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展覧序言

了解自我也許是一個永不止息的問題。正如笛卡兒所說:「我思故我在」。我們經常迷惑於對 自己的身份認同感。社會心理學家 Peter Weinreich (1939 - 2016) 定義身份認同就是一個人的 自我建構過程,當前的自我身份認同是承接過去和未來的一個整體。 受邀參加本次展覽的兩位藝術家:容子敏和麥錫恩通過藝術詮釋了他們對身份的理解。容氏透 過山水畫探索了過去、現在和將來之間的連續性。他的作品追求宋代文人的風骨和品味。他從 蘇軾的一首詞《水調歌頭》開始,以月亮的意象貫穿整個身份辨識的過程。相反,麥氏深受西 方藝術手法的影響,作為第四代嶺南畫派藝術家,他不僅承襲了嶺南畫派對創新的追求,並繼 承了中國水墨畫的傳統哲學思想。透過畫作,以「角度」切入,思考了身份認同的觀點問題。 身份認同是社會學和人文科學中一個廣受討論而有影響力的概念,它被證明是可靈活變通並且 有伸延性的。人們可以在不同的情境下重塑自己的身份。這個展覧用旁觀者的角色去提出一個 思考問題,通過藝術手法去發掘一些可能構成身份的元素。我們沒有提供答案,一切留待觀眾 思考。正如展覽題目所言,這是一場「思辨」。


E x h i b i t i o n F o r e w o r d

Understanding self may be a never stop question. As Descartes said, ‘I think, therefore I am.’ We are deeply driven by our sense of identity, of who we are. A social psychologist, Peter Weinreich (1939 – 2016), defines a person’s identity is the totality of one's self-construal. The expression of oneself in the present construed continuity from the past and in the future. The two artists, Simon Yung and Kenny Mak, who invited to participate in this exhibition, interpret their perception of identity through art. Yung explores the continuity between the past, present and the future by landscape paintings. His works imbued with the scholarly manners and tastes of the Song’s cultivation. He started his identity journey from a famous poem “Shuidiao Getou” by Su Shi and borrowed the image of the moon to begin his exploration of identity. Conversely, Mak immensely affected by Western art techniques. As the fourth generation of Lingnan Art School artist, he not only adopted the innovative art style but also succeeded in the philosophical tradition of Chinese ink painting. He probes a question of identity perspective by his presentation of artworks. Identity is a broad and influential concept in the social sciences and humanities. It has proven to be remarkably fluid and malleable, with different disciplines able to define identity in ways that best suit their purposes and emphases. People may reshape their identities under different circumstances. The sense of identity in the coming future may begin with sociotropic threat. In the post-pandemic period, the world might appear growing distrustful of cultural outsiders and more polarised by ethnicity, age and class. A feeling of besiegement may put traditional identity under tremendous pressure, and a new kind of identity may be developed - one that is more strongly felt as well as narrower and more combative.


藝術家簡介

A r t i s t s

容子敏,香港水墨藝術家,擅長用宋、元、明三代的筆觸去描繪現代景緻。他融 合了中國古典水墨藝術和現代媒介,營造出獨特的氛圍。觀者可以透過他的畫作 把過去的歷史和現代聯繫起來。他曾多次參與香港及海外展覽,並獲得多項藝 術獎項,包括「香港當代藝術獎 2012」、澳門藝術博物館主辦之《超以衆外- 中國抽象繪畫作品展》、「夏利豪基金會藝術比賽 2006」、《香港藝術雙年展 2005》等。容氏的作品獲香港藝術館、企業機構及私人收藏。

Simon Yung, a Hong Kong ink painting artist, is good at depict modern landscapes with the mimetic brushes from Song, Yuan and Ming dynasties. He integrates classical Chinese ink art techniques and modern mediums to create a unique ambience. You can connect a history from the past to present through his paintings. He has actively participated in numerous local and overseas’ art exhibitions. He had received various awards in different art competitions including “Hong Kong Contemporary Art Awards 2012”, “Beyond the Surface: Chinese Abstract Art (Organised by Macao Museum of Art)”, “Philippe Charriol Foundation 2006 Art Competition”, “Hong Kong Art Biennial Exhibition 2005” etc. His works collected by the Hong Kong Museum of Art, corporate institutions and private collectors.

