Noble Rot 貴腐

noble rot

To draw Para Site's first 25 years to a close as we look ahead to the next, Para Site presents ‘Noble Rot’, a two-part exhibition of new commissions by the eighteen artists participating in the inaugural edition of the 2046 Fermentation + Fellowships. The artists are invited to revisit Para Site’s founding ethos of deep play and experimentation—taking a big leap of faith, together.

At its core, ‘Noble Rot’ is a pipe dream: an impractical unfolding of what it means to make space for a felix culpa1. Rapid-fire series of unfortunate events spell disaster and disenchantment as a matter of course, but there may still be ways for us to make room for happy accidents and secret pleasures. In viniculture, exceptional if not unsettling flavours of decay may reveal themselves at select moments in ‘noble rot’, a paradoxical and meticulous yielding of unusually concentrated and refined sweet wines from ripened grapes that have been compromised by a destructive fungal infestation. Noble rot, put differently, undermines the routine effects of infection and invasion by way of metabolic transformation. A happenstance in the mythologies of vinification, noble rot gives us a taste of fundamental contradiction. Ruined clusters belie an uncorrupted sweetness, but who will harvest the fruits of fermentation at the right moment?

Deep-diving into these byproducts of fermentation as an explicitly public practice, the artists of the exhibition expose the seams of cultural production in the midst of crisis. The shifting minutiae of fermentation emerge as a material study, an improvisa1

Felix culpa is most often translated as “happy fault,” “fortunate fall,” or “blessed fall.”

tional process, and a critical lens into times of fracture and emergency. Each fissure in the depths of the oldest metabolic pathway known to the anthropocentric age fizzles and morphs from one moment to the next; any given door may well lead to worlds as far-flung in form, shape, and time even as they remain sutured together by collective memory and historical rupture. Other portals open up to newly solidified ideas and extensions of those that were abandoned as they find curious overlaps and uncomfortable intimacies with each other.

The new commissions in ‘Noble Rot’ unearth ostensibly concrete relations of ruling, labour, and capital as lines drawn in the sand, soon to be swallowed up and spat back out as foam and froth with vigorous action. Just as nebulous are boundaries and borders only felt, heard, sensed, and intuited: what scars and bruises does a learned alienation leave behind? In an increasingly airless terroir, feral cultures surreptitiously locate other futures on unruly lands.

Under airlock, accumulated affects creep and advance like invasive species, but a second glance tells us that they were never as injurious as they appeared.

What fermentation manages to offer at this current moment of vulnerability, then, is as much a checking of the pulse as a steadying of the hand, in anticipation of revelations both welcome and dreaded, and of gestures and marks we have never made before.

緒像入侵物種一樣蔓生 —— 但如果仔細體會，它們其實並沒有外 表看來那麼有害。

劃中十八位藝術家的全新委託創作，重訪 Para Site 創始之初的藝術

理念，以遊戲與實驗精神共同捨身一搏。展覽將以兩個階段舉行。

再是清晰規劃的分界線，而需要靠感受、聆聽與直覺來辨識 ——

係猶如沙上作畫，隨時會被變幻莫測的海浪沖刷並吞沒；邊界亦不

在藝術作品的表達之下，看似一成不變的統治、勞動與資本關

的構想並延續本被淘汰的觀念，讓它們在交疊中找到不適的親密。

道門亦開往形態與時空各異的世界，而另一些通道則指向經已固化

續的「醞釀」中，人類紀最古老的新陳代謝仍在不斷演化變幻； 每一

判性審視。 儘管共同的記憶與歷史將我們的世界緊密捆綁，但在持

微的變奏成為藝術家們的物質研究、即興演練以及對時代裂痕的批

作為公開實踐，揭示危機時刻文化生產的種種縫隙。發酵過程中細

參與「貴腐」的藝術家們深入觀察「醞釀」的過程與變化，並以此

時間採摘這由發酵所醞釀出的果實呢？

育出純粹的甘甜，醞釀着不乏矛盾的深刻滋味。誰人能夠在恰當的

機制，是葡萄製酒過程中偶然迸發的啟示 —— 腐爛的果實卻能孕

甜酒。藉由新陳代謝的轉化， 「貴腐」顛覆了「感染」及「入侵」的

腐」感染的成熟期葡萄雖將疾速腐敗，卻能製成風味清奇的「貴腐」

造空間來庇護驚喜的意外與隱秘的愉悅？葡萄種植中，被真菌「貴

culpa）。在連串事件所帶來的災難與失落感之下，我們該如何創

動，為彼此把脈，以迎接令人欣喜或恐懼的啟示。

脆弱時分，發酵與醞釀提示我們去試探未曾嘗試的記號與行

菌落在無人耕種的土地悄然尋找新的未來。密封環境下，累積的情

展望下個廿五年。「貴腐」展出 Para Site 首屆「2046 醞釀獎助金」計

「貴腐」猶如黃粱一夢，是現實中難以達成的「愉悅失敗」 （ felix

習得的離間最後會留下怎樣的瘡痍？在日益缺氧的土壤中，野化的

Para Site 值銀禧之際欣然呈獻聯展「貴腐」，在回顧空間歷史之餘亦

about

PART 1 ARTISTS Koel Chu Ka Kiu

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Rannie Ip Ka Man

Herman Chan Ho Wang

Man Ting Vanessa Lam

Chu Hoi Ding

Winsome Wong Dumalagan 2 26

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16 Hou Lam Tsui

Florence Lam

Natasha Cheung 40

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Wong Winsome Dumalagan (b. 1994 in San Fernando, the Philippines) mainly works on videography and the sculpting of images. In moving along with her camera, composing and sculpting the texture and rhythm of images, she believes that art helps guide her in comprehending and stepping into daily life. Therefore, her practice is primarily about daily life and the people around her. Creating works as she moves around different cultural contexts such as Cambodia, the Philippines, and Hong Kong, she explores the authority of images and artworks, and acts as an ‘agent’ or ‘co-creator’ with people around her. She’s a member of Floating Projects Collective.

WONG WINSOME DUMALAGAN 黃慧心

黃慧心（1994 年生於菲律賓聖費爾南多）主要集中於錄像和雕刻影像的創作。 透過與相機遊走，譜寫和雕刻影像的質感和節奏，她相信藝術能讓她理解並步 入生活。因此，她大部分作品都與她的日常生活和周遭的人有關，而她的作品 亦受其流動性影響而在不同的文化背景下創作，如柬埔寨、菲律賓和香港等。 她花很多時間思考影像和藝術創作背後的權力議題，有時她讓身邊的人成為創 作原料的提供者，而她是作品的「媒介」或「共同創作者」。她是藝術群體據點 句點成員。

In recent years, I have passed by some scenic landscapes occasionally and stopped to capture them with my phone camera. The body that bears the photographic eye needs to come to a state of stillness here, and perhaps to train the focus of the naked eye onto the scene before it is to freeze the frame entirely.

Even so, some landscapes remain fluid: in fact, some of them are still but fluid, moving but silent. When I recall these images I had recorded in passing, I seem to remember only one or two moments from the entire scene.

A select few moments become so quiet, so slow-moving—almost like a photograph. At the same time, the split-second of recognition manages to carry a much longer expanse of time and, in tandem, an infinitely scalable series of landscapes. The simultaneity of fluidity and stillness is the body of memory.

Even as its entirety seems set in stone, some of the minute details are inevitably lost to forgetting.

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PASSING SCENERIES 經過景象

「這幾年偶爾經過一些風景，停下來用手機拍下，那時候拿着工具拍攝的身驅 需要靜止一些，而眼前的風景流動着，同時也許因為專注凝視而靜默放慢，近 乎靜止。一些風景很靜止，同時在流動着。一些風景在流動，同時如此靜默。 當回想這些經過的風景時，我似乎只能比較清晰記得當中一兩刻的畫面。」 這一兩刻風景的畫面靜止得近乎一幅相片，但這一兩刻的畫面同時像是容 器般盛載了更長時間的風景，甚至更多的風景，而這些腦內近乎靜止的風景本 來似乎是流動的。靜默與流動同時存在於同一刻，那些風景直至現在都記住 了，近乎永恆沒有離去，但記得的細節也許免不了會流逝。

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There was a time when the deer was constantly on the move. But in recent years it has been forced to stay. The rapid change in the outside world twists and pulls the quiet past, which occasionally emerges, almost detached from the present self. A line from a poem comes to my mind, but I cannot remember every word of it, nor can I read it again. I want to write a song that can soothe my soul, but I am not capable of doing so. Therefore, I can only create a forest planted with those barely-remembered memory pieces, letting the deer sleep inside.

The Forest Where the Deer Sleeps is made up of footage occasionally taken in different situations and places over the course of six to seven years, recorded with portable filming tools such as mobile phones, DV, cameras, and toy cameras. The footage can be looped for about 20 times a day; the electronic files do not seem to wear out easily and the images will remain identical.

However, if the footage itself is shot nineteen times over, something may be lost and something may emerge.

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THE FOREST WHERE THE DEER SLEEPS 在森林酣睡的鹿

「曾經不停地往外跑，而近幾年必須或被迫要停留。日子這樣過着，外界的變 化速度扭曲拉扯着內在沉靜的過往，而那些過往偶爾浮起，卻幾乎與現在的自 己脫離。腦內浮現來自詩的一句，卻不能清晰記起每一隻字，也不能再翻閱那 首詩。想譜寫一首能安撫靈魂的曲，卻也沒有那個能力，所以只能把這些幾乎 要飛脫卻勾住了身體的片段慢慢種成一個森林，讓鹿睡在那裡。」 《在森林酣睡的鹿》由這六、七年間在不同處境和地方偶然拍下的片段組 成，用隨身的拍攝工具如手機、DV、相機和玩具相機等記錄。一天之中這段 錄像大概能播放二十次，電子檔案似乎不會輕易耗損，影像依然會一模一樣， 然而假如把同一段錄像重複拍攝十九次，當中可能有些什麼會失去，也可能有 些什麼會浮現。

Rannie Ip Ka Man (b. 1997 in Hong Kong) focuses on self-exploration and self-reflection in her family relationships. Her practice often centers upon video and photography with found objects and archival materials. She graduated with a BFA with Honors in Cinematic Design and Photographic Digital Art in 2021.

RANNIE IP KA MAN 葉嘉敏

葉嘉敏（1997 年生於香港）關注其家庭關係中的自我發現與內省，其創作聚焦 現成物、文獻資料，媒介主要為錄像及攝影。葉氏 2021 年獲電影設計及攝影 數碼藝術榮譽藝術學士。

A wall is an object burdened with historical and political meaning, but it also bears a significant load in the domestic and emotional realm. For the artist, a particular shade of pink permeates the affective dimensions of home, family, and labour. The specific colour of the wall that separates the artist’s living room and bedroom, pink is a witness and mediator to the artist’s evolving and at times ambivalent, if not antagonistic, relationship with her mother. Replicating a wall at the artist’s home in scale and colour, the wall is collaboratively painted by the artist and her mother, who was invited and commissioned to participate in the installation as a full-time painter on construction sites.

Mother-daughter dynamics are tried and tested as each approaches the surface with the full force of memory and history behind each stroke.

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ANOTHER SIDE 另一邊

一道牆承載着歷史與政治意義，在家居與感情的場域亦意味深遠。對於藝術家 而言，家、家人與勞動充斥着一種特別的粉色調。區隔客廳與睡房的牆的粉紅 色，見證並調解藝術家與母親矛盾甚至時有衝突的關係。作品仿製了藝術家家 中一道牆的大小與顏色，並由藝術家與母親一起上漆 —— 藝術家邀請母親以 平日全職地盤油漆工的身分合作創作作品。油漆隨着母女各自的回憶一刷刷浮 現，考驗着兩人之間的關係。

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Herman Chan Ho Wang (b. 1998 in Hong Kong) graduated from the School of Creative Media at the City University of Hong Kong in 2020. His art practice focuses on photography, especially documentary photography. His work revolves around the politics of photography, social phenomena, suffering, and relations of power. He has been taking street photographs since he was eighteen. As an observer on the street, he sees social injustice and speaks out against them via the medium of photography. In his works, he is often presented as a bystander, while he assumes the role of participant sometimes.

