M+ Rover 2018: A Teacher’s Resource Pack

NG KA CHUN

吳 家 俊

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THING BEYOND THINGS

是 事 是 物

2018

「M+ 敢 探號 」着重「參與式 」藝 術創作。 它自 2016 年起 穿梭香港各中學 校園和

社區，既 是流動展 覽空間，又 是 創作室。

「M+ 敢探號」起初所載的展覽只是雛型，

巡迴校園後會累積藝術家和學生的作品， 所以展覽每天蛻變，在校園和社區展出

藝術家及學生不斷演化的創作成果。

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參與學校的師生可參加課室預習活動、

展覽導賞，以及兩節由藝術家主導的校內

和社區活動。此外，教師可使用此教材套，

帶領學生討論及組織相關活動，延展 學生的活動體驗。

M+ Rover emphasises participatory creative practice. It is a travelling creative studio and exhibition space that has visited local secondary schools and community spaces since 2016. M+ Rover features an exhibition that evolves as it travels from school to school and as artists and students contribute to it.

Teachers and students from the participating schools can join pre-workshop classroom activities, guided tours, and two sessions of artist-led school and community activities. In addition, teachers can initiate discussions and related activities with this resource pack, enhancing students’ experience.

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封面作品: 《致食物環境衛生署的 一 個提 案》 2012年 現 成垃圾回收箱、木板 及五金零件

Artwork on the cover: A Proposal to the Food and Environmental Hygiene Department 2012 Found recycling bin, wooden planks, metal parts

關於吳家俊

作品介紹

《是事是物》

主題一： 發展 和 限制 → →

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討論：資源 是如何被轉化？可持續發展和資源、演變的性質、使 用和共享 延伸活動：後巷的風 景、繪 畫接龍

主題二： 改造 和 想像

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→ 討論：甚麼是「有用無用」？物件的特性、主體與客體的關係、必需品 和個人需要

→ 延伸活動：強 迫 連結法、奔馳法（SCAMPER）

主題三： 空間 和 連繫

ABOUT NG KA CHUN

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PREVIOUS WORK

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THING BEYOND THINGS

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THEME 1: DEVELOPMENT AND LIMITATIONS

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→ →

THEME 2: RECYCLING AND IMAGINATION → →

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→ 討論：為何人需要與他人 建立 連繫？個人與 群體、社群的組 成、家和家園 → 延伸活動：共居的生活提案、秘密天使

Discussion: How Are Resources Transformed? Sustainable Development and Resources, The Nature of Change, Use and Sharing Extended Activities: Scenery in the Back Alley, Drawing in Turn

Discussion: What Are Usefulness and Uselessness?

The Characteristics of an Object, The Relationship between the Subject and the Object, Necessities and Personal Needs Extended Activities: Forced Connection, SCAMPER

THEME 3: SPACE AND CONNECTIONS → →

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Discussion: Why Do We Need Connection with People? Individual and Community, The Formation of Community, House and Home Extended Activities: Proposal for Co-living, Secret Angel

關於吳家俊

ABOUT NG KA CHUN

→ Ng Ka Chun graduated from the Academy of Visual Arts of Hong Kong Baptist University in 2008. He is actively involved in different kinds of public art projects, and his works have been exhibited widely in Hong Kong, mainland China, and Australia. Adopting a concept-driven approach to art making, he remoulds and transforms daily objects into sculptures or installations.

After moving to Pat Heung in the New Territories in recent years, Ng has begun to contemplate the relationship between urban development and nature, reflecting on what constitutes the ideal way of life.

Ng believes in the intuitiveness of the body: artistic creation is not only an act of pondering, but also a process of experimentation realised through action.

He works without a draft; he remoulds an object after feeling its textures, its characteristics, and its relationship to its surroundings. He responds to the unexpected and the things that go awry during the process. He calls this method ‘thinking with your hands’. ‘Hands’ refers not only to handicraft, but also to the creator’s intention to imbue the object with new meanings and subjectivity.

2008 年畢業於香港浸會大學視覺藝術

院。他積極參與各類公共藝術計劃，其作品

曾在香港、內地及澳洲等地展出。他的作品

多由概念出發，利用日常物件改造或重組， 以雕塑或裝置的形式呈現。近年移居新界

八鄉，開始深入思考城市發展與自然的關係， 思考何謂理想的生活方式。

吳家俊相信身體的直覺性：創作除了是

吳家俊的「改造」並非旨在增加現成物

的用途，而是重組其形態和功能，或錯置於

思辨，也是以實踐作為實驗的過程。他不

另一個空間和場域，由此產生新的意義和

跟周遭環境的關係後，直接動手改造。

這些家具在形態上已是成品，但他的設計

習慣起稿，而是在感受物件的質感、特性及 在過程中切身感受意外和歧路，並適時回應

價值。此外，吳家俊也會設計家具。儘管

不會完全規限用家的使用方法，而是讓人們

和轉化。他稱這種創作方式為「用手思考」。

自行組合、想像出不同的用途。不論是物品

意願，賦予物品新的意義，彰顯自主性。

物品本身，都可以有多重解讀的空間。

「手」所指的不單是工藝，也是按自己的

與空間的關係、物品與物品的組合，甚至單一

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Ng’s idea of ‘recycling’ is not about enhancing the functions of a ready-made object. By remoulding an object’s form and functions or placing it in a different space and context, he gives it new meanings and values. Ng designs furniture. Although pieces of furniture seem to be complete in form, his designs do not restrict function. Instead, he allows users to assemble furniture in different ways and to define their use.

Ng creates the possibility for multiple interpretations by allowing users to consider the relationship between objects and space and to combine objects into a single entity.

作品介紹

PREVIOUS WORK

→

情境 ，除了是生活的背景外，也可以是

一種藝術創作的材料。

在《消失了維港天際 線》中，吳家俊向

拾荒者購入 紙 皮，切割堆疊成維港天際 線 的模樣，再放置在深 水 埗 任人撿 拾。作品

把天際 線的象徵意義和藝 術品的文化價值 懸空，讓 紙 皮由廢 棄物變 成藝 術品，再由

拾荒者撿走，成為他們個人的財產。「拾荒」 這個行為圓滿了作品，同時也是作品致力 詰問的議題。吳家俊 2012 年參展一 個以

「無謂發明」為題的展覽，利用大型回收箱 創作出《致食物環境衛生署的一個提案》。

他宣稱這個內部鋪上木板的回收箱，可以

「令露宿者便利地隱 藏到任何位置」。這個 自欺 欺 人的「無謂發明」，反襯出無家者 安居之日遙 遙無期。

The setting is not only the backdrop of everyday life, but also the material for artistic creation.

