CHAT 5th Anniversary – Factory of Tomorrow

CHAT 5th Anniversary – CHAT 六 廠

五 週 年 ── 明日工廠

Factory of

1

目錄 Content 004―029 030―037

038―111

明日工廠 Factory of Tomorrow

高橋瑞木 TAKAHASHI Mizuki

回歸生活本身：朝向未來的紡織文化遺產 Bring Back to Life: Forward-Looking Textile Cultural Heritage 王慰慰 WANG Weiwei

圖錄 Plates

112―119

作品總覽 List of Works

120―137

「別出心裁：不為人知的裁縫故事」 、 《織光機》、「勞動的痕跡」和「明日工廠」 社區刺繡簾計劃 Misfitted: Unspoken Stories of Tailoring, Illumin-Loom, Artefacts of Labour and‘Factory of Tomorrow’ Community Embroidery Curtains

138―141

嗚謝及團隊名單 Acknowledgements and Staff Credits

明日工廠

→

4

高橋瑞木

「文化遺產 」這個概念是現代產物，其誕生源於人

在社會制度和環境的急速變遷、熟識景物的更迭轉型之 中，感到迷失自我身份，從而渴望在現代世界尋溯自己

的根源。文化遺產不只是被保存下來的古物，亦是我們 情感的載體，承載着我們的幻想和懷舊之情，以及面對

失去時所產生的危機感。文化遺產能慰藉人心，也讓我

們知道自己的思維模式和生活方式並非突如其來，而是 衍生自世代相傳的習俗和傳統。

文化遺產如此重要，政府機構和聯合國教科文組

織等國際組織會將各種遺產項目註冊，並致力保育和維 護它們。香港自 1997 年回歸中國後十年，才於 2007 年 公 佈 文 物 保育 政 策；截 至 2004 年 10 月，已有逾 1,300

棟建築登記為歷史建築，涵蓋廟宇、醫院、教堂和軍事

設施。這些建築大多建於 19 世紀末至 20 世紀初，經歷

了香港從漁村變成殖民地的過程，時而反映出西方生活 方式入侵傳統華人生活空間所產生的張力與共存。

第 二 次 世 界 大 戰 後， 製 造 業 自 1950 年 起 成 為

香港經濟增長支柱，勞動力主要來自中國大陸移民，當

中的紡織業和服裝業於巔峰時期更僱用了香港三分一勞 動人口。然而 1978 年中國推行改革開放政策後，香港的

製造業逐漸把生產基地遷至中國大陸或地價和工資較低 的國家，而香港經濟的重心則轉移至金融和地產業。如

今香港市區仍有許多工業建築，但 大多已改作辦 公室、 倉庫或食品加工廠，製造業已日漸式微。

CHAT 六廠（六廠紡織文化藝術館）位於南豐紗廠，

而南豐紗廠前身是南豐紡織有限公司的三棟廠房，一如 其他香港典型工廠 建築的轉型，廠 房於 2008 年停運後

曾作倉庫用途約八年之久。承蒙南豐紡織創辦人陳廷驊

博士的 孫 女張 添 琳 小 姐 的 推 動，這個 建 築 群 得以 逃 過 清拆命運，重生成為一個文化與商業的綜合體。

這 些 舊廠 房已有五十多年歷 史，翻 新後 於 2019

年榮獲聯合國教科文組織亞太區文化遺產保護獎的「 評 審會創新奬 」 ，獎項評語如下：

南豐紗廠的改造再利用，既保存了香港特別行政

區工業遺產的實體痕跡，亦將香港紡織史中急速 消失的非物質傳統知識傳承後代。這個具想像力

的活化項目把舊廠房改建成文化中心，聯繫昔日

的紡織工人與現在的年輕設計師、當代藝術家及

公眾。為確保建築能持續使用，新增的元素都經 過精心設計，以突出原有的建築結構。南豐紗廠 樹立了一個範例，展示出如何把 20 世紀中期的實

用建築轉型為可持續發展的空間，並於急速變化 的都市環境中與當代社會產生連結。

這說明了紗廠的翻新設計充滿巧思，把一個富有

歷史價值的工業場所改造成一個能啟發藝術家、設計師

和公眾想像力的創意空間。換言之，南豐紗廠作為工業 文化遺址，其願景並非單純頌揚過去，而是為未來培育 人才和創意，而 CHAT 六廠正正負責實現這個期望。

5

我們常常希望透過文物和文化遺址重溫過去，是

因 為 我 們 想 追 尋自己 身 份 的 根 源 和當 前 存 在 的 基 礎：

「 我 為 甚麼 會以 這 種 方 式，存 在 於此 時此 地？」在 急 劇

變化的社會環境中，人們尤其渴望一段定格的過去，所

以他 們 挖 掘 埋 藏 在 歷 史 裏 的 故 事，並 將 其 融 入自己 的

身份建構之中。正如開創文化遺產研究的大衛．羅溫索

（David Lowenthal）所言：「 重新 活於過去，能 給當下 帶來一種滿足感和持續性。」 1

然而，羅溫索亦補充道： 「 我們幻想着異國情調

的過去，與單調或不愉快的現在形成鮮明對比，但我們

用現代工具來打造這個幻想。過去是一個被今天重塑的 異國，而我們維護其面貌的模式馴化了它的陌生性。」

2

人們亦把往昔歌頌為一個供他們逃避現實痛苦與不安的

場域。透過殘破的遺址、廟宇和舊物重現過去的欲望， 或會遮蔽我們的雙眼，使我們忽略當時的苦難或遠比現

在惡劣的生活環境。難道文化遺產的存在意義，就在於 緬懷被淨化了的過去和惋惜現在嗎？

6

自成立以來，CHAT 六廠的目標就不止步於保存

建 築 物 和 物 件，而是 以 文化 藝 術 館 的身 份 積 極 為文化

遺產注入新生命，將一座以往生產紗線和布料的工廠， 轉化為充滿創意和想像力的場所。因此，CHAT 六廠向

觀眾及合作的藝術家和設計師提問：我們可以如何共同

學習和思考未來的走向，又如何實現想像中的未來？文化

遺產不單是追溯過去的途徑，亦是可以無限探索的資源， 幫助我們迎來更美好的生活。

例 如 殖 民 主 義 及 其 於 亞 洲 的 影 響， 就 一 直 是

1 Lowenthal, D. (2015) The Past Is a Foreign Country – Revisited. New York: Cambridge University Press, p. 78.

2

Ibid., p. 4.

CHAT 六廠過往展覽的重要主題。紡織業往往受國家政

策 驅 動，因 此 與 人民 的 集 體 認 同 和 記 憶 緊 密 相 連。 殖 民主義擾亂了其傳統生產線，將原料生產與紡織品生產

分割，同時推動一種藉貿易累積財富的經濟結構。近年

全球化進一步削弱了不同地區傳統紡織品與當地文化身 份的聯繫，導致地方紡織技藝衰退。

CHAT 六廠一方面以展覽傳遞香港紡織業歷史，

一方面與世界各地的創意人才合作，揭示過去和現在的

社會問題，並一起尋求解決之道。我們為當代藝 術家、 設計師和工藝師提供資源，例如香港紡織業相關的檔案

材料和口述歷史等，並委託他們進行藝術創作，以當代 視角重新詮釋紡織歷史與文化。 CHAT 六廠自籌備階段

以來，已將 48 件當代藝術作品納入收藏。

「 明日工廠 」展 覽是 CHAT 六廠五週年誌慶的重

點項目，不但延續五年來的策展脈絡，更對過去進行批 判 性審 視，喚 起 對未 來 的 想 像。展 覽 並非 對 將 來 抱 持 悲觀態度，而是反思香港的過去和展示藝術家所設想的

未 來，並鼓 勵觀 眾參與建構 今後的道 路。所以， 「 明日 工 廠 」旨在 把 CHAT 六 廠 明 確 定 位 為 一 個 鼓 勵 新思 想

和人才的紡織文化藝術館，同時回顧南豐紡織廠的文化 遺產和 CHAT 六廠與藝術家合作的歷史。

香港紡織文化遺產──重要的靈感泉源

CHAT 六 廠 位 於荃 灣，座 落 在 現 代 紡 織 工 業 文

化 遺 產 之中，這一 獨 特 的 位 置，為 我 們 的 合 作 夥 伴 提

供 了 豐 富 的 資 源 和 靈 感。 自 2019 年 3 月 盛 大 開 幕 以

來，CHAT 六 廠已與逾 130 位藝 術家、設計師和工藝師

合 作。 參 展 藝 術 家 從 我 們 的 檔 案 資 料 和 社 區 網 絡 中， 挖掘出各式各樣未被敘述的故事和資料，當中包括女性

移民的回憶、香港經濟發展的軌 跡及跨國文化的交融，

從而進行藝 術創作。 CHAT 六廠與這些創意人才合作，

以藝術發揚香港的紡織工業遺產，建立深植於這座城市 的當代藝術館藏。這些藏品呼應香港作為一個國際都會

的特質，突顯出香港紡織文化遺產是本地和國際藝術家 的重要靈感來源。

7

「 明日工 廠 」展 覽的第一章 節展出 CHAT 六 廠

的一部分當代藝術藏品，這些委託作品展現了八位國際

藝 術家 對 香 港 紡織 業 歷 史 的 詮 釋與 互 動，顯示 香 港 的 紡 織 工 業 文化 遺 產 如 何為 藝 術 家 提 供 豐富靈 感 。

朴 智希 和侯 怡亭透 過 建 築 空間 和舊照 片來 探 索

南豐 紡 織 的 文化 遺 產， 發 明了獨 有 方 式 來保 存 文 物 和

記 憶。 朴 智 希 造 訪 CHAT 六 廠 時， 在 建 築 空 間 和 舊 紡 織機器的表面蒐集了各種真菌樣本，並把它們帶回首爾 的 實 驗 室 培 育，再透 過 生物 科 學 實 驗 從 真 菌中 提 取 色

素，然後混入樹脂中製模。從特定地點收集而來的真菌

包括尖孢鐮刀菌（Fusarium oxysporum） 、哈茨木霉菌

（ Trichoderma harzianum）和 冬 季 腐 霉（Cadophora

hiberna ） ，它們顏色各異，因此每件樹脂晶體都有不同

色彩和形狀，呈現了這些微生物曾在南豐紗廠生存過的 痕跡 。 8

侯 怡 亭則 透 過 公 眾參 與 的 方 式， 介入 南豐 紡 織

廠的黑白舊照之中。從這些舊照中可看到廠房和工人背

靠山丘，記錄了香港大面積土地開發前的風景。侯怡亭 設計了名為「 代 工 繡 場 」的公共 平台，邀 請 公眾 以 刺 繡

為印在畫布上的黑白照片上色。由於新冠疫情帶來的出 入境限制令侯怡亭無法前往香港，這次藝術協作透過遙

距方式進行⸺公眾刺繡的半製成品被寄往台北，由藝 術家接手完成，而歷史舊照亦因藝術家和參與者的遙距

合作而增添色彩，獲得新生。朴智希和侯怡亭都體現了

CHAT 六廠對文化遺產的態度：透過 創新的藝 術介入和

公眾參與，重新激活文化遺產和使其與當代觀眾對話， 而非凍結過去。

何 銳 安、岩 崎 貴 宏 和埃 德．達 瑪 萬透 過有 形 和

無形的媒介，捕捉香港與紡織業之間的歷史軌跡，展示

了香港的工業史如何與人的生活保持關聯 。何銳安以其

研究導向的作品而聞名，擅長透過交織政治、經濟和各

種媒體來表現新的敘事。我們相信他能以獨特視角審視 香港紡織業歷史，將之與我們當前面臨的社會議題連結

起 來， 因 此 邀 他 擔 任 CHAT 六 廠 2021 年 駐 場 藝 術 家。 透過閱讀史料、考察香港工業區和採訪，他研究了香港 紡織業的發展史，並探討這個工業如何受到中美之間的 外交和競爭所操控。這項深入研究最終誕下了影像作品

《Lining 》 ，影片描繪了香港紡織業的興衰更迭，以及香港 從工業轉向金融的經濟轉型。

岩崎貴宏的纖維雕塑《 混亂以外（ 變遷）》由鋪設

在地面的原棉和懸於半空的 13 件棉製雕塑組成，既勾勒

出香港島的地景，亦回顧了昔日紡織業曾引領香港經濟發 展的足跡。細長的垂掛雕塑代表着香港的高樓大廈，每

棟建築上附有白色棉線製作的迷你霓虹燈招牌、廣告燈 箱和起重機。雕塑的表面柔軟又不平坦，讓人聯想到在

施工期間覆蓋高樓大廈的布料，透過展示建築工程中易 被忽視的織物應用，暗喻不斷變化的香港城市景觀。

在 岩 崎 貴 宏 的 系 列 畫 作《 星 座（ 香 港 ）》， 黑 色

亞加力板乍看像是漫天星斗的夜空，但若靠近細看，便 會 發 現 那 其 實 是 從高空 俯 瞰 的 香 港 夜 景，無 數 的 燈 光

來自高樓的燈火和公司招牌。有些位置因為密集的招牌

而形成一片星海，藉此影射這些公司財雄勢大且高度集 權，足以 照亮一片區域。《 混亂 以 外（ 變 遷）》和《 星座

（香港）》均描繪了香港城市的獨有特徵、歷史和力量。

埃德．達瑪萬的《拼布守則 》由 12 塊地氈組成，描

繪了香港的經濟軌跡、生活環境，以及港人在 1970 年代

至 2017 年的心理狀況。作品包括藝術家的原創地氈以及

在香港製造或使用過的現成地氈，並採用了手工簇絨技

術來反映香港的地毯織造史：於 1950 年代末，本地的地 氈製造業以創新的機械工具，取代耗時兼技術要求高的 傳統手工打結程序。香港地氈業開拓新市場之時，新社 會階層、品味和消費模式亦隨着經濟形勢變遷而形成。

9

陳 麗雲、于 一 蘭 和 鄭 然 斗的 作 品 突 顯了香 港 歷

史中的情感或精神面向，並旨在搭建一座橋樑，連接造

就 香 港 現 狀 的 老 一 輩 及 因 前 人 努力而 受 惠 的 新 世 代。 陳麗雲的《Fabric of CHAT 》是一條八米長卷，由她在

舊南豐紗廠找到的廢棄文件所製。她在南豐紗廠翻修前 到訪，收集了遺留下來的文件和書籍，並把這些紙張材

料碎成細條，作為她的編織作品素材。她在紗廠附近的 街上編織紙條，路過的途人亦好奇詢問她在做甚麼，雙

方因而展開對話。在街道編織的過程中，她遇到了幾位

與香港紡織業有關的人士並聆聽了他們的故事，而作品

名稱《Fabric of CHAT 》亦語帶雙關，表達了這幅長卷 是透過與本地社群傾談（chat）所得的故事編織而成。

香 港 記 憶不僅 屬於 本 地 居民。 香 港 文化 傳 遍 海

外，跨越地理邊界。于一蘭的作品《 對你愛愛愛不完 》

上面的字句，就是擷取自十首廣東流行曲的歌詞，說明 10

粵語流 行 音樂 於 黃 金 時 代 深 受 海內外 聽 眾喜愛。 受 其

殖民歷史和過往大量中國移民湧入的影響，馬來西亞人 對 流行文化的體 驗 超 越了文化 和地 理界限。在 1960 至

1990 年代期間，廣東流行曲在東南亞掀起風潮，在馬來 西亞受到華人以外的社群歡迎。儘管文化根源不同，這 些歌曲依然留存於人們的集體記憶中。在 CHAT 六廠委

託下，這件作品於新冠疫情期間製作和展出。當時的社

交距離措施嚴禁聚會和卡拉 OK 以防病毒傳播，此作在 觀 眾內心喚 起了唱卡拉 OK 的虛擬情景，令人憶 起 這些 歌曲所承載的堅韌精神和共享的快樂。

鄭然斗的錄像裝置《 穿高跟鞋的少女 》聚焦於個

人記憶和故事，其靈 感 來自藝 術家 於 2017 年在香港與 一位前紡織工人閔婆婆的相遇。二人跨越語言障礙，成 為朋友，而閔婆婆亦分享了她作為移民工人的經歷以及

在香港生活的艱辛。這組作品名為《 穿高跟鞋的少女 》， 是因為身型嬌小的閔婆婆必須穿高跟鞋才能操作高大的 紡紗機。影片的拍攝地點經過精心挑選，均與閔婆婆的

經 歷 息 息 相 關， 包 括 北 角 碼 頭、九 龍 灣、舊 紡 織 廠 及 九龍市中心的小巷。鄭然斗亦找來四位與閔婆婆當時年

紀和身高相若的女孩，邀請她們分享其現代香港的家庭 故 事、生 活 樂 趣 和 挑 戰。 閔 婆 婆 與 四 位 女 孩 之 間 即 使 存在巨大代溝，但在這場虛擬對話中，她們都分享着對 生活的喜悅和關切。

