Line of Times

Founding Donor 創始捐助機構

Main Donor 主要捐助機構

Sponsors 贊助 六廠基金會

為香港非牟利藝術文化機構。

MILL6 Foundation is a non-profit arts and cultural organisation based in Hong Kong.

Supported by 支持機構

Learning Program Partner 學習項目合作夥伴

M I LL6 SPRI NG PRO G R AM

六廠春季項目

線之時空

Artists 藝術家

Aziz + Cucher 阿齊茲 + 古查

Yin-ju Chen 陳瀅如

Morgan Wong 黃榮法 Curator 策展人 Mizuki Takahashi 高橋瑞木

Contents 目錄

Installation View

5

展覽場地

Exhibition Floor Plan and List of Works

66

展覽作品及平面圖

Curator’s Essay by Mizuki Takahashi

69

策展人語／高橋瑞木

Artists’ Profile 藝術家簡歷

93

INSTALLATION VIEW

展覽場地

Installation view, Line of Times / The Annex, Hong Kong / 2016 展覽裝置圖片，線之時空 / 香港 , The Annex / 2016

Aziz + Cucher, Some People / 2014 阿齊茲 + 古‫ي‬，Some People / 2014

Aziz + Cucher, The Road / 2016 阿齊茲 + 古‫ي‬，The Road / 2016

Aziz + Cucher, Aporia / 2016 阿齊茲 + 古‫ي‬，Aporia / 2016

Yin-Ju Chen, Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems / 2016 陳瀅如，超星鑑定 II：關於托勒密和哥白尼兩大世界體系的對話 / 2016

SAGR

Motion in a straight line can have no place in nature, as long as we suppose the parts of the universe to be disposed in the best arrangement and perfectly ordered.

Transcription PG the dialogue in Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems by Yin-Ju Chen

沙

只要假設

宇宙各部分井然有序， 直線運動於自然界 便毫無意義。

陳 瀅 如「 超 星 鑑 定 I I ： 關 於 托 勒 密 和 哥 白 尼 兩 大 世 界 體 系 的 對 話 」錄 音 旁 白

In the beginning was the Logos.

起初，神創造天地。

Aziz + Cucher, The Visitor / 2016 阿齊茲 + 古

，The Visitor / 2016

Silence is the language of the universe, all else is poor translation.

Jalāl ad-Dīn Muhammad Rūmī

沈默是宇宙的語言，其餘皆是差勁的詮釋。 魯米

只知分，不知合，不知「道」 。 林義正

Only knowing by categorizing knowledge, but not understanding how it fits together, one does not know the “way”.

Lin Yi-Zheng

SAL

*O UIF OBUVSBM TDJFODFT XIPTF DPODMVTJPOT BSF USVF BOE OFDFTTBSZ BOE IBWF OPUIJOH UP EP XJUI IVNBO XJMM POF NVTU UBLF DBSF OPU UP QMBDF POFTFMG JO UIF EFGFOTF PG FSSPS GPS IFSF B UIPVTBOE %FNPTUIFOFT BOE B UIPVTBOE "SJTUPUMFT XPVME CF MFGU JO UIF MVSDI CZ FWFSZ NFEJPDSF TBHF XIP IBQQFOFE UP XJUI XIP IBQQFOFE UP IJU VQPO UIF USVUI GPS IJNTFMG

Transcription PG the dialogue in Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems by Yin-Ju Chen

自然科學的結論， 真確而必要，

無關人類意志。

在自然科學的討論中， 人必須小心，

不要為錯誤辯護，

因為千百個狄摩西尼和 亞里士多德信徒，

會因偶然發現真相的 三流智者，

處於困頓之中。

陳 瀅 如「 超 星 鑑 定 I I ： 關 於 托 勒 密 和 哥 白 尼 兩 大 世 界 體 系 的 對 話 」錄 音 旁 白

...Passing the brook, there was a lady, advanced in years, honing a metal bar.

Being asked for the reason of doing so, she answered “I aspired to attain a needle.”...

Zhu Mu and Zhu Zhu, “Needle-filing Brook.”

Fang Yu Sheng Lan [Topography of Visiting Scenic Sites]. Southern Song Dynasty [13th Century]

……過是溪 逢老媼 方磨鐵杵 問之 曰 欲作針…… 祝穆、祝洙（南宋） ：磨鍼溪《方輿勝覽》

Morgan Wong, Where is the Sage / 2011 黃榮法，智者在

/ 2011

0’13”

2’17”

0’42”

2’50”

1’24”

3’14”

1’54”

3’46”

Morgan Wong, Frustration of Having More than Two Choices to Make in Life / 2013 黃榮法，生活面臨多重選擇的困惑 / 2013

4’31”

7’23”

5’04”

8’05”

5’48”

8’53”

6’20”

9’19”

Morgan Wong, Filling Down a Steel Bar Until a Needle is Made / 2013 - Present 黃榮法，鐵杵成針 / 2013 至今

Morgan Wong, Time Needle Series / 2016 - Present 黃榮法，時・針 系列 / 2016 至今

Exhibition Floor Plan and List of Works 展覽作品及平面圖

66

Exhibition Floor Plan

Aziz + Cucher 阿齊茲 + 古‫ي‬ 1

Some People 2014 / Cotton and wool, 188 × 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Courtesy of the artists and Gazelli Art House, London, UK

2

合製作 / 藝術家、英國倫敦 Gazelli Art House 借展

2016 / 棉和羊毛 / 188 × 315 厘米 /

在美國加州奧克蘭 與 Magnolia Edition 聯合製作 / 六廠基金會藏品

Aporia 2016 / Cotton and wool / 188 x 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Collection of MILL6 Foundation

4

國加州奧克蘭 與 Magnolia Edition 聯

The Road 2016 / Cotton and wool / 188 x 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Collection of MILL6 Foundation

3

2014 / 棉和羊毛 / 188 × 315 厘米 / 在美

2016 / 棉和羊毛 / 188 × 315 厘米 /

在美國加州奧克蘭 與 Magnolia Edition 聯合製作 / 六廠基金會藏品

The Visitor 2016 / Cotton and wool / 188 x 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Collection of MILL6 Foundation

2016 / 棉和羊毛 / 188 × 315 厘米 /

在美國加州奧克蘭 與 Magnolia Edition 聯合製作 / 六廠基金會藏品

Yin-Ju Chen 陳瀅如

5

Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems 超星鑑定 II：關於托勒密和哥白尼兩大世界體系的對話 2016 / 40 mins dialogue, 2 synchronized 10 mins videos, 2 charcoal drawings, texts and patterns / Courtesy of the artist and Chi-Wen Gallery

List of Works

2016 / 40 分鐘對白，2 個同步播放的 10 分鐘視頻，兩幅木炭畫，文字與圖案 / 藝術家、Chi-Wen Gallery 借展

67

Morgan Wong 黃榮法

6

Filling Down a Steel Bar Until a Needle is Made 鐵杵成針

2013 - Present / HD Video / Courtesy of the artist

7

時・針 系列

玻璃與金屬粉末，ø 0.5 × 11 厘米 / 六廠基金會藏品

生活面臨多重選擇的困惑

2013 / 高清視頻，9 分 36 秒 / 藝術家借展

Where is the Sage 智者在

2011 / Ink-jet print, 75 x 120 cm / Courtesy of the artist and Pearl Lam Galleries

68

2016 至今 /

Frustration of Having More than Two Choices to Make in Life 2013 / HD Video, 9’36” / Courtesy of the artist

9

高清視頻 / 藝術家借展

Time Needle Series 2016 – Present / Glass and metal powder, ø 0.5 x 11 cm / Collection of MILL6 Foundation