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麥錫恩,第四代嶺南畫派藝術家,師承第三代大師盧清遠。 2014 年以嶺南畫技法創作了「男人的浪漫」 ( 豆腐火腩飯 ) ,獲得了由香港畫廊 及韓國美術館頒發的「視覺藝術獎大獎」,並於韓國南松美術館舉行個展。麥氏 的作品曾於各地展出包括廣州藝術博物院、韓國南松美術館、台中大墩文化中心、 台中市立葫蘆墩文化中心、香港大會堂低座展覽廳、香港怡東酒店、香港 Moon Gallery、香港 Our Gallery 等。他的作品「兵馬」更於 2017 年入選了「全球水墨 畫大展」。 Kenny Mak is the fourth-generation artist of The Lingnan School of Painting. His work “The Romanticism of Man” was awarded the Hong Kong Fine Art Prize in 2014. Thereafter, he staged his first solo exhibition at Namsong Art Museum, South Korea. His works have been exhibited at Guangzhou Museum of Art, Namsong Art Museum, Taichung City Dadun Cultural Canter, Taichung City Huludun Cultural Center, Hong Kong City Hall, The Excelsior (Hong Kong), Hong Kong Moon Gallery and Our Gallery Hong Kong etc. His painting “Army” was selected into Ink Global 2017.

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展出作品

A r t w o r k s

容子敏 | 過去與現在 藝術家以山水作為切入點,創作了八幅畫作,《明月》、《尋根》、《寄情》、《審美》代表 的是先天的承傳和觀念,《思源》、《異色》、《精神》、《身份》則代表後天的教化和想像, 其意識到自己的身份背景及經歷會反映在藝術創作上。藝術家以山水主體來表達意涵,以水墨 素材去詮釋視覺,在抒發心中所感的同時,以及在流動的心理狀態下,探索個人藝術風格的特 色和轉化。作品簡潔留白或抽象空靈的畫面,意味著對這時代產生的疏離感和未知數。 Simon Yung | Past & Present From the traditional ideology inherited from the past (Moon, Roots, Sentiment, Aesthetic) to the acquired character that shaped in the present (Source, Glamour, Spirit, Identity). The artist integrates his sensation of identity into the misty landscapes and visualises the interpretation by ink and brushes. He leaves plenty of blank spaces on the painting’s surface, to imply a sense of alienation and confusion to the present.

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容子敏 | 明月 Moon 2020 水墨紙本 Ink on Paper 178 x 31 cm HKD 22,000

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容子敏 | 尋根 Roots 2020 水墨設色紙本 Ink and Colour on Paper 178 x 31 cm HKD 26,000

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容子敏 | 寄情 Sentiment 2020 水墨設色紙本 Ink and Colour on Paper 178 x 31 cm HKD 38,000

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容子敏 | 審美 Aesthetic 2020 水墨設色紙本 Ink and Colour on Paper 178 x 31 cm HKD 26,000 7


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容子敏 | 思源 Source 2020 水墨紙本 Ink on Paper 178 x 31 cm HKD 38,000

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容子敏 | 異色 Glamour 2020 水墨設色紙本 Ink and Colour on Paper 178 x 31 cm HKD 38,000

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容子敏 | 精神 Spirit 2020 水墨設色紙本 Ink and Colour on Paper 178 x 31 cm HKD 38,000

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容子敏 | 身份 Identity 2020 水墨設色紙本 Ink and Colour on Paper 178 x 31 cm HKD 22,000


容子敏 | 現在與將來 畫作染上一片大紅,並延伸至一幕古今意境。「青山依舊在,幾度夕陽紅」是藝術家為這片紅 下的註腳,出自明代楊慎的《臨江仙 · 滾滾長江東逝水》,借景抒發江山永恆,人生變化無常 之嘆。藝術家借用此句去詮釋身份的流動性 ── 即使身份會因為不同的因素改變,不變的是作 為「人」的存在,保留對未來有著期盼。 Simon Yung | Present & Future This painting expresses that the world has been changing, and people seem to be locked into a certain sense of shackles. No matter how society changed, no matter how many heroes were passing by history, the nature of the landscape has not changed. We may upset about the changes and uncertainty, but we can still conceive hopes in the future. It also responses a poem written by Yang Zhen from the Ming Dynasty, "Yet the mountains are still green, the sun goes up and down.”