HERMAN CHAN HO WANG 陳浩泓

陳浩泓（1998 年生於香港）畢業於城市大學創意媒體學院。陳浩泓的藝術實踐 主要集中在攝影，尤以紀實攝影的角度凝視最為重要，此外亦就作品主題嘗試 以影片作為媒介。陳的作品圍繞政治､社會現象､人的苦難及權力關係，主題 自街拍中所得來。陳氏在十八歲接觸街拍， 作為一個觀察者與旁觀者，他發 現人終究受難於社會不公義，以此為機，亦基於對影像力量的信仰，他傾向使 用影像和攝影作為發聲渠道。陳氏時常以旁觀者角度製作作品，有時化身參與 者，以圖像演繹自己感受。

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In a self-directed picture interrogating the nature of hide-and-seek, the artist contemplates the internal dynamics of power. Through sadomasochistic human furniture, he interprets the entire power structure as a mold by which capital takes a tangible form. The mise-en-scène is organized as an everlasting game played by watchers and the observed, dominators and those subjected to their reign, in a matrix of submission and permission. Humans here become fungible objects and are subordinated under a hierarchy of appearance, even as Others gaze and ‘surveil’ back with a defiant nothingness.

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THE ENDLESS JOURNEY 未完之路

在整部自攝編導的作品裡，陳浩泓透過捉迷藏來思考權力關係的內在流動。藉 虐戀的人體家具包裝，他將權力架構視為資本實體化的倒模。在影片的情境 中，監控與被監控者、主宰與被主宰者進行着一場永無止境的捉迷藏遊戲，形 成屈從與答允相角力的矩陣。人在此處成為可互相取替的物件，在「他者」目 空一切的監控下服從於根據外貌劃分的階級制度。

Currently based in Hong Kong, Chu Hoi Ding (b. 1994 in Hong Kong) graduated from the Academy of Visual Art of the Hong Kong Baptist University in 2017. Focusing on ceramics and raw clay creations, she often combines mixed medium elements, such as ready-made objects and images, with clay. Through the proposition of ‘destructive construction’, she meditates on daily lives and beings.

CHU HOI DING 朱凱丁

朱凱丁（1994 年出生於香港） ，2017 年畢業於香港浸會大學視覺藝術院，現生 活並工作於香港。她專注陶藝和未燒陶泥創作，常以現成物和影像等多媒介素 材與陶泥結合，並以「破壞性建設」為命題，反思生活日常和存有。

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Embedded Aggregate is a mixed-media ceramics installation that responds to perceptions of time. Time is inevitably sensorial; it is often warped by how one reflects on one’s own state of being. The temporal and cultural division between the 2019 protests and the period immediately thereafter becomes all the more apparent as time passes. For the artist, the vandalism of a clock in an MTR station offers a timely rumination of the collective state of being.

This clock seems to represent a rationality of civilization that aligns all human beings into a singular measure of how one passes and spends time. On site, the destruction of the clock may be interpreted as a cry of refusal against this rational order; in other words, it is a form of constructive destruction that spits out at once an alternative imagination of living and being that already lies in the societal constitution. Embedded Aggregate therefore mimics the arresting image of the MTR clock by imprinting and aggregating memorialized daily materials. Its rupturing composition layers and collates various ways of making from the physical touch to shifting material states and chemical transformation. The concentric order depicts a psychological restructuring of reality and personal emotional integrity.

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EMBEDDED AGGREGATE AT 573°C 573° C：內嵌聚集體

此件作品為混合媒介陶瓷裝置，回應我們對時間的認知。時間無疑是感官的， 我們反映自己的存在的同時亦扭曲着時間。香港在 2019 年至 2020 年的社會 運動與之後的的分界線，隨着時間的推移而更加清晰。藝術家深入思考集體存 在和時間時，想起了地鐵站裏的一個時鐘被破壞的事件。時鐘代表了文明的理 性，這種理性將所有人都納入了一個單一的衡量標準中，我們都是根據這個標 準度過我們的時間。而在地鐵場景中，時鐘的破壞是對這種秩序和理性的拒 絕。這種建設性的破壞代表了對生活和存在的另一種想像。這件陶瓷作品嵌入 了大量有紀念性的日常材料，模仿了與地鐵時鐘有關的畫面。作品有不同的分 層，涉及到觸摸、材料狀態和化學變化等各種製作方式。各個分層與圓心距離 的順序描繪了現實和個人情感完整性的心理重組。

Koel Chu (b. 1996 in Hong Kong) is a writer from Hong Kong. Her recent work has appeared in Voice & Verse Poetry Magazine, Asia Art Archive’s IDEAS Journal, Fleurs des Lettres, SAMPLE, BIOS Monthly, and Still / Loud. She is a full-time (disheartened) art administrator.

KOEL CHU KA KIU 朱嘉喬

朱嘉喬 (1996 年生於香港 ) 活躍於香港，專注文字創作。近作曾刊登於《聲韻詩 刊》 、亞洲藝術文獻庫《IDEAS》 、 《別字》 ， 《SAMPLE 樣本》 、 《BIOS Monthly》 及《Still / Loud》等。現為全職藝術打雜。

Fall is the season of old beginnings and new endings. However ephemeral, it represents a time of reminiscence, lamenting the passing of a possibly non-existent golden age. Writers respond to such loss in various ways: Mary Ruefle probes the vagaries of the mundane; Anne Carson plays with the destabilising effects of fragmentation; and Georges Didi-Huberman sees hope even in times of perpetual catastrophe. It seems that there is, after all, something ubiquitous and intimate in even the most idiosyncratic experiences of failure.

The question then is, how do we mine meaning from absence and silence?

Fall attempts to unveil latent narratives and imagine new conversations beneath and behind writings of the artist’s selection. Through intervening into and erasing texts, words become substrate materials of an accidental poetics as they fall prey to the artist’s manipulation. The artist invites viewers to take a seat and explore the texts beyond fixed modes of reading, roaming, or visual viewing. The sentences may have been there all along.

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FALL

稍縱即逝的秋季，往往帶着對那並不存在的黃金時代的嚮往。身處不同時代 和地域的作家以各種方式回應消逝：Mary Ruefle 以詼諧角度詮釋日常瑣事； Anne Carson 以零散片段反映世界的變幻莫測；Georges Didi-Huberman 在無 盡的苦難中看到希望。即使是最奇特的失敗經歷，也總能透過製造親密的距 離，描繪某個倏忽想起的畫面，引起共鳴。問題是，我們如何在失落和沉默中 尋找意義？在《Fall》中，藝術家挑選一系列文學作品，在文句之間建構各種若 有似無的連結，試圖釋放文字蘊藏的能量。透過介入文本，文字成為偶然詩學 的構成要素，以近乎蒙太奇的曖昧狀態呈現。藝術家邀請觀者於文本的縫隙中 漫游，或許這些句子早已存在。

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The practice of Lam (b. 1997 in Hong Kong) centers around the photographic concerns of light and time, presence and absence. Through prints and installation, she explores the meaning of these broad notions in specific terms of place and identity. Fascinated by abstractions in nature and language, her current research interest is the language and form of resistance, memory and protest.

Drawing on photographic images of personal and often political significance, such as the dawn, erased graffiti, and torn posters, she explores the possibilities of these images and memories that inform our times. She received a BFA from Goldsmiths, University of London in 2020.

MAN TING VANESSA LAM 林文婷

林文婷（1997 年生於香港）的實踐圍繞攝影中的光線、時間，以及存在、缺失 展開。她以版畫與裝置為媒介，探索這些廣泛概念在特定場域與身分內的意 義。被自然及語言的抽象性吸引，她現時的研究是反抗的語言及型態，回憶與 示威。她自私人及有政治含義的照片中汲取靈感，如黎明、被擦拭的塗鴉與撕 破的海報，探討這些影像的抽象潛質以及知悉我們時代的記憶。她 2020 年於 倫敦大學金匠學院獲得藝術學士學位。

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THE STARRY BLUE SKY YOU TOLD ME YOU SAW 你告訴我你看過的湛藍星空

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UNERASURE #8.4 (BRICK WALL BY THE STAIRCASE, SHEK LEI ESTATE BUS TERMINUS) 還原 #8.4（石籬邨巴士總站樓梯旁的紅磚牆） 林文婷的作品源自 2019 年起香港街頭那些擦拭過的塗鴉以及撕爛的海報中， 探索版畫製作過程中被抹除與自我毀滅的種種。版畫用墨的濃稠度，經過重覆 又耗時的印刷方法只留下依稀的輪廓。紙上的形狀顯露出來的同時又被掩蓋， 這樣做看似徒勞，但亦可被視為一種反抗的「還原」。藝術家藉或有或無政治 重要性的物件與影像，希望拆解圖像背後的語言，從而重新調整我們生產並吸 收記憶與影像的方式。佈滿繁星的藍天是藝術家已故祖母告訴她臨終前看見的 畫面，而藝術家用盡了這一畫面，將其重塑並重新想像，作為一次將自然及語 言抽象化的舉動。作品在溫柔與暴力之間徘徊，最終提出以下問題：什麼構成 語言與暴力？暴力一定要被看見嗎？歷史「看上去」是什麼樣？

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Drawing upon erased graffiti and torn posters seen on the streets of Hong Kong since 2019, Lam’s works explore printmaking as a process of erasure and self-destruction. The repetitive yet counter-productive printing method allows only the subtle outline of the form to be visible due to the thickness of the ink. At the same time, the seemingly redundant, simultaneous gestures of revelation and concealment could be an act of resistance that ‘unerases’.

Through objects and images of political in/significance, the artist hopes to unravel and break down the language behind the picture to reconfigure ways in which we produce and assimilate memories and images. The starry blue sky— what the artist’s late grandmother told her she saw before her passing—is exhausted, reworked, and reimagined as a move toward abstraction in nature and language. Oscillating between delicacy and violence, the works ultimately pose the following questions: What constitutes language and violence? Must violence be visible? What does history look like?

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UNERASURE #8.5 (BRICK WALL BY THE STAIRCASE, SHEK LEI ESTATE BUS TERMINUS) 還原 #8.5（石籬邨巴士總站樓梯旁的紅磚牆）

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Natasha Cheung (b. 1998 in Sydney) received her BA in Fine Arts and Visual Studies from the University of Pennsylvania in 2020 and her MA in History of Art and Archaeology from SOAS, University of London in 2021. She sees paradox as a necessity and strives to make this visible and visceral through practicing installation, photography, video, performance, conversation, as well as drawing itself as forms of drawing. In particular, she is interested in the languages and belief structures constructed to describe sight and vision, and making visible how these non-neutral interfaces have contributed to continued colonial imaginaries as well as how to manipulate these languages to render the absurdity of our reality. She is currently thinking and working with the materiality of gelatin and its legacy as an ingredient in painting and photographic processes, in order to expose non-neutral frameworks of seeing and interpretation.

NATASHA CHEUNG 張 曦

張 曦（1998 年生於澳洲悉尼）2020 年畢業於賓夕法尼亞大學藝術和視覺研 究系，2021 年畢業於倫敦大學亞非學院藝術史與建築學系。她視矛盾為必 須，並努力透過裝置、攝影、錄像、行為、對話以及繪畫發自內心地體現這 一概念。她對語言及信仰結構形成的視覺以及思覺感有興趣。這些非中立的 界面如何促成了如今依然持續的殖民想像，以及這些結構如何透過操縱語言 來渲染現實世界的荒謬。她目前正在研究明膠的物質性及其作為繪畫和攝影過 程中的一種遺產，並及嘗試揭示當中的非中立性的角度。

The second iteration of to prime is a continued study of the history of photography and more widely, the history of art, through the material and conceptual investigation of gelatin. A sticky colloid gelling agent created by boiling animal connective tissues in water, gelatin is used in art processes as a glue, a pigment binder, a preparatory priming agent—to name a few uses. From the use of mingjiao in Chinese painting to the use of rabbit-skin glue in western oil painting, this intermediary substance is often overlooked in its essential role across artistic traditions. In a photograph, light becomes a mark-making device for drawing upon a prepared surface. In carbon printing, what we see in the resulting image is pigment trapped in gelatin, hardened by UV light.

Carbon prints are also known for their extreme archival performance. Without the use of a colloid to either suspend photosensitive chemicals or trap pigment, photographic images inevitably deteriorate over time. The remnants of an animal body allow us to access these images for current and future viewing; such is a glimpse into the privilege and the violence that constitute the history of photographic technology.