如上所述，香港的紡織工業歷史為藝術家提供了

豐富資源，受邀的藝術家亦從各自的獨特視角織出新敘 事，令 CHAT 六廠的文化遺產建設得以持續進行。 紡出未來

CHAT 六廠是文化遺產保育項目的一部分，然而

我們不僅只是回顧過去，還會展望明天。紡織品是最古

老的人類 產物之一，但我們仍可透過紡織品探視未來。

「 明日工廠 」展覽第二章節展出的藝術家在選擇創作媒介

和方法時，會考量它們於概念表達方面的可能性，希望 更貼切地表達對氣候變化、廢物管理、先進纖維材料應

用等不同議題的關注。即使有些作品警示着環境破壞、 廢物增加和快速數碼化帶來的隱患等迫切議題，它們仍 鼓勵我們想像未來的可能性，例如創造出對自然無害的

材料、把藝術創作方法去殖民化、維護地方工藝、升級 再造廢物、提升數碼紡織檔案庫的效率和質素、以包容

的方式共創藝術、將天然植物融入藝術創作等。這些作 品提醒我們，儘管或會為全球局勢複雜和資訊氾濫而感 到沮喪 ，但我們依然有能力編織夢想 ，紡出未 來 。

對於楊思嘉來 說， 「 纖 維 」並不是由人 類的手或

機器編織而成，而是像有機生物般自主交織在一起。在

CHAT 六廠的展覽中，她的作品《 無重的美饌 》和《 聚合

物 》表現出「 纖維 」短暫和脆弱的結構及性質，以及自然

世界中混沌無序的狀態。楊思嘉意識到服裝生產衍生大 量紡織廢料的問題，於是在生物實驗室中發明可生物降

11

解的材料，將其應用於她的虛擬時裝設計中，並以數碼

形式展示和分享。她發明的可生物降解材料，質疑了當 今創作者的責任以及對藝術作品持久性的固有執着。

木原裕 紀自 2019 年以 來一直 創作 和服系列《 薩

摩亞之歌 》，這個標題源自一首以樂觀的熱帶幻想來描

繪薩摩亞群島的日本流行歌曲。與此相反，木原裕紀的

《 薩摩亞之歌 》則描繪了工業發展和外國援助為薩摩亞自

然景觀帶來的破壞。展出作品是此系列的第二章，標題 （ 土地） 。 Fanua 一詞超越了「土地 」的簡單 為《Fanua 》

含義；在薩摩亞，這字代表着人與宗族、祖傳知識，以

及經當地生態系統與神靈連結所形成的靈性連繫。作品

中的和服以薩摩亞的傳統布料構樹皮所製，這門工藝現 已瀕臨失傳。同時，作品暗示了藝術家由日本父親和薩 摩亞母親所生的複雜身份，而和服上的建築和宗教古蹟 圖像標誌着薩摩亞的殖民歷史。展示着薩摩亞和日本國 12

旗的廣告牌下，景象滿目瘡痍，隱喻着日本政府開發援 助項目於薩摩亞的矛盾結果。藝術家亦把她舞妓裝束的 自拍肖像與和服並置，以突顯其跨性別的酷兒身份。

朱頌琪運用建築知識，為未來香港城市製作了一

個推測模型。她觀察了荃灣、觀塘、黃竹坑、荔枝角和

火炭等前工業區域如何轉型為創意地區後，透過《 繾綣

城觸》邀請觀眾想像一個以創意為發展支柱的香港未來。 為了把這些前工業區連接起來，她以社會昆蟲網絡、真

菌網絡、神經元網絡等自然界中去中心化的系統為基礎， 參照它們高效快速的互動性和應變力。她將這個都市模

型想像成掛氈，讓思想流向和行為模式以線、紙、工業 材料和樹枝交織在一起，發放信號來刺激我們的大腦神 經元，引發對未來可能性的想像。

張嫣玹把電線和外科口罩的塑料包裝等人造廢棄

物，轉化為模仿植物的可穿戴配飾，以此展示她近期的 反思之旅：創意回收及再造，能否真正改變我們的生活

習慣和心態，減少浪費？在收集廢棄物的過程中，人們不 斷把自己製造的廢物送給她；收到過量的廢物後，她不 禁反思回收及再造能否實質地解決過度生產和消費的問 題。其細小而精巧的作品既表現出手工藝的潛力，亦凸 顯了傳統自然手作材料正被廢棄物料取替的現況。

小林勇輝的《Factory of Universe》源自他的表

，並曾以不同形式重 演作品《也許我是一顆草莓 》 （ 2012）

演。他對於種族、性別和性向的傳統分類感到疏離和不 自在，於是探索了語言和視覺形式以外的溝通方式，嘗

試創造一 個安全空間，讓人在此擺脫固定的社會角色。 這個裝置作品來自他與香港視障學生的工作坊經歷，他

以不同觸感的布料和軟 雕塑作為與學生溝通的媒介後， 深信富有觸感的織物可助他創作出所有人都能夠體驗的 藝術，為人營造包容的空間。

邵純對銀金屬深感興趣，因為銀在古今都有着重

要的用途：中國苗族認為銀具有神秘力量，能把願望傳 達至月亮；銀亦因其高導電性而常用於數碼設備。藝 術

家把其他纖維材料與銀結合，創作出《 妄月 》，給觀眾帶 來一場層次複雜、謎一般的觀賞體驗，暗示當今現實的 混亂現況以及神秘靈性對人的吸引力。

費路．達瑪的沉浸式裝置展現一個融合紡織美學

與材料的混合景觀，其存在本質跨越了現實與虛擬空間。 這件新作融入了碳纖維，它是一種具有極佳強度重量比 和剛度重量比的材料，自 1970 年代進入全球市場後，多 用於汽車、建築和航空航天工業。藝術家把數碼檔案庫

裏的舊紡織圖案截圖，將其放大並與碳纖維浮雕和繪圖

結合，創造出不斷變化的多層次紡織品狀態，將不同顏

色、圖案、紋理和成分交織在一起，使紡織品變成超越 其物質性和實體性的存在。

13

荒 川 Nash 醫 與 居 於 洛 杉 磯 的 亞 洲 同 事 包 括

林 園 珠、 徐 淑 瑤、 謝 淑 妮、 姚 書 安 以 及 身 在 香 港 的 友 人 Kenny X. Li、 中 山 和 泉 和 謝 淑 婷 共 同 創 作 演 出

作 品《Plush Subjectivity（ 香 港 ）》， 並 於 CHAT 六 廠 首 演。 其 靈 感 來自 美 國 已 故 藝 術 家 麥 克． 凱 利（Mike

Kelley）的雕塑作品《Deodorized Central Mass with Satellites》── 該 作 品 以 多 個 毛 絨 娃 娃 製 成， 批 判

成年人把純真正面的形象影射在孩子身上，是為了淨化 憤怒和挫折等人性陰暗面。 同樣地，荒 川 Nash 醫以毛

絨娃娃作為概念素材，來代表童真、純真和可愛。他把

三麗鷗 公司（Sanrio）的毛 絨 娃 娃 縫在一 起，製 成 娃 娃 球，以 質 疑 亞 洲 人 的主 體 性，尤 其 是 身 份 懸 於亞 洲 與

非亞洲國家之間的亞裔僑民。他的幽默表演打破了表演 者與觀眾之間的界限，邀請觀眾參與即興舞蹈、動作和

問答遊戲，強調表演是與人分享時間和空間的藝術形式。 在 香 港 持 續 的 移民 潮 下，這 場 表 演 激 發 我 們 想 像 移居 14

他方的港人如何重塑身份 。

郭孟浩（ 蛙王郭）的藝 術哲學是共享快樂和幸福

時刻。 他於 1980 年代在紐約生活，期間與凱 斯．哈林

（Keith Haring）等藝術家相遇，這些藝術家以塗鴉和偶

發藝術把街頭化為藝術空間，也將個人形象塑造成一種

活的藝術形式。蛙王郭結合水墨藝術傳統與塗鴉風格、 中文與英文，創造了一種扎根香港這個國際都市的獨特

藝術語言。他在表演中以古怪的服裝扮演蛙王郭的角色， 以 水墨 書法和 標 誌 性的青蛙 符 號 填 滿 空間。 他 的 表 演 是一種分享行為，透過與觀眾分享他的書法、色彩斑斕

的眼鏡、青蛙面具和以回收塑料製作的樂器，主張藝術

不應 是一種 交易，而是開放予所有人，不論社會階層、 世代或種族。

加藤泉除了在畫布上繪畫，亦常於石頭、木和布

料等物料上作畫，展示其創作過程同時也是與特定環境

和物料之間的互動。受其童年生活的田野環境所啟發，

他視人類和自然為互動的有機生命體。《 無題 》在 2020 年 春 季 與 本 地 農 夫合 作 而成，最 初成 品 是 五個 石 製 的

頭部和用植物構成的身體。在 CHAT 六廠的五週年展覽

版本，他用石頭把這些頭部連結起來，展現一個循環相 生的網絡和互補關係。

對 CHAT 六 廠 來 說， 藝 術 是 必 要 的 催 化 劑， 讓

我們發掘未被講述的故事、找回遺忘了的記憶和提出改 變未 來的可能 性。 「 明日工 廠 」展 覽中的藝 術 作品透 過 探索我們所知、所失、所懷念和所欲保留之物，把南豐

紗廠這個文化遺產地標轉化為一個可供思考、合作和互 動的活躍社群空間。如此一來，CHAT 六廠並非單純保

存過去，而是孕育新想法和人才，持續為未來社區創造 新的文化遺產。這就是香港──這個被人以「借來的地

方、借來的時間 」形容，但亦有許多人稱之為「 家 」的瞬 息萬變之城──保存文化遺產的形式和方法。

15

Factory of Tomorrow →

16

TAKAHASHI Mizuki The concept of heritage is a product of modernity. It was born out of the desire of those losing sight of their identity amid accelerating social and environmental changes, those whose familiar landscapes transformed rapidly before their eyes – it came from a wish to find one’s roots in the modern world. Heritage is more than preserved relics; it is also a vehicle for emotions, such as fantasies and nostalgia, or our sense of crisis over loss. Apart from providing spiritual comfort, it often reassures us that our ways of thinking and living are not entirely new but are based on customs and traditions passed down from generation to generation.

Because of its significance, heritage is registered by government agencies and supranational organisations such as UNESCO, and efforts are made to preserve and maintain it. In Hong Kong, the first heritage conservation policy was announced in 2007, ten years after Hong Kong was returned to China in 1997. As of October 2004, more than 1,300 buildings in the city were registered as historical buildings, including temples, hospitals, churches and military facilities. Many of these were built in the late 19th century and the early 20th century, and they sometimes show the tension and coexistence between Western and local Chinese lifestyles, with colonial influences eroding into Hong Kong’s traditional Chinese living space when it was a small fishing village.

After the Second World War, from 1950 onwards, Hong Kong’s manufacturing industry was driven by the labour force of immigrants from mainland China and became the pillar of economic growth. Within the manufacturing industry, the textile and apparel sectors employed one third of the working population in Hong Kong at their peak. After China introduced its reform and opening up policy in 1978, these industries gradually relocated their production bases to mainland China and countries where land and wages were cheaper.

Hong Kong’s businesses shifted their focus to the financial and real estate industries. While we can still see many industrial buildings in Hong Kong’s urban areas today, most of them have been converted into offices, warehouses or food processing plants. Manufacturing has largely faded out of the spotlight.

The Mills, where CHAT (Centre for Heritage, Arts and Textile) is located, was originally a set of three factory buildings of Nan Fung Textiles, and like many other industrial buildings in Hong Kong, the site was used as a warehouse for about eight years after the factory ceased operation in 2008. However, thanks to the initiative of Vanessa Cheung, a granddaughter of Dr Chen Din-Hwa, the founder of Nan Fung Textiles, the site was saved from destruction and given a new lease of life as a cultural and business complex.

After its renovation was completed in 2018, the former Nan Fung Textiles factory, about 50 years old, won the Award for New Design in Heritage Contexts in the UNESCO Asia-Pacific Heritage Awards for Cultural Heritage Conservation in 2019. The award record introduces The Mills with the following profile: The adaptive reuse of The Mills has preserved a physical reminder of Hong Kong SAR’s industrial heritage, while also transmitting to future generations knowledge of the fast-disappearing intangible practices associated with the city’s textile manufacturing history. The imaginative reinvention of the former factory into a cultural hub connects former textile workers with young designers, contemporary artists and the public.

In order to strengthen the building to support its ongoing reuse, new elements were carefully designed to showcase the original structural elements. The Mills serves as an example of how the transformation of utilitarian mid-20thcentury buildings can achieve sustainability and

17

resonate with contemporary society in a fast-changing urban context.

The Mills was acknowledged for its sophisticated renovation, which transformed a relic of the city’s manufacturing industry into a creative space that inspires the imagination of artists, designers and citizens. In other words, it is a heritage site expected to nurture future talents and ideas rather than glorify the past.

CHAT is responsible for making this expectation a reality.

We often want to relive the past through cultural relics and sites because we seek the roots of our identity and a basis for our present state of being: why am I here and now, in this way? People yearn for a past fixed in time, particularly when they live in societies undergoing rapid change. They then unearth stories buried in history and embed them in their identity. In the words of David Lowenthal, founder of the discipline of heritage studies, ‘To live again in the past lends fullness and duration to the present.’1 However, Lowenthal also claims, ‘We fancy an exotic past by contrast with a humdrum or unhappy present, but we forge it with modern tools. The past is a foreign country reshaped by today, its strangeness domesticated by our own modes of caring for its vestiges.’2 The past is also glorified as a site of escape from the pain and anxiety of the present. The urge to see the past come alive from decaying ruins, temples and vintage artefacts can blind us to people’s suffering at the time or living conditions far inferior to those we enjoy today. Does heritage really exist to nostalgically look back on a sanitised past and to lament the present?

18

1 Lowenthal, D. (2015) The Past Is a Foreign Country – Revisited. New York: Cambridge University Press, p. 78.

2

Ibid., p. 4.

Since its establishment, CHAT’s vision has always gone beyond just preserving buildings and objects. The museum strives to breathe life into the heritage it carries – a factory that has transformed from a production centre of yarn and cloth to a place for creativity and imagination. In this sense, CHAT asks questions not only of its visitors but also of the artists and designers it engages: how can we collectively learn and think about what the future holds, and how do we get there? Heritage exists not only to trace facts of the past, but also as a resource for countless inquiries that can help us live better lives in the future.

For example, colonialism and its effects in Asia have been major themes of CHAT’s past exhibitions. The textile industry was often driven by national policy and

thus closely connected to people’s collective identity and memory. Colonialism disrupted its system of line production, separating the production of raw material from the manufacturing of textiles while propelling an economic structure that accumulated wealth through trade. Recent globalisation has further diluted the connection between traditional textiles and the cultural identity of local people, leading to the decline of local textile crafts in different regions.

Apart from exhibiting artefacts that communicate the history of Hong Kong’s textile industry, CHAT has been working with creatives from different parts of the world to expose past and present problems and seek solutions. CHAT provides contemporary artists, designers and craftspeople with resources such as archival materials and oral histories related to Hong Kong’s textile industry, commissioning artworks that reinterpret textile history and culture from contemporary perspectives. Since its preparatory period, CHAT has accumulated 48 works of contemporary art in its collection.

At the core of CHAT’s fifth anniversary celebrations was the exhibition Factory of Tomorrow, which continued the genealogy of the museum’s curatorial practice and endeavoured to critically examine the past and evoke imagination of the future. Rather than fostering pessimism about what is to come, it reflected on Hong Kong’s past and presented glimpses of a future envisioned by artists, encouraging visitors to take part in finding a better path ahead. At the same time, the exhibition paid tribute to the intangible heritage of courage and vitality bequeathed by those who worked day and night here at Nan Fung Textiles, looking to tomorrow. Therefore, Factory of Tomorrow was planned with the aim to clearly define CHAT’s identity as a textile heritage museum that encourages new ideas and talent, all while looking back on Nan Fung Textiles’ legacy and CHAT’s history of collaborating with artists.

Hong Kong Textile Heritage – Vital Source of Inspiration Distinctly located in a textile industrial heritage site in Tsuen Wan, CHAT offers a wealth of resources and ideas to its collaborators. The museum has engaged with over 130 artists, designers and artisans since its grand opening in March 2019. Artists have been drawing on CHAT’s archive and community network to create art, shedding light on previously untold stories about

19

female migrants, Hong Kong’s economic development, transnational culture and more. By collaborating with these creative minds, CHAT artistically builds upon Hong Kong’s textile industrial heritage, developing a contemporary art collection that is deeply rooted in the city. The collection, echoing the cosmopolitan character of Hong Kong, showcases the city’s textile heritage as a vital source of inspiration for both local and international artists.

The works on display in the first chapter of Factory of Tomorrow are part of CHAT’s contemporary art collection and are commissioned from eight international artists. Each of them interprets and engages with the history of Hong Kong’s textile industry from the artist’s unique perspective. Together, they demonstrate the ample inspiration Hong Kong’s textile industrial heritage provides to artists.

