Soil and Stones, Souls and Songs

677 King’s Road, Quarry Bay Hong Kong 香港鰂魚涌英皇道 677號 榮華工業大廈 22樓

T +852 2517 4620 F +852 2517 6850 info@para-site.org.hk

Wednesday to Sunday, 12 – 7 pm Closed on Monday, Tuesday and public holidays Extended opening hours at Para Site during Art Basel: Monday to Sunday, March 20–26, 2017, 10 am – 7 pm 星期三至日 , 中午 12 時至晚上 7 時 星期一、二與公共假期休息

巴塞爾藝術展期間 2017年 3月 20–26日

展覽時間延長至星期一至日上午10 時至晚上 7時

18.3 –––––––––––––––– 11.6.2017

22/F, Wing Wah Industrial Building

土 SOIL AND與石

STONES, 靈 SOULS 與 AND 歌 SONGS

土 SOIL AND與石

STONES, 靈 SOULS 與 AND 歌 SONGS 18 March – 11 June, 2017 2017 年 3 月18日 – 6 月11日

SOIL 土

AND 與

1 Introduction 展覽介紹

Rooftop 天台

22樓 /F

P

11 Sammy Baloji 12 Mariana Castillo Deball

22樓/F

13 Kawayan de Guia 14 Jimmie Durham 15 Josh Faught 16 Edgar Fernandez 17 Meschac Gaba 18 Gendun Chopel 更敦群培

18 樓/F

19 Simryn Gill 20 Sheela Gowda

22 He Xiangyu 何翔宇

23 Ho Siu-Kee 何兆基

24 James T. Hong 洪子健 25 Peter Kennedy + John Hughes

27 Li Ran 李然

18樓 /F

28 Prabhakar Pachpute

44 Pio Abad

29 Pratchaya Phinthong

45 Tarek Atoui

30 Motoyuki Shitamichi 下道基行

46 Simryn Gill & Ho Siu-Kee 何兆基

31 Valerie Snobeck

47 Taloi Havini

32 Tru’o’ng Công Tùng 張公孫

48 Ocean Leung 梁御東

#parasitehk

49 José Maceda

#soilandstones

33 Wang Gongxin 王功新 34 Haegue Yang 梁慧圭

50 Reetu Sattar

35 Trevor Yeung 楊沛鏗

51 Chulayarnnon Siriphol

36 Tuguldur Yondonjamts

52 Walter Smetak

38 Dominique Zinkpè

53 So Wai-Lam 蘇瑋琳

Rooftop 天台 58 Towards A Mystical Reality

邁向一個神秘現實

@parasite.hk

40 A Tale: The Land of Fish and Rice 54 The Phantom Modern

漁米之鄉記

ara Site is delighted to present Soil and Stones, Souls and Songs, a major traveling and transforming exhibition based on several intertwined lines of tension and narratives found today in the realities, artistic and cultural production, and contemporary thought in the Asian sphere and beyond. It is constructed on a spectrum of art practices, new commissions, case studies curated

by Yongwoo Lee, Qu Chang, and Simon Soon, and experiments on forms and processes addressing, directly or symbolically, several broad categories of issues. These can all be traced to the seismic forces that have transformed the world over the past decades, with Asia being at the forefront of these changes. Presented together with KADIST, the exhibition is curated by Cosmin Costinas and Inti Guerrero and it was first presented in a different configuration at the Museum of Contemporary Art and Design in Manila.

The unleashing of the forces of the global market in the region has modified the forms of production, labour, landscape and environments, as well as wider societal structures across the continent. The anxieties of the new world, and the often competing aspirations of these reshaped societies are in search of new forms of imagining the political, of new ideas meant to give sense and direction to the changing realities. Many of these ideas try to position themselves in opposition to liberal democracy—perceived as foreign—or even outside of the parameters of Western modernity, often creating complex and hybrid ideological projects. Sometimes continuing ideas from the anticolonial struggle and from the postcolonial nation building process, these ideological projects are nevertheless very current adaptations to the region’s rejuvenation and to what is seen as the crisis of the West. In this respect, there is a thread uniting as disparate ideas as the neo-Confucianist revival of the Communist Party in China to new ideas about what it means to be indigenous across the colonized world, from Melanesia to the Americas, passing through what appears to be a more conventional resurgence of nationalism in different countries. This latter phenomenon has catalysed revisionisms of historical issues and of various founding myths (of communities and of the world itself) in the face of historical and ecological threats, leading to a general horizon of anxiety. This fear extends however beyond Asia, finding a fertile ground in a world marked by a loss of certainties, by the anxiety of a shifting geopolitical order in the postcolonial and post-Cold War Era, and by the unease and violence often accompanying the transformation of traditional economic and cultural patterns.

21 Ion Grigorescu

26 Li Binyuan 厲檳源

石STONES

現代魅影

靈

與

歌

1

SOIL 土

2

AND 與

How can an art exhibition convey this? How can forms, objects, and matter translate the contextual anxieties we are pointing out? How can the infinite complexities of the horizon over our continent be translated, not to mention the complexities defining the actual object and spectre named China, which appears at the centre of these issues? The exhibition attempts to address these through several interrelated threads, as well as through a number of separate case studies that compose a kaleidoscopic vision of our subject. It is also particularly attentive to aesthetic vocabularies and to how the search for an outside to Western modernity has been reflected in the references or the forms employed by artists of various generations and geographies. While many of the stories traced are occurring within Asia, the exhibition also tries to understand the transformations happening on our continent by tracing their echoes, resonances, and mirrored shadows outside its shores, near and far.

A body of works in the exhibition looks at the convulsions of societies affected by extractionist economies, often implemented by dominant multinational corporations, as a continuation of past colonial projects. In many of these contexts the deep transformation of landscapes as well as of communities, encounter and clash with traditional ideas on the use of and relation with the soil. Some contexts experience the dislocation of indigenous cultures more radically and violently than others, from the Aboriginal communities in Australia, discussed in Peter Kennedy and John Hughes’ historical film, to the complex consequences in the Pacific island of Bougainville, addressed

by Taloi Havini. In the Philippines or India, reflected in the work of Edgar Fernandez and in the new commission by Prabhakar Pachpute, respectively, the struggles related to mining are entangled in broader social issues.

The works of Simryn Gill connect the profound transformations of landscapes by mineral extraction, to the equally severe consequences of mass scale palm oil production. The deep anxiety felt in Mongolia towards the excavation of its territory (by China or its agents) is often gendered and sexualized, being associated with the fear that Mongolian women (metaphors of the sacred motherly soil) will be impregnated by Chinese men. Tuguldur Yondonjamts’s works playfully and ironically reveal the allegorical imagery behind the anxiety in both its historical and current manifestations in Mongolia. China itself experienced such a deep conflict between the understanding of soil as a fundamentally spiritual landscape and as a resource, at the beginning of its modern era, illustrated in the late Qing dynasty’s reluctance in building railroads, in order not to disturb the ancestral graves and the feng shui of its territory. Soil and agriculture, together with the issues of land rights and the complex rural-urban dynamics across Asia is present in the works of Li Binyuan, Tru’o’ng Công Tùng, alongside the aforementioned works by Simryn Gill. A Tale: The Land of Fish and Rice, the case study curated by Qu Chang, looks at the connections between soil and agriculture, history and territory, indigenous communities and spirituality, and the rapidly shifting identity of Hong Kong. The city is further discussed through the works of Ho Siu-Kee, So Wai Lam, and Ocean Leung, with a particular attention to its accelerated process of self-interrogation and radical political imagination in the post-Umbrella Revolution years, making it into one of the sites where anxiety for the future and competing attempts to address it are felt more acutely.

