Tuesday, March 24, 2009
程展緯 - 博物館夢
程展緯 - 博物館夢
Luke CHING - Museum Dream
尺寸不定
混合素材及錄像裝置
Size variable
Mixed media and video installation
2009
睡覺是一種心靈無重的姿態以地心吸力與地球相連的活動。無論你是什麼人，又或是什麼工作，只要你存在這地球上，就可能有相同的睡姿。在這姿態下延伸的是夢，一個比睡覺更平等的活動。
二零零八年六月二十七日立法會討論西九龍文娛藝術區發展計劃小組委員會報告時，當中文化界議員霍震霆沒精打彩為我們描述了一個願景，郭家麒議員說這是一個春秋大夢，張超雄議員提出了有你有我的博物館。連任的卻是霍震霆。
Sleeping is a state of zero gravity of the mind, an activity that makes connection with the Earth by gravity. No matter who you are or what profession you are in, as long as you exist on earth you may share similar sleeping postures with the others. The extension of these postures is dreaming, an act more equal than the ordinary act of sleeping.
During the Legco meeting on the Report of the Subcommittee on West Kowloon Cultural District Development of Legislative Council on June 27, 2008, Legislator Timothy Fok Tsun-ting, representing the functional constituency of Culture, listlessly presented his vision, which was roasted by Legislator Kwok Ka-ki as sheer daydream. Dr. Fernando Cheung suggested a museum of and for everyone. At last, Fok had his tenure renewed.
梁美萍 - 咫尺天涯 - 旺角版
梁美萍 - 咫尺天涯 - 旺角版
LEUNG Mee Ping - So Near Yet So Far (Mongkok Version)
尺寸不定
混合素材
Size variable
Mixed media
2001
自一九九六年，我收集了香港不同形狀和大小的信箱超過一百個，包括離島的、偏遠地區和繁忙城市中心的，並記錄了信箱所在地的聲音和那裡的人的對話。
在二零零一年，我遷回少時成長的地方──旺角，並在那裡開始收集信箱，又收音以記錄該區的聲音—─人、車、流動電話、遊戲機中心、打鬥、卡拉OK、幼稚園、婚宴、茶餐廳……展出時，信箱掛在牆上，而藏在信箱內的錄音會因觀眾靠近，啟動信箱內的感應器而播放。旺角信箱的錄音還包括外傭、新移民、妓女、裁縫、的士司機、長者、兒童、看更、視障人士、上海理髮師父、黑市牙醫、書店店長、我自己的居所、在香港電台工作的人、病人、家庭主婦、外籍居民等，他們都是在旺角居住和工作的。
在二零零一年，我遷回少時成長的地方──旺角，並在那裡開始收集信箱，又收音以記錄該區的聲音—─人、車、流動電話、遊戲機中心、打鬥、卡拉OK、幼稚園、婚宴、茶餐廳……展出時，信箱掛在牆上，而藏在信箱內的錄音會因觀眾靠近，啟動信箱內的感應器而播放。旺角信箱的錄音還包括外傭、新移民、妓女、裁縫、的士司機、長者、兒童、看更、視障人士、上海理髮師父、黑市牙醫、書店店長、我自己的居所、在香港電台工作的人、病人、家庭主婦、外籍居民等，他們都是在旺角居住和工作的。
Since 1996, I have collected over 100 mailboxes of different size and shape throughout Hong Kong, including those from the outlying islands, remote rural areas and busy city center. I also recorded the sound and chats where I found the mailboxes.
In 2001, I moved back to Mongkok, the area I grew up, and from where I started to collect mailboxes again. I recorded the sound of the place -- people, vehicles, mobile phones, electronic games center, fighting, karaoke center, kindergarten, ceremony in restaurant, Chinese café… In the exhibition space, these mailboxes, with the sound of the locality put inside, are suspended on the wall. When approaching the boxes, inside which sensors are installed, visitors will be able to hear the sound recorded. Mongkok mailboxes’ sound also includes chats among foreign maids, new immigrant, prostitute, tailor, taxi drivers, aged resident, child, housekeeper, blind, Shanghai coiffeur, illegal dentist, bookstore manager, my own apartment, a guy who works in RTHK, patient, housewife, foreign resident, etc. All of them are living or working in Mongkok.