To create Disappearance of Victoria Harbour Skyline, Ng bought some sheets of cardboard from local scavengers, cut the sheets, and stacked them to make a cardboard version of Hong Kong’s skyline along Victoria Harbour. He then installed the work in Sham Shui Po, where it was to be scavenged. By turning the discarded sheets of cardboard into an artwork and allowing it to be claimed by scavengers, the artist negated the symbolic significance of the skyline and the cultural value of art. The act of ‘scavenging’ completes the artwork and is also the issue the artwork sought to address. In 2012, Ng participated in an exhibition titled Nonsense Invention, for which he used a large recycling bin to create A Proposal to the Food and Environmental Hygiene Department.

He claimed that the recycling bin, whose interior was laid with wooden planks, could be used for ‘keeping street sleepers out of sight and for their easy relocation’.

This ‘nonsense invention’ made a mockery of the fact that the provision of a proper place to live for street sleepers remained an unattainable goal.

《消失了維港天際線》

2013年 紙皮

《致食物環境衛生署的一 個提案》

2012年

現成垃圾回收箱、 木板及五金零件

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Disappearance of Victoria Harbour Skyline 2013 Cardboard

A Proposal to the Food and Environmental Hygiene Department 2012 Found recycling bin, wooden planks, metal parts

《記得》

In 2012, Ng Ka Chun collaborated with other artists to build a composting toilet at the junction of a field and a country road next to Sangwoodgoon, an organic farm and community in Pat Heung, in the New Territories. The work is titled Project K. There were no washroom facilities around Sangwoodgoon, and the artists discovered that local farmers collected excrement from a few households in the area for use in organic farming. The artists envisaged the composting toilet as a means of reducing the use of chemical fertilisers, minimising their detrimental effects on the soil and organisms. Ng believes the definition of artistic creation can be very broad; for art making in rural areas, the outcome may not be a public sculpture.

He remarks, ‘Sometimes, art propels the birth of a new cultural imagination. . . .

[The outcome] can be a change in one’s action, or simply a head of cabbage.’ For the artist, the act of cultivation is not an artwork in itself; rather, cultivation as art making transforms things that may seem repulsive to people, deconstructing and reconstructing these things into a ‘useful’ concept.

By recycling, Ng does not intend to enhance the functionality of an object, but rather to create ‘new value and new possibilities’, as reflected in his works When a White Cloud Meets a Black Cloud and Broom Flute. For the former, the artist twisted two wire hangers, one black and one white, into cloud shapes and kept their hooks in place, so that the ‘clouds’

2013年

木

As They Can Remember 2013 Wood

2012 年，吳家俊與其他藝術家合作，

在位於新界八鄉的有機農業社群「生活館」 旁邊，建造一個坐落在農田路口處的環保

旱廁，名為《K 計劃》。由於「生活館」附近

沒有如廁設施，而藝術家們又發現在旁耕作

的農夫習慣向鄉內某幾戶人家收集排泄物，

供有機耕種之用，於是因利乘便，希望藉此

《掃把笛》則是在竹掃把的手柄鑽出笛孔， 幻想打掃落葉的清 潔工人可以忙裏偷閒，

吹奏自娛，甚至 巡 迴演奏。因為這種富詩意 的聯 想，是 透 過 對物品日復日的使 用，從而

旱廁減少化學肥料的使用，從而減低對泥土

發展出 人與物的獨特關係。

創作的定義可以很廣闊，特別在田野創作，

與人的歷史聯繫。2013 年吳家俊 受 邀在

和生物造成的不良影響。吳家俊相信藝術

其成果未必要是一件公共雕塑，他表示：

「 藝術有時是為了帶動一個新的文化想像······

（成果）可以是一個行動的改變，或是簡單如

物品除了有想像的空間，也可把 其經 歷

新界坪洋 村 創作社區藝 術作品。他選取了

當地一所荒廢學校門前的老樹頭，把它雕刻

成學生椅。原來這條村的村民大都曾在這所

種一棵菜。」對他而言，耕種本身並不是一件

學 校唸書，坐 過同款的學生椅，見證 老樹

厭惡的事物，都能分解和重構，變成一種

村民的共同記憶，隱喻他們之間無形的連結。

藝術品，但透過創作的轉化，一些看似令人

「有用」的概念。

對吳家俊而言，改 造 所追求的，並非更

由盛轉衰。藝 術家 通 過老樹和學生椅帶出

藝術品不一定華麗精緻。它可以是日常

物品，或與你的生活息息相關。吳家俊作品

強 大的功能，而是 創造出「新的價值、新的

可以 應 用於日常生活。他的藝 術創作最 動人

藝 術家把鐵 線衣架扭 成一黑一白的「雲」，

涵意，對物品生出一種無關功能、相知相惜

可能」，比如《白雲遇 上黑雲》這件作品，

但又保留原有的掛鉤，讓衣架在牆上「飄」；

之處，正正在於引領觀眾發掘、想像物品的 的感覺。

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could ‘float’ on the wall. For Broom Flute, Ng drilled holes in the handle of a bamboo broom, imagining that a street cleaner could take a break from sweeping leaves to play music, or even to give a performance. The poetic associations between everyday objects and Ng’s art emerged spontaneously from the relationship he developed with the objects through daily use.

Besides giving its users room for imagination, an object can serve as a link between people and their personal history. In 2013, Ng was invited to create a work of public art in Ping Yeung village, New Territories. He chose an old tree trunk at the front gate of an abandoned school, and carved it into a student chair.

Most of the villagers had studied at that school and had sat on the same kind of student chair; they had also seen how the old tree thrived and then withered.

The artist revived the collective memory of the villagers with the old tree and the student chair, metaphorically presenting the intangible connections between these two things.

A work of art is not necessarily exquisite or grand. It can be an everyday object that is closely related to our lives. Ng’s artworks resonate with viewers because they urge us to explore the meanings behind an object, evoking a sense of bonding towards the object, regardless of its original function.