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TO PRIME II

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作品為《to prime》系列的延續，旨在透過觀念及物質角度研究明膠，來學習 攝影史與更廣泛的藝術史。明膠是熬煮動物結締組織所得的膠質，在藝術創 作過程中被用作膠水、顏料粘合劑、底漆等等。從中國繪畫的明膠到西方油畫 中使用的兔皮膠，此中介物質在藝術傳統中扮演重要的角色，卻常遭忽視。攝影 中，光成為在紙上標註的工具。碳印中，所見的圖像為顏料封鎖於明膠內的結 果，而明膠則在紫外線光下變硬。碳印品亦因其極度持久性著稱——在沒有膠 質去懸浮光敏化學物或鎖住顏料的情況下，攝影圖像無可避免會隨時間而衰敗。 動物屍體的殘留物讓我們得以保存圖像，這就是構成攝影技術的特權與暴力。

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Florence Lam (b. 1992 in Vancouver) is currently based in Hong Kong. Lam works with wonder and magical thinking to fuse together current moral issues with child-like worldviews through performance art, poetry, video and sound. Her practice explores the fertility and sterility of the mind manifested through the properties of the biological body. She is also interested in language as a hint to the evolution of human values and spiritual understanding.

She obtained her MA in Fine Art from Iceland Academy of the Arts in 2017 and her BA in Fine Art from Central Saint Martins in 2014. She is the co-founder and co-curator of Per.Platform, a Hong Kong-based live art platform founded in 2021.

FLORENCE LAM

Florence Lam（1992 年出生於加拿大溫哥華），目前於香港生活與工作。她以 驚嘆和心理學上的魔法思考作為靈感，透過行為藝術，文字，影像和聲音，將 當代倫理問題與孩童般的世界觀結合。目的是探索通過物理身體和言語的特性 所成就出來思想的孕育性和不育性，作為人類價值觀和精神理解演化的暗示。 她於 2014 年在英國倫敦中央聖馬丁學院獲得學士學位，2017 年在冰島藝術學 院取得碩士學位。她是「Per.Platform」 （成立於 2021 年的香港現場藝術平台） 的聯合創辦人和聯合策展人。

The body carries more memories than the mind. As a development from an improvisation practice mostly dealing with the physical body and physical materials in the past two years, Voice Work is the voice that the artist’s body projects and generates as an intangible sculpting material and a material vessel. Working with space, the juxtaposition of impressions of the ‘civilised’ body, and the animalistic properties of the pre-linguistic human voice, the artist aims to explore the ambiguity afforded by performance as a means to sculpt and transform the body and its potential capacity as a memory capsule of humanity.

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VOICE WORK 嗓

身體往往比腦海承載着更多的記憶。作品《嗓》為 Florence 過去兩年針對肉體 和實體材質即興藝術創作的延伸。在作品當中，Florence 把她身體發出的聲音 視為無形雕塑材料及材質容器。Florence 通過配合展覽空間進一步探究行為藝 術中的模糊地帶。她以對身體表現出的得體對稱的印象和人類位於語言發展以 前動物化的聲音特性的並列為表達渠道。Florence 有意圖對行為藝術中的模糊 地帶進行探究，基於這個想法來把人類的肉體以塑造及改造的形式成為人類文 明的記憶膠囊。

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Hou Lam Tsui (b. 1997 in Hong Kong) is a Hong Kongbased artist. Tsui received a BA in Fine Art and History of Art from the University of Leeds in 2018. Her practice centres around personal experience, gender politics, boundaries, and peripheral storytelling. She also writes poems.

HOU LAM TSUI 徐皓霖

徐皓霖（1997 年生於香港）是一位藝術創作人，現於香港生活及工作。2018 年 畢業於英國列斯大學，獲藝術及藝術史文學士。她的創作圍繞個人經歷、性別 政治、邊界以及邊緣敘事。她偶爾會寫詩。

Hard Tongue on Pillow departs from a reimagination of the ‘geographic tongue,’ an enigmatic condition that causes an uneven, map-like pattern to appear on the human tongue. Interested in how the name goes beyond its medical meaning and evokes one’s association of mapping and geopolitics, the artist explores the geographic tongue as a site of pain and peripheral storytelling. The video essay looks at the debris of histories in Hong Kong, unfolding and questioning notions of naming, mapping, and boundaries. By revisiting the first map of Hong Kong published in 1810, the artist reflects on how naming becomes a mechanism of possession and hegemonic power. By reimagining the idea of the geographic tongue, she highlights the complexity of voicing histories. Fixated on the screen, a tongue sticks out and submits itself to order. Salt and sugar poured onto the tongue’s surface become a metaphor for shaping, shifting, and deconstructing territories, resonating with the flaking and erosion of the diseased tongue. Displayed adjacent to the video are pieces of used handmade cold-pressed soap that loosely resemble the merged form of a tongue and a globe.

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HARD TONGUE ON PILLOW 硬舌軟枕

《硬舌軟枕》重新想像了名為「地圖樣舌」的奇怪疾病 —— 患者舌頭上會出現凹 凸不平、狀若地圖的紋路。此疾病的命名超越了醫學範疇，令人聯想到地圖及 地緣政治，因此引起藝術家的興趣去探討地圖樣舌上承載的痛楚與外圍敘事。 展出的錄像散文將視線投向香港的歷史殘骸，袒露並拷問關於命名、地圖及邊 界的觀念。從 1810 年出版的第一幅香港地圖出發，藝術家省思命名的動作如 何成為佔領以及霸權的機制。徐皓霖在作品中重點突出表達小寫歷史的複雜 性。螢幕上，舌頭緩緩伸出，並服從指令。鹽與糖倒在舌頭的表面上，此舉形 成了一個對形態、移動和拆除領地的暗喻，與被病灶侵蝕導致表面組織剝落的 舌頭產生共鳴。在錄像作品旁邊展出的是一個通過已使用過的手工冷製肥皂所 製作出的一個隱約看似舌頭與地球的合併體。

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WONG WINSOME DUMALAGAN 黃慧心

CHU HOI DING 朱凱丁

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Passing Sceneries 經過景象 Multi-channel video (2 mins) 多頻錄像（2 分鐘） 2021

Embedded Aggregate at 573°c 573° c：內嵌聚集體 Black clay, clock machinery, quartz, iron oxide, air pump, bricks 黑泥、時鍾機械、石英、 氧化鐵、氧氣泵、磚 60 ╳ 60 ╳ 15 cm 2021

2 The Forest Where the Deer Sleeps 在森林酣睡的鹿 Single-channel video (20 mins) 單頻錄像（20 分鐘） 2021

KOEL CHU KA KIU 朱嘉喬

6 RANNIE IP KA MAN 葉嘉敏

3 another side 另一邊 牆漆、牆身、單頻錄像（35 分鐘） Wall paint, wall, single-channel video (35 mins) 2021

HERMAN CHAN HO WANG 陳浩泓

4 The Endless Journey 未完之路 Printed imagery, single-channel video (10 mins) 印刷圖像、單頻錄像（10 分鐘） 2021

Fall Typewriter, table, printed matter, found objects 打字機、桌子、印刷物、尋獲物件 Dimensions variable 尺寸可變 2021

MAN TING VANESSA LAM 林文婷

7 The starry blue sky you told me you saw 你告訴我你看過的湛藍星空 Watercolour on paper 紙面水彩 Set of 7 一套七幅 1. 11.5 ╳ 19 cm 2. 11.5 ╳ 19 cm 3. 30 ╳ 18 cm 4. 24 ╳ 19 cm 5. 23.5 ╳ 29.5 cm 6. 19 ╳ 24 cm 7. 19 ╳ 30 cm 2021

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FLORENCE LAM

Unerasure #8.4 (Brick wall by the staircase, Shek Lei Estate Bus Terminus) 還原 #8.4 （石籬邨巴士總站樓梯旁的紅磚牆） Screenprint on paper 紙面絲網印刷 50 ╳ 70 cm 2021

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9 Unerasure #8.5 (Brick wall by the staircase, Shek Lei Estate Bus Terminus) 還原 #8.5 （石籬邨巴士總站樓梯旁的紅磚牆） Screenprint on paper 紙面絲網印刷 50 ╳ 70 cm 2021

NATASHA CHEUNG 張穎曦

10 to prime II Carbon prints on glass, suckling pig head gelatin and bones, water, sugar, carbon black, light Kallitypes on paper, silver nitrate and ferric oxide, light 玻璃碳素印相、乳豬頭凝膠及骨頭、 水、糖、碳黑、燈光 紙上鐵銀印相、硝酸銀、氧化鐵、燈光 42 ╳ 29.7 cm 29.7 ╳ 21 cm Set of 5 一套五幅 2021

Voice Work 嗓 Performance 行為 2021

HOU LAM TSUI 徐皓霖

12 Hard Tongue on Pillow 硬舌軟枕 Single-channel video, soap 單頻錄像、肥皂 2021

part 1

DEC 2021 —— JAN 2022

50 57 65 68

Law Yuk-mui

Isabella Isabella

Eddie Cheung Wai Sum

Wong Wai Yin

COLOPHON 73

article

GUEST CRITIC

Law Yuk-mui received her MFA from the Chinese University of Hong Kong. She is the co-founder of the artist-run organisation Rooftop Institute. Using image, sound and installation as her mediums and adopting the methodology of field study and collecting, she intervenes in the mundane space and daily life of the city and captures the physical traces of history, psychological pathways of humans, the marks of time, and the political power in relation to geographic space. Her work has been extensively exhibited in Asia, including at VT Artsalon Taipei (2021); Art Tower Mito (2020); Jogja Biennale (2019); and Para Site, Hong Kong (2018), among others. Law received The Awards for Young Artist (Media Art category) of Hong Kong Arts Development Awards and the Excellence Award (Media Art category) of The 23rd ifva Awards in 2018.

LAW YUK-MUI 羅玉梅

羅玉梅於香港中文大學取得藝術碩士學位，是藝術家營運機構「天台塾」創辦 人之一。創作以影像、聲音和裝置藝術為主要媒介，以田野調查作為方法，介 入城市空間及日常，捕捉歷史的物理痕跡、人的心理軌跡、時間的形跡與地 緣政治的關係。她的作品於亞洲各地廣泛展出，包括於台北非常廟藝文空間 （2021）；日本水戶藝術館（2020）；印尼日惹雙年展（2019）；Para Site 藝術空 間（2018）等等。羅玉梅於 2018 年同時獲香港藝術發展局頒發藝術新秀（媒體 藝術）和第十五屆 ifva 獨立短片及影像媒體比賽（媒體藝術組）傑出作品獎。

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In the first convening for the 2046 Fermentation + Fellowships programme, Luke Ching—one of six facilitators—offered the following provocation, ‘What does the current generation of young artists think and care about in the aftermath of multiple movements and crises? In turn, how will the cultural production of today contour and reflect the face of the current epoch?’

It is in this first meeting that artist Hong Wah also proposed to his fellow artists, ‘What is the meaning of artmaking in this era?’

In A History of Pain, Chinese literature and cinema scholar Michael Berry describes the 1997 handover of Hong Kong from the British to the Chinese regime, the attendant anxieties of an uncertain future, and the resulting mass exodus in terms of an ‘anticipatory trauma.’ How do we begin to tend to our wounds in an age where anticipatory as well as centrifugal traumas overlap and multiply?

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BENEATH THE SALT AND SUGAR 鹽糖之後，時代鹹酸

第一次，六位「2046 醞釀獎助金」導師聚會，程展緯提出了一個問題， 「經歷連串的社會運動，這一代的年輕藝術家，他們在思考和關心什麼？這世 代的創作會反映怎樣的一個時代輪廓？」 第一次，十八位「2046 醞釀獎助金」藝術家聚會，劻華提出了一個疑問： 「在這樣的時代，創作的意義是怎麼？」 白睿文（Michael Berry）在《痛史》 （A History of Pain）將 1997 年的香港回 歸比喻為「預想的創傷」 （anticipatory trauma）—— 對未來盲目的恐慌而引發的 大規模遷徙（移民）。在這個「預想」與「離心」 （centrifugal）創傷交疊的時代， 有些傷口如何平撫？

Artistic production cannot resolve personal or social problems, but it can serve as a vessel in which you deposit, archive, and release; better still, it is a lens through which you realize that the problem is yet to meet a solution.

In the video installation another side, Rannie Ip Ka Man transposes a pink wall that separates the living room and bedroom in her home into the exhibition space. For Ip, pink is a colour that her mother granted and passed down to her. Her past work revolves around her mother’s identity as a Vietnamese refugee, and the inextricable ties suturing together the relationship between mother and daughter, family history, and history writ large. The mother and daughter as artistic collaborators instantly reminded me of Danh Vo and his father Phung Vo’s series of Letters. For both Vo and Ip, the professional trade and craft of the parent—calligraphy and painting—form the basis of the works.