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容子敏 | 渲染 Dyeing 2020 水墨設色紙本 Ink and Colour on Paper 93.5 x 349 cm HKD 152,000 ( 一組兩幀 / A Set of 2)

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容子敏 | 將來與將來 「將來與將來」是以《混沌之赤壁》和《混沌之遠航》組成。《混沌之赤壁》以抽象手法描繪 經歷數百年赤壁的鞏固石質,並題上蘇東坡的〈前赤壁賦〉,呼應作品《明月》,從而表達歷 史不變,人事短促的感慨,此作是對過去的憑弔。而《混沌之遠航》則是延續前作,是對未 來的幻想,畫作是藝術家幻想月球上之山水面貌,題上印度詩人泰戈爾詩集《吉檀迦利》之 四十二〈遠航〉一詩,意識到未來越覺混沌。作品顯現出混沌與抽象的氛圍,是對可塑性的將 來抱著迷惑。影片紀錄了藝術家在整個尋找胸中丘壑的過程中,活現在一片混沌不定的環境, 也逐漸感悟到:看山還是山,看水還是水。

Simon Yung | Future & Future The misty and abstract scenes imply the confusion and uncertainty of the future. Yet, the artist still looking for a “wonderland” that rooted in his mind. The “wonderland” came across from reality to the imagination. “Mystify, Red Cliff” depicts a mountain that stood in the history until today which connected the artist sensibility from the past heroes. “Mystify, Sail Away” is a landscape that may only exist in the universe, where the sense of identity becomes not essential after all.

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容子敏 | 混沌之赤壁 Mystify, Red Cliff 2020 水墨設色紙本 Ink and Colour on Paper 69.5 x 138.5 cm HKD 56,000 13


容子敏 | 混沌之遠航 Mystify, Sail Away 2020 水墨設色紙本 Ink and Colour on Paper 69.5 x 138.5 cm HKD 56,000 14


攝影遊記 視覺影像 Journal Photography 16:9


麥錫恩 | 隔。離 Segregation 2020 隔 Type A 30 x 40cm 離 Type B 61 x 91cm 水墨紙本 Ink on Paper HKD 32,000 ( 一組兩幀 / A Set of Four) 螞蟻與人類一樣是社會性的動物,在蟻群中定義自己的存在。人類亦一樣,我們需要不同的 他者來定義自己的存在,而人類有更高的能動性,不同的因素和生活風格,都影響著我們對 自身、對他人的認同。 Ants and humans are social creatures. They have similar behaviour to define their roles and identities in the groups. However, humans have higher flexibility in shaping identity, which may be influenced by different factors.

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麥錫恩 | 源 Origination 2020 水墨紙本 Ink and Colour on Paper 50 x 70 cm 東 HKD 12,000 不詳 HKD 12,000 西 HKD 12,000

這系列畫作名為《源》,分別由《東》、《不詳》、《西》三幅畫作組成。三幅畫作分別以三種不 同的手法創作:《東》是以水墨效果表達病毒以低倍數放大的外觀;《不詳》以水墨及西洋畫顏料, 集中西畫技法,描繪病毒在高倍數放大下的面貌;而《西》則以西方技法畫成,以梵高的《星夜》 為藍本 , 用病毒的形象代替了原作中的明月。 This series of paintings is called "Origination" and consists of three paintings of "East," "Unknown," and "West." They created in three different ways: "East" expresses the appearance of the virus at low magnification by ink; "Unknown" mixes ink and Western art techniques to depict the virus's appearance under high magnification; "West" painted only by Western skills and applying Van Gogh's "Starry Night" as a model to depict the virus. 17


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麥錫恩 | 荒 Guernica: 2020 Interpretation 2020 水墨設色紙本 Ink and Colour on Paper 96 x 180 cm HKD 28,000 《格爾尼卡》是畢加索家傳戶曉的一幅反戰作品,以立體派的風格描繪了西班牙內戰時,飽受戰火蹂躪的 人民、四分五裂的屍體等意象。藝術家以《格爾尼卡》作藍本,二次創作了這幅《荒》,描繪了世界在應 對今次疫情時的反應。藝術家在這幅畫作中共有九處改動,觀者能否察覺到這些改動及用意? "Guernica" is a well-known anti-war work by Picasso. The artist used "Guernica" as a blueprint to recreate this artwork depicting the world's response to the recent epidemic. The artist made nine changes in this painting. Have you noticed them?

