Issuu

視覺的含意

Implication of Visions 身體的綜合與藝術實踐 Bodily, Synthesis and Art Practice

無題的時代 The Untitled Era

LUHITE T巳 XT~

影子的源頭 0 rig insin Shadows

印象派 Impressionism 視覺藝術動態 Changing Dynamic

of Visual Arts

文化交錯 Cross-cultural

Perspective

藝術?育

Exploring Art Education 二零零五年第一期 2005 Number 1

編輯總監 Editing Directors

白文本 WHITE TEXT

鄭凝姿 Tang Ying Chi

二 ??五年九月第一期

何兆基 HoSiuKee

Number 1, September 2005

譚偉平 Lukas Tam

余偉聯 Francis Yu 黃麗貞 Fiona Wong

執行編輯 Executive Editors

白文本於每年三月（春季

及

九月（秋季），由白管子基金支持發行。此刊本主要經由

老慧行 Venus Lo

學生編制，其得以順利發行，

楊曉棠 Candy Yeung

有賴眾多香港藝術中心藝術

陳曉停 Winnie Chan

學院現屆及畢業學生的義務

李萬經 Hang Li

貢獻。

常務編輯 Managing Editors

余境? Yu Kei Kei 楊美青 Circle Yang

未經版權持有人允許，不得用任何方式抄襲或翻印

劉學成 Hanison Lau

馬浩賢 Florian Ma

本刊物所表達之意見或觀點

美術編輯 Art Editors

及其所有內容 •不代表香港

香建峰 Alex Heung

石俊言 StanthonyShek

藝術中心藝術學院，白管子

之立場。

中文顧問編輯 Contributing Chinese Text Editor

定價：港幣五十

袁婉荷 Yuen Yuen Ho

學生：港幣四十五

出版 Publisher

香港藝術中心藝術學院，白管子 •白文本 White text, White Tube, the Art School, Hong Kong Arts Centre 聯絡地址 Address 香港灣仔港灣道二號香港藝術中心十樓白管子 White Tube, 10th floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong. 印刷公司 Printing Company 展藝印刷有限公司 Print Ink Limited

白管子網頁 White Tube Website www.whitetube.org

? 詢熱線 Information Enquiry (852) 29222822

電郵 e-mail info@whitetube.org

發行曰期 Publication Date

White Text is published 2 times a year in March (Spring), September (Autumn) by White Tube Funds. It is managed by students and relied many voluntary works from current students and graduates of The Art School, Hong Kong Arts

Centre. All rights reserves. Reproduction without written permission of the publisher is strictly

forbidden. The judgments and opinions expressed and the content included in this publication do not represent the views of White Tube, The Art School, Hong Kong Arts

二零零五年九月於香港印刷 September, 2005 Printed in Hong Kong

Centre.

國際標準害號 ISBN: 962-7630-63-2

student HKS45

Single issues: general HKS50

《白文本》是全新的視覺藝術刊物，內容側重視覺藝術的理念和創作內容。本刊集合了有趣和值得關注的研究與話題，也探討視覺藝術作品的發展及其與社會的關係。撰文者包括學者，藝術創作者；也有來自藝術體系中不同位置的人，環繞藝術的種種情況分別論述，互相引證，達到多元透視的效果。

編輯

第一期的文章可分三大類別。第一類是以理念為出發點的文章，撰文者本身亦是藝術創作者，例如韋_空〈視覺的含意：現象學與何兆基〉、何兆基〈由宋應星到梅

洛 •龐蒂

「手藝」、「身體綜合」與「藝術實踐」〉和譚偉平〈無題的年代〉，

他們分別提出以主體經驗或客觀的情況作為藝術創作和詮釋藝術意義的依據，亦探

討西方藝術發展理念對現代藝術的影響。第二類文章的撰文者則具有研究藝術歷史

的背景，他們以個別展賢聯繫哲學思想，談論東西方不同的語境帶來對藝術的不同冀盼。如彭美拉 ■甘拔〈影子的源頭〉和林翠怡〈印象派在香港〉。第三類文章關於本地藝術教育，探討跨文

4的藝術創作面貌和藝術教與學的思考方法，文章包括

經常往返香港澳洲，對兩地藝術也有相當認識的藝術教育家泰利 •百寫的〈香港視覺藝術的動態〉，及兩位現正就讀藝術學院的學生，維珍妮的〈在香港創作藝術：一個文化交錯角度〉?毓文的〈從學生角度探討藝術教育〉。以上的分類，以便讀者引發讀者作進一步的討論。因個別的經驗和思考方式，產生對事物的不同看法是理所當然的，而這是《白文本》樂意看到的。

藝術學院於二零零

_ 年成立教學中心畫廊以來，學生一直擄任展賢統籌等職務。二

零零四年，畫廊遷回藝術中心十檯，改名為白管子。除加強內部組織及擴展活動範

圍外，還積極邀請藝術家展出作品。今年，白管子銳意開展文字工作，出版《白

文本》，致力鼓勵具多角度和分享性的藝術研究及探索。所有製作《白文本》的職務，全由學生義務擔任，部份支出由白管子基金撥款支持，其餘由個別人士及團體

贊助。是期《白文本》能夠成功出版，實有賴所有支持者，謹此致謝。

鄧凝姿編輯總監

0 0

Editorial Note White Text is a new visual art journal focusing on the making of art. It covers different kinds of interesting topics: from artistic developments to the relationship between art and society. Our contributors include academics, artists and other members of the art community. Their perspectives differ. Coming together, their essays generate a multi-perspective dialogue. Essays collected in this first issue show three traits. Some of them, such as Frank Vigneron's "Implications of Vision. Phenomenology and Ho Siu-kee", Ho Siu-Kee's "From Sung, Ying-sing to Maurice Merleau-Ponty — 'Craftsmanship', 'Bodily Synthesis' and 'Art Practice'", and Lukas Tam's "The Untitled Era", are written by artists and are concept-based. The discussions are tied in with the writiers1 personal experiences or objective facts, and explore how the developments of western art influence contemporary art practices. Some other essays are written by contributors with an art historical background, such as Pamela Kember's "Origins in Shadows" and Karen Lam's "Impressionism in Hong Kong". These articles review individual exhibitions and discuss how different perspectives — from the east and from the west — look at art with different expectations. The last batch, including Terry

! 7 5.

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Batt's "The Changing Dynamic Of The Visual Arts In Hong Kong:1998 - 2005", Virginie Lerouge Knight's "Creating Art in Hong Kong : a Cross Cultural Perspective", and John Wong's "Exploring Art Education from a Student's Perspective", discuss cross-cultural art creativity, and art teaching and learning. By presenting different perspectives, White Text hopes to trigger off further discussions among its readers.

The Art School's own gallery was set up in 2001. The gallery's exhibitions were all organized by the school's students. In 2004, the gallery moved to the 10th floor of the Hong Kong Arts Centre, and was renamed "White Tube". As the gallery develops, besides strengthening its organization and expanding its range of activities, we are also inviting established artists to exhibit in our venue. This year, White Tube ventures into publishing. We hope that WhiteText can promote multi-angle reading of art. The publication is coordinated by volunteer students. Production is supported by the White Tube foundation, and sponsorships from individuals and organizations. Now as WhiteText finally comes out on paper, we present to all our supporters our deepest thanks.

Tang Ying Chi

Editing Director

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]

白文本第一期 White Text Number 1 001

004

編輯語 Editorial Note

目錄 Content 視覺的含意：現象學與何兆基 Implications of Vision : Phenomenology and Ho Siu Kee

]

韋一空 Frank Vigneron

由宋應星到梅洛 ■龐蒂 —— 「手藝」、「身體綜合」與「藝術賁踐」 From Sung, Ying-sing to Maurice Merleau-Ponty - "Craftsmanship", "Bodily Synthesis" and "Art Practice"

木

何兆基 Ho Siu Kee

?51

無題的年代 The Untitled Era 譯偉平 Lukas Tam

影子的源頭 Origins in Shadows 彭美拉 ■甘拔 Pamela Kember

O87

印象派在香港

Impressionism in Hong Kong 林翠怡 Karen Lam

香港視覺藝術的動態：一九九八至二零零五 The Changing Dynamic of the Visual Arts in Hong Kong : 1998-2005

105

I 0 0 4

在香港創作藝術：一個文化交錯角度 Creating Art in Hong Kong: a Cross Cultural Perspective 維珍妮 Virginie Lerouge Knight

從學生角度探討藝術?育 Exploring Art Education from a Student's Perspective 黃毓文 John Wong

視

覺

的含意

現象學與何兆基 Implications of Vision:

Phenomendogy and

Ho Siu Kee 韋一空

Frank Vigneron 翻譯：林景娜

專業性見於藝術語言的運用、作品的完成度、

展示方式以至對當代藝術脈搏的掌握。何兆基「香港藝術雙年展」：〈對專業性的一點回顧〉， I

載於香港藝術雙年展二零零三年展覽目錄

如果曾有一個對藝術無知的年代存在過，它很可能已經消失不見。或者有

人會認為昔日的藝術缺乏理論，跟二十世紀的藝術不同。人們可以撇開知識和社會背景，單純地欣賞文藝復興時期的畫作。或許要明白大量當代藝術品在視

覺上和理論上的所有含意，一個人的思維必須受過特定的栽培(很多人甚至須要看過藝術家所寫的說明才能理解其藝術品，但若以為過去的藝術並非如此，這便是一個錯的想法。最終問題在於藝術品作提供的，我們到底能接收多少：有

些人只享受藝術品經過面前，其他人則寧可反思它意義。我固然同樣尊重前者的態度，但自己卻是第二類的藝術觀看者，須要將藝術品與其他藝術家的思想、藝術評論或藝術理論家連繫起來，方能完全享受其中。我猜這是職業的遺

害，畢竟我是一個學者。）因此，我完全同意何兆基的看法。專業的態度不僅是一項必要的條件，它

對身處香港的熱心藝術家們似乎還不足夠，這種態度更加須要依賴技術、理論

和前人的知識別忘了還有應付藝術市場的才能。我猜這會令何兆基的謙遜受損，但他的作品確能引領好奇的哲學讀者進入某些理論的蘊涵，這正是我想在這篇文章裡說明的。（我只會提及一些他早幾年前的作品，因此文章內容並不緊貼他現時的工作和研究

。參考一下何兆基的著作《感知身體》，便可知道他做

了多少研究和深思，方能令其美麗精巧的藝術品得以完成。參考雅克 •拉崗、

認知神經科學和現象學，連同梅洛 •龐蒂（一九零八至一九六一年），將他的作品置於一個概念上的領域是既具野心而又相當豐富的。我想在這篇文章裡詳述現象學此一哲學，這樣我便得由海德格爾（一八八九至一九七六）開始。

他很可能是二十世紀歐洲傳統中最重要且最具影響力的哲學家。他的哲學是關於存有

，就是存在

的意思。它是一套非常複雜的哲學，而且

寫得十分拙劣。它往往會被歸入為現象學此一門學派（也有人套用存在主義這

個學術名詞，但現今它特指另一位現象學家保羅 ■沙特的成果，一九零五至

他的寫作之所以難於閱讀，是因為他開創了一套未有人當試過的哲學理念，因此他得創

造新的詞彙去處理這些新的概念，而這令閱讀海德格爾變得頗複雜（只要習憒了這些新詞，閱讀會變得容易得多

>。海德格爾深受另一位哲學家胡塞爾(一八五九至一九三八) 的

影響。對胡塞爾而言，唯一一件我們無須懷疑的東西就是我們的意識，而意識永遠是指對某事某物的意識。因此我們永不能將意識的狀態與意識的對象區分，在實際經驗裡，他們指的似乎是相同的東西。儘管如此胡塞爾指出我們仍能研究意識的對象，而無須假

設其獨立的存在，原因有二：甲/ 因為思維所指向的是不在思維以內的客體事物如情緒都是世界上的客體”乙/ 因為在思維中出現的事物似乎和在世界上出現的事物有所關聯。

因此現象學是對意識和其經驗對象的一套有系統的分析。經驗包括真實的事物和抽象

的事物如數學、音樂、我們的思想和情感等。這是笛卡兒哲學的頂峰，將人類視為是一個獨立的主體去面對客體。延續胡塞爾的思想，海德格爾在一九二七年出版了他最重要的一部著作：《存在與時

間》。他取了胡塞爾的概念，主張在思維裡出現的事物與在世界上出現的事物有關，因此海德格爾選擇將世界與客體擱置一旁，因為真正重要的是它們怎樣在思維裡存在這個判斷被歸類為「現象學還原法 J 。這個研究思維的方法是很有理據的，因為如果事物不

是在思維裡發生，我們便無法經驗任何事物（由於思維是指向客體的。

0 0 8

何兆基延伸高度，身體雕塑系列數碼影像，一九九五至二零零零

Ho Siu Kee Extended Height, Body Sculpture series digital print, 1995-2000.

-p

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胡塞爾的笛卡兒哲學概念主張人類為主體以對抗客體，此一主張卻遭到海德格爾的

否決，因為在真實生活中，我們並非時時能容易地將自己與周邊世界區分。舉例說，當我們長時間使用一件工具，便會傾向視那工具為自我的延伸，而忘記它並非我們，因此

那主客的關係並不是

_ 個對抗或支配的關係。這個概念與莊子的某些想法異常相似，他

寫到技藝熟練的工匠會與他們的工具成為一體。海德格爾在西方傳統中是第一個哲學家

指出有些活動並不涉及心理層面。推開一道門再走進房間的動作便是一個好例子：我們無須經過思考才把手放在門上，推開它，再把腳踏前等等。對海德格爾而言，我們是存

在於世界上（而早期的哲學家則當試証明世界的存在是與我們分割開來的

。在這個重點

上，我們應該記得許多何兆基的作品都是他自身身體的延伸：以他的《身體雕塑系列》為例，作品包括《飛行機器》、《延伸高度》和《倒置景觀》（或作地心吸力環

。

因此，就人類而言，我們永遠存在於特定的處境中，我們要應付它，我們永遠在那，這個德語名詞有「存在」與「在那裡

裡。事實上，海德格爾把這種存在稱為

混淆，我會保留海德格爾的用語

的意思。為了避免與動詞「存有」

。

的活動結構分為三部分：甲/ 實有自身：所有事物在 0奶?? 的內容（它們是嚇

D奶

人的、吸引的、重的、有用的...... 等等相互配合，而 D山

乙/ 言說：這個世界永遠都在脈絡之中，事物間

則永遠要透過它們來表達自己（使用工具是在表達世界，而談論此行

為則更進一步地表達它，由於表達並不單靠語言，因此選擇「言說」這個詞語會導致誤解。

——

言說是不斷繼緝的；丙 / 目的：?奶?? 永遠壓向未來，我們為了未來的事情而

做當下的事（他不把它說成是「目標

，因為目標是在思維之中，而目的則是另一回事，

並不在思維之中。回到進入房間的例子裏，這個三重結構用以形容的正是我們把手放在

門把上的那個短暫時刻：甲/ 實有自身：我把手放在門把上，因為它已經存在；乙/ 言說

: 我利用門把去打開那扇門；丙 / 目的：我用門把去開門並進入房間。這三重結構可以形容那個短暫得我們毫不為意它發生過的時刻，但結果它卻是時間構成的一部分（因此他的

書名為《存在與時間》。實有自身指向過去的情況，言說連繫到現在的活動，而目的則

指向將來，但是三者都不能與其他部分分隔開。後來，梅洛 •龐蒂把 D奶

想像成時間

的具賭表現。

這套新的哲學解決了笛卡兒唯心論的一大難題：他一開始就確立了其他人存在的必要

性（而笛卡兒的主體則無須任何人或物存在。事實上，在海德格爾的哲學，並他對語言的著迷中，我們是由人類的互動關係而塑造出來的。在這個脈絡以及在海德格爾複雜而

有趣的語言中，「他做的就是他做的事」：我們不能脫離自己所做的活動，而我們的活動源自各種不在思維之中的原素。事實上，

它的因素。 0 0

幾乎完全受制於之前的、之後的和圍繞

雖然如此，海德格爾嘗試証明超越了這些必然的互動，我們還有自由意志的可能性。由於世界上沒有 r■人類本質」、沒有道德，

是一

件頗為不定的事：你或會變成一個遵奉習俗者（透過盲目的跟從律例），繼續不真實並嘗試忘記這處境所誘發的焦慮；或者你可以擁抱那

些焦慮，像其他人一樣活著，但同時察覺到自己的本質。在真實與不墨守成規之間只有一個?小的空間，舉例說，正午的時候，你可以不

像其他人一樣如奴隸般吃飯，而選擇停下來觀看天空。這是一套個人

解放的哲學，理解自己的處境已是一種自由。及後（這個主題他最終無法完成），他開始想到，我們之所以如此

理解

其實是我們的文化所產生的，而較早時期的人對

的理解亦有所不同（希臘人認為他們是大自然的一部分，基督徒則看自己為被造之物等。但海德格爾同樣相信我們的時代是特別的，因為我們累積了過去的歷史知識及對過去不同種類的

我們對

的理解。他認為

的理解是完全而且完美的，正因如此他想出自由意志的

可能性。就正如他相信哲學經過無數的嘗試和失敗後，最終會達到對的完美理解 (他在尼采那裡取了有限此一概念 )。由於我們是由人類互動所組成的，語言便因此成為組成部分（亦因為語言把我們對世界的理解公式化

必要的

。所以，對海德格

爾而言，最高級的人類就是詩人，先於哲學家或神父。早期的美學作

為哲學學科（尤其是休謨，一七一一至一七七六，以及康德，一七二四至一八零四年的作品），其中的問題在於它僅僅將藝術置放在心理的層

面上：這關係到品味、感覺和鑑賞力。海德格爾不同意這個理念，他相信我們該就藝術與真實的關係思考藝術（例如他並不相信藝術是與自然對抗的

。

海德格爾認為藝術品是由藝術家的工作而來，但藝術家之所以成為藝術家是因為

他 / 她創造藝術品。要理解這個循環，我們必須引入第三個詞語：藝術，因為它是藝術品與藝術家的本源。但什麼是藝術呢？不幸地，只有藝術品能解答我們的問題。海德格爾相信有一條道路通向無處，但我們仍得走那條路。因此，他選擇了一個出發點：藝術品。這個思考的循環，與先有小雞還是先有雞蛋的問題很相似，最終導致杜象創出現成的概念：由於無人能走出這個循環，藝術家便是那位決定成為藝術家的人，而他所做的就是藝術。

首先，海德格爾表明藝術品是一件客體：是擁有形式的物質（這個概念在阿里士多德年代經已存在

>。要明白工作是什麼（任何藝術品也是一件工作），我們必先考廉其他兩

個概念：甲 / 物件（沒有用處

乙 / 工具；丙 / 工作。基於其獨立性和無功用性，工作

與物件是相似的。藝術品的獨立性

康德把它稱為「無利害性」正能使其接近真實，

著名的例子是海德格爾所選的梵高的農鞋。當我們使用一對鞋，如果它們是舒適的話，

我們便會忘記它的存在，但如果我們在一件藝術品中看見鞋子，我們便聯想到一對鞋實質上是怎樣的

由於鞋是工具，海德格爾將它稱為「工具在真實中的工具本質」。

海德格爾在其著名作品《藝術作品的起源》中談及梵高的畫作，當中揭露了農夫的一雙

鞋子的真實性。海德格爾堅持他並不是在談論模仿：畫作揭露農鞋的真實性，這並不是因為它們看似農鞋，而是因為它為我們顯示了我們忘記已久的事實

我們總會把完美

地操作的工具忘記。海德格爾在討論物件和工作時談論的就是藝術品的「事物」性。在同一個文本裡，海德格爾想到神殿此一例子。他解釋此一藝術品能達成怎樣的真實：神殿揭露世界 * 並揭露地球。由於有人類創造了它，它便揭露世界 ( 這也解釋了為

何藝術品在博物館中看似無生命；它們不再與世界連繫於一起

。它揭露了地球，因為

神殿展現了圍繞它的自然環境；若然沒有神殿，我們便不會察覺到它四周的自然環境。

那藝術品同時展現了人類的歷史世界和地球的黑暗世界。因此藝術品是獨特的，它揭露

了一些時常隱而不見的事實（以梵高的農鞋為例，它就被工具的實用性所隱藏

。再一

次，海德格爾在他獨特的文本中說道：「美麗就是讓真實以不加隱藏的方式呈現 J

5. 0

。

‘

當然，藝術品需要人類才能得以揭露一切，並有效地呈現真像康德當試以他無私的美學判斷顯示這_點，並意欲將它變成

_ 般概念。事實上，藝術品無須以物質的形式出

現才能成功呈現真像，呈現本身並不在物質的層面上。正是出於這個原因，海德格爾認為永遠只有

(詩歌，亦即語言和思想) 這種藝術品才能顯明真實。實際上，任何藝

術都得透過語言才可能誕生。是全面解釋 D奶

透過語言去揭 SD如

。藝術是

，因此它

的必然方法。

有趣地，伴隨著海德格爾的《藝術作品的起源》，還出現了另外兩個重要的文本。其一是由偉大的藝術史學家邁耶爾 •夏皮羅所寫的（靜止的生命就像一件私人物品 —— 對海

德格爾和梵高的一點註譯），在書中他企圖顯示梵高所晝的農鞋是在巴黎畫成的，而且一定屬梵高所有，藉以証明海德格爾的各個重點都是錯誤的。另一份文本是雅克•德里達所

寫的（《回復繪畫中的真實》，載《繪畫中的真實》），這位哲學家在書中定義海德格爾，方法是透過解構夏皮羅的文本，顯示出它起源自笛卡兒的傳統，並不能有效地批評

海德格爾。但就在同一文本裹，德里達批評海德格爾將自己的藝術視野限制在詩歌上，沒有為不同形式的當代藝術提供空間。

法國人梅洛•龐蒂 (一九零八至一九六一) 在各方面都是一個海德格爾派的現象學家。要顯示這名對何兆基作品而言如此重要的哲學家，這個長引子實在是必須的。

梅洛 •龐蒂想引進身體一如我們被引進世界海德格爾從未真正論及身體。身體同樣是世界上的客體，而且它獲得存在於世界上的技巧。回應保羅 •沙特，他指出由於我們的身體強加一系列的限制在

我們之上，令我們不能隨意改變，因此我們並非自由的。海德格爾同樣談及感知，就像

說它只是盯著物件而已；梅洛 ■龐蒂認為感知是一個控制身體，使之與事物連繫的具體化活動，因此他完成了海德格爾對感知的觀點。

當海德格爾將所有藝術帶回語言之中，梅洛 •龐蒂則越過語言去思考藝術。他認為繪畫是視覺的化身，而視

則是人類的基本狀態。自印象耋派開始，畫家所做的只是繪

畫，而不是當試去淨化藝術的概念（黑格爾則曾嘗試這樣做

。因此塞尚的思考是沉默

的。身體所引發的感知讓我們得以接觸概念思考無法企及的存在，而由於繪盡是由身體所造的，因此繪畫容許我們更直接的接觸存在。

% 'M

何兆基，第三隻眼，身體雕塑系列

數碼影像，一九九五至二零零零

Ho Siu Kee The Third Eye, Body Sculpture series digital print, 1995-2000

印象派畫家只想變成「眼睛」，察看由光線所展現客體的真實印象，並將它畫在油畫

之上。由於塞尚想表現出客體真實的一面，他放棄了分裂的?色，並以全新的著色法去重創藝術的表現形式。在塞尚的作品中，固體的印象得以恢復。受塞尚的強烈影響，固

體在第一階段的立體派中更加頻繁地出現。塞尚的作品使我們重新看見一些因為太習憒

而看不見的事物，所以它令我們感受到更強烈的真實( 這和海德格爾認為藝術透露事物真像的概念是一致的。真正的問題是：什麼是事物？

物件穩定的特質容讓我們去識別它們（形狀、大小、顏色

。有趣的問題是：為什麼

即使光線轉變，我們仍能識別出物件的? 色並沒有轉變（這就是恆久不變的現象嗎

我

們必須緊記客體的顏色倚賴周邊客體的顏色、光線的性質（日出、日落、下午、人工的

等等) 及光線的方向，這是取決於內容的。這個關於顏色穗定性的問題，只有我們的身體所認知的總體感知組織才能解釋。唯有我們的身體為世界帶來真實，因此亦為繪畫帶來

真實。再回到何兆基的作品中，視覺亦是他某些作品的核心，如同樣是來自《身體雕塑

系列》的《第三隻眼》。

I !?

