Oklahoma!

Higher Diploma in Fine Art & Bachelor of Arts (Fine Art) Programme Seminar

6-7 April

18 May

壽臣劇院 Shouson Theatre

香港藝術學院本部 Hong Kong Art

School Main Campus

Documentary VOM BAUEN DER ZUKUNFT – 100 JAHRE BAUHAUS 古天樂電影院 Louis Koo Cinema

香港藝術中心 House Music Series

HKAC House Music Series

待定 to be confirmed 香港藝術中心正門 Hong Kong Arts

音樂劇《Beyond 日記之海闊天空》

Beyond Really Love You The Musical

Centre Main Entrance

12 - 14 Apr

高先精選 - 五月 Golden Scene Selection - May

壽臣劇院 Shouson Theatre

待定 to be confirmed 古天樂電影院 Louis Koo Cinema

第二十四屆 ifva 獨立短片及影像媒體節

The 24th ifva Festival

BEUYS – Special screening with 5th Collectors’ Contemporary Collaboration (CCC)

Ensemble Transience x Rani Singam and Chok Kerong "My Muse"

6 - 17 Mar

30 Mar

19 - 20 Apr

不同地點 Various locations

香港歌德學院黑盒子 Black Box Studio,

壽臣劇院 Shouson Theatre

Goethe-Institut Hong Kong

香港藝術中心正門 Hong Kong Arts

古天樂電影院 Louis Koo Cinema

10 Apr ����:⾹�巴塞爾��� 2019 Cultural Partner of Art Basel 2019

HKAC House Music Series

待定 to be confirmed

不同地區 Various locations

Night Owl House Music Series

香港藝術學院藝廊 The Gallery of Hong Kong Art School

香港藝術中心 House Music Series

至 Until Jun

Processing: Mind Mapping

26 Mar - 22 Apr 香港藝術節 - 世界音樂週末營

香港藝術中心開放曰 2019 + Late Night Series – Art X Hong Kong Arts Centre Open House 2019 + Late Night Series – Art X

30 Mar

壽臣劇院 Shouson Theatre

主要海外藝術家:Adamn Basanta(加拿大蒙特利爾)、Nancy Tam(加

Words have limits. Body language, on the other hand, can express ideas through its inherent energy and vivaciousness. Over the past nine years, Deaf Films has changed the landscape of Hong Kong movie-viewing and cinematography. This programme is jointly organised by the Hong Kong Association of the Deaf, the Hong Kong Arts Centre, and the Asian People’s

古天樂電影院 Louis Koo Cinema

2 Mar

2 Mar

會中,探索新一代藝術家如何揉合傳統訓練的知識,挑戰現代舞台的邊界。

Sound Forms returns to the Hong Kong Arts Centre from 19/4 to 24/4! Immersive multi-channel sound, digital light, and moving bodies mark this year’s festival as a must-see. Guest curator Remy Siu (Canada) gathers an exciting mix of international and local artists who work in sound, theatre, dance, and audiovisual media. These concerts will explore a new generation of performers who have remixed their traditional training to challenge the status quo on stage.

藝術高級文憑及藝術文學士課程講座

Hong Kong Arts Festival - World Music Weekend - Yexza Lara Trio

過。現在音樂駐團策展人蕭逸楠(加拿大)在海外及本地召集了分別在聲音、

17 - 26 Mar

Higher Diploma in Fine Art & Bachelor of Arts (Fine Art) Programme Seminar

香港藝術節 - 世界音樂週末營

術節集全身體驗的多聲道聲音、光影及身體動作等多元表演於一身,不容錯

Golden Scene Selection - March

20, 25 Mar

School Main Campus

拿大溫哥華)、Alexandra Spence(澳洲悉尼) 。主要本地藝術家:曲倩雯、

展覽

「CINEMA 2.0: 雅各歷書」媒體藝術展

高先精選 - 三月

Piazza, Hong Kong Cultural Centre

EVENT CALENDAR

19

香港藝術中心 Hong Kong Arts Centre

1 Mar

Hong Kong Arts Centre (HKAC) Open House 2019 and "Late Night Series - Art X" together introduce you diverse artistic experiences from day to night. In daytime, various exhibitions, installations and experience activities bring you to stories of different communities. When it comes to the night time, you will

Exhibition

實驗畫廊 Experimental Gallery

Hong Kong Arts Centre Open House 2019 + Late Night Series – Art X

入人性情愛的羈絆,重新審視親密關係與自我的深處。

放映

6 - 17 Mar

壽臣劇院 Shouson Theatre

Art opens dialogue and life encounters with beauty.