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麥錫恩 | 選擇 Sense of Identity: Choice 2017 水墨紙本 Ink on Paper 96 x 180 cm HKD 96,800 這幅作品本為藝術家舊作。藝術家二次創作了自己的作品,在畫作 旁邊放置了仿「大雅齋」的雨傘架,將其放置在畫作旁邊,加上一 柄仿秦劍及雨傘,透過現代意象,還原秦國士兵的形象。至於觀者 會否有其他詮釋,或許就正如畫題一樣,是觀者的「選擇」。 The artist recreated his old work. He puts an umbrella and a sword next to the painting to imitate the Qin’ s soldiers’weapon. Through modern interpretation, the artist tries to restore the images of Qin’ s army. However, audiences may have other interpretations, just as the title mentioned, "choice". 20


麥錫恩 | 角度 Sense of Identity: Perspective 2020 水墨紙本 Ink on Paper 96 x 180 cm HKD 38,000 獅子山本是一座花崗岩結構山峰,北為大圍、南望黃大仙、東向慈雲山、西連筆架山。傳說香港有九龍為 患,神獅下凡鎮壓。收服的其中八條龍化為八仙嶺,餘下一條則被獅子壓在腳下。神獅最後化成獅子山, 一直壓著的第九條龍就是九龍山 ( 立於啟德機場舊址,今已不存在 )。 獅子山曾經是一代人的精神象徵,然而當時代改變,這個符號在今時今日是否一樣適用?從某個角度看, 它是《獅子山下》的獅子山;換個角度看,它是以裝置藝術所襯托的獅子山,正如畫題一樣,取決於觀者 觀看的「角度」。 Lion Rock used to be a spiritual symbol of the last generation, but when times change, does this symbolic meaning applicable to today? From a certain angle, it is still the Lion Mountain under the "Lion Rock"; from another angle, the Lion Mountain has set into the installation art. It all depends on the viewers' perspective. 21


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麥錫恩 | 執 Spectrum 2020 水墨設色紙本 Ink and Colour on Paper 96 x 180 cm HKD 28,000 《執》是「現在」的描述。香港可以由不同的論述所定義。如紅白藍膠袋,是代表香港人堅毅的顏色。 然而顏色本來就沒有任何額外的指涉,實際上顏色只是電磁波的一種,我們眼睛所看到的色彩是由光源 發出光,照射到物體再反射到眼睛所形成的影像。不同的人所感受到的顏色也是不同的,而每種顏色亦 會因為外在環境因素而改變。 在不同的文化中,人們賦予顏色的意義都不同,正如身份認同一樣。 "Spectrum" is a description of “Present”. Different terms could define Hong Kong. For example, Red-White-Blue plastic bag is the colour that represents the perseverance of Hongkongers. However, colour does not contain any intentional meanings. Colour is just a kind of electromagnetic wave. The colour seen by our eyes is the image formed by the light emitted by the light source, illuminating the object and then reflecting vision. Under different cultures and perceptions, people give different meanings to colours, just like identity.

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麥錫恩 | 渾沌 Entropy 2020 水墨紙本 Ink on Paper 96 x 180 cm HKD 28,000 《渾沌》是「將來」的描述。畫題的英文名稱為 Entropy,意思是熵。熵是一個 抽象的物理學概念,代表系統的無序程度。比如:蠟燭燃燒、冰塊融化、食物腐 爛等都是熵增加的過程。 藝術家在創作此畫時,開頭墨與水是分明易辨的;在經歷搏鬥的瞬間之後,水墨 交融,是一片渾沌模糊的意象。 在經歷大時代變化的將來,我們對身份的尋求,會否就如畫作所描述一般,是一 種模糊、失序的渾沌狀態? "Entropy" is a description of "Future". Entropy is a way of measuring the lack of order that exists in a system. For example, candle burning, ice melting, food decay, etc. are all processes of entropy. When the artist created this artwork, the ink and water at the beginning were clear and easy to distinguish; after experiencing the moment of mixing, the ink and ink blended into a chaotic and fuzzy condition. In the coming future, will our quest for identity become a vague, chaotic state?

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主辦 | 策展 | 藝術行政 | 平面設計 | 技術顧問 |

Organiser Curator Arts Administrator Graphic Designer Technical Advisor

OUR GALLERY 麥慧芝 | Catherine Mak 葉志威 | Duncan Yip 謝婷婷 | Macy Tse 余文添 | Timothy Yu


身份的思辨 Sense of Identity 08/6/2020 - 31/8/2020 Our Gallery 灣仔軒尼詩道 302-8 號集成中心 UG 10 UG 10, C C WU Building, Wan Chai, HK 3628 7287 info@ourgallery.com.hk www.ourgallery.com.hk


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Sense of Identity E-Catalogue  

The official e-catalogue for the exhibition of "Sense of Identity" copyright Ⓒ OurGallery 2020

Sense of Identity E-Catalogue  

The official e-catalogue for the exhibition of "Sense of Identity" copyright Ⓒ OurGallery 2020

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