7ime'could be interpreted as the actual time required /or art making. the long history of art and human civilization, as well as the temporal distance the School has already gone through..
'Distance'could be viewed as the geographical and conceptual coverage in terms of art learning, the distance between an art piece and its beholder, and the spatial distances the School has travelled over the past decade.
a glimpse
6
of our wills 10
P序ro言logue Introduction of Hong Kong Art School 香港藝術學院簡介
11
School Philosophy 學院理念
a glance
14 School Development Milestones 學院發展里程
oi o ur dccds
16 People 人
17
School Governance 學院監督
19
School Advisors and External Exammers 學術顳問及校外考試委員
2O
Academic Staff 教學人員
24
Students and Alwnni 學生及校友
25
Administrative Staff 行政人員
Contents 目錄
(((n
\)
27
Work Partners 合作伙伴
28 Work 事
29
Award-bearing Programmes 學歷頒授課程
32
Short Courses 短期課程
36
P計ro劃je／c項 ts 目
48
Activities & Achievements 活動與成就
50 Place 地
a grasp
58 瓦alogues between Board Chairman and Executive Director on Art Educat10n
of our thouRht 、
主席與總幹事就藝術教育之對談
62
瓦ectors'Talk: Birth & GrO\vth of the School 院長對談—學院的誕生與成長
14 Epilogue 結語
78
Acknowledgements 鳴謝
page Gfl
Prologue 序育
。
Time and Distance Hong Kong Art School 10th Anniversary
'Time and Distance'is a theme the School devotes more of its attention to as it enters a new decade of development and celebrates its 10th Anniversary. This theme, generated by staff members of the School via a series of open sharing, can be regarded as a summation of thoughts staff members have towards the School over its past 10 years of development. Carrying within it certain flexibility and a potentiality to give rise to a myriad of different views and concepts,'Time and Distance' is
T I DISTANCE M E
also a theme that signifies a culture that is unique to this School 'Time' could be interpreted as the physical process, the actual time, or the patience required for art making; the temporal length or the long history of art and human civilization; as well as the temporal distance, referring to perhaps a decade of time, the School has already gone through 'Distance'could be viewed as the geographical and conceptual coverage in terms of art learning, the distance (that ought to be generated) between an object (referring also to an art piece) and its beholder; and both the spatial and the cognitive distances the School has travelled over the past decade of time through local and international collaborations, outreach projects, as well as the relocation of School campuses 'Time and Distance' , when coming together, may also be implying a notion that appears to go contrary to a common value prevailing in the 20th and 21st centuries, which tends to favor the celebration of speed and acceleration, and is prone to the embrace of instant culture Cultivation of art, aligning with the notion of'Time and Distance' , can never be likened to an instant product or compared with any one-day process. It requires a substantial amount of time for nurturing and a travelling distance of mi 丨es and miles for conceptual growth and refinement. Art education in this School provides students with a gateway to revisit the value of'Time and Distance'which have been contributed to the development of human culture and which may have been forgotten or understood in a slightly different manner in the contemporary world This is absolutely not about asking students to simply ignore the ongoing pace and the contemporary trend out there; on the contrary, the School encourages students to have their eyes wide open, and to see always with yet another layer of thoughts, which should be of more profound nature connecting to the root of human civilization, in minds Another noteworthy point is that when'Time'(to be presented as a vertical line) comes across'Distance'(to be presented as a horizontal line), a plus sign, a Greek cross , or more intriguingly, a Chinese character of 1O （十 sig n ifying 1O years) would then be conjured up (as shown at the top right corner), and this in a way reinforces the commemoration of the School's 10th Anniversary.
A decade of time may sound prominent in terms of the life span of a human being; however, its importance may correspondingly dwindle when it is placed in the long span of human civilization, or maybe more specifically, art education history. To step back in time, art education existed already in some forms back in the Greco-Roman time. As it developed through time, traces of art studios, where master-apprentice mode of teaching (apprenticeship) was mostly adopted, prevailed during the Renaissance period . More structured art schools and academies came into the picture starting from approximately the 17th century onwards in Europe and flourished from around the 19th century onwards in both Europe and North America In Hong Kong, structured art schools may still be in the process of taking shape in this 21st century. Hong Kong Art School can be considered as one of the pioneers, which has been witnessing the growth and the change of the landscape, in this field . The School, though having walked through 10 years already, strict 丨y speaking, similar to art education in Hong Kong on the whole, is indeed still in its formative years of development. It still likens itself to a child who is waddling and learning to firmly stand on the ground and then carefully takes every step to move forward 囧tial
It has been a pathway somehow full of thorns for the School {this child) to walk through in the past decade, and there may not be an absolutely splendid way ahead especially owing to the School's self-financing nature. It may hence also be exceptionally grateful and proud for the School to be able celebrate its first decade of growth; while with continuing confidence and definite enthus 丨asm, it looks forward to another decade of development There is neither a single word nor a single attempt that can concisely sum up a| 丨 the deeds of the School or the time and the distance the School has been through over the past decade. This publication to be produced at this point and on this special occasion is hoping to mark off a new stage of development for the School , and to offer a handy as well as a collective overview of the School's past experience for the readers, and at the same time for the School to set foot on for both its retrospective and prospective reviews
Karen Lam Academic Registrar Hong Kong Art School (a division of Hong Kong Arts Centre) September 2010
時間與距離一 香港藝術學院十周年
若「時間」 (time - 在圖表中多以垂直展示）與「距離」 ( distance -在圖 表中多以水平表示）作垂直與水平相交（如左頁所示）
，一個數學運算
符號十，又或是－個希臘式十字架便會出現。或許更值得—提的是，
它會呈現出—個中文字一「十」 香港蓺術學院步入十周年，於此回顧過去及展望將來之時，
，而這亦正好與學院十周年紀念互相
呼應。
學院希望能著力探討「時間與距離」這主題。「時間與距 離」乃由學院教職員透過討論與交流而擬訂，可算是總括了
從人類的生命周期來説，十年時間無疑佔相當的比重，但相對文明進
教職員對學院發展歷程的一些想法。這主題帶著微妙的彈性
化的漫長過程，又或對藝術教育的悠長歷史而言，十年光陰實在微不
和自由度 ， 亦能引發無數意念和帶出不同觀點。
足道。
「時間」可令人聯想到藝術創作的過程，過程中所需的時
回首過去，藝術教育早在古希臘羅馬時代已透過不同形式出現。隨著
間，又或是其中所講求的耐性，它亦可指人類悠長的藝術和
時代發展，師徒制的教學方法，及以教學模式運作的藝術工作室，在
文明發展歷史，或其中某個時段，甚或是一個時序 上的歷程，例如學院剧走過的十年光陰。
歐洲文藝復興年代陸續興起。大約從十七世紀起，具規模的醯術學府 及院校在歐洲相繼出現，而大約由十九世紀起，藝術學府則在美洲 及歐洲地區均步入全面的發展時期。
「距離」可指在藝術研習的層面上，人所實際 走過的地域及人的思想領域，亦指物件（如藝
反觀香港，直至廿 一世 紀的今天才開始出現稍具規模的騷術院校
術品）與其觀賞者間那必需予以營造的空間，
雛型。香港藝術學院可説是香港藝術教育的先驅，見證著本土綦
又或是學院在過去十年 ， 隨著與本地及海外機構 的合作計劃，及隨著校舍的遷移等，切實地走過的 路途。
術教育生態的成長和進化。學院雖已成立十年，但嚴格來説，它如 香港整體藝術教育般仍處 於萌芽階段 ，好比小孩學步，要先學懂站穩 根基，然後才能小心翼翼地向前邁出每—步。
若把「時間」與「距離」連在—起，並細細嘴嚼其中意味，
學院（這小孩）在過去十年走過的路荊棘滿途，在自負盈虧的營運模
不難發現它蘊藏著一種與二十及廿—世紀那崇尚速度和快感
式下，前路亦絕非平坦。能走畢成長路上的首個十年，絕對是令學院
的價值觀截然不同的概念，又或是－種與主流速食文化剛好
感到自豪的事，藉學院眾人的信心及對綦術的熱誠 ， 學院將期待發展
背道而馳的想法。而藝術和文明的進化，正需要「時間與
里程上的另—個十年。
距離」的配合，它需經歷長時間的歷練和滋蚤，不能－蹴而
就，並要在概念的演化及調整中走過漫長的道路 ， 故亦實無
以隻字片語概括地總結學院過去十年的經歷實非可能之事，本刊在這
法與速成產品相提並論。
特別的時刻面世，只希望能為展開學院新階段的發展道路劃上標記，
亦希望能讓人扼要而清楚地了解學院過去十載的經歷，藉此檢視過 「時間與距離」的概念一直以來默默與人類文化藝術的發展
去，邁向將來。
相隨，惟其價值在現今世界可能漸遺遺忘，又或公眾對此早
已有著不同的理解。而學院推行的藝術教育，正好讓學生有
林翠怡
機會重新認識和檢視「時間與距離」的價值。學院並非要求
教務長
學生漠視現代潮流趨向，及社會發展的步伐和需要，反之， 學院鼓勵學生除認識現世的事物和主流時局的趨勢外，要有 更廣闊的視野，要更能從不同的層面觀察和了解人事。這種 對時勢的洞悉和對事物的深入體會，才是學習藝術與了解人 類文明發展根源的要素。
香港藝 術 舉院（香港藝術 中心附 屬機構） 二零一零年九月
page 10/11
Introduction of Hong Kong Art School 香港藝術學院簡介
Hong Kong Art School (HKAS), founded in 2000, is a division of the Hong Kong Arts Centre (HKAC). Closely associated with HKAC's environment of cultural venues, client art groups and creative enterprises, HKAS offers a unique setting for students to draw on a vast spectrum of artistic practices
HKAS is an accredited institute staffed by a group of dedicated artists, who are active and distinguished practitioners in the field. The focus of HKAS award-bearing curriculum lies in 4 core academic areas, namely, Fine Art, Applied Art, Media Art, and Drama Education, and its scope covers programmes with academic levels ranging from Foundation Diploma, Higher Diploma, Bachelor Degree to Master Degree. The short courses and the outreach projects of the School that run parallel to the award-bearing curriculum span an even wider variety of artistic disciplines, and they genuinely bridge art and the community
香港藝術學院於 二零零零年創辦 ， 是香港藝術
中心的附屬機構。一直以來，香港藝術導珝弋與 香港藝術 中心的 所有文化場地，均與藝術團體
和創意企業保持序密的連景．為學生提供獨特 的學習環境與氛圍，讓他們在浩瀚 的 藝術領域 上有更多的探究。
香港 d 術學院是政府認可的學術機構．由 －群充滿熱誠｀活躍於藝術界多年並擁有卓越
----
成就的藝術家負責當 中之教學工作。學院的學 歷頒授課程集中在四個核心學術領域，即
藝術、應用藝術、媒體藝術和戲劇教育，提供的課程 則包 括基礎文憑｀高級文憑｀學士
-
及碩士學位。此外，香港藝術學院更舉辦短期課程及其他外展活動 ，大大 擴闊了蘩術課
程的範圍，作為藝術融入社區的重要橋樑 。
School Philosophy 序院理念
To enhance the overall cultural ecology of the society; by projecting a distinctive aura of academic and artistic integrity which is stemming from a genuine passion for art and a belief in the cultivation of humanistic values, aesthetic experience and individuality To provide a gateway for facilitating art education which advocates a quest for root ; and grounded 1n life, it endeavors to manifest cross-fertilization which ultimately leads to a personal growth on the whole
I , fO'
,
l(rol'Ah
Signifies the maturation of conceptual development, professional skills and self-reflection
'O
`
Spreads among artistic , academic and professional principles
．｝國'C`
L n,
Marks the significance of community and connection
Dedicates to history and contextual awareness
本着對綦術的熱忱，對人文價值 、 美感體驗和個人獨特性 的 肯定，致力實現學術和藝術相融 —體的教育理想 ， 為完善社會整體文化生態作出貢獻。
以藝術教育為門徑，藉着紮根於歷史、建基於生活以及強調互動交流的教育理念 ， 達致造就 個人成長的最終 目 標。
佃人成反· 培養個人專業知識和思判能力 ， 建立完整人格
「動文流 跨越不 同 藝術學科與創作媒介的界限，豐富學習經驗
辶玷生活 強調社會關懷與生活體驗，延展創意空 間
孑卜 hF 丈 追尋 自 身歷史和文化的根源，穩 固 創作基礎
·!
page 14115
School Development Milestones 學院發展甩程
1977
Founding of Hong Kong Arts Centre (HKAC), the first independent and non-profit-making arts organization in Hong Kong, under the Hong Kong Arts Centre Ordinance (Chapter 304) 香港藝術 中 心按香港蘩術 中 心條例（第 304 章）成立．是全港 首間獨立非牟利藝術獵禰 。
Establishment of the Education Department within the HKAC, which
。ffered innovative courses on arts and culture, including numerous
1984
pioneering ones on ceramics and computer arts 香港藝術中心成立課程部，提供 一 系列嶄新的藝術及文化
課程，包括多項全港首創的陶藝及電腦藝術應用課程。
19 9 8
Hong Kong 's first ever Bachelor degree programme in Fine Art with part-time study mode was launched by the Education Department of HKAC in collaboration with RMIT University of Australia 香港藝術中心課程部與澳洲皇家墨爾本理 工 大學合作推出 全港首個以兼讀制形式上課及以藝術為主修科的學士課程。
The Education Department of HKAC was formally upgraded to The Art School(TAS) in January 2000 to sign 丨fy HKAC's firm commitment to art education 香港藝術中心課程部於 二零 零零 年－月升格為藝術學院 ，
標誌著藝術中心對藝術教育堅定 不 移的承擔。
2000
。 2001
To meet its expansion, TAS set up a new 10,000 sq. ft . Learning Centre in East Town Building in Wan Chai TAS launched its own award-bearing programmes at Certificate, Diploma and Higher Diploma levels covering the areas of Fine Art, Applied Art and Media Art 為配合發展需要 ， 藝術學院在灣仔東城大廈成立面積達－萬
TAS successfully w ent through the academic accreditation conducted by the Hong Kong Council for Accreditation of Academic and Vocational Qualifications (HKCAAVQ, the Hong Kong Council for Academic Accreditation then) and formally became a subdegree award granting institution recognized by the Hong Kong Government
平方呎的全新教學中心。
同年，學院推出學歷頒授課程．程度由證耆、文憑至高級文
2003
藝術學院通過香港學術評審局（現稱香港學術及職業資歷
憑．內容涵蓋藝術，應用藝術及媒體藝術等範 疇 。
The 丑 gher Diploma programmes of TAS were formally validated by the HKCAAVQ
評審局）的院校評審，成為香港政 府 認可之 副 學位（高級 文憑）學歷頒授機構。
2004
To meet its growing operation needs, TAS relocated its Learning Centre to the Hopewell Centre. With a total area of around 13,000 sq . ft ., the new centre was equipped with state-of-the-art teaching facilities and equipment 藝術學院高級文憑課程通過香港學術及職業資歷評審 局 的課 程 評 審。
為 配 合學院 的 運作需 要， 學院將教學 中 心遷往灣仔合和 中 心。新的教學 中 心面積約—萬 三千平方呎， 並設 有 優良的教 學設施。
Entering its 5th year of development, TAS continued to consolidate its academic development. It was dedicated to the running of a variety of award-bearing programmes from Certificate, to Diploma, Higher Diploma, Bachelor and Master level, and in the areas of Fine Art, Applied Art, Media Art, and Drama Education. A number of the programmes were also offered in collaboration with local and overseas universities
2005
步入五周年．酪術學院繼續整合其學術發展 方 向．提 供 證 霫｀文憑、高級文憑｀學士及碩士程度 的 課程 ， 當 中 包括與
本地及海外大學合辦的課程． 而 課程範圍則主要覆蓋藝術｀
2006
應用蘩術、媒體藝術及戲劇教育這四方 面 。
TAS was renamed as Hong Kong Art School (HKAS). In the same year, HKAS launched the first Photography major stream of Bachelor Degree level in town 藝術學院正式易名為香港藝術學院 。 學院亦於 同 年新增攝影科為學士課程 中 的其一 主 修科 目
With further academic review and consolidation, the Higher Diploma programmes of HKAS were better synchronized and they successfully went through the revalidation exercise hosted by the HKCAAVQ
2007
，這亦是本
地首個以攝影為主修科的課程。
隨著課程 的 整合和發展，學院各項高級文憑課程得到進—步 統整，並通過香港學術及職業資歷評審局的課程再評審。
2008
HKAS launched Hong Kong's first Sculpture ma」 or stream of Bachelor Degree level. To better accommodate the teaching and the practicing needs for classes of 3-dimensional and sculptura丨 natures , the HKAS Sculpture Studio was expanded and relocated to the Jockey Club Creative Arts Centre (JCCAC) in Shek Kip Mei. Converted from an industrial building with a practical history to a hub of art studios, the JCCAC was also the first of its kind in Hong Kong 香港藝術學院為學士課程首度增添雕塑主修科。因應雕塑科及其他 三維學 科 的教學需要，學院更於石硤尾在馬會創意藝術中心設置雕 塑 工 作室。賽馬會創意藝術 中 心乃本地首個由舊式工廠大廈改建 而
成的藝術村。
With pride and joy, HKAS acquired a new school site in Shau Kei Wan (now the School's Shau Kei Wan campus) as a replacement of its Learning Centre at the Hopewell Centre via the Government's Land Grant/ Vacant School Premises Scheme. The successful acquisition indicated recognition of HKAS' contribution to the local art education scene over the years and signified the extension of its presence into local communities
2009
透過政府土地劃撥／空置校舍計劃，學院在筲箕 灣 獲批—所 校舍以取代位於合和 中 心的教學中心。新校舍（亦稱筲箕灣
校舍）的啓 用 不但肯定 了 學院一直以來對推動本地蘩術教育 所付出的努力，更標註著學院的 足 跡已 延伸 至 不 同社區。
2010&
qfter 及其後
Succeed to the establishment of the Sculpture Studio at the JCCAC in 2008, HKAS further acquires some more studio spaces there for the Ceramics, Painting, and Photography streams; and the JCCAC now becomes the School's Shek Kip Mei campus. It is a wish of the School to ultimately house all of its academic areas under one roof, and HKAS is still marching towards this dream Besides, striding into its 10th year of development, HKAS will further refine its award-bearing curriculum in the 4 core academic areas, namely, Fine Art, Applied Art, Media Art, and Drama Education , which covers academic levels ranging from Foundation Diploma, Higher Diploma, Bachelor Degree to Master Degree; as well as the short courses and the outreach projects that run parallel to the award-bearing curriculum 隨著雕塑工作室於賽馬會創意蓺術中心的成立，及為配合其他學科 的發展，學院在賽馬會創意藝術中心進 一 步設立 了 陶蘩、繪畫及攝 影 工 作 室，而 賽馬會創意藝術 中 心亦成了學院的石硤尾校舍。能讓 各學科的 工 作室及教室設置在 同 一校舍 中 —直是學院的願望，而學 院亦正努力 朝 這方 向 邁進。
學院踏入 十 周年 ， 除將繼續 提 供以藝術 、 應用騷術、媒體藝術和戲 劇教育為核心科 目
，及程度涵蓋基礎文憑、 高 級文憑、學 士 及碩士
學位的學歷頒授課程外，亦會令課程更臻完備，並繼續致力發展短 期課程與 其 他外展項 目 ，以配合學院整體的發展方向。
ptlge 16/J 7
People 人
Over the past decade, the School had the pleasure and honour of encountering myriad people from different backgrounds and different corners of the world. They included but were not limited to members in our School Governance bodies, our School Advisors and External Examiners , our Academic Staff members, our Students and Alumni, our Administrative Staff members, as well as our Work Partners, altogether there were over 3,000 of them; not to mention the considerably
0 二
huge number of our guest speakers, and the persons who collaborated with us or who joined our many activities, projects, lecture series, and short courses, and the number in this connection already exceeded 30,000 苷 thTwnpth
t y aS ud e hO
. va
。
e
。
ta. ng
lyref gie nr. . . ihn te n e 。
hb ·-
tteejt
rkdrt nt hn sc eit ee sni
。
Inythti 。 ros
heiwoOl0nu sIih0 fodc ftsls_ d Pahmwetn alactrteu lmhh t re t h elrbpdreoe thC_a thoanhowoUs atsIIgt_ thmt s eyr c ereshwU un·qcuret erdyes eeo ayha attC_eo snTrn at0esu iSpuOfhthn ek caui moer negtr U0 nifai reniutp rrlarsc r0 b bt0ed ieov0 Otaxg i a vlsIe a e e eadd ses_S ce_ ehheee et nC0 eaero nSmePlr n'iSyeut nneu met rrt0st0 ,CC jt0U rhtgah ere 0nphw poms shdp 0eI ydrp nset
s
過去十年，學院有幸遇上無數來自不同國家及不同背景的人士， 當中包括學 院的 督導 及學術委員 、學 術顧問 及校 外考試委員 髦教學人員、
學生和校友｀行政人員以及學院的合作伙伴 ， 總數超過 三千 人，此外， 還有不少客席講師，及眾多曾與學院合作或曾參與學院所舉辦的活動丶
計劃、講座和短期課程等的人士，人數亦已達 三萬 以上。 上述人士曾在學院留下不同足印，學院萬分感謝他們多年來的支持及參 與，惟因篇幅有限，個別人士的名字則恕學院未能於此盡錄。 此章節記下部分與學院至今仍保持著緊密聯繫的朋友的名字，學 院亦希望 籍此衷心向所有一直給予學院支持的人士致謝 。
,.chool
(rO\ ernance
The concept of the one and only local art school in Hong Kong was conceived by the Board of Governors of the Hong Kong Arts Centre under the chairmanship of Mr. Po CHUNG, SBS, JP (chairmanship 1994-2000).