8

2013 至今 /

List of Works

2011 / 噴墨打印，75 × 120 厘米 / 藝術家、藝術門畫廊借展

CURATOR’S ESSAY 策展人語

LINE OF TIMES Mizuki Takahashi Co-Director, MILL6 Foundation

Our hectic lives are firmly bolted to the treadmill of time. (…) Running like a common thread through the history of human thought, East and West, North and South is a belief that the entire paradigm of human temporality is rooted in some sort of monstrous illusion; it is but an elaborate product of the human mind.1

The future home of MILL6 Foundation is inside the renovated DPUUPO TQJOOJOH NJMMT PG /BO 'VOH 5FYUJMFT, which was originally built in the 1960s. Reflecting the textile history that served as a foundation for Hong Kong’s prosperity today, the institute pays tribute to the entrepreneurship of the founders of the industry. MILL6 Foundation aims to present multiple possibilities for interpreting textile culture as well as its aesthetic while focusing on the history, technique, material, and conceptual meaning of textile. Prior to the full opening of the exhibition space, the exhibition “Line of Times” attempts to demonstrate the potential for a line, which is UIF QSJNBM form of thread, to link to the notion of time and develop into various subjects and motifs of art. The exhibiting artists – Aziz + Cucher, 70

Curator’s Essay

Yin-Ju Chen and Morgan Wong – all employ their own distinctive themes and approaches, yet their artworks in the exhibition share a conceptual link with lines, which also connect XJUI textile culture and art discourse in general.

Your Name is a Japanese animated science fiction film released in 2016. 2 It is a love story between Mitsuha, whose family runs a shrine in a small rural village, and Taki, a high school student living in Tokyo.

When they switch bodies, they travel between each other’s lives in the past and present, and eventually fall in love. A key item in the film is kumihimo, a traditional form of braid-making in Japan practised at Mitsuha’s shrine for generations. It serves to connect past and present where Mitsuha and Taki, respectively, live. One

線 之 時空 我們的忙碌生活，緊扣於時間的踏車之上。（……）如一條

高橋瑞木

六廠基金會聯席總監

線貫通人類思維歷史、東西南北的是一種信念，即人類時 間性的整套範式是建基於某種聳人聽聞的幻象──它不過 是人類思維的延伸產物。 1

在 1960 年代建成的南豐紗廠幾近修復完成。

交換身體， 梭於過去與未來，最終因此相

即將落戶於此的六廠基金會，旨在回顧紡織

戀。其中三葉家神社世代相傳的「結繩」是個

業此一香港繁榮基礎，並向行業奠基者之企

重要元素，它連結著瀧生活的「現在」與三葉

業家精神致敬。六廠專注於紡織之歷史、技

生活的「過去」。 「結繩」，是日本編織結繩的

法、物料與其概念，以呈現紡織文化及美學

傳統工藝。三葉的外祖母，一天告訴孫女「結

的

多解讀與可能。在六廠正式開幕前，展

覽「線 之 時 空 」試 圖 展 示「線 」之 原 始 形 式 ̶​̶「線」如何結合時間概念，提出多元的藝 術主旨及母題。參展的阿齊茲 + 古‫、ي‬陳瀅 如及黃榮法雖然創作主題與方法迥異，然而 各人展出的作品均扣連於線的概念，使他們 在紡織文化與藝術性論述層面上互相關聯。 2016 年上映的日本科幻動畫《你的名 字。》講述的是個愛情故事

。故事中，於༁郊

2

小村生活的神社繼嗣三葉，與東京男校生瀧 策展人語

繩」的隱ቶ：「將線連接，便是『產靈蚴仟蚵ț Ҹ ˄ȍȍ˅ 㟑 間的流動，也是『產靈』。我們所作 的結繩是神明的藝術，是時間流動的體現。 線相聚，繼而成形。它們

曲、纏繞，有時

又 還 原、斷 裂，再 次 連 接。 就 是『產 靈 』， 就是『時間』。」 正如外祖母所言， 「絲線」與「結繩」之 所 以 能 成 為 時 間 的 比 ቶ，無 疑 是 因 為 其 線 的 形 式，正 如 抽 象 畫 家 康 丁 斯 基（Wassily Kandinsky）著作《點線面》所述：線由運動 71

Fig. 1

Yin-Ju Chen, One Universe, One God, One Nation / 2012 / 3 channel video installation, 17 minutes loop, color & B/ W, stereo / Courtesy of Yin-Ju Chen and Chi-Wen Gallery

陳瀅如，共登世界大同之境 / 2012 / 3 頻道錄像裝置，17 分鐘重播，彩色及黑白，立體聲 / 圖片來源：陳瀅如、Chi-Wen Gallery

day, Mitsuha’s grandmother tells her about the metaphorical nuances of kumihimo: “Tying thread is musubi. (…) The flow of time is musubi. So the braided cords that we make are the god’s art and represent the flow of time itself. They converge and take shape. They twist BOE tangle. Sometimes UIFZ unravel, break, then connect again. Musubi knotting. That’s time.”

As her words indicate, thread and kumihimo are metaphors in the film for time because of the way that thread forms a line. As the abstract painter Wassily Kandinsky points out in his book Point and Line to Plane, a line is formed by movement . A line represents trajectory of movement; that is, distance as well as the length of time in which a movement exists. A line is a fundamental form signifying time.

3

72

Curator’s Essay

The big question of the origin of time is a long-running debate. While one theory asserts that time came to exist with the arrival of mankind, another prominent idea argues that time can be dated back to the birth of the universe and Big Bang itself. If time, which is a force that cannot be resisted by mankind, originated with the universe, then the fate of humanity ultimately lies in the hands of the laws of the universe.

Yin-Ju Chen proposes observation of conflicts, disasters, and the fate of humanity from a cosmic viewpoint. For example, in her three-channel video installation One Universe, One God, One Nation (Fig. 1) she uses Chiang Kai-shek’s horoscope to illustrate how his life as well as the tumultuous times in which he lived

Fig. 2

Yin-Ju Chen, Extrastellar Evaluations / 2016 / Installation view at KADIST San Francisco / Photo by Jeff Warrin / Courtesy of Yin-Ju Chen and Chi-Wen Gallery 陳瀅如，超星鑑定 / 2016 / 舊金山 KADIST 展覽裝置圖片 / Jeff Warrin 攝影 / 圖片來源：陳瀅如、Chi-Wen Gallery

而生，線表現的，是運動軌跡亦即距離，與 及運動的時間。換句話說，線是表現時間的 基本形式 3。 時間到底何時開始存在？

與天體運動展現的無形力相呼應。 借 一 般 視 為 偽 科 學 的 占 星 術，解 釋 現 實 社 會 的 真 人 真 事，往 往 會 被 貼 上 唯 靈 論

個宏大的

（spiritualism）的負面標籤。然而，陳氏的作

問題早已議論多時。有說是人類誕生，時間

品成功克服

便誕生；另一可靠說法則是，時間與宇宙原

念，大膽推論科學與唯靈論雙方的知識均有

點即大爆炸一刻一併誕生。若宇宙是時間之

可取之處。

源，而時間是人類之不可抗力，那我們便可 以說，人類的終極命運其實是由宇宙的旨意 決定。

個源於現代主義的先入為主觀

2016 年 陳 氏 創 作 的《超 星 鑑 定 》 （Fig. 2）， 是 一 件 具 野 心 的 作 品。 此 作 將 1960 年代至 70 年代主要在美國流行的極

陳瀅如提出的，正是從宇宙的視角，對

簡主義，及仍未證實存在的高度文明傳說大

紛爭、災害，與及人類命運的觀察。如陳氏

陸雷姆利亞（Lemuria）拉上關係。儘管在冷

2012 年發表的三頻道錄像裝置《共登世界大

戰時期，科技創新與太空探索不斷向前，人

同之境》 （Fig. 1），正是借蔣介石的星盤，嘗

權運動亦見興旺，然而極簡主義作品表現的

試描繪蔣的人生及其經歷的喧囂時代，如何

內容，卻彷彿隔

策展人語

於當時社會的躁動。陳氏 73

correspond to the invisible force of celestial motion.

