CHAT 5th Anniversary – CHAT 六 廠
五 週 年 ── 明日工廠
Factory of
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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
Factory of Tomorrow →
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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
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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。
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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.
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《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
別出心裁：不為 人知的裁縫故事
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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 。
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