20

Both Park Jeehee and Hou I-Ting explored the heritage of Nan Fung Textiles through the building itself and vintage photographs and invented new ways to preserve relics and memories. Park collected fungal samples in the factory building and on old textile machines by swabbing on their surfaces during her visit to CHAT. After cultivating these fungi in a laboratory back in Seoul, she extracted colours through a bio-scientific process and cast them into resin. The resulting sculpture contains colours from fungi collected from different locations at the site, including Fusarium oxysporum, Trichoderma harzianum and Cadophora hiberna. The colours and the crystalline form make visible the microorganisms which have been living in The Mills and witnessing its history.

Hou I-Ting intervened into black-and-white vintage photographs of Nan Fung Textiles via public participation. The vintage photos document the lives of workers and the factory building against the backdrop of hills and mountains of Hong Kong before extensive land development. Hou designed public platforms called ‘Sewing Fields’ and invited people to embroider on the old photographs printed on stretched canvases, thus adding colour to the monochrome imagery. Due to travel restrictions during the COVID-19 pandemic, Hou could not travel to Hong Kong and instead initiated a remote artistic correspondence with the participants: the halffinished embroideries by the participants were sent to Taipei and completed by the artist. The vintage photos gained new life because of the colourful embroideries added through remote collaboration between the artist

and the participants. Both Park’s and Hou’s works bear testimony to CHAT’s attitude to heritage – to reactivate heritage and communicate with contemporary audiences, rather than freeze the past, through innovative artistic interventions and public engagement.

Using both tangible and intangible mediums, Ho Rui An, Iwasaki Takahiro and Ade Darmawan captured the historical trajectory of Hong Kong in relation to its textile industry. Their works demonstrate the continuation of Hong Kong’s industrial legacy in people’s daily lives. CHAT’s artist-in-residence in 2021, Ho Rui An is known for his research-based works that propose new narratives by interlacing politics, economy and various media representations. We invited him as we were convinced that he would be able to examine Hong Kong’s textile industrial past from a unique angle, connecting it to the urgent issues we confront today.

By reading, visiting Hong Kong’s industrial areas and interviewing people, Ho studied the development of Hong Kong’s textile industry and how it was manipulated in the diplomatic relationship and competition between China and the US. His intensive research resulted in the video work Lining, which illustrates the rise and fall of Hong Kong’s textile industry and the city’s economic shift from production to finance.

Iwasaki Takahiro’s fibre sculpture Out of Disorder (In Flux) brings the urban landscape of Hong Kong Island to centre stage while recalling the textile industry as one of the major driving forces behind Hong Kong’s economic development in the past century. It consists of raw cotton on the ground and 13 suspended, pencillike vertical sculptures made of cotton fabrics. The sculptural pieces represent Hong Kong’s signature high-rise buildings, attached with miniature neon signs, light boxes and construction cranes made with white cotton threads. The soft and uneven surfaces of the sculptures also resemble the cloth coverings of buildings during construction, thus alluding to the everchanging landscape of Hong Kong by featuring the often unnoticed use of fabric in construction work.

Another of Iwasaki’s work, Constellation (Hong Kong), is a series of paintings on black acrylic panels which look like a night sky filled with countless stars at the first glance. However, upon closer examination, they are revealed to be the night views of Hong Kong from above, with innumerable lights from the windows of high-rise buildings and company logos illuminating the cityscape. Clusters of company logos create galaxies

21

and shine brightly on some areas, a metaphor for the concentration of power and wealth of the corporations.

Both Out of Disorder (In Flux) and Constellation (Hong Kong) vividly portray the unique character, history and power of the city of Hong Kong.

Ade Darmawan’s Patchwork Regulation consists of 12 carpets, which illustrate the economic trajectory and living environment of Hong Kong as well as the local people’s psychological well-being from the 1970s to 2017. Darmawan assembles a collage of original rugs by the artist himself and found ones that were historically made or used in Hong Kong. He specifically adopts the technique of hand-tufting to salute the carpet-making legacy of Hong Kong, where the mechanical tufting gun was introduced in the late 1950s to replace traditional hand-knotting, a time-consuming process requiring skills that were scarce. A new market for floor coverings in Hong Kong also came in conjunction with shifting economic circumstances marked by the emergence of new classes, tastes and consumption patterns.

22

The works by Movana Chen, Yee I-Lann and Jung Yeondoo highlight the emotional or spiritual aspect of Hong Kong’s past and intend to build a bridge between those who contributed to shaping today’s Hong Kong and the people who benefit from their hard work and efforts. Movana Chen’s Fabric of CHAT is an eight-metre-long scroll made from the discarded documents Chen discovered in the former Nan Fung Textile Mills, known as The Mills today. She visited the former Nan Fung Textile Mills before the renovation and collected documents and books left behind in the factory. The collected materials were then shredded into paper strips. Chen knitted the paper strips on the street in the neighbourhood of The Mills. Curious passers-by stopped and asked Chen what she was doing, and that was how conversations began. While knitting on the street, Chen met several people who had been engaged with the textile industry in Hong Kong and listened to their stories. The work’s title Fabric of CHAT literally describes the process of chatting with local strangers and knitting their stories into a long paper scroll.

Memories of Hong Kong do not belong only to its residents. Hong Kong’s culture has been spread internationally and received by people across geographical borders. Lyrics extracted from ten popular Cantopop songs are woven into Yee I-Lann’s SO WE LOVE LOVE LOVE TONIGHT, which offers a glimpse of the golden age of Cantopop when the tunes were

loved by people across the sea. Owing to the country’s colonial history and an influx of Chinese immigrants in the past, the Malaysian experience of popular culture has long transcended cultural and geographical boundaries. Between the 1960s and 90s, Cantopop gained popularity in Southeast Asia and were widely listened to by audiences beyond the local Chinese communities in Malaysia. These songs have remained in people’s collective memory despite their different cultural roots. Commissioned by CHAT, SO WE LOVE LOVE LOVE TONIGHT was made and displayed in the museum during the COVID-19 pandemic amid social distancing measures. Gatherings and karaoke were strictly prohibited to prevent the virus from spreading.

Yee’s work evoked virtual karaoke in viewers’ minds, recalling the spirit of resilience and the shared joy these songs carried.

Jung Yeondoo’s video installation A Girl in Tall Shoes focuses on personal memories and stories. The inspiration of this work came from Jung’s encounter with Ms Mun, a former textile worker in Hong Kong, in 2017. Despite the language barrier, Jung and Ms Mun became friends, and Ms Mun shared her experience as a migrant worker and the hardships she faced adjusting to life in Hong Kong. The work is titled A Girl in Tall Shoes because Ms Mun had a short stature and needed to wear high heels to reach the spinning machines at work. Jung selected filming locations which are directly related to Ms Mun’s story, such as North Point Ferry Pier, Kowloon Bay, former textile mills and a narrow alleyway in downtown Kowloon. He also invited four young girls who were around the same age and height as Ms Mun when she first came to the city, asking them to share their stories about family, joy and challenges in contemporary Hong Kong. Ms Mun and the four young girls engage in virtual conversations in Jung’s work.

Despite the huge generation gap, Ms Mun and the girls share similar joy and concerns about life.

As seen in the examples above, Hong Kong’s textile industrial past is a rich resource for artists. The artists engaged by CHAT spun new narratives from their unique angles. In this way, CHAT continues to build on its heritage.

Spinning the Threads of Tomorrow Although CHAT is part of a heritage conservation project, we do not limit our vision to the past. Textiles

23

are among the oldest human artefacts, but through them we can also see the future. The second chapter of Factory of Tomorrow introduced works by artists who base their selection of mediums and techniques on their capacity to conceptually discuss various issues, ranging from climate change and waste management to the application of advanced fibre materials for social inclusion. While some of their works warn of pressing global problems including environmental destruction, increasing waste and challenges brought by rapid digitalisation, they encourage us to envision future possibilities, create materials harmless to nature, decolonise art-making methodologies, preserve local craftsmanship, upcycle waste, optimise digital archives of textiles, make art collectively and inclusively, and even embrace the organic intervention of plants in art creation. They remind us that, while we may feel helpless to initiate change in an age of global complexity and information overflow, we still hold the power to spin the threads of tomorrow.

24

For Scarlett Yang, ‘fibres’ are not woven by human hands or machines but freely intertwine like bio-organisms. In CHAT’s exhibition, Yang presented Weightless Delight and Composite, where ‘fibre’, in its structure and nature, embodies ephemerality and vulnerability, as well as the chaos and entropy of the natural world. Well aware of the excessive textile waste in garment production, Yang began to develop biodegradable materials in a biological laboratory and apply them in her virtual fashion designs for presentation and circulation in digital form. Her biomaterials question the responsibility of makers and the idea that art should last for ever.

Yuki Kihara has been working on her kimono series サ–モアのうた (Sāmoa no Uta) A Song About Sāmoa since 2019. The title of the series is derived from a popular Japanese song whose lyrics paint an optimistic tropical fantasy of the Sāmoan islands.

On the contrary, Kihara’s work portrays the gloomy reality of Sāmoa’s natural landscape, which has been suffering from the negative impact of industrial development and foreign aids. In the exhibition, Kihara displayed the second chapter of the series, サ–モア のうた (Sāmoa no Uta) A Song About Sāmoa – Fanua (Land). The Sāmoan word fanua means more than just land; it also represents people’s spiritual connection through kinship, ancestral knowledge and the local ecosystem in Sāmoa. The kimonos are made of siapo, an indigenous Sāmoan fabric made from the bark of

the paper mulberry tree. While paying tribute to a native craft under the threat of disappearance, the kimonos also allude to Kihara’s complex identity as the child of a Japanese father and a Sāmoan mother. The architecture and religious monument illustrated on the kimonos refer to the colonial history of Sāmoa while the devastated landscape under the billboard with both the Sāmoan and Japanese flags suggests the result of Japan’s official development assistance to Sāmoa. In her installation for Factory of Tomorrow, Kihara also juxtaposed selfportraits of her dressed as a maiko (apprentice geisha) with the kimonos, thereby highlighting her queer identity as a trans woman.

With a background in architecture, Maggie Chu brought to CHAT a speculative urban model of future Hong Kong. Inspired by the transformation of former industrial areas – including Tsuen Wan, Kwun Tong, Wong Chuk Hang, Lai Chi Kok and Fo Tan – into creative districts, Chu’s Entwined Nexus – urban synapse invites viewers to imagine an alternative urban model of future Hong Kong, one where creativity becomes vital to the city’s development. To connect these former industrial districts, Chu references the decentralised systems in nature, such as social insect colonies, fungal networks and neuronal networks, which are highly interactive and adaptable to unexpected changes. Chu pictures this urban model as a tapestry where flows of ideas and patterns of behaviour intertwine with threads, paper, industrial materials and tree branches, emitting signals that stimulate our brain synapses to imagine a possible future.

Kimberly Chong’s wearable artworks are made of discarded everyday materials, such as computer cables and plastic packaging of surgical masks. Chong transforms these waste materials into accessories that mimic plants. The works on view in the exhibition reflected Chong’s contemplations on whether creative recycling and upcycling could really change people’s habits and mindset to reduce wasteful behaviour.

When collecting used materials, Chong was constantly offered newly created waste. Having received an excessive amount of waste materials, all provided out of goodwill, Chong wondered how much recycling and upcycling could contribute to solving the problems of overproduction and overconsumption. Her small, delicate body of works demonstrates the vast potential of handicrafts while drawing attention to the current tendency of natural, traditional craft materials being replaced by waste materials.

25

Kobayashi Yuki’s Factory of Universe stems from his 2012 performance Maybe I Am a Strawberry and has been restaged in different forms. Based on his feelings of alienation and discomfort towards conventional classifications of race, gender and sexuality, Kobayashi explores alternatives to verbal and visual communication, attempting to creating a safe space where people can be free from predetermined social roles. Factory of Universe was developed from the artist’s experience of conducting workshops with visually impaired students in Hong Kong. After communicating with the students using fabrics of different textures and soft sculptures, Kobayashi was convinced that the tactility of textiles makes them ideal for creating universally accessible art and inclusive spaces for people.

26

Shao Chun is interested in silver metal for its past and present uses. Among the Miao people in China, silver is believed to hold the mystical power to channel wishes to the moon; in electronic devices, silver is frequently used for its high conductivity. By mixing other fibre materials with silver, Shao’s Forgotten Moon invents a complex, puzzling, riddle-like viewing experience, alluding to today’s confusing reality and people’s attraction to the mysterious and spiritual.

Fyerool Darma’s immersive installation is a hybrid landscape of textile aesthetics and materials with an ontology transcending real and virtual spaces. The work features the use of carbon fibre, which is a fibre material with excellent strength-to-weight and stiffnessto-weight ratios. Carbon fibre entered the global market in the 1970s and has been used in the automobile, construction and aerospace industries. Darma enlarge screenshots of old textile patterns in digital archives and combine them with carbon fibre reliefs and drawings.

The multi-layered, constantly shifting textile image weaves together various colours, patterns, textures and ingredients, extending the presence of textiles beyond their materiality and substance.

Ei Arakawa-Nash co-created and debuted the scenario Plush Subjectivity (Hong Kong) at CHAT with his Asian colleagues and acquaintances. His collaborators included Won Ju Lim, Anna Sew Hoy, Shirley Tse and Amy Yao, who are based in Los Angeles, and Kenny X. Li, Nakayama Izumi and Sara Tse, who are based in Hong Kong. Their performance was inspired by late American artist Mike Kelley’s sculpture work Deodorized Central Mass with Satellites. Kelley’s work

used plush toys to critically question adults’ perception of children as pure and clean, which, in essence, seeks to sanitise negative aspects of humanity, such as anger and frustration. Like Kelley, Arakawa-Nash used plush toys as a conceptual material to represent childishness, innocence and cuteness. He sewed Sanrio plush dolls together into a ball to question the subjectivity of Asians, especially the Asian diaspora whose identities are suspended between Asia and non-Asian countries.

His humorous performance broke the barrier between performers and audience by involving the latter in improvisational dance, movements and quizzes, emphasising the art form of performance involves people sharing the same time and space. Against the backdrop of ongoing mass migration from Hong Kong, the performance provoked imagination of the migrants’ redirected identities in their respective new homes.

Sharing joy and happiness is Frog King Kwok’s artistic philosophy. He lived in New York in the 1980s and met artists such as Keith Haring who transformed streets into art spaces through graffiti, happenings and the living art form of persona. Combining traditional ink art with graffiti, Chinese characters with English letters, Kwok has established a unique artistic language that is deeply rooted in the cosmopolitan city of Hong Kong.

Kwok performs as the playful Frog King in an eccentric costume and fills the space with his ink calligraphy and iconic frog symbols. His performance is an act of sharing: by sharing his calligraphy, colourful glasses, frog masks and sound instruments made of recycled plastic with the audience at the exhibition’s opening ceremony, he championed that art should not be transactional but open to everyone regardless of social class, generation and race.

Apart from traditional canvas, Kato Izumi also paints on found materials such as stones, wood and fabrics. He sees painting as an act of interaction with the given environment and materials. Inspired by the rural environment of his childhood, Kato regards both humans and nature as organic beings interacting with each other.

His Untitled was originally made in collaboration with local gardeners in spring of 2020. Its initial form featured five figures with stone heads and bodies made of plants.

In CHAT’s fifth anniversary edition, Kato connected the five stone heads with pebbles, visualising a circular network or complementary relationship among them.

27

Art is a necessary catalyst for CHAT to unveil hidden narratives, recover obsolete memories and propose possible changes for the future. By questioning what we know, what we lost, what we miss and what we want to keep, the artworks exhibited in Factory of Tomorrow transformed the heritage site of The Mills into an active space for contemplation, collaboration and cooperation in our community. CHAT does not freeze the past in a frame, but incubates ideas and talent for the future while continuing to create new heritage for the community. This is the mode and form of heritage conservation in the fast-changing city of Hong Kong – a place that was once deemed a ‘borrowed place on borrowed time’ but is called home by many people.

