A Reader TECHSTYLE Series 2.1: Fabpublic! -Talking about Textile, Community and Public Space

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Contents

4

Foreword

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Fabpublic!

Takahashi Mizuki

Discussion: What is the Condition in Community Building?

21

Why does Community Matter? What are We Weaving?

Hui Po Keung, Janis Jefferies

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The Future of Rural Communities

Winnie Law

Case Study #1 Creating Communities through Redefining Fashion 51

The Empowering Reality of Fashion

Pascale Gatzen

63

Fashionscape Design Creating New Situations for Wearing Clothes

Nishio Yoshinari

Case Study #2 Textile Intervention to Transformation of Communities 79

Collaboration & Community Transforming the Conditions of Everyday Life

Nicole Barakat

93

Pangrok Sulap

Harold Reagan Eswar

Case Study #3 Curatorial Challenge in Textile Art Museums 103

How Industrial Heritage Shaped Our Making Activities

Errol van de Werdt

117

Weaving the Relationship between Textile History and Audience

Frankie Su

132

Editor’s Note

Sylvia Feng, Wee Kheng-Li

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目錄

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前言 Fabpublic!

高橋瑞木

討論：社區建立的條件是甚麼？

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社區爲何重要？我們在編織甚麽？

許寶強、珍妮絲．謝菲斯

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農村社區的未來

羅惠儀

案例 #1 透過重新定義時尚建立社區

57

時裝的增強功能

帕絲卡．蓋茨恩

71

時尚設計：穿出新意

西尾美也

案例 #2 透過紡織促進社區轉型

87

合作與社區：日常生活的轉變

妮歌．巴拉卡特

97

龐克棚屋

哈羅德．埃斯瓦爾

案例 #3 紡織藝術館的策展挑戰

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工業遺產如何塑造我們的製作活動

埃洛．范德維

125

織品、社區、當代藝術—鳳甲美術館的藝術實踐

蘇珀琪

133

編輯的話

馮昱瑄、黃慶理

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Foreword Takahashi Mizuki and Teoh Chin Chin Co-Directors Centre for Heritage, Arts and Textile (CHAT) Th e C e n tre fo r H e ri ta ge, A rts and Texti l e (CHAT) is a new art centre, operated by MILL6 Foundation, that is scheduled to open in the spring of 2019.

P r i o r t o C H AT ’s g r a n d o p e n i n g , w e h a v e organised the second edition of our annual international discussion forum, the TECHSTYLE Series, a unique platform for the exchange of knowledge and ideas of textile, arts and contemporary society through multiple events.

Accompanied by a two-day discussion forum, the retrospective exhibition of Japanese textile designer Arai Jun’ichi in Hong Kong was organised by CHAT together with the Hong Kong Polytechnic University’s Institute of Textiles and Clothing as TECHSTYLE Series 2.2.

Featuring international and Hong Kong speakers and panelists, the 2.1 edition of the forum “Fabpublic! – Talking about Textile, Community and Public Space” focused on how textile intervenes in the shaping of community and public space. While myriad online communities have emerged in virtual space, traditional communities have faced rapid changes to their forms of existence. Traditional weaving communities and their associated manufacturing techniques have been disappearing in many regions, despite their history of being collective labour enterprises that provided important economic and social bonds for the members of these communities.

While the manufacturing processes of their fabric articles affect the collaborative threads of communities, the final output – a piece of fabric – also dramatically transforms the spaces it inhabits. For example, when such fabric is placed on the ground, it at times redefines the area as a personal territory or, at other times, into a space for community gathering. Interrogating the role of community in contemporary society, we hope to explore different ways of building communities through the applications of textile art in different forms and/or in diverse spaces.

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For instance, for CHAT’s pre-opening summer pr ogramme in July 2018, a Berlin-based contemporary artist, Taguchi Yukihiro invited people from diverse communities in Hong Kong to create a large Spun Dragon, inspired by the traditional firedragon dance which usually performs during traditional celebratory festivals in Hong Kong. The body of the Spun Dragon consists of more than 30 woven cubes of upcycled garment waste made by students, families in CHAT’s neighbourhoods.

The head created by Taguchi also functions as a weaving loom. Led by Master Ng Kwong-nam, as a symbol of new creative community, this colourful Spun Dragon celebrated the opening of CHAT’s 2018 summer programme with amateur dancers of different ages.

From community building to textile adaptations in public spheres, TECHSTYLE Series 2.1 offered a wide spectrum within which participants could engage with, and broaden their experiences of textile’s role as a creative medium. This book is published to share what was discussed to a broader audience who were unable to attend the forum. We hope you will find the many less obvious agendas interwoven within these fabrics of life as presented in this book to be of interest.

We are most grateful for the generous support of The D. H. Chen Foundation, the Nan Fung Group, Hong Kong Polytechnic University, the Consulate General of the Kingdom of the Netherlands, British Council Connections Through Culture, KLM Royal Dutch Airlines, and, Courtyard by Marriott Hong Kong, Sha Tin. Our Special thanks go to all speakers of TECHSTYLE Series 2.1. Our thanks are also due to Arai Masanao, Professor Kinor Jiang and Yuki Cheng of the Institute of Textiles and Clothing at the Hong Kong Polytechnic University, for their input into realising this exhibition of one of the most influential textile artists in the world. Last but not least, we also would like to express our deep gratitude to Edith Cheung and Janis Jefferies for their continual generous offers of help and advice, and to all the CHAT team members.

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前言 高橋瑞木及張晶晶 六廠紡織文化藝術館聯席總監 六廠紡織文化藝術館（CHAT 六廠）為一所全新 的藝術中心，由六廠基金會負責營運，預計於 2019 年春季開放予公眾參觀。 在 CHAT 六廠正式開幕之前，我們主辦了第二 屆「新經緯系列」，透過各類型項目，為公眾提 供一個獨特的平台，彼此交流有關紡織、藝術與 當代社會的學問和想法。今年活動包括為期兩天 的研討會，以及聯同香港理工大學紡織及製衣學 系，舉辦「新經緯系列 2.2」，日本紡織設計師新 井淳一在香港的回顧展。

我們衷心感謝以下單位的鼎力支持，包括：陳廷 驊基金會、南豐集團、香港理工大學、荷蘭總領 事館、英國文化協會文化連線、荷蘭皇家航空公 司、香港沙田萬怡酒店。感謝新經緯系列 2.1 研 討會所有講者的參與。我們亦感謝新井正直，以 及香港理工大學紡織及製衣學系的姜綬祥教授、 鄭潔兒，讓國際知名的紡織藝術家之展覽，得以 成功舉行。最後，我們藉此表達對張西美和珍妮 絲．謝菲斯的深切感激，她們一直以來熱心向我 們提供協助和建議；此外也要向 CHAT 六廠的所 有成員說聲謝謝。

新經緯系列 2.1 研討會以「Fabpublic! — 關於紡 織、社區和公共空間」為題，講者及討論嘉賓來 自世界各地及香港，重點探討紡織如何能夠影響 社區及公共空間的塑造。當今天網絡世界裡的社 群大行其道，傳統實體社區的存在模式已迅速起 了轉變。在許多地區，傳統編織社群及技藝正日 漸消逝，儘管他們過去曾透過集體勞動，連繫著 群體內的每一位成員。 布料的製作過程既可影響不同群體的協作模式， 其製成品亦同樣可對一個空間產生重大的變化。 舉例說：放置一塊編織物於地上，可賦予一個地 方新的定義，變成一個私人領域，又或是一個讓 人們進行聚會的空間。藉著深究社群於當代社會 的角色，我們希望探討在不同空間藉著紡織建立 群體的各種方式。 2018 年 7 月我們舉辦的開幕前奏夏季項目就 是一例。該項目邀請了旅居德國柏林的當代藝術家 田口行弘參與，他取材於香港傳統節日的舞火龍， 聚集本地不同社區成員一起編製巨型的「紡織 龍」，由 CHAT 六廠所在地區的學生和家庭將回 收的廢棄衣物造成龍身的三十多個立方體，而他 主力創作的龍頭則原為織布機。在該項目的開幕 禮上，吳江南師傅帶領各年齡階層的業餘隊員舞 動「紡織龍」，象徵新型創意社區的落成。 從社群建立到公共領域的紡織創新，「新經緯系 列 2.1」的各項活動，讓大家在紡織的國度裡展 開不同的創作體驗。我們出版研討會論文集，旨 在將會上論題推廣到更多觀眾，期望讀者能在文 字間感悟到生活中千絲萬縷的紡織瑣事。 5

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Fabpublic! Talking about Textile, Community and Public Space Takahashi Mizuki

From academics, scientists, designers, artists, craftivists, engineers, vendors, to end-users, t e x t i l e c u l t u r e c o n s i s t s o f m a n y d i ff e r e nt communities.

Interestingly, however, these communities rarely seem to mingle and communicate about their interests even though they often have many common agendas, including: the extinction of traditional craftsmanship, the overflow of garment wastes, environmental pollution, labourer’s wages, and the balance of costs.

Is this because they are too cloistered and focussed within their own spheres or, perhaps just an individual and/or collective indifference to the challenges of others?

One of the reasons possibly because the fragmented and subdivided processes of textile production have rendered invisible an entire whole picture of a production process that consists of a myriad of highly specific commitments by many different professionals.

One of the goals of the TECHSTYLE Series is to fuse the borders where art, design, craft, technology and business overlap by building a platform on which to gather the many different people who engage with textile, its techniques and technology through their practices in any form.

From clothing to furnishing, textile and its techniques are ubiquitous in our everyday life. This very embracing nature makes textile per se, perhaps one of the most important commodities in human society. Giorgio Riello, historian and author of Cotton: The Fabric that Made the Modern World, claims in his book that cotton has become the most common material

and global commodity because of not only the Industrial Revolution in England, but also due to multiple other factors, including: the expansion of cotton cultivation beyond Eurasia, mercantile competition between traders and markets in Europe, local adaptations of patterns and designs of cotton fabrics from India, etc (Cambridge University Press, 2015).

Referencing this long historical journey that this humble material – cotton – has passed through, the TECHSTYLE Series intends to interweave knowledge and wisdom acquired from diverse experiences by various thinkers and practitioners on the subject of textile culture. Our organisational methodology for this discussion forum is intentionally looser than the usual academic or institutional symposium format; we expect and hope to see serendipitous and inspirational moments through this gathering of people who would not ordinarily encounter each other without this unique platform. To achieve this outcome, we have endeavoured to accumulate different case studies by various practitioners, in order to discern common threads amongst individual approaches and presentations.

The term “Fabpublic” was created from the combination of the words “fabric”, “fabulous” and “public”. With 17 speakers and moderators from Hong Kong and overseas in this edition, t h e 2 d a y s o f d i s c u s s i o n s o ff e r e d m a n y distinctive insights and stimulated many debates, and generated many thoughtful questions from the various audiences.

Unfortunately, due to publication limits, we have been unable to publish all of the many individual presentations in this book. Here, 7

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Fig. 1 Bluecoat, Liverpool / 2008 Courtesy of Bluecoat / Photo credit: Ian Lawson

I would like to briefly introduce individual presentations that do not appear in the book.

Textile is fabricated by communities and rooted in communities, as well as helping to build communities. Before entering the discussion of textile interventions in communities, we need to pose some questions: why does community matter and what is the function of community in contemporary society? Due to social structural changes, such as the aging of residents, a process of depopulation, and changing social and cultural patterns, a significant number of traditional textile-based communities have been forced to dismantle or reconstruct their traditional social forms. At times, the traditional community as a rigid social unit has been criticized because it sacrifices the community member’s individual unique voice in favour of maintaining a community’s social norms. In today’s world, where the status of community is highly luid, what and where does the agency of art and culture organisations lie?

For the session entitled “Is community generated or fabricated?”, Marie-Anne McQuay, director of The Bluecoat, Liverpool, and Nguyen Nhu Huy, co-artistic director of ZeroStation, Ho Chi Minh City, were invited to present on their organisations and activities. Each cultural organisation cannot be isolated from the community it is situated within; rather it is expected to both contribute to the community, as well as create its own community through the engaging of participants and the building of audiences. The Bluecoat is a non-profit art centre located in a UNESCO heritage building in Liverpool, with diverse facilities including a printing workshop, a studio, café, local craft shops, and a restaurant (Fig. 1). The Bluecoat was founded as a school in 1717. It was turned into an independent art school and society in 1907, and local artists groups started using the building for their studios and workshops; 20 years later, the space was opened to the public.

As a public institution, today’s The Bluecoat is renowned as a creative hub for multiple

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Fig. 2 Nguyễ n Thu Giang, Ph.D on Media studies, lecturer at Vietnam National University, gave talk at ZeroStation during the Southeast Asian Art Criticism workshop “Translation: Understanding Difference and Distance in Contemporary Art across Asia”, which was co-organised by Asia Center, Japan Foundation and ZeroStation, April, 2017 / Courtesy of ZeroStation

experimental artistic practices, mediating between, and stimulating discussions with, the public and many contemporary artists, designers and musicians. Whilst The Bluecoat is taking the initiative to foster arts and culture within local communities, ZeroStation is more self-defined and organic in its form. Privately-run Zero Station was established in Ho Chi Minh City in 2010.

ZeroStation aims to become a place where unplanned encounters between people are expected, but where no one is compelled to stay, considering ZeroStation as a place to play without rigid regulations and relying on individuals to voluntarily participate (Fig. 2). This loose non-institutional operation can be considered a tactic to establish the autonomy and independence of the organisation and minimise, or avoid altogether, interference from political authorities. Opening their organisations to their respective publics, The Bluecoat and ZeroStation show how respective socio-political cultures can spontaneously influence the balance between organisational processes and results, obligations, and freedoms in such organisations.

These many factors, define, in many ways, the agency of such organisations within their communities.

Textiles are everywhere in our everyday environment.

Spatially, furnishings in private living rooms, to theatre curtains, to plush carpeting in public halls, textiles always affect our functional, psychological, and aesthetic perceptions of spaces. Both Aura Luz Melis, from distinctive landscape design firm Inside Outside in Amsterdam and Sylvie Krüger, designer and author of Textile Architecture (Jovis Verlag GmbH 2009), from Germany, often use fabric for their spatial designs, taking advantage of fabric’s many physical attributes (such as texture), and extreme flexibility in size, volume, pattern, print and colour.

Melis presented Inside Outside’s challenge to make the borders between spatial interiors and exteriors seamless with different materials including mirrors and glass, as well as, fabric (Fig. 3), while Krüger illustrated diverse usages of textile furnishings, including curtains, carpets, canopies and partitions, using examples from paintings in the middle age, and contextualised her own practice in historical textile architecture (Fig. 4). Thanks to their flexibility in utility, size and function, textiles can be used to foreground overlooked architectural features and highlight ignored

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Fig. 3 Radial View, deSingel, Antwerp / 2008 Courtesy of Inside Outside

Fig. 4 Textile intervention in public space. Theresienwiese, Munich, Germany.

Credit: Sylvie Krüger

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Fig. 5 Plaiting basketry technique used by the Eperara-Siapidara artisans 2012 Courtesy of PET Lamp

possibilities in using a space. Both Inside Outside and Krüger expand the traditional usages of textiles in order to transform spaces and embrace audiences.

Textile techniques have been inherited for generations in traditional communities – with perhaps weaving as the most often inherited traditional textile technique among others. The PET Lamp team, led by Alvaro Catelan de Ocon, has conducted research on weaving techniques in different regions, and applied them to his PET Lamp project, integrating local traditional weaving techniques into PET plastic bottle waste to create beautiful lampshades. These PET lampshades serve the twin goals of both supporting local handicraft industry and local economies, as well as working towards solving the global problem of plastic waste (Figs. 5 and 6). Starting in Colombia in 2012, the PET Lamp project has collaborated with people in Chile, Ethiopia, Japan, and Australia, aiming to create a constant demand for their products.

Traditional forms of community are often forced to change due to, and attune further with, global capitalism, and it seems impossible to resist this process. However, despite the complex networks

of invisible fibres that connect us in on-line space beyond physical restrictions, producing countless virtual communities, physically tangible yarn and fabric, together with analogue textile manufacture techniques retain a potency to manifest strong human connections, often based on compassion and care.

We consider that these technologies are not opposite entities but, indeed, complementary. In this regard, we can redefine the concept of “techstyle” – it is not merely sophisticated fashionable designs or contemporary life styles employing advanced technology simply for efficiency, but also an ethical attitude to utilising textile materials, techniques and technology in the hope of correcting social inequality to some degree, as well as enhancing the quality of life in many communities. From global capitalism to obsolete textile industrial legacies, several unique challenges and approaches by forum contributors are presented in the following pages. We hope you will find inspiration in the significant potential of this familiar material in our everyday life – and realise that anyone can engage in the shaping of our “techstyle” future!

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Fig. 6 Emerita Chirimio, Eperara-Siapidara artisan from Colombia / 2012 Courtesy of PET Lamp

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Fabpublic! — 關於紡織、社區和公共空間 高橋瑞木

紡織文化的面向十分廣泛，不僅有學者、科學家、設計師、藝術家、手藝家、工程師，也包括供應商 和用戶。 儘管他們都關注傳統工藝的消失、服裝廢料氾濫、環境污染、工資水準、成本均衡等問題，這些群體 卻很少聚集在一起交流討論，這是因為大家都習慣於封閉在自己的研究領域，還是對他人所面臨的困 難漠不關心？ 我想其中一個原因是，紡織工業由多項細碎而分散的工序組成，每個環節均由不同的專才掌控，旁人 難以窺一斑而知全豹。 新經緯系列的目標之一，就是試圖建立一個平台，將這些多少與紡織有關的群體聚集起來，交流各自 實踐的方法和技巧，打破藝術、設計、手藝、技術、商業之間的邊界。 紡織品的用途廣泛，從遮蓋身體到裝飾房間，在生活中可算無處不在，是人類社會最重要的日用品之 一。歷史學家 Giorgio Riello 曾在著作《Cotton: The Fabric that Made the Modern World》中寫道： 英國工業革命，以及超越歐亞大陸的棉花種植產業、歐洲貿易市場之間的競爭、印度布料在進口國的 演化等其他因素，都使棉花成為全球化最具代表性的商品（劍橋大學出版社，2015）。 新經緯系列旨在聚集各方經驗智慧，促進紡織文化知識的交流，從棉花這看似最不起眼物料的漫長歷 史作起點，我們不會像一般的學術論壇或研討會般嚴肅，而是創造機會，將平時不可能碰頭的紡織文 化之學術和實踐人員聚集起來，碰撞出令人期待的火花。為了實現這個目標，我們邀請跨領域的實踐 者分享經驗，並試圖從這些演講中找出共同點。 「Fabpublic」這個題目，實際融合了三個單詞：「紡織品」、「精彩的」、「公眾」。在兩天的研討 會期間，17 位來自海外及香港的演講嘉賓和主持人，分享了獨特的見解，並與在場觀眾互動交流，令 人深受啟發。 然而，由於篇幅所限，本書不能羅列每位嘉賓之精彩演講，因此我將在下文介紹本書未能收錄的研討 會內容。 紡織品是紮根於社區並由社區生產出來，同時也塑造了社區本身。在討論紡織品如何介入社區之前， 我想必須先提出一個問題，社區為何重要？在當代社會中社區具有怎樣的功能？由於居民老化、人口 遷移、社會文化模式轉變等社會結構性變化，許多傳統社區被迫走向解構和重建，以至有人批判傳統 社區實為僵化的社會組織，以犧牲社區成員的獨特性來維持區內的社會規範。現今社區定義不斷改變， 文化藝術機構的媒介到底是什麼？

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我們邀請了英國利物浦當代藝術中心 Bluecoat 的 項 目 總 監 瑪 麗 安· 麥 奎（Marie-Anne McQuay）、越南胡志明市當代藝術項目空間 ZeroStation 的 創 辦 人 阮 如 輝（Nguyen Nhu Huy），介紹其機構的活動，共同討論「社區是 衍生還是編造出來的？」這個議題。任何一個文 化機構都不能獨立於它所處的社區而存在；相 反，它們不是服務於當前的社區，就是通過創新 活動將參與者和觀眾聚起來，創造一個新型社 區。非牟利藝術中心 Bluecoat 原為 1717 年成 立的學校，坐落於聯合國教科文組織遺產建築之 中，1907 年它成為獨立的藝術學校和社團，隨 後當地藝術家團體開始租用該處，成立工作室並 舉辦活動，最終於二十年後向公眾開放。如今， Bluecoat 擁有印刷活動室、工作室、咖啡館、 本地手工藝品商店、餐廳等多種設施，獲譽為多 元化藝術實踐的創意中心（Fig. 1）。阮如輝負 責的 ZeroStation，擔當聯繫公眾與當代藝術家、 設計師、音樂家的中間人，不斷推動他們之間的 對話，激發靈感和創意的產生。它與 Bluecoat 主動在社區中推動藝術文化發展有所不同，更像 是一個自主而有機發展的組織。2010 年該私人 機構成立於胡志明市，目標是建立一個不經策劃 的聯誼場所，這是一個自願參與和玩樂的地方， 觀眾在此將毫無壓力（Fig. 2）。這看似鬆散的 組織，其實是一種避免政權干擾的策略，以建立 自主獨立。Bluecoat、ZeroStation 都向觀眾表 明，各自的社會政治文化如何影響過程與結果、 義務與自由之間的平衡，又如何定義這些組織於 社區的媒介角色。 從起居裝飾品到劇院幕布，再到公眾大堂的地 毯，紡織品的多元化功能，足以影響我們對空間 的功能、心理學、審美各方面的感知。來自荷蘭 阿姆斯特丹著名景觀設計公司 Inside Outside 的 奧 拉· 梅 利 斯（Aura Luz Melis）、《Textile Architecture》（Jovis Verlag GmbH 2009）的 作者、德國設計師希薇·古嘉（Sylvie Krüger）， 都善於在空間設計中使用紡織品，利用其獨特的 質感，以及尺寸、體積、圖案、印刷、色彩各方

面的靈活性，創造多用途空間。通過梅利斯的演 講，我們看到 Inside Outside 如何利用鏡子、 玻璃、紡織品，衝破內外空間的界限（Fig. 3）。 而古嘉則結合自己應用紡織品於歷史建築的實 踐，講述了紡織品的多種用途，包括窗簾、地 毯、頂篷、中世紀繪畫中間隔使用等（Fig. 4）。 兩位設計師巧妙地運用了紡織品在用途、尺寸、 功能的靈活和彈性，將易被忽略的建築特色， 或可能被埋沒的空間用途重新發掘出來。Inside Outside、古嘉均開拓了紡織品的傳統用途，使 之成為改變空間、容納公眾的媒介。 在傳統社區，紡織工藝世代沿襲，其中編織應是 運用最廣泛的技藝。PET Lamp 創辦人艾華璐· 德奧康（Alvaro Catelan de Ocon）精挑世界各 地的傳統紡織技術，將 PET 塑膠瓶循環利用， 製成精美的手造燈罩。不僅支持了當地手工業經 濟發展，也試圖解決塑膠垃圾這個全球環境問題 （Figs. 5-6）。從 2012 年與哥倫比亞居民的合 作為起點，PET Lamp 先後與智利、埃塞俄比亞、 日本、澳洲多國合作，不斷為他們的產品注入新 鮮地區元素，創造市場。 綜上所述，傳統社區因全球資本主義的發展被迫 轉型，發生不可逆轉的變化。儘管數以萬計突破 物理限制的虛擬社區在網絡時代應運而生，但是 那些可觸摸的紗線、布料，還有相關的紡織工 藝，對於人類而言仍舊具有強大的聯結力量，它 們喚起了社會中的人文關懷。 虛擬與現實世界並不是互相衝突的，相反它們可 以互為補充。從這個意義上講，「新經緯」不僅 指高級時尚設計，以及提高當代生活質量、效率 的先進技術，更指用道德的態度，以紡織材料、 技術、科技為媒介，去消除社會不公、改善生活 質素。以下文章的作者將針對全球資本主義，以 至紡織工業遺產，論述所遇到的獨特挑戰。希望 讀者可以從中看到紡織品這最熟悉日常材料的巨 大潛力，並前來參與，與我們共建「新經緯」未 來。

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Fig. 1 英國利物浦 Bluecoat / 2008 鳴謝：Bluecoat / 攝影：Ian Lawson

Fig. 2 媒體研究博士、越南國立大學講師 Nguyễn Thu Giang 於 2017 年 4 月東 南亞藝術評論工作坊《Translation: Understanding Difference and Distance in Contemporary Art across Asia》發言。項目由日本國際交流基金會亞洲中心、 ZeroStation 合辦。 鳴謝：ZeroStation

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（上）Fig. 3 安特衛普 deSingel 校園 / 2008 / 鳴謝：Inside Outside （下）Fig. 4 德國，慕尼黑，Textile intervention in public space. Theresienwiese 攝影：希薇·古嘉

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Fig. 5 工匠正在運用 Eperara-Siapidara 編籃技術 / 2012 鳴謝：PET Lamp

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Fig. 6 來自哥倫比亞的 Eperara-Siapidara 工匠 Emerita Chirimio / 2012 鳴謝：PET Lamp

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Discussion What is the Condition in Community Building? 討論 社區建立的條件是甚麼？

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Why does Community Matter?

What are We Weaving?

A Dialogue between Hui Po Keung and Janis Jefferies

Fig. 1 Workshop view of Hey! Let’s WEAVE! / 2017 Courtesy of Centre for Heritage, Arts and Textile

Introduction Why does community matter? What are we weaving? These are important subjects for discussion. The symposium convened by CHAT, “TECHSTYLE Series 2.1: Fabpublic! − Talking about Textile, Community and Public Space” included several presentations from an international gathering of artists, textile makers, curators and museum specialists. The panel discussions that explored different aspects of how technology and craftspersonship could align closely in the process of community formation.

Keung and Janis Jefferies, drawing on Hui’s panel comments and Jefferies’s initial paper prepared for the symposium.

The significant question, however, is why does community matter? This will be addressed in a more detailed way in the dialogue that forms the basis of this essay. In order to answer the question “Why does community matter?” first of all, we have to rethink the question: “What is community?”

Hui: Community can be talked about, perhaps in two different levels or in two different senses. First, it has to do with the defining feature of what could be defined as a community. Community is a connection between people, their relationships, or with a building or environment. But what kind of connection or relationship are we looking for, that could be regarded as a community relation? That perhaps could be talked about a little bit more, later. And for defining features we could also think about it through two different angles. For Iris Marion Young, a critical geographer and feminist, her view of communities is based on her concerns regarding the urban setting. Janis Jefferies has also talked about Richard Sennett’s work, which similarly concerns the city environment.

The dialogue that follows is an adaption of a transcript of an exchange between Hui Po

Jefferies: Young talks about the community of difference, supplementing our conventional 21

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way of understanding the community of commonness. So, what are we addressing when we talk about why community matters?

Are you, like Young, focusing on a community of commonness? Or we are talking about a community of differences? Perhaps that is one of the ways of thinking through what the defining feature of community is.

Hui: Yes, partly as the second way of talking about the definition of community could be a focus on the effect of community. A community of commonness is kind of like talking about inclusiveness; but a community of differences, is a way of, like, responding to the negative effect, or possible negative effect, of building up a community that has a tendency towards exclusion. I understood this from Young’s d i s c u s s i o n o n a s e n s e of communi ty that focuses on the tendency towards exclusion.

Jefferies: In her essay on community, Young describes the ideal of community as an “understandable dream” (1990: 300). The dream brings people together although she recognises that the politics of consensus and mutual recognition excludes as many people as it includes. In other words, the ideal of community endorses and values homogeneity.

Young proposes a third alternative: the ideal of city life as the normative version of social relations.

composed of clusters of people of affinities and families, social networks, voluntary associations, neighbourhood networks, a vast array of small communities.” (1990: 237) Her ideal of city life is thus characterised by social differentiation without social exclusion, while still being full of variety. When you build a common community, you tend to exclude people who are different from the people who are included in that community. So how can we think through community in these two different dimensions?

Hui: Yes, this answers my first question. And after clarifying our understanding of what community is, the next question is, obviously, why does community matter? Why does weaving create a community? Why is weaving a particular social relationship that is important to us? In what sense is weaving important in this contemporary world? For whom? For what purpose?

