類聚集 ensemble

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Man Mei To 文 美 桃

文美桃生於 1 9 9 0年,獲皇家墨爾本理工大學及香港藝術學 院藝術學士學位,主修繪畫。她的作品混合多種媒介,包 括繪畫、攝影、錄像、裝置及混合媒介等。 文氏作品多涉及「身體」:以物化、抽離身體,牽引張力, 探討她與他.她.它.牠之間的距離和關係。她又愛於日 常生活的城市中,尋找自然景觀。

Man Mei To (b.1990) obtained her Bachelor degrees in Arts from Royal Melbourne Institute of Technology University (RMIT) and Hong Kong Arts School in 2015, majoring in painting. Her artworks incorporate various media such as painting, photography, video, installation and mixed media. Man’s artworks typically engage the “body”. By objectifying and alienating the body in her works, tension is aroused; hence, the distances and relationships between him, her, it and us are explored. She also enjoys discovering natural landscape in her everyday city life.


水 Wa t e r (2017)

混合媒介 (水、玻璃、光、鋁)

感謝 陳 上 城 | 馬詠瑜 | 駱敏聰 | 文彬 王 鎮 海 | 楊陽 | 葉啟俊 Acknowledgement Chan Sheung Shing | Fay yu | Kel Lok | Man Pan Wong Chun Hoi | Yeung Yang | Yip Kai Chun

Mixed media (Water, glass, light, aluminium)

小時候與婆婆一起住,廚房有一個以磚頭和磁磚做的小水池。水池上有個水龍頭,長期扭 開一點,以滴水的方式開着 慳水費。婆婆在 2 0 1 3年離世,離開時 1 0 7歲。直至現在,我 家廚房水龍頭下,也總有一盤以水龍頭一滴滴收集的水。這個動作未曾斷續過。深夜在家 可以清晰聽到那水滴聲。阿爸會用這些水來煮飯、洗菜、洗碗,以及一些日常的廚房事。 在城市行走,尋找水的去處


嘗試跟著水的腳步行走,站在低處,觀察水的流動。看水與那地的風景,看水與人的相處, 看水流露出那地方的景色、生活與痕跡。行走香港九龍新界的街道、後巷、公園、河邊、 海邊,找尋水的蹤影,收集、過濾雜質、入樽及呈現。收納城市人的生活常態與現況。 I used to live with Grandma when I was small. There was a cubic pond made of bricks and tiles in her kitchen. On top of the pond was a tap. Water accumulated into the pond drop by drop as Grandma kept the tap barely switched on to save water fee. She passed away in 2013 at the age of 107. Ever since, there has always been a basin of water under the tap in the kitchen at my home. This habit of accumulating tap water never halts. The sound of dripping water can be clearly heard at midnight. My father uses that basin of water to cook, wash the vegetables and dishes, among other kitchen routines. Looking for the whereabouts of water while drifting around the city is a never-ending business. I try to follow its “footsteps” and watch it flow from a low angle; I observe the landscape where water is present, how water and people get along, and how water reflects the landscape as well as the traces of people’s lives. I look for the traces of water as I wander around the city’s streets, back alleys and parks, along the riverside and the seaside. I then collect them, filter them, bottle them and present them. The collection of water is a collection of the cityscape and the lives of the people immersed in this city.




Jolene Mok

莫 頌 靈

莫頌靈生於 1 9 8 4年,是位香港實驗藝術家,常以錄像藝術 及實驗性影片創作。她總是持開放心態,隨時準備在創作 中,納入新景況和技術,以產生既意想不到,又有意義的 結果。自 2 0 1 1年開始,她一直參與藝術家進駐計劃,又對 偏遠地區的進駐計劃特別感興趣。

grew up in Hong Kong holds dual citizenship (Hong Kong & United Kingdom) don’t base anywhere outgoing down to earth loud a hard worker yet fun by nature a happy person in general mostly skeptical sometimes critical all time experimental www.jojolenelene.net

三點三風情畫 In Pursuit of a Siesta ( 2017)