Explaining an incident that happened in reality with astrology, which is generally regarded as pseudoscience, is often discredited as spiritualism. Chen’s work, however, overcomes this preconception implanted by modernism and offers bold reasoning that can be acquired only through learning from both science and spiritualism.

Chen’s Extrastellar Evaluations (Fig. 2) is an ambitious installation that links UP UIF NJOJNBMJTN JO BSU, which was prominent in the United States throughout the 1960s, with Lemuria, a hypotheticalMZ lost continent with a highly advanced civilisation. Innovation in technology, the Space Race and the rise of the civil rights movement characterise American society during the Cold War, yet minimalist art seems detached from these social changes. Chen hypothesises that the geometrical shapes employed by minimalist artists served as a communication language for reporting back on the situation on Earth to the descendants of Lemuria. Chen visualises the hypothesises with video footage shot at Mount Shasta in California, where the people of Lemuria are supposed to live deep under the ground, and diagrams with pictures of works by so-called minimalist artists such as Carl Andre and James Turrell.

Extrastellar Evaluation II (Fig. 3), which is presented in the exhibition, is 74

Curator’s Essay

an installation that demonstrates the dichotomy between the spiritual and scientific worlds using the contrasting theories of geocentrism and heliocentrism.

The work conveys Chen’s fundamental attitude that human awareness is formed by both the objective world proven by science and the world that mankind subjectively perceives. This installation consists of quotations of intellectuals from all ages and countries, animation and female and male voiceovers reading from Galileo’s Dialogues Concerning Two New Sciences.

An important part of Extrastellar Evaluation II are the animations showing the trajectory of the planets of the solar system, illustrating the heliocentric and geocentric theories. While planets in the geocentric system draw simple circles (Fig. 4), planets in the heliocentric system draw parabolas that form mesh-like patterns (Fig. 5). As seen in the charcoal drawings in Liquidation Maps (Fig. 6), lines appear frequently in Chen’s work as key elements visualising the invisible. People in ancient times connected the stars with invisible lines to create constellations as well as various stories associated with each of them. In the same manner, Chen connects the past and present, the universe and the Earth, and physical and spiritual existence, making visible the interrelation of which we are not aware. The adjoining lines Chen sketches demonstrate not only celestial motion but also our cognition of the world perceived

因此假設，極簡主義藝術家採用的幾何形式

自 1992 年起，阿齊茲（Anthony Aziz

是一種溝通語言，目的是將地球的情況告知

和古 ‫（ي‬Sammy Cucher）以「阿 齊 茲 +

雷姆利亞的末裔。鑑於有指雷姆利亞人居於

古 ‫（ي‬Aziz + Cucher）」的名義創作攝影及

加洲沙斯塔山地底，陳氏將在沙斯塔山拍

影像作品。其早期作品《Faith, Honor and

攝的影像，與卡爾・安德烈（Carl Andre）、

Beauty》 （Fig. 7）是一系列人像照。照片背

詹姆斯・特瑞爾（James Turrell）等極簡主

景令人聯想到美國國旗的顏色，前景則有美

義者的作品圖片並置，構成此作。

麗男女擺出古典主義雕塑般的姿態。 些模

本展覧展出的《超星鑑定 II》 （Fig. 3）是

特兒一概袒裼裸

，然而乳頭及性器官卻經

一組以陳氏根本思想建構成的裝置，形式包

Photoshop 處理刪除。作品誕生於愛滋病

括動畫、引用古今中外知識分子的話語，及

席

由一男一女閱讀伽利略《關於托勒密和哥白

別是同性性愛的藝術表現施加審‫。ي‬藝術家

全美的時代，其時美國文化正對性，特

尼兩大世界體系的對話》的聲帶。作品透過

運用 Photoshop 將政府規管的「性」刪除，

地心說與日心說的矛盾，描繪精神世界及科

以反映被政治理想化的美是如何不自然和

學論述的二元對立，並以科學證實客觀世界

曲。

及人類感受的主觀世界，確立人類的認識。

《Faith, Honor and Beauty》是 藝 術

《超星鑑定 II》裝置重要部份是一部表現

家 對 其 面 對 的 文 化 鬥 爭 之 即 時 回 應。而 在

地心說與日心說的動畫。該動畫描繪太陽系

《Dystopia》 （1994‒1996） （Fig. 8）中， 他 們 關 心 的 則 是 科 技 如 何 支 配 人 類 社 會。被

行星的軌跡。在地心說中，行星的軌道

用

簡單的圓表現（Fig.4）；而日心說中，行星 軌跡則以㑚物線及網狀圖案描述（Fig.5）。 一如《

學

》的木炭繪畫（Fig. 6），在陳氏

作品中，線總是重要元素頻繁出現，將看不 見的存在具現化。一如古代人以線連結天上 繁星，創造星宿，由之聯想各種故事，陳氏 亦將過去與現在、宇宙與地球，物理與精神 的存在用線連結，將我們未有意識的事物關 係具現化。陳氏繪畫的線，不

意在表現天

體運動，也在表現我們游走於主觀與客觀之 間所感知到的世界。 策展人語

Photoshop 刪除眼、耳、口、鼻的男女頭像， 既可視為被禁止觀看、說話、聆聽、呼吸，又 或相反，可解釋為人們對現實不看、不聞、 不語。利用在 1990 年代仍算新潮的電腦照 片加工技術，阿齊茲 + 古‫ي‬間接探討過度發 展的資

科技，如何全面統治人類。

阿齊茲+古‫ي‬作品內容及其表現媒介互相 輝映，令作品得以更複雜、更實在。今次展出 的四件掛毯作品亦不例外。2002 年，二人深 受紐約大都會藝術博物館舉辦的「文藝復興 時期的掛毯：藝術與輝煌」展覽所⛮發。 75

Fig. 3

Yin-Ju Chen, Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems 2016 / Installation view, the Annex, Hong Kong

陳瀅如，超星鑑定 II：關於托勒密和哥白尼兩大世界體系的對話 / 2016 / 展覽裝置圖片 / 香港，The Annex

76

Fig. 4

Yin-Ju Chen, Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems 2016 / Installation view, the Annex, Hong Kong

陳瀅如，超星鑑定 II：關於托勒密和哥白尼兩大世界體系的對話 / 2016 / 展覽裝置圖片 / 香港，The Annex

78

Curator’s Essay

Fig. 5

Yin-Ju Chen, Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems 2016 / Installation view, the Annex, Hong Kong

陳瀅如，超星鑑定 II：關於托勒密和哥白尼兩大世界體系的對話 / 2016 / 展覽裝置圖片 / 香港，The Annex

策展人語

79

Fig. 6

Yin-Ju Chen, Liquidation Maps / Khmer Rouge 1975-1978 / 2014 / Sketch on paper, 125 × 125 cm / Courtesy of Yin-Ju Chen and Chi-Wen Gallery 陳瀅如，

80

學

̶紅色高棉 1975-1978 / 2014 / 素描，125 × 125 厘米 / 圖片來源：陳瀅如、Chi-Wen Gallery

Curator’s Essay

Fig. 7

Fig. 8

Aziz + Cucher, Faith, Honor and Beauty / 1992 / C-prints, each 218.44 × 96.52 cm / Courtesy of the artists

阿齊茲 + 古‫ي‬，Faith, Honor and Beauty / 1992 / C-prints, 各 218.44 × 96.52 厘米 / 圖片來源：藝術家

Aziz + Cucher, Dystopia / 1994–1995 / Installation View / Courtesy of the artists

阿齊茲 + 古‫ي‬，Dystopia / 1994-1995 / 展覽裝置圖片 / 圖片來源：藝術家 策展人語

81

Fig. 9

Aziz + Cucher, Some People / 2014 / Cotton and wool, 188 × 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Courtesy of the artists and Gazelli Art House, London, UK 阿齊茲 + 古 ‫ ي‬，Some People / 2014 / 棉和羊毛，188 × 315 厘米 / 在美國加州奧克蘭 與 Magnolia Edition 聯合製 作 / 藝術家、英國倫敦 Gazelli Art House 借展

by travelling between subjectivity and objectivity.