The artwork description of another side concludes as follows: ‘Mother-daughter dynamics are tried and tested as each approaches the surface with the full force of memory and history behind each stroke.’ An intuitive follow-up question for me, then, was whether this occasion of collaboration brought about any changes to their dynamic. Ip was brutally honest in her reply, ‘No, it did not. I realized that the process of artmaking offers no guarantees in the navigation of relationship and intimacy; if anything, it swallowed me up and led to a certain loss of direction. Ultimately, if we were truly intent on bridging the impossible divides that we originally sought to resolve

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藝術創作無法解決個人或社會問題，但它可以是一個載體，讓你放下；或者讓 你看清楚問題沒有被解決。 葉嘉敏的作品《另一邊》，在展覽空間內仿製了家中一道區隔客廳與睡房 的粉紅色牆。葉嘉敏認為這個顏色是母親給予自己的，她過往的創作圍繞母親 曾為越南難民的身份，家族的歷史與母女關係成為了她的創作不可分割的情 感紐帶。這次母女以合作方式去創作讓我想起類似身份背景的藝術家 —— 傅 丹（Danh Vo）與父親傅溤（Phung Vo）的作品《信》 （Letters）。藝術家借父

母

的專業技能 —— 書法與油漆 —— 去創造作品。《另一邊》的作品描述提到「油 漆隨着母女各自的回憶一刷刷浮現，考驗着兩人之間的關係」。這讓我很自然 地追問，通過這次合作有沒有對二人帶來關係的轉變？葉嘉敏很真誠地回答： 「沒有，我發覺創作過程未必能處理這件事，甚至會迷失當中。若然要處理那 些現實無法解決的問題與分歧，並非在創作的範圍內可以做到，而是在現實中 需要更真誠的溝通。」

through artmaking, we have to focus on even more transparent and sincere communication in the first place.’

In The Forest Where the Deer Sleeps, Winsome Wong recaptured for nineteen times a piece of ‘effortless yet uncanny’ footage that she describes as ‘extremely important, and would be looped endlessly in the exhibition.’ By the ‘power’ vested in me as a facilitator of the programme, I asked the artist for the original footage. It turned out to be a twenty-minute video consisting of Wong’s travels across Hong Kong, Finland, Cambodia, Taiwan, Japan, Israel, Pakistan, Iceland, and other locales, or else occasional shots of the view from the inside of the aircraft cabin whilst flying over unspecified places. Amidst the images, one may glimpse some familiar sights, from helmet-clad figures running across the streets of Hong Kong to quotidian scenes of everyday life for an elderly individual, listening to Cantonese naamyam on the radio at home. The background noise of the footage is accompanied by Wong’s light strums on a guitar with snapped strings, along with soft cooings on a broken erhu and flute. There is no script, no narrative; it is unstructured and directionless. A staccato paces what seems like fleeting impressions, lulling the viewer into the artist’s own reverie.

For this reason, I wonder if the video in its original form—prior to mediation via re-recording and re-presenting—portrayed a sense of ‘burial’ as Wong had described in her own words. In the very least, it is clear that the act of recapture as burial is a ritualistic process for the artist. According to Wong, the

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黃慧心的作品《在森林酣睡的鹿》，將同一段她形容為「很重要，在展場會 不斷重播，太輕易，太奇怪」的錄像重複拍攝了十九次。我藉着「2046 醞釀獎 助金」導師身份

特權向藝術家索取了錄像的第一個版本。那是一段二十分鐘

的錄像，是黃慧心由 2014 年起，在香港、芬蘭、柬埔寨、台灣、日本、以色 列、巴勒斯坦、冰島等地或乘搭飛機時不知名地方的上空偶然拍下的片段組 成。當中有我們似曾相識、在香港街頭戴着頭盔奔跑的畫面，也有老人在家中 開着收音機收聽南音的生活日常。錄像本身自帶的環境聲音伴隨黃慧心的斷弦 結他、破爛二胡和笛子的輕彈、拉、吹。沒有文本，沒有敍事，非結構，漫無 目的，印象似的短促節奏，讓人不知不覺跟着藝術家的碎語消磨。因此，我 想像，沒有重拍這個動作，錄像本身是否已經有如藝術家所形容的「埋葬」感 覺？顯然「重拍

埋葬」過程是藝術家對自己的儀式。黃慧心坦言「剪接初期個

人正處於較情緒化的階段，這時就很需要與自己對話，讓自己接受已發生、經 歷的時刻，整合成較完整的思考」 。她認為作品成為了容器，把自己跟外界長 時間的情緒拉鋸裝了起來。這種拉鋸的力量一面來自周遭環境 ，「當聚焦到外 面、一些自己認同的意義時，自己同時未能應付時就會感到痛苦、失落，甚至 把自己混亂了。」

early stages of editing coincided with a relatively more emotional place in her life: ‘It is during times like these that I truly needed to speak to myself, to allow myself to process and accept what had already occurred and had been experienced, in order to approach a more complete, conclusive stage of thinking.’ The work becomes a vessel for this purpose, one that is voluminous and durable enough to hold the various frictions produced when effect comes into contact with affect over a long period of time. These tensions come from the artist’s surrounding environs, the pull of which Wong zooms in onto along with a set of meanings affirmed by the self; when the resulting information becomes too overwhelming to deal with, there is a sense of pain, desolation, and even a loss of self. All in all, this ‘requiem for the soul’ by Winsome Wong bears witness to the flash-second moments of passing, passing-by, and passing-through in a city that has irrevocably transformed yet clings onto certain images of its past self.

Salt, sugar, soap, the gaze, and the body: The end of times as a metaphor Herman Chan Ho Wang is one of the exhibiting artists of ‘Noble Rot’ as well as the performer in Hou Lam Tsui’s Hard Tongue on Pillow, in which salt and sugar are continuously sprinkled onto Chan’s tongue. I asked him what it tasted like when salt was mixed with sugar. He said it was savoury and sour: especially after being dissolved in saliva, the savoury sourness overpowers even the sweetness of the sugar.

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黃慧心這「安撫靈魂的曲」，閃過彼此有過的瞬間，縱然這城已經變得面 目全非，有些印象卻依稀盪漾。 鹽、糖、肥皂、凝望與身體。隱喻𥚃，淹沒歷史，埋葬時代。 陳浩泓是「貴腐」展覽的其中一位藝術家，也是徐皓霖作品《硬舌軟枕》的 表演者。在《硬舌軟枕》𥚃陳浩泓不斷伸出舌頭來承接從上灑下來的鹽和糖。 我問他鹽和糖交織是怎樣的味道，他說是鹹酸，經過口水的液化，鹽的鹹酸甚 至會蓋過糖的甜味。 《硬舌軟枕》借「地圖樣舌」這奇怪疾病的體徵（clinical sign）——「舌頭上 會出現凹凸不平、狀若地圖的紋路」打開對地緣政治、命名及小寫歷史的外圍 敘事。徐皓霖形容《硬舌軟枕》是「比較正經的作品」。作為她的導師，我知道 她對文字或語言相當敏感，《硬舌軟枕》就是某天母親回家時跟她說她朋友有 「地圖樣舌」這個疾病所誘發的連串好奇。進一步的資料蒐集，進而打開了更 豐富的想像、思考與批判。香港歷史的重量，命名作為征服與支配，鄭明河與 徐皓霖，故事與歷史 ……《硬舌軟枕》嘗試在輕重大小之間尋找平衡，如她所

Departing from the clinical symptoms of the ‘geographic tongue’, namely a condition characterised by ‘uneven, map-like pattern’ on the tongue—Hard Tongue on Pillow activates peripheral narratives on geopolitics, nomenclature, and histories. According to Tsui, this is one of her more serious works.

As her facilitator, I know that she’s very sensitive to text and language, and when her mother told her one day about ‘geographic tongue’, it set off a series of research, leading to further conjecture, reflection, and critique. From the historical baggage of Hong Kong, naming as a means to conquer and control, to Trinh T. Minh-ha and now Tsui, the work seeks a balance amidst different weights and scales. As Tsui puts it, ‘I like juxtaposing different things and their ensuing contradictions.’ At first glance, Hard Tongue on Pillow is unlike Tsui’s past work, such as Sticky Sweet Iterations, which was deeply entwined with personal history (Tsui was born in 1997). Salt, sugar, and soap are very intuitive choices, representing ‘heavy’ and ‘light’. Though salt and sugar are often broadly associated with imperialist economic exploitation in the world of contemporary art, intuition is important to an artist, too. We should accept the imperfection of the ball of soap, and once again, feel the warmth of our hands and the erosion of time on that fragment that at once resembles a tongue and a tectonic plate.

In Herman Chan’s The Endless Journey, the artist cast himself as sadomasochistic human furniture in various poses. Using a mirror to reflect the surveilling gaze into a corner on the ceiling, the work blurs the line between

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說：「我喜歡將各種事物並置，在當中呈現對比及反差。」表面上《硬舌軟枕》 好像不似其以往作品，像《甜膩的迭代》 （Sticky Sweet Iterations）與自身小史 （1997 年，她出生的年份）緊緊扣連。鹽、糖與肥皂作為非常直觀的選擇，那 是「重」另一邊的「輕」。縱然按當代藝術的解讀很容易會將鹽與糖拉扯到帝國 主義對殖民地的經濟掠奪等籠統的思考，但直觀對藝術家很重要。我們且讓那 個肥皂球不完美，就在那塊宛若舌頭又似地理板塊的碎屑，再一次，感覺手的 溫暖與時間的消磨。 陳浩泓的《未完之路》把自己編導成虐戀中人體家具擺出的不同姿態，利 用鏡面反射監視之眼到天花牆角，構造影像與空間的虛實，以達到藝術家形容 為「捉迷藏」的視覺追逐，也是對「權力關係的內在流動」的思考。對於以人體 家具姿態比喻為「將權力架構視為資本實體化的倒模」，我更好奇的是，當藝 術家回溯這擺拍的過程，那會是怎樣的身體經驗和感覺？陳浩泓形容「以前很 側重在作品中放大情感，自己想法又比較怪癖，會想太多，過往作品就加上比 較自我的符號，其他人當然未能理解」，他覺得這是「失敗」，我倒覺得是「失 焦」。特別是他多次提及變動對他的影響，而作品卻表現出自身跟當下的情感 距離。他補充「那使你哀痛或憤怒的沉澱物，就是我想從作品表現出來的。抽

physical space and virtual image in order to achieve what the artist describes as the visual pursuit of ‘hide-and-seek’. It is also a rumination on ‘the internal dynamics of power’. The use of human furniture as a metaphor for the ‘power structure as a mold by which capital takes a tangible form’ made me consider the bodily experience of the artist while he was creating the work. According to Chan, his past work ‘emphasised emotions, often dwelling on the eccentric’, and therefore, ‘others find it difficult to grasp the idiosyncrasies’. He considers this a ‘failure’, but I would say it was a lack of focus. He frequently mentioned the personal impact of social change, but there was an emotional distance between himself and current social circumstances as expressed through his work. Chan added, ‘Grief and anger precipitate in my work.

Dissociation maintains the purity of the work and its idiosyncrasy, so that the work is not tainted by sentiments, leaving room for the viewer to arrive at their own conclusions. The work on view in the exhibition is a thread through my experience in the past 22 months. Hardships remain, but some things have come to an end. These ebbs and flows tug at personal feelings and, simultaneously, reveal an ever more complex system behind power.’ The position of the viewer has perhaps inured Chan and his body to being a representative motif tethered to a framework of knowledge, making him forget to gaze back upon himself and blur the focus of his own emotions.

Law Yuk-mui 12 Jan 2022 56

離是要保持作品和自身符號的純粹，不被任何情緒渲染，由觀眾去思考作品所 帶出的結論和情感。今次的作品貫穿一些起伏與變動， 牽引着個人情緒同時 暴露了背後更複雜的機制」 。或許，這觀眾的位置，令陳浩泓把身體更早演練 成為符號表徵，約束在知識的框架之下，忘卻對自我的凝視，模糊了自身情感 的焦點。 羅玉梅 2022 年 1 月 12 日

Isabella Isabella was born in Hong Kong and grew up between Hong Kong and Chicago. Blurring the boundaries between dramatization, fantasy, intimacy, and violence, Isabella Isabella uses the human body as a vessel of romantic experiences and fragmented narratives to foster transformative encounters among strangers. Frequently generating participants’ uneasiness and vulnerability, she processes power structures in intimate relationships through live interactions in her work. Isabella Isabella holds a BFA from School of the Art Institute of Chicago (SAIC) and an MFA from Royal Melbourne Institute of Technology (RMIT University). She is the recipient of the 2014 Vice Chancellor list of Excellence from RMIT University and a participant of multiple performance festivals including the New Blood Festival in Chicago Cultural Centre. Isabella Isabella has also performed in Melbourne, Hong Kong, Singapore, and other festivals in the United States.