In 2001, I moved back to Mongkok, the area I grew up, and from where I started to collect mailboxes again. I recorded the sound of the place -- people, vehicles, mobile phones, electronic games center, fighting, karaoke center, kindergarten, ceremony in restaurant, Chinese café… In the exhibition space, these mailboxes, with the sound of the locality put inside, are suspended on the wall. When approaching the boxes, inside which sensors are installed, visitors will be able to hear the sound recorded. Mongkok mailboxes’ sound also includes chats among foreign maids, new immigrant, prostitute, tailor, taxi drivers, aged resident, child, housekeeper, blind, Shanghai coiffeur, illegal dentist, bookstore manager, my own apartment, a guy who works in RTHK, patient, housewife, foreign resident, etc. All of them are living or working in Mongkok.
又一山人 - 無常
又一山人 - 無常
Anothermountainman - Impermanent
尺寸不定
混合素材
Size variable
Mixed media
2009
想了想了，決定做張梳化床，用它三、五十年，然後裹身一同離去。符合環保原則，多麼親切，多好……
再想，藉著每天親近梳化床的互動，親身感受「死」是人生的一部份這概念；親近面對自己人生的一個功課。
無常。是梳化床和棺木之間。
無常。是今生和死亡和來生之間。
之間。應該是珍惜……是正面……是積極……是自在……
無常。是體驗人生。
As I thought about all these, I decided to make a sofa bed for my own use for up to 30 or 50 years until I passed away in it. How environmental friendly it is, and how intimate it is to me…
As I thought more deeply, I knew that by interacting intimately with the sofa bed everyday I could experience how “death” is regarded as part of one’s life. It would be a task for me to come face-to-face with my own life.
Impermanent. Between a sofa bed and a coffin.
Impermanent. Between this life, death and the next life.
In between. There should be the will to cherish…It should be positive…proactive…and free…
Impermanent. The experiencing of life.
伍韶勁 - +22° 16’14” +114° 08’48’’光之紀錄
伍韶勁 - +22° 16’14” +114° 08’48’’光之紀錄
Kingsley NG - Record: light from +22。16’14”+114。08’48”
尺寸不定
混合素材，錄像及聲音裝置
Size variable
Mixed media, video and sound installation
2008
作品把每一下從山頂向維多利亞港閃動的相機閃燈刻在光碟上，以唱盤將數據演化，讓觀衆置身光與樂編成的演奏空間。
Flashes of light from visitors taking pictures of the Victoria Harbour from the Peak are archived and etched into a 12-inch disk and to be played on a modern version of the gramophone. The exhibition viewers will experience the enchanting visuals and sounds that interpret the symphony of these random bursts of light.
郭瑛 - 日用品
郭瑛 - 日用品
KWOK Ying - Commodity
尺寸不定
木顏色及瓷磚泥布本
Size variable
Colour pencil and cement on canvas
2001
「日用品」是一系列的繪畫作品，主角是香港人常用的毛巾，可讓觀者對照熟悉和相似的東西。我看重日常生活的物件，但其中隱含的效果可以是在我構想以外的。我希望作品可以給予普羅大眾更多提示，不然我會選擇抽象概念的方向。
Commodity is a series of paintings playing with some recognizable elements in the most common towels used in Hong Kong, which can bring up a confrontation of likeness and familiarity among the viewers. The intension of picking up daily objects as motifs is crucial to me but the broader connotative outcome is sometimes out of reach from my initiative. I want to give some more hints to the viewers about what I draw so even the less sophisticated audience can get some ideas from my work. Otherwise I have gone for abstraction.
徐松薇 - 「Soong Wei 是你的朋友」系列 ─ 蜻蜓
徐松薇 - 「Soong Wei 是你的朋友」系列 ─ 蜻蜓
Joyce HSU - Soong Wei is Your Friend Series: Naboon Dragonfly
尺寸不定
木、膠、馬達及燈
Size variable
Wood, plastic, motor and light
2002
這是一個自給自足的裝置作品，具有一致的邏輯，議題及敍事性。
在「Soong Wei 是你的朋友」這個題目下，我嘗試探索人類的脆弱所帶來的控制慾和尋求夥伴的慾望。為了尋找這個議題的最佳解決方案，我設計了這些機動朋友──它們備有細緻的結構、詳盡的心理背景，讓你可即時理解你的機動夥伴！
然而這些夥伴不是解決寂寥和控制慾的最佳答案，因為尚是空中樓閣式的構想。
A recurring theme of my installation is the creation of self-contained systems with their own sets of consistent logic, issues and narrative.