Jefferies: I would like to turn to the work of Richard Sennett for a moment to underpin some ideas I explored in my paper.

By city life she refers to:

In "Why does Community Matter – What are We Weaving?" I tried to link weaving with community building through what you suggested was an epistemological conceptualisation or understanding of how these two processes or elements can be brought together. For

“A form of social relations which I define as the being together of strangers. In the city, persons and groups interact within spaces and institutions they all experience themselves as belonging to, but without those interactions dissolving into unity or commonness. City life is

example, in The Uses of Disorder (1972), Sennett observes that the city alone can make us conscious of a kind of equilibrium of disorder; clear images are lost because every day one sees so many people who are alien − but who appear to be alien in the same way. The attempt to trace the history between humans

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and the built environment, and the importance of the public domain in order that people should have direct involvement in terms of relating to public spaces, is part of a drive towards sustainable development and the role of cities in a civil society. Why then start with Sennett?

Partly because Sennett has mapped out what he has termed “the fall of public man” (also the title of his 1977 book), by which he means the demise of sociability, and how cities became places where strangers were likely to interact with one another, where anyone could speak to anyone else on public terms, without prying into a private life. Accordingly, individuals made themselves in public, but realised their natures in the private realm, particularly that of the home/family. The “death of public space” that occurred later in the 19th and 20th centuries, is linked

by Sennett to increased secularism and industrial capitalism. Public space became a place of fear where one could accidentally let slip signs that pointed to his or her “true” nature or identity.

In the 21st century, the idea of cooperation and of redefining the public realm is put forward very powerfully by Richard Sennett in Together: The Rituals, Pleasures and Politics of Cooperation (2012).

He argues that cooperation needs more than good will: it is a craft that requires skill. In modern society traditional bonds are waning, and we must develop new forms of secular, civic ritual that make us more skillful in living together with others. One of the practical ways to do this, is to consider the notion of textiles, and more particularly weaving, as a social fabric, deeply embedded in the concept of “publicsin-the-making”, an extension of the sewing circle as “Do It Yourself” activism but with a grounded history of politics, justice and citizenship.

Hui: If I may add to Sennett’s work for a moment, I consider his project to be a critical reflection

on capitalism in the contemporary context. He is pretty concerned about “the fall of public man” as you have mentioned earlier. And this “fall of public man” is also evidenced in the shrinking of public space. That shrinking of public space is also a concern to Sennett’s teacher, Hannah Arendt. Arendt discussed three major activities when she talked about the human condition. The first one is labour; the second one is work which is pretty much related to what we have been discussing this afternoon, i.e. craftsmanship, or a well designed process of human activities. But for her, the most important activity for human beings is action. Action, for Arendt, takes place when individuals have engaged in public dialogues and interactions, is something that is not designed, and the outcomes are uncertain. In this sense, building up a community through engaging in public action, could be regarded as a recovering of human nature. And therefore, we may ask the following question, how can we address the transformation of a contemporary society in which labour and work have increasingly become the predominant activities in contemporary urban settings? Especially when action, or public political activity, is declining. So how we reintroduce action back to projects that aim at social transformation becomes an important question. In other words, what’s the relevance of public political participation in the backdrop of what we have been dealing with, or in connection with all the projects that we have been talking about?

This may also connect to what you name as “publicsin-the-making”.

Jefferies: Yes, collective and cooperative acts of “publics-in-the-making” constitute performative action, which I interpret as offering gestures of resistance and of solidarity, transforming space into the potential for a shared, dynamic, communal social place, even if only for a moment, as in a number of artist residencies or action-building projects. “Publics-in-the-making” 23

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is thereby put forward as: publics that gather because of a shared area of curiosity, rather than in a shared sense of emergency, and where issues are co-articulated in the making. I think this idea of shared curiosity is different to

Wan, once the hub of Hong Kong city’s textile industries, and also the neighbourhood of CHAT’s future home.

Young’s idea of a community of commonness as it does not presume existing social relations or shared values. These have to be made.

stories about community as told by those who used to work in the textile factories. I don’t think they have a common understanding with their public, which is why it’s quite useful to rethink what we mean by “the public”. This is why we include the public in the process of making; because in this making, the public emerges, just as at Tsuen Wan, those that had a sense of community in their settled neighbourhood and at the factory become interpreters of their own experience as they weave and tell stories within a different kind of public space and public engagement.

Let me further suggest that this call “for more intimate relations” within “publics-in-the-making”, reinforces for me the notion of textiles as social fabric, entangled and perhaps knotted, but also with the capacity to disentangle and innovate.

Textiles have always operated at the intersection of individual practice and collective, group activity. The public and interactive capabilities of Web 2.0 – blogs, web rings, social media – are being harnessed to create vibrant communities of textile makers that are at once: local, virtual, and international in scope – based on material production using traditional craft skills and yarns, as well as on the optical fibre and twisted pair cable used for telecommunications. It is global, yet rooted in the very specificities of the local.

I suggest that perhaps this is the impetus behind CHAT’s “Weave Wednesdays”, led by Him Lo, Community Engagement & Learning Program Curator, and also “Hey! Let’s WEAVE!” – both of which are part of CHAT’s on-going Community Engagement and Learning Programs, dedicated to reactivating the legacy of Hong Kong’s textile industry and to bridge communities and generations through participatory textile experiences (Figs. 1-2).

A series of hands-on textile, arts and heritage events is located at Fuk Loi Estate, in Tsuen

“Weaving on the street every Wednesday” are

I am thinking that there may be a connection between thinking and acting – along with a kind of “logic of weaving”, and a more skillful way of living together with others, even if people think differently or don't know what they think at all.

So my final question would be: can the gathering of materials teach us something about human gathering?

Let me give an example. Based firmly within the language of empowerment and arts practice, there are many projects across the world enacted through what you may call public political participation. But I am referencing one which I know intimately, FRIENDLY ZONE / CABBAGE FIELD (“Draugiška zona / Kopūstų laukas”, 2007 ongoing) which is an area of 13,000 sq m in Šančiai on the outskirts of Kaunas in Lithuania. It was military territory from the mid-19th century up to 1993. As soon as the last Russian soldier left the soil of independent

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Fig. 2 Workshop view of Hey! Let’s WEAVE! / 2017 Courtesy of Centre for Heritage, Arts and Textile

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Fig. 3 Cabbage Field 2017 - Balsamic Popular Spectacle / 2017 Courtesy of Vita Gelūnienė and Ed Carroll Photo credit: D. Petrulis

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Lithuania, the area became a no man’s land – shabby, desolate and even dangerous to people trying to step in. A site-specific land reclamation project involving gardening and story-telling has been led here by Vita Gelūnienė and Ed Carroll who live within this neighbourhood (Figs. 3-5).

The name, CABBAGE FIELD, is derived from the three surviving 19th century military structures that were used by troops as pickled cabbage storage units. From the 19th century until Lithuania's independence times this place was used for military purposes. The CABBAGE FIELD is a parcel of land that became a site for small-scale land reclamation, where the main agent is not a developer or public body but rather an act of and by local people: working from the bottom-up to person-up, from the settlement of their community to other communities who come and participate. So there might be a “Cabbage Field” in your community too: a public parcel of land that is overlooked, dumped-upon, and where non-action is a tactic of preparation for its transfer from state asset to private benefit. The first task of reclamation is an act of imagination: what if our land could be a site for the agency of residents and for all the people in the neighbourhood to flourish? Cities need more than big intentions and exciting plans. Community needs to be strengthened and bottom-up community initiatives remain underdeveloped. Communities often love cultural projects because they can give expression to the invisible dimensions, the unheard voices and the many silent contradictions.

I think ideas of community culture are often overlooked and community resilience often viewed as an object of urban development.

Significantly, CABBAGE FIELD proposes that the community should be thought of as subject

with attendant power to feel and transform one’s self in relation to others, to renew and reframe places, institutions, and notions of work, as well as to shape and reshape the value base of the city, creating a different kind of public space.

Hui: Indeed, public action, as given in your example, is the defining feature of human beings, because we are born as social beings who need to interact with other people. In order to be human, one has to connect and interact with others. This interaction is not by plan and not controllable, it’s open-ended and with unanticipated outcomes. That is why we should always be attentive to the question, “why does community matter?” or “why does building up connections matter?” What kinds of social interaction or connection (i.e. community) are we talking about? Or more fundamentally, what is community? I think only by addressing these radical questions will we be able to better understand the main theme of this conference.

References Arendt, Hannah. (1958) The Human Condition, 2nd ed. Chicago: University of Chicago Press.

Sennett, Richard. (1971) The Uses of Disorder.

London: Allen Lane ­The Penguin Press.

Sennett, Richard. (2009) The Craftsman.

London: Allen Lane ­The Penguin Press.

Sennett, Richard. (2012) Together: The Rituals, Pleasures and Politics of Cooperation. London: Allen Lane ­The Penguin Press.

Young, Iris Marion. (1990) “City Life and Difference”, in Justice and the Politics of Difference. Princeton: Princeton University Press.

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Fig. 4 Friendly Zone #6. Cabbage Field, a site-specific land reclamation project / 2015 Courtesy of Vita Gelūnienė and Ed Carroll Photo credit: R. Ščerbauskas

Hui Po Keung

Janis Jefferies

Associate Professor, Lingnan University, Hong Kong

Professor, Goldsmiths, University of London, UK

Hui Po Keung is Adjunct Associate Professor, Department of Cultural Studies, Lingnan University and co-founder of Mobile Co-learning, a local non-profit organisation aiming at facilitating co-learning outside formal schools in Hong Kong.

Janis Jefferies is Emeritus Professor of Visual Arts, Goldsmiths, University of London, UK. She is an artist, writer and curator and Senior Research Fellow at the Constance Howard Resource and Research Centre in Textiles.

His main research interests are education and cultural studies, cultural economy, history of capitalism and markets, and alternative development. Having co-edited the 6 volumes of Cultural and Social Studies Translation Series (jointly published by Oxford University Press, Hong Kong, and Central Compilation & Translation Press, Beijing), he is also the author of Farewell Cynicism (Hong Kong Oxford University Press, 2009), and What Capitalism is Not (Hong Kong Oxford University Press, 2002 and Shanghai People's Publishing House, 2007).

She has edited numerous books and chapter contributions on textiles, technology, performance and practice research and was one of the founding editors of Textile; The Journal of Cloth and Culture. She is coeditor of the Handbook of Textile Culture (2015), wrote the introduction to From Tapestry to Fiber Art. The Lausanne Biennials 1962-1995. Fondation Toms Pauli Lausanne and Skira Editions Milan (2017) and contributed “Ravelling and Unravelling: Myths of Europe, Texts, Textiles and Political Metaphors” in Weaving Culture in Europe was published by Nissos Publications in 2017 for Paphos, European City of Culture. With Professor Barbara Layne she is consultant on The Enchantment of Textile research project. Their work is supported by the Canadian Foundation for Innovation, the Social Science and Humanities Research Council, and The Milieux Institute at Concordia University.

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Fig. 5 Friendly Zone #6. Cabbage Field, a site-specific land reclamation project / 2015 Courtesy of Vita Gelūnienė and Ed Carroll / Photo credit: R. Ščerbauskas

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社區爲何重要？我們在編織甚麽？ 許寳強、珍妮絲•謝菲斯的對談

Fig. 1 過嚟織嘢！活動現場 / 2017 鳴謝：六廠紡織文化藝術館

引言 社區爲何重要？我們在編織甚麽？的確值得討論。六廠紡織文化藝術館舉辦「新經緯系列 2.1： Fabpublic! — 關於紡織、社區和公共空間」研討會，邀請來自世界各地的藝術家、創作人、策展人、 博物館專家演説。是次座談會旨在從不同層面探索科技與工藝如何在社區形成的過程中緊密合作。 「社區爲何重要？」這個關鍵問題，在小組座談中討論透徹，並成為本文的基礎。然而我們在回答問 題之前，需要反思社區的定義。 本文以許寳強與謝菲斯對談的形式出現，内容摘錄了座談會上許寳強的評論，以及謝菲斯爲大會發表 的論文。

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Fig. 2 過嚟織嘢！活動現場 / 2017 鳴謝：六廠紡織文化藝術館

許寶強：我們可以從兩個層面去討論社區。首先 是界定社區的特徵，是指連結人群、關係、建築 或環境。再問怎樣的連結才算得上社區關係呢？ 這一點容後再談。我們也可以從兩個角度去界定 社區的特徵。批判性地理學家兼女性主義者艾莉 斯•楊格（Iris Marion Young）對社區的看法， 是建基於她關注的都市環境；而謝菲斯早前提及 理查•森尼特（Richard Sennett）的學說，同樣 關注城市狀況。 謝菲斯：楊格提出的差異社區，補充了我們抱持 的共性社區傳統認知。所以當談論社區爲何重要 時，所指的社區到底是甚麽？是如楊格一樣著眼 於共性社區？抑或是差異社區？這或許是思考社 區特徵的方式之一。 許寶強：是的，某程度上社區效應可以看成另一 個界定社區特徵的角度。共性社區的特徵是包 容；據我看楊格論述的排他社區，差異社區的誕 生，似是回應社區經過排他而構成所產生或藏潛 的負面效應。 謝菲斯：楊格的社區論說形容理想社區為一個 「可理解的夢想」（1990: 300）。雖然這個夢 想可以將人們團結起來，但她也承認政治共識、 相互認同所排斥與包容的兩種人數不相伯仲。換 句話説，理想社區還是傾向和重視共同性。楊格 提出理想城市生活的第三種可能性，是規範化的 社會關係。她所指的城市生活是： 「我會將這種社會關係定義為陌生人共同生活。 在城市，個人和群體於他們所屬的空間和機構中 互動，這些互動卻不須融為統一或共同的特徵。 城市生活匯聚了親友圈子、社會團體網絡、志願 機構、鄰里網絡，由很多小社群組成。」（1990: 237） 因此，她理想中的城市生活具有多元化的社會差 異，卻並不排他。事實上當我們建立一個共同社 區時，往往傾向排斥異己，我們該如何從這兩個 方向思考社區呢？

許寶強：是的，這正回應了我的第一個提問。釐 清了社區的定義後，接下來要處理的問題就是： 社區爲何重要？爲何要編織一個社區？爲甚麽編 織特定的社會關係對我們如此關鍵？對當代社會 有何重要之處？目的何在？或爲誰而建立？ 謝菲斯：我想先引用森尼特的研究來支持我論文 探討的幾個概念。 「社區爲何重要？我們在編織甚麽？」我嘗試透 過你提出的知識論概念，或紡織關聯社區建立的 分析，而將這兩方面連結起來。舉例森尼特在 《The Uses of Disorder》（1972）書中，提出 城市本身就產生一種紊亂的平衡：我們每天遇到 許多陌生人—以同樣陌生的姿態出現，印象變得 模糊。努力追溯人類與建築環境之間的歷史，以 及提倡公共領域之重要性，好讓人們直接參與公 共空間及建築尤關的事情，以促進可持續發展， 亦是城市於公民社會扮演的角色。那爲甚麽要從 森尼特説起呢？ 其中原因是森尼特透過其理論「再會吧！公共 人」（同名書籍出版於 1977 年），指出社交功 能的消亡殆盡，以及城市何以成爲陌生人彼此交 流的地方—任何人都可以和他人談論公共話題， 卻不牽涉私人生活方面。人們在公共領域中虛構 自己的形象，唯留待家庭等私人領域，才顯露真 性情。公共空間的消亡發生於十九及二十世紀， 森尼特將這歸究於世俗主義、工業資本主義的興 起。公共空間變成一個令人生懼的地方，因爲一 不小心就容易流露出本性和真實身份。 踏 入 二 十 一 世 紀， 森 尼 特 於《Together: The Rituals, Pleasures and Politics of Cooperation》 （2012）提倡合作、重新定義公共領域這兩個 概念。他認爲合作需要技巧，徒有善意並不足 夠。現代社會中傳統約束日漸衰落，人們必須發 展出更有技巧地共處的公民日常之道。一個可行 的方法就是利用紡織或編織這個社會構成元素， 以「公眾共創」推行，算是婦女縫紉小組的延續， 卻涉及深厚的政治、公義、民權概念。

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Fig. 3 友善區 / 椰菜田 6，一個在地土地開墾項目 / 2015 鳴謝：Vita Gelūnienė、Ed Carroll / 攝影：R. Ščerbauskas Fig. 4 椰菜田 2017— / 2017 鳴謝：Vita Gelūnienė、Ed Carroll / 攝影：D. Petrulis

許寶強：容我對森尼特的理論補充一下。他的研究是 對當代社會資本主義的批判反思。正如你剛才所説， 他十分關注「再會吧！公共人」的問題。而當代公共 空間的萎縮正引證了這個現象，這亦是他的老師漢娜• 鄂蘭（Hannah Arendt）關注的議題。鄂蘭指出人的 狀況有三種主要活動：第一是「勞動」；第二是「工 作」，這一點與我們討論的内容有關，即工藝或精心 設計的人類活動。然而，於她而言，人類最重要的活 動是「行動」。當個人參與公眾對話和交流時，就形 成了行動。這個過程未經設計，結果也無法預料。從 這個角度看，透過公眾行動來建立一個社區是回返人 類的本性。問題是：究竟要怎樣處理當代社會轉型中， 「勞動」和「工作」逐漸成爲城市的主導活動，而另 一方面，行動或公眾政治活動卻正在消亡的現象？因 此如何令社會轉型為本的項目重新納入「行動」，就 變成重要的課題。然而究竟公衆參與政治，又與大家 一直進行或討論的項目有何關聯？

紡織總是在個人與群體之間進行。透過第二代互聯網 提供的公共和互動平台，如網誌、網絡環、社交媒體， 紡織家社群可同時活躍於本地、虛擬、國際層面。他 們既以傳統手藝與紗線等有形物料生產，也利用光纖、 雙絞線所組成的電訊科技；全球化的同時也植根於本 土特色。

我認爲這正是六廠紡織文化藝術館「織織星期三」活 動，以及社區及共學部策展人盧樂謙背後的推動力。 「過嚟織嘢！」系列是 CHAT 六廠持續進行的社區共 學計劃，旨在活化香港紡織工業的歷史，並透過參與 紡織活動的經驗，將來自不同社區和年齡的人連結起 來（Figs. 1-2）。 荃灣福來邨遂展開了一系列紡織、藝術和歷史相關的 體驗活動。該區曾是香港紡織工業的重鎮，也是未來 CHAT 六廠的所在地。

或許這與你所説的「公眾共創」亦相關。 謝菲斯：是的，「公眾共創」之集體協作，是想達成 願望，我認爲亦是表現堅韌及團結的行為。它有潛力 將空間變為頃間共享、活力的公共交際場所，常見於 一些藝術家駐留計劃或行動組織項目。因此，「公眾 共創」就是聚集有共同好奇心的人群，不因任何突發 事件，其間並共議話題。共同的好奇心不等同楊格所 説的共性社區，因爲沒有預設的社會關係或共同價值 觀，那些還有待建立。 讓我進一步解釋在「公眾共創」過程中，講求建立「更 親密關係」：這對我而言，紡織作爲社會構成元素變 得更有說服力，過程不僅令人們聯繫團結起來，還負 起梳理及創新的作用。

CHAT 六廠隊伍通過「織織星期三」活動，與曾為紡 織工人的坊眾分享社區的故事。我相信大家對公眾還 沒有一個共同的認知，有必要重新思考「公眾」的定 義。這正是我們進行公眾共創活動的原因，因爲公衆 會在活動過程中逐漸成形。正如荃灣的居民對居住或 工作的社區有歸屬感，就會到別的公共空間和活動一 面編織一面細訴故事。 即使人們有不同的想法，甚至不知道自己的想法，我 認爲以「編織的邏輯」思考及行動，與技巧地共同生 活是有一定關係的。 所以我最後想問：聚集物料能否啓發我們如何聚集人 群？

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我試舉例。在增權自強和藝術創作的理念方面， 世界上有很多項目正推行公眾政治參與。就以 我熟悉的「友善區 / 椰菜田」項目（2007 年起 建立）為例，地點設在立陶宛 Kaunas 外圍一個 叫 Sanciai 的地方，佔地 13000 平方米。從十九 世紀中葉至 1993 年爲止，這塊地都是屬於軍事 禁區。隨著立陶宛獨立，俄羅斯軍隊撤出立陶宛 國境，該地也被遺棄，變成一個荒涼破敗、甚至 危險的地方。鄰近居住的 Vita Geluniene、Ed Carroll 就地組織起一個結合園藝和分享故事的 開墾計劃（Figs. 3-4）。 「椰菜田」這個名字來自三幢十九世紀的軍事建 築。在俄軍駐扎的時候，這裏曾是軍隊存放酸椰 菜的倉庫。直到立陶宛獨立以前，一直是軍事用 地。「椰菜田」並不是由公共機構或發展商主 導，而是當地居民把荒地變為小型開墾農地的計 劃：這是一個由下而上，從個人出發的行動，從 當地社區開始，到吸引外來群體一同參與。我們 身邊可能也有這樣的「椰菜田」：一塊被忽略荒 廢的公共用地。坐視不理只會助長商人將這些國 有資產變成私人的牟利工具。所以開墾計劃的第 一步就是想像：如果我們的土地可以成爲一個讓 所有人都蓬勃發展的工具將會怎樣呢？城市需要 的不只是遠大的目標和宏大的計劃。社區力量需 要增强，民衆自發的行動卻遠遠落後。社區需要 文化，是因爲文化能表現出隱沒的層面、忽略的 聲音、無聲的矛盾。 我覺得社區文化這概念經常被忽略，而社區凝聚 力則被視爲城市發展的附屬品。「椰菜田」反映 出社區也可以反客為主，藉著感應和改變人們之 間關係的能力，重塑一個地方、機構、工作，建 立和塑造城市的價值，以及創造出一個獨特的公 共空間。 許寶強：從你的例子中可見，公衆行爲的確可以 幫我們定義人類。因爲我們生來就有與他人交際 的需要，生活正是與他人互動和聯繫。而這些互 動並非可以規劃或控制，而是自由開放的，結果 自然也無法預測。這就是爲何總要問「社區爲何 重要？」，或爲甚麽要建立人與人之間的連結？ 我們所談論的又是何種社交和聯繫（如：社區）？ 甚至是更核心的問題，甚麽是社區？我認爲必須 解答這些最根本的問題，才能深入了解這次研討 會的主題。

參考資料： Arendt, Hannah. (1958) The Human Condition, 2nd ed. Chicago: University of Chicago Press.

Sennett, Richard. (1971) The Uses of Disorder.

London: Allen Lane ­The Penguin Press.

Sennett, Richard. (2009) The Craftsman.

London: Allen Lane ­The Penguin Press.

Sennett, Richard. (2012) Together: The Rituals, Pleasures and Politics of Cooperation. London: Allen Lane ­The Penguin Press.

Young, Iris Marion. (1990) “City Life and Difference”, in Justice and the Politics of Difference. Princeton: Princeton University Press.

許寶強 香港嶺南大學副教授 許寶強，嶺南大學文化研究系兼任副教授、流動民 主 教 室 聯 席 創 辦 人。 他 的 研 究 興 趣 包 括 文 化 經 濟 學、教育與文化研究、社區經濟、發展研究、資本 主義和市場史。著有《資本主義不是什麼》（香港： 牛津大學出版社，2002 年）、《富裕中的貧乏— 香港文化經濟評論》（香港：進一步出版社，2003 年）；合編「社會 / 文化譯叢」共六本（香港：牛 津 大 學 出 版 社； 北 京： 中 央 編 譯 出 版 社 ）； 學 術 論 文 散 見《 臺 灣 社 會 研 究 》、《Cultural Studies Review》、《Inter-Asia Cultural Studies》 等 學 報。

珍妮絲．謝菲斯 英國倫敦金匠學院教授 珍妮絲．謝菲斯，藝術家、作家及策展人。她是倫 敦大學金匠學院視覺藝術系榮譽教授，同時也是康 斯坦斯霍華德紡織品資源與研究中心高級研究員。 作 為《Textile: The Journal of Cloth and Culture》 的 創 立 編 輯 之 一， 她 編 寫 了 許 多 與 紡 織、 技 術、 表 演 和 實 踐 研 究 有 關 的 書 籍 和 文 章。 她 合 編 了《Handbook of Textile Culture》 （2015）， 並 撰 寫《From tapestry to fiber art : the Lausanne Biennials, 1962-1995》 的 前 言（Fondation Toms Pauli Lausanne 、 Skira Editions Milan, 2017）；「Ravelling and Unravelling: Myths of Europe, Texts, Textiles and Political Metaphors」 載 於 為 歐 洲 文 化 之 城 帕福斯所出版的《Weaving Culture in Europe》 （Nissos Publications, 2017） 之 中。 她 與 Barbara Layne 教 授 出 任《The Enchantment of Textile》研究顧問，獲加拿大創新基金會、社會科 學與人文研究委員會、康考迪亞大學 Milieux 研究 所的支持。

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The Future of Rural Communities Winnie Law

Fig. 1 Villagers teaching visiting how to make Hakka tea cake, 2017 Photo Credit: Policy for Sustainability Lab

“Neighbourhood”, “community” and “society” are the terms used to describe a collective body of individuals sharing something in common. The “commons” that a community is made up of may include a wide range of building blocks, both tangible and intangible. Individuals are united because of shared history and culture: the same language and customs adopted, a common list of social, economic, and political issues, or simply having to live in the same geographical area and being governed by the same set of laws and policies.

Going beyond the “commons”, what make a place truly a community are the interactions between the individuals. The interactions can take place at different activity levels in a community: chit chat between a butcher and a customer, between the craftsman from a street corner shoe repair shop and a local passer-by in a neighbourhood, discussion between citizens and government officials in a public forum concerning greening in the district, an election campaign speech attended by constituency voters, or simply the expression of “Likes” on social media. While

the interactions may or may not serve a specific functional purpose, social capital is generated from the contacts.

“Social capital is defined as an accumulation of the knowledge and identity resources drawn on by communities-of-common-purpose.”

(Falk and Kilpatrick 2000) Social capital is often explained as networks, norms, and trust embedded in communities. It is the product of social interactions (Falk and Kilpatrick 2000). Its existence reinforces social relationships (Bourdieu 1986) and facilitates certain actions of actors in the social structure (Coleman 1988).

Social capital and its virtues are considered the essential “glue” that links individuals and allows citizens (“I”) to expand their roles into a connected platform of institutions (“We”) – where a community is genuinely formed.

As we envision a livable and sustainable community, most of the items on this ideal

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community’s checklist, such as poverty alleviation, climate change mitigation, sustainable production and consumption of natural resources, etc., can only be realised in a community with a rich stock of social capital.

and biodiversity exploitation. The ecosystem processes such as water and nutrient cycling are disturbed, and most of us in the 21st century have witnessed and borne the consequences.

Besides barriers in technological advancement, m a n y c h a l l e n g e s i n t o d a y ’s s o c i e t i e s a r e compounded by the weak sense of belonging, lack of will, and lack of participation and cooperation of inhabitants at all societal levels.

Is it too late now to redefine the concept of community to embrace all the living creatures on Earth?

“Unless humanity learns a great deal more about global biodiversity, and moves quickly to protect it, we will soon lose most of the species composing life on Earth.”

(E.O. Wilson 2016) Most, if not all, human activities and interactions rely upon the goods and services provided by Nature. Materials for clothing and shelter, fuels for vehicles and machinery, and needless to say, food, come from the ecosystem. Without the bee population pollinating plants we would not have fruits, chocolate and coffee, or any vanilla-flavoured ice cream. Most cities around the world, including Hong Kong, use anaerobic digestion to treat municipal solid waste and sewage sludge where bacteria breaks down organic matter. Forests and its litter layers store and filter water before they run into rivers and reservoirs. Beyond the physical needs of mankind, we also turn to nature for leisure, enjoyment, and spiritual fulfillment.

No human community can function or be sustained in the absence of other living organisms. Human activities, however, pose various impacts, mostly negative ones, to the ecosystem. The mainstream approach of economic development, where externalities do not form part of the “costs”, has led to pollution

The depletion of social and natural capital in rural communities Villages, or rural communities, display the best scene for the scrutiny of how social capital and natural capital interplay. Traditions and heritage are often best kept in villages. Rural areas also house a diversity of natural habitats that support human beings with clean water, fresh air and food. Compared to urban areas, the interactions between mankind and nature are made more visible in rural areas as the way of life of villagers is often in harmony with their natural surroundings. In most indigenous cultures, villagers are assumed to have the duty of environmental stewardship (Fig. 1).