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ISABELLA ISABELLA

Isabella Isabella 出生於香港，在香港和芝加哥長大。Isabella Isabella 模糊了戲 劇、幻想、親密和暴力之間的邊界，將身體作為浪漫體驗和支離破碎的敘事方 法的載體，顛覆感官經驗。她讓參與者產不安與脆弱感，以現場表演去探討 親密關係中的權力架構。Isabella Isabella 由芝加哥藝術學院（SAIC）取得藝術 學士學位，並於墨爾本皇家理工大學取得藝術碩士學位。她曾在澳大利亞、香 港、新加坡和美國演出。

After reading the curatorial statement and writings related to this project, I think it is only appropriate to encapsulate the experience in the form of letters. A letter reveals as much about the subject matter as the author and the recipient. A letter is also an ongoing and open dialogue that is intriguing, powerful, and incredibly personal, which speaks to the core of this experience for me. Not only has this process allowed knowledge to accumulate, but it has also cultivated a relationship among practitioners. This strange yet intimate encounter is best to end with personal letters addressing the artists.

I have handwritten these letters first, and then transcribed them below.

These letters record what happened during the three brief yet moving conversations between the artists and I. They inform our relationships and also serve as windows for non-participants to glimpse what kind of fermentation has occurred in these meetings and how. Finally, these are, nevertheless, open love letters to show my love and support for these fellow female artists. Their lives are fueled by passion and relentlessness of going after the unknown.

THE WEIGHT OF WORK AND WORDS

10 Dec 2021 2021 年 12 月 10 日

工作與言語的重量

讀畢策展概念及展覽的相關文本，我想只有將自己的感受付諸書信才是最 恰當的回應方式。這些書信包含了寫信人與收信人的聲音，它們是一場持續且 開放的對話，是引人入勝、充滿力量的交談，亦是極度私密的分享，講述着我 內心深處的感受。與藝術家們的對話過程不僅是知識的積累，亦是藝術實踐者 間關係的深化。或許只有透過給藝術家們書寫私人信箋，才能為這些親密又奇 特的邂逅畫上句點。 我手寫了這些信札，再將它們轉錄下來。這些信札記錄了我與藝術家們三 次短暫卻充滿感動的對話，它們見證着我們的友誼，亦為觀眾呈現對話中「醞 釀」的發生與發展。此外，它們亦是我獻給這些女性藝術家們的公開情書，是 我對她們的愛與支持。在她們的生命中，我看到如此強烈的激情以及對未知的 追索。

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Dear Wing Sze, How your lively and never-ending world of stories intrigues me! The first time listening to you describe your body of work, I was in awe. So when you say you have a challenging time to put the world you are building into words, I understand.

I understand because I also find words limiting at times. I find my emotions are more than words can contain. I find only in the hope of combining marks, textures, sounds, and actions will it present the truth that I experience.

Don't despair when nothing seems to be enough. I, too, loathe things when they are too perfect. I think your world is so beautiful that it deserves to take up time and space in others’ lives. So I cannot stress anymore except encourage you to continue your curious exploration of texture and materials. Your majestic sculptures will only open room for narratives and complex emotions that words cannot communicate.

I adore the way you speak of metaphors and see poetry in objects. Thank you for sharing so thoughtfully and thinking of the weight of words at all times.

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WING SZE

10 Dec 2021

2021 年 12 月 10 日

咏詩

親愛的咏詩： 你那生機蓬勃、無窮無盡的故事世界總是令我心馳神往！第一次聽你講述 自己的創作時，我便欽佩不已。你說，用文字表達自己所創造的世界是十分艱難 的，我深感理解。 我有時也會感受到文字的局限，發現自己的情緒比語言更為豐富，只有結 合符號、質感、聲音、行動才有可能呈現自己的真實感受。 但是，不要為「不足夠」而沮喪。我也憎惡過於完美的事物。在我看來， 你的世界如此美好，它需要進入他人的時間與空間，觸動他們的世界。因此， 我無需贅言，只想鼓勵你繼續在質感與材料上探索實驗，你的雕塑將打開更多 文字無法溝通的敘事與複雜情緒。 你講述隱喻的方式、你在物件中發現詩歌的能力都使我深深着迷。感謝你 深刻的分享，以及你不間斷地對文字重量的思考。

Dear Ice, I woke up this morning thinking about the image of your shelf—and you jumping off of it. When you told me you were planning on a piece based on a childhood game, I didn't want to say it out loud, but I, too, for different reasons, have the image of jumping off in my mind lately. It is too real to say it aloud, but how moving and precious this image is to me!

An act of anti-gravity for a split second. A second of liberation. It speaks to fleeting moments like no other action, leaping off in the air describes everything precious in our lives—your hopes suspended in the air are in my mind as well. I am thrilled to hear that you will commit this action with great intensity, and I can't wait to see it.

And yes, the concept of repetition is an ongoing discussion for me. I have tried to avoid it by only staging a happening once in the past. I think you are so brave to confront the issue head-on and break waves when you are at it. The moment you are forced to react to the situation while performing is the most revealing and truthful thing you can do with your art.

Thank you for sharing a piece of yourself with me every time.

11 Dec 2021 2021 年 12 月 11 日

ICE

親愛的 Ice： 今天早晨睡醒時，我腦海裡還回閃着你的書架、和你從書架上一躍而下的 畫面。你告訴我，你準備基於童年的遊戲創作一件新作。我沒有立刻告訴你， 但我當時也（因為其它原因）立刻在腦海中浮現出一躍而下的場景。那畫面太 過真實，令我有些難以啟齒，但它對我來說是如此動人且珍貴！朝着空中縱 身一躍的行動是一個反重力的瞬間，一個自由的瞬間；它比任何行動都能揭示時 間的轉瞬即逝， 它映照我們生命中所有珍貴的事物——你的那些懸浮半空的願望 亦存在於我心中。真高興你將繼續深入探索這個動作，期待早日見到你的作品。 是的，「重複」的概念是我始終關心的話題。我一直盡量迴避它，在過去 的創作中，我僅僅呈現過一次偶發演出。你能夠直面並挑戰這個議題，實屬勇 敢。當你不得不一邊表演，一邊回應你的處境時，那正是藝術創作中最真實、最 具啟示的時刻。 感謝你，每次都真誠地與我分享，讓我不斷了解你。

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Dear Natasha, I am still picturing you on a pig farm and learning about animal fat.

And what a great conversation that was! Thinking of you going into Hong Kong farms and learning the trade of animal products.

Experimenting with gelatin as if it is an extension of ourselves. I love how you talked about the history of artmaking products and how much of that process informs your practice.

Let me know when you finally have time to make it to the farm, and I am still obsessed with the video of you putting lard on!

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NATASHA

31 Nov 2021

2021 年 11 月 31 日

親愛的 Natasha： 我還不斷在腦海中想像你在養豬場內研習動物脂肪的畫面。我們的對話真 是妙趣橫生！我們不斷想像你拜訪香港不同農場、了解動物產品行業的場景。 你對動物明膠進行試驗，並將它們視為我們身體的延伸。你為我講述藝術 創作材料的歷史和創作過程對你創作的影響，令我深受觸動。 如果你終於有機會去農場，請一定要告訴我。你在身上塗抹豬油的錄像我 至今仍難以忘懷！

Dear Jennifer, It seems fate has pulled us apart, and we have never had a good sit-down conversation, looked each other in the eye, and talked about the world of endless possibilities with your ambitious machine.

However, I was truly blown away in the brief moment we shared. I mean, the pressing machine in your mind—who wouldn't want to bear witness to that! As violent as the idea seems, it is also comical, hilarious, and audacious to press the audience during the opening. I would love to be the person who turns the roller indeed—I hope whoever is doing it is wearing a uniform!

You must be burying yourself deep in your studio and putting together the machine all through Christmas now! I can only wish you get all your funding for your vision, and I am looking forward to the machine of your dreams.

JENNIFER

12 Dec 2021 2021 年 12 月 12 日

親愛的 Jennifer： 命運似乎總是將我們拉開。我們始終沒能一起坐下、面對面地談天，聊聊 你那無畏無懼的機器和它的無限可能。 儘管我們相處的時間十分短暫，我仍舊被你深深震撼。誰不想親眼目睹 你計劃創作的壓力機！在展覽開幕上「壓扁」觀眾 —— 這聽上去既暴力，亦喜 感、戲謔、大膽。我非常樂意做操作機器的工人，但願到時工人們都會穿工 作服！ 我猜想聖誕節期間，你一定也還在工作室裡，投身於工作之中。希望你能 為這件創作籌得足夠的資金，我深深期待看見你實現這台夢想中的機器。

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Dear Florence, I am so sorry I couldn't make it to the opening and see you in person. I saw pictures of you, though, mouth open, gasping for air, which reminded me of the rehearsal last month. The intensity of air passing through one's body is always mesmerizing.

How do you feel?

I bet you have conquered the space with your body and filled it with the compelling sound that is inside you. Nothing is more charming than a body in action. An action captures the reasoning, the emotion, the history of the mind, and what more can art be? The present and presence seem to precede everything else.

I am forever enchanted by how people move, and thank you for being one of those endearing people.

With love and respect.

63

FLORENCE

12 Dec 2021

2021 年 12 月 12 日

親愛的 Florence： 抱歉我沒能來展覽開幕，並在現場觀看你的表演。我從相片中看見你嘴巴 張開，用力呼吸，這讓我想起你一個月前的彩排。空氣經過身體的強度總是令 人癡迷。 你現在感覺如何？ 我想你一定用自己的身體征服了展覽空間，並用你體內充滿力量的聲音充 盈了現場。你用身體的行動捕捉理性、情緒、心靈的歷史，藝術還能再更廣袤 嗎？你的表演令彼時、彼地成為超越一切的體驗。 人們的身體動作常常令我着迷，而你，正是這些讓人目不轉睛的人們之 一，謝謝你。 獻上我的愛與敬意。

Dear Vanessa, Exhaustion is a delicate thing in life. We exhaust materially, we exhaust mentally, and we exhaust our relationships.

I still remember the star tiles you drew for our second encounter. You said you tried to imagine the stars that your grandmother told you of her last memory. Yes, memory becomes our reality at times, and your thought of exhausting this memory between you and your grandmother is painfully romantic.

I wish we had more time to talk about the idea of absence and loss in your work. It became apparent to me when I saw the actual work. The intertwined relationship between absence and space is prominent in your practice, and I wish to look into it more in our brief encounters.

I also wish to see the grey and blue print series earlier; then, I could tell you how much I admired the seamless outline and the world's saddest shades of grey and blue in person.

Thank you for your tenderness.

VANESSA

12 Dec 2021 2021 年 12 月 12 日

親愛的 Vanessa： 「消耗」是生命中脆弱的一部分。我們不斷在物質上、精神上自我消耗， 與此同時，我們亦消耗着與彼此的關係。 我還記得，你在我們第二次見面時畫下的星形瓦片。你說，你在努力想 像祖母去世前告訴你她看見的星星的模樣。是的，有時候記憶會成為我們的現 實。而你試圖耗盡自己與祖母的記憶的想法，既令人心如刀絞，又浪漫無比。 真希望我們有更多時間來討論你作品中有關缺席與失去的概念。當我親眼 見到你的作品時，這些概念變得清晰無比。缺席與空間的糾纏關係十分顯著地 出現在你的作品中，我很想在我們短暫的邂逅中認真地討論這些話題。 我希望能早些見到你的灰藍版畫系列，我希望親口告訴你我有多喜歡那些 流暢的輪廓與世界上最憂傷的灰和藍。 感謝你的溫柔。

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Eddie Cheung Wai Sum obtained his BA in Chinese from Lingnan University in 2006 and MA in Cultural Studies from the Chinese University of Hong Kong in 2009. He concerns himself with the relationship between contemporary art exhibitions and artwork, as well as the problems arising from it. His work allows for a broader scope of interpretation in the discussion of exhibition practices.

Though art criticism is currently the focus of Cheung’s professional practice, he is also an artist and curator. He is a member of the Hong Kong chapter of the International Art Critics Association, and exhibitions curated by Cheung include ‘Collections of Tom, Debbie and Harry’ (Tai Kwun, 2018). He received The Award for Young Artist (Arts Criticism) of Hong Kong Arts Development Awards 2016 from Hong Kong Arts Development Council in 2017.

