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此場刊為藝術公社舉辦之《風 雨飄搖愛國時 ─ 年青藝術家 六四展》而出版。 香港 九龍 土瓜灣馬頭角道63 號 牛棚藝術村12號單位 藝術 公社

2009年5月16日 至6月14日 本展覽為《 P - a t - r i o t : 80後六四文化祭》活動之一

開幕: 5月16日(六) 4:30p.m 策展人及藝術家講座: 同日 5:30p.m 策展人導賞: 6月7日(日) 4:30p.m 開放時間: 逢星期二至日(逢星期一及 公眾假期休息) 中午12時至晚上8時 藝術家: 花苑 陳素珊 蔡志厚 許維強 江耀榮 林愷倩 劉明進 羅玉梅 羅至傑 吳鋋灝 Pep!+鄭家樺+鄭家榆 Start from zero 鄧國騫 湯舜 蔡嘉宏 策展人: 李俊峰

籌委小組: 區華欣 張鐵樑 蔡芷筠 何婷婷 葉浩麟 梁御東 湯映彤 錄象訪談: 張鐵樑 盧意嵐

編輯組: 李俊峰 李淳朗 李苑汶 設計: 區華欣 承印: e-print 印數: 2000份

鳴謝: 粉紅A 劉建華 梁展峰 葉建源 魂游 黃嘉榮 出版: 藝術公社 香港九龍土瓜灣馬頭角道63 號牛棚藝術村12號單位 電話:(+852) 2104 3322 電郵地址:m63@artistcommune.com 網址: artist-commune.com

關於 藝術公社: 藝術公社是一個民間藝術組織,於 1997年7月正式成立。現朝以下四 大方向進發: 1. 發展傳統水墨精神與當代藝術結 合的藝術方向 2. 以藝術角度探討社會形態,提高 藝術界與社會的對話與交流機會。 3. 透過舉辦藝術家進駐計劃,建立 為視覺藝術工作者相互交流中心。 4. 聯合其他本地藝團、藝術家,推 動本地視藝發展,將香港首個藝術 村發展為香港當代藝術活動主要基 地,成為青年藝術工作者的跳板。 artist-commune.com 關於《P-at-riot :80後六四文化祭》: 由一班八十後的藝術工作者自發組 成,《 P-at-riot :80後六四文 化祭》期望藉著不同面向的藝文活 動,包括:藝術展覽、音樂會、街 頭藝術行動、錄象訪談、野餐讀書 會、電影放映、書籍展覽等,打開 及深化認識/悼念六四的可能性, 鼓動同代及更年青一代的參與,從 而展示八十後一代 / 堆人對「六 四」的感覺 / 記憶 / 態度...呼 應彼此與二十年前學生(可能)共有 的氣質。

版權所有 不得翻印 2009初版 文章之意見及其所有內容, 不代表藝術公社之立場

p-at-riot.blogspot.com


:

展覽筆記

李俊峰 風雨飄搖愛國時是一個假正經的玩 笑。八九民運期間,中國物價飛漲、 官倒橫流,官員貪污腐敗成風,時局 飄搖動盪。那時學生因著愛國,跪地 請求對話,絕食抗議…二十年後的中 國,表面和諧處處,實為言論封鎖, 內地同輩在謊言中長大,紀念六四對 他們而言可能是講國家是非的不愛國 行為。因此,我們談六四或是一個討 論何謂愛國的機會。 他們的六四?

六四的游離票? 有一部份人,介乎於立場強烈與冷漠 之間,他們是六四的游離份子,他們 或自覺未身在其中,了解不足而不想 選擇表態,又或對六四同樣感受強烈 但只願暗自悼念,他們不主動表述亦 不抗拒接觸。

八十後 與出生年份無關,社會中廿多歲的一 群,他們的想法總是珍貴。雖然,他 們可能是最後一代對六四尚存零星印 象,或仍因成長中不斷接觸中英談判 與回歸的恐懼等,而對中共存負面印

但可能這群游離份子才是承傳六四的 對象,從而讓討論延續,橫向伸張, 被動漸漸成為主動…

象,這可能是最後一代對中國身份仍 保持”清醒”距離…

紀念六四其實與記憶,或是否親身經 歷關係不大。參展者的個人經驗或許 是理解他們動機/出發點的切入。其 實,重要的是六四如何偷偷溜進我 們的故事。這可能是從師長、父母的 對話,也可能是一齣戲、一首歌、一 段文字…從此觸發他們追尋/傳承的理 由。…而他們在個人歷史/感受中抽取 那一部份去言說,或已代表/提出思考 六四的另一角度,或是他們認為如何 較有力(有趣?) 地討論六四的形式… `

(政治議題的) 藝術需要游離嗎?

情意結

愛國/時空

他們要麼對鎮壓行為痛心,要麼為六 四漸漸被淡化而感到傳承的必要,要 麼保持暗地關心並保持“不會忘記” 的姿態(但沒有記憶如何忘記?) 一 部份其實,對歷史與自身感受的真 空,感到難以名狀(記憶遭到”打格 仔”)。但他們總難稱六四為情意結。 情意結外,坦克可以不是血腥的符 號,而變成悼念六四的蠟燭,可以是 打掃民主女神像的樂高積木,他們能 以反斗、黑色幽默,但亦認真的態度 講述六四。

他們或許與廿年前的學生有共通,或 許兩者對社會發展的關心差異也不 大,只是參與形式的不同。對應正面 抗爭的行動,他們則以反諷的話語表 達不滿,他們無需不論壇上爭相發 言,他們可在個人博客上抒發意見。

與二十年前民運呼應的活動出現…

(但這是否折射那對政治參與的無力 感?我們原來只能發表,但未能動搖 政制?可以製造一時的輿論,但難以 累積?)

p-at-riot.blogspot.com

立場容易隱身於藝術形式,因為她常 常是抽象與開放。但我站在一張畫 前,我被感動了,那並不是”非此即 彼”的感受,也不是嚴謹分析論證的 文章論辯可以代替。 兩極化常使事情進入”有嘢講,無偈 傾”的局面,但好的作品總邀請我們 坐下來傾傾。

展覽的剪報 如果展品是今天年青一代如何理解六 四的圖像,展覽展出一系列廿年前的 剪報及雜誌,則是一平行對照,讓觀 眾身在其中,融入當時的氣氛。 展覽開幕並非終結 展品會鬼鬼祟祟地溜進展場,並隨著

網站將定期上傳展覽訪談,錄像紀錄 各藝術家的想法,請上: 或

youtube.com/user/peeatriot 延續討論,請大家網上留言


策展人與藝術家對談

問&答

陳素珊│Chan So-Shan 六四那天,你的印象是什麼?沒有印 象。其後有何接觸六四的經歷?小 學:電視聽到的口號「釋放王丹,打 倒李鵬」(以為是笑話),中學:在 公共圖書館借了本王丹的書,才知是 甚麼事,像發現新大陸。什麼因素驅 使你繼續關心這事?中三中史書就甘 寫「事件平息」,令我首次好遺憾地 覺得學校好廢,又有點嬲,其實是好 失望。唔恨做/做唔返品學兼優的好 學生,而想做民運學生那樣的人。現 在覺得這是一次對我的成長很重要的 disillusion。你有否做過什麼去認 識這事?讀書,後來是睇YouTube。 第一次遊行(順便知道自己不適合遊 行,便不再去),晚會去過幾次,到 大學便沒有去,算是終於接受了自己 投入不到集體行動,放棄了公開表 態。漸漸六四變成自己的私事,以後 的社會活動都係這樣處理。因為自己 無法公開地為他們爭取甚麼,只能自 己收收埋埋,因此有私人欠左佢地的 感覺。六四在你個人生命中發生什麼 影響?「原來我們的焦慮來自一種僥 倖生存的,很壞的感覺,活着卻沒有 盡到活着的責任。…在這關鍵的憂傷的 時刻,他缺席。無可置疑,就是這種 很壞的感覺,好像因為他缺席不在我 們道義上不應該讓他的故鄉變成那個 樣子。」《來自雙溪》楊牧P.S.作者 原意不是講六四。作為創作者,對於 六四,你的定位是如何?覺得自己識 做作品好好彩。