Unfortunately, rural communities globally have been faced with tremendous challenges in recent decades. On one hand, rapid urbanisation and pressure for development have led to changes in demography and on land uses in villages.

Farmland has been redeveloped into industrial parks and fishponds turned into landfills. On the other hand, rural communities also suffer from inaccessibility to public services and utilities, as well as information and communications technology (e.g. internet service). Spatial mobility is also an issue as these communities are often located far from the activity nodes in urban areas.

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Consequently, many rural communities vanished as they were redeveloped as if they were brownfield sites – abandoned land with little value. The ones that remain are being depopulated as the young leave for better employment opportunities or a better quality of life, leaving the social and natural capital behind, to rot with little human interaction.

The rural revival The impact of globalisation, and the consequences of climate change have given rise to a global concern over the future sustainability of rural communities.

International organisations and local concern groups are proactively seeking ways to rebuild and revitalize rural communities. Eco-Villages, Transition Communities, Cultural Landscape Management are some of the concepts and approaches that aim to achieve the social, economic, and ecological wellbeing of rural communities holistically.

“Heritage is our legacy from the past, what we live with today, and what we pass on to future generations. Our cultural and national heritage are both irreplaceable sources of life and inspiration.”

(United Nations Educational, Scientific and Cultural Organisation) Japan is one of the early leaders in Asia in revitalizing its rural communities. The Satoyama Initiative was jointly launched by the Japanese government together with concerned non-governmental organisations in 2010, with the aim to “promote collaboration in the conservation and restoration of sustainable humaninfluenced natural environments” (IPSI, 2010). “Sato” in Japanese means village, and “yama” means hill or mountain. The concept of Satoyama generally refers to the management of landscape that consists of forests, communities and the farming areas that support the communities. The essence of the management approach is the flourishing of traditional

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Fig. 2 Shirakawa-go, Japan, 2014 Photo Credit: Anna Yau

cultures and the enhancing of the productivity of the rural communities while conserving their rich biodiversity (Fig. 2).

Hong Kong has picked up the trend in recent years. A commonly cited example is the sustainable revitalization of Lai Chi Wo, initiated by the Policy for Sustainability Lab at the University of Hong Kong in collaboration with the village itself, and three other non-governmental, not-for-profit, organisations. Lai Chi Wo is a traditional local Hakka village situated in the northeastern part of Hong Kong. The Lai Chi Wo catchment houses diversified habitats including: rocky shore, mangrove and mudflat, secondary forest, freshwater streams and mature woodland. An internationally renowned ecologist openly proposed to designate Lai Chi Wo as a World Heritage Site as its “…intervening stand of near-intact mangroves represents the only natural transition from protected landward woodland to protected seaward shore in Hong Kong” (Morton 2016). Some have claimed that such an undisturbed natural transition zone could be the best remaining one in the greater southern China region.

The Hakka village itself has a documented history of more than 300 years. Like many other rural communities, the local Hakka sustained their living with farming and fishing in the nearby areas. Terrace farming was the farming method the local Hakka employed to cultivate hilly terrain. The villagers also kept the forest, or the Feng Shui Wood, behind the village houses intact as the natural barrier to protect the village from landslides and hill fires. Today’s research also reveals that the Feng Shui Wood provides other ecosystem services, such as th e m o d e ra ti o n o f mi c rocl i mate to human settlements. The natural setting with the physical

traces of human interventions is a typical one as described by the Satoyama concept.

The Lai Chi Wo village once had a population of roughly 1,000 individuals or 200 households.

When the revitalization project began in 2013, the village only had a couple of villagers staying occasionally overnight in the village, although many villagers returned for various festivals on an annual basis. The villagers also maintained and kept up the original houses as much as possible (Fig. 3).

W i th the bl essi ng of the H on g Kong SAR Government and support from the Hongkong and Shanghai Banking Corporation Limited, the project team re-established five hectares of farmland, now housing both production and community farms with produce including rice, ginger, turmeric, papaya, white radish, etc.

Food processing teams were set up to carry out value-added processing of some of the produce. Training programmes on the themes of sustainability, environment and culture were developed – gradually making the village an experiential learning hub for students at all levels. Scholars and researchers were invited to conduct hydrological research and ecological monitoring programmes at Lai Chi Wo with the objective of enhancing and restoring its natural habitats. The range of social, economic and environmental management activities attracted the early return of some emigrated villagers and also new settlers who aspire to live a rural lifestyle (Figs. 4-5).

The initial success of Lai Chi Wo resulted in its being named by the travel guide, Lonely Planet, as one of the most recommended destinations in Asia in 2016. The partnership and engagement model and some of the eco-farming

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Fig. 3 Village houses in Lai Chi Wo / 2016 Photo Credit: Policy for Sustainability Lab

methods employed were listed in the United Nations Development Programme’s NatureBased Solutions Database as recommended sustainability solutions. These have proven that the community regeneration attempts at Lai Chi Wo are on the right track.

The next phase of the revitalization programme focuses on the incubation of socio-economic models and rural startups. Insights and lessons learnt will be consolidated and organised, and an academy will be established to offer interested individuals relevant training and hands-on learning experience. The long-term vision is to be able to apply the Lai Chi Wo revitalization model to other locations in Hong Kong and in the region. While different rural communities each have their unique strengths and conditions, the social and institutional set up and the collaborative village governance structure could be replicated. What truly matters is still the social interactions.

Art and artists in villages “A dearth of information, however, about how the arts integrate with, and support, other community development processes and strategies exists. Remote/rural communities, as well as the organisations that purport to support them in development programmes, must be challenged to be innovative and visit new vistas to develop comprehensive and integrated visions for the future, pursuing less insular and narrowly focused art forms and projects.”

(Skippington & Davis 2016) In the case of Lai Chi Wo, the revitalization project is blessed to have the involvement of some keen and innovative artists and craftsmen, such as Vincci Mak, Monti Lai, Ivy Wong and Lam Chi. Some inspiring art projects include: land art exhibitions and appreciation tours, urban-rural re-connect projects through activities, such as the art of making roasted rice tea, and soil art workshops using the natural gradient of the local soil as paint, etc. (Fig. 6).

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Reflecting on the impact and contribution artists could bring to a rural community, their possible roles are unlimited. They have nature as their teacher, wild animals and plants as muses, and the changing of the seasons and climate as their canvas. Artists in the Lai Chi Wo project have served as discussion moderators, explaining where and how their art pieces display nature-human harmony. They have been activists advocating sustainability ideology in front of audiences from different walks of life. They have been farmers, as they grew their own ingredients for their projects. They have been teachers to those who wish to experience life in the village. Most importantly, they have been great partners – bringing vision, energy, creativity and imagination to a 300 year-old village.

Fig. 4 Village houses revitalization, 2015 Photo Credit: Policy for Sustainability Lab

A community is always made up of individuals w i t h d i ff e r e n c e s a n d c o m m o n s ; a s u s t a i n a b l e community must be one that facilitates collaborations among different players for the greater social and environmental good.

Fig. 5 Biodiversity in Lai Chi Wo, 2014 Photo Credit: Policy for Sustainability Lab

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Fig. 6 Soil Art Workshop with kids / 2017 / Photo Credit: Policy for Sustainability Lab

References Winnie Law

Bourdieu, P. (1986). “The Forms of Capital,” pp. 241-58 in Richardson, J. F. (eds) Handbook of Theory and Research for the Sociology of Education, New work: Greenwood Press.

Coleman, J. S. (1988). “Social Capital in the Creation of Human Capital”, American Journal of Society, Vol. 94 (Supplement), pp. 95-120.

Falk, I. & Kilpatrick, S. (2000). “What is Social Capital? A Study of Interaction in a Rural Community”, Journal of the European Society for Rural Sociology, Vol. 40(1), pp. 87-110.

International Partnership for the Satoyama Initiative (2010). IPSI Official Website. Retrieved from http://satoyama-initiative.org/partnership/.

Morton, B. (2016). “Hong Kong’s mangrove biodiversity and its conservation within the context of a southern Chinese megalopolis: A review and a proposal for Lai Chi Wo to be designated as a World Heritage Site”, Regional Studies in Marine Science, Vol. 8, pp. 382-399.

Associate Director, Policy for Sustainability Lab, Faculty of Social Sciences, the University of Hong Kong, Hong Kong Winnie Law specialises in community engagement, sustainable development and environmental management. Law is Associate Director (Policy for Sustainability Lab) and Principal Lecturer of the Faculty of Social Sciences at the University of Hong Kong.

Besides teaching at both undergraduate and postgraduate levels, Law leads a team of researchers conducting policy research, consultancy studies and knowledge exchange projects on community revitalization, sustainability assessment, social impact assessment and public engagement for policies and infrastructure projects, as well as capacity building and training for environmental conservation.

She has been director of the Conservancy Association since 2005. Law sits on a number of HKSAR Government’s advisory committees including Environmental Campaign Committee.

At the regional level, Law was commissioned by the EU, UNDP and UEPP as a planning and social monitoring expert for their environmental enhancement and education programmes in Vietnam.

Skippington, P. A. & Davis, D. F. (2016). “Artsbased community development: rural remote realities and challenges”, Rural Society, Vol. 25(3), pp. 222-239.

Wilson, E. O. (2016). Half-Earth: Our Planet’s Eight for Life, New York: Liveright Publishing Corporation.

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農村社區的未來 羅惠儀

Fig. 1 村民教導遊客製造客家茶粿 / 2017 攝影：策動永續發展坊

社區營造 當一群有共通點的人聚在一起時，我們一般會用「鄰里」、「社群 / 社區」、「社會」等詞彙來形容他們。 社區的「共通點」可包括多種多樣有形和無形的構件。這些人團結起來是由於他們有著共同的歷史和文 化、相同的語言和習俗，關注著相同的社會、經濟和政治議題，或只是因為他們生活在相同的地理區域， 並受同一套法律和政策約束。 然而，除了這些「共通點」以外，使一個地方真正構成社區的，是人與人之間的互動。互動可以發生在 社區上不同層面的活動中：肉店東主與顧客之間的閒聊，街角店舖的鞋匠與街坊之間的談話家常，市民 和政府官員在探討地區綠化的論壇上進行的討論，候選人向選民發表的競選演說，或者只是在社交媒體 上「讚好」。儘管互動未必能達到其設定目的，但社會資本已能夠在聯繫中建立。 「社會資本的定義是由共同目標社區所吸取的知識、身份資源所積累。」 (Falk and Kilpatrick 2000) 社會資本通常被解釋為社區的網絡、規範和信任。它是社會交往的產物（Falk and Kilpatrick 2000）， 其存在能加強社會關係（Bourdieu 1986），並促進社會結構中持分者的行為（Coleman 1988）。 社會資本及其優點被認為是人與人互相關聯的「粘合劑」，並促使個別市民（「我」）在一個相互聯繫 的平台上擴大自己的角色（「我們」）— 這就是一個社區的構成。 43

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當我們想像一個宜居的社區時，可持續社區清單 中的大部份項目，例如減輕貧困、減緩氣候變 化、可持續生產和消費天然資源等，都只能在社 會資本豐富的社區中實現。當今社會正面對複合 的挑戰，除了技術障礙之外，市民歸屬感薄弱， 一般都缺乏意識和意願在不同社會層面參與和合 作。 「除非人類對全球生物多樣性的了解大幅增進， 並且迅速採取行動保護它，否則我們很快就會失 去構成地球生命的大部份物種。」 (E.O. Wilson 2016) 大多數人類活動和互動都依賴自然界提供的物品 和服務。衣服和住所的材料、車輛和機器的燃料 均來自生態系統，食物則更不用說。沒有蜜蜂給 植物授粉，我們就不會有水果、巧克力、咖啡， 或香草味的冰淇淋。世界大多數城市包括香港， 都使用厭氧消化技術來處理城市固體廢物和污 泥，利用細菌分解廢物和污泥中的有機物質。森 林及枯枝落葉層能夠儲水，並讓水分在進入河流 和水塘之前得到過濾。人類除了從大自然獲得生 理需求的供應之外，也在大自然當中進行消閒活 動和尋求精神享受。 沒有其他物種的存在，人類社群就不能運作和存 續，但人類活動卻對生態系統構成許多影響，而 且主要是負面的。主流經濟發展模式沒有考慮環 境成本，因而導致污染和生物多樣性過度開發， 生態系統的水和養分循環等受到干擾。在二十一 世紀，我們都見證著這一切，並正承受其後果。 如今重新定義社區這個概念，使其包括地球上所 有的生物，是否太晚了？

境，為人類提供清潔水源、清新空氣、多種食物。 與城市相比，人類與自然的互動在農村地區更為 明顯，因為村民的生活方式往往與自然環境相協 調。在大多數土著文化中，村民都承擔著環境管 理的責任（Fig. 1）。 近幾十年來，全球農村社區不幸地面臨著巨大的 挑戰。一方面，急速的城市化和發展壓力改變了 農村人口狀況和土地用途，很多農田已經重新發 展成為工業園區，魚塘變成了垃圾堆填區；另一 方面，農村社區的公共設施及服務，以至資訊及 信訊科技（如互聯網服務）等發展也無法與當代 需要接軌。這些社區亦大多位處偏遠，交通不 便，遠離城市的活動樞紐。 因此，許多農村社區就在發展過程中消失，被當 成沒有在地價值的棕地般被推土重建。逃過都市 化衝擊的農村社區亦面對人口嚴重流失的問題。 年輕村民紛紛離開農村，出外尋求更好的就業機 會和生活質量，導致人與人之間、人與自然之間 幾乎沒有互動，社會和自然資本凋零。 農村復興 全球化和氣候變化的影響已引起全球對農村社區 未來可持續性的關注。國際組織和在地關注團體 正在積極尋求重建和振興農村社區的方法。「生 態村」、「轉型社區」、「文化景觀管理」等都 是一些旨在全面重塑農村社區之社會、經濟和生 態優勢的概念和方法。 「遺產是我們過去的軌跡，是我們今天的生活， 也是我們傳給後代的東西。我們的文化和民族遺 產是生命和靈感之不可替代的來源。」 （聯合國教育、科學與文化組織）

農村社區消失中的瑰寶 村莊或農村社區是展示社會資本、自然資本如何 互相影響的最佳場景。我們往往能在鄉村中看見 傳統習俗和古蹟遺產。鄉村還擁有多種自然生

日本在振興農村社區方面起步較早，已經成為亞 洲的表表者之一。「里山倡議」是日本政府和一 些相關非政府組織於 2010 年聯合發起的，目的 是「促進合作以保護和修復可持續的人類影響自

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然環境」（IPSI 2010）。日文的「sato」是指村莊， 「yama」是指山。里山的概念是指由森林、社區、支 持社區的農業地區所組成的景觀管理。管理方法的重 點在於傳統文化延續、農村社區生產力的持續發展， 以及同時保護當地的生物多樣性（Fig. 2）。 近年來這個國際趨勢也在香港出現，當中一個具代表 性的例子，是由香港大學策動永續發展坊夥拍另外三 個非政府組織及村民，在荔枝窩發起的永續鄉村活化 計劃。荔枝窩村是位於香港東北部的傳統客家村落。 荔枝窩流域擁有多樣化的生境，包括岩岸、紅樹林和 泥灘、次生林、淡水溪流和成熟的風水林地。一位國 際知名的生態學家公開建議將荔枝窩列為世界遺產， 因為它具有「……一個縱橫交錯而且近乎完整的紅樹 林，由陸上受保護的林地自然過渡到受保護的海岸， 是香港的唯一例子」（Morton 2016）。亦有學者認 為這種不受人為干擾的自然生境過渡，可能是華南地 區最好的範例（Fig. 3）。

Fig. 2 日本白川鄉 / 2014 攝影：Anna Yau

荔枝窩客家村已有 300 多年歷史。像其他許多農村社 區一樣，當地的客家人昔日在附近地區以農業和漁業 為生。梯田是當地客家人在山坡上種植的農耕方式。 村民將村後的樹林及風水林保留下來，作為保護村莊 防禦山泥傾瀉和山火的天然屏障。當代的研究亦發現 風水林提供其他生態系統服務，例如緩和人類住區的 微氣候。具有人類干預物理痕跡的自然環境，是里山 倡議概念所描述的典型環境。 荔枝窩村曾有多達 200 戶共約一千名村民居住。當永 續鄉村活化計劃在 2013 年開始時，儘管許多村民每 年都會回來參加各種節慶活動，村中只有幾個村民偶 爾在村裡過夜。可幸的是村民仍盡可能保養及復修村 屋（Fig. 4）。

Fig. 3 荔枝窩和周圍的自然環境 / 2017 攝影：策動永續發展坊

在香港上海滙豐銀行有限公司的支持、香港特別行政 區政府的協助下，計劃團隊重新開墾了五公頃的農田， 其中包括生產農場和社區農場，種植大米、薑、薑黃、 木瓜、白蘿蔔等；並且建立了食品加工隊，對部份產 品進行增值加工。團隊亦開拓可持續發展、環境和村 落文化主題的培訓和訓練計劃，使荔枝窩村成為各 45

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Fig. 4 荔枝窩村屋 / 2016 / 攝影：策動永續發展坊

Fig. 5 村屋活化 / 2015 / 攝影：策動永續發展坊

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Fig. 6 荔枝窩稻田 / 2014 / 攝影：策動永續發展坊

級學生的體驗學習基地。為加強和恢復當地生境，學 者和研究人員亦在荔枝窩進行水文研究和生態監測計 劃。這些林林總總的社會、經濟和環境管理活動，為 荔枝窩重新注入活力，吸引了一些移居外地的村民提 早回歸，並為渴望退隱歸田的新村民提供了安身之處 （Figs. 5-6）。 荔枝窩永續鄉村活化計劃的初步成效，獲著名國際旅 遊指南「Lonely Planet」選為 2016 年亞洲十大最佳 旅遊景點之一。計劃的多元協作模式、所採用的一些 生態農法，更獲聯合國開發計劃署選收入其數據庫， 作為以大自然為本的永續發展解決推薦方案。這些都 印證了重塑荔枝窩鄉郊社區的方向是正確的。

反思藝術家可以給農村帶來的影響和貢獻，他們的角 色是無界限的。他們以大自然為老師，揣摩野生動植 物，並以變換的季節和氣候為畫布。荔枝窩永續鄉村 活化計劃的藝術家是協調員，讓藝術作品展示人與自 然的和諧；他們是倡議者，向各行各業的觀眾倡導可 持續發展的意識形態；他們是農夫，以自己種出的農 作物作為藝術作品的原材料；他們也是那些希望體驗 鄉村生活的城市人的老師；最重要的是，他們是優秀 的合作夥伴，為一個有300 年歷史的鄉村帶來了視野、 活力、創造力與想像力。 社區總是由不相同但有著共通點的個人組成；一個永 續社區必須能促進不同持分者為實現社區和環境效益 而互相合作。

永續鄉村活化計劃的下一階段，側重於社會經濟模式 和農村初創企業的孵化。計劃亦會建立專題學院為有 興趣的人士提供相關的培訓和學習經驗。長遠目標是 希望能夠將荔枝窩活化模式應用於香港的其他鄉村甚 至境外地區。雖然不同的農村社區有其獨特的優勢和 條件，但社區和體制建立、鄉村治理協作的模式是可 以借鏡的。真正重要的還是社區人士之間的互動。 藝術和農村藝術家 「然而，對偏遠及鄉郊社區、聲稱於發展項目中支持 他們的機構，均普遍缺乏資訊，以融合藝術與其他社 區發展過程和戰略。因此應以創新及探索新領域的精 神，為未來發展全面和綜合的願景，減少追求過於狹 隘的藝術形式和項目。」 (Skippington & Davis 2016) 荔枝窩永續鄉村活化計劃有幸吸引了一些充滿熱誠且 富有創意的藝術家和工匠參與，當中包括麥詠詩、黎 慧儀、王曉欣、林池等，推出了一些鼓舞人心的藝術 項目，例如大地藝術展覽和導賞，通過製作炒米茶促 進城鄉重新連結的藝術項目，及以土壤作為天然顏料 的土壤藝術工作坊等（Fig. 7）。 47

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Fig. 7 兒童泥土藝術工作坊 / 2017 攝影：策動永續發展坊

參考資料 Bourdieu, P. (1986). “The Forms of Capital”, in Richardson, J. F. (eds). Handbook of Theory and Research for the Sociology of Education, New work: Greenwood Press, pp. 241-58.

Coleman, J. S. (1988). “Social Capital in the Creation of Human Capital”, American Journal of Society, Vol. 94 (Supplement), pp. 95-120.

Falk, I. & Kilpatrick, S. (2000). “What is Social Capital? A Study of Interaction in a Rural Community ”, Journal of the European Society for Rural Sociology, Vol. 40 (1), pp. 87-110.

International Partnership for the Satoyama Initiative (2010). IPSI Official Website.

Retrieved from http://satoyama-initiative. org/partnership/.

Morton, B. (2016). “Hong Kong’s mangrove biodiversity and its conservation within the context of a southern Chinese megalopolis: A review and a proposal for Lai Chi Wo to be designated as a World Heritage Site”, Regional Studies in Marine Science, Vol. 8, pp.

382-399.

羅惠儀 香港大學社會科學學院策動永續發展坊副總監 羅惠儀專門研究社區參與、可持續發展和環境管理。 她是香港大學社會科學學院首席講師、策動永續發 展坊副總監。 她教授可持續發展、城市規劃及環境管理課程，並

Skippington, P. A. & Davis, D. F. (2016). “Artsbased community development: rural remote realities and challenges”, Rural Society, Vol. 25(3), pp. 222-239.

Wilson, E. O. (2016). Half-Earth: Our Planet’s Eight for Life, New York: Liveright Publishing Corporation.

帶領一群研究員進行政策研究、顧問報告、社區活 化的知識交流項目、政策的可持續性評估、社會影 響評估及公眾參與的政策和基建項目，以及對環境 保育的培訓項目。 自 2005 年 起 她 擔 任 長 春 社 理 事， 並 獲 EU、 UNDP、UEPP 委任為越南環境改善、教育項目的 規劃及監測專員。

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Case Study 1 Creating Communities through Redefining Fashion 案例 #1 透過重新定義時尚建立社區

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The Empowering Reality of Fashion Pascale Gatzen

Fig. 1 Questioning the Concept of a Uniform / 2014 Image: Yurie Nagashima

How do we create actions and activities that are of benefit to others? How do we engage the transformative power of fashion to empower ourselves, and our communities? How can we shape our (material) fashion practices to become catalysts for social, economic, ecological and cultural change?

These questions are at the core of the new curriculum for the Master of Arts in Fashion Design programme, “Fashion held in Common” at ArtEZ, University of the Arts, Arnhem, in the Netherlands, that I am currently creating and, that I am in the process of implementing.

“Fashion held in Common” seeks to actively engage fashion's potential for compassion, in order to meet our common needs for connection, belonging, exchange, mutuality, and wellbeing.

This programme has been informed by many experiences I have had, and projects that I have developed, over the last few years.

One of the most exciting and beautiful projects has been "Questioning the Concept of a

Uniform" in 2014 in Mito, Japan, as part of the exhibition “You reach out – right now – for something: Questioning the Concept of Fashion” at Art Tower Mito and at the Marugame Genichiro-Inokuma Museum of Contemporary Art (MIMOCA), Marugame, Japan. This project has shown me a glimpse of the absolute transformative power of fashion.

Two weeks before the opening of the show I worked with 8 of the 32 female guards of the museum, teaching them how to construct and sew their own uniforms (Fig. 1). Most of the women had never sewn before and I had to teach them from the beginning. For example, we did a five-hour workshop on how to set in a sleeve. I engaged with the women in collective decision-making processes to decide on the shape of, and the inspiration for, their uniforms.

We decided on a fairly simple dress, with a distinctive collar shape, as the base upon which they could elaborate their own designs.

By the evening of the opening, all eight women had successfully created their own uniforms.

They were extremely proud and some were very emotional. For the first time in their 51

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Fig. 2 Questioning the Concept of a Uniform / 2014 Image: Yurie Nagashima

careers, they had been approached by, and had spoken with, visitors as an essential part of an exhibition.

The exhibition ran for 3 months. We had agreed that the 8 women that I worked with would teach the remaining 24 guards how to make their own uniforms. The museum had set up a workspace in which the women could teach, learn, and make their uniforms. At the end of the three months all 32 women had each made their own uniform (Fig. 2). Each one was unique. Each had the distinctive “handwriting”, or personal craftsmanship, of the individual guard who had created it, as well as the “handwriting” of the other guards with whom they had exchanged skills and gifts. The women had all included fabrics that they had a personal emotional connection to. They had exchanged handsewing and embroidery skills, fabrics, as well as small hand-sewn gifts that were to be attached to the uniforms (Fig. 3).

As museum guards, they had been working in each other’s presence during those three months, performing their everyday duties whilst wearing and developing their own uniforms.

Their uniforms were, in effect, in a constant state of becoming. Beyond my wildest expectations, the women had, on their own, developed and created a distinctive visual language that brought about a uniformity that was yet so alive, so abundant and so incredibly potent.

This project showed in a subliminal way what fashion is, and what fashion does, devoid of

the conditions of competition and the notion of scarcity. The uniforms were created because the women created them, and cared for each other: they shared excitement, inspiration, respect, love, and appreciation – all through the material reality of their self-made uniforms.

Before this project the women didn't know each other very well, but through it, they became a tightly knit community, beaming with love.

Today, three and a half years later, the women are still working together, they have organised themselves, they give workshops, and they sell small hand-made items.

Another project is one I initiated in 2015 − an economic activity with the intention of sustaining a worker-owned business. I had come to understand the notion of worker cooperatives as a hybrid model through which we can start to explore and practice active citizenship again.

By organising our work and economic activities within a worker cooperative structure, we take ownership over the way we shape the work itself, and allocate profits.

Worker cooperatives can still function within a capitalist economy, but the workers are no longer purely in the service of capital. In worker owned businesses, capital serves to meet the social, cultural and economic needs of the members of the cooperative.

With a group of friends, we founded Friends of Light. Friends of Light are an organisation that develops and produces jackets woven to form.

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We construct our own looms to create pattern pieces that have complete woven edges (selvages), and therefore do not need to be cut (Fig. 4). The final design emerges from both the materials used, and the methods developed, to weave two-dimensional cloth fabric into three-dimensional form (Fig. 5).

Building and sustaining relationships, human relationships, is at the core of our identity as a cooperative. Every aspect of our value chain is a human relationship of mutuality and exchange.

Fig. 3 Questioning the Concept of a Uniform / 2014 Image: Yurie Nagashima

We partner with small-scale fibre producers to source our raw materials, and with spinners to develop our yarns. We develop and produce jackets woven to form for each individual client. Each jacket expresses the collective knowledge of all the people involved in its creation.

We have developed close and intimate relationships with the farmers and artisans that we collaborate with. All the fibre producers and spinners we work with have great integrity, and an endless passion for, and deep knowledge of their craft (Fig. 6). It has been an amazing journey of mutual growth, discovery, creativity, and development. They have become friends and partners in helping fulfill our mission: to grow economically vibrant ecosystems of small-scale fibre producers, textile artisans, and designers within different localities.

Fig. 4 Friends of Light-Woven Jackets 2015 Image: Daniel Costa

With our encouragement and coaching, Justin Squizzero, our linen spinner, has founded his own company, and is now producing handspun and hand woven linen, with great integrity. He is very interested in reviving small scale farming in his 53

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Fig. 5 Friends of Light-Woven Jackets / 2015 Image: Pascale Gatzen

Fig. 6 Friends of Light-Woven Jackets / 2015 Image: Pascale Gatzen

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"Worker cooperatives can still function within a capitalist economy, but the workers are no longer purely in the service of capital. In worker owned businesses, capital serves to meet the social, cultural and economic needs of the members of the cooperative".

locality in Vermont, USA. Sara Healey, a farmer from Buckwheat Bridge Angoras in upstate New York, is now collaborating with many designers from New York City – and she has even started to make garments herself. She won the first prize at the local Country Fair in 2017 for her felted jacket. I supported her by helping her to create the jacket pattern.