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EDDIE CHEUNG WAI SUM 張煒森

張煒森，2006 年取得嶺南大學中文文學士學位，2009 年獲香港中文大學視 覺文化研究碩士學位，現為「國際藝評人協會香港分會」會員。張煒森關注當 代藝術展覽與作品之間的關係，以及當中衍生的問題，藉此延伸展覽的詮釋空 間。現專注藝評等藝術書寫工作，亦為藝術家和策展人。策展項目包括「張三 李四收藏展」 （2018，大館）。2017 年獲香港藝術發展局頒發「2016 藝術新秀獎 （藝術評論）」。

‘Don’t let common sense win.’—Real, Inoue Takehiro Artists in their 20s are prolific in their ideas and their ways. They deploy various subject matters and mediums. Photography, readymade objects, or video installations have become mainstream, whereas traditional mediums like ceramics have become somewhat out of left field. Nonetheless, however eclectic the mediums are, the relationship between concept and materiality remains present. Artistic creation is the process through which concepts become embodied, and this process may implicate aesthetics as well as personal preferences and experiences. The relationship between artistic concept and medium can be reciprocal—one often spawns the other and vice versa. Where the alliance between concept and materiality is symbiotic, the work will stop us in our tracks.

The artists in ‘Noble Rot’ have mostly taken a humanities-based approach in their work, departing from personal experience and feeling—which is to say very subjectively. As a result, the works are rather candid. For example, many of them have responded to memories of history and the current times with a personal touch. This kind of personal encounter with the historical involves a vast amount of knowledge, not to mention time, when one dwells on historical records, visual elements, and personal feelings. A work lacking historical basis may read as hollow and superficial. This is my reflection on the current state of contemporary art, namely the tendency to wallow in a misplaced sense of historicity that backfires.

A GLIMPSE OF RESISTANCE 瞥見抗力

「不要輸給這個世界的常識。」—— 井上雄彥《Real》 幾位大多是二十來歲的藝術家，是創作的黃金期，也是想法太多、做法太 多的年紀。他們創作所涉獵的題材、媒介廣泛，切入點亦各有不同。攝影、現 成物或錄像裝置，早就成為習以為常的創作媒介，反而陶瓷一類傳統的藝術媒 介，漸漸成為非主流。然而，在混雜的媒介取向中，亦離不開呈現意念與物理 兩者的必然關係。創作大概是關於概念如何成為物質的過程，當中涉及美學 觀、個人喜好與經驗。而意念與藝術媒介之間，彼此存在着互涉的微妙關係， 既可從物料的性質或創作的工序中衍生意念，反之意念亦能假借物料性而發 聲。能令我們駐足細看的作品，意念與物料之間的關係往往密不可分。 再看藝術家們的創作取向，恰巧他們都將創作放到人文的本位上，以自身 出發，按個人的經驗或情感出發，沒有抽離自身，不將自己置身事外，化作研 究員着重資料搜集與分析。因此其創作還是相當率性，當中一個面向是將個人 的觸感聯繫到記憶與時代、歷史作回應。然而，這種個人與歷史的交匯，涉及 大量認知，最花功夫的往往需要從厚實的史料、視覺元素與個人感觸中不斷反 覆斟酌取捨。若找來的歷史討論或資料不足，作品便容易流於表面及堆砌，同

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With experience comes a methodological inertia that masquerades as ‘common sense’, which has a general dimension and a specific one. Generally speaking, this ‘common sense’ may refer to mere visual representation, like the neon works we keep seeing recently. Society has a consensus on aesthetic value and visual culture that determines the significance and value of a work, until a new set of aesthetic discourses and practices renews the old consensus. Specifically speaking, this ‘common sense’ refers to the personal touch in creation. Delightfully, young artists have their own approach to aesthetic practice, which the audience either notices or overlooks. Certain artistic treatment of visual elements in the show is frankly confounding, but it’s how artists of this generation resists and responds to ‘consensus’. Some of these ideas and practices may not always work in the context of an exhibition if not sometimes downright ineffective, but what counts is the relentless drive behind it. As unremarkable as early works by artists emerging into their careers could have been, the experience accumulated here may nonetheless translate into promise. In this way, these works that digress like branches are ‘effective’ in their own ways.

I remember I always used to contradict my teachers in art classes, because I didn’t think there was only one way of doing things, and that I could create a ‘new’ perspective with impact. Surely, nothing in this world is really ‘new’, but I reminisce on the futility in thinking so. Such is youth—taking swings against our current reality and landing blows with art.

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時反映出現時的藝術世界大都只樂於浮游於虛幻的歷史感中，甚至弄巧反拙。 當我們創作經驗愈多，我們愈是慣性尋找創作的方法學，也逐漸成為「常 識」與模範。它有其廣義狹義的成分，廣義可以單純地指視覺呈現，如早陣 子，我們總會看到一堆類近的霓虹作品。社會對美學價值與視覺文化總有一套 共識，決定了藝術作品的意義與價值，直到一些新的美學論述與實踐來更替。 而狹義來說，就是個人藝術創作的風格與手勢。可喜的是，年輕的藝術家們自 有一套美學的想法與實踐，觀眾總容易察覺（或忽略）。有些藝術處理總教人 看得莫名奇妙，那些視覺或藝術元素，也正是這代藝術家們對固有的回應與反 抗。這些實踐與想法，未必能在展覽中奏效，甚至在作品中毫無作為，但更重 要的卻是當中不朽的創作態度。初期的創作就算乏善可陳，對剛開展事業生涯 的藝術家來說，也能成為他們經驗的累積，或是引發出更多往後創作的可能 性。這些如枝葉般的創作卻是最為「有效」的。 記得以前上藝術課，總會否定導師的建議見解，覺得世界不止一條路，自 己總能創造出一種「新」的看法與視覺衝擊。當然「太陽底下無新事」，但在徒 勞下，那種態度還是值得回味。年少多好，至少在現實中，今天還看到他們敢 於以藝術實踐這拳頭還擊這現實與世道。

Wong Wai Yin graduated from the Chinese University of Hong Kong in 2004, and received her MA from the University of Leeds in 2005. Wong experiments with a variety of media, such as painting, sculpture, collage, installations and photography. Her work is about autobiographical experience, episodic memory, and intervention with art history. Recent solo projects include ‘Without Trying’, Spring Workshop (2016); ‘A place never been seen is not a place’, Oi! (2017); and ‘Everyone’s sick’, Tai Kwun (2020).

WONG WAI YIN 黃慧妍

黃慧妍 2004 年於中文大學藝術系畢業，翌年於英國列斯大學修畢藝術碩士課 程。她利用不同媒體創作，包括 繪畫、雕塑、拼貼、裝置和攝影等，作品以 關於自身經驗、個人記憶片斷以及對藝術史的詮釋為切入點。近年個展包括 Spring Workshop 的「不要太努力讓事情發生。」 （2016 年）；油街實現的「如果 沒有被你看見，這個地方根本不存在」 （2017 年）；和大館的「全部都有病。」 （2020 年）。

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At the opening reception of ‘Noble Rot’ I bumped into a friend, who warmly proffered, ‘I want to listen to your critique as well.’ I replied, ‘The young artists think I am mean.’ She continued, ‘What do you think about them so far?’ ‘I can’t say for sure. I’ve only met with them three times.’

In October, I was invited by Para Site to talk to a few young artists once a month about their new works, though I really didn’t think there was enough time for me to generate any ideas worth ‘fermenting’ per se. The invitation also made me reflect on the kind of advice and help I would have needed when I was a young artist myself, and what I can offer now for the next cohort. However, looking back, I remembered that young artists hated to be judged by their seniors. So, besides discussing the concept and actual execution of the work, I thought about what I could share with them as someone who has been working in the art field for twenty years. In the end, I decided to offer them one keyword for each meeting, which they may or may not find helpful in the future.

Keyword #1: Determination. A teacher of mine once told me that the first three years after graduation would be the most painful, so one needs determination to get through this rough patch. In my opinion, there are different types of pain in every stage of art making, but things might get easier if you have a steely resolve, and better yet, if you are self-sufficient and resourceful. I have yet to be able to do this.

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I HAVE YET TO BE ABLE TO DO THIS 這個我一直未做到

在「貴腐」開幕式上遇到友人，她親切地說：「我也很想聽你評論。」我說： 「年輕藝術家們覺得我好惡。」她續說：「覺得他們怎樣？」我答道：「我不太 敢說，因為只見過他們三次。」 在十月份時受 Para Site 之邀，跟幾位年輕藝術家討論作品，每月一次， 我真的不認為時間容許我拿甚麼跟他們發酵，也回想一下自己作為年輕藝術家 時，需要些甚麼意見或幫助。但是，一旦驀然回首，就想起年輕藝術家恐怕最 討厭所謂前輩說三道四。所以，除了作品概念和實際執行的討論外，我思考了 一下作為一個從事藝術工作廿年的人，可以給他們甚麼。於是，我決定每次會 面提出一個關鍵詞，或者以後他們會用得着。

Keyword #2: Contribution. The path of art making is endless, and for some reason, people have started to misunderstand that art is all about self-expression to the point of insularity. It is crucial to study artists whose practices are relevant to yours, and your work should engage with theirs while aiming for further contributions to the subject matter and the chosen medium. I have yet to be able to do this.

Keyword #3: Limitation. For instance: not enough time, not enough resources, not enough skill, unsatisfying location and space, lack of equipment, being a woman, being a man, being non-binary, being a mother, being a daughter, being a young artist, being a mid-career artist, the list goes on. Sometimes I almost think that artists belong to a profession that magnifies if not explores limitations, and that consequently we should enjoy these limitations in all their shapes and forms. I have yet to be able to do this.

The truth is, I don't believe that young artists need help. Once at a panel discussion of an exhibition, a teaching artist said that their students have never let them down. I immediately thought to myself, ‘Of course your students haven't let you down, but you’ve probably let them down.’ While I’m definitely not a ‘senior’, I can be a very critical viewer.

That's why I have the following pieces of advice for people like me.

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關鍵詞一：決心。以前有老師跟我說，畢業後三年最痛苦，拿出決心捱過 去。我認為創作在任何階段都有不同的痛苦，下定決心做下去，事情反而比較 簡單，更好的是下定決心要獨當一面。這個我一直未做到。 關鍵詞二：貢獻。創作漫漫長路，而且不知從何時開始，人們誤以為藝術 創作是為了表達自己，於是作品變得自說自話。研究與自己相關的藝術家，與 他們以作品對話，在題材或媒介使用上，要求自己作出貢獻吧。這個我一直未 做到。 關鍵詞三：限制。時間不夠、資源不夠、技術不夠、場地位置不好、器材 不足、作為女人、作為男人、作為第三性、作為母親、作為女兒、作為年輕藝 術家、作為中生代藝術家 …… 有時候我幾乎以為藝術家就是一個放大限制並 把限制展示出來的職業，而我們應該享受所有限制。這個我一直未做到。 其實我並不相信年輕藝術家需要幫助，有次在一個展覽的座談會上，有位 藝術家兼老師說他

她的學生從沒有讓他

她失望。心裡那個口沒遮攔的我

立刻在想：「學生當然沒讓你失望啦，不過你讓學生失望啫。」我一定不是「前 輩」 ，但恐怕是個很嘴賤的觀眾。所以在會面時會不斷忠告自己。

Suggestion #1: Don't be judgmental, don’t be overly assertive, and don’t make assumptions. I always recall that Hitler actually wanted to paint for the rest of his life and was refused admission by an art school, not because of a lack of talent, but because they thought he would be better suited to study architecture; if he had been admitted, perhaps he would have spent his life painting. Therefore, I really try my best to be thoughtful when I give any points of suggestion or guidance. Unfortunately, young artists may still think I am far too harsh and direct.

Suggestion #2: Don't be judgmental, don’t be overly assertive, and don’t make assumptions. The artists in my critique group mostly use video as their medium of choice, and they have a habit of documenting their daily lives. On the other hand, I only take pictures of cats, my son, and snapshots for social media. Therefore, it is only natural that our artistic decisions can be radically different.

Suggestion #3: Don't be judgmental, don’t be overly assertive, and don’t make assumptions. Whenever we learn about other artists, especially younger ones, we should allow ourselves to meet them a couple more times, look at their work a couple more times, and have a chat with them a couple more times. Ask ourselves first: How do we begin evaluation when the work and the artists themselves are still undergoing ‘fermentation’?