It was brought into life
in year 2000 and the School was then nurtured and supported by the following Board Chairman, Dr. Dennis SUN, BBS, JP (chairmanship 2000-2006), and Mrs. Cissy PAO WATARI, BBS who is currently chairing the Board. Special and heartfelt thanks from the School again to the Board Chairmen The School's Governance bodies involve the Hong Kong Art School Council and the Academic Committee, which are overviewed by the Board of Governors of the Hong Kong Arts Centre Members of the Board of Governors, the School Council and the Academic Committee have been guiding the development of the School over the past decade 建立香港藝術學院這概念，是由在 鍾普洋 SBS 太平紳士
（任期為 1994-2000 )
領導下的 香港藝術中心監 督 團 所構思及孕育而成的 。 此後，學院的發展先後
有賴在 孫大倫博士 BBS 太平紳士
（任期為 2000-2006 )
及在 包陪麗女士 BBS
（現任主席）領導下的香港藝術中心監督團的培育與支持。 學院特此再次向 各位監 督 圍主席致謝 。
學院由 香港藝術中心監 督 團 、 學院督導委員會 以及 學術委員 會監督並引導其 發展方向。過去 十 年 ， 監督團成員及委員們一直引領及支持學院的成長， 為學院的發展奠下了基石。
l Ionµ
Kon 卜 Arts ( -cmrc 3oard ol (, t) \ L 「Porb
香港 f＼術中心 ！在抒摶l t 几任成 I
UH,1I
l
J
Chairman 主 席
Mrs. Cissy PAO WATARI, BBS
包陪麗女士 BBS
Members 成 員
Mr. Christopher CHUNG , BBS, JP
鍾樹根先生 BBS太平紳士
Mr. Calvin HUI
許劍龍先生
Mr. Sebastian LAW Chairman of Hong Kong Art School Cozmdl
羅世雄先生 香港藝術學院督導委員會主席
Mr. Nelson LEONG Chairman ofBuilding Committee
梁國輝先生 建築物委員會主席
Prof. LEUNG Ping Kwan
梁秉鈞教授
Mr. Raj Sital MOTWANI , BBS, JP
司徒偉先生 BBS 太平紳士
Mr. Charles NG Chairman of Finance Committee
吳 明 華先生 財務委員會主席
Mr. David PONG Chairman ofArts Programme Committee
龐俊怡先生藝術節目委員會主席
Mr. James THOMPSON , GBS
瘠康信先 生 GBS
Dr. Jimmy C. H. WONG, BBS, JP Deputy Chairman of Hong Kong Art School Council
香港藝術荸院督導委員會副主席
Ms. Connie LAM Executive Directo,; Hong Kong Arts Centre
林淑儀女士 香港藝術中心總幹事
王賜豪醫生 BBS太平紳 士
page 18/19
Honf.. Koc1g Art
~、huL'I
Counc
ii 、` lL'「` ]（ `1rrc可[ n , t
芍l尺＼術緤 l「,E1'f 粒委扎介 u1lT,i 山:-: Chairman 主 席
l/.f,)
2000-2010
Mr. Irving KOO , SBS, JP
顧爾言 SBS 太 平 紳士
20 IO - Present
Mr. Sebastian LAW
羅世雄先生
D eputy Chairman 副 主 席
2008 - Present
Dr. Jimmy C H WONG, BBS, JP
王賜 豪 醫生 BBS 太平紳士
Members 成 員
2000- 2010
Mr. Johnson CHANG
張頌仁先生
2009 - Present
Mr. Christopher CHUNG, BBS, JP
鍾樹根 BBS太平紳士
2000-2010
Dr. David CLARKE
祈大衛博士
2004-2010
Mr. Oscar HO
何慶基先生
2010 - Present
Prof. Desmond HUI
許焯權教授
2010 - Present
Prof. Frank VIGNERON
韋—空教授
2002-2010
Mr. Wucius WONG
王無邪先生
。 Acadc'11k (:ommiItcc
· ncr Jnd t
I
香沭茌＼ ii「壓 1;；「芬術委 U 介（瓦 fF 及！扭烕") Chairman 主 席
Members 成 員
2000-2010
Dr. David CLARKE
祈大衛博 士
2010 -Present
Prof Frank VIGNERON
韋—空教授
2008 - Present
Prof. Helen GRACE
葛海崙教授
2004 - 2010
Mr. Oscar HO
何慶基先生
2010 - Present
Dr. MA Kwai Shun
馬桂順博士
2000 - Present
Mr. YEUNG Wai Fung
楊懷俸先生
* For School Council and Acadc叩 c Committee, only non-ex-officio meinbers are included here 以上叱院仔等委 .t.l 會及學術委 U 會名＼楳，只列出非 'l:'i 然成 U 。
chool,\dv1sors and External E\:,.unincr f1 術通間及校外 g 試委 V
School Advisors and External Examiners of the School have been providing professional feedback towards the development of the School. 學院的學術顧問及校外考試委員一直為學院的發展方向提供專業的意見，以助學院發展。
chool AJ 、'I`or丶 c1 rr~
11
J」'lSL •
「 l 術 Ul'U （現 If l - ,!{) Prof. CHAN Yuk Keung Kurt
陳育強教授
Dr. HO Siu Kee
何兆基博士
Prof. Matthew TURNER
田邁修教授
Mr. Stanley WONG
黃炳培先生
r. ,` L,tt.'rnal Exa•ninl'r<;, rr.: 11
11[
校外仡噴隹「 1 1 現 (t 妥 U, Ms. CHOI Yan Chi
蔡仞姿女士
Ms. Catherine HU
胡嘉芝女士
Dr. LAI Ming Hoi Victor
黎明海博士
Ms. Rosanna LI
李慧嫻女士
Dr. Kacey WONG
黃國材博士
puge 20/21
Acaden1ic 丶 taf '1. ; , L 人 u
The School h as worked with over team of over
100 full-time
900
lecturers in the past decade. Current ly, t h e School h as a
a nd part-time lectu rers w h o are a ll dedicated artists a n d d istingu ished
practitioners in the field, some of them are a lso a lumni of t he Sch ool; and t hey h ave been n urtu ring the growth of th e s t udent s as well as the School
於過去十年 ， 在學院授課的教學人員共逾 九百 名，而學院現亦有約 －百 名全職及兼 任的教學人員，他們均為活躍於業界的廷術工作者，當中包括學院的畢業生，學院
的教學人員一直肩負培育學生的重任，並協助學院進步成長 。
。 CHAN Wai Bong
Clement 陳偉 邦
Senior Lecturer / Programme Coordinator (Higher Diploma in Fine Art) 高級講師 l 課程 統籌（藝 術高級文 憑）
BFA. Indiana University, Bloomington, Indiana. U.S.A. MFA. Temple University(Tyler School of Art). Philadelphia. U.S.A MA, The Hong Kong Polytechnic University
A 迅11f.';\ 、idtmiclk叫 罟到'J,1 術扭監 CHAN Kwok Pui Wylie 陳 國培 BFA. University of Illinois, Chicago, U.S.A MFA, RMIT University, Australia Specialty: Design & Visual Communication
Specialty: Painting 專研
續畫
CHAN Yuk Lan
caJemic 瓦m I I·ull tmc l 教序人 U
（令臼）
Phoebe 陳 玉 蘭
Lecturer / Programme Coordinator (Drama Education) 講師 l 課程統 籌（戲劇 教 育）
英語學科 統 籌
BBA, The University of Hong Kong, MA, University of Central England in Birmingham, UK PhD (candidate), Gnffith Unrversrty, Australia Head Ad1ud1cator, Hong Kong School Drama Festival AdJunct Lecturer, Griffith University, Australia
BA(Hons), University College Falmouth, Cornwall, UK
Specialty: Drama Education
Specialty: English & Visual Communication
專研
專研設 計
Kate A
BERRY 貝琪
English Language Coordinator
專研
戲劇教育
英語及 視 覺傳意
Dr. LAI Kin Keung Edwin 黎健 強 博 士 CHAN Hin Ming
Arthur 陳軒明
Lecturer / Programme Coordinator (Higher Diploma in Applied Art) 講師／課程統 籌（ 應用綦 術 高級文 憑）
Bachelor of Architecture, Bachelor of Arts in Architectural Studies, The University of Hong Kong Master of Environmental and Sustainable Design, The Chinese University of Hong Kong MFA, DFA (candidate), AMIT University, Australia Specialty: Interior Design 專研室內設 計
Senior Lecturer / Sub」 ect Coordinator (Photography) 高級 講 師 l 學科 統 籌 （ 攝影 ）
BA (Hons.), Derbyshire College of Higher Education, UK MPhil. PhD, The University of Hong Kong Specialty: Photography 專研揖 影
LAM Chi
Kwong 林志光
Studio Supervisor 工作室主管
BA, MPhil, The Chinese CHAN So Mei
Sharon 陳素媚
Lecturer / Programme Coordinator (Short Courses) 講師 l 課程統籌 （ 短期課程 ）
BA. The 和s Institute at Bournemouth. UK MA. Kingston University, UK Specialty: Motion Graphics & Media M 專研＇ 動態圖像及 媒 體藝術
Specialty: Ceramics 專研 ． 陶藝
Un」versity
of Hong Kong
Jaffa 林嵐
LAM Laam
Lecturer I Subject Coordinator (Sculpture) 講 師 l 學科統籌（雕塑）
Stella 鄧凝姿博士
BA, Dip Ed, MFA, The Chinese University of Hong Kong
Dr. TANG Ying Chi
Specialty: Sculpture
Lecturer / Subject Coordinator (Painting) 講師 1 學科統籌（繪畫）
專 研 ＇畦塑
LEUNG Ching Man
Olive 梁 菁雯
Lec turer / Programme Coordinator (Foundation Diploma in Visual Art) 講師／課程統籌（視覺蓺術基礎文憑） BA (Hons) Fine Arts, Central St. Martins College of Art and Design, UK MA in Media Cultures, City University of Hong Kong
TAM Hoi Ming
Nelson 譚海鳴
Lecturer / Programme Coordinator (Bachelor of Arts in Applied and Media Art) 講師 l 課程統籌（應用及媒體藝術文學 士 ） BFA, School of Visual Arts,
N 的 York,
School-based Project Coordinator 學校項 目 統籌
Diploma Drama and Filming, National Taiwan University of Arts Msessor for Hong Kong Arts Development Council
USA
專研
動畫
Fiona 黃麗貞
BEd, University of East Ang 區
County 譚敏義博 士
Lecturer / Programme Coordinator (Higher Diploma in Media Art) 講師 l 諜 程 統籌（媒體藝術高級 文 憑） MPhil, PhD, The University of Hong Kong Specialty: Media Theory & Cultural Study 專研 ．媒體理論及文化研究
Lukas 譚偉平
Chairman. Cinematic Theatre
TAM Wai Ping
Specialty: Art Education
Senior Lecturer / Programme Coordinator (Bachelor of Arts (Fine Art))
藝術教育
續畫
Lecturer / Subject Coordinator (Ceramics) 講師 l 學科統籌（陶藝）
!Drama Sector) Director of Hong Kong Institute of Aesthetic Education l.Jmited
專研
專研
WONG Lai Ching
Dr. TAM Man Yee
Fong 孫惠芳
Specialty: Painting
Specialty: Animation
視覺傳意
SUEN Wai
MFA, DFA. RMIT Urnversrty, Australia
MSc, The Hong Kong Polytechnic Univers,ty
Specialty: Visual Communication 專研
BA, Goldsmith's College, London, UK
高級講 師 ／課 程 統籌（藝術學 士 ）
BA(Hon) in Fine Art,
Un 陋堢 ity
or Reading. UK
Higher Diploma In Fine Art, The Slade School or Fine Art, University College or London. UK Specialty: Painting 專研
續畫
UK
MFA. The Chinese Unr,,ers,ty of Hong Kong Specialty: Ceramics 專 研 ＇陶藝
pnp.e 22/23
Parr ume ·\c 心mit 沁 ft ；在任教今人 U
AU Hoi Lam
區凱琳
CHENG Yee Man
鄭怡敏
AU Yi Man
歐怡雯
CHEUNG Christopher Wicky
張士宗
Paul BISHOP
畢保羅
CHEUNG Ho Yan Caroline
張可恩
CHAN Ling Hin Adeline
陳凌軒
CHEUNG Hong Sang Enoch
張康生
CHAN Ka Yi Ivy
陳家儀
CHEUNG Kai Sun Suzy
張啟新
CHAN Kai Ching Patrick
陳啟晶
CHEUNG Mun Yee Margaret
張敏儀
CHAN Kam Shing Chris
陳錦成
CHEUNG Wai Sze Rachel
張煒詩
CHAN Kei Chak Thomas
陳紀澤
CHEUNG Wai Ting Stephanie
張慧婷
CHAN Oi Ni Annie
陳愛妮
CHING Chin Wai Luke
程展緯
CHAN Pui Hoe Howard
陳沛浩
CHING Sze Yin Cicy
程詩賢
CHAN See Kwong Ray
陳思光
CHOY Wing Yiu Lawrence
蔡永耀
CHEN Hui Lien Denise
陳惠蓮
CHOW Kit Mui Winnie
周潔梅
CHENG Chi Ming
鄭志明
CHU Hoi Man Mandy
朱海敏
CHENG Ka Kay
鄭家奇
CHU Ka Ming
朱嘉明
CHU Ka Wa
朱家驊
CON Wen Fai Monica
龔穎暉
FONG Yun Sang James
方潤生
FOO Sai Heng
傅世亨
FU Wai Yee Winnie
傅慧儀
FUNG Bing Fai Makin
馮炳輝
FUNG Hing Keung
馮慶強
HAU Wai Kai
侯懐佳
HEUNG Kin Fung Alex
香建峰
HO Ka Yin Clara
何家賢
HO Oi Yan Carol
何藹恩
HO Yuen Leung
何遠良
HUNG Tak Wah Ronnie
洪德華
。
IP Che Kong Dino Paul
葉志剛
NG Yuk Lan
吳玉蘭
TANG Sze Wan Monique
鄧詩韻
IP Ho Cheong
葉浩昌
POON Wing Fai Albert
潘永輝
TANG Wai Yee Connie
鄧惠儀
IP Pui Ling Ivy
葉佩玲
SHU Chi Yee Jack
舒志義
TANG Yiu Hing Louis
鄧耀輿
TO Lai Wa Dora
杜雇華
邵光德
TSANG Chiu Chuen Enzo
曾照泉
KEUNG Chi Ming Jimmy
姜志名
Andrew SIMPSON GUTHRIE
KU Mun Chiu Christopher
谷敏昭
SIU Kwong Tak Jason
LAM Cho Ling Jessie
林楚玲
SO Sau Yi Gretchen
蘇秀儀
TSANG Hong Sang Sam
曾航生
LAM Kong
林罡
SUEN Shu Kwan Leon
孫樹坤
TSANG Shuk Kuen Yvonne
曾淑娟
LAM Yan Kit Keith
林欣傑
SUN Lo Chuan Terry
孫樂川
TSANG Tsui Shan Jessey
曾翠珊
LAM Yin Krissy
林燕
SZE Siu Ling
施小玲
TSANG Wing Yi Winnie
曾穎怡
LAU Pui Yee Gukzik
劉佩儀
SZETO Chi Ming Marco
司徒志明
TSE Ming Chong
謝明莊
LAU Siu Tsang Benny
劉紹增
TAM Sing Chuk
譚聖卓
TSUI Wai Yip Terry
徐偉業
LAU Tin Ming
劉天明
TANG SiuWa
鄧小樺
WONG Kwok Sun Sunny
黃覺新
LAW Sum Po Jamsen
羅琛堡
WONG Kwok Wing
黃國榮
LAW Tsin Fung Angela
羅展圄
WONG Loi
黃來
LAW Yuen Fun Muriel
羅婉芬
WONG On Ming Barry
王安明
LEE Ka Chung Garrison Gary
李家聰
WONG Wai
黃瑋
LEE Yeung Tsi Andrew
李楊子
WONG Wai Hung Stephen
黃偉鴻
LEUNG Chung Ming Iris
梁仲明
WOO Man Kay Maggie
胡文姬
LEUNG Koon Ming Jakie
梁冠明
YEUNG Ching Yee Eileen
楊靜儀
LEUNG Man Ho Steven
梁文豪
YEUNG Pak Yau
楊百友
LEUNG Yuet Leung Rozana
梁月亮
YIM Cheong Kong
嚴昌港
LI Ka Kei Karty
李嘉琪
YUEN Pui Man Ellen
阮佩文
LIM Chi Kin Tony
林志堅
YUNG Sau Mui
翁秀梅
LIN Yiu Bong Hamlet
林繹邦
LIU Meng Kuan
劉孟寬
LIU Pui Fong Mercy
廖佩芳
LO Ching Man Carmen
羅靜雯
LO Man Him Virginia
盧文謙
LOK Kwok Kuen Stephen
陸國權
LOONG Man Hong
龍文康
LUK Ho Sun Spencer
陸浩燊
MA King Chu Ivy
馬琮珠
MAK Keung Wai Mac
麥強偉
MOK E- Den
莫－點
Abbas NADIM DAVID Pearl NG
吳夏怡
NG Lai Fong Clara
吳麗芳
NG Wai Kwok
吳衛國
@
paµc 24125
Students and Alumni 序生及校友
As of today, the School has over 2,000 graduates from its award-bearing programmes, and there are approximately 25,000 students who have been enrolled into its short courses in the past 10 years. Students and alumni have both been witnessing the growth of the School 迄今，修畢學院不同學歷頒授課程之畢業生人數已逾 二千 名． 與此同時，於過去十年，約有 二真五千 人次報讀學院的短期課程。
學生及校友們均一直見證著學院的成長。
Jmu~istrativc Statf 行政人 [l
The daily operation and the growth of the School cannot be made possible w ithout the dedicated support of around 30 diligent administrative staff members of the School Headed by the Management Office, the administrative aspect of the School consists of the following teams: Academic Programme Administration , Communication & Development, Project, Registry, School Administration , and Technical Services The School's current full-time administrative staff members are 學院的日常運作及發展亦有賴學院約 三十 名行政人員不懈的努力 。 學院的 行政部由校管局帶領，負責行政事務的部門包括
課 程行政部 ｀傳 訊及 發
展部 、策劃 部 ｀ 教務 盧·院務 部 及 技 術 支 援 部 。下列為學院現任的全職行政 人員
A, m··,,rm rn t (U 玠· • i，；苷」I,i
LEUNG Kang Wai Felix Director
梁 鏡威 院長
CHAN Kwok Pui Wylie Acting Academic Head
陳國培 薯理易！術總監
LAM Tsui Yee Karen Acade而c RegHtrar
林翠怡 教務長
^＇ A°"壺 Dr^mr1mme AdmlillSI..ation 課程 1 」·.政 LAU Ah Kay Kiki Manager
劉雅琪 經理
LAI Shui Chun Nicole Senior Ad111i11islrative Officer
黎瑞珍 商級行政主任
WONG Hoi Yan Fran Senior Admi111:arative Officer
王凱欣 高級行政主任
WU Wing Man Annie Ad111i11istrahve Officer
胡穎文 行政主任
YAU Lai Fan Toby Administrative Officer
邱麗芬 行政主任
HO Kit Ling Toby Assist(J/1! A dmi11ist~(J/ive Officer
何潔玲 助理行政主任
LAM Ka Man Karman Assistant Ad111i11istrative Officer
林嘉雯助 理行政主任
TO Ka Lee Kary AssisltJIII Administrative Officer
杜嘉莉 助理行政主 亻J-
pa/'-e 26/27
(^·`'"'.~ · ' ^ ` ^ "
`.