Early on we decided not to offer our garments for sale in shops, but to work directly with clients. To a greater or lesser extent, we are in direct contact with our clients throughout the production process, and it is this personal relationship and interaction with our clients that has had a substantial impact on our experience of production.

As we produce a jacket, we actively engage with our customer and get to know their unique personalities and idiosyncrasies. A sense of each individual client emerges through the specific choices we make, and in the senses and skills we apply as we weave their garment. Since it takes us approximately 160 hours in total to weave one jacket, as time passes, unexpected variations are often woven into the garment − aesthetic and functional variations that reflect the customer, and that add to the intensity of the design.

In one case, a client asked us to integrate inherited fabrics from her grandmother into the weaving.

From their own unique perspectives, knowledge, and contexts, our clients are attracted to ordering a jacket from us because they relate to the garment’s presence and to the values it represents. This creates a dimension of exchange and a mutual identification

with a shared reality. All our clients have become our friends. The sense of kinship, trust and exchange, that we experience with our clients become sources of focus, attention, confidence, love, and care. These interactions, the promise of continued interactions, and the anticipation of the completed jacket finally entering the client’s world, resonate strongly, as we progress through production. The final jacket itself is more than a mere garment – it embodies a relationship (Fig. 7).

Our jackets sell at a high price. This could label us as exclusive, yet we see ourselves as highly inclusive. We are very aware of our immediate and larger community: we organise community events, we educate the public about worker cooperatives, we host cultural events, in order to contextualise our work within textiles, fashion, and art culture and history.

We also facilitate workshops in which we teach people our weaving techniques and about the way we organise ourselves as a business. We are growing our business − which means growing the membership in our cooperative (Fig. 8).

I have never felt more of a sense of purpose in designing and creating a garment. It is no longer simply a matter of personal expression − it has become a matter of love and care for a growing community. The jackets have become a means to sustain a vision, a community, and a world that is rooted in mutuality, care, awareness, exchange, joy, autonomy and love.

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(left) Fig. 7 Friends of Light-Woven Jackets / 2015 Image: Daniel Costa (right) Fig. 8 Friends of Light-Woven Jackets / 2015 Image: Shari Diamond

Pascale Gatzen Artist, Head of the Fashion Design Master’s programme at ArtEZ University of the Arts, Netherlands Pascale Gatzen is a Dutch-born artist and fashion designer and Head of Fashion Design Master’s programme of ArtEZ Hogeschool voor de Kunsten based in New York and Arnhem. She is a graduate of the fashion department at ArtEZ Hogeschool voor de Kunsten, Arnhem. Along with five other graduates, among whom Viktor & Rolf, she showed as Le Cri Neerlandais, the first Dutch fashion designers to have a runway show in Paris. Gatzen produces and facilitates large collaborative projects using clothing as her main medium.

Embracing fashion as a mode of human togetherness, the focus of both her artistic practice and her teaching is on the relational aspects of fashion, advancing cooperative models of production and exchange. As Associate Professor of Fashion at Parsons School of Design, the New School, she has developed and implemented an alternative fashion curriculum with an emphasis on radical compassion. She is a founding member of “friends of light”, a worker cooperative for textile production in Brooklyn and the Hudson Valley, New York.

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時裝的增強功能 帕絲卡 . 蓋茨恩

Fig. 1 Questioning the Concept of a Uniform / 2014 攝影 : 長島有里枝

我們究竟如何創造行爲和活動才能使他人得益？如何利用時裝的變革力量令自己和社區增權自強？又如 何以（物質）時裝工業促成社會、經濟、生態和文化的改變？ 我在荷蘭阿納姆的阿特爾兹藝術大學，開辦了「Fashion held in Common」時裝設計碩士課程，而以上 問題概為課程的核心。這個課程盡量發揮時裝愛的潛能，以迎合我們對聯繫、歸屬、交流、互惠、幸福 的共同需求。 我依據過去幾年累積的經驗和策劃項目去設計這個課程。 回想一個最令人興奮的精彩項目是「Questioning the Concept of a Uniform」，2014 年先後展出於 日本水戶市水戶藝術館、丸龜市豬熊弦一郎現代美術館「You reach out–right now–for something: Questioning the Concept of Fashion」展覽。這個項目向我展示了時裝無庸置疑的變革力。 展覽開幕前的兩周，我與三十二位博物館女接待員其中八位合作，教導她們如何設計和縫製自己的制服。 由於她們大部份從未有縫製經驗，所以需要從頭學起，我們就曾一起進行了五小時的裝袖工作坊。我帶 領她們集體參與決策過程，從中啟發靈感並決定制服的樣式。最後我們以一條相當簡單的裙子配獨特的 領子，作為基本的設計，然後讓她們自由發揮。在展覽開幕的晚上，八位女職員均成功完成作品（Fig. 1）。 她們為此感到非常自豪，有的更有所感觸。這是她們職業生涯中，第一次獲參觀者主動接觸和交流，自 己並成爲展覽重要的部份。

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「其實工人合作社仍在資本主義經濟體中運作，但工人不

再純粹為資本工作；相反在工人自資企業中，資本須滿足 合作社成員在社會、文化和經濟方面的需要。 」

該展覽持續了三個月。我們商定合作過的八位女 職員將會教導其他二十四位接待員如何自行製作 制服。博物館亦劃出一個工作空間，讓她們可以 教授、學習、製作制服。到三個月結束時，全部 三十二位女職員皆製作了自己的制服，每一件都 是獨一無二（Fig. 2）。每件制服不但有着創作 者獨特的標記，更載負與其他接待員分享技能及 成果的記憶。這些女性全部帶來滿有感情的布 料，互相交流手縫和刺繡的技巧、布料，以及釘 上制服的小手縫飾物。 這些女接待員三個月裏一起工作，履行日常職務 期間，並設計及穿著自己設計的制服，其間制服 外觀不斷轉變。出乎意料地，她們漸漸開創了一 種獨特的語言，而這語言更帶來活潑、豐富而有 力的團結一致。 這項目不為意地帶出時裝的角色和功能，而不涉 及任何競爭或乏匱的概念。女職員互相眷顧並創 作制服，從中得到物質收穫，繼而分享喜悅、靈 感、尊重、愛和欣賞。 其實女職員在項目開始前，彼此間並未太熟悉， 她們從此組成了一個充滿愛的羣體。項目完結距

今已三年半，那些女職員仍在一起工作，她們更 團結起來舉辦工作坊，並出售小型手工製品。 2015 年我發起一個支持工人自資企業的經濟活 動。我領悟到工人合作社可作為一種混合模式， 以探索和實踐積極公民的概念。我們在工人合作 社體制內組織工作和經濟活動，自主工作形式、 利潤分配。其實工人合作社仍在資本主義經濟體 中運作，但工人不再純粹為資本工作；相反在工 人自資企業中，資本須滿足合作社成員在社會、 文化和經濟方面的需要。 我 與 朋 友 一 起 創 辦「Friends of light」。 「Friends of light」致力開發和生產編織的外套。 我們自製織布機，造出不需切割卻有完整織邊的 布片（Fig. 3）。設計效果來自布料和平面變立 體的織法（Fig. 4）。 我們合作社的核心是建立和維繫人際關係，時刻 珍惜人際之間的關係和交流。我們與小型纖維生 產商合作採購材料，並與紡紗廠合作開發紗線。 我們為每位客戶研製編織的外套，每件作品都表 現出參與製作人士的集體知識。

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Fig. 2 Questioning the Concept of a Uniform / 2014 攝影 : 長島有里枝

（左）Fig. 3 Friends of Light——編織外套 / 2015 / 攝影 : 帕絲卡 . 蓋茨恩 （右）Fig. 4 Friends of Light——編織外套 / 2015 / 攝影 : Daniel Costa

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Fig. 5 Friends of Light——編織外套 2015 攝影 : 帕絲卡 . 蓋茨恩

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我們與合作的農民和工匠建立了緊密的關係。曾合作 過的纖維生產商和紡紗廠都滿懷熱誠，他們對各自的 工藝有着無盡的熱情和深厚的知識（Fig. 5）。這是一 趟共同成長、探索、創造、發展的精彩旅程。他們成 為了履行我們使命的朋友和夥伴，共同為不同地區的 小型纖維生產商、紡織工匠與設計師發展出一個經濟 蓬勃的生態系統。

我們的外套以高價出售，這可能被標簽為高檔，但我 們則認為自己的製品並非遙不可及。我們放眼於自己 社區及廣大社群，藉着組織社區活動、推廣工人合作 社、舉辦文化活動，為製品加入紡織、時尚、藝術文 化和歷史等元素。我們並主辦工作坊教授編織技術和 經營業務之道。隨着業務不斷發展，合作社的成員亦 因應增加（Fig. 7）。

在我們的鼓勵和指導下，紡麻師 Justin Squizzero 創

我從沒有在設計和創作服裝方面如此滿懷目標。這已 不限於個人表現，而是對一個成長中社區的愛護和關 懷。堅持互惠、關顧、體恤、交流、歡樂、自主和愛， 無論作為一個願景，抑或建立這樣的社區或世界，外 套就是達成目標的一種工具。

辦了自己的公司，現正生產優質的手紡和手織麻布， 他志在於居住地美國佛蒙特州復興小規模農業。另一 位來自紐約州北部 Buckwheat Bridge Angoras 的農 夫 Sara Healey ，正與許多紐約設計師合作，開始自 己製作服裝。她的氈布外套曾於 2017 年的國家博覽 會上奪得第一名的殊榮。我並幫忙她設計外套的圖樣。 我們一開始就決定不在商店銷售製品，而是直接售予 客戶。我們或多或少，在生產過程中一直與客戶保持 聯繫，而這種與客戶之間的關係和互動，給予我們非 常深刻的製作經驗。 當我們生產外套時，會積極與客戶接洽並了解其特質， 這決定我們製作時的選材和織法。編織一件外套需要 160 小時，隨着時間，意想不到的變化會織到衣服上， 例如反映着顧客口味之美學和功能的變化，就會增加 設計的效果。曾經有顧客希望把祖母留下的布料結合 到我們的織布。 我們的客戶各有獨特的見解、知識和背景，他們訂購 外套是想擁有衣服和所代表的價值。這造就了一個與 服裝交流、彼此共享的空間。我們所有的客戶都成為 了朋友，相互之間的關係、信任與交流，更轉化成聚 焦、關注、信賴、愛和關懷的泉源。這些互動、持續 互動的承諾，以及期盼外套成為客戶生活的一部份， 都會隨着生產過程而深化；大家因製作外套而建立起 關係，最終產品已超越服裝的本義（Fig. 6）。

帕絲卡．蓋茨恩 藝術家、荷蘭 ArtEZ 藝術學院時裝設計碩士課程主任 帕絲卡．蓋茨恩是荷蘭藝術家及時裝設計師，生活和工作 於 紐 約， 同 時 也 是 荷 蘭 阿 納 姆 ArtEZ Hogeschool voor de Kunsten 時裝設計碩士課程的主任。她早前於該時裝 學院畢業後，聯同 Viktor & Rolf 在內的五位畢業生，成 立了時裝設計團隊 Le Cri Neerlandais，並成為第一個在 巴黎參與時裝表演的荷蘭設計團體。蓋茨恩以衣服作為主 要媒介，製作和推動大型的合作項目，把時裝作為人類合 作的一種模式。她的藝術實踐和教學重點都側重於探討時 裝的相關範疇，思考推動生產和交流的先進合作模式。她 作為 Parsons School of Design 時裝系的副教授，開發 並實施了一種強調同理心、創意十足的時裝課程。她也是 紐約布魯克林和哈德遜河谷之紡織生產合作社「friends of light」的創始會員。

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（左）Fig. 6 Friends of Light——編織外套 / 2015 / 攝影 : Daniel Costa （右）Fig. 7 Friends of Light——編織外套 / 2015 / 攝影 : Shari Diamond

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Fashionscape Design: Creating New Situations for Wearing Clothes Nishio Yoshinari

Fig. 1 Familial Uniform: Nishio Family 2006 / lambda print / h: 103 cm w: 145.6 cm × 2

For modern civil society, clothing gives its members a sense of security and confidence, and functions as a medium that facilitates communication. In order to be accepted as a legitimate member of society, it is necessary to learn cultural norms and expectations in relation to the body. In other words, both selfexpression and communication through clothings is practiced within the accepted norms of a given culture. Furthermore, in today’s contemporary globalised society, new clothing is manufactured and presented to us each season, inviting our participation in an unremitting act of consumption.

Considered in this way, while assuming the role of a form of communication, clothing might also be said to hinder certain other forms of communication that might otherwise have been possible. This, I consider to be the central concern that informs my practice as an artist.

H o w e v e r, n o t w i t h s t a n d i n g t h i s r e a l i s a t i o n , I feel that clothing has more potential as a communication tool than any other medium, due to the fact that everyone is already a participant in, and practitioner of, clothing.

In my practice, I have aimed to redeem the active engagement of people as clothing practitioners, and restore the latent communicative possibilities of clothing.

I refer to my art practice as “fashionscape design”, signifying the design of unexpected situations in which clothes are worn or utilised through art projects and workshops. My experiments, which take numerous forms, aim to diversify and broaden the ways in which people interact with clothing, including the action of acquiring, wearing, changing, washing, and disposing of garments.

My early work Familial Uniform (Fig. 1) focuses on the relationship between fashion and communication. For this work, I recreated family photographs that had been taken twenty years previously, using the same locations, people, and clothing − exactly as they all appear in the original images. What made this work possible were the close family ties that had endured through the years.

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Fig. 2 Self Select #39 (Nairobi) 2009 inkjet print h: 103 cm w: 145.6 cm

I expanded my interest in the relationship between clothing and people in my next project, Self Select (Fig. 2). In this work, I attempted to exchange my clothes with those of strangers I encountered in various cities that I had travelled to. With little knowledge of the local languages, I had to communicate using simple, prepared sentences such as: “I'm poor at communicating in your language, but would you mind exchanging your clothes with mine so we can communicate more deeply?” Fortunately, some of the passers-by I met were happy to exchange their clothes with me, and furthermore, agreed to have their photographs taken as well. This is an ongoing life-long project that I am still pursuing today.

Overall (Figs. 3-4) and People’s House (Fig. 5) were both conceived through my research into clothing size. For these projects, I transformed clothing originally manufactured for a single person into huge garments that can accommodate a multitude of people. Both projects began with the collection of unwanted clothes in various sites that were then patched together with the help of local residents.

Eventually the patchwork turned into a great

canopy, and the exhibition site became a meeting place open to all. In both Overall and People’s House, the patchwork was then taken apart at the end of the installation, and once again made into clothes worn by individuals.

Similar to Overall and People’s House, Pubrobe (Fig. 6) is a project that involved the creation of a space with clothing, where visitors could share individual garments with others. This project was conceived and exhibited at the Aichi Triennale 2016, with the aim of highlighting certain aspects of social design. For this project, I asked locals to donate unwanted clothes in order to create a public wardrobe for all. Museum visitors could freely try on garments and borrow them in a similar fashion to borrowing a book from a library. The aim of the project was to offer a fresh lens on how clothing defines our identity.

In this regard, Pubrobe bears a resemblance to Self Select introduced earlier. Sewing machines were also placed in the gallery for visitors who wished to adjust the sizes of clothing or make other alterations. Using garments as a medium, Pubrobe created unexpected situations that resulted in a unique space for communication.

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Fig. 3 Overall: Steam Locomotive / 2010 / old clothes, stick h: 300 cm w: 250 cm d: 750 cm

Laundry of the Senses (Fig. 7) is a public art workshop that involves the action of washing and drying laundry, an activity that anyone can perform. The idea for this workshop developed out of a visit to Kenya, at which time I noticed how the action of washing clothes in public made the town seem more vibrant, while the laundry that hung outside added colour to the urban landscape. My intention in this workshop is not to deny the existence of automatised washing and drying, but to encourage people to wash laundry outdoors and stimulate their creative sensibilities. To aid this process, during the workshop the participants create “music” with the sounds made while handwashing their laundry, hang their washed clothes to dry in public spaces in town in the manner of multinational flags, take lunch as if celebrating hanami − a Japanese custom of enjoying seasonal flower-viewing with food and drink − while savoring the sight of their hung laundry, and finally, sketch the urban landscape that has been given new vibrancy. After their creativity has been inspired by these activities, the participants then change into their newly washed clothes on site, and return home.

This workshop is now held regularly at Iwaki City in Tohoku prefecture, an area struck by the disastrous tsunami on 11 March 2011. Due to the effects of

Fig. 4 Overall: Ueno Great Buddha / 2009 / old clothes, rope Photo by Masakazu Shibata

Fig. 5 People’s House: Clothes / 2010 old clothes

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Fig. 6 Pubrobe / 2016 old clothes, hangers, pipe scaffolding, flameproof sheet, wire fence, tables, chairs, sewing machines Interactive installation Photo by Yoshihiro Kikuyama

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Fig. 7 Laundry of the Senses 2017 workshop view

the devastating earthquake, tsunami, and Fukushima nuclear plant incident, this area previously went through a period during which all laundry was hung indoors and children could not be seen playing in local parks. An activity such as this, in which an everyday task (in this case, washing clothes) is performed in public, may well be needed most in places that have experienced such events.

One might wonder why I insist on ways of communicating that might appear outmoded − gathering together to wash clothes, or borrowing garments as you would a library book − in an age when online communication through the Internet and mobile phones is so ubiquitous.

This may perhaps be attributed to my genuine attraction to such activities from former times that I myself never experienced, but I also believe that by installing past lifestyles back into contemporary life, the meanings in people’s behaviour and the landscape itself can really be transformed. Such activities were presumably hard work in the past, and most people had no choice but to do them, but people today may perhaps find joy in these same activities. I believe this can be attributed to the excessive organisation and strain of contemporary life, which leads us to seek different ways of using time.

To d a y ’ s I n t e r n e t s o c i e t y h a s a c h i e v e d instantaneous and widespread communication.

I, too, am an advocate of such advances, but at the same time I think that, as human beings, we also need slower and more intimate forms of communication. For example, in comparison to the long history of washing clothes by hand, the

action of washing without physical contact with water has a very short history. In this sense, I think we always need to look back to the past, and to more natural means of behaviour and interaction. (un)Uniform (Fig. 8) is a project that invited endusers into the design process of a personalised uniform, challenging the idea of conventional, homogenised styles. In Toride Art Project, an art festival held in Ibaraki prefecture, staff members have developed a kind of tradition where they each wear clothing items that match the theme colour selected for each respective year. Incorporating this tradition into my project, I asked staff members to bring personal items that corresponded to the colour of that particular year, after which we then recombined them to create unique forms.

I further developed these activities into a new method for creating clothes, devising new fashion brands with elderly women and with children respectively. While generally encouraged to stimulate creativity through play, children are typically not allowed by adults or society at large to fool around when it comes to clothing. It would be unthinkable, for instance, to allow children to cut up their own clothes with a pair of scissors (Fig. 9). In this sense, even children are already participants in the act of “fashion” and of wearing clothes.

I am currently interested in the idea of incorporating the concept of “fashionscape” into the making of clothing, such as in the collaborative production of clothing with children, elderly women, and others on the fringes of

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Fig. 8 (un)Uniform: Toride Art Project 2006 Photo by Tsuyoshi Saito

the fashion industry, as well as in the production of clothing where unique forms of communication are reflected in the creative process itself (Fig. 10).

Fashion represents a medium that is the closest and most familiar to human beings.

The clothes that one already wears, the act of rethinking one’s clothing, and stopping to think about fashion itself, are all connected to the creative acts of making our everyday lives richer and more fulfilling.

I do not think the rights and privileges associated with these acts should be monopolised by so-calleds fashion brands. The joy involved in the creative act is open to all people, and all “participants” (Fig. 11).

Nishio Yoshinari, Artist, Japan Nishio Yoshinari lives and works in Nara. After obtaining a Ph. D. in Fine Arts from Tokyo University of the Arts in 2011, Nishio stayed in Nairobi, Kenya for two years as a grantee of the Japanese Agency for Cultural Affairs. He currently works as Associate Professor at Nara Prefectural University. His works have consistently referred to relationships between fashion and communication, as he has developed art projects with the cooperation of citizens and students around the world.

Fig. 9 Form on Words 2008 workshop view

His group exhibitions include Socially Engaged Art (3331 Arts Chiyoda, Tokyo, Japan, 2017), Aichi Triennale (Aichi, Japan, 2016), In Progress (Zendai Contemporary Art Space, Shanghai, China, 2015), Invisible Energy (ST PAUL St Gallery, Auckland, New Zealand, 2015), You reach out – right now – for something: Questioning the Concept of Fashion (Contemporary Art Gallery, Art Tower Mito, Japan, 2014), Biennale Benin (Cotonou, Benin, 2012), Echigo-Tsumari Art Triennial (Niigata, Japan, 2009) and Media City Seoul (Seoul Museum of Art, Korea, 2006).

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"In my practice, I have aimed to redeem the active engagement of people as clothing practitioners, and restore the latent communicative possibilities of clothing."

Fig. 10 Form on Words 2008 workshop

Fig. 11 (un) Uniform: Arts Maebashi 2014 old clothes Photo by Yuasa Tohru

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時尚設計：穿出新意 西尾美也

Fig. 1 Familial Uniform: Nishio Family（西美尾也的家庭） 2006 / 光學打印 / 一組兩幅，高：103 厘米 寬：145.6 厘米

服裝對現代社會成員而言，是一種安全感和自信心的來源，並成為促進人與人之間溝通的媒 介。學習社會對身體的規範和法則，是人們獲得社會認同的有效方式，換句話說，衣服在特 定文化規範的要求下，成為人們自我表達和溝通的準則。在當今全球化的背景之下，新衣服 按照季度推出，刺激人們不斷消費。 由於每個人都穿衣，服裝在作為交流工具這件事上，顯然比其他媒介具有更大的潛力。然而， 服裝既是公認的一種溝通方式，是否亦阻礙了其他可能的溝通方式，這是我作為藝術家所思 考的核心問題。 在藝術實踐中，我試圖恢復人們成為活躍的穿衣者，重塑衣服在溝通方面潛在的可能性。我 嘗試通過不同的藝術項目、工作坊，來設計穿戴或使用衣物的非常規方法，以多種形式拓寬 人們與衣物的互動方式，這其中包括購買、穿著、更換、洗滌和丟棄等行為，我總稱其為「時 尚設計」。 我的早期作品《Familial Uniform》，就是對時尚和交流關係的探討，我以相同的人物、地 點與服裝，再現一張二十年前的家庭合影，家庭成員之間的親密關係，是促成這件作品的基 礎（Fig. 1）。

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在另一個項目《Self Select》中，我嘗試與旅途 上不同城市的人交換衣服，延續了對人與衣物關 係的探討。由於語言的限制，我只能很簡單的表 達「我不太熟悉你的語言，但我想更了解你，你 願意和我交換衣服嗎？」幸運的是，有些人願意 這樣做，並同意我用相機記錄，這是一個我將持 續下去的終生計劃（Figs. 2-3）。 《Overall》（Fig. 4）、《People’s House》 （Fig. 5）的構思，源自我對衣物尺寸的研究， 將原來的單人衣服改裝成可容納多人的衣物。通 過在不同地方收集人們棄置的衣服，我在當地居 民的協助下，將所有布料縫製成一張巨幕，私人 衣物由此轉化成可供集會的公共空間。這兩個拼 布項目結束時，布料被拆開回收，重新變作屬於 個人的衣服。

與以上兩個項目相似，《Pubrobe》邀請參與 者建立共享私人衣物的空間，這個項目展出於 2016 年「愛知三年展」，旨在探討社會設計的 多種可能，以及服裝如何界定我們身份的全新角 度（Fig. 6）， 這 與 上 文 提 到 的《Self Select》 相呼應。我邀請當地居民捐贈他們不要的衣物， 從而創造出一個公眾衣櫃，參觀者如同走進一間 圖書館，可以自由試穿或借出這些衣物，也可操 作展廳內的縫紉機，以調整尺寸或更改設計。 《Pubrobe》以衣物為媒介，創造出一個可作交 流的不尋常空間。 《Laundry of the Senses》是一項公眾皆可參 與的活動—洗衣和晾衣工作坊（Fig. 7）。我曾 於肯尼亞旅行時，見到當地人如何通過洗衣這件 事令小鎮生機勃勃，如何讓衣服給景觀增添色

Fig. 2 Self Select #111（奧克蘭）

Fig. 3 Self Select #80（科托努）

2015 / 噴墨打印 / 高：103 厘米 寬：145.6 厘米

2012 / 噴墨打印 / 高：103 厘米 寬：145.6 厘米

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Fig. 4 Overall: Steam Locomotive 2010 舊衣物、樹枝 高：300 厘米 寬：250 厘米 深：750 厘米 攝影：千葉康由

Fig. 5 People’s House: Skirt 2014 舊衣物，一組 12 件 高：900 厘米 寬：400 厘米 攝影：島村幸志

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Fig. 6 Pubrobe / 2016 舊衣物、衣架、喉通棚架、防火板、鐵絲網、桌、椅、縫紉機、互動裝置 攝影：菊山義浩

Fig. 7 Laundry of the Senses / 2017 / 工作坊 Fig. 8 (un) Uniform: Toride Art Project/ 2006 / 舊衣物 / 攝影：齋藤剛

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彩，因而開始思考怎樣通過戶外洗衣活動去刺激人們 的創意，而這並非想否定洗衣、乾衣機的功能。我邀 請參加者一面洗衣，一面雙手創作「音樂」，到鎮上 晾衣時就掛成萬國旗幟，然後在下面享用午餐，好像 日本民眾於賞花時節享用美食的傳統習俗，並素描出 彩衣飄揚的風景。最後，大家滿懷愉悅之情換上新洗 淨的衣物回家。 現今這個活動仍於東北地區的磐城市定期舉行。磐城 市受 2011 年 3 月 11 日的地震及核電洩露事件影響， 很長時間內洗衣晾衣都在室內進行，孩童亦不能在露 天公園玩 耍。《Laundry of the Senses》 在這種情 況下引入，藉著在公共地方進行日常活動（在此指洗 衣），正好切合浩劫後人們的生活需要。 有人會問為何我無視發達的互聯網、手提電話等社交 網路，卻執迷於過時的交流方式，如上文提到以洗衣、 公眾衣櫃去聚集人群。這是因為我受過去所吸引，我 更堅信當代人類行為、生活景觀可以因「過時」的活 動而發生改變。這些活動在過去屬於沒有選擇的艱苦 生活，而在社會高速運轉的今天，人們願意尋找新的 方式體驗生活，從前人的活動中找到樂趣。 即時通訊之運用廣泛、發展迅速可算前所未有，我亦 是這種科技進步的受惠者和倡導者。然而，我們也需 要慢速、親密的交流形式。就拿洗衣這件事為例，使 用機器的歷史，相較於人類用手洗衣的幾千年歷史，

短到可以忽略不計。我們需要不斷回顧歷史，學習較 天然的行為及交流方式。 在進行《(un)Uniform》項目時，我邀請用家參與設計 個人化制服，挑戰統一化的傳統風格。茨城縣舉辦的 「Toride Art Project」藝術節，工作人員可以根據年 度主題顏色自行選擇所穿的服裝，我將這一傳統融入 《(un)Uniform》中，邀請工作人員帶來符合主題顏色 的私人物品，然後一起縫製獨特的制服（Fig. 8）。 之後，我又分別與老婦和兒童合作設計服裝，發展時 裝品牌。一般來說，成人容許兒童遊戲來激發創造 力，給他們剪刀去裁衣在成人眼裡卻仍然不可思議 （Fig. 9），然而兒童若透過裁衣，已算在參與時裝 和造衣。 「時尚設計」結合製作衣服是我近來的關注重點， 即 如 何 與 老 婦、 小 孩或 其 他 時 裝 業 外 人 士 等 合 作 造 衣， 以 及 造 衣 創 作 過 程 中 進 行 獨 特 的 交 流 形 式 （Fig. 10）。 服裝是人類最親密和熟悉的媒介。個人的衣著、反思 自己的打扮，以至不再執著潮流等創意行為，都使我 們每天生活更加豐富多彩。我想創作衣著的樂趣不應 是時裝品牌的專利，而是屬於每一個人及所有「參與 者」。

西尾美也（日本藝術家） 西尾美也現生活及工作於日本奈良。2011 年在東京藝術大 學獲得藝術博士學位後，經日本文化廳贊助到肯雅奈羅比 居住了兩年。他現在是奈良縣立大學的副教授。他的作品 致力探討時裝與傳意的關係，其藝術計劃亦會與世界各地 的居民及學生合作。 參與的聯展包括「Socially Engaged Art」（2017）；「Aichi Triennale」（2016）；「In Progress」（2015）；「Invisible Energy」（2015）；「You reach out – right now – for something: Questing the Concept of Fashion」（2014）； 「Biennale Benin」（2012）；「Echigo – Tsumari Art Triennial」（2009）；「Media_City Seoul」（2006）。

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「在藝術實踐中，我試圖恢復人們成為活躍的穿衣者，重塑衣服在溝通方面潛

在的可能性。我嘗試通過不同的藝術項目、工作坊，來設計穿戴或使用衣物的

非常規方法，以多種形式拓寬人們與衣物的互動方式，這其中包括購買、穿著、 更換、洗滌、丟棄等行為，我總稱其為『時尚設計』。」

Fig. 9 Form on Words / 2014 / 時裝表演 / 攝影：湯浅亨

Fig. 10 Form on Words / 2008 / 工作坊

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Case Study 2 Textile Intervention to Transformation of Communities 案例 #2 透過紡織促進社區轉型

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Collaboration & Community: Transforming the Conditions of Everyday Life Nicole Barakat

I have been working as a lead artist and facilitator with communities for almost fifteen years. It was only after I graduated from art school that I gained my education in community arts and cultural development. Through my direct experiences of working with communities as well as informal mentorships with experienced arts and community workers, I developed a passion for a way of working that now sustains my art practice.