Under the title “Soong Wei is your Friend”, I tried to explore our vulnerability as humans desperately seeking companion and our desire to control it. My mechanical “friends” are designed to be the perfect solution, usually complete with their own meticulously compiled background information, which includes mechanical schematics and also their detail psychological profile, to help you to get to know your new companion better.
Nonetheless, these companions failed to be the perfect solution and remain only as an idiosyncratic conception that temporally fulfills our needs.
李傑 - 某天：跟媽媽和友人在家共晉午餐
李傑 - 某天：跟媽媽和友人在家共晉午餐
LEE Kit - One Day: Lunch with Mum and Friends at Home
尺寸不定
混合素材
Size variable
Size variable
Mixed media
2003
我畫了一些手繪布，曾用於不同的日常生活場合。二零零三年，我用了其中一塊手繪布作家中的桌布。在二零零三年六月四日，我邀請了我的朋友，到我家跟我和媽媽共晉午餐。
「It’s such a beautiful day, go on and get some rest.」
「It’s such a beautiful day, go on and get some rest.」
I painted some pieces of hand-painted cloth and used them on different daily occasions. In 2003, I used one piece of my hand-painted cloth as table cloth at home. I invited my friends to come to have lunch with my mum and me on 4th June, 2003.
‘It’s such a beautiful day, go on and get some rest.’
‘It’s such a beautiful day, go on and get some rest.’
李展輝 - 一滴水 , 風景 2003
李展輝
Danny, LEE Chin Fai
一滴水
Water Drop
1 x 1 x 1.2 m
不銹鋼、玻璃纖維及水
Stainless steel, fiber glass and water
2009
人們欣賞風景時，往往只顧遠觀山水，而忽略了如眼前細小的露珠。若我們願意近觀，就可看到小小一點的露珠能把世界反映得更廣闊。一息間，可以呈現高下、輕重、虛實等的抽象概念。人生的得失、喜與悲，都化作湮雨流水，回歸大自然的永恆循環。
People tend to look far and wide for big things in the future and neglect the present moments. We tend to take for granted about family and things around us. We only come to realize the importance of cherishing them when they are no longer with us. It is the same as we appreciate landscape. We tend to look at the scenery on the far side without taking note of the dew right in front of us. Try to look at it if we are willing to; a tiny drop of dew can offer us a reflection of the world. A moment in time is able to express abstract concepts of superiority and inferiority, heaviness and lightness, and emptiness and fullness. The loss and found in life, its happiness and sadness, all fall into oblivion and return to the eternal cycle of Nature.
風景 2003
Scenery 2003
3 x 3 m
不銹鋼及木
Stainless steel and wood
2003
白雙全 - 1 1/2 2﹝二人藝術﹞
白雙全 - 1 1/2 2﹝二人藝術﹞
PAK Sheung Chuen - 1 1/2 2 (Two Art)
3 x 3 x 3 m
混合素材
Mixed media
2009
「一半」其實都可以是完整的，只要當它存在時，你再沒有想起它的另一半。通過這系列的作品，我在思考「殘缺」和「完整」之間的關係，一方面我在想像「殘缺」的自足性，另一方面我在想像怎樣達致「完整」。
其實，一半已經足夠，一半已經很美。
In fact, “half” can be a whole, as when it exists, you never think of its remaining half.
The work attempts to contemplate the relationship between incompleteness and the whole. On the one hand, I imagine the self-sufficiency of incompleteness; on the other, I imagine the ways to pursue the whole.
In fact, half is enough, and half is beautiful.
何兆基 - 觀音
何兆基 - 觀音
HO Siu Kee - Visible Sound
尺寸不定
銅、混合素材及錄像裝置
Size variable
Bronze, mixed media and video installation
2009
「磬清 磬 ， 震 醒 塵 迷。」
「磬」是一種缽盂狀、敲擊時會發出聲音的佛門器物，多以銅料錘打成形，器形的弧度、器壁的厚薄，往往是決定音質的重要因素。磬有不同大小，敲擊大磬，其聲沉穩，餘音傳之久遠，聞說，有懾動心神、震醒塵迷的效用。若於磬中盛水，敲打時，音波在水中迴盪形成水紋，器壁亦因共鳴而微微震動，可以觀，可以觸，可以聽，亦是不同知覺官能之間的聯通共感。
“Strike the empty Qing and waken the mind from secular perplexities.”