蔡志厚│Thickest Choi ChiHau

P for position 錄象裝置 尺寸不定 2009

六四那天,你的印象是什麼?血色煙 霧下的混沌。大量死傷。坦克。毛澤 東畫像。廣場和擔架床。驚惶。或恐 懼。其後有何接觸六四的經歷?大眾 傳播媒介。電視節目。報章。偷看父 親買來的《八十年代》、《九十年 代》、《開放》。互聯網普及後,多 會看一點不同觀點的論述。什麼因 素驅使你繼續關心這事?「悶聲發大 財」、「穩定壓倒一切」的「和諧社 會」,背後難以申述的社會不公義、 官僚和政權的暴力,大概較二十年前 更嚴重、更複雜。中國如此,香港亦 然。六四有沒有引申成你對今日社會 的一些想法?對於社會的不義,有發 聲、反抗和爭取改變的必要。作為創 作者,對於六四,你的定位是如何? 強調抗爭的必要性。那是有熱誠、有 理想的、對社會不義的抗爭。這是延 續六四運動、上溯五四精神的實踐。 「中國」是?日益複雜、多元化的社 會。難以名狀且不斷轉化的拼貼。愛 國是怎樣的一回事?愛國難免牽涉國 族主義。我討厭國族主義。國族主義

容易令人目盲耳聾,訴諸情感而棄卻 理性。若我們放棄這套上世紀,以至 上上世紀的陳腐邏輯,以更開闊的目 光看我們所謂的「國族」,我們得到 的也許更多。形容一下「80後」? 迷惘、困頓。單一線性的學校教育和 政經邏輯,和當代的社會形態大有出 入。「知道自己不想要的是甚麼,但 不知道自己想要的是甚麼。」我們只 有站在各自的位置,向前開創局面。 混沌初開,我們自有清濁浮凝而成的 天地。

許維強│Hui Wai-Keung

纂改歷史 樂高積木 尺寸不定 2007

六四那天,你的印象是什麼?八九民 運時我已經十五歲,遊行,燭光晚 會,募捐,訂人民日報,都是興高采 烈地參與。年少天真,心情很是亢 奮,根本就是「Rock the World this time」的姿態。記憶是如此 義無反顧,如此浪漫。但六四當天的 印象怎麼樣實在記不起來。無剪輯殺 人片段肯定有看,但反應如何已經記 不起來。其後有何接觸六四的經歷?


沒有或者拒絕接觸,但每次聽「血染 的風采」,心都會隱隱作痛。什麼因 素驅使你繼續關心這事?認為自己可 能是最後一代親身感受過這件事,如 果我不留底一些文本,以後就再難有 人會提起它(現在證明,顯然我是錯 的)。所以07年就做了「篡改歷史」 這件作品。而且,感覺也有需要籍此 抒發內心隱藏的愁思。你有否做過什 麼去認識這事?做了「篡改歷史」的 時候,上網翻查當時的影片和相片(不 太相信文字記錄)。作為創作者,對於 六四,你的定位是如何?縱使模糊, 著重親身感受。避免給大量的事後解 話所影響。「中國」是?不可信任, 有點厭惡,令人生畏又擔心的祖國。 愛國是怎樣的一回事?答不出來,可 能是,和愛人一樣,心裡愛過就算。

江耀榮│Kong Yiu Wing

中學更自稱為香港當年第一間響應 六四運動的中學;曾參與六四悼念晚 會。什麼因素人驅使你繼續追尋這 事?中學時一位敬愛的老師極力強調 六四的重要,因而受到感染。你有否 做過什麼去認識這事?閱讀報章相關 消息,並翻查文章及錄像等史料。六 四有沒有引申成你對今日社會的一些 想法?反省今日大學生(包括我在 內)普遍自我中心,對社會漠不關 心。作為創作者,對於六四,你的定 位是如何?沒有真正經歷過的旁觀者 及追尋者。「中國」是?一黨專政的 泱泱大國,經濟發展中,民主自由改 善中。愛國是怎樣的一回事?對此問 題沒有深入思考過,只有間中留意關 於祖國之新聞。形容一下「80後」? 少接觸動盪和大事,對人較少熱誠, 卻仍不乏內心尚有熱情的人。六四會 否令你對「中國」有負面印象?不 會,錯的只是當時一少撮人。

林愷倩│Lam Hoi-Sin

坦克?燒掉它吧! 混合媒介,蠟 尺寸不定 2009

八九年六四那天,你的印象是什麼? 只有一歲,在奶奶的懷中熟睡,不知 人間何世。其後有何接觸六四的經 歷?中學時公民教育提及過,就讀的

八九年六四那天,你的印象是什麼? 沒有印象。不知是之後看相片還是真 的記得,小時候(當時)去過看集會, 還舉手拍照──當時當然不知為甚 麼。其後有何接觸六四的經歷?很少 主動接觸政治,有時問問父母,他們 簡單答答。接邀請後看看wikipedia, 對這段歷史仍然陌生…什麼因素驅使 你繼續關心這事?其實到現在我想關 心的也不是六四,過往的種種事都是 陳述的陳述,知道或不知道離事本身 都很遠 (當然這不能是不聞不問的藉 口,全因自己政治/時事盲)。不過 因為父母經歷過文革,還有自己對過 去的某種多愁善感,總能對這類事說

些甚麼吧。你有否做過什麼去認識這 事?…我對文革的興趣應該比六四多, 可是想知道的時候懶,上大學以後已 很少提這類問題,認識依然很淺很 淺。六四在你個人生命中發生什麼影 響?沒有。作為創作者,對於六四, 你的定位是如何?或許六四影響我的 就是參加這個展覽,使我再次看看自 己的過去。要定位的話,我應該是一 個在香港出生、沒捱過苦被寵壞的「 細路」,但由於父母是從內地來港 的,我想我和其他本地的或在香港已 幾代以上家庭成長的同輩,思想應該 有不同,代表著不同的「定位」。「 中國」是?是我的但不是我的地方, 很難理解。好欣賞(古)(中國)人 的智慧。中國太大人太多,甚麼事都 能發生。愛國是怎樣的一回事?維護 和喜歡自己國家是很自然的事,雖然 我認為國與國、種族和種族不分得那 麼清楚會對大家都好。形容一下「80 後」?年青但開始老。

劉明進│Ron Lau Ming-Chun

For those who may concern 電腦輸出 30'x 20' 2009


六四那天,你的印象是什麼?沉默 的家人在客廳。其後有何接觸六四 的經歷?從非政治化的管治到拙劣 的假政治化強權,少不更事之時只 隱隱覺得不妥;到今天方覺要堅持 的不是個別事件的是非,而是要樹 立當代所持的意識形態。什麼因素 驅使你繼續關心這事?我叫自己別要 過份執著,其實心中的魔鬼會在你 看細節時生長。你有否做過什麼去認 識這事?我怕過份著意會讓自己偏 離軌道,所以大多由它,只時刻警剔 自已:別要閉上眼睛和關上耳朵。 六四在你個人生命中發生什麼影響? 其實我的自我認知來自往日的學習 經驗與日常思考。倒是那些思維影響 我在對六四事件上的思考。作為創 作者,對於六四,你的定位是如何? 就是忠實面對自己的感覺和想法,不 要被規範。「中國」是?我生長在如 斯的歷史當中。政治分合常變,歷史 是勝利者的書寫;文藝和智慧卻能長 久流存。愛國是怎樣的一回事?是當 在理性思維下發自於衷的。形容一下 「80後」?我認為主體性從來都重 要,又也許這是我期望的投射。正 因我們活在太多無理無聊的規範下, 故一但正視了自己的主體性,便欲抗 爭;並嘗試擴大意識形態的觸碰面。

羅玉梅│Law Yuk-Mui 八九年六四那天,你的印象是什麼? 當年小一,很清楚知道有民運這件 事,因學校老師出通告問學生是否參 與遊行,但對於事情背後的意義是 沒有意識的。其後有何接觸六四的 經歷?很記得電視台常播很多歌, 歌手穿紅字白Tee,特別記得一無所

有、血染的風采。什麼因素驅使你繼 續關心這事?媒體的報導,朋友聊 天。你有否做過什麼去認識這事?看 書、上網、朋友聊天。六四在你個人 生命中發生什麼影響?尊敬他們的精 神,beyond海闊天空 一 背棄了理 想,誰人都可以,放棄太容易,有理 想而敢於爭取、發聲、行動的人是可 敬的,特別在一黨專政的社會。作 為創作者,對於六四,你的定位是如 何?平反。你對「中國」的印象?不 好不壞,但很喜歡自己國內的朋友。 愛國是怎樣的一回事?愛國是血濃於 水的感情形容一下「80後」?!