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對梅洛 •龐蒂來說，總體的連貫性並不只限於視覺。 _件東西永遠不會僅僅交給一種

感官，它是被交給一組感官的。塞尚曾說過，我們能看見物件的軟硬度、甚至其氣味。正是感官之間的合作給予我們真實的體驗（這和笛卡兒的哲學理念背道而馳，因他相信我們能獨立地處理各種感覺

> 。因此事物有兩個相互矛盾的層面。第一，我們的身體感知事

物，正因如此，事物不能與感知它的人分開。東西永遠是人類的，因為他們總是在我們的身體呈現，除非它與我們敵對的，否則我們會傾向把它忘記。但是，第二，事物同樣外在於我的身體，因此它是陌生和具威脅性的。這是什麼一個無私的凝視能令我們看見

事物的真像，而梅洛 ■龐蒂則又再次回到海德格爾裡。梅洛 •龐蒂認為塞尚最能讓我們看見事物的真像，例如蘋果和聖維克圖瓦山。梅洛 ■龐蒂的哲學很可能是首個依據繪畫與不對抗繪書的本體論。在《眼睛與心靈》中，這個對世界和身體的深思成為繪畫世界的一

次探討：可見的「真實」的一個「標誌」。實際上，這個文本給予視覺一個常常無人想到的意義。重新回到現象學的核心問題：海德格爾的?奶《'?。對梅洛 •龐蒂來說，沒有視覺我們便無法看見「存在」

。視覺將事物分為「被感知的事物」與「感知的身體」。但

是，被創造出來的凝視依然是隱而不見的：眼睛看不見自己在看東西。人類不斷地把視

表現成一件事物；因此大量盡作都呈現藝術家繪畫的行動。梅洛 •龐蒂寫了一個哲學笑

話去取笑笛卡兒，他指出要反映善惡，wAc (即

的意思，是由梅洛 •廳蒂發明的句子）比

? i.e. fflgzVe

為拉丁文，有1■我看故我在 j 即笛卡兒所說的「我思

故我在」）更有深度。但關於藝術，其本質上似乎仍有什麼尚未察覺的問題。如果我們對世界的感知是具體化且同時包含幾種感覺，那麼繪畫只能透過不完全的方法向我們呈現

_ 個完全的世界（油畫布的大小受到限制，並不能包含每樣事物。但是，繪畫和人類的語言是相似的，語言命名事物並置放在我們的面前，否則我們只能含糊地感受事物。繪

畫並非仿效自然，它是在表現並轉化被隱藏的事物。我們以「表現」去形容繪耋這種行

動，而避免使用「模仿」和「建做」（實際上梅洛•龐蒂所用的詞語是法文的

個詞語意味著工作前的清晰意圖。

0 6

，這

梅洛 •龐蒂在《眼睛與心靈》中指出線條是現代藝術所問的基本問題，但他仍堅持線條不能與顏色分開，並舉出一些藝術家的例子，說明顏色的必要性。舉例說，保羅 ■克利，

利用線條去繪製樹葉，並因其準確度令人感到難以置信，唯有靠標題才把它識別出來；

而馬蒂斯的畫作線條簡單，它們只是用來刻劃盡家選擇留白的地方。正如線條呈現它所描繪的空白，讓那空白表現真實；活動只有靠靜態的事物才可得以

呈現，因為我們並未經驗過時間的靜止。打個比方，若一幅相中的馬四腳凌空，它就不看似在移動。因為我們的眼睛不曾看過一隻馬邁步的靜止狀態，我們的眼睛沒有這種能

力，我們沒有具髂經驗。在繪畫中，只有一個人雙腳著地的時候他才看似走動。唯有這種表現方法能讓我們感覺到持績的狀態。這次，我想起何兆基的另一件作品：《五道扶手：進化的身體》。

對梅洛 •龐蒂來說，藝術家的角色是要令其他看不見的人得以看見。他仍舊相信只有

一小撮特別的人才有能力這樣做，因此我們仍然面對康德的觀念，認為藝術家是天才。

對梅洛 •龐蒂來說，藝術家彷彿是在未有繪畫之前繪畫，未有人談論之前說話的人，（因此他拒絕藝術不斷進步的概念，某程度上顯示了後現代性的特質。創作是自由的一種表現。

由於創作是一種自由的表現，作品並非源自藝術家生命的境況。但與此同時，如果藝術家的生命有所不同，他 / 她便會創作出不同的作品。我們再次看到海德格爾所構想出來

的那個無人能夠逃脫的循環：正如藝術由藝術家創造，而藝術家因創造藝術而成為藝術家，對梅洛 •龐蒂來說，我們的人生塑造我們，但我們會在那個環境中過活並做決定，這

些都可能改變我們的人生。這個處境沒有一個真正的起點，而答案則在於我們對它不斷的回應。這自然限制了梅洛 •龐蒂口中的自由性質；正如海德格爾所言，自由是我們對限

制的認知，而這認知讓我們有若干空間去自由活動，雖然那並不是徹底的自由。再一次我想起何兆基的身體連同其錄影片斷進入那個幽閉的空間

——

《身體記憶》，他蒙住眼睛

的身體靜止而歇斯底里，而他則企圖記住空間中的一點，並不斷地描準它。我們的自由

似乎被縮窄至一個無間斷的重覆，重覆著無意義卻必不可缺的行為：找尋自己的標記。

|_ 5 0

雖然我盡可能當試回到何兆基的作品上，但要考慮及存在、意識、世界、繪畫和自由等問題，讀者很可能會覺得內容有點抽離。然而，我相信無論是那一種藝術 * 其工作都

是去容讓我們徘徊在不同的路徑上。觀看何兆基作品中的含義，它引領我由梅洛 •龐蒂通向胡塞爾和海德格爾

甚至還有沙特，以及他對自由的絕望想法

。然而這是我自己的視

野，我不想勉強任何人去效法我的做法。我們應該尋找一連串的意義（羅闌巴特會稱它為「多義性_?，再一次，我完全同意何兆基的說話：「某程度上，我們不應以簡單的優劣標

準去判斷藝術品。雖然如此，當

_ 件藝術品經過創作、競爭，最終在公開場合展出，它

就必須在現存的文化機制中被檢定和評價」厂香港藝術雙年展」：《對專業性的一點回

顧》。優劣不再是品味的問題，而是視覺含意的問題：積極而個人的含義。

S 考爾? HÿSiu-Keeÿ'Hong Kong Art Biennia/9: A Review

of Professionalism, in Hong Kong Art Biennial Exhibition

2003 catalogue. Hong Kong Museum of Art, 2003. Heidegger, Martin: Being and Time, London: SCM Press, 1962. Heidegger, Martinÿ'The Origin

of the

Work

of Art\

in Preziosi, Donald (ed.): The Art

of Art History:

Critical Anthology (Oxford New York: Oxford University Press, 1998).

Shapiro, Meyerÿ'The Still Life as

Personal Object - A Note on Heidegger and van Gogh\ in Theory and

Philosophy of ArtÿStyle, Artist, and Society, New York: George Braziller, 1994.

Derrida, Jacquesÿ'Restitutions

of the Truth in Pointing

{* Pointure')\ in The Truth in. Painting, Chicagoÿ

University of Chicago Press, 1987. Merleau-Ponty, MauriceÿEye and Mind, in Ross, Stephen David (ed.): Art and its significance: an anthology of aesthetic theory (Albany, New York : State University of New York Press, c. 1994).

韋一空

vigneron@cuhk.edu.hk

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中文大學藝術系助教《。同時是現役藝術家，曾在港舉辦多個個展，亦多次參與本地及國際性的展

并 Professional standard is revealed by the manipulation of artistic vocabulary, completeness of the work, the way of artistic expression and even the artist’s awareness of the pulse of contemporary art trends.

Ho Siu-kee, 'Hong Kong Art Biennial' : A

Review of Professionalism, in Hong Kong Art Biennial Exhibition 2003 catalogue.

If there ever was an age of innocence in art, it might very well have disappeared. One might be tempted to think that the art of the past was devoid of the theoretical streak it has acquired in the 20th century; that one could just appreciate a Renaissance painting without knowing about its epistemological and social background. It may be true that one needs a particularly cultivated mind to catch all the implications, visual and theoretical, of a large number of contemporary artworks (and many do even require a written explanation from the artist before making any sense), but it would be wrong to think it was not true in the past. In the end, it is a question of how richly we take in what the artwork has to offer: some people just enjoy them in passing; others prefer to ponder their signification. As much as I respect the first attitude, I am of the second kind of art viewers and I need to connect the artwork with the thoughts of other artists, art critics or art theorists before enjoying it completely (professional hazard I guess, I am, after all, an academic).

I therefore could not agree more with Ho Siu-kee. Not only is a professional attitude an absolute requisite, and there seems to be more of that on behalf of the serious-minded artists in Hong Kong, but that attitude must rely on both technique, theory, and knowledge of precedents (without forgetting an ability to deal with the art market). I guess his modesty will suffer, but I would like, in this article, to show some of the theoretical implications the works of Ho Siu-kee could lead the wondering mind of a reader of philosophy to (I will only write about some of the artworks he made a few years ago, it is therefore not exactly up to date on his present work and research). One just has to refer to his book The Perceptual Body, to see how much research and reflection came into the making of his beautifully crafted artworks. References to Jacques Lacan, cognitive neuroscience and phenomenology in the person of Maurice Merleau-Ponty (1908-1961 ) situate his work in a conceptual domain as ambitious as it is

ich. It is the philosophy called phenomenology I would like to expand on in this article and to do so, I will have to start with Martin Heidegger (1889-1976). "i He was probably the most important philosopher of the continental tradition in the 20 century and one of the most influential. His philosophy is about e beingi , what it means to exist. It is a very complex philosophy, very badly written also, and is usually referred to as phenomenology (the term existentialism is also used, but nowadays it defines the works of another phenomenologist: Jean-Paul Sartre, 1905-1980). The reason why his writings are very hard to read is because he devised a philosophy that had never been attempted before, so he had to create a new kind of vocabulary to handle these new notions and that makes reading Heidegger something quite complicated (even though these new words tend to make things easier when one had gotten used to them}.

Heidegger was strongly influenced by another philosopher called Edmund Husserl (18591938). For Husserl, the only thing that makes no doubt is our own consciousness, but consciousness is always consciousness of something. So we can never differentiate states of consciousness and objects of consciousness, in actual experience, they seem to be the same thing. Husserl also said that, in spite of this, we can still investigate the objects of consciousness without making any assumption about their independent existence for two reasons: a/ because the mind is always directed towards objects that is not the mind (things like emotions but also objects in the world); b/ because what happens in the mind seems to be related to what happens in the world. Phenomenology i$ thus the systematic analysis of consciousness and its objects in experience. And experience includes both actual things and abstract things (mathematics, music, our own thoughts, emotions, etc...). This is the culmination of Cartesian philosophy that saw man as 3n independent subject confronted by objects.

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何兆基地心吸力環，身體雕塑系列數碼影像，一九九五至二零零零

Ho Siu Kee Gravity Hoop, Body Sculpture series digital print, 1995-2000

Expanding on Husserl, Heidegger published his most important book: Being and Time in 1927. From Husserl he took the notion that what is going on in the mind is related to what is going on in the world, so Heidegger chose to put the world and its objects aside because what is really important is how they exist in the mind (this decision is referred to as the 'phenomenological reduction' ). This approach to the study of the mind is more firmly grounded because we could not experience anything if it did not take place in the mind (since the mind is directed towards the objects).

2 2

Heidegger rejected Husserl's Cartesian conception of man as a subject opposed to objects, because, in real life, it is not always easy to differentiate ourselves from the surrounding world. For instance, when we use a tool for a long time, we tend to see the tool as an extension of

. i 一.

•

ourselves, we forget that the tool is not us, so the relationship subject/object is not a relationship of opposition or domination. This notion is extraordinarily similar to some ideas of Zhuangzi, who wrote about artisans so skilled that they became one with their tools. Heidegger

was one of the first philosophers in the Western tradition to write that there are activities that do not need mental content. A good example would be the act of pushing a door to come into a room: there is no need to think about putting our hand on the door, pushing it, putting our foot forward, etc. For Heidegger, we are being in the world (whereas earlier philosophers tried to prove the existence of the world as separate from us). At this point, we should remember that many of Ho Siu-kee's works were extensions of his body: from his Body Sculpture series for instance, there is Flying Machine, Extended Height and Gravity Hoop.

So, as far as human beings are concerned, we always exist in a given situation and we cope with it, we are always there. Actually, Heidegger calls this existence by the German noun Dasein, which means both 'existence' and 'being there'. To avoid possible ambiguities with the verb 'being* I will therefore keep Heidegger's expression of #

Dasein.

The activity of Dasein has a threefold structure: a/ dispositionÿ all things matter for Dasein (they are threatening, attractive, heavy, useful etc.); b/ discourse, the world is always in context, everything fitting into everything else, and Dasein is always articulating it by using it (using a tool is articulating the world and talking about that act is articulating it even further, hence the choice of the word 'discourse' which is misleading because it is not only about language卜discourse is constantly going on; c/ /orthe-sake-ÿf\ Dasein is always pressing unto the future, we do things for somethingelse that is in the future (he does not call it _a goal' because goals are in the mind, sake-ÿf \s something else that is not in the mind). To come back to the example of coming into a room, this threefold structure can be used to describe the very brief moment when we put our hand on the door handle: a/ dispositionÿI put my hand on the handle because it already exists; b/ discourse : I use the handle to open the door; c/ fÿr-tbe-sake of : I use the handle to open the door and get into the room. This threefold structure can thus describe a moment so brief it is not felt by us as taking place in time, but it also turns out to be the structure of time (hence the title of his book Being and Time). Disposition is turned towards past circumstances, discourse is related to a present turned towards the future, but neither one is separated from action and fÿr-the-sake the others. Later on, Merleau-Ponty will think of Dasein as embodied time. This new philosophy solves also a big problem of Cartesian idealism: from the start, it makes the existence of other human beings necessary (whereas the Cartesian subject needs nothing and no one to exist). In fact, we are shaped by human interaction in Heidegger's philosophy, hence his obsession with language. In this context, and in Heidegger's complex and often intriguing language, 'one does what one does' : we cannot be independent from our actions and our actions stem from many different factors that are not in the mind. Dasein is, in fact, almost entirely conditioned by factors that come before, after and surround it.

And still, Heidegger will try to show that out of these interactions that are all necessary, there is the possibility of a kind of free will. Since there is no 'human nature', no morality in this world, it is rather unsettling to be Daseinÿ you either become a conformist (by blindly following rules), remain inauthentic and try to forget the anxiety generated by this situation; or you can embrace that anxiety and live like anybody else, but, at the same time, being aware of what you are. There is a very narrow space for authenticity and non-conformity. For instance, instead of just slavishly having lunch at noon like anyone else, you may also stop to look at the sky for instance. It is a philosophy of personal liberation in which the knowledge of one's situation is freedom in itself. Later on (it was the subject of a book he never completed), he came to think that this way of understanding Dasein is a result of our culture, and that earlier periods had different understanding of what Dasein is (the Greeks felt they were part of nature, the Christians saw themselves as created, etc...). But Heidegger also believed our time is special because it has knowledge of past history and an understanding of the different kinds of Dasein in the past. For him, our understanding of Dasein is now complete and perfected, which is why he had to come up with a possibility for free-will. It was as if he believed that philosophy, after many trials and errors, had reached that perfect understanding of Dasein (he got that notion of finitude from Nietzsche). Because we are formed by human interact ions, language becomes essential to the formation of Dasein (and also because it formulates our understanding of the world). So, for Heidegger, the most advanced human beings are the poets, before the philosophers or the priests. The problem of previous aesthetic (especially in the works of David Hume, 171 1-1776, and Immanuel Kant,1724-1804) as a philosophical discipline is that it puts art only on the level of a psychology: it is about taste, feelings and sensibility. Heidegger disagrees with that and believes that art should be considered in terms of its relation to truth (he does not believe that art is opposed to nature for instanc l.

一

For Heidegger then, the work of art has its origin in the work of the artist, but the artist is an artist because he/she creates artworks. To make sense of this circle, a third term is then necessary: art, because it is the origin of both artwork and artist. But what is art? Unfortunately, only artworks can give us that answer. Heidegger accepts that this is a path that leads nowhere but that we still have to take it. So, he makes the choice of a point of departure: the artwork. This circle of thought, akin to the question of what comes first from the egg or the chicken, was eventually what led Marcel Duchamp to create the notion of ready-made: since one cannot get out of this circle, the artist is the one who decides to be an artist, then anything he/she does is art. First, Heidegger tells us that an artwork is an object: matter that has received a form | (that was already in Aristotle). To understand what a work is (any artwork being a work too), we must consider it in the context of two other concepts: a/ the thing (without usefulness); b/ the tool; c/ the work. The work, because of its independence and general uselessness resembles the thing. It is precisely the independence of the artwork (Kant would say its 'disinterestedness') will give access to truth and the famous example Heidegger chose were Van Gogh's shoes. When we use shoes, if they are comfortable,

we completely forget about them, but if we see the shoes in an artwork we are reminded of the truth of what a pair of shoes actually is (what Heidegger calls 'the equipmental being of the equipment in truth', since the shoes are tools). The Van Gogh's painting Heidegger writes about in his famous text (The Origin of the Artwork) just reveals the truth of a peasant's pair of shoes. Heidegger also insists that he is not talking about imitation: the painting reveals the truth of the peasant! s shoes not because they look like peasant's shoes, but because they show us of the truth we had forgotten because we forget a tool that works perfectly. In these discussions about things and works Heidegger talks about the 'thingly' feature of the artwork.

In the same text, Heidegger considers the example of a temple. He explains what kind of truth is reached by that work of art: the temple is revelation of a world, and revelation of the Earth. It is a revelation of a world because of the humans who created it (which also

explains why artworks in a museum look dead; they are not connected to their world anymore). It is a revelation of the Earth because the temple reveals its natural surroundings; without the temple we are not so much aware of the nature that surrounds it. The artwork reveals at the same time the historical world of man and the 'dark* world of the Earth. The artwork is thus unusual because it reveals the truth that is not usually visible (in the case of van Gogh's shoes, it is hidden by the usefulness of the tool). Once again, in the inimitable text of Heidegger: 'Beauty is one way in which truth occurs as unconcealedness’.