Those women who mentored me worked, and still work, with communities from a political and social justice perspective, primarily supporting women of colour, refugee and asylum seeker communities, migrant women, LGBTQIA+ (Lesbian, Gay, Bisexual. Transgender, Questioning / Queer, Intersex and Asexual / Allies) communities, and other peoples on the fringes of the supposed centres of society.

My experiences in these circles taught me not to make a division between my work as an artist and my politics. Making art with people is a political act and inevitably creates change in ways that aren’t always measurable.

I consciously approach my practice in community engagement and education in a non-hierarchical way. I have a body of knowledge and experiences and so do the people I am working with. I value this process as an exchange of our knowledge, skills, experiences − a genuine collaboration.

Therefore one of the most important aspects of my projects is building trust with participants and establishing a mutual respect for each other.

Forming genuine connections, and sometimes friendships, with participants is just as vital as the final work we produce.

My connection with communities does not exist in a vacuum. The ability to build trust depends heavily on the existing relationships that participants already have with the organisation, curator or producer. So far, I have mainly worked on collaborative community projects that have been initiated by existing arts organisations or arts institutions. The projects that I feel have worked well have been those that were initiated by individuals or organisations that have an already existing relationship with community participants.

I will focus on two projects that I feel have achieved key goals for myself, the participants and the broader community and audience.

These goals are: ▲ to build trust and establish sustainable connections ▲ to create meaningful experiences and value the process over the product ▲ to transform the conditions of our everyday lives The works I make in collaboration with communities are for the communities we are in.

If an outside audience also gains something from that, then that is great but that is not the original intention of the project.

My solo art practice and my collaborations with communities are driven by my intuition. From the techniques and approaches to the interpersonal relationships, there are many complexities that come into play. The way I work can be very subtle and gentle at times, but I still know it makes an impact when participants relax into it, and engage and respond and create and have fun.

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One of the first projects that heralded a significant shift in the way I was engaging w i t h c o m m u n i t i e s w a s i n 2 0 1 0 / 2 0 11 . T h e Campbelltown Arts Centre’s curator Rosie Dennis invited me to participate in a four-week experimental “live” arts lab called Site Lab where about ten artists took up residence in various public places in a small suburb in South West Sydney called Minto.

The premise of my proposal was the very simple starting point of making string from domestic cloth donated by residents of Minto. Through the process of making, in collaboration with local communities, we would decide together what the final outcome would be. This was the first time a curator trusted in my process as an artist and allowed me to approach a project so openly. I had faith that the poetics of strings could be strong enough to stand on its own, and, moreover, would form the perfect record of our gatherings, conversations and time spent making.

From 10am to 4pm, Monday to Friday I could be found in the vacant local post office inside the slowly disintegrating Minto Shopping Mall. Within the empty shop front, I created a makeshift lounge area where residents could gather, make string, chat, and have a cup of tea (Fig. 1).

After four weeks, I had worked with young people from the local high school and many residents. Some participated for a short time only, while others dedicated themselves to joining me every day. The meditative, slow process of string making inevitably created a

new sense of time and routine for participants.

It was an invitation to stop, to gather, to sit, and to be in the moment of making string. Moments which triggered memories of a mother back in Papua New Guinea making string daily from plant fibres; which initiated first conversations between old neighbours who had never spoken because of the stigma of befriending anyone who lived on “the other side of Pembroke Road”.

My main collaborator, Laurie Porter, was a prolific maker of extremely fine crochet using sewing thread. For Common Threads, Laurie created hundreds of metres of beautiful, tightly spun, string. When one of the participants, Vicki Andrews, affirmed, “there wouldn’t be a home in Minto without crochet”, I immediately knew what we needed to do with our hand spun string.

As crochet was not one of my existing skills, I took a crash course from my sister and quickly appreciated the free-form sculptural potential of this technique. We made a series of large crochet doilies that were essentially drawings with our string. Our hand spun cloth string now embodied the moments shared throughout the making process － and was also heavily imbued with all the stories the textiles had absorbed prior to coming to us (Fig. 2).

I invited donations of domestic cloth from local residents for a reason. At the time, Minto was a community that was facing much change, with new private housing developments being built over demolished social housing. The breaking up of the existing community and relocation of so many residents had caused a lot of pain for them, as well as increasing conflicts with new residents moving into the new private housing.

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Fig. 1 Artist Nicole Barakat engages with community members during “Minto: Live” at Sydney Festival 20-22 January 2011, Minto NSW. Curated by Rosie Dennis for Campbelltown Arts Centre.

Photo credit: Christina McLean

Fig. 2 Common Threads (detail) / 2011 Hand spun and crocheted domestic cloth donated by Minto residents Photo credit: Nicole Barakat

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Lindee Russell and Natalie Power decide on the layout of the textile pieces on the platform of the Narrandera Railway Station, October 2015.

Photo: Nicole Barakat

As Rosie Dennis noted, “Minto had something like 80 percent social housing. It gets such a bad rap: all the lead stories are about shootings or drugs or things getting set on fire. But there’s more to this suburb. I wanted to show a different side of it.” 1 Working with a very intimate material and familiar process and bringing the usually private, domestic, act of making into a public space, could we create a space where residents could connect with their old and new neighbours, and also reflect on the transformation of their community?

My art practice is rooted in the language of materials. They offer an invitation to our senses, an opportunity to engage physically and emotionally, conjuring responses that reach beyond the intellectual.

I like to work with materials that are loaded with meaning, and which have the potential for

that meaning to be dismantled. This language of materials enables me to find new ways of speaking and understanding. The language of materials has the capacity to embody ideas and emotions, and presents us with opportunities to communicate that can only be spoken through the absence of words. A different language is a different reality.

Domestic, reused pieces of cloth are materials with stories. Materials that arrive with a history, that have borne witness, have absorbed time and heard many stories. These materials are significant because they are already connected to us. By simply being present with us in everything we do, they retain a part of our physical selves, our hair, skin we’ve shed, body fluids, leaving stains, marks – visible, invisible.

The familiarity of cloth, and our extremely intimate relationship with cloth creates a warm and comfortable starting ground for community art projects.

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"Working with a very intimate material and familiar process and bringing the usually private, domestic, act of making into a public space, could we create a space where residents could connect with their old and new neighbours, and also reflect on the transformation of their community? ".

I consider my art practice as my “home”. When I make my own work, or facilitate a collaborative project, I am inviting audiences and participants into my “home”.

In my own cultural and familial traditions, I must give my visitors a comfortable place to sit, a warm drink, and of course, an abundance of food (metaphorically and literally). Acts of generosity within community arts projects are the key to deeper engagement and building genuine connections amongst people.

In 2015, curator Bec Dean of Performance Space, Sydney, invited me to work on my first collaborative community artwork together with artist-led organisation The Cad Factory. The Cad Factory is in the rural community of Narrandera, on the land of the Wiradjuri people, about 540 km south west of Sydney.

As this was my first time working in a rural community, I was conscious of my privileges as an artist operating in a major city centre. I also had very little knowledge or connection with the women I was about to work with, but knew we had one thing in common − textiles.

I knew of other artists who had worked with Vic and Sarah McEwan from The Cad Factory and knew that after moving there from Sydney five years earlier, they had created a series of projects with the community and had quickly earned the respect and trust of the residents of this small town.

The Cad Factory creates immersive and experimental work guided by authentic exchange, ethical principles, people and place. 2 By the end of this project, I understood more about the vital role that the arts and The Cad Factory play in Narrandera. On two different occasions, women who were involved with the project informed me that they had previously planned to relocate from Narrandera when their children became

teenagers, but that The Cad Factory changed that for them − as there was now something genuinely worth staying for.

The brief was very open, with two main starting points: a large community of women who work with textiles and the desire to make a collaborative work for a three-day arts festival, On Common Ground (Fig. 3). The festival was to be held in the Narrandera Commons, a bush reserve and koala regeneration park alongside the Murrumbidgee River. The festival addressed the impacts on Narrandera of colonisation, the development of agriculture, species extinction and reduction, continuing environmental changes, and resource management initiatives associated with the river.

For our first gathering, participants were invited to bring a textile piece they had made to share with the group. This gathering would be an opportunity for me to find out what interested them, what skills existed in the community, what they were interested to know more about, and for them to get to know me and my artwork.

We gathered over two days and over forty local women from the community participated. In a town of 3,871 people, I was thrilled. In fact, it has been rare for community art projects I have been involved in to reach this many people for initial meetings in a city as large as Sydney. The women had a rich diversity of knowledge and experience in textiles and the arts.

Their desire to gain new skills and common interests in working with materials from the land, led us to work with eco-dyeing.

Over three further visits, we set up eco-dyeing camps on the banks of the Murrumbidgee River, as well as 83

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Fig. 4 Proud and elated after the first day of eco-dyeing in the Narrandera Common, May 2015 Photo credit: Vic McEwan

the platform of the seldom-used train station.

Using water from the river, native and introduced plants from the commons, as well as plants from the women’s homes, we dyed about twenty old wool blankets and scraps of silk sourced from second hand stores in the region. We managed to stay in the moment, agreeing that we would not consider the outcome until closer to the festival date (Figs. 4-5).

Over the week leading up to the festival, we constructed a total of twenty-six large textile works with the cloths we dyed. This process was largely directed by the women themselves, my job was mainly to work out the logistics of the installation as a whole. Fortuitously, it turned out that a total of twenty-six people worked on the project; after the festival, the works were divided amongst all who participated, including our installation team. Everyone managed to keep a piece of this collaborative work.

Each piece of cloth became a record of this place and its community. The dyed and resistprocess marks on the cloth bore silent witness to our gatherings – offering a memory of the conversations, laughter, and ideas exchanged.

The work itself was created by many hands and hearts, and across a number of generations (from 4 years old to 86 years old). The work, titled I think I still hear the sky vibrating... acted as a reminder of the importance of collaboration, of coming and of being together, as artists, as makers, and as a community (Fig. 6).

I returned to Narrandera a year later to work on a second project with The Cad Factory called Shadow Places for the Sydney Design Festival.

I have continued to deepen my relationship with many of the women. On a recent visit to a friend in nearby Wagga Wagga, I made the extra 100 km drive to Narrandera. As I was approaching the town, I felt a sense of returning home.

The familiarity of the wide-open landscape, witnessing storm clouds forming in the distance, the bright yellow of the canola, I realised what this town and these people meant to me. I was coming back out of choice, to visit my friends, to see their exhibition, to share a meal. This is what a genuine, trusting, sustainable connection feels like. This is what a meaningful experience that definitively transforms the conditions of our everyday lives feels like.

Notes: 1 Irvine, Samantha. “Suburbanites take to their front lawns for a new kind of theater festival − Minto Live”, in Makeshift issue 5, http://mkshft. org/minto-live/ (accessed 27 November 2017).

2 The Cad Factory Artistic Vision, http:// www.cadfactory.com.au/about (accessed 27 November 2017).

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Fig. 5 Jacqui Ryding with a length of eco-dyed wool blanket created in the second series of workshops, July 2015.

Photo credit: Vic McEwan

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Fig. 6 I think I still hear the sky vibrating… (detail) / 2015 Reused wool blankets and silk cloth, eco-dyes sourced from plants and trees in the Narrandera common and the Riverina Curated by Bec Dean and created with support from The Cad Factory and Performance Space.

Photo credit: James T Farley

Nicole Barakat Artist, Australia Nicole Barakat is an artist who lives and works in Sydney, Australia. She works to unpick the borders of art and life, re-examining intersections between drawing and textiles, collaboration, live work and communityengagement. Her work embodies the love and patience that often characterises traditional textile practices. Barakat approaches making as a form of meditation, with intentions to transform the conditions of everyday life, conjuring new ways of thinking, feeling and envisioning reality.

Barakat’s practice includes extensive collaborative community-engagement. Within this practice, she sees respect and equality as the leading principles that drive the exchange of experience, knowledge and skills.

Her most recent project, Shadow Places (a collaborative project with community in Narrandera, New South Wales), was exhibited as part of Sydney Design Festival at the Powerhouse Museum in partnership with the Cad Factory and the Museum of Applied Arts and Sciences. Nicole has a passion for the potential of imagination and art to create social change.

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合作與社區：日常生活的轉變 妮歌．巴拉卡特

我擔任社區活動中的首席藝術家和主持人已接近十五年。從藝術學校畢業之後，我取得了社 區藝術文化發展的學歷。透過直接與不同群體合作的經驗，以及從事社區、藝術工作之前輩 的指導，我培養出一種工作熱誠，現成為自己的藝術創作方向。 那些曾指導過我的女性，一直都以社會公義爲出發點去參與社區工作，包括支援不同種族的 女性、難民和尋求庇護者之社區、移民女性、性小衆（女同性戀者、男同性戀者、雙性戀者、 跨性別者、性身份疑惑／酷兒、雙性人和盟友／無性。），以及邊緣階層。 參與這些群體的經歷令我明白到，不需要將藝術作品及政治立場兩者劃清界線。與他人共同 創作本身就是一個政治行爲，所帶來的改變往往不可估量。 我有意不分階級地進行社區參與、教育兩方面的項目，如我一樣，合作對象也有他們自己的 知識和經驗。我珍視這份工作為知識、技術與經驗的交流，是名副其實的合作。 因此我眾多項目主要的目標之一，是與參加者建立信任和互相尊重。真誠的關係甚至友誼對 我們的創作尤爲關鍵。 我與這些社群的聯繫並非憑空出現的。參加者與主辦機構、策展人或製作人已有的關係，對 建立信任十分重要。到目前爲止，我開展的社區合作計劃，皆是由藝術機構發起，若計劃前 預先和參與社群建立關係，往往會帶來更好的成效。 接下來，我會集中説明實現了自己、參加者、廣大觀衆和社區之主要目標的兩個項目。這些 目標為： - 建立信任和可持續的關係 - 創造有意義的經驗，重視過程而非結果 - 改變我們日常生活的狀態 我與不同群體所創作的作品，皆是以身處的社區為對象。如果一個外來觀衆也從作品中有所 得著，無疑也是好事，但這並非計劃目的。 我向來跟從直覺去做個人的藝術創作、與其他群體的合作。從技巧、方式，到人際關係，不 同的因素都會影響創作。我的創作方式可以非常含蓄溫和，但仍能在參加者放鬆自己去參與、 回應、創作與享受的過程中影響他們。 87

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「透過運用一種非常私人的物料、熟悉的過程去創作，甚至將私人居家的行爲 搬到公共空間進行，我們又可否藉此將人們與他們的新舊鄰居連結起來，並一 同反思所在社區的轉變？」

2010 至 2011 年度的一個項目，對我參與社 群的方式影響深遠。坎貝爾藝術中心的策展 人 Rosie Dennis 邀請我參加爲期四周的「Site Lab」（場地實驗室），實驗現場藝術，其時在 悉尼西南部郊區 Minto 大概有十個藝術家在區 内不同的公共空間駐場。 我的計劃前提很簡單，就是邀請 Minto 的居民 捐出布料，並一起將之製成一條繩子。在製作過 程中，大家共同決定成品如何。那是第一次有策 展人如此信任我作為藝術家去創作，並容許如此 開放地進行一個項目。我深信這條意味深長的繩 子會很牢固，並成爲我們聚會、對話和合作時間 的最佳紀錄。 每逢星期一至五，從早上十點到下午四點，我 都會在 Minto 一座十室九空的購物商場内廢 置的郵局駐場。空蕩的店面變成一個臨時會客 廳，社區居民可以在此聚集、造繩、交談和喝 茶（Fig. 1）。 四個星期後，我已經與許多當地高中生和居民合 作過。有些人只參與了一段短時間，有的則每天 都會出現。製作繩子這個安靜而緩慢的過程，為 人們建立起一種新的規律和節奏。這個計劃邀請 人們停下忙碌的步伐，圍坐一團，專注於製作繩 子的當下，恍似巴布亞新幾内亞的母親每天用植 物纖維造繩之日常活動，又如不相往來的多年鄰 居終於有機會認識彼此。 我的主要合作夥伴 Laurie Porter 是一名多產的 鈎織專家。她會用縫紉線製作出極精細的鈎織 品，並爲「Common Thread」（共同線）項目 織成幾百米漂亮緊實的繩子。當其中一名參加者 Vicki Andrews 斷言 Minto 每個家庭都會有鈎織 品，我馬上意識到手織繩子的用武之地。

由於沒有學過鈎織，我姐姐給我上了一節速成 課。我很快就領略到這種技術蘊含著形式自由的 塑形潛力。我們用自製的繩子製作一系列大型的 鈎織杯墊。這些手織布繩代表著製作時共度的時 光，更承載著布料在捐出前的故事（Fig. 2）。 我特意邀請當地居民捐出他們的家庭布料。因爲 當時 Minto 是一個正面臨巨變的社區：從前的 公共房屋被夷爲平地，新的私人物業取而代之。 現有的社區被拆散，許多居民因爲被遷離原居地 而大受打擊，也令他們與新搬入的私人樓宇住戶 之間發生衝突。 正如 Rosie Dennis 所説：「Minto 有達八成的 公共房屋，令到這個地方惡名昭著：所有頭條新 聞都是關於槍擊、毒品與縱火等。但種種並非 這個社區的全部，我希望能展現出它的不同面 1 貌。」 透過運用一種非常私人的物料、熟悉的過程去創 作，甚至將私人居家的行爲搬到公共空間進行， 我們又可否藉此將人們與他們的新舊鄰居連結起 來，並一同反思所在社區的轉變？ 我的藝術創作植根於物料的語言，以促發感官去 體驗，透過身心去感知及參與，從而產生超越理 性的回應。 我喜歡運用那些既有深意，同時又可以解構的物 料去創作，並從這些物料語言尋找新的説話和理 解方式。它們可以承載意念和情感，並給我們一 個不用言語的溝通機會。不同的語言反映出不同 的現實。 家用和循環再用的布料是有故事的物料。那些見 證過歷史的布料浸淫了時間和故事，並因爲與我

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Fig. 1 2011 年 1 月 20 至 22 日悉尼藝術節舉辦 「Minto: Live」，藝術家妮歌．巴拉卡特與社區成 員的互動項目。坎貝爾藝術中心的 Rosie Dennis 策 劃。攝影：Christina McLean Fig. 2 《Common Threads》（局部）/ 2011 Minto 居民捐出的手工鈎織家用布料 攝影：妮歌．巴拉卡特

們的關係而變得重要。它們在日常生活中與我們常在： 脫落的髮膚、流下的汗水在這些衣物上，留下可見或 隱形的痕跡，保留了我們身體的一部份。熟悉的布料， 以及我們與它們極親密的關係，皆為社區計劃提供了 一個溫暖舒適的開始。 我視自己的藝術創作為家園。不論是創作自己的作品 還是主持合作計劃，就像邀請觀衆和參加者到家中一 樣。據我的文化和家族傳統，必須為訪客提供舒適的 座位，奉上溫暖的飲品，當然少不了豐富的食物（無 論作比喻或現實中皆然）。在社區藝術計劃中，慷慨 的舉動是提升參與度、建立真誠人際關係的關鍵。 2015 年 我 接 獲 悉 尼 機 構 Performance Space 的 策 展人 Bec Dean 邀請，與藝術家爲首的機構 The Cad Factory 首次合作，開展了社區藝術計劃。The Cad Factory 位於悉尼西南部 540 公里之外一個叫納蘭德 拉的農村社區，那裡是維拉朱利人的土地。

那是我第一次在農村社區工作，因爲自己是來自大城 市的藝術家而滿有優越感，但對於即將合作的女性， 卻所知甚微。不過肯定的是，我們的共通點就是紡織。 我認識與 The Cad Factory 創辦人夫婦 Vic 及 Sarah McEwan 曾經共事的藝術家，而得知他們自五年前從 悉尼搬到此地，就開展了一系列社區項目，很快取得 鎮上居民的尊重和信任。 真 切 的 交 流、 道 德 責 任、 人 和 地 的 配 合， 促 成 The Cad Factory 創作令觀衆置身其中的實驗作品。2 到計 劃的尾聲時，我明白到藝術和該機構在納蘭德拉所扮 演的重要角色。在兩個不同場合，參與計劃的女性告 訴我，她們之前一直計劃要在孩子青少年時期就搬離 納蘭德拉，然而 The Cad Factory 的出現卻改變了她 們的想法，因爲這地方終於有東西值得她們留下來。 我的計劃目標非常開放，就兩個出發點：一個龐大 的 女 性 紡 織 社 群， 以 及 爲 期 三 天 的「On Common 89

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Fig. 3 2015 年 10 月 16 至 18 日「On Common Ground」藝術節，藝術家妮歌．巴拉卡特與一群環 保漂染工作坊的參加者。 攝影：James T Farley

Ground」（ 共 同 點 ） 藝 術 節 期 間 共 創 作 品 （Fig. 3）。藝術節在納蘭德拉 Murrumbidgee 河畔的灌木及樹熊孕育區舉行，旨在反映殖民 化、農業發展、物種消失或瀕臨滅絕、持續環 境轉變、河流資源管理行動等主題。 第一次聚會的時候，我邀請參加者帶一件自製的 紡織品與大家分享，從而瞭解她們的技能、感興 趣的事物，她們也能由此認識我和我的作品。 短短兩天，在這個只有 3871 人的小鎮中就已經 有超過四十名女性參與。我很高興，因爲在悉尼 而言，最初幾次聚會鮮有這麽多人。這些女性對 紡織、藝術的經驗知識十分多樣化，她們希望學 會新技能，並對天然物料有相同的興趣。因此， 我們決定一起做環保染色。 在接下來的三次活動中，我們在 Murrumbidgee 河邊、幾近荒廢的火車站月台，架起了環保染色 的營地，利用河水、公園内的原生及移種植物、 參加者家中的植物，將當地二手商店買來的近 二十張舊羊毛氈和絲綢碎料染色。我們專注並享 受製作的過程，並同意藝術節開幕前暫時不去顧 慮成果如何。

作品中的每一塊布都是這個地方和社群的紀錄。 布料上的染色痕跡見證著我們的聚會，承載著對 話、歡笑、交流的記憶。製作者來自不同年齡 （4 至 86 歲）（Fig. 4）。作品的標題《I think I still hear the sky vibrating...》（ 我 想 我 仍 聽 見天空在震動……）有如在提醒合作、參加、聚 集，以及作為藝術家、製作者、社群的重要性 （Fig. 5）。 一 年 後 我 重 返 納 蘭 德 拉， 與 The Cad Factory 開始第二個合作計劃，在悉尼設計節展出 《Shadow Place》（影子處），與許多當地婦 女的關係因而變得更深厚。最近我開車到沃加沃 加附近探望朋友時，特地開多一百公里的路去納 蘭德拉，逐漸駛近那裡的時候，有一種回家的感 覺。看著熟悉的廣闊風景，遠處正在形成的風 暴，以及一片鮮黃的油菜花田，我意識到這個小 鎮和居民對我的意義。我選擇回到這裡，是爲了 探望朋友、參觀展覽和吃飯敘舊。這正是一種真 誠而持久的關係。那些意義深刻的經驗，無疑改 變了我們日常生活的狀態。 註釋 1 Irvine, Samantha. “Suburbanites take to

到藝術節開幕前的一星期内，我們將染好的布料 製成二十六幅大型紡織品。整個過程由參與的女 性主導，我的工作只是安排佈展的物流。共有 二十六人參與了這次項目，所以在藝術節之後， 包括佈展團隊在内，我們瓜分了所有作品，每人 都得到一塊布以作留念。

their front lawns for a new kind of theater festival - Minto Live”, in Makeshift issue 5, http://mkshft.org/minto-live/ (accessed 27 November 2017).

2 The Cad Factory Artistic Vision, http:// www.cadfactory.com.au/about (accessed 27 November 2017).

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Fig 4. 2015 年 5 月藝術家妮歌．巴拉卡特與納蘭德拉社區成員檢視首天環保漂染留下的痕跡。 攝影：Vic McEwan

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Fig. 5 《I think I still hear the sky vibrating…》（局部）/ 2015 舊羊毛氈和絲質布料，從 Narrandera common、Riverina 的樹木和植物萃取的環保染料 Bec Dean 策劃、The Cad Factory and Perfomance Space 支持。 攝影：James T Farley

妮歌．巴拉卡特 澳洲藝術家 藝術家妮歌．巴拉卡特現生活及工作於澳洲悉尼。她致力 拆除藝術與生活之間的藩籬，重新審視繪畫與紡織、日常 生活與社區參與之間的關係。她的作品體現出愛與忍耐， 透過製造一種冥想，有意識地改變日常生活的狀態，提供 新的方法去思考、感受和展望現實環境。 妮歌的實踐包括廣泛的社區協作，她認為在這種形式的實 踐中，尊重、平等是促進交流經驗、知識和技能的主要原 則。 妮歌最近的計劃「Shadow Places」（澳洲納蘭德拉的社 區合作計劃），作為 Sydney Design Festival 的節目之 一，在 The Cad Factory、the Museum of Applied Arts and Sciences 中展出。她堅信想像力及藝術有潛力去改 變社會。

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Pangrok Sulap Harold Reagan Eswar

Fig. 1 Pangrok Sulap currently has many ideas to work together with their surrounding rural communities, making the notion of ownership of an art piece a lot more meaningful. Above is a print for the exhibition “escape from the SEA” and a lot of artists, artisans, and art enthusiasts, were involved in making it. Another print for the exhibition was deemed controversial because of political reasons, and divided the community into opposing halves.

According to the Borneo Art Collective, Pangrok Sulap is a very successful collective on several levels. Their success stems from their extraordinary art making process, the messages they deliver, the way they engage communities, and how all this comes together to change the hearts and minds of their audience. While the collective does not have an official membership, it welcomes all people who are keen on creating art as a means of spreading clear messages on social issues, and also encourages artists to use their art to fight inequality and repression.

Pangrok Sulap is part of a larger artist group k n o w n a s t h e Ta m u - Ta m u C o l l e c t i v e , a n d together, they organise cultural events and share booths in art markets, as well as run workshops across Malaysian Borneo (Fig. 1).

The collective “Pangrok Sulap” was first established in Ranau, Sabah in 2010 and was originally called “V for volunteer”, which

indicates the nature of their activities. At first their ambitions were simple, they strove to motivate the youth and to help the children they visited.

Through their trips to orphanages and community centres, they developed a love of community service, and began to put in efforts towards helping the marginalised people of the state of Sabah, Malaysian Borneo (Fig. 2).