《是事是物》

What is the function of art for you?

Is it a source of aesthetic pleasure? An expression of feeling? Or does it embody other possibilities?

Hong Kong artist Ng Ka Chun’s work Thing beyond Things uses the transformation of everyday objects to inspire students to explore the relationship between objects and daily life. Ng hopes to bring together students’ imaginings of the everyday while providing them with the room to create. This prompts them to turn imagination into reality, and to develop their own thinking and attitudes in response to things, in spite of limitations.

Thing beyond Things is comprised of several works by Ng. These include Broom Flute, which encapsulates the artist’s fantasy of an ensemble of cleaners giving a public musical performance; A Proposal to the Food and Environmental Hygiene Department, a mock-up of a recycling bin remodelled as a mobile home for homeless people; Four Potted Trees, which laments the cutting down of a century-old tree in a community; and Cheung Kong No. 1, an expression of support for the labour movement. These works are simple yet powerful manifestations of the ways in which the artist responds to and transforms everyday objects. Ng believes imagination is the best ‘tool’ for dealing with the different settings of daily life and the many unresolved problems in one’s surroundings. Perhaps this is ‘the usefulness of uselessness’ posited by Zhuangzi, which transcends the functional

THING BEYOND THINGS

→

藝術於你有何用？為賞心悅目？為抒發

情感？還是有其他可能？

香港藝術家吳家俊的作品《是事是物》，

以改造日常物品為方法，啟發學生追尋物件

與事情之間的關係。他希望凝聚學生對生活

的想像力，並提供空間給他們立刻動手，

把想像力付諸實踐，在局限之中仍能發展出 回應事物的思考和態度。

《 是事是物》的雛 型由吳家俊的多件

作品組 成，有幻想清 潔工人 巡 迴 演奏的

《 掃 把笛》、以垃圾回收 箱模 擬 露宿者 流 動

居所的《致食物環境衛生署的一個提案》、

《四棵盆栽》

2015年

盆栽植物

Four Potted Trees 2015 Plants, pots

引導學生從日常物品聯繫背後的事件或情境；

悼念社區百年榕樹被斬的《四棵盆栽》，

又會邀請學生「用手思考」，閉起雙眼用手

作品簡單而有力地體現了藝術家回應和

和理解物件的特質和涵意，並加以改造。

以及支援勞工運動的《長江一號》等。這些

感受各種物件，透過身體的直覺去重新感受

轉化事情的方法。吳家俊相信，面對生活的

他又把「M+ 敢探號」的展覽空間窗框改裝

想像力是最有用的「工具」 。或許這就是莊子

以遊戲的心態創作，並在「M+ 敢探號」

不同情境和周遭種種未能解決的問題，

所謂「無用之用」 ，能超越器物功用的實用

層面，在世俗標準以外，創造出新的價值

成籃球架，開拓學生對周遭事物的好奇心，

累積和展示他們在校園共同合作的成果。 《是事是物》就像一本由眾人編寫的

和意義。

工具書，集合了眾人的智慧和經驗。吳家俊

學生進行不同的集體活動，藉有限的資源和

事物的種種限制，希望學生能超越「有用之

觀念去創作。藝術家從自己的作品出發，

此看到自己和各種事物均大有可「用」之處。

在校園巡迴展覽期間，吳家俊跟參與的

工具啟發靈感，提醒學生打破對工具預設的

鼓勵我們要承先啟後，以創意回應和轉化

用」的境界，放下「有用無用」的迷思，或可藉

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dimension of objects to create new values and meanings that lie beyond conventional standards.

As part of the travelling exhibition to local schools, Ng engages participating students in a variety of group activities.

He uses limited resources and tools to stimulate students’ creativity, and reminds them to break away from their preconceptions of tools in their art practice. The artist takes his own works as a starting point and leads students to envisage the incidents or settings that may be associated with everyday objects. He also invites students to put the concept of ‘thinking with your hands’ into practice; as they touch various objects while their eyes are closed, students grasp the attributes of these objects in a new light. They then go on to transform the objects. Ng transforms a window frame in the M+ Rover exhibition space into a basketball backboard, sparking students’ curiosity about their surroundings and inspiring them to approach artistic creation as a game. The fruits of their collaboration are presented in M+ Rover.

Thing beyond Things is like a handbook that contains the wisdom and experiences of its many contributors. Ng encourages us to draw on what has come before to open up new possibilities, and to respond to or transform the limitations of things with creativity. He hopes students can go beyond the categories of usefulness and uselessness, to see the usefulness of oneself and of all things.

發展 和 限制

想像力是最有用的工具

DEVELOPMENT AND LIMITATIONS

The Most Powerful Tool Is the Imagination

改造 和 想像

RECYCLING AND IMAGINATION

Limitations Can Spur Inspiration

吳 家 俊

連繫能開拓空間

空間 和 連繫

NG KA CHUN

SPACE AND CONNECTIONS

Expanding Space through Connections 14

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THING BEYOND THINGS

限制能啟發靈感

是 事 是 物

主題一

THEME 1 發展 和 限制

DEVELOPMENT AND LIMITATIONS

→

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Activity Summary: Limitations Can Spur Inspiration Other Functions Ng Ka Chun believes limitations can inspire us. One invariably encounters many limitations in daily life, whether one possesses abundant or limited resources.

These obstacles often inspire Ng to develop new solutions. By changing conventional and habitual behaviours and prompting unconventional ways of using objects, one can transform the original functions of everyday objects and free them from a singularity of purpose. Ng starts with the materials on hand and a small number of tools, and recombines manufactured objects or materials, following a process of bricolage. Even using casually selected tools and less-than-perfect materials, the artist is able to create ‘new’ functional objects that respond to one’s needs in everyday life.

教學目的：

接納限制的存在，順應現實環境和機遇，

從局限之中找到回應問題的方法

2. 把分享當作創造的過程，透過承先啟後的 方式推動創作

1.