For all this revealing to happen, of course, the artwork needs human beings. And the truth revealed is valid for all of them (Kant tried to show this with his disinterested aesthetic judgment that aims to be universal). In fact, the artwork does not have to be material to achieve its revealing of truth, the revealing itself is not made on a material level. That is why, for Heidegger, the artwork that lets truth manifest itself is always Dichtung (poetry), i.e. language and eventually thought. In fact, all the other arts are only possible through language. Dichtung is the unveiling of Dasein through language. And since art is Dichtung, it is necessary as a way of interpreting Dasein in its entirety Interestingly, there are two other important texts attached to Heidegger's The Origin of the Artwork. One by the great art historian Meyer Shapiro (The Still Life as a Personal Object - Note on Heidegger and van Gogh), in which he tries to prove Heidegger wrong by showing that the shoes he took for peasants shoes were actually painted in Paris and must be van Gogh's - thus trying to show that Heidegger was wrong on all points. And another one by Jacques Derrida {Restitutions of the Truth in Pointing ['Pointure'], in The Truth in Painting), in which the philosopher defends Heidegger by deconstructing Shapiro's text and showing how it is rooted in the Cartesian tradition and cannot be criticizing Heidegger efficiently. In the same text however, Derrida also criticizes Heidegger for limiting his views of art on poetry, leaving no room for the varied forms of contemporary art.

This long introduction was necessary to present the philosopher who played such an important role in Ho Siu-kee's work, the Frenchman Maurice Merleau-Ponty (1908-1961) who was in many ways a Heidegerian phenomenologist. Merleau-Ponty had the idea to bring in the body as our way to be into the world (Heidegger never really talked about the body). The body is also an object in the world and it is the body who acquires the skills to be into the world. Answering Jean-Paul Sartre, he said that we are not free because our body imposes on us a number of restrictions that we are not free to change. Heidegger also talks about perception as if it meant just staring at things, for Merleau-Ponty perception is an embodied activity that involves moving the body to relate to things, thus completing the Heideggerian view on

perception.

While Heidegger took all the arts back to language, Merleau-Ponty attempted to think painting without submitting it to spoken language. For him, painting

is the embodiment of vision and vision is a

fundamental human condition. Painters, starting with the Impressionists, are not trying to purify the concept of art (as Hegel tried to do), they are just

painting. Cezanne's thinking is thus mute. The

perception made by the body gives us an access to being that conceptual thinking carmot reach, and since

painting is made by the body, painting also

gives us a more direct access to being.

The Impressionists wanted to be just 'eyes', seeing and putting unto the canvas the actual impression of the objects revealed by light. Because

Cezanne wanted to represent the object in its reality, he gave up the fragmentation of colors to replace it with a coloring that recreated the

form. The impression of solidity comes back in the work of Cezanne, solidity even more present in the first phase of Cubism, strongly

一 influenced by Cezanne. The works of Cezanne give us a sensation of

enhanced reality, because they make us see again things we could not see anymore because we had grown accustomed to them (that is also Heideggerf s idea that art reveals the truth of things). The real question

then becomes: what is a thing?

Things have stable properties that allow us to recognize them (shape, size, colors). One intriguing question is: why do we recognize the color

of an object as unchanged even when the lighting has changed (this is

called the 'phenomenon of constancy')? We have to remember that the color of an object depends on the colors of the surrounding objects, the nature of the light (sunset, sunrise, afternoon, artificial, etc.) and the

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JM 何兆基，

五道扶手：身賭進化，身體雕塑系列數碼影像，一九九五至二零零零

digital print, 1995-2000

direction of the light; it is a matter of context. The problem of the constancy of colors can only be explained by the global organization of

the perceptive field the way our body realizes it. Only our body gives reality to the world, and hence to a painting. Once again to come back to the work of Ho Siu-kee, vision was at the heart of some of his artworks tOO, like his The Third Eye, also from the Body Sculpture series.

But for Merleau-Ponty, global coherence is not limited to vision. A thing is never given to only one sense; it is given to a combination of senses. Cezanne used to say we can see softness, hardness and even the smell of things. It is this cooperation of the senses that gives us our experience of reality (all this goes against Cartesian philosophy that believed it could tackle every sense data independently). Things have thus two contradictory aspects. Firstly, things are perceived by our bodies and, because of that, they are not separated from the person perceiving them. Things are always human because they are always present to our bodies, which is why we tend to forget them if they are not hostile. But, secondly, things are also external to my body, and thus foreign and slightly threatening. This is why only a disinterested gaze can make us see things in their truth, and Merleau- j Ponty comes back to Heidegger again. For Merleau-Ponty, Cezanne was the best at making us see things in their truth, like like apples and the Sainte-Victoire mountain. | Merleau-Ponty's philosophy is probably the first ontologygrounded on painting and not against painting. In Eye and Mind, this reflection on world andbody becomes an j exploration on the world of painting: this icon of the visible 'real'. This text actually 1 gives to vision a meaning usually reserved to thinking-

To return to the main problem of phenomenology, the Dasein of Heidegger, for MearleauPonty 'being' is invisible without a vision that makes it visible. Vision separates things into 'perceived things' and 'perceiving body’. But the gaze that is thus created still remains invisible: the eye does not see itself seeing. And man never gets tired to represent vision as a thing; hence the large number of paintings representing the artist in the act of painting. As a philosophical joke to make fun of Descartes, Merleau-Ponty wrote that the video (i.e. video ergo sum, which is Latin for 'I see therefore I am', a sum, sentence invented by Merleau-Ponty} is even deeper than the 哪"? (i.e. 哪 the 1 think therefore I am' of Descartes) of reflective conscience. There is however something fundamentally strange about painting. If our perception of the world is embodied and involves several senses at the same time, painting tries to give us a complete world but in a partial way (the canvas is limited in terms of size and cannot encompass everything}. However, painting is similar to human language because language names things and places in front of us what was otherwise only vaguely perceived. Painting does not imitate nature, but it expresses and converts things that would have otherwise remained hidden. To describe this action of painting, the term 'expression' allows us to avoid using 'imitation* and 'making' (the French word MerleauPonty actually uses is fabrication, a word that implies a clear intention before the work).

Merleau-Ponty, in Eye and Mind, writes about the line as a fundamental question asked by modern art, but he still insists that it cannot be separated from color, and gives examples of artists for whom color was essential. For example, Paul Klee used the line to make leaves that became unbelievable because of their exactness, and can only be identified with the title; and Henri Matisse made drawings with lines so simple they only inscribed the space they left open. Just like the line reveals the space it delineates, the truth of that space as something real, movement can only be shown by something static, because we have no experience of a frozen moment in time. For instance, a horse with its four legs in the air in a photograph does not look like it's moving because our eyes have never seen a horse frozen in full stride; our eyes are not capable of it, we have no embodied experience of that. In a painting, it is only when a man has its two feet on the grounds that he looks like walking. Only that kind of representation can also give the sensation of duration. And this time I am reminded of another Ho Siu-kee work, the Five Handrails: Evolutionary Body.

For Merleau-Ponty, the artist is the one who makes visible, for other human beings, that which they belong to without seeing it. Because he still believes that only a special kind of human beings is capable of this, we are still confronted with the notion of artist as genius, a Kantian concept. For Merleau-Ponty, the artist is the one who has painted as if painting had never existed, spoken as if no one had ever spoken before (he thus rejects the idea that there is constant progress in art, announcing partly a kind of postmodernism). Creation is an act of freedom. Since creation is an act of freedom, the work does not stem from the circumstances of the life of the artist. But at the same time, if the life of the artist had been different, he/she would have produced a different work. We see again a notion that Heidegger would have liked, a sort of circle out of which one cannot escape: just like art is made by the artists and the artists are artists because they are making art, for Merleau-Ponty, one's life makes us who we are but we are leading our lives in that context and taking decision that might change the course of our lives. There is no actual starting point to that situation and the answer lies in something like a constant feedback. This naturally limits the sort of freedom Merleau-Ponty talks about; as in Heidegger, freedom is more like the knowledge of our limitations, and that knowledge offers us some space to move freely, but not completely. And once again, I am reminded of the claustrophobic space Ho Siu-kee put his body into with his video piece, Body Memory, in which his blindfolded body, static and hysterical at the same time, tried to remember one point in space it was aiming at incessantly. Our freedom seemed to be narrowed-down to the obsessive repetition of a senseless but vital act: finding one's mark.

Even though I tried to return to Ho Siu-kee's works as often as I could, the reader might feel a little detached after these considerations on being, consciousness, world, painting and freedom. But I believe it is the role of a work of art, any kind of work of art, to allow us to wander on a multitude of different paths. The implications of my vision of Ho Siu kee's work led me from Merleau-Ponty to Husserl and Heidegger (and they could even have led me to Jean-Paul Sartre and his desperate notion of freedom), but it was my own vision and I do not want to force anyone to follow me there. A cascade of meaning (Roland Barthes would call it 'polysemy') is what we should look for, and, once again, I agree entirely with Ho Siu-kee when he wrote: 'In a sense, artwork should never be judged according to the simple criteria of good or bad. Nonetheless, when an artwork goes through the process of creation, competition and finally exhibition in a public venue, it has to be reviewed and assessed under the existing cultural mechanism' (Hong Kong Art Biennial A Review of Professionalism). Good or bad is not a question of taste anymore, it is a question of implications of vision. Active and personal implications. Reference HÿSiu-Keeÿ'Hong Kong Art Biennial': A Review

of Professionalism, in Hong Kong Art Biennial Exhibition

2003 catalogue. Hong Kong Museum of Art, 2003. Heidegger, Martin: Being anJ Time, London: SCM Press, 1962. Heidegger, Martinÿ'The Origin of the Work of Art\ in Preziosi. Donald (ed.): The Art of Art History: A Critical

Anthology (Oxford New York: Oxford University Press, 1998).

Shapiro, Meyer: 'The Still Life Philosophy of

ArtÿStyle,

as a Personal Object

A Note on Heidegger and van Gogh\ in Theory and

Artist, and Society, New York: George Braziller, 1994.

Derrida, Jacquesÿ'Restitutions

of the

Truth in Pointing {' Pointure'}\ in The Truth in Panning, Chicagoÿ

University of Chicago Press, 1987.

Merleau-Ponty, MauriceÿEye and Mind, in Ross, Stephen David (ed.): Art and its significance: an anthology of aesthetic theory (Albany, New York : State University of New York Press, c. 1994).

Frank Vigneron

vigneron@cuhk.edu.hk Frank Vigneron is an assistant professor in the Fine Arts Department, CUHK. He is also a practicing artist; he has held several solo exhibitions in Hong Kong and has taken part in local and international

exhibitions.

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Stephanie cheunq

宋臛星《天工開?》明崇禎十年 (公元一六三七年) 宋應星著《天工開物》，首次將中國傳統農業及手工業的生產技術，作了相當全面及系統化的論述。

《天工開物》全書十八卷，分上、中、下三部。上部集中於各種與衣食民生直接相關的項目；中部包括各式生活用器的製作與各類原材料的加工；下部涉

及兵工機械乃至文房釀酒、金銀珠玉等消費品，從卷次序列上貫徹了作者「貴五縠而賤金玉」的觀點。這種觀點亦導致書中對各項手工作業的論述，大都偏向技術與應用層面而省略其人文意義。即以陶瓷製作為例（卷七陶埏），宋應星

所強調的，仍是「民用亦繁」的實用性，而並不著意其工藝美感與器用功能以外的精神價值。

然而，細閱這部以知識份子胸襟視野寫成的科技專著，字裏行間不難發現作者對天地

萬物的生成流轉；及由之而衍生的人事變化，仍具深切關懷。宋應星在書中序言開卷明義，「天覆地載，物數號萬，而事亦因之曲成而不遺，豈人力也哉」。似乎，以人力之有限，究物性之無常，才是在更深層面串連書中章節的旨要所在。

《天工開物》陶埏卷中提到，「凡埏泥造瓦，掘地二尺餘，擇取無沙黏土而為之」，人對材質物性的掌握，由表至襄（「掘地二尺餘」

由粗至細（「擇取無沙黏土」），皆

透過不斷勞動體驗而得以印證，而對物性的充份掌握，最終又達至一種對物質世界的理解和信念。就埏泥造瓦而言，即「百里之? 必產合用土色，供人居室之用」。當然，這

「合用 J 仍是因時因地而異，並無劃一標準。「合用」，更宜理解為就地取材，因材成器。

人與物質的關係，不單在於物質之供人取用，更在於人能體察及順應物質的轉化。陶埏卷首第一句「水火既濟而土合」，宋應星就引用《易. 既濟》水在火上之卦象，說明經

水火的交互作用使黏土凝固成器的轉化過程。人在這個過程中，往往扮演著調協各種對

立元素的角色，箇中準繩，仍在於最直接的身體經驗。宋應星在介紹以陶車拉坯成器的技術操作時，對身體、工具與物料之間的調協，作了相當細緻的描述：

凡造杯、盤，無有定形模式，以兩手捧泥盔帽之上，旋盤使轉。拇指剪去甲，按定泥底，就大指薄旋而上，即成一杯碗之形•初學者任從作廢，破坯取泥再造。功多業熟，即千萬如出一范圪凡手指旋成坯後，覆轉用盔帽一印，微晒留滋潤，又一印，晒成極白干。入水

汶，漉上盔帽，過利刀二次。過刀時手脈微振，燒出即成雀口。 (第二百二十二頁)ÿ明宋應星，二零零四年>

文字的描述儘管細緻，但與更為微妙的切身體驗相比，自然遠有不逮。事實上，手藝

作為一種身體、工具與物料的交互作用，其傳授與學習，仍得透過身體力行的實踐。

_ 范」的量產需求外，亦體現人與物質世界的平 _ 衡，這種平衡，不單是技藝上的要求，更是種以身體觀照世界的方式。

「功多業熟」，除了滿足「千萬如出

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li 洛•?甬《知麗? 葸藝》梅洛 •龐蒂 (Maurice MeMeau-Ponty?被餐為二十世紀法國最具影響力的哲學家之

，

是歐洲現象學運動的重要人物，在一九四五年出版的《知覺現象學》_ 書中，他以身體的

知覺經驗為切入點，試圖描述身體與其身處世界的關係；也可以說，是繞過思維與已有

知識系統，透過直接描述身體經驗以重構人與世界的關係。梅洛 •龐蒂特別強調現象學關注的重點在描述而不在解釋。於〈身體本身的空間性和運動機能〉一章裏，他以盲人運用手杖為例，描述了(在視覺缺席的情況下) 身體觸覺在理解世界的過程中所起的作用；並進而指出，當身體運用工具而成為習憒時，這種身體習

憤亦同時擴大了我們對世界的理解。

盲人的手杖對盲人來說不再是一件物體，手杖不再作為手杖本身而被感知，手杖的尖端已轉變成有感覺能力的區域，增加了觸覺活動的廣度和範圍。（第一百九十頁）如果我想習慣於一根手杖，我就嘗試用它來接觸物體，在一段時間以後，我「掌握」了這根手杖，我知道那些物體處在我的手杖「範圍? j ，那些物體處在它的「範圍外」。（第一百九+頁）

...... 習慣的現象要求我們修改我們的理解概念和我們的身「在習慣的獲得中，是身體在‘ 理解’ 體概念。理解，就是體驗到我們指向的東西和呈現出來的東西 (即意向和實現)之間的一致；

身體，則是我們在世界中的定位」。（第一百九+_頁） (梅洛 •龐蒂，二零零一年)

由掌握工具到成為習慣再到理解世界，梅洛 •龐蒂視之為一種「身體本身的綜合 j ( 第一百九十六至二百零三頁），它既不等同於客觀具普遍性的知識，亦不是身體無意識的

憒性，這個過程，只有在身體的知覺作用下才能出現。在《知覺現象學》中，身體（特別是身體的知覺作用）固然是主要探討的範圍，但梅

洛 •龐蒂同時指出，「我們通過我們的身體在世界上存在界」（第二百六+五頁

| :

5 0 3 8

我們用我們的身髂感知世

。對身體知覺經驗的探討，最終是為了重返一種人與世界最本原、

最直接的關係。從這個觀點來看，所謂理解世界，並不是去理解一個可以客觀地經由知識表述的世界；世界，只能是一個透過「身體本身的綜合」而「被感知的世界」。

在盲人運用手杖的例子中，「被感知的世界」就是手杖所能觸及的範圍，而當手杖的運用成為習慣時，手杖就成了身體的一個附件，是身體綜合的一種延伸，這種延伸，亦

同時擴大了我們在世界上的存在。梅洛 ■龐蒂相信，我們以這種身體綜合的方式重新令身體和世界建立聯繫時，我們將重新發現自己。

盲人運用手杖的例子，又使人聯想到「瞎子摸象」的故事中文的「象」字尤其語帶雙關，既可指「象」這種動物，又可理解為現象的「象」），我們無可避免地因各自的感

知限制而得出對事物各不相同的理解，「重新令身體和世界建立聯繫」，亦意味著以開

放的態度去感悟一個更廣闊和更具動態的世界。

m 畀若鑾與睡銜實踐宋應星與梅洛 •龐蒂在世時間相距近三百年，不單身處的地域與文化傳統截然不同；所關心的問題亦大異其趣，然而，宋應星對手藝的看法與梅洛

_ 龐蒂對身體綜合的觀

點，卻頗有契合之處。當中，離不開以切切竇實的身體經驗去呈示這個多變的世界旄這

個無論從物質層面還是感知層面來說都是多變的世界。

以身體經驗呈示世界之多變，除了作為技術操作與哲學思辯的課題外，很多時亦能透過藝術實踐而得以彰顯。事實上，藝術實踐從來都是一個思辯與技術不斷互動調協的過

程，這過程最終體現為各種各樣的藝術形式與風格；並反映一時一地物質條件與人文境？的轉變。在二+世紀之初，達達主義

?在歐美地區以戲謔的方式對傳統藝術形式進行

顛覆，藝術的意義被推到一個「零點」，並在那裏尋獲再出發的可能性。當中，媒介與

技術的解放是主要特徵。達達主義藝術家透過現成物的挪用拼湊與各種行為演示，將傳統藝術媒介 ( 如繪畫、雕塑 ) 遺原為藝術家與觀眾之間最直接的知覺反應旄知覺反應就是

作品本身而無需托付於傳統繪畫、雕塑等表現媒介，這些媒介所涉及的技術操作亦前所

未有地被拚棄於藝術實踐以外。

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再者，知覺反應既存在於現實生活的每個環節，藝術實踐就無必要在現世之中劃定範

圍；藝術與非藝術之間，也再無明確的界限。在達達主義這類作品之中，杜象的男？尿盤大概是最為人熟知的例子。

達達主義出現至今已近一個世紀，現實世界的嬗變固然未有

刻停頓，人與世界的互

動，又在科技高度發展與政治經濟活動曰益頻繁的情況下；以更驚人的速度、在更猛力

的碰觸中持續進行。人要理解這個多變的世界，要調協現世的種種衝突，再而尋索自身

的定位，就顯得困難重重。上一個世紀發生的兩次世界大戰，無疑是「世界多變」最沉

痛的呈示，達達主義及由之引發各式各樣具顛覆性的藝術風格，很大程度反映了這種失衡狀態。

踏入二十一世紀，不斷膨脹的資訊在網絡世界以極速流播，「被感知的世界」遊離於虛擬與真實之間而變得難以捉摸，這大概亦在梅洛 ■龐蒂想像以外。再者，資本主義社

會大量製造官能刺激以鼓吹消費，人的官能反應來得快去得更快，要切切實實地以知覺

經驗建立人與世界的聯繫，亦漸漸變得遙不可及。不可及，非由於工具?乏，亦非由於工具的運用未能成為習惕；不可及，很可能在於工具的過度擴展。借用梅洛 •龐蒂盲人運用手杖的比喻，盲人手持的大概是一枝不斷延伸的魔幻手杖，它使身體被動地以一種

扭曲的方式運用工具；它使身體與其接觸的世界距離越來越遠；最終，它使「身體本身

的綜合」難以形成。回頭再看當代藝術的發展，於此形式駁雜、意義紛陳、一切皆成為「可能」之際，達達式的顛覆戲謔早已變得軟弱無力甚至成為陳腔濫調；同時，消費社會的商品效應，使

藝術建制越趨龐大，各方利益錯綜糾結，要置身事外又談何容易。外在環境非個人能力所能左右，但藝術實踐的最終意義就只能返求諸己，在當代藝術眾聲暄嘩之中，這需要極大的專注和自覺。

5 0 4 0

臛返「手 eÿ與「身醮耪? J 最終的意義，往往以最原始直接的方式呈現，「返求諸己 j

，可能就在於如何掌握藝

術實踐中最基本的物質過程，以這樣的觀點在當代藝術的語境中重讀宋應星與梅洛 •龐

蒂，也許另有啟發。

宋應星對各類手工作業的描述，著重從業者身體力行的實踐經驗，以達至對「手藝 j 的掌握；梅洛 •龐蒂強調人以知覺經驗成全「身體綜合」，是為了重返與世界最本原的關係。將「手藝」與「身體綜合」加上引號，旨在將這兩個重點引用到當代藝術的實踐

中，引用的方式，可再由梅洛 •龐蒂的手杖比喻開始。

盲人的手杖對盲人來說不再是一件物體，手杖不再作為手杖本身而被感知，手杖的尖端已轉變成有感覺能力的區域，增加了觸覺活動的廣度和範圍。 (梅洛 •龐蒂，二零零一年

在這段描述中，若以「手藝」代「手杖」，並將之置於當代藝術的情境中去理解，描述

或可改寫如下：藝術家的手藝對藝術家來說不再是一種生產作品的手段，手藝不再作為手藝本身而被感

知，手藝的實踐已轉變成有感知能力的身體經驗，增加了知覺活動的廣度和範圍。

從這個角度去審視手藝，則手藝就是藝術家界定其知覺範圍的工具，而當這工具的運用成為習慣時，手藝也就成為藝術家身體綜合的一種延伸，這將重新令藝術家和多變的世界建立聯繫。

S 考資斟明宋應星，《天工開物》北京：中國社會出版社，二零零四年。梅洛 •龐蒂，姜志輝譯。《知覺現象學》。北京：商務印書館，二零零一年.