Soil is the practical, symbolic and often sacred home of the nation, the repository of its history, as well as its most valued economic asset.

The exhibition presents the soil in its multiple understandings, from that of a concrete (albeit spiritually invested) landscape, to its physical and no less sacred quality as an object, as well as to its conceptual form as a crucial element in defining a nation. The exhibition also introduces environmentalism as a growing determinant of cultural phenomena, while expanding the geographical implications of Asia, to its inner and outer peripheries in the Pacific, and beyond.

靈

石STONES

與

歌

3

SOIL 土

4

AND 與

The deep feelings of anxiety in the region are analysed through phenomena connected to the resurgence of nationalisms, with all their founding myths, insistence on ethnicity, territory, common stories, and souls, particularly manifested in the fractured social body of Asia with its anxieties of complex ethnic landscapes, oscillating between agonistic conviviality and the spectre of violent antagonisms. These ideological instrumentalisations of history and national narratives are being questioned throughout Asia by artists such as Chulayarnnon Siriphol looking at the deep divisions in Thailand in recent years and at how nationalist narratives play along this divide; Pio Abad dissecting the toxic legacy of the Marcos regime in the politics and culture of the Philippines in a work that has recently transformed in response to the undignified reburial of Ferdinand Marcos in the Heroes’ Cemetery in Manila; and by Motoyuki Shitamichi tracing the remains of toriis, sacred Shinto gates in various parts of Asia and the Pacific occupied by Japan in the Second World War, bringing thus in the discussion the relics of the last tragic attempt of a new Asian order with Japan as its hegemony. Li Ran’s piece alludes ironically to China’s new hegemonic position and the insecurities associated with the cultural manifestations of this position of power.

The Phantom Modern, the case study curated by Yongwoo Lee, offers a broader context for the convulsions of modernity throughout Asia, navigating from history to spirituality and popular culture.

石STONES

Another segment in the exhibition looks at the works of Tarek Atoui, José Maceda, Reetu Sattar, and Walter Smetak, in which experimental music compositions use ethnographic instruments, or newly created ones, as in the case of Atoui, to bring together a nativist folkloric element as well as a neo-avant-garde method. The work of Mariana Castillo Deball, and of veteran artist and activist Jimmie Durham are striking commentaries about the ambiguities behind the narratives of indigenous cultures in today’s world. Josh Faught’s work alludes to a more contemporary process of building a community within a broader mainstream society, in the American post-AIDS queer community. Hybridity, cultural conflict, and layering pervade the works of Kawayan de Guia and Dominique Zinkpè. Ion Grigorescu’s works reveal his negotiations of the national, the individual, and the spiritual in the Romanian context, which alongside other parts of Europe sees its cultural legacy at least partially removed from hegemonic Western modernity.

In a similar line of deep spirituality and blasphemous inquiry sits the rather unacknowledged drawing impressions of a trip to India by Gendun Chopel, a Tibetan modern artist, writer, and monk of the first half of the 20th century, who became fascinated with the tropical version of Buddhism in the South, while creatively and sometimes scandalously juggling between his religious beliefs and a desire towards modernity. Pratchaya Phinthong’s discreet piece is a poetic commentary on the distortions of scale and distance in the world, brought about by the great unsettling of the past decades. The works of artists such as Sammy Baloji, Meschac Gaba, Sheela Gowda, He Xiangyu, James T. Hong, Haegue Yang, Trevor Yeung, Valerie Snobeck, and Tru’o’ng Công Tùng mentioned before, explore, each in its own ways, the multiple cultural implications of objects and matter, of natural and cultural items, in the rapidly industrializing and urbanizing contexts in which they each work.

The works in the exhibition are not only meant to translate narratives, they are assembled to reveal the position of forms, matter, objects, and language in resonating these conflicts and world views. The identification of cultural specificity through visible formal codes remains a deep reflex in our contemporary world, and while artists in the show operate on different formal avenues, dissidence from a single canonical art history is a unifying thread of their artistic practice. The case study curated by Simon Soon, revisits the seminal 1974 exhibition by Malaysian artists Redza Piyadasa and Sulaiman Esa, Towards a Mystical Reality, a major moment in the history of conceptual art in Asia. Conceived as a manifesto exhibition, it explored the ideas on the art object of what the two artists regarded as the “Western” neo-avant-garde and how these related to conceptions of reality, matter, and objects in Asian philosophies and spiritual systems.

The 1974 exhibition has been a relevant and influential example of local references being summoned for the production of modern cultural projects that see themselves as distinct from a Western model.

— Cosmin Costinas and Inti Guerrero

靈

與

歌

5

SOIL 土

AND 與

P

ara Site 隆重呈現大型巡迴展覽《土與石 , 靈與歌》。

對於一個國家而言 , 土壤是實質上和象徵性的代表 , 而且往往被視

化生產 , 以及當代思潮中連串錯綜的緊張關係和敘述線索 ; 以

現土壤的多重表徵 , 包括具體的地貌（遑論挹注的精神意涵）, 成為

本展起源於散見當今亞洲與其他區域的社會現實、藝術和文

為神聖的國土、歷史的蘊藏以及最有價值的經濟資產。本次展覽呈

藝術實踐和全新創作以及李龍宇、瞿暢與孫先勇所策劃的個

物件時所代表的材料性與神聖性 , 以及作為定義國家概念的關鍵元

案研究做為建構基礎的光譜 , 同時針對不同分類下重要議題

素。另外 , 環境主義作為日益升溫的文化現象也被納入展覽中 , 同時

的進程和形式進行直接或象徵性的實驗。這些全都可回溯過

將「亞洲」的地域概念擴展至泛太平洋區甚至更廣的地域範疇。

去數十年來改變全球局勢的巨大力量 , 而亞洲在面對這些變

展覽中的一系列作品呈現了萃取經濟（採礦業或原物料經濟）影響下的

革下首當其衝。本展與卡蒂斯特藝術基金會聯合呈獻 , 康喆明

社會震盪 , 這些由佔據主導力量的大型跨國公司所帶來的影響 , 亦是對

及 Inti Guerrero 共同策劃。該巡展首次呈現於馬尼拉藝術與 設計美術館（MCAD）。

過往殖民地項目的延續。在展覽的許多個案中 , 地貎和社區的深刻變革 ,

土壤的使用和關係往往與傳統觀念產生碰撞與衝突。其中一些案例呈現

了較為激烈與暴力的本土文化錯位 , Peter Kennedy 和 John Hughes 的歷史影片描述澳洲原住民社群 , 以及 Taloi Havini 在作品中對太

全球市場在亞洲地區所造成的影響不單改變了生產、勞動、地景和環

境的形態 , 亦為整個洲際帶來更廣泛的社會結構轉變。新世界催生的

焦慮 , 還有新型態社會中互相競爭的渴望 , 皆在尋索一個新的政治想 像 , 希望透過新觀念來為瞬息萬變的現實找到意義和方向。而這些觀

平洋布干維爾島複雜形勢的揭示 ; Edgar Fernandez 和 Prabhakar Pachpute 的委託新作中 , 分別反映了菲律賓和印度地區的採礦業抗爭