28

29

回歸生活本身： 朝向未來的紡織 文化遺產

30

→

王慰慰

在香港這座以金融、地產和旅 遊著名的城市，前

往一個名為「 南豐紗廠 」的地方，已經意味踏上一趟走進 文化遺產空間的旅程，因為你不會在今天的香港看到蓬勃

的紡織業，紗廠的存在顯 然 標誌着這 座城市的歷史，而 非當下。第一次 走 進南豐紗廠時，你會從斑駁的綠色牆 身、紅色的工廠標語和鋼筋水泥的建築結構感受到其工業

氣 息， 也可以在位 於二 樓 的 CHAT 六 廠（ 六 廠 紡 織 文化 藝 術 館 ）的 陳 廷 驊 基 金 會 展 廳 中， 看 到 一 些 舊 機 器 和

文 獻，以 及關於香港 紡織業的歷史片段。 然而，除 此之 外，南豐紗廠中更多洋溢的是人和寵物的歡樂氣氛、美食

的香氣、設計產品和週末市集的活力等，大部分都很難讓 人直接聯想到文化遺產。

由於很 多歷 史和現 實 原因，CHAT 六 廠 在 甫成 立

之際，就面臨 着香港 紡織業歷史相關文 獻、 物件和研究

資料 不足的問題。雖然關於 紡織業歷史和紡織文化的研 究及展覽在不斷進行中，但構建在有限材料之上的展示空 間和歷史敘事，還是常令人產生意猶未盡的感覺。在加入

CHAT 六廠策展部之後，和同事們聊起這個話題，我也常

會聽到關於 CHAT 六廠「不夠像文化遺產、不夠老舊、不

夠歷 史 感 」的外界評論。 然而，這 些現實環境也促使我 們這些機構內部的實踐者站到觀眾的角度，去思考一系列

問題：這種對「 文化遺產 」的固有印象從何而來？一旦被 定義成「 文化遺產 」 ，就必須足夠像「 遺產 」嗎？我們要如

何突破對「 遺產 」的想像？將紡織業的過去定位成香港的

「 遺產 」 ，是否限制了我們對其系統的理解？除了肯定和讚 揚紡織業在香港城市發展歷史中的重要地位，我們是否還 可以將其應用到當下的社會生活，並傳遞至未來？在我目

前的策展經驗和實踐過程中， 「 藝術 」和「 社群」是提供解

答方案的兩個關鍵詞。當兩者與「文化遺產」的概念相遇，

「 藝術 」便成為一種態度和方法，促進具有創意和批判性 的思考及詮釋，而「 社群」則要求我們將「 文化遺產 」和其

所在的地方，視為一個需要討論的問題，而非只作參觀的 事物。

在 慶 祝 成 立 五 週 年之 際，CHAT 六 廠 提 出了「 屬

於大家的紡織文化藝術館，培育創意和人才的明日工廠 」

的新定位。在過去五年中，很多藝術家都嘗試以各自的創 作回應以上提到的問題，豐富了我們對紡織文化遺產的想

像，其中不少藝術作品更被納入 CHAT 六廠的收藏，不僅

形塑了 CHAT 六 廠 面向未 來的機構 性格，更 成 為它連 結

社群的重要基石。

韓國藝術家朴智希的作品《 橢圓形軌道（半個月亮

在夏末落下）》打開了我們對紗廠「 歸屬 」的想像：想像一 個屬於微生物的空間，一 個由黴菌來見證人 類活動的空

間。朴智希在 2021 年夏天造訪南豐紗廠，她在被改建的

31

紗廠空間裏蒐集了各種黴菌，並對幾處舊建築和舊機器的

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。對於作為雕塑藝 術家的朴智希來

說，黴菌的生長和腐蝕過程猶如無數微小的時間囊，保存 着一段段時間流動的線索。這件回應香港紡織業歷史的作

品，現已是 CHAT 六廠的藏品。此作亦是朴智希研究亞洲

紡織業歷史的一條支線，她對韓國的京城紡織株式會社

進行了長期的研究，並以同樣的方式，於京城紡織的舊建

築內採集黴菌，培育並提取色素，進行了一系列的創作。 於 20 世紀初建立的京城紡織，在韓國近代工業史上有着

重要地位和社會意義，其創辦人親日派的身份，也在韓國 殖民史上充滿爭議。顯然，紡織工業是研究亞洲近代史 的重要媒介，雖然香港和韓國的時空背景和社會環境截然 不同，但可以透過紡織工業建立無形的聯繫，藉由文化遺 產在不同區域間建立歷史共感和對話契機。

32

CHAT 六 廠的藏品中，以 紡織 工業歷史作 為創作

線索的還有新加坡藝術家何銳安的作品。何銳安在 2021 年於 CHAT 六 廠 駐留，對香港及 廣東地區 紡織業的遷徙

史展開調查研究，並創作了影像裝置作品《Lining 》，這亦

是他探討大中華地區與香港百年紡織工業史的長片的緣起

之作。《Lining 》交織歷史材料、香港和廣東的觀察影像， 以及與前工廠工人、經理及其他對話者的訪談，闡述香港 踏入後工業時代的轉變，探索兩地在全球資本主義外衣下 形成的動態連 結。這 是一部由口述史 組 成的作品，在討 論歷史的同時，也讓我們看到圍繞紡織文化遺產的核心社 群。與社群互動，收集社群的聲音，形成多維度的歷史敘

事，這種創作方法在何銳安後續於上海進行的項目中，佔

據了更重要的位置。他邀請前工廠工人進行茶話會，分享 故事，還在已被改建成商業中心的紡織廠舊址上舉辦露天

電影會，邀請已退休的工人們一起觀賞 1950 年代拍攝、 以 紡織廠為背景的電影。這些活動不僅讓 前紡織工人找 到重聚的機會，將屬於他們的故事分享給年輕一代，更讓

何銳安鏡頭下的中國紡織工業遺產，成為一個向社群打開 並且充滿多樣性和流動性的有機體。

另外一組具有代表性的作品是台灣藝 術家侯怡亭

的《 代 工 繡 場 ⸺紗廠 客廳 》 。 侯 怡亭自 2015 年開 始 進

行名為《 代 工 繡 場 》的系列 創 作，以 刺 繡 為 媒 介，邀 請

大 眾加入⎾歷 史書寫⏌的 行動。 2021 年冬 季，侯 怡亭 在

CHAT 六 廠 開 展了《 代 工 繡 場 ⸺ 紗 廠 客 廳 》項 目。 她

在南豐 紗廠的中庭 設計了數個可以 展示 作品的平台，植 栽 綠 化，並歡 迎民 眾在平台上休憩、交流和創作。 她從

CHAT 六 廠的藏品中挑 選了 12 張南豐紡織工廠的黑白舊

照，邀請觀眾在這個具有公共和私密雙重屬性的⎾客廳⏌

裏，一同在舊照片上刺繡。參與者包括曾經在紡織廠工作

的長者、熱愛手工製作的母女、年輕的情侶等，各式各樣

的人對充滿歷史痕跡的黑白舊照展開屬於自己的想像，並 利用刺繡的方式為它們⎾上色⏌。我們可以看到不同的針

線痕跡彼此疊加、錯落、聯接，不僅為黑白照片增添全新

的美麗畫面，更讓我們看到本土多元群體的共存、協商與 合作。

有人 的 地 方 就 會形成 文化，文化 亦是 生 活 本身。

文化遺產同理同源，其本質是人們在生活中繼承、習得、 選擇的各種生活方式 和共同關注的生命意義。而保護和 激活文化遺產，自然亦是回應與之相關的社群訴求，並形

塑新的社群，共同營造可以讓 文化遺 產持續發展的生活 環境⸺或者更準確的說，讓文化遺產回歸生活本身！

33

Bring Back to Life: ForwardLooking Textile Cultural Heritage 34

→

WANG Weiwei In a city lauded for its finance, real estate and tourism, a place like The Mills implies a spatial and temporal journey into cultural heritage. No longer will you find the bustling scenes of the city’s once-booming textile industry, so the existence of a spinning factory signifies undeniably the city’s past, not its present.

Upon first entering The Mills, you may be struck by its flaking, speckled green walls, the striking red text of its factory signages, steel cables embedded within thick slabs of concrete walls – architectural vestiges of the building’s industrial past. At CHAT (Centre for Heritage, Arts and Textile) on the second floor of the complex, you may find a modest selection of old machinery and archival documents and read up on Hong Kong’s textile industrial history. Other than that, The Mills is more likely known for its stream of visitors, both human and animal, the tantalising scent of food from its eateries, its array of well-designed goods and the vivacity of its weekend artisan markets. ‘Cultural heritage’ would hardly be the first thing that springs to mind.

At its founding, CHAT faced the challenges of limited archival material, objects and research related to Hong Kong’s textile industrial history due to a combination of historical and practical factors. Though scholarship and exhibitions on textile industrial history and culture continue to develop, there often remains a sense of unreached potential regarding spatial representation and historical narratives. Since joining the curatorial team at CHAT, I have often discussed with my colleagues the critique the museum receives, with comments ranging from it ‘not being like cultural heritage’ and ‘not old enough’ to ‘lacking in antiquity and historicity’. Nevertheless, the reality of these comments prompts institutional practitioners like us to consider the following questions from the visitors’ perspective: where does this preconceived notion of ‘cultural heritage’ come from? Must something appear old and decrepit to be acknowledged as cultural heritage? How can we expand our imagination of what cultural heritage could be? Does defining Hong Kong’s textile industrial past as ‘heritage’ limit our understanding of this system? Aside from affirming and commending the vital role textile industry has played in the development of the city, are there ways to view it in light of contemporary society, or even look to the future? In my own curatorial experience and practice, two concepts are key to finding a promising solution: art and community. When juxtaposed with cultural heritage, art is both a mindset and an approach that enhances creative and critical thinking and interpretation.

Meanwhile, the idea of community urges us to view cultural heritage and the space it inhabits as a question to be discussed rather than an object to be displayed and viewed.

On the occasion of its fifth anniversary, CHAT repositioned itself as a ‘textile heritage museum for all, Factory of Tomorrow for new ideas and talents’. Over the past five years, many artists have responded to the questions raised above in their own creative ways. Their works have enriched our re-imagination of textile cultural heritage, and many of their artworks have since been added to the CHAT Collection. Not only has this shaped CHAT’s forward-facing sensibility and vision, it has also become an essential cornerstone of the museum’s efforts in community building.

Korean artist Park Jeehee’s Drawing Elliptical Orbit (when the half-moon sets in late summer) sparks our imagination of the sense of belonging in the context of The Mills. Picture a space belonging entirely to microorganisms – one that bears witness to human

35

36

activity solely through the medium of moulds. During a visit to The Mills in the summer of 2021, Park collected mould specimens from all over the factory building and made silicone imprints of architectural features and old machine parts. Bringing the specimens back to Seoul, she cultivated and extracted pigments from the moulds and cast them in resin. Using the silicone imprints, she made crystalline blocks in various shapes and sizes. For a sculpture artist like Park, the growth and decomposition process of moulds are like countless minuscule time capsules, each preserving threads of time in motion.

The work responds specifically to Hong Kong’s textile industrial history and is now part of the CHAT Collection.

It is, in fact, also a strand in Park’s research on the textile industrial history of Asia. As part of her long-term study, Park visited the Kyungsung Textile building in South Korea, and replicated her methodology of sourcing, cultivating and extracting pigments from mould samples to create a series of artworks. Kyungsung Textile was established in the early 20th century and played a significant role in modern Korean industrial history and society. Founded by a pro-Japan industrialist, the company at the same time had a controversial presence in South Korea’s colonial history. The textile industry is evidently an important window into Asia’s modern history. Though historical and social contexts may differ, one cannot help but draw parallels and connections between Hong Kong and South Korea. Cultural heritage thus enables different territories and regions to find commonality in history and space for dialogue.

Also within the CHAT Collection is an artwork

by Singaporean artist Ho Rui An, whose work likewise uses textile industrial history as creative inspiration.

During his residency at CHAT in 2021, Ho conducted research on the migration history of the textile industry in Hong Kong and the Guangdong region. His residency resulted in his video installation Lining, the beginning of an extended video work that delves into the centurylong textile industrial history across the Greater China region and Hong Kong. Weaving together archival material, interviews with former factory workers and managers, as well as documentary footage of Hong Kong and Guangdong, Lining chronicles the changes of a post-industrial Hong Kong and explores the dynamic entanglement of Hong Kong and Guangdong under the cloak of global capitalism. The compilation of oral history turns our gaze on history itself while revealing to us the core community that formed around textile cultural heritage. Through direct interactions with the community and the collection of their stories, Ho helped create

a multidimensional historical narrative. This creative practice continued to take centre stage in his later project in Shanghai. There, he invited former factory workers to share their stories over tea. He also held an outdoor screening at a commercial building – formerly a textile factory – and invited the retired workers to watch a 1950s film set in a textile factory. These events not only allowed the former workers to reunite and share their stories with younger generations, but enabled China’s textile industrial heritage, under Ho’s lens, to become part of the community and flourish as a living entity with multiplicity and vitality.

Another representative work is Sewing Fields: CHAT Living Room by Taiwanese artist Hou I-Ting. In 2015, Hou commenced a creative series titled Sewing Fields, which uses embroidery as medium and invites public participation to the ‘writing of history’. In the winter of 2021, Hou brought the programme Sewing Fields: CHAT Living Room to The Hall of The Mills. There, she designed platforms where works could be displayed and decorated them with lush greenery, creating a communal space for members of the public to rest, converse and create – a ‘living room’ that straddled the duality of public and private space. She handpicked 12 black-and-white photographs of Nan Fung Textiles from the CHAT Collection and invited visitors to co-create by embroidering onto them. From former factory workers and retirees, to a mother-daughter duo passionate about crafts, to young couples, participants ‘re-coloured’ old photographs using embroidery and let their imagination play out on these historical records. With the overlapping, crossing and running on of stitches, we see not only old black-and-white photographs coming alive with colour, but also the coexistence, compromise and collaboration of a diverse local community.

Where there are people, there is culture. Culture is the very substance of life. By logic and origin, cultural heritage in essence is the myriad ways of life that are inherited, acquired and chosen; a meaning of life communally sought out and invested in. To preserve and revitalise cultural heritage is to respond to a community’s needs and to form new communities, to cultivate an environment where cultural heritage can sustain and thrive – or, put simply, to bring cultural heritage back to life!

37

38

Plates

圖錄

39

郭孟浩（蛙王郭） Frog King Kwok

郭孟浩（ 蛙王郭）被譽為香港第一代行為藝 術家，他的創作跨越多種媒介，包括行為 藝術、即興表演、裝置藝術、拼貼、水墨 及雕塑等。他將水墨轉化為一種概念性的 工具，廣泛採用於跨媒體及參與性的藝術 創作中。

40

蛙王郭師承「新水墨運動」大師呂壽琨學習 水墨與書法，曾於紐約度過了 15 年的早期 藝術生涯。他曾參與超過 4,000 多個本地 與國際展覽和藝術活動，包括代表香港參 加 2011 年第 54 屆威尼斯雙年展香港館的 展覽。蛙王郭多年來屢獲殊榮，曾在 1987 年 獲 紐 約 市 政 府 授 予 最 佳 社區 藝 術 服 務 獎，並在 1998 年 獲 得 香港 藝 術 發展 局視 藝 成 就 獎。 他 的 作 品 被 世界 各地 的 藝 術 機構收藏，其藝術生涯也收錄於亞洲藝術 文獻庫的「蛙王郭孟浩檔案 」中。

Kwok Mang Ho, also known as Frog King, is a first-generation performance artist in Hong Kong. His work encompasses performance art, happening, installation, collage, ink art, sculpture and more. He incorporates ink painting as both action and material into multimedia participatory practices.

Kwok received training in ink painting and calligraphy from Lui Shou Kwan, a master of the New Ink Painting movement, and spent 15 years in New York during his early artistic career.

He has exhibited and performed in over 4,000 exhibitions and events worldwide and represented Hong Kong at the 54th Venice Biennale in 2011.

He was also awarded the Hong Kong Arts Development Council Emeritus Fellowship in 1998 and the Yomoma Arts Group Award for Best Community Arts Services by City Hall New York in 1987.

His works are collected by international institutions and documented in the Kwok Mangho Frog King Archive of Asia Art Archive.

41

《青蛙嘉年華2024》 Frog Carnival 2024

2024

尺寸可變

Dimensions variable

多媒體裝置

Multimedia installation

CHAT六廠委託作品

Commissioned by CHAT

42

郭孟浩（蛙王郭）與他的作品《青蛙嘉年華2024⸺蛙托邦》

Frog King Kwok and his work Frog Carnival 2024 – Frogtopia

43

加藤泉 Kato Izumi

加藤泉生於日本島根縣，現於東京和香港 兩地生活及工作。加藤描繪的人形神秘生 物廣為人知，他運用木材、軟膠、石頭和 織布等多種 媒介，打破傳統的圖像形式， 探索人與自然之間的界限。

44

加藤於 2007 年獲 邀參加第 52 屆威尼斯雙 年展，此後 一直在全 球各地 展出其作品， 、美國 包 括 在 東 京 華 達 琉 美 術 館（2022） 、東 京 原 美 術 薩 凡 納 藝 術 博 物 館（2021） 、群馬縣原美術館 ARC（2019） 、 館（2019） 墨 西 哥 埃 斯 孔 迪 多 港 Fundación Casa Wabi（2019）和 北 京 紅 磚 美 術 館（2018) 舉辦個展。他最近參與的聯展包括法國的 「A Summer in Le Havre」 （2022）和檀香山 。 的夏威夷三年展（2022）

Kato Izumi was born in the Shimane prefecture of Japan and currently lives and works between Tokyo and Hong Kong.

Known for his paintings of enigmatic, primal, creature-like figures, Kato deploys diverse mediums such as wood, stones and fabrics to push the limits of pictorial forms and explore the boundary between human and nature.