雙頻錄像裝置 60分鐘(循環播放)及 6分鐘(循環播放) 2-channel video installation 60 minutes (on loop) & 6 minutes (on loop)

在香港,三點三指的是下午茶時間。 此作品於 2 0 1 7年 2月,在西班牙北部的後工業小鎮阿維萊斯 ( A v i lé s )駐村時製作。當地保留 了西班牙工作日午休 ( s i e s t a ) 的文化。為了親身體會 s i e s t a,我一連六日,於午飯後乘車到 全鎮最高點休息、放空。每次放空前,我都架好攝錄機,讓它把我於這段時間所看到的 景像實時拍下。 This work was produced in February 2017, when I spent my time in Avilés, a post-industrial town in northern Spain. Adopting the local Spanish tradition of “siesta” on working days, I went up to the highest spot in town at lunch time six days in a row with my video camera and tripod. I enjoyed the siesta in my own fashion, while my camera was capturing for me what went on at times.



Stephen Wong Chun Hei


黃 進 曦

黃進曦生於 1 9 8 6年, 2 0 0 8年畢業於香港中文大學藝術系 (文 學士 )。畢業後於火炭租用工作室 (「有人工作室」 )繼續創 作。作品主題圍繞自然風景繪畫,早年以電玩遊戲中的景 觀作寫生,突顯虛擬映像於視覺的衝擊。近年專注到香港 郊野寫生,加入想像,描繪人和自然之間的角力和共存。 Born in 1986, Stephen Wong Chun Hei graduated from the Department of Fine Arts, The Chinese University of Hong Kong in 2008. Upon graduation, Wong rented a studio in Fo Tan (“Someone in this studio”) to continue his artistic pursuit. While Wong’s paintings often centre around the natural landscape, his early works were sketches based on video game scenes, with an objective to highlight the visual impact brought by the virtual world. In recent years, Wong frequently visits the countryside of Hong Kong and enjoys sketching in the open air. Filled with Wong’s imagination, these paintings reveal the relationship between mankind and nature.

收藏風景 La n d s c a p e C o l l e c ti o n s (2014-2017)

水彩紙本 Wa t e rc o l o r o n p a p e r

寫生風景已成為我創作不可或缺的一部分。寫生收藏的,是主觀 的風景,記錄我當時的狀態,如何演繹眼前景象。有趣的是,在 現場寫生,是將無框的風景,變成有框的畫面;完成作品後,我 卻不斷追憶畫面以外的伸延的風景。

Landscape sketching has become a fundamental part in my artistic creation, for it captures my subjective interpretations to the sceneries and my personal conditions at the time of drawing. The funny thing about live sketching is that frameless sceneries are turned into a framed picture, albeit what I can’t help recalling is the extended sceneries outside the picture after it is completed.



Tang Kwok Hin 鄧 國 騫

A4 鄧國騫,混合媒介藝術家,香港中文大學藝術碩士。其創 作路途,始於對其原居民背景無間斷的追問。他的作品淡 化藝術和生活的界線,通過融和創作及人類種種矛盾,意 圖展現本質性。他時常挪用和重構日常與個人文本,以講 述隱伏生活的故事,觸及成長、承傳、自由、資本主義、 消費主義、政治、規範等,流露出對人事物的關懷。鄧氏 於 2 0 0 9年獲香港當代藝術雙年獎優秀獎,亦為 2 0 1 3年亞洲 文化協會獎助金得主。 Tang Kwok Hin, mixed media artist, Master of Fine Arts from the Chinese University of Hong Kong in 2008; first prize winner at the Hong Kong Contemporary Art Biennial Awards 2009; grantee of the Asian Cultural Council in 2013. Tang’s artistic path originates from continuous queries towards his native background. He blurs boundaries between art and life by integrating artistic creation with conflicts of the human kind in order to reveal intrinsic values. He often appropriates and reconstructs daily and personal contexts to narrate hidden stories in life, dealing with growth, inheritance, freedom, capitalism, consumerism, politics, norms…, etc, to express concerns towards humans and the surroundings.