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忠告一：切勿斷言。永遠記得希特勒其實想繪畫度餘生，而且拒絕他的藝 術學院，也並不是說他沒繪畫天份，只是提議他讀建築更適合；假使一早給他 考進去畫畫，也許他就會多發展藝術，少發動戰爭。所以給人提議時我真的千 思萬想，可惜年輕藝術家們依然覺得我好衰，一針見血，萬箭穿心。 忠告二：切勿斷言。我負責的組別中的藝術家，多用錄像為媒介，而且常 有一邊生活一邊拍攝的習慣，而我的手機只會拍貓、兒子和社交媒體疑真似假 的照片，所以有些藝術上的決定，是徹底地不同了。 忠告三：切勿斷言。每次跟別人談到任何藝術家，特別是年輕藝術家，或 者我們應該再見他們三次，再看他們的作品三次，跟他們再談三句話，發酵途 中，又怎可能評價呢？

象提出批判性論述及理解的平台。

進在地與國際間的對話，希冀打造一個對當代藝術、社會現

成立宗旨在透過展覽、出版刊物及教育項目等活動，促

歷史最悠久、最活躍的獨立藝術機構之一。

Para Site 藝術空間為香港首屈一指的當代藝術中心，亦是亞洲

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia.

It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.

noble rot 貴腐

Erica Bibby Cherry Chan Leta & Paul Lau Levina Li-Cadman Tom Li & Michelle Tsui Dr. Ingrid Lok & Dr. Tim Li Khadinn Khan Doreen Merkel & Akshay Bajaj

贊助：

Max Moore James Neary Justin Ng Inna Rodchenko-Highfield & Tucker Highfield Fabio Rossi Claire Shea & Michael He

術家提供醫療和牙科保險，由以下人士及其他匿名人士的慷慨

除了參展藝術家薪酬，Para Site 藝術空間為參展的香港藝

展局全力支持藝術表達自由，本計劃內容並不反映本局意見。

「2046 醞釀獎助金」獲香港藝術發展局計劃資助。香港藝術發

2046 Fermentation + Fellowships is financially supported by the Project Grant of the Hong Kong Arts Development Council. The Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

Alongside artist fees to all participating artists, Para Site is offering medical and dental insurance coverage for Hong Kong artists in the exhibition, generously made possible by the following individuals and those who wish to remain anonymous: Cusson Cheng 鄭家醇 Celia Ho 何思穎 Kobe Ko 高穎琳 Ellie Tse 謝意 makkaihang design

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The 2046 Fermentation + Fellowships is generously supported by Para Site’s community through the proceeds of the 2020 Annual Gala as well as by Jehan Chu, Schoeni Projects, and Jacobo Garcia Gil. Miguel Badiola Borje Igor Chan Nicky Chan Tammy Chan Chan Wing Tung Cheng Lawrence Pak Lun Eddie Cheung 張煒森 Joseph Cheung Cheung Tsz Ki Yumi Cheung Luke Ching 程展緯 Fok Boy Ho Tzu Nyen 何子彥 Yanni Ho Cami Hui 許韻瑜 Miki Hui Vicky Ho Isabella Isabella Zandra Kong Jackson Kwong 鄺俊軒 Damon Lam 林遠圖 Carmen Lau 劉嘉汶 Jay Lau Law Sze Wing Law Yuk Mui 羅玉梅 Ringo Lo 盧永滔 H.G. Masters Qu Chang 瞿暢

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Hong Wah

Wong Pak Hang

Yuen Nga Chi

Wing Sze Ng

Ice Wong Kei Suet 106

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96 Jennifer Yue Yuen Yu

Tam Rafael Vun Kwan 122

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Tam Man Ching Michelle 114

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Chung Wing Shan (b. 1996 in Hong Kong) formed Popo-Post Arts Group in the same year of her graduation.

She believes artists can motivate each other to make art and continue observing society and the world in collectives. She is personally interested in borders, boundaries, and the power of space in Hong Kong as each helps us to understand place and history.

CHUNG WING SHAN 鍾詠珊

鍾詠珊（1996 年生於香港）於畢業那年建立了後後 - 後藝術群。鍾氏相信「群 體」擁有互相支援、支持，及互相影響對社會觀察的能力 。在個人方面，鍾氏 對香港的空間權力及邊界深感興趣，認為相關方面的創作及研究能加深自己對 歷史及土地的認知。

‘Speed is the form of ecstasy the technical revolution has bestowed on man.’

Travelling Without Moving examines the highway as a metric for a city’s development and a metaphor for the velocity at which it operates and needs to accommodate. The scenery along a highway zips across the field of vision with a flash; the user of the highway seems to only be accompanied by the consistency of noise barriers. Only the life-size stickers of birds remind the viewer that the endless and lifeless repetition of such screens is not a still picture.

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TRAVELLING WITHOUT MOVING 心馳神往

「速度這種狂迷的形式，是技術革命送給人類的禮物。」 《心馳神往》主要圍繞 公路作為一個城市發展的指標，暗示了一個城市運作及適應需要具備的速度。 公路上的景觀霎眼而過，只有隔音屏長期陪伴着駕駛者。對着了無生氣的隔音 屏，只有屏上的鳥兒提醒觀者這是一幅動態的畫面。

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Hong Wah (b. 1999 in Hong Kong) completed his practice of inner peace in the mountains of the Chinese University of Hong Kong. Now, he wonders how to breathe the chaotic air outside again. He believes that feelings of alienation can help us to investigate human reactions and the reality we live in. His artistic practice consists of drawing, video, and installation as he reflects on the relationship between drawing and ink, and the development of video into tools for today’s influencers. Elements of Chinese calligraphy and painting, including form, order, and traces of time in delineative language, can sometimes be felt in his work.

He curated the group exhibition ‘ －－：－－：－－ ’ in 2019. He was awarded the Grotto Fine Art Award and the Wucius Wong New Ink Art Award.

HONG WAH 劻華

劻華（1999 年生於香港）在 2021 年從香港中文大學的深山修行完畢，出山後 第一件事竟是煩惱重新入世。他相信在任何環境下，藉住異化能敲問現實真 偽、人類行為反應等。他的記錄和創作方式多以素描、錄像、裝置等手法呈現， 最近正探索「水墨素描」以及網媒對錄像的影響來反思媒介本身。書畫元素偶 爾會在他作品中體現，譬如線條美背後象徵的形變、時間的秩序和痕跡，務求 心態與作品一致，實現心中丘壑。曾策劃聯展「－－：－－：－－」 （2019 年）。 曾獲嘉圖藝術創作獎、王無邪新水墨創作獎。

As a child, Hong Wah accidentally taught himself pucker whistling. Even now, the artist does it all the time as it helps him to regain a sense of freedom. He has just begun practicing other types of whistling, like tongue whistling, and happened to record the exercises at the time. At the moment, he has only succeeded in making a few notes, but yearns to perform a melody that he has already composed in his head. How I Learn to Whistle in One Video therefore proposes the following: this is the most fundamental instrument of the body, and it is all one’s own.

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HOW I LEARN TO WHISTLE IN ONE VIDEO 我如何做到吹哨唔抹嘴

劻華小時候已經很隨意地自學成吹唇哨，並認為閒事能吹口哨是最自由不過的 事。劻華現在打算自學其他種類的口哨，譬如舌哨，並把學習過程記錄下來。 現時，幾乎成功練成完整幾個音之際，他已想要吹奏一段腦中浮現的旋律。 這是我們最基本的樂器，自己的身體，一個完全屬於自己的東西。

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SHHHHHHHHH 頭一次

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EARN IT 要隔一格

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Wong Pak Hang (b. 1995 in Hong Kong) obtained his BFA from the Department of Fine Arts at Chinese University of Hong Kong in 2018. Wong expresses himself through digital and 2D mixed media, including photography, video, painting, and installation. His work is related to contemporary city life. He believes art can represent humanistic concerns, pointing outwards towards civilization, and inwards towards fundamental humanity. Recently, he has been shortlisted for the 24th ifva Awards (Media Arts category), Young Talent of the Affordable Art Fair, and was selected by the New Light Exhibition Scheme of Lumenvisum.

WONG PAK HANG 黃百亨

黃百亨（1995 年生於香港）於 2018 年畢業於香港中文大學藝術系。黃氏的創 作涉及各類平面和數碼媒介，包括攝影、錄像、繪畫和裝置等媒介，尤以數碼 裝置為主，近年作品內容與現實生活和城市環境有關，以反映人文關懷為核 心，指向外在的社會文明和內在的人性。黃氏最近入圍第二十四屆 ifva 獨立短 片及影像媒體比賽媒體藝術組、Affordable Art Fair Young Talent，並獲選為光 影作坊「New Light —— 青年攝影創作系列」。

Situated between personal life and work life, the artist is interested in the temporality of the commute. Commuting is an ambiguous middle ground that simultaneously connects and separates private and public life, the home and the workplace. What the commute actually entails for each worker varies: some rest, others think, and still others space out. In this project, Wong accompanies peers from artistic backgrounds during their commute and talks to them about their current life and work. Conversations may touch on ideas and experiences of boredom, seeking, struggling, goals, and self-improvement.

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COMMUTING-TALKING 通勤 —— 談話

藝術家對通勤這處在個體生活和群體生活之間的時間段感興趣。通勤是私人生 活和公共生活之間的一種模糊狀態，從居所往返工作，包含了時間和空間流動 性。每個人利用通勤時間的方式不同，有人休息，有人思考或發呆。在此項目 中，藝術家介入同為藝術背景友人的通勤時段，與他們談論現時的生活和工 作，有無聊的，探求的，掙扎的，理想的和自我實現的。

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Ice Wong Kei Suet (b. 1995 in Hong Kong) obtained her BA in Visual Arts from the Academy of Visual Arts, Hong Kong Baptist University in 2018. By examining her personal experience in time and space, she takes the interconnectedness of nature and humans as her point of departure, working mainly with installation, live art, video, and drawing.

ICE WONG KEI SUET 黃姬雪

黃姬雪（1995 年生於香港）於 2018 年取得香港浸會大學視覺藝術文學士。作 品多以裝置藝術、現場藝術、錄像及繪畫作媒介，透過自身對時間和空間的探 索，探討自然與人類之間的互相聯繫。

How have we become inured to bearing collective pain and trauma? “-less” expands on the concept of learned helplessness through a ritualistic approach to repetitive and durational bodily acts. In psychology, learned helplessness refers to a feeling of a lack of control when one faces repetitive aversive stimuli: events that induce changes in behavior through negative reinforcement or positive punishment. As feelings and experiences accumulate, one may learn to accept given situations and their own powerlessness, even when alternatives are available. Paradoxically, some may enforce helplessness to increase their endurance under duress by reconstructing original habits and behaviors beyond recognition. Can we remember the cues of autonomy before chaos and distress demanded of us a gradual but total recoding of the body’s actions and responses?

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“-LESS”

我們從何時開始背負並習慣堆積起苦痛與創傷？ 《「-less」》沿用帶有重複性的 表演元素作為一個儀式並在「習得性無助」這個概念上展開。在心理學中，當 一個人反覆面臨反向刺激並且感覺事態已經到了無可控制的地步時，就會發展 成習得性無助，而反向刺激可以是負面強化或正面懲罰。正因如此，即使面前 擺着有可能扭轉局面的選擇，人們習得了接受不可控的事件和失控所帶來的無 助感。與其相悖的是，人們會強調在面臨壓力時的無助感來增強自己的耐力， 並毫無徵兆地改變自己的習性。在身體動作與反應被混亂與壓力完全改寫之 前，我們能夠記得自主的信號嗎？

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By drawing parallels with poetic imagery and pop culture references, Wing Sze Ng (b. 1998 in Hong Kong) discusses the metropolitan experience of suffering and sacrifice. She is the co-founder/editor of independent zine MYEW!.

WING SZE NG 吳咏詩

吳咏詩（1998 年生於香港）運用意象和流行文化符號，把都市生活、苦難、犧 牲混為一談。她共同創立了獨立小誌《MYEW!》 ，並為其編輯。

In this new series of commissioned artwork, Wing Sze Ng tries to address feelings and concepts that cannot be spoken. They are the excess of thought— rejected by language, illogical, nonlinear, and dead as soon as they leave our throats; often, they resemble crudeness and violence. Muted weeping goes hand in hand with calm malice. How can they be heard? How can they be felt?

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↑ : SPINE ↑：脊

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↑ : PUNCTURE ↑：刺穿

吳咏詩於一系列的全新委託創作中嘗試去處理那些不能言傳的感受與觀念。這 些是過剩的思緒 —— 遭語言唾棄、欠缺邏輯及非線性的思緒，一說出口即刻消 亡，近乎粗糙、暴戾。無聲的哭泣伴隨着安詳的惡意，要如何才能被聽見、被 感受？

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↑ : GASHES ↑：撕裂

Yuen Nga Chi (b. 1994 in Hong Kong) draws inspiration from the contradiction between living conditions and working experience. Through photography, she further examines the meaning of family and closely observes the repetitive analogies between humans and animals. Her work has been exhibited in Hong Kong, Singapore, Italy, and the United Kingdom.