In 2007, Kato was invited to participate in the 52nd Venice Biennale and has since then been presenting his works globally, including in solo exhibitions at the Watari Museum of Contemporary Art, Tokyo (2022); the SCAD Museum of Art, Savannah, USA (2021); the Hara Museum of Contemporary Art, Tokyo (2019); Hara Museum ARC, Gunma (2019); Fundación Casa Wabi, Puerto Escondido, Mexico (2019); and Red Brick Art Museum, Beijing (2018). Among his recent group exhibitions are A Summer in Le Havre in i Triennial 2022 France (2022) and Hawai’ in Honolulu.

45

《無題》 Untitled

2020，

2024年更新

2020,

reworked 2024

尺寸可變 Dimensions variable

頭部 50 x 48.5 x 29.5 厘米、39 x 39.5 x 23 厘 米、33.5 x 43 x 30 厘米、46 x 40 x 34 厘米、37 x 39.5 x 29.5 厘米

Heads 50 x 48.5 x 29.5 cm, 39 x 39.5 x 23 cm, 33.5 x 43 x 30 cm, 46 x 40 x 34 cm, 37 x 39.5 x 29.5 cm

石頭、矽、植物

Silicone gel on

stones and plants

CHAT六廠藏品

Collection of CHAT

46

47

朴智希 Park Jeehee

48

朴智希是一名活躍 於首爾的雕塑藝 術家。 她 的 創 作 着重 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，也對人類中心 主義的思想模式進行去中心化。

朴 智希曾受 邀參與洛杉 磯 MAK 藝 術與 建 築中心、上海斯沃琪和平飯店藝術中心及 蘇格蘭格蘭菲迪藝 術村的研究 及 駐留計 劃。 她亦曾獲 得 2021 年 ARKO 藝 術 科 技 基 金 獎、2020 年 SFAC 新 晉 藝 術 家 基 金 獎等獎 項。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」 、首 爾 市 立 北 首 爾 美 術 館「Seoul （ 2019） 」2017） 、納沙泰爾藝術中心 Focus [25.7]（ （ 2017）等。 「Neo Geography 1」

Park Jeehee is a sculptor based in Seoul whose creative practice explores the nature of modern architecture in relation to biology, anthropology, physics and folklore. Her work shows an interest in non-human organisms, time, history and their entanglement in modern buildings, decentring anthropocentric events and meanings in the process.

Park has been awarded fellowships and residencies at the MAK center, LA, the Swatch Art Peace Hotel, Shanghai, and the Glenfiddich Artists in Residence programme in Scotland. She is the recipient of the ARKO art and technology artist fund (2021) and the SFAC Emerging Artist Fund (2020). Her work has been exhibited internationally. Recent exhibitions include Michael Was a Good Neighbor, MAK Center, LA (2019); Seoul Focus [25.7], Buk-Seoul Museum of Art, SeMA, Seoul (2017); and Neo Geography 1, Centre d’ art, Neuchâtel, Switzerland (2017).

49

《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)

2022

159 x 100 x 100 厘米 159 x 100 x 100 cm

樹脂

Resin

CHAT六廠藏品

Collection of CHAT

50

51

侯怡亭 Hou I-Ting

52

侯怡亭生於台灣高雄，現居於台北。她的 作品主要結合刺繡與數碼影像，透過創作 探究身體與影像之間隨時間不斷變動的關 係，不但 挑 戰 我們日常觀看影像的方式， 也重新演繹乍看平淡的視覺體驗。她對於 過去與現今社會經濟體系下的女性勞動力 尤其感興趣，其現場刺繡的行為表演更體 現對資本主義社會中的勞動過程的批判。

侯 怡 亭 曾受 邀 參 與 多 個 國 際 展 覽， 包 括 瑞 士 蘇 黎 世 第 25 屆 Videoex 國 際 實 驗 電 、南韓昌原國際 影 與 錄 像 藝 術 節（ 2023） 雕 塑 雙 年 展「Channel: Wave-Particle （ 2022） 、印尼國家博物館雅加 Duality」 （ 2022）等。 她 達 雙年展「Ring Project 」 的作品典藏於 CHAT 六廠、台北市立美術 館、高雄市立美 術館、國立台灣美 術館、 關渡美術館、澳洲白兔美術館及昆士蘭美 術館與現代藝術館。

Hou I-Ting was born in Kaohsiung and is currently based in Taipei. By blending digital imagery and video with embroidery, Hou challenges the way we identify everyday imagery while reconfiguring otherwise prosaic visual experiences. Her practice pivots around the ever-changing relationship between the body and imagery. She is especially interested in the condition of female labour in the past and present socioeconomic systems: her on-site sewing performances are a cultural critique on the labour process within a capitalist society.

Hou has exhibited internationally.

Her recent exhibitions include the 25th edition of Videoex Experimental Film and Video Festival, Kunstraum Walcheturm, Zurich, Switzerland (2023); Empowerment, Kunstmuseum Wolfsburg, Germany (2022); Changwon International Sculpture Biennale: Channel Wave-Particle Duality, South Korea (2022); and Ring Project: Jakarta Biennale, National Museum of Indonesia, Indonesia (2022). Her work is in the collections of CHAT, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, National Taiwan Museum of Fine Arts, Kuandu Museum of Fine Arts, White Rabbit Gallery and Queensland Art Gallery | Gallery of Modern Art.

53

《代工繡場：紗廠客廳 》 Sewing Field: CHAT Living Room

20212022

尺寸可變

Dimensions variable

刺繡縫線、數碼影像畫布

Embroidery and digital print on canvas

CHAT六廠藏品

Collection of CHAT

《代工繡場：紗廠客廳 No.3》

《代工繡場：紗廠客廳 No.5》

70 x 53 厘米 ｜ 70 x 53 cm

75 x 51 厘米 ｜ 75 x 51 cm

Sewing Field: CHAT Living Room No.3

《代工繡場：紗廠客廳 No.4》

Sewing Field: CHAT Living Room No.4

60 x 46 厘米 ｜ 60 x 46 cm

54

Sewing Field: CHAT Living Room No.5

《代工繡場：紗廠客廳 No.10》

《代工繡場：紗廠客廳 No.6》

60 x 43 厘米 ｜ 60 x 43 cm

60 x 46 厘米 ｜ 60 x 46 cm

Sewing Field: CHAT Living Room No.10

Sewing Field: CHAT Living Room No.6

《代工繡場：紗廠客廳 No.1》

Sewing Field: CHAT Living Room No.1

60 x 45 厘米 ｜ 60 x 45 cm

55

何銳安 Ho Rui An

何銳安是一名藝術家及作家，其創作交織 當代藝術、電影、表演和理論。他透過演 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。

56

他的項目曾在多個場館呈現，包括：曼谷 藝術雙年展、亞洲藝術雙年展、光州雙年 展、雅 加達 雙年展、沙迦 雙年展、科欽 – 穆 吉 里 斯 雙 年 展、 柏 林 世 界 文 化 中 心、 維也納博物館、新加坡美術館、燕豪芬凡 艾伯當代美術館及日本山口媒體藝術中心。 2018 年，何銳安獲 選 為 德 國學 術交 流 總 署的藝 術家駐柏林創作計劃的駐村藝 術 家。 2019 年，他於德國奧伯豪森國際短片 電影節獲得國際電影評論 獎 。 何 氏 為 CHAT 六 廠 2021 年 駐 場 藝 術 家。 在駐留期間，他探討了一百年來紡織工業 及其在大中華地區轉變後的歷史，並對勞 動力、資本與科技之間日新月異的關係作 出研究。

Ho Rui An is an artist and writer working in the intersections of contemporary art, cinema, performance and theory.

Through lecture, essay and film, he examines the systems of governance in a global age.

He has presented projects at the Bangkok Art Biennale; Asian Art Biennial; Gwangju Biennale; Jakarta Biennale; Sharjah Biennial; Kochi-Muziris Biennale; Haus der Kulturen der Welt, Berlin; Kunsthalle Wien, Vienna; Singapore Art Museum; Van Abbemuseum, Eindhoven; and Yamaguchi Center for Arts and Media, Japan. Ho was a fellow of the DAAD Artists-in-Berlin Program in 2018. In 2019, he was awarded the International Film Critics’Prize at the International Short Film Festival Oberhausen, Germany. Ho was also the artist-in-residence at CHAT in 2021.

During his residency, he researched the shifting relations between labour, capital and technology by examining the development of the textile industry and its many afterlives within the Greater China region over the past century.

57

《Lining》 Lining

2021

26’00”

影像裝置

Video installation

CHAT六廠藏品

Collection of CHAT

58

59

岩崎貴宏 Iwasaki Takahiro

60

岩崎貴宏生於日本廣島市，並於該地生活 和工作。他的大多數作品都衍生自其家鄉 的歷 史，尤 其 是 1945 年原子 彈 爆 發 使 整 個廣島頃間灰飛煙滅的慘劇，以及其後城 市迅速重建的境況。他利用毛巾、牙刷和 書籤等日常用品構建微型景觀，透過藝術 反思城市的脆弱和變遷。

岩崎從廣島市立大學獲得博士學位，隨後 在愛丁堡藝術學院取得藝術碩士學位。他 於 2017 年 代 表 日 本 參 加 義 大 利 第 57 屆 威尼斯雙年展，舉辦了個展「反轉森林 」 。 他近期的其他展覽包括美國俄勒岡州波特 蘭日本花園的「Takahiro Iwasaki: Nature （ 2023） 、澳洲墨爾 本維 of Perception」 多利亞國家美術館的「Takahiro Iwasaki: 」2023） Itsukushima Reflection Model（ 和在日本愛知縣伊藤家住宅舉辦的 2019 年 。 愛知三年展「Taming Y/Our Passion」

Based in his hometown Hiroshima, Iwasaki Takahiro sculpts miniature landscapes out of everyday household items, such as towels, toothbrushes and bookmarks. Many of his works are inspired by the turbulent history of the Hiroshima city, which was rapidly reconstructed after its destruction by the atomic bomb in 1945. Through art, he reflects on the fragility and transformation of modern urban landscape.

Iwasaki received a PhD from Hiroshima City University and an MFA at Edinburgh College of Art. He represented Japan at the 57th Venice Biennale in 2017, where he held the solo exhibition Turned Upside Down, It’s a Forest. His other recent exhibitions include Takahiro Iwasaki: Nature of Perception, Portland Japanese Garden, Oregon, USA (2023); Takahiro Iwasaki: Itsukushima Reflection Model, National Gallery of Victoria, Melbourne, Australia (2023); and Aichi Triennale 2019: Taming Y/Our Passion, Ito Residence, Aichi, Japan.

61

《混亂以外（變遷）》 Out of Disorder (In Flux)

2018

270 x 630 x 300 厘米

270 x 630 x 300 cm

棉花、漁網

Cotton, fishing net

CHAT六廠藏品

Collection of CHAT

62

《星座（香港）》 Constellation (Hong Kong)

2018

110 x 130 厘米 (每件) 110 x 130 cm each

亞加力板、噴漆

Paint on acrylic panels

CHAT六廠藏品

Collection of CHAT

63

陳麗雲 Movana Chen

64

陳 麗 雲 是 一 位 在 香 港 和 葡 萄 牙里 斯 本 生 活 和工作的藝 術家。自 2004 年 起， 她 以 「 編織對話 」的藝術形式編織人們的故事， 透過編織書籍、地圖和字典對其內容進行 解構和重構。她的多學科藝術實踐植根於 對跨文化交流的探索，時常將不同語言的 印刷物碎成紙條，創作出代表新語言形式 的雕塑裝置。

陳 氏 曾 就 讀 於 英 國 倫 敦 時 裝 學 院，及 後 畢 業 於 澳 洲 皇 家 墨爾 本 理 工 大 學 與香 港 藝 術 學 院 合 辦 的 藝 術 學 士 學 位 課 程。 她 的 作 品 被 全 球 各地 的 藝 術 機 構 及 私 人 收 藏 家 收 藏， 包 括 香 港 文 化 博 物 館、 、CHAT 六廠（ 香 港 ） 、 M+ 博 物 館（ 香 港 ） Burger Collection（ 香港和瑞士）及路易 威 登基金 會（ 巴黎） 。 她 的作品亦 於 2023 年 12 月在泰 國 清 萊 揭 幕 的 泰 國 雙 年 展 中 展出 。

Movana Chen lives and works in both Hong Kong and Lisbon. Her multidisciplinary practice explores communication across cultures. Since s 2004, she has been weaving people’ stories through‘KNITerature’– a genre that involves deconstructing and reconstructing meanings by knitting books, maps and dictionaries. She often shreds and repurposes printed materials in different languages to create sculptural installations that represent new forms of language.

Chen studied at the London College of Fashion and received a BFA from the Royal Melbourne Institute of Technology University in Hong Kong. Her works are collected by institutions and private collections worldwide, including the Hong Kong Heritage Museum, M+ Museum and CHAT (Centre for Heritage, Arts and Textile) in Hong Kong; the Burger Collection in Hong Kong and Switzerland; and the Louis Vuitton Collection in Paris. Her works are also exhibited at the Thailand Biennale in Chiang Rai, which opened in December 2023.

65

《Fabric of CHAT》 Fabric of CHAT

20182019

30 x 882 厘米

30 x 882 cm

紙本編織

Knitted paper

CHAT六廠藏品

Collection of CHAT

66

67

埃德．達瑪萬 Ade Darmawan

埃德．達瑪萬在雅加達生活和工作，是一 名藝術家、策展人和藝術機構 ruangrupa 的總監。 他的作品包括裝置藝 術、物品、 繪畫、數碼印刷和影像，創作靈感多來自 後殖民時期的貿易及經濟變化及其對人們 生活方式的影響。

68

他曾就讀於印尼藝術學院平面藝術系，及 後 參加 阿 姆 斯 特 丹皇 家 視 覺 藝 術 學 院 為 期 兩 年 的 藝 術 家 駐 留 計 劃。 他曾參 與 的 展 覽 包 括 阿 姆 斯 特 丹 Lumen Travo 畫 廊 的「Doing Business with the Dutch 」 、 新 加 坡 雙 年 展（2016） 、光州雙 （2018） 、 埃 因 霍 溫 凡 艾伯 當 代 美 術 年 展（2016） 館（2016）和法蘭克福 Portikus（2015）的 「Magic Centre」等。作為策展人，他曾參 與多個國際展覽的籌備工作，並於 2009 年 被任命為雅加達雙年展的藝術總監，以及 在 2013、2015 和 2017 年 雅 加 達 雙 年展 期 間擔 任執行 總 監。 他亦是 2022 年第 15 屆 德國卡塞爾文 獻 展的 藝 術 團 隊 的 一員 。

Based in Jakarta, Ade Darmawan is an artist, curator and director of the artists’ initiative ruangrupa. His works range from installation, objects, drawing, digital print and video, drawing inspiration from the impact of post-colonial trade and s lifestyle. economic changes on people’ He studied in the Graphic Arts Department of Indonesia Art Institute and later attended a two-year residency at the Rijksakademie van Beeldende Kunsten in Amsterdam. His past exhibitions include Doing Business with the Dutch, Lumen Travo Gallery, Amsterdam (2018); Singapore Biennale (2016); Gwangju Biennale (2016); and Magic Centre, Van Abbemuseum, Eindhoven (2016) and Portikus, Frankfurt (2015). As a curator, he has contributed to many international exhibitions and was appointed as the artistic director of Jakarta Biennale in 2009 and its executive director in 2013, 2015 and 2017. He was also part of the artistic team of documenta fifteen, held in Kassel, Germany in 2022.

69

《拼布守則》 Patchwork Regulation

2019

685 x 455 厘米

685 x 455 cm

現成地氈、手工簇絨地氈

Found carpets, hand-tufted rugs

CHAT六廠藏品

Collection of CHAT

70

71

于一蘭 Yee I-Lann

于一蘭生於馬來西亞沙巴洲亞庇，其創作 實踐涵蓋攝影、錄像、寫作、紡織藝術和 場域特定裝置，主要探討東南亞錯綜複雜 的殖民歷史、國際關係、文化身份和社會 政治議題。

72

于 一蘭於 1992 年在澳 洲南澳 大學完 成 學 士 課 程 後，於 1994 年 移居吉 隆 坡，並 活 躍於當地的藝術、電影和音樂領域。她於 2017 年 回 到 亞 庇 後， 開 始 與 海 島 和 山 區 的原住民社群合作進行藝術創作。她的作 品在世界各地展出，近期的展覽包括德國 柏 林 SAVVY 當代 藝 術 的「Indigo Waves （ 2023） 、日 本 東 京 and Other Stories」 森 美 術 館 的「WORLD CLASSROOM:

Contemporar y A r t through School （2023） 、韓國第 14 屆光州雙 年 Subjects」 （ 2023） 展「Soft and Weak like Water」 等。于一蘭的作品也收藏於多個國際著名 藝 術機構，如美國明尼阿波利斯美 術館、 日本東京森美術館、澳洲坎培拉國立美術 館、新加坡美術館、馬來西亞吉隆坡國家 美術館。

A native of Kota Kinabalu, Sabah, s creative practice Yee I-Lann’ encompasses photography, video, writing, textile and site-specific installation, drawing on the complex colonial history, global connections, cultural identities and socio-political matters of Southeast Asia.