羅至傑│Lo Chi-Kit 

一隻眼開.一隻眼閉 錄像裝置 尺寸不定 2009

八九年六四那天,你的印象是什麼? 當時無睇新聞,無乜印象。不過果排 有跟過家人上街遊行(屋企附近+晚 飯後)。最深刻的是第一次可以一大 班人走上馬路(好過癮),還有那句 高呼了一整晚的口號:「打倒李鵬, 自摸爆棚!」。依家諗返覺得有點汗 顏,原來不少香港人早已如此喜好「 爛gag」,仲居然可以把這國家大事 聯繫到自己相當切身的生活層面上。

其後有何接觸六四的經歷?校內的課 堂 + 六四晚會(支聯會)。什麼因素 驅使你繼續關心這事?除了一年一度 的六四晚會前後和間中的媒體佈道以 外便沒有。你有否做過什麼去認識這 事?You Tube + Google search 六四在你生命中發生什麼影響?沒有 太直接的影響,但每當聽到內地近年 一單接一單的負面報道,就會很自然 地聯繫(歸咎)到某種政治上的根本 問題,即使很多時自己是缺乏深入的 了解。作為創作者,對於六四,你的 定位是如何?彷彿「香港」這個地方 本身已有一種無形的責任,其實不管 是搞創作與否,每個人也會用自己最 熟識的方式發聲。若果創作能透過沖 擊觀者固有的感官經驗來提供一種距 離,從而激發人們「再思考、再討 論」,那便算是相當足夠的了。或 許,我就是不太相信那些存在這世上 的所謂「中立」或「真相」等事情。 「中國」是?歴史上好紅,政治上好 黑,同埋個天好灰。愛國是怎樣的一 回事?在地理上我絕對是「愛國」 的。可是在心理上,除了偶爾的情 況,例如:看到外國的博物館內附有 多國語言(連日文都有)但卻老是沒有中 文,或是觀看有關日本/八國聯軍侵華 的歴史片段,又或是收看奧運比賽項 目…的時候,自己會短暫性激出一股狹 隘的民族主義以外,我想自己真的談 不上是「愛國」。然而,如果因為不 愛黨而(導致)不愛國的話,那是很 荒謬的。

吳鋌灝│Roy Ng Ting-Ho 八九年六四那天,你的印象是什麼? 沒有印象其後在成長過程中,有何接


觸六四的經歷?沒有。勉強算接觸的 是在新聞看六四晚會的報道什麼因 素(人,事)驅使你繼續關心/追 尋這事?沒有這個展覧,我不會去 了解;沒有陳一諤事件,我不會繼 續追尋。你有否做過什麼去認識這 事?多數是上網找錄影和文字資料 六四有沒有引申成你對今日社會的 一些想法?六四係思考個人身分問 題的一個開端。同為大學生為何廿 年前他們會為爭取民主自由的理念主 動上街集會,而香港又沒有這種熱 情?我連關心也沒有就沒有當大學生 的資格嗎?六四令我明白的是「用生 命爭取自己認為「岩」的事」這個精 神,但我並無意重做一次公民抗命。 作為創作者,對於六四,你的定位是 如何?因為我沒有經歷過,而且所知 不多,只能做個旁觀者,收集資料, 從而學習判斷是非。「中國」是? 自由行,品行粗鄙但富有,金玉其 外內藏污玖,有待清潔。愛國是怎 樣的一回事?愛國比較是情感化的 一個詞,因為愛所以愛。我覺得應先 從個人品行做起,單是做好自己,遵 守法律已經算「愛國」了吧。形容一 下「80後」?都是被抑壓情感的人

Pep! 胡家欣│ Jamie Wu Ka-Yan 鄭惠森 │Haze CHENG Wai-Sum 方韻芝 │Vangi Fong Wan-Chi 湯舜 │Thompson Tong 八九年六四那天,你的印象是什麼?J 還是一歲多。相信仍在媽媽的懷抱 中。其實什麼印象都沒有。H什麼印 象都沒有。V五歲,念幼稚園的其中 一天T記得爸爸在擔心股市大跌之類的

問題。其後有何接觸六四的經歷?J 看 媒體的報導。H看報導和聽媽媽說。V 前男朋友的媽媽有天遞給我們看當年 收起六四翌天的剪報,足有整張頭版 版面,他沒興趣看,我就讀了整份剪 報,記得她和世伯每年都去六四晚 會;T有一次到晚會一起唱歌。什麼因 素(人,事)驅使你繼續關心/追尋 這事?J看到部份香港人會因此事而感 到憤慨,悲傷。H因為這是作為(中國) 人應該要關心的事。V最憤慨的時候 是大學上齋sir堂看六四紀錄片段,心 情浮盪好幾天,但最終還是回到自己 的生活沒有真正關心/追尋過。T因為 正在思考全球化資本主義之下革命的 方法。你有否做過什麼去認識這事?J 在互聯網找尋有關資料了解六四事件 的由來。H 看報導、文章和問媽媽。V 沒主動做過T很難去肯定完全沒有做過 甚麼。六四在你個人生命中發生什麼 影響?J沒有影響。H問題是會重覆的 發生。V當年,和今天,他們,和我 們,年代不同,但面對一樣的問題T六 四事件讓美國對共產黨的冷戰宣傳再 下一城,令我在小時候很討厭中國的 言論管制,也很討厭建制的權力。作 為創作者,對於六四,你的定位是如 何?J六四 = 六四H集思廣益。V我找 來一把比我更適合講六四的口講六四T 一次革命失敗的事例。「中國」是?J 是版圖很大的國家。然而是我不想踏 足的地方。H一個好多人的國家,所 以有好多的故事發生。V其實我從不 討厭中國T另一個美國。愛國是怎樣 的一回事?J沒有這一回事。H沒想過 將愛說出口。V我們認識裡沒有國, 也沒有愛。T是私人的事。與世界無 關。形容一下「80後」?J也只是--群 人。H還年輕,可以做更多的。T八十

後跟六十後沒分別,空談理想,沈迷 聲色,迷信自我,以為每個個體裡頭 都有甚麼真理,無視集體的力量。一 味浪費時間去拆東牆補西牆,不花點 時間去思考。會罵叫停他們日做夜做 的人:「我不像你般富裕,有如此多 時間去讀書想問題。你這個有錢人真 不知打工有多辛苦。」八十後是只知 道打工辛苦,不知讀書辛苦的一代。 讀書時他們也在一邊在打工,一邊指 責真的拿起書來讀的同學:「我打工 這麼辛苦,你不用打工,讀一點書就 在神氣,讀了又不會教懂我。你根本 就在裝模作樣!」畢了業,還不停在 打工。沒有時間去想,是甚麼令我一 直在打工。

鄭家榆│Cheng Ka-Yue

#890604 II 混合媒介 尺寸不定 2009

鄧國騫│Tang Kwok-Hin 八九年六四那天,你的印象是什麼? 當時年紀尚小,沒有印象。其後有何 接觸六四的經歷?在成長的不同階 段,媽偶爾會跟我提及一個親身經


歷。那天電視正報導六四事件的新 聞,她正巧跟相熟的朋友在家打麻 雀,當看到新聞裡血腥但真實的片 段,在玩樂的情景下也嚎哭了起來, 而相鄰的朋友則疑惑的問著她哭的緣 由,因為那些片段於她們而言有割 裂,不能引致其情緒起伏。這個發生 在我媽身上的小事件,成為了我往後 對六四不能磨滅的印象。什麼因素驅 使你繼續關心這事?香港的中國歷史 教育沒有六四相關資料的深入教授, 能驅使我繼續關心這事之原因,除剛 提及的媽媽轉述的經歷外,更重要的 是互聯網的出現。它無遠弗屆的特 性,填補了六四教科書上史斜的缺 乏。記得在一網上討論區,曾看過大 量六四事件的影片、相片及文字。學 生、軍隊、坦克、屍體,構成鮮明及 震撼的對抗畫面。這些都成了作為追 尋事件始末的因素。你有否做過什麼 去認識這事?在網上及書本裡搜尋過 相關資料。六四在你個人生命中發生 什麼影響?它有沒有引申成你對今日 社會問題中的一些想法?最直接在生 命裡產生的影響,無疑是作為了解我 國首個政治現實的殘酷的個案,進而 是引申為中國總體政治極權及保守的 重要歷史。至今,還記得王維林手執 膠袋隻身抵擋坦克的畫面,像對六四 作了一小結。對比起回歸後的香港, 立法會議會文化一池死水。保皇的迂 腐及明節保身;泛民的力度不足及進 退失據,均反映出官僚及議會制度的 不堪。直到上年度社民連的掘起,社 會才激起連串政治議題的討論,而無 論社民連的政見是否符合每一個香港 人的意向,其不平則鳴的態度在世界 歷史上都是一切改革的開始,就像六 四的人民一樣,縱然官民雙方都失去 了許多。作為創作者,對於六四,你 的定位是如何?遺留下在互聯網的影 片依然震憾人心,對著螢幕,那種隔 岸觀火的狀態掏空了人的思緒。我只