ln1 、可 cm 傳訊及發 h,I;
CHAN Siu Chun Patricia Manager
陳 肇臻經理
LAW Chung Foon Senior Administrative Officer
羅仲歡 高級行政主任
TSE Man Kit Ricky Administrative Officer
謝文傑 行政主任
TSOI Sum Yi Stella Administrative Officer
蔡心怡 行政主任
PmiP可侑．！nJ CHENG Wai Yin Chris Assistant Manager
鄭 慧 賢 助理經理
CHAN Nga Yee Bertha Administrative Q/jicer
陳雅怡 行政主任
YEUNG Lai Ping Ophelia Assfrtant Ad111i11islrative Officer
楊麗萍 助理行政主任
'，、,｀｀'.., ·約璨 SING Suet Yi Shirley Admim'.ftrative Officer
成雪亻義 行政主任
YU Sui Ting Susanna Administrative Officer
余瑞婷 行政主任
。
^k^ ^ l A,l^、 i·、 i`
`
)l ;^., r;；'各
CHAU Shuk Ying Loretta Manager
周淑瑩 經理
MAK Yim Chun Jenny Senior Administrative Officer
麥艷珍 高級行政主任
S00 Chung Man Senior Administrative Officer
蘇頌雯 高級行政主任
HO Wing Cheung Ivan Assistant Administrative Officer
何永昌 助理行政主任
PUT Shun Lam Grace Assistant Adminirtrative Officer
畢舜嵐 助理行政主任
CHEUNG Kit Ling Celia Ad而11istrative Assista沮
張潔玲 行政助理
CHAN Wai Chun Senior School Facilities Assistant
陳偉俊 高級埠校設施助理
CHUNG Ping Hei Patrick School Faalities Assistant
鍾秉 熹华校設施助理
LEE Kar Ming Ken School Facilities Assistant
李家明 學校設施助理
NG Yuen Sum Steven School Facilities Assistant
吳源森 學校設施助理
WONG Chi Hing Charles School Facilities Assistant
黃志興 舉校設施助理
T^＾hni 「 1l `^I`';FPc T^^ ＇丶~拉術女援 NG Kei Chun Ken Officer (IT & Services)
吳基泉 主任（資訊科技）
TSUI Chi Ho Matthew IT Support Officer
徐智浩 資訊科技主任
The operation of the School is also assisted by an excellent team of part-time School Facilities Assistants, Teaching Assistants, and Event Assistants, it is indeed proud for the School to note that many of them are currently enrolled students or the alumni of the School. 此外 ． 學院一群熱心的兼 任學院設施助理｀教學助理 及活勳 助理 ．在協助學院的營運方面亦作 出不少努力．當中不少是現時就讀於學院的學生．或是已修畢課程的校友 。
ork Partner 合作伙 f`「
The School takes immense pleasure in working with different partners over the years. Among which, 3 of them, which have been working with the School on the operation of 3 award-bearing programmes of or above Bachelor degree level, could be regarded as the School's long-term partners. The School would like to specially mention them here, with thanks and appreciation to all of their staff members who have contributed to the corresponding partnership. The 3 of them are
+
RMI 「 l lnivcrsity, ~\ld1-.ournc. \ustr,tliu
+ Grif五h
+
University, Bri-;banc, A 四 r.:ilia
Schoo: ofProlL,``ional
1 hc lIont,
I duLdtIon,mJ
Kong Polyted1
lk
l^cL JU\ c Dc\ t lcpmcr\
Umvcr`i"
學院對一直以來能與不同機構合作深感高興，在合作伙伴中，有三個與學院在營運 學士學位或以上程度課程的院校可謂學院的長期伙伴，它們分別是
十澳洲屯家墨爾本理 E 大「}l 十澳洲格里非斯大學
十香港理「．大限專業進修琅院 學院藉此希望向各伙伴及當中有關的同事致謝。
page 28/29
Work 事
The School has been working hard over the past decade to have its different dreams in art education fulfilled and realized. It has been exceptionally hard and difficult owing to its self-financing nature, and the fact that it has been dedicatedly and solely working on art programmes Art in one way or another is still perceived as alternative, luxurious and minor 1n this society, and art programmes in Hong Kong can sometimes be likened to either the refreshing appetizer or the enchanting dessert in a meal, but seemingly never the most anticipated main course. Against all odds, the School has been upholding its belief in art, and striving to nurture interested individuals with art. With continual effort spent in the day, over sleepless nights, and throughout the seasons, the School has been bringing 3 major categories of art programmes into life, and they are
Au)ar」-bc{,！ringprogrdJ'll/11CS
。
Short Courses [>rojc)ct
學院在過去十年刻苦地經營，成就了不少綦術教育的夢。學院的經歷
算是份外辛酸及艱苦，主要因學院自資經營，亦因學院堅持只營辦與 藝術有鬩的諜程及活動。
酪術在今日的香港社會，仍通常被視為另類、奢侈以及只屬小眾的玩 意，而酞術課程則往往被喻為一頓飯餐中的餐前小菜，或是餐後甜 點，但卻永遠稱不上是最令人期待及最能讓人裹腹的主菜。儘管困難
重重，學院一直堅守著對藝術的信念，亦一直致力培育有志學習藝術 之士。學院晝夜不息，在過去的十個寒暑，為本地藝術教育帶來了三 大類型的藝術課程
學歷頒授課程
短期課程
井割／項 II
\\\
` ard bcarin``t` l)rogrJmmL .
月Hiftiik;,冴狂卫
Since its inception, the School has been dedicated to the development and the running of awardbearing programmes in various art disciplines, and most of them are of post-secondary level. All of the programmes are we 丨I structured and they normally last for at least one year in time. They provide students with in-depth knowledge and academic award of the relevant disciplines. Up till 2010, the School has offered over 20 programmes of quality. Here is an overview of the major award-bearing programmes which have been run by the School in the past decade 學院 自 創辦以來， —直 致力發展不 同 程度 ， 及以 不同 蘩術範疇為核心 的 學歷頒授課 程 ，為 愛好藝 術的人士提 供 多 種學習與升學途徑及 相 關學歷， 而 課程通 常 為期一年或以 上 。 直 至 二 零—零年 ， 學院 已 開辦 了 超過 二十 個中 學程度 以上 的學歷頒授課程 ，主 要課程 如下
|CcrtifiCAtc /
D!ploma 謅占 ／ 文憑
Diploma in Computer Animation
I Part-time
1997-2000
Part-time
1998- 2002
Full-time & Part-time
2001 - 2003
Full-time & Part-time
2003-2005
Ful 丨－time
2006 - Present
Part-time
2001 -2005
電腦動畫文憑
Foundation Certificate in Art & Design 美術設計基礎證書
Certificate in Arts Studies f:./isual & Applied Arts) 藝術證書（視受及應 用 藝術）
Certificate in Visual Arts 視覺藝 術 證書
Foundation Diploma in Visual Art 視覺藝術基礎文憑
Diploma in Fine Arts (Ceramics / Painting / Photography/ Sculpture) 藝術文憑（陶藝／繪畫 1 攝影 l 雕塑）
Collaborated with Chisholm Institute, Australia
page 30/31
］瓦 lk I
l)IplomJ ;
|
i\ 、、Ol Uk l)四 l只 I；：」吱文心副珝 f、、,
Associate of Visual Arts (Applied Arts)
Part-time
2003-2004
Full-time & Part-lime
2001 -2002
Part-time
2001 - 2005
Part-time
2001 - 2006
Validated by HKCAAVQ 1 in 2003
Full-time & Part-time
2003 - Present
Validated by HKCAAVQ in 2003 & Revalidated in 2007
Full-time & Part-time
2006 - Present
Validated by HKCAAVQ in 2006 & Revalidated in 2010
Collaborated with Lingnan University
視覺藝術 副 學士（應 用 藝術）
Higher Diploma in Computer Animation 電腦動畫高級文憑
Higher Diploma in Environmental Design (Interior Design) 環境設計高級文憑（室內設計） 油 gher
Diploma in Communication Design (Graphic Design)
傳意設計高級文憑（平 面 設計）
Higher Diploma in Media Art (Computer Animation / Digital Video & Cinema / Multimedia Arts) 媒體藝術高級文憑
（電腦動畫 ／ 數碼錄像及電影 l 多媒體藝術）
Higher Diploma in Fine Art (Ceramics I Painting / Photography / Sculpture) 藝術高級文憑（陶藝／繪畫 1 攝影 l 雕塑）
Full-time & Part-time
應 用 藝 術高 級文憑
。
Higher Diploma in Applied Art (Graphic Communication / Interior Design / Furniture & Home Product Design)
2007 - Present
Validated by HKCAAVQ in 2007
（傳意設計／室內設 計 ／傢倔及家 居 產 品 設計 ）
B 」 cliL·lo1 丨） L·g I L'L'·學 l 課科'
—-—-—一－ －一—-
----|
1998 - Present
Collaborated with RMIT University, Australia
藝術文學 士
Full-time Load (in Part-time mode)
Bachelor of Arts (Applied & Media Arts) - Top-up Degree
Full-time & Part-time
2004 - Present
Collaborated with the School of Professional Education and Executive Development (SPEED), The Hong Kong Polytechnic University
Bachelor of Arts (Fine Art)
應 用 及媒體綦術文學士（學士銜接諜程）
1. HKCAAVQ: Hong Kong Council for Academic and Vocational Qualifications 香港學術及職業資歴諍審局
IMastm
Degrec 碩士課程
Master of Fine Art
Part-time
2004 - Present
Collaborated with AMIT University, Australia
Part-time
2004 - Present
Collaborated with Griffith University, Australia
藝術碩士
Master of Drama Education / Master of Drama Education with Honours 戲劇教育碩士 1 戲劇教育榮譽碩 士
|Professional / Conunumg Educanon
Certi6cate 導業／4．fff1 進修證｝ r
Professional Certificate in Arts Management
|
Part-time
2004
Part-time
2004
Commissioned by HKADC2
Part-time
2004
Commissioned by HKADC
Part-time
2007
Part-time
2005
Part-time
2006
綦術行政專業證書
Professional Certificate in Curatorship 藝術策展專業證書
Professional Certificate in Visual Arts Management 視覺廷術行政專業證書
Professional Certificate in Exh 心tion Studies & Art Curatorship 展梵 研 究及藝術策展專業證嘗
Continuing Education Certificate Certificate in Chinese Art Traditional Chinese Ink Painting and Calligraphy 中國藝術持瀆進修證書
Continuing Education Advanced Certificate in Chinese Art - Traditional Chinese Ink Painting & Calligraphy 中 國藝術持續進修高級證畫
2 HKADC Hong Kong Arts Development Council 香港綦術發展局
puge 32I 33
勺 hort
Coursc
洹期課程
Short Courses have a long history that precedes the birth of the School in 2000 Many of them were initiated in the then Education Programme Department of the Hong Kong Arts Centre. Short courses are offered on short-term basis, with a running cycle covering approximately 2 to 3 months. They mostly provide students with an introductory understanding of different artistic disciplines, while technically, students can sometimes also get to sophisticated level by repeatedly returning to the courses and with ongoing practice 短期課程在綦術中心擁有悠長的歷史，不少課程在學院正式成立以前
Over the past decade, short courses with a vast variety of artistic disciplines have been offered by the School, including and not limited to Ceramics,
已在藝術中心的課程部開辦。短期課程通常為期二至三個月，它們主
Chinese Calligraphy and Ink Painting, Drawing , Painting, Photography, Drama
要為學員提供不同蘩術範疇的基礎或入門知識。在技術上，學員亦有
Education, Film, Art Appreciation, Art Therapy, Graphic Design, Digital & Media
機會隨著多次報讀學習以及不斷練習而達到一定水平。
Art, Computer Animation, Dance and Music etc. In terms of the number of courses, there have already been nearly 1,000 of them; and you, who are now
學院在過去十年開辦了接近 一千 個有膈不同藝術範疇的課程，當中包
getting in touch with this publication, may have also taken or hosted one or
括
even several of them. Individual names of the courses cannot be listed out in
影、藝術賞析，藝術治療、平面設計、媒體及數碼藝術、電腦動畫｀
details here due to the limitation of space; yet, by recalling a few of them here,
舞蹈及音樂等。你可能亦曾接觸、報讀、甚或曾主講其中－個或多個
we envisage that it may be able to give you a glimpse of the variety of courses
課程，但鑒於課程數量之多，學院未能於此盡錄。
陶藝、中國書法及繪畫、素描、西洋繪畫，攝影、戲劇教育，電
we have offered, and it can perhaps awake reminiscences of your art learning 學院於此章節列出部分（約二百個）課程名稱，藉以令讀者得以 一 覽
or teaching experience with us somewhere in time
學院所辦的短期課程之性質，亦藉以希望喚起你曾在這裡學習或教授 藝術的一些往事及回憶。
°
20th Century Art with its Socio-cultural Context
Art History & Criticism
Beginning Handbuilding in Clay
從社會文化條件看二十世紀綦術流變
綦術史及藝術評論
陶藝手塑技巧入門
Advertising and Copywriting
Art Nouveau Jewellery Appreciation and Contemporary Interpretation
Branding & Fashion Marketing
廣告創意與撰稿策略
Aesthetic of Darkroom Art 純美黑房體驗
欣賞與當代演繹
Art of Glass 玻璃工藝
Aesthetic of Space 空間美學
Art Terms A - Z
|
All Good Scenes • Hong Kong Films 好風景 ． 香港電影
藝術詞彙知多－點點
Arts Appreciation 藝術欣賞萬花筒
Amazing Box 八寶盒
Ball-Joint Doll Making Workshop 球體關節人偶製作
An Investigation of Arts Therapy and the Chinese Culture
Basic Ceramics Throwing
藝術治療與本土文化初探
陶藝拉坯初階
Appreciation of Movie Soundtracks 光影大師配樂縱橫談
Basic Computer Music for Media Production
Art Appreciation I: Five Centuries of Western Art (From the 14th to the 19th Century)
Basic Editorial Design
藝術賞析（－）
盡刊設計基礎
十四至十九世紀的西洋蘩術
影視製作之音效及配樂入門
Art Appreciation II: Western Art of the 20th Century
Beginning Comic Drawing
藝術賞析（二）
漫畫創作技巧入門
二十世紀的西洋藝術
Art, Culture and Psychoanalysis
Beginning Drawing
藝術文化心理分析
素描入門
品牌與時裝
Ceramics in Life 生活陶藝
Ceramics Throwing - History and Practice 拉坯工藝—歷史與實踐
Character Design Workshop 卡通人物設計工作坊
Children Visual Art Teaching 兒童視藝教學法
Chinese Architecture, Culture and Art 中國建築與文化藝術
Chinese Calligraphy 中國書法
Chinese Calligraphy and Seal Engraving 書法篆刻班
Chinese Clay Sculpture 中國泥塑藝術
Chinese Painting and Calligraphy 中國畫及書法班
Chinese Painting for Beginners: Flowers/ Landscape 國畫初階
花卉 l 山水
Chinese Painting in The Style of The Lingnan School - Appreciation and Practice 國畫初階（嶺南畫派）—欣賞與實踐
Chinese Typography 傳情達意 一中文 字體設計
Cinematography
&匕 ghting
電影攝影及燈光
Clothed Figure Painting 衣飾 人 物寫生
Colour Pencil 彩 色 鉛筆畫（木顏色）
Comics Culture 漫畫文化
Communicate through Photography 透視攝影語言
Computer Singer Song-Writer 電腦唱作人訓練課程
Concept & Pr;ctice in Fashion Design 時裝設計之意念與實踐
Conceptual Photography 概念攝影
Contemporary Chinese Ink Painting 新水墨畫創作
Experience on Playback Theatre
Creation of Shadow Art Theatre
故事的魅力— － 人—故事劇場體驗工作坊
皮影戲劇場創作
Experiencing The Lingnan Painting
Creative Advertising and Brand Building
淺嘗 中 國畫—認識嶺南派
創意廣告與品牌推廣
Experimental Jewellery
Creative Illustration
實驗 首 飾設計
創意插畫
Experimental Photography
Creative Thinking
實驗攝影
創意思維
Eye on Aesthetics of Architecture
Creative Workshop of Furniture and Home Products
Eye on Aesthetics of (Hong Kong) Architecture
家具及家 居 用品設計 工 作坊
Creativity and Visual Thinking 創意及視覺思維
Creativity in Jewellery Making 創意首飾製作
Curatorship & Arts Administration 策展及藝術行政
Devised Theatre - Collaborative, Participative and Dialogic Theatre Making 編作劇場 一 集體｀參與｀對話的戲劇 創作手法
Discovering Design through History & Digital Media 從設計理論到媒體創意實踐
Discovery and Appreciation of Visual Art 視藝欣賞探索
Discovery of Colour 色彩旅程
Documentary Photography Workshop Community Visual Research in Moulding City
放眼都 市 建築美態
Drama in Education for Kindergarten Teachers 幼師戲劇教學法
放眼（香港）都市建築美態
Drama Therapy for Personal Growth
Fashion & Branding
戲劇治療與自我探索 工 作坊
時裝與品牌
Drawing for Communication Design
Fashion as Art
素描及設計
時裝設計的藝術實踐
Drawing from Plaster Figures
Fashion Design Foundation
石膏像素描
時裝設計入門
Drawing Practice
Fashion Design lntermediate
素描實習
時裝設計進階
Drawing Studio
Fashion Graphic Design
色彩與素描
平面設計在時裝設計之應用
Drawing Studio for Graphic Design
Fashion lllustration
平 面 設 計 之色彩與素描
時裝繪圖
Elementary Ballroom Social Dance Course
Female Figures in Western Aesthetics
基本標準舞之「摩登舞」入 門
西洋美術中的女性形像
Elementary Latin American Social Dance Course
Figure Drawing in Movement
基本標準舞之「拉 丁 舞」入 門
Elementary Street Jazz 街頭爵 士 舞
運動人體素描
Figure Making Workshop Figure 製作 工 作坊 曰m
Music Appreciation
紀實攝影工作坊—
