Spun Dragon

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Taguchi Yukihiro

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Spun Dragon

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Contents 目錄 Co-Directors’ Foreword

008

009

Curatorial Statement

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017

Artist Statement by Taguchi Yukihiro

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Spun Dragon Structure – Head and Body

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051

Creation Process – Fabric and Bamboo

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057

Creation Process – CHAT Dragon Dance Crew T-Shirt

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061

Workshop

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071

Public Space and Public Art Participation

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075

Participatory Idea

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083

Interview with Master Ng

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093

Performance

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Exhibition

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112

Artist Profile

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聯席總監前言

策展人的話

田口行弘的創作自述

紡織龍結構⸺頭及身 創作過程⸺布料及竹

創作過程⸺CHAT 六廠舞龍團員T恤

工作坊

思考公共空間與藝術創作 參與式概念

舞龍⸺與吳師傅對談 舞龍 展覽

藝術家簡歷

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Co-Directors’ Foreword

CHAT’s Artist-in-Residence programme launched in December 2015. Through our curatorial team’s work with local art organisations, communities, schools and cultural practitioners,

CHAT’s resident artists are encouraged to further their artistic development through the cross-fertilisation of ideas, media and perspectives. This experience usually stokes new

inspiration in the artists, encouraging them to explore alternative ways of thinking and

experimental methods to realise their new artworks, which are exhibited at CHAT. The artists are also offered the opportunity to discuss their experiences in public workshops and talks.

Taguchi Yukihiro is CHAT’s second Artist-in-Residence, with a residency lasting from September to December 2016. Taguchi’s practice, which involves deriving inspiration from

unpredictable encounters with everyday objects and people on the streets, met with new

challenges in Hong Kong’s uniquely dense cityscape and history. This yielded a new curiosity

about textile techniques such as patchwork and weaving that Taguchi conducted with residents on the streets of Tsuen Wan. He also researched the common traditional customs of

the city. Spontaneous events and workshops engaged with the public, leading to improvised street art. Taguchi also captured the way space, people and atmosphere change with his digital camera, creating stop-motion animations using countless digital still photographs.

His new interest in textiles also intertwined with his zero-waste commitment during the

residency with the creation of Patch Pass, a work made of a patchwork of fabric from the discarded umbrellas found on the streets of Hong Kong after heavy typhoons. This sparked

continuous reinterpretation by Taguchi of textile-related metaphors in his practice. Our

conversations with Taguchi developed further after his residency in 2016, culminating in his

return to Hong Kong in 2018 for the Spun Dragon project. Students and families in CHAT’s neighbourhood were invited to bring old T-shirts and weave the body of a dragon with them.

The result was Spun Dragon, consisting of 31 colourful woven cubes, with a dragon’s head made using Taguchi’s hand-made bamboo loom. Spun Dragon was exhibited and performed

to celebrate the start of CHAT’s pre-opening summer programme, choreographed by a local fire dragon dance master.

One of our goals is always to build a long-term relationship between resident artists and

Hong Kong public. A residency might only be three months but that is only the start. After that we take that special relationship with our artists to the next level and into the future,

spurring new interpretations, developing the artists’ practices and, most importantly, sharing that creative energy with the Hong Kong public through CHAT’s inclusive programmes.

Takahashi Mizuki and Teoh Chin Chin

Co-Directors, CHAT (Centre for Heritage, Arts and Textile)

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Spun Dragon Sketch

Curatorial Statement Craft, material, space and art – when all of them come together, what we get is something

like Taguchi Yukihiro’s artistic practice, which always concerns people and their lives. Spun

Dragon is Taguchi’s collaborative project for CHAT’s 2018 Summer Programme, CHAT Go! Let’s Build a Textile Village. In creating it, he has provided a sound example of how

contemporary artists can facilitate co-creation with community groups and members of the

public. By juggling art and craft, individual and collective, contemporary and participatory art, he achieves a point of equilibrium.

Origin Taguchi spent three months in Hong Kong in 2016 as part of our Artist-in-Residence

programme. In his 2008 stop-motion video work Moment: Performatives Spazieren there are traces of how he observes and interprets mundane objects in daily life through

deconstruction and reconstruction. His approach challenged common perceptions of public spaces and objects, and even inspired an interesting shift in our perspective as we try to

understand the city.

In line with his lively, humourous character, when he came to Hong Kong in 2016 Taguchi

explored streets and public facilities across the city, weaving in districts including To Kwa

Wan, Wan Chai, Tsuen Wan and Happy Valley. Signposts, railings and canopies became

his creative sites, where unwanted clothes were torn into strips and weaved. During

the residency he developed new possibilities for weaving in public spaces, as well as

encouraging the donation of recycled clothes for participatory activities.

Recollection Two years after Taguchi’s exploration of and experimentation in Hong Kong, he decided to

return with an artwork that would become part of people’s lives. Art doesn’t only happen

inside museums and galleries; Taguchi believes it to be for everyone: participatory,

progressive and experiential. He thought of creating a mythical Asian creature, Spun Dragon, through members of the public weaving. The outcome is not the main concern in any participatory art project; what matters is the openness of the creative platform, so that it can

include the efforts of participants from diverse backgrounds.

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After thoroughly considering what materials to use, Taguchi settled on bamboo to build the

framework. This natural material enlivens the dragon, delivering a versatility that cannot be

matched by stainless steel or anything else. Collaborating with Master Ng Kwong Nam of Aberdeen Dragon Dance Club, Taguchi learned a lot about crafting paper and about fire

dragon dance movements. Taguchi praises Ng’s upholding of tradition, while Ng says he

respects the artist’s creative concept. The Spun Dragon is a vivid example of locality-merging art, elevating the essence of collaboration.

During the creative process we conducted 9 workshops with social groups, schools and

members of the public. The participants not only came to weave but also brought their

unwanted T-shirts and other clothes so Taguchi could show them how to strip the fabric into pieces, a way of promoting reuse and recycling.

Him Lo

Curator, Learning and Community

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策展人的話

如果要用一個名字去概括工藝、物料、空間及藝術，田口行弘會是一個很適合的選擇，

更為重要的是他的創作能順其自然地融入大眾的生活之中。紡織龍是田口行弘於 2018

年夏天為 CHAT 六廠「盛夏手作：來建紡織村」創作的作品。在這次創作的過程中田口 展示了當代藝術家如何去建立平台讓不同背景的參與者及群組於作品不同的細節上共同

創作。而透過這些互動讓「藝術與工藝」、「個人及群體」，「當代藝術與參與式藝術」 之間找到一個平衡點。

源起

田 口 行 弘 為 CHAT 六 廠 2016 年 為 期 三 個 月 的 駐 館 藝 術 家 。 從 他 2008 年的視頻作品

《Moment: Performatives Spazieren》中不難發現田口一向擅長以看似普通的街頭物品， 以定格動畫的方式透過方式，通過拆解及重組遊走於不同城市的大街小巷之中。在過程 中不斷挑戰我們平常對街道空間及物件固有的看法，更以幽默且富趣味的方式讓我式， 讓我們從另外一個角度去了解城市。