楠詩 Na n cy (2017) 水溶噴墨打印、 包裹相框的泡沫塑膠、 混合媒介、單頻道錄像 Watering on inkjet paper, foam of wrapping photo frames, mixed media, single-channel video


I imagine you as a woman with a delicate body who delights in living.

聽母親說,她想喚妳作紅嫣,大概比我少三四歲。爸爸,也一直想有個女 兒,我的妹妹。

Mum tells me that she would have named you Hung-jin. You should be three or four years

我喚妳作楠詩,妳好比到了海外留學還沒有回來;妳時常寄居在不同的家 庭裏,足跡早就遍及世界;妳天性文靜,有點乖僻,又因為學業為重,故 沒有主動聯絡我們,我們也未敢打擾妳。

I call you Nancy. I imagine that you left to study overseas and have yet to return. You were born

妳生活好嗎?我在互聯網上找尋妳。妳的身影千變萬化,偶爾帶有一頭黑 色髮絲,間或染成一把長長的金髮;隨時間地域變換的俏臉,低垂虛掩; 眼珠兒藍藍啡啡,眼圈四周濃妝或素面都明艷照人;妳生活在天氣變化多 端的國度,衣著多變而無分季節;妳有龐大的生活圈子,身邊的朋友都將 跟妳的合照存載到網上,我由此認識妳更多。 也許妳不再回來,我只能為妳將種種資料整理結集,製成相簿,好讓爸爸 媽媽還有我,作為惦記妳的一種形式。妳今年該二十五歲了,這些,是妳 的成長記錄。

younger than me. Dad still talks about the daughter he never knew.

with a quiet nature and have become slightly eccentric. Due to your own academic pursuits, I understand why you have never taken the initiative to contact us and we dare not disturb you. How are you? I continue to search for you on the internet. I look for someone with features similar to my own but with long hair dyed blond, a pair of shiny pupils that often look blue but turn brown in the right light, and wearing softly-coloured eye make-up. Your home city has unstable weather and so you wear clothes in various styles from different seasons. You have a large circle of friends who share information about you and your life on the internet, and this helps me create a more vivid and accurate image of who you are today. Perhaps your departure has no return. I have created an album where I keep information that I collect about you so that Mum, Dad and I may better know and remember you. You should be twenty-five years old now. This album is the record I have of your growth and your life.


人人檔案本為藝術家李繼忠的藝術研究企劃,主 要探討香港政府管理歷史檔案的狀況,〈檔案法〉 立法和本地政治議題; 2 0 1 6年正式發展為藝術團


Archive of the People

體,成員來自不同界別。 每個民主社會,應該把歷史檔案納入公民自主的 制度內。正因制度不公,檔案面臨的危機,直接 影響到公民生活,例如制定政策的透明度、學術 自由等等。人人檔案希望通過藝術創作,把檔案 的議題及其引伸的既定格值觀、主流歷史觀與政 治論述作公開討論。

「人人」 二字,帶出普羅大眾是建構歷史、社會



與文獻,如何在公共領域內建構「過去」與「記 憶」,並構想一個有利於社會政治研究與創作的 框架,繼而針對體制上的陋弊,提倡公眾討論。

“Archive of the People (AOP)” began as an ongoing individual research and art project by artist Lee Kai Chung. The project addresses the governance on records, legislation of Archives Law and local politics, and has now evolved into a collective of specialists and artists since 2016. While social disruption calls for democratising archives, under the risk of decay in records and the shadow of an absolute political regime, “Archive of the People” puts the notion of archive, the established values it entails, as well as the mainstream historical and political narratives into question. Firstly, “AOP” explores “archive” on an epistemological level – the nature of records in the social domain, and how “the past” and “memories” are constituted with various archival materials. On the other hand, “people” suggests an anonymous or semi-anonymous crowd, who is a group of essential contributors of history, social values and knowledge but is somehow marginalised by the authorities or even overlooked. Thus, the collective takes on a broader perspective on archival practice to conceive a framework that facilitates socio-political research and creativity, so as to challenge homogeneity in the systems and to advocate social discussion.