The core team members of the collective are made up of ordinary, yet passionate, young Sabahans, carpenters, farmers, and teachers.

The collective has grown rapidly and has become well known in the local art scene for their iconic woodcut prints, which spreads social and political messages. Using a scalpel, they painstakingly chisel away at wood panels to create the intricate images that are used to stamp ink on a variety of fabrics and paper. The images must be carefully carved in reverse for the stamp to appear right side up on the surface − this is a labour-intensive 93

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Fig. 2 Pangrok Sulap, and several DIY friends, displaying their finished woodcut print. Members of Pangrok Sulap are favourites among the village youth because of their down-to-earth attitudes and their own village-raised background.

Fig. 3 Pangrok Sulap has a humorous approach to their art. Even when the environment around them seems bleak and nothing can be done, they always have a positive response to everything. They always try to make people laugh despite trying times.

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"With the local art scene generally stagnant, Pangrok Sulap appeared, and pushed all the right buttons, to bring a much-needed 'hardcore' shake-up to the scene".

process that can be described as an “old-school”, or traditional, way of working. Interestingly, Pangrok Sulap learned these skills from another pioneering collective called Marjinal, from Indonesia, who had made a visit in the past to teach basic woodcutting skills (Fig. 3).

Pangrok Sulap has displayed their work in rural markets known locally as tamus. Tamus are the heart and soul of every rural community, as they function as local gathering spots for people to meet, catch up, and share news. With Pangrok Sulap’s success, not only has the collective been recognised at the national level, their success has also resulted in international recognition − they have had many public exhibitions in places such as Tokyo, Japan. All of their recognition and accomplishments have been in part achieved by local farmers, carpenters and teachers, whose efforts can be described as “almost biblical” when put into perspective.

much-needed “hardcore” shake-up to the scene.

According to Rizo Leong, one of Pangrok’s founders, “We want to be seen as more than just wild kids gigging, fooling around, drawing stuff, and drinking.

We are not just punks; we want to meet and share ideas with like-minded people.”

The group is largely based in Ranau, at the foothills of Mount Kinabalu, and get most of their inspiration from visiting far-flung villages and showing their art to local communities, while also getting to know people.

“In the process, we found a lot of things lacking – basic infrastructure – and we tried to find small ways we could make a positive impact on the community like teaching them to draw, paint murals... that kind of thing”, said Leong and quoted in an interview with Julia Chan in the Malaysian Mail on 17 March 2017.

Pangrok Sulap first used the name they are currently known by in a social NGOs gathering called the “yellow fools gathering”. The name “Pangrok Sulap” refers to the collective’s love of punk rock music and the DIY concept, which has the slogan “Jangan Beli, Bikin Sendiri” (Don't Buy, Do-it-yourself). The word “Pangrok” is local slang for “punk rock” and “Sulap” refers to the huts in the Dusun region, which are commonly used as resting places by local farmers.

Pangrok Sulap first exhibited their artworks in various local exhibitions around the city, but eventually travelled into the villages and the rural areas of the state, where large social issues, such as the marginalisation of the people, ran rampant. They began conducting free workshops, teaching villagers the importance of visual arts in their daily lives, in politics, and also in preserving the safety and security of the village. In turn, Pangrok Sulap’s efforts would directly protect the culture and heritage of the villages (Fig. 4).

At first, when people heard the name, they thought it was funny, but as the collective became better known and recognised for all the positive things they did for the community, they proved that there is much more to their name than meets the eye. Pangrok Sulap arrived like a breath of fresh air, and proved to have very good timing, as after a very short period of time the general public started to accept the collective. With the local art scene generally stagnant, Pangrok Sulap appeared, and pushed all the right buttons, to bring a

Through exhibition after exhibition, the collective has gained popularity and trust both from the underground art scene, as well as followers of the mainstream.

Pangrok Sulap was invited to exhibit, and also to perform in, exhibitions, forums, and art festivals around Sabah and West Malaysia. In fact, the impact of their art was first noticed at the KK Bundle Fest in 2012.

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Like the story of Robin Hood, what Pangrok Sulap received from commission works and from generated income, goes towards the benefit not only of themselves but also others. Having more income, they have organised more classes and workshops and clinics. As a result, they have earned trust from the local people and have built a close community. They are also experiencing the impact of the art on local communities that the collective finds essential for their “survival”.

to be bold and positive, as well as to not depend too much on governments, but to take their own steps and initiatives to move forward and find success.

For example, in the case of the Kaiduan Dam Project, the community in Kaiduan, rural Sabah, and the villagers realised the importance of print making. This effort by Pangrok Sulap is an environmental campaign located in the Ulu Papar valley, which is home to about 1,000 people whose villages will be affected by the Kaiduan dam project to supply water to the city of Kota Kinabalu. The message of visual art “travelled” as far as social media would let it.

However, the messages had a very big impact on the construction of the dam. Even when visual art could not guarantee the toppling of the dam building proposal, the internet displays the truth from the villagers themselves through the process of woodcut printing. Even if as just a consolation, the villagers’ story and suffering if the dam is built has been told.

https://www.malaymail.com/s/1336695/sowhat-is-pangrok-sulap-art-collective-or-socialactivists-or-both (accessed 31 May 2018)

One of the members of Pangrok Sulap’s rallying cries to other communities and art collectives is

References http://borneoartcollective.org/ featuredprojects/2016/6/17/pangrok-sulap (accessed 31 May 2018)

https://asia.nikkei.com/NAR/Articles/Protestart-The-Borneo-punk-rock-collective-making-abold-statement (accessed 31 May 2018)

Harold Reagan Eswar Artist, Malaysia Harold Reagan Eswar has been active with the Malaysian art scene since 2006 when he had finished his diploma in architecture.

Apart from painting, Eswar also does curatorial works, film making and is active in reaching out to rural communities in Sabah with art, mostly mural works and also print making. He has been active lately with motivational talks, forums and round table discussions on subjects like community art ideas and social reach out in Sabah's urban landscape.

Fig. 4 This event is in West Malaysia (Pangrok Sulap is from East Malaysia, separated by sea) where Pangrok Sulap shared “our” stories with the local youth. What we found out is that we have a lot in common, and that everything else is just slowing down the process of communication.

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龐克棚屋 哈羅德·埃斯瓦爾

Fig. 1 龐克棚屋到訪西班牙。在抵達西班牙前，他們曾停留德國、法國等朋友眾多的地方。團員有機會與相遇的人分享藝術故事和文化。

根據 Borneo Art Collective，龐克棚屋（Pangrok Sulap）是個在不同層面上非常成功的合作社，包括他 們的藝術創作過程、傳達的信息、融入社區的方式，以及聚合各方面以改變他人的心靈和思想的方法。 合作社沒有明確的入會資格，但歡迎公眾一起利用藝術作為一種手段，傳播有關社會問題的明確信息， 並作為一種武器打擊不平等和壓迫。其實龐克棚屋是一個更大藝術家團體 Tamu-Tamu Collective 之一部 份。兩個群體會一起在馬來西亞婆羅洲組織文化活動，在藝術市場擺放攤位，舉辦工作坊 (Fig. 1)。 龐克棚屋始於

2010年，位於沙巴拉瑙。當合作社剛成立時，基於活動性質，原名為「V

for

volunteer」。起初合作社的使命很簡單，就是希望激勵年輕人，以及幫助所有曾探訪過的小孩。他們最喜歡 探訪孤兒院和社區中心，其間逐漸激發他們對社區服務的熱誠，並開始協助婆羅洲沙巴的弱勢居民。 合作社由平凡但充滿熱情的年輕沙巴人、木匠、農民和教師組成，他們是團隊的核心成員。合作社迅速 發展，並在當地藝術界頗有名聲。他們所帶出的社會政治信息，以木刻版畫為標記。團員用手術刀在木 板精心雕刻錯綜複雜的圖像，並印於不同種類的紡織品和紙張上。因木刻圖像必須反向雕刻才能印出， 這是一個勞動密集式的過程，亦視作守舊的工作模式。有趣的是，龐克棚屋從印尼和另一個合作社先鋒 Marjinal 到訪時學習到版印技術，當時該合作社很認真地教授這方面的基本知識。

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Fig. 2 孩子是龐克棚屋的最佳觀眾，他們總是充滿活力，隨時準備去探索新事物。

龐克棚屋在該州稱為「Tamus」的市場展示了他 們的作品，那是每個農村社區的中心，居民會在 該處聚集以緊貼和分享最新消息。鑑於成功的經 驗，他們把合作社升格至一個國家認同的程度。 最後，他們的影響力超越了本國，曾於全國和海 外多次向公眾展出，包括東京。 這些都是農民、木匠和教師的功勞。如果你用另

龐克棚屋創始人之一里索•朗指出，「我們不希 望只被視作瘋狂嘻笑、無所事事、只顧畫畫與喝 酒的野孩子。我們不只是龐克迷，而是希望藉此 與志趣相投的人見面和交流。」 合作社的大本營位於拉瑙的京那巴魯山腳下，他 們透過探訪偏遠鄉村地區、向當地社區展示藝 術、結識居民而取得靈感。

一個角度來看，就像是聖經內容一樣。 「龐克棚屋」第一次使用這個現為人熟悉的名 稱，是在一個非政府機構的聚會「Yellow fools gathering」。「龐克棚屋」是甚麼意思？它代 表合作社對龐克搖滾音樂的愛好，以及「Jangan Beli, Bikin Sendiri」（別買，自己動手做）作口 號的手作概念。「Pangrok」實際上的意思是「龐 克搖滾」，而 「Sulap」 在 「Dusun」 語意指 茅舍，一個通常是農民休息的地方。 其他人首次聽到這個名稱時都感到滑稽，但得悉 箇中成員為社區所作的貢獻後，他們的存在更獲 重視。公眾在很短的時間內接受了他們，這對合 作社來說是一個非常合適的時機。龐克棚屋的降 臨猶如一股清新空氣，極爲珍貴。當時藝術界處 於一種狀態，需要我們所謂的「極端」加以刺 激。龐克棚屋的出現正可發揮所長。

「在這個過程中，我們發現很多缺乏的東西， 像基礎設施之類，我們試圖找一些可以對社區 產生正面影響的小方法，例如教他們畫畫、繪 製壁畫等……」2017 年 3 月 17 日里索•朗接受 《Malaysian Mail》 的 Julia Chan 採訪時闡述 (Fig. 2)。 龐克棚屋曾在當地不同項目中展出或演出作品。 他們察覺到鄉村和農村居民被邊緣化的問題，便 進入該區舉辦免費工作坊，教導村民在日常生 活、政治層面及維護村莊安全各方面，利用視覺 藝術的重要性，同時更可確保該區的文化和遺產 受到保護。 一場又一場的展覽後，合作社變得受歡迎，不 僅贏得地下藝術團體的信任，更有來自主流機 構的追隨者。自此之後，龐克棚屋獲更多參 展的機

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Fig. 3 龐克棚屋在支持 Kaiduan 區村民對政府決定建設大型水壩項目表達不滿（350 平方公里的洪水區）。 三所社區幼兒園、市集、教堂、墓地和更多的公共地區將被淹沒。

會，並於沙巴和西馬來西亞附近參與多項展覽、論壇、 藝術節的演出。事實上，他們以藝術所帶來的影響是 在 2012 年的「KKBundleFest」首次受關注。 就像羅賓漢的故事，龐克棚屋從委約作品獲得的收益 及其他收入，同時讓自己和公眾受惠。他們有了更多 收入，組織更多課堂、工作坊及診所。結果，他們取

參考資料 http://borneoartcollective.org/ featuredprojects/2016/6/17/pangrok-sulap (accessed 31 May 2018)

得公眾的信任，建立起緊密的社區，公眾深受藝術帶 來的影響，那是合作社認爲是生存之道。

https://www.malaymail.com/s/1336695/so-whatis-pangrok-sulap-art-collective-or-social-activistsor-both (accessed 31 May 2018)

例如，在 Kaiduan 水壩項目中，Kaiduan（沙巴的農 村）社區和村民因而意識到版畫的重要。這是一個位 於 Ulu Papar 山谷的環保活動，該處約有 1000 人居

https://asia.nikkei.com/NAR/Articles/Protest-artThe-Borneo-punk-rock-collective-making-a-boldstatement (accessed 31 May 2018)

住，由於水壩項目供應水源至他們的村莊，因此居民 將受到影響 (Fig. 3)。 社交媒體盡力傳播有關視覺藝術的信息，而這些信息 對興建水壩有重大的影響。即使視覺藝術不能保證推 翻興建水壩的計劃，但互聯網通過木刻版畫從村民處 找到真相。即使這不過是一種安慰，但村民的故事和 興建成水壩後所帶來的苦況已被廣傳 (Fig. 4)。 其中一位龐克棚屋成員最後寄語其他社區和藝術合作 社，要作風大膽和積極，不要過份依賴政府，可以採 取自己的步伐和舉措向前邁進，才能找到成功之路。

哈羅德・埃斯瓦爾 馬來西亞藝術家 哈羅德・埃斯瓦爾在 2006 年完成建築文憑課程後，一直 活躍於馬來西亞藝術圈。 除繪畫之外，埃斯瓦爾亦參與策展、電影製作。他主要以 壁畫及版畫等藝術形式支援沙巴的鄉郊社區。他近期亦活 躍於不同的講座、論壇、圓桌會議，關注沙巴的社區藝術 及社會發展等問題。

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「當時藝術界處於一種狀態，需要我們所謂的『極端』加以 刺激。龐克棚屋的出現正可發揮所長。」

Fig. 4 這是龐克棚屋第一次於 2013 年參與名為「3 sided coin」的聯展。他們用回收物料創作，帶出現今馬來 西亞教育制度的問題。沙巴的農村人不會錯過任何獲得免費或廉價教育的機會，例如申請教育貸款。農 村的家長習慣互相「炫耀」孩子的教育水平，但這就暴露了教育制度醜陋的地方。那些不被認可的私立 大學會招募農村學生，向他們承諾提供保險、住宿、教育貸款，以及更多難以兌現的事情。年輕的村民 會發現四人宿舍被九名學生佔用。他們不但吃不飽，更身負債務。

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Case Study 3 Curatorial Challenge in Textile Art Museums 案例 #3 紡織藝術館的策展挑戰

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How Industrial Heritage Shaped Our Making Activities Errol van de Werdt

T h e Te x t i e l M u s e u m ingredients for a more is the keeper of a classical approach heritage collection. towards establishing This collection is the a museum. That was result of the industrial how the TextielMuseum past of the city of started, and was Fig. 1 The TextielMuseum / 2016 Tilburg. It is located the starting point for Photo credit: Josefina Eikenaar/TextielMuseum in the southwest its transition into a part of the Netherlands, between Antwerp and “working” museum, which is more of a combination Rotterdam. The city has had a long history in of a museum and a workshop. The beating the wool industry, starting in the Middle Ages. heart of the museum is the TextielLab: in part a For hundreds of years wool was the backbone specialised workshop and in part a laboratory for of the local industry. From the 18th century – the manufacturing of woven and knitted textiles. due to mechanisation and industrialisation – the In the near future, the next step will be made to local wool industry grew rapidly, until at its peak transform the museum into a museum of making, in 1881 Tilburg had as many as 145 wool mills. in anticipation of the new industrial revolution: This wool capital of the Netherlands collapsed the Industry of Making 2.0. Our future TextielLab in 1960 and, by 1980, had nearly disappeared. visitors will also be able to customise some On the remnants of hundreds of years of textile products themselves. craftsmanship and industry a museum was established in 1958. Since 1986 the museum has The role of the collection been set in a former 19th century textile factory.

In 2008 the museum reopened after a largeThe museum collection and its archives are an scale renovation. The combination of a restored important part of our shared cultural capital. The industrial building with modern architecture collection of the TextielMuseum is composed reflects the concept of the institution: creating of several different sources: 200,000 objects, a dialogue between the past and the present of 6,000 images and sound records, 3,000 textile both the local and the wider European textile techniques, a specialised library of 25,000 industries, with an emphasis on the importance of books, a large sample collection, and a material a heritage-based creative industry (Fig. 1). reference collection.

The next step: a museum of making Preserved industrial heritage buildings and a collection of objects from past times form the

Within the museum walls are centuries of accumulated knowledge on crafts, materials, techniques, patterns and recipes. These form the starting points for the present role of this heritage

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Fig. 2 TextielLab, knitting department 2013 Photo credit: Tommy de Lange commissioned by TextielMuseum

collection within the described museum concept.

They function both as a source of knowledge, as well as an inspiration for artists and designers before starting in the TextielLab. The museum collection is often a forgotten source of information. Curators serve as the guides and translators. By connecting this knowledge with the newest technology, modern yarns, product developers, and the museum technicians, new knowledge can be gained. Scientific institutes, universities, and private enterprises, are always searching for ways to add value. Museums are well suited to be partners in the sharing of knowledge with the public through exhibitions, educational programmes, and other activities.

The museum thus becomes part of a network of organisations in which different partners with different knowledge sources and skills cooperate with each other to solve contemporary assignments.

The role of the TextielLab within the museum concept An important part of our museum concept is the TextielLab, which is the beating heart of our museum. It is a unique knowledge centre that is a highly specialised laboratory for innovative fabrics and applications.

Through facilitating designers, artists, fashion designers, and students in their projects with the knowledge and expertise of our product developers and technicians, it becomes possible to explore the endless possibilities of materials and techniques. The TextielLab is an open source laboratory, and therefore, innovation can take centre stage, and can be developed further and faster. We try to create an ideal place for designers and artists, facilitating their projects with all the support they need: technicians, product developers, yarn experts, and access to

our collection and information centre. Museum visitors are also given open access to all the activities of the institute. They can look over the shoulders of the designers and learn from their skills, and follow the creative process “live” (Fig. 2).

Reinterpreting heritage collections The museum, its collection and the activities of the TextielLab, are connected in an integrated way. The reinterpretation of heritage in different ways is a core activity. Before analysing the way this is executed, I will start by looking back in time to define the term “reinterpretation” and put it in a historical context.

Reinterpretation is the act of reformulating something in a new or different way. This can be done in a retrospective or contemporary way (such as with contemporary artists). By doing so, new meanings, indications, or information can be added which can be valuable in a contemporary setting.

In a way, the phenomenon “reinterpretation” is not new. Art historians have been using the Latin terms translatio, imitatio and aemulatio that have been commonly used in both Roman times and the Renaissance era. These terms focus on the extended appreciation of a new work of art, based on, and inspired by its source. The less appreciated, at the time, was translatio [interpretation]: a remake of the source. Imitatio was about the imitation of the style of the predecessor, with the result being a complete new work of art. The highest goal, starting from the Renaissance period was aemulatio in which the artist surpasses his predecessor.

So in the Renaissance era, in a way, creating something new inspired by works of art of the

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(left) Fig. 3 Pattern drawing by Theodoor Nieuwenhuis from the TextielMuseum collection re-used by ZZDP Architects for new fabric for Koninklijke Industrieele Groote Club in Amsterdam Photo credit: Tommy de Lange commissioned by TextielMuseum (right) Fig. 4 Panels in the Koninklijke Industrieele Groote Club in Amsterdam / 2015 Photo credit: Cynthia van Dijke

past (aemulatio) was the highest goal to reach. Today, translatio is no longer really accepted as a work of art, not in a cultural, nor in a juridical way, although new technologies, such as 3D printing, are re-engaging this discussion on authenticity.

approval. By rethinking the way the source object was made, innovation can start. By including the newest technology, modern materials, and a new perspective, a reinterpretation can be realised.

Some cases

In essence, it is all about the reinterpretation of the work of predecessors. We are always building upon the shoulders of giants. Museum collections are considered sources of − sometimes forgotten − information and expertise. With this in mind, we will return to the topic of reinterpretation of heritage collections in order to find out in what way this schema can still be useful for museum practice today.

Different forms of reinterpretation in museum practice today I have started this essay with the statement that the museum collection is considered to be a shared cultural capital and a source of knowledge and expertise. Reinterpretation by artists and designers starts with the studying of heritage objects in the collection, which can be seen as an accumulation of generations of knowledge and expertise. We have to realise that a non-contemporary object is made in the various contexts of time, place, culture, and by a maker influenced by the style or fashion of that time. Such objects are executed with a specific functionality and aimed at a certain public. There are always limitations of technology, material, and cultural

As mentioned above, translatio is culturally no longer accepted. On the basis of some cases in the TextielMuseum, executed by the TextielLab, forms of imitatio and aemulatio − the remake and the imitation of the style of a predecessor − will be described and illustrated. These examples show different forms of reinterpretation, executed in a more or less autonomous way, depending on the application.

Textile wall panels inspired by Theodoor Nieuwenhuis Tw o o r i g i n a l a r t n o u v e a u d e s i g n s f r o m t h e museum collection, textile wall panels by Theodoor Nieuwenhuis (1866-1951), (Figs. 3-4) were the starting point and source of inspiration to develop a new fabric for an old gentlemen’s club in the heart of Amsterdam, as part of an extensive refurbishment

by ZZDP architects. The club is now a modern venue for professionals and businessmen to gather. The interior still retains many art nouveau features similar to these textile wall panels. The original patterns from the collection of the TextielMuseum functioned as a source object and inspiration for the designers 105

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Fig. 5 Museum De Lakenhal / Christie van der Haak – Nieuw Leids Laken / 2015 Photo credit: Museum De Lakenhal

Fig. 6 Viktor&Rolf, table cloth Graffiti for the label “by TextielMuseum”. Produced in the TextielLab 2014 / Photo credit: Philip Riches

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Fig. 7 Du Hameel print, after Bosch Fig. 8 Jan Fabre – tapestry De terugkeer van de olifant (The return of the elephant) / 2015 Photo credit: Angelos bvba / Jan Fabre (design), TextielMuseum (producer), Noordbrabants Museum’s-Hertogenbosch (collection), Peter Cox, Eindhoven (photo)

to develop a contemporary look and feel. The idea was not to make an exact copy because there was no clear or exact reference in the building itself.

New patterns on classical “laken” For centuries, the city of Leiden has been renowned for its high-quality “laken” and woollen fabrics. To honour this impressive textile tradition, the Museum de Lakenhal in Leiden asked five designers to develop new patterns. Kicking off these series was artist Christie van der Haak, who was inspired by the colourful and exotic motifs she discovered in the Leiden collection. Together with the TextielLab and with the support of Woolmark, Van der Haak found creative solutions with different bindings, yarns, and finishing (Fig. 5).

heritage functioned as the main source of inspiration.

Renowned fashion designers Viktor&Rolf created exclusive household textiles in which street culture and traditional textiles converged. Giant graffiti tags in Delft Blue are woven into damask organic cotton tablecloths and tea towels, in order to display dripping paint effects (Fig. 6). With the entire museum collection available for inspiration, the designers can see their vision translated into original products at the TextielLab. The floral motif of the table linen and napkins, as well as the tea towel design’s traditional checked pattern, were inspired by the museum’s rich damask collection. For the designers it was an opportunity to add their signature style to the glamour of the source object, damask, that has now gained a new contemporary expression.

The return of the elephant − Jeroen Bosch

Viktor&Rolf graffiti tags in Delft Blue on damask Another application has been the development and production of an exclusive range of household textiles designed by top designers as part of our label By TextielMuseum. The goal of the label is to democratise design and make it affordable for everybody. It is executed in co-production with artists, designers and the TextielMuseum. The label always includes further information, such as the story behind the design.

In the case of Viktor&Rolf, the rich museum collection and the craftsmanship of the TextielLab combined powerfully. Top designers design exclusively for the label. More than a century of art and design

Around 1530 a series of five tapestries – with compositions based on paintings by the famous Dutch artist Jeroen Bosch − were executed in Brussels by local weavers. Only one incomplete series is left today, currently in the collection of the Patrimonio Nacional in Madrid. The missing fifth tapestry is known only by description. An existing contemporary source is a print of a battle elephant by Alaert Du Hamel (1450-1506) (Fig. 7). While organising a retrospective exhibition on the work of Bosch, the Noordbrabants Museum commissioned the Belgian artist Jan Fabre to make a contemporary translation in co-production with the TextielLab. The idea was to “bring back the elephant to the Netherlands”. Fabre created a 107

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"Innovation can be considered to be a way of rethinking the way we have done things so far.

By adding new technology, modern yarns, and the vision of an artist, new cultural heritage is born".

tapestry with the design of an elephant (Fig. 8).

It has a tower on its back, symbolising power.

The elephant is surrounded by references to ancient guild symbols representing economic power. For the artist this is his reference to the 21st century, “Today, not the government, but the businessmen rule the world”. The tapestry is a contemporary and free interpretation of Jeroen Bosch executed with modern technology and yarns. The assignment was not to make a replica. The artist made it in co-creation with a product developer/master weaver from the TextielLab, and Fabre considers himself as “the assistant of the weaver, who translates my ideas to the fabric”.

New table linen inspired by art nouveau.

A reinterpretation of Lebeau T h e m u s e u m c o m m i s s i o n e d I r i s To o n e n and Elske van Heeswijk (Studio Prelude) to reinterpret the classic and iconic table linen Visschen [translated as “Fish”] by former decorative artist Chris Lebeau (1878-1945).

Lebeau’s work is well known for his high-quality damask, on which he drew strictly stylised designs of nature based on the art nouveau style. The contemporary designers added new colours and contemporary reflective yarns.

Some of the fish designs display all the colours of the rainbow when laid out on a table and exposed to different angles of light, which makes them seem to almost “swim”. The designers focused on new bindings and yarns (Fig. 9).

In a way, they made a logical next step, a step that Lebeau himself could not have made at the time due to technological limitations. A new contemporary design, yet with a reflection of the past, is the result.

Customisation of objects: Studio Job A new phenomenon is the use of existing designs as a starting point to customise and add a personal touch to products. In many art disciplines (e.g. in music, through the remixing of songs) this is already a common idea. In a similar way, commercial brands like Adidas, facilitate customers to “recreate” their basic shoes by adding coloured soles or different designs. At the TextielMuseum, a tea towel by the Dutch design duo Studio Job can be customised by visitors. Together with the product developer, they embroider a specific part of the challenging designs, entitled Perished, Insects and Folklore, with, for instance, golden yarn (Fig. 10). The result is a tea towel with a personalised design. In my view, this can be seen as a form of democratisation of the TextielLab. By allowing non-designers to cocreate a new design, we facilitate the ultimate form of visitor participation.

Collection assignments, a contemporary way of collecting The museum is using the TextielLab to execute collection assignments, as well as also realising projects – autonomous artworks – for artists themselves. Collection assignments were initiated at the end of the 1990s. Artists and designers are given the time and space to experiment with, and to do research on, different textile techniques. They sometimes explicitly ask to consider the museum collection as a source of inspiration to develop new contemporary works. By doing so, a unique contemporary collection can be achieved, with the new works being added to the already existing museum

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Fig. 9 Studio Prelude, Visschen (nr. 561) for the label ‘by TextielMuseum’, after Chris Lebeau, produced in the TextielLab / 2016 Photo credit: Joep Vogels commissioned by TextielMuseum

Fig. 10 Studio Job – tea towel Perished for the label ‘by TextielMuseum’, produced in the TextielLab Photo credit: Tommy de Lange commissioned by TextielMuseum

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Fig. 11 Heringa & Van Kalsbeek – Armor / 2016 Photo credit: Tommy de Lange commissioned by TextielMuseum

collection. Collecting, in this case, is not done retrospectively, but through the process of co-creation. The new objects will always be exhibited – together with samples and sketches – in one of our exhibitions. These sketches and samples are also collected and documented for the purpose of sharing knowledge with other artists and the public.

An example: an evocative sculpture by Heringa/Van Kalsbeek Amsterdam based artists Heringa/Van Kalsbeek create evocative sculptures assembled from a variety of found objects. The TextielMuseum asked the artists to develop a large new work for the museum collection. Inspired by their own collection of an assortment of ethnographical artefacts, and a traditional Chinese bridal headpiece in particular, the artists created intricate wing-like shapes of laser-cut canvas.

These parts are fixed by a coloured resin and draped over a metal frame to resemble a “drawing in space”. The finished piece was on show at the TextielMuseum exhibition “Fringes of Beauty” in 2017 (Fig. 11).