外的對立點上 , 以致時常創造了各樣複雜和混種的意識形態。這些意

化與大規模棕櫚油生產所帶來的嚴重後果。蒙古對土地挖掘（往往由中

微妙地對應著現時的亞洲復興或對立的西方危機。為此 , 各地湧現了

婦女（神聖土地母親的隱喻）可能被中國男性侵犯致孕的恐懼 ; Tuguldur

念嘗試將自身定位在被視為外來的自由民主制度 , 或西方現代性範疇

6

石STONES

以及延伸的社會議題 ; Simryn Gill 的作品連結了礦產開採下的地貎變

國及其代理人主導）的焦慮反射了對性與性別的想像 , 譬如他們對蒙古

識形態有時延續反殖民抗爭的理念 , 和後殖民主義的國家建設進程 ,

迥然不同的新理念並在同一脈絡下聯繫著彼此 : 不論是中國共產黨的

Yondonjamts 在作品中便揶揄了蒙古在歷史和現實層面的焦慮及其背 後的寓言式想像。與此同時 , 中國在邁向現代化之初 , 也因土壤作為具有 靈性的地貎和可利用資源的雙重價值產生了強烈的衝突 ; 清朝末年 , 中

新儒學復興 , 或本土性在殖民世界的新意義 , 從美拉尼西亞到美洲 , 在

不同的國家中流傳著看似更保守的民族主義復興；而後者在面對歷史

和生態的威脅下 , 催化了歷史議題以及來自社群及創世神話的修正主

國因不願打擾祖墳和影響風水而拒絕修建鐵路。厲檳源和張公孫的作品

後冷戰時期由於地緣政治軸心移動而引發的內在衝突 , 以及經常伴隨

延續了 Symrin Gill 的線索 , 探討亞洲各地的土地和農業問題 , 其中包 含土地權利以及複雜的農村與城市關係。瞿暢所策劃的個案研究《漁米

世界中找尋到了肥沃的土壤 , 發芽生長。

不斷變化的身份認同。何兆基、蘇瑋琳和梁御東的作品則進一步探討本

義，進而導致全面性的焦慮。這些恐懼延伸至亞洲以外 , 通過後殖民和

之鄉記》則連結起土壤和農業、歷史和領土、本土社群和精神性以及香港

著傳統經濟和文化模式轉型而來的不安與暴力 , 在逐漸失去確定性的

港議題 , 尤其是雨傘運動之後的自我盤審過程和激進的政治想像 , 使得

於此 , 一個藝術展覽該如何傳達這些意念 ? 形式和物質該如何詮釋我

香港對未來的焦慮以及爭相呈現這一迫切性的需求都越顯劇烈。

們上述所指涉的焦慮 ? 我們所處之地的無限複雜性該如何被轉譯 ? 特

別是當「中國」處於這些議題的中心時 , 欲定義其特定實體及光譜的複

在亞洲充滿裂痕的社會結構、複雜的民族景圖、激烈狂歡與暴力對

雜度更是難上加難。此次展覽嘗試透過相互交織的主題來疏理上述議

抗的搖擺中 , 透過民族主義以及各地起源神話的復興 , 對民族性/領

題 , 並與多項獨立個案研究一同拼湊出多樣交織的討論視角。展覽聚

土/集體故事/靈魂的堅決態度 , 一種深切的焦慮感得以充分展現。這

焦美學語彙的使用 , 以及在探索西方現代性外如何從不同世代和地區

些對歷史的意識形態化和國家敘事在亞洲受到各地藝術家的質疑 , Chulayarnnon Siriphol 的作品探討泰國近年如何因為民族主義崛 起造成的巨大分裂 ; Pio Abad 剖析了馬可斯政權對菲律賓政治和文 化的遺害 , 作品回應將馬可斯遺體在馬尼拉英雄公墓重新下葬的不恥 行為 ; 下道基行透過尋找第二次世界大戰中日本在亞洲和太平洋地區 所建立的鳥居遺跡 , 從而討論日本試圖建立亞洲新秩序並成為亞洲霸 主的悲劇性嘗試 ; 李然的作品則以諷刺方式呈現中國的新霸權地位 ,

藝術家的創作中產生對照及形式上的回應。儘管許多議題發生在亞洲 境內 , 本展也試圖藉由尋跡歷史的迴響和共嗚 , 從亦遠亦近的彼岸所 映照出的影子 , 繼而探究並理解洲際間的變化。

以及此權力的文化表現所揭露的不安全感。由李勇宇所策劃的個案研 究《現代魅影》則從歷史延伸至靈魂性與大眾文化 , 探討整個亞洲的 現代性抽搐。

靈

與

歌

7

SOIL 土

AND 與

石STONES

展覽中的作品不僅為了傳達敘事 , 同時也表達這些衝突和世界觀在 不同形式、物質、對象和語言下所產生的共鳴。透過可見的形式

代碼來定義文化特性仍然是我們對當代世界各種事件發生的條件

反射。雖然展覽中的藝術家各自在不同的途徑中創作 , 但他們的藝 術實踐亦呈現著相似的脈絡 , 即對單一正統藝術史的不同見解。

孫先勇策劃的個案研究回顧了馬來西亞藝術家 Redza Piyadasa

和 Suleiman Esa 在 1974 年的展覽《邁向一個神秘現實》, 該展是 亞洲觀念藝術史上的一個重要里程。作為一個宣言式的展覽 , 兩位

藝術家針對所謂「西方」新前衛主義的藝術物件進行探索 , 並與亞洲

哲學及精神體系的現實、物質及物件對象觀念進行連結。1974 年的

展覽作為一個極具對照性與影響力的案例 , 呈現了本土材料對現代 文化的參與 , 並生成區別於西方模式的產物。

展覽另外展出了 Tarek Atoui、José Maceda、Reetu Sataar 和 Walter Smetak的作品 , 他們以民族樂器 , 或自製而成的樂器譜寫實

22樓/F

驗音樂。Atoui 的作品結合了本土民俗元素與新前衛音樂 ; Mariana

8

Castillo Deball 及資深藝術家／行動主義者 Jimmie Durham 則對當 今世界原住民文化論述背後的模糊性進行了強力的批評。Josh Faught 的作品隱晦當今主流社會中 , 美國同志團體如何在愛滋恐慌時期後以 更當代的方式構建社群。與此同時 , 混種性、文化衝突和分層貫穿了 Kawayan de Guia 和 Dominique Zinkpè 的作品。Ion Grigorescu 的作品則以羅馬尼亞為語境 , 揭示著藝術家對國家、個人和精神概念的 角力 , 這種由於西方現代性的霸權地位而被淹沒的地方文化遺產在羅馬 尼亞以外的其它歐洲地區也大量存在。

而伴隨此思路進入的是更敦群培筆下描繪鮮為人知的印度之旅 , 一條

更具精神性且褻神式反思的圖驥。更敦群培是 20世紀西藏的藝術家、

作家兼僧侶 , 他對南方熱帶地區的佛教十分著迷 , 其作品極富創造性 ,

卻也同時諷刺地反映出他時而忠於宗教信仰 , 時而渴求現代性啟發的 搖擺 ; Pratchaya Phinthong 的作品則是一份詩性的評註 , 對過去

十年來各種動蕩所帶來的世界變化、規模與距離的扭曲進行描繪與觀 看。而 Sammy Baloji、Meschac Gaba、Sheela Gowda、何翔宇、

洪子健、梁慧圭、楊沛鏗、Valerie Snobeck 和張公孫等藝術家的作品 則回應在其各自身處的急速工業化和城市化的環境中 , 探討對象和物

質、自然和文化物件的多重含義。

靈

康喆明 士日

與

歌

9

AND 與

SOIL 土

石STONES

Sammy Baloji

Sociétés secretes

秘密社會

2015

2015

八件疤痕紋身的銅板淺浮雕（製作 : 摩洛哥 Dinanderie/Zouak）、

Scarification on eight bas-relief copper plates (fabrication: Dinanderie/Zouak, Morocco),

一封手寫信箋（一位剛果私家偵探遞交給 Kivu 安全局助理局長的報告）及黑白照片

(“Work and progress”/”Union creates power”/Baudouin, The King of the Belgians),

銅板 : 每件 29.7 × 42 公分 ;

one hand-written letter (Report of a Congolese Detective to the Assistant Director