何兆基 skho@hkac.org.hk 畢業於澳洲皇家 ?爾本理工大學獲藝術博士學位。

現任職香港藝術中心藝術學院高級講師及藝術碩士課程主任。

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何兆基一直專注創作及藝術教學，近年參與展 K 包括第二十三? 聖保羅國際雙年展及第四十八?威尼斯雙年展。

蟹 m _ 義

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z 0 4 2

何兆基，無題，數碼影像，香港，二 Ho Siu Kee, Untitled, digital imaging,

2005

ExpL.ÿitÿatiÿn OF che Non-ÿ 01- Nature 匕: L| s!••! n Q •丫• g• s i r!Q Exploitation of the Work of Nature was written by Sung Ying-sing in the 10th Year of Ch'ung Chen, Ming Dynasty (AD 1637). For the first time, it offered a comprehensive and systematic discussion on traditional agricultural practices and craftsmanship in China.

Comprising of 18 chapters, Exploitation of the Work of Nature is divided in three parts. The first part focuses on clothing, food and other daily necessities. Part two is about the produation of various functional wares and the handling of raw materials. The final part deals with munitions, stationery, brewery, jewelry and other consumption goods. This order is value-laden: 'its material is classified intentionally, as to their merit and importance, so that the cereals are placed first and the precious metals and stones last.' The volume emphasizes practicality more than cultural interpretations. For example, the part on ceramics (chapter VII) discusses 'the civilian uses' of ceramics, but the works' aesthetic and spiritual values are scantily mentioned.

However, the technical manual also conveys the intellectual world view. It is metaphysical, with profound humanitarian concern. Sung makes it clear at the beginning: 'Since the materials that are sheltered by the heavens and contained in the earth are counted in myriads, and the works by which each and every one of these are elaborated and equally numerous, can this task be done by human power alone?1 Man's limitation and nature's variability are the fundamental issues.

In chapter VII, the author suggests, 'In tile making, the clay, with as little as possible contamination with sand, is dug from more than two ch[ih below the surface.' Mastery of the material, and ultimately, insight to the material world, are achieved through laborious work. For example, 'deposits of clay of good color are usually discovered within a distance of 100 li (one li is about 1/3 of Western mile) from each other.1 What 'good' means varies, but one can well take it as an apt use of resources, extracted from the site, transformed into functional objects. Man and Materials are related, not only because Man uses materials, but also because Man is aware of transformations in the material world. The chapter on ceramics begins with 'When water and fire are applied appropriately to clay, it will become hardened.' Sung cites an oracle of Yi-Jing to account for the transformation of clay as water meets fire. In such processes, Man has to coordinate various opposing elements. Accuracy depends on hands-on experience.

When introducing the throwing technique, Sung discusses bodily coordination in great details:

definite sizes, for making cups and dishes,

potter holds a piece of clay on the helmet', with his two hands while the wheel rotates, giving the clay the There are no

etc. The

desired shape with his dexterous thumbs. The thumbs are pointed and pressed on to the bottom

of the clay,

and

lifted up gradually, during

rotation.

must be cut very short. Beginners are allowed to work

Of course,

the fingernails

only with clay that can be spoiled

of the same kind, as if they been formed with the fingers, it

and re-used. The skilled potter can make thousands pieces were out

of the same

mould

Once green ware has

should be turned over on the 'helmet'，for a second moulding, and then dried slightly in the sun. While some moisture remains in its body, it should receive a finial moulding. When the ware is dry, it becomes very white. It is moistened by a rapid dipping in the

by using a sharp knife. In the trimming the hand grip must be firm. A slight jerk will leave marks called

water and set on the ‘helmet’ for trimming, which is done

process of

'sparrow beak1 on the ware. ( pp 204-205) (Sung, Ying-sing, 1980

The text, albeit detailed, still falls short to capture the miraculous, actual experience of the body. Learning a craft is a tactile experience, in which the body, tools and materials interact. To be ,skilled, is not only to 'make thousands pieces of the same kind, as if they were out of the same mould/ but also to realise the balance between Man and the material world. This balance is not only functional, but also metaphysical. One sees the world through the world, the body reflects the world.

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The P h e n o IYI 0 n o L O Q

M EI iJ r I ce M e r L 0 3u • P O n

O-F perception

Maurice Merleau-Ponty, an important European Phenomenologist, is regarded as one of the most influential philosophers of the 20th century. In The Phenomenology of Perception (1945), he delves into the relationship between the body and the material world. Bodily experiences, instead of intellectual cognition, are taken as the key to Mans worldly existence.

To Merleau-Ponty, Phenomenology is about description, not explanation. In the chapter 7he Spatiality of Ones own Body and Motility/ he cites the example of the blind mans stick and discusses how the sense of touch (in the absence of vision) facilitates people’s understanding of the world. He further argues that habitual use of tools enhances our understanding of the world: The blind man’s stick has ceased to be an object for him, and is no longer perceived for itself; it's point has become an area of sensitivity, extending the scope and active radius of touch. (p165)

by touching a few things with it, and eventually I have it ‘well in hand,’ l can see what things are ‘within reachÿor ‘out of reach’ of my stick.

If I

want to get used to a stick, I try it

(P166) It is the body which 'understands' in the acquisition

......

of habit

But the phenomenon

of habit is

just what prompts us to revise our notion of‘understand’ and our notion of the body. To understand is to experience the harmony between what we aim at and what is given, between the intention and the performance and the body is our anchorage in a world, (p 1 67) (Maurice, 2002.)

—

The process of mastering tools and subsequently understanding the world is regarded by Merleau-Ponty as #the synthesis of ones own body/ (p 171-177) It is different from objective knowledge, and is not a unconscious us of the body. It is about bodily

perception.

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In The Phenomenology of Perception, the body (especially the perceptual function of the body) is the principal subject. 'We are in the world through our body... we perceive the world with our body/ (p 239) To perceive with the body is to return to a most primitive, most direct relation with the world. Understanding the world is not an intellectual exercise. The world is epistemological, perceived through ’the synthesis of one’s own body.’ In the case of the blind man s stick, the 'perceived world, When the use of the stick becomes habitual, the stick body. This extension also extends our existence in the that as this synthesis of the body reconnects the body rediscovery.

is within the reach of the stick. becomes an extension of the world. Merleau-Ponty believes to the world, it leads to self¬

The blind man’s stick case also reminds one of the stories about blind men sensing an elephant (In Chinese, the character of 'elephant’ is the same as that of Image*). Our different views of things are inevitably limited by our perception. By reconnecting the body to the world, we gain new options. An open attitude opens one to a wider lively world.

nercuriaL

丁hG i

hii

wor Ld

artistic

Sung and Merleau-Ponty were 300 years apart and were from totally different cultural contexts. Their concerns are very different. Nonetheless, Sung s approach to craftsmanship and Merleau-Ponty s idea of the body are comparable. Both approach the mercurial world through bodily experiences. According to them, the world, both material and perceptual, is mercurial. The representation of the mercurial world through bodily experiences is not just a technical and philosophical topic, but also an artistic project. Art-making is always interatctive process. Evolving forms and styles interaction reflect material and cultural changes over time.

In the early 20th century, Dadaism subverted traditional art throughout cynical Europe and America. The meaning of art was reduced to 'a point of zero'. By adopting a more open stance towards media and technique, the Dadaists found a new way out. Vis-ci-vis traditional forms (such as painting and sculpture), the Dadaists' ready-mades, collages and performances deduced art to the audience's immediate cognitive reaction. For the first time, the techniques involved in these media became a non-issue for art-making. Perceptual reaction is omnipresent in everyday life. There is no need to set any boundary for art. After all, there is no clear distinction between art and non-art. Duchamp’s Fountain made this clear. Dada is almost a century-old. The world's transmutation has never stop for a moment. Man's interaction with the world accelerated drastically with the hyper speed of advanced technology and econ-political affairs. To understand this mercurial world, cope with pragmatic conflicts and look for one’s position in this world are all becoming increasingly difficult. The two world wars in the last century are undoubtedly painful testimonies of the mercurial world. To a large extent, Dada and other later subversive movements reflect this imbalance.

Stepping into the 21st century, an excess of information floods the networked world. Set between the virtual and reality, ’the perceived world* becomes innocuous. This is perhaps out of Merleau-Ponty’s expectation. To boost consumption, Capital has produced a plethora of sensational stimulations. People react quickly, and soon turn indifferent. Connecting the body to the world eventually becomes impossible. This impossibility is not at all caused by a lack of tools, nor an under-use of tools. Rather, it is caused by an overuse of tools. Appropriating Merleau-Pontys example of the blind man’s stick, the device is almost like an ever growing, magic stick. The body is used in a distorted way, getting all the more alienated from the world. The synthesis of one s own body# becomes impossible. When things like hybridity have all become possibilities1 for contemporary art, subversive gestures like those of the Dadaists all fall into cliche. The art institution is ever expanding under the drive of consumerism. One can hardly stay away from the system. Individuals have little influence on the environment. Art, however, is an individual pursuit returning to oneself. Amidst the cacophony of contemporary art, such a pursuit requires extreme concentration and self-consciousness.

e y i s i tÿi n Q

Fÿ

El *F t S VI El H S hi i Q S I'i

:二: !_|| j

EÿO

L.|

I***i 爹

Ultimately, meaning rests in the most primitive and direct expression. Returning to oneself1 depends on the quintessentially material process. This brings Sung and Merleau-Ponty in the context of contemporary art practice.

Sung s accounts of ,craftsmanship, are all based on tactile, bodily experiences. Merleau-Ponty advocates bodily synthesis' through perceptual experiences, hoping to reconnect to the world in a more primitive way. The quotation marks around ,craftsmanship, and 'bodily synthesis1 emphasize their importance in contemporary art practice. Once again, we consider Merleau-Pontys metaphor of the blind man’s stick: ?? 2.

o 4 9

The blind man's stick has ceased to be an object for him, and is no longer perceived for itself; its point has become an area of sensitivityÿ extending the scope and active radius of touch. (Maurice, 2002.)

If we replace 'the blind man’s stick' with 'craftsmanship’ÿand recontextualises the statement with contemporary art, we come up with the following:

Craftsmanship has ceased to be a mean of production for the artist, and is no longer perceived for itself; its point has become an area of sensitivity, extending the scope and active radius

of touch.

Applying this to art, craftsmanship is the artists tool to define his sphere of perception. When such a use forms a habit, craftsmanship synthesizes with the artists body. This reconnects the artist to the mercurial world.

Reference Merleau-Ponty, Maurice. The Phenomenology

Perception, Paris 1945, translated by Colin

Smith, Routledge, London and New York, 2002.

Sung, Ying-sing, Exploitation of the Work of Nature. Ming Dynasty, 1637, translated by Li, Chiao-ping, China Academy, Taipei, 1980

? Ho, Siu Kee skho@hkac.org. hk

Ho Siu Kee obtained his Doctor in Fine Art degree from the RMIT University, Australia. He is currently working for The Art School, Hong Kong Arts Centre as Senior Lecturer and -ÿ

0 5 O

MFA Course Coordinator. In recent years, Ho has participated in various international exhibitions including the 23rd International Biennial of Sao Paulo and 49th Venice Biennale as Hong Kong official representative.

無題的時代

譚偉平 Lukas Tam

那天，坐在計程車的前座，目光跟著方向盤在灣仔的街道兜轉，視線開始

散亂，無聊地看著掛在倒後鏡上的空氣清新劑，發覺空氣清新劑的概念埏值得思考。

以前曾看過一些汽車產品介紹，其中一種空氣清新劑是以活性碳把空氣中有味的物質吸走，帶有過濾作用，同時亦可通過增加負離子的含量，把空氣中

的細菌殺死。而另一種普遍的清新方法便是採用噴灑香水，把車內的異味掩蓋

去除的 ■證

活性碳的空氣清新劑是把一些我們不喜歡的物質過濾，利用或創造一樣東

西把另一樣東西除去，這是

種去除的方法。如用簡單的方法解釋，就如夏天

使用的冷氣機，利用雪種製冷功能，把暑氣趕走。一般人透過創新的想法改變已存的想法，科學家透過創新的發明，不斷研究出不同的技術，克服種種的困

難；但是這種本能的不斷創新，可能只是掌握了某種轉換能力及法則，未必能

從整體的價值作思考，片段式的偶然拼湊，造成其後斷層式的發展。當開利

於一九零六年發明冷氣機及把它專利化營利的時候，改變

了人類的生活方式，現已很難想像沒有冷氣機的日子可以怎麼過，但人亦從開

放性的空間走進密封式的生活方式。有了冷氣設備以後，熱帶地區的工作時間亦從此改變了，冷氣的工作間可令生產效率提高，冷氣不只是一種舒適，已成

為幫助製造營利的工具及生活裡的必需品。可是我們對城市的空間概念，漸趨內向型及密封式的發展（註-），私人與公共的概念變得越來越分隔，分享的觀念要以條文來說明及鼓勵，人的生活習慣被改變了。設有冷氣的工作間以增加效率變為目的，使一些無形的價值被物質價值所取代，已在不知不覺間消失，這

是最為可惜及可怕的事情。還有現在或未來我們都要付出對破壞自然規律的代

價。涼快得到了，但我們並不理解所失去的是什麼？

在廣義的層面作想，帶領人類在這五百年迅速發展的西方世界，強調以科學方法(理性 )

和技術(工具 ) 為主軸的理念。十九世紀中葉達爾文在《物種起源》（了心

中

所說的「物競天擇，適者生存」，在當時不只是科學範嚙裡的事情，實質上它把自然科學和

人文科學連接起來，它的普及化幫助了資產階級在自由主義下的發展，把商業經濟活動中謀取暴利的行為賦予合理化的解釋，亦幫助歐美列強在帝國主義侵略的行為中作掩飾，美其名曰為優等民族幫助教化或管治下等的種族。但同時帶來了前所未有的危機，付出的是

無止境的競爭與慾念，依靠不斷的吸取來維持不斷的進步，不增長代表失敗或會被淘汰。

雖然資本主義帶有自我修正的發展，提供解決的方式，但它本質上是對慾望的一直追求，不斷膨脹，

_ 個問題出現後會以另一方法彌補，或將問題轉嫁，是以「去除的方法

來解

決問題，實質是以消滅、過濾、淘汰、消耗的方法來維持發展。而這世界正是一步步走進更燦爛的失控。

(註一) 現時行人道的設計是很歐洲的避寒方式，明確地分開了戶外和室內的空間，跟熱帶地區行人道的設計

很不一樣，行人可直接從街道走進商戶室?的兩旁商品擺設，繞上一圈後自然回到街上，中間沒有明確的分隔公共與私人；還有熱帶地區的「? 篷 / 騎樓」設計為戶外與室 ?之間的連接產生中間地帶，增添了不少公共活動空間使用 •但新式的商舖多以冷氣空間密封式去除了這一中間地帶，在意識上分隔

了人的自然來往。

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如進一步把「去除的概念」放在藝術歷史的範

來看，現代主義的特點：它具有前衛

性的破 ?及不斷重組的特性，進化論啟示了前衛藝術中反叛的合理性，藝術運動不再是一種轉承，而是發展至後期變為一種顛覆的手段，創新推翻後再創新的循環運作。創新

的簡義可謂吸收後的再發現，問題不在於它如何創新，而是它靠什麼力量維持創新，本質上它需要不同的主題、技術和理論來維持燃燒，前衛藝術的前衛性符合以上的條件，

最終卻失落於「去除的概念」：生產危機，製造矛盾，去除舊有的體制，重找新秩序。如印象主義從「落選者沙龍」開始，其一特點是從競爭中產生的，挑戰沙龍的權力體

制 (註二 >，其前衛性是基於被排擠後的重新試探，新的確立是要「去除」舊體制的統治，因而從新假設新的藝術思想，但及至後期墮進其自我否定的再度分裂，產生現代主義中

不同藝術運動的出現及多元化的發展。現代主義中還能顯示其概念的產生，但於「後現

代主義 J 已出現失焦的情況，導致價值模糊的現況 (註三 )。

十九世紀前還以繪畫為主導的視覺藝術世界，踏進二十世紀的藝術運動，強調觀念性和理論性的演繹。如從文藝復興達芬奇所代表的「全人」

Man) ，知識範嚙涉及

神學、建築、機械、繪畫、醫學及數學等不同的領域研究，但到了 +七世紀的知識已發

(註二) 法圃沙能創立於一六六七年，為紀念及麋柷學院的歷史而設，沙能本是藝術學院襄的集會及進

行演講討論的活動，學院作為一個集結藝術教育、生產藝術作品和展示的場所’教授們以專家的角色把藝術變為可認受的合法體制，學院就是權力 •自一七三七年開始，學員的作品展覽首

次公開給公眾參觀，觀眾可自由討論他們的?好，打破了學院為唯一的合法體制，審美的權力被公開了 •「落選者沙龍」的意義在於打破壟斷，藝術體制也不再集中於學院或單一的官方

_ 化的穩

沙能。隨著一八六三年「落選者沙能」的誕生，至一九零三年時巴黎已擁有三個大型的沙能及

五十多個小型沙能及展覽，由中央集權到單

定體制，走向多元發展的不同面貌，這是

現代主義的基礎及 ?神。

(註三) 現代主義的解讀比後現代主義的明確，而後現代主義的可能性太大了。我常以一則比喻說明這情況：「我肚子很餓•

在現代主義中，表連了要求，及想得到食物（目的

而在後現代主義

中，首先要了解「我」是男性、女性、小孩，是西方人或是東方人圪，這定義影響所要的食物將會不同，無論在份置、口味都會有差別；其二是要假設肚子餓的原因，假如平時吃飯的時間

在七時，而現時已是十時了 •所以很餓；或是我流落荒島兩天，現在得到拯救’這是要維持生命的要求 •現代主義中還有標準的存在，但後現代主義可有不同的解讀方式’至使不能作一種解釋，而模糊性更令這世界變得難懂。

展超過「全人」所能理解的專門科目，知識種類各分研究，項目越分越仔細，如微積分

的發明 (註四），已非一位藝術家所能掌握。及至十八、+九世紀人類在化學及物理學取得突破性的發展，科學範疇已由自然觀察和實驗，步向超乎肉眼能觀看到的理論層面，而現代藝術亦受科學進步的深刻影響，因此印象派的特色不只是在光與色彩的探索，而是把藝術科學化、方法化及理論化，而這亦是現代主義啟迪的條件。這是自十九世紀以

來，脫離了傳統繪畫「再現」現」

的功能，發展到依靠理論支持的「非再

的藝術時代，而在整個二

+世紀的藝術發展可以說為理論主導

的年代，是被去除再現功能後的發展。其另 _原因是受到照相術發明的影響 (註五 >，對自

然再現的挑戰，繪畫不再是唯一把影像再現的工具，無疑令繪畫失卻再現的功能，種下對傳統繪畫於自然再現的懷疑，漸走向理論層面的創作。現代藝術的產生是受到藝術以外的挑戰，對藝術來說這種理論的開發，不是表現自然，而是在自然中提煉法則，視為一種純視覺藝術的語言，亦即迫使後來所謂藝術為藝術的觀念。

經歷了近一百多年的現代主義時期及四、五十年的後現代時期，我們總是期待著往後

的新發展，尋找新的方法、新的媒體、新的理論。近年觀看的國際雙年展現象，一種要

(註四 ) 阿拉拍數字傳入到歐洲，及從回教所傳來的代數，增加了數學的運算速度。萊布尼茲 (Gottfried

Leibnitz，一六四六至一七一六 ) 與牛頓同時發明了微積分。 (註五)

十八、十九世紀物理學中的光學研究間接提供了印象派的理論根據及經驗，如攝影術於一八二零年代誕生至一八五零年代中流行，光譜分析法首次在一八六

年應用於星光的分析，影像電

影是十九世紀末的產物。

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求不斷創新的渴求，新的主題、新的發現、新的視野主宰著潮流的脈搏。如前蘇聯解體

後出現的不同東歐政體，在上世紀九十年代初獲歐美為主軸的藝術世界所青睞；而於九十年代初期的當代中國藝術在國際藝壇上漸露頭角，而於本世紀初走紅各地；及第+— 屆德國文件展以非裔策展人 Okwui Enwezor 帶領的策展隊伍；這些事項顯示由全球化走到東方主義，再走進後殖民主義的地帶，好像是要走出以歐美為主軸的藝術世界。但正如

剛才所提及怎樣維持創新的發展一樣，這些非歐美藝術範疇，其作用可謂保持西方藝術繼續燃燒的材料，那種非西方化的藝術有一定的吸引力，可以作為某一段時間的燃料，

用過以後便要從新尋找新的替代品，這是一種本質上的需求，為的只不過是繼續維持其本身藝術體制的不斷膨脹。

我想「去除的概念」並沒有提出一種「新」的路向，相反，它揭示事物不斷更新後所產生的新困局，這需要我們理解要面對的將會是什麼。

掩屋的晒思回說計程車裡的空氣清新劑，大部份是以香精掩蓋異味，但同樣令人感覺不自然。那麼空氣清新劑解決了誰的問題？如追溯香水的歷史，可發現一有趣的因由，十七、十八世