事物的秩序 The Ord e r o f Th i n g s (2017) 混合媒介、單頻道錄像 Mixed media, single-channel video

“The Order of Things” is the first project by the collective “Archive of the People”. The project addresses the cycling system of “things” under the establishment of Hong Kong Government; through artistic practice and intervention, the collective centres the research on the empirical, evidential and social values of things in relation to the system that generates them. Public auction has been held by the Government Logistics Department on a regular basis since 2003; it was firstly held in late 19 th century in Hong Kong. Confiscated items, unclaimed goods and unused equipment from various governmental sources are open for bidding during the auction. The things or “artifacts” become empty vessels that intrigue public interest, on their economic significance instead of any of their intrinsic, archival and archaeological values. We create things that in turn they create us; a chain of economic activities is generated by the government, and auction is one of the prominent dots in the circle. Apart from social process resulting from symptomatic determinism, where do those things come from? Why are they so many? The way things are being put together, or “resemblance” as Foucault put it, reveals the kinships as well as the grammar of being. While “grammar” alludes whenever vocabularies and phrases are placed in a certain order, literal meanings are generated and a system of language is formed. Hence, the analogy sheds light on the multifaceted quality of this auction project, in other words, the physical existence of auction items and the political messages it conceals. The very first layer of “things” comes with the physicality of auction items, how they were used and can be used now, their conditions, how they are displayed for previewing, and how they are described on the auction list.

〈事物的秩序〉是人人檔案首件團體作品,針對香港政府架構內的物品,以及其 循環系統。人人檔案透過藝術介入,輔以經驗、實証和研究,探討物品與體制之 間的關係。

The second layer connects its intrinsic value to its monetary value, and the commercial activities it generates in the market – how much they can be resold for, how minimal descriptions make the bidders associate with his/her past experiences in the auction, and how to circulate the things as a secondary production.

香港最早的公開拍賣,可追溯至十九世紀末;回歸後政府公開拍賣,自 2 0 0 3年由 香港政府物流署舉行。公開拍賣的物品包括充公、無人認領物品,以及來自不同 政府部門的閒置工具與器材。公眾對拍賣品感興趣,主要是其商業價值。〈事物 的秩序〉揭示物品本身,超越純粹的物理性存在,隱含複雜的政治想像。

The third layer is abstract and ideological, which involves semiotics, systems and history. Things not only direct human activities, but also shape our cognition and knowledge – the stability of item supply reveals the circuit between auction and the local market. Items are generated by the system and in turn affect the system; such interrelations may influence the impartiality of the auction.

香港政府架構內的物品,可探究層次有三。第一層是物理性:功能、現狀、展示 方式、清單描述;第二層是內在價值和金錢價值之間的落差,以及其後引發的市 場商業活動之間的脈絡;轉售物品的利潤、拍賣清單上物品的簡單介紹、競投人 過往競投與售賣經驗,以及物品回流市場後的第二次生產。

In this respect, the auction-things system provides a wide range of contexts for us to explore, from the moment the items are first being acquired, to identification, categorisation, storage, procedural decision on auction listing, and lastly falling into the bidders’ hands. This whole processes passes on stories from time to time, as it involves the functionality and materiality of things, thus consequently opens up potential in their historiographical qualities.

第三層是抽象和關於語意、制度與歷史的意識形態。物品由物理呈示,發展到導 引人類行為,影響人對事物的認知與知識 — 物品的穩定供應,直接在公開拍賣與 本地市場之間,建立一個循環系統;這個系統產生可被拍賣的物品,物品又影響制 度,當中某種唇齒相依的關係,改變拍賣的中立性。被政府權力操控的制度下,大 眾對於事物的認知,距離真象有多遠?而使個體屈從的權力,其目的為何? 〈事物的秩序〉揭示物品的功能性與物理性,還有被忽略的敘述歷史特質。作品 將檔案研究方法,引伸到物件及其產生的事件,藉以彰顯具研究價值的文庫,不 一定止於傳統文獻。團體內各藝術家閱讀、解構與重構事物附有的符碼,以問題 回應問題。

Something is being disposed and others remain on the list; the things are being sorted according to the source instead of any other classification methodologies. The government possesses the ultimate authority to maintain the existing ecosystem of circulating things, in other words, the ability to narrate clearly the alterity of object according to the political regime, which is not necessarily the full picture of our common recognition of the system. How does power exert modes of subjectification on individuals? What constitutes the accumulation of things is an archive that differentiates itself from merely documents and records. By reading, decoding and recoding the signs embedded in the things, various artists in the collective adopt their own practice to respond to problems with problems.