“Qing” is a bowl-like Buddhist percussion instrument which produces sounds when being struck. It is usually made of copper and the curve and thickness of the instrument are crucial to its tone of sound. “Qing” varies in size; a large “Qing” produces solid deep sound which carries strong reverberation. It’s been said that the sound strikes people’s mind and brings about their awakening from the perplexity of the secular world. If the “Qing” is being struck with water in it, the sound vibrates to become water waves, and the instrument itself also vibrates due to the reverberation. It can be looked at; it can be touched; and it can be listened to—a demonstration of synaesthesia.
周俊輝 - 麻將
周俊輝 - 麻將
CHOW Chun Fai - Mahjong
尺寸不定
油彩木本
Size variable
Oil on wood
圓形的桌椅及圓形的麻將牌使參與者的注意力從遊戲移到身體本身，因參與者需要控制奇形怪狀的麻將牌。形狀的轉變使麻將失去功能。
A round mahjong table with round seats set up with round-shaped mahjong pieces, shifts the players' attention from the game to their bodies - how to control the pieces rather than play the game. The changed form makes the mahjong unusable.
黃慧妍 - 移家傢俬
黃慧妍 - 移家傢俬
Doris, WONG Wai Yin - Home-moving Furniture
尺寸不定
紅白藍膠布及混合素材
Size variable
Red/white/blue plastic sheet and mixed media
這是我在香港中文大學就讀二年級時的作品。當時於往返學校的火車上常看到遊走於大陸、香港兩地的市民。他們有的是在回家的路上去，也有的是離家裡來到這裡。於是我從簡單的聯想創作出這個由以紅白藍膠袋造的家。六年後的今天，它在這個展覽展出，我看到的是我久違了的對物質和物件漫無目的的想像。
This piece of work was made in 2002. At that time I was studying in Chinese University of Hong Kong. On the train trips I always found people using “Red White Blue” plastic bags as they go to Mainland China or coming back from there. The bags reminded me of those people travelling between two places, two homes. Showing it after six years, the work today reminds me of my long lost imagination to materials and daily objects.
黃慧妍 - 香港藝術館於二零零八年策劃的展覽
16.5 x 4m
塑膠彩紙本
Acrylic on papers
2009
展覽由兩部份組成。在左邊的部份展示香港藝術館出版的印刷品；右邊的部份則展示那些印刷品的複製品。這個以假亂真的對稱裝置作品使觀者思考真和偽的本質。
The work is formed by two parts. On the left hand side daily objects from the Hong Kong Museum of Art are shown. The duplicate objects on the right hand side are referencing to the left hand side. It is a symmetric installation which confuses audience about what is real and what is not.
塑膠彩紙本
Acrylic on papers
2009
展覽由兩部份組成。在左邊的部份展示香港藝術館出版的印刷品；右邊的部份則展示那些印刷品的複製品。這個以假亂真的對稱裝置作品使觀者思考真和偽的本質。
The work is formed by two parts. On the left hand side daily objects from the Hong Kong Museum of Art are shown. The duplicate objects on the right hand side are referencing to the left hand side. It is a symmetric installation which confuses audience about what is real and what is not.
李天倫 - 貝多芬第五交響曲，第一樂章
李天倫 - 貝多芬第五交響曲，第一樂章
Otto, LI Tin-lun - Ludwig van Beethoven's Symphony No.5 in C Minor, First Movement
尺寸不定
混合素材及錄像裝置
混合素材及錄像裝置
Size variable
Mixed media and video installation
2009
無形的聲音轉化作立體的雕塑，跨越了虛擬與現實、無形與有形的界限，使人們不用慣常的感知方式欣賞藝術作品；而不論殘障或健全人士，也能以自己的身體和觸感重新感受和欣賞藝術作品。
A transition from the intangible sound to the three-dimension touchable “soundscape” sculpture lets the visually impaired, the hearing impaired visitors can experience music on the same field as others, and all visitors are left equally disoriented when confronted with this palpable piece of music.