紀歐洲的香水盛行除因時尚之外，並非專為追求香氣，因當時貴族經常穿戴厚重服飾、假髮及不常沐浴的習慣，香水實際是把體味掩蓋；及貴族婦女外出時為掩蓋城市骯髒街

道所發出的臭味，將香水塗於手帕上掩面而行。這亦反映當我們改變不了外在世界時，我們改變自我的行為或感知，掩蓋或可稱為自我欺騙，或當解決不了問題時的處理方

式，它沒有把問題解決，而是把問題隱藏。

讀安徒生

Andersen)《國王的新衣》，故事裡國王首派一位誠實的老部長到兩位

騙子的織布房去看，看那最美麗的布匹的編織情況，而老部長聽說愚蠢的人和不稱職的

人是看不見這匹布的，所以也硬說見到漂亮的布匹，而往後國王和更多的臣民相繼讚嘆用這布匹所造的衣服是何等的美麗，最後變為真正的愚蠢行為。首先那是被騙子預設的條件所迷惑，為掩蓋自己害怕的事情而作出不真實的回應；第二是受到群眾的壓力而改

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變自我的看法。根據這樣的推論，人在這裡的掩蓋行為可分為兩種原因：一、出於對自

我恐懼(如承認自己愚蠢) 的反應，二、受外在壓力時的自我妥協。在故事的最後，小孩因

為天真或可說成缺乏自我意識的能力，反而說出了真實。雖然寓言所講的是自欺欺人之說，但裡面有一非常重要的想法，就是對自我認知的判斷。從人意識到「我」的存在相信還是近代的討論，在這之前如希臘時期哲人蘇格拉底

所說的「我們應該服從神更甚於服從人」的這種見解，在君士坦丁皈依基督教以後一直維持下來 (註六。宗教（以西方的基督教為例) 生產出龐大的系統，除了 _般度人向善外，

主要是相信神的？對權力以維持俗世的穩定統治，和給予任何事情的解釋標準，人希望消除對現世和來世的恐懼感而對宗教有所依偎。類似掩蓋行為的第一種原因，宗教提供一

個超乎現實的避難所，也可以掩蓋人性的自然發展。

在柏拉圖的理想國中，人的階級是為了維持城邦的秩序，由理性、教條、法律達致理想的公民社會；而到亞里士多德所說：「按比例的平等使每一個人都享受自己的所有。 J 但其最終的目的並不是真正對人的平等主義因為公民並不包括奴隸階層），而是

為了維持理想國的制度，或以制度牽制著個人的發展，追求

種理性的平衡。但制度在

某種情況下可說是以集體認同的方式，產生集體的自我約束力，但同樣可變為個人的自

我妥協，這亦是以制度掩蓋對個人發展的控制。

十七世紀若內•笛卡兒

Descartes) 在其著作《沈思錄》

力

中以「笛

卡兒式?疑」的態度論證神的存在及如何意識到「我」的存在，包括人的靈魂與肉身的關係。這開始了近代西方哲學新的一頁。雖沒有一種統一概論的出現，但已為後人樹立

思想」製了「自我」意識的醒覺。而裡面以? 疑論提出有關「欺騙 j 的說法，可以由。

造出所有的假設或是假象，「思想」可以欺騙「肉體」的假設，而根據這樣的推論，精神是唯一成立的論點，就是「我思故我在」? cogito ergo sum) (註七），它不具任何的功能

性，只是提出一種自我意識的基礎。認識外界事物不可靠感觀，必須憑精神。這開始改變人依 II 外在條件（如神和制度 ) 生存的想法，而改以自我（內部的調節，從主觀意識思

考外在世界的方式，這是由外在的集體操控走進個人內部的發展。

(註六伯特蘭•羅素，（西洋哲學史上卷〉，第十三頁。

(註七 )

「當我把一切事物都想成是?假的時候，這個進行思維的「我 J 必然是某種東西不可：我認識

到，1■我思故我在 J 這條真理十分牢固、十分確實，懷疑論者的所有最狂妄的假定都無法把它推翮，於是我能斷定我能? 毫不猶疑地承認它是我所探求的哲學中的第一原理。」若?•笛卡兒 (Ren§ Descartes}

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笛卡兒的理論解放了「人 J 的根本價值，至少在西方的體系裡，及至上世紀五、六+ 年代風行的「存在主義」

(註八），從虛無的狀態體現「人」的自由價值。可

惜直到今天，我們還是要面對強大消費主義帶動下的物慾化、集團化及一般化。雖然人已從宗教系統中獲取了選擇的自由，但那系統已轉移到國家、跨國企業、公司等不同大小體系的無形操控，同樣令人失郤了「本我」的價值。大部份人寧願活在「掩蓋的概

念」下繼嫌相信或接受謊言。這與《國王的新衣》中的大部份人並沒有兩樣，都是以自我掩蓋的行為面對我們處理不到和無法解釋的事情，而不能像故事裡的小孩從「本我 j

中說出真實的價值。

照題的膀代當抱著懷疑的態度看待車廂裡的空氣清新劑時，究竟是司機為了乘客的舒適而擺放？或是生產商的推銷吸引了司機的購買？或是每個人都相信有空氣清新劑比沒有的好？還是沒有選擇地坐進了計程車廂裡？是誰欺騙了我們？是外在的世界或是內在的自己？我們面對

對恐懼的害怕

還是對自我妥協的行為而羞愧？在藝術的語境中同樣面對著相類的境況，

人們需要藝術嗎？是策展人掌控了藝術的推銷法嗎？藝術在現今社會裡的價值又是什麼呢？

還是藝術家一廂情願相信藝術的力量嗎？那麼，我們面對的是什麼？「去除概念」和「掩蓋概念」只是一種假設，當試在本質上提出對認知的不同解讀。懷

疑論在後現代主義帶有某種悲觀及消極的情緒，在大置複雜訊息的時代，所接觸的是片段式的、無意識的、解體性的、含糊不清的訊息和經驗。現在無論在物質條件及社會模

式都已有極大的改善，但反之，對越來越沒有標準的生活產生更大的困惑，甚至缺乏道

德準則，至使人對生活價值的失焦，我們面對的是無題的時代。那麼，我們需要的是什麼？

當然在這個時代，提供一個答案是一件不容易的事情或是不智之舉，甚至提出一個問題也不是容易之事。我只可引用自已的經驗作分享，那是最近的經驗，在日本的龍安寺

(Ryoanji Temple ?，裡面有一座非常著名的禪園 -石庭

Rock Garden)，面積不大，建

於寶德二年 (一四五零年），至今已有五百多年的歷史，是畫家及園藝人 Soami 所布置的日式襌園，裡面石與石之間包含了集合、離散、大小、遠近、起伏...... 種種不同的意象，整

& 7

S' 0 5 8

(註八法國哲學家沙特一句簡單的概說：「人是偶然來到這世界，最後又不知所以地死去。」

•

議

曰本龍安寺石庭，二零零五 The Rock Garden, Ryoanji Temple, Japan, 2005

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座石庭及細石的流紋都以五百年前的模樣保留著，讓人尋思冥想那完美的景緻。我受感

動的並非它是如何的完美布局，而是讓我認識到文化修養的長久性，五百多年來的人事變化萬千，但不及一只石頭的不變；老子《道德經》曰：「有物混成，先天地生，寂兮

寥兮，獨立而不改，周行而不殆，可以為天下母，吾不知其名，字之曰道。」這種所謂不變，不是牢固的死守，而是理解文化作為一種經年沈澱的累積，及長時間的參研。相

對於當今快速變化和不斷創新的局面所帶來的種種境況，我們需要認識到「去除概念 J 和「掩蓋概念」並非真的解決到什麼，我們思考的問題到不要停留在?小的車廂裡，不

要忘記真正的空氣是在車外。

S 考繭斟艾瑞克•霍布斯邦著，張曉華等校譯。《資本的年代：一八四八至一八七五》。台北：麥田出版股份有限公司，一九九七年。

漢•克•安徒生著，葉君健譯。《安徒生童話選集》。南京：譯林出版社，一九九四年。

Chuihua Judy Chung, Jeffrey Inaba, Rem Koolhaas, Sze Tsung Leong, The Harvard Design School Guide to Shopping / Harvard Design School Project on the City, Taschen, 1997.

Rene Descartes, translated by John Cottingham, Meditations on First Philosophy: with selections from the Objections and Replies Cambridge: Cambridge University Press, 1986. Plato, Translated by Desmond Lee, The Republic, Harmondsworth: Penguin Books Ltd, 1955. 伯特闌 •羅素，《西洋哲學史一上卷》。

林志明，《當代藝術家之言》。〈法國藝評中的文學傳統〉。台北：台北當代藝術館，二零零四年。

并讀偉平 ltam@hkac.org. hk 譚偉平畢業於英國倫敦大學斯萊迪藝術學院研究院，現任職香港藝術中心藝術學院課程主任及

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講師，亦及為藝術地 ■之主席及其創辦人之一。作品曾於香港、中國、台灣、英國、美國及法

國等地展出。

The other day I was driving around, following the steering wheel, my eyes wondered around the streets of Wanchai. In a state of ennui, I saw the air refresher hanging on the rear view mirror, and it suddenly come to me that the concept of air refresher is inspiring and worthy of some deep reflection.

I have seen some automobile products guides before. Among the air refreshers one type of them uses activated carbon to adsorb the smelly elements in the air; it filters the air and increases its amount of anion, which in turns kills the bacteria in the air. Another type air-refresher, which is maybe more commonly used, sprays perfume to cover up the bad smell in the car.

The Concept of Elimination Air refreshers with activated carbon filter out the repugnant elements in the air. To use or create one thing to eliminate another, this is the method of elimination. To put it simply, it is just like the a 叩 roach of air-conditioner, with its refrigerant function, it spells away the undesirable summer heat. While we transform existent ideas with innovative ones, scientists research with different techniques and methodologies to overcome various difficulties and come up with inspiring inventions. Although the process propels continuous innovation, it only controls certain laws and abilities of transformation, and is incapable of reflecting from a more integrated and holistic perspective, and thus leads to fragmented development.

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When Carrier invented and patented the technology of air-conditioning in 1906, it transformed our life style fundamentally. Now it becomes unimaginable how one can live without air-conditioning. With this development, our living space also shifts from the open space to a closed one. The availability of air-conditioning changes the working schedule in tropical regions, and increases productivity and efficiency. As such, airconditioning does not only enhance our comfort, but has become an instrument for profit making and an essential in everyday lives.

On the other hand, what has been sacrificed is maybe be less visible yet more farreaching. Our perception towards city space, towards the increasingly closed and privatized development rNÿ/f/;f the ever-enlarging gap between private and public, the present day necessity to encourage and explicate the ways of sharing, all tells us to what extent air-conditioning has transformed our lives. Air-conditioned working space increases productivity, yet imperceptibly, some communal values have been gradually replaced by materialistic goals, this is the most awful and lamentable thing, not to mention the present and future prices we have to pay for our destruction of nature. We have cool summer days now, but do we know what we have lost in exchange of that?

In a more general perspective, we can see that the West, which leaded the world into fast-breaking development in the last five hundred years, has at its pivot the scientific method and technology (rationality and instrumentality). When Darwin argued for the survival of the fittest in The Origin of Species in nineteenth century, the idea was not confined to the domain of science, but connected nature science to the humanities. Its universalization aided the rapid growth of the bourgeoisie under liberalism, and legitimized their craze for profit in economic activities. It also justified imperialism under the alibi that the superior races had the duty and burden to civilize and govern the inferior ones.

(Note 1 )

The design of pedestrian walk nowadays follows the European model, which distinctively separates the indoor and outdoor space due to the need of heating system. The pedestrian walk in tropical region used to look very different from the European ones; pedestrians can walk directly from the streets to the displayed products in the shops, take a tour and go back to the streets without any kind of interruption. The line between the public and the private is blurred. The canopy, which is particular to tropical areas, is also a design that connects the private and the public spaces, and provides extra space for public activities. However, nowadays, the popularity of air-conditioning forces most shops to enclose themselves within walls and doors and. as such unconsciously hinders the natural interaction of people. y

However, the development model initiated by the West has also led us into unprecedented crises: the endless competition and desire, the notion that continuous

development depends on continuous adsorption and exploitation, the lack of growth being translated automatically to failure and death. Although capitalism has a certain renewing power, its nature lies in the boundless expansion and unlimited pursuit of desire. In this model of development, problems are not confronted but displaced, compensated, transferred. This is the approach of elimination. Indeed, it maintains economic growth by elimination, filtering, replacement, consumption, and this approach leads our world into a more and more catastrophic lose of control. The concept of elimination can also be situated in the field of art history to shed light on a major characteristic of modernism, namely, its destructive avant-gardism and its continuous reformation. Darwin s idea of evolution inspired and justified artistic rebellion in avant-garde art; art movement was no longer about inheriting the achievements of classical art, but has become a means of subversion, a cyclical movement of renovation, destruction, and renovation. The meaning of renovation can be briefly defined as the rediscovery after adsorption. In this extent, the question is not about how artists renew and recreate, but what kind of energy enables such continuous renovation. The proliferation of subject matters, techniques, and theories are the prerequisites to sustain the continuous renovation of artistic creation; while the progressiveness of avant-garde art fulfills such requirement, finally it cannot help but be submerged in the swamp of elimination concept. What follows are the crisis of artistic production, the making of contradiction, the destruction of old institutions, and the search of new order. For instance, impressionism started with the Salon des Independants, one of its characteristics was generated from competition - its challenge of the institutional power Its progressiveness lay in its effort to restart after being of the official salon

(Note 2)

The institution of salon was established in 1667 in France to commemorate and celebrate the history of the Art Institute. Officially, salon was a forum for lecture, discussion, and aggregation in the Art Institute. This was a time when academy represented power. The Art Institute was the only site for artistic education, production and exhibition; professors there used their professional status to turn art into a socially sanctioned institution. Starting from 1737， students’ artworks in the institute were exhibited openly; the public no longer had to subscribe to the authoritative views of the academy but could now freely discuss their likes and dislikes. The democratization of the aesthetics thus profoundly challenged the position of the Art Institute as the only recognized institution of art. The meaning of Le salon des independants lay in its deconstruction of such monopolization. Following its birth in 1863, artistic organizations proliferated. In 19ÿ3, there were three large salons and ynore than fifty small ones in Paris. From the academy's monopolization of art, to the diversification and proliferation of artistic development, this was the foundation and spirit of modernism.

from the official salon; the establishment of the new aimed at eradicating the rein of the old system, as such the impressionists rethought the ideas of art and initiated a vibrant period of artistic innovation. However, in its later stage, impressionism went through self-negation, further internal splits and divisions, and resulted in the emergence of different art movements and the diversification of modernism. If modernism still demonstrates the production of certain concepts, post-modernism has lost its focus and led to the present ambiguity in values and judgments (Note 3). While the world of visual arts was very much dominated by painting before the nineteenth century, the focus of art movements since the twentieth century has shifted to the interpretation of concepts and theories. During the Renaissance period, Leonardo da Vinci exemplified the notion of the Universal Man, processing a vast field of knowledge which included theology, architecture, mechanics, painting, medicine, mathematics and others. Yet in seventeenth century, knowledge had been specialized into more and more different disciplines, and eventually surpassed the comprehension of the Universal Man. For instance, the invention of calculus was already inaccessible to the artists (Note 4). In the eighteenth and nineteenth century, the important breakthroughs in physics and chemistry attested to the fact that the domain of science had proceeded from the observation of nature and experimentation, to a theoretical level which was

invisible to the unarmed human eye.

(Note 3)

The modernist interpretation is more precise and accurate than the post-modernist one. l often explain this with a metaphor, When someone says, “l am hungry.” In modernism this is the expression of demand and desire for food. In a post-modernist understanding, the meaning becomes much more ambiguous and is a male or female, adult or child, Caucasian or complicated. Firstly we have to know either the the different definitions of“V’would affect the amount and the kind of food the person Asian... wants. Secondly we have to imagine why the person is hungry, is it that she/he used to eat at 7 o’clock, and now it is already 10 o'clock, and therefore she/he is hungry? Or is it because the person is drifted to a bare island for two days, and now she/he needs food to keep alive? In modernism, there are still standards and common senses, while in post-modernism, there are different readings; the inevitable ambiguity makes the world much more difficult to comprehend. (Note 4)

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The spread of Arabian numbering system and algebra from the Muslim world to Europe increased the speed of mathematic calculation. Both Gottfried Leibnitz ( 1646-1716) and Isaac Newton ( 1 643-1727) invented calculus at the same time.

In this extent, modern art was profoundly influenced by the progress in science. The particularity of impressionism lay not only in its experimentation with color and light, but its attempt to approach art with scientific assumptions, methodologies, and theories; and this was one of the sources of modernism. Since the nineteenth century, art divorced itself from the representational function of traditional painting, and developed its nonrepresentational dimension with the inspiration of different theories. The art scene of the twentieth century was to a large extent dominated by theory, a development following the elimination of its representational function. Such a paradigm shift in art was also impelled by the invention of photography (Note 5). With its technical superiority in capturing and representing reality with absolute accuracy, photography seriously challenged the position of painting. This led artists to question the value of representation and the authority of traditional painting, and induced them to create in a more abstract and theoretical level. Hence, the birth of modern art was a reaction to challenges coming from outside. The discovery of the theoretical dimension in art aimed not in representing nature, but in deducing certain laws of nature, and articulating them with a purely visual language;

and from this originated the purely aesthetic notion of art for art s sake which was to come at a later period.

(Note 5)

The optics studies in Physics during the eighteenth and nineteenth century indirectly provided theoretical base and experience for the development of Impressionism. Photography was invented in 1820 and became popular in 1850, the spectral analysis was applied to the research of the brightness of stars, cinema was also invented at the end of the nineteenth century.

After more than a hundred years of modernist experimentation and forty to fifty years of post-modernist experience, we are always looking for new breakthroughs, new methods, new mediums, and new theories. The various international biennial art exhibitions in recent years particularly expressed a hankering for continuous innovation; it was the new subject matters, new discoveries, and new visions that set the trend for the international art scene. In the nineties, artworks from the former USSR countries in Eastern Europe caught the eyes of the Euro-American art world; in the past few years, it is contemporary Chinese art that is in the vogue; in Germany, the African curator, Okwui Enwezor, has been appointed as Artistic Director of Documenta XL From globalization to orientalism and post-colonialism, all these attempts aim at transcending the Eurocentric art world by bring in new and fresh elements. With its heterogeneity and exotic attraction, non-occidental art provides the fuel for the continual burning of artistic innovation. However, there is a strong sense of instrumentality in such appropriation. Artistic innovation is in constant search for new elements to appropriate; yet at the end such instinctual demand is nothing other than to sustain the continuous expansion of the artistic institutions. As such, the concept of elimination does not provide any new direction; instead, it only reveals the dilemma resulted from such innovation impulse, and this is what we try to comprehend.

The Concept of Covering Let's go back to the topic of air refresher. While most air refreshers use perfume to cover up the obnoxious smell in the air, the refresher itself smells equally unnatural. So whose problem does air refresher really address? If we pursue the history of perfume, we would discover that it was not purely the obsession with fragrance, but the specific need to cover up the bodily smell that brought perfume into vogue in seventeenth and eighteenth century Europe. The noble class needed perfume since they often wore wigs, thick and heavy customs, and they rarely took bath; when a noble woman past the city, she also needed a perfumed handkerchief to mask the repulsive smell of the street. The invention of perfume tells a century-old truth: if we cannot transform the external world, we can still change our own behavior and perception. This is called covering or self-deception; it does not solve the problem but conceals it. In H.C. Anderson s The Emperors New Clothes, when the emperor first sent his honest good old minister to inspect the loom room of the two swindlers and the making of the

most beautiful textile in the world, the minister, upon hearing that the textile was only visible to the wise and those fit for their offices, insisted that he too witnessed the splendor of the cloth. Following his lead, the king, many other ministers, and citizens praised its beauty and magnificence, and all turned themselves into fools. The reason behind such collective self-deception is double-folded. Firstly, they are baffled by the prescriptive conditions set up by the swindlers, and choose to fake their responses in order to disguise what they truly fear - the fear to confront the truth of the self (for instance, to admit their own stupidity). Secondly, they conform to peer group pressure and revise their genuine opinions, i.e. the compromise of the self when pressed by outside forces. At the end of the story, it was a child, thanks to her/his naivety, or, the lack of self-consciousness, that broke the collective complicity and spelt out the truth.

Although the moral of the fable is about self-deception, there is a very important idea in it - the idea of self-perception. The consciousness of the self is a rather modern issue. Socrates1 teaching that "we should have more faith in God than in man” has been maintained all the way since Constantine was converted to Christianity (麻 6). Religion, especially Christianity, has produced a gigantic structure. Other than leading man to love and goodness, religion relies on its belief of Gods absolute authority to maintain the stable rule of the secular world, and to give a framework and standards to interpret everything in the world. Similar to the first reason of self-deception that we have discussed in the previous paragraph, man come to religion to alleviate their fear of the unknown future, both in this world and the other world. While they find a shelter that transcends the everyday reality, their dependence on religion to avoid confronting their fear unfortunately disguises the natural development of humanity. In Republica, Plato argues for a class system to maintain the order of the city-state, and to achieve an ideal civil society through rationality, doctrine, and law. When it comes to Aristotles proposition that we should "let each citizen enjoy their possession according to the principle of proportional equality/* his goal is not the equality of man (since the class of citizens did not include the slaves), but the sustentation of the structure of Republica. In other words, it pursues a rational balance by containing the development of individuals within the social structure. Under certain conditions, social system takes the form of collective identification and imposes self-constraint on the people; it forces the individual to compromise and conform, a way of controlling under the disguise of social structure.

(Note 6)

Bertrand Russell, A History

of Western Philosophy, p.13.

