Unfolding: Fabric of Our Life

REZA AFISINA, AOYAMA SATORU, MOVANA CHEN, CONTACT GO LIU CHUANG, PANGROK SULAP, RAQUEL ORMELLA, ALMA QUIN JAKKAI SIRIBUTR, VO TRAN CHAU AND HEIDI VOET

禮薩 ‧ 阿菲西納、青山悟︑陳麗雲︑ CONTACT GONZO 小組、埃德 ‧ 艾瑪 ‧ 昆托、諾爾貝托 ‧ 羅爾丹、馬克 ‧ 薩瓦圖斯、黛雅妮塔 ‧ 辛、賈凱

CONTENT PANGROK SULAP

6

ADE DARMAWAN

龐克搖滾舍

埃德・達瑪萬

目錄

CONTACT GONZO CONTACT GONZO 小組

HUANG PO-CHIH 黃博志

10

MOVANA CHEN 陳麗雲

38

VO TRAN CHAU

42

AOYAMA SATORU

70

CURATOR'S ESSAY

74

LIST OF WORKS

武珎珠

策展人語

青山悟

展覽作品

14

DAYANITA SINGH

18

46

JUNG YEONDOO

50

78

TEXTILE GLOSSARY

80

黛雅妮塔・辛

鄭然斗

紡織詞彙

NORBERTO ROLDAN

RAQUEL ORMELLA

諾爾貝托・羅爾丹

拉葵爾・奧美拉

22

JAKKAI SIRIBUTR

54

HEIDI VOET

賈凱・斯里布特

海蒂・芙歐特

26

REZA AFISINA

58

LIU CHUANG

禮薩・阿菲西納

劉窗

30

ALMA QUINTO

34

62

MARK SALVATUS

66

艾瑪・昆托

馬克・薩瓦圖斯

ADE DARMAWAN Born in 1974, Darmawan is based in Jakarta, Indonesia. Darmawan is a founding member of the artists’ collective called ruangrupa. Besides his curatorial practice, Darmawan has presented installation pieces based on his observations on trade, economic change and its influence on people’s lifestyle in the post-colonial era.

生 於 1 974 ， 達 瑪 萬 現 居 印 尼 雅 加 達 。 達 瑪 萬 是 藝 術 家 團 體

In Patchwork Regulation, Darmawan assembles a collage consisting of both original rugs and found ones that were historically made or used in Hong Kong. Darmawan specifically adopts hand-tufting as a technique to reflect the carpet-making legacy of Hong Kong, which innovated a mechanical tool for the process in the late 1950s when traditional hand-knotting proved to require skill and time that was both unavailable and inefficient.

The new market for floor coverings in Hong Kong came in conjunction with shifting economic circumstances marked by the emergence of new classes, tastes and consumption patterns, a process that is similarly observed in 1970s Indonesia during leader Suharto’s protracted presidency.

At the time, the socio-economic landscape of Indonesia was replete with consumers invested in living spaces that were more westernised, luxurious and often overlaid with rugs. By first observing the development of comparable commodities across Hong Kong and Indonesia and then by imbuing them with historical imageries, statistical data and poetic texts, the rug and the domestic space become instrumental sites from which the artist can continue his sustained inquiry into the collective memory of dreams in relation to the failures and successes of the region’s capitalist trajectory.

在此作品中，達瑪萬利用曾在香港製造或使用過的現成及其原創的

埃德・達瑪萬

ruangrupa 的其中一位創辦人。除了策展工作外，達瑪萬亦進行 裝置創作，討論議題包括後殖民地時期的貿易與經濟對生活模式 的影響。

地氈拼合出一個室內空間。過程中，達瑪萬用上了手工簇絨的程序 來反映香港的地氈織造史。1950年代中期，因應手結地氈的耗時及 工藝人手短缺，本地地氈製造業研發出機械織槍。當時的經濟發展 造就崇尚品味、不同消費模式的新階級，亦為香港地氈業開拓一片 新景象。這種情況與1970年代的印尼類近，在蘇哈圖總統的長久領 導下，社會經濟氣氛導向消費者的意欲與品味變得西方化及奢華， 地氈亦順勢成為被渴求的產物。透過觀察兩地的產物及注入歷史圖 像、資料數據、文字等元素，達瑪萬以室內空間及地氈作為稜鏡， 持續探討資本主義推展過程的起伏，以至對於夢想的集體回憶。

AA Hand-Tufting, Carpet AA Class, Consumerism, Craftsmanship, Economy AA 手工簇絨、地氈 AA 階級、消費主義、工藝、經濟

親愛的瑞木

關於我的作品：

這個作品也與我的興趣有關，就像以前的創作／作品一

Ade - Ruangrupa

樣，它捕捉了某個時代，特別是1960-70年代，階級變化

To: Mizuki TAKAHASHI 10/1/2019 10:12

Dear Mizuki Here is more about my work; This work is also related to my interest as in the previous project/ work which captures a class change process from a certain era, the collective memory of dreams or the illusions of luxury, the failure and success of socio-political and economic changes especially in the 1960-70s, not only in Indonesia but also in the region. Domestic interiors became a popular representation of socio-economic change in many places. In 1970s’ Indonesia, there was a drastic change from the old order regime to the new order under Suharto, who was also responsible for the change in the socio-economic landscape as new classes emerged. Inside Indonesian homes, carpets were introduced along with houses that were decorated with luxurious interiors and that were more westernised. This new carpet collage (dialogue) will capture the collective memories from both sides of these changes, presented through secondhand typical domestic carpets and through images (historical), statistical data (oil exports in the 1970s, for example), and poetic texts visualised by hand-tufting techniques.