Encounter With Acrylic
倒模城 市 的社區影像探索
認識塑膠彩
電影音樂欣賞
Drama in Education
English Drama - A Folk Tale
Film X Music
戲劇教學法
英語劇場 一民間 故事
電影 X 音樂
Page3 4/35
Final Cut Pro - Professional Video Editing Final Cut Pro — 專業錄像剪接
Illustration and Digital Image Making
Introduction to Reading Popular Media
插畫及數碼圖像合成
解讀流行媒介入門
Five Key Issues in Sculpture Studies
Illustration and Editorial Design
Introduction to Screenwriting
五個闞於雕塑的基本課題
插畫及書刊設計
電影編劇入門
Foundation of Communication Design
Illustration as Communication
Introduction to Shippo Craft
傳意設計基礎
插畫－應用於設計
七寶燒入門
Foundations of Computer Music for Media
Illustration for Advertising
Introduction to Social Dance
Production
廣告插畫設計
社交舞入門
影視製作之音效及配樂初階
Impressionism Techniques
Introduction to Street Jazz
Foundations of Creative Jewellery Making
印象主義時期的油畫技巧
街頭爵士舞入門
Improvisational Theatre for Persons with Disabilities
Introduction to the New Water-Ink Movement
Foundations of Interior Design 室內設計初階
即興劇場與弱能人士
Foundations of Photography
Ink Painting • A Visual Creation
拉坯入門工作坊
攝影入門
水墨視受創造
」 azz
Foundations of Playback Theatre: Elementary Training Programme
Integrated Arts in Education
創意首飾製作入門
一人－故事劇場
基礎訓練工作坊
Foundations of Screenwriting
基本綜合藝術工作坊
Interactive Electronic Media Production 互動電子媒體製作
新水墨運動系列—基礎篇
Introduction to Throwing
爵士舞
Learning Art through Putonghua 一舉兩得學繪畫（會話）
Life Drawing
電影編劇初階
人體寫生
Free-Style Chinese Painting
Listening Movie, Reading Music
意筆國畫—花鳥蔬果
聽電影讀原聲
Free-Style Chinese Painting
Masters Who Shape Contemporary Graphic Design
意筆國畫 一 花鳥蟲魚
最有影縐力的平面設計巨匠
From Concept to Layout A Problem Solving Approach
。
從創意到冇踐
Fun at Glass Making 玻璃製作樂
Furniture Design & Space 傢俱設計與空間
Furniture Design: from Concept to Practice 家具設計—理論與實踐
Galvanized Steel Craft - Aesthetic Objects 鋅鐵工廷—物件美學
Getting your Music out on the Market: From Publishing , Promotion to Distribution 完自主音樂創作夢
音樂出版 DIY
Glass Making: Fusing and Slumping 玻璃製作
「碟碟」不休
Glass Techniques and Appreciation 琉璃製作技巧與欣賞
Graphics Art 123 圖像藝術 123
Hand Made Pottery 陶土，手作
Heterochromatic Carnival(The Peculiar Hong Kong 囧 m
Genres)
異色嘉年華（奇「瘋」突出的香港電影）
Hip-Hop Jazz
陶藝拉坯中階
Introduction to Arts Management 綦術行政導論
Introduction to Ballroom Dancing 基本標準舞之「摩登舞」入門
Introduction to British & American Social Dance 英式及美式社交舞入門
Introduction to Chinese Painting 水墨畫入門
Introduction to Documentary Photography 認識紀實攝影
Introduction to Latin American Dancing 基本標準舞之「拉丁舞」入門
Introduction to Lingnan Painting 嶺南派水墨畫入門
Introduction to Mosaic 馬賽克入門
Introduction to Photography
街頭爵士舞
Hollywood Cinematic SFX Make-ups 荷里活電影特技化妝
Hybrid Fashion: Reprocess / Reinvent / Reconstruct 時裝變異
Intermediate Throwing Workshop
再創 l 再建／再生
攝影入門
Introduction to Pop Dance 流行舞蹈入門
Introduction to Precious Metal Clay (PMC) 1n Jewellery PMC 純銀黏土體驗入門 －首 飾製作
Me: Be Your Own Scriptwriter, Director and Actor 自編自導自演—「真我」
Mixed Media Drawing Workshop 現代混合素材繪描
Mobile Game Art and Design 手機遊戲美術及設計
Modern Dance 現代舞
Multi-media Creative Teaching Workshop 多媒體創意導學工作坊
Multi-Views of Art 綦術多面「睇」
Museum Tour of Italy 意大利博物館之旅
Museum Tour of Paris 巴黎博物館之旅
Music Appreciation 古典美樂欣賞
New Media Arts Workshop 新媒體蘩術工作坊
New Vision of Graphic Design 設計新領域
New Vision of Mix Media Rendering 混合媒體插圖班（手繪）
Oil Painting Technique Development 油畫創作技巧訓練
Outdoor Painting 戶外寫生
Painterly Approach to Photography 畫意攝影
Painterly Approach to Photography
Stop-Motion Animation
人像及靜物攝影
動畫製 作 之「定格動畫」
Painting
Story of Architecture: Hong Kong Chapter
油畫
閲讀建築
Painting Study
Story of Architecture: On Modernism
香港篇
現代 繪畫
閲讀建築
Pastel & Oil Pastel
Story of Architecture: the Contemporaries
粉彩畫
建築的故事—百花齊放
Pencil Drawing, Colour Drawing & Sketching
Story of Architecture: the Moderns
鉛筆素描、淡彩素描及速寫
建築 的 故事—摩登大師
海外篇
Performing Language Workshop
The Characteristics of Chinese Painting
表演語言 工 作坊
中 國繪畫的獨特性和欣賞
Photography Workshop
The Ideas of Illustration
The Lingnan School of Painting Elementary Course 嶺南派國晝初階
The Lingnan School of Painting The World of Birds and Flowers 嶺南畫派之花鳥天地
The Pleasure of Traveling & Sketching 旅遊速寫的樂趣
The Reading and Writing of Chinese Text 中文閲讀與寫作
The Skill of Painting - from Renaissance to Cubism 文藝復興期至立體主義的繪畫技巧
The Symbols and Notations in Arts
攝影 工作 坊
會説故事的圖像
Pigment & Colour Mixing - Their Practice in Design
The Interaction between Fashion Design and
從顏料認識、色彩混合談到設計上的運 用
時裝設計與次文化的互動關係
長大成戲？
Pop Music Lyric Writing
The Journey of Baroque and Rococo
Theatre for Social Change
中文流行歌曲填詞人訓錬班
西洋藝術導賞－巴洛克與洛可可之旅
劇場與社會改革
Pop Music Singing
The Journey of Renaissance
Throwing Workshop
流行歌曲演唱訓練班
西洋藝術導賞一文藝復興之旅
Pop Music Writing and Arrangement
Sub-culture
藝術創作裡的符號與象徵
Theatre for Personal Growth
陶藝拉坯工作坊
Throwing Workshop of Teawares
流行音樂作曲／編曲訓錬班
陶墓拉坯茶具製作
Portrait - Drawing / Painting
Touch Art
人像素描／繪畫
Product Aesthetics
觸覺藝術
Tour of Screenwriting
產 品 美學
電影編劇之旅
Professional Comics Creation
Toy and Figure Character Design and Modeling
專業漫畫製作
Professional Skills of Illustration
素體人型設計
Traditional Techniques of Western Paintings
專業插畫技巧
西洋畫六法
Professional Typography
Trendy Textile Printing Design
專業字體設計
Publication Design & Popular Culture
時尚印花設計
Trolley Making - Kinetic Art
普及文化與出版設計
手推車製 作 —動態雕塑
Puppet in Action
Under Glaze
活偶劇場
Quick Study Painting 快速纔畫
Rattan Art - 3D Construction 藤藝 － 立體構成
Romanticism in The Music of The 19th Century 十九世紀浪漫主義音樂
Searching for Installation Art 尋找裝置藝術
Silversmithing - Studio Jewellery 金屬製作一工作室首飾
Soap Making - Mould Casting 肥皂製作—模塑
Soap Making Workshop 手 工皂 製作 工 藝坊
Space Planning with AutoCAD 空間設計及 AutoCad
Space Study 空 間 研習
釉下彩
Understand Modern Arts from A Contemporary Culture Theoretical Perspective 從當代文化理論看當代藝術
Understanding Arts in Form of 匕ght 藝術裡的光影世界
Watercolour 水彩畫
Watercolour & Chinese Ink 水彩與水墨
Watercolour Skills 水彩畫技巧
Western Art Appreciation - from Classical Antiquity to Romanticism 西洋藝術欣賞 — 古典時期至浪漫主義
Wheel Throwing, Art, Life 拉坯、藝術｀生活
pagd6/37
. Project
"l· 測 ＇ 項 H
Projects have been playing a vital role in bridging the art curriculum devised by the School and the primary and secondary schools, different local communities, as well as the general public on the whole. So far, the School has been associating with over 270 primary schools and over 250 secondary schools via the School projects To make the projects possible, the School has been striving to seek funding and collaborative support on project basis from different bodies, such as the Education Bureau, the Hong Kong Arts Development Council, and the Asian Cultural Council. And for the support sought, the School would also like to express its gratitude to the corresponding funding and/ or collaborative bodies throughout the years School projects can either be solely proposed by the School or customized and tailor-made according to the specific needs of the interested parties. The projects launched by the School are usually associated with the following categories
+
Artists-in-Residence Scheme and Guest Lecture series - through which
學院的外展計劃與項目在築起學院與中、小學 ｀ 本地社區及大眾
foreign artists can be invited to visit Hong Kong and international & artistic
的橋樑方 面， 扮演相當重要的角色。通過個別計劃與項 目， 學院
exchanges can be fostered; projects of this nature also signify the positive
至今大概與超過 二百七十間 小學及超過 二百五十 間 中 學連繫著。
synergy between the School and the Hong Kong Arts Centre;
+ Drama Education -
through which drama not only can be understood as
an art form , but also can be applied to facilitate the teaching of a variety subjects, and to help one better understand oneself.
o:言言言計巴言且計 作團體致謝。
+
Enhancement of Teaching Methodology and Quality - through which existing curriculum in senior secondary and post-secondary sectors can be
學院所籌辦的計劃與項 目 有完全由學院策劃的，亦有學院特地為
examined, and more vivid approaches and teaching aids, especially in terms
個別機構或團體按個別需要而擬定的。學院歷年來所籌辦的計劃
of the teaching of art and language as well as online learning, can be devised
與項 目 主要分為以下類型
There have been over 50 School projects held by the School in the past decade,
十 藝術 工 作者駐場計劃及講座系列 一 學院藉以邀請海外著名藝術
the projects come in different sizes, lengths and scales, some of them already
工 作者到校進行活動及舉辦講座，促進文化交流，活動得以籌
last for quite some years. The following table offers us a glance of some of the
辦亦 同 時有賴藝術中 心 橫跨全球的藝術網絡所支持，
School projects conducted over the years, see if some of them may ring a bell or remind you of any of your previous encounters with the School
十 戲劇 教 育 一 計劃帶 出 戲劇不單止是 一 種藝術表達形式 ， 更能應 用於不 同 學科的教學 工 作 ， 及令人更了解 自己，
教學方法及質素提升 一 透過計劃 ， 學院得以審視及改善專上及 高 中 課程，研究和發展更生動及更 有 效的教材與教學方法 ， 尤
其在教授廷術、語文及網上教學方 面 。 學院在 過 去十年 ， 籌辦了大大小小超過 五十 個計劃與項 目
，它們
有 的已連續舉辦 了 數年。以 下 為部分項 目 之名稱及簡介 ， 它們也
許會勾起你與學院在那層 面 上的記憶。
Y邙 r
I Duration
計劃年期
2003 - 2011
Collaborators / FUun 機din 構 g Pai-ties
Inrroducuon
合作伙伴 ／ 预助
簡介
Hong Kong School Drama Festival
Education Bureau
香港學校戲劇節
教育 局
To encourage primary and secondary schools to develop drama as a regular co-curricu 丨ar activity. It includes the Training Phase, School Performance Phase and Public Performance Phase
P計ro劃jec／t項目
鼓勵本地 中 學及小學發 展 戲劇以成為 正 規課程活 動，計劃 包 括培訓、校內表演及公開表演等。
2009- 2011
Language@Art - Communication Tool Box 藝 ·語一教學工具盒
Quality Enhancement Grant Scheme, Education Bureau 教育局質素提升津貼計劃
To enchance the role and the value of the English language in art education, and to enhance English language teaching and learning through art, especially in sub-degree and senior secondary sectors 提升英語在藍術教育 中 的角色 ， 及以蘩術提高學生 對學習英語和老 師 對英語教學之興趣．尤其應 用 於 副學位及高 中 課程。
2010
Beyond Music, Between Categories 音之樂·韻之間
Hong Kong Arts Development Council 香港藝術發展局
A collaborative Artist-in-Residence project by Singaporean artist, Mr. Zulkifle Mahmod, and local artist, Ms Phoebe Hui The project was based on concepts from harmonograph, sculptural object, and electronics Artist talk, workshops, and an installation exhibition were conducted 計劃由新加坡蓺術工作者 ZulkifleMahmod 與本地 藝術 工 作者許方華合作 ． 創作概念來自科學儀器
「 諧振記錄儀」
．雕塑物品及電子原理 ． 計劃亦包
含 了 講座、工作坊及裝置展梵。
2009 - 2010
Art Node - On-line Learning Platform 滙·藝 一 網上學習平台
Quality Enhancement Grant Scheme, Education Bureau 教育局質素提升津貼計劃
To serve as a basis of sharing among students, educators and the community. The first of its kind offered by an educational institute in Hong Kong It includes art-related resources, which are retrieved from the School's archive of activities and projects throughout the years as well as to be derived from the School's upcoming events, in formats of video, photography and text in both English and Chinese for study and research purposes －個讓學生｀教師及廷術愛好者分享知識的網上學 習平台。「滙 · 藝」蒐集香港藝術學院歷年來的藝 術活動資料．並透過錄像、相片及 中 英雙語文字提 供有關藝術學習和研究的資源 ， 是本地教育機構一
嶄新當試。
2009 - 2010
Chinese Art Curriculum & Resources Series (Secondary) 中國藝術課程及教材系列（中學課程）
Quality Education Fund & Design and Cultural Studies (HK) Workshop
To develop a Chinese Arts Curriculum for teaching and learning in local secondary schools, and to provide relevant training support for teachers
優質教育基金及 設計文化研究（香港） 工 作室
發展一套適用於本地 中 學課程的中國綦術教材套， 以及提供相關的師資培訓。
page 38/39
Year / Durauon
Project
Collaborators / Funding Parties
Introduction
計劃年期
計劃 ／ 項目
合作伙伴 ／ 資助襪構
簡介
2009 - 2010
Use of Drama in Emapthy Training for Teachers of Primary / Secondary Schools
Guidance and Discipline Section, Education Bureau
To equip teachers with knowledge and skills to use drama elements and skills in conducting drama-based empathy trainings through Personal Growth Education and Life Education lessons in local primary or secondary schools
「劇場動力之同理心」中 l 小學教師
教育局訓育及輔導組
工作坊
為中、小學老師提供訓練，令其得以於「個人成
長」及「生命教育」等課堂中 ， 運用戲劇元素培養 同理心訓練技巧 。
2008 - 2010
Drama-in-Education English Alliance 英語大聨盟－戲育篇
Standing Committee on Language Education and Research (SCOLAR) 語文教育及研究常務委員會
Teacher Development Training and on-site support were provided to primary school teachers throughout the school year, and drama was introduced to them in the teaching of the English curriculum 以引用戲劇元素教授英語為宗旨，為教師提供整個 學年的培訓及在場支援。
。
2008- 2010
Video Screening and Seminar 錄像播放及座談會
Hong Kong Drama / Theatre and Education Forum 仃EFO) 香港教育劇場論壇
Regular video screening and seminars were organized once every 3 months, to explore the possib师 es of introducing drama into schools 每三個月舉行—次錄像播映會及研討會，以探討如
何把戲劇引進學校。
2009
Hongkong-Asia Exchange Project (Phase 1) Emotional Metropolis (Thailand) 香港亞洲交流計劃第一階段一 都會情固
Asian Cultural Council 亞洲文化協會
An Artist-in-Res 丨dence project collaborated by Thai artist, Mr. Kamol Phaosavasdi, and local artist, Ms. Olive Leung, who is also a Lecturer / Programme Coordinator of the School. The project focused on researches of people's living in the Pearl River Delta. Artist Talk, workshops, and an exhibition were held 此乃藝術工作者駐場計劃，由來自泰國的 Kamol
Phaosavasdi 及本地藝術工作者兼學院之講師及課程 統籌梁菁雯合作籌劃。珠江三角洲人民的生活是研 討的主題。隨計劃亦舉辦了有關講座、工作坊及展 覽。
Year / Duration
Project
Collaborators / Funding Parties
Introducoon
計劃年期
計劃 ／ 項目
合作伙伴 ／ 賚助楓構
簡介
2009
Hongkong-Asia Exchange Project (Phase 2) - Drifted Narratives (Philippines)
Asian Cultural Council
An Artist-in-Residence project collaborated by Filipino artist, Mr. Tad Ermitano, and local artist, Tse Ming-chong on the exploration and the discovery of the stories behind the Filipino workers in Hong Kong. Artist Talk, workshops, and an exhibition were held.
