「再紡東亞」系列展覽圖錄及回應研討會｜Spinning East Asia Series Exhibition Catalogue

Spinning East Asia 再 紡 東 亞 系 列

( II ) ( I )

A Compass in Hand

A Net (Dis)entangled

2021. 11

手中的羅盤

邊織邊拆的網

2022. 08

再紡東亞：前言

Spinning East Asia: Preface 再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

策展引言

手中的羅盤－在風眼中尋路 | 陳朗晴

Curatorial Statement

Navigating in the Eye of Storm | Sunnie Chan

展場圖片及展覽作品

Exhibition Installation View and Exhibiting Works 展覽記錄片

Exhibition Documentary Video 研究報告

藝術家作為設計師 - 2010 年代後南韓當代藝術界的新方法論 : 「標籤

Research Essays

Artists as Designers - New Methodologies of Contemporary So 都市建築的紡織性肌理 | 黎雋維

Weaving in the Fabrics of Urban Architecture | Charles Lai 製造現代日本消費者 | 伊恩．萊納姆

Making the Modern Japanese Consumer | Ian Lynam 再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

策展引言

邊織邊拆的網 | 王慰慰

Curatorial Statement

A Net(Disentangled) | Wang Weiwei

展場圖片及展覽作品

Exhibition Installation View and Exhibiting Works 展覽記錄片

Exhibition Documentary Video 研究報告

中國紗廠工人電影小史 | 陳璽安

Research Essays

A Concise History of Chinese Textile Workers in Film | Zian Che 紡織創造新人 | 孔煜也

Weaving the New Generation | Kong Yuye 中島的飛氈 | 任倢

Nakashima's Flying Carpet | Ren Jie 藝術家與研究員簡歷

Artist and Researcher Biographies 工作人員名單與鳴謝

Acknowledgement

籤成為藝術品」 | 玄始源

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p.10-19

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p.128-137

outh Korea art scene after the 2010s: 'Label as Artwork' | Hyun Seewon p.138-149

p.150-165

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p.176-287

p.288-289

p.292-309

en p.310-323

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p.336-379

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再紡東亞：前言

Spinning East Asia: Preface

再紡 東 亞：前 言

在東亞這片大陸與海洋交錯的地域之中，多個文明長期並存著，相互融合滲透， 但從未被同化或統和。近代的東亞經歷著數度的政治、經濟和文化的內外衝擊與 艱難轉型，身處東亞的各個國家和地區都同時面對著全球化的浪潮和區域間關係 的挑戰。這裡有可以被共享的知識體系，可以被借鑑的歷史經驗，但也有伴隨文 化認同基礎的建立和崩潰所產生的相悖的認知、深刻的分歧和互相依存又彼此嫌 惡的情感關係。也正是在這些既糾纏也分離的個體經驗和集體意識中，湧動著一 個不斷變化、充滿矛盾、難以被定義的東亞。 CHAT 六廠對於紡織及其文化內涵的關注，為我們對「東亞」的探索和想像提供了 另類的切入點。「紡織」給予我們的重要啟示，在於提醒我們在綿密的微觀細節和 抽象的宏觀視角之間跳躍，在正反對立的思維方式之中穿梭，平衡和調節自身與 他者的關係。而織物本身的物質特性，以及與人類長期的互動關係在政治經濟社 會文化中的表現，都為我們提供各種「再紡（訪）東亞」的線索和靈感。本次的「再 紡東亞」展覽系列，紡織的元素，不僅僅以象徵意義為展覽點題，而是層次豐富地 貫穿在展覽中。雖然對於參展的大部份藝術家來說，紡織是相對陌生的媒介，但 幸運的是，他們以開放的態度接受挑戰，在創作的材料、技術、主題等方面，以 織物為基礎進行全新嘗試，或將紡織所蘊藏的文化意涵注入他們的思考和表現方 式之中，為藝術實踐開放出更多可能性。除了參展的藝術家之外，我們也邀請了 6 組研究員，從歷史、技術、設計、產業等等多個面向上展開基於東亞社會背景下 的關於紡織文化的考察。他們的研究也呼應著藝術家們的創作，成為展覽重要的 組成部分。 「再紡東亞」系列的第一部份展覽以「手中的羅盤」為題，意在於既熟悉又陌生；複 雜且不斷變化；交織糾纏的社會和文化處境當中，自主地搜索、探尋和定位。通 過「設計」作為一種思考和實踐的方式，15 組設計師與藝術家展開各自的創作，探 討東亞的歷史、社會、思想的圖景是如何被個體的認知所接納和塑造，以及由不 同的個體與集體力量，拉扯而聚合形成文化張力。「紡織」，則被作為一種方法和 理解，具象化地呈現出來。

Wang Weiwei Sunnie Chan

聯合策展人 王慰慰 陳朗晴

Co-curator

概念，以材料、技術、文化意義等各種形式，將參展者對「東亞」的考察、認知和

而 展 覽 的 第 二 章 節「邊 織 邊 拆 的 網」則 借「編 織」與「拆 解」這 兩 個 同 時 發 生 的 行 動作為隱喻，來想像和理解那些長期存在於東亞不同群體之間的，充滿緊張與對 抗， 但 又 相 互 牽 制 依 賴 的 關 係， 並 通 過 16 組 參 展 藝 術 家 對 歷 史 和 現 實 政 治 的 考 察、藝術化的理解和再現，來探討如何在複雜的連帶關係中保有自身的立場。在 世界變得越來越緊密相關，但對立紛爭日益加劇的今天，對東亞關係的討論可以 提供出一種實踐經驗，讓不同文化的人們得以參考和反觀自身的問題，更能讓身 處香港的我們，更多地認識自身的歷史，並理解那些深切影響著我們的周邊世界。

Spinning East Asia: Preface

A region where the world’s largest continent meets its largest ocean, East Asia is home to a number of civilisations that have coexisted for millennia, influencing one another, while always maintaining their own unique characteristics. In modern times, the region has navigated waves of geopolitical, economic and cultural crises, both internal and external, with countries and territories in the area simultaneously tested by the challenges of globalisation and multilateral relations. The various peoples of the region share both knowledge systems and hard-learned lessons from history. Nevertheless, both the establishment and collapse of cultural identities have been accompanied by deep-rooted antagonisms, mixed with interdependence and disdain. These entangled yet separate individual experiences and collective consciousnesses also contribute to an East Asia that is ever-changing, full of contradictions and decidedly hard to define.

CHAT’s focus on textile and its cultural contexts offered an alternative entry point for our quest into and reimagination of the notion of ‘East Asia’. The nature of textile has prompted us to pay as much attention to the minutest of details as to the big picture, oscillating between micro-observations and macro-perspectives, and taking into account different sides of the story. It is a balancing act that requires us to adjust the relationship between the self and the other. The materiality of textile, as well as its intricate connections with mankind in political, economic, social and cultural contexts throughout history, have provided leads and inspirations in the process of reconsidering and revisiting East Asia. In the Spinning East Asia exhibition series, textile serves not only as a symbolic element but as a unifying thread that runs through every work. Although most participating artists in the exhibition were relatively unfamiliar with textile as a medium, they embraced the challenge with an open mind and experimented from various angles and approaches, ranging from the materiality, associated techniques, to subject matters and more. For these artists, the cultural significance of textile informed their way of thinking and form of presentation, which opened up countless new possibilities for artistic expression and experimentation. In addition to the exhibiting artists, we have also invited 6 groups of researchers to conduct research on textile culture in the East Asian cultural contexts, viewed from various angles such as history, technology, design and industry. Their research echoes the exhibiting works and forms an important

sets out to navigate and explore and position ourselves through the tangled web of

Spinning East Asia

The first chapter of the Spinning East Asia series is titled A Compass in Hand. It

4 —— 5

part of this exhibition.

我們試圖追問那些參差錯落的個人經驗、具體過程、日常實踐；審視那些伴隨著 人的活動而流通起來的、不易被察覺的生活方式，以及隨之形塑而成的群體的邊 界 與 自 我 認 同； 從 微 觀 的 視 角 去 考 察「東 亞」整 體 性 的 地 緣 變 動、 社 會 結 構 和 文 化格局的形塑與個體生命之間的關聯。而在深受周邊地區及全球化影響的香港展 開對東亞的重新想像和討論，尤其具有重要的意義。藝術創作介入這一議題的討 論，亦讓我們從宏大的視角回到更為人性化的體驗，觸發我們去思考，在生活發 生劇烈變化，很多原有的理論、觀念和情感模式已無助我們解釋和理解複雜的現 實矛盾、差異、未知與不確定性，我們可以如何建立自身與他者之間適切的互動 模式，來安置和轉換我們的恐懼與焦慮？

familiar yet alien, complex and constantly evolving social and cultural circumstances.

Using ‘design’ as a method of thinking and practice, 15 individuals and collectives of artists-designers embark on their research and creative journeys, seeking to address how the historical, social and ideological landscapes of East Asia are accepted and shaped by individual cognition, formed as a result of the friction between various individual and collective forces. Here, textile as a method and idea is articulated through the study of ‘East Asia’ by exhibiting practitioners and presented through multiple forms such as materiality, technique and cultural meaning.

The second chapter of the Spinning East Asia series, titled A Net (Dis)entangled, borrows from the simultaneous actions of entangling and disentangling yarns to reimagine and comprehend the interdependent yet conflicted web of East Asian relations. In today’s world, where increased interconnectivity has led to intensifying conflicts, this discussion of East Asian relations provides a point of reference for people from diverse cultures for their own reflections. Moreover, it can help us in Hong Kong to learn more about our own history, and to better understand the global and regional influences that have helped shape our city.

We attempt to inquire into interwoven experiences, processes and everyday practices, and examine those oft-overlooked ways of life that are born out of human activities and communities, and to explore boundaries and identities that have been thus formed. From a microscopic perspective, we examine the interrelationships between the overall regional transitions of ‘East Asia’, the shaping of social structures and cultural patterns, as well as individual lives. This discussion is particularly pertinent to Hong Kong, a city influenced by the surrounding geographic region and also globalisation. Art’s intervention in this topic, in the meantime, allows us to approach humanised experiences from a grand perspective and to consider: When pre-existing theories and concepts can no longer help us effectively comprehend the contradictions, differences and uncertainties experienced amid rapid changes, how can we establish a model of interaction with others to displace our fears and anxieties?

6 —— 7 Spinning East Asia

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

再紡東亞系列一： 手中的羅盤

Spinning East Asia Series I: A Compass in Hand

手中的羅盤 在風眼中尋路

Navigating in the Eye of Storm

手中的羅 盤－ － －在 風 眼中尋路

東亞是一個地域，也是身處其中的人事物，隨著時間積累，形成獨特的文化、習性和素 養。人的生活習慣會因應環境、氣候以及其他社會條件影響，衍生相似又相異的物質與 非物質產物。古往今來，人們有聚有散，加上近代科技的急劇發展，隨著時間的演進， 文化的塑造超越地理範圍的限制和語言的隔膜，我們對文化的理解和演繹亦更為多元與 混雜。 然而，「東亞」作為一個地域和文化，其定義與形成一直存在許多爭議。不論是包含哪 些國家和地區、疆界與主權如何劃分、軍事外交到經濟文化輸出的軟硬實力，都處於不 斷競爭又互相影響的狀態，在爭奪話語權的同時，形成互為依存的矛盾關係。 香港的地理位置，位於中國大陸的南端，地處西太平洋沿岸各國中心，是中國南方及東 南亞各地和世界各國交往之主要貿易通道。香港亦被廣泛視為東亞地區的城市，在文化 上模糊地於東亞與東南亞之間游走，見證著世界巨大而猛烈的轉變；同時，我們也在這 裡接收著來自周邊地區的影響和文化衝擊。從小漁村到「國際大都會」，香港在世界的 歷史舞台從不缺席，在地球的經緯線上就像一隻風眼，看似雲淡風輕，原來是被最猛烈 的對流和雨帶包圍著的低氣壓，隨時陷入歷史洪流與文化張力的暴風雨中。 在此時此刻的香港說「東亞」，可以從何說起？它怎樣塑造和影響我們的認知與價值 觀？香港的獨特位置，又可以如何幫助我們理解「東亞」？這些都是我和慰慰討論與構 思「再紡東亞」系列時觸及的問題。在系列的第一章節，亦是 CHAT 六廠 2021 冬季季度 的項目「手中的羅盤」，我們嘗試通過設計的多元學科特性，以及與日常生活的密切關 聯，通過十五組涵蓋平面 / 字體設計、建築、產品、影像、遊戲、紡織品設計與工藝的 作品，提供多維的形式、媒介與觀點角度，從千絲萬縷的線索中梳理思路，吸引觀眾走 進策展的脈絡，在好奇、尋索中產生共鳴，引發思考和對話。 參展者來自傳統東亞地區，亦有流散於世界各地、一直游離於融合與對抗之間的東亞社 群，以及長期研究東亞文化現象的「域外」創作者與研究員，他們藉著與策展團隊的交 流與切磋，對混雜與糾結的文化身分與矛盾作出演繹，在熟悉與陌生、變與不變的文 化處境下，跨越固有的地域框架與刻板的文化印象，共同以「紡織」作為一種方法和概 念。在此，紡織是材料和媒介，亦是技術與比喻，各參展者對「東亞」的觀察、認知和 理解，或明或暗地穿梭出現於作品之中，衍生豐富的訊息和體驗。 展覽名為「手中的羅盤」，意指尋向的主導權在觀眾的手上，邀請他們在風眼當中自主 地搜索、探尋和定位。橫跨兩季的展覽系列主視覺，由香港設計工作室叄語設計操刀， 他們選用在東亞地區廣泛使用的語言，將其比喻為文化的起源，再通過干擾在電腦構成

陳朗晴

Sunnie Chan

文字的編碼，使原本的中、英、日、韓文的展覽標題變化成糢糊不清、由不同語言糾纏 而成的曲折圖案，源自設計師隨機試驗出來的「故障（glitch）」 ，同時體現了東亞難以清 晰介定的地域性和文化身份認知。

Navigating in the Eye of Storm

East Asia is a region, but it also refers to related people and things. With the accumulation of time, it formed a unique culture, habits and literacy. The environment influences people's living habits, climate and other social conditions, resulting in similar but different material and immaterial outcomes. Along with the rapid development of modern science and technology, culture has been shaped beyond geographical limits and language barriers, and our understanding and interpretation of culture have become more diversified and mixed.

However, the definition and formation of 'East Asia' has been controversial as a region and culture. No matter which countries and areas are involved, how the boundaries and sovereignty are defined, the soft and hard powers of military, diplomacy and cultural-economic output are in constant competition and mutual influence. While competing for the right to speak, they form mutually dependent and contradictory relations.

Hong Kong is located at the southern end of mainland China and the centre of the western Pacific coast. It is a major trade channel for South China and Southeast Asia to communicate with the rest of the world. Hong Kong is also widely regarded as a strategic city in East Asia. In terms of culture, Hong Kong is situated ambiguously between East and Southeast Asia to witness the tremendous and drastic transformation of the world. At the same time, we are also receiving influences and culture shock from the surrounding areas. Hong Kong has never missed the stage of world history, from a small fishing village to an 'international metropolis'. It is like an eye of the storm in the longitude and latitude of the earth. On the one hand, it looks calm and peaceful, but it is actually under extreme low atmospheric pressure, surrounded by the most violent convection and rainbands.

At this moment in Hong Kong, where should we begin when talking about 'East Asia'? How does it shape and influence our perceptions and values? How can Hong Kong's unique position help us understand 'East Asia'? These are the questions Wei Wei and I discussed when we conceived and developed the Spinning East Asia series. In the series' first chapter, also the Winter season of CHAT's 2021 programme, titled A Compass in Hand, we try to provide multi-dimensional forms, mediums and architecture, product, video installation, games, textile design and crafts, through Ideas are spiralled out from infinite clues, attracting the audience to the curatorial narrative. The showcase hopes to create resonance through audience’s curiosity and searching that triggers reflection and dialogue.

Spinning East Asia

the multidisciplinary nature of design and its close connection with everyday life.

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perspectives through 15 groups of works, covering graphic design/ typography,

層層交疊的視覺窗口 在此前題下，我們透過展場迴廊兩邊平行對望的「文字與設計」的集合式展示，為這場 文化搜索之旅打開序幕。雖然東亞地區涵蓋的地方從古至今存在不同的定義，為了讓大 眾對於展覽系列所述的東亞地域有基礎的掌握，我們嘗試從東亞文化廣泛使用的文字出 發，以文字與字體設計作為視覺文化的窗口，邀請一群來自香港，中國內地，台灣、日 本與南韓的設計師的作品，從造型、語義、互動、歷史沿革等角度，演繹東亞文字之間 的異同、變化與張力。 叄語設計三位創始成員陳濬人、許瀚文與徐壽懿重聚創作的委託作品《牆》，以針織 物的柔軟和韌性與「高牆」形成有趣的對比，牆上佈滿以「口」作部首的粵語感歎詞， 透過拍打碰撞發出相應的讀音，帶出言語 / 語言之外的溝通模式；這個鼓勵動態回 應的作品，與迴廊「對岸」、來自首爾的設計師朴燦信的一系列抽象的「文字設計」作 品，形成一動一靜的對立狀態。朴的作品嘗試將從大自然及日常生活拾得之物重整 及砌合，成為各種朴形容為「排版」的構圖，以更抽象的方式理解和表達（非）文字， 詰問文字溝通在現今信息爆炸的時代，是否已經失效？ 韓國現代字體設計的啟蒙者安尚秀帶來《文字圖》系列的大幅絲網印刷，亦試圖以抽 象的圖像脫離語義的規限，去創造一種跨越文化界限的「視覺語言」；相反，來自台 北的王志弘則採用東亞文化的文字，以近乎純粹的文字造型和比例，比劃出語言之 間的張力與共存，以應用的角度切入，具象地反映台灣在東亞文化可擔當的角色。 上海 / 杭州的創作組合厲致謙 / 劉毅的溫控作品《維》，則通過演繹漢字結構的歷史， 挑戰我們既有的線性、單向的歷史觀念。而南韓設計師崔文競的平面作品、以及日 本設計團隊井口皓太 / 三重野龍及中田拓馬的動態圖像作品，皆對於既有的文字造型 提出另一層次的呈現，以絲網印刷重現木製活字，以及模仿紡織的經緯動態，將原 本的造型轉化。 在這個彷彿集體失語的時代，除了創造新的言語和造型，我們還可以怎樣表達自 己？在「文字與設計」單元之中，這一群參展設計師從事平面設計與公共教育的領 域，面對速食文化與倒模式的文化產業，似乎還堅持著以慢工出細貨的細緻視覺語 言，勾勒歷史與社群的語境，和大眾繼續對話。 打破隔閡的遊玩空間 除了以地域及語言區分文化，我們還可以怎樣切入文化的議題，為對於東亞的理解 建立新的語境呢？ BCXSY 和戴修的體驗式作品，讓觀眾透過遊戲以及與展品互動學 習文化與傳統的象徵意義。遊戲除了是消閒的活動，更是人類與生俱來經驗的一部 份，它使人從中體驗和理解規則與競爭，更提供新的邏輯和想像。戴修的《御神籤 遊戲》通過結合日本「御神籤」算命箱與東亞文化流行的多款傳統小遊戲，讓觀眾預 視未來與替代的真實；BCXSY 設計的蹺蹺板互動裝置《交互句法》，從點、線、面演 化成的動態投影，體現人與人之間在交流與協作的過程中，可以共同創造的喜悅和 美好。 除此之外，金滉的作品《棒棒噠市場 2021》以時下流行的網紅直播，諷刺現今生產與 消費市場各種荒誕的現象，各種價值觀和態度成為催谷消費的工具。透過似假亦真

Exhibiting artists and designers mostly come from the traditional East Asian region, but also involve East Asian diasporas drifting between integration and confrontation and the community of 'extraterritorial' creative workers and researchers with a longstanding study on the cultural phenomenon of East Asia. The mixed and tangled cultural identities and contradictions are deduced through exchanges and discussions with the curatorial team. Under the familiar and unfamiliar, changing and unchanging cultural conditions, they transcend the inherent regional framework and stereotypical cultural impressions and jointly create a showcase using textile as a method and concept. In this context, textile is a material and medium, as well as a technique and metaphor. The observation, cognition and understanding of 'East Asia' by the participating artists, designers and researchers appear in the works implicitly or explicitly, generating rich information and experience.

The exhibition's title, A Compass in Hand, means that the audience is in charge of finding the direction, inviting them to search, explore and locate themselves in the eye of the storm. The key visual used across the two-season series was created by Hong Kong-based design studio Trilingua Design. The studio uses the languages widely used in East Asia, referring to the origins of cultures, and by interfering with the computer coding of the text, the original Chinese, English, Japanese, and Korean exhibition titles become blurred and intertwined with different languages. The resulting zigzag patterns are derived from the glitch randomly tested by the designer and, at the same time, suggest the regional and cultural identity that is difficult to define clearly in East Asia.

Layers of overlapping windows As such, we began the journey through a collective showcase of commissioned and selected works of typography and design by East Asia-based graphic designers along the two sides of the CHAT Arcade. Although the areas covered by East Asia have different definitions from ancient times to the present, in order to let the public have a basic grasp of the East Asia area described in the exhibition series, we try to start with the languages widely used in East Asian culture and take typographic forms and its development as a window into visual culture. The showcase includes designers from Hong Kong, mainland China, Taiwan, Japan and South Korea to interpret the similarities and differences, changes and tensions between East Asian typography from the perspectives of shape, semantics, interaction, and historical evolution.

The three founding members of Trilingua Adonian Chan, Chris Tsui and Julius Hui created a commissioned work The Wall. The softness of knitted fabrics forms an with 'mouth' as the radical, the wall would make sounds of corresponding communication and expressions beyond the model of speech and language. This work, which encourages dynamic response from the audience, forms an interesting contrast in terms of movement and stillness with Seoul-based Park Chanshin's series

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pronunciation produced by tapping and colliding the characters, bringing out

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exciting contrast with the 'tough wall'. Covered with knitted Cantonese interjections

的戲仿，在真洗腦與製造假供求之間，我們除了作為「消費者」，還有什麼公共身份 去參與可持續的生活呢？ 而上海藝術家陸揚的影像裝置《電磁腦神教》，則結合電玩次文化與宗教元素；構成 直面人體痛苦、炫目的「四大神器」，是否真的可以緩解甚至拯救我們的身心靈呢？ 與日本立體刺繡大師高橋直孝合作的火神立體刺繡，更從傳統工藝連繫到人類日常 生活與精神性，為虛擬、物質性、靈性等討論增添維度。 流動的身分與政治 空解（設計）事務所與王雅媛的裝置作品，嘗試處理甚至揭穿對於某一族群的刻板印 象，鼓勵觀眾從觀看的過程重新認識信息與現實。王的作品《我們與他們》利用從西 方媒體與資料庫擷取的影像與聲音，經過重新編排及剪接，拆解西方文化、甚至已 經影響亞洲人對自身形成的偏見，身處在循環播放、沒有固定始與終的旁述與投影 之中，王寄語我們不去執著於某種固有形象，才能從思想的規範中釋放出來。 空解（設計）事務所的團隊透過多年在朝鮮進行教學與學術交流的經歷，「挪用」了在 平壤同時是工廠又是旅遊景點的紡織廠車間，通過一比一的模擬空間《棉紡》，刻意 營造「異域風情」的場所，吸引觀眾一同參與觀看者與被觀看者的角色。在這空間內 外，亦遍佈有關朝鮮都市規劃、廠房設施、女性（勞動者）作為社會模範的資料，在 這個「示範單位」透視關於城市與人的身份和理解。 誰的話語權 三位藝術家郭城、劉智聰、侯怡亭的作品以分析、整合以及集體參與再創作現有材料， 探討並再思歷史記錄的書寫與話語權誰屬。郭城的批判性設計作品《風的驗證》和《網 絡遊者》皆著眼於當下時代的數碼現實如何成為新的現實，並且深深影響我們對社會結 構的認知；劉智聰的《黎明請你不要來》借用香港流行曲的歌名，以曾經風光一時但廢 棄多年的皇都戲院作敘事背景，佈以大量攝影、文字和舊物的組合，探問人間是否存在 永遠？我們又可以怎樣訴說集體與個人的記憶？ 侯怡亭在紗廠坊的大型互動作品《代工繡場：紗廠客廳》邀請觀眾從南豐紗廠或自備的 黑白老照片上，以刺繡填上顏色。此裝置在聖誕和新年的假期期間舉行，侯亦透過一系 列直播工作坊延展與香港觀眾關於家庭、鄰里、休閒、勞動等議題的對話。 侯怡亭在紗廠坊的大型互動作品《代工繡場：紗廠客廳》邀請觀眾從南豐紗廠或自備的 黑白老照片上，以刺繡填上顏色。此裝置在聖誕和新年的假期期間舉行，侯亦透過一系 列直播工作坊延展與香港觀眾關於家庭、鄰里、休閒、勞動等議題的對話。 發現與重生 在二樓迴廊，展覽的最後一件作品是平面設計師長嶋里佳子，為布藝創意開發項目與 Kinnasand LAB共同研發的窗簾系列《SCRAP_CMYK》 。除了創作者與公共資助，商業客 戶的策略遠見與財政支持，對於一個地方的設計生態，都有著關鍵性的角色。我們日常生 活所見所用的，不論是能否觸及甚至不可見的，都是經過設計所生的產品，長嶋長久以來 所關注的，不止是設計成品是否美觀和暢銷，更重要的是如何通過她的創作，從而為製

of abstract 'type design' on the opposite side of the Arcade. Park's works are obtained from nature and everyday objects, and attempt to reorganise and create various compositions described as ‘typography’. Park's work understands and expresses (non-)text in a more abstract way, which seems to raise the question of whether textbased communication has failed in the current era of information explosion.

Ahn Sangsoo, the pioneer of modern Korean type design, also tried to create a 'visual language' that crosses cultural boundaries by breaking away from semantic restrictions with abstract images by introducing the series of large screen printing of Letterworks. On the contrary, Wang Zhihong from Taipei uses the characters of East Asian culture, depicting the tension and coexistence between languages with almost pure character shapes and proportions. From the application's perspective, Wang figuratively reflects the role that Taiwan can play in East Asian culture.

Shanghai/Hangzhou-based creative team Li Zhiqian and Liu Yi challenge our existing notions of linear history by illustrating the history of the structure of Chinese characters through the heat-controlled programme display Fibre. Both the graphic works by South Korean designer Choi Moonkyung and the motion graphics works of Japanese design teams Iguchi Kota, Mieno Ryu and Nakata Takuma transform the existing typographic forms at another level by remodelling the wooden types into multi-coloured screenprints and imitating the warp and weft movement of textiles respectively.

In this era of collective aphasia, how can we express ourselves besides creating new expressions and forms? In this 'typography and design' section, the participating designers work in graphic design and public education in the face of fast food culture and the modular cultural industry. However, they seem to adhere to the meticulous slow work of creating visual languages, outlining the context of history and community, and continuing the dialogue with the public.

A playful space that breaks down barriers Instead of differentiating cultures by region and language, how can we recontextualise cultural issues and create a new approach to understanding East Asia? The experiential works by BCXSY and Hugh Davies allow the audience to learn the symbolic meaning of culture and tradition through games and interaction with the exhibits. In addition to being a leisure activity, games are part of the innate human experience, where rules and competition are experienced and comprehended, creating new logic and imagination . Hugh Davie's Omikuji Game combines the Japanese Omikuji fortune-telling cabinet with traditional small games popular in East Asian culture so that the audience can speculate on the possible designed by BCXSY is a dynamic projection evolved from points, lines and planes, communication and collaboration.

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reflecting the joy and beauty that people can create together in the process of

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futures and alternative realities. The seesaw interactive device Reciprocal Syntax

為製造過程產生的「廢物」重新賦予意義，吸引商業客戶關注並支持產業生態的可持 續性。 身處颱風風眼之中，現代天文科學大概能預測它什麼時候會過去。然而我們現在處於的 風眼，沒有人能知道會維持多久，何時會出現風暴的下半場。眼下所見所造的亦不知什 麼時候會被推倒拆毀。或許我們現在能夠做的，是在尋路的過程稍稍停下來，就如古 人所言「行到水窮處，坐看雲起時」 ，風眼可以是在風暴中的一扇天窗，在風雨再來之 前，讓我們欣賞身邊每一處的創造，或許可以發現超越地域與身分政治的文化風景。

In addition, Kim Hwang's work Good Good Market 2021 satirises the absurd phenomena in today's production and consumption market, and various values and attitudes have become tools for urging consumption. Through parodies between real brainwashing and phoney supply and demand, apart from being a 'consumer', what other public identities can we engage in for a sustainable lifestyle?

The video installation Electromagnetic Brainology by Lu Yang from Shanghai combines video game subculture and religious elements to form the dazzling 'four deities' facing human suffering. Can they relieve or even heal our bodies and minds?

In collaboration with Japanese 3D embroidery master Takahashi Naotaka, the Fire Deity embroidery connects traditional craft and techniques with everyday life and spirituality, adding dimensions to virtual, material and spiritual discussions.

Fluidity in identities and politics The installation works of Spatial Anatomy and Alice Wong attempt to engage and even debunk stereotypes about a particular ethnic group and encourage the audience to re-understand information and reality through the viewing process.

Wong's work US & THEM uses images and sounds about 'the Asian' extracted from Western media and archives, through re-arrangement and editing, to raise questions about Western culture's perceptions and even the prejudice that Asians have formed about themselves. In the narration and projection without a fixed beginning and end, Wong expressed that we should not be attached to a specific inherent image to be released from fixed perceptions.

Through years of experience in teaching and academic exchanges in the Democratic People's Republic of Korea (DPRK), the team of Spatial Anatomy 'appropriated' the workshop of a textile factory in Pyongyang, which is both a factory and a tourist attraction. Through the 1:1 simulation space Myeon-bang, it deliberately reproduces an 'exotic' place to attract the audience to participate in the roles of the viewer and the watched. Inside and outside this space are also materials about North Korean urban planning, factory facilities, and women (workers) as social models. This staged space provides insight into the identity and understanding of the city and its people.

Whose say?

The works of three artists Guo Cheng, Lau Chi Chung and Hou I-Ting analyse, integrate and draws collective experience in the re-creation of existing materials, to discuss and rethink who belongs to the writing of historical records and the right to speak. Guo Cheng's critical design works, Wind Verification and The Net Wanderer, affects our understanding of social structure. Lau Chi Chung's The Dayspring of Theatre building as a narrative background. The work stages with a combination of photography, text and found objects to ask whether there is eternity and how we can speak of collective and individual memories.

Spinning East Asia

Eternity borrows the title of a Hong Kong pop song and uses the defunct State

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look at how digital reality is becoming a new reality in the present era that profoundly

Hou I-Ting's large-scale interactive work Sewing Field: CHAT Living Room at the Hall of the Mills invites the audience to fill in the colour with embroidery from the reproduction of archive black and white photos of Nan Fung Textiles, or the participants' photo prints. The installation was held during Christmas and New Year holidays. Through the workshop, Hou extended her dialogue on family, neighbourhood, leisure, and labour with the audience through a series of livestreaming conversations and workshops.

Discovery and Rebirth The show's final piece at CHAT Arcade is the curtain series SCRAP_CMYK by graphic designer Nagashima Rikako developed for Kinnasand LAB, a creative development project of upholstery textiles. In addition to the efforts of designers and the support of public funding, the strategic vision and financial support of corporate clients also play a central role in shaping a healthy design ecology. What we see and use in our everyday life, including those untouchable or invisible, are all products produced by design. Nagashima has long been concerned about whether the design is beautiful and popular and, more importantly, how to pass her creation, thereby regenerating 'waste' produced from the manufacturing process, attracting customers' attention and supporting the industry’s sustainability.

Situated in the eye of a storm, it is probable that modern astronomical science can predict when the storm will pass. However, no one knows how long we will be situated in the eye of this 'storm', and when the second half of the storm will occur.

We also do not know how long it will last that what we have seen and built will be torn down and demolished. Perhaps what we can do now is to pause for a while in the process of finding the way. As an old poem says, ‘I'd stroll to seek the fountainhead, and there take a seat to admire the sky and watch clouds grow’. The eye of the storm also opens a window to the skylight. Before the storm comes again, let us appreciate the creations around us and perhaps discover the cultural landscape that transcends geography and identity politics.

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展場圖片

Exhibition Installation View

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2021 牆

The Wall 陳濬人、許瀚文與徐壽懿於在學期間接觸字體與排印設計，認識 文化與歷史背景如何構建一個地方的視覺語言。畢業後共同創立 叁語設計，透過與商業和文化機構的合作，推動文字、美學與 應用的研究及創作實踐。許瀚文後期投身字體設計的工作，然而 三人仍不時合作，互相選用對方開發的字體於作品當中，在創作 上持續交流切磋。

陳濬人、許瀚文與徐壽懿 《牆》 2021 夾層圓筒針織布、電音鍵盤 尺寸可變 CHAT 六廠委託作品

陳濬人、許瀚文與徐壽懿

Adonian Chan, Julius Hui and Chris Tsui

Adonian Chan, Julius Hui and Chris Tsui first encountered typography and type design during their undergraduate studies, learning about how culture and history defines the visual language of a place. After graduation, the trio

Adonian Chan, Julius Hui and Chris Tsui The Wall 2021 Tubular knitted spacer fabric, electronic keyboard Dimensions variable Commissioned by CHAT

co-founded Trilingua Design, promoting typography and aesthetics through collaborating with organisations from the commercial as well as cultural sectors. Despite Hui later left the studio to pursue his own career in type design, the trio intermittently work together, exchanging ideas and incorporating the typefaces created by one another in their own works.

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是次 CHAT 六廠委約創作的互動裝置作品，是啟發自編織的物理 特 性， 根 據 針 織 的 紋 路 套 取 基 礎 網 格， 塑 造 一 系 列「口」字 部首、常用於香港的粵語感歎詞 ，與本地針織廠合作織出一張 掛布，配以由電音鍵盤改裝的系統，結合成一套讓觀眾拍打的 發聲針織「磚牆」。作品以輕鬆生動的方式，通過文字的音與 意，為觀眾在鬱悶難抒的社會氣氛下提供一個發洩的空間。

This interactive installation, commissioned by CHAT, is inspired by the physical characteristics of knitting. The trio produced a grid system based on typical knitting patterns and created a series of common interjections — which are widely used in Hong Kong — in written Cantonese with the 'mouth' radical (' 口 ') . These characters are then woven into a wall hanging by a local textile manufacturer. Combined with a sound device modified from an electronic keyboard, the tapestry becomes a knitted 'brick wall' that the audience could tap on and make sounds. The installation provides the audience a channel to translate their emotions into lighthearted actions under the current social atmosphere, through the sound and the meaning of these characters.

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2021 維

Fibre 來自上海的當代文字設計師和研究者厲致謙與現居杭州的當 代藝術家劉毅共同創作了作品《維》。作品使用了特殊的感 熱材料，用編碼控制設備的溫度改變，感熱板便顯現從甲骨 文到現代數碼化簡體字的一些漢字，而藝術家選取了與紡織 厲致謙 、 劉毅

Li Zhiqian and Liu Yi

相關的文本。

厲致謙 、 劉毅 《維》 2021 鋁板、溫控程式 尺寸可變 CHAT 六廠委託作品

Shanghai-based contemporary typeface designer and researcher Li Zhiqian joined hands with Hangzhou-based contemporary artist Liu Yi to create Chat-commissioned work - Fibre. Special heat-sensitive materials are used, showcases a series of Chinese characters they selected, from oracle to modern digitalised simplified Chinese, while

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the content is about ‘textile’.

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and the temperature is controlled by a coding device. It

Li Zhiqian and Liu Yi Fibre 2021 Metal aluminum, temperature control programming Dimensions variable Commissioned by CHAT

漢字從誕生至今，經歷了從自然書寫到逐步被編織、塑形的 過程。不論是在竹簡上書寫，還是使用雕版印刷技術，所有 漢字的最大寬度受直行規整起來。當西方金屬活字技術傳入 中國，為了兼顧縱橫排版的需求，以及出於技術與經濟的考 量，添加了橫向的約束——漢字被關進了經緯縱橫的方塊 之中。進入數字時代，原本的技術限制雖已消失，但頭腦中 的籠子卻依舊存在。不論是普通民眾，還是專業字體設計 師，「方塊字」都是他們無法破除的桎梏。經由感熱板中不 同形態漢字的明暗顯隱，兩位藝術家力圖呈現文字與文明在 邊界與中心之間的動態遊弋，並提示我們思考突破線性歷史 思維的可能性——請仔細觀察突出在紗外的短纖維。

Since Chinese characters were first invented, they have undergone constant evolution from freestyle handwriting to being woven and shaped. When the characters were written on bamboo slips or reproduced in woodblock prints, their maximum width was somehow regulated. After movable type was introduced to China from the West, in order to accommodate both vertical and horizontal typesetting and for technical and economic considerations, more constraints were introduced which locked Chinese characters in squared frames. In the digital age, though previous technical issues were solved, limitations still exist in the mind. For the public as well as professional typeface designers, the ‘square-shaped’ nature of Chinese characters seems to be conceptual shackles that nobody can break away from. The characters, glimmer on the heat-sensitive panels, manifest the dynamic movement of words and civilization within the border and the center, prompting us to think about breaking through linear historical thinking – please carefully observe the loose threads outside the yarn.

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2021 棉紡

Myeon-bang

由蔡優進創立、位於新加坡的空解（設計）事務所透過探究、倡 導和創造建築空間，切入不斷變化的社會政治條件所塑造的城 市與生活突發形勢，以外交調解及積極參與去應對當今複雜的 空解 設 ( 計 事 ) 務所 Spatial Anatomy

挑戰。

空解 （設計） 事務所 《棉紡》 2021 混合媒體裝置 尺寸可變 CHAT 六廠委託作品

Founded by Calvin Chua, Singapore-based design studio Spatial Anatomy approaches the built environment by interweaving inquiry, advocacy and creation. They respond contingencies of urban life shaped by evolving socio-political conditions, while practically structuring their design process

Spinning East Asia

with diplomacy and engagement.

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to today’s complex urban challenges by intervening in the

Spatial Anatomy Myeon-bang 2021 Mixed-media installation Dimensions variable Commissioned by CHAT

這 個 由 CHAT 六 廠 委 託 創 作 的 作 品《棉 紡》是 由 蔡 優 進、 陳 慧 恩、楊惠琦及周韻晴與 Fadhilah Nordin 對朝鮮紡織廠房空間的 戲劇性再現，演繹由本地工人與外國遊客參與其中的工廠管控環 境、同時也是一個旅遊景點的雙重現實。在這個空間，參觀者既 是工人又是遊客，既是被觀看者又是觀看者。參觀朝鮮輕工業工 廠已成為外國人的典型旅遊體驗。 在這些參觀過程中，工廠工 人和遊客進行被高度控制的表演 —— 工人在車間真誠地展示了 她們的日常工作，而旁觀者則順應接受了這個投射的現實。作品 的場景設置是朝鮮文化項目，編織了該國第二大出口產業引人入 勝的故事，靈感來自創作者多次參觀金正淑平壤紡織工廠 —— 朝鮮平壤最大的紡織工廠車間。

Myeon-bang is a dramaturgical reproduction of a textile factory floor in the Democratic People’s Republic of Korea (DPRK) commissioned by CHAT. Conceived and developed by Chua and his team including Aurelia Chan, Dawn Yeong, Chew Yun Qing and Fadhilah Nordin, it stages the shared realities of the domestic factory worker and the foreign tourist within the factory’s controlled environment as a tourist space. On this floor, the spectator becomes both the worker and tourist, the watched and the watcher. Visits to light industry factories in DPRK have become a quintessential experience for foreigners.

During these visits, factory workers and tourists engage in a highly controlled performance—the worker who gives a sincere display of her routine on the factory floor, and the compliant spectator who takes in this projected reality. The scene setting in Myeon-bang is a DPRK cultural project that weaves a compelling tale of the nation’s second-largest export industry. It is inspired by multiple visits to Kim Jong Suk Textile Mill – DPRK’s largest textile factory floor in Pyongyang.

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2021 交互句法

Reciprocal Syntax

BCXSY 是 Boaz Cohen 與 Yamamota Sayaka 於 2007 在阿姆斯特 丹創立的設計合作社。他們的敘事式創作強調個人體驗、人際交 往與情感意識。

BCXSY 《交互句法》 2019，2021 年更新 混合媒體裝置 尺寸可變

BCXSY

Boaz Cohen and Sayaka Yamamoto. Established in 2007, the studio’s narrative-led creative output is characterised by an emotional awareness.

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emphasis on personal experience, human interaction, and

BCXSY Reciprocal Syntax 2019, updated 2021 Mixed-media installation Dimensions variable

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BCXSY is an Amsterdam-based design cooperative between

《交互句法》是一個結合實體與虛擬體驗的互動裝置，於 2019 年 首 次 展 出。 當 前 的 版 本 與 XORXOR（Gabor Papp 和 Gáspár Hajdu）、Laszlo Szabados 和聲音設計師 Scott Cazan 合作更新 2

數碼內容。透過遊樂場常見的蹺蹺板，帶出遊戲雙方在協作過 程中共同創造與交流的結果。作品邀請參觀者置身於熟悉的遊 樂場玩意，啟動憑經緯線演化而漸次出現的動態投影，以動能 生成獨特的畫面與影像。隨著蹺蹺板的起落，坐在兩端的參與 者所產生的動能融為一體，單向的個人貢獻之定義越見模糊。 作品也意喻著，通過人與人之間不斷的交流與反思，意象從混 沌變得明朗，每次的互動都共同編織新的模式和敘事 。

Reciprocal Syntax is an interactive installation that combines physical and virtual experience. First exhibited in 2019, the current version with renewed digital content is created in collaboration with XORXOR (Gabor Papp and Gáspár Hajdu), Laszlo Szabados and sound designer Scott Cazan. Through a seesaw, a game that is commonly found in playgrounds, it depicts an outcome of a creative exchange between two beings, through a metaphorical illustration of a concerted work process. The work invites the audience to start off a visual projection that gradually appears and evolves from the latitude and longitude to generate audiovisual content with kinetic energy. Engaged in this perspective, the definitions of our personal contributions become more and more obscure as our minds seem to resonate. Through a constant stream of exchange and reflections, bits and pieces start falling into place, and distinctive patterns and narratives are conceived.

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2021 棒 棒 噠 市 場 2021 Good Good Market 2021 生活於首爾的設計師金滉一直致力於拓展應用設計的可能性，倡 導和實踐著對抗全球技術資本壟斷的設計。他的跨領域創作常常 結合了應用設計和批判性表演，關注壓迫邏輯的粗劣性、不符常 識的社會現狀，以及現實中的喜劇性等主題。

金滉 《棒棒噠市場 2021》 2021 混合媒介 尺寸可變 1 ' 19 ' 37 "

金滉

Kim Hwang

Seoul-based designer Kim Hwang has been pushing the boundaries of applied design, advocating design that resists the monopoly on technology and capital worldwide. His interdisciplinary creations integrate applied design and critical senseless social phenomena, and comical aspect of reality.

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performance, concerning topics such as repressive logic,

Kim Hwang Good Good Market 2021 2021 Mixed media Dimensions variable 1' 19' 37"

Spinning East Asia

在最新作品《棒棒噠市場》中，金滉和媒體遊擊小組 OF NOW LAB 一起製作了一檔直播形式的線上購物節目，諷刺了當下圍 繞生產和消費所發生的各種奇葩混亂的社會景象。共生、可持續 性、正念，這些曾經被認為是一種抵抗手段的關鍵詞，現在經過 商業包裝後已然成為了最具魅力的「設計要素」。金滉通過對此 類商業操作的積極借用，探討逃脫這種模式的可能性。作品的主 角是被過度植入這些價值觀而變得詭異誇張的小型設計產品，節 目主持人為了推銷這些小產品而精心挑選了真誠的解說詞，但卻 反過來引發了令人不安的問題。雖然這些問題似乎始終沒有答 案，但卻反覆撞擊著以媒體主導的商業世界之堅實壁壘。

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In his newest project Good Good Market, Kim produces a ‘livestreaming e-commerce’ together with media guerrilla group OF NOW LAB. It is a satire of today’s bizarre social phenomena associated with manufacturing and consumption.

Mutual growth, sustainability, and positive thinking were once the buzzwords of resistance. Now, they are co-opted to be the most charming ‘design elements’ for commercial purposes.

Good Good Market reappropriates this strategy as a possible way to escape such model. The focus of the livestream is some design gadgets which grotesquely inflated with the above values. Despite the host has chosen some of the earnest wordings to promote the products, the practice itself raises some unsettling questions. These questions might fail to provide answers, but they never cease in challenging the hegemony of e-commerce.

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2021 御神籤遊戲

Omikuji Game

戴修是居於墨爾本近郊的跨學科創作者與研究員，長期從事亞太 區域遊戲文化的實踐式研究。透過雕塑、裝置、圖像、錄像及參 與式體驗等跨媒介創作，探索科技、「屏幕」與擴展式遊戲的發 展和應用。戴修視城市為遊戲版圖，分析玩樂如何成為分隔遊戲

戴修 《御神籤遊戲》 2017，2021 年更新 混合媒體裝置 尺寸可變，木箱 46.7 x 39 x 21.8 厘米

與日常、現實與虛擬的流動界線。

Based in the suburbs of Melbourne, Hugh Davies is an interdisciplinary creative practitioner and researcher. He has long been engaged in practice-led research on game culture in the Asia Pacific region. Through cross-media creations such as sculptures, installations, images, videos and participatory experiences, his works explore the history and applications of technology, ‘screens’ and extensive-form games. Davies sees urbanism as the territories of games and analyses how the notion of play has become a fluid boundary between games

戴修

Hugh Davies

and everyday life, reality and virtuality.

Hugh Davies Omikuji Game 2017, updated 2021 Mixed-media installation Dimensions variable, chest 46.7 x 39 x 21.8 cm

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《御神籤遊戲》是戴修在東京駐留期間創作的「互動遊戲式散 文」，旨在探究日本遊戲文化，並特意為本展覽加入新元素。自 古以來，遊戲被認為具有神秘的力量，並與算命的起源交織相 連——通過遊戲，人類能夠預視可能的未來與替代的真實。基 於普遍用於日本各地神社的「御神籤」算命箱，這個手工製作、 由 30 個抽屜組成的裝置，載有相互關聯的傳統小遊戲與解說， 體現遊戲與占卜在日本與東亞古文化的歷史聯繫。

Omikuji Game was an 'interactive game essay' created by Davies during his residency in Tokyo in 2017 to research game cultures in Japan, and added new elements for this exhibition at CHAT. Since ancient times, games have been thought to hold mystical powers – able to provide glimpses into possible futures and alternate realities. Based on the Omikuji fortune-telling chests found at Shinto Temples across Japan, the 30 drawers of this hand-made cabinet house an interconnected narrative revealing historical connection of games with divination, both in Japan, and across ancient East Asian cultures.

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2021 黎明請你不要來

The Dayspring of Eternity

香港視覺藝術家劉智聰從事電視廣告美術指導工作多年，以攝影 為主要媒介進行視覺藝術創作，同時也是一位積極搜尋和保存香 港歷史文化視覺產物的收藏家。

劉智聰

Lau Chi Chung

劉智聰在本展覽中設計了曲折回轉的展示空間，藉由攝影、影 像、文字和舊物的組合，引領觀眾進入一段個人與集體記憶混雜

劉智聰 《黎明請你不要來》 2021 混合媒體 尺寸可變

Hong Kong visual artist Lau Chi Chung has worked in the TV photography as the medium of his art creation. He is also an avid collector of artefacts that reflect the visual culture and

Spinning East Asia

history of Hong Kong.