資源回收袋

三至五人一組，每人把自己欲捨棄的物件

放在垃圾袋內，相互保密

2. 在便條紙寫上所棄物件的優點和缺點 3. 各人按他人在便條紙上列明的優點和

缺點，根據自身所需，選取一張便條紙， 並說明選擇的原因

4. 把收集得來的物品一一擺出，按選取的 便條紙獲得相應的物件

合眾之力

對吳家俊而言，「發展 」除了滿足 人的

活動 總 結：限制能 啟 發靈 感

另作 他用

吳家俊相信，遇 上限制反而能激發

思考和創新。人擁有的資源不論豐裕還 是

貧乏，在日常生活中也總會遇上各種限制，

但種種阻力卻往往能啟發藝 術家解決難題。

物質需要，更 是為了在過程中累積人類從古 到今適應環境的智慧。智慧像是 跨 越時間

和地 域界限的「工具 」，是 所有人都能共享

的資源。在藝 術家 所嚮往的烏托邦國度裏，

「發展 」就 是各人 盡其 所長，藉着分享及

傳承解決難題的知識和技術，令人們可以

互補長短。群體可根據當下的資源自主決定

吳家俊透過改變約定俗成的行為習慣和誘導

「發展 」的方向，而非接受「被安排」的一切

的用途，讓事 物不再限 於單一功能。他先 從

不可預測的天災人禍時特別能派上用場，

不平常的用物方式，藉此 轉化日常物品原來

手頭的資源出發，善用有限的工具，以「拼裝」

「發展」 。這種對「發展」的信念，在遇到

並可集眾人之力解決當務之急。吳家俊以

的概念重新組合四周現有的物品或材料。

「 M+ 敢探號」為試驗的出發點，把形形色色

未盡精美或適合，他還 是能 創造出「新」的

的想像，從一間學 校帶往另一間，其後繼 續

所用的工具或許是信手 拈來，材料也可能

用具，以回應生活所需。

的工具箱，盛載他 和學生對「工具 」所累積

在社區中分享。

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The Power of the Crowd Ng believes that the concept of ‘development’ not only describes the way that the material needs of people are met, but also embodies the accumulated wisdom of people as they adapt to their environments, from ancient times to the present. Wisdom can transcend temporal and geographical boundaries as a ‘tool’, and it is a treasure that can be shared by all. In the utopia that the artist dreams of, development is a state in which everyone complements each other’s abilities by sharing knowledge

Learning Objectives: 1. To accept limitations, adapt to one’s environment and respond to the opportunities it offers, and discover ways of responding to questions 2. To turn the act of sharing into a creative process and draw on what already exists to drive artistic creation Recycling Bag 1. Students are divided into groups of three to five; each participant puts an object they wish to discard into a trash bag and keeps it a secret.

2. Each participant writes down the pros and cons of the discarded object on a Post-it note.

3. Each participant selects a Post-it note based on the pros and cons of the object listed and based on their own needs, and explains their reason for choosing the object.

4. All the collected objects are put on display, and each participant receives the object that corresponds to the Post-it note they selected.

and approaches to solving problems.

The community can determine the direction of its own development based on the resources available, rather than accepting a predetermined course of development.

This approach to development is particularly useful in response to natural disasters, when the power of the crowd is essential in creating solutions for pressing issues. Ng takes M+ Rover as the starting point for an experiment. He brings his students’ and his own imagination of what a ‘tool’ is, along with various toolboxes, from one school to the next, and then into the community.

老師可以 運 用以下問題 及 延

伸活動帶領學生討論或創作：

Teachers can lead student discussion or creative work with the following entry points and extended activities:

個案討論：不時不食

The Nature of Change Can addition and subtraction take place simultaneously in the process of development? Can you recall how your room has changed from childhood to the present? Who decided the room’s decor?

Have the objects in your room changed or increased in number as you have grown older? Has the size of your room increased over the years? How do you strike a balance between limited space and endless material desire, in order to meet your needs as you grow up?

「不時不種，不時不食」是農耕及飲食的智慧， 讓人享用在最合適的天然條件下成長和生產

的農作物。隨着人類科技發展，今天我們

想吃甚麼，就能吃到甚麼，改變了當令種植 和擇食的原則。假如未來科技更進一步，

使反季節菜的營養不再遜於當令蔬果，我們

應該投入資源營造培植反季節菜的生長環境， 提供更多的食材選擇，還是順應自然規律，

應時當令進食寥寥可數的幾種蔬果？

討論：資源是如何被轉化？

可持續發展和資源

社會資源是如何分配的？資源充足就

必定能帶來高質素的生活嗎？當下的資源是

你能轉化這個空間，以 迎合他們的需要嗎？

試代入不同身分，如餐飲從業員、餐廳老闆、

食物環境衛生署職員、街坊等，共同想像

理想的後巷環境，讓人善用這個隱沒於都市

過剩還是不足？為人所捨棄的物品就是

一隅的喘息空間。例如從餐廳老闆的角度，

資源，還是純屬個人的意向？

牆壁，為稍事休息的員工送上另一片風景。

廢物嗎？你能選擇，是因為你擁有豐盛的

演變的性質

自主活動：繪 畫接龍

自己的房間從孩童到現在的蛻變嗎？誰決定

不能交談討論，以填滿整張畫紙為目標。

隨年歲增長而有所轉變或增多？房間面積有

互相牽引。

發展能否「加」和「減」並行？你能回想

房間的佈置？房間內放置的物品，有沒有

沒有隨成長而擴大？你如何平衡有限的空間 和無窮的物慾，以配合成長的需要？

使 用和共享

傳統智慧是群體共同擁有的資源嗎？

京、滬、川等不同類 別的中國菜式是由誰

創造？你能按他們烹調的方法煮出同樣菜式，

甚至演變更多款式嗎？為何要寫成食譜傳授 給更多人？ 延伸活動

課堂活動：後巷的風景

由於時間和空間的限制，大多數餐飲

從業員在「落場」期間，只能坐在後巷 歇息，

Use and Sharing Is traditional wisdom a resource shared by the community? Who created the various Chinese cuisines, such as Beijing cuisine, Shanghai cuisine, and Sichuan cuisine? Can you prepare the same cuisines or even create new ones by using the cooking methods of each cuisine? Why is it important to write down recipes and pass them on?

把「休息的十種方法」以海報形式貼在後巷

兩人一組，輪流在畫紙上添筆，過程中

畫完後，按畫像討論兩人所畫的圖案是如何

Discussion: How Are Resources Transformed?