It is through reinterpretation by artists and designers who are inspired by the museum collection − our shared cultural capital − that

a heritage-based legacy lives on for future generations. Innovation can be considered to be a way of rethinking the way we have done things so far. By adding new technology, modern yarns, and the vision of an artist, new cultural heritage is born.

Errol van de Werdt Director CEO, Textielmuseum, Netherlands Errol van de Werdt was educated in different cities in the Netherlands-leiden, Amsterdam, Groningen and Zwolle. He received a bachelor degree in Museology from the Reinwardt Academy in leiden and a master degree in Art Histrory and Archeology in Amsterdam. In 2000 Errol became director of collections and research in Utrecht Centraal Museum. Recently he started as general director of the TextielMuseum and TextileLab and is now general director (CEO) of the Mommers Heritage Foundation which includes beside the TextielMuseum and TextielLab, the regional archives, the Local History Museum, and Vincent drawing school. The TextielMuseum includes a research Laboratory and an international Textiles Trainee programme to give talented students from all over the world the opportunity to do research, study and develop textiles prototypes or autonomous works. At the TextielMuseum research, study and exhibitions place much emphasis on crossovers between the different disciplines such as design, art, fashion and architecture.

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工業遺產如何塑造我們的製作活動 埃洛・范德維

Fig. 1 紡織博物館外觀 / 2016 圖片版權：Josefina Eikenaar / 紡織博物館

蒂爾堡的紡織博物館收藏著該市的工業遺產，城市位於荷蘭西南部，介乎安特衛普與鹿特丹之間。該市 歷史悠久的羊毛紡織業始於中世紀，幾百年來一直是當地的支柱工業。從十八世紀開始，由於機械化和 工業化的推進，當地羊毛工業迅速發展，至 1881 年蒂爾堡的羊毛工廠達到 145 間。而自 1960 年起，這 個荷蘭的羊毛之都開始走下坡，至 1980 年幾乎所有工廠消失殆盡。1958 年一座博物館在數百年紡織工 藝及生產的歷史餘燼中建立起來，1986 年搬進一座由十九世紀紡織工廠改建的館址。2008 年博物館進 行大型裝修後重新開放，擴建工程結合翻新的工業樓與現代建築，反映出博物館的理念—敘述當地與歐 洲古今的紡織工業，強調創意工業建基文化遺產之重要（Fig.1）。 下一步：製作者博物館 保存舊時的工業建築與收藏文物都是博物館傳統的立館之本，也是紡織博物館的建館理念，並由此過渡成 為一間活動博物館，由博物館與工作室兩部分構成。博物館的核心是紡織實驗室，它既是專門的工作室， 亦是梭織及針織品生產的實驗室。在不久將來，紡織實驗室會變成製作者博物館，昂然步向新的工業革 命時代：製造業 2.0。到那時，博物館觀眾參觀紡織實驗室，也能自訂產品的風格。 館藏的角色 博物館藏品和檔案是我們共有的重要文化資本，紡織博物館的收藏包括：20 萬件物品、6000 件圖像和聲 音檔案、3000 件紡織製作、藏書 25000 本的專科圖書館、大型樣品庫和參考物料庫。 111

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（左）Fig. 2 紡織博物館收藏的 Theodoor Nieuwenhuis 新藝術風格布料牆紙手繪圖，啟發 ZZDP 建築師事務所 為阿姆斯特丹紳士俱樂仿造出新牆紙 / 圖片版權：Tommy de Lange，紡織博物館委約 （右）Fig. 3 阿姆斯特丹紳士俱樂部內牆紙 / 2015 / 圖片版權：Cynthia van Dijke

博物館內保存著數百年來有關工藝、物料、技術、 圖案及配方等知識，這些都是博物館成長至今的 基石，藝術家和設計師在投入紡織實驗室之前， 可從館藏擷取靈感。然而，博物館藏品所載的資 料卻往往被人遺忘，全靠策展人擔任導遊和傳 譯。若將藏品資料與最新科技、現代紗線、產品 開發人員和館內技術人員聯繫起來，就獲得新的 知識。科研機構如大學、企業一樣，紛紛尋求資 本增值的方法。博物館通過展覽、教育節目及其 他活動，與公眾分享知識，勝任有餘。博物館可 成為跨知識、跨技術網絡組織的一員，與其他成 員共同解決當前任務。 博物館理念中紡織實驗室的角色 紡織實驗室作為博物館理念的一部份，亦是本館 的脈搏所在，它是一個高度專業化的特殊知識中 心、研發創新布料和應用技術之所。 通過實驗室中產品開發人員和技術人員的專業知 識，設計師、藝術家、時裝設計師、學生可在此 探索物料和技術的無限可能，紡織實驗室的開放 式資源，容許創新起步及發展更遠更快。我們試 圖為設計師和藝術家提供理想的環境，給予他們 所需的一切支援：技術人員、產品開發人員、紗 線專家、館藏，以至資訊中心。觀眾也可以參與 進來，從旁觀看設計師及學習他們的技術，了解 他們的創作過程。

重新闡釋歷史藏品 博物館將藏品與紡織實驗室活動綜合連結。其 中，對歷史藏品作不同方式的重新闡釋是一項核 心活動。在解釋如何運作之前，我想先回顧歷史 上對「重新闡釋」的定義。 「重新闡釋」是指以全新或不同的方式去重組事 物，可以回顧的手法或當代的方式（通過當代藝 術家）完成，由此產生新的意義、象徵或資料， 使舊物在現今環境別具價值。

某程度上，「重新闡釋」並不是新鮮事。藝術史 學家一直沿用羅馬時代、文藝復興時期通用的術 語「translatio」、「imitatio」、「aemulatio」， 開闢從靈感源泉欣賞新藝術作品這個新層面。在 當時，最低目標是「translatio」（闡釋）：即 再造原物。「Imitatio」是指對前作的模仿，結 果是全新的藝術創作。然而，自文藝復興以來的 最高目標是「aemulatio」，即超越前人，從舊 作品啟發出創新作品。今天，「translatio」不 管從文化或法律意義都不算藝術品。儘管 3D 打 印等高科技的出現，又引起人們議論藝術真伪的 問題。 基本上，以上討論全是關於「重新闡釋」前人的 作品。我們其實一直建築於偉大前人的成就之 上。博物館藏品是資料及知識之源，卻經常被忽

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Fig. 4 Lakenhal 博物館 / Christie van der Haak《Nieuw Leids Laken》布料作品 / 2015 / 圖片版權：Lakenhal 博物館

略。為此我們將「重新闡釋」歷史藏品，找出這方法 現時可行的方向。 現今不同方式的重新闡釋 本文開頭已指出博物館藏品是我們共享的文化資本， 以及知識和研究的資源。藝術家和設計師首先發掘累 積了歷代智慧的館藏歷史文物。一件文物的產生自有 其時間、地方和文化的淵源，它的製作者亦取材當時 的時尚潮流，針對特定的功能和觀眾，也受技術、物 料、文化的各方限制。藉著重新思考文物的製作方式， 創新就能開始，加上最新科技、現代紗線、全新角度， 就能實踐重新闡釋的目標。

部，內部仍保留著館藏布料牆紙時代的新藝術風格裝 潢。紡織博物館藏品的圖案只是啟發了具時代感的新 設計，建築師並沒有完全照搬原圖，因為俱樂部並不 存在明確的年代參考。 古典床單的新圖案 數百年間萊頓市以其高品質的床單和羊毛布料而聞 名。Lakenhal 博 物 館 為 向 享 譽 的 紡 織 工 藝 傳 統 致 敬，邀請了五位設計師創作新圖案。Christie van der Haak 率先從萊頓博物館藏品發現了豐富多彩、充滿異 國情調的圖案，在 Woolmark 的支持下，她聯同紡織 實驗室設計出結合不同縫邊、紗線和裝飾的創意作品 （Fig. 4）。

一些案例 錦緞上的台夫特藍彩—Viktor&Rolf簽字塗鴉 上 文 提 到，「translatio」 在 文 化 上 已 不 被 認 可。 「imitatio」、「aemulatio」的具體意義，卻體現於 紡織博物館中實驗室進行的幾個案例。這些案例各因 所需，而作出不同程度自主式的重新闡釋。 仿 TheodoorNieuwenhuis風格的布料牆紙 博 物 館 收 藏 兩 件 Theodoor Nieuwenhuis（18661951）設計的新藝術風格布料牆紙（Figs. 2-3），啟 發了 ZZDP 建築師事務所，他們替阿姆斯特丹市中心 一間舊紳士俱樂部進行大規模翻新，設計出仿館藏風 格的布料，該處現已成為專業人士和商人的現代俱樂

另一應用例子，是邀請頂級設計師開發生產家用紡織 品獨家系列，發展紡織博物館的品牌產品。這意味著 讓設計大眾化，人人都負擔得起。每件作品由藝術家、 設計師與紡織博物館合作製成，並附註設計師背後的 故事。 在 Viktor&Rolf 的案例中，豐富的博物館藏品、紡 織實驗室的工藝有效地結合起來。頂級設計師以一百 多年的設計和藝術遺產為靈感，創作出獨特的品牌設計。 時裝設計師 Viktor&Rolf 將街頭文化與傳統紡織共融 於家用紡織品，大型的台夫特藍彩簽字塗鴉編入有機 113

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Fig. 5 Viktor&Rolf《Graffiti》紡織博物館品牌產品、 紡織實驗室製作 / 2014 圖片版權：Philip Riches

Fig. 6 Alaert Du Hamel 在博斯作品基礎上創作的版畫

Fig. 7 Jan Fabre《De terugkeer van de olifant》（大象的回歸）掛毯 2015 圖片版權：Angelos bvba/Jan Fabre（設計），荷蘭斯海爾托亨博斯

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Noordbrabants（收藏），紡織博物館（製作），Peter Cox（攝影）

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Fig. 8 Studio Prelude 仿 Chris Lebeau 的作品《Visschen (nr. 561)》（魚）/ 紡織博物館品牌產品、紡織實驗室製作 / 2016 圖片版權：Joep Vogels，紡織博物館委約 Fig. 9 Studio Job《Perished》（死亡）茶巾 / 紡織博物館品牌產品、紡織實驗室製作 / 2017 圖片版權：Tommy de Lange，紡織博物館委約

棉製的錦緞桌布和茶巾，形成潑彩的效果（Fig. 5）。 設計師參考博物館豐富的藏品，在紡織實驗室將構思 化作原創產品，桌布和餐巾的花卉圖案、茶巾的傳統 方格，全部取材自館藏的錦緞。設計師也樂於為錦緞 藏品大筆一揮，賦予文物一點時代的氣息。 大象的回歸—Jeroen Bosch 1530 年 左 右， 取 材 荷 蘭 著 名 藝 術 家 耶 羅 恩• 博 斯 （Jeroen Bosch）畫作的五幅掛毯由布魯塞爾的紡織 工人製成。現今只有馬德里 Patrimonio Nacional 收 藏了不完整的一套，缺失的第五幅掛毯只留下有限的 文 字 紀 錄。Alaert Du Hamel（1450-1506） 版 畫 中 戰鬥的大象形象，是當時保留下來的參考圖（Fig. 6）。 Noordbrabants 博物館在舉行博斯的大型回顧展時， 曾委約比利時藝術家 Jan Fabre 與紡織實驗室一起製 作「大象的回歸」現代版本，目的是「把大象帶回荷 蘭」。他因此創作一幅掛毯，以大象為主題（Fig. 7）， 它背上有一座象徵權力的寶塔，四周則佈滿象徵經濟 力量的古代行業公會符號。對藝術家而言，畫面意指 二十一世紀：「今天，統治世界的不是政府而是商人」。 這幅掛毯不是一件複製品，而是藝術家聯同紡織實驗 室的產品開發人員 / 編織師，利用現代科技和紗線， 以當代自由的角度去詮釋博斯的作品；他更自認為「紡 織工人的助手，他們將自己的概念轉成織品」。

Prelude）， 重 新 闡 釋 裝 飾 藝 術 家 Chris Lebeau （1878-1945）的標誌性經典桌布 Visschen（魚）。 Lebeau 以其高品質的錦緞而聞名，他在新藝術運動 風格的基礎上，發展出以自然為題的風格化繪圖。現 代設計師們在舊作基礎上採用全新色彩及反光紗線， 部份魚紋展現出彩虹七色，從桌布不同的角度觀賞， 它們會發出不同的顏色，看似在桌上游泳。設計師專 注於新的縫邊和紗線技術（Fig. 8），某程度上邁出 Lebeau 因當時技術限制而無法跨出的一步。這體現了 當代設計建基於反思歷史的成果。 個人化產品：Studio Job 當代的新潮流，是利用現有的設計為起點，製作具有 個人色彩的作品。這手法廣泛存在於藝術圈子，例如 音樂界的重新混音，是很普遍的現象。同樣地，商 業品牌 Adidas 邀請顧客「自創」基本鞋款，各自為 鞋子加上顏色鞋底或不同設計。紡織博物館中荷蘭設 計工作室 Studio Job 創作的茶巾，也是觀眾自製的 產品。觀眾與產品發展人員合作挑戰難度高的設計 《Perished, Insects and Folklore》，例如用金線繡 出一部份（Fig. 9），結果是很個人化的茶巾。我認 為邀請非設計師共同創作，可看作實驗室走大眾化的 路線，使觀眾能獲得極致的參與體驗。 當代收藏方式：委約藏品

新藝術風格影響的新桌布， 重新闡釋 Lebeau 作品 博物館委約 Iris Toonen、Elske van Heeswijk（Studio

博物館利用紡織實驗室作為委約製作藏品的大本營， 當然藝術家也可以自行創作夢想的作品。博物館委約 藝術家製作藏品，興起於 1990 年代末。我們委約藝 115

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「創新就是反思我們既往的做事方式，同時加入新技術、 現代紗線、藝術家的視野，新的文化遺產就得以誕生。」

Fig. 10 Heringa、Van Kalsbeek 《Armor》（盔甲）/ 2016 圖片版權：Tommy de Lange，紡織博物館委約

術家或設計師在一定時間和空間內，對不同的紡 織技術進行研究，有時規定他們以博物館藏品為 靈感來創作，這將產生獨特的當代藏品，補充博 物館之現時館藏。在這種情況下，收藏成為了一 種共同創作，而不僅僅止於懷舊。在我們的展覽 中，新作品將與創作草圖、樣本等紀錄共同展 出，這些檔案並收藏登記，以供其他藝術家和公 眾分享知識。 一個例子：Heringa / Van Kalsbeek 的啟發性 雕塑

思我們既往的做事方式，同時加入新技術、現代 紗線與藝術家的視野，新的文化遺產就得以誕 生。

埃洛．范德維 荷蘭紡織博物館館長 埃 洛． 范 德 維 曾 在 荷 蘭 萊 頓、 阿 姆 斯 特 丹、 格 羅 寧 根、 茲 沃 勒 接 受 教 育。 他 在 萊 頓 Reinwardt

阿 姆 斯 特 丹 藝 術 家 Heringa / Van Kalsbeek 善於利用各種文物創作啟發人心的雕塑 （Fig. 10）。紡織博物館曾委約他們製作大型全 新作品，藝術家參考館藏的民族工藝品，特別是 一件中國新娘傳統頭飾，創作出激光切割精細的 帆布翼片，再將這些組件用有色樹脂固定於金屬 框架，像一件「空間繪畫」作品。作品曾於 2017 年紡織博物館展覽「Fringes of Beauty」展出。 博物館的共享文化資本，通過藝術家和設計師的 重新闡釋，遺產傳承得以延續後世。創新就是反

Academy 完 成 博 物 館 學 學 士 課 程； 在 阿 姆 斯 特 丹 獲 得 藝 術 史 及 考 古 學 碩 士 學 位。 在 2000 年 成 為 Utrecht Centraal Museum 的館藏及研究部總 監。近年曾為荷蘭紡織博物館、荷蘭紡織實驗室的 總 監， 現 任 Mommers Heritage Foundation 總 監，轄下除了荷蘭紡織博物館、荷蘭紡織實驗室， 還有 The Regional Archives、The Local History Museum、 Vincent drawing school。荷蘭紡織博 物館的研究中心，並開辦國際紡織培訓計劃，讓各 地有才能的學生去研究、學習、開發紡織品原型或 創新作品。荷蘭紡織博物館的研究、學習及展覽， 強調跨界別如設計、藝術、時裝與建築之間的交流。

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Weaving the Relationship between Textile History and Audience − How This is Realised at Honggah Museum Frankie Su

Fig. 1 Honggah Museum located in the Beitou area, Taipei / 2008

Honggah Museum was founded in 1999 in Beitou, Taipei by the Chew’s Culture Foundation. The Museum has always been seen as an art space for promoting contemporary art, and at the same time as the custodian of an abundant collection of embroidery art, collected by the founder based on his personal interests.

Andrew Chew began to build his collection after he visited Hangzhou and Hunan in the early 1970s. He developed close relationships with both cities (both recognised nationally by China Intangible Cultural Heritage for their embroidery), and their institutions. The Chew collection has become one of the main collectors of Chinese modern embroidery (Figs. 1-2).

Mr. Chew then devoted himself to preserving the precious embroidery artworks he had collected from China and promoted them by providing a professional showcase in the form

of the Honggah Museum − and by ensuring that museum admission was free to members of the public for over twenty years. Exhibitions, campaigns, inter-disciplinary performances, and educational programmes have been developed.

The museum provides for art appreciation in a venue of quality, as well as sowing the seeds of art, not only for the local community in Beitou, but also for audiences from all over Taiwan.

M r. C h e w w a s a l s o d e d i c a t e d p r o m o t i n g contemporary art, and the Honggah Museum also serves as a platform for the showcase of contemporary art via regular themed events such as the biennial “Taiwan International Video Art Exhibition” and solo exhibitions of emerging artists from Taiwan and abroad.

As the operations team of Honggah Museum, we have always faced the challenge of bringing in a larger audience. Having in-depth analysis based 117

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on the fruitful collection of audience data from our programmes and exhibitions enables us to face this challenge. From my experience, it feels as if there are two different kinds of audiences who come to see the different content on display in the Museum. Each group visits for only that which interests them. Consequently, over the last few years of programming, it has been the priority to plan a series of projects that bridges our two main groups of audiences from very different backgrounds – who are coming to the museum with very different interests. We aim to mix these audiences by bringing them together in one room and hopefully create an interesting conversation.

With this aim of trying to bring together rather traditional, or craft-based works, and more contemporary art works for our diverse audiences, Honggah Museum has specifically organised projects/exhibitions over the last few years with this goal in mind. In order to share our experiences, some of these projects/ exhibitions are described below.

“Modern weavolution” We re-examined the history of embroidery making – finding that this old art normally involved a huge amount of labour. Starting from this point, “Modern Weavolution” tried to bring the conditions of labour in the fabric and fashion industry to our audiences’ attention.

Prior to the Age of Industrialisation, it was the women in families who mainly contributed to the production of fabrics. However, since the Industrial Revolution to the present day, fabrics are often made in developing countries and with underpaid labour.

The former represents invaluable household labour, whilst the latter is low-priced market

exploitation. The exhibition, “Modern Weavolution”, combined traditional embroidery pieces with contemporary artworks, stimulating dialogues and reflections on the comparisons between the spirit of traditional techniques, and the phenomenon of capitalist society and cheap labour today.

The artwork The Embroidery of Embroidery depicts the process of embroidery and the collective labour involved. Along the way, references are made to cultural heritage, as well as the development, the innovation, and the pursuit of sublime craftsmanship. Nevertheless, labour today, within the capitalist system, has become mechanical and oblivious to the means of production. Cheapness is at its core, with morbid consumption and an exploitation of the work environment as the result. The artist Chang Shu-Man re-interprets the work The Embroidery of Embroidery with hand-painted stop motion animation, not only adding the fun of “motion”, but also honoring the spirit of traditional embroidery − stitch by stitch (Fig. 3).

Another theme is highlighted by Ho Chao-Ti’s Wandering Island − El Salvador Journal and Lo Hsin-Jie’s Funny Competition between Labour and Management: You Have Me in You. The two documentaries both examine the textile and clothing industry under the influence of globalisation, inside and outside of Taiwan. The artists show the awakening of labourers both locally, and abroad, and their fight for their rights via confrontation and negotiation (Fig. 4).

Embroidery of Tseng Hou-Hsi’s Night Banquet is a work created by an embroidery workshop at the request of Mr. Chew, founder and president of the Museum. This art piece employs “dense embroidery techniques”, with every inch of the piece woven with two, three, or even more,

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Fig. 2 Museum collection room with embroidery art / 2008

Fig. 3 Animation and original piece of Procedure of Embroidery-Making / 2015

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Fig. 4 Art works El Salvador Journal by Ho Chao-Ti (left) and Huai Mo Village − Tapestry by Hsu Chia-Wei (right) / 2015

layers of silk embroidery. Previously Mr. Chew supported the workshop via commissioned production and procurement of its embroidery pieces. As a result, the workshop was not closed and traditional techniques could be passed on. Hsu Chia-Wei’s Huai Mo Village − Tapestry focuses on the Huai Mo Tzu Chiang House in Chiang Rai, Thailand, and the region’s complex history. Children of the Huai Mo Tzu Chiang House were invited to co-create pieces with the artist using donated sewing machines and based on old documents that had almost been forgotten. The two artworks appear utterly different and yet the concepts behind them are identical.

Fig. 5 in Bloom − Unfamiliar Beauty of the Familiar Things in visual conversation with embroidery collection Xi Shi Huan Sha 2015

The exhibition presented not only visual dialogues between the collection of the Museum and the contemporary works, but also between other contemporary pieces, such as Jaffa Lam’s Enlightened from Green and Light and Studio in Bloom’s Unfamiliar Beauty of the Familiar Things (Fig. 5).

The textile industries of Taiwan and of Hong Kong formerly enjoyed a brief period of

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"This exhibition endeavors to break down the boundaries between craftspersonship and contemporary art. Nevertheless, the aim is not merely to mix two different types of works and present them altogether. It is also a search for the sense of craftspersonship within contemporary art makers".

glory as OEM (Original Equipment Manufacturer) manufacturing hubs, which has now disappeared.

Jaffa Lam cooperated with the Hong Kong Women Workers’ Association on the “Micro Economy” project, exploring the process of art making using social resources. Hana Tsai, Chiu Chung-Yu, and Ama Shen, with their brand “in Bloom,” created a self-sufficient art production process as well as a full industry cycle.

Through the visual and conceptual dialogue between fabrics and labour, “Modern Weavolution” opened up a space for cultural intercourse between the old/ antiquity and the new/modernity. This dialogue aimed to unwind the meanings of fabric and extend it to the creators, labourers, and users that took part in the process.

Sewing image − an experiment with the Hong-Gah museum collection “Sewing Image − An Experiment in Hong-Gah Museum Collection” was a conceptual appropriation of Honggah Museum’s embroidery artwork collection.

It was an attempt to initiate a conversation between contemporary art and classical embroidery culture.

In this exhibition, we wanted to discuss “embroidery” in terms of the transformation of the embroidery industry under the influence of capitalism, and how it is presented in modern society. The exhibition also explored the contemporary connection between image (video) and the production of image (embroidery).

The exhibition combed through the rich collection of Honggah Museum’s embroidery artworks and data, trying to clarify the process of transformation of “technique” in modern times, and probe into how it attained the level of “art”. This was done so as to define the cultural value of embroidery in contemporary society. Additionally, this exploration provided an entry point into the location and production of contemporary art. When consumption

becomes the main activity in modern life, how could embroidery, as a decorative symbol representing culture from the past, relate to the modern images that we create in our everyday life?

Let us transform “embroidery” from a restrictive condition of a specific medium into an action of contemporary translation. The notion of “Image” does not have to be limited to just an “icon” in the context of embroidery, but can expand to that of pictures and moving images. The notion of “Platform” can be deemed to be the venue for culture preservation as well as of contemporary translation as reflected in art.

In the notion of “Sewing Image”, the heterogeneity of contemporary images often presents different appearances and transformations in different media forms. Such creative production processes often bear multiple conceptual identities. These processes not only preserve puzzles to be solved and elements of meaning, but also the possibility of decoding meanings when considering and analyzing images via embedded critiques of capitalism. In the process of constructing image identity, such processes further reconstruct other dialectics – experience versus perception, action versus thought, society at large versus the individual – into activities on the same conceptual level.

Hou I-Ting often forms her ideas and formats of her artworks starting from considerations of space/ environment. With such a beginning point, she disassembles concepts like body, space, and image, so as to create metaphors of political and cultural imagination that lie behind the created images.

This exhibition also presented previous works like Complexing Body (Fig. 6). These works derive from Hou’s practice and refer to her conceptual reflections on the interior processes of image production rather than an exploration of techniques of embroidery images. The photographic prints were overlaid with imagery created from heterogeneous media. These 121

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Fig. 6 Exhibition view of Complex Body / Hou I-Ting / 2016 Fig. 7 Yi An Ci Yi − Fertile Green & Lean Red Hou I-Ting / 2016 Fig. 8 Installation view of Stitching Stories, Weaving Warmth − A Fabric Play Participatory Art Project 2016

interventions covered the existing visual reality of the images, gently portraying the politics of power relationships. Questions arise, such as, is this process intended to mark the title or authorship, or to warn of a modern daily life flooded with images? To answer these questions, we were able take advantage of a traditional embroidery work, which employed a dual variant embroidery technique, in Honggah Museum’s embroidery collection – Yi An Ci Yi − Fertile Green & Lean Red, and install it next to Hou I-Ting’s piece (Fig. 7). We could then engage in an experimental visual conversation and attempt to unlock the transitions of power within image production, as well as the forms of contemporary visual language that transcend the process-driven limitations of culture and time.

Stitching stories, weaving warmth − a fabric play participatory art project Stitching Stories, Weaving Warm (Fig. 8) was a very different project from the other two examples given above. It was a community art project and exhibition that featured, and worked with, the group “Textile Playing Sisters”.

At the end of the 1990s, the Cloth Art Festival held in the Yong-Le market on Dihua Street in Taipei presented the stories of a group of female cloth lovers and a stockroom of fabric remnants. The Awakening Foundation arranged at least one course per week for local women to immerse themselves in the world of cloth. Cloth became the material for them to create artworks; cloth also formed a human tapestry - a longlasting sense of sisterhood (Fig. 9).

The sisterhood has journeyed a long way, sharing their love of working and playing with

fabric ever since they first met and bonded in 1988. Through early assistance provided by the Awakening Foundation, they have collaborated with contemporary artists such as Wu Mali and others, and taken a further step from fabric play to creating artworks, showcasing their works in carnivals, as well as participating in exhibitions and, even becoming lecturers in community colleges. Playing with fabric has opened the door for these women to worlds far beyond the common resonance of their normal family lives, bringing these women together to create, and go further than before.

While playing with, and creating art works from, fabrics, these artists started to look back at the many stages of their lives – as daughters, wives, daughters-in-law, mothers, grandmothers etc., and realised that these different roles had fostered in them tenderness and tenaciousness.

Telling, listening, and sharing each other ’s stories, they empathetically connected with each other, thus establishing an intimate relationship of sisterhood. Creating artworks had not only brought enjoyment and satisfaction, but also the chance to express and voice thoughts and feelings.

Thursdays were the days the sisterhood most looked forward to – the days when they gathered and played together creating fabric art, and the process of creating this exhibition aimed to perpetuate this process. Through weekly gatherings, the artists met, reminisced, cheered each other on, discussed the themes and the exhibiting of their works from different earlier periods, and how the exhibition could portray the universal course of life experienced by all women. Moreover, serving as a collective platform, the exhibition intended to engage local audiences in multi-generational conversations

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via outreach activities, such as “Sisterhood’s Room Services”, exploring the possibilities of what roles community art could play in community development .

Tobacco, carpet, lunch box, textile machinery and cave men: the narratives of craftsmanship and technologies in contemporary art Our mission continues. We have just opened an exhibition at the museum called “Tobacco, Carpet, Lunch Box, Textile Machinery and Cave Men: the narratives of craftsmanship and technologies in contemporary art”. For this exhibition, we worked with guest curator Nobuo Takamori, who has long been interested in researching Hoggah Museum’s collection. Therefore, this experiment in how someone with a contemporary art background can work with the techniques of traditional craft/art, represents another approach towards our museum’s goal of bridging the gap between our diverse audiences.