於 2016 年，他同樣以一向幽默活潑的手法在香港不同的地區包括土瓜灣、灣仔、荃灣及

跑馬地等地方發掘街道及公共空間上的物件作紡織工具。他於電燈柱、扶手欄杆、簷篷 之間，使用回收的舊衣物剪成布條，紡織出一塊又一塊的紡織布氈。那次他向我們展示 了紡織與公共空間之間的關係及創作的可能性，更初次嘗試以運用回收布料作為大眾參 與平台。 沉澱

兩年之後，田口行弘經過一段時間的沉澱及消化 2016 年的經驗，希望及後創作出一些

更能夠走入大眾生活的藝術作品。對田口來說，藝術不只是在藝術館或畫廊內發生，應 該能夠讓大眾參與、經歷及體驗，他構思利用紡織的方法，與大眾共同創作一條具東方 色彩的《紡織龍》。參與式藝術最重要的並不只是作品最後的狀態，反而是藝術家如何 去建立一個開放的平台去承載更多不同背景的人士的共同創作。

在選取物料方面，田口經過一輪思考之後堅持使用竹這種天然材料作為製作整條紡織龍 的主要物料。相比起不鏽鋼或其他材料，竹的確能夠讓整件作品更有生命力。

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田口與香港仔火龍師傅吳江南共同研究傳統火龍的紥作方法及舞動火龍的形態。吳江南

師傅及田口持開放的態度去了解雙方的概念及文化，讓整條紡織龍更貼近本地文化，亦 讓背後的故事更加立體。

在紡織龍的製作過程中，我們一共舉辦了 9 個工作坊，邀請了不同的社福團體、學校及

公眾人士參與。在工作坊中，參加者不但一同製作龍身的部件，他們更帶同自己穿過的舊

T 恤，在田口的指導下把這些T恤製作成紡織龍的織料，透過親手製作來了解更多循環 再造的可能性。

盧樂謙

社區參與及共學項目策展人

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First dragon dance rehearsal with workshop participants, 2018

工作坊參與者第一次舞龍綵排， 2018

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The dragon is a mythical, divine creature in Chinese culture. It rarely appears in front of

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Artist Statement by Taguchi Yukihiro people, but with the combined wishes, thoughts and actions of a community, it can be evoked.

The art of weaving intrigued Taguchi Yukihiro, as it is an important element of cultural heritage, history and technology, as well as a powerful metaphor for the dense network of

human relationships. In Taguchi’s previous projects he explored elements and values basic to human life, which led him to think about the meaning of fabric.

Spinning transforms raw materials into a thread that can be used for weaving. The weaved

textile is made by intersecting and overlapping strings of spun fibre to form a more resistant, larger, sturdier form. In the same way, people can collaborate and foster connections to build a stronger community.

Following zero-waste principles, Taguchi often uses materials found in the local community in his work. A lot of clothes are thrown away in contemporary society as a result of mass production and consumption, and they have become the medium for Spun Dragon.

Neighbours in Tsuen Wan were invited to come and create Spun Dragon together, spinning and weaving their own communities’ stories into an integrated narrative, and creating their

own legendary dragon. The slow, mechanical, manual process of weaving allows people to

reconsider the craftsmanship of textiles; it also offers an opportunity to visualise the work behind textile production and the effort of workers, who are often forgotten. Taguchi wishes to create a work that brings people together to reflect on the significance of textiles.

As the great Spun Dragon is brought to life by everyone’s contribution, hopefully it will also become a symbol of human connection, a spirit that will be celebrated through fire dragon dance as a new tradition for the community.

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龍是中國文化中的瑞獸，不輕易現於人前，但在人們共同的祈願、希望和協力下，龍會

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田口行弘的創作自述

受到感召而降臨。

紡織藝術是文化傳統、歷史和科技上的重要元素，亦有力地象徵了人之間緊密的關係， 田口行弘對此深感興趣。他在以前的作品中探討了人類生活的基本元素和價值，驅使他 思考布對於生命的意義。

由紡開始，原材料轉化為可用作編織的線。一條條的纖維紡成線後，層層交疊、穿梭而

成為織物，結合成更牢固、強大而結實的形態。同一原理，人在同心協力時，也會締結 連繫，建構起更強大的社區。

本着「零浪費」的原則，田口在作品中傾向使用來自本土社區的物料。在當今社會，因 為大規模的生產和消費，使很多衣服遭到丟棄。這些舊衣物就成為了紡織龍的原料。

《紡織龍》由荃灣的街坊和社區一同創作，大眾將各自的故事交織成共同的回憶，在

紡織的過程中呈現出屬於他們的「龍」的面貌。人手編織緩慢又機械式的過程，給予 人們空間去重新思考紡織的工藝，亦引導他們想像和體會紡織生產背後的工序和工人

的辛勞，這些往往在今日已被人遺忘。透過這次創作，田口希望可以凝聚群眾，一同 反思和發掘紡織的意義。

紡織龍是經過所有人的努力才變得栩栩如生。希望它能成為團結的象徵，由大家合力舞 動，為社區建立起新的傳統。

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Spun Dragon Sketch No. 1, 2018

《紡織龍》繪圖 ( 一 )， 2018

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Spun Dragon Sketch No. 2, 2018

《紡織龍》繪圖 ( 二 )， 2018

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Spun Dragon Sketch No. 3, 2018

《紡織龍》繪圖 ( 三 )， 2018

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Head

Spun Dragon Structure – Head From my early research, it was clear that the dragon head should always be connected to the

body and should be constructed as a whole. Later on, when I saw some traditional weaving structures, I thought it would be nice if a weaving machine could be transformed into the

dragon’s head. I imagined that this dragon eats clothes and yarn to make its body, so I

studied the structure of a loom and that of a dragon’s head. To my delight, they shared some

parts in common, so I attempted to use bamboo to construct a loom. When it turned out alright, I deployed the knowledge and skills I learned from fire dragon dance Master Ng on

the dragon’s head. Eventually I created this dragon-head loom, which allowed me to weave the whole dragon.

《紡織龍》結構⸺頭 在研究初期，我了解到龍頭總是與身體連接，一氣呵成，不會斷開。後來，我看到傳統

紡織機的結構，就想到把紡織結構造成龍頭，幻想這條龍吃布和線賴以為生，成為身體。

故此，我就分別研究織布機和紮作龍頭的結構，幸運地給我發現兩者相近的部分，就用 起竹子來製作織布機。初步製作尚算成功，我便運用從吳師傳學來的方法和技巧紮製龍 頭。紡織龍頭就此誕生，讓我由頭開始織出整條龍。

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Dragon head in process, 2018

龍頭製作過程， 2018

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Dragon head in process, 2018

龍頭製作過程， 2018

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body

Spun Dragon Structure – Body At first I decided to weave a flat dragon body. However, a flat surface cannot show all the dimensions and textures of all the parts created by workshop participants – and I want

people to see as many details as they can. Bamboo has advantages as a material for the whole structure of the dragon: it is flexible and easy to carry around when I have workshops

in public spaces. The cube-shaped body reveals three-dimensional layers and details hand-

weaved by workshop participants, as well as enhancing the sense of energy from movement.