Thank you very much salam, Ade

Excerpt of Ade Darmawan’s email to the curator on January 10, 2019

的過程、夢想的集體記憶、又或是奢侈的幻想、社會政治 和經濟改革的失 敗與成功，這不單純 是印尼獨有，更出 現於整個地區。當地的室內設計成為許多地方社會經濟

改革的流行代表。在1970年代的印尼，在蘇哈圖總統的 領導下社會經濟面貌革新，新的社會階級誕生，印尼從 舊有制度發展至新秩 序，產生巨大變化。在印尼的家庭

中，擁有豪華裝潢和西化設計的房屋總會以地氈點綴。

這個新的地氈拼貼（對話）將通 過二手的本地典型地氈 對比歷史圖像、統計數據（例如1970年代的石油出口數

據）和手工簇絨技術製作的詩詞文本，捕捉社會經濟變 化兩端的集體記憶。 謝謝。

祝平安A 埃德

節錄自2019年 1月10日埃德‧達瑪萬給策展人的電郵

1

1. 1970s apartment interior of Hong Kong 1970年代，香港居家景觀 2. Secondhand carpet with floral motifs

2

3

6

5b 7

PATCHWORK REGULATION 《拼布守則》

2019 Installation view: Unfolding: Fabric of Our Life, CHAT (Centre for Heritage, Arts and Textile), Hong Kong, 2019 展場圖片：「掀起生命的布局」，CHAT 六廠（六廠紡織文化藝術館）， 香港，2019

8

11 12

地氈邊框設計「墨西哥」 取自1970年代，太平地氈目錄。

香港的馬賽克瓷磚

4. Happiness Index of Hong Kong (2013–2018)

香港快樂指數（ 2013–2018） 5a. Mosaic tiles of Hong Kong

9

10

二手方形地氈，花卉圖案

3. Carpet border design, “Mexico” From 1970s Tai Ping Carpets Catalogue.

5a

4

5b. Distribution of domestic households by type of housing (1977–2007) Displaying the elimination of temporary housing, emergence of subsidised housing, drop in public housing and sustainment of private housing.

按房屋類型劃分的家庭住戶數目（1977–2007）

顯示臨時房屋的淘汰、資助房屋的出現、公共 房屋的減少及私人房屋的穩健數量。

6. Bauhinia leaf

洋紫荊葉子

二手圓形地氈，荷花圖案

地氈邊框設計「湄公河」 取自1970年代，太平地氈目錄。

美孚新邨平面圖與洋紫荊葉子

地氈邊框設計「全壘打」 取自1970年代，太平地氈目錄。

7. Typhoon Hope, August 2, 1979

颱風荷貝（1979年 8月2日） 8. Secondhand carpet with lotus motif 9. Carpet border design, “Mekong” From 1970s Tai Ping Carpets Catalogue.

10. Floor plan of Mei Foo Sun Chuen with Bauhinia leaf 11. Carpet border design, “Dinger” From 1970s Tai Ping Carpets Catalogue.

12. Gross Domestic Product of Hong Kong (1960–2017)

香港本地生產總值（1960–2017）

HEIDI VOET Born in 1972, Voet is based in Taipei and Brussels. Driven by her concern with socio-political conditions in the globalised world, Voet employs everyday objects as an agent to redirect our attention to the overlooked reality of economic and power imbalance in our society. Retaining a critical yet humorous quality in her practice, Voet has realised multidisciplinary projects and often works through labour- intensive production processes.

We choose our clothes to construct our identities, adapting ourselves to conventions defined by society’s norms. Our wardrobe constitutes a public persona that is stored in the private realm of our home and only appears in the public fragmented.

For In pieces and parts, Voet replicated her entire wardrobe and translated the clothes into bold fabrics. Following its premiere in Brussels, Belgium, Voet’s performance In pieces and parts was staged at CHAT on March 28, 2019. About 70 performers representing a variety of physiques, genders and age groups appeared in the meticulously reproduced garments.

Reconfiguring the codes that establish our behaviours and roles, Voet’s performance deconstructs the social function our attire has, and questions both the positions and histories that are intertwined within.