Curator's Note - Grace Cheng
「尋樂．經驗」希望為觀眾帶來不一樣的藝術觀賞歷程。「尋樂．經驗」是我個人策展經驗的一個嘗試。過去多年在不同社群中服務所取得的經驗，我深信藝術可帶來人身、心、靈上的改變，並優化生命。縱使近年中國當代藝術成為時尚，隨之增加了欣賞藝術的觀眾，但仍然有很多人誤以為藝術門檻甚高而敬以遠之。
世界人權宣言中第二十七條有言：「人人有權自由參加社會的文化生活，享受藝 術，並分享科學進步及其產生的福利；保護任何人創作的文學或美術作品而產生的精神的和物質的利益。」。我相信的並不是悲天憫人的心，而是相信人人生而平等，每個人均擁有創作及欣賞藝術的權利。在充滿壓力及焦慮的醫院裡，我親證藝術帶來動人的力量──曾經與很多病友一起創作，看見很多朋友從最初害怕拿起畫筆到最後「畫到唔肯走」，並對著自己的作品微笑的情景。曾經有一位婆婆喃喃自說：「老人家冇用啦，不要浪費畫具」。但當她見到自己完成的菊花水墨畫所展現美麗的笑容，她高興地說要與稍後來探訪的孫女兒一起再畫！相信藝術就是如此輕易接觸心靈並優化生命。
「尋樂．經驗」將使觀眾學習開放不同的感官欣賞藝術作品，運用身體的各部分去感受藝術作品所傳達的訊息。除了藝術家的作品，展場裡亦具備了不同的輔助器材協助有需要的人士，我們期望以靈活的形式拉近人與人之間的距離，鼓勵融和。故此，這是一個屬於所有人的展覽，期望能涵蓋不同年齡、教育、性别、背景和能力的人士。我們相信藝術的力量是有效的非語言溝通及表達情感的媒介，並可以帶來有趣、愉悅和滿足感。我希望是次展覽能更接近世界人權宣言中所追求的目標。
我與策劃小組同工們相信藝術即生活、欣賞生活和享受人生。「尋樂．經驗」強調兩大意義：享受及參與。享受藝術欣賞所帶來的富足的感情交流──可以是愉快的、悲傷的或是動腦筋的；參與及經驗則是透過不同的感官親身感受每件作品，當中滲透了各式與社區及生活有關的藝術經驗，相信能引起大眾重新在日常生活中探索更多平日忽略了的生活細節，並從作品所觸發的思緒中找尋樂趣。。我們更希望能在藝術和社群之間引起正面的迴響及討論，令展覽及藝術欣賞得到新角度的闡釋，打破以往固有的展覽經驗，再加上觀眾的積極參與，使展覽背後的真正意義得以全面發揮。
是次展覽選取了八件香港藝術館的藏品展，更邀請了七位本地藝術工作者運用不同媒介的物料，透過藝術品演繹他們對「參與」及「互動」兩者的含意。李天倫將貝多芬的第五交響曲化成實體雕塑，讓觀眾可逐一感應每個音符的舞動。黃慧妍的手繪香港藝術館的海報與印刷品並例，整個裝置形成一個強烈對比，孰真孰假，顯得耐人尋味；而她的另一件作品以香港人熟悉的紅白藍帆布製作傢俬，又是真假難辨的好玩意。周俊輝的作品是一副不能以一貫手法對打的麻將，讓你我思考如何面對有別常規的物件。何兆基以「磬」帶出不同知覺官能之間的聯通共感，打破個別官感的限制。又一山人的棺材是你我熟悉的家居物件，使親切感在身前身後都不減。李展輝的兩件作品，取材自大自然，使人們放眼於眼前，活在當下，感受細小事物傳達的廣闊世界。白雙全的由「一半」開始，創作二人合作才可完成的概念藝術，帶出「殘缺」和「完整」的迷思。李傑以手繪枱布招待親友午餐。徐松薇明言她設計的機動夥伴，可以解決人類的的控制慾和尋求夥伴的慾望。郭瑛的手繪日用品可會使你多加留意日常生活的美？伍韶勁收集遊客的相機閃光燈效果，為展覽遊人製作多媒體演奏會。在旺角長大的梁美萍回歸舊地，紀錄社區人群的日常生活，把我們熟悉的旺角帶到展覽場地，欣賞作品後，你可能會發現不一樣的旺角。程展緯在藝術館設置睡覺角落，恭候各位光臨，一同發夢製造美好未來。
It is the attempt of Charming Experience to bring extraordinary experiences of art appreciation to everyone of you.Charming Experience is my first individual curatorial project. From my services to different communities over the past few years, I came to believe that art can cause changes in people’s body, mind and soul and contribute to the betterment of our lives. Despite the skyrocketed popularity of contemporary Chinese art which results in an increase of art audience, there are still people who consider art aloof and resort to keeping a distance from it.
