White Text #2 白文本 (第二期) by hongkongartschool

Sÿxiy4-i LUHITE TEXT 2006 | 第二期

| NUMBER

| HKS50 | Student

HK$45

編輯總監 Editing Directors

白文本 WHITE TEXT

鄭凝姿何兆基譚偉平余偉聯黃麗貞

二 ??六年六月第二期

Tang Ying Chi HoSiuKee Lukas Tam Yu Wai Luen Fiona Wong

執行編輯 Executive Editors 老慧行楊曉棠余琦琦盧慧珊何穎雯

Venus Lo Candy Yeung Yu Kei Kei LQ Wai Shan Kurama Ho

Number 2, June 2006

《白文本》主要經由學生編制，由白管子基金支持發行。其得以順利發行，有賴眾多香港藝術學院現屆及畢業學生

刊物任何部份若未經版權持

美術編輯 Art Editors

有人允許，不得用任何方式抄

香建峰 Alex Heung 石俊言 Stanthony Shek

襲或翻印。本刊物所表達之

意見或觀點及其所有內容，

常務編輯 Managing Editors

不代表番港藝術學院，白管

黃振欽 Wong Chun Yam 李雪盈 Lee Suet Ying

子之立場。

中文顧問編輯 Contributing Chinese Text Editors

袁婉荷 Yuen Yuen Ho 黎美蓮 Lai Mei Lin

定價：港幣五十學生：港幣四十五

英文顧問編輯 Contributing English Text Editors 廖慧楊 Gloria Liu 黎美蓮 Lai Mei Lin Jeff Zroback

毅柏廣?有限公司 Apex Creative Services Ltd.

White Text is a semi-annual publication supported by White Tube Funds. Its achievement comes from contributions and voluntary works of students and graduates of Hong Kong Art School. 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 view of White Tube, Hong Kong Art School.

白管子網頁 White Tube Website

Single Issue:

http://www.whitetube.org

General HK$50 Student HKS45

出版 Publisher 白文本 White Text

聯絡地址 Address 香港漘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

? 詢熱線 Information Enquiry (852) 29222822

電郵 e-mail info@whitetube.org

發行日期 Publication Date

2006 年 6 月 June 2006

於香港印刷 Printed in Hong Kong

發行置 Distribution Copies

國際標準期刊號

一千本 1000 Copies

ISSN: 1 81 8-5657

編

第一期的《白文本》自九月出版以來，得到各方熱烈的支持，致使第二期可以繼?出版，資在

非常感謝。

輯

是期仍以開放主題的形式，由作者決定自己文章的方向和內容，為的是要照顧到各樣興趣和

值得關注的事情，把香港藝術的面貌更遼闊地展示出來。深信《白文本》如能繼續出版，將會反映更多的藝術情況讓更多人透露心中的想法。

語

第二期的作者包括多位蘩術歷史學者、藝術工作者和藝術學生。無獨有偶，有多篇文章都對「如何看 / ?讀」或「從那個角度看 / ?讀」的情況有所懷疑和批判 "如黎美蓮對首本由中國

內地學者撰寫的香港藝術史作出多方面的質疑，包括有關資料的搜集和出處、越洋的?解方式及過度簡約化的問題；亦因其偏重於單一的純藝術層面討論，未有把香港的藝術發展聯轚到社會的因素內 •而把許多的人物和事件遺漏。 I

緊接著黎氏的文章是由老師領導學生作出回應針對歷史事實，道出個人的體會和反省。由不知到認知，以致產生醒覺和批判力，都反映活躍學習和主動批判的重要。由張慧婷老師以至各個同學的文章，都直接提到藝術史的非必然性。 I

林志光以藝術工作者的身份，從「看 j 出的真實到現代的模擬和抽離狀態，提出「看」是邋原」的意思，也有「反思」的意味，要回到原來的狀態，才可看到真相。顯然，林氏對現代社會的

s 術發展，並不完全贊同。

同樣的情況，陳育強亦對單向的現代蕕評作出論述，質詢其有效性，以藝術家的角度去提出雙向、即藝評家與蕕術工作者的共同發展。

以上的文章都對本質的問題有所懷疑，對現代蕕術的發展不輕易相信和認同 •事實上，現代藝術在資訊科技的發展下，都不曾 / 能完全地蓋上面紗，接受讀者的批判是必然的事情。接著，有鄧凝姿和霍少霞的文章。兩者分別為藝術工作者和藝術歷史學者她們以個人文化身份去?讀其他人的事情，當中提及「東方人和身體作為根本的論述」 * 雖然所謂「東方人」 |

或「東方人的觀點」的理念在現代的各種描述中並不完全明確但作為自我的批判和反省亦未嘗不可；至少「身體作為創作的力量」有不少有意義的符號可以作參考和研究。 |

最後，李美娟以蕕術學生的身份，走進蕕術推廣的層面 •大膽地把藝術與商業聯轚起來，開辦了一間畫廊。雖然其成績未必可以能與一般專業的畫廊相比較，但能勇於承擔賁任卻是難

能可貴。今期另有_ 特色是加添了藝術工作者自述環節，邀請尹麗娟對自己的創作內容作更多的陳述，希望加強讀者對本地藝術工作者的了解。

另外，《白文本》的學生編輯主動地開始「與《白文本》作者對談」討論會 ’加強校內學生與作者在文章以外的溝通，亦歡迎其他人士參與。《白文本》的營運仍然是幼嫩的，亦由於資金的有限未能造到對每夠的回報，深感還憾，希望在不久的將來能有所改善。 |

? 鄧凝姿編輯總監

位作者和翻譯者有足

0 0

Editorial Note Since its debut in September, White Text has received tremendous support, which made the publication of a second issue possible and to which we owe our sincere thanks.

In this issue, we maintain the open topic format through which contributors have the liberty to decide on the direction and content of their articles. The purpose is to cater various interests and concerns and to present fagades of Hong Kong's art scene in a more dynamic way. We believe that should White Text continue to exist, we will be able to reflect more about the art scene and enable more people to voice their thoughts. Contributors for this issue comprise of art historians, artists and art students. Coincidentally, more than one article express doubts and critiques on the notion of "how to read /interpret" and "from which perspective should one read /interpret" Lai Mei Lin's review of a book on Hong Kong's art history written by a Mainland scholar raises questions such as the collection and sourcing of information, interpretation with a foreign perspective and over-simplification. She also points out that the author puts too much emphasis on pure art and fails to relate art development in Hong Kong to various social contexts, hence leaving out important names and events. Following Lai's article are students' testimonials, under their teachers' guidance, expression their individual reactions to and reflections on historical facts. The fact that students manage to evolve from ignorant to knowledgeable and become aware and critical is a reflection of the importance of active learning and proactive critique. The articles by Stephanie Cheung and students have also pointed out directly that art history is not to be taken by granted.

Lam Chi Kwong speaks from an artist perspective. From seeing the reality to modern day's simulation and detachment, he proposes that to see is to return, and also to an extent to reflect. One must go back to the origin in order to see the truth. Lam obviously has a different take on art should develop in modern society. Similarly, Chan Yuk Keung also questions the validity of one-way directional art criticism. As an artist, he proposes a two-way direction for art development, i.e. collaboration between art critics and artists.

The above mentioned articles all raise doubts about the issue of nature/intrinsic value, and display their hesitations to believe and identify with modern art development. In fact, in the age of information technology, modern art can no longer hide under a veil. It is only inevitable that they are subject to critique. Next come articles by artist Tang Ying Chi and art historian Silvia Fok. Reading the others with their individual cultural identities, they touch on the subject "Orientals and the body as fundamental discussion." Even though the so called "Oriental or Oriental perspective" is not fully specified in modern portrayals, they still serve as self-critique and reflection - at least the notion that "body as a creative force" has a lot of meaningful symbols for reference and study. Lastly, art student Carol Lee steps into the realm of art promotion and boldly opened a gallery, linking art and commerce. Its performance might not be comparable with a professional gallery, but Lee's commitment certainly deserves much appreciation.

A new feature in this issue is the addition of artist's monologue. For a start we have invited Annie Wan to explain to us about her work. Hopefully this will enhance our readers' understanding of local artists. Moreover, student editors of White Text have proactively started "Conversations with White Text writers" seminars to promote further communication between students and writers. These seminars are also open to anyone who is interested.

Still at a very early stage, there is much room for White Text to improve. Due to limited funding, we are yet to reciprocate the writers' and translators' efforts in a satisfactory manner. We are deeply apologetic for this and we hope the situation will improve in the near future.

Tang Ying Chi Editing Director

白文本第二期 White Text Number 2 001

編輯語 Editorial Note oo 斗

005

目錄 Content 短評朱琦之《香港美術史》 A Short Review of Zhu Qi's History of Hong Kong Fine Arts 黎美蓮 Lai Mei Lin

021

藝術史 •一年級 First-year Art History 張慧婷，李蕙茵

吳月娥

倪鷺露，周壁宏

Stephanie Cheung, Anna Lee, Anissa Ng, Lulu Ngie, Misa Chow 斗7

真的看 •看的真 Look Real Look True 林志光 Lam Chi Kwong

藝評的有效性 The Effectiveness of the Art Critique 陳育強 Chan Yuk Keung

067

繪畫：從西方藝術現象到個人創作 Painting From Western Art Phenomena to Works of Art

083

身體力量 -詮釋 Voila 和丸仔於第六屆「打開」國際行為藝術節的作品 Power of the Body: Voila and Yuen Jie at the 6th "Open" International Performance Art Festival 霍少霞 Silvia Fok

一切從一件好事開始 - 度身訂造的實驗計劃「二樓原作」 A Good Deed Makes a Start, "Too Art" : A Tailor-made Experimental Project 李美娟 Carol Lee

115

藝術家自述：「懷舊」與模製」 Artist Statement: Nostalgia in Moulding

「

尹麗娟 Annie Wan

短評

朱

培之 A Short Review of Zhu Qi's

History of Hong Kong Fine Arts

香

港美術史

黎美蓮

Lai Mei Lin

•.鳴扁V

•-..??

Wmmi

' ?

朱埼，《香港美術史》，書面。 Zhu Qi, History of Hong Kong Fine Arts (2005), book

Cover.

地

翻譯：錢雅婷

在朱?的《香港美術史》? 2005) 出版以前，Petra HinterthGr 的 Ar以?％

(1985) 可算是研究香港美術發展的最重要的著作。(註

令人嘆息的是，兩本書的出版雖已相隔近二十年，期間香港美術史的研究持續貧乏，故朱氏的書遂被眾多人士視為一個可喜新作。作

者曾在中國美術學院跟從著名的中國美術史學家王伯敏?授攻讀博士學位，此書正是按其博士論文而編寫而成。鑑於《香港美術史》的

涵蓋面既寬且遠，作者以兼讀的方式僅僅用了四年時間便完成其研究，確實令人羨慕又有點兒驚訝。正如很多通論式的美術史著作一樣，朱琦的研究是有系統地將內容依年次劃分為九個章節。作者

在前言內? 明了其研究的目標及期望，並綜述香港美術界在不同階段裏的構成元素，以及香港美術的基本特點；書末則附上? 990-2000

年間部份曾有記載的美術活動的簡介。

(註一>

參見 Petra Hinterthiir,

Ar/

Kong : Myer Publishing Ltd., 1985).

與 Petra Hinterthiir 的

比較

Arz /•»

朱璃的《香港美術史》似乎更加雄心壯志，覆

?的時期更長，從晚清一直伸延至九十年代末期。作者任重道遠，對這個前英國殖民地在二十

世紀的美術發展進行了廣泛的追縱，更某程度上把它放在社會及文化的脈絡裏去分析探討。全害九個章節共分成七個發展時期

分別為萌芽期、拓展期、移植期、自立期、現代主義傳播期

、

(二）及（三厂成熟期和多元發展期。第一章以介紹晚清的外銷畫及政治漫畫開始，繼而討論傳統中國繪畫及害法的發展、西洋美術活動在港初期的情況 •以及上世紀初商業月份牌畫在香港的盛行。第二章檢視了二次大戰前的狀況，包括若干美術團體的組成、現代藝術教育雛型的出現 •和香港早期的繪畫及雕塑活動。第三章涉及二次大戰時期，當時很多美術形式 •特別是木

刻版盡及漫畫均被利用作為宣傳愛國和革命理想的主要政治工具，例子顯見於由本地藝術家組成的「人間盡會」的漫畫創作。第四章集中介紹幾位於戰後冒起的知名傳統國畫家和西洋畫

家

同時也探討了香港正規美術教育的發展。第五章討論五十年代末至六十年代這個香港美術

發展的關鍵時期

當時好些畫家如呂壽琨 (1919-1975) 、鄺耀鼎（1922-) 和白連

? 的作品 •

以及一些美術團體如香港藝術家協會、香港現代文學美術協會和中元畫會的會員創作都散播著

濃郁的現代主義色彩。第六、第七及第八章分別談論了七十年代至八十年代後期這段被視為成熟期的香港美術的發展情況。作者集中討論數位以西方媒材及現代水墨形式劁作的重要藝術家

當中有些積極參與過本土的「香港現代水墨畫運動」，其他則是著名藝術團體的成員，包括

元道畫會、一畫會、香港現代水墨畫協會和香港視覺藝術協會。第九章

即最後一章 •探討由

八十年代後期至九十年代後期香港美術的發展。此章的內容頗具爭議性，因作者將前衛的裝置藝術，跟 ?玉郎（1950-) 通俗的功夫漫畫

合中西的現代中國畫放在

正如朱琦在〈緒論〉中

與晚年移居香港的前輩盡家林風眠

_ 起討論，以之作為當代香港藝術多元面貌的表徵。

嘗試融

所言，他的研究方法是通過介紹不同時期的重要的美術家、美術團體

及美術活動，以期勾勒出香港美術的發展進程。這種縱截美術史的方法在中西學者的研究中並不罕見

因為它能為美術史學家提供一個簡單便捷的參考框架去概括一段悠長的歷史。但它的

缺點卻在於：除非作者對選定的區域有一定的基本認識景的國家或地區時

& 0 0 8

否則在處理擁有複雜的社會及政治背

便很容易受到主流論述的左右 •從而忽略了現存文獻中有意或無意被拒諸門

外 •或影響層面較小的創作形式。朱琦對香港攝影家和他們的貢獻隻字不提忽略有可能是基於他的疏離身份

換句話?

正是顯例。他的

他對香港這城市及其美術發展沒有全面的理解。雖

然朱琦在研究期間曾親自探訪了部份本地藝術家如王無邪（1936-) 及梁巨廷（1945-) 等人，但由於訪問名單未有在害內公開，這些訪問的覆蓋面有多? 也就無從稽考。(註二）撇除上述瑕疵不? • 我們得承認害中蓋括的美術類型已屬相當豐富，主要的美術形式都輔以圖片介紹，各類別全盛

時期的發展情況也作了論述，顯示出作者頗為廣博的美術史知識。雖然朱琦的討論偶爾會流於過度簡化 •但他能從龐雜的資料中梳理出一個清晰的晝面來

這方面的毅力及能力是值得欣賞

及肯定的。

然而，害中提供的參考香目卻有欠詳盡

無論在主題及 S 術家個人資料方面都有明顯的遠漏。

為例 •作者應考廉將陳氏本身的著作如《陳福善的世界》? 1978?及《古今名

以陳福善

家人物畫探討》

，與代理他作品的私人畫廊出版的展覽目錄一併列出；另一方面，對於黃

若的研究，作者卻逍漏了由香港中文大學文物館出版的最新的展覽目錄《?#

般若

; 至於呂壽琨生前出版的唯

的世界》

部理論著作《國畫的研究》實應與由其學生編纂 |

的課堂筆記《水墨畫講》一同列出。令人驚訝的是，有部份具代表性的藝術家，如八十及九十年及陳育強 <1959-) ，其名字雖曾在? 中出現，其過往的展覽資料卻在書目中

代的麥顯揚

付之闕如。(註三）縱使朱琦已表明其列出之參考目錄只屬節選資料，然而對比之下 •他羅列的英

文參考文獻怎麼?也顯得相當不足。如果朱璃有能力及途徑參? Petra Hinterthiir ' Kao Mayching (高美慶）及 David Clarke (祈大衛）的著作，那麼他亦應有機會接觸到 Li Chu-tsing (李鑲晉) 的 (7"知 C. A. Dre»<w/ÿz Co//w"o«)(1979} '

Art and Artists

Twentieth-Century China (1996)

、David

Clarke 的

(2001?，甚至由 David Clarke 及何慶基合編的 Ar/

Ho»g

Michael Sullivan (邁呵 ■蘇立文} 的

5婦卿《

A" : Ca"»re

—

0«r

等書籍。上述最後兩本著作尤其有助進

步了解

香港美術在殖民年代終結時的獨特性，當時社會對自身的文化身份、政治主權及言論自由都曰趨關注。至於作者在最後一章特別介紹的裝置藝術，也有不少雙語參考資料可於世紀之交推出的「香港藝術資料庫」

的網站內找到。(註四）

(註二>

筆者是從王無邪及梁巨廷口中得悉這些訪問的。

(註三 >

雖然有關麥顯揚的資料並沒有在參考書目中列出，他的銅雕作表作（藍象 > (1989) 卻出現於頁 225。這件作品的圈片可能是取自麥氏早期的一份展覽場刊。

(註四)

「香港藝術資料? j 是祈大衛於 1999 年發起的一項美術研究計劃 •旨在全球推廣香港美術 •以噢起大眾對香港美術成就的注意。該? 對欲尋找有關香港美術資料的人士應可提供很大的駑助。雖然網站的參考書目及數碼 f 源在 2002年_ 末始正式推出（該年朱琦正好完成他的博士論文 >，但鑑於香港美術史〉要到 2005 年下半年，即差不多三年後才出版，作者雎有充份時間到該網站瀏* 並為其書目加入適當的補充資料的 •「香港藝術資料車 j 的網址為：

http://web.hku.hk/~hkaa/

在讀畢《香港美術史》後，不難發現? 中若干重要資料是取材自目錄中列舉的數本書籍：黃蒙

田的《藝苑交遊錄》究》

、黃大德的《黃般若美術文集》

、張惠儀的《香港書耋團體研

和鄭家鎮的《香港漫耋春秋》（1992)。至於? 中討論現代美術的第五及第七章節，則

很多資料甚至包括敘述架構都似乎來自新水墨畫代表人物王無邪的寫作觀點及分析。過去王氏時亦同樣發揮過不少的影響力。作為一位外來學

在 Petra Hinterthiir 撰寫

者，朱琦對香港美術的發展缺乏事前認識，故引用一些現成又廣為接受的觀點去處理其題目本無可厚非。美術史學家在選取固有論述方向的同時

又能保持開放的態度提出新的分析視角，

從來就不是一樁易事。故此在朱琦的研究中，讀者有時會發現一些熟悉的見解重複出現，猶如

新瓶舊酒。

整體來?，朱琦成功地對他選取的題目進行了清楚的介紹，從首三章可見，他對於處理有關

1949 年以前和中國內地藝術界有密切關係的資料尤其得心應手。眾章節中，最惹爭議和研究基礎最為薄弱的無疑是最後一章。如前所述，他將裝置藝術、功夫漫盡，和一位過去曾被推許為

現代派國畫大師的作品並置在一起，把它們列舉為足以代表當代香港美術界的藝術形式，這種

比較的真確性存有很大問題。首先，表演藝術、錄像藝術及多媒體藝術在九十年代迅速發展，

作為獨立藝術，它們的重要性不亞於裝置藝術

可是朱琦卻只揀選了後者來作獨立討論。另

外，把功夫漫畫家黃玉郎選為多元美術發展時期的代表人物也有點突兀和不當，因為黃氏事業的高 ?期出現於七十及八十年代

而非九十年代。朱琦把他放在末章而非放在介紹七十至八十

年代現代 S 術的前三章內，可能是因為他不知道該如何把黃氏插進論述的脈絡中去才好。無論如何，朱琦既把?玉郎與林風眠相提並論，便應提供足夠的理據以支持他的處理手法。在朱琦

眼中 •難道真的沒有高低藝術之分嗎？黃玉郎的漫畫作品，又是否真的蘊藏著一些不易為大眾明暸的深層意義等待我們去探索？怎樣 ?也好，朱琦有需要對這些問題作出回應。目下所見，

他把功夫漫畫奉為重要的美術形式置於末章

除了可為首章對政治漫畫的討論作一完美的前後

呼應外，明顯地缺乏理據支持其取向。即使朱琦能提出令人信服的動機，又假設他解釋了由於篇

幅所限，故未能一併討論較年輕一代的漫畫家如麥家碧、歐陽應霽（1961-) 和黎達榮（1971-) 等人

的作品 ■可在他的漫畫論述中

也沒有理由還漏了著名專襴漫畫家如尊子 0955-) 和馬龍

等人的創作•? 他們以幽默的筆觸揶揄九七過渡期間中英政府的舉動，自九十年代以來成功地

把漫畫重新推廣成為一種重要的大眾藝術形式。(往五）不管如何簡略

他們的作品也絕對值得_

提。

朱琦把林風眠界定為九十年代本地藝埴的代表人物，這個選擇與? 玉郎的例子一樣存有問題。林氏無疑是二十世紀中國美術史上一個重要的改革者，他在 1964 及 1992 年在香港舉辦的個展也為

他和本地藝術活動扯上了一點關係，然而值得注意的是，早在四十年代當林風眠還在國內活躍的時候，他便已創造了自己一套特定的視覺語言模式 •其對中國現代藝術的見解也於此期間形

? ，他基本上只是延 ?他原有的創作路向 •並沒

成。在林氏晚年定居香港的十四年間

有嘗試大膽偏離其已深入人心的「林風眠」繪耋風格。此外 •無論在他生時或辭世後 * 他的作

品都沒有對本地美術界構成任何明顯的影響。因此我對於朱琦把林風眠放在被稱為多元的

If 展

時期中去討論持有很大的保留。假若將來朱琦有機會修改他的著作，便需重新思考關於黃玉郎及林風眠的定位問題。

最後一章還有一點令我感到非常失望的

是作者過度輕描淡寫了香港九七過渡期內出現的劇烈

的社會及政治變化。正由於他規避了那時期發生的極具震撼和戲劇性的事件，以致當他討論同期美術的發展時 •本應富爭疑的論調便相應減弱，也因此令他錯過了描述香港美術史上其中一個最引人入勝和活力鮮明的歷史片段。若朱琦對此部分歷史能作更深入掘挖

定必能使他的研

究比當下所見有趣得多和更發人深省。與其把注意力放在?玉郎及林風眠身上 •作者倒不如考慮多撥一點篇幅去檢視自八十年代末以來，本地另類及非官方美術組織在推廣藝術活動方面所扮演的角色。譬如? 香港藝術中心在建構香港美術史面貌方面便有顯著成續，尤其是九十年代在展覽總監何慶基的帶領下它所發揮的影響力就更大。

(註五 >

有關香港二十世紀的漫盡發展，可參閱 Wendy Wong Siu Yi, 心叩 CTow/fj (New York: Princeton Architectural 黃少儀、楊香港濩 >( 維邦合文原著或由盡圖鑑香港：欒文書店，1994)。除朱琦在書目中提及寫的中 Press, 2002)，的（香港濩盡春秋> 外，這兩本書皆為有用的參考資料。

《香港美術史》另外一個小缺點在於對插圖 ?明方面的不足及不霣徹；據我所知，有少許作品甚至是在未經收藏者的正式同意下刊登的。其中一個例子是出現於頁 119 黃般若的兩幅畫作。另

外，作者在註腳方面也偶爾有粗疏及含糊不清的地方。儘管有上述不足之處，就只基於作者從各種原始和二手文獻中整理出來的豐富史料，此書已是值得一讓。它永遠是研究香港美術史的第一本通論式著作。朱琦最值得表揚之處是他填補了二十世紀中國美術史研究中一個長期被忽

略的環節

他的著作將有助引發更多對於香港美術史的研習，在這方面他所作出的貢獻是不可

抹熬的。難得的是他在整個研究過程中皆能保持中立的態度，沒有流露出過往在此課題論述中常見的民族主義或大中華心態的偏見。對於欲尋求一部香港美術史教材的讀者來? ，朱琦的著

作當會受到歡迎。再者，此害也可作為任何有興趣研究香港文化的學者的基本參考資料。

後記：本文早於去年年底寫成，由於（白文本》出版需時和一些排版技術性的問題需要顧及，

故未能就黎鍵強發表在〈信報》的書評

回應

、2006.1.7) 和稍後朱琦在同一報章作出的

加以綜合整理，甚感 ?憾，惟望日後有機會可將上述文章?有關的論點切入

本文再另行發表。

黎美蓮

黎美蓮現為澳洲悉尼大學藝術史及藝術理論系的博士研究生。除了專注研究香港藝術外 •黎氏對於二十世紀中國藝術的發展亦深感興趣。自 2003 年起 •她便在香港藝術學院擔任兼職講師 •負責教授西方 S 術史的課程。

| !?

Prior to the publication of Zhu

QiÿHistory

of Hong Kong Fine

Arts

(2005), Petra H'mXevihijir's MÿckrnArtmHÿngKmg(]%b)\Nas arguably the most important premier on the development of Hong Kong art.

fN?