獎牌照片 : 33 × 28 公分 ;

of Security of Kivu) and one black-and-white photo

22 樓 /F

三幅黑白照片（圖中獎牌 :「工作與進步」、 「 聯盟產生力量」、 「 比利時國王 Baudouin」）、

three black-and-white photographs of medallions

信箋 : 16 × 20 公分 ;

Copper plates: 29.7 × 42 cm, each; medallion photographs: 33 × 28 cm, each;

照片 : 12 × 16 公分

letter: 16 × 20 cm; photograph: 12 × 16 cm

由藝術家及剛果 Zinsou 基金會提供

Courtesy of the artist and Zinsou Foundation

10

11

靈

與

歌

SOIL 土

Mariana Castillo Deball

Untitled

2014

2014

Laserchrome prints mounted on dibond

Laserchrome prints mounted on dibond

270 × 180 cm

270 × 180 cm

Courtesy of the artist and kurimanzutto, Mexico City

Courtesy of the artist and kurimanzutto, Mexico City

無題

無題

2014

2014

每幅 270 × 180 cm

每幅 270 × 180 cm

複合板激光打印

由藝術家及墨西哥城 kurimanzutto 藝廊提供

靈

石STONES

Kawayan de Guia

Plaga colonial de las Islas Pilipinas (Colonial Plague of the Philippine Islands)

22 樓 /F

Untitled

AND 與

2008 Assemblage, mixed media 148 × 211 × 8 cm Courtesy of the artist 菲律賓殖民地瘟疫

複合板激光打印

2008

拼貼、混合媒材

由藝術家及墨西哥城 kurimanzutto 藝廊提供

148 × 211 × 8 公分

由藝術家提供

與

歌

13

AND 與

SOIL 土

Jimmie Durham

石STONES

Josh Faught

22 樓 /F

Edward 2014 Hand woven gold lamé and hemp, hand dyed in shades of Daffodil, Cardinal Red, Raspberry, Indigo, and Tea Leaves to match the colour fashion forecast of 2014–2015, silk, bedazzled sea shell ash tray from Palm Springs, spilled mug (resin and clay), and Silkwood (VHS) on Cedar support 183 × 132 × 30.5 cm Courtesy of the artist

14

and KADIST, Paris and San Francisco The Isle of Man

Edward

2016

2014

以手工染成水仙、紅酒、覆盆子、靛藍和茶葉

Four-horn-sheep-skull, obsidian,

色調的手織黃金薄片和漢麻 , 以配合當時預

seashell, murano glass, leather,

測的 2014至 2015年潮流色彩、絲綢、百花海

olive wood, pine, poplar, rearview truck

貝殼灰盤、灑杯(樹脂和粘土)及《施活的遭遇》

mirror (metal, glass, plastic),

（電影錄影帶）和雪松支架

acrylic paint, silicon glue, white glue,

183 × 132 × 30.5 公分

epoxy glue, metal screws,

由藝術家及

mussel shell, acacia seed, pot

巴黎/舊金山卡蒂斯特藝術基金會提供

132 × 42 × 54 cm Courtesy of the artist and kurimanzutto, Mexico City 曼恩島

2016

四角羊的頭骨、黑曜石、貝殼、穆拉諾玻璃、 皮革、橄欖木、松木、楊樹、貨車倒後鏡 (金屬、玻璃、塑料)、丙烯酸漆、矽膠、

白膠漿、環氧樹脂膠、金屬螺絲、青口殼、 金合歡種子、盆

132 × 42 × 54 公分 由藝術家及

墨西哥城 kurimanzutto 藝廊提供

靈

與

歌

15

SOIL 土

Edgar Fernandez

AND 與

石STONES

Meschac Gaba

22 樓 /F

Hubert Maga (perruque MAVA—musée d’art de la vie active, wig MAVA—museum of art of active life) 2010–2011 Artificial braided hair, metal parts, and mannequin bust 60 × 50 × 23 cm Courtesy of the artist and KADIST, Paris and San Francisco Hubert Maga

( MAVA假髮——生命藝術博物館)

16

2010–2011

人造織髮、金屬部件 和半身人像

60 × 50 × 23 公分

由藝術家及

巴黎/舊金山卡蒂斯特 藝術基金會提供

Our Lands Are Marked For Destruction…And We With Them 1979 Print on paper 60 × 45 cm Gift of Catholic Bishops' Conference Episcopal Commission on Tribal Filipinos 我們的土地注定滅亡……我們也一起滅亡

1979

紙上印刷

60 × 45 公分

受贈於天主教主教團菲律賓原著居民委員會

靈

與

歌

17

AND 與

SOIL 土

Gendun Chopel

石STONES

Simryn Gill

更敦群培

22 樓 /F

18

Eyes and Storms 2012–2013 3 ilfochrome prints mounted on aluminum 125 × 125 cm, each Courtesy of Utopia Art, Sydney 眼睛和風暴

2012–2013

3張正片轉洗圖片 , 鋁板

每幅 125 × 125 cm 公分

由悉尼 Utopia Art 藝廊提供

Painting 14 and 15

Vegetation

Circa 1940

2016

Facsimiles on paper taken from Gendun Chopel:

2 black-and-white ilfochrome prints

Tibet's First Modern Artist, Serindia Publications (2003)

60 x 150 cm, each

第 14及 15號圖

Courtesy of Utopia Art, Sydney

約 1940年

植被

Serindia 出版社 (2003年 )

2016

紙上臨摹 , 摘自《更敦群培 : 西藏首位現代藝術家》,

2幅正片轉洗黑白相片 每幅 60 × 150 公分

由悉尼 Utopia Art 藝廊提供

靈

與

歌

19

AND 與

SOIL 土

Sheela Gowda

石STONES

Ion Grigorescu

22 樓 /F

20

Bine–Rău / Good–Evil

The Limping Man or

1977

1987–2016

The Man with the Walking Stick

8-mm film transferred to digital film;

Photo on canvas

1982–2016

black-and-white, silent

120 × 100 cm

Photo on canvas and metal structure

2:27 minutes

Courtesy of the artist and Andreiana

200 × 140 × 100 cm (structure) and

Courtesy of the artist and Andreiana

Mihail Gallery, Bucharest

140 × 52 cm (textile)

Mihail Gallery, Bucharest

善——惡

Courtesy of the artist and

1987–2016

拳擊

Breaths

2016

2002

Hair, rope, shells, metal

String, pigment, charcoal powder,

178 × 91 × 289.5 cm

gauze, table

Courtesy of the artist

366 × 55.5 × 72 cm

無題

Courtesy of Sunitha and Niall Emmart

2016

頭髮、繩索、貝殼、金屬

178 × 91 × 289.5 公分 由藝術家提供

Andreiana Mihail Gallery, Bucharest

1977

布面相片

跛行者或拄拐杖的人

2分 27秒

由藝術家及

布面相片、金屬結構

8毫米膠片轉數碼影像 ; 黑白、無聲 No Title

21

Boxing

由藝術家及

120 × 100 公分

布加勒斯特 Andreiana Mihail 藝廊提供

1982–2016

布加勒斯特 Andreiana Mihail 藝廊提供

200 × 140 × 100 公分 (支架) ; 140 × 52 公分（布面）

由藝術家及

布加勒斯特 Andreiana Mihail 藝廊提供

呼吸

These Two

2002

2016

絲線、顏料、木炭粉、紗布、桌子

Photo print and metal structure

366 × 55.5 × 72 公分

192 × 56 × 181 cm (structure) and 104 × 68 cm (textile)