Sustainable Development and Resources How are social resources distributed?

Does the availability of sufficient resources guarantee a high quality of life? Are we facing resource overabundance or resource scarcity in the world today? Are discarded objects necessarily waste? Is it because you possess abundant resources that you are able to make choices, or is this just a consequence of personal preference?

Extended Activities In-Class Activity: Scenery in the Back Alley Due to the constraints of time and space, most food and beverage workers can only sit down and have a rest in the back alley, between shifts. Can you transform this back-alley space into an environment that caters to their needs?

Imagine yourself in different roles, such as a food and beverage worker, a restaurant owner, a Food and Environmental Hygiene

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Case Study: Do Not Consume a Crop When It Is Not in Season ‘Do not cultivate a crop when it is not the right season for it to grow; do not consume a crop when it is not in season.’ This encapsulates fundamental wisdom about farming and food, suggesting that people should consume crops that are cultivated and produced under the most appropriate natural conditions.

Due to developments in technology, we can now consume any food we want at any time, departing from the principle of seasonal cultivation and food consumption.

If technology advances even further in the future and results in out-of-season fruits and vegetables having the same nutritional value as in-season ones, we will be faced with a conundrum: should we invest in creating an environment for cultivating out-of-season fruits and vegetables in order to expand the range of available food ingredients, or should we follow nature’s rhythm and consume only the vegetables and fruits that are in season?

Department officer, or a local resident, and design an ideal back alley, as a retreat in an unseen corner of the city. For instance, from the perspective of the restaurant owner, create a poster describing ‘Ten Ways to Relax’ that you can post on the wall of the alley to create a different kind of scenery for people taking a break.

Self-Directed Activity: Drawing in Turn Students are divided into groups of two.

The two participants take turns drawing on a piece of paper and remain silent throughout the process. When the drawing is done, the two participants discuss how their drawings respond to and inspire each other.

作品參考

ARTWORK REFERENCE

《K計劃》

2015年

混合媒介

Project K 2015 Mixed media

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主題二

THEME 2 改造 和 想像

RECYCLING AND IMAGINATION

→

Activity Summary: The Most Powerful Tool Is the Imagination Dare to Make Most people are accustomed to the mass production of industrial society and to the monotony of products on the market, and we often discard something once it is used up or it goes out of fashion. Starting from the concept of thinking with your hands, Ng Ka Chun follows his intuition in recreating objects by hand. He discards the step of drafting and feels the object in its rawest state, observing the pull between human and object that propels the process of creating. The artist uses this process as a means to contemplate one’s needs, feeling the connections between human and object with his hands.

教學目的：

1. 透過直覺的觸感經驗推進創作過程 2. 追溯眼前事物的起源及思考其本質，打破 慣常的概念，並創造屬於個人的新意義

1.

門與標誌

嘗試不用手開門，而使用身體其他部位

將門打開

2. 以繪畫「火柴人」的方式，記錄自己開門的 動作

3. 從尺寸、重量、物料、門柄款式、開門方法 等角度，記錄與一扇門有關的種種細節

4. 根據你所記錄的門的特點，以「火柴人」 圖畫製作教人如何打開這扇門的告示

活動 總 結：想像力是 最有用的工 具 敢 於製 造

大部分人都習慣了工業社會大規模的機械

生產模式，習慣了市場上千篇一律的產品，

敢 於改 變

概念出發，嘗試跟隨個人直覺，打造握在

物件預設的觀念，改造便沒有終點。我們

雙手感受物件最原始、最簡單的狀態，觀察

從中明白人的基 本需要，再創造出屬於 個人

度身訂做的造物過程。藝 術家以 造物作為

「物盡其用」的「用」，可能不再限 於功能上

習慣了用舊就換。吳家俊從「用手思考」的

手中的物品。他捨棄繪畫草圖的步驟，透過 當下人與物之間的互動和牽引，藉此推進

方法去觀照個人需要，更以一雙手建立和 感受人與物的聯繫。

對吳家俊來說，只要我們懂得打破對

透過追溯萬物的起源來貼近製造者的思想，

的物件，讓物件成為人內心的投射。於是， 的物質用途，更包含物件為使 用者所用的 精神意義。

敢 於提問

敢 於想像

能迎合所有人的需要，所以每個人都可按照

及精神，讓 靜物的靈魂 甦醒。融入日常生活

方式，不斷提問，不斷追求，不斷改善和

幻想籌辦由清道夫組成的樂團，以他的作品

或許，本來就 沒有十全十美的生活方案

自己的習慣、根據 人對空間和環境的適 應

修正現況。吳家俊鼓勵參與的學生改造放置

在「 M+ 敢探號 」的日常物件，並在過程中

提出人、事和物循環 交融的生活實踐方案。

Dare to Ask Perhaps there is no one way of life that caters to everyone’s needs.

Everyone can continuously question, pursue, improve, and refine their present situation, based on their habits and the way they adapt to their surroundings.

Ng encourages participating students to recycle the everyday objects inside M+ Rover and to propose plans for creating a relationship of mutual sustainability between human and thing.

藝 術家憑想像力發掘物件極致的功能

的物件能帶我們走進情趣之境，正如他曾

《掃把笛》為樂器，在公園巡 迴演奏。掃把 既被改 造成可吹奏的笛子，也化成激發

思考的「工具 」。

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Dare to Change Ng believes that if we know how to break away from our preconceptions of objects, there will be no end to recycling. By tracing the origin of objects, we come closer to the mind of the creators

Teaching Objectives: 1. To encourage the creative process through intuitive and tactile experiences 2. To trace the origin of the object and consider its essence, breaking away from common conceptions to create new and personal meanings Door and Sign 1. Try to open the door without using your hands.

2. Record your actions to open the door in the form of stick-figure drawings.

3. Record the details of the door, like its size, its weight, its material, and the style of its handle.

4. Based on the characteristics of the door you recorded, make a sign in the form of stick-figure drawings to show how to open the door.

of objects and grasp our basic needs. On the basis of this understanding, we create objects that belong to us, and turn them into projections of our minds. An object is more than its practical function; it also encompasses its conceptual significance.