Sadly, after a lapse of almost twenty years, Zhu Qi’s book is still regarded by many people as a much welcome addition in face of

the continued dearth of academic research on the art of this city.

The volume is based on the author’s doctoral study of the same topic under the supervision of the renowned Chinese art historian Wang Bomin at the Art Academy of China. Given the length and

breath of its coverage, it is not without a little wonder that it took him only four years to complete his writing, and on a part-time

basis. As in many general accounts of art history, the study is organically divided into

nine

chapters in a chronological order.

They are preceded by a short introduction laying out the aim

and goal of the author’s research, the components of the Hong Kong art scene at different stages of its development, and the

basic characteristics of Hong Kong art; annexed at the end of the

book is a brief chronology of some well-recorded art events taken place in the territory between 1900 and 2000.

See Petra Hinterthur, Modern An in Hong

(Hong Kong : Myer Publishing Ltd., 1985).

Compared with Petra Hinterthur*S Modern Art in Hong Kong, Zhu Qifs History

of Hong Kong Fine Arts is

apparently a more ambitious project spanning a longer period from Late Qing up to the last few years of the 1990s. The author has taken up an arduous task in conducting an extensive survey of the

artistic development of this former British crown colony during the last century by mapping it, albeit partially, with its social and cultural context. A total of nine chapters is separated into seven periods, namely the Formative Period, Expanding Period, Transplanting Period, Establishing Period, Modernist

Period I, II and III, Flourishing Period, and lastly Pluralistic Period. Chapter One starts with the trade

painting and political comics of Late Qing, then moves on to discuss the development of traditional

Chinese painting and calligraphy, the embryonic Western art activities, through to the booming of commercial calendar painting in Hong Kong in the early twentieth century. Chapter Two examines the pre-War period which witnessed the formation of a number of art groups, the burgeoning of modern art education, and the early practice of Western painting and sculpture in the territory. Chapter Three

takes us to wartime when various visual art forms, particularly woodblock printing and comics, were

manipulated as chief political instruments for propagating patriotic and revolutionary ideas, as exemplified by the work of a local cartoonists' club, Renjian Huahui (The People’s Painting Society}.

Chapter Four places its focus on some prominent post-War artists in both the realms of traditional

and Western painting, alongside exploring the development of formal art education in the colony. Chapter Five covers a period from the late 1950s to the 1960s which is viewed to be a crucial stage for

the evolvement of Hong Kong art as during which time the idea of modernism was disseminated in

the local art scene through, for example, the work of artists like Lui Shou Kwan (Lu Shoukun)(191975), Kwong Yeu Ting (Kuang YoudingHb. 1922) and Douglas Bland (1923-75), as well as by some art

associations including the Society of Hong Kong Artists, the Hong Kong Modern Literature & Art Association, and the Circle Art Group. The subsequent period from the 1970s to the late 1980s, which

is coined as the blossoming period of Hong Kong art, is examined successively in Chapters Six, Seven and Eight. In exploring the artistic development of this phase, a number of eminent individuals in the

spheres of Western art and modern ink painting are likewise singled out for discussion. While some of them are active participants of The Hong Kong New Ink Painting Movement, others are members of

several well-known art groups including the In Tao Art Association, One Art Group, Hong Kong

Modern Chinese Ink Painting Association and Visual Arts Society. Chapter Nine, the concluding chapter, presents a highly controversial picture on the artistic development of Hong Kong between the late 1980s and the late 1990s, where installation art, an avant-garde art form, is juxtaposed with the presumably ,lowbrow, martial comics of Wong Yuk Long (Huang YulangHb. 1950) and the

Chinese painting of a senior emigre artist Lin Fengmian (1900-91) as visual indicators of the pluralistic art scene of the time.

As stated by Zhu Qi himself in the "Introduction" (p.7), his approach of study is to foreground some

prominent artists, art groups and artistic activities from different periods to delineate the development of Hong Kong art. This method of constructing a general art history is by no means

uncommon in both Chinese and Western scholarship as it provides the art historian with a simple and convenient referential framework for tackling a long period of history. Its shortcoming, however, is

that when dealing with a country or region with a complex social and political background, the author, unless having acquired a sufficient grasp of that country or region, is prone to be affected by

the mainstream account, often at the cost of losing sight of those lesser parts of history which have

been unwittingly or willfully left out in the existing literature. Zhu Qirs entire neglect of Hong Kong photographers and their contribution, which is left unaccounted for throughout the book, is one such

vivid instance mirroring that shortcoming in his writing. His omission may be partially explained by his ’distant’ÿhence incomplete comprehension of the city and its art. Although Zhu Qi did make the effort to interview some local artists such as Wucius Wong (Wang Wuxie)(b. 1936) and Leung Kui Ting

(Liang Juting)(b. 1945) during the course of his research, it is yet hard to tell precisely how far and wide his interviews have sufficiently matched with the coverage of his study since they are not recorded in the book. (Nÿte2) Despite the aforesaid overlooking, one has to admit that the range of art

forms explored in the volume is rather broad though, with major types of art being illustrated and examined in their flourishing periods, demonstrating not an unimpressive breadth of the authors arthistorical knowledge. And despite his occasional tendency to come up with simplistic generalizations, his perseverance and capability in composing a 'clear' picture out of a wide diversity

of sources is worthy of praise and recognition.

(Note 2)

I was told about the interviews by Wucius Wong and Leung Kui Ting themselves.

O 5

Having said that, the bibliography offered in the book, one may have noticed, is far from being

exhaustive for there are notable omissions of important texts by theme and by artist. On the art of Luis Chan (Chen Fushan)(1905-1995), for instance, one would expect to see at least a couple of books

by Chan himself, such as The World of Luis Chan (1978) and Figure Paintings

of the Masters (1983), to be

listed together with the few exhibition catalogues published by a private gallery; the study of Wong

Po Yeh (Huang Banruo)(1901-68), on the other hand, could have been updated with the most recent exhibition catalogue, The World of Wong Pÿ-Yeh, edited by the Art Museum of The Chinese University of

Hong Kong in 1995; and the only theoretical writing by Lui Shou Kwan (Lii Shoukun)(1919-75), A Study

of Chinese Pairing (1957), should also have been documented

together with Lectures on Ink Painting

(1972) which is a collection of lectures notes compiled devoutly by his students. I am amazed too to

find that the exhibition references of some representative artists of the 1980s and 1990s, including Antonio Mak Hin Yeung (Mai Xianyang)(1951-94) and Chan Yuk Keung (Chen Yuqiang)(b. 1959), are

entirely absent from the bibliography, though their names are mentioned in the book. (Note 3) In spite of the fact that Zhu Qi has specified his bibliography as merely a 'select’ one, there is still no reason for him not to have included more English references. If he could gain access to English sources such as the writings by Petra Hinterthur, Kao Mayching and David Clarke, he might also have come across, say, Li Chu-tsing's Trends in Modern Chinese Painting (The C. A. Drenowatz Collection)(1979)f

Michael Sullivan's Art and Artists

Twentieth-Century China (1996), David Clarke's Hong Kong Art :

Culture and Decolonization (2001), and perhaps also Someone E/se's Story - Our Footnotes: Contemporary Art

Hong Kong ( 1990-1999) (2Q02) co-edited by David Clarke and Oscar Ho. The last two volumes are

particularly useful sources to better one’s understanding on the uniqueness of Hong Kong art at its

late colonial era which saw a growing concern with the issues of cultural identity, political autonomy and journalistic freedom. In regard to the subject of installation art which is specifically dealt with in the concluding chapter, there are also a number of bilingual references available for checking in the Hong Kong Art Archive website which has been launched since December 2002. (Note 4)

(Note 3)

Although no reference text on Antonio Mak is listed in the bibliography, one of his signature bronze pieces, Blue Elephant (1989), is illustrated however on p.255. The image may be taken from one of his early exhibition catalogues. (Note 4)

The Hong Kong Art Archive project was inaugurated by David Clarke in 1999. It aims at promoting Hong Kong art on a worldwide basis and evoking the awareness of Hong Kong artistic achievement. The information provided by the archive should offer great help to those interested in Hong Kong art. Although its associated website and digital resources were completed only in late 2002, the year when Zhu Qi finished his dissertation, Zhu could still make reference to the information and bibliography in the website for updating his book which did not come out until the second half of 2005. The website address of Ho%

Ar/ Ard/Ve is: http://web.hku.hk/~hkaa/

After reading through History of Hong Kong Fine Arts, one cannot help feeling that Zhu Qi has availed himself of much useful information from the following few books which are listed in the bibliography:

Huang Mengtians Yiyuan Jiaoyou Lu (A Record

Dade's Huang Banruo Metshu Wenji (Writings

of Personal

on Fine Arts

{Zhang Waiyi) Xianggang Shuhua Tuanti Yanjiu (A Study

Acquaintances with Artists) (1985), Huang

by Huang Banruo) (1997), ChGUng Wai Yees

of the Hong Kong Painting and Calligraphy

Groups) (1999), and Cheng Ka Chun's (Zhen Jiazhen) Xianggang Manhua Chunqiu (The Era Comics) (1992).

Art

of Hong Kong

As for Chapters Five and Seven which deal with modern art, the data and even the

narrative framework seem to owe a great deal to the writings and analyses of Wucius Wong, the

spokesman of the New Ink Painting Movement, who had formerly exerted no less influence on Petra

Hinterthur in her writing of Modern Hong Kong Art. Indeed, for any outside scholar like Zhu Qi who did not have much prior knowledge about Hong Kong art, it is most natural that he/she would

approach the subject with some well-accepted or well-quoted viewpoints for his/her own reference. The challenge for an art historian to keep an open mind for fresh analyses or interpretations about the art of a place while dovetailing certain established notions is never an easy task to accomplish.

Thus in Zhu Qi’s survey, one should not be surprised to encounter from time to time echoes of familiar ideas which smack a little like old wine in new bottles.

On the whole, Zhu Qi has done a good job in presenting a lucid account of his chosen topic, and he seems to be particularly at ease in handling information that clings closer to the artistic context of

Mainland China before 1949, as evidenced in the accounts of the first three chapters. Of all the chapters, the one that is most contentious and least well-researched is no doubt the last chapter, in which, as mentioned previously, installation art, martial comics and a past ,modern, form of Chinese painting are placed side by side as comparable visual markers of the contemporary art scene of Hong

Kong. Such paralleling is open to question. For one thing, performance art, video art and multi-media art have developed rapidly since the 1990s, and each of them is no less an independent art form than

installation art which Zhu Qi has opted for an exclusive treatment. Moreover, the awkward casting of

Wong Yuk Long the artist of martial comics in the limelight as a representative of the pluralistic era is

also debatable. In point of fact, it is also incongruous with the actual career of Wong for his prime time came in the 1970s and 1980s, not in the 1990s. The reason that Zhu Qi should position him in the final chapter and not in any of the three preceding ones that deal with modern art might likely be due to the difficulty of integrating Wong into his

discussion. Anyhow, in elevating Wong to a status

worthwhile to be juxtaposed with that of Lin Fengmian, Zhu Qi ought to offer one a good reason for doing so. Could it be that in his eye there is no boundary between the so-called high and low art? Or

could there be some deeper, serious meaning in Wong’s comics that one hasn’t yet fathomed? These are questions to which Zhu Qi needs to address. As it is, other than presenting a sort of round

association with his discussion of political comics in the opening chapter, the endorsement of martial comics as a significant art form in the final chapter ostensibly lacks a strong supporting ground. After all, even had Zhu Qi expounded his motive convincingly, and even assuming there was no room for

him to cover those comic artists of the younger generations such as Mak Ga Bik (Mai Jiabi), AuYeung Craig (Ouyang Yinqi)(b. 1961) and Lai Tat Wing (Li Dayong)(b. 1971), there was still no excuse

for him not to have taken notice of the work by the famous editorial cartoonists including Zunzi (b. 1955) and Ma Long (Ma Lung)(b. 1952), whose humourous and satirical comments on the British and

Chinese governments during the transitional period of the 1997 handover have helped revive political comics as an important genre of pop art since the 1990s.

(Note 5)

Their works really deserve to be

mentioned, no matter how brief and cursory the passages might be.

As in the case of Wong Yuk Long, Zhu Qi’s positioning of Lin Fengmian as a prominent artist in the

local art scene of the 1990s is also problematic. Lin is undoubtedly an important reformer in the history of twentieth-century Chinese art, and had early on established a relationship with Hong Kong through his two one-man shows held in the colony respectively in 1964 and 1992. Yet, Lin s distinct

visual repertoire and idea on modern Chinese art were already well formulated in China in the 1940s. During his last fourteen years in Hong Kong (1977-1991), he was basically carrying on with his former

(Note 5)

For more details on the development of comics in Hong Kong during the twentieth century, see Wendy Wong Siu Yi, Hong Kong Comics (New York: Princeton Architectural Press, 2002), or its original Chinese version, Wong Siu Yi and

Yeung Wai Pong, Xianggang Manhua Tujian (An Illustrated History of Hong Kong Comics)(Hong Kong: Luck-Win Book Store, 1994). They are useful sources on the subject apart from Zhen Jiazhen*s Xianggang Manbua Chunqiu which is included in Zhu Qi's bibliography.

practice without attempting any significant deviations from his

crystallized Tin FengmiarT style. What’s more, his work did not

constitute any overt impact in the local art scene either during his lifetime or in the years after his death. I have, therefore, strong reservation about Zhu Qi’s placing him in an era termed pluralistic.

In his future revision of the book, Zhu Qi perhaps needs to give a

second thought over the periodization of the work by Wong and Lin.

One last thing about the final chapter that I find particularly disappointing is the author’s excessively light’touch on the drastic

social and political changes occurred in Hong Kong between 1984 and 1997. His evasion from accounting the traumatic as well as

dramatic events in this period has diminished the polemical tone necessarily involved in the discussion of the artistic development of

the time. With such an evasion, he has, however, unfortunately missed a most intriguing and dynamic facet of Hong Kong art which,

尿

should it be included, could have rendered his study far more

ALL L/U

% \m

interesting and thought-provoking than what it now appears. Instead of granting undue attention to the work of Wong Yuk Long and Lin

Fengmian, the author might well have considered allotting more space to investigating the roles taken up by various alternative and

non-official art spaces in promoting art here since the late 1980s. The V.

Mappin •1ÿ The Art and Curating of OSCAR HO

Hong Kong Arts Centre, for instance, had exerted a profound

SNOO-SOK :co*

influence in delineating a history of art for Hong Kong, especially

under the guided direction of their former Exhibition Director, Oscar Ho, in the 1990s.

顏淑芬、黎美蓮主編

《身份何在 —— 何慶基的策展工作及藝術》

，書面。

Irene Ngan, Lai Mei Lin eds., Mapping Identitiesÿ The Art

of Curatinv of Oscar Ho (2004), bÿÿk

Cover.

Another blemish about History

of Hong Kong Fine Arts is the inadequate and inconsistent provision

the details of illustrations, the official approval for publishing some of them, to my knowledge, have not even been obtained from the collectors. The two pictures by Wong Po Yeh appearing on p.119 are

just a case in point. In addition, there is also an occasional neglect of and obscurity with footnoting. Notwithstanding the above insufficiencies and quibbles, the volume still deserves a wide reading, if

just for the wealth of information it has amassed from various documentary and secondary sources. It will remain forever to be the first extensive study of Hong Kong art. Zhu Qi’s major credit lies in his

covering a much neglected territory in the field of study of twentieth-century Chinese art history. His

work would help to call for more studies of Hong Kong art in its own right, and to this end, he has made a valuable contribution. He is laudable too for keeping measured neutrality throughout his study, which is free of the nationalistic or chauvinistic bias that has often plagued much previous

writings on the subject. The study would be welcomed by those seeking a single volume on Hong Kong art history for use in the classroom. It could also serve as a basic text for scholars from any

fields who are interested in Hong Kong culture.

Postscript At the time when I completed this book review in December 2005 for publication in the second issue of White Text, the review articles by Lai Kin Keung had not yet appeared in Hong Kong Economic Journal (2005.12.31 and 2006.1.7), let alone Zhu Qi's subsequent response given in the same newspaper (2006.3.22). Due to such a time gap and certain technical problems involved in the publication of White Text, I have regrettably not been able to incorporate their comments into my present writing, but do hope to do so somewhere else in the near future.

o Lai Mei Lin Lai Mei Lin is currently pursuing her doctoral study in art history at The University of Sydney. Apart from Hong Kong art, she also has a strong interest in studying the development of Chinese art in the twentieth century. Since 2003, she has been teaching Western art history at Hong Kong Art School as a part-time lecturer.

藝術史•一年班 First-year

張慧婦

Stephanie C

李蕙茵

Anna Lee

倪鷺露

Lulu

壁

讀書的時候，我的學系有句「口號」：「不是藝術家，也可以學藝術」。「藝

術」指的是藝術史，學系的專長。從來也很欣賞這句口號，因為它很包

容、友善

連蘋果也不會畫麼？不打緊。也可以來看藝術。

去年起，事情來了個大轉變。在香港藝術學院，來學藝術史的，正是在學習藝術創作的同學。進課室前，我想：

r 對會做藝術的人來? ，藝術史到

底是甚麼一回事？」藝術學院的同學很投入，課堂中很主動發問，問的不單單關乎個別作品，

很多時候，直指藝術史處理知識的方法。課程開始後不久，?到米高安哲羅在梵諦岡西斯汀 ?堂的《最後的審判》 1534 至 1541 年

> 。我把從藝術史

中學到的? 訴同學：被剝皮殉道的聖巴多羅買，手中拿著的人皮上，有米

高安哲羅的肖像。拉菲爾《雅典學院》

至 1511 年）中米高安哲羅的畫

像，可作參考。(註一) 同學們不相信，因為覺得那張模糊的臉，跟拉菲爾筆

下的米高安哲羅不完全相像。驟眼，兩張臉其實也算像。但這到底是客觀觀察、還是受了知識影響先入為主？同學們的懷疑，針對的是個別論點。想

深一點，也是對藝術史的質問。歷史將藝術的故事 ?得言之成理，知識有時把眼睛也調節了。同學一問，歷史的必然，突然動搖起來。

(註一)

Alaurie Schneider Adams, Art Across Time (London: McGraw-Hill College, 1999), p.566.

《藝術的歷史 •我們的故事》， 2006 年 2 月 5 日至 27 日，白管子舉行。

H:'

' •rr

•v

踏進第二個學期，課堂的內容是十九至二十世紀的蘩術

術史中

走向當下 •同學的問題更具批判性。現代蘩

畢加索永遠是頭號人物。因為零零碎碎的立體主義

在寫實以外

打開了多角度表達時空的

新可能。「那又怎樣？」有同學質疑。課後我們談了好一會，問題是即使這種手法

在藝術領域中真的

是世紀巨獻，我們又怎能肯定言之鑿鑿的?法 •不是當事人的市場技倆、歷史的穿鑿附會？歷史看的是實況

甚麼發生了，有甚麼影簪。動機摸不透，藝術史也不會太著意揣測思量。但對於聽完畢加索後

會下筆劁作的同學

孰真孰假 •不只是論點合不合理。是我們到底可多相信，一個又一個藝術神話。

同學的提問，令我想起藝術史學者 Robert Hughes 的一本評論集，叫

咖

//N?

CW"似/》。導言中

作者談到自己的經驗： 1970 年代，他剛剛開始寫藝評。當時藝術的熱點是紐約，藝術界對當時得令的藝評人，趨之若驚。於是身在澳洲的作者

天天等待遲遲未寄來的藝術雜誌。等到了，立即翻開像朝

聖的找大師作品，剪下來，釘在案頭埋頭看。有一次 •他對著一幅 Barnett Newman 的直條抽象畫，卻

怎也看不見當時紐約時報藝評人 Tom Hess ?的「亞當，或光明與黑暗之間、最原始的分野」。（註二) 他質疑

但想起自己只拿著一張複印本

不得不反問：「我憑甚麼反對？」

我們在香港學藝術史，跟 Hughes 看複印的情況類似。西方的歷史作品，無論在地域、時代、文化上，

S. 0

2 4

f 註二/ Robert Hughes, Nothing If Not Critical (London: Harvill, 1990), p.5.

霧麵

也跟我們相距千里。認識它們，途徑是忽大忽小、顏

色有偏差的幻燈或翻印?片。藝術的故事，多是道聽

途?。但這種距離也讓我們的眼光更獨立。Hughes 的反問不過是設問，接著的正是對盲從附和所謂主流的

批判。（註三）當看不見據稱的亞當或米高安哲羅時，問題應該是：我憑甚麼接受歷史的 ?法？在另一個國度 •我們可以從另一個角度看歷史。(註四 > 一學年的藝

術史 ABC 上完了

意。以下是四位同學的習作。同學沒有查究出細緻的

史實，也未有舖陳出理據確竇的議論，有些想法 |

r 鋒&纖 %

、％

VJI

我請同學們每人從一件學過的作品

出發，想一下知道了藝術的故事，對他們有甚麼義

如註腳所按

、參3

甚至跟公認的理解很不同。但若我們接

受，受不同訓練的人可以有各自處理知識的方法，讓

我們從這四篇文章，看看對會做藝術的人來? ，藝術史是怎樣的一回事。

「需要、使用、棄掉」。李雪盈對藝術史的想法：

一整卷寫滿筆記的《廁紙》。 " Need it, use it, dump it."

Lee Suet Ying s idea of art history: Toilet Paper, with notes.

(註三)

Op. cit., pp.5-6. (註四

在一本1996 年出版的評論集中，在香港任教西方藝術史的祈大衛博士提出了在異地用新角度看藝術的覲點，書中一章節為

"Western Art in a Hong Kong Frame"

見David Clarke, Ar/ 6

Place: Essays on Art from a Hong Kong Perspective (Hong Kong: Hong Kong University Press, 1996)。

5 0

2 5

芙烈達 ■卡路，《希望之樹，堅毅不拔》<1946年> 李蕙茵

翻譯：何婷婷

開始修讀藝術史，我一直抱著這個疑問：為甚麼我要認識這些作品？我覺得這些數百年前的舊作跟我根本無甚關連。它們偉大 •但卻遙不可及。對於我而言，它們是神話

卻不是真實的存在。可幸讀到現代

藝術時，那些作品就「平易近人」得多了。不需對特定圖像傳統的認識

我便能有所共嗚。所以我覺得

藝術最重要就是能夠做到與截者 ?通。

芙烈達 •卡路的《希望之樹，堅毅不拔》

年）是我最喜歡的作品。假使藝術作品也有男女之別 •這

幅畫必定是「她」。這是「她」給我的第一個強烈印象。「她」的印象如此強烈 •可能是因為芙烈達自己身在畫中，也可能是因為畫作的訊息

——

個女性與痛苦的掙扎 —— 太突出了。耋裏有兩個芙烈達，她

在一邊如此虛弱，就只能夠躺在床上一動不動，血從傷口不住流下•彷彿就此永無止息；另邊廂的芙烈達衣著光鮮，正襟危坐，一臉莊嚴自信。兩個極端形象並置，表現出恰如芙烈達本人分裂的內心世界。

她的雙重心理以一分為二的畫面佈局表露無遠。左邊受創的身體在太陽底下掙扎 —— 太陽在阿茲特克文明（墨西哥古文明）裏正是由血液供養的；右邊強壯而樂截的芙烈達則安坐在月亮底下，月亮即女性的象

5 0 2 6

徵。(? 五）這個兩極的佈局同時代表了女性現今的經驗，她們也有多重角色、多重心理。這手法不單止

令圖象看上去美觀

也成功地表達出創作者的經驗、感受與截點。

我第一次看見這畫作就覺得極為震撼。為甚麼一個女性可如此坦然地表露自己？她把一切展現，甚至是

背上的創傷，以及那句給自己的安慰?話：「希望之樹

堅毅不拔」（抄錄自一首她喜愛的歌曲）| 都由

強壯的她執在手中，展現人前。她為自己而畫。我感到我跟這畫聯轚上了，「她」 ?訴我：為表達自己而畫，把你的感受與思想都放在畫布上去。我覺得作為藝術家就是需要這樣的信念。芙烈達充滿信念，

她甚至用繪畫創作治癒自己。

生死是人必然的經歷。芙烈達的畫作因此而不朽。在她的作品我感到痛苦。即使我從沒有動過大型手

術，我也感到她就在死亡的邊緣徘徊。有這麼一句俗語：不到生病，你也不會感到身體的存在。「她」提醒我這個道理。「她」的強烈色調與符號讓我看見芙烈達的世界。「她」不似是一幅四十年代的作品

「她」超越了時間。我不認同「她」是「超現實」的畫作，因為「她」於我而言是何等「真實 J

(註六 >

f 註五；資料來源為 http://www.fridakahlofans.com/c0550.html〔網主及更新日期不詳〕。 (■註六 •ÿ

超現實主義的一般理解是1920 年代中期以後，以詩人 Andre Breton 先後於 1924 年及 1929 年發表的兩份〈趄現實宣言〉為基礎的藝術〔包括文學、視覺藝術等〕運動〔見”The First Surrealist

Manifesto" (1924) 及 "The Second Surrealist (London: Thames and Hudson, Manifesto”ÿ1929>; 有關超現實主義的書籍多有收錄，如Patrick Waldberg, 的意像 •「超越」表面，荒旦，但據稱能反映人?心 •透論影響通看似弗洛依德的潛意識理 1965, 1997), pp.66-80ÿ•主義受呈現更深層的「現實」 [但有意識的作品是否寘能披露潛意識，則可商確）•同時，「真實」在近代文化理論 [特別是所謂後現代的?覺文化及攝影理論〕，亦涉及更複雜的涵意 t 見多位文化理論學者的著作，如 Fredric Jameson, ? and the Logic and Late Capitalism (London: Verso, 1991) ' Jean Baudrillard, Simulations (New York : Semiotext, 1983) ' Roland Barthes, Camera LucidaÿReflections on Photography (Richard Howard, trans.; London : Jonathan Cape, 1981) 5 。

張洹，《十二平方米》 1994 年} 吳月娥

我以為學習藝術史可以幫我認識藝術，可惜事與願達 •學習後我對藝術的理解更模糊。藝術的定義及作用非常廣闊。歷史記載、宣揚宗教、真善美的表現、慾望的追求、自我感情的宣洩、以至意念或過程之傳遞等，都可稱為是藝術。究竟甚麼才是藝術？甚麼才是偉大的藝術傑作？怎樣的成就才被人認同？怎

樣的人才可稱為藝術家？

在眾多的藝術種類當中，我個人不太喜歡行為藝術

感到這些藝術家不懂得用技巧來表演意念

只懂得

用嘩眾取巧、自殘身體的手段吸引? 眾注意。但當我看到張洹《十二平方米》的表演時 •我才改變了這

個看法。張洹用穢物淋在自己的身上 * 坐在一個公眾廁所裏面，讓蒼蠅佈滿全身達一小時，然後跳進水塘。比喻窮苦中的中國人如穢物一般低賤 •完全沒有尊嚴。(註七）

我看畢後有一點兒憤慨

難道貧窮就不能尊嚴地生活嗎？我有幸地認識了一位曾經歷了文革時期

的長者，跟他詳談了一次。他聽到我對張洹作品的描述後，只是微微一笑，然後緩緩地訴? 了從前的故事。那時的中國人真的比穢物還要低賤，還沒有尊嚴。一個「莫須有」的罪名

他坐了二十年

的監。每天不停地苦幹，只有少置的水和麵包，長期的飢餓及失去自由令人喪失方向和意義。每天上 f 註七 J

張洹的（十二平方米 > 於1994 年 6 月 3 日在北京市郊東村演出。該村是 ?民區。因為租金廉宜，1993 年起成了藝術家的聚居

地•匾? 的?劣環境是作品其一靈感 ?源。S 術史學者巫鴻指作品的脈絡邐有藝術家窮苦的身世，及對普邇中國人生活齦苦

的感嘆。見 Wu Hung,

•柳” M/

一千頁歷史壓成的紙球，重28 公斤。 1■你相信藝術是獨一無二嗎？」

?振欽的作品叫《寸步難行》。 1,000 pages of art history. 28 kg.