As Article 27 of the Universal Declaration of Human Rights states: “Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.” What I hold onto is not a compassionate heart, but a belief that hails the equality of people who are entitled to the right to create and appreciate art. In a hospital environment heaped with pressure and anxiety, I have witnessed the power of art—making art with patients; some of them felt reluctant to hold the paint brush in the beginning but in the end they became reluctant to stop painting instead, giving oneself and the work an approving smile. I recalled once an old lady mumbled, “We old people are just useless; don’t waste your art tools.” Yet, when she finally finished an ink painting of chrysanthemum by herself, she was so pleased that she wanted to draw again with her visiting granddaughter. Seemingly, art touches the soul and enriches one’s life in a simple way.
Charming Experience introduces ways to open up the different senses of the audience to appreciate artworks and use the different parts of their body to receive messages in the artworks. Apart from artwork, there will be also a variety of support equipment for people in need. It is our hope to bring closer different people and encourage integration via a flexible form of exhibition. Thus, this is an exhibition of and for everybody, attempting to serve people from different age groups, educational levels, gender, social backgrounds and abilities. We believe in the effectiveness of art as non-verbal communication and a medium to express emotions; it is able to bring about fun, pleasure and fulfillment. I hope the exhibition can bring us closer to the pursuit of the Universal Declaration of Human Rights.
The curatorial team and I believe that art is life; it is about appreciating the everyday and enjoying life. Two emphases of Charming Experience: Enjoyment and participation. Enjoy the rich exchange of feelings brought about by the enjoyment of art appreciation, be it pleasurable, sad or bewildering. Participation and experiences are made possible by experiencing each artwork with different senses, a moment in which all kinds of art experiences related to communities and everyday life are aroused. This facilitates the public to re-visit and explore the details that are overlooked in our daily lives, and be inspired to look for more fun. It is also our hope to prompt positive response from and discussion among the art world and the communities which can encourage new interpretations to exhibition and art appreciation, and interrupt the typical experience of visiting an exhibition. With the active participation of the audience, the true meanings of the exhibition can be fully communicated. In the exhibition, eight artifacts from the collection of the Hong Kong Museum of Art were chosen for seven local artists to work with by using different mediums and materials, from where they derive their very unique interpretations of “participation” and “enjoyment”.Otto ”actualizes” Beethoven’s No.5 Symphony into a sculpture for the audience to feel the brandishing music notes. Doris’ hand-drawings copy the exhibition posters of the Hong Kong Museum of Art, placed side by side with the genuine prints to confuse audience about what is real and what is not. Another piece by Doris is pregnant with meaning; the “Red White Blue” plastic material amazes audiences with the playful idea of daily commodities. The dysfunctional mahjong of CHOW Chung Fai provokes us to question the unconventional practice of objects with which we are familiar. HO Siu Kee uses the Qing to demonstrate synaesthesia so as to break the boundary of individual senses. Presenting common household furniture, anothermountainman tries to retain his intimacy with the furniture before and after death. The two works by Danny are inspired by Nature, and he wants us to pay attention to every single tiny thing in daily life that could bring us the reflection of the world. PAK Shueng Chuen works out with the concept of ”half” and has created a conceptual artwork that takes two persons to complete, and invites us to think about the myth of incompleteness and the whole. LEE kit invited his mom and friends for a lunch at home and served them with his hand-painted table cloth. The mechanical “friends” made by Joyce is designed to be the perfect solution for human beings, to ease the human desire of seeking companion and the desire to control. Can KWOK Ying’s hand-drawings of commodities prompt you to pay more attention to the beauty of daily life? Kingsley has collected flashlights produced by tourists’ cameras and brings you a multi-media concert. LEUNG Mee Ping, grew up in Mongkok, introduces to us the Mongkok that we might have neglected and yet to be familiar with. Luke has set up some places for sleeping in the museum, wishing you a good dream of the future.