Anthony Aziz and Sammy Cucher have worked together on photography and video since 1992 as Aziz + Cucher.

Their early work, Faith, Honor and Beauty (Fig. 7), is a series of portraits of beautiful men and women standing like classical sculptures against backgrounds reminiscent of the colours of the American flag. All the models are nude, yet their nipples and the genitals have been edited out using Photoshop. This work reflects the cultural context of American society when sexual, especially homoerotic artistic expression, was censored as a result of the widespread panic over AIDS. Erasing what the authorities considered “sexual” with Photoshop, the work contrarily exposes 82

Curator’s Essay

how the politically authorised ideal of beauty is unnatural and distorted.

While Faith, Honor and Beauty was their immediate response to the culture war that they confronted, Aziz + Cucher began to pay attention to how technology controls human society in their following work, Dystopia (1994−96) (Fig. 8). Here, Photoshop is used to remove eyes, mouths, noses and ears from the faces of men and women so that they look like they are banned from seeing, talking, listening, and even breathing. Alternatively, it could be interpreted that the people are refusing to look at, listen to or speak about reality. Using photographic manipulation software which was quite new in the 1990s, the duo indirectly references how humanity is completely controlled by

Fig. 10

Aziz + Cucher, The Road / 2016 / Cotton and wool, 188 × 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Collection of MILL6 Foundation 阿齊茲 + 古 ‫ ي‬，The Road / 2016 / 棉和羊毛，188 × 315 厘米 / 在美國加州奧克蘭 與 Magnolia Edition 聯合製 作 /六廠基金會藏品

該展覽中，展示動用龐大人力紡織金絲銀線

時間轉換緯紗顏色再現，而現代機械化的織

與絲綢製成的巨型掛毯，精緻得令人誤以為

布機則可以驚人速度完成。

是繪畫。充滿寓意的掛毯描繪的形象畫，用於

《 S o m e P e o p l e 》（ F i g . 9 ）、《 T h e

裝飾城中大禮堂與教會，象徵當時執政者的

Road》 （Fig. 10）、 《Aporia》 （Fig. 11）及《The

財富與權力。它們往往以系列形式製作，遮蓋

Visitor》（Fig. 12），來自阿齊茲 + 古‫ي‬預定

整面牆壁，成為畫中世界與現實世界的界線，

製作的掛毯系列七連作中之四件。作品背景

邀請觀者進入紡織而成的寓言世界。

是瓦礫的戰區和都市開發地域，主角則是擺

織布機素有電腦原型之稱。誠然，生成

出各種姿態的群像──看來像被擊中倒下的

紡織品圖案的編碼系統，與電腦編碼系統相

人、揮舞旗幟的年輕人和小丑、

通。阿齊茲 + 古 ‫ ي‬的作品，正是將他們以電

毒面罩的人、高舉智能手機拍攝的人們等。

腦製作的數碼圖像數據，由像素變換成紡織

些人物雖似暗示某種敘事性含義，但掛毯

圖案，再運用高科技織布機，以掛毯形式再

的圖像本身並非在呈現特定場所發生的真實

現。作品細緻綿密的圖像再現力，足可

事件。光景是虛構的，然而畫中事物仍賦予

美

白袍戴防

文藝復興時期掛毯工匠的技藝。不過在文藝

觀者一種既視感（déjà vu）。

復興時代，掛毯上的複雜圖案要靠工匠花長

畫中風景與群像，令我們想起踏入 21 世紀

策展人語

無疑是因為

83

Fig. 11

Aziz + Cucher, Aporia / 2016 / Cotton and wool, 188 × 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Collection of MILL6 Foundation 阿齊茲 + 古 ‫ ي‬，Aporia / 2016 / 棉和羊毛，188 × 315 厘米 / 在美國加州奧克蘭 與 Magnolia Edition 聯合製 作 /六廠基金會藏品

extremely advanced forms of information technology.

In Aziz + Cucher’s work, subject matter and media mutually enhance each other, making their oeuvre more complex and stronger. Four tapestry works in this exhibition are no exception. Aziz + Cucher were deeply inspired by the exhibition “Tapestry in the Renaissance: Art and Magnificence”, held at the Metropolitan Museum of Art in New York in 2002. Such enormous Renaissance tapestries, which were painstakingly woven with silk as well as gold and silver thread by skilled weavers, are so intricate that they could be easily mistaken for paintings. These tapestries full of allegory were used to decorate halls as well as church walls, symbolising the wealth and supremacy of 84

Curator’s Essay

those in power. Often created in a series, a tapestry would cover an entire wall and exist as a boundary between the world depicted in the tapestry and reality while also inviting viewers into an allegorical world.

A weaving machine is often described as an archetype of the computer. Indeed, the coding system for creating a textile pattern is very similar to the systems in a computer. Digital images made by Aziz + Cucher’s were converted from pixels into textile patterns, and then woven into tapestries by a high-tech weaving machine. The machine’s ability to accurately reproduce digital images rivals the skills of Renaissance tapestry artisans. However, while those craftsmen needed years to complete complex

Fig. 12

Aziz + Cucher, The Visitor / 2016 / Cotton and wool, 188 × 315 cm / Produced in collaboration with Magnolia Edition, Oakland, California, USA / Collection of MILL6 Foundation 阿齊茲 + 古 ‫ ي‬，The Visitor / 2016 / 棉和羊毛，188 × 315 厘米 / 在美國加州奧克蘭 與 Magnolia Edition 聯合製 作 /六廠基金會藏品

後，透過新聞耳聞目睹的傳染病、恐怖主義、

倫敦斯萊德藝術學院（Slade School of Fine

諸多紛爭，與及由之而來的難民潮等全球問

Art）碩士畢業， 《I Got Time》是他的畢業作

題。當許多文藝復興時期的掛毯所描繪是歷

品。作品中，黃氏在四十日內，每隔日便連

史事件與聖經場面，阿齊茲 + 古 ‫ي‬㔰 用來

續二十四小時用左手緊握加入混凝土的塑膠

自網路和電視的新聞圖像作符號，擺脫寓意

杯。杯中的混凝土隨黃氏緊握的形態凝固，

畫及歷史畫等之分類，描畫出有如預言般的

轉化成黃氏行動的結晶。展覽場內展示的，

場面。

是二十個自塑膠杯中取出、形狀各有微妙差

相對於阿齊茲 + 古 ‫ ي‬透過觀察世界上 正 發 生 的 社 會 政 治 問 題，描 繪 當 代 社 會 的 風 景，黃 榮 法 則 嘗 試 用 自 己 的 身 體 進 行 極 簡行為藝術，以身體感受時間流逝，並將之

異的混凝土雕塑，及該行動的照片和菲林。 今次展出的《時・針》系列（Fig. 14）， 是黃氏以時間及將其物質化作主題的一系列 作品之延伸。然而本作與《I Got Time》相異，

物質化。

黃氏視本作為一項終生行為藝術。本作契機

透過行動獲得不可抗逆的時間流逝，並

可追溯至 2011 年黃氏發表的一幅照片，即

將之物質化而直接採用，來自黃榮法的作品

在今次展覽「線之時空」亦有展出的《智者在

《I Got Time》 （Fig. 13）。2013 年，黃榮法於

》（Fig. 15）。照片內容是在儼如畫廊房間

策展人語

85

Fig. 13

Morgan Wong, I Got Time / 2013 / Performance and Sculpture / Concrete in plastic cup held by artist’s left hand for 24 Hours / Variable dimensions / Courtesy of the artist 黃榮法，I Got Time / 2013 / 行為與雕塑 / 藝術家左手持 24 小時裝有水泥的塑膠杯 / 尺寸可變 / 圖片來源：藝術家

86

Curator’s Essay

Fig. 14

Morgan Wong, Time Needle Series / 2016- / Glass and metal powder / ø 0.5 × 11 cm / Collection of MILL6 Foundation 黃榮法，時・針 系列 / 2016 至今 / 玻璃與金屬粉末 / ø 0.5 × 11 厘米 / 六廠基金會藏品

策展人語

87

Fig. 15

Morgan Wong, Where is the Sage / 2011 / Ink-jet print, 75 × 120 cm / Courtesy of the artist and Pearl Lam Galleries 黃榮法，智者在

/ 2011 / 噴墨打印，75 × 120 厘米 / 藝術家，藝術門畫廊借展

patterns, interlacing each coloured weft back and forth, a weaving machine today can realise an intricate pattern with astonishing speed.