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commercial industry as an art director for years while adopting

Lau Chi Chung The Dayspring of Eternity 2021 Mixed media Dimensions variable

交織、虛實相間的香港時光之旅。作品起源於劉智聰對當時早已 廢棄但還未有明確保育計劃的皇都戲院大廈進行攝影記錄。從拍 攝期間相識的文字師歐陽昌先生所講述的光怪陸離的個人經歷， 到皇都戲院的輝煌傳奇，再延展到令人浮想聯翩的舊日北角的多 姿多彩，劉智聰用鏡頭捕捉廢棄物上隱約可見的昔日光彩，用真 假難辨的故事述說口耳相傳的都市傳奇，亦隱喻著在香港一直以 來無從自主的城市命運中浮沉的升斗小民，以保存和記錄來對抗 著遺忘與改寫。

In this exhibition, Lau brings the audience into a space that is full of twists and turns, photos, videos, texts and old items, taking them on a journey of Hong Kong history in which personal and collective memories, as well as reality and imagination intertwined. The work originates from a shooting that Lau carried out at the defunct State Theatre Building before the plan of preserving the building came into place. Through his lens, the artist captured the past glamour of abandoned objects, telling intriguing urban tales, from the bizarre personal experience of calligrapher Au Yeung Cheong whom Lau met during the shooting, and the glorious days of the State Theatre, to the vibrant North Point in its good old days. It is a metaphor for common people in the ‘autonomous’ city fighting against oblivion and distortion with documentation and conservation.

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2019 我們與他們

US & THEM

人們如何認識現實以及現實如何被形塑？這是目前生活在燕豪芬 的故事設計師王雅媛最主要的創作主題。她常常考察和質疑那些 紀實影像、媒體報導以及社會現象如何交叉互動構成人們認知中 的「現實」，在作品中設計出多角度的敘述線索去講述複雜的故 事，讓觀者對日常生活中所接收到的訊息提高警覺，對所謂的現 實保持批判和開放的態度。

王雅媛 《我們與他們》 2019 投影、薄紗 6' 32"

王雅媛

Alice Wong

How do people perceive reality and how reality is being shaped? These are the main themes of the works by story designer Alice Wong who is currently based in Eindhoven.

Alice Wong US & THEM 2019 Video projection, gauzes 6' 32"

Wong often investigates and questions how the intersection of documentary, media and social phenomena shape the public perception of ‘reality’. In her works, she designs multipleperspective narratives to tell complex stories, reminding the viewers to be critical and keep an open-minded attitude towards the information received in everyday life and the socalled ‘reality’.

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影像裝置作品《我們與他們》以蒙太奇的手法將王雅媛與合 作者 Aryan Javaherian 關於「亞洲形象」的研究資料重新混 合編排，以大量的歷史照片、流行文化中的視聽素材，解構 西方主流視野中的「亞洲形象」不過是一種用以區分自身與 他者的想像。作品循環投影於層層疊疊的半透明紗布上，而 觀眾可以在紗布周圍穿行，模糊虛幻的影像，揭示了那些固 有形象的不真實性，也提示參觀者不斷變換角度和立場，打 開更細緻和具有批判性的視野觀察和思考我們的世界。

The video installation, US & THEM, is a montage of Wong and Aryan Javaherian’s research on ‘Asian stereotypes’, bringing together a host of visual and auditory sources: from archive photographs to pop culture. The work is a deconstructed portrayal of the Western idea of ‘the Asian’ which is nothing but an imagination to distinguish oneself from the others.

The video, shown on a loop, is projected on layers of gauze which the audience can walk around. The dreamlike images reveal the falsity of stereotypes, reminding the audience to constantly see things from different perspective and positions to obtain a more nuanced and critical view when observing and reflecting on the world.

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2021 風的驗證、網絡遊者

Wind Verification, The Net Wanderer

生活於上海的藝術家郭城，其藝術實踐著眼於既有或新興的科 技對社會與文化方面的衝擊與影響，以及置身其中的個體與社 會生活之間的關係。他的兩組作品《風的驗證》和《網絡遊者》互 為探討當下時代中，數碼現實如何成為新的現實，並深切影響 著我們的社會結構和認知系統。

郭城 《風的驗證》 2021 旗幟、氣泵、鋼絲床、伺服器機 架、樹莓派、步進電機、 屏幕、音 箱、定制電路和定制軟件 尺寸可變，裝置主體 90 x 300 x 120 厘米 1 ' 18 ' 00 " 《網絡遊者》 2019 至今 攝影、地圖 尺寸可變

郭城

Guo Cheng

Shanghai-based artist Guo Cheng focuses on exploring established/emerging technologies’ impact and influences on society and culture, and their connections with individuals and social life. His two works, Wind Verification and The Net Wanderer, echo each other in the discussion of how digital reality has become the new reality nowadays, and how it deeply affects our social structure and cognitive system.

Guo Cheng Wind Verification 2021 Flag, air pump, steel wire beds, server racks, raspberry Pi, stepper motors, screen, speakers, custom circuits and custom software Dimensions variable, main device 90 x 300 x 120 cm 1 ' 18 ' 00 "

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The Net Wanderer 2019 - Ongoing Photography and map Dimensions variable

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作品《風的驗證》是基於大規模監控語境下社交媒體網絡中的虛 擬田野。在這個裝置的控制系統中，經深度學習的電腦經視覺 演算法不斷分析著收集於社交網絡、有旗幟畫面的短片，將旗 幟擺動的分析數據發送給控制系統，讓氣泵吹動旗幟，使其擺 動狀態與短片的相近，以此將社交網絡用戶所上傳的錄像裡不 可見之物——風復現於一個物理世界中。此作品展現了一種由 於當下各種短片社交平台的出現與普及所引發的顛覆性改變， 使草根階級參與爭奪信息話語權，也呈現出自下而上的數據分 析與處理所帶來的可能性。並置展出的還有《網絡遊者》系列中 的一部分作品。郭城修復出了谷歌地圖上一片無法顯示的道路 地圖區域；另外，他通過一批特定的網際網路協定位址，標出 中國互聯網閘道器的基礎設施所在的地理位置，並在前往這些 地點的途上拍攝了一批照片。

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Wind Verification is an installation inspired by the virtual field on social media in the context of large-scale surveillance.

In the device, a visual algorithm trained by deep learning continuously analyses short videos of flags collected from social media, the analysed data is then sent to the control system which uses air pump to blow a real flag in order to imitate the wavering of the flag in the video. The invisible ‘wind’ which is visible in the video uploaded by social media users is reproduced in the physical world. The work demonstrates the disruptive change caused by the emergence and prevalence of short video social media platforms which enable the grassroots to fight for their voices. It also illustrates the possibility brought by bottom-up data analysis. Some works from The Net Wanderer series are also exhibited at the same time. Guo Cheng restored some road images that could not be shown on Google Maps. Additionally, he tracked down the geographic locations of some critical network gateways in China through a set of specific IP addresses and took photographs along the way to these locations.

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2017 電磁腦神教

Electromagnetic Brainology

來自上海的多媒體藝術家陸揚長期關注著死亡、無性、精神疾 病、生命形式的存在，以及心靈神經學等課題。陸揚自 2010 年以來持續開發和完善著一套龐大的有關宗教、醫療、腦科學 方面的系列式作品。《電磁腦神教》亦是這一長期研究計劃的

陸揚 《電磁腦神教》 2017 多屏影像裝置 尺寸可變 13 ' 34 "

一個環節。陸揚將印度教和佛教提出的組成世界的地、水、 火、風四大元素連繫人體內的四大痛苦成份，構想成對應大腦 中樞神經不同部位的四大神祇，並對現代腦科學醫療技術進行 了宗教崇拜性的塑造，即將這些技術打造成四大神用來刺激大 腦某些部位以緩解痛苦或治療疾病的「神器」。

Hailing from Shanghai, multi-media artist Lu Yang has long been focusing on topics of death, asexuality, mental illness, the existence of life forms, mind and neurology. Since 2010, Lu has been systematically working on a set of works on religion, medicine and brain science, and Electromagnetic Brainology is part of this long-term research project. Lu reimagines the four Great Elements in Hinduism and Buddhism — earth, water, fire and wind — as four deities, and each deity corresponding to a different part of the central nervous system of the human brain. Modern medical technologies in brain science are the 'divine artifacts' of the four deities to stimulate the brain to relieve pain or treat diseases. The work raises the long-standing questions about religion, technology, and the spiritual world of human in both real and virtual 陸揚

Lu Yang

contexts: Is one’s perception of the physical world shaped of his/her own free will? How can such perception be changed?

How can we heal and save ourselves?

Lu Yang Electromagnetic Brainology 2017 Multi-screen video installation Dimensions variable 13 ' 34 "

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2021

作品從真實和虛擬兩方面出發討論長期圍繞在宗教、科技和 人類精神世界之間的問題：人類對於現實空間的感知是否依賴

電磁腦神教之火神

Fire Deity of Electromagnetic Brainology

於個人意志？它可以如何被改變？我們又可以如何治癒和拯

陸揚與高橋直孝 《電磁腦神教之火神》 2021 立體刺繡 100 x 180 x 40 厘米

救自己？ 本展覽亦首次展出陸揚與日本立體刺繡大師高橋直孝合作的《電 磁腦神教之火神》。高超的立體刺繡技術將陸揚虛擬世界中的神 祇輸送到物質性的現實空間中，更從傳統工藝與人類日常生活 與精神性之關係的角度為上述的討論增添維度。

Fire Deity of Electromagnetic Brainology, which debuts in this exhibition, is a collaborative work between Lu and Japanese 3D embroidery master Takahashi Naotaka. The superb 3D embroideries bring the gods in Lu’s virtual world to the physical space, encouraging the audience to think about the connections between traditional craftsmanship and the daily life and spirituality of human.

Lu Yang and Takahashi Naotaka Fire Deity of Electromagnetic Brainology 2021 3D Embroidery 100 x 180 x 40 cm

陸揚與高橋直孝

Lu Yang and Takahashi Naotaka

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東亞漢字的身份識別與張力測試

Identification and Stress Test of Hanzi in East Asia

王志弘

Wang Zhi-Hong

生活於台北的平面設計師王志弘致力於將字體排印應用於文化 與商業領域的設計項目當中，並通過長期與出版商合作，出版 著名藝術家之專著及書籍之中文翻譯版本，以封面設計實踐其 跨越地域與文化的視覺語言。

王志弘 《東亞漢字的身份識別與張力測試》 2021 海報、傳單 海報 100 x 70 厘米； 傳單 59.4 x 42 厘米 CHAT 六廠委託作品

是次受 CHAT 六廠委托創作的印刷品系列，王志弘選擇從貼近 真實的應用角度切入，體現東亞文化與漢字的視覺關係。以 中、日、英及韓四種在東亞文化廣泛使用的語言為主要元素， 借用本展覽的場境與資訊，用純文字「東亞」模擬一套出現在 展場的海報與傳單。作品反映了東亞地區特殊的文字混合使用 情況，尤以台灣更為普遍。不同的語言因著歷史、功能等因 素，令混合使用的狀況帶有張力及彈性，然而王志弘相信不同 的語言在應用的過程中，會逐漸找到互相適切的配置方式。

Taipei-based graphic designer Wang Zhi-Hong is committed to typography-led design practice through commercial and cultural projects. Through long-term collaborations with publishers, he releases translated books and monographs by prominent artists and puts his cross-region and cross-cultural

Wang Zhi-Hong Identification and Stress Test of Hanzi in East Asia 2021 Poster and leaflet Poster 100 x 70 cm; Leaflet 59.4 x 42 cm Commissioned by CHAT

visual language into practice through his book cover design.

Commissioned by CHAT, this series of printed matters created by Wang manifests the visual correlation between East Asian culture and hanzi approaching from the application of typography. Taking Chinese, Japanese, English and Korean — the 4 languages used primarily in East Asia — as the key elements, and ideas borrowed from the setting and information of this exhibition – Wang put together a collection of posters and leaflets imitation exhibition collaterals, featuring the characters of ‘East Asia’. The work reflects the usage of mixed languages prevalent in East Asia, particularly in Taiwan. As different languages have different historical contexts and functions, mixed languages carry a certain degree of ‘tension and elasticity’ when they are used. Wang believes that different languages will eventually reach a mutual alignment when they are applied.

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2016, 2020, 2021

動態紡織、象 圖樣機器、編織 走馬燈 / / Motion Textile, ZOU/ Pattern Machine, Weave/ Zoetrope

井口皓太、三重野龍與中田拓馬

Iguchi Kota / Mieno Ryu / Nakata Takuma

來自日本的動態圖像設計師井口皓太、平面設計師三重 野龍與電腦運算藝術家中田拓馬，分別為跨媒體創意機 構及數碼科技工作室成員。是次於 CHAT 六廠展出的三 件作品是三人過去數年在商業邀約與個人研究之間，共 同通過動態圖像，穿梭探索編程、文字結構與排版，以 及意象之間微妙關聯所留下之註腳。

井口皓太、三重野龍與中田拓馬 《動態紡織》 2016 連續動態圖像 50"’ 《象 / 圖樣機器》 2020 連續動態圖像 1' 20" 《編織 / 走馬燈》 2021 連續動態圖像 50"

Motion graphics designer Iguchi Kota, graphic designer Mieno Ryu and computational artist Nakata Takuma from Japan are members of cross-media creative agency and digital technology collective respectively. The three works exhibited in CHAT are the trio’s creative footprints between commercial commissions and personal research over the past few years, exploring the subtle associations between computer programming, type design and typography as well as imageries through the medium of motion graphics.

Iguchi Kota / Mieno Ryu / Nakata Takuma Motion Textile 2016 Looping motion graphics 50" ZOU/ Pattern Machine 2020 Looping motion graphics 1' 20" Weave/ Zoetrope 2021 Looping motion graphics 50"

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《動態紡織》的靈感來自紡織的經與緯概念，嘗試以隨時可中斷 又可以不斷重覆的模式，創造一種突破流動影像無法逃脫物理框 架的視覺結構。 《象 / 圖樣機器》試圖通過改變文字的形狀，來賦予與單詞本身不 同的含義（意象） 。 通過應用字符出現的順序、排列和效果來模 糊輪廓，將原本的圖像轉化。 《編織/走馬燈》透過建構流動影像的雛型器材——走馬燈，表達一 條線如何變成一個字元、一個單詞和一句句子。在這裡，文字由沒 有實質內容的線條構成，在拆解與黏合之間有系統地呈現出來。

Motion Textile is inspired by the concept of warp and weft of textile. It attempts to create a visual format that breaks through the physical frames of moving images in a motion pattern that can be cut off at any point and can be repeated continuously.

ZOU/ Pattern Machine tries to create an imagery different from the character itself by modifying its shape. Obscuring the form by reapplying the characters’ order of appearance, configurations and effects, the image is transformed into an image different from the original one.

Weave/ Zoetrope adapts the principle of Zoetrope, an early form of animation technology to express how a line becomes a character, a word and a sentence. Here, the characters are composed of lines with no substantive content and is presented systematically by disassembling and bonding.

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2021 文 字 圖 ： 被 迷 住 了 ！ 、1 文 字 圖 ： 被 迷 住 了 ！ 、 2 文字圖：被迷住了！ 、 3 文字圖：被迷住了！ 4 Letterworks: HOLLYEORA! 1 , Letterworks: HOLLYEORA! 2, Letterworks: HOLLYEORA! 3 , Letterworks: HOLLYEORA! 4

安尚秀被譽為韓國現代平面設計與字體設計先驅，在本展覽聯同 兩位於其創立之坡州字體設計學院（PaTI）任教的設計師崔文競 與朴燦信，共同展出全新作品。 安尚秀自 2017 年起發表《文字圖》系列，以韓文輔音融入韓國民 間繪畫「文字圖」的傳統結構，脫離語義和音素的規限，在創作 過程中全然投入當下經驗，邀請觀眾以直覺和洞察力，喚起不同 時間和語境對文字、溝通的印象和意願。

安尚秀 《文字圖：被迷住了！ 1》 《文字圖：被迷住了！ 2》 《文字圖：被迷住了！ 3》 《文字圖：被迷住了！ 4》 2021 紙本絲網印刷 每張 78.8x109 厘米

安尚秀

Ahn Sangsoo

Ahn Sangsoo is known as the pioneer of Korean modern graphic design and type design. Being the founder of PaTI (Paju Typography Institute), he is showing a series of new works with fellow PaTI designer-instructors Choi Moonkyung and Park Chanshin.

Ahn Sangsoo Letterworks: HOLLYEORA! 1 Letterworks: HOLLYEORA! 2 Letterworks: HOLLYEORA! 3 Letterworks: HOLLYEORA! 4 2021 Screen print on paper Each 78.8 x 109 cm

Ahn Sangsoo integrates Korean consonants into the a modernised interpretation since 2017. Free from the regulations of semantics and phoneme, Ahn has fully to use their intuition and insight, recalling their perceptions of words and evoking their desires for communication in different times and contexts.

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immersed into the creative process. It invites the audience

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traditional structure of Munjado (Korean folk painting) as

2021

、 : : 、 : 、1 Oncetype伴 : Oncetype型 1 Oncetype型 2 Oncetype伴 2 Oncetype: Meot 1, Oncetype: Meot 2, Oncetype: Beot 1, Oncetype: Beot 2 崔文競自 2018 年創作《Oncetype》系列，源自木製活字的厚重與 陳舊觸感。崔把活字塊套模，並注入人手混合天然成分，調配出 色彩繽紛的溶液造成肥皂，讓人聯想起傳統印刷技術盛行時活字 的活躍生命。這些肥皂再被拍照，字體又重新引入至印刷世界， 並通過數碼修飾，照片體現活字的物理特性，揭示了一種新的視

崔文競 《Oncetype: 型 1》 《Oncetype: 型 2》 《Oncetype: 伴 1》 《Oncetype: 伴 2》

2021 紙本絲網印刷 每張 70 x 70 厘米

覺平衡和觀感。

The Oncetype series since 2018 are inspired by the chunkiness and aged tactility of the wooden movable type, Choi Moonkyung remoulds the wooden type into multi-coloured soaps which are created by mixing natural ingredients by hand, symbolising the lively movable type in its heyday. The soaps are then captured in photographs and the types are re-introduced into the world of printing. Through type are displayed in the photos, revealing a new visual balance and perception. 崔文競

Choi Moonkyung

digital retouching, the physical characters of the movable

Choi Moonkyung Oncetype: Meot 1 Oncetype: Meot 2 Oncetype: Beot 1 Oncetype: Beot 2 2021 Screen print on paper Each 70 x 70cm

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朴燦信的印刷及裝置作品反思編輯工作中，文本格式與視

Cloud Assemblage, Unhung Constellation, Salt Justification, Grown Grid

雲朵組合、地上星宿、鹽之辯解、生長的網格

覺排序的許多盤旋、轉換直至作出定案的過程。排印學的 詞 彙 如 尺 寸、 單 位、 網 格、 對 齊 等， 與 來 自 大 自 然 的 物 件，如樹枝、石塊、鹽、樹葉等相遇，並從它們既定的功 能中解放出來。作品試圖表達無法用文字描述和語言無法 取代、甚或只是一種無用的無語義寫作。

樸燦信 《雲朵組合》 2021 絲網印刷、鐳射切割與亞加力 膠板 尺寸可變 《地上星宿》 2021 絲網印刷、鐳射切割與紙板 尺寸可變 《鹽之辯解》 2021 紙本孔版印刷 每張 15 x 15 厘米 （24 張） 《生長的網格》 2021 紙本絲網印刷 每張 78.8 x 54.5 厘米 （2 張）

Park Chanshin’s work often deals with editing and publishing that involves the many hovering, transformations, and eventual settlement of the formatting and visual order of texts. The technical terms in typography, such as dimensions, units, grids and justification, meet the objects from nature, such as branches, pebbles, salt and leaves, being released from their given functions. The asemic writing conveys an idea that is indescribable in words, irreplaceable by language, or simply useless.

Park Chanshin Cloud Assemblage 2021 Screen print on paper, laser cut and acrylic board Dimensions variable Unhung Constellation 2021 Laser cut and cardboard Dimensions variable Salt Justification 2021 Riso print on paper Each 15 x 15 cm (24 sheets) Grown Grid 2021 Screen print on paper Each 78.8 x 54.5 cm (2 sheets)

朴燦信

Park Chanshin

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2019

SCRAP_CMYK

2

生活於東京的平面設計師長嶋里佳子經常把循環再造的概念應 用於創作實踐，把被認為是廢棄和無用的東西重新賦予價值。 《SCRAP_CMYK》是長嶋與北歐布藝製造商 Kvadrat 的創意開 發項目 Kinnasand LAB 共同研發之窗簾系列。一套 4 款的圖案 取自長嶋過往設計項目衍生卻一直保留的柯式印刷「廢紙」 。紙 上佈滿墨水污漬與錯版圖像，長嶋擷取這些出於偶然的圖案印 刷在塑料瓶再生製成的聚酯布料上，把日常生活的不完美與無 用之物，演化成樸素又優雅的圖案，含蓄體現傳統「侘寂」美 學觀念。

長嶋里佳子 《SCRAP_CMYK》 2019 再生聚酯布本印刷， 組合式窗簾 尺寸可變 《SCRAP_CMYK》 有賴 Kvadrat 的支持得以實現

《SCRAP_ CMYK》有賴 Kvadrat 的支

長嶋里佳子

Nagashima Rikako

Based in Tokyo, graphic designer Nagashima Rikako often considers how the concept of upcycling can be applied in her work, giving value to something that was once considered waste and useless. For this collaboration with Kinnasand LAB of Kvadrat, resulting in 4 patterns printed on a base fabric produced from

Nagashima Rikako SCRAP_CMYK 2019 Print on recycled polyester, assembled into curtain Dimensions variable SCRAP_CMYK was realised with support from Kvadrat

plastic bottles, she took scrap papers leftovers from the offset printing process of her various graphic print errors as a serendipitous design pattern. The imperfections and useless things in everyday life are textures, implicitly embodying the traditional aesthetic philosophy of wabi-sabi.

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transformed into simple and elegant patterns and

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design projects, and highlighted the ink stains and

結合平面設計對構圖與印刷的細緻要求，以及紡織設計對 物料與色調的敏銳觸覺，作品利用現代印刷基礎的四分標 準顏色，包括青色、洋紅色、黃色和黑色，在重生的布料 上留下既淺且深的痕跡。

Combining graphic design's meticulous requirements for formal composition and printing, as well as textile design's delicate sense of materials and tonality, the work uses 4 standard colours — cyan, magenta, yellow and black — that form the basis of CMYK colour models to leave subtle and penetrating traces on regenerated fabrics.

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展覽結束後，展品以工作坊的形式，讓參加者透過「零浪費」的紙樣剪裁 縫製成外套，延續長嶋可持續的設計實踐。

workshop, as an extension of Nagashima's sustainable design practices.

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The exhibit was repurposed into a jacket through a 'zero-waste' upcycling

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2021 代工繡場：紗廠客廳

Sewing Field: CHAT Living Room

藝術家侯怡亭自 2015 年開始實施《代工繡場》項目，旨在以刺繡 為媒介，邀請大眾介入到歷史書寫的行動中。此項目透過串連各 地勞動歷史的檔案，結合現場的集體參與，以每一位參與者獨特 個體回應自身的位置與記憶，同時連結了群體的生命與文化記 憶。至今為止，《代工繡場》項目已前往法國，新加坡，台北， 紐西蘭等地進行展出與工作坊。

候怡亭 《代工繡場：紗廠客廳》 2021 混合媒體裝置，數位影像畫布輸 出、刺繡縫線 尺寸可變

侯怡亭

Hou I-Ting

Artist Hou I-Ting has been working on the Sewing Field project since 2015, with the objective to invite the public to participate in ‘the writing of history’ through embroidery. The project combines archives of labor history from different

Hou I-Ting Sewing Field: CHAT Living Room 2021 Mixed-media installation, embroidery on digital print Dimensions variable

places with collective participation during live performance. locations and memories, it connects the lives and cultural memories of a group. So far, Sewing Field has travelled to exhibitions and workshops.

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France, Singapore, Taipei, New Zealand and other places for

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Through each participant’s unique response to their

《代工繡場：紗廠客廳》是該項目首次在香港展出。侯怡亭設計 了一組可以展示作品並植栽綠化，同時更歡迎民眾休憩、交流、 創作的平台，將南豐紗廠的中庭空間－紗廠坊轉變成具有公共和 私密雙重屬性的客廳。侯怡亭從 CHAT 六廠藏品中挑選了 12 張 南豐紡織工廠的黑白老照片，邀請參與者共同協作，在老照片 上刺繡，藉此將身體帶入對歷史圖像的再創作過程，連接過去與 現在，也體驗現實與歷史的互動。除了以紗廠老照片為集體創作 載體之外，侯怡亭亦向香港觀眾們廣泛徵集關於家庭、鄰里、假 期、勞作、消閒、消費等主題的老照片，進行集體刺繡創作，以 此伸展性地探討在後疫情時代，人們在休假與勞動、個人與群 體、禁錮與自由等概念和關係上所經歷的改變。

Sewing Field : CHAT Living Room is the debut of the project in Hong Kong. Hou designed a set of platforms for artwork display, greening as well as for people to rest, communicate and create, transforming The Hall of The Mills into a ‘living room’ with attributes of both public and privacy. Hou has handpicked 12 black-and-white photos of Nan Fung Textiles from the CHAT Collection. Participants are invited to embroider on the select photos as a way of bringing body movements into the process of recreating the historical images. Participants would experience the interaction between history and reality while connecting the past with the present. In addition to the old photos of Nan Fung Textiles, Hou I-Ting is going to collect old photos about family, neighbourhood, holidays, at work, leisure and consumption from the Hong Kong public for collective embroidery creation, to extend the discussion to how concepts such as work vs life, individual vs community, confinement vs freedom have changed under the impact of the pandemic.

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展覽記錄片

Exhibition Documentary Video

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研究報告 Research Essays

藝 術 家 作 為 設 計 師 - 2010 年代後南韓當代藝術界的新方法論：「標籤成為藝術品」 Artists as Designers - New Methodologies of Contemporary South Korea art scene after the 2010s: 'Label as Artwork'

藝術家作為設計師 2010 年代後南韓當代藝術界的新方法論： 「標籤成為藝術品」

1. 藝術家作為設計師 這篇文章探討的主題，會以我在展覽空間 Audio Visual Pavilion 以策展人和聯合總監身份所策劃的一些作品為例子。獲香港 CHAT 六廠邀請，我的文章主題包括兩個主要部份。第一，「藝 術家作為設計師」這個說法，在 2010 年代後的南韓當代藝術界 意味著什麼？我會贊成以「藝術家像設計師那樣工作」來分析這 個問題。自 1990 年代末開始，就有了「設計師作為藝術家」的討 論，主要發生在西方。換句話說，「設計師作為藝術家」即是在 客戶缺席的情況下持續進行志願活動，以及關注到該設計師主要 在藝術和文化領域工作。在東亞和南韓的情況則相反，「藝術家 作為設計師」比起「設計師作為藝術家」更有助我們思考設計與 藝術之間的關係。當我們討論南韓當代藝術和設計時，我認為要 探討的應該是「藝術家作為設計師」而非「設計師作為藝術家」， 因為南韓的當代設計並非由包豪斯（Bauhaus）等先鋒藝術家 / 設 計師所引發，而是由國家經濟的高速工業化所驅動。 第二，我想透過兩個曾在CHAT六廠參展的藝術家的案例來拓展我 的討論。比如說，設計師和藝術家的活動，在2010年代後的南韓 當代藝術界中，創造了怎樣的「交匯」 ？要有這個交匯點的時空， 也得有人創建方能成事，因此設計師和藝術家交匯的地點和條件， 並不是一開始就已存在。2010年代後，當藝術家和設計師創造了 一個交匯點後，到底誰是這些主要活動的執行人（主體） 、哪裡是這 些活動的舞台？正如我之前所言，本文所討論的藝術家和設計師， 均來自我所策劃的展覽和項目，所以我能回答這個提問：在2010 年代後的南韓藝術界，設計師和藝術家已進入了一個他們自己創造 的複合展覽舞台；他們需要一個出版書刊圖冊的空間、一些自發的

玄始源

Hyun Seewon

( 圖 1) SMSM，「SMSM 10」展覽， Audio Visual Pavilion，2019 年 (Fig. 1) SMSM, SMSM 10 exhibition, Audio Visual Pavilion, 2019

Artists as Designers New Methodologies of Contemporary South Korea art scene after the 2010s: 'Label as Artwork'

1. Artist as designer In this article, I would like to discuss a subject I raised based on some of the works I have planned as a curator and co-director of the exhibition space Audio Visual Pavilion. The topic of this essay commissioned by CHAT had two main parts. The first question is ‘what has “artist as designer” meant in contemporary Korea over the past decade?’ As a prelude, I would prefer to analyse this question as ‘designers practise like artists’. Since the late 1990s, there has been much discussion about the ‘designer as artist’, mainly in the West. In other words, the discussion of being an artist as a designer is to continue voluntary activities in the absence of clients and pay attention to the fact that he has mainly worked in the context of art and cultural fields. However, in East Asia and Korea, ‘artist as designer’ rather than ‘designer as artist’, is more helpful in thinking about the relationship between design and art. In this place where we are talking about Korean contemporary art and design, I think we should use the concept of ‘artist as designer’ rather than ‘designer as artist’. This is because Korean contemporary design was not the work of pioneering artists/designers such as the Bauhaus, but was driven by the rapid industrialisation of the national economy.

Second, I would like to extend my discussion through two artists exhibited at CHAT. For example, what kind of ‘intersection’ have designers’ and artists’ activities created in Korean contemporary art since the 2010s? The space-time of this intersection works only when someone creates it. The place and conditions where designers and artists met were not already in place. From the 2010s on, when artists and designers created an intersection, who were the agents and what was the site of these main activities? As I said earlier, this article focuses on the artists and designers I have invited to the exhibitions and projects I have planned. Here’s an answer to this question: In the Korean art scene since the 2010s, designers and artists have needed a space for editing through catalogues and books, voluntary collectives that recast their identity as a group rather than as a client. exhibition that could showcase their work.

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And above all else, it was essential to have a medium such as an

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moved to the stage of an exhibition complex they created. They also

團體去把自己的身份重新命名為一個群體，而不是作為一個客戶； 最重要的是，必須有一個名為「展覽」的媒介來展示他們的作品。 2. SMSM 的「Energy!」（2011）和展覽合作者 我 們 會 從 SMSM 的 展 覽「Energy!」開 始 談 起。SMSM 是 一 個 團 體，由兩名作家和兩名設計師組成，四位成員均自 2000 年代起 一直活躍於南韓當代藝術界。團體以他們名字的第一個字母命 名，成員包括作家 Sasa[44]、Park MeeNa、設計師 Choi Sulki 和 Choi Seongmin (Min)。他們的網站資料顯示，Sulki 和 Min 是亞 洲設計界當中很活躍的設計師，而 Park MeeNa 和 Sasa[44] 則 分別是以繪畫、紀錄和文獻檔案作為媒介的獨特藝術家。 這些成員們在 2000 年代初一直各自活動著，但於 2009 年成 立了 SMSM 團隊。他們的格言是「促進健康和幸福的應用藝術 團體」，而選擇使用「應用藝術」這個詞，令 SMSM 跳出藝術和 設計的定位，創造出第三種現實目標和一個嶄新身份。我無法 在此談及 SMSM 的所有作品，所以會從他們的十周年紀念展 「SMSM 10」（2009 年，Audio Visual Pavilion）當 中 抽 選 作 品 「Energy!」作討論，因為此作代表了他們的本質。「Energy!」集 合了一系列在南韓銷售的能量飲品，他們還收集了這些飲品的 宣傳口號，掛在發光的廣告牌上。SMSM 的「Energy!」以同期的 量產消費品為主題，直接回應當今視覺文化的主要策略。也就 是說，SMSM「設計」了量產消費品的設計方法。「Energy!」是一 個能量藝術館，收集並展出南韓銷售的所有能量飲品。 SMSM 透過「Energy!」所展示的設計，不只限於以平面設計來呈 現能量及樽身包裝，更設計了人類情緒、奮鬥和社會感受，甚 至設計了關於健康的社會神話（social myth），而這種設計思維 是觀察了藝術方法論而達成的。SMSM 的另一作品《設計師的 理想餐》（Ideal Meal for Designers），亦把「設計」以更直接的 方式呈現。他們邀請了專業營養師，為每個職業群體制訂最有 效的飲食計劃，然後在桌上擺放一個食品模型，把一個標籤掛 在旁邊。精心製作的飲食計劃和假的食品模型，反映了兩個關 於設計的疑問：第一，設計行為是基於項目而展開的；其次， 設計作為一個理想化的樣本，卻與現實無關。另一點需要注意 的，就是這件作品所呈現的展覽本身。

( 圖 3) SMSM，「SMSM 10」展覽， Audio Visual Pavilion，2019 年 (Fig. 3) SMSM, SMSM 10 exhibition, Audio Visual Pavilion, 2019

2. SMSM’s Energy! (2011) and exhibition collaborators Let’s start with SMSM’s Energy!. SMSM is a team of two writers and two designers. All four have been active in Korean contemporary art since the 2000s. The collective is called after the first letter of each’s name –– writer Sasa[44], writer Park MeeNa, and designers Choi Sulki and Choi Seongmin (Min). As seen on their website, Sulki and Min are among the most prolific Asian designers, while Park Mina and Sasa[44] are unique artists who work through the medium of painting, records, and archives.

They have been active since the early 2000s and formed the team SMSM in 2009. It styled itself as ‘a group of applied art that contributes to health and happiness’. By choosing the term ‘applied art’, SMSM raised a third realistic goal and the creation of a novel identity, something other than art and design. To discuss all the work of SMSM here would take far too long. So I would like to talk instead about the work Energy!, which is its essence, among the works exhibited in SMSM 10 (2009, Audio Visual Pavilion), which commemorated SMSM’s 10th anniversary. Energy! is a line of energy drinks marketed in Korea. SMSM also collected taglines and catchphrases used to advertise the drinks and plastered them on luminous billboards. SMSM’s Energy! is a work that draws on motifs of contemporary mass-produced products, and it directly responds to the primary strategies of visual culture today. In other words, SMSM ‘designs’ the design method of mass-produced products. Energy! is an energymuseum that collects and displays all energy drinks distributed in Korea.

( 圖 2) SMSM，「SMSM 10」展覽， Audio Visual Pavilion，2019 年 (Fig. 2) SMSM, SMSM 10 exhibition, Audio Visual Pavilion, 2019

The design presented by SMSM in Energy! goes beyond the sort of graphic design that visualises energy and produces packaging of fight and feeling prevalent in society, and design the set of social myths surrounding health. This is design thinking that observes the design more directly. Professional nutritionists were enlisted to formulate a diet optimised for various occupational groups. Then, a

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methodology of art. SMSM’s Ideal Meal for Designers foregrounds

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for beverage bottles. They design human moods, design the sense

三星美術館 Leeum 的現任副館長 Kim Seong-won，於 2012 年 曾 在 Culture Station Seoul 284 舉 辦 了 名 為「如 何 使 用 生 命」 （How to Use Life）的展覽，邀請了南韓的獨立設計師參與。這 個展覽顯示了一個想法：南韓藝術界對設計的態度，足以構成 一個重要的展覽議程。「如何使用生命」展覽借用了喬治·佩雷克 （Georges Perec）的同名小說為題，提出「設計」是一種解決問 題的能力，存在於生活各個層面。「設計」不僅指工業設計、平 面設計和產品設計等流派，更是一種態度和視野，一種用於人 生之中的方法。 2010 年 代 的 首 爾 持 續 都 有 設 計 相 關 的 展 覽 發 生， 它 們 主 要 呈現出幾個特點。首先，很多展覽都是歐美著名設計師的個 展，主要在首爾藝術中心（Seoul Arts Center）和大林美術館 （Daelim Museum of Art）裡舉行。第二，在很多展覽中，相比 於展示設計作品或產品，設計師們更側重於呈現他們的創作理 念。2016 年在一民美術館（Ilmin Museum of Art）舉辦的平面 設計展，就是一個代表例子。第三，這些展覽的焦點不是設計 本身，而是通過混合藝術家和設計師，強調「當下」的觀點。 這個SMSM有份參與的「如何使用生命」展覽，不只單純展出這些 設計作品。在這個展覽中，SMSM的身份無論是設計師還是藝術 家、前任設計師還是現役藝術家及設計師，全都無關重要；展覽成 為了一個產生新事物的地方，亦不僅僅是一個「設計展覽」或「設計 師參加的展覽」 。此外，由四位藝術家和設計師所組成的SMSM， 亦設計了自己作品的圖表，為他們的活動創造了一個舞台。 「設計師作為藝術家」這個口號，強化了藝術家和設計師之間的界 限。換言之，當一個以設計師為職業的人從事藝術活動時，就會 被掛上藝術家的頭銜。這樣不會為「設計師」和「藝術家」的身份 概念帶來新的想像力，然而「藝術家作為設計師」意味著一個既 有設計思維亦有設計活動的藝術家，而藝術家和設計師亦被賦予 新的特徵。首先，觀乎 SMSM 的活動， 「藝術家作為設計師」這個 概念是透過分散藝術、設計和應用藝術之間的界限而實現的。他 們創造了第三個領域，既非以類型為導向的藝術展覽，亦非 2010 年代於首爾活躍的設計展覽。那是獨立形式的藝術作品，亦是 平面設計的成果。有興趣的話可以去看看作家 Sasa[44] 在 Seul Kiwa-min 的網站上發表的《年度報告》 （2006-） 。 3. 兩位 Audio Visual Pavilion 參展藝術家：車昇彥和康瑞璟 是誰提出了這個問題？身為策展人，我曾與許多藝術家和設計 師合作，但鮮少有人能讓我清楚衡量「藝術家與設計師之間的差 異」。當製作一些有形的作品，例如書籍或圖錄，又或是設計展 覽空間時，「設計師」會與人討論和商定如何為雙方的共同議程 得出最佳方案。然而，我們除了視設計師為一種功能之外，亦需 擴大「設計」或「設計師」這兩個詞語的範圍。諾曼·波特（Norman

mock-up of some food was placed on the table, and a label was printed and placed next to it. The elaborately crafted diet and fake food cast doubt on the design in two ways. First, the act of design is based on the project. Second, although the design functions as an idealised sample, it has nothing to do with reality. One thing to note about Ideal Meal for a Designer is the existence of the exhibition per se presented by this work.

In 2012, curator Kim Seong-won, now deputy director of the Leeum Art Museum, organised an exhibition called How to Use Life at Culture Station 284, and invited designers working independently in Korea.

Kim showed that the attitude toward design in the Korean art scene could sustain a major exhibition. How to Use Life draws on the title of the French writer Georges Perec’s novel Life: A User’s Manual and suggests that design is a kind of problem-solving power that resides in all aspects of life. Design goes beyond being a generic category in industrial design, graphic design, and product design, being rather an attitude and perspective that finds its uses throughout life.

In Seoul in the 2010s, exhibitions related to design were held regularly and reflected several characteristics. Firstly, many of these exhibitions were solo exhibitions by famous European and American designers, held mainly at Seoul Arts Centre and Daelim Museum of Art. Second, in many of these exhibtions, it was more important that designers presented their ideas than showing their works. In Korea, the graphic design exhibition held at Ilmin Museum of Art in 2016 was one such example. Third, by not focusing on design itself, these exhibitions emphasised the point of view of the 'present' by mixing the identities of the artist and the designer.

The How to Use Life exhibition, at which SMSM also showcased its work, went beyond the category of exhibitions focusing these designs.

It did not matter whether SMSM was a designer or an artist, a former designer, or a current artist and designer. The exhibition became a place to generate something new, and How to Use Life was not just a ‘design exhibition’ or an ‘exhibition in which designers participated. In addition, SMSM, a group of four writers and designers, created a stage for their activities by devising diagrams of their own work.

The slogan of a designer as artist reinforces the boundary between artist and designer. In other words, when a person whose profession does not give new imagination to the concept of designer and artists.

However, 'artist as designer' means an artist who has both design characteristics. First, as seen in SMSM’s activities, 'artist as a designer' works by scrambling the boundaries between art, design, and applied

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thinking and activities, and artists and designers can be given new

132 —— 133

is designer engages in artistic activities, the title of artist is attached. It

Porter）在其《誰是設計師？》（Who is a Designer?）一文中，強 調了設計師與藝術家之間的差別，即設計師更注重解決問題， 亦善於與人合作。這篇文章雖然是幾十年前寫的，卻可把「設計 師」一詞從工作世界抽出來，置於一個更廣闊的視野。

( 圖 4) 康 瑞 璟，「月 亮 之 足」展 覽， Audio Visual Pavilion，2015 年 (Fig. 4) Suki Kang Seokyeong, Foot and Moon exhibition, Audio Visual Pavilion, 2015

在首爾的韓屋式展覽空間Audio Visual Pavilion裡展示過的作品中， 車昇彥和康瑞璟的作品均些許透露出設計的元素。這些都是很少 見的。 以康瑞璟為例，她的作品由畫框組成，卻不把畫框用作界定圖畫 範圍的結構，而是作為一種中空的元素，能與其他組件接合和 擴展。畫框雖令互動過程受到限制，但她企圖擺脫畫框的僵固 結構，又或當受此束縛時，試圖重新定義畫框的構成，均使這 些畫框翩然起舞，猶如樂譜上重複旋律的音符起伏。（玄始源， 2015）我想提出一點：康瑞璟花在框中內容的時間，與她花在整 個畫面上的時間，兩者的對稱性與不對稱性。整個作品必須置於 其周遭環境的脈絡之中，例如她的裝置作品就由鋼框及圖畫堆疊 而成，只能看到畫布邊緣。 最後，我想引述早前與 Sulki & Min 在 Audiovisual Lab 的對話。 身為策展人的我們，可以通過 Sulki & Min 的話，重新思考所謂 的「基礎建設」。 我問： 「長期以來，你們一直思考你們的作品以及其相關信息之間的關 係，或是『列表和連結』。你們網頁上的展覽列表，顯示每次參 展的作品和其相關信息。是否每次展覽也會設定信息與作品之間 的關係？」 Sulki & Min 回答： 「這也許與我們的平面設計師『身份』有關。我們作為設計師， 是為展品製作標籤而非製作展品本身，因此標籤就成為了『作 品』。這個說法並非設計師的自嘲；相反，可能正因為擁有設計 師的經驗，我們才能發展出一種視角，以平等的方式看待展覽 的基礎建設和展品本身。」

art. SMSM created a third realm in the vibrant Seoul of the 2010s that was neither a genre-oriented art exhibition nor a design exhibition. It was an independent form of artwork as well as a result of graphic design. See the Annual Report (2006-) by author Sasa[44] on Seul Kiwa-min’s website.

3. Two Artists Exhibited in Audio-Visual Exhibition: Cha Seungean and Suki Seokyeong Kang Who came up with this idea? As a curator, I have worked with many artists and designers, but there are not many cases where I can clearly gauge the ‘difference between artists and designers’. When creating a clear material such as a book or catalog or designing an exhibition space, ‘designers’ discuss and agree on the best outcome to solve a common agenda. However, in addition to the concept of a designer as a function, it is necessary to expand the scope of the terms ‘design’ or ‘designer’. In his essay ‘Who Is a Designer?’, Norman Porter emphasises the difference between designer and artist, asserting that designers focus more on problem solving and are good at collaborating with others. Although the essay is several decades ago, it offers the possibility of sending the word designer out of the world of work and into a broader perspective.

Among the works presented at Seoul’s hanok-type Audio Visual Pavilion, both the works by Cha Seungean’s and Suki Kang Seokyeong reflect design elements which is rarely seen before.

For example, Kang uses the frame not as a structural principle that determines the size of the painting but as a vacant element, with which to engage and expand with other components. Though the frame allows Kang to take part in a regulated form of interplay, her pursuit to break free of its rigidity, or—if she is withheld by its constraints—to redefine its constructs prompt Kang’s frames to dance, like notes undulating in repeating melodies on a music score. (Hyun, 2015) I would mention the symmetry and asymmetry of the time Kang spends concentrating on what is inside the frame versus the time she spends on the entirety of the picture, as it stands within the context of its surroundings, citing as an example her installations consisting of stacked steel structures and paintings placed just so, so that only the canvas edges are visible.

Finally, I would like to briefly introduce the conversation between Sulki Min’s words, as curators, we can rethink about the notion of so-called ‘infrastructure’.

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and Min currently being held in the Audiovisual Lab. Through Sulki and

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參考文獻

Audio Visual Pavilion，Audio Visual Pavilion 網頁，2021 年，http:// audiovisualpavilion.org/wp-content/uploads/2021/08/Interpolationinterview.pdf， 2022 年 8 月 1 日讀取。 玄始源，Two Words，康瑞璟個人網頁，2015 年，http://www.seokyeongkang.com/， 2022 年 8 月 1 日讀取。

I asked them: ‘You have long considered the relationship between your work and the information about it, or “listing and connecting.”; On your website, the exhibition list shows the information and the presented works of each entry. Do you set the relationship between the information and the works for each exhibition every time?’

Sulki and Min replied: ‘Maybe it has something to do with our “identity” as graphic designers.

For a designer who makes labels for works on display, not the works themselves, the labels become “the work.” But it’s not a self-deprecating joke about designers’ work. Rather, it might be thanks to our experience as designers that we have been able to develop a perspective to see an exhibition's infrastructure and the exhibits themselves on equal terms.’

Hyun, Seewon. (2015) Two Words. Suki Seokyeong Kang’s Website. http://www. seokyeongkang.com/. [Accessed 1st Aug, 2022]

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Audio Visual Pavilion. (2021) Audio Visual Pavilion Website. http://audiovisualpavilion.org/ wp-content/uploads/2021/08/Interpolationinterview.pdf. [Accessed 1st Aug, 2022]

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Reference List

都市建築的紡織性肌理

Weaving in the Fabrics of Urban Architecture

都市建 築 的紡 織 性 肌 理

1.1 相比起奪目的建築造型，建築細部往往更容易被人忽略。但如 果要了解建築作為一種構造 (tectonic) 上的藝術，建築細部其 實就是我們窺探整體的一個視窗。這裡所指的整體並非建築造 型上的整體，而是作為技術文化 (techno-cultural) 體系的工法 (practice) 或者工藝 (craft) 上的演變。

（圖 1）《建築四要素》中的加勒比小屋（作者根據 Gottfried Semper 著作《The Four Elements of Architecture and Other Writings》中的插圖繪製） (Fig. 1) Caribbean hut illustrated in The Four Elements of Architecture (Reproduced by author based on the illustration in Gottfried Semper’s The Four Elements of Architecture and Other Writings)

建築歷史學者 Gottfried Semper 於 1851 年的著作《建築四要素》 《Die vier Elemente der Baukunst》，以他在萬國博覽會所見到 的加勒比小屋作為基礎，將建築解構為 4 種原始的工法原理，包 括火爐 ( 冶金、陶瓷 ) (hearth - metallurgy, ceramics)) 、屋頂 ( 木 工 ) (roof - carpentry) 、牆體 ( 紡織、編織 ) (enclosure - textile, weaving) 及高台 ( 土方 ) (mound - earthwork) 。 1.2 編織作為一種古老的技術，可見於不同古代文化的建築中。比較 有趣的是，Semper 提出的「建築四要素」並非只是單純的探討 建築文化起源，而是希望以工法原理作為了解建築歷史進程的參 照框架。他指出，在文化史的長流裡，我們偶然會見到，基於某 種物料特性所發展出來的建築構造特質，以傳統符號或象徵意象 的方式呈現在另一種物料表現之中。例如古希臘神殿中的石砌工 黎雋維

Charles Lai

法，其實可以追溯至典型的木框架構。而在傳統磚砌工法，尤其 磚頭互相緊扣的施作 (coursework)，其實亦是一種編織的工法 (Semper，1989)。

Weaving in the Fabrics of Urban Architecture

1.1 To the untrained eye, architectural details are often regarded as minor parts with little to no importance in an architectural project. However, these details offer a glimpse of the totality of architecture as a tectonic art. Here, totality does not refer to the superficial form or outlook, but as a result of the evolution of practice and craft as part of the larger techno-cultural system.

Based on the observation of Caribbean huts at the Universal Exposition, German architectural historian Gottfried Semper exemplified in his 1851 publication The Four Elements of Architecture (Die vier Elemente der Baukunst) that architectural construction methods can be divided into 4 primitive principles: hearth (metallurgy and ceramics), roof (carpentry), enclosure (textile and weaving) and mound (earthwork).

1.2 Indeed, weaving as an ancient technique was widely applied in architectures of various ancient cultures. Instead of tracing back the origins of architectural cultures, more riveting to Semper is how the 4 primitive technique in construction constitute a comprehensive frame-of-reference for the transformations and evolution of architectural history. In this regard, Semper pointed out that throughout the course of history of culture, architectonic characteristics of one construction material could be expressed in another material for the sake of retaining certain symbolic meaning. For instance, stone masonry that formed the structural base of Greek Parthenon has its root shared in traditional structure of wooden frame; while traditional brick masonry, particularly the coursework that imbricates bricks, is in itself a certain form of weaving (Semper, 1989).