亞洲文化協會
香港亞洲交流計劃第二階段一 漂流逸事
此 乃 藝術 工 作 者駐場計 劃， 有來自菲律 賓 的 Tad
Ermitano 及本地藝術 工作者謝明莊 一 起 參 與 。在港 工 作 之 菲 律賓人之故事 是研討的主題 。隨計劃亦舉辦 了有 關講座、 工 作坊及展覧。
2009
Student Ambassador: Active Bright and Caring Drama Day Camp 「學生大使一跳躍生命」計 1!l
Guidance and Discipline Section, Education Bureau 教育局 訓 育及輔導 組
戲劇日營
To equip students with necessary knowledge and skills for story building and some basic drama skills; and to help students form each school to develop a short piece of drama with the theme of healthy lifestyle and prevention of drug abuse in schools 教授學生 們 基礎戲劇 知 識及 故 事創作技巧．亦助每
間 參與計劃的學校．創造個 別 以 「 健康生活」及「 預防校園毒 品」
2009
Conversation with Ron Arad
Ben Brown Fine Arts
與 Ron Arad 對話
為題的戲劇故事。
Ron Arad, born in Isreal in 1951 , is one of the most influential desingers of our time. The talk was tied in with the gallery's inaugural exh 心ton in Hong Kong which showcased 13 of Ron's works Ron Arad 生於以色列， 是 當代最具影櫺力的設計 師 之一。講座隨藝廊於香港所辦之 首 個展凳 而 舉行 · 展覧同時展出 十 三 件 Ron 的 作 品。
2008-2009
New Media Arts Exhibition Project lntermedia Experiment at Hong Kong Art School 新媒體藝術展覧計劃一跨媒體實驗室
Hong Kong Arts Development Council 香港騷術發展局
This is a multi-faceted project led by two young artists, Mr. Samson Young and Mr. Christopher Lau, aiming to 。tier a platform of large-scaled media arts production for both local artists and media arts students. The project consisted of 6 workshops, an Installation Exhibition, 4 performances and a forum . 這是＿個多面體的媒體藝術計劃．由兩位年輕藝術
工作者楊嘉輝與劉柏 基 籌劃．旨在為本地藝術 工 作
者及媒體藝術學生提供 — 大型媒體藝術創作平台。 計劃當 中 亦包含 了 —裝置藝術展 ． 工 作坊及四場表演。
一座談會、六個
page40 '4l
Year / Duration
Pro1ec1
Collaborators / Funding Parties
lntroJucuon
計劃年期
計劃 ／ giH
合作伙伴 ／ 賚助譏構
簡介
2006 -2009
Enrichment Progammes for Gifted Students
Gifted Education Section,Curriculum Development Institute, Education Bureau
To explore and develope the potentials of gifted students through drama
教育局課程發展處
計劃透過戲劇發掘資優學童的潛能。
資優學生增益課程
馮漢柱資優教育中心
2008
Theatre Criticism 同行在 劇評路上－大專學生劇評寫作
International Association of Theatre Critics (Hong Kong)
導領計劃 20 08
國際演藝評論家協會
To provide participating students with an valuable opportunity to learn about arts criticism and to get the work published 教導學生劇評寫作技巧，及如何把評論出版。
2008
Artist in Residence - New Media Basics Series: Creating from Electronics
Hong Kong Arts Development Council
藝術家駐校計劃一
香港廷術發展局
新媒體 1O1 ：電子創作
。
2008
Contemporary Art and the New Creative Economy - Lecture by Joseph Thompson Joseph Thompson 講座 當代藝術與新
Asia Art Archive 亞洲綦術文獻庫，
An Artist-in-Residence project . featuring Indonesian new media artist Vincensius Christiawan. 3 workshops, a seminar and a performance were conducted during the artist's one-month residency at the School 學院請來印尼新媒體蘩術工作者 Vincens1us
Christiawan 參與此藝術工作者駐場計 劃， Vincensius 在逗留的－個月期間舉行了三場工作坊、一場講座
及一場演出。
Mr. Joseph Thompson is the Director of Massachusetts Museum of Contemporary Art (MASS MoCA), USA
Asia Society
創意經濟
Joseph Thompson 先生乃美國麻省當代蘇術博物館總 監。
2008
Pupil Ambassador : Active, Bright and Caring Drama Day Camps 「學生大使一跳躍生命」計劃
Guidance and Discipline Section , Education Bureau 教育局訓育及輔導組
To equip students with necessary knowledge for story building and basic drama skills. The camps concluded with a short performance 教授學生們基礎戲劇知識及故事創作技巧，日營以
－小型演出作結。
2008
Children Drama Workshop 戲劇日營
Causeway Bay Integrated Family Service Centre, Social Welfare Department
To enhance the communication skills and the confidence of children through theatre games and role play activities
社會福利署銅鑼灣綜合家庭
以舞台遊戲及角色扮演練習．提高兒童的溝通技巧
服務中心
及自信心。
Artist in Residence - New Media Basics Series: Creating from Electronics 廷術家駐校計劃－新媒體 101
電子創作
page 42/.\3
Year / Duration
Project
Collaborators / Funding Parties
Introducnon
計劃年期
計劃 ／ 項目
合作伙伴 ／ 賚助擴構
簡介
2007 - 2008
Use of Drama in Pastoral Care for Teachers of Senior Secondary Schools
Guidance and Discipline Section, Education Bureau
Workshops and on-site support were provided to senior secondary school teachers who would like to introduce drama to Life Education lessons
「運用戲劇元素進行學生輔導」
教育局訓育及輔導組
高中教師工作坊
為有意於「生命教育」課堂中引進戲劇元素的高中 老師，提供工作坊及在場支援。
2007-2008
Oxfam's Facilitator Training Programme 「戲中探貧窮」
—如 何利用戲劇手法
Oxfam Hong Kong 樂施會
與學生討論發展議題
To equip teachers or facilitators with skills which allowed them to make use of drama activities to explore social issues with students 教導老師如何利用戲劇手法與學生討論社會議題。
2007
Mediation Live Lecture Series Julian Schnabel Julian Schnabel 講座
Sir David Tang 鄧永鏘爵士， 10 Chancery Lane Gallery, Para/Site Art Space 蓺術空間， KplusK Associates
Internationally renowned Painter-Director, Mr. Julian Schnabel, is a winner of a Golden Globe Award, a British Academy of Film and Television Arts award, a Cesar Award, a Golden Palm award and has got two nominations for the Golden Lion and a nomination for the Academy Award . Julian Schnabel 先生乃國際知名的導演及盡家，他亦 是美國金球獎｀英國電影電視蘩術學院獎、法國凱 撒電影獎、及金棕櫚獎之得獎者。
2007
Artist in Residence - Interactive Art Systems 藝術家駐校計劃一 互動 藝術系統
Hong Kong Arts Development Council 香港藝術發展局，
Canada Council for the Arts, the Conseil des arts et des lettres du Quebec and Groupe Molior
Featuring Canadian based media artist, Philomene Longpre. Artist Talks, workshops, exh 心tion, a seminar, a real-time exchange with the School of Art Institute of Chicago, and a customized project were held in conJunction with her residency. 學院請來加拿大媒體酪術工作者 Philomene
Longpre
參與此藝術工作者駐校計劃． Philomene在逗留期間 舉辦了工作坊｀講座、展覽及一與芝加哥藝術學院 的交流活動。
2007
Public Lecture - Lawrence Weiner Lawrence Weiner 公開講座
Para/Site Art Space 藝術空間， Christie's 佳士得， JIA, KplusK
Mr. Lawrence Weiner is a central figure of conceptual art from the USA.
Associates Lawrence Weiner 先生來自美國，是當今概念蘩術的 代表人物。
Year/ Duration 計劃年期
2006
P計ro劃ject ／ 項目
Collaborators / 助 Fun 機clin 構 g Parties
Introduct1on
合作伙伴 ／ 賚
簡介
Artist Body Public Lecture Marina Abramovic Marina Abramovic 公開講座
Alisan Fine Arts, Asian Cultural
Ms Marina Abramovic, from the USA, is a prominent figure in the performance art field
Council 亞 洲文化協會，
Mr. Paul Calello and Ms. Jane Debevoise, Ms Wendy Lee, Mrs Claire Hsu-Vuchot & Mr. Benjamin Vuchot, Esther and Vin Narain, The Hong Kong Academy for Performing Arts
Marina Abramovic 女士被譽為當代行為蘩術的始創人 之一，從事行為藝術迄今已近四十年。
香港演藝學院，
Island Shangri-La Hong Kong 港島香格里拉大酒店，
John Batten Gallery, KplusK Associates , Ms Sonjia Norman, Mr. Hugh Zimmern
2006
Ju Ming Sculpture Exhibition, Public Lecture, Public Workshop, School Workshop for Primary and Secondary Schools
Times Square 時代廣場
Mr. Ju Ming is an internationally renowned sculptor from Taiwan 朱銘來自台灣．乃國際知名的雕塑家．作品包括普
名的「太極系列」及「人間系列」。
朱銘雕塑展、公開講座、大眾工作坊
及中小學工作坊
2005 -2006
Workshops on Use of Drama Elements 1n Conducting Personal Growth Education I Life Education Lessons / Activities
Guidance and Discipline Section, Education Bureau 教育局訓育及輔導組
「運用戲劇元素教授個人成長教育 l
To equip primary and secondary school teachers with knowledge and skills in terms of using drama to help students develop pos 巾ve attitude towards challenges, and build up social and interpersonal skills
生命教育課」教師工作坊
為中、小學老師提供訓練，教導如何運用戲劇手法 幫助學生建立正確的觀念以面對挑戰，及提升人際 間的溝通技巧 。
2005
Trading Places: Contemporary Art and Cultural Imaginaries of the Pearl River Delta
Hong Kong Arts Development Council 香港藝術發展局
16 artists from HK, Macau and China were invitied to take part in an exchange trip to Guangzhou, and to attend a symposium in Hong Kong, in which 34 artists participated
交易場域：珠江三角洲的當代藝術與 文化想像
十六名來自香港、澳門及中國大陸的 藝術 工作者應
邀到廣州參與交流團，並於香港出席研討會。
2005
Artist in Residence 藝術家駐校計劃— High Summer • Hot Media Arts
Asian Cultural Council, IFVA, Videotage and Goethe-Institute Hong Kong 亞洲文化協會， 香港獨立短片及錄像比賓，
An Artist-in-Residence project featureing Ms. Kathy High, who is a visual media artist, independent media arts curator and media arts teacher based in New York. USA Workshops and seminars were held during her residency at the School.
錄映太奇及香港歌德學院
學院請來著名美國媒體藝術工作者 Kathy High 參與此 駐場計 劃， Kathy 在逗留期間舉辦了工作坊及講座等 交流活動。
Ju Ming Sculpture Exhi 國 on , Public Lecture, Public Workshop, School Workshop for Primary and Secondary Schools 朱銘籬塑展｀公開講座｀大眾工作坊及 中 小學工作坊
Artist in Residence - Interactive Art Systems 藝術家駐校計 11J 一互動祛術系統
Artist Body Public Lecture - Marina Abramov1c Marina Abramovic 公開講座
Conversation with Ron Arad 與 Ron Arad 對話
Mediation Live Lecture Series - Julian Schnabel Julian Schnabel 講座
New Media Arts
Exhi 國 on
Project - lntermedia Experiment at Hong Kong Art School
新媒體廷術展覧計劃一跨媒體實驗室
page -16/47
Year / Duration
Project
Collaborators / Funding Parties
Introduction
計劃年期
計劃 ／ 項目
合作伙伴 ／ 聳助機惜
簡介
2004-2005
Workshops on the Implementation of Personal Growth Education / Life Education through Drama, Music and Dance
Guidance and Discipline Section, Education Bureau
To providing school teachers with training, so that they can make use of drama, music and dance to help students develop positive attitude towards challenges, and build up socia丨 and interpersonal skills
教育局訓育及輔導組
「利用 戲劇、音樂及舞蹈元素推展個人 為教師提供訓練，教導如何運用戲劇 ｀ 音樂及舞
成長教育或生命教育」教師工作坊
蹈元素幫助學生建立正確人生戳，及提升人際間 的溝通技巧。
2004
Artist in Residence - New Media Arts for the Creative Industries 「新媒體藝術與創意工業」拍攝計劃
Hong Kong Arts Development Council 香港藝術發展局
An Artist-in-Residence project featuring Mr. Lev Manovich, who is a Professor of Visual Arts from University of California, San Diego, USA and a major figure in new media art. Workshops and seminars were held during his residency at the School 學院請來著名美國媒體藝術工作者 Lev
Manovich
參與此駐場計劃， Manovi c h 在逗留期間舉辦了工 作坊及講座等交流活動。
2003
Preparing Our Kids for the Creative & Experience Economy
Quality Education Fund 優質教育基金
讓孩 子為創意經 濟 作好準備
Various drama workshops were organized to develop students'generic skills with particular focus on creativity, critical thinking, communications and problem solving ab 师 es 透過戲劇工作坊以提升學生在創意應用｀溝通技 巧｀批判思考及解決難題方面的能力 。
2002-2003
Residency Project for International Renowned Visual Artists
Hong Kong Arts Development Council
著名國際視 藝 工作者駐港計 劃
香港蘩術發展局
Internationally renowned artists and art critics , Mr. Manray Hsu, Mr. Brett Jones, Mr. Xu Bing, and Dr. Gao Minglu were invited to join this Artist-in-Residence project, exchanges in the forms of workshops, lectures, and forums were conducted by them during their residence 策展人徐文瑞、藝評人 Brett Jones 、蘩術家徐冰
及學者高名潞應邀駐港．主持一系列工作坊｀研 討會、講座及展覽等交流活動。
2002
Understanding the Way of Creative Writing through Drama
Community Services, Tung Wah Group of Hospitals
全人發展教育計 劃
東華三院社會服務
To explore the learning of verbal and written lanuage usage skills in both English and Chinese through a series of drama activities 透過戲劇活動，探索與提升學習中文及英文的寫 作及會話技巧。
Year/ Duration
Project
Collaborators/ Funding Parties
Introduction
計劃年期
計劃／項目
合作伙伴／賚助擴構
簡介
2002
Drama in Education Research and Development Project
Arts Education Section, Curriculum Development Institute, Education Bureau
As part of a Research & Development project, 30 hours of training was provided for school teachers on Drama in Education
戲劇教授硏究及發展計劃
教育局課程 發 展處
2002
藝術教 育
為 教師提供三十小時的 戲劇 教育 訓練。
Workshop on Learning More about Drama-in-Education Teaching Strategies
Hong Kong Institute of Education
To introduce key drama strategies for drama-based projects and techniques of assessment
戲劇教育教學手法工作坊
香 港教育學院 介紹如 何 運 用 戲劇手法於 計 劃籌組及評核技巧等 工
作 上。
2002
Theatre in School Conference 2002 Hong Kong
Hong Kong Arts Development Council
戲劇在校國會議 2002
香港蓺術發展局
To exchange views on drama education and establish a framework for discussion in response to the needs of education reform and arts education development 交換對戲劇教育的意 見 ，及就教育改革及藝術教育 的發展擬定討論的框架。
2001
Aesthetic Education Workshops 美感教育工作坊
Ming Ri Institute for Arts Education, To develop arts education in local schools and strengthen Hong Kong Professional Teachers'teachers'core skills via arts. The workshops covered Unions and Arts with the Disabled drama appreciation, creative drama, role-play and Association Hong Kong improvisation 明日 綦 術 教育機構 香港教育專業人員協會及
旨 在發展本地藝術教育及透過藝術 提 高教學技巧，
香港展能藝術會
工 作坊包含戲劇欣賞 、角 色扮演及即興表演等元 素。
puge 48/-19
Activities & Achieven1cnt 活動與成就
Partit.ipation o R.·co西 lll011
St Ident
L
_Il ll
wel 丨 Their
Students and alumni of the School have been active in the field, they have
At School, students have also been performing
been initiating and taking part in a wide range of art activities both in Hong
in the establishment of the Student Union (SU), and the SU has been actively
passion resulted
Kong and overseas. It can be said that, altogether, they have been giving a
organizing all sorts of art-related activities for both students and alumni since
hand in shaping and developing the contemporary art scene. Record of the
the summer of 2006. Credit should go to all the Committee members of the
School shows that, merely throughout the past 4 years, there have already
SU throughout the years, who truly deserve our applause
been over 200 entries of activities which are in connection with our students and alumni. Among the entries, over 60 of them were even associated with particular achievements which came in different forms of awards and
Schol.1rship The excellence in academic performance and artistic attainment of some
recognitions, and they included Hong Kong Contemporary Art Biennial
students was even enable them to gain different Scholarship awards
Awards, LVMH (Moet Hennessy. Louis Vuitton) Young Artists'Award,
available both at the School and outside in the community.
Philippe Charriol Foundation Art Competition award, Bloomberg Emerging
Thanks to all the past Scholarship donors
Artists award, Lee Hysan Foundation Fellowship award, Hong Kong Mobile Film Festival award, IFVA award, Fresh Wave Short Film Competition award,
Special thanks to late Ms. POON Sau Kuen, whose generous spirit and
Urban Nomad Film Fest award, Annual Tokyo Video Festival award, Hong
support have made Scholarship awards possible for the School's Higher
Kong ICT Awards, HKSAR 10th Anniversary E-card Design Competition
Diploma students over the past 3 years; and at the same time have
award, and selected work for the Yearbook of the Japan Typography
tremendously facilitated the students'pursuit of their artistic dreams
Association etc The School is proud of the efforts the students and alumni have been devoting to the society over the years, and is sincerely looking forward to their further contributions to the art world in the near future.
a
I
l.'1 ·會
^
學院的學生與校友—直活躍於本地與海外的蘩術圈中，他們參與
在校內．學生的表現亦常令人鼓舞 ． 他們的熱誠更造就了學生會的
及著手舉辦不同種類的藝術活動，也可以説他們正＿起塑造當代
成立。學生會自二零零六年夏季成立以來．＿直自發籌辦了多項與
藝壇的容貌，並加以發展。根據學院的記錄，單在過去四年，與
綦術相闞的活動．供學生及校友參與。這一切也歸功於歷屆學生會
學院的學生或校友有關的藝術活動已有多達 二百 項，當中超過 六十
的幹事們 ． 學院亦藉此向他們報以掌聲致謝。
項更跟一些獎項或專業認證有關 ， 其中包括
香港當代藝術雙年
獎、 LVMH 年輕藝術人獎、夏利豪基金會藝術比賓獎項、 Bloombe rg 新－代藝術家計劃年度藝術家獎、利希慎基金獎助金、香港流動影
學生用心及卓越的表現 ， 亦屢令他們獲得校內及校外獎學金的肯定
片節獎項、香港獨立短片及錄像比賓獎項、鮮浪潮短片競賽獎項丶
與表揚。
城市遊牧影展奬項、東京國際錄影節獎項｀香港資訊及通訊科技 獎、香港特別行政區成立 十 周年電子賀卡設計比賽獎項｀及日本夕
1 ＊夕弓 7
1
在此，學院向過往各獎學金捐助人致謝。
(Typog raphy) 協會年鑑的選輯作品等。 學院亦特別感謝已故之 潘秀娟女士 ，她對藝術的熱忱及其慷慨的精 神，令學院高級文憑課程之同學在過去三年有機會得到獎學金資 助，從而亦助他們向完成藝術學習的夢想邁進一大步。
學院以學生與校友的努力為榮．並懇切地期望他們能在將來為藝術界 作出更多貢獻。
page50/ 51
Place 地
Treading along the path of development, the School has travelled to a number of different places for the settlement of its campuses. The relocations in one way signify the School's unfailing strive for excellence in terms of physical enhancement; and they in another way perhaps unfold the difficult story of a self-financing art institution in terms of its physical survival in Hong Kong. In its 10th year of development and with enormous blessing from the Hong Kong Arts Centre, the School has been able to securely set its root at the Centre, and from there, it has branched out to a variety of communities The pictures in this chapter conjure up a visual journey which guides us through the physical distance the School has travelled in the past decade. The School is sti 丨 I looking forward to ultimately house all of its academic areas under one roof, and the School is still marching towards this dream
在發展道路上．學院曾為安頓及改善其校舍設備而四出奔走。校舍在 過去十年的遷移道出了學院在改善校舍及設施方面的努力，同時．亦 似在訴説著一所自資的藝術學院在用地、營運及生存上所遇到的實際 困難。
得到香港藝術中心一路上的支持．在發展了十年後的今天．學院的校 舍能安穩地紮根於藝術中心．亦由這基地．學院得以再向不同的社區 發展 。
輯錄在這章節中的相片組成了一趟視覺旅程 ·它 帶領我們重溫學院在 建設校舍方面所走過的道路及曾留下的足跡。能讓學院所有學科和範 疇的工作室設置在同一校舍中仍然是學院的願望．而學院亦正努力朝 這方向邁進。
Hong Kong Arts Centre,
Wan Chai
灣仔．香港藝循中心
2000 - Present Main Campus of Hong Kong Art School 香港藝術學院本部
page 52/53
East Town Building, Wan Chai 灣仔東城大廈
2001 -2004
Learning Centre of Hong Kong Art School 香港藝術學院教學 中 心
Hopewell Centre, Wan Chai 灣仔·合和中心
2004 - 2009
Learning Centre of Hong Kong Art School 香港藝術學院教學中心
page 54/55
Jockey Club Creative Arts Centre, Shek Kip Mei 石硤尾·賽馬會創意藝術中心 2008 -
Present
Shek Kip Mei Campus of Hong Kong Art School 香港藝術學院石硤尾校舍
Campus on Tam Kung Temple Road, Shau Kei Wan 筲箕 灣
譚公廟道校舍
2009 - Present Shau Kei Wan Campus of Hong Kong Art School 香港藝術學院筲箕灣校舍
冨
page 5s159
Dialogues between Board Chairman and Executive Director on Art Education E 席與總幹 1.r. 就告術教育之對談
Mrs. Cissy
PAO WATARI, BBS
Chaimum. Board o/Dzrectors of Hong Kong Arif Cl'nlrl' (Ciss:,
Ms.
Co画eLAM
Executive Director of Hong Kong Arts Centre (Connie)
Connie: I understand that you are a passionate art lover who was also a student Mrs. Cissy PAO WATARI , BBS
in art, what do you reckon are the most important elements in art education? Cissy: I studied art and art history for my BFA, BA & MFA in the States. Just like and worked tirelessly in
Although it is hoped that the art learning could help students realize
my studio creating artworks. To me, the key element in art education should
their potential as professional artists, they will not necessarily be
many art students, I participated in various
exh 心tions
be providing a stimulating and free environment for students to learn, to think,
confined to the field of art. In my view, art is a philosophy of life
to create and to explore
that can be applied to all walks of our lives at different stages. It energizes people with a creative mind and a courageous spirit to go
Students would be able to strengthen their professional skills and techniques
through the ups and downs on life and to go beyond limitations at all
through regular studio practices, while also developing their conceptual and
times. I trust that art students, bearing with them this core value, can fare well
creative thinking. Moreover, it is important that students are aware of the social
in the pursuit of different careers
and political development of their community as well as society at large rather than totally creating in isolation. The life experience is eventually the springboard
And my advice to the students is, wherever your passion lies, take actionl
of the content of artistic expression Connie: Being one of the masterminds behind the Public Art Hong Kong loca丨 commun ity,
Connie: How do you see the artistic and career prospects of art students in
programme, you are keen to bring art into
how could art win
Hong Kong? And what may your advice to them be?
the support of individuals, and what may the role of art education be in this process?