《紡織龍》結構⸺身 我原來的構想是織一個扁的身軀，但卻不喜歡平面不能呈現由工作坊參加者親手織出來

的質感和整體性。我希望觀眾能夠看到最多的細節。同時，竹作為造龍的基本材料有其 好處：變化靈活，也方便我帶著進出公共場所讓公眾編織。立方體構成的龍身凸顯立體 層次，參加者的織品能被細緻觀察，在舞動時更顯動感。

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Taguchi Yukihiro in creative process, 2018

田口行弘在創作中 ，2018

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Installation view of Spun Dragon, 2018

《紡織龍》裝置圖片， 2018

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The reason why I use second-hand, found and donated materials to weave is that they have

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Creation Process – Fabric been used and have had a connection with people, things or places. They each embed an untold story. Such attachments make the Spun Dragon alive, allowing it to act as a vessel

that carries stories contributed by different people from the past to the future. I also think it’s

important to get people thinking about the use of unwanted materials; sometimes we do not need to throw them away, but can apply creativity to give them a second life.

The meaning of crafting the dragon was to bring people together. This is a platform for

people to learn, create and exchange stories. The participation of the public is crucial to the project. I couldn’t have made it happen without them, they gave this dragon life.

It is also an opportunity for people to learn how to cut unwanted clothes into strips to prepare them for weaving. This kind of activity is rare in our daily life. I hope that experiencing this

process will allow them to discover more possibilities in their lives.

創作過程⸺布料

選用二手物料、拾來的、捐來的布料來編織，主要是它們有被使用的過去，曾於某時某 地與人或物相連，每一幅都有個不為人知的故事。這種情感轉移至紡織龍，就如一個承 載各人過去或將來的故事的載體，令其充滿生氣。再者，我認為藉此令人反思舊布料的 用途，也是有意義的。有時，只需花點創意，就不用棄掉而使其再生。

集合公眾一起製作紡織龍，是這個項目的意義所在。這個平台讓公眾有機會學習、創作 及交流。公眾或這群參加者是整個項目的契機，沒有他們的參與，項目就不能完成，是 他們令織品生龍活虎。

在創作過程中，公眾能學習基手法，並試著剪裁舊布料，為編織做準備。我們在日常生 活已很少接觸這些手作，透過製作和編織，我希望能從中引發他們的想像，在將來的日 常生活開拓更多可能。

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1

2

Cut off the bottom part of T-shirt, below the sleeves

Fold T-shirt vertically in half

把剪下的部分沿著側骨對摺

把 T 恤衣袖以下的部份剪下來

6

5

A

B

3

Cut diagonally across the uncut sections from point A to B

摺疊時於其中一側的末端預留 一吋

4

Cut the folded part into strips without cutting through the ends

Unfold T-shirt

攤平布條

從 A 點往 B 點斜線剪裁

Keep one side an inch longer than the other

7

把對摺的 T 恤剪成條狀，切勿 把末端剪斷

8

D C

Cut diagonally from point C to D so that each incision is connected with the next one along

從 C 點 往 D 點 斜 線 剪 裁， 如 此類推

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You have made a continuous strip

完成一條連續的布條

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Fire Dragon Master, Ng Kwong Kin (brother of Ng Kwong Nam) is introducing materials and tools of fire dragon

火龍師傅吳江乾（吳江南之弟）正在介紹紮作火龍工具和物料

Creation Process – Bamboo The way Master Ng makes a dragon really impressed me. When I saw the head structure in front of me, it inspired me with many possibilities for developing the Spun Dragon’s head. I

also got to learn some craft skills, like how to cut and bend bamboo, and what kind of tools to use, which Master Ng showed me in detail.

創作過程⸺竹 吳師傅紮作火龍的方法真令我嘆為觀止，單單對著龍頭就能令我想出很多紮作方案去製作紡 織龍。我亦從師傅身上學懂紮竹的基礎，剪裁及屈曲均要用不同工具，他亦能仔細的示範。

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Bamboo Saw

Fire Wood Cropper

竹鋸

Diagonal Cutting Pliers

平頭鉗

Cable Tie

索帶

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柴刀

Pliers

斜口鉗

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TOols

Long-nose Pliers

尖嘴鉗

Wire

鐵線

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Creation Process – CHAT Spun Dragon Dance Crew Tee I started manhole printing on T-shirts in Berlin in 2011. At first I sold postcards of prints on the street. At that time there was a manhole cover that attracted to me, so I thought of printing it

directly on T-shirts.

Manholes have various patterns in different countries and regions. Some reflect the character of the place while other designs tell local stories. It’s an object that’s all around us that we

rarely notice, but if used well it can be a very meaningful object to play with. When it is hand-

printed, each one is unique.

At first I just tried to print, without a particular purpose. Later on when I dried the printed

T-shirts, people asked the price, so selling them began naturally. It was a very successful

business, sometimes I could sell more than 70 T-shirts a day. So I always check for manholes wherever I am walking on the street. It’s also a good way for me to observe different cities.

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創作過程⸺CHAT 六廠舞龍團員T恤

我 2011 年在柏林開始渠蓋印刷。初時，我在街上售賣版畫明信片；後來，我在街上看 到一個很特別的渠蓋，我就想把它直接印在 T 恤上。

每個國家或地區的渠蓋都有不同圖案，有些反映當地個性，有些是關於當地的故事。它 在地面上不易被人留意，如果能妥善使用，它會是很有意思的工具。經過人手移印，每 張都是獨一無二的。

第一次印渠蓋，我沒特別因由。後來，在我晾乾 T 恤時，有人問起售價，生意自自然然

就來了。這算是不錯的生意，好的日子我能每日賣出 70 件。就是這個原因，我走到那裡，

都會留意街上的渠蓋。對我來說，也是一個觀察城市不錯的方法。

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wo kshop

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Workshop The target of the public workshops is for participants to learn techniques and get the

experience of creating Spun Dragon with others. Hopefully the experience of weaving will change the way they use resources in their everyday lives.

The workshop serves as a stimulant to provoke imagination. The process was always

experimental because we can never know others’ thoughts and creative ideas. Ideally, during the journey from experimentation to creation, people are introduced to new ideas and

techniques through mutual communication. The workshop gathers people from different

fields and backgrounds together. When people are in such a setting, they share a common

thread of consciousness, allowing them to collaborate more easily. It’s similar to the concept of Spun Dragon: weaving yarn together strengthens the density of fabric, and then we combine the woven frames to build a dragon.