Some People (Fig. 9), The Road (Fig. 10), Aporia (Fig. 11) and The Visitor (Fig. 12) belong to a series of seven tapestries, which the duo plan to complete in the future. The tapestries depict various people placed against mountains of rubble in conflict zones and urban development. People lie on the ground as if victims of an attack and others wear white lab coats and gas masks. Some take pictures with their phones. There are clowns and young people waving flags. Despite the fact that these figures imply narrative elements, the images do not re-enact actual events from 88

Curator’s Essay

specific places. These images are fictional, yet the viewer cannot help but feel a sense of déjà vu precisely because the scenes and people portrayed in the artworks are so reminiscent of the problems the world is experiencing today and what we have become accustomed to seeing in the news since the beginning of the 21st century, such as epidemics, terrorism, conflicts, and the refugee crises that arise from them.

Although many Renaissance tapestries too portray parts of historical events and stories from the Bible, Aziz + Cucher employ images from the Internet and TV news as iconography to depict portentous scenes that belong to neither allegory nor paintings of history.

While Aziz + Cucher show the landscape of contemporary society

Fig. 16

Morgan Wong, Frustration of Having More than Two Choices to Make in Life / 2013 / HD Video, 9’36” / Courtesy of the artist 黃榮法，生活面臨多重選擇的困惑 / 2013 / 高清錄像，9 分 36 秒 / 藝術家借展

的一隅放置鐵杵、石頭與樹枝，意念來自中

在兩年後的 2013 年。錄像作品《生活面臨

國詩人李白的逸事。

多重選擇的困惑》（Fig. 16） 眼雖如靜物攝

李白年少時候，有日遇上一個正在磨削

影，實際上卻是一部影片。影片呈現黃氏在

一支鐵杵的老婦。李白問老婦在幹甚麼，老

鋼柱前，良久

婦答說是將鐵杵磨成針。受老婦強

便不能結束的行動。一如計劃，黃氏最終還

耐性憾

動的李白，此後便勤苦用功於學。故事說明， 即使是被視為不可能的事，只要不惜時間與 勞力實踐，在未來還是有成功一天。

思是否要實踐

個一旦開始

是付諸實行。他將每日自鋼柱礱磨而落的鋼 盛載於玻璃針型器皿中，創作成作品《時・ 針》系列（Fig. 14）。玻璃針盛載的鋼

黃氏將「鐵杵磨成針」視作自身的參照，

，有

如沙漏表示黃氏日復日耗費在鋼柱磨針上的

立志成為一個將人生傾注於藝術實踐的藝

時間。而玻璃透明的特點，則既令人想到遙

術家。

遠未來鋼柱或許真會被磨成針，同時亦帶出

他訂製與其身高和體重相同的鋼柱，旨

行動的脆弱本質──藝術家真可能在今後

在有生之年將其磨成細針，以表示黃氏向藝

生涯繼續下去

術家事業奉獻自己的人生。

所屬的時空縫合成線。如無意外，

不過，黃氏真正展開

個項目，還是 策展人語

？

些玻璃針彷彿將黃榮法 條線將

會一直往未來延伸。 89

through observing socio-political problems happening all over the world, Morgan Wong intuitively recognises the flow of time and attempts to materialise it through minimal performances with his own body.

His method of acquiring time, which is fundamentally irresistible, through actions, and then materialising it, was directly employed in I Got Time (Fig. 13), which Wong created for his master’s graduation exhibition at Slade School of Fine Art. Wong carried out a performance in which he held a plastic cup filled with cement for 24 hours every other day over the period of 40 days. Solidified and shaped by the way Wong grasped the cup, the cement crystalises the 24 hours of time during which he held the cup. In addition to photography and videos capturing Wong’s performance, 20 cement sculptures with slightly varying shapes were shown in the gallery.

One of the pieces in this exhibition, Time Needle Series (Fig. 14) is an extension of a series of work by Wong focusing on the materialisation of time. Unlike I Got Time, however, Wong considers Time Needle Series his lifelong performance.

The origin of this work can be traced to a photography work, Where is the Sage (Fig. 15), first exhibited in 2011 and also included in “Line of Times”. The photograph, showing a metal rod, stone and branches placed in one corner of a white cube space, was inspired by an anecdote about the Chinese poet Li Bai. 90

Curator’s Essay

The young Li once encountered an old woman who was grinding a metal rod.

When Li asked the woman what she was doing, she said that she was grinding a rod to make a sewing needle. Struck by her patience, Li later became much more dedicated to his studies. The tale symbolises that, no matter how impossible a task seems, it can always end in success if one exerts enough time and effort.

Wong identifies the act of grinding a metal rod to create a sewing needle in the tale with his own lifelong artistic endeavor to establish himself as an artist. Preparing a metal rod matching his own height and weight, he decided to start grinding it with his hands throughout the course of his life.

This manifests his lasting commitment to artistic activities.

Wong only began this ambitious project in 2013, two years after his initial decision in 2011. Frustration of Having More Than Two Choices to Make in Life (Fig. 16) looks like a still photograph, but is in fact a video that captures him contemplating in front of the metal rod for a long time whether to start what is likely to be a lifelong task with no turning back. In the end, Wong did start his artistic act. Time Needle Series (Fig. 14) consists of glass needles filled with the metal powder ground daily from the rod. The powder inside the needles, like the sand in an hourglass, demonstrates the amount of time Wong spent grinding the bar. The transparency of the glass needles allows viewers to imagine that perhaps one day

時間常被認為是單向的直線，然而我 們憑藉記憶力與想像力，仍可不時追溯過 去，預見未來。換句話說，雖然我們活在當 下，但也可在幻想中經驗過去與未來的時間 軸。人類的

種特殊能力，便是創作神話、

故事與藝術的創造性泉源。阿齊茲!+ 古 ‫、 ي‬ 陳瀅如及黃榮法，尋探各種各樣過去的藝術 方法和哲學論述，將由此學到的知識，連結 現代的手法，與及我們面對的藝術與政治問 題，提出關於未來的疑問。陳瀅如從宇宙 的視角提示過去、現在、未來的因果關係； 阿齊茲 + 古 ‫ ي‬以同代人的視點創作，客觀 分析今日發生的政治問題；黃榮法則以宏觀 觀點，把握時間流逝。「線之時空」是三組藝 術家以多元角度，面對於時間中生活的人類 行為交織而成一幅掛毯。 （原文為日文，楊天帥 譯）

1. 保羅・戴維斯 （1996）。關於時間：愛因

斯坦未完成的革命。紐約：西蒙與舒斯特。 頁 23。

2. 新海誠 （2016）。你的名字。東寶。 3. 瓦西里・康丁斯基 （1979）。點線面。紐

約：多佛出版社。頁 57。此書原於 1926 年

出版，原名為《Punkt und Linie zu Fläche》， 後於 1947 年由候活・戴瓦斯丁 （Howard

Dearstyne）及西拉・瑞貝 （Hilla Rebay）翻

譯，古根漢基金會為紐約非寫實繪畫博物館

（Museum of Non-Objective Painting） 發

行。此處引用的多佛版本是 1947 年版之無 刪節重印版。

策展人語

91

in the distant future the metal rod will become a needle. In its evanescence, it also suggests the fragility intrinsic to the performance, that of whether or not Wong is truly capable of committing himself to this lifelong act. Every glass needle stitches space and a moment of his life, and each stitch forms a line that is expected to stretch into the future.