Putting Semper's ideas into the wider context of construction materials systems, we can observe that weaving as a technological principle is in fact, highly embedded within materials and methods. On one hand, weaving could be an

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the evolution and technical advancement of construction

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1.3

1.3 若然我們將 Semper 的看法推展至其它的建築物料 系統，會同樣發現在建築物料和技術體系的演化過 程之中，編織的原理一直以某種形式蘊藏在建築物 料之中。它們可能是以實際的紡織品，或者是工法 上的記憶、形態表現。透過技術的承傳和交流和建 築文化的傳播，紡織品的原理轉化成一種物料的記 憶，編織出一個跨地域的網絡。 2.1 這裡所指的建築物料系統，並非只是單一的一種 物料，而是建築技術和多種物料所結合而成的複 合體。例如在世界各地所見的「前現代」傳統批 盪之中，物料大多是由多種原材料混合而成。而 且我們也時常發現，這些多層的複合結構，每一 層 的 物 料 都 發 揮 著 個 別 的 功 能。 在 1926 年 美 國 建築機械公司 Ingersoll Rand 刊於法國建築刊物 《Almanach d'architecture modern》的 廣 告 照 中，出現了一個有趣的景象：工人在關東大地震

（圖 3）傳統日本數寄屋的「土壁」的內部構造（作者 moderne》的廣告照 （1926） （作者根據 Jean-Louis Cohen 及 Gerard Martin Moeller 合著的《Liquid Stone: New Architecture in Concrete》中的照片繪製） (Fig. 2) Ingersoll Rand’s advertisement in L’Almanach d’architecture modern (1926) (Reproduced by author based on the image in Jean-Louis Cohen and Gerard Martin Moeller’s Liquid Stone: New Architecture in Concrete)

後重建中的東京街頭，以高壓噴槍將水泥噴上鋼 筋框架之上。新奇的現代技術引來兩位穿着傳統 和服的女士駐足察看 (Cohen、Moeller，2006)。 這個景象呈現著多重的意象和對比，例如傳統 現代、柔軟 - 堅硬、東方 - 西方、女性 - 男性。背 後的文化涵意和性別定型，當然是當年的製造商 刻意營造的意象。但相片中牆體的施工狀態，反 而透露了現代鋼筋混凝土的建構和日本傳統「土 壁」的相似之處—兩者都是以泥狀的物料，鋪敷在 由另一種物料編織而成的結構之上。從這樣的觀 點看來，傳統和現代、西方和東方這些既定的對 比中，充滿著含糊性和可比擬之處。所謂的傳統 和現代建築，其實並非完全相反的技術和文化體 系，兩者其實具有延續性和因果關係。 2.2 在日本傳統的「左官」批盪工藝之中，明顯地可以 見到這種由古代建築的編織牆體流傳下來的物料記 憶。傳統日本數寄屋的「土壁」，從表面上看像是 均質的單一物料，但其實整個構造之中，包含了多 個編織而成的夾層。 「左官」職人會在柱子之間， 以竹板條和稻草繩編織一個底層網格，然後塗上黏 土、山土、稻草纖維、麻絨等材料，和經過發酵處 理的批盪泥料。在塗料之中，要加入由麻紗或棉紗 編織的「寒冷紗」，加強批盪的咬合力。牆壁和柱 子之間，亦有由麻織成的麻鬚「髭子」繫緊 ( 竹中 大工道具博物館，2012)。

（圖 3）傳統日本數寄屋的「土壁」的內部構造（作者 根據展覽圖錄《Sukiya Carpenter: The Creator of Beauty》中的插圖繪製） (Fig. 3) The layered structure of the ‘Wattle and Daub’ mud plaster in traditional Japanese sukiya-zukuri (Reproduced by author from the illustration in Sukiya Carpenter: The Creator of Beauty)

actual textile product. On the other hand, it could be a form of memory in material or formal practice. Through inheritance, exchanges, and transmission of architectural cultures and techniques, this principle of weaving has been embedded as a form of material memory, connecting different localities into a trans-territorial network of materiality.

2.1 Here the system of construction materials does not refer to one single material, but a conceptual complex of construction techniques and properties of construction materials. For instance, in many pre-modern plastering found globally, the material used for plastering was in fact a mixture of several raw materials. Moreover, within these multi-layered hybrid material systems, each layer would have its unique function.

An advertisement of Ingersoll Rand, an American industrial manufacturer, published in the French architectural magazine Almanach d'architecture modern in 1926 informs an interesting story: the streetshot photo features workers in the post-GreatKanto-earthquake reconstruction in Tokyo using high-pressure cement guns to throw cement mixture onto a steel rebar lattice.

Two women in kimonos stood aside, observing curiously at the scene (Cohen & Moeller, 2006). The photo has multiple layers of metaphoric and symbolic meanings, juxtaposing tradition with modernity, meekness with stiffness, East with West and, feminine with muscular. The cultural traits and gender stigma could well be something the manufacturer sought to arouse the public with. But by looking at the wall construction in the works, what lies in congruence between modern structure reinforced concrete and Japanese’s wattle and daub is the application of paste-like materials, sealing and layering over a woven structure of another material. In this regard, we could see that the borderline between presumed contrasts such as ‘traditional/ modern’ and ‘East/ West’, were in fact vague and permeable in nature. Even between well-accepted dichotomies such as ‘traditional/ modern architecture’, one could often find linkages and continuities. This contrasts with the common perception that they are autonomous technical and cultural systems that stand completely in opposition to one another.

The materiality memory inherited from woven wall lattice Japanese sakan plasterworks. By their appearance, the wattle and daub in traditional Japanese sukiya-zukuri are made of a single, homogeneous material. Whereas in reality, the whole

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in the ancient times is particularly obvious in traditional

140 —— 141

2.2.

2.3 以麻紗加強批盪咬合力的做法，並非日本「左官」 工藝獨有。幾乎在所有傳統的批盪技術當中，都可 以找到類似的元素。有時候批盪物料之中會直接 加入帶有纖維的有機物料，加強物料內部的連貫 性。這種做法或許來自於更早期的夯土 (rammed earth) 技術。在夯土牆的建造過程中，工人會每 隔 一 段 高 度 加 入 稻 草， 連 貫 牆 體 內 部 不 同 部 份 (Artioli、Secco、Addis，2019)。 2.4 於華南及東南亞海外華人社群流行的傳統批盪技 術，以名為「灰塑」的技術為主。「灰塑」的主要原 材料為石灰，除了可以應用在牆身表面之外，熟 練的批盪技師更可以造出各式各樣的裝飾花紋。

（圖 4）以鐵支作為結構，以上海批盪面料做成的花園 圍欄 ( 約 1920 年代 ) (Fig. 4) Garden fences (c. 1920s) made of Shanghai plaster, using iron bars as the structure

1920 年代開始，隨著西方建築文化和混凝土的普 及，技工開始將水泥和石灰混合使用。在本身的傳 統「灰塑」技術之上，演變出上海批盪和水磨石等 材料。在某些例子當中，更加可以見到技師在物料 中加入鐵枝，製作出不同的造型。而以麻紗作為底 層輔料的傳統造化，則漸漸被鐵絲網取代。這些以 編織原理製作的底層輔料，和批盪物料形成一個複 合系統，互相影響著最後產生出來的建築元素的造 型 ( 黎雋維，2021)。 2.5 至於在現代建築隨處可見的鋼筋混凝土，其實亦是 建基在編織的元素或技術基礎上。19 世紀中，法 國園藝師 Joseph Monier 以編織成一個籃狀的鐵線 和混凝土，制成花盆並且申請專利。混凝土本身雖 然有強大的抗壓縮力，但對於張力和扭力卻沒有很 強的抵抗力。所以在混凝土之中加入鐵線，就可以 大大增強物料的抗拉張能力。同一時間，歐美不同 的發明家亦開發出自家的鋼筋混凝土技術，並且引 發一場專利大戰。他們開發出不同的鋼筋編織方 法，令混凝土柱樑之中的鋼筋擺位及連接更有效 率，達到更高的結構強度 (Newby，2001)。 2.6 編織品作為牆體構造發展的起點，就算建築技術 發 展 出 堅 實 的 牆 體， 屬 於 編 織 品 的 物 料 特 性 仍 然以某種方式一直流傳下來。這個理論直接影響 了美國芝加哥建築學派建築師對於建築物料的思 考。 兩 位 芝 加 哥 學 派 的 重 要 人 物 Louis Sullivan 和 Frank Lloyd Wright 在 20 世 紀 初， 均 以「編 織 品」(textile) 一詞來形容他們對於建築作品的面料

（圖 5）Joseph Monier 的鐵線編織網混凝土補強技術（作者 根據 Joseph Monier 專利圖紙中的插圖繪製） (Fig. 5) Joseph Monier’s technique of reinforcing concrete with meshes woven by iron wires (Reproduced by author based on the illustration in Joseph Monier’s patent drawings)

construction is actually woven together by layers of different materials. In the construction process, sakan craftsmen would first weave a grid of bamboo laths and straw ropes in between the columns, before filling-in with a mixture of plastering materials like clay, mountain soil, straw fibres, hemp wool, and even fermented paste. Hemp wool and cotton yarn are woven into cheesecloth and then placed onto the mud plaster to increase cohesion. Higeko, a hemp whisker made of hemp, is used between walls and pillars to tighten them up together (Takenaka Carpentry Tools Museum, 2012).

2.3 Using hemp yarn to increase the cohesion of plasterwork is not something exclusive in Japanese sakan craftsmanship. It can be identified in almost all traditional plastering procedures. In some cases, organic material that contains fibres is added onto mud plaster to ensure better consolidation. It can perhaps be traced back to an earlier technique of rammed earth. In the process of constructing a rammed earth wall, workers would add straw fibres at constant height levels for better adhesions within the body of the wall structure (Artioli, Secco & Addis, 2019).

2.4 ‘Lime plastering’ or ‘lime modelling’ is a form of traditional plastering practice found commonly in South China and the overseas Chinese communities in Southeast Asia, where lime is used as a main raw material. Experienced craftsmen do not only apply it on wall surfaces as a finish, but they also use it to create an array of decorative embellishments. Since the 1920s, with the prevalence of Western architectural cultures and technologies like reinforced concrete, craftsmen started to mix cement and lime in the construction of plasterings, producing hybridised material finishes like Shanghai Plaster and terrazzo.

These materials emerged from traditional lime modelling craft and were the results of this process of technical and cultural hybridisation. In some other examples, iron bars were embedded to aid the creation of complex forms. Eventually, the traditional way of using hemp yarn as base layer faded out and was replaced by barbed wire mesh. These base-layer materials plastering materials to form a complex system. And both played a role in the form of the architectural element (Lai, 2021).

142 —— 143

produced by forms of weaving were combined with different

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(Frampton、Cava，1995)。「編織品」一字在這裡有兩 個層次的意義。首先，模組化的預制混凝土磚塊面料， 扣連在鐵枝編織成的結構之上。表面上看來，牆體就好 像由刻有圖紋的石塊堆砌而成。實際上卻如紡織品一 樣，是一個輕巧而富有造型彈性的面料系統。另外，混 凝土磚塊面料圖案是重複的。對於 Wright 而言，這種 重複的幾何圖案就如同東方的紡織品一樣，是以一種均 質的單一物料 ( 紗線；混凝土 )，以重複的製作工序 ( 紡 織；注模 )，形成一幅大型的建築構圖 / 元素 ( 地氈；牆 體 ) (Frampton、Cava，1995)。

（圖 7）Frank Lloyd Wright 的雙層輕質混凝土磚牆體（作者根據 Kenneth Frampton 及 John Cava 合著的《Studies in Tectonic Culture: the Poetics of Construction in Nineteenth and Twentieth Century Architecture》中的插圖繪製 ) (Fig. 7) Frank Lloyd Wright’s double-layered wall panel system made with prefabricated lightweight concrete blocks (Reproduced by author based on the illustration in Kenneth and John Cava’s Studies in Tectonic Culture: the Poetics of Construction in Nineteenth and Twentieth Century Architecture)

3.1 由於製作技術、工藝水平和成本等問題。Wright 的想 法最後並沒有得到大規模的實現。但以紡織作為建構的 概念，或帶有以紡織過程制作的元素作為底層的複合物 料，在戰後其實以另一種方式大規模應用在建築物之 上。傳統上，馬賽克是一種精緻的鑲嵌技術。工匠將細 小的馬賽克，逐塊鑲嵌成大型壁畫。但自從 20 世紀中 開始，馬賽克的製作開始進入工業化時代。廠商以紗網 或尼龍網作為底層，將小塊的馬賽克，預先按照可重複 的圖案，固定在大約一尺乘一尺的網上，令工人可以快 捷地將大塊的預制件貼上牆身或者地下，令施工更有效 率。1950 至 60 年代左右，在製作馬賽克預製件時，廠 商會以紙皮貼起馬賽克，令他們連成一大塊的預製件， 估計這亦是香港「紙皮石」俗稱的由來。

（圖 6）法國工程師 Francois Hennebique 1892 年的專利鋼筋混凝土技術，以鋼 筋編織成的網為混凝土補強（作者根據 1911 年出版的《大英百科全書》中的插圖繪製 ) (Fig. 6) The reinforced-concrete technique patented by French engineer Francois Hennebique in 1892, using a woven mesh of steel bars for concrete reinforcement (Reproduced by author based on the illustration in 1911 Encyclopaedia Britannica)

2.5 As for the reinforced concrete used commonly in modern architecture, its technical and structural principle were in fact developed upon the basis of weaving or woven elements. In the mid19th century, French gardener Joseph Monier patented a primitive version of reinforced concrete based on the production of concrete flowerpots reinforced by iron wires weaved into meshes. Structurally, concrete performs very well in compression but provides very little resistance to tension and torsion. By adding iron wires into the material, its tensile strength can be drastically improved. Around the same time, a rivalry of reinforced concrete patents broke off in Europe and the United States. Inventers and engineers competed to produce a stronger, more efficient reinforced concrete system, each having their own recipe of rebar positioning and joinery methods (Newby, 2001).

2.6 As the locus of wall partition construction, the materiality of weaving kept passing on despite of advancements in constructions. This had impacted the way in which architects theorised their materials.

The most prominent figures in the Chicago School, Louis Sullivan and Frank Lloyd Wright, both used the word ‘textile’ to describe the finishing materials of their architecture in the early 20th century (Frampton & Cava, 1995). Here, the word ‘textile’ has two layers of meanings: on one hand, the material system is akin to that of an actual textile product. The prefabricated modular concrete masonry wall is piled up by patterned stones. It is by nature akin to a textile product, dexterous and formally flexible as a material system. is repetitive. To Wright, the repeated symmetrical pattern can be associated with Eastern textile products, with the use of one single

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On the other hand, the pattern on the fabrics of reinforced concrete

144 —— 145

bricks were threaded together by iron lattices. On appearance, the

3.2 在一些工藝比較粗糙的例子當中，可以見到一件件紙皮石貼 上牆時參差不齊的對位。無獨有偶，這種偏差卻巧合地保留 了建築物料的建構過程，成為一種物料記憶。雖然紙皮石的 固定網可以隨意彎曲成不同的弧度，但由於面層馬賽克的限 制， 這 個 彎 曲 面 會 因 應 馬 賽 克 的 大 小 而 形 成 一 幅「像 素 化」 (pixelated) 的弧度，形成紙皮石獨特的物料表現。在 1970-80 年 代落成的香港地下鐵路車站，更加可以找到經過立體剪裁拼貼的 馬賽克圓角。

（圖 8）舊式「紙皮石」的正面以紙皮貼起小塊馬賽克，方便工人施工

(Fig. 8) The ‘paper-skin stone’ (old-style tessera) was prefabricated into patches using paper to stick small pieces together on the front side, which makes application more efficient.

（圖 9）現代的馬賽克，大多以尼龍網取代紙皮，將小塊的馬賽克連成一大 件預製件 (Fig. 9) Modern mosaic usually uses nylon mesh instead of paper to put small mosaic pieces together into a large pre-assembled part

4.1 曾幾何時，馬賽克是香港樓宇的主流物料 (Gaskell，2019)。 時 至 今 日， 這 種 都 市 物 料 已 經 被 增 加 複 雜 的 面 板 幕 牆 系 統 (cladding) 取代。在這些面料之下，其實同樣都是一層由鋁條 或鋼條橫直交錯而成的支撐骨架。換句話說，這種所謂的「乾 式裝裱」(dry-mount) 工法，其實亦可見以編織的做法製成的 底層框架。雖然金屬的柔軟度遠遠比不上紗線，但它們縱橫交 錯的建構原理 (construction) 以及造型上的可塑性，都展現著

homogeneous material (yarn; concrete) in repetitive fabrication procedure (weaving; moulding) to form a landscape of architectural frames / elements (carpet; wall) (Frampton & Cava, 1995).

3.1 Due to the constraints in techniques, budget, and craftsmanship, Wright’s idea has not been put into practice, at least not in a large scale. But in the post-war period, the concept of weaving as the base for hybrid material for construction has been widely adapted.

Traditionally, mosaic was a refined inlay technique where artisans place small pieces of mosaic piece by piece in particular order to create mural art. The mid-20th century marked the industrialisation of mosaics. Manufacturers fabricated gauze or nylon mesh as the base layer, then pre-fixated small mosaic pieces to a one-squarefoot sized mesh in specific patterns, as such, workers, benefited from greater manufacturing efficiency, can pave the pre-assembled panels onto walls or floor. In the 1950s to 1960s, paper was used as the base to pave mosaic tiles and make panels of pre-assembled mosaics, hence its name ‘paper-skin stones’ in Hong Kong.

3.2 In some examples where these prefabricated patches of ‘paper-skin stones’ were applied with crude craftmanship, the misalignments between pre-fabricated patches of ‘paper-skin stones’ can be seen. In a way, these misalignments speaks of the constructional process of the architectural material and existed as a kind of material memory.

Although pre-paved cardboard panels can be stuck to fit curves, the paved mosaics still has its own limitation when it comes to bending.

The curved surface resembles a pixelated curve because of the geometries of mosaic tiles, marking its peculiar material expression.

Examples of rounded mosaic corners can still be observed in firstgeneration MTR stations built in the 1970s to 1980s.

146 —— 147 Spinning East Asia

（圖 13） 「乾式裝裱」面板幕牆系統中，以金屬條編織成的底層框架 (Fig. 13) The ‘dry-mount’ cladding features a sub-structure with a woven mesh of metal bars

有趣的相似之處。編織的概念和工法雖然古老，但仍然影響著 建築的構成。表面上看來一軟一硬、各走極端的兩個技術體 系，其實是互相影響、你中有我的雙生體。

（圖 10）香港地鐵上環站的馬賽克圓角 (Fig. 10) A rounded mosaic corner in Sheung Wan MTR station in Hong Kong

（圖 11）香港灣仔廈門街某唐樓的入口門廊細部 （圖 12）香港柴灣某工廠大廈外牆參差不齊的 (Fig. 11) A detailed look at the entrance porch 馬賽克對位 in a ‘tong lau’ Chinese building on Amoy Street (Fig. 12) The external wall of an industrial in Wan Chai, Hong Kong building in Chai Wan, Hong Kong, showing misalignments on mosaic patches

參考文獻

Gilberto Artioli、Michele Secco、Anna Addis，＜The Vitruvian Legacy － mortars 《EMU Notes in Mineralogy》 ，卷 and binders before and after the Roman world＞， 20，第四章，Gilberto Artioli、Roberta Oberti 編， 倫敦：The European Mineralogical Union、The Mineralogical Society of Great Britain & Ireland， 2019 年，頁 151-202。 Jean-Louis Cohen、Gerard Martin Moeller， 《Liquid Stone：New Architecture in ， 紐約：普林斯頓建築出版社，2006 年。 Concrete. New York》 Kenneth Frampton、John Cava 編， 《Studies in Tectonic Culture：The Poetics of ，劍橋：麻省理工學 Construction in Nineteenth and Twentieth Century Architecture》 院出版社，1995 年。 Viola Gaskell，＜ Design Trust，Design Criticism：Why Hong Kong’s Buildings Are 《Zolima CityMag》 [ 線上 ]， 2019 年 9 月 26 Clad In Bathroom Tiles ＞，2019 年， 日， https://zolimacitymag.com/design-trust-design-criticism-why-hong-kongsbuildings-are-clad-in-bathroom-tiles/ ，2022 年 6 月 1 日讀取。 黎雋維，＜ Shanghai Plaster：A History of Cement Architecture and Colonial

Modernity in Hong Kong，1920s-1960s ＞，博士論文，香港大學，2021 年。 Frank Newby， 《Early Reinforced Concrete》 ，法納姆：Ashgate Publishing，2001 年。 Gottfried Semper， 《The Four Elements of Architecture and Other Writings》 ，劍橋： 劍橋大學出版社，1989 年。 竹中大工道具博物館， 《Sukiya Carpenter：The Creator of Beauty》 ，展覽圖錄，日本：竹 中大工道具博物館，2012 年。

Francis Edward Wentworth-Sheilds，＜Concrete (material)＞， 《大英百科全書》 ，卷 6， Hugh Chisholm、Horace Everett Hooper 編，紐約：大英百科全書出版社，1911 年，頁 838–840。

4.1 Mosaic was once commonly used material in the construction of buildings in Hong Kong (Gaskell, 2019). This urban material has then been phased out by a more comprehensive cladding system for facades and partition walls. But if we take an in-depth look into these systems, behind the top-layer finishing panels, we could often find a layer of aluminium or steel bars woven into a grid sub-structure. In another words, even in contemporary techniques like drymounted facades and walls, weaving techniques are still heavily embedded on the construction system and made up the base frames of the multilayered material. Although metal could never come close to the softness of yarn, how they are knotted together to allow for malleability makes metal and yarn interestingly similar in a sense. Weaving as a concept and technique might seem out-of-time, its influences in the tectonics of architecture can still be traced. In this sense weaving and architecture, ostensibly soft and stern by nature, are in fact mutually interconnected and dichotomic systems that influence one another in a subtle but profound manner.

References Artioli, Gilberto, Michele Secco & Anna Addis. (2019) The Vitruvian Legacy mortars and binders before and after the Roman world. In: Artioli Gilberto & Roberta Oberti (eds.) EMU Notes in Mineralogy. Vol. 20. Chapter 4. London, The European Mineralogical Union and The Mineralogical Society of Great Britain & Ireland, pp. 151202.

Cohen, Jean-Louis & Gerard Martin Moeller. (2006) Liquid Stone: New Architecture in Concrete. New York, Princeton Architectural Press.

Frampton, Kenneth and John Cava. (eds.) (1995) Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture.

Cambridge, MIT Press.

Gaskell, Viola. (2019) Design Trust, Design Criticism: Why Hong Kong’s Buildings Are Clad In Bathroom Tiles. Zolima CityMag, 26 Sept 2019. Available from: https:// zolimacitymag.com/design-trust-design-criticism-why-hong-kongs-buildings-areclad-in-bathroom-tiles/ [Accessed 1st Jun 2022] Lai, CW Charles. (2021) Shanghai Plaster: A History of Cement Architecture and Colonial Modernity in Hong Kong, 1920s-1960s. PhD Thesis. University of Hong Kong.

Semper, Gottfried. (1989) The Four Elements of Architecture and Other Writings.

Cambridge, Cambridge University Press.

Wentworth-Sheilds, Francis Edward. (1911) Concrete (material). In: Chisholm, Hugh & Horace Everett Hooper (eds.) Encyclopaedia Britannica. Vol. 6. New York, Encyclopaedia Britannica Company, pp. 838–840.

Spinning East Asia

Takenaka Carpentry Tools Museum. (2012) Sukiya Carpenter: The Creator of Beauty, Exhibition Catalogue. Japan, Takenaka Carpentry Tools Museum.

148 —— 149

Newby, Frank. (2001) Early Reinforced Concrete. Farnham, Ashgate Publishing.

製造現代日本消費者

Making the Modern Japanese Consumer

製造現代日本消費者

1920 年代是日本史上極其重要的時代，主要體現 在建設一個有活力、國際化和相對富裕的現代社 會。對首都居民而言，這是一個巨變時期，對日本 女性來說則可能更甚。在大正時代（1912-1926）的 末年，到處充滿著令人驚異的解放，以及新的自我 表達和文化參與。 然而，要造就這一切，首都卻要作出一點犧牲，那 就是 1923 年 9 月 21 日的關東大地震。這場天災衝 擊了東京圈、周邊地區及鄰近的港口大都市橫濱， 其震級不容小覷——4 至 10 分鐘之間，東京就被 夷為平地。 超過 142,800 人在地震以及席捲整個城市的巨型火 災中喪生，加上當日颱風登陸海岸而引發的火龍 捲，幾分鐘內進一步造成 38,000 人罹難。 災情穩定後，關東地區的居民利用瓦礫中搶救出 來 的 物 資， 建 造 了 稱 為「barakku / barracks」的 臨時房屋和商店。成千上萬的居民在火災中失去 一切，亦因此在隨後幾年間，更現代的服裝大量 湧現——包括西式服裝（洋服）以及日本服裝（和 服）。隨著織染技術進步，現代風格的服裝亦比舊 日的服裝更能大量生產，而且價格更相宜。 現代女性身穿洋服與和服混合的衣飾，一如當時 在文學、電影和舞台上被物化了的形象般端莊素 雅。和服的剪裁從江戶時代後期之後雖沒變化， 但由於合成染料逐漸普及，布料圖案有更多不同 的表現形式，從傳統的抽象和大自然主題，以至 新藝術運動的鞭繩線條及裝飾藝術的幾何圖形， 款式應有盡有。最具表現力的圖案稱為「おもしろ 柄」（omoshirogara），即「新穎圖案」，當中不少

Ian Lynam

伊恩．萊納姆

在絲綢上同時繪上現代女孩與傳統女性的插圖， 展現了兩代女性之間的差異，讓人穿起這種圖案 時，在視覺上展現反覆循環的形象。三越等百貨 公司的產品目錄亦會附上織物樣品，給城市和鄉 郊的顧客參考。

( 圖 1) 杉浦非水於 1925 年設計的三越百貨公司宣傳海報。 (Fig. 1) Mitsukoshi Department Store promotional poster designed by Sugiura Hisui in 1925.

Making the Modern Japanese Consumer

The 1920s were an incredibly important era in Japanese history, largely in regard to the construction of an energetic, cosmopolitan, and relatively affluent Modern society. It was a time of great change for the capital’s aggregate citizens, but potentially most for Japanese women. The waning years of the Taishō Era (1912– 1926) were a time of incredible liberation and newly-found selfexpression and cultural engagement.

Yet, for this to happen, something had to give in the capital, and it did on September 21st, 1923 when the Great Kanto Earthquake struck – rocking the greater Tokyo area, surrounding environs, and the nearby port metropolis Yokohama. The scale of the quake cannot be underestimated—in a span of time between 4 and 10 minutes, Tokyo was leveled.

Over 142,800 people died between the quake, freak firestorms that raged through the city, and a fire tornado that further claimed the lives of 38,000 inhabitants within minutes due to a typhoon off the coast that same day.

When the unrest quieted down, the people of the Kanto region were forced to create makeshift homes and businesses, called ‘barakku’ or ‘barracks’, from what they could salvage in the wreckage. Thousands lost everything in the fires and the ensuing years would see the mass adoption of more modern clothing—both Western-style clothing, or yofuku, as well as Japanese fashions, or wafuku. The advent of technological advances in weaving and dyeing made more modern-style clothing abundant and far more affordable than clothing had been previously.

The modern woman wore a mix of Western clothing and kimono and was as modest as she was objectified in literature, cinema, and from the late Edō period, yet the patterns applied to the cloth that they were sewn from employed a wider variety of expression due abstract and organic themes to the whiplash line of Art Nouveau

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to the popularity of synthetic dyes. Patterns ranged from traditional

150 —— 151

stage at that time. The cut of kimono had remained unchanged

「株式會社三越」前身是東京和服零售商，後來轉型為百貨公司 （最初名為「越後屋」，後來更名為「三越吳服店」），是針對女性 顧客群的市場營銷先驅並訂下三大策略：將多種具吸引力的產品 集中在同一屋簷下、公開展示貨品、利用對外開放的文化活動吸 引大眾消費。 三越百貨公司銷售國內及國外產品，是首批日本企業以玻璃陳列 櫃展示商品，並於 1903 年在商店外牆添置玻璃窗以進一步推廣 貨品，是最早一批創此先河的零售商（然而最早的零售商是高島 屋百貨公司京都分店，於 1896 年安裝了玻璃幕牆）。此舉看似簡 單，卻吸引了潛在顧客的注目，令銷售額大增。 自 1895 年起，三越擁有自家的季度和服布料生產線，由外聘的 藝術家 / 設計師及內部員工製作，創造出自家設計服裝滿足市場 需求，而非僅僅銷售其他製造商的產品。三越於 1899 年創辦了 自家的公關雜誌以吸引顧客，並於 1903 年擁有日本第一輛印有 公司標誌的送貨車。三越的管理層堅持不斷變革和擴張——至 1922 年，總店已擴充至擁有 50 個不同部門、樓高六層、其屋頂 空中花園佈滿了池塘、噴泉、灌木和盆景植物。

( 圖 2 ) 三越在《櫥窗畫報》（The Show Window / ウヰンドー画）第一期的櫥窗展示（東京：櫥窗畫 報社，1918 年 1 月） (Fig. 2) Mitsukoshi's window display as featured in the magazine The Show Window ウヰ ンドー画 Volume 1,Window Gaho-sha ウヰンドー画報社 , Tokyo: January, 1918.

三越的策略行銷和公關工作在世紀初領先同儕，其海報和廣告牌 均會在全國引起轟動。三越於 1910 年聘請了日本平面設計先驅 ──杉浦非水，由他領軍的宣傳部採用了種類多樣的廣告，吸引 不同消費者購買價格實惠的現成和服，兼享百貨公司內的奢華體 驗，而這些店內享受至今仍沒太大改變——日本的百貨公司內 設有高級餐廳、咖啡店、半公共空間和展覽空間，同時售賣各種 貨品，一切盡皆迎合顧客的需求，以吸引他們把辛苦賺來的金錢 用於消費上。 杉浦為三越創作的作品極受歡迎，當中的宣傳海報更革新了浮 世繪木版印刷的「美人畫」主題。1916 年，杉浦其中一幅最著名 的海報，繪畫了一位麗人正在細讀由杉浦設計的三越自家宣傳

to geometric Art Deco patterns and graphics. Some of the most expressive are termed omoshirogara おもしろ柄 , or ‘novelty patterns’, of which many featured illustrations of contrasting images of modern girls and traditional women—the difference between the two delineated on silk to adorn the wearer and catch her in a visual feedback loop. Department stores such as Mitsukoshi offered catalogs with sample fabric swatches for shoppers both in cities and in rural areas.

Mitsukoshi Ltd. 株式會社三越 is a Tokyo kimono retailer turned department store (originally named Echigo-ya and which later incorporated under the name Mitsukoshi Dry Goods 三越吳服 店 ) that was a leading early force in female-oriented marketing

and creating consumer goods largely targeting women. The company’s strategy was triumvirate: to accumulate many types of appealing products under one roof, to openly display them, and to engage in outward-facing cultural activities in order to appeal to the buying public.

Mitsukoshi sells a mix of both domestic and foreign products and was one of the first Japanese businesses to feature glassfronted showcases to highlight their wares, as well as one of the first retailers that added glass windows to the facades of their shops to further promote their stock in 1903. (The very first, however, was the Kyoto branch of Takashimaya department stores 株式会社髙島屋 , which unveiled a glass facade in 1896.)

While seemingly simple, these actions invited the gaze of potential customers and led to staggering sales figures.

Mitsukoshi offered its own lines of seasonal kimono fabrics starting in 1895 created by both hired artists/designers and inhouse staff, creating a demand for clothing designed by the company in lieu of merely selling other manufacturer’s products.

Mitsukoshi launched its own public relations magazine in 1899 to further attract attention and was the owner of Japan’s very first delivery van emblazoned with a corporate logo in 1903. Mitsukoshi’s management insisted on constant iteration and expansion—by 1922 the main store boasted 50 different departments over 6 floors with a rooftop Sky Garden replete

The company’s strategic marketing and public relations were billboards creating resounding notice throughout the country.

Led by Japan’s first graphic design superstar Sugiura Hisui, hired

Spinning East Asia

leaders at the start of the century, Mitsukoshi’s posters and

152 —— 153

with pond, fountain, shrubs, and bonsai plants.

雜誌《三越時代》（三越タイムズ），身穿華貴的裝 飾和服，背後是當時流行的新藝術風格室內裝潢。 杉浦除了為三越設計海報、廣告和廣告雜誌，亦包 括和服圖案設計，針對的消費客群不論男女，利用 充滿裝飾藝術風格的插畫、表現力強的字體，以及 令人渴求的意象——營造出一個明亮時髦的夢想 世界，只要購買三越產品就能達到。 三越百貨公司和高島屋百貨公司分別於 1909 年 和 1912 年 創 立 設 計 部， 其 宣 傳 廣 告 的 視 覺 信 息 精簡，形式簡約，直接吸引消費者，只能以「現 代」一詞形容——沒有早期年代的過度虛飾，而

（圖 3） (Fig. 3)

是直截了當的廣告宣傳。 杉浦非水為三越設計的作品，對公眾影響之大， 以至百貨公司被稱為「非水的三越」，而設計師則 被稱為「三越的非水」。 杉浦非水 1876 年生於愛媛縣松山市，1897 年移居 東京，1901 年於東京美術學校畢業，同時修習日 本畫及西洋畫，是畫家黑田清輝的得意門生。他 對黑田清輝在 1900 年歐洲之旅搜羅回國的流行物 件著迷不已，日後更成為一名痴迷的視覺素材收 藏家，除了收集大量參考書籍，自己亦製作許多 以動物、昆蟲、大自然和字體為主題的剪貼簿。 畢 業 後， 他 曾 短 暫 在 大 阪 一 家 印 刷 公 司 當 設 計 師，再在島根縣的初中當教師，其後返回東京，

（圖 4） (Fig. 4)

於《東京中央新聞》任職設計師。 杉浦與三越的合作關係始於 1908 年，當時三越 的執行董事兼高級常務董事日比翁助邀請杉浦加 入新成立的三越，以自由身設計師身份為公司的 複合型雜誌 / 產品目錄《三越時代》設計和繪製封 面。三越的前身是一家服務富人權貴的和服店， 在日比翁助的領導下，成為東京百貨公司的巨頭 之一，一同服務在明治初期興起、包括中上層階 級 的 東 京 上 流 社 會。 在 日 比 翁 助 麾 下 工 作 的 杉 浦，於 1910 年獲擢升為三越新成立的設計部總經 理，自 1911 年起每月職責擴展至包括為三越的同 名雜誌設計及繪製封面。 （圖 5） (Fig. 5)

( 圖 3、4 及 5) 杉浦非水設計的三個《三越時代》（三越タ イムズ）封面（東京：1920 年代） (Fig. 3, 4 & 5) Three covers by Hisui for Mitsukoshi Times 三越タイムズ , Mitsukoshi 三越 , Tokyo: 1920s.

in 1910, the promotions department at Mitsukoshi used a wide array of advertising methods to attract consumers of all stripes to buy readymade, affordable kimono and rewarded them with lavish experiences at Mitsukoshi locations that can largely still be enjoyed today. Department stores in Japan include a mix of fine dining, cafes, semi-public spaces, and exhibition spaces, as well as retail offerings—all catering to shoppers to induce them to part with more of their hard-earned yen.

Sugiura’s work for Mitsukoshi was incredibly popular, including posters advertising the department store that updated the ukiyo-e woodblock printing theme of the bijin-ga 美人画 , or ‘depictions of beautiful women’. One of Sugiura’s most well-known posters from 1916 depicts a beautiful woman perusing Mitsukoshi’s own Sugiuradesigned Mitsukoshi Times 三越タイムズ promotional magazine, clad in sumptuous decorative kimono and juxtaposed with thencontemporary Art Nouveau interiors.

Sugiura's work designing posters, advertisements, and advertorial magazines for Mitsukoshi alongside his kimono fabric surface designs targeted male and female consumers alike through the Art Decoinfused illustration work, expressive lettering, and aspirational imagery that suggested the creation of a light-filled, de la mode dream world through consumption of Mitsukoshi products.

Design departments at the Mitsukoshi and Takashimaya department stores opened in 1909 and 1912, respectively, each providing promotional advertising with streamlined visual messaging that showed an economy of form and directness in consumer appeal that can only be described as ‘modern’—largely free from visual frippery, the excess ornament of earlier times, and direct, to-the-point advertising copy.

The impact of Sugiura Hisui's designs for Mitsukoshi were so powerful to the public that the department store was said to be ‘Hisui’s Mitsukoshi’ and the designer, ‘Mitsukoshi’s Hisui’.

Sugiura was born in Matsuyama City, Ehime Prefecture in 1876, and moved to Tokyo in 1897. He graduated from Tokyo School of Fine Arts in 1901, having studied nihonga, or the Japanese style of painting favoured pupil of painter Kuroda Seiki, and Sugiura was enraptured with Kuroda’s collection of European ephemera that the teacher obsessive collector of visual material over his career, amassing scores of reference books and self-created thematic scrapbooks dedicated to animals, insects, nature, and lettering. After graduation, he worked

Spinning East Asia

had collected on his 1900 trip to Europe. Sugiura would become an

154 —— 155

alongside yoga, or Western-style painting, as well. Sugiura was a

杉浦於 1912 年在日比谷圖書館舉辦「雜誌封面圖案展覽會」，展示了 200 多件他的 刊物設計作品，種類涵蓋產品目錄、雜誌和書籍設計，當中大部份是為三越設計的 項目。這些作品採用了當時日本罕見的印刷技術——包括在棉質書板上印刷、使 用金屬箔、在印刷過程中使用漆。展覽沿用沙龍展示方式，多幅封面設計被獨立裝 裱並掛起，頂方的木板貼滿各種設計作品，並配以一個展示其高檔作品的玻璃展示 櫃，以及一張堆滿其設計刊物的桌子。 刊物設計以外，杉浦亦是一位多產的海報設計師，除了替三越設計，亦包括其他 客戶，例如 1921 年為可爾必思（酸奶飲料製造商）設計。時至今日，可爾必思的飲 品仍以裝飾紙包裝出售，而且不同形式的包裝依然保留了圓點圖案——與杉浦於 1920 年代受飲料氣泡所啟發的設計圖案互相呼應。 為了把產品消費的視覺訊息傳遞給觀眾，杉浦會充份利用插畫和照片拼貼，並經常 回歸女性和大自然主題。 這些主題後來亦延伸至旅遊廣告設計——自 1913 年起，他持續為日本旅遊局設計 英語宣傳旅遊雜誌《The Tourist》以及各式各樣的宣傳明信片、形式豐富的海報以 及針對外國遊客的書籍。 1921 年，杉浦於東京美術學校設計系擔任講師，1922 年起在西歐遊歷兩年，一方 面收集素材以啟發創作，另一方面吸收當時歐洲的美感與氣氛。 在歐洲旅居前後， 其引發共鳴的設計融合了歐洲裝飾藝術的元素與分離派的影響，亦借鑒了日本的版 畫傳統。回國後，他與新井泉、久保吉朗、須山浩、小池巌、原万助、岸秀雄和野 村昇組成設計研究小組「七人社」（簡稱「SNS」）。他與同業對批判性設計研究的興 趣，有助奠定他日後的職業生涯——身兼設計師、設計作家、評論人、出版人和 教育家之職。 1920 年代初期至 1938 年間，在日本也能輕易買到海外的前衛藝術和設計書籍。在 東京最著名的包括在神田的德國書店 Kaiser 以及鄰近的三省堂書店，兩間書店均 有售賣著名的德國設計期刊《Gebrauschgrafik》以及世界各地的展覽目錄和攝影年 鑑。蘇聯的藝術和設計刊物亦於東京書店重鎮神保町的 Nauka 有售，該店至今依 然營業。 歐洲與俄羅斯的設計刊物對杉浦影響深遠，驅使他為濱田増治的期刊《商業美術全 集》定期發表文章。該期刊於 1927 年由 ARS 出版，以精裝版和平裝版上市，一直 維持至 1930 年，是日本當時最重要的跨學科設計刊物之一，不但向國內觀眾展示 國內外各式商業藝術和設計的統計調查結果，亦收錄了設計趨勢和理論應用。 期刊的每期內容會集中一個或以上的範疇，包括海報設計、廣告、包裝設計、商店 標誌、廣告牌、傳單和單面印刷、排版和設計、字體排印以及其他相關主題，包含 豐富的註釋和插圖，以及大量的彩色複製圖版。合共 24 期的刊物中，每期均附有 國內外的比較調查圖表、建築裝飾的廣泛研究和草圖，以及標牌設計的深入分析。 最後一期則是濱田撰寫的一篇 100 頁文章，專門研究商業藝術作為時代的表達—— 第 24 期的《現代商業美術全集》被公認為日本首部平面設計理論著作。

briefly as a designer for a printing business in Osaka, tried his hand at teaching junior high school in Shimane Prefecture, and then returned to Tokyo to work as a designer for the newspaper Tokyo Chuo Shimbun 東京中央新聞 .

Sugiura’s relationship with Mitsukoshi began in 1908, when he was hired as a freelance designer by Executive Director and Senior Managing Director Hibi Ousuke to design and illustrate hybrid magazine/ catalogue covers for the nascent department store’s Mitsukoshi Times. Formerly a kimono shop that catered to the affluent and powerful, under Hibi’s guidance, Mitsukoshi became one of Tokyo’s leading department stores, serving Tokyo’s upper crust alongside the upper-middle class that emerged during the early Meiji era. Working under Hibi, Sugiura was elevated to the position of Chief Manager of the newly-formed Mitsukoshi Design Department in 1910. His monthly duties expanded in 1911 to include designing and illustrating the covers for Mitsukoshi’s eponymous magazine as well.

Sugiura held an exhibition, Publication Book Magazine Cover Design Exhibition 雑誌表紙図案展覧 會 at the Hibiya Library in 1912 showing off over 200 examples of his publication design works spanning catalogues, magazines, and book designs, many for Mitsukoshi. The works featured printing techniques that were atypical for that time in Japan—from printing on cotton book board, the use of metallic foils to the use of lacquers in the printing process.

Hung salon-style, framed individual cover designs

( 圖 6) 杉浦非水在其 1912 年於日比谷圖書館舉辦的「雜誌封面 圖案展覽會」 (Fig. 6) Sugiura Hisui at his Publication Book Magazine Cover Design Exhibition at the Hibiya Library in 1912

mixed with looming overhead boards pasted over with multiple designs, the exhibition was offset by a glass-faced display case showcasing his more upmarket works, as well as a plain table heaped with Sugiura-designed publications.

Beyond publication design, Sugiura was also a prolific designer of posters for Mitsukoshi, as well as later freelance clients such as the Calpis Corporation, manufacturer of yogurtbased soft drinks in 1921. Calpis is still sold with decorated wrapping paper today—and variations of the packaging still include the dot patterns—an echo of Sugiura’s design decisions informed by the drink’s effervescent bubbles in the 1920s.

Sugiura utilised both illustration and photo-collage when necessary to connect viewers with the appropriate visual message for a client, often returning to themes of the feminine and of nature.

These themes would extend into designs for tourism, as well—from 1913, Sugiura for the Japan Tourist Bureau, as well as a wide range of promotional postcard designs, form-rich posters, and books targeting foreign tourists.

and starting in 1922, he traveled throughout Western Europe for two years, collecting

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In 1921, Sugiura became a lecturer in the Tokyo School of Art’s design department,

156 —— 157

would go on to design The Tourist, a promotional English language travel magazine

「設計除了實用性之外，沒有任何意義。無論活在哪個時代，我們的日常

生活似乎無可避免都是追求這樣的路。現代人必須創造出能超越現代功利

主義的設計生活方式。這對昔日的裝飾藝術和工業藝術來說是顯而易見的。

許多設計領域都在同步革新，尤其現代商業藝術領域更是發展神速。」

( 杉浦非水，1932，頁 13-15)

杉浦的商業實踐於 1920 年代後期持續豐盛——為慶祝 1927 年東京地鐵銀座線通車，他 設計了「東洋唯一的地下鐵道」海報，亦接手大量書籍設計項目，同時繼續效力三越。 他與三越的合作，令他能參與設計「新穎圖案」的和服布料以及大量的飾帶設計。曾在 其海報作品出現過的圖案主題，亦在這些和服設計上得以呼應、重繪或改編，如今極具 收藏價值。

( 圖 7)「東洋唯一的地下鐵道」，杉浦非水，彩色平 版印刷，膠印 91.0 x 62.0 厘米，1927 年。1927 年 東京銀座地鐵線開通的海報廣告。 (Fig. 7) Toshi tōbu-hatsu no chikatetsu (The First Subway in the East) 年東部初の地下鉄 , Sugiura Hisui 杉浦非水 , color lithograph, offset 91.0 x 62.0 cm,1927. Poster advertising the opening of Tokyo’s Ginzasubway line in 1927

杉浦其中一件最稀有的設計是一件兒童和服背心，用上了著名的「東洋唯一的地下鐵 道」海報中的人物和構圖，但從較小透視收縮的角度重新繪製。（唯一尚存的樣本由東 京最著名和最難捉摸的和服收藏家所擁有，其身份亦按要求不作公開。）

( 圖 8)《 世界人物圖案 資 料 集 成》（杉 浦 非水、渡 辺 素 舟。東 京：技 報 堂，1957）。這套 關 於 裝 飾 的書 籍《世界圖案 資 料集 成》一共 三冊，第一 冊以 人 類為主 題，其餘兩冊則關於 動 物 和植物。 (Fig 8) Collection of Global Design Materials: People 世界人物図案 資 料集 成 , Sugiura Hisui 杉浦非水 and Soshu Watanabe 渡辺素舟 , Gihodo Hakoiri 技報堂 , Tokyo: 1957. One of a trio of books devoted to decoration and ornament. This initial volume is based on the motifs of humanity, whereas the other two volumes aredevoted to animals and plants

materials for inspiration and taking in the European aesthetic sensibilities of the day. Before and after his sojourn, Sugiura's resonant designs incorporated elements of European Art Deco and Secessionist influence, as much as drawing on the Japanese legacy of printmaking in terms of influence. Upon his return, he formed the design study group Shichininsha 七人社 or ‘Group of Seven’, also abbreviated as ‘SNS’, in 1925 with Arai Izumi, Kubo Yoshihiro, Suyama Hiroshi, Koike Iwao, Hara Michiharu, Kishi Hideo, and Nomura Noboru. Sugiura and his colleagues’ interests in critically studying design would help define the rest of his career—as a designer, a design writer and critic, a publisher, and an educator.

Avant-garde art and design books from outside of Japan were easily available from the early 1920s through 1938, most notably in Tokyo from Kaiser, a German bookstore in Kanda and the nearby book retailer Sanseido 三省堂書店 . Each stocked the renowned German design periodical Gebrauschgrafik alongside a wide array of exhibition catalogues and photography annuals from around the world. Soviet art and design publications were available from Nauka ナウカ , a bookshop in Tokyo’s renowned book-selling district Jimbocho that still exists today.

The influence of European and Russian design publications on Sugiura was immense, leading him to contribute regularly to Hamada Masuji’s journal The Complete Commercial Artist 三商業美術全集 , published by ARS in 1927. Published in both hardcover and softcover editions until 1930, it was one of Japan’s most important interdisciplinary design publications at that time, providing domestic audiences with surveys of commercial art and design in all its forms from both Japan and the world. Overseas and domestic applications of design trends and theories were catalogued within.

Individual volumes focused on one or more disciplines, including poster design, advertising, package design, shop signs, billboards, flyers and broadsides, page layout and design, and typography, as well as other related subjects. Each edition was replete with substantial explanatory texts, profusely illustrated, and had many colour plates reproduced within. Each of the 24 issues featured comparative graphic surveys from abroad and within Japan, extensive studies and sketches of architectural ornament, and in-depth analyses of signage.

examination of commercial art as an expression of the times—Issue #24 of The Complete Commercial Artist is widely considered Japan’s first

‘Design does not signify anything other than practicality. The inevitable desires that come up in our daily lives seem to be this way no matter

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piece of graphic design theory.