工作坊

工作坊的用意是令到參加者學習編織的基本技巧，並體驗與其他人一起以編織創作《紡 織龍》。如果編織的概念和經歷能改變他們對物料運用的看法，並加以在生活中應用， 那就更好了。

工作坊佷具實驗性，我們不知道彼此的想法卻互相引發想像。藉著實驗和創作的過程， 參加者能藉著溝通分享各自的意念和心得。工作坊把不同範疇和背景的人拉近，當他們 能夠於工作坊認識，就代表著他們都有相近的想法，合作便相對容易。與工作坊的概念 同出一轍，紡織龍把不同紗線拉緊，形成強韌的布，再組成整條龍。

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1

Tie a knot on the bamboo frame and wrap the fabric around two opposite ends of it alternately, passing a full loop of it around each end each time

在竹框上打結並繞成垂直的經 線結構

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2

For the weft, wrap the fabric from the other two ends in a similar way, maintaining an over then under progression across the warp

1

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weaving method

3

Finish

完成

用布條一上一下丶橫向地穿越 經線進行編織，形成緯線

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weaving method

1

Tie a knot on the bamboo frame and begin to build a simple mesh structure

隨意在竹框上打結並建立簡單 的網狀結構

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2

Interweave and overlap strips to strengthen the mesh structure

用布條隨意穿梭交疊，鞏固網 狀結構

2

3

Finish

完成

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1

Tie knots on bamboo frame diagonally to create X-shaped patterns

在竹框上打結並建立米字型結構

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2

Begin with the middle of the cross, maintaining an over then under progression across the Xs

從布條交疊的中心點開始，用 布條一上一下地往同一方向進 行編織

3

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weaving method

3

Finish

完成

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Workshop - Berlin 工作坊 - 柏林

Weaving workshops with locals and refugees 2018 Neue Nachbarschaft Moabit, Berlin, Germany

與當地居民和難民進行紡織工作坊

2018 德國柏林， Neue Nachbarschaft Moabit

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Workshop - Japan 工作坊 - 日本

Weaving workshops with locals and visitors

2018

Mujin-to Production, Tokyo, Japan

2018

日本東京，Mujin-to Production

與當地居民和遊客進行紡織工作坊

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Workshop - Hong Kong 工作坊 - 香港

Dragon weaving workshops with local students 2018

CHAT, Hong Kong

與本地學生一起進行紡織龍工作坊 2018 香港 ，CHAT 六廠

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Public Space and Public Art Participation In the eyes of many, our city is well-organised and planned. Facilities such as benches in parks, footbridge staircases, streets, alleyways and waterfront concrete are all neatly placed

and serve their functions. The culture of the city, taught from a young age, is to treat them

respectfully. But that also means we rarely think outside our habits and try to do something more interesting with them.

Having lived in Hong Kong during different periods, Taguchi is experienced in organising

unexpected participatory activities in the city’s public spaces. In 2016 he wove unwanted

T-shirts between fences and signposts across Hong Kong, using ordinary objects to fire

people’s imaginations and provide them with new experiences. When he returned in 2018

for the Spun Dragon project, he made use of mundane facilities like pavilions and benches in Tsuen Wan parks as temporary weaving studios.

The focus of the project lies not only in using public spaces, but also in unleashing them from their original functions and converting them into creative platforms, shaking up citizens’ fixed beliefs. While developing the project, Taguchi first thoroughly examined those areas, then

carried out assessment to design the public space as a vessel that could embody random, casual interventions from users.

The pivot to making art in public spaces takes into account the right to use these spaces of all stakeholders, and adopts a collective rather than a top-down approach to creation. It

relies on the creator’s ability to observe and embrace openness, showing enough care to every participant. Taguchi does not presume that art is everything, just part of life, one that

isn’t more important or special than others. Users of these spaces or passersby could choose to take part or to enjoy their own ways of being in these spaces. When he held activities, the

function and usual use of these spaces were respected: he made use of existing facilities and

his creativity to fuel events that naturally became part of the environment, without disturbing other stakeholders. With repeated, durational activities and a new practice is formed in

these spaces. The artist spent time there communicating with people about the thinking

behind his creative acts, giving them a chance to respond. If the feedback was negative, Taguchi would move elsewhere to continue his work.

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In the past couple of years Taguchi has demonstrated an achievable plan to transform

public spaces across Hong Kong while showing respect and concern for the participants.

Any participatory project will of course eventually deliver an outcome of some sort; what makes one successful lies in the process. Taguchi has presented a tactile, vivid-looking Spun

Dragon, but it is his attitude – being open to and showing perseverance in communicating

with the public that counts.

Him Lo

Curator, Community and Learning

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思考公共空間與藝術創作

在很多人眼中我們的城市井井有條，公園的座位、行人天橋的樓梯、大街小巷或海邊石

壆等等都經過悉心安排。我們從小開始便被教育如何去使用這些空間，大部份人也會遵

從這些約定俗成的習慣在這些空間之中互動。但我們有否想過這些空間其實可以在我們 慣性之外發生更多有趣的事情。

田口在幾次駐留香港期間，經過長時間的準備及有條理地思考，從紡織出發在香港各區

大街小巷不同的公共空間引發出令人意想不到讓公眾參與的互動項目。例如是 2016 年

他回收各種舊布料，於各區的路牌與欄杆之間紡織，成功轉化了我們對日常街道上物件 的想像及看法。及後到 2018 年，當他來到香港準備紡織龍的時候，在荃灣大大小小的 公園把平平無奇的涼亭及公園內的座位轉化成讓大眾參與製作紡織龍的臨時工作室。

這些構思及行動重點在於如何透過公共空間準備及創作不同的平台，讓大眾參與，更加 能夠讓不同背景的人士對這些空間固有的想法帶來衝擊，讓我們對生活空間有重新的想 像及思考。觀察田口創作的期間，發現他在公共空間創作之前必定會到這些地方進行考 察，及後於各方面作出評估及設計，希望能夠讓這些空間成為載體，讓更多區內的持份 者在輕鬆的情況下介入。

在公共空間創作，重點在乎如何平衡公共空間內不同持份者使用的權利，如何能夠讓藝 術自然地介入而不是由上而下從天而降的操作。這種決定的能力在乎創作者的觀察及心 態，這是對參與者的一種關懷。田口明白創作並不是生活的全部，只是各位生活中的一 部份而沒有高低之分。經過的行人可以參與，同時亦可以選擇繼續以他們自己的方式去 享受這些公共空間，田口在計劃這些公共空間的活動時，十分尊重空間原有的習性及功 能，所以他會在這些空間不同物件原有的功能再加上創意，讓這些創作活動在不影響其 他持份者的情況下發生，自自然然地變成這些空間的一部份。當然透過時間的累積，讓 這些活動重複發生而成為新的習性，讓不同的持份者有足夠的時間互相理解，田口亦會 和在場的朋友溝通，交流對他創作方式的想法。如果有些人在溝通之後不滿意的話，田 口會想方法在其他地方繼續進行他的創作。

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在這幾年間田口於香港不同的地區，展示了他如何有計劃地去使用公共空間，亦展示了

他對參加者的尊重及關懷。一件成功的參與式創作除了最後的成品外，過程亦同樣重要， 田口的作品引人入勝之處除了是生動的外型及質感，更在於他開放的態度及永不放棄追 求與大眾溝通的取態。 盧樂謙

社區及共學部策展人

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Participatory Idea Public Participatory Workshop Workshops are a common form of participatory art, in which members of the public interact and co-create the final work. When he planned the Spun Dragon, Taguchi wanted to involve people from all walks of life. He designed various approaches for a diverse group of participants, allowing them to take different roles based on their skills.