On the wall are portraits of the performers wearing the recreated clothes in both Brussels and Hong Kong. Referring to a typological method, the portraits present the transgressive character of costumes, which transforms the performers into clowns or jesters. On the floor are three suitcases that were used to store and transport the costumes for the performance, waiting for the next stage in a different city.

海蒂・芙歐特

生於1972，芙歐特現居台北及布魯塞爾。本著對全球化的社會政治 狀態的關注，芙歐特採用日常物作為導向工具，聚焦在社會上經 濟和權力失衡卻不甚起眼的現象。她的跨媒介項目往往耗用大量人 力，創作過程既具批判性而不失幽默感。 我們的衣飾喜好往往是為了構建身份，把自己融入社交常規。衣物 代表著一個人，是外觀的某一部份，卻收在家居裡私密的衣櫃內。 藝術家把自己衣櫃內的所有衣物改造，成為惹人注目的服裝。 《碎片和片段》首次在比利時布魯塞爾舉行，CHAT六廠的委託演 出在2019年3月28日舉行，70位不同性別、種族和體型的參加者穿 上精心改造的服裝出現。 《碎片和片段》打破日常社交禮儀的行為和角色，解構衣服的社交 功能，並詰問當中糾結的歷史和定義。 牆上是布魯塞爾和香港的參加者穿著改造服裝的造型照，這些照片 呈現其衣飾極盡顛覆的特質，參加者頓成小丑。 地上的三個行李箱正正放了這次演出的服裝，等待著被送往另一個 城市，製作下一個演出。

AA Clothing, Costume AA Identity, Social norm AA 衣服、服裝 AA 身份、社會規範

Brief description 簡介: The work In pieces and parts consists of several elements.

作品《碎片和片段》由數個元素所組成。

1. For In pieces and parts, I copied the entirety of my wardrobe using colourful fabrics that resemble mass-produced clown and show costumes as an exaggeration of our fluid identities and the roles we perform in our daily lives. In total, there are approximately 70 outfits, from dresses, bathing costumes, jumpsuits to pants.

在《碎片和片段》這個作品中，我嘗試利用各種色彩繽紛的布料去複製我整個衣櫃內的衣物，從而製 造出大量小丑衣服，並透過展示服裝去誇大我們流動的身份和在日常生活中所扮演的角色。整個作品 共約有70套服飾，包括連衣裙、泳衣、連身褲到褲子。

4. On the evening of the opening, all participants are present wearing the outfits. The costumes create the expectation that the performers will perform a role outside their habitual selves, only to exhibit “normal” behaviour as if they are no different from the other members of the public.

在開幕當晚，所有參加者都會穿上這些服裝。衣服會為表演者 塑造出一個日常以外的角色，但他們卻如常與其他公眾一樣表 現「正常」，與社會大眾沒有任何不同。

2. All the replicated clothes are transported as my luggage in three suitcases when travelling to the location of the exhibition. There is no additional transport.

我會把所有複製的衣服放入三個行李箱中，然後直接帶到展覽 場地，並不需要安排運輸。

5. After the opening, all the clothes are folded again and packed into the three suitcases. The three suitcases are placed opened on the floor. This resembles a scene from someone’s suitcase in a hotel room or someone who is packing, maybe someone who has just arrived, is a traveller or migrant.

開幕過後，所有衣服會折疊好然後裝入三個行李箱內。這三個行 李箱會打開並置於地上，營造出酒店房內或有人正在收拾的行 李箱，他可能是剛抵埗的旅客又或者是移民。

3. A photoshoot with a local photographer is organised (we organised two evening sessions in Brussels). With my suggestions, the 60-70 participants choose their outfits and are photographed individually.

一位當地攝影師負責在場拍照（布魯塞爾站共安排了兩晚）。那 60-70名參加者在我的建議下揀選衣服，並逐一拍攝造型照。

Excerpt from Heidi Voet’s email to the curator on October 31, 2018

節錄自2018年 10月31日海蒂·芙歐特給策展人的電郵

6. The A4-sized photos of all participants wearing the outfits are placed in a grid and pinned to the wall (approx. 170 cm height x 340 cm width on a wall).

所有穿著這些衣服的參加者的A4造型照將排列整齊，並固定於 牆上（約170厘米高×340厘米寬牆面）。

IN PIECES AND PARTS 《碎片和片段》

2018–ongoing 現在 Courtesy: The artist Courtesy of performance view: CHAT (Centre for Heritage, Arts and Textile), Hong Kong 作品提供：藝術家 開幕表演：CHAT 六廠（六廠紡織文化藝術館），香港

ONZO, ADE DARMAWAN, HUANG PO-CHIH, JUNG YEONDOO, NTO, NORBERTO ROLDAN, MARK SALVATUS, DAYANITA SINGH,

‧ 達瑪萬、黃博志、鄭然斗、劉窗、龐克搖滾舍、拉葵爾 ‧ 奧美拉、 凱 ‧ 斯里布特、武珎珠及海蒂 ‧ 芙歐特