能掌握到那些相片、那些影片及那些 不能令人忘記的名字。藉著藝術創 作,我希望將那些輪廓都勾勒出來, 呈現一片混沌的空。「中國」是?經 濟起飛,政治極權及保守,人民在文 化價值及社會道德上有繁多結構性問 題。愛國是怎樣的一回事?愛國於我 像愛家庭及愛親人,那種關係先天而 不可分割。也許像古時中國農人,此 地育我活我,自對大地有情。愛之 深,恨之切,面對著這土地上的最高 權力機構「政府」,每每會苛求其各 方面之完善,尤其中國在近年爆發多 宗負面新聞,批評相應會較多。形容 一下「80後」?「8 0 後」出生的孩 子於六四時候都只有幾歲,大概對這 事件都沒有深入的認識。現在廿一世 紀,大都已是二十多歲的成年人。這 代的人普遍來看較自我,而在政治上 則有兩批極化的支持者。要麼提倡和 諧的風氣;要麼祟尚激進的社會行 動,遊走中間者較少。唯一肯定的事 實是,我們都以「後追」的角度認識 六四。

花苑│Karden Chan

那天之後 膠版畫 114x76mm 2009

李俊峰│LEE Chun-Fung 八九年六四那天,你的印象是什麼? 零印象,那年我五歲,不知道家人有 否開電視,甚至懷疑那時家裡有沒有 電視。媽媽說那年家中發生巨變,我 只聽過她撲來撲去應付父親的事,有 關六四,她只提過一句:那時街市無 餸賣,對我而言是鎮洲羅白重八斤。 其後有何接觸六四的經歷?中五在圖 書館看見一名新移民同學埋首對著一 本有關中國人被鎮壓,有軍人,有流 血情景的書,他看得十分激動,但我 對他的愛國心嘖嘖稱奇。但重點是: 我現時回想發現那本書可能是南京大 屠殺的紀錄,而不是六四。什麼因素 驅使你繼續關心這事?大學一年級的 同學迫我(或誠懇地邀請)去六四晚 會,我既然零認識便拒絕,但自此自 覺需要認識多點。你有否做過什麼去 認識這事?上網可以知道很多。近年 六四那天我總抽點時間上Youtube翻 看民主歌聲獻中華。六四在你個人生 命中發生什麼影響?有次Youtube浪 蕩時,無意中聽到盧冠廷的漆黑將不 再面對,歌詞是這樣:「願你熟睡, 但你年輕不再歡笑,你的勇氣,無奈 從今不可再猛燒」,我聽著,很有共 鳴,覺得出來工作才一年多便已很老 餅,很世故,那刻幾乎哭了(哈哈) 。我後來才知道那是一首悼念六四死 難學生的歌,那時警覺歷史與自己竟 是這麼近,就像在街上碰見一位言行 跟你一模一樣的人。作為創作者,對 於六四,你的定位是?香港現況常常 是「有野講,無計傾」(陳雲語)。 藝術邀請大家坐低傾傾,至少我與參 展藝術家有機會坐低傾。「中國」 是?香港的殖民政府。愛國是怎樣的 一回事?不否定,但懷疑,這種距離 感覺良好。形容一下「80後」?這是 最好的時候,也是最壞的時候。轉變 應在這一代開始。


簡歷│Biographies 花苑│Karden Chan 八字輩。曾修讀多媒體,後來才發 現喜歡的原來是文學與手作仔。為 創作雜誌《月台》美術編輯、「香 港獨立媒體」編輯成員。版畫插圖 曾發表於《明報周刊》、《經濟日 報》、《月台》、《瞄》、《女 流》、《字花》及各大小社運出版 物。相信天蠍座不死力量,家有兄 弟貓兩只。 Born in the 80’s studied multu-media but found out later that she actually loves literature and hand-making things. She is also the artistic editor of “platform” magazine and editorial member of Hong Kong In-media. Her works appears in various magazines and publications.

A Chinese product of the exBritish colony. Video and photography are the usual medium of his creation. Born in 1983 and he stayed in the marginal town of the city. In 1989, he was studying in a Buddhist primary school. In the year of handover, he immersed himself in the virtual bloodshed of Command and Conquer: Red Alert. After the end of the local plague, he became an undergraduate student of the School of Journalism and Communication, CUHK. Now he has finished his postgraduate studies in Visual Culture, CUHK again. thickestchoi.net

許維強│Hui Wai-Keung 許維強,香港藝術工作者,曾受傳 統視藝及新媒體的學院教育。

kardenc.net

陳素珊│Chan So-Shan 1 9 8 6 年生於香港.。父:陳芳, 母:李春梅。 2008 年畢業於中文 大學新亞書院藝術系。火炭818 工

Hui Wai-Keung, born and lives in Hong Kong, China, was educated in both visual and new media streams. huiwaikeung.org

作室成員。現職《瞄》。 Born in Hong Kong in 1986. Graduated from the Department of Fine Arts of New Asia College, CUHK in 2008.Member of Studio 818 in Fotan.Currently working at Muse Magazine. Sushan0609@yahoo.com.hk

蔡志厚│Thickest Choi ChiHau 中國藉男子。主要以錄像及攝影進 行創作。上世紀八三年產於香港 殖民地,長居新界北陲。八九年 升讀佛教小學。九七年中沉迷Red Alert,無所用心,狂轟濫炸終日。 二零零三年脫下口罩跑上山,於吞 雲吐露大學之巔,修讀新聞與傳 播。曾於兆基創意書院擔任兼識導 師、教育學院體藝學系擔任研究助 理。剛完成吐露大學視覺文化研究 碩士課程。

林愷倩│Lam Hoi-Sin 林愷倩生於 1986 年,香港。主修 視覺傳達,現修讀策展課程。她的 歷史不多。 Born in Hong Kong in 1986, graduated in Visual Communication, currently taking a curatorial programme. Lam Hoi-Sin doesn’t have much history. sin-stuff.com

劉明進│Ron Lau Ming-Chun 劉明進,本地年輕藝術家,主要從 事攝影、繪畫及混合媒體創作。除 意識形態及意識形態衝突以外,作 品主要注重媒介本質,以及物質世 界與人的關聯。 Ron

Lau

Ming-Chun

mainly

works on photography, mixmedia art and drawing, member of Studio 91° in Fotan Hong Kong. Besides ideologies and ideological conflicts, recently Ron is pursuing nature of media, also the foundation of the material world (tao) in his works. mcasfotography.blogspot.com

羅玉梅│Law Yuk-Mui 羅玉梅,香港人。現於香港中文大 學修讀藝術碩士,偶有作品發表於 星期日明報副刊。 A Hong Kong citizen, is currently having her postgraduate studies in the Chinese University of Hong Kong, department of fine arts. Her works sometime appear on the supplementary page of Sunday Ming pao. ar_mui2003@yahoo.com.hk

羅至傑│Lo Chi-Kit  一九八三年生於香港,畢業於澳洲 皇家墨爾本理工大學藝術系,主修 繪畫,現於工作室「 Partland 」 生活及工作。羅氏近年積極參與 各大小聯展,其創作沒有特定的媒 介且觀念性較重,作品曾得獎於夏 利豪藝術比賽和入選香港藝術雙年 展。零六至零七年間於香港杜莎夫 人蠟像館任職,專責蠟像之修復工 作。零八年曾應邀為社企民間高峰 會創作「公眾坐墊計劃」。 Born in Hong Kong in 1983, Lo obtained his BA degree in Fine Arts from RMIT University. His artworks are mostly conceptual based and explore various media. He received an award from the Philippe Charriol Foundation Art Competition and has participated in the Hong Kong Art Biennial in 2005. From 2006 to 2007, he worked in the studio of Madame Tussauds Hong Kong for maintenance of wax figures. In 2008 he was invited to create an artwork


-“Public Cushion Project” for the Social Enterprise Summit. Currently lives and works in his studio “Partland” in Hong Kong. lochikit.com

吳鋌灝│Roy Ng Ting-Ho 生於 1 9 8 5 年冬天,六四時只有 三歲半,還在追看聖鬥士星矢。 及後接受香港九年免費的填鴨教 育。去年畢業於香港中文大學藝 術系,即投入兼職的勞動市場。 現為藝術家助手的藝術家。 Born in 1985 winter, 3.5 years old during “June 4th massacre”. Then, He graduated from CUHK Fine Arts department. He is now an artist’s assistant and a freelancer. royart2003@yahoo.com.hk