Using 210 bamboo frames as its structure, Spun Dragon allowed for various methods of

weaving. Firstly, “freestyle” weaving allowed participants to weave with recycled T-shirt strips in a random manner. Secondly, “crisscross” weaving of regular and alternate patterns offered

a fundamental concept of weaving. Thirdly, the bamboo frame was tied with symmetrical radial strings so that a circular pattern could be spun out from the centre.

Participants were encouraged to weave according to their preferences and more importantly, to imagine the possibilities of unwanted or recycled fabrics.

Him Lo

Curator, Community and Learning

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參與式概念 公眾參與工作坊

參與式藝術很多時候會透過工作坊與參加者互動共同製作出最後的藝術作品。田口在準 備紡織龍製作的時候，希望能夠讓更多不同背景的人士參與製作過程。所以在籌備工作 坊的時候，他亦準備了不同的方法讓不同程度的參加者，按照他們的能力及技巧參與紡 織的部份。

紡織龍主要由 210 個由竹枝製造的框結合而成，參加者可選擇不同的紡織方法。第一種 是自由式的紡織方法，參加者可以利用回收 T 恤製成的布條隨意在竹框上遊走，織出亂

中有序的圖案。第二種方法是基本經緯式，橫直上下交集的紡織方法，這種方法最容易 讓參加者理解到紡織的基本概念。第三種是圓形的方式，參加者先在竹框上製作基本的 米字圖案，再從中心點出發帶着回收布條上下遊走，製作出圓形的紡織圖案。

參加者可以就着這幾種方法因應自己的能力及意願去紡織出不同的圖案，從中開拓回收 布料的用途及可能性。 盧樂謙

社區及共學部策展人

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Human Weave Sketch

《Human Weave》繪圖

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Photos taken from video Human Weave, 2018 相片節錄於錄像作品《Human Weave》， 2018

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Pe fo mance

Pe fo mance

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Mr Ng Kwong-nam, or Master Ng, spent his childhood in the famed Pokfulam Village in Hong

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Introduction to Master Ng Kong. He learned about fire dragon dance when he was young and has been devoted to

the tradition for the past three decades. With his passion to promote traditional fire dragon

dance culture, Ng founded a martial arts club that bears his name to offer training to future generations. The fire dragon dance has become an annual Mid-Autumn Festival event on the streets of Aberdeen.

Performance – Interview with Master Ng CHAT

Master Ng, how did you encounter fire dragon dance in the first place?

Ng

Fire dragon dance is a tradition in Pokfulam Village, so it’s been in my

life since I was born. All villagers aged over 40 should have participated in the tradition. I remember I was only eight when I playfully visited my

neighbours and asked for lai see. A dollar or so was a big deal at that age.

The fire dragon dance did not happen annually; it halted for a few years.

I have participated over 20 times. The tradition resumed a few years after 2000 and the attention to this example of intangible cultural heritage has increased ever since.

CHAT

Would you describe the fire dragon dance in details?

Ng

Though different places and villages have their own ways of celebrating, it always takes place during the Mid Autumn Festival. The annual dance in Tai Hang is held for three consecutive evenings, whereas in Pokfulam it used

to be held for the first two evenings only. In Aberdeen it is only on the 15th day of the 8th month of the lunar calendar.

This is my sixth year of organising the event in Aberdeen, following the

cultural tourism festival in South District in 2013. On average about 140 to 150 people take part every year. While my younger brother takes charge

of the Pokfulam one, my goal is to introduce fire dragons to different communities so more people will recognise this tradition.

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It is a big project which takes me three to four months to prepare.

For example, the administrative work includes applying for streets to be

closed down, informing public transport operators about these

arrangements, and planning the route with police officers. After all

these years, though, organising the event has become easier.

At Mid-Autumn Festival, masters from a Taoist temple perform a consecration ceremony and district councillors deliver speeches before residents are

invited to insert joss sticks into the dragon’s back. Pokfulam’s performance usually starts at seven o'clock and Aberdeen’s at half past eight, so people

can attend both. After dancing for a while around the centre of Aberdeen, we extinguish the joss sticks and carry the dragon to Wah Fu Estate on foot.

Then we carry on the performance by lighting the joss sticks again. In the end

we arrive at the shore and send the fire dragon into the sea – “azure dragon

returning to the blue”, as we call it. Having done so, we pick up the skeleton from the sea as we don't want to pollute the environment.

CHAT

Who are the dance performers? What made you guys doing this together?

Ng

Most of them are fond of this tradition, and it’s this passion that bonds us together, and that encourages us to make this contribution of time and effort without recompense. Team spirit makes us stronger and maintains the tradition. We all are serious about preserving the fire dragon dance.

We also recruit members through our outreach programmes with

community organisations and schools. At school, children are creative: using colour paper, putting on glasses and installing LED lights etc.

These tiny dragons produced in school workshops are also part of the dance performances.

CHAT

What is your biggest challenge at the moment? And your vision of the

Ng

The biggest challenge we face is to gather residents and the public at

tradition?

large to adopt a new tradition. We are glad that the dance at Aberdeen is

becoming better known. I wish so much that every district could have its

own fire dragon dance at Mid-Autumn Festival, and families be spectators or participants after dinner. I hope this tradition carries on every single year,

with my own participation or that of my disciples and followers.

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Please tell us about the co-creation process with Taguchi.

Ng

We were introduced by Him (curator Him Lo). In the beginning I was quite sceptical about this project. I would have never imagined this dragon’s

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CHAT

head and its cubic body parts. We met shortly after Taguchi arrived Hong

Kong, and then I got to understand the thinking behind it, and found the concept very meaningful and extremely creative. Fire dragons can be made this way.

I wasn’t involved in coming up with the idea with Taguchi, only in the later

stages when he had technical problems and required support. I suggested, for example, that he drill a hole in the bamboo and thread wire through to strengthen the cubic shape.

I was heavily involved in the performance. Although the Spun Dragon

was so different from a fire dragon, with each body cube isolated, we

had a month’s rehearsals. Eventually the outcome was wonderful and the performance was very satisfying.

CHAT

How did you feel about the collaboration with the artist?

Ng

This is a vivid example of merging tradition, art and culture. The co-creation process was always beyond expectation – how would the body be a cube?

How would weaving make the head possible? These ideas were mind-

blowing, and inspired me to introduce more visual and functional elements in fire dragon making.

I was completely open-minded about Taguchi’s way of making the dragon, as I knew it was his work. If I were stubborn enough to disapprove of an angular dragon, this collaboration couldn’t happen. One point I did insist

on was the eyes. I recommended tying torches to represent the eyes, as

dotting the eyes, as if bringing the dragon to life, is a ritual performed before the dance on the same day.

If someone else invites me to collaborate, I will definitely take this

experience and Taguchi’s creative approach as a reference point. He is absolutely inspiring.