Cissy: I will say the recent development of Hong Kong's art and culture sector, especially with the West Kowloon Cultural District coming into sight,
Cissy: I always believe that art is not merely an accessory but an essential
has presented art students and other art practitioners in Hong Kong with
part of everyone's life. Once art is created for the people, it would naturally
unprecedented opportunities in many aspects. On the pragmatic front, there
inspire interaction in the community and win the support of individuals. Public
will be more job opportunities popping up; and on the artistic side, they will
art represents the spirit and cultural
get more exposure to and interaction with international art sectors through
is important to promote and enhance public art projects in Hong Kong so as to
participation in different happenings of this mega cultural complex
endow our city with unique cultural landmarks that we all feel proud of
leve丨 of
the society and its people. Hence it
On the other hand, bringing art into local community would help audience building in the longer run . Through community art projects, people would be able to participate in different art activities which in turn help enhance their art experience and art appreciation skills.
In connection with this, I reckon that it is essential for the local art institutions to embed community projects as a core element of their curriculum design We should encourage students to go beyond campus border to look for a comprehensive learning experience through closer interaction with the community and with the people Connie: In your views, what may the unique position and strength of the Hong Kong Arts School (HKAS) be, especially in terms of its self-financing nature? Cissy: The Hong Kong Art School is always unique in my mind. Not only being a pioneer of art education in Hong Kong, it is also the only art institution of its kind
I am very proud of what the School has achieved so far, and I understand
so far. Although its self-financing nature has brought about certain challenges to
that it has never been easy to get this far. And certainly there will be more
the running of the School from time to time, the School has never compromised
challenges ahead, especially considering the publicly-funded tertiary institutions
its belief in the provision of genuine art training which could be fully illustrated
are developing art curriculums in a racing speed nowadays
by its small class and studio-based teaching approach throughout the years Besides, the School is versatile and swift in responding to the changing
三三三三三三［］［：三三二［［三fSmumsp『[ rtd。eO]]三n:：
e tCh。\\enbW]jl0b：二二：r＼tnhves
But I believe that, there is a special niche that in such a dynamic society, a petite, self-financing art school can serve in art education. And I do hope fromthe Governmenttoencourage donatl0ns or
Kong Arts Centre - its parent organization.
The School is still very young comparing with other well-established art
Connie: The 10th Anniversary marks a milestone of the School, how do
institutions with a rich past history. There should be a lot of opportunities and challenges in the years to come, but I am confident that the School will keep
you see the School's future development? What challenges and opportunities do you envisage for the School in the years to come?
growing and moving ahead. I am looking forward to the next 10th Anniversary of itl
Cissy: Just by looking at the impressive numbers of the graduates from the School in the past ten years - over 2,000 graduates from award-bearing programmes and around 25,000 students enrolled into its short courses, I think it is justified to say that the School has helped shape the cultural landscape of the Hong Kong .
Ms. Connie LAM
pagc:60161
Dialogues bet\vcen Board Chairn1an and Executive Director on Art 叫 ucation 扣福與總幹 'F 就藝術教育之對談
包陪麗女士
包
林
我們知道你向來熱愛藝術，本身也曾是一名藝術學生，依你所
香港藝術中心監 1f 團主席
見，蘩術教育最重要的元素是什定？
林淑儀女士 B
程以及碩士課程 ( BFA, BA, MFA)
香港藝術中心總幹 1i
作室衷努力創作並參加不同的展覽。對我而言，藝術教育最重要是能
包
求學時期．我在美國修讀蘩術及藝術史，亦完成了相關的學士課 ，與其他藝術學生—樣，我也曾在工
夠提供給學生＿個自由和富啟發性的環境，讓他們無拘束地學習、探 索、思考和創作。
學生們可透過創作實踐來增強專業知識和技巧，而在創作過程中對思
想和創作意念的啓發則能進一步發揮他們的創意和思考。還有，我們 該讓學生明白藝術創作並非閉門造車，他們要多關心社區以至整個社 會的發展，讓生活的體驗使其創作的內容更加豐富和充實。 林
香港的蓺術學生在藝術和職業方面的前途如何？你對他們又有什
麼建議呢？
包． 我認為香港近年來對藝術文化發展的關注 ， 尤其是西九龍 文娛褻術區的發展計劃將對本地藝術學生和蘩術工作者帶來 無數的契機。除了享有更多的就業機會外，他們可透過參與 在這蘩術區舉行的文化盛事和活動，與世界各地的藝術家們 交流，擴澗自己的知識和視野。
雖説修讀蘩術有助學生投身綦術事業，但是我認為他們的出路並 不只局限於文化綦術的範疇。藝術對我而言是－門哲學，在人生不同 的階段和工作範圉都能對人們有所啓迪。藝術貴乎創意和勇氣，而正
是這份精神可讓人們從容地面對人生的起伏高低，以至超越自我。我 深信，也是這份精神，可讓修讀藝術的學生在不同的工作領域發揮所 長，進退自如。
而我對學生要説的話就是 情。
堅持你的夢想，踏實地做你所熱愛的事
林 ． 身為「香港公共藝術」計劃的創辦人之—，你向來不遺餘力地推
包
動本地藝術與社區的交流。你認為藝術教育在這方面可以起到什麼作
二萬五千名學生修讀學院舉辦的短期課程。我想這數字足以證明學院
這十年來，有二千多名學生畢業於學院的學歷頒授課程，並有約
用？藝術如何能得到普羅大眾的認同？
的成就以及其對本地文化生態所作出的貢獻。可是我也知道 ， 學院這 些成就得來不易，前面的路亦絕非坦途 ， 尤其目前有不少獲政府資助
包
我—向認為藝術並不只是生活的點綴，酪術該是生活的—部份。
如果藝術是為了人們而創作，那它自然會得到大眾的認同，並在社
的高等教育院校正大力發展藝術課程，學院必然會因此面對更多的競 爭和挑戰。
區引起迴響共鳴。公共藝術體現了—個社會與其人民的精神面貌及文 化素養，因此我們必須在香港努力推動公共藝術 ， 讓這城市擁有獨特
但是我認為，在香港這如此多元的社會，肯定有獨特的條件和優勢，
的、令我們引以為傲的文化氣質和深度。
讓—所自資的小型蘩術院校發揮所長 ， 為本地的藝術教育盡—分力。 我希望政府可以制定更有效的政策 ， 鼓勵大眾或商業機構增加對藝術
此外，把蓺術帶進社區可讓大眾積極參與文化藝術活動，從而增進他
的支持和捐助。
們對藝術的認識和熱誠，長遠來説有助於拓展本地的藝術觀眾。因此 我覺得本地的酪術教育機構應該把有豳在社區的藝術創作和推廣納
學院和其他歷史悠久｀根基穩固的藝術學府相比 ， 可説還是非常稚嫩
入課程設計中，成為學生的必修科目之—。學校應鼓勵學生們走出校
的。雖説未來的日子必定充滿機遇和挑戰 ， 但我深信，學院—定能克
園，與社區鄰里建立緊密的聯繫 ， 以獲取全面的藝術學習經驗。
服困難，不斷向前邁進。我期待著學院在成長路上的另—個十年 l
林
你認為香港藝術學院有何特色和優勢，尤指它在自資營運方面？
包
在我心目中，香港廷術學院是本地褻術教育的先驅，甚
至可以説是獨一無二的自資酪術院校。雖然其自負盈虧的營
運模式為學院的日常運作帶來不少挑戰，但學院仍堅持實現 其以創作實踐 、 小班教學為主的教學理念 ， 致力培育本地蘩 術人才。
c
從另—方面看，輕間的行政架構．充滿熱誠的教職員，加上其母機構
香港藝術中心長期以來的全力支持．這種種都能讓學院積極迅速地應 對不同的社會需求以及近年來的重要教育改革。 林 ． 十周年可説是香港藝術學院的—個里程碑，你對學院將來的發展
有什麼看法？學院將會面對什麼機遇和挑戰？
pagc 62I 63
Directors'1,alk: Birth & c;ro,vth of the <.;chool 院長對談－學院的誕生與成長
This is a transcription derived from a special sharing among the School's current and former directors held on 6 July 201 Oat the School's Shau Kei Wan Campus The sharing took the form of a Live Webcast event via the Art Node <WWW. artnode.hk>, an online learning platform of the School which was made possible with the Quality Enhancement Grant Scheme of the Education Bureau The sharing was centered upon the evolution of the art education landscape 1n Hong Kong over the past decade of time. Former directors of Hong Kong Art School, who were also prominent figures in the fields of local art education and/ or academic accreditation, shared with us their views on the birth, the growth , the prospect, and the retrospect of the Hong Kong Art School, which has been one of the key witnesses of the development of the local art education scene
Introduction to School Directors:
Mv·
Tlo, 2nceA
．匕 e:;and
u
Former Educ{/lion Progr{/mmc Director ofHong Kong Arts Centre (1996-2000) and
Former Executive Director of Hong Kong Arts Centre (2007-2008) and
Former Director of The Art School (2000)
Former Director of Ho11g Ko11g Art School (2007-2008)
Ms. Florence LAM is a consultant and staff trainer for both education and
Mr. Alexander HUI is the Honorary Assistant Professor of the Fine Arts
business organizations. She has been extensively invited as speaker on a
Department at The University of Hong Kong and the Board of Director of
variety of topics pertaining to staff development and education management
Heritage Hong Kong. He is devoted to various community projects in promoting
in Hong Kong and overseas institutions. Under her directorship, the Education
arts developments and preservations of cultural relics. Alex worked as an
Department of the Centre offered the first non-UGC funded Bachelor of Arts
architect in North America for more than 10 years. Before joining the Hong
(Fine Art) course. Florence has been a subject specialist in English teaching
Kong Arts Centre, Alex was also the Curator of the University Museum & Art
with the Hong Kong Council for Accreditation of Academic and Vocational
Gallery at The University of Hong Kong
Qualifications for more than 8 years
Ms. Susann~..,£ ::::
r. F~lix LEUNG
Former Director of The Art School (2000-2005)
Curri'nt Director of Hong Kong Ari School
Ms. Susanna LEE is the Head & Senior Registrar in Research, Development &
Mr. Felix LEUNG has been the Director of Hong Kong Art School (HKAS)
Training at the Hong Kong Council for Accreditation of Academic and Vocational
since 2008 and has contributed to the establishment of both new school
Qualifications. She was the Director of The Art School from 2000 to 2005
campuses in Shau Kei Wan and Shek Kip Mei. Under his leadership, the School
During her times, the School launched its own award-bearing programmes
has undergone crucial adjustments in its operation. Felix was the Principle
and formally became a sub-degree award granting institution recognized by
Registrar of Hong Kong Council for Accreditation of Academic and Vocational
the Hong Kong Government. A number of programmes which were offered in
Qualifications and a respected quality assurance expert. Over the years, and
collaboration with local and overseas universities were introduced to help map
even dating back to a time before he joined the HKAS, Felix has been working
out the developmental direction of the School
closely with the School in providing valuable and professional advice on academic accreditation matters
From left to right: Ms
Florence 囝 M ,
Mr. Alexander HUI, Ms. Susanna LEE and Mr. Felix LEUNG
Feli:
Hi everyone, this is the 4 th Live Webcast of the Art Node Project. 3 guests
are invited, and counting me in, the 4 of us here tonight are in a way echoing
Let us start with Florence first. Prior to the establishment of HKAS, how did HKAC promote art education in the 1990's?
with the number of webcasts launched since April 2010. The 4 of us have indeed something in common, that is all of us have the experience of
Florence: Prior to the establishment of HKAS, art education at HKAC was
assuming the directorship of the Hong Kong Art School (HKAS / the
run by a department called the Education Programme Department. The
School). Let me first introduce our guests who are in fact also my
Department mainly launched art-related courses. Most of them were courses
dear friends
for interest groups and on short-term basis. It required loads of effort to arrange those courses mainly due to the wide range of subjects they covered. Students
Firstly, Ms. Florence LAM, her service period at the Hong Kong Arts
at that time often shifted from courses to courses and rarely had an in-depth
Centre (HKAC / the Centre) was from 1996 to 2000. I have known her for
study on a particular subject. Hong Kong education later laid more emphasis on
years. We are colleagues, friends and work partners.
art-related
sub」 ects ,
and students started looking for more advanced courses
instead of merely having a glimpse of art knowledge or appreciation. Motivations Secondly, Ms. Susanna LEE, her service period was from 2000 to 2005
of teachers as well as cooperation between teachers and students were vital
Susanna is also a good friend of mine and we used to work together at the
elements in the light of transforming the Education Programme Department into
Hong Kong Council for Accreditation of Academic and Vocational Qualifications
the School. We put ourselves forward
(HKCAAVQ). Our first encounter was quite unforgettable as Susanna was at
overseas universities were in search of work partners in Hong Kong.
in 伽s
direction at the same time when
that time heavily pregnant, yet she was still striving to fulfill her mission, which was to put the School through the accreditation exercise of the HKCAAVQ That was impressive and I could hardly forget our first meeting
The department planned for launching over 300 courses in a year at its peak under the full support of the Executive Director at that time, Mrs. Jackie MA The investment involved in art education was huge and in high risk not only
Then thirdly, I would like to introduce my close friend who is as if my brother
because we set high standards in terms of quality, but also because we were
to me, Mr. Alexander HUI. Though we've known each other for only a short
self-financing . Usually, only about 70% of the courses planned were finally and
period, we had the experience of working side by side at difficult times, and
successfully launched. Back then, there was somehow a hidden rule, courses
which somehow made us really good friends that we could talk about almost
could be launched without making any profit, yet they could definitely not be
anything. He was also a key figure in my career at HKAS as it was mainly his
launched if it caused any deficit. The courses we launched were quite popular in
faith in me that made me part of the School. It is indeed an honor for us to have
general and most participants were adults. In the middle of the year, there were
them here with us tonight
also voices and demand for parents & children 's courses, so we attempted to
The School steps into the 10th Anniversary celebration this year and we are
The intense competition made it too difficult for us to continue to run those
proud of our devotion to art education as a self-financed institute with no
courses. Moreover, there were computer and animation courses at that time,
recurrent government funding. Through this live webcast, our 3 guests will
but our competitors were often way ahead of us in terms of facilities and
launch a few until other education operators started launching similar courses
review the birth and growth of HKAS in the last decade with respect to the
equipment, because we were not as equipped as our present Schoo 丨
experience during their directorship and the development of the art education
that period of time, the art education environment was under transformation
is.
During
landscape in Hong Kong. In the past 1O years, HKAS awarded 2,000 graduates
with influences coming from different aspects, while the public was looking
and half of them received degree level qualification. Thus, the contribution of
forward to art educational programmes of a greater diversity.
HKAS in art education was beyond question
pugc 糾 /65
F&,
Right, I first met Florence because of the assessment work of the non-
local programme. The programme was assessed and the department was formally upgraded to the School in year 2000, which embarked upon a new era. Susanna, could you tell us more on how the department was formally upgraded to the School? S·,ani 1a: It is nice that I have just been able to learn a lot about the history of the School from Florence. To my understanding, HKAC aimed to establish an institute to offer advanced fine art courses to post-secondary students. The year 2000 was a turning point, I took up the post at the School before the departure of the then chairman of the Board of Governors, Mr. Po CHUNG SBS JP, and right after the departure of Florence. Mr. CHUNG demonstrated Right at that transformation period, we launched the first ever Bachelor
an incredible blueprint of the School development which involved the upgrading
degree in Fine Art, which was operating in part-time mode, with the RMIT
of the Department to the School, and I was thus given a clear vision as well as
University in Hong Kong. Florence, it was launched under your initiative. The
a mission
programme has been launched for 13 years already, how exactly did the Under the outline of the Hong Kong Education Reform in 1999, post-secondary
collaboration take place?
education acquired an increasing variety of curriculums which correspondingly er"•
It was indeed quite interesting. Some overseas universities were
encouraged more privately-funded operators to deliver an even wider range of
looking for work partners in launching collaborative non-local programmes in
programmes. It was also an opportunity for HKAC. With the support of HKAC
Hong Kong at that time. Professor Kevin WHITE from the RMIT University,
and the School Council, the School set forth a formal road map in art education
who had a specialty in ceramics, paid a sudden visit to my office one day, and
which also shaped the
prim 巾ve
form of the School
proposed to have a meeting with me. It was truly out of my expectation as we had never met before and no prior appointment was made. In our conversation,
The learning environment and format offered by universities
Kevin believed that ceramics programmes of a more advanced level were in
in general might not be able to fully facilitate students'needs,
need in Hong Kong, and he sought for our views on collaborative opportunities
while the School was capable to provide a more flexible teaching
It was interesting that my first response was to suggest him to check about the relevant
possib 岫 es
and learning environment. The School did not merely target to offer
with the Hong Kong Polytechnic University (Poly U), as
basic courses for beginners but also advanced programmes for future and
at that time, apparently, the Poly U was more experienced and sophisticated
potential art practitioners. The School had to be accredited by the HKCAAVO
in launching similar programmes. However, having already approached other
in order to gain recognition from the government, the community and the art
potential institutions, Kevin considered us as the most suitable work partner.
education field. We were lucky enough to have consulted Felix on the matters
Then, I brought him to our tiny ceramics studios on the 10th Floor of the HKAC
of accreditation at that time, but it also worried us a lot as the requirements of
To my surprise, he was
tota丨 ly
fine with the
co勾 environment
and concurred
with the idea of starting the programme from a small scale
HKCAAVO were almost unachievable to us. Even though we first met in year 2000, it wasn't until year 2003 that we finally put our School and programmes through the accreditation process. Our colleagues actually took three whole
We were also launching programmes with a visual art institute from the US at
years for the preparation of the massive amount of documents required by the
that time, and undeniably, the participation of AMIT University accelerated the
accreditation.
development process of running non-local programmes. There were of course quite some hardships during the process. In preparation for launching the programme, we were informed that the government had a series of regulations to monitor non-local courses. It was why we subsequently got in touch with Felix, who was at that time looking after relevant regulations , for advices on the application and the registration. In view of the strict requirements of HKCAAVQ and the fact that experts in this area were scarce, it was truly difficult for us to eventually fulfill all the requirements. We acquired support from different internal and external parties, and thus, when the programme was finally launched, supporters from all aspects were having high expectation for the programme The student number grew from 27 in the first year to over 100 when I left HKAC In January 2000, the Education Programme Department was formally upgraded to The Art School which signified a great leap of the School towards a brighter future in art education
As Florence
has 」 ust
suggested, a conceiving period, which is sometimes
even prolonged, for programme development is inevitable and we could take the Master of Drama Education programme which we collaborate with the Griffith University as an example.
The 呻 al
blueprint of the programme was a
mutual design between the university and the School according to local needs However, in view of the quality assurance regulations as laid down for nonlocal programmes, the programme was required to first run on trail for a year in Australia before it could finally be operated in Hong Kong. It should perhaps be considered as an achievement for the School to successfully launch the programme at the end, which was conceived on the basis of a mutual belief between both parties. Afterwards, the School launched several higher d丨 ploma
1:< During that period of time, we listed out all the potential problems and
programmes as different opportunities were coming along, and despite the
then sorted them out one by one. With determination, we figured out our
tremendous amount of stress placed on the shoulders of every colleague, the
solutions step by step and set forth future plans. In general, it can be said that
programmes all got accredited in 2003
it is almost impossible to make profit out of operating an educational institute, and it is even worse when it comes to running art education. HKAS is the only
~
The huge efforts spent for overcoming the hardship and the difficulties
art institute which offers major and studio-base studies in Hong Kong, besides,
owing to the heavy workload associated with the accreditation process were
the class size always remains small. Upholding these operating principles can
indeed all counted.