事物的秩序(目錄的目錄) The Order of Things ( Cat alogues of cat alogues) 鉛筆與水彩紙本,攝影與錄像裝置 Watercolour and pencil on paper, photography and video installation

作品描述公開拍賣架構、產生物品的制度、香港歷史檔案處現有關於自十九世紀始公 開拍賣的文獻、物品的來源、分類方法、在社會中流傳的狀況和歷史源流等等。 A set of visual narrative drawings and photography installations that depicts the history and structure of public auction, the system of generating auction items, government records about public auction in Hong Kong since the late 19 th century, the sources of auction items, classification methodologies, and how they are being recycled and circulated in the society, etc.


事物的秩序(徵選競投人) Th e O rd e r o f Th i n g s (C a s ti n g Bi d d er s )

三頻錄像裝置 11分36秒、57分12秒、57分12秒 Three-channel video installation 11 minutes 36 seconds, 57 minutes 12 seconds, 57 minutes 12 seconds

鳴謝 領銜演員 | 鍾劉維玲, 曾旭熙 製作助理 | 黃加頌

攝影 | 鄧家熙,李嘉欣,馮穎琳 特別鳴謝 | 鄭得恩,游正顒,王嘉麒

Acknowledgement and Credits Leading cast | Chung Lau Wai-ling Phoebe, Tsang Yuk-hei Don Photographers | Tang Ka-hei, Lee Ka-yan, Fung Wing-lam Production assistant | Wong Ka-chung Dorothy Special thanks | Enoch Cheng, Yau Ching-yung Norman, Wong Ka-ki

The video work features how the Government Logistics Department (GLD) conducts public auction that involves different levels of manipulation from both the authorised auctioneer and the bidders. Lee questions the system of public auctions and the proactive participation and intervention of its affiliated parties. Based on Lee’s observation, some bidders presumably form teams during the auction; hence, teamed-up bidders knock their competitors by applying various bidding strategies in order to ensure a particular party will win the auction. They usually communicate with each other at the auction via mobile device and text messages, while pretending that they do not know each other.

事物的秩序 (徵選競投人 ) 探討香港政府物流署在公開拍賣過程中,牽涉委託拍賣行與 競投人之間微妙關係、人為操控以及公開拍賣的制度。以李氏的長期觀察,競投人為贏 得目標物品,會聯群結隊,以技術競投淘汰其他競爭者。拍賣行理應維持拍賣合法、 公平、公正,卻對情況視若無睹。拍賣本身,由價高者得,變成一場早知結局的戲劇。 李氏公開招募演員,飾演競投人。最後,一男一女的演員,到香港政府物流署演戲競 投。在充斥著壓倒對手和串通等技術操控的會場中,演員需要表現出失望、不安、焦 慮、若有所失、憤怒、希望落空等情緒。

The auctioneer, as an authorised agent, is supposed to police the legitimacy of government auctions and secure a fair bidding environment. As a matter of fact, the auctioneer could have easily identified any suspicious act but he never expresses any concern or intention to justify. In such case, the auction is turned into a play, in which the ending has already revealed between the key players. Lee recruited professional actors and actresses to cast a character who is going to bid at a public auction. They were required to perform a complex emotional and mental struggle, which resulted in an unsuccessful bidding experience. The casting was conducted with a simulated setting of the actual public auction. Eventually, an actor and an actress were selected to “act” at the GLD auction. They were then obliged to complete with various bidders, under circumstances like bid rigging and collusion, expressing their frustration, anxiety, anger, loss of hope, etc.