Time is often considered to be linear.

However, our memory and imagination enable us to travel into the past as well as the future. In other words, we are able to virtually experience the different time axes of the past and future while living in the present. This ability of mankind is the source of creativity for mythology, narratives and art. Visiting past artistic methodologies and philosophical discourses, Aziz + Cucher, Yin-Ju Chen and Morgan Wong connect their findings with the artistic and political issues they face, and pose questions about the future.

Yin-Ju Chen presents the interrelationship between the past, present and future from a cosmic perspective, while Aziz + Cucher create work to analyse ongoing political issues objectively, and Morgan Wong tries to grasp the flow of time from a macro level. In this way, “Line of Times” forms a single tapestry woven by the multiple perspectives of three artists looking at human acts in time.

(Originally written in Japanese, translated by TRANSLATION hanare × Social kitchen)

92

Curator’s Essay

1. Davis, Paul, About Time, New York: Simon and Schuster, 1996, p. 23.

2. Your Name. Dir. Makoto Shinkai.

Toho, 2016.

3. Kandinsky, Wassily, Point and Line to Plane, New York: Dover Publications, 1979, p. 57. Originally published in 1926 as Punkt und Linie zu Fläche. This Dover edition is an unabridged republication of the work as published by the Solomon R. Guggenheim Foundation for the Museum of Non-Objective Painting, New York City, in 1947, in a translation by Howard Dearstyne and Hilla Rebay.

ARTISTS’ PROFILE 藝術家簡歷

Aziz + Cucher Sammy Cucher (Left) 1958 1983 1992 1961 1983 1990 1991

Recent Solo Exhibitions

2015

Born in Lima, Peru BA, Tisch School of the Arts at New York University, USA MFA, San Francisco Art Institute, San Francisco, USA Anthony Aziz (Right) Born in Massachusetts, USA BA, Boston College, Massachusetts, USA MFA, San Francisco Art Institute, San Francisco, USA Started working together as Aziz + Cucher (Anthony Aziz and Sammy Cucher are both members of the Faculty at Parsons School of Design, New York)

“In Some Country under a Sun and Some Clouds” Herzliya Museum of Contemporary Art, Herzliya, Israel

“Time of the Empress”

Pabellón de las Bellas Artes, Buenos Aires, Argentina

2014

“Time of the Empress”

2013

“Time of the Empress”

Gazelli Art House, London, UK

The Screening Room, Miami, USA

“SB: Villette”

Virginia Commonwealth University/Institute of Contemporary Art, Richmond, USA

2012

“Some People”

Indianapolis Museum of Art, Indianapolis, USA

“New Landscapes”

Gazelli Art House, Baku, Azerbaijan

94

Aziz + Cucher

Recent Group Exhibitions and Projects

2016

“A Collection of One’s Own”

Museo de Arte Contemporaneo, Leon, Spain

“MoCP at 40”

Museum of Contemporary Photography, Chicago, USA

“Come as You Are: Art of the 1990’s”

Blanton Museum of Art, University of Texas, Austin, USA

“Beyond”

Art Abu Dhabi, Abu Dhabi, UAE

“I, Cyborg”

Gazelli Art House, London, UK

“Nature Morte”

Bohuslans Museum, Uddevalla, Sweden

2015

“Inside Magnolia Editions: Innovation and Collaboration” Art Museum of Sonoma County, Santa Rosa, USA

“The Architectural Impulse” Cristin Tierney Gallery, New York, USA

“Nature Morte”

Ha Gamle Prestegard, Stavanger, Norway

“Recomposed Bodies”

Museum of the Manuscripts of Mont-Saint-Michel, Avranches, France

“Pixellated”

Children s Museum of the Arts, New York, USA

“Come As You Are: Art of the 90’s” Montclair Museum of Art, Montclair, USA

“Nuit Blanche Toronto 2015” Toronto, Canada

2014

“If You Build It...”

New York, USA

“Monument to Cold War Victory” The Cooper Union, New York, USA

The Moving Image Art Fair New York, USA

“Report on the Construction of a Spaceship Module” Museum as Hub, New Museum of Contemporary Art, New York, USA

“Tal Amitai-Lavi”

Chelouche Gallery for Contemporary Art, Tel Aviv, Israel

Artists’ Profile

95

Recent Group Exhibitions and Projects

2014

“Exposure”

Stein Galleries at Wright State University, Dayton, USA

“Teutloff Collection meets Sandra Vasquez de la Horra” Kunsthaus Lempertz, Cologne, Germany

2013

“Open Doors”

Fundacao De Almeida, Evora, Portugal

“To Deny our Nothingness”

Gallery Brooklyn, Brooklyn, New York, USA

“Re:Cinema”

Sydney College of the Arts, Sydney, Australia

“Re:Conceptualizing Vision”

Auckland Photo Festival, Auckland, New Zealand

2012

“Unnatural”

Bass Museum of Art, Miami Beach, USA

“Fairy Tales, Monsters and the Genetic Imagination” Frist Center for the Arts, Nashville, USA

“Do or Die: The Human Condition in Painting and Photography” Deutsches Hygiene-Museum, Dresden, Germany

2011

“Paradesign”

San Francisco Museum of Modern Art, San Francisco, USA

“Cabaret”

Ramis Barquet Gallery, New York, USA

PingYao Festival Ping Yao, China

“Beauty Culture”

Annenberg Space for Photography, Los Angeles, USA

“Art Viff”

a selection of video art for the Cannes Film Festival, Cannes Film Festival, France

“Down to Earth”

Gazelli Art House, London, UK

2010

“Changing the Focus”

Museum of Latin American Art, Los Angeles, USA

“SKIN”

Wellcome Collection, London, UK

Awards

96

2017

Pollock Krasner Award

2015

New York Foundation of Arts

USA

New York City, USA

Aziz + Cucher

Collections

San Francisco Museum of Modern Art, San Francisco, USA Los Angeles County Museum of Art, Los Angeles, USA Coleccion Patricia Phelps de Cisneros, Caracas-New York, USA The New School University Art Collection, New York, USA Indianapolis Museum of Art, Indianapolis, USA C-Collection, Vaduz, Prinicipality of Liechtenstein Martin Z. Margulies Collection, Miami, USA Musee de l’Elysee, Lausanne, Switzerland MUSAC, Museum of Contemporary Art, Leon, Spain Maison Europeene de la Photographie, Paris, France Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain Collection Banque et Caisse d’Epargne de l’Etat, Luxembourg Fond National d’Art, Contemporain, Paris, France San Jose Museum of Art, San Jose, Canada Museum of Contemporary Photography, Chicago, USA National Gallery of Australia, Canberra, Australia Denver Museum of Art, Denver, USA Fond Regional d’Art Contemporain, Auvergne, France Kölnischer Kunstverein, Cologne, Germany Sammlung Berger Foundation, Amorbach, Germany Lutz Teutloff, Bielefeld, Germany Galeria de Arte Nacional, Caracas, Venezuela Ruttenberg Foundation, Chicago, USA Rene and Veronica di Rosa Foundation, Napa, Canada Museo Alejandro Otero, Caracas, Venezuela

Artists’ Profile

97

Yin-Ju Chen

Selected Solo Exhibitions

1977 2000 2003

Born in Taiwan BA, Taipei National University of the Arts, Taipei, Taiwan MFA, San Francisco Art Institute, San Francisco, USA

2016

“Extrastellar Evaluations II – A Dialogue Concerning the Two Chief World Systems” Centre for Chinese Contemporary Art, Manchester, UK