由 Sunitha Emmart 及 Niall Emmart 提供

Courtesy of the artist and Andreiana Mihail Gallery, Bucharest 這兩人

2016

布面相片、金屬結構

192 × 56 × 181 公分 (支架) ; 104 × 68 公分（布面）

靈

與

由藝術家及布加勒斯特 Andreiana Mihail 藝廊提供

歌

AND 與

SOIL 土

He Xiangyu 何翔宇

石STONES

Ho Siu-Kee Making Brick

何兆基

2005 Brick (5.5 × 20 × 9.5 cm), black-and-white prints (80 × 66.7 cm, each) Courtesy of the artist 22 樓 /F

造磚記

2005

磚 (5.5 × 20 × 9.5 cm)、

黑白圖片 (每幅 80 × 66.7 公分 ) 由藝術家提供

Wisdom Tower (A Pretty Girl) 2013 Tooth, pure gold (99.99%), bronze, bamboo stick 7 × 2 × 2 cm Courtesy of the artist

22

23

and White Space, Beijing 智慧塔(漂亮女孩)

2013

牙齒、純金( 99.99%)、銅、竹籤

7 × 2 × 2 公分

由藝術家及北京空白空間提供

Walking on Two Balls 1995 Single-channel video projection 10:07 minutes Courtesy of the artist 雙球上步行

1995

單頻錄像投影

10分 7秒

由藝術家提供

靈

與

歌

SOIL 土

James T. Hong

AND 與

石STONES

Peter Kennedy + John Hughes

洪子健

Taiwan WMD – Uranium 2012 Approximately 30 grams of unenriched uranium ore in covered glass specimen jar 7 × 4.5 × 4.5 cm Courtesy of the artist and KADIST, Paris and San Francisco 22 樓 /F

台灣大規模毁滅性武器——鈾

2012

約 30克未提煉鈾礦石 , 放置於有蓋玻璃樣品瓶內

7 × 4.5 × 4.5 公分

由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

On Sacred Land 1983–84 Video, colour/sound 13:55 minutes Courtesy of the artists 聖地上

24

25

1983–84

錄像、彩色/有聲

13分 55秒

由藝術家提供

靈

與

歌

SOIL 土

Li Binyuan

AND 與

厲檳源

石STONES

Li Ran 李然

22 樓 /F

Freedom Farming 2014

Beyond Geography

Single-channel video (4:30 minutes),

2012

certificates (21 × 29.7 cm, each)

Video installation, HD video, sound, colour

Courtesy of the artist and

Dimensions variable, 23:09 minutes

KADIST, Paris and San Francisco

26

Courtesy of the artist and KADIST, Paris and San Francisco

自由耕種

地理之外

2014

單頻道錄像 (4分 30秒 )、

2012

錄像裝置、高清錄像、有聲、色彩

證書 (每張 21 × 29.7 公分 )

尺寸不一 ; 23分 09秒

由藝術家及

由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

巴黎/舊金山卡蒂斯特藝術基金會提供

靈

與

歌

27

SOIL 土

Prabhakar Pachpute

AND 與

石STONES

Pratchaya Phinthong

22 樓 /F

sketch / 草圖

28

29

If I Dig A Very Deep Hole 2007 Photo negative between two plexiglas plates, neon 11.8 × 5.8 cm Courtesy of the artist and KADIST, Paris and San Francisco 若我挖掘一個很深的洞

2007

兩塊玻璃板之間的菲林、霓虹燈

11.8 × 5.8 公分 Broken Varaha II 2017 Charcoal, dry pastels, acrylic paint, and terracotta sculptures Dimensions variable Courtesy of the artist

靈

由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

破碎的 Varaha II

2017

木炭、乾粉、丙烯酸漆和陶瓦雕塑 尺寸不一

由藝術家提供

與

歌

AND 與

SOIL 土

Motoyuki Shitamichi 下道基行

石STONES

Valerie Snobeck

Torii Series 2006–2012 C-print 22 樓 /F

50.8 × 61 cm, each Courtesy of the artist and KADIST, Paris and San Francisco 鳥居系列

2006–2012

每幅 50.8 × 61 公分

由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

30

Changchun, China 中國長春

Saipan, USA 美國塞班島

Sakhalinskaja, Russia 俄羅斯 Sakhalinskaja

Sakhalinskaja, Russia 俄羅斯 Sakhalinskaja

Taichung, Taiwan

台灣台中

Reservoirs with Stains, Dust and Burns (Arches and Bowed) 2015 Two mold blown and hot sculpted glass objects 35.6 × 17 × 17.8 cm and 27.9 × 15.2 × 37.1 cm Courtesy of the artist and Simon Lee Gallery, London and Hong Kong 有汙漬、灰塵和燒傷的儲液罐（拱門和拉弓）

2015

兩塊吹製熱塑玻璃

35.6 × 17 × 17.8 公分及 27.9 × 15.2 × 37.1 公分 由藝術家及倫敦 /香港 Simon Lee 藝廊提供

靈

與

歌

SOIL 土

Truo ng Công Tùng J

AND 與

J

張公孫

石STONES

Wang Gongxin

王功新

22 樓 /F

We The …SoilSoulSoidierySuicidesSociety…

2015– (on-going) Installation: soil, termite nest, photograph, folded military jacket Dimensions variable Courtesy of the artist 我們 …土地靈魂士兵自殺社團 …

2015至今

裝置 : 土石、白蟻窩、相片、折疊的軍隊制服 尺寸不一

由藝術家提供

32

33

The Sky of Brooklyn: Digging a Hole in Beijing 1995 C-prints, video (2:57 minutes) 107.8 × 80 cm, each Courtesy of the artist 布魯克林的天空──在北京打井

1995

彩色照片及錄像（2分 57秒） 每幅 107.8 × 80 公分

由藝術家提供

靈

與

歌

SOIL 土

Haegue Yang

AND 與

石STONES

Trevor Yeung

梁慧圭

楊沛鏗

2017

2017

Mangrove driftwood, marble,

Artificial straw, plastic twine, steel stand, powder coating

mirror, gold, red string

90 × 120 × 115 cm

50 × 50 × 60 cm

Courtesy of the artist

Courtesy of the artist

中間類型 – 雙重蛋形漩渦的居家性

借回來的安慰（明月光）

2017

2017

人工稻草、塑料繩、不鏽鋼架、噴粉

紅樹漂浮木、大理石、鏡、金、紅繩

90 × 120 × 115 公分

34

50 × 50 × 60 公分

由藝術家提供

靈

22 樓 /F

The Borrowed Relief (Moon of Home) The Intermediate – Domestics of Double Eggy Swirls

由藝術家提供

與

35

歌

SOIL 土

Tuguldur Yondonjamts

AND 與

石STONES

The Secret Mountain of Falcons

Copper Mining Sites of Mongolia

2010

2012

2013

Drawing on paper, 18 ink pens, fluorescent orange acrylic

Two drawing books

Etching on copper plate

150 × 554 cm

61 × 79 cm (page)

28 × 41 cm

Courtesy of Francis J. Greenburger Collection, New York

Courtesy of Mergen Collection,

Courtesy of the artist

魚翅湯及黑檸檬

Ulaanbaatar

蒙古銅礦場

獵鷹的秘山

2010

紙上繪畫、1 8枝墨水筆、熒光橙色丙烯顏料

150 × 554 公分

由紐約 Francis J. Greenburger 提供

2013

2012

銅板蝕刻

61 × 79 公分 (頁)

由藝術家提供

兩本畫簿

由烏蘭巴托 Mergen Collection 提供

22 樓 /F

Fin Soup & Black Lemon

28 × 41 公分

37

An Antipode Drawing of Chile 2013 Drawing on paper, charcoal, jarosite, dragon’s blood 91 × 196 cm Courtesy of Mergen Collection, Ulaanbaatar 對影點繪圖 : 智利