Yee obtained her BA from the University of South Australia in 1992 before moving to Kuala Lumpur in 1994, where she was actively involved in the art, film and underground music scenes.

Since moving back to her hometown in 2017, she has been collaborating with weavers from both coastal and land-based indigenous communities to create art. Her recent exhibitions include Indigo Waves and Other Stories, SAVVY Contemporary, Berlin (2023); WORLD CLASSROOM: Contemporary Art through School Subjects, Mori Art Museum, Tokyo (2023); and 14th Gwangju Biennale: Soft and Weak like Water (2023). s works are collected by prominent Yee’ international art institutions including the Minneapolis Institute of Art, USA; Mori Art Museum, Tokyo, Japan; National Art Gallery of Australia, Canberra; Singapore Art Museum; and National Art Gallery, Kuala Lumpur, Malaysia.

73

《對你愛愛愛不完》 SO WE LOVE LOVE LOVE TONIGHT 由 Lili Naming, Siat Yanau, Shahrizan Bin Juin, Johin Endelengau 編織 With weaving by Lili Naming, Siat Yanau, Shahrizan Bin Juin, Johin Endelengau

2021

225 x 360 厘米

225 x 360 cm

竹織物、來自樹木的天然黑色染料、 啞光塗層

Split bamboo pus weave with kayu obol black natural dye, matt sealant

CHAT六廠藏品

Collection of CHAT

74

75

鄭然斗 Jung Yeondoo

76

鄭然斗於首爾生活和工作，其創作實踐主 要包括攝影、錄像和裝置，常涉及主題人 物直接或間接的參與，細察游走於虛構與 現實之間的人類生活。他從人們的日常生 活汲取靈感，與參與者分享自己的藝術理 念時，亦以具玩味方式探討視覺藝術與表 演藝術之間的界限。

鄭然斗最近創作了一系列多頻道錄像作品， 記錄經歷過亞洲近代史上某些社會或政治 事件的人的觀點，包括《穿高跟鞋的少女》 、 《Classic and New》 （ 2018）和 （ 2018） （ 2019） 。 他的作品曾在 《Noise Quartet 》 、首爾市立美 首爾國立現代美術館（ 2020） 、東京都現代美術館（ 2019） 、 術館（ 2019） 法國馬恩河谷當代 藝 術 博 物 館（ 2018）和 德國卡爾斯魯厄藝術與媒體中心（ 2018） 等地展出。

Jung Yeondoo lives and works in Seoul. His creative practice focuses on photography, video and installation that involve the direct and indirect performance of his subjects, affectionately looking at human life between fiction and reality. He draws upon the everyday lives of people; as he shares his artistic concepts with those involved, he playfully explores the boundary between visual art and performance.

Jung has recently been creating a series of multi-channel video works that document the perspectives of individuals who have experienced certain social or political events in recent Asian history, including A Girl in Tall Shoes (2018), Classic and New (2018), and Noise Quartet (2019). His works have been displayed at, among others, the National Museum of Modern and Contemporary Art, Seoul (2020); the Seoul Museum of Art (2019); the Museum of Contemporary Art Tokyo (2019); MAC/VAL, France (2018); and the Center for Art and Media Karlsruhe, Germany (2018).

77

《穿高跟鞋的少女》 A Girl in Tall Shoes

2018

50’46” （錄像） ；100 x 80 厘米

（刺繡） ，一組四幅

50’46”(video); 100 x 80 cm

(each embroidery), set of four

高清錄像、布本刺繡及油彩

HD video, embroidery and oil on canvas

CHAT六廠藏品

Collection of CHAT

78

79

楊思嘉 Scarlett Yang

80

楊思嘉是一位活躍於倫敦的藝術家和設計 師，以其革命性的可持續設計和藝術作品 而聞名。楊氏探索「 混合 物質 」的進化週 期，展示出類比和數碼如何交匯並演變成 為生命週期。作為生態創新、生物材料和 虛擬材料的先驅，她以獨特的視角審視新 材 料 的 發 展 和 供 應 鏈， 跨 越 藝 術、 研 究 與技術之間的界限。通過交叉引用設計系 統、數碼媒介和觸覺體驗，楊氏對物質消 費主義文化的普遍理解提出質疑，探索短 暫性和時間性如何轉化為物質語言，以及 不同材料在生態鏈中的整合和交叉點。

楊氏的作品曾在多個國際機構和展覽展出， 包括佳士得拍賣行、維多利亞與艾爾伯特 博物館、倫敦設計雙年展、勞斯萊斯的繆 斯藝術計劃、荷蘭設計週、丹博斯設計博 物館和阿姆斯特丹熱帶博物館。她亦獲得 2021 年 的 Dezeen 設 計 獎 和 YouFab 全 球 創 意 獎，以 及 2020 年 的 LVMH Maison/0 Green Trail 獎和南豐作坊可持續大獎。

Scarlett Yang is a London-based artist and designer known for her revolutionary approach to conscious design and artistic work. Yang explores the evolution , where the cycles of‘hybrid matter’ analogue and the digital intersect and emerge as a life cycle. As a pioneer in ecological innovations, biomateriality and virtual materials, she brings forward a unique, multidisciplinary lens on the development and supply chain of new materials. Cross-referencing design systems, digital mediums and tactile experiences, Yang questions common understandings of the material consumerist culture, exploring how transience and temporality translates into material language and where materials can intersect and be integrated in the ecological chain. s work has been exhibited Yang’ s, internationally, including at Christie’ the Victoria and Albert Museum, London s Muse Design Biennale, Rolls-Royce’ Art Programme, Dutch Design Week, Design Museum Den Bosch and the Tropenmuseum. She also won the Dezeen Award and YouFab Global Creative Award in 2021, and the LVMH Maison/0 Green Trail Award and The Mills Sustainability Prize in 2020.

81

《無重的美饌》 Weightless Delight

2023

約 8 x 4.5 x 3.5 毫米

結晶生物材料「牡蠣殼碎片」、海水樣本、

About 8 x 4.5 x 3.5 mm

Crystalised biomaterial‘oyster shell

(每塊)

each

納米材料天然幻彩塗層

藝術家提供

Courtesy of the artist

fragments’, seawater samples, nano material natural dye

《聚合物》 Composite

2024

200 x 300 厘米 200 x 300 cm

透明畫布、合成可降解材料、微藻、生物 基水凝膠、稀土礦物樣本、珍珠母、固碳

Layered material composites on

transparent canvas, micro algae, biobased hydrogel, rare earth minerals, mother-of-pearl, sequestrated carbon

CHAT六廠委託作品

Commissioned

by CHAT

82

83

木原裕紀 Yuki Kihara

木 原 裕 紀 居 於 薩 摩 亞， 她 通 過 表 演、 雕 塑、錄像、攝影和展覽等媒介進行跨學科 藝術創作，從太平洋原住民的視角挑戰主 流和單一的歷史敘述。

84

木 原 的 作 品 在 世界 各 地 廣 泛 展 出，其 中 包括光州雙年展（ 2023） 、威尼斯雙年展新 、愛 知 三年 展（ 2022） 、曼 西 蘭 館（ 2022） 、檀香山雙年展（ 2017） 、 谷雙年展（ 2018） 、 亞 太 當 代 藝 術 三 年 展（ 2015 及 2002） 全球原住民當代藝術五年展「 點燃之火 」 ，以 及 在 美 國 大 都 會 藝 術 博 物 館 （ 2013） 。她的作品亦被 超過 30 間 的個展（ 2008） 國際機構收藏，如大都會藝術博物館、洛 杉磯郡立藝術博物館、大英博物館、荷蘭 國家世界文化博物館、蘇格蘭國家博物館、 香 港 驕 陽 基 金 會、澳 洲 昆 士 蘭 美 術 館 與 現代藝術館、台灣高雄市立美術館和紐西 蘭蒂帕帕國家博物館等。

Yuki Kihara is an interdisciplinary artist based in Sāmoa. From a Pacific-indigenous perspective, Kihara challenges dominant and singular historical narratives through performance, sculpture, video, photography and curatorial practice. s works have been presented Kihara’ in numerous exhibitions, including Gwangju Biennale (2023), the New Zealand Pavilion at Venice Biennale (2022), Aichi Triennale (2022), Bangkok Art Biennale (2018), Honolulu Biennale (2017), Asia Pacific Triennial (2015 and 2002), Sakahàn Quinquennial (2013) and a solo exhibition at the Metropolitan Museum of Art, New York (2008).

Her works are also held in over 30 international collections, including the Metropolitan Museum of Art; the Los Angeles County Museum of Art; the British Museum; the National Museum of World Cultures, the Netherlands; the National Museum of Scotland; Sunpride Foundation, Hong Kong; Queensland Art Gallery | Gallery of Modern Art; the Kaohsiung Museum of Fine Arts, Taiwan; and the Museum of New Zealand Te Papa Tongarewa.

85

《木原雅子的和服》 Masako Kihara’s Kimono

2021

175 x 130 厘米

175 x 130 cm

絲質和服

Silk kimono

藝術家及Milford Galleries（新西蘭但尼丁）提供

Courtesy of Yuki Kihara and Milford Galleries, Dunedin, New Zealand

《木原雅子與木原伸夫》 Masako & Nobuo Kihara

2021

31 x 35 厘米

（連相框）

31 x 35 cm (including frame)

紙本印刷

Print on paper

藝術家及Milford Galleries（新西蘭但尼丁）提供

Courtesy of Yuki Kihara and Milford Galleries, Dunedin, New Zealand

86

《薩摩亞之歌⸺ Fanua（土地篇）》 サ–モアのうた (Sāmoa no Uta) A Song About Sāmoa – Fanua (Land)

2021

175 x 141 x 25 厘米，

薩摩亞構樹皮、織物、珠片、

175 x 141 x 25 cm,

Sāmoan siapo, textiles, beads,

一組五件

set of five

藝術家及Milford Galleries

貝殼、塑膠、和服

（新西蘭但尼丁）提供

shells, plastic, kimonos

Milford Galleries, Dunedin,

Courtesy of Yuki Kihara and New Zealand

87

《木原裕紀在日本京都當舞伎的記錄》 Documentation of Yuki Kihara as Maiko in Kyoto, Japan

2018, 2023

42 x 56 厘米，一組五件 42 x 56 cm, set of five

紙本印刷

Print on paper

藝術家及Milford Galleries（新西蘭但尼丁）提供

Courtesy of Yuki Kihara and Milford Galleries, Dunedin, New Zealand

朱頌琪 Maggie Chu

朱 頌 琪 目前 居 住 和 工作 於 香 港， 擅 長 以 圖像、微型雕塑和現成物品建構混合媒體 裝 置 藝 術。 從 繪 製 藍 圖 到 藝 術 裝 置， 她 的創作過程像是開啟寶庫，通過使用多種 媒 體 和 重 新 利 用 的 現 成 物 品， 探 索 當 代 生活中個人和地方身 份的轉 變 。 88

朱氏畢業於 澳洲新南威爾斯大學建築系， 其後完成香港藝術學院和澳洲皇家墨爾本 理工大學合辦的藝術文學士課程。她曾積 極參與眾多公共建築項目，近年則將重心 轉向視覺藝術創作。

Currently living and working in Hong s artistic practice Kong, Maggie Chu’ involves building mixed-media installations with images, miniature sculptures, natural materials and found objects. From blueprint to installation, her creative process is akin to unlocking a treasure trove, as she explores personal and geographical identities in contemporary life through diverse media and repurposed found objects.

She graduated with a BArch from the University of New South Wales, Australia, and later completed a BAFA programme co-presented by the Royal Melbourne Institute of Technology and the Hong Kong Art School. Chu contributed to various public building projects as an architect before shifting her focus to the creation of visual art.

89

《繾綣城觸》 Entwined Nexus – urban synapse

2024

450 x 300 厘米 450 x 300 cm

混合媒介

Mixed media

CHAT六廠委託作品

Commissioned by CHAT

90

91

張嫣玹 Kimberly Chong

92

張 嫣玹出生於馬來西亞，現在居於香港。 她 對 於 人 與 自 然 之 間 的 關 係 深 感 興 趣， 她認為人類與自然生態是息息相關的，而 人類依賴自然所提供的一切。她時常運用 珠寶、現成物料作為藝術創作媒介。作為 環保主義者，她常收集不同的廢料，嘗試 了解大自然對外來物的態度，並演繹人與 大自然的種種關係及不同的想法。 張氏於 2020 年畢業於香港 浸會大學視 覺 藝術學院，並在學士學位畢業展中以畢業 作品《偷生 》榮獲 Gaffa 當代珠寶卓越獎， 該作品亦於同年被香港浸會大學視覺藝術 學院納入收藏。畢業後，她亦參加了多個 當 代 珠 寶 展 和 藝 術 展， 包 括 最 近 在 香 港 WURE AREA 舉行的「然之後，」 （ 2023） 。

Born in Malaysia and currently based in Hong Kong, Kimberly Chong is intrigued by the relationship between man and nature. Her practice focuses on jewellery and sculpture on the body, often playing with the ideas of coexistence and environmental repercussions of human actions. She enjoys recycling waste materials and incorporating them into her creations, while at the same time s way observing and appreciating nature’ of processing synthetic objects.

Chong graduated from the Academy of Visual Arts of Hong Kong Baptist University in 2020. She received the Gaffa Award for Excellence in Contemporary Jewellery for her work Mundane Existence in her graduation show; the artwork entered the HKBU Academy of Visual Art Studies Collection in the same year. Since her graduation, Chong has participated in several exhibitions of contemporary jewellery and art, including that and then, (2023) at WURE AREA in Hong Kong recently.

93

《偷生》 Mundane Life

20202021

尺寸可變

Dimensions variable

《收成》 Harvest

2023

尺寸可變

Dimensions variable 《無籽》 Seedless

2022

尺寸可變

Dimensions variable

刺繡縫線、數碼影像畫布

Embroidery and digital print on canvas

透明塑料包裝、黃銅

Clear plastic packing, brass

葡萄莖、黃銅

Grape stems, brass

藝術家提供

Courtesy of the artist

藝術家提供

Courtesy of the artist

藝術家提供

Courtesy of the artist

94

95

《綑技》 Branching in Bundles

2021

尺寸可變

Dimensions variable

電線、黃銅

Electrical wires, brass

藝術家提供

Courtesy of the artist

小林勇輝 Kobayashi Yuki

小 林勇輝出生並工作於日本東京，是一名 視覺及表演藝術家。他以自己身體作為中 性物件，對性別、殘障和種族的固有觀念 提出質問，探索人與人之間的關係。他以 行為藝 術為主要媒介，參與了一系列舞台 和影像作品，以及當代藝術展覽。

96

在 他 近 期 的 重 點 項 目《New Gender Bending Strawberry》中， 小 林 勇 輝 扮 演無法被分類的生命體進行表演和創作多 媒體作品； 他也藉着另一系列的作品《Life of Athletics》探討體育社會和運動行為中 性 別與 種 族 歧 視的觀 念。 在 2019 年，他 創立表演平台 Stilllive，與不同身體背景的 藝 術家 交 流，並在 2023 年 獲 得亞 洲文化 協會視覺藝術範疇的個人獎助。

小 林 勇 輝 為 CHAT 六 廠 2023 年 駐 場 藝 術 家。在駐場期間，小林勇輝與有特殊需要、 來自不同文化和種族背景的本地社群合作， 透過藝術和創意建立聯繫。

Kobayashi Yuki is a visual and performance artist born and based in Tokyo, Japan. Kobayashi uses his own body as a neutral object, mainly in action-based performances, to question gender, disability and racial stereotypes and examine human relations. He has participated in stage and video works as well as contemporary art exhibitions.

In an ongoing project New Gender Bending Strawberry, Kobayashi performs as an unidentified creature in multimedia installations. In another ongoing project Life of Athletics, he explores the issues of sexism and racism in sports society and athleticism. In 2019, Kobayashi founded the performance platform Stilllive to communicate with artists of different physical backgrounds. He received the Individual Fellowship Visual Arts Grant from the Asian Cultural Council in 2023.

Kobayashi was the artist-in-residence at CHAT in 2023. During his residency, Kobayashi worked closely with local communities with special needs and diverse backgrounds, establishing rapport through art and creativity.