(Interviewed and written by Sylvia Feng)

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吳江南師傅介紹

吳江南師傅在香港仔薄扶林村長大，從小便接觸舞火龍，累積 30 多年經驗。現在主力

推廣舞龍文化及國術，並創辦「吳江南國術體育會」，培訓下一代。而且，每年的中秋 節都在香港仔街頭舞火龍，藉此秉承及推廣舞火龍的傳統文化。

舞龍⸺與吳師傅對談 CHAT 六廠 吳

吳師傅是怎樣與火龍結緣的？

火龍是薄扶林村的傳統文化活動，自出世就有這習俗。現在超過40歲

的村民大多都接觸過火龍。從8歲開始，那時候只是為了拿利是，一家 家拜訪，一元、兩元，累積起來在當時算是很大筆錢了。雖然不是年年 都玩火龍，但到現在也有20多年了。我們村也停辦過幾年，到零幾年 又復辦，大家也越來越關注火龍這項非物質文化遺產。

CHAT 六廠 吳

可否描述一下舞火龍的過程？

一年一次的中秋節。不同地方舞龍的安排、方式都不一樣，例如大坑就 是舞三天。薄扶林村以前就是會在八月十四和八月十五進行兩天。而我 在香港仔舞龍就是八月十五這一天。

從 2013 年南區旅遊文化節開始算起，今年已經是我在香港仔舞龍的第 6年了，每年有大概140到150人參與。薄扶林村也依舊有火龍表演， 主要由我弟弟負責，而我則想將火龍帶到社區裡，帶給市民，把火龍 推廣出去，讓更多人認識火龍這項傳統文化。

舞火龍有許多前期工作要做，我一年會花三到四個月的時間去做關於這

條龍的工作。例如行政程序上，要申請封路，通知小巴站、巴士站，要 計劃好整條線路並帶去與警察開會。經過這幾年不斷累積經驗，整個活

動也順利了很多。

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們邀請市民一起把香插到火龍的背上。薄扶林村7時開始，而我們這裡 是8時半，表演時間分開也好讓市民可以分身欣賞兩邊的表演。在香港

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在八月十五這一天，我們會請師傅來開光，一些區議員會講話，然後我

仔中心舞龍之後，我們會將香熄滅，徒步帶著龍到華富邨，再點上香火， 舞龍。最後來到瀑布灣，送龍入海，叫做蒼龍歸海。當然，最後我們會

找船隻將龍從海中撈起，不能污染環境。 CHAT 六廠 吳

參與舞龍的成員都來自哪裡？讓你們堅持至今的動力是什麼？

舞火龍的成員多數是愛好這項文化，興趣把大家凝聚一起。這是一件讓 你付出時間、精力但並沒有實質回報的事情，必須有一班死黨互相支持 才可以堅持下來。大家都很認真的在為火龍這項事業付出。

除此之外，我們也會和不同的社區組織、學校合作，前段時間剛剛進行 了教學生做龍的工作坊。在這些工作坊中，學生可以發揮自己的無限創 意，用彩紙、給龍戴眼鏡及裝 LED 燈等等。這些小龍也會出現在中秋 舞火龍的活動中。 CHAT 六廠 吳

面對的最大挑戰是什麼？對火龍有何冀盼？

最大的挑戰就是如何凝聚街坊、市民，建立一個新的傳統。現在很欣慰 的是越來越多人開始知道香港仔有火龍表演。我希望中秋節每個社區都

有火龍，家家戶戶飯後都可以出來看火龍、舞火龍。希望我有生之年可

以將舞火龍辦下去，徒弟們在將來也可以傳承下去。 CHAT 六廠 吳

能否給我們講講與田口行弘的合作過程？

是通過 Him（盧樂謙）的穿針引線。最開始我聽到計劃的時候是很猶疑 的，因為我聽說龍身是立方的，也沒有見過龍頭是什麼樣子，後來田口 來到香港，大家見面，我也開始逐漸了解他的作品，整個構思非常有意

思，可謂創意無限，原來這樣都可以做到一條龍。

田口的前期創作部分我都沒有任何意見，主要是在後期階段，他的龍身 應該怎樣連接起來，我在這方面給了一些技術意見和支持。例如我建議

他，在竹子上穿一個小孔，再將鐵線穿過，這樣整個方塊就不會那麼容

易散了。

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更多的意見是在舞龍表演的部分。雖然整條龍與火龍很不同，中間也沒 有繩連接，但是我們有一個月的排練時間，所以最終呈現的效果是很好 的，整個表演也十分順暢。 CHAT 六廠 吳

對於這次與田口的合作有何感受？

原來傳統、藝術、文化可以有很好的融合。在合作中往往會有意想不到的 事情發生，為什麼龍身可以是方形的？甚至還可以在上面織布？他的創意 非常好，甚至啟發了我去思考能否在火龍的製作中融合一些新的元素。

對於田口的龍，我抱有完全開放的態度，因為這是田口的創作，如果我一 直堅持「龍身不可以四方，一定要圓形」，那也無法實現合作。當然我也 堅持了龍眼睛的位置一定要擺放手電筒，才得以在表演當天點睛。

如果下次再有人找我合作，我甚至會以田口的紡織龍去給他們做創作上的 參考，真是創意無限！

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（採訪及撰稿：馮昱瑄）

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Performance Spun Dragon was a collaborative project by Taguchi Yukihiro with Ng Kwong Nam, fire dragon dance master from Aberdeen, Hong Kong. Students from across the region and residents of Tsuen Wan joined the events, and participated in four fire dragon dance

rehearsals led by Master Ng and his disciples. Among them, some children were invited to take charge of the music. Master Ng taught them percussion and the fire dragon dance rhythmic pattern, and they were quick learners.

Adapting his manhole-printing practice from Berlin, Taguchi printed a pattern from a Hong Kong manhole to create innovative T-shirts for the Spun Dragon team.

舞龍

田口行弘與香港仔舞火龍吳江南師傅合作製作及籌備紡織龍演出。活動邀請了各區的學

校及荃灣街坊一起參與。吳師傅帶同一眾徒弟於四次綵排之中，讓參加者學習及實踐舞 龍技巧，更加從參加者中邀請了幾位小朋友負責舞龍的音樂部份，在吳師傅的指導底下 學習舞龍的鑼鼓拍子，小朋友很快便學習到如何敲擊鑼鼓。

而田口亦專誠為各參加者製作了他於柏林採用的渠蓋印刷方法，利用香港坑渠蓋印出的

特製 T 恤作為舞龍制服，讓舞動紡織龍的活動更具特色。

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Rehearsal and Opening Reception 綵排及開幕儀式

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Exhibition planning idea by Taguchi Yukihiro

田口行弘佈展理念

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Exhibition Floor Map 展覽地圖

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Taguchi Yukihiro Biography Born in 1980 in Osaka, Japan, Taguchi Yukihiro currently lives and works in Berlin. Taguchi graduated from the Oil Painting department of Tokyo National University of Fine Arts and

Music. Rooted in interventions that interweave his physical body with the surrounding landscape, the artist takes inspiration from unpredictable encounters with everyday objects and people on the streets, and documents this process through installations, events and stop-motion video works.