Screening

Hidden Treasures - The Therapeutic Potentials of Art at Leisure and in Retirement

Jockey Club ifva Everywhere People Cinema: On Trial

體與社區;到夜閑人靜,燈火闌珊,電影放映、音樂會及與真人對話,引領走

表演

三月 March 賽馬會 ifva Everywehre 人民影院《失業生》

在日間陽光充沛,抖擻精神,一系列展覽、裝置與體驗活動,帶你連結不同群

Performance

藏寶 - 休閒藝術的治癒潛能

6 - 20 Mar

Series - Art X」,為大家帶來日夜截然不同的藝術經驗。

學習

節目表

節目詳情請瀏覽 For more details of the

programmes, pleas`e refer to www.hkac.org.hk


概 覽

20

Introduction of Hong Kong Arts Centre

香港藝術中心簡介

彰顯多元藝術 、薈萃創意靈感

香港藝術中心是一所多元藝術創意中心,多年來積極將創新前

OVERVIEW

The relevant destination for arts and creative inspirations in Hong Kong

瞻的當代藝術引進香港,同時亦努力將本土藝術家介紹給海外

HKAC is a multi-arts centre that fosters artistic

觀眾。

exchanges locally and internationally, bringing the

中心更是本地唯一獨立自主的非牟利多元藝術機構,一直 致力鼓勵、推廣創意 , 竭力促進本地與國際的藝術交流;透過 舉辦不同形式的藝術活動及跨界合作,把香港和世界聯繫起來。 歡迎來到香港藝術中心,透過體驗藝術豐富生活,藉著欣

most forward creations to Hong Kong and showcasing homegrown talents abroad. HKAC stimulates innovation and promotes creativity. Being Hong Kong’s only independent nonprofit multi-arts institution, HKAC offers exhibitions,

賞藝術啟發創意。

screenings and performances, connecting the arts of Hong Kong to the rest of the world through programmes and collaborations. Come to HKAC to experience, appreciate, learn and be inspired by arts.

Locations & Opening Hours

地址及開放時間

香港藝術中心 Hong

Kong Arts Centre

灣仔港灣道二號

2 Harbour Road, Wan Chai 電話 Tel: 2582 0200 網頁 Website: www.hkac.org.hk

Facebook: Hong Kong Arts Centre Instagram: @hongkongartscentre 星期一至日 Mon – Sun: 8am – 11pm 農曆年初一至三休息 Closed on the first three days of the Lunar New Year

香港藝術學院 Hong

Kong Art School

本部 Main Campus

灣仔港灣道二號香港藝術中心十樓

10/F, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai 包黃秀英校舍 Pao Haung Sue Ing Campus 筲箕灣譚公廟道八號

8 Tam Kung Temple Road, Shau Kei Wan 柴灣校舍 (學院註冊處)

Chai Wan Campus (School Enrolment Office) 柴灣柴灣道 238 號青年廣場八樓 819 室

Rm 819, 8/F, 238 Chai Wan Road, Chai Wan

電話 Tel: 2922 2822 網頁 Website: www.hkas.edu.hk

Facebook: Hong Kong Art School 星期一至五 Mon – Fri: 10am – 7pm 星期六 Sat: 10am – 6pm 星期日及公眾假期休息 Closed on Sun & Public Holidays

當八號或更高烈風訊號生效時 將暫停開放

Closed when a Typhoon Signal No. 8 or higher is hoisted.


Profile for Hong Kong Arts Centre

Artslink 2019 Vol.9 (March - May)  

Artslink 2019 Vol.9 (March - May)  

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