"Art is unique

-- do you believe it?"

Wong Chun Yam calls his work ''The Road Not Taken''.

山下海做?粗重工作，大小便只是掘土坑解決

睡覺也只是在冰冷粗硬的泥土上 •人真的與穢物沒有

分別！

為了更認識當時的歷史與苦難，我買了一本由毛澤東私人?生李志綏所寫的一本害 —— 《毛澤東私人醫生回憶錄》。{註八）文革時期的中國人真的生活在水深火熱之中，父母、兄弟、姊妹、夫婦，反面無情

互相批鬥的情形比比皆是。我隱隱感到張洹這位藝術家很成功地把他的信念、他的感受藉?他的身體表演出來。他了解當時的歷史，感受中國人的苦難，將自己融匯其中，再用專業的手法演繹出來，引

起了莫大的迴響。令到從未經歷過這種苦難的中國人 •甚至是外國人，主動的尋求和探索，最終得以認同和體會。

此外，我更深深領略到真正有意念、有內涵的作品

並不是

些粗製濫造、堂皇冠冕的製作所能相比。

藝術家應擁有豐富的認知，敏感週遭的環境，再用成熟的技巧表達給大眾。藝術家與藝術作品融

為一體，觀者所看到的藝術作品實質是藝術家的內涵與神髓。這樣的藝術作品

這樣的藝術家 •才

值得後人欣賞，才值得記載於歷史中。 f 註八;》

丰志綏，（毛澤柬私人醫生回憶錄 > 〔台北：時報出版，1994 年） •

2. 0 2 9

村上隆，「超級扃平」展霣（2001年> 倪鷲露

2001 年村上隆的「超級扁平」展覽在美國巡迴展出，最後一站到達西雅圖的 Henry Art Gallery ，開幕禮吸

引了超過八千人前往參與

破了該館開幕會的參與人次紀錄。

是甚麼樣的力量吸引這麼多的截眾呢？又是甚麼的魅力令主流及非主流的媒體都爭先報道呢？

村上隆的「超級扁平」宣言 (註九：

a 今天的日本社會、風俗、藝術、文化都極度平面。日本電玩和卡通動畫最能現這種特質，而這些又在世界文化中具有強大的力量。 ?

對日本年輕人「繭居族」

的截察：他們沉溺於漫耋、電玩和卡通動畫中。在當中長大，甚至

自己也成為這個場景創造的一份子。他們代表了日本當下社會裡的某個文化面向、某種生活狀態和生活價值觀。

* 在《紐約時報》的報導中村上隆?：我在尋找藝術和娛樂之間的交雜。從大多數的媒體的報導上可以得知，村上隆不但成功地將日本流行文化和次文化，直接擺到所謂高級藝術的範噶中

他的商品更因此熱賣。

他好像在試圖探測著大眾藝術與純藝術之間的界線，以及在藝術與商業之間尋找新的融合可能性。但我卻有點質疑他是想大家關心這種病態和反思這種「超級扁平」，還是藉著這個噱頭獲得豐厚營利呢？當然蘩術家也要吃飯 •從古至今的藝術裡很多都有商業成份 •為甚麼這次我會不太認同呢？我不只

_ 次的

問自己，為甚麼大眾喜歡的就不能接受呢？

我的憂慮是：如果村上隆這次成功把大量商業原素放在藝術裡而成為風氣來越少呢？但怎樣來平定商業原素的分量？實在又不知應該怎樣去衡量。 f 註九J 資料來源為

—扁平的深度•日本流行及次文化進軍國嗥藝壇〉，瀏覽於

hUp:ÿiw6bs.url.com.tw/main/html/goya/29.shtml〔最近更新日為 2001 年 11 月 4 日〕。

藝術家們的創作空間會否越

很多人形容村上隆是日本

r 新普普藝術」的領導者。普普藝術時代的藝術家挪用商業符號放在他們的作

品裡，但村上隆是次展覽是借藝術為名

把商業體系搬進美術館為賁。我個人認為意義上是不一樣的。

以前藝術家會試圖詮釋或批判流行或商業文化，今次村上隆的成功，? 出流行及商業文化的製造者就是藝術家。這使「藝術家」的角色定位受到極大的衝擊。僅管.村上隆的「超級扁平」對身處的文化現象有

所反思或批判，但展示的形式和手法都粉飾得十分可愛，我想重點是要令截眾把它們貢回家。我覺得村上隆的藝術品對扁平文化的詮釋 ■實在是娛樂性大於反思或批判性。

現今的社會賁在充滿太多娛樂了

手機裡巴士裡

達文西，《蒙羅麗莎》

年}

周壁宏

當我還在小學讚《蒙羅麗莎》時，我並不了解這幅耋為何這麼出名。即使到今天 * 讓了兩個學期藝術史 •亦不覺得這幅名作有甚麼吸引之處。在我眼中，蒙羅麗莎並不漂亮

引。唯一我接觸了藝術史後

笑容亦不特別

色調也不吸

對這幅名畫的由來和歷史了解更多。我相信要不是那小偷的貪婪，要不

是兩個國家的顏面，《蒙羅麗莎》也未必會如此舉世觸目，保衛森嚴。(註十）很多人認為一件作品成功

就是決定於它的知名度。但從《蒙羅麗莎》的故事，我明白到一件作品的知名度未必與美感、技術或內涵有關 •社會或外在因素可提高作品知名度。當然，每個人對成功的看法都不同。對我以言，「名

作」不代表成功。

從前我以為藝術就是由個人的觀念去創作視覺作品 •我真的以為藝術家總是完全為藝術而藝術，但現

在明白由一開始，很大程度上藝術根本就是工具：用來拜祭神衹的工具、突顯尊貴的工具、挑撥戰爭的工具。直到現在 •藝術可以是促銷商品的工具。

藝術並不獨立存在。聞名於世的作品往往與外間千絲萬縷：抽象藝術的熱潮跟藝評人吹捧有關、畢加

索

普普藝術亦然。(註十-）博物館的收藏決定了藝術品的地位

在作品週圍加個玻璃箱更能突顯它的

珍貴！然後 •作品可以掛上幾千萬的價錢牌。藝術從不與藝術機制分割，也不能跟利益分割。正因

如此，「一流」藝術的定義往往與金錢掛勾。假如從未接觸過藝術歷史，我還以為藝術是可以? 離利益的鬥爭、? 離現賁的利用，自身而生存。但想一想，藝術何嘗不是發生在現實世界公利的社會？藝術真的可以那麼純粹？那麼清高 ?俗？

f 註十 J 1911 年，藏於法國的〈蒙羅 1莎》被一意大利小偷走。1913 年在意大利再次出現（達文西是意大利人

。事情迅即發展成

兩國外交事件。兩國政府同意名* 在弗羅倫斯、羅馬及米蘭展出 •但需於該年年底交還法國。作品現藏於巴黎羅浮宮博物館 •置在防彈破璃之後，由多名保安人士嚴密看守。

f 註十一 J 《術、普普藝術等前衛藝術 •漸露頭角時，評論好壤參半。批評的文章反映了當時社會對新表達手法的不接受、不理解：抽象

另一方面 •

m 寊的評論——特別當評論人是「權威

有認可作品及解衋的功效。指畢加索及立體派是新藝術、解釋

的時候

有關風格的評論人有當時著名詩人 Appolinaire〔見 "On the Subject of Modern

Painting", "The New Painting: Art Notes11, 收

錄於 Charles Harrison & Paul Wood (eds.), Art in Theory, 1900-1999 (London: Blackwell, 1992, 1998, pp. 179-182) 〕。

普普 8 術的正面評論，甚至有由發起運動的人物撰寫 [如選用討論流行文化的文化評論，亦給「通俗口味，不能否認有一定的影響-

的作品配上「文化

為運動名稱的英國藝評人 Lawrence Allowayÿ，當時脈絡。 S 術的成功未必一定全因評論，但評論對覲眾的理解及

後言己

在八十多篇同學習作中，我選了以上四篇，原因是它們? 明了一種態度。文

章的方向各異：李蕙茵綜合了視察分析、晝家生平及個人 ?讀；吳月娥把看來荒旦的表演連轚到有血有肉的歷史故事；倪鷥露對藝術界的現象有具批判的觀察；周壁宏反思藝術的根本問題。四篇文章的共通點是同學們都想得切

身，對作品的討論很個人。這樣的截點

很多時候都會被指為流於主截，因

為它跟習慣上的「客觀」不同。從來，歷史著重史資。在同學們身上，我看見另一種取向。以上四篇文章外，另一份令人印象深刻的習作是陳凱威的思

維圖。A1 紙上有數百項有關藝術史的聯想，當中有「事件」、「根據」等「客截」名目，但佔不上全圖十分之

點

。在同學眼中，史實不過是辨識的出發

藝術史牽連著的是一個更大的思想圖貌，關乎個人創作、想法和價值判

斷。作為一個唸藝術史的人，我堅持史實是必要的基礎。同學的取向，令我再想知識以後，藝術史還可以有甚麼更人性的伸延 ?讀？這一年上課，常想起文化研究學者 Nikos Papastergiadis 的一段話：當代藝術是關乎我們身在何處，和我們自己在當中如何定位。(註忙:） ? 話針對的是當代藝術。我跟同學有新學習：在當代看藝術，亦然。

後後言己

這篇文章寫於 2005 年 9 月。 2006 年 2 月 5 日至 26 日，前一年的課演化成《藝術的歷史•我們的故事》。四十位同學以創作回應藝術史

在白管子舉行聯展。

本文插圖為參展同學作品。

f 註十二 I Nikos Papastergiadis 於 2004 年 6 月 4 日，悉尼雙年展公眾講座1’The Traffic and Ruins of Art and

Globalization" 中的演說。

o 張慧焊 stephc @ graduate.hku.hjc 香港大學藝術學系畢業 •現為香港藝術學院兼任講師。

「在我們的創造下，亞當由 Michelangelo 的教堂天花走到 Newman 的油畫布上。」《我們創造》，葉展文作品。

"With our creation, Adam moved from Michelangelo's ceiling to Newman's canvas." We create by Simon Yip.

When

student, my department used to have this slogan: artist to study Fine Arts." Here "Fine Arts" means art hi;

pecialty and a very welcoming discipline. Honestly, y

have to be an artist to study art history.

Since last year, I have come to the other side of things. At Hong Kong Art School, art history classes are for people who are learning to be artists. Introducing art history to these studio majors, I always wonder: what is art history to them? Classes here are lively. Students are active and ask a lot of questions. Quite often, their queries are not just about individual works, but also the discipline's authority. At the beginning of the course, we talked about Michelangelo's Last Judgment at

the Sistine Chapel. I relayed what I learnt: the martyred St. Bartholomew holds his flayed skin. It shows the artist’s self-portrait, which can be identified with Raphael's portrait of the senior artist in School of Athens. (Note 1) The students disagreed, arguing that the two faces did not really look alike. To me, the two bearded faces always look identical. But is my impression objective, or is it conditioned by what I have read? We learn about art through history, and the problem is that

somehow we learn before we see. The students' misgiving alerted me.

(Notel)

See Laurie Schneider Adams, An Across Time [London: McGraw-Hill College, 1999), p.566.

0 3 5

In the latter part of the course, we moved onto modern art. As the class became more relevant to contemporary practice, the students' questions also got more acute. There is a general consensus

that Picasso is the giant of the 20th century because Cubism ushered in a ground-breaking way of representation. "And so what?” a student asked. We had a good talk after class. The issue was that even if Cubism was really a great formal innovation, how could we be sure that it was a genuinely

artistic, rather than gimmicky, pursuit? To art history, what happened has happened, and things influential are important. Intention is not empirical, so the discipline does not bother too much about it. The issue, however, is more critical to people who practice art. What is at stake is not only

whether an argument is valid. It is a matter of integrity.

Questions like these remind me of Robert Hughes's Nothing If Not Critical. In the introduction, the

author talks about his experience as a *’baby art critic” in the 1970s. At that time, New York was the centre of modern art. Writings by the hottest critics were like dogma. Hughes, then in Australia,

looked upon that American standard from afar and with awe. To him, the postal delivery of the magazine ARTnews was a "missionary". When a copy arrived, he would dig into it with fervour, looking anxiously for reproduced masterpieces. In one occasion, he was contemplating a Newman’s

“zip' Those abstract paintings were highly regarded by famous critics like Tom Hess, who saw in

《約有 5, 210 項符合 Michelangelo David 的?詢結果，

以下是第 1 -20 項。共費 0.18 秒。》從網上認識的《大衛像》。周皓琳作品。

Results 1

- 20 of about 5,210 for Michelangelo David (0.18 secs).

David from the Internet, by Chow Ho Lam.

them "Adam, or the primal act of division of light from darkness." Hughes tried hard, but saw nothing. He doubted, but remembering what he had was just a black-and-white reproduction, he could not 攸刀 help hesitating: "How could you disagree?ÿ

We are a little like Robert Hughes when we study art history in Hong Kong. The geographical,

temporal and cultural distance makes first-hand knowledge impossible. Our idea of historical works

is mostly from reproductions or slides, with colour and dimensions variable. We learn the story of art through other people’s accounts. Such a distance, however, also gives room to a more independent

mind. The aforementioned question of Hughes is rhetorical. What comes after it is a critique against that kind of humility that leads to cultural hegemony. (Note 3) When we cannot see the assured Adam or Michelangelo, the question can be "How could you agree?" On the other side of the world, we

have the liberty to look at history from another perspective. (Note 4)

At the end of the class's two-

semester study of art history, I asked the students to pick a work from the course, and think about

what studying it meant to them. The followings are the homework of four students. The pieces are not perfect arguments. At times, as footnoted, some ideas need clarification and supplement. Nevertheless, considering that the students are not trained as academics but studio majors, let us

look at their work in another light - to people who make art, art history is something like this.

(Note 2)

Robert Hughes, Nothing If Not Critica/ [London: Harvill, 1990), p.5. (Note 3)

Op. cit., pp.5-6. (Note 4)

This more promising way to think about distance is suggested by David Clarke, in Art & PlaceÿEssays on Art from a Hong Kong Perspective (Hong Kong: Hong Kong University Press, 1996). In the introduction to a section called “Western Art in a Hong Kong Frame, the Hong Kong-based art historian accounts for his approach: “Being based in Hong Kong has gradually changed my way of looking at Western art history - I have become aware of some of its closures and parochialisms. Rather than thinking Hong Kong of as a place from which it is not possible to understand Western art properly, I would like to think of it as a place from which an alternative view of Western art, valid in its own terms, might be elaborated. (p.151) M

Frida Kahlo, Tree of Hope, Keep Firm, 1946 Anna Lee

Since I started studying art history, I have always doubted "Why should I study those works?” I feel no connection to art pieces created hundreds of years ago. They are great and grand, but so

unreachable. To me, they are legends, and not real. However, as we moved onto modern art, some of the artworks are more approachable. I do not have to try hard to comprehend foreign iconography. I feel them directly. So I think the most important thing about art is connection with people.

The artwork I like most is "her" - Tree

of Hope, Keep Firm (1946) by Frida Kahlo. I put the work as Mherw

because this is my first impression. Maybe it was because of the presence of Frida in the painting. But more likely, I got the feeling

什 om

the work’s message -- a woman struggling with her painful

operation. The painting depicts two Fridas. On one side, she is weak. She stays in the bed and cannot move. Blood keeps coming out from her wounds, as if they can never be healed. On the other side,

Frida is dressed up. She looks smart and proud. She keeps firm. The bare, violated and weakened body contrasts with her forceful, upright double. This juxtaposition conveys the split in Frida’s personality.

The duality of her being is visually reflected through the division of the picture into two halves. The half showing the maimed body is assigned to the sun, which in Aztec mythology is fed by blood. On

the other side, the strong, optimistic Frida is assigned to the moon, the symbol of womanhood. (Note 3)

(Note 5}

Source: http://www.fridakahlofans.com/c0550.html (webmaster and date of latest update unknown).

The bipartite treatment makes a point on women’s experience nowadays. They too have split personalities. The visual strategy does not just make the painting look good, but also expresses the

artist’s experience, feelings and insights.

When I first saw this painting, I was shocked. How could a woman expose herself like this? She did not hide anything and exposed the scars on her spine. She tried to comfort herself with words on a

flag, "Tree of hope, keep firm" (a phrase taken from one of her favorite songs). She shared her insights, and painted herself for herself. All at once, I felt connected to the painting: "Draw yourself,

express yourself, put your feelings, thoughts and whatever onto the canvas." I think an artist should

have such faith. Frida is faithful, and she found painting as the way to heal herself.

Life and death are fundamental to human experience. With these elements, Frida’s work is immortal. In this work, I feel pain. I sense how she had been close to death. I have never had a serious operation before. There is a saying, "You will never feel your body until you get sick." This painting

reminds me of that. When I look at it, I feel its pain. When I see the contrasting colours, the symbols, I

see Frida’s world. The painting does not look like a work of the 1940s. It is a scene that transcends time. I can never agree that this work is "surreal”ÿbecause it is so REAL to me. fN攸

This is the

point Of Studying her - Tree of Hope, Keep Firm.

(Note 6)

Properly speaking, Surrealism is a 20th-century art movement whose ideas are articulated in the **First by the French poet Andre and the “Second Surrealist Manifesto” Surrealist Manifesto” Breton. The manifestoes are collected in most books on Surrealism. See for example Patrick Waldberg, Surrealism (London: Thames and Hudson, 1965, 1997), pp. 66-80. The movement was indebted to Freud's

theory of the unconscious, and claimed that an unrepressed reality can be expressed through automaticism and bizarre imagery. A further point to note is that the word “real” is loaded with complications in cultural studies (especially the so-called postmodern visual theory). See for example

Fredric Jameson, Postmodernism and the Logic and Late Capitalism (London: Verso, 1991)ÿ Jean Baudrillard, Lucidaÿ Reflections on Photography (Richard

Simulations (New York : Semiotext, 1983); Roland Barthes, Camera

Howard, trans.; London : Jonathan Cape, 1981).

Zhang Huanf Twelve Square Metres, 1994

Anissa Ng

I had the impression that having art history lessons meant understanding art. However, I could not be more wrong. Having studied art history, I became more confused than ever. What constitutes art?

People define art in different ways, and art’s contents, purposes and methods vary Art can be a

record of history, a preaching tool, a means to perfection, a pursuit of beauty, a reflection of

insatiable desires, an expression of emotions and a medium to deliver abstract ideas. All of these, and many others, constitute art. But what exactly is art? What are the criteria for a masterpiece? What make successful artists ? And what defines artists, afterall?

Among the many artforms, performance has never been my favourite. I thought that it was not real art. Rather than working with fine technique, performance artists merely shock people to attract

attention. However, my view changed significantly after seeing Zhang Huan's Twelve Square Metres.

In the performance, Zhang covered his body with animal excrement, sat in a public lavatory and let swarms of flies cover his entire body. He kept still for an hour, then ended the show by jumping into

the adjacent pond. His performance is about hardship in China, where people are treated like dirt. They live through hell, suffer, endure and survive. But they survive only by stripping off their humanity. The work is about dignity, and the loss of it.

(Nÿte7)

I was infuriated after seeing (a documentation of) the performance. Why equate poverty with the loss of dignity? Soon afterwards, I met an old man who lived through the terrible time of the Cultural

Revolution. After listening to my description of the performance and its supposed message, he simply smiled. And then, without a hint of emotion, he began his story.

He said people in that period lived through the worst of the worst. Human dignity simply did not exist.

Convicted of a nameless crime, he was imprisoned for over 20 years. Every day, it was hard labour, with practically no water and only crumbs of bread to live on. This long period of deprivation and

the complete loss of freedom had stripped away any sense of meaning and direction from life. In

(Note 7)

Zhang Huangs Twelve Square Metres was performed in Dongcun, a suburban village near Beijing, on June 3, 1994. The village was like a ghetto area. Because of its cheap property price, it has become an artists* colony since 1993. The placed appalling hygienic condition was a stimulus to the work. Art historian Wu Hung contextualizes the work with the artist's biography and his discontents with the hardship suffered by the Chinese. See Wu Hung, Transience: Chinese Experimental Art at the End of the Twentieth Century (Chicagoÿ

Smart Art Museum, 1999), pp. 102-7.

daytime, there was just work, work, and more work. Toilets were holes dug in the ground. Bedding meant the cold, hard, muddy open space. People lived among dirt, flies, and faeces. Dignity was a

distant memory, if people could think at all.

This inspired me to look more deeply into history and at the hardship people endured during

that period. I went out and bought a book is called Mao Zedong Siren Huiyilu (The Private

of Chairman Mao), written by Li Zhehun, Chairman Mao's doctor. (Nÿte8)

Life

Flipping through the pages,

I saw that life during the Cultural Revolution was really like hell. Parents, siblings, husbands and

wives could all become sworn enemies. It was not uncommon that the dearest accused one another of wrong-doings or treachery to the Party, and that would lead to imprisonment or even

death.

At this point I was truly touched and impressed by Zhang’s performance. He has managed very successfully to translate his thoughts, his feelings for sufferers, into a cleverly conceived performance using his own body as a tool. It is a shocking performance, but using shock does not

mean that the artist has no better skill. Rather, shock is necessary in order to wake the world. The

shock tells the horror of it all, the tragedy of it all. The show did arouse much response from the viewers, including myself. His performance has stimulated Chinese people of a new generation, and even foreigners, to find out the truth for themselves.

I have come to the following conclusion. Real art should have real meaning or original ideas.

Extravagant but badly conceived pieces are meaningless. A true artist should know his subject matter dearly, and work with sensitivity to the environment and appropriate techniques. The artist

and his art should be one. When the viewers see the work, they feel the pain and joy of the artist, and get the message. Only that kind of work, and that kind of artists deserve appreciation, and ultimately,

a permanent place in history.

(Note 8}

Li Zhehun, Mao Zedong Siren Huiyilu {The Private Life of Chairman Mao} (Taipei: Shibao Chubanshe, 1994).