Pep! Pep! 是一個非牟利藝術活動理團

體,致力於創建一個讓各藝術社群和 藝術工作者溝通的平台。Pep! 即是 「 Pepper(胡椒)」的縮寫,意謂活 力、熱情、和衝勁,更有著最明顯不過 的「調味」功能。Pep! 亦致力推動各 個文化和學術範疇之間的對話,為本 地藝術界帶來新鮮味,不加鹽加醋— 但加胡椒。 Pep! is a non-profit arts events group striving to create a platform for communications between various units and individuals inside or outside the field. We take “Pep” as the short form for “pepper”, which connotes meanings like ‘lively spirit’, ‘passion’, ‘energy’, and – as a seasoning – ‘taste’. “Pep!” would work as a ‘seasoning’ to local art scene by encouraging numerous cross-cultural inter-medium and inter-disciplinary dialogues. www.peppeppep.org

鄭家榆│Cheng Ka-Yue

鄭家榆 (1988- ),零七年畢業於 賽馬會體藝中學,現就讀香港中文 大學,主修數學,打算放棄副修藝 術。反對愛國主義,不以任何身份 自豪。 Cheng Ka -Yue (1988- ) was graduated from Jockey Club Ti-I College in 2007, and studies mathematics in CUHK. He is anti-patriotic and not proud of any identity. kayue.cheng@mensa.org.hk

鄭家樺│Cheng Ka-Wah

社會現成的符號,並藉想像力重新建構新 的閱讀方式,透露出對人、物及事的種種 情懷。 Tang Kwok-Hin was born and raised in Hong Kong. He received his Master of Fine Arts from the Chinese University of Hong Kong in 2008. Although a recent graduate, Hin’s work is fast gaining recognition within the Hong Kong art scene. As well as working part-time as a visual arts teacher at the HKICC Lee Shau Kee School of Creativity, Hin is sometimes an independent curator and writer.

鄭家樺 ( 1986- ) 畢業於賽馬會體藝中 hinyantang.blogspot.com 學,熱愛祖國,對於身為中國人感到驕 傲。 Born in 1986,Cheng Ka-Wah 湯舜 │Thompson Tong was graduated from Jockey Club Ti-I College. He is 浸會大學人文學科畢業。 現識攝影師,火炭 patriotic and he is proud 「工作再工作室」的主人。 of being a Chinese. chengkawah@hotmail.com

Start From Zero S t a r t   f r o m   z e r o  由D o m 創 立。START 代表 STreet ART, STencil ART, STicker ART.   "Start From Zero"有兩 個含義。他一無所有的開始創作街頭藝 術,同時鼓勵更多人參與。希望看見這 語句的的人從生活中的沮喪鎮作起來。   Start From Zero was found by Dom. START stands for STreet ART, Stencil ART, and Sticker ART.The are two meanings of "Start From Zero". He started performing street art from nothing. It can be a slogan for encouraging people when they are unhappy, down or miserable. startfromzero.org

鄧國騫│Tang Kwok-Hin 生於香港,於2008及06年分別取得香 港中文大學藝術系藝術碩士及文學士。 作為混合媒介藝術家同時,在兆基創意 書院當客席視覺藝術導師,偶爾兼作獨 立撰稿及策展人。其作品常以拼貼重組

Graduated from Baptist University, Humanities Programme. He is now a photographer and the owner of the Work and Workshop Studio. thompson@peppeppep.org

蔡嘉宏│Tsoi Ka-Wang 2007年於香港中文大學藝術系畢業。現 職設計。面對人會感到不安。通常想多於 做 Max Tsoi Ka Wang graduated from CUHK’s Fine Arts departxment in 2007. He is now a designer. He feels anxious when crowded. tsoikawang@yahoo.com.tw


“FENG YU PIAO YAO AI GUO SHI” Conversation between curator and artists:

Q&A

Chan So-Shan

World common sense no.64 Prints Dimensions variable 2009

What is your impression on June 4th, 1989? No impression. After that did you get in touch with the June 4th experience? Primary school: heard the slogan “Release Wang Dan, Strike Down Li Peng” from the television (and thought that it was a joke). Secondary school: Borrowed Wang Dan’s book from public library and finally knew what happened, just like discovered a new piece of land.What is the factor that encourage you

continue concerning June 4th? The Form 3 Chinese history text book only wrote “the event subsided”. It was the first time made me feel that the school was very useless, and let me a bit on fire, in fact I was very disappointed. I did not care to be / could not be a good student with great academic result and performance, instead I wanted to be a student like those in the democracy movement. Now I feel that it was a very important disillusion in my growth.Did you do anything to understand June 4th? Reading, and later by watching YouTube. Joined the group march (and found out that I am not suitable for this event, and never go again), participated in soiree for a few times, but stopped after entering university, it was a kind of accepting myself could not get involved in group action, so I gave up declaring myself in the public. Gradually, June 4th is my private issue, and this is also the way how I deal with social activities afterwards. It is because I cannot openly help them fight for anything, I can only hide my thoughts, therefore I have the feeling that I owed them. How June 4th affects your life? “It turns out that our anxiety comes from the fluke to be alive, a very bad feeling, alive but do not take the responsibility to be a lived In

this important moment of sadness, he absent. Undoubtedly, this is a very bad feeling, just like because of his absence, we should not let his homeland turns like this.” ‘Come from Shuangxi’ Yang Mu. P.S. The author was not talking about June 4th.As an artist, how do you position yourself in June 4th? Feel lucky that I know how to make art.

Thickest Choi Chi-Hau What is your impression on June 4th, 1989? Chaos under bloody smoke. Lots of death and injured party. Tank. Portrait of Mao Zedong. The Square and stretcher-beds. Scare, or fear.What is the factor that encourage you continue concerning this issue? Mass media. Television programs. News. Read father’s ‘Ba Shi Nian Dai (Eightieth Century)’, ‘Jiu Shi Nian Dai (Ninetieth Century)’, ‘Kai Fang(Open Up)’ secretly. After the internet being popularized, read more discussions with different point of views.What is the factor that encourage you continue concerning this affair? “A peace society” with “Dumb Sound Makes Money”, “Stability overwhelms all the things”, it is difficult to appeal the unfairness in the society, violence of


bureaucrat and civil power. It is even more serious and complicated compare with 20 years ago. It’s for China, and also Hong Kong. Did June 4th evoke some of your comments on nowadays’ society? Should voice out, resist and fight for the unrighteous society.As an artist, how do you position yourself in June 4th? Emphasis the importance of resistance. It is a resistance to the unrighteous society with passion and ideal. It is a continuity of June 4th movement, and the practice of May 4th spirit.“China” is? An increasingly complicated and diversified society. An indescribable and ever changing collage.How do you think about being patriotic? Being patriotic is difficult escape from talking about nationalism. I hate nationalism. Nationalism makes people become blind and deaf, resort to emotion and discard rational. If we give up this outworn logic from the last century or even the century before, it will be a lot easier to widen our sight to look at our socalled “nationality”, and maybe we will gain more.How do you describe “after 80s”? Confused, exhausted. Single linear school education and political logic, very different from the contemporary social status. “We know what we do not want, but we do not know what we want.” We can only stand on our own position, and develop the situation in front of us. The chaos starts clearing, we will have our own world with clear and turbidity.

Hui Wai-Keung

Pajama worn in May Pajamas, custom electronics, cellaphone, SMS messaging Dimensions variable 2009

What is your impression on June 4th, 1989? I was already 15 yearold in the 89 Movement, group march, candle soiree, donation, subscription of People’s Daily, all these I joined in high spirits. At that time I was young and innocent, my emotion was very hyper, and it was just an attitude of “Rock the World this time”. Memory is such duty-bound not to turn back, such romantic. However I just cannot recall my memory about the impression of the day of June 4th. I must have watched the peoplekilling video without any edition, but I forget how I reacted.After that did you get in touch with the June 4th experience? No, or refuse to touch, but every time listen to “The bloody presence”, I feel a dull pain.What is the factor that encourage you continue concerning this affair? I deem myself maybe as the last generation who have self-experienced this affair. If I do not leave some texts, it will be difficult to have people

mention it again in the future. (And now prove that I am wrong.) That’s why I created a piece called “Negationism” in 2007. Moreover, I thought I need to express my hidden melancholy through creation.Did you do anything to understand this affair? When I was creating “Negationism”, I rummaged the videos and photos of that time through the internet (not very believe in the written documentation).As an artist, how do you position yourself in June 4th?Although it was unclear, I stress on self-experienced. Avoid to be affected by lots of sayings afterwards.“China” is? Not believable, a bit disgusting, a forbidding and anxious mother country.How do you think about being patriotic? Could not answer, maybe is the same as you love a person, you have loved from your heart is enough.