In the seventeenth century, Rene Descartes, in Meditations, applied his Cartesian Doubt to discuss the existence of God and the consciousness of the self’s being, including the relationship between the human body and soul. Descartes thus starts a new chapter in Western philosophy. Although there is no a single authoritative understanding concerning the subject, Descartes* reflection awakens and attests to the existence of selfconsciousness. The Cartesian Doubt suggests the idea of deception, it assumes that the mind can create all kinds of illusions and deceive the body into believing it. As such, spirit is the only proof of the existence of the self - cogito ergo sum (I think, therefore I am) (Note 7), it is the existence of the doubt/thought that attests to the incontestable existence of the thinking subject. The Cartesian revelation serves no specific functions, but builds up a base for the conception of the se ? f. Instead of depending on God or on social system, we have to rely on our own spirit (the doubting spirit) to perceive and understand the outside world. Neither God nor social system should serve as a buffer between man and the world; we should approach the world directly through our own subjective reflection. In this extent, we transcend the external control imposed by the collective, and enter into the realm of individual interiority. Descartes* theory helps to articulate the fundamental value of Man in Western s;, popular during the 1950s and 1960s, also stresses the civilization. Existentialism value of Man s free will in a state of cultural nihilism. Unfortunately, humanity today is still suffering from the materialization, corporatization, and generalization resulted from the all-powerful consumerism. Though we have won our freedom from the grip of religion, the invisible power of control has shifted to the hands of nation states, multi¬ national enterprises, companies, etc. What reminds the same for us is the loss of the value of the true self. Most people still chose to live under a mask - continue to believe or accept what they know as lies. After all we are not different from the foolish king and his coward subjects, we also chose to disguise ourselves in order to face what we cannot handle or explain, and the child who is able to spell out the truth of the self is still lost to us.

(Note 7) Rene Descartes: When I convinced myself that everything in the world is illusion and that there is nothing that really existÿ1 realized that the“V’who is processing this thought must be existent. The principle of“1 thinkÿ therefore 1 am” is a very strong and accurate one, even the wildest assumptions of the scepsis cannot contradict it. And so l am sure that this can be the first maxim in the philosophy that I pursue. (Note 8)

—

The French philosopher Jean-Paul Satre ( 1905 1980) has a simple maxim: Man comes to this world by accident, and leaves it without understanding.

Untitled Era The air refreshers in automobiles provoke a series of question: do drivers put them in their cars for the comfort of the passengers, or are they lured by the selling gimmicks of the manufacturer? Does everyone simply believe that it is better to have air refresher, or is air refresher so pervasive that people just sit in an air-refreshed-car with no choice? Who deceives us, the external world or our own selves? Are we ashamed of our fear towards fear, or of our compromise of the self? Air refresher is not just a minor issue as it tells us so much about the situation of art today. Do people really need art, or it is just that curators today know how to package and sell art? What is the value of art in our society? Is the power of art simply the willful imagination of the artist? What do we face

today? The concepts of elimination and covering are just two different types of hypotheses, an attempt to start from the essence of things to provide two different interpretations regarding human perception and cognition. In a society loaded with huge amount of complicated, ambiguous, fragmented, unconscious, contradictory, and deconstructive information and experience, the impulse to question and doubt in the post-modern age inevitably carries with it certain pessimistic and passive emotions. Though the modern society has shown great progresses in terms of material condition and social structure, the gradual thinning of moral standards and the diversification of value systems create confusion and nihilism. What we faced is an untitled era with no clear themes and standards. So, what do we need in face of our cultural dilemma?

In such a confusing epoch, even to raise a question is not an easy task, not to mention the unwise effort trying to provide an answer. Here I only want to share a recent experience and some personal reflection. In the Ryoanji Temple in Japan, there is a very famous Zen garden called The Rock Garden. The garden is small. Built in 1450, it has more than five hundred years of history. Decorated by the painter and garden artist Soami, the congregation, dispersion, contrast, unevenness, and distance between the

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曰本龍安寺石庭，二零零五

rocks create different images and emotions. During the last five hundred years, the whole rock garden and the patterning of the rocks have been kept intact, and they continue to evoke our meditation and imagination. What touches me most about this garden is not its perfect structure and decoration, but the image of the lengthiness of culture accumulation it represented. In Scripture on the Dao and Inner Power, the Chinese philosopher Laozi writes, "Before the birth of universe, there is the intermingling of elements. It has neither sound nor image. It is eternal and independent of all. It circulates around everything yet never dies out. It gives birth to everything in the universe. I do not know its name, and so I name it Dao." The quality of permanence that Laozi discusses is not about the obstinate adherence to the past, but a way to understand culture as the accumulation, meditation and reflection over a very long period of time. In the light of the present dilemma brought about by the incessant pursuit of rapid change and innovation, we need to understand that the approaches of elimination and covering do not really solve any problems, but merely replace or conceal them; our thinking should not be confined by the narrow space of the car, and we should not forget that the real fresh air is outside the car.

Reference Eric J. Hobsbawm, translated by Chang Xiao Wah, The Age

of Capitalÿ1848-1875, Taipei: Rye Field

Publishing Company, 1997.

H.C. Andersen, translated by Ye Junjian, Eventyr

Historier,

Nanjing: Yi Lin Publishing Company, 1994.

Chuihua Judy Chung, Jeffrey Inaba, Rem Koolhaas, Sze Tsung Leong, The Harvard Design School Guide to

Shopping / Harvard Design School Project on the City, Taschen, 1997. Rene Descartes, translated by John Cottingham, Meditations on First Philosophy: with selections

from

the

Objections and Replies, Cambridge: Cambridge University Press, 1986. Plato, Translated by Desmond Lee, The Republic, Harmondsworth: Penguin Books Ltd, 1955.

Bertrand Russell, A History of Western Philosophy. 林志明，《當代藝術家之言》。〈法國藝評中的文學傳統〉。台北：台北當代藝術館，二零零四年。

Lukas Tam

ltam@hkac.org. hk

Lukas Tam completed his Postgraduate study with distinction from the Slade School of Fine Art, University College of London, UK in 1995. He is working as a course coordinator and lecturer in The Art School of Hong Kong Arts Centre. He is also the founder and director of Art Map 8t A.M. Post (an arts information guide and cultural magazine). His work has been shown widely in Hong Kong, China, Taiwan, UK, USA and France.

餐; 'MSÿÿ.,

陳淑雲

在寂靜之中乙烯基素描與木製屋裝置（局部

In Silence, installation with vinyl drawing and wooden houses (close up).

景多

原豆頁

O r1igin 5 in Shadaius

彭美拉•甘拔 Pamela Kember 翻譯：林景娜

o 3

自古以來，神話、寓言和故事都是繪畫和雕塑的基本方向，這些概念的歷

史都需要被記錄下來。現在是時候讓我們再次審視視覺歷史，因為它連繫到一

些永存的、持久的典範，而這些典範正正是不同時代的思想家和藝術家認識自

我的基礎

——

從過去的影子和微光到他們現今重新的配置和構造。

影子 (Shadow) — 詞起源於古英語的陰影

或傾斜

，後來被

用以解釋為一個隱蔽處，或是黑暗的中心。在某些非洲文化裏，人們不敢在正

午時外出，因為正午的太陽不會投射影子，令他們感到靈魂的失喪或被盜。在非洲語裡，nsisim— 詞不僅意味著靈魂，同時也帶有影子的意思。

尹麗娟

陳淑雲

光線穿透窗戶射進閣樓的模子

影子之歌，錄像裝置和現場演出。

香港，二零零五

與 Dinu Li 合作製作。

Annie Lai-kuen Wan The Cast of Light through a Window to the Attic Hong Kong, 2005

Suki Chan Shadow Songs, video installation with live performance. Made in collaboration with Dinu Li.

影子是我們和其他客體所投射的影象。當我們在日光和人造光的環境底下行走，便會把自身的影象投射於建築物的表面，或是路面之上。它是我們周遭一個經常存在、間或

隱藏起來的部分，而我們卻很少注意到它的存在。這就是香港本地藝術家尹麗娟的興趣所在。她的陶器作品是以用陶泥將光和影轉化為實體，為它們予以確實的形式。她經常創造一個空間，以容納我們的私人回憶和她的個

人經驗，以及兩者之間的親密環境。以影子作為隱喻同樣意味著對善惡這兩種概念的戲耍。在二

+世紀初，瑞士心理學家

榮格分析夢的象徵性，以及一些複雜和神秘的傳統，如煉金術、猶太神秘哲學，並印度

教和佛教中相似的傳統。我們的影子被賦予許多名字：「第二自我」、「自我 J

、「低

級自我」、「黑暗的孿生兒」，或「受抑壓的自我 J 。當我們對某些事感到疑惑時，可

以說事情被投下了陰影；在某些政治勢力底下，那些反抗掌權黨派的人則會被稱為影子內閣。

在西方和中國裡，自我就如一個人至高自身的影子一樣。以中國的太極拳 boxing?為例，那練習太播的人像在和自己的影子戰鬥，而自我則藉此獲得對自身的最高精煉。

谷崎潤一郎是日本當代一位知名度十分高的小說家，在其著作《陰 II 禮》》中，他為曰本的建築美下了這個定義：「那是我們的思考模式一我們在影子的樣式中尋找美麗，光和暗兩者互相抵抗對方的創造。他亦稱讚那些能夠將真實的光線過濾，造成不同樣式

的影子為優良的建築學。 j 這裡我希望將焦點放在素描、痕跡和記憶之上，並它們怎樣出現於視覺藝術中。神話

和隱喻之中，往往會形容繒畫的起源（或具體地素描的起源）就是一種模仿，或對真實世界的複製，這個概念能更適切地形容對影子構想。而這個概念是不是被柏拉圈所發現的

呢？洞穴的寓言或神話。在柏拉圖的文本《理想國》（西元前三百六十年)中，當他聲稱所有藝術都是模仿的、是一個影子、一種偽裝，或是對真實世界的複製。我們在日常生活中所得的理解和經驗都是出於自己的詮譯，而不是知識，或那些客體和事件的真像。柏拉圖懷疑影像的真實

性，即使影像跟它的原型很相似，他認為這只是基於影像已經一再遠離他稱為理想形式的真實。

這是理解藝術史的一個重點。當人們經常論及藝術詮譯一些原本的、獨有的視覺，因為藝術作品多半是源自一些早已在世界存在的關係、影像和概念。

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柏拉圖的洞穴寓言以許多不同的形式出現，但寓言的核心則是關於科林斯少女迪畢達斯的神話。迪畢達斯的父親是一個陶藝家，名為布塔得斯。故事講述到迪畢達斯的情人

在油燈的照射下，影子投射在牆上。迪畢達斯將她情人的輪廊畫在牆上，藉以保存他的

影象，作為他外出打仗前留下來的一份永遠的記號和禮物。她的父親以泥土填滿那個士兵的輪廓，並以鍋燃燒，藉此創造出該士兵的模樣。普利尼以此故事閫明塑造泥土的起源，並斷言希臘人是透過觀察人類的影子，而不是透過觀看埃及人的藝術作品，從而發

現繪畫的。

1 尹麗娟

光線穿透窗戶射進閣樓的? 子裝置，展覽:

於丹麥的一個夏曰，香港，二零零五。

Annie Lai-kuen Wan An Installation view of one of the artwork • The Cast of Light through a Window to the Attic, Exhibition: A Summer in Denmark, Hong Kong, 2005

在十八世紀，影子是素描的源頭這個神話經常被用以形容繪盡的發明，而科林斯少女此一主題則再次重現於藝術家的作品中（如 Joseph Wright of Derby, Joseph-Benoit Suve,

Anne-Louis Girodet de Roucy-Trioson) °

一八一四年，Peter Schlemie ?寫下

奶&0

如?這個故事。故事內 5WJ H/V 5ÿ

容是關於一個窮人將自己的影子資給一個陌生人，以換取大量的財富。他體悟到自己原

始的夢，並對失去影子感到孤獨和後悔。但就如晚期蘇珊？桑塔格的評論，我們仍重提早 0

期希臘人所言：人類徘徊於柏拉圔的洞穴？，依舊沈迷於他們的古老習慣，但沈迷的只不過是真實的影像。

陳淑雲是一個生於香港

並以英國為基地的藝術家。處於廿一世紀，她繼續利用迪畢

達斯的神話。就如她所提及其動畫《影子之歌》：「這個作品是關於記憶的本質和我們對時間的體驗，並旨在處理感官所固有的二元性：光與暗、裡與外、可見與不可見 J 影子繼續出現並納入於她的其他作品？。她強調她所覺察到不同地方的官感，就是 1寺常沉

浸在環境之中，將當下的真實、過去的記憶和未來的幻想糾纏於一起 J 。陳淑雲在裝置中的體會支持了她另一件把玩影子的作品《在寂靜之中》。這件作品由千百粒染黑的縠粒組成，並由她刻苦地黏貼在牆壁和漂浮的織品之上。它們既是擠擁的 _群，同時亦是個脆弱易碎的裝飾品。這時問題在光線的秘密中呈現，但再過多一會，

卻又從影子中出現。

S考S斛 Plato, The Republic, 360 BC. H.D.P. Lee translation, Penguin Books,1955. Schlemiel, Peter, The Man Who Sold His Shadow. Fromm Inti; 1st U.S. ed edition,1993.

Tanizaki, Junichiro, In Praise of Shadows. Leetes Island Books,1980.

彭美拉•甘拔 - 獨立藝術史學者及以香港為主的策展人，牛津大學藝術史系研究生畢

業，研究一六零零年至一八五零年的藝術史

教科書 / 指南）目錄。現為中文大學建築

系主講學科內講座的客席策展人及香港藝術學院的兼職導師。

後 K:

陳淑雲會組成一個團體展賢〈迷惑

?，以審視影子和記憶。

漢雅軒，二零零五年六月二十九日至七月十六曰。 0 7 8

展賢由彭美拉•甘拔策展。

陳淑雲

影子之歌，錄像裝置和現場演出。

與 Dinu Li 合作製作。

Suki Chan Shadow Songs, video installation with live performance. Made in collaboration with Dinu Li.

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陳淑雲在寂靜之中，乙烯基素描與木製屋裝置。

Suki Chan In Silence, installation with vinyl drawing and wooden houses.

Myths, allegory and storytelling have been a fundamental aspect of painting and sculpture since antiquity, and then the history of these ideas had to be written. It is time to look again to the history of vision as it

relates to some of the enduring paradigms, that have been the basis of the self-understanding of thinkers and artists during various times in history-from shadows or glimpses of the past, to their reconfiguration in the present.

For the word shadow, stems from the old English word: sceadu, or oblique, but has come to mean a shady place, or the heart of darkness. In certain African culture's, people will not venture out into the mid-day sun as it casts no shadow at this time- and hence equates with their sense of a loss, or stealing of the soul- For the African word "nsisim" means not only soul, but also shadow. Also, the shadow is the image that we and other objects project, or cast of ourselves as we walk in the sunlight, through an artificially lit environment, onto the surface of a building, or on the pavement. It is an often present, but sometimes invisible part of our surroundings that we pay

little attention to.

Shadows as metaphors can also mean a play on the idea of good and evil. When early 20th century Swiss psychologist, Carl Jung analysed the symbolism of dreams, and complex mystical traditions such as alchemy, the Kabala, and similar traditions in Hinduism and Buddhism. Our shadow has been known by many names: the alter ego, or id, the lower self, the dark twin, or the repressed self. We can talk about casting a shadow- as in having doubts about something, or a 'shadow cabinet ' within in certain political forces-here meaning those in opposition to the ruling party. In both the West and in China, the ego is like the shadow of one’s supreme self. As with the Chinese for 'shadow boxing' or Taiji quan, it appears as if the individual Taiji practitioner is in a battle with his or her own shadow, the ego to attain the highest refinement of self. Junichiro Tanizaki, one of Japan's most well known modern novelists, defines beauty in Japanese architecture in his book, In Praise of Shadows, 'Such is our way of thinking - we find beauty in the patterns of shadows, the light and the darkness that one thing against another creates'. He also praises good architecture for its ability to filter real light into a diverse pattern of shadows. But I wish to focus here on drawings, traces and memory, and how they have emerged within visual art. A number of myths and metaphors are used to describe the origin of picture-making or more specifically the origin of drawing, a concept that best describes this idea of the shadow, as a simulation, or copy of the real world, is to be found in Plato? Allegory, or myth of the cave. In his text, The Republic (360 BC), Plato claims that all art is Imitative, a shadow, a simulation, or copy of the real world. For our understanding, and experiences in the everyday life is a result of our interpretation, rather than knowledge or truth of objects, or events that happen. Plato's doubt about the image as a likeness, even if the image resembles its model, is because the image is twice removed from the reality of what he terms 'Ideal Form'.

This is an important point to grasp for the history of art when one often talks about the original or unique vision of artistic interpretation. Because more often than not, a work of art springs from a connection, an image, or idea that already exists in the world.

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The allegory of Plato's cave, has taken many forms, but at its core is that of the myth of the Corinthian Maid, usually called Dibutades, after her father's name Butades - a potter of Skyon. The story goes that Dibutades drew the outline of her lover on the wall while his shadow was cast by a lamp in order to preserve his image, forever, as a reminder, or gift before he went off the war. Her father then filled the outline of the soldier with clay and fired it with the rest of his pots in order to create his likeness. Pliny used this story to illustrate the origins of clay

毳

尹麗娟展 •於丹麥的一個夏日現場，香港，二零零五。《

Annie Lai-kuen Wan A view of Annie Lai-kuen Wan's exhibition- A Summer in Denmark, Hong Kong, 2005

陳淑雲

在寂靜之中

乙烯基素描與木製屋裝置 (局部 )

Suki Chan In Silence, installation with vinyl drawing and wooden houses (close up).

modeling and was asserting that "the Greeks discovered painting, not by looking at Egyptian works of art but by observing the human shadow". By the eighteenth century, the myth of the shadow as the origin of drawing, became a popular depiction of The Invention of Painting' and the subject of the Corinthian maid re-emerged with such artist's as Joseph Wright of Derby, Joseph-Benoit Suve, and Anne-Louis Girodet de Roucy-Trioson.

In 1814, Peter Schlemiel wrote, The Man Who Sold His Shadow a story of a poor man who sells his shadow to a stranger in return for great riches, and the realization of his wildest dreams, only to encounter loneliness and regret at what he had lost. Yet, as the late Susan Sontag comments we still hark back to the early Greeks, as, lingers in Plato's cave, still reveling in its age-old habit, in mere images truth’. Suki Chan, a Hong Kong born, British based artist continues to use such myth's as Dibutades in the 21st century, as she states about her animation, the Shadow Song. The'piece is about the nature of memory and our experience of time and deals with dualities intrinsic to perception: light and dark, inside and outside, the visible an invisible'. Shadows continue to emerge and be subsumed in other of her works, to emphasise what she sees as the sense of place; one that is" often embedded in the intertwine[ing] the reality of now, with the memory of the past and environment the fantasy of the future" •…

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The remarks Chan makes of her installation's stand for her shadow play with another work, In Silence, made of hundreds of thousands of grains of black-dyed rice, painstakingly glued onto the surface of a wall, or floating fabric. They appear simultaneously as a swarming mass and delicate tracery. Here, matter has taken on the secret of lightness and just for a moment, come out from the shadows. Reference

Plato, The Republic, 360 BC. H.D.P. Lee translation, Penguin Books, 1955 Schlemiel, Peter, The Man Who Sold His Shadow. Fromm Inti; 1st U.S. ed edition, 1993 Tanizaki, Junichiro, In Praise of Shadows. Leetes Island Books, 1980

Pamela Kember is an independent art historian, and curator based in Hong Kong.

She was a research graduate for the History of Art Dept, Oxford University on a catalogue of art historical source manuals (dated, 1600-1850). Currently Ms Kember is also teaching part time at The Hong Kong Art School.

Appendix

Suki Chan showed her work in a group exhibition, Fascinations, and is looking at issues of shadows and memory, The exhibition was held in Hanart TZ gallery, June 29-16 July 2005. Curated by Pamela Kember. f? 2.