YUEN NGA CHI 袁雅芝

袁雅芝（1994 年生於香港）從生活狀態與工作經歷的矛盾中汲取靈感。她透過 攝影審視家庭的意義，微觀我們與動物間反覆的類比性。其作品曾於香港、新 加坡、意大利及英國等地展出。

The Indo-Pacific humpback dolphin used to live near Lantau Island a long time ago. As urban development accelerated in Hong Kong, they began to migrate away. Trackers would observe and record their latest movements and also attempt to conserve their habitats. During this process, many of the dolphins have gone missing, that is if one assumes they have not met an untimely death related to human activity. This is why several commemorative statues have been erected in the community as if that makes up for their loss.

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BELOVED 親愛的

很久以前，中華白海豚會在大嶼山附近出沒。隨着香港的急速發展，他們也不 斷遷徙。監察團隊會記錄他們的狀況，亦曾嘗試保護他們的棲息地。在過程 中，很多海豚失蹤和意外身亡了。現在，區內豎立了一些海豚雕像，彷彿這樣 所有一切都可以被補償。

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LOOKING FOR YOU 尋找你

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I AM HERE 我在這裏

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Tam Man Ching Michelle (b. 1998 in Hong Kong) obtained her BA in Fine Arts at the Chinese University of Hong Kong in 2020. Her creative practices mainly involve mixed media, installations, and interventional practices.

She is stimulated by contemporary primitivity to explore the attachment recalled in humans amidst their ambivalence towards the world. Through her practice, she examines and explores the relationship among constructs and people with everyday objects, concurrently establishing her conversations with humanity and the cosmos. Her works have been shown in exhibitions and screenings including ‘A Clockwork Lai Chi’ (2020), ‘Fresh Trend’ (2020), and ‘Video Cypher’ (2019). Accepted into the ACO residency programme in 2020, she and several peers founded Ipseng, a local artist collective.

TAM MAN CHING MICHELLE 譚敏晴

譚敏晴（1998 年生於香港）在 2020 年畢業於香港中文大學藝術系。她的藝術 實踐主要覆蓋混合媒介、裝置和藝術介入。她受當代的原始性啟發，在人類對 世界的若即若離中探究被喚起的依賴性。譚氏多以日常物件審視和探索人與建 構的關係，同時建立她跟人文及宇宙的對話。她的作品於「發條麗姿」 （2021）、 「出爐」 （2020） 、「Video Cypher」 （2019）等展覽展出及放映。她在 2020 年獲 得藝鵠駐場藝術家計劃贊助，和幾位朋輩藝術工作者成立了藝術群體「業生」。

This video installation sprang from a prolonged course of restlessness and self-questioning. Amidst the turmoil of recent years, the artist attempts to trace back and account for absurdities and puzzlements. To trace things back is to zoom out—scaling backwards from where we are, our own viewpoint, and our areas of interest, in order to see an intricate web woven from a myriad of natures, cultures, subjects, and objects. Reimagining the history of refuge in nature, be it of hermits or defeated rebellions, the artist visualises a scene of refuge in the present, ensnared by a net knitted with experiences in life in the form of a video montage. While lullabies tend to include depictions of natural scenery, people also take refuge in nature.

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WHEN MOTHER NATURE SINGS HER LULLABY 月光光

此錄像裝置衍生自長期的躁動與自我猜疑。在近年的動盪中，藝術家企圖以作 品回溯各種荒謬及疑團。回溯即縮放 —— 退後審視自身的視角與興趣，從而 看清由無數個自然界、文化、主體與客體交織而成的網絡。透過重新想像回歸 自然的歷史 —— 或是隱世，或是逃亡 —— 作品以蒙太奇手法呈現出一齣落難 當下的劇目，被困於一張由生活體驗編織出的網。搖籃曲常常提及自然景觀， 人亦在大自然找到庇護。

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The artistic practice of Tam Rafael Vun Kwan ranges across sculpture, image, video, text, sound, and installation. He draws inspiration from the ghosts of society and objects he encounters.

TAM RAFAEL VUN KWAN 譚煥坤

譚煥坤的藝術實踐涵蓋雕塑、影像、錄像、文字、聲音和裝置。他從社會的鬼 魂和物件涉取靈感。

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The objects used in the two sculptures come from the artist’s miscellaneous collection of discarded materials, household goods, and taxidermy oddities.

Through the act of juxtaposing and altering, the objects reveal traces of human experience and a sense of loss, tracing an empty shell for ghosts to creep into.

11 L.O.

兩件雕塑作品內的物件為譚氏所收集的棄置物料、家居用品與標本。在藝術家 的並置與改裝下，這些物件揭示着人身體驗及一種失落感，勾勒出一副任由鬼 魂佔領的空殼。

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Jennifer Yue Yuen Yu obtained her BA in Fine Arts at Chinese University of Hong Kong. Yue focuses on figure sketching and printmaking techniques, believing the body contains memory and soul. Yue became an independent curator after graduation and founded Landescape1823, which brings art experiences back to artists through space, and has held site-specific art events since August 2020.

Landescape1823 was invited by the Museum of Site to curate its debut exhibition ‘A Clockwork Lai Chi’ at Jockey Club Creative Art Centre (2021). Yue has received the HKSAR Talent Development Scholarship (2020), HKADC Grant for Emerging Artists (2021), and Para Site’s NoExit Grant for Unpaid Artistic Labour (2020).

JENNIFER YUE YUEN YU 余沅榆

余沅榆畢業於香港中文大學藝術系。其創作以人像素描、版畫為主，相信身 體是靈魂所在擁有記憶。余氏畢業後成為了獨立策展人，在 2020 年 8 月創辦 了 Landescape1823（地逸一八二三），主張籍空間帶領藝術回歸藝術家，在香 港舉辦了多次地源藝術活動，2021 年獲得 Mueseum of Site 邀請於賽馬會創意 藝術中心策劃首次展覽「發條麗姿」 （2021 年）。余氏過去獲得政府頒發的「才 藝發展獎學金」 （2020）、「藝發局新苗藝術資助」 （2021 年），以及 Para Site 的 「NoExit 無償藝術勞動資助計劃」 （2020 年）。

In High Pressure Low Pressure, Yu produces and operates a ‘stress relief ’ machine based on the following premises: firstly, functional objects reflect the verisimilitude of our lives, reminding us of our proximity to others as well as our own labour; secondly, pressure is the force produced when one presses onto or against something continuously, or when one is subjected to an external force that applies a significant weight on an ongoing basis. Resembling a printmaking machine, the machine draws from the artist’s experience as a printmaker to create with and under pressure. Viewers are invited to experience the machine’s pressure as operated by the artist. For the artist, the labour of pressure and the evocation of fear and anxiety together reveal the form of true work.

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HIGH PRESSURE LOW PRESSURE 高低壓

在《高低壓》中，藝術家在以下前提下操作一部「紓壓」機器：首先，功能性物件 反映日常生活，提示我們與他人及自身勞動之間的親密；接着，壓力是發生在 兩個物體的接觸表面的作用力，或是外界在我們身心上的作用力。作品中的機 器看似版畫印刷機，自藝術家利用壓力，及在壓力下創作的經歷汲取靈感。作 品邀請觀眾體驗在藝術家操作下機器的壓力。對於藝術家而言，壓力下勞動與 隨之產生的恐懼、焦慮就是工作的真實狀態。

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CHUNG WING SHAN 鍾詠珊

WONG PAK HANG 黃百亨

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Travelling Without Moving 心馳神往 Single-channel video (5:44 minutes) 單頻錄像（5 分鐘 44 秒） 2021

Commuting-Talking 通勤 —— 談話 Video installation 錄像裝置 2021

HONG WAH 劻華

ICE WONG KEI SUET 黃姬雪

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How I Learn to Whistle in One Video 我如何做到吹哨唔抹嘴 Single-channel video (40 mins) 單頻錄像（40 分鐘） 2021

“-less” Performance 行為 2021

15 Shhhhhhhhh 頭一次 Mixed media on paper, lightbox 混合媒介紙本、燈箱 47 ╳ 65 cm 2021

16 Earn It 要隔一格 Mixed media on paper, lightbox 混合媒介紙本、燈箱 35 ╳ 50 cm 2021

WING SZE NG 吳咏詩

19 ↑ : Spine ↑：脊 Wood, yarn 木、棉線 190 ╳ 240 ╳ 310 cm 2021

20 ↑ : Puncture ↑：刺穿 Iron, wood 鐵、木 165 ╳ 170 ╳ 120 cm 2022

21 ↑ : Gashes ↑：撕裂 Epoxy, wood 環氧樹脂、木 230 ╳ 180 cm 2022

YUEN NGA CHI 袁雅芝

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TAM MAN CHING MICHELLE 譚敏晴

23 When Mother Nature Sings Her Lullaby 月光光 Video installation, cement, mesh, wire mesh, dried grass, digital frame, oyster shells, dog clothes 錄像裝置、水泥、網布、 粗絲網、乾草、電子相架、 蠔殼、狗衣 Dimensions variable 尺寸可變 2021

Beloved 親愛的 2021 ． Looking for you 尋找你 Multi-channel video (7 minutes) 多頻道錄像（7 分鐘） ． I am here 我在這裏 Digital Print (set of 3) 數碼打印（三組） Dimensions variable 尺寸可變

TAM RAFAEL VUN KWAN 譚煥坤

24 11 Taxidermy bird, polyurethane foam 鳥類標本、膨脹膠 15 ╳ 17 ╳ 8cm 2021

25 L.O. PVC pipe, T-shirt, engine oil PVC 喉管、T 恤、機油 20 ╳ 140 ╳ 11cm 2021

JENNIFER YUE YUEN YU 余沅榆

26 High Pressure Low Pressure 高低壓 Mixed-media installation 混合媒介裝置 110 ╳ 85 ╳ 100 cm 2021

part 2

MAR —— APR 2022

2046 fermentation+ fellowships

The 2046 Fermentation + Fellowships aims to provide a collective safe space for learning and thinking as well as financial support for Hong Kong artists in the first years of their artistic work life. The programme is imagined as a response to the current scarcity in community support platforms and critical spaces for artists, particularly in the first years after graduation. Taking as reference Para Site's 25 years in the arts community since its founding in 1996, the title of the programme looks forward to 25 years from now, to the year 2046, and to a future we hope to build on the basis of collective care, nurturing, and solidarity.

The participants were selected by a jury composed of the six facilitators who are joining us for the inaugural edition: Luke Ching Chin Wai (artist, Hong Kong), Ho Tzu Nyen (artist and filmmaker, Singapore), Law Yuk-mui(artist, Hong Kong), H. G. Masters (writer and editor, Hong Kong), Charwei Tsai (artist, Taiwan) and Yang Yeung (scholar, writer, and curator, Hong Kong), as well as Celia Ho (Para Site Curator).

In addition to facilitator Law Yuk-mui, guest critics Isabella Isabella, Eddie Cheung, and Wong Wai Yin have contributed reflections to the catalogue. Together, this series of contributions extend from individual as well as small-group critiques of works in progress over the course of October to December 2021. Revisiting core concepts and questions that emerged throughout sustained conversation on artwork production, the collection offers a glimpse at the speculative, critical, and imaginative possibilities of “fermentation” itself––the organizing principle of the exhibition and fellowship programme. What may “fermentation” offer today for cultural producers looking for new modes of intervention and presentation in a

climate of ever-deepening dread? What are previous generations of practitioners able to take away from “fermentation” alongside their younger counterparts? What might “fermentation” mean for the near futures of independent and collective making under a rapidly shifting landscape of power?

間的一對一及小組評論，回顧討論中關於作品製作的核心觀念與問 題。本展覽與獎助計劃圍繞「醞釀」展開，所以在場刊各文章中，讀 者將看到對於「醞釀」的各種猜測、批判及想像。在當下日益令人生 懼的氛圍下，文化生產者能否於「醞釀」的概念中尋獲新的手法去介 入、呈現作品？上一代的藝術家又能否與新一代一起，於「醞釀」中 汲取靈感？在變幻莫測的權力生態中，「醞釀」在不久的將來對於獨

關藝術實踐及藝術經濟的基本問題的同時，亦會獲得 Para Site 策展

團隊，以及本地及國際知名藝術業界導師們的支持。本次計劃對藝

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