About Taguchi Yukihiro’s Residency at Centre for Heritage, Arts and Textile (CHAT) Taguchi's artistic practices span street performances, community events, installations and

stop-motion videos. His series of works Patch Pass (2016), created during a residency with the

Centre for Heritage, Arts and Textile (CHAT) in Hong Kong, consists of weaves, patchworks, signage and documentary video works. A part of the series was presented during Ubiquitous

Humanity, an edition of the Japan Media Arts Festival Exhibition co-presented by CHAT, NHK International Inc and City University of Hong Kong. Patch Pass reflects Taguchi’s objectives in Hong Kong: to communicate with local communities on the streets by involving them in his creative practice.

The artist redefined the purpose of found objects on the street, providing them with a new

meaning through the acts of weaving and documentation. He invented weaving techniques using public furniture and structures as frameworks, and revived waste fabric collected

from neighbourhoods to create woven mats with passersby on the street. In addition, a collaborative project with local designers explored upcycled product development.

Taguchi’s experimentation in the city created a micro-ecosystem through upcycling and

revealed an alternative way of perceiving everyday consumption. Through animated narration in his stop-motion video works, he transformed ordinary cityscapes. The artist

continues to extend the mission of CHAT to explore new meanings and experiences in

textile arts by bringing weaving techniques developed in Hong Kong to other cities and communities.

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田口行弘 簡介

田口行弘在 1980 年日本大阪出生，畢業於東京藝術大學美術學部油畫專業，現於柏林

工作和生活。他以「介入」為本，讓身體與周邊景觀互相交織。日常偶遇的人和物件是 他的創作靈感來源，並透過裝置、活動和定格視頻紀錄不可預知的相遇過程。 有關六廠紡織文化藝術館（CHAT 六廠）駐場藝術家 — 田口行弘

田口行弘的創作橫跨街頭行為、社區活動、裝置及定格錄像。他在 CHAT 六廠駐場期間

創作的作品系列 《Patch Pass》（2016 年）包含了編織、拼湊、標示和紀錄片多種元素。 作品的其中一部份曾經在 CHAT 六廠、NHK International Inc. 和香港城市大學合辦的 日本媒體藝術祭特別展覽「Ubiquitous Humanity」中展出。

田口到訪香港的主要目的是與本地社群交流，促成他邀請鄰里參與《Patch Pass》的創 作過程。他在選定的地區，以編織和紀錄行為重新定義拾得物的用途。他借助公共場所

的設施和結構作為創造編織技術的框架，再與路人一同把社區收集回來的布料編織成 毯，賦予廢棄物全新生命。此外，他跟本地設計師合作，研發紡織產品的升級再造。

田口的城市實驗包含升級再造，並為「日常消耗」帶來另一種新認知，兩者共同塑造出 全新的微生態系統。另外，他透過創作定格錄像改變尋常都市的景觀。田口會把在香港 萌發的編織技術推展至其他大城市與群體，承載六廠探索紡織藝術意義和經歷的宗旨。

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Taguchi Yukihiro Born 1980, Osaka, Japan 2005 to Current Lives and works in Berlin, Germany EDUCATION 2004

Tokyo National University of Fine Arts and Music, BA, Tokyo, Japan

SOLO EXHIBITIONS AND PROJECTS

2018

CHAT GO! Let’s Build a Textile Village, Spun Dragon Project,

2017

PokePoke, Te Uru Waitakere Contemporary Gallery, Auckland, New Zealand

2016 2015

Centre for Heritage, Arts & Textile, Tsuen Wan, Hong Kong If you want to go fast, go alone. If you want to go far, go together. Mujin-to production, Tokyo, Japan IN FORMATION, Te Uru Waitakere Contemporary Gallery, Auckland, New Zealand Kettenreaktion, HB55, Berlin, Germany Inkarnation, Tangency 2015 Hasestr, Osnabrück, Germany TERASU, Kunstverein Arnsberg e.V., Arnsberg, Germany

2014

Wittekindsburg, Rulle / Osnabrück, Germany

2013

Makeover, Mujin-to production, Tokyo, Japan

2012

2011

Funke, Göttingen, Germany Breathing Atolls, arthobler gallery, Zurich, Switzerland Skip, Loughborough University, Loungborough, England Made in Kenia, Kaimosi, Kenia, Africa (5 years work in progress) Sequenz, Sakamotocontemporary, Berlin, Germany Moment, das weisse haus, Wien, Austria MAM project 014, MoriArt Museum, Tokyo, Japan Pan! Pan! Pan!, Mujin-to production, Tokyo, Japan

2010 2009 2008

Moment-TATAMI, remo, Osaka, Japan ABOUT, Pinebrooklyn, Osaka, Japan Complex Circuit, gallery M, Tokyo, Japan Latest stop-motion-video-editions, SAKAMOTOcontemporary, Berlin, Germany über-performative sketch, Mujin-to production, Tokyo, Japan über, SAKAMOTOcontemporary, Berlin, Germany A Window to the World, Hiroshima City Museum of Contemporary Art, Hiroshima City, Japan Moment -Performatives Spazieren-, galerie air garten, Berlin, Germany

2007 2006

Ordnung -performative installation-, GDK-Galerie der Künste-, Berlin, Germany Moment, galerie air garten, Berlin, Germany DIE TASSE, Tornado-am-Ostkreuz, Berlin, Germany Domino, Het Plafond, Rotterdam, Netherlands Pumpen, RS 21 Berlin, Berlin-Friedrichshain, Germany chews -open studio-, gallery ZeKuSchEx, Berlin-Kreuzberg, Germany

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GROUP EXHIBITIONS

2018

[Popularity is being held.] 02, Tottori Prefectural Museum, Tottori, Japan Soft City, Schloss Biesdorf, Berlin, Germany Echigo-Tsumari Art Triennale 2018, Tsunan, Echigo-Tsumari Region, Niigata, Japan

2017

Open Art Biennale 2017, Örebro, Sweden

2016

Ubiquitous Humanity, The Annex, Hong Kong

KooKoo, Jan. Mar. May. Jul. (one day event every 2 month) OHM gallery, Berlin, Germany In your heart | In your city, Koges Museum, Denmark KooKoo, Jan. Mar. May. Jul. Sep. Nov. (every 2 Month) OHM, Berlin, Germany

2015

d'Avril en Mai. Quand les artistes chapardent le vegetal, ULB, Brussels, Belgium KooKoo, in Jan. Mar. May. Jul. Sep. Nov. (every 2 Month) OHM Gallery, Berlin, Germany STREET SPINS, Ileana Tounta Contemporary Art Center, Athens, Greece

2014

Treffpunkte, HAU(Hebbel am Ufer), Berlin, Germany Japan Syndrom, HAU(Hebbel am Ufer), Berlin, Germany The Kennedy Bunker, REH-transformer, Berlin, Germany KooKoo, OHM Gallery, Berlin, Germany

2013

Arakawa Afrika 4, Collaboration with Chiara Ciccarello, OGU MAGU Gallery, Arakawa, Tokyo Japan SITE, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan Open Monument, Kunstraum Kreuzberg Bethanien, Berlin, Germany