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印象派在香港 IMPRESSIONISM IN HONG KONG

林翠怡 Karen Lam 翻譯：林景娜

自從一八七四年，印象派畫家在一個攝影師空置的工作室舉行第一次的展覽

後，他們就面對著無數敵對和負面的批評。由於印象派畫作幾乎摒棄了所有歐

洲畫的傳統痕跡，它們在當時一直被視為是激進而革新的。雖然如此，觀眾對作品的回應隨著時間而轉變，印象派的成就最終得到公眾的認同。現今他們的作品已在世界上不同的角落廣泛展出，並且獲得肯定。二零零五年二月，印象派畫作首次來港展出口，令香港觀眾有機會一睹它們的風采。是次展覽吸引了

大量香港觀眾的注意，撇除研究這次展覽對大眾的文化或藝術意識帶來的影響，我們或者可以先嘗試透過這次印象派展覽審視香港大眾對藝術的觀感。在香

港的社會和文化脈絡下，這次展覽確實該以另一種觀照去作出反思。

對經常參觀海外博物館的觀眾而言，是次存放印象派畫作的展賢館中，某些有關展出

的安排似乎頗為特殊，或者該這麼說，那些安排某程度上反映了香港文化的獨特之處。舉例說，展賢廳內，在畫作的正下方，擺放了由紅色絲絨布整齊地覆蓋著的長方盒（每個

盒的高度大概為一英尺。這些盒子在展賢館中的作用實在令人費解。它們是用來擋著畫作，避免觀賞者步近作品嗎？在那裡設置盒子是一個防護方法以提醒觀賞者與藝術作品

保持一定的距離嗎？又或者那些盒子是在邀請觀眾（尤其是小孩踏在其上，藉以近距離地觀賞畫作？也許最終的問題是為什麼要擺放這些盒子，而這些盒子又要以這種方式設

置在畫廊中呢？與此同時，那些大量地安裝於畫作上方，每當感應到具威脅性的來源接近畫作時便會

響起的警報器，卻出乎意料之外、頻密地在畫廊中響起。設計那些警報器的用意是為了定時提示博物館的觀賞者，警告他們與在那裡展出的藝術作品保持距離，還是實際上確實有大量觀賞者看畫時走得太近，令作品不斷地面對著潛在的危險呢？如果是後者，那麼到底是怎樣的想法令香港觀眾有如此舉動？是出於他們的熱忱，還是基於他們的無

知？那些鐘聲由觀賞者踏進畫廊的一刻，直至他們步出畫廊都一直響個不停。令人詫異的是，香港的觀眾似乎頗能適應那些播人的鐘聲，原因大抵是那些鐘聲與觀眾無止境的、惱人的談話聲在盡廊裡互相應和著吧！事實上，當譬告的鐘聲在一間耋廊裡一直響

個不停時，這到底向我們訴說著些什麼呢？鑑當和詮譯在觀賞藝術的過程中都是不可或缺的。參觀畫廊本該是一種充滿樂趣的經驗，但在香港卻不知怎的變成一件令人不安的事情。安靜、忍耐和尊重都是鑑賞和詮譯

藝術的基本法則，但在香港文化中，它們又有否被重視呢？

「在博物館內，觀賞者應時刻與展出的藝術作品保持一隻手臂的距離。」在美國，此

一守則廣泛地刊印在提供給小學生的博物館參觀守則上。但在香港，即使是對大學程度的學生而言，這句聲明卻是完全陌生和奇特的，更遑論它對公眾的意義了。在畫廊的另一角，學生們正忙碌地為他們課業工作紙的問題找尋正確答案。到底那些

學生如此聚精會神地在畫廊中尋找什麼呢？在大部分他們的工作紙上，不難發現類似的課業主題，如「在畫廊中，你最喜愛的畫作是哪一幅？ j

、「那件作品是怎樣的？ j 。

嚴格來說，我們應否以一個主觀角度去評論一件藝術作品的本質呢？學生和老師們應否更深入地以文化背景去觀照藝術變•遷？畫廊中的學生曾否對馬奈的《吹短笛的男孩》與

莫奈的《睡蓮》風格上的差異產生好奇呢？而事實上，對於那些對法國沙龍、學院派、荷闌風俗畫、巴洛克式豐盈及文藝復興的透視法等名稱或術語毫無概念的人而言，印象派又意味著什麼呢？

0 8 9

十九世紀末社會急劇變遷，加上現代照相術的發明，其再現真實的準確程度絕對非繪畫可比擬的。回應以上種種，印象派畫家努力奮鬥，為繪畫的表達方式開闢一條新路。印象派在視覺藝術歷史上的重要性也許在於他們的主動性，它引發了對繪畫角色重

新釐定的訴求，事實上這個訴求持緝了整個世紀，直至今天。在過去的一個世紀裡，繪畫所佔的地位面對劇變，時至今日，人們對繪畫的角色仍無法得出具體結論。相似的主

動性，一如那源自印象派的主動性，對人類歷史的文化發展是極其重要的；就藝術的教育和鑑?而言，或許香港社會仍正急切地期待著相似的主動性的誕生。

看見德加《咖啡館》（又名《苦艾酒》）的巨大橫幅莊嚴地掛在香港藝術館的外牆，這實在是一個暖人心窩的經驗；而就介紹國際知名和歷史上重要的藝術作品給香港的普羅大眾而言，在香港舉行印象派畫展很可能是個好的開始。但是，若要發展香港公眾對

藝術鑑賞的正確態度，顯然路途仍十分漫長。

籌劃 '導賞、翻譯林翠怡畢業於美國華盛頓大學藝術史系，曾於美國及香港的藝術機構從事展》及行政等工作，現任職於香港藝術中心藝術學院。

0 9 0

Since their first exhibition at a vacated studio of a

photographer in 1874, the Impressionists had encountered countless hostile critiques and negative reviews; as giving

up almost all traditional traces in European painting, the Impressionist works were revolutionary in their days.

considered

radically

Nevertheless, the viewers

responses to the works changed through time, the Impressionist achievement was eventually recognized by the public and the Impressionist paintings

3「6

? ow

widely

exhibited as well as generally well-received in different

corners of the world. In February 2005, the Impressionist works paid their first visit to Hong Kong, and the

Impressionism exhibition held from February to early April 2005 in the Hong Kong Museum of Art marked their first

public revelation to the Hong Kong viewers. This exhibition drew the attention of a considerable number of viewers in

Hong Kong, and instead of looking into what impact this

event may have on the general public in terms of their cultural or artistic awareness, we can perhaps try to examine the perception of the general public in Hong Kong towards art which, through this Impressionist exhibition, was quite clearly revealed; and within the social-cultural context of Hong Kong, this exhibition held at the Hong Kong Museum of Art deserves another introspective look. Viewers who regularly visited overseas museums could probably sense that some arrangements in the exhibition gallery that housed the Impressionist works this time were rather peculiar, or it could be said that they were, in a way, quite unique to the culture in Hong Kong. For instance, in the exhibition gallery, rectangular boxes neatly covered by red velvet (well, each of them with a height of approximately one foot) were lined up on the ground and were horizontally placed right beneath the paintings. The ambiguous placement of the boxes in the gallery possibly remained a mystery to most of the beholders. Were they there barricading the paintings and preventing the visitors to step closer to them? Was placing the boxes there a protective means of reminding the viewers of keeping a certain distance between the art works and the viewers themselves? Or were the boxes actually inviting the viewers (especially the children) to step on them and have a closer look at the paintings? And the ultimate question perhaps is why boxes like these have to be placed in the gallery and in a way like this? At the same time, the alarms, which were vastly installed above the paintings and would be awaken whenever they detected threatening sources that came near to the paintings, quite unexpectedly and quite frequently rang inside the gallery. Were the alarms designed to serve as some kind of regular reminders to the museum visitors, warning them to step away from the art works displayed there, or was it really the case that there were always a large number of viewers who went too close to the

paintings, constantly putting the paintings in potential danger? If it is the latter case, then, what were actually on the Hong Kong viewers minds that led them to act like this? Their enthusiasm? Or, in fact, their ignorance? It was rather amazing that the viewers in Hong Kong seemingly got along well with the disturbing alarms, which rang all the way from the moment one set foot in the gallery till the moment one stepped away from it, perhaps since the alarms echoed well with the beholders endless and annoying chatters inside the gallery. And, indeed, what did a gallery with the warning alarms going on all the time tell us? Appreciation and interpretation are essential in the art viewing process, and visiting art gallery, which should be an enjoyable experience, somehow turned into something rather agitating in Hong Kong. Could silence, patience, and respect, which are fundamental to art appreciation as well as art interpretation, ever be valued in the culture of Hong Kong? "In a museum, viewers should always retain an arm's length between the art works displayed there and the viewers themselves." A rule that is generally printed on the museum visiting guide for students of elementary (primary) level in the United States appears to be an entirely alien and exotic statement to the students of even tertiary level in Hong Kong, needless to mention what this would possibly mean to the general public. At another corner of the gallery, students bustled about finding the right answers for the questions shown on their assignment sheets, and what exactly were the students so attentively looking for in the gallery? It was not hard to find similar assignment topics such as, "Which is your favorite painting in the gallery?" and "how does that work look like," on most of their assignment sheets.

On closer inspection, should we actually judge an artwork intrinsically from a personal point of view? Should students and teachers look more into an art movement in terms of its cultural context? Did the students in the gallery ever wonder about the distinction between the style of Manet's Fifer and that of Monet's Water Liliesÿ. And in fact, what does Impressionism mean to someone who virtually has no idea about the terms such as French salon, academic style, everyday realism, Baroque exuberance, and Renaissance perspective etc.?

In response to the social changes in the late 19th century as well as the invention of modern photography whose representational accuracy could not in any sense be rivaled, the Impressionist painters struggled and strove hard for a new way of pictorial expression. The importance the Impressionists marked in the visual art history perhaps lies right on their initiative force, they initiated a quest about redefining the role of painting, which in fact has lasted for over a century, till today. The position that painting acquired encountered upheavals in the past century, and nothing has ever come to concrete conclusion till this day. Similar initiative forces, like those sprung from the Impressionists, have been essential to the cultural evolution in human history; and in terms of art education and art appreciation, the arrival of similar initiative force is perhaps still being anxiously anticipated in the Hong Kong society.

Seeing the enormous banner with the image of Degas' Absinthe Drinker on it being dignifiedly hung on the fagade of the Hong Kong Museum of Art was indeed a heart¬ warming experience; and in terms of introducing internationally renowned as well as historically significant works of art to the general public in Hong Kong, bringing the Impressionism exhibition to Hong Kong was probably a good start. However, when we come to the topic of developing a proper sense in art appreciation among the general public in Hong Kong, it is quite apparent that there is still a rather long way to go.

Karen Lam graduated from the University of Washington with a bachelor degree in Art History;

she has worked for several arts organizations in Hong Kong and the United States as program

organizer, docent, translator and administrator. She is now serving at The Art School, Hong Kong Arts Centre.

在香港創作藝術：一個文化交錯角度

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維珍妮 Virginie Lerouge Knight 翻譯：林景娜 1

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香港，二零零五

Hang On Sea Ranch Gallery on Lantau Island for the French May Arts Festival Hong Kong, 2005

我在香港從事藝術的經驗實在是滿有回報的：事實上，它對我的生命有

很重大的影響。身為班上唯一一個西方人去修讀由皇家墨爾本理工學院及香

港藝術中心藝術學院合辦的文學學士(純藝術) 課程，這的確為我帶來一些挑戰。起初我並不懂得說廣東話（現在也不懂），因此大部分時間我都不明白在同學

中到底發生了什麼事情。雖然如此，它卻是一個很好的經驗，尤其是它能給我帶來真實的洞察力去審視中國社會和文化。在亞洲居住了十二年後，我的個人

感知起了很大的變化：當我漸漸能夠和中國文化加深連繫，我便越來越覺得在祖國—— 法國裡，自己就形同一個「陌生人」一般。作為一個在香港長期居住

的歐洲人，我想這大抵是激發我對個人身分產生好奇的原因。這個過程為我帶

I 來靈感，令我的藝術作品集中在個人身分的概念上。我以繪畫和裝置作為開始， ?但我的興趣很快便轉向公共空間和戶外工程。我覺得戶外空間對我的吸引力自小時候已經開始。我總是感受到一種要置身於家中幾扇牆之外的迫切性。我

從未真正嘗試了解為何戶外空間對我造成如此大的吸引力：是因為那空氣、因

為活動時有更大的自由度、還是純綷基於我對觀察新人新事的好奇心？我只知道每當我獨自走在城市忙錄的街頭，看著人群的噪雜聲音圍繞著我，我便會從中得到靈感。十二年前，我首次來到這裡，灣仔和銅鑼灣的街道便確切地為我

帶來很多刺激，而它們至今仍然如是。這種對戶外空間獨特的鍾愛引導我利用公共空間創作藝術。我在香港的首

份作品是將三十八把黃色傘子放在沙田的城門河裡漂浮，我將它稱之為《航

行》。它在概念上說明了我的個人旅程：一個在鄉間長大的法國小孩，慢慢移近城市，然後在香港居住了許多年。這是一個會將經驗累積起來，並向下一個目的地進發的旅途。就像那些被潮水推送，隨著河流起伏的傘子一樣，這個旅程本是預料和計劃好的，但它的結果卻是未知和不能預測的。在這裡，它反映

了我們個人身分的發展。

在籌備這個計劃的時候，我需要就安全和環保的問題與香港不同管理機構的人仕接觸。其後我認識了主管河流生態的公務員蔡先生，他耐心地聆聽我的計劃。雖然我懷疑他能否完全明白我個人身分的困惑與黃色傘子連繫於一起的概念，但蔡先生對我的計劃十分熱心，他還在第一次的會面中批准了我的計劃呢！此外，他的部門利用他們的其中一艘小船為我提供了完全的技術支援。他對藝術所抱持的正面

態度，並他的鼓勵都確切地推動了我的信心。傘子製造商同樣給予我很大的支持，儘管它們延遲了一天

送貨，而傘子的顏色亦不合要求！總經理蔡先生通宵重造傘子，並於第二天表演前的幾小時親自送往沙

田。整個過程實在是一個真實的考驗，但得到這些人的支持及我的同學的幫助，這個作品非常成功，更是一次最有價值的經驗。它突顯了典型「做得到」的精神，這亦是我如此喜愛香港的原因。它亦令我踏

上發展公共項目之途，自此我便一直走在這個路途之上。

我在香港完成的另一個很有趣的作品，是在愉景灣附近的其中一個更偏僻的海灘實地進行的。香港

>，而這些物品可以成為一個S感的真實

的海灘佈滿了被浪潮洗刷過的人造物品(你也可以稱它為垃圾！

來源和社會的反映。我收集了舊的鞋和拖鞋，每一隻都與其他不同，並將它們放在海灘上，排列得好像是一個人的腳印一般。過了一會，浪潮將它們移位，有效地令它們在毫無組織的情況下重新排列，?餘下來的一部分則向我們提醒了它們的存在。雖然如此，它們的旅程並不停留於此，它們有些隨著浪潮消失，其他則遺留在沙灘上的不同位置，等待下一個浪潮將它們移位。這個短瞬間的移位令我想起很多

香港人的命運，都是一般的遊移不定。人們都預期會離開和返回，卻沒有一個清晰的時間框架，將來既

3 0 8

是未知亦不能預測的，大部分時間他們都是沒有

計劃和預期的。這個也同樣是我的故事：我並沒

有計劃過如此長久地居於香港，也沒有預期自己會在六個月前遷往上海。

接續了身分和移位的同一主題，我在香港最

近期的作品稱為《抓緊》，它在大嶼山海濱畫

廊展出，作為「法國五月 J 的一部分。這個作品

背後的理念是說明我們怎樣抓緊過去的經驗，藉

以鷲助我們去應付現在。在香港長期居住根本地

—W

改變了我，儘管如此，我卻仍然依附著原本的歐

，乂選

洲文化，受其影響。這個經驗容讓我去從一個特別的角度審視各樣事物：事實上它對我的自我身

份建構是非常重要的。我認為我們在生命中所累

積並「抓緊」的經驗會改造我們的身分，容讓我們去成長和發展。為了說明這個概念，我取

了四百個掛衣鉤，並將它們排列成

_ 個形狀： ’V-

一個大的圓形，藉以意味我們的身分和經驗是

.乂.

連繫於一起的，但卻沒有明確的開始或終結

Exodus 於愉景灣展出的環境裝置

香港，二零零四 Exodus Site specific work on a beach in Discovery Bay, Hong Kong, 2004

o 9

而三座塔則表示了新的和不能預計的元素。我將它們架置在外頭，並在裝置裡邊加入

燈光。如往常一樣，我在設置這個展賢時遇到挑戰，但香港的「做得到」精神再一次幫助我克服困難。在我打算到香港架起裝置的前一天，我遺失了我的護照，因此我的丈夫得為我用幾個? 大的箱子運送它們！接著他和美術館的主人鄺安柱會面，他很好心地

將那些擺放掛衣鉤的箱子拖到船上，並將它們送往大嶼山，甚至還提議替我把它們安裝起來呢！幸而我在一天後尋回自己的護照，趕忙飛返香港，在我的其中一位香港朋友的幫忙下，我總算能準時完成裝置。

總括來說，我在上海已經居住了六個月，但於我而言，將有一個特別的位置永遠為

香港存留。作為一個在香港修讀西方藝術的西方學生，這對我個人與藝術的發展均有顯著的影響。在香港發展我的藝術事業確實令我更容易在戶外空間從事自己的興趣，但無

論我的下一個作品是怎麼樣、會在哪裡進行，我知道我都會繼緝享受這類工作所帶來的

挑戰，並享受在創作、協商和實質裝置工作中所發展出來的多元關係。我的旅程還在繼續呢！

維珍妮

現為香港藝術中心藝術學院及澳洲皇家墨爾本理工大學合辦之藝術系碩士課程學生

My experience in making art in Hong Kong has certainly

been very rewarding: Indeed, it has had a major influence on my life. Being the only westerner in the BA course, co¬

presented by the RMIT University and The Art School in Hong Kong, it gives me a few challenges. First I could not (still can't!) speak Cantonese, which meant that I could not

really understand what was going on with my classmates most of the time! But it was a great experience, giving me

real insights into Chinese society and culture. After living in an Asian environment for 12 years, my own perceptions have

changed a lot. While I could slowly relate more to the Chinese culture, I increasingly felt like a "stranger” to my

home country: France. I think this was the reascrn why I

became intrigued by my identity as a European person living in Hong Kong for such a long time. This process inspired me

to focus the theme of my work o ? my identity. I started with

painting and installation art, but quickly turned to the public

space and outdoor projects. I think my interest in outdoor

space started when I was a child. I have always felt the urge to be outside the walls of my home. I never really tried to

understand why outdoor space was so attractive to me: is it

the air, the freedom of movement or just the curiosity of something or somebody new I could observe? But I do understand that I always feel inspired walking by myself in the busy streets of a city, watching the buzz of the crowd around me. The streets of Wanchai and Causeway Bay certainly gave me a plenty of excitement when I first came, 12 years ago, and they still do today.

This particular attraction to outdoor space led me to make works in public spaces. My first project in Hong Kong was made with 38 yellow umbrellas floating on the Shing Mun River in Shatin. I called it Voyage, as a conceptual illustration of my personal journey: a French child bought up in the country side, slowly moving towards the city and then living in Hong Kong for so many years. It is a voyage in which experiences have accumulated and will be transported to the next destination. Like the umbrellas carried by the tides, up and down the river, the voyage is anticipated and planned but the outcome is unknown and unpredictable. In such a way the work mirrors the development of our own identities.

When I was preparing for this project, I had to get in contact with various people from different authorities in Hong Kong for a range of safety and environmental issues. I then met Mr.Choi, a civil servant in charge of the rivers ecology, who patiently listened to my project. Although I doubt whether he fully understood the tribulations of my identity in relation to the yellow umbrellas, Mr. Choi was so enthusiastic about the project that he gave me his approval at the end of our first meeting! His department also gave me full technical support, including the use of one of their boats. His positive attitude towards art and his encouragement were truly a boost to my confidence. The umbrella manufacturer was also of great support, despite the fact that the umbrellas were delivered one day late and of the wrong colour! Mr. Ng, the general manager, had them remade overnight, and delivered them himself the next day, a few hours before the performance! The whole process was a real challenge, but with the support of these people and the help of my classmates, the project was a success and a most rewarding experience. It highlighted the typical #can do* spirit that I so love about Hong Kong, and it got me started on the road to project in public space, a road which I have been traveling along ever since.

抓緊大嶼山海濱畫廊，是次展出為「法國五月」的一部分，香港，二零零五

Hang On Sea Ranch Gallery on Lantau Island, for the French May Arts Festival ,Hong Kong, 2005

Another interesting project I completed in Hong Kong was a site-specific work on one of the more remote beaches near Discovery Bay. The beaches of Hong Kong are full of man-made objects washed up by the waves (you could also call it rubbish!), and these objects, while reflecting can be a real source of inspiration. I gathered old shoes and plastic slippers, each one of them different, and placed them on the beach, organized like the prints of a person walking. After a short time, the waves displaced them and effectively rearranged them in a disorganized way, with little left to remind us of their existence. However, their journey didn’t stop there. Some of them disappeared with the waves, while others were left on the sand in different places, waiting to be moved again by the next wave. This transient experience of displacement reminded me of the fate of so many Hong Kong people, always on the move. People are expected to leave and come back, without a clear timeframe. Their future is unknown and unpredictable, most of the time unplanned and unexpected. It is also my story: I did not plan to live in Hong Kong for such a long time, nor did I expect to move to Shanghai six months ago! Continuing with the same themes of identity and displacement, my most recent public project in Hong Kong was called "Hang ON", exhibited at the Sea Ranch Art Gallery on Lantau Island as part of the French May festival. The concept behind this project was to illustrate the way we hang on to our past experiences to help us deal with the present. Living in Hong Kong for so long has changed me fundamentally. Despite this, I am still attached to, and influenced by, my original European culture. This transcultural experience allows me to see things from a special perspective. In fact, it is vital in defining me as an individual. My idea of the projects that it is the accumulation of these different experiences in our life, which we all Mhang on" to, transform our identity and nurture us to grow and develop. To illustrate this concept, I took 400 coat hangers and arranged them into two set of shapes: a large circle signifying the union of our experiences in our identity, yet with no real beginning or end, and three towers representing the new and unexpected. I mounted these outdoors and added lighting inside the installation. As usual, I encountered my share of challenges in putting on this exhibition but, once again, Hong Kong’s *can do' attitude helped me get it done. I lost my passport

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Exodus 於愉景灣展出的環境裝置

香港，二零零四

Exodus Site specific work on a beach in Discovery Bay, Hong Kong, 2004

the day before I was going to Hong Kong to put up the installation, so my husband had to transported several huge boxes of hangers for me! He then met the gallery owner, Andy Kwong, who kindly hauled the boxes of hangers on the ferry to Lantau, and even offered to install them on my behalf! Luckily, I found my passport one day later, I flew to Hong Kong in a hurry and managed to complete the installation on time, with the help of one of my Hong Kong friends. I have been living in Shanghai for the last six months, but Hong Kong will always hold a special place in my heart. Being a western student learning western art in Hong Kong has had a significant impact on both my personal and artistic development. Developing my artistic career in Hong Kong certainly made it easier to pursue my interest in outdoor spaces - but whatever and wherever the next project will be, I know I will continue to enjoy the challenge of this kind of work, and the diverse relationships developed through

creativity, negotiation and the actual installation work. My journey continues!