97

《Factory of Universe》 Factory of Universe 與心光學校小學三、四年級學生合作，作品由日本國際交流基金會支持

Created in collaboration with Primary 3 and 4 students from Ebenezer School. Supported by the Japan Foundation

2024

尺寸可變

Dimensions variable

多媒體裝置

Multimedia installation

CHAT六廠委託作品

Commissioned by CHAT

《也許我是一顆草莓》 Maybe I Am a Strawberry

2012

98

5’04”

錄像

Video

藝術家提供

Courtesy of the artist

小林勇輝與香港非洲中心團隊在裝置中表演

Kobayashi Yuki and the Africa Center Hong Kong team perform inside the installation

99

邵純 Shao Chun

100

邵純現工作生活於杭州，她的創作實踐包 、 括 多 媒 體 裝 置、 電 子 織 物（e-textiles） 後 網 絡 藝 術（post-internet art） 以 及 「小說式設計」 （design fiction） 。她長 期 以 來 探 索 人 類 身 體 和 電子互 動 介 面 之 間的親密關係以及與之衍生出的情緒 依 賴， 近 期 的 研 究 致 力 於 結 合 傳 統 手 工 技 藝 和 電 子 程 式 設 計，意 在 展 開 關 於 互 動 美 學 的 實 驗 性 創 作， 藉 此 反 思當 下 數碼化的生活 。 邵 純 2010 年自中國 美 術 學 院畢 業，2013 年於美國芝加哥藝術學院獲得表演藝術碩 士 學 位，2019 年 在 西 雅 圖 華 盛 頓 大 學 的 數碼藝 術與實驗 媒體中心獲得博士學位。 她 的 作 品 曾 於 上 海 花 廳 計 劃（ 2022） 和 西 雅 圖 Jack Straw New Media Gallery （2018）的個展展出，也參與過香港 CHAT 六廠（2024） 、北京 X 美術館（2023） 、UCCA 、OCAT 雙年展（2021） 、UCCA Edge（2022） 沙丘美 術館（ 2021）等重 要藝 術機構 的 群 體展覽 。

Based in Hangzhou, Shao Chun’ s creative practice includes multimedia installations, e-textiles, post-internet art and design fiction. She explores the intimate relationship between the human body ) and digital interfaces‘ ( digital intimacy’ and our emotional longings for the latter.

Her recent research and experimental works combine traditional handicrafts with computer programming, exploring the new aesthetics of interaction while reflecting on our digitalised life.

Shao graduated from China Academy of Art in 2010, received an MFA in performance art from the School of the Art Institute of Chicago in 2013, and obtained her PhD from the Center for Digital Arts and Experimental Media, University of Washington in 2019. Her work has been presented in solo exhibitions at the Macalline Center of Art, Shanghai (2022) and the Jack Straw New Media Gallery, Seattle (2018). She has also participated in group exhibitions at CHAT in Hong Kong (2024), X Museum in Beijing (2023), UCCA Edge (2022), OCAT Biennale (2021), UCCA Dune Art Museum (2021) and other important art institutions.

101

《妄月》 Forgotten Moon

2024

尺寸可變

Dimensions variable

生物纖維、金屬纖維、金屬線、金屬

CHAT六廠委託作品

Biofabrics, metal fibres, metal wires,

CHAT

配件、黏土、馬達

metal accessories, clay, motors

Commissioned by

102

103

費路．達瑪 Fyerool Darma

104

畫家出身的費路．達瑪是一位常駐新加坡 的藝術家。他將理論和歷史研究與藝術創 作結合，把聲音、影像、新媒體、雕塑、 文字和工藝元素融入圖像中，將現代主義 美學 和意識形態與東南亞的文化、歷史、 美學和政治並置。達瑪從馬來西亞的物質 和非物質文化遺產、檔案庫、互聯網、文 學、流行文化等來源收集素材，逐漸發展 出一套複雜的視覺語彙。他與其他藝術家 和製作人合作，通過重新利用回收的紡織 品、電子垃圾、現成或生成的圖像及其他 材料，模糊作者身份的界限，探究抽象的 物質性和詩學。

他 曾 在 第 12 屆 首 爾 Mediacity 雙 年 展 、 澳 洲 拉 籌 伯 藝 術 學 院（ 2023） 、 （ 2023） 新加 坡 國立 大 學 博 物 館（ 2022–2023）和 新 加 坡 國 家 美 術 館（ 2022）展 出 作 品。 達瑪亦曾獲邀參加新加坡南洋理工大學當 代 藝 術中心（ 2019）和新加坡國立 大學博 物館（ 2017–2018）的藝術家駐場計劃。

A painter by training, Fyerool Darma is a Singapore-based artist who combines theoretical and historical research with art making. He integrates sound, video, new media, sculpture, text and craft into images, juxtaposing modernist aesthetics and ideology with Southeast Asian cultures, histories, aesthetics and politics. Darma has developed a complex visual vocabulary, drawing from sources such as tangible and intangible Malay heritage, archives, the internet, literature and popular culture.

In collaboration with other artists and producers, he repurposes salvaged textiles, e-waste, found or generated images and other materials to blur the boundaries of authorship and examine the materiality and poetics of abstraction.

He has presented projects at the 12th Seoul Mediacity Biennale (2023), La Trobe Art Institute (2023), the NUS Museum (2022–2023), and National Gallery Singapore (2022). Darma also participated in the Artist-in-Residence programme of the NTU Centre for Contemporary Art Singapore in 2019 and s prep-room in 2017–2018.

NUS Museum’

105

《I♥nd$c_pe$s r d♥t♥ w♥$ste$Zzs featuring Aleezon, Jonathan Tan, Lee Khee San and Lé Luhur

from Autaspace》

I♥nd$c_pe$s r d♥t♥ w♥$ste$Zzs featuring Aleezon, Jonathan Tan, Lee Khee San and Lé Luhur from Autaspace

2023-2024 尺寸可變

Dimensions variable CHAT六廠委託作品

Commissioned by CHAT

有機玻璃（Tiger） 、檔案墨水（MOLOTOW） 、二甲苯筆（Dykem Dalo） 、聚氯乙烯和聚丙烯酸酯黏合劑⸺ 從香港和新加坡回收的藝術家乙烯基（ORACAL 651） 、帶有陽極氧化鋁合金的變色龍碳纖維聚氯乙烯和 聚丙烯酸酯黏合劑（VViviD XPO） 、 樹脂與碳纖維織物（三菱化學集團） 、織物與聚乙烯和橡膠黏合劑（Duck 、非金屬微棱鏡反光膠帶與樹脂（Steve & Lief） 、聚丙烯薄膜（Hunter）以及牆壁和玻璃上的舊繩索 Tape）

Plexiglass (Tiger), archival ink (MOLOTOW), Xylene marker (Dykem Dalo), polyvinyl chloride and polyacrylate adhesive – salvaged and artist vinyl (ORACAL 651) from Hong Kong and Singapore, chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (VViviD XPO) with anodised aluminium alloy, resin with carbon fibre fabric (Mitsubishi Chemical Group), fabric with polyethylene and rubber adhesive (Duck Tape), non-metallised micro-prismatic reflective tape with resin (Steve & Lief), polypropylene film (Hunter) and salvaged ropes on wall and glass 碳纖維由三菱化學集團提供 Carbon fibre supported by the Mitsubishi Chemical Group

106

107

荒川Nash醫 Ei Arakawa-Nash

行為藝 術家荒 川 Nash 醫出生 於日本福島 縣，目前 定 居 在 洛 杉 磯 。 他 與 當 代 藝 術 家、藝術史學家等合作表演，同時邀請觀 眾以即興的形式參與其中，將他們的角色 從被動轉為主動，打破表演者與觀眾之間 的固有界限。

108

荒 川 的 表 演 足 跡 遍 佈 世 界 各 地， 包 括 洛杉磯 REDCAT（ 2023） 、洛杉磯 Reena 、倫敦泰特現 Spaulings Fine Art（2022） 代美術館渦輪 大 廳（ 2021）和紐 約藝 術家 空間（ 2021 及 2019） 。他近期的展覽包括： 東 京 Taka Ishii 畫 廊 的「Here Comes a Cohort, Through the Wind Tunnel 」 ； 上 海 沒 頂 畫 廊 的「 繪 畫 需 要 （ 2023） ；杜塞爾多夫 甚麼樣的我們 」 （ 2023） Max Mayer 畫 廊 的「Eleventh Hour」 ； 瑞 士 弗 里 堡 Kunsthalle Friart （2023） t Give Up」 （ 2023）。 Fribourg 的「Don ’ 荒川現時也在美國藝術中心設計學院 任教。

Born in the Fukushima prefecture of Japan, Ei Arakawa-Nash is a performance artist currently based in Los Angeles. His performances are created through collaborations with contemporary artists, art historians and other parties. He breaks down the boundary between performer and viewer by inviting the audience to participate in an improvisational manner, converting them from passive viewers to active subjects.

Arakawa has performed internationally, including at REDCAT, Los Angeles (2023); Reena Spaulings Fine Art, Los Angeles (2022); Turbine Hall at Tate Modern, London (2021); and Artists Space, New York (2021 and 2019).

His most recent exhibitions include Here Comes a Cohort, Through the Wind Tunnel, Taka Ishii Gallery, Tokyo (2023); What Kind of Us Does Painting Need, MadeIn Gallery, Shanghai (2023); Eleventh Hour, Galerie Max Mayer, Düsseldorf (2023); and Don’t Give Up, Kunsthalle Friart Fribourg, Switzerland (2023). Arakawa is also teaching at ArtCenter College of Design.

109

《Plush Subjectivity》 Plush Subjectivity 與Kenny X. Li、林園珠、中山和泉、徐淑瑤、謝淑婷、謝淑妮、姚書安合作

Created in collaboration with Kenny X. Li, Won Ju Lim, Nakayama Izumi, Anna Sew Hoy, Sara Tse, Shirley Tse, Amy Yao

2024

表演

Performance

CHAT六廠及東京都寫真美術館共同委託作品

Co-commissioned by CHAT and Tokyo Photographic Art Museum

110

111

作品總覽

List of Works 112

→

《 青蛙嘉年華 2024》

Frog Carnival 2024

郭孟浩（蛙王郭）Frog King Kwok

2024

畫布繪畫 Painting on fabric

371 x 157 cm

→

《 無題 》

Untitled

CHAT 六廠委託作品 Commissioned by CHAT 加藤泉 Kato Izumi

2020 ， 2024 年更新 2020, reworked 2024

石頭、矽、植物 Silicone gel on stones and plants 尺寸可變 Dimensions variable

頭部 heads 50 x 48.5 x 29.5 cm,

39 x 39.5 x 23 cm, 33.5 x 43 x 30 cm, 46 x 40 x 34 cm, 37 x 39.5 x 29.5 cm

→

《 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)

CHAT 六廠藏品 Collection of CHAT 朴智希 Park Jeehee

2022

樹脂 Resin

159 x 100 x 100 cm

CHAT 六廠藏品 Collection of CHAT

→

《 代工繡場：紗廠客廳 》

侯怡亭 Hou I-Ting

系列

2021-2022

Living Room series

Embroidery and digital print on canvas

Sewing Field: CHAT

刺繡縫線、數碼影像畫布

70 x 53 cm, 60 x 45 cm, 60 x 46 cm, 60 x 43 cm, 60 x 46 cm, 75 x 51 cm

→

《Lining》 Lining

CHAT 六廠藏品 Collection of CHAT 何銳安 Ho Rui An

2021

影像裝置 Video installation

26’00”

→

《 星座（香港）》 Constellation (Hong Kong)

→

《 混亂以外（變遷）》 Out of Disorder (In Flux)

CHAT 六廠藏品 Collection of CHAT 岩崎貴宏 Iwasaki Takahiro

2018

亞加力板、噴漆 Paint on acrylic panels

110 x 130 cm ( 每件 each)

CHAT 六廠藏品 Collection of CHAT 岩崎貴宏 Iwasaki Takahiro

2018

棉花、漁網 Cotton, fishing net

270 x 630 x 300 cm

→

《Fabric of CHAT》 Fabric of CHAT

CHAT 六廠藏品 Collection of CHAT

陳麗雲 Movana Chen

2018-2019

紙本編織 Knitted paper

30 x 882 cm

→

《 拼布守則 》

Patchwork Regulation

CHAT 六廠藏品 Collection of CHAT 埃德．達瑪萬 Ade Darmawan

2019

現成地氈、手工簇絨地氈

Found carpets, hand-tufted rugs 685 x 455 cm

CHAT 六廠藏品 Collection of CHAT

113

→

《 對你愛愛愛不完 》

SO WE LOVE LOVE LOVE TONIGHT

于一蘭 Yee I-Lann

與編織夥伴 with weaving by

Lili Naming, Siat Yanau, Shahrizan Bin Juin, Johin Endelengau 2021

竹織物、來自樹木的天然黑色染料、啞光塗層

Split bamboo pus weave with kayu obol black natural dye, matt sealant 225 x 360 cm

→

《 穿高跟鞋的少女 》

A Girl in Tall Shoes

CHAT 六廠藏品 Collection of CHAT 鄭然斗 Jung Yeondoo

2018

高清錄像、布本刺繡及油彩

HD video, embroidery and oil on canvas

” video） ；100 x 80 cm（刺繡 each 50’46（錄像

embroidery）， 一組四幅 set of four

114

→

《 無重的美饌 》

Weightless Delight

CHAT 六廠藏品 Collection of CHAT 楊思嘉 Scarlett Yang

2023

結晶生物材料「 牡蠣殼碎片 」、海水樣本、 納米材料天然幻彩塗層

, Crystalised biomaterial‘oyster shell fragments’ seawater samples, nano material natural dye

約 8 x 4.5 x 3.5 毫米 ( 每塊 )

About 8 x 4.5 x 3.5 mm each

→

《 聚合物 》

Composite

藝術家提供 Courtesy of the artist 楊思嘉 Scarlett Yang

2024

透明畫布、合成可降解材料、微藻、生物 基水凝膠、 稀土礦物樣本、珍珠母、固碳

Layered material composites on transparent canvas, micro algae, bio-based hydrogel, rare earth minerals, mother-of-pearl, sequestrated carbon 200 x 300 cm

CHAT 六廠委託作品 Commissioned by CHAT

→

《 薩摩亞之歌⸺ Fanua （土地篇）》

サ – モアのうた

(Sāmoa no Uta) A Song About Sāmoa – Fanua (Land)

木原裕紀 Yuki Kihara

2021

薩摩亞構樹皮、織物、珠片、貝殼、塑膠、和服

Sāmoan siapo, textiles, beads, shells, plastic, kimonos

175 x 141 x 25 cm， 一組五件 set of five

藝術家及 Milford Galleries（ 新西蘭但尼丁）提供

Courtesy of Yuki Kihara and Milford Galleries,

→

《 木原裕紀在日本

Dunedin, New Zealand 木原裕紀 Yuki Kihara

京都當舞伎的記錄 》

2018， 2023

Yuki Kihara as Maiko

42 x 56 cm， 一組五件 set of five

Documentation of

in Kyoto, Japan

紙本印刷 Print on paper

藝術家及 Milford Galleries（ 新西蘭但尼丁）提供

Courtesy of Yuki Kihara and Milford Galleries,

→

《 木原雅子的和服 》 Masako Kihara’s Kimono

Dunedin, New Zealand 木原裕紀 Yuki Kihara

2021

絲質和服 Silk kimono

175 x 130 cm

藝術家及 Milford Galleries（ 新西蘭但尼丁）提供

Courtesy of Yuki Kihara and Milford Galleries,

→

《 木原雅子與木原伸夫 》

Masako & Nobuo Kihara

Dunedin, New Zealand

木原裕紀 Yuki Kihara

2021

紙本印刷 Print on paper

31 x 35 cm（連相框 including frame）

藝術家及 Milford Galleries（ 新西蘭但尼丁）提供

Courtesy of Yuki Kihara and Milford Galleries,

→

《 繾綣城觸 》

Entwined Nexus – urban synapse

Dunedin, New Zealand

朱頌琪 Maggie Chu

2024

混合媒介 Mixed media

450 x 300 cm

CHAT 六廠委託作品 Commissioned by CHAT

115

→

《 偷生 》

Mundane Life

張嫣玹 Kimberly Chong

2020-2021

電線、電箱 Electrical wires, electrical box 尺寸可變 Dimensions variable

→

《 無籽 》

Seedless

藝術家提供 Courtesy of the artist 張嫣玹 Kimberly Chong

2022

葡萄莖、黃銅 Grape stems, brass 尺寸可變 Dimensions variable

→

《 綑技 》

Branching in Bundles

→ 116

《 收成 》

Harvest

藝術家提供 Courtesy of the artist 張嫣玹 Kimberly Chong

2021

電線、黃銅 Electrical wires, brass 尺寸可變 Dimensions variable

藝術家提供 Courtesy of the artist 張嫣玹 Kimberly Chong

2023

透明塑料包裝、黃銅 Clear plastic packing, brass 尺寸可變 Dimensions variable

→

《 也許我是一顆草莓 》 Maybe I Am a Strawberry

→

《Factory of Universe》 Factory of Universe

藝術家提供 Courtesy of the artist 小林勇輝 Kobayashi Yuki

2012

錄像 Video

5’04”

藝術家提供 Courtesy of the artist

小林勇輝 Kobayashi Yuki

2024

多媒體裝置 Multimedia installation 尺寸可變 Dimensions variable

CHAT 六廠委託作品 Commissioned by CHAT 與心光學校小學三、四年級學生合作

Created in collaboration with Primary 3 and 4 students from Ebenezer School

作品由日本國際交流基金會支持

Supported by the Japan Foundation

→

《 妄月 》

Forgotten Moon

邵純 Shao Chun

2024

生物纖維、金屬纖維、金屬線、金屬配件、黏土、馬達

Biofabrics, metal fibres, metal wires, metal accessories, clay, motors

尺寸可變 Dimensions variable

→

《I ♥ nd$c_pe$s

r d ♥ t ♥ w ♥ $ste$Zzs featuring Aleezon, Jonathan Tan, Lee Khee San and Lé Luhur from Autaspace》