2013

紙上繪畫、木炭、黃鉀鐵礬、龍血

91 × 196 公分

由烏蘭巴托 Mergen Collection 提供

Antipode Suit #2

Antipodal Alphabet Chess

Fossil Research Drawings at the AMNH

2013

2013

2013

Screen print on fabric

Screen print on wood

Drawing on paper, fax roll paper

Dimensions variable

112 × 112 × 6 cm

20 × 28 cm

Courtesy of the artist

Courtesy of the artist

Courtesy of Mergen Collection,

對影點西裝 #2

對影點字母棋

Ulaanbaatar

2013

2013

尺寸不一

112 × 112 × 6 公分

布上絲網印刷 由藝術家提供

靈

與

木材上絲網印刷 由藝術家提供

美國自然博物館中的化石研究繪畫

2013

紙上繪畫、傳真紙捲

20 × 28 公分

由烏蘭巴托 Mergen Collection 提供

歌

AND 與

SOIL 土

石STONES

Dominique Zinkpè

22 樓 /F

Cosmos animiste (Animist cosmos) 2012 Pigments, oil stick, acrylic and collage on canvas 150 x 150 cm Courtesy of the artist and KADIST, Paris and San Francisco 宇宙之靈

2012

顏料、油棒、丙烯酸和布面拼貼

150 x 150 公分

由藝術家及巴黎/舊金山卡蒂斯特藝術基金會提供

38

39

靈

與

歌

AND 與

SOIL 土

石STONES

Curated by Qu Chang

C

A Tale: The Land of Fish and Rice 漁米之鄉記

策展人 : 瞿暢 HK Farm 與參與者 Lo Lai Lai 勞麗麗

Beginning with a vision of the ethnic composition of early Hong Kong, the “tale” takes the current perspective of nostalgia, and uses the fishing and farming traditions of the Tanka/Hokkien and Hakka/Cantonese people, respectively, as the doorway, through which it juxtaposes the production, folkways, worship, and legends closely related to agricultural societies in early cultural fabrics, into a theatrical and imaginary scene of an evocation ritual that summons the past. Meanwhile, the recounting of the history of local farming and fishing production correlates with the “new farming” culture concurrent with modern Hong Kong's land movements, and utilises the concepts of time, cultivation, and production in the act of farming to beckon an imagined future.

Map Office Tang Kwok Hin 鄧國騫 Wen 文

Trevor Yeung 楊沛鏗

40

Image of Ah Kwan Showing the Road 1868 Designed by

Combining a narrative of local consciousness with multiple origins, the ever-morphing urban culture created by the convergence of multiple groups, and the local history as a collage of multiple fragments from history, A Tale: The Land of Fish and Rice tries to build a small multiplex, with a theatrical and mystical background setting, that fosters reading, thinking, and dialogue.

Messrs. Thomson & Son of Wapping 阿群帶路圖

1868

由 Messrs. Thomson & Son of Wapping 設計

《漁米之鄉記》是一個由真實與想像片段組成的虛構空間 , 它選擇性地截取「水」 與「土」作為一場儀式的「神聖元素」, 基於本土歷史與傳說、信仰與政治 , 透過一

Lo Lai Lai

種戲劇性的張力對香港作為「共同體」的不同想像連接成一個多棱 , 同時流動的

Weather Girl—Halo Daisy

歷史及群體敘述。

2016 Video, Cantonese voiceover

以對香港早期民族構成的想像為起始 , 本「傳記」將蜑家/福佬人的水生文化與客

with English subtitles

家/廣府人的農耕傳統作為入口 , 透過當下普遍盛行的「懷舊」視角 , 將這些早期

6:32 minutes

文化脈絡中與農業社會緊密關聯的生產、習俗、信仰與傳說並置 , 生成一個召喚

勞麗麗

歷史同時又深具表演和想像意涵的招靈場 ; 同時 , 本土的農漁業生產歷史亦銜接

天氣女郎—— Halo Daisy

當下與土地運動並行的「新農耕」文化 , 借耕種行為的時間性與培育/生產意義 ,

2016

使這個儀式現場同時成為對想像之未來的召喚。

錄像 , 粵語旁白 (英語字幕)

6分 32秒

結合多條線索構成的本土意識敘述、多個群體的不斷融合所組成的流變的城市 文化、多種歷史片段拼貼而成的本土歷史 《 , 漁米之鄉記》試圖搭建一個以戲劇

性、神秘主義為佈景 , 同時具備閱讀、思考和討論等功能的複合性空間。

靈

與

歌

22 樓 /F

HK Farm and contributors

omprising both factual and fictitious sections, this case study is based on Hong Kong’s indigenous history and legends, religions and politics. It employs “water” and “soil” as traditionally sacred elements, to weave different strands of imaginations of Hong Kong, into a multi-faceted and ever-shifting historical and collective narrative with dramatic tension.

41

SOIL 土

AND 與

石STONES

18樓/F

42

靈

與

歌

43

AND 與

SOIL 土

Pio Abad

Tarek Atoui

Untitled 1986

Video documentation of the alteration of Pio Abad’s paintings

The Reverse Collection is performed by

From the project 1986–2012

The action was undertaken at the Museum of Contemporary Art and Design

Shane Aspegren, Tarek Atoui,

Reproduction of photograph from

(MCAD), Manila on Monday, 21 November, 2016

Malacañang Palace, Manila,

11:39 minutes

25 February 1986 42 × 28 cm Courtesy of the artist 無題 1986

and Takuro Mizuta Lippit 《反向系列》由 Shane Aspegren、Tarek Atoui 與 Takuro Mizuta Lippit 共同演出

錄像資料 : Pio Abad 畫作的改動行為

該行為於 2016年 11月 21日（星期一）, 在馬尼拉當代藝術與設計美術館內進行

The Reverse Collection 2014–2016 Ceramics, stones, wooden violin, videos, and sound Dimensions variable Courtesy of the artist, Galerie Chantal Crousel (Paris),

11分 39秒

kurimanzutto (Mexico City) and Vitamin Creative Space (Guangzhou, Beijing)

來自 1986–2012年之項目

反向系列

馬尼拉馬拉坎南宮相片複製品 ,

44

石STONES

馬尼拉 , 1986年 2月 25日

2014–2016

42 × 28 公分

陶瓷、石器、木質小提琴、視頻及聲音

由藝術家提供

尺寸不一

45

由藝術家、巴黎 Chantal Crousel 藝廊、 墨西哥城 kurimanzutto 藝廊

和廣州 /北京維他命藝術空間提供

18 樓 /F

Ferdinand as Meekamui Pontoku Malakas (The Strong One) Imelda as Maganda (The Beautiful One) 2015 Digital print on canvas in gilt faux bamboo frame (painted over with black paint in a subsequent alteration of the work) 190 × 127 × 4 cm, each Courtesy of the artist 強者費迪南德 美人伊梅爾達

2015

人造竹邊框 , 帆布數碼打印

（於隨後的行為中被塗黑） 每幅 190 × 127 × 4 公分

靈

由藝術家提供

與

歌

AND 與

SOIL 土

Simryn Gill

石STONES

Taloi Havini Beroana (shell money)

Skin

皮

2016

貝幣

Stoneware, earthenware, clear glaze,

2016

1994/2017

1994/2017

steel wire installation

Dry mango sculpture Dimensions variable Courtesy of the artist and Art Gallery of South Australia, Adelaide

乾芒果雕塑

Site-specific installation

尺寸不一

Dimensions variable

由藝術家及阿德萊德

Courtesy of the artist and

的南澳洲美術館提供

Andrew Baker Art Dealer, Brisbane

石器、陶器、清釉、鋼絲裝置 場域指定裝置 尺寸不一

由藝術家及布里斯班

Andrew Baker Art Dealer 提供

Vegetation 2016 2 black-and-white ilfochrome prints 40 × 40 cm, each Courtesy of Utopia Art, Sydney

46

植被

47

2016

2幅正片轉洗黑白相片 每幅 40 × 40 公分

由悉尼 Utopia Art 藝廊提供

18 樓 /F

Ho Siu-Kee 何兆基

Sandcone 2015 Performance-sculpture 100 × 100 × 100 cm Courtesy of the artist 立砂

2015

表演–雕塑

100 × 100 × 100 公分 由藝術家提供

靈

與

歌

AND 與

SOIL 土

Ocean Leung

石STONES

José Maceda

梁御東

48

49

Ugnayan 1974 Documentation of massive outdoor collective performance involving 12 radio stations.