Dare to Imagine The artist uses his imagination to explore the ultimate function and spirit of an object, to revive its soul. The objects that are part of our daily life can lead us into a realm of fantasy and joy. The artist once fantasised about establishing a music ensemble of street cleaners, who would use his work Broom Flute as a musical instrument and perform around the park. The broom is remodelled into a playable flute, which becomes a ‘tool’ to inspire one’s mind.

老師可以 運 用以下問題 及 延

伸活動帶領學生討論或創作：

Teachers can lead student discussion or creative work with the following entry points and extended activities:

個案討論：下一步是甚麼？──公平貿易

Discussion: What Are Usefulness and Uselessness?

The Characteristics of an Object Can the form and function of an object be altered? Who determines the ways in which everyday objects are used? Imagine you are going to use a pair of chopsticks: Do you first notice the way others use chopsticks? Or do you explore their function by using your hands? Is there a limit to the function of an object? How do you decide to stop using an object?

你會選購價錢昂貴但獨一無二的真皮手工 錢包，還是價錢相宜但由工廠倒模生產的

仿皮錢包？兩者的功能有何分別？耐用的程度

重要嗎？獨特的創作概念何價？如何計算手工

匠人一針一線的心意？便宜的價格是否合理？

商品是由誰來定價？誰要承擔消費的後果？

良心消費（即以道德責任為原則的「消費」

行為，以此來支持商店，令它們可在市場上 持續發展）又會為你帶來經濟負擔嗎？

討論：甚麼是「有用無用」？

物件的特性

物件的外形和用途可以被調整嗎？日常

物品的使用方式，是由誰決定的？試想像

和椅子結合，便能設計出有防刮功能的椅子

（把球套於椅子腳）；又或把一些網球拼合

你要使用一雙筷子，你有參考別人使用該物件

物件的結合，或者以不同的性格來形容一 個

器官（如手、皮膚等），靠觸覺探索物件的

的椅 子。在 組合的過程中，不用介意 結果

的經驗和方式嗎？還是透過自己的感知

功能？物件的用途有限嗎？你是如何決定

不再使用某件物品？ 主體與 客體的關係

人是依賴物件生活的嗎？物件會左右

使用者的行為和想法嗎？重複使用一件

物件的方法，會否累積 成為使 用者身體的

記憶？物 件 被使 用過的痕 跡 有甚麼意義？

使用者是主動還是被動的角色？ 必需品和個人需要

你家中的必需品，是否根據你的個人需要

而設計？每個人都有各自獨特的需要嗎？

人的需要是否恆久不變？有沒有買不來的 必需品？你的需要會影響他人嗎？ 延伸活動

物件，如一張「貪心」的椅子、一張「頑 皮」

是否合理或好看，重要的是多作嘗試，為平常

事物尋找新的呈現方式。

自主活動：奔馳法（ SCAMPER ）

這是美國心理學家羅伯特．艾伯爾

（ Robert F. Eberle）提出的七種改進或改變 的步驟，可用來構思新的點子。SCAMPER

Necessities and Personal Needs Are the essential things in your home designed according to your needs? Do we all have unique needs? Do our needs change? Are there any necessities we cannot buy? Do your needs influence others?

分別是：替換（Substitute） 、合併（Com-

bine）、調整（ Adapt）、修改 / 擴大 / 縮小 （ Modify/Magnify/Minimise） 、另作他用 （ Put to other uses） 、消除（ Eliminate） 與重組 / 顛倒（ Re-arrange/Reverse）。

例如對奶類製品敏感的人或素食者想享受

雪糕，可透過「替換」的方法，以植物奶類

Extended Activities In-Class Activity: Forced Connection Try combining two different objects into a ‘useful’ form by using different methods.

For example, design an anti-scratch chair by inserting the chair’s feet into tennis balls,

取代雪糕中的牛奶，製成純素雪糕。另外， 粒粒雪糕的出現，也可以用「縮小」這概念

課堂活動：強 迫 連 結法

構思出來。又例如牆 壁 是否必須 要以 直 立

結合成為一件「有用」的物品。例如把網球

設施，是否更能拉近人與牆的接觸？

嘗試利用兩種不同的物件，以不同方法

The Relationship between the Subject and the Object Are our lives shaped by our reliance on objects? Does an object change the user’s actions and thoughts? Does the repeated use of an object accumulate and become a memory in the user’s body?

What do the traces of use of an object mean to us? Does the user play an active or a passive role?

成坐墊。兩組物品可以是自然物件與人造

形式出現？以一 幅傾 斜的牆 作 為倚靠的

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Case Study: What Next? Fair Trade Would you choose to buy an expensive but unique, genuine-leather handmade wallet, or an affordably priced but factory-made faux-leather wallet? How do the two differ in function? How much would you pay for a unique creative concept? How do you measure the effort that a craftsman puts into their work? Are low prices always more reasonable? Who determines the prices of commodities? Who bears the consequences of consumption? Does so-called conscious consumption entail financial burden?

or use several tennis balls to make a seat cushion. You can even use a combination of natural and handmade objects. Or try using different characters to describe an object, such as a ‘greedy’ chair, or a ‘naughty’ chair. Don’t worry about whether the result is logical or attractive!

Self-Directed Activity: SCAMPER SCAMPER is a model devised by American psychologist Robert F. Eberle which outlines seven ways for improving people’s creative thinking. SCAMPER stands for Substitute, Combine, Adapt, Modify/Magnify/Minimise, Put to other uses, Eliminate, and Re-arrange/Reverse.

For example, when vegetarians or people who are allergic to dairy products want to have ice cream, they can substitute milk with plant milk to make vegan ice cream.

The invention of Mini Melts ice cream can be explained as a strategy of minimising.

Use the SCAMPER model to ask questions about the objects that surround us. For example, does a wall have to be vertical?

作品參考

ARTWORK REFERENCE

《當白雲遇上黑雲》

2012年

衣架

When a White Cloud Meets a Black Cloud 2012 Coat hangers

《掃把笛》

2017年

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竹掃把

Broom Flute 2017 Bamboo broom

主題三

THEME 3 空間 和 連繫

SPACE AND CONNECTIONS

→

1.

教學目的：

Activity Summary: Expanding Space through Connections Room for Exchange Ng Ka Chun sees his neighbours building their home. He observes how they live. Coming together in a group means acquiring knowledge of different fields from one another. Learning and exchange inspire us to discover new options, to live in ways we never imagined before.