“Yin-Ju Chen: Extrastellar Evaluations” KADIST San Francisco, San Francisco, USA

“AS ABOVE, SO BELOW: WORKS BY YIN-JU CHEN”

SF Cinemtheque and Yerba Buena Center for the Arts, San Francisco, USA

Selected Group Exhibitions and Projects

2015

“Action at a Distance — Yin-Ju Chen Solo Exhibition”

2013

“Film Screening: James T. Hong and Yin-Ju Chen”

2017

IT PARK, Taipei, Taiwan

Chi-Wen Gallery, Taipei, Taiwan

TOUR: “No Such Thing As Gravity”

The National Taiwan Museum of Fine Arts (NTMoFA), Taichung, Taiwan, with FACT (Foundation for Art and Creative Technology), Liverpool, UK

“The Man Who Never Threw Anything Away” Times Museum, Guangzhou, China

2016

“No Such Thing As Gravity”

FACT (Foundation for Art and Creative Technology), Liverpool, UK

Liverpool Biennial 2016 Liverpool, UK

“Research, RE: researched”

Post Territory Ujeongguk, Seoul, South Korea

“Not Early Not Late” PACE Gallery, Beijing, China

98

Yin-Ju Chen

Selected Group Exhibitions and Projects

2016

20th Biennale of Sydney Sydney, Australia

“Xiaoyu Weng – Soft Crash”

GAMeC - Galleria d Arte Moderna e Contemporanea, Bergamo, Italy

“Stars and Monsters” Neptune, Hong Kong

CROSSROADS 2016

San Francisco Cinematheque, San Francisco, USA

Berlinale 2016 — Foreum Expanded: Traversing the Phantasm Berlin, Germany

2015

“Behold the Asian: How One Becomes What One is, James T. Hong and Yin-Ju Chen” Chi-Wen Gallery, Taipei, Taiwan,

“corruption: Everybody Knows..” e-flux, New York, USA

NEoN Digital Arts Festival Scotland, UK

“The Starry Heavens Above and the Moral Law Within” The Cube, Taipei, Taiwan

“Interrupted Survey (Fractured Modern Mythologies)” Asia Culture Center (ACC), Gwangju, South Korea

VIDEOEX - Experimentalfilm & Video Festival Zurich, Switzerland

“Language is a Virus”

Ilam Campus Gallery, Ilam School of Fine Arts, University of Canterbury, Christchurch, New Zealand

“Provisional Heaven”

Resusalon, San Francisco, USA

“A Journal of the Plague Year.

Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story” Kadist Foundation, San Francisco, USA

2014

Shanghai Biennale 2014

Social Factory, Power Station of Art, Shanghai, China

“Spectres of the Past” Chi-Wen Gallery, Taipei, Taiwan

“A Journal of the Plague Year.

Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story” Arko Museum, Seoul, South Korea

“It’s Not A Real Film”

TamtamArt Taipei, Taipei, Taiwan

Artists’ Profile

99

Selected Group Exhibitions and Projects

2014

“Dead Souls at the Test Drive” (tentative title) Wei-Li Yeh Studio, Yangmei, Taiwan

“A Journal of the Plague Year.

Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story” The Cube, Taipei, Taiwan

“The 2nd CAFAM Biennale - The Invisible Hand: Curating as Gesture” The Central Academy of Fine Arts Museum, Beijing, China

2013

“Utopien vermeiden” - Werkleitz Anniversary Festival Halle, Germany

“Counterplanning from the Kitchen” Kino Moviemento Berlin, Germany

“A Journal of the Plague Year.

Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story” Para Site, Hong Kong

2012

“In the Wintry Thicket of Metropolitan Civilization” Ar/ge kunst Galerie Museum, Bolzano, Italy

“houseWORK: feminist art in context”

University of the Pacific s Reynolds Gallery, Stockton, USA

“Taipei Biennial 2012 - Death and Life of Fiction” Taipei Fine Arts Museum, Taipei, Taiwan

2011

Techno-ecologies: XIII International Festival for New Media Culture Art + Communication Riga, Latvia

Rijksakademie OPEN 2011 Amsterdam, Netherlands

“A Selected History of Abstract Film” Whitechapel Art Gallery, London, UK

“11th Signal and Noise Media Arts Festival” VIVO Media Arts Centre, Vancouver, Canada

European Media Art Festival 2011 Osnabrück, Germany

Karel Appel House Open Amsterdam, Netherlands

“Edition N.1 – Wonderland” GlogauAIR Gallery, Berlin, Germany

2010

100

“Tangible Intangible” tamtamArt, Berlin, Germany

Yin-Ju Chen

Selected Group Exhibitions and Projects

2010

“End Transmission”

Sørlandets Kunstmuseum, Kristiansand, Norway

Rijksakademie OPEN 2010 Amsterdam, Netherlands

“Animated Images”

Goethe-Institut & Taipei & Digital Art Center, Taipei, Taiwan

Karel Appel House Open Selected Film/Video Screenings

Amsterdam, Netherlands

2012

San Francisco Cinematheque, CROSSROADS 2012 San Francisco, USA

The 34rd Big Muddy Film Festival Carbondale, USA

2011

EXiM 2011 - Asian Experimental Video Festival Ox Warehouse, Macau, China

18th l’Alternativa Barcelona Independent Film Festival Barcelona, Spain

15th Jihlava International Documentary Film Festival Jihlava, Czech Republic

International Short Film Festival of Cyprus (ISFFC) Rialto Theatre, Limassol, Cyprus

Preview Show Light Cone

Cinema Action Christine, Paris, France

EXiT - 2011 Experimetanl Film and Video Festival Seoul, Seoul, South Korea

Guanajuato International Film Festival San Miguel de Allende, Mexico

VIDEOEX - International Experimental Film & Video Festival Zürich, Switzerland

Songs of Experience

Mendel Art Gallery at Broadway Theatre, Saskatoon, Canada

Planete Doc Film Festival Warsaw, Poland

Productionist Metaphysics 92YTribeca, New York, USA

Tigers in Moscow - International Film Festival Rotterdam in Moscow Cool Connections at 35mm Cinema Hall, Moscow, Russia

Artists’ Profile

101

Selected Film/Video Screenings

2011

Other Cinema - New Experimental Works Artists Television Access, San Francisco, USA

Persistence Resistence - Films from London International Documentary Festival New Delhi, India

40th International Film Festival Rotterdam Rotterdam, Netherlands

Göteborg International Film Festival Göteborg, Sweden

2010

EX!T 2010 – Experimental Media Art Festival Taipei, Taiwan

San Francisco International Asian American Film Festival San Francisco, USA

The Chicago Asian American Showcase Chicago, USA

The 23rd Singapore International Film Festival Singapore

The London International Documentary Festival London, UK

The 9th Urban Nomad Film Festival Taipei, Taiwan

Globians world & culture Documentary Film Festival Berlin, Germany

Moving Frames Festival - Mytilene Digital Art Festival Mytilene, Greece

FLAHERTY NEW YORK

Anthology Film Archives, New York, USA

14th Jihlava International Documentary Film Festival Jihlava, Czech

Cinema by the Bay San Francisco, USA

Awards

2011

Nominee for Tiger Awards - Best Short Film, 40th International film festival Rotterdam Rotterdam, Netherlands

Big Nomad Prize (First Price), Urban Nomad Film Fest, Taipei, Taiwan

102

Yin-Ju Chen

Collections

Kadist Art Fondation, San Francisco, USA Taipei Fine Arts Museum, Taipei, Taiwan Netherlands Media Art Institute (NiMK), Amsterdam, Netherlands Rijksakademie van beeldende kunsten, Amsterdam, Netherlands

Artists’ Profile

103

Morgan Wong

Selected Solo Exhibitions

1984 2007 2013

Born in Hong Kong BA, City University of Hong Kong, Hong Kong MFA, University College London, UK

2015

“Untitled – Expressway”