Takashi Murakami, "Superflat" Exhibition, 2001

Lulu Ngie

Translator: Amy Chin

In 2001, Takashi Murakami s "Superflat" exhibition toured the United States. When it reached its last stop at Henry Art Gallery in Seattle, the opening was attended by more than 8,000 people, a record of

the gallery.

What was it that attracted so many people? What thrust the show into limelight?

Murakami’s ideas about "Superflat’’ÿ

?刃

In Japan today, art and culture are all flat. The epitome of this is video games and anime. They are extremely popular and influence every part of the world.

c The generation of Otaku grows up in manga, video games and anime, and become part of it. They are symptomatic of certain values in Japan today. ®

Murakami was quoted in the New York Times, Ml am looking for the cross-breed of art and entertainment?

Murakami has not only elevated popular culture to the band of high art, but also launched successful

commercial campaigns. His brand always makes bestsellers in the market. He tests the boundary between popular and fine arts, and heralds in the merge of art and commerce. Yet I am sceptical:

does his "Superflat” project really reflect upon the phenomenon, or is it just a marketing gimmick? Of course, artists also need to secure a living. Art always has something to do with money. But why

don’t I buy Murakami? Why do I have such a distaste for popular taste?

(Note 8)

Source: http://iwebs.url.com.tw/main/html/goya/29.shtml (latest update November 4, 2001)

My worry is: as the commercialisation of art becomes a trend, would art be less free? How

commercial can art be? This is a tough question.

Many people regard Murakami as a leader of the Japanese Neo-Pop. The earlier Pop artists used

commercial imagery in their works. Murakami uses art for commerce. I think the two are different.

Pop artists were critical observers of popular culture. Murakami plays a different role - he becomes

the trend-setter. "Superflat” is critical as a theory, but in practice, as Murakami’s cartoony merchandise, it is nothing but another marketing strategy. It is more entertaining than inspiring. We

are all fed up by the omnipresence of entertainment in our everyday environment. It would be sad if art also becomes entertainment.

"Superflat” was very well-received in the United States, even more so than it was in Japan. In a way,

Murakami does have an acute marketing sense. He put these Otaku dummies on display, poked fun at the Japanese problems, and sold the fun to the western audience.

I do not like Murakami. But as I can have my views, so can he. Art should be to open.

What I got from art history is an understanding of the development of culture and art’s social contexts. The story of art, written from the historians' perspectives, is never really objective. Yet we

always have the liberty to judge an argument. Having studied art history, I have more ground in my

judgment and am more confident about my opinions. But of course, it is always hard to tell what is really right or wrong. After all, there is no truth, but interpretations.

0 4 3

D..

4 ??、'V1

S%s

由地板到天花的歷史書。

「究竟我知道的有幾多？一不多。 J

《厚》，陳文迪作品。

A volume from floor to ceiling. "How much do I know?

—

Not much."

As thick as... by Terry Chan.

Leonardo da Vinci, Mona Lisa, 1503-05

Misa Chow

Translator: Amy Chin

When I learnt about Mona Lisa in primary school, I could not see why the painting was so famous. Even now, having taken art history for two semesters, I still do not find the painting attractive. For me, Mona Lisa is not particularly beautiful. Her smile is not really special, and the painting's tone is

dull. Nevertheless, having learnt the story of the painting, I can now see it in new light. I believe that if the work had not been stolen, it might never receive so much attention.

(Note iÿ)

Many equate

artistic success with fame. From the story of Mona Lisa, the lesson is that sometimes works become famous for reasons other than artistic merit. Of course, everyone has a different idea about success. For me, a famous painting is not necessarily great art.

I used to think that art was about creating from a personal perspective. I trusted that artists worked for art s sake. Now, I understand that, to a large extent, art is essentially functional. Some people use

it for religion. Some for social status. Some others for contestation. And now, some use it for marketing.

Art does not exist on its own. There is always a larger environment, and fame has a lot to do with

ulterior factors. The popularity of abstract art was related to the hype created by art critics, and the same went for Picasso and Pop Art. (Note

w Museums' collection

gives recognition. A showcase

means prestige (and subsequently, monetary value). Art is always tied to art institutions, as well as the market. So it is unavoidable that "great" art is always marked by a price tag. If I have never studied art history, I would think that art is above all struggles and greed. But after all,

isnrt art a part of the world? Can art really be free from worldly interests?

(Note 10)

In 1911, Mona Lisa, then in France, was stolen. It reappeared in Italy in 1913. This intriguing case of a

French-owned Italian masterpiece (Leonardo da Vinci was Italian) returning to Italy soon turned into a diplomatic incident. The two governments agreed that the painting could be exhibited in Florence, Rome and Milan, but must be returned to France by the end of the year. The painting is now in the Louvre collection, behind bullet proof glass and monitored by security guards. (Note 11)

Avant-garde movements like Abstraction and Pop Art received both positive and hostile responses. While criticisms show that new styles were not always appreciated in their time, favourable reviews, especially those written by influential critics, could help promote a style. Picasso and Cubism were celebrated by the iconic poet Appolinaire. See “On the Subject of Modern Painting”ÿ“The New Painting: Art Notes,” collected in Charles Harrison & Paul Wood (eds.), Art in Theory, 1900-1999 (London: Blackwell, 1992, 1998), pp.179182. In the case of Pop Art, essays affirming its value were written by figures involved in the movement,

such as the British critic Lawrence Alloway, who coined the word ,JPopw. The discourse of popular culture situates the apparently banal works a cultural context.

Postscript From the eighty odd assignments, the above four are chosen because they represent an attitude. They all articulate strong personal opinions. Anna Lee develops her personal reading through visual analysis. Anissa Ng links a weird performance to true stories. Lulu Ngie criticises a phenomenon. Misa Chow is sceptical about famous art. The essays' arguments are not all substantiated, but they are very committed and demonstrate a keen sense of value judgment. Facts are important for history. For the students, it seems that something else is even more significant. Apart from the four

cited pieces, another worth-mentioning project is a mind-map by Benny Chan. In his spidergram, thoughts about art history include "events' "evidence” and "objectiveness.” Yet ideas as such only occupy a tiny part of the map. Art history is also related to creative practice, critical thinking and personal values. As somebody trained in the discipline, I insist on the primacy of facts. On top of that, seeing the students' treatment, I am wondering if we can make the subject more human. A statement by cultural theorist Nikos Papastergiadis comes to mind: contemporary art is about where we are, and how we find ourselves in it. (Note 12) His context is contemporary art. Last year, I learnt to

think about studying art in the same way.

Post-postscript This article was written in September 2005. In February 2006, the momentum of the class evolved into ''Art History, Our Stories'' (February 5-27, White Tube, Hong Kong Art School Gallery), a joint exhibition participated by 40 students who responded to art history with art. Select works are printed here as illustrations

(Note 12)

Nikos Papastergiadis, •The Traffic and Ruins of Art and Globalization,” public

seminar at

the Sydney

Biennale, June 4, 2004.

o Stephanie Cheung

stephc@ graduate.hku.hk Stephanie Cheung graduated from The University of Hong Kong. She is now a part-time lecturer in Art History for Hong Kong Art School.

O 4

真

看

.iiii

J 」D k

的 R UAL

林志光 Lam Chi Kwong

0 4

文化的由來人的存在是他所有活動的根源。人與其他事物的不同，在於他能夠對自身存在提出發問、進行反思、探問自己存在的意義、計劃自己的存在趨勢，同時亦能

夠從事創造活動，以此超越自己。文化出的回答；它的內容，包含那些能夠從這

就是人經反思其存在問題後，所提

_ 代傳給另一代的每一事物，如：知

識、信仰、藝術、道德、法律、風俗、傳統 '使用工具的技術及溝通方法等。故此，對於一個民族而言，文化乃其社會遺產，為該民族成員所共有，並為應

付他們所通遇到的問題，而發展出來的一套思想、情緒和行動模式。

7 ft 0 4 8

藝術是文化中的一環

誠然，藝術是文化的內涵之一

是人類對其存在問題的反思。藝術創作是在努力表現

「先反思」、「先符號」語言的體驗。藝術作品是引導人們觀看這個可見的世界，藉看

描述事物的形象，揭示藝術家對這個可見世界的看法與認知。藝術作品的「形象」，當中的「形」是指外物或外觀；而「象」則是指自我、主體，兩者的合一才會出現「視像」，

這是與視覺不同之處，因視覺只涉及外觀，然而視覺是我們對世界認知及掌握的重要途徑，故此，從藝術家「看」的演變，去追尋並反思人在當下世代的存在問題。

文藝復興期間藝術家「看」真實世界的方式

「探求真責」是歷世歷代的人在各學術範皤中嫌研的共同目標。藝術中的「像真」亦成

為繪晝的傳統標準，人類要達到「像真」更要運用科學的理論。科學理論的運用始於文藝復興時期。社會學家馬克斯 •韋伯就曾將文藝復興時的畫家達 •芬奇認定為現代實驗

科學的先驅，並認為把實驗提高到研究自身的原則，是文藝復興的成就。對於當時的畫

家而言，畫中的圈像世界經由兩方面來表達：

一 .將畫框視作窗口，由此，當觀者察看這幅畫時，就有像透過窗口看到窗外的世界一

樣，是「現實世界的再現」。

二 .「透視」是文藝復興畫家們營造空間的準則。確立了焦點（消失點）後，具遠、近、

高、低的三維世界就得以轉移到二維的平面上。當時的人認為不論多少的物體，皆

可根據這種方法構築圖像。

透視法原理跟從「窺視孔」的一點觀看外在世界全然相同，觀看者所面對的並非物體本身，而是想像中的平面圖像的轉移。故此，這種單一視點的觀看機制，是一種在視覺與心理間自我調整的模式；因為我們不是用一隻眼睛看世界，我們看東西時，要經過雙眼不斷調節，並需要心理確認。因此單一視點是設定性的，並不實存，這就如地平線的概

念一樣，是我們在觀念上的設定

實際並不存在。

0 4 9

但無論怎樣，透視法提供了造型藝術對物件再現的機制

把世界設立為截看的對象

且

賦予我們視覺秩序，從中確立眼睛與物件之間的距離，這距離使物件成為對象（客體，使觀看者成為主體。主客體的視覺截念使眼睛變化成把世界圖像化的官能，換句話?，

眼睛就如鏡子一樣，反映 ?世界。世界的圖像化被歸結為視網膜的自然功能，是一種刺激與反應的自動記憶機制，為往後出現的攝影、錄像等技術提供了依據。攝錄機及照相

機的出現，均以聚焦的形式設定了主體與世界的距離

同樣地遵守或模擬 ?主體的視覺

準則。經過鏡頭，世界被凝固成獨立的圖像，並將主體排除在此世界之外。

印象派藝術家「看」真責世界的方式

十九世紀的中、晚期 •印象派畫家重新強調「看」的問題，把「看」單純地歸納為視網膜上光與色的反應。對於印象派的畫家來? ，他們看到的物象總是光、影、顏色及反光。物象被分解為色塊的交織，沒清晰的輪廓線及明確的透視次序；更重要的是：印象派畫

家重視對世界的重塑，成功地把世界景觀如其所見般重現 •且引導我們看見平常人眼睛

所看不到的事物 •以新的截看方式對待現實生活中的物象，除去我們過往對事物習以為常的知覺。事實上，知與見是有區別的 •我們可知道某事物，但未必看到它；正如我們每日出入自己的房子，知道那裏有桌有椅，但卻不一定看到它們。因此印象主義幫助我

們恢復對生活的新鮮感，重新感受事物的存在。另一方面印象派畫家重視真正第一眼看到事物的一刻。他們認為這是最真賁和最無偏見的 •回復到本源的自然狀態

一個原

初的，純自然的世界。在這樣的世界裏，主客體並沒有區分的概念，觀者尤如初生小孩子般去截看世界 •是一種純粹、直接與生命本能連結的原初形式。從觀看的角度而言 •

觀者由世界之外轉變到世界之中，往後的表現主義大師保羅 •克利更認為世界是一個統一體，人與萬事萬物不是孤立的東西。因此，人與自然是共生共長。觀者也必須體察到

自己與宇宙萬物融為一體。

0 5

以原始的心觀看世界的「真」從「看」的演變發展，可知「看」是一種「還原 J 的過程，將觀看模式從文藝復興

時的科學理性主義和知識主義抽離出來。然而在現今世代中要以這樣純粹的「看 J 去直截心世界，卻是好不容易。在這個高舉科技、客觀理性及物質消? 的時代，日

常生活不同的層面混沌了人的視覺體驗，瞬息變幻的表象迷惑了人的本能直觀；現代思想趨向計算 •使世界充滿「重量過於重質」的價值截念。另一方面，隨? 電腦、多媒體視象及網絡科技的進步，造成圖像及信息泛濫的現象。人在這些片斷式、轉

眼即逝的圖像中迷失，難以判別或掌握當中信息的真賁性，正如現今時事新閏的娛樂化已可等同報導明星生活行蹤的娛樂性新聞；「模擬真實」的概念隨?科技發展

介入人的視聽感官經驗中。影音器材的數碼化，吸引? 消費者在家中模擬出音樂廳或戲院的視聽效果。在這些消簧者的心目中，享受?這種模擬的真實，比真正身處音樂廳或?院的樂趣更大。據聞日本現正開發立體電視，觀者可從四方八面觀看影

象的不同角度

並可提供觸覺及嗅覺的功能，這確是難以想象的感官衝激

真實與

幻象的界線越趨模糊。

人本來是自然的一部分 •但現代的物質文明卻將人與自然以一種主客觀截然分離的思

想方法下相互隔絕，且使人與人、人與自然失去了互動關係。人必須除去固有的經驗、習慣回復到原初的狀態 •才能看到「真實」。人必須認清自己的存在與自然的連轚，投入生活當中。然而這樣「看」的方法，或多或少蘊涵 ?反現代性的意味。

誠然藝術與歷史一樣，不一定?著時間的流逝而進步，重要的是它們均給予人對當

」•

下生活的反思 •對真實存在問題的回應，古希臘雅典廟門楣上寫有「認識你自己這話反映了幾千年來人對自我的追問、對存在意識的探求

並沒有因 ?文明的發展

間斷。

? 林志光

cklam424@yahoo.com.hk

林志光生於香港，於香港中文大學畢業，先後獲取文學士（藝術系）及哲學碩士（藝術系）學位。其著有「明代官窯香爐的文化的內涵」，載於《學道揚塵中國藝術史論文集》•香港中文大學 S 術系出版。林氏現為香港藝術學院工作室導師、兼任講師及香港當代陶藝協會秘害。

Translator: Lim King Na

The Origin of Culture

Mankind’s existence is the origin jof all his activities. The difference between human and other forms of life lies in the former's capacity to raise questions, reflect on and delve into the meaning of his own existence, plan for his ongoing tendency of living, and transcend himself through creative practices. Culture arises from these attempts by mankind to reflect on its own existence. By culture, I mean things that can be passed from one generation of a nation to the next, such as knowledge, belief, art, morality, law, custom, tradition, technology, language, etc. Therefore, a nation's culture is its social heritage shared by all the members of the nation, and is a mode of thinking, emotion, and action developed from handling problems they have encountered.

5 2

Art is a Part of Culture Art is a part of culture, as it is an expression of human's reflection on their existence. Works

of art strive to express the experience of "pre-reflective” and "pre-symbolic” language. They guide people to see the visible world by describing images of things and revealing the artists’

views and understanding of the world. The Chinese counterpart of the English word "image” is " 形象

Xiang)." The term consists of two parts: "Xing" refers to the object or the

appearance; and "Xiang” refers to the self, the subject. Visual images appear only when

these two are combined together. Visual images differ from vision, which is concerned merely

with the appearance, whereas vision is a crucial way for us to perceive and grasp the world. Therefore, we can search for and reflect on problems of existence facing current generation

by understanding changes in how artists "view" the world.

The Way Artists of the Renaissance Period "Viewed” the Real World "Probing into the real" has been the common goal of every academic field in all generations.

"Imitation" has been a traditional principle in painting. To achieve true "imitation", scientific theories are needed. The practices of scientific theories began in the Renaissance. Sociologist Max Weber once regarded Leonardo da Vinci, the Renaissance painter, as an

avant-garde figure of modern empirical science. Weber argued that elevating experiments to

principles of studying oneself was an achievement of the Renaissance. To the Renaissance painters, the world in painting is expressed in the following two ways: 1. The picture frame is treated as a window: when viewers are looking at the picture, they

seem to be looking at the outside world through the window. This process is referred to as

"the recurrence of the reality".

2. "Perspective” is the principle the Renaissance painters use to express a sense of space. By establishing the focus (vanishing point), Renaissance artists can present the three-

dimensional world of "far”ÿ Mclose’’ÿMhigh”ÿ and "low" on a two-dimensional surface. People in that time believed that images of any object could be constructed in this way.

The experience of looking at a work of art that uses perspective

exactly the same to

seeing the outside world through a peephole. What the viewer faces is not the object itself

but the shifting of the imaginary two-dimensional surface. What lies behind this mode of viewing with merely one focal point is a mode of self-adjustment between vision and mind.

Since we do not see the world with one eye; when we look at things, our eyes constantly adjust themselves, with the consensus of the mind. The establishment of a single focal point

is just a tentative setting. Like the "horizon" in the concept of horizon, a single focal point,

which is merely an idea, does not really exist. Nevertheless, "perspective" offers visual art making a mechanism of the recurrence of

objects, which makes the world the object of viewing, and provides a visual order by

establishing the distance between the eyes and things viewed. The latter become the objects; and the viewers are the subjects. Through the separation of subjects and objects,

the eyes become the medium through which the world is reflected through images. The eye is like a mirror, which is reflecting the world. The reflection of the world through images is understood as the natural functioning of the retina, an automatic storing institution of

stimulation and reaction, which is the basis for the emergence of photographic and cinematic technology. The emergence of the camera (for both photography and video) establishes the

distance between subject and the world through the mode of setting a focus, and abides by

and imitates the standard possessed by the subject’s vision. Through the lens, the world is frozen into isolated pictures of images, and the subject is excluded from this world.

The Way Impressionists "Viewed" the Real World

In the mid- and late-nineteenth century, impressionists highlight the idea of "seeing” again. They regard "seeing” as a response to light and color on the retina. What impressionist see is light, shadow,

color and reflection. Objects are decomposed into the interweaving of different colors, without a clear

outline and definite perspective order. More importantly, impressionists emphasize the remolding of the world. They succeed in representing the world as how it is seen. It leads us to view the objects in our

daily lives in a new way, so that we can see what normal people cannot see, and abandon the sense

towards the objects we have gotten used to. In fact, knowing and seeing are different: we may know something but not see it. We come in and out our house everyday, knowing thatthere are tables

and chairs inside, but we may not see them. Therefore, impressionism helps us to restore the freshness of lives and lets us feel the existence of objects again. On the other hand, it also emphasizes the very moment when we first see an object. Impressionist painters believe that in

this moment we can return to the natural state of origin, a primitive and natural world in which we

are authentic and without bias. In this world, observes do not distinguish between subject and object They view the world like a newborn baby; it is a primitive mode that connects purely and

directly to the instinct of lives. From this perspective of viewing, the observer's position shifts from

outside the world to inside the world. Expressionist Paul Klee even believes that the world is a unique entity; man and everything in the world are not isolated. Human grow together with the nature. Observer must realize that he and everything in the universe actually fuse together.

Viewing the "Reality” with a Primitive Soul

From the evolution of "seeing", we find that "seeing" is a process of "reduction". It detaches the way of seeing from the scientific rationalism and intellectualism of the Renaissance. In this generation, however, "viewing” the world in such a pure way is never easy. We live in an era which celebrates technology, objective rationality and consumerism. Every aspect of

daily life, with its ever-changing images, dazzles our visual experience and instinctive

perceptions. Modern thought highlights calculation, and now the world emphasizes quantity rather than quality. On the other hand, the development of computer multimedia and

networks has led to the explosion of images and information. Human are lost in this fragmenting and fast-changing visual world, and it is hard to judge the authenticity of messages. Today, the news tends to stress entertainment, for example, news reporting on the

lives of stars. Along with the development of technology, the concept of "virtual reality”

interferes with our senses, including hearing and seeing. The digitalization of audiovisual equipment allows consumers to imitate the sensational effects of concerts and theatres at home. For these consumers, the enjoyment of virtual reality is higher than that of theatres

and cinemas. It is said that Japan is developing three-dimensional televisions; audiences can view the images from all directions and angles. They will even provide the sense of touch and smell; this sensational stimulation is indeed incredible. The boundary between reality and

fantasy is becoming more and more indistinguishable.

Human are originally a part of the nature, yet modern materialism and civilization have

distanced man from nature by binary opposition of subject and object, as a result the interactions and connections between men and men, and men and nature are broken. To view

reality”ÿhuman must abandon their innate experiences and return to the primitive

state. People must devote their lives to and recognize their connection with nature. To a

certain extent, this way of "seeing” has an anti-modernist implication. Indeed, art is like

history, it does not necessarily improve with the time. The importance is that it let us reflect on our lives and to the questions of existence. The phrase "know thyself” is written on the

lintel of the Parthenon in the Old Greece. It reflects man's questioning of himself and his search for a consciousness of existence over thousands years, which has not stopped because of the development of civilization.

o Lam Chi Kwong

cklam424@yahoo.com.hk

Born in Hong Kong, Lam Chi Kwong received his BA (Fine Arts) and MPhil (Fine Arts) from The Chinese University of Hong Kong. He is currently a studio supervisor and lecturer at the Hong Kong Art School and

the secretary of the Contemporary Ceramics Society Hong Kong. His works include "The cultural content of porcelain kilns and censers in Ming Dynastyÿ, published in Xue dao yang chen Zbongguo yi shu shi lun ji. Department of Fine Arts, The Chinese University of Hong Kong.

藝評的有效性 The E-F-FeciziMeness O-F tÿhe finz critrique

mmasm

3m 陳育強

Chan Yuk Keung

當我讀藝術史的時候，總覺得藝術的想法和風尚轉變，大約百年一變。這種情況，自文藝復興至現代，莫不如是。人類置身歷史的洪流中，以個人壽元約不足百年計，應該不能看出激烈的變化。可是，正如某些關於地球發展史所得的

結論，現代人生活節奏急速，實際上已經以幾何倍速地變化、進展。比方，以我們一生所經歷的環境變化和所消耗的物質計，和工業革命前的人所消耗的來

相比，其差距已不可以道里計

藝術潮流亦一樣。一百年前的藝術家很難

想像我們每天所接受的所謂「新的衝擊」一藝術現已揉合了其他文化共生物而

變得十分複雜。我們從前相信，藝術的發展方式主要依賴藝術語言的內部進化和委約人階級、興趣的轉變；時至今日，藝術的參照系統已隨?民主概念、個人主義、流行文化而變化；透過通訊系統的發達、鋪天蓋地、無所不在的極速

傳遞變得個人、零碎、無所不包以至不可捉摸。簡單地?，藝術變得像時裝一樣，它的存在非關甚麼我所相信的偉大因由，又

或者不可被搖動的本質，它是各項文化消費的對象之一，它也可以隨意吸收古

往今來不同文化體系的理念、樣式，而不需秉持某種基準價值。總之，能被大多數業界人仕接受的就是好的。從這觀點看來，我們不難想象，如果每年流行

的時裝樣式是由幾個頂尖設計師、設計公司所倡議、操縱，不難想象，藝術的

潮流也可屬被穿梭於各大國際雙年展、三年展的超級藝術家策展人所主導。是他 / 她們?訴我們今天藝術的走向。無論我們願意與否，今天在國際舞台所發生的一切，明天將被記錄於歷史，成為另一種經典。現在寫藝評的困難，在於參照系統的複雜多變。文藝復興時期所發明的技術、

自然再現的觀念，可以維持好幾百年，現代主義時期所揭 ?的形式主義，統領了藝術活動約一百年，如今，觀念藝術的勝利已把視覺的含義徹底個人化，

讓本來承傳數百年的、本來具普遍性的視覺認知方式不再具客觀的對應性。再者，?育的普及和資訊的流通，亦使不同範? 的知識作不同方式的融合、

匯流；現今描述藝術活動的方法已不能單從把藝術語言作一封閉系統來看待它和諸種活動如哲學、文學、流行文化、科技、政治等都息息相關

藝術

系統在不斷的衝擊中自我更新，而參與藝術的人，包括藝術家、藝評人、讀者 / 觀眾，莫不置身於這錯綜複雜的網絡中。不難推斷，從古到今，所有參與

者都可能從藝術被

r 發現」以來，不斷變化的網絡 / 系統中找到自己的定位，

而藝評，便是由這些不同個體的觀點踫撞而得的結果。

作為專業藝術工作者

他對藝術參照系統認識須保持一定的深度和廣度，通過比較，一

方面找到自己的立足點，一方面亦能對眼前事物作出判斷和選擇，藝術家如是，藝評人也如是。

傳統的藝評傾向相信藝術家和藝評人有共同的參照系統，在藝術生產和被消 ?的過程中，藝評人多處於被動的位置，但亦能確保評論的有效性。相對於較封閉的藝術系統

中國繪畫、書法

諸如

以至西方自然主義繪畫等較被技巧和傳統規範的藝術類型而言，因?