認識人與人的相處，並不視乎場域空間，

而更在於開闊無邊的心靈

2. 學習寬待群體內每個人的想法，明白 「人心之不同」

3. 探索人與人之間相異之處，追求和而不同 的相處方式 蒙眼旅人

1. 兩人一組，其中一人蒙上眼睛 2. 蒙眼者先自轉幾圈，然後接受另一人的帶領 3. 依賴和信任沒有被蒙眼的一人，從學校中 的一個角落走到另一個地方

4. 感受走動的距離和身體跟空間的觸感 5. 到達後看看終點跟自己所預期的是否相同

Room for Contradiction Even in a harmonious community, there must be different individual opinions. Through group games with students, Ng questions the potential properties and functions of everyday objects. He encourages students to challenge each other’s assumptions about everyday objects and guides them to discover new possibilities for the appearance and function of objects.

The artist creates a platform for debate, taking our common ground as the basis to foster our imaginations in relation to people and objects. On a practical level, this means respecting everyone's opinions, as we work together to form new concepts amidst contradictions.

活動 總 結：連繫能開拓空間

交流的空間

吳家俊 經常看見鄰居一手一腳打造自己

的家園，從中觀察別人的生活模式。聚合成

群就 是為了互相學習不同範疇的知識，並在

借鑒和交換知識的過程中，啟發我們實踐 未曾想過的生活模式，發現新的選擇。

矛盾的空間

參與的空間

着個人不同的理念。吳家俊以集體遊戲的

工具 進行創作。工具箱內有膠紙、麻 繩等

他更容讓學生互相「挑戰」各自對物件的

的塑 膠 扭 蛋玩 具等。工具箱也附有一本

即使 一 個融洽的群體，當中也必然滲透

方式向學生提問日常物的潛在功能和特性。

活動期間，學生需運 用工具箱內有限的

協助組合現 成物的用品，也有看似作用不大

理解，引導他們從別人的角度發掘物件在

「工具書」，內容由其他學校曾使用這些工具

創造 了一 個鼓 勵討論的平台，以共通點為

各樣工具的用途。來自不同學校的學生透 過

呈現方式、使用方法上的另類可能。藝 術家 基 礎，誘發人與人、物與物，乃至人與物可

引起的聯想。在運作層面，就是重視每個人 的想法，一起從矛盾中建立新的概念。

的參與學生編寫，記載他們所重新釐定各式

「工具書」互相影響，甚至傳遞 所思所想，

這種連鎖效應使學校與學校之間形成一個 新的群體。

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Room for Participation During the activity, students create objects by using a limited set of tools from a toolbox. The toolbox includes tape and rope to make it possible to combine objects. It also includes plastic toys,

Teaching Objectives: 1. To learn that interactions between people are not determined by setting, but flow from an open mind 2. To learn to respect the ideas and the unique interior world of every individual 3. To explore the differences between people, and to pursue inclusiveness in connecting with others The Blindfolded Travellers 1. Students work in groups of two. In each group, one participant is blindfolded.

2. The blindfolded participant spins around a few times before allowing their partner to guide them.

3. The blindfolded participant relies on and trusts the partner who is not blindfolded, as they walk from one corner of the school to another spot.

4. The blindfolded participant feels the distance travelled—a tactile perception of space.

5. Upon arriving at the destination, the participant observes the surroundings to see if it is what they expected.

which may seem useless. A ‘tools manual’ is enclosed in the toolbox. The content of the manual was edited by students from other schools who participated in the activities, and it records the properties they recognised of the different kinds of tools. Students from different schools influence each other and express their ideas through the manual. This brings the schools together, to form a new community.

老師可以 運 用以下問題 及 延

伸活動帶領學生討論或創作：

Teachers can lead student discussion or creative work with the following entry points and extended activities:

個案討論：災後重建

在 2011年日本石卷市大地震後，設計工作室

石卷工房透過簡單的木製建材和日常工具，

鼓勵災民以有限的資源自己動手製作家具，

重建家園。如果有五百萬賑災善款，你會如何

Discussion: Why Do We Need Connection with People?

Individual and Community Do communities exist for individuals? Without individuals, can communities exist? Are communities and individuals mutually exclusive? Is individual free will possible within a community? Is there any knowledge or skill that belongs completely to an individual? Will knowledge become extinct if a community falls apart? Will communities disappear? Remember when you moved up a grade at school and your former classmates were assigned to different classes—did the old community still exist?