It 丨s
perhaps interesting to note that the accreditation record
of the HKAS at the HKCAAVQ was always considered as outstanding. I was
perhaps be regarded as a merit, yet, it at the same time tremendously increases the operation cost and ramifies the operation process
in charge of the accreditation process for more than 10 institutes in Hong Kong during my years at HKCAAVQ, and I seldom kept relevant documents
I have been in search of the possible balance between upholding the operation
for reference , yet the submission document of HKAS turned out to be
principles and maintaining the operation cost. I genuinely respect teachers'
among my favorite collections in this connection The position of the Director of HKAS was vacant for a period of time after Susanna's departure and finally it came to Alex's directorship in
c
hard work and what they believe. Yet, deficit is usually what follows and what then can be done? Having the opportunities and possibilities of relocating the School campuses does help. Thanks also to Alex, for his effort in hunting for more teaching space at the Jockey Club Creative Arts Centre (JCCAC,
2007. Alex wasn 't only the director of the School but also the Executive
the School's Shek Kip Mei Campus now). In fact, we should be prepared to
Director of HKAC. Alex, what were your feelings at that time?
encounter obstacles as we are determined to maintain small class size and major studies. Institutes with government funding normally launch a major
The 3 of you here are educators and I was only a relatively
study with at least 15 students enrolled in that major stream, while HKAS,
1ns1gnificant person serving at the museum before I join_ ed HKAC. I thought
without government funding , launches a major study with an even smaller
r (Al
I 函 at
the museum
number of enrolled students. The endeavor and determination in art education
before until one day I was told that the programmes at the School were to
demonstrated by HKAS perhaps are meant to be respected and recognized in
be revalidated and the School 's accredited status was to be reviewed . The
the field
the job at the HKAC was somehow quite similar to what
accreditation exercise accomplished by Susanna back in 2003 drew a group of keen staff members to stay at the School, yet art lovers normally were with
,
At my time, it was also due to the same kind of determination Felix
strong characters, and among them, those who acquired the right knowledge
has 」 ust
and the required ability to compose sophisticated documents with practical
found that programmes offered by universities usually lacked studio-based
operation details, which can suffice the accreditation requirements, were utterly
learning environment. That was somehow also why we insisted on studio-
mentioned that we carried out both formal and informal surveys, and
based teaching though we were squeezed between low student number and
rare
financial pressure Apart from this, I also had to face certain financial issues, including the venue rental rates and the expense on operating non-local programmes. Issues on
As Alex has just mentioned about the venue issue, I recalled the time when we
accreditation and financial problems were indeed causing me a'headache'
were short of teaching venues. The painting class was once eventually held
The rental issue could not be wholly solved during my term of office, but I was
at a coffee shop; yet, it turned out that it was quite artistic when the easels
glad to be able to seek for an extremely helpful hand from Felix. Despite his kind
were all lined up there at the shop. Apart from the venue issue, equipment
concern on his relatively loose connection to the art field, Felix was willing to
was another issue, as technical equipments, such as computers, had to be
。ffer
a hand. With support coming from teachers, staff members and students,
Felix was able to have the problems gradually sorted
renewed regularly. It seemed that resources and venues were always the issues throughout the years, and the 4 of us here took different approaches and at the same time every possible measure to have them solved at different times Alex was wise to look for more teaching space at the JCCAC (Shek Kip Mer Campus). With the determination of all staff members, it is indeed a spectacular experience to witness a seed from blooming to flourishing
page 66/67
Felix: Holding on to a collaborative non-local programme for 13 years after all
Theoretically, art-related venue should be heartily embraced by people and
is not an easy task. Besides, the collaborative programme with Poly U initiated
located right at the heart of a community. Yet, I notice that the picture in this
by Susanna has been in operation for 7 years; the Master of Drama Education
21st century is quite different, and artwork, maybe more specifically referring
programme has also been operated for 5 to 6 years, and all programmes will
to public art, is often located in remote area. It has indirectly given rise to a sense of remoteness and enhanced the disconnection between art and the
continue to run next year.
community, and it is more or less a fact that art can no longer or can hardly be Well, it seems that we've been talking quite a lot about the past, let's talk about
rooted in a community nowadays
the future . What are the opinions from our guests in terms of the School's Felix: I believe, staying outside the university framework, the School has the
direction after a decade of operation?
flexibility to pursue and fulfill its dreams despite it is relatively small in scale Susanna: Then I may have to talk about something that is related to academic accreditation, which is more or less my expertise. A School can always
Flomnce: I am indeed very pleased to see the kind of determination, pretty
consider whether to validate a programme or not according to the need of
much the same as that in my days, is still shared among colleagues today. On
the corresponding target students. If they are full-time students, putting the
the long and harsh road of art development, determination is always crucial
programme through accreditation can enable them to apply for government loan, and the qualification the students obtain would also be widely recognized, these can at the same time help maintain the competiveness of the programme
In the old days,
a 丨ot
of our students were adults at their 30's or 40's,
their craving for art knowledge enabled them to stay on receiving art education even after years of work in different fields. Their
Another thing the School may need to further consider is how to let more
determination and passion, and also, the passion of our younger
people get to know about the School
applicants were all admirable. I believe our art education should be positioned to benefit people from all classes in the society. Some
Something to share is that I took taxi to the School today before the talk, and
students, after graduating from our programmes, went overseas for
the driver had no idea where the School was. Even though I showed him a
further studies, and they brought back with them a vast variety of creative
printed map of the School , he still had a hard time locating the School. The
elements which further enriched their works. In the process of art-making, while
location of this newly acquired Shau Kei Wan campus is truly nice, and being
maintaining one's uniqueness, it is perhaps also crucial to open one 's heart and
able to have our own campus had always been our dream; yet, how can we let
mind, and humbly absorb knowledge from the world outside
more people know about us and how can we get closer to the community? A subs心zed
by the government and what the School
Of course, I agree that getting into the community is also an important task
in order to be able to stably stand on its own feet?
for the School. I got similar experience as Susanna's while I was on my way
We have taken a great leap forward in the field of art education, and continual
to the School earlier this afternoon. The taxi driver had no idea of where the
hard work is indispensable
School was. Yet, when the taxi was somewhere near, the iconic colors (the
Alex: I've also tried to explore the issue about getting the School closer to
the campus readily caught my attention and finally led us here
lot of our competitors are has to accordingly
ad」 ust
unique charcoal grey and yellow) of the School as painted outside the wall of the community and maybe I can share with you some of my views on the use of land and resources in this respect. Some students used to ask me why
Felix: Would our audience today like to also share with us your views or are
certain art organizations tended to receive quite negative criticism no matter
there any questions from you?
what they did. I took an industrial building as an example. If the units of a vacant industrial building were released for renting, the property keeper or manager
Wylie (Acting Academic Head): I have been working at the School for quite
possibly would only need to acquire basic property management and leasing
some years; I have witnessed the achievements the School accomplished, as
experience in order to fulfill his/ her job duties. While if the units in the same
well as its many contributions to the society. In view of the fact that courses of
industrial building were first to be transformed into art-related venues by a non-
similar nature are increasingly being offered by other institutes, in your opinion,
profit making organization and then were released for rental , the keeper or the
how should the School better position itself in the present art education
manager might have to acquire not only property management and leasing
environment?
experience, but also certain art background and knowledge; and the cost of remuneration for such a staff member, whom was meant to be equipped with specific
know 丨edge ,
would quite definitely
be 囧 gher.
The increased expense
on staff remuneration alone could already be a problem, not to mention the relatively less
flexi b山ty
in management and daily operation
Sui :ann: · I believe all institutions have their own stories, and the School has to figure out the unique story of its own. A few points were just shared and suggested, for instance, how can the School get closer to the community? If more local elements could be engaged, then the School would perhaps be able to leave an even more impressive mark in people's hearts The School may somehow still be making reference to the
m 丨ssion
and the
philosophy established at my time. Yet, can they accommodate what you desire at present? Or are they no longer applicable to the present situation? After a decade of time, it is perhaps the time for all teachers, staff members, students and alumni to see if there is any need to figure out a new direction for the School
(Manager of the Academic Programme Administration Team): Each of you must have experienced a lot at the School in the past ten years. I wish to hear some of your unforgettable memories at the School
Olive (Lecturer / Programme Coordinator): What would be your view in terms of the role of the HKAC and that of the HKAS? Maybe especially to Alex, as you
F10,.. nc,
have been the Executive Director of the Centre as well as the School Director
what I experienced truly broadened my horizon, like having painting class held
There were lots of memories indeed. During my time at the School,
before. What is the relationship between them and how to strike a balance in
at a coffee shop. The relationship between teachers and students were so close
between?
that they could together talk about the possible future pathway of the School The joy to work as a whole for the same goal was just fascinating
..
Art development has a relatively short history in Hong Kong. The assets
of HKAC are all valuable, especially the land it owns. The land can provide
~r'"I: I recalled a meeting I and a few colleagues had with the then curator
rental support to the Centre when artistic activities cannot cover the expenses.
of the Hong Kong Museum of Art. The curator had been observing the School
According to the HKAC Ordinance, the operation of the HKAC can be decided
for a couple of years and would like to invite the School for an event because
by its committee members, while, the committee members are elected by
the School's effort in art education was recognized. Gaining recognition in the
members; and one of the beauties is that every Hong Kong citizen can
local art community was definitely something truly encouraging for the School
in fact become a HKAC member. Since the inception of the School,
The success of an institution sometimes may also depend on chances, and
HKAC has been active in gaining public support and recognition
when an opportunity comes, deciding whether to grab that or not is sometimes
for the School. People who recognize the achievement of the
vital. The School may not have to too deliberately build up fame or recognition ,
School and people who are concerned about art development in
as public recognition would usually be granted automatically if the work done
Hong Kong can join the HKAC as members and take part in the
is by itself outstanding
operation as well as the decision-making process of the Centre through the corresponding system. The concept in relation to the forming of the HKAC
I, •x: My service period at the School was relatively short, and I wasn 't able to
committee is indeed great and respectful as it involves the participation of its
know all my colleagues very well, but we at that time, despite the difficulties,
members and can in a way be ultimately led by them
all held the same goal, which was'the School must go on'. It is indeed a great pleasure for me to still be able to see most of you here today.
FeliJ<: The HKAC Ordinance also clearly spells out the Centre's mission to promote art education. The Centre has also been providing enormous financial
i=elix 'The School must go on,' most probably, it was also this belief which
support to the School; the School is not only a work partner of the Centre, but
made me part of the School today. Whenever my friends asked me the reason
also a division of the Centre
for joining HKAS, I would always explain that it was mainly due to my wish of letting more
peop 丨e
know about the HKAS. Most art practitioners are not quite
Sus!'l11na: From the management point of view, the School is a division of the
used to fully interpret or share their fruitful contributions with the community,