2012

PARADE, Japan Media Arts Festival, ArtisTree, TaiKoo, Hong Kong Junge Hunde Festival 2012, Aarhus, Denmark Video/Choreo, University of Hawai’i Art Gallery, Honolulu, USA Havana biennale, Havana, Cuba Humour, parodie et videos, Maison de la culture du Japon a Paris, Paris, France Breathing Atolls, National Gallery, Male, Maldives

2011

SubtleConstruction, Galeria Plataforma Revolver, Lisbon, Portugal SUSTAIN, Nature Morte Berlin, Berlin, Germany Durchgang, 48 Stunden Neukölln, Berlin, Germany Berliner Zimmer Genossen, funkhaus, Berlin, Germany Moment+Nomiso TATAMI, 10Watt gallery, Osaka, Japan

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2010

Nishinomiya Funasaka Biennale, Hyogo, Japan Zwischen/Formen, Artitude, Berlin, Germany Repair-ars ekectronica 2010, Linz, Austria Black and Brunn, Brunnhofer Galerie/Black Box gallery, Linz, Austria

2009

5+1: Jungtion Box, Tokyo, Japan Japan Media Arts Festival in Kobe Biennale, Hyogo, Japan Nishinomiya Funasaka Biennale, Hyogo, Japan A Blow to the Eeryday, Hong Kong Next Reality, Tokyo, Japan Performance Presente Futuro Vol. 2, Oi Futuro, Rio de Janeiro, Brazil 5th VentoSul Biennal, Curitiba, Brazil LIVE BY PLAY, Art Taipei 2009, Taipei, Taiwan Hakodate triennale 2009, hakodate, Japan The matter of things, ScalaMata Exhibition Space, Venice, Italy Hamburger Architektursommer 2009, White Trash contemporary, Hamburg, Germany Re:Membering Next of Japan, Loop, Seoul, South Korea Video Kunst im Spiegel, Spiegel, Munich, Germany Thomas Raschke and Yukihiro Taguchi, Weltraum, Munich, Germany 12th Japan Media Arts Festival, The National Art Center, Tokyo, Japan 2008 Asia Digital Art Award Exhibition, Fukuoka Asian Art Museum, Fukuoka, Japan Tape Modern Number 07, Tape club, Berlin, Germany

2008

PIECE, Kulturpalast Wedding International, Berlin, Germany Tape Modern at the 05. Berliner Kunstsalon, Humboldt-Umspannwerk, Berlin, Germany FABRIC/K, Program, Berlin, Germany ARMUT MACHT GEIL, NO Budget Festival - Berlin edition, Temporary Art Centre, Eindhoven, Netherlands ONE+TWO, SAKAMOTOcontemporary, Berlin, Germany UFERHALLEN, Uferhallen-Wedding, Berlin, Germany Hunt for This Century's Leonardo da Vinci! International Art Exhibition, Osaka, Japan Tape Modern Number 03, Tape club, Berlin, Germany Tape Modern Number 02, Tape club, Berlin, Germany Between Fiction and Fact, Strictly Berlin 2008” GDK-Galerie der Künste-, Berlin, Germany

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2007

Hunt for This Century's Leonardo da Vinci! International Art Triennale 2007, (Grand prize) Osaka, Japan CET07/ STREET NIGHT GALLERY, Tokyo, Japan transfer, gallery K:ITA, Berlin, Germany In Neuem Kontext, Asia-Pacific weeks 2007 at St. Johannes-Evangelist-Kirche, Berlin, Germany Japan now, Asia-Pacific weeks 2007, Theaterhaus, Berlin, Germany and Prague, Czech Republic SICE 2007, Sarajevo, Bosnia Herzegovina Double Cast, Tokyo Wonder Site Hongo, Tokyo, Japan

2006

switch on the light before sleeping, GDK-Galerie der Künste-, Berlin, Germany Speed Up Your Life, feld für kunst, Hamburg, Germany 1:een / punten en komma's, PICTURA, Dordrecht, Netherlands SICE ~Transition Compound Berlin~, gallery Nord, Berlin, Germany

2005

SICE 2005, Sarajevo, Bosnia Herzegovina

2003

Junction, Gallery Space, Tokyo, Japan

2002

Aruita Ten, Gallery Space, Tokyo, Japan

2001

Mapping, Tokyo, Japan

2004

SICE 2004, Sarajevo International Culture Exchange 2004, Sarajevo, Bosnia Herzegovina Tension, Tokyo, Japan Habit, Tokyo, Japan DANKE, Gallery Space, Osaka, Japan Kume Show, Gallery Space, Tokyo, Japan

2000

Sosaku 2000, Gallery Space, Tokyo, Japan Drawing 2000, Gallery Space, Tokyo, Japan

RESIDENCE 2018 2016

AWARDS

Jichiku AIR, 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japan Patch Pass, Mill 6 Foundation, Hong Kong

2008

Excellence Prize, 2008 Asia Digital Art Award, Fukuoka, Japan

2007

Grand prize, Hunt for This Century's Leonardo da Vinci! International Art Triennale 2007, Osaka, Japan

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Excellence Prize, 2008(12th) Japan Media Art Festival, Tokyo, Japan

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Acknowledgement 創始捐助機構

Founding Donor

鳴謝

主要捐助機構

資助機構

Main Donor

Grant From

Chung Sing Benevolent Society Mrs Aw Boon Haw Secondary School 鐘聲慈善社胡陳金枝中學

HKFYG Jockey Club Kwai Fong Youth S.P.O.T. 香港青年協會香港賽馬會葵芳青年空間

PLK F.S.F.T. Children and Youth Development Centre 保良局方樹福堂兒童及青少年發展中心 PLK Lee Shing Pik Secondary School 保良局李城璧中學

Profits Fund Fashion Manufacturing Limited 利達豐時裝製衣有限公司

Sacred Heart of Mary Catholic Primary School 天主教聖母聖心小學

S.K.H. Li Ping Secondary School 聖公會李炳中學

Si Yuen School of the Precious Blood 寶血會思源學校

St. James' Settlement Jockey Club Upcycling Centre 聖雅各福群會賽馬會升級再造中心

Tsuen Wan Government Secondary School 劉洆言夆 荃灣官立中學 林晨

林敏儀

Lau Shing Fung Sean

劉洆

Mandy Lam

林敏儀

Mimi Lam

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林晨

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Editors

編輯

Sylvia Feng

馮昱瑄

Him Lo

Lam Men

盧樂謙 萬天琳

English Copy Editor

英文審校

Translation and Copy Editor

翻譯及審校

Design

設計

Photographers

攝影

Kitmin Lee

李傑明

Richard Lord

Wendy Wo

PLAY Production

Dennis Man

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Catalogue Production Team 製作團隊

Richard Lord 胡敏儀

PLAY Production 文永亮

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Published by Mill 6 Foundation Limited

六廠基金會有限公司出版

Published and Printed in Hong Kong 香港出版及印製

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

Copyright © 2018 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: 978-988-79607-9-9

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