158 —— 159

The final issue was a 100-page essay by Hamada dedicated to an

杉浦在 1933 和 1934 年為東京中央電話簿設計封面，亦於 1934 年為 鄰近城市橫濱的電話簿設計封面。他是一位多產的雜誌封面設計師， 在其職業生涯中為各種刊物製作了數百個封面，以及幾十個書籍封面 和書脊設計。 他亦參與大量的包裝設計項目，包括為「響」、「光」、 「Minori」、「桃山」、「扶桑」等香煙品牌設計包裝，以及為日立化成公 司生產的亮漆、清漆和油漆化合物設計標籤。 杉浦於 1929 年獲邀擔任帝國美術學校工藝圖案系系長，至 1935 年與 該校的行政部門發生爭執後辭職，而在此一年前他亦從三越辭職。無 職一身輕的他，在 1935 年與人共同創立了多摩帝國美術學校，即現 今的多摩美術大學，邀請了各界知名教育家加入，包括「七人社」的 新井泉和小池巌，以及年輕教師如木村和一。翌年，該校舉辦了第一 次展覽，並推出了團體刊物《デセグノ》 （Desegno） （即世界語中「設 計」的意思） ，於 1936 至 1939 年間刊登設計理論，其後於 1939 年被 校內雜誌《多摩美術》 接收，不再獨立出版。

( 圖 9) 1927 年出版的《Affiches》第一期封面 (Fig. 9) Cover of the first issue of Affiches, published in 1927

有趣的是，作為日本其中一間頂尖藝術大學，它的創辦人之一竟是平 面設計師而非藝術家，而杉浦亦在繼續教學的同時就任首位校長，其 後一直擔任大學董事會主席至 1963 年。杉浦身邊的人表現出非凡的 團結意識，尤其任職多年的教職員如里見宗次和山名文夫，他們在二 戰結束後負責領導設計學院。 然而，正是杉浦所設計的《三越時代》以及在二戰前設計的三越混合 雜誌和產品目錄，展現了杉浦與他的團隊以設計吸引消費者的卓越成 效，造就了三越於文化和商業中心的龍頭地位。《三越時代》會定期 附上新款和服及洋服的布料樣本，以人手剪成小方塊，粘貼在刊物版 面上。這種做法超越了刊物印刷，為消費者帶來產品照片以外的實體 產品物料，大大增加了百貨公司產品的吸引力。

the time in which we are living. Modern people must create living ways of design that transcend modern utilitarianism. This was obvious to the decorative arts and industrial arts of yore. There is a simultaneous evolution in many fields of design, especially in the modern commercial arts, which are growing at a quickening pace.’ (Sugiura, 1932: pp.13–15) Sugiura’s commercial practice continued to flourish through the late 1920s—he designed the poster ‘The Only Subway in the East’ celebrating the Tokyo Metro Ginza Line opening to traffic in 1927, took on an incredible number of book design projects, and continued with his work for Mitsukoshi. His association with Mitsukoshi also gave him the opportunity to design omoshirogara novelty kimono fabrics and a large number of decorative obi kimono sash designs. Many of the graphic themes in Sugiura’s posters would be echoed, redrawn, or adapted in these surface designs and are highly collectible today.

One of the most rare pieces of Sugiura's work is a child’s kimono vest bearing the very same characters and composition as made famous in his ‘The Only Subway in the East’ poster design, yet re-rendered from a less foreshortened perspective. (The lone extant example remains in the collection of one of Tokyo’s most renowned and elusive collectors of kimono, whose name has been withheld by request.)

Sugiura designed the covers for the Tokyo Central Telephone Directory in 1933 and 1934, as well as neighbouring Yokohama’s telephone directory in 1934. He was a prolific magazine cover designer, creating hundreds of covers for assorted publications across his career, as well as a few dozen book covers and spine designs. Sugiura also designed a large number of packaging designs, including sleeve designs for the cigarette brands Hibiki, Hikari, Minori, Momoyama, and Fuso, and label designs for lacquer, varnish, and paint compounds manufactured by Hitachi Chemical.

Sugiura was invited to become head of the Craft Pattern Faculty at the Imperial Art School in 1929 and stayed through 1935, resigning after locking horns with that school’s administration. The previous year, he had also resigned from Mitsukoshi. With his time freed up, Sugiura co-founded Tama Imperial Art School—today’s Tama Art University in 1935, bringing a variety of established educators on board including Arai Izumi and Koike Iwao from Shichininsha, as well as younger teachers like Kimura Kazuichi. The faculty

a journal of design theory published from 1936 until 1939. Desegno was absorbed into the university’s house magazine Tama Art in 1939 and ceased

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standalone publication thereupon.

160 —— 161

held its first exhibition the following year and launched a group publication called Desegno デセグノ , the Esperanto word for ‘design’. Desegno was

商品陳列對於塑造現代男性的文化觀念方面非常重要，一如其塑造現 代女性的文化觀念一樣。 正是在這樣的文化和美學背景下，我們才可感受到現代日本消費者的 形成之初，以及他們周圍關於當代媒體中浪漫化和懷舊形象的文化扭 曲力場。透過平面設計轉化而成的市場營銷、出版和公關策略，在改 變消費者對消費者的觀念方面，就如改變消費者對社會的觀念一樣， 具有共鳴力量。

It is interesting to note that one of the premier art universities in Japan was co-founded by a graphic designer, not a fine artist and that Sugiura became first the President while continuing to work as a faculty member, and later before becoming Chairman of the Board of Trustees of the university until 1963. Those around Sugiura exhibited an exceptional sense of solidarity, especially among the faculty throughout the years including Satomi Munetsugu and Yamana Ayao, who would lead the Design faculty after the end of World War 2.

Yet, it was the design of the countless volumes of the Sugiura-designed Mitsukoshi Times, Mitsukoshi’s hybrid magazine and catalogue designed before the war, which illustrate the effectiveness of consumer appeal practiced by Sugiura and his team, and which led to Mitsukoshi’s dominance as a center for cultural and commercial relevance. The Times regularly featured small swatches of the latest fabrics available to consumers for kimono and Western clothing alike, each cut by hand into small squares and pasted in the publication’s layouts. This action of transcending the printed page and including the literal material products being offered in lieu of, yet beside photographic reproductions, increased the allure of what the department store had on offer.

Mitsukoshi accumulated further cultural capital by setting up galleries within their retail environs, displaying and selling works by leading artists at that time, hybridising department stores, and making them palaces of culture as much as buying and selling. These actions, combined with promotional tactics such as adopting cutting-edge technology, such as the installation of the first escalator in Japan in Mitsukoshi’s Nihonbashi location in 1914 consolidated the department store’s cultural, social, and aesthetic authority.

Mitsukoshi and its many imitators led the way in which cosmopolitan material culture would manifest itself in regard to shaping middle-class consumer aspirations as much as how that might mold conceptions of women in bourgeois society. It must be noted that department stores were equally important to men as well. Cultural researcher Kon Wajirō undertook studies of Tokyo department stores in the 1920s and 1930s and found that up to 50 percent of shoppers at Mitsukoshi in Ginza in 1928 were male. There is little doubt that the display of commodities in department stores was just as important in shaping cultural notions of the modern man as much as the modern woman.

of the dawn of the modern Japanese consumer and the cultural distortion field surrounding them in regard to romanticised and nostalgic images translated through graphic design were as resonant in changing conceptions of consumers to consumers, as much as of consumers to the greater society.

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in contemporary media. Marketing, publishing, and public relations as

162 —— 163

It is against this cultural and aesthetic backdrop that we can get a sense

參考文獻

Kuniharu Akiyama、Kotaro Iizawa、Hiroyuki Suzuki、Koji Taki、Masaru Ichikawa、Hidetsugu Tokuhiro Nakajima、Naoyuki Kinoshita、Kenichi Nagata、Hiroshi Kashiwagi《 ，1920-nendai Yamano、 ，東京：朝日新聞出版社，1988 年。 Nihon ten》 Jacqueline Atkins、John Dower、Anne Nishimura Morse、Frederic Sharf， 《The Brittle Decade: ，波士頓：MFA Publications，2012 年。 Visualizing Japan in the 1930s》 John Dower、Jacqueline Atkins， 《Wearing propaganda: Textiles on the Home Front in Japan, ，紐黑文：耶魯大學出版社，2005 年。 Britain, and the United States 1931-1945》 Wajiro Kon、Kenkichi Yoshida， 《Kogengaku saishu》 ，第三版，東京：學陽書房，1986 年。 Barbara Molony，＜ Feminism in Japan＞， 《Oxford Encyclopedia Asian History》 ，2018 年。https:// doi.org/10.1093/acrefore/9780190277727.013.194. ，Roman Zuan: Meiji, Taisho, Showa No shogyo Dezain》 ，京都：光村推古書院，2010 年。 Hiroaki Sano《 Masato Shizume，＜The Japanese Economy During the Interwar Period＞， 《Bank of Japan ，第 2 期 （2009 年） ，頁 1-10。 Review》 Hisui Sugiura，＜ Design Review ＞， 《New Design Techniques Course, Volume 1: Basic Design ，東京：Atelier Publishers，1932 年，頁 13–15。 Method 1》 Yukie Takeuici， ＜The World of Kokoku-kai＞， 《Idea》 ，第 360 期 （2013 年） ，頁 112-127。 Keiko Tanaka，＜Japanese Women's Magazines: The Language of Aspiration＞， 《The Worlds of ， Dolores Martinez Japanese Popular Culture: Gender, Shifting Boundaries and Global Cultures》 編， 劍橋：劍橋大學出版社，1998 年，頁 120-122。 John Whittier Treat、Karatani Kojin，＜ Origins of Modern Japanese Literature ＞， 《Journal of ，卷 21，第二期 （1995 年） ，頁 440-447。https://doi.org/10.2307/133018.

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Weisenfeld, Gennifer. (2000) Japanese Modernism and Consumerism. In: Tipton, Elise K & Clark, John. (ed.) Being Modern in Japan: Culture and Society from the 1910s to the 1930s. Honolulu: University of Hawaii, pp. 75-98.

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再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

再紡東亞系列二： 邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

邊織邊拆的網

A Net (Dis)entangled

邊織邊拆的網

亞洲，可以說是世界上最多元化的區域，它是一個不能夠用直觀的方式進行統一和整合 的對象。多個文明在這裡長期並存著，相互融合滲透，但從未同化或統和。從 19 世紀 末以來，亞洲各地都經歷了殖民所造成的西方內在化。被內在化了的西方各種價值，被 亞洲的各個族群改造成自己的思想力量和認同機制，亦帶來更多重的差異、衝突和彼此 纏繞的關係。聚焦東亞地區，中國現代史中最慘痛的經歷與日本糾纏在一起，戰後冷戰 格局中與美國的對抗，又離不開日本、朝鮮半島及台灣的複雜關係。近年來，中國的快 速崛起，與美國掀起的新一輪政治對壘和貿易科技的競爭，又一再給周邊區域帶來緊張 的氛圍。政治安保領域的矛盾與經濟深度依賴之間的不平衡，歷史記憶遺產的重疊與文 化認同的混亂，都使我們在討論亞洲語境的時候面對太多的悖論。而全球化帶來的新一 輪貧富差異；民主制度所面臨的空前危機和民粹主義在各地的抬頭，更使得那些直觀的 道德正義性已不足以面對緊張的國際政治關係；現成的理論和觀念，也不再能幫助我們 有效理解和解釋複雜的現實課題。而那種本就由來已久的，互相依存又彼此嫌惡的情感 關係，更是雪上加霜…… 每次說到東亞，說到東亞各地之間的關係，以上這些冗長的論述總是無可避免地在我 腦海中層層疊疊地捲動。這些文字是必要的，因為那些盤根錯節的歷史和現實，是理解 東亞關係的基礎知識，可即使是身處這個地區的人們，都未必清楚了解東亞，更別說域 外之人。然而，這些叙述也是令人精疲力竭的，就像打了很多死結的緊身衣一般，令人 動彈不得，欲言又止。 我從 2017 年開始在東亞展開調研，走訪日本、韓國、台灣、香港和中國大陸各地的藝 術機構和藝術家們，我遇到了很多與我心情相近的文化藝術工作者，他們基於自身的立 場和背景，思考著東亞的歷史、現實和未來。我們分享帶有分歧的認知和感受，也體會 相似的困惑與焦慮。我們在彼此的交流中確立和質疑著各自心中的「東亞」。我的眼前 逐漸出現一個圖景：一片不斷變化著的立體的巨網，被無數不同的力量在四面八方同時 編織和拆解著。至 2019 年末開始籌劃「再紡東亞」展覽系列時，我毫不猶豫地將第二章 節的展覽標題命名為「邊織邊拆的網」。這其中帶有雙重的含義：提示一種對東亞的想 像方式，即一個需要被動態觀看的關係之網；而標題中缺失的主體，正是身處網中的藝 術家們，和所有關注東亞的我們這些實踐者們，都是這動態網絡中積極的「編織者」。 悖論之網 加藤翼的表演影像和車昇彥的「編織繪畫」，雖一動一靜，看似截然相反，但都視覺化 地呈現出上述這種看似矛盾的動態關係。在加藤翼與香港樂隊 The Interzone Collective 綁在他們的手臂上，將他們互相連結起來。表演的時候，他們的行動受到彼此的牽制， 王慰慰

Wang Weiwei

合作的表演和影像作品中，他讓樂隊成員們分別站在大廳的不同位置，用長長的彈力繩 在這種合作與衝突同時發生的行動之中，個體的身份和力量與集體性的行動與目標之 間的關係變得複雜而難以界定。車昇彥則是將那種矛盾的關係凝結在她的「編織繪畫」 中。她先用黑色顏料在經線上或塗抹或潑灑，形成黑色波浪線條，然後在編織緯線的時

A Net (Dis)entangled

Asia might be considered the world’s most diverse region; it is a place that cannot be intuitively unified or integrated. Many civilisations have long coexisted on the continent, melding with and influencing one another while never fully assimilating or cohering. From the late 19th century onward, colonialism compelled the internalisation of Western values across Asia. Groups on the continent have adopted those values to their own beliefs, ideologies and identities, giving rise to many divergent, conflicting, and intertwined relationships. When we look at China, the most painful episodes in its modern history are entangled with the fight against Japan, antagonism towards the United States during the Cold War, and China’s complex relationships with Japan, the Korean Peninsula, and Taiwan. In recent years, the rapid rise of China and the emergence of political, trade, and technological competition with the United States have once again brought tension to the region. The political and security conflicts, the imbalances of deep economic interdependence, the layering of historical memories and legacies, and the chaos of cultural identities mean we must confront many paradoxes when we discuss the Asian context. The widening gap between rich and poor caused by globalisation, unprecedented crises faced by democratic systems and the rise of populism worldwide have rendered intuitive senses of morality and justice insufficient in confronting tense international political situations; existing theories and concepts no longer help us to understand and explain a complex reality effectively. Matters are often made worse by a web of long-standing interdependent emotional relationships between global players that tend to be mutually disagreeable.

When talking about East Asia and the relationships between places in the region, I cannot help but notice these various ideas rolling through my mind. These remarks are necessary because the complex aspects of the past and present lay the foundation for our understanding of East-Asian relations. However, even those who live in East Asia, let alone people outside of the region, might not understand them clearly. However, this narrative is exhausting, as if putting on a series of straight jackets that makes one unable to move or speak.

Since researching East Asia in 2017, I have visited art institutions and artists in many cultural and art practitioners who share my thoughts. Rooted in their views and backgrounds, they think critically about East Asia’s past, present, and future. similar predicaments and anxieties. During our discussions, we both confirmed and questioned our conceptions of East Asia. In my mind, a vision gradually formed of a massive and constantly changing three-dimensional net simultaneously entangled

Spinning East Asia

We have shared our divergent understandings and feelings and experienced

168 —— 169

Japan, South Korea, Taiwan, Hong Kong, and mainland China. I have encountered

候，針對那些黑色墨點來織出或設計或即興的圖案。熟悉亞洲文化的人會輕易地從那些 畫面中聯想到追求隨性、注重意境的水墨畫或書法這類抽象藝術，但弔詭的是，它們卻 是用最帶給人規律感的編織形式來完成的。黑白簡潔的畫面中有著斷裂的線條和交錯的 孔洞，它們將規律和偶然融為一體，一如我們期待這個世界是可控可解（釋）的，卻也 不得不接受它的複雜混沌。 「編織者們」的對話 展覽最初的構思是希望鼓勵藝術家們形成多種形態的合作，只是可惜新冠疫情持續 兩年，大部份參展藝術家都未能進行真正意義上的共同創作。然而仔細品讀一些藝 術家的作品，會發現一些共通性，尤其在討論戰爭與殖民史的複雜性，歷史書寫的 真實與虛構，以及城市空間在不同時期其功能與屬性的轉變等方面，形成內在的呼 應和對話，但同時也會發現他們的觀察角度、討論方式和表現手法都截然不同。 楊圓圓、鎌田友介、李繼忠和伊佐治雄悟，四位來自不同地區和文化背景的藝術 家，都不約而同地將目光投向第二次世界大戰前後的亞洲東北。這個特定的歷史時 段和發生在這個地區的種種事件，對於今天的東亞關係依然產生著巨大的影響。在 楊圓圓用不同時期的影像、照片和文字層層疊加起來的，多重時空下的《大連幻景》 裡；在鎌田友介用錯落的畫框拼貼出的日式住宅的圖紙或照片裡，我們都會看到出於 不同目的而建造起來的城市空間背後的政治因素、社會變化、個人和群體的力量， 以及無法彌合的情感衝突。而在李繼忠和伊佐治雄悟透過影像與創意寫作構築起來 的，一場逃難與遣返的七日旅程裡，那種升斗小民在政治驟然更迭之下所遭遇的身 份危機和生命虛無感，將歷史的線索與當下發生的戰爭衝突、難民遷徙等現實問題 交織在一起。 那些關於「去、留」的集體記憶、身體經驗與情感遺產也同樣縈繞著香港、台灣這 些在歷史和現實中的「中轉之地」，它們總是夾在不同的政治力量之間，既可以是港 口，也可能成為孤島，無從尋朔根源，也難以把握未來。地緣政治、全球貿易、東 亞現代性，還有遊蕩在文化想像中的殖民主義幽靈，都是藝術家們對這些地區進行 考察的重要議題。在王博的影片《九龍東往事》中，他虛構了一個香港的都市傳說： 美國在六十年代針對中國在香港的頭髮出口貿易實施了「共產主義頭髮禁運令」， 於是一個病死在滿洲國的日本女子的鬼魂，隨著頭髮一路遷徙來到香港，卻因為禁 運令而不得不困在這座擁擠的城市中……一個荒誕的故事，回應著依然被種種意識 形態撕裂著的荒誕的現實世界。同樣是立足於反思香港在全球化進程中的位置，何 銳安則以寫實的風格考察香港與大中華地區紡織業的流變，冷靜地以散文電影的方 式呈現在資本主義的外衣下，中港兩地之間由政治、經濟、工業生產綿密縫合起來 的內部紋理，以及在這些紋理中生存的普通人的生活劇變。而朱駿騰則以詩意的手 法，將鏡頭對準位於台北市區，卻不被人關注的社子島，在他的影像中，人事物和 土地，皆是漂流而來，從居無定所，到落地生根，面對著無從知曉的過去和某個強 大力量即將抵達的未來。這種卡在中間，無處可去的無助與焦慮，既是投射著藝術 家作為台灣人身份的複雜定位，亦反映著在被各種政治經濟力量拉扯著的社會中， 人們的心情與困境。 不同於上述幾位藝術家對歷史的再訪和重構，陳逸雲、康瑞璟和王懿泉的作品，則 更直接地將關注點瞄準個人與群體的關係。在陳逸雲虛構的 2040 年的時空環境裡， 為了增加人口紅利，鼓勵生育，女性的生育能力被高度崇拜，在她塑造的充滿儀式

and disentangled by manifold forces from all directions. When I started planning the Spinning East Asia series in late 2019, I did not hesitate to call the second instalment in the series A Net (Dis)entangled. The title has a double meaning: it suggests a way of imagining East Asia as a network of relationships that must be viewed dynamically. The subjects missing from the title are the participating artists who find themselves in that net and all of the practitioners who focus on East Asia—they are all the active entanglers of this dynamic net.

A Web of Paradoxes Kato Tsubasa’s performance and video and Cha Seungean’s woven paintings may appear to be opposites because one is moving and the other is static. Still, visually, they both represent the seemingly contradictory dynamic relationship the exhibition aims to uncover. In the video of the collaborative performance involving Kato and Hong Kong-based band The Interzone Collective, the artist had the band members stand in various places in the Hall of The Mills and connected them to one another with long bungee cords. During the performance, their actions constrained those of other members of the band, and in this act of simultaneous cooperation and conflict, the relationship between individual identity and power and collective actions and goals became more complex and difficult to define. Cha Seungean has also infused these conflicting relationships into her woven paintings. She splashes paint onto the warp threads to create waves of black lines. As she weaves in the weft threads, the inked areas form regular or improvised designs. People familiar with Asian culture would easily associate these pieces with the emphasis on spontaneity and mood in abstract art forms such as ink painting or calligraphy. Yet, paradoxically, weaving is one of the most regular and constant of all mediums. The succinct black and white images contain broken lines and interlocking openings, fusing regularity and chance.

Similarly, we expect the world to be controllable and explicable, but we must accept its complexity and unintelligibility.

Dialogues Among the Entanglers In the initial conception of the show, I had hoped to encourage artists to engage in many forms of collaboration, but because the pandemic endured for two years, most of the participating artists were unable to truly collaborate. However, careful examination reveals commonalities among some of the artists’ works, particularly those discussing the complexities of war and the colonial past, history’s truths and fabrications, and the shifts in the characteristics and functions of urban spaces at different points in time. These works engage in an innate dialogue, but at the same time, they reflect very distinct ways of observing, discussing, and expressing these issues.

from different regions and cultural backgrounds, have coincidentally turned their period and the events that took place in this region still have a profound influence on relations in East Asia today. Yang layers videos, pictures, and texts from different historical periods into Dalian Mirage, a work encompassing many spaces

Spinning East Asia

attention to northeast Asia around the Second World War. This specific historical

170 —— 171

Luka Yuanyuan Yang, Kamata Yusuke, and Lee Kai Chung & Isaji Yugo, four artists

感的家庭空間裡，既有搖籃曲傳達出的溫馨的育兒氛圍，也有生育日期暗示出的人工 繁殖技術的廣泛使用，這些即將到來的日常生活細節，都向我們展示著殘酷的現實問 題：女性究竟可以如何掌控自己的生育權力？康瑞璟與香港本地的小學生們一起設計 創作了 13 張從韓國傳統樂譜的視覺元素發展而來的編織作品，這些編織作品融合了孩 子們誇張的線條和稚嫩的筆觸，以及藝術家的破譯和再創造，讓我們得以窺探我們社 會的歷史和文化脈絡對個體的影響，在孩子的身上，我們可以最直觀地看到，我們的 過去和現在將會把我們引向怎樣的未來。相似的思考線索，也可以在王懿泉的作品中 找到，他將以一系列圍繞絹花展開的研究創作命名為《祖國的花朵》，這是一個出生於 80 年代的中國年輕人們非常熟悉的，共產黨語境中對孩子們的比喻：祖國如花園，孩 子們如花朵。個人與集體的關係在這樣的比喻中顯得美好而單純，但在現實中，卻是 矛盾而晦暗不明的。而「祖國的花朵」，亦並不僅僅是中國社會獨有的比喻，更是對所 有被不同政治力量操控著的人們的命運的形容：美麗又廉價、驕傲亦卑微。 感性的光與彌散的思緒 在歷史的維度和指向性清晰的作品之外，我也希望一些作品能側重通過感性的形式呈 現東亞間交織的動態關係以及無法全然被理性和邏輯所把握的歷史和現實。文美桃在 其空間裝置中佈下的難以察覺的絲線，彷彿快速劃過身體的命運之刃，殘忍鋒利，不 容逃避；而在李清月用充滿想像力的插畫所重寫的睡美人的故事裡，刺傷公主的紡錘 並未讓她沉睡，而是變成萬花筒，向她打開另一條深長盤曲的命運之路。朴智希從南 豐紗廠各處角落裡收集各種黴菌，從中提取色素，用樹脂凝固起來製作成各種形態的 結晶體，像一個個大大小小的時間膠囊，提示我們那些被塵封的歷史，被忽視和遺忘 的人和事。還有王雅慧將墨畫轉換成的投影，塑造出恍若時光流動的冥想空間，打斷 邏輯思考，喚醒記憶和想像，讓思緒在似是而非之間蔓延生長。這些作品看似並不明 確討論某個實際的議題，卻起到一種穿針引線的效果，讓我們在不知不覺間跳脫被歷 史、政治、文化等等因素束縛起來的理性思維，在彌散的想像空間裡，更為感性地接 近和體會他者。 東亞，是一個可以被不同族群分享的詞語，並產生不同的理解和認知，它可以讓我們 打開話題，產生討論，但它並不是一個需要被達成共識的定義。一如在山內光枝及全 基善 / 松田基善所創作的沉浸式影像中那些被無限縮小和放大的漢字那樣，「東亞」是 一個可以讓我們一起拉伸、解構和再想像的基點，而重要的是，在這種行動過程中產 生的交流與理解。或許在經歷共同編織和拆解的練習之後，終有一天，我們可以繞起 一個共同的線團，並將它拋向遠方……

and temporalities. Kamata Yusuke’s collaged blueprints or pictures of Japanesestyle houses in disjointed frames show us the political factors, social changes, and individual and collective forces that underpin urban spaces built for different purposes, as well as irreconcilable emotional conflicts. Using video and text, Lee Kai Chung & Isaji Yugo construct a seven-day journey of escape and repatriation.

The identity crises and emptiness experienced by ordinary people affected by sudden political changes connect historical threads to the wars and mass migrations taking place in the world today.

The collective memories, physical experiences, and emotional fallout of leaving or staying linger in Hong Kong and Taiwan, historical and current waystations for the region. These two places have always been squeezed between political powers. Whether fragrant harbours or lonely islands, they remain unable to trace a point of origin or control their future. Regional politics, global trade, East Asian modernity, and the spectres of colonialism that hover in the cultural imagination are all important subjects in artists’ investigations of the region. In his video An Asian Ghost Story, Wang Bo invented an urban legend for Hong Kong. In the 1960s, the United States imposed sanctions on Chinese hair exports through Hong Kong in what became known as the ‘Communist Hair Embargo’. The ghost of a Japanese girl who died in Manchukuo follows the hair to Hong Kong but ends up trapped in the crowded city due to the embargo. This absurd story is a response to a ridiculous world torn apart by ideology.

Similarly rooted in reflections on Hong Kong’s place in globalisation, Ho Rui An explores the development of the textile industry in the city and Greater China. In his serene video essay, he presents the interior texture of close political, economic, and industrial connections between mainland China and Hong Kong under the cloak of capitalism and sudden changes to the lives of ordinary people who work in the industry. Poetically, Chu Chun-Teng trains his camera lens on Shezi Island, which is often overlooked despite its location in Taipei. In his video works, people, things, and land drift to the island. Having had no fixed place, they now take root and confront a past that cannot be understood and a future into which a formidable force is about to arrive. The feelings of helplessness and anxiety accompanying being stuck in the middle with nowhere reflect the artist’s complex situation as a Taiwanese person and highlight people’s feelings and circumstances in a society that is being pulled apart by political and economic forces.

In contrast to the above artists’ revisitation and reconstruction of history, the work of Chen Yiyun, Suki Seokyeong Kang, and Wang Yiquan more directly focuses on a fictional space set in 2040 where women’s fertility is highly revered in the drive to encourage births and boost the population. In this ritual-infused household space, of reproductive technologies suggested by birth ages. These details of everyday life in a not-so-distant future prompt us to ask a harsh but real question: How can women control their reproductive rights? Suki Seokyeong Kang and local Hong

Spinning East Asia

there is the warm nurturing environment created by lullabies and the wide use

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the relationship between the individual and the collective. Chen Yiyun has created

Kong primary school students collectively designed and produced 13 woven works derived from visual elements in traditional Korean musical notation. In these textiles, the artist deconstructed and reworked the children’s exaggerated lines and ingenuous brushstrokes, giving us a glimpse of the influence that the historical and cultural lineages in our societies can have on individuals. In these children, we can intuitively see the kind of future toward which our past and present guide us. Similar lines of thinking can also be found in Wang Yiquan’s work; his series of researchbased works around silk flowers is entitled Flowers of the Motherland, a metaphor familiar to young Chinese people born in the 1980s. In the Communist Party context, the motherland is a garden, and the children are the flowers. In this metaphor, the relationship between the individual and the collective seems happy and pure, but in reality, it is contradictory and murky. ‘Flowers of the motherland’ is not a metaphor unique to Chinese society; it can be used to describe the fates of anyone controlled by political power: beautiful yet cheap, proud but insignificant.

Emotional Light and Diffuse Mood In addition to works with clear historical dimensions and references, I wanted some of the pieces to present—in emotional ways—the dynamic relationships within East Asia and the past and present realities that cannot be grasped by recourse to rationality or logic. In Man Mei To’s installation, the silk threads are difficult to perceive, like the sword of fate quickly cutting the body—cruel, sharp, and inescapable. In the imaginative illustrations that Li Qingyue uses to rewrite the tale of Sleeping Beauty, the spindle on which the princess pricks her finger does not send her to sleep. Instead, it changes into a kaleidoscope that reveals to her the long and winding road of destiny. Park Jeehee extracted colours from mould collected from various corners of The Mills, then mixed the colours with resin to create various crystalline forms, like time capsules of varying sizes that remind us of dust-covered histories and people and things that have been neglected or forgotten. Wang Ya-Hui transforms ink painting into a projection, creating a meditative space that reflects the passage of time. By breaking with logical thought and awakening memories and imaginations, she allows a mood to spread and grow between presence and absence. These artists’ works do not seem to clearly address any pressing topic, but they act as go-betweens that allow us to unconsciously transcend rational thought bound by historical, political, and cultural factors. In a diffuse space of imagination, we can approach and experience others in a more emotional way.

‘East Asia’ is a term shared by different ethnic groups but has produced different understandings. It helps us to develop subjects and spark discussions, but it and contract in the immersive video created by Yamauchi Terue and Jeon Gisun/ Matsuda Motoyoshi, East Asia is a starting point that allows us to collectively extend, and understanding produced through these acts. Perhaps, after the collective practice of entangling and disentangling, we may one day wind up a shared ball of string and throw it into the distance.

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deconstruct, and reimagine it. More importantly, we should treasure the exchange

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does not require a consensus definition. Like the Chinese characters that expand

展場圖片

Exhibition Installation View

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2021 飄移的仲裁者

The Floating Intercessor

車昇彥的編織作品將規律與偶然融為一體，以獨特的手法創作編 織繪畫作品。她先用黑色顏料在經線上或塗抹或潑灑，形成黑色 波浪線條，然後在編織緯線的時候，針對那些黑色墨點來織出或 設計或即興的圖案。在這個過程中，有些墨點會被顯現出來，有 些則消失在圖案之中。這種打破經緯線縱橫秩序的掛毯式編織方 法，創造了畫面中機器無法介入的明暗效果。當我們觀看這些織 物的細節時，也會不禁想到，我們作為個人或群體，亦正是糾纏 在這些如墨色般潑灑在周圍的意外、錯誤、和解與寬恕當中，共 同編織起一副錯綜複雜的圖景。

車昇彥 《飄移的仲裁者》 2021 棉線、聚酯纖維、染料及木框 194 x 97 厘米，一組 5 件

車昇彥

Cha Seungean

Cha Seungean's weaving work combines regularity and chance through her unique techniques. She first smears or splashes black paint onto the warp creating black wavy lines, and as she weaves, she creates regular or improvised

Cha Seungean The Floating Intercessor 2021 Cotton yarn, polyester yarn, dye and wooden frame 194 x 97 cm each, a set of 5

patterns according to the location of the inked parts. Some ink splashes are revealed during this process, while others recede into the pattern. This tapestry-style weaving breaks the order of the vertical and horizontal warp and weft, creating fine shading effects that a machine cannot intervene. When looking at the details in these pieces, one cannot help thinking, as individuals or groups, we are entangled in these inksplashed accidents, mistakes, reconciliation and forgiveness, 190 —— 191

weaving together to create an intricate picture.

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2021 擴散性線體

Diffusing Linear Body

文美桃為本次展覽委託創作了包括雕塑、繪畫等不同媒介的空間 裝置作品《擴散性線體》。當觀眾進入這個空間時，會先看到一 些原本柔軟的棉線在電動摩打的催動下飛速舞動，形成堅挺的 直線，對空間形成清晰的入侵和威脅，而觀眾必須繞過這些「危 險」才能仔細觀察牆上的繪畫創作。繪畫作品的圖像則取自於描 述 20 世紀初日本資本主義發展初期，長野紡織廠女工悲慘命運 的日本電影《啊，野麥嶺》中的經典畫面 ─ 女工們結隊成行，在 冰天雪地之中徒步穿越野麥嶺，踏上前往絲廠的漫漫長路。文美 桃對圖像進行了再創作：山嶺上的隊伍如同隨風飄零的蜘蛛絲， 微小無力，但又輕盈柔韌。裝置和繪畫彼此呼應，從不同角度呈 現「線」在柔軟、鋒利、輕盈、緊繃等狀態之間的矛盾統一和力 量轉換。

文美桃 《擴散性線體》 2021 裝置、繪畫 尺寸可變 CHAT 六厰委託作品

文美桃

Man Mei To

Man Mei To's installation, Diffusing Linear Body, spans across sculpture, painting and other mediums. As the audience enters the space, they will first encounter rapidly fluttering cotton threads powered by a motor. No longer in their original supple state, the

Man Mei To Diffusing Linear Body 2021 Installation, painting Dimensions variable Commissioned by CHAT

threads are stretched into sharp straight lines presenting a clear threat and invasion of the site. The viewer must circumvent such 'danger' to examine the painting on the wall. The image is taken from the Japanese film Oh! The Nomugi Pass which depicts the tragic fate of female workers at the Nagano Textile Factory in the early 20th century when Japan was in the early stages of its capitalist development. In this classic scene, groups of female workers must silk factory. Man Mei To recreates the image with teams of workers progressing in lines that drift and float like spider silk on the wind. and painting echo each other. When viewed from a different perspective, the seemingly contradictory states of thread: soft, sharp, loose, and taut, can unite and transform its strength.

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The workers are tiny and weak but lithe and supple. The installation

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trek through an icy mountain pass to access the long road to the

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2022

橢圓形軌道（半個月亮在夏末落下）

Drawing Elliptical Orbit (when the half-moon sets in late summer)

朴智希

Park Jeehee

朴智希正進行一場與微生物「合作」的長期項目。她持續從一些 廢舊的建築空間蒐集黴菌，培育並提取色素，以此進行藝術創 作。在日常生活中，黴菌往往不受歡迎，它們腐蝕著物體，使 人們試圖維護和保存的建築或物件受損甚至消失。然而對於作

朴智希 《橢圓形軌道 （半個月亮在 夏末落下） 》 2022 樹脂 尺寸可變

CHAT 六廠委託作品

為雕塑藝術家的朴智希來說，黴菌的生長和腐蝕過程卻猶如無 數微小的時間囊，保存著一段段時間流動的線索。而從黴菌裡 提取出的顏色，是一種介於物質和非物質之間的存在，是可以 用來構建某種形態和空間的媒介。 朴智希在 2021 年夏天造訪了南豐紗廠。她在被改建的紗廠空 間裡蒐集了各種黴菌，並對幾處老建築的表面形狀進行矽膠倒 模，她將黴菌帶回首爾培育，將提取出來的色素用樹脂凝固起 來，並依據那些矽膠模具創作出不同形狀的結晶體。在本次展 覽中，這些半透明的結晶體散佈在陳廷驊基金會展廳和 CHAT 六廠的迴廊角落裡，它們被現在的光照亮，卻閃爍著過去的顏 色。消失與保存，過去與現在，交織在一起。

Park Jeehee has embarked on a long-term 'collaboration' with micro-organisms. She continuously collects moulds from abandoned architectural sites, cultivates and extracts pigments to create art. Moulds are often unwelcome in everyday life. While people try to maintain and preserve

Park Jeehee Drawing Elliptical Orbit (when the half-moon sets in late summer) 2022 Resin Dimensions variable Commissioned by CHAT

buildings and objects, moulds cause corrosion, damage, or complete disappearance. However, to the artist, the growth and corrosion process of moulds is like countless tiny time capsules that preserve clues flowing over time. The colours extracted from moulds exist somewhere between the material and immaterial and can be used as a medium to construct certain forms and spaces.

Park Jeehee visited The Mills in the Summer of 2021, where she collected moulds and made several silicone imprints of old architectural surfaces. After bringing the moulds back to Seoul for cultivation, she extracted pigments and mixed them with resin, using silicon moulds to create solid crystal blocks in various shapes. In this exhibition, translucent crystals are dispersed across the D. H. Chen Foundation Gallery and in CHAT Arcade. Illuminated by the daylight of the present, the crystals reflect colours of the past - intertwining the bygones 198 —— 199

and the preserved.

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2021 席上席 — 激活 — 中華基督教會基全小學者 Mat Black Mat — Acts — cccktps 康瑞璟的作品靈感源於韓國朝鮮王朝時代發明的傳統樂譜「井 間譜」，一種對音符的音高、速度，以及表演者的姿勢、動作皆 有規範性描述的方格圖譜，是將所有音符集中並調和的視覺化 表現。她將這種傳統的樂譜體系解構和轉化為當代藝術語言， 構之間既受限又需彼此調和的複雜關係，觸發我們去思考，如 何在實踐各種互動關係的同時保有獨特的自我。 康瑞璟

Suki Seokyeong Kang

讓各種媒介、元素皆抽象而詩意地隱喻著社會的各種個體、結

康瑞璟 《席上席 — 激活 — 中華基督教會基全小學》 2021 席、繪畫 尺寸可變 CHAT 六厰委託作品 技術支援：田島刺繡機械有限公司 及長江電腦商標發展有限公司

Suki Seokyeong Kang's practice is inspired by the traditional Korean musical notation system jeongganbo invented in the Choson Dynasty. Jeongganbo combines elements of musical notation, such as pitch and tempo, with the posture and movement of a performer the traditional music scoring system and transforms it into a contemporary art language. She uses this language to express individuals and social structures – constraining relationships requiring compromise on both sides, how we can retain our unique selves while participating in various interactions.

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abstract and poetic metaphors of complex relationships between

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into a visually harmonious grid form. The artist deconstructs

Suki Seokyeong Kang Mat Black Mat — Acts — cccktps 2021 Mat and drawing Dimensions variable Commissioned by CHAT Technical Support: Tajima Embroidery Machines Limited and Long River Computer Label Development Company Limited

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在本次展覽中，康瑞璟與香港本地的小學生們共同創作了系列作品《席 上席 — 激活 —中華基督教會基全小學》。在了解了康瑞璟的作品概念 之後，學生們自由構想他們心中的世界、自己的未來和與周圍人事的關 係，並在康瑞璟設計的方格圖譜上畫下他們天馬行空的想像圖景。學生 們的繪畫作品再由康瑞璟進行整合、拼貼及上色，最後由香港本地的編 織工廠製作成 10 塊編織作品。這些編織作品融合了孩子們誇張的線條和 稚嫩的筆觸，以及藝術家的破譯和再創造，讓我們得以窺探我們社會的 歷史和文化脈絡對個體的影響，並期許那些可能發生的突破。

In this exhibition, Suki Seokyeong Kang worked with Hong Kong primary school students to create a series of works titled Mat Black Mat — Acts — cccktps. After learning about the concept of Kang's work, the students were prompted to visualise their imaginary world, what their future might hold and their relationships with people around them. They then drew their mental pictures on grid-patterned paper designed by the artist. After integrating, collaging, and colouring the children's drawings, Suki Seokyeong Kang commissioned a weaving factory in Hong Kong to produce 10 large-scale textile pieces. Combining the children's exaggerated lines and innocent brushstrokes with the artist's decoding and re-creation, these textile pieces allow us to peer into the impact of our society's historical and cultural impact on individuals as we aspire for possible breakthroughs.

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2017 - 現在 ongoing

大連幻景

Dalian Mirage

楊圓圓

Luka Yang Yuanyuan

1899 年 8 月，大連在沙俄統治時期建市，城市最早的街道 也是建於那一年代。日俄戰爭後，在長達 40 年 (1905-1945) 的時間裡，大連為日本殖民地。而百年之後的當下，那些歷

楊圓圓 《大連幻景》 2017- 現在 攝影、書籍、影像裝置 7 '39 "

經不同歷史階段，承載不同時代記憶的老建築與街區，正在 中國高速城市化的進程中迅速消失。對於在日殖時期生活於 大連的日本普通移民，亦或當下依然生活在大連老街上的人 們來說，何為故鄉？似乎都是一個難解之題。

The port city of Dalian was established in August 1899 under the control of Tsarist Russia. After the Russo-Japanese War, Dalian was a Japanese colony for 40 years (1905-1945). Now a hundred years later, old buildings and city blocks holding

Luka Yang Yuanyuan Dalian Mirage 2017-ongoing Photography, book, video installation 7 '39 "

memories of past eras are disappearing rapidly due to China's high-speed urbanisation. For the ordinary Japanese immigrants who lived in Dalian during the colonial period or those living in Dalian's old streets today, they are both facing an intriguing question - what does it mean by a hometown?

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楊圓圓的項目《大連幻景》正是以大連近代史為背景，借攝影、 影像、書籍等多種媒介，以圖像與文本互文的形式勾勒一場以城 市為舞臺背景的「戲劇」。本次展覽展出這一項目中的一部份攝 影和影像作品，以及楊圓圓全新編輯的書籍。在這片大連幻景之 中，時間與空間多重交疊。層層拼貼的照片上，那些來自過去的 輪廓等待著被細細識別；影像蒙太奇中，那些來自不同時代的角 色穿行於城市的各個空間中，而在此地經過的陌生人們因對於同 一座城市的情感和記憶而產生命運的交織。項目意圖圍繞多個話 題展開探討：戰爭與殖民史的複雜性，歷史書寫的真實與虛構， 城市空間在不同時期其功能與屬性的轉變等等。

In Dalian Mirage, Luka Yang Yuanyuan details the modern history of Dalian using various mediums, including photography, moving images and custom-edited books. She explores the intertextual relationship between image and printed words to highlight the city as a backdrop for a 'drama'.

This exhibition presents a section of Dalian Mirage, showing the time and space that overlap in accumulated layers. Photo collages create silhouettes from the past to be identified.

The video montage depicts characters from different times travelling through spaces across the same city, and their fates interweave as they share feelings and memories about the city.

This project intends to foster discussion about the complexity of war and colonial history, notions of truth and fictionality in historical writing, and the functional transformation of urban spaces across different periods.

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20162021 日式住宅

Japanese House

鎌田友介自 2016 年至今，圍繞日式住宅的各種歷史進行長期研 究，以此探究多個當代社會議題。他在日本、韓國、美國、巴 西對於不同時期以不同原因存在的日式住宅進行研究。比如， 20 世紀初日本殖民統治下的韓國，在全國各地都建造了為日 本居民建造的房屋。而在世界另一端的美國，為和日本交戰而 建造了日本住宅的複雜模型，以進行燃燒彈的實驗……看似無 害的日式住宅在各大洲以相同的形式存在著，與眾多的政治因 素和社會變化並置著，也在不同的個人和群體力量的作用下改 變著。日式住宅作為一種概念，打破了存在與消失、攻擊與傷 害的邊界，揭示了人類歷史文化的另一面。在本次展覽中，鎌 田友介對整個項目進行了整合，將多年拍攝的影像重新整理剪 輯，配合攝影裝置作品，將在不同地區不同語境下建造的日本 鎌田友介

Kamata Yusuke

住宅相互重疊，形成歷史相交的空間，而我們也能夠從中窺探 當下世界的圖景。

鎌田友介 《日式住宅》 2016-21 影像裝置、攝影 尺寸可變 12 ’51 ”

Since 2016, Kamata Yusuke has been researching the history of Japanesestyle houses to probe various contemporary social issues. Japanese-style houses have been built at different times and for different purposes in Japan, Korea, the United States, and Brazil. For example, in Korea – which was

Kamata Yusuke Japanese House 2016-21 Video installation, photography Dimensions variable 12 ’51 ”

under Japanese colonial rule in the early 20th century – such kind of houses were built for Japanese residents across the country. In the United States, complex models of Japanese houses were built to carry out experiments with incendiary bombs while at war with Japan. Seemingly innocuous, Japanese houses exist on different continents in the same form but under different political and social circumstances. As a concept, Japanese-style and injury to reveal another side of cultural history. In this exhibition, Kamata Yusuke synthesises the project in a photographic installation by editing and houses built in different regions and contexts overlap and resonate, forming a space where history intersects and recalls the world we currently live.

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rearranging images taken over the years. The images of Japanese-style

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houses break through the boundaries of being and disappearing, aggression

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2020 ﹣2021 虛無鄉遠

The Shadow Lands Yonder

《虛無鄉遠》是由李繼忠與伊佐治 雄悟合作的研究式創作。項目 關注 20 世紀初的滿洲，在傳統帝國崩解與新國家被創造的過渡

李繼忠及伊佐治 雄悟

Lee Kai Chung and Isaji Yugo

之際，因戰爭殖民而推動的大規模人口流動。農業開拓民（註） 成為殖民政策的另類工具，在那片黑土地上開拓新世界，於陌 生國度中建立「家」，放棄和重新尋找自我身份。而那些關於 「去、留」的集體記憶、身體經驗與情感遺產也仍然影響着現今 的東北。

李繼忠及伊佐治 雄悟 《虛無鄉遠》 2020 ﹣21 影像裝置 24'29" CHAT 六厰委託作品 資助：香港藝術發展局

The Shadow Lands Yonder is a research-based work by Lee Kai Chung and Isaji Yugo. The project focuses on Manchuria at the start of the 20th century when war and colonisation brought mass migration, the collapse of traditional empires, and the became an alternative tool of colonial policy. They pioneered a new world, setting up ‘homes’ in unknown territory and memories of ‘leaving and staying’ – the physical experiences and emotional legacies – still influence Northeast China today.

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abandoning then rediscovering their identity. These collective

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establishment of new nations. Japanese Agrarian Settler (note)

Lee Kai Chung and Isaji Yugo The Shadow Lands Yonder 2020-21 Video installation 24 '29 " Commissioned by CHAT Supported by: Hong Kong Arts Development Council

李繼忠根據歷史文獻與回憶錄，透過影像與創意寫作構築了一 個 7 日的時空，通過想像重塑逃難與遣返的 7 天旅程中難民們的 心理變化，以此探討政治驟然更迭之下，身份「過渡」的複雜過 程。通過群體參與式的拍攝方法，李繼忠引導本地觀眾的主體性 與創造力，將繼承於複雜歷史與集體意識中的虛無感呈現出來， 對於身份的困惑在歷史與當下之間交織。伊佐治 雄悟用他在日 本重訪遣返者泊岸地點時收錄的田野錄音，混合曾經的滿洲國歌 的旋律，揭示這一空洞政權與不經計劃的移民政策的荒謬感，也 重審這段隱藏於現代景觀背後的歷史。因應疫情限制之下的局部 旅行與田野考察，兩位藝術家的創作互文而互補，共同回應複雜 多元的身份認同與歷史。 註：日本政府自九一八事變以來，正式開始從本土向滿洲、內蒙 古、華北等地移民。其中有一大批為在農業移民方案下前往當地 的農業開拓民。

Based on historical documents and memoirs, Lee Kai Chung constructed a 7-day journey of escape and repatriation through images and creative writing. Lee imagines and reconstructs the psychological challenges of the 7-day journey, exploring the process of identity ‘transition’ under sudden political change. Through a collective and participatory shooting process, Lee led a group of local audiences to present the sense of emptiness inherited from a complex history and collective consciousness with their subjectivity and creativity. The confusion about identity is intertwined between the past and the present. Isaji Yugo mixed recordings taken from coastal repatriation sites in Japan with the melody of the former Manchukuo national anthem, exposing the absurdity of the empty regime, its illplanned immigration policy, and hidden history behind the modern landscape. Separated by travel restrictions, the two artists created complementary works in response to the complexity of identity and diverse histories.

Note: Since the Mukden Incident, the Japanese government officially began the emigration from the mainland to Manchuria, Inner Mongolia and northern Settlers who went to the local area under the agricultural resettlement programme.