2013

“Filing Down a Steel Bar Until a Needle is Made”

2011

“One Hour”

Rolls Royce Motor Car Showroom, Hong Kong

Tintype Gallery, London, UK

2P Contemporary Art Gallery, Hong Kong

“Untitled – Agnosia Series I” Videotage, Hong Kong

Selected Group Exhibitions

2010

“A Story of an Eel Chef”

2015

“Imagine There’s No Country, Above Us Only Our Cities”

Oyoyo Art Center, Sapporo, Japan

Para Site, Hong Kong

“No things to hang” Gaffa, Sydney, Australia

“← →”

A + Contemporary, Shanghai, China

“after/image”

Studio 52, Hong Kong

“Essential Matters”

Borusan Contemporary Istanbul, Istanbul, Turkey

“Frontiers Reimagined”

Museo di Palazzo Grimani, Venice, Italy

104

Morgan Wong

Selected Group Exhibitions

2015

“The 20th ifva Media Arts Exhibition” Hong Kong Arts Centre, Hong Kong

“Sparkle Project”

Oil Street Art Space, Hong Kong

2014

“Cosmos”

Shanghai 21st Century Minsheng Contemporary Art Museum, Shanghai, China

“The Mirror and Monitor of Democracy in Asia” Gwangju Museum of Art, Gwangju, South Korea

“We Love Video This Summer” Pace Beijing, Beijing, China

“After Time”

Pearl Lam Galleries, Hong Kong

“8th Shenzhen Sculpture Biennale”

OCT Contemporary Art Terminal, Shenzhen, China

“Encounters”

Art Basel Hong Kong 2014, Hong Kong

“Contested Spaces”

India Art Fair, New Delhi, India

2013

“18th Videobrasil”

SESC Pompeia, Sao Paulo, Brazil

“Artists Film International” Whitechapel Gallery, London, UK

“Move on Asia – Video Art in Asia 2002 to 2012” Media Museum ZKM, Karlsruhe, Germany

“Habits, Cleavages and Fractures” UCL Geology Collections, London, UK

2012

“Liste 17”

Liste Art Fair, Basel, Switzerland

“Moscow Young Art Biennale”

Moscow Museum of Modern Art, Moscow, Russia

“Fictional Recoveries”

Pearl Lam Galleries (Shanghai), Shanghai, China

“Gelassenheit: Letting It Be”

2P Contemporary Art Gallery, Hong Kong

“Isolated Borders”

Old Police Station Gallery, London, UK

Artists' Profile

105

Selected Group Exhibitions

2012

“Hong Kong Diary”

25 Bilder/Sekunde, Mannheim, Germany

“Running on the Sidelines” Soka Art Center, Taipei, Taiwan

“Shiryoukan Art Suru”

Sapporo Archive Museum (Sapporo Shiryoukan), Sapporo, Japan

“MA & Other Post Graduates 2012” Atkinson Gallery, Millfield, UK

2011

“China New Design”

Turin Palace Museum (Palazzo Chiablese), Turin, Italy

“The Knife’s Edge”

Fremantle Art Centre, Perth, Australia

“Arts Centre Open House 2011” Hong Kong Arts Centre, Hong Kong

“Move On Asia in Europe” CASA Asia, Madrid, Spain

“Recycling Love” Blue Room, Hong Kong

“Societe Generale Chinese Art Awards Tour Exhibition”

798 Art Center, Beijing, China; Shanghai Library, Shanghai, China Huashan 1914, Taipei, Taiwan; Artistree, Hong Kong; One Raffles Quay, Singapore

2010

“No Soul For Sale” Tate Modern, London, UK

“I’m on the Road to…”

Mizuma & One Gallery, Beijing, China

“Move On Asia 2010”

Para Site Art Space, Hong Kong; Alt. Space Loop, Seoul, South Korea

“Shiryoukan Art Suru”

Sapporo Archive Museum (Sapporo Shiryoukan), Sapporo, Japan

“Around the World in 80 Hours” Suwon Art Centre, Suwon, South Korea

“Para Site Fundraising Auction” Para Site Art Space, Hong Kong

“798 Art Festival”

798 Art Center, 798 Art District, Beijing, China

“the mARkeT, I’m”

Beijing Center for the Arts, Beijing, China

106

Morgan Wong

Selected Group Exhibitions

2010

“Tokeidai Wo Art Suru”

Sapporo Clock Tower, Sapporo, Japan

“FAX”

Para Site Art Space, Hong Kong

Awards

Collections

2012

Shortlisted, The Sovereign Asian Art Prize

2010

Shortlisted, Societe Generale Chinese Art Awards The Collection (City and County Museum Lincolnshire), Lincoln, UK The Edward James Foundation, West Sussex, UK NPO S-AIR, Sapporo, Japan Moerenuma Park, Sapporo, Japan

Artists’ Profile

107

MILL6 Crew 六廠團隊

Mizuki Takahashi 高橋瑞木

Chin Chin Teoh 張晶晶

聯席總監

聯席總監

Co-Director

Co-Director

̶

̶

Jane Sze 施君玉

Zon So 蘇綽玲

Collections and Exhibitions 館藏及展覽部

Curator, Collections and Exhibitions 館藏及展覽部／策展人

Branding and Communications 品

品

及傳

部／主管

Zita Szeto 司徒家琪

館藏及展覽部／助理策展人

品

Sylvia Feng 馮昱瑄

部

Head of Branding and Communications

Yik Chow 周翌

Assistant Curator, Collections and Exhibitions

及傳

Officer, Branding and Communications 及傳

部／主任

Essa Lin 連曦

Curatorial Assistant, Collections and Exhibitions

Assistant Officer, Branding and Communications

̶

̶

Him Lo 盧樂謙

Chiu Tsz Man 趙子珉

館藏及展覽部／策展助理

Community and Learning 社區及共學部

品

及傳

部／助理主任

Finance and Administration 財務及行政部

Curator, Community and Learning

Head of Finance and Administration

Annette Lo 盧雁祈

Mandy Lam 林敏儀

社區及共學部／策展人

財務及行政部／主管

Assistant Curator, Community and Learning

Officer, Finance and Administration

Tin-lam Men 萬天琳

Stephanie Li 李盈慧

社區及共學部／助理策展人

Curatorial Assistant, Community and Learning 社區及共學部／策展助理

Hazyl Lam 林楚穎 Assistant Officer, Exhibitions and Projects Management 展覽及項目部／助理主任

財務及行政部／主任

Executive Secretary 行政秘書

̶

Creative Production and Operation 營運部

Dennis Man 文永亮

Assistant Officer, Operations 營運部／助理主任

Production Team 製作團隊

̶

Photographers 攝影

MAGIC HOUR STUDIO LIMITED Dennis Man 文永亮 Michael Wong 黃彥聰 ̶

Design 設計

Edited. ̶

Translators 翻譯

TRANSLATION hanare × Social kitchen

Acknowledgements 鳴謝

Centre for Chinese Contemporary Art Chi-Wen Gallery Gazelli Art House Pearl Lam Galleries 藝術門 Victoria Al Din David Chan 陳浩揚 CHi-Wen Huang 黃其玟 Angelika Li 李安琪 Dawoon Alba Lim Ying Tan

Tin Shui Yeung 楊天帥 ̶

Editors 編輯

Mizuki Takahashi 高橋瑞木 Jane Sze 施君玉 Yik Chow 周翌 Sylvia Feng 馮昱瑄 ̶

Editorial Coordinator 編輯統籌

Zita Szeto 司徒家琪

Published by MILL6 Foundation 六廠基金會出版

Printed in Hong Kong 香港印製

Printed by Colham Printing Co., Ltd 高行印刷有限公司印製

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Copyright © 2017 the artists, authors and Mill 6 Foundation Limited 版權所有翻印必究。

版權屬於藝術家、作者及六廠基金會有限公司 ISBN 978-988-79607-5-1