Kong Yiu-Wing What is your impression on June 4th, 1989? I was only 1 year-old, was sleeping deeply in grandma’s arms, and knew nothing about what was happening in the world.After that did you get in touch with the June 4th experience? It was mentioned in secondary school because of civil education, and the school I studied even declared itself to be the first secondary school at that time responded to June 4th movement in Hong Kong. I also participated in June 4th mourning soiree.What is the factor that encourage you


continue concerning this affair? The secondary teacher who I adored strongly emphasized the importance of June 4th, and I got the influence. Did you do anything to understand this affair? Read related news articles, and rummaged historical materials like essays and videos. Did June 4th evoke some of your comments on nowadays’ society? Introspect university students nowadays (including myself) usually are self-centered, do not show any cares to the society.As an artist, how do you position yourself in June 4th? A bystander and pursuer without really experienced the history.“China” is? A big country that is controlled by only one political party, developing its economy, also improving democracy and freedom.How do you think about being patriotic? Did not ever deeply think of this issue, only occasionally pay attention on the news about our home country. How do you describe “after 80s”? Less get in touch with turbulences and big affairs, less passion to people around, but still some of them have zeal inside.Would June 4th let you have negative impression of “China”? No, only a tiny group of people were wrong at that time.

Lam Hoi-Sin What is your impression on June 4th, 1989? No impression. Cannot figure out I remember because of watching previous photos or I really remember. When I was small (in 1989)

I watched the convocation, and took a picture with hands holding up of course I did not know what was happening at that moment.After that did you get in touch with the June 4th experience? I seldom have initiative to approach political issues, sometimes I asked parents, they gave me simple answers. After receiving the invitation of participating this exhibition, I look over Wikipedia, still I feel unfamiliar with this history.What is the factor that encourage you continue concerning this affair? In fact till now, the thing I concern is not June 4th, all the previous things are declarative statements. I am still far away with the affair even I understand everything or not understand anything. (Of course it is not the reason of turning a deaf ear to this issue, it is just because I am a blind person to political or current affairs.) Nevertheless, because parents experienced the Cultural Revolution, and also I have mawkishness to the past, I think I can say something for this kind of affair.Did you do anything to understand this affair? … Probably I have more interests on the Cultural Revolution than June 4th, however I was lazy at the time when I wanted to know more, after going to university, I seldom raised this type of questions, so my knowledge is still very shallow. How June 4th affects your life? It did not affect my life.As an artist, how do you position yourself in June 4th?Maybe the thing June 4th

affected me is the participation of this exhibition, letting me review my past. If I need to position myself, I should be a “child” who born in Hong Kong, without facing any bad time and being spoiled. However as parents came from the Mainland, I think compare with other people of the same generation who grew with local family or even the family is rooted in Hong Kong for few generations, our thinking should be different, and also represent different “positions”.“China” is? A place where belongs to but also not belongs to me, very difficult to understand. I very appreciate (ancient) (Chinese) people’s wisdom. China is too large and has too many people, anything can happen.How do you think about being patriotic? Defend and like one-self’s home country is a natural thing, although I think it is good to everyone without clear boundaries between countries and nationalities.How do you describe “after 80s”? Young but start getting old.

I did not do anything Real objects, prints Dimensions variable 2009

Ron Lau Ming-Chun What is your impression on June


4th, 1989? Silent family was in the living room.After that did you get in touch with the June 4th experience? From depoliticize management to bad and fake politicize power, just felt a little bit strange when small. Just until now I know that we should establish the ideology which people had at that time, rather than persist in individual disputes.What is the factor that encourage you continue concerning this affair? I ask myself not to be over-rigid, actually the evil inside will grow when you are looking the details. Did you do anything to understand this affair? I am afraid that I will fall off of the track if I am too caring about it, therefore I usually let it be, and only remind myself: do not close the eyes and ears.How June 4th affects your life? In fact my self-cognition is from previous study experience and daily thinking, and those thoughts affect me on thinking the June 4th affair. As an artist, how do you position yourself in June 4th? Truly facing my feeling and thinking, do not tie by the standard.“China” is? I grow in its history. Politics is always changing; history is the writing of the winner; but literature, art and wisdom can be retained forever. How do you think about being patriotic? It is something being originated naturally with rational thoughts.How do you describe “after 80s”? I think subjectivity is always important, and maybe it is the projection of my hope. It is because we are living under

too many ridiculous and senseless norms, therefore once we face our subjectivity, we want to stand against it, and try to widen the touchable surface of ideology.

Law Yuk-Mui

Stamps for《Feng Yu Piao Yao Ai Guo Shi》 prints Dimensions variable 2009

What is your impression on June 4th, 1989? I was in primary one, clearly knew that there was a democracy movement, because teachers announced notice asking any students want to participate matching, however I had no consciousness about the meaning behind the affair.After that did you get in touch with the June 4th experience? I remember deeply that the broadcaster always played lots of songs, singers wore white tee-shirt with red words, especially remember the songs “Yi Wu Suo You (Empty-handed)” and “Xie Ran Di Feng Cai (The bloody presence)”.What is the factor that encourage you continue concerning this affair? News from mass media and chat with friends.Did you do anything to understand this

affair? Reading, searching the web, chatting with friends.How June 4th affects your life? I respect their spirit, beyond’s “Hai Kuo Tian Kong (As boundless as the sea and sky)”—“betray our dreams, everyone can do”, giving up is too easy, for those who have dream and will fight for it, voice out and take action, they are respectable, especially in the society with oneparty dictatorship.As an artist, how do you position yourself in June 4th?Reverse the miscarriage of justice.What is your impression of “China”? Not good not bad, but I like my friends in the Mainland a lot.How do you think about being patriotic? Patriotism goes to the core of compassion.How do you describe “after 80s”? !

Lo Chi-Kit What is your impression on June 4th, 1989? I did not watch the news, therefore no impression. However at that period I have matched with my family (because it was close to my home and it was after dinner). The most profound thing is that it was the first time walking on the road with a big group of people (very interesting). Also the slogan we shouted for a night “Strike Down Li Peng, zi mo bao peng! (A kind of winning situation in playing Mahjong)” Now recall the memory would feel deeply ashamed, as quite a lot of Hong Kong people had the interest in “gag”, and even made this big country affair related to the very close daily


life level. After that did you get in touch with the June 4th experience? Lessons in school + the June 4th soiree (The Hong Kong Alliance).What is the factor that encourage you continue concerning this affair? Nothing other than participating the annual June 4th soiree and knowing the mass media news occasionally.Did you do anything to understand this affair? YouTube + Google search. How June 4th affects your life? No direct affection, but recently, every time I hear the negative news about the Mainland continuously, certainly I would connect (impute) to the fundamental problem of a particular politics, even though it is because I am lack of deep understanding.As an artist, how do you position yourself in June 4th?As though “Hong Kong” has borne an intangible responsibility already, actually no matter you are doing art or not, everyone will use their most familiar method to voice out. If creation can strike viewers’ inherent sensational experience to provide a distance, thus evoke people to “re-think, re-discuss”, that will be very enough. Maybe I cannot really believe the so-called “neutrality” or “truth” things in the world.“China” is? Red in the history, black in the politics, and the sky is gray.How do you think about being patriotic? Geometrically I am definitely patriotic. However, mentally, other than the rare occasions, like visiting overseas museums, seeing there are lots of different languages (even

has Japanese) but only without Chinese, or watching the historical video about Japan/The Allied Forces of Eight Powers or watching Olympics, I would temporarily have a constricted nationalism. Other than that, I would not claim myself as “patriotic”. Still, if you say you do not like that political party and therefore you are not patriotic, it is ridiculous.

Roy Ng Ting-Ho

Patriot preaching patriotism Installation 5ftx 8ft 2009

What is your impression on June 4th, 1989? No impression.After that did you get in touch with the June 4th experience? No. Reluctantly watching the news of June 4th soiree is the only touch.What is the factor (people, issue) that encourage you continue concerning/ searching for this affair? If no this exhibition, I would not go and understand; no the issue about Larry Cheung, I would not continue searching. Did you do anything to understand this affair? Mostly search video and written information

from the internet.Did June 4th evoke some of your comments on nowadays’ society? June 4th is the beginning to think of the problem about personal identity. We are university students, the same as the students 20 years ago, why they would go on the street to have gathering and fight for democracy and freedom, and the students in Hong Kong do not have this passion? Am I not qualified as a university student as I even do not have this consideration? June 4th makes me understand the spirit of “using life to fight for the thing myself thinks it is correct”, but I do not have the idea to re-act a civil rivalry.As an artist, how do you position yourself in June 4th? Because I did not experience, and I do not know many things, I can only be a bystander, collect information, and learn how to judge disputes from the process.“China” is? Free travelers, rude but rich, with good appearance but dirty inside, need some cleaning.How do you think about being patriotic? Patriotism is a relatively emotional vocabulary, we love because of love. I think we should start from personal behavior, simply behave ourselves, obey law can be called as “patriotic”. How do you describe “after 80s”? People with depressible emotion.