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China. A large number of migrants was Japanese Agrarian

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2021 一一

one and one

當紙上被畫下一塊墨色時，光就出現了。墨色與虛白同時成形的 時刻，亦是明暗共存、陰陽相生的剎那。世界是一個整體，而人 居於其中。整體不是單一或同質的經驗，相反地，它可以統和多 種異質性的元素，形成一種自由的空間。這種以整體性來看待人 與世界的方式和體驗，是王雅慧近年來一直探索的創作核心。 在為本次展覽特別創作的影像作品《一一》中，王雅慧將墨畫轉換 成投影，塊面的墨色以光線的方式被投射在牆面上，隨著紙張的 位移而呈現出時光般的流動變化。掛於牆上的兩塊白色小方巾， 如同織物經歷染色褪色的歷程，在時間中進行著對話。王雅慧試 圖創造一個這樣的空間：當參觀者進來時，被喚醒的經驗在好幾 個面向上互相交織呼應著。一如她自己的感受那般：「那裡或許有 著繪畫的經驗、生活中一抹日光的經驗、時間的經驗、物品的經 王雅慧

Wang Ya-Hui

驗，最終形成自己獨特的經驗，在這裡，1+1=3。」

王雅慧 《一一》 2021 影像裝置 45 ' 31 " CHAT 六厰委託作品

Light appears when a patch of ink is drawn on the paper. As brightness and darkness come into being, yin and yang coexist. The world is a totality inhabited by people. This totality is not a homogeneous experience.

Instead, it can unify various heterogeneous elements to form a kind of free

Wang Ya-Hui one and one 2021 Video installation 45 ' 31 " Commissioned by CHAT

space. This approach of looking at people and the world in wholeness is the essence of Wang Ya-hui's creative practice in recent years.

In the video work one and one, Wang transforms ink art into a projection, where patches of ink are projected onto a wall in the form of light, reflecting the ebb and flow of time with the displacement of the paper. and fading, carrying on a dialogue in time. Wang intends to create a space where the audience can be awakened and reminded of experiences that ‘There could be the experience of painting, the experience of encountering a sliver of daylight, the experience of time, the experience of objects, that finally form your own unique experience. Here, 1+1=3.’

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interweave and resonate with one another. Just like her personal feelings:

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Two small pieces of white cloths on the wall resemble a process of dyeing

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2021 麗卿媽祖

Li Qing Mazu

陳逸雲創造了一個虛構的「我」和這個「我」所處的時空及家庭 環境：這是一個為增加人口紅利而鼓勵生育的時代（2040 年）， 「我」已經 50 歲了，生育了 8 個孩子。「我」的家庭是一個閩南式 的，以人口作為資源凝聚而成的生產單位。「我」的生育帶來人 口紅利，因而「我」這個生育者是家庭的核心，「我」的子女以母 系血脈為中心凝聚在一起。這個家的神龕上供奉著的「媽祖」， 是一位結合女性祖輩形象，保佑生育順利的家神／祖先。我們 可以在這個空間裡窺測到那個虛構時代的價值觀：生育被高度 認可和讚頌。

陳逸雲 《麗卿媽祖》 2021 混合媒體 尺寸可變 CHAT 六厰委託作品

陳逸雲

Chen Yiyun

Chen Yiyun has created a fictitious character, 'I', who lives in an era when fertility is encouraged to pursue a demographic bonus (2040). 'I' is already 50 years old and has given birth to 8 children. Her family is quasi-Hokkien, using population as the key

Chen Yiyun Li Qing Mazu 2021 Multimedia Dimensions variable Commissioned by CHAT

resource for their production unit. Since the birth of 'I' brought a demographic dividend, the breeder 'I' has become the central matriarchal bloodline. The god Mazu is worshipped in the family shrine that represents female ancestors and gives blessings glimpse of the values of this fictional era where fertility is highly recognised and honoured.

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for the smooth birth of children. In this space, we can take a

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figure of her family and her children are now at the centre of the

2

陳逸雲基於自身的懷孕體驗，對女性在當代社會生活中複雜處境的思考， 以及有感於自己奶奶生養 10 多個子女的經歷，結合對東亞地區傳統家庭結 構和親緣觀念的反思，形成了這件作品的脈絡結構，而中國的「三胎政策」 及亞洲各地政府鼓勵生育的舉措也是促動她創作這件作品的因素。在這個虛 構的家庭情境中，我們會看到很多弔詭的現實問題：女性的價值和地位究竟 是被如何定義的？已經習慣投身社會生產的現代獨立女性，如何看待自身的 「生育價值」？現代社會中的核心家庭，是否會因為生育率的增加而重新回歸 大家庭？而家庭倫理觀念又會面臨怎樣的挑戰？

Chen Yiyun created this work based on her own pregnancy experience, the complexity of contemporary social life for women, and her grandmother's experience, who gave birth to over 10 children. Reflecting on traditional East Asian family structure and the concepts of kinship forms the narrative structure of this work. The three-child policy in China and other initiatives by governments across East Asia to encourage childbirth also motivated Chen to create this work. This fictional family situation prompts many paradoxical questions: How is the value and status of women being defined?

How do modern independent women accustomed to participating in social production view their own ‘reproductive value’? With an increase in fertility rate, will modern nuclear families return to an extended family model? And, how will family ethics be challenged in the future?

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當山內光枝與她的合作夥伴全基善 / 松田基善受邀參與本次展覽

2021

一個關於存在的記憶，趨近那個沒有任何東西重疊或被記住的臨界點。

On Being A memory of the state of being in a gradual and momentary tipping point where nothing overlaps nor gets remembered.

存在著

的時候，他們首先開始討論了一系列的問題：為甚麼要討論東 亞？甚麼是「東亞」？哪裡是「東亞」？東亞對於我們來說意味著 甚麼？「東亞」可以如何被表現出來？……

山內光枝及全基善 / 松田基善 《存在著 - 一個關於存在的記憶， 趨近那個沒有任何東西重疊或被 記住的臨界點。》 2021 影像裝置 14'06" CHAT 六厰委託作品

通過這次展出的一系列影像和圖示作品，兩位藝術家亦將這些 問題拋向觀眾，並帶領我們，在具象和抽象之間來回擺盪，從 日常生活中無意識的行動和認知，到習以為常的文化習俗，對 「東亞」的概念進行拉伸、解構和再想像。在他們的作品中，「東 亞」，不再是一個特殊的區域或定義，而成為一個被用來挑戰、 突破和超越的基點。而借這個基點，他們更試圖呈現人類意識 活動中普遍存在的框架與局限，觸發我們去批判性地思考：我 們相信的，作為身份、生活和理念的前提或基礎的東西，或許 只是我們作為人而存在的其中一個因素而已。

When Yaumauchi Terue and her collaborator, Jeon Gisun / Matsuda Motoyoshi, were first asked to participate in this exhibition, they posed a series of questions: Why do we want to talk about East Asia? What is ‘East Asia’ and where is it? What does East Asia signify? And how can ‘East Asia’ be represented?

The artists throw these questions back to the audience in a series of video and graphic work created for this exhibition. Leading us between the figural and abstract, we are asked to consider our everyday conscious and unconscious behaviour along with our habitual cultural practices, to extend the concept of ‘East Asia’, deconstruct it, and finally reimagine it. In these works, ‘East Asia’ is no longer a geographical area or definition but a starting point present a universal framework for human consciousness and highlight its limitations in order to spark critical reflections concerning our beliefs in identity, life, and ideas - perhaps these are only partially contributing to our

山內光枝及全基善／松田基善

Yamauchi Terue and Jeon Gisun/Matsuda Motoyoshi

to challenge and transcend preconceptions. The artists

existence as human beings.

Yamauchi Terue and Jeon Gisun/Matsuda Motoyoshi On Being﹣A memory of the state of being in a gradual and momentary tipping point where nothing overlaps nor gets remembered.

2021 Video installation 14'06" Commissioned by CHAT

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2021

九龍東往事

An Asian Ghost Story

王博

Wang Bo

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毛髮在人類歷史中扮演著重要角色。頭髮、髮網的貿易在世界 各地也由來已久。自 20 世紀初，人髮源源不斷地從中國出口到 歐洲和美國，不僅是假髮製造業的重要一部分，同時也有著廣 泛的工業用途。王博在對人髮出口貿易的歷史進行調查研究的

王博 《九龍東往事》 2021 混合媒體 尺寸可變 37 ‘ 11” CHAT 六厰委託作品

過程中，關注到一段耐人尋味的史實：20 世紀 60 年代，假髮在 出口導向的香港產業經濟中佔據重要地位。當時的中國大陸儘 管與外部世界相對隔離，但仍然是當時世界上最大的頭髮來源地 之一。連接封閉的中國大陸與需求巨大的西方市場，香港便成了 頭髮貿易的世界關口。但在 1965 年，美國財政部針對中國在香 港的頭髮出口貿易實施制裁，此舉也被稱為「共產主義頭髮禁運 令」…… 從這個如今看來匪夷所思的法令頒佈的時刻出發，王 博的作品借「頭髮」這麼一個如此個人化，但又作為商品而流通 著的存在作為媒介，潛回那個風雲詭譎的時代。作品結合了文獻 史料和虛構演繹，將冷戰的地緣政治、全球貿易、東亞現代性、 美帝國主義等等議題都編織在一起，而纏繞在這片混沌巨網中 的，還有那始終遊蕩在香港文化想像中的殖民主義幽靈。

Human hair has a long trading history across the world.

In the early twentieth century, hair for making wigs and hairnets began to be exported from China to Europe and the United States. In his investigation into this history, Wang Bo uncovered the intriguing fact of the critical position of wigs in the export-based industrial economy of the 1960's Hong Kong.

China was a leading supplier of hair for the Western market, but Hong Kong became a centre of the global hair trade due to China being relatively isolated. In 1965, the U.S. Department of the Treasury imposed sanctions on Chinese hair exports through Hong Kong in a 'Communist Hair Embargo' policy.

The issuance of this law is the starting point for Wang Bo's exploration of this turbulent era. How could something so personal be treated as an anonymised commodity and traded commercially on the global market? This work combines historical documents with fictional interpretation, weaving together the geopolitics of the Cold War, globalisation, East Asian modernity, and American imperialism - and the spectre of colonialism continues entangling in this chaotic web that has been wandering in the cultural imagination of Hong Kong.

Wang Bo An Asian Ghost Story 2021 Multimedia Dimensions variable 37 ‘ 11 “ Commissioned by CHAT

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2021 河鰻

Eel

朱駿騰耗時半年進駐了位於臺北市的社子島，拍攝一系列影像作 品。社子島，是一處兩條河流交會而成的沙洲，在大都市的中 心，卻也是一座被現代生活遺棄的孤島。這裡有不被開發的土地 和慢活的人們，從某些角度看，彷彿現代都市中的桃花源，卻又 時時處處顯現出頹敗與無助感。這部影像中有兩條主要的線索： 拾荒的女子，不斷撿拾著沿途的廢棄之物，相遇、接納、收集， 彷彿整理生命的線索，但最後以付之一炬的方式道別。而另一 邊，社子島歷史最悠久的土地公，被抬在神轎上穿越樹林、工廠 和巷弄，彷彿劃定疆界，窺察人間。圍繞著人與神的，則是一群 盤旋在空中，試圖歸家的鴿子…… 影片之外的現實是：社子島或 將很快被完全鏟平，重新開發。

朱駿騰 《河鰻》 2021 三屏影像裝置 16 ' 26 " 資助：臺灣當代文化實驗場支持

朱駿騰

Chu Chun-Teng

Chu Chun-Teng spent 6 months on Shezi Island in Taipei City shooting a series of video works. Shezi Island is a sandbar formed by the intersection of two rivers. It is situated in a metropolis, an isolated island left behind by modern life. The

Chu Chun-Teng Eel 2021 Three-screen video installation 16 ' 26 " Supported by: Taiwan Contemporary Culture Lab

land is undeveloped, and people are living slow-paced life.

To a certain extent, the island is like a utopia in the modern city, but it is also desolate and helpless at times. There are two main traces in this video: A female scavenger picks up discarded objects, examines them, and decides to collect however, she puts them all in a pile and burns them to bid farewell. Another trace shows the oldest Earth God on Shezi alleys with a palanquin as if to mark his frontier and spy on the world. The god and people are surrounded by a flock of pigeons wanting to return home. In reality, Shezi Island may soon be completely levelled and redeveloped.

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Island being carried through the woodland, factories, and

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them as if she is sorting out the threads of her life. In the end,

在朱駿騰的影像中，人事物和土地，皆是漂流而來，從居無定 所，到落地生根，面對著無從知曉的過去和某個強大力量即將抵 達的未來。這種卡在中間，無處可去的無助與焦慮，亦反映著在 被各種政治經濟力量拉扯著的社會中，人們的心情與困境。

In Chu Chun-Teng's moving images, people, things, and land are drifting to this place. From living in no fixed place to taking root, they face an unknowable past and the imminent arrival of a powerful force that will determine their future. Their anxiety and helplessness, of being stuck in the middle with nowhere to go, reflect the mood and situation of people in a society pulled apart by political and economic forces.

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Spinning East Asia

2021

Lining 何銳安在 2021 年於 CHAT 六廠駐留，開始對香港及大中華地 區紡織業的流變展開調研和創作。他計劃製作一齣三部曲錄像 作品，從中探討香港一百年來紡織工業及其在大中華地區流轉 遷徙的歷史。本次展覽展出的是其於駐留期間完成的第一部 分《Lining》。何銳安在香港駐留期間的研究創作，聚焦於勞動 力、資本與科技的轉變，所審視的歷史時期則始於共產黨掌權 前夕、上海棉紡廠遷址香港之際，並以改革開放期間，香港工 廠產業重心轉移至廣東南部的時期作結。 《Lining》由歷史材料、 與前工廠工人、經理、各個對話者的訪談及在香港、廣東的觀 察影像編織而成，闡述香港踏入後工業時代的轉變，探索香港 與廣東的關係如何體現全球資本主義外衣下，由橫向連繫而形 何銳安

Ho Rui An

成的內部紋理。

何銳安 《Lining》 2021 影像装置 26 ‘ 00 “ CHAT 六厰委託作品

Ho Rui An began his investigation into the evolution of textile production in Hong Kong and Greater China as an artist-in-residence at CHAT in 2021. This work is the first of a planned three-part video exploring the past 100 years of Hong Kong's textile industry and its migration

Ho Rui An Lining 2021 Video installation 26 ‘ 00 “ Commissioned by CHAT

to Greater China. Focusing on the transformation of labour, capital, and technology, Lining begins on the eve of the Communist Party's rise to power when cotton spinning factories in Shanghai relocated to Hong Kong and ends during the economic reform and openingGuangdong. Historical materials and interviews with former factory workers and managers are woven together with images of Hong a post-industrial city. This project has revealed a pattern of horizontal integration connecting the two cities that have long been obscured under the cloak of global capitalism.

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Kong and Guangdong to chronicle Hong Kong's transformation into

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up of China when Hong Kong's industrial nexus migrated to southern

在香港時，何銳安跟 CHAT 六廠團隊遊走各地，走訪土瓜灣社區，在 香港理工大學紡織及服裝學系實地考察，研究仍在運行中的紡織機 器。由於新冠疫情的影響，何銳安未能如期前往廣東地區考察，他轉 而與身在中國大陸地區的研究員陳璽安遠程合作調查，並在廣東時代 美術館的協助下完成在廣東地區的拍攝。

During his residency, Ho Rui An and the team members of CHAT visited the To Kwa Wan community and the Institute of Textiles and Clothing at Hong Kong Polytechnic University to study the textile machines still in operation. Due to the impact of the coronavirus pandemic, Ho Rui An was unable to travel to Guangdong as planned. He continued the project by remotely working with Zian Chen, a researcher based in mainland China, and completed filming in the Guangdong region with assistance from the Guangdong Times Museum.

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2022 打破寂靜之日

The Day to Break the Silence

加藤翼邀請香港本地樂隊 Interzone Collective 合作現場表演《打 破寂靜之日》，並通過後期剪輯，完成影像裝置作品。此作品延 續了加藤翼一直以來對政治、社會和群眾議題的關心與藝術性的 介入。他長期在亞洲各地遊走考察，關注當地特定的政治和社會 氛圍下民眾的集體狀態與個體經驗。 加藤翼挑選了數首在香港膾炙人口，並具有跨時代意義的流行歌 曲，將它們重新改編。在特別呈現中，樂隊成員們分別站在大廳 的不同位置，長長的彈力繩被綁在他們的身體上，將他們互相聯 結起來，而他們的行動亦因此受到彼此的牽制。為了能演奏各 自的部份，他們不得不互相拉扯和干擾，而歌曲於是變得支離破

加藤 翼

Kato Tsubasa

碎，旋律難以辨認，其背後的象徵意義也隨之消解得曖昧不明。 在這種合作與衝突同時發生的行動之中，個體的身份和力量與集 體性的行動與目標之間的關係變得複雜而難以界定。

加藤 翼 《打破寂靜之日》 2022 表演、影像裝置 10 ‘ 13 “ 合作樂隊：The Interzone Collective CHAT 六厰委託作品

Kato Tsubasa invited a Hong Kong-based band The Interzone Collective to present The Day Break the Silence live performance and completed the video installation with post-editing. This work continues the artist's practice of intervention centring on political, social and popular issues.

He travels across Asia, studying individual and collective experiences under specific local socio-political circumstances.

Kato Tsubasa The Day to Break the Silence 2022 Performance, video installation 10'13" Collaborator: The Interzone Collective Commissioned by CHAT

Kato Tsubasa selected a number of pop songs that are well-known across generations in Hong Kong and rearranged them to form a new piece. The long bungee cords bound to their bodies, tying them to each other. With their movements restrained, they must pull and interfere with each other unrecognisable, and all symbolic meaning dissolves into ambiguity. In this act of simultaneous cooperation and conflict, the relationships between selfidentity and power, collective action and its goals become difficult to define.

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to play the instruments, hence the song becomes fragmented, the melody

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band members stand in different positions during the performance, with

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2021 祖國的花朵

Flowers of the Motherland

絹花是用各種絲織物製成的仿真花。王懿泉感興趣於絹花的傳 統工藝、現代生產模式，以及從絹花可衍生出來的文化意涵， 展開線索龐雜的研究創作。 「祖國的花朵」，是像王懿泉同樣出生於 80 年代的年輕人們非常

王懿泉

Wang Yiquan

熟悉的，中國共產黨語境中對孩子們的比喻：祖國如花園，孩子 們如花朵。個人與集體的關係在這樣的比喻中顯得美好而單純， 但在現實中，卻是矛盾而晦暗不明的。王懿泉利用大批量生產的 絹花及其包裝材料，創作了裝置作品《祖國的花朵》，暗喻著作

Silk flowers are crafted from various types of silk fabric to resemble the real thing. Wang Yiquan is interested in production models, from which he derives cultural connotations that weave through his research-based

The term 'flowers of the motherland' is familiar to young people like Wang Yiquan born in the 1980s. In the context of the Chinese

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creations.

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the traditional craft of fabric flowers as well as modern

為世界工廠的中國社會的光怪陸離：美麗又廉價、驕傲亦卑 微。CHAT 六廠迴廊的幾塊落地玻璃上貼著的是作品《靜物： 絹花和像素》。王懿泉利用先進的高清掃描技術對絹花進行 掃描，花瓣和葉片上那些紡織品的肌理被掃描儀和電腦而非 藝術家的手重新處理，最後再印刷回到紙面上，一連串非人 非自然的創造過程產生了新的意趣。影像作品《非常私人》則 是王懿泉對絹花研究創作的總結，結合了私人體驗和歷史影 像，將創作過程中產生的各種思維火花編織在一起。同時， 他邀請香港舞蹈藝術家楊浩合作，通過現場表演將那些火花 直觀地表達出來。

is like a garden, and children are like flowers. The relationship between an individual and the collective seems beautiful and simple in such a metaphor, but in reality, it is contradictory and opaque. Wang used mass-produced silk flowers and their packaging materials to create the installation Flowers of the Motherland. It alludes to the bizarreness of Chinese society as 'the world's factory' - beautiful and cheap, proud and lowly. Still Life: Silk Flowers and Pixels is displayed on floor-to-ceiling windows in CHAT Arcade. High-definition scanners and computers were used to replicate silk flowers, the texture of the petals and leaves are reprocessed by technology instead of the artist's hand. When the images are printed on paper, they have gone through a series of inhuman and unnatural creative processes, resulting in something entirely new. The video piece Very Private is the culmination of the artist's work with silk flowers, weaving together his personal reflections with historical images.

Wang also invites Hong Kong-based dancer Yang Hao to interpret the artist's work through live performances.

王懿泉 《靜物：絹花和像素》 2021 窗貼 CHAT 六厰委託作品

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Wang Yiquan Still Life: Silk Flowers and Pixels 2021 Window stickers Commissioned by CHAT

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王懿泉 《祖國的花朵》 2021 絹花、紙箱、塑膠袋 CHAT 六厰委託作品

Wang Yiquan Flowers of the Motherland 2021 Silk flower, paper box, plastic bag Commissioned by CHAT

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王懿泉 《非常私人》 2021 影像裝置、表演 10'12" CHAT 六厰委託作品

Wang Yiquan Very Private 2021 Video installation, performance 10'12" Commssioned by CHAT

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2021

光 ○ Aura ○

李清月

Li Qingyue

李清月用繪畫和故事文本，創造了一個全新的《睡美人》故事。她 嘗試讓繪畫表達聲音，而讓密集的文字形成一種白噪音。在這個 故事裡，聲音形塑著空間、時間、還有無法揣度的命運：

李清月 《光○ 》 2021 繪畫 21 × 29.5 厘米，一組 26 件 CHAT 六厰委託作品

…… 公主的誕生如光一般盛大，照耀萬物，甚至驚動了命運三 女神。那三位撚紡、定奪和裁剪命運亂麻的女神怒氣衝衝地前 來，以人類無法體會的聲音，發出了一個宏大的、帶有惡意的咒 語。一位平凡的織娘正為公主編織一個幼鰻鱗帳。作為織物的幼 鰻鱗折射著潺潺流動的光，與那咒語之聲共鳴，彷彿進行了一場 談判，於是咒音得以收縮，不斷內卷成一個細小的紡錘體，高懸 於幔帳之上。國王決定建造宮殿，保護公主。他請來詩人，詩人 用頌唱的方式唱出公主盛大的名字「光」，建築師用奇異的材料 定下聲音的軌跡，以此為公主營建高塔。公主被保護在她盛大的 「名字」（宮殿）裡，在奇妙的虛空中長大。公主熟悉了這個由光 之音築造的迷宮，亦反向感知到曾經那個詩人發出的聲音、呼吸 和舞步。終於有一天，長大了的公主到了幔帳的頂端，那命運纏 繞而成的紡錘終於刺傷了她，紡錘的內部變成了萬花筒，深長盤 曲的命運之路在她眼前……

Li Qingyue uses painting and text to create a new version of Sleeping Beauty. She tries to express sound through her drawings and turns dense texts into a kind of white noise. In this story, voices shape time and space, as well as an incomprehensible destiny:

Li Qingyue Aura ○ 2021 Painting 21 × 29.5 cm, a set of 26 Commissioned by CHAT

...The princess's birth was as glorious as light, illuminating all things.

Her birth alarmed the three goddesses of fate who spun the threads of human destiny. They rushed forward in a fury to alter the princess's fate, uttering an evil spell in a voice human could not understand. At that moment, an ordinary weaver nearby was weaving a tent for the princess out of young eel-scales. It reflected an undulating light, which began to resonate with the sound of the spell. As though a negotiation was taking place, the sound of the curse started to shrink, rolling inward on itself until it became a tiny spindle hanging high above the canopy. The king decided to build a palace to protect the princess. He invited a poet, and the poet sang the princess's name 'Light' in the form of an ode. An architect working with odd materials fixed the trajectory of the ode into a tower of sound for the princess. The princess was protected by her magnificent 'name' (the palace) and grew up in a marvellous void. and began to perceive the voice of the poet, his breathing, and dance steps. Finally, one day, the now grown-up princess reached The inside of the spindle then turned into a kaleidoscope, the long and winding road of her destiny laid before her eyes...

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the top of the canopy, where she was pricked by the spindle of fate.

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She became used to living in a labyrinth made of the sound of light

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展覽記錄片

Exhibition Documentary Video

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研究報告 Research Essays

中國紗廠工人電影小史

A Concise History of Chinese Textile Workers in Film

中國 紗廠工 人電 影 小史

前言 後殖民學者 Gayatri Spivak 曾輕撫川久保玲的袖口，喚起關注紡織時不應忽 略的跨國流動本質。在她對川久保玲的分析中，Spivak 形容 (1999)，激進 理論和時尚的另類話語的關係正有如「成衣工業」和「時尚設計」，兩者無限 接近彼此，但終究不是同一回事 ( 頁 338-352)。Spivak 的解構哲學對事物的 拆解往往從此展開，在另一篇文章中，她就專注在拆解實體經濟的剩餘價值 和金融投機看似差之毫釐，實則延異的關係 (Spivak，1993)。我好奇的是， Spivak 著重分析川久保玲從本地發言人 (native informant) 到後殖民身份的 蹤跡的同時，卻在提出成衣工業和時尚設計的差別時按下不表。也許，後者 的差別暗指的是川久保玲的「解構式」設計。這樣的時尚得以成立，有賴於 持續地掩蓋其可被追溯的蹤跡，也就是成衣工業。但這完全是違反解構哲學 的邏輯。Harun Farocki (2002) 也注意到了商業資本嘗試掩蓋工業蹤跡的企 圖，他著名的〈工人離開工廠〉分析就陳述了工業影像和商業電影的延異關 係：商業電影彷彿在掩蓋它從工廠誕生的事實。我們可以暫且將這一系列類 比的鏈條歸納如下：

實體經濟 A – 金融資本 a’

成衣工業 B – 時尚設計 b’

激進理論 C – 另類時尚 c’

工業影像 D – 商業電影 d’

在這篇短文中，我希望從電影中尋找紡織工業的形象，作為何銳安的錄像 作品《Lining》(2021) 的某種補充。如果說，《Lining》的意圖是希望找到一 種研究路徑，讓思考布料的注意力可以從上述圖表的右邊軸線離開，向左靠 攏，那麼，這篇短文便希望以紡織工人形象的追尋，將目前普遍在當代藝術 中氾濫的後工業社會敘述進行初步的還原。 商業電影和工廠影像是否有所矛盾？紡織工人電影的票房會告訴我們否定 的答案。影史上獲得商業成功的電影包括美國的《諾瑪蕊》(Martin Ritt 導 演，1979) 以及日本的《野麥峽的哀愁》( 山本薩夫導演，1979)。還有涉及 19 世紀末歐洲紡織工業的《組織者》(Mario Monicelli 導演，1963)、《應許 之地》(Andrzej Wajda 導演，1975) 以及《達恩斯教士》(Stijn Coninx 導演， 1992)。更值得一提的或許是日本在東大學運前夕上映的《奴隸工廠》( 山本 薩夫等，1968)。據稱，這部獨立製作的電影以預售戲票來眾籌資金，其製 作口號是：「10 萬製片人，1000 人參加演出，大家製作，大家上映」；這部 以將近 8 小時的黑白片幅描寫工人鬥爭的電影，當年全國觀眾高達 150 萬人 陳璽安

Zian Chen

次 ( 舒明，2020)。由此觀之，電影的慾望生產並不與工業相斥。當工業本 身能夠投射慾望，它就能夠發動屬於工人的動態影像機器。讓我們用這樣的 角度，將視野轉向東亞。

A Concise History of Chinese Textile Workers in Film

Foreword Postcolonial scholar Gayatri Spivak once stroked fashion designer Rei Kawakubo's sleeve cuff as a call to not overlook the transnational and fluid nature of textile. In her analysis of Rei Kawakubo, Spivak (1999) describes the relationship between radical theory and the discourse of alternative fashion as being akin to the differences between the ready-to-wear industry and fashion design: they seem similar, but in actuality, they are not the same (pp. 338-352). Spivak often starts with her deconstructionist philosophy when dissecting a subject. For instance, Spivak also compares residual value in the real economy to financial speculation, which again seems similar, but, in fact, is different and deferral of meaning (Spivak, 1993: pp. 97-119). What I am curious about is that Spivak focuses on Kawakubo's journey from native informant to the adoption of a postcolonial identity, but does not explain the difference between the fashion design and the ready-to-wear industry. Perhaps, she alludes to these differences when referring to Kawakubo's ‘deconstructed’ designs - a fashion idea that relies on the continued subversion of its traceable origins, namely the ready-to-wear industry. Notably, this covering up belies the philosophy of deconstruction. Harun Farocki (2002) also noticed attempts by commercial capital to cover up the traces of industry. His famous analysis Workers Leaving the Factory examines the différance between industrial images and commercial film: commercial film [depicting industry] seems to hide the fact that it too was spawned in a factory. We can briefly summarise this series of analogies below: Real economy A – financial capital a’ Garment Industry B – Fashion Design b’ Radical Theory C – Alternative Fashion c’ Industrial Image D – Commercial Film d’ In this short article, I hope to find an image of the textile industry by searching through films as a kind of supplement to Ho Rui An's video textile research from the right to the left of the above chart, through the pursuit of the images of textile workers, this essay hopes to address taking the first steps towards reconstruction.

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contemporary art's ubiquitous narrative of post-industrial society by

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work, Lining (2021). If the intention of Lining is to find a path that leads

上海，1936 1932 年 1 月 28 日，日本繼佔領中國東北之後進一步襲擊上海。空襲摧毀紗 廠，意外讓上千名強迫勞動的童工，從隱藏的城市角落湧入公共租界的難民 營，事件才首度進入大眾視野之中 (Honig, 1986)。根據上海左翼作家夏衍 1936 年的報導文學《包身工》，在當年，包身工是紗廠的主要勞動力，由類似 人販的流氓「帶工」每人負責從家鄉拉攏 30 至 100 位不等的女性童工進廠工作 ( 夏衍，1978)。上海的情況映射了日本在 1920 年代以前對童工的重度剝削。 日本有賴童工實現工廠十二小時輪班制，以此趕超英國紡織工業。不難想像， 想知道當時東亞紗廠的情況，非這時期的日本電影莫屬。 小津安二郎 1936 年的電影《獨生子》一開場，鏡頭捕捉信州繅絲廠內女工們靈 活的雙手，看起來幾乎要和機器結合成一體的畫面。影響明治維新的重要啟 蒙思想家福澤諭吉曾經強調，亞洲女工及童工比歐洲工人更靈巧的雙手對日 本工業的重要性 ( 山本義隆，2019)。而在 30 年代的上海，紡織廠份額日資主 導。對此，夏衍感嘆道， 「東洋廠的每一個錠子上面都附托著一個中國奴隸的 冤魂。」 綜上所述，1930 年代上海的華工群體完全不能稱做是真正意義上的無產階 級，用共產主義修辭來說，無產階級已經提升到革命階級鬥爭先鋒隊的位置。 相較之下，在這個包身工的世界中，他們是以依附於同鄉的屬地關係而組織起 來，並被迫進入滲透到鄉間的流氓的社會網絡中，幾乎沒有發展出統一階級意 識的可能。事實上，共產黨在多年後成功解放上海的背後原因，正是因為他們 成功在這個高度分散的勞力世界中，整合了黑道和其他權力尋租者的共同目 標。正如美國學者裴宜理 (1993) 所言，二十世紀初上海成功的勞工動員其實有 賴「封建」社團達成 ( 頁 171-5)。

天津，1950

（圖 1）小津安二郎，《獨生子》，1936 (Fig. 1) Ozu Yasujiro, The Only Son, 1936

地緣政治的緊張局勢在新中國成立後迅速惡化。中國在 1950 年因參與韓戰而 遭遇國際經濟封鎖，但也鞏固了蘇聯日後提供的貸款和科技轉移。在兩國多方 合作之中最顯眼的象徵包括 1954 年至 1956 年間建於北京、上海、武漢、廣州 的四座史太林建築風格的展覽館。 儘管這段歷史往往被詮釋成單方面受蘇聯援助的時期，但在中國，仍有若干黨 內思想家對社會主義進步管理的可能畫面進行推想。1950 年，吳祖光的《紅旗 歌》在一家擁有 8 萬紗錠的天津國有紗廠拍攝。在影片中，我們目睹了落後工 人馬芬姐的蛻變，她憶苦思甜，想起被資本主義和父權制剝削的往日，對比起

Are there any contradictions between commercial films and an image of a factory? The box office takings of movies about textile workers would say 'no'. Commercially successful films include Norma Rae in the United States (directed by Martin Ritt, 1979) and Japan's Oh, The Nogumi Pass! (directed

by Yamamoto Satsuo, 1979). I Compagni (directed by Mario Monicelli, 1963), The Promised Land (directed by Andrzej Wajda, 1975), and The Priest of Diens (directed by Stijn Coninx, 1992) describe Europe's textile industry at the end of the nineteenth century. Perhaps it is more worthwhile to discuss Slave Factory, which was released in Japan on the eve of the Tohoku University protests (directed by Satsuo Yamamoto, et al., 1968). It is said that this independently produced film was crowdfunded by ticket pre-sales.

The film's production slogan was ‘100,000 producers, 1000 people acting; everybody produces, everybody shows [the film]’. The nearly eight-hour long, black-and-white, film depicting the worker's struggle was watched by 1.5 million people nationwide (Shu, 2020). Considering the nature of the film, its objectives were not different from those of industry at all. When an industry becomes capable of projecting its own desires, it also becomes capable of controlling the workers' motion picture machines. Let us turn our gaze to East Asia with this viewpoint in mind.

Shanghai, 1936 On January 28, 1932, Japan, following its conquest of Manchuria, attacked the city of Shanghai. The aerial bombardment destroyed the city’s many textile mills, unintentionally thrusting thousands of indentured child workers into public visibility for the first time, as they flocked to relief agencies within the International Settlement (Honig, 1986). As it would be made known by the Shanghai left-wing writer Xia Yan’s renowned exposé, The Indentured Girls, when it was published in 1936, the labour force of Shanghai’s textile mills was primarily made up of indentured labourers, who were mostly under the supervision of gangster-foremen - each of whom would have been responsible for recruiting between 30 to 100 underaged female workers from their own native villages (Xia, 1978). Such conditions mirrored the extensive use of child labour in Japan up until the 1920s, which allowed it to invent the twelve-hour work shift, and catch up with the British textile industry. Unsurprisingly, it is in the Japanese cinema of the period that we find the most exemplary images of what happens within the textile factories in East Asia.

In the opening scene of Ozu Yasujiro's 1936 film, The Only Son, the camera hands appear to have been assimilated into the machines. As Fukuzawa Yukichi, the promoter of Western knowledge during the Meiji Restoration, compared to their European counterparts, were the key to the country’s industrialisation (Yamamoto, 2019). Having witnessed the total domination of Japanese textile companies in the 1930s industrial world of Shanghai,

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once pointed out, the nimble hands of Asian female and child workers,

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captures the flexible movements of the female silk factory workers whose

與工會緊密聯繫的姐妹情誼。這點促進她的增產，也引發了思想落後的一 位管理員的階級覺悟。 影片的下半段聚焦在工人間進行紅旗競賽這種社會主義工廠管理的過程。 事實上，包括小組團契、計分以及自我組織等電影中呈現的部分，也在電 影團隊拍攝的紗廠中進行。他們所推廣的「社會主義競賽」可以追溯到傅 立葉和恩格斯，並由列寧在 1920 年代推行，作為一種民主的管理技術， 既可以提高生產力，又避免了對工人的剝削。當時負責制定文藝政策的文 藝理論家周揚 (1985) 在審閱影片劇本時，高度重視這部片的價值，因為 這對長期以農村為據點的共產黨而言，可以彌合他們與「工人階級長期隔 離的狀態」( 頁 23-24)。

（圖 2）吳祖光，《紅旗歌》，1950

上海，1958

(Fig. 2) Wu Zu-guang, Song of the Red Flag, 1950

在蘇聯援建結合本地條件的共同作用下，以基礎設施和增產為主要目標 的五年經濟計劃 (1953-57) 超綱達標。但很快，中國就面臨外匯短缺而無 法進口工業產品的難題。廣交會正是在這樣的背景下，於 1957 年在廣州 蘇聯展覽館開幕。每年舉辦兩屆的廣交會此後遂為拓展美方盟友成為貿 易夥伴的戰略渠道，全盛期的成交額佔外貿部門全年出口任務的三分之 二。而中蘇關係隨後迅速惡化，也讓廣交會成為擺脫對莫斯科經濟依賴 的一扇窗口。 1958 年 大 躍 進 的 發 起 意 味 著 正 式 推 翻 蘇 聯 式 經 濟 管 理 模 式 的 決 心。 就在政策鼓勵工人以自我組織來提高指標的同時，電影界也在周總理 的鼓吹下，以集體編劇實現低預算又速成的「藝術性紀錄片」( 啓之， 2010：頁 404)。 在同年，根據著名勞模改編的劇情式紀錄片《黃寶妹》(1958)，讓紡織 女工本色出演進步的形象，呈現她們以分組協作、共同學習的方式優化 製程。這裡的關鍵美學舉措是消除廠房的噪音污染，以突出記者報導的 聲道。這位記者在影片中的唯一作用就是見證工人們以合作來創造奇 蹟——當然是在沒有技術人員支持的情況下。 片尾，紗廠中常見的飛舞棉絮在此刻幻化成社會主義的彩雲。既然有能力 優化機器，用仙女稱呼這些女工當之無愧，因為她們是能夠超克任何計畫 指標的東方普羅米修斯。

Xia Yan famously cried out: ‘every spindle of a Japanese factory has a haunting spectre of a Chinese slave’.

The world of Chinese labour in 1930s Shanghai was thus constituted by nothing quite resembling the proletarian class that was elevated within the communist rhetoric to be the vanguard of revolutionary class struggle. Instead, this was a world where indentured labourers were organised around native-place affiliations and integrated into gangster networks extending into the rural periphery, with little prospect of developing a unified class consciousness. Indeed, years later, when the Communists eventually succeeded in taking over Shanghai, it was only on account of them having succeeded in making common cause with gangsters and other power brokers in the city’s highly fragmented world of labour. As Elizabeth Perry (1993) puts it, successful labour organising in early twentieth century Shanghai required enlisting the aid of ‘feudal’ associations (pp. 171-175).

Tianjin, 1950 Geopolitical tensions escalated quickly soon after the founding of New China. While its involvement in the Korean War in the 1950s attracted international sanctions, the Chinese government was able to secure financial aid and technological transfers from the Soviet Union in the years to come. Among the most visible signs of the growing cooperation between the two countries were four exhibition halls with Stalinist architectural features that were built in Beijing, Shanghai, Guangzhou, and Wuhan between 1954 and 1956. But despite the typical characterisation of this period as one dominated by Soviet patronage, independent efforts were in fact made by thinkers within the Chinese Communist Party to speculate on the possible outlook of employing progressive management with socialist traits.

In 1950, Wu Zu-guang’s Song of the Red Flag was filmed in a major state-owned textile mill in Tianjin that employed 80,000 spindles.

In the film, we witness the transformation of an underperforming worker, Ma Fen, who, in recalling her bitter past, begins to contrast her exploitation under a capitalist-patriarchal system and the sense of sisterhood she experienced in the workers’ union. This spurs her to become a more productive worker, eventually also inspiring her manager to overcome his ideological backwardness and acquire

The film also depicts the competition between workers for higher games, scoring system and self-motivation of workers as seen in the film can be directly observed among the actual workers of the

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productivity as a form of socialist management. In fact, the group

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class consciousness.

（圖 3）謝晉，《黃寶妹》，1958 (Fig. 3) Xie Jin, Huang Baomei, 1958

上海，1972 在文革最頂峰的時候，革命主題滲透到社會生活的方方面面。即便廣交會有周 恩來的保護也不例外。可想而知，當時的革命現實主義的題材如紅太陽、紅寶 書、紅色樣板戲儘管有紡織廠生產，但在海外市場卻乏人問津。與此同時，國 內消費者不敢剪裁任何帶有革命性圖案的面料，怕這樣做會成為破壞革命的反 動派。也難怪這種面料在廣交會上短短幾年就下市了，因為從資本主義消費者 到社會主義群眾，它是娘不疼爹不愛。 隨著文藝部門成為鬥爭的前線，這幾年間的劇情片生產必須緊跟在樣板戲美 學中。而四人幫已經全面盯上文藝工作，幾乎沒有轉圜的餘地。但到了 1972 年，左翼導演伊文思和羅麗丹受邀來華紀錄文革的真實情況。他們製作了一系 列的 12 部紀錄片《愚公移山》(1972-1974)。與意大利電影製片人米開朗基羅· 安東尼奧尼 (Michelangelo Antonioni) 在中國為期一個月的訪問還被限制指定 場所的慘況不同，兩人於中國兩年旅行期間得以選擇自己訪問的對象。 其中，《上海汽輪機廠》呈現導演以直接電影的手法紀錄下上海工人在文革期 間的工作狀態。在一幕，我們看到工人們對廠長的三結合訴求，這個在文革期 間廣泛採取的指導模式指的是決策必須有工人與管理幹部、技術人員緊密結合 才能進行。在一個三結合小組的內部會議中，他們提出車間與管理階層溝通的 「線路不通」。他們因此只能以大字報結合政治諷刺畫的形式，要求管理者對車 間實際生產需求做出回應。 此外，隨著三結合小組的普及，工人也更敢於挑戰勞動的對立面：自動化。在 上海的一家無線電廠裡，一張大字報上寫著：「領導上走的是專家路線，不相 信群眾；造計算機不僅要分清線路，更重要的是分清路線！」。領導自然只能 做出肯定的回覆： 「造機要無產階級政治掛帥，造機又造人，路線管線路。」( 王 洪喆，2015：頁 34-48) 1974 年，群眾路線管所有生產線路在上海達到了頂峰，上海的 14 家國營羊毛 衫廠的工人將 1500 台橫機全數實現自動化。雖然這批設備在四人幫垮台後很 快被淘汰，但一幅描繪三結合小組在控制室透過玻璃窗看著自動化車間的畫 面，讓我們瞥見了社會主義自動化工廠的可能景象。

factory where the filming took place. Such efforts at promoting ‘socialist competition’ can be dated to Fourier and Engels and were popularised

by Lenin in the 1920s as a supposedly benign management technique that can improve productivity without exploiting workers. In inspecting the script of the film, the Party’s literary theorist and propaganda officer, Zhou Yang (1985), highlighted the importance of the project, claiming that its narrative could help bridge the CCP’s ‘long-term isolation from the working class’, given that it had rose to power primarily by winning over the peasant population in the rural hinterland (pp. 23-24).

Shanghai, 1958 Through a combination of both direct transfers and local adaptations of Soviet practices, Chinese economic policy achieved great success between 1953 and 1957. However, soon after, the country was facing a shortage of foreign exchange that was needed for importing industrial goods. It was against this backdrop that the first Canton Fair opened its doors at Guangzhou’s Soviet Exhibition Centre in 1957. Intended as a strategic platform for increasing the diversity of its trading partners, especially by attracting businesses in countries aligned with the US, the biannual Canton Fair would eventually account for up to twothirds of China’s exports. With Sino-Soviet relations deteriorating within the same period, the Canton Fair also allowed the country to reduce its economic dependence on Moscow.

In 1958, the launch of the Great Leap Forward would further mark the definitive overturning of Soviet-style economic management. In the same time that the self-organisation of workers was promoted as a method for meeting the increased production targets, Premier Zhou Enlai instructed the film industry to produce more ‘artistic documentaries’, citing its faster turnover rates, lower budgets and collective scripting process (Qi, 2010: p. 404).

In Huang Baomei, a docudrama made in that year based on the model worker, we see how advanced female workers, played by actual workers, improve manufacturing efficiency through close collaboration and mutual learning. Here, a key aesthetic intervention is the elimination of the noise of the factory so as to enhance the clarity of voice of the reporter, whose only function is to witness the miracle that has been accomplished by the workers, apparently without the assistance of technicians.

within the factory have turned into the clouds of a socialist paradise. be called the fairies of a distinctly Chinese Prometheanism capable of conquering any project target.

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Having achieved technological optimisation, the workers can rightly

298 —— 299

At the end of the film, the strands of cotton that typically fill the air

（圖 4）1974 年的紡織工業自動化運動。

(Fig. 4) The textile industry’s computerisation movement in 1974.

上海，1983 改革開放前期對開放市場的問題仍非常忌諱，談市場不說是為了達 成社會主義經濟就會犯錯誤。儘管在 1983 年取消了布票制度，但同 年保守派也發起了短暫的反右運動。電影《血，總是熱的》(1983) 凸顯計劃經濟的僵化，表現在國有印花廠對市場的錯誤解讀上。在 廠長銳意改造印花機來迎合市場面料流行的嘗試中，廠內的黨委書 記卻堅持走黨的路線。影片尾聲，廠長在廠外高聲發言。他調用 「熱血」這樣的革命修辭作為體制改革潤滑劑。這部片最終將他定調 為悲劇英雄，他親口承認自己的社會主義套話有點過氣，卻也沒能 提出新式管理的替代性話語上海， 1984 1984 年，中央政府提出「有計劃的商品經濟」企圖擴大投資規模， 增發貨幣。電影《街上流行紅裙子》在同年上映，我們可以目睹所 有工人開始從工廠主人退化成為異化的消費者，消費自己生產的布 料。電影深刻呈現商品經濟如何以流行趨勢、廣告、展銷會、走秀 等手法，為紡織廠勞模進行思想改造，也讓人想起胡耀邦責令深圳 幹部穿西裝以鞏固外商投資信心，並引發全國的流行熱潮。當年 GDP 增速達 15.2%，引發週期性的通貨膨脹，最終將引發經濟和社 會反彈，推升成 1989 年的事件。 深圳，1990 進入 90 年代，中國的紡織業連續十年進口二手紡織設備，已經具 備了擴大生產的條件。僅在上海，設備採購總額就高達 4000 萬美 元。然而，這十年的棉花時而短缺，導致產能嚴重過剩，甚至到了 有必要對當時仍由國企主導的產業進行結構性改革的階段。

Shanghai, 1972 At the peak of the Cultural Revolution, themes of revolution pervaded all aspects of public life. Despite the protection of Zhou Enlai, the Canton Fair could not escape the ideological fervour of the period, as textile producers began to fill their designs with such motifs as the red sun, the little red book and other figures drawn from the model operas promoted by the Party during that period. Expectedly, such aesthetics of revolutionary realism found little appreciation in overseas markets. Meanwhile, domestic consumers resisted cutting any kind of fabric that carried too many revolutionary motifs, fearing that doing so would constitute an act of iconoclasm. It’s no wonder then that the presence of such fabrics at the Canton Fair proved to be short-lived, given that it found no love among both capitalist and socialist masses.

With the nation’s cultural sector transformed into a political front, feature film productions also had to adhere to the aesthetics that were being promoted during the period. As the Gang of Four had made it a point to supervise all cultural production, there was little room for deviation.

However, in 1972, the Dutch and French leftist filmmakers Joris Ivens and Marceline Loridan were invited to China to document the transformation of the society under the Cultural Revolution. The result of that journey is a series of twelve documentary films titled How Yukong Moved the Mountains (1972-1974). Unlike Italian filmmaker Michelangelo Antonioni, whose month-long visit in China was supervised by the propaganda office and limited to designated venues, the duo somehow had free reign over their production during their two-year stay.