有較長而沒太大變化的傳統和歷史，評價標準一般較容易確立。反之 •當代藝術中較倚

重截念性的藝術

其參照的知識系統再不囿於視覺形式，一百位藝術家可以有一百種不

同的參照系統，要找尋一種有效的評論方法變得日益困難。藝評作為一種評定優劣的工具亦變得無力。

一般藝評所用的參照系統

大致可分為三種角度：藝術史、創作觀點及哲學 / 美學的角

度。藝術史作為藝評的參照系統是因為我們相信所有現在出現的藝術現象都離不開從前發

生的藝術事件。特別當藝術進入學校 •成為常規科目之

我們便可假設絕大部份藝術家

_，

都是透過學習過去的藝術知識來劁造當代藝術的。沒有追隨過往藝術家走過的足跡，我們

如今也不會站在當下的境地 •所以藝術史便成為藝評的重要參照系統。

若從創作者的觀點出發，藝術史只能?明第三者的觀點，寫藝術史的人亦只以旁觀者的身份來剪裁、編纂材料，所側重的? 讀對像範園亦較廣泛，所以，得諸客截未免失諸切身處

地的投入感，更遑論體察劁作者真正關心的課題。從劁作者的角度看

藝術家可能更關心

技術、藝術進路、觀念，以致作品所可能表達的內容等問題。藝術家可能比藝術史家更瞭解一位藝術家 •因為他了解藝術家的切身苦惱和真正關心的問題。

S-

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最後，哲學與理論，作為一種最具普遍性的，多種實踐性的工具，在當代藝術趨於觀念化

的環境下，無疑較具參考價值 —— 哲學、美學、以至文學等領域從來都對 S術家起著重要作用。在創作的過程中

藝術家無論在參考外來的參照物或發自個人玄思，都需要在完成

作品後作為第一位戳眾來歸納他的經驗，或把眼前不可名狀的新經驗概念化材料除了前人的經驗 (S術史) 外

他所憑藉的

更是同時代各種劁作人所面對的共同課題，有時是科技

的、有時是政治的，更是同時統攝一個時代的意識形態的。在不斷的借鏡中，個人得以和

時代結合

亦得以為自己的

r 劁作」找到時代「因由」，雖然，同樣的 r 因由」在不同的

時代裏，可以有不同的詮釋，這種自發的個人省思，透過不斷的辯證，便可形成個人的劁作哲學，以至發展成為藝術理論。然而，這些藝術反省總離不開他所處時代所提供的

視點，又或者 •作為旁觀者

我們總離不開

_ 個時代的截點來看待個?的經驗。

?到這裡，我們不難看出，縱使我們能臚列不同的有關藝術的參照系統 •仍不難?出一個事賁一藝評由人所寫，他的視野無法不受自身諸種條件所限，又或者，從另一角度，藝評人、藝術家和讀者都置身於一個巨大而複雜的參照網絡，其中當藝評活動由藝評人啟動後，各人

都透過自己的要求或需要，藉著網絡中無數接觸點找到接觸對方的路徑。有趣的是，藝評人所選擇的接觸作品、藝術家和讀者的路徑，只是眾多路徑之一，而支持藝評人的選擇往往是另一輪的，對這種選擇的後設 ?讀。所以藝評人和其他讀者一樣，對作品的定論是在接觸作

品的一瞬已經確立，而一切用以支持這觀點的論據，反而隨後而來。實際的情況其實和我們所想的可能相反—— 我們常以為對

事物判斷是先有觀察、分析、採證

才有結論。

從微觀角度看，當個體和個體在一巨大網絡中相遇，賁際上是不同較小的個別網絡踫撞的結果。當我們把個體的學識、經驗視為組織該網絡的元素，藝評便是這些元素交互作用後的結果。值得注意的是，藝術是以藝評人的內部網絡來主導的，所以，它有優先的發言權，也很容易抹去劁作者的觀點。

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由是觀之，羅蘭 •巴特的看法在這裡有一提的必要 —— 他視評論為另一種寫作

或稱為

後設寫作的一種具創意的? 讀方式，他把讀者的地位等同於作者 •謓者的責任並不在揭

示作者的本意，而在作者的創作中找尋自己的觀點。所以，一種主動性的 ?讀方式實際

上和作者的創作平衡發展，互相交?而不斷衍生意義。如果我們把讀者看作藝評人，而他的工作不是急於達致評定優劣的結果，而是然不會被視為

_ 個可具發展性、開放式的文本藝評自 1

_ 種恆定的結論反之•它可以被視為根據他人作品所引發的另 I

創作。

在此 •藝評的作用 •不再是評定，而是把藝評的對象變成一生生不息的意念源頭，而藝評人的工作則變成延績創作、拓展視覺的後績活動。

這種看法，雖然有 ?把作品的真正內容神秘化的嫌疑，但都頗符合藝術家在創作時的實

際經驗

藝術家其實也不必全然了解自己的作品，至少他不能把這種經驗完整地翻譯

成可被理解的語言。

於此 •藝術創作可能永遠是不能被全部理解的神秘活動，這種活動，一方面吸納了各

方面的文化內容，亦結合了個人的神秘感悟和玄思

相對於事事講求效率、功利的社

會法則 •它提供了一個開創未來、不可知的窗口，為日常習慣提供?軌的想法。藝評

的作用某程度是鞏固了社會對不可知事物加以掌握或排斥的企圖

藉以防止釀成社會

價值系統崩潰的恐慌，亦因? 這原因，藝評大部份的論據資源來自歷史、理論、以致

文化背景。如果藝評的貴任是一種熟優熟劣的裁決，它只淪為社會傳統價值於個人信念或奇想的箝制。反之，適當的評論是游走於藝評寫作作為一種論斷

品之後續寫作的一種抉擇

和作為一種作

切皆視乎我們遇到何種類型的作品。遇到「可讀」的

作品，藝評人可以擔任一個解讀的角色，當我們遇到

r 可寫」的作品的時候，藝評人

似乎可以發揮其更可愛的 _面，與創作人一同站到表演台上，互相即興酬答一曲又何

妨？

陳育強

kurt@arts.cuhk.edu.hk

陳育強先後在香港中文大學及美國鶴溪藝術學院完成藝術訓練。陳氏曾參與超過

六十次本港及海外的展覽，其後一直致力劁作。陳氏現任教於香港中文大學藝術系，亦從事文化蘩術評論工作。

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Translation Lim King Na

When I was studying art history, I always felt that ideas about art and artistic styles changed every one hundred years. This is true throughout the Renaissance to the present day. Amidst the continuum of history, a person most likely cannot witness any drastic change within his or her life¬ time. Yet the modern man is living in a world of accelerated speed. For

example, the environmental changes and material consumption involved in our life-time are times more than those of the pre-lndustrialized society.

The same goes for art. Artists of the last century would have no idea of the so-called "shocks" we receive everyday - art today merges with other cultural forms and becomes a lot more complex. We once believed that art development was determined by changing stylistic preference and varied patrons' expectations. Today, art's scope of reference is changed as democracy, individualism and popular culture become new social ideals. The flood of information, facilitating by an all-penetrating communication system, also turns reference personal, fragmented, all-embracing yet ungraspable.

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Put it simply, art becomes something like fashion. It does not exist for grand reasons or deeprooted ideals. It becomes a cultural commodity. It takes any form, represents ideas from different cultures without conforming to a single model. What is accepted by most people in the field is

considered good. Like the fashion business is dictated by a few top designers and labels, art today is also mastered by the star artist-curators of the international biennials and triennials. They set the trend of contemporary art. We like it or not, what happen today will become classic tomorrow.

Nowadays, it is difficult to write art criticism because art has so many sources of reference. The

techniques invented in the Renaissance and the pursuit of naturalistic representation remained in fashion for a few hundred years. Formalism prevailed for a century. Today, conceptual art

advocates a totally personal approach to the meaning of art. Cognition is no longer objective as it had been for hundreds of years. Moreover, education and the flow of information promote crossdisciplinary exchange. We can no longer treat art as a closed system. Art is now related to philosophy, literature, popular culture, technology and politics. Art renews itself amidst constant shock. Artists, art critics, the audience all find themselves in such a labyrinth.

Throughout time, ever since art was "discovered”ÿ people find their place amidst the constantly changing relations. Art criticism is the result of the contestation of viewpoints.

An artist must be familiar with art's possible reference. His knowledge must be both extensive and in-depth. Through comparison, he can establish his own standpoint, and react to

circumstances critically. The same goes for critics.

In traditional art criticism, it is assumed that artists and art critics share the same kinds of

references. Thus although art critics usually play a passive role, art criticism still finds its way in the midst of art production and consumption. For example, it is easier to assess the merit of traditional media such as traditional Chinese painting, calligraphy, and western realistic

painting which follow definitive historical conventions. On the contrary, contemporary art is

more conceptual and is no longer confined to visual forms. It has a lot more other references. A hundred different artists may have a hundred different kinds of references. Thus it is

difficult for art criticism to find its ground. Eventually, art criticism loses its function as a means to measure artistic achievement.

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Most criticisms refer to the followings: art history, the artist's viewpoints and

philosophy/aesthetic theory. Art history is regarded as a source of reference as we believe that today’s art is connected with the past. When art is an academic discipline, we can

assume that most artists develop their own works through learning from the past. We are led to where we are by the trajectory of artistic development. Therefore, art history is a major

source of reference for art criticism.

Comparing to the artist’s viewpoints, art history is a third-person perspective. Art historians

are observers when they collect and interpret materials, and they aim for a wide range of readers. Thus, art historical accounts tend to be objective yet detached, and rarely reflect the

artists* own concerns. Artists are more concerned about techniques, artistic development, concepts and the issues addressed in the works. Vis-a-vis an art historian, an artist

understands an artist better because he feels the difficulties and concerns himself.

As contemporary art becomes more and more conceptual, philosophy and theory, which are general and highly applicable, is undoubted a useful source of reference. Philiosophy,

aesthetic theory and even literature always have an impact on artists. In the process of art¬ making, artists can develop ideas through referencing or on their own. In either way, upon the work’s completion, an artist himself is always the first viewer who makes sense of the

unnamable creation. His reference comes from his forerunners (art history), as well as the

shared concerns of his generation

—

be it technological, political, or at times ideological.

Through continuous referencing, individuals are connected to their times, and works are

contextualised. Even though contextual factors are interpreted differently across time, this kind of reflective dialectics can be developed into a kind of creative philosophy, and eventually art theory. However, such kinds of reflection are always tied in to the artist’s

perspective at his time. Likewise, as observers, we are also looking from our time's angle.

So far, it is obvious that even if all kinds of references are consulted, the critics1 viewpoints are still

inevitably bounded by his own circumstances. Art critics, artists and readers are all in a matrix of reference. Once an art critic initiates a discussion, everyone, according to his own preference, finds his way to get in touch with others. The way taken by art critics is only one of many. Then

people take a critic’s take in another round of choices. Art critics as well as the readers have their own ideas about a work once when they see it. The reasons supporting their ideas come later. This

is probably the opposite of our idea about the order of thought - we tend to think that judgment means observation, analysis, evidence gathering, then conclusion.

On a micro level, the meeting of individuals in a huge network often means collision between groups. If individuals’ knowledge and experience are elements of a group, art criticism is the

result of the interaction between these elements. A point to note here is that the discourse of art is often dominated by the network of critics. The artists' own viewpoints are frequently

undermined.

Roland Barthes’s argument is worth-mentioning here. He sees criticism as another kind of writing, or a kind of creative reading. He equates readers with authors. Instead of unraveling

the authors' intention, readers look for their own interpretations. Active reading is a parallel to the authors' creation. Meaning is created as the two interact. If we regard readers as

critics, their job is not just judging, but extending an open text. Art criticism thus does not end

with definitive conclusions. It is creative reaction to others' works. Art criticism can be treated as extended creation that broadens the vision.

Although such a treatment may mystify the meaning of the work, it does fits well with the process of art-making - indeed, artists do not fully understand their works themselves. At least, he cannot translate this experience fully into a verbal language.

z ?D

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Art creation

a mysterious activity that can never be fully understood. It

culturally

embedded, and also highly personal. In a society that budgets effectiveness, art deviates from the norm and is a passage to the future and to the unknown. Art criticism, to a certain extent,

reinforces society’s repulsion of or control on things unknown. In such a way it safeguards social values and prevents ideological systems from collapsing. Because of this, art criticism

is usually based on history, theory and cultural contexts. If its task is just to distinguish what is good from what is bad, art criticism would be reduced to a means of social control over

personal beliefs and imagination. On the contrary, a more appropriate kind of criticism is one that oscillates between judgment and extended writing. The emphasis depends on the nature

of the work in question. Art critics may act as interpreters when they encounter "readable” pieces. When they encounter Mre-writableM ones, they may play a more active role and engage the works in a dialogue.

o Chan Yuk Keung

kurt@arts.cuhk.edu. hk

Chan Yuk Keung completed the art education at The Chinese University of Hong Kong and Cranbrook Academy of Art respectively. He has participated in over 60 exhibitions. Chan is now teaching at the

Department of Fine Arts, The Chinese University of Hong Kong.

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.I !

WANDERER! O F THE

From Western Art Phenomena to IWorks of Art 術現

象

這篇文章試? 以東方人的角度去看西方繪畫藝術，再連轚個別藝術家的劁作，去探討蘩術現象與創作的關係。.

「以東方人的角度去看西方繪畫藝術。」這句話本身就 ?明東方人並不能代表西方繪畫藝

術。想起早年讀藝術時，曾被人挑戰自己所採用的藝術語境及其出處，當時就只能以個人

及個人的文化因素作為解 ?內容。時至今日，西方藝術仍然在發展中，而且收納更多的詞藻和語境 •其中涉及其他或他者的意思，但仍以西方的傳統和結構為基礎；配合當代活躍的轚術動態

形成龐大的藝術體系，這系統不單影響全球的藝術生態

也成為藝術意義的

最後詮釋者。

繪畫藝術由油彩到合成顏料，還包括帆布、木架和筆等，當中顏色的調配、物料的運用和

技術的形成

都與其本土處境有關，屬於繪畫藝術內容的基本論述。之後形成的繪畫媒介

概念 •及發展出來各種不同的繪耋風格和意義

帶領繪畫藝術向更遼闊的方向進發，甚至

離開繪畫的基本論述 •反過來挑戰純繪畫的意義。雖然如此，繪畫仍是所有藝術形式的起點，有著牢不可破的傳統和結構意義。

除此之外，還有不少曾經啟動繪畫藝術邁向革命性發展的人物，從達文西、林布蘭特、梵谷、莫奈、畢卡索到傑克遜 •帕洛克、甚至最近期的英國年青藝術家群等

時期為繪畫藝術作出了不同的論述，成為藝術歷史中不同年代的代表

可思議的天才人物

他們在不同的

也是藝術創作中不

甚至是時代發展的啟示者。他們似乎都擁有獨特的個性和魅力，成為

群眾追星的對象。天才繪者的出現引證及堅固了藝術的意念。

藝術由物質性、個人性到現今的系統性景況，都鞏固了藝術的發展。從前個體追求藝術意義，現在由群體去承擔和解釋。現今藝術社群，有著非常嚴密的無組織制度

當中包括有

藝術家、評論員、歷史學家、策展人、藝術行政人士、畫廊、藝術政策人士、收藏家及觀眾等。藝術創作不可能在個人的意願下決定藝術的社會功能和存在意義。繪畫雖包含個人

強烈的參與慾望，但若要在社會產生影春力 •還是要靠全體有關人士參與 •才能確立。藝術社群透過種種的建構去審核和闌明各種藝術的意義和價值，當代眾多的藝術年展龐大的體系，不僅是人力、更關係於財力 •去判定藝術於當代的意義。

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靠著

CAl RO EGYPT

CAIRO EGYPT

Jtÿ

泰利百特，《溫和速度的服務》油盡與蟠布本，112 x 112 厘米， 2005 年。

Terry Batt, Service at moderate

rates, oil and

wax on canvas, 112x112 cm, 2005.

作為單純的創作者，特別是西方地域或文化以外的人，其創作的情況又是怎樣的呢？在這裡，筆者試從三位繪者的作品，透過當中對繪畫物料和意念的追求，用來啟動因西方藝術現象所帶來的思考。

泰利伯特 (Terry Batt) 是澳洲墨爾本的藝術家，主要從事繪畫和雕塑創作，近年來由於工作的需要，不時往返香港，主理藝術課程。其作品都散發著相當樸素的氣質，有不麗於這個時期的人和物的影像。據其述? (註- •他幼年?父母從英國坐船到澳洲，開展新的生活，

但他仍然懷念故鄉。成長後對小時英式的生活仍念念不忘，就像足球活動是他小時的強項，這些都成為其作品中可貴的資料；移民的經驗令他喜歡旅行

像

他以敘述的手法去描述過去的事情

車和船都是他喜歡的圓

反映的不是現實中的真確度，而是追求那隱藏著

的夢想和自身文化；他對物料的追求也是貫徹的執著，把油彩混上蠟，形成厚厚的狀態，

然後滿有意識地在畫面上像雕刻般繪畫

泰利的作品是體驗西方文化率性的表現。

余偉聯先後從加拿大和英國接受藝術訓練，他以繪畫作為主要媒介外 •還有現成物、環境狀況，構成多元化的立體場面

作品中除了帆布油畫

這樣的安排把約定和非約定語言變

成個別詞藻，合起來就道出了作品的意思 •甚至油畫畫面的具象性影像和抽象痕跡

也都

是這樣地被獨立處理著，如果再留意作品題目 •可以看到，視覺語言進一步被中國的文字

和其語意豐富了，以 2005 年的作品《行到水窮處

坐看雲起時》

他引用中國唐代詩

-）

人王維的詩，把由文字所創造出的意境，透過重新安排的視覺語言，令原來優雅的聚色變

成相反情景，這種做法不但幽了中國文化的詩情畫意一默，而且把文字語言看作是一種思考和? 謓程式，放在繪畫語言中 •令視覺想像變得具體化。據余氏所言 (註二），這種做法無

非是希望打破繪畫過程中既定的模式和狀態，以自己的文化背景作為主導，放入西方的繪畫傳統內。

S-

(註一>

泰利伯特 2005 年在香港接受作者訪問。

(註二 )

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余偉聯 2005 年在香港接受作者訪問。

ii t

楊國芬在香港接受藝術?育，現修讀澳洲遙距博士藝術課程

從事中國水墨繪畫 •也是香

港現代水墨畫協會會員，曾任會長一職。她沿用中國傳統山水畫的樣式

讚研不同的物料

和媒介，透過實驗性的方法去重新建立山水圖像的意義。有些作品都是直接從電腦的打印機輸出，這種相當倚賴技術層面的做法，在她看來是甚有因由的。大概追溯到北宋時，有至 1085 年

位藝術名家郭熙

>，某天他正在建造房屋，看見些濕泥，他把濕泥抹在牆壁

上，待泥乾後，拿起宣紙在泥的表面拓印，把濕泥的痕?留在畫面上。這樣的發現和追求不直接參與製造過程的做法 •不單引導她作思想形式的改變

亦由於她對中國傳統水墨畫

的追求，讓她發現中國藝術發展中不為人留意的一面。在專找過去的同時，她希望把現代氣息注入中國水墨繪畫內。

三位藝術家都有著不同的背景，對泰利而言，他對西方藝術的追求是自然和自發的

這也

關係到根源的問題；另外對於繪畫物料的處理，他也相當專注，這連轚到西方藝術處理物料的形式，把物料和技術包括在意念之內。余偉聯並不關心物質的狀態，反而在思考模式

和語言的理性層面上研究

企圖在西方繪畫概念以外找尋其他可能性。以東方的語境作為

入點，加上原有的西方視覺語言結構，使作品的表現多了一種複雜性 •非從繪盡的單一表現形式可以想像。至於楊國芬

畫能向著現代化步伐邁進

社會上

她坦言 (?三對西方藝術沒有太大的想像，但也總想中國繪

她認為技術的意念是現代化的表徵。

大部份的藝術家都忠於自己的志願

樣，雖然從一開始

而按步就班地劁作，對余偉聯而言

他並沒有明確的意願去針對西方的情況進行創作

也是一

但在其作品中仍顯

示出對西方藝術情況的關注，影響其創作方向，亦令其創作過程變得長久及沈重；楊國芬

的作品則是在西方強勢現況下的一種回應，使之對本身的藝術作深刻的反省。在尋找的過程中，所發現的泥痕? 像是某一種的依據，然而這種被史家稱為「影壁」的技術

只在郭

熙時成為他一種皴法的技巧、和對透視的看法，現在沒有任何手稿流傳下來可以研究後世亦沒有在這方面作更多的論述；在西方繪耋歷程中巧的層面，都已發展成有承接力的概念

對之下

而

這痕? 的意義，無論在表象和技

由不同的畫家作多方面的實踐。泰利的創作，相

就減少了一些負擔•他關心到繪晝的表面、技術和影像的彼此關係。

0 7 2

(註三)

楊國芬 2005 年在香港接受作者訪問。

楊國芬，《中國人的組合（_>》，水 ?設色紙本，22.5 x 74 厘米， 2003 年。

Margret Yeung, Composition

of the

Chinese No. 1 , ink & colour on paper, 22.5 x 74 cm, 2003.

當代西方藝術的集體性，削減了個人的力量，放在東方人身上，更要面對終極詮釋的問題；東方人的藝術難以建立自主的狀態

只能在西方的語境中得到確認，這是現實；在環

球化和國際化的情景下 •這現實境況還會繼嫌下去。

參考書籍 Harison, Charles, Frascina Francis, Perry, Gill, Primitivism, Cubism, Abstraction New Haven & London Yale University Press, 1993.

— The Early

Twentieth Century,

Harris, Jonathan. The New Art History A Critical Introduction, London and New York Routledge, 2001.

Kuspit, Donald. The Rebirth of Painting in the Late Twentieth Century, UKCambridge University Press, ,2000.

部凝姿 stang@hkac.org.hk 鄧凝姿先後從倫教大學金匠學院和澳洲皇家墨爾本理工大學獲藝術學士及碩士學位。其創作媒介主要是

繪畫和布料製作。現為香港藝術學院講師。

f? 0 7 4

Translation Lim King Na

This article tries to look at Western painting from the Eastern viewpoint, and

explore the relationship between art phenomena and works of art by looking at individual artists' works.

The sentence, "exploring Western painting from the Eastern viewpoint", itself

suggests that the Eastern people cannot represent Western painting. In my early studies of fine art in the west, people challenged the context and origin of my works. At that time, I could only respond to their criticism with my own personal

cultural experiences. By now, Western art continues to develop by adopting new

concepts, new vocabularies, some of which come from other cultures. Nevertheless, the base is still on Western traditions and structures. Through

vibrant contemporary movements, Western art has expanded into a massive art

system, which not only influences the global art landscape, but also represents the final interpretation in the meaning of art.

Apart from oil and synthetic paints, the materials needed for painting also include canvases, stretchers and brushes. These materials, as well as the techniques

dictating the mixture of colors and of painting itself, are closely related to the context of the West; belong to the basic discourse of painting. The concept of painting as a medium, as well as the various styles and connotations of painting that have

subsequently been developed, direct painting to a wider horizon; one that departs from the basic discourse of painting to challenge the meaning of fine painting. However,

painting having strong traditions and structures remains as the origin of all art forms. There are many figures that have motivated art towards revolutionary developments, including Leonardo da Vinci, Rembrandt, Van Gogh, Monet, Picasso, Jackson Pollock and the YBA (Young British Artists). All of these artists have developed new artistic discourses in their own time. They not only become the representatives of their period $

in art history, but are also regarded as the artistic geniuses and revealers of their

times. With their unique characters and charisma, they become leading figures admired

by the public. Their emergence has proved and strengthened all concepts in art.

o 7 5

WAN¬

DERER

OF THE

WASTE¬

WANDERER OF THE

LAND ZANE

GREY

ZAN GRE

泰利百特，

Grey 小說的自畫像》油耋與蟠布本，152.5 x 152.5 厘米，2005 年。

Terry Batt, Portrait of a Zant Grey novel, oil and wax on canvas, 152.5 x 152.5 cm, 2005.

From its origins in individualism to its current institutional status, art has been consolidated in its own development. In the past, art was pursued individually; now it is produced and interpreted

collectively. Contemporary art communities have a strict but /unorganized, system or rules, which consists of artists, art critics, historians, curators, art administrators, policymakers, collectors, viewers, etc. In this regard, it is not possible to determine the social influences and existence of art

solely in relation to personal wills. Individual works of art, though showing an intense, individualistic desire, still requires the participation of the whole community if it is to establish itself or have an

influence on society. Art communities examine and explain the meanings and values of art through various

structures and systems. Good examples can be seen in many contemporary annual art

exhibitions, which rely on this massive system, not only in terms of its human resources but also its

financial power, to define the meaning of contemporary art.