CHAT 六廠委託作品 Commissioned by CHAT 費路．達瑪 Fyerool Darma

2023-2024

有機玻璃（Tiger） 、檔案墨水（MOLOTOW） 、二甲苯筆

、聚氯乙烯和聚丙烯酸酯黏合劑⸺ （Dykem Dalo）

、 從香港和新加坡回收的藝術家乙烯基（ORACAL 651）

帶有陽極氧化鋁合金的變色龍碳纖維聚氯乙烯和聚丙 、 樹脂與碳纖維織物 烯酸酯黏合劑（VViviD XPO）

I ♥ nd$c_pe$s r d ♥ t ♥

（三菱化學集團） 、織物與聚乙烯和橡膠黏合劑（Duck

Aleezon, Jonathan Tan,

聚丙烯薄膜（Hunter）以及牆壁和玻璃上的舊繩索

w ♥ $ste$Zzs featuring Lee Khee San and Lé Luhur from Autaspace

、非金屬微棱鏡反光膠帶與樹脂（Steve & Lief） 、 Tape）

Plexiglass (Tiger), archival ink (MOLOTOW),

Xylene marker (Dykem Dalo), polyvinyl chloride and polyacrylate adhesive – salvaged and artist vinyl (ORACAL 651) from Hong Kong and Singapore, chameleon carbon fibre polyvinyl chloride and polyacrylate adhesive (VViviD XPO) with anodised aluminium alloy, resin with carbon fibre fabric (Mitsubishi Chemical Group), fabric with polyethylene and rubber adhesive (Duck Tape), non-metallised microprismatic reflective tape with resin (Steve & Lief), polypropylene film (Hunter) and salvaged ropes on wall and glass

尺寸可變 Dimensions variable

CHAT 六廠委託作品 Commissioned by CHAT 碳纖維由三菱化學集團提供

Carbon fibre supported by the Mitsubishi Chemical Group

117

→

《Plush Subjectivity》 Plush Subjectivity

荒川 Nash 醫 Ei Arakawa-Nash

2024

表演 Performance

CHAT 六廠及東京都寫真美術館共同委託作品 Co-commissioned by CHAT and Tokyo Photographic Art Museum

與 Kenny X. Li、林園珠、中山和泉、徐淑瑤、 謝淑婷、謝淑妮、姚書安合作

Created in collaboration with Kenny X. Li, Won Ju Lim, Nakayama Izumi, Anna Sew Hoy, Sara

→

《Plush Subjectivity （香港）》

Plush Subjectivity (Hong Kong)

118

Tse, Shirley Tse, Amy Yao

荒川 Nash 醫 Ei Arakawa-Nash

2024

表演影像 Performance footage

14’51”

119

120

別出心裁： 不為人知的裁縫故事

Misfitted: Unspoken Stories of Tailoring 織光機

Illumin-Loom 121

勞動的痕跡

Artefacts of Labour 「明日工廠」 社區刺繡簾計劃

‘Factory of Tomorrow’ Community

別出心裁：不為 人知的裁縫故事

122

Misfitted: Unspoken Stories of Tailoring

→

何謂優秀的裁縫？是對剪裁駕輕就熟的大師、製

作紙樣的能手，還是為顧客度身訂造矚目造型的造型師？

「 別出心裁 」將服裝剪裁視為製衣者與穿衣者之間一種獨

特的社交互動，而非單單一門技藝，試圖在如今成衣當 道的城市中，以嶄新視角細看裁縫的歷史角色和地位。

此 特別 展 示 通 過 服 裝、 物 件及檔 案 資 料，呈現

五個香港 在 1950 年代至千禧年代被主流 歷史 忽略的服

裝裁剪案例研究。由家庭幫傭「 媽姐 」的針 線活到當代

舞蹈團的演出服裝，每個案例中的製衣者都面對不同的 要求，他們採用的設計決策及製衣方法也因此超越傳統 的美學和實用概念。這些製衣者有時還兼任了其他各式

各 樣 的 角 色， 包 括 調 解員、 設 計 師、 朋 友、 家 人 以 至 香港的宣傳大 使 。

123

為了表現 紡織文化遺 產的創造潛力，我們委託 製

作了一系列 作 為展示 及社 交 媒 體內容的影片，由製 衣者 親自分享他們的實踐 。透過串連不同媒介與素材， 「 別出

心裁 」希望提供歷史的參照，並留下探索的空間：裁縫工

作的本質 是 甚麼？是面 料、 技 法、 社 交關 係，抑或 以 上 皆是？

124

展場圖片： 「別出心裁：不為人知的裁縫故事」

Exhibition view of Misfitted: Unspoken Stories of Tailoring

→

What is a good tailor – a master of cut and fit, an engineer of paper patterns, or a bespoke stylist saving you from a wardrobe clash? This special display departed from viewing tailoring as a craft, and instead sought to understand it as a unique set of social interactions between maker and wearer, offering new perspectives on the tailor’s role within a city increasingly reliant on readymade goods.

Through clothes, objects and archival materials, this special display presented five case studies of historically overlooked forms of tailoring in Hong Kong from the 1950s to the 2000s. From an amah’s domestic needlework to a wardrobe mistress’s contemporary dance costumes, each case study is centred around a maker faced with specific requirements that led to methodologies and design decisions transcending conventional concepts of beauty and utility. More importantly, each tailor has also assumed unrecognised and sometimes unlikely roles, such as mediator, designer, friend, family and even ambassador of Hong Kong.

To capture the generative potential of textile heritage, a series of videos have been commissioned for display and as social media content, where we ask the tailors to speak on their work. Through its constellation of materials, this special display offered both historical fact and room for enquiry: what is the essence of a tailor’s labour – the materials, the techniques, the social relationships, or all of the above?

125

互動遊戲體驗： 織光機

126

Interactive Experience: Illumin-Loom

→

位 於 CHAT 迴 廊 的《 織 光 機 》是 一 個 無 需 預 約

的互動遊戲體驗，讓觀眾在幻彩燈帶上創造獨一無二的

圖樣。當遊戲終結時，成品將轉化為電子圖像，供觀眾 下載和保存。觀眾更可選擇到 CHAT 接待處將圖像打印

在熱轉印貼紙上，於我們的「 手作半個鐘 」工作坊將自己 的作品熨燙至特製手提袋上，或者將貼紙帶回家，並按 指引將設計熨燙至其他紡織品上。

《 織光機 》的燈帶模擬布料的紗線，展現出電子

數 據 與 紡織 科 技 之 間 的歷 史 關 係。 除 此 之 外，遊 戲 圖 庫中 的當 代 視 覺 圖 案 與背景花 紋 均 從 香 港 的 紡 織 文化

遺產擷取靈感，藉此向南豐紗廠作為棉紡廠舊址的歷史 致敬 。

裝置、平面與遊戲設計：pill & pillow、HATO

→

127

Illumin-Loom in CHAT Arcade is a walk-in interactive experience where visitors can design unique patterns on colourful light strips. The finished creation will be exported as a digital image to download. Visitors can also choose to print the image as a heat transfer sticker, and in our 30-Minute Making workshop, iron it onto a special tote bag. Alternatively, visitors can bring home the sticker and follow the provided instructions to iron it onto a textile item of their own choice.

The light strips of Illumin-Loom simulate the threads in a fabric while alluding to the historical relationship between digital computation and textile technology. Additionally, the library of contemporary motifs and background patterns is inspired by Hong Kong’s textile heritage, paying homage to the history of The Mills as a former spinning factory.

Installation, graphic and game design: pill & pillow and HATO

128

129

勞動的痕跡

130

Artefacts of Labour

→

「 勞動的痕 跡 」由 CHAT 六 廠 藏品中的女工衣着

出 發， 連 結 口 述 歷 史， 回 溯 1950 年 代 末 至 70 年 代 初

工廠女工的日常裝扮。衣服是一種語言以外的表達方式， 那麼女工時尚潮流的演變，又反映出怎樣的思想和經濟 及社會發展歷程？這些日常生活的細節，又如何改變我們 對現今世界的看法和態度？

1960 年代對香港而言，是一個充滿變化的時期：

香港被官方宣揚為經濟獨立的城市，而新生一代也開始 擁 抱西 方 文化。 與 此 同 時， 輕 工 業 蓬 勃 發展，年 輕 女

性紛紛投身工廠工作，她們的勞動、積極與活力，在以

陳 寶 珠 作 代 表、 描 寫 工 廠 生 涯 的 電 影 中 可 見 一 斑。 這些女工擁有經濟及選擇職業的自由，不單負擔起家庭

的開支，也在香港經濟起飛的過程中，扮演功不可沒的 角色 。

CHAT 六 廠 的 藏 品 集 結 當 代 藝 術品 及 代 表 香 港

紡織業遺產的物件，展現藝術館跨學科的特質。此專題

展示重新演繹這些藏品，並為「 明日工廠 」展覽提供歷史

→

背景，試圖拓闊對展出作品的理解。

Artefacts of Labour combined garments from the CHAT Collection and oral history to recall the daily outfits of female workers from the late 1950s to the early 1970s.

What does their clothing tell us about their lifestyle and values? What about the broader economic and societal changes? How can these everyday matters help us see the world anew?

The 1960s was a decade of change for Hong Kong – the city’s government declared itself economically independent, and an entire generation of youths began to embrace Western culture. Light industries flourished and women flocked into the workforce, whose labour and progressive spirit are portrayed in film, as seen in the roles played by Connie Chan Po Chu. While gaining financial independence and freedom to choose their employment, female workers also became a cornerstone of Hong Kong’s economy.

131

The transdisciplinary CHAT Collection consists of contemporary art and textile heritage objects. This special display provided multiple interpretations of the collection and historical context for understanding the artworks on view in the exhibition Factory of Tomorrow.

132

1960年代香港衫褲仿製品，2020，CHAT六廠藏品

Reproduction of a Hong Kong style saam fu from the 1960s, 2020, Collection of CHAT

133

曾於婚宴上穿着的長衫，約1960年代末

Cheongsam worn at a wedding, about late 1960s

「明日工廠」 社區刺繡簾計劃

134

‘Factory of Tomorrow’ Community Embroidery Curtains

→

小學生眼中的「 明日工廠 」是怎樣的？ CHAT 客廳

換 上一系列 以 此 為 靈 感 的 刺 繡 簾，慶 祝 CHAT 六 廠 於

2024 年 3 月步入開館五週年。

在數月間，數百名來自幼吾幼慈善基金項目「333

小 老師培訓計劃 」的小 學生了解 CHAT 六 廠 及 其 歷史， 一 同 以 繪 畫 及製作 紙 模 型 的 形式，描 繪 他 們 想 像中的

「 明日工廠 」 。當中最出色的作品被選出並轉換為設計圖 案，再由田島刺繡機械有限公司進行電腦刺繡，造就了 一個連結藝術、工業及社區的獨特項目。 技術贊助：田島刺繡機械有限公司 社區夥伴：幼吾幼慈善基金

特別鳴謝須藤玲子及 Ikko Yokoyama

→

135

What is a ‘Factory of Tomorrow’ like in the eyes of primary school students? In CHAT Lounge, a set of embroidered curtains takes inspiration from the new motto as CHAT celebrates its fifth anniversary in March 2024.

Over the course of several months, hundreds of primary school students from the ‘333 Learning Companion Leadership Program’ supported by We R Family Foundation learned about CHAT and its history to create drawings and paper models of a ‘Factory of Tomorrow’. Several works were then selected by a panel of judges and transformed into digitally embroidered designs by Tajima Embroidery Machines Limited, resulting in this one-of-a-kind project that brings together art, industry and community.

Technical Sponsor: Tajima Embroidery Machines Limited Community Partner: We R Family Foundation With special thanks to Sudo Reiko and Ikko Yokoyama

136

137

138

嗚謝及團隊名單

Acknowledgements and Staff Credits

→

「CHAT 六廠 5 週年⸺明日工廠 」精要地總結了

CHAT 六廠自開館五年來的策展成果。為此，我們由衷感

謝所有參與過 CHAT 六廠項目的藝術家、設計師、紡織與

教育工作者、機構及人士。我們也感謝為「 別出心裁：不

為人知的裁縫故事」和「 勞動的痕跡」作出慷慨貢獻的捐 贈者和借展者、紡織專家、研究員、機構和熱心人士。

感激創始機構陳廷驊基金會和主要捐助機構南豐

集團一直堅信我們的理念，並提供了至關重要的支持，使

CHAT 六廠能夠繼續規劃並實現各種展覽和項目，致敬香

港的紡織工業遺產之餘，帶動社群共同從過去中學習和展 望將來。

→

CHAT 5th Anniversary – Factory of Tomorrow was a culmination of CHAT’s curatorial endeavours over the five years since its grand opening. We are grateful to all the artists, designers, textile practitioners, educators, organisations and individuals who have resonated with and supported CHAT along the way. We thank the generous donors and lenders, textile specialists, researchers, institutions and enthusiasts for contributing to the engaging displays Misfitted: Unspoken Stories of Tailoring and Artefacts of Labour.

Our deepest gratitude goes to our founding donor, The D. H. Chen Foundation, and our main donor, Nan Fung Group. They have consistently believed in CHAT’s mission and provided vital support, allowing us to continuously develop exhibitions and programmes that not only celebrate Hong Kong’s textile industrial heritage but also bring the community together to learn from the past and look to the future.

139

團隊名單 Staff Credits

策展團隊 Curatorial Team 高橋瑞木 TAKAHASHI Mizuki 王慰慰 WANG Weiwei 李勺言 Bruce LI 謝詠琳 Maggie TSE 麥巧琳 Megan MAK 羅璧如 Eugenia LAW 司徒萱庭 Claudia SZETO 張瑞如 Pat CHEUNG 張家綸 Alan CHEUNG 梁長羚 Dorcas LEUNG 陳信騫 David CHAN

林舒庭 Pearl LAM 文永亮 Dennis MAN 郭穎淘 Joyce KWOK 黃昭穎 Gabrielle WONG 李海怡 Jeramy LEE 徐曉恩 Annie CHUI 馮可貝 Colbie FUNG 吳啟峰 NG Kai Fung

Paola SINISTERRA 麥咏恩 Nicole MAK

夥伴及發展團隊 Partnership and Development Team 麥紫琴 MAK Tsz Kam 鄒潁 Audrey CHOW

140

品牌及傳訊團隊 Branding and Communications Team 梁穎 Ada LEUNG 林靜妍 Tramy LAM 周靈 Lydia CHOW

管理及營運團隊 Management and Operations Team 趙子珉 CHIU Tsz Man 李盈慧 Stephanie LI 鄒詠婷 Ida CHOW 鄧婉玲 Jessie TANG 袁建暉 Leo YUEN 林秀蘭 Varia LAM

曾曉彤 Cloris TSANG 潘嘉俊 Sam PUN 梁小鳳 Ellie LEONG 楊狄恩 YEUNG Tik Yan 盧曉曈 Madison LO 俞甦輔 Randy YU

展覽製作技術員 Exhibition Production Technicians 張志謀 CHEUNG Chi Mau 郭杏蓮 KWOK Hang Lin 蔡詠茱 CHOI Wing Chu Belinda 馮耀輝 FUNG Yiu Fai 麥振球 MAK Chun Kau

葉政宏 NAKAMURA Masahiro 龍浩軒 LUNG Ho Hin Anson 黃寶琳 WONG Po Lam 黃慧心 WONG Winsome Dumalagan 邱永亮 YAU Wing Leung Thomas

數碼圖錄 Digital Catalogue 編輯 Editor 高橋瑞木 TAKAHASHI Mizuki 文字編輯 Copyeditors 林舒庭 Pearl LAM 梁長羚 Dorcas LEUNG

撰稿 Contributors 高橋瑞木 TAKAHASHI Mizuki (pp. 16-28) 王慰慰 WANG Weiwei (pp. 30-33) 翻譯 Translation 魏家欣 Luna NGAI (pp. 4-15) 黃曉恩 Grace WONG (pp. 34-37)

設計方向 Design Direction HATO 設計 Designer 徐曉恩 Annie CHUI

攝影 Photography 黃百亨 Wong Pak Hang @ Studio Lights On

141

出版 Published by

六廠基金會有限公司

Mill 6 Foundation Limited 荃灣白田壩街 45 號南豐紗廠二樓 CHAT 六廠

CHAT, 2/F, 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: 978-988-70013-2-4 2025 年 3 月出版 Published in March 2025 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。 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 reproduced, printed, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written consent from the publisher.

© 2025 版權屬於藝術家、作家及六廠基金會有限公司

© 2025 Artists, authors and Mill 6 Foundation Limited

創始捐助機構

Founding Donor

合作單位

Partners

主要捐助機構

Main Donor

143