In one of the films in the series, The Generator Factory, the filmmakers take the approach of direct cinema to document the life of a Shanghai factory worker during the Cultural Revolution. In one scene, we see how workers demand that the factory managers observe the three-in-one principle, referring to the principle requiring every decision-making group to include manual workers along with management cadres and technicians. During a meeting between manual workers and technicians within such a group, they expressed that the ‘lines’ of communication between them and the managers had been broken. They thus could only resort to drawing political caricatures on a big-character poster demanding that the managers respond to the production needs of the workshop.

also sought to conquer their antithesis: automation. In one computer management follows the line of experts instead of the mass line; to build a computer one must know not only how to connect the lines but also where to draw the line!’ To which the managers could only respond in the

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manufacturing factory in Shanghai, one big-character poster read: ‘The

300 —— 301

Furthermore, with the popularisation of three-in-one units, workers

在這十年中，電影中反復出現的主題是堅定的改革派演講， 旨在爭取對改革進程失望的工人支持度。在《你好，太平洋》 (1990) 中，為平息港資成衣廠女工罷工，深圳市長出面進行演 說。他以目前的痛苦是必要的，未來的勞動法即將實施做保證， 撤銷廠長職位，緩和了局勢。《好漢不回頭》(1996) 呈現了一家 國企的重工業生產完全停擺，並轉變成片尾演說的金屬聲配樂 節拍。在結尾的演說中，廠長給了工人投票的權利：工人可以 選擇從東門離開工廠，自願下崗，支持廠長改革，也可以選擇 向西門離開，罷免廠長。《浦江敘事》(1997) 聚焦在上海一家 債台高築的國營針織廠如何在大無畏廠長的手中起死回生。為 了實現擴大投資的計劃，他毫不猶豫地解雇了包括自己妻子在 內的工人。 到了 1998 年，國營紗廠被要求 3 年內銷毀 4 分之 1 老舊紗錠， 多數以破產、成立控股公司等方式進行資產重組。單就上海的 國有紡織企業，從原有近 500 戶裁撤至 2000 年後不足 150 戶； 原有 50 萬職工下崗近 40 萬人。不過，中國卻在 1999 年順利 與美國完成進入世貿組織的協商。2001 年進入世貿組織後， 紡 織 品 出 口 增 長， 產 能 也 從 3000 萬 錠 擴 大 到 2005 年 的 1 億 3000 萬錠，超過世界紡織產能的半數。結果證明，結構性改 革是不可逆的。上海這座城市不會再恢復其工業基礎，只能是 以進一步金融化的方式步入曾在半個多世紀前，首度藉其工業 基礎步上產業轉型的香港之後塵。 上海，2010 賈樟柯在拍攝紀錄片《海上傳奇》(2010) 時，曾帶黃寶妹回到 上棉十七廠的舊址。黃寶妹走在空盪的社會主義工廠廢墟，懷 想過去的勞動時光。然而，這部作品實際上是上海世博的獻 禮，後者吃下了上海第三印染廠、第五針織廠、八達紡織印染 公司、第二十三針織廠在內的 66 家國有紡織廠地塊 ( 上海市地 方誌辦公室，2021)。不過，在 2010 年上海世博結束之後，若 干世博園區的閒置空間又再次變成廢墟。

（圖 5）《血，總是熱的》(1983)、《你好，太平洋》(1990)、《好漢不回頭》(1996) 以及《浦江敘事》(1997) 中的改革派經理演講。

(Fig. 5) The reformist speech scenes in Blood is Always Hot (1983), Hello, Pacific (1990), The Brave Never Turns Back (1996) and Pujiang Story (1997).

affirmative: ‘Proletarian politics must take command over the building of machines. To make a machine is to make a people. The mass line governs all lines.’ (Wang, 2015: pp.34-48) In 1974, the assimilation of all lines by the mass line reached its fullest realisation in Shanghai, where workers at fourteen state-owned woollen sweater mills computerised their entire stock of 1500 flat knitting machines.

Although the equipment was quickly eliminated after the Gang of Four lost power, the image of a three-in-one group sitting in a control room and looking through the window into the automated workshop, has left us with a glimpse of what a fully automated socialist factory would have looked like.

Shanghai, 1983 In the early days of the economic reforms, it was still taboo to speak of the market without qualifying it as a tool of the socialist economy. While the rationing of clothes ended by 1983, in the same year hardliners within the party launched a short-lived anti-rightist campaign. The film Blood is Always Hot (1983) shows the rigidity of the planned economy through the example of a state-owned textile mill that falls short in its ability to read market signals. Despite the eager manager’s efforts to refit their printer to produce a more fashionable style, the party secretary in charge of the mill insists upon adhering to old ideological lines. The film ends with a rousing speech given by the manager in which he appropriates revolutionary vocabulary in speaking of using ‘hot blood’ as lubricants for structural reform. With this conclusion, the film depicts the manager as a tragic hero who, despite admitting to the datedness of his socialist idiom, is unable to propose an alternative discourse for a new form of management.

Shanghai, 1984 In 1984, the central government proposed the concept of a ‘planned commodity economy’, which seeks to expand the scale of investment by increasing the money supply. In Red Skirt Popular in the Street, released in the same year, we see the entire working class transform from being the owners of the factory back into being the alienated consumers of their own productions. The impressive showcase of fashion trends, advertisements, street stands and catwalks in the film perform a kind of a reverse ideological transformation for the post-socialist model worker that recalls General Secretary Hu Yaobang's stipulation that party cadres in Shenzhen wear Western suits to secure the confidence of international investors - which the same year, the country’s GDP growth rate reached 15.2%, eventually triggering a cycle of inflation that would have devastating effects upon the

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economy and society, finally culminating in the events of 1989.

302 —— 303

immediately made the fashion style popular across the streets of China. In

香港，2021 何銳安的《Lining》以四位香港本地人物的訪談，呈現曾是香港產業支柱 的紡織業之變遷。為了呈現多已不存在的早期工業遺跡，在開篇中，講解 員 Timothy Yau 從香港土瓜灣海水接壤的畫面，向前望去，透過雷射筆投 映在鐵絲網上，他指出青洲英泥廠的位置 ( 現在的海逸豪園 )，相鄰的則 是黃埔船塢 ( 現在的黃埔花園 )。接著，到了土瓜灣的十三街一帶，在一 個密集住宅區的十字路口上，他介紹著：此處曾是南洋紗廠，還曾有偉 倫紗廠，馬路延伸處則通往東方紗廠。我們也許可以稱這樣錯位指代的 導覽是一項「重新回到已經消失的工廠」的導覽類型：觀眾看著這座金融 城市的各種地產項目，心中浮現所有過去曾經存在的工廠樣貌。回憶消 失的工廠，這種導覽是不是某種資本主義版本的「憶苦思甜」敘事？在去 工業化社會的敘事下，工廠確實是勞力密集和低工資的代表。不過，重 新檢視當下香港特區政府的再工業化訴求，工廠的意義在此轉變成為有 待被再次填入的生產慾望。重新回到已經消失的工廠，為的是投映出城 市的一段激進去工業化的歷史，以及它附帶的一套新自由主義說詞。

Shenzhen, 1990 By the early 1990s, the textile industry in China was fully equipped to expand its production after a decade of continuously importing second-hand machinery. In Shanghai alone, the total value of equipment purchases was as high as $40 million US dollars. However, persistent disruptions in cotton supply over the decade soon produced serious overcapacity, necessitating a structural reform of the industry that was at the time still dominated by state-owned enterprises.

Within the decade, a recurring motif in cinema was the speech of the determined reformist seeking to rally the support of workers disillusioned by the reform process. In the 1990 film, Hello, Pacific, the mayor of Shenzhen attempts to quell a strike by garment workers in a Hong Kong-funded factory by assuring them that the current pain was necessary and that they will soon be protected by the labour laws that would be implemented as part of the reforms. He eventually dismisses the factory manager to ease the situation. In the 1996 film, The Brave Never Turns Back, the heavy industrial production in a state enterprise has come to a complete halt only to be replaced by the metallic beats of the cinematic soundtrack that accompanies the manager’s speech at the end of the film. This time, the reformist gives the workers the right to vote.

They can either choose to leave the factory from the east gate, supporting the reforms by being laid off, or to leave from the west gate to dismiss the manager himself. Likewise, Pujiang Story, released in the same year, shows how a heavily indebted knitting factory in Shanghai is revitalised by an intrepid manager who had no reservations laying off workers, including his own wife, in order to realise his ambitious plans of expanding investment.

By 1998, state-owned spinning mills were ordered by the government to destroy a quarter of their old spindles within three years, with many also having to restructure their assets by going bankrupt or establishing holding companies. In Shanghai, less than 150 textile mills were left in 2000 from an original five hundred. Of the original 500,000 workers, nearly 400,000 were laid off. However, in 1999, China successfully completed negotiations with the United States to enter the World Trade Organisation. Following its official accession in 2001, textile exports rapidly increased, and production capacity expanded from 30 million to 130 million spindles, making up more than half of the world's textile production capacity by 2005. Yet, in the old industrial centre of Shanghai, Instead of recovering its industrial base, the city would only be further financialised in the contemporary image of Hong Kong to which its

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industrial base was first displaced over half a century before.

304 —— 305

the effects of the structural reforms would prove to be irreversible.

Shanghai 2010 When filming the documentary, I Wish I Knew (2010), Director Jia Zhangke took Huang Baomei back to the old site of the 17th Shanghai Cotton Factory, where Huang walks through the ruins of the empty socialist factory and reminisces about her working days. This film, however, was actually a tribute to the Shanghai Expo, which was erected upon the sites of sixty-six former state-owned textile factories including Shanghai No. 3 Printing and Dyeing Factory, No. 5 Knitting Factory, Shanghai Bada Textiles Co., and No. 23 Knitting Factory (Office Of Shanghai Chronicles, 2021). However, after the 2010 Shanghai Expo ended, some expo sites were left vacant and returned to ruins again.

Hong Kong 2021 Ho Rui An's Lining presents changes in the history of Hong Kong's textile production, once the pillar of Hong Kong industry, through interviews with four local figures. In order to present early industrial relics that no longer exist, at the beginning of the film, narrator Timothy Yau looks out from the area bordering the sea in To Kwa Wan. He directs a laser pointer to indicate through barbed wire where the Green Island Cement Factory (now Laguna Verde) used to be, as well as the adjacent Hong Kong and Whampoa Dock Company (now Whampoa Garden). Then, in the area of To Kwa Wan's Thirteen Streets, at the intersection of a densely populated residential area, he introduces: ‘This place used to be Nanyang Cotton Mill, and there was Wyler Textiles, and the road extension led to Eastern Cotton Mills.’ We might call such a tour referencing displacement ‘a return to factories that have disappeared’ tour. In this financial city, the audience gazes at various real estate projects, but sees instead images of factories that once existed. Is this factory of disappearing memories tour some kind of capitalist version of the narrative ‘remember the bitterness of the past, reflect on the sweetness of the present?’ In the narrative of de-industrialised society, factories are the epitome of intensive labour and low wages. However, on re-examination of the current demands by the SAR government to re-industrialise Hong Kong, the significance of factories changes, now representing their latent desire to be filled with production again. ‘The return to the vanished factory tour’ projects a history of radical de-industrialisation in the city, and, incidentally, the neoliberal rhetoric that accompanies it.

306 —— 307 Spinning East Asia

參考文獻

Harun Farocki，＜ Workers Leaving the Factory ＞，Laurent Faasch-Ibrahim 譯。 《Senses of Cinema》，第 21 期 （2002 年）。 https://www.sensesofcinema.com/2002/harunfarocki/farocki_workers/ Emily Honig，《Sisters and Strangers: Women in the Shanghai Cotton Mills, 19191949》， 史丹福：史丹福大學出版社，1986 年。 上海市地方誌辦公室，〈工業分誌紡織業卷〉(1978–2010），2021 年，《上海市誌》[ 線上 ]，

2021 年 1 月 29 日，http://61.129.65.112/dfz_web/DFZ/Info?idnode=269377&tableName= userobject1a&id=473205，2022 年 6 月 1 日讀取。 Elizabeth J. Perry，《Shanghai on Strike: The Politics of Chinese Labor》，史丹福：史丹 福大學出版社，1993 年。. 啓之，《毛澤東時代的人民電影 (1949-1966 年 )》，台北：秀威，2010 年。 舒明，〈社會派電影巨匠山本薩夫 ( 下 )〉，香港電影評論學會網頁，2020 年 10 月 22 日， https://www.filmcritics.org.hk/node/2801 ，2022 年 6 月 1 日讀取。

Gayatri Spivak，＜ Culture ＞，《A Critique of Postcolonial Reason: Toward a History of the Vanishing Present》， 波士頓：哈佛大學出版社，1999 年，頁 338-352。 Gayatri Spivak，＜ Limits and Openings of Marx in Derrida ＞，《Outside in the Teaching Machine》，紐約：Routledge，1993 年，頁 97-119。 王洪喆，〈從「赤腳電工」到「電子包公」：中國電子信息產業的技術與勞動政治〉，《開放時 代》 ，第 3 期（2015 年），頁 34-48。 夏衍，《包身工》，北京：人民文學出版社，1978 年。 山本義隆，〈女工的悲慘時代〉，《日本科技 150 年》，蔣奇武譯，杭州：浙江人民出版社， 2019 年，頁 52-55。 周揚，〈論《紅旗歌》〉，《周揚文集》第二卷，北京：人民文學出版社，1985 年，頁 23-24。

References Farocki, Harun. (2002) Workers Leaving the Factory. Trans. Faasch-Ibrahim Laurant. Senses of Cinema. 21. https://www. sensesofcinema.com/2002/harun-farocki/farocki_workers/.

Honig, Emily. (1986) Sisters and Strangers: Women in the Shanghai Cotton Mills, 1919-1949. Stanford: Stanford University.

Office of Shanghai Chronicles. (2021) Gongyue fenzhi Fangzhi Yejuan (1978-2010) [Industry Branch Chronicle Textile Industry (1978-2010)], Shanghai shizhi [Shanghai Chronicle] [online], 29 Jan 2021. http://61.129.65.112/dfz_web/DFZ/ Info?idnode=269377&tableName=userobject1a&id=473205. [Accessed 1st Jun, 2022] Perry, Elizabeth. J. (1993) The Politics of Chinese Labor. Stanford, Stanford University.

Qi, zhi. (2010) Maozedong shidai de renmin dianying (1949-1966) [People's Films in the Mao Zedong Era (1949-1966)].

Taipei, Xiuwei.

Shu, Ming (2020). Shehui pai dianying jujiang shanben safu (xia) [Socialist Film Master Satsuo Yamamoto (Part 2)]. Hong Kong Film Critics Society’s Website. https://www.filmcritics.org.hk/node/2801. [Accessed 1st Jun, 2022] Spivak, Gayatri Chakravorty. (1999) Culture. In: A Critique of Postcolonial Reason: Toward a History of the Vanishing Present. Boston, Harvard University, pp.338-352.

Spivak, Gayatri Chakravorty. (1993) Limits and Openings of Marx in Derrida. In: Outside in the Teaching Machine. New York, Routledge, pp. 97-119.

Xia, Yan. (1978) Baoshengong [Indentured Work]. Beijing, People's Literature Publishing House.

Zhou, Yang. (1985) Lun ‘hongqi ge’ [On the ‘Red Flag Song’]. In: Zhou Yang Collected Works (Vol.2). Beijing, People's Literature Publishing House, pp. 23-24.

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Yamamoto, Yoshitaka. (2019). Nugong de beican shidai [The Tragic Times of Women Workers]. 150 Years of Japanese Science and Technology. Trans. Jiang Qiwu. Hangzhou, Zhejiang People's Publishing House, pp. 52-55.

308 —— 309

Wang, Hongzhe. (2015) Cong ‘chijiao diangong’ dao ‘dianzi baogong’: zhongguo dianzi xinxichanye de keshu yu laodong zhengzhi [From "Barefoot Electrician" to "Electronic Bao Gong": Technology and Labor Politics of China's Electronic Information Industry]. In: Open Times. (3), 34-48.

紡織創造新人

Weaving the New Generation

紡 織 創 造 新人

在中國北方的太行山與太岳山之間，有一個叫做武鄉的地方，這個 名字已經擁有將近兩千年歷史。1940 年代，就在這裡，來自山西的 農婦、來自北平的木刻家、來自上海的作家，三位背景迥異的婦女 因「紡織」產生了漫長歷史中前所未有的命運交匯。在現代中國的艱 難歷程中，一類誕生而適應於革命潮流的「新人」在這場似乎不太起 眼的交匯中顯影。 （一）王桃梅：從棄民到英雄 1939 年，中共北方局進駐太行山武鄉縣，這片大山深處的土地在此 後大約十年間成為革命先鋒政治實踐的實驗田。 王桃梅是武鄉一個村莊里的童養媳，打仗時丈夫被抓走當兵，只能 通過與村裡其他男性發生性關係換取必要的勞動力養活自己與女 兒。為此，她在村裡臭名昭著，成了主流社會的棄民。 然而，與過去一代又一代身世相似的婦女不同，桃梅與前所未有的 革命時刻迎面相逢，用雙手編織出改變命運的解放議程。 邊區紡織運動開展後，桃梅找到村裡 5 個和自己遭遇相似的婦女， 成立了一個秘密紡織小組。她們買了棉花一起開始紡織。兩個月 後，村長發現了王桃梅的小組，調查得知她們的勞動成果頗豐後， 在全村大會上宣佈，從今以後不僅不能孤立她們，還要向她們看 齊。 接下來的一年，王桃梅的互助合作組織不斷吸收婦女、老人乃至殘 疾人等「社會上遺棄了的人」，並圍繞「按勞分配」概念在實踐中摸索 出一套以民主討論為基礎的組織機制及分配制度。原本只有 6 個人 的小組發展為 42 人的小型合作社。 1945 年前後，王桃梅被評為太行區紡織英雄，她的工作方法被收錄 進太行地區表彰大會的會議材料分發給各個村莊。自此，王桃梅與 她的紡織互助組在古老的太行山引領了革命時代的新浪潮。

孔煜也

Kong Yuye

Weaving the New Generation

Set between the Taihang and Taiyue Mountain ranges in northern China, there is an area called Wuxiang with a history going back two thousand years. In the 1940s, the destinies of three women with distinct backgrounds a peasant woman from Shanxi, a woodcut artist from Peiping and a writer from Shanghai - converged in a remarkable way here due to the spinning and weaving of textiles. Amidst those challenging times in modern Chinese history, a series of seemingly unremarkable meetings helped give birth to a type of New People who adapted the revolutionary trend.

(1) Wang Taomei: From Social Outcast to Hero In 1939, the Northern Bureau of the CPC was nestled deep in the Taihang Mountains in Wuxiang County. The area was the site of experimental and pioneering revolutionary political practice for about ten years.

Wang Taomei was a child bride from a village in Wuxiang. After her husband was forcibly conscripted to serve as a soldier during the war, she developed relationships with men in the village, who in turn provided labor that helped support Taomei and her children.

Consequently, she gained a reputation and was cast out from mainstream society.

Unlike past generations of women in similar circumstances, Taomei responded differently. In an unprecedented revolutionary moment she used her hands to weave a fate-changing liberation.

When a textile initiative was launched in the border area, Taomei gathered 5 village women in a similar situation and set up a secret textile production group. They purchased cotton and began to spin and weave together. Two months later, the village chief discovered Wang Taomei's group and marveled at their output. In the village meeting, the shunned anymore, they should be looked up to and emulated.

310 —— 311

chief announced that from now on, not only should the woman not be

Spinning East Asia

紡織，自古就被認為是一種婦女勞動。在中國農村很多地方， 「男耕女織」是 延續數百年的小農家庭分工典型模式。而在中共邊區，紡織是勞動，更是一種 激進政治的物質性載體。在這張名為《紡織競賽》版畫中，婦女坐在一個空間 中共同紡線織布，這與小農家庭中自給自足的「女織」已經有根本區別。婦女 走出了孤立的家庭空間，進入了集體的社會空間。空間的轉換更意味著婦女從 無名之「非人」成為有名之勞動者。「勞動光榮」等革命價值開始替換、彌補、 融合傳統倫理秩序，王桃梅們抓住了這個劇烈變動的時刻，一躍成為新社會所 召喚的新人模範。正是在這個意義上，大山中這些未曾接受過新式教育的婦女 成為了 20 世紀革命的先鋒。1

( 圖 1) 木刻版畫《紡織競賽》，《The Challenge of Red China》第 172 頁 (Fig. 1) Woodblock print titled Textile Competition, The Challenge of Red China, pp.172

（圖 2）紡織模範獎旗與紡織英雄牌匾，《武鄉婦女運動史料選 編》，1983，山西省武鄉縣婦女聯合會 (Fig. 2) Banners and plaques for model textile workers and heroes, Wuxiang funu yundong shiliao xuanbian [Wu Xiang Women’s Movement], 1983, Women’s Federation of Wuxiang Country in Shanxi Province

（二）曾克：寫作新人的人 1945 年，太行山武鄉縣附近的山路間，作家曾克騎著毛驢，馱著 5 歲的孩 子，從延安風塵僕僕而來，走家串戶與老鄉聊天，飽含激情地寫下當地人的故 事。後來，她將那時的文章編選成集，說道：「我的文學創作，應該說是從這 時候才算真正開始。」( 曉崗，2011)

（圖 3）曾克作品《新人》 ，收集了作家在抗日根據走訪時的作品

(Fig. 3) Zeng Ke’s Xin Ren [New Person], a compilation of the essays she wrote during the Anti-Japanese War

Over the next year, Wang Taomei's mutual aid and cooperation association continued to attract women, the elderly, disabled people and others ‘abandoned by society’. Arising from democratic discussion and practical experimentation, the group also began to explore the concept of ‘to each according to their contribution’ as an organisational system and distribution mechanism. What started as a group of 6 women grew into a small cooperative of 42 people.

Around 1945, Wang Taomei was named Taihang District Textile Hero, and her working methods were included in the meeting materials of the Taihang District Commendation Conference and distributed to other villages in the area. Wang Taomei and her textile mutual aid group inspired a revolutionary new wave in the ancient Taihang Mountains.

Since ancient times, spinning and weaving have long been considered women's work. In many parts of rural China, the phrase ‘Men plough, women weave’ has been used for hundreds of years to describe the typical division of labor in small farm households. In the CCP border areas, textile work was now considered to be a material form of radical politics.

In the above print titled Textile Competition, women sit together spinning and weaving. This is already fundamentally different from earlier ‘women weavers’ who worked by themselves on small self-sufficient farms.

Women have moved out of the isolated domestic space into collective society. This highlights the transformation of women from a nameless and ‘inhuman’ existence to becoming valued workers. Revolutionary values such as ‘The glory of labor’ began to replace, supplement, and be incorporated into the traditional ethical system. People like Wang Taomei seized the moment amidst drastic changes to become what the New Society was calling for - a model New Person. In this sense, these mountain women, without any modern schooling, became the vanguard 1

of the revolution in the 20th century.

(2) Zeng Ke (1917-2009): Next Generation Writer In 1945, writer Zeng Ke and her five-year old child rode a donkey along the mountainous roads of Wuxiang County near Taihang Mountain. Having made the arduous journey from Yan'an, she wove her way from house to house chatting with villagers. Excited and inspired, she wrote down the stories of the area's people.

was the real start of my literary creation.’ (Xiao Gang, 2011)

312 —— 313

Later, when she had compiled her essays from that time, she said, ‘This

Spinning East Asia

曾克，原名曾佩蘭，1917 年生於河南的知識分子家庭。1935 年，就讀於 開封私立北倉女子中學的曾克因為支持一二九運動被學校勸退，前往上海 成為一名幼兒園保育員。 1937 年，前途未定的曾克擁有了兩個新身份——伴侶與作家。這一年， 淞滬會戰爆發，剛剛進入大學的曾克積極投身於抗日救亡活動，並因此與 東北作家于黑丁走到一起。不久，她開始發表文章，受到茅盾等文藝界人 士好評。 在武漢、重慶等地輾轉幾年後，曾克和黑丁於 1940 年在周恩來的安排下 奔赴延安，「到了久盼的母親懷抱。我開始了安定、愉快、溫飽的生活」。 在這裡，曾克生下了自己的第一個孩子，也就是那個在毛驢上和母親一起 顛簸著進入太行山的小男孩。這些內容來源於曾克子女曉崗在母親去世時 所寫的懷念文章 ( 曉崗，2011) 2。然而，在這篇詳細的生平回顧文章中， 曾克的第一任伴侶以及第一個孩子的父親于黑丁只有出場，沒有退場。 我們不知道他與曾克如何分開，只知道曾克與後來的伴侶羅崗於 1950 年 結婚。可以確定的是，1945 年前往太行時，曾克是一名事實上的單身母 親，在此情況下開啟了創作生涯的一個高峰。

3

帶著這樣的背景，再去閱讀曾克筆下的王桃梅，我們看到的就不再只是桃 梅——腐朽的老村長認為桃梅勾引男人，將桃梅關入禁閉室三天，桃梅 出來後找到新政權幹部，哭訴道：「我自搭 ( 從 ) 嫁了男人，沒有受過他一 口好氣，過一天好日子。為他，我哭了 20 天把腳裹小，5 年給他生了三 個孩子。沒有起過二心想不把日子過好。可是，人家眼黑心黑，還是沒有 我，一天到晚鑽到相好家。為這，我去他相好那找他，啥話沒敢說，人家 兩人一齊動手，把我的胳膊打的幾個月不能動彈……我想，他能這樣，我 也能這樣。各人找各人的好過算啦 !…… 那時候，是個頑固社會。興男人放火，不許女人點燈……咱新社會啦，興 離婚啦 ! 他四五年可連個信也沒有，我拉把個孩子，日子不好過呀！得誰 一點好處，一比那時候，他咋待承我，就把不住了呵 !」 曾克以充滿同情的筆觸向讀者解釋，桃梅前半生最大的「污點」完全是由 於生在「舊社會」的不幸，而非她個人過錯。在她飽含情感的敘述中，桃 梅與男性的婚外關係一方面是出於丈夫被抓走後的生存需要，另一方面是 由於丈夫虐待的經歷而對對自己更好的男性產生了真正的情感。 在這些細膩的內心剖析中，我們在曾克的筆下看到了活生生的桃梅，更在 桃梅的身上看到了帶著孩子獨自走進大山的曾克。 在文藝下鄉和紡織生產這兩個有組織的邊區社會運動中，兩個背景迥異的 婦女在一個小村莊相遇了。在激進的政治進程中，她們主動利用身為女性 特有的生命經驗進行了深刻的自我改造。這一改造的徹底性在於，它超越 了五四以來集中於知識分子階層的個人覺醒，使得跨越階層背景的婦女命 運同構成為可能，實現了超越單純的姐妹情誼（sisterhood）的革命共情。

Zeng Ke, original name Zeng Peilan, was born into an intellectual family in Henan in 1917. In 1935, Zeng Ke was dismissed from the private Beicang Girls' High School in Kaifeng for supporting the December 9th Movement. She then left for Shanghai to become a kindergarten teacher.

By 1937, a still unsettled Zeng, had two new identities - partner and writer. When the Battle of Shanghai began, Zeng Ke had just started university, however, she threw herself into the Japanese resistance National Salvation movement. She then met Yu Heiding, a writer from Northeast China, and soon began to publish her own articles. Her works were well received by the literary world, including luminaries such as Mao Dun. After a few years of travelling from Wuhan to Chongqing, as well as other places, Zeng Ke and Heiding were assigned by Zhou Enlai to go to Yan'an in 1940. ‘ After being back in my mother’s arms, I lived a life of peace, happiness and fulfilment.’ Here, Zeng Ke gave birth to her first child, the same little boy who travelled along the bumpy roads on a donkey with his mother through the Taihang Mountains. In fact, this story comes from a nostalgic account written by Zeng Ke's child, Xiaogang, after her death. In the detailed biographical article, we do not find out what happened to Zeng's first partner, Yu Heiding, or how they separated. We only learn that Zeng Ke married her later partner, Luo Gang, in 1950 (Xiao Gang, 2011) 2. What is certain is that Zeng's travels to Taihang in 1945, as a single mother and in such historical circumstances, provided a wellspring of creative inspiration for her. 3 Upon knowing Zeng Ke's backstory, we no longer only see Taomei when reading Zeng Ke's Wang Taomei.

The decadent old village chief thought that Taomei had seduced men, so he punished Taomei by confining her in a room for three days. When Taomei emerged, she sought out a cadre from the new government and cried: ‘I married a man of my own accord, but never heard one kind word from him or passed one good day with him. I cried for 20 days when I bound my feet for him, and I gave him three children over 5 years. I better life. But he was always angry and wouldn't have me. He spent his days at his lover's house. I went there to look for him, but I didn't so badly I could not use them for months... I thought, if they can do this, why can't I? Everyone should find their own happiness, I'm done!

Spinning East Asia

dare to say anything about it, because the two of them beat my arms

314 —— 315

was never untrue, and never harbored any thoughts about living a

這種共情建立在正劇烈變動的社會結構上，指向新社會的新人理 想。到底誰才是新人？桃梅當然是，曾克則更需要是。桃梅成為紡 織英雄是通過紡織勞動與組織實踐，本質上並不需要曾克的書寫。 然而，書寫桃梅這樣的新人新事，對於曾克來說卻是她從「舊知識 分子」向「新人」轉變的核心實踐。 比起桃梅需要曾克，曾克更需要桃梅。這種歷史觀的顛覆，並不 是個例。 （三）楊筠：木刻輕騎隊的先鋒

（圖 4）楊筠，《努力織布 堅持抗戰》，1940，中國國家博物館。

(Fig. 4) Yang Yun, Diligently weave cloth, support the resistance, 1940.

Collection of National Museum of China.

1940 年臘月二十七 4，魯藝木刻團成員楊筠與胡一川帶著幾千 份 突 擊 印 好 的 彩 色 木 刻 年 畫 來 到 武 鄉 縣 的 集 市 上 擺 攤 ( 彥 涵， 1957)，其中有一張看起來格外喜慶。紙面上，一位穿著紅棉襖的 婦女坐在紅彤彤的織布機前面，手拿梭子正在勞動，畫面右側同 樣用紅字寫著「努力織布 堅持抗戰」，這是楊筠的作品。很快，所 有年畫被老百姓搶購一空。

5

楊筠的背景與曾克相似，1919 年生於山東，16 歲考入北平藝術職 業學校學繪畫。學繪畫的原因是「在那個年代我們這些十幾歲的姑 娘想從舊的封建家庭逃離出來，學點本領，養活自己，不靠別人， 想法很簡單」。 入學不久，楊筠參加了一二九運動，和曾克一樣很快就離開學校 前往外地，認識了後來的伴侶羅工柳，並開始學木刻。後來，她 接到同學的信件說，延安有飯吃、有學上，而後想盡辦法獲取路 費終於到達延安。

Back then, society was very conservative. Only men were allowed to light fires, woman couldn't light a lamp...we are a new society now, permit us to divorce! In the past four or five years, I have not received one letter from him. I have raised these children and my life has not been easy! Who does this benefit? For all this time, he has treated me like this and I can do nothing!’

Zeng Ke has sympathetically explained to readers that the reason for the ‘stain’ on Taomei's reputation during the first half of her life was due to the misfortune of being born in the ‘old society’ and not any fault of her own. Her moving narrative explains that Taomei's extramarital relationships with men were based on the need to survive after her husband is conscripted, and because she developed real feelings for men who treated her well after being abused by her husband.

Through her delicate dissection of matters of the heart, we see the real-life Taomei as well as the young Zeng Ke traveling through the mountains with her child.

In this story, two women from very different backgrounds meet in a small village due to the organised Down to the Countryside and Textile cooperative movements in the border regions. While participating in new radical government programs, the two women took the initiative to utilise their female life experience to undergo radical transformations. The completeness of this transformation transcends the awakening of the individual in the May Fourth Movement, which mainly involved the intellectual class. This transformation applied to woman across all class backgrounds engendering a revolutionary empathy that went beyond mere ‘sisterhood’. This empathy was built upon a drastic change in societal structure. In the end, who was this new type of person? Taomei of course, but the transformation of people like Zeng Ke was needed even more. Taomei became a Textile Hero through her labor and organisational practices; she did not need Zeng Ke to write about her to achieve this. Zeng Ke, however, by writing about the new generation and how they did things, was at the epicenter of transforming the ‘old intellectuals’ into the ‘a new type of person’. Thus Zeng Ke needed Taomei relationships that was not an isolated case.

316 —— 317

more than Taomei needed Zeng Ke - an upending of historical

Spinning East Asia

1938 年， 魯 藝 木 刻 工 作 團 成 立， 胡 一 川「不 要 女 同 志， 嫌 女 同 志 麻 煩」， 楊 筠 沒 有 被 接 納， 羅 工 柳 成 為 工 作 團 最 早 的 4 名 成 員 之 一。 實 際 上， 木 刻 團 啟 程 前 往 太 行 時， 楊 筠 始 終 同 路。 到 達 北 方 局 後， 楊 筠 被 分 配 到 新 華 日 報 創 作 插 圖， 正 式 開 始 從 事 木 刻 創 作， 同 期 與 羅 工 柳 結 婚。 直 到 1941 年 底 被 調 回 延 安， 楊筠一直在太行山區工作，參與組織了木刻訓練班以及木刻流動展覽 等活動 ( 秦建平、楊筠，2017：頁 24-28)。 其中，魯藝木刻工作團在 1940 年春節創作的木刻新年畫不僅在當時 獲得巨大反響，在今天也被認為是現代中國木刻史的重要事件。 胡一川將魯藝木刻工作團定位為一支到群眾中去的「木刻輕騎隊」 。 在太行展出作品後，他們發現部分農民群眾看不懂他們的作品，於是 「解決木刻的大眾化和民族化」成了當務之急 ( 胡一川，1961：頁 45)。6 在這場成功的創作實驗中，楊筠的《努力織布 堅持抗戰》是 8 張年畫 中唯一一張以婦女為主體形象的作品 ( 區苑琳，2021)， 而楊筠也是 7

「木刻輕騎隊」的唯一一名女性成員（儘管似乎從未被正式承認）。通 過明顯的性別化分工，楊筠與成千上萬的紡織婦女形成了互構關係。 楊筠在畫王桃梅們，也是在畫自己。通過掌握刻刀，她將太行山成千 上萬用雙手編織出革命物質基礎的婦女記錄下來，同時也將自身作為 木刻輕騎隊這一先鋒革命藝術團體的主體身份鑿刻下來。楊筠的創 作，成為了一道深刻的歷史印痕。 楊筠後來的故事提示著這道痕跡的重要性—— 「我在新正縣三鄉做了鄉文書，覺得很好，過去沒有那麼深入地下 鄉……我們那時候要做畫家，要成為甚麼甚麼人。後來覺得經過這樣 工作之後，原來那個想法不應該，應該是深入群眾，為群眾做事…… 後來要成立美術學院，我說我不去美術學院，我不去教書，我要搞我 的木刻，我要下工廠…… 中央美術學院成立以後，羅工柳他們那一批就特別著急想畫畫。羅工 柳很快創作了兩張畫出來……他去蘇聯進修了，我有個兒子……學校 說羅工柳走了，你到這（美術學院）來吧，把你這個兒子管起來吧。」 ( 秦建平、楊筠，2017：頁 24-28) 楊筠的自述帶著俏皮，恰恰更透露出理想的真誠。離開延安下鄉多年 後，楊筠已經不想做「畫家」或「成為甚麼甚麼人」，只想著「為群眾

(3) Yang Yun (1919-2020): Pioneer of the Woodcut Light Cavalry On the 27th day of the 12th lunar month in 1940 4, members of the Luyi Woodcut Work Team, including Yang Yun and Hu Yichuan, brought thousands of colored woodblock New Year prints to the market in Wuxiang County (Yan, 1957). Yang Yun's work, a printed picture of a woman in a red cotton-padded jacket sitting in front of a bright red loom, working with a shuttle in hand, was particularly festive. The right side of the picture read ‘Diligently weave cloth, support the resistance’. Soon all the New Year's pictures were snapped up by the common people. 5 Yang Yun has a background similar to Zeng Ke's. Born in Shandong in 1919, she was admitted to the Peiping Art Vocational School at the age of sixteen to study painting. The reason for learning to paint was that, ‘In those days, we teenage girls simply wanted to escape from the old feudal family ways, learn some skills, support ourselves, and not rely on others.’

Like Zeng Ke, Yang Yun joined the December 9th Movement soon after entering university and also left for the border regions. After meeting her future partner, Luo Gongliu, Yang began to study woodcut printing. When she received a letter from a classmate saying that the CCP base in Yan'an was providing food and classes, Yang Yun worked hard to raise travel expenses and finally arrived in Yan'an.

In 1938, the Luyi Woodcut Work Team was established. Leader Hu Yichuan ‘didn't want female comrades, suspecting them to be troublesome.’ Yang Yun was not accepted, but her partner, Luo Gongliu, became one of the first four members of the work group. When the woodcut unit left for Taihang, however, Yang Yun accompanied them. After arriving at the Northern Bureau, Yang Yun was assigned to be an illustrator at the Xinhua Daily newspaper and officially began to create woodcuts. She also married Luo Gongliu. Until 1941, when she was transferred back to Yan'an, Yang Yun worked in the Taihang Mountains organising woodcut training classes and traveling exhibitions (Qin, 2017: pp. 24-28).

The aforementioned New Year woodcut works created by the Luyi Woodcut Work Team for the 1940 Spring Festival in Wuxiang received wide acclaim and are considered today to represent a seminal moment in modern woodcut history. 6 318 —— 319 Spinning East Asia

做事」。在羅工柳回北京進入中央美術學院後，楊筠跟他和孩子「分 道揚鑣」，留在了河北的華大。直到羅工柳前往蘇聯，楊筠才不得不 放棄在基層搞木刻，回到北京照顧孩子 ( 同上 )。然而，這位「木刻輕 騎隊」堅持到最後的先鋒在 1950 年後主要在中央美術學院從事教務 工作，此後難以再尋歷史蹤跡。 三位婦女的故事終於匯聚在同一條脈絡上。通過紡織、寫作、木刻， 她們在自我革新的同時互相建構起新人的主體位置。這是前所未有的 解放時刻，它坐落在一個漫長的歷史脈絡上，近代以來的婦女運動與 革命政治相互哺養，走過了漫長的 20 世紀，終於構成社會主義中國 婦女解放的前奏，也孕育了當下許多中國婦女仍舊在共享的生命經 驗。在今天，這段歷史仍豐富著我們對現實的想象力。

Hu Yichuan positioned the Luyi Woodcut Work Team as a ‘light cavalry unit’ for the masses. When they first began exhibiting works in Taihang, however, they found some peasants could not understand them, so ‘achieving popularisation while promoting nationalisation’ became a priority (Hu, 1961, p.45).

In the successful and creative 1940 exhibition, Yang Yun's ‘Diligently weave cloth, support the resistance’ print was the only one of eight different New Year prints to feature a women as the main subject (Ou, 2021), 7 and Yang Yun was the only female member of the ‘Woodcut Light Cavalry’ (albeit unofficially). Yang Yun experienced gender assigned work just as thousands of female weavers had. In her art she found a way to create a connection with them through her woodcut image of a female weaver.

Yang Yun's print depicted Wang Taomei, as well as herself. By mastering the carving knife, she recorded the thousands of women in the Taihang Mountains using their hands to weave the material foundation of the revolution. At the same time, she carved out her own identity as a key member of the vanguard Woodcut Light Cavalry Work Team and left a deep mark on history. Yang Yun's later story reminds us of the importance of these traces.

‘In Sanxiang, Xinzheng County, I worked as a village clerk and felt very good about it. In the past, we didn't go so deep into the country... At that time, we wanted to be artists. We all had something we wanted to be. Later, after doing this kind of work, I felt that idea was wrong. We should immerse ourselves in the masses and work for the masses...

Later, they wanted to establish the Academy of Fine Arts. I said I will not attend; I will not teach. I want to do my woodcuts prints; I want to work in a factory...

After the establishment of the Central Academy of Fine Arts, Luo Gongliu and that bunch were very anxious to become painters. Luo Gongliu quickly painted two works... He went to the Soviet Union to study. I had a son... The school said Luo Gongliu has gone, come here (to the Academy of Fine Arts), and take care of your son.’ (Qin, 2017, pp.24-28) Yang Yun's self-description is playful, while subtly revealing her genuine idealism. Many years after leaving Yan'an to go to the countryside, Yang Yun no longer wanted to be an ‘artist’ or become ‘somebody’, she only wanted to ‘work for the masses’. After Luo Gongliu returned to Beijing and entered with him and moved to North China University in Hebei. Yang Yun practiced woodcut printing at the grassroots level until Luo Gongliu went to the Soviet In Beijing, she carried on as a vanguard of the ‘Woodcut Light Cavalry Work Team’, teaching at the Central Academy of Fine Arts until 1950, when most of her historical traces disappear.

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Union and she had to return to Beijing in order to take care of her child (ibid.).

320 —— 321

the Central Academy of Fine Arts, Yang Yun and her child ‘parted ways’

註釋 有學者指出，模範不能代表大多數普通人，在具體實踐中模範甚至可能會對普通人造成壓迫。但需要指出 的是，一切社會實踐都需要放置在具體連續的歷史語境中去看，1940 年代的中國北方農村婦女首次在從長期 的系統性壓迫中獲得解放感。模範婦女及其代表的解放感是具有革命性的。參見賀蕭（Gail Her shatter）及高 小賢對集體化時期陝西婦女所做的訪談研究。 1

2 作者在文章中曾以「母親」稱呼曾克，本文應是曾克子女在母親去世的懷念文章。參見曉崗＜革命女作家 曾克的人生軌跡＞。 3 1942 年 5 月，毛澤東在延安文藝座談會上提出「中國的革命的文學家藝術家，有出息的文學家藝術家，必 須到群眾中去，必須長期地無條件地全心全意地到工農兵群眾中去，到火熱的鬥爭中去，到唯一的最廣大最豐 富的源泉中去」。此後，延安文藝工作者開啟了大規模的文藝下鄉運動。文藝下鄉成為延續至今的一種文藝制 度。1942 年 5 月，毛澤東在延安文藝座談會上提出「中國的革命的文學家藝術家，有出息的文學家藝術家，必 須到群眾中去，必須長期地無條件地全心全意地到工農兵群眾中去，到火熱的鬥爭中去，到唯一的最廣大最豐 富的源泉中去」。此後，延安文藝工作者開啟了大規模的文藝下鄉運動。文藝下鄉成為延續至今的一種文藝制 度。 4

彥涵回憶為臘月二十三。

5

另有版本說擺攤地點在襄垣縣。

6

1942 年延安文藝座談會召開後，木刻團因太行工作經歷被稱為「大魯藝」，經常宣講工作經驗。

7 關於這 8 張年畫的創作情況有不同說法。據彥涵回憶，僅一張為楊筠所作。也有說法稱，楊筠另有一幅 《兒童團檢查路條》。無論如何，其中的性別分工是非常明確的，楊筠負責婦女兒童相關的創作。

參考文獻 胡一川，＜回憶魯藝木刻工作團在敵後＞，《美術》，第 6 期（1961 年），頁 45。 區苑琳，＜奔赴前線的「木刻輕騎隊」——魯藝木刻工作團＞，中央美術學院美術館網頁，2021 年，https://

www.cafamuseum.org/en/exhibit/newsdetail/2811，2022 年 5 月 30 日讀取。 秦建平、楊筠，＜從北京到延安 從延安到北京＞，《美術研究》，第 3 期（2017 年），頁 24-28。 曉崗，革命女作家曾克的人生軌跡，中國作家網，2011 年 3 月 24 日，http://www.chinawriter.com.cn/ wxpl/2011/2011-03-24/95497.html，2020 年 5 月 4 日讀取。 彥涵，＜憶太行山抗日根據地的年畫和木刻活動＞，《美術》，第 3 期（1957 年），頁 33-35。

The stories of the three women finally converge into a single thread.

Using their weaving, writing, and woodcutting, they helped create new positions for one another as members of the new generation. This was an unprecedented moment of liberation in China's long history when the modern woman's movement and revolutionary politics nourished each other. In the arduous history of the twentieth century, we can see the prelude to the emancipation of women in socialist China. The artistic work of the three woman fostered the sharing of life experiences amongst Chinese women that we see today. This historical period informs how we can use our imagination to confront reality today.

Endnotes 1 Some scholars have pointed out that exemplary role models cannot represent the majority of people, and in some circumstances may even create additional pressures for ordinary people. It should be pointed out, however, that social practices are best viewed within their historical context. Rural women in northern China first gained a sense of liberation from long-term systematic oppression in the 1940s. Model females and the sense of liberation they represented was revolutionary. See Gail Hershatter and Gao Xiaoxian's interviews of Shaanxi women about the collectivisation period.

2 The author, Xiaogang, refers to Zeng Ke as ‘mother’ in the article, and this article is assumed to be the memorial written by Zeng Ke's son child after she died. See Xiaogang’s Geming nuzuojia Zengke de rensheng zhouji [The Life of Revolutionary Female Writer Zeng Ke].

3 In May 1942, Mao Zedong pointed out at the Yan'an Forum on Literature and Art that ‘China's revolutionary writers and artists, her promising writers and artists of promise, must go live among the masses long-term, wholeheartedly and without conditions. Go to the workers, peasants and soldiers, go to the fiery struggle, go be amongst the greatest and richest wellsprings.’ Afterwards, Yan'an writers and artists launched the large-scale Down to the Countryside movement, an artistic genre that continues to this day.

4

Yan Han recalled that it was the 23rd of the twelfth lunar month.

5

Another version says that the stall was located in Xiangyuan County.

6 After the Yan'an Literature and Art Symposium was held in 1942, the woodcut troupe was called ‘Great Lu Art’ because of its work experience in Taihang, and they often gave speeches about their work experience.

7 There are different opinions on the creation of these eight New Year prints according to Ou Yuanlin. According to Yanhan's recollection, only one was made by Yang Yun. It is also said that Yang Yun made another print called Children's Team Checking the Road. In any case, the gender division of labor is very clear, and Yang Yun was responsible for art related to women and children. For more on this, see Ou Yuanlin's article on the CAFA website.

References Hu, Yichuan. (1961) Huiyi Luyi muke gongzuotuan zai dihou [Memories of the Luyi Woodcut Work Group behind the Enemy]. Meishu. (6), 45.

Qin, Jianping. (2017) Yang Yun: Cong Beijing dao Yanan, cong Yanan dao Beijing [Yang Yun: From Beijing to Yan'an From Yan'an to Beijing]. Meishu Yanjiu.(3), 24-28.

Yan, Han. (1957) Yi taihangshan kangri genjudi de nianhua he muke huodong [Remembering the Nianhua and Woodcut Movement of the Taihang Mountain Anti-Japanese Base. Meishu. (3), 33-35.

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Xiaogang. (2011) Geming nuzuojia Zengke de rensheng zhouji [The Life of Revolutionary Female Writer Zeng Ke]. China Writer Website. http://www.chinawriter.com.cn/wxpl/2011/2011-03-24/95497.html [Accessed 4th May 2020].

322 —— 323

Ou, Yuanlin. (2021) Benfu qianxian de muke qingqidui - Luyi muke gongzuotuan [The Woodcut Light Cavalry Team Hurrying to the Front Line - The Luyi Woodcarving Working Group. Central Academy of Fine Arts Art Museum Website. https://www.cafamuseum.org/en/exhibit/newsdetail/2811. [Accessed 30 May 2022].

中島的飛氈

Nakashima's Flying Carpet

中島的飛 氈

在一次偶然的整理中，中島米拉（Mira Nakashima）在父親中島喬治 （George Nakashima）的工作室裡發現了一些從未見過的圖紙。 圖紙 的外包裝上貼著標籤，簡單地標註著「rug」（小地毯）字樣。 這些用 鉛筆繪製的抽象草圖上佈滿了一串串的數位，猶如待解的密碼。 曾 與中島喬治有過合作的美國制毯商愛德華．菲爾茲（Edward Fields Carpet Makers）隨即認出了這些數字密碼。1 它們與愛德華．菲爾茲 織坊至今仍在使用的織線和色彩名稱相符。通過這些數位，制毯商能 夠準確識別出地毯不同部分的色彩，進而重啟這一擱置了五十餘年的 織毯專案。 數位和色彩之間的轉譯關係令人聯想到 20 世紀 30 年代，織造圖像的 觀念更迭與工藝技術的革新幾乎同時發生。前者有意識的改革扭轉了 織毯的走向，不論是工業化的織造，還是其在藝術領域中的表達。 後者則將我們的視線引向另一個方向，關於技術、工具、生產、消 費。這些線索將隱秘的地域歷史和顯性的當代生活串聯起來，交織 成一幅新的圖景。

（圖 1）左：中島喬治（George Katsutoshi Nakashima，1905-1990） （圖 2）右：Pocantico II 手工編織地毯，產品編號：EF NSM15OR，材料：半精紡羊毛、黃麻、羊毛，尺寸：2'X2' (Fig. 1) Left: George Katsutoshi Nakashima, 1905-1990 (Fig. 2) Right: Pocantico II handwoven carpet. Product number EF NSM15OR. Materials: Semiworsted wool, jute, wool. Measurements: 2'X2'

任倢

Ren Jie

（圖 3）中島喬治手繪織毯設計稿 ，1959 年

(Fig. 3) George Nakashima's hand drawn carpet designs, 1959

Nakashima's Flying Carpet

During a tidying session at her father's studio, George Nakashima's daughter, Mira, came across some drawings she had never seen before. The cover of the drawings bore a typeface label that simply read ‘Rug’. The abstract pencil sketches were full of numbers like an unsolved code. The American carpet maker, Edward Fields, which had worked with George Nakashima, immediately recognised the numbers. They indicated the names of fibres and colors that Edward Fields Carpet Makers still use today. Through these digits, the carpet maker was able to accurately identify the colors of different parts of the carpet, and restart the carpet weaving project that had been on hold for more than 50 years. 1 Colors being translated into numbers is reminiscent of how, in the 1930s, the concept of designing carpets changed almost simultaneously with industrial innovation. The former consciously changed the direction of carpet making, not only through industrialisation, but also by affecting artistic expression. The latter directs our gaze to another direction: skills, tools, production and consumerism. These threads connect hidden regional histories to visible contemporary life, and weave together to create a new perspective.