Excerpt from José Maceda - Kuwadro Documentary Series On National Artists, 2002. Directed by Malou Jacob,

18 樓 /F

Cultural Center of the Philippines, 40 seconds Untitled

Photographs from Express Week, January 17, 1974

2015

Government letter from public officer recruiting participants for Ugnayan.

Found object

Courtesy of Ethnomusicology,

94 × 87 cm

University of the Philippines, Manila.

Courtesy of the artist 無題

Ugnayan

2015

由 12個廣播電台共同參與的大型戶外

1974

拾得物

集體表演《Ugnayan》的文獻資料

94 × 87 公分

《José Maceda﹣國家藝術家系列紀錄片「畫框」》, 2002,

由藝術家提供

導演 : Malou Jacob, 菲律賓文化中心 , 40秒 照片摘自《壹周快報》, 1974年 11月 17日

招募 Ugnayan 表演參與者的政府公開信 由馬尼拉菲律賓大學民族音樂學院提供

靈

與

歌

SOIL 土

Reetu Sattar

AND 與

石STONES

Chulayarnnon Siriphol

Myth of Modernity 2014 Single-channel HD digital video, sound, colour 16 minutes Courtesy of the artist 現代性神話

2014

單頻道高清數碼錄像、有聲、彩色

16 分鐘

由藝術家提供

50

51

18 樓 /F

Lost Tune

Myth of Modernity

2016

2014 8 LED bulbs, aluminum

Performance documentation

100 × 100 × 100 cm

2-channel video, HD, 55 minutes Outdoor performance with 65 musicians,

Courtesy of the artist

65 vintage harmonium instruments

現代性神話

Courtesy of the artist

2014

失落的曲調

8個 LED燈炮、鋁

100 × 100 × 100 公分

2015

由藝術家提供

表演記錄

雙頻錄像 , 高清 , 55分鐘

由 65位音樂家及 65件老式風琴樂器組成的戶外表演 由藝術家提供

靈

與

歌

AND 與

SOIL 土

Walter Smetak

石STONES

So Wai-Lam 蘇瑋琳

52

53

Civilisation and the Ghost in Tubes

(text by Lo)

of Future (text by Charles Lai)

(text by Felicity)

2015 (2017 reproduction)

2015 (2017 reproduction)

2015 (2017 reproduction)

Illustrations for City Magazine (HK)

Illustrations for City Magazine (HK)

Illustrations for City Magazine (HK)

Issue 469 Culture Pages: Invisible

Issue 469 Culture Pages: Invisible

Issue 469 Culture Pages: Invisible

Underground City

Underground City

Underground City

Ball pen on paper

Ball pen and correction pen on paper

Ball pen and correction pen on paper

42 × 29.7 cm

42 × 29.7 cm

42 × 29.7 cm

Courtesy of the artist

Courtesy of the artist

Courtesy of the artist

從地底至架空的鐵路

地底城市 : 古老的未來幻想

管道中的文明和鬼魂

2015 (2017 複製 )

2015 (2017 複製 )

(文字 : 盧燕珊)

Ernst Widmer conducting a concert of Walter Smetak's pindorama instrument, Federal University of Bahia, 1969 Photographic vinyl wall print Photographer: Anonymous Audio tracks from the album Smetak, 1974 Produced by Caetano Veloso and Gilberto Gil Courtesy of Barbara Smetak

靈

《號外》(香港雜誌)第 469期文化專頁 :

Ernst Widmer 於 1969年在巴伊亞聯邦大學指揮

隱形地底城市

Walter Smetak pindorama 樂器的演奏會

以原子筆在紙張上寫/畫的作品

攝影牆紙印刷

42 × 29.7 公分

拍攝 : 不詳

由藝術家提供

音頻來自專輯《 Smetak》, 1974

(文字 : 黎雋維)

《號外》(香港雜誌)第 469期文化專頁 : 隱形地底城市

以原子筆及塗改液在紙張上寫/畫的作品

42 × 29.7 公分 由藝術家提供

18 樓 /F

From Underground to Overhead Metro Underground City: The Old Fantasy

(文字 : 方太初)

2015 (2017 複製 )

《號外》(香港雜誌)第 469期文化專頁 : 隱形地底城市

以原子筆及塗改液在紙張上寫/畫的作品

42 × 29.7 公分 由藝術家提供

由 Caetano Veloso 及 Gilberto Gil 製作 由 Barbara Smetak 提供

與

歌

AND 與

SOIL 土

石STONES

Curated by Yongwoo Lee

A

The Phantom Modern 現代魅影

sia is a constellation of geographically and socio-culturally diverse communities that has long been considered as the antipode of the West with its ambiguous identity defined by the abstract territoriality and the consequences of imperialism and colonialism. As a cultural sketch of Asian modernities, this case study raises questions on the making of specific Asian vernacularism/locality, animality/humanity, the connections and differences that encompass the heterogeneous historicities of the region, the politics of cultural representation in the discursive structure of forming Asia, and the ways to imagining and embracing the imaginary community of Asia beyond the embedded Orientalism.

策展人 : 李龍宇

Jae Oon Rho

Jane Jin Kaisen Kyung-man Kim SoYoung Kim/ Kim Jeong

54 Cover of magazine ‘Youth’

亞洲作為一個匯集多面地理及社會文化性不

(Chu’ng-ch’un)

相 同 的 社 群 ,長 期 以 來 被 視 為 是 西 方 的 對 立

1910

面 ;不論是其抽象領土或帝國主義和殖民主義

Korean modern intellectual Choi Nam

遺留下的各種影響 ,皆造成其模糊身份定義的

Son’s geographical project of mapping

18 樓 /F

複雜。作為亞洲現代性的文化草圖 , 本案例研

Korea as the representation of a tiger

究旨在對這些議題提出提問 , 包括亞洲具體的

as a way of symbolizing the country

鄉土性/地方性、動物性/人性、涵蓋該地區異

and producing a national territoriality.