有效地運用？把善款全用於添置現成家品？

還是就地取材，聘請導師傳授簡易的造物技巧， 讓災民自己動手重建災區？把成本效益、重建

速度和心靈支援納入考量，哪一種方法更能

協助災民在生活空間崩塌後重返日常軌道？ 哪些經驗對災民日後的生命歷程更具意義？

討論：為何人需要與他人建立連繫？

個人與 群體

群體是為了個體而存在嗎？沒有群體，

個體仍能存在嗎？群體和個體是對立的嗎？ 群體中可以有個人意志嗎？有沒有一種知識

或技能，是完全屬於個人的？知識會因群體

的解散而失傳嗎？群體又會消失嗎？試回想

升班的時候，同學被派往不同的班別，昔日 的群體還存在嗎？

社群的組 成

是甚麼使你和身邊的伙伴走在一起？

你們有甚麼相近的特質？又有沒有不同

之處？來自不同家庭背景、年齡、性格甚至 種族的人走在一起，會面對甚麼困難？

假如你是班上來自外地的插班生，你會如何

表達對班會政策的意見？少數必定要服從 多數嗎？一 個融洽的班別，能否改變其他

關係疏離的班別？社群之間能互相影響嗎？

她們是你建造的家和家園中的一分子嗎？

當你站在不同的地方回望，家和家園的景貌

會轉變嗎？ 延伸活動

課堂活動：共居的生活提案

試想像五十年後，你有機會以長者身分

為身處的社區設計一 個青銀共居的空間，

並訂立住客守則（如：長者須每天向青年說 藉此探索如何建設一 個設施和守則都能

滿足各人身心需要的共享空間。留意長者和

青年的心理和身體狀態有所不同，例如青年

人嚮往無拘無束的私人時間，而長者的生活 作息更趨規律節制。

自主活動：秘密天 使

記下一位校工的名字，以此作為給予

家和家園

尊重和珍視的手段。暗中觀察該校工的職務，

會有多個家或家園嗎？移民是如何在新的居所

減輕工作，也是身為空間使用者，與日常使用

家和家園有沒有分別？長期旅居海外的人，

擔當他 / 她的「秘密天使 」，默默為他 / 她

建立歸屬感？他們如何適應人生路不熟的

空間建立連繫與歸屬感的行為。如在放學後

在假日重複到訪的公園，對她們有甚麼意義？

的名字），謝謝

地方？原住民又如何看待外來的人？外籍家傭

The Formation of Community What brings you and your friends together? What are some of the attributes that you share? What about the differences? When people come together in spite of individual differences such as family background, age, personality traits, or race, what kinds of difficulties do they face? If you were a new student in a class who came from a foreign country, how would you express your opinions on the class’s policies? Must the minority obey the majority? Can a harmonious class bring changes to discordant classes? Can communities influence one other?

一句讚美的話；青年須每天擁抱長者一次），

把課室的垃圾包好放在門口，並寫上「（校工 ！」。

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House and Home Are there differences between a house and a home? Do those who live abroad have more than one house or home? How do immigrants develop a sense of belonging in their new home?

How do they adapt to an unfamiliar place? How do the native residents of a place feel about immigrants? What do parks mean to domestic helpers who visit them during public holidays?

Do these domestic helpers have a place in the house or home that you build?

When you look at your house or home from a different perspective, does it look different?

Extended Activities In-Class Activity: Proposal for Co-living Imagine that in fifty years’ time, you, as an elderly person, have an opportunity to design a co-living space for youths and the elderly, and to devise rules for the residents of the space to meet their physical and emotional needs. (For example, the older residents must offer a compliment to the youths every day, and the young people must hug the elderly every day.) The co-living proposal should be sensitive to the differences in lifestyle between young and old. The elderly tend to follow a daily routine, whereas youths might have a more flexible schedule.

Self-Directed Activity: Secret Angel Remember the name of a janitor as a way to show respect and appreciation.

Observe the janitor at work in secret and be their secret angel by helping to reduce their workload. This is also a way to develop connections and a sense of belonging in the spaces one uses in daily life. For instance, you can tie off the trash bag and put it outside the classroom door after school, with a hand-written note: ‘(Janitor's name), thanks !’

作品參考

Case Study: Reconstruction after Disaster After the earthquake struck Ishinomaki, Japan, in 2011, the design workshop Ishinomaki Laboratory provided simple wooden materials and everyday tools to the earthquake victims. People were encouraged to rebuild their homes by building do-it-yourself furniture with limited materials. If $5 million was raised through a fundraising campaign, how would you make use of the funds? Would you spend it all on purchasing manufactured household items? Or would you hire instructors to teach earthquake victims some simple ways to make these items, enabling them to rebuild the disaster area by themselves? What would be the best way to help people after their living space had collapsed, taking cost effectiveness, speed of reconstruction, and emotional support into consideration?

ARTWORK REFERENCE

《圓圓凳》

2013年

摺凳面板、摺枱腳

Round Round Seat 2013 Stool seats, foldable desk legs

延伸閱讀 EXTENDED READING

1.

柳宗悅著，戴偉傑、張華英、陳令嫻譯：《工藝之道：日本百年生活美學之濫觴》，

臺北市：大藝出版，2013年。

Yanagi Sōetsu. Kōgei no michi [The way of crafts]. Tokyo: Sanyusha, 1928.

2. 原廣司著，黃茗詩、林于婷譯：《聚落的100個教誨》，新北市：大家出版，2016年。 Hara Hiroshi. Shūraku no oshie 100 [Teachings of Villages, 100].

Tokyo: Shokokusha, 2007.

3. 山崎亮著，莊雅琇譯：《社區設計》， 臺北市：臉譜出版社，2016年。 Yamazaki Ryo. Community design: hito ga tsunagaru shikumi o tsukuru [Community design: finding a system to connect people].

Kyoto: Gakugei Shuppansha, 2011.

《圓圓枱》

2013年

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摺枱面板、摺凳腳

Round Round Table 2013 Foldable desktop, stool legs

「M+ 敢探號」

吳家俊的《 是事是物 》

由 M+ 教學及詮釋組策劃

2018 年 2 月至 6 月

M+ Rover Thing beyond Things

by Ng Ka Chun is curated by the M+ Learning and Interpretation team February– June 2018 計劃團隊

方詠甄

主策展人 陳曰明

助理策展人

《掃把腳》

2017年

竹掃把、塑膠嬰兒椅

楊柏匡

策展助理

Broom Legs 2017 Bamboo brooms, plastic high chair

陳焯南

項目助理 與

黃樂曦

活動統籌 周曉妍

項目助理 顏彤

教材套 撰稿

楊柏匡

陳曰明

李可穎 翻譯

黃進之

李俊彤

2013年

Project Team Stella Fong Lead Curator

Copy Editors: Lam Lap Wai Andrew Goodhouse 鍾玉玲 Zhong Yuling 鍾曉芯 Janfer Chung 黃進之 Nicolette Wong

Joego Chan Assistant Curator

内容複審

Dicky Yeung

Curatorial Assistant

Jerry Chan

Project Assistant

with Rachel Wong

林立偉

陳曉嵐

Programme Coordinator

Christy Chow

Project Assistant

Caroline Ngan

捐款入數紙

圖片由藝 術家 提 供

© 吳家俊 Images courtesy Ng Ka Chun. © Ng Ka Chun

版權 所有 翻印必究

All rights reserved © 2018 M+

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Content Reviewer: Amy Chan

設計 Design Milkxhake www.milkxhake.org

在 � ���家�構思《 是事是物》� �國才參�「 M+ � �� 」的設計� Special thanks to Ng Ka Chun for envisioning Thing beyond Things and Kacey Wong for contributing to the design of M+ Rover.

Cheung Kong No.1 2013 Bank transfer receipt

Translators: Nicolette Wong Konstance Li

審稿

策展實習生 Curatorial Intern

《長江一號》

Teacher’ s Resource Pack Contributors: Dicky Yeung Joego Chan Michelle Lee