Even though Nakashima's rugs were designed to be woven by hand, we cannot ignore the earlier technological breakthroughs made by rug maker Edward Fields in the mid-1930s. A manual tufting tool called ‘The Magic Needle’ was developed, which was then improved into an electric tufting gun. It greatly increased the weaving efficiency of tufted carpets and soon came into widespread use in the carpet industry. Unlike flat-woven carpets and jacquard rugs, the weaving of tufted carpets had never been automated in the Industrial Revolution, and were still produced by hand knotting.

Carpet quality is determined by the density of knots per square inch.

The knot density of wool carpets in the Caucasus is close to 200 knots per square inch, and the knot density of Indian silk carpets is carpets quickly and achieve a similar quality.

324 —— 325

as high as 2000. The new tufting guns allowed weavers to complete

Spinning East Asia

儘管中島設計的織毯全部用手工編織的方式完成，我們仍然不能忽視制毯 商愛德華．菲爾茲在 1930 年代中期的技術突破。一種被稱為「魔術針」 （the Magic Needle）的手動簇絨工具被開發出來，進而改良為電動簇絨槍 （tufting gun）。 它極大地提高了簇絨毯的織造效率，因而很快被織毯產業 廣泛採納使用。與平織毯和提花毯不同，工業革命並未實現簇絨毯織造的 自動化，人們仍採用純手工打結的方式生產。 毯子的品質由每平方英寸 內打結密度而定。 高加索地區羊毛地毯的打結密度接近 200 個結，印度 絲毯的打結密度高達每平方英寸 2000 個結。 而簇絨槍使織工能夠在極短 的時間內完成這些工作，獲得效果相同的產品。 在過去的數千年裡，織毯在變化和融合中不斷發展。不論是宮廷織毯、地 方織毯，還是遊牧織毯，其發展都保持著一種連貫性。這種連貫性一方面 來自織造圖像的傳承和演變，另一方面，雖然在不同的地區和文化中， 人們使用不同的織機——從臥式織機到懸掛式織機——但織毯的組織結 構和顯花方式始終建立在經緯線的基本邏輯之上。正如安妮．阿爾伯斯 （Anni Albers）所言，「紡織，就是將兩組線按直角交織。」(1971：頁 13) 即便是電子提花機和數碼織機亦未脫離這一原則。

（圖 4）太平地毯早期使用的電動簇絨槍

(Fig. 4) Early period electronic tufting gun at Tai Ping Carpets

（圖 5）電動簇絨槍

(Fig. 5) Electronic tufting gun

簇絨槍的出現打斷了這種連貫性。這一從生產效率和技術使用角度出發 而研製的工具並未拘泥於傳統的紡織工藝，其運作方式來源於戳繡（Rug Hooking ）。 織毯上的圖像不再與經緯線結構相關聯，其形式也不再受其 局限，而是著落在一塊現成的織物上。換言之，圖像走向了完全的自由。 一些前所未有的生產實踐被激發——極度複雜的寫實圖像、巨型的尺 度、大規模的複製——在過去，這是無法想像的工作。這種另類的工具 也使織毯者擺脫了織機的技術框架和傳統的勞動模式。 隨著機器的改變， 人機之間有機的互動和配合轉變為織工單方面的行動。 勞動過程中的時 間被壓縮，而空間則變得更為寬鬆。 這種變化深刻地挑戰了織造行業內部的生產關係和工藝倫理。時間的沉 澱轉化為加速的效率，個體技藝的傳承被集體培訓所取代。在中國， 1956 年創立於香港的太平地毯是最早使用簇絨槍的制毯商。最初的工人 大都是來自內地的難民，其中包括來自天津地區的織造工匠。他們把在 南方並不常見的織毯技術帶到了香港。源於北京宮廷式樣的天津地毯經 由織工之手，從手工打結走向新技術的應用，進而走向工業化生產。雖 然一些複雜的設計仍需要具有相當技術的簇絨工匠來完成，但沒有織造

The craft of carpet weaving developed for thousands of years through evolution and fusion. Whether carpets were made for a court, for regional use, or by nomads, their development maintained a certain continuity. This continuity came from the passing down of weaving patterns, which would continue to evolve. Another factor was that even though weavers from different regions and cultures used different types of looms - ranging from horizontal to hanging - the basis of carpet structure and pattern has always been found in the fundamental logic of warp and weft. As Anni Albers said, ‘Weaving is the interlacing of two sets of threads at right angles’ (1971: p.13). Even electronic jacquard machines and digital looms have never departed from this principle.

The appearance of the tufting gun ended this continuity. Developed with efficiency and technological advancement in mind and not bound by traditional craftsmanship, the tufting gun was based on the method of Rug Hooking. This meant that the design of the carpet was no longer linked to its warp and weft structure, but on a pre-made image.

In other words, the design or image represented became completely free. This inspired unprecedented production of extremely complex as well as realistic images, carpets made on a colossal scale and extensive reproduction of patterns - work that would never have been imaginable in the past. This alternative tool freed the carpet weaver from the technological framework of the loom, as well as the traditional labor model. With this change in machines, the organic cooperation and exchange between man and machine was transformed into unidirectional action by the weaver. The time spent on labor was compressed, while spatial restrictions expanded.

These changes profoundly challenged the internal relationships of production within the weaving industry as well as the ethos of the workers. Slow methodical work done over time became high-speed and efficient, and the handing down of inherited skills between individuals was replaced by collective training. Tai Ping Carpets, founded in Hong Kong in 1956, was the first carpet maker to use tufting guns in China. Most of the initial workers were refugees from the mainland, including weaving artisans from the Tianjin area. They brought carpet weaving techniques to Hong Kong that were not common in the South, but through their hands, the Tianjin carpet style that originated in the Beijing court was transformed still required highly skilled tufting craftsmen to complete, however, new technical applications allowed workers without any weaving provided new experience, but the vertically inherited carpet weaving

Spinning East Asia

experience to train quickly and start producing. Operating machines

326 —— 327

from hand-knotting to industrial production. Some complex designs

經驗的工人經過短暫的學習，亦能很快投入織造工作中。對機器的操 控成為新的經驗，縱向的傳承轉為橫向的普及。在簇絨槍的加持下， 織工們完成了大量高難度的商業訂單。1997 年，他們為香港主權交接 儀式織造了富於象徵意味的紅毯。

（圖 6）1957 年，葛量洪總督參觀太平地毯，體驗電動簇絨槍

(Fig. 6) 1957, Governor Grantham visits Tai Ping Carpets and operates a tufting gun

（圖 8） 1957 年，正在手工作業的天津織毯工人，美國記者 拍攝

(Fig. 8) 1957, Tianjin carpet weaver at work--taken by an American reporter.

（圖 7）1997 年 6 月 30 日，香港主權交接儀式上的紅毯由 太平地毯織造 (Fig. 7) 30 June 1997, the red carpet at the Hong Kong Handover Ceremony was woven by Tai Ping Carpets

（圖 9）右圖：美國紐約聯合國總部的長城掛毯由天津崔黃口 織毯工人於 1972 年織造。 新華社記者李木子攝 (Fig. 9) The Great Wall Tapestry at the United Nations Headquarters in New York, USA, was woven by carpet weavers from Tianjin, Cuihuangkou, in 1972.

Photo by Xinhua News Agency, Li Muzi.

而在這些織工的故鄉天津，人們仍然採用傳統的打結手藝織造地毯。從 清廷的定製到洋商的採買，自 17 世紀開啟的織毯業代代延續直至民國 初年，天津逐步成為地毯重鎮。興盛的民間織毯作坊在新中國成立後被 整合為國營工廠。 即使在現代化的生產體系裡，傳統工藝所特有的身 體經驗使師徒傳承的關係依然存在，並繼續延伸到一系列社會秩序中。 這一時期的天津織工們以高度的工匠精神完成了一些具有政治意義的生 產任務，包括 1959 年人民大會堂迎賓廳的巨型地毯和 1972 年贈送給聯 合國氣象總部的《長城》壁毯等。當織毯廠在 80、90 年代的市場經濟中 逐漸衰落後，織工的共同體開始分解，靈活高效的簇絨槍在 2000 年前 後被採用，民間織坊再一次迅速增長。 以簇絨槍這一新工具為引，地毯在香港和天津的發展所形成的有趣對應 隱約可見——從同根同源的傳統到新舊技術的分岔，從政治性的織造 到商業化的發展，甚或是可能的競爭與合作——它們可被視為一條線 索的兩端，將中國南北的織毯產業聯繫起來。在某種程度上，它們也是 全球織毯的一個當代縮影——傳統工藝被新技術取代，原有的秩序和 倫理格局被打散、被重建，當失去手工特性和時間厚度的機織地毯開始 變得同質化，地毯的政治和文化意味便被不斷削弱，相似的消費主義困 境則成為彼此的必經之路。

skills of the past became horizontally popularised. With the help of the tufting guns, the weavers could now produce high-end commercial orders in large volume. In 1997, they wove the richly symbolic red carpet for the Hong Kong Handover Ceremony.

In the weavers' hometown, Tianjin, people still used traditional handknotting techniques. From the 17th century on, Tianjin gradually became an important carpet centre, producing rugs ranging from bespoke Qing court designs to commercial products for foreign merchants. This continued for generations until the early years of the Republic, when the prosperous carpet weaving workshops were integrated into the stateowned factories of New China. Even in this modern production model, however, some of the practices unique to traditional craftsmanship, such as learning through experience and master apprentice relationships, still exist and continue to sustain a range of social patterns. During this time, Tianjin weavers completed some politically significant projects with a high spirit of craftsmanship, including the huge carpet in the reception hall of the Great Hall of the People in 1959, and the tapestry of the Great Wall presented to the United Nations Meteorological Headquarters in 1972.

When the carpet factories suffered a gradual decline after the introduction of a market economy in the 1980's and 90's, the weaving community began to disintegrate. Around 2000, however, the flexible and efficient tufting gun was adopted and private weaving workshops began to grow rapidly again.

Using the new tufting gun as a guide, interesting links between the development of carpet making in Hong Kong and Tianjin can be uncovered. Both were both rooted in tradition and then bifurcated into old and new technologies; they also each engaged in politically-related weaving as well as commercial production. There even arose the chance for competition and cooperation between them - carpet making in the two regions can be seen as two ends of the same thread linking North and South China. To a certain extent, this represents a contemporary microcosm of the global carpet industry: When carpets are no longer

328 —— 329 Spinning East Asia

（圖 10）上圖：海蒂 • 芙歐特（Heidi Voet） 《阿里巴巴和四十大盜》 （Alibaba and the 40 Thieves） 2016 年 (Fig. 10) Heidi Voet’s Alibaba and the 40 Thieves (2016) in the 2016 Shanghai Biennale

2003 年，簇絨槍的普及使天津織毯業的工作效率提高了數十倍，從過 去每天只能織出幾釐米的毯子，發展到每人每天一平方米的產量。過去 象徵著財富和地位的地毯迅速走向平民化，其所承載的社會秩序亦進入 消費主義的語境。 近年來，剪花環節也不再需要人工操作。圖案與紡 織工藝徹底脫離——熱轉印機器每天可以「列印」2000 平方米地毯。 上億張地毯被源源不斷地生產出來。高速、無瑕、快消，這些和傳統織 毯毫無關聯的特性正被織入這個以地毯為主角的中國故事。海蒂．芙 歐特（Heidi Voet）的作品《阿里巴巴和四十大盜》（Alibaba and the 40 Thieves，2016）正是對其所作的最佳圖釋。2 與此同時，經歷了廉價機織地毯衝擊的太平地毯開始回歸對傳統手工藝 的關注，並將視野放寬到全球範圍。他們從中國本土、東南亞、歐洲 和南美洲的織造傳統中吸取經驗，希望能保留其有價值、有特色的部 分繼續傳承，與新技術同時並行。採用 19 世紀手工提花織機織造幾何 高浮雕圖案織毯的法國制毯商 Cogolin 和開發出第一支「魔術針」的美 國制毯商愛德華．菲爾茲先後被併購入太平地毯。 中島設計的織毯正 是在這種回歸和展望的情境中被重啟，它們的意義不止於重現現代主 義的審美，而是在當下的全球化語境裡，我們如何去重新思考隱於織 毯背後的歷史和文化問題。

（圖 11）太平地毯 1960 年代廣告

(Fig. 11) Tai Ping Carpets advertisement (1960)

在 1960 年代的太平地毯廣告上，一位女子乘著傳說中的飛毯在空中 遨遊，使人聯想到作家西西在小說《飛氈》裡的生動比喻。從建築覆 層走入居室內部的織毯，不僅在物理空間里，亦在文化空間中佔據 著重要的地位，它在日常居室內部塑造了一種具有多重性的異托邦 （Heterotopia），將象徵性的虛擬空間和真實的居室空間相互嵌套在一 起，形成對原有空間的複製和補充。同時，它亦在不同的時代向我們 提出不同的問題——關於政治、民族、地域、身體、勞動、技術和秩 序。在某種程度上，織毯即是建構世界的過程，我們在織造毯子的同 時也在塑造自身。紛繁的線索將這個世界的複雜圖景織入一條條騰空 而起的飛氈，即使它們如蹭鞋氈一般平凡，也能在某個時空中將我們 的視線引向更遠的地方，並提供持續的隱喻和啟示。

slowly woven by hand, traditional craftsmanship is replaced by new technology, and existing social order and ethos breaks apart and reforms. Once homogenised, the political and cultural significance of carpet weaving continually diminishes, and resembling the dilemma of consumerism, this becomes the only path.

By 2003, the popularisation of tufting guns in Tianjin had increased carpet weaving efficiency by multiples of ten. In the past, a person could weave only a few centimetres each day, but this rose to an output of one square metre. Carpets that used to be a symbol of wealth and status, quickly became ordinary, and the social connotations they once carried morphed into a display of consumerism. In recent years, the patterning process no longer requires manual operation and the crafts of patterning and weaving have become entirely separate. A heat transfer machine can ‘print out’ 2000 square metres of carpet per day.

Hundreds of millions of rugs are continually produced. These carpets, which are high-speed, flawless, quickly shipped, and seem to have nothing to do with traditional carpet weaving, are being woven into the Chinese carpet story as Heidi Voet’s work, Alibaba and the 40 Thieves (2016), illustrates. 2 At the same time, when Tai Ping Carpets suffered competition from cheap machine-woven rugs, they began to refocus on traditional handicrafts as well as broadening their ambitions to a global scale. They studied the weaving traditions of mainland China, Southeast Asia, Europe and South America, hoping to preserve their value and pass down their special weaving characteristics-while combining these traditions with new technologies. They soon merged with the French carpet maker Cogolin, which used 19th-century hand looms to weave jacquard rugs with high-relief geometric patterns, and the American carpet maker, Edward Fields Carpet Makers, which developed the first ‘Magic Needle’ tufting gun. It was in this context that the original Nakashima rug design project was begun. The significance of this can be found not only in reproducing the aesthetics of modernism, but also how, in the midst of contemporary globalism, we can reconsider the history and cultural issues hidden in carpet weaving.

through the sky riding on a mythological flying carpet reminiscent of the vivid metaphor in writer Xi Xi's novel Flying Carpet. From occupies an important position, not only in physical space, but also

Spinning East Asia

architectural floor covering to a living room rug, woven carpet

330 —— 331

In a Tai Ping Carpets advertisement from 1960, a woman travels

註釋

1 中島喬治（本名中島勝壽，喬治勝俊中島，1905-1990）是日裔美籍建築師、傢具設計師和卓越的木 工匠人。1942 年，中島被送入位於愛達荷州的一個日本人集中營。 期間受教於同在集中營的日本木藝 匠人平川健太郎（根塔羅 彥川）。1943 年，中島受其友人安東尼．雷蒙德（安東尼．雷蒙德）保釋重獲自 由，在賓夕法尼亞州新希望（新希望）建立工作室。 其最富盛名的作品是各類木藝傢俱，保留木材的原 始形態，並運用傳統日本木藝中的燕尾榫和蝴蝶榫連接整合，兼具自然氣息和人工之美。1959 年，中 島與制毯商愛德華．菲爾茲（愛德華．菲爾茲地毯製造商）合作，創作了一批織毯設計稿，但隨後該專案 被擱置。 直至 2013 年，這些手稿重見天日，由制毯商愛德華．菲爾茲和中島的子女米拉與凱文合作， 完成了這些遺稿的織造，包括一條壁毯和六條地毯。 2 《阿里巴巴與四十大盜》是《一千零一夜》中一個關於財富和誘惑的故事。如今，阿里巴巴也指中國 最大的電子商務平台，這個成立於 1999 年的電商平臺的成功是一個當代故事，反映了中國乃至全世界 消費者行為的轉變。藝術家通過在阿里巴巴網上購買的一批批量生產的地毯，讓這兩個故事形成了對 話。 這些地毯包含了多種形狀、色彩和文化動機，反映了個人選擇、家庭生活和文化遺產的魅力。

參考文獻 安妮．阿爾伯斯，《關於設計》，米德爾頓，衛斯理大學出版社，1971 年。

Nicholas Barnard、James Merrell，《Living with Decoration Textiles》，倫敦：泰晤士和漢德森出版 社，1995 年。 愛德華．菲爾茲地毯製造商，＜中島宣傳冊：愛德華．菲爾茲地毯製造商喬治．中島版＞，2015 年。 詹妮弗．哈里斯，《紡織史》，李國慶、孫韻雪、宋燕青、張若溪譯，廣東：汕頭大學出版社，2011 年。 克利斯蒂安．馬汀，《紡織：古老技藝的方法、樣式和傳統》，劉悅譯。長沙：湖南科學技術出版社， 2016 年。 上海當代藝術博物館，《謎途：時間．空間．織毯》，上海：上海文藝出版社，2014 年。 戈特弗裡德．森佩爾，《建築四要素》，羅德胤、趙雯雯、包志禹譯，北京：中國建築工業出版社，

2016 年。 西西，《飛氈》，桂林：廣西師範大學出版社，2016 年。

in cultural space. In an everyday room, a carpet creates a Heterotopia, where a symbol of virtual space nests within actual space, both reproducing and supplementing the original space. At the same time, the woven carpet asks us different questions at different moments, questions about politics, nation, place, body, labor, technology, and social order. In a way, weaving a carpet is a similar process to constructing a world, and when we weave, we are also shaping ourselves. Numerous clues weave a complex picture of the world into strips of flying carpet that rise into the air. Even if they are as ordinary as a doormat, in a certain time and space, they can lead our eyes to faraway places and provide continuous revelations and metaphors.

Endnotes 1 George Nakashima (born George Katsutoshi Nakashima, 1905-1990) was a Japanese-American architect, furniture designer, and preeminent woodworker. In 1942, Nakajima was sent to a Japanese concentration camp in Idaho. During this period, he was learned traditional Japanese wood craftsmanship from carpenter, Gentaro Hikogawa, who was also interned. In 1943, Nakashima was freed on bail posted by his friend Anthony Raymond and set up a studio in New Hope, Pennsylvania. His most famous works are various items of wood furniture that retain the original grain and form of the wood. Nakashima also used the dovetail and butterfly tenons found in traditional Japanese wood art to assemble and integrate different wood pieces, adding a beauty that is at once natural and artificial. In 1959, Nakashima collaborated with carpet maker Edward Fields to create a number of rug designs, but the project was subsequently shelved. In 2013, when the historical manuscripts were rediscovered, Edward Fields and Nakashima's children, Mira and Kevin, collaborated to complete the weaving of the designs, including one tapestry and six carpets. Japanese wood art to assemble and integrate different wood pieces, adding a beauty that is at once natural and artificial. In 1959, Nakashima collaborated with carpet maker Edward Fields to create a number of rug designs, but the project was subsequently shelved. In 2013, when the historical manuscripts were rediscovered, Edward Fields and Nakashima's children, Mira and Kevin, collaborated to complete the weaving of the designs, including one tapestry and six carpets.

2 Ali Baba and the Forty Thieves’ is a story about wealth and temptation from One Thousand and One Nights.

Today, Alibaba also refers to China's largest e-commerce platform. Founded in 1999, its success is a contemporary story that reflects the changing behaviour of consumers in China and around the world. Creating a dialogue between the two stories, artist Voet bought many mass-produced rugs from Alibaba online for her 2016 exhibition work of the same name. The carpets are not all the same, however, including a variety of types, colour and cultural inspirations, in order to reflect individual choice, domestic life, and the enduring attraction of cultural heritage.

References Albers, Anni. (1971) On designing. Middleton, Wesleyan University Press.

Barnard, Nicholas & James Merrell. (1995) Living with Decorative Textiles. London, Thames & Hudson.

Edward Fields Carpet Makers. (2015) Nakashima Pamphlet: Edward Fields Carpet Makers George Nakashima Edition.

Harris, Jennifer. (2011) 5,000 Years of Textiles. Trans. Li Guoqing, Xun Yunxue, Song Yianqing, Zhange Ruoxi.

Guangdong, Shantou University Press.

Semper, Gottfried. (2016) Four Elements of Architecture. Trans. Luo Yin, Zhao Wenwen & Bao Zhiyu. Beijing, China Architecture and Building Press.

Xi Xi. (2016) Flying Carpet. Guilin, Guangxi Normal University Press.

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Power Station of Art. (2014) Decorum: Artists' Carpets and Tapestries. Shanghai, Shanghai Literature and Art Publishing House.

332 —— 333

Martin, Christina. (2016) Weaving: Methods, Patterns and Traditions of an Ancient Art. Trans. Liu Yue. Changsha, Hunan Science and Technology Press.

藝術家及研究員簡歷 Artist & Researcher Biographies

藝 術 家 簡歷

Artist Biographies

安尚秀

安尚秀 ( 亦稱：翼 ) 是一名平面設計師和文字設計師，於 2012 年創立了坡州字體設計學院。他曾於首爾弘益大學傳播設計系任 教，目前擔任北京中央美術學院教授。

BCXSY

BCXSY 是位於阿姆斯特丹的跨領域設計工作室，由兩位設計師 博茲．科恩和山本彩組成。BCXSY 於 2007 年初成立，成立之後 在荷蘭和國外開展各式各樣的項目。他們的作品以敘事為基礎， 強調個人經歷、人際互動及情感意識。在過去數年，BCXSY 因 其致力回應社會的項目而贏得國際認可，他們的獲獎作品曾於倫 敦維多利亞與艾伯特博物館、香港 M+、荷蘭國立世界文化博物 館、上海玻璃博物館展出與收藏。BCXSY 亦受荷蘭蒂爾堡紡織 博物館委託創作作品。

陳濬人

陳濬人是一位字體設計師、平面設計師及音樂人。他在 2009 年 畢業於香港理工大學設計學院視覺傳達系，其後於 2010 年與設 計師徐壽懿創辦設計公司叁語設計。2011 年起陳濬人開始研究香 港北魏真書體字體風格，並於 2018 年出版結集長達 8 年的香港 北魏研究以及字體設計作品《香港北魏真書》，此作品獲得香港 出版雙年獎 2019 出版大獎及藝術與設計類最佳出版獎，他的香 字體設計獎。陳濬人是 2019 DFA 香港青年設計才俊獎得獎者和 香港最大型設計展 deTour 2020 及 deTour 2021 的聯合策展人。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

港北魏真書字體設計則獲得「New York Type Directors Club」的

Ahn Sangsoo

Ahn Sangsoo (also known as Nalgae) is a graphic designer and typographer who founded PaTI (Paju Typography Institute) in 2012. He is a former faculty of the Communication Design Department at Hongik University, Seoul and currently works as a professor of the Central Academy of Fine Arts in Beijing, China.

BCXSY

BCXSY is an Amsterdam-based interdisciplinary cooperative made up of designers Boaz Cohen and Yamamoto Sayaka. Ever since its establishment in early 2007, BCXSY has carried out a wide range of projects, both in the Netherlands and abroad. Their narrativebased works are characterised by an emphasis on personal experience, human interaction and emotional awareness. Over the past years, BCXSY has gained international recognition for its dedication to socially responsive projects. Their award-winning works have been featured at and collected by Victoria & Albert Museum (London), M+ (Hong Kong), National Museum of World Cultures (The Netherlands), Shanghai Museum of Glass (Shanghai). BCXSY has also been commissioned by the TextielMusem in Tilburg, The Netherlands.

Adonian Chan

Adonian Chan Freeman is a type designer, graphic designer and musician. He graduated from Hong Kong Polytechnic University in 2009, and co-founded Trilingua Design with Chris Tsui in 2010. In 2018, Chan published the book A Study on Hong Kong Beiwei Calligraphy & Type Design, which documented the 8 years of research on Hong Kong Beiwei, as well as his type design ‘Hong Kong Beiwei Zansyu’. The book has won the Grand Award and the Distinguished Publishing Awards of Hong Kong Publishing Biennial Awards 2019. The type design has won New York Type Directors Club’s Typeface Design Award.

Chan is the winner of 2019 DFA Hong Kong Young Design Talent Award. He is also the co-curator of Hong Kong 336 —— 337

largest design festival deTour 2020 & deTour 2021.

Spinning East Asia

藝 術 家 簡歷

Artist Biographies

崔文競

崔 文 競 是 一 位 平 面 設 計 師 和 藝 術 家， 特 別 感 興 趣 於 從 人 工 過 程 中 抽 取 的 視 覺 圖 像。 她 曾 舉 辦 多 個 個 展， 包 括 在 柏 林 einBuch.haus 舉 行 的「Oncetype」（2020）和 首 爾 Factory2 的 「Gutenberg Bubble」（2018）， 曾 參 與 的 群 展 包 括 首 爾 文 化 站 284「Typojanchi」（2019）和坡州 White Block 藝術中心「藝術 + 工作」（2018）。她目前在坡州字體設計學院任教，亦是韓國文字 設計協會的董事會成員。

戴修

戴修是一位藝術家、策展人和研究員，專注於遊戲和遊玩文化。 戴修的創作探索屏幕和其他媒體器材的歷史，以及亞太地區的遊 戲傳統，在過去十年間更主力研究中國和日本。 擁有藝術背景 的戴修將遊戲視為由社會、文化、物質和精神維度的有趣互動所 塑造的空間。戴修於 2014 年獲蒙納士大學藝術、設計與建築博 士學位，他在遊戲文化方面的研究得到東京 Art and Space、香 港 M+ 及香港信言設計大使的資助。 他目前是澳洲皇家墨爾本理 工大學的研究員，合著了兩本關於數碼遊戲的書籍。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Choi Moonkyung

Choi Moonkyung is a graphic designer and artist with an interest in the visual images obtained from the manual process. She has had solo exhibitions including Oncetype at einBuch.haus, Berlin (2020), Gutenberg Bubble at Factory2, Seoul (2018) and participated in several group exhibitions such as Typojanchi at Culture Station Seoul 284, Seoul (2019) and Art+Work at White Block Art Center, Paju (2018). She currently teaches at Paju Typography Institute (PaTI) and is a board member of Korean Society of Typography.

Hugh Davies

Hugh Davies is an artist, curator and researcher of games and play. Hugh’s creative practice explores histories of screens and other media devices, as well as traditions of play in the Asia Pacific Region. In the past decade, he has drawn particular focus on China and Japan. With a background in fine art, Hugh approaches games as sculptural spaces that are shaped by playful interactions across social, cultural, material and spiritual dimensions. Awarded a PhD in Art, Design and Architecture from Monash University in 2014, Hugh’s studies in game cultures have been supported with fellowships from Tokyo Art and Space, M+ and the Design Trust Hong Kong. Hugh is currently a research fellow at RMIT in Melbourne, Australia, where he has coauthored two books on digital games.

338 —— 339 Spinning East Asia

藝 術 家 簡歷

Artist Biographies

郭城

郭城是一位藝術家。他的藝術實踐著眼於既有／新興科技對社 會與文化方面的衝擊與影響，以及置身其中的個體與社會生活 之間的關係。郭城近期的個展有：北京魔金石空間「近乎無意」 （2020）；廣州畫廊「地氣」（2019）。群展包括：北京 X 美術館 「終端 >_How Do We Begin?」（2020）、柏林世界文化宮「永恆 網路」（2020）、上海當代藝術博物館「平行，似存在，未完成： 行進的藝術工具」（2019）。他曾獲得奧地利電子藝術獎榮譽獎 （2020）、林茨 STARTS 獎提名（2020）、上海 CAC://DKU 研究與 創作學術獎金（2020）、數字地球學術獎金（2018-2019）、三亞 華宇青年獎評委會特別獎（2018）及海牙生物藝術獎（2017)。

侯怡亭

侯怡亭是一位藝術家。她的主要作品結合刺繡與數位影像，不斷 挑戰我們對日常生活中影像的觀看方式，同時轉譯乍看平淡的視 覺經驗。侯怡亭的作品受邀參與各大國際性展覽，包括台灣台 北市立美術館「你我不住在同一星球上」台北雙年展公眾計畫： 月亮鹽巴（2020）、日本金澤 21 世紀美術館 15 週年展「We Now Stand — In Order to Map the Future」 （2019）、智利聖地牙哥 La Moneda 文化中心第九屆亞太當代藝術三年展智利巡展（2019） 及西班牙薩拉戈薩歷史中心西班牙國際攝影暨視覺藝術節「編織 身分 — 侯怡亭個展」（2019）。她的作品典藏於台北市立美術館 澳洲白兔美術館及澳洲昆士蘭美術館等。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Guo Cheng

Guo Cheng is an artist. His practice mainly focuses on exploring the mutual impacts and influences between established/emerging technologies and individuals in the context of culture and social life. His recent solo exhibitions include Almost Unmeant in Magician Space, Beijing (2020), Down to Earth in Canton Gallery, Guangzhou (2019). He also joined group exhibitions including Terminal>_ How Do We Begin? in X museum, Beijing (2020), The Eternal Network exhibition of Transmediale 2020, Haus der Kulturen der Welt (HKW), Berlin and The Process of Art: TOOLS AT WORK in Power Station of Art, Shanghai (2019). Guo Cheng has obtained numerous awards such as Ars Electronica Honorary Mentions, Linz (2020) and CAC://DKU Research & Creation Fellowship, Shanghai (2020); STARTS Prize Nomination, Linz (2020); the Digital Earth fellowship (2018-2019); the Special Jury Prize of Huayu Youth Award, Sanya (2018); and the Bio-Art & Design Award, The Hague (2017).

Hou I-Ting

Hou I-Ting is an artist. By blending imagery and video with embroidery, Hou challenges the way we identify imagery in everyday life, while reconfiguring an otherwise prosaic visual experience. She has exhibited internationally, including Taipei Biennial 2020: You and I Don’t Live on the Same Planet—Moon Salt, Taipei, Taiwan (2020), We Now Stand — In Order to Map the Future, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2019), Contemporary Art from Asia, Australia and the Pacific: A Selection of Works From QAGOMA’s Asia Pacific Triennial, Centro Cultural La Moneda, Santiago, Chile (2019) and Tejiendo identidades (Weaving Identities): Hou I-Ting Solo Exhibition, PHotoEspaña, Centro de Historias, Zaragoza, Spain (2019). Her work is housed in the collections of museums and galleries such as the Taipei Fine Arts Museum, Taiwan, and Queensland Art Gallery and 340 —— 341

Gallery of Modern Art, Australia.

Spinning East Asia

藝 術 家 簡歷

Artist Biographies

許瀚文

許瀚文是一位中文字體設計師，現任「Kowloon Type 九龍活字」 字型總監。在他十多年的字型設計生涯中，許瀚文曾任職美國 Monotype 資深字體設計師和英國 Dalton Maag 字體設計師，領 導騰訊、HP 及 Intel 等商業品牌中文字型設計項目，以及為紐 約時報、彭博商週等設計中文標誌。2018 年獲得香港設計中心 香港青年設計才俊獎，他現正全力進行「空明朝體」自家字型開 發。

井口皓太

井口皓太是一名動態圖像設計師及創意總監。他在 2008 年於武 藏野美術大學進修期間創立 TYMOTE ，於 2013 年創立了創作組 織 CEKAI。他專注於動態圖像設計、執導影像及擔任團隊建設 的創意總監。他獲得的主要榮譽包括：2013 年 The One Show 銅 鉛筆獎、2013 及 2015 年英國 D&AD 黃鉛筆獎、2014 年東京字體 指導俱樂部（TDC）獎及 2015 年紐約藝術指導協會年度獎（ADC） 金獎。他同時在京都藝術大學與武藏野美術大學擔任客座教授。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Julius Hui

Julius Hui is a Chinese type designer and typographer.

Before starting his own studio Kowloon Type, Hui was a senior type designer at Monotype and font developer at Dalton Maag in London. He was the design lead of Chinese fonts for global corporations included Tencent, HP and Intel. He also designed Chinese logotype for numerous brands, including NYT and Bloomberg Businessweek.

After winning the Hong Kong Young Design Talent Award in 2018, a major prize nominated by the Hong Kong Design Centre, he’s now focusing on developing his house-font family ‘Ku-Mincho’.

Iguchi Kota

Iguchi Kota is a Motion Designer/Creative Director. While studying at Musashino Art University, he founded TYMOTE in 2008. Later he founded the creative association CEKAI in 2013. He specialises in motion graphics and works as a video director and team-building creative director. His major awards include the Bronze Pencil winner in The One Show in 2013, Yellow Pencil winner in D&AD 2013 and 2015, TOKYO TDC Award 2014, NY ADC Gold Award 2015.

He is a guest professor at Kyoto University of the Arts and Musashino Art University.

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藝 術 家 簡歷

Artist Biographies

金滉

⾦滉是一位藝術家，他⼀直致⼒拓展僅限於實⽤⽬的的設計意 義，宣導以設計抗拒資本權威和約束。2005 年，他在⾸爾站和 倫敦向無家者分發⾃⼰製作的《蠶繭——為無家者設計的移動 睡袋》時發現了這種可能性。他還與具有當代批評意識的設計師 攜手設計了《閉路電視吊燈》、《⾦字塔燈泡》、《消費分配交易制 度》等作品。 ⾦滉的作品在倫敦巴⽐肯中⼼、耶路撒冷以⾊列博 物館、⾸爾國際多元藝術節以及⽇本、中國、澳門、荷蘭、⽐利 時、瑞⼠、法國、愛爾蘭、意⼤利、波蘭、捷克、匈⽛利、羅馬 尼亞、埃及、南⾮共和國等地進⾏了展⽰、演出及放映。他⽬前 擔任韓國蔚⼭科學技術院設計學系教授。

劉智聰

劉智聰是一位藝術家。他於 1999 年畢業於英國薩里藝術設計學 校，取得室內設計系學士，在成為全職藝術家之前曾從事電視廣 告美術指導工作。雖然劉智聰最初以拍攝獨立短片出身，直至近 十多年他專注於攝影創作，他的作品曾於多個國際攝影節展出， 亦獲博物館及私人收藏家收藏。當中攝影作品《山水文明》系列 （2013）獲得連州國際攝影節新攝影年度藝術家獎，最新作品《黎 明請你不要來》（2021）獲得第一屆香港攝影樣本書獎銅獎。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Kim Hwang

Kim Hwang is an artist and a designer who has been working on the boundary of applied design, advocating design that resists the authority and restraints of a coherent techno-global system. The possibility was discovered when he produced Cocoon - mobile sleeping bag for the homeless and distributed it to the homeless at Seoul Station and London in 2005 . In addition, he designed CCTV Chandelier, Pyramid Light Bulb, and Consumption Rationing Trading System in solidarity with designers with critical orientations. Many of his works have been exhibited, performed, and screened in a number of places including the Barbican Centre in London, Israel Museum in Jerusalem, and Festival B:om Seoul, as well as Japan, China, Macau, Netherlands, Belgium, Switzerland, France, Ireland, Italy, Poland, Czech Republic, Hungary, Romania, Egypt, and South Africa.

Currently, Kim works as an assistant professor at the Ulsan Institute of Science and Technology (UNIST).

Lau Chi Chung

Lau Chi Chung is an artist who graduated from The Surrey Institute of Art & Design University College and obtained a BFA in Interior Design in 1999. Before becoming a full-time artist, he worked in the television commercial industry as an art director. Although he started out on short films, Lau has mostly worked in photography and has exhibited in various international photo festivals.

His photography series Landscaped Artifacts in 2013 brought him the title of New Photography Artist from Lianzhoufoto Festival 2013. Lau has also received third prize of Hong Kong 1st Photobook Dummy Award 2021 at Hong Kong Photobook Festival for his latest work The Dayspring of Eternity.

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藝 術 家 簡歷

Artist Biographies

厲致謙

厲致謙是一位以設計為原點的多領域研究和實踐者，涉及字體 研究、平面設計、空間構成、產品設計、影像、撰稿、翻譯和 策展等。以漢字為媒介，他近年來不斷參與藝術項目，探索了 當代文字設計的邊界。他是 TheType 作者、「上海活字」綜合研 究項目與 TypeTour 字體文化之旅的發起人、創新型字體公司 3type（三言）的聯合創始人以及上海美術學院字體設計工作室 的特聘研究員。

劉毅

劉毅是一位藝術家。她分別於 2012 及 2016 年畢業於中國美術 學院獲跨媒體藝術學院學士學位及碩士學位。「中國早期美術 電影與實驗動畫」是劉毅的主要研究方向，她通過動畫、多媒 體、空間裝置等不同形式的作品反映自己生活中的經歷，並在 展覽空間中探尋更多的可能性，讓觀者發現有別於現實的平行 世界。2017 年，劉毅的作品《一隻烏鴉叫了一整天》繼入選並 展映於荷蘭國際動畫節後，獲得華時代全球短片節終審團特別 推薦獎。2018 年她受韓國首爾美術館邀請，參加「SeMA 南麂」 藝術家駐地項目。2019 年劉毅參加安茹豐特弗羅德皇家修道院 藝術家駐留計劃，同年受邀賽普勒斯動畫電影節評委，並在賽 普勒斯完成個人駐地項目展覽。劉毅的作品曾被澳洲白兔美術 館、美國史丹福大學東亞圖書館及香港 M+ 等收藏。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

LI Zhiqian

Li Zhiqian is an interdisciplinary researcher and practitioner with design as his starting point. His works include typography research, graphic, spatial and product design, video production, writing, translation and curation. Using Chinese character as a medium, he participates in numerous art projects, to explore the boundary of contemporary type design. He is the project lead of Shanghai Type and TypeTour, and co-founder of 3type. He is also a research fellow at Type Lab, Shanghai Academy of Fine Arts.

Liu Yi

Liu Yi is an artist who graduated from the China Academy of Fine Arts School of Intermedia Art with a Bachelor’s degree and a Master’s degree in 2012 and 2016 respectively. ‘Early Chinese art films and experimental animation’ is Liu Yi’s primary research direction. She deploys various mediums through animation, multi-media as well as space installation to reflect her daily living experience and discovers more possibilities in a space resonating with the subject of her works. Audiences are allowed to unearth a differentiated parallel world through her eclectic works. In 2017, her video work A Crow Has Been Calling for a Whole Day was showcased in Holland Animation Film Festival (HAFF), and received the award of Special Recommendation of Hua International Short Film Festival afterwards. Recently, Liu Yi was invited to participate the SeMa Nanji Residency Project which was hosted by the Seoul Museum of Art in Seoul in 2018. In 2019, she attended The Royal Abbey of Fontevraud, Anjou artist residencies. In the same year, she was invited to be the Cyprus animation film festival jury and finished the residency in Cyprus. Her works have been collected by White Rabbit Gallery, Sydney, Stanford University East Asia Library, Stanford and M+, Hong Kong.

346 —— 347 Spinning East Asia

藝 術 家 簡歷

Artist Biographies

陸揚

陸揚是一位多媒體藝術家，他的作品創造對死亡、無性、精神 疾病以及對真實生命形式和神靈的神經結構的幻想。其作品形 式受動漫電子遊戲和科幻的亞文化影響，其輸出涵蓋 3D 動畫、 視頻遊戲裝置、全息影像、現場演出、虛擬現實甚至電腦程式 設計等。陸揚曾經在北京 UCCA 尤倫斯當代藝術中心、北京木 木美術館、上海市文社藝術基金會（Cc 基金會）、東京 Spiral、 福岡亞洲美術館、柏林 Société 畫廊、克里夫蘭當代藝術博物館 等場館舉辦個展。陸揚亦參加眾多雙年展及三年展，如 2021 年 紐約亞洲協會三年展、2018 年和 2012 年上海雙年展及 2018 年 雅典雙年展等。其作品在國際上屢次獲獎，包括 2019 年寶馬藝 術之旅大獎。

三重野龍

三重野龍是一位平面設計師。在 2011 年畢業於京都精華大學平 面設計學科後，他在京都成為獨立平面設計師。其平面設計主要 用於藝術與劇院的宣傳品，同時也進行品牌商標及產品的文字平 面設計。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Lu Yang

Lu Yang is a multi-media artis. Mortality, androgyny, hysteria, existentialism and spiritual neurology feed Lu’s jarring and at times morbid fantasies. Also taking inspiration and resources from anime, gaming and sci-fi subcultures, Lu explores his fantasies through mediums including 3D animation, immersive video game installation, holography, live performances, virtual reality, and computer programming. Lu Yang has held solo exhibitions in UCCA Center for Contemporary Art, and M Woods in Beijing, Cc Foundation in Shanghai, Spiral in Tokyo, Fukuoka Museum of Asian Art, Société in Berlin, and Museum of Contemporary Art Cleveland.

He has participated in several international biennials and triennials such as 2021 Asia Society Triennial in New York, 2012 & 2018 Shanghai Biennial, and2018 Athens Biennale.

In 2019, Lu was awarded the 8th BMW Art Journey.

Mieno Ryu

Mieno Ryu is a graphic designer. After graduating from Kyoto Seika University Graphic Design Course in 2011, he started his career as a freelance graphic designer in Kyoto. He produces graphic designs mainly for publicity design for art, theatres, as well as text graphic design in logos and products.

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藝 術 家 簡歷

Artist Biographies

長嶋里佳子

長嶋里佳子是一位設計師。她的創作以平面設計為核心，品牌 形象設計、標識系統、書籍及空間設計皆有涉獵。她在設計中 强調環境考慮的重要性，並關注設計對環境造成的破壞。例如 設 計 大 衛 連 治 的 展 覽「From the Fringes of the Mind」時， 她 將印刷過程中產生的墨漬和廢紙轉化為設計圖案以避免浪費； 她 也 曾 使 用 產 品 生 產 過 程 中 的 邊 角 料 為 DESCENTE BLANC 的 展 覽 進 行 空 間 設 計； 在 為 Kinnasand 設 計 的 作 品「SCRAP_ CMYK」中，她以廢紙上的墨漬印為織物設計圖案，並將其印在 由回收塑料瓶製成的布料上。在 2021 年威尼斯建築雙年展中， 她作為參展藝術家設計的日本館以物料循環為主題。

中田拓馬

中田拓馬是一位實時平面設計藝術家，曾在塞內加爾、巴西及印 尼生活。他在日本學習視覺設計，在荷蘭就讀互動設計。在他的 藝術實踐當中，他聚焦於如何通過設計將虛擬現象轉換為切身的 體驗，令觀眾沉浸於他創造出的視覺與技術世界。 他在 CEKAI 及 BASSDRUM 擔任技術總監，並於 2019-2020 年獲 選參與 Adobe 創意駐留計劃。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Nagashima Rikako

Nagashima Rikako is a graphic designer. Her works include identity design, sign planning, book design, and spatial design.

Environmental considerations are foremost in her designs, and she works with an awareness of the environmental damage caused by design. For example, she intentionally incorporated ink stains and scrap paper generated in the printing process as a pattern to avoid creating waste in the exhibition David Lynch, From the Fringes of the Mind. Apart from that, she produced spatial design that uses fabric offcuts from product manufacturing for DESCENTE BLANC’s exhibition. She also designed the collection Scrap_CMYK for Kinnasand in which ink stains on scrap paper are printed on fabric made from recycled plastic bottles. At the 2021 Venice Biennale, she designed the Japanese pavilion as an exhibiting artist on the theme of material circulation.

Nakata Takuma

Nakata Takuma is a realtime graphics artist. He grew up in Senegal, Brazil and Indonesia, and studied Visual Design in Japan and Interaction Design in The Netherlands. His works emphasise how to design experience that tempts the audience into the immersive world of visual and technology, by converting virtual phenomena into a physical experience.

He is the technical director at the creative association CEKAI, a member of technical directors in the collective BASSDRUM and Adobe Creative Residency Alumni (2019-2020).

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藝 術 家 簡歷

Artist Biographies

朴燦信

朴燦信是一位平面設計師和藝術家，曾在韓國和英國修讀文字和 視覺傳意設計。憑藉著對字體、工具和傳播的興趣，他於 2019 年策劃了「Typojanchi：首爾國際排印雙年展」的「萬花筒」單 元，同年與 Zuckgeuk 共同執導《A Footnote Play》。他目前 在坡州字體設計學院擔任字體媒介中心總監，設計學院課程並領 導研究生課程。

空解（設計）事務所

空解（設計）事務所為城市設計空間、物件及規劃策略，由蔡優 進於 2016 年創立。事務所採用跨學科的研究與設計方法應對當 今城市的複雜挑戰，在國際間持續參與不同規模與媒介的設計 項目，目前專注於公共基礎設施、展覽和策略性規劃等項目。 隨著對彌合設計與地緣政治的濃厚興趣，空解（設計）事務所 為朝鮮城市地區包括平壤和江原道提供研究和培訓項目。他們 與設計事務所 PRAUD 在 2017 年首爾雙年展共同策劃了「平壤 Sallim 」展覽。憑藉其獨特的設計實踐方式，空解（設計）事務 所於 2020 年入圍皇家藝術學院多夫曼獎。

高橋直孝

高橋直孝是一位傳統工藝師。居住於日本愛媛縣四國中央市， 為當地太鼓祭製作裝飾山車的立體刺繡，從藝 40 餘年，他以 高超的技藝和表現力屢受表彰。他於 2005 年被認定為「愛媛 日本厚生勞動省評為「當代名工」。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

傳統工藝師」，2018 年獲「優秀技能者知事表彰」，2020 年被

Park Chanshin

Park Chanshin is a graphic designer and artist. He studied typography and visual communication in Korea and the United Kingdom. With his interest in type, tools and communication, he curated the Kaleidoscope section at Typojanchi: Seoul International Typography Biennale in 2019 and directed A Footnote Play in 2019 in collaboration with Zuckgeuk. He currently works in Paju Typography Institute (PaTI) as a director of Type Media Centre, designing curriculum of PaTI and leading postgraduate course.

Spatial Anatomy

Spatial Anatomy designs spaces, objects and strategies for cities. Founded in 2016 by Calvin Chua, the firm takes an interdisciplinary research and design approach towards today’s complex urban challenges. Maintaining an international portfolio of projects across scales and mediums, Spatial Anatomy is currently working on projects ranging from public infrastructure, exhibitions and strategic masterplan. With a keen interest in bridging design and geopolitics, Spatial Anatomy has supported research and capacity building programmes on urban regions in the DPRK, including Pyongyang and Kangwon Province. The firm cocurated Pyongyang Sallim exhibition at the 2017 Seoul Biennale with PRAUD. Recognised for its unique approach towards design practice, Spatial Anatomy was longlisted for the 2020 Royal Academy of Arts Dorfman Award.

Takahashi Naotaka

Takahashi Naotaka is a traditional craftsman who lives in Chuo City, Shikoku, Ehime Prefecture in Japan. He has spent more than 40 years producing three-dimensional gold thread embroidery decorations for the local Niihama Taiko Festival.