Pep!

J: Jamie We Ka-Yan H: Haze Cheng Wai-Sum V: Vangi Fong Wan-Chi


T: Thompson Tong

Thinking Machine Mixed media 122 x 61 x 174 cm 2009

What is your impression on June 4th, 1989? J: Only 1 year-old and something. I believe I was still in my mother’s arms. Actually without any impression. H: No impression. V: 5 year-old, one day of the days in kindergarten. T: Remember father was worrying about some problems like a big decline of stock market. After that did you get in touch with the June 4th experience? J: Watched news from mass media. H: Read news and heard from mother. V: One day my ex-boyfriend’s mother showed us the news clipping of June 5th 1989, it was a full-page of front page, he had no interest reading it, and I read the whole page, I also remember that she goes to June 4th soiree every year with uncle. T: I joined the soiree once and sang together.What is the factor (people, issue) that encourage you continue concerning/ searching for this affair? J: See a part of Hong Kong people feel angry and sad because of this

affair. H: Because it is an affair that being a (Chinese) person needs to concern. V: The most indignant time was watching the June 4th documentation video on Mr. Chai’s lesson in university, emotion was swaying for several days but finally I went back to my life and did not ever show real care or pursue it. T: Because I am thinking about the revolutionary method under globalization of capitalism.Did you do anything to understand this affair? J: Search the information from the internet to understand the origin of June 4th. H: Read news, articles and ask mother. V: Never took action to do that. T: Difficult to affirm I did not do anything.How June 4th affects your life? J: No affection. H: Problems will occur continually. V: At that time, and nowadays, they, and we, in different generation, but we face the same questions. T: June 4th affair let the U.S.A. advertised the Communist Party’s cold war, it made me hate the restriction of discourse from China when I was very small, and also hate the power of organizational system. As an artist, how do you position yourself in June 4th? J: June 4th=June 4th. H: Draw on collective wisdom and absorb all useful ideas. V: I find another person who is more suitable than me to talk about June 4th. T: An example of revolution failure.“China” is? J: A country with large territory, however it is not a place I want to step on. H: A country with lots of people, therefore lots of stories

occur. V: In fact I never hate China. T: Another America.How do you think about being patriotic? J: No this thing. H: Never thought of saying love out. V: In our understanding, there is no country, also any love. T: A private thing, no relationship with the world. How do you describe “after 80s”? J: Just a group of people. H: Still young, and can do more. T: After 80s have no difference with after 60s, empty talk about dream, wallow in sensual pleasures, have blind faith in oneself, assume that there are so-called truth in every individual, ignore collective power. Only wasting time on taking one side down for repairing another side, do not spend time on thinking. Yelling at those who always ask them to work from day to night, “I am not as rich as you are, have so much time on studying and thinking. You are rich so you do not know how hard of being a worker.” After 80s only know how hard working is, but do not know the generation with hard studying. They are working while studying, and criticizing those classmates who really pick up the book for studying, “I am so hard because of working, you do not need to work just study a bit and look cocky, after you understand you will not teach me. You are an attitudinarian!” After graduation, still keep on working. No time for me to think, what is making me always working?


Tang Kwok-Hin

The Outline of History Paper, oil paint on glass, mirror, MDF and daily articles from Yue Hwa Dimensions variable 2009

What is your impression on June 4th, 1989? I was small at that time, no impression.After that did you get in touch with the June 4th experience? In different stage of growing, mother would tell me some of her self-experiences occasionally. That day the television was broadcasting the news about the June 4th affair, she was playing mahjong at home with her close friends, when she watched the bloody but real clip, she cried although she was playing, and her friends were curious and asking her the reason of crying, it was because for them, the clip was isolated with them, therefore it could not evoke their emotion. This tiny thing that happened on my mother, became my indelible impression of June 4th. What is the factor that encourage you continue concerning this affair? The Chinese history education in Hong Kong does not provide detailed

information of the June 4th affair. Other than that and also my mother’s experience I mentioned above, more importantly is the occurrence of internet. Its characteristic of being reachable in everywhere, fills the June 4th information shortage in history text book. I remember I have read a large number of videos, photos and text related to June 4th on an internet discussion group. Students, army, tank, dead bodies, compose a vivid and shocking image of hostility. These are the factors of tracing the whole affair.Did you do anything to understand this affair? Did it evoke some of your comments on nowadays’ society? The most direct affection in life, undoubtedly it becomes the first case for people to understand the cruel political reality in our country, and then extend in meaning as an important history of the whole political totalitarian and conservatism in China. Until now, I will remember the scene of Wang Weilin holding a plastic bag and using his body to withstand the tank, just like a sub-conclusion of June 4th. Compare with Hong Kong after the hand-over, the assembly culture of the Legislative Council was dull. Royalists were stale, worldly wised and played safe; democrats were lack of vigor and lost their position, both reflected the poorness of the system of the bureaucrat and council. Till last year, League of Social Democrats started, there were continuous discussions on political topics aroused. No matter

the political direction of League of Social Democrats can fit all the Hong Kong citizens’ inclinations, its attitude of speaking for the unfairness is the starting point of every revolution in the past. Just like the citizens in June 4th, although both the governor and citizens lost a lot. As an artist, how do you position yourself in June 4th? The videos left on the internet are still shocking lots of people’s heart, facing the monitor, the status of being apathetic to others’ misfortune steal the people’s thought. I can only grasp those photos, those videos and those unforgettable names. Through creation, I want to outline those contours and represent the empty of chaos. “China” is? Economy lifts off, political totalitarian and conservatism citizens have lots of structural problems on cultural values and social morality. How do you think about being patriotic? Being patriotic just like I love my family and my dear ones, the relationship is inborn and not dividable. Maybe just like the ancient Chinese famers, this land makes me live and grow, therefore I have love to the earth. Facing the highest power organization “government” on this land, everyone is demanding it gets all the aspects perfect. Especially China exposed several negative news recently, correspondingly there would be more criticisms. How do you describe “after 80s”? Children born in after 80s were only a few years old when June


4th happened, probably do not have deep knowledge about this affair. Now is 21st century, most of them are now twenty-something adults. People in this generation are usually more selfish, and in politics, there are two extreme groups of supporters. One side is advocating harmonious, another side is upholding aggressive social actions, not many of them are in between. The only truth I can assure, is we are from the perspective as a “follower” to learn about June 4th.

Start From Zero

Signage Dimensions variable 2009

Lee Chun-Fung What is your impression on June 4th, 1989? No impression, I was 5 years old in that year, I did not know my family did switch on the television or not, or even curious about did my home had a television or not. My mother said that year had a radical change in my family, I only heard that she ran around in order to deal

with my father’s issues. About June 4th, her only saying was, “at that time, wet market had no food for sell, and it was a difficult situation to face.”After that did you get in touch with the June 4th experience? When I was studying Form5, I saw a new immigrated classmate was concentrating on a book about Chinese got suppress in the library, a book with army, with bloody scene, he was very agitating while reading, but I was surprised by his patriotism. However the important point is, “I discover from my recall, that book maybe is a documentation of Nanjing Massacre, but not June 4th.” What is the factor that encourage you continue concerning this affair? My university year1 classmate compelled me (or sincerely invited me) to the June 4th soiree, as I have no understanding, I rejected, however I noticed that I need to know more.Did you do anything to understand this affair? We can know a lot from the internet. In recent years, on June 4th, I would spend some time, going to YouTube and leaf through “Min Zhu Ge Sheng Xian Zhong Hua (Democratic Songs for the Chinese Nation)” How June 4th affects your life? One time I was surfing YouTube, accidentally I listened to Lowell Lo’s “No need to face the darkness anymore”, the lyric is like this, “hope you sleep deeply, however you never smile when you are young, your courage, has no alternative to burn anymore”, I was listening, having sympathetic responses,

feeling that I got very old and worldly just after one year’s work, at that moment I nearly cried (haha). I noted afterwards that this song was for mourning the students who died in June 4th, and noticed myself is such close to the history, just like meeting somebody on the street with same behavior. As an artist, how do you position yourself in June 4th? The situation in Hong Kong is usually “having something to talk, but nothing to communicate”. Art invites people sit down and chat, at least I can have a chance to chat with the participating artists.“China” is? The colonized government of Hong Kong. How do you think about being patriotic? I do not negate, but have doubt. This kind of distance makes me feel good.How do you describe “after 80s”? This is the best time, and also the worst time. Change should start in this generation.