? Virginie Lerouge Knight Virginie Lcrouge Knight is student of Master of Fine Art course at The Art School, Hong Kong Arts Centre (A joint course with RMIT University].

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香港視覺藝術的動態 : 九九八至二零零五 The Chlanging Dynamic of the Visual Arts in Hong Kong:

1 998-2005 泰利 ■百

Terry Batt 翻譯：林景娜

!s ua Visua Visua Visua Visua Visua Visua Visua Visua Visua Visua Visua Visua Visua Visua

uifc" •一，一

我在一九九七年十月首次來港，同行的是一位來自澳洲皇家墨爾本里工大學的同事白啟宏教授。那次我代表大學來港公幹，離開前並未能

由空大量研究香港的背景。早前我留意到英國把香港的政權歸還中國，它亦成為世界性的頭條新聞。我沒有預期將會遇到的事情。當然，我才香港藝術環境的性質及當代本地藝術家的主流興趣和焦點只有極皮

的認識（如果有的話 ?我的第二個家。

。八年後，來這裡公幹已經四十多次，香港便成

在那八年間，我觀察到香港的不少轉變，尤其是在視覺藝術的內容上。身為一個藝術

家以及學者，我有幸接觸到很多與藝術有關的人，如館長、博物館的主管、畫廊的主管、藝術作家、學術作家，最後 (但絕非不重要) 還有藝術學生和藝術家。最近幾年有很多熱情

而具才能的藝術家在藝術學校畢業，年輕一代的藝術家湧現，充滿活力、決心和目標。香

港藝術環境的動態有了決定性的轉變，藝術家不再願意無事可做地坐著等待。當藝術的基礎建設，包括官僚政策、畫廊和博物館等繼緝徘徊不前，它們在等待時機來臨，直至藝術

家舉起門閂，為自己開創活動、製造機會。藝術家開辦藝術空間如Pare/Site 藝術空間、舉行畫室展賢作為每年的盛事(如〈伙炭 >)，這些都已經成為憒例了。

香港的藝術家多年來遊歷歐洲、英國和美國去接受培訓。對於藝術家如王無邪和關晃而言，他們在美國所花的時間是絕對值得的。他們的經驗對年輕一代、打算短期居住和報

讀研究生課程，藉以尋求國際機會的藝術家來說很有影響力。何兆基、黃國才、余偉聯、黃麗貞、馮笑嫻和譚偉平等藝術家已在海外完成他們的學習。在過去五年裡，他們身兼從事藝術家和教師，對本地藝術環境有顯著的影響。近來，在香港修讀正規藝術範疇的機會戲劇性地加增。現有大學生課程和研究生課程供學生選擇，與過去相比，這提供了更彈性的學習安排，令學生能在工作、家庭和學習上取得平衡。自二零零零年起，已有超過二百名學生取得藝術學位，並在香港藝術中心藝術學院與澳洲皇家墨爾本理工大學合辦文學士(藝

術

? 9

>、藝術碩士課程畢業。

新一代的藝術家在那些課程中初露鋒芒。這些藝術家有視野，決心獻身於香港，在這個可行的，具創意又精密的文化環境中發展。這一代的藝術家擁有一個真實確切的群體意識。近來，藝術家在舊工業區的工廠如火炭、柴?和觀塘建立工作室，這些藝術家經已凝聚力量。開放藝術家工作室如明報工業中心的〈開閘〉或在火炭一年一次的開放工作室活動都已吸引了相當多的公眾關注，甚至是政治關注。這些藝術家的身份正逐漸為人所認

識。他們認知到自己的身份和文化是內發的，而非由外在環境強加其上。隨著對創意工業的文化地帶發展和政制建立的討論越來越多，藝術家的身分和性質必須得到尊重，他們須被公認為不可或缺的部分。沒有藝術家就沒有「創意工業 J，正如沒有音樂家就沒有音樂工業。藝術家必須維持發言權，並要求得到別人的聆聽。

香港首次參與第四十九屆威尼斯雙年展，這是一個重要的里程碑。也許它可以被解讀為心理上的一項重要聲明，意圖宣告即將來臨的成熟感。在這幾年來，當代香港藝術雙年展

誘發了廣大的期望，而現存藝術家和新興藝術家如謝淑婷，林秀清和鄭廣泉的作品中亦充滿著無限的趣味和刺激。在 1a 空間、香港文化博物館、嘉圖現代藝術有限公司、約翰百德畫廊、10 Chancery Lane 和精藝軒舉行的展出令人難忘，為快將成為活躍的、好動的環境提供

了一個附加的力量量度。隨著每一代新興的年輕藝術家誕生，這個環境會繼續繁榮和成長。這是一個充滿創意的環境，以強烈的群體精神為中心，每個人都能參與其中，作出貢獻並獲得尊重。

泰利•百 terry.batt@rmit.edu.au 泰利 •百於麻省藝術學院獲藝術碩士學位。他是一位藝術家，同時亦是澳洲皇家墨爾本理工大學藝術系教授，

現為香港藝術中心藝術學院與澳洲皇家墨爾本理工大學合辦藝術碩士之課程主任。

0 9 9

K-

I first travelled to Hong Kong in October 1997 with a

colleague from RMIT University, Professor Kevin White. It was a business trip on behalf of the university and I had not had time to engage in a great deal of background research

about Hong Kong prior to my departure. I was had been aware of the handover from British to Chinese sovereignty

earlier in the year and that it had made world headlines. As

such I had little expectation of what I would encounter. I

certainly had very little understanding, if any of the nature of the art scene in Hong Kong and of the cross section of the

prevailing

interests

and

focus

amongst

the

local

contemporary artists. Eight years later, with more than forty trips under my belt and Hong Kong has become my second home.

During that eight years period I have observed many changes in Hong Kong

especially within the context of the visual arts

scene. In my role as an artist and an academic I have been

fortunate to have met many people related to the arts, such

as curators, museum directors, gallery directors, writers about

art, academics and last but by no means least, art students and artists. With many enthusiastic and talented artists

開蘭開放藝術家工作室

香港，二零零二 Kai jÿha Oÿerrÿtudio events HoÿaKong, 2002

"二

HUB

■士：

’ÿ

graduating from art schools in recent years there has emerged a generation of young artists with energy, determination and purpose. There has been a decisive change to the dynamic of the art scene within Hong Kong. Artists are no longer prepared to sit back and wait for things to happen. While the art infrastructure, including bureaucracies, galleries and museums continues to meander along whilst biding their time artists have raised the bar. They have initiated activities and created opportunities for themselves. Artist run spaces such as Para/Site art space and open studio exhibitions as annual events, such as Fotanian have become the

norm. For many years artists from Hong Kong travelled to Europe, Britain and America to gain Their formative training. For artists such as Wucius Wong and Jerry Kwan time spent in the United States of America was substantial. Their experiences have been influential to a younger generation of artists who have sought international opportunities through short term residencies and postgraduate study. Artists such as Ho Siu Kee, Kacey Wong, Francis Yu, Anissa Fung and Lucas Tam have all completed postgraduate study overseas. Their impact on the local art scene over the past five years as both practitioners and teachers has been significant. Viable opportunities for formal study in the fine art disciplines within Hong Kong has increased dramatically in recent times. Undergraduate and postgraduate degree options are now available to students which offer more flexible study arrangements than in the past, allowing students to maintain a balanced relationship between work, family and study. Since 2000 more than 200 students have graduated with a degree in fine art from The Art School that conducts BA and MFA courses in partnership with RMIT University in Australia. A new generation of artists is beginning to emerge from such programs. Artists who have a vision and 3 strong sense of commitment to the development of a viable and creatively rigorous cultural environment within Hong Kong. There is a real and genuine sense of community present amongst this generation of artists. Artists working from studios recently established in former factories in industrial areas such as Fo Tan, Chai Wan and Kwun Tong have gathered momentum. Open studio

events such as Kai Zha at the Ming Po Industrial Centre and the annual open studio events at Fo Tan have created considerable public and, hopefully, political attention. There is a growing sense of an emerging identity amongst these artists. They are cognisant that both identity and culture emerge from within rather than imposed from external sources.

開閘

開放藝術家工作室

香港，二零零二 KaiZha Open studio events Hong Kong, 2002

With increasing discussion based on the development of cultural districts and the establishment of policies relating to the "creative industries” it is essential that artists be acknowledged as being central to such decision making and their views be integral to the final outcome. It is hard to imagine a creative industry without the presence or recognition of the artist just as there cannot be a music industry without musicians. Artists must maintain a voice and demand to be heard.

Hong Kongs inaugural participation in the 49th Venice Biennial was a significant milestone. Perhaps it could be read as an important psychological statement of intent heralding an impending sense of maturity. The Hong Kong Contemporary Art Biennial has generated immense anticipation in recent years and has developed considerable interest and excitement in the work of established artists and that of emerging artists such as Anthony Lam, Tse Suk Ting and Cheng Kwong Chuen. Impressive shows at 1a Space and the Heritage Museum as well as at commercial venues such as Grotto Gallery, John Batten Galleries, 10 Chancery Lane and Art Beatus have provided an added dimension to the momentum of what is fast becoming a vibrant and dynamic environment. An environment that will continue to flourish and grow with each emerging generation of artists. A creative environment which is centred around a strong sense of community spirit in which everyone can participate and make a worthwhile contribution which is respected and valued by all.

Terry Batt terry.batt@rmit.edu.au

Terry Batt obtained a Master of Fine Arts from Massachusetts College of Art. He is an artist and Professor in Fine Art at RMIT University in Melbourne, Australia. He is a frequent visitor to Hong Kong teaching at The Art School in his capacity as the RMIT University program manager for

postgraduate studies in Fine Art in Hong Kong.

0 4

從學生角度探討藝術?育

Exploring Art Education Perspective from a Student's ll 黃毓文 Uohn Wong

Translator:Stephanie Cheung

藝術學院課堂情況，二零零五

Lecture in The Art School, 2005

••

根據觀察，現時的藝術教育強調溝通的重要性，同時更強調老師的權威性的

降低。我感受到這樣突顯出藝術教育中師生更難溝通，甚至同學之間亦難以在

課餘時在藝術範圍內溝通。這可能關乎學員是否客觀，以至學歷背景不同，某些因素則比較複雜，例如對藝術教育方法的疑惑。本文章會敘述我對就讀藝術學院兩年，對本校藝術教育的一些看法及感受，望能從學生角度引起進一步討論。 1

首先，我認為學生應以自己的方式去配合學校的藝術教育方法，如對教育

方法不滿或不明白也應主動和老師溝通清楚。如個人學習方式和學校制度完全不能共存，的確有需要重新思考自己的需求是甚麼。這與「不同人審美態度上

的差異」無關，而是關乎個人對「學校所設定的藝術教育方法」的了解和接受程度。

在凱莉 •費德門和王士樵的文章〈當代美術教育的發展與變革〉中其實已簡要

說明學生和老師在這段教學關係所扮演的角色：

n... 這些新主張強調教學與學習的活動應該建立在教師與學生之間的夥伴關係上：教師的角色是輔導者而非指導者，學生可發展個人的想法

接受老師的支

援但無須照單全收；因此，美術課程即是學生與老師溝通與傳遞觀念的媒介，

也是學生接觸並理解課堂上與課外之人、事、物、圖像的重要依據。" (飢莉 •費德門，王士樵，二零零三 >

既然教師的角色是輔導者而非指導者，即是這段教學關係中，主導角色己由老師轉到我們身上，而我們亦由被動轉為主動學習。雖然我們是主動學習，但老

師亦會要求學生以相片或文字等證明自己的學習進度。在本校的教育方法下，我們需要更努力主動尋求自己喜好的學習方向，所以我們的努力不應少於學院

式藝術教育時，而有些媒介運用之技巧更需要自己跟進。學校制度對學生的作品是有自己的一套計分或理解方法，我們學生還是處於必須接受和盡量配合的

被動位置。另外，社會對藝術創作的態度也影饗了我們學生如何認知自己所接受的教育。社會普遍認為藝術創作是一種自主的行為：是完全依照喜好而做而且是不

可受其他人干預的。我不反對藝術是自主的行為這一環。但就這論調，我卻懷

!? !?

疑何謂自主的行為呢？是即興、參考名家作品、過去經驗累績或有計劃實行

呢？我認為問題不在於創作方法是否正確，而是當創作者正在做自主的行為 9

時，是否知道不同的創作方式對自己的意義。如果開始時，創作者的標準便是連自己

也不大清楚的標準，不但反思或與人溝通會比較困難，也影響探索及表達自我的進程。校方可以考慮將此類形題目與課程關聯，令學生有更多切身的討論。

我們己經受環境和媒體的審美態度深切影響，主動詳細了解不同時期的審美觀和連

帶受影響的藝術教育及美學，才能更好利用當代藝術教育鼓勵學生主動學習這長處。在藝術中心的純藝術（繪畫學士課程中，我估計校方是採取「傳授藝術的道理」和

「以學生的經驗與當代現象為考量的互動關係」等新舊方法同樣並重。這已比完全採

納當代美術教育方法，更關心不同學生的實際需要。但因每個學生情況不同，對以理論延伸的教育方法有時會誤解或未必會接受。既然教學與學習的活動應該建立在教師與學生之間的夥伴關係上，我認為校方的確有需要多介紹本校美術教育方法。作為學

生，經常提醒自己在了解課程的用意和體驗實際情況後，能有相對應的思考及行動。雖然學生各有所求，不能一概而論，但在藝術層面上多增意義或交流，也是相當寶貴的經鹼。

註躅

凱莉費德門是北伊利諾伊大學的藝術教育系教授費德門教授的研究，集中於藝術、文化和技術在課程中之關係。費德門教授調查了藝術教育在社會方面的作用，並且通過她的教學、研究和文字，促進文化認識。

費德門教授合著創作的書本有：《藝術教育：對課程的方法》，《電腦科技的變換》，合編書本有《課程、文化與藝術教育》。她著有書本《視覺文化教學》，另外，費德門博士在藝術教育和科技方面出

版了 70 個文章及書籍章節，包括在《國際教育百科全書》、《藝術教育研究》等。

並且，費德門教授在許多編輯委員會擔任要職，目前是全國藝術教育協會研究學報，《藝術教育研究》的資深編輯。她為國家會議關於藝術教育政策研究的成員。二零零零年，她被選為全國藝術教育協會之卓越人士。

參考資料：凱莉 •費德門，王士樵 •《當代美術教育的發展與變革》，美育雙月刊，二零零三。

鐘生官，《口頭對話在美術鑑賞之應用》，美育雙月刊，二零零三。楊馥如 •《現象學說及其對美術教育的啟示》，美育雙月刊，二零零三。黃美賢，《成人如何自我導向學習繪塞鑑賞》，美育雙月刊，二零零三。

黃毓文 twskwong@netvigator, com 黃毓文現為香港藝術中心藝術學院與澳洲皇家墨爾本理工大學合辦之藝術學士課程學生。

藝術學院工作室一景，二零零五

Studio in The Art School, 2005

...ft.

•x,

5 1ÿ3

藝術學院工作室一景，二零零五 Studio in The Art School, 2005

Communication between teacher and student is

becoming more and more important in art education.

Teachers are encouraged to be less authoritative. However, this has made communication ever harder. Somehow, it is

difficult even for the students to talk about art among

themselves. It is because not all students are equally objective, and each of them has a different background. Some other factors, such as doubts concerning teaching

methods are more complicated. This article conveys my views

and feelings towards art education. I hope that this

student's account will stimulate further discussion. Above all, students should find their own ways to cope with the school's system. If they are unsatisfied or have questions,

they should talk to the teachers. If an individual's way of

learning does not go well with the school's system, s/he should reconsider what s/he really wants. This has nothing to do with individual aesthetic judgment. Rather, it has more to do with the individual's understanding and acceptance of the school's system.

Kerry Freedman s Changing Directions : Shifts in Contemporary Art Education discusses the roles played by teachers and students in education. In recent years, new theories advocate a partnership between teachers and students. The teacher's role is to guide, but not instruct. Teachers are there to help students develop their own points of views. Art education is a channel for teachers-students exchange. That means if teachers are mentors and not instructors, students have to take up an active role in learning. Learning actively and not learning actively are obviously different. Sometimes, these can be seen from the students1 works. Under the current system, we still have to work towards our own goals. We have to work even harder than we did at the old school days. We have to master techniques of different media on our own. The school has its own assessment scheme. As students, we can only accept it. Society’s attitude to creative work has also affected our understanding of education. In general, people consider art-making an autonomous action - absolutely eccentric, independent from all interference. I agree that art-making is autonomous. Yet what is autonomous action? Is it improvising, making references to masterpieces, working from experience or realizing plans? The issue is not whether a method is right or wrong, but the meaning of different methods to oneself. When one starts working, the "standard” is unclear even to oneself. This has not only made rethinking and communication difficult. Self-expression is also jeopardized. The school should consider linking issues like this to the curriculum. This would generate more discussions among the students.

We are deeply affected by society and the media s sense of artistic judgment. An understanding of changing evaluation standards and the subsequent changes in art education is crucial if one wants to optimize his/her art training. For the Art Centre s BA (Fine Arts - Painting) programme, I suppose the school value old and new teaching methods equally. Instruction and interaction are of equal importance. This is actually more thoughtful than embracing the new model completely. Yet every student is different. An education that is based on theory may not suit everyone. I think the school should state its policy more clearly. As students, after learning more about the situation, we should react appropriately. Although everyone has his/her own interest, interflows are always valuable.

2 4

End note

Kerry Freedman is a Professor of Art Education at Northern Illinois University. Professor Freedmans research focuses on questions concerning the relationship of curriculum to art, culture, and technology. Throughout her career, Professor Freedman has investigated social aspects of art education and promoted cultural understanding through her teaching, research, and writing. Professor Freedman has co-authored a book titled Postmodern Art Education: An Approach to Curriculum, 3 book titled Transforming Computer Technology, and co-edited the book Curriculum, Culture, and Art Education. She has authored the book Teaching

Visual Culture. Dr. Freedman has published over 70 articles and book chapters on art, education, and technology, including articles in the Internationa! Encyclopedia of Education, Studies in Art Education. Professor Freedman has served on many editorial boards and is currently the Senior Editor of Studies in Art Education, the research journal of the National Art Education Association. She was elected to the national Council for Policy Studies in Art Education. In 2000, she was elected a Distinguished Fellow of the National Art Education Association.

Reference Chang, Shcng-Kuan, The Application of Dialogue for Teaching Art Appreciation, Journal Of esthetic Education, 2003. Freedman, Kerry ft Wang , Shd-Chau • Changing Directions: Shifts in Contemporary Art Education,

Journal Of esthetic Education, 2003. Huang, Mci-hsien, How Should Adults Appreciate Paintings through A Self-directed Learning, Journal Of

esthetic Education, 2001, Yang, Fu-ji, The Theory of Phenomenology and Its Revelation On Art Education, Journal Of Esthetic Education, 2001.

John Wong twskwong@netvigator.com John Wong is student of Bachelor af Fine Art course at The Art School,

Hong Kong Arts Centre (A joint course with RMIT University).

2 5

The Art School Hong Kong Arts Centre HONG KONG ARTS CENTRE 香港轚

術中心

香港灣仔港灣道二號香港藝術中心二樓 B ShopB, 2/F, Hong Kong Arts Centre, 2 Harbour Road, Hong Kong Gall

our

Contact Person 聯絡, M s. Carol

9362001 8 虛文謙 61 39 4987

Wed to Sun : 12:30pm to 7:30pm Mon to Tue : by appointment

Ms. Virginia Lo

Tel : (852) 2834 01 23 Fax : (852) 2834 0883 em a : admin@tooart.net

Carol Lee, Alex Heung Caroline Leung, Virginia Lo

Supported by

?? ArtsLink

筆談藝術多個年頭不斷演進圖文探索文化藝術創意不斷訂閱電話：852-2582 0218

www.hkac.org.hk

發行地點 Distribution Centre 藝術學院?學中心，香港灣仔皇后大道東 183 號合和中心 17M 樓二樓原作，香港灣仔港灣道 2 號香港藝術中心二樓

2 8

The Art School Learning Centre, 17M/F, Hopewell Centre, 183 Queen's Road East, Wanchai, Hong Kong Too Art, Shop B, 2/F, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong.

嗚在此感謝曾支持白文本創刊的

謝

藝文公司澳洲皇家墨爾本理工大學藝術碩士及學士學生；及

香港藝術中心藝術學院高級文憑，文憑及證書課程學生；及香港藝術中心藝術學院各講師及職員；及

士

所有參與白光影獨立短片及錄像欣賞會之藝術家；及

張慧婷

團

體

陳淑雲

尹麗娟黎美蓮

陳錦成

Acknowledgement White Text would like to thank people and organizations, who support the first issue of this publication.

Artsman Company

RMIT University Master of Fine Art (MFA) and Bachelor of Arts (BA) students, and Hong Kong Arts Centre The Art School Higher Diploma, Diploma and Certificate students, and

Hong Kong Arts Centre The Art School Lecturers and Staffs, and

All artists who participated in White Light- Independent Short Film and Video Showcase, and

Stephanie Cheung

Suki Chan Annie Lai-kuen Wan Eliza Lai

Chris Chan

白管子

圓 ?灌祕

術中心

ISBN 962-7630-63-2

9 789627 630630