In 2005, he was certified as an ‘Ehime Traditional Craftsman’, in 2018 he was awarded the ‘Outstanding Skilled Person, Commendation from the Governor of Ehime Prefecture’, and in 2020 he received the ‘Award for Outstandingly Skilled Workers (Contemporary Master Craftsman)’ from the Ministry of Health, Labour and Welfare of Japan.

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藝 術 家 簡歷

Artist Biographies

徐壽懿

徐壽懿是一名信息設計師 ，作品涉獵視覺標識、書刊排版、信 息圖像、電子媒介以至環境與空間設計。他於 2009 年畢業於香 港理工大學設計學院，其後於 2010 年與陳濬人共同創立叁語設 計。徐壽懿以啟業運動場翻新項目的巨型字體和環境圖像設計而 聞名，該項目曾獲城市土地學會授予亞太地區卓越獎。現在，他 專注於多媒體設計以及展覽設計方面的品牌實踐、戰略設計以及 視覺識別開發。他亦透過共同創立 SLAB 以實踐設計對其他領域 的影響力，SLAB 是一個本地籃球社區實驗室，致力於街球場地 設計以至活動項目的發展。

王志弘

王志弘是一名平面設計師和國際平面設計聯盟（AGI）的成員。 他致力於將字體設計融入到文化和商業領域的設計項目中。他 與各大出版社合作成立書系，包含國際知名藝術家及其作品的 翻譯書籍，當中有荒木經惟、大竹伸朗、橫尾忠則、中平卓 馬和 COMME des GARÇONS。他獲得的獎項包括紐約字體指 導俱樂部（TDC）獎及藝術指導協會年度獎（ADC）獎、東京字 體指導俱樂部（Tokyo TDC）提名獎、韓國坡州圖書獎年度最佳 設計，以及香港設計師協會葛西薰評審獎。他是《Design by wangzhihong.com》的作者。

王雅媛是一位藝術家和故事設計師。其創作主要為多⾓度記 述，以簡明扼要的⼿法，將複雜的研究轉化為易於理解的作 品，讓觀者能提⾼對現實的警覺性及認知，並對⽇常⽣活中所 接收訊息保持清醒批判的態度。王雅媛以如何了解現實及現實

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

王雅媛

如何成形作為研究軸⼼，作品以傳記紀錄片、媒體和社會現象 為主題，並審視三者如何交錯互動構成現實。她目前於燕豪芬 設計學院擔任訊息設計系藝術碩⼠課程專科導師⼀職。

Chris Tsui

Chris Tsui is an information designer who works on visual identity, typography, infographic, digital media, environmental and spatial design. He graduated from the School of Design, Hong Kong Polytechnic University in 2009, and later cofounded Trilingua Design with Adonian Chan in 2010. He is known for the lettering and supergraphic design at the Kai Yip Recreation Centre. The project has been awarded the Asia Pacific Awards for Excellence

by Urban Land Institute. He now specialises in branding practice, strategic design and visual identity development in multimedia design as well as exhibition design. He also examines the influence of design on other disciplines by co-founding SLAB, a local basketball community lab for streetball placemaking and programming.

Wang Zhihong

Wang Zhihong is a graphic designer and a member of Alliance Graphique Internationale (AGI). He is committed to incorporating typography into design projects across the cultural and commercial sectors. He launched his publishing imprints with major publishers, featuring translated books by internationally renowned artists and on their works, including Nobuyoshi Araki, Shinro Ohtake, Tadanori Yokoo, Takuma Nakahira, and COMME des GARÇONS. Among his recognitions are TDC Awards, Silver Cube from ADC Awards, Prize Nominee Works from Tokyo TDC Awards, Best Book Design from South Korea’s Paju Book Award, and Kasai Kaoru’s Choice Award from HKDA Asia Design Awards. He is the author of Design by wangzhihong.com.

Alice Wong

Alice Wong is an artist and story designer. She focuses on designing multi-perspective narratives to make complex information comprehensible, so as to evoke audience’s awareness and cognition to reality, and to encourage them to be critical towards everyday information. Her research question is rooted in understanding reality and how our perception of reality is shaped. Her principal documentary, media and social phenomena. She is currently a specialist tutor in the department of MA

Spinning East Asia

Information Design at Design Academy Eindhoven.

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topic of interest lies in the intersection of biographical

藝 術 家 簡歷

Artist Biographies

車昇彥

車昇彥是一位藝術家。其作品驟看如畫，實際上由絲線編織而 成。她於首爾弘益大學取得藝術學士及碩士學位，其後獲得芝加 哥藝術學院繪畫碩士。自畢業後，車昇彥便醉心於結合紡織與繪 畫，持續探索繪畫的各種可能性。近期，她關注二十世紀充滿實 驗精神的藝術實踐，並將當時各種藝術元素揉合於自己的創作之 中，遊走於東西方、視覺與觸覺、思想與物質之間。

陳逸雲

陳逸雲是一位藝術家，先後畢業於上海同濟大學新媒體設計系 及英國皇家藝術學院交互設計系，並曾於上海中醫藥大學修讀 中醫。她以思辨設計為手段，使用影像、插畫、物體、裝置等 的綜合媒介，試探新興科技與日常生活的關係。陳逸雲參加的 展覽包括：三亞華宇藝術中心「聖狀通道」 (2019)、燕豪芬 MU 藝術空間「重塑 - 變異的系統、身體與視角」(2018)、墨爾本科 學畫廊「完美」(2018) 及台北數位藝術中心「後設與思辨」(2018) 等。2018 年，她榮獲海牙生物藝術與設計大獎。同年，她在在 荷蘭馬斯特裏赫特大學營養與運動科學院任職客座研究員，並從 2020 年起任同濟大學設計創意學院助理教授。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

Cha Seungean

Cha Seungean is an artist. Her artistic practice references abstract paintings and consists of strokes and shades on woven textiles. After graduating from Hongik University with a BFA and MFA in textile art and the Art Institute of Chicago with an MFA in painting and drawing, she has continuously explored the condition of painting through producing textile art on woven canvases. The artist's current interest is to reconsider the legacy of the experimental art movement in the 20th century and interweave elements of art from the period to cross borders between the East and West, sight and touch, mind and material. She has participated in residencies around the world, including SEA Foundation, the Netherlands (2020), IAP, Korea (2019), the Josef and Anni Albers Foundation, USA (2018). Her work has been shown in various institutions such as National Museum of Modern and Contemporary Art, Gwacheon, Seoul Museum of Art, Seoul, Gyeonggi Museum of Modern Art, Ansan and more.

Chen Yiyun

Chen Yiyun is an artist. She graduated with an MA in Design Interactions from the Royal College of Art (London, UK) and obtained a BA in Digital Media Design at Tongji University (Shanghai, China). She also holds a diploma in Traditional Chinese Medicine from Shanghai University of Traditional Chinese Medicine. Using the language of speculative critical design, her multi-media practice probes the relationship between men and their bodies, and the interrelation between emerging technologies and everyday lives. Her recent exhibitions include Passage of Sinthome at Art Sanya, Sanya (2019), ReShape-Mutating Systems, Bodies and Perspectives at MU Art Space, Eindhoven (2018), PERFECTION at Science Gallery, Melbourne (2018) and Meta and Speculation at the Digital Art Center, Taipei (2018). In 2018, Chen Yiyun won the Bio-Art & Design Award, the Hague. She worked as a visiting researcher at the Department of Nutrition and Movement Sciences at the Maastricht University (2018) and has been serving as an assistant professor at the College of Design and Innovation, Tongji University since 2020.

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藝 術 家 簡歷

Artist Biographies

朱駿騰

朱駿騰是一位藝術家。2006 年畢業於台北世新大學，2010 年取 得倫敦金匠大學藝術創作碩士學位。他在大學主修電影，求學期 間曾拍攝多部劇情短片，並入選國際電影節。畢業後，他的創作 方向轉移至當代藝術，作品以電影、多頻道錄像及現成物裝置為 主，向「個人」在面對當下社會／政治／文化等複雜結構下面臨 的困境與生存狀態表達關注，藉著作品提出回應。他的作品經常 於各大電影節和國際藝術機構展出，包括第 28 屆克萊蒙 - 費宏 短片電影節、第 19 屆新加坡國際電影節、第 7 屆首爾國際電影 節、2014 台北雙年展、Kunsthaus Esse、上海當代藝術博物館、 格拉斯哥當代藝術中心、荷茲利亞當代藝術博物館等。2013 至 2016 年他曾於台北創立空場藝術聚落，並擔任首任營運總監。

何鋭安

何銳安是一名藝術家及作家，其創作探討當代藝術、電影、表 演與理論交織之處。創作實踐主要為演講、寫作及影像，審視 圖像在全球主義及管治下的產生、傳播與消散。他的項目曾在 多個場館呈現，包括：維也納博物館（2021）、曼谷藝術雙年展 （2020）、亞洲藝術雙年展（2019）、光州雙年展（2018）、燕豪 芬凡艾伯當代美術館（2018）、雅加達雙年展（2017）、沙迦雙年 展（2017）、柏林世界文化中心（2017）、新加坡南洋理工大學當 代藝術中心（2017）、香港 Para Site 藝術空間（2015 及 2021）以 際短片電影節獲得國際電影評論獎。2018 年，獲選為德國學術 交流總署的藝術家駐柏林創作計畫的駐村藝術家。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

及科欽 - 穆吉里斯雙年展（2014）。2019 年，於德國奧伯豪森國

Chu Chun-Teng

Chu Chun-Teng is an artist. He graduated from the Department of Film at Shih Hsin University, Taipei in 2006 and completed his MFA in Fine Art at Goldsmiths, University of London in 2010. Chu Chun-Teng made a number of feature films and was selected for international film festivals before graduation. Upon receiving his BA in film, he shifted his focus towards fine art and worked on film, video art and installation. He is deeply concerned with the dilemma of an individual in modern society, in particular an individual’s existence, social hierarchy and political conflicts which are all closely examined throughout his artistic practice. His work has been widely presented by major film festivals and international art institutions, including the 28th Clermont-Ferrand Short Film Festival, the 19th Singapore International Film Festival, the 7th Seoul International Film Festival, the 2014 Taipei Biennial, Kunsthaus Esse, Shanghai Contemporary Art Museum, Glasgow Centre for Contemporary Arts and Herzliya Museum of Contemporary Art. In 2013, Chu Chun-Teng founded a co-working art studio Polymer in Taipei and he is the first Executive Director until 2016.

Ho Rui An

Ho Rui An is an artist and writer working in the intersections of contemporary art, cinema, performance and theory. Working primarily across the mediums of lectures, essays and film, he probes the ways by which images are produced, circulated and disappear within the contexts of globalism and governance. He has presented projects at the Kunsthalle Wien (2021), Bangkok Art Biennale (2020), Asian Art Biennial (2019), Gwangju Biennale (2018), Van Abbemuseum, Eindhoven (2018), Jakarta Biennale (2017), Sharjah Biennial (2017), Haus de Kulturen der Welt, Berlin (2017), NTU Centre for Contemporary Art Singapore (2017), Para Site, Hong Kong (2021 & 2015) and Kochi-Muziris Biennale (2014).

In 2019, he was awarded the International Film Critics’ (FIPRESCI) Prize at the International Short Film Festival Oberhausen, Germany. In 2018, he was a fellow of the 358 —— 359

DAAD Artists-in-Berlin Program.

Spinning East Asia

藝 術 家 簡歷

Artist Biographies

鎌田友介

鎌田友介是一位藝術家。2013 年畢業於東京藝術大學，取得跨 媒體藝術碩士學位。他的藝術實踐建基於對戰爭與文化、日本建 築與現代史的深入研究，呈現出易於扭曲的歷史本質。鎌田近期 的展覽包括橫濱市民美術館「The Ongoing Dialogue」（2019）、 東京本鄉TOKAS藝術空間「Compiling Behaviors, Digesting Actions」 （2018）及 首 爾 國 立 現 代 美 術 館「How Little You Know About Me」（2018）。

康瑞璟

康瑞璟是一位藝術家。她曾先後於韓國梨花女子大學及英國皇 家藝術學院修讀東方繪畫及繪畫。她以研究為導向的跨學科藝 術實踐經常探索我們如何體驗聯繫，以及如何在作為文化傳承 的家庭或社會空間中，保有獨特的個體身份。她的作品於世界 各地廣泛展出，包括第 58 屆威尼斯雙年展（2019）、第 12 屆上海 雙年展（2018）、費城賓夕法尼亞大學當代藝術中心的「黑席鶯」 （2018）、 利 物 浦 雙 年 展（2018）、 光 州 雙 年 展（2018、2016）、 聖荷西藝術博物館的「Other walks, Other lines」（2018)、韓國 首爾國立當代藝術博物館的「As the Moon waxes and wanes」 （2016）、 巴 黎 Villa Vassilieff 的「Group Mobile」（2016）、 首 爾 影 音 亭 的「Foot and Moon」（2015）及 首 爾 Old House 的 「Grandmother Tower」（2013）， 並 於 2018 年 獲 頒 巴 洛 斯 藝 術 獎。她現正在韓國梨花女子大學教授韓國繪畫。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

Kamata Yusuke

Kamata Yusuke is an artist. He graduated with a Master of Fine Arts in Inter-Media Art from the Tokyo University of Arts in 2013. He exposes the distortion inherent in history through his work built upon extensive research of the connection between war and culture as well as the architectural and modern histories of Japan.

Kamata’s recent exhibitions include The Ongoing Dialogue at Yokohama Civic Art Gallery, Kanagawa (2019), Compiling Behaviors, Digesting Actions at Tokyo Arts and Space TOKAS, Tokyo (2018) and How Little You Know About Me at The National Museum of Modern and Contemporary Art, Korea (2018).

Suki Seokyeong Kang

Suki Seokyeong Kang is an artist. She studied Oriental Painting at Ewha Womans University, Seoul and Painting at the Royal College of Art, London. Suki Seokyeong Kang’s research-driven trans-discipline practices often explore how we experience connection, while also maintaining our distinctive individual identities—within our families, as the caretakers of cultural traditions, and as occupants of social spaces. Her recent exhibitions include the 58th Venice Biennale (2019), 12th Shanghai Biennale (2019), Black Mat Oriole, ICA Philadelphia (2018), Liverpool Biennial (2018), Gwangju Biennale (2018, 2016), Other walks, Other lines, San José Museum of Art (2018), As the Moon Waxes and Wanes, National Museum of Modern and Contemporary Art, Gwacheon (2016), Group Mobile, Villa Vassilieff, Paris (2016), Foot and Moon, Audio Visual Pavilion, Seoul (2015) and Grandmother Tower, Old House, Seoul (2013). She was awarded the Baloise Art Prize in 2018. Kang is currently a professor of Korean Painting at Ewha Womans University.

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藝 術 家 簡歷

Artist Biographies

加藤 翼

加藤 翼是一位藝術家。他的多媒體項目，包括表演、裝置和 錄像均強調公眾參與，並在不同項目中挑戰和討論不同的社會 議題。他的作品被廣泛展出，包括東京歌劇院美術館「領地與 島」（2021）、柏林漢堡車站美術館「刮擦表面」（2021）、香港 大館當代美術館「言語不通」（2020）、羅馬國立二十一世紀當 代美術館「成為一個集體」（2020）、台北當代藝術館「災難的 靈視」（2020）、在名古屋和豐田市舉行的 2019 年愛知三年展 及果川國立現代美術館「重演歷史」（2017）。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

Kato Tsubasa

Kato Tsubasa is an artist. The common characteristic of Kato’s multimedia projects, including performance, structures and video, is communal practice. His projects and installations raise challenges and discussions about different social issues. His works have been widely exhibited including Turf and Perimeter at Tokyo Opera City Art Gallery, Tokyo (2021), Scratching the Surface at the Hamburger Bahnhof, Berlin (2021), They Do Not Understand Each Other at Tai Kwun Contemporary, Hong Kong (2020), BECOMING A COLLECTIVE BODY at MAXXI, Rome (2020), Co/Inspiration in Catastrophes at MOCA Taipei, Taipei (2020), Aichi Triennale 2019 in Nagoya and Toyota city, Reenacting History at MMCA, Gwacheon (2017), among others.

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藝 術 家 簡歷

Artist Biographies

李繼忠

李繼忠是一位藝術家。他的研究式創作主要關注歷史及編纂、 系統和意識形態。他透過一系列研究、社會參與及行動介入來 回應歷史論述，將政治與藝術的轉化投映在個體實踐。李繼忠 於 2020 年獲亞洲文化協會頒發 Altius 獎助金，並於 2018 年獲 香港藝術發展局頒發「2017 藝術新秀獎（視覺藝術）」。近年展覽 包括瑞士「溫特圖爾國際短片電影節」（2021）、北京蜂巢當代 藝術中心「進退維谷」（2020）、瑞典蘭斯克魯納「Landskrona Foto」（2020）、北京長征空間「赤字團」（2019）、南韓首爾藝 術博物館（SeMA）「首爾媒體城市雙年展」（2018）及上海當代 藝術博物館「第 12 屆上海雙年展：禹步——面向歷史矛盾性的 藝術」（2018）。

伊佐治 雄悟

伊佐治 雄悟是一位視覺藝術家，擅長以現成物進行藝術創作。 他於 2008 年畢業於多摩美術大學，2019 年曾獲得 Pola 藝術基 金會研究項目的獎學金，以資助他在瑞典的研究項目。「我們的 生活一直被平坦的地板和筆直的牆壁包圍，留在同樣的空間中 總是很局促，所以在森林及山間散步聽起來是個好主意。但為 甚麼沒人要質疑地板和牆壁的光潔度呢？顛簸的道路及牆壁上 的污漬才是我們與世界之間的聯繫。」他想用作品表現這種現 象。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

Lee Kai Chung

Lee Kai Chung is an artist. He conducts artistic research on history and historiography, systems and ideology. Through research, social participation and engagement, Lee’s work reflects upon historical narratives and demonstrates an individual’s transition between politics and art. Lee received the Altius Fellowship from the Asian Cultural Council in 2020 and the Award for Young Artist (Visual Arts) from Hong Kong Arts Development Council in 2018.

Recent exhibitions and projects include Internationale Kurzfilmtage Winterthur at Winterthur, Switzerland (2021), Predicament at Hive Center for Contemporary Art, Beijing (2020), Landskrona Foto at Landskrona (2020), The Deficit Faction at Long March Space, Beijing (2019), Seoul Mediacity Biennale 2018 at Seoul Museum of Art, Seoul (2018) and 12th Shanghai Biennale: Proregress – Art in an Age of Historical Ambivalence at Power Station of Art, Shanghai (2018).

Isaji Yugo

Isaji Yugo is a visual artist who creates works with readymade products. He graduated from Tama Art University in 2008. In 2019, he became the Pola Art Foundation’s fellowship recipient for a research project in Sweden. ‘Our lives are surrounded by flat floors and straight walls. It feels cramped to stay there all the time, so it is a good idea to go for a walk in the forest or mountains. But why not question the flatness of the floors and walls? Road bumps and wall stains show the connection between us and the world.’ He would like to create such moments that encourage the audience to discover similar connections.

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藝 術 家 簡歷

Artist Biographies

李清月

李清月是一位插畫師。除了為小說繪製插畫，也偶爾創作繪本， 以當代藝術的形式為民間傳統故事賦予嶄新的詮釋。2021 年， 她的繪本《神奇的壯錦》獲頒年度「圖書印象」國際插畫與圖書設 計大賽原創繪本獎。李清月的個展包括上海市群眾藝術館「神 奇的壯錦」（2021）、「浮圖記——九九遊錄」（2016）及上海 The Space「一個舊的圖畫展」（2016），她亦曾參與上海 MoCA 當代 藝術館「動漫美學雙年展」（2013）。

文美桃

文美桃是一位藝術家。她獲得皇家墨爾本理工大學及香港藝術學 院藝術學士學位。文美桃的創作以物料出發來講述事件或事情， 並從技術層面延伸各種媒介，其作品主題由身體的親密性遊走到 城市的景觀，探究城市化的生活與消逝的事物。她的作品曾於 香港及海外的群展中展出，如日本福岡九州藝文館「意識聚集： 第二十九屆亞洲國際美術展覽會」（2021）、安全口畫廊「字裡行 間」（2020）、香港醫學博物館「像是動物園 (2)」（2018）及台北 非常廟藝文空間 「類聚集」（2017）等。她於 2021 年入選香港大 館藝術家工作室駐場計劃。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

Li Qingyue

Li Qingyue is an illustrator. She creates illustrations for novels, and occasionally picture books, where she reinterprets folk stories through the language of contemporary art. In 2021, her picture book Magic Cloth was awarded Diploma under the Best Picture Books category in Image of the Book, an international contest for book illustration and design. Lee Qingyue has held solo exhibitions including Magic Cloth (2021) and Records of the Buddha: Giugiu’s Travelogue (2016) at the Shanghai Mass Art Center, and An Old Picture Show at The Space, Shanghai (2016). She also participated in the Animamix Biennale at the Museum of Contemporary Art (MoCA), Shanghai (2013).

Man Mei To

Man Mei To is an artist. She obtained her Bachelor of Arts at the Royal Melbourne Institute of Technology University (RMIT) and Hong Kong Arts School in 2017.

Man’s artworks tell stories with materials as the point of departure and delve into various mediums on a technical level. Through observing the intimacy of the body, she explores urban vistas, life under urbanisation and transient things. She has participated in numerous local and international group exhibitions including Gathering of Consciousness, The 29th Asian International Art Exhibition in Fukuoka (2021), The Spaces Between the Words Are Almost Infinite at Gallery EXIT, Hong Kong (2020), Zoo as Metaphor (2) at the Hong Kong Museum of Medical Sciences (2018) and Ensemble at VT Artsalon, Taipei (2017), among others. Man is the selected artist of Tai Kwun Artists' Studio Programme 2021 in Hong Kong.

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藝 術 家 簡歷

Artist Biographies

朴智希

朴智希是一名雕塑藝術家。她的創作著重探索現代建築結構與生 物學、人類學、物理學和民間傳說之間的關連，展現出對微生物 等非人物種和時間歷史的興趣，在檢視這些元素如何在現代建築 空間中交織互纏的同時，也實現了對人類中心主義思想行為的 去中心化。朴智希曾受邀參與洛杉磯 MAK 藝術與建築中心、蘇 格蘭格蘭菲迪藝術村及上海斯沃琪和平飯店藝術中心的研究及 駐留計劃。她也曾獲得 2021 年 ARCO 藝術科技基金獎、2020 年 Kenneth Armitage 青年雕塑家獎以及 SFAC 新晉藝術家基金獎。 朴智希曾參加多個國際展覽，近期展覽包括洛杉磯 MAK 藝術與 建 築 中 心「Michael Was a Good Neighbor」（2019）、 首 爾 市 立 北首爾美術館「Seoul Focus [25.7]」（2017）及納沙泰爾藝術中心 「Neo Geography 1」（2017）。

王博

王博是一名藝術家和導演。他的錄像作品以藝術性手法探討社 會及歷史事件。其創作的作品受廣泛展映，當中包括古根漢美 術館、紐約現代藝術博物館、莫斯科車庫當代藝術博物館、鹿 特丹國際電影節、瑞士真實影展、東京影像論壇電影節、烏拉 爾工業雙年展、南韓 DMZ 國際紀錄片影展、廣州時代美術館和 布魯塞爾 BOZAR 當代藝術中心等。他是 2013 年羅伯特弗拉哈 迪研討會的研究成員，亦是 2017-2018 年光州亞洲藝術中心 - 荷 蘭皇家藝術學院聯合駐留藝術家，及 2016 年新加坡南洋理工當 代藝術中心駐留藝術家。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

Park Jeehee

Park Jeehee is a sculptor whose work explores the nature of modern buildings in relation to biology, anthropology, physics and folklore. Her work engages an interest in the non-human, time, history and their entanglement in modern buildings, in the process of decentring anthropocentric events and meaning. Park has been awarded a fellowship and residencies at the MAK center, LA, The Glenfiddich artist residence program, Scotland and the Swatch Art Peace Hotel artist residency, Shanghai. Park is the recipient of the ARCO art and technology artist fund (2021) and the Kenneth Armitage Young Sculptor Prize and SFAC emerging artist fund (2020). Park’s work has been exhibited in numerous venues nationally and internationally. Recent exhibitions include Michael Was a Good Neighbor, MAK Center, LA, USA (2019), Seoul Focus [25.7], SeMA Bukseoul Museum of Art, Seoul, Korea (2017), Neo Geography 1, Centre d'art, Neuchâtel, Switzerland (2017) among others.

Wang Bo

Wang Bo is a filmmaker. His video works examine social and historical events in an artistic way. As an artist, his works have been exhibited internationally, including at the Guggenheim Museum and Museum of Modern Art in New York, Garage Museum in Moscow, International Film Festival Rotterdam in the Netherlands, Visions du Réel in Switzerland, Image Forum Festival in Tokyo, Ural Industrial Biennial of Contemporary Art in Russia, DMZ Docs in South Korea, Times Museum in Guangzhou, BOZAR in Brussels, among many others. He received a fellowship from the Robert Flaherty Film Seminar in 2013 and was an artist-in-residence at ACC-Rijksakademie 2017-2018 as well as NTU CCA in 2016.

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藝 術 家 簡歷

Artist Biographies

王雅慧

王雅慧是一位藝術家。她於國立臺北藝術大學取得科技藝術研究 所藝術碩士學位。她的創作形式涵蓋錄像、裝置、攝影和繪畫， 她往往運用影像探討觀者視野的邊界，從現實與影像的交會重疊 處提出之於虛 / 實、內 / 外空間、影像本質、觀看經驗的問題。 在主題上，她則關注在東方的自然哲學中人與世界的關係與思 維方式，並從當代生活的經驗中，探索重新納入這種思維方式 的可能性。王雅慧過去曾參與的國際駐村計劃包括：芬蘭赫爾 辛基國際駐村計劃（2010)、巴黎西堤國際藝術村（2007）、紐約 Location One（2006）。近期她於德國基森新藝術協會（2018）及 誠品畫廊（2019）舉辦個展，並獲得臺北美術獎與國巨科技藝術 獎的殊榮。

王懿泉

王懿泉是一位藝術家和策展人。他先後就讀於北京第二外國語學 院新聞傳播學士、中央美術學院視覺傳意設計碩士和中央聖馬丁 藝術設計學院敘事環境碩士。他的創作和研究興趣在於表演、電 影、城市空間、藝術與經濟之間的關係。他將多種媒介融合在富 有表演性的場景裡，創作出形成參與感的現場活動，或承載敘事 的空間設置，藉此對社會及文化議題展開個人化的評論。王懿泉 在 2018 年擔任了第二屆「當代戲劇雙年展 / 深圳．福田」公共空 間表演系列的聯合策展人；在 2019 年於上海新天地策劃了城市 策展項目。此外，他也是活絡空間設計事務所的創始合夥人，展 開了關注公共空間和社會問題的城市實踐項目。

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

Wang Ya-Hui

Wang Ya-Hui is an artist. She holds a master’s degree in Arts and Technology from the Taipei National University of the Arts. She works across mediums including video, installation, photography and painting. Using mediums of imagery, her practice centres on the peripheral vision of viewers and the intersections of reality and imagery, proposing questions about virtual and real, interior and exterior, the essence of imagery, and viewing experience.

Her motifs revolve around the Eastern natural philosophy and the relationship between man and the world. She is interested in the incorporation of Eastern thought into modern life in her examination of contemporary living.

Wang has held residencies at Helsinki International Artist Programme (2010), Cité des Arts, Paris (2007) and Location One, New York (2006). Recently she held solo exhibitions at Eslite Gallery, Taipei (2019) and the Neuer Kunstverein Giessen (2018). She has received the ACC/ Yageo Tech Art Award (Taiwan) and the Taipei Arts Award (Taipei, Taiwan).

Wang Yiquan

Wang Yiquan is an artist and curator currently based in Shanghai. Wang studied BA Journalism at Beijing International Studies University, Visual Communication Design at Central Academy of Fine Arts, and MA Narrative Environments at Central Saint Martins College of Art and Design in London. His research interests include performance art, film, urban space and the relationship between art and economy. He has constantly challenged the traditional format of exhibitions by transforming multiple artistic mediums into performative settings to create participatory live events and narrative spatial configurations, which form part of his commentary on social and cultural issues. In 2018, he was the co-curator of Public Space Performance Project, the 2nd Contemporary Theatre Biennale Shenzhen. In May 2019, he organised a city-curatorial project titled Streetwise in Shanghai’s XINTIANDI. He is also the founding partner of Acts and Pathways (AP), a multidisciplinary spatial practice, through and cultural issues.

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which he undertakes urban projects that focus on social

Spinning East Asia

藝 術 家 簡歷

Artist Biographies

山內光枝

山內光枝是一位藝術家。2010 年，在尋根之旅的途上，她見到 一張裸體海女的老照片，啟發她對人性及大海所孕育的世界觀感 到興趣。2013 年，她從韓國濟州島的海女學校畢業，她學習了 傳統的自由潛水捕漁，並開始進行水底拍攝。自 2015 年，她在 菲律賓展開研究項目，將研究領域擴展至亞洲海洋。她的第一部 紀錄片《Crossing Tides》在 2019 年東京紀錄片電影節上獲得了 長篇電影榮譽獎。

全基善 / 松田基善

全基善 / 松田基善是一位文化翻譯及土袋建築家。他在 2015 年 成立由文化翻譯及編輯組成的團隊，並擔任總監及協調員，透過 共同舉辦各項項目以拓展當地文化，包括以亞洲為主的生活方 式、社區、藝術、食品及工藝。此外，作為 5 個互助社區的成員 之一，他繼續以其獨特的建築及木工技術擴闊生活設計實踐。全 基善 / 松田基善出生及成長在「在日」（日語意思是在日本出生 的韓國人）的少數社群中，社群在日本有約 60 萬人，正在面對 與種族、種族教育、歧視、政治及國籍相關的多重身份危機。 他意識到想在生活中真正保持內心平靜，需要將自己的意識拓 展至超越與生俱來的身份。全基善 / 松田基善不斷試驗及實踐多 種生活方式，致力培育個體之間的關係，撇開不談每個人與生 俱來的觀念，人與人之間的關係都會順其自然而誕生。

楊圓圓

楊圓圓是一位視覺藝術家與電影導演。其作品形式涵蓋影像、 攝影、藝術家書籍與表演。她的近期個展包括上海 OCAT 「上 協會 456 畫廊「交錯劇場」（2018）和上海現代藝術基地「間隔地 帶」（2018）。2018 年，她在紐約的 Art in General 與 UnionDocs 進行駐地創作。2019 年，她的處女作短片電影《相愛的柯比與

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

海樓」（2020）、上海 AIKE「⼤連幻景」（2019）、紐約華美藝術

史蒂芬》入圍多個國際電影節，包括美國亞特蘭大電影節、卡姆 登國際電影節、亞美國際電影節、臺灣國際女性影展等，並於 2021 年登上《紐約客》雜誌。 楊圓圓曾獲 ART POWER 年度藝術 發現大獎（2019）及亞洲文化協會獎助金（2017）等。

Yamauchi Terue

Yamauchi Terue is an artist. In 2010, during her existential journey of searching for and exploring the origin of her life, she came across an old photo of a naked Ama (sea women) diver. The photo deeply inspires her to this day as she continues to explore human nature and considers a world view nurtured by the sea. In 2013, she graduated from a Haenyeo school on Jeju Island, Korea where she learned traditional free diving fishery and began shooting underwater. Since 2015, she has carried out research projects in the Philippines and extended her field of study to maritime Asia. Her first documentary film Crossing Tides was awarded Honorable Mention for a featurelength film at the Tokyo Documentary Film Festival 2019.

Jeon Gisun / Matsuda Motoyoshi

Jeon Gisun/Matsuda Motoyoshi is a cultural translator and earthbag builder. As the director and coordinator of a team of cultural translators and editors that he established in 2015, he developed a unique cultural approach through co-organising a wide range of projects addressing lifestyle, community, art, food and craftmanship throughout Asia.

As a member of 5 mutual aid communities, he continues to expand his living design practices through his characteristic architectural and woodworking techniques.

Luka Yuanyuan Yang

Luka Yuanyuan Yang is a visual artist and filmmaker. She does visual storytelling through film, photography, artist books and performance. Her recent solo exhibitions include Shanghai Low at OCAT, Shanghai (2020), Dalian Mirage at AIKE, Shanghai (2019), Theater of Crossroads at Chinese America Arts Council Gallery 456, New York (2018) and Interval at Modern Art Base, Shanghai (2018). In 2018, Yang was the artist-in-residence at Art in General and UnionDocs in New York. In 2019, her first short film Coby and Stephen are in Love, co-directed with Carlo Nasisse, was screened Festival, Camden International Film Festival, Asian American International Film Festival and Women Make Waves. In 2021, awards internationally from organisations such as Art Power 100 (2019) and Asian Cultural Council (2017).

Spinning East Asia

the film was featured in The New Yorker. Yang received

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at multiple international film festivals such as Atlanta Film

研 究 員 簡歷

Researcher Biographies

玄始源

玄始源是一位策展人和作家。自 2013 年，她負責營運位於首爾 的展覽空間 Audio Visual Pavilion。在梨花女子大學修讀藝術 史和韓國文學後，她取得韓國國立藝術大學藝術史碩士學位， 其論文是關於後民眾藝術運動對 1980 年代韓國藝術的重要性。 玄始源出版了多本關於當代藝術的書籍，並策劃了多個展覽， 如：「The Platform of Night」（Arko 藝 術 劇 場，2021）、「Cross Check-Sasa[44] + Seunghye Hong」（AVP Lab，2021）、「A Snowflake」（Kukje Gallery，2017）等。 她 的 創 作 興 趣 在 於 語 境、展覽和場域特定性，並展開了多個有關傳統韓國建築、表 演、劇院空間、博物館、畫廊及印刷的項目頁面。

黎雋維

黎雋維是一位建築師、研究員及建築史作者。他在香港大學建築 系取得建築史與理論博士學位，在倫敦 AA 建築學院取得文憑學 位。他的論文集中於歷史、物質文化、一種名為上海石膏的東亞 及東南亞水泥石膏技術，以及歷史文物建築保育。 自 2015 年，黎雋維曾在多間學校及機構任教，包括 AA 平壤參 訪學院、理工大學設計學院、香港大學、香港大學專業進修學院 及香港知專設計學院。他亦受邀於活現香港、GLO Travel、香港 建築文物保護師學會、香港鋼結構學會及長春社文化古蹟資源中 心等多間機構，就香港、平壤、東京、大阪與亞洲其他城市的建 築及城市環境，進行演講及導賞團。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Hyun Seewon

Hyun Seewon is a curator and writer. Since 2013, she has been running the Audio Visual Pavilion, an exhibition space located in Seoul. After studying art history and Korean literature at Ewha Womans University, she received her MA in Art History from Korea National University of Arts with a thesis on post-Minjoong (post-People’s Art movement) which was vital to the Korean art scene in the 1980s. Hyun has published several books on contemporary art and has curated numerous exhibitions, including The Platform of Night (Arko Art Theater, 2021), Cross Check-Sasa[44] + Seunghye Hong (AVP Lab, 2021) and A Snowflake (Kukje Gallery, 2017). Her interest in context, platforms of exhibition, and history have led to the manifestations of projects in a number of spaces, ranging from traditional Korean architecture to performance and theater spaces, museums, galleries, as well as the printed page.

Charles Lai

Charles Lai is an architect as well as a researcher and writer of architectural history. He received his PhD degree in architectural history and theory from the Department of Architecture at the University of Hong Kong, and his diploma degree from the AA School of Architecture in London. His thesis focuses on the history, material culture and technology of a cement plaster called Shanghai Plaster in East and Southeast Asia, as well as the conservation of built historical heritages.

Since 2015, Lai has taught at various schools and institutions, including the AA Pyongyang Visiting School, PolyU School of Design, University of Hong Kong, HKU Space and Hong Kong Design Institute. He has also been invited by various institutions and agencies, such as Walk in Hong Kong, GLO Travel, HKICON, HKISC and The Conservancy Association Centre for Heritage (CACHe) to deliver talks and walking tours on the architecture and urban environment of Hong Kong, Pyongyang, Tokyo, Osaka and other cities in Asia.

374 —— 375 Spinning East Asia

研 究 員 簡歷

Researcher Biographies

伊恩．萊納姆

伊恩．萊納姆是一位研究員。他專注在平面設計、設計教育及設 計研究。他在日本天普大學、佛蒙特美術學院平面設計碩士課程 及東京 Meme 設計學院擔任教師，同時是加州藝術學院的訪問 評論人。他在東京經營設計工作室 Ian Lynam Design，從事視覺 識別、字體及室內設計等創作。萊納姆亦為日本的《IDEA》、葡 萄牙或英國的《Modes of Criticism》及德國的《Slanted》撰稿， 曾出版許多關於設計的書籍。

再紡東亞系列一：手中的羅盤

Spinning East Asia Series I: A Compass in Hand

Ian Lynam

Ian Lynam is a researcher who works at the intersection of graphic design, design education and design research.

He is part of the faculty of Temple University Japan, as well as at the Vermont College of Fine Arts in the MFA in Graphic Design Program, Meme Design School in Tokyo and is a Visiting Critic at CalArts. He operates the Tokyo design studio Ian Lynam Design, working across multiple disciplines including identity, typography, and interior design. Ian writes for IDEA in Japan, Modes of Criticism in Portugal or UK, Slanted in Germany and has published a number of books about design.

376 —— 377 Spinning East Asia

研 究 員 簡歷

Researcher Biographies

陳璽安

陳璽安是一位策展人，也是《黑齒》雜誌的共同編輯。在 2016 年， 他 的 文 章 曾 被 收 錄 在《未 來 歷 史：Mark Dion 與 Arseny Zhilyaev》和《雙向湖泊：利物浦雙年展情景、故事、設定集》 中，文章近期被載於《黑齒》雜誌。他曾合作編輯《平行奧運》及 《箭廠空間五年書》，以及共同策劃 2018 年的「長征計劃：違章 建築三——特區」、2019 年的「長征計劃：赤字團」及「行星馬克 思讀書會」。

孔煜也

孔煜是一位研究員。她從北京大學取得文學學士、哲學學士雙 學位及新聞與傳播碩士，她持續關注二十世紀中國的媒介、技 術勞動與性別，曾就以上主題發表文章《三八飯店盛開革新： 「大 躍進」時期的婦女與技術勞動》，探討技術政治與在社會主義中 的婦女解放運動。她在碩士論文中表達對在中國正值改革的婦 女與紡織議題的關注，聚焦中共邊區紡織技術的傳播、進步與 實踐，透過利用在地物質的「土法紡織」，探索社會主義革命政 治中的性別視角。目前，她正從事記者及編輯工作。

任倢

任倢是一位藝術家及研究員，獲得中國美術學院博士。其研究方 向為纖維藝術及當代藝術。他的個人創作、社會項目、寫作實踐 及教學工作環繞當代藝術、纖維藝術，以及朝着更廣闊的軟材料 藝術展開，著有《可變之物：當代藝術中的軟材料》一書。任倢

再紡東亞系列二：邊織邊拆的網

Spinning East Asia Series II: A Net (Dis)entangled

現任教於廣州美術學院。

Zian Chen

Zian Chen is a curator and the co-editor of Heichi Magazine.

In 2016, he contributed several fictional writing pieces to the magazine, including Future Histories: Mark Dion and Arseny Zhilyaev, The Two-Sided Lake: Scenarios, Storyboards and Sets from Liverpool Biennial. He co-edited the Olympic Reveries in 2021, and Arrow Factory: The Last Five Years in 2020. Chen is also the co-curator of Long March Project: Building Code Violations III – Special Economic Zone in 2018, Long March Project: The Deficit Faction in 2019, and the Planet Marx Reading Club in 2019.

Kong Yuye

Kong Yuye is a researcher who holds a bachelor degree in Literature and Philosophy and a Master of Journalism from Peking University. She is interested in media, technology and gender in 20th century China and has published “8 March Restaurant” Blossoming with Flowers of Innovation: Women and Technical Labor During the Great Leap Forward, explore the politics of technology and women’s liberation in socialism. In her research, she focused on women and textile in the Chinese revolution, as well as the dissemination, reform and practice of textile technology at Chinese borders, exploring the gender aspect of political revolution in socialism through the lens of vernacular textile. She is a journalist and an editor.

Ren Jie

Ren Jie is an artist with a PhD from the China Academy of Art who now teaches at Guangzhou Academy of Fine Arts.

Her research focuses on fibre art and contemporary art while her artworks, social projects, writings and teaching all reflect the broader context around these topics while touching on soft material art. She is the author of Soft Material: Flexibility in Contemporary Art.

378 —— 379 Spinning East Asia

鳴謝

Acknowledgement

CHAT 六廠團隊

執行董事及

高橋瑞木

首席策展人

策展團隊

王慰慰

展覽及館藏策展人

陳朗晴

展覽副策展人

陳信騫

展覽及館藏策展助理

麥巧琳

展覽及館藏策展助理

李勺言

共學助理策展人

羅璧如

共學及社區助理策展人

張靜文

共學及社區策展助理

梁頌霖

共學及社區策展助理

胡敏儀

策展項目管理總監

林楚穎

展覽管理助理經理

謝詠琳

館藏管理專員

Paola Sinisterra

紡織專員

黃昭穎

紡織項目主任

郭杏蓮

車衣隊

六廠團隊 CHAT CHAT Crew

CHAT Crew

Executive

Takahashi Mizuki

Director and Chief Curator

Curatorial Team

Wang Weiwei

Curator, Exhibitions and Collections

Sunnie Chan

Associate Curator, Exhibition

David Chan

Curatorial Assistant, Exhibitions and Collections

Megan Mak

Curatorial Assistant, Exhibitions and Collections

Bruce Li

Assistant Curator, Learning

Eugenia Law

Assistant Curator, Learning and Community

Carmen Cheung

Curatorial Assistant, Learning and Community

Leung Chung Lam

Curatorial Assistant, Learning and Community

Wendy Wo

Director, Curatorial Programme Management

Hazyl Lam

Assistant Manager, Exhibition Management

Maggie Tse

Registrar

Paola Sinisterra

Textile Specialist

Gabrielle Wong

Officer, Textile Programmes

Kwok Hang Lin

Sewing Team

380 —— 381 Spinning East Asia

鳴謝

Acknowledgement

管理及財務團隊

趙子珉 營運及財務高級總監 李盈慧 高級行政秘書及特別項目 袁建暉 行政助理主任 林秀蘭 行政助理主任 鄒詠婷 財務助理經理 呂瑪琳 營運總監 溫志堅 營運經理 文永亮 創意及營運助理經理 林泳欣 創意及營運助理經理（平面設計）

春山正 創意及營運高級主任（數碼媒體）

郭穎淘 創意及營運高級主任 吳啟峰 創意及營運助理技術員

曾曉彤 訪客服務主管 馮卓童 訪客服務專員（合約） 潘嘉俊 訪客服務專員（合約） 楊狄恩 訪客服務專員（合約）

品牌及傳訊團隊

蘇綽玲 品牌及傳訊總監 黎翠欣 傳訊助理經理 羅港俊 傳訊高級主任（數碼媒體） 黃曉恩 傳訊高級主任

夥伴及發展團隊

陳永剛 夥伴及發展總監 麥紫琴 夥伴及發展經理

展覽製作技術員

蔡詠茱 葉政宏 黃慧心

六廠團隊 CHAT CHAT Crew

邱永亮

Operations and

Chiu Tsz Man

Senior Director, Operations and Finance

Finance Team

Stephanie Li

Senior Executive Secretary and Special Projects

Leo Yuen

Assistant Officer, Administration

Varia Lam

Assistant Officer, Administration

Ida Chow

Assistant Manager, Finance

Marlene Lieu

Director, Operations

Dominic Wan

Manager, Operations

Dennis Man

Assistant Manager, Creative Production and Operations

Willis Lam

Assistant Manager, Creative Production and Operations (Graphic Design)

Haruyama Masashi

Senior Officer, Creative Production and Operations (Digital Media)

Joyce Kwok

Senior Officer, Creative Production and Operations

Ng Kai Fung

Technical Assistant, Creative Production and Operations (Contract)

Cloris Tsang

Supervisor, Visitor Experience

Kimmy Fung

Associate, Visitor Experience (Contract)

Sam Pun

Associate, Visitor Experience (Contract)

Yeung Tik Yan

Associate, Visitor Experience (Contract)

Branding and

Zon So

Director, Branding and Communications

Communications

Suzanne Lai

Assistant Manager, Communications

Team

Felix Lo

Senior Officer, Communications (Digital Media)

Grace Wong

Senior Officer, Communications

Partnership and

Antony Chan

Director, Partnership and Development

Development

Mak Tsz Kam

Partnership and Development Manager

Team Choi Wing Chu Belinda

Production

Nakamura Masahiro

Technicians

Wong Winsome Dumalagan Yau Wing Leung Thomas

382 —— 383

Exhibition

Spinning East Asia

鳴謝

Acknowledgement

編輯

陳朗晴 王慰慰

文字編輯

Oliver Farry (p.128-137, 168-175) 麥巧琳

設計

林泳欣

撰稿

陳朗晴 (p.10 - 19) 陳璽安 (p.292-309) 玄始源 (p.128-137) 孔煜也 (p.310-323) 黎雋維 (p.138-149) 伊恩．萊納姆 (p.150-165) 任倢 (p.324-333) 王慰慰 (p.168-175)

中文翻譯

魏家欣 (p.128-137, 150-165)

英文翻譯

Carrie Cox (p.292-333) 蘇曉敏 (p.138-149)

攝影

Chris Lusher (p.8-9, 20-57, 60-63, 66-90, 92-101, 104-115, 126-127, 166-167, 176-207, 210-215, 218-221, 224-231, 234-253, 256-259, 262-265, 268-271, 274-279, 282-287, 290-291, 334-335) CHAT 六廠共學及社區團隊 (p.64-65, 116-117, 118-123, 208-209)

展覽紀錄編輯

羅港俊 Cstand Production

數碼圖錄

Digial Catalogue

Editors

Sunnie Chan Wang Weiwei

Copyeditors

Oliver Farry (p.128-137, 168-175) Megan Mak

Design

Willis Lam

Contributors

Sunnie Chan (p.10 - 19) Zian Chen (p.292 - 309) Hyun Seewon (p.128 - 137) Kong Yuye (p.310 - 323) Charles Lai (p.138 - 149) Ian Lynam (p.150 - 165) Ren Jie (p.324 - 333) Wang Weiwei (p.168 - 175)

Chinese Translation

Luna Ngai (p.128-137, 150-165)

English Translation

Carrie Cox (p.292 - 333) Haley So (p.138 - 149)

Photograph

Chris Lusher (p.8-9, 20-57, 60-63, 66-90, 92-101, 104-115, 126-127, 166-167, 176-207, 210-215, 218-221, 224-231, 234-253, 256-259, 262-265, 268-271, 274-279, 282-287, 290-291, 334-335) CHAT Learning & Community Team (p.64-65, 116-117, 118-123, 208-209)

Exhibition

Felix Lo

Documentary

Cstand Production

Production

384 —— 385 Spinning East Asia

創始捐助機構 Founding Donor 主要捐助機構 Main Donor 支持機構 Supported by 合作單位 Partner

六廠基金會有限公司 Mill 6 Foundation Limited 荃灣白田壩街 45 號南豐紗廠 CHAT 六廠 CHAT/MILL6 Foundation The Mills, 45 Pak Tin Par Street Tsuen Wan, N.T., Hong Kong T

(852) 3979 2301

W

www.mill6chat.org

E

enquiry@mill6chat.org

ISBN: 978-988-79608-3-6

2022 年 11 月出版 Published in November 2022 版權所有。除構成合理交易的私人學習、研究和評論外，在未經出版者的書面同意下，均 All rights reserved. Apart from any fair dealing for the purposes of private study, research, criticism, or review, no part of the contents of this digital catalogue may be photocopying, recording, or otherwise, without prior written consent from the publisher. © 2022 the artists, authors and Mill 6 Foundation Limited

© 2022 版權屬於藝術家、作家及六廠基金會有限公司

Spinning East Asia

reproduced, printed, or transmitted in any form or by any means, electronic, mechanical,

386 —— 387

不被授予任何許可複製、印製或以數碼、影印、攝錄等其他形式發佈數碼圖錄的任何內容。

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