Moving Moving Images 動 動 像

我們是動動像, M o v i n g M o v i n g I m a g e s ( M M I ),因為發現移 動中的電視更好看,於是樂此不疲地推電視。我們在嘗試 創造新的敘事媒體,把電影空間放在舞台空間之中:從電 影中提煉某種電影語言,把它們放在舞台動作之中。這是 電影的表演空間。在電影中,也在舞台中。 MMI is a non-award winning group which has been creating low-tech and local derivative works from movie footages. By moving TV sets, we have accomplished performances that inspire our audience and ourselves. The invention of moving moving images, in this particular form, is meant to be an experiment, an exploration of the possibilities between cinematic space, cinematic language, theatrical space and theatrical language, and ultimately, an attempt towards a new medium for narratives.


動動像之武俠片 Mo v i n g M o v i n g I m a g e s : Wu x i a m o v i e (2017) 表演、錄像 10分鐘 Performance, Video 10 minutes

武俠電影的鏡頭運用,通常有顯然易見的特點 不外乎大漠、密林、對峙、情 仇、策馬、輕功、兵器相交、內力傷人等等。題材雖大同小異,但不同年代的鏡 頭語言,卻千差萬別。動動像是次的實驗中,在從不同年代、鏡頭語言迥異的武 俠電影內,抽取出那些「很武俠」的畫面,打散重組成五段武俠片,並以五部 電視框內跳動的影像,以及電視本身的位置轉變、移動軌跡說故事。 Many shots in wuxia movies often betray the genre they belong to, even when they are extracted and isolated. Elements like confrontation in a desert/forest, love and revenge, combating with/without weapons, people flying over tree tops and the use of the mysterious qi in fighting can be found across most works of this genre. The cinematic representation of these common elements in movies from different times is very different though. This time, MMI will try to extract wuxia shots from movies of various ages and create five short, collaged wuxia movies to be played in five movable TV sets. The movies on the screen and the position and movement of the TV sets will join forces in telling the stories.



Floating Projects Collective 句點 藝術群體

成立於 2 0 1 0年的「句點」,於 2 0 1 5年由黎肖嫻重組,發起 新一輪實驗,新加入十幾位才藝各不同的年輕藝術創作者, 進駐黃竹坑一工廈一個 1 , 8 0 0尺的「藝術工場」。到底在一 個土地用途受規管,祇有基本設置的空單位裏,除了標準 白格子展覽空間或畫廊之外,還可以做些甚麼?這是我們 走在一起的誘因,然後憑着好奇心、實驗的意決,對今時 今日香港社會和藝壇,認定個人可作的特殊貢獻…… Founded in 2010 and reinvented in 2015 by artist Linda C.H. Lai with 2 a dozen of emerging young artists, the Floating Projects is a 170m2

art studio in Wong Chuk Hang. Besides setting up a standard white-frame exhibition area or a gallery, what can artists do with an empty unit in an industrial building under such institutionally and physically defined constraints? To answer this question, we have gathered as a curious and experimental collective, trying to explore any possible contribution we can make to today’s Hong Kong society and the art scene.



計劃聚集 e n s e m b l e -p l a n (2017)

多媒體 Mu l ti -m e d i a

“WCH Assemblage” is a space-bound project that originated in the start-up of individual artspace “Floating Projects” in 2015. The Floating Projects Collective furnished Floating Projects with found, discarded materials. Reactivating disused objects to give them a next life is a cherished Floating Projects principle. We uphold “automatism” as a method. This means we collect whatever materials that come into our possession; we gather them in the space of our artistic production area, think on the spot, and assemble loose materials into objects – half way between abstraction and perception, expression and representation, be they nameable or not. “WCH Assemblage” has grown into #2, #3 and more episodes as productive inserts into Floating Projects’ space between happenings, which has also been a place-holder for mutual learning and experimentation for Floating Projects’ collective. This epitomizes a few basic principles of Floating Projects. We envision the site to be like an amoeba. Game Rules of “WCH Assemblage” : 1. Engage yourself to play the game. Make your existence and discovery in and around the exhibition area. 2. Gather your own material within the limited time. No waste should be produced.