Centre. The managing or the working relationship in between somehow likens
thus, we may have to further bring those out and plant the seeds in the public
itself to the relationship between husband and wife. While sharing the same
for art development. People who have a specialty in business management
goal, they give each other room for development
always have a feeling that they are superior to the others; instead of putting things this way, it may be nice if they could also apply their related skills and knowledge to the promotion of art education. I hope more people in the public will recognize the contribution of HKAS by the time I leave the School I would once again like to express my gratitude to our guests who have just shared with us their precious experience and their views on the School's birth, growth and future development. And on behalf of the School, I would also like to thank you all for watching the live webcast tonight
page (,8/69
Directors'Talk: Birth & (;ro,vth of the School 院長對談－學院的誕生與成長
四位講者（從左至右） 李淑仁女士及梁鏡威先生
林錦芳女士、許日銓先生，
這篇對談轉錄自—場由學院現任與前任院長主持的分享會。分享會 於二零一零年七月六日假學院的筲箕 灣 校舍，以網上直播形式通過
「匯．綦」網站舉行 。
「匯 · 蘩」 (Art Node <www.artnode . hk>) 乃學院
新設置的網上藝術教學平台，獲教育局質素提昇津貼計劃支持 。 分享會主要探討香港藝術教育於這十年來的演變和發展 。 香港藝術學 院的現任與前任院長均在本地藝術教育以及學術評審範疇中有舉足輕 重的地位，他們就學院的誕生｀成長、發展以及前景交換意見 。 亦正 因褻術學院的成立見證著本地藝術教育的發展，這次對談對本地蘇術 教育別具意義 。
院長簡介： A''? 人 前任香港藝術中心課程總監及
甾任香港凸術中心魂瓘肛孕院總監 (1996-2000) 林錦芳女士現職培訓及教育頗問 。 林女士屢應本地及海外機構的邀請 主講及討論有鬪員工培訓及教育管理的課題 。 在她帶領下，香港綦術 中心與海外院校合作．開辦了首個非政府資助的藝術文學士學位課 程 。 林女士亦為香港學術及職業資歷評審局擔任英語教育的學科專家 超過八年。
. i\ f ：女 J前任香港藝術中心藝術來院院長 (2000-2005) 李淑仁女士現於香港學術及職業資歷評審局出任研發培訓總主任以及
高級評審主任 。 李女士擔任香港綦術中心綦術學院院長期間，除引領 學院推出學歷頒授課程並成為香港政府認可之副學位（高級文憑）學 歷頒授機構之外，更推出多個與本地及海外大學合辦的課程以奠下學 術發展的方向。
;,1
Il 「 A.
·:
前任香港藝術中心總幹屮 (2007-2008) 及 前任香港蔀術根院院長 (2007-2008) 許日銓先生現為香港大學藝術學系的榮譽助理教授以及香港文化遺產
基金會董事，致力於當代博物館發展及文物保護 ， 並在推廣文化藝術 活動方面不遺餘力。許先生亦為一名建築師，於北美洲工作超過十 年，在加入香港藝術中心前，他亦曾出任香港大學美術博物館館長 。
梁哎 I~ 先牛 現任香港藝術战院院長 梁鏡威先生於二零零八年加入香港蘩術學院，為現任院長。他除領導
學院建立位於筲箕灣及石硤尾的新校舍外，更為學院整體的營運作出 關鍵性的調適。梁先生曾為香港學術及職業資歷評審局首席評審事務 主任及資深的學術評審和質素保證專家。多年以來，他與學院的關係 密切，在學術評審的事宜上提供寶貴以及專業的意見。
'age7lV7 l
（梁．梁鏡威林：林錦芳李：李淑仁許：許日銓）
學院前身的英文名稱是 Education Programme Department ·中譯就是 「課程部」。「課程部」主要是開辦跟藝術有關的課程·那時多是興
各位朋友你們好，這是在「滙
·
藝」網上第四次的現場直播，為
了配合今晚第四次的直播．我們邀請了三位嘉賓．加上我正好四位－
趣班．大概以兩個月為一期．課程題材也很廣泛。正因為課程的種類 多．所以要很費心力去辦。同學們學習時多從一類諜程藹到另一類．
同來作分享。我們四位當中，有著全港獨一無二的共通點．就是我們
而不是深入地去學習鑽研同一課題。其後．香港教育開始注重藝術，
都曾經擔任過或現正擔任香港蘩術學院的院長·與此同時，在座三位
學生對課程的需求也不再流於表面 ． 相反他們開始追求更高層次的課
亦是我的好朋友，現在先讓我介紹他們。
程。將課程部升格為學院很需要辦學機構及學生的通力合作與溝通．
老師亦是重要的動力．師生都追求一些更深入的課程。適逢美國和澳
林錦芳女士
(Florence)
·她在－九九六至二零零零年間於香港藝術
洲的大學都在香港尋找合作伙伴．我們便開始朝這方向走。
中心任職，我跟她相識了十多年．大家既是同事｀朋友．亦是合作伙 伴。
很感謝當時的行政總監馬黎碧蓮女士的支持．我們嘗試過一年內同時
開辦了超過三百個短期課程。由於我們是自負盈虧的．加上想把事情 李淑仁女士（ Susanna)
·乃二零零零至二零零五年學院的院長，也
辦得好．因此投資往往很大．且常需要去冒險嘗試。有時候．實際能
是我的同事兼好友。我在十年前認識她．印象很深刻。當時她正懐著
開辦的課程總數只佔預計的大概七成．那時候諜程部有－個規定．就
八｀九個月身孕·臨盆在即．但仍然對工作十分拚搏．希望讓學院順
是沒盈沒虧仍可以．但凡有虧損的話就一定不能開辦。開辦的課程通
利通過學術評審而成為政府認可的專上院校·直到現在．我還記得我
常都很受歡迎．而參加的學員亦以成人居多·年中期間也有開辦親子
倆首次見面時的情形。
班的需求．但在同行都相繼開辦親子班後．便發現競爭實在太大而無 法再辦下去了。當時也有一些電腦動畫和科技性質的課程．但競爭者
許日銓先生（ Alex)
可算是我肝膽相照的好朋友，雖然相識的時間
的條件通常比我們優勝．主要因為是我們當時缺乏器材．裝備亦不比
較短．但我倆曾—起經歷過一段難忘的日子．亦因此我們無所不
現今的齊全。當我們在尋覓出路時．正值藝術教育的環境在韓變．大
談。 Alex 亦是促成我到學院上任的－位腺鍵人物 ． 如果沒有他的信任．
眾都想學習更多元化課程．而各方的衝擊亦委實不少。
我大概不會參與這份工作。今晚很高興能與他們暢談。
學院於今年踏入十周年．一直以來．學院在自負盈虧及沒有政府資助 的情況下辦學，能走過十年已算是一點成就。藉著今晚的直播，希 望能與三位分享在各自任期內 ． 有闞學院誕生與成長的故事，亦從而 窺視香港的藝術教育在過去十年的發展。過去十年學院有近二千位畢
業生，當中－半達學位程度．學院對香港藝術教育確實有著—定的貢 獻·先由 Florence 開始吧·當我們還未有學院之前，藝術 中心在九十年 代是怎檁推行藝術教育工作的呢？
T難
倒
的
一心步
－
達了中
局才收術
資的第。出
地 ，並 歷協－香 RM I上 困本
跟第伴的時需理工；＾｀聶°
面認工説便淺
你入伙科當港（理 到 還
年
是踏作藝我香學跟他，
，
是n 們 Vi
Ke
那已合陶。為大已帶窄的
R 室面不
與。如 Ml
i
職各然人
大 蘩 尋學會 i 理 n 釋我方學巴程在戶審下只 程今 大 ＇ 課 並 沒 評 助 年 港重 課程找沄我 Ke v 找解 ，地 了
位課港
學，？香
於音我的非 繫港業方在了跨 術的的來洲公見倒。。 程到管聯香 是
女
卜
l
藝辦＾口學澳辦約他驗伴介課遇監 時 算 x 純申開大自的預議經伙不 作談列 e當 h 及在雖多可 F於術要。百院 合談 的吩樣的來我地提的的並系 了先＿的由 學此望至學 怎國位到特還程適他 來有時課合料 辦。有例。港因期增術 夕然沒當似最豈開度府條序香有已藝 突也我類是。院進政關程上的很數為
讀 rs 兼 Ve 面是 個 U 展些＇ ＿ T 發
工相 對時正
＇ 在零 怪加過們開也了辦亦下學）求但零 奇更作論我裡們快合 ， 助得局要＇零
l 一天 第 M的 加格亦人格 授面， 辦才室學的悉有等 了伯 壬 0 時－教謀程開們教醯程得責冊，嚴程生升 作當課學式
（
K
宏 很個合討觀這我加備例協懂審的生二
辦學課當有未課有我藝。視課＇負註 開大這 ,。 m 素藝也乎陶錯的地候時及
1 開
啟 得＿）面參由時與準條的人評部學於 白 覺要工方樓為當參在的他多（全個部
港 工 實的程 倆陶們似的不國本時當謂的是家任月 HI 我的他但小很美非的跟申核求大離 香理其趣課 W 為本 ， 有的． m 因深為＇狹也跟辦程此行評要而我年 V ，高因了那始在合課因進術的 們爾了 e 蠻地
我墨頭
那皇個這非
時家年是本
澳十
洲三辦
T
H^
對，就是因為評核的工作讓我認識了 Florence 。那個課程通過了非 本地課程條例的評核。 由二零零零年開始，藝術中心諜程部正式升格
為學院並進入－個新的時代 ， S usanna · 其實這個計劃的由來是怎樣的 呢？
4
聽了 Florenc e 的一席話的確令我對學院的歷史背景上了寶貴的－
課。當時我的理解是香港蘩術中心（藝術中心）的理想就是要成立－ 所為中學畢業生提供高階純藝術課程的藝術學院。二零零零年是一個
轉捩點．我在 F丨orence 離任後．並在藝術中心監督團主席鍾 普洋先生 離 任前上任。鍾先生—開始就跟我提出了－個很宏偉的藍圖．只要我們
能完成的話．就能得到各方的支持去成立蘩術學院，因此我就有了－ 個使命。
在－九九九年的香港教育改革的藍圖裡，專上教育需要更多元化的課 程，因此鼓勵更多營運者辦學，這便是藝術中心的 ＿ 個機遇。在藝術 中心和學院督導委員會的鼓勵下，學院循著正規的路線走 ， 這就形成
了香港藝術學院的雛形。 —般大學提供的模式未必能配合到學生的需求，而學院則有機會提供
－個較適合的環境。我們不只要開辦基本的入門課程，亦需要開辦一 些讓未來蓺術 工 作者進修的課程。而如果我們要循著正規的路線走，
就必須得到政府、學界和社會的肯定，這包括在學術方面要通過學術 評審。當時我拜會 Feli x· 然後他告訴我有閱評審事宜的時候的確令人 十分擔心，因為評審局的要求很高。二零零零年見面後，我們到了二 零零三年才進行評審，由於學術評審的過程中需要大量的文件，所以
同事們用了三年的時間來整理和預備，過程絕非容易。 如 Florence 所説，要發展＿個諜程需要很長的時間和一段「孕育期」
就像當時跟澳洲格里菲斯大學
(Griffith University)
商討開辦戲劇教育
碩士課程—樣。課程藍本是雙方根據本地的需要而共同設計的，但鑒 於非本地課程條例的需要，課程還得先在澳洲試辦＿年才能在香港推 出。在雙方的信念下能辦到這個碩士課程實算是 ＿ 項很大的成就。其 後，學院也在其他的機遇下開辦了數個高級文憑課程，而即使同事們
受很大壓力，課程也在二零零三年通過了學術評審。 話説回來，雖然 Susanna 説學術評審的工作做得很緊張和吃力， 但學院在評審方面的紀錄—直都是不錯的。我任職評審局期間曾負責
十多間院校的院校評審工作，當中我亦保留了幾份較完備的文件作參 考 ，而 藝術學院提交的評審文件就是其中＿份。
Susanna 離開了學院後，院長職位懸空了－段時間，輾轉到了二零零七 年由
Alex 接任，那時他不只是院長，還是藝術中心的總幹事，身兼兩
職。 Alex· 那時候你有何感想？
pagc72n3
我身邊的三位都是教育家，而我只是－個在博物館裡工作微不足
之前 Al ex 提到有關場地的問題，我們當時也因此在一間咖啡室上課．
道的人，來到藝術中心時也以為是擔任類似的工作．直至有人告訴我
學生們都把靈架於咖啡室擺放出來 ， 倒很有藝術味道。此外．器材亦
學院需要再度接受院校及課程評審。 Susanna 完成了第－次的評審工作
是個難題 ． 例如電腦需常更新等。資源與場地的問題似乎一直存在．
後，吸引了－班熱心的老師和職員留任·可是，對藝術有興趣的人大
而大家都積極採用不同的方法解決。 Alex 是—個很有點子的人 ， 他申請
多有強烈的個性，而其中 ， 懂得編寫及整理—套具質素而又有關實質
租用石硤尾的賽馬會創意酞術中心部分樓面作為校舍是—個明智的決
課程運作的文件，並且能藉此通過評審的人真的很少。
定。由種子到發芽和開花 ， 都只因有大家的堅持，這真是很難得。
此外，在任時我也需要面對財政的問題 ， 那主要是租金和開辦非本地
T
課程的支出。評審與財政兩者加起來的問題也著實令人相當頭痛。很
學院的非本地純藝術課程能辦到第十三年是一件很長情的
事
Su s ann a 當年跟理工大學（理 工 ）開辦的文學士課程也已
抱歉，我在任期內無法全面解決租金方面的問題，但我慶幸能找到－
有七年光景了
位能幫助我的人，那就是 Feli x 。他很樂意幫忙 ， 同時也很坦誠地提到
程於明年也會繼續開辦。剛談了過去十年的事情 ， 不如談談
自己對藝術沒有多大認識，但很難得地他得到同學、老師和職員們的
未來吧，你們認為 學院 蕾運 了十年 ， 該如何部 覆 日後的路向
支持，各方面的問題亦陸續迎刃而解。 那時我把重要的事情與難題逐一列出來，堅持面對的同時 ， 亦逐 步訂下解決的方針及計劃將來的發展。—般來説，院校是不可能賺取
戲劇教育的碩士課程也有五、六年，兩個課
呢？
,
那我要説一些自己最在行的事情了。在評審方面，學院可視乎課
程的對象而決定是否需要進行評審工作。如果對象是全日制的學生，
很多利潤的，而辦藝術教育更不可能。學院－直堅持用工作室的形式
學院通過了評審就能讓他們向政府申請借貸，而學歷方面也能得到更
教授諜程，亦是香港唯—設有主修科的藍術學院。學院從不著重多收
廣泛的認可，這也是保持競爭力的條件。另外 ， 學院是－個很有理
生以圖利，反而堅持小班教學。有這些堅持是好事 ． 但在運作成本上
想的地方，但是如何讓社會進一步認識學院呢？如果只是閉門造車的
就變得很難經營。
話，是否能繼續走下去？
我在過去兩年一直希望能在兩者中找到平衡，既可堅持理想也可以繼
我今天乘的士到來 ， 我跟司機説要到香港藝術學院，他説沒有這地
續經營下去。我雖很尊重老師們的努力和堅持，但隨之而來的現實就
方，給他地址也弄不清位置，幸好有列印地圖供他參考，但最終車來
是要面對財赤，那怎樣辦才好呢？有機會搬遷校舍的確很幸運．其幫
到門口他也不知道該在哪裡讓我下車。學院的地點是很好的 ， 有自己
助亦很大，而經過 A l ex 多番努力後，我們亦能在石硤尾表馬會創意藝
的天地是我們當年的夢想，但如何能拉近與社區的距離呢？這是你們
術中心覓得更多空間。事實上，開設主修科和小班教學的堅持令學院
需要考慮的。競爭對手多是由政府資助的，學院應如何改變以更能站
運作上遇上不少困難。得到政府資助的大學一般最少需要十五個學員
得住腳呢？現在我們已邁進了一大步，但仍需要繼續努力。
才能開設主修科．藝術學院卻不然．學院的默默耕耘及堅持實是很值 得尊重和給予認同的。
,T
我也曾嘗試了解這個有關社區距離的問題，在資源和土地運用方
面，我也能跟大家分享＿些想法。有同學曾經問我，為何有些廷術團
就是 F e li x 所説的堅持，我們當時也做了很多正式及非正式的調
體，無論做甚麼也被批評的呢？我説，如果我走到一所空置的工業大
查。我們發現大學提供的課程，實在缺乏工作室形式的教學環境 ， 即
廈，將地方租給任何人做任何事，管理的人大概只需要有租務上的經
使我們面對學員人數少及財政颳力等問題 ， 仍堅持以 工 作室形式開辦
驗就能把事情辦妥，但如果由非牟利團體把—所工業大廈變成與蓺術
1
課程，好讓學生學習。
有腺的地方 ， 員工就必須最少對綦術有所認識，而他們的薪酬亦定必
比—般管理員高，光是整體薪金的支出便已出問題了 ， 而管理和運作 的自由度又會相對地降低。
理論上，與蘩術相關的地方應該都是有人闞心的地方．它們都應是公
｀ r' 藝術發展在香港只有一段很短的時間。蓺術中心所擁有的都是前
共的空間和位於城市的核心
人留下的，而它的土地是非常珍貴的 ， 它能夠在藝術活動支持不了
但我漸漸發覺在二十－世紀，事實並非
如此 ， 藝術多只放在無人認識和關心的地方。這間接令藝術永遠不能
中心支出的情況下為中心提供租金的補給與支持。根據藝術中心的條
植根於那片土地 ． 也不能跟社區連繫。
例
委員會成員是由會員選出的，在香港，任何人都能成為會員 ， 而
藝術中心的運作乃是由委員決定的。現時藝術中心的角色就是要爭取 、
雖然我們只是小小的＿撮人，但不在大學的架構內，我們倒有些
公眾對學院的認同，若他們認同學院，便自然會主動加入成為蘩術中 心的會員，透過這個機制以互利互惠的方式運作。當關心藝術的人成
空間去做我們想做的事。
為會員然後再成為委員就能影櫺蘩術中心的決策。蘩術中心委員會的
回到這裡見到大家還有這種堅持著實令我感到高興。在藝術道路
理念是很偉大的，因為它是由會員去帶領的。
上，堅持是很重要的，我們要辦藝術，就要把它辦好。回想當年，入
蓺術中心的條例裡也列明了它背負著使命去推廣藝術教育，所以
讀的學生都是三｀四十歲的成年人，由工作返回諜室的那種對蘩術的 追求實在令人感動，而同時，年輕的中學畢業生也帶著熱誠來報讀，
這是雙方面的，加上藝術中心在財政和其他方面給了學院很大的支
故此，我認為教學的目光應投放在所有階層身上，且是兼容並包的。
持 ， 學院不只是其拍檔 ， 更是中心的其中＿部份。
有些學生在香港畢業後到外國深造，再帶了一些外面的創作元素回 來，保持個人的獨特性的同時，也要看看外面的世界，創作時所表達
十
的才更具感染力。
夫妻相處之道，大家需要互給對方空間，但目標是—致的。
在管治的角度上
當然如何讓其他人知道我們的存在也很重要，我乘車來的時候也有類
巳 -,.
學院是藝術中心的一部份，而管理的態度就像
(K曲，學院課程行政經理）
似遭遇，司機説不熟悉地埗，幸而學院那灰黑色加上橙黃色的外
相信大家在學院的十年裡經歷了很多，希望聽聽各位在學院裡有何特
牆令人從遠處已經看得到學院所在。
別深刻的經歷。
(0
現場的朋友有何問題或看法呢？
「
深刻的事情有很多，那個時期的所見所聞都令我大開眼界．像課
室不足要到咖啡室上課，而師生關係也十分融洽。老師和同學會跟我
，國., (Wylie · 學院署理學術總監）
們＿起討論未來的路該怎麼走，大家齊心為一件事而努力是最令人振
我在學院工作已有多年，發現在這裡能夠成就許多事情，包括
奮的。
對社區的貢獻。有鑑於其他的院校也有類似的課程，你們認為未來學 孚
院的藝術教育該如何定位呢？
當時香港藝術館的館長找了我及幾位同事相談。他説觀察了學院
幾年，認為我們辦事認真 ， 所以邀請我們去參與＿個活動。我認為在
我認為每個機構都有自己的故事，學院需找到自己的故事才行。
香港藝術社區裡得到認同是很令人鼓舞的墓情。＿個機構的成功需要
只有你們才知道自己的目標，從而知道下一步該怎麼走。剛才提出了
機遇，而能否善用這機遇則非常重要。有時候不需要太刻意爭取政治
很多想法，例如該如何跟社區建立關係，如果創作更多本土藝術，並
層面的肯定，只要做得好，外界自然會給予肯定。
-
貫通為一，成為你們自己的故事，這便能深入人心。
,
我的任期較短，跟大家相處的時間相對較少，但當時大家都有—
我相信現在你們還沿用我當年所定下的理念和目標去辦學，但這究竟
個共同的信念 ， 就是要香港藝術學院繼贗辦下去。因此今天還能夠在
跟你們現在的想法是否—致呢？還是已經有所不同？經過了十年的時
這裡看見大家實是一件很值得高興的事。
間，現在是否需要重新思考和整理出一套新的方向呢？這是所有老師 和同學需要思考的事。你們已經擁有－個十年的畢業生網絡，需要好
： 大概就是因為這句「藝術學院要繼瀆辦下去」的話令我參與學院 的工作。每當我的朋友問我為甚麼要到藝術學院工作時，我總會解釋
好運用這些資源去幫助自己。
因為我想令更多人認識香港蘩術學院。不少藝術工作者不大懂得詮釋 在座各位覺得藝術中心與學院各
和分享自己所作的貢獻，故某程度上需要我們進一步推廣藝術，令更
揠任甚麼角色呢？特別是對 Al ex 而言，因你曾身兼兩職。雙方的關係
多人注意藝術。讀商業管理的人多有「自己是高人一等」的觀念，所
(Olive· 學院講師 l 課程統籌） 是如何平衡的呢？
以更要思考—下該如何運用相關的知識來推廣藝術教育。我希望將來 在離任時會有更多人認同香港藝術學院的工作。
很多謝三位前院長跟我們分享了在學院的經歷和表達對學院未來的意 見 ， 我謹代表學院多謝大家收看今晚的直播。
page
74m 「 piloguc (d· 頃
:;II
UL1
We have all heard about the Chinese proverb, "it is better to travel ten thousand miles than to read ten thousand books". This implies a profound meaning in a simple form, and this perhaps is especially true in art education. Books 。ffer one pleasure, knowledge, and relaxation, the same is true for art. Apart from learning to see and to understand, in the field of art, it is perhaps even more important for one to learn to touch, to sense, and to experience. It is not necessary for everyone who studies art to become an artist, but it may be necessary for every art student to be able to appreciate how art allows people to see the world differently, and how art offers people a unique perceptive which ignites an added inner beauty of mankind Cultivation is required for learning and understanding art, and over the past 1O years , the Hong Kong Art School (HKAS) has been striving its best to establish roots of art education in Hong Kong. Art education used to receive relatively less attention in the formal curriculum of Hong Kong, and over the recent years, perhaps, along also with the growth of the HKAS, art education, has increasingly been gaining more and more focus The HKAS has chosen "Time" and "Distance" as a theme to celebrate its 10th year of development as time is simply invaluable in terms of opening up one's mind, and having thoughts and ideas polished and refined with depth Time is required to nurture the virtue of patience in the process of art making 而 me also allows one to saturate with life experience, to make reflection, and to better understand oneself. Distance allows one interpenetration between seeing and understanding, and without distance, one may only be able to see a meaningless mixture of colors and shapes. Distance also provides one with a perspective to view things in a different light and to experience the reality in different dimensions. "Time" and "Distance" are also what the School believes in enhancing the standing of art education in Hong Kong where art-related subjects are still widely considered as relegated, eccentric, and sometimes, even superfluous
古語有云
「讀萬卷書不如行萬里路」
．此語言簡意賅，亦尤其適用
於藝術教育 。 蘩術如同畫本，不但帶給人們知識．亦帶給人們愉悅和 放鬆的心情。在綦術的領域，人們除了學懂觀察及了解事物外，更重 要的是學會接觸、感覺及體驗。藝術能讓人從不同的角度觀看世界，
從而培育出人的內涵及引發出人的內在美 。 修習藝術的人不一 定要成為藝術家，但卻必需懂得欣賞藝術為人帶來的啓迪及 得著。
香港藝術學院深知推動鼕術教育是讓人們學習和了解藝術的 闞鍵．因此在過去十年來—直致力發展綦術課程，讓藝術教 育在本地紮根成長。以往匭術教育在香港正統學制中往往被人忽 略，但基於各種因素，又或許隨著學院的成長．酪術教育在近年來已 漸受關注。
To have art understood by the public as an everyday activity, interpreted as a professional discipline, and associated with social responsibility, 10 years of time and effort is still considered as something minimal. With honest effort, HKAS will continue to step into another decade, to spend time and to travel through miles and miles of distance for nurturing the coming generations of art practitioners in Hong Kong
Wylie Chan Acting Academic Head Hong Kong Art School (a division of Hong Kong Arts Centre) September 2010
香港藝術學院以「時間」和「距離」作為十周年誌慶主題．皆因兩者 在綦術範疇上別具意義。時間在啓發思考，以至進一步深化沉澱人們 的思想這過程中發撣重大的作用。它在藝術創作過程中滋養人的耐
性，同時讓人於生命經驗中得以歷綵，從而自我反省並更深入地了解 自己。距離讓觀察和理解的過程變得水乳交融
若沒有距離作緩衝，
觀眾看見的作品可能只是和成一團的顏色和形狀，空洞而無意義，距 離同時亦讓我們從另—層面觀察事物，以不同角度體察現實。
縱然與藝術相關的學科在香港仍廣泛被視為非主流，無關重要，甚至
可有可無，學院堅信「時間」和「距離」所盛載的深層意義是提升本 地藝術教育應有的精神理念。光以十年時間和努力賞難讓大眾明白褻 術是日常活動的一部份，是—項專門學科 ， 甚至具社會責任，香港綦 術學院將堅守信念，謙卑誠摯地邁向另一個十年，繼續為培育香港未 來的藝術工作者努力。
陳國培 署理科［術 總監
香港藝術华院（香港藝術中 心附 屬機構） 二零一零年九月
丨－
•
With honest effort, HKAS will continue to step into another decade, to spend more time and to travel through miles and miles of distance for nurturing the coming generations of art practitioners in Hong Kong
。
p1ge78n9
Acknowlcdgemcnts 鳩謝
Special thanks to Hong Kong Arts Centre, Mrs. Cissy PAO WATARI, BBS and Ms. Connie LAM for their unfailing support to the School as well as to this publication, Mr. Felix LEUNG for his advices on the content development of this publication, Mr. Wylie CHAN for his design coordination, and all the staff members and friends who have contributed to this publication 特別鳴謝香港藝術中心、香港藝術中心監督團主席包陪麗女士 BBS 及香港藝術中心 總幹事林淑亻義女士一直對學院及對本刊的支持，學院院長梁鏡威先生在本刊內容編寫
方面的指導，署理學術總監陳國培先生在設計統籌上的幫助，以及所有對本刊曾作出 努力的學院員工及朋友們 。
Edit0~i-1l Coordina 心n
& TransldUor
Karen LAM
林翠怡
Patricia CHAN
陳肇臻
囝WChung Foon
羅仲歡
Shirley SING
成雪儀
Stella TSOI
蔡心怡
l).Daniel CHAU
P i< i
趙汝誠
!li "·i
Hong Kong Art School (a division of Hong Kong Arts Centre) 2 Harbour Road, Wan Chai, Hong Kong 香港綦術學院（香港藝術 中 心附屬機構） 香港灣仔港灣道 二 號
「
「 ul. 聶 i 初版
November 201 O 二零 一 零年 十 －月
I
I,.. 「「）
Asia One Printing Limited 宏亞印務 有 限公司
。 Every effort is made to ensure the accuracy of the entries in this publication, the producers of this publication take no responsibility for any inaccuracies or omissions that might occur herein or any possible consequences that might arise from the inaccuracies or omissions 學院已盡一切努力，力求本刊內容正確無誤，學院對任何有機會遺漏或錯誤之資料及其有可能引 致的後果恕不負資。
Name lists in this publication are updated as of 30 September 2010 本刊所刊載之委員及職員名單截至二零一零年九月三十日。
If there is any inconsistency or ambiguity between the English version and the Chinese version of the content in this publication, the English version shall prevail 本刊內容之中、英文版本如有任何抵觸或不相符之處，以英文版本為準。
All rights reserved. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher, the authors, and the artists 版權所有，未經有關機構、作者及極術工作者許可｀不得翻印｀節錄，或以任何電子或機械工具 影印、攝錄或轄載。
ISBN: 978-962-7630-76-0
)
刁；0；`]N; ：、RTS
CENTRE 香港藝術學院 HONG KONG ART SCHOOL A division of Hong Kong Arts Centre