In light of art’s current institutionalism, what is the situation that individual artists face, especially to those who are outside Western territories or cultures? Here, I will try to shed some light on the

thoughts aroused by Western art phenomena by looking at the works of three painters who have close relationship with Hong Kong. In particular, I will look at their works in connection with their

explorations of painting materials and ideas.

Terry Batt is an artist from Melbourne, Australia, who concentrates on painting and sculpture. In recent years, he has traveled frequently to Hong Kong to teach art courses. His works radiate

simplicity of style and present images of people and objects that do not belong to our era. According to his own account of his childhood, (Note l) Batt immigrated to Australia from Britain by boat with his

parents to start a new life. Yet, as grew up, he continued to have a strong nostalgic feeling for his former home and the British lifestyle. For instance, football was something that he was good at when he was a child. This nostalgia for Britain became a valuable source of inspiration for his works. The

experience of migration also aroused his interest in travel and images of cars and ships. By employing narrative devices, Batt creates representations of concealed dreams and cultural attachment instead of an accurate reflection of reality. His exploration of painting materials is persistent; in mixing wax with paint, he creates a thick and solid substance, which he uses to draw on the canvas as if

sculpting and in a spontaneous way. His works, in this sense, is expressing the frankness of Western culture. $

(Note 1)

Interview with Terry Batt conducted by the writer in 2005.

0 7

Yu Wai Luen received his training in fine art first in Canada and then in Britain. Although oil painting is

his main medium, his works also include ready-made objects and environmental situations to construct multi-dimensional scenes. His arrangements convert both conventional and unconventional

languages into individual expressions, which, when combined together, reveal the work’s subject. Even figurative images and abstract marks that appear on the canvas are also handled independently.

If we look at the titles of his works, we notice that his visual languages are enriched by Chinese characters and their linguistic meanings. Take his 2005 piece Sitting Down & Watching The Clouds Appeal (figure

Along Till the End of the Brook,

as an example. Quoting from a poem by Wong Wai

who was a poet in Tang Dynasty, Yu transforms the elegant scene portrayed in the poem into one that

is opposite to it through new arrangement of visual languages. The work not only plays a humorous trick on the grace of Chinese culture, but also embodies our visual imagination by treating written

language as only a programme of thinking and reading. According to Yu,

(Note 2)

this treatment seeks

to break the established mode and state in the course of painting by placing his own cultural

background in the tradition of Western painting.

Margaret Yeung began her education in fine art in Hong Kong. She is currently getting a Doctorate of Fine Art through a distance-learning programme offered by an Australian institute. She focuses on

Chinese ink painting. She was once the chairman of Hong Kong Modern Chinese Ink Painting

Association and continues to be one of its members. Following the traditional mode of Chinese ink

painting, she develops in experimental ways in materials and media in order to reconstruct the meaning of landscape painting. For example, some images of her works are made from computer and

printed on Chinese paper. For her, to search for new techniques has strong reasons and references. In the Northern Song Dynasty, there was a famous artist called Kwok Hei (1023-1085). One day when he was building a house, he saw some mud and put it on the wall. After the mud had dried, he pressed

rice paper onto the mud, causing marks of the mud to be printed on the paper. Kwok’s discovery of a

new artistic technique, in which the artist was not in an active role in the working process, had a

large impact on of Yeung's views on art. Her pursuit of Chinese traditional painting has led her to an undiscovered side of Chinese art development. In the process of seeking the past, she hopes to put modern elements into Chinese ink painting.

0 7 8

(Note 2)

Interview with Yu Wai Luen conducted by the writer in 2005.

(圖一 )

余偉聯，《行到水窮時，坐看雲起時》，油畫布本，廁所，廁紙，紅色熒光燈，2005 年。

(figure 1 ) Yu Wai Luen, Walking along till the end of the brook. Sitting clown and watching the cloud appears, Oil on canvas with toilet tissue, lavatory, red fluorescent lamp, 2005.

楊國芬，《中國人在變

Margret Yeung, Way

of the

水 ?設色紙本，20 x 77.5 厘米，2003 年。

Chinese No. 1 , ink & colour on paper, 20 x 77.5 cm, 2003.

Each of these three artists has a unique background, and so they each approach art differently. For

Terry, it is natural and spontaneous in pursuing Western art because of his British heritage. From his

concern of materials, combined art concept with techniques, his works closely connected with Western art. Yu Wai Luen on the other hand attempts to find possibilities beyond those found in

Western painting. He examines the mode of thinking and languages, rather than the state of materials. His works show layers of complexity by placing Eastern language context into the visual structures of the Western. In so doing, he thus creates ideas, which could not be expressed and imagined solely

from the basic form of painting. Margaret Yeung (Note 3) admits that she does not understand too much

about Western art. She believes technical terms are signs of modernization, and hopes that Chinese

painting can keep up with the pace of modernization.

Most artists in our society follow their own wills; they create their works step-by-step. This is also

true for Yu Wai Luen. Although he has no intention to follow the route of Western art consciously when he begins his work, his works still demonstrate his interest in the context of Western art. This

affects the direction of his creation, and lengthens his working process. Margaret Yeung’s works are

responses to the predominance of the Western, as well as deep reflections on her own art. It seems that the marks of mud become a base for her in the process of seeking, yet this technique which

historians name as "screen shadow” was just a technique and a view on perspective of Kwok Hei. There is no manuscript left for study or any further discussion afterwards. However, in the progress of Western painting, on the representational or technical level, the meaning of marks has developed

into inheritable concepts, concepts that have been exercised by many painters. Therefore, when

compare, Batt’s works have fewer burdens. What concerns him are the relationship between painting surfaces, techniques and images.

2(Note 3}

Interview with Margaret Yeung conducted by the writer in 2005.

0 8

The collective nature of contemporary Western art has weakened the power of individual artists.

Apart from this denial of their individuality, Eastern artists also have to face the problem of interpretation. The reality is that their works cannot be viewed independently of the Western context. Under the scenes of globalization and internationalization, this reality will continue to exist in the future.

Reference Harison, Charles, Frascina Francis, Perry, Gill, Primitivism, Cubism, Abstraction Haven & London Yale University Press, 1993. Harris, Jonathan. The New Art History

—

The Early Turnieth Century, New

A Critical Introduction,

London and New York Routledge, 2001.

Kuspit, Donald. The Rebirth ofPainting in the Late Twentieth Century, UKCambridge University Press, ,2000.

o Tang Ying Chi

stang@hkac.org.hk Tang Ying Chi obtained BA <Hon.| in Fine Art in Goldsmith’s College, University of London and MFA in RMIT. She is working in painting, fabric-making medium. Tang is currently the lecturer of Hong Kong Art School.

打

Power of the Body:

開

Voila and Yuen Jie at the 6th "Open" International Performance Art Festival 國

霍少霞

Silvia Fok

際行為藝術節的作品

在行為藝術裡，作為表達媒介的藝術家身體，除了表現作品的內容之外，身體本身也被視為帶有某種象徵意義的傳意符號。2005 年 9 月，第六屆「打開」國際行為藝術節在成都舉行，香港行為藝術家 Voila 和丸仔也在該節展出自己的作品。本文藉其作品探討身體如何演繹作品的深層概念問題。

門與 Voila 的自我化身本次藝術節上

Voila 在成都兩個展示場地表演的兩個作品都以《門》命名。在第一個作品

裡 •她從門外猛撞一扇上鎖的四合院大門（插圖 1-2)

結果輕易撞入院內。接著又毫不猶豫地由內

向外撞向毗鄰大門的左側門（插圖 3-5)。左側門看起來比大門堅固，她用自己的身體一次次衝撞，意欲破門而出。側門雖被撞得砰砰作響 * 但看上去絕非一位溫柔的女性身體可破，現場氣氛變得

非常緊張，絕大多數截眾都屏息而視，擔心她難以打破這扇看似堅固的門。

Voila 穿著個人風格的服裝，右膝戴上護膝 •她使自己的外貌呈現出與對抗、搏鬥、鬥爭、危險、損害等概念一致的戰士味道。她那天表演的場地是一座新建的傳統而又浪漫的四合院，供遊人在

閒暇渡假，故把門都油漆成紅色。Voila 的白色戰士形象與紅色的門形成鮮明的反差。部分觀眾或

許從女性角度將她的行為理解為企圖逃? 象徵等級制度、國家權力、習俗壓力、政治勢力等枷鎖

的作品 •女性身體指受壓迫的人 •而門則代表壓迫人的勢力。據 Voila 所言，門代表家庭 •(柱-) 對許多人而言，家庭是一個溫馨的安居之所 •給人

種安全、隱蔽、舒適和歸屬感。不過，Voila

的作品與崇高偉大的主題或民族主題無關，她的作品更關心自己的私人感受。

(註一 2005 年 9 月 4 日及 9 月 10 日於成都採訪 Voila •

s if 5. 0 8

( Ii u y**--. ««ivV .

? 'M'

(插圖 Fig. 3)

rv ?/

插圖 Fig. 1-5,

Viola，《門》，行為藝術，成都，2005 年。 Voila, Door, Performance Art, Chengdu, 2005.

這個特定表演地點的作品，由破門而入又破門而出兩組相類似的動作構成，傳達一種介於主體和場地之間的複雜關係。作者更傾向於將此實際地點視作一個具象徵意義的場地。她快速破門而入的俐落動作使現場觀眾震驚，她 ?力撞毀第二扇門則為觀眾提供足夠的時間去仔細思考這個行

為本身的意思，急速進出這小院，製造出一種劇場式的表達效果。這種行為藝術的獨特之處在於

不能有預先排演讓藝術家和截眾去經歷第一次，最重要的即興表演往往意想不到地突發於現場

—

個行為藝術作品很可能與事先設計的不一樣。雖然 Voila 的作品並不打算與現場觀眾有所

互動，但是她想與截眾分享她對代表家庭的門的思考。(註二）門是一概括性符號 •包含一些似是而

非的意思，比如：庇護之所和拘限之地。因此，她以破門而入的方式與觀眾分享自己的家庭不安感覺，這或可被解釋為一種試圖作家庭抗爭的行為。她的這個作品使我們聯想起易卜生 (Henrik

的劇本《玩偶家庭》的家庭主婦

(註三

這齣戲的結尾，主角娜拉

•_

lbsen>

位被塑造成嗓音甜美

終於認識到她不願再扮演這樣的社會角色，尤其不願在她安穩的家中所扮演的角色。

劇終，她砰地一聲關上身後的大門，這重重的關門聲標誌她離家出走。對 _些人而言，門代表進出家庭、住所、或言一個體系的通道，門在文學、戲劇及視覺藝術中充當一種象徵工具。

Voila 的第二個作品在濃園表演。濃園是一施工中的藝術村，這個建築場所由本次藝術節的贊助者擁有。表演中，她坐於一有兩出口的小房間的藤椅上，兩隻手腕上纏繞著稻草繩 (插圓 6- 11)。來自西安的藝術家劉翔捷用雙手扶住左右雨邊門框，門與 Voila 之間通過一條手編的橡膠繩連

接起來。表演初始，劉翔捷扶著門框從 Voila 所坐的半封閉房間慢慢向外退移，門與 Voila 之間的張力隨之步步增加。漸漸地，劉每移一步，觀眾都能感覺到劉和 Voila 之間正互相面對的焦)*。當劉退到接近橡膠繩的末端并決定中止時

Voila 指示他繼續後退。劉所承受的心理壓力也影響著現

場截眾的情緒 •他似乎害怕再向後退，但又不得不照做。當繩子就快繃斷的最後幾步 • Voila 開

始向自己方向拉繩以保持自身平衡。值得注意的是，在劉鬆開門之前一刻的一個極微的對抗動作，然後玻璃門滑倒在地

隨之傳出砰地一聲。Voila 似乎想操縱自身和門之間的張力並與之搏

鬥，她的原先目的是想讓門直接高速彈回到她所坐的地方，然未能如願，當門滑落在地的響聲傳入耳中的一剎那，她即時露出帶著釋懷的微笑。玻璃門爆裂轚之效正如?劇《玩偶家庭》中的最

後一幕。

(註二據 Voila 所言 •她與父母之間有些磨擦 •故對家庭 ?念有所懷疑。例如：放學或下班以後 •她不想直接回家。

mm 易卜生的（玩偶家庭〉於 1879 年出版，於 1880 年 1 月 8 日在斯德哥爾摩的皇家劇院首演。

50 8 6

這兩個行為藝術作品使用具有象徵意思的門和藝術家的自我化身一身體，在兩個特定地點

座四合院和一間半封閉的小房間）以融為一體的方式提出一個似是而非的關於家庭的想法，傳達一種對抗棄識。這兩個作品以其鮮明的信息主旨和明快的節奏令觀眾印象深刻，這或可歸功於

Voila 於1985 年開始跳舞、1999 年開始有劇場經驗。現場截眾全神貢注於整個經歷，好像他們是主體。就像永恆的易卜生?劇《玩偶家庭》， Voila 的作品表達了此時此刻當代人的感覺，其作品

的直接性和偶發性顯得別具一格，有種吸引截眾全情投入整個行為表演過程的魅力，這種特點值得注意。藝術家所呈現的身體力量感染現場觀眾的情緒

表演者和觀眾雙方都忘我投入，這進一

步加強了整體表演過程及作品本身的力度。

丸仔的身膻表達與象微性聯想參加本次藝術節的另

位香港藝術家是丸仔 •他表演了《滴答•? 心》、《微熱》和《循環》三個作

品。除了自己的身體之外，他還以一些例如聽診器、驗溫器、蘋果、繃帶、種籽之類的東西為符號，用一系列的身體動作去表達他的思想概念。在第一個作品《滴答•圓心》裡，他將十二個蘋果

在地上擺成一個像時鐘刻度的圓圈

手上則握住一個真的時鐘，用手勢模仿指針走動，即席劁作

r.ÿ

里出時間概念。接著，丸仔利用時鐘和聽診器來輕鬆隨意地玩耍出時鐘滴答聲與心? 跳轚之間的雙關意思，提出

個時間與生命的問題。與 Voila 不同 •丸仔熱心地與現場觀眾互動，他打破時鐘 •

逐一遨請截眾拿取玻璃碎片，並透過碎片去觀看四周，然後叫他們將碎片黏貼在事先纏繞在他左前

臂的透明塑膠紙上，隨後他將玻璃碎片園繞著前臂包裹起來（插圖 12-13) 。時鐘碎片可能暗指人生

:二 '

0 8

中快樂或傷痛等碎片。這個行為使現場觀眾感到不安，好像自己正在包紮一些痛苦和受傷害的生活

片段；同樣，當丸仔把一枚扣針插進自己的足底時，觀眾也能想像和感受到那種痛苦。接著

丸仔

將扣針分別插進十二個蘋果，以一根白線通過這十二枚扣針從而將這十二個蘋果連接起來，他又將

_ 枚扣針插進自己的足底將那條白線固定在腳下，並偕同白線和蘋果一起走（插圖 14-15) 一個代表禁果、誘惑等含意的意象，不過

。蘋果是

丸仔則以蘋果比喻愛情。(註四> 表演結尾，他用一捲透明

膠紙將自己的嘴巴封住，並拖沿著蘋果圈行（插圖 16) 。這個作品暗示：一個人帶著黏在他手臂和腳

下的昔日記憶走向未來。

丸仔的作品結合一系列的身體動作去講述一個個人的故事，雖然他不是直線式講述歲月故事，但仍帶出類似傷痛、歷史、記憶等大部分觀眾都能領會的概念。因他有意識地利用許多圓形，使其作品形式顯得既有條理又具連貫性。他在

_ 個類似時鐘的小圖圈內表演，加強了時間概念。本次藝術節

上還有別的藝術家以其他手法表達時間主題，墨西哥藝術家馬丁 •藍特里亞用許多正方形的小鬧鐘去表達時間概念，美國藝術家米蘭 •科浩在一小涼亭的中央懸掛一個乒乓球，創造出一個鐘擺效果。某種程度而言，丸仔喜歡借用人們熟悉的日常用品的原意和象徵意義來訴? 自己的故事。

丸仔樂於讓表演留有即興空間。本次藝術節上，他的第三個作品叫《循環》。首先 •他帶領觀眾

到達位於濃園的一個建築施工場地，站在一個用紅磚建成的像是化糞池的圓形底座上；接著，開始喝一瓶本地出產的啤酒，直到所有截眾都在現場安靜下來為止。喝啤酒並非作者原意作能延長時間，等待戳眾集中在表演現場

變成一個即興動作；隨後

但這動

他跳進那個看似化糞池的

插圖 Fig. 14-16,

《滴答，圓心》 | 行為藝術* 成都，2005 年。

(註四

丸仔

2005 年 9 月 5 日於成都採訪丸仔。

Yuen Jie, Beat, Centre, Performance Art, Chengdu, 2005.

底座 ?站著，取出一條透明的塑料水管，把一端放進嘴裡，然後將水管?繞臉部和身體；最後，

把水管的另一端放進褲檔裡，用嘴巴吮吸經水管排出的尿液 •最後忍不住?吐 (插 1117-23)。這個

作品顯示現場直接表演過程中包含的偶然性 •儘管他已在香港實施過這個作品 •但仍不能肯定自

己究竟能忍受多久。（註五）

丸仔這個作品與邱志杰於 1997 年於杭州錢塘江邊製作的作品《過濾器》有異曲同工之妙。邱志杰通過一條塑料水管飲江水 •與此同時 •另將一條塑料水管連接在陰莖上排尿入河，他嘗試探索自

身與周圍環境的關係問題。喝了二十分鐘髒水之後就開始排尿了 •他繼績喝水並自然排尿，他認

為自己正在污染江水

而江水也正在污染他的身體。表演期間，身體與江水互相交流。(註六> 丸仔

他坦言自己想表達 "自食其果 "和 "飲尿自療" 的概念。(註七> 丸仔和邱志杰的作品都試圖用自己的身體去探索環境污染問題。本人以為，他們倆是想證明自身的承受能力

事賁上，不論他們能忍

受多久 •這個表演過程確實是至關重要也是不易的。結果，丸仔忍受飲尿好幾分鐘，而邱志杰則

忍受喝髒水四小時。即時性與偶然性構成了這兩個作品。邱志杰? ，飲用錢塘江的髒水倒不難，那條塑料水管的氣味反倒令人難以忍受。(註八> 身體的力量在他們的作品裡顯露無遛，若無他

們的身體去將構思演繹出來，便難以有如此令人信服的表達。

劇場與行為藝術

Voila 幼年已開始習舞，1991 年始投身排舞 * 1999 年以來就從事劇場，2001 年始參與行為藝術；丸仔自1997 年始投身劇場，1999 年始參與行為藝術。他倆的舞蹈和劇場經驗，無論在劇場遼是行

為藝術中，都鮮明顯露出他們清楚意識到以身體作為主要表達媒介的力置。 Voila 更傾向於以直接清晰的傳意符號對現場觀眾創造出一種令人震驚的衝擊，丸仔則傾向用不同的傳意符號去暗示

個人和社會問題。

(註五 J 2005 年 9 月 7 日於成都採訪丸仔。

f 註六 J 2005 年 6 月 1.日於杭州採訪邱志杰 • (註七 2005 年 9 月 19 日於香港探妨丸仔。 (註八 J 2005 年 6 月 1 日於杭州採訪邱志杰 •

霍少 B al44902@netvigator.com

霍少霞分別於 1998 及 2002 年獲香港大學文學士和哲學碩士。她現正於香港大學藝術系攻讀哲學博士

學位 •主要研究當代中國藝術。由 2002 至 2004 年，她曾在香港藝術資料庫

擔任項目統籌，亦是香港藝術學院的藝術歷史科兼職導師。

0 8 9

The artist’s body as a medium of expression can be regarded as both a

signifier and the signified in a performance. This article examines the artist's body in the works of two Hong Kong performance artists, Voila and Yuen Jie, at the 6th "Open" International Performance Art Festival which took place in

Chengdu, China in September 2005, and explores how their works can be

contextualized and interpreted.

Voila’s Embodied Self

vs_

Door

Voila performed two works with the same title. Door, at two sites in Chengdu. In the first work, she banged on a locked door in a courtyard house from the outside (Fig.

i- 2),

forced the door open and got in quickly. She then quickly

moved to an adjacent door and started to bang on it from the inside iFig.

This door appeared more firmly closed than the first one, and Voila tried hard to use her body to break open the door. As this door was locked and seemed

as if it could not be broken open by a soft female body, the atmosphere was

extremely tense, and most of the audience members remained silent. They were anxious about how she could break open the seemingly secure door.

Dressed in her distinctive style with a kneecap around her right knee, Voila's embodied self is presented as a warrior signifying a myriad of associations: war, fighting, struggle, danger, injury etc. The site where she performed is a

newly-built traditional romantic courtyard with red doors, and is a setting for leisure purposes. In the performance, Voila’s white warrior image visually

contrasted with the red doors. Some of the audience members might have thought that she was attempting to get away from the door, a symbol of

hierarchy, national power, institutional power, or political power from a female

perspective. The female body serves as a signifier of the oppressed while the door serves as that of the oppressor. According to the artist, however, the door

'k 0 9 0

Home is a very warm environment for many people as is a sign of home. it is a hiding place: safe, private and comfortable with a sense of belonging. Voila's work is more concerned with her personal feelings and her home environment than with making grand political statements. (Note 1)

Interview with Voila, 4th Sept. 2005 and 10th Sept. 2005, Chengdu, China

This site specific work, composed of two parallel actions (to get in and get away from two doors), conveys a complicated relationship between the subject and the site. The artist seems to regard the

site as a symbolic one rather than an actual one. Her quick action to get in shocks the audience. On

the contrary, her repeated attempts to destroy the structure of the door by force provide the audience with enough time to reflect upon the action itself. The urgency to get in and get out of the architecture creates theatricality. The unique way that performance art does not have rehearsals is an attempt to

let the artist, as well as the audience, experience the performance firsthand, especially any

improvisations that may occur unexpectedly. A performance artwork might not be the same if it was planned. Even though Voila does not attempt to interact with the audience in her work, she does want to share with them the thoughts she has concerning the door, hon\e.(Nÿte 2) The way she wants to share

this uncertain feeling about home might be interpreted as an attempt to struggle with the door, a broad sign which carries paradoxical meanings: shelter and restriction. Her work reminds us of

Henrik Ibsen's play (1826-1906) "A Doll's House' .(Note 3)

At the ending of the play, the protagonist,

Nora, a housewife with a sweet song-bird image, decides to slam the door and leave her home

because she realized that she is no longer willing to perform expected social and domestic roles. In

the play, the loud sound of a door-closing signals that she is leaving home. A door also signifies a passage for someone to get in or get out of a home, a place or broadly speaking a system. It serves as

a symbolic tool for expression in literature, drama and visual arts.

In the second work Voila performed at Nongyuan, a construction site of an artist village owned by the patron of the festival. In the performance, she sat on a rattan chair inside a small space with two

(Note 2)

According to the artist, she has some trouble getting along with her parents, and she is doubtful about the idea of home. For instance, she does not want to return home directly after work or after class. (Note 3)

Doll's House'' was first published in 1879, and it was first presented in Stockholm by the Royal Theatre on 8 Jan 1880.

Ibsenÿs "A

openings, her wrists wrapped with the ends of the elastic string made of straw. (Fig. 6-U) The elastic string was

connected to the white door with a glass panel which was held by Liu Xiangjie, an artist from Xian. The performance started when Liu moved away slowly from the semi-enclosed space from Xian. The

performance started when Liu moved away slowly from the semi-enclosed space where Voila sat. The tension

between the door and Voila increased as Liu walked further away. Every time when Liu moved a step further, the audience could feel the anxiety between Liu and Voila. Liu decided to stop when he almost reached the end of the elastic string but Voila instructed him to go further back. Liu was under high psychological pressure which also affected the audiences emotion. It seemed that Liu was afraid to go further, but he had to do so. In the very

last few steps before the elastic string reached its breaking point, the tension of the elastic string forced Voila to pull back on the string. This tiny moment of struggle before Liu released the door and it slid onto the floor, cracking the glass panel, deserves attention. Voila seems to manipulate and fight against the tension between

her own-body, the embodied self and the door simultaneously. Her original intention to have the door bounce directly back to the place where she sits cannot be accomplished. At the very last second, when Voila heard the

sound of the door sliding onto the floor and realized the performance was over, she suddenly smiled with a release. The sound of the door is reminiscent of the sound in the last scene of UA Doll's House".

Lÿ

插圖 Fig. 7-11

Viola ，《門》，行為藝術，成都，2005 年。

Voila, Door, Performance Art,

(插圖 Fig. 10)

(插圖 Hg. 11)

Chengdu, 2005.

These two performances employ a symbolic object, a door and the embodied self, the artist’s body in two specific sites (a courtyard house and a semi-enclosed space) to address the paradoxical notion of

home and convey a sense of struggle. They impress the audiences with their vivid messages and sprightly

rhythm; elements which might be attributed to Voila’s experiences in dance and theatre since 1985 and 1999 respectively. The audience members were absorbed in the experience as if they were the subject.

Like the timelessness of Ibsen's play, "A Doll's House", Voila's works express the contemporary situation of mankind, the sense of here and now. The immediacy and contingency of her works are unique, and

their power to fully involve the audience in the experience is notable. The power of the bodily presence of the artist with her audience reinforces the process and the work altogether.