世界人權宣言中第二十七條有言：「人人有權自由參加社會的文化生活，享受藝 術，並分享科學進步及其產生的福利；保護任何人創作的文學或美術作品而產生的精神的和物質的利益。」。我相信的並不是悲天憫人的心，而是相信人人生而平等，每個人均擁有創作及欣賞藝術的權利。在充滿壓力及焦慮的醫院裡，我親證藝術帶來動人的力量──曾經與很多病友一起創作，看見很多朋友從最初害怕拿起畫筆到最後「畫到唔肯走」，並對著自己的作品微笑的情景。曾經有一位婆婆喃喃自說：「老人家冇用啦，不要浪費畫具」。但當她見到自己完成的菊花水墨畫所展現美麗的笑容，她高興地說要與稍後來探訪的孫女兒一起再畫！相信藝術就是如此輕易接觸心靈並優化生命。
「尋樂．經驗」將使觀眾學習開放不同的感官欣賞藝術作品，運用身體的各部分去感受藝術作品所傳達的訊息。除了藝術家的作品，展場裡亦具備了不同的輔助器材協助有需要的人士，我們期望以靈活的形式拉近人與人之間的距離，鼓勵融和。故此，這是一個屬於所有人的展覽，期望能涵蓋不同年齡、教育、性别、背景和能力的人士。我們相信藝術的力量是有效的非語言溝通及表達情感的媒介，並可以帶來有趣、愉悅和滿足感。我希望是次展覽能更接近世界人權宣言中所追求的目標。
我與策劃小組同工們相信藝術即生活、欣賞生活和享受人生。「尋樂．經驗」強調兩大意義：享受及參與。享受藝術欣賞所帶來的富足的感情交流──可以是愉快的、悲傷的或是動腦筋的；參與及經驗則是透過不同的感官親身感受每件作品，當中滲透了各式與社區及生活有關的藝術經驗，相信能引起大眾重新在日常生活中探索更多平日忽略了的生活細節，並從作品所觸發的思緒中找尋樂趣。。我們更希望能在藝術和社群之間引起正面的迴響及討論，令展覽及藝術欣賞得到新角度的闡釋，打破以往固有的展覽經驗，再加上觀眾的積極參與，使展覽背後的真正意義得以全面發揮。
是次展覽選取了八件香港藝術館的藏品展，更邀請了七位本地藝術工作者運用不同媒介的物料，透過藝術品演繹他們對「參與」及「互動」兩者的含意。李天倫將貝多芬的第五交響曲化成實體雕塑，讓觀眾可逐一感應每個音符的舞動。黃慧妍的手繪香港藝術館的海報與印刷品並例，整個裝置形成一個強烈對比，孰真孰假，顯得耐人尋味；而她的另一件作品以香港人熟悉的紅白藍帆布製作傢俬，又是真假難辨的好玩意。周俊輝的作品是一副不能以一貫手法對打的麻將，讓你我思考如何面對有別常規的物件。何兆基以「磬」帶出不同知覺官能之間的聯通共感，打破個別官感的限制。又一山人的棺材是你我熟悉的家居物件，使親切感在身前身後都不減。李展輝的兩件作品，取材自大自然，使人們放眼於眼前，活在當下，感受細小事物傳達的廣闊世界。白雙全的由「一半」開始，創作二人合作才可完成的概念藝術，帶出「殘缺」和「完整」的迷思。李傑以手繪枱布招待親友午餐。徐松薇明言她設計的機動夥伴，可以解決人類的的控制慾和尋求夥伴的慾望。郭瑛的手繪日用品可會使你多加留意日常生活的美？伍韶勁收集遊客的相機閃光燈效果，為展覽遊人製作多媒體演奏會。在旺角長大的梁美萍回歸舊地，紀錄社區人群的日常生活，把我們熟悉的旺角帶到展覽場地，欣賞作品後，你可能會發現不一樣的旺角。程展緯在藝術館設置睡覺角落，恭候各位光臨，一同發夢製造美好未來。
It is the attempt of Charming Experience to bring extraordinary experiences of art appreciation to everyone of you.Charming Experience is my first individual curatorial project. From my services to different communities over the past few years, I came to believe that art can cause changes in people’s body, mind and soul and contribute to the betterment of our lives. Despite the skyrocketed popularity of contemporary Chinese art which results in an increase of art audience, there are still people who consider art aloof and resort to keeping a distance from it.