Tsoi Ka-Wang

Color TV mixed media Dimensions variable 2009


“FENG YU PIAO YAO AI GUO SHI”

curatorial notes LEE Chun-Fung “Feng Yu Piao Yao Ai Guo Shi” (Patriotism in the storms) is an irony which pretended to be serious. During the 1989 democratic movement, great inflation and serious corruption among government officials placed China into a turmoil. Patriotic students kneeled, begged and launched a hunger strike to crave for a chance of conversation. Twenty years have passed and the same piece of land has changed – censorship on expression persists, but the regime has sugared the pill by propagandizing a mirage of a prosperous society. Our mainland counterparts were born and bred in concealments. To some of them, memorial to June 4 is probably an unpatriotic gossip. Discussing June 4 may help us to meditate on the meaning of patriotism. Their June 4? To commemorate June 4 is in fact not so directly bonded to firsthand memory and experience. The individual exposure of the artists may act as the trigger for understanding their intentions and starting points. What really matters is how June 4 has subliminally incorporated itself into our sense of meaning and how it constructs its own linkage to our mind and form part of our story. Such linkage may be bonded to our conversations with our teachers and parents, or to one of our favourite movies, songs or articles. This trigger provides the momentum for the artists to start their zealous search for truth or transmission to later generations. The artists extracted this very part of their own history or mentality and voiced out. Their works may represent a new

perspective in / throw some light on interpreting June 4 in a more powerful (or interesting) way of discussing the issue in their own sense. Nostalgia Some of them respond deeply to the call of the incident. Some reflect that there was a need to pass on as June 4 lingers and fades. Some secretly keep their concern and a “never-forget-always-remember” pose for the issue. (But how can we forget it if we have no firsthand memory at all?) But most of them have been absent from history and internal feelings, finding themselves ambiguous. (Memory in mosaic?) In a nutshell, it’s hard to claim June 4 as a nostalgia or retrospect. Without such nostalgic retrospect, the tank doesn’t look gigantic and fail to trigger a conditional reflex, and can be transformed into a candle in remembrance of June 4, or even a Lego cleaning the Goddess of Liberty. That’s how they exemplify a serious attitude in June 4 discourse with amusements, tricks and black humour.

Do we need floating group of June 4? We do not need to be overwhelmingly calm, withdrawn or objective in discussing June 4. Yet, we should accept blurriness, which situates in between passion and indifference. A lot of people feel uninvolved and don’t feel like voicing out. They inconspicuously care about the issue. But they don’t take an active role nor oppose a small stray.

Does (political) art need to be “floating”? It is easy to conceal one’s stance in art, owing to its abstractness and openness. But when I was standing in front of a painting, I was touched. It was not a feeling of “either this or that”, nor could it be replaced by an organized analysis or discourse. Binarism tends to speak but fails to talk and discuss. But good works of art always invite us to sit down and chat. Time and space of patriotism They might be sharing the same genes with the students twenty years ago. Or both groups show little discrepancy on their concern for social development. What marks their difference is their distinctive ways of engaging in the issue. In response and parallel to the direct confrontation, they mocked and expressed their resentment metaphorically. They don’t need to fight for a chance of expression in public forums. They can voice out in their personal blogs. But does this reflect their inability to take part in politics? Are we just to voice out, but not to overthrow a tyranny or political system? Or are we successful in creating a wave of temporary criticisms, but which are not meant to accumulate and sustain? Post-80s Regardless of the year of birth, the thoughts of the 20s are always


“FENG YU PIAO YAO AI GUO SHI”

Archive 文獻

cherished by society. Although they might be the final generation with scattered pieces of memory of June 4, or the ones bred under the shadow of SinoBritish struggles and the once imminent handover, with a negative image of the PRC, probably, they are the last ones kept “alert” to and distanced themselves from the Chinese identity. The news clippings of the exhibition If the exhibited works are recording how younger generations today understand June 4, the series of news clippings and magazine 20 years ago exhibited simultaneously must be an exact mirror image. They invited audience to go back to the past and immerse in the atmosphere at that time. Opening of exhibition does not mark an end Exhibited works will surreptitiously slip into events coherent to 1989 democratic movements. Exhibition notes and video clips recording the thoughts of the artists will be uploaded to the site regularly. Feel free to visit: p-at-riot.blogspot.com tube.com/user/peeatriot

or

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Perpetuate our discussion! Speak up and voice out in the Internet!


This brochure is published on the occasion of <FENG YU PIAO YAO AI GUO SHI ─ art response to June 4th 20th anniversary > held at Artist Commune 12 Cattle Depot Artist Village, 63 Ma Tau Kok Rd, Kowloon, Hong Kong 16 May – 14 Jun 2009 The exhibition is one of the activities in the <June 4th cultural festival of post-80s generation >

A bout Ar ti st C om m u n e : A non-profit art group, Artist Commune was established in July 1997. Its key projects include: 1. Contemporary Ink Series, an attempt to merge traditional ink painting and contemporary ink art; 2. Projects to Response Social Issues, which facilitates an aesthetic angle, virtual political creation and firsthand involvement in the society; 3. Artist-In-Residency Programme, a platform for the exchange of experience and ideas between foreign and local artists and audience, and 4. Further Development of Art in Hong Kong, to co-organize various art promotion activities in association with tertiary education institutes. artist-commune.com A bout th e P- at -r i o t   : June 4th Cultural Festival of post-80s generation : Formed by a group of post80s voluntarily , P-at-riot : June 4th Cultural Festival of post-80s generation wishes to open up the possibility of discussing June 4th by a series of art and cultural activities, including art exhibition, music concert, video interviews, panic reading gathering, movies screening and book exhibition, as so to show the feelings, memories and attitudes of this generation/ bunch of people of the post-80s towards June 4th and encouraging the same generation and the younger generation to participate. From this project, they try to echo with the qualities of the students twenty years ago, which maybe in common with us, and to redefine patriotic movement. p-at-riot.blogspot.com

Opening: Sat, 16 May, 2009, 4:30p.m

Working Team:: AU Wah-Yan CHUENG Tit-Leung Ger CHOI Tsz-Kwan Curator’s & Artists’ Kobe HO Ting-Ting Talk: Roland IP Ho-Lun 5 – 6pm, Sat, 29 Mar Ocean LEUNG Yu-Tung 2008 Yentl TONG Ying-Tung Curator’s Guided Tour: Sat, 5:30pm, 16 May 2009 Opening hours: 12 – 8pm, Tue – Sun (closed on Mon) ArtistS: Karden CHAN Sushan CHAN So-Shan Thickest CHOI HUI Wai-Keung KONG Yiu-Wing LAM Hoi-Sin Ron LAU Ming-Chun LAW Yuk-Mui LO Chi-Kit Roy NG Ting-Ho Pep!+CHENG Ka-wah +CHENG Ka-Yue Start From Zero TANG Kwok- Hin Thompson TONG Max TSOI Ka-Wang Curator: LEE Chun-Fung

Video Documentary: CHUENG Tit-Leung LOU Yee-Nam

Editorial Team: LEE Chun-Fung LEE Soen-Long LI Yuen-Man Publication Designer: AU Wah-Yan Printer: e-print Print Run: 2000

Acknowledgment: Fan Hung A IP Kin-Yuen Jaspar LAU Kin-Wah Jeff LEUNG Chin Fung Wen Yau

Publisher: Artist Commune 12 Cattle Depot Artist Village 63 Ma Tau Kok Rd Kowloon Hong Kong (+852) 2104 3322 m63@artist-commune. com artist-commune.com

Copyright@2009 the publishers, authors and artists 1st Edition The opinions expressed and the contents included in this publication do not represent the views of Artist-commune.


風雨飄搖愛國時 ─ 年青藝術家六四展  

緣起 風雨飄搖愛國時是一個假正經的玩笑。八九民運期間,中國物價飛漲、官倒橫流,官員貪污腐敗成風,時局飄搖動盪。那時學生因著愛國,跪地請求對話,絕食抗議…二十年後的中國,表面和諧處處,實為言論封鎖,內地同輩在謊言中長大,紀念六四對他們而言可能是講國家是非的不愛國行為。因此,我們談六...

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