Yuen Jie s Bodily Expression vs Symbolic Associations

Yuen Jie, the other Hong Kong artist participating in the 6th "Open" International Performance Art Festival, performed three works: Beat, Center, Slightly Heating, and Recycle. Apart from using his own

body, Yuen Jie also utilized a number of objects such as a stethoscope, a thermoscope, apples, bandages and seeds as signs as well as series of bodily actions to express his concept. In the first

work, Beat, Center, he placed twelve apples on the floor to form the points of a clock. He then used his hands to mimic the movements of a real clock, and thus represented the idea of time. Yuen Jie also used the clock to express other ideas about time. For example, he explored ideas of time and life by playing around with the similarity between the sounds of a ticking clock and that of heartbeat,

represented by a stethoscope.

Unlike Voila, Yuen Jie is eager to interact with the audience. At one point in the performance, he broke the clock and asked the audience members to take the glass fragments and view their surroundings through them, and then place them, one by one, on a transparent tape stuck on his left forearm. He then wrapped the glass fragments around his forearm. (Fig. 12-13) The broken fragments of

the clock might imply fragments of life, including happy memories or traumatic memories, etc. By wrapping all the fragments onto his forearm, Yuen Jie makes the audiences feel uneasy as if one is wrapping up the bitter or injured fragments of life. The audiences could imagine and feel the pain, just

like they could when Yuen Jie stuck a pin onto his foot. After sticking pins onto each of the twelve apples and then connecting the pins with white string, Yuen Jie put a pin under his foot. Then through to this pin, he strung the white string, and began to walk around, dragging the string and apples. (Fig.i4-i3)

The apple carries different connotations such as the forbidden fruit, temptation, etc., but for the artist, it is a metaphor of \o\/e. (Note 4) The performance ended with him wrapping his mouth with a roll of transparent tape while walking around with the apples. (Fig. 16) This work alludes to a person walking

towards the future, along with his past memories clung on his arm and foot.

It seems that Yuen Jie’s work combines a series of bodily actions to tell a personal story. His storytelling about time, though not linear, brings out different issues like trauma, history, memories

(Note 4)

Interview with Yuen Jie, 5 Sept. 2005, Chengdu, China.

插園 Rg. 22 丸仔，《循環》，行為藝術，成都 *2005 年。

Yuen Jie, Recycle, Performance Art, Chengdu, 2005.

外-f"

身;

_ w

if’aa

、.二 :

m i. :.“

參4

rn:

議

that most audiences can comprehend. Despite its non-linearity, this work is formally coherent

because he consciously uses round shapes because they represent clocks and the circularity of time. That he performed in a small circular space also reinforces the notion of a typical clock. Other artists

in the festival also expressed the subject of time by other means: one Mexican artist, Martin Renterio, used a number of small square-shape alarm clocks while an American artist, Milan Kohout, hung a ping pong ball from the ceiling to create a pendulum at the centre of a small pavilion. To a certain extent, Yuen Jie is keen on representing his own stories through the familiar daily life objects with

their literal and symbolic associations.

Yuen Jie improvised freely and spontaneously in his performances at the festival. In the third work he did for the festival, Recycle, Yuen Jie led the audiences to a construction site at Nongyuan, a circular-

shape plinth made of red bricks, which will likely to be used as a septic tank. He then drank a bottle of local beer until all the audience members settled down at the site. This was not his original intention,

but by drinking a whole bottle of beer, he passed the time while he was waiting for the audience members to gather at the spot. In that sense, drinking the beer was not part of his concept, but an

improvised act. He then jumped into the septic tank, stood on it, took out a plastic pipe, put one end of it in his mouth, wrapped the transparent pipe around his face and body, and finally connected the

other end of the pipe to his penis. He then drank urine excreted from his penis through the pipe until

he vomited.

(Fig. 17-23)

This work revealed its immediacy and contingency in that the artist was not

sure how long he could sustain this act, even though he had done this performance before in Hong Kong. (Note 5)

Yuen Jie's work seems to be a reversal of Qiu Zhijiers work, Filter (1997), performed at Qiantang River

in Hangzhou. Qiu drank the water from the river through a plastic pipe while at the same time a plaster pipe was connected from his penis to the river for urination. Qiu tried to explore the

relationship between his body and the environment. After drinking the dirty water from the river for twenty minutes, Qiu started to urinate. He continued to drink the water and urinate naturally. He was

contaminating the river while the river simultaneously contaminated his body. The body and the river

both constituted each other. (Nÿte6) Yuen Jie admits that he was trying to address the concept of "eat

(Note 5)

Interview with Yuen Jie, 7 Sept. 2005, Nongyuan, Chengdu, China.

(Note 6)

Interview with Qiu Zhijie, 1 June 2005, Hangzhou, China.

••插圖 Fig. 17-21,23

丸仔，《循環》，行為藝術，成都，2005 年。

Yuen Jie, Recycle, Performance Art, Chengdu, 2005.

O 9 7

one's own bitter fruit" and "self-therapy through drinking ones urine

.(Note 7)

Both Yuen Jie and Qiu Zhijie

are inclined to testify their own bodies' ability to sustain the action. No matter how long they can

endure it, the process is crucial, although it is not easy for them to accomplish. Eventually, Yuen Jie can sustain the act for only a few minutes while Qiu Zhijie for four hours. Both works explore pollution problems by means of the artists body. Aspects of immediacy and contingency also constitute these two works. Qiu Zhijie has mentioned that he unexpectedly found that it was not so difficult to drink the

dirty water of Qiantang River; however, he couldn’t tolerate the odour of the plastic pipe"黯? The

power of the body can be revealed in their works, without which the concept can not be convincingly expressed.

Theatre & Performance Art

Voila started to dance at an early age and has been involved in choreography since 1991. Voila became active in the theatre in 1999, and Yuen Jie in 1997. They started engaging in performance art

in 1999 and 2001 respectively. They are both conscious of the power of bodily movements in that they utilize their own bodies as the main medium of expression. Voila is more inclined to create a shocking

impact on the audiences by means of explicit symbols while Yuen Jie tends to allude to personal and

social issues by means of different signifiers.

(Note!) Interview (Note 8)

with Yuen Jie, 19 Sept. 2005, Hong Kong

Interview with Qiu Zhijie, 1 June 2005, Hangzhou, China.

o Silvia Fok

al44902@netvigator.com

Silvia received her B.A. and M. Phil, from The University of Hong Kong in 1998 and 2002 respectively. She is now a Ph.D. candidate at the Department of Fine Arts, The University of Hong Kong. The area of her research is Contemporary Chinese Art. From 2002 to 2004, she worked as the Project Coordinator for the Hong Kong Art Archive

(http://www.hku.hk/~hkaa), and a part-time lecturer in Art History for Hong Kong Art School.

-切從一件好事開始

度身訂造的實驗計劃「二樓原作」 ft GOOd DS0C5 Makes S TOO f\Ciz"ÿ Fl T3iLÿr~ivlSde

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0 9 9

香港自九七金融風暴後 •經濟滑落

政府力求轉型良方，罕有地把藝術、創意列入施政報?內

欲向英倫借鏡發展創意工業，改善經濟，意圖救港。可惜國際藝術大都會只是空談，缺乏長遠政策和發展方向。在種種的缺陷下 •民間主導的蕕術性工作是勢在必行的。

這幾年 •香港的蘩術圈起了較大的變化。二零零零年香港藝術學院（前身為藝術中心軀術學院 )

的成立，為培訓人才提供了較完整的課程，擔當了舉足輕重的角色。再加上其他學院紛紛成立藝術、創意課程 •近年投身藝術創作的人數培增

為沈寂的藝術圈打了 _支強心針。隨 ?政策的改

動，藝術家也活躍起來。過去幾年有不同的藝術團體和空間不斷湧現：如油街、牛棚、柴灣、火炭、截塘、富德樓 ... 等 •它們都是由藝術家自發組織而成的。加上近來正談得熾熱的石硤尾舊工廠及綠屋計劃等也是民間力求推動劁意工業、發展藝術空間，推動本地藝術的行動。「西九效

應」更促使傳媒罕有地大肆討論藝術發展

城中忽然

r 文化」起來

香港藝術發展的前途似乎一

片光明！然而藝術真的向 ?健全的藝術生態發展嗎？現在的熱烘烘，會否是九七回歸前藝術狀態的翻版呢？在曇花一現後，一切又會否回復寂靜呢？或許有人認為，現在的情況有所不同，各大院校培訓的新力軍為圈內帶來衝擊，為藝術發展踏出了基礎的一步。加上藝術圈的努力推廣，蘩術家的展出和發表的機會似乎是多了。但作為藝術工作者又是藝術學生的我，親身感受到香港藝術發展要達至健全的理想地步，還有一段很大的距離。

雖然現在每年培訓的蕕術人才多了，可惜市場承接力弱，流失率高，能發展成專業藝術家廖廖可數。我的同學中，十居其九未能以創作維生

大部份藝術家要兼職來維持生計；或是全職工作的

兼職藝術家，最終亦有些為現實被迫放棄理想、放棄才華。即使全職投入蘩術生涯 •所得的回報

s術犧牲並非一席戲言。專業生涯無法維持的同時；專業性往往

亦遠遠低於他的學歷和才華，為

亦受到質疑。

《微敘事錄像展覽》，「二樓原作」展覽 • 2006。 Micro-narratives: invented time & space in video, "Too Art" Exhibition, 2006.

i 0 0

「二樓原作」的開始，2004。

The begining of "Too Art", 2004.

近年雖然湧現各種不同的藝術空間或展覽場域，為藝術家的作品提供了展覽的機會，但這些展覽

不免局限於策展人個人口味，或套用了明星式的硬銷手法，製造藝術巨星。一些缺乏人事關係或較低調的藝術家，自然難被發掘

發展機會較低。曾經出現這樣的情況：我在大小不同的幾個展

覽場內同時間見到同一位藝術家的作品。我有點質疑這種培養藝術家和發展藝術的態度。我深信

藝術的培養和發展是長線的，並非短暫速成的。

另一方面，縱使藝術家有參展機會，除了全神貫注在作品創作上；更同時要兼負推廣、物料製

作、運輸或宣傳印刷等其他行政工作

這些都是藝術家的負擔。有一個好朋友，在香港大型比?

中取得展覺機會 •可惜缺乏運費，而主辦單位又沒有任何資助，最終白白失去了展覺的好機會，我們亦失去欣賞一件好作品的機會。

我一直在想：「怎樣才能使藝術家的創作生涯得以延續呢？」在藝術劁作與生活兩者之間是否需要一個中介角色來串連起來 •使一切更理想呢？

商業盡廊是藝術家與社會的橋樑，透過晝廊售出作品，藝術家能賴以為生，創作生涯才得以延續，畫廊在這方面實在擔任重要的角色。據了解，香港商業畫廊近年不斷增多，但大部份耋廊以

售賣中國內地、亞洲及越南等地的油畫為主，部份則是推廣外國藝術家或兼一、二本地藝術家的

商業畫廊。以打響旗號推動本地當代藝術的晝廊，真如鳳毛鱗角；而附屬於這些盡廊的本地藝術家亦屈指可數。畫廊多數以商業角度為主要營運方針，選取他們認為適合的藝術作品，個別作主

力推廣。大部份畫廊市場策略亦較保守* 售霣作品類型狹窄，相信從事錄像劁作和裝置的藝術家對這點有更深切的體會。他們對新晉藝術家和某些劁作媒介的藝術承擔較少，提供機會亦不足。

香港畫廊所扮演的中介角色未能完全推動本地藝術、更不能廣泛地協助藝術家的發展。

再細想，這又不完全是商業畫廊的資任。在商言商，沒有人願意做虧本的生意。我相信香港缺乏

收藏本地藝術的風氣和香港一向不重視藝術不無關係，香港的專業藝術家不多，收藏和買霣的渠道亦缺乏，香港收藏家以居於香港的外國人為大多數，而收藏本地作品的比率較低，促使居港的

收藏家對本地藝術價值缺乏信心。而本地收藏家則偏重收藏古董、藝術品；收藏當代藝術則是九

牛一毛，本地藝術館亦不例外。曾到過澳洲的阿德雷特走訪當地的商業畫廊，畫廊所展示的作品九成以上是本地藝術家的作品。

各地的藝術品，可惜門堪羅雀

_ 位畫廊主人的一席話使我非常感慨，他? 「從前我售賣世界：

澳洲居民對本地藝術極度支持 •因此被迫改變營運方針

才能生

存至今。」我苦笑答道：「香港的情況卻正正相反。」我深信藝術收藏直接影響藝術的發展，培養收藏本地藝術的風氣是重要的工作。

r 吹水」往往是蘩術劁作者的溝通途徑和討論問題的方式之一。在這無動機、不刻意的談話中、卻反映到藝術創作者潛在內心熱切的渴求；渴求一個填補上述不足的中介角色。「二樓原作」是柴灣開放工作室「開閛」的原班人馬

為這個中介角色度身訂造的另一項實驗計劃，希望在藝圈

發展上多一點可能性。「二樓原作」是介乎藝術空間與商業畫廊之間的場域，並沒有接受政府或

商業機構的任何資助

—

切自負盈虧，參與的所有工作者皆以義務形式協助籌劃及行政事宜。畫

廊獨立自主既富彈性；也接受實驗性或概念性的作品。計劃以兩方面進行：

家的原創原作

以推動本地藝術

協助藝術家延嫌創作生涯；（二）培養及鼓勵收藏本地藝術的風氣。計劃得到香港

藝術中心總監茹國烈先生及同事們的支持下，2004 年 12 月 10 日

正式掀起了序幕。

r 策展式畫廊」 •畫廊展售以策展主題的形式

「二檯原作」嘗試以香港從未有的特殊模式運作

推出 •讓藝術家堅持自己的發展路向和風格 •無需迎合畫廊的需求創作作品。每次展覽以群體組

合形式展售約二三十個藝術家的原創作品；只要作品完整而配合主題、大多數作品也接受展售。在快過去的一年

曾分別以不同主題、不同構想展售作品。曾參與的藝術家約一百人 •展售作品

超過二百多件。

畫廊的宗旨不只是為小眾服務，它是一個廣泛又公開的場域；更拒絕小圈子運作。藝術家可以自

薦作品 •或畫廊負黃人四出搜羅適合主題的作品

因此搜羅的作品來自不同學院、不同背景、

_ 不同資歷。讓作品在同主題下呈現，既可為更多藝術家帶來展售的機會，在作品層面上亦可

更廣闊、不分媒體、面貌更多元化。在一次遨求作品時，有一位我很敬佩又資深的藝術家對我

?：「圈內只會對新人關注和推廣 * 對一些不斷努力而低調的藝術家已遣忘，我們的機會不及新人了。」她的?話常提醒我畫廊的公開性和廣泛性的重要。

藝術品以寄霣的形式展售，而畫廊兼負貴行政、宣傳開支等一切事宜。藝術家只需專注創作 •無

需兼負行政及擔心開支的問題。在每次展覽中，藝術家雖然展出作品件數不多一個小型藝術家資料庫，讓展售的蘩術家擺放個人資料夾

解藝術家的展品以外的作品

但晝廊同時附設

收藏者或觀者可透過資料夾進一步了

畫廊更會為他們推介更適合的藝術家及其作品。希望藝術家有更多

發展機會。

在推廣收藏風氣方面：「二樓原作」致力拉近觀者與商業畫廊之距離，普羅大眾一般認為藝術是

「高檔」玩意，商業畫廊是不能踏足的禁地。「二樓原作」所屬的位置其賁是藝術中心二檯的公共走廊，以一扇玻璃門及數塊白板勾畫了晝廊的外廓，地方雖小 •卻五臟俱存。吊詭地畫廊介乎公開展場與私人畫廊矛盾之中可共存的特殊元素，這特殊的地利打破了一般人對參觀商業畫廊卻

步的想法。連觀者亦不自覺地走進了畫廊去欣賞藝術品，突破耋廊與普眾的距離，成功踏出了購買藝術品的第一步。

香港收藏風氣並未成熟，能使普眾踏出收藏的一步並不容易。高價的作品

他們未有信心 •亦質

疑其保值性，對作品的藝術性與價格沒有概念。一般以購買精品的心態來衡量作品，所以願意付

出的價錢與作品的價格有一定的距離。因此作品以合理的價格售賣，讓愛好者可以負擔得來的價錢建立收藏藝術品的嗜好 •為本地藝術營造慣性消?以外的另類選擇，讓藝術融入他們生活當

中，提高生活品味，讓更多人認識本地原創藝術之餘，培養收藏風氣。風氣得以建立，藝術家的創作生涯才得以延嫌。

普羅大眾對當代藝術的認識和接受有限，注重個別交流和推介很重要。畫廊以輕鬆的交談來推

介作品，讓觀者了解藝術家的背景和作品理念；了解多了 •收藏的意慾自然提高，出售機會也較大，相信這是鼓勵收藏有效的方法。畫廊很多件作品也是這樣成功售出的。

「二樓原作」過去一年以靈活策略應付需要，不斷作出修改。實戰的經驗讓我們了解到藝術與普羅大眾之微妙溝通關係，主題的內容對售出作品有關鍵性的影響。以「童玩童心」玩具與遊戲主

關晃新?發佈會，「二樓原作」

2005。

題為例

主題貼合每個人成長的經歷及回憶，令觀者容易產生共鳴，特別有親切感。該次展覽較

受歡迎，參截者多，而大多數買家亦是本地收藏者。在作品旁附設小小的提要，讓觀者?讀，是把截者和作品拉近的方法之一。作為一個晝廊的負資人

要保持作品質素之餘

在銷售方面來一個

平衡和取捨，那盡廊就從裝裱、擺放和展示時花點功夫，作 _些技巧性的調整，突出作品的重要

性，使每次展覽如同打開一本?文並茂集多元作品於一身的購物指南考，去選取心儀的作品。由於

_ 般香港家庭空間較少

讓不同的收藏者細味和思

較大呎吋的作品較難售出，尤其是掛牆的

平面作品，故此盡廊在不影響展售的原則下亦會展售立體小件、工藝性強和精緻的作品。

「二樓原作」知名度低，故此有些藝術家拒絕擺放作品。但每當遇上一些對本地藝術圈缺乏了解和聯轚，對發展機會摸不 ?頭腦、不知從何入手的藝術家拿 ?個人作品和劁作履歷自薦

售的機會

尋找展

看?他們積極的態度、對藝術的熱誠和勇氣都令我非常感動。「二樓原作」樂意成

為他們的踏腳石。從純商業角度而言「二樓原作」尚未算成功。作品的售霣未能解決藝術家的生

計。但悲截並不完全 •而事實上近一年的工作中，藝術家除了得到賁質的回報外，亦為他們帶來了_定的發展的機會 •給予他們精神的支持鼓勵及對藝術的盼望。我們了解到現今香港售資及收

藏本地藝術的普及風氣雖然困難重重，並非藝術家和單一畫廊的工作可成就之事，這一切有待努力發展 •而且非常困難。重要的是我們的實驗證明了藝術家和收藏家也需要更多同類型的平台，讓彼此互相發展。

香港若要發展一個建全的藝術生態，藝術、生活和消? 文化的建立、藝術家的培養、收藏本地藝術的風氣的提升和扮演中介角色的畫廊賁有?密不可分的關係。只要有建全的藝術生態，本地藝術才得以推廣和發展。空談「國際藝術之都」幫不了香港的劁意工業，幫不了香港的經濟 '更幫不了香港的藝術發展。一位有名的建築師在他的演講中曾?過一番話，令我非常鼓舞。他? ：「香港有很好的藝術品值得我們收藏，而且超值，本地藝術唯有大眾的支持才能發展。」

「二樓原作」本?從一件好事開始，希望在可見將來有更多同類型的買賣平台出現於不同的空間

讓本地藝術發展得更全面、更廣泛，並邁向更美好的藝術領域。

? 李美娟

cleemk@yahoo.com

李美娟從香港藝術學院與澳洲皇家墨爾本理工大學合辦的藝術課程獲取藝術文學士學位（純 B 術），現為該校碩士課程學生， 2002「開閘」柴灣工作室開放活動之負資人 •並為藝術中心「二檯原作 J 劁辦者之一。

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《童玩童心》開幕酒會 •

r 二樓原作」，2005。

Toy Story Opening, "Too Art", 2005.

Translator: Lim King Na

The Hong Kong economy has been going downhill since the 1997 financial crisis. To revitalize the

economy, the government has unprecedentedly included the art and creative industry in its Policy Address. It is hoped that borrowing England's experience in developing an art hub could save Hong

Kong from the economic crisis. Unfortunately, without an adequate long-term policy and a clear developmental direction, the plan to build an international art metropolis is nothing but an empty word. In face of such failings, NGO-led art events appear to be all the more important.

The local art circle has undergone lots of changes in recent years. The establishment of The Art School of Hong Kong Arts Centre (which the name has been changed to Hong Kong Art School) in 2000 has played an important role in providing more comprehensive courses for artistic talents. As different institutes have also offered a variety of art/creative courses, the number of people joining

the industry has increased drastically, thereby creating a certain momentum in the formerly quiet art circle. With the changes in government policies, artists have become more active. Led by local artists,

different art groups have emerged one after the other in the past few years, such as those in Oil Street, Cattle Depot, Chai Wan, Fo Tan, Kwun Tong and Fu Tak House. The Shek Kip Mei Factory Estate

Project and the Green House Project, which have been under much media spotlight recently, witness the efforts of NGOs to promote the creative industry and local art, and their development of art

spaces. Lately, the "West Kowloon Effect" has also generated heated debates in the media. Never before have so many people in this city been so concerned about cultural development. How

promising the future seems! Yet, are these really healthy signs or just a replay of the seemingly flourishing art scene before the 1997 handover? After a passing whim, would everything return to their previous silence? Some people believe that the situation has improved as new talents from

various institutes suffice to spice up the art circle and lay down a solid foundation for future artistic

development. Propaganda by the art field itself also seems to have increased artists' opportunities to publish and exhibit their works. Yet, as an artist and art student, I deem that the day for achieving a

healthy development of local art is still far ahead.

7 x_

0 7

Although the number of art talents has increased year by year, the turn-over rate

yet high for the

market fails to absorb these talents, and very few of them could manage to become professional artists. Most of my classmates have to take up part-time or feeelance jobs because they cannot make

a decent living by their artistic profession. Even for those who meant to work full-time to support their artistic creation have to give up their dreams and talent eventually in face of the cruel reality. For one

to devote his life to art, the reward is way below the value of his education and talent. To say "sacrificing for art” is not a joke at all. Not only is our career prospect gloomy, our professional status is also often challenged.

Although different art zones and exhibition sites emerged in recent years have offered artists more

opportunities to exhibit their works, the exhibitions are prone to be dictated by curators' personal interests. Some of the curators even hard sell artists as if they were superstars. Artists lacking a

good social network or with a low profile tend to be poorly recognized, and thus are less competitive. I remember once I saw the artworks of the same artist in several exhibitions about the same time. This way of training artists and promoting their art is indeed questionable. To me, artistic creation is a

long-term project, not an instant rendition.

Even if the artists have the opportunities to exhibit, they are burdened by administrative works including promotion, material production, transportation and preparation of printed materials, apart from being having to devote themselves to their own artistic creation. A good friend of mine was once offered an opportunity to exhibit his works in a grand local art competition. Yet without any financial

support from the organization, he could not afford to pay the trantsportation fee and consequently lost the golden opportunity of exhibiting his works. The public, too, lost an opportunity to appreciate his

art.

I have always asked myself this question: "By what means could the artistic life of an artist be sustained?" Would the situation be improved if an intermediary is there to connect art with living?

Commercial galleries serve to bridge the gap between artists and the society. Artists can make a

living; hence continue their artistic career through selling their works there. Although more and more commercial galleries have emerged in Hong Kong, most of them deal mainly with oil paintings from China, Vietnam and other Asian cities. Some may have their focus on foreign artists while also have

an eye on one or two local artists. But it is rare to have art galleries advocating contemporary local art alone; even if they do, the number of local artists they promote is very small. The majority of

galleries run on commercial principles - they select suitable artworks and pose them as their targets for promotion. They usually adopt rather conservative marketing strategies and sell a limited range of artworks, Video and installation artists would have a deeper understanding about this phenomenon.

Galleries have little interest in novices and certain creative media, and accordingly offer them few

opportunities. Local galleries fail to play the intermediary role of promoting local art, not to mention assisting artists' personal development.

Nevertheless, the blame should not be laid entirely at the galleries* doors. From a commercial

perspective, no gallery would like to run a business with loss. The difficulty may perhaps be partly attributable to the lack of collectors and concern for art in Hong Kong. There are few professional artists in Hong Kong, and there are also inadequate channels for selling and buying. Most of the local

buyers are expatriates, and they collect but a small number of local artworks, resulting in a lack of confidence of other local collectors in the value of works by native artists. Local collectors and art

museums seldom collect contemporary artworks but antiques. I once went to Adelaide to visit the local commercial galleries there, and found out that over 90% of the works they represented were by local artists. I was saddened to hear what one gallery owner had said to me, n\ previously sold artworks from around the world, but there was hardly a market for them. As the Australians are

extremely supportive of native art, I have therefore changed my running strategy to sustain my business.” "The situation in Hong Kong is exactly the opposite”ÿI replied with a bitter smile. I strongly

believe that art collection help foster art development, and to promote a climate of collecting local art

is of vital importance.