此為香港獨立藝術「據點。句點」的原生遊戲系列〈黃竹坑聚疊〉。句點藝術 群體會在區內拾遺,不加思索處理現成物料,推斷現成/被棄物的物理性,衍 生下一步。其後數次聚疊遊戲行動,演化出即興演出〈據點空間壓力測試〉系 列。無意間訂下的遊戲規則,鞏固這個容納各種裝置實驗的平台。這也許就是 「據點。句點」身為黃竹坑藝術工場的基調,是工場空間「變形蟲」地誌。 基於有即興必先有紀律的信念,我們為自己訂立以下聚疊遊戲的規則: (一)身處展場,或用方法「存在」於此,探索一下四周。 (二)只可用於時限內取得的材料,不論撿拾或自攜,總之莫費金錢。 (三)接受同場發生的任何事,並善用它、改變它,也必須接受展出期間任 何後期聚疊。 (四)必須獨立行事,也必須合作對話。 〈聚集計劃〉在計劃與否之間,我們無從着力點,卻任意伸展,過中掙扎或 發現樂趣。在一堆陌生的聚集物中,剩下的,只有我們本人,以及一切的機 遇。 參與是次〈聚集計劃〉參與成員,包括王鎮海、卓穎嵐、張才生和黃褔權。

3. Accept whatever happens during the ‘assemblage”. Make good use of it and modify it. 4. Work individually and work out the dialogue between others. Between the planned and unplanned, we are free to stretch but without an anchor. Within the collection of anonymous objects, only the artists are left on the spot, hence the possibilities blossom. Participants in this ‘ensemble-plan’ include Wong Chun Hoi, Cheuk Wing Nam, Samson Cheung Choi Sang and Wong Fuk Kuen.



THE LIBRARY by soundpocket


「聲音圖書館」由聲音掏腰包於 2 0 1 3年推出,是一個以聲 音述說香港本地文化與社會故事的網絡空間,旨在推動聆 聽文化之發展。藉「聲音圖書館」,我們希望凝聚一班以 聆聽認識自我、觀照彼此的社群,一起深耕聆聽。 聲音掏腰包於 2 0 0 8年成立,為香港註冊慈善團體,致力推 廣聲音藝術以及相關之研究工作。 “THE LIBRARY by soundpocket” was launched in 2013. It is a website of sounds that tell stories about Hong Kong − its culture and society. It aims at creating a community of active listeners who are curious about listening as a way of knowing ourselves and each other. It also aims at contributing to our public culture of listening. soundpocket is a registered charitable organisation in Hong Kong that promotes sound as art and its research.

www.soundpocket.org.hk www.thelibrarybysoundpocket.org.hk


DAY AFTER 翌日〔2014. 9. 29 - 1 2 . 1 2 〕 (2015)

雙聲道聲音裝置 (聲音光碟) 23段聲帶,120分鐘 (循環播放) 2 - c h a n n e l s o u n d i n s ta l l a ti o n (C D) 23 tra c k s, 120 mi n u t e s ( o n l o o p )

〈 D A Y A F T E R翌日 [ 2 0 1 4 . 9 . 2 9 - 1 2 . 1 2 ]〉 是一張結集雨傘運動聲音的 C D專輯。「翌日」是指雨傘運動開始以及結束之後的一日,即警察 發放催淚彈,到金鐘佔領區被清場後的一日,也就是這張專輯的第 一段和最後一段錄音的日期。這張專輯起源於 2 0 1 5年 1月,由「聲音 圖書館」策劃的「雨傘運動 — 田野錄音調查」。調查以搜集和整理 雨傘運動的一手聲音資料為目標,以「聲音」的角度,藝術家的聆 聽經驗去理解和探討錄音。

“DAY AFTER翌日 [2014.9.29 - 12.12]” is a collective album of the sounds of the Umbrella Movement. It presents the chronological order of the recordings from September 29 to December 12, that is, from the day after the police shot tear gas to the day after the clearance. This album began as a field recording investigative project initiated by The Library by soundpocket in January 2015. Aiming at collecting and preserving the first hand materials of the Umbrella Movement from the angle of “sound”, the project puts together sonic recordings and artists’ testimonies about their listening experiences in this bona fide social movement.

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