As Article 27 of the Universal Declaration of Human Rights states: “Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.” What I hold onto is not a compassionate heart, but a belief that hails the equality of people who are entitled to the right to create and appreciate art. In a hospital environment heaped with pressure and anxiety, I have witnessed the power of art—making art with patients; some of them felt reluctant to hold the paint brush in the beginning but in the end they became reluctant to stop painting instead, giving oneself and the work an approving smile. I recalled once an old lady mumbled, “We old people are just useless; don’t waste your art tools.” Yet, when she finally finished an ink painting of chrysanthemum by herself, she was so pleased that she wanted to draw again with her visiting granddaughter. Seemingly, art touches the soul and enriches one’s life in a simple way.
Charming Experience introduces ways to open up the different senses of the audience to appreciate artworks and use the different parts of their body to receive messages in the artworks. Apart from artwork, there will be also a variety of support equipment for people in need. It is our hope to bring closer different people and encourage integration via a flexible form of exhibition. Thus, this is an exhibition of and for everybody, attempting to serve people from different age groups, educational levels, gender, social backgrounds and abilities. We believe in the effectiveness of art as non-verbal communication and a medium to express emotions; it is able to bring about fun, pleasure and fulfillment. I hope the exhibition can bring us closer to the pursuit of the Universal Declaration of Human Rights.
The curatorial team and I believe that art is life; it is about appreciating the everyday and enjoying life. Two emphases of Charming Experience: Enjoyment and participation. Enjoy the rich exchange of feelings brought about by the enjoyment of art appreciation, be it pleasurable, sad or bewildering. Participation and experiences are made possible by experiencing each artwork with different senses, a moment in which all kinds of art experiences related to communities and everyday life are aroused. This facilitates the public to re-visit and explore the details that are overlooked in our daily lives, and be inspired to look for more fun. It is also our hope to prompt positive response from and discussion among the art world and the communities which can encourage new interpretations to exhibition and art appreciation, and interrupt the typical experience of visiting an exhibition. With the active participation of the audience, the true meanings of the exhibition can be fully communicated. In the exhibition, eight artifacts from the collection of the Hong Kong Museum of Art were chosen for seven local artists to work with by using different mediums and materials, from where they derive their very unique interpretations of “participation” and “enjoyment”.Otto ”actualizes” Beethoven’s No.5 Symphony into a sculpture for the audience to feel the brandishing music notes. Doris’ hand-drawings copy the exhibition posters of the Hong Kong Museum of Art, placed side by side with the genuine prints to confuse audience about what is real and what is not. Another piece by Doris is pregnant with meaning; the “Red White Blue” plastic material amazes audiences with the playful idea of daily commodities. The dysfunctional mahjong of CHOW Chung Fai provokes us to question the unconventional practice of objects with which we are familiar. HO Siu Kee uses the Qing to demonstrate synaesthesia so as to break the boundary of individual senses. Presenting common household furniture, anothermountainman tries to retain his intimacy with the furniture before and after death. The two works by Danny are inspired by Nature, and he wants us to pay attention to every single tiny thing in daily life that could bring us the reflection of the world. PAK Shueng Chuen works out with the concept of ”half” and has created a conceptual artwork that takes two persons to complete, and invites us to think about the myth of incompleteness and the whole. LEE kit invited his mom and friends for a lunch at home and served them with his hand-painted table cloth. The mechanical “friends” made by Joyce is designed to be the perfect solution for human beings, to ease the human desire of seeking companion and the desire to control. Can KWOK Ying’s hand-drawings of commodities prompt you to pay more attention to the beauty of daily life? Kingsley has collected flashlights produced by tourists’ cameras and brings you a multi-media concert. LEUNG Mee Ping, grew up in Mongkok, introduces to us the Mongkok that we might have neglected and yet to be familiar with. Luke has set up some places for sleeping in the museum, wishing you a good dream of the future.
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