《味覺消失》蔡小波個展開幕酒會 •「二檯原作」 • 2006。 The Vanishing

of taitt Thomas Choi Solo Exhibition Opening, "Too Art"

2006.

Casual chatting and bantering among artists is one of their common ways for communication and

addressing problems. In such conversations, which are void of any special motive or deliberation, tend to disclose a strong desire deep inside their hearts, that is, the longing for an effective

intermediary. "Too Art" is another tentative project by the original cast of "Kah Zha” of Chai Wan

Open Studio, which aims at providing more possibilities for art development in the local art sphere. It positions itself somewhere between an art space and a commercial art gallery. It is self-financed and does not receive any sponsorship from the government or any commercial enterprises. All the

participants are volunteers assisting in the areas of planning and administration. Being independent and flexible, the gallery welcomes tentative and conceptual artworks. Its project is conducted along

two lines: (1) to promote original artistic creation of local artists and help them sustain their careers;

(2) to encourage and cultivate an atmosphere of collecting local artworks. With the support of Louis Yu, the Executive Director of Hong Kong Arts Centre, as well as other colleagues of his, the project

was officially inaugurated on 10th December, 2004.

"Too Art”ÿwhich attempts to adopt a brand new mode of operation in Hong Kong, may be dubbed a "curatorial gallery”. The gallery only sells those artworks which have been shown in different

thematic exhibitions it staged. This has the advantage of allowing the artists to pursue their own

styles and developmental trajectories without having to cater to the demands of the gallery. Each time the gallery sells the original artworks of about twenty to thirty artists on a group basis. It accepts any artwork as long as it is intact and fits in with a particular theme of an exhibition. Almost a hundred

artists have participated in the exhibitions held this year and over two hundred pieces of artworks have been offered for sale.

The gallery is meant to be a realm for the general public and refuses to operate in a small circle.

While artists can self-recommend their works to the gallery, the gallery owners themselves may also

go out to look for suitable artworks for a certain thematic exhibition. The works included for exhibition

• '鄭

二'

Pre-ttwA 開幕酒會，「二樓原作」， 2005。 B

Pre-work Opening , "Too Art-, 2005.

may be by artists from different institutes or with different backgrounds and qualifications. In this way, artists can be gathered together under the same theme and be offered more chances to sell their works; meanwhile it also broadens the scope of an exhibition as a wide range of artworks is covered. One time when I asked an experienced artist, whom I highly respect, for her works, she made the following comments to me: "The art circle these days only promotes and cares about new

artists; those who continue to work hard in a low profile are being forgotten." Her complaint often reminds me of the importance for the gallery to remain open and broad-ranged in its selection of artworks.

Artworks are sold in consignment at "Too Art" Gallery. As the gallery takes up all the administrative

and promotional work, artists can then concentrate wholly on their artistic creation without the need

to worry about shouldering the administrative work and expenditure. Although not many artworks are

on show in each exhibition, there is a small archive in the gallery for the artists to display their

personal folders, through which collectors or viewers can obtain a better overview of the works by individual artists. When necessary, the gallery may also recommend suitable artists and their works to the public. Hopefully by doing so artists would gain more opportunities for their artistic advancement.

To promote art collecting, "Too Art" makes every effort to narrow the distance between viewers and

commercial galleries. The public usually think that art is something high-brow, and consider commercial galleries as a holy land. "Too Art”ÿhowever, is just located in the corridor on the second floor of Hong Kong Arts Centre, which is delineated simply by a glass door and several white panels.

It has anything you name it despite its small size. The gallery positions itself in an interesting space which enables a public exhibitional area and a private gallery to coexist, thus breaking the general

notion of commercial galleries as a place to be kept away from. Instead people can now visit the

gallery without much hesitation. It is a breakthrough in respect of connecting an art gallery with the

public; it serves also as a successful step towards selling artworks.

•

r 二樓原作」展覽

2005。

Pre-work , "Too Art" Exhibition, 2005.

/ ■一.

I. 吒

The climate of collecting in Hong Kong is far from being mature, not to mention the trend of mass

collecting. Without much idea about artistic quality and the value of artworks, people lack confidence to purchase expensive artworks and worry about their depreciation. For most people, artworks are

nothing more than gifts and gadgets, hence there is often a gap between what they are willing to pay for a particular work and the price that is set for it. In view of this, we set our works at a reasonable

price that is affordable to the general art lovers. The intention is to foster their interest in collecting and in turn provide local people with an alternative choice outside their normal consuming practice.

When art has become part of their lives, their taste in daily living could be improved. Moreover, the

public could acquire a better understanding of the original works by local artists and thus develop a habit of collecting them. Once the atmosphere of collecting is mature, artists could acquire a better

chance of pursuing their artistic careers.

Since the general public has limited knowledge and scanty recognition of contemporary art, individual introduction and recommendation is therefore essential. The gallery introduces its artworks to viewers in a relaxing manner in order to let them understand more about the artists' backgrounds and

artistic concepts. The more they learn about the artists, the stronger would be their desire in

collecting their works, hence the greater the possibility for the gallery to have them sold. This is an effective way of enhancing people's interest in collecting. Indeed many artworks in the gallery are

successfully sold in this fashion.

Last year, MToo Art" was flexible and quick to make modifications to cope with the market demand.

Experience has informed us of the subtle relationship in communication between art and the general

public, and that the subject matter of an artwork is of paramountcy for its sale. The exhibition, "Toy’s Story", is a case in point. Given the topic of toys and games is related to everyone’s experience and memories of growth, it could easily evoke a psychological resonance in the viewer. The exhibition

s 《外判計劃》，「二樓原作」展覽， 2006。 Out Sourcing, MTÿÿArt'1 Exhibition, 2006.

i 翁

turned out to be quite a success, attracting a large number of visitors, where most of the buyers were local collectors. In this exhibition, a brief explanatory note was placed by the side of each artwork to shorten the distance between the viewer and the artwork. As a gallery owner, I am responsible to

maintain not only the quality of artworks, but also the balance and choice of artworks for sale. In order to highlight the distinctive features of each artwork, the gallery needs to spend some time on

thinking over matters such as its mounting, decoration, display and other related technical details. It is hoped that when people come to see an exhibition, they would feel like reading a colorful shopping

guide, and collectors could choose the pieces they like while browsing through the exhibits. Many families in Hong Kong live in small apartments and have difficulties in placing large-scale artworks at home, especially two-dimensional hanging pieces. For this reason, the gallery, under the condition of

not violating its basic principles, also offers small, crafty and delicate art objects for sale.

As "Too Art" is not that well-known, some artists have refused to display their artworks in it. Some artists with little knowledge and connections in the local art circle, though, have recommended their own works and profiles to the gallery. "Too Art” is happy to be their stepping-stone as I am moved by their positive attitudes, passions and bravity towards artistic creation. From a pure commercial perspective, MToo Art" is not yet successful since our artists cannot make a living by

merely having their works sold here. We are, however, not pessimistic as the job we did last year has brought not only concrete remunerations, but also opportunities of development for the

artists offering them support, encouragement and hope. We understand that there is still a long

way to go for cultivating a climate of selling and collecting local art, and this is no easy task to be accomplished by artists alone or by any one single art gallery. The climate is pending to be developed and great hindrances are always there on the way.

Nonetheless, the experiment

undertaken by "Too Art” has proved to us that similar platforms are necessary for the mutual

development of artists and collectors.

《微敘事錄像展覽》開幕酒會，「二樓原作」， 2006。 iWicro- narratives: invented time &

space in video Opening, "Too Art'* , 2006.

A healthy growth of the art cycle in Hong Kong counts on three elements - to establish a consuming

culture of art, to provide artists with chances for development, and to promote the trend of collecting local art. In this respect, art galleries have an important role to play as an intermediary. Local art could be developed and promoted only if a wholesome artistic environment is established. The sheer

bragging about building an "International Art Hub" is no help to the development of the creative

industry, economy and art in Hong Kong. A famous architect once made the following remark in his speech: "There are many excellent artworks in Hong Kong which are worth collecting, and at a good price”. To me, his words are encouraging. Indeed, it is only with the support of the masses that local art can be developed.

"Too Art" is founded with a good primary motive. In the foreseeable future, we hope to see the

emergence of more and more similar platforms of buying and selling in different spaces which help bring local art to an all-round development.

o Carol

Lee cleemk@yahoo.com

Carol Lee received her B.A (Fine Art) from a course which is jointly organized by RMIT University and Hong Kong Art School, and is now taking MFA programme offered by the same institute. Carol was the coordinator of MKah ZhaM of Chai Wan Open Studio event <20021, she is also one of the founding members of "Too Art”.

藝術家自述：「懷舊」與「模製」 Artist Statement: Nostalgia and Moulding 尹麗娟 Annie Wan

戀

是一種人類獨有的情感經驗，亦是歷來最被文學藝術作品、電影及大眾文化廣

「懷舊」

泛表達的情懷。因思念總令人沉溺，且帶點傷感

故能引發出愛與痛的快感。我相信「懷舊」是

屬於中年人的。青年人總是向前看，他們的「懷舊」可能只是一種時尚，沒有深刻的實質內容；老年人經歷太多的過去

大概已能接受時光流逝的現實（但願如是

但中年人尚在努力向前走的

同時 •郤回頭發現逝去的時光不復回 •矛盾的心情使他們對消逝了的時光充滿懷念之餘 •亦冀盼

可以重拾它。因此「? 舊」是一種複雜的情感

它包含著：醒覺但無奈、沉醉卻又哀傷、思憶同

時又盼望等特質。

英文

_ 字最早被用作醫學名詞，以形容一種離鄉病人思鄉的痛苦，及害怕不能

「懷舊」

回鄉的恐? ，治療方法便是讓他們或答應讓他們回鄉。現在這字多用來形容對過去曾在的事或物

的懷念，並對其現已不存在而感到唏噓。因此，「懷舊」的本質乃對應著地理空間或時間上的移動而產生對原地（如國、鄉、家等

或過去時光

如童年、學生時代）的思念情懷，故這種情緒是

建立於對過去的窺探、但又醒覺其己消逝的張力之上。

現代社會快速的變遷，加上大眾文化對「懷舊」的濫情而將這種情感誇張地放大。古時農業社會

環境十年如

除了離鄉，就只能在成長及生離死別中產生懷舊之情，如對童年或死去的親友的

懷念。但現在科技不斷發展，我們都同時被創新及懷舊的氣氛籠罩著，因為有新必然有舊

第一

代無線電話或蘋果電腦已很快成為懷舊物品；如此，我們回望童年更恍如隔世。所以如果有人記得

「阿媽！我得? 喇！」這句七十年代流行的口頭襌；還記得它是源自粵語配音日劇「青年幹探」

主角鐵男在每集片頭的開場白，我會像他鄉遇故知般感動不已。還有，腦子常浮現一個名字，是七十年代經常在收音機點唱節目中提到的 ’Loving Bee Gees Association' 主席 Alan Spencer ，你在哪裡？

l\ 2004 年我在丹麥工作，工作室的閣樓內沒有電燈

唯有靠窗戶引進陽光照明。那些窗戶? 製了透

入室內的隰光，而我則嘗試鏞造陽光穿越窗戶時的形態。

There was no lighting device inside the attic of the studio in Denmark where I stayed in 2004. Windows were entrances for the sun to light it up. The windows were moulding the sunlight when it came in through them. And I tried to cast the form of light passing through a window.

|_ 尹麗娟 * 《模製射進閣樓的陽光》，土器， 47 x 67 x 22 厘米（离

2004 年。

Annie Wan, The Casting of Light through a Window into the Attic, White earthenware, 47 x 67 x 22cm (height), 2004.

現代資訊及科技發達，或能填補地理移動後的虛空 •但時間不能逆轉的事實，使「流逝」與「失

去」成為「懷舊」的特質。正因為「現在」不斷消逝成為過去，「過去」便反而顯得更加真實；

換句話?，「現在」不停變化而「過去」則盛載著穩定的回憶，所以沉醉於對「過去」的的思念

其實是在逃避「現在」的不稞和不安，也因對「過去」的不捨令我們努力地證明此情此境曾

在，例如拍照、收藏紀念品及寫日記等；將物件製成標本或模型也是一個普遍被採用的方法，像替嬰孩壓手印或模製死相面形等。因模製過程其賁盛載著「懷舊」情感：它保留著物件某一刻的

形狀，足以證明此物曾經存在，因為如沒有原物

模製便無法進行 •而複製品亦無法產生。此

外，「懷舊」需依中介而引起，可能是物件、可能是氣氛、可能是聲音、甚至乎是氣味等 •所以，複製品保留原物的形狀使我們聯想到原物，但當我們察覺到複製品並不等同原物時，懷舊之

情因此而產生。每當我們面對逝去時光不能重現的現實時，我們唯有用新的事物去填補空虛，? 它是新的

因它是相對已消逝的舊事物。就算是同一件物件，在流動的時間、不同的情景內，其

意義也不斷更新。而模製的複製品與我們同時佔據著物理空間而存在，某程度上能填補因「它不是原物」而產生的虛空，滿足我們對原物的思念。此外，每件複製品其實是全新的物體

它讓我

們想起及思念原物之餘，也能賦予我們新的滿足。

總括來? ，「懷舊」並不只是直接的回憶 •它是充滿慾望

有選擇性的心理投射。「懷舊」也是

對過去事物的重新詮釋。同樣，模製過程亦充滿記憶，它盛載著原物的訊息

但郤不能重現真正

的原物，複製品並不等同原物 •而複製品與原物之間的差異，使我們對原物更加思念、更加意識到它無法被重拾；但複製品包含著「新」的意義，它是對原物一種新的詮釋，因此能彌補複製品與原物之間差異的虛空，更能得到「懷舊」情感的滿足。

尹麗娟

wanl23a@hotmail.com

"尹 ?娟以作品填補虛空 •她的探求是植根於對「現在」及「過去曾在」的細心觀察後得出的發現，她能連轚我

們看到及看不到的，並將生命中短暫的事物固體化（模製及鑲造以作創造及重塑。這種填補（或鑲造）及重塑正負空間擴闊了一處涉及回慷 '隱喻、智慧及文化的普遍性領域，同時也向之而致敬。"

Sigel,2005)(註一）

尹 ?娟生於香港，曾於前香港理工學院修畢設計文憑及高級陶藝課程， 1996 及 1999 年於香港中文大學藝術系取

得學士及碩士學位。其後一直致力藝術創作。尹麗娟的作品以陶瓷為主，為人所認識的作品多以 ?製方式引起

截眾對正負、在場與不在場、虛實等問題的思考。

Translator: Amy Chin

Nostalgia is a uniquely human emotional experience. It has also been

the most commonly expressed sentiment in literature, films and popular culture. Because reminiscence is indulging and sentimental, it often triggers sensations of affection and pain. I believe that nostalgia belongs to the middle-aged. Young people always look forward; nostalgia for them is merely a trend with no deep substantial meaning.

Old people have experienced too much of the past and have probably

succumbed to the fact that time passes and never comes back (hopefully so). The middle-aged, while trying to move forward, realise

that the past will never come back. Such a paradoxical feeling fills them with reminiscence of the past and hope of reviving the past. It is therefore why nostalgia is a complicated sentiment. It comprises of realisation, melancholy, indulgence, sadness, memory and at the same

time a sense of longing.

The word nostalgia was first used as a medical term to describe a feeling of agony when one leaves

his/her hometown and fears that he/she may never be able to return. The way to treat it was to let them go back or promise them that they can go back. Now, this word is more often used to describe a reminiscence of people or things in the past, and the melancholic feeling that they no longer exist. As a

result, the nature of nostalgia is a response to the original time (e.g. childhood, student era) and space (e.g. country, hometown, family) as time and space change. It is built on the tension of looking back in time while

realising that the past is forever gone.

The fast changing pace of modern society and popular culture's cliche treatment of nostalgia have greatly exaggerated this emotion. Back in agricultural times, life was monotonous; other than leaving the

hometown, nostalgia could only be found in growth and death, such as nostalgia for childhood or a

deceased family member. However, as technology advances, we are surrounded by the aura of innovation and nostalgia at the same time. The old and the new co-exist. The first generation of mobile phone or Apple computer very quickly became nostalgic merchandises. When we look back at our childhood, it feels like

在我居住的丹麥小鎮上，有一間建於 1897 年的已被棄置的小屋。在裡面我發現有一層一層的牆紙

及油漆相?，有些已被撕破 * 有些已是殘舊不堪。從屋內種種痕跡及褪褐的顏色 * 可窺探曾在這裡居住的家庭的生活境況。我可以猜度出廚房的位置，那裡有一塊鮮黃色的長方形，我想那位置

從前應該是掛了個廚櫃，保護了黃色沒有褪色。我在這長方形位置處做了壓模，顯示出廚櫃的形狀及位置。 In the town where I stayed in Denmark, I found a desolate house which was built in 1897. Inside, I found layers and layers of overlapping wallpaper and paint, some of which were torn, while others were worn out. Traces and faded colours of the interior hinted at the past domestic life of a family. I could guess

where the kitchen was. In there I found a rectangular plate of bright yellow colour; I supposed that a cupboard had once been hung there and protected the yellow from fading. I press-moulded this rectangle to reveal its shape and position.

尹麗娟，《不在場的櫃子的背後空間》，土器， 41 x 74 x 0.5 厘米（厚） • 2004 年。

Annie Wan, Space

the Back

of an Absent Cupboard, White earthenware,

41 x 74 x 0.5cm (thickness), 2004.

ages ago. Therefore, if someone still remembers the catchphrase "I made it, mom!" from the

seventies, if someone still remembers that it came from the opening sequence of a popular Japanese television series, I will be moved to tears as if I would meet someone from my hometown in a foreign country. There is another name that springs to my mind - Alan Spencer, Chairman of Loving Bee Gees

Association; a name often mentioned in the song dedication radio programmes in the seventies. Alan,

where are you now?

The advancement in science and technology might fill the void caused by change of space, but the fact that time does not come back makes "passage" and "loss" the essence of nostalgia. Because "the

present" continues to disappear and becomes "the past", the past becomes more real. In other words, the present is constantly changing, while the past is a stable memory. Indulging in the past, therefore, is an

escape from the unstable and insecure present. The difficulty to let go of the past has led to our desperate attempts to prove that something once existed by, for example, taking photos, collecting souvenirs and

writing diaries. Making specimens and models is another common way to do so, such as making a palm

indentation for infants and moulding a facial mask for a dead person. The moulding process is loaded with nostalgia: it retains the shape of a thing to prove that such a thing once existed, since moulding would not

be possible without an original, without which copying would not be possible. Moreover, nostalgia needs a

z ??

2 2

medium; it can be an object, an atmosphere, a sound and even a smell. By retaining the shape of the original, the copy reminds us of the original, and when we realise that the copy is not an equivalent of the

original, that’s when nostalgia comes in. Whenever we face the fact that what is gone will not come back again, we can only use something new to fill the void. We call it new, only in relation to the thing that is now in the past. Even the same thing can have different meanings in different times and spaces. Moulded

copies co-exist with us by occupying the same physical space, to a certain extent they can fill the void due to the notion that #they are not the originals', and satisfy our longing for the originals. Moreover, since every

copy is in essence a new object, while it satisfies our longing for the original, it also brings us new joy as a

fresh object.

In a nutshell, nostalgia is not just memory in its direct form, but full of desires and selective psychological projections. Nostalgia is also a new interpretation of things in the past. The process of moulding is

likewise full of memories. It carries a message from the original, yet it cannot recreate the real original. A copy is not the same as the original, and their difference makes us further miss the original and become

more aware of the fact that it cannot be regained. But a copy also has new meanings; it is a new

interpretation of the original. It can fill the void arisen out of the difference between the original and the copy, and gives satisfaction to the sentiment of nostalgia.

o Annie Wan

wanl 23a@hotmail.com

"Annie Wan fills voids. Her quest is rooted in discovery through keen observation of "what is” and "what was” as she makes connections between what we see and what we do not see. Using forced fossilization (moulding and casting), Wan creates and recreates society's ephemera. This filling (or casting) and recreating both positive and negative space is done to augment and honour a universal sense of place while simultaneously dealing with memory,

metaphor, intellect, and culture/' (Deborah Sigel, 2005)

(Note l)

Born in Hong Kong, Annie completed a Diploma course in Design and Higher Certificate course in Studio Ceramics in

the former Hong Kong Polytechnic. She then obtained her Bachelors and Master's degrees from the Fine Arts Department of the Chinese University of Hong Kong in 1996 and 1999 respectively. After that, she devoted herself to art making. Annie Wan’s major works are ceramic pieces; the most well known of which make use of moulding to

invoke audience to reflect upon issues such as opposition between positive and negative, presence and absence, void and solid. $

=r. fD

7 (Note 1)

Deborah Sigel, Moulding World — A Summer in Denmark (Hong Kong: Annie Wan, 2005), p.4.

2 3

iH 1

|51

餐

W] •

rl~

Gallery Hours

Wed to Sun: 12:30pm to 7:30pm Mon to Tue: by appointment Tel: (852)2834 0123 email: admin@tooart.net Shop B, 2/F, Hong Kong Arts Centre, 2 Harbour Road, Hong Kong 香港灣仔港灣道二號香港藝術中心二樓 B

Supported by HONG KONG ARTS CENTRE 香港藝術中心

•

iA%

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AD HERE 廣 ?查詢 info@whitetube.org 6344 2878

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星期一至曰早上十時至晚上;A時（公眾假期除外）

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/ E-mail

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發行地點

Distribution Centres

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Hong Kong Art School Learning Centre 17M/F, Hopewell Centre, 183 Queen's Road East, Wanchai, Hong Kong Tel: (852) 2922 2822

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電話：

2922 2822

二樓原作香港灣仔港灣道 2 號香港藝術中心 2 樓 B 店電話： 2834 0123

Too Art Shop B, 2/F, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong Tel: (852) 2834 0123

阿麥書房香港銅鑼灣恩平道 52 號 2 樓 A 室電話： 2808 0301

Mackie Study Flat A, 2/F, 52 Yun Ping Road, Causeway Bay, Hong Kong Tel: (852) 2808 0301

Habitus 上環西港城 3 樓電話： 2973 0231

Habitus 3/F, Western Market, Sheung Wan, Hong Kong Tel: (852) 2973 0231

the PANIC

the PANIC 2/F, 226, Sai Yeung Choi Street South, Mongkok, Kowloon, Hong Kong Tel: (852) 2396 2608

香港九龍旺角西洋菜街南 226 號 2 樓電話： 2396 2608

the PANIC 2 香港灣仔港灣道 2 號香港藝術中心 2 樓 A 店電話：

3598 6218

書得起（香港有限公司銅鑼灣軒尼詩道 439 至 441 號香島大廋 1 樓 A 座 2126 7533 電話：

kubrick - be 香港九龍油麻地眾坊街 3 號駿發花園 H2 地舖 (百老匯電影中心旁

電話：

2384 8929

the PANIC 2 Shop a, 2/F, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong Tel: (852) 3598 6218

Basheer Design Books (HK) Ltd

Flat A, 1/F, Island Building, 439-441 Hennessy Road, Causeway Bay, Hong Kong Tel: (852) 2126 7533

kubrick - be Shop H2, Prosperous Garden, 3 Public Square Street, Yau Ma Tei, Kowloon (right next to Broadway Cinematheque) Tel: (852) 2384 8929

3 Boxes

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G/F, 35 Graham Street, Central, Hong Kong Tel: (852) 2850 4822

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People's Recreation Community 1/F, 18 Russell Street, Causeway Bay, Hong Kong Tel: (852) 2836 0016

致親愛的讀者：

《白文本》第一期屢見錯漏，深表抱歉。第二期亦因為遇上技術性問題而引致發行曰期押後。在此承

諾日後《白文本》出版定必更加小心，避免類似情況再次發生。如蒙

體諒，不勝感激。編輯部

Dear Reader, Thank you for reading White Text. We would like to take this opportunity to apologise for a number of errors that were found in our first issue. Moreover, we encounter various technical problems during the making of the 2nd issue, causing the postponement of the distribution date. We assure you that a greater effort has been made to avoid such mistakes in this issue and that we will continue striving to improve the quality of White Text in the future. Thank you for your support and understanding. ?

Yours truly, The Editorial Team

2 8

嗚

謝

在此感謝曾支持《白文本》第二期出版的人士或團體

White Text would like to thank

iss 茹張

曾德葉蔭聰

Ip Yam Chung

梁寶山

Leung Po Shan

鄭威鵬

Damian Cheng

余迪文

Solomon Yu

白管子 WHITE TUBE

香港藝術學院 HONG KONG ART SCHOOL

ISSN 1 81 8-5657

9 771818 565005