Artistry, aesthetics, the avant-garde, narrative, craftspersonship – those are some of the key concepts that seem to be difficult to intermix within the context of contemporary art. However, this is the very direction this exhibition attempts to experiment with.

The use of technology as a form of aesthetic narrative includes the command of unique, and yet uncontrollable, material. With perseverance and concentration, it is possible to bring notions of time and technology together. This creative process demands exceptional interpretative skill as well as aesthetic sensitivity. This exhibition endeavors to showcase how contemporary artists interpret and employ the processes of creative craftsperson methodologies with a particular focus on the processes of historical and contemporary technologies.

The most distinctive traits that separate craftsperson systems from contemporary art creation are those

of concepts and narrative-orientation. Craftsperson systems retain the use of technology as a form of aesthetic narrative, while leaving conceptual room for object appreciation. How contemporary artists reinterpret this process, whilst employing the creative methodology of craftsperson systems, offers a distinctive conceptual angle to the final creations.

This approach will be the direction this exhibition develops and experiments with. Sometimes, we picture craftspeople creating their work with highly sophisticated means. Yet, it is not the technology or techniques that matter here but how the artist finds creative balance between medium and technology.

This exhibition endeavors to break down the boundaries between craftspersonship and contemporary art. Nevertheless, the aim is not merely to mix two different types of works and present them altogether. It is also a search for the sense of craftspersonship within contemporary art makers. Through this search, the respect towards the use of their materials by art makers during the creative process will be discovered. Such devotion to materiality allows for the possibility of contemporary art making to return to the basis of craftspersonship – as an experiment with materiality and form. How artists create impacts directly on their use of radical materials in order to cleverly arrange their narratives.

Artistry, aesthetics, the avant-garde, narrative, and craftspersonship, as mentioned above, are the key concepts that seem to be difficult to intermix within contemporary art practice – but are the very goals this exhibition strives to achieve.

To conclude, Honggah Museum has tried many different ways to engage diverse audiences. As has been described, this has included: commissioning a video artist to work with traditional embroidery pieces, group exhibitions showing selections from the museum’s embroidery collection juxtaposed with contemporary art, and a social engagement art project

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Fig. 9 Gathering again 18 years later, meetings and workshops in the museum / 2016

relating to women and textiles.

Apart from whether or not we have successfully achieved a productive dialogue between the various strands of what we are trying to do, our main concern has been the feedback from the founder of the museum. Although passionate about embroidery, Mr. Chew is also a very openminded person when it comes to art. Often in the exhibitions that have a more conceptual focus featuring very difficult accompanying texts or statements, even though Mr. Chew admits that this is “not his favorite art”, we have not been stopped from displaying them. When he realised that the curatorial team of the museum intended to create different visual experiments by placing rather traditional embroidery pieces from the museum’s collection and contemporary artworks together, it did take him quite a while to digest the concept, and he discussed this approach at length with the team. Although he does not seem to be happy with every experimental exhibition we do in the museum, generally speaking, Mr. Chew has still been supportive of our future experimental programmes.

As to our diverse audiences, we carefully review all the feedback from every exhibition. Recently, we have started to have new faces coming in to visit the museum from both categories of visitors. Attempting to change the preconceived notions amongst audiences of both art, and non-art, backgrounds, of how certain forms of art should be discussed and presented, might not be the easiest thing to do. However, we find it crucial to challenge ourselves every time we propose an idea or concept, because the result can sometimes be both amazing and encouraging.

In the near future, our aim is still to build up a healthier and more communicative environment f o r m u s e u m d e v e l o p m e n t . We h a v e b e e n constantly thinking about how to integrate visitors more, by organising programmes that could possibly involve their participation even further. At the same time, Honggah Museum will keep playing an important role as a museum for the community, starting from embroidery art, but also sharing it and linking it to contemporary art.

(This is not a translation of Chinese essay by the same author pp.125-131)

Frankie Su Director, Hong Gah Museum, Taiwan Frankie Su is based in Taipei, Taiwan. She received a MA degree with distinction from Department of History of Art, University of Essex. She worked as assistant curator in Museum of Contemporary Art, Taipei between 2003 to 2006, then she moved to Beijing to join the initiative team of setting up Ullens Centre for Contemporary Art located in 798 Art District in Beijing. Su is now Director of HongGah Museum, a privately-funded contemporary art museum located in Taipei, and is one of the executive board members of Taipei Contemporary Art Centre.

She received a grant from Contemporary Art Foundation for a curatorial research trip in Europe in 2009 and a fellowship grant from The National Culture and Arts Foundation (NCAF) to work with Independent Curators International to enhance the exchange and dialogue with Asian artists and curators.

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織品、社區、當代藝術—鳳甲美術館的 藝術實踐 蘇珀琪

Fig. 1 鳳甲美術館座落於台北市北投區 / 2008

一個美術館的基礎在於館藏，而把藏品物質以外 的精神加以詮釋並發揚光大，必須透過展覽及推 廣，進一步積極去面對觀眾，將美學的種子撒在 沃土裡，讓它自然地生長與蔓延。 自 1999 年起鳳甲美術館在台北市北投區成立， 以展覽、推廣活動、跨領域展出等方式，為本地 社群提供專業的藝術欣賞環境。長久以來美術館 除了持續舉辦藝術課程或講座活動，積極推動社 區美學教育之外，更作為美術館展出當代藝術， 每年定期策劃專題展覽，如雙年展形式呈現的台 灣國際錄像藝術展、各種國內外藝術家個展。近 年來，也陸續與社區學校及社區團體合作，建立 夥伴關係，期盼透過藝術推廣計劃，強化與本地 社群的合作，連結社群的關係，關照社區議題， 開啟社區對話，實踐博物館與社區共享的藝術學 習（Figs. 1-2）。

目前館藏作品有近二千件，類別包含油畫、水彩、 素描、版畫、攝影、錄像、水墨和雕塑等。另外， 最為知名並較為稀有的藏品是約五百件中國近代 刺繡藝術，其中涵蓋了 1970、80 年代領盡風騷 的中國四大名繡作品，宛如一部百年中國刺繡活 史，無論是蘇繡的宮廷皇袍、湘繡的擬真雙面繡， 或是具有歷史價值的文革繡品，作品中不乏中國 工藝美術百花獎、國家級刺繡美術館收藏的珍 品。 鳳甲美術館在當代藝術的長期耕耘，累積了一定 數量的藝術觀眾，尤其是在特展或國際大展的舉 辦期間，在展場總能看到諳熟當代藝術的熟面 孔。然而在此同時，由於館內豐富的刺繡及織品 收藏廣為一般觀眾所知，美術館的來訪者也有相 當人數主要是針對欣賞藏品而來，尤其是慕名而 來的海外觀眾。因此相對來說，當代藝術對他們 的距離較遠也比較容易理解。

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Fig. 2 鳳甲美術館刺繡藏品庫房 / 2008 Fig. 3 《繡刺繡圖》原作及其衍伸之動畫作品 / 2015 Fig. 4 左：紀錄片《薩爾瓦多日記》（賀照緹）右：《回莫村》璧毯（許家維）/ 2015

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Fig. 5 《尋常裝飾之不尋常之美》 及對話之刺繡作品《西施浣紗》 2015

近幾年，美術館的工作團隊希望能挑戰觀眾因興趣不 同而分流的現象，對我們而言，美學的基礎是不分媒 介、主題或語言，亦能將藝術的精神準確傳達，甚至 說服及鼓勵觀眾能夠踏出舒適圈，進一步接觸並理解 不同類型的藝術作品。因此，我們陸續透過幾個不同 的展覽及推廣項目，希望將所藏工藝織品的精神與當 代 / 錄像藝術融合，彼此對話，互相映照。 織本主義 2015 年底美術館因應豐富的館藏織品，推出一個以織 品、時尚產業及其背後密集勞力為主題的展覽。織品 的製成意味著勞力的累積：在工業化時代之前，織品 的生產多半由家庭婦女所擔當；邁向工業化時代至今， 則轉換為開發中國家的低薪勞力。前者是無價的家務 勞動，後者為廉價的市場剝削，此現象無疑正昭示著 當下的社會階級和勞動分配。本展覽結合館藏刺繡作 品與當代藝術創作，透過傳統技藝的精神，與當代資 本社會現象創造對話和反思。 鳳甲美術館館藏作品《刺繡圖》，呈現出刺繡工序及 生產過程中的集體勞動，包含傳承、研發、創新和追 求工藝的極致美好。對照現今資本主義掌控下，勞動 成為機械式、無意識的生產行為，以廉價為目的，形 成病態的消費、剝削的工作環境。藝術家張淑滿再詮 釋《刺繡圖》，以手繪的逐格動畫演繹原作，不僅增 添「動起來」的趣味，同時也向傳統刺繡一針一線縫 製的精神致敬（Fig. 3）。 另一組對照，是賀照緹的「穿在中途島六部曲」之《薩 爾瓦多日記》、羅興階的《勞資趣味競賽：你濃我濃》 紀錄片，分別記錄紡織業、製衣業在全球化的影響下， 台灣工廠外移與關廠的紀實影片，記錄國內外勞工的意 識覺醒，透過抗爭、協商的過程，學習發聲與爭取權益 （Fig. 4）。 《繡曾后希夜宴圖》是美術館邱再興董事長委約繡莊 製作的，此作品為「滿繡」，意味著畫面每一吋都是 以二、三層以上的絲繡交織而成。早年邱先生為使面 臨解散的繡莊持續經營並傳承技藝，除了收購刺繡作

品外，還會以委約的模式支持繡莊。許家維的《回莫 村—壁毯》，他以藝術創作關注泰國清萊回莫村的自 強之家，以及其特殊的區域性歷史，並邀請自強之家 的孩子以縫紉機共同創作，記錄這些被遺忘的人和事 物。乍看之下，兩件作品呈現強烈的對比和差異，但 仔細思考，兩件作品背後的用意和思考卻是殊途同歸。 展覽除了館藏與當代作品的對話外，當代作品之間也 有不少激盪，例如林嵐的《偷一點綠，染一片光》與 印花樂《尋常裝飾之不尋常之美》（Fig. 5）。 台灣與香港的紡織曾經有過輝煌的原件生產工業年 代，如今日漸凋零。林嵐以「微觀經濟」系列作品與 香港婦女勞工協會合作，實踐藝術社會與經濟互動的 創作。蔡玟卉、邱瓊玉、沈奕妤則以「印花樂」設計 品牌精神，創造一個自給自足的藝術生產、健康的產 業循環。 「織本主義」透過探討織品與勞動的關係，創造出新 舊古今對話交流的空間。期望藉此織品的意義不再只 限於功能性，更延伸至創作者、勞動者和使用者身上。

繡像檯—侯怡亭實驗典藏展 「繡像檯—侯怡亭實驗典藏展」是針對鳳甲美術館收 藏刺繡作品，進行觀念上的挪移，並企圖打開當代藝 術與古典刺繡文化的對話。關於「刺繡」，將分為兩 個層次來討論，一方面是刺繡在資本化過程的異變與 現代化樣貌；另一方面進而思考影像（錄像）與影像 生產（刺繡）的當代關聯。 展覽對鳳甲美術館豐厚的刺繡藏品及資料進行梳理， 試圖釐清「技藝」在近代中的轉化，探勘其如何進入 「藝術」的田野，依此界定刺繡於當代社會的文化價 值。再者，將由此界定進入當代藝術生產的角色，特 別是當消費成為現代生活的主要活動時，刺繡所代表 的過去文化，與我們日常創作的現代影像之間又如何 相關？ 127

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侯怡亭的創作往往從空間出發，作為發展意念和 形式的背景，以此解拆作品中身體、空間與影像 等媒介，來產生影像背後所隱喻的政治及文化想 像。本次展出其過往《複體》系列作品，這些作 品與其說是侯怡亭對於「刺繡」影像在技法上的 探索，倒不如說是她在影像生產過程中投射的創 作概念（Fig. 6）。那由各式媒介覆蓋攝影的外 衣，是為了掩蓋影像既成的現實，展示政治角度 下的權力角色？是為了標示作者，還是警示影像 氾濫的日常生活？關於這些提問，鳳甲美術館收 藏刺繡作品《易安詞意—綠肥紅瘦》，所使用 雙面全異繡的作品與之並排展出，進行實驗性 創作，試圖開啟影像資本中的權力轉換，以及 過程中所涉及當代語言跨越文化、時間的模式 （Fig. 7）。 共享的溫度—玩布姐妹的參與式藝術計劃 除了針對館藏刺繡與當代藝術創作的對話之外， 美術館的另一個主軸—社區共享與美學推廣，也 是近年積極發展的重要項目。透過北投社區的合 作計劃，我們無意間認識了 1998 年起組成的創 作團體「玩布姐妹」，她們過去經婦女新知協會 安排，與吳瑪悧老師和許多當代藝術家的創作引 導下，透過創作、巡遊、展覽，逐漸成為玩布種 子老師，後來也陸續在社區大學授課，「玩布」 可以說開啟她們生命裡走出家庭的那扇門。因 此，「玩布」不只是玩「布」而已，「布」除了 啟動她們的創造力，也編織她們共感的經驗，開 展她們家庭之外的社群關係。 從「玩布姐妹」身上看到的，除了創作帶來的滿 足和快樂，還從布料創造的作品中，瞧見她們生 命的故事；女性在不同的生命階段，不斷地轉換 自身角色：從作為女兒到妻子和媳婦，從抱孩子 到抱孫子，這些過程使她們身兼韌性與柔軟。 「玩布」讓姐妹們探索自身生命的價值，讓作品 說出自己的聲音，然而也開啟她們之間的姊妹情 誼，長久而深厚（Fig. 8）。

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Fig. 6 《複體—維納斯的誕生》 侯怡亭 2011 Fig. 7 《易安詞意—綠肥紅瘦》 侯怡亭 2016

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「這個展覽嘗試破除工藝與當代藝術之間的

界線，但並非是將兩種不同類型的作品混合 於展覽中呈現，而是設法尋找當代藝術創作 者的工藝性，並且透過這種工藝性的追尋，去 重新理解藝術創作者對材料的追求及尊重。」

Fig. 8 「共享的溫度—玩布姐妹的參與式藝術計劃」展覽場景 / 2016

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每逢周四是姊妹們最期待的上課日，這次展覽也延續 這樣的精神，透過每周「玩布姐妹」工作坊的相聚、 回憶、談笑、討論中產生，展出作品的主題由參與的 姊妹們提議，圍繞女性的生命歷程來展現她們新作與 舊作。然而，展覽並作為集體平台，以「玩布姐妹開 房間」展覽延伸活動，接觸當地觀眾，探討社區藝術 於社區發展可扮演的角色（Fig. 9）。 菸葉、地毯、便當、紡織機、穴居人：當代藝術中的 工藝及技術敘事 鳳甲美術館在各種共融刺繡工藝、社區、錄像藝術的 嘗試之後，希望透過客席策展人高森信男，提出新世 代藝術創作者借用傳統工藝的挑戰。技藝、美學、前 衛、敘事、工藝，這些原本看似難以在當代藝術中混 為一談的關鍵概念，正是本展覽嘗試實驗的方向。技 術作為美學敘述，包括採用特殊且難以掌控的材料； 以驚人的耐力和專注力，來投入大量時間和技術成本； 以及創作者掌握媒介所創出的精彩詮釋和美學觸覺。 本展覽嘗試呈現當代藝術家如何運用特殊的歷史和當 代技術，來詮釋創意工藝家的法則。 我們常常會想像工藝家使用精細雕琢的方式來進行創 作，但是重點其實並不在於技術所造成的奇觀效果， 而在於創作者如何在媒介與技術之間找尋到最平衡的 表現手法。 這個展覽嘗試破除工藝與當代藝術之間的界線，但並 非是將兩種不同類型的作品混合於展覽中呈現，而是 設法尋找當代藝術創作者的工藝性，並且透過這種工 藝性的追尋，去重新理解藝術創作者對材料的追求及 尊重。而這種對材料的專注，一方面讓當代藝術回到 材料及造型上的實驗，然而也有不少藝術家透過激進 的材料，直接衝撞概念，或巧妙地透過材料來進行敘 事的鋪陳。

Fig. 9 美術館裡跨世代的創作工作坊 / 2016

一種打破過往理解的挑戰，在積極的溝通之後，他表 達出「雖不是心中最喜愛，但必須支持」之意。 在未來，新一代的美術館必須能夠擺脫過去的束縛， 不應該只是一個死板的藝術「物件」展出空間。透過 各式各樣的展覽及計劃，應該從公眾的角度出發，建 立互動溝通的平台，不盡然是迎合一般觀眾對藝術的 需求或瞭解，美術館的任務更要把自己視為公眾的一 部份，提供一個不同的視角一起發展，一起成長。宛 如一個有機體，能與對應的觀眾互相激發出不同的火 花。更有甚者，希望在未來我們能開創更多不同的互 動模式，提出不同知識範疇討論，走近公眾，並且攜 手，而非關起門來對藝術膜拜，鳳甲美術館還在努力 的路上。

（本篇並不是同一作者英文的翻譯，117 至 124 頁。）

痛得好舒服 經過幾年來的嘗試，鳳甲美術館藉著邀請當代錄像藝 術家合作，重新詮釋刺繡藏品，或是策劃專題展覽， 將不同類型、不同呈現的藏品，以及邀請的藝術家創 作，放在同一個場地裡相互呼應，透過視覺進行直接 或間接的關連等，希望能在既有的框架中，刺激觀眾 探索新領域。這期間除了新的觀眾開始出現在非特定 類型的展覽，這種最直接的回饋與反應之外，美術館 的創辦人兼收藏家邱再興也從質疑的態度漸漸轉為理 解與支持。邱先生開始收藏刺繡是起於對刺繡作品的 個人喜好，但是對於美術館卻是保持著一個開放態度， 把美術館建成一個平台，以有限的時間及經費做最需 要推廣的計劃。因此，即使是美術館的團隊將較不平 易近人的當代藝術與刺繡作品結合起來，對他而言是

蘇珀琪 台灣鳳甲美術館館長 蘇 珀 琪 在 台 北 工 作 及 生 活。 她 以 優 等 成 績 獲 得 英 國 University of Essex 藝術史碩士學位。在 2003 至 2006 年間，她在台北當代藝術館擔任助理策展人，其後加入北 京 798 藝術特區的尤倫斯當代藝術中心。現在她是鳳甲美 術館館長，亦是台北當代藝術中心的執行董事。2009 年當 代藝術基金會資助她到歐洲進行策展研究；國家文化藝術 基金會亦資助她到獨立策展人國際聯盟工作，以促進亞洲 藝術家及策展人與國際之間的對話和交流。

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Editor’s Note Sylvia Feng and Wee Kheng-Li

A Reader focuses on four approaches within the broader theme of community and engagement through textiles, art, and institutional practice.

Through Janis Jefferies and Hui Po Keung’s enlightening conversation, and Winnie Law’s instructive essay, we can examine important defining aspects of the nature of communities.

Following this discussion, Nishio Yoshinari and Pascale Gatzen present illustrative examples of how contemporary artistic practices can reinterpret ideas of “fashion” and empower individuals within existing social contexts.

Further exploring the idea of community engagement, Nicole Barakat and community art collective Pangrok Sulap share their experiences in how community art projects can effect change in small communities. Finally, Errol van de Werdt and Frankie Su describe how museums today, through experimental institutional practices, attempt to interweave historical resources with contemporary society.

Jefferies and Hui’s conversation presents the ideal community as being “characterised by social differences without social exclusion, while still being full of energy”. Despite the many challenges facing communities today, such as the shrinking of public space, and the demographic decline of rural communities, this ideal remains an achievable goal. Our contributors share various attempts towards achieving this goal through creating new forms of engagement to help people make connections with each other and take action in order to achieve social transformation.

Gatzen invites guards in the museum to reimagine their professional roles through the process of making their own uniforms, while Nishio’s practice engages his audience as participants in public performances of private daily clothing-related activities as a way of creating new communication links. Pangrok Sulap uses the process of woodcut printmaking

to help rural villagers become aware of the necessity of protecting their culture and heritage as well as delivering social and political messages. Barakat’s practice, on the other hand, uses the process of gathering materials as an opportunity to encourage and deepen community ties, while creating sustainable connections between herself as an artist and the communities she works with. At the TextielMuseum in Tilburg in the Netherlands, Van de Werdt’s approach has been to involve young designers in building a creative community through a process of leveraging the museum’s rich material and technical resources in the innovative collaborative workshop – the TextielLab. The radical curatorial approaches of the Honggah Museum in Taipei, as presented

by Su, reveals an ambitious effort to integrate textile crafts with contemporary art through experimental exhibition strategies – with the goal of bridging gaps between their diverse audiences and strengthening ties between the museum and its surrounding community.

These various approaches, on both individual and institutional levels, highlight examples of the richness of contemporary artistic engagement efforts with communities of all types. Law’s essay brings us full circle, by sharing both a summary of the many challenges facing rural communities, as well as some recent efforts in Japan and Hong Kong to reverse this decline through local initiatives to return to mutually beneficial relationships between humans and nature. The future of rural communities, as well as the future of global communities at large, lies in facilitating rich networks of collaboration, using the social capital thus generated to build sustainable, environmentally friendly communities. Here at CHAT, we hope to invite more and more people to join our discussion and to weave new forms of community through greater interweaving of textiles, art, and social engagement.

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編輯的話 馮昱瑄、黃慶理

本書刊載的紡織品、藝術、大型機構等不同實踐， 顯示出四種關注社區並與之合作的方式。其中珍 妮絲·謝菲斯與許寶強啟發性的對談、羅惠儀指導 性的文章，是嘗試探討社區的定義特徵。西美尾 也、帕絲卡·蓋茨恩的當代藝術項目，重新定義「時 尚」，利用現有社會資本賦權予社會中的個體。 妮歌·巴拉卡特、龐克棚屋則深化了社區參與的討 論，他們分享各自的藝術計劃對周邊社區產生的 影響。最後，埃洛·范德維、蘇珀琪分別描述了今 天的藝術機構如何連結歷史資源與當代社會。

這些個人或機構層面上的不同實踐方法，展現了 當代藝術與社區之間合作的豐富可能性。羅惠儀 的文章使本書內容形成一個完整的循環：當下農 村社區面對諸多挑戰，日本和香港開始為重建人 與自然互利關係的可持續發展，而做出種種嘗試 和努力。農村社區的未來、地球村的未來在於促 進豐富的合作網絡，利用社會資本建立可持續、 環保型社區。CHAT 六廠希望越來越多的人加入 我們的討論，通過紡織、藝術及社會參與等形式 建立理想的新型社區關係。

謝菲斯與許寶強在對談中指出，理想的社區應 「具有多元化的社會差異，卻並不排他。」儘管 當今社區面臨公共空間萎縮、農村人口驟減等諸 多挑戰，但是理想的社區仍然是一個可實現的 目標。本書作者就此分享了各自的嘗試，包括在 人與人之間創造多種參與形式，從而建立新的聯 繫、為社會轉型採取多種行動等。 蓋茨恩邀請博物館接待員一起製作制服，從而重 新定義她們的職業角色。另一方面，西尾美也則 邀請觀眾以私人日常服裝為媒介，進行公開表 演，新的溝通關係得以建立。龐克棚屋利用木刻 版畫幫助農村社區居民傳達政治訴求，並使他們 意識到保護身邊文化遺產的重要性。更有甚者， 巴拉卡特借收集材料的契機，作為鼓勵人們深化 社區關係的機會，也為藝術家與合作社區之間 建立了良性、可持續關係的範例。在荷蘭蒂爾堡 的紡織博物館，范德維邀請年輕設計師以豐富館 藏、技術支持為基礎，共建創新型合作社—紡 織實驗室。蘇珀琪則引例台北鳳甲美術館的實驗 性策展理念，那些結合紡織工藝與當代藝術的案 例，旨在吸引多元化的觀眾，加強美術館與所在 社區之間的紐帶。

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Acknowledgement 鳴謝 Founding Donor 創始捐助機構

Main Donor 主要捐助機構

Supported By 支持機構

Institute of Textiles & Clothing, Faculty of Applied Science & Textiles, The Hong Kong Polytechnic University 香港理工大學應用科學及紡織學院紡織及服裝學系 School of Design, The Hong Kong Polytechnic University 香港理工大學設計學院 The Hong Kong Polytechnic University 香港理工大學

British Council Connections Through Culture 英國文化協會文化連線 KLM Royal Dutch Airlines 荷蘭皇家航空公司

Courtyard by Marriott Hong Kong Sha Tin 香港沙田萬怡酒店 Our Best Hong Kong Seafood Restaurant 我港鮮酒家 Chow Yik 周翌

Ankie Fok 霍康琪

Ma Ting Fung 馬廷鋒 Mimi Lam 林晨

Annette Lo 盧雁祈 Jane Sze 施君玉

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CHAT Crew ( As of 4 Sep 2018 ) CHAT六廠團隊 ( 截止至2018年9月4日 ) Takahashi Mizuki 高橋瑞木

Teoh Chin Chin 張晶晶

Co-Director 聯席總監 Co-Director 聯席總監

Curatorial Department 策展部門 Him Lo 盧樂謙

Curator, Community and Learning 社區及共學 策展人

Lam Suet May 林雪薇

Assistant Curator, Exhibitions and Collections 展覽及館藏 助理策展人

Erica Huang 黃又文

Sylvia Feng 馮昱瑄

Men Tin Lam 萬天琳

Phoebe Tsui 徐思玥 Charmaine Ching 程墀炘

Curator, Exhibitions and Learning 展覽及共學 策展人

Curatorial Assistant, Exhibitions and Collections 展覽及館藏 策展助理 Curatorial Assistant, Community and Learning 社區及共學 策展助理

Curatorial Assistant, Exhibitions and Collections 展覽及館藏 策展助理

Coordinator 項目統籌

Management Department 管理部門 Chiu Tsz Man 趙子珉

Director, Finance and Administration 財務及行政 總監

Kara Li 李曉澄

Venue Manager 場地經理

Zon So 蘇綽玲

Ida Chow 鄒詠婷

Mandy Lam 林敏儀 Stephanie Li 李盈慧

Dennis Man 文永亮

Head of Communications 傳訊 主管

Senior Accountant 高級會計

Officer, Finance and Administration 財務及行政 主任 Executive Secretary 行政秘書

Officer, Creative Production and Operations 創意生產及營運 主任

Zita Szeto 司徒家琪

Officer, Creative Production and Operations 創意生產及營運 主任

Essa Lin 連曦雯

Assistant Officer, Communications 傳訊 副主任

Hazyl Lam 林楚穎

Felix Lo 羅港俊

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Assistant Officer, Project Management 項目管理 副主任

Assistant, Digital Media 數碼媒體 助理

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Catalogue Production Team 製作團隊 Editor in Chief Janis Jefferies

主編

珍妮絲．謝菲斯

Wee Kheng-Li English Editor

英文編輯

黃慶理

Translation Charmaine Ching Sylvia Feng Phoebe Tsui

翻譯

程墀炘 馮昱瑄 徐思玥

Editors Sylvia Feng Jane Sze Takahashi Mizuki

Editorial Coordinator Zita Szeto

Design Evoked

Front cover image 封面

Back cover image 封底

編輯

編輯統籌

設計

馮昱瑄 施君玉 高橋瑞木

司徒家琪

承誌

Dragon Performance on Opening Ceremony of CHAT GO! Let’s Build a Textile Village / 2018 / ©CHAT 「盛夏手作：來建紡織村」開幕式舞龍表演 / 2018 / ©CHAT六廠 Spun Dragon Weaving Workshop / 2018 / ©CHAT 《紡織龍》工作坊 / 2018 / ©CHAT六廠

Published by Mill 6 Founda tion Limited 六廠基金會有限公司出版 Published in Hong Kong 香港出版 Printed in Taiwan 台灣印製

Printed by Sheraton Enterprise Co., LTD 喜來恩實業有限公司 印製

ISBN: 978-988-79607-8-2

All rights reserved Copyright © 2018 the Authors and Mill 6 Foundation Limited 版權所有 翻印必究。版權屬於作者、六廠基金會有限公司。

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