種 歷 史 的 聯 繫 和 差 異、探 討 亞 洲 語 境 結 構 形

《青春》雜誌 1910年的封面

成下的政治及文化表現, 最終跳出內嵌我們

1910

之中的東方主義思考, 想像和擁抱一個虛構

韓國知識分子 Choi Nam Son 的地理項目 ,

的亞洲社群的方式。

試圖將老虎繪製為國家的象徵 , 同時研究民族屬地的產生。

The first Orangutan at the Taipei Zoo, 1939 Consul Warner photographed the first Orangutan at the Taipei Zoo in 1939 as a gift of imperial-colonial congeniality between Japan and Taiwan Courtesy of Gerald & Rella Warner Taiwan Negative Collection 1939年在臺北市立動物園的首隻紅毛猩

1939年 , Warner 領事拍攝了臺北市立 動物園的第一隻紅毛猩猩作為象徵 台日帝國殖民關係的禮物

圖片由 Gerald & Rella Warner

靈

55

與

Taiwan Negative Collection 提供

歌

SOIL 土

AND 與

石STONES

Rooftop 天台

56 Please access through the office 請經辦公室抵達

靈

與

歌

57

AND 與

SOIL 土

石STONES

Curated by Simon Soon

邁向一個神秘現實

策展人 : 孫先勇

Sulaiman Esa

In 1974, at the Sudut Penulis (Writer’s Corner) of Dewan Bahasa dan Pustaka (Malaysia’s National Language Institution) in Kuala Lumpur, Redza Piyadasa and Sulaiman Esa presented a body of found objects and spoke of their desire to “directly confront nature” by arguing that these works embody “a mystical concept of time and event.” Styling themselves as “Mystical Conceptualists,” they argued for a different paradigm through which we can qualify the real— as worldly yet spiritual, as local yet cosmic, all the same. The event has entered into the annals of Malaysian art history, re-staged at the National Visual Art Gallery of Malaysia in 2010 and re-invented through a new body of work by Sulaiman Esa for the National Gallery of Singapore in 2015.

Redza Piyadasa

Installation view in Soil and Stones, Souls and Songs at Museum of Contemporary Art and Design (MCAD), Manila.

《土與石 , 靈與歌》於馬尼拉藝術與設計美術館 (MCAD)現場圖

58

his case study is a revised replica of Towards a Mystical Reality, the mythic 1974 installation/exhibition by Malaysian artists Redza Piyadasa and Sulaiman Esa, who directly, or through their estates, have widely contributed to this never before seen re-enactment outside of Malaysia.

On the opening night in 1974, gripped by a desire to demonstrate feverish spontaneity and irrationality exemplified in the archetype of the irascible Zen monastic abbot, poet Salleh Ben Joned peed on Piyadasa and Sulaiman’s 10,000-word manifesto, justifying his act as his “contribution” to the work. cknowledgement: Lynn Piyadasa, Zaireen Redza, Edzrin Mohd Redza, A Sulaiman Esa, and Khatijah Sanusi 本研究個案是針對 1974 年由馬來西亞藝術家 Redza Piyadasa 與 Sulaiman Esa 共同

合作的裝置/展覽《邁向一個神秘現實》的一次複製重現 , 兩位藝術家對此展覽在馬來西亞 境外的重現給予了極大的貢獻。

1974年 , 在位於吉隆坡的馬來西亞國家語言機構內的寫作閣 , Redza Piyadasa 和 Sulaiman Esa 展示了一些拾得物 , 強調這些物品體現了「一個神秘的時間和事件的概 念」, 從而提出了他們「直面自然」的渴望。他們自稱為「神秘概念主義者」, 提出一個新的且 可定義真實的範式 : 這個真實既屬世又屬靈、既具有本土性亦具有舉世性。此項目已被寫 入馬來西亞藝術史 , 並於 2010年在馬來西亞國家視覺藝術畫廊重新登上舞台。Sulaiman Esa 在 2015年為新加坡國家美術館製作的新作品中重現了此次展覽。

1974年開幕當夜 , 為了展示激烈的自發性和易怒禪宗修道者所呈現的非理性 , 詩人 Salleh Ben Joned 對著 Piyadasa 和 Sulaiman 的 10,000 字宣言撒尿 , 並將此舉視為對作品的

「貢獻」。

特別感謝 : Lynn Piyadasa、Zaireen Redza、Edzrin Mohd Redza、Sulaiman Esa 及

Khatijah Sanusi

靈

Rooftop 天台

T

Towards A Mystical Reality

與

歌

59

Para Site

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 and discursive projects aimed at forging a critical understanding of

Para Site 藝術空間為香港首屈一指的當代

藝術中心 , 亦是亞洲歷史最悠久、最活躍的獨

立藝術中心之一。成立宗旨在透過展覽、出版 刊物等活動 , 開展並促進在地與國際間的對

話 , 希冀打造一個對當代藝術、社會現象提出 批判性論述及理解的平台。

local and international phenomena in

leading corporate sponsors

PHILLIPS

art and society.

team

Cosmin Costinas 康喆明

Frances Wu Giarratano 吴天如

Executive Director / Curator Deputy Director

founding friends

Shane Akeroyd

friends

Nick and Cordula Adamus-Voegtle

Mimi Brown and Alp Ercil

Christine and James Boyle

Curator of Education and Public Programmes

Burger Collection, Hong Kong

Doryun Chong

Associate Curator

Kevin and Reina Chau

Lawrence Chu

Assistant Curator

Stephen Cheng

Andrew L. Cohen

Fanny Chan 陳趣源

Project Coordinator / Curatorial Assistant

Mimi and Chris Gradel

Patricia Crockett, Sprüth Magers

Apoorva Rajagopal

Development and Communications Coordinator

Inna and Tucker Highfield

Jane DeBevoise

K11 Art Foundation

Faux

Wendy Lee

Amandine and Edouard Hervey

Edouard and Lorraine Malingue

William Lim, CL3

marc & chantal design

Elaine W. Ng and Fabio Rossi

Mina Park

Jay Parmanand and Diana d'Arenberg

Yana and Stephen Peel

Esther Schipper

Stefan Rihs

Virginia and Daniel Weinberg

SUNPRIDE FOUNDATION

Bonnie & Darrin Woo

Freya Chou 周安曼

Qu Chang 瞿 暢 Olivia Chow 周宛昀

board

THE OUTNET.COM

Alan Lau Ka Ming 劉家明

Jehan Pei Chung Chu 朱沛宗

Mimi Chun Mei-Lor 秦美娜

Bonnie Chan Woo Tak Chi 胡陳德姿

Sara Wong Chi Hang 黃志恆

Kurt Chan Yuk Keung 陳育強

Alan Y Lo 羅揚傑 Mina Park Yana Peel

Chair Co-Vice Chair Co-Vice Chair Treasurer Secretary

Honus Tandijono Sarina Tang Currents Art and Music Susanne and Gregor Theisen Virginia Yee

Curators

Cosmin Costinas 康喆明

Case studies curators

Yongwoo Lee 李龍宇

Qu Chang 瞿 暢

策展人

個案研究策展人

Inti Guerrero 士日

Simon Soon 孫先勇

Project manager 項目經理

Para Site exhibition production coordinators

Para Site 展覽執行統籌

Graphic design

Marie Martraire

Fanny Chan 陳趣源

Qu Chang 瞿 暢

設計

Yang Jian 楊 堅

Co-produced with

Supported by

Para Site would like to extend our deep gratitude to the artists and contributors of the exhibition as well as to the following who provided crucial support and research to the project:

Para Site 藝術空間僅在此向本展覽所有參展藝術家與貢獻者 , 以及下列重要支持者致以最深謝意 :

Galerie Chantal Crousel, Paris

Simon Lee Gallery, London and Hong Kong

Joselina Cruz

kurimanzutto, Mexico City

Galerie Imane Farès, Paris

MORES 習俗館

Christopher Green

Museum of Contemporary Art and Design, Manila

Ayrson Heráclito

Vitamin Creative Space 維他命藝術空間

Huang Shan 黃山

George Wan 溫佐治

ICONIC GLOBAL LIMITED

Vincent Worms

Anthony Ko

Fondation Zinsou, Cotonou Media partner: My Art Guide

The content of this activity does not reflect the views of the Government of the Hong Kong Special Administrative Region. 活動內容並